Sister Act Page #25

CHRISTY:

But -- there's so much more to do right

here. And look, if it's about me, I

mean, I'm gone.

MOTHER SUPERIOR:

Indeed. After how long? A few weeks?

I have been here thirty years. And yet,

it would seem, I know nothing.

CHRISTY:

But everything that's happening is good!

You can be a part of it!

MOTHER SUPERIOR:

A part of what? Mary Clarence, it is

one thing to rabble rouse, to sweep into

town and declare a holiday. You have

raised the Sisters' expectations, you

have excited and confused them. They

imagine this neighborhood to be some sort

of delightful ongoing block party.

(MORE)

Page 86.

MOTHER SUPERIOR (CONT'D)

You and I know that life is not so

simple. There will be disappointments.

Rude shocks. And you will have vanished.

How... fortunate.

CHRISTY:

Okay, so I just got things started. But

you could build on that. You could keep

it going.

MOTHER SUPERIOR:

I am sorry, Mary Clarence. I seem to

have misplaced my tambourine. Good day,

Mary Clarence.

CHRISTY:

But...

MOTHER SUPERIOR:

Good day.

Christy, frustrated, leaves the room. Mother Superior

looks up, she is truly torn, a proud woman unsure of her

choices.

EXT. CONVENT - NIGHT

The moon casts shafts of silver light down to the

courtyard of the convent. Most of the lights in the

neighborhood are out at this late hour.

CHRISTY'S VOICE

(whispering)

Come on... I've got a surprise...

INT. CONVENT KITCHEN - NIGHT

The kitchen is dark, lit only by a flickering candle

carried by Christy. Three more candles appear, carried by

Mary Robert, Mary Patrick and Mary Lazarus. The door to

the freezer opens, and light spills out. Christy removes

several pints of ice cream and distributes them to the

nuns.

MARY ROBERT:

(delighted)

Ice cream!

MARY PATRICK:

Mary Clarence -- you shouldn't have.

Where did you get this?

MARY LAZARUS:

It's a sin. It's a wicked indulgence.

Is this butter almond?

Page 87.

Christy and the nuns sit on stools, enjoying their ice

cream by candlelight.

CHRISTY:

It's contraband. Don't ask. But I

wanted to give you a treat. A sort of...

thank-you gift.

MARY ROBERT:

A thank-you? For what? You're the one

we should be thanking.

MARY LAZARUS:

Is there any syrup?

CHRISTY:

Well... see, at my old convent, I wasn't

always... real popular. I was sort of

selfish and... not real helpful. Okay,

I'll say it -- I wasn't much of a nun.

But now, thanks to all of you... maybe

I'm shaping up.

MARY ROBERT:

Mary Clarence, don't be silly. You're

an example to us all. You've taught us

so much. We're singing for the

Cardinals, and then -- who knows? Maybe

the choir can travel -- to schools, and

nursing homes.

MARY PATRICK:

Maybe we can get some of the local kids

to sing with us.

MARY LAZARUS:

We could cut a demo. Look for a label.

CHRISTY:

(knowing she has to

leave)

That's true, wouldn't that be great. Of

course, we never know when things are

going to change. Any one of us could be

transferred to another convent, tomorrow.

MARY ROBERT:

(worried)

Are you leaving us?

CHRISTY:

(sincerely)

Oh no. We'll always be together.

MARY LAZARUS:

That's what Diana Ross said.

Page 88.

Christy and the nuns qiggle, and continue eating their ice

cream, in a spirit of true friendship.

Mother Superior watches this scene, hidden in the shadows

by the door to the kitchen. She has begun to see Christy

in a new light. She looks thoughtful, and walks off.

INT. LAS VEGAS POLICE DEPARTMENT - DAY

Tate sits at his desk in the detective room, reading the

sports section. HENRY PARKER, the accountant for the

police department, looks stressful as he enters the room

and heads for Eddie's glassed-in office. Tate glances up

as Parker passes his desk.

TATE:

You're too late. Mulcahy just left.

PARKER:

I need his signature on some things.

They can't be processed without it.

TATE:

Leave 'em. He'll sign 'em later.

Parker looks annoyed -- he doesn't like deviations from

procedure -- but after a moment of indecision, he sets the

file folder on Tate's desk and walks away.

Tate finishes the newspaper and shoves it aside. Bored,

looks at his watch, then flips the file folder open and

glances at its contents; routine money vouchers for

equipment, supplies, etc. Tate is about to close the

folder and shove it aside when something catches his eye.

TATE:

What the hell is this...?

He examines a money voucher for a generous donation to St.

Katherine's Convent in San Francisco. It only takes a

moment to put two and two together, and Tate scrambles for

his phone and dials a number.

INT. CORRIDOR

Henry Parker waits for the elevator. When it opens, he's

surprised to see Eddie step out.

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