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 Post subject: The Big Fall Original Script
PostPosted: Sun May 03, 2009 7:43 am 
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Joined: Sun Apr 19, 2009 5:02 am
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Read all of it if you can as there are quite a few changes from what actually aired. I especially like the fortune cookie scene!

HUNTER
THE BIG FALL
Written by Rogers Turrentine
This is clearly an early draft. If only they'd shot it this way!!! Sigh...3
ACT ONE
FADE IN:
EXT. BEACH COMMUNITY - DAY - SERIES OF SHOTS

Venice or a similar locale where urban renewal coexists with
skid row. Condos border cottages. Trendy restaurants
gleam next to greasy spoons. Derelicts wander by art
galleries. Porsches vie for space with low riders.
ANGLE ON A VAN

parked on one of the side streets.
DEE DEE'S VOICE
Let's kiss this off.
INT. VAN - DAY
Hunter's at a rear windows, binoculars to his eyes, looking
through a screen. Dee Dee, sitting in the driver's seat
wears mini-headphones connected to a portable radio.
DEE DEE
(shaking her head)
We've been sitting this stake-out
for four days! Fabro hasn't been
seen in six months. It seems more
than obvious he's not hanging out
at his brother's restaurant. I
tell ya anonymous tips stink.
HUNTER
What's the score?
DEE DEE
(too loud)
What?l
Hunter touches his-ear. Dee Dee realizes, then pulls one of
the headphones away.
DEE DEE
(softer)
What?
HUNTER
What's the score?
Dee Dee lights up.
DEE DEE
Now the good news: Raiders
down by six, thirty seconds to
go, ball on their own twenty.
(holding out her
hand)
Ten dollars please.
HUNTER
Game's not over 'til the fat lady
sings.
DEE DEE
It's over, Hunter, the clock just
hasn't run out.
HUNTER
I don't hear no fat lady.
DEE DEE
Even if they score, I've still
got a three point spread. I win.
HUNTER
(shakes his head)
Touchdown, conversion, on-sides
kick, fumble, recovery, field
goal. I win by one point.
Dee Dee rolls her eyes.
HUNTER'S POV - THROUGH BINOCS
A beautiful GIRL skates down the street in a tight tank top
and painted-on shorts. She glides into a patio cafe and
up to a table where a fortyish, heavily-built MAN sits,
wearing a Panama hat, a pair of designer sunglasses and a
bushy mustache.

HUNTER'S VOICE
Hey, McCall.
RESUME SCENE
as Dee Dee moves into the rear of the van.
DEE DEE
What've you got?
Hunter hands her the binoculars.
HUNTER
That guy in the Panama look
familiar? With the shades on...
She lifts the glasses.
HER POV - THROUGH BINOCS
The man seems preoccupied, looking around periodically as
the skater talks on.
RESUME SCENE
DEE DEE
(shaking her head)
I can't make him.
Hunter takes the binoculars, looks once more.
HUNTER
Without the 'stache... twenty
pounds lighter...red hair...
He lowers the glasses.
HUNTER
That's Fabro...
DEE DEE
You sure?
Hunter lifts the glasses again.
HIS POV THROUGH BINOCULARS
The man takes off his sunglasses to clean them.
HUNTER
(repulsed)
Yeah, that's that sick...
(putting down the
glasses)
He's payin' the bill!
(pulling out his
gun)
Ready?
Dee Dee pulls out her weapon and pushes out the door.
EXT. BEACH STREET - DAY
Hunter exits the van. Dee Dee's right behind him. They
split up and we follow Hunter making his way past joggers,
people on bikes and skateboards, carrying surfboards and
beach gear.
ANGLE ON DEE DEE
moving along the sidewalk to come in at an angle.
EXT. PATIO CAFE - DAY
Fabro leaves his tip and stands. Again he peers around.
ANGLE ON HUNTER
moving quickly down the street.
BACK TO FABRO
Kissing the skater.
HUNTER
pushes past two surfers.
FABRO
sees Hunter and bolts! He dashes through cafe, shoving
people aside, knocking over tables and ducking out the
back.
HUNTER

sprints down the street toward the cafe.
EXT. STREET - DAY

Dee Dee sees what's going down, runs back for the van and
jumps in.
ANGLE ON FABRO
knocking a man over as he escapes.
EXT. STREET - DAY
Dee Dee slams the van into reverse and ROARS down the one-
way street backwards.
ANGLE ON HUNTER
hurtling the fallen man.
EXT. PARKING LOT - DAY
Fabro jumps into a sports car and peels out.
EXT. INTERSECTION - DAY

The van comes barreling off the side street in reverse,
skids into a SCREECHING one-eighty. The door flies open.
Hunter climbs in and Dee Dee burns rubber in pursuit of
Fabro.
SERIES OF SHOTS
A chase through the narrow, one-way streets and back alleys
of the beach community. Cars swerve into driveways and
onto sidewalks to avoid the careening vehicles. A WOMAN
walking four dogs jumps for safety. The sports car makes
it through the slim passageways with ease. The van side-
swipes parked cars, buildings, poles. The gap between the
two gradually widens.
INT. SPORTS CAR - DAY
Fabro makes a couple of quick turns. He looks back over
his shoulder, beaming with satisfaction at having
ditched the van. As he turns back toward the road, his
eyes go wide and he hits the brakes in a panic stop.
EXT. ROAD - DAY
A fender-bender - two cars tangled with their owners
YELLING at the top of their lungs - blocks the sports car's
progress. Fabro slams it in reverse. Too late. The van
comes skidding around the corner. Fabro jumps out, runs
past the accident, climbs up a dumpster and vaults over
a wood fence.
ANGLE ON THE VAN
SQUEALING to a stop. Hunter jumps out, follows the path
Fabro took.
ANGLE - TOP OF FENCE
As Hunter vaults over, a bullet splinters the wood. Hunter
drops down on the other side, rolls and takes cover. He
hears the SOUND of Fabro RUNNING AWAY and resumes the chase.
ANGLE - A SIGN
reading: LOS ANGELES COUNTY FREE CLINIC. WIDEN to include
a bizarrely mixed bag of beach habitues lined up at the
door awaiting attention.
FABRO
comes running up to the group as Hunter rounds a corner in
the b.g. He levels his gun but can't shoot for fear of
hitting one of the bystanders.
HUNTER
(shouts)
Look out! He's got a gun!
THE GROUP
parts like the Red Sea. Fabro breezes through them and heads
toward the ocean.
HUNTER
runs up with badge flashing. The patients, now in confusion,
block his way. Hunter has to fight his way through. He
turns to head toward the ocean.
EXT. VENICE FISHING PIER - DAY
Fabro ducks behind a corner.
ANGLE ON HUNTER
running onto the pier. Fabro runs out from the corner and
FIRES.
Hunter takes a slug in the left shoulder. The impact knocks
him over a railing and onto the beach below.
ANGLE ON HIS GUN

going flying, lost in the sand.
ANOTHER ANGLE - ON THE BEACH

Hunter struggles to his feet, in pain and bleeding. He
staggers through the sand and stumbles up a flight of steps
to the walkway. He looks around in desperation.
EXT. BEACH RENTAL STAND - DAY (HUNTER'S POV)

A row of bikes is parked in front of it.
HUNTER
lurches toward the nearest bicycle, a fat-tired beach
cruiser. He climbs on it and pedals off. A clerk leans
out the window of the store.
CLERK
(yelling)
Hey man, what the hell?!
(running back inside)
Hey, call the police, wilya!
ON THE SIDEWALK
Pumping as hard as he can, Hunter swerves his bike around
pedestrians and skateboarders, other bikers and skaters.
IN AN ALLEY
Fabro slows down, panting and out of breath.
HUNTER

flat out cuts down a side street.
ANGLE - A TOUR BUS
is parked on a cross street. The doors open and a group of
ELDERLY PEOPLE, CLANGING the full array of canes and walkers,
get out and mill about, CHATTERING EXCITEDLY. Fabro is
approaching the bus, pulls his gun when -
HUNTER
comes pedaling up behind him, dives off the bike and tackles
Fabro. They go rolling on the pavement.
The elderly tourists can't believe their eyes.
Hunter kicks Fabro's gun out of bis hand. Fabro lays into
Hunter's injured shoulder. Almost passing out from the
pain. Hunter goes to his knees. Fabro starts to run.
THE VAN
with Dee Dee behind the wheel comes SCREECHING around the
corner, cutting off Fabro's escape.
THE SCENE
Fabro starts to duck down an alley when, in one last
desperate effort. Hunter is on top of him. He grabs Fabro
in a police choke hold, squeezing off his carotid artery.
ANGLE ON TOURISTS
watching in absolute disbelief.
ANGLE - DEE DEE
jumps out of the van, gun drawn.
HER POV - HUNTER

slumps exhausted on the ground next to the unconscious body.
DISSOLVE TO:
INT. SQUAD ROOM - DAY

A ten dollar bill being pulled from a wallet. WIDEN to
include Hunter sitting in his chair, his left arm in a
sling, handing the money to Dee Dee with difficulty.
HUNTER
(disappointed)
Taking money from a police officer
wounded in the line of duty...
shame on you.
DEE DEE
Raiders play next Sunday...
HUNTER
You hustlin' me, McCall?
CAPTAIN'S VOICE
Hunter!
Their smiles fade as the Captain weaves through the usual
package of pimps and prostitutes shooting the breeze with a
couple of the vice ****s.
CAPTAIN
Whataya doin' Garrard, proposin'
marriage?
Garrard straightens and starts moving the hookers out.
The Captain moves to Hunter's desk.
CAPTAIN
(hot)
For the past half hour I've been
trying to explain why in the hell
you used a choke hold to subdue
a suspect in front of a bus load
of tourists.
HUNTER
You want to talk about what I
should've done to that slimehead?
CAPTAIN
Our bleeding-heart City Council-
person Roselli is calling it, and
I quote, "yet another incident of
police brutality."
DEE DEE
Do they mention Fabro was trying
to waste Hunter?
The Captain hesitates.
HUNTER
Figures.
DEE DEE
Sir, I may be out of line...
CAPTAIN
(overriding)
You are.
DEE DEE
(finishing)
...but I was there. Hunter was
right on.
CAPTAIN
You're a big help.
(to Hunter)
Just be happy nobody's pressing
charges.
Hunter and Dee Dee are surprised.
CAPTAIN
(a little
uncomfortable)
Fabro cut a deal.
Hunter and Dee Dee can't believe it.
CAPTAIN
He's spilling his guts to stay out
of prison. He's giving us Warren
Haywood.
DEE DEE
(whispering)
State Senator Haywood?
CAPTAIN
(nodding)
Back in '77 a two-bit punk, Manny
Weiss, was supposed to finger
Haywood in a Justice Department
investigation.
(shaking his head)
Seems he had a fatal automobile
accident day before the hearing.
Fabro's ready to testify Haywood
contracted him to do it.
DEE DEE
(disgusted);
That someone can trade his way
out of a Murder One rap...
She shakes her head and walks over to the coffee table.
Hunter then the Captain join her.
CAPTAIN
Doesn't thrill me either...but
for an ambitious young D.A. this
is a major coup. The D.A. wants
Haywood so bad he can taste it.
Haywood's been on the gravy
train for the last twenty years.
The biggest crook in the state.
HUNTER
And now this D.A.'s got him.
CAPTAIN
(shaking his head)
Fabro'll sing to the Grand Jury.
They'll plug him into the Witness
Protection Program, give him a
new I.D. and the taxpayers'll pay
the bills for the rest of his life.
HUNTER
(pouring a cup of
coffee)
Makes me puke.
CAPTAIN
(after a beat)
I'm putting 'round the clock
protective custody on him.
DEE DEE
Just throw him in the can.
CAPTAIN
Haywood's got organized crime
connections from here to the
Cayman Islands -- if he wants
somebody dead...he's dead. Fabro
wouldn't last the night.
HUNTER
Save the taxpayers some money.
CAPTAIN
Hunter...
HUNTER
Fabro's a hired gun, and one of
his hits was a cop.
CAPTAIN
I'm not asking you two to be his
buddy, I just want you to guard
him.
DEE DEE
What?! Us?!
CAPTAIN
I'm going to squirrel him in the
St. Claire Hotel. You two'll be
on one in the afternoon to one A.M.
DEE DEE
You really expect us to babysit him?
CAPTAIN
I expect you to do whatever you're
assigned. Sergeant.
HUNTER
We're carrying gold shields.
CAPTAIN
You're also carrying your arm around in a sling.
HUNTER
Yeah. And Fabro put it there.
CAPTAIN
(confessing)
I also promised P.R. I'd make
sure you two kept a low profile
for a few weeks.
HUNTER
And if somebody accuses you of
selling us out what do I say?
The Captain gives Hunter a long, cold look then spins and
returns to his office without another word.
INT. HOTEL SUITE - NIGHT ONE - ON A TV SCREEN
SENATOR HAYWOOD, distinguished with glasses, not handsome,
is fighting his way through a gauntlet of REPORTERS.
REPORTER
How do you respond to the Grand
Jury allegations against you,
Senator?
Haywood pushes ahead. The TV sunguns shine in his eyes.
HAYWOOD
No comment.
REPORTER
Do you know Gustof Fabro?
HAYWOOD
No.
REPORTER
Do you feel this will affect your
chances of re-election?
HAYWOOD
I'll be up for re-election in
three years. Ask me then.
He's in the back of the car and gone. The Newscaster turns
to the camera.
NEWSCASTER
In oth...
The sound goes off.
WIDER ANGLE
Feet on the coffee table next to styrofoam cups and take-out
containers. Hunter has hit the 'mute' button on the remote
control. Dee Dee is looking out the window at the city
lights far below.
DEE DEE
Cooped up in a hotel room
guarding Mister Armpit of 1985...
(shaking her head)
...you know I could learn to
really hate the Captain.
There's a KNOCK on the door to the adjoining room. Hunter
looks at Dee Dee.
DEE DEE
Your turn.
HUNTER
(getting up)
It's been my turn the last three
times.
(grumbling)
No respect for the walking wounded.
Dee Dee pantomimes playing the violin as Hunter slides the
dead bolt. As he opens the door, Fabro bursts into the
room. Hunter's hand goes to his gun.
HUNTER
Hold it!
Fabro freezes.
HUNTER
(patiently)
One more time - First you knock.
Second, you step back. Third,
we open the door. Four, you
come out of your room when we
say so. You got it?
FABRO
I'm goin' crazy'in there. I
gotta talk to somebody.
HUNTER
You see anybody here that wants
to talk to you, Fabro?
Fabro looks at Hunter's cold face, at McCall's even colder one.
DEE DEE
Try sleepin'.
FABRO
I ain't sleepy.
DEE DEE
Take a sleeping pill.
HUNTER
Take the whole bottle.
FABRO
How about getting me a tape machine
and some ****o flicks?
McCall walks away and sits down.
FABRO
Or better yet, maybe a couple
hookers. That'd put me to sleep.
Whadduyu say? You know some woofies,
don't you. Hunter?
HUNTER
Get back in there.
FABRO
(to McCall, leering)
Hey, I'm so ***** I'd settle for a
little sergeant-in-arms. How's
about it, babe? We can party
while Hunter keeps the peace.
Hunter moves toward Fabro.
HUNTER
Party's over. You stick around,
I'm gonna turn out the lights.
Fabro starts backing away toward the bedroom.
FABRO
You don't scare me, unter. I'm
a protected witness. You whack me
again and you can kiss your
aspirations goodbye.
HUNTER
(smiles)
Might just be worth the price.
Fabro ducks in the bedroom and closes the door. Hunter
snaps the lock shut.
INT. HOTEL HALLWAY - STILL NIGHT ONE
Two men move to the door marked 2610. KREWSON is a big,
hulking man. The other, LONGMIRE, KNOCKS on the door in
code: twice, once, three times.
DEE DEE'S VOICE
Yes?
LONGMIRE
How do you spell relief?
The door opens. Dee Dee lets them in.
INT. HOTEL SUITE - NIGHT ONE

Hunter and Dee Dee are gathering up their gear to leave.
There's obviously no love lost between Hunter and Krewson.
KREWSON
So tell the fans, Hunter, how's it
feel for a hotdog **** like you
to be pulling garbage duty?
Probably forgot how the other half
lives, huh?
HUNTER
(moving for the
door)
I don't call what you do living,
Krewson.
KREWSON
(smiling)
Be nice...
HUNTER
(to Krewson)
To cruds like you? Forget it...what
you got just might be catching.
Krewson blocks Hunter's exit route.
KREWSON
You ain't got no call to bad-
mouth me, Hunter.
HUNTER
(pushing him aside)
NO?
(to Dee Dee)
We're outta here.
INT. HOTEL HALLWAY - NIGHT ONE
Hunter and Dee Dee wait for the elevator.
DEE DEE
What was that all about?
HUNTER
Bad cop.
DEE DEE
What's the rap?
HUNTER
I.A. couldn't make a case, but
the streets were cleaner after
they took him off Vice. He's
the original slime monster.
The elevator doors open, they enter.
DEE DEE
Yeah, but how do you feel about
him?
Hunter can't help smiling at Dee Dee as he punches the
floor button and the doors close.
FADE OUT
END OF ACT ONE
************************************************************
ACT TWO
FADE IN
EXT. ST. CLAIRE HOTEL - SUNSET TWO (ESTABLISHING)
We PAN OFF the sign and PUSH IN on the top floor.
INT. HOTEL SUITE - SUNSET

Hunter is paying a DELIVERY BOY at the door as he takes two
pizza boxes from him.
HUNTER
Here. Keep the change.
The delivery boy throws McCall a callow leer and leaves.
She ignores it and goes to Fabro's door, unlocks it.
DEE DEE
Get up.
Fabro gets up off his bed.
FABRO
Food? It's about time!
He enters the room and looks at the pizza boxes and sags.
FABRO
What happened to the fried chicken?
HUNTER
I got you some Russian Roulette
pizza.
FABRO
What the hell is that?!
Hunter opens the box, sniffs.
HUNTER
It looks like a mushroom pizza.
But one slice has toadstools.
He hands the box to Fabro.
FABRO
(sneers)
Two thousand comedians outta
work in this town and you're trying
to be funny?
He dumps the pizza box on the coffee table and heads
back toward the bedroom.
FABRO
If I want pizza, I'll order
pizza! You got it?!
HUNTER
Wrong. If we order pizza,
you'll eat pizza!
He shoves the pizza at Fabro, pushes them both into the
bedroom, and slams the door. As he turns the lock:
Dee Dee gives him a smile and a 'thumbs up' well done.
OMITTED

DISSOLVE TO
ANGLE ON THE PIZZA BOX - NIGHT TWO

Only one piece is .left. PULL BACK to include Hunter and
Dee Dee toweling off after the pizzafest. Hunter flips
with his good hand through a magazine.
HUNTER
The last piece is yours.
DEE DEE
(shaking her head)
I'm stuffed. Go ahead, finish it
off.
As he does so, he points to a picture in the magazine.
HUNTER
Hey, I ever tell you I make a
mean crab linguini? You gotta
try it sometime.
DEE DEE
(surprised)
I didn't even know you cooked.
HUNTER
Yeah. Well, two or three dishes.
Old family recipes.
DEE DEE
Yeah? You know what crab's going
for a pound nowadays?
HUNTER
No. I haven't fixed it for
awhile.
DEE DEE
Well you better let me chip in.
HUNTER
No, it was my idea.
DEE DEE
Come on. Hunter. There's no
reason we can't split the tab.
Dutch treat, okay? I mean, it's
not like it's a date or anything,
right? I'm not obligated to let
you jump my bones after the entree,
am I?
(intrigued)
Am I?
HUNTER
(considers)
No. Not till after dessert.
McCall laughs, a bit self-consciously then picks up a
TV Guide and peruses it as:
DEE DEE
Wow, is this the ultimate in
decadence or what? We just finished
pigging-out on pizza and we're
already talking about another meal.
HUNTER
(re: the guide)
So what's on?
DEE DEE
Carson in half an hour. But it's
a repeat.
(flips page)
Hey, there's a Gene Kelly movie
on tomorrow night. God, I love
old musicals.
HUNTER.
I thought you wanted to learn
how to play cribbage.
DEE DEE
(shrugs)
How long can it take?
INT. HOTEL SUITE - NEXT NIGHT - ON CRIBBAGE BOARD
as McCall pegs her points and marches ahead of Hunter.
DEE DEE
Fifteen two, four, six...and a
double run of four is ten for
sixteen.
Widen to include Hunter and McCall in a change of clothes
sitting across the coffee table from each other.
HUNTER
You Sure you never played before?
DEE DEE
(smiles)
Hey, what can I tell you? I'm a
quick study. And I love this
game!
HUNTER
(sighs)
Supposed to be the best one there
is for two players.
DEE DEE
Well, I wouldn't go that far.
In fact, it's not even a close
second.
(off Hunter's
look)
What've you got?
HUNTER
(depressed)
Fifteen two and a pair is four.
As he pegs his points:
DEE DEE
What about the crib?
Hunter looks at the four cards, drops them dejectedly.
HUNTER
Nothing.
DEE DEE
Tough break.
She picks up the cards, starts to shuffle as:
HUNTER
I thought you wanted to watch
that movie.
DEE DEE
Not particularly. This is more
fun than I thought. How come
you're so far behind?
HUNTER
(wan smile)
I guess I'm just a come-from-
behind kind of guy.
DEE DEE
(dealing)
Whatever turns you on.
A KNOCKING at the door to Fabro's room.
HUNTER
Winner answers the door.
With a sigh. Dee Dee walks to the bedroom door.
DEE DEE
Step back, Fabro, remember?
FABRO'S VOICE
(muffled)
Yeah, I'm back.
INT. FABRO'S ROOM - ON DOOR
as it opens to REVEAL Dee Dee. Fabro, stark naked, jumps
into f.g. of SHOT (we see his back, down to hips).
FABRO
Ta da!
Dee Dee, disgusted, turns away.
ANGLE ON FABRO
He grins at her.
ANGLE ON HUNTER

with a hard, disgusted look on his face. He reaches over
to pick up his gun, points it somewhere below Fabro's
belly.
ANGLE ON FABRO

He leaps back into his room and slams the door, laughing
like a loon.
ON HUNTER

as he puts the gun away.
HUNTER
Your deal, McCall.
OMITTED
ANGLE - TV SCREEN
We see the flickering image of an old movie which abruptly
cuts to a local used car commercial. The sound goes off.
WIDEN to include Hunter hitting the remote 'mute' button.
Dee Dee is asleep on the couch, her head leaning against
Hunter's shoulder. He looks at her and smiles, regarding
her with great affection. His hand moves up slowly and
touches her hair. He slips his arm around her. Dee Dee
stirs in her sleep, snuggles closer. Hunter swallows, takes
a deep breath. He tries to return his attention to the TV
but he can't. He sits and gazes at Dee Dee fondly. Play
the moment till...a KNOCK comes at the door - the previous
code. Dee Dee bolts upright.
DEE DEE
(groggy)
Whazatt? Whatizit?
HUNTER
Take it easy. It's okay.
DEE DEE
What happened? What's going on?
HUNTER
Nothing. You dozed off, that's
all. Time to go home and do it
again.
Hunter gets up, crosses to the door,
HIS POV - WIDE ANGLE THRU THE PEEPHOLE - LONGMIRE

is standing in the hallway. He takes a hit on some
breath spray.
RESUME HUNTER

He opens the door. Longmire and Krewson enter. McCall
stretches as she stands up. She can't quite stifle
a yawn.
KREWSON
Well...rise and shine there,
sleeping beauty. You know, you
two really got it made. Getting
paid to play house.
(to Hunter, sotto)
Hey, we didn't interrupt anything,
did we? You took so long getting
to the door I told Ray we oughta
come back in an hour or two.
Hunter slams Krewson up against the wall.
HUNTER
Don't press it, Krewson. My arm's
feeling.a lot better. All it
needs it a little physical therapy,
like pounding your teeth down
your throat.
Longmire crowds between the two larger men.
LONGMIRE
(to Hunter)
Hey, back off, babe. Gary
didn't mean anything by it. He
was just joking around.
HUNTER
Yeah. Well, he's got a retarded
sense of humor.
As they separate...
ANGLE - McCALL
watches with concern.

KREWSON'S VOICE
Touchy, touchy, touchy.
OMITTED
INT. HOTEL SUITE - DIFFERENT NIGHT - ON HUNTER

scooping from various take-out containers. WIDEN to
include McCall.
DEE DEE
I thought you didn't like Chinese.
HUNTER
I'm learning.
DEE DEE
I'd say you already graduated.
HUNTER
(shrugs)
Trouble is, two hours later you
need a refresher course.
DEE DEE
(laughs, then)
Here. You tell me your fortune
and I'll tell you mine.
She hands him a fortune cookie.
HUNTER
You really believe in this stuff?
DEE DEE
(no way)
Hey, for sure. I plan my life
around it.
HUNTER
(doing so)
So what happens if I switch
cookies?
DEE DEE
It doesn't matter. The karma's
already generated.
HUNTER
(opens his)
Karma? These things are computer-
generated. Look at this. We're
talking state-of-the-art fortune
cookies here.
DEE DEE
Just read it, Hunter. Don't
be so jaded.
HUNTER
(laughing)
Jaded? I love it.
DEE DEE
Just read the thing, okay?
HUNTER
Okay, okay.
(reads)
Help! I'm being held prisoner
in a random access memory.
DEE DEE
(cringing)
Don't beat it to death, Hunter.
What's it say?
HUNTER
It says -- really - it says:
"You will attract cultured and
artistic people to your home."
Now they're both laughing.
DEE DEE
It doesn't say that. Does it,
really?
HUNTER
Take a look. See?
DEE DEE
So when are you gonna invite me
over?
HUNTER
What're you doing this weekend?
DEE DEE
I don't know. It depends on what
my cookie says.
She opens the cookie, reads to herself, suddenly sobers.
HUNTER
Read it out loud.
DEE DEE
No. I think I better keep it to
myself.
She reaches for her purse, on the couch but it's too far
away.

HUNTER
Come on, let's hear it. I read
you mind.
DEE DEE
No, this is too silly. We're
grown-ups. Let's try to act like
it, okay? It's childish to put
any stock in this kind of thing.
HUNTER
Who's putting stock in it? Just
let me read it. We had a deal.
DEE DEE
We didn't make any deal. I don't
have to let you read it if I don't
want to.
HUNTER
Come on. It was supposed to be
mine to start with.
DEE DEE
But you switched them and it's
mine now and I don't have to show
it to you.
She's up from the table, grabbing her purse. She tries
to slip the paper in it while she holds it behind her back.
Hunter gets up, pursues her playfully, as:
DEE DEE
Now you stay away. I mean it.
Get back. I'm not gonna let you
read it.
HUNTER
You have to. Otherwise it's
not fair. You already know what
mine was.
DEE DEE
Leave me alone! I'm warning you!
Remember, I know police judo.
You've got a bad shoulder. I don't
want to have to hurt you, Hunter.
Don't make me do it!
As Hunter tries to reach around her for the purse, she
trips and falls backward onto the couch. Hunter loses
his balance and tumbles on top of her, bracing himself
awkwardly on his one good arm.
75A CLOSE - HUNTER AND McCALL - ON THE COUCH
Their faces are only inches apart
DEE DEE
(breathy)
This could be hard to explain if
somebody came in right now.
HUNTER
(swallows)
I know. Just let me see what
your fortune is and I'll let you
up.

DEE DEE
That's blackmail, Hunter. Pure
and simple.
Their mouths move slightly closer.
HUNTER
NO, we're just negotiating, common
business practice.
They're almost touching.
DEE DEE
Oh yeah? And I suppose this is
common business...?
HUNTER
Not to me it isn't.
Their faces are close.
They look at each other.
Hunter's hand moves slowly along Dee Dee's arm.
They look at each other. It's happening to both of them.
They have feelings they've never felt before.
They move closer.
They check each other's eyes. Neither is pulling away.
Neither saying no.
They move closer.
Their lips touch-unsurely.
They check again. They're equally into it.
They kiss tentatively.
Hunter's hand moves down Dee Dee's body.
She pulls him to her.
They kiss again...harder
After a long moment, they separate a fraction.
DEE DEE
I didn't intend for this to
happen, ever....
HUNTER
Me neither.
They kiss again, longer, then reluctantly part ever so
slightly.
DEE DEE
I intended for it not to happen,
ever...
HUNTER
Me too.
Another kiss, and as their passion increases we...
FADE OUT
END OF ACT TWO
***********************************************************
ACT THREE
FADE IN
INT. HOTEL SUITE- NIGHT

ON the twinkling lights of the city. PULL BACK through
the window to reveal Dee Dee in Hunter's over-large Oxford
shirt, looking out the window deep in thought. Hunter,
bare-chested, enters frame and stands behind her. He slips
his arms around her. She leans back against him and
closes her eyes.
HUNTER
How you doin'?
Dee Dee smiles.
HUNTER
I...I never thought that we...
DEE DEE
Me neither...
HUNTER
Now what do we do?
Dee Dee turns around. She's worried.
DEE DEE
I don't know...
(after a beat)
You okay?
HUNTER
Better than okay.
Dee Dee smiles... she is too.
HUNTER
And now?
Before Dee Dee can answer, there's a BLOOD CURDLING SCREAM
from the hallway. Instinctively, they both go for the door.
The SOUND of SCUFFLING in the hallway. Dee Dee, having
pulled on a pair of jeans, picks up her gun as there's
another SCREAM.
HUNTER
Hold on...it may be a set-up
Dee Dee stops at the door, gun at ready.
FABRO'S VOICE
(Through door)
Hey did you hear that?. What's
goin' on?
DEE DEE
You stay here...I'll check it
out.
HUNTER
You got it.
FABRO'S VOICE
Hunter!? McCall? Everything
alright?
Dee Dee opens the door.
INT. HOTEL HALLWAY - DEE DEE'S POV - DAWN
A MAN is slapping a WOMAN and shoving her up against the
wall.
MAN
You think you can treat me like
that in front of people, *****?!
ANGLE - ROOM 2610
Dee Dee enters the hallway. Hunter, pistol drawn, stays
in the doorway.
DEE DEE
Stop, police officer!
ANGLE ON THE COUPLE

as he continues to slap the **** out of her.
WOMAN
Help!
Dee Dee stops the man from hitting the woman again.
DEE DEE
Leave her alone!
MAN
(without looking)
Hey lady, mind your own business!
Dee Dee throws him up against the wall and jams her shield
in his face.
DEE DEE
It is my business. Put your hands
against the wall and spread your
legs.
MAN
Hey, wait a minute...I didn't
mean nothin'...
ANGLE - HUNTER

standing in the doorway, looks cautiously up and down the
hall, gun in his hand, alert for possible attack, ready to
assist Dee Dee if the need arises, as:
THE WOMAN

regains her composure, interferes with Dee Dee who's patting
down the man.
WOMAN
Hey, who asked you to **** in?
We're just havin' a little domestic
squabble.
DEE DEE
You screamed for help.
WOMAN
So maybe I over-reacted. Ain't
no reason to hassle us.
DEE DEE
I take it you won't be pressing
charges.
WOMAN
What charges? We'll just go right
into our room and be real quiet.
alright?
Dee Dee steps back as the man and his lady cross to their
room.
MAN
(to woman; shaking
his head)
When you need 'em, they're
never there.
WOMAN
(unlocking door)
Just remember who saved your
sausage, sweetcake.
They snicker and play a little grabass as they go inside
and close the door of Room 2624.
ANGLE - DEE DEE
waits a beat, then moves back to Room 2610. Hunter's
standing in the doorway.
DEE DEE
(shaking her head)
Love conquers all.
They go inside.
INT. HOTEL SUITE
Hunter gathers his things. Dee Dee, changed, exits the
bathroom and heads for the phone.
DEE DEE
I'm going to run a make on those
two.
She lifts the phone and dials.
HUNTER
Hey, we've gotta talk.
DEE DEE
I know...
The CODED KNOCK. In the b.g. Hunter opens the door. Krewson
and Longmire enter and unload their supplies, during:
DETECTIVE'S VOICE
(over phone)
DEE DEE
Hi, it's McCall...I need a
favor. I just broke up a little
ten rounder in the hall up here at
the hotel.
ALEXANDER'S VOICE
Where was your big brave partner?
DEE DEE
Babysitting...I'd like to run a
make on whoever's registered in
Room 2624. Just for peace of
mind, okay..?
ALEXANDER'S VOICE
We'll check it out.
DEE DEE
Thanks.
As she hangs up. Hunter and McCall look at Krewson and
Longmire - they can't talk now.
LONGMIRE
Tomorrow's the Grand Jury.
HUNTER
Yeah. See ya.
And he heads out with McCall.
OMITTED

EXT. L.A. SKYLINE - DAWN (STOCK)

Another beautiful, smog-free morning in the City of Angels.
EXT. ST. CLAIRE HOTEL - DAY (ESTABLISHING)

PAN DOWN from the upper floors to pick up the arrival of a
delivery truck as it pulls into the alley next to the hotel.
THE ALLEY - THROUGH THE WINDSHIELD OF THE TRUCK

as the Driver pulls in and navigates the narrow passage.
Suddenly he hits the brakes and stares at an obstacle in
the way. He slowly gets out and approaches it cautiously.
CLOSE SHOT - THE DRIVER

averts his eyes and looks nauseous at what he sees. As
he turns and runs away, hand over his mouth
INT. HOTEL SUITE - FABRO'S BEDROOM - DAY

The camera PANS across the room. We see a vacant bed,
covers thrown back, a flickering TV screen, personal items
strewn about on tables, empty glasses, etc., as we hear
from o.s.: a PHONE RINGING, then:
LONGMIRE'S VOICE
(muffled)
Yeah? What?! Jesus Christ!
If this is a joke, it's not
Funny! Wait a minute!
The sounds of the door being frantically unlocked as:
LONGMIRE'S VOICE
Fabro!
KREWSON'S VOICE
What's goin' on?! What is it?!
The door bursts open and the two cops rush inside.
LONGMIRE
Fabro! Where the hell are you?!
He looks in the bathroom as Krewson crosses to the open
window, curtains blowing in the breeze.
KREWSON'S POV - OUT THE WINDOW

Far below we can make out the flashing of police lights as
the cars arrive.
LONGMIRE'S VOICE
He's gone!
RESUME KREWSON, LONGMIRE BESIDE HIM NOW.
He stares coldly at the scene below.
KREWSON
Guess even guys like Fabro got
a conscience.
LONGMIRE
(puzzled)
You think he jumped out?
KREWSON
(a slow grin)
Either that...or Hunter tossed him.
Want my opinion?
EXT. POLICE STATION - DAY (ESTABLISHING)
As we push in on one of the windows...
INT. CAPTAIN'S OFFICE - DAY
The Captain, Hunter and I.A. Lieutenant TERWILLIGER
are present. Terwilliqer scrutinizes Hunter, makes
notes periodically.
HUNTER
(tense)
So let me get this straight. I'm
not being accused of anything.
I'm just being suspended from
duty...without pay...pending the
completion of an investigation
by Internal Affairs.
CAPTAIN
That's it. Hunter. Lieutenant
Terwilliger's been assigned to
look into it.
HUNTER
(overriding)
...to bring back my head.
TERWILLIGER
Hunter, I got nothing against you
personally, and you know it.
HUNTER
No, Bernie, you just want to
climb the ladder of success in
Internal Affairs.
CAPTAIN
You were alone with the guy for
two to three minutes, so this
investigation is obligatory.
Anything else?
HUNTER
Yeah. I'd like to say something
else. I think I'm being played
for a scapegoat here. I smell
a big bucket of whitewash. I'd
like to know why I'm the one who
gets singled out for suspension.
TERWILLIGER
You were the only one on duty who
was alone long enough to toss Fabro
out the window. It's that simple.
HUNTER
Bernie, I was standing in the
doorway the whole time McCall
was handling those two!
TERWILLIGER
Unfortunately, her statement
doesn't confirm that.
HUNTER
She was dealing with them. I was
behind her.
(to Captain)
Why don't you just bust me and
book me into County Jail?
CAPTAIN
Because I think Fabro took the
jump all on his own. But Central
Headquarters ordered you suspended
while the investigation's underway,
HUNTER
And what do I do about it?
Nothing?
CAPTAIN
That's right! You'll stay clear
of this until it's history. Got
it? As of now, you're suspended...
off duty...unauthorized...persona
non grata. Or, by God, I will
have you arrested!
Hunter glares at Terwilliger, turns and leaves.
INT. COCKTAIL LOUNGE - DAY
A WAITRESS carries a tray to a booth where Hunter and Dee Dee are seated.
WAITRESS
Iced tea and a glass of seltzer
with a twist.
Hunter gets the seltzer.
DEE DEE
In your place I think I'd be
drinking straight booze.
HUNTER
Yeah, I'm off duty and everything.
A beat.
Dee Dee takes a sip of tea, then:
DEE DEE
Rick, about the other night...
HUNTER
Yeah...?
DEE DEE
It was my fault, alright?
Hunter looks at her sincerely.
HUNTER
No. It was my fault more than
yours.
DEE DEE
(puzzled)
What? How do you mean?
HUNTER
Those things happen. Two people
get locked up together...you
get a little punchy after a few
days...sometimes you forget the
rules...
DEE DEE
(realizing)
Oh, no...no. I wasn't apologizing
about that. That was beautiful,
Rick. Really. I'll never regret
that.
HUNTER
I guess I misunderstood. What
did you mean?
DEE DEE
I meant about not covering for
you. I should've said you were
standing in the door. That I
saw you there all the time.
HUNTER
There was no reason to lie.
DEE DEE
It would've kept you from getting
suspended.
HUNTER
Come on, Dee...don't blame yourself,
They lost a prime witness and
we're sitting on a departmental
hot potato. They're looking for a
patsy and right now I just happen
to be Number One candidate.
DEE DEE
Thanks to me.
HUNTER
No...
They exchange sympathetic looks.
DEE DEE
Damn it! What kind of cop lets
her partner get suspended?
Hunter takes her hand, gives her a comforting squeeze.
HUNTER
(thoughtful)
An honest one.
EXT. POLICE STATION - DAY
THREE DETECTIVES, LAUGHING as they enter the front door.
Longmire exits, past them, crosses to his car, starts to
unlock the driver's door as Hunter steps up.
HUNTER
Hey, Ray, what's happening?
LONGMIRE
Not a whole lot.
HUNTER
Can you give me a lift? My car's
crapped out on me.
LONGMIRE
(reluctant)
Yeah. Okay.
As they get in.
INT. LONGMIRE'S CAR - DRIVING - DAY
along city streets.
LONGMIRE
Sorry about you getting your
shield pulled. Hunter.
(shaking his head)
Rotten deal. They're just trying
to burn you 'cause they lost the
guy. .
HUNTER
That's what's going down, Ray?
LONGMIRE
Nobody thinks you had thing one
to do with it.
HUNTER
Then who did do it?
LONGMIRE
Whad'ya mean? The sack-of-scum
took a header, didn't he?
HUNTER
You don't believe that, Ray.
Fabro was one lucky dude...instead
of murder one, he had a new life
comin' his way.
Hunter grabs Longmire who, panicked, pulls over and stops,
HUNTER
See what I mean, Ray? That was
no suicide...it was murder.
LONGMIRE
(scared)
What the hell's with you? What
do you want from me?!
HUNTER
The truth. The Coroner says
time of death was midnight plus
or minus a couple of hours. That
makes it just before we left...
or just after you came on.
(tightening his grip)
Now I know I didn't do it. And
I know McCall didn't do it...
that leaves you and Krewson.
LONGMIRE
Hunter I swear we didn't touch
Fabro. I swear to God!
HUNTER
Then it must've been just one of
you.
LONGMIRE
Hunter, you're crazy!
HUNTER
(tightening his grip)
Tell me, dammit! Did you leave
Krewson alone that night?
LONGMIRE
No!
Hunter studies him.
HUNTER
(softer)
Not even just for a few minutes.
while you went out for a bottle?
LONGMIRE
No! No!
HUNTER
(after a beat)
You're a lousy liar. You went out
for booze, I can read it in your
face. I'm gonna pin you, Longmire.
I'm gonna put you outside that
room sometime before the booze
shops closed for the night.
And he climbs out and slams the door behind him
DISSOLVE TO:
INT. MALIBU APARTMENT - NIGHT
A tiny bachelor pad on the beach furnished in early garage
sale, such as a divorced cop might rent by the week when
he's starting over. Longmire is sitting in front of the
TV, a glass of booze in his hand, blearily watching some
sports event. At all times in the following we HEAR the
heavy sound of BREAKERS.
KNOCKING at the door.
LONGMIRE
(yells)
Yeah...?!
KREWSON'S VOICE
(yells)
It's me!
LONGMIRE
Come in!
Krewson enters and freezes. Longmire's pointing a gun at
him.
KREWSON
Ray. This some kinda joke?
He closes the door.
LONGMIRE
I talked to Hunter.
He didn't do it.
KREWSON
So? What's the gun for? You outta
your mind?
LONGMIRE
If anybody finds out I left that
room, that'll make you a suspect
too. I mean, you were alone with
Fabro long enough to throw...
KREWSON
(interrupting)
Hey, the guy took a swan dive and
you're pointing a gun at me?l
LONGMIRE
(blurting it out)
Hunter knows! And he's gonna
prove it! He's gonna find someone
that seen me! I wasn't exactly
hidin•!
KREWSON
We can't let him do that, Ray!
They'd bust you, cop your pension,
we can't let that happen.
LONGMIRE
How much did you get paid for
tossin' him, Gary?
KREWSON
Come off it! I'm tryin' to help
ya! I'll swear you never left
that room!
(looks toward kitchen)
Let's have a drink and figure
out how to save your ****.
He starts for the kitchen and Longmire moves to get in front
of him, but Krewson was never headed for the kitchen he was
just getting set to do the following:
KREWSON
as he throws a swift, back-handed swing at the gun in
Longmire's hand. The gun goes flying, Longmire dives after
it and Krewson is on him like a tiger/pounding his big fist
into Longmire's chin.
ON LONGMIRE

unconscious.
CLOSE - TWO WRISTS

They are handcuffed to the leg of the heavy couch that
dominates Longmire's room.
THE SCENE

Longmire, handcuffed to the couch, is regaining consciousness.
Krewson is not present.
THE DOOR
opens and Krewson enters carrying a bucket of water. When
the door opens the SOUND of breakers rises, and we know, or
soon realize, that the bucket contains salt water. Krewson
closes and locks the door, steps over to Longmire, who
turns, groans.
CLOSE ON KREWSON AND LONGMIRE
Krewson takes off the handcuffs, lifts Longmire slightly,
and begins forcing the seawater down his throat. Longmire
coughs and gags, but Krewson continues pouring the seawater
down Longmire's gagging throat.
END OF ACT THREE
*************************************************************

ACT FOUR
FADE IN
INT. CAPTAIN'S OFFICE - DAY
Terwilliger, Hunter and the Captain. Hunter no longer
wears a sling.
CAPTAIN
(to Hunter)
We got cases coming outa the
woodwork. Let's see if you can
make up for lost time.
HUNTER
Yeah, I'll try not to get suspended
again 'til I catch up.
TERWILLIGER
Right from the start my gut told
me you were clear on this one,
Hunter.
HUNTER
Oh? It wasn't 'cause some other
cop was nice enough to leave a
confession then walk into the
waves?
TERWILLIGER
This incident reflects badly on
the whole department.
HUNTER
It sure as hell does.
CAPTAIN
What do you mean "was nice enough"?
HUNTER
You don't want to know.
And he leaves.
INT. SQUAD ROOM - DAY

Hunter walks to his desk.
DETECTIVE
Bummer 'bout the Raiders, Hunter.
HUNTER
We wuz robbed.
Hunter sits at his desk. McCall comes by with a police
report in her hand.
HUNTER
(mock tough)
What do you want?
She hands Hunter the report.
DEE DEE
They just found fifty thousand
dollars in a footlocker under
Longmire's house.
Hunter grabs the report and reads it.
HUNTER
(shaking his head)
No way, no way this works. I
talked to Longmire the day he died.
He didn't do it, McCall.
He sees someone o.s.
HUNTER'S POV

Krewson, entering.
RESUME SCENE

Hunter rises as Krewson heads into the locker room.
INT. POLICE LOCKER ROOM - DAY

Krewson taking off his shirt. Out of nowhere Hunter grabs
him, throws him up against the locker and punches him in
his substantial gut. Krewson charges Hunter, head down,
and knocks him against the wall. Krewson races to the
door. Hunter follows and slams him hard against the door.
KREWSON
Get away from me!
HUNTER
No way. If you think I believe
that show you staged, think again.
KREWSON
You're losing it, Hunter! You're
over the edge.
HUNTER
You heard McCall makin' that
report when we changed watches!
That's when you decided to take
the Senator up on his offer. All
you had to do was wait till your
alky partner slipped out for
something to get him through the
night, right! Right!
KREWSON
Wrong! I went out for the booze
that night. I admitted it and
got busted - I'm on suspension!
HUNTER
Sure. And Longmire tossed Fabro,
right?
KREWSON
Where else did he get fifty grand!?
Or didn't you know about that?
HUNTER
You could afford fifty grand,
Sleeze! Tossin' Fabro probably
made you a wealthy man!
Hunter throws him out of the way and leaves the locker room.
HUNTER'S CAR - NIGHT
Hunter and Dee Dee are riding through the city streets.
HUNTER
I guarantee you that slime left a
trail.
DEE DEE
So we split up and hit every
booze shop within two blocks of the
hotel...
HUNTER
Not every one, just the ones that
stay open after midnight.
SERIES OF SHOTS - LIQUOR STORES, MARKETS, DRUGSTORES
as Hunter and Dee Dee show photos, talk MOS to various
clerks, managers, customers. In response they get a
variety of headshakes, shrugs, how-should-I-know looks
and puzzled expressions.
INT. HUNTER'S CAR - NIGHT

as Dee Dee gets in. Hunter sits behind the wheel.
HUNTER
Anything?
Dee Dee shades her head.
DEE DEE
There oughta be a number you
could call, like...Dial-a-Squeal.
Hunter's just staring at her.
DEE DEE
Oh, come on. Hunter! Lighten up.
I was just tryin' to be funny...
HUNTER
(suddenly reflective)
No, no...it's not such a bad idea.
CUT TO:
INT. SQUAD ROOM - DAY
A trio of hookers being herded into a holding cell,
squabbling and *****ing ad lib. Pan off them to Hunter
who's talking to Garrard in b.g.
GARRARD
(reluctantly)
Okay, all right...but don't say
I never did you a favor.
HUNTER
You kiddin'? You're my man.
Hunter walks away. Move with him to the holding tank.
HUNTER
Mandy Topaz?
MANDY, one of the hookers looks around. She's Anglo and
almost beautiful.
MANDY
(snotty)
Did I win something?
HUNTER
Yeah...me.
INTERROGATION ROOM

Mandy and Hunter enter. He gestures for her to have a
seat as he closes the door.
HUNTER
Understand you got caught with a
wallet full of some John's credit
cards right after you rolled him.
MANDY
Tell me something I don't know.
HUNTER
(after a beat)
Looks like you need somebody on
your side.
MANDY
Like who?
HUNTER
(sitting)
Funny you should ask.
EXT. SANTA MONICA PIER - DAY

Krewson walks out on the pier and looks around. We follow
him to a bench where Dee Dee is already seated.
KREWSON
(mock shock)
Well, what d'know...Dee Dee
McCall!
Krewson sits next to her.
KREWSON
We gotta stop meeting like this.
(looks around)
So what've you got in mind?
(winks)
A little matinee?
DEE DEE
Don't hold your breath.
(beat)
Thought you'd be interested in a
little research I've been doing.
KREWSON
(curious)
"Research"?
Dee Dee moves into an arcade. Krewson follows.
INT. ARCADE
Machines growl, high-tech PINGS AND ZAPS. Skeebalis
bounce. MUSIC plays.
DEE DEE
Turns out that there's a hooker,
works the St. Claire a lot -
Mandy Topaz. She swears there was
a man on the elevator with her the
night Fabro went sky-diving...looked
just like Longmire.
(pointedly)
Close to two a.m. He was carrying
a paper bag and he got off on the
26th floor. She remembers it well
'cause she was on her way to a
"date" on the 27th.
KREWSON
(cool)
Yeah. Well, that's real fascinating.
How come you're not tellin' Hunter
all this? He'd eat this up.
Dee Dee breaks into a slow calculating smile.
DEE DEE
It's share the wealth time, Gary. Cut
me in for a piece of your action
and the hooker stays strictly be-
tween you and me. Hunter'll never
find out she exists.
Krewson stares at her for a beat and then LAUGHS.
KREWSON
You think I just fell off the
cabbage truck or what? You lay
this squat on me and what-am-
I-supposed-to-do...pull out a
pen and write you a check?
(looking her over)
Where's the wire?
He grabs her purse.
DEE DEE
Go on, look.
KREWSON
(leering)
I prefer strip searches.
DEE DEE
Sure you do.
(stands)
Just remember when you read her
statement, you heard it here first.
KREWSON
Yeah, right. Nice try.
(calling into the
mike)
Seeya, Hunter, wherever you are.
INT. HUNTER'S CAR - DAY
Hunter and Dee Dee are parked on a side street, listening
to:
KREWSON'S VOICE
(continuing, filtered)
Seeya, Hunter, wherever you are.
Hunter switches off a microcassette recorder.
DEE DEE
(down)
Well, it was a good try.
HUNTER
Better'n that, McCall.
DEE DEE
Hey, I was there. He didn't go
for it.
HUNTER
He went for it. You know why?
He can't afford not to.
EXT. HIGH RISE HOTEL - NIGHT - ESTABLISHING

As the camera tilts up to the top floors...
INT. HOTEL ROOM - NIGHT

The door opens and BELLBOY enters carrying a suitcase.
Krewson follows him into the room. As the Bellboy moves
around the room, switching on lights, opening drapes,
turning on the TV, etc.
BELLBOY
Where're you from?
KREWSON
Out of town.
Krewson gives him a tip and the Bellboy starts for the door.
BELLBOY
Well, if there's anything you
need, just ask for Bobby.
KREWSON
(self-consciously)
Can...can you line me up with a
hooker?
BOBBY
(spins around with
a smile)
What ya lookin' for? Blonde?
Redhead, black...?
KREWSON
One called Mandy Topaz.
BOBBY
(blank)
Mandy Topaz?
KREWSON
(nodding)
My buddy says she's outta sight.
BOBBY
Sorry, never heard of her.
Krewson hands Bobby a folded bill. Bobby looks at it, beams.
KREWSON
Whv don't you check the other
hotels around here? She was at the
St. Claire. Okay?
BOBBY
Yes, sir!
INT. HOTEL HALLWAY - NIGHT

TIGHT ON ELEVATOR DOOR as it opens, Mandy Topaz steps out.
We MOVE with her as she makes her way down the hall and KNOCKS
on a door.
KREWSON'S VOICE
It's open.
INT. HOTEL ROOM - NIGHT

Mandy enters, looks around.
MANDY
Somebody here have a date with
Mandy?
WIDEN as Krewson comes out of the bathroom in his undershirt,
wiping his hands.
KREWSON
Yeah, mama, close the door. Want
a drink?
INT. STAIRWELL - NIGHT

Hunter and Dee Dee are listening to a radio/recorder monitor-
ing the conversation.
MANDY'S VOICE
(filtered)
We got a little business before
pleasure.
INTERCUT WITH
INT. HOTEL ROOM - NIGHT
Mandy shuts the door, walks to the window.
MANDY
Straight sex is fifty. Half-and-
half seventy-five. For a hundred, you
can have just about anything you want.
(looks him over)
You a police officer?
Krewson stops.
MANDY
(shaking her head)
You are, aren't you? It's like
I got this built-in metal detector,
goes off whenever I smell copper.
KREWSON
Cute.
He moves to the door, throws the dead bolt, takes out his
wallet, flashes his badge.
MANDY
(fatalistic)
Vice scores again. What'chu wanta
do now, knock off a freebee?
KREWSON
(shaking his head)
I just want to know if you recognize
this man...
He shows her Longmire's photo.
MANDY
What, again? Come on. I already
done this with some lady cop.
That's the guy in the elevator
at the St. Claire. He rode up
to twenty-six with me.
KREWSON
When?
MANDY
Last Wednesday morning about one
thirty or two.
KREWSON
You told this to the other officer?
MANDY
Right. What's this all about
anyway?
(second thought)
Never mind. I don't want to know.
So...I guess I told you what you
wanta know...I'm just gonna take
off, okay?
INT. STAIRWELL - NIGHT
Hunter and Dee Dee move into the hallway.
INT. HOTEL ROOM - NIGHT

Mandy moves to the door and reaches for the bolt...Krewson
grabs her.
MANDY
Help! Stop! No! No! Hurry!
Please! Stop him! Help!
INT. HOTEL HALLWAY - NIGHT - HUNTER

throws his shoulder against the door, but it doesn't budge.
INT. HOTEL ROOM - NIGHT
Krewson is struggling with Mandy whose dress tears, exposing
skin and a wire. He manages to get her in a choke hold shutting
off her screams. As he drags her toward the window, kicking and
scratching...
INT. HOTEL HALLWAY - NIGHT

Hunter, gun drawn, kicks the door.
INT. HOTEL ROOM - NIGHT

THE DOOR splinters and flies off its hinges. Hunter and
McCall come through it in a crouch, guns leveled.
HUNTER
Freeze!
ANGLE - KREWSON

at the open window. He swings Mandy around to use as a
shield. As he glances sideways...
KREWSON'S POV - HIS GUN
is on the dresser.
RESUME KREWSON

He lunges for the gun, keeping Mandy between himself and Hunter
and McCall.
HUNTER

sees his intent. He can't beat Krewson across the room and
He can't shoot because of Mandy.
HUNTER
(to McCall)
Look out!
He pulls McCall around behind him, shielding her.
KREWSON

grabs the gun, swinging it around as Mandy wrenches herself
free and falls across the bed.
McCALL

brings her gun up from behind Hunter and FIRES!
KREWSON

takes a hit in the shoulder, spins around and pitches forward
...out the open window! Hunter dives across the room and half-
way out the window.
CLOSE SHOT - HUNTER'S HANDS
snag Krewson's legs at the last split-second,
ON HUNTER

The weight almost pulls him through the window. He grabs
the sill and braces himself with his knees.
HIS POV - THE LIGHTS OF THE CITY

spin dizzily far below.
CLOSE ON KREWSON

hanging upside down along the side of the building.
KREWSON
Oh, God...don't let go!
CLOSE ON HUNTER

leaning out the window, straining to keep a grip.
HUNTER
You're too heavy.
One hand slips. He grabs for a better hold. Krewson drops
an inch or two and SCREAMS.
TIGHT ON KREWSON
upside down, bathed in sweat and dripping blood.
KREWSON
Oh, God...I'm gonna fall! Don't
let go!
ANGLE ON HUNTER
as McCall leans over next to him.
DEE DEE
Let me try to get a hold.
Hunter shakes his head.
HUNTER
Turn on the tape.
KREWSON'S VOICE
Oh God, help me. Don't let go.
McCall returns and sets the microrecorder on the sill,
HUNTER
And get that sash cord off the
drapes.
IN THE ROOM
McCall yanks down the drapes and removes the pull cord.
DEE DEE
(to Mandy)
Tie this end to the bed
As Mandy does so, McCall fashions the other end of the rope
into a lasso.
INTERCUT WITH HUNTER
HUNTER
(labored)
Damn it...my shoulder... it isn't
healed yet. My arm feels so weak...
hands are getting tired...
ON KREWSON
hanging upside down. The sound of cloth ripping. He
slips another two inches and screams again.
KREWSON
Sweet Jesus, help me! I'm gonna
die!
ON HUNTER

gasping and grunting.
HUNTER
My fingers are all numb...I can't
hang on much longer.
He lets Krewson slip another inch.
ON KREWSON
hanging upside down, screaming.
HUNTER'S VOICE
Who tossed Gus Fabro out the window?
I'm losing my grip...!
KREWSON
I did it, I did it!
HUNTER'S VOICE
Who paid you to do it?
KREWSON
Warren Haywood! He paid me
five hundred grand!
HUNTER'S VOICE
(whistles)
And you killed Ray Longmire?
KREWSON
(screams)
Yeeeeeeess...!
ON HUNTER

as McCall slips the lasso around Krewson's ankles and pulls
the loop snug. He lets Krewson slip from his grasp as the
rope goes taut.
IN THE ROOM

with Krewson's weight suddenly attached to the rope, the
bed starts to slide across the floor toward the window.
Krewson screams in mortal terror. The bed bumps against the
wall and stops. The rope holds.
ANGLE - KREWSON

trussed up by his feet, like a side of beef.
FADE OUT
END OF ACT FOUR

TAG
FADE IN
EXT. HOTEL - NIGHT- (LONG LENS)
WIDEN as the paramedic unit pulls away. Gumballs and light
displays on various cop cars illuminate the area. We pick
up Hunter and McCall on the edge of the scene as one-by-one
cars drive off.
HUNTER
Another day, another dollar.
DEE DEE
We've got to talk.
He nods and they walk away from the crime scene slowly.
DEE DEE
At the hotel, when Krewson
went for his gun, you shielded me.
HUNTER
I did?
DEE DEE
(nods)
Not exactly normal police
procedure, huh?
Hunter knows what's coming. He's already thought it through
himself.
HUNTER
Yeah. Well, I guess our
relationship isn't exactly...
normal anymore.
DEE DEE
Shouldn't we do something
about that?
HUNTER
You mean make up our minds
one way or the other?
DEE DEE
(nods)
We gotta be lovers or partners.
Right?
HUNTER
Not both?
DEE DEE
Would that work?
They stop walking and Hunter looks at her for a long
time before he answers.
HUNTER
No, McCall. I guess that
wouldn't work.
DEE DEE
(nods)
Well...Hi, partner...
She offers her hand and Hunter takes it. They aren't
quite holding hands and not quite shaking hands, a bit
of both.
HUNTER
Hi, partner.
(smiles)
What the hell did your
fortune say anyway?
Dee Dee pulls the fortune from her purse and hands it to
Hunter. She smiles as he reads:
HUNTER
"A professional association
could lead to romance."
As he looks at her and returns her smile, we:
FREEZE FRAME
FADE OUT
THE END
3


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 Post subject: Re: The Big Fall Original Script
PostPosted: Sun May 03, 2009 10:38 pm 
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Clare, it was awesome that you found it again. I always love this script: "BIG FALL". I think we better save ALL the scripts that we found in ONE section. So people can easy to find them. What do you think?


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 04, 2009 6:22 am 
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Sadly this is the only one I have. :cry: I am looking on ebay every now and then in case one comes up but none so far. I love the scene in this one, that's prob why I saved it. I can just imagine it.

Do you have any scripts? Or does anyone else?


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 04, 2009 5:06 pm 
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I will look for it. I remember I did save some of them from WWOH. It will take time b/c I am so busy right now. I will be more busier when my baby comes :mrgreen: So be patient.


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 04, 2009 5:37 pm 
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I'm glad that scene didn't make it to the show ... would have been hard to go on after that .... and Rick being the first man she'd be with after the rape .... dunno if that fits.

Speaking of WWOH, what the heck happened to it?

Edit to add
I'm gonna post the scripts I saved on my HD .... what ya think?


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 Post subject: Re: The Big Fall Original Script
PostPosted: Tue May 05, 2009 6:04 am 
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I think they refered to this scene in an interview. It wasn't Fred or Stepfanie but someone else from the show. They said both F&S agreed to do the scene but when they actually came to film it they couldn't do it.


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 Post subject: Re: The Big Fall Original Script
PostPosted: Thu May 07, 2009 10:46 pm 
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Posts: 31
GraeLeigh wrote:
I'm glad that scene didn't make it to the show ... would have been hard to go on after that .... and Rick being the first man she'd be with after the rape .... dunno if that fits.

Speaking of WWOH, what the heck happened to it?

Edit to add
I'm gonna post the scripts I saved on my HD .... what ya think?


Bravo if you have more of that. Yeah, sadly WWOH was closed after so many years :cry:


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 Post subject: Re: The Big Fall Original Script
PostPosted: Fri May 08, 2009 4:10 am 
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Oh dear, wish I'd saved the UB script :cry:


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 Post subject: Re: The Big Fall Original Script
PostPosted: Fri May 08, 2009 9:32 pm 
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Oh, the UB script. Yes, it would be nice to have. That is for sure!


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 Post subject: Re: The Big Fall Original Script
PostPosted: Sat May 09, 2009 6:05 am 
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I wonder where all the copies of scripts are. Do writers, directors and actors keep their copies I wonder? Well I will have to keep looking on ebay!


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 4:13 am 
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deedee wrote:
Bravo if you have more of that. Yeah, sadly WWOH was closed after so many years :cry:

Well then bravo are in order since I have all that were on WWOH ....

@ LM : would you mind opening a special part of the forum for the scripts? I'm afraid they might be lost in it ...

speaking of WWOH ... what happened to it? t's really a shame that it went offline with so many treasures :cry:


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 4:20 am 
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Wow, that's great! I wish I had taken the time to save more before it closed. I saved a few photos but the only script was "The Big Fall".


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 4:24 am 
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well I did save almost everything because at some point I had in mind to create a site dedicated to Stepfanie 8-)

I don't have the scripts on my usb drive but everything is on my computer at home, I'll try to add some as time permits :ugeek:


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 11:23 am 
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Location: On a good day, planet Earth in NE Alabama.
GraeLeigh wrote:
@ LM : would you mind opening a special part of the forum for the scripts? I'm afraid they might be lost in it ...


I don't read all of the posts under the shows, so I didn't see this before. I probably wouldn't be here if Clare (doing her job as moderator) :) hadn't mentioned your question.

I suppose it's something worth adding, but it'll be a few days before I get around to it.
Be sure to post under questions or comments, or send me a PM, next time. I have to check those out. If I don't, I'll get yelled at. LOL!

Thanks.


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 3:04 pm 
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well I didn't ask you directly because I'm not the one who had the idea first :mrgreen:


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 3:27 pm 
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Oh, I see.

I didn't realize. :)


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 Post subject: Re: The Big Fall Original Script
PostPosted: Mon May 11, 2009 4:30 pm 
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Location: France
deedee wrote:
Clare, it was awesome that you found it again. I always love this script: "BIG FALL". I think we better save ALL the scripts that we found in ONE section. So people can easy to find them. What do you think?

see... not me :mrgreen:

:lol:


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 Post subject: Re: The Big Fall Original Script
PostPosted: Thu May 14, 2009 12:41 am 
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GraeLeigh wrote:
deedee wrote:
Bravo if you have more of that. Yeah, sadly WWOH was closed after so many years :cry:

Well then bravo are in order since I have all that were on WWOH ....

quote]

You saved me to dig them up from my hard drives. I saw your post of UB. I guess I can count on you. I save them all from WWOH in my hard drive.


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 Post subject: Re: The Big Fall Original Script
PostPosted: Thu May 14, 2009 4:26 am 
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It's nice to know you both saved things before the site closed.


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 Post subject: Re: The Big Fall Original Script
PostPosted: Fri May 15, 2009 2:18 am 
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---------
well some treasures can't be lost, that'd be a shame really :?


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