| HUNTER
"HIGH NOON IN L.A."
Teleplay by Howard Chesley, Story by Erica Byrne
contributing writer Roy Huggins
ACT ONE
FADE IN
EXT. SLEAZY EAST L.A. ALLEY - PREDAWN
Hunter's car is parked a half a block away from the back
door of a slum apartment house.
APARTMENT HOUSE
A woman throws trash out of a second story window. It lands
on the ground, an empty can rolls down the alley.
CAR
Hunter sitting next to McCall, a pair of binoculars in hand.
They're on a stakeout.
MCCALL
What are we doing here? I mean
why can't we be staking out some
society killer at the polo
matches?
HUNTER
They don't have polo matches at
three in the morning.
McCall looks at her watch.
MCCALL
Three? It's only three? Gimme
a break.
McCall suddenly sits up.
MCCALL
What's that?
She points to a dark figure down the alley. Hunter looks
through his night-glasses:
THE GUY (EFFECT SHOT, RED-TONE)
A wino, bottle in hand, weaves toward them.
HUNTER
Disgusted.
HUNTER
It's not our boy.
MCCALL
You sure?
HUNTER
They call him Little Cosmo 'cause
he's six foot five. What you see
is a five foot ten wino.
THE WINO
finds a comfortable place to flop, lies down, goes to sleep.
HUNTER
He's had it. He closes his eyes.
DISSOLVE TO:
INT. HUNTER'S CAR - DAWN
Hunter is asleep over the wheel. McCall is watching the
apartment. She shakes him.
MCCALL
Hunter...
He awakes with a start.
HUNTER
What?!...
MCCALL
Nothing. It's six. He's not
going to show.
HUNTER
(he's kidding, of
course)
Let's hang in, McCall, I'm just
beginning to enjoy the suspense.
MCCALL
We're packing it in, Hunter. Go.
Hunter grins, starts the car, moves out.
CUT TO:
EXT. POLICE PARKING LOT - MORNING
Hunter's car pulls in. Hunter and McCall get out, start
toward the station.
MCCALL
You know the trouble with these
killer-drug dealers? They're
totally unreliable. I mean, did
we or did we not get it from an
unimpeachable source.
HUNTER
Sporty James is a very peachable
source.
MCCALL
He knows not to cry wolf on us.
He knows that. It's a very
low-class killer that'd keep his
girlfriend waiting all night.
ON MCCALL
Something off to her left has attracted her attention.
HUNTER
turns and sees it, too. He's curious.
MERCEDES
A 560 SEL with diplomatic plates is parked. The driver
remains inside, but two men in suits have stepped out of the
car. One remains by the car, the other walks toward Hunter
and McCall. He is tall, elegantly dressed, handsome, and
Latin.
ON CARLOS MARIANO
He smiles as he approaches Hunter.
CARLOS
Sergeant Hunter? You are Sergeant
Hunter?
HUNTER
(nods)
Who are you?
CARLOS
I am Carlos Mariano. I am sure
you recall the name. Raoul
Mariano was my brother.
(a cold smile)
My favorite brother...
Hunter looks at McCall, more concerned about her reaction
than his own. Carlos looks at McCall, wondering who she is.
MCCALL
Why are you here? What do you
want from us?
CARLOS
Ah. You will be Sergeant McCall?
McCall just looks at him, puzzled, curious, resentful.
CARLOS
(shrugs)
I am the cultural attache to the
Curaguayan embassy. Does my
presence disturb you?
MCCALL
That depends on why you're here.
CARLOS
(to Hunter)
I would like to speak to you...
for only a moment. Perhaps you
can guess why.
HUNTER
I won't even try.
CARLOS
(shrugs again)
I am going to kill you. I thought
you should be properly informed.
McCall reaches in her purse, puts her hand on her gun.
Carlos turns to her.
CARLOS
Oh, not now, senorita.
(to Hunter)
In my own good time. And you will
be given generous warning.
HUNTER
That's a relief.
CARLOS
You take this lightly? Perhaps
you took killing my brother
lightly also?
HUNTER
(sudden anger)
No, I don't take it lightly. I
don't take killing lightly. But
you expect me to take you
seriously?
CARLOS
(nods)
Your life depends upon it.
HUNTER
If you're going to kill me, why
don't you just do it, instead
of making it into some kind of
class project?
CARLOS
I wouldn't expect you to
understand: How I kill you is a
matter of greatest importance,
a matter of honor. I would not
kill you the way you killed my
brother: defenseless, unaware,
helpless.
HUNTER
Defenseless!? Unaware!? He shot
me point blank!
CARLOS
I have heard your story. My
brother was an artist and a poet.
He would not even shoot a bird.
And he knew nothing about guns.
MCCALL
He was a rapist and a killer!
Why don't you get back in your
limo and get out of here!?
Carlos ignores her, looks at Hunter for a response.
HUNTER
(icy cold, to
Carlos)
If I see you again, and you so
much as reach for a handkerchief,
I'll blow you away. You got that?
It's something I learned from your
Brother.
Carlos is finished talking.
CARLOS
You will hear from me.
He turns and starts toward his limo.
HUNTER
A post card will do!
MCCALL
This isn't funny, Hunter.
HUNTER
(watching the car
drive off)
I'm not laughing.
MCCALL
Yeah, I can see that - in fact
you were a study in self-control,
I'm impressed.
HUNTER
Don't be - I think the bastard's
got diplomatic immunity.
(starts off)
Let' s go find out.
CUT TO
INT. STATION
Hunter and McCall walk in to their desks.
HUNTER
What's the area code for D.C.?
MCCALL
202.
Lieutenant Finn speaks to McCall as they settle in.
FINN
No show on Cosmo?
MCCALL
No.
Hunter goes to his phone and dials the information number
for area code 202.
HUNTER
(on phone)
I'd like the number for the U.S.
State Department, office of
protocol.
MCCALL
(to Finn)
Maybe we're wasting time with this
stakeout.
FINN
All his contacts are here. He'll
show.
Finn senses Hunter and McCall's mood. He is an intruder.
As he is about to pursue the mystery: Over the above
dialogue we have heard Hunter in B.G. talking with
Washington D. C. (dialogue not clearly heard).
FINN
(to McCall)
We want Cosmo. He's too scary
to be on the street.
He leaves and SHOT WIDENS to include Hunter as he hangs up.
MCCALL
Well?
HUNTER
They'll call back.
Finn half-shouts from his desk:
FINN
Hunter! You staking out Cosmo
again tonight?
HUNTER
If I get a good nap and McCall
makes the cucumber sandwiches.
CUT TO
OMITTED 15
EXT. METRO P.D. - DAY
Hunter walks McCall to her car.
HUNTER
Sleep tight. I'll see you in
eight.
MCCALL
Be careful...
HUNTER
Of what?
MCCALL
You know.
HUNTER
The gun-slinger with the Spanish
accent? I think he's all talk.
(as he walks away)
Buckle up.
CUT TO:
INT. MCCALL'S BEDROOM - AFTERNOON
The shades are drawn, she is in bed, asleep, but tossing and
turning.
DREAM SEQUENCE (FROM "RAPE AND REVENGE")
MCCALL'S LIVING ROOM
Raoul grabs McCall's hair, yanks her to the ground.
RAOUL
You want me, don't you?
McCall shakes her head and punches him, knocking him back.
She climbs to her feet and runs toward the front door. She
opens it, but Raoul slams the door shut and presses his huge
body against McCall.
BEDROOM
Raoul throws McCall down on the bed, pins her down.
2ND DREAM SEQUENCE
INT. MCCALL'S BEDROOM
McCall sits up abruptly, gasping, turns on the light, holds
her arms tight to keep herself from shivering.
DISSOLVE TO:
EXT. SLEAZY ALLEY - NIGHT
Hunter's car parked, waiting.
INT. HUNTER'S CAR - NIGHT
McCall and Hunter eating sandwiches, watching the apartment.
HUNTER
You sleep today?
MCCALL
I tried.
HUNTER
How's it going?
MCCALL
What do you mean?
HUNTER
(hesitant)
I mean this guy Carlos bringing
up bad memories, you know... uh...
MCCALL
Hunter, my problems are in the
past. He didn't say he's going
to kill me.
HUNTER
He's not gonna kill anyone - this
is like some kind of South
American fraternity prank.
MCCALL
Right, Hunter. I'll bet you five
dollars you cleaned your gun for
an hour when you got home last
night.
HUNTER
I can clean my gun in twenty
minutes.
(grins)
And I did.
MCCALL
You think he's doing this on his
own?
HUNTER
You mean is his father, the
General, involved?
(thinks)
My guess is, he knows about it
- maybe even ordered it.
MCCALL
If it's entirely Carlos Mariano's
idea, maybe you ought to talk to
the Curaguayan consul.
HUNTER
Not my style, McCall.
MCCALL
Okay, I'll talk to him.
HUNTER
(looks at her and
grins)
I knew you'd say that.
ON MCCALL
She sees something.
HUNTER
What?
ALLEY
A car moves up the alley, parks next to the apartment house.
CAR
HUNTER
Lot of head-room in that car...
MCCALL
You think it's Cosmo?
HUNTER
(starts out of car)
Only one way to find out, McCall,
ALLEY
A tall man enters the apartment, walking fast.
ON MCCALL AND HUNTER
Guns drawn, they run toward the apartment, enter.
INT. APARTMENT HALLWAY
Hunter and McCall enter gingerly but carefully, look around.
Graffiti and garbage, no suspect.
STAIRWAY
Atrium stairway leading up. They catch a glimpse of a
shadow, make their way up.
A NOISE
behind them. They wheel around. It is a kid coming in the
door. He sees the guns. McCall motions him to back out. He
complies in a blink.
A SHADOW
on the staircase. Hunter and McCall go for it, catch a
glimpse of a man.
HALLWAY - NEXT LEVEL
Hunter gets a clear shot at him. Adrenalin is pumping. He
yells.
HUNTER
POLICE OFFICERS! FREEZE!
The man hesitates a second, Hunter and McCall have guns
extended.
HUNTER
Hands against the wall, spread
your legs.
Hunter and McCall approach. The man has his back to them
with his hands on the wall. McCall covers Hunter while he
frisks him.
HUNTER
Turn around.
The man complies, frightened.
ON HUNTER
disappointed, ticked. He looks to McCall for confirmation.
ON MCCALL
It's the wrong man.
HUNTER
Who are you?
MAN
I live here. My name is Kerwin
Sipes.
McCall checks his I.D.
A DOOR OPENS
A blonde woman in a negligee pops her head out, yells
venomously at Hunter and McCall.
WOMAN
You looking for Cosmo? He ain't
so stupid he's gonna show up here!
HUNTER
Lady, you tell him please not to
do this to us poor dumb flatfoots.
Tell him if we don't get him we
might lose our jobs.
She gives Hunter a contemptuous glance, slams the door.
McCall turns to the still-paralyzed ex-suspect.
MCCALL
(hands back
wallet)
Sorry about this.
MAN
(suddenly enraged)
Words are cheap, lady!
(to Hunter)
You slam me up the wall! You
frisk me! And then you say you're
"sorry"! Well, you can keep your
damned "sorry", I'm gonna have
your asses up on charges!
HUNTER
(overiding him)
McCall, does that name Kerwin
Sipes sound familiar to you?
MCCALL
(instant
understanding)
Kerwin Sipes... Yeah, it is
familiar.
Sipes, looking skeptical but scared, undergoes a swift
change of attitude.
MAN
Uh... look, everybody makes a
little mistake now and then.
Let's both just, uh, forgive and
forget, okay?
HUNTER
Okay, Kerwin, but let us leave
you with a nice, helpful thought:
when somebody offers you a sincere
apology, accept it.
MAN
Right, right! We're both sorry.
Right?
MCCALL
Right.
HUNTER
Right.
They leave.
INT. DIVISION H.Q. - DAY
McCall and Hunter walk in, tired. Finn sees them.
FINN
You two still comin' up empty
on Little Cosmo?
McCall and Hunter shake their heads and keep walking.
Hunter goes to his desk, picks up a telephone message.
HUNTER
(reads message)
Mariano has full diplomatic
immunity. We can't touch him.
The Captain walks over.
CAPTAIN
(displeased)
Did one of you call the Office
of Protocol in Washington?
HUNTER
Yeah, Charlie, I did.
CAPTAIN
You guys want to come into my
office?
CUT TO:
INT. CAPTAIN'S OFFICE
CLOSE ON DEVANE
CAPTAIN
Who in hell is Carlos Mariano?
THE SCENE
HUNTER
This is a long story. Happened
six months ago, long before you
came to this division.
CAPTAIN
Well, make it a short story, and
tell it now.
Hunter looks to McCall. He really doesn't want to talk
about it in front of her.
HUNTER
McCall...
MCCALL
It's okay.
HUNTER
We had a rape-homicide at the
Curaguayan embassy. Raoul
Mariano was the cultural attache.
CAPTAIN
Related how to this one?
HUNTER
His brother... he, uh...
Ill at ease, he looks to McCall. McCall takes over, trying
to be cool about it, not entirely succeeding as the story
builds.
MCCALL
At the embassy he tried to make
a date with me. I turned him down
and he showed up at my house.
He raped me.
That information has quite an impact on Devane and his
expressive face shows it. After a long pause:
CAPTAIN
(deep sympathy)
Sorry to bring up painful
memories, Dee Dee... What happened
to the guy?
HUNTER
(anger in his
voice)
He had diplomatic immunity, so
I roughed him up - just a little.
Two hours later, with no warning,
he shot me. I was hospitalized
for five weeks.
CAPTAIN
And Mariano?
HUNTER
The embassy hustled him back to
Curaguay.
CAPTAIN
End of story?
HUNTER
This has gotta be off the record,
Charlie.
CAPTAIN
You didn't go after him in
Curaguay?!
Hunter nods.
MCCALL
Captain, they charged him with
nothing down there. He'd killed
one woman here, raped me, tried
to kill Hunter! If ever there
was a walking argument for summary
execution, this guy was it.
CAPTAIN
(to Hunter)
I don't believe this: you went
down there and killed him?
HUNTER
No. I wanted to but I couldn't.
I walked away from him and he
tried to shoot me in the back.
CAPTAIN
And then...?
HUNTER
I decided I'd be stupid to let
him get off a second shot, so I
shot him.
(pauses)
Four times.
MCCALL
His father, General Mariano,
didn't want all this stuff coming
out about his son, I guess. There
was some kind of cover-up and they
said he was killed in an accident.
CAPTAIN
And what about this Carlos
Mariano?
HUNTER
He showed up in the parking lot
yesterday - to let me know he
plans to kill me.
CAPTAIN
And the bastard has full
diplomatic immunity! If he hauled
off and shot you, the best we
could do is ask his government
to give him a plane ride home.
HUNTER
I plan to do something about that.
CAPTAIN
Like hell you do!
Devane picks up his telephone.
CAPTAIN (CONT'D)
I'm gonna call the State
Department and let them handle
it!
HUNTER
Charlie, I've been through this
before. The State Department
wants to stay on the good side
of General Mariano. They don't
give a damn which side of me they
stay on.
CAPTAIN
And if I tell you to ignore the
bastard?...
HUNTER
I don't think you'll tell me to
do that.
The captain lets it lie, puts down the phone.
INT. CURAGUAYAN CONSULATE - NIGHT
CLOSE ON CONSUL
CONSUL
As was reported in all the
Curaguayan newspapers, Raoul
Mariano was tragically killed in
a hunting accident. As to these
stories you choose to tell about
a member of the presidential
family...
THE SCENE
The Consul is speaking to McCall, who is seated, as is the
Consul.
CONSUL (CONT'D)
I cannot imagine what motivates
you, a woman in your position,
to say such things.
MCCALL
How about the truth? Is that
enough motivation?
CONSUL
(shrugs)
Have it your way, Miss McCall.
MCCALL
It's not my way, it's the truth!
(changes tack)
What happens to you, your job,
if Sergeant Hunter is forced to
kill your boss's son?
CONSUL
If Mr. Hunter so much as
approaches Carlos Mariano, we will
have your State Department take
the necessary steps to deal with
him. I suggest you plead with
Mr. Hunter, not with me.
MCCALL
Have you talked to Carlos Mariano?
CONSUL
Of course. Would you care to
speak with him?
MCCALL
(hesitates, then:)
Yes, I would.
The consul goes to the door, makes a sign and Carlos Mariano
Enters.
MCCALL
(to consul)
Didn't have to go far, did you?
CONSUL
(to Carlos)
Do you know this woman?
CARLOS
(looks at McCall)
Yes. In view of Sergeant
Hunter's, ah, prior relationship
with my family I paid him a
courtesy visit at his place of
work. Senorita McCall was with
him.
MCCALL
Yeah, the most courteous
death-threat I ever heard.
CONSUL
(to Carlos)
That is her claim, Carlos. Did
you make any such threat?
CARLOS
Certainly not.
MCCALL
Come on, Carlos, you're blowing
your whole act - What happened
to all that talk about Honor?
CARLOS
(to Consul)
I am afraid that my presence
disturbs Senorita McCall.
(shrugs)
I made no threats.
CONSUL
(to McCall)
Perhaps you need the help of a
professional who deals in
emotional problems, Miss McCall?
I am trying to be helpful.
MCCALL
Well, you're not making it, but
you are giving me a great lesson
in diplomacy.
CONSUL
All life is an education.
MCCALL
The first true words you've said.
McCall turns and walks toward the door.
MCCALL
(turns at door)
And by the way, it's Sergeant
McCall!
McCall storms out, slamming the door after her.
INT. CARLOS MARIANO'S APARTMENT - DAY
We are in Carlos's shower CLOSE on Carlos singing a popular
song in Spanish, happy as a cow in clover. He rinses off
the soap, turns off the water, pulls the curtain aside just
enough to reach out for a towel.
INT. BATHROOM - DAY
We see Carlos's arm reaching out to the towel rack, his hand
not finding a towel.
ON TOWEL
It is held in a man's hand.
INT. SHOWER
As the hand comnes into the SHOT proffering the towel.
Carlos reacts swiftly, yanking the shower curtain aside.
THE SCENE
There stands Hunter, towel in hand. Carlos jerks the towel
out of Hunter's hand and wraps it around his mid-section.
CARLOS
(angry as hell as
he steps out of
shower)
How did you get in here!?
HUNTER
Carlos, I can get in anywhere.
(turns away)
Let's talk.
INT. CARLOS'S APARTMENT - LIVING ROOM - DAY
as Hunter enters, followed by Carlos, who goes to his phone.
Hunter steps over and stops him from picking it up.
HUNTER
(hard as nails)
First we talk. Then you can call
anyone you want. Siddown.
CARLOS
You have me at a great
disadvantage, unarmed and naked.
He sits down. Hunter does not.
HUNTER
You, my friend, have a license
to kill. And you know it! You
can pop me any time, any where,
and nothing happens to you. I
don't like that.
CARLOS
I do not intend to "pop" you,
Sergeant Hunter. I intend to give
you every opportunity to defend
yourself. Only then will I kill
you.
Hunter stares at him, speechless for a moment. Then:
HUNTER
I got real bad news for you,
Carlos; I don't intend to play
your dopey little-kid game. You
got that?
Carlos just looks at Hunter. Carlos has his confidence back
now, a faint smile on his face. He says nothing, enjoying
Hunter's frustration.
HUNTER
Let me tell you my rules: You
are going to get onto a plane to
Curaguay. Today. And you aren't
coming back.
Hunter pauses, looking for a reaction from Carlos, getting
none.
HUNTER
If you don't get on that plane...
I'll kill you, and you won't get
any more opportunity to defend
yourself than I'd give any other
maniac killer.
More Silence. Finally:
HUNTER
You got nothing to say, huh?
CARLOS
I am a man of action, not of
words.
HUNTER
(icy)
So am I...
CARLOS
Then... good day.
Hunter shakes his head in hopeless frustration.
HUNTER
Get on the plane, Carlos.
He turns and walks out. Carlos stands. He does not go to
the phone. He returns to his bedroom.
INT. DIVISION HEADQUARTERS - DAY
McCall is at her desk typing a report. She looks up as she
sees Hunter coming in.
AT THEIR DESKS
MCCALL
I tried to call you this morning,
where in hell were you?
HUNTER
(sits down,
wearily)
I paid a visit to our Latino Billy
the Kid. Told him to get on a
plane home or I'd punch his ticket
myself.
MCCALL
Not too cool, Hunter - you do
that you'll spend the rest of your
life in the big slam.
HUNTER
Yeah, I know.
MCCALL
You think he listened to you?
Hunter's phone RINGS.
HUNTER
(shakes his head)
I don't know... I sure hope so.
Hunter's phone RINGS again and he picks it up.
HUNTER
Hunter...
McCall looks on as Hunter's expression becomes serious.
HUNTER
What's happening, Joey?
(beat)
...and how do you know that?
INT. SLEAZY MOTEL ROOM - DAY
INTERCUT WITH HUNTER AT PRECINCT
A down-and-out looking guy is on the phone.
JOEY
I know, Hunter. Little Cosmo's
gotta see a guy about some money
he needs to get out of town. So
if you want to get him before he
splits, this is gonna be your only
chance.
HUNTER
Where is this place?
JOEY
Is that how you treat an old
friend, Hunter? You don't say
thank you, how are you, nothing
like that before...
HUNTER
Thank you, Joey. How much?
JOEY
That's more like it, Hunter.
How's about five hundred?
HUNTER
How's about two hundred - if he
shows.
JOEY
Are you kidding? This is
dangerous stuff. It's worth
something risking getting on the
wrong side of Cosmo.
HUNTER
Okay, Joey, you deliver him, I'll
get you your five hundred. Where
do I find him?
CAMERA PULLS BACK on Joey, reveals
CARLOS
watching Joey make his deal.
JOEY
You're my man, Hunter. Only thing
is I want to see the money first.
You bring the money and I'll take
you to him.
HUNTER
You know it doesn't work that way,
Joey. You deliver him first.
JOEY
This is special, Hunter. You want
him, you meet me first with the
money. I don't want to be seen
with you. There's a gutted out
hotel on Highland corner of
Marshall. Be there and Cosmo's
all yours.
Joey hangs up and Carlos takes a few hundreds out of his
wallet for Joey. Joey counts it quickly.
JOEY
Where's the rest?
CARLOS
After Hunter appears, you will
get the rest.
JOEY
You don't understand. I just
Crossed Rick Hunter. I'm gonna
have to leave this town far
behind.
CARLOS
After tonight, Hunter will be
dead.
JOEY
All the more reason I gotta split,
man! Give me the whole thing now
or it's no deal. I'll call him
up and call the whole thing off.
Carlos wants Hunter too badly to screw this up.
He gets out his wallet and pays Joey as we
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
EXT. ABANDONED BUILDING - DAY
Hunter's car pulls up outside. Hunter gets out of the car,
cautiously enters the building.
INT. ABANDONED BUILDING
Sounds echo, light comes in through breaks in walls, through
open windows. We clearly see Hunter as he stands looking
for Joey.
HUNTER
Joey?... Joey??
Out of the shadows steps Carlos, about forty feet across
from Hunter.
CARLOS
Hunter....
HUNTER
Well... So you decided to stay
and give me a surprise party, huh?
Where's the cake?
CARLOS
You think this is a joke?
He opens up his jacket, reveals a magnum in a shoulder
holster.
HUNTER
I'd say it was a chrome .357.
CARLOS
You have a gun?
HUNTER
What is this? I'll show you mine
if you show me yours?
CARLOS
Answer my question.
HUNTER
Cops are always armed, Carlos,
and dangerous.
CARLOS
Is the safety on?
HUNTER
I'll let you wonder about that.
CARLOS
That is your choice. In fifteen
seconds, I intend to draw my gun
and shoot. If you want to try
for your gun sooner, do so...
HUNTER
Are you crazy or what!? You think
this is Tombstone, 1880? You've
been seeing too many John Wayne
movies, Carlos.
CARLOS
Honor does not go out of style.
And if one is a Man of Honor,
there are things that can only
be settled this way. You have
ten more seconds.
HUNTER
You're a little off on the Western
accent, but I like the way you
narrow your eyes. Just like the
Duke.
CARLOS
Why don't you draw? I don't want
to kill you in cold blood, but
if you insist on being a coward,
I will.
HUNTER
Carlos, you could be dead in ten
seconds.
CARLOS
No. You will be dead in ten
seconds. I know how to handle
a gun.
HUNTER
So do I.
CARLOS
Then prove it!
HUNTER
I can't afford to kill you -
I don't have diplomatic immunity.
CARLOS
Your time is done.
HUNTER
(quietly)
Okay, Carlos, that's it.
ANOTHER ANGLE
Suddenly, from behind pillars and out of shadows five cops
appear, pistols, rifles, and strong lights all drawing a
bead on Carlos. McCall is among them.
HUNTER
(all business)
Hands in the air, Carlos! Over
to the wall.
WIDER SHOT
Carlos is startled, bewildered, astonished. TWO OFFICERS
push him over to the wall.
HUNTER
Hands on the wall. Spread your
legs.
CARLOS
You are a coward! A man totally
without honor!
HUNTER
You haven't heard anything I said,
have you?
CARLOS
What I hear is the whimpering of
a coward!
CUT TO:
INT. CAPTAIN'S OFFICE - DAY
Captain Devane is on the telephone as Hunter stands by.
CAPTAIN
All right... no... no... I'll talk
to you later...
He hangs up the phone, looks at Hunter.
CAPTAIN
He's being released.
HUNTER
So what else is new?
CAPTAIN
We can't hold him without the
consent of the consulate, and the
consul says no.
Hunter watches the Captain's eyes wander to something behind
him, turns to see through the glass partition.
P.O.V. HUNTER
Carlos is walking with a pair of lawyers through the
precinct in the process of being released. A long moment as
Carlos pauses and looks at Hunter as if to say that this is
not the last time they will meet.
INTERCUT: HUNTER AND CARLOS
Then Carlos walks on out.
ON HUNTER
as he looks to the Captain, expressing his frustration in
his eyes.
CAPTAIN
I'll have somebody in here from
Washington tomorrow and we'll get
this damned thing settled! The
guy's a nut!
CUT TO:
EXT. STREET - NIGHT
Hunter's car traveling through Central L.A.
INT. CAR
Hunter and McCall.
MCCALL
I'm getting the feeling that I'm
gonna grow old looking for Little
Cosmo. I mean we're going to be
on a stakeout for him somewhere
when they call a little ceremony
and give us our gold badges.
HUNTER
McCall, I'm beginning to like
little Cosmo. He gives me
something to think about besides
Mariano...
DISSOLVE TO:
INT. CAPTAIN'S OFFICE - DAY
Present are the Captain, Hunter and a BUREAUCRAT from the
State Department dressed in a natty suit and horn rimmed
glasses.
BUREAUCRAT
I think everyone is overreacting
to this thing.
HUNTER
(incredulous)
Overreacting?
BUREAUCRAT
First: you do not charge a man
with full diplomatic immunity.
You can detain him, but you cannot
charge him.
HUNTER
He's lucky I didn't kill him.
BUREAUCRAT
And you'll be lucky if the
Curaguayan embassy doesn't file
harassment charges against you,
Sergeant Hunter, so I suggest you
stay on the listening end of this.
CAPTAIN
Mariano can't be completely above
the law. What if he wasted twenty
people in Pershing Square?
BUREAUCRAT
We'd demand that his country
recall him.
HUNTER
And if they don't want to recall
him?
BUREAUCRAT
We'd make him persona non grata,
and he'd be out of here.
HUNTER
That's all I want: Mariano on
a plane home. Otherwise he'll
end up dead, and that I don't want.
BUREAUCRAT
(a burst of anger)
He hadn't better end up dead!
Curaguay is a country of enormous
strategic importance to our
country.
HUNTER
(stands)
If I find myself staring down the
barrel of a gun in Mariano's hand,
I'm not gonna worry about your
problems.
CAPTAIN
(quickly, to
Bureaucrat)
So maybe you'd better have Mariano
labeled persona non grata now,
before that happens.
BUREAUCRAT
Why? What has the man done? He's
mouthed off a little and flashed
a gun for which he does have a
permit. He's a soldier, a man
who learned to swagger at an early
age.
(to Hunter)
It would be best for you and best
for your country if you would just
ignore him.
HUNTER
Just get him out of here! - he's
not gonna let me ignore him!
And Hunter walks out, slamming the door behind him.
CUT TO:
EXT. STREET - DAY - ON HUNTER'S CAR
to establish-
INT. HUNTER'S CAR
McCall is with him. Hunter glances into his rear view
mirror.
EXT. THE CAR
We hold on the traffic.
INT. HUNTER'S CAR
Again Hunter checks the mirror.
MCCALL
What's going on?
P.O.V. HUNTER - STREET THROUGH MIRROR
Carlos's Mercedes in the mirror, following them.
HUNTER AND MCCALL
HUNTER
Guess who's on our tail.
MCCALL
Oh, no.
P.O.V. HUNTER - STREET THROUGH MIRROR
There seems to be another car a distance behind Carlos, a
Ford. Hunter responds by putting the accelerator to the
floor.
EXT. STREET
Hunter's car speeds through traffic and whips around a
corner. He spins the car sideways to block:
CARLOS'S MERCEDES
It flies around the blind corner, screeches to a halt in the
path of the police car.
ON HUNTER
as he races to the Mercedes, flings the door open.
HUNTER
Out!!
WIDER SHOT
Carlos complies, gets out. Hunter drags him off to the side
of the road, removes Carlos' gun from the holster.
CARLOS
You have no right to arrest me!
HUNTER
You're being detained, Cisco, just
detained.
(to McCall
Watch him, we got company.
McCall has her gun on him while Hunter waits for...
THE FORD
rounds the corner and screeches to a halt. Inside is a
severe looking Latin man in his forties. Colonel Ramirez.
Hunter opens the door, points his gun.
HUNTER
Would you get out, please?
RAMIREZ
I am a member of the Curaguayan
diplomatic legation.
HUNTER
Would you just please get out of
the car?
Ramirez obliges. Hunter frisks him, finds a gun.
HUNTER
(to Carlos, showing
him the gun)
What happened to "honor", Cisco?
The old one-on-one?
Carlos is walking toward Ramirez, unmindful of the fact that
McCall has a gun pointed at him.
MCCALL
Hey, hold it!
Carlos has no interest in what McCall has to say. Instead,
he continues toward Ramirez, angry, speaking loudly in
Spanish. Hunter watches with cool interest.
CARLOS
(in Spanish)
Colonel Ramirez, what are you
doing here? Did my father send
you to check up on me?
RAMIREZ
(in Spanish)
Your father was concerned.
HUNTER
Hey! Speak English!
Carlos doesn't pay attention.
CARLOS
(in Spanish)
Everything is under control. You
had no right to be here!
RAMIREZ
Yes, I can see everything is under
control...
HUNTER
Hey! In English!
(to Ramirez)
Who are you?
RAMIREZ
I am Colonel Hector Ramirez, of
the Curaguayan second calvary
unit.
HUNTER
Out on maneuvers?
RAMIREZ
What I am doing here is none of
your business.
HUNTER
Reckless driving and carrying a
concealed weapon is a major part
of my business.
RAMIREZ
I am a member of the Curaguayan
consulate staff. You have no
right...
HUNTER
(to Ramirez)
You said consulate staff, right?
Not the embassy in Washington?
RAMIREZ
The consulate staff.
HUNTER
(to McCall)
Tell him the bad news.
MCCALL
You, sir, are dealing with two
experts on diplomatic law. You
are under arrest.
Hunter gets out his cuffs.
HUNTER
Oh, boy, I was feeling like I had
to arrest somebody.
(points to Carlos)
Arrest the cowboy here, he's out
in ten minutes and I've got the
State Department on my case.
I'm kind of glad you came around,
Colonel.
As Hunter turns to him to put on the cuffs, the Colonel
surprises Hunter with an elbow in the gut, then knocks him
down.
ON HUNTER AND RAMIREZ - AS THEY FIGHT
The Colonel is one tough man.
ON MCCALL
Frustrated, she has to keep Carlos covered, so there isn't
much she can do.
ON CARLOS
He doesn't seem inclined at all to join the fray. He
watches, arms crossed, mildly interested; a spectator.
ON HUNTER AND RAMIREZ
Ramirez has some good moves, gets past Hunter's guard a
couple of times, but Hunter subdues him in a hammer lock,
gets the cuffs on him. They both take a moment to catch
their breath.
HUNTER
You're gone, pal. You'll be lucky
if you just wind up on a plane
goin' south.
Ramirez looks only to Carlos.
RAMIREZ
Where were you? Why did you just
stand there?
CARLOS
I have no reason to assist you.
I don't want you here. And in
any case - the young lady had
a gun pointed at me.
RAMIREZ
I will tell your father that a
woman prevented you from helping
me.
MCCALL
Would've prevented you, too,
buster.
CARLOS
You can tell my father that he
doesn't have to send anyone here
to assist me. I am here by my
own choice and will do what has
to be done by my own rules.
HUNTER
McCall, will you put this clown
in the car?
He hands her Ramirez.
CARLOS
What about me?
HUNTER
You can go. You're immune,
remember?
CARLOS
What about my gun?
HUNTER
Are you serious?
CARLOS
You should understand by now,
Hunter, that I am nothing if not
serious.
Hunter pulls out the gun, looks at it.
HUNTER
Nice weapon.
He looks around the street, sees something, then turns to
McCall.
HUNTER
I'll be with you in a minute.
Hunter motions Carlos to follow him, then walks up to a
truck with a power liftgate, talks to a man unloading boxes
from the back, shows his badge.
HUNTER
Police officer... you think you
can help me out a second?
Hunter takes out the gun, empties the bullets and puts them
in his pocket.
CLOSE ON LIFTGATE
Hunter has wedged the gun in the lever mechanism and it is
slowly fumed into a twisted hunk of metal.
ON CARLOS
Infuriated by the insult.
ANOTHER ANGLE
Hunter takes the twisted gun, hands it to Carlos.
HUNTER
I hope this doesn't mean I'm
causing an international incident.
He walks off toward the car and Ramirez. We HOLD on
CARLOS
as he watches Hunter walk away.
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
INT. DIVISION HEADQUARTERS - DAY
Hunter and McCall walk in with Ramirez. Hunter addresses
booking officer:
HUNTER
This is Colonel Hector Ramirez.
We have him on reckless driving,
carrying a concealed weapon and
resisting arrest. Would you take
care of him? I want to talk to
a man about a deportation order.
Hunter starts to walk away. Ramirez calls back to him.
RAMIREZ
Senor Hunter...
(Hunter looks back
at him)
If I go there will be someone to
replace me in 24 hours. You are
accomplishing nothing.
HUNTER
Colonel, are you friends with
General Mariano?
RAMIREZ
I am a member of his personal
staff.
HUNTER
Good. Tell him to buy his son
a ticket home... or his son will
be sent home, in a body-bag.
RAMIREZ
You are very confident.
HUNTER
I am very ticked off.
RAMIREZ
Perhaps too confident.
HUNTER
Let's say I'm not too impressed
so far.
RAMIREZ
Carlos Mariano is a distinguished
graduate of our Academia Militar.
He has won honors in martial arts
and marksmanship. There is no
one in the Curaguayan army who
can match him. As his brother
distinguished himself in the fine
arts, Carlos has distinguished
himself in the manly arts. I
would not be so cavalier if I were
you.
EXT. STREET - DAY
INT. HUNTER'S CAR - DAY
Hunter and McCall cruising a drug-dealing street looking for
Cosmo. As they drive, dealers move off the streets, try
to look disinterested.
MCCALL
We're supposed to be looking for
Cosmo and all I'm thinking about
is our Latin American Walter
Mitty.
Hunter doesn't want to address the problem that is obviously
bugging him. He points at a dealer on the street.
HUNTER
Isn't that Jillie Wilson?
MCCALL
No, Jillie's in a holding tank
downtown.
ON HUNTER
trying to concentrate, obviously distracted thinking about
Carlos.
MCCALL
Maybe you should take a week off,
go fishing, go to Montana.
HUNTER
That's not going to do it. He'd
find me. Or wait for me to come
back. He isn't any Walter Mitty,
McCall, he's the Cisco Kid, and
he really does intend to kill me.
McCall says nothing because she knows that what Hunter said
is probably true.
HUNTER
I'm beginning to think the only
way to get rid of him is to meet
him in the middle of Sunset
Boulevard at high noon and blow
him away.
MCCALL
Tell you what: you get in an
all-night poker game with six of
your buddies - for witnesses,
see? And then I'll blow him away.
HUNTER
You always were the practical one.
ON HUNTER
He sees something.
ON COSMO
P.O.V. HUNTER. He is on a street corner, barely
distinguishable. He ducks out of sight.
ON HUNTER
Perplexed.
HUNTER
I lost him.
Suddenly -
SCREECH OF TIRES and
ON COSMO'S MUSTANG
as it flies out of a parking lot right at them. Hunter has
to spin away to avoid crashing head on.
HUNTER'S CAR
takes off after Cosmo.
VARIOUS SHOTS - CAR CHASE
Pursuing Cosmo around South Central L.A. He has a hot car
and is a tough quarry.
RAILROAD YARD
Cosmo is cornered against a moving freight train, jumps out
of his car.
ON HUNTER AND MCCALL
Guns drawn, they have Cosmo dead to rights.
WIDER SHOT
They cuff him and take him in.
INT. DIVISION HEADQUARTERS - DAY
Finn passes Hunter and McCall.
FINN
You got him.
HUNTER
We got him.
FINN
Good work.
MCCALL
(to Hunter)
So now what?
HUNTER
So now we start work on the next
case.
FINN
How come you're still alive?
Carlos give up?
HUNTER
I haven't heard from him in...
(he looks at his
watch)
... at least six or seven hours.
MCCALL
I think you really should consider
going someplace.
HUNTER
I am. I'm going to bed.
EXT. STATION PARKING LOT - NIGHT
Hunter and McCall walking to their respective cars to drive
home.
MCCALL
Why don't you sleep on my couch
tonight? I mean you don't know
what dark corner he's going to
come popping out of.
HUNTER
McCall, you've got Carlos all
wrong: He's not going to come
popping out of any dark corners.
This thing's about Honor. This
isn't Los Angeles, it's Dodge
City. Carlos is probably
surprised the streets are paved.
Hunter gets in his car.
EXT. PACIFIC COAST HIGHWAY - NIGHT
Hunter is driving home.
EXT. HUNTER'S HOUSE - NIGHT
Hunter is unlocking his door. He opens it.
INT. HUNTER'S LIVING ROOM - NIGHT
He enters, turns on the lights, reacts sharply to
CARLOS
Standing in the middle of the room with a gun pointed at
Hunter.
THE SCENE
Hunter looks to his left. There stands a Latino gentleman
weighing approximately 200 pounds. Hunter looks to his
right: there stands another Latin-looking gentleman not
quite as big as the first, but big enough.
HUNTER
(to Carlos)
You're a real disappointment,
Carlos. Lying in wait with two
muscle heads just isn't supposed
to be the real you.
CARLOS
(to one of the men:
in Spanish)
Get his gun.
HUNTER
Wait a minute!
(as the muscle
heads hesitate)
You're breaking my heart, Carlos.
You promised we were going to do
this thing like in the good old
days.
CARLOS
(angrily in
Spanish)
I said: Get his gun.
As the two men step toward Hunter, Hunter spins toward the
bigger of the two, knocking him half way across the room.
The second man leaps on Hunter's back and Hunter throws him
over onto the floor. By that time the first man is running
toward Hunter like a bull in an arena, and making a similar
noise.
ON CARLOS
He does nothing more than hold his gun at the ready, in case
of emergency.
THE FIGHT
It is as extensive and action-filled as the Program
Standards Department will allow, but it is two on one, and
finally the two men have Hunter pinned and groggy from a
kick to the head.
ON CARLOS
He steps over and, with Hunter totally immobilized, removes
Hunter's gun, which he puts into his own pocket.
CARLOS
(in Spanish, as
he steps back)
Handcuff him and tie his ankles.
ON HUNTER AND TWO MEN
As one man holds Hunter, the other begins to tie his ankles.
HUNTER
(groggy but able
to let the words
out)
Y'know, Carlos, you're a real
let-down. Just an hour ago I was
telling my partner how much Honor
meant to you.
Carlos makes no reply. At no time in the scene has Carlos
said anything to Hunter.
CUT TO
EXT. CARLOS'S CAR - A MERCEDES
Carlos is at the wheel. Hunter is seated in the back, hands
handcuffed behind him, ankles tied. Hunter turns and looks
out the back window.
CARLOS
We aren't being followed, Hunter.
I needed those men to get you into
this car. You won't be seeing
them again.
Hunter says nothing.
CARLOS
(in response to
Hunter's silence)
What's the matter, Hunter?
Suddenly this is not so amusing
to you any more?
HUNTER
Where're you taking me?
CARLOS
You will know soon enough.
EXT. PALMDALE HIGHWAY - NIGHT
Carlos's car driving through the night.
DISSOLVE TO:
EXT. DESERT - NIGHT
WE COME IN on a campfire: desert wood burning in a shallow
hole surrounded by brick-sized desert rocks.
THE SCENE
Hunter is leaning against a two-foot high boulder, seated,
his legs stretched out toward the fire, his ankles still
bound with rope. Since his hands are behind him, we assume,
correctly, that he is still handcuffed.
ON CARLOS
He steps over to the car, which is parked on the hard,
sandy desert surface (the road, we will see later by
daylight, is fifty feet away).
Carlos removes Hunter's gun from the pocket (his own) we
saw him drop it into. He removes his own gun from his
shoulder holster. He opens the car door, puts both guns
on the front seat and closes the door.
He turns and walks to
OMITTED
THE CAMPFIRE
Carlos sits down across the fire from Hunter, leans against
a big boulder, looks at Hunter, says nothing.
HUNTER
Now what happens?
CARLOS
We wait for the dawn.
HUNTER
I see. We gotta do it in
daylight. High noon, maybe?
CARLOS
Just daylight. I want you to see
me when it happens. And I want
to see you.
HUNTER
You know, I always mean to go
camping and it's one of those
things you never get around to.
CARLOS
You are regaining your sense of
humor.
HUNTER
I'm feeling optimistic. The air's
clean here, nobody's dead yet,
and we got the rest of the night
to talk.
CARLOS
There is no need to talk.
HUNTER
Afraid you might learn something?
CARLOS
I am afraid of nothing you might
say.
HUNTER
So... a duel at dawn: Is that
the plan?
CARLOS
Yes.
HUNTER
Well, I'm glad you didn't kill
me in cold blood, anyway, Carlos,
CARLOS
A very difficult thing for you
to understand, is it not?
HUNTER
No, I understand. When I went
down to Curaguay to kill your
brother...
(Carlos winces at
the reference)
I was planning to blow him away
first chance I got.
CARLOS
Which you did.
HUNTER
No, I found out I couldn't kill
him in cold blood.
HUNTER
I offered him a chance to defend
himself - just like the one
you're offering me.
CARLOS
I am not interested in your
apologies.
HUNTER
Apology, hell! He refused to
defend himself. I walked away,
and he tried to shoot me in the
back. That's when I killed him.
CARLOS
My brother was a gentle man. He
knew nothing of guns. He wouldn't
have had a chance against a
trained man like you.
HUNTER
He tried to shoot me in the back.
CARLOS
He was a poet. An artist.
HUNTER
He was a coward.
CARLOS
(frustrated, angry)
Whatever he was, you killed him!
He had no way to defend himself
against someone like you! I do!
HUNTER
And you know what else he was:
a rapist.
CARLOS
That is too funny! He could have
any woman he wanted!
HUNTER
I found my partner, after he raped
her, on the floor in her bedroom.
CARLOS
Where she had invited him!
HUNTER
Where he invited himself!
CARLOS
I knew my brother, and I loved
him. I do not know your partner.
I believe him, not her.
HUNTER
He was a liar!
Carlos jumps to his feet, and for a moment we think he's
going to punch Hunter out. He walks over to Hunter, stares
down at him, then turns away.
CARLOS
No more talk!
INT. HUNTER'S HOUSE - NIGHT
on McCall, on a phone line; we hear the RING, then:
FINN'S VOICE
This is Finn.
INTERCUT FINN AND MCCALL
Finn is at headquarters.
MCCALL
Lieutenant, he's not here, and
it looks like there was a fight
or something - several pieces
of furniture are broken.
FINN
What about his car? Is it there?
MCCALL
Yes.
FINN
That makes it pretty hard to put
out an A.P.B., but I'll do
everything I can. Go home and
get some sleep.
MCCALL
Negative, Lieutenant. I want a
finger-print team out here on the
double.
CUT TO:
EXT. CAMPSITE - NIGHT
Both men seated, both silent. Hunter is falling asleep
(we will learn he is actually only pretending to).
CARLOS
watching Hunter.
ON HUNTER
eyes closed, breathing slowly, rhythmically...
CARLOS
believes Hunter is asleep and reluctantly admires him for
his capacity to do so. He throws some wood on the fire and
it flares up.
HUNTER
wakes up, looks at fire, looks at Carlos.
CARLOS
You were asleep.
HUNTER
(nods at fire)
Smart move, Carlos. If you can't
sleep, don't let the enemy sleep.
CARLOS
I could sleep like a babe if I
chose. But you are not a Man of
Honor, so I cannot trust you.
HUNTER
Well, you're right on one thing:
if I get a shot at you, I'll take
it. I really don't care how I
kill you.
CARLOS
(cold)
I know. That is why I will forego
sleep.
HUNTER
Go for it. Me: I'll take every
edge I can get.
(smiles)
Good night, Carlos.
He closes his eyes.
ON CARLOS
watching him as we
FADE OUT
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN
INT. CURAGUAYAN CONSUL'S OFFICE - NIGHT
The Consul is pacing, dressed in an elaborate dressing gown
and patent-leather slippers. He is pissed.
Present are McCall and Finn and one of the Consul's security
men (not one we have seen before).
CONSUL
I have allowed you to enter here!
I have shown you the courtesy to
hear you out! So do not use that
tone of voice again or you will
be asked to leave!
MCCALL
(calmly)
When you said I couldn't possibly
know that two of your security
people entered Sergeant Hunter's
house, I... I lost my temper.
It won't happen again, but I do
know they were there, they left
fingerprints.
CONSUL
How would you know the
fingerprints of my security
personnel!? You are lying!
MCCALL
(just barely
holding her
temper)
When they got permits to carry
guns on our streets their
fingerprints were registered.
(hard as nails)
Those prints, fresh ones, are all
over Sergeant Hunter's home and
Sergeant Hunter is missing. There
is also evidence of a violent
struggle.
Silence. The Consul is stuck and he knows it.
FINN
Those two men do not have diplomatic
immunity. We're here to take them
into custody.
CONSUL
Not in this consulate you won't!
And both those men are here.
(pause)
If you wish to arrest them you
will have to do it outside these
premises.
MCCALL
Sir, we're asking for your
cooperation. One of our officers
has been forcibly kidnapped,
unquestionably by Carlos Mariano.
CONSUL
(overriding her)
Carlos Mariano is here, now! -
in his quarters here in the
consulate.
FINN
Fine. Let us talk to him, for
just a couple of minutes, and
we're out of here.
CONSUL
Since Senor Mariano is here, there
is obviously nothing to be gained
for you to talk with him, is
there?
MCCALL
He isn't here and you know it!
And you're refusing to cooperate
in an investigation of a felony,
involving people you are
responsible for!
CONSUL
(to security man)
Show these people out. And use
your weapon, they are both armed.
The security guard quickly pulls out his gun and points it
at Finn and McCall.
CONSUL
(to Finn and
McCall)
He does not speak your language,
so I would advise you to leave
quietly, and immediately.
Finn and McCall exchange a brief glance then walk to the
door and out, followed by the security man.
ON THE CONSUL
He stands in thought for a moment, glances at his watch,
steps to his desk and picks up the phone.
EXT. CAMPFIRE - NIGHT
Come in on Hunter, who once again appears to be sound
asleep.
ON CARLOS
His eyes close slowly, then open fast. He shakes his head,
and looks toward:
HUNTER
peacefully sleeping.
CARLOS
looks away, blinks. We HOLD on him and
DISSOLVE TO:
CLOSE ON CAMPFIRE
ON HUNTER
asleep.
ON CARLOS
asleep!
ON HUNTER
His eyes open slightly. He is looking at the soundly
sleeping Carlos. Hunter waits a moment, then slides close
to the fire, lifts his leg and holds his feet separated,
as much as the rope will allow over the closest flame of
the campfire.
ON HUNTER'S FEET
The peak of the flame is licking at the rope, but his ankles
are being scorched.
ON HUNTER'S FACE
eyes fixed on the flame licking at the rope, his teeth
clenched.
ON THE ROPE
burning.
ON HUNTER
In pain he pulls his feet away, bends his knees and draws
his ankles sharply apart. The burned rope breaks.
ON HUNTER'S FACE
bathed in sweat. He looks quickly at
CARLOS
He stirs but does not wake up.
ON HUNTER
He brings his feet close and hunches forward so that his
weight is now on his feet. Still crouched he holds his
position for one more studied look at Carlos, who is no more
than eight or ten feet from Hunter.
ON HUNTER
eyes fixed steadily on Carlos, he rises slowly, quietly to
a standing position. We can now see the handcuffs holding
his hands firmly locked at his back.
ON CARLOS
Something alerts him and his eyes snap open.
HUNTER
charges at Carlos, coming at an angle to avoid colliding
with the boulder Carlos is leaning against.
CARLOS
moves like the athlete he is to avoid
HUNTER
head and shoulders down he hits Carlos like a charging bull.
ON CARLOS
His swift move has allowed him to get some mobility going
to cushion and deflect the charge but he is knocked to the
ground.
HUNTER
swiftly gets his feet back under him.
CARLOS
rolls to his feet, but a second too late. He is once again
hit by Hunter's charge.
THE SCENE
We will not try to choreograph the next twenty or thirty
seconds of this unusual struggle between two men, one of
whom hasn't the use of his arms and hands. With each
charge, Carlos is lessening the advantage of surprise and
attack that Hunter began with. Finally Carlos is knocked
down in a spot where some desert rocks are available and
he uses one, hitting Hunter in the temple and knocking him
unconscious.
CARLOS
breathing heavily, the large rock still in his hand, stands
over Hunter. When Hunter does not move, Carlos hurries to
the car, unlocks the door, and takes out both guns. He
turns, his own gun in his hand.
CARLOS
Hunter.
He waits, then walks over to Hunter, guns ready.
CARLOS
Hunter?
Hunter stirs slightly. His eyes blink open.
CARLOS
Get up.
Hunter half-rises, looks up at Carlos.
CARLOS
(backs away)
On your feet.
Hunter stands, a little wobbly, but not badly hurt.
CARLOS
You will not get another chance
to avoid facing me. I will kill
you with a quick shot to the head
if you again make even the
slightest false move.
Hunter just stares at Carlos in silence. What can he say?
He knows he hasn't any choice now: in a few hours one of
them will be dead.
DISSOLVE TO:
THE CAMPSITE - DAY
The early light breaks gently on the desert. There is no
sign of civilization in sight.
ON CARLOS
stamping out the fire, his gun in his hand.
CARLOS
It is a good day to die, Hunter.
(looks at Hunter)
That is a Sioux Indian expression.
Did you know that?
TWO SHOT
Hunter is sitting handcuffed, legs not tied.
HUNTER
Like I've been saying since we
met: you've seen too many American
Westerns, Carlos.
ON CARLOS
He doesn't reply. He takes Hunter's gun out of his pocket,
walks about fifty feet to a rock, puts the gun on the rock,
walks back to Hunter.
ON HUNTER
resigned, but still looking for an opening.
ON CARLOS
He holds his gun on Hunter while he tosses him the keys
to his handcuffs.
CARLOS
Take off the handcuffs.
ON HUNTER
He undoes his handcuffs, with difficulty.
TWO SHOT
CARLOS
(steps back)
Stand up.
Hunter stands.
HUNTER
You mind if I walk around a
second? I'M pretty stiff.
Carlos nods. Hunter walks a tight circle, trying to work
the kinks out of his system. Carlos holds his gun on him
from a distance.
CARLOS
All right, that is enough. Go
over to the rock.
Hunter walks over, looks down at the gun placed on the rock.
ON CARLOS
CARLOS
The gun is loaded, the safety is
off. Put the gun in your holster.
ON HUNTER
HUNTER
You mind if I check it?
TWO SHOT
CARLOS
There is no need, the safety is
off, I saw to that. Just put it
in the holster. Now, and do it
slowly and wisely.
Carlos raises his gun threateningly. Hunter complies, puts
the gun in the holster. Carlos walks over and takes his
position, facing Hunter.
CARLOS
(puts gun in his
holster)
Now. Here we are at last, face
to face and alone, just one man
facing another. I will wait for
your first move. If you don't
move in fifteen seconds, then I
will simply shoot you.
HUNTER
Nothing I say is gonna talk you
out of this?...
Carlos is intent; but in the instant that he is distracted
by the question, Hunter moves.
ON HUNTER
In one instantaneous motion, he pulls the gun from the
holster, dives to his left, and shoots!
CARLOS
shooting!
ANOTHER ANGLE
The bullet from Carlos's gun hits Hunter in the flesh of
his hip, although we may not yet know this.
ON CARLOS
The gun knocked from his hand.
THE GUN
lying on the ground.
ON CARLOS
His wrist bleeding, he goes for the gun. He almost reaches
it when
A BULLET
hits the dirt inches from the gun, knocking it two feet
away.
HUNTER
running toward Carlos.
CARLOS
scrambling for the gun.
Again Hunter fires and this time the gun itself is hit and
shattered.
CARLOS
grabs the bullet-damaged gun, sees that it is useless.
ON HUNTER
He stops where he is, knowing the gun is useless.
ON CARLOS
He looks at Hunter, desperately trying to maintain control
over his terror, expecting to be blown away.
CARLOS
(screams it)
I am ready! Do it!
HUNTER
Maybe he's tempted, but that's all.
HUNTER
Get up.
TWO SHOT
Carlos gets up slowly.
HUNTER
Put your hands in front of you.
Carlos does so, with some pain. Hunter puts the cuffs on
him. Hunter's hip is bleeding badly, as is Carlos's wrist.
HUNTER
I'm taking us to a hospital, you
took a piece outta my hip.
CARLOS
(enraged with
himself)
You said you would kill me! Why
don't you!?
HUNTER
That was talk. This is real.
He leads him to the car.
INT. CAPTAIN'S OFFICE
McCall is pacing nervously. The captain is obviously upset,
but trying to calm her.
CAPTAIN
McCall, you've done everything
you could. The State Department
Is grilling the Consul and we're
trying to cover all the bases.
INT. DIVISION - DAY
Hunter walks into headquarters, limping only slightly. He
walks past the gauntlet of surprised and curious cops to the
Captain's office.
INT. CAPTAIN'S OFFICE
As McCall sees Hunter.
MCCALL
Hunter!! What happened? Where's
Mariano!?
Hunter enters office.
HUNTER
It's a long story, McCall.
(to Devane)
You better get that Bureaucrat
from the state department on the
phone, Captain. I think we got
ourselves a live persona non
grata.
END OF ACT FOUR
FADE OUT
TAG
FADE IN
INT. AIRPORT DEPARTURE LOUNGE - MORNING
Carlos is sitting on a bench with an immigration officer on
each side of him, his hand-luggage by his feet. His wrist
is bandaged but not in a sling.
ON HUNTER
He enters the lounge, sees Carlos there, walks over and
stands in front of him.
TWO SHOT
Carlos and Hunter. Carlos stands.
CARLOS
How is your hip?
HUNTER
It's got five stitches in it.
CARLOS
Why are you here? To make sure
I am really going?
HUNTER
I want to make sure you're not
coming back.
CARLOS
There was one way you could have
assured yourself of that. You
failed to do it.
HUNTER
I've been thinking about that:
Did I make a mistake?
Carlos pauses a moment to consider.
CARLOS
No. But that does not mean
forgiveness, Hunter.
HUNTER
Speaking of forgiveness: What
will your father say to you?
CARLOS
He will understand. My father
understands the code I live by.
It is his code.
(a long pause)
I have concluded it is also yours.
That says it all, at last, as clearly as Carlos will ever be
willing to say it. As the two men look at each other, with
some understanding at last, we HEAR:
ATTENDANT (V.0.)
Final boarding for flight 11 for
San Pablo, Curaguay at Gate 7.
CARLOS
(does not offer
his hand)
Good bye, Hunter.
HUNTER
As long as it's not "I'll be
seeing you."
They do not shake hands, but Carlos almost smiles, then
turns and walks toward the boarding ramp, the two
immigration agents on either side of him.
ON HUNTER
watching him walk away.
FREEZE FRAME
THE END
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