Angel Eyes Page #2

KID:

(to Sharon)

You come in with me. Hey, b*tch.

Some of his bystanders friends howl at that.

KID:

You’re going to arrest me, you

come into the back seat with me.

Come on!

He resists a bit, but they’re getting him into the car.

KID:

Come on. We’ll have a good time.

INT. POLICE CAR -DAY (FEW MINUTES LATER)

Sharon’s on the radio to dispatch as Robby drives and the

Kid keeps mouthing off.

SHARON:

(to radio)

Three Adam Five --show us 1019 to

the jail with one male prisoner.

KID:

Take off your uniform. Take off

my handcuffs, b*tch, and come back

here. I want one touch.

ROBBY:

Give it a rest!

Sharon is stone-faced through this.

(CONTINUED)

6.

CONTINUED:

KID:

If you’re going to put me away,

you gotta give me one sweet touch.

INT. JAIL BOOKING AREA -DAY

As Robby and Sharon bring their suspect to the booking

counter, each holding one of his cuffed arms. The Kid is

looking at Sharon’s hand on his arm.

KID:

That ain’t the touch. That ain’t

the touch I want.

They get him to the counter.

ROBBY:

As I remove your cuffs, I want you

to put your hands here. Spread

your legs. More.

As they remove the cuffs, the Kid makes a sudden move

toward Sharon, reaching between her legs --but she was

not only ready for this, but hoping for it --and the

stoniness of her face cracks into fierce anger as she

moves quickly and grabs the Kid by the hair, bringing his

face into her upraised knee. He cries out and goes down

on his knees, hurting and bleeding. The jailer rushes

over to help, but Robby grabs the Kid’s wrists.

ROBBY:

That’s it. Back off, John, we got

it.

Robby glances at Sharon --a dark glance.

EXT. POLICE JAIL PARKING LOT -DAY (LATER)

as Robby and Sharon walk to their car. They are

interrupted by one of their lieutenants, SANDERMAN,

walking their way and stopping to stare at Sharon. She

meets his look.

SANDERMAN:

You trying to be a bad-ass, Pogue?

She is straightforward, not rebellious.

SHARON:

I just dealt with the situation.

The prisoner...

(CONTINUED)

7.

CONTINUED:

SANDERMAN:

And you don’t see a pattern here?

(pause)

I want you to keep yourself way

inside the line instead of walking

on it. All right? Are you taking

notes?

He walks away, and Sharon and Robby walk on to their

car --she is dark; he is glancing at her.

ROBBY:

You broke his nose.

SHARON:

He grabbed me. End of story.

ROBBY:

And you were waiting for him. You

were hoping. You were making

long-range plans for his ass while

he was mouthing off in the car -and

you’re supposed to be above

that sh*t.

SHARON:

If you think I crossed the line,

put it in the report.

ROBBY:

Pogo, stop the sh*t. What is it?

You pissed off at me, too?

They enter the car, Sharon behind the wheel.

SHARON:

Not you, Rob. You’re a rare

unthreatened male cop with a good

marriage, and you like to eat

where I eat --so everything’s

code four.

She STARTS the CAR and starts to back out, and he reaches

over and turns OFF the IGNITION. She stares hotly at

him --but then, slowly, she softens, takes a deep

breath.

ROBBY:

Come over for dinner tonight.

I’ll call Charlene. She’d like to

see you. It’s been awhile. We’ll

talk about it.

(CONTINUED)

8.

CONTINUED:

She STARTS the CAR again, more calm, starts to drive out

of the lot.

SHARON:

Thanks. But she’ll invite

friends, try and fix me up. She’s

always trying to fix me up so she

doesn’t have to worry about you

and me.

ROBBY:

She doesn’t worry about that.

SHARON:

They all worry about that.

They both smile wryly, driving on.

SHARON:

You don’t need to fix me, Robby,

or fix me up. I don’t want some

guy to heart and soul me and then

walk away ’cause he can’t stand

the cop thing --or worse:he

wants cop stories every night

’cause it turns him on, and he has

no idea who I am inside my head.

Anyway, I’m busy tonight.

ROBBY:

Got some action, huh? Well,

that’s promising.

SHARON:

Yeah. Hot and heavy.

IMMEDIATE CUT TO:

INT. SHARON’S APARTMENT -NIGHT

She is on the floor using an exercise rig, sliding into

crunches, pushing herself, sweating, alone. We BEGIN

DRIFTING TO the rain-spattered window as night sounds

filter in, HORNS, SOMEONE SHOUTING, a CAR MOVING BY with

THUNDEROUS BASS MUSIC that pulses the very air and

RATTLES the LOOSE GLASS of her window.

EXT. NEIGHBORHOOD STREETS -NIGHT

Catch Lambert is walking the wet streets, head down in

the rain. Far away we hear that car with a BASS-BLASTING

RADIO.

(CONTINUED)

9.

CONTINUED:

In the glow of a street lamp, Catch sees a bright-colored

object in the gutter. He picks it up out of the gurgling

rain water. It is a small toy, a discarded superhero.

He puts it in his pocket, walks on.

Now the car, the prowling, MUSIC-BLASTING, BASSTHUNDERING

CAR turns a corner and begins rollling along

slowly --beside Catch. He glances over, walking on.

There are four tough-looking MEN in the car, looking for

trouble. The MUSIC is DEAFENING. Catch glances again,

walks on. Their eyes follow him like gun barrels. He

stops and walks out on the street, moving toward the car,

shouting over the music.

CATCH:

Hey! You want to turn that volume

down? What’s your point?

The men, incredulous, stop the car and snap OFF the MUSIC

in order to make sure they’re hearing right. They stare

death at Catch.

DRIVER (MAN)

What did you say?

CATCH:

What’s the point of blasting your

music through the whole zip code?

Don’t you realize there are kids

trying to sleep in these

apartments --old people, sick

people?

They can hardly believe this.

DRIVER:

You better watch your mouth,

a**hole.

Catch meets the man’s look with his own unflinching,

haunted eyes.

CATCH:

Why? What’re you gonna do? Kill

me?

Catch’s look is not a macho challenge. It’s something

else --beyond that, a man somehow without limits. One

of the riders in the backseat taps the Driver’s shoulder.

MAN #2

Guy’s nuts. Let’s go.

The Driver, never breaking his death stare, snaps on the

DEAFENING MUSIC and then slowly rolls on, still glaring

at Catch. Catch stands in the rain, watching them go.

10.

INT. CATCH’S APARTMENT CORRIDOR -SAME NIGHT

Catch is arriving home, soaking wet. He lives in a

slightly-seedy three-story. As he walks down the

corridor toward his apaprtment, he passes a neighbor’s

door and notices a set of keys dangling from the lock.

He pauses --and then knocks softly on the door.

Someone looks through the peephole and then opens the

door --a young single mother, friendly but with a little

caution, too. She recognizes Catch. Behind her is a

little boy, (five). The woman’s name is CANDACE. Her

son is TOMMY.

CANDACE:

Hi.

CATCH:

Hi. Your keys are in the...

He gestures, and she sees the keys and retrieves them,

more friendly now.

CANDACE:

Oh, thank you. Thanks a lot.

God. I was trying to carry Tommy

and all these bags. He was so

tired. Of course, as soon as I

put him down he had all this

energy...

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