Unfortunately, I don't have the second half of this script, but part one is a pretty good read. If anyone out there has a lead on where I can get a copy of the rest of The Snow Queen, or any other good script that I don't currently have, please shoot an email to: kittyo@wonderfulworldofhunter.com. Thanks!
HUNTER
"THE SNOW QUEEN"
Written by Frank Lupo
PART ONE
ACT ONE
FADE IN
CLOSE - A GREYHOUND
This is one of those pictures on the side of a cross country
bus and we'll probably hear something like The Who banging
out THE MAGIC BUS, as:
A GREYHOUND BUS
rolling down the open highway somewhere in Texas or New
Mexico -- and now we are on one of the windows of the bus
and we see a passenger staring vacantly out at the painted
mountains.
CLOSE - SALLY LaPONE
That's the name on her birth certificate - she runs under
the name of Sally "Sno-Cone" or "Sno-Cone" LaPone. Sally
Sno-Cone's one of those chicks who always manages to find
her way into the party action. She's not really connected
with anyone of consequence but she always knows someone who
knows someone who knows someone. She can find someone to
score off that'll get her into that party that'll get her
into that rock star's bed that'll get her invited to that
next party. She thinks she's worldly wise and just making
memories and having good times but all she's doing is
traveling down a narrow tunnel that empties into a huge
toilet, getting used up on the way. Hold on her face --
older than it's twenty some odd years. As the scenery
flashes past, reflecting off the bus's window, we:
CUT TO
A SIGN - CALIFORNIA STATE LINE
And as the bus whisks past we whip pan to:
THE GREYHOUND BUS
just running down that highway and we pan up off the driver
to the sign over the windshield of the bus. It reads:
LOS ANGELES
Hold on the sign, as we:
DISSOLVE TO:
LOS ANGELES SKYLINE
And then start with some shots of downtown to let us know
where we are; The Bonaventure, Figueroa Street, then:
CLOSE - SALLY SNO-CONE
watching the scenery move past her -- we can tell by the
look on her face she has arrived as we begin to see:
THE LANDMARKS
Bel Air and Beverly Hills mansions, the Hollywood Sign,
Hollywood Boulevard, Rodeo Drive, The Roxy, and:
CLOSE - SALLY SNO-CONE
She's into it now, and even as we hear the bus coming to a
halt, the brakes blowing off air. Sally is up, pulling her
baggage down from the overhead rack, and:
CUT TO
CLOSE - BUS STEP
As a pair of semi-stylish heels step down off the bus, turn
and start out of the bus depot, and;
ANGLE - SALLY SNO-CONE'S LEGS
and there's a worn carpet bag hanging at her side and some-
how we just know this holds all her worldly possessions and
as she turns and moves off out onto the street we catch a
glimpse of a hole in the back of her stocking, and:
THE STREET IN FRONT OF THE DEPOT
Sally pauses as she looks up at the new city she's in. She
seems to gather her courage and strength, then charges for-
ward across the street, and as she does, we're into a sequence
here as:
SALLY SNO-CONE
struts down the street looking as she did when she came off
the bus, and now as she dodges a passing car, and the vehicle
wipes screen, we:
CUT TO
SALLY ON HOLLYWOOD BOULEVARD
and her carpet bag is gone and we notice a new handbag over
her shoulder. She's checking out the different forms of
life that pass for human beings in this area, and then she
passes behind a lamp post, and we:
WIPE TO
SALLY ON MELROSE AVENUE
and she has a new dress on -- the latest style, looking
kind of right on her - and as she stops and peers into a
window, then bops into a store, we:
CUT TO
SALLY IN VENICE
and now she also sports some far out sunglasses and she's
got a bounce to her walk. She's arrived and she's figured
out how to make her attack on this town, and as she works
her way along the beach getting the right looks from the
right scumbags we:
DISSOLVE TO
CLOSE ON A WOMAN'S SHOE WITH A STILETTO HEEL - NIGHT
and we start a slow pan up a really hot looking pair of legs
wearing a dress that is slit high enough to make us start
to wonder just what we're going to see -- then we're angling
around and up across the woman's bare back and holding on her
red head, and from there:
CUT TO
EXTREME CLOSE - ON THE REDHEAD
and as she turns into camera sipping her drink through
glossed lips, we reveal this is Dee Dee McCall. As her eyes
survey her surroundings, we go around to reveal:
THE PENTHOUSE SUITE
And this is wall to wall party. Booze and joints are the
only particulars in evidence but there's plenty of traffic
to the back rooms and:
ON A COUPLE FOXES
on the make getting up to dance and:
ON A COUPLE "PARTY GUYS"
Your typical assholes who think they're death to women, and
usually are to the ones who traded in their brains for a
high and some 'good memories' and:
ON VARIOUS COUPLES
some just getting together, others who have been at it for
a while, wandering out onto the outdoor patio where Dee Dee
is, others drifting into the bedrooms, and:
CLOSE - DEE DEE
sipping her drink.
MISTER COOL
It's me again.
Dee Dee turns to look at this guy - maybe one we saw in an
earlier cut sitting with some of his friends. He knows he's
irresistible and has that uncanny ability not to be able to
button his shirt above his navel. His friends are probably
sitting on the far side of the room, watching the action,
just knowing that this guy gets every piece of tail he goes
after.
DEE DEE
(smiles; hundredth time)
It sure is.
(sips her drink)
Dee Dee reacts to something on the street below:
HER POV - AN EXCALIBUR
pulled to the curb at the front of the building. A couple is
getting out and, although we can't make them out extremely
well from here, we can see the man is well groomed and dressed
and the chick is wearing expensive Melrose Avenue. The car
phone rings and the man, who we'll later learn is VIC
TERRANOVA, moves back to answer it. As he does, the girl
continues into the building.
BACK ON DEE DEE
Obviously what she was waiting for as she places her drink
on the edge of the terrace and starts past this guy in heat
who follows her.
MISTER COOL
Whoever this guy is you came
here with...he still isn't back
from wherever he went. Maybe
he's upped and left you here
alone.
DEE DEE
Now wouldn't that be his bad
luck. And won't it be yours if
he comes back and finds you still
watching my clock.
Now they react to some cheers from the other room and Dee Dee
looks into the penthouse to see Sally LaPone entering the
room, waving to everyone as she moves past. We can hear
various party-goers as she passes: "Sno-Cone's got it...
Party-time...etc." He sees Dee Dee watching Sally make her
way to the back room in the penthouse.
MISTER COOL
(smiles knowingly)
You shoulda said you were waiting
for the Snow Queen. I got my own
toot, honey...
And suddenly there's a ruckus at the front door, and people
are cussing under their breath and some are panicking and
Dee Dee and Mister Cool see:
THE POLICE
blowing into the party and people are tossing stuff off the
terrace, swallowing things and:
DEE DEE
DEE DEE
Dammit, dammit!
And she's off moving toward the back room as:
THE OFFICERS
fan out, moving through the room and herding the people
together, grabbing shit from everyone before it can be
disposed of and:
DEE DEE AND COP
as she runs into this guy and flashes her badge:
DEE DEE
McCall. Homicide. Look out!
And now she's blowing past this guy into the back room, and;
INT. MASTER BEDROOM
As Dee Dee kicks the door in and blows into the room.
ANGLE - SALLY SNO-CONE
at the toilet, trying to flush stuff out, and Dee Dee is on
her in a second, pulling her back and packets of coke are
flying across the room.
SALLY
(pissed off through
her panic)
No! No, no, no, no!!
Dee Dee quickly moves around the room, but there's no one
else there. She crosses to Sally who sits huddled on the
floor.
DEE DEE
Terranova! Where is he?
(whips Sally's
head around)
Where is he? He drove up with
you, didn't he?
SALLY
Dammit, dammit, dammit!
(she smacks an
expensive crystal
figurine off a table)
Dee Dee crosses to the window and looks down:
HER POV - THE STREET BELOW
A number of black and whites and unmarked units at the front
of the building. Pan off to see the Excalibur turning the
corner at the end of the street, and:
BACK TO DEE DEE
she slams the window in frustration, as:
SALLY
It was supposed to turn! This
is my year!
(looks up at Dee Dee;
mascara running down
her face)
This was my year!
Hold on Dee Dee and on her own pissed off look:
CUT TO
CLOSE ON BERNIE TERWILLIGER
TERWILLIGER
This is my bust, McCall!
As he turns and moves off across the living room to where the
whole party is under arrest we widen to include Dee Dee who
takes off after him:
DEE DEE
You're damn right it is! You
think I was after about a coupla
joints and some abusers - I
was trying to connect with Vic
Terranova.
TERWILLIGER
Well, he's not here.
DEE DEE
He woulda been if you hadn't
come blowing through here like
the Prince of the City! I been
busting my hump in this stake-
out trying to get my buns in
position to bag Terranova. And
tonight was it -- if you hadn't
come.
TERWILLIGER
We got a legitimate complaint
from a couple respectable, law
abiding citizens in this build-
ing. They are entitled to peace
and quiet and the proper response
from law enforcement agencies of
this city when crimes are
reported.
DEE DEE
I'm sorry, Bernie, I'm just
frustrated. I mean, you're
talking a couple people who were
upset 'cause they couldn't hear
Johnny Carson's monologue...and
I lose one of the biggest drug
dealers in this city.
TERWILLIGER
This all could have been avoided
quite easily if your partner had
been doing his job. He knew you
were in here under cover -- he
could have intercepted the first
blues that rolled up. Why didn't
he flag 'em and badge 'em and let
them know you were undercover,
huh?
DEE DEE
Well uh...
TERWILLIGER
(writes down in his
notepad)
"Well, uh..." I'm sure the
Captain will be quite interested
in that response. After all, you
two are partnered -- you're not
supposed to be working any
assignments alone. Where is
Hunter? He should have been out-
side, waiting to back you up on
your arrest. Huh? Where is he?
What's he up to? Huh, huh, huh?
DEE DEE
He happens to be running down a
couple leads of his own. Impor-
tant to this case.
And on that, we:
SMASH CUT TO
INT. GELSON'S SUPERMARKET - CLOSE ON A WOMAN'S DERRIERE
As she moves away from camera we see this woman is in leotard,
danskin and legwarmers -- the whole shmear right out of a
Jane Fonda workout class. And right from that:
ANOTHER STONE FOX
also in leotard and leg warmers, and from that:
CUT TO
HUNTER
pushing a shopping cart and enjoying grocery shopping no
end, and we play this as long as possible, and:
ON A GREAT LOOKING PAIR OF LEGS
in a pair of jogging shorts and nylons.
ON HUNTER
at the produce counter, trying to select some bananas and
he looks up to see:
THE LADY IN THE JOGGING SHORTS
as she selects a bunch of grapes at the produce counter.
She pops one into her mouth and the invitation is all there,
and:
HUNTER
just watches her move off down the aisle, her hips undulating
in her brief shorts, and Hunter follows, follows, follows her
with his gaze until:
DEE DEE'S VOICE
They're not ripe yet.
DEE DEE McCALL
She plucks the bunch of bananas from Hunter's hand.
HUNTER
Thanks...
DEE DEE
I didn't realize they had such a
strict dress code in this super-
market. They almost didn't let
me in -- but management offered
to loan me a leotard.
HUNTER
(laughs it off)
Oh, yeah...well...there's one'a
those workout classes across the
street and I guess they usually
do their shopping right afterward...
I just sorta get used to it...
DEE DEE
Sure. That's why you don't shop
at those two perfectly good
grocery stores that're much closer
to where you live?
HUNTER
I told you -
DEE DEE
Yeah, the produce here is so much
better.
HUNTER
I'm trying to pay more attention
to my diet...get off the chili
dogs and what not.
DEE DEE
And eat more green bananas.
HUNTER
What're you doing here?
DEE DEE
I need you to come sign some
reports.
HUNTER
Now?
DEE DEE
Yeah...we just made a bust and
Terwilliger's on to us again.
The Captain's gonna be waiting
to paddle me so you've gotta
make an appearance.
HUNTER
We can do it tomorrow --
DEE DEE
Hey, this partner up and
dodge'em act was your idea as
I recall.
HUNTER
And it should be taken in the
spirit with which I proposed
the plan. It was all a scam.
DEE DEE
Yeah, well you and I made a
bust tonight that's gonna put
me closer to Vic Terranova.
Now, let' s go.
She picks a melon out of his cart and shakes her head as she
places it back with the other fruit.
DEE DEE
You're terrible at this.
HUNTER
Yeah...I usually have to get one
of the other customers to help
me.
Dee Dee just shakes her head and turns to move off. Hunter
starts to follow her, meets the gaze of the jogging shorts,
shrugs apologetically. As the shorts move off and Hunter's
gaze follows her around the corner to another aisle, his
eyes drift up to:
A MIRROR
mounted to help watch for shoplifters - in the reflection
is a twenty year old scumball in parachute pants and great-
coat. He seems to be pretending to check out some of the
merchandise on the shelf.
CLOSE - HUNTER
as he starts to push his cart along catching up to Dee Dee.
HUNTER
I need something from aisle eight.
DEE DEE
Now - ?
HUNTER
Check for back-up - I think
we've got something going down.
And Dee Dee is immediately on it, moving off across the
front of the store near the registers as:
HUNTER
pushes his cart down the aisle with the scuzzball. Hunter
offers up an innocent smile as he reaches past the guy for
something on the shelf.
ON DEE DEE
moving along the front of the store, her eyes darting out
through the front windows to see:
HER POV - A BLUE DODGE DART
Parked out front. A less than reputable character is just
standing inside the door of the market.
DEE DEE
moves to the rack of magazines near one of the registers,
picks one up as her eyes spot:
ANOTHER CREEP
watching his friend in the aisle, straightening out his
jacket as he moves up in line toward one of the registers,
and:
HUNTER AND SCUZZBALL
as Hunter pops the top off a can of deodorant he's removed
from the shelf.
HUNTER
You think this stuff does what
it says?
(off the scuzzball's
look)
Not that you would know - the
only thing you've ever put under
your arm is that sawed off shot-
gun you're lugging.
And on that, the scuzzball whips his coat apart and starts
to swing up his weapon but Hunter sprays the deodorant into
the guy's eyes and kicks the shotgun up into the air. It
explodes, blowing the shit out of a counterful of soda
bottles.
DEE DEE
has her gun out of her purse as the creep at the counter
whips the one from his waist band.
DEE DEE
Freeze, police!
He spins and fires at Dee Dee, who returns fire, blowing
the guy backwards across the register counter, and:
THE GETAWAY DRIVER
charges out the door and races for his car as:
HUNTER
comes shoving his shopping cart up with the scuzzball hand-
cuffed to it.
DEE DEE
is over the body of the guy at the counter as she jerks her
head outside:
DEE DEE
There goes one, Hunter!
And Hunter vaults the one way turnstile and races outside as;
EXT. PARKING LOT OF SUPERMARKET - NIGHT
The driver gets the car fired up and throws it into gear as:
HUNTER
runs into his path and fires off both barrels of the sawed
off shotgun into the hood of the car, and:
THE CAR
takes the blow in the hood, veers off to hit a row of
shopping carts and ramps up and over camera.
ON HUNTER
As he crosses back to Dee Dee who has both of the other hand-
cuffed prisoners.
HUNTER
(grabs the scuzzball
by the collar)
We don't mess around when we say,
only one to a customer.
CUT TO
INT. POLICE STATION CAPTAIN'S OFFICE - CLOSE ON THE CAPTAIN
CAPTAIN
So how come you've got two busts
at the same time!
Widen as the Captain moves around behind his desk with the
two reports - and we reveal:
HUNTER AND DEE DEE
standing in the office.
HUNTER
They weren't at the same time...
they were almost twenty minutes
apart --
CAPTAIN
I warned you two about trying to
double jack me anymore. You
guys split up last night. You were
running separate assignments, that's
why you didn't have anyone working
the outside for you who could have
stopped that raid and given us a
better shot at nailing Terranova.
DEE DEE
That's okay, Captain, I think I
can turn something on Terranova
anyway with this Sally LaPone we
pulled in.
CAPTAIN
Oh, no, you can't. Sally LaPone
isn't gonna tell you anything.
DEE DEE
What do you mean? She's been
running in his circle for close
on a month now, she can prove
that half the people she scores
for in this town she does through
Terranova*s connections --
CAPTAIN
Well, she's not your prisoner...
she's out of here in six hours.
DEE DEE
That's crazy - I caught her in
the middle of a self made snow
storm. I can use that to squeeze
her--
CAPTAIN
She's already bargained her way
out of that number with a bigger
chip.
HUNTER
What? We didn't bust our melons
on this assignment to have it
pulled from us like a bad tooth.
Dee Dee reacts to Hunter.
CAPTAIN
It doesn't matter! She is a
material witness in a homicide
back in New York. She's the only
one, apparently who can I.D.
the killer. That takes the place
of a possession rap. Certainly,
we would expect the same coopera-
tion if the tables were turned.
DEE DEE
You could have at least let me
talk with her before you told
her the deal was a lock... I
mighta gotten her to open up.
CAPTAIN
All you have to worry about,
McCall, is what's gonna happen
to you when I do nail you and
Hunter in one of your little
games. Take it from me when I
say, your troubles are just
beginning.
SMASH CUT TO
CLOSE - POLICE IDENTIFICATION
as it's snapped open into camera revealing a shield and I.D,
telling us this guy is a detective from New York City. His
name is JACK MOLINAS.
CLOSE-UP OF JACK MOLINAS
His photo doesn't do him justice - he's a much tougher
looking scumbag in the flesh. Back on his home turf they
call him Jack the Giant Killer - the only reason this guy's
not one of the number one hoods in the city is because he
was sly enough to realize he could break the law more easily
from behind a shield. He's one of these guys that never
stops smiling to the point of making you nauseous. And he's
doing that just now to one of the POLICE WOMEN as he crabs
alongside her through the station.
MOLINAS
Hey, sugar, that piece a paper
puts me back on a plane in six
hours so you better say yes to
lunch or like, it's the big
loss for you. Then I'm gonna
haveta go peddle this charm back
east and you're never gonna be
able to brag to your friends
that Jackie actually chose you
over all the California blondes
fighting to jump his bones.
As Kelly brings him to Hunter's desk.
KELLY
This is Detective Molinas from
New York.
MOLINAS
Only my close friends call me
Detective Molinas...It's Jackie.
KELLY
And he's my loss.
Molinas watches her move off across the squad room.
MOLINAS
She looks like she'd be a regular
bobcat in the sack, huh?
HUNTER
So you're gonna pull this LaPone
chick back to New York?
MOLINAS
Yeah...Guess she happened to be in
the wrong bed when some piece of
crud got offed...she may or may not
be able to help close that one.
We do what we gotta do, don't
we? I tried to dump this little
tripola onto half the department
but who wants to make a six
thousand mile round trip haul
to baby sit a candy nose. She
being brought up?
HUNTER
Well, there's some legalese gotta
be wrestled through...paperwork,
some computer checks...then she'll
be yours.
MOLINAS
I'd hate to miss my two o'clock
flight.
HUNTER
I'm sure you would. We'll get
this on the boards as soon as
possible. Why don't you grab a
chair and practice your wolf
call.
MOLINAS
Better yet...why don't I go see
my prisoner?
Play the challenge between the two, then:
CUT TO
INT. HOLDING CELL - ON SALLY SNO-CONE
She is just shaking her head as:
SALLY
I have got nothin' to say to you,
honey, so why don't you just
give it a rest.
ANGLE DEE DEE
is in the cell with Sally. From outside the cell, a guard
watches them.
DEE DEE
Sally...how old are you, for
Pete's Sake? You're gonna spend
the rest of your life crawling
in and out of the gutter? You
split New York to come out here --
you wind up nailed for possession.
Now, you're back to Manhattan to
testify about some dead pusher so
you can be kicked free to wind up
in another cesspool.
SALLY
What can I say? I guess I just
enjoy it down here. Now if you
don' t mind...
(turns away)
This conversation isn't exactly
Rockin' my socks.
DEE DEE
I know you know I haven't the
time or leverage to push you --
SALLY
You figured that out, huh?
DEE DEE
{deliberately)
I need something. Something from
you that'll put me closer to
ViC Terranova.
SALLY
(looks Dee Dee
up and down)
You look like you've got exactly
what it'll take to get to Vic.
If you can party and, better yet,
know your way around the music
scene, you're as good as on his
dance card.
DEE DEE
Sally, I need more. I need your
help --
SALLY
Well, I don't need yours.
Dee Dee just looks at Sally. Finally, she signals to the
guard who releases her.
SALLY
Hey...don't pout, McCall. Better
luck next time, huh?
(to the guard as
he releases Dee Dee)
Like I been saying -- this is
gonna be my year.
MOLINAS(o.s.)
Hey, cupcake, you got that. You
Just won the New York lottery.
Sally looks up at:
JACK MOLINAS
grins at her through the bars.
ON SALLY
She is visibly shaken by the sight of Molinas. Her lip
starts to quiver and her head shakes.
SALLY
Wha...? Why'd they send you?
MOLINAS
(offers her piece
of chewing gum
which she ignores)
Just wanted you to feel comfor-
table, Madame Blow. Figured you
went and split the big apple
to come out here and upset our
west coast neighbors -- we wanted
to escort you back in high style.
We can see this girl is terrified of Molinas. Her mouth is
working but nothing is coming out. She turns, moves to
the bunk and huddles on it.
DEE DEE AND HUNTER
DEE DEE
Sally, what's the matter? What's
wrong?
MOLINAS
What's wrong is she hasn't put
anything up her nose but oxygen
for the past couple hours,
ain't that right?
DEE DEE
Sally?
Sally just sits huddled on her bunk in a corner.
HUNTER
Maybe she needs a doctor?
MOLINAS
What she needs is a stiff -
(runs out of steam
under Dee Dee's look;
smiles)
She just needs to get on home to
all her old pals. Half the city
is without dope and sex since
you spirited yourself off, Sno-
Cone.
DEE DEE
Well, I want her checked out
before she leaves here.
MOLINAS
(holds out paper)
I'll check her out, okay?
DEE DEE
Right now she is in the custody
of this precinct! She goes
when we say she goes! Now, I
want her to be checked out be-
fore she makes this trip. She
looks sick -
(before Molinas can
respond)
-- And save the cracks.
Dee Dee turns and moves off. Molinas watches her go -
purses his lips in appreciation.
HUNTER
I don't think she's your type.
MOLINAS
They're all my type, Hunter.
And the ones that aren't - I
make 'em my type.
And he smiles that crazy smile as he chuckles. He turns
and looks at Sally, still huddled on her bunk, almost afraid
to look up at Molinas, and:
CUT TO
INT. SQUAD ROOM - THE CAPTAIN
is striding through on his way out -- Dee Dee is hustling
along beside him as Hunter watches from his desk:
CAPTAIN
I wanna know what the hell you
were doing down there with the
prisoner in the first place,
McCall? You weren't supposed
to be talking to her ---
DEE DEE
That's beside the point --
CAPTAIN
This is one of your ploys
to turn the case you wanna make
on Terranova --
DEE DEE
I just think it's practical! I
don't know if she's really ill
or not but she sure did pull her-
self inside out when Molinas
showed up.
CAPTAIN
(stops and turns on
her; tightly)
He has a warrant. He has the
proper papers to extradite. We
agreed to her deal. What do
you expect me to do?
DEE DEE
At least just drag your butt down
there to take a look at her and
see what she has to say!
If you think there's nothing
wrong with putting her on that
plane in two hours, then okay!
The Captain just looks at Dee Dee who tries to stand her
ground.
CAPTAIN
(turns to Hunter)
For once you have nothing to
say?
HUNTER
(shrugs)
I didn't think you wanted my
opinion.
CAPTAIN
I don't!
HUNTER
Knowing things like that is what
makes me a good detective.
Dee Dee holds the Captain's stare. Finally, he shrugs.
CAPTAIN
Let's go see this Sally LaPone.
CUT TO
THE HOLDING CELL
Where Sally Sno-Cone was - it's empty!
SERGEANT(v.o.)
She was released.
ANGLE - HUNTER, DEE DEE AND THE CAPTAIN
facing the sergeant at the releasing desk.
DEE DEE
When? How? Why?
SERGEANT
(holds it up)
Because that's what the paper-
work said to do, McCall --
DEE DEE
(snaps paperwork up)
Sergeant Molinas!
SERGEANT
There ya go. All official. An
extradite to New York.
HUNTER
How long ago did they leave?
SERGEANT
Just a couple minutes...
Hunter and Dee Dee spin and haul ass out of there.
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
EXT. FREEWAY - DAY - MOLINAS'S RENTAL CAR
wipes camera in the other direction as it takes the off ramp
with the green sign: LOS ANGELES AIRPORT - Next Right.
CUT TO
EXT. HUNTER'S SEDAN - DAY
It barrels along the freeway, following the sign posts to
the airport. As it takes the same off ramp as the rental
sedan:
ANGLE - AIRPORT BOULEVARD
Hunter's sedan comes hauling ass down the boulevard.
INT. SEDAN - HUNTER AND DEE DEE
looking around -- searching for a sign of Molinas's car.
Suddenly, Dee Dee points up ahead through traffic.
MOLINAS'S CAR
weaving in and out through traffic which is building up as
they near the airport.
INT. RENTAL CAR
Sally is tugging at Molinas's arm with her manacled hands:
SALLY
Please...please...I swear I'll
never say anything I haven't,
have I? Not to anyone!
MOLINAS
And you won't.
SALLY
I won't! I swear! I'll do any-
thing! Anything you say...any-
thing you want!
Molinas looks at her - reads the implication:
MOLINAS
Yeah, I'll bet you will...and I
bet you have.
And as he cranks the wheel:
ON HUNTER'S SEDAN
weaving it's way through the traffic, trying to catch up to
Molinas's car.
INT. SEDAN
Hunter and Dee Dee are craning their necks, looking for
Molinas.
HUNTER
Where'd they get to?
DEE DEE
I don't know...they didn't
make the light...
Hunter pounds the wheel in frustration, looks around - then
throws the car in reverse and starts barreling backwards along
the street. As they come to a turn-off:
HUNTER
hits the brakes and he and Dee Dee look off up the street.
THEIR POV - AN UNDEVELOPED LOT
One of those many empty acres near the airport where the grass
grows wildly. The tail end of Molinas's green sedan can be
seen disappearing up another street, and:
HUNTER
whips the car up the turn-off and follows.
CLOSE - SALLY
and she's scared out of her fucked up mind.
SALLY
What'dya doin'? God, no! No...
I won't tell! I swear!
And we widen to see Molinas dragging her struggling figure
off into the fields. He tosses her to the ground and she
lands in a heap, just sits there weeping.
SALLY
(weeping)
No! God, no!
CLOSE ON MOLINAS
as he smiles. He pops a stick of gum in his mouth as he
raises his gun, pointing it at her.
SALLY
No! No... I'll do anything!
Anything you want! Please...!
Anything at all!
Molinas looks at her, looking up at him, imploring.
CLOSE - MOLINAS'S GUN
as he cocks the hammer, and:
HUNTER
running into shot, his gun up:
HUNTER
Molinas!
HUNTER'S POV - MOLINAS
amidst the tall grass -- Sally can barely be seen. Molinas
spins at the sound of his name, and:
SALLY
grabs her opportunity and ducks off into the brush.
MOLINAS
spins and fires off a shot into the high grass but misses:
SALLY
who stumbles, gets up and keeps charging off, getting lost
in the tall weeds.
HUNTER
he fires off a shot over Molinas's head. Molinas flinches,
throws his arms up;
MOLINAS
What're you crazy!
Hunter runs into shot.
HUNTER
Where is she?
(grabs him)
Where is she, Molinas!
MOLINAS
Who knows! You let her get
away!
Dee Dee turns and charges off into the brush. Molinas makes
a move to do likewise but Hunter keeps him covered.
MOLINAS
C'mon, she's gonna get outta
Here!
HUNTER
You just keep it right there,
pal.
MOLINAS
Hey, Hunter - she's my prisoner!
She's escaping. If you hadn'ta
jumped in she wouldn'ta gotten
away!
HUNTER
I believe that. What the hell are
you doing up here anyway? The
airport's that way.
MOLINAS
I got lost...you never got lost
in a strange city?
Hunter picks up Molinas's handcuffs.
MOLINAS
She said it was hurting her...
they were too tight. I was
loosening 'em when she just
rolled outta the car and bolted.
ANGLE - DEE DEE
running through the tall weeds.
DEE DEE
Sally! Sally, it's Sergeant
McCall! You'll be okay - it's
McCall!
HUNTER AND MOLINAS
as Dee Dee moves into shot with them, shaking her head;
MOLINAS
I swear, Hunter, if she got
Away you're gonna hear from me
and my superiors!
HUNTER
Well...I'm sure you're gonna
hear from mine. And then I'm
gonna personally put you on
board that 747 and ship you
outta town.
CUT TO
INT. CAPTAINS OFFICE - CLOSE ON HUNTER
HUNTER
What the hell do you mean, he's
assigned to this case?
Include the Captain and Dee Dee as they all stalk out of the
Captain's office:
DEE DEE
What gives him the right to
be involved in an investigation
from this department -
HUNTER
Did he explain to anyone what
the hell was going on when she
escaped? Did he have anything
to say about what they were
doing out in that field near
the airport?
CAPTAIN
He explained all that, Hunter!
She was trying to escape. He
pursued her. You showed up and
distracted him long enough to
allow her to get away. The
NYPD is not overly ecstatic
about you sticking your beak
into this case.
HUNTER
Sticking my beak in? What about
him hauling her off before you
had a chance to see her or speak
with her?
CAPTAIN
That is something I'll address.
CUT TO
JACK MOLINAS
at Hunter's desk, his feet up, chewing that gum.
MOLINAS
(rises)
Hey, Captain, I want to thank
you a lot for letting me help
out on this matter.
CAPTAIN
Save the kudos, Sergeant Molinas.
I still haven't forgotten you
pulled an end run and yanked
LaPone out of here before she
was officially released.
MOLINAS
And am I ever so sorry about
that. I admit, my over zealous-
ness is as much to blame for
this whole matter and that's why
I just have to do my all to help
out on this. I'm sure you've
just heard the same thing from
Sergeants Hunter and McCall, so
I don't want to belabor the issue.
Dee Dee and Hunter want to throw up. The Captain nods,
shoots Hunter and Dee Dee a look, turns and moves off.
HUNTER
You're slicker than a greased
watermelon, aren't you, Molinas?
MOLINAS
He-hey, we do what we do, right?
So let's go kick some dust into
the air and find the Snow Queen.
(smiles at Dee Dee)
We'll let him drive, you and I
can ride in back.
DEE DEE
Put it back in the closet,
Molinas, I don't feed the animals.
As Dee Dee stalks off:
MOLINAS
(bites his lower lip)
I'm gonna have fun grinding the
rough edges off a you, Dee.
DEE DEE
about to slam into the ladies room when Hunter intercepts her.
DEE DEE
(Jackie Gleason)
Bang! Zoom! To the moon!
HUNTER
This is really a stroke for us!
DEE DEE
It is?
HUNTER
We get to keep this jabrone with
us. We could do worse -- having
this guy kicking the town side-
ways and maybe finding Sally
before we do.
Dee Dee looks off at:
MOLINAS
at the coffee maker, making time with one of the police
women. His grating laugh drifts across to them.
DEE DEE AND HUNTER
She looks at him:
DEE DEE
You think he was gonna kill her,
Hunter?
HUNTER
I don't know what to think.
Maybe she can tell us when we
find her.
DEE DEE
Well, you can ride with Popeye
Doyle. Me, I'm gonna take a
run at Terranova. There's a
good chance Sally'll make a move
toward him looking for some
cover.
HUNTER
Not a bad idea. How you gonna
do that?
DEE DEE
Sally gave me a couple ideas on
how to go.
HUNTER
Like what kind of ideas?
SMASH CUT TO
INT. THE ODYSSEY CLOSE ON DEE DEE
and she's singing "BRASS IN POCKET" into a microphone:
DEE DEE
(singing)
...Gonna use my arms,
gonna use my legs,
gonna use my fingers,
gonna use my, my, my i-mag-i-na-tion!
We pull back to reveal we are inside a night club. It's
not open for business right now but you can see it's one
of those new ultra-chic, chrome and black lacquer jobs that
are all over the city currently.
ANGLE TONY BOY
is at the bar, smoking a cigarette and counting out receipts.
The bartender is busy cleaning up, setting up for the night.
Tony Boy is letting his attention wander to Dee Dee who is
on stage with the club band. He likes what he sees. Tony
Boy is one of those guys who is just too good looking,
almost pretty with his peroxide locks and fleshy lips -- and
has had to kill a couple schmucks too many who pointed it
out to him,
ON DEE DEE
as she continues her song, the group playing behind her, and
then:
VIC TERRANOVA
enters the club, a couple gunslingers with him. Terranova
is a minor-league kingpin, no doubt about it. He has the
brains to be more but he likes to rub elbows with celebrities
and party a bit too much. As he crosses toward Tony Boy
his eyes are on Dee Dee on stage, and;
DEE DEE
she's noticed Terranova enter, and she directs her singing
to him.
TERRANOVA
joins Tony Boy at the bar.
TERRANOVA
I thought we were friends, Tony Boy
How long you had this one? I
hope you didn't use her up before
you brought her out?
TONY BOY
No, Vic, this one is for you.
I knew you'd like it.
TERRANOVA
(lascivious smile)
Is she any good?
TONY BOY
She looks like she would be, but
I swear, I got no idea. She
just wandered in off the street.
(points)
Bags n' all.
Terranova looks at a small battered suitcase, a worn coat
and a folded newspaper near the bar.
TONY BOY
From Omaha. Came to Hollyweird
to become a singer. The guys
were here setting up, they
didn't mind...
Terranova looks to the stage where Dee Dee is pumping and
grinding to the music.
TERRANOVA
'Course they didn't mind.
TONY BOY
Anyway she's not too bad.
TERRANOVA
Right off the bus, huh?
TONY BOY
Yeah, can you believe that?
TERRANOVA
(a beat; then through
a smile)
I don't know.
ANGLE - DEE DEE
The number's over and she finishes thanking the band, then
crosses to Tony Boy and Terranova.
DEE DEE
Well? So, like what'd you
think?
TONY BOY
(takes a last drag
on his cigarette)
Well...you're in for a bit of
luck here. The owner happened
to come in...Dee Dee, this is
Vic Terranova.
DEE DEE
(anxiously shakes
his hand)
Mister Terranova...nice to meet
you.
TERRANOVA
Vic. Only my kid's friends
call me Mister Terranova.
DEE DEE
Vic... I'm Dee Dee Howard.
TERRANOVA
So you want to be a singer?
DEE DEE
Well, yeah...I mean, profession-
ally. I am a singer. I mean,
I sing.
TERRANOVA
You know anything at all about
this business? About pay scales,
personal management, arrangements?
DEE DEE
No, not a whole lot. I figured
if I knew too much I'd be too
disenchanted to try to break in.
(nervous laugh)
TERRANOVA
(chuckles)
Probably. I hear you just got
into town. Where you staying?
DEE DEE
Actually...nowhere.
(picks up newspaper;
folded to ROOMS FOR
RENT)
I was looking for a place I could
afford...which there are not a lot
of around here. I was going past
when I saw the club and figured,
what the hey. Stranger things
have happened. At least, I've
read about.
TERRANOVA
(holds out his
hand to Tony Boy)
Tony Boy...
Tony Boy nods, peels off some bills which he hands to
Terranova. As Tony writes it down on his paperwork,
Terranova hands the money to Dee Dee. Her eyes go wide.
DEE DEE
You...you mean I got the job!
TERRANOVA
No, not quite...this is only
Hollywood, you're not over the
rainbow.
DEE DEE
Then... I don't understand... I
mean, I'm not looking for charity.
If you don't think I can sing ---
TERRANOVA
Slow down, Omaha. I didn't say
you couldn't sing. What I am
saying is you're trying to break
into a very competitive business.
It's obvious you have a voice —
but also just as obvious, you
have no training. You need to
develop your talent...and work
on an act. Meet the right people.
Now, I think you're a nice kid...
out of your element. I'm looking
to help you out. If that's not
enough, then you can shove off.
Keep the dough.
Terranova moves off. Hold on Dee Dee who stands over her
suitcase.
TONY BOY
(leans in to her)
Mister Terranova's a stand-up
guy. He likes to help people...
you should be grateful with all
the braccioles out there you
wandered in here.
A long beat -- then Dee Dee moves over to Terranova at the
bar.
DEE DEE
Mister Terranova, I'm...I'm sorry...
I didn't... I'm alone, y'know?
And I don't want to make the mis-
takes I've heard others have made
comin' to this town.
TERRANOVA
(looks at her)
You're a nice lady, Omaha. That's
why I'm glad you landed here, too.
I don't want you to make any mis-
takes either. Now why don't you
go find yourself a place to stay.
Then come on back here tonight
and we'll talk some more.
DEE DEE
Tonight...1'll bet this place is
hot when it's open, huh? Every-
one really dressed up?
TERRANOVA
(a beat; then he
pulls a roll of
bills from his
pocket; hands some
over)
Get yourself something new to
wear.
DEE DEE
(puts her hand on
the money to push
it back)
Oh, no, please...you've already
given me enough...I didn't mean
for you to do this...
Play the moment between the two as Terranova looks into
Dee Dee's eyes, their hands touching on the money. He
smiles knowingly;
TERRANOVA
Like I said, you're sharp.
You've got good instincts, kid.
A beat as Dee Dee smiles back, takes the money and moves out
of the club. Hold on Terranova, and:
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
INT. A CHECKER CAB COMPANY
There's a dispatcher in a booth giving out calls. The
cabbies waiting around are mostly involved in a poker game
at a table in the middle of the garage. Those not in the
game are seated around, watching the game or looking at
nude photo magazines.
HUNTER'S VOICE
Didn’t anyone tell you gambling
is illegal.
Everyone looks up as Hunter and Molinas enter. A groan goes
up in the place. SCULLY, an angular black dude, tosses in his
hand.
SCULLY
Aw, who scraped you off their heel?
Hunter grabs the guy by his neckerchief and yanks him to
his feet, cutting off his oxygen:
HUNTER
I came over here to give you a
lesson in how to greet your
neighborhood police officers
when they come to chat.
Hunter tosses Scully away and he crashes back into the card
table — sending cards, money and Scully helter skelter.
A COUPLE CABBIES
reach for tire irons and back pockets:
MOLINAS
has his gun out in a second:
MOLINAS
Hey, meatball, unless you're
looking to scratch your behind
I'd hold still.
HUNTER
(yanks Scully to
his feet)
Since you seem to be the most
talkative, let's go have a chat.
SCULLY
Hey, what is this? What're you
gonna do?
All the other heads turn and watch as Hunter drags Scully
into a backroom and slams the door.
MOLINAS
Any of you wanna go with him or
what?
They all quickly turn and stare at the wall. Molinas moves
along the row of them.
MOLINAS
Okay, I wanna start seeing the
goods hit the deck, all using
your left hand.
One of the cabbies spits. Molinas smiles -- grabs the guy's
head and slams it into the wall.
ON THE GROUND
Shooting down the row of legs spreadeagled. At the far end
we see the hurt cabbie hit the deck, moaning and holding his
head. A beat — then a bunch of stilettos, joints and pills
splatter onto the ground.
CUT TO
INT. BACK ROOM - ON HUNTER
and he kicks over a caseload of soda. As the bottles shatter
on the ground:
SCULLY
winces, then throws his arms up.
SCULLY
Take it easy, Hunter!
HUNTER
We haveta make this show worthy of a
curtain call We have a full house
out there.
SCULLY
(the broken bottles)
I'm gonna haveta pay for that!
HUNTER
The city'll reimburse you.
Hunter sends a toolbox crashing to the floor, and:
INT. GARAGE
Molinas and the guys react to the ruckus from the next room.
Molinas smiles as he pops a stick of gum into his mouth.
MOLINAS
(offers the pack)
Any'a you pukes want?
No one responds, he shrugs and chuckles, and:
CUT TO
INT. BACK ROOM
Hunter stands by a waterpipe and raps it occasionally with a
wrench from the tool box, as:
SCULLY
Sure, I remember her from when I was
still doing session work... Everyone
knows the Snow Queen. She'll supply
anything you want. She's the connection
to the stars, man. She was a warm body
and a fun time to just about every
musician I played with. And if she
could get that chair up her nose or
into a pipe and smoke it, she would...
and she'd turn half the town on to it.
HUNTER
I just wanna know where she'd go,
Scully? Who would she run to if
she was in trouble?
SCULLY
If you’re talkin' real trouble,
that I don't know. But, she sure
knows a lot of people. Lately,
she's put in a lot of time with
Darby Crash.
HUNTER
Who?
SCULLY
Darby Crash...plays the bass with
The Blood Clots. They been
out in Malibu for almost a month
now tryin' to finish up their
new album. Which is barf-ola,
the by.
HUNTER
It's his place they're at?
SCULLY
They're probably renting. I
don't know under what name, but
I should be able to run it down
for you.
HUNTER
Great...
Hunter tosses the wrench aside, pushes up his sleeve.
HUNTER
Now where do you want it?
SCULLY
Dammit, man, I hate this. Maybe
we should skip it this time?
HUNTER
And let these guys know you and
I can talk nice to one another.
Then they'd clam up and what
would you be worth to me. I
wouldn't be able to sleep nights.
SCULLY
Last time, my right eye didn't
open up for a week.
Hunter slugs him in the left eye. Scully hits the door and
flies out into the garage. As Hunter steps out the door:
HUNTER
They say the left eye is always
stronger.
And as Hunter steps over Scully and moves off:
CUT TO
INT. HUNTER'S SEDAN
Hunter gets in behind the wheel as Molinas drops into the
passenger seat.
MOLINAS
So what'd you get from the
melanzana?
HUNTER
He didn't know anything.
MOLINAS
No kidding?
HUNTER
No kidding. What about the
others?
MOLINAS
Clean as a church choir.
(Hunter just looks
at him)
You know what, Hunter? I don't
think you like me.
HUNTER
And to think, my partner thinks
you're an insensitive creep.
MOLINAS
See how wrong you can be about
people?
And Hunter puts the car in gear and rolls out, and we:
CUT TO
EXT. HUNTER'S SEDAN - DAY
As it rolls through the city and comes to a halt at a STOP
sign. There's a large SAV-ON-type store at this corner.
INT. HUNTER'S SEDAN •
Molinas holds up his chewing gum pack — crumbles it to show
it's empty.
MOLINAS
Hey, pull in so I can grab some
gum, okay? .
Hunter sighs, swings the car into the parking lot.
EXT. SEDAN - DAY
As it pulls to a stop in the lot, Molinas climbs out, leans
in the window:
MOLINAS
Get you anything?
HUNTER
I'm fine.
Molinas turns and moves off into the store. Hold on Hunter
who now reaches for the radio.
HUNTER
(keys the mike)
This is L-56, patch me through
to R and I...
INT. SAV-ON
Molinas enters the store, turns to look out at Hunter who is
on the car radio. Molinas turns and disappears out the side
exit of the store. As he goes, he pulls another package of
chewing gum from his pocket, folds a strip into his mouth,
and we:
CUT TO
INT. HUNTER'S SEDAN
HUNTER
(on radio)
Yeah...that's Darby Crash. I
don't know what his real name is.
Soon as you can get me some kind
of address.
DISPATCHER(v.O.)
Roger, L-56.
Hunter hangs up the microphone and looks through the Sav-On
window to spot Molinas. He finally gets out of the car and
heads into the store.
EXT. SAV-ON - DAY - THROUGH FRONT WINDOW
We see Hunter enter the store, look up and down the line of
registers, finally turn and race for the side exit. As he
comes out the store through the exit taken by Molinas and
looks around in frustration, we:
CUT TO
EXT. PIZZA PLACE - DAY - A YELLOW CAB
is parked at the curb and Scully is crossing to it with
pizza and soda in hand. The radio in the cab is squawking
as he pulls the door open:
SCULLY
Okay, okay, hold your horses.
Guy can't get no nourishment
around here.
INT. CAB
Scully slides in, maneuvering pizza and soda onto the dash-
board. As he reaches for the radio mike a figure sits up
in the back seat and yanks him backward. A gunbarrel is
placed crosswise against Scully's adam's apple as though it
were a knife.
REVERSE - ON MOLINAS
in the back seat, holding the gun across Scully's throat.
Throughout, the radio mike continues to squawk for Scully
to pick up.
MOLINAS
How ya doin' there, shoe shine?
SCULLY
Hey, look, man, take it easy...
you can have whatever you want.
MOLINAS
I want what you told Hunter,
that' s what I want..
SCULLY
Hu...Hunter...? Look, I — !
Molinas rams the barrel against his throat and chokes him off,
MOLINAS
You dance to Hunter's beat, gum-
ball, I've seen it enough times
to know. Now I'll give you more'n
a fat lip if you don't let me
hear it. Where's Sally LaPone?
SCULLY
Man, I swear, I ——
MOLINAS
(cocks the gun)
Spill your guts or I'll spill 'em
for ya. Where's LaPone?
SCULLY
Okay...okay...I.... All I told
him was I thought she was hanging
out with some dude named Darby
Crash.
MOLINAS
I know the Sno-Cone, that sounds
right on. Keep making me smile.
Where do I find this tutsone.
SCULLY
I didn't tell Hunter that, I ——
MOLINAS
(crazed)
Tell me!
SCULLY
I found out for him...I did!
He's out in Malibu...at a beach
house. The address is right
here in my box...
Molinas yanks him back — places the gun against his chest as
he reaches forward and takes a cigar box off the front seat.
CLOSE - CIGAR BOX
as Molinas flips it open. Scully keeps his money, change,
a paperback in there. Molinas takes the paper with an
address written on it.
MOLINAS
reads paper.
MOLINAS
11763 Pacific Coast Highway?
SCULLY
Yeah, that's it...that's all I
know.
MOLINAS
This is where she is?
SCULLY
That's where the guy is...I don't
know if she's there. I swear...
that's all I told him. That it?
MOLINAS
Yeah...except for the fact, I'm
the kind’a guy who'd figure you're
the kind'a guy who'd think
Hunter's the kind'a guy who could
handle the kind'a guy like me.
CLOSE – SCULLY
The terror in his eyes — he knows what's coming.
MOLINAS
So to keep the kind'a guy like
Hunter away from the kind'a guy
like me leaves only one thing
to do with a kind'a guy like you.
CLOSE - THE GUN
with Molinas's eyes behind it. The gun explodes into camera,
and we:
FADE OUT
END OF ACT THREE
*************************************************************
ACT FOUR
FADE IN
CLOSE ON A MARS LIGHT
spinning and a siren going. As the vehicle swings over to
the curb we see it is Dee Dee's car. As she jumps out and
hurries around to the aftermath of Scully's death we see
the coroners covering the body and forensics working away.
ON HUNTER
standing there staring at the cab. As Dee Dee moves up to
him:
DEE DEE
God, Hunter...I was wondering if
you'd heard the call and...
THE BODY BAG
with Scully in it as it's loaded into the coroner's wagon.
THE EMPTY CIGAR BOX
laying on the back seat.
TERWILLIGER'S VOICE
Yup...what we have here is a
clear case of robbery.
ON TERWILLIGER
as he joins Hunter and Dee Dee.
TERWILLIGER
You know the victim also, McCall?
DEE DEE
l'd met him...through Hunter.
TERWILLIGER
Guy'd just started his shift, too.
Talk about bad breaks. How much
could he have had? Get killed
over twenty dollars and some change.
Hunter turns and moves off toward his car. Dee Dee follows
him:
DEE DEE
Hey...hey. Hunter...
Hunter stops, turns to look at her.
DEE DEE
I'm sorry, man, I...
HUNTER
How you doin' with Terranova?
DEE DEE
(a beat; then)
All right...I've managed to touch
bumpers with him. I'm gonna see
him later. Listen, Hunter, I can
handle finding Sally if you wanna
work this homicide. I mean...
I'll cover you on the LaPone case —-
HUNTER
This is the LaPone case.
DEE DEE
What? What're you...?
(her voice trails)
Wait a minute, Hunter...you mean...?
HUNTER
Molinas.
DEE DEE
But...how? I thought he was with
you?
HUNTER
(pissed)
I let him get away! I was so
damned concerned with not having
him hear me run a make on a name
Scully gave me that I let him
slip through the cracks.
DEE DEE
Yeah, but, do you really...?
(Hunter looks at her)
You do. You really believe
Molinas did this? But why?
HUNTER
So Scully wouldn't be able to
let me know what he told Molinas.
Maybe 'cause he just felt like
it.
(snaps up radio
in his car)
L-56, patch me through to R and I.
DEE DEE
Hunter, if it's true, this guy
needs to get his tires rotated.
And if he needs to get to Sally
this badly then...
HUNTER
(into mike)
Anything on that Darby Crash?
DEE DEE
Darby Crash? The guy from the
Sniveling Shits?
HUNTER
(reacts)
You heard'a him?
DEE DEE
Sure. You know their song. Cloak
of Darkness?
(no reaction from
Hunter)
Waiting To Get Out...off the
Virgin Blood album?
HUNTER
Scully said this guy has a place
in Malibu but he's probably, under
another name.
DEE DEE
Could be he's under his real
name. Harry Berkowitz.
HUNTER
Works for me.
INT. MALIBU BEACH HOUSE - NIGHT
And guess what, there's a party going on. The place is
filled with gorgeous young bodies of all three sexes and
they're dancing to music from one of those great old juke-
boxes. Some are swimming in the pool, others are drinking
and doing lines of coke off a couple glass surfaces; there
are a couple professional video games set up that people are
playing.
ANGLE - SALLY SNO-CONE
pulling on a joint and having a good time with a couple guys
out on the terrace. One of them runs his hands up and down
her ass as they walk. Her attention is elsewhere though...
and finally, a hot looking chick in a wet bathing suit comes
up a staircase and crosses to Sally.
LEANN
Hey, Sally, Darby says come see
him now.
SALLY
Thanks, Leann...
Sally is passing the joint over and kissing the guys good-bye.
They moan and feign sadness at her leaving, another one of
them getting a squeeze of her as she heads for the staircase
and hustles downstairs to:
INT. JACUZZI
We can hear the music from upstairs pounding through down
here to an indoor Jacuzzi. DARBY CRASH is in the Jacuzzi.
He's tall and just this side of emaciated. He's got a mop
of dark, stringy hair and he's loaded.
SALLY
comes hustling down the steps, primping her hair as she comes
SALLY
Hey, Darby, sweetie!
Darbie smiles to her through hooded eyes, reaches a hand out
to her.
DARBY
(english .accent)
Sno-Cone! Where ya been, sister?
She kneels down and they kiss passionately, Darby's hand
running down her leg.
SALLY
Hey, baby...listen...I'm in a bit
of a fix, y'know?
DARBY
You do look a little wired.
SALLY
Actually... I... I could use some
money. I hate to ask, I do, but...
DARBY
What kind of trouble are you in?
SALLY
I just...I need someplace to stay
and...I just could use some help,
Darby.
Darby kisses her again, pulling her toward him.
DARBY
You been runnin' all over this
burg with Terranova and his
blokes. Now, you come back to
the Darb when you need something.
I like that, Sno-Cone...
SALLY
Please, Darby...I really need
some help.
DARBY
Well, so do I. I got a houseful
of guests and not enough party
favors to go around. How 'bout
the Snow Queen making a run for
me and mine?
SALLY
Sure, sure...but...do you think
you could help me?
DARBY
How much money you talking?
SALLY
A couple grand, maybe?
DARBY
Sure, sweetie...I can spare that
for you. First, you head on
over to Sweet Louie's and get a
couple lids for the Darb, won't
you?
SALLY
Sure, sure...I'm there for you,
Darby.
DARBY
I'll ring him up, say you're
gonna be there.
SALLY
Uh...I...I’m kind of without
wheels, though...
DARBY
Take mine. Keys are in my pocket
there. She should be out of the
garage.
SALLY
I'll be back in a bit, Darb.
And you'll have the money for me?
Cause I really appreciate this.
I do, honey,
She kisses him again. He slaps her ass. Sally nods, turns
and heads out the sliding glass doors. As she does. Darby
reaches up and hits the intercom switch on the wall:
INT. KITCHEN
Leann has her head in the open refrigerator, her butt moving
to the music. She's eating a celery stick and stacking some
food up on a plate when the loudspeaker on the wall screams
at her:
DARBY'S VOICE
Hey, Leann. Get Sweet Louie on
the telephone. Then get your
buns back down here, eh?
Leann continues to bop to the music, as we:
CUT TO
EXT. BEACH HOUSE - NIGHT - ON A MASSERATI
parked in the driveway. Sally is behind the wheel. Through
the windshield, we can see she's emotionally so on edge she
could just burst out crying at any second. She sniffles it
back, gets the engine started and turns on the headlights.
As they come on, flaring into camera:
LOW ANGLE - THE MASSERATI
pulls out of the driveway and turns off up the street, and
as it passes a green sedan coming from the other direction
we hold on the green car and follow it up to the beach house,
...JACK MOLINAS
steps out of the car. He looks at the address, then up at
the house with the music blaring from it. As he starts
toward the house a playboy bunny is chased out, giggling
hysterically as the guy wrestles her up against a car. They
start making out.
MOLINAS
(pops a stick of gum
into his mouth)
Yo, Tarzan, you got an animal
named Darby Crash living here?
The GUY and the girl look at him.
GUY
(loaded)
How do you learn how to talk
like that?
MOLINAS
(smiles)
Are you interested? 'Cause I
can show you.
And Molinas grabs this guy, yanks him off the chick and
forces him down on his knees, holding his head back by the
hair.
MOLINAS
(smiles at girl)
Talk to me, pussycat, or I'll
break your toy boy friend down
so you can carry him in a bas-
ket on your arm.
The girl just nods, nods, nods — it's hard to tell if she's
nodding 'yes' or just shaking with fear. Molinas throws the
guy sideways and salutes the girl.
CUT TO
EXT. HUNTER'S SEDAN
Traveling down Pacific Coast Highway.
INT. HUNTER'S SEDAN
Hunter is at the wheel and he takes a turn that brings us
along the stretch of beach houses that we recognize as the
area Darby Crash lives in.
HUNTER'S SEDAN
takes the turn up into Darby's driveway — and Molinas's car
is gone. Hunter is out and running up to the house.
INT. BEACH HOUSE
Hunter enters, looks around at the party — or the remnants
thereof. He moves through, stopping by the guy and girl
Molinas terrorized. The guy has his head back and she is
applying an icepack to his jaw.
HUNTER
Hey, is Darby Crash here?
The guy moans and buries his head in the girl's shoulder.
The girl just points to the staircase, and:
HUNTER
turns and heads downstairs to;
THE JACUZZI ROOM - CLOSE ON LEANN
and she's just staring straight into camera -- in some kind
of shock. Hunter appears behind her, reacts to something
o.s., then slowly moves forward and we come around to reveal:
DARBY CRASH
on his back in the Jacuzzi, face under water. Hunter moves
into shot and bends down to check him out. He's dead. There
are some pills and coke laying beside the Jacuzzi. Hunter
turns to Leann who is just kneeling there, staring out the
window at the waves hitting the beach.
HUNTER
Were you here when it happened?
(takes he by shoulders)
Were you here? Did you see what
happened?
Leann just shakes her head.
HUNTER
Was anyone with him?
Leann tries to talk but nothing comes out.
HUNTER
How about Sally LaPone? Sally
Sno-Cone?
There's a hint of recognition to the name in Leann’s dead
eyes.
HUNTER
Sally was here, wasn't she?
Where is she? Huh?
LEANN
She...
HUNTER
Do you have any idea where she
went?
LEANN
Sweet Louie... Darby just wanted
to party...
(looks at Hunter)
His new album was gonna be great.
As Hunter shakes his head sadly:
CUT TO
EXT. MARINA - NIGHT
We're on a magnificent seventy footer berthed here. On the
dock near it is Darby's Masserati and we see a couple figures
emerge onto the deck.
ON THE DECK
We see Sally and a slick looking Latino named SWEET LOUIE.
Sally is laughing and the Latino has his arm around her
waist, flirting with her.
SWEET LOUIE
Forge, Darby, you stay here with
Me, mama.
SALLY
(laughs, gives him
a kiss)
As long as Darby wants to keep
playing...1'll be coming back...
LONG SHOT - SALLY AND SWEET LOUIE ON THE DECK
We pull focus through to see we are shooting out the window
of the green sedan driven by Jack Molinas. He watches the
figures up on the deck — then brings up a .45 automatic.
As he works the slide, we:
FREEZE FRAME
END OF PART ONE
And that folks, is all I have of this script. It’s a shame, because I think part two is really the better half.
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