48 Hrs. Page #9

HAMMOND:

No, man, I think I'll have a vodka.

Hamnond looks around the room.

THE BARTENDER:

places a glass in front of him, picks up the dollar as

Harmond flashes Cates' shield.

HAMMOND:

You know a big Indian named Billy

Bear? He used to work here.

The Bartender shakes his head, gives him a scowl.

BARTENDER:

Never heard of him.

Hammond lifts the shot glass and throws it through the mirror

behind the bar. Sudden silence throughout the room.

HAMMOND:

Now how's your memory doin'?

BARTENDER:

F*** off. I don't know what the

hell you're talkin' about.

HAMMOND:

Maybe I better ask around, see

what your pals think.

BARTENDER:

I don't give a sh*t who you ask.

The Bartender walks down toward Cates.

HAMMOND:

Moves away from the bar. He stops at a booth occupied by

FOUR COWBOY PUNKS,

one a very big man. Hammond grabs him by the arm and pulls

him up.

HAMMOND:

Up against the wall, cowboy.

The Punk breaks free, aims a massive haymaker at Hammond.

Gets a right to the stomach for his trouble.

HAMMOND:

(continuing)

Now, I said get over there by that

wall ... You hear me,

motherf***er...

Looks at the others.

HAMMOND:

(continuing)

Move it, rednecks. On your feet...

He grabs the next by the arm, yanks him up.

HAMMOND:

(continuing)

Over there...move your ass. Some

of you rednecks seem a little hard

of hearing, so I'll repeat it for

everybody... I need word on the

whereabouts of an Indian that goes

by the name of Billy Bear. It's a

police matter and you all look

like you'd just love to

cooperate...

CATES Quietly sips his beer. The other occupants of the bar

watch Hammond herd the four Punks to the end wall.

A BIG COWBOY:

when Hammond isn't looking, he dashes toward the exit, Cates

puts out a leg. Sends the Cowboy crashing into a crowdedtable.

HAMMOND:

Turns around at the noise.

HAMMOND:

(continuing)

That wasn't necessary, buddy. I

got this under control.

CATES:

Some of us citizens are with you

all the way, Officer.

The Redneck Punks are now spread-eagled against the wall.

Hammond searches the first. He drops a wallet on the floor

and moves to the second. A switchblade, some credit cards and

another wallet fall to the floor. The last Punk has only a

roll of bills. Hammond holds the money up to his face.

HAMMOND:

You're in trouble, big trouble, so

you better start talking. Where'd

a boy like you make a score like

this?

PUNK:

It's mine, what the hell...

HAMMOND:

You must a rolled somebody. They

don't let punks like you take jobs

that pay this much ... you sure

you don't know a dangerous Indian,

because unless you start talkin'

I may just have to start looking

down your pants with a

flashlight...

PUNK:

What kind of cop are you, anyway?

HAMMOND:

I am your most terrible nightmare

... a bad n*gger with a badge that

entitles him to kick your ass...

Hammond turns to the Bartender...

HAMMOND:

(continuing)

One of them is under-age. Another

attacked a police officer. And you

know I ain't found what I came

lookin' here for yet...

Walks back to the Bartender.

HAMMOND:

(continuing)

The tall one had a weapon ... you

want me to keep on makin' a list,

or you got the picture yet?

He reaches for a towel under a pyramid of bar glasses. Jerks

the towel, the pyramid capsizes onto the floor. Huge crash as

the glasses break into a million fragments.

HAMMOND:

(continuing)

Looks like you're on your way to

bein' outta business, redneck...

Now, let's see what can we f***

with next?

The Bartender doesn't have the look of a happy man.

BARTENDER:

Okay, okay. The Indian hangs out

with a girl down the block. Right

where Chinatown starts. She lives

on top of the hardware store.

Hammond turns, grins at Cates. As far as he's concerned, he's

won the bet. Cates nods, slips out the door.

HAMMOND:

I don't give a damn about his

girl...

BARTENDER:

Look, give me a break, you're

going to have to settle for her

place. It's the only thing I know.

He looks desperate.

BARTENDER:

(continuing)

I'm tellin' ya, I'm giving you all

I know.

HAMMOND:

Try obeyin' the law once in

awhile, and I won't have to hassle

you...

Turns to go, then turns back.

HAMMOND:

(continuing)

But remember this, cowboy, there's

a new sheriff in town.

Smiles, turns and goes.

TRANSITION.

STREET - ACROSS FROM TORCHIE'S - NIGHT

Hammond steps out of the bar. He crosses to Cates by the car.

CATES:

I think you got something for me.

Pause.

CATES:

(continuing)

The gun you took off that redneck

in there.

Hammond smiles.

HAMMOND:

You made that move, huh?

CATES:

While you're at it, You can give

me the switchblade, too.

Hammond reluctantly takes out a .22 automatic, slams it down

on the hood of the car.

CATES:

(continuing)

Credit cards?

Hammond hands them over with the knife.

HAMMOND:

You already got a gun and you owe

me a piece of ass. I'll settle

for the gun you just took.

A long moment. Then Cates slowly lifts the .22 automatic.

CATES:

You did a real good job... Guess

you deserve a reward.

Removes the clip. Throws it across the street. Hands Hammond

the automatic.

HAMMOND:

Motherf***er.

He throws the gun away.

CATES:

I sure am. Now let's go get us an

Indian.

They walk up the block.

TRANSITION.

STREET - CHINATOWN - NIGHT

Neon signs with Sino lettering.

CATES AND HAMMOND

Walk down the street, spot a shop with a window display of

tools. Look up at the darkened apartment windows. They walk

to the end of the block.

ALLEY:

Stairwells lead to each apartment above the shops. Cates and

Hammond move along the buildings... Arrive at the back of the

hardware store. Quietly, they start to ascend the stairs.

STAIRWELL:

The metal steps extend onto a platform by the back door.

Cates leans over the railings to look through the adjacent

window. Between the drawn curtains, a flickering glimmer from

a TV set. On the tube, various poses from stridently

exercising women.

HAMMOND:

What the sh*t is that?

Looks again. A female form passes by, goes out of the room.

CATES:

There.

HAMMOND:

Must be billy's girl.

CATES:

Come on.

DOORWAY:

Cates gestures to the door lock. Hammond fiddles with it for

several moments. The door swings open. They step into a

darkened room.

APARTMENT:

Cates takes the .38 from his pocket. He stops near the open

bedroom doorway. He looks at Hammond and then both men step

quickly into the room.

CATES:

Police! Nobody move!

Hammond reaches for the light switch. Takes a heavy blow.

Slumps against the door. A Woman's voice screams out.

CATES:

(continuing)

Stay where you are!

The light goes on. Cates' gun points at a YOUNG WOMAN (CASEY)

in a flimsy dressing gown. Saturday Night Special held

between her palms, police style... A SECOND WOMAN (SALLY)

stands beside Hammond at the light switch. Larger and

slightly older than the first, she wears a man's shirt. Holds

a baseball bat in her right hand.

SALLY:

You better drop it or he's gonna

get another one.

HAMMOND:

Hey, talk to here jack. I don't

feel like gettin' number two along

side of the head.

CATES:

I said police. Now drop the

goddamn gun.

CASEY:

Don't give me that police sh*t.

You drop it.

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