| HUNTER
"THE FINGER"
(changed to THE SET UP prior to airing)
Written by Allison Hock
ACT ONE
FADE IN
EXT. MALIBU - NIGHT
Fog along the coast. The slap of dark water against the
sand. The wind, singing along the empty walks. On a night
like this, much to recommend to people who like to be sad.
A TESTAROSSA
belching halogen and smoke like a fiery red thunder lizard.
From its CD player, an urban wail gutted out. "Every Breath
You Take." Its headlights sweeping up to illuminate:
EXT. BEACH HOUSE
The Necco-wafer circles of moderne. Facing the sea —
daring the tides to come in and pull it down. The Testarossa
parking in front, cooling down its 175 mph, flat-12
engine.
INT. TESTAROSSA
The driver (GREGORY AVEDON), mid 30's, handsome, Black, hip and
in love. The object of his intense affection, NIKKI RICHMOND,
fortunately beside him. And what an object she is. An
exotic, feline-graceful creature born of Paris and the Dark
Continent. A face so arresting, so striking, that we sense
at once that no man could ever possess it.
GREG
I could stay, you know. Just
this once.
We see her torment of indecision.
NIKKI
No...
GREG
Nikki, what is it with this place?
You live here — this is your
home. What are you so damned
afraid of?
She kisses him hard on the lips to still his questions.
NIKKI
Just a little while longer, baby.
I promise. Then we'll go away
and never look back.
Their lips find each other again, her kisses almost
desperate in their insistence. Grinding against him,
breath rasping in his ear. It looks like he may have her
here and now. But suddenly she breaks free, kisses two
fingers and presses them to his lips — opens the passenger
door and steps out.
EXT. BEACH HOUSE - AT FRONT DOOR - NIGHT
She keys open the door, reaching inside to flip on the
wall switch. He remains in the car, looking at her.
Unable to pry his eyes away. Finally he fires up the
Ferrari, guns it hard, and skitters away a few feet...
when he hits the brakes and throws open the passenger door,
beckoning her.
NIKKI
Smiling at his insistence. But still shaking her head
a reluctant "no".
FROM TESTAROSSA
GREG
(shouting)
I love you!
And the car fishtails away on the sandy road. She stands
at the front door, watching him go, pensive, dreamy-eyed.
A woman with a bad case of it. At last she turns and
walks inside, easing the door shut behind her.
INT. NIKKI'S BEACH HOUSE - NIGHT
It's empty. Only the hallway light burning. We make out
the high-tech furnishings. Nikki carrying a large doggie
bag to the kitchen she's brought with her.
INT. KITCHEN
She opens the smoked black refrigerator, a warm glow coming
from the light inside. From the bag, she produces a
squashed cupcake with a single, melted candle on top. She
clears a special place for it on the top shelf, turns to
leave, when she pauses to consider;
NIKKI'S POV
The half-open kitchen window, the curtains blowing in the
light breeze.
RESUME
She goes over and shuts it with a vengeance, cursing to
herself. More an irritant than a signal for alarm -- or so
it seems until she eases open a drawer to produce a wicked-
looking ice pick. She's sweating now as she slithers along
the cabinets with her back, trying to get to the front door,
when she comes face-to-face with the towering presence
Of WILLEM SUNDERSON.
CLOSER
She gasps. He takes the pick from her hand. It's like
lifting a ball from a puppy. The light flicks on to better
illuminate him. She relaxes a bit when she sees who it is.
We don't. He's a Celtic god, by way of Gold's Gym and
the Planet Sleazoid. In short, capable of anything,
absolutely sure of everything.
NIKKI
YOU...
SUNDERSON
Want some goodies?
He pulls out a Pez dispenser and yanks back Donald Duck's
head. She steps away, disgusted.
NIKKI
What do you want?
He stands chewing the candy, calmly studying her.
SUNDERSON
The Man isn't happy. You're
breaking your word — getting
independent. Next thing you'll
be talking about him on Johnny Carson.
NIKKI
Tell him to turn off his TV.
It's clear that Nikki is more angry than afraid. He smiles
at her joke.
SUNDERSON
You know, Nikki, you're the
exception to one of the basic
rules of his life. That's why
you're alive. But what you're
doing now — talking about getting
serious with that guy in the
car — that's out.
NIKKI
Get out of my house. And you
tell him from me — you tell
him to go take a flying leap.
SUNDERSON
But I already have.
She turns back in surprise.
SUNDERSON
I told him that's exactly what you
would say. And you know what
he told me? If she does — off
her...
And Sunderson pulls out a .22 with a silencer screwed onto
the business end. Nikki only has time to wheel for the
front door, when the gun EXPLODES a small, neat black
hole through her head -- and she's falling, falling into
hell.
EXT. NIKKI'S BEACH HOUSE - DAY
The official witnesses of death gathered: black-and-
whites, coroner's wagon and minicam crew. Neighbors looking
on with dreaded excitement.
NEW ANGLE
Hunter's N.D. sedan rolls into scene and HUNTER AND McCALL
alight. A hard-bitten Uniformed cop (NAIMAN) comes over to
greet them.
NAIMAN
Sergeant Hunter...Sergeant McCall.
MCCALL
What do we have working?
NAIMAN
A young lady with a bullet hole
through her head. Looks like she
came home, surprised a burglar —
and sayonara.
INT. NIKKI'S BEACH HOUSE
Hunter and McCall following the Uniform inside. The place
ransacked. Chairs and lamps overturned. Sunderson has been
clever. A forensic team at work, another Uniform huddled
with a sobbing German housekeeper (MRS. MONTGOMERY).
NAIMAN
(a jerk of his head)
Housekeeper found the body.
HUNTER
Yeah, but her room's on the
oceanside. I doubt if she heard
much.
McCall's startled look that Hunter knows this place.
HUNTER
I've been here before...and I
think I know the victim.
ANGLE - CORONER (who has heard the above)
Hunter, kneeling into scene as he looks down at Nikki's body.
The Coroner, seeing the strange, sad look on Hunter's face.
CORONER
Too bad...what a face. Did you
know her?
HUNTER
I met her once. Nikki
Richmond. Can you tell
yet — was she
raped?
CORONER
No. At least she was spared that.
HUNTER
(examining the wound)
Could that be keyholing around
the entry wound?
CORONER
(after a beat)
I don't know...could be. It sure
didn't punch your normal hole.
I’ll have to check it out in the
lab, but...
Hunter rises to face McCall, who's just returned from
questioning the Uniforms.
HUNTER
Looks like a .22 equipped with a
silencer.
MCCALL
And the "burglary's" a fake —
someone trying to make the place
look trashed, but I doubt if
very much is missing.
HUNTER
Why don't we ask her?
A nod at the distraught housekeeper.
NEW ANGLE
MRS. MONTGOMERY
(German accent)
She was so young, so beautiful,
and the blood...I tried to do
something — I tried —
McCall, patting her arm.
McCALL
I know. It wouldn't have mattered.
She was already gone.
MRS. MONTGOMERY
You're a police officer...
McCALL
Yes, Ma'am. Detective Sergeant
McCall. This is Sergeant Hunter.
HUNTER
Mrs. Montgomery, who paid for this
layout? Was there a boyfriend?
Somebody helping her out?
MRS. MONTGOMERY
You mean keeping her, don't you?
She wasn't that kind of girl.
The housekeeper, growing angry.
McCALL
Ma'am, I think all Sergeant
Hunter's trying to find out is
if it could've been somebody
besides a burglar.
MRS. MONGOMERY
You don't think it happened that
way?
HUNTER
NO.
MRS. MONTGOMERY
(considering)
There was somebody...
McCALL
Who?
MRS. MONTGOMERY
A man or a woman. I don't know.
Once or twice a week, a car would
pull up outside and Nikki would be
waiting. Always brought her home
at night.
MCCALL
Did you ever ask her who it was or
where she went?
MRS. MONTGOMERY
(nods; a faint smile)
She just gave me that look of hers,
like she was closing off the world.
She was special. You had to know
her.
HUNTER
I did — not well. But you're
right. She was special.
Hunter, turning away, but he's made an emotional connection
with the housekeeper. He's touched something inside her.
MRS. MONTGOMERY
Wait...I think this will help you.
She fumbles in a pocket to produce a ragged scrap of paper.
McCALL
What is it?
MRS. MONTGOMERY
The license number. I copied it
down.
HUNTER
(unable to believe
his good fortune)
Why?
MRS. MONTGOMERY
Because I cared about Nikki -
about what might happen to her.
And I think maybe you care too...
EXT. AVEDON HOUSE - DAY
A high-tech fantasy castle. Only the Testarossa is missing
as Hunter's N.D. sedan pulls up in front. Hunter and McCall
getting out. They, and we, unsure exactly where we've landed.
EXT. AT FRONT DOOR
Hunter knocks. He's about to knock again when his fist
freezes in mid-strike. He's heard a voice faintly audible
from somewhere inside.
His hand on the knob. The door opens beneath it. With a
warning look of silence at McCall, he steps inside.
INT. AVEDON HOUSE
It's dark inside. The shades drawn. Hunter, unsure which
way to turn. Then the voice, again, louder, coming from a
room down the hallway. We, too, recognize her now, although
it seems incredible.
HUNTER
I've heard that voice before...
INT. STUDY
A wall-length video screen where the image of Nikki Richmond
smiles back at us. It's a home movie in which she's gathering
seashells along an isolated beach.
Camera Finds a high-backed chair, where a man stares
transfixed at the haunting images.
HUNTER AND McCALL
entering from behind. Still the man doesn't notice them.
Hunter crosses in front of the screen.
HUNTER
Gregory Avedon? Metro P.D. ——
Homicide.
HUNTER'S POV
The man is Greg, Nikki's lover. He's unshaven, red-eyed
from weeping. And even the sight of a cop in his home
doesn't stir him from his lethargy.
HUNTER
(surprised)
You know she's dead, don't you?
Greg, managing only to nod his head.
HUNTER
How? That's still under wraps.
GREG
I called this morning on her
private line. A woman answered,
she was hysterical. It was the
housekeeper.
McCALL
You didn't know it even sooner
than that?
GREG
(shocked)
Like, did I kill her?
(looks at screen)
Look at her...I loved her!
HUNTER
Was there anybody else in her
life besides you?
GREG
There wasn't another man, if that's
what you mean.
By now, McCall has switched off the VCR and turned on
the lights.
MCCALL
Then you were the one who was
paying her bills.
GREG
No.
HUNTER
She didn't work and she was
no heiress. She was making payments
every month in Malibu. Where'd
the money come from?
GREG
I don't know.
McCALL
I'm beginning to wonder if you
even knew each other. You sure
you don't have a wife tucked away
someplace?
GREG
Hey, get off my case, will you?
McCALL
Look at it; you never set foot in
her house. Nobody saw you
together in public. What were you
trying to hide?
GREG
It wasn't me. It was Nikki — she
was scared.
HUNTER
Of what?
GREG
I don't know.
Off Hunter's skeptical look.
GREG
Really. I'd ask her, but then that
look would come over her, and that
would be it. She wouldn't say.
She never did. Who she was — where
she came from —
(to McCall
You're right — I never really
knew her.
McCall looks at Hunter, her face reflecting her skepticism
about Greg. Greg sees it.
GREG
Hey, I'm telling you the truth!
At first, I thought yeah, there's
gotta be another guy. Later, I
realized it wasn't that simple.
And by then, I didn't care. I
asked her to marry me and she said
yes.
HUNTER
(surprised; it
doesn't fit)
You were going to be married?
GREG
(nods)
Where are we going to live, I said —
on a desert island? And she looked
at me, and she said the day I
become your wife is the day we have
dinner in Beverly Hills.
Hunter exchanges a look with McCall.
HUNTER
We'll let ourselves out. But for
God's sake, do yourself a favor.
Put the movies away.
They exit.
EXT. AVEDON HOUSE - DAY
MCCALL
I don't think he did it.
They climb into the sedan.
INT. SEDAN
MCCALL
But if he didn't, and it wasn't
a burglar, just who did kill
Nikki Richmond?
HUNTER
I'm glad you asked.
He fires up the engine.
McCALL
(smart ass)
Because you already know, right?
HUNTER
I know a good place to start.
As they head away:
HUTNER
I think it's got something to
do with a case I was on three
years ago. The murder of Nat
Claypoe.
INT. P.D. FILE ROOM - DAY
Hunter shuts a metal filing cabinet and turns back to McCall
with two photos.
CAMERA MOVES IN to reveal what she's looking at: a photo of
a man we've never seen before, stolen by zoom lens. He is a
man to be reckoned with. He is MICHAEL VARN.
HUNTER'S VOICE
Recognize him? There aren't many
pictures of him around.
WIDEN
McCALL
Michael Varn?
HUNTER
(nodding)
Nikki Richmond was his mistress
when his partner, Nat Claypoe,
was murdered.
McCALL
They never solved that, did they?
HUNTER
No, I never did.
EXT. MALIBU BEACH HOUSE - DAY
McCall, questioning a Pepsodent-pretty couple at their
front door.
McCALL
Think hard. Did you see this man
around here yesterday or last
night?
She shows the photo. The couple looks faintly surprised, as if
they may recognize Varn, but they shake their heads.
OMITTED
EXT. BEACH
Hunter questioning resident, this one in a mind-popping string
bikini. She looks puzzled, shrugs 'no'.
MATCH DISSOLVE TO
INT. METRO - LT. FINN'S OFFICE - DAY
^
Varn's photo.
WIDEN as LT. FINN angrily tosses it across his desk. Hunter
and McCall seated quietly in their chairs, hands not quite
folded on their laps, but that's the impression.
LT. FINN
You know how many complaints I've
gotten this morning regarding your
little dog-and-pony show?
HUNTER
No, how many?
LT. FINN
I don't know. And quite
frankly, I don't want to.
You can't go around accusing
Michael Varn of being a
murderer just because a
burglary goes sour.
HUNTER
Why not?
LT. FINN
Why not? It's like accusing
Howard Hughes of fixing a
high school volleyball game,
that's why not.
HUNTER
Well, Varn is almost rich
enough to be Howard — but
he got his money running
dope.
Lt. Finn's incredulity growing by leaps and bounds.
LT. FINN
Are we talking about the same
Michael Varn? The international
financier who buys and sells small
planets?
HUNTER
Nobody knows where Varn's
money came from before he
joined up with Nat Claypoe.
I think it's some of that
white Colombian nose candy.
Three years ago I tried very
hard to put him in the slam.
LT. FINN
I missed that.
HUNTER
'Cause I fell on my face. It
was when Nat Claypoe was murdered.
Remember that case?
LT. FINN
I haven't exactly been living
in a cave.
HUNTER
I thought at the time that Varn
killed him. I still do.
LT. FINN
Interesting theory. What's it
got to do with Nikki Richmond?
HUNTER
Maybe Varn had her killed.
LT. FINN
Hunter, you're losing it. If
Varn was responsible he wouldn't
hang around the murder scene.
HUNTER
True. Absolutely true.
LT. FINN
(surprised)
Then why in the name of God were
you flashing his picture all over
Malibu?
HUNTER
To get him out of hiding.
Finn looks puzzled, then irritated.
MCCALL
Before we flashed these pictures
we tried to see him — at his
yacht, his place in the Springs —
But it's like trying to see
the President.
LT. FINN
So you were just trying to get
his attention, huh?
HUNTER
Yeah...And I think we did.
LT. FINN
No way. Not now, not ever, not in
a million —
A Detective ducks his head in.
DETECTIVE
Hunter? There's a guy out front —
something about Michael Varn
wanting to see you?
Off Hunter's look. Score one for our side.
EXT. METRO DIVISION - DAY
A triple black extended stretch limo waiting in front. Its
hatted and gloved Chauffeur standing at the passenger door,
eyes fixed on the station exit. He looks like a big black
ex-NFLer. A passerby or two in Uniform regarding him with
curiosity. He doesn't care. He tenses in expectation.
Suddenly the one he's been expecting has arrived.
Hunter and McCall leave the station to find this hearse-
black vision beckoning them.
CHAUFFEUR
Sergeant Hunter? Mister Varn is
ready to see you now.
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
EXT. METRO – DAY
on Hunter's skeptical look.
HUNTER
Varn's here? He's in there?
He peers into the darkened windows that offer no answers.
CHAUFFEUR
No. A place of his choosing. A
secret place that he wishes to
remain secret.
HUNTER
And you're going to take us there?
CHAUFFEUR
If you agree to the rules: First,
you will not know where we're going
and the doors will be locked. And
you will agree to hand your weapons
over to me until we return.
McCALL
Sorry. Metro P.D. policy doesn't
allow us to give up our guns.
CHAUFFEUR
If you want to see Mr. Varn, you
will.
The Chauffeur waits for an answer. When he gets none, he
shrugs, starts to get into the limo.
HUNTER
Hold it. How long before we get
back here?
CHAUFFEUR
Depends on the length of your
discussions. A minimum of two
and a half hours.
Hunter calls over to several Uniforms who are still looking
over at the limo.
HUNTER
Guys -- write down this plate.
McCall and I are going to see a man
named Michael Varn. If we're not
back in three hours put out an
A.P.B.
He's serious. One of them starts scribbling down the plate.
INT. LIMO - DAY
Hunter and McCall settle into the plush seats and hand
their guns over to the driver. That barely done, and
the car begins to start away. The electric partition
whispering shut between driver and passengers. It, too,
is tinted, so they have no way of seeing where they're
going. McCall tries the door. It's locked.
McCALL
Hey — what's the worst that can
happen?
HUNTER
Varn reports us to Wyler for
giving up our guns.
McCALL
Yeah...The second worst is —
he kills us.
EXT. STREET - ON LIMO – DAY
plunging onto remote avenues as it gathers speed.
INT. LIMO (MOVING)
The Chauffeur, an impassive figure behind uniform and
sunglasses.
INT. LIMO (MOVING)
Hunter and McCall surrounded by black, unyielding windows
at every side.
DISSOLVE TO
EXT. ROAD - DAY
The passing landscape growing dense and wooded as the limo
winds higher and higher into the mountains.
NEW ANGLE
In the distance, we make out a massive shape rising ghostlike
from the wilderness. A hunting lodge like a mountaintop
Berchtesgaden. As the limo draws nearer, it sets off the
unearthly howling of o.s. hounds. Not a sound to gladden the
heart.
THE LIMO
It approaches a garage as its heavy doors open. The limo
slipping inside. Then abruptly vanishing as the doors close
over it.
INT. GARAGE
In the glare of an overhead light, only sterile walls that
surrender no clues. The Chauffeur, easing open a back limo
door for Hunter and McCall.
CHAUFFEUR
Up those stairs. They'll be
waiting for you.
He indicates a staircase that disappears into upper levels.
INT. STAIRWAY
Hunter and McCall, climbing into the dimness. Their footsteps
echoing off the concrete.
HUNTER
(a whisper)
Remember what I said about not
being scared to take chances?
McCALL
One of your finest hours.
Taking their time until they've reached the closed exit door
at the other end. Squeaking as they push it open.
INT. CORRIDOR
They walk until they've reached a second door that's ajar.
SUNDERSON'S VOICE
In here.
INT. CONFERENCE ROOM
It's dark. From somewhere off, the rhythmic ticking of a
clock. A man, coughing. And then a light snaps on to
reveal Sunderson — with a gun pointed right at Hunter.
SUNDERSON
Both of you — up against the wall.
Hunter, glancing at McCall. They don't have a choice.
Reluctantly, they comply. Sunderson isn't satisfied. He
plants Hunter's face into the wall. Hunter, gasping in pain.
Then, Sunderson roughly begins to shake him down. McCall
half-turning in protest. Sunderson, seeing her.
SUNDERSON
Hey—
THE FIGHT
Hunter uncoils, a rising half-fist to Sunderson's throat.
Sunderson fending it off but losing the gun in the process.
It slides out of sight under a massive desk whose bottom edge
is only inches above the floor. McCall futilely diving for
it. Sunderson's elbow curving now toward Hunter's chin. He
ducks. One of Sunderson's fists struggling for a carotid
punch, his feet kicking at Hunter. They fall heavily to the
ground. Breath coming in short rasps. Sunderson choking
him. Hunter draws up a knee, lashes out. It throws
Sunderson back and away — and into the path of McCall, who
brings an ashtray down on the base of Sunderson's skull. His
body sprawls on the floor.
YARN'S VOICE
You know, that's what I like
about L.A....
Varn, holding a gun of his own, walking into view with those
dead eyes; bored, smoking a cigarette.
VARN
One night a man walks on fire.
The next morning — his rent check
bounces.
Pale, slicked-back European hair. A kind of Klaus Kinski
who's seen, and done it all. He puts a hand on Sunderson,
who's just stirring. There is a suggestion of a chemistry,
a sexual tension between Varn and Sunderson.
VARN
(to Hunter)
I spend a great deal of money
to avoid publicity, to keep
my face and name off people's
tongues, and then you come
alone.
HUNTER
I'm not your press agent. I'm
a cop investigating the murder
of Nikki Richmond.
VARN
I never met that girl in my life.
So what the hell do you think
you're doing — running around like some
rampaging ape, accusing me of
murdering her?
HUNTER
What part should I answer first--
the one about the girl or the ape?
Varn comes a menacing step closer as Sunderson gets to his feet.
VARN
You know, people like you are
dangerous. People like you ought
to be stopped.
HUNTER
Is that what happened to Nikki?
She had to be stopped?
SUNDERSON
You don't know one freakin’ thing
you're talking about.
HUNTER
(to Sunderson)
You never heard about this
young girl who falls in love on
a Caribbean cruise?
Varn, restraining Sunderson. This is getting too interesting.
HUNTER
(to Varn)
When you lived in the Caymans,
Nikki was your mistress, still
in her teens.
VARN
You're full of it, my friend. I
never met her in my life.
HUNTER
I interviewed her three years ago
when Nat Claypoe's body washed
up on the beach. You were keeping
her then and you probably still
were — till a couple days aqo.
VARN
Quite a scenario you're writing.
And it's nothing but fiction.
HUNTER
Why would you go on keeping her
in that big house in Malibu?
Because she knew you killed Claypoe?
VARN
I didn't kill Nat, but if I had I
sure wouldn't've left someone who
knew it alive and well in Malibu,
now would I?
HUNTER
I'm not sure. Not yet. But when
I am—
Hunter, including Sunderson in his look.
HUNTER
I'm going to nail you for murder.
Both of you...
VARN
If you keep embarrassing me with
these rabid charges, you're going
to pay one hell of a price for it.
HUNTER
Is that all, Mister Varn?
VARN
It will be.
EXT. METRO DIVISION - NIGHT
The limo returning with its passengers.
This time, Hunter and McCall have to let themselves out.
The Chauffeur, handing their guns through the driver's window,
then roaring angrily away.
MCCALL
(watching him go)
If he keeps that up, I'll have to
give him a ticket.
HUNTER
Want to join me? I thought I'd
stick my head in the computer room
for a minute.
McCALL
I'm tired. My feet hurt. I'm
going home. If you turn up
anything good, call me.
And she gives him a little wave of farewell.
INT. METRO DIVISION - AT COMPUTER ROOM - NIGHT
It's locked and dark at this late hour. Nobody home. Hunter
pulling up short when he sees this, turning away in
disappointment—only to nearly collide with BUZZ WILLENS, a
youngish computer whiz who's passing by from the opposite
direction.
BUZZ
(surprised)
Hunter. I've been looking for you.
Hunter, untangling himself.
HUNTER
I can see that.
BUZZ
I've got some information for you
on Nikki Richmond — the place
where she worked.
HUNTER
She didn't work.
A phone beginning to ring inside the darkened computer room.
Buzz, fumbling with his keys to open the door and answer it.
BUZZ
Not technically, but she was on the
payroll. And drawing a nice
salary at that.
HUNTER
Whose payroll? Buzz, would you
wait a minute?
INT. COMPUTER ROOM
Buzz, snatching up the phone.
BUZZ
(into phone)
Metro computer room...
(to Hunter)
An overseas holding company—the
Multinational General Corporation.
HUNTER
(to himself)
Varn...
Buzz, listening intently into the receiver, when he looks up
at Hunter, startled.
BUZZ
It's for you.
INT. PHONE BOOTH NIGHT
A desolate corner of downtown L.A. On the phone, a big,
slow-talking, slightly dimwitted snitch named ROCKET. Right
now, he's glancing about nervously with a bad case of the
yips.
ROCKET
(into phone)
Hey, man...You know how hard it is
to get ahold of you?...I hear you
been asking around 'bout this guy,
Varn? Well, I got something for
you. Something juicy. But it's
gonna cost you a coupla big favors—
you know what I mean?
INTERCUT
HUNTER
So let's have it.
ROCKET
You kiddin'? You think I'm going
to tell you on the phone? Listen,
I'm staying downtown at this
fleabag, but I don't want to be
seen talkin' to no cop.
Hunter, growing impatient.
HUNTER
Rocket, make up your mind.
ROCKET
Hold on, hold on, let me think...
There's an alley, out back of the
hotel — the Adams at 20th and
Vermont.
HUNTER
I'll be there in twenty minutes.
ROCKET
Be careful, Hunter. It's a
rough neighborhood. Keep your
doors locked till I show.
EXT. HUNTER'S CAR - NIGHT
It waits in a darkened alley. Hunter inside, alone. His
face bathed in the glow of a red neon sign as it flickers
on and off.
POV - FROM UPPER FLOOR HOTEL WINDOW - NIGHT
Hunter's car below, small and vulnerable. The garbage-strewn
alley where it sits. We sense a figure watching, but who or
what it is, we don't know.
INT. HUNTER'S CAR - NIGHT
His long vigil. Glancing again at his watch. It's for the
hundredth time. Peering up the sides of adjoining buildings,
at the grim firetrap of a hotel, and finding only silent
phantoms. He waits some more. A cat, SCREAMING in its feral
howl, clattering into a garbage can as it scurries away.
Hunter, jumpy. All of it working on his nerves.
ANGLE - HOTEL'S ALLEYS IDE BACK DOOR
Dead ahead. It crashes open.
HUNTER
His hand already reaching for the revolver.
EXT. BACK DOOR
An older Woman bursts into the alley, frantic and unsteady
as she looks about wild-eyed. No hooker, but a nicely
dressed lady.
WOMAN
Help! Somebody help!
HUNTER
rushing out of the car.
HUNTER
What happened?
She sees the gun in his hand. This new shock pushing her
over the edge. She begins to shake. He grips her by
the shoulders.
HUNTER
Tell me — I'm a policeman.
WOMAN
He... somebody beat him. What they
did to him...
HUNTER
Where?
WOMAN
Room three... three eleven.
HUNTER
Wait here.
He wheels toward the door from which she came. When
he's safely inside, she turns and hurries down the
alley.
INT. HOTEL LOBBY - AT STAIRWELL
Hunter, taking two steps at a time. Charging around and
around the narrow pathway in a dizzying ascent until he
reaches the third floor, yanking open the door with gun
drawn.
INT. CORRIDOR - AT ROOM 511
The door ajar. Hunter, breathless, gathers himself and
brutally kicks open the door.
HUNTER
Police — freeze!
INT. ROOM 511
Sprawled on the floor, the beating victim. Not Rocket, but
a white male, 45, his handsome face now a pulpy mess. Blood
staining his custom-made shirt.
HUNTER
A glance at the victim. Then we follow him as he conducts
a quick, thorough search of the squalid room. No sign of
the attacker. He holsters the gun and turns his attention
to the victim.
TWO SHOT
Hunter, staring intently into his face.
HUNTER
Take it easy...Can you talk? Who
did this to you?
No response. Hunter, feeling his wrist for a pulse. There
is one. The chest, heaving.
HUNTER
scrambling to his feet, looking about for a phone, when he
sees:
ANOTHER ANGLE - AT DOORWAY
A Neighbor, Asian, peering in from the hallway, bug-eyed
with fear. Impossible to tell how long he's been watching
Hunter huddled over the victim.
HUNTER
Do you have a phone?
The man, spooked, retreats a step.
NEIGHBOR
My wife's already called the cops.
And he disappears. His door slamming nearby and the
deadbolt sliding into place. By now, the victim is stirring.
We will come to know him very well. His name is EUGENE
RAYMARK. Hunter takes out Ray-mark's wallet, rifles through
the thick wad of bills. A gold Rolex untouched on his arm.
This wasn't any robbery. It gets stranger and stranger.
INT. HOSPITAL ROOM
Raymark semiconscious in bed. Hunter here with SGT. CALIFAGNO
old-school detective, and a Uniform. The Doctor at his side.
HUNTER
Is he going to be all right?
DOCTOR
Looks like it. Most of the
injuries, bad as they look,
are superficial.
CALIFAGNO
(to Doctor)
What'd you say his name is?
HUNTER
Raymark. Eugene Raymark. He's the
President of some Beverly Hills
bank.
Off Califagno's look of surprise.
HUNTER
It was all there in his wallet.
Califagno nodding.
CALIFAGNO
Okay, Doc, if I ask him a few
questions?
DOCTOR
Keep it short.
CALIFAGNO
(stepping closer)
Mister Raymark—? My name is
Sergeant Califagno. Do you have
any idea who did this to you?
Raymark, trying to concentrate. He looks at Califagno, to the
Doctor, and then his gaze falls on Hunter. He blinks once
or twice, as if trying to clear the image.
RAYMARK'S POV
Hunter fuzzing in and out of focus.
RESUME
Hunter, watching Raymark without expression. And then
Raynark's finger comes up ever-so-slowly — pointing to
Hunter. Delivering its judgement. When Ravmark speaks. the
sound is thick, muffled, but we understand him well enough.
RAYMAKK
There. There's the man who did it.
CALIFAGNO
Now wait a minute, Mister Raymark.
This is Sergeant Hunter. He's a
police officer — he's the one who
found you.
Raymark, unable to tear himself away from Hunter.
RAYMARK
No. He's the one who lured me to
that room. He did this.
Hunter is incensed. He steps forward in protest but the
Uniform cuts him off.
CALIFAGNO
Mister Raymark, why on earth would
Sergeant Hunter do a thing like
that?
RAYMARK
I don't know. Why don't you ask
Sergeant Hunter?
Hunter, as the eyes of the judge, jury and executioner fall
upon him and we
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
EXT. METRO DIVISION - ESTABLISHING – DAY
A gray, somber day.
CAPT. WYLER'S VOICE
Sergeant, it is my duty to inform
you that you are immediately
suspended from all duties. That
you will be stripped of badge and
gun until the investigation of
felony charges against you is
completed.
INT. CAPTAIN WYLER'S OFFICE
WYLER, with HUNTER and LT. FINN, and TERWILLIGER. Wyler's
quiet and regretful, forced by a chain of infinite command
to place the knife in Hunter's back. It's one of the
hardest acts of his life.
CAPT. WYLER
And if said charges prove to be
correct, that you be discharged
summarily from this department and
answer to all civil and criminal
charges against you. Do you
understand these instructions?
Hunter replies by ripping his badge from its shield case
and slamming it on Wyler's desk, followed by his gun.
CAPT. WYLER
Hunter, it's not up to me — it's
in the hands of Internal Affairs.
What do you want me to do?
HUNTER
Off the record?
(to Terwilliger)
Why don't you guys start using your head.
TERWILLIGER
We looked into this guy — Raymark.
He's a highly regarded Beverly
Hills banker. It's hard to believe --
HUNTER
(overlapping)
C'mon, what was he doing in that
fleabag to begin with? What
happened to my snitch who suckered
me there -- or that woman who
came out, screaming?
LT. FINN
Varn...
HUNTER
You're damn right. He planned
all this. He framed me.
WYLER
And Raymark took that kind of
punishment? As some kind of -
favor? I don't believe it!
HUNTER
The Doctor said he looked badly
hurt, only he wasn't. The beating
was strictly cosmetic.
And we get this odd sense of everyone looking away, of a
curtain of gloom descending as if Hunter has really said
the wrong thing.
HUNTER
But it's true — the doctor said
that himself!
TERWILLIGER
(cutting in)
Hunter — one hour ago a blood
clot , the result of the beating,
broke loose. It lodged in Raymark's
brain. He's in surgery now, in
critical condition.
Hunter, stunned.
LT. FINN
The blood clot was an accident.
Giving someone a fake beating is
hardly an exact science.
But Terwilliger is bound by duty. He turns back to Hunter,
TERWILLIGER
Sergeant Hunter, I've been ordered
by the D.A. to place you under
arrest and book you on a charge
of felonious assault.
Hunter, now fighting mad.
HUNTER
Fine. Let's get it over with.
And set up a preliminary hearing
fast.
TERWILLIGER
No prelim — not yet.
(off Hunter's reaction)
The D.A.'s decided to delay
that till he knows whether
Raymark lives or dies.
INT. SQUAD ROOM
McCall, at her desk, watching Hunter exit with Terwilliger,
and the crucifixion she is unable to prevent. They continue
past, but not really noticing:
NEW ANGLE
A young woman of 19 seated in a visitor's chair. She's
darkly alluring, yet somehow disturbing. She has the eye
of a rebel and the heart of Annie Oakley, with a damn personal
stake in all this. She's a wild card. Her name is
GLORIA RAYMARK.
GLORIA
Watching Hunter exit with Terwilliger. When they are out
of sight, she stands and follows. There is something not
only ominous about all this, but something strong, determined
about Gloria herself.
EXT. HOLLYWOOD STREETS – DAY
MONTAGE:
Hunter, prowling in his own car (probably a department
reject), looking for somebody.
EXT. STREET CORNER
McCall, all hookered up, conferring with two or three other
hookers.
McCALL
You know Ginger — one of Gypsy's
girls? She's trying to find
Rocket. You seen him?
The girls, shaking their heads "no".
McCALL
If you see her, tell her to get in
touch with Boozie at Reqgie's Bar.
EXT. STREETS
Hunter still searching intently in his sedan past the
riff-raff of the boulevard.
McCALL
hitting up more hookers. Still no success.
EXT. STREETS
Hunter spots somebody up ahead, hurrying along on foot.
He guns the engine. The guy, a Hype, wheels at the noise,
sees who it is and takes off.
EXT. SEDAN
Hunter shoots up the street and hard-cranks the wheel,
cutting him off. He's already out of the car and wrestling
the Hype to a wall.
HUNTER
Lie to me and I'll break you into
a million pieces, I want Rocket.
Where's he hiding!
EXT. STREET
McCall limping along on her spike heels toward another
cluster of hookers. She's tired, dejected, feet killing
her. When, from:
ANOTHER ANGLE
Finn squeals up to a stop beside her in his N.D. sedan.
He's alone.
LT. FINN
Get in. We've just found Hunter's
missing snitch.
McCall, elated.
McCALL
Thank God! We've got to find
Hunter.
She slams inside. Finn is strangely solemn.
LT. FINN
I'm afraid he already knows.
OMITTED
EXT. CONSTRUCTION SITE - DAY
A large crane lifting a body overhead, above black-and-
whites and Uniforms, and the troubled Finn and McCall.
HUNTER
slowly walking over to join them. Almost afraid to look
at the body — to see one more shot at clearing himself
die before his eyes.
LT. FINN
Somebody found him just in time.
Twenty minutes more and he'd've been
buried in 300 tons of concrete.
The crane, dropping the body onto the sidewalk. Hunter
staring down at it.
LT. FINN
Is that him?
Hunter, finally nodding his answer.
LT. FINN
I'm sorry, Hunter.
HUNTER
Don't be.
Finn glancing up, surprised.
HUNTER
Varn thinks he's got it all
covered. He gets away with
Nikki, and now me. Only he's
wrong. He outsmarted himself
with that Raymark move.
McCALL
Raymark's in pretty bad shape
even if he would talk.
HUNTER
But whatever Varn has on him --
it's got to be heavy as all hell,
and it's not just going to go
away.
(to Finn)
You better get a guard out to
the hospital, fast.
(to Finn)
You better get a guard out to
the hospital, fast.
LT. FINN
I will. But that's a big if —
if he can hold on just a little
while longer. If you don't go
and do anything stupid.
HUNTER
Like lose my badge? I already
have.
He walks away.
McCALL
Hunter!
She hurries to join him.
McCALL
Where you going?
HUNTER
Home. I don't know.
McCALL
Are you all right?
HUNTER
Working on it...
She watches him leave, feeling his pain, knowing there's
nothing she can do about it.
EXT. L.A. FREEWAY - NIGHT
Hunter, driving, as L.A. unfolds before us like a magic
city, a blending of Babylon and Mars.
INT. HUNTER'S CAR (MOVING)
Hunter. The breeze caressing his face. He reaches for
the stereo controls to push back the silence.
EXT. FREEWAY
Music over as the car continues on and on. Traffic slackens.
EXT. HUNTER'S HOUSE NIGHT
Hunter's sedan pulling up. The headlights shutting off —
still enough darkness for them. Wearily, he steps out of
the car. When a bullet EXPLODES into the windshield.
HUNTER
ducking and rolling as more shots ring past from a clump
of bushes where a dark figure is crouched. All the time
Hunter is feeling for his holstered revolver,
when he realizes with horror he doesn't have it. Another
shot, this one closer.
NEW ANGLE
He reaches inside the open passenger window to bring out a
second piece from the glove box. Then, slipping along his
car, using it as cover, until he's outflanked the killer.
Hunter, bursting up with gun drawn.
HUNTER
Drop it or I'll blow off your
Head!
His assailant, reluctantly dropping his gun to the pavement.
HUNTER
grabbing the killer, shoving him roughly toward the front
door with a gun at his head.
ANOTHER ANGLE - FROM NEXT DOOR
A Neighbor, peering frightened from her door.
FEMALE NEIGHBOR
Mister Hunter? You still there?
HUNTER
Go to bed, Mrs. Rodney. I'm
fine. Everything's under control.
INT. HUNTER'S HOUSE - AT FRONT DOOR
Hunter wrestling the assailant inside. One hand around his
"neck, the other fumbling for a light switch. No easy task.
The assailant still fighting to break free. Finally, Hunter
hits the lights and swings him toward Camera.
ANGLE
It's-a gorgeous young woman, all in black. It's Raymark's
daughter, Gloria. Hunter's open-mouthed shock at finding
this mere girl. And we:
FADE OUT
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN:
INT. HUNTER'S HOUSE - AT FRONT DOOR - NIGHT
Hunter angrily confronts the young woman who Just tried to
bury him.
HUNTER
What do you think you're doing
— trying to kill me!
GLORIA
(struggling)
I only wish to God I had!
She breaks free, bolts for the front door. He grabs her
arm, yanking her back.
HUNTER
Who are you!
GLORIA
The hell with you!
He responds by ripping a small purse away from her shoulder
and dumping its contents on the floor to produce a wallet.
HUNTER
(reading; with
surprise)
Gloria Raymark...
She grabs a handful of the contents and flings them at him
to cover another escape attempt.
HUNTER
(as he grabs her)
Knock it off before I take you
down and have you booked for
attempted murder!
He shoves her toward the kitchen.
GLORIA
What are you going to do, beat me
up like you did my father?
INT. KITCHEN
Hunter forces her into a chair at a table.
HUNTER
Now shut up and listen to me.
She starts up. He shoves her back down.
HUNTER
I never laid a hand on your father.
I don't even know him.
GLORIA
There's no mistake! He was
positive when he picked you out.
HUNTER
Oh he was positive all right! —
'cause he was following instructions
from Michael Varn!
GLORIA
You're crazy! I don't think my
father even knows Michael Varn!
HUNTER
He knows him. Varn blackmailed
your father into taking that
beating.
GLORIA
(angry reaction)
You're saying my father agreed
to be beaten half to death!
HUNTER
No. The blood clot was an
accident — the beating was only
supposed to look bad.
She tries to force her way up again.
GLORIA
Let me go!
HUNTER
(shoving her down)
Get it through your head: Varn
did this to get at me — which means
he's got something on your father.
GLORIA
You're crazy!
Hunter, stuck at an impasse. He snatches up the phone and
punches out a number.
HUNTER.
(into receiver)
McCall? Get over here! I'm at
home, make it fast.
DISSOLVE TO:
INT. HUNTER'S KITCHEN - NIGHT
McCall steps into the kitchen. Gloria, reacting in surprise
that McCall's not a sadistic-looking brute but a female, no less.
HUNTER
McCall, I want you to meet Gloria
Raymark. She's 19 years old and
she just tried to kill me.
McCall's shock.
HUNTER
When you've been able to get
through her head what really
happened, wake me up. I've been up
for 48 hours, I'm going to bed.
And he goes into a back bedroom, the door SLAMMING shut.
McCall, regarding this strange adversary.
McCALL
Do you do this kind of thing often?
GLORIA
Don't patronize me.
McCALL
Hunter's address isn't listed.
How'd you find out where he lives?
GLORIA
I never take 'no' for an answer.
McCALL
That may be your problem. Why
don't we sit down and talk about
it over a cup of coffee?
DISSOLVE TO
INT. KITCHEN - LATER - NIGHT
McCall and Gloria sipping coffee. Gloria grown thoughtful.
McCALL
You know, what you did here
tonight — that's called attempted
homicide. It could get you ten,
twenty years in the state pen,
whatever your reasons.
GLORIA
If it was your father, how would
you feel? What do you think
you'd do?
McCALL
I think I'd try 'n find out all
the facts before I took a shot at
someone.
GLORIA
Look, after my mother died, there
wasn't anybody left but Dad and me.
We look out for each other.
McCALL
You aren't hearing me, Gloria.
GLORIA
You want facts? I talked to the
doctors personally. My Dad wasn't
confused and he wasn't damaged —
not yet. He knew exactly who he
was accusing.
McCALL
Sure he did. He was ordered to.
Gloria, how well do you know your
father?
Gloria starts to say something, but McCall holds her off
with a stern hand.
McCALL
As an adult. A businessman. As a
banker who handles millions of
dollars every week, most of it in
overseas transactions?
GLORIA
My father is an honest man, a
wonderful man.
McCALL
Let me ask you one more time;
How well do you know him?
Gloria, staring pensively into her coffee.
INT. HUNTER'S BEDROOM - DAY
The blinds drawn, but we make out Hunter's restless shape,
fighting at the blanket in troubled sleep. A hand, shaking
him awake. His eyes opening to find:
NEW ANGLE
McCall and Gloria standing over him, terribly solemn.
McCALL
Gloria has something to tell you.
Gloria, unable to look him in the eye.
GLORIA
Sergeant Hunter. I've been
listening to Miss McCall tell,
you know, the whole story about
you, and the murder of Nikki
Richmond and Mr. Varn...and I was
just wondering...
Gloria, suddenly grown quiet. McCall holds up a house key.
McCALL
The key to her father's house.
INT. RAYMARK HOUSE - STUDY - DAY
Gloria, switching on the light as Hunter and McCall enter
behind her. It's just as he left it: neat, clean and very
upscale. Banking's not a bad business.
The phone, suddenly RINGING, shrill and insistent. Gloria
snatches it up.
GLORIA
Hello...Yes, this is Gloria
Raymark...
She breaks into a smile as she listens.
GLORIA
Oh, that's wonderful. Yes,
thank you for calling.
Elated, Gloria replaces the phone, wheeling back to
Hunter and McCall.
GLORIA
They removed the blood clot and
they think he may be all right!
HUNTER
Thank God...maybe our luck is
finally changing.
McCall, beginning her search through a metal filing cabinet.
Hunter, looking through Raymark's desk, past a small tape
recorder he lays aside, past loose papers, etc.
DISSOLVE TO:
HUNTER
slamming the last desk drawer shut in frustration.
HUNTER
A big, fat zero...What about you?
McCALL
Sorry.
We look on their faces and see their defeat. Hunter, disgusted
is about to kill the light when he notices the phone. He
examines it more closely.
CLOSE - DESK PHONE
Modern in its lines and function. One of which is a key
marked "redial".
RESUME
Hunter's interest growing. He grabs the mini tape recorder.
HUNTER
McCall, I'm going to push re-dial
After I push it, you pick up that
phone -—
He indicates the extension.
HUNTER(Cont'd)
If anybody answers, give them
your best little girl's voice —
(high and squeaky)
— Is Jimmy there?
McCALL
Hunter, what are you up to?
HUNTER
If we're lucky we're going to find
out the last phone call Gloria's
father made.
McCall readies herself at the extension. Hunter hits the
redial key, holding the tape recorder to the phone earpiece.
We're close enough to HEAR a series of clicks, and then:
MAN'S VOICE
Hello...
McCALL
(into phone; a.
childs voice)
Is Jimmy there?
MAN'S VOICE
Sorry. You got the wrong number.
The phone SLAMS down on the other end. McCall disappointed.
Hunter, anything but.
HUNTER
You didn't recognize the voice?
McCall, shaking her head.
HUNTER
Listen.
He turns on the tape recorder.
MAN'S VOICE
(from tape recorder)
Helllooo...
It's in slo mo, the man sounding as if he's got a thyroid
condition.
HUNTER
Sorry. I had it on slow.
He adjusts the speed. This time, normal sounds spill out.
MAN'S VOICE
Hello.
McCALL'S VOICE
Is Jimmy there?
MAN'S VOICE
Sorry. You got a wrong number.
Hunter switches off the recorder, looks at McCall. Suddenly
she knows.
McCALL
That's the chauffeur!...That's the
guy who took us to see Varn!
Gloria, sinking into the sofa. It seems impossible. Hunter
rewinds the tape recorder, hits "PLAY". We HEAR the series
of CLICKS in slow speed. Hunter putting down a corresponding
number after each one.
HUNTER
... one...seven...one...four...five
...five...five...one...one...four...
two.
McCALL
Area code 714? It's gotta
be where the chauffeur took
us — Varn's hideaway.
Hunter switches off the desk lamp. Gloria has settled onto
the sofa.
HUNTER
Lock this place up tight.
Gloria nodding. Hunter and McCall make their exit.
GLORIA
Sergeant Hunter...I'm sorry.
HUNTER
I know.
EXT. METRO DIVISION – DAY
Establishing.
INT. METRO DIVISION – DAY
McCall on the phone at her desk.
McCALL
(into receiver)
Look, this is urgent...No, I can't
spell out the reasons—you've been
stalling me for four hours already!
Do I have to go to Captain Wyler?
To the chairman of the police
commission?
EXT. METRO DIVISION - DAY
McCall comes hurrying over to Hunter, who's waiting tensely
in the N.D. sedan.
McCALL
I got it!
Hunter starts up the engine.
ANOTHER ANGLE
The unshaven wreckage of Greg Avedon, Nikki's lover, coming
over to their car.
GREG
Excuse me... I want to know if I'm
still a suspect or if I'm free to
leave town?
McCALL
(sympathetic)
Go ahead. I hope it's a long
vacation. Where you going?
GREG
The Carribbean. I've got to find
out who the hell she was.
HUNTER
Don't even try,
Greg.
GREG
Why? Do you already know?
If you know, tell me — I'm going
to find out one way or another.
Hunter hesitates, stares at Greg, finally decides to give it
to him unadorned:
HUNTER
When she was very young, she was
sleeping with Michael Varn, who
had a partner named Claypoe he
wanted dead. Varn killed him.
I think Nikki saw it...which was
all right till you came along
and threatened to make her
independent.
Greg, blinking back the tears.
GREG
So she died because of me...
HUNTER
No, because of Varn—and what he'll
keep doing till somebody puts him
away.
(starts car)
Don't leave town. We may need you.
And he drives off, fast.
EXT. ROAD - DAY
The same tree-lined road we trammeled earlier by limo.
INT. HUNTER'S SEDAN (MOVING)
McCall, consulting a county map as Hunter guides the car
through unfamiliar terrain. The passing landscape growing
more lonesome, almost spooky in its desolation..
EXT. ROAD
The sedan backing out of sight into a thicket of trees.
CLOSER
Hunter and McCall exiting the car.
McCALL
Now remember. We're going to
stick to the plan, right?
HUNTER
Right.
McCALL
All we're going to do is
reconnoiter. We're going to see
what's here, and then we'll come
back with a search warrant. Right?
HUNTER
Right.
EXT. WOODS - DAY
They've come a mile or two, the woods receding as they reach
a clearing. From somewhere ahead, the BARKING of hunting dog;
The same dogs that we -- and they — heard earlier. This
is it. They duck under a fence and crawl out...and what
they see, straight ahead, pulls them up short in awe and
surprise.
THEIR POV
The ghostly lodge rising from the wilderness.
RESUME
It's not a dream. It's real, and they've been here before.
They stare on with satisfaction, looking it over.
HUNTER
That's it. There's the garage we
went into —
Then suddenly, the bang-bang-bang-bang-bang! of GUNFIRE.
Hunter and McCall, ducking and rolling back into the woods
for cover. BANG-BANG-BANG! from a second gun, somewhere
ahead. They, and we, realizing simultaneously that the
shots are part of somebody else's battle.
McCALL
(daring a glance)
Hey...They're not shooting at us...
THEIR POV
From around the main house, who comes charging into view but
Gloria, clutching her monster gun and running for her life,
gunfire whizzing past.
RESUME
McCALL
Oh my God, it's Gloria...
Hunter takes aim and FIRES — over her head, at her hulking
Assailant. It forces the man back.
GLORIA
mistakenly thinking that she's being fired at by more
heavies. She FIRES back at the woods, where Hunter and
McCall are half-hidden.
HUNTER
(yells)
Gloria! Over here!
NEW ANGLE
Gloria, starting to squeeze off another round when she
hesitates in shock at seeing who it is. McCall, waving her
on like a first base coach.
McCALL
Don't stop—hurry--this way...
EXT. - MAIN HOUSE
Sunderson hurriedly exiting with another Henchman, both
carrying semi-automatic weapons.
EXT. WOODS - AT EDGE
Hunter and McCall, reaching for Gloria when a SHOT rings out.
It barely misses her.
ANOTHER SHOT. McCall answers with a BLAST from her .38, and
they rush pell-mell into the relative safety of the woods.
TILT UP to a window of the lodge overlooking the woods, where
Varn watches the battle unfold below.
INT. LODGE - AT WINDOW
He's flanked by two or three more well-dressed Muscle.
MUSCLE
Think we ought to send for some
Help. Mister Varn?
Varn does not even look at him.
VARN
Don't worry. They can handle it.
EXT. WOODS - THE CHASE – DAY
A rush of images:
Hunter, McCall and Gloria, racing along on a zigzag course
for the parked sedan, using the trees as cover. Branches
tearing at their faces. Bullets exploding overhead. Hunter
and McCall firing more BLASTS from their handguns.
The closest Assailant catching one of the bullets in the arm.
He wraps a handkerchief around it, continues the pursuit.
Sunderson and the Henchman overtaking him, spraying bullets
from semiautomatic weapons.
Gloria, stumbling in panic. McCall helping her up. Hunter
FIRING back.
The car waiting ahead.
Sunderson seeing it, breaks off from Varn and sprints away
on an intercept course.
Fifty more yards to the car and our people are home free.
A fourth HENCHMAN, joining the battle.
Twenty yards from the car. Gloria dares a glance backward.
The Henchman FIRING.
Gloria goes down, clutching her chest from the shock of
impact.
McCall, returning FIRE, driving him to cover.
Hunter, scooping up Gloria in his arms, rushing headlong
to the car as McCall covers with her last bullets.
The final yards: Our trio, slowed by Gloria's wounding.
From below, Sunderson gaining. At last our people reach:
EXT. AND INT. HUNTER'S CAR
McCall, laying Gloria on the backseat as Hunter jumps into
the driver's seat and slams the door.
Hunter firing up the car.
A barrage from the Henchman's semiautomatic weapon narrowly
missing.
Sunderson bursting into view on the road. The car lurching
forward on a collision course. Sunderson jumps aside, rolls
and comes up FIRING. The rear window EXPLODES. Gloria,
screaming in fright.
McCall, through the jagged outline, wheels in self-defense
and FIRES. Sunderson is hit.
The Henchman emptying his weapon into the fishtailing rear
end as it disappears down the road to freedom. The wounded
Muscle stumbles over to Sunderson.
MUSCLE #2
(yells at Henchman)
Sunderson's hurt! Bad!
The Henchman continues to stare off in the direction in
which Hunter's car disappeared.
OMITTED
INT. HOSPITAL ROOM - DAY
Raymark in bed, his head bandaged from surgery. But he's
alert, conscious and what now appears in the doorway fills
him with sufficient shock to straighten him bolt upright.
Hunter walking in, slow and easy. Raymark's panic growing.
RAYMARK
What do you want—what are you
doing here?
HUNTER
No more games. No more lies. I
want the truth about the man you
did this for.
Raymark reaches for the signal cord to call for help. Hunter
pulls the cord away.
RAYMARK
Get out of here. How did you get
in here!
HUNTER
Mister Raymark, Varn's men almost
killed your daughter today.
The only reason she didn't die is
because my partner and I were there
to keep him from killing her.
RAYMARK
I don't believe a word you're saying.
Hunter simply walks away. Raymark doesn't know what to think.
He grabs up the phone.
RAYMARK
(into receiver)
Get me the admitting desk... !
INT. HOSPITAL HALLWAY
McCall pushing Gloria along on a gurney. She's pale but
recovering, head elevated. Hunter suspends an IV bottle
above her by hand. A NURSE, rushing up in alarm.
NURSE
Hey—you can't do that!
They ignore her pushing Gloria toward her father's room.
GLORIA
A asked them to!
OMITTED
INT. RAYMARK'S HOSPITAL ROOM
On Gloria as she's wheeled in by Hunter and McCall. But all
Raymark sees is his wounded child.
RAYMARK
Oh my God...
GLORIA
It was Varn's men who shot me, father.
Raymark, his eyes filling with tears as he continues to stare
at his brave girl, IV thrust into one arm, pain etched in her
face from the chest wound now wrapped in surgical bandage.
RAYMARK
Baby, I'm sorry...I'm so sorry...
I never dreamed you'd become
involved in this.
A Doctor and two Nurses storming in.
DOCTOR
Are you out of your minds? This
patient just came out of surgery!
The nurses take the IV bottle from Hunter and rush Gloria out
of the room.
DOCTOR
(to Hunter and
McCall)
And as for you two—
RAYMARK
(to Doctor)
Doctor Isaacs, these people...
They're friends. Give me a few
minutes, please!
Hunter, startled, never expecting to be called a friend by this
man.
DOCTOR
(surprised)
You're saying you knew what they
were doing?!
RAYMARK
Yes. I asked to see my daughter.
DOCTOR
I'd better get back and check on
her.
Raymark turning to Hunter and McCall.
RAYMARK
I guess I don't really have to
explain, do I? You probably know
the answers.
HUNTER
Only that Varn had a hold on you
that you couldn't say no to.
RAYMARK
No, I could have. I should have...
(a long pause)
Twelve years ago I was bankrupt.
Varn offered me a way out--
laundering money for him. He made
me a comfortably rich man and
never called in my I.O.U....until
a week ago.
(then)
Can you forgive me?
Hunter, battling conflicting emotions. Finally;
HUNTER
Your testimony will put Varn away
for a lot of years, even if we
never nail him for murder.
MCCALL
We'll nail him for that now, too.
OMITTED
EXT. ROAD TO YARN'S LODGE – DAY
A Caravan
travelling at moderate speed toward the house: Two
Sheriff's Cars in the lead, Finn's car bringing up the
rear.
INT. FINN'S CAR 13
Finn at the wheel, McCall beside him. Hunter in the rear
seat.
FINN
Sounds awful quiet.
(glances at
Hunter)
You suppose he got the word?
HUNTER
If he did he's long gone.
McCALL
And if he didn't?
HUNTER
It'll stop being quiet — real
fast.
He looks offs
HIS POV - THE LODGE
Quiet. No cars. Seemingly deserted.
BACK TO CARAVAN
continue toward the lodge.
ON A LODGE WINDOW - SECOND FLOOR
A Muscle, having heard the cars, runs to a window to look
out.
WHAT HE SEES:
The cars coming slowly toward the lodge.
MUSCLE
He turns on the run.
MUSCLE
Mr. Varn! Mr. Varn!
Varn appears in a doorway.
MUSCLE
Sheriff's cars outside! — three
of 'em!
Varn runs to the window.
WHAT VARN SEES
The caravan is near the area fronting the house now, still
moving slowly.
BACK TO VARN
He turns to the Muscle.
VARN
Hold 'em off! — I need five or
ten minutes!
EXT. FRONT OF LODGE
The lead car drives to the far side of the lodge-front and
stops. The second sheriff's car pulls up facing the
house at mid-center.
FINN'S CAR
pulls up at the near side facing the double car-port
that gives access to the rear of the house.
INT. FINN'S CAR
All three are studying the quiet front of the house.
FINN
(into mike)
Stay in your cars boys, but cover
me good — I'm gonna see if I can
serve this warrant with no fireworks.
Finn puts the mike back and starts to open the door when
the first shot is FIRED.
THE SCENE
Guns are being FIRED from three windows of the lodge.
Semi-automatic, going like mad.
THE SHERIFF'S CARS AND FINN'S CAR
All are getting out of the cars, FIRING simultaneously,
in order to take up positions using their cars for
protection.
FINN, HUNTER McCALL
at rear of Finn's car - FIRING.
INT. LODGE - STUDY
Varn is filling two large briefcases with papers from a
large wall (or floor) safe. The SOUNDS of the GUNFIRE
come over. It sounds like World War III. Varn takes the
two briefcases and runs from the room.
EXT. FINN'S CAR
All three FIRING.
HUNTER
Hold it!
McCall and Finn stop firing, Finn reloading.
HUNTER
I'm gonna try to get through there.
He indicates the double open carport.
HUNTER
Start firing again — at that
front window!
FINN AND McCALL
FIRING as fast as possible toward the front window.
HUNTER
running like crazy toward the carport.
AT CARPORT
He makes it safely by leaping and rolling the last eight
or ten feet.
AT PICKUP
as Yarn struggles out of the cab, a gun in his hand.
HUNTER
leaps on Varn and takes him down hard. He grabs Varn's
wrist and shakes the gun loose in one fast motion hard
enough to break Varn's wrist. The gun goes flying and
Hunter knocks Varn to the ground.
ON HUNTER
as he takes out his handcuffs, jerks Varn to his feet
and handcuffs him.
FADE OUT
END OF ACT FOUR
TAG TO FOLLOW
(But unfortunately, it’s missing, so I’ll summarize it)
INT. METRO DIVISION – DAY
McCall trails Hunter as they approach their desks.
MCCALL
Look Hunter, you did what
nobody else could do... you
locked him up and put
him away.
HUNTER
Yeah, on such charges as
conspiracy to commit perjury,
assault with a deadly
weapon, resisting arrest,
(they both sit down
at their desks)
possession of automatic
weapons...
MCCALL
What did you want to do,
watch him walk?
HUNTER
Let me tell you something,
for a guy who’s trashed as
many lives as he’s trashed,
killed as many people as
he’s killed, I’d like to see
something a little more harsh
come down on him – something
like --
(big smile)
-- death row.
MCCALL
I know that, but there’s
really not much more we
can do about it.
The LIMO DRIVER enters, his arm in a sling.
LIMO DRIVER
Sgt. Hunter --
MCCALL
Well, if it isn’t our
favorite chauffeur.
HUNTER
What do you want?
LIMO DRIVER
We have a mutual friend
in the hospital who wants
to talk to you.
MCCALL
Who’s that?
LIMO DRIVER
Willem Sunderson.
HUNTER
Now, why would I want to talk
to Willem Sunderson?
LIMO DRIVER
Because Mr. Varn left him
for dead by the side of
the road.
HUNTER
Why would I want to talk
to Willem Sunderson about
that?
LIMO DRIVER
Because he’s willing to
tell you all about Mr. Varn.
He’s willing to make a deal.
HUNTER
(getting interested)
Yeah, what kind of deal?
LIMO DRIVER
His life for Varn. He’ll
tell you how Mr. Varn
personally ordered the
murder of Nat Claypoe and
Nikki Richmond.
HUNTER
(to McCall, smiles)
I believe I’d like to talk
to him about that, wouldn’t
you?
MCCALL
(pleased)
Yes.
HUNTER
Shall we?
Hunter and McCall rise from their desks.
FREEZE FRAME
FADE OUT
THE END
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