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Angel Eyes Page #17
- R
- Year:
- 2001
- 102 min
- 776 Views
ELANORA (V.O.)
Hello?
CATCH:
(softly)
Hi.
ELANORA (V.O.)
Hi! How are you? Have you been
out in this great afternoon?
Brenda took me for a walk.
She senses the silence on the other end and quiets a bit.
ELANORA (V.O.)
Anything wrong?
CATCH:
I’ve been... remembering.
She is quiet for a moment.
ELANORA (V.O.)
Catch... This is good.
CATCH:
It’s awful.
ELANORA (V.O.)
No. No, there’s good to remember.
(CONTINUED)
94.
CONTINUED:
He doesn’t speak, shakes his head.
ELANORA (V.O.)
Catch?
CATCH:
I’ll call you.
He hangs up, staring at his thoughts.
Sharon is still staking out the office building. Robby
is fidgeting. She just keeps watching. When Robby
begins to speak, she puts up a hand to stop him, going
very still, staring out the window at the man who Catch
was afraid of, Richard Pindella. The man enters the
building. Sharon gets out of the car, intense...
SHARON:
Give me fifteen.
And she hurries after the man.
As Sharon enters, sees the man at the elevators. He gets
into an elevator, and she just misses him. She watches
the elevator indicator. It stops at two. She hurries up
the stairs.
INT. CORRIDOR -DAY
As Sharon bangs into a hallway through the stairway door.
She looks one way, looks the other way down the long
hall, and sees the man just entering a door. She walks
to that door. It is marked "private." She knocks and
walks in.
INT. OFFICE -DAY
She enters a comfortable office, many shelves, books,
couch and chairs, big desk. She hears the man’s voice
from an anteroom. He’s coming toward her.
PINDELLA (O.S.)
Excuse me --that’s a private
entrance...
He sees her now, sees the uniform.
(CONTINUED)
95.
CONTINUED:
PINDELLA:
Oh... is there a problem?
He’s calm, gentle in the eyes. She stares a moment,
trying to keep her emotions undercover.
SHARON:
I’m not sure. Who am I speaking
to?
PINDELLA:
I’m Dr. Pindella.
She takes her time, afraid.
SHARON:
What kind of doctor?
PINDELLA:
What is this?
SHARON:
Do you know a Catch Lambert?
PINDELLA:
Oh. Yes! Is he in trouble?
SHARON:
I... need to talk to you.
He glances at his watch, worried for Catch.
PINDELLA:
Well, I have a patient in five
minutes. But I can...
SHARON:
Are you a...?
PINDELLA:
I’m a psychiatrist.
SHARON:
And Mr. Lambert...
PINDELLA:
My relationship with Mr. Lambert
is confidential.
She’s dying inside --but covering, lying, forcing her
way into this.
(CONTINUED)
96.
CONTINUED:
SHARON:
He’s your patient. He’s your
patient we... know all this. This
is police business. I’m officer
Sharon Pogue --L.A.P.D.
PINDELLA:
Look... I want to help Mr. Lambert
but I can’t tell you anything that
isn’t public record.
SHARON:
In general. In general.He’s
your patient, and he...
PINDELLA:
He’s not my patient. He walked
away from treatment. That was...
nearly a year ago.
SHARON:
Why did he walk away?
PINDELLA:
I can’t discuss that, but if you
know how to reach him, I would
appreciate being able to talk to
him.
SHARON:
(desperate)
You can help by just telling me
what’s in the public record.
It’ll take me half a day to do a
search. Can you tell me? Just...
She is unable to play this out as a "cop," her emotions
coming through. Pindella sees this. She sits on the
edge of a chair and takes a breath, speaks more softly.
SHARON:
Can you please tell me what’sin
the record?
He stares a moment, sympathetic --and realizing...
PINDELLA:
You were with him --in the car.
Your uniform threw me. Are you
his friend?
She looks at him, nods.
(CONTINUED)
97.
CONTINUED:
SHARON:
More.
He takes that in, leans back on the desk.
PINDELLA:
I can tell you he was in an
accident, hospitalized, referred
to me as an outpatient...
SHARON:
What accident?
PINDELLA:
A bus... a city bus hit his
vehicle. That was a couple of
years ago. It was... an awful
thing. His family was in the van.
His wife and child. His wife’s
parents...
SHARON:
A bus... and a van. Where? On...
the freeway?
Something is pulling at her memory. Her vision turns
inward, and she stops breathing for a moment -remembering.
She was there. And here we get a...
FLASHBACK -CARNAGE
A glimpse of the carnage --what she saw, first on the
scene --with Catch lying there. All the while Pindella
is speaking.
PINDELLA (V.O.)
I think so. Yes. Near Santa
Monica. On the freeway. He was
severely injured but... thrown
clear. The others were trapped in
the van.
still in shock, looks at Pindella again.
SHARON:
Survivors?
remember.
Only him? I... don’t
Remember?
PINDELLA:
(CONTINUED)
98.
CONTINUED:
SHARON:
(quietly)
Yes. I was there. I was there.
Pindella stares, then...
PINDELLA:
His wife’s mother survived, but...
she was paralyzed.
She takes a moment, absorbing this.
PINDELLA:
Elanora Chu. She’s still in town,
I believe.
SHARON:
Does he... still see her?
PINDELLA:
He used to. I don’t know.
(pause)
I’m glad to see... he has someone
else who cares about him. I know
he’s running from this. He left
all his friends, his home, his
whole life.
SHARON:
He says... he doesn’t remember the
accident.
PINDELLA:
He lost a lot of memory. I tried
to help him with that. He
resisted. Walked away.
She stares.
SHARON:
Very subdued now, she asks...
SHARON:
How does he live?
PINDELLA:
He received a large settlement
from the city, but he...barely
touches it. He was a professional
musician.
She stares at him and nods.
(CONTINUED)
99.
CONTINUED:
SHARON:
Trumpet.
As he says that, we hear our TRUMPET MUSIC begin --a
fast and furious MUTED TRUMPET, incredible RIFFS, and we
use this to carry us, as we...
DISSOLVE TO:
INT. POLICE HEADQUARTERS -DAY
Sharon is in the report room, using the computer,
hunting. We MOVE AROUND to see her and the screen. She
is searching the police records to find the accident.
The CONTINUING TRUMPET RIFFS are the motor for this. She
suddenly stops as we FOCUS ON the name: "LAMBERT." Then
we watch her as she punches up the data and she reads.
DISSOLVE TO:
INT. SHARON’S APARTMENT -NIGHT
We MOVE THROUGH Sharon’s nearly dark apartment, its
stillness in strange contrast to the manic TRUMPET RIFFS.
We PAN to find her curled in a chair, staring deeply,
sadly, drinking a drink. As we PAN, we DISCOVER she is
looking at that mural of the mountains and through this
to her thoughts, and then she makes a decision and rises
and goes to the phone, punches in a number.
INT. CATCH’S BEDROOM -NIGHT
He is sitting on his bed, back against the headboard,
sitting there fully dressed, shoes and all, knees up -as
he plays his muted trumpet, hard and fast, playing the
incredible riffs we’ve been hearing, playing in a driven
way, keeping his demons away. When the RING of the PHONE
breaks through, he stops suddenly. He waits. His
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