Angel Eyes Page #11

SHARON:

It’s a bad night.

He sees her pain and puts his arms around her, pushes

through his fear and holds her --and she lays her head

on his chest. He embraces her fully, and the effect on

him goes deep, to his core, where there is both pain and

longing, but he holds on to her, even rocks her a bit.

She sighs. In a moment...

SHARON:

This is good... but I’m too tired

to stand up anymore.

He walks her to the couch and has her sit, and then

slowly, gently, he "disarms" her. He lifts her leg,

takes the ankle holster and gun off, puts it on the

table. He turns her, takes the cuffs off her belt from

the middle of her back. He reaches into her pants pocket

and removes the Mace. From her shirt pocket he takes her

I.D. shield. He has her lie down on the couch now, their

faces close, eyes locked. They linger...

SHARON:

You want to kiss me?

(CONTINUED)

61.

CONTINUED:

He looks a little lost, but he nods, helpless. He comes

toward her lips --finally --but just before they touch,

she says, softly...

SHARON:

Kiss me someplace I’ve never been

kissed.

He’s not sure what to do. He begins to look her over -as

if hunting, and she gets a soft smile. He starts

slowly toward her ear --but she shakes her head. Her

shirt is out of her belt and her midriff bare, and he

starts to move there, but checks her with a look. She

shakes her head. He hunts. Her smile deepens a bit. He

takes her hand and turns it over, going for the soft

flesh on the underside of her forearm, and she closes her

eyes. He kisses her there softly, and then again, and

then he lavishes kisses from her wrist to the underside

of her elbow as she sighs with pleasure and draws up her

knees in a kind of sensual glow that is leading them

to... No. He stops. She looks at him, a deep look, soft

voice.

SHARON:

Why do you stop? You always stop.

She has a glimpse of his mystery, the old sorrow, the

deep pain. He hugs her drawn-up knees, closing his eyes

a moment. Then he sits on the couch, puts a pillow on

his lap and raises her slightly, lays her head on the

pillow. He strokes her hair, her scalp as she closes her

eyes and sighs, slowly moving toward sleep. Our TRUMPET

MUSIC slides in here, lush and dreamy as we linger a

while, and then -

SLOW DISSOLVE TO:

INT. SHARON’S APARTMENT -MORNING

Just after dawn. Catch has slept on the couch. He is

beginning to awaken now as the first light strikes the

windows. The dreamy TRUMPET FADES OUT. Catch’s eyes

clear, sleep replaced by thought, and he is suddenly

shaken by -

FLASHBACK -CATCH’S POV

--a sliver of memory. But in this one, he is driving.

We see his hands on the wheel. Then his POV looks to the

side and we see an Asian-American woman seated beside

him, attractive, about his age. Her name is Annie. She

is saying something to him. We don’t hear the words.

When the FLASHBACK ENDS -

62.

BACK TO SCENE (PRESENT)

Catch sits up on the couch, jolted. He gets another

sudden -

FLASHBACK -HEADLIGHTS

glaring through his windshield, blinding him. He gasps,

sitting there on the couch, but it’s all over. He

stands, rattled, and he moves toward Sharon’s bedroom.

INT. BEDROOM -MORNING

Sharon is peacefully asleep. He stands over her with

troubled eyes, but this slowly changes to a loving look.

He bends close to her face. He feels her breath on him.

He wants to lie down with her --but he raises a hand and

very gently brushes her cheek. She stirs. He does it

again. She sighs a peaceful sigh, opens her eyes. He

smiles at her.

CATCH:

New day.

EXT. BOULEVARD -DAY

Sharon is driving Catch home. They are now on a main

boulevard of stores, office buildings. They stop at a

light. Both are surprised by a voice calling out from

the pedestrians crossing the street.

PINDELLA (O.S.)

Catch?

They look up to see a well-dressed man pausing in the

middle of the crosswalk to face their car. He is in his

forties, tall, with grey-blond hair. This is RICHARD

PINDELLA. He has a small smile and wave for Catch.

Sharon is curious, looking at Catch. Catch throws the

man a dark look and then turns away, ignoring him,

nervous, intense.

PINDELLA:

Catch?

CATCH:

(to Sharon)

Drive, will you?

Pindella is moving toward the car, Sharon watching him,

wondering.

(CONTINUED)

63.

CONTINUED:

CATCH:

Drive!

The light changes. Pindella hurries to the curb as the

cars surge forward. Sharon drives slowly, checking the

mirror to see Pindella stare after them --then enter the

office building on the corner.

CATCH:

Will you get off this street?

She makes a turn, glancing at Catch.

SHARON:

What? You owe him money?

But his dark look persists, and he doesn’t answer.

Then...

CATCH:

If you take a right and stop --we

can walk from here. I’d rather

walk.

He is nervous, being in the car --and glad to leave it

when she pulls over. She watches this, wondering.

EXT. NEIGHBORHOOD -DAY

Sharon exits the car and locks it, staring at Catch.

SHARON:

If you’re in trouble...

CATCH:

I’m not.

SHARON:

If you’re in trouble with him,

maybe I can help.

CATCH:

Forget about him. Somebody I used

to know. I don’t want to know him

anymore. That’s all. Forget

about it. Walk with me.

She hesitates, then falls in beside him as he walks on.

They walk along in silence, the neighborhood growing more

seedy, tougher as they go. Catch is relaxing now, trying

to push it all away. Sharon looks around her.

(CONTINUED)

64.

CONTINUED:

SHARON:

This is not a great place to walk.

CATCH:

I like it here. It’s fine.

SHARON:

I work here. It’s not fine.

CATCH:

What’s the problem?

SHARON:

Besides the shootings, break-ins,

rapes, cart thefts? We’ve got a

loose dog raiding garbage cans,

knocking ’em over. Can’t catch

him. Got somebody blowing a

trumpet between midnight and

three. Can’t find him.

As someone approaches them, Catch makes eye contact and

smiles a small, friendly smile-in-passing. He gets a

brief smile in return. He and Sharon amble on. He does

it again.

SHARON:

You know everybody here?

He nods to another YOUNG MAN he’s never met...

CATCH:

How’s it goin’?

YOUNG MAN:

Goin’ uphill, man.

Catch and Sharon smile.

CATCH:

(to Sharon)

You try it.

SHARON:

Try what?

CATCH:

Go ahead. We need this.

Everybody.

She has misgivings. A young woman is bustling along.

Sharon makes eye contact and presents a nervous smile and

a nod --but the woman looks at her sternly and bustles

on.

(CONTINUED)

65.

CONTINUED:

SHARON:

I feel like a jerk. I feel like a

smiley face.

Catch smiles, Sharon frowns, but when an OLD MAN passes,

she gives a small smile. The Man lights up.

OLD MAN:

Mornin’.

Catch looks at her. She tries to shrug it off, but can’t

quite hide her pleasure. Now Catch is pausing as a woman

is walking her six-year-old daughter to their parked car.

Catch makes eye contact with the girl and does a goofy

wave that makes her smile. Sharon smiles, too. As the

girl’s MOTHER is unlocking the car, the girl shyly looks

back at Catch for more fun. He does that quick finger

trick --trying to catch his own thumb, and the girl

giggles But the Mother is impatient.

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