Angel Eyes Page #14

INT. COFFEE HOUSE -DAY

Catch hesitates, then walks over and stands beside this

man until he --JACK MOLINA --looks up. Jack beams with

recognition and surprise.

JACK:

Catch --Jesus!

Catch is held back, smiling a bit, but on thin ice here,

dipping into his past.

JACK:

How are you? Sit down. Been

years. You been out of town?

CATCH:

(sitting)

I’ve been around.

Jack’s smile clouds as memory kicks in.

JACK:

Oh, man, I’m really sorry about

what happened. I never got a

chance to say...

Catch, with a steady look, says...

CATCH:

We don’t need to go there.

Jack nods a moment.

JACK:

Okay. All right. So... what

d’you want, a coffee?

(CONTINUED)

78.

CONTINUED:

CATCH:

I want my old job back.

(pause)

What d’you think?

JACK:

You been workin’?

CATCH:

No, but I’m up to speed.

JACK:

(thinks)

Well, it’s not good with Randal

anymore.

CATCH:

No?

JACK:

No, he’s out of it, but Danny

Coley’s got something going.

Wanna go see ’im?

Catch stares, nods.

CATCH:

Finish your coffee.

EXT. PARKING LOT -DAY (LATER SAME DAY)

In a seedy parking lot, tough part of town, Robby and

Sharon are arresting two teenage girls. One of them is

leaning on the car as Sharon searches her. Robby stands

back with the other (cuffed) girl. Robby is staring at

Sharon through this moment --noting the difference in

her, still very professional --but softer. The girl is

upset, near tears. Sharon is gentle in her search.

SHARON:

I have to check these jacket

pockets. What’s your name -Allison?

The girl nods, not trusting her voice.

SHARON:

I need to unsnap this, Allison.

I’m checking your waistband. You

got to Whitney School?

ALLISON:

St. Mark’s.

(CONTINUED)

79.

CONTINUED:

Sharon is searching, Robby is noting all this, his eyes

appreciating the difference.

SHARON:

Lift your arms higher. Got a good

basketball team at St. Mark’s.

You play basketball?

EXT. STREET -NIGHT (LATER THAT NIGHT)

Sharon and Robby are still on the job, their unit rolling

down a residential street of apartment buildings. A

parked car is BLASTING MUSIC, and Robby halts beside it.

Sharon starts making dancing moves to the MUSIC, sitting

there beside Robby, and he stares at her as she grooves,

kidding it. Then Robby HITS the HORN to get the driver’s

attention in the parked car. Robby makes a gesture to

lower the volume, and the man SNAPS OFF his TAPE. Robby

rolls on, glancing at Sharon. She wears a small smile,

checking their beat.

ROBBY:

What’s going on, Pogo? You’re not

happy or anything?

SHARON:

Well, it’s a mix, Robby. Life is

sh*t, but I’m dating this great

dead guy.

She smiles at Robby’s look.

SHARON:

He says before I came along, he

thought he was dead. Sounds

better when he says it -

(stops abruptly)

Listen.

ROBBY:

What?

SHARON:

Shhh. Sh!

Robby stops the unit, rolling the windows down. They

hear the FARAWAY SOUND of...

SHARON:

The trumpet player.

Robby pulls over.

(CONTINUED)

80.

CONTINUED:

ROBBY:

This time we got his ass.

They exit the car and stand in the street, looking up,

scanning the dark buildings --but the sound is hard to

track, a FAINT BALLAD on a skillful HORN.

SHARON:

Wow.

ROBBY:

Got ’im?

SHARON:

Look at that moon.

They stare at the full moon. In a moment, we hear the

sound of ROARING CARS, their TIRES SCREECHING as they

turn onto this street, one car speeding ahead to cut off

the other and force it to stop. The two male drivers are

screaming at each other. Robby shakes his head.

ROBBY:

Full moon, man. Hey!

They run toward the drivers who are exiting their cars to

confront each other. One big guy carries a baseball bat.

Robby heads off one DRIVER while Sharon intercepts the

BAT-MAN.

DRIVER:

This guy’s crazy!

BAT-MAN

This a**hole side-swiped me!

SHARON:

Are you McGuire?

BAT-MAN

What?!

SHARON:

Mark McGuire?

BAT-MAN

No.

SHARON:

Then put that bat away. Put it in

your trunk. Now.

The man hesitates, then moves toward his trunk.

(CONTINUED)

81.

CONTINUED:

DRIVER:

I never touched his car.

BAT-MAN

You lying bastard!

The man charges, bat in hand, and Sharon makes a flying

tackle, bringing him down hard on the street --and we

immediately...

CUT TO:

INT. SHARON’S BEDROOM -NIGHT (LATER)

as she lies on the bed, on her stomach, her top off, and

Catch straddles her, massaging her back and shoulder

which are sore from her tackle.

SHARON:

Ow. Ow!

CATCH:

Sorry.

SHARON:

No. That’s good. Deeper.

CATCH:

(as he works)

How heavy was this guy?

SHARON:

Like a truck.

CATCH:

God. Tractor-trailer?

SHARON:

Pickup. Ow. Ow! That’s really

good.

She begins to moan as he digs out the pain. He is

fighting against the erotic charge of this, trying to

keep it medicinal, but he’s got his hands all over her

naked back, and she is moaning --so he stops and takes a

breath.

CATCH:

I better... More oil.

He reaches to the bed table and puts oil on his hands,

noticing a card that stands open on the tabletop, a very

pretty invitation.

(CONTINUED)

82.

CONTINUED:

CATCH:

This is pretty.

SHARON:

Don’t get oil on it.

CATCH:

Renewal of vows --that’s great.

Is this your parents?

SHARON:

Yes. Just put it down. I’m not

going.

CATCH:

Why not?

She doesn’t answer. He puts it down, comes back to the

slow rubbing of her shoulders, her neck. In a moment...

SHARON:

If I go, my brother’ll hurt me

with the department. I got mad

and knocked him down. All they

need is a complaint. Just leave

it alone and keep rubbing. Okay?

She moans in pleasure as he rubs, trying to push all

other thoughts away.

CATCH:

So... he says you can’t go?

SHARON:

Can’t you rub without talking?

(then)

It’s been bad with my family a

long time, so the hell with it

anyway. If they don’t want me

there, I don’t want to be there.

All right?

CATCH:

All right.

(then, as he works)

Bad how?

SHARON:

Oh, Jesus!

But we see her eyes turn inward toward the old pain and,

for once, she shares it.

(CONTINUED)

83.

CONTINUED:

SHARON:

My father used to knock us around,

all of us. But I’m the one who

called the cops --finally.

(pause)

They say I turned against the

family.

Catch works in silence a while, absorbing this, looking

at Sharon with more tenderness than ever. In a moment...

CATCH:

But... they invited you.

SHARON:

You don’t know anything about it.

So forget it.

CATCH:

Well... I know about family.

SHARON:

Oh, yeah? What about it?

CATCH:

It’s... a door you don’t close.

SHARON:

I didn’t close the door.

CATCH:

You’re closing it now. Right?

Family invites you, you go.

Family shows up, you welcome them

in. That’s family.

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