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 Post subject: "Unfinished Business" script
PostPosted: Mon May 11, 2009 4:38 pm 
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HUNTER
FADE IN:

EXT. MAO LIN MARKET - ESTABLISHING - DAY #1

A Korea-town convenience store, its LOTTO sign flashing. A
VAN pulls into the shot with MICK STRYBER, professional
hardcase, behind the wheel. Stryber chambers a round into
his .357 magnum as we go...

INT. MAO LIN MARKET - DAY

The last few customers drift out, leaving Owner Mao Lin
alone, packing something behind the register when he
hears...

STRYBER'S VOICE
Any winners tonight?
Mao Lin looks up to see Stryber, wearing a long overcoat and
an evil smile.

MAO LIM
Not here.

STRYBER
Wanna bet?

Stryber pulls the gun out of his long coat pocket. From
inside the coat he pulls a canvas laundry bag and tosses it
at Mao Lin.

STRYBER
Fill up the bag with the money.
Now!

Mao Lin fearfully complies as...

EXT. MAO LIN MARKET - CONTINUING

A middle-aged Oriental man approaches but stops short as he
sees Stryber, gun in hand. The man rushes off...

EXT. HAMBURGER STAND - DAY #1

Hunter's car pulls up to the stand and stops. As Hunter
turns off the engine...

HUNTER
What do you want?

MCCALL
Cheeseburger and a coffee.

HUNTER
Fries...?

MCCALL
(thinks about it)
Pass.

HUNTER
I'm buying.

MCCALL
(doesn't hesitate)
I'll have a large order.

Hunter smiles with satisfaction. He's climbing out of the
car when...

RADIO
(filtered)
All units in the vicinity of One
Adam Twenty Nine, possible 211
there now, Mao Lin market, tenth
and Alameda, Code two High.

MCCALL
That's about four blocks from
here.

HUNTER
Let's take it.
The engine comes to life. Hunter throws the car into
reverse. It speeds backward into the street and then roars
away.

INT. MAO LIN MARKET - DAY #1

Mao Lin is putting the last of the money into the bag. His
hands are shaking badly.

STRYBER
Come on... come on....

REVERSE ANGLE - BEHIND THE COUNTER

Mao Lin pulls the draw string of the bag tight. As he does,
he glances down and looks at the .38 caliber pistol that's
resting on a shelf under the counter.

Then he looks up and hands the bag to Stryber.

MAO LIN
Take it. And go.

BACK TO STRYBER

Stryber tosses some Cheetos into the bag. But then he sees
Mao Lin's hand move, the gun comes into view... Stryber
fires, blowing Mao Lin off his feet.

EXT. STREET - 1W1-56 - DAY #1

Hunter squeals around a corner as he approaches the market

STRYBER

is on his way to his van when he looks up and sees them
coming. The overhead light illuminates his face. He fires
off two quick shots before he climbs into the vehicle and
roars off.

INT. 1W1-56

HUNTER
Back-up's right behind us. Let's
take this guy...

EXT. CITY STREET - DAY #1

The van comes to an intersection. It runs a red light and
continues on as cars blare their horns in anger.

1W1-56

hits the same intersection moments later. It, too barrels
through - managing to avoid a collision. It is now
followed by a black & white that has joined in the
pursuit.

THREE BLOCKS UP

the van continues to zigzag through traffic. And then, it
makes a hard right into -

AN ALLEY

where the van races up to an abandoned warehouse which
deadends on a large chainlink fence that surrounds a
railroad yard. The van can go no further.

THE VAN

Stryber slams on the brakes. Frustrated and angry, he gets
out of the van carrying the take and his weapon. He looks
up the alley to see -

HUNTER'S CAR

with the black and white following coming towards him.

STRYBER

races into the abandoned warehouse as -

THE SCENE

Hunter and McCall skid to a stop, the black and white
skidding to a stop beside them. Hunter emerges with McCall,
leaving his door open and talks to the TWO UNIFORMED
OFFICERS.

HUNTER
You two take the back. We'll go
in the front. .

The uniforms head around the back as Hunter and McCall enter
the warehouse.

INT. ABANDONED WAREHOUSE - DAY #1

Hunter and McCall move into the darkness and take cover
behind some crates, seeing that there are two distinct areas
divided by some walls. They glance around.

HUNTER
(sotto voce)
You go right - I'll keep to the
left.

They fan out.

NEW ANGLE - STRYBER

Gun in hand; barely illuminated as he moves through the junk
strewn space. And then...he steps on a discarded piece of a
metal car bumper, which bends and creaks under his weight.

MCCALL

is on her own course when she hears this. She pauses,
undecided what to do. Then, she doubles back in the
direction of the noise.

NEW ANGLE

McCall comes around one side of a stack of crates and moves
slowly toward where she last heard the noise. There's
something moving on the other side of the crates!

She edges along, service revolver in a two-hand grip.
Finally, steeling herself, she whirls around the other side
of the crates and draws down on -

HUNTER

likewise in a military stance, his 9-mm. aimed right at
McCall. They're about a split-second from blowing each
other away...

HUNTER
(sotto voce)
What the hell are you doing?! You
were suppossed to go right.

MCCALL
(sotto voice)
I heard something behind you.

HUNTER
(sotto voce)
It was me. You heard me.
(snaps)
This place is like an echo
chamber. It could have come from
anywhere.

A Uniform, his gun drawn, comes up.

UNIFORM
Did you see him?

HUNTER
No, did you?
Before the Uniform can answer, they hear the sound of an
engine revving.

HUNTER
Oh no...

Hunter and McCall turn and race out.

EXT. WAREHOUSE - DAY #1

Hunter and McCall get out in time to see Stryber racing away
in 1W1-56. McCall follows a couple steps behind. Hunter
holsters his weapon, seething. He looks at her in anger and
frustration, as...

EXT. MAO LIM MARKET - PERIMETER OF THE CRIME SCENE

An unmarked police car drives up to the barricade and
LIEUTENANT MEGAN MALLONE climbs out. She's attractive,
bright and determined -- just what she'd need to make the
upward climb in THE DEPARTMENT. She walks toward -

OMITTED

ANGLE - HUNTER, MCCALL AND DEVANE

There's a slight but intentional distance between the two
partners. All three look weary and frustrated.

MCCALL
We followed him into a warehouse.
I heard a noise and doubled back.
(glances at Hunter)
He must've gone past me.

Devane looks at Hunter, noticing that something is going on
between him -and McCall.

DEVANE
Tough break.
(a beat)
Did you get the license?

Hunter and McCall exchange a furtive glance. Neither one
wants to go into it.

HUNTER
It'll all be in the report,
Charlie.

Devane starts to say something. Before he can, a uniformed
cop named MARTINEZ interrupts.

MARTINEZ
Excuse me...
(looks over)
Sergeant Hunter, they found your
car. It was left abandoned a
couple of miles from the
warehouse.

This is the last thing Hunter wants to deal with. As
Martinez walks away -

DEVANE
"Abandoned"...?

HUNTER
That'll be in the report, too.

MEGAN(V.O.)
Excuse me, Captain.
I'm Lieutenant Mallone.

Devane looks over.

DEVANE
Lieutenant... your captain told me
you were coming.
(re: the others)
This is Sergeant Hunter and
Sergeant McCall.

Hunter smiles and extends his hand.

HUNTER
Hello, Megan... it's been a long
time.

She shakes his hand. Her smile is both warm and
professional.

MEGAN
It's good to see you again. Rick.
(looks over)
You, too, McCall.

It's barely noticeable but McCall stiffens slightly. Her
response is noncomittal.

MCCALL
Lieutenant...

Devane has a puzzled look. Megan turns to him.

MEGAN
Hunter and I worked a case
together about three years ago.

HUNTER
She wasn't a Lieutenant then.
(turns)
That's great, Megan.

MEGAN
I got a few lucky breaks.

HUNTER
I think it was more than luck.

INT. SUZIE'S APARTMENT

SUZIE, an Asian-American with a tough exterior sits on the
edge of an unmade bed. She's impatient and distracted. She
picks up a magazine, leafs through a couple pages then puts
it down. She glances at her watch. As she does, there's a
knock at the door.

SUZIE
(quickly)
Mick...?

STRYBER
(muffled)
Yeah...open up.

Suzie moves to the door, opens it. Stryber brushes past
her. On his move -

SUZIE
Are you OK...?

STRYBER
(closing the door)
I'm great. Why...?

SUZIE
It's been on the news. The guy
you shot died.

STRYBER
He had a gun.

SUZIE
You said no one was going to get
hurt.

STRYBER
I was wrong. Forget about it.
He dumps a pile of cash from the laundry bag onto the bed.

STRYBER
Look at this.

A beat, then she turns her head and stares down at the
money.

STRYBER
Where am I going to get this kind
of money in one night?

He sits down on the bed. Suzie remains standing where she
is. A smile creases Stryber's face.

STRYBER
You shoulda seen me. I was
something else. I got away in a
stolen police car.

He laughs like it's the funniest thing in the world. He
stops laughing, waits for her reaction.

SUZIE
Mick, let's just take the money
and get the hell out of here.

STRYBER
No way. I'm not through in this
town.
(a beat)
Come here...
(she doesn't respond)
Come here...

This is a little act they've played out before. She
responds coyly.

SUZIE
Why...?

STRYBER
Because I want you.

She walks over slowly, lowers herself down onto the bed.
And as they start to kiss -

EXT. PARKER CENTER- ESTABLISHING - DAY #2

INT. PARKER CENTER - SQUADROOM

Hunter's at his desk, reading through what looks like to be
over a dozen pages of a report. McCall comes in holding a
cup of coffee. She sits down at her desk and idly begins to
sip the liquid. Hunter looks over.

CONTINUED

HUNTER
Uh...Dee Dee...about what
happened yesterday...it was a
misunderstanding. I'm sorry.

MCCALL
No problem.

HUNTER
Megan sent over copies of
everything she has on Stryber.

MCCALL
(deadpan)
How considerate of her.

HUNTER
Something bothering you?

MCCALL
Just making a statement.

Hunter shakes his head. He doesn't need this.

Devane enters the shot

DEVANE
(to both of them)
I'm requesting some help on the
Stryber case. I think Lt. Mallone
should get involved.

McCall takes a beat, then

MCCALL
She's been chasing Stryber for
what - two months now and she
hasn't gotten him. Whatever she
has, we can read in her reports.

DEVANE
(looks over)
Hunter, you agree...?

HUNTER
No, I don't. From what I
remember, she's a damn good cop.
and we could use the help.

DEVANE
I think you're right.
(a beat)
I'll work it out with Mallone's
captain.

He turns and walks away. Hunter looks at McCall.

HUNTER
What's going on with you?

MCCALL
I'm entitled to an opinion. Can't
I disagree with you without it
becoming a big deal?

Hunter holds up his hands in mock surrender.

HUNTER
I just asked a question, that's
all.

MCCALL
It sounded more like an
inquisition.

HUNTER
You're just not hearing me very
well.

MCCALL
Like last night, I suppose.

HUNTER
I didn't say that.

MCCALL
But that's what you're thinking.

HUNTER
You have to admit, it was a
standard tactical maneuver. If you
had...

MCCALL
(explodes)
Let me tell you something - "you
go right, I'll go left" is not
exactly textbook strategy. I
heard a noise...

HUNTER
Let's forget it, ok?

MCCALL
(too loud)
Fine. We'll forget it!

DEVANE (O.S.)
Hunter. McCall.

ANOTHER ANGLE

At which both partners look up to see everyone in the
squadroom staring at them...including Devane.

DEVANE
In here now!

McCall looks down. Hunter shakes his head. They both stand
and walk to Devane's office - followed by the eyes of every
man and woman in the room.

INT. DEVANE'S OFFICE - CONTINUING

Hunter and McCall follow Devane in. They prop up against
separate walls -- defiant stances - as Devane moves behind
his desk. He'd normally sit, but seeing their poses, he
remains standing as...

DEVANE
You two are fighting like a couple
of alley cats. What's going on?

HUNTER
Everything's fine, Charlie.

DEVANE
Baloney. Sit down - both of you.

All three do so.

DEVANE
I just finished your report.
Whatever's going on isn't about
losing your car. Something else
happened last night and I want to
know what it is.

Hunter and McCall look at each other. A long beat, then -

HUNTER
We got our signals crossed in the
warehouse.

MCCALL
We almost shot each other,
okay...?

Devane takes a deep breath, exhales.

DEVANE
I want you to listen to me - both
of you. If one of you had shot the
other, it would be mandatory for
you to see a department
psychologist.

HUNTER
But we didn't Charlie.

DEVANE
Thank God, but it's obviously
still bothering you. It might be
a good idea to use the
psychologist, anyway.

MCCALL
We're fine Charlie.

DEVANE
It didn't sound that way. I need
both of you to be focused.

MCCALL
I can't speak for Hunter but I'm
as focused as I've ever been.
With all due respect. Captain, I'm
just not interested.

HUNTER
Neither am I.

DEVANE
I think you're both making a
mistake.

A beat where no one says anything, then -

MCCALL
Stryber's still out there. We've
got a lot of work to do.

She walks to the door and exits. Hunter holds back a beat,
looks at Devane.

HUNTER
Don't worry about it, Charlie.
It'll be fine.

DEVANE
I hope so.

Hunter and Devane share a look. Hunter exits. HOLD ON

DEVANE, still concerned.

INT. DR. TATE'S OFFICE - CU TATE - DAY #2

Tate, an amiable looking 50ish, is in session with an as-yet
unseen patient.

TATE
How long have you two been partners?

REVERSE ANGLE - MCCALL

She sits across from Tate - erect, and a little uptight.

MCCALL
Almost six years.

TATE
That's a long time to be together.
Things must be pretty good between
you two.

MCCALL
For the most part, they are...
Well, you know... this isn't
exactly a nine to five job.
Sometimes you get on each other's
nerves.

TATE
That could be happening now.
Maybe that's all it is.

MCCALL
(considers)
Do you think so?

TATE
(smiles)

Do you?
She knows what he's doing and returns the smile.

MCCALL
You don't make this very easy.

TATE
It's not supposed to be.
(shifts in his
seat)
At the warehouse... when you came
around that corner... tell me how
you felt when you saw Hunter with
his gun pointed at you.
(a beat)
Describe the moment.

MCCALL
It was like everything was in slow
motion. My heart was pounding.
My finger was squeezing down on
the trigger. We just looked at
each other.

TATE
And in that instant, one of you
could've died.

MCCALL
But stuff like that happens. It's
part of the job. It's what
happened afterward.

McCall stops. Tate doesn't say anything. McCall continues.

MCCALL
We had gotten back to the scene of
the crime and we were doing our
job when this lieutenant Malone
from robbery comes up and takes
over.

TATE
And that bothered you?

MCCALL
You bet it bothered me. All of a
sudden, she and Hunter were
talking over old times and I
could've been a pebble on the
street.

TATE
Oh...the lieutenant's a woman.

MCCALL
The fact that she's a woman has
nothing to do with this, believe
me. It's just that this is the
second time it's happened. And it
infuriates me.

TATE
Tell me about the first time.
McCall purses her lips. This is difficult.

MCCALL
It's not important.

TATE
Maybe it is...it won't hurt to
tell me.

MCCALL
I. . .
(a beat)
It was three years ago. I had
just gotten back from a six week
training course the FBI gives at
Quantico.

START FLASHBACK

INT. OLD SQUADROOM - DAY

Hunter's at his desk, wearing plaid shirt and jeans. Across
from him in McCall's desk is Megan. Her demeanor is cool and
professional, but she's somehow more...sensual. Her hair is
wilder, her blouse a little less demure -- as if she was
using her feminine wiles more at that stage of her career.
She's also made the desk her own - it's totally neat!

MCCALL (V.O.)
Hunter and Megan seemed pretty
wrapped up in the D'Angelo case -
which happened to have been mine
before I left. But instead of
letting me help, it was almost
like I was in the way.

MEGAN
I called a friend of mine from the
D.A.'s office. No problem getting
warrants.

HUNTER
Good work.
(looks up)
Hey, McCall - welcome back.

MCCALL

stands behind Megan (i.e. at her own desk, currently
occupied), suitcase in hand. McCall looks happy to be back,
full of possibilities. Hunter, however, is one-tracked.

MCCALL
They let me out early. Since this
was on my way from the airport...

HUNTER
Oh. Yeah. Uh, Dee Dee McCall, this
is Detective Sgt. Megan Malone.
The women ad-lib "hellos" but Megan makes no movement to
give McCall any room at her own desk. Megan taps her watch.

MEGAN
Rick...we don't want to be late to
the D.A.s...

MCCALL
What's the hot case?

Hunter hesitates a second. This is touchy...

HUNTER
D'Angelo.

MCCALL
That was thrown out in
arraignment...

MEGAN
-- We've got a new lead. We're
about to get it reopened.

Under this Hunter has risen and swung into his corduroy
jacket, ready to roll. It's an awkward moment...

HUNTER
I'll tell you about it later. Why
don't you go home -- take it easy.
We've got it covered.

McCall's look says she's just been blown off.

TATE'S VOICE
And how did you feel about that?

- END FLASHBACK -

RESUME TATE'S OFFICE

MCCALL
Left out, I guess. He didn't seem
to care much that I was there...

TATE
Seems to me you and Sergeant
Hunter have some unfinished
business. This is a pretty safe
place to talk about it. Do you
think he'd be willing?

MCCALL
Here...? Hunter...? There isn't
a poker hot enough to get Hunter
into this office.

Tate smiles, understandingly.

TATE
Well, sometimes people change.
Keep it in mind.
(a beat)
Anyway, our time is up. I'd like
us to keep talking. You game for
another appointment?

MCCALL
I guess so.

McCall stands and starts to head out the way she came.

TATE
Good. Use this door. It's more
convenient.

Tate steers her to the side door, the one that goes directly
to the corridor. McCall exits. Tate crosses back to the door
to his anteroom and opens it.

TIGHT ON TATE

as he speaks to an unseen client.

TATE
Hello, I'm Norman Tate.

HUNTER

looks up from the magazine he was leafing through.

As he rises from his chair...

FADE OUT.

END ACT ONE

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

ACT TWO

FADE IN:

INT. TATE'S OFFICE - DAY #2

Hunter sits opposite Tate, part way into his session...

TATE
I'm curious - have you ever been
to a therapist before?

HUNTER
Never.

TATE
You're pretty emphatic about that.
Does being here bother you?

HUNTER
Doctor Tate, I don't have anything
against psychologists or
psychiatrists... or fortune
tellers... It's just not for me.

TATE
Then why are you here?

HUNTER
Because I think something's
bugging my partner, and she'd
never come in herself.
Tate looks down at his notes.

TATE
And you want to help her.

HUNTER
Right. Usually she's pretty
reasonable but something's going
on with her, and....

TATE
And you're afraid it's going to
get in the way of your work.

HUNTER
Exactly.

TATE
I guess you've tried talking it
out.

HUNTER
It doesn't help. I told you what
happened at the warehouse. There
was a screw-up, I unloaded on her
-- but we should've gotten past it
by now.

Tate again looks down at his notes.

TATE
You've been partners for six
years. Maybe you two are on
burnout.

HUNTER
(shakes his head)
That's not it.

TATE
Has she ever been like this
before?

HUNTER
No.

TATE
Are you sure?

Hunter considers the question; takes a moment.

HUNTER
Well, maybe just once.
(dawns on him)
It had to do with Megan Malone.

Tate keeps his face impassive... just nods.

HUNTER
(continues)
She's a lieutenant in robbery,
now. It was the year McCall took
the FBI's forensic's course.
Megan was temporarily assigned as
my partner.

TATE
How did that work out?

HUNTER
Fine. Megan had a knack for
making things happen. Probably
why she's a lieutenant, now.

INT. OLD SQUADROOM - DAY

Hunter and McCall are at their desks; Megan sits quietly off
to one side. In this flashback, she's dressed more demurely:
her hair pulled back in a bun; her blouse buttoned to the
neck, etc.

HUNTER (V.O.)
I think McCall felt guilty about
being away -- especially because
we had reopened a case of hers.
The D'Angelo case. I had to twist
her arm to get her to take some
time off.

HUNTER
You're not due back for three more
days. You deserve some r&r after
what the Federates put you
through.

MCCALL
Nobody's more familiar with the

D'Angelo case than I am.

HUNTER
Well...Actually, Megan has
developed an interesting angle.
(to Megan)
Why don't you fill her in?
Megan senses McCall's unease.

MEGAN
No, you go ahead. Dee Dee should
know where the case has gone.

Megan's so sincere, Hunter shrugs.

HUNTER
(to McCall)
Your idea was that D'Angelo had
killed his partner. Clay, because
Clay found out he was embezzling
from their company, right?

MCCALL
Right.

Megan can't contain her enthusiasm.

MEGAN
That wasn't it at all. Clay found
out D'Angelo had a mistress.
D'Angelo's wife was the one with
all the money in the family, and
he couldn't afford the divorce. So
Clay was blackmailing him.

Megan looks for McCall's approval. She doesn't get it.

MCCALL
That's quite an angle. Any proof
to back it up?

HUNTER
(to McCall)
Megan's running down some leads.

MCCALL
(grim)
Great.

McCall opens her suitcase and dumps a bunch of papers and
junk on top of her desk, making it her own again. Off
Megan's reaction.

TATE'S VOICE
What is it?

- END FLASHBACK -

RESUME TATE'S OFFICE

Hunter is sitting stone still, deep in thought.

HUNTER
Do you think McCall is acting this
way out of professional jealousy?

TATE
How so?

HUNTER
Megan did solve a case McCall
couldn't crack.

TATE
It's possible. It does strike me
as more than just coincidental
that Megan was around both times
you noticed your partner acting
strangely.
(a beat)
Would you and McCall consider
talking about it together? You
could do it here.

HUNTER
I would... but she'd never come
here.

TATE
No?

Hunter shakes his head, quite sure.

INT. SQUADROOM - DAY #3

McCall's working at her desk when Megan approaches, all
business.

MEGAN
I got a tip on a guy who used to
fence stolen cars for Stryber. I
want to pick him up.

Megan hands McCall a printout with a photo and info.

MEGAN
Wait for Rick, though. I'll be in
the conference room if he has any
questions.

MCCALL
Yes ma'am.

You could freeze meat in the air space between these two.

MEGAN
"Megan" still works just fine. Dee
Dee.

MCCALL
Sorry... Megan.

Megan turns on her heel and exits. McCall's breathing in
the icy chill when Hunter approaches.

MCCALL
Where've you been?

HUNTER
(innocent)
At the hospital. A buddy of mine
had surgery.

She stands.

MCCALL
C'mon. We've got a lead on a guy
who might know where Stryber is.

Hunter gets a view of McCall's back, moving fast toward the
exit...

EXT. BODY SHOP - DAY #3

A garage in a seedy part of town.

WIDER

to include IWI-56, parked down the street.

INT. 1W1-56

Hunter and McCall are inside on stakeout. The only sound is
McCall sipping coffee from a styrofoam cup. Finally...

MCCALL
So how's your sick friend doing?

HUNTER
Hmm? Oh - fine. Fine.

MCCALL
What's the matter with him?

HUNTER
His liver...he...ah... had it
removed.

MCCALL
(reacts)
You can't live without a liver.

HUNTER
Well... they didn't take it all.
They left some.

McCall is about to say something, when activity outside
catches her attention.

MCCALL
I think that's our man?

Hunter looks.

ANGLE - THROUGH THE WINDSHIELD

We see BINGHAM get out of his car and walk toward the big
bay garage door.

INT. GARAGE

A car is going up on a lift as Hunter and McCall enter and
address Bingham.

MCCALL
Earl Bingham?

BINGHAM
Who wants to know?

McCall steps forward, spoiling for a fight. She badges him,
and would be standing nose to nose if she were taller.

MCCALL
I do.

INT. PARKER CENTER - INTERROGATION ROOM - DAY #3

Bingham is seated at the table. McCall is standing over
him. It's been going on for a while and whatever niceties-
there might have been have long since vanished.

BINGHAM
How much longer is this going to
go on?

MCCALL
Until I get some straight answers.

BINGHAM
I don't know how many other ways I
can tell you. I haven't seen
Stryber in months.

OBSERVATION ROOM

Hunter stands and watches through the one-way glass. He
looks at his watch as McCall continues to press Bingham.

MCCALL
(filtered)
Not good enough. Earl.

BINGHAM
(filtered)
I want to see a lawyer. I got my
rights.

McCall hesitates.

MCCALL
(filtered)
Okay. I'll get you a lawyer. But
I'm not finished.

McCall is seen leaving the interrogation room as Megan
enters the observation room, with an armful of printouts.
She's all business.

MEGAN
Any luck?

HUNTER
No

McCall enters, disgruntled.

MCCALL
You heard?

MEGAN
I found out something that might
help. Mind if I have a shot at
him.

McCall stiffens.

MCCALL
He's all yours.

INT. INTERROGATION ROOM

Megan enters.

BINGHAM
Funny... you don't look like my
lawyer.

MEGAN
You won't need one. We're cutting
you loose.

Bingham studies her for a beat, then picks up his jacket.

BINGHAM
Good.

MEGAN
On the way out, say "hi" to an old
acquaintance of yours in the
corridor. A fence named Rivera.
Bingham is halfway out the door. Now he stops. Megan makes
a show of casually checking a clipboard.

MEGAN
We picked him up... told him
someone had snitched him off.

BINGHAM
He'll think it was me.

MEGAN
Especially after I tell him it
was.

BINGHAM
You're bluffin.

MEGAN
Then call it. Go ahead. Walk out
of here.

She holds the door partly open for him, steps away from it.

INT. OBSERVATION ROOM

As Hunter and McCall watch Bingham crumble.

BINGHAM
(filtered)
Stryber's got a girlfriend named
Suzie at the Malabar Arms
apartments in Montebello. I've
been there.
(beat; defiant)
That's all I know.

Megan smiles

MEGAN
You're a regular encyclopedia,
Earl.

She exits, pointedly closing the door in Bingham's face.
Angry, he throws his jacket on the table.

HUNTER
She's good.

MCCALL
(icy)
Of course, it helps to have inside
information, doesn't it?

Hunter looks over at McCall. The door opens and Megan steps
into the observation room.

HUNTER
Nice going.

MEGAN
Thanks. Let's go talk with this
Suzie. We may get something.
Like Stryber.

McCall suddenly stops short. Looks at her watch.

MCCALL
I... I have a dentist appointment.
(a beat)
I'll. cancel it.

MEGAN
That's okay. Hunter and I can
handle it.

MCCALL
No... It's just a loose filling.
I'll call and cancel...

HUNTER
No. Go take care of it. We'll
let you know what happened.
(to Megan)
Ready?

MEGAN
Let's go get a search warrant.

They exit and we stay on McCall's face for a beat, then
go. ..

HALLWAY - MALABAR ARMS APARTMENTS - DAY #3

Hunter and Megan take positions on either side of a door,
weapon's at the ready. Hunter knocks loudly.

HUNTER
Police! Open up!

A beat. Then the door is opened by an attractive Asian.
named, SUZIE.

INT. SUZIE'S APARTMENT - VARIOUS SHOTS

As Hunter and Megan cautiously and silently push past her
and search through the tiny apartment. As they finish up:

SUZIE
I haven't done anything.

HUNTER
(shows warrant)
But you know someone who has.

He shows her a photo of Stryber.

SUZIE
I...don't know him.

HUNTER
Uh-huh. Suzie, Stryber has killed
someone. You don't want to be
mixed up with him.

SUZIE
I don't need some cop telling me
who my friends should be.

MEGAN
I thought you didn't know him.

SUZIE
(goes to door)
Get out!

MEGAN
If you help him Suzie, you'll go
down with him as an accessory.

Megan plays out the "bad cop" role by storming out. Now
Hunter plays the "good cop" gently handing her his card.

HUNTER
If you do hear from him... you
really ought to give me a call. Bye.

And Hunter leaves. She slams the door after them.

INT. TATE'S OFFICE - DAY #3

McCall is part way into a session...

MCCALL
I should've just gone with them.
This isn't doing any good.

TATE
I see some progress already.

MCCALL
(small smile)
I'm glad somebody does. It's just,
seeing Megan so -- so perfect.
It's just like three years ago.

TATE
(checks notes)
The...D'Angelo case, wasn't it?

MCCALL
Yeah. Even then Megan was on the
fast track. We knew D'Angelo had
killed his partner. Megan wanted
to set a trap for him.

- FLASHBACK -

INT. OLD SQUADROOM - DAY
Hunter and Megan are on the move, McCall a couple steps behind.

MCCALL (V.O.)
She had picked up D'Angelo's
accountant, name of Glaser. I
didn't believe this guy was of any
value to us, but...

MEGAN
We've got him cooling his heels in
interrogation room one.

MCCALL
(catching up)
I questioned Glaser months ago.
He was useless.

Since they're a few steps away from the interrogation room,
Hunter steers them to one side so they can prep McCall.

HUNTER
He's not useless anymore. The
books Megan subpoenaed prove that
Glaser was helping D'Angelo funnel
money to his mistress.

MEGAN
What really happened was Glaser
told Clay about D'Angelo's bad
habits.

HUNTER
And Clay decided to use that
information for a few extra
hundred thousand, probably.

MEGAN
- which means we have enough to
squeeze Glaser with... he could
look like an accessory to murder.
Their total synch throws McCall off.

MCCALL
Listen - Glaser already knows me.
Maybe I should take the first
whack at him.

Megan and Hunter exchange worried glances; McCall notices.

HUNTER
McCall...You've been away for four
weeks. Why don't you just come
along and enjoy the ride.
(beams at Megan)
I think Megan's all set to handle
this one...

They head for the interrogation room door. Hunter and Megan
in step and McCall bringing up the rear, as we hear...

TATE'S VOICE
And now it's happening all over
again...

MCCALL
Yeah... but... you know something
the more I listen to myself babble
on, the more I realize I just
sound like somebody who's jealous
as hell.

TATE
Are you jealous of Megan Malone?

MCCALL
I'm not sure...
(beat)
It's not really like me to be
envious just because someone else
gets ahead.

TATE
That's an interesting phrase:
"just because"... Do you think
there could be another reason you
feel jealous?

MCCALL
(confused)
No. . .
(beat)
No.

Tate's look says he's not so sure...

INT. MEGAN'S OFFICE (CONFERENCE ROOM) - DAY #3

Megan works on one end of the table, when she sees McCall
walking past the door.

MEGAN
Dee Dee.

McCall steps inside.

MEGAN
I... ah... you didn't miss much at
Stryber's girlfriend. He wasn't
there. We've got her under
surveillance.

McCall senses that Megan is making an effort. She does too.

MCCALL
Thanks for keeping me posted.

MEGAN
Look... I seem to rub you the
wrong way.

MCCALL
I don't think-

MEGAN
Please... let me finish. If I
came in here like I was lording it
over you two now that I have my
bars... I didn't mean to. I want
this guy bad. Maybe I'm pushing
too hard.

MCCALL
We all want him, lieutenant.

Megan only smiles and shakes her head.

MEGAN
See, I've done it again. I know
you and Hunter want him, too. I'm
a political animal, Dee Dee. It
doesn't make me a better cop.
Just a more ambitious one. Do you
know what I'm saying?

McCall is caught off balance.

MCCALL
Yeah. Thanks.

McCall leaves. Megan ponders; then returns to her
printouts.

EXT. FRANKLIN MARKET - ESTABLISHING - DAY #4

A Mom-and-Pop style convenience store on a quiet corner.

INT. FRANKLIN MARKET

FRANKLIN, the owner, a portly mid-50s, is loading cigarettes
into their slots as the last customers straggle out. He
calls out to an unseen patron.

FRANKLIN
Anything I can help you with?

STRYBER

at the chip rack, turns enough for Franklin to get a good
look at him. Franklin looks at a police flyer he has pinned
under the register.

INSERT FLYER

It's a likeness of Stryber, along with his name, M.O. etc.

RESUME SCENE

Franklin's contemplating his next move when he hears the
CLICK and looks up to see the .44 Magnum aimed right as his
head. Stryber hands him a cloth bag.

STRYBER
Just fill it up, Pops, and don't
forget the Lotto money.

Franklin fills the bag, then opens a cabinet behind the
register as if he's going for the Lotto receipts. But
Stryber senses something is up and -

FRANKLIN

throws the bag at Stryber, giving himself time to get his
hand around the Colt .38 revolver he has stashed, but too
late, because -

STRYBER

gets off a shot - BLAM! - but his aim is off, only winging
the store owner. Franklin returns fire as he falls, catching
Stryber in his right shoulder.

Stryber's blown back and drops his gun. He picks it up with
his left hand, dodges another shot from the fallen Franklin
as he runs out the back door.

We hear a car start and take off as we...

FADE OUT.

END ACT TWO

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

ACT THREE

FADE IN:

EXT. FRANKLIN MARKET - DAY #4

It's the aftermath of the latest Stryber hit, cordoned off
with tape, police and emergency vehicles present.
Megan's in the foreground instructing a uniform cop as
Hunter shows a photo to the owner, who's on a gurney but
coherent. They load him into an ambulance. Hunter strides
toward Megan.

MEGAN
How is he?

HUNTER
Tough. He'll make it. It was
Stryber, all right.

McCall approaches from inside the store, notebook in hand.
MCCALL

The owner wounded the suspect,
just like he said. There's a
blood trail leading out the door.

MEGAN
He was able to drive himself away.
Let's alert all the emergency
rooms and clinics in the area.

MCCALL
This guy's not going to stroll
into a hospital -

HUNTER
Yeah, we're looking for some
street medic who makes house
calls.

MEGAN
You're probably right. Follow up
on it.

Megan strides over to a forensics technician for his report.
Off McCall's look - second fiddle once again...

INT. SUZIE'S APARTMENT - SECOND FLOOR - DAY #4

We hear the phone rings and Suzie approaches, toweling off
her hair. She picks up...

SUZIE
Hello?

STRYBER'S VOICE
(filtered)
It's me.

SUZIE
Where are you?

INT. SEEDY MOTEL - STRYBER

He's lying on the bed, a towel wrapped around his shoulder
and soaked through with blood. His gun is at his side.

STRYBER
The usual place. You know that doc
you told me about? I need him.
Fast.

SUZIE
(alarmed)
Why? Are you hurt?

STRYBER
Look, just get him.

SUZIE
I told you to get out of town. I
told you to be careful.

STRYBER'S VOICE
(phone filter)
Okay, so you told me.... Now you
be careful. The cops may still
be watching you.
CLICK! The phone goes dead in her hand. Suzie takes a
personal phone book out of a drawer and we...

CUT TO:

EXT. SEEDY MOTELS - NIGHT #4

A man carrying a medic's bag walks into frame and lights up a cigarette. Forty-ish, loutish, and not the


"doctor" you'd want your daughter to marry - this is RYDELL. After a couple of tubercular wheezes, he


heads toward the exterior stairway.

INT. SEEDY MOTEL - STRYBER

He's where we last saw him when he hears a knock on the
door.

STRYBER
Who is it?

RYDELL
(through door)
Rydell. Suzie sent me.

Stryber takes a key off the nightstand, leans his good arm
over the side of the bed, and pushes it across the cheap
wood floor so it slides right under the door. With gun
aimed...

STRYBER
Let yourself in.

Rydell unlocks the door and enters.

RYDELL
I get paid in advance.

Stryber reaches under the blanket and pulls out a wad of
bills. He tosses it to Rydell, who calmly counts them,
nods, and places his bag on the bed.

RYDELL
You want an anesthetic?

STRYBER
NO.

RYDELL
If you change your mind, just
yell.

Stryber pulls on a pair or surgical glove as he speaks, and slowly begins to examine the wound as


Stryber winces.

INT. PARKER CENTER - SQUADROOM - DAY #5

Hunter and McCall are entering. Martinez walks up to them.

MARTINEZ
(hands her a note)
Dee Dee, you just had a call from
a... Dr. Tate. He wants you to
call him.

McCall's caught off guard but tries to be cool.

MCCALL
Thanks Rudy.

Martinez moves off. Hunter reacts.

HUNTER
Dr. Tate? The department shrink?

MCCALL
I...ah... made an inquiry.

HUNTER
An inquiry? Was that inquiry your
dental appointment, yesterday?

MCCALL
Wait a minute. How do you know
Tate is the department
psychologist?

HUNTER
(shrugs)
Common knowledge.

MCCALL
Really... even though he's filling
in while the regular shrink is on
vacation?

HUNTER
I keep informed.

MCCALL
Uh-huh.
(realizes)
How's your friend's liver?

Off Hunter's look...

INT. TATE'S OFFICE - DAY #5

Hunter and McCall both seated opposite Tate -- both look
miserable. She seethes, he sulks.

TATE
I'm sorry my phone message let the
cat out of the bag. But... I'm
glad you decided to come here
together and work this out like
mature adults.

MCCALL
What has he been saying about me?

HUNTER
I haven't been saying anything
that you don't already know!

MCCALL
Such as!

TATE
Hold on. You know, it's
intriguing, but you both chose to
discuss the same events. In
particular the first time you
worked with Megan Malone. Why is
that, do you think?

MCCALL
(reacts)
You talked about Megan?!

HUNTER
So what if I did? What's the big
deal?

MCCALL
Nothing's the big deal. I just
didn't know she was so important
to you.

HUNTER
She's not so important to me.

TATE
Wait... wait. We might get
further if we pick up where you
left off last time, Dee Dee.

MCCALL
Where was that?

He checks his notes.

TATE
You said D'Angelo's accountant,
Glaser rolled over on his boss....

HUNTER
I remember that. Megan used some
info to-

Tate cuts Hunter off as McCall does a slow burn.

TATE
I'd like Dee Dee to finish the
story...

MCCALL
(beat)
Megan had this bright idea to put
"a wire on Glaser and have him
squeeze D'Angelo for money, just
like Clay had done. We were
listening to everything in a
surveillance van. I thought it
was too risky, but no one was
listening to me...

START FLASHBACK

INT. TRAILER

It's the police surveillance/transmission vehicle, in which
a tech works the reel-to-reel while McCall and Megan listen.
We hear Glaser and D'Angelo over the wire.

GLASER'S VOICE
It's your call. Vic. I can
tell the police the whole story...
or you can make it worth my while
not to.

D'ANGELO'S VOICE
I don't believe you're doing this,
Mitch.

GLASER'S VOICE
Yeah... well, times are tough.

D'ANGELO'S VOICE
You're the last person I ever
figured to sell me out. I thought
loyalty meant something to you.

MCCALL
(to Megan)
This from the man who murdered his
partner.

GLASER'S VOICE
Like you were loyal to Clay.

D'ANGELO'S VOICE
He didn't care about anything but
money. I bankrolled our
operation... and he turned on me.

MEGAN
Now we're getting somewhere.

GLASER'S VOICE
So you killed him.

D'ANGELO'S VOICE
Because he was scum!

MEGAN
Megan and McCall react.

MCCALL
That's it.

D'ANGELO VOICE
But you were my friend. And
you're just like him!
The muffled, scratchy sounds of a microphone against fabric.

GLASER'S VOICE
What're you doing!? Let go.

D'ANGELO'S VOICE
What's this? A wire? You rolled
over on me, Mitch! I oughta kill
you.

MEGAN
It's going sour.

McCall grabs a microphone.

MCCALL
(urgently)
Hunter! Move in. Nowl

HUNTER'S VOICE
I'm going.

As McCall rushes out of the trailer, we hear...

D'ANGELO'S VOICE
You' sonofa....

GLASER'S VOICE
Let go!

A tearing sound, as of cloth and the sound of a door
crashing in, then:

- END FLASHBACK -

RESUME SCENE - TATE'S OFFICE

Tate is obviously engrossed in the story.

TATE
What happened? Did you save
Glaser?

HUNTER
I broke in as D'Angelo was
wrapping a light cord around his
neck.

MCCALL
Glaser threatened to sue the
department.

HUNTER
We got the D.A. to cut him a deal
and he forgot about it.
(to McCall)
I thought we tied it up pretty
neatly.

MCCALL
Why don't you tell him what
happened afterwards?

HUNTER
(to Tate)
Well....the press got wind of it
somehow...

MCCALL
(sarcastic)
Somehow?

HUNTER
(ignores her)
They played it up quite a bit.

MCCALL
Megan got all the credit for the
bust.

TATE
And today she's a lieutenant. How
do you feel about that, Dee Dee?

MCCALL
(muted)
I think it's just great. I'm not
saying she didn't deserve her
promotion.

Hunter makes a little scoffing sound and shifts in his seat.

MCCALL
What does that mean?

HUNTER
It means you're jealous as hell of
Megan Malone.

MCCALL
Jealous?

HUNTER
Yeah! Jealous!

McCall shakes her head slowly.

MCCALL
I can't believe how insensitive
you are.

HUNTER
What the hell are you talking
about?

MCCALL
You know damn well what I'm
talking about.
(off Hunter's blank look)
Think about it. Think about what
happened back then.

For a moment no one says anything. Then Hunter's expression
changes. Something is dawning on him.

HUNTER
Is that what this is about?

MCCALL
Finally, he gets it! Nice going
Sherlock.

TATE
Why don't we just take a moment to
ask -

HUNTER
(to Tate)
Stay out of this.
(to McCall)
Dee Dee, nothing ever happened
between Megan and me.

MCCALL
What makes you think I care if
there was?

A quiet moment of truth-telling.

MCCALL
I needed to talk to you.
(beat)
After what happened. And then she
was around.

TATE
After what happened?

Hunter ignores Tate, as does McCall.

HUNTER
Wait a minute. I... I called you a
couple of times a week at
Quantico. All you ever talked
about was your classes, or work.
I kept waiting for you to bring it
up.

TATE
Bring what up?

MCCALL
Why should I be the first to bring
it up! Why didn't you bring it
up?

HUNTER
Because... I thought you didn't
want to bring it up.

MCCALL
Why wouldn't I want to?

HUNTER
I don't know why. Because you
were.... You tell me why.
Now McCall wheels back on the totally confused Dr. Tate.

MCCALL
Do you think this is fair? Why
does the woman always have to
carry the ball in an emotional
involvement?

A long, long beat. Tate fiddles.

TATE
I ah... I'm not sure I know what
you two are talking about?

Hunter and McCall look at each other.

MCCALL
Why don't you tell him? Or are
you too embarrassed.

Hunter takes a couple of beats.

HUNTER
We... ah...

MCCALL
Never mind...I'll tell him.
(long beat)
The night before I left for
Quantico...
(glance at Hunter,
then)
...We slept together.

McCall and Hunter are silent, remembering, as Tate tries to
cover his surprise.

FADE OUT

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

ACT FOUR

FADE IN:

INT. TATE'S OFFICE - DAY #5

Right where we left them... Hunter and McCall can barely
look at each other.

TATE
Do either of you want to talk
about it?

More silence. Hunter knows the onus is on him. Finally...

HUNTER
It just sort of happened.

TATE
Dee Dee?

She nods yes. Another long silence. Hunter sighs. He looks-
to Tate uneasily. His voice is low...

HUNTER
We had been working pretty hard.
McCall especially -- trying to get
ready for her trip. That night
happened to be her wedding
anniversary. I knew she'd be a
little down, so I took her to
dinner.

- START FLASHBACK -

INT. FANCY RESTAURANT - NIGHT

Unlike previous flashbacks, this one is entirely MOS, with
only the accompanying Voice Over. Hunter and McCall sit
across a crystal-filled table, which catches the soft light.
McCall looks more beautiful than we've ever seen her,
vulnerable, yet dazzling. She and Hunter laugh over dessert
and coffee.

HUNTER (V.O.)
We started the evening talking
about Steve, her late husband. He
was a cop, killed in the line of
duty. It seemed to help. By the
end of the evening we were talking
about the FBI session at Quantico.
Her mood was really up. Almost...

TATE (V.O.)
Vivacious?

HUNTER (V.O.)
Yeah.
(a beat)
Anyway....

HUNTER (V.O.)
We really were having a lot of
fun, and didn't want it to end, so
when I dropped McCall off...

HUNTER (V.O.)
She invited me in for coffee. We
talked.

TATE (V.O.)
What about?

INT. MCCALL'S HOUSE - KITCHEN

He leans on the counter next to her as she makes coffee.
They are talking more seriously MOS now.

HUNTER (V.O.)
I don't think I remember exactly.
It's just that, in our job we
spend so much time making
ourselves tougher. Shutting
things out. And here we were, two
people who spent more time in a
car together than lovesick
teenagers...

She turns so they're looking right into each other's eyes,

HUNTER (V.O.)
Two people who talked more than
most married people ever do....

The emotions are bubbling over, they can't be capped. Not
now.

HUNTER (V.O.)
And just this once... I guess that
all hit me.... hit us both.

They mutually lean together and embrace. Hunter's kiss is
very tentative. He feels strange kissing a woman he knows
so well. Then they break off, both seem embarrassed. It
could all end right here with a nervous smile and a few
words. But something flashes in McCall's dark eyes. She
flings herself onto Hunter, her lips hard against his.
Hunter's last defenses are down. He takes her in his arms,
lifts her off the ground as they continue to kiss.

- END FLASHBACK -

RESUME SCENE - TATE'S OFFICE

We return TIGHT on Hunter's face. This is not easy for him.
He remains stone still, silent, as we PULL BACK to include
McCall, likewise curled up in her own silence.

TATE
(to McCall)
And the next morning you left for
Quantico.

MCCALL
Yes.

TATE
How did you feel?

McCall's answer doesn't come for a beat - then it
practically gushes out, as if the words surprise her.

MCCALL
Great.
(beat)
I felt great. I didn't even mind I
was leaving town. Something about
having Hunter there in the morning
when I left - I mean, I knew this
wasn't going to happen all the
time - maybe never again - but
it felt pretty natural. And
special.

TATE
So then what happened?

MCCALL
(smiles, remembering)

The next morning he made me
breakfast.

HUNTER
(kidding)
Don't ask what she keeps in her
refrigerator. You don't want to
know.

MCCALL
(playful)
Give me a break.

TATE
Did you two talk about it?

MCCALL
No...

TATE
What about later?

She shakes her head.

TATE
(surprised)
You never talked about it?

MCCALL
That morning... there was nothing
we needed to say. He drove me to
the airport. We kissed goodbye.
I left.

A beat. Their expressions become sober again.

MCCALL
Then I came back, and there was my
replacement. And Hunter didn't
even seem to notice me.

HUNTER
That's not true.

MCCALL
Megan this, and Megan that -

HUNTER
I never meant it that way.

TATE
And after Megan Malone left...?

MCCALL
It was like we'd turned back the
clock... Like it never happened.

TATE
Except it did happen, didn't it?
(looks)
What about you, Rick?

HUNTER
I didn't know she... she even
thought about it anymore.

TATE
Do you?

HUNTER
I did at first... a lot. Then...
when she never brought it up, I
thought she wanted to forget all
about it.
(shrugs)
Eventually, I guess I did.
Tate's phone light flashes - as it does only in
emergencies. He picks it up... McCall and Hunter share an
uneasy glance, then break it off.

TATE
Yes?
(beat)
Okay. I'll tell them.
(hangs up)
That was for you. Lt. Malone
wants to see you... right away.

The partners know their priorities
and they're out of their seats.

INT. SQUADROOM - DAY 5

Megan huddles with Hunter and McCall, a sense of urgency in
her voice.

MEGAN
The surveillance paid off. Suzie's
on the move. On foot, carrying a
suitcase.
(firm)
She's going to Stryber.

Under which Martinez approaches and hands some computer
printout to McCall.

MEGAN
(to Martinez)
What's that?

MARTINEZ
Outgoing calls from Suzie's phone.
(to McCall)
Just like you said, McCall - she
made a call to a sleazeball
ex-paramedic named Rydel.

MEGAN
(impatient)
We can follow that up later.
Suzie's leading us right to
Stryber.

MCCALL
I don't think so. This suitcase
thing is the oldest trick in the
book.

MEGAN
(annoyed)
And what do you suggest?

MCCALL
We should sweat Rydell. Now.

HUNTER
I think McCall's right. I say we
go for Rydell.

MEGAN
After all this work, you could
miss the bust...

HUNTER
I don't think so.

Megan shrugs. McCall feels better than she has for days.

MEGAN
Okay. I'll keep my people on
Suzie.

HUNTER
(to McCall)
Let's go.
They move out fast and we go to...

EXT. DOWNTOWN STREET - DAY #5

Rydell, bag in hand, cigarette in mouth, comes out of a
fleabag apartment building and rounds the corner...where he
walks right into a waiting Hunter. He looks surprised,
starts to turn, when he sees McCall closing in behind.

RYDELL
Hey, what's going on here?

MCCALL
(badging him)
How badly do you want to stay out
of jail, Rydell?

He looks from her to Hunter. Doesn't see many options

EXT. SEEDY MOTEL - DAY #5

ANGLE - 1W1-56

pulls up to the curb a block away.

OMITTED

EXT. 1W1-56 - DAY #5

Hunter and McCall emerge from the car.

HUNTER
I'll check with the manager at the
motel. You get on the radio and
tell them we're code six.

Hunter starts in. McCall reaches in and takes the radio.

MCCALL
1W1-56. We're at Crenshaw and
Olympic looking for a suspect.
Code six.

DISPATCHER'S VOICE
Roger that, fifty-six.

She recradles the handset and looks across the street and
reacts at what she sees.

ANGLE ON CONVENIENCE STORE

Stryber, eating a bag of Cheetos, comes out of the
convenience store and spots McCall.

ON MCCALL

as their eyes meet.

NEW ANGLE

Suddenly, Stryber takes off running down the street.

MCCALL
(shouts to Hunter)
Hunter!

Hunter turns and sees Stryber running down the street. As
Hunter takes off after him -

MCCALL

takes the handset.

MCCALL
(urgently)
This is 56, we are in pursuit of
suspect, request back up
immediately.

She hangs up the handset as Hunter passes.

HUNTER
Let's go.

They race off together across the street.

THE CHASE

Stryber's got a good head-start, moving through narrow
alleyways. Hunter's caught up with McCall. Stryber turns
and gets a round off from his automatic, then keeps moving.

OMITTED

EXT. ABANDONED WAREHOUSE

Stryber races up to the building. He has nowhere to go, but
inside. As he disappears -

HUNTER AND MCCALL

reach the same entrance. They pause and exchange a glance.

HUNTER
You ready?
She nods. Guns in hand, they enter the building.

INT. ABANDONED WAREHOUSE - DAY

Hunter and McCall move in cautiously, then race for a
vantage point behind some old crates. Their eyes scan the
area.

ANOTHER AREA

Stryber moves through the darkness past some other stacked
crates, his gun ready.

HUNTER AND MCCALL

They move out together now to a new location - other boxes.
And take cover as they hear a police siren.

EXT. ABANDONED WAREHOUSE - DAY

A black and white approaches down the alley.

BACK TO HUNTER AND MCCALL

MCCALL
(sotto)
That's backup - Let's take him.

HUNTER
(sotto)
You got the plan.

MCCALL
I got it.

They share a moment as they move out in a different
direction -

STRYBER

continuing to move forward. He glances around then suddenly
changes direction, disappearing into the darkness.

ON HUNTER

He takes a deep breath then dashes across a wide open area
until he finds cover behind a cement pillar. As he looks
around

MCCALL

is carefully moving through the darkness. She hears a
sound. She stops - not sure what to do. Before she moves

CUT TO:

STRYBER

he comes around a corner and sees -

HUNTER

moving ahead of him, alone and vulnerable.

NEW ANGLE

as Stryber, a look of satisfaction on his face, takes
careful aim at Hunter's back. He is about to pull the
trigger when suddenly, a shot rings out and blows him away.

SMASH CUT TO:

MCCALL

standing about thirty feet away, her gun in both hands.

ON HUNTER

He turns and locks at her. As they share a look

NEW ANGLE

TWO UNIFORMED OFFICERS race in. It's all over.

OMITTED

EXT. WAREHOUSE - AFTERMATH - DAY #5

The coroner's men are bagging Stryber. Megan and Devane,
next to his vehicle, look on as McCall and Hunter join them.

DEVANE
Not bad for a week's work, Lieut.
Malone.

MEGAN
Thank you sir. You gave me good
people to work with.

DEVANE
The best.

With a wry smile, he gets into his car.
McCall approaches Megan.

MCCALL
Megan...

MEGAN
Well, Dee Dee, you won't have me
on your back any more.

MCCALL
(smiles)
You weren't on my back. In
fact...I learned something working
with you again.

She glances at Hunter. Who takes the hint.

HUNTER
Me too.
(offers hand)

Thanks for your help, Lieutenant.

Megan senses she's not getting something, but can't put her
finger on it.

MEGAN
Good luck, guys.

They ad-lib good byes and Megan moves off to talk with the
coroner's people. Hunter and McCall leave the crime scene
and go to

HUNTER'S VEHICLE

They stop, still ill at ease with each other.

HUNTER
(beat)
Wanna go for a bowl of pasta and
figure out what we're going to
write in the report?

MCCALL
No. Why don't we just do the
report then you can drop me
off at my place.

Hunter nods, goes around and gets in. They drive
away.

EXT. MCCALL'S HOUSE - NIGHT

1-W- 1-56 pulls up. McCall gets out quickly and starts up
the walk. Hunter gets out.

HUNTER
Hey!

She turns.

HUNTER
Good night.

McCall
(evenly)
Good night.

Hunter shakes his head and comes around the car to her.
This is one stubborn woman. He stands before her a moment,
then takes her two hands in his.

HUNTER
You know I'm no good at this kind
of stuff.

MCCALL
I wouldn't say that. I'd say you
were absolutely awful at this kind
of stuff!

HUNTER
If you thought I didn't care...you
were wrong.

She looks into his eyes.

MCCALL
Why didn't you say anything?

HUNTER
That night... it was yours and
Steve's anniversary. You were...
susceptible.
(beat)
After you left I thought that...
hell, maybe I'd taken advantage of
you.

McCall lets this sink in a beat. There's a tear in her eye.

MCCALL
You didn't. It was a very nice
thing you did.

HUNTER
Now you tell me.

MCCALL
I wanted to. But, when I got
back...

HUNTER
Megan.

MCCALL
Megan.

HUNTER
(teasing)
Now that you mention it, she does
have a very nice chassis.

He raises his eyebrow, but she doesn't rise to the bait...
very much.

MCCALL
You're testing me, right?

HUNTER
Me?

For the first time they realize where they are. A moment of
discomfort.

MCCALL
Ummm.... You don't want to come in
for....

HUNTER
(too quickly)
No!

Another beat. They stand, feet apart, tongue-tied.

MCCALL
Me neither. I mean....

HUNTER
But that offer for pasta still
stands. Spaghetti and meatballs.

MCCALL
You hate Italian food.

HUNTER
Thai?

MCCALL
Gives me hives.

HUNTER
We'll work it out.

A beat. She manages a small, beautiful smile.

MCCALL
We always have.

They bask in the moment. Now he smiles and opens the door
for her. As she accepts his gallantry with a nod and starts
to get in, they both burst out laughing.

FREEZE FRAME.

FADE OUT.

THE END


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 Post subject: Re: "Unfinished Business" script
PostPosted: Mon May 11, 2009 4:48 pm 
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Location: What kind of question is that? At my computer, silly!
I still can't believe Hunter hates Italian food. I should be offended! :o :lol:


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 12, 2009 2:17 am 
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I like how it was handled in the show ... and well looks like it answers your question regarding Hunter ! lol


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 12, 2009 9:05 am 
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This is very different to the episode ending isn't it. I never really thought that he would've possibly felt as if he had taken advantage of her that night. Maybe that was another reason he didn't want to bring it up. They played that element down in the episode more than they did in the script though.

Well he said no in the script but I still think he said yes in the episode!!!


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 Post subject: Re: "Unfinished Business" script
PostPosted: Wed May 13, 2009 11:56 pm 
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clare wrote:
Well he said no in the script but I still think he said yes in the episode!!!


I must agree with you Clare! :mrgreen:


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 Post subject: Re: "Unfinished Business" script
PostPosted: Thu May 14, 2009 4:16 am 
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Thanks Dee Dee :)


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 Post subject: Re: "Unfinished Business" script
PostPosted: Mon Apr 30, 2012 3:17 pm 
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I can't believe that I just found this!!!!!! I just read through all of the "good parts" and see that a lot of the words were changed. Is that typical of the actors to do that, or was this just a draft? How did you get this? I am so intrigued!!! I liked the wording in the actual show better... I felt that it sounded better the way they did it vs. how it was written here. I do wish that they spent a little more time on the subject of them sleeping together both from the lvoe scene and the talking about it during the walk up to McCall's door after wrapping the case. In this script, I really don't like how he said "no" to her invitation so fast! :cry: I guess I was right when I answered the poll, saying that he said no. I just didn't want to be right! I wanted him to want her! She CLEARLY knew what she was doing.......she wanted it! :lol: She had a plan... no dinner, finish the report, and "drop her off" at her place...you see it all over her face!!! AHHH!!!!!


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 01, 2012 6:46 am 
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HATBC wrote:
I still can't believe Hunter hates Italian food. I should be offended! :o :lol:


I know! What kind of sense does that make?! LOL!

I guess that's one reason you had to break up with him, huh? He'd be so out of place and would have offened far too many.
:lol:


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 01, 2012 6:55 am 
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BrassCupcake76 wrote:
I can't believe that I just found this!!!!!! I just read through all of the "good parts" and see that a lot of the words were changed. Is that typical of the actors to do that, or was this just a draft? How did you get this? I am so intrigued!!! I liked the wording in the actual show better... I felt that it sounded better the way they did it vs. how it was written here. I do wish that they spent a little more time on the subject of them sleeping together both from the lvoe scene and the talking about it during the walk up to McCall's door after wrapping the case. In this script, I really don't like how he said "no" to her invitation so fast! :cry: I guess I was right when I answered the poll, saying that he said no. I just didn't want to be right! I wanted him to want her! She CLEARLY knew what she was doing.......she wanted it! :lol: She had a plan... no dinner, finish the report, and "drop her off" at her place...you see it all over her face!!! AHHH!!!!!


You've missed a lot of good stuff on the forum, haven't you?
I just wish more of the members would return to add more great stuff. [sigh].

As for where they got the scripts, I can't speak for them personally, but there have been several "Hunter" scripts up for auction on ebay.com. Someone sent me a link to one a few days ago. She was trying to see how authentic it was before bidding, but I don't know how it turned out.

I don't think it's the actors who change the scripts. It's the writers and execs, though the actors may make some suggestions that may or may not be used.

Yep, McCall had a plan. She's knows what she likes. LOL!


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 01, 2012 9:41 am 
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I know, I am slowly getting through everything! I can't believe that I missed this section!!! Wow! I would love to win the signed script that Stepfanie is giving away!!!! :)


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 01, 2012 10:45 am 
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There's a lot to catch up on, and if the forum remains busy, I'll keep it open and you can read and post when you want. :)

This is why I love forums. You can catch up on topics that are days to years old, you can add polls, photos, video links, fanfiction, backgrounds/wallpaper....just have a good time. :)

I tell you, I came really close to shutting it all down just weeks ago.


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 01, 2012 10:58 am 
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omg I found you in the nick of time then! I love this forum and check it several times a day now! I'm definitely happy to have found it and having fun reading it and being an active participant here! I also love having fellow fans to share my "shipper" passion with!! :) lets get this place jumping again! The FB group is great too, but things can get lost there so easily. I like the forum structure better. Plus, I can be 'stealth' here and not divulge my Hunter obsession to my entire FB family! Lol!


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 Post subject: Re: "Unfinished Business" script
PostPosted: Tue May 01, 2012 11:14 am 
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Yes, you did get here in time. I'm glad that something kept me from closing it.
Maybe at some point, you can bring some other fans over. If you do, try to post it under "Off Topic" as only check forum related email once a week, of that often. I wouldn't want have nice people think I'm not interested in adding them.

Shippers are always welcome. Not to say that non-shippers aren't, but you know what I mean since I'm a total shipper. :)

I would love to have this place jumping again. :)
So far, you've added a lot to read and reply to, and even HATBC has been quite active in the past week. Cool. Someone else posted, but I can't remember who. Hmm. :| That's three of us! :)

You're right about the FB group. I appreciate that it's there, (more fans are finding each other and SK replies) :) but it's quite hard to keep up with what's posted even if I get alerts. Though the most recently topics that have replies on this forum and in the group move to the top, those on the forum are easier to find, plus you can look to the right and see the name of the person who posted last. You can also have longer conversations here and reply to someone in particular by simply clicking "quote" and not have your message to that person five to ten spaces below other posts.


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 Post subject: Re: "Unfinished Business" script
PostPosted: Wed May 02, 2012 2:58 pm 
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Location: What kind of question is that? At my computer, silly!
I agree about the whole FB thing. I'm just not that into it anymore. I'll probably delete soon, it seems like such a waste to me now.


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 Post subject: Re: "Unfinished Business" script
PostPosted: Wed May 02, 2012 4:09 pm 
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I started spending more time on FB when people left the forum, even before the "Hunter" group opened and before SK started posting. I was just trying to find something to do along with my friends, especially since several were hounding me about "needing" to join. Yes, I add a lot of photos and I've posted a fair amount of replies and notes, but that's because I'm just bored. Half the time, if I post something to someone, they don't see it, and I've missed lots of posts from others. We've had to use email to find out why no replies were left. Geeez. :roll: It makes me feel as if they think I'm ignoring them, but I just don't see half the posts unless I'm right there to get the pop-up or if the notification icon actually works and I see a number of how many messages were left. I had a notice of a new message today, but that message was from December and I sent a reply to my friend just a day after she sent the note. What a way to notify me! :x I'm glad I didn't just depend on the notification.

Like I've said, I do love that SK replies to the group members. For me, her replies are the higlights of FB for the most part. A long, long time ago, I sent her the link to this forum, but I don't know if she's ever looked at it. Back then, she wasn't answering her email like she does, now.


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 Post subject: Re: "Unfinished Business" script
PostPosted: Wed Aug 28, 2013 10:48 am 
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I'm dragging this one up to say I agree that the version that aired was much better, big tease and all. Among the changes I find interesting is the effort to make it sound less one-sided. In the scripted version here, it really seems like he felt like he was doing her a favor of some sort and then he "forgot all about it." Yikes.


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 Post subject: Re: "Unfinished Business" script
PostPosted: Wed Aug 28, 2013 12:00 pm 
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Yeah, favors like that aren't really needed. :|

:lol:


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 Post subject: Re: "Unfinished Business" script
PostPosted: Mon Sep 09, 2013 8:34 pm 
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---------
This is the first time I have seen this script.. it's really interesting to see how it changed.. and to see where FD and SK probably adlibbed (sp?) when filming.. I agree with most.. liked the aired versions' ending much better.. Hunter says YES dammit!!


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