Double Jeopardy

CHARLIE’S ANGELS “DOUBLE JEOPARDY” Written by Merino Rusk

FIRST DRAFT June 2009 (for 1979)

2 CHARLIE’S ANGELS “Double Jeopardy” FADE IN: INT. WAREHOUSE A van is parked at the end of the warehouse, and with it is MICHAEL DRAKE, a tall man, dark-haired, mid 30’s and dressed all in black. He picks up a cardboard box from a stack and disappears behind the van as he loads it into the back, then comes back out for another. We see him move a few boxes, working very fast. CLOSE - KELLY We see her eyes peering over the top of a wooden crate nearby. ANGLE BEHIND KELLY She is crouched behind the crate, gun in hand. Past her we can see the van and Drake. She is watching him. L.A. STREET CORNER - DAY We follow a police car and see it turn into the parking lot in front of a warehouse. Kelly’s mustang is parked there. The car stops and two officers get out. INT. WAREHOUSE – DOORWAY The two officers peek inside, then enter quietly, crouching, and silently move to a hiding spot near Kelly. ANGLE ON KELLY She makes eye contact with them and nods, ready to make her move. She pops up from behind her crate, gun extended. KELLY Hold it right there! DRAKE

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spins around, startled, and looks around like he’s thinking about running. KELLY AND OFFICERS KELLY Don’t risk it. OFFICER 1 Get your hands up. The officers move in on Drake. OFFICER 2 Up against the van. Come on. Drake leans against the van, looking annoyed while he’s being frisked. Satisfied, the officer pulls his arms back and handcuffs him. OFFICER 1 Okay, buddy. Let’s take a ride. He leads Drake away. DRAKE (over his shoulder) You’ll regret this, lady. OFFICER 2 (pulls Drake) Come on. EXT. WAREHOUSE Officer 2 leads Drake toward the police car. Officer 1 and Kelly stop nearby. OFFICER 1 We appreciate your assistance, Miss Garrett. Of course, we’ll need some statements from you a little later on. KELLY Sure. You know where to reach me.

4 OFFICER 1 Take care. Both officers get back in the car with Drake already shut inside. CLOSE Drake looks through the back window of the patrol car. He stares into Kelly, trying to intimidate her. The engine starts and they turn out of the parking lot. INT. KELLY’S CAR Kelly gets in, picks up her phone, dials. BOSLEY’S VOICE Townsend Agency. KELLY Hi, Bos. BOSLEY’S VOICE Oh, hi Kelly. How did it go? KELLY Like clockwork. He’s on his way downtown right now. BOSLEY’S VOICE Good work! KELLY Are you all done at the office, or do I need to come by? BOSLEY’S VOICE Well, no, we’re not, but I think you’ve earned the rest of the day off. KELLY Hey, thanks! Check you later. She hangs up and starts her car. EXT. CHARLIE’S OFFICE – ESTABLISHING - DAY

5 INT. CHARLIE’S OFFICE - DAY The girls and Bosley are sitting around the office. Papers and files are spread around – they are quietly doing paperwork. Music plays from a radio on the bar. KRIS Bri, do you have the expense report for April? SABRINA Nope. BOSLEY Here it is. (he hands a paper to Kris) KRIS Ah, thanks. They work in silence for another few moments. CLOSE ON RADIO RADIO ANNOUNCER We interrupt the broadcast to bring you a special news bulletin. Local police helped break up a riot late last night at the state prison. One inmate, Michael Drake, was killed and eight others were injured. CLOSE ON KELLY She looks up at the radio, interested. RADIO ANNOUNCER (CONT.) The cause of the riot is unclear at this time. We will return with updates as we get more information. Stay tuned for news and weather at four. The music resumes. BACK TO SCENE SABRINA Michael Drake? Isn’t that the guy you got a few months back?

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KELLY Yeah. SABRINA Huh. She makes a face, and goes back to her paperwork. FLIP INT. KELLY’S HOUSE – DIFFERENT DAY Kelly emerges from her bedroom in a robe, yawning. EXT. KELLY’S HOUSE – DAY Kelly comes out her front door, waves to a neighbor, walks to her driveway, and bends to pick up her newspaper. CLOSE ON KELLY Straightening back up, something ahead catches her attention. POV Looking out at the street. A car is driving by, going just slowly enough that we get a quick look at the driver. It looks like Drake. KELLY She frowns for a moment, then shakes her head, dismissing the idea. She turns and heads back to her house. FLIP INT. GROCERY STORE - DIFFERENT DAY Kelly is standing in a checkout lane. A bagboy puts a few last items in a paper bag. BAGBOY Would you like help out with that? KELLY (she smiles) I think I can manage. Thanks. BAGBOY

7 Ok. You have a great weekend. KELLY You too. She picks up the bag and walks. EXT. GROCERY STORE - DAY Kelly walks out with her bag, and stops short right outside the doors. CAMERA PULLS BACK and we see Drake, sitting on a bench smoking a cigarette. He doesn’t see her. CLOSEUP ON KELLY She frowns and leans to the side, trying to get a better look without him noticing her. Another shopper comes out of the store and brushes past her, seeming to interrupt her train of thought. She gives Drake a final look and walks into the parking lot. INT. KELLY’S CAR Kelly gets in and puts her grocery bag on the passenger seat. For a minute she sits silently, staring at her steering wheel. Then she turns her head and looks out the window. POV The bench is empty now. KELLY Looking confused, she cranes her neck to look for him. Disappointed, she finally starts her car and backs out of her parking space. EXT. RESTAURANT – NIGHT INT. RESTAURANT Kelly sits alone at a table. There is not much business. A waitress comes up. WAITRESS Save any room for dessert?

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KELLY Oh, I really shouldn’t… WAITRESS Pie’s half price. It’s our Sunday special. KELLY I guess I’ll make room, in that case. How about apple. And a cup of coffee while I’m at it. WAITRESS You got it. The waitress leaves. Kelly digs in her purse and pulls out her compact. She opens it and begins to check herself out in the mirror. CLOSE ON MIRROR We see Kelly’s face, then she angles it slightly. It reflects Drake, sitting at a table behind her. He is looking. KELLY She immediately snaps the compact shut and puts it away, suddenly looking very nervous. She plays uneasily with her napkin for a moment. The waitress returns and sets down pie and coffee. KELLY I’d like to pay the check right now. WAITRESS Fine. She gets out her booklet, tears out a slip and puts it beside the coffee. Kelly looks down into her purse. KELLY (without looking) Hey, can you tell me something? WAITRESS What’s that?

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KELLY Don’t let him see you looking, but there’s a dark-haired guy sitting a few tables behind me. Is he watching me? The waitress looks up. ANGLE on a corner of the restaurant where there are several empty tables. An elderly couple sits at the only occupied one. KELLY AND WAITRESS She looks back to Kelly with a hint of a frown. WAITRESS There’s no dark-haired guy. Kelly turns to look, then turns back, confused. KELLY He must have just left. WAITRESS (pointing) You said he was sitting over there? KELLY Yeah. WAITRESS Nah. That’s my territory. I haven’t had a dark-haired guy over here all night. KELLY Are you positive? WAITRESS Oh yeah. KELLY Weird. (she hands the waitress some money) Oh well. Keep the change.

10 WAITRESS Thanks. Kelly watches her leave, then glances over her shoulder again. She eats a bite of pie, but her appetite’s gone. She puts down her fork, folds her napkin on the table, and gets up. FLIP INT. CHARLIE’S OFFICE - DAY Kelly and Sabrina are on the couch. Bosley is at his desk, Kris leaning next to him. BOSLEY We need somebody to go undercover as Jenkins’ secretary. Charlie has you pegged for that one. (he hands Kris a folder) KRIS (sarcastically) Terrific. BOSLEY And of course, we’re going to need to keep an eye on his apartment. ANGLE ON SABRINA AND KELLY SABRINA If I recall correctly, it’s Kelly’s turn for stakeout duty. KELLY (flatly) Fine. SABRINA What, no argument? Kelly shrugs. ANGLE ON KRIS AND BOSLEY KRIS Actually Bri, I think it’s your-

11 SABRINA AND KELLY SABRINA (she coughs and clears her throat loudly, drowning Kris out) Alright then, it’s settled, Kelly gets the stakeout. Kelly looks distant, then gets to her feet. KRIS AND BOSLEY Kris smirks. BOSLEY Anyway, that all begins in two weeks. In the meantime KELLY she’s come around Bosley’s desk and gotten down into one of the drawers. He glances down. BOSLEY What are you looking for? KELLY Just checking something. (beat) Keep going, I’m listening. CLOSE Kelly’s flipping through files. BOSLEY’S VOICE In the meantime, you need to get your covers established. Kris, there are some things in there for you to study. Bosley’s voice fades as Kelly flips to a file called DRAKE, MICHAEL. She removes the folder and opens it. Inside there is a snapshot of him. CLOSE ON KELLY looking at the photo.

12 BOSLEY’s VOICE Kelly? KELLY (looking up) What? BOSLEY’S VOICE You weren’t listening. KELLY Sorry. She replaces the file. BOSLEY, KELLY, KRIS Kris gives Kelly a knowing look. Bosley takes off his glasses with a sigh. BOSLEY Tell you what, how about we break for lunch. KRIS (she grabs her purse) Yes! I’m starved. SABRINA How about the deli? BOSLEY I’ll never say no to that deli. ANGLE ON DOORWAY Kris and Bosley exit. Sabrina grabs Kelly’s sleeve and they pause. SABRINA Hey, you ok? KELLY Yeah. Just having trouble keeping focused today. SABRINA

13 I know those days. We hear CLAPS from the hallway. KRIS’S VOICE Sandwich time! Come on! They open the doors and leave. FLIP INT. BUILDING LOBBY – DIFFERENT DAY Kelly walks in and goes straight for the elevator. She and a few other people wait for a moment, then the doors open and they step inside. Kelly turns and faces front. KELLY 4, please. A man presses the button for her and the doors close. CLOSE - DIAL We watch it go up to 4 and DING as the elevator stops. KELLY’S POV The doors slide open and everyone else on the car gets out. The camera zooms past them to a man walking toward the elevator – Drake. CLOSE ON KELLY She does a double-take. INSERT Kelly’s finger repeatedly jabbing the ‘CLOSE DOOR’ button. KELLY’S POV The doors close with Drake only a few feet away. KELLY She puts a hand to her forehead, about to look relieved when we hear another DING. She looks up at the dial.

14 CLOSE – DIAL It goes down to 3 and stops, DINGS. KELLY She looks flustered, alone in the elevator and perhaps expecting to see Drake again. CLOSE – KELLY’S PURSE She sticks her hand in her purse, gripping her revolver but not drawing it. KELLY stares straight ahead, looking very nervous. KELLY’S POV The doors open and two women are standing there. They see Kelly and immediately return her odd expression. KELLY She relaxes, takes her hand out of her purse. There is an awkward moment. KELLY (she forces a smile) I think I’ll take the stairs. She steps out and the two women take her place in the elevator. WOMAN What’s her problem? The other woman shakes her head. The doors close on them. STAIRWELL Kelly is climbing down. We hear the SQUEAK of a door opening and she looks upwards after it. Spooked, she continues down much more quickly. EXT. BUILDING – DAY

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Kelly walks briskly out the doors, not looking back. FLIP EXT. KELLY’S HOUSE - DAY Her car is in the driveway. She gets out and hurries to the front door, looking around cautiously. INT. KELLY’S HOUSE - DAY She comes in. The phone is already RINGING – after a moment’s hesitation, she picks up. KELLY Hello? INTERCUT - INT. KRIS’S CAR KRIS Hi Kel, it’s me. I wanted to tell you that boutique, what’s it called, where you got that blue dress? That place is having a big sale. I’m in the neighborhood, if you want I can pick you up in a little bit and we’ll raid ‘em. KELLY Oh. Um… I don’t… okay. KRIS (frowning) You sound kind of funny. Is anything wrong? KELLY You could say that. KRIS What is it? Are you ok? KELLY Yeah. I’ll tell you about it when you get here. KRIS Ok. I’m on my way.

16 They hang up. FLIP INT. KELLY’S HOUSE - DAY Kelly opens her front door and Kris comes inside, looking concerned. KELLY Hi. KRIS Hey. So what’s going on? KELLY I feel like I’m going crazy. KRIS What’s the matter? KELLY (reluctantly) You know that guy Drake? KRIS Yeah? KELLY Well, I think - I have - seen him around town lately. KRIS (surprised) Did you call the police? Wait, if he got out, how’d he die in a prison riot? KELLY No, see… I saw him after we heard that he died. KRIS After. KELLY I didn’t want to tell anybody because… well, I don’t know if I even believe myself. I don’t know how to explain it, but I swear…

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KRIS I believe you. Now come on, tell me about it. When exactly did you see him? KELLY Um, a couple days after we heard. And a few times since then. I just saw him downtown less than an hour ago. KRIS Where do you see him? KELLY In a restaurant. Outside my house – wherever I go. KRIS Okay. Did you talk to him? KELLY No. He gives me the creeps. And nobody else seems to see him, and he’s always gone when I check back. (she sighs) This sounds even crazier out loud, nobody’s going to believe it. I could just be imagining things. KRIS No, I think we need to look into this. Make a case of it. KELLY Maybe the case is that I’m a nutcase. KRIS Would you stop? There’s got to be an explanation for this. Look, why don’t we take it to the office tomorrow. I’ll call Charlie, I’m sure he’ll be glad to help. KELLY (unconvinced) I don’t know…

18 KRIS Come on. It’ll be all right. She puts her arm around Kelly’s shoulder. Kelly smiles appreciatively. KRIS We’ll figure it out. What do you say? KELLY Ok. WIPE INT. CHARLIE’S OFFICE – NEXT DAY Bosley and the girls are all sitting inside. KELLY I don’t want to interrupt the case for this, Charlie. CLOSE ON SQUAWKBOX CHARLIE Nonsense, angel. Your well-being is more important to us than any case. BACK TO SCENE BOSLEY Right. SABRINA So you said you’ve seen Drake a few times since…? Kelly nods. BOSLEY So how is that possible? KELLY I don’t see how it is. SABRINA Ok, let’s see. Let’s get all our possibilities down on the table. First possibility is…

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A moment of silence while everyone thinks. KELLY Well, there’s always the most obvious possibility. BOSLEY Which is? KELLY I’ve gone crazy. KRIS We’re not doing that one. SABRINA Ok, possibility one is, you only think you’re seeing things. Maybe you saw a few guys who happened to have the same general look as Drake. Once the thought was in your mind, you might have just gotten carried away with it. CHARLIE Did you ever get a very good look at him? KELLY Yeah, I got a pretty good look a couple of times. I’m positive it was him. KRIS Ok then, that does it for that one. SABRINA Possibility two is, somebody’s trying to make you think you’re seeing things. Another beat of thoughtful silence. BOSLEY I suppose this is a long shot, but maybe this could be a case of mistaken identity.

20 SABRINA Hey, that’s an idea. KELLY What does that mean? BOSLEY Well, suppose the dead prisoner wasn’t really Drake. He somehow switches identities, or somebody makes a mistake, and he gets out. They wouldn’t be looking for him, because everybody thinks he’s dead. SABRINA And then he tries to get in your head for revenge. KELLY That is a pretty long shot. KRIS But it’s worth looking into. SABRINA So how do we do that? Did they do the funeral already? CHARLIE Yes, he was buried a few days ago. SABRINA Shoot. I’d liked to have seen a body. CHARLIE I doubt it was open-casket, from what happened to him. SABRINA Was there an autopsy? CHARLIE No. KRIS But I bet they would have had to take some pictures documenting his injuries.

21 CHARLIE They probably did. I’ll Contact the medical examiner’s office and get you in. KELLY All right, Charlie. FLIP INT. M.E.’S OFFICE The office area is stark and neat. Sabrina and Kelly wait to talk to somebody. After a moment, a man comes out to the desk. MAN Can I help you ladies? KELLY We’re from the Townsend Detective Agency. We’re here to see the file on a body that came through here recently. She and Sabrina both show their identification. MAN Oh, yeah. Name? KELLY Michael Drake. MAN Wait here. He leaves the room. KELLY This is silly. They’d never make a mistake, especially with a prisoner. SABRINA Stranger things have happened. Do you have the picture? KELLY Yeah. (she holds up Drake’s picture)

22 SABRINA You know, he’s not that bad looking. KELLY This is better than he really looks. He’s sort of creepy in real life. Or death, I guess. The man comes back and hands Kelly a folder. MAN This doesn’t leave the room. KELLY Thank you.

She opens it and flips through a couple of papers. Sabrina looks at it over her shoulder. INSERT Shot of the folder. Kelly turns to some photographs of a body. They are close-ups of bruises on the back, ribs, etc. One shows a tattooed shoulder. She shuffles through them until she finds one of his face. BACK TO KELLY KELLY (her expression hardens) That’s him. SABRINA Let me see. She holds Drake’s file photo next to the folder. SABRINA Yep. They look at each other. KELLY So how am I seeing a dead man?

23 SABRINA I don’t know.

EXT. CHARLIE’S OFFICE – DIFFERENT DAY Only the Pinto and Cobra are outside. INT. CHARLIE’S OFFICE - DAY Bosley, Sabrina and Kris are seated inside. KRIS (she checks her watch) Where’s Kelly? CHARLIE I had us meet a little earlier than I told her. KRIS How come? CHARLIE I think we need to discuss the possibility that she really is just imagining things. BOSLEY Do you think that’s it? CHARLIE We’re running out of other explanations. Sabrina, what do you think? SABRINA I hate to agree, but… we saw the pictures. The guy is certifiably dead. And she knows it. BOSLEY Why do you think she’d be seeing him? SABRINA Well, you know how emotionally involved Kelly can get, especially when she thinks she’s responsible.

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KRIS But she’s not responsible. SABRINA Not for his death, but she is responsible for his being in prison. If he hadn’t been there, he wouldn’t have been killed. KRIS I don’t know about that. She doesn’t seem like she feels guilty or anything. BOSLEY Maybe she doesn’t even realize it herself. It could be her subconscious playing tricks on her. SABRINA I don’t know what else it could be. CHARLIE If that is the case, I may ask her to consider seeing a psychiatrist. KRIS She won’t like the sound of that. CHARLIE Probably not, but it’d be for her own good. SABRINA What could it hurt? KRIS Her feelings. How would you feel if we all met behind your back and decided you were crazy? SABRINA Nobody’s calling her crazy. KRIS You’re all getting pretty close to it. Anyway, I still believe her.

25 CHARLIE What’s your theory, Kris? KRIS I still think it’s a Gaslight thing. Somebody close to Drake must want her – and everybody else – to think she’s lost it. Maybe trying to make her lose her job. That was your idea in the first place. SABRINA But Kris, think about it. How is there a guy wanting revenge on Kelly who looks exactly like Drake, who is everywhere she goes, who nobody else can see? KRIS I don’t know, but there has to be a rational explanation. Kelly’s been through lots tougher situations without going nuts and seeing dead people. I mean, why would she lose it all of a sudden over this guy? That case wasn’t a big deal to her. BOSLEY That’s true. KRIS So let’s stay with it. BOSLEY Ok. Who could be doing it? They ponder for a moment. KRIS Partner in crime? BOSLEY Kelly witnessed his break-in. She said he worked alone. KRIS Well, he could have some criminal chums that didn’t work on this particular job.

26 SABRINA Yeah, that’s possible. Charlie, did you finish the computer check on our ghostly friend yet? CHARLIE Yes, but we don’t have anything noteworthy as far as his connections. Kelly’s arrest was his second, and he seems to have worked alone on the first one as well. SABRINA How about family? BOSLEY (he consults his papers) Let’s see. Father dead, mother sick. One sister in Chicago. SABRINA That doesn’t give us much to work with. Well Kris, can you think of any other big fans of Michael Drake? KRIS Nope. But I have a different approach in mind. You just put that shrink stuff on hold and let me handle it. BOSLEY What are you going to do? KRIS I’m going to go everywhere Kelly goes. Next time she sees him, I’ll see him too, and maybe we can nab ourselves a ghost. FLIP INT. DRESS SHOP – DIFFERENT DAY Kelly and Kris shop, flipping through dresses on a rack. Kelly looks up cautiously. POV SHOT looking out the front window of the shop where people are walking by. Nobody unusual is there.

27 BACK TO SCENE Kris holds up a dress, looking for Kelly’s opinion. It’s ugly. Kelly shakes her head and she puts it back. FLIP EXT. GAS STATION – DIFFERENT DAY Kelly’s car is parked at the pump and she’s filling her tank. ANGLE Kris looks around from the passenger side window, checking people out while she waits. POV SHOT Other people are filling their tanks, walking by. FLIP INT. PUBLIC LIBRARY – DIFFERENT DAY Kris is waiting while Kelly looks around. KELLY I thought you wanted to get something? KRIS I do. KELLY Well go on, don’t wait on me. KRIS I don’t mind waiting. KELLY Kris, this is silly. I mean, I really appreciate it, but it’s a waste of your time. It’s been almost a week and we haven’t seen anything. ANGLE ON FRONT DESK A stern-looking librarian sits behind the front desk, glaring at them. KRIS & KELLY

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Kris looks toward the desk, absorbs the librarian’s scolding rays, and looks back to Kelly. They lower their conversation to a whisper. KRIS It’s not a waste of time. We have got to figure this out. KELLY Ok, but you don’t have to bodyguard me every single minute. I’m ok. KRIS You sure? KELLY Sure I’m sure. Go on. KRIS Alright. I’ll be over this way. KELLY Ok. Kris leaves. Kelly walks through the shelves, perusing the titles. She selects one, reads the back, replaces it. DIFFERENT AREA Kris looking at books. She tilts her head while reading the titles. KELLY She’s reading the inside cover of a book. FRONT DESK The librarian is stamping books. KELLY Still browsing. KELLY’S POV

29 We see a shelf of books. RACK FOCUS - over the top of the books we can see through to the other rows. Drake comes into focus several rows down. He is facing Kelly but not looking. KELLY Her eyes go wide and she grabs a random book from the shelf, opening it to block her face. She creeps to the end of her row, hoping to sneak up on him. A teenaged girl walking past Kelly stops and points excitedly at the book she is holding. GIRL Ooo, House in the Shadows? KELLY (she looks around, obviously distracted) What? She’s about to keep walking, but the girl continues. GIRL It’s my favorite! I’ve been wanting to read it again – Kelly thrusts the book into the girl’s hands. KELLY Enjoy. Kelly sidesteps her. The girl shrugs and opens the book, cheerfully oblivious to Kelly’s rush. DIFFERENT AREA Kelly hurries past the shelves looking for Drake, but he isn’t there anymore. She gives up, turns around and rushes the other way. KRIS She’s flipping through a book. We hear Kelly’s voice in a not-so-quiet whisper. KELLY (v.o.) Kris? Kris?

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Kris hears, comes out of her row and finds Kelly. KELLY I saw him! She grabs Kris’s arm and leads her back to Drake’s area. KRIS Where? KELLY Over here. He was wearing a brown jacket, I think. KRIS He can’t have got far. You keep looking in here, I’ll go check the parking lot. They split. EXT. LIBRARY - DAY Kris comes out the doors and scans the parking lot, shielding her eyes from the sun. PARKING LOT One car is turning out onto the street. There are a few people walking around, but nobody looks like Drake. KRIS She looks disappointed, turns and goes back inside. INT. LIBRARY Kris meets back up with Kelly. They shrug. KRIS There was a car just leaving, but it could have been anybody. KELLY Did you get the license?

31 KRIS Couldn’t see it. She looks over at the front desk. FRONT DESK Kelly and Kris walk up to the librarian. KRIS Excuse me, have you seen this man in here in the last few minutes? (she shows Drake’s picture) LIBRARIAN Don’t think so. Then again, I haven’t been paying much attention. KRIS Okay. Thanks. They turn away from the desk. KELLY (sighs) I swear he was just here. I saw him. KRIS I know you did. He just got away, that’s all. C’mon, let’s go. FLIP INT. KELLY’S HOUSE KRIS Ok, new plan. KELLY What? KRIS Well, this guy obviously knows who I am. It doesn’t seem to do any good to stick close to you, because he only comes out to play when I’m not around. KELLY Your plan is to give up?

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KRIS Not exactly. Kris pulls out a camera and hands it to Kelly. KRIS You’re going to go about your business and carry this around. If you keep it out of sight, he won’t know you even have it. And next time he pops up, you just snap his picture. KELLY Hey, that’s not bad... KRIS Remember now, you have to go out a lot. Give him a chance to see you. KELLY I don’t think that’ll be a problem. FLIP INT. GROCERY STORE – DIFFERENT DAY Kelly moves cautiously around the grocery store, wheeling her cart ahead of her. Looking ahead, she narrows her eyes. POV SHOT We see a man from behind. It looks like Drake. KELLY She abandons her cart and begins to stalk quietly through the produce section, trying to sneak up beside him. She pulls out her camera, whirls, aims, CLICKS the shutter triumphantly. POV Her subject isn’t quite Drake. He looks at Kelly strangely. KELLY soberly lowering her camera, having realized her mistake. She tries to recover, and points at the stand of tomatoes

33 behind him. KELLY Beautiful, aren’t they? Writing her off as crazy, he turns and begins to wheel his cart away. KELLY Back home we don’t… have… Kelly trails off weakly - he’s out of earshot. She grimaces at herself. FLIP INT. POST OFFICE – DIFFERENT DAY Kelly’s holding a box, glancing around at the other people waiting in line. FLIP TO PARK – DIFFERENT DAY Kelly’s walking her dog. She sits down on a bench by a small pond. Kids are playing off in the background. Her dog looks intently at the pond. CLOSE - POND A duck is swimming there. BACK TO BENCH Kelly’s dog GROWLS a little. KELLY Don’t get a taste for duck, Albert, I can’t afford it. She pets him and he quiets, but continues watching the duck. Kelly looks forward. KELLY’S POV A short distance away, Drake is jogging past, shirtless. BACK TO KELLY She quickly reaches in her bag, pulls out the camera and

34 points it at him. Just as the shutter CLICKS, her dog BARKS at the duck. KELLY’S POV Drake hears the bark, and looks. DRAKE’S POV Moving past the bench, we see Kelly with the camera still pointed at him. She takes it down quickly, but they’ve seen each other. KELLY’S POV Drake turns his gaze forward and continues jogging away, perhaps slightly faster. BACK TO KELLY She watches him go, then looks down at her dog. KELLY You’ve got to learn to keep your cool when you’re undercover. Come on, let’s go drop off this film. FLIP EXT. “PHOTO LAB” – NIGHT INT. PHOTO LAB Kelly and Kris walk in together, and go up to the counter. Two men are working behind the counter, a young man PETER and a middle-aged MANAGER. KELLY Hi, I’m here to pick up my pictures. MANAGER Last name? KELLY Garrett. The man flips through some packets of film until he finds hers. He hands it to her.

35 MANAGER Here we go. KELLY Thanks. They walk away from the counter. Kris rubs her hands together expectantly. KRIS Open it, open it. KELLY I’m trying. Kelly tears through the tape and opens the packet. Her smile fades as she shuffles through the pictures. KELLY You’ve got to be kidding me. KRIS Maybe it’s stuck to another one... KELLY No, it’s not here. They squint at each other. Wait. This time, If I were out of picture I took of be in it. But that

KELLY I know I’m not crazy. my mind, I’d have the him, he just wouldn’t whole picture is gone.

KRIS Look at the negatives. KELLY No negatives either. KRIS Oh, so you have no proof. That’s quite the coincidence. KELLY Uh-huh. The other pictures I took in

36 the park just to finish the roll, they’re all here. Why would just the one of Drake be missing? KRIS Because something weird is going on. Let’s ask this guy. They return to the desk. KELLY Hey, excuse me. I’m afraid there are some things missing here. MANAGER Yeah, like what? KELLY Like my negatives. And at least one picture. MANAGER Oh… yeah. (frowns) Yours must have been the ones that accidentally got destroyed. KRIS Destroyed? MANAGER Yeah. We can give you a refund. KELLY I’ll take you up on that, but what I’d really like is my missing picture. MANAGER We got these young fools working here. I’m going to fire that kid we got packaging these. If he didn’t put it in there, it’s just not around. KELLY Great. MANAGER (to the younger man)

37 Hey kid, take care of this lady’s refund. I gotta go in the back. He disappears into another room, and the younger man takes his place at the counter. PETER Don’t listen to him, It wasn’t me that did it. My name’s Peter. (he points to his nametag) KRIS Oh? KELLY Disappeared into thin air, I suppose? PETER No, he threw ‘em out. I saw him. KELLY What? Why would he do that? PETER Well… (he looks over his shoulder) See, this guy came in yesterday and – you’re Garrett, right? KELLY Yeah. PETER Ok. Well, this guy comes in and has a talk with my boss back here. I heard them. He said somebody named Garrett took a picture of him he didn’t want and to get rid of it. I think he gave him some money too. KELLY (to Kris) He did see me take the picture. KRIS What did this man look like? PETER

38 Oh… tall fella. Black hair. KELLY (she shows Drake’s picture) Is this him? PETER Yeah! That’s him, all right. KRIS A-ha! PETER Hey, I got that stuff out of the trash, if you want it. KRIS Yeah! KELLY Oh, I could kiss you. Peter looks expectant for just a moment at this comment, then regains his composure. PETER What’s going on? KELLY You just proved I’m not crazy. KRIS How can we ever repay you? PETER Well… (he seems to think of something, but reconsiders) KELLY What? PETER Well, it’s my birthday this weekend and I’m having a big party. I don’t suppose you’d want to come for a while.

39 The girls smile. KRIS How old? PETER (brightly) 20. KELLY We’d love to. PETER All right! FLIP INT. KELLY’S CAR – NEXT DAY The car is parked along the curb. Kelly sits inside watching the apartment building across the street. SABRINA’S VOICE Explain to me again how you got me to do this. KELLY (smiles) I asked you, and you agreed. ANGLE FROM BACKSEAT We see Sabrina lying on the floor in the back, clutching a radio and looking very uncomfortable. SABRINA I thought we’d have seen at least one of them by now. How long has it been, anyway? KELLY A little over 3 hours. SABRINA Ugh. (into radio) Kris, why couldn’t you have done this? You’d fit in here. I can’t even move my arms, practically.

40

KELLY Oh, hush. KRIS FROM RADIO Told you it was your turn. Sabrina grumbles to herself. BUS STOP Bosley sits on a bench across the corner, pretending to wait for the bus. He wears a fake mustache, hat and overcoat in which his radio is concealed. BOSLEY (into radio) Girls, need I remind you that this is a real stakeout, one that we’re getting paid for? PHONE BOOTH Kris is hiding inside a phone booth, wearing jeans and a baseball jacket, her hair hidden under a baseball cap. She holds the phone to her ear, pretending to make a call. We can hear the DIALTONE faintly. KRIS (into radio) Yes Bosley, but it’s a stakeout stakeout. It’s important we look for Drake, too. BOSLEY FROM RADIO Well, I just wanted to make sure we’re not forgetting about Jenkins. BACK TO KELLY’S CAR KELLY (into radio) We’re not forgetting. KELLY’S POV We follow a man who has just walked out of the apartment building.

41

KELLY Hey, speak of the devil! (into radio) I see him now. SABRINA Which devil? KELLY Jenkins. KRIS FROM RADIO Where is he? KELLY (into radio) He just came out of the building. Blue shirt. PHONE BOOTH KRIS (into radio) Ok, I see him. Bos, it looks like he’s headed down your way. Let me come down there. She hangs up the phone, tucks the radio into her jacket, and slides the door open. Keeping her head down, she steps out of the booth. ANGLE ON JENKINS Walking toward Bosley’s. BUS STOP BOSLEY It looks like he’s coming for the bus. If he’s going to be sitting right next to me, I’m going to have to turn my radio off so he doesn’t hear. Kris, I’ll get on the bus with him. You don’t have to come. ANGLE ON KRIS

42

KRIS (into radio) Okay. There is a CLICK as Bosley turns off his unit. Kris stops walking and turns back. KELLY’S CAR KELLY (into radio) Well… do you think we should call it a day? SABRINA Yes. ANGLE ON KRIS She’s returned to her booth, but somebody is inside. KRIS Yeah, maybe Drake just isn’t going to come. You’ve got all but a neon sign pointing to you. And, somebody stole my hiding place. ANGLE ON PHONE BOOTH The man inside the booth is turned just enough that we can tell it is Drake. BACK TO KRIS She spins around, not wanting him to see her face. KRIS (into radio) It’s Drake! He’s in my phone booth! KELLY’S CAR SABRINA Finally. She gets out of the car and runs across the street.

43

PHONE BOOTH Drake finishes his call, hangs up, turns, and slides open the door. Looking up, he freezes. DRAKE’S POV Kris and Sabrina stand outside the door, arms crossed. ANGLE ON ALL 3 KRIS Hi. DRAKE Hi… He seems to recognize them, and looks past them across the street. EXT. KELLY’S CAR Kelly returns his gaze from her car window, looking smug. She waves. BACK TO 3 Suddenly he springs into action, plowing right through Kris and knocking her down. She tries to hold onto his sleeve but he gets away and starts to run. SABRINA Hey! She runs after Drake. Kris gets back on her feet and follows. ANGLE ON ALLEYWAY An alleyway opens onto the street where they are running. Drake turns into it and dives behind a trash bin. Sabrina and Kris come running around the corner a moment later. ANGLE ON DRAKE He pops up, gun in hand, and fires at them.

44

ANGLE ON KRIS AND SABRINA They duck his shots. BACK TO DRAKE He turns and runs farther into the alley. BACK TO KRIS AND SABRINA They draw their guns and run after him. SABRINA Hold it! BACK TO DRAKE There is a chain link fence near the open end of the alleyway. He leaps up on it and starts climbing. RACK FOCUS - through the fence we see Kelly’s car screech up and block the exit. She sticks her gun out the window. KRIS AND SABRINA They come running up to the fence, guns pointed, looking upward at Drake. ANGLE ON DRAKE He sits on top of the fence, blocked on both sides and looking sour. He puts his hands up. KRIS AND SABRINA Sabrina puts away her gun and holds her hands out. SABRINA Let’s have it. DRAKE He sighs and tosses his gun. KRIS AND SABRINA Sabrina catches the gun and holds it on him.

45 KELLY She smiles. KELLY Pick a side. We’d like to have a little chat with you. KRIS AND SABRINA SABRINA (quietly to Kris) Were we supposed to follow Bosley? KRIS Oh... CUT TO CLOSE-UP ON SIGN: “NEXT STOP: MORENO VALLEY” INT. CITY BUS Bosley sits on the bus next to Jenkins, looking extremely bored. EXT. CITY BUS Angle behind the bus, watching it drive into the distance.

EXT. CHARLIE’S OFFICE -DAY INT. CHARLIE’S OFFICE – DAY - BOSLEY’S DESK Bosley is at his desk, still wearing the fake mustache. BOSLEY Run this Drake stuff by me again. Sabrina comes up with a tray of drinks. He takes one, and we follow her over to Kelly and Kris on the couch. They each take one, and Sabrina sits next to them. SABRINA It wasn’t really Drake. We knew that. KELLY It was Sal Fratelli, Drake’s twin brother. They both took part in that robbery,

46 but since they looked the same, and dressed the same, I thought there was only one. Sal must have been out of sight when we moved in, and was able to split without us even knowing he was there. BOSLEY But Drake didn’t have a twin. He didn’t even have a brother. INT. CHARLIE’S DEN CHARLIE Yes, but we also found out that Drake was adopted. The boys were orphaned as infants. Somehow they were separated, and eventually adopted by two different families. KRIS Sal told us that they’d only recently found out about each other. BOSLEY They were separated for their whole lives, and burglary was the best bonding experience they could think of? SABRINA It’s heartwarming. CLOSE ON SQUAWKBOX CHARLIE Sal’s due to appear in court soon. If all goes well, he’ll be spending some time behind bars. SCENE KELLY It’s nice to be sane again. KRIS We never said you weren’t! Bosley chuckles.

47

SABRINA Bosley, why are you still wearing that mustache? BOSLEY (sheepishly) It won’t come off. KELLY What? BOSLEY I don’t know, the glue, I guess I stuck it on there a little too well. KELLY Oh, do you want us to try? (she gets up) BOSLEY No. I, I sort of like it. I wanted to grow one anyway. (he covers it fearfully) SABRINA No, you didn’t. KRIS Let me at it. All three advance on him. He cowers in his chair, trying to protect his face. All 3 try to pull off the mustache and talk right over his complaints. They surround his chair so that we can't see what they are doing to him. BOSLEY No, no. Get back. SABRINA Wait – let me get over here. KRIS I got this part. BOSLEY

48 Quit it. SABRINA Hmm, it's really on there. KELLY What if you pull from the middle? SABRINA If we can each get a little bit... KRIS Hold still, Bosley. BOSLEY Ouch! Get away! KELLY That isn't doing much. KRIS All at once, I think. Really fast. KELLY Like a band-aid. KRIS Yeah. SABRINA Everybody pull from the top. Ready? KELLY Yeah. KRIS Yeah. BOSLEY No. SABRINA 1, 2, 3, go! BOSLEY OUCH!

49 KELLY Hey, I got a little bit. KRIS Oh, don’t be such a baby. BOSLEY I am not – cut it out! SABRINA Good idea, Bosley! KELLY I’ll find some scissors. (walks off) SABRINA I think there are some in the drawer. The big sharp ones, you know? BOSLEY What? No. Charlie, help! Charlie!

THE END