SOMEONE TO WATCH OVER ME
Revisions by Danilo Bach
December 4, 1986
INT. MIKE'S HOUSE - QUEENS - EARLY EVENING
Winter. A celebration. Close friends, cop friends,
family all here to celebrate patrolman MIKE KEEGAN'S
promotion to detective, NYPD.
The party spills through the house -- front room, dining
room, kitchen, with a small fenced backyard visible beyond
that. A community of cops on their off-hours, their
wives, kids. A mix of generations, all the way from
MIKE'S kid, TOMMY, and his FRIENDS, playing among the
adults, to an elderly woman observing quietly from her
chair at the side. The mood's warm, spirited; there's a
lot of friendship here.
ANGLE: MIKE, in the dining room, posing for a photo with
his ten-year-old son, TOMMY, proudly displaying his new
gold detective's SHIELD pinned to his jersey.
(calling to his
wife, for a family
Ellie! C'mon! Over here!
ANGLE: ELLIE, MIKE'S wife of fifteen years, a local
product, bright and lively, and clearly proud as hell of
her man. She frees herself from the crush of friends,
hurrying to join him.
ANGLE: MIKE, ELLIE giving him a full-mouthed smack on the
lips as he hooks her into his arms.
The picture's snapped, to a chorus of hoots and hollers.
Behind, a banner and poster blowup of Mike in gun and
uniform read: "FINALLY THEY'VE RECOGNIZED YOU, DETECTIVE
SCOTTY, a patrolman with the 117th and one of MIKE'S best
pals, puts his hand vigorously, in congratulations, on
No joke? You're being transferred
to the 19th as your first
assignment? Who the hell loves your
What's the 21st?
BROOKLYN, a cop about Mike's age, joins in.
What d'you care? You'll never know.
Manhattan. The Upper East Side,
East 59th to 96th.
The ROOKIE stares, impressed.
(to the others)
Remember Curran from the Sixteenth?
He posted a coupla months there on a
floater outside the French embassy.
He met Jackie Kennedy.
Curran, that fuckin' noodlehead. He
probably wrote her up for letting
her dog dump on Rockefeller's
ANGLE ON MIKE, trying to swallow a mouthful of potato
salad as a plump and pretty middle-aged woman (HELEN
GREENING) pulls him into a bear hug, planting a kiss on
Mmmmmm-glimmmeee-kisss! I'm so
proud of you! What the hell took
you so long?
Hey, don't ask me. Ask the man who
put in the good word.
ANGLE ON T.J. GREENING, Helen's husband, Mike's best
friend. He's forty, stocky, looks up, horsing around with
some of the kids in the next room.
If T.J. didn't push for me, I never
would've made it.
Bet your ass... I give you six weeks
before you're back on the beat,
Keegan, they got no room for hero
Appreciate, that vote of confidence,
Hey, am I supportive, or what?
ANGLE ON TOMMY: in the hallway, trying to show SCOTTY'S
date -- a "real" BIMBO, who's spilling out of her woolly
sweater and tight jeans -- how to stand on his SKATEBOARD.
She shrieks a laugh, toppling off. HELEN, passing by with
an empty platter, catches the action.
INT. KITCHEN - SAME
ELLIE, another WIFE at the sink, wives all; HELEN enters.
He left Elaine for that?
And what about little Scotty?
ELLIE continues washing the dishes as HELEN and the WIFE
dry. MIKE enters to get more beers.
I'd like to tie her tits together.
That wouldn't be too difficult.
I bet you think she doesn't have a
brain in her head. I bet you think
the only thing he sees in her is one
incredible, dynamite body...
He GRINS at their blank stares... ELLIE'S EYES wryly
following... as he moves on out with his beers.
I love your husband, Ellie, but he's
a real dork.
Yeah, but he's my dork.
INT. MIKE'S LIVING ROOM - NIGHT
Night has descended, PEOPLE talking and laughing quietly,
MELLOW music is playing -- CAMERA FINDING MIKE AND ELLIE,
dancing close, moving sensually. It's impressive. HELEN
convinces T.J. to DANCE. SCOTTY and BIMBO join in too.
T.J., whipped, extricates himself and Helen; tousling
Mike's hair in affection.
We're goin'. Get some sleep,
Detective Keegan. You got a new job
INT. HALLWAY - NIGHT
MIKE is holding TOMMY asleep on his shoulder.
ELLIE appears, completing the family portrait.
Think I should put the skateboard in
bed with him?
MIKE smiles and climbs the stairs.
INT. MIKE'S BEDROOM - NIGHT
ELLIE in the bathroom, the door open, she brushes her
MIKE in bed, thoughtful, a happy man.
Ellie, you know I think it's about
time we got outa this place, get us
a house of our own. We can afford
Amen to that. The supermarket's
full of assholes.
Take my advice, don't buy any...
MIKE waits for a response. None comes.
(aware of her change
My ass if falling.
My ass is falling. It is.
What are you talking about?
(appears in the door;
I just saw it in the mirror, it
doesn't look like my ass anymore.
Get in bed.
What am I gonna do? I jog, I do the
exercises on TV in the morning...
You got a great ass! I love your
ass -- now get that falling ass into
bed before it hits the floor.
She does -- the lights snap put. They giggle, she MOVING
into his arms.
Tomorrow, I start looking for our
house... You love me?
You got no idea...
Imagine... I'm sleepin' with a DT.
Another muted laugh -- and they move into an EMBRACE,
CAMERA PANNING WITH THEM, and then STILL FARTHER INTO THE
THE DARKNESS HOLDS.
EXT. EAST RIVER - (AERIAL) - NIGHT
... Becoming a darkness pricked with light, as WE FLOAT
over the reflective river, MOVING WEST TOWARD AND OVER THE
EXT. MANHATTAN - (AERIAL CONTINUED) - NIGHT
The fabled city, the ultimate object of man's desire and
fulfillment, Oz, the city unfolding itself before and
beneath us, till DAZZLING SHAFTS OF LIGHT sizzling up --
KLEIG LIGHTS -- stab our eyes and bring us down into their
EXT. CLUB - MIDTOWN - NIGHT
A nondescript piece of rundown city block that's the
hottest thing in town. PERSONNEL regulate the CROWD and
ARRIVALS. There is a public line, and from it the young,
hip and outrageous can look on while awaiting entrance at
the formally dressed, stylishly gowned GUESTS arriving at
the private line.
A glittering post-Metropolitan Museum of Art opening gala
is in progress tonight. The club's private entrance looks
like what it once was, a shuttered porno bookstore, and
the joke's not lost on most of the formal GUESTS, arriving
through the X-rated doorway.
INT. CLUB - NIGHT
The latest achievement of money, rock and art. It's a
breathtaking multi-leveled theater of light, sound and
There is also an entrance-by-invitation-only grand salon.
The GUESTS arriving here for the Met gala enter almost in
enchanted procession, each of them being personally
greeted by the primary owner and manager of the club, WIN
HOCKINGS, a charming, rakish ex-preppy. WIN stands in the
middle of the floor in the throw of a spot, greeting.
This is his element and his club, a son of old money, and
a crossover creature to the fast life.
Hi... nice to see you... thank
you... my pleasure...
A MET BENEFACTRESS
Thank you so much for agreeing to
host us tonight. It's really
Glad I could be of help.
CAMERA MOVING IN ON A NEW ANGLE, CLAIRE GREGORY and NEIL
STEINHART. The way our CAMERA covers them makes it clear
they are major characters in our story. NEIL steps
forward to introduce himself, but WIN, looking up, spots
CLAIRE first: A special beauty and clearly someone very
special to him...
And he embraces her.
You know Neil Steinhart?
He grins broadly, taking NEIL'S hand; then right back to
Of the filthy rich Steinharts? Why
is it Claire always connects with
the richest men this side of Saudi?
(to Win; meaning the
This gives new meaning to the word
WIN acknowledges the obligatory compliment with a closed
smile, impatiently returning to CLAIRE:
C'mon, let's get outa this lowbrow
You don't mind, do you?
NEIL stares, polite, as WIN whisks her away; turning, as
he is addressed by someone else coming his way.
EXT. THE CLUB - NIGHT
as a BLACK PORSCHE PULLS UP, its dark-tinted window
rolling down TO REVEAL JOEY VENZA. The MANAGER of the
club comes over to him, with a clipboard list of only the
I'm sorry, Mr. Venza...
VENZA jams the ACCELERATOR to the FLOOR, the CAR burning
rubber like a DRAGSTER as PEOPLE SQUEAL and JUMP OUT of
the way; the CAR fish-tailing away, screeching AROUND the
INT. CLUB - NIGHT
WIN and CLAIRE. The music, noise, other conversations can
still be heard as they walk through the club.
He smiles, mid-conversation; there's a real affection
Skiddy and Kit? I haven't seen them
since that shitty pasta dinner on
They've got two monsters now. Both
And so what's with Steinhart? Is it
You didn't like him?
Looks a little constipated to me.
It's called "solid"... Nice to find
someone you can count on, Win.
INT. BASEMENT - REAR - ENTRANCE - NIGHT
VENZA entering, a rush, NOISE and ACTIVITY from the alley
outside; the throbbing new MUSIC overhead.
Immaculate as always, in a conservatively-cut European
pinstripe, VENZA strides tautly into the shabby corridors.
INT. MEZZANINE - MAIN BAR - NIGHT
WIN shows CLAIRE the main dance floor below, sound-filled
and crowded, private and paying GUESTS mixing,
indistinguishable now. He raises his voice to be heard.
The main floor stays public. The
side rooms we try to keep available
for special functions like tonight.
He turns and takes her arm.
It's terrific Win.
You still writing the occasional
Then c'mon. Follow me. The art's in
the basement, you're going to get a
He leads her to the freight elevator.
A sociable FOURSOME descends on them. It looks like it's
going to be a long conversation.
(to Claire, quietly)
Just press the button all the way
down when you're ready, okay?
He turns as she's engulfed, heading towards the elevator,
runs into NEIL, CLAIRE'S escort. NEIL doesn't see her.
Where's she go?
Probably found somebody nicer...
Kidding. You're great.
He smiles, entering the elevator and disappearing from
view. NEIL looking around, with thinly-veiled impatience,
at the benefit-types streaming into the room.
INT. BASEMENT TUNNELS - NIGHT
VENZA navigates the labyrinth that connects to the
INT. BASEMENT - NIGHT
The elevator reaches bottom. WIN exits into an area of
tall rows of stacked boxes still awaiting unloading.
Beyond, a bright, high-ceilinged linen whiteness gleams.
It's a soon-to-be restaurant-gallery area.
THE RESTAURANT GALLERY
The walls have already been painted white. Tables have
been positioned. Chairs are stacked, waiting. So are
mounds of folded laundry and tablecloths, boxes of
accessories, glass and dish and kitchenware, etc.
Except for FRED, the elderly stock boy, the bright silence
FRED scores open the sealed cardboard cartons with a
curved case cutter. Several tablefuls of unloaded
servers, kitchen utensils, etc., bear witness to the size
of his job.
You're in overtime, Freddy.
FRED nods, putting down his case cutter, using a side
WIN, left alone, turns to look up proudly at his
powerhouse modern art collection lining the wall.
INT. MEZZANINE - NEAR ELEVATOR - NIGHT
CLAIRE extricating herself; to the foursome.
I will... I promise...
She smiles graciously and steps into the freight elevator,
pushing the down button. The doors close.
INT. BASEMENT TUNNELS - NIGHT
VENZA approaches an intersection. Ahead, FRED crosses on
his way to the offices. The elderly STOCK BOY doesn't see
VENZA, but VENZA sees him, realizing where else to look
INT. FREIGHT ELEVATOR - NIGHT
CLAIRE closes her eyes, leaning back against the metal
walls, taking advantage of the refuge for the moment.
Music and crowd noise still vibrate. The elevator,
shuddering, continues its descent.
INT. RESTAURANT - NIGHT
WIN turns in the silence, looking out over the bright
space edged by darkness, every reason to be pleased.
WIN doesn't even hear VENZA enter.
You need money, you come to me.
Who the fuck do you think you are,
raising cash without coming to me?
Your ex-partner... I'm buying you
out, Joey. Read the contract.
There's ample provision.
Fuck the contract!
INT. ELEVATOR - BASEMENT - NIGHT
The elevator arrives. The doors open. CLAIRE steps out
into the shadowed area of stacked rows.
INT. RESTAURANT - WIN AND VENZA
Two years ago you were begging me
for the money. Nobody would've
You're making an eighty percent
return. Which is what you wanted.
WIN turn away from VENZA. VENZA grabs his arm violently.
Don't turn away when I'm talking to
Grease and water still don't mix,
slashes one of the canvases (A Rosenquist) with the case
cutter... Then another...
ANGLE - WIN
Jesus Christ... are you crazy?
Venza slashes another.
turns, slashing WIN.
gasps. Blood begins to seep from his wound.
ANGLE - CLAIRE
hearing, emerges into the light, smiling, thinking WIN'S
saying something she's supposed to respond to.
slashing WIN again, losing all control.
CLAIRE ROUNDS THE CORNER
Seeing WIN, she stops.
VENZA continues to attack him, stabbing WIN to the floor.
screams, unable to imagine or believe it.
looks up, hearing her.
WIN sprawls, a lifeless, bloodied mass at VENZA'S feet.
VENZA stares, returning CLAIRE'S stare, trying to
concentrate, to focus and pull himself back together. He
puts down the cutter, taking a step toward her.
steps back, turning and moving back toward the elevator,
quickens his step, after her.
ANGLE ON THE ELEVATOR
as she REACHES IT and HURTLES inward, HITTING all the
BUTTONS, the doors beginning to RUMBLE CLOSED. But VENZA
is there, THRUSTING HIS HAND INSIDE to stop them. The
doors CLOSE on his fingers. He cries out, pulling his
fingers free. He slams his fist against the doors as they
close shut, POUNDS the button again.
ANGLE INSIDE - CLAIRE
But CLAIRE grabs the POWER SWITCH, pulling it -- the
elevator goes dead, the overhead lights go out -- and
somewhere, in the shaft above, an ALARM BELL begins to
Relentlessly, VENZA pounds on the other side of the door.
CLOSE ON CLAIRE
giving way in the darkened cubicle.
ANOTHER ANGLE - CLAIRE
sagging against the elevator wall, weeping, hearing
VENZA'S FRANTIC BREATHING on the other side subside, and
finally move away in the darkness.
INT. MIKE'S BEDROOM - NIGHT
The PHONE RINGING -- a hand fumbling on the telephone in
the darkness. WE HEAR MIKE'S VOICE as he turns on the
T.J...? Is this a joke? Are you
liking what he
Give me 20 minutes.
MIKE hanging up the phone, turns to ELLIE.
(mumbling from under
Switch the light off on your way
INT. UNMARKED CAR - NIGHT
MIKE and T.J. disheveled and tired, drinking out of
styrofoam coffee cups, arriving at the club.
Hey Mike, out of the bag into the
bureau, huh... How do you like it so
(giving a half smile)
Right behind you, T.J.
INT. THE CLUB - NIGHT
A rare tableau; swirling disco lights reflecting off
strategically placed mirrors, illuminating a room filled
with POLICEMEN (in uniforms and polyester suits), trying
to ride herd on the BEAUTIFUL PEOPLE, in contrasting
The man in charge and coping is LIEUTENANT GARBER; in
plainclothes, fiftyish, rough-hewn.
Did you ever hear the chatter.
They're worse than fuckin' four-
year-olds... Miller, let's clear
this path here, all right?
T.J. and MIKE arrive.
(to them, on the
Blood bath downstairs. The owner of
this place is dead. And I got a
witness, and a suspect... Joey
T.J. reacts to the name.
Nice question. I like questions
A massive "GASP" goes up from the CROWD as a cumbersome
BODYBAG is brought up a stairwell from downstairs. GARBER
temporarily moves away to oversee.
Who's Joey Venza?
Bad fuckin' news. Even the families
dropped him when they found they had
a fruitcake on their hands. But he
knows where a lot of bodies are
buried. It'd cap it for Garber if
he could bring him in.
(returning, re: the
Okay, let's find out what we know.
Herd'm up and check'm out. Anybody
know more than gossip about the
deceased or Venza, I wanna talk to
them myself. Go.
T.J. moves into action with typical "T.J. style"
Okay, will all the beautiful people
shut the fuck up, before it starts
gettin' real ugly here!
The uniformed COPS take their cue, moving in for quiet.
(to Mike, the "new
Keegan, go baby-sit the witness.
Just sit and look impressive. Make
her feel protected. And if you can
get her boyfriend outa my hair, I'll
promote you to fuckin' Joint
EXT. WIN HOCKINGS' OFFICE - CLUB - NIGHT
A uniformed COP guarding the door as MIKE approaches,
flashing his shield.
Quit playing with yourself, Keegan.
I know who you are.
A Detective's supposed to identify
INT. WIN HOCKINGS' OFFICE - NIGHT
The room is dim, lit only by a desk lamp, CLAIRE seated on
a couch, catatonic, NEIL kneading her hand, trying to
comfort her. A KNOCK at the DOOR: NEIL JUMPS UP to open
it -- MIKE ENTERING before he gets there.
Are you in charge here?
I asked for the man in charge...
That would be Lieutenant Garber, and
he's very busy upstairs...
Don't tell me he's "busy". I asked
for an ambulance for this woman
Is she injured?
MIKE gets his first view of her as she TURNS her head into
the light. It is an almost storybook vision of beauty
that emerges from the darkness around her; her
vulnerability penetrates to the very core.
You're not going to talk to anyone
without a lawyer.
She's not a suspect, sir, she's a
witness. Could I ask you to step
No, I will not step outside.
Sir, I am just trying to do my job,
it's standard procedure to question
the witness alone. Help me out
here, could you please leave.
I don't really see what that has to
(deadened; to Neil)
Neil, do what he says.
ANGLE ON MIKE AND NEIL: at a standoff.
MIKE OPENS THE DOOR for NEIL. NEIL reluctantly swallows
I'll be right outside.
NEIL grudgingly leaves. MIKE quietly closes the door.
ANGLE CHANGE: CLAIRE and MIKE alone. He sits down. A
Can I get you a cup of coffee or
Her plaintive eyes turning to meet his.
I've never seen anyone killed
It's okay... I've never been a
detective before either...
She lifts her gaze quizzically, catching his smile. She
returns it in spite of herself, disarmed by his frankness,
and curiously reassured.
We'll go slow. Okay? We'll get
through it together.
INT. DOWNTOWN HEADQUARTERS - DAY
PHONES RINGING, TYPEWRITERS TYPING, BODIES moving at
cross-current -- CAMERA FINDING LIEUTENANT GARBER,
hustling through the bullpen, MIKE FOLLOWING, toward his
I don't know how you did it, but
whatever it was, keep doing it.
I just sat and listened.
Safe and secure is how we want her.
Until she I.D.'s Venza.
T.J. has joined them.
Venza's either going to skip or try
to get to her and Venza likes it
here. I want her ass covered, 24
hour protection, but I don't want
her to know there is any real
I don't like what I'm hearing...
I don't understand. If there's any
danger, why not just level with
GARBER turns back to MIKE
(with mock tolerance)
T.J. your friend's a little dense.
When she realizes there's a killer
tryin' to shut her up, she'll be on
the next plane for Tahiti... somehow
I think my way is better.
He MOVES ON, leaving them not very happy.
GARBER turns back.
Why not Patrol? They'd do just as
good a job.
When I want your advise, Keegan,
I'll make an appointment.
GARBER MOVES ON OUT. MIKE and T.J. left alone.
Shit! A Nursemaid! My first
detail, and I'm a fuckin' slug!
(turning to T.J.)
I got a 'choice' at all.
Do it, or look for another
profession. That's a choice I
You in this with me?
Yeah! Seniority gets the day shift.
EXT. BACK OF MIKE'S HOUSE - DAY
ELLIE IS SEEN unloading groceries from the rear of a small
INT. MIKE'S HOUSE - DAY
MIKE is in the kitchen; he's making eggs in agitation,
throwing in everything he can find (tuna fish, chopped
pickles, mustard), his kid, TOMMY, in evidence in the
b.g., on a SKATEBOARD, whizzing through the kitchen, even
RIDING IT down the STAIRS.
MIKE MOVES TO A CABINET -- and his FEET GO OUT FROM UNDER
HIM. He's slipped on a SKATEBOARD -- barely catching
himself in time.
Tommy! Goddamnit! Get these
skateboards off the goddamn kitchen
TOMMY whizzes through, expertly picking it up "on the
move," MIKE taking a futile swipe at him.
What're we having?
My special, scrambled eggs surprise.
Scrambled eggs surprise?
TOMMY goes whizzing on out again. ELLIE comes in loaded
up with the groceries. Puts them down, giving MIKE a
So how'd it go?
Not great. I've got a babysitting
job for a material witness on a
It explains his mood. ELLIE starts putting away the
For how long?
'Til they pick up the perp.
Seniority gets day shift... You know
what that means.
CLOSE ON ELLIE: she sits, realizing, upset, but taking it
in stride, now putting plates on the table.
Well, I'll live with it, I've lived
with it all my life. My Dad was a
cop, he said, "whatever you do,
honey, never go out with a cop".
So, what did I do? I got a job with
the cops. Then I married a cop. I
probably gave birth to a cop.
Tommy! Come over here and eat, it's
Maybe you and Tommy should stay with
ELLIE makes an expression of dislike.
Don't start... The only reason is
that the neighborhood's shi...
Tommy is listening)
... crummy. I just don't like the
idea of leaving you alone here at
I can still use a gun.
Just keep it someplace safe, but
TOMMY joins then at the table.
Keep what handy?
The gun? It's in the upstairs
How do you know where the gun is?
I know where everything is.
Except the goddamn skateboards,
which are everywhere! I'd like to
kill the guy who invented those
Lay back, Mack.
Lay back, Mack!! What's this "lay
Where does he get this?
Silence; they eat... ELLIE'S eyes finding MIKE'S.
Keep the weekends for us, huh? Get
a replacement for Saturday nights.
That'll give us the weekends
TOMMY'S face screws up, tasting the lump of food in his
God! Scrambled eggs surprise?!
These are pickles...! God!
Just "lay back, Mack"... lay back...
EXT. MANHATTAN - FIFTH AVENUE - EARLY EVENING
Mike emerges from the subway alongside the park.
EXT. FIFTH AVENUE APARTMENT BUILDINGS - EARLY EVENING
Out front, the DOORMAN opens the door for the building's
children returning from music lessons.
Across the street in Central Park, handsome, elderly
tenants stroll in the company of their nurse: a nanny
pushes a pram, taking advantage of the last light. This
is one of New York's most exclusive co-ops. Distilled
civilization and quiet wealth. A world away from Queens
or anything else. MIKE arrives on foot.
INT./ EXT. LOBBY - EVENING
A notice behind the locked front door informs: "ALL
VISITORS MUST BE ANNOUNCED". MIKE displays his shield to
the DOORMAN through the glass. The DOORMAN opens, taking
the time to inspect his credentials before returning them,
then STEPS ASIDE, allowing ENTRY.
INT. ELEVATOR - SAME
MIKE rides up in silence, examining the ornate walls.
INT. VESTIBULE - CLAIRE'S APARTMENT - SAME
The elevator delivers him. MIKE finds himself in a wall-
papered trompe l'oeil foyer. Nothing to get his bearings.
The front door clicks open, startling him. MARY, the
cleaning lady, an older, capable woman in functional
civilian clothes, greets him matter-of-factly, taking him
INT. CLAIRE'S LIVING ROOM - SAME
Marble-floored and high-ceilinged, absolutely palatial;
MIKE'S EYES registering amazement as he's led inward.
Floor-to-ceiling windows overlooking Central Park, where
the VOICES are REVEALED belonging to GARBER, T.J., CLAIRE,
and CLAIRE'S boyfriend, NEIL -- who's trying his best to
be "in charge".
You remember Detective Keegan?
The doorbell RINGS AGAIN: MARY goes to answer it as MIKE
mumbles his greetings to all -- noticing that CLAIRE,
reclining on a couch, seems extremely put out -- or is it
I want to make sure that everyone
respects the privacy of Miss
Gregory's household. You're limited
to the outer vestibule, so you can
watch the elevator, the kitchen, so
you can get something to eat, and
(under his breath to
So you can take a shit.
The THIRD DETECTIVE enters, being led by MARY. It's
KOONTZ, a package of razz and sarcasm, somebody you
definitely don't take home to mother.
(reacting; to T.J.)
Be happy. He's good at this.
We'd like to, just once, get a look
at the entire layout, so we can
This really isn't necessary. The
security in this building is about
the best in the city.
(ever the diplomat)
I'm sure you're right, Miss Gregory,
but I'd consider it a favor if you'd
let us look around.
Be my guest.
(to his troops)
ANGLE - HALLWAY
as GARBER withdraws; MIKE, T.J., KOONTZ to start their
What about when she goes out?
Discourage it. But stay with her if
you can't. Call it in first so we
can have a car on tail. She's
agreed to travel only with her own
driver and limousine... okay, let's
check it out.
They split up.
ANGLE - MIKE
following orders, continues down the hall. He moves to a
door that he ATTEMPTS TO OPEN -- discovering it's not
real. It's a TROMPE L'OEIL. He turns around to find he's
not alone in the long hall. NEIL stands just outside the
living room, watching him.
(re: the "door")
ANGLE - NEIL
turns, returning to CLAIRE in the LIVING ROOM.
Why an I reminded of the Three
INT. CLAIRE'S LIBRARY - MOMENTS LATER
KOONTZ checking the windows and terrace.
INT. KITCHEN - SAME
MIKE, MARY the MAID in there with him.
You a vegetarian? Miss Gregory's a
vegetarian, so I'm gonna put food
for you people in a separate fridge.
You know how to use a microwave?
(before he can
Just about everything you'd want
will heat up by turning this to
INT. CLAIRE'S BEDROOM - SAME
Utterly sumptuous; T.J. uttering a low "whistle" of awe.
INT. CLAIRE'S POWDER ROOM
There's an enormous circular bathtub and a Jacuzzi,
endless mirrors, a writing desk, carpeted, a place one
could spend one's life in -- MIKE SEEN, in the MIRRORS,
wandering through -- idly pushing a mirrored door open, to
gaze, in awe, at the walk-in closet.
(under his breath)
ANGLE: He see T.J., or what he thinks is T.J., reflected
among the other reflections at the other end of the room.
Sees T.J. sit on edge of bed. MIKE is standing in center
of the MIRRORS, slightly disoriented. And T.J. sees him,
similarly astounded, MOVING OUT OF SHOT.
CLOSE ON MIKE: Moving inward, he gawks at the racks of
clothes, gently brushing his hand through the lush
fabrics. CLAIRE'S VOICE -- ANGRY, ALMOST TREMBLING, A
FIRM EFFORT OF WILL -- rustles the silence behind him.
ANGLE ON CLAIRE
This is my dressing room, and these
are my clothes.
I understand your responsibilities...
but I'd appreciate you staying out
of here at all times.
MIKE: chastened, nods.
Sorry. Just checking.
He starts away. MOMENTARILY baffled by the MANY-ANGLED
REFLECTIONS OF HIMSELF in the MIRRORS.
Hard to find doors in this place.
MIKE: embarrassed, apologetic.
... Detective Keegan, I hope you
understand how upsetting this is?
INT. CLAIRE'S OUTER VESTIBULE - NIGHT
All silent; MIKE on "watch". Just him and a wooden desk
chair, the grade-school variety. No books, no crossword
puzzles; he came unprepared. He checks his watch and
looks to an ornate wall clock. And he's bored. He picks
up an empty coffee cup, looking for a last drop. Settles
for sniffing it. Replaces it on the floor beside him.
Then he looks to the closed doors of the apartment and
makes a decision. Picking up the coffee cup, he quietly
pushes the DOORS OPEN, and ENTERS.
INT. LIVING ROOM - NIGHT
As MIKE pads quietly across the marble floors in the
quiet; pausing to gaze, in awe, at the vast, empty LIVING
ROOM. It is gigantic, his eyes roaming the ceilings, as
though to estimate their height.
Moving inward, his eyes fall on a BOOK RACK, and he
crosses to it, perusing the shelves for possible reading
They're all ART BOOKS, the big, thick kind. A Renoir,
because of a NUDE FIGURE on the cover, catches his eye.
But as he pulls it out and begins to leaf through -- he
HEARS VOICES. CLAIRE'S and NEIL'S; her tone is agitated.
... just saying you should think
twice about it...
... I don't want to talk about it...
CLOSE ON MIKE: book under his arm, quietly moving toward
the SOURCE: the DEN. It's door is slightly ajar; there
is a suitcase in front of it, ready for travel.
INT. DEN - NIGHT
... You know, and I know, that the
only thing standing between a life
sentence for Venza and his freedom
is my testimony at his trial...
... He killed Win... he enjoyed
Win made his choices, Claire. We
all do --
And I'm making mine.
She looks at him; a beat, emotionally. He remains steady.
You're dealing with a psychopath.
He gets out of jail in ten years, or
five... or ninety days, and you'll
be looking over your shoulder for
the rest of your life...
What am I supposed to do?! I saw
one of my oldest friends get killed!
And I saw who did it!
I can't just -- "let it go away"!!
ANGLE - DEN. NEIL takes her in his arms, holding her
tightly, affectionately, protectively. Holding her from
behind, NEIL KISSES CLAIRE gently on her neck. She calms
in his arms.
RETURN: MIKE DODGES back quickly, through the living and
dining rooms until he's in the kitchen.
INT. KITCHEN - NIGHT
Spotting the microwave, MIKE QUICKLY TOSSES in an English
muffin -- peering at the dials, as he switches it on.
But he hasn't escaped being a trespasser to what's going
on in the far room. He can still HEAR THEM, though HE
WHISTLES, trying not to.
The English muffin BURSTS INTO FLAMES, MIKE desperately
pulling it out, tossing it into the sink, feverishly
fanning the air.
ANOTHER ANGLE ON MIKE: becoming aware that HE'S NOT
ALONE. He TURNS SUDDENLY to see MARY, the housekeeper,
not ten feet from him, in the laundry room, coat on,
fluffing her collar, ready to go home.
I like 'em toasty.
ANGLE ON MARY: staring at him, amused.
Good night, Mr. Keegan.
She moves through the kitchen and EXITS.
INT. VESTIBULE - LATER - NIGHT
NEIL, with his briefcase, finally leaving. He crosses
from the hallway.
The TWO EYE EACH OTHER: MIKE attempting a cordial smile.
You're here 'til what time?
I'm relieved at 4:00 A.M.
NEIL noticing the Renoir.
When you're through with it, put it
back, please, exactly where you
found it, and don't use the library
again. I have to leave town for a
few days. Let's do everything we
can to make this less of a trial for
her, shall we?
MIKE NODS. But when NEIL leaves, he makes a mock
"military salute"; a click of the heels.
INT. CLAIRE'S VESTIBULE - LATER
2:45 A.M. (the clock ON THE WALL); pindrop silence; MIKE
CLOSE ON MIKE: thoughtful, leafing through the Renoir.
Like a man making the most of solitary confinement --
becoming aware of a NOISE. Though hard to make out in
this windowless capsule, it is DISTANT THUNDER. It stirs
life in him and his eyes wander reflexively upward,
studying the ceiling -- then the doors of the apartment,
left slightly ajar.
ANGLE INSIDE THE APARTMENT: CAMERA FOLLOWING MIKE as he
wanders inward, becoming aware of light coming from a
drawing room. HE MOVES TOWARD, STOPPING.
ANGLE FROM HIS POV: CLAIRE, dimly illuminated by the
light of a desk lamp that throws a gentle glow around her
-- seated, still as statuary, gazing out into the rain.
CLOSE ON MIKE: watching her.
INT. SUBWAY - ON THE MOVE - LATER
The uncivilized hour indicated by the TOTALLY EMPTY
SUBWAY, MIKE a lone figure, somewhat numbed, his eyes set
into distant space -- as the SUBWAY reaches its
DESTINATION, the blurry platform signs decelerating until
we can make out the word "QUEENS".
EXT. MIKE'S HOUSE - QUEENS
The neighborhood still asleep in the predawn hour; MIKE
picks up the newspaper... glancing at it, he opens it,
sees an article and photograph of CLAIRE on the second
page. He heads inwards...
INT. MIKE'S BEDROOM - DAY
Afternoon sunlight SPILLING IN as MIKE AWAKENS to the
SOUND of a CAR MOTOR, faltering, then "chug-chugging" to
another start, gasping, then revving. Someone's working
on MIKE'S car. He looks at his alarm clock; it's 4:00 in
EXT. MIKE'S BACKYARD - DAY
ELLIE and TOMMY visible only as fragments as they work on
MIKE'S car. ELLIE IS SEEN as a rear-end in blue jeans,
the rest of her inside the hood; she calls to TOMMY to
"try it again". It looks like no one's behind the wheel;
but the very top of his head CAN BE SEEN as he strains to
reach the accelerator.
ANGLE ON MIKE: appearing at the door, in a freshly
pressed suit, a steaming cup of coffee in hand. He walks
across the lawn towards them.
Hey! What the hell're you doin' to
ELLIE emerges from underneath the hood, flushed.
Changing the sparks. They showed it
on TV. What d'you think?
I think television's a dangerous
It's twenty bucks in the bank.
Slamming the hood. TOMMY revs the engine ELLIE moving
down the steps towards MIKE.
Enough, Tommy! C'mon. Get out of
ELLIE moving towards MIKE, she slipping her hand into his
underpants: Their eyes meet, lovingly. She laughs.
Hey. The neighbors.
Let 'em eat their hearts out.
She retrieves her cold coffee cup from the POTTING TABLE,
checks out the picture of CLAIRE in the newspaper, he's
left there. MIKE adjusts his tie. It's very colorful.
I read the article. You didn't tell
me she was so beautiful.
Well, actually, she looks better
ELLIE playfully makes a move, JABBING AT HIM, MIKE stops
her, ending WITH A HUG.
I've got to go.
MIKE kisses her. ELLIE holds MIKE'S face with her gloved
See you Tommy.
ANGLE ON ELLIE: as TOMMY comes up and leans against his
mom: both watching MIKE primp, they share on the joke.
MIKE turns, his face with grease on it.
Unbelievably handsome. You look
fantastic in a suit.
Nice threads Dad.
Yeah, I think so.
INT. CLAIRE'S KITCHEN - LATER - NIGHT
The WALL CLOCK reads 6:30. The remains of a teeny gourmet
meal, before him on the kitchen table.
MIKE is playing an improvised hockey game, shooting peas
through a goal made up of two water glasses, using his
knife as a hockey stick. He HEARS the CLICK of HIGH HEELS
approaching, crossing the vast marble floors.
ANGLE FROM HIS POV: CLAIRE coming toward -- clearly
dressed for the evening, her stride signaling
I'm sorry. I'm not sure how this
works. I have to go out... is that
I have to pick something up before
Bergdorf's closes, then stop at a
reception just a few blocks away.
I think, maybe, that isn't such a
Lieutenant Garber said that in all
likelihood there was no real danger,
is that true?
Right. That's true.
Can we go then?
I'm supposed to call in.
There's a phone in the car.
She MOVES TOWARDS THE ELEVATOR: MIKE, stymied.
INT. ELEVATOR - SAME - NIGHT
They descend in silence, MIKE aware of being scrutinized.
The ELEVATOR STOPS, MIKE about to get off, realizing
they're stopped at the THIRD FLOOR, another TENANT
stepping on. He's dressed in an expensive JOGGING SUIT,
his key dangling from around his neck; he nods to CLAIRE
and pushes "DOWN". The elevator RUMBLES downward.
Do you have another tie? Something
Oh... Yes... I don't have it with
me. It's at home.
EXT. CLAIRE'S BUILDING - SAME - NIGHT
The JOGGER first out the door, taking off with fierce
determination, followed by MIKE, who nervously checks the
street, then opens the limo door and checks inside, then,
finally, MOTIONS CLAIRE OUT. She moves smoothly into the
limo; MIKE checks traffic behind them, then gets in,
INT. LIMO - SAME - NIGHT
MIKE fumbles, searching the console for the car phone.
She finds it easily, picks it up.
What's the number?
INT. DOWNTOWN HEADQUARTERS - GARBER'S OFFICE
GARBER is on the other end of the line.
Oh, Jesus, what a fucking lunatic.
I don't see that we have much
choice. Jesus Christ. Tell her
she's a fucking lunatic.
GARBER slams down the phone.
INT. CLAIRE'S LIMO - NIGHT
MIKE sets down the phone.
What did he say?
He thinks you're being a little
careless. He made the point several
MIKE sets down the phone. They settle back; trying to
feel "comfortable" in one another's presence. It's plenty
You live in Manhattan?
Queens... You know Queens?
My father founded a music school
there. The Milton Gregory School.
He politely tries to place it, with no idea.
I'm supposed to speak at their tenth
Nice. Maybe you'll stop by... have
It evokes a slight smile but nothing more.
EXT. 5TH AVENUE SHOP - NIGHT
The limo pulling up, MIKE hopping expertly out before it
It's parked in a red zone, with tow-away signs everywhere;
a PATROLMAN notices from the curb.
(to the driver)
Don't move it.
He flashes his shield at the PATROLMAN, takes a firm grip
on CLAIRE'S elbow, guiding her in.
ANGLE - AT THE ENTRANCE DOORS
MIKE stiff-arms the revolving door, stopping outgoing
shoppers to clear the way for CLAIRE; hops over to the
fixed door, opening it quickly for her, hustling her
effortlessly in, zip.
ANGLE: CLAIRE, taken by it, but not displeased.
INT. FIFTH AVENUE SHOP - NIGHT
They cross toward the up escalator; she knows where she's
Hello, Miss Gregory.
CLAIRE steps onto the ESCALATOR; MIKE on alert,
scrutinizing the crowd. He gets on right behind. They
At the top LANDING, A DARK-SUITED MAN VEERS RIGHT INTO
HER. CLAIRE flinches. MIKE MOVES PAST HER to the front,
quickly handling the guy. The MAN jumps back.
I'm sorry... I thought this was
ANGLE ON MIKE; SHAKEN. CLAIRE giving him a long unsteady
Are you nervous?
INT. SHOP - GIFT COUNTER - NIGHT
MIKE keeping close watch as CLAIRE approves her purchase:
a silver frame, containing an inscribed photo of CLAIRE
and an elegant older woman.
Would you wrap it for me, I'll be
back in a moment.
CLAIRE walks past MIKE.
Could you come with me please.
MIKE follows her.
CLAIRE at the TIE COUNTER, points to the tie rack.
Would you pick one out, please?
Since you're going to be my escort,
you'll need a new tie.
MIKE begins to connect, glancing down again at the tie
he's wearing. CLAIRE selects a TIE, turning to the
SALESPERSON, for his reaction.
CLAIRE handing it to the SALESPERSON.
Put it on my account, please.
I got money.
CLAIRE gives a look to the clerk to go ahead with her
order. SALESPERSON goes off.
If we had more time we'd work on the
INT. THE LIMO - IN MOTION - SAME - NIGHT
MIKE AND CLAIRE; CLAIRE favorably assessing him in the new
You look quite elegant, actually.
He looks down at it in silence; then, finally:
My wife likes this suit.
CLOSE ON CLAIRE: his vulnerability makes her smile.
EXT. GUGGENHEIM MUSEUM - NIGHT
Clearly a "big deal," with Kleig lights and heavy
LIMOUSINE and TAXI traffic being directed into place by
COPS, some of whom we recognize.
ANGLE ON A PAIR OF COPS, using flashlights to guide
traffic -- spotting CLAIRE'S LIMOUSINE with the BLACK-AND-
WHITE PATROL CAR following it, and signaling it into
(re: Claire's limo)
Bring it in, close.
The COP OPENS THE DOOR -- stunned to see MIKE STEP OUT, in
suit and new tie -- looking like he belongs there.
I'm on duty.
What kind of work? Gigolo?
CLAIRE steps out, utterly elegant, taking MIKE'S arm --
the traffic COPS now joined by those from the BLACK-AND-
WHITE, as MIKE and CLAIRE head INWARD. The COPS wolf-
whistle MIKE and razz him as they go, some beginning the
STRAINS of "Just a Gigolo"...
MIKE GIVES THEM THE FINGER behind his back.
INT. THE RECEPTION - SAME - NIGHT
MIKE and CLAIRE caught in a crush of people jamming the
ENTRANCE WAY -- their bodies coming into close contact, so
close that MIKE is forced into an awkward posture in order
to stay close to her; one arm up in the air, uncomfortable
about taking her arm.
You can touch me, I won't bite.
Not too sure about that.
He takes her arm, guiding her through the crowd.
The SOUND of a WOMAN'S (MARGE GOODWIN) VOICE attracts
CLAIRE! Claire! Darling! Are you
She's a SOCIETY MATRON-TYPE, grabbing CLAIRE in an ever-
My God! I couldn't believe... my
poor darling... and Win Hockings...!
Antonia'll be so happy you're here,
she says a "Lifetime Achievement
Award" is like being invited to your
own funeral while you're still
But ANTONIA, an elegant OLDER WOMAN, has already SPOTTED
She pushes through, and fairly falls into CLAIRE'S arms.
ANTONIA almost emotionally overcome, that CLAIRE has
I wouldn't have missed it, Tony.
You look so beautiful...
ANTONIA looks up to see MIKE.
This is Mike Keegan, the policeman
assigned to protect me. Antonia
She looks up to SEE MIKE: it directs others to do the
(change of tone)
Marge Woodwin, Antonia Bolt, this is
(a deferential nod
(liking him; to
He's got nice eyes. Very gentle.
And he blushes. I like that. Take
good care of her.
INT. THE RECEPTION - LATER - NIGHT
CLAIRE in the thick of things -- a BAND PLAYING NOW --
occasionally glancing at MIKE -- who stands against a
wall, ever watchful...
CLOSE ON MIKE: TURNING to see a VERY PRETTY YOUNG THING
come up to him; just "oozing" seduction.
PRETTY YOUNG THING
I hear you're a policeman.
MIKE nods; eyes fixed on CLAIRE.
Uh, yeah. I'm a policeman.
PRETTY YOUNG THING
Ever shot anyone?
PRETTY YOUNG THING
Does it make you... hard?
PRETTY YOUNG THING
Erect. You know, a "boner?" I'd
heard that it gives you a boner, to
shoot a man.
MIKE'S eyes register abject dumbfoundment.
Would you excuse me, please?
HE PUSHES TOWARD CLAIRE, catching her eye.
Would you consider leaving here
CLAIRE relaxed, clearly having a good time.
People think I'm stepping out on
Neil. We're causing quite a
Hey! There are crazy people here.
Let's get a drink.
Ah... I shouldn't... on duty.
She plows toward the crowded bar, just inside the ballroom
entrance, MIKE following.
I'll have a spritzer, order
something soft for yourself... I
must go for a pee.
I'll come with you.
I think I can probably do that on my
CLOSE ON MIKE: Not amused. CLAIRE heads to the ladies'
room across from the bar. MIKE watches her enter. Turns
back to the bar, which is very busy and confused.
Gimme a spritzer, and a... vodka
MIKE seeing the Pretty Young Thing.
Make it a double.
INT. LADIES' ROOM - SAME - NIGHT
as a pair of WOMEN finish their "touch-up" and head out,
making way for CLAIRE to step up to the mirror to assess
herself. The room momentarily empties. Putting her purse
down she moves to a stall and enters.
INT. BAR COUNTER - NIGHT
MIKE, waiting, glancing back at the door as the TWO WOMEN
EXIT, then turns to the BARMAN to receive the drinks.
INT. LADIES' ROOM - SAME
LOW ANGLE on the door -- as a pair of men's shoes pass
CLOSE ON CLAIRE, inside a stall SHE HEARS FOOTSTEPS
QUIETLY ENTER, followed by a CLICK of a DOOR. It's not
the click of a stall door, because the FOOTSTEPS then
proceed inward; WE HEAR A STALL DOOR CLOSE and LOCK. It
gives her momentary pause, but she dismisses it, looking
for her purse -- realizing she left it on the sink --
opening her stall door and heading out.
She barely hears the "click" of the bolt sliding behind
her -- and looks up, into the MIRROR, SEEING VENZA appear
behind her. She SPINS -- but doesn't have time to CRY
OUT. He's grabbed her by the THROAT.
INT. BALLROOM - SAME MOMENT - NIGHT
MIKE and the PRETTY YOUNG THING: she doesn't notice him
trying to drift away.
PRETTY YOUNG THING
You know what? I don't think you're
a policeman at all. I think you're
just some schmuck who uses that
"policeman" line as a come-on.
INT. LADIES' ROOM - SAME - NIGHT
CLAIRE attempting to breathe -- her FACE being brought to
within an inch of his.
Christ, you're one beautiful woman.
I could kill you right now, but I'm
not gonna... 'cause you're gonna
help me. You're gonna see me in a
police line-up and say it wasn't me.
And if you don't do that, someone
will come after you. They're gonna
find you dead, with your face
missing -- understood... Good...
Because otherwise, it'd be this
CLOSE ON CLAIRE: her eyes wide with TERROR. He rubs his
thumb across her mouth, smearing the lipstick.
Now walk outta here. And if you
ever see me again... you never saw
To make his point, he SQUEEZES HARDER -- CLAIRE'S eyes
bulging, as TEARS run from her eyes.
INT. MUSEUM - UPPER TIER - SAME - NIGHT
MIKE, finally putting distance between him and the "PRETTY
ANGLE: MIKE, as he catches sight of a back of a man
(VENZA) moving out of the ladies' room. Stunned, MIKE
PIVOTS, TURNING, SPRINTING IN THE DIRECTION of the ladies'
OUTSIDE THE LADIES' ROOM: Two women just go in. MIKE
pushes his way in, slamming the door behind him. The
OTHER WOMEN GASP, seeing MIKE invading their sanctuary.
INSIDE THE LADIES' ROOM: MIKE
CLOSE ON MIKE: RELIEVED BUT SHOCKED to see CLAIRE,
disheveled, lipstick smeared across her mouth, throat and
face, but otherwise uninjured.
MIKE turns, calling to the TWO WOMEN coming in.
Take care of her!
MIKE TAKES OFF AFTER VENZA --
INT. UPPER TIER
OUT OF LADIES' ROOM, AND UP THE RAMP TO THE NEAREST (THE
ANGLE: He sees VENZA get into the ELEVATOR. These is
only one place for it to go -- DOWN. MIKE CHANGES
DIRECTION and FRANTICALLY RUNS DOWN THE SPIRALING RAMP
trying to keep pace with the descent of the elevator. At
the GROUND LEVEL HE SEES THE ELEVATOR DOORS OPEN and VENZA
EXITS AMIDST THE PARTY.
ANGLE ON VENZA: VENZA MAKES HIS WAY TO THE FRONT ENTRANCE
AND EXITS THE BUILDING.
ANGLE ON MIKE: MIKE HURTLES DOWN THE RAMP AND DESPERATELY
FIGHTS HIS WAY THROUGH THE CENTER of the PARTY and OUT the
EXT. GUGGENHEIM MUSEUM - NIGHT
MIKE EXITS the BUILDING bewildered; lost him... RUNS
BLINDLY amidst PEDESTRIANS -- SPOTS VENZA AHEAD.
ANGLE ON VENZA reaching someone MIKE CAN'T SEE. MIKE puts
his hand in his jacket for his gun.
VENZA HEARS and SLOWS, but DOESN'T TURN. ONLOOKERS turn.
VENZA is talking to someone, taking his time.
ANGLE ON VENZA: untroubled, turning; raising his arms,
ANGLE ON MIKE: confused -- seeing that the man VENZA
stopped to talk to is a PATROLMAN, he'd stopped to give
CLOSE ON MIKE: breathless as he moves toward VENZA. MIKE
frisks VENZA as he turns, SMILING at MIKE.
INT. PRECINCT - DAY
MIKE and T.J. with GARBER, MIKE being CONGRATULATED by
COPS who pass. But GARBER doesn't look happy.
But I got him! He's in jail!
Wasn't that the point...?!
You apprehended him after he gave
himself up --
It wasn't a bad bust. He gave
himself up because he knew I was
gonna nab him.
Anyone who turns himself in makes a
good case for bail.
Even Joey Venza?!
He's got a good lawyer, and he made
a smart move. We've got a scared
witness and a suspect who proved
"good will" by turning himself in.
What about when she identifies him?!
If she identifies him.
(turns, unloading on
Where the fuck were you anyway,
cowboy! Venza was meat. He walked
right past you, and now we're the
ones playing catch-up! You better
hope she identifies him.
GARBER turns on his heel, ENTERING HIS OFFICE; leaving
MIKE looking at T.J. Dismayed.
Wasn't your fault.
It was my fault, T.J. Fuck!
EXT. TRACT HOME - BROOKLYN HEIGHTS - AFTERNOON
A tree-lined neighborhood. The house has a FOR SALE sign
in front; MIKE is standing in front of a cab, he's dressed
for work -- he looks around. The cab pulls out, he heads
for the front door.
INT. TRACT HOME - AFTERNOON
MIKE enters the house. It's nothing special. ELLIE is in
another room. She joins MIKE.
The real estate lady left, she
couldn't wait anymore. What took
Oh, some shit.
What shit, honey?
You don't want to hear about it.
ELLIE begins to show him the place.
... Look at the fireplace. You
don't get workmanship like that
ANGLE ON MIKE: preoccupied.
Ninety-seven five. What do you
He nods, trying hard to "be there," but ELLIE isn't
fooled; she assesses him with concern.
Honey. You got him.
I don't know that Ellie. He might
get out. Garber's not bein'
straight with the witness, she could
be in deep shit if she identifies
him, and it's my job to convince her
she won't be.
(the voice of
She's got to identify him.
Because the the only way to stop
crime is to identify criminals. I
can't believe you're talking this
way Mister Detective -- I think
she's got a lot of guts.
I think -- she's crazy.
I'd identify him.
I might stop you.
Oh I can see you've had a bad day.
We'll see the house another time,
(trying to recover)
No! No! I'm sorry. Ninety-seven
Where'd you get the tie?
He's wearing the tie CLAIRE bought him.
It's not your taste.
What did she say the down payment
PAUSE. DEAD SILENCE.
She didn't like the other one, so
she picked this one.
She took you shopping for a tie?
I had to follow her to a store.
What's wrong with your paisley tie?
Ellie, it was a formal party...
Excuse me! You went to a party with
I'm her bodyguard, goddamnit...
I know you're her bodyguard. Did
she buy it or did you?
She bought it.
I don't know why she bought me a
tie! -- She's a generous person --
and she's a nice person -- and I
could be settin' her up to be
killed... you want the fuckin' tie?
His VOICE resonates through the empty house, creating a
ringing silence. ELLIE begins to giggle.
No, I don't want the 'fuckin'" tie
-- I'm sorry --
I'm glad she bought you a tie. You
needed one. You look good in that
Next time you two go shopping, maybe
you could tell her we need a new
Maytag stackable, double-decker
washer and dryer set.
MIKE smiles, she gives him a kiss, and a flick on the
You want to see the bedroom.
INT. DEN - LATER - NIGHT
The WALL CLOCK reads 9:45. CLAIRE is working at her desk.
She gets up and moves into the hallway where she sees MIKE
through the half-opened door. CLAIRE moves to the
Hi. Just checking to see if you're
I came on at 8:00.
An awkward silence.
You all right?
I'm sorry about what happened.
Listen, that was my fault.
I shouldn't have listened to you, I
should've followed you right into
the "can" the way he did.
If I had known I was going to have
company, he was right next to me. I
think he heard me peeing! I hate
that, I am glad he's in jail.
She laughs, he smiles, both attempting to make light of
it. But it's hard to make light of; the attempt quickly
Lieutenant Garber says when I
identify him, they're going to lock
him up and throw away the key.
MIKE nods; buttoning his lip.
I guess I'm supposed to do it in the
morning. Identify him.
Sooner, the better.
He said he'd kill me.
Big talk... Desperate guy.
Right. How could he do that if he's
in jail and they've thrown away the
MIKE is TORN.
It's the right thing to do.
She starts to walk away.
(holds up a book)
You wouldn't happen to know what
language they speak in India, do
Urdu and Hindi.
Yeah, what a woman.
He marks it in his CROSSWORDS: she moves closer,leaning
over his shoulder to see.
Didn't do very well, did you?
Nope... never finished one yet. I
hate these things.
You were reading my Renoir.
How did you know?
You put it back in the wrong
place... Do you like Renoir?
They're kind of fuzzy.
You know why they're like that...?
He was myopic... going blind.
In the SILENCE that follows, their eyes on each other,
So, this could be your last night,
Could be, I guess.
Want to go out for a drink?
(re: his surprised
I mean, we're both sitting here, and
Joey Venza's in jail...
Yeah, I like that! Where you go, I
EXT. FIFTH AVENUE - NIGHT
CLAIRE and MIKE walking; her arm looped in his -- the
BLACK-AND-WHITE keeping pace alongside them -- their
conversation animated, clearly enjoying one another's
You mean to tell me, a mugger would
stay away from someone because they
walked a certain way?
Absolutely. Look at this.
He demonstrates a peculiar walk; arms and legs moving in
That's the dumbest walk I ever saw!
No, no seriously! There's a study
done on this, you walk this way, the
muggers are gonna single you out.
And die laughing, because you're
walking so stupid!
Hey. This is my business. Do I
tell you your business.
Okay. Let's just see if a mugger
She takes off down the street; walking stupidly, worse
than he did -- he's LAUGHING as he WATCHES HER GO.
INT. PATROL CAR - NIGHT
The COPS following exchange dubious glances, getting a
glimpse of the strangeness.
INT. PIANO BAR - NIGHT
CAMERA FINDING CLAIRE and MIKE, at a small table, in
darkness, a piano bar playing in the background. The song
being sung is "SOMEONE TO WATCH OVER ME."
... It was like... the minute I saw
her... I knew. She looked so damn
adorable in a cop's uniform...
puttin' on a big, tough act...
So it was "love".
Yeah. It was.
He hesitates; but nods.
That's nice. And you live in
Queens? With a child, and a dog...?
I saw you with a dog, in my mind.
Her envy is plain.
What about Neil?
You don't like him, do you?
What's to like?
Tell it like it is.
He's very caring, in his way. You
haven't seen him at his best.
You could do better.
I'll miss you, Mike...
ANGLE ON BOTH: the music playing.
It was nice having you "watch over
Yeah. I liked being around you
CLOSE ON MIKE: feeling a moment of awkwardness.
Let's go home.
EXT. CITY STREET - NIGHT
The PATROL CAR keeping pace as the two walk home; the COPS
in the BLACK-AND-WHITE exchange a look at what they are
seeing. MIKE is holding her arm, she's huddled up; she is
cold and he removes his topcoat and puts it around her
EXT. CLAIRE'S BUILDING - NIGHT
The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER.
ANGLE ON THE TWO COPS AGAIN: watching them go.
INT. CLAIRE'S ELEVATOR - NIGHT
As they ride up in silence -- on opposite sides of the
elevator -- looking at each other. It comes to a stop,
and neither moves; the tension is palpable.
She steps out first, he follows. She moves to the doors
and stops -- her shoulders visibly relaxing as he moves up
behind her. But he stops, too. And she turns.
ANOTHER ANGLE: Both captive to indecision. It is he who
makes it, just by staying immobile for too long. She
smiles and takes off her coat, holding it out to him. And
in the moment of exchange is the return to reality.
Good night, Mike.
She turns to open the door. Entering she -- and we --
suddenly can see Neil pacing in the hall, b.g. He's
returned. He looks up, worried and very upset.
CLOSE ANGLES ON FACES.
It's 3 o'clock in the morning.
Where the hell have you been?
INT. DOWNTOWN HEADQUARTERS - DAY
MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE:
It's like running a gauntlet.
Hey, Mike, tough night.
I guess it happens, you know? A
chick gives you a ride in her
limousine, the next thing she wants
is to wear your clothes...
... I heard he had her underpants on
That one got to him; stopped dead by it, he turns, giving
KOONTZ a challenging look.
Ease up, Mike. Ain't nobody gonna
tell the old lady.
CLOSE ON MIKE: cooling down -- then girding himself for
Ain't the first time the taxpayers
paid for a blow-job neither.
INT. CORRIDOR - DAY
GARBER and MIKE on the carpet.
Don't tell me it was "no big deal,"
it was out of line, it makes you
look like an asshole, and it makes
me look like an asshole. She's
coming in, in a few minutes to I.D.
Venza. If Steinhart's with her, I
want you to apologize.
Let's get this over with...
In the room next to the corridor, KOONTZ interrupts the
shift already there, entering.
Okay, we're gonna have a line-up
The OTHER COPS grab their things and scatter, not wanting
to get involved in another cop's headache.
INT. FARTHER DOWN THE CORRIDOR - SAME - DAY
CLAIRE approaching with NEIL, with T.J. on guard-duty.
Good morning, Miss Gregory.
MIKE AND CLAIRE catch each other's eyes. He sees how
nervous she is.
It was my fault not Detective
Keegan's, I'm sorry for all the
NEIL catches MIKE'S glance at her; reassures himself with
a glance at CLAIRE, straightens, still steamed from last
GARBER picks up on it, not liking the tension, especially
not now; his eyes throw daggers at MIKE.
You all ready?
Will this take long?
GARBER TURNS, getting them started.
INT. VIEWING ROOM - SAME - DAY
They crowd in; another MAN already standing there --
VENZA'S PARK AVENUE LAWYER. A one-way window looks into
the brightness of the line-up (squad) room that's emptied
now and undergoing preparation by KOONTZ.
GARBER to CLAIRE, a professional reassurance.
They can't hear you, they can't see
Mr. Venza's attorney, Mr. Neuman;
arresting officer Keegan...
With that, GARBER leads NEIL out. NEIL manages a final
concerned stare at CLAIRE before he goes. The DOOR
CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE
LAWYER, are left alone in the cramped space.
INT. LINE-UP ROOM - SAME - DAY
KOONTZ beckons VENZA and the OTHER FOUR LINE-UP
Okay, take a seat... you, put a
couple phone books under your
VENZA enters confidently, with the others. He's number
three. He takes his place, staring unconcernedly past the
bright lights toward the direction of the mirrored window,
as if he could see through it, into CLAIRE'S EYES.
INT. VIEWING ROOM - SAME - DAY
CLAIRE, staring expressionless, her eyes etched with fear.
MIKE aware of that fear. VENZA'S LAWYER waiting
INT. LINE-UP ROOM - DAY
VENZA and the OTHERS WAITING, now STANDING ON DISPLAY.
KOONTZ (V.O.) (OVER SPEAKER)
Will everyone except number three
please take one step back?
VENZA'S JAW TIGHTENS, a flicker, before catching himself
and controlling the reaction. Realizing. She's making
INT. SUBWAY - EVENING
MIKE, empty-eyed. On his way HOME.
INT. MIKE'S LIVING ROOM - NIGHT
ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses
to glance with worried eyes -- toward the living room
where WE HEAR the SOUND of a TV.
ANGLE ON MIKE: on a couch, beer in hand -- mindlessly
Coming to bed?
Few minutes. Want to catch the
Should I wait up? We've got to get
up early for the beach tomorrow.
I'll be right up.
She accepts it, reluctantly -- returning to the BEDROOM.
CLOSE ON MIKE: hitting the remote to SCAN the channels;
INT. CLAIRE'S DEN - EVENING
CLAIRE at ease on the couch, staring, trying to follow the
images of the television. NEIL, at the bar, pours them
both a drink.
They need me back in Miami, but I'd
really like it if you could join me.
The marlin fishing's supposed to be
great off the Keys...
He steps forward with her drink.
The change would do you a world of
She straightens, suddenly attentive, in response to
something on the TV.
It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV
Denied bail, Joey Venza will remain
behind bars at least until the time
of the trial --
ANGLE ON NEIL, watching.
He gives her a drink, leaning down to kiss her on the
At least now we can get on with our
INT. MIKE'S KITCHEN - MORNING
Where life has indeed returned to normal, except for the
heavy weight of memory. MIKE, at the counter, makes
SANDWICHES, packing a cooler for the game. He grabs TOMMY
with an arm-hook as TOMMY tries to swipe a sandwich on the
Hey, not yet! How many times...
Roughhousing TOMMY, MIKE gets him squealing. ELLIE
enters, stomping her feet clean, coming in from the
God, it's freezin' out there.
She blows on her hands, shows MIKE how cold, putting them
against his cheeks.
She does it to TOMMY, too, except he's too fast for her,
yelling and squirming out of the way. The PHONE RINGS.
ELLIE doesn't answer it. TOMMY picks it up.
Wait a sec.
He offers the phone out to ELLIE.
Yes, just a second.
(hands it to Mike)
It's the Whip.
MIKE takes it. ELLIE turns to TOMMY, who yelps and darts
away, avoiding her cold touch.
Hey Lieutenant, how are you...?
(back to phone;
Why didn't the I.D. unit or the
D.A.'s office know about his sheet?
Ah shit... Yeah, yeah, okay I'm on
my way in.
He SLAMS DOWN THE PHONE, raging.
Goddamn Venza assaulted a taxi
driver in the Bronx, thirteen months
ago. It's coming to court and the
judge let him walk because of the
pending case law.
In a fit of RAGE, he SWIPES at a MILK CARTON, sending it
HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed.
Mike, take it easy...
Take it easy! I set her up. I saw
It's not your fault. Mike, please
get off the case.
It is my fault! I'm responsible for
Did you hear what I said?
Did you hear what I said?!!
(to Ellie, with
I'm due on at seven.
He dumps the rest of the lunch preparations in the sink,
ANGLE on TOMMY and ELLIE looking distraught.
We're not going to the game, are we
Sure we are, let's go!
INT. CLAIRE'S KITCHEN - EVENING
MUSIC TURNED UP FULL.
CLAIRE spills red wine over the counter, uncorking the
bottle. She leaves the stain, grabbing the bottle and a
wine glass, taking them with her, in emotional extremis.
EXT. CLAIRE'S APARTMENT BUILDING - EVENING
ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO
the JOGGER from CLAIRE'S BUILDING; MIKE hurries,
sidestepping him, HEADING toward the ENTRANCE.
ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra
SECURITY -- A SQUAD CAR PARKED IN FRONT now.
ANGLE ON MIKE: SPRINTING INWARD.
INT. CLAIRE'S VESTIBULE - SAME - NIGHT
The ELEVATOR DOORS OPEN and MIKE steps out, breathless,
confronting KOONTZ. The MUSIC CONTINUES TO BLAST from
behind the closed apartment doors.
KOONTZ grabbing his stuff, massive understatement.
She's a little upset. You're going
to have to piss in a bottle.
He holds up a beer bottle; half-filled with urine.
(packs it under his
Sorry, I don't have any extras.
Have a nice night.
HE WILLINGLY LEAVE, and MIKE WAITS but a split second,
before going to the doors. They are closed. MUSIC blares
from within. No other response.
INT. CLAIRE'S LIVING ROOM - SAME - NIGHT
Distraught, CLAIRE tries to bring herself back from the
brink, placing the wine bottle rack down after she's
What do you want?
Open the door, will you?
I can't open it.
It's just me. I want to talk to
you. Let me in...
The lock turns and it opens, but just a crack, enough to
see that she's hysterical, her eyes reddened from crying.
You put me life in danger.
No, you'll be safe. We're gonna
pick him up again...
And then what? I'll never be safe.
I'll have to leave the country! You
can't protect me, and you can't keep
him in jail! And you knew that all
the goddamn time!
Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED:
Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS
Clenching his fists, MIKE PACES in frustration, then SLAMS
his fist against the wall -- NOTICING the door has failed
to FULLY SHUT.
HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA
FOLLOWING HIM as he looks for her. The MUSIC, bounding
off the high ceilings and marble floors, is thunderous.
INT. CLAIRE'S HALL - NIGHT
(searching for her)
He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering,
without warning, to SEE HER REFLECTION in the MIRROR as
she PULLS ON SOME CLOTHES.
What are you doing?
The dress on, she SWEEPS past him, heading toward the
You told me I'm safe? I'm going for
a walk in the park.
Claire, will you calm down?
I'm perfectly calm, I'm a normal
human being. I'm going for a walk
in the park.
She heads out the bedroom door.
INT. HALL - SAME - NIGHT
ANGLE ON CLAIRE: as she heads down the hall moving fast,
he's right behind her.
Stop, will you?!
HE GRABS HER, SPINNING HER AROUND.
Stop being nuts!
I trusted you! I thought you cared
I do care about you!
More bullshit! More bullshit!
What kind of odds are they giving
me? There must be some kind of
office pool. One month? A couple
Their physicality reaches a CLIMAX with MIKE pinning her
against the wall, she, restrained by him, finally GIVING
UP, with a SOB, and COLLAPSING INTO HIS ARMS.
(handling her close)
Easy... easy... I'm not gonna leave
you alone like this...
ANGLE ON CLAIRE: gasping as she clings to him.
I'm not gonna let anything happen to
He holds her; makes a tentative move toward her -- and
stops. She CLOSES THE DISTANCE. THEY KISS. They
separate, making sure. They KISS AGAIN, certain.
INT. MIKE'S BEDROOM - NIGHT
ELLIE startles awake, premonitorily.
ELLIE: She turns in the darkness to look at the clock.
Heart beating, she reclines again, lying awake, realizing
what it was that woke her. She listens, hearing it again.
A shuffling SOUND, something moving, outside.
She stirs, sitting up, listening.
ANGLE: Only silence answers.
ELLIE gets up, dissatisfied by the silence, and moves to
the rear bedroom window.
AT THE REAR WINDOW, she looks out into the darkness.
HER POV - BACK YARD
It's almost impossible to see anything. Nothing moves.
INT. HALL/LANDING - NIGHT
ELLIE closes TOMMY'S door, listens again for the SOUND;
starts quietly down the stairs.
INT. DOWNSTAIRS HALL - NIGHT
ELLIE reaches the ground floor, moving for the kitchen.
INT. KITCHEN - NIGHT
ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS,
CONFRONTING HER. It's TOMMY, having left his room
There's somebody outside...
Recovering from the scare, ELLIE grabs him, relieved,
sinking to her KNEES and HOLDING HIM TIGHT.
INT. CLAIRE'S BEDROOM - NIGHT
MIKE gets up, dressing. CLAIRE watches from the bed. He
returns her gaze, reluctant to go, but hesitating to touch
her again. CLAIRE clasps his hand, bringing him closer.
They kiss, in affirmation.
INT. VESTIBULE - NIGHT
MIKE stands by the front door as T.J. arrives to begin
We're gonna need snow boots.
MIKE nods, absently, entering the elevator. The PHONE
starts to RING in the apartment.
INT. SUBWAY - EARLY A.M. - NIGHT
MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING
through the TRAIN WINDOW; he attempts to pull himself
together, rising, waiting for the train to stop.
EXT. MIKE'S STREET - SAME
As MIKE rounds the corner and looks up. His breath
catches. His heart starts to pound.
AHEAD, lights ablaze. ONE COP CAR is in front of his
HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO
INT. MIKE'S ENTRY - NIGHT - MORNING
He rushes in. The front door is unlocked, lights are on,
but otherwise there is nothing different. He hears
INT. MIKE'S KITCHEN - NIGHT - MORNING
MIKE hurries in. The room is bright. SCOTTY and another
cop, BROOKLYN from the 117th, look up from the kitchen
table, nursing cups of coffee. BROOKLYN is on duty;
SCOTTY has come over on his own.
TOMMY has long since been ushered back to bed. ELLIE
making coffee at the stove, turns as MIKE enters.
She is okay, returning MIKE'S stare with embarrassment.
Calm down, everything is okay.
Ellie reported a prowler. Probably
one of those peepers who've been
making this neighborhood such a
SCOTTY collects his gun from the table, rising.
We all look like hell.
Well, there you are...
I'll come 'round in the car from
time to time so you can get some
sleep. Just keep the shades pulled.
He gives her a peck, yawning.
Thanks for the coffee.
Thanks. You're terrific.
SCOTTY waves her off with a goodbye, exiting after
BROOKLYN. ELLIE turns back to MIKE.
I'm sorry. I know I heard noises...
the detective's wife...
I want you and Tommy to stay with my
She shakes her head, amused.
Don't be ridiculous... That's all I
need, rubbing up against your mother
and grandmother every day... I can
take care of myself...
(gently, to him)
C'mon, let's go to bed... we all
need some sleep...
CLOSE ON MIKE. Feeling like absolute hell.
INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON
MIKE is threading his necktie. ELLIE stands behind him,
in the kitchen, grinning.
C'mon, don't make an issue of it.
Do you want the fucking meatloaf or
D'you have to say "fucking" every
What was that?
You heard me.
Jesus, Mike, somebody's been feeding
you a line of crap.
What're you talking about --
I'm talking about I've been talking
this way for sixteen years and now,
out of the blue, it's vulgar!
She leaves the room, slamming the door behind her. He
looks at himself in the mirror, wondering what's possessed
Fuck. What's happening?
INT. MIKE'S KITCHEN - DAY
MIKE sits at the table with a cup of coffee. He watches
ELLIE from the window.
ELLIE: Tight jeans, workshirt, scarf tied around her
head, she looks great. She looks up, rinsing a greasy
grill over a bucket of hot water, playfully sprays the
window with the hose, seeing him watching her.
INT. SUBWAY - EVENING
MIKE walking along the platform amidst the crowded car,
returning to his work and his destination.
INT. CLAIRE'S ENTRY HALL - EVENING
A heavy silence. MIKE sitting, on duty again. He keeps
to himself. He doesn't move from his chair.
CLAIRE finally enters. She holds tensely, waiting, aware
of his mood.
Is everything all right?
His stare is unyielding.
They called here after you left...
She's okay. Everything's okay...
He looks up.
I don't know you...
This is me, Mike. There's nothing
You don't wash your clothes at the
Boulevard Laundromat... you don't
pick up your kids from some crummy
public school... what is this? A
Okay, then let's make it easy. It
was a mistake. Don't make me feel
guilty now that it's over, let's
forget about it.
She walks away; MIKE sits.
INT. CLAIRE'S STUDY
She turns to her table to resume work. Scribbled pages
litter the surface. Her hands betray her. It's an effort
of will. MIKE enters, moving closer.
Beginning to cry, she feels his embrace, turning into it.
Don't you think I know what this is
doing. I know you have a wife. I
know you have a family... I'm not
asking for anything. I don't want
anything... Just please hold me I'm
INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT
CLAIRE lies asleep. MIKE leans over her as she wakes,
meeting his gaze, bringing him closer before he goes.
They kiss. He withdraws, tenderly returning her gaze and
returning her to sleep.
INT. HER HALLWAY - EARLY A.M. - NIGHT
T.J. standing in the hallway.
ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING
MIKE. T.J. recoils with surprise.
Oh, man. I don't believe you.
MIKE steps out, closing the door behind him; distraught.
All fucked up, T.J.
T.J. issues a long, saddened sigh; just staring at him.
INT. MIKE AND ELLIE'S BEDROOM - NIGHT
MIKE sits in a chair by the far wall, staring out toward
Manhattan, which glows palely, in the distance. Now PAN
OVER THE BED where ELLIE lies asleep. But as WE MOVE
CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed,
aware of MIKE in the chair.
INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER
ELLIE stirs as MIKE slips between the sheets. She
embraces him, starts to kiss him. He rolls over.
A moment of silence.
You gotta get another tour. We're
gettin' too old for this.
I'm not saying it's your fault.
What did you do tonight?
I watched TV.
What did you watch?
I don't remember Michael, go to
sleep. You don't have to make
conversation with me.
She snuggles up to him.
I'll make a reservation tomorrow for
early dinner. You can sleep till
INT. BROOKLYN RESTAURANT - EVENING
THE LIGHTS of New York beginning to sparkle against a
darkening sky; MIKE and ELLIE at a table that looks out on
the East River. It's an OK restaurant, not the poshest in
the world. ELLIE finds herself carrying most of the
conversation. They scan menus to order.
Hey, we qualify for the Senior
Citizens Early-Bird Special... Did
you see Tommy today? He misses
Well. This'll be over soon.
Venza's such a nut job, we're bound
to pick him up soon.
I'd like you to switch to the day
shift, Mike. To be home for dinner.
Helen insists that T.J. be home for
dinner... That's why he's on the
Well, T.J.'s... seniority... and
I'll talk to Garber about it.
I already did. I mean, I talked to
his wife, and she talked to him...
You talked to his wife?
CLOSE ON MIKE: incredulous.
My wife talks to his wife about what
shift I'm gonna take?
What's the difference?
MIKE is nonplused; not knowing how to respond.
Unless there's some particular
reason why it feels better to be
around her at night.
He shakes his head, dismissively.
Is there, Mike?
No response; MIKE having trouble with it.
CLOSE ON ELLIE: sensing deception. Her eyes begin to
CLOSE ON MIKE: seeing her distress. Unable to hide his
She looks at him -- and knowing him as well as she does,
is certain. She puts a hand in front of her mouth in an
attempt not to cry.
What, what is it? Is it serious or
what...? Quit looking at me like
that! What's with this ridiculous
Her eyes flush with tears.
Goddamn. I never thought this
would happen to me... you fuckin'
She UPSETS her SETTING, GETTING UP from the TABLE, shaking
I just want you off the case. Get
off it, or don't come home.
(her voice trembling)
And I want you to remember... when
we're old... that when this awful
thing happened... I behaved like a
The kind of "lady" you apparently
We got some specials.
She BOLTS from the room; MIKE following her.
(to the waiter)
We'll be right back.
EXT. RESTAURANT - PARKING LOT - NIGHT
She weaves toward the car. MIKE goes after her.
Let me drive...
Get away from me... get away! She
means that much to you, you stay
with her. But you come back, you
come back for me. Not for Tommy,
not for your mother, or your fucking
job, but for me.
El? I'm sorry. I do love you.
And you are a lady. I have so much
She TURNS and SWINGS AT HIM, catching him SQUARE IN THE
NOSE; he's stunned and bleeding.
(through her tears;
You fucker! Don't tell me how much
respect you have! You dumb mother
fucking FUCKER! Now get off this
case or don't come home!!
She RUNS to her car, BURNING RUBBER as she PEELS out of
the PARKING LOT -- leaving MIKE, distraught, gazing after
EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING
TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay
phone, a finger in one ear, waiting for the phone to
Hey, T.J.? Yeah, listen, I need a
huge favor from you, man. I know
Helen doesn't like you to miss
dinner, but I need you to switch
shifts with me tonight.
Just "personal". I don't know what
the hell I'm doin', I need some time
Look, do it or don't do it, but
spare me the fuckin' lecture, all
He HANGS UP: miserable.
EXT. CLAIRE'S BUILDING - EVENING
A SQUAD CAR parked in front, CAMERA PANNING to the DOORS,
as the JOGGER (MR. SPARKS) EXITS, dressed in his usual
outfit, POUNDING DETERMINEDLY across the street.
ANOTHER ANGLE: as he LOPES INTO THE PARK.
ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's
"RED"; he waits to cross, jogging in place; crosses into
the park. A sinister lone black LIMO approaches, slowing
to a stop behind him, its back door slowly swinging open,
engulfing our sight of him...
EXT. CLAIRE'S BUILDING - LATER
The "JOGGER" returning, obscuring his identity from the
parked PATROL CAR, by wiping his face with a towel.
Before heading to the door, where a DOORMAN stands guard,
he delays as though WAITING FOR SOMETHING.
It's happening: A dainty teenage VIETNAMESE GIRL,
distracts the DOORMAN at his post, getting enough of his
attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for
the "JOGGER" to SLIP BY, making it inside.
I know sweetheart... we have enough
ANGLE: VIETNAMESE GIRL, still spouting.
No, no, sweetheart... not here...
get going... Okay.
ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER
slip by and her mission accomplished.
(sweetly, to Doorman)
Have a nice day.
THE GIRL: slyly cursing the DOORMAN in Vietnamese as she
INT. BUILDING LOBBY - SAME
The "JOGGER," his face still obscured by the towel waits
for the elevator, as T.J., arriving, ENTERS the building.
They both enter the elevator in silence.
ANGLE on T.J. glancing at the JOGGER quizzically. The
JOGGER avoids his stare, CAMERA TILTING UP to the
indicator, beginning to rise.
INT. SPARKS' VESTIBULE
CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS.
CLOSE ON HIS FACE. He ENTERS.
INT. SPARKS' APARTMENT - SAME
As the killer closes the door. He's in the kitchen. All
is quiet in there.
IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off,
revealing a shoulder holster; a specially designed "belt"
removed and laid on the kitchen table. A "SILENCER"
INT. CLAIRE'S KITCHEN - EVENING
CLAIRE eagerly and earnestly preparing dinner. She makes
some fluffs, not really used to this. CLASSICAL MUSIC
plays. She looks up expectantly, hearing the FOOTSTEPS.
CLOSE ON CLAIRE: surprised to see it's T.J.
Detective Keegan is... Mike...
"Michael" asked me to tell you he's
under the weather.
CLAIRE: She handles it, crestfallen.
He'll probably take the morning
T.J. spots, over his shoulder, the table, set for two.
Yeah, just... bad gut. Y'know.
Nothing left to say; she hides her disappointment with a
EXT. CITY STREET - FIFTH AVENUE - NIGHT
Active with nightlife; CAMERA PANNING to a lone figure
walking in the night. It's MIKE; his collar turned up
against the cold, his face grim and pensive. He passes an
art gallery and PAUSES to gaze in, his eyes refocusing on
his own reflection staring back at him.
INT. CLAIRE'S APARTMENT - SAME - NIGHT
CLAIRE immobile, on a window seat in her LIVING ROOM, the
CLASSICAL MUSIC still playing softly in the background,
her eyes empty as she gazes out into the park.
THE MUSIC CONTINUES OVER:
EXT. CENTRAL PARK - NIGHT
Outside and far below, the GLOW from the tip of a
CIGARETTE REDDENS the darkness with an inhalation.
VENZA: He stands, impervious to the cold, looking up at
the windows of CLAIRE'S apartment.
ANGLE UP TO CLAIRE: SILHOUETTED in the distant window.
VENZA: finishes his butt, flicks it, satisfied, getting
into HIS CAR curbside and driving away.
INT. CLAIRE'S VESTIBULE - NIGHT
T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD --
finally reaching our FLOOR.
The DOORS OPEN, STARTLING T.J. He stares at MIKE with
DISMAY. MUSIC IS HEARD from just inside.
Tell me I'm dreamin'.
I just gotta talk to her, T.J.
MIKE ENTERS, closing the doors behind him.
INT. CLAIRE'S APARTMENT - SAME - NIGHT
Silent, save for CLASSICAL MUSIC -- as MIKE quietly
He pauses a moment, his eyes filled with unhappiness, then
MOVES in the direction of the MUSIC -- SPOTTING CLAIRE,
immobile since we last saw her, still gazing out the
CLOSE ON MIKE: as always, AFFECTED BY HER.
She becomes aware of his presence and slowly TURNS. For a
long moment, neither seems willing to move -- or speak.
Finally, he does.
T.J. agreed to take my shift. He
knows about us.
She absorbs it, without response.
(a beat; with
So does Ellie.
She nods. Thoughtfully. As though willing to deal with
it intellectually, but avoiding any encounter with her
You told her?
What do you want to do?
I don't know.
Her eyes turn to his. She moves toward him and sits.
CLAIRE pulls him close to her. A soft GERSHWIN TUNE
plays. She sees how drawn MIKE is.
Let me watch over you tonight...
INT. CLAIRE'S BEDROOM - NIGHT
It's quiet. MIKE sleeps deeply on the bed. CLAIRE does
her work at the bedroom desk nearby; glances gently over,
keeping her watch, glad of the feeling.
INT. SPARKS' APARTMENT - SAME - NIGHT
The MERV GRIFFIN SHOW playing on the TV; it ends, a VOICE
OVER indicating to "stay tuned for the news". It is
SILENCED by remote control -- we HEAR FOOTSTEPS moving
ANGLE INSIDE THE KITCHEN: CLOSE on the murderous
paraphernalia left on the kitchen table, being assembled
by the "JOGGER".
INT. CLAIRE'S VESTIBULE - SAME - NIGHT
The apartment pin-quiet and darkened. T.J. in his chair
-- head arched back; snoring; his self-help book abandoned
on the floor.
INT. SPARKS' VESTIBULE - SAME - NIGHT
SPARKS' FRONT DOOR quietly "CLICKING" SHUT as the KILLER
CLOSER ANGLE: THE BUTTON of the ELEVATOR being PUSHED by
a GLOVED HAND. It activates a "HUM."
INT. CLAIRE'S APARTMENT - SAME - NIGHT
LONG ANGLE down the HALL, on the CLOSED DOOR TO THE
INT. CLAIRE'S VESTIBULE - SAME - NIGHT
As the ELEVATOR slides to a stop, its DOOR GLIDING OPEN.
THE KILLER, keeping himself flattened back out of sight,
glances quickly out, gun and reflexes at the ready.
It's unnecessary. The vestibule's deserted; T.J.'S post
is momentarily empty.
The KILLER steps silently, EASING out the elevator.
INT. CLAIRE'S APARTMENT - SAME - NIGHT
T.J. at the TOILET; yawning as he pees.
INT. CLAIRE'S HALLWAY - SAME - NIGHT
The KILLER pauses, hearing the TOILET FLUSH, retreats the
INT. CLAIRE'S APARTMENT - SAME - NIGHT
As T.J. emerges from the bathroom. He stretches, trying
to shake his fatigue. Making a decision, he HEADS for the
KITCHEN to get a cup of coffee -- CAMERA FOLLOWING HIM as
he ENTERS, snapping on the light.
MOVING directly to the stove, he examines the Mr. Coffee;
the red "ON" button glows, but the pot is virtually empty.
Picking it up, he MOVES TO THE SINK, turning on the tap,
which is a thin, gooseneck spigot. He look up, hearing a
slight SHUFFLE, seeing the KILLER'S FEET sticking out of
the shadows of the floor of the LAUNDRY ROOM.
T.J. reacts -- TOO LATE -- there's a slight chung, and a
hole opens up in T.J.'S gut; the bullet that went through
him, ricocheting and nicking off the end of the thin,
curving tap, sending a stream of water gushing straight
The KILLER moves quickly, catching T.J.'S body, trying to
break its fall as it hits the floor.
INT. CLAIRE'S BEDROOM - SAME - NIGHT
CLAIRE asleep in MIKE'S PROTECTIVE EMBRACE: MIKE, awake,
his eyes to the bedside table, notices the almost
imperceptible disturbance of VIBRATION ripple the surface
of the DRINK left there by the clock.
MIKE sits up; as if by instinct, sensing something is
wrong. CLAIRE continues to sleep.
INT. CLAIRE'S HALLWAY/OUTER BEDROOM - SAME - NIGHT
The KILLER OPENS THE BEDROOM SUITE DOOR, steps into the
ANTEROOM. Off to the right is the closed DOOR of the
BEDROOM. He steps in the direction, reaching the doorknob
-- thinks twice about it, though, seeing the door on the
other side of the anteroom which would take him the
longer, but unexpected route into the bedroom. He backs
off, moving silently to the OTHER DOOR, turning it open
silently and slipping through into the CLOSET and WALK-
THROUGH DRESSING ROOM leading to the bedroom by the far
INT. CLAIRE'S BEDROOM - NIGHT
MIKE: on the other side of the door, listening.
He opens the door quietly, sees the anteroom door ajar,
remembering that he had closed it before. He tightens,
closing the door and moving back to his gun in its holster
draped over the chair with his other clothes.
INT. DRESSING ROOM - NIGHT
The KILLER enters the reflective maze.
INT. MASTER BATH - NIGHT
MIKE moves silently, backtracking through the bedroom and
bathroom toward the DOORS leading to the dressing room
INT. DRESSING ROOM - NIGHT
The KILLER passes the door he wants, thinking it's just
another mirror; finds himself in the totally MIRRORED
ENVIRONMENT of the MAIN DRESSING AREA.
On the other side of the door, MIKE HEARS HIM, tightening
his grip on his gun and on the doorknob as he REACHES for
it. MIKE grasps it, turning and opening the door
silently. But the latch connects to the light, and the
LIGHT GOES ON OVERHEAD of MIKE.
The KILLER reacts quickly, gun drawn, on the turn. But he
faces SEVERAL REFLECTIONS OF MIKE in front of him -- and
MIKE IS BEHIND HIM.
MIKE LEVELS AIM AT HIM.
Put it down!
Think about it!
The KILLER takes his chances, WHIRLING. MIKE FIRES FIRST,
NAILING HIM right through the HEAD. The KILLER SPINS
AGAIN, SLAMMING UP against the MIRRORS and falling DEAD to
IN THE BEDROOM: CLAIRE wakes.
MIKE: checking quickly on the dead assassin, flattens
himself against the wall and scurries back through the
bath the way back into the BEDROOM.
(entering, to Claire)
Get on the floor! There may be
CLAIRE does what he says.
MIKE RACES into the CORRIDOR, hugging the wall; he PAUSES
momentarily, then RACES down the HALL.
ANGLE ON THE OPENED FRONT DOOR as he REACHES IT, seeing
T.J.'S CHAIR empty.
MIKE RUNS, frantically, into the living room, the
bathroom, the den -- CAMERA FOLLOWING HIM into the
CLOSE ON HIS FACE: twisting with GRIEF.
ANGLE ON T.J. face down in a pool of blood, MIKE RACING
TO HIM, rolling him over.
MIKE moves by REFLEX, starting mouth-to-mouth. But there
is blood everywhere.
MIKE desperate; pumping T.J.'S chest.
Live, T.J. Please...!
CLAIRE appears behind him, to help.
Get security on the phone!
She RUNS to the KITCHEN PHONE; it's dead, the WIRES CUT.
She TURNS, HURRYING to the VESTIBULE and THE ELEVATOR,
pulling the alarm, sagging in collapse. The ALARM goes
off within the shaft, THROUGHOUT the building.
ANGLE ON MIKE: shirtless and shoeless, on his knees in
T.J.'S blood, desperately pumping his chest.
(his voice cracking)
Ambulance! Ambulance! He's got a
INT. HOSPITAL CORRIDOR - NEAR DAWN
MIKE alone on a bench, his head in his hands: a couple of
COPS we recognize from the Precinct stand a distance away,
at a coffee machine, talking softly as they glance at him.
It is not yet dawn.
FOOTSTEPS are HEARD coming TOWARD; MIKE looks up to see
GARBER APPROACHING, his expression appropriate to the
occasion. GARBER reaches him; they exchange a long look,
MIKE'S eyes etched with anguish.
They're operating on him. He's
A long pause, as he looks at MIKE.
I heard a lot... Anything you want
to deny, Mike?
It should've been me...
GARBER: aware of his own dilemma.
Then it would've been her, too.
I don't know... but I gotta protect
the Precinct, too. You're on
suspension, pending Disciplinary
Hearings. Don't hold your breath.
And you're not to go near that woman
until she's no longer under Police
protection and this case is closed.
ANGLE ON MIKE: responding with a silent nod as GARBER
stands looking down at him.
Is it "love," Mike? I hope so. I
want it to be worth it, for your
In the response that follows, they HEAR MOVEMENT at the
end of the HALL, looking up to see the silhouetted figures
of ELLIE, with HELEN GREENING in tow. They look small,
and lost, framed against a floor-to-ceiling window that's
beginning to illuminate with the first light of day.
Heavy with sadness, GARBER turns and heads toward the
women. Taking a long moment. MIKE decides not to follow.
CLOSE ON MIKE
CAMERA STAYS AT THIS DISTANCE as the THREESOME comes
together. We do not hear their words, but sense the
emotion by what WE SEE. After a brief exchange of words,
GARBER takes HELEN GREENING under his arm, and they MOVE
AWAY -- leaving MIKE and ELLIE alone.
CLOSER ANGLE: MIKE and ELLIE, gazing at each other across
the gulf of their collective misery.
I'm going to visit my sister for a
few days. I'd like you to get your
What about Tommy?
He'll live through it. They all
live through it.
What a world, huh?
Nothing left to say; after a long, last look, she turns to
go. But stops.
Was it Venza? Did you get him?
The last thing she's going to do is cry.
(her voice giving
What a shame.
She TURNS and LEAVES: MIKE gazing after her.
INT. SCOTTY'S "BACHELOR PAD" - DAY
MIKE is being shown in by SCOTTY, luggage in hand, SCOTTY
doing his best to be a good "host," under trying
You see a couple of the parties that
go on at this place, you'll realize
that marriage is an institution
whose time has come and gone.
Opening a bedroom door. They've entered a bedroom that's
sparse, but decorated with A BOY'S PARAPHERNALIA;
skateboard, "rock" posters, etc. It looks sad and barren.
Little Scotty stays on Wednesdays,
and every other weekend. And know
what? Our relationship's never been
MIKE stares at the room, his heart too heavy to respond.
SCOTTY, with a pat on the back.
Make it home, Mike...
He leaves -- and after a long moment MIKE sits on the edge
of the bed, like an automaton. Staring.
INT. CLAIRE'S LIVING ROOM - SAME - DAY
CLAIRE and NEIL in the aftermath. CLAIRE remains silent,
staring. Whatever is to be said is his.
I'm no saint, Claire, but I do love
you. I can understand the pressure
of the circumstances... but what
about when it's over? Are you going
to feel the same way about him? Is
he going to move in here and do
shift work at the 21st if they'll
have him back. Think this through
This is the rest of your life we're
NEIL staring at her.
I have thought it through, Neil.
He adverts his gaze, turns, controlling himself, and picks
up his coat to go.
Call me if anything changes. I love
INT. CLAIRE'S VESTIBULE - SAME - DAY
KOONTZ and a uniformed COP on guard duty.
KOONTZ scanning The Post, which has a front page article
on it with a headline that indicates the whole story has
not "quite" been told: "INTRUDER SLAIN IN DARING EAST
Unbelievable, man, the fuckin'
jogger... they found him in Atlantic
City, totally drugged out and still
The APARTMENT DOOR SWINGS OPEN and NEIL EMERGES. KOONTZ
and the COP look up, straightening. KOONTZ folds away the
paper. But NEIL hardly even acknowledges or notices them,
INT. CLAIRE'S STUDY - SAME - DAY
The PHONE RINGING -- CAMERA FINDING CLAIRE, looking like a
ghost of her past self -- REACHING FOR THE PHONE.
Mike. Where have you been?
INT. SCOTTY'S KITCHEN - SAME - DAY
MIKE on the telephone.
You don't want to know.
Oh, I do want to know. I tried to
reach you at the precinct.
I've moved into Scotty's... Good
news about T.J., though. Looks like
that tough son of a gun is gonna
Oh God, that's great!
Are you okay?
CLAIRE - SAME
(trying to brighten)
Oh, I'm fine. They've replaced you
with quite an entourage. It's a
regular "marching band". You should
see me on the street, you'd think I
was the First Lady --
She attempts a laugh, trying to keep it "light".
I'm taking them all out to Queens,
as a matter of fact, right in your
neighborhood. There's an event at
my Father's school... an
anniversary... I thought maybe you
Oh that thing in Queens.
I'm going away after that, the next
MIKE - SAME
Impacted by it.
Pretty far. I'm told not to say
anything about it on the phone, in
case it's tapped... they think it's
best, safer, if I go away, at least
till Venza's found.
CLOSE ONE MIKE: absorbing it.
When can I see you?
CLAIRE - SAME
I don't know. Garber's left orders
here not to let you in the building.
MIKE - SAME
CLOSE ON MIKE: beat.
Oh yeah. When is it? This thing in
CLAIRE - SAME
Tomorrow night. Can you come?
I don't know. It wouldn't be very
Listen, you're right. Don't do it.
I'll just... send you an address,
Fighting tears; not wanting him to know it.
No really, it's okay, I've gotta go.
I'm expecting some calls. I'll be
I'll think about Wednesday.
MIKE hangs up, torn.
CLAIRE - SAME
EXT. QUEENS - SAME - DAY
CAMERA PANNING TO REVEAL MIKE, leaning on a CAR, under the
"El" waiting. HE SPOTS TOMMY, coming around the corner
with his SKATEBOARD under his arm, going into a grocery
store. MIKE crosses the street as TOMMY comes out of the
TOMMY SPOTS HIM: hesitant -- slowly approaching the car.
How are things going, pal?
Okay, I guess.
How about dinner tonight?
Mom and I got plans.
What "plans?" You and Mom got
(after a long pause)
She's taking singing lessons.
She met some friend of Aunt Millie's
who works for a record company. He
thinks she's got a great voice.
TOMMY is mum: something dawns on MIKE that sobers him up.
What! What kind of pathetic line is
We're gonna pass the street.
MIKE stops. His goat is gotten.
You coming in?
No, I'm not coming in. And if you'd
rather go to a "singing lesson" than
have dinner with your father...
We're not going to a singing lesson,
she's just gonna start taking
So, what are you doing tonight?
Yeah. She says we gotta get used to
being alone in this neighborhood.
(a long beat;
TOMMY starts toward the HOUSE. He's emotional, but
doesn't know how to express it.
(a parting shot)
The guy's a sleaze-bag. She can't
I don't think she can sing, either.
Take care, pal.
HE TURNS AWAY.
ANOTHER ANGLE: MIKE'S CAR LEAVING. TOMMY watches it
until it can be seen no longer, then TURNS, going into the
CAMERA PANS SLOWLY -- REVEALING, far down the BLOCK, a
CAR. VENZA, and ANOTHER MAN (SOSA), are within:
EXT. STREET - NIGHT
MIKE pounds it out running on the darkened street. He
pauses to look up at his dark, empty house as a PATROL CAR
slows to check him out. He studies them as they pass.
CLOSE ON MIKE: he gazes after them, then continues to
INT. FIRING RANGE - SAME - NIGHT
GUN BLASTS going off in OUR EARS, CAMERA PANNING A LINE of
COPS putting in their PRACTICE HOURS; ENDING ON ELLIE, her
EAR BLOCKERS on, FIRING AWAY.
CLOSE ON TOMMY watching from a booth behind her.
ANGLE ON HER TARGET. Its balls blasted off.
She comes out.
Aren't you supposed to aim at the
INT. CAR - NIGHT
ELLIE in the driver's seat, TOMMY in the back seat.
Mom, what's going to happen with you
I don't know Tommy.
A LONG BEAT as TOMMY thinks about this. His attention
switches to a passing McDONALD'S.
Hey, can we go to McDonald's?
INT. MILTON GREGORY - BANQUET HALL - EVENING
Overhead, chandeliers gleam. A small orchestra comprised
of STUDENTS of the school plays a variety of tunes.
Mirrors reflect a profusion of flowers, carved gilt and
Gloved service PERSONNEL wait to be of service at the
sides. The room is quite large yet intimate. The tables
set perfectly. GUESTS continue to move toward their
places engaged in animated chatter.
ANOTHER ANGLE: CLAIRE moving through the crowd,
PLAINCLOTHESMEN flanking her as anonymously as possible
(KOONTZ among them), HER EYES anxious, scanning the crowd.
SHE'S SPOTTED by the PRINCIPAL of the school (GIDDINGS),
who APPROACHES, surprised to see her.
Hello, Claire. How extraordinary
that you came.
It was something my father always
liked me to do.
You're planning to speak?
Not if you don't want me to.
(a brief hesitation)
Well, of course, we'd be...
Just putting in an appearance then.
SHE GLANCES around, her "ESCORTS" mistaking it for
anxiety, one of them taking her arm and escorting her in.
INT. THE BANQUET ROOM - LATER
SPEECHES droning on -- CAMERA FINDING CLAIRE at a round
dinner table, with OTHERS, who think they're engaging her
in conversation; but her thoughts are elsewhere, her eyes
continually glancing toward the doors -- both hoping and
INT. THE BANQUET ROOM - LATER
The SPEECHES have long since ENDED, PEOPLE DANCING, slow
dances to the live orchestra -- CAMERA PANNING to CLAIRE,
sitting in silent isolation at the now sparsely populated
table, having lost hope, feeling utterly alone. Her chin
is resting in her hand, her eyes fixed sadly on her wine
glass. PLAINCLOTHESMEN, situated around her, study her
CLOSE ON HER FACE: expressionless. But it slowly gains
animation, as she realizes the MUSIC has changed, made a
segue to something new. It's "SOMEONE TO WATCH OVER ME."
SHE LOOKS UP -- to see MIKE; his approach from the
bandstand indicating that the change of music was his
HER FACE breaks into the most enormous, and grateful,
CLOSE ON MIKE: returning the smile as he COMES TOWARD.
(as he passes)
Don't do it, man. I love ya, but
you're out of your mind.
Uncaring, MIKE MOVES TO CLAIRE.
ANGLE ON BOTH: gazing at each other.
What a memory.
Do you dance?
Let's do it.
They TAKE to the FLOOR, she MOVING INTO HIS ARMS. She
puts her head on his shoulder, then draws back to look at
him, studying his face with the hunger of a woman who
knows it might be for the last time.
They guys treatin' you all right?
(too emotional to
I've been doing a lot of thinking.
CLOSE ON HIM: studying her saddened eyes.
It wouldn't work.
The conversation is deeply caring; the tone opposite to
I'd miss my life...
... Don't explain.
She rests her head on his shoulders again; they continue
How long you going away for?
"To"... Forget about you.
CLOSE ON HER: awash in the nearness of him.
I'll have to pack a lot of clothes.
He holds her tight -- his eyes EMOTIONAL as they roam the
But HIS EXPRESSION CHANGES as he SPOTS SOMETHING at a far
end of the room. Near the rear doors.
It's a PLAINCLOTHESMEN, headed purposefully toward KOONTZ,
conferring with him -- both men looking to MIKE, a sense
of bewilderment in their eyes.
ANGLE ON MIKE: Stopping -- as KOONTZ heads quickly
Brook's patching a call through to
you. He thought he'd find you here.
It sounds urgent.
He says it's your son.
Exchanging a quick LOOK with CLAIRE, MIKE heads for the
DOORS; she pauses, heading after.
OUTER LOBBY - SAME
as MIKE BARRELS through doors.
The office down the hall.
MIKE BREAKS INTO A RUN.
INT. OFFICE - SAME
as MIKE RACES IN; A PLAINCLOTHESMAN hands him the phone.
(grabbing the phone)
Who is this?
(trying to be calm)
Yeah. I'm listening.
No. Nobody but me.
INT. MIKE'S HOUSE - NIGHT - SAME MOMENT
CLOSE ON the RECEIVER of the PHONE: as JOEY VENZA'S mouth
SPEAKS into it --
The images of ELLIE and TOMMY SEEN, dimly lit, in the
background, petrified; GUARDED by a SECOND MAN (SOSA)
whose figure is shrouded in darkness.
I'm glad you're where I expected you
to be, Detective Keegan, 'cause
you're got two minutes to get home
or I take your family out.
MIKE - SAME
caught in a nightmare.
I heard you. I'll do it. Just
don't touch them.
Lemme talk to my son.
It goes dead. MIKE PARALYZED with FEAR. CLAIRE is
ENTERING, PLAINCLOTHESMAN #1 close to her heels, MIKE'S
breath coming in SHUDDERS as he stares helplessly at her
-- then turns to the PLAINCLOTHESMAN and KOONTZ.
They got my family.
I need you guys.
OTHER PLAINCLOTHESMEN are COMING.
At my house...!
(shouting to others)
Call a cruiser!
It's Venza. He wants you. You, for
Ellie and Tommy.
(to others; urgent)
We're takin' her home!
Move it! Get the cars!
Koontz! I need you guys!
We'll call SWAT. We'll get the
(re: another cops's
No, I need'm now!
Go with him!
My job is to protect you!
This is Koontz --
No One-Seventeen, they'll fuck it
up! He told me not to tell anybody,
to bring Claire and come alone! He
won't wait, he knows I'm two minutes
away! Koontz, please!
I can't do it, you know that... He's
not gonna allow it anyway, Mike. No
way is he gonna let anybody walk out
of that house alive, who can finger
MIKE WHIRLS, heedlessly, running for the DOORS, CLAIRE
RACING AFTER HIM.
(calling after her)
Mike! Don't go there...! Then make
them come with you!
They can't, they're assigned to
you! I'd do the same thing!
He RACES OUT THE DOOR: she in PURSUIT.
Go get her.
PLAINCLOTHESMAN #1 hurries out.
Fuck it, man. Our brother needs us.
EXT. MILTON GREGORY SCHOOL - SAME MOMENT - NIGHT
MIKE BOUNDING to his car, CLAIRE hot on his heels. She
JUMPS into the PASSENGER SEAT, pounding the DOOR LOCK
(into his car)
Go! Get outta here!
PLAINCLOTHESMAN #1 REACHES HER, pulling on the DOOR.
They're assigned to me, they'll have
to go if I come with you!
I'm not getting out! GO!
MIKE hits the ACCELERATOR -- PEELING OUT, leaving
PLAINCLOTHESMAN #1 stranded on the curb.
(calling to him,
Adams...! C'mon, move it!
ANGLE ON COPS: RACING FOR THEIR CARS -- SCREECHING OUT.
EXT. STREETS OF QUEENS - SAME - NIGHT
MIKE'S CAR tearing down the STREET -- PURSUED by TWO MORE
SQUAD CARS, one of them not knowing better, GIVING VOICE
TO HIS SIREN!
INT. MIKE'S CAR - SAME - NIGHT
MIKE'S terrified eyes glancing into the REARVIEW MIRROR.
Turn off the siren...!
Luckily, THEY DO.
CLOSE ON CLAIRE: wide-eyed. In silence.
We get there, you get down, stay out
of sight. Don't get near that
house. Understand me? Venza's not
to know you're there!
She NODS: terrified.
EXT. MIKE'S HOUSE - SAME - NIGHT
As MIKE'S CAR COMES TO A SCREECHING HALT, MIKE RUNNING OUT
as CLAIRE DUCKS DOWN. The house is COMPLETELY DARKENED,
blending in with the night; the PURSUIT CARS CONVERGE as
MIKE makes it to the DOOR, his HANDS TREMBLING as he
FUMBLES with his KEYS... takes a deep breath... and
INT. THE HOUSE - SAME - NIGHT
Darkened and pin-drop silent. They only thing that can be
heard is the SOUND of CAR DOORS slamming outside, as COPS
run into combat positions.
The SOUND of a MUFFLED WHIMPER comes from the kitchen; he
HEADS TOWARD down a narrow HALLWAY. He falters, ALMOST
STEPPING on a SKATEBOARD.
I'm not armed! I'm the only one in
here! I can help you get away if
you listen to what I say!
He's used to the SOUND OF HIS VOICE to mask the slight
"roll" of the SKATEBOARD under his foot: He's sliding it
into the middle of the doorway.
I'm comin' in the kitchen! If you
fuckin' shoot me, they'll come in
here, and we're all dead! You hear
No answer -- MIKE continues on, girding himself as he
steps into the KITCHEN DOORWAY. He tries the light-
switch; it doesn't work. And then a VOICE SPEAKS. Its
breath, like his, is labored; the VOICE CRACKLING with
You made a terrible mistake, Keegan.
You didn't do what I said.
(his voice shaking)
That's right, you're gonna do what I
Joey. I want to help you out of
You should'a brought the girl.
I brought the girl. She's outside.
He MOVES to the WINDOW; it's right BESIDE THE TABLE.
I'll prove it!
He LIFTS THE WINDOW, CALLING OUT:
EXT. THE HOUSE - SAME MOMENT - NIGHT
CLAIRE, having shouted from behind a COP CAR: KOONTZ
grabbing hold of her to keep her in place.
(a hiss of warning)
Not another word until I tell you.
INT. KITCHEN - SAME MOMENT - NIGHT
How do I know that's her?
I'll bring her in. You let them go,
and I'll bring her in.
Why should she come in?
She trusts me. She'll do what I
Bullshit! Prove it.
(calls out the
Koontz! Let her come in! Claire!
It's pitch dark in here!
(his words are
You're gonna have trouble seeing
anything, so just come in, and
straight down a long hall. Then
stand at the door so we can see you.
We want to see your face and we
won't be able to until you get to
the kitchen door!
EXT. THE HOUSE - SAME MOMENT
KOONTZ receiving his "message". Quickly assessing CLAIRE,
he looks to the COPS around him -- then GRITS HIS TEETH
INT. THE KITCHEN - SAME - NIGHT
I want your guarantee they'll be
turned loose when she opens the
I get my hostage first. No one's
turned loose until I say so.
Let my kid go.
I'm not lettin' no one go.
Get that gun away from his head, or
I'll keep her from coming in! Put
the gun on me, he can't hurt you!
He's tied up! Put him under the
Don't you fuckin' give orders to
Put him under the table or I'll stop
her from coming in.
MIKE turns to the window, about to shout.
(to Tommy, an order)
Under the table.
I'll take his place, all right? Put
the gun to my head.
MIKE YANKS TOMMY under the TABLE, taking HIS PLACE in THE
CHAIR; the COCKED GUN presses up against MIKE'S TEMPLE.
ANGLE ON ELLIE: Her widened eyes continuing to INDICATE
"beneath the table".
CLOSE ON TOMMY, ON HIS KNEES, his hands tied behind his
back; emitting a whimper of terror.
Be careful, Tommy.
HE LOOKS UP: SPOTTING HER GUN, where she'd hidden it for
safe-keeping, TAPED SECURELY, just OVER HIS HEAD.
The FRONT DOOR OPENS -- with a SLOW CREAK -- the FIGURE OF
CLAIRE, her dress silhouetted by the moonlight from
outside, SEEN standing in the front hallway.
Claire! It's dark. Watch your
step. Come slowly.
ANGLE ON TOMMY: trying desperately to get his hands, tied
behind his back, within reach of the GUN taped over his
head. It's impossible.
CLOSE ON MIKE: eyes darting to ELLIE -- as the FIGURE
slowly APPROACHES down the DARKENED HALL, his HAND
lowering beneath his knees, within reach of TOMMY, under
ANGLE ON TOMMY: in a near HEADSTAND, his small hands
managing to TOUCH THE TAPE, his fingernails futilely
attempting to DIG BENEATH IT -- as the FOOTSTEPS continue
to APPROACH down the DARKENED HALL.
ANGLE ON THE FIGURE: almost at the kitchen door -- about
to STEP INTO THE LIGHT.
Watch your step!
What the fuck you doin'?!
TOMMY'S HANDS are on the GUN.
There's a skateboard in the door!
With a sudden SOUND of TAPE "RIPPING" from under the
TABLE. ALL HELL BREAKS LOOSE. TOMMY ROLLS, THRUSTING THE
GUN INTO MIKE'S HAND as the FIGURE at the DOOR KICKS THE
SKATEBOARD, sending it ZOOMING INTO THE ROOM. VENZA LEAPS
ASIDE AND FIRES, the FIGURE at the DOOR OPENING FIRE in
RETURN. MIKE LEAPS FOR ELLIE, knocking her off her CHAIR,
rolling FAST as the ENTIRE KITCHEN ERUPTS IN GUNFIRE.
ANGLE ON ELLIE: throwing herself OVER TOMMY, BULLETS
"PINGING" AROUND MIKE as he ROLLS, RETURNING THE FIRE.
The pitch-black kitchen shudders with BANGS and FLASHES
like the Fourth of July, mixed with the "WHINE" of bullets
hitting pots and pans, and the sight of BODIES hurtling
through the dark.
The "FIGURE AT THE DOOR" is firing with both hands,
SCORING A HIT ON VENZA'S ACCOMPLICE, who goes down,
wounded, HIS GUN CLATTERING to the FLOOR. He REACHES for
it, but ELLIE GETS THERE FIRST, grabbing it with her two
hands tied in front of her.
The ACCOMPLICE is staggering upward as ELLIE gets to her
feet, SQUARING OFF in POLICE STANCE -- and FIRES, catching
him square between the SHOULDER BLADES; HE SPINS, crashing
BACKWARDS through the GLASS DOOR -- SWISH-PAN to VENZA,
trying to get out THE KITCHEN WINDOW...
Turn around, fuck!
He DOES, BLASTED by MIKE, and the "FIGURE" in the door,
SIMULTANEOUSLY. He falls out the window, but still has
life in him, staggering to his feet, and hit by SPOTLIGHTS
from the CARS OUTSIDE. In a sudden barrage, he's hit by
CROSSFIRE, SPINNING, LURCHING -- finally going down.
And then all is quiet.
INSIDE THE KITCHEN -- all sound and movement has suddenly
ceased; everyone is a state of shock.
I'm all right.
I'm all right.
The overhead LIGHT is SNAPPED ON by the "FIGURE" in the
doorway -- revealing it to be KOONTZ. In CLAIRE'S DRESS.
Guns in both hands, still smoking.
Fuckin' miracle, man.
In the BACKGROUND distant SIRENS are HEARD heading toward.
The SWAT squad. CAMERA MOVING ACROSS THE FACES OF ELLIE,
TOMMY, MIKE... and KOONTZ; all holding in place.
Listening to them come.
(re: the sirens)
Told you they'd be here in a few
The grim humor of it is registered in SILENCE. MIKE picks
up VENZA'S HUNTING KNIFE from the floor, cutting through
the ropes that bind TOMMY'S and ELLIE'S HANDS; she PULLS
TOMMY to HER, in a tearful EMBRACE, shielding his face
from the ghastly sight of the man, lying dead, on the
OTHER PEOPLE are MOVING INWARD, CLAIRE among them, clad in
an OVERSIZED POLICE OVERCOAT -- looking frail and
frightened, SHUDDERING WITH RELIEF when she sees that all
are safe. But there is no mistaking the presence of
something else in her eyes.
CLOSE ON CLAIRE'S FACE: gazing at MIKE, his family
wrapped in his protective embrace. He LOOKS UP, meeting
Everyone's all right...?
Yeah. It's all over.
LONG ANGLE on the ROOM: dimly illuminated by the single
light, shed from the opened refrigerator door, as people
begin to move -- awakening to life, and its necessary
details, in the aftermath of the crisis.
EXT. THE HOUSE - SAME
The LAWN virtually FILLED with POLICE VEHICLES, their
revolving red lights illuminating the grim scene; a small
gathering of onlookers gawking from behind police ropes,
AMBULANCES pulling SLOWLY, SILENTLY, away.
CAMERA PANS to two figures ALONE, beside a squad car, in
the distant shadows. It's CLAIRE, still clad in the
police overcoat, and MIKE. They are together, but
separate, maintaining the proper distance to say goodbye.
CLOSER ANGLE ON THEM: not knowing quite what to say.
ANGLE ON BOTH: their eyes locked into each other's.
You still going away?
I don't know...
You don't have to, now.
I think it's probably still a good
CLOSE ON MIKE: getting her message.
Both are hurting.
I'll miss you, Mike.
Listen, I'll... see you again.
Her eyes are glistening; she gives him a bracing smile.
But he can't quiet manage it.
(barely able to
He struggles with it; unable.
I like your coat.
You have a weakness for Lady Cops.
Silence now; their eyes adoring.
Say goodbye, Mike.
You take care.
MIKE TURNS -- CAMERA MOVING WITH HIM as he WALKS SLOWLY
AWAY -- finding himself on a collision course with GARBER.
They meet, spending a long moment in non-communicative
What do you think?
Any chance? There's nothin' else
I'm any good at, but this.
Call me next week. We'll talk about
MIKE absorbs it, looking up to SEE ELLIE and TOMMY, beside
a SQUAD CAR, a distance away. Girding himself, he HEADS
ANGLE ON ELLIE AND TOMMY -- as he APPROACHES, and stands
beside them. Not much to say. Finally he reaches out and
tousles TOMMY'S hair.
Good police work, kiddo.
He catches ELLIE'S eye, both assessing each other.
He doesn't want to sleep here.
(a long beat)
Neither do I. It's not my house
ANGLE ON ALL: finding each other's eyes.
Let's find some place to start over.
MIKE puts an arm AROUND TOMMY -- and the CAMERA BEGINS A
LONG PULLBACK, as ELLIE moves to his side, and the KEEGAN
FAMILY begins to MOVE AWAY. WE SEE CLAIRE, being helped
into a SQUAD CAR, turning to look back at them as it PULLS
AWAY -- CARS REVVING UP and PULLING OUT, in ALL
From a distance, we HEAR MIKE'S VOICE.
What this crap about singing