Someone to Watch Over Me (1987)

FADE IN:

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.

			MIKE
		(calling to his
		wife, for a family
		portrait)
	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
KEEGAN."

SCOTTY, a patrolman with the 117th and one of MIKE'S best
pals, puts his hand vigorously, in congratulations, on
MIKE'S SHOULDER.

			SCOTTY
		(to Mike)
	No joke?  You're being transferred
	to the 19th as your first
	assignment?  Who the hell loves your
	ass downtown?

			ROOKIE
		(naively)
	What's the 21st?

BROOKLYN, a cop about Mike's age, joins in.

			SCOTTY
	What d'you care?  You'll never know.

			BROOKLYN
	Manhattan.  The Upper East Side,
	East 59th to 96th.

The ROOKIE stares, impressed.

			SCOTTY
		(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.

			BROOKLYN
	Curran, that fuckin' noodlehead.  He
	probably wrote her up for letting
	her dog dump on Rockefeller's
	doorstep.

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
him.

			HELEN
	Mmmmmm-glimmmeee-kisss!  I'm so
	proud of you!  What the hell took
	you so long?

			MIKE
	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.

			MIKE
	If T.J. didn't push for me, I never
	would've made it.

			BROOKLYN
	Bet your ass... I give you six weeks
	before you're back on the beat,
	Keegan, they got no room for hero
	cops...

			MIKE
	Appreciate, that vote of confidence,
	Brook.

			BROOKLYN
	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.

			HELEN
	He left Elaine for that?

			WIFE #1
	And what about little Scotty?

ELLIE continues washing the dishes as HELEN and the WIFE
dry.  MIKE enters to get more beers.

			HELEN
		(still staring)
	I'd like to tie her tits together.

			ELLIE
	That wouldn't be too difficult.

			MIKE
		(overhearing)
	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.

			HELEN
	I love your husband, Ellie, but he's
	a real dork.

			ELLIE
	Yeah, but he's my dork.

					DISSOLVE TO:

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.

			T.J.
	We're goin'.  Get some sleep,
	Detective Keegan.  You got a new job
	tomorrow.

					CUT TO:

INT.  HALLWAY - NIGHT

MIKE is holding TOMMY asleep on his shoulder.

ELLIE appears, completing the family portrait.

			MIKE
		(a whisper)
	Think I should put the skateboard in
	bed with him?

			ELLIE
	Too kinky.

MIKE smiles and climbs the stairs.


INT.  MIKE'S BEDROOM - NIGHT

ELLIE in the bathroom, the door open, she brushes her
hair.

MIKE in bed, thoughtful, a happy man.

			MIKE
	Ellie, you know I think it's about
	time we got outa this place, get us
	a house of our own.  We can afford
	it now.

			ELLIE
	Amen to that.  The supermarket's
	full of assholes.

			MIKE
	Take my advice, don't buy any...

MIKE waits for a response.  None comes.

			ELLIE
	Mike?

			MIKE
		(aware of her change
		in tone)
	What?

			ELLIE
	My ass if falling.

			MIKE
	Your what...?

			ELLIE
	My ass is falling.  It is.

			MIKE
		(a laugh)
	What are you talking about?

			ELLIE
		(appears in the door;
		stricken)
	I just saw it in the mirror, it
	doesn't look like my ass anymore.

			MIKE
	Get in bed.

			ELLIE
	What am I gonna do?  I jog, I do the
	exercises on TV in the morning...
	gravity...

			MIKE
	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.

			ELLIE
		(a declaration)
	Tomorrow, I start looking for our
	house... You love me?

			MIKE
		(deeply)
	You got no idea...

			ELLIE
	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
DARKNESS.

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
CITY.


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
BLINDING BRIGHTNESS...


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
dance.

There is also an entrance-by-invitation-only grand salon.

ANGLE

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.

			WIN
	Hi... nice to see you... thank
	you... my pleasure...

			A MET BENEFACTRESS
		(effusively)
	Thank you so much for agreeing to
	host us tonight.  It's really
	extraordinary!

			WIN
	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...

			WIN
	Claire!

			CLAIRE
	Hello, Win.

And he embraces her.

			CLAIRE
		(introducing her
		companion)
	You know Neil Steinhart?

He grins broadly, taking NEIL'S hand; then right back to
CLAIRE.

			WIN
	Of the filthy rich Steinharts?  Why
	is it Claire always connects with
	the richest men this side of Saudi?

			NEIL
		(to Win; meaning the
		club)
	This gives new meaning to the word
	nightlife.

WIN acknowledges the obligatory compliment with a closed
smile, impatiently returning to CLAIRE:

			WIN
	C'mon, let's get outa this lowbrow
	rag trade...
		(smiles, cutting
		Neil out)
	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
invitees.

			MANAGER
		(a dilemma)
	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
CORNER.


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
here.

			WIN
	Skiddy and Kit?  I haven't seen them
	since that shitty pasta dinner on
	the cape.

			CLAIRE
	They've got two monsters now.  Both
	boys.

			WIN
	And so what's with Steinhart?  Is it
	serious?

			CLAIRE
	You didn't like him?

			WIN
	Looks a little constipated to me.

			CLAIRE
		(needling him)
	It's called "solid"... Nice to find
	someone you can count on, Win.

					CUT TO:

INT.  BASEMENT - REAR - ENTRANCE - NIGHT

VENZA entering, a rush, NOISE and ACTIVITY from the alley
outside; the throbbing new MUSIC overhead.

JOEY VENZA

Immaculate as always, in a conservatively-cut European
pinstripe, VENZA strides tautly into the shabby corridors.

					CUT TO:

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.

			WIN
	The main floor stays public.  The
	side rooms we try to keep available
	for special functions like tonight.

He turns and takes her arm.

			CLAIRE
	It's terrific Win.

			WIN
	You still writing the occasional
	magazine article?

			CLAIRE
	Occasionally.

			WIN
	Then c'mon.  Follow me.  The art's in
	the basement, you're going to get a
	privileged peek.

He leads her to the freight elevator.

			VOICE (O.S.)
	Claire!

A sociable FOURSOME descends on them.  It looks like it's
going to be a long conversation.

			WIN
		(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.

			NEIL
	Where's she go?

			WIN
	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
offices.


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
is empty.

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.

			WIN
	You're in overtime, Freddy.

FRED nods, putting down his case cutter, using a side
exit.

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.

			CLAIRE
	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
here.


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.

			VENZA
		(bear, icily)
	You need money, you come to me.

WIN turns.

			VENZA
		(approaching,
		soundlessly)
	Who the fuck do you think you are,
	raising cash without coming to me?

			WIN
		(calmer)
	Your ex-partner... I'm buying you
	out, Joey.  Read the contract.
	There's ample provision.

			VENZA
	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

			VENZA
		(stares, wildly)
	Two years ago you were begging me
	for the money.  Nobody would've
	touched you...

			WIN
	You're making an eighty percent
	return.  Which is what you wanted.

WIN turn away from VENZA.  VENZA grabs his arm violently.

			VENZA
	Don't turn away when I'm talking to
	you.

			WIN
		(beat with
		deliberation)
	Grease and water still don't mix,
	Joey.

VENZA

slashes one of the canvases (A Rosenquist) with the case
cutter... Then another...

ANGLE - WIN

			WIN
		(stunned)
	Jesus Christ... are you crazy?

ANGLE

Venza slashes another.

			WIN
	Joey!

VENZA

turns, slashing WIN.

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.

VENZA

slashing WIN again, losing all control.

			WIN
		(staggering back)
	Jesus...!

CLAIRE ROUNDS THE CORNER

Seeing WIN, she stops.

ANGLE

VENZA continues to attack him, stabbing WIN to the floor.

CLAIRE

screams, unable to imagine or believe it.

VENZA

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.

CLAIRE

steps back, turning and moving back toward the elevator,
running.

VENZA

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
RING.

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
light.

			MIKE
	T.J...?  Is this a joke?  Are you
	kidding me?
		(listening, not
		liking what he
		hears)
	Give me 20 minutes.

MIKE hanging up the phone, turns to ELLIE.

			ELLIE
		(mumbling from under
		the covers)
	Switch the light off on your way
	out.

					CUT TO:

INT.  UNMARKED CAR - NIGHT

MIKE and T.J. disheveled and tired, drinking out of
styrofoam coffee cups, arriving at the club.

			T.J.
		(grinning)
	Hey Mike, out of the bag into the
	bureau, huh... How do you like it so
	far?

			MIKE
		(giving a half smile)
	Right behind you, T.J.

					CUT TO:

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
attire.

The man in charge and coping is LIEUTENANT GARBER; in
plainclothes, fiftyish, rough-hewn.

			GARBER
	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.

			GARBER
		(to them, on the
		move)
	Blood bath downstairs.  The owner of
	this place is dead.  And I got a
	witness, and a suspect... Joey
	Venza.

T.J. reacts to the name.

			T.J.
	Where's Venza?

			GARBER
	Nice question.  I like questions
	like that.

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.

			MIKE
		(to T.J.)
	Who's Joey Venza?

			T.J.
	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.

			GARBER
		(returning, re: the
		crowd)
	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"
diplomacy.

			T.J.
	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.

			GARBER
		(to Mike, the "new
		boy")
	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
	Chiefs...

					CUT TO:

EXT.  WIN HOCKINGS' OFFICE - CLUB - NIGHT

A uniformed COP guarding the door as MIKE approaches,
flashing his shield.

			COP
	Quit playing with yourself, Keegan.
	I know who you are.

			MIKE
		(grinning)
	A Detective's supposed to identify
	himself.

					CUT TO:

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.

			NEIL
		(upset)
	Are you in charge here?

			MIKE
	No, sir...

			NEIL
	I asked for the man in charge...

			MIKE
	That would be Lieutenant Garber, and
	he's very busy upstairs...

			NEIL
	Don't tell me he's "busy".  I asked
	for an ambulance for this woman
	and...

			MIKE
	Is she injured?

			CLAIRE
		(softly)
	No.

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.

			NEIL
		(to Claire)
	You're not going to talk to anyone
	without a lawyer.

			MIKE
	She's not a suspect, sir, she's a
	witness.  Could I ask you to step
	outside, please.

			NEIL
	No, I will not step outside.

			MIKE
	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.

			NEIL
		(icily)
	I don't really see what that has to
	do with...

			CLAIRE
		(deadened; to Neil)
	Neil, do what he says.

ANGLE ON MIKE AND NEIL:  at a standoff.

			CLAIRE
		(quietly)
	Please.

MIKE OPENS THE DOOR for NEIL.  NEIL reluctantly swallows
it.

			NEIL
	I'll be right outside.

NEIL grudgingly leaves.  MIKE quietly closes the door.

ANGLE CHANGE:  CLAIRE and MIKE alone.  He sits down.  A
beat.

			MIKE
	Can I get you a cup of coffee or
	something?

Her plaintive eyes turning to meet his.

			CLAIRE
		(lost)
	I've never seen anyone killed
	before.

			MIKE
	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.

			MIKE
	We'll go slow.  Okay?  We'll get
	through it together.

					CUT TO:

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
office.

			GARBER
	I don't know how you did it, but
	whatever it was, keep doing it.

			MIKE
		(puzzled)
	I just sat and listened.

			GARBER
	Safe and secure is how we want her.
	Until she I.D.'s Venza.

T.J. has joined them.

			GARBER
	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
	danger.

			T.J.
	I don't like what I'm hearing...

			MIKE
		(to Garber)
	I don't understand.  If there's any
	danger, why not just level with
	her...

GARBER turns back to MIKE

			GARBER
		(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.

			MIKE
	Chief?

GARBER turns back.

			MIKE
	Why not Patrol?  They'd do just as
	good a job.

			GARBER
	When I want your advise, Keegan,
	I'll make an appointment.

GARBER MOVES ON OUT.  MIKE and T.J. left alone.

			MIKE
		(disappointed)
	Shit!  A Nursemaid!  My first
	detail, and I'm a fuckin' slug!
		(turning to T.J.)
	I got a 'choice' at all.

			T.J.
	Do it, or look for another
	profession.  That's a choice I
	guess.

			MIKE
	You in this with me?

			T.J.
	Yeah!  Seniority gets the day shift.


EXT.  BACK OF MIKE'S HOUSE - DAY

ELLIE IS SEEN unloading groceries from the rear of a small
hatchback...


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.

			MIKE
		(yelling)
	Tommy!  Goddamnit!  Get these
	skateboards off the goddamn kitchen
	floor!

TOMMY whizzes through, expertly picking it up "on the
move," MIKE taking a futile swipe at him.

			TOMMY
	What're we having?

			MIKE
	My special, scrambled eggs surprise.

			TOMMY
		(frowns dubiously)
	Scrambled eggs surprise?

TOMMY goes whizzing on out again.  ELLIE comes in loaded
up with the groceries.  Puts them down, giving MIKE a
kiss.

			ELLIE
	So how'd it go?

			MIKE
	Not great.  I've got a babysitting
	job for a material witness on a
	homicide.

It explains his mood.  ELLIE starts putting away the
groceries.

			ELLIE
	For how long?

			MIKE
	'Til they pick up the perp.
		(he sits)
	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.

			ELLIE
	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.
		(shouting)
	Tommy!  Come over here and eat, it's
	hot.

TOMMY enters.

			MIKE
	Maybe you and Tommy should stay with
	my Mom.

ELLIE makes an expression of dislike.

			MIKE
	Don't start... The only reason is
	that the neighborhood's shi...
		(realizing that
		Tommy is listening)
	... crummy.  I just don't like the
	idea of leaving you alone here at
	night.

			ELLIE
	I can still use a gun.

			MIKE
	Just keep it someplace safe, but
	handy.

TOMMY joins then at the table.

			TOMMY
		(zooming in)
	Keep what handy?

			ELLIE
	Nothing.

			TOMMY
	The gun?  It's in the upstairs
	closet.

			MIKE
	How do you know where the gun is?

			TOMMY
	I know where everything is.

			MIKE
	Except the goddamn skateboards,
	which are everywhere!  I'd like to
	kill the guy who invented those
	things.

			TOMMY
	Lay back, Mack.

			MIKE
	Lay back, Mack!!  What's this "lay
	back, Mack?"
		(to Ellie)
	Where does he get this?

Silence; they eat... ELLIE'S eyes finding MIKE'S.

			ELLIE
	Keep the weekends for us, huh?  Get
	a replacement for Saturday nights.
	That'll give us the weekends
	together.

TOMMY'S face screws up, tasting the lump of food in his
mouth.

			TOMMY
	God!  Scrambled eggs surprise?!
	These are pickles...!  God!

			MIKE
	Just "lay back, Mack"... lay back...

					CUT TO:

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
in.


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".

			GARBER
		(approaching Mike)
	You remember Detective Keegan?

			NEIL
		(expressionless)
	I do.

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
"disinterested"?

			NEIL
	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
	the washroom.

			T.J.
		(under his breath to
		Mike)
	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.

			MIKE
		(reacting; to T.J.)
	Not Koontz.

			T.J.
	Be happy.  He's good at this.

			GARBER
		(to Neil)
	We'd like to, just once, get a look
	at the entire layout, so we can
	evaluate security.

			CLAIRE
	This really isn't necessary.  The
	security in this building is about
	the best in the city.

			GARBER
		(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.

			CLAIRE
	Be my guest.

			GARBER
		(to his troops)
	Guys.

ANGLE - HALLWAY

as GARBER withdraws; MIKE, T.J., KOONTZ to start their
check.

			MIKE
		(to Garber)
	What about when she goes out?

			GARBER
	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.

			MIKE
		(re: the "door")
	Pretty good.

ANGLE - NEIL

turns, returning to CLAIRE in the LIVING ROOM.

			NEIL
	Why an I reminded of the Three
	Stooges?

					CUT TO:

INT.  CLAIRE'S LIBRARY - MOMENTS LATER

KOONTZ checking the windows and terrace.

					CUT TO:

INT.  KITCHEN - SAME

MIKE, MARY the MAID in there with him.

			MARY
		(officiously)
	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
		answer)
	Just about everything you'd want
	will heat up by turning this to
	ninety seconds.

					CUT TO:

INT.  CLAIRE'S BEDROOM - SAME

Utterly sumptuous; T.J. uttering a low "whistle" of awe.

					CUT TO:

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.

			MIKE
		(under his breath)
	Fuckin' A.

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.

			CLAIRE
	Excuse me.

ANGLE ON CLAIRE

			CLAIRE
	This is my dressing room, and these
	are my clothes.
		(holding herself
		firm)
	I understand your responsibilities...
	but I'd appreciate you staying out
	of here at all times.

MIKE:  chastened, nods.

			MIKE
	Sorry.  Just checking.

He starts away.  MOMENTARILY baffled by the MANY-ANGLED
REFLECTIONS OF HIMSELF in the MIRRORS.

			CLAIRE
	Straight ahead.

			MIKE
	Hard to find doors in this place.

MIKE:  embarrassed, apologetic.

			CLAIRE
	... Detective Keegan, I hope you
	understand how upsetting this is?

					CUT TO:

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.

					CUT TO:

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
material.

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.

			NEIL (O.S.)
		(barely audible)
	... just saying you should think
	twice about it...

			CLAIRE (O.S.)
	... 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

			CLAIRE
	... 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...

			NEIL
	Claire...

			CLAIRE
	... He killed Win... he enjoyed
	it...

			NEIL
	Win made his choices, Claire.  We
	all do --

			CLAIRE
	And I'm making mine.

She looks at him; a beat, emotionally.  He remains steady.

			NEIL
		(gently)
	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...

			CLAIRE
	What am I supposed to do?!  I saw
	one of my oldest friends get killed!
	And I saw who did it!
		(through tears)
	I can't just -- "let it go away"!!

			NEIL
		(gently)
	Claire...

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.

			MIKE
		(chagrined)
	I like 'em toasty.

ANGLE ON MARY:  staring at him, amused.

			MARY
	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.

			NEIL
	You're here 'til what time?

			MIKE
	I'm relieved at 4:00 A.M.

NEIL noticing the Renoir.

			NEIL
	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.

					CUT TO:

INT.  CLAIRE'S VESTIBULE - LATER

2:45 A.M. (the clock ON THE WALL); pindrop silence; MIKE
alone.

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.

					DISSOLVE TO:

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...

					CUT TO:

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
the afternoon.

					CUT TO:

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.

			MIKE
	Hey!  What the hell're you doin' to
	my car?

ELLIE emerges from underneath the hood, flushed.

			ELLIE
	Changing the sparks.  They showed it
	on TV.  What d'you think?

			MIKE
	I think television's a dangerous
	thing.

			ELLIE
	It's twenty bucks in the bank.

Slamming the hood.  TOMMY revs the engine ELLIE moving
down the steps towards MIKE.

			ELLIE
	Enough, Tommy!  C'mon.  Get out of
	there!

ELLIE moving towards MIKE, she slipping her hand into his
underpants:  Their eyes meet, lovingly.  She laughs.

			MIKE
	Hey.  The neighbors.

			ELLIE
	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.

			ELLIE
	I read the article.  You didn't tell
	me she was so beautiful.

			MIKE
		(Mister Honest)
	Well, actually, she looks better
	than that.

ELLIE playfully makes a move, JABBING AT HIM, MIKE stops
her, ending WITH A HUG.

			MIKE
	I've got to go.

MIKE kisses her.  ELLIE holds MIKE'S face with her gloved
hand.

			MIKE
	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.

			MIKE
	Okay?

			ELLIE
	Unbelievably handsome.  You look
	fantastic in a suit.

			TOMMY
	Nice threads Dad.

			MIKE
	Yeah, I think so.

MIKE leaves.


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
determination.

			MIKE
		(brilliant)
	Hi.

			CLAIRE
	I'm sorry.  I'm not sure how this
	works.  I have to go out... is that
	all right?

			MIKE
		(unprepared)
	Uh...

			CLAIRE
	I have to pick something up before
	Bergdorf's closes, then stop at a
	reception just a few blocks away.

			MIKE
		(faltering)
	I think, maybe, that isn't such a
	great idea...

			CLAIRE
	Lieutenant Garber said that in all
	likelihood there was no real danger,
	is that true?

			MIKE
	Right.  That's true.

			CLAIRE
	Can we go then?

			MIKE
	I'm supposed to call in.

			CLAIRE
	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.

			CLAIRE
	Do you have another tie?  Something
	more conservative?

			MIKE
		(confused, then
		realizing)
	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,
after.

					CUT TO:

INT.  LIMO - SAME - NIGHT

MIKE fumbles, searching the console for the car phone.
She finds it easily, picks it up.

			CLAIRE
	What's the number?

					CUT TO:

INT.  DOWNTOWN HEADQUARTERS - GARBER'S OFFICE

GARBER is on the other end of the line.

			GARBER
	Oh, Jesus, what a fucking lunatic.
	Fucking shopping.
		(he thinks)
	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.

			CLAIRE
	What did he say?

			MIKE
	He thinks you're being a little
	careless.  He made the point several
	times.

MIKE sets down the phone.  They settle back; trying to
feel "comfortable" in one another's presence.  It's plenty
awkward.

			CLAIRE
	You live in Manhattan?

			MIKE
	Queens... You know Queens?

			CLAIRE
	My father founded a music school
	there.  The Milton Gregory School.

He politely tries to place it, with no idea.

			CLAIRE
	I'm supposed to speak at their tenth
	anniversary.

			MIKE
	Nice.  Maybe you'll stop by... have
	an aperitif...

It evokes a slight smile but nothing more.

			MIKE
	Maybe not.

					CUT TO:

EXT.  5TH AVENUE SHOP - NIGHT

The limo pulling up, MIKE hopping expertly out before it
stops moving.

It's parked in a red zone, with tow-away signs everywhere;
a PATROLMAN notices from the curb.

			MIKE
		(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
going.

			PERFUME LADY
	Hello, Miss Gregory.

CLAIRE steps onto the ESCALATOR; MIKE on alert,
scrutinizing the crowd.  He gets on right behind.  They
ascend.

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.

			DARK-SUITED MAN
	I'm sorry... I thought this was
	down...

ANGLE ON MIKE; SHAKEN.  CLAIRE giving him a long unsteady
look, too.

			CLAIRE
	Are you nervous?

			MIKE
	No, Ma'am.

					CUT TO:

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.

			CLAIRE
	Would you wrap it for me, I'll be
	back in a moment.

CLAIRE walks past MIKE.

			CLAIRE
	Could you come with me please.

MIKE follows her.

CLAIRE at the TIE COUNTER, points to the tie rack.

			CLAIRE
	Would you pick one out, please?

			MIKE
	Beg pardon?

			CLAIRE
	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.

			SALESPERSON
	Perfect.

CLAIRE handing it to the SALESPERSON.

			CLAIRE
	Put it on my account, please.

			MIKE
	I got money.

CLAIRE gives a look to the clerk to go ahead with her
order.  SALESPERSON goes off.

			CLAIRE
	If we had more time we'd work on the
	suit too.

					CUT TO:

INT.  THE LIMO - IN MOTION - SAME - NIGHT

MIKE AND CLAIRE; CLAIRE favorably assessing him in the new
tie.

			CLAIRE
	You look quite elegant, actually.

He looks down at it in silence; then, finally:

			MIKE
	My wife likes this suit.

CLOSE ON CLAIRE:  his vulnerability makes her smile.

					CUT TO:

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
place.

			TRAFFIC COP
		(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.

			COP
	Jesus Christ.

			MIKE
	I'm on duty.

			COP
	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.

					CUT TO:

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.

			CLAIRE
	You can touch me, I won't bite.

			MIKE
	Not too sure about that.

He takes her arm, guiding her through the crowd.

The SOUND of a WOMAN'S (MARGE GOODWIN) VOICE attracts
their attention.

			MARGE
		(pushing through)
	CLAIRE!  Claire!  Darling!  Are you
	all right?

She's a SOCIETY MATRON-TYPE, grabbing CLAIRE in an ever-
so-concerned HUG.

			MARGE
	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
	alive...

But ANTONIA, an elegant OLDER WOMAN, has already SPOTTED
HER.

			ANTONIA
	Claire...!

She pushes through, and fairly falls into CLAIRE'S arms.
ANTONIA almost emotionally overcome, that CLAIRE has
managed it.

			CLAIRE
	I wouldn't have missed it, Tony.

			ANTONIA
	You look so beautiful...

ANTONIA looks up to see MIKE.

			CLAIRE
	This is Mike Keegan, the policeman
	assigned to protect me.  Antonia
	Bolt...

She looks up to SEE MIKE:  it directs others to do the
same.

			MARGE
		(change of tone)
	Hello.

			CLAIRE
		(introducing)
	Marge Woodwin, Antonia Bolt, this is
	Mike Keegan...

			MIKE
		(ultra respectful)
	Hello...
		(a deferential nod
		to Antonia)
	... Ma'am.

			ANTONIA
		(liking him; to
		Claire)
	He's got nice eyes.  Very gentle.
		(re: Mike's
		embarrassed
		reaction)
	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.

			MIKE
	Uh, yeah.  I'm a policeman.

			PRETTY YOUNG THING
	Ever shot anyone?

			MIKE
	Yes.

			PRETTY YOUNG THING
	Does it make you... hard?

			MIKE
	... 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.

			MIKE
	Would you excuse me, please?

HE PUSHES TOWARD CLAIRE, catching her eye.

			MIKE
	Would you consider leaving here
	pretty soon?

CLAIRE relaxed, clearly having a good time.

			CLAIRE
	People think I'm stepping out on
	Neil.  We're causing quite a
	scandal.

			MIKE
		(confidential)
	Hey!  There are crazy people here.

			CLAIRE
	Let's get a drink.

			MIKE
	Ah... I shouldn't... on duty.

She plows toward the crowded bar, just inside the ballroom
entrance, MIKE following.

			CLAIRE
	I'll have a spritzer, order
	something soft for yourself... I
	must go for a pee.

			MIKE
	I'll come with you.

			CLAIRE
	I think I can probably do that on my
	own.

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.

			MIKE
		(irritated)
	Gimme a spritzer, and a... vodka
	martini.

MIKE seeing the Pretty Young Thing.

			MIKE
	Make it a double.

					CUT TO:

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.

					CUT TO:

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.

					CUT TO:

INT.  LADIES' ROOM - SAME

LOW ANGLE on the door -- as a pair of men's shoes pass
through frame.

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.

					CUT TO:

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.

					CUT TO:

INT.  LADIES' ROOM - SAME - NIGHT

CLAIRE attempting to breathe -- her FACE being brought to
within an inch of his.

			VENZA
	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
	easy.

CLOSE ON CLAIRE:  her eyes wide with TERROR.  He rubs his
thumb across her mouth, smearing the lipstick.

			VENZA
	Now walk outta here.  And if you
	ever see me again... you never saw
	me before.

To make his point, he SQUEEZES HARDER -- CLAIRE'S eyes
bulging, as TEARS run from her eyes.

					CUT TO:

INT.  MUSEUM - UPPER TIER - SAME - NIGHT

MIKE, finally putting distance between him and the "PRETTY
YOUNG THING."

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'
room.

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.

			MIKE
	Take care of her!

MIKE TAKES OFF AFTER VENZA --


INT.  UPPER TIER

OUT OF LADIES' ROOM, AND UP THE RAMP TO THE NEAREST (THE
UPPER) LEVEL.

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
FRONT ENTRANCE.

					CUT TO:

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.

			MIKE
	Venza!

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,
and SMILING.

ANGLE ON MIKE:  confused -- seeing that the man VENZA
stopped to talk to is a PATROLMAN, he'd stopped to give
himself up.

CLOSE ON MIKE:  breathless as he moves toward VENZA.  MIKE
frisks VENZA as he turns, SMILING at MIKE.

					CUT TO:

INT.  PRECINCT - DAY

MIKE and T.J. with GARBER, MIKE being CONGRATULATED by
COPS who pass.  But GARBER doesn't look happy.

			MIKE
		(protesting)
	But I got him!  He's in jail!
	Wasn't that the point...?!

			GARBER
	You apprehended him after he gave
	himself up --

			MIKE
	It wasn't a bad bust.  He gave
	himself up because he knew I was
	gonna nab him.

			GARBER
	Anyone who turns himself in makes a
	good case for bail.

			MIKE
	Even Joey Venza?!

			GARBER
	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.

			MIKE
		(protesting)
	What about when she identifies him?!

			GARBER
	If she identifies him.
		(turns, unloading on
		him)
	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.

			T.J.
	Wasn't your fault.

			MIKE
		(exasperated)
	It was my fault, T.J.  Fuck!

					CUT TO:

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.

			ELLIE
	The real estate lady left, she
	couldn't wait anymore.  What took
	you?

			MIKE
		(upset)
	Oh, some shit.

			ELLIE
	What shit, honey?

			MIKE
	You don't want to hear about it.

ELLIE begins to show him the place.

			ELLIE
	... Look at the fireplace.  You
	don't get workmanship like that
	anymore.

ANGLE ON MIKE:  preoccupied.

			ELLIE
	Ninety-seven five.  What do you
	think?

He nods, trying hard to "be there," but ELLIE isn't
fooled; she assesses him with concern.

			ELLIE
	Honey.  You got him.

			MIKE
	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.

			ELLIE
		(the voice of
		sanity)
	She's got to identify him.

			MIKE
	Why?

			ELLIE
		(taken aback)
	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.

			MIKE
	I think -- she's crazy.

			ELLIE
	I'd identify him.

			MIKE
	I might stop you.

A beat.

			ELLIE
	Oh I can see you've had a bad day.
	We'll see the house another time,
	okay?

			MIKE
		(trying to recover)
	No!  No!  I'm sorry.  Ninety-seven
	five right?

			ELLIE
	Where'd you get the tie?

He's wearing the tie CLAIRE bought him.

			MIKE
		(distracted)
	Bought it.

			ELLIE
	It's not your taste.

			MIKE
	What did she say the down payment
	was?

PAUSE.  DEAD SILENCE.

			MIKE
	She didn't like the other one, so
	she picked this one.

			ELLIE
	She took you shopping for a tie?

			MIKE
	I had to follow her to a store.

			ELLIE
	What's wrong with your paisley tie?

			MIKE
	Ellie, it was a formal party...

			ELLIE
	Excuse me!  You went to a party with
	her?

			MIKE
	I'm her bodyguard, goddamnit...

			ELLIE
	I know you're her bodyguard.  Did
	she buy it or did you?

			MIKE
	She bought it.

			ELLIE
	Why?

			MIKE
	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.

			ELLIE
		(joking)
	No, I don't want the 'fuckin'" tie
	-- I'm sorry --
		(conciliatory)
	I'm glad she bought you a tie.  You
	needed one.  You look good in that
	tie.
		(a beat)
	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
nose.

			ELLIE
	You want to see the bedroom.

					CUT TO:

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
doorway.

			CLAIRE
	Hi.  Just checking to see if you're
	here.

			MIKE
	I came on at 8:00.

An awkward silence.

			MIKE
	You all right?

			CLAIRE
	Yeah.

			MIKE
	I'm sorry about what happened.

			CLAIRE
	Listen, that was my fault.

			MIKE
		(disagreeing)
	I shouldn't have listened to you, I
	should've followed you right into
	the "can" the way he did.

			CLAIRE
	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
fades.

			CLAIRE
	Lieutenant Garber says when I
	identify him, they're going to lock
	him up and throw away the key.

MIKE nods; buttoning his lip.

			CLAIRE
	I guess I'm supposed to do it in the
	morning.  Identify him.

			MIKE
		(uneasy)
	Sooner, the better.

			CLAIRE
	He said he'd kill me.

			MIKE
	Big talk... Desperate guy.

			CLAIRE
	Right.  How could he do that if he's
	in jail and they've thrown away the
	key...?

MIKE is TORN.

			MIKE
	It's the right thing to do.
	Identifying him.

She starts to walk away.

			MIKE
	Claire?

			CLAIRE
	Hmm...

			MIKE
		(holds up a book)
	You wouldn't happen to know what
	language they speak in India, do
	you?

			CLAIRE
	Urdu and Hindi.

			MIKE
		(amazed)
	Yeah, what a woman.

He marks it in his CROSSWORDS:  she moves closer,leaning
over his shoulder to see.

			CLAIRE
	Didn't do very well, did you?

			MIKE
		(a laugh)
	Nope... never finished one yet.  I
	hate these things.

			CLAIRE
	You were reading my Renoir.

			MIKE
	How did you know?

			CLAIRE
	You put it back in the wrong
	place... Do you like Renoir?

			MIKE
		(thoughtful)
	They're kind of fuzzy.

			CLAIRE
	You know why they're like that...?
	He was myopic... going blind.

			MIKE
	No kidding.

In the SILENCE that follows, their eyes on each other,
appraising.

			CLAIRE
	So, this could be your last night,
	huh?

			MIKE
	Could be, I guess.

			CLAIRE
		(a thought)
	Want to go out for a drink?
		(re: his surprised
		expression)
	I mean, we're both sitting here, and
	Joey Venza's in jail...

			MIKE
		(a beat)
	Yeah, I like that!  Where you go, I
	follow.

					CUT TO:

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
company.

			CLAIRE
		(laughing)
	You mean to tell me, a mugger would
	stay away from someone because they
	walked a certain way?

			MIKE
	Absolutely.  Look at this.

He demonstrates a peculiar walk; arms and legs moving in
ridiculous awkwardness.

			CLAIRE
	That's the dumbest walk I ever saw!

			MIKE
		(indignant)
	No, no seriously!  There's a study
	done on this, you walk this way, the
	muggers are gonna single you out.

			CLAIRE
	And die laughing, because you're
	walking so stupid!

			MIKE
		(mock anger)
	Hey.  This is my business.  Do I
	tell you your business.

			CLAIRE
	Okay.  Let's just see if a mugger
	gets me.

She takes off down the street; walking stupidly, worse
than he did -- he's LAUGHING as he WATCHES HER GO.

					CUT TO:

INT.  PATROL CAR - NIGHT

The COPS following exchange dubious glances, getting a
glimpse of the strangeness.

					DISSOLVE TO:

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."

			MIKE
	... 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...

			CLAIRE
	So it was "love".

			MIKE
	Yeah.  It was.

			CLAIRE
	And "is"...?

He hesitates; but nods.

			MIKE
		(confirming it)
	Yeah.

			CLAIRE
	That's nice.  And you live in
	Queens?  With a child, and a dog...?

			MIKE
	No dog.

			CLAIRE
	I saw you with a dog, in my mind.

			MIKE
	No dog.

			CLAIRE
	But "nice".

			MIKE
	Very nice.

Her envy is plain.

			MIKE
	What about Neil?

			CLAIRE
	You don't like him, do you?

			MIKE
		(a pause)
	What's to like?

			CLAIRE
		(amused)
	Tell it like it is.

			MIKE
	You asked.

			CLAIRE
	He's very caring, in his way.  You
	haven't seen him at his best.

			MIKE
	You could do better.

			CLAIRE
		(laughs)
	I'll miss you, Mike...

ANGLE ON BOTH:  the music playing.

			CLAIRE
	It was nice having you "watch over
	me"...

			MIKE
	Yeah.  I liked being around you
	too... Claire.

CLOSE ON MIKE:  feeling a moment of awkwardness.

			MIKE
	Let's go home.

					CUT TO:

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
shoulders.

					CUT TO:

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.

					CUT TO:

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.

			CLAIRE
	Good night, Mike.

			MIKE
	Sleep good.

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.

			NEIL
	It's 3 o'clock in the morning.
	Where the hell have you been?

					CUT TO:

INT.  DOWNTOWN HEADQUARTERS - DAY

MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE:
It's like running a gauntlet.

			COP #1
	Hey, Mike, tough night.

			KOONTZ
	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...
		(a beat)
	... I heard he had her underpants on
	his head.

That one got to him; stopped dead by it, he turns, giving
KOONTZ a challenging look.

			COP #1
	Ease up, Mike.  Ain't nobody gonna
	tell the old lady.

CLOSE ON MIKE:  cooling down -- then girding himself for
GARBER.

			KOONTZ
	Ain't the first time the taxpayers
	paid for a blow-job neither.

					CUT TO:

INT.  CORRIDOR - DAY

GARBER and MIKE on the carpet.

			GARBER
		(steamed)
	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.
		(in motion)
	Let's get this over with...

In the room next to the corridor, KOONTZ interrupts the
shift already there, entering.

			KOONTZ
	Okay, we're gonna have a line-up
	here...

The OTHER COPS grab their things and scatter, not wanting
to get involved in another cop's headache.

					CUT TO:

INT.  FARTHER DOWN THE CORRIDOR - SAME - DAY

CLAIRE approaching with NEIL, with T.J. on guard-duty.

			GARBER
	Good morning, Miss Gregory.

MIKE AND CLAIRE catch each other's eyes.  He sees how
nervous she is.

			CLAIRE
	It was my fault not Detective
	Keegan's, I'm sorry for all the
	fuss.

NEIL catches MIKE'S glance at her; reassures himself with
a glance at CLAIRE, straightens, still steamed from last
night.

GARBER picks up on it, not liking the tension, especially
not now; his eyes throw daggers at MIKE.

			GARBER
		(to Claire)
	You all ready?

			NEIL
		(playing the
		protector role)
	Will this take long?

			GARBER
	We'll see.

GARBER TURNS, getting them started.

					CUT TO:

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.

			GARBER
	They can't hear you, they can't see
	you...
		(introducing pro
		forma)
	Mr. Venza's attorney, Mr. Neuman;
	arresting officer Keegan...
		(to Claire)
	Good luck.

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
PARTICIPANTS IN.

			KOONTZ
	Okay, take a seat... you, put a
	couple phone books under your
	rear...

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
patiently, casually.


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
positive identification.

					CUT TO:

INT.  SUBWAY - EVENING

MIKE, empty-eyed.  On his way HOME.

					CUT TO:

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
watching.

			ELLIE
	Coming to bed?

			MIKE
	Few minutes.  Want to catch the
	news.

			ELLIE
		(hesitant)
	Should I wait up?  We've got to get
	up early for the beach tomorrow.

			MIKE
	I'll be right up.

She accepts it, reluctantly -- returning to the BEDROOM.

CLOSE ON MIKE:  hitting the remote to SCAN the channels;
troubled.

					CUT TO:

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.

			NEIL
	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.

			NEIL
	The change would do you a world of
	good.

She straightens, suddenly attentive, in response to
something on the TV.

It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV
NEWSMAN reporting:

			TV NEWSMAN
	Denied bail, Joey Venza will remain
	behind bars at least until the time
	of the trial --

ANGLE ON NEIL, watching.

			NEIL
	Hallelujah.

He gives her a drink, leaning down to kiss her on the
forehead.

			NEIL
	At least now we can get on with our
	own lives.

					CUT TO:

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
pass through.

			MIKE
	Hey, not yet!  How many times...

Roughhousing TOMMY, MIKE gets him squealing.  ELLIE
enters, stomping her feet clean, coming in from the
garden.

			ELLIE
	God, it's freezin' out there.

She blows on her hands, shows MIKE how cold, putting them
against his cheeks.

			MIKE
		(wincing)
	Ah!

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.

			TOMMY
		(a beat)
	Wait a sec.

He offers the phone out to ELLIE.

			ELLIE
	Hello.
		(a beat)
	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.

			MIKE
		(into phone)
	Hey Lieutenant, how are you...?
	What?!
		(to Ellie)
	Venza's out.
		(back to phone;
		pissed)
	Why didn't the I.D. unit or the
	D.A.'s office know about his sheet?
		(a beat)
	Ah shit... Yeah, yeah, okay I'm on
	my way in.

He SLAMS DOWN THE PHONE, raging.

			ELLIE
	What?

			MIKE
	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.

			ELLIE
	Mike, take it easy...

			MIKE
	Take it easy!  I set her up.  I saw
	it coming.

			ELLIE
	It's not your fault.  Mike, please
	get off the case.

			MIKE
		(distraught)
	It is my fault!  I'm responsible for
	her!

			ELLIE
	Did you hear what I said?

			MIKE
	Did you hear what I said?!!

SILENCE.

			MIKE
		(to Ellie, with
		finality)
	I'm due on at seven.

He dumps the rest of the lunch preparations in the sink,
exiting.

ANGLE on TOMMY and ELLIE looking distraught.

			TOMMY
		(dismally)
	We're not going to the game, are we
	Mom?

			ELLIE
		(pulling herself
		together)
	Sure we are, let's go!

					CUT TO:

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.

					CUT TO:

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.

					CUT TO:

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.

			KOONTZ
	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.

			KOONTZ
		(packs it under his
		arm)
	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
poured.

			MIKE (O.S.)
	Claire?

			CLAIRE
		(frightened)
	What do you want?

			MIKE (O.S.)
	Open the door, will you?

			CLAIRE
	I can't open it.

			MIKE (O.S.)
	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.

			CLAIRE
	You put me life in danger.

			MIKE
	No, you'll be safe.  We're gonna
	pick him up again...

			CLAIRE
	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
PROPORTIONS.

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

			MIKE
		(searching for her)
	Claire...?

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.

			MIKE
	What are you doing?

The dress on, she SWEEPS past him, heading toward the
doors.

			CLAIRE
	You told me I'm safe?  I'm going for
	a walk in the park.

			MIKE
	Claire, will you calm down?

			CLAIRE
	I'm perfectly calm, I'm a normal
	human being.  I'm going for a walk
	in the park.

			MIKE
	Claire...!

She heads out the bedroom door.

					CUT TO:

INT.  HALL - SAME - NIGHT

ANGLE ON CLAIRE:  as she heads down the hall moving fast,
he's right behind her.

			MIKE
	Stop, will you?!

HE GRABS HER, SPINNING HER AROUND.

			CLAIRE
		(struggling)
	Let go!

			MIKE
	Stop being nuts!

			CLAIRE
		(hysterical)
	I trusted you!  I thought you cared
	about me?!

			MIKE
	I do care about you!

			CLAIRE
	More bullshit!  More bullshit!
		(struggling)
	What kind of odds are they giving
	me?  There must be some kind of
	office pool.  One month?  A couple
	of days?

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.

			MIKE
		(handling her close)
	Easy... easy... I'm not gonna leave
	you alone like this...

ANGLE ON CLAIRE:  gasping as she clings to him.

			MIKE
	I'm not gonna let anything happen to
	you...

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.

					CUT TO:

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
earlier.

			TOMMY
		(hushed)
	There's somebody outside...

Recovering from the scare, ELLIE grabs him, relieved,
sinking to her KNEES and HOLDING HIM TIGHT.

					CUT TO:

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
his duty.

			T.J.
	We're gonna need snow boots.

MIKE nods, absently, entering the elevator.  The PHONE
starts to RING in the apartment.

					CUT TO:

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
A RUN.


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
VOICES.


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.

			SCOTTY
	Calm down, everything is okay.
	Ellie reported a prowler.  Probably
	one of those peepers who've been
	making this neighborhood such a
	pleasure...

SCOTTY collects his gun from the table, rising.

			SCOTTY
	We all look like hell.

			BROOKLYN
		(rising)
	Well, there you are...
		(to Ellie,
		unconcerned)
	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.

			BROOKLYN
	Thanks for the coffee.

			ELLIE
		(to both)
	Thanks.  You're terrific.

SCOTTY waves her off with a goodbye, exiting after
BROOKLYN.  ELLIE turns back to MIKE.

			ELLIE
		(sheepishly)
	I'm sorry.  I know I heard noises...
	the detective's wife...

			MIKE
		(tensely)
	I want you and Tommy to stay with my
	mother.

She shakes her head, amused.

			ELLIE
	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.

					CUT TO:

INT.  MIKE AND ELLIE'S DINING ROOM - AFTERNOON

MIKE is threading his necktie.  ELLIE stands behind him,
in the kitchen, grinning.

			ELLIE
	C'mon, don't make an issue of it.
	Do you want the fucking meatloaf or
	not?

			MIKE
	D'you have to say "fucking" every
	other word?

			ELLIE
	What was that?

			MIKE
	You heard me.

			ELLIE
	Jesus, Mike, somebody's been feeding
	you a line of crap.

			MIKE
	What're you talking about --

			ELLIE
	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
him.

			MIKE
	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.

MIKE'S POV

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.

					CUT TO:

INT.  SUBWAY - EVENING

MIKE walking along the platform amidst the crowded car,
returning to his work and his destination.

					CUT TO:

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.

			CLAIRE
	Is everything all right?

His stare is unyielding.

			MIKE
	Yeah.

			CLAIRE
	They called here after you left...

			MIKE
		(sharply)
	She's okay.  Everything's okay...

He looks up.

			MIKE
		(anguished)
	I don't know you...

			CLAIRE
	This is me, Mike.  There's nothing
	else...

			MIKE
	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
	fuckin' joke?

			CLAIRE
		(beat; sustaining)
	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.

			CLAIRE
	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
	scared...

					CUT TO:

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.

			T.J.
	Mike...?

ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING
MIKE.  T.J. recoils with surprise.

			T.J.
	Oh, man.  I don't believe you.

MIKE steps out, closing the door behind him; distraught.

			MIKE
		(beat)
	All fucked up, T.J.

T.J. issues a long, saddened sigh; just staring at him.

					CUT TO:

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.

					DISSOLVE TO:

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.

			ELLIE
	You gotta get another tour.  We're
	gettin' too old for this.

			MIKE
	I'm sorry.

			ELLIE
	I'm not saying it's your fault.

More silence.

			MIKE
	What did you do tonight?

			ELLIE
	I watched TV.

			MIKE
	What did you watch?

			ELLIE
	I don't remember Michael, go to
	sleep.  You don't have to make
	conversation with me.

She snuggles up to him.

			ELLIE
	I'll make a reservation tomorrow for
	early dinner.  You can sleep till
	noon.

					CUT TO:

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.

			ELLIE
	Hey, we qualify for the Senior
	Citizens Early-Bird Special... Did
	you see Tommy today?  He misses
	you...

			MIKE
	Well.  This'll be over soon.
	Venza's such a nut job, we're bound
	to pick him up soon.

			ELLIE
		(carefully)
	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
	morning shift.

			MIKE
	Well, T.J.'s... seniority... and
	all.
		(evasive)
	I'll talk to Garber about it.

			ELLIE
		(girds herself)
	I already did.  I mean, I talked to
	his wife, and she talked to him...

			MIKE
		(stopped)
	You talked to his wife?

CLOSE ON MIKE:  incredulous.

			MIKE
	My wife talks to his wife about what
	shift I'm gonna take?

			ELLIE
	What's the difference?

MIKE is nonplused; not knowing how to respond.

			ELLIE
	Unless there's some particular
	reason why it feels better to be
	around her at night.

He shakes his head, dismissively.

			ELLIE
	Is there, Mike?

No response; MIKE having trouble with it.

CLOSE ON ELLIE:  sensing deception.  Her eyes begin to
glisten.

CLOSE ON MIKE:  seeing her distress.  Unable to hide his
own.

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.

			ELLIE
	What, what is it?  Is it serious or
	what...?  Quit looking at me like
	that!  What's with this ridiculous
	silence?!

Her eyes flush with tears.

			ELLIE
	Goddamn.  I never thought this
	would happen to me... you fuckin'
	sonofabitch...

She UPSETS her SETTING, GETTING UP from the TABLE, shaking
him off.

			ELLIE
	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
	lady.
		(embittered)
	The kind of "lady" you apparently
	prefer.

			WAITER
		(approaching)
	We got some specials.

She BOLTS from the room; MIKE following her.

			MIKE
		(to the waiter)
	We'll be right back.

					CUT TO:

EXT.  RESTAURANT - PARKING LOT - NIGHT

She weaves toward the car.  MIKE goes after her.

			MIKE
	Let me drive...

			ELLIE
	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.

			MIKE
		(tortured)
	El?  I'm sorry.  I do love you.
		(with difficulty)
	And you are a lady.  I have so much
	respect...

She TURNS and SWINGS AT HIM, catching him SQUARE IN THE
NOSE; he's stunned and bleeding.

			ELLIE
		(through her tears;
		screaming)
	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
her.

					CUT TO:

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
answer.

			MIKE
	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.
		(a beat)
	Just "personal".  I don't know what
	the hell I'm doin', I need some time
	to think.
		(angered)
	Look, do it or don't do it, but
	spare me the fuckin' lecture, all
	right?

He HANGS UP:  miserable.

					CUT TO:

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...

					CUT TO:

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.

			DOORMAN
	I know sweetheart... we have enough
	flowers here.

ANGLE:  VIETNAMESE GIRL, still spouting.

			DOORMAN
	No, no, sweetheart... not here...
	get going... Okay.

ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER
slip by and her mission accomplished.

			VIETNAMESE GIRL
		(sweetly, to Doorman)
	Have a nice day.

THE GIRL:  slyly cursing the DOORMAN in Vietnamese as she
skips off.

					CUT TO:

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.

					CUT TO:

INT.  SPARKS' VESTIBULE

CLOSE ON "JOGGER'S" key, entering the LOCK.  IT TURNS.

CLOSE ON HIS FACE.  He ENTERS.

					CUT TO:

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"
within.

					CUT TO:

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.

			T.J.
	Detective Keegan is... Mike...
	"Michael" asked me to tell you he's
	under the weather.

CLAIRE:  She handles it, crestfallen.

			T.J.
	He'll probably take the morning
	shift.

			CLAIRE
	He's okay?

T.J. spots, over his shoulder, the table, set for two.

			T.J.
	Yeah, just... bad gut.  Y'know.

			CLAIRE
	Oh.

Nothing left to say; she hides her disappointment with a
nod.

					CUT TO:

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.

					CUT TO:

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:

					CUT TO:

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.

					CUT TO:

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.

			T.J.
		(fatigued)
	Tell me I'm dreamin'.

			MIKE
	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
enters.

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
window.

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.

			MIKE
	T.J. agreed to take my shift.  He
	knows about us.

She absorbs it, without response.

			MIKE
		(a beat; with
		difficulty)
	So does Ellie.

She nods.  Thoughtfully.  As though willing to deal with
it intellectually, but avoiding any encounter with her
emotions.

			CLAIRE
	You told her?

			MIKE
	Not exactly.

			CLAIRE
	What do you want to do?

			MIKE
	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.

			CLAIRE
	You're tired.
		(smiles, gently)
	Let me watch over you tonight...

					CUT TO:

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.

					CUT TO:

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
away.

ANGLE INSIDE THE KITCHEN:  CLOSE on the murderous
paraphernalia left on the kitchen table, being assembled
by the "JOGGER".

					CUT TO:

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.

					CUT TO:

INT.  SPARKS' VESTIBULE - SAME - NIGHT

SPARKS' FRONT DOOR quietly "CLICKING" SHUT as the KILLER
EXITS.

CLOSER ANGLE:  THE BUTTON of the ELEVATOR being PUSHED by
a GLOVED HAND.  It activates a "HUM."

					CUT TO:

INT.  CLAIRE'S APARTMENT - SAME - NIGHT

LONG ANGLE down the HALL, on the CLOSED DOOR TO THE
BEDROOM SUITE.

					CUT TO:

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.

					CUT TO:

INT.  CLAIRE'S APARTMENT - SAME - NIGHT

T.J. at the TOILET; yawning as he pees.

					CUT TO:

INT.  CLAIRE'S HALLWAY - SAME - NIGHT

The KILLER pauses, hearing the TOILET FLUSH, retreats the
other way.

					CUT TO:

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
up.

The KILLER moves quickly, catching T.J.'S body, trying to
break its fall as it hits the floor.

					CUT TO:

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
side.


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
ahead.


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.

			MIKE
	Put it down!
		(beat)
	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
the floor.

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.

			MIKE
		(entering, to Claire)
	Get on the floor!  There may be
	more!

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
		(desperate)
	T.J.!

MIKE RUNS, frantically, into the living room, the
bathroom, the den -- CAMERA FOLLOWING HIM into the
KITCHEN.

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
		(sobs)
	T.J...!

MIKE moves by REFLEX, starting mouth-to-mouth.  But there
is blood everywhere.

MIKE desperate; pumping T.J.'S chest.

			MIKE
	Live, T.J.  Please...!

CLAIRE appears behind him, to help.

			MIKE
		(to her)
	Get security on the phone!
	Emergency!

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.

			MIKE
		(his voice cracking)
	Ambulance!  Ambulance!  He's got a
	heartbeat...!

					CUT TO:

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.

			MIKE
		(softly)
	They're operating on him.  He's
	still alive.

			GARBER
		(grim)
	I heard.

A long pause, as he looks at MIKE.

			GARBER
	I heard a lot... Anything you want
	to deny, Mike?

			MIKE
		(almost inaudibly)
	It should've been me...

GARBER:  aware of his own dilemma.

			GARBER
	Then it would've been her, too.
		(beat)
	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.

			GARBER
	Is it "love," Mike?  I hope so.  I
	want it to be worth it, for your
	sake.

No response.

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.

			ELLIE
	I'm going to visit my sister for a
	few days.  I'd like you to get your
	stuff out.

			MIKE
	What about Tommy?

			ELLIE
	He'll live through it.  They all
	live through it.
		(bitter)
	What a world, huh?

Nothing left to say; after a long, last look, she turns to
go.  But stops.

			ELLIE
	Was it Venza?  Did you get him?

			MIKE
	No.

The last thing she's going to do is cry.

			ELLIE
		(her voice giving
		out)
	What a shame.

She TURNS and LEAVES:  MIKE gazing after her.

					CUT TO:

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
circumstances.

			SCOTTY
	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.

			SCOTTY
	Little Scotty stays on Wednesdays,
	and every other weekend.  And know
	what?  Our relationship's never been
	better.

MIKE stares at the room, his heart too heavy to respond.
SCOTTY, with a pat on the back.

			SCOTTY
	Make it home, Mike...

He leaves -- and after a long moment MIKE sits on the edge
of the bed, like an automaton.  Staring.

					CUT TO:

INT.  CLAIRE'S LIVING ROOM - SAME - DAY

CLAIRE and NEIL in the aftermath.  CLAIRE remains silent,
staring.  Whatever is to be said is his.

			NEIL
		(frustrated)
	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
	Claire.
		(with feeling)
	This is the rest of your life we're
	talking about.

NEIL staring at her.

			CLAIRE
	I have thought it through, Neil.

He adverts his gaze, turns, controlling himself, and picks
up his coat to go.

			NEIL
	Call me if anything changes.  I love
	you, Claire.

					CUT TO:

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
SIDE BREAK-IN"

			KOONTZ
	Unbelievable, man, the fuckin'
	jogger... they found him in Atlantic
	City, totally drugged out and still
	jogging...

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,
EXITING.

					CUT TO:

INT.  CLAIRE'S STUDY - SAME - DAY

The PHONE RINGING -- CAMERA FINDING CLAIRE, looking like a
ghost of her past self -- REACHING FOR THE PHONE.

			CLAIRE
	Hello?
		(relieved)
	Mike.  Where have you been?

					CUT TO:

INT.  SCOTTY'S KITCHEN - SAME - DAY

MIKE on the telephone.

			MIKE
	You don't want to know.

			CLAIRE (V.O.)
	Oh, I do want to know.  I tried to
	reach you at the precinct.

			MIKE
	I've moved into Scotty's... Good
	news about T.J., though.  Looks like
	that tough son of a gun is gonna
	pull through.

			CLAIRE (V.O.)
	Oh God, that's great!

			MIKE
		(gently)
	Are you okay?

					CUT TO:

CLAIRE - SAME

			CLAIRE
		(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".

			CLAIRE
	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
	could come...

			MIKE (V.O.)
	Oh that thing in Queens.

			CLAIRE
		(faltering)
	I'm going away after that, the next
	morning.

					CUT TO:

MIKE - SAME

Impacted by it.

			MIKE
	Where?

			CLAIRE (V.O.)
	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.

			MIKE
	When can I see you?

					CUT TO:

CLAIRE - SAME

			CLAIRE
	I don't know.  Garber's left orders
	here not to let you in the building.

					CUT TO:

MIKE - SAME

CLOSE ON MIKE:  beat.

			MIKE
	Oh yeah.  When is it?  This thing in
	Queens.

					CUT TO:

CLAIRE - SAME

			CLAIRE
	Tomorrow night.  Can you come?

			MIKE (V.O.)
		(torn)
	I don't know.  It wouldn't be very
	smart.

			CLAIRE
	Listen, you're right.  Don't do it.
	I'll just... send you an address,
	okay?

Fighting tears; not wanting him to know it.

			MIKE (V.O.)
	Claire...

			CLAIRE
	No really, it's okay, I've gotta go.
	I'm expecting some calls.  I'll be
	fine, really.

			MIKE (V.O.)
	I'll think about Wednesday.

MIKE hangs up, torn.

					CUT TO:

CLAIRE - SAME

Hangs up.


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
store.

			MIKE
	Tommy!

TOMMY SPOTS HIM:  hesitant -- slowly approaching the car.

			MIKE
	How are things going, pal?

			TOMMY
	Okay, I guess.

			MIKE
	How about dinner tonight?

			TOMMY
		(evasive)
	Mom and I got plans.

			MIKE
	What "plans?"  You and Mom got
	"plans?"

			TOMMY
		(after a long pause)
	She's taking singing lessons.

			MIKE
		(incredulous)
	She's what?

			TOMMY
	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.

			MIKE
		(outraged)
	What!  What kind of pathetic line is
	that?

			TOMMY
		(pointing)
	We're gonna pass the street.

MIKE stops.  His goat is gotten.

			TOMMY
	You coming in?

			MIKE
	No, I'm not coming in.  And if you'd
	rather go to a "singing lesson" than
	have dinner with your father...

			TOMMY
	We're not going to a singing lesson,
	she's just gonna start taking
	singing lessons.

			MIKE
	So, what are you doing tonight?

			TOMMY
	Shooting.

			MIKE
	Shooting?

			TOMMY
	Yeah.  She says we gotta get used to
	being alone in this neighborhood.
		(a long beat;
		observing his
		father)
	'Bye, Dad.

TOMMY starts toward the HOUSE.  He's emotional, but
doesn't know how to express it.

			MIKE
	Tommy!
		(a parting shot)
	The guy's a sleaze-bag.  She can't
	sing.

			TOMMY
		(turning back,
		smiling)
	I don't think she can sing, either.

			MIKE
	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
house.

CAMERA PANS SLOWLY -- REVEALING, far down the BLOCK, a
CAR.  VENZA, and ANOTHER MAN (SOSA), are within:
WATCHING.


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
jog.

					CUT 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.

			TOMMY
	Aren't you supposed to aim at the
	head?

					CUT TO:

INT.  CAR - NIGHT

ELLIE in the driver's seat, TOMMY in the back seat.

			TOMMY
		(thoughtful)
	Mom, what's going to happen with you
	and Dad?

			ELLIE
	I don't know Tommy.

A LONG BEAT as TOMMY thinks about this.  His attention
switches to a passing McDONALD'S.

			TOMMY
	Hey, can we go to McDonald's?

			ELLIE
	Absolutely.

					CUT TO:

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
candlelight.

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.

			GIDDINGS
	Hello, Claire.  How extraordinary
	that you came.

			CLAIRE
	It was something my father always
	liked me to do.

			GIDDINGS
		(apprehensive)
	You're planning to speak?

			CLAIRE
	Not if you don't want me to.

			GIDDINGS
		(a brief hesitation)
	Well, of course, we'd be...
	honored...

			CLAIRE
		(understands; gamely)
	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.

					CUT TO:

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
fearing.

					DISSOLVE TO:

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
dispassionately.

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
doing.

HER FACE breaks into the most enormous, and grateful,
GRIN.

CLOSE ON MIKE:  returning the smile as he COMES TOWARD.

			KOONTZ
		(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.

			CLAIRE
		(overwhelmed)
	What a memory.

			MIKE
	Do you dance?

			CLAIRE
	Do you?

			MIKE
	Pretty bad.

			CLAIRE
	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.

			MIKE
	They guys treatin' you all right?

			CLAIRE
		(too emotional to
		really talk)
	Yeah.

			MIKE
	I've been doing a lot of thinking.

			CLAIRE
		(a pause)
	I know.

CLOSE ON HIM:  studying her saddened eyes.

			MIKE
	It wouldn't work.

			CLAIRE
	I know.

The conversation is deeply caring; the tone opposite to
the words.

			MIKE
	I'd miss my life...

			CLAIRE
	... Don't explain.

She rests her head on his shoulders again; they continue
to dance.

			MIKE
	How long you going away for?

			CLAIRE
	Long enough.

			MIKE
	"For"...?

			CLAIRE
	"To"... Forget about you.

CLOSE ON HER:  awash in the nearness of him.

			CLAIRE
	I'll have to pack a lot of clothes.

			MIKE
		(choked up)
	Yeah...

He holds her tight -- his eyes EMOTIONAL as they roam the
room --

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
toward.

			KOONTZ
	Brook's patching a call through to
	you.  He thought he'd find you here.
	It sounds urgent.

MIKE:  Baffled.

			KOONTZ
	He says it's your son.

Exchanging a quick LOOK with CLAIRE, MIKE heads for the
DOORS; she pauses, heading after.

					CUT TO:

OUTER LOBBY - SAME

as MIKE BARRELS through doors.

			KOONTZ
		(pointing)
	The office down the hall.

MIKE BREAKS INTO A RUN.

					CUT TO:

INT.  OFFICE - SAME

as MIKE RACES IN; A PLAINCLOTHESMAN hands him the phone.

			PLAINCLOTHESMAN #2
	He's crying.

			MIKE
		(grabbing the phone)
	Tommy?  What...?
		(frightened)
	What?!  Hello?
		(listening; stunned)
	Who is this?
		(trying to be calm)
	Yeah.  I'm listening.
		(quick)
	No.  Nobody but me.

					CUT TO:

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.

			VENZA
	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.

					CUT TO:

MIKE - SAME

caught in a nightmare.

			MIKE
		(desperate)
	I heard you.  I'll do it.  Just
	don't touch them.
		(a beat)
	I...
		(a pause)
	Lemme talk to my son.
		(suddenly)
	Hello?

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.

			MIKE
		(stunned)
	They got my family.
		(to Koontz)
	I need you guys.

			PLAINCLOTHESMAN #1
	Who...

			MIKE
	Venza.

OTHER PLAINCLOTHESMEN are COMING.

			MIKE
	At my house...!

			KOONTZ
		(shouting to others)
	Call a cruiser!

			CLAIRE
	... Mike.

			MIKE
		(to Claire)
	It's Venza.  He wants you.  You, for
	Ellie and Tommy.

			KOONTZ
		(to Claire)
	Let's go.
		(to others; urgent)
	We're takin' her home!
		(swinging into
		crisis mode)
	Move it!  Get the cars!

			MIKE
		(pleading)
	Koontz!  I need you guys!

			KOONTZ
	We'll call SWAT.  We'll get the
	locals.
		(re: another cops's
		radio)
	Throw it!

			MIKE
		(pleading)
	No, I need'm now!

			CLAIRE
		(to Koontz)
	Go with him!

			KOONTZ
	My job is to protect you!
		(into radio)
	This is Koontz --

			MIKE
		(near hysteria)
	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!

			KOONTZ
	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
	him.

MIKE WHIRLS, heedlessly, running for the DOORS, CLAIRE
RACING AFTER HIM.

			PLAINCLOTHESMAN #1
		(calling after her)
	Hey...!

			CLAIRE
	Mike!  Don't go there...!  Then make
	them come with you!

			MIKE
	They can't, they're assigned to
	you!  I'd do the same thing!

He RACES OUT THE DOOR:  she in PURSUIT.

			KOONTZ
		(re: Claire)
	Go get her.

PLAINCLOTHESMAN #1 hurries out.

			KOONTZ
		(reconsidering)
	Fuck it, man.  Our brother needs us.
	Let's go.

					CUT TO:

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
SHUT.

			MIKE
		(into his car)
	Go!  Get outta here!

PLAINCLOTHESMAN #1 REACHES HER, pulling on the DOOR.

			PLAINCLOTHESMAN #1
	Hey!

			MIKE
	Get OUT!

			CLAIRE
	They're assigned to me, they'll have
	to go if I come with you!

MIKE HESITATES.

			CLAIRE
		(screaming)
	I'm not getting out!  GO!

MIKE hits the ACCELERATOR -- PEELING OUT, leaving
PLAINCLOTHESMAN #1 stranded on the curb.

			KOONTZ
		(calling to him,
		emerging)
	Adams...!  C'mon, move it!

ANGLE ON COPS:  RACING FOR THEIR CARS -- SCREECHING OUT.

					CUT TO:

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!

					CUT TO:

INT.  MIKE'S CAR - SAME - NIGHT

MIKE'S terrified eyes glancing into the REARVIEW MIRROR.

			MIKE
	Turn off the siren...!

Luckily, THEY DO.

CLOSE ON CLAIRE:  wide-eyed.  In silence.

			MIKE
		(breathless)
	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.

					CUT TO:

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
ENTERS.

					CUT TO:

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.

			MIKE
	Tommy?  Ellie...?

The SOUND of a MUFFLED WHIMPER comes from the kitchen; he
HEADS TOWARD down a narrow HALLWAY.  He falters, ALMOST
STEPPING on a SKATEBOARD.

			MIKE
		(calling out)
	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.

			MIKE
	I'm comin' in the kitchen!  If you
	fuckin' shoot me, they'll come in
	here, and we're all dead!  You hear
	me, Venza?!

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
tension.

			VENZA
	You made a terrible mistake, Keegan.
	You didn't do what I said.

			MIKE
		(his voice shaking)
	That's right, you're gonna do what I
	say.
		(desperate)
	Joey.  I want to help you out of
	this.

			VENZA
	You should'a brought the girl.

			MIKE
	I brought the girl.  She's outside.

He MOVES to the WINDOW; it's right BESIDE THE TABLE.
VENZA TENSING.

			VENZA
	Hold it...!

			MIKE
	I'll prove it!

He LIFTS THE WINDOW, CALLING OUT:

			MIKE
	Claire!

			CLAIRE (V.O.)
	Mike...?

					CUT TO:

EXT.  THE HOUSE - SAME MOMENT - NIGHT

CLAIRE, having shouted from behind a COP CAR:  KOONTZ
grabbing hold of her to keep her in place.

			KOONTZ
		(a hiss of warning)
	Not another word until I tell you.

					CUT TO:

INT.  KITCHEN - SAME MOMENT - NIGHT

VENZA; wary.

			VENZA
	How do I know that's her?

			MIKE
	I'll bring her in.  You let them go,
	and I'll bring her in.

			VENZA
		(wary)
	Why should she come in?

			MIKE
	She trusts me.  She'll do what I
	say.

			VENZA
	Bullshit!  Prove it.

			MIKE
		(calls out the
		window)
	Koontz!  Let her come in!  Claire!
	It's pitch dark in here!
		(his words are
		carefully chosen)
	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!

					CUT TO:

EXT.  THE HOUSE - SAME MOMENT

KOONTZ receiving his "message".  Quickly assessing CLAIRE,
he looks to the COPS around him -- then GRITS HIS TEETH
with DECISION.

					CUT TO:

INT.  THE KITCHEN - SAME - NIGHT

			MIKE
	I want your guarantee they'll be
	turned loose when she opens the
	front door.

			VENZA
	I get my hostage first.  No one's
	turned loose until I say so.

			MIKE
	Let my kid go.

			VENZA
	I'm not lettin' no one go.

			MIKE
	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
	table!

			VENZA
	Don't you fuckin' give orders to
	me...

			MIKE
	Put him under the table or I'll stop
	her from coming in.

MIKE turns to the window, about to shout.

			VENZA
		(to Tommy, an order)
	Under the table.

			MIKE
	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.

			ELLIE
	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.

			MIKE
		(frantic)
	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
the TABLE.

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.

			MIKE
	Watch your step!

			VENZA
		(rising)
	What the fuck you doin'?!

TOMMY'S HANDS are on the GUN.

			MIKE
	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.

			ELLIE
		(to Tommy)
	Stay down!

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...

			MIKE
	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.

			ELLIE
		(desperate)
	Tommy...!

			TOMMY
	I'm all right.

			MIKE
	Ellie...

			ELLIE
	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.

			KOONTZ
		(emphatic)
	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.

			KOONTZ
		(re: the sirens)
	Told you they'd be here in a few
	minutes.

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
floor.

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
her eyes.

			CLAIRE
	Everyone's all right...?

			MIKE
	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.

					CUT TO:

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.

			MIKE
	So.

			CLAIRE
	So.

ANGLE ON BOTH:  their eyes locked into each other's.

			MIKE
	You still going away?

			CLAIRE
	I don't know...

			MIKE
	You don't have to, now.

			CLAIRE
	I think it's probably still a good
	idea.

CLOSE ON MIKE:  getting her message.

			MIKE
	Yeah...

Both are hurting.

			CLAIRE
		(heartfelt)
	I'll miss you, Mike.

			MIKE
	Listen, I'll... see you again.

Her eyes are glistening; she gives him a bracing smile.
But he can't quiet manage it.

			CLAIRE
		(barely able to
		speak)
	Say goodbye.

He struggles with it; unable.

			MIKE
	I like your coat.

			CLAIRE
		(half-laugh, half-cry)
	You have a weakness for Lady Cops.

			MIKE
	I do.

Silence now; their eyes adoring.

			CLAIRE
	Say goodbye, Mike.

			MIKE
		(thick voiced)
	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
greeting.

			MIKE
		(finally)
	What do you think?
		(a beat)
	Any chance?  There's nothin' else
	I'm any good at, but this.

			GARBER
		(noncommittal)
	Call me next week.  We'll talk about
	it.

MIKE absorbs it, looking up to SEE ELLIE and TOMMY, beside
a SQUAD CAR, a distance away.  Girding himself, he HEADS
TOWARD.

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.

			MIKE
	Good police work, kiddo.

He catches ELLIE'S eye, both assessing each other.

			ELLIE
		(re: Tommy)
	He doesn't want to sleep here.
		(a long beat)
	Neither do I.  It's not my house
	anymore.

			MIKE
	Me neither.

ANGLE ON ALL:  finding each other's eyes.

			MIKE
	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
DIRECTIONS.

From a distance, we HEAR MIKE'S VOICE.

			MIKE (V.O.)
		(to Ellie)
	What this crap about singing
	lessons?

					FADE OUT.

			THE END