Angel Eyes Page #12

MOM:

Go on.

The girl gets in. The Mother is about to close the door.

She frowns, mean-eyed.

MOM:

Move your arm!

The girl slides in further, and the Mother slams the

door. The girl follows her mother with hurt eyes as she

walks around to the driver’s side. Catch has paused to

watch this, his eyes gentle on the girl. The Mother is

about to enter the car when she sees Catch staring.

MOM:

What are you staring at?

CATCH:

She feels bad ’cause you yelled at

her.

MOM:

What?! Who the hell do you think

you are?

Sharon is uncomfortable. Catch persists, never flinching

at the woman’s anger.

CATCH:

She just needs you to smile at

her.

(CONTINUED)

66.

CONTINUED:

MOM:

It’s none of your business!

CATCH:

Why not smile at her? What’sit

cost?

MOM:

Who the hell are you to talk to

me?!

Catch’s anger is like flint in his eyes. It surprises

Sharon. She’s upset by this.

CATCH:

You’re so damn impatient.

WOMAN:

Get away from me!

CATCH:

You’re so busy being pissed off,

and time is going by.

WOMAN:

What?!

CATCH:

It’s not her fault.

The Woman gets into the car and slams the door.

WOMAN:

I’m calling the police!

CATCH:

No. I’m calling the police.

(turns to Sharon)

Hey --police.

The Woman speeds her car away. Sharon gets in Catch’s

face.

SHARON:

Jesus Christ, Catch.

CATCH:

Maybe she’ll think about it now.

(CONTINUED)

67.

CONTINUED:

SHARON:

You had no right to do that. God!

You think you know everything?!

Who the hell are you, some expert

on raising kids?! The

neighborhood angel?! Jesus!

CATCH:

No. No, I just... some people are

walking around blind...

SHARON:

That’s not your problem!

CATCH:

Don’t tell me what my problem is!

SHARON:

Okay, fine --you tell me what it

is!

CATCH:

Maybe it’s not my problem. Maybe

it’s your problem. Maybe you’re

going around blind.

SHARON:

Blind to what?!

CATCH:

Blind to what’s going on around

you. Blind to what people need.

We’re supposed to take care of

each other. We’re supposed to

keep each other safe. That’s the

way it should be --if you’re not

going around blind, like that

woman...

SHARON:

Or like me, right? What about

you? How come you can see?

That stops him, the darkness rising. He looks about,

trying to contain it.

CATCH:

I think I’ll... walk the rest of

the way on my own.

SHARON:

Yeah. Fine.

(CONTINUED)

68.

CONTINUED:

CATCH:

I’ll call you later --about the

hiking.

SHARON:

I’ll be out.

She turns and walks away. He is still angry, but sorry

to see her go.

CATCH:

Shar... wait. Hey!

But she keeps walking, and he watches her walk away.

Then he walks on, upset, mad at himself, trying to pound

through it, walking quickly. He is passing an alley,

when he hears a CRASH. He looks in...

EXT. ALLEY -DAY

He sees a large dog that has just knocked over a garbage

can. He and the dog stare. Catch walks into the alley,

approaches the big dog, squats down to look the animal in

the eye, and begins petting it. The big mutt is now

leaning into the petting, and Catch’s eyes go deep --and

slowly find their way to a sad smile.

EXT. CITY STREETS -DAY

Sharon and Robby are patrolling in their unit. Robby is

driving. Sharon is watching out the window with a deep-

eyed look, a bit down because of her argument with Catch.

She is staring as she rolls along.

SHARON’S POV

She is watching the people on the street, NOTICING, for

once, just how isolated they are, each in a box, passing

without connecting.

ON SHARON:

watching.

INT. CATCH’S APARTMENT -LATER THAT DAY

We’ve never seen the apartment flooded by sunlight like

this, all blinds open.

(CONTINUED)

69.

CONTINUED:

We START in the kitchen, staring at the drawer that is

now so loaded with toys, it won’t shut. Some brightly-

painted soldiers are sticking out of the drawer.

In the living room there are two chairs now, and more

lamps and tables. Our PAN REVEALS that the dog from the

alley is sitting in the living room, watching Catch -whom

we now see is hanging a picture on the wall --a

mountain scene. He holds the picture in one place, then

moves it to another, wondering. His fight with Sharon

still colors his mood, but he’s working through it.

CATCH:

Do we go for... symmetry? Or...

more off-center. Japanese.

He glances at the dog as he moves the picture.

CATCH:

Are you into this? Bob?

The dog watches him.

EXT. LARRY’S HOUSE -EVENING

It is early evening of the same day, and Sharon is just

off shift, out of uniform in her own car, parking on

Larry’s street and walking to the door. She knocks -and

takes a step back. Larry opens the door, already

angry, his nose bandaged, eyes blackened a bit from the

blow.

LARRY:

I don’t want you around here.

SHARON:

Let’s go talk in the yard.

They stare. She starts walking back into his darkening

front yard, looking over her shoulder. She walks to a

tree where the tire swing hangs, waits there. He goes

back inside, but leaves the door open. In a moment he

reappears, coming outside, closing the door behind him.

ON SHARON AND LARRY

As they meet by the tire swing. His eyes burn her, hate

and pain.

SHARON:

You took a swing at me.

(CONTINUED)

70.

CONTINUED:

LARRY:

You asked for it --calling me a

coward. You knew I’d swing. You

think I look bad now? Look at

this.

He has a Polaroid photo in his hand, holds it in front of

her, dried blood and bad bruising on his face.

LARRY:

Nice, huh? Beautiful. The

cops’ll love this, right?

Evidence. Don’t you guys love

evidence?

He puts it in his pocket, and they stare a moment more.

LARRY:

You wanted me to swing.

She looks away. She nods, speaks softly.

SHARON:

I’m sorry I hit you so hard.

LARRY:

But you’re not sorry you hit me.

SHARON:

Jesus, Larry, what about Kathy’s

face?!

LARRY:

That’s not your business! Nobody

called you, right? She didn’t ask

for you to come here. This is my

family. You don’t get it, ’cause

you’ve got no family. Nobody.So

you try to run everybody else’s

life. Jesus Christ --get your

own life. That’s the goddam

problem. Get your own goddamn

life.

Their stare holds, but she is giving way.

SHARON:

Okay. I’m sorry I came here. I’m

sorry I hit you. Okay?

LARRY:

Okay what?

This is very hard for her.

(CONTINUED)

71.

CONTINUED:

SHARON:

Don’t go to my department, all

right?

LARRY:

Why the hell not?

SHARON:

Larry...

LARRY:

Why not?!

SHARON:

Because the job’s all I got.

LARRY:

That’s what I said, right? No

life.

She nods, her voice smaller, almost a whisper.

SHARON:

That’s what you said.

Rate this script:3.0 / 1 vote