"DOUBLE EXPOSURE"

Written by Charlotte Clay & Thomas Huggins

ACT ONE

FADE IN

INT. HOTEL BAR - EVENING

CU of scotch being poured into a crystal old-fashioned
glass. A beautifully manicured, masculine hand complete
with a diamond studded "pinky" ring reaches into frame and
takes the glass. Begin credits.

BARTENDER (V.O.)
On the room charge, sir?

As the camera pans up with the glass, the man's sleeve
slowly pulls back to reveal a gold Rolex watch, the one they
call the "Quarterpounder". His cufflinks are subtle and
classic, his suit is Ted Lapidus, the man is Hunter.

HUNTER
Yeah. Thanks.

He sits at the bar sipping from his glass of scotch. There
is an empty seat next to him. This is a posh, elegant
scene. The crowded bar is filled with "beautiful people"
who come to see and be seen.

A beautiful young woman, JACQUELINE DUBOC, steps up to the
bar next to Hunter.

JACQUELINE
(sexy French
accent)

Pardon, monsieur. Are you saving
this seat for someone?

HUNTER
No.

JACQUELINE
Would you mind very much if I sit
here?

Hunter is dressed to kill and he knows it. But this is
almosst too good to be true. He leans over and pulls the
chair out for her. ANOTHER CREDIT is superimposed.

HUNTER
Why not?

As she sits down, Hunter can't help but stare. Her features
are flawless; her movements are seamless and elegant. Like
a Vogue model, her beauty is ageless. She is a work of art.

In this awkward moment as Hunter stares, Jacqueline realizes
that he thinks she is making a move on him.

JACQUELINE
It's not that I want to seem
too...forward, but I am waiting
for a friend and the men, they
always try to, how do you say,
pick up with me.

Hunter understands.

HUNTER
I don't want to seem forward,
either, but may I offer you a
drink while you wait?

She smiles. She looks at his glass where his hand rests,
diamond ring and Rolex watch in clear view.

JACQUELINE
Scotch?

He nods.

JACQUELINE
I'll have the same.

The bartender, JOHNNY, a handsome, 40-ish Japanese man, has
overheard the order. He moves off to get her a scotch.
ANOTHER CREDIT is superimposed.

HUNTER
Thanks, Johnny.

JACQUELINE
Oh, do you come here often?

HUNTER
No, I just got into town a few
hours ago. How about you?

JACQUELINE
I'm from Paris, but I am working
here, now.

Her drink arrives. ANOTHER CREDIT is superimposed.

HUNTER
Well, then, we're both strangers
in town.

They both take a sip from their drinks. A tuxedo-clad
maitre d' interrupts this moment.

MAITRE D'
Jacqueline DuBoc?

JACQUELINE
Oui.

MAITRE D'
I have a telephone call for you
at the desk.

He motions toward the reservation desk. She stands and
follows him. Like the gentleman that he is. Hunter stands
as she moves away. ANOTHER CREDIT is superimposed.

JACQUELINE
Excuse me.

He sits back down, nurses his drink, and watches her on the
phone. Whatever she is hearing is obviously very
disappointing to her. She hangs up and moves through the
crowded bar back to his side. She sits and takes another
sip of her drink.

JACQUELINE
(disappointed)
I can't believe it. My rendezvous
for this evening has been
cancelled. Now, I really do feel
like drinking.

HUNTER
At least you won't have to drink
alone.

They both raise their glasses in an informal toast.

MONTAGE - DIRECTOR'S SEQUENCE

HUNTER and JACQUELINE get another round of scotch; ANOTHER
LAYER OF PEOPLE crowds around the bar, calling to Johnny
and receiving their drinks; HUNTER and JACQUELINE lean
closer together to avoid being jostled by people pushing
in around them and to hear each other as the noise level
continues to rise. CREDITS OVER THE ABOVE.

JACQUELINE
(speaking loudly)
It has become so, so noisy. Would
it again seem too forward of me
to ask if we could leave here?
Perhaps we could go to your room
to have another drink?

HUNTER
Well...I don't know. I don't
usually let strange women into
my room.

JACQUELINE
(coquettish smile)
I'm not so strange really. Just
in need of a little consolation.

Hunter pauses.

HUNTER
I'll race you to the elevator.

FINAL CREDIT.

INT. HUNTER'S HOTEL ROOM - NIGHT

The room has the same well-appointed elegance we saw in the
bar downstairs. One entire wall is covered with
floor-to-ceiling silk curtains. Jacqueline walks into the
middle of the room and looks around.

Hunter closes the door behind him and looks at her.

JACQUELINE
Oooo. It is so beautiful.

He never takes his eyes off her.

HUNTER
I hadn't noticed.

She turns and their eyes meet for a moment.

HUNTER
Can I fix you that drink now?

JACQUELINE
(softly, smiling)
No, please. Allow me.

She walks over to the small wet-bar that faces the room and
opens the cabinet. Hunter crosses the room to the windows.
She takes out the glasses and ice.

JACQUELINE
Ever since I was a little girl,
I mix the drinks. For my father,
for his friends. This makes me
feel so at home.

She has the scotch out and pours it into the glasses.

JACQUELINE
Shall we continue drinking scotch?

Hunter opens the curtains to reveal a spectacular view of
sprawling city lights. With one hand, she gracefully
reaches into the cuff of her dress and removes a small vial.

HUNTER
(looking out at
the lights)
Sure. Never mix, never worry.

She empties the contents of the vial into one of the
glasses, and returns the empty vial to her cuff.

JACQUELINE
What a charming expression.
Americans are so practical and
poetic.

With drinks in hand, she walks over to Hunter, where he
stands at the window looking out at the view. He is being
very cool and seductive. She hands him his drink.

She looks out at the lights sadly, almost as if Hunter
weren't even there.

JACQUELINE
La Ville des Lumieres.

Hunter looks at her, a question in his eyes.

JACQUELINE
(smiles at him)
The City of Lights. That's what
we call Paris.

They are standing very close. They turn and look into each
other's eyes. The moment is broken as a look of tension
comes over her. She raises her glass in a toast.

JACQUELINE
Well, as you say here, to your
Health, Rick.

Their glasses touch and Jacqueline takes a good swallow.
He raises his glass as if to drink, but just watches her.
She looks at him inquisitively.

JACQUELINE
In France, it is bad luck not to
drink after a toast.

HUNTER
(cocks one eyebrow)
Well, right now I think it would
be even worse luck if I did drink.

He sniffs the contents.

HUNTER
It really is completely odorless.

She looks frightened. We get the feeling her heart just
stopped.

HUNTER
And they tell me it's tasteless,
too, but I'll just have to trust
the lab boys on that.

She looks at him apprehensively.

JACQUELINE
I...I don't understand.

HUNTER
Honey, I have a hunch you do.
(beat)
I'd like you to meet someone.
(turns his head)
McCall!

McCall walks out of the bedroom.

HUNTER
Jacqueline DuBoc, I'd like you
to meet Sergeant McCall.

McCall shows her badge. Jacqueline realizes what's
happening here, and starts to cry. Hunter walks back to
the bar.

MCCALL
Put down the drink and turn
around, please.

Jacqueline does as she's told. McCall starts patting her
down.

MCCALL
You have the right to remain
silent...

Hunter stands at the bar and pours his drink into a lab vial
which he removes from his coat. Jacqueline is now sobbing.

MCCALL
...Anything you say can and will
be used against you in a court
of law. If you give up that
right...

McCall finds and removes the vial, and shows it to Hunter.
She turns Jacqueline around to reveal that her beautiful
face is streaked with mascara.

CUT TO:

INT. INTERROGATION ROOM - SAME NIGHT

McCall and Jacqueline sit across the small table from each
other. Hunter stands at the other end. Jacqueline looks
pathetic, but she has calmed down.

HUNTER
Wait a minute, Miss Duboc. Are
you saying you got into this and
never met anyone else involved,
except this Shelly Kurtz?

JACQUELINE
Oui. I was brought to Los Angeles
by the Intertal Modeling Agency.
But when I am here, there are very
few jobs.
(looks at McCall
for understanding)
They expect me to look superb all
the time, but I have no money.
I was desperate! Shelly is my
friend. She says she wants to
help me. She tells me that I can
make a lot of money if I do what
she says. She tells me I can
make thousands of dollars-in just
a few weeks.

Jacqueline stops, looks down. She can't go on.

MCCALL
(calming)
Go on, Jacqui.

JACQUELINE
She told me that I don't have to
sleep with anyone. All I have
to do is find a rich man in the
bar, go to his room with him, and
put the drug in his drink, which
takes effect immediately. Then,
I take his watch, and credit cards
and money. That's all. No one
is hurt. They tell me it is
completely harmless.

HUNTER
Where is Shelly getting that drug?

JACQUELINE
I don't know. I told you, I get
the drug only from her.

MCCALL
Jacqui, do you understand that
the drug you tried to give
Sergeant Hunter tonight is a
Controlled Substance? You could
go to jail right now for
possession of that drug, and
conspiracy to use it for theft.

JACQUELINE
I tell you, this was only the
second time that I do this.

MCCALL
Last week in the same hotel a man
was given the same drug you gave
Sergeant Hunter. The drug doesn't
mix with certain medications, and
he was on one of them. He died,
Jacqui.

Jacqui looks at McCall, then at Hunter, realizing the
trouble she's in.

CUT TO:

INT. DEVANE'S OFFICE - SAME NIGHT

DEVANE
(taking his seat
behind the desk)
So, let me see if I've got this
straight...

Hunter and McCall stand in front of the desk.

DEVANE
(rubs his eyes)
You've got a woman, a French woman
in protective custody...

HUNTER
(correcting)
Voluntary incarceration.

DEVANE
Right. She appears to be involved
in an operation responsible for
a homicide, but she has no idea
who's running the thing.

HUNTER
Right.

DEVANE
(looks at his
watch)
It's a quarter to twelve. I've
got a meeting with Wyler at 8:00
in the morning. McCall, you talk
faster than he does, let's hear
your plan.

MCCALL
Right now, our only link is Shelly
Kurtz at the Intertal Agency.
Jacqui thinks Kurtz gets her
orders from the top man or woman
who set up the operation and
provides the drug. The D.A. told
us that if Jacqui testifies, she
won't be prosecuted.

Silence.

DEVANE
(still looking at
McCall)
And the plan is?

Again, silence.

DEVANE
No plan? Is that what this
silence is all about?

MCCALL
Well, no, Captain. Obviously,
the only way to get to this person
is through Shelly. If I can get
into the Intertal Agency, I can
meet her.

She glances at Hunter who looks at her innocently.

MCCALL
But, Hunter here seems to feel
that the risk of them finding out
I'm a cop is kind of high.

DEVANE
Hunter may be right.

MCCALL
Captain, Jacqui told me who to
see at the agency and said all
I need is a portfolio. I know
I can do it!

DEVANE
McCall, don't you think they just
might be wondering what happened
to their "French Connection"?

HUNTER
Handled, Captain. We had her call
Shelly Kurtz and tell her that
when it came right down to giving
another guy the drug, she just
couldn't do it. She felt too
guilty.

MCCALL
I was with Jacqui when she made
the call: She told Shelly Kurtz
she was leaving tonight to go back
to Paris...She sounded pretty
upset. I'm pretty sure Shelly
bought it.

DEVANE
(nods)
Better arrange for one of the
airlines to show she was on a
flight leaving LAX for Paris
tonight.
(to McCall)
And, as for you, McCall...be
careful.

CUT TO:

INT. INTERTAL AGENCY - DAY

CU of a glass door with an engraved logo reading: INTERTAL
AGENCY - Representing the World's Most Beautiful Women. We
begin a pan to the reception area.

PATRICIA (V.O.)
(thick Irish
Brogue)

Good Mornin'. I'm Patricia
O'Carroll. I have an appointment
at 10:00 with Cynthia Jane
Bartlett.

We see now that Patricia is Sergeant McCall. She wears a
beautiful print dress with a lace collar. She looks
innocent, but sexy. She carries a portfolio under her arm.

RECEPTIONIST
Oh, yes, Patricia.
(motions toward
the waiting area)
Would you wait just a moment.
I'll let Miss Bartlett know you're
here.

In the waiting area are FIVE BEAUTIFUL WOMEN, two sitting,
the others standing. Not one of these women is under 5'10".
The hair, the make-up, the fashion are all severe, hard,
the multi-racial sisters of Grace Jones. Each has her own
style, but they are all "bad".

McCall/Patricia looks like the Virgin Mary standing next
to these women. She squeezes in between two of them on the
couch. They all check her out, but without ever turning
their heads. They have faces of stone. She catches the
eyes of one of these fashion Amazons, and smiles sweetly.

MCCALL/PATRICIA
Hello.
(nervous laugh)

The receptionist interrupts this little get-together.

RECEPTIONIST
Patricia, Miss Bartlett will see
you now.

McCall/Patricia stands up and looks at her new friends.

MCCALL/PATRICIA
Good bye. Lots of luck to you.

She is escorted by the Receptionist through large,
impressive French doors.

INT. MISS BARTLETT'S OFFICE - DAY

The room is expertly decorated. There are two sofas, a
coffee table, and a huge power desk with two leather chairs
in front of it. This is a very imposing office.

Behind the desk sits a 50-ish woman, MISS CYNTHIA JANE
BARTLETT. She has a classic, striking beauty. Her hair
is pulled back tightly. She is dressed to perfection a la
Nina Ricci. She stands as McCall/Patricia enters and gives
her the once over. This woman is very much into power.
McCall/Patricia extends her hand. They shake.

MISS BARTLETT
Patricia. Very nice to meet you.

From one of the leather chairs emerges another woman, SHELLY
KURTZ. She's 33, a former model, and beautiful but a little
"over-the-hill". She smiles cautiously at McCall/Patricia.

MISS BARTLETT
I'd like you to meet my
assistant, Shelly Kurtz.

Shelly and Patricia shake hands and exchange greetings.
Miss Bartlett walks over to the sofa and sits down.

MISS BARTLETT
(extending her hand
toward McCall/
Patricia)
Let's have a look at your
portfolio dear.

McCall/Patricia reacts as if she had forgotten she even had
the portfolio.

MCCALL/PATRICIA
(handing her the
book)
Uh. Yes. Certainly.

MISS BARTLETT
Here, sit down next to me.
Please.

McCall glances over at Shelly who gives her a perfunctory
smile and takes a seat on the sofa across from her boss.
Miss Bartlett has wasted no time in opening the portfolio.
McCall/Patricia sits down next to her, a bit ill-at-ease.

The photos are of Patricia in lovely, country settings.
They promote an image of innocence and vulnerability. As
Cynthia Jane goes through the book, she AD LIBS comments
like, "Hum...very nice...interesting...good...".

MCCALL/PATRICIA
(looking at the
photos over
Cynthia's
shoulder)
Well, after meeting a few of your
models out in the lobby...I, uh,
get the feeling there's a
different...style here in America
than we have back home in Ireland.

MISS BARTLETT
Dear, no need to make excuses.
(she closes the
book firmly and
looks up at
McCall/Patricia)
I think you have our look.

McCall/Patricia looks relieved and smiles. She did it.
Miss Bartlett stands.

MISS BARTLETT
We won't be certain, however,
until we do a proper photo
session.

She walks to her desk.

MISS BARTLETT
You'll work with Shelly on that.
She'll take good care of you.

Again, Shelly and McCall/Patricia smile at each other.
Shelly knows her place. The meeting is now over.
McCall/Patricia walks over to her and they shake hands.

MCCALL/PATRICIA
Thank you very much, Miss
Bartlett.

McCall/Patricia reaches to take her portfolio which is
sitting on the desk where Miss Bartlett set it down.

MISS BARTLETT
(picks it up first)
You won't be needing this any
more.

She opens a drawer and shoves it in. McCall/Patricia gets
the distinct feeling she'll never see that portfolio again.
As the drawer is shut,

CUT TO:

INT. STUDIO - PHOTO SESSION MONTAGE - DAY

Techno-pop music pounds as we do a rapid-fire montage of
a session in progress. (MUSIC SUGGESTION: VENUS BY
BANANARAMA)

The lights are low throughout the large gallery, except
around the area where the model and photographer work.
Shelly stands in the shadows observing.

Strobes are popping. There is a bold cobalt blue seamless
backdrop on which the model stands. There are several
assistants who move quickly around the set, correcting
lights, loading film and handing different cameras to the
photographer, WOLF. He is a young 21, with enough styling
mousse in his blond hair to make it stand on end. He wears
ripped blue jeans, with a beat-up leather jacket. This kid
definitely has that "look".

MCCALL/PATRICIA is the model. The innocent look is gone.
She moves sensually to the beat of the music. She is sexy.
She is beautiful. She is hot. Each time we see her
throughout the scene, she wears a different sexy outfit:
everything from lingerie to evening wear.

ANGLE - FAVORING WOLF

WOLF
(thick German
accent)

Perfekt! Sehr schon! You're
beautiful! Ausgezeichnet!

Without breaking his concentration or the rhythm of the
session. Wolf finishes the film in one camera, hands it to
an assistant and receives another, never taking his eyes
off McCall/Patricia. Although he only speaks German, they
communicate perfectly.

WOLF
Phantastig! Du bist seehr schon!
You are wundervall! Gut!

Suddenly, the strobes stop popping. Wolf abruptly gives
his camera to one of his assistants, turns and leaves.
Shelly follows him to the corner of the room where they stop
and talk quietly to each other.

The needle scratches across the record and the music stops.

ANGLE - ON MCCALL

still standing on the seamless, surprised the session is
over so abruptly. The sensuous lighting of the photo
session disappears as the harsh fluorescents are turned on.

The assistants begin breaking down the set and lights. One
of the assistants approaches McCall/Patricia.

ASSISTANT
(officious)
Could you get off the
seamless...please.

MCCALL/PATRICIA
(looking over at
Wolf and Shelly)
Did I do something wrong?

ASSISTANT
Nah. When "Wolfie" decides it's
over, it's over.

She looks relieved that nothing is wrong, but she is still
frazzled.

ASSISTANT
Could you do me a favor?

MCCALL/PATRICIA
Sure.

ASSISTANT
(irritated)
Next time, when you're working
on the paper, would you be more
careful. I'm going to have to
throw the whole roll out.

MCCALL/PATRICIA
(intimidated)
Oh, I'm very sorry.

She steps gingerly off the paper and starts to walk
discouraged back to the dressing room. Shelly comes up from
behind and puts her arm around McCall/Patricia's shoulders.

SHELLY
(lighthearted, up)
Isn't Wolf marvelous? Of course,
he's impossible, but what an eye.

MCCALL/PATRICIA
(taken a little
by surprise by
Shelly's presence)
Was I all right?

SHELLY
You did just fine. If anybody
can make you look good, Wolfie
can.

McCall/Patricia reacts to the backhanded compliment. They
walk through the studio to the dressing room.

SHELLY
Of course, it's up to Cynthia Jane
now. She'll get the proofs
tomorrow, and I'll give you a
ring.

MCCALL/PATRICIA
Thank you.
(beat)
Uh, I hate to be so awfully
direct, Shelly, but I was
wondering when I'll be paid for
this session.

Shelly looks at her, amazed at her naivete.

SHELLY
Paid? No, no, no. Cynthia Jane
is doing you a favor. You won't
be paid for this. Most models
would kill for exposure like this.

McCall/Patricia looks immediately discouraged.

SHELLY
Patricia, is something wrong?

McCall/Patricia looks down. She can't talk about it. Now
in the dressing room, they sit on a small sofa.

SHELLY
(softly)
The first thing you must learn
about the Intertal Agency is that
we're like family; we trust each
other; confide in one another.
You can tell me anything.

MCCALL/PATRICIA
(still looking
down)
To tell you the truth, Shelly,
I'm in a bit of a bind.
(she looks up)
I've been here in the States for
almost a month and my finances
are...well, completely exhausted.
(she looks back
down, embarrassed)
The man at the motel has extended
me a week's rent already.

She stops; she can't go on. Shelly takes her hand.

SHELLY
(maternally)
Come on, it's not as bad as all
that. The Agency keeps several
small apartments around town.
They're usually all full, but one
of the girls had to go back to
Paris unexpectedly, so her place
is available. I'm sure Cynthia
Jane wouldn't mind if you stayed
there for a while.

MCCALL/PATRICIA
That's wonderful. Thank you.
But I still owe the man at the
motel a week's back rent...

Shelly gives McCall/Patricia a studied, eye-ball to eye-ball
look, and seems to come to a decision.

SHELLY
Let's go to the restaurant across
the street. There's privacy and
we can get something to eat.

CUT TO:

INT. RESTAURANT - DAY

A spectacular view of the heart of downtown Los Angeles
spreads out before us. The camera pans into the interior
of a beautiful restaurant busy with well-tailored executives
lunching with clients. McCall/Patricia and Shelly sit at
a window table. They each sip glasses of wine.
McCall/Patricia glances around the room at the elegant
environment.

SHELLY
...Even if Cynthia Jane loves the
work you did today, it'll be a
long time before you start making
any money. Those are the facts.
I've been there. I know.
(beat)
If you're looking for money to
pay that motel bill from Cynthia
Jane, it's just not going to
happen.

MCCALL/PATRICIA
(very upset)
Then what do I do?

SHELLY
What every model does. You find
work on the outside.

McCall/Patricia looks down. She is obviously trying to hold
back tears.

SHELLY
You're really in trouble, aren't

Without looking up, McCall/Patricia nods.

SHELLY
Listen, I might be able to help
you.

McCall/Patricia looks up, interested.

SHELLY
How do you feel about doing
something that isn't exactly...
legal?

MCCALL/PATRICIA
Oh, no, Shelly. I couldn't do
that. I know other models do it,
but...

SHELLY
(interrupting)
No, no, no. Patricia, I would
never suggest that you go to bed
with someone for money.
(beat)
This is much more agreeable, and
much more profitable.
(beat)
You don't have to sleep with
men...all you have to do is know
how to talk to them.

MCCALL/PATRICIA
Oh, well, if it's talkin' you
want, you've come to the right
girl. It's very rare that we
Irish find ourselves at a loss
for words.

END OF ACT ONE

FADE OUT

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

ACT TWO

FADE IN

INT. BOWLING ALLEY - NIGHT

A ball roars down a lane, smashing into the pins, leaving
none standing.

At the other end of the lane, Hunter stands, smiling smugly.
He turns to McCall, still in make-up and clothes as
Patricia, except that she wears standard-issue bowling
shoes. She sits behind the score desk.

HUNTER
(walks over and
sits down next
to her)
You know, McCall, bowling is more
than just a great American
pastime.
(beat)
It's physics. It's man rising
above the laws of gravity for a
higher purpose.

MCCALL
(marking down his
strike)
You were definitely born to bowl,
Einstein.

HUNTER
Now that you're a high-society
model, things like bowling are
beneath you?

MCCALL
Hey, I'm not living the glamorous,
fast-paced, exciting life of a
high fashion model...not yet.

HUNTER
Great. Next thing I know, you'll
be wearing swimsuits in "Sports
Illustrated" and I'll be looking
for a new partner.

McCall stands, walks over, picks up a ball and stands,
poised for her turn to bowl.

MCCALL
(turns back to him)
Spare me all this, will you,
Hunter? By the way, very clever
meeting in this place. No way
any of my new friends would ever
be caught here.

She sends the ball flying down the lane.

HUNTER
What are you talking about? I
just wanted to go bowling. That's
all.

The pins crash, many of them falling. She turns back
around, satisfied.

MCCALL
I should've known.
(walks back to the
scoreboard)
Okay, I've told you what I've been
up to, let's hear what you've got.

HUNTER
After hours of brilliant
detective work, I found out the
Intertal Agency is legit, no way
they're involved in this scam.

MCCALL
And what about Shelly?

HUNTER
No record. She's been a model
for ten years, divorced, no kids.
She works because she has to work.

MCCALL
I think Jacqui's right. Shelly's
not the top, but she must be close
if she's the one doing the
recruiting.

HUNTER
For the answer to these questions,
and more, I've got a plan. I'll
take care of all the details.
All you have to do is keep those
Irish eyes smilin'.

MCCALL
Oh, is that all? Good, I'll
handle it, you stick to bowling.

CUT TO:

INT. HOTEL BAR - NIGHT (SAME BAR FROM OPENING SCENE)

Again, the bar is crowded with attractive patrons, moving
and shaking, wheeling and dealing.

At the bar sits a very attractive 42 year old man, HAROLD
CHOMSKY. He wears all of the symbols of financial success:
the Piaget watch, diamond wedding ring, gold bracelet.

He sips on a gin and tonic. There is an empty seat next
to him.

In walks McCall/Patricia. She wears a beautiful, sexy
cocktail dress. She glances around the room as if she's
looking for someone, spots Harold sitting alone, and
approaches him.

MCCALL/PATRICIA
Excuse me. Mr. Mitchell?

HAROLD
No. I'm afraid not.

MCCALL/PATRICIA
Oh, I'm sorry to disturb you,
please excuse me.

HAROLD
Please, don't be sorry, it's no
disruption at all.

MCCALL/PATRICIA
(looks around the
room)

It's just that I'm supposed to
meet someone here whom I've never
met, and he's an hour late.

HAROLD
Why don't you sit down while you
wait? I'll buy you a drink.

McCALL/PATRICIA
NO, really. I shouldn't impose
on you.

HAROLD
C'mon, what'll you have?

He motions to Johnny, the bartender.

MCCALL/PATRICIA
Well, maybe a glass of white wine.

She sits down next to him. Johnny takes a wine glass from
the overhead rack, reaches under the bar, takes a bottle
of wine and pours her a glass.

HAROLD
I hope you don't mind me saying
this, but you have the most
beautiful accent. You from
England?

MCCALL/PATRICIA
(smiling sweetly)
My goodness, no. I'm Irish. And
there's almost nothin' the Irish
hate more than bein' taken for
English.

HAROLD
Oh, uh. I had no idea.
(smiling
suggestively)
Perhaps I can make it up to you
somehow.

At that moment, someone bumps into McCall/Patricia causing
her to spill her glass of wine into Harold's lap. He jumps
up and dabs at his suit with a napkin.

MCCALL/PATRICIA
Oh, I 'm so sorry!

HAROLD
(looking slightly
pissed)
Oh, that's okay.

MCCALL/PATRICIA
(flirtatiously)
I guess that makes us even.

HAROLD
(can't help but
smile)
Yeah, I guess so.

They both laugh at their predicament.

HAROLD
Listen, you didn't get a chance
to finish your wine, and I've got
to change clothes. Why don't we
go up to my room? What do you
say?

MCCALL/PATRICIA
Well, it is a little crowded in
here...

HAROLD
(to Johnny)
Thanks. Just put it on Room 740.

They both stand up and walk out of the bar.

As they cross the room, the camera pans over to a booth.
We discover that watching them is a handsome 25 year old
man, MATTHEW ALEXANDER. With him is a beautiful ORIENTAL
WOMAN of the same age.

MATTHEW is tall, dark and handsome, and he knows it. With
great interest and subtle amusement, he watches
McCall/Patricia and her "catch" leave the restaurant.

WOMAN
Actually, I've found the modeling
scene here a lot slower than I
thought it would be.

MATTHEW
(still looking
after McCall and
Harold)
I guess with any job, you gotta
take the slow times,
(turns back to her)
and make 'em fast.

CUT TO:

INT. HOTEL ROOM

The door opens as McCall/Patricia and Harold come into the
room laughing flirtatiously with each other. The door shuts
behind them and they look at each other for a moment.

HAROLD
(slightly
sarcastic)
For chrissakes, McCall. This
wasn't in the script.
(looks down at his
badly stained
suit)
You didn't have to get violent.
I was just about to invite you
up anyway!

MCCALL
(dropping the
accent)
C'mon, Harry. That was an
accident. Now, give me the stuff.

She walks over to him as he takes off and hands her his
watch, ring, bracelet, and cufflinks.

HAROLD
(sailing)
You know, McCall, I've always had
a thing for you...

MCCALL
When Hunter told me what he had
in mind, I didn't know he had you
in mind, Harry. I think he did
it on purpose. Now, give me the
wallet.

HAROLD
(produces a wallet)
It just occurred to me, McCall.
This room is already paid for.
Wouldn't it be a sin to let it
go to waste?

MCCALL
It'd be a sin to have to break
your jaw, Harry.

HAROLD
All right. All right. Jesus!
Aren't we touchy this evening.

She's gathered all of the stuff now.

MCCALL
Give me the receipt, Harry.

HAROLD
Receipt?

MCCALL
Yeah. The receipt.

He reaches into his pocket, pulls out the receipt and holds
it out in front of him.

HAROLD
Ohhh! The receipt.

She reaches to take it from him, and he quickly pulls it
out of her reach.

HAROLD
(cocks an eyebrow
and lowers his
voice)
You sure you don't want to put
that accent back on and have a
drink?

McCall grabs the piece of paper, signs it and returns it
to Harold, changing the subject.

MCCALL
Harry - you understand you have
to stay here for 8 hours? No
turning on the lights or
television. No phone calls. Just
sit here.

HAROLD
McCall, this is the first night
I've had a legitimate excuse to
be away from my wife in years.
You want me to sit here? In a
beautiful hotel room? Alone?!
You've got to be kidding!

MCCALL
(turning to leave)
Just sit tight, Harold. You never
know who might be watching. Good
night.

As she exits, on Harold's frustrated look

INT. HOTEL LOBBY

McCall/Patricia stands at a pay phone. She pulls out a
piece of paper from her evening bag and dials the number
written on it.

ON MATTHEW

from his booth in the bar, he watches McCall/Patricia
intently.

AT PAY PHONE

MCCALL/PATRICIA
Hello, Shelly. It's all done.
(pause)
Yes...yes...Not a hitch.
(pause)
Okay. I'll see you there.

She hangs up, puts another quarter in the machine and dials
another number.

MCCALL
(still as Patricia)
This is Sergeant McCall, patch
me...
(realizes and drops
the accent)
...uh, patch me through to L-56.
(pause)
Hunter?

INTERCUT Hunter in his car parked outside the hotel.

HUNTER
McCall. How'd it go?

MCCALL
Just fine. We're meeting in a
park in Beverly Hills in 20
minutes. Corner of Beverly Glen
and Club View.

HUNTER
Got it.

MCCALL
Call me when you find out where
she gets rid of it. I'll be at
the apartment.

HUNTER
McCall. Put the wire on as soon
as you get back to your car. And
keep it on for the rest of the
night.

MCCALL
Come on, Hunter. It might tip
them. Besides, I really don't
think...

HUNTER
Just do it.

MCCALL
Yes, sir!

She hangs up and walks out of the lobby.
Matthew gets up from the booth.

MATTHEW
(turning to his
friend)
Why don't you have another drink,
Tia. I'll be right back.

He walks to the telephone, casually drops a quarter into
it and dials a number.

MATTHEW
Hello, Shelly...she just called
you, right?
(pause)
Just once? She didn't call you
back?
(pause)
Not a thing. Shelly. Yeah, see
you there.

He hangs up, a puzzled, even troubled look on his face.
CUT TO:

EXT. PARK - NIGHT

Through night-vision binoculars, we see Shelly sitting in
a Mercedes Benz 190E. She looks around the park, checking
it out for anything suspicious.

INT. HUNTER'S CAR - NIGHT

He sits in his car on the other side of the park. He lowers
the binoculars and turns to see McCall driving up in a Ford
Escort rental car. He turns on the receiver and places a
tape recorder next to it.

MCCALL
slows down and locates Shelly.

MCCALL
I hope you can hear me, Hunter.

HUNTER

turns up the volume slightly.

MCCALL
(over the receiver)
Here goes.

McCall pulls in behind Shelly's car. As she gets out of
her car Shelly leans over and opens the passenger side door
causing the interior light of the Mercedes to go on. McCall
glances around the park as she walks around the car and gets
in.

HUNTER
gets on his radio.

HUNTER
L-87, you in position?

RAMON
(over Hunter's
radio)
Yeah, Hunter. I got 'em.

Hunter picks up the binoculars.

INT. SHELLY'S CAR

as McCall gives Shelly the things she got from Harry.

MCCALL/PATRICIA
You were right, Shelly. It was
so easy. And you're sure the poor
fellow will just wake up in a few
hours?

Shelly examines the goods.

SHELLY
(nods)
And he'll never know what hit him.
He won't even have a headache.
(looks up at McCall
and smiles)
That is until he has to go back
to Kansas or wherever and explain
to his wife how he lost his
wedding ring.
(holds up the
diamond ring we
last saw on
Harold's finger)
And since they don't want their
wives to know what happened, they
almost never report it to the
police. Perfect, huh?

They both smile. Shelly counts through the money in the
stolen wallet. She remains very cool and controlled
throughout their conversation.

SHELLY
$800. Pretty good for your first
time out.
(holds up the cash)
Here's $400 for you. That should
put a dent in your motel bill.

McCall couldn't be happier as she takes the cash. Shelly
gathers the items and puts them in her purse.

SHELLY
And that's just the beginning.
With the credit cards, ring, watch
and everything else, you'll get
another $2000. For only a half
hour's work. You do this three
or four times for us and you could
clear $10,000.

MCCALL/PATRICIA
My God, whoever is behind this
must be making thousands and
thousands!

SHELLY
Don't do too much thinking about
the guy behind it.

MCCALL/PATRICIA
(pushing)
You know, Shelly, it's so simple!
Do you really think we need to
work with somebody else?

SHELLY
(gives her a hard
look)
Let me have the vial.

MCCALL/PATRICIA
Oh. Yes, of course.

McCall/Patricia opens her evening bag and removes the empty
vial. She hands it to Shelly.

SHELLY
(holds up the vial)
This is why it's not so simple.
(beat)
Without the scopolamine, it
doesn't work at all. You can't
just walk into a pharmacy and
buy it. even with a prescription.
You've got to have a source. And
the person who gets it for us
has a source.

HUNTER
listens closely to their conversation.

SHELLY
(over the receiver)
Besides, you aren't the only girl
we have doing it - so it's gotta
be organized, controlled. You
got it?

MCCALL/PATRICIA
knows when she's beat.

MCCALL/PATRICIA
I understand, Shelly. I just want
you to know I'm available.

SHELLY
Sure. By the way, after you
called me tonight, did you call
someone else?

MCCALL/PATRICIA
(a little shocked)
Yes, I did. How in the world did
you know that?

SHELLY
This is big business, honey, and
risky. The person at the top
doesn't take chances.

MCCALL/PATRICIA
You mean, there was somebody
watching me?

SHELLY
Honey, answer the question. Who'd
you call?

MCCALL/PATRICIA
Look, Shelly, I haven't joined
a nunnery, have I? I met a guy
today. He asked me to meet him
tonight for a drink. I didn't
know how long this would take,
so I told him I'd call if I was
free.

As McCall/Patricia speaks she looks Shelly in the eyes

MCCALL/PATRICIA
He's kind of cute. Was it wrong
of me...calling him from the phone
while I was there?

SHELLY
(mellows)
No, it wasn't, but I'm sorry you
did. I was going to invite you
to a party in Malibu.

MCCALL/PATRICIA
Oh, really? You think there'll
be other models there?

SHELLY
Of course. And actors, and
artists, and a lot of interesting
people.

MCCALL
Well, I'll call my friend back
and tell him I can't make it.
This sounds like much more fun.

SHELLY
You sure?

McCall/Patricia nods.

SHELLY
Okay. Here, let me give you the
address.
(opens her purse
and writes it down
on a slip of
paper)
I'd have you follow me, but I have
to drop off the stuff first. You
won't have any trouble, it's right
on the Coast Highway.

Shelly hands McCall/Patricia the paper.

MCCALL/PATRICIA
Great. I'll go to the apartment,
change clothes, call off my
engagement, and meet you there.
(she holds up the
address)

McCall/Patricia opens the car door.

They smile at each other. McCall/Patricia gets out of the
car.

SHELLY
See you!

McCall/Patricia shuts the door.

INT. HUNTER'S CAR

Hunter, through the binoculars, watches McCall walk back
around to her car. She gets in, starts her car and pulls
out behind Shelly, but quickly turns off in a different
direction.

HUNTER
(radio)
Subject's heading your way. I'll
pick her up on Wilshire if she
turns there.

RAMON
Got it.

Hunter turns off the receiver, turns on the lights of his
car and pulls out. He passes

RAMON

who turns on his lights, heading in the opposite direction.
He heads off, following Shelly at a safe distance.

SHELLY

comes to a light and makes a turn on to the brightly lit
boulevard.

HUNTER
pulls in behind her.

RAMON
goes straight through the intersection.

INT. HUNTER'S CAR

HUNTER
(radio)
I got her.

Intercut Hunter and Ramon speaking into their radios,

HUNTER
(beat)
Pick us up at Santa Monica?

RAMON
(radio)
Will do.

HUNTER

as he sees Shelly speed up and run through a yellow/red
light. He punches it, speeding through the intersection
barely missing the cars on the cross-street.

SHELLY

looks into her rearview mirror and sees the unmarked sedan's
near miss. She speeds up slightly and changes lanes to see
if the car is really following.

INT. HUNTER'S CAR

HUNTER
(radio)
She's acting nervous, pick her
up now. We're coming to Bundy.

RAMON
(radio)
Bundy? No problem.

INT. SHELLY'S CAR

Still glancing in her rearview-mirror, Shelly flies through
the Bundy intersection. She sees the suspicious car
(Hunter's) make a turn away from her. What she doesn't
notice is Ramon's car pulling in behind to continue the
tail. She slows back down and turns on the radio. She was
obviously just being paranoid. She relaxes now.

EXT. PACIFIC COAST HIGHWAY - NIGHT

DISSOLVE TO:

SHELLY

pulls onto PCH.

RAMON

smoothly, at some distance turns off as

HUNTER

pulls out. He continues following Shelly up to Malibu.

SHELLY

slows down as she sees hundreds of cars parked randomly at
every conceivable angle along the highway.

EXT. BEACH HOUSE

All of the activity is centered around one well-lit beach
house where a party is in progress. The party is so big
that people are now standing with drinks in hand outside
in front of the house. The pounding beat of a live band
can be heard clearly. Every walk of life is represented
in this gathering of party goers: Punk-rockers mingle with
attorney-types, beautiful ingenues talk to dreadlock-topped
Rastas.

HUNTER'S CAR

dropping back discreetly as

SHELLY

pulls up and parks, blocking in several cars. She gets out,
locks the car doors, and walks through the eclectic crowd
into the house, with her purse over her shoulder. She holds
the top of the purse protectively.

INT. HUNTER'S CAR

HUNTER
(radio)
She stopped at 13579 PCH. Go just
north of there, and hang tight.

RAMON
(Hunter's radio)
13579?

HUNTER
(radio)
Yeah. There's a party going on.
You can't miss it.

Without putting the radio down. Hunter makes another call.

HUNTER
(radio)
Operator, this is L-56. Come in,
please.

OPERATOR
Go ahead, L-56.

HUNTER
(radio)
Patch me through to 555-6861.

Intercut Hunter in his car on PCH with

MCCALL

in her temporary apartment. The phone rings and she answers
it.

MCCALL/PATRICIA
Hello.

HUNTER
McCall?

While McCall talks, she walks around the sparsely furnished
apartment. There are pictures of various models, with an
occasional shot of Jacqui as a model and with family in
France. McCall has changed clothes.

INTERCUT with Hunter.

MCCALL
Hunter. Where are you? Did she
drop the stuff off?

HUNTER
If she did, we got this case
wrapped.

MCCALL
Really? You got a make on her
contact?

HUNTER
No, but I've got it narrowed down
to maybe one or two hundred
people, out on Pacific Coast
Highway.

MCCALL
Yeah - at 13579. I'm on the
guest list for that clambake.

HUNTER
Yeah, I heard her invite you.
Need a date?

MCCALL
Why? You got someone in mind who
doesn't look like a cop?

HUNTER
Come on. I don't look anymore like
a cop than you do.

MCCALL
Hunter, just sit tight. I'll be
right there, and I don't need a
date.

As she hangs up we,

CUT TO:

EXT. PACIFIC COAST HIGHWAY - NIGHT

MCCALL/PATRICIA

flies down the road in her rental car. A half a mile before
the address of the party, she begins to see activity and
cars along the highway.

HUNTER

sits in his unmarked car. He scans the house with his
infra-red glasses.

MCCALL/PATRICIA

drives past him, notices his car and parks on the other side
of the road. She checks her make-up, leaves the car and
heads to the house. She wears a tight leather mini-skirt
and a large matching jacket with padded shoulders. As she
walks past Hunter's car, he gives a wolf whistle, which she
returns with a sexy glance.

HUNTER

turns the receiver back on and goes back to watching the
house with the binoculars.

INT. BEACH HOUSE - NIGHT

MCCALL/PATRICIA

walks into the wild, Malibu party scene. The house is
sparsely furnished with only a couple of unmatched sofas
providing seating for the guests.

Most of the eclectic crowd stands in the room which is heavy
with the smoke from cigarettes, not all of which are made
with tobacco. The vaulted ceilings are lit with rows of
track lighting providing enough light to see the diverse
variation of personalities and costume.

Cynthia Jane sits on one of the sofas chatting with a young,
very handsome man. She wears a striking low-cut evening
dress. She spots McCall and gives her a little wave, which
McCall returns. As McCall heads to the bar, somewhat lost,
she overhears a loud argument between Wolfie, the
photographer, and a 35 year old stock broker over the
subtle imagery of an original oil painting which depicts
a scene of car crashes on a freeway, (painting by Carlos
Almeraz) Yet to be hung, the expensive painting leans
against the wall perilously close to semi-coherant
starlettes with champagne cocktails in hand.

WOLFIE
(German accent)
...You've missed the point
entirely! This isn't about a car
crash at all! It's about the
rebirth of love in a technological
society.

STOCKBROKER
I'll tell you what it's about.
It's about sixty grand, and he
bought it a few months ago for
five.
(big laugh)

INSERT

of the electronic gadgetry that creates the music for the
band which was heard from outside.

THE BAND i

Two guys, 22 years old; one is surrounded by computers and
synthesizers; the other plays a guitar with three necks
which is plugged into the computers. Behind them, projected
onto the wall, are several distorted, computerized images
and e flashing graphic of the name of the band: "MIS$PENT
YOUTH".

INT. HUNTER'S CAR - CONTINUOUS

as Hunter listens to the music and background noise of the
party. The electronic signals from the band interfere with
the radio signal, causing it to pop in and out.

INT. BEACH HOUSE

There is a lot of activity at this party, all of which
McCall/Patricia takes in as she receives something cold from
the self-appointed bartender, a tall, handsome, well-dressed
Rasta, dripping in dreadlocks.

As McCall/Patricia takes the drink, smiling at the Rasta,
she hears a voice call her by name. She looks around, at
first not seeing anyone, then Shelly emerges from the crowd,
her purse on her shoulder.

SHELLY
Patricia! How wonderful. You
made it.

They kiss each other's cheeks, careful not to actually touch
and smudge their lipstick.

MCCALL/PATRICIA
Yes. Thank you for inviting me.

SHELLY
(looking around
the room)
So. What do you think?

MCCALL/PATRICIA
Just like home.

They both chuckle.

SHELLY
(spots someone)
Oh. Have you met Matthew? This
is his house.

MCCALL/PATRICIA
No. I haven't.

SHELLY
C'mon, I'll introduce you.

They weave their way through the crowded, noisy room.

SHELLY
(leans over
McCall/Patricia)
You know, I come here all the
time, but I've never seen half
of these people before.

They approach Matthew. He wears expensive, trendy, Melrose
Avenue shirt, pants, and jacket. He turns and smiles at
them.

SHELLY
Matthew, I'd like you to meet
Patricia O'Carroll. She's one
of the new girls at the Agency.

MATTHEW
(raises one
eyebrow)
So, how's it feel to be one of
the "World's Most Beautiful
Women"?

MCCALL/PATRICIA
Oh, I wish it were true!

MATTHEW
Well, after you've gone a few
rounds with Cynthia Jane, it'll
be true or you'll be looking
for...

SHELLY
(interrupting)
Matthew. Come on. She's here.

MATTHEW
(smiling sweetly)
Shelly. You wouldn't mind getting
me a drink,
(holds out his
empty glass)
would you?

Shelly takes the glass and walks into the crowd toward the
bar.

MCCALL/PATRICIA
You surely know how to throw a
party.

INT. HUNTER'S CAR

Hunter has the receiver in his hands now, holding it up
hoping for better reception, but still the signal goes in
and out.

MATTHEW
(his voice breaking
up)
Well, actually, I had nothing to
do with this.

MCCALL/PATRICIA
(voice breaking
up)
Oh, well I guess I misunderstood.

BACK TO THE PARTY

MCCALL/PATRICIA
... I thought this was your home?

MATTHEW
Things aren't always what they
seem, Patricia.

She looks at him, puzzled.

MATTHEW
For instance, this isn't exactly
- my home. I rent it. Sometimes
for one month, sometimes for six.
Depends on how I feel.
(beat - looks
around the wild
party)
Or, how long it takes for the
police to arrive.
(smiles at her)
You know what I mean?

Matthew finishes his last line, someone bumps into him from
behind. Before he even turns around we know it's SPORTY
JAMES.

SPORTY
(off camera)
Hey, man, watch your back!

McCall/Patricia freezes at the sound of Sporty's voice.
Sporty turns half-way around to see that it's Matthew.

SPORTY
(throws an arm
around Matthew)
Matthew, my man. I said it sure
is good to be back.

On his last word. Sporty stops cold as he sees Sergeant
McCall.

MATTHEW
Back, Sporty? I didn't know you
left.

For one of the few times in his life, Sporty is speechless
McCall/Patricia stands there with a plastic grin on her
face.

FADE OUT

END OF ACT TWO

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

ACT THREE

FADE IN:

INT. MATTHEW'S BEACH HOUSE - NIGHT
The party continues where we left off.

MATTHEW
reacts to McCall/Patricia and Sporty staring at each other.

MATTHEW
You two know each other?

SPORTY
(regaining
composure)
No, we haven't had the mutual
pleasure but, whenever I encounter
a rapturous beauty of this
magnitude, gettin' to know her
is foremost on my agenda.

McCall/Patricia gives him a lovely, flattered smile.

MATTHEW
(watchfully)
Patricia O'Carroll, this is Sporty
James. He's in the Information
Business.

Matthew watches them carefully as they extend hands to
shake. Sporty takes her hand and kisses it.

HUNTER

can barely hear a thing, the sound is breaking up so badly,
His look tells us that he'd swear he was hearing Sporty
James.

SPORTY
(over receiver)
It is (such a) pleasure (meeting
you), Miss (O'Carroll)...

BACK INSIDE

SPORTY
(to Matthew)
I gotta hand it to you, Matthew,
you certainly have good taste in
women. I'll leave you two alone.
Ciao, now.

Sporty slides back into the crowd.

MCCALL/PATRICIA
Interesting character.

MATTHEW
Can't argue with that.

VOICE (O.S.)
Matthew! So good to see you,
love!

ROBBIE, a PRODUCER of shows about the rich and stylish
approaches, a big TV smile on his face. He has an
egregious, high-pitched Cockney accent.

ROBBIE
Another fabulous little
get-together! Always something
interesting to see,
(looking at
McCall/Patricia)
Charming new people to meet...

MATTHEW
Robbie...Patricia 0'Carroll.

They shake hands.

ROBBIE
0'Carroll? Could we possibly be
related to the Palm Beach
0'Carroll's, Betty and Trevor?

MCCALL/PATRICIA
I'm afraid not.

ROBBIE
(to Matthew)
She has those same, strikingly
high cheekbones, don't you think
Matthew, love? By the way, I must
get from you...

McCa11/Patricia sees that they're on to a new track:

MCCALL/PATRICIA
Excuse me.

She smiles and moves into the crowd.

ROBBIE
Yes. Later, love.
(back to Matthew)
I must get from you the guest list
for this gala.

MATTHEW
(distracted by
McCall's
departure)
Sure thing, Robbie.

ON MCCALL/PATRICIA

as she walks through one of the several sets of large
sliding glass doors that lead outside to the balcony
overlooking the ocean. McCall/Patricia checks out several
scantily clad men and women enjoying each other and the
Jacuzzi at the other end of the long balcony. The ocean
is lit behind her by a floodlight.

Sporty slips up from behind. As they talk, they both smile
pleasantly as they exchange a few words in passing.

SPORTY
Give it to me straight, Sergeant.
When's the bust comin' down?

MCCALL
(dropping the
accent)
Keep it cool, Sporty. There's
no bust going down here. Relax.

She walks away, smiling.

MATTHEW

watches from the living room as McCall/Patricia walks away
from Sporty. With a troubled look on his face he turns
away, looking for someone (Shelly).

CUT TO:

INT. STUDY

Matthew and Shelly are alone. This room is also sparse.
There is one wall of built-in bookshelves, with only one
shelf containing books. On top of a solid wood computer
table sits a brand new IBM PC that looks like it's never
been used. A few scattered computer manuals are on the desk
next to the machine. There are several paintings leaning
against the walls. Other than that, there is nothing in
the room. There are two doors, one leading to the interior
of the house, the other leading outside to the garage.

Matthew sits behind the computer desk. The loot that McCall
gave to Shelly is spread out on top of the desk. Shelly
stands next to him.

MATTHEW
I don't know. Something's wrong.
There's something about her that
doesn't ring true.

SHELLY
Like what? Everything went smooth
as silk.

MATTHEW
What about that second phone call
she made from the hotel?

SHELLY
I hit her with that.

Matthew looks up at her.

SHELLY
She gave me a straight answer:
she was calling her boyfriend.

MATTHEW
That may seem straight to you,
but I don't like it. And now she
and Sporty James look at each
other and freeze. They know each
other! - and they tried to cover
it up!

SHELLY
You know what I think? I think
all of that coke you're doing is
making you paranoid.

MATTHEW
(snaps)
You're damn right I'm paranoid.
Two weeks ago one of our marks
ended up in the morgue. Up till
then we were only a little bit
vulnerable. Now we're accessories
to murder!
(waits a beat for
Shelly to absorb
this info)
From now on, until I decide to
get us out of this racket, we have
to be paranoid.

He goes to the safe, dials a combination and opens it. He
takes out two guns in leather gun cases.

MATTHEW
(he seems
completely calm
now)
Shelly, hand me the stuff.

Shelly gathers the watch, ring, money, etc. on the desk,
and hands them to Matthew. He exchanges them for the guns.
Shelly is not quite sure what they are until she unzips one
case and looks inside. The reality of what's about to go
down here hits her.

SHELLY
What's this for!?

MATTHEW
(still unusually
calm)
Stay here. I'll be right back.

He goes out, leaving Shelly with both guns in her hands.
CUT TO:

INT. LIVING ROOM

Matthew walks through the party, which has gotten just a
little more out of control since the last time WE saw it.
People are a little drunker, they laugh a little louder,
their inhibitions long gone. He looks around, spots Sporty
talking to an attractive woman. Matthew breaks in.

MATTHEW
(smiling)
Excuse me, Sporty. Can I talk
to you for a minute?

SPORTY
Uh, sure thing, Matthew...

Sporty looks over to the woman for a moment, then leans over
to Matthew.

SPORTY
(under his breath)
Now?

MATTHEW
It's business, Sporty.

SPORTY
Well, why didn't you say so?
Sporty James Enterprises is open
for business 24 hours a day.

MATTHEW
I was hoping you'd say that.

Matthew leads Sporty down the short hallway to the study.

INT. STUDY

As the door opens, Matthew pushes Sporty hard, almost
knocking him off his feet. Matthew grabs one of the guns
from Shelly. He quickly locks the door behind him. Sporty
is not digging this scene at all.

Matthew steps over and pushes Sporty into the only chair
in the room.

MATTHEW
(to Shelly)
If he moves, shoot him.

SPORTY
Shoot him?! You crazy? This is
Sporty James you're talkin' to
here.

MATTHEW
So tell me about you and Patricia.
I saw your faces when I introduced
you. Then you go outside for a
couple of words. Who is she,
Sporty?

SPORTY
Matthew, man, I was just trying
to get acquainted, which the lady
wasn't too keen on.

MATTHEW
Don't give me that crap, I want
to know who she is! I think I
smell cop here.

SPORTY
Cop?! You crazy? She's too good
lookin' to be a cop. Cops all
look the same...ugly. It's that
Irish accent that's got you all
confused.

Matthew looks at Sporty for a beat, then walks over to him.

MATTHEW
(patting Sporty
on the cheek)
Thank you, Sporty. You've been
very helpful.

He tucks his gun behind his back, in his pants.

MATTHEW
As I was saying. Shelly, if he
moves, shoot him.

He exits.

CUT TO:

INT. LIVING ROOM

McCall/Patricia talks to Wolfie, who seems to be boring the
tears out of her. Matthew wastes no time interrupting them.

WOLFIE
...so, at the inception of any
work, the artist must...

MATTHEW
(slips his arm
around
McCall/Patricia)
Patricia. You didn't mention you
were interested in Fine Art.

MCCALL/PATRICIA
Well, yes. I am. And I love your
collection.

MATTHEW
(leading her off)
Then let me show you a little
something I just picked up. I
think you'll find it very
interesting.

She smiles but behind those smiling Irish eyes she's
worried. He leads her to the study.

INT. STUDY

Sporty sits, shaking his head at the thought of McCall
seeing him like this. Shelly stands, still terrified at
the prospect of this entire bad scene, but her hand never
waivers, keeping the gun aimed directly at Sporty's head.

McCall/Patricia and Matthew walk through the door. Matthew
shuts the door behind him, locks it.

MCCALL/PATRICIA
What are you doing? What's going
on here?

SPORTY
Matthew, I told you, man...

MATTHEW
(pointing his
finger at Sporty)
Shut up.

Shelly shoves the gun toward him a little more.

SPORTY
Shelly, you be careful with that
thing. I'm not goin' anywhere.

MATTHEW
I told you to shut up. I've cot
all I need from you.

He pushes McCall/Patricia closer to Sporty.

MCCALL/PATRICIA
What are you doing?!
(to Shelly)
Shelly, I don't understand!

Matthew looks from McCall to Sporty, then back to McCall.
Sporty looks down.

MATTHEW
(to McCall)
What was that little encounter
you two had out on the balcony?

HUNTER

knows something is wrong, but can't make out what is going
on in there.

MCCALL/PATRICIA
(voice breaking
up)
What (are you) talking a(bout)?
Matthew, wh(at's going) on here?

BACK INSIDE AS MATTHEW

jerks McCall/Patricia's purse out of her hand and opens it.
He grabs her gun and aims it at her.

MATTHEW
Well, what do you know? You are
a cop!

He finds the wire in the purse, throws it on the ground and
smashes it, never taking the gun off of her.

HUNTER

hears the loud crunching noise over the receiver. Something
is definitely wrong.

INT. STUDY

Shelly's hand waivers as she takes in the news that McCall
is a cop.

MATTHEW
That's great, Shelly. You brought
me a cop!

In the instant he glances over to Shelly, McCall seizes the
moment and in an expert move, her right foot comes up and
swiftly kicks the gun out of Matthew's hand sending it
sailing across the room.

Sporty lunges at Shelly.

CUT TO:

INT. HUNTER'S CAR

Suddenly he hears a gunshot, then two, three, from two
different guns, coining from the house.

He tears out of his car and runs down PCH toward the house.

CUT TO:

INT. BEACH HOUSE

Hunter is shoving art fags, would-be actors and stoned
accountants in every direction. The party participants seem
almost stoned enough to be enjoying the activity. There
is a bottleneck of people pushing into the short hallway
in front of the study.

Hunter gets them out of his way quickly in his own
inimitable style.

HUNTER
(shoving bodies
around)
Out of my way! Police!

INT. STUDY

He comes charging into the room. On the floor lies Sporty.
He's been shot once, in the upper right chest. He looks
at the other door. Hunter sees drops of blood in a trail
leading out of the door. There is blood on the doorknob
and door jam.

SPORTY
(delirious)
Hunter, man, they've got McCall.

Even as Sporty speaks, there is a loud SQUEAL OF TIRES
peeling out of the driveway. Hunter throws open the door,
runs through the adjoining garage and out onto PCH just in
time to see the tail lights of a black Jaguar XJE
fishtailing down the highway. He whips out his revolver,
aims and realizes there is no use.

The party-goers that have been outside are checking out the
scene, thrilled to be a part of the action.

Hunter stops dead in his tracks and lowers his gun.

END OF ACT THREE

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

ACT FOUR

FADE IN:

INT. SQUAD ROOM - DAY

There is a large map of Los Angeles on the wall. A black
circle has been drawn around all of L.A. and outlying areas.
There are pushpins with different colored flags stuck
randomly inside the circle.

Devane stands in front of the map; nearby there is a table
covered with various maps indicating bus routes, train
routes, etc. Hunter walks in.

DEVANE
We've covered every airport, bus
station, train station and highway
out of town. And the Coast
Guard's covering the Marina.
They're not getting out of this
city. No way.

HUNTER
(on edge)
Come on, Charlie. There are
10,000 ways to get out of this
city. But I think they're still
here.

DEVANE
You get anything out of Sporty?

HUNTER
The hospital wouldn't let me near
him.

DEVANE
Hunter, I'm assigning Gregg
Nicholson to work with you till
we find McCall...

HUNTER
(looks at Devane
like he's crazy)
Charlie, I've got enough problems
as it is.
(heads for the
door)
I'm doing this one solo.

He leaves the room as we

CUT TO:

EXT. BEL AIR MANSION - DAY

Establishing shot of a tudor-style estate. The grounds are
all impeccably well-groomed. All of the curtains in the
entire front of the house are drawn. There is a "Bel Air
Properties" For Sale sign in front.

IMT. MANSION - LIVING ROOM - DAY

McCall and Shelly are in the living room. Shelly is on the
phone, on hold. The room is beautiful, although all of the
furniture and paintings have been covered with clean, white
sheets, as if the place hasn't been lived in for several
months.

McCall sits in a chair on a white sheet. Her hands have
been tied behind her. Shelly still has a gun in her hand,
but she is much more off guard. She sits on the sofa across
from McCall. There are a couple of glasses with what used
to be scotch/rocks and is now just lukewarm, watered down
scotch sitting on the coffee table.

She listens intently to the person on the other end as the
sound of bottles breaking is heard off camera.

SHELLY
Yes, I'll wait.

MATTHEW - MASTER BATHROOM

is rifling through a large medicine cabinet. There are
dozens of bottles of lotion, perfume and pills, each of
which he pulls out, examines and tosses on the marble floor,
cursing under his breath. His left arm is in a homemade
sling, with blood seeping through around the upper arm.
He is in a lot of pain. He finds what he's looking for and
walks out of the bathroom.

Matthew walks into the living room, opening the prescription
bottle with his teeth.

SHELLY
Thank you.

She hangs up the phone.

SHELLY
(to McCall)
Your friend's in Intensive Care.

MATTHEW
Hand me that drink.

Shelly reluctantly hands him the scotch. He takes the
glass, throws a few pills into his mouth and swallows them
with the drink. Shelly looks at him disapprovingly. McCall
watches their interplay carefully. They look like they
haven't slept all night.

SHELLY
(motioning to
McCall)
Maybe we should have just left
her there.

MATTHEW
(he's just about
had it with
Shelly,turns to
her angrily, but
keeping his voice
low)
Maybe you shouldn't have shot
Sporty James.

SHELLY
(she's tired and
pissed, too)
For crissake, Matthew, you had
me pointing a gun at him and he
jumped at me! What the hell was
I supposed to do??

MATTHEW
So you shot him in the chest?!
If he dies, that rap is yours!
If anybody goes down for that,
it'll be you!

SHELLY
I can't believe you! I've done
everything you've asked since the
day we went into this!

She is on the edge of crying. Her voice cracks, her eyes
are filled with tears, but she holds back.

SHELLY
I've always loved you, Matthew.
I would have done anything for
you! Anything!

MATTHEW
(laughs loudly,
still screaming)
Yeah. Great! You certainly did
a lot for me, Shelly! One of our
marks drops dead in a hotel room
and you call me paranoid! Then
you go out and recruit a cop!
(points to McCall)
A damn cop! And then you lose
it and not only probably kill
Sporty James but you shoot me
while you're at it.

Shelly becomes more and more frantic as Matthew speaks.

SHELLY
(pleading, crying)
Matthew, please, stop. This
isn't what we planned. We've
got "to give up. If we go to
the police now...

MATTHEW
(interrupts her,
stares her down)
What, are you crazy?

MCCALL
(in control)
Mo, Matthew, she's right.

Matthew turns to McCall.

MATTHEW
(very sarcastic)
Oh, is that a fact? Why don't
you tell us about it?

MCCALL
If you stop this right now, you're
only looking at 4 to 8 years for
involuntary manslaughter in the
death of that guy at the hotel.
You'll be out in three.

MATTHEW
Yeah! And what about Sporty?
Correct me if I'm wrong, Sergeant,
but if we turn ourselves in and
he dies, we're headed for the gas
chamber!

MCCALL
The hospital said he's in
Intensive Care. That doesn't mean
he's gonna die.

MATTHEW
I can't take that chance.

SHELLY
So what do we do? Sit here and
wait for the police to come
knocking at the door?!

MATTHEW
(he's had it)
Shut up, Shelly! Let me think
about this! You two talk too
much! - I can't think!

He storms out of the room.

CUT TO:

EXT. MOVIE STUDIO - ESTABLISHING SHOT

INT. MATTHEW'S FATHER'S OFFICE - DAY

The office is plush, a lot of polished wood, leather and
brass. The huge room has a long conference table on one
side with a dozen chairs surrounding it. BENJAMIN ALEXANDER
sits behind his desk. There are several neatly stacked
piles of contracts and scripts around him. He is 65,
balding but virile, distinguished, and impeccably dressed in
an expensive Italian gray pinstripe suit. His face and his
attitude are hard, cold. He is straight to the point.
Hunter stands directly in front of the desk.

BENJAMIN
To tell you the truth, Sergeant,
I haven't seen Matthew since I
cut off his allowance a year ago.

HUNTER
My partner's life is on the line
here! You have other places he
might go? A cabin in the mountains?
A place in Palm Springs?

BENJAMIN
No. And his mother cut him off
6 months ago, when she remarried.
But she spoiled him rotten up till
then. If you want information
about my son, maybe you should
talk to her.

HUNTER
Where can I find her?

BENJAMIN
They have a place in Holmby Hills.
My secretary will give you the
address.

CUT TO:

EXT. BEVERLY HILLS ESTATE

Hunter stands at the front door of a spectacular
hacienda-style house. Everything about this place reeks of
money: dramatic landscaping, stone driveway, etc. Two large
dogs bark inside the house.

The front door opens to reveal a large Mexican woman, LUPE.
She wears a white maid's outfit. The dogs continue to bark
b.g.

LUPE
May I help you, please.

HUNTER
I'm looking for Mrs. Adler.

LUPE
Uh. Senora Adler is not here.
She's gone for six months.

HUNTER
(shows her his
badge)

I'd like to look around, if that's
all right.

LUPE
(reacts to the
badge, opens the
door immediately)
Sure. Okay. Come in.

Hunter walks past her into the house. The place is
beautiful, furnished with the finest southwestern art and
furniture. He walks through the house, quickly. The dogs
bark, but are friendly, excited to have a visitor. They
wag their tails and playfully leap around the house.

LUPE
(to the dogs)
Chula! Bad doggie! Caya te!

HUNTER
(not looking at
Lupe)
Is Matthew here?

LUPE
Matthew?

HUNTER
Her son. Matthew.

LUPE
Oh. No. He doesn't live here.

She follows Hunter into the large kitchen.

LUPE-
(to the dogs)
Chulita! Sienta te! Woodruff!
No me das la lata!

HUNTER
(talking over the
dogs)
Have you seen him lately? Has
he been by here?

LUPE
No. He doesn't come around here.

Hunter reaches into his coat, pulls out his wallet and hands
her his card.

HUNTER
If he comes around, or calls, you
give me a call at that number.
All right?

LUPE

takes the card, walks over to put it next to the phone.
The dogs continue running around underfoot.

LUPE
Okay. But I tell you, he doesn't
come here at all. I haven't seen
him since...she's been gone.

As she walks across the room, Hunter looks around. On the
counter next to him are two large stacks of mail. Most of
the letters in one stack have bright yellow postal stickers
covering the mailing address. He picks up one of the
letters.

LUPE
But, he calls sometime. If he
calls, you want me to tell him
you are looking for him?

INSERT

The yellow sticker is a computer printed label which reads:

ALEXANDER, JANET: All mail forward to: 1247 Crescent Way,
Beverly Hills, CA 90023. Hunter peels back the label to
reveal the original mailing address: 520 Bel Air Circle,
Los Angeles, CA 90654.

HUNTER
No, just call me.

CUT TO:

INT. BEL AIR MANSION

Matthew has McCall's gun pointed at her, and Shelly's gun
tucked into his pants under his bandaged arm. He puts his
coat around him. The pain from his arm shows on his face.
They all look weary from lack of sleep, fear and, in
Matthew's case, drugs.

MATTHEW
Come on! Let's go! We're going
to Max's.

SHELLY
That's in Mexico! We can't get
her across the border! We'll have
to leave her here!

MATTHEW
We're not leaving her here! We
need her for insurance. When it
comes time to cross the border,
we'll figure out what to do with
her.

SHELLY
Matthew. I really don't think
we should do this. You're too
high, you shouldn't drive. We're
safe here!

MATTHEW
Safe?! How long do you think
it'll take them to find this
house?
(to McCall)
Get up!

CUT TO:

INT. GARAGE - DAY

The garage door is open. Matthew hustles McCall into the
car, holding his bandaged, left arm close to his body,
obviously in pain. In his right hand, he keeps his gun
aimed at McCall who still has her hands tied uncomfortably
behind her back.

Shelly already sits in the small back seat, hurt by
Matthew's behavior and angry at her situation.

MATTHEW
(to McCall)
Go on! Get in!

Slowly, awkwardly McCall gets into the passenger seat. Her
eyes meet Shelly's and for a moment there is an inkling of
mutual fear at what Matthew might do. But, Shelly quickly
realizes Matthew is watching her, and averts her eyes from
McCall.

Matthew slams the passenger door and walks around the car.
They all react to the distant sound of a car coming up the
front drive.

HUNTER

pulls up the main driveway. He stops, jumps out of the car
and walks around the side of the house toward the garage.

He hears the sound of squealing tires coming from that side
of the house.

MATTHEW'S CAR

tears down the side driveway, and out of the gates to the
home. McCall is clearly visible in the car.

HUNTER

starts to pull out his gun, but realizes he has no chance
of stopping them. He quickly jumps back into his car and
peels out.

MATTHEW

speeds down the winding road that leads out of Bel Air.
His gun is now in his lap. He steers with his left hand
which causes him so much pain that he grimaces at each turn.
He uses his right hand to shift gears. He is out of
control. McCall and Shelly brace themselves.

SHELLY
(ad lib)
Matthew! Slow down! Watch out!

HUNTER

stays close behind, maneuvering his car as best as possible
around the hairpin turns. He slaps on the cherry, and hits
the siren.

MATTHEW

pulls out of the Bel Air gates, running a red light and
nearly missing several cars, and turns onto Sunset
Boulevard.

HUNTER
is seconds behind.

THE TWO CARS

weave down Sunset Boulevard as if they were on a high speed
rollercoaster. The banked, hairpin turns, blind curves,
and intermittent cars make the skill of tricky maneuvering
more important than sheer speed thus allowing Hunter to keep
up with the Jaguar.

HUNTER
maintains his position while reaching for his radio.

HUNTER
(radio)
This is L-56. I'm in hot pursuit
of suspect holding police officer
hostage. He's headed west on
Sunset Boulevard near Beverly
Glen. Request immediate back-up
units! Suspect driving black
Jaguar.

MATTHEW

is in great pain, which shows on his face and in his
driving. He continues to speed around each corner, becoming
more and more out of control. McCall sits, hands still
tied, clenching her teeth and occasionally looking back to
see Hunter following right behind.

Shelly is scared and distraught.

SHELLY
For God's sake, Matthew! Stop
the car! Stop! You'll kill all
of us!

Matthew can't take any more of Shelly's screaming. Despite
the speed, he turns to the back seat, taking his eyes off
the road.

MATTHEW
Would you shut up! I can't take
your screaming any more! Shut
up!

He approaches a potentially fatal turn.

MCCALL
(screams)
Watch out!

Matthew turns back just in time to see the turn and narrowly
miss wrapping them all around a huge tree.

HUNTER

sees the near missm cringes and punches it to keep up. He
grabs the mike.

HUNTER
This is L-56. All available units
respond immediately to Sunset and
Hilgard. Suspect approaching at
high speed in black Jaguar.
McCall's in that car.

SHELLY

does not stop screaming.

SHELLY
You're going to get us all killed!
Matthew! Stop the car!

They come around another turn and swerve to avoid a large
truck moving slowly up the slight hill. Shelly uses the
diversion to grab the gun on Matthew's lap. She aims it
at Matthew's head.

SHELLY
Damn it! Stop the car!

Matthew keeps going full speed.

SHELLY
I swear, I'll kill you if I have
to! Stop the car, Matthew!

MCCALL
Shelly! Don't! If you shoot him,
you'll kill us all! Don't shoot!

MATTHEW
(totally insane)
Go ahead, Shelly! Go ahead and
shoot!
(turns back to her)
Do it!

But Shelly can't. She drops the gun, crying.

BOTH CARS

are now on a straight-away. Directly ahead of them are

three black and whites forming a blockade across Sunset
Boulevard.

MATTHEW
sees the blockade and turns the steering wheel sharply.

THE JAGUAR

spins out of control across the boulevard and smashes into
a well-manicured West L.A. hedge.

HUNTER

screeches to a stop next to them, jumps out and runs to the
wreck - passenger side.

He pulls McCall out of the car. She is semi-conscious, but
okay.

OTHER BLACK AND WHITES AND AMBULANCES

flock to the scene, sirens wailing. The area is surrounded
by police officers and paramedics pulling Matthew and
Shelly, unconscious but alive, out of the car.

HUNTER

stands back as two paramedics take McCall off on a
stretcher.

On Hunter's stone face,

FADE OUT

END ACT FOUR

TAG

FADE IN

EXT. HOSPITAL COURTYARD - DAY

The courtyard is busy with patients, some in wheelchairs,
some walking slowly to regain their strength, while others
sit in the sun and read or chat with visitors.

The automatic, double doors from the main building swing
open. Sporty emerges in a wheelchair, dressed in a hospital
gown, with obvious bandages on his chest. He is being
pushed slowly by a gorgeous, black nurse.

SPORTY
... so there I was...bound and
gagged, with five of the
nastiest-looking handguns you ever
saw in your life pointed directly
at my face. I knew I had to do
something fast, so...

NURSE
(interrupting;
she's heard this
before)
So you calculated the odds...

SPORTY
(emphatically)
Which were not in my favor.

NURSE
And went for the gun. Sporty,
last time you told this there were
only 3 guns...

SPORTY
Hell, 3...5...I don't know, maybe
there were even 7 or 8 guns, the
light was very dim. You know what
I'm say in'?

The nurse pushes him out of ear shot as the camera pans up
to reveal Hunter, sitting at a patio table. He has been
watching and listening to the whole thing. He seems to be
enjoying the story.

Behind him, is a voice off-camera.

MCCALL/PATRICIA
Excuse me, sir. Would you mind
if I joined you here in the sun?

Hunter turns around to see McCall walking slowly to the
table to sit down.

HUNTER
You know, McCall, now that your
modeling days are over, maybe you
should think of a career in
acting?

MCCALL
What do you mean "my modeling days
are over"? As far as I'm
concerned, they've just begun.

HUNTER
Oh, well, um, I hate to be the
bearer of bad news, but...
(he reaches under
the table, reveals
her portfolio and
hands it to her)
Sorry, McCall.

MCCALL
And after all I did for her.

HUNTER
Well, she was very grateful that
you busted Matthew and Shelly,
but...

MCCALL
I know, I know. Don't call us,
we'll call you.

HUNTER
So, in view of all of this, I
thought you might need some
cheering up, and I brought you
a little present.

He reaches under the table.

MCCALL
Really? What is it? Flowers?
Candy?

Hunter futzes around under the table and shakes his head no.

HUNTER
Something to help you get over
this modeling stuff.

McCall looks at him expectantly. With one hand, Hunter
pulls out a bright, shiny, lavender bowling ball.

HUNTER
Welcome to the wonderful world
of bowling...Partner.

FREEZE FRAME

THE END