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
 3

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?
 6

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?
 8

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?
 9

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…
 17

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…
 19

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.
 24

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

 28

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?
 30

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?
 32

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.

KELLY
Wait. This time, I know I’m not crazy.
If I were out of my mind, I’d have the
picture I took of him, he just wouldn’t
be in it. But that 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