"STRAIGHT TO THE HEART"

ACT ONE

FADE IN:

EXT. ORANGE GROVE - EARLY A.M. (HAND-HELD SEQUENCE)

It's a misty, dead silent morning somewhere in the backwash
foothills. HUNTER and MCCALL stand by quietly as a CRIME
TEAM goes about the grim task of lifting a corpse out of a
shallow grave. We PULL BACK to REVEAL:

INT. SQUADROOM - MORNING

Hunter is at his desk, staring at the scene on a video
monitor. He is haggard and spent, surrounded by files,
videotapes and empty juice cartons. Only a few people are
present in b.g.

ON THE SCREEN

The body, now wrapped in plastic, is loaded into the back of
a coroner's van. OVER this:

REPORTER'S VOICE
...the body was identified as
Alvin Decker - a convicted
arsonist wanted in connection with
the fire that destroyed the
Wilshire district fashion
warehouse of "To the Max" Designs.

The PICTURE SHIFTS to a full face shot of MAX CRAIN;
mid-forties, the portrait of a hard, successful businessman.

REPORTER'S VOICE
Max Crain - senior partner of
"To the Max" - is currently under
grand jury investigation.

Hunter punches the FREEZE FRAME and HOLDS the picture of Max
Crain. He studies it intently, seeming to look directly
into the eyes of the image on screen. His look tells us how
badly he wants to nail the son of a bitch.

A HAND reaches INTO FRAME and turns off the monitor. The
screen goes blank. Hunter continues staring at the screen
for a moment, then blinks and looks up at

MCCALL
standing over him, not believing what she's seeing.

MCCALL
You promised me, Hunter!

HUNTER
...what?

MCCALL
When I walked out of here last
night you said:
("doing" him)
just fifteen more minutes,
McCall'.
(checks her watch)
That was eleven hours ago!

HUNTER
You ever been on Bernie
Terwilliger's couch?

MCCALL
(appalled)
What?

HUNTER
(grins)
I tried it last night - got two
hours sleep.

MCCALL
Two hours is not enough. You're
going nuts with this Max Crain
thing.

HUNTER
No, McCall, if he isn't indicted,
then I'll go nuts.

MCCALL
You gotta get some rest. You're
gonna do the grand jury a hell
of a lot of good if you can't
stand up on Monday.

HUNTER
The only thing that has to stand
up is my testimony.

MCCALL
This is your partner talking, Big
Guy. You've got comp time coming.
You're always talking about going
fishing, here's your chance. Go.

A beat, while he considers this, not moving. McCall tries a
lighter tack:

MCCALL
Ever hear the one about the two
brothers who went fishing? One
brother couldn't miss. Every time
he threw in his line he'd come
up with a big, fat fish. The
other brother couldn't catch a
fish to save his life.

Hunter looks up at her, cocks an eyebrow. She powers on:

MCCALL
They kept trying different places,
but every time - the same story.
One morning, the brother who
can't catch a fish gets up really
early and steals all his brother's
equipment - even his boots.
He goes down to the lake and
starts casting. Hours go by, and
nothing. Finally, he gives up.
He's walking away when he hears
this plopping sound. He looks
back and sees this huge fish
sticking his head up out of the
water, and the fish says:
(deep, fishy voice)
Hey, where's your brother?

Hunter laughs in spite of himself and McCall takes his arm
and pulls him to his feet.

MCCALL
Let's go hit the Captain for some
time off.

INT. DEVANE'S OFFICE - CLOSE ON DEVANE

DEVANE
You look like hell! Did a train
run over you?

PULL BACK to REVEAL Hunter and McCall standing in front of
the captain's desk.

HUNTER
(irritated)
Just trying to finish a job.

MCCALL
You've finished that job. The
rest is up to the grand jury.

HUNTER
And they won't indict - not with
what little we got.

DEVANE
Why not? The guy has two million
bucks worth of inventory delivered
a week before his warehouse goes
up in flames. His partner is last
seen alive on the night of the
fire, and his partner's blood is
found on the front steps of the
place! And you spot Crain meeting
with Alvin Decker, arsonist, who
then turns up three feet under
a navel-orange tree. With your
testimony, there's enough evidence
there to get an indictment against
Mother Teresa!
(a beat)
I want you awake Monday morning.
So go. Get a few days rest.

HUNTER
(a bit amused)
You ordering me to take some time
off?

DEVANE
(snaps it)
Yes.

HUNTER
That's a switch.

DEVANE
It won't happen again. And do
me a favor. Go to the print shop
and get yourself some new I.D.

HUNTER
Hey, cool it, Charlie. I wish
Crane was worried enough to do
something stupid. He isn't.

DEVANE
Humor me, Hunter, will you? I
don't want you leaving a paper
trail that says "Sergeant Rick
Hunter slept here".

McCall moves up next to Hunter and starts to physically push
him toward the door.

MCCALL
Go. Before he changes his mind.

HUNTER
Ooh, that's good, McCall. A
little higher - between the
shoulder blades.

The Captain can't help smiling as McCall hustles Hunter out,
and we:

CUT TO:

EXT. MOUNTAIN LAKES AREA - DAY (ESTABLISHING)

A soaring, breathtaking shot of the lush, forested
California mountains in the full flush of early summer,
crown peaks beset with lakes like shimmering jewels.

EXT. MOUNTAIN ROAD - DAY - LONG ANGLE (MUSIC OVER)

First we HEAR the SOUND of a throaty V-8 from somewhere down
around the bend. Then the car comes into view, approaching
at something over the double-nickel. It's an old 'Vette,
black, convertible with a roll bar, in pretty good condition
- though we really don't get much of a look at details as
it flashes past us and disappears around the next bend.

IN THE 'VETTE - MOVING ALONG

The driver is Hunter. He's wearing sunglasses and t-shirt,
nodding his head to a B.B. King tape playing over the
thunder of the 327 under the hood. We FOLLOW him out, and

REVERSE ANGLE

to SEE another car, this one a late-model Ferrari, come
rocketing up the road at 70 from some distance back,
whizzing past the hitchikers, who cast dirty looks.

EXT. PASSING LANE

A wide spot in the road. The Ferrari gains on Hunter's
Corvette.

HUNTER

glances in his side mirror, the cop in him reacting to the
approaching speeder. As the Ferrari passes him, he gets
a good look at the driver - a stunning, dark-haired woman
of about 28. The Ferrari is past him in a matter of seconds
and we lose it around the next bend.

CUT TO:

EXT. ROADSIDE BUSINESS - DAY

It's a little gas pump-cum-cafe catering to the
side-of-the-road trade. The Ferrari is in getting gassed.
We get a good look at the dark-haired woman we saw driving
for the first time: a sultry, blue-eyed beauty wearing a
simple sundress that shows off her creamy tan and other fine
qualities. Her name is NICKI. Her windshield is being
cleaned by a nice-looking, helpful guy named WILL.

WILL
Headed up to the lakes?

Nicki nods. Will scrapes a bug, then:

WILL
Up from L.A.?

Nicki nods again, not wanting a discussion.

WILL
Needed a little fresh air, huh?

NICKI
(trying to close
him down)
Yes. And a little peace and
quiet.

Will finishes the windshield, walks over to the pump, tops
'er off. Nicki gets in and reaches into her tote bag for
her wallet as Will puts the hose away and comes over, wiping
his hands.

WILL
Seven seventy-five.

Nicki hands him a ten. He takes it over to the cash box,
as:

HUNTER

comes driving in in the 'Vette, pulling up directly behind
Nicki's Ferrari. Hunter gets out, looks at Nicki (as any
healthy male all by himself would), but Nicki does not look
at Hunter. She gets her change and drives off, fast. Will
comes over to help Hunter.

WILL
Wow! I don't see one in here like
that very often!

HUNTER
You don't see one like that
anywhere very often.

WILL
Amen! Fill 'er up?

HUNTER
Yeah, all the way.

EXT. HIGHWAY - THE FERRARI - DAY
Still going about twenty miles over the speed limit.

ON HUNTER'S CORVETTE - DAY

He's driving a little faster now and we may get the feeling
he'd like to see that beauty in the Ferrari again.

DISSOLVE TO:

EXT. ROADSIDE COLD DRINK STOP

It looks clean and bright. There is a soft-drink bar and
three umbrellaed tables with a few people seated at them.
Among the cars parked there is Nicki's Ferrari, and at one
of the tables, seated alone, is Nicki, drinking a
giant-sized cold drink. She does not even notice:

HUNTER'S CORVETTE
about to pass the roadside cold-drink stop.

ON HUNTER

He sees the Ferrari, then sees Nicki, still beautiful, still
alone. He takes his foot off the accelerator, then thinks
better of it and shoots on by.

ON NICKI

finishing her ice-filled drink, totally unaware of Hunter or
anybody else.

INT. TANNER LAKES LODGE - STOCK - DAY

Modern, upscale, lots of wood and glass, nestled in the
pines and snuggled up against the edge of a dazzling,
cobalt-blue lake.

AT THE FRONT DESK,
all is not roses. Over a half-dozen people are stranded in
front of the desk in various attitudes of agitation and
annoyance. A couple of young, outdoorsy desk clerks are
doing their best to handle the scene. One of them, a very
sincere-faced blonde girl of about nineteen, JENNY, is
giving Hunter the news.

JENNY
...I'm terribly sorry, Mister
Dawson. We had a tour-bus come
in today with thirty-two people,
and there were only supposed to
be twenty-two. Somebody punched
the wrong number on the computer,
but we've made arrangements with
the Grandview Lodge.
(hands him a
folder)
The directions are on here and
they've promised to accommodate
you. Just hand this to them.

As Hunter takes the folder:

JENNY
I'm really sorry, Mr. Dawson, but
the Grandview is very nice.

As Hunter nods and turns away, he sees:

NICKI RAINS
as she steps up to the counter, making eye contact only with
Jenny, who takes Nicki's reservation and looks at it.

JENNY
I'm terribly sorry, Miss Rains-

ON HUNTER

He hears no more as he goes on out to

THE CORVETTE

Hunter glances at the map on the folder the desk clerk gave
him, puts it in his pocket, gets in and drives off.

EXT. HIGHWAY - DAY

Hunter's corvette is moving along nicely, until...the motor
suddenly COUGHS and the car stutters a bit. Another COUGH
and Hunter coasts off to the side of the road, where he
turns off the ignition, waits a second, then tries to start
the car. The starter makes that familiar GRINDING SOUND
that tells us we have a serious problem.

HUNTER

gets out, looks under the hood, makes a few experimental
probes and adjustments, gets back in and tries again.
NOTHING.

CUT TO:

CLOSE ON SUITCASE

We pull back to reveal Hunter standing just in front of the
Corvette, his large suitcase and his leather-covered fishing
gear beside him. He is trying to hitch a ride. He has left
the hood of the Corvette open as testimony to his plight.

A CAR

appears and Hunter uses his thumb and a worried look. He
has decided a smile will not work. This way doesn't work
either. The car, two middle-aged people in the front seat,
the rear seat empty, whips past.

ON HUNTER

miserable, looking down the highway for the next
opportunity. He reacts as he sees:

LONG SHOT - THE FERRARI
racing toward him.

ON HUNTER
He raises his arm.

ON THE FERRARI
two hundred yards and coming fast.

ON HUNTER
He decides that a smile might work this time.

THE SCENE

Nicki Rains gives him a brief, noncommittal glance as she
roars past him.

ON HUNTER

watching her go, pissed; she didn't even take a half-second
to think about giving him a lift. He's not exactly
invisible: she saw him at the Tanner Lakes Lodge, so she had
to know where he was headed. If he ever sees her again
he'll let her know what he thinks of her. He looks to his
left and puts up his thumb:

A RABBIT

top down, and coming fast. Two teen-age girls are in the
front seat.

THE SCENE

The Rabbit pulls up and the teen-age girl in the passenger
seat (cute and half-naked: shorts and a skimpy halter) gives
Hunter a big, toothy smile. Her name is KELLY. The
driver's name is KRISSY.

KELLY
Got a problem?

HUNTER
Fuel pump, I think.

KELLY
Where you headed?

HUNTER
(takes out form,
reads)
The Grandview Lodge.

KELLY
(still smiling)
Well, what ya waitin' for? An
engraved invitation?

THE RABBIT

Hunter in back seat, the car tooling along only slightly
over the limit.

KELLY
His name's Kyle an' he's a really
rad mechanic, ya want his number?

HUNTER
Where's his place?

KELLY
In Viewmont, that's where we live.
(sexy smile)
It's only eight miles from the
Grandview Lodge, and every night's
party night.

HUNTER
(pencil out,
smiles)
Okay, both numbers.

KELLY
His is 74810 and mine's 74626.
Kelly's my name and this is
Krissy, my sister. She's shy.

Krissy blushes but continues to say nothing. Kelly looks
from Krissy to Hunter.

KELLY
She thinks you're cute.

HUNTER
How do you know?

KELLY
I can read her mind.

HUNTER
(grins)
What's she thinking right now?

Krissy blushes again (or the filmic equivalent of a blush)
and Kelly breaks out laughing.

KELLY
If I told you, she'd die!

EXT. THE GRANDVIEW LODGE - DAY

The Rabbit pulls up and Hunter gets out, unloads his
suitcase and his leather gear-holder.

HUNTER
Thank you, Kelly. Thank you,
Krissy.

KELLY
Don't forget to call Kyle - if
anyone can fix your car, he can.

Is Kyle your brother?

KELLY
(laughs)
How'd you know that?

HUNTER
I read Krissy's mind.

The Rabbit drives off.

KELLY
(as they go)
He's my brother, but he's good,
too! Bye!

Hunter smiles as they drive off, picks up his suitcase and
gear, starts toward the lodge and stops as he sees:

THE FERRARI
parked with the other guest's cars. Empty.

HUNTER
walks into the lodge.

INT. GRANDVIEW LODGE DINING ROOM - NIGHT

It is not a large dining room, nor an elaborate one. There
are about sixteen tables, some for four, most of them for
two.

As we COME INTO the scene with Hunter, there are three
couples at three tables, two foursomes at two tables, and
one person dining alone at a table for two. It is Nicki
Rains.

ON HUNTER
as he sees Nicki.

ON NICKI

looking even more beautiful and still keeping her eyes to
herself.

FEMALE MAITRE D'

She is young, a bit overweight, and polite.

MAITRE D'
Just one, for dinner?

HUNTER
Just me.

The maitre d' nods and leads the way to a table for two just
beyond Nicki.

THE SCENE

as they pass Nicki, she glances up and sees Hunter. She
looks away quickly as if embarrassed to see him. Hunter
ignores her completely. Nicki is about half-way through her
dinner. A glass of red wine is about half empty.

HUNTER

seated, looking at menu. He glances up at Nicki. If she
turned her head slightly to her left, she would be looking
at Hunter. She apparently has no intention of doing so.

DISSOLVE TO:

INT. DINING ROOM - NIGHT

CLOSE ON HUNTER

He is eating a giant green salad.

ON NICKI

She has finished her dinner and has just signed the check.
She stands.

HUNTER

He glances at her briefly, goes back to his salad.

ON NICKI

She starts away, stops, turns and looks at Hunter.

HUNTER

eating. If he sees her, he's doing a good job of pretending
not to.

THS SCENE

After a moment, Nicki walks to Hunter's table. Hunter looks
up at her, his expression neutral.

NICKI
I owe you an apology.

HUNTER
You do.

There may have been a "?" after "you do", but maybe not.

NICKI
I saw you at the other lodge.
(takes a breath;
this isn't easy)
And when I passed you, I knew you
were trying to get here.

She stops, gets absolutely no help from Hunter.

NICKI
But I just went through a divorce.
And I cane here looking for fresh
air and solitary confinement.
(pause)
You will accept ay apology? Won't
you?

She is so sincere and so indescribably beautiful that Hunter
can only do what he does. He stands and:

HUNTER
I hope you'll accept mine -
(his best smile)
- for what I've been thinking,

NICKI
(a faint smile)
Thank you. Good night.

And she's gone. We hold on Hunter as he tries to think of
some way to keep her from vanishing out of his life. He
sits, knowing there's nothing he can say.

DISSOLVE TO:

INT. DINING ROOM (THE SAME ONE) - DAY

This is the breakfast hour and the room is fuller than it
was last night.

HUNTER

is seated at a table for two, alone with a bowl of All-Bran
with wild berries sprinkled over it. Someone appears at the
entrance and Hunter looks up at:

NICKI

She is wearing a Perry Ellis shirt and dark grey pants that
cling like wallpaper to her slender figure. This girl just
can't help looking like someone on the cover of Vogue. She
sees Hunter looking at her.

HUNTER

nods a "good morning" and smiles.

NICKI

she nods and half-smiles. She looks at:

THE FEMALE MAITRE D'

who is seating two couples.

NICKI

She makes a decision and walks over to Hunter's table.

AT TABLE

NICKI
May I join you?

HUNTER
(stands)
You certainly may.

NICKI
(as she sits down)
I'd feel like an idiot sitting
alone at that table.

CONTINUED

She nods at an empty table for two right next to Hunter's
table.

NICKI
(as Hunter sits)
And besides, I've decided you're
not looking for company any more
than I am.

HUNTER
Well, I wasn't...
(smiles at her)
But I wasn't expecting to meet
someone who looks like you,
either.
(quickly adds)
But you're right, I was sent here
for R and R. I'm supposed to fish
and eat and sleep, nothing else.

NICKI
Good. We'll eat together. That
way, no one'LL put a move on
either of us.
(a really nice
smile, for the
first time)
After all, you're --

She breaks off as a waitress appears.

NICKI
(to waitress)
I'd like some cold cereal and hot
coffee.

HUNTER
They've got wild mountain berries,
they're great.

NICKI
(to waitress)
With wild mountain berries on it.

The waitress smiles, writes the order, leaves.

NICKI
R and R, huh? I hope your
problems are smaller than mine.

HUNTER
No problem, just all work and no
play. I'm in the construction
business.

NICKI
I'm in the housewife business -
or I was, till six months ago.

HUNTER
I'd have bet ten to one you were
a model or an actress.

NICKI
I was a model, once. Then I got
married. Are you married?

HUNTER
No. I did come close once or
twice.

NICKI
I wish I could say that. The guy
started cheating on me in the very
first year! Then when I finally
get fed up with it, he gets joint
custody of our daughter. That
is what sent me off to the
mountains, and please forgive me
for talking about it, it won't
happen again.

HUNTER
Talk about it. It helps.

NICKI
Nope, that's it. Y'know, I don't
even know your name.

HUNTER
John Dawson.

NICKI
Nicki Rains.

She puts out her hand, smiles, and Hunter takes the hand and
smiles at her.

HUNTER
Ever done any fishing?

NICKI
Never.

EXT. LAKE - AFTERNOON

Sunshine sparkles across the surface of the water, an effecT
serene and surreal. We FIND:

HUNTER AND NICKI

in an anchored motorboat, rented fishing gear for Nicki
in action. She's wearing a white cotton top (oversize),
and a floppy sun hat. Hunter's in shorts and a t-shirt.
Nicki takes an enormous strawberry out of a picnic basket
and bites into it.

NICKI
Mmmm. ...

Hunter smiles. Nicki leans over and offers to feed the resT
to Hunter. He accepts, tasting the sweet juices with
pleasure. He reaches down for another and shares it with
Nicki. She guides his hand toward her mouth. A little
strawberry juice runs down her chin. She laughs as Hunter
dabs it off with his fingers, then leans back and looks at
Hunter, studies him, still smiling, but looking at him in a
way he hasn't seen before: there may even be an element of
suspicion in it. Finally:

NICKI
(kidding, of
course)
Are you sure you're not a cop?-
a private eye hired by my no-good
ex-husband?

HUNTER
(appalled)
Do I look like a cop? Or a
private eye?

NICKI
Yeah, you do. And besides, what
are the odds against me running
into a man - all by himself, mind
you, in an out-of-the-way place
like this - who looks like you?

HUNTER
The odds are even bigger against
me running into someone like you.

NICKI
(cocks her lovely
head)
Okay. What do you say we just
roll with it? Stop examining it
and just go with it?

Hunter starts to answer but gets a nibble. He begins
reeling in his line. His pole bends slightly, then flips up
straight as whatever snagged the hook lets go. Hunter reels
in his empty hook.

HUNTER
Lost him.

NICKI
Our luck will change. I feel it.

Hunter re-baits and re-casts. Looking at her:

HUNTER
It already has.

An electric beat. Nicki avoids it:

NICKI
Are you a successful contractor?
Or just an over-worked one?

HUNTER
I'm on the successful side.

NICKI
Which is why you rented this
strange, little boat instead of
one of those big, flashy inboards.

HUNTER
I'm thrifty. So was Rockefeller.

NICKI
A contractor...somehow you look
more interesting than that.

She grins playfully, then reels in her line.

NICKI
I wanna know why these fish are
ignoring us. I'm gonna find out
what's going on down there.

She drops the pole into the boat. In one quick motion she
strips off her hat and top, revealing the briefest bikini
underneath. Hunter watches appreciatively as she dives in,
her smooth, tan body causing barely a ripple in the water.
Hunter pulls in his line, smiling, and waits for her to
surface. When she does:

NICKI
I got the answer! There aren't
any fish down there!

Nicki hoists herself back into the boat with Hunter's
assistance. She's shivering.

NICKI
Maybe it's because the water's
so cold.

Hunter picks up a towel, wraps it around her shoulders.

HUNTER
I'll have you warmed up in a
second.

Nicki snuggles into the towel as Hunter takes a corner and
gently dries her cheek. Their eyes meet. Nicki puts a hand
on Hunter's and he stops drying her face. Nicki is
beautiful even when wet and cold, and willing and inviting.
Hunter draws her toward him. They share a tender kiss.
They pull back and look at each other. Nicki pulls Hunter
down on the deck where they lie together on a thick
terrycloth towel. They kiss again several times, then gaze
hungrily at each other for several moments.

NICKI
I can't believe this... Is this
the woman who told you just
yesterday that she was looking
for solitary confinement?

HUNTER
Same woman...different outlook...

NICKI
Full of surprises...

HUNTER
You? Or me?

NICKI
(she means it)
Life...

They kiss again, and this one counts; this is the one that
has to be pursued to its full and total fulfillment. And
they both know it.

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

ACT TWO

FADE IN:

EXT. NEW LAKE - SUNSET

The sky is painted in a thousand pastels, reflecting across
the smooth-as-glass surface of the lake. It's magic hour...
the stuff of which postcards are made.

EXT. LAKEFRONT LODGE - SUNSET

It's a collection of cozy, secluded cabins tucked away in a
quiet little clearing on the bank.

EXT. CABIN - SUNSET

Hunter stands on the front porch, leaning against a post,
arms folded across his chest, contemplating the sunset.
He's in levis and shirtless, looking far away. He stands
there for some time before -

NICKI

comes out of the cabin and moves up next to him from behind.
She's wearing a short, white terrycloth robe and drying her
hair with a towel. Hunter doesn't hear her at first and
reacts, startled, when she puts her hands around his trim
waist. She smiles.

NICKI
First date jitters?

HUNTER
(smiles)
Over-work jitters.

He puts an arm around her. They stand looking out at the
sunset.

NICKI
I like this place - makes me feel
like Los Angeles is five thousand
miles away...

HUNTER
Los Angeles? Where's that?

NICKI
(smiles)
In another world.

She says this facing him, looking deep into his eyes,
running her hands over his hard flanks. Her fingers touch
something on his side. She frowns and breaks away from his
gaze to inspect

A SCAR

on Hunter's torso, running down his side from just below his
ribs to just above his belt line.

NICKI
What happened here?

HUNTER
It's ancient history, a place even
farther away than Los Angeles -
Vietnam.

NICKI
A war wound? How romantic!

HUNTER
No, I was just in the wrong spot
at the wrong time.

Nicki runs her hands up to Hunter's neck, finding another
scar on Hunter's right shoulder.

NICKI
Another war wound?

HUNTER
Another war altogether. And a
long story...

Nicki leans forward and kisses the scar.

NICKI
(softly)
I have time.

HUNTER
(kisses her)
How much time do you have?

NICKI

Forever.

Nicki lifts up on her toes and puts her lips sweetly on
Hunter's. He responds, pulling her close. When they part,
she takes his hand and leads him into the cabin. The door
closes behind them.

IN THE CABIN

Well-appointed rustic - a warming fire, brick hearth, high
beams, an old-fashioned patchwork quilt spread over the big,
brass bed.

Our ANGLE SHIFTS so that we are ON Hunter, shooting over
Nicki's shoulder and half of her back. Looking at her,
Hunter is about to speak. Nicki puts a finger to his lips.
She takes a half step back, unties her robe and lets it fall
away, revealing her soft, beautiful skin.

Hunter moves toward her; gathers her in his arms. They kiss
with rising passion - lips and tongues exploring faces,
earlobes, necks and more. They sink to the bed, Hunter's
big, strong body lying next to Nicki's sensuous curves,
and we:

CUT TO:

EXT. STREET CORNER - NIGHT

ON MCCALL

This doesn't seem plausible, but she appears to be waiting
for a bus. She glances at her watch and tries to see into
the night in the direction from which a bus should be
coming. She turns, paces for a second or two, glances at
her watch again, looks up, reacts to:

BUS

heading toward the bus stop where McCall stands waiting.

ON MCCALL

as the bus stops for her. She gets in and the bus wheezes
off.

INT. BUS

McCall drops in the correct change and starts walking toward
the rear of the bus.

ON SPORTY JAMES

He is seated in the last seat on the driver's side. The bus
is almost empty.

ON MCCALL
as she sits down beside Sporty.

MCCALL
You don't have to sit back here,
Sporty, they took care of this
sort of thing thirty years ago.

SPORTY
McCall, I do not want you to say
anything funny. If I start to
laugh, I'll cry.

MCCALL
That bad, huh?

SPORTY
It is baaaad. Which is the reason
for the low-rent manner of our
meeting. Where is my dear friend,
Sergeant Hunter?

MCCALL
(trying to conceal
reaction)

Home, probably. Or out with the
local bubble-gum champion. Why
do you ask?

SPORTY
He is not home. And his taste
in women is im-peccable. Where
is he?

MCCALL
Come on, Sporty, why the sudden
interest in where my partner is?

SPORTY
I have some high-level,
quid-pro-quo information for you
concerning our dear and mutual
friend, assuming he is still alive
and well.

MCCALL
(getting alarmed)
Hey, get with it. What's on your
mind?

SPORTY
I give you some vital information.
In return, you take a certain
low-life scumball off the streets.
His name is Marko Cassette and
he is giving street-business a
baaad name.

MCCALL
What's he doing?

SPORTY
He's doing drugs. I know - that
is not your domain or
responsibility, but you can get
the job done. You see, he is
using juveniles, and I mean
children, McCall, as street
sellers for crack. I want him
shut down. He cooks his rock at
this address.
(hands her a card)
MCCALL
(looks at card)
Well, Sporty, I always knew there
had to be some reason why I like
you. I guess this is it.

SPORTY
You like me 'cause I am my own
man. I am an autonomous
individual, McCall, I have soul.

MCCALL
(amused)
Well, I wouldn't go that far.
What's this information you're
giving me, free of charge.

SPORTY
I have been informed - and have
reason to believe - that a hit
has been put out on Sergeant
Hunter.

MCCALL
(quick concern)
You gotta do better than that.

SPORTY
Say what?

MCCALL
Where'd you hear this rumor?

SPORTY
Hey, Sergeant, Sporty James does
not deal in rumors. But if I give
you my source, the well goes dry
forever.
(a beat)
And you know I don't deal in
fiction, either. All I'm askin'
is the quid-pro-quo - you get
Marko off the street. Not to
mention I am quite fond of
Sergeant Hunter - a sincere
admirer. Like to keep him around
for a while.

MCCALL
You can't give me anything to back
this up? Maybe some more detail?

SPORTY
Would I risk my reputation on some
will-o-the-wisp rumor, McCall?
Credibility is my basic asset -
not countin' the natural gifts
I was born with. But what I gave
you is all I have.

MCCALL
Okay, Sporty. Just between us,
it does make sense.
(stands)
I'll be getting off here, I've
got work to do.

And she heads for the front of the bus.

EXT. THE LAKE - EARLY, EARLY MORNING
A silvery mist hangs over the water like a fine spiderweb.

INT. CABIN

Hunter and Nicki are in bed. Hunter is sleeping deeply.
Nicki's eyes are already open. Carefully, so as not to
disturb Hunter, she reaches over to the nightstand and takes
up a small, gold watch.

INSERT - THE WATCH
The time is 6:50 A.M.

NICKI

fastens the watch on her wrist, glancing at it once again.
She flicks a nervous look at Hunter, who is still asleep.
After another thoughtful glance at the watch, she slips
quietly out of bed, puts on her robe and slippers, takes
her purse, and glides out the door without a sound.

EXT. CABIN

Nicki pads across a grassy area toward a public phone
outside the rental office.

CLOSE ON NICKI

She glances at the watch again and we gather she must wait
before she can make the call.

INT. CABIN

Hunter stirs; awakens to find Nicki gone. He looks toward
the bathroom door, which is slightly ajar.

HUNTER
Good morning...
(no reply)
Nicki?

Still no answer. Hunter gets up, wearing only pajama
bottoms. He looks into the bathroom. Nobody there. He
goes to the window and looks out.

HIS P.O.V. - NICKI
standing by the phone across the way.

CLOSE ON NICKI

looks at her watch.

INSERT - THE WATCH

The time is 6:59 and 20 seconds.

NICKI

picks up the receiver, drops a coin and dials a
long-distance number.

HUNTER

watches, his face expressionless.

ON NICKI

We HEAR the connection made; the number Nicki dialed begins
to RING. After a beat, we HEAR:

MAX CRAIN'S VOICE
Hello.

NICKI
Max - it's me.

CRAIN'S VOICE
Right on time.

INTERCUT:

EXT. A PHONE BOOTH IN MARINA DEL REY - EARLY MORNING

Max Crain, dressed in physique-flattering designer sweats,
is on this end. INTERCUT Nicki and Max Crain.

MAX
How's it going?

NICKI
Just the way you wrote the script.

MAX
Then you should get it done today,
right?

NICKI
It'll be done...

MAX
I gotta confess, babe, I wasn't
too sure of this deal. I feel
better now. I love you.

NICKI
I love you, too.

ON NICKI

as she hangs up the phone and looks back toward the cabin,
her expression flat and completely unreadable. She turns
away from the phone, pads softly back to the cabin, steps
gingerly across the creaky, wooden porch and slips quietly
back inside.

INT. CABIN

She quietly closes the door and looks at:

HUNTER

lying just as she left him, and doing a great job of looking
and sounding fast asleep.

THE SCENE

Nicki steps out of the slippers, drops the robe and slips
back into bed. Hunter's back is toward her and she puts her
arms around him and snuggles tightly against him. She
kisses his shoulder, his neck, his back, slowly pulling the
covers down as she kisses his back.

HUNTER
(mumbles it)
Wha' time is it?

NICKI
Time for coffee... and breakfast
in bed... and all those other nice
things that beds are for...

Hunter turns toward her, glances at his watch.

HUNTER
You always get up at seven a.m.?

NICKI
(kisses him)

I set my alarm, the one in my head
- I had to call Danielle.

HUNTER
Danielle?

NICKI
My daughter. She leaves for
school at seven-thirty.

HUNTER
You made a phone call and I didn't
hear you?

NICKI
I used the phone outside - didn't
want to wake you up.
(grins)
Not while I wasn't in bed.

Hunter studies her. He wants to believe her, and he
apparently does, because he kisses her with full intent.
And Nicki responds... with equally full intent.

EXT. GRANDVIEW LODGE - DAY

This is the lodge where Hunter and Nicki spent the night in
separate rooms, the one they abandoned the following
afternoon.

MCCALL
drives into the lot, gets out and goes inside.

CUT TO:

THE DINING ROOM
(The one in scenes 42-47)

It is now empty except for a balding manager-type in a
polyester suit. He is having a late lunch. His name is Mr.
Donald.

MCCALL

appears at the entrance (marked by a sign that says
"CLOSED") and walks toward Mr. Donald.

ON DONALD

He frowns. Who is this interrupting his lunch?

THE SCENE

as McCall shows Donald her credentials.

MCCALL
Sorry to bother you, but the desk
clerk wouldn't answer ay
questions.

DONALD
What can I do for you?

MCCALL
I'm looking for a man named John
Dawson. The people at Tanner
Lakes Lodge say they sent him over
here.

Donald frowns, trying to place the name.

MCCALL
He's a big man - six feet six.

DONALD
(remembers)
Oh, him!

MCCALL
Then he is here?

DONALD
Well, no... He checked out.

MCCALL
(alarmed)
When?

DONALD
The next afternoon. He and the
young lady just... checked out.

MCCALL
(astonished)
The young lady?

DONALD
(nods)
A real beauty. Bains? Rains?
That's it: Rains. They drove
off together, God knows where.

MCCALL
In his car or hers?

DONALD
They only had one car. I do
believe it was hers. It was a
(color to be provided) Ferrari
roadster.

ON MCCALL

Only one car? What in hell is going on here?

INT. MABEL'S - DAY

Jukebox, flapjacks and pretty, country waitresses. Lots and
lots of coffee. The counter and tables are jammed with
locals and tourists, reading papers, shooting the breeze,
swapping lies about ones that got away.

We FIND Hunter and Nicki in a corner booth. He's got and
a big fruit salad. She's tearing through a double stack
of banana-nut pancakes.

HUNTER
How can you eat like that and look
as good as you do?

NICKI
(ravenously)
Exercise. Lots of exercise.
(re: his meal)
Speaking of which --I'd like to
make a request: eat, you need to
keep up your strength.

She flashes one of her most seductive smiles over a dripping
forkful of pancakes. Hunter smiles, quite taken with her.
We HEAR:

MCCALL
(O.S.)
Mr. Dawson, thank God I found
you!

Hunter and Nicki both look and react to:

MCCALL

approaching their table.

NICKI
(quickly)
Just tell me one thing; she's
not your wife, right?

HUNTER
Definitely not my wife.

McCall reaches the table, taking a mental snapshot of Nicki.

HUNTER
Hi, Dee Dee! This is my friend
Nicki Rains; Nicki, this is my
Secretary, Dee Dee.

Nicki smiles sociably and offers her hand, masking her
discomfort. We get the feeling Nicki knows exactly who
McCall is. McCall doesn't skip a beat.

MCCALL
You can be a hard man to find.

HUNTER
Apparently not hard enough. What
are you doing here?

MCCALL
We've got a small problem back
at the office.

HUNTER
I thought I got away from that
for a while. Okay, what is it?

MCCALL
(a beat; to Nicki,
diplomatically)
Do you mind if we talk alone for
a moment?

NICKI
(sweetly)
I was just going to the ladies'
room.

Nicki gets up and moves off around the counter toward the
opposite end of the place. McCall watches her, then,
sitting down:

MCCALL
No wonder you've been so hard to
find.

HUNTER
McCall - you told me to forget
everything and have a good time.
I took your advice. I'm having
one.

MCCALL
You're supposed to be fishing.

HUNTER
What can I say? I caught one.

McCall shakes her head and smiles in spite of herself.

HUNTER
So, we know why I'm here...

McCall's tone shifts to serious.

MCCALL
I got a piece of news from Sporty
James.

HUNTER
Hope you didn't pay too much.

MCCALL
(ignoring this)
He says there's a contract out
on you.

HUNTER
Now there's a world-shaking flash.

MCCALL
Hunter, I believe him. Don't ask
why, but I think it's hard
information and I didn't pay a
dime for it.

HUNTER
It's just a street rumor. Anybody
could have started it. It doesn't
mean a thing.

MCCALL
Sporty says it's for real. And
his batting average is pretty damn
good on this kind of stuff.

HUNTER
Well, they'll have to find me
first.

MCCALL
By the way, who's your friend?

HUNTER
Her name is Nicole Rains. She's
recently divorced, has joint
custody of one seven-year-old girl
named Danielle. And terrific
taste in men.

MCCALL
(skeptically)
Yeah, is that all you know about
her?

HUNTER
Hey, McCall, is that the face
or body of a hit man?

He grins and reaches gingerly into the pocket of his
windbreaker. He comes up with a small package wrapped in
newspaper, held gently between thumb and forefinger to avoid
smudging prints. He unwraps it, REVEALING a woman's gold
compact.

HUNTER
Do me a favor, run this for prints.

Hunter gives it to McCall. During this:

MCCALL
(relieved)
This is better, this is the Hunter
I know and love - cynical,
suspicious, paranoid...

McCall puts the compact carefully into her bag. Hunter
takes a slip of paper out of his shirt pocket and hands it
to her.

HUNTER
She made a call from a pay phone
at exactly seven this morning.
Here's the number she called from.
She says she called her daughter,
Danielle.

McCall glances at it and puts it away.

MCCALL
If you suspect her, why don't you
lose her?

HUNTER
(grins)
Because I really don't suspect
her, or at least I don't want to.

He looks off, spotting:

NICKI
who's on her way back from across the restaurant.

THE SCENE
Hunter smiles and nods. McCall looks and sees her, too.

HUNTER
Think what I'd be missing if I
did.

MCCALL
(flatly)
I'd rather not.

HUNTER
(quietly)
We'll be at the Angler House at
six. Call me if there's
anything...

Nicki comes back to the table.

NICKI
Well, everything okay?

HUNTER
Everything's just fine. Anything
Else, Dee Dee?

MCCALL
I think that about covers it.

McCall gets up as Nicki sits back down. Hunter plays his
boss role with relish.

HUNTER
See if you can get through the
next few days without me.

McCall shoots him a look.

MCCALL
I'm sure gonna try.
(to Nicki)
Nice meeting you.

They shake hands, each one studying the other more deeply
than either is letting on. McCall flicks a parting glance
to Hunter, and goes.

NICKI
She seems very nice...

HUNTER
Not really, but she is efficient.

NICKI
(a beat)
Oh, by the way - when I was in
the ladies' room I couldn't find
my little, gold compact. You
didn't happen to see it, did you?

HUNTER
Compact? No....

NICKI
I must've left it in the room...
I thought for sure it was in my
bag.

HUNTER
What do you need makeup for?

She smiles and changes the subject with her lips.

DISSOLVE TO:

EXT. BOAT DOCK - DAY

Hunter is checking the boat out, making sure everything
is in order. He looks up and calls toward the cabin.

HUNTER
Come on, Nicki! Today we catch
us a fish!

INT. CABIN - DAY
Nicki packs some things into her tote bag, then stops.

NICKI
(calling)
Be right there!

Nicki opens her suitcase.

ON THE SUITCASE

as Nicki removes a false bottom and pulls out a .22 with
silencer.

ON NICKI

as she checks the weapon's load, then buries the gun in her
tote bag. She cinches up the top of the bag and walks out
to join Hunter.

FADE OUT

END OF ACT TWO

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

ACT THREE

FADE IN:

EXT. THE LAKE - DAY

The rented motorboat floats placidly on the lake. Hunter
wears a T-shirt and shorts. Nicki wears a skimpy bikini.
They watch their slack fishing lines, Hunter snacking on
chips as Nicki spreads sun tan lotion on her arms.

NICKI
Do my back?

Hunter takes the bottle, squeezes out some lotion, rubs it
on Nicki's back.

NICKI
Is it always this exciting...
(pause)
...fishing, I mean?

HUNTER
Reminds me of a story somebody
told me about two brothers.

NICKI
I'm listening.

HUNTER
I'll tell it after we've caught
a few. Then we can laugh.
(finishes with the
lotion)
Let's take a shot at the other
end of the lake.

CUT TO:

EXT. THE LAKE - DAY
The motorboat skims across the lake at a good clip.

THE BOAT - TRAVELING

with Nicki still on the aft deck and Hunter at the wheel,
his naked back turned on her.

CLOSER - NICKI

as she watches Hunter, a wariness in her eyes, then opens
the tote bag and reaches inside.

INSERT - NICKI'S HAND
as it cones out of the tote, fingers wrapped around her gun

THE SCENE

with Hunter steering the boat, enjoying the day, oblivious
to Nicki. She raises the gun, pulls back the hammer.

TIGHT ON NICKI

struggling with the moment, about to do something absolutely
contrary to her nature. A look of revulsion begins in her
eyes, spreads to her face. She releases the hammer, lowers
the gun, then throws it overboard. Nicki looks to Hunter,
stands and crosses to him.

HUNTER AND NICKI

as she puts an arm around his waist and Hunter puts an arm
around her shoulders. They look at each other, then kiss.

CUT TO:

INT. DIVISION HEADQUARTERS - DAY

The normal routine of pushers and pimps and prostitutes and
other well-defined personalities.

McCall comes barreling in, a magazine and reports in hand,
and makes a bee-line for Captain Devane's office. We TRACK
with her, sensing her urgency. As she powers past the
Captain's SECRETARY:

SECRETARY
He's on the phone!

McCall is undeterred. She opens the door.

IN DEVANE'S OFFICE

Devane is on the phone. He motions to McCall to come in and
sit down. She comes in, but doesn't sit. Devane is
obviously holding his temper back.

DEVANE
(into phone)
Don't give me that, Terwilliger.
(a beat)
I don't care what Wyler would have
done. I was running divisions
when Wyler was playing politics
at the police academy.
(hanging up)
What is it, McCall?

MCCALL
I gotta get back to the mountains.

DEVANE
Why?

MCCALL
The woman Hunter's with: I ran
her prints. She gave Hunter a
fake name.

She slaps a report down on the Captain's desk. Continuing:

MCCALL
Her real name's Rena Farrell.
Works as a fashion model.

DEVANE
A model with a professional name?
That's not so unusual, McCall.

MCCALL
She also lied to Hunter about
having a kid and an ex-husband.
She made a call from a pay phone
at exactly seven o'clock this
morning. Know who she called?
- another pay phone in Marina
Del Rey. Told Hunter she was
calling her daughter. The one
that doesn't exist.

Devane thinks about this. McCall flips the magazine, onto
his desk.

MCCALL
And I found that in her apartment.

DEVANE
(suspiciously)
In her apartment?!

MCCALL
Relax, Captain, I got a warrant.

DEVANE
(gruffly)
On what grounds?

MCCALL
(shrugs)
Slightly exaggerated facts.

Devane scowls, looks at the cover of the magazine.

INSERT - THE MAGAZINE IN DEVANE'S HAND
It's a recent issue of "Fashion Front" magazine.

DEVANE
So?!

MCCALL
Check the mailing label.

INSERT - THE MAILING LABEL

The address reads: TO THE MAX DESIGNS - 1542 SOUTH GRAND
AVE. - LOS ANGELES, CA 90053.

DEVANE
To the Max, that's Max Crain's
company.

MCCALL
You got it.

DEVANE
(a beat)
Do you have any way to call
Hunter?

MCCALL
No, but he'll be at a place
called "The Angler" about six.

DEVANE
How long did it take you to get
back from up there?

MCCALL
About two hours.

DEVANE
Go code three. Make it in ninety
minues. Go!

MCCALL
I'm gone!

McCall grabs up her stuff and hurries out.

CUT TO:

INT. COUNTRY MARKET - DAY

Nicki enters looking back over her shoulder. We SEE her ask
a question of one of the clerks, who responds by pointing
off. Nicki smiles her thanks and moves to a pay phone.

She takes a change purse out of her tote bag, dials (yes,
dials) a long-distance number, waits, then deposits the
requisite number of coins. Nicki casts an occasional
nervous glance back toward the door as we HEAR the call
connect, then the RING. After a moment:

MAX
(impatiently; v.o.)
Hello.

NICKI
It's me.

INTERCUT;

EXT. A PHONE BOOTH IN MARINA DEL REY - DAY

(NOTE: a different phone booth from the one we saw earlier)
It's Max Crain. He glances impatiently at his watch.

MAX
You're seventeen minutes late!

NICKI
(coolly)
It was the best I could do. I
can't control every move he makes.
(a beat)
Max, we got a problem. Hunter's
partner showed up. She can
identify me.

MAX
(thinking)
We'll have to take care of that
later.

NICKI
How, Max? Same way we're taking
care of this?

MAX
(a warning)
Chill out, Rena. We'll handle
it. If we have to - we'll get
you out of the country.

NICKI
You think I'm gonna spend the rest
of my life on some dirt farm in
Mexico?!

MAX
You'd maybe rather spend it in
prison? Or the gas chamber? Do
I have to remind you they found
Alvin Decker's body? Do I have
to remind you who shot him?

NICKI
Come on, Max - this is a cop
we're talking about!

MAX
It's THE cop. The one guy in the
whole world who can put us away
for life - the one guy who can
put us and Decker together.
Without him, baby, their whole
case falls apart and you and I
walk away - with everything.

NICKI
There's got to be another way.

This sends Max into a fury.

MAX
Another way?! Like what, for
God's sake?

NICKI
I don't know - Max, I -

MAX
Your neck is in the noose, too,
Rena! Now are you gonna do this
thing or not!?

NICKI
Max - take it easy. I'll - work
it out. I will.

MAX
(a beat)
Okay. That's better.

NICKI
I gotta go. I'll call you.

She hangs up abruptly and moves away from the phone.

END INTERCUT:

ON MAX CRAIN
holding a handful of dial tone. After a hard moment:

MAX
(to no one)
Goodbye.

CUT TO:

INT. MAX'S OFFICE

ADJUST ANGLE as Max rummages around inside a desk drawer
pulling out an assortment of junk. Buried in the debris, he
finds what he's looking for - a business card. Max peers
at it.

BUSINESS CARD

which has a drawing of a roulette wheel and reads: "THE BIG
SPIN - LAS VEGAS" and under this in smaller letters:

"JOHNNY FIGUROA, MANAGER". Max flips the card over and we
SEE a telephone number scrawled in pen and beneath that the
name "KARL".

ON MAX

as he reaches for a telephone and punches in the number on
the back of the card. Max nervously runs his fingers
through his thinning hair as we HEAR the TELEPHONE RING and
the ANSWER.

INTERCUT WITH

INT. WALKER'S PLACE - DAY

KARL WALKER, late 40's, fierce-looking man with chiseled
features and close-cropped white hair. From his cold, stony
expression we sense a man detached from normal human
emotions. Gun racks and hunting trophies decorate the wall
of the modest room.

WALKER
(gruff)
Yeah?

MAX
(tentative)
Karl?

WALKER
Who's calling?

MAX
My name's Max Crain - friend of
Johnny Figuroa's. Got some
business I want to throw your way.

WALKER
I don't discuss business over the
phone.

MAX
Sure, I understand. How 'bout
if we meet?

WALKER
Johnny Figuroa gave you this
number?

MAX
Yes.

WALKER
(after a pause)
What does Johnny Figuroa look
like?

MAX
Hey, we both know what Johnny
looks like. Built like a tank,
250 pounds, five-eleven - oh,
yeah...got a scorpion tattooed on
his left hand.

WALKER
And what do you look like, Mr.
Crain?

MAX
(puzzled)
Me? Uh...(DESCRIPTION TO BE
SUPPLIED AFTER CASTING)

WALKER
Before we talk, I'm checking you
out with Johnny. The description
better match. Call me tomorrow.

MAX
(panicked)
Hey, hold on - you don't
understand - I need work done
right now. I'm talking urgent.

WALKER
Urgent costs more, Mr. Crain.

MAX
I don't care. We gotta meet -
now.

WALKER
You know the baseball diamond in
Montgomery Park? Leave now. If
I don't show up... It means you
didn't check out.

Walker abruptly hangs up the phone and we:

CUT TO:

EXT. THE ANGLER HOUSE - AFTERNOON

A modern, upscale lakeside restaurant. The best place
around.

INT. ANGLER HOUSE

We FIND Hunter and Nicki at a table for two overlooking the
lake. Hunter is well into a salad and a piece of fish.
Nicki has barely touched her steak and baked potato. She
seems far away, preoccupied.

HUNTER
Not hungry?

NICKI
I think I got a little too much
sun.

HUNTER
That's it?

Nicki looks at him for a long moment, seems to touch on a
decision, then:

NICKI
No, it isn't.
(a beat)
I've got a bit of a - personal
problem.

HUNTER
Anything I can help you with?

NICKI
Yes. I haven't been honest with
you.

HUNTER
All right, be honest with me.
What is it?

Nicki is almost ready to spill it. There is a long, tense,
silent beat. The moment is broken by a WAITER who comes up
to the table.

WAITER
Mr. Dawson?
(off Hunter's look)
Telephone for you, sir.

Hunter nods. The waiter moves off as Hunter starts to get
up.

HUNTER
Be right back. Hold that
thought.

Nicki nods, not looking at him. Hunter moves off. Nicki
turns her gaze out the window, looking off across the lake.

AT THE BAR
Hunter nods his thanks to the waiter and picks up the phone

HUNTER
(into phone)
Hello...

INTERCUT:

EXT. ROADSIDE GAS STATION - DAY

McCall is inside a phone booth, the receiver pressed against
her ear. As she talks to Hunter, we SEE Karl Walker
CROSSING FRAME in the B.G., walking to his car. McCall
notices him, gives him a glance, but doesn't give Walker
a second thought. She concentrates on her conversation with
Hunter.

MCCALL
Hunter, it's me. Is your friend,
Nicki, still with you?

OMITTED

HUNTER

Yes. Why?

MCCALL
Her real name's Rena Farrell.
I've connected her to Max Crain.
She's the one, Hunter! She's
there to kill you!
(pause)
Hunter? Hunter, are you there?

HUNTER
Yes...

HUNTER'S P.O.V. - NICKI

snatches up his car keys from their table and rushes toward
the door.

HUNTER
Gotta go, McCall.

He hangs up abruptly and starts out after Nicki.

OUTSIDE
Hunter comes running out of the restaurant in time to SEE

NICKI
firing up her car and peeling out.

HUNTER

runs over to the driver of a hot, custom pickup that just
drove in - BILLY, a good ol' local boy, and his big buddy,
ERNEST. Both are in jeans and work shirts, boots and caps
bearing the logos of their favorite motor-oil companies.
Hunter flashes his badge.

HUNTER
Police. Gotta borrow the truck.

BILLY
Like hell!!

Hunter snatches the keys out of Billy's hand and piles into
the truck. Billy isn't gonna stand for it. He lunges at
Hunter, tearing him out of the truck with massive strength.

BILLY
(fiercely)
It's a... new truck!! Gimme a
hand here, Ernest!

Ernest starts to move in toward the fray. Hunter is forced
to react fast.

HUNTER
Sorry about this, pal.

With that. Hunter shoves Billy, sending him flying
backwards. Ernest helps Billy to his feet as Hunter dives
back into the truck, jams it Into gear and peels out,
leaving thirty feet of rubber on the ground. The good ol'
boys fume furiously in the B.G. as Hunter guns the truck
out onto the road.

THE CHASE

Nicki races the Ferrari along a twisting, lakeside road.
She's distraught, shaky, almost out of control. Behind
her-

HUNTER

shifts determinedly into high gear, foot to the floor. The
pickup eats the road, driving skills winning out over
horsepower; Hunter narrows the gap.

NICKI

looks in her rear-view, realizing Hunter is behind her and
gaining ground. Suddenly, a moment too late, she decides to
swerve up onto a narrow dirt path and winds up spinning out
of control. The Ferrari bucks off the side of the road and
slams into a ditch. Nicki bails out, shaken but unhurt, and
makes a run for it up a narrow trail through the woods.

HUNTER

slams to a stop near the wreck of the Ferrari, leaps out
of the truck and takes up the chase on foot.

NICKI

crashes through the underbrush, branches snagging and
tearing at her. She's near-hysterical.

HUNTER
finally catches up to her; she's an arm's length away.

HUNTER
Nicki - dammit!

He grabs her. She tries desperately to shake him off.

NICKI
Get away from me!!

She flails her arm at him. He gets her easily under
control. She bursts into tears.

NICKI
Leave me alone!!

HUNTER
It's all over! Now listen to
me!

She stops struggling and collapses against him, sobbing. He
holds her briefly, then pushes her back to an arm's length.
She looks at him, trembling in confusion and fear.

NICKI
You - you don't understand!

HUNTER
Oh, I understand all right! Tell
me about Max Crain! Tell me why
you were the one he sent to kill
me!!

Big reaction.

NICKI
One of his many mistakes! - I
couldn't do it! I had a gun -
and I had a chance - but I
couldn't...

HUNTER
(a beat while this
sinks in)
But why?! Why you?!

NICKI
(can't hold it
back)
So I could stay out of prison!
I killed Alvin Decker!
(spilling it)
He killed Max's partner and was
squeezing Max for money. I came
in when they were fighting -
Decker's gun was on the floor.
I picked it up and shot him.

HUNTER
But you couldn't shoot me...

NICKI
Decker was a killer. I hated him.
I...didn't hate you...

CUT TO:

EXT. MOUNTAIN ROAD - EARLY EVENING

Walker's car comes around the bend and pulls to a stop
across the road from the pickup truck and the wreck of
Nicki's Ferrari. He gets out, looks around for unwanted
company, reaches in the back seat and takes out a
scope-mounted .300 Win. Mag. hunting rifle. He crosses the
road, scanning the area for a trace of Hunter and Nicki's
trail. He finds some broken twigs, looks off, then plunges
on up the right trail.

EXT. WOODS - HUNTER AND NICKI

Hunter has her firmly by the arm, leading her back toward
the cars - and Karl Walker's rifle. While no words are
spoken, the emotions between them are quite tangible: he,
burned and angry; she, hurt, confused and terrified.

WALKER

HEARS the distant SOUND of footsteps through the underbrush.
He stops, cocks his head and listens. He HEARS another,
fairly distant rustle of leaves. He slings his hunting
rifle over one shoulder and scrambles up a formation of rock
in search of a high vantage point.

ANOTHER ANGLE

Walker gains a high, protected perch. He brings his rifle
around to a ready position and scans the flora below.
Tuning in on something, he brings the rifle up to his
shoulder and peers through the scope.

WALKER'S P.O.V. - THROUGH THE SCOPE

Hunter and Nicki make their way along a trail some distance
away - a manageable shot for a marksman. Walker starts to
line up the crosshairs on Nicki, who is closest to him.

IN THE WOODS

Hunter and Nicki move along the trail in pregnant silence, s
silence which is suddenly shattered by the thunderous report
of Walker's hunting rifle. Nicki is hit and blown down.
Hunter dives and rolls next to her, yanking his little
backup .32 out of an ankle rig. Nicki's hurt bad - hit
somewhere high, near the shoulder. There's a lot of blood.
Another RIFLE SHOT zings off a rock literally inches from
Hunter's head. Hunter rolls behind a stump, pointing his
peashooter back in the direction of the shots, seeing
nothing.

FADE OUT

END OF ACT THREE

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

ACT FOUR

FADE IN:

EXT. THE WOODS - DAY (CONTINUOUS)

Hunter and Nicki are as we left them - pinned down,
sheltered from Walker's view only by foliage.

WALKER

He ejects his last spent cartridge and loads two fresh
bullets into the breech. He brings the rifle back up to his
shoulder and peers again through the scope.

WALKER'S P.O.V. - THROUGH THE SCOPE

Scanning the area near where Nicki was hit. No sign of
Hunter or Nicki.

HUNTER AND NICKI

Nicki's hurt and losing blood, but she bites her lip and
fights her pain bravely.

HUNTER
(sotto)
We gotta get back behind these
rocks. Can you move?

NICKI
Yes, I'm all right.

Nicki grits her teeth against the pain. The two of them
crawl back behind a clump of rocks that afford a moment's
protection. The shooting has stopped - for now. The woods
are dead quiet.

Hunter rips some of the blood-soaked fabric of Nicki's shirt
away and inspects the wound.

HUNTER
Bullet went all the way through.
Didn't take any bone. You're
gonna live...
(a beat)
Any idea who's shooting at us?

Nicki shakes her head no.

HUNTER
I'll tell you who he is. He's
the guy your friend Max sent to
finish the job.

Hunter puts his gun down beside him. He strips off his
shirt and rips it in half up the center seam. As he starts
to tie off the wound,

WALKER

decides to find another vantage point. He begins a stealthy
flanking maneuver.

HUNTER AND NICKI

Hunter finishes his first aid. One half of his shirt has
been used to stem the bleeding; the other half has Nicki's
arm tied up against her body and immobilized. When it's
done. Hunter picks up his gun, and:

HUNTER

He's got a hunting rifle. I've
gotta get closer, get into range.
He can't see you here, so don't
move. Can you do that?

Nicki's in pain, but nods bravely. Hunter picks up his
revolver and quietly moves off into the surrounding woods.

WALKER

stops; cocks his head, listening for any telltale sound.
His expression is cold, professional, businesslike.

CUT TO:

EXT. ANGLER HOUSE - EARLY EVENING

McCall screeches up, cuts her lights and siren and gets out.
she starts into the restaurant, when she is confronted by
Billy and Ernest, the two local boys who donated the use of
their pickup to the cause of law enforcement.

ERNEST
Hey - you with that cop who was
here a while ago?

MCCALL
Yeah - where is he?

BILLY
Stupid jerk stole my truck. I'm
gonna take that rotten thief to
court! I'm gonna...

MCCALL
(sharply)
Which way did he go?

Billy, though very pissed off, is more or less resigned to
his current fate, sensing perhaps that the "big picture" is
more important than his pickup truck. Reluctantly:

BILLY
(indicating)
Tore outta here west on 54. After
some chick in a Ferrari...

MCCALL
Thanks! You'll get your truck
back!

She's back in her car, pulling out, lights on.

BILLY
I better! Or me 'n Ernest are
gonna kick some butt!

EXT. THE WOODS - HUNTER

moving fast from one patch of cover to another. Uphill;
always uphill. It's a tough climb but Hunter is getting
to a better vantage point. He reaches a clump of trees and
peers through the woods, sweat dripping off his naked torso,
listening intently.

THE WOODS

Totally still, except for the sounds of nature. Sunlight
streams through the trees, creating sharp contrasts of
darkness and light.

HUNTER

moves on/pressing on up the hill, slower now, staying
low.

IN THE WOODS - WALKER

circles deliberately around the edge of a clearing. He sets
himself in tight against a tree, points his rifle across the
clearing, peers through the scope and waits.

HIS P.O.V. - THE WOODS ACROSS THE CLEARING

Nothing. Stillness. Then, suddenly, a flash of Hunter
moving through the trees on the other side of the clearing.
He follows with his scope, unable to pinpoint a clear shot.

HUNTER

keeps moving. Suddenly, Hunter spots a flash of light - a
reflection of sunlight on a rifle scope - across the
clearing. He hits the ground.

WALKER

lowers his rifle without firing a shot. But now he has
spotted his quarry.

EXT. MOUNTAIN ROAD - DAY

McCall's car takes the curves at high speed.

INT. MCCALL'S CAR - CONTINUOUS

McCall drives as fast as she can, one eye on the road,
another scanning the woods. She sees something up ahead.

MCCALL'S POV - THE PICKUP TRUCK

with Nicki's car in the ditch and Walker's sedan across the
highway.

EXT. MOUNTAIN ROAD - CONTINUOUS

McCall brings her car to a halt, parking near the pickup.
She runs over to Nicki's car, looks around. She notices
some bushes with broken limbs and snapped twigs. McCall
begins following the vague trail, going deeper into the
woods.

IN THE ROCKS

Hunter is climbing in an area dotted with boulders. He
scrambles to a protected area with rocks.

HUNTER

hides among the rocks.
He HEARS a rustling SOUND, O.S. He presses himself up
against the rock, sneaks his gun up first, then peers up
over the edge, scanning the woods below.

WALKER

is behind a thick tree some twenty yards away. He SEES:

HUNTER

in the rocks.

WALKER

aims and FIRES.

THE BULLET

smacks the rock right next to Hunter. Hunter stands his
ground and FIRES a single round from his .32.

WALKER

dives for cover with the bullet splintering a tree behind
him. He finds protection, then raises his rifle, waiting
for Hunter to make a move.

HUNTER

looks around, sees no sign of Walker, moves slowly through
the rocks to get closer.

EXT. WOODS - DAY - ON MCCALL

who has heard the gunshots and is hurrying up the mountain,
looking in the direction of the sound, her service revolver
out. She hears something.

NICKI
(faintly)
Help me...

McCall whirls around.

ANGLE - INCLUDING NICKI

just barely visible in the brush she's hiding in. McCall
hurries over to her.

CLOSER - NICKI'S HIDING PLACE

as McCall kneels beside her, checking the wounded woman.

NICKI
(nods to mountain)
There's a man up there with a
rifle. He shot at us and...your
friend went after him.

MCCALL
Will you be all right if I leave
you here?

NICKI
(weak)
Yes...go help him.

MCCALL
We'll come back and get you.

McCall moves off, headed up the mountain.

WALKER

crouching low, moves stealthily behind a tree, then scans
the area for Hunter. There's no sight of him. Walker
steals away, moving up the mountain in an attempt to gain
an altitude advantage.

HUNTER

senses Walker's proximity. He reaches down and picks up a
baseball-sized chunk of granite.

WALKER

focuses his concentration for the end game. When he HEARS
the rustle in the bushes behind him, he whips around, ready
for the final confrontation. Instead of Hunter, he sees

THE WOODS

Quiet, pretty, peaceful. But just now,

OMITTED

HUNTER

appears on Walker's flank, about ten yards away. He's got
the drop on him.

HUNTER
Freeze! Police!

OMITTED

WALKER

doesn't move.

HUNTER
Put it down! Now!

Walker moves as if to set his gun down, then suddenly whirls
and FIRES toward Hunter who shoots back. Walker staggers,
then drops.

ON HUNTER

holding his gun in a shooter's stance. He hears bushes
rustling off to his side, points his gun in that direction.
A short beat as Hunter recognizes the source of sound. He
untenses and lowers his gun as

MCCALL

appears from the underbrush, her gun up and ready. She
sees Hunter, lowers her weapon, gives him a look of relief.

MCCALL
(sotto)
Thank God...

TO HUNTER

as he quickly crosses to Walker, kicks the rifle away from
his body, then kneels beside him. He checks Walker's
carotid pulse - no trace. McCall crosses to Hunter.

MCCALL
I found Nicki. She's hurt pretty
bad.

HUNTER
I know.
(standing)
There's nothing we can do here.
Let's get her to a hospital.

McCall nods and follows Hunter as he begins the trek down
the mountain to Nicki. ANGLE DOWN to Walker's rifle lying
on the ground, now covered with dust, no longer a threat
to Hunter's life.

FADE OUT

END OF ACT FOUR

TAG

FADE IN
INT. JAIL - DAY ROOM - DAY

Nicki (Rena), dressed in blue jeans and workshirt, is
sitting at a table by a steel-meshed window, looking out at
the bright sunshine. Around her, the walls of this minimum
security place are painted in dull, institutional shades
of green and clam. In one corner, a quiet TV has the
attention of a few inmates, a few others are visiting with
family members at other tables.

ANOTHER ANGLE

A steel door rolls open and Hunter walks in. Nicki stands
up happily as he approaches.

NICKI
Rick!

HUNTER
Hi, Rena.

NICKI
I liked it better when you called
me Nicki.

HUNTER
Me, too.

She reaches out for a hug, but Hunter just takes her hands,
gives them a squeeze, then pulls up a chair across from her.
She sits, too.

HUNTER
How ya feeling?

NICKI
Okay. Better on the outside.
Shoulder's pretty well healed.

She flexes her shoulder to demonstrate.

HUNTER
Good. I'm glad to hear that.

Nicki looks at him for a moment, then

NICKI
I hope this isn't an official
visit.

HUNTER
It's not.
(a beat)
Max Crain was sentenced this
morning. To a total of a hundred
and thirty-four years. 'Course,
he could be out sooner, he's
eligible for parole in the year
two thousand fifty-three.

Nicki merely receives this news. She shows no reaction
whatsoever. After a beat:

HUNTER
I came by to say thank you for
telling the truth.

NICKI
It's all I had left.

HUNTER
Also - I hear they're moving you
up to Pleasantville.
(a smile)
It'll be like doing your
twenty-seven months at a country
club.
(not smiling)
I came to say goodbye.

They look at each other for a time, reflecting on all that
has passed between them. Nicki reaches out and takes
Hunter's hands.

NICKI
You might not believe this, but
the time we spent together -
that's when I was being totally
honest, telling the whole
truth...I see the rest of it as
a nightmare...and a lie...

Hunter looks at her, into her eyes, and believes her.

HUNTER
I know.
(stands)
Goodbye, Nicki.

She stands. He gives her a warm, brief kiss on the lips and
she pulls him close for a long, soulful moment. They
separate silently, looking at each other. Hunter turns away
and walks to the door.

THE DOOR

rolls open with a hard, metallic rumble. Hunter walks
through it and continues on down the hall, never looking
back.

ON NICKI

She stands looking after him as the door clangs shut and we

FREEZE FRAME.

FADE OUT

THE END