Angel Eyes Page #15

SHARON:

Oh, sure. What if they don’t

deserve it?

CATCH:

Then you forgive.

SHARON:

You have all the answers.

CATCH:

No. I just... It seems like a

chance, doesn’t it? A chance to

make things right. I’d take it.

Then you tried --y’know? And

it’s up to them.

(CONTINUED)

84.

CONTINUED:

Sharon is considering his words, but she’s also deep in

her old pain, defensive, challenging.

SHARON:

You close with your family?

That hits him, but he keeps rubbing her, gentle now,

looking a little lost. He doesn’t answer.

SHARON:

See? So why should I listen to

you?

But as he works her back in silence, we see her facing

her pain and thinking through it.

INT. SHARON’S APARTMENT -NEXT MORNING

Just after dawn. Catch is on the couch, stirring in his

sleep, in the grip of an unsettling dream. We hear what

he hears:
the VOICES of his wife, his son, murmurings.

We’re not sure of the words, even laughter. Catch’s eyes

snap open, jolted out of sleep, but the VOICES don’t

stop, and he suddenly sits up. The VOICES FADE as he

catches his breath, gulping air. He tries to calm down.

In a moment, he rises and moves to Sharon’s bedroom.

INT. BEDROOM -MORNING

He comes to the side of the bed and sees that she is

asleep. He sits on the bed and studies her, his dark

thoughts dissipating as he watches her sleep, his eyes

going deep. In a moment he begins to raise a hand to

brush her cheek --the way awakened her before --but he

stops before touching her. Instead, he brings his face

close to her and lightly kisses her.

She stirs. He kisses her again. She opens her eyes.

They stare at each other. She raises a limp hand and

touches his face. He begins to come close, slowly, for

another kiss. She welcomes it. They kiss on the mouth,

very tenderly. They kiss again --deeper. They kiss

again, and she holds him, and he moves fully onto the

bed, lying over her and supporting his weight on his

elbows and kissing and kissing and letting go for once,

hungry for her because she is in his heart now, and she

is a salvation, and there is a moment when they both

pause and stare clear-eyed, acknowledging what they are

doing, and both of them abandon their fear and pain and

begin to smile, and they make love that way, smiling, as

we slowly...

DISSOLVE TO:

85.

INT. BLUES CLUB -NIGHT

The night of that same day finds us at this neighborhoody

place with a lot of down-to-earth atmosphere and not a

lot of noise, like Harvell’s in Santa Monica --earthy

blues and jazz from a small band in a darkish club, small

dance floor. We PAN during this slow number and ARRIVE

AT a few dancing couples, including Sharon and Catch who

mostly just hold each other and sway. When their eyes

meet, there is a lot of deep pleasure there.

The music ends. The small crowd applauds. Couples head

back to the tables, but the little band goes right into a

more up-tempo but still earthy blues. Sharon stops and

pulls Catch back onto the dance floor. He smiles and

follows.

This number has a driving beat, and, slowly, we watch

Sharon drop her inhibitions and become more and more free

out there, and Catch is smiling and wowed by her, and she

laughs, wowing herself, and she keeps going, getting wild

and playful, and it’s something to see. We LINGER ON the

joy and abandon. She’s earned it. They go a little

crazy, happy crazy, and in a while we...

DISSOLVE TO:

SAME -HOURS LATER

The blues club is emptying out. It’s late. The band is

finishing what seems to be its last number, for the last

of thinning crowd --including a tired, happy Sharon and

Catch who applaud the end of the number. Catch stares at

her.

CATCH:

What’s your favorite song?

He rises --as if to go to the band with a request. She

smiles, spent.

SHARON:

Catch, I’m beat. So are they. I

think they’re finished.

CATCH:

One more. It’s a surprise.

She watches as he leaves her, walks to the bandstand. He

talks to the leader who is the PIANO PLAYER.

SHARON’S POV

From the instrument cases on the floor behind the piano,

Catch picks up a trumpet case, opens it. Now Sharon’s

tired smile is changing to curiosity, wonder.

86.

ON CATCH:

As he puts the mouthpiece on the horn, nervous, but

excited, too, speaking to the Piano Player.

CATCH:

Thanks, Danny.

DANNY (PIANO PLAYER)

Gonna be good having you back,

Catch.

Catch comes to the edge of the bandstand, grinning a bit

at Sharon, at his surprise for her, nervously fingering

the horn. He puts it to his lips.

ON SHARON:

Mouth-open surprise --and then smiling with the wonder -

and Catch begins to play, closing his eyes and

rendering a ballad, like the haunting "ANGEL EYES."

Sharon’s smile slowly fades, replaced by a much deeper

look, not only because he is so good, but because he is

showing her his heart, his love and even his pain --more

than he can show her any other way. We INTERCUT as he

opens his eyes briefly, watching her, sending her the

music, closing his eyes again to fall into the song --as

Sharon’s eyes fill at the beauty and sadness of it, and

at this look inside her man. We LINGER. Then...

DISSOLVE TO:

EXT. CLUB -NIGHT

We keep the sound of CATCH’S TRUMPET going as he and

Sharon exit the club and begin to stroll away, arms

around each other. In a moment, he stops. He can’tgo

another step. He has to kiss her. He holds her face and

comes in for the kiss, and above the music we hear her

say softly.

SHARON:

Where I’ve never been kissed.

He stops and stares a moment, then takes her hand and

walks her out into the middle of the traffic-less

boulevard and there, in the center of the street, kisses

her, and she responds, and it is their finest, fullest

moment, lifting on the MUSIC, and it is ironic and

prophetic that at its peak they are washed over by the

revolving light from a police car and a SIREN that CHIRPS

once as they break, staring.

(CONTINUED)

87.

CONTINUED:

SHARON:

Oh, God.

We WIDEN to see Ray and Sanchez in their police unit 20

feet away. Ray uses a small electronic bullhorn to

say...

RAY:

Are you in danger there?

SHARON:

Go away.

RAY:

I was talking to him, Pogo.

CATCH:

No thanks, Ray. Everything’s code

four. Go away.

Sharon laughs aloud and walks (with Catch in hand) to the

police car, her joy overwhelming any embarrassment. She

gestures behind them at the jazz club.

SHARON:

See that place? He’s going to be

playing there every weekend.

Catch notes the pride with which she says this.

RAY:

(impressed; to Catch)

Oh, yeah? What d’you play?

SHARON:

It’s music, Ray. You wouldn’t

like it.

She waves and walks off with Catch, arms around each

other. The cops watch them go.

DISSOLVE TO:

INT. CATCH’S BEDROOM -DAY (NEXT MORNING)

Sharon is asleep, alone in the tousled bed.

INT. LIVING ROOM -MORNING

Catch is dressed, putting a leash on Bob, glancing into

the bedroom at Sharon.

(CONTINUED)

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