EXT. CITY STREETS (LOS ANGELES) - NIGHT
As OPENING CREDITS play, we study the city's nighttime
pulse, ribbons of headlights moving and cross-connecting
like blood through the veins of a body --
impressionistic, even beautiful, but what we're hearing
is soulful trumpet-based MUSIC, mellow and haunting, the
modern classic -- JAZZ sound of a Wynton Marsalis,
putting a voice to our story. As CREDITS END, we...
POV - EXT. FREEWAY - NIGHT
Now the MUSIC is GONE, SOUNDS are MUFFLED and vision
blurred. We get the impression of urgent movement. We
hear BREATHING. There are VOICES, SHOUTS, even SCREAMS,
but MUFFLED, far away. Only the breathing is distinct.
We come to realize it is our breathing, and we are inside
someone, looking out. The man whose POV this is is on
the edge of consciousness and not far from death. He
lies on the pavement of a freeway at the site of an
accident only minutes after impact.
His VISION goes IN and OUT of clarity. People are
swarming around him and rushing by toward the carnage of
wrecked vehicles. A SIREN BLOOMS in the distance and
approaches haltingly. The man slips away, comes back
toward consciousness, slips again.
The crowd around the downed man parts to allow passage to
a police officer. It is a woman, Officer SHARON POGUE,
LAPD. She kneels at the man's side, taking charge,
speaking, but we hear only SLIVERS of SOUND. He sees her
face clearly now, close above him.
Sharon is a dedicated professional and more. We see down
into her to a place of real caring. She stares into our
eyes and connects. We begin to hear her now -- and there
are more SIRENS converging in b.g.
Can you hear me?
This one's conscious!
Paramedics on the way!
We are slipping away again. Sharon holds us with her
eyes, and she grips our hand.
Wait. Wait. Listen to me. Can
you feel that?
She holds on tight. We see that our hand, held in her
own, is bloody.
That's my hand. Hold it. Go on
-- as hard as you can.
We watch our hand gripping hers, and as we hold on, the
sights and sounds around us grow more clear.
It's over, and I've got you, and
you're safe. You're safe now.
You got that? Don't let go.
Don't let me go.
But our eyes unlock from Sharon's and DRIFT TO a patch of
night sky. Her voice fades awawy. Our POV begins TO
LIFT, MOVING TOWARD that sky, as the blue-black night
begins to turn white. We GO INTO that white light and...
EXT. LOS ANGELES CITYSCAPE - DAY
We PICK OUT a police car from the traffic and FOLLOW.
The beat being patrolled is a mixed neighborhood with
some very rough edges.
INT. POLICE CAR - DAY
Officer Sharon Pogue is driving the car. It is two years
since we saw her at the accident site. Her partner,
ROBBY LEWIS, sips coffee and keeps one eye on the CAD
monitor which lists all area police calls. She slows
behind a car that is crawling along, an old 60s car,
driven by a young man and woman who sit very close on the
bench seat. The car's ENGINE is MISSING and smoking.
That car is older than they are.
'67 Chevy Impala.
That's what I said.
Needs a servicing.
Don't we all.
Robby nearly spits his coffee, laughing at what Sharon
has said and trying not to choke. Sharon smiles, shaking
Get it together, officer.
As Robby smiles, Sharon looks ahead at the young couple
who each have an arm around the other. She is stroking
his neck. He is making gentle circles in her hair.
Sharon watches this, and for a moment her eyes reveal a
depth that may be loneliness, but she quickly pushes her
thoughts away and hits the HORN, startling Robby and
startling the people ahead who now disengage and drive
Jesus, Pogo! Almost spilled my
coffee again! You didn't like his
hair, or what?
I love Elvis hair. They were
going two damn miles an hour.
But Robby's eyes have caught something on the monitor.
Let's roll to this -- fight in
As Robby secures that coffee cup, Sharon hits the SIREN
and speeds around the car in front of them.
EXT. CITY STREET - DAY
At the same time, a few blocks away, an OLD, FRAIL MAN is
carrying two plastic grocery bags that are too heavy for
Walking behind this man is a younger man named CATCH
LAMBERT, an attractive man with some scarring on his
face. His eyes, deep down, are haunted by something, but
there is energy in his step. He is dressed in a relaxed
and stylish manner, not expensive. He begins to pick up
his pace to catch up to the old man.
People glance at Catch, nad he glances back in an open
and unflinching way, ready for anything, a smile, a nod,
or -- because these are some of L.A.'s mean streets -- a
threatening or taunting look. These he also meets
openly, without a trace of fear. The man has been
through some kind of fire, and it has left him different
from us. Outside the usual boundaries.
Catch walks beside the Old Man, glancing at him.
Finally, the man glances back, wondering and suspicious,
but Catch has a slight, disarming smile, open and honest.
Y'know... since we're both walking
the same way, I could take one of
those bags for you. That way, I
do some upper body work while I'm
walking along. Helps my back.
What d'you say?
The Old Man trudges on, proud and suspicious, too.
Right now your mind's making
pictures of me robbing your
groceires, but, y'know, nine times
out of ten, people do the right
The Old Man glances at him, still not convinced, but he
soon has to stop and rest. Catch stops, too. The old
man looks at him, a bit embarrassed.
It's the dog food that makes it so
Catch nods, puts out his hand. The Old Man hesitates,
then decides and lifts a bag, and Catch takes it.
I guess it's worth it... for a
Catch isn't kidding. He has that honesty. The Old Man
nods and starts trudging again. As they walk on
together, Catch reaches for that second bag. The man
relents and lets him take it. They continue on, Catch
carrying the bags and every now and then lifting them a
bit for his upper body work.
EXT. VIDEO GAME ROOM - DAY
This is the call Sharon and Robby have sped to. It is a
chaotic scene of cops breaking up a fight between eight
boys, 16-20. A big KID, 18 or so, is being pulled off
another by Sharon and Robby. The Kid is wild and
resisting and Sharon shows her toughness and
professionalism and some anger, too, as she slams him
into a fence -- and Robby holds him while she cuffs the
young man -- who is very mouthy, playing to his friends.
Look at this bitch. Whoo! Benny,
look at this!
Sharon and Robby are both very good at their jobs, taking
this Kid to their car while other cops contain the rest.
A crowd watches -- mostly teens.
You come in with me. Hey, bitch.
Some of his bystanders friends howl at that.
You're going to arrest me, you
come into the back seat with me.
He resists a bit, but they're getting him into the car.
Come on. We'll have a good time.
INT. POLICE CAR - DAY (FEW MINUTES LATER)
Sharon's on the radio to dispatch as Robby drives and the
Kid keeps mouthing off.
Three Adam Five -- show us 1019 to
the jail with one male prisoner.
Take off your uniform. Take off
my handcuffs, bitch, and come back
here. I want one touch.
Give it a rest!
Sharon is stone-faced through this.
If you're going to put me away,
you gotta give me one sweet touch.
INT. JAIL BOOKING AREA - DAY
As Robby and Sharon bring their suspect to the booking
counter, each holding one of his cuffed arms. The Kid is
looking at Sharon's hand on his arm.
That ain't the touch. That ain't
the touch I want.
They get him to the counter.
As I remove your cuffs, I want you
to put your hands here. Spread
your legs. More.
As they remove the cuffs, the Kid makes a sudden move
toward Sharon, reaching between her legs -- but she was
not only ready for this, but hoping for it -- and the
stoniness of her face cracks into fierce anger as she
moves quickly and grabs the Kid by the hair, bringing his
face into her upraised knee. He cries out and goes down
on his knees, hurting and bleeding. The jailer rushes
over to help, but Robby grabs the Kid's wrists.
That's it. Back off, John, we got
Robby glances at Sharon -- a dark glance.
EXT. POLICE JAIL PARKING LOT - DAY (LATER)
as Robby and Sharon walk to their car. They are
interrupted by one of their lieutenants, SANDERMAN,
walking their way and stopping to stare at Sharon. She
meets his look.
You trying to be a bad-ass, Pogue?
She is straightforward, not rebellious.
I just dealt with the situation.
And you don't see a pattern here?
I want you to keep yourself way
inside the line instead of walking
on it. All right? Are you taking
He walks away, and Sharon and Robby walk on to their
car -- she is dark; he is glancing at her.
You broke his nose.
He grabbed me. End of story.
And you were waiting for him. You
were hoping. You were making
long-range plans for his ass while
he was mouthing off in the car --
and you're supposed to be above
If you think I crossed the line,
put it in the report.
Pogo, stop the shit. What is it?
You pissed off at me, too?
They enter the car, Sharon behind the wheel.
Not you, Rob. You're a rare
unthreatened male cop with a good
marriage, and you like to eat
where I eat -- so everything's
She STARTS the CAR and starts to back out, and he reaches
over and turns OFF the IGNITION. She stares hotly at
him -- but then, slowly, she softens, takes a deep
Come over for dinner tonight.
I'll call Charlene. She'd like to
see you. It's been awhile. We'll
talk about it.
She STARTS the CAR again, more calm, starts to drive out
of the lot.
Thanks. But she'll invite
friends, try and fix me up. She's
always trying to fix me up so she
doesn't have to worry about you
She doesn't worry about that.
They all worry about that.
They both smile wryly, driving on.
You don't need to fix me, Robby,
or fix me up. I don't want some
guy to heart and soul me and then
walk away 'cause he can't stand
the cop thing -- or worse: he
wants cop stories every night
'cause it turns him on, and he has
no idea who I am inside my head.
Anyway, I'm busy tonight.
Got some action, huh? Well,
Yeah. Hot and heavy.
IMMEDIATE CUT TO:
INT. SHARON'S APARTMENT - NIGHT
She is on the floor using an exercise rig, sliding into
crunches, pushing herself, sweating, alone. We BEGIN
DRIFTING TO the rain-spattered window as night sounds
filter in, HORNS, SOMEONE SHOUTING, a CAR MOVING BY with
THUNDEROUS BASS MUSIC that pulses the very air and
RATTLES the LOOSE GLASS of her window.
EXT. NEIGHBORHOOD STREETS - NIGHT
Catch Lambert is walking the wet streets, head down in
the rain. Far away we hear that car with a BASS-BLASTING
In the glow of a street lamp, Catch sees a bright-colored
object in the gutter. He picks it up out of the gurgling
rain water. It is a small toy, a discarded superhero.
He puts it in his pocket, walks on.
Now the car, the prowling, MUSIC-BLASTING, BASS-
THUNDERING CAR turns a corner and begins rollling along
slowly -- beside Catch. He glances over, walking on.
There are four tough-looking MEN in the car, looking for
trouble. The MUSIC is DEAFENING. Catch glances again,
walks on. Their eyes follow him like gun barrels. He
stops and walks out on the street, moving toward the car,
shouting over the music.
Hey! You want to turn that volume
down? What's your point?
The men, incredulous, stop the car and snap OFF the MUSIC
in order to make sure they're hearing right. They stare
death at Catch.
What did you say?
What's the point of blasting your
music through the whole zip code?
Don't you realize there are kids
trying to sleep in these
apartments -- old people, sick
They can hardly believe this.
You better watch your mouth,
Catch meets the man's look with his own unflinching,
Why? What're you gonna do? Kill
Catch's look is not a macho challenge. It's something
else -- beyond that, a man somehow without limits. One
of the riders in the backseat taps the Driver's shoulder.
Guy's nuts. Let's go.
The Driver, never breaking his death stare, snaps on the
DEAFENING MUSIC and then slowly rolls on, still glaring
at Catch. Catch stands in the rain, watching them go.
INT. CATCH'S APARTMENT CORRIDOR - SAME NIGHT
Catch is arriving home, soaking wet. He lives in a
slightly-seedy three-story. As he walks down the
corridor toward his apaprtment, he passes a neighbor's
door and notices a set of keys dangling from the lock.
He pauses -- and then knocks softly on the door.
Someone looks through the peephole and then opens the
door -- a young single mother, friendly but with a little
caution, too. She recognizes Catch. Behind her is a
little boy, (five). The woman's name is CANDACE. Her
son is TOMMY.
Hi. Your keys are in the...
He gestures, and she sees the keys and retrieves them,
more friendly now.
Oh, thank you. Thanks a lot.
God. I was trying to carry Tommy
and all these bags. He was so
tired. Of course, as soon as I
put him down he had all this
While she is talking, Catch is staring deeply at the boy,
who is shy. Catch almost speaks to the boy, wants to,
goes halfway to a smile -- but the sight of the kid stirs
that layer of darkness in Catch. He nods a good-bye to
the mother and is about to go. She thinks about this, as
he is turning, and pushes through her remaining caution
Y'know, we were just baking
nectarine bars because the peaches
weren't ripe. Ever had a
He smiles and seems to want to stay, but he is already
retreating. His contact goes only so far -- and no
Sorry. Gotta be going.
And with one more glance at the boy, he walks to his
apartment, unlocks it and steps in.
INT. CATCH'S APARTMENT - NIGHT
He walks into a bare living room -- no chairs, tables,
lamps, nothing on the walls. He walks into a spotless,
never-used kitchen and flips on the light, opens a
In the drawer is a collection of kids' toys, some found,
some purchased, mostly plastic figures. The action of
opening the door has started some battery-operated
animals moving around in there. Now from his pocket he
takes the plastic superhero he just found and drops it in
and closes the drawer.
He walks back into the living room. He sits on the
floor, leans back against the wall, his clothes still
soaked from the rain. He stares at his thoughts, looking
a bit numb -- and lost.
EXT./INT. DRY CLEANERS SHOP - DAY
Sharon is just leaving with a clean uniform on a hanger
in a plastic bag. It's a neighborhood place where
alterations are done. As she is leaving, an older woman
is just entering. This is MRS. VANDER, beaming at
Sharon, a real talker.
Hi, Mrs. Vander. You're looking
Oh, you just wait. I splurged.
She is pulling a new blue dress out of a shopping bag.
It's for the church and the party.
It's just a little too long.
Y'know, I cried over the
invitation -- just imagine me in
It'll be so good to spend time
Sharon forces a smile -- but is mystified. Mrs. Vander
is walking to the counter and pausing to say...
You know Dan and I renewed our
vows last year. I bet that's
where your mom got the idea.
Your mom and dad -- the
Mrs. Vander realizes what's going on and stammers on,
sympathetic and embarrassed.
Oh, well... y'know, I just got
that invitation a few... just now,
so I'm sure you'll...
Oh, yeah. We've had... there's
been some problems with the mail
in our building, so... I'll
probably get it today.
They're both covering like mad, both realizing Sharon's
been left out.
So, I guess I'll see you.
Sure, honey. I'll see you there.
Sharon leaves -- Mrs. Vander staring after her, feeling
bad. As Sharon walks away, we see her forced smile die,
replaced by an old pain and darkness.
EXT. RESIDENTIAL STREET - DAY
Robby and Sharon's unit pulls up at a house remodel with
a sign marked "POGUE CONSTRUCTION." Sharon exits the car
and walks onto the site, moves toward a man who is both
carpenter and supervisor on the job. This is her
brother, LARRY POGUE, 29. They are not comfortable with
each other -- an old wound. He gives her a wary nod.
She's trying a little harder, being a bit more friendly.
We can sense the strain.
I didn't see his truck, so...
He's not here.
How you doing?
She touches his shoulder as she says this, a friendly
gesture, a reaching out. He doesn't respond, only
Kathy and the boy? Bet he's big
Is he looking more like you now --
or did he get lucky?
She has broken through a bit and they both smile a brief,
He's got Kathy's looks and brains
and my strong back. You should
feel his grip.
You just passing by?
She looks about.
Place is coming along nice. The
octagon window. Dad's signature.
But Larry's look stays on her, wondering what's on her
Look, Larry, I shouldn't have to
hear it from Mrs. Vander -- about
He turns back to his work now as they speak,
So you really weren't going to
tell me? Nobody was going to tell
me? Mom and Dad renewing their
vows, the church, the party. Mrs.
Vander is all excited. She bought
a new dress. It's blue.
We're workin' on Dad. We think
you should be there. We told him.
Mom told him?
We mentioned it.
He's holding out, hah?
You want to come?
It's my family. Jesus, Lar. It's
over ten years, and he won't let
go of it.
You two were always head to head.
For good reason. Remember?
Let's just leave it.
She stares, then...
You're still scared of him.
Pissed, he throws his hammer down on the plywood, turns
I don't think it's a good idea you
coming around here in uniform.
People see it, they think we're in
Nice seeing you, too.
She walks away. He frowns, picks up his hammer, goes
back to work.
As Sharon walks towards the car, she sees a van
approaching and she holds up a hand to Robby and calls
Two more minutes.
And she walks toward the oncoming van, which is parking
EXT. VAN - DAY
The van is driven by KATHY, Sharon's brother's wife.
Beside her in a car seat is LARRY, JR., four years old.
Sharon comes to the rolled down window on the driver's
side. She has a warm smile for Kathy and the child.
Kathy smiles, too.
Hi! Look -- it's your Auntie
Hey, Champ, my God, look how big.
She has a special affection for the boy -- who is
subdued, but he smiles a small one for his aunt. She
takes one of his hands and they shake in mock formality.
Ow! You hurt my hand with that
She shakes her fingers, and he smiles a bit more. Sharon
reaches in and rubs his head in a mock knuckling move.
He laughs. She smooths his hair, affectionately.
We're bringing Larry his lunch.
Hey, it's good to see you. It's
been awhile. What?
Sharon is staring at Kathy's badly bruised ear.
Oh, I went boom into a low shelf
-- chasing after him of course.
(nodding to the child)
How're you doing?
Sharon pulls her eyes off the bruise to meet Kathy's look
-- and connect.
I'm semi-okay. I heard about
the... ceremony and the party.
Oh. I hope you'll be there.
Sharon smiles a bit, appreciating the support. She pats
Take it easy. You too, Champ.
The boy offers his little hand to shake again.
Oh, no. You're not breaking my
They smile and drive on and Sharon walks toward her car
EXT. CITY PARK - DAY (NEXT DAY)
We WATCH moms and kids and a basketball game in the park
and PICK UP Catch walking by. Two pre-teens are playing
bounce and catch with a rubber ball against a (tennis
practice) wall, and one of them misses, and Catch makes a
lunge and snags the ball. Instead of throwing it to one
of the boys, he fires it at the wall.
One of the boys catches it, bounces it off the wall
toward Catch. Catch grabs it, and now he's part of this
rapid-fire game -- and he's athletic and funny, too,
playing hard and mugging and making them smile until... a
POLICE CAR comes ROARING down the boulevard, slowing a
bit to CHIRP its SIREN a few times -- clearing traffic.
Catch glances up and sees...
Sharon is in the car beside Robby.
Stunned by the sight of her -- and he doesn't know why.
He can't move, can't breathe, eyes fixed on her. The
POLICE CAR pulls around a truck and ROARS on -- and
that's when he is struck by a memory, a little like
lightning. It comes as a quick --
FLASHBACK - EXT. FREEWAY - ACCIDENT SITE - CATCH'S POV
-- The man near death. Sharon is bending close to him,
this all just a sliver of an image, and it jolts him.
BACK TO SCENE (PRESENT)
The police car is now converging with other squads just
half a block away. Catch throws the ball back to the
boys and runs toward the police incident. The boys watch
him go, wondering.
EXT. CLOSED STORE - DAY
A police car is parked askew near this closed store -- as
now Robby and Sharon's UNIT ROARS to a STOP beside it.
Two cops are calling and motioning to them, one holds a
shotgun. This is RAY JULIETTE.
Break-in alarm. One suspect in --
nobody out. Take the back.
And they are moving.
EXT. BACK OF CLOSED STORE - DAY
Robby and Sharon are hurrying around to the back as we
hear more POLICE UNITS CONVERGING in front.
ANGLE - STREET
As Catch arrives on the scene and sees Sharon and Robby
moving around the building to the back. He is still
amazed at the sight of her. He decides to follow her,
keeping her in sight, driven.
ON SHARON, ROBBY
They are scouting through crates and weeds as a young man
is flushed from cover at the back of the store and runs
The man runs on, and Sharon chases with Robby close
behind her. Sharon speaks to her shoulder radio mike as
Three-A-5, foot pursuit. Suspect
fleeing south on Pico Place, young
man, green jacket. No visible
Right behind you!
Stop and lie down with your
The man has jumped a fence. Sharon follows.
I see him!
She goes over the fence, then Robby.
EXT. PARKING LOT - DAY
The man runs and Sharon chases. Robby, not far behind
glances off to the side, seeing Catch, still following.
Citizen on your right! Hey!
But Sharon is now closing on the fleeing man who turns
suddenly, pointing a handgun!
And Sharon, wide-eyed, is already pulling her weapon, but
not in time. The man is aiming at her and about to fire
when he is tackled by Catch.
Catch and the man go sprawling, and the gun flies out of
the man's hand, and Sharon is on him in an instant,
pointing her gun at him...
Freeze! Right there!
Catch scrambles to his feet. Robby joins Sharon and puts
his knee in the man's back and cuffs him, then glances at
Catch. So does Sharon. But Catch starts to hurry off.
Two other cops (Ray Juliette and SANCHEZ) rush toward the
suspect on the ground.
You got him?
He was armed.
Citizen took him down.
Sharon stares across the lot to where Catch has halted.
More cops are converging. Ray Juliette and Sanchez move
toward Catch, while a sergeant and others surround Sharon
and the suspect. In between the crowd of cops, Catch and
Sharon glance at each other, during...
as the cops reach him.
What happened here?
I... just saw it and... I saw the
You all right, Pogo?
She is shaken, speaks softly.
I was dead. Y'know.
She glances toward Catch. (She doesn't recognize him
from the accident.) Their eyes meet briefly, but then
their attention is pulled to the others. Sharon speaks
to her sergeant.
He had me. I was dead.
He is shaken, too. Sanchez is taking notes as Ray checks
I was just walking by. I live
Ray nods, handing the I.D. to Sanchez.
Sergeant's going to want to talk
to you, Mr. Lambert. We'll need a
Don't worry about it. That's just
procedure. Look -- we appreciate
what you did. No bullshit. Let
us buy you a drink tonight, all
right? You know where the Rib
Catch glances at Sharon again, and he nods.
EXT. UPSCALE RESIDENTIAL NEIGHBORHOOD - DAY (SAME DAY)
Catch, a bit bruised and dirty from his tackle, is
carrying groceries up the walkway steps to a small, well-
kept home. He is taking out a key as he walks to the
INT. MRS. CHU'S HOME - DAY
ELANORA CHU, 60, is an attractive woman with warmth and
intelligence in her eyes. She is in a wheelchair, at a
writing table where she carefully translates an English
text into Chinese characters.
She glances up as Catch opens the front door and heads
for the kitchen, speaking as he goes, not looking at her
or into the living room at all.
I got you nectarines because the
peaches are hard as rocks.
Your jacket's all dirty.
She rolls away from the table in her motorized chair --
and as they speak across the house, she performs a
I tackled a guy.
Elanora is moving about the living room, picking up
framed photographs and turning them face down. We don't
see what -- or who -- is in these photos. She is turning
them all in a routine way, used to this.
Why would you 'tackle' a guy?!
Why do you think?
INT. KITCHEN - DAY
Catch is at the cupboards, putting away groceries as
Elanora rolls into the kitchen, her CHAIR HUMMING.
He had the ball. He was going for
Can you be serious?
(as he works)
What day is today?
They are not smiling at their little jokes, but they have
an ease with each other and the deep love of dear
friends. He doesn't pause in his work, but we can see
some nervousness in him as he says...
Met somebody today.
Mrs. Chu is now taking some of the groceries out of the
bags to help.
Oh? That's good. Ahh -- they had
the broccolini today. Thank you.
Elanora is more interested and curious now, still helping
with the groceries and being casual.
You didn't tackle her, too, did
She's a police officer.
Are you in trouble?
Catch goes on working, a depth in his eyes.
No. No trouble.
Elanora watches him work and gladdens slightly. We see
her own depth of feeling.
Well... that's a good thing.
He is still working, but his eyes are on his thoughts,
I saw her once a long time ago.
Elanora stares a moment. This has meaning for her.
He doesn't answer. He's nervous about this.
She looks the same.
Now she watches him as he moves to the refrigerator and
continues his work in silence.
INT. RIB HOUSE - THAT NIGHT
It's a noisy restaurant with a large bar area. We PAN TO
a booth of off-duty cops, out of uniform now, including
Ray, Sanchez, Sharon and a few more male officers.
They're all a bit high. Sharon shows the signs, too.
They are passing around a photo now as one COP looks at
it and says...
... And Sanchez says proudly.
Yeah. My wife's got him in
Ray is handed the photo, and we see that they're talking
about Sanchez's dog, the name "REX" printed on the photo.
'Rex.' Rex is good. I wonder who
the first person was to name a dog
'Fido,' and what the hell does it
I like how you're always asking
the big questions, Ray.
There is some laughter. Ray is a smart-ass and a flirt.
I got a big question for you, Pogo
-- but I can only ask it when
She moves some of the change on the table, sliding it
Here -- use this -- call your wife
and ask her instead.
I happen to know Ray's wife is
They laugh and drink and Ray asks her...
Why doesn't your partner ever come
out with us?
Robby's a family man.
I'm a family man.
Yeah, but his family actually
More laughter. Sharon's eyes do a quick roam of the bar.
Ray catches this.
That Lambert -- I guess he's not
She shrugs this off like it's not important and starts to
slide out of the booth.
Where are you going?
The head. Do you mind?
She's just gonna freshen up her
You're wearing makeup?
She leaves the booth with a wry frown.
That reminds me, Ray. You still
have that eye-liner you borrowed
She grins, leaving the laughter behind her.
ANGLE - DOOR
Catch has entered the bar. He is watching Sharon leave
the booth and walk to the rest rooms. He looks back at
the raucous booth and hesitates. He sits at a small
table near the door.
INT. BATHROOM - NIGHT
Sharon is drying her hands in the bar's bathroom, staring
into the mirror. No smile now. We see into her mind for
FLASHBACK - MAN
Pointing the gun at her face today.
BACK TO SHARON (PRESENT)
in the mirror and see how shaken she still is.
A waitress is leaving his table, and he looks back at
Sharon's booth and sees that she still isn't there. He
starts to turn, and then freezes as he hears...
There you are.
She has stepped out of the bathroom and spotted him. He
is surprised, face to face now.
We thought you wouldn't show. Why
you sitting here?
I don't talk to a lot of people.
He half rises and gestures to the other chair. She
glances back at her booth, then sits. She's nervous,
I didn't have a chance to thank
you. I'm Sharon Pogue.
She puts out her hand. He stares at that hand for just
half a beat before taking it. They shake. The feel of
her hand holding his evokes the memory of the accident,
but he covers this.
You look familiar.
I guess I live on the beat you
Her way to cover nervousness is to be blunt, even tough.
Why would you do that -- jump a
man with a gun?
He was going to shoot you.
He could've shot you. You have a
death wish? You a bungee jumper?
No. I didn't have time to think
What d'you think about it now?
I figure... it was worth the risk.
For someone you don't even know?
Yeah -- and for what you do. I
think cops are great. Out there,
trying to keep it safe. You know?
Tough job. Firemen are
everybody's heroes. Kids wave at
firemen. People should wave at
cops. Did you ever think about
how many people are walking around
this town because you saved them?
I never thought about it.
... because you helped them or
because you arrested somebody who
would've hurt them or because you
just... did your job?
Now I'm walking around this town
because of you. Ever think about
that? Maybe you should be a cop.
I don't know... I look pretty dumb
in a hat...
He has made her smile.
... and I don't drive and, like I
said, I don't talk to many people.
Am I talking too much? I am. You
Okay. What d'you do? You
employed around here? Oh, God.
Sorry. Every time I try to talk
to somebody, it comes out like an
Where do you want to be ten years
Somebody taught that to me. Kind
of a shortcut. You ask somebody,
what are your plans for
tomorrow -- what're your dreams
for ten years from now. It's
supposed to get things started.
Does it work?
I never tried it.
No. Really. I just remembered it
-- God is my witness.
Not in here. It's mostly cops.
Now she has made him smile, the first real smile we've
seen from Catch. It's open and real and she is charmed
You have a nice smile.
She's a bit self-conscious, saying that, and just as she
says it, the waitress arrives with shots and beers for
both of them. Sharon looks up, questioning, and the
waitress nods toward the booth. Catch and Sharon see the
cops, staring, smiling, raising their glasses. There is
a hint of teasing in their grins. And now Sharon is more
self-conscious, and a bit tough again, taking her drink
and turning back to Catch.
So... what were we talking about?
Oh, yeah, you were giving me some
line about starting a
Okay. I'll play.
They clink glasses and drink. Then...
Tomorrow I've got a night watch
shift. If the weather clears, in
the morning I'll go hiking. If it
rains, I'll go to the gym -- and
the laundromat. Ten years from
now... I want to be living in some
Could be Tibet. Could be
Colorado. Your turn.
But now Ray Juliette is approaching the table.
Hey, Pogo -- don't keep him all to
yourself. Come on over, Lambert,
join the group. We'll buy you
dinner, give you a medal for
saving Pogo's ass.
Sharon drains her shot and stands.
Actually, I'm kind of tired, Ray.
I'm taking off.
Oh. I'll... walk you to your car.
Catch stands and turns to Ray.
Thanks for the drink.
Least we could do. We don't like
her very much -- but we don't want
to lose her.
Sharon frowns and waves to the booth of cops. Ray smiles
and shakes hands with Catch as a good-bye.
And Catch and Sharon leave.
EXT. BAR - NIGHT
As Catch and Sharon exit the building, walk toward her
It's not a great neighborhood.
Maybe I should walk you to your
I don't have a car.
They walk on, silent a moment. This doesn't come easy
Want a ride home?
Oh, thanks, but... I like to walk.
It's starting to rain. Don't be a
He hesitates, nervous about it, but then...
Yeah. If it's no trouble.
They walk to her car.
Okay... ten years from now, what
d'you want to be doing?
They walk side by side a moment. He shrugs. Then -- in
his open way...
I don't know. This is pretty
She glances at him, taking this in, then fumbles a bit
with her car keys, and he asks -- nervously again...
Can you drive okay?
She gets a little defensive.
I'm not drunk. You think I'm
drunk? I'm not. You'll know I'm
drunk when I'm throwing up, and I
never throw up, so don't worry
He nods, looks at her dead-on a moment.
The only time I worry is when
people tell me not to worry.
Get in the car, will you?
INT. CAR - NIGHT
As they get in and she STARTS the ENGINE.
I'm on Lundy Street, just off
They drive a while. She notices his anxiety. He grips
the armrest when she speeds up.
I'm good at this.
Streets are wet.
Are you one of those people who
drive ten miles an hour in the
rain? I hate that.
I never drive.
She glances at him, and he notices her glance.
I'll be alright.
He's forcing himself to relax. He takes a deep breath,
sitting back in his seat. He watches her as she drives.
After a moment...
Y'know, I can picture you in
Oh yeah? What am I doing there?
Driving around... pissed off.
She smiles in spite of herself, slows down.
I'm not pissed off at you.
Give me some time.
Now she laughs. She drives, not to his building, but to
her own street. She parks, takes a deep breath. This
sounds a bit hard-bitten because she's using her
toughness to cover.
Those guys in the bar are my
friends -- sort of. We work
together, we tell jokes and we
bullshit, but I can't say to
She says this clipped and fast and even tougher:
Every time I close my eyes, I see
that goddamn gun pointing at me
and I don't know why I'm telling
you unless it's because you were
there and because I had three
drinks, but I'm not ready to go
inside and close my eyes and I
don't want to go to your place and
I don't want to keep driving
around, so what the hell do we do?
Whew. I feel like we're boxing,
and you've got me on the ropes.
We'll do whatever you want.
What I want is to know how you
happened to be walking by that
parking lot at that minute. What
if you hadn' t been there?
For a moment, she shows her fear.
I guess we were supposed to meet.
They stare a while, then she opens her door.
If you want -- you can come in for
INT. SHARON'S APARTMENT - NIGHT
As they walk in, she moves into the kitchen.
Want a drink?
She pours one for herself while he looks about. It's a
stiff drink. Now that he's here, her I-don't-want-to-
make-a-fool-of-myself alarm is on. She flops on the
sofa, watches him.
Sit down or something.
I'm circling awhile.
He's looking around at the clutter of her life -- the
You're not supposed to look
around. I didn't have time to
So... it's more real this way.
He turns to her.
Now that I'm in here, you seem mad
I'm not mad. You'll know when I'm
mad. I don't usually let somebody
in here, but here you are. That's
all. Let's talk about something
She smiles in spite of herself.
Okay -- one thing I don't believe
is that 'supposed to' business.
We were 'supposed to' meet. That
sounds a little fringy to me, like
something you might hear on public
access TV. You believe that?
Some people say we each give off a
particular odor -- that can only
be detected by one other person's
So, we... smell each other? Who
I have no idea.
(as they smile)
I'm more in the destiny school,
we-met-in-another-life school. Do
you believe that? Do you think
when we die -- we come back in
You mean like a duck? No. I
think dead is dead. I've been
thinking about it all day -- and I
don't want to think about it
He looks at her, steps close to her, takes the drink out
of her hand, puts it to his lips and drinks it all down.
He puts the glass on the table.
Why'd you do that?
See? Now you're thinking about
She gets a half smile, assessing him. Her look is
direct, and the attraction is there. He feels it, too,
and he deflects it, nodding toward a large photomural of
Let me guess. Colorado.
It's Austria, but I can't picture
myself in Austria. I'm not good
with languages, so I couldn't
qualify for the departments over
She rises and goes to a desk and takes the holstered gun
off her ankle. She takes the cuffs off her belt, the
mace from her jacket, the shield from her shirt pocket,
puts them all in a desk drawer. She takes off her jacket
and throws it over a chair. Disarmed, she turns to him.
Her look is all wanting and pushing away, almost fierce
in her struggle. He sees this.
Thanks for... coming up here.
Does that mean I'm going?
No. You don't have to. I...
You okay now?
Her eyes grow a bit hard, defensive.
Oh. You're here as a medic.
Is this the mad part?
She smiles in spite of herself -- again. He has gotten
to her. She wants to fall into this guy, but she's
pumping those brakes. They are standing close together.
Maybe going is a good idea.
Can I come back some time?
Must be the smell.
That makes her laugh, and her resistance falls away with
her surprised laughter, and she puts her hands around the
back of his neck. Her touch is electric to him. She is
going in for a kiss, and he is retreating. They stare a
moment -- and then he suddenly takes her shoulders and
lets loose his own longing. It is a hungry and
passionate kiss, and in the very midst of it, he breaks
off and pulls back, his darkness rushing at him. She is
staring, surprised, and he is looking a bit shaken,
getting the words out just above a whisper.
I better go.
She doesn't know what to say. The moment hangs. He
leaves. Once he closes the door, the breath escapes her,
and she shakes her head -- feeling like an idiot. She
lost control. With a stranger.
EXT. STREET - NIGHT
Catch leaving Sharon's building in a turmoil of emotions,
staring hard at his thoughts -- and he steps into the
path of a car. The CAR SCREECHES to a stop, and the
scream of those brakes and white light of the head lamps
paralyze Catch, and he sees --
FLASHBACK - SLIVER OF IMAGE
Headlights suddenly washing into a vehicle he is driving.
BACK TO SCENE (PRESENT)
This sliver of memory jolts HIM -- and then another one
FLASHBACK - HEADLIGHTS
coming closer and the scream of brakes from his memory,
and all of this is exploded --
BACK TO SCENE (PRESENT)
by the angry DRIVER shouting at him.
What the hell do you think you're
Catch is numb -- completely shut down there in the middle
of the street. The Driver exits his car and comes toward
Are you crazy?!
Catch isn't even aware of him. The man gawks at this --
and now Catch walks off. It is raining. The streets are
ANGLE - RESIDENTIAL STREET - NIGHT
As Catch continues his walk, he is still a bit shaken --
but when he passes a parked car with the window half
open, rain getting in, he hesitates. He can't just walk
on. He looks about. He tests the lock. He opens the
door, rolls up the window, closes the door, walks on.
But a MAN is just exiting a doorway to the street -- and
Hey! Hey! What did you do?
Catch stops and turns in the rain. The Man hurries
toward him, upset, angry.
That's my car! What the hell were
Nothing. I just...
The Man shoves him.
I saw you! What did you take out
No, I rolled up the window. It's
The Man gets in his face, shaky...
You take my phone?! Hah?!
He shoves Catch again, and Catch's desperate confusion
explodes in a surprising reaction, grabbing the Man's
jacket front in one hand and not punching him but quickly
slap, slap, slapping him, saying...
Hey! Hey! Wake up! Wake up!
The Man is now speechless, frozen, terrified, as Catch's
eyes hold him with a fierceness -- and a sadness.
I helped you.
I helped you.
Catch lets him go, and immediately begins walking away,
hunching into the rain, his expression dark and troubled.
He gets five steps away and turns. The Man steps back --
but Catch only says...
And he walks on. The Man watches him go.
INT. CATCH'S APARTMENT BUILDING CORRIDOR - NEXT DAY
Candace, Catch's neighbor, is waiting for the slow,
RATTLING ELEVATOR with her son.
The elevator door opens -- and there is Catch, seated on
a newly-bought wicker chair in the elevator with a small
table across his lap, other boxes nearby and a
long-stemmed rose in his hand, wrapped for giving.
He rises and hurriedly gets his purchases off the
elevator so the woman and little boy can enter.
He smiles at her, a bit less subdued than before as he
gets his things into the hall -- and he manages a special
look for Tommy, a wink. He frees the elevator; they step
inside. As the door starts to close, Catch's face
"follows" the sliding door with a funny look for the boy.
We hear Tommy laugh as the door closes. Catch carries
his new possessions to his apartment.
EXT. OLDER HOUSE - LATE DAY
A well-kept older home, well-planted, pretty. A woman of
nearly 60 is tending the flowers. She hears someone
approaching the gate in the wooden fence. She looks up.
Sharon is at the gate, in uniform, on her dinner break.
The older woman is her MOTHER, Elaine Pogue. There is an
old strain between them, a sadness -- and a nervousness
in Elaine. She's a quiet woman. She smiles at her
daughter as Sharon comes through the gate. They hug
tentatively, a lot of baggage here. Sharon turns to the
It's looking great, Mom.
Thanks, honey. It's the best year
ever for the impatiens. The very
There is a beat of awkward silence.
Let's go in.
INT. POGUE HOME - DAY
As they enter.
It's a bit dark inside, older furniture, lots of keepsake
clutter and photos. Sharon is restless in here -- bad
Looks the same. Still smells like
cigarettes. I thought he quit.
He's down to six a day.
Your hair looks nice.
Her Mother touches her hair, self-consciously. She can't
help glancing at her daughter in all that gear --
bullet-proof vest under her shirt, radio, cuffs -- and
Are you well?
Sharon steps close to the mantel. There is a photo of
her there, graduating from the police academy, a
professional, not a family shot. She is surprised.
I guess I'm well. Is this always
Yes. It's always there.
Did Larry tell you I came by where
he's working? Is that why you
I called because we want to invite
you to our renewal of vows. It's
three weeks from Saturday.
Who's 'we.' You said 'we' want to
Sharon takes that in, still looking about.
How come you're renewing your
It's sort of... a fresh start.
No. Both of us. It's a way of...
having the marriage blessed.
Wasn't it blessed before?
Her Mother sighs, sad for all the trouble between them.
Sherry... of course it was
blessed. You just...
I just what, Mom?
You just think about the bad, and
you never remember the good. I
wish you remembered the good.
Sharon stares deeply at her.
Sorry. I wish I did, too.
like a child)
Does he? Remember any good about
Of course. He doesn't hate you.
He just... still feels hurt.
Hurt? I hurt him?
Being arrested like that.
Somebody doesn't forget that.
Oh? How come you forgot what he
It wasn't as bad -- you always
make it sound worse. And it
hasn't been that way for years.
I'm glad it hasn't been that way.
That means it worked, Mom. That
was the point. That's why I did
it. Christ. Why do I get
punished for it?
Honey, nobody's punishing you.
We're inviting you. Will you
Of course I'll come.
We didn't think you'd want to.
Now her Mother shows a trace of fear. She says gently...
We don't want any trouble... on
that day. Please.
Mom, I'm your daughter. I don't
want any trouble -- ever. I'll
come to the ceremony. I won't
come to argue, and I won't come in
They each get a small, sad smile.
It's on the 23rd. Saint Monica's.
I'd like you to send me an
invitation. Mrs. Vander said it's
a beautiful invitation.
Her Mother starts to leave the room.
I'll show you.
Mom. I'd like to get one... in
the mail... from my family. Okay?
Sharon goes to the door, then stops and turns, letting
her guard down all the way to say...
Tell Dad... thanks.
And she leaves.
EXT. SHARON'S APARTMENT - EVENING
Sharon is climbing the outdoor staircase to her
apartment, tired after her shift, drained a bit by her
visit home. When she reaches her door she sees that a
long-stemmed rose has been masking-taped to her door.
Written on the masking tape is: "Catch Lambert" and a
She pauses, staring at this, gets a little grin.
INT. SHARON'S BEDROOM - NIGHT (HOURS LATER)
Sharon is dressed for bed in a sleep shirt, lying on the
bed, surrounded by old photos and a couple of photo
albums from her girlhood. In a vase on her bed table is
Sharon is feeling blue, looking at her young self within
the family that has shut her out. She closes the book,
angry at herself for nearly crying. She sits up and
catches sight of the rose and rummages in the drawer and
pulls out the tape with Catch's phone number on it.
She's very conflicted about this. She puts the tape
down, but it sticks to her fingers. She tears it off and
tries to throw it onto the table, but it hangsoff her
thumb. She sighs and steels herself and dialsthe
INT. CATCH'S APARTMENT
He has bought a shelf unit that "needs some assembly" and
he's at work with a screwdriver, his new chair and table
nearby, the phone on the floor. PHONE RINGS, and he
picks it up.
As we INTERCUT the call:
Do you have a machine?
Do you have an answering machine?
Will you hang up please, and I'll
call your machine.
She hangs up. He stares at the phone a moment,
bewildered. He hangs up, and his PHONE RINGS. He lets
it ring. His MACHINE comes on with no recording, only a
Hi. Maybe we can... have
breakfast or something. I get up
early and run in Ballard Park.
There's a Denny's across from the
park. Like eight or so. If
you're there, you're there.
She hangs up, sighs a heavy one.
And she falls back on her bed.
INT. DENNY'S - MORNING
Catch walks in, glances at the clock. It's 7 A.M. He's
nervous -- and excited. He takes a seat where he can
watch the park, the runners. He waits.
INT. SHARON'S APARTMENT - MORNING
She has tossed and turned all night. She is awake,
turning to look at her clock-radio. It is 7:14. She
raises a hand over it.
It changes to 7:15 and the RADIO COMES ON. She slams her
hand down on it, cutting it OFF. She lays back and
heaves a sigh that becomes a moan, sits up again and
picks up the phone, dials the number on the tape.
Hi, don't pick up. Look, I didn't
sleep much and anyway this is a
bad idea. I was feeling funky
last night and I'm all right now
so let's just leave it where it's
at. Bye. Oh, thanks for the...
She hangs up and lays back down and pounds her head into
the pillow and covers herself, even her head, with the
INT. DENNY'S - MORNING
Catch is waiting, watching out the window. It's 8:05,
INT. DENNY'S - MORNING
... and now it's 8:38, and Catch is still waiting and
INT. SHARON'S BEDROOM - MORNING
She is still in bed, under the sheet. Someone begins
KNOCKING on her door and she sits up, bleary and
She stumbles out of the bedroom to her door.
She opens the door. He wears a stern look. She is not
I was just falling asleep.
We made a date.
It wasn't a 'date.'
Okay, an 'appointment.' I keep my
She gives an exasperated moan and turns to stagger back
to bed. He closes the door and follows.
I called you. I called you at
I get up early. I walked there.
I waited there.
Check your messages.
She heads for the bed, passing a mirror, looking at her
rumpled self and groaning at the sight. She climbs into
bed and snuggles there and puts the sheet over her head.
He is entering the bedroom. He carries a Denny's take-
(under the sheet)
I need more sleep. Come back in a
Come back? What makes you think
I'd come back here?
The lump under the sheet says...
Then why are you here?
I'm here to tell you that when you
tell someone you're going to be
somewhere then that someone
rearranges his life and you should
be more aware of that and a lot
more considerate instead of
She has come out from under the sheet and is watching
What's in the bag?
What? None of your business.
Did you bring some coffee?
You think you deserve coffee?
What else did you bring? Food?
(opening the bag)
You definitely don't deserve food.
I've got coffee, sugar, sweetener,
Just black. Black. Thanks.
She sits up. He hands her the coffee. She sips,
relishing the sip, then studies him.
So what kind of life did you
rearrange in order to get to
Denny's? You never said one word
about yourself last night. What
What's the difference?
What's the difference?! You're
standing in my bedroom. That's
the difference. Who are you?
Somebody who keeps appointments.
You're ducking. Don't duck.
(then a thought)
Oh, shit -- you're married, right?
Convinced -- she picks up one of the throw pillows from
the bed and tosses it at him.
I don't believe you.
You don't believe me? Give me
back the coffee.
Give me the coffee.
She hands him the coffee. He hits her with the pillow
and hands her back the coffee. He has made her smile,
but she continues, half teasing now.
Oh, God. Oh, wait -- you're
involved in some criminal
activity, aren't you? Great --
That's all I need.
My name is Catch Lambert. I don't
work. I don't commit any crimes.
I like being with you. We can
start from here -- from now.
Bullshit. I'm... I let you in
here. I'm not going to be some
fool. I need the details.
And I need to start from here.
That's ridiculous. Why?
That's the way it is.
Oh. Your rules.
Jesus. Okay. Fine. I don't
really want to know you anyway.
He is conflicted -- but he won't relent. He walks to the
door. She stares, waiting. But he never turns around.
He walks out. She is mystified, exasperated. She hears
her FRONT DOOR CLOSE. She puts the coffee on her bed
table -- and finds herself staring at that damn rose.
She suddenly gets up and begins to dress hurriedly --
with a plan.
EXT. BOULEVARD - DAY
Sharon is driving, speeding a bit, getting to Catch's
building ahead of him.
EXT. CATCH'S BUILDING - DAY
He approaches his apartment building, unlocks the front
door, walks in the entrance area. Now we see, across the
street, Sharon exit her car and follow him.
EXT. BUILDING - DAY
The front door has locked automatically. Outside there
is a panel of buzzers and apartment numbers. Sharon hits
all the buttons. Somebody BUZZES her in.
INT. LOBBY - DAY
Sharon enters, looks at the elevators. It's not moving.
She goes to the stairs, listens, hears him TRUDGING UP
the stairway. She follows silently.
INT. HALLWAY - DAY
As Catch reaches his apartment door, unlocks it, opens it
and walks in.
INT. CATCH'S APARTMENT - DAY
Before he can close the DOOR behind him, it BANGS open
wider, startling him -- and Sharon is in the doorway,
staring hard at him.
Can I come in?
She walks in and closes the door and starts looking
around as he says...
Yeah. Sure. Come in.
Despite his recent "decorating" the apartment is still
nearly empty. No books, magazines, photographs, no
clutter of life. She glances into the equally sterile
You live here? Nobody lives here.
This place is some kind of front,
a scam, a drop -- or what?
This is what you told me about --
Your interrogation. Do I need a
He has made her look at herself, and take a breath.
I just don't want to be jerked
Then tell me straight out. Who
He is silent, and she starts to leave. Moment of truth.
What is it you're looking for?
Your life. I don't want any
This is it. I sleep here. I walk
around town. That's all of it.
That's all of it?
Yeah. Except for you -- the way I
feel about you.
Surprising. I thought it was
impossible. I thought I was...
You thought you were what? Gay?
Dead. In a way.
I'm supposed to understand that?
No. Did you ever wonder what
'scratch' meant, when people say,
'we'll start from scratch'? This
is scratch. We can start from
She looks at him, looks at his empty place, his non-life,
and back at him again.
I don't know. I just don't know.
She breaks off the stare and heads for the door. He
watches her go.
EXT. UPSCALE NEIGHBORHOOD - DAY (SAME DAY)
As Catch charges up the stairs to the wide porch of Mrs.
Chu's well-kept home, carrying a grocery bag, head full
of his thoughts.
INT. MRS. CHU'S HOME - DAY
As Catch enters. She is watching TV. He does glance
into the living room briefly to throw her a quick hello
smile, before moving to the kitchen. She SNAPS OFF the
TV and begins turning the photos face down as she sends
her voice to the kitchen.
I remember that. That was a
INT. KITCHEN - DAY
He is putting groceries away as she rolls into the room.
He doesn't look at her, tries to be casual, but his
thoughts are bubbling out.
You know the cop -- the woman cop?
She... visited me.
Mrs. Chu registers surprise at this, but keeps it covered
Oh? Where did she sit?
I have a chair now.
You're... seeing her?
He darkens a bit as he works.
She has a lot of questions. She
wants to know everything.
Of course she does. Everybody
We could start from today. What's
so wrong with that?
The can in Catch's hand bangs on the cupboard, and he
stops, suddenly uptight.
Tell her what?
Mrs. Chu comes closer.
Tell her, Catch. Tell somebody.
It's been almost two years.
Every time I tell somebody, it
gets a little bit easier. I'm not
saying it goes...
His next warning is tough and absolute.
She is silenced. The moment hangs. She rolls her chair
to him, takes a box of cookies out of his hand, opens the
box and eats one, defusing the moment.
He starts to work again.
That doesn't matter.
She is pretty.
She's sort of pissed-off at me.
It doesn't matter. We like it
when men apologize.
He stares at her a while.
I'm sorry I yelled at you.
She smiles and hands him the box.
Have a cookie. See?
INT. POLICE REPORT ROOM - NIGHT
Sharon is typing at the computer, dark and dogged in her
work. Lieutenant Sanderman is watching her through the
glass wall of the watch commander's office. He comes out
of the office and moves to where Sharon is typing.
We can see the computer screen now. Sharon is searching
for any prior record of "Catch Lambert" -- arrests,
convictions. She has several "Carl Lamberts" on the
screen, even a "Casper," no Catch.
Anything bothering you?
Why? What'd I do?
Nothing. I'm talking about your
general attitude lately.
Sharon stops typing. She can find nothing. She clears
the screen, sighs.
My attitude's fine. End of a long
day. I'm tired.
Family matters getting to you?
Your brother, Larry...
What about Larry?
You know Nester -- on the Culver
City P.D.? He went out on a
violent domestic dispute
yesterday. A neighbor called it
in. It got a little ugly. No
arrest -- a warning.
This hits her hard.
Larry. Oh Christ.
Nester said it's not the first
Sharon is quiet a while, taking it in, shaken by it.
Thanks for telling me.
EXT. RESIDENTIAL STREET (CULVER CITY) - DAY (NEXT MORNING)
Sharon, not in uniform, is approaching Larry's house. It
has a small yard with kids' toys strewn about and a tire-
swing. She walks up on the porch and RINGS the DOORBELL.
She hears VOICES inside, LARRY AND KATHY, a quick
murmuring, low-voice argument, can't make out the words.
In a moment, Larry opens the door.
Jesus, you're up early.
I wanted to catch you before you
went to work.
I thought you were on late shifts.
I don't sleep much. Can I come
INT. LARRY'S HOME - LIVING ROOM - DAY
The place is messy. A TV can be heard -- CARTOONS.
She's busy with Larry Jr. right
Sharon nods, but then walks past him.
INT. CHILD'S ROOM - DAY
As Sharon walks into this toy-strewn room. Larry Jr. is
sitting on the floor, watching a small TV. Kathy is not
with him. Sharon kneels beside the boy a moment.
But he stays focused on the TV, some darkness, some
unsayable worry in his eyes. She picks up a toy car,
Y'know, they call this one a woody
'cause it has wood on the sides.
Now he looks at her with sad and bottomless eyes. She is
hurting for him. Larry is now in the doorway. Sharon
kisses the child's head and walks out, passing her
Why'd you come by?
To see Kathy.
As Sharon heads for the master bedroom, Larry takes her
She's not feeling good.
Sharon pulls away from her brother.
I'll just say hello.
INT. BEDROOM - DAY
Sharon walks in. Kathy is sitting on the bed, her face
badly bruised. They stare. Kathy speaks quietly, her
Don't make it worse.
It gets worse?
He's okay now. He's torn up about
it. Don't make him mad.
Sharon moves closer. She reaches out, touches Kathy with
a comforting touch as the woman turns her bruised face
When Larry and I were growing up,
our mother said that all the time.
'Don't make your father mad.'
Has he hit Larry Jr. yet?
He never would.
Oh. Just you, huh?
Larry is in the doorway now, angry.
What d'you think you're doing in
my house, Shar? In my home.
She walks out of the room and he follows her.
INT. LIVING ROOM - DAY
She turns on him.
You see a pattern here, bro?
I lost my temper. Things got out
of hand. It won't...
People always say that: 'I've got
a temper.' Like it's an excuse.
I don't need a goddamn lecture.
She comes very close to him.
You want to hit someone? Next
time your 'temper' flares up, Lar,
and you just have to hit somebody,
you go home and hit your father.
You blame everything on him.
I'm blaming you, you fucking
He grabs her shirt hard.
You don't come in here...
He pushes her into the wall.
You don't come in here and call me
What do you call a man who uses
his wife as a punching bag?
He swings a slap at her. She blocks it and punches him
hard in the face, and he crashes down on the floor.
Kathy comes running, calling out...
Don't hurt her, Lar...!
Kathy sees that it's Larry on his ass. The little boy
comes out of his room. There is a surprised moment.
Then Kathy picks up the child and takes him back to his
room. Larry is sitting up, shaken, his nose bleeding.
Sharon goes close to him, rigid with fury.
I know how it feels, 'cause I
remember. I remember standing
between you and Dad and taking the
blows for you -- and for what?!
You turned out to be just like
him, you bastard.
And so did I.
And she leaves the house and SLAMS the DOOR.
INT. SHARON'S APARTMENT - NIGHT
She is just returning home after her shift, very tired,
drained. She absently turns ON the TV, the STEREO. She
notices a blinking light on her MESSAGE MACHINE and hits
I bet you feel real proud of
yourself, Shar, knocking me down
in front of my family. You know
what I've got in my hand? I've
got a Polaroid picture of my
busted-up face, and I'm thinking
of sending it to your department,
to your lieutenant. I'm going to
turn you in to the police, Shar,
and see how you like it.
The message ends. She stands there a moment.
Oh, God. Oh, shit.
She sits on the edge of a chair, worried, deep in her
thoughts, hitting bottom -- the darkness engulfing her.
In a moment, she looks at her desk, walks there, opens a
drawer, pulls out that piece of tape with Catch's number
on it -- but it is all stuck to itself. She hesitates,
then starts to pick it apart when a KNOCK at the door
makes her jump. She wonders, then, somehow, she knows.
She walks to the door.
It's you, right?
She unlocks and opens the door, stares at Catch, very
vulnerable, on the very edge, her pain and fear over
Larry just under the surface. Catch holds a box of
cookies as an offering.
Can you just shut up? Just shut
up and listen.
I didn't say anything.
I don't want to talk. I don't
care if you have to play some game
and pretend you're a... 'angel of
mercy' or... whatever. I don't
care, but I don't want to hear
about it. All right? I don't
want to hear anything.
She steps back, allowing him in, and closes the door and
turns to him.
It's a bad night.
He sees her pain and puts his arms around her, pushes
through his fear and holds her -- and she lays her head
on his chest. He embraces her fully, and the effect on
him goes deep, to his core, where there is both pain and
longing, but he holds on to her, even rocks her a bit.
She sighs. In a moment...
This is good... but I'm too tired
to stand up anymore.
He walks her to the couch and has her sit, and then
slowly, gently, he "disarms" her. He lifts her leg,
takes the ankle holster and gun off, puts it on the
table. He turns her, takes the cuffs off her belt from
the middle of her back. He reaches into her pants pocket
and removes the Mace. From her shirt pocket he takes her
I.D. shield. He has her lie down on the couch now, their
faces close, eyes locked. They linger...
You want to kiss me?
He looks a little lost, but he nods, helpless. He comes
toward her lips -- finally -- but just before they touch,
she says, softly...
Kiss me someplace I've never been
He's not sure what to do. He begins to look her over --
as if hunting, and she gets a soft smile. He starts
slowly toward her ear -- but she shakes her head. Her
shirt is out of her belt and her midriff bare, and he
starts to move there, but checks her with a look. She
shakes her head. He hunts. Her smile deepens a bit. He
takes her hand and turns it over, going for the soft
flesh on the underside of her forearm, and she closes her
eyes. He kisses her there softly, and then again, and
then he lavishes kisses from her wrist to the underside
of her elbow as she sighs with pleasure and draws up her
knees in a kind of sensual glow that is leading them
to... No. He stops. She looks at him, a deep look, soft
Why do you stop? You always stop.
She has a glimpse of his mystery, the old sorrow, the
deep pain. He hugs her drawn-up knees, closing his eyes
a moment. Then he sits on the couch, puts a pillow on
his lap and raises her slightly, lays her head on the
pillow. He strokes her hair, her scalp as she closes her
eyes and sighs, slowly moving toward sleep. Our TRUMPET
MUSIC slides in here, lush and dreamy as we linger a
while, and then --
SLOW DISSOLVE TO:
INT. SHARON'S APARTMENT - MORNING
Just after dawn. Catch has slept on the couch. He is
beginning to awaken now as the first light strikes the
windows. The dreamy TRUMPET FADES OUT. Catch's eyes
clear, sleep replaced by thought, and he is suddenly
shaken by --
FLASHBACK - CATCH'S POV
-- a sliver of memory. But in this one, he is driving.
We see his hands on the wheel. Then his POV looks to the
side and we see an Asian-American woman seated beside
him, attractive, about his age. Her name is Annie. She
is saying something to him. We don't hear the words.
When the FLASHBACK ENDS --
BACK TO SCENE (PRESENT)
Catch sits up on the couch, jolted. He gets another
FLASHBACK - HEADLIGHTS
glaring through his windshield, blinding him. He gasps,
sitting there on the couch, but it's all over. He
stands, rattled, and he moves toward Sharon's bedroom.
INT. BEDROOM - MORNING
Sharon is peacefully asleep. He stands over her with
troubled eyes, but this slowly changes to a loving look.
He bends close to her face. He feels her breath on him.
He wants to lie down with her -- but he raises a hand and
very gently brushes her cheek. She stirs. He does it
again. She sighs a peaceful sigh, opens her eyes. He
smiles at her.
EXT. BOULEVARD - DAY
Sharon is driving Catch home. They are now on a main
boulevard of stores, office buildings. They stop at a
light. Both are surprised by a voice calling out from
the pedestrians crossing the street.
They look up to see a well-dressed man pausing in the
middle of the crosswalk to face their car. He is in his
forties, tall, with grey-blond hair. This is RICHARD
PINDELLA. He has a small smile and wave for Catch.
Sharon is curious, looking at Catch. Catch throws the
man a dark look and then turns away, ignoring him,
Drive, will you?
Pindella is moving toward the car, Sharon watching him,
The light changes. Pindella hurries to the curb as the
cars surge forward. Sharon drives slowly, checking the
mirror to see Pindella stare after them -- then enter the
office building on the corner.
Will you get off this street?
She makes a turn, glancing at Catch.
What? You owe him money?
But his dark look persists, and he doesn't answer.
If you take a right and stop -- we
can walk from here. I'd rather
He is nervous, being in the car -- and glad to leave it
when she pulls over. She watches this, wondering.
EXT. NEIGHBORHOOD - DAY
Sharon exits the car and locks it, staring at Catch.
If you're in trouble...
If you're in trouble with him,
maybe I can help.
Forget about him. Somebody I used
to know. I don't want to know him
anymore. That's all. Forget
about it. Walk with me.
She hesitates, then falls in beside him as he walks on.
They walk along in silence, the neighborhood growing more
seedy, tougher as they go. Catch is relaxing now, trying
to push it all away. Sharon looks around her.
This is not a great place to walk.
I like it here. It's fine.
I work here. It's not fine.
What's the problem?
Besides the shootings, break-ins,
rapes, cart thefts? We've got a
loose dog raiding garbage cans,
knocking 'em over. Can't catch
him. Got somebody blowing a
trumpet between midnight and
three. Can't find him.
As someone approaches them, Catch makes eye contact and
smiles a small, friendly smile-in-passing. He gets a
brief smile in return. He and Sharon amble on. He does
You know everybody here?
He nods to another YOUNG MAN he's never met...
How's it goin'?
Goin' uphill, man.
Catch and Sharon smile.
You try it.
Go ahead. We need this.
She has misgivings. A young woman is bustling along.
Sharon makes eye contact and presents a nervous smile and
a nod -- but the woman looks at her sternly and bustles
I feel like a jerk. I feel like a
Catch smiles, Sharon frowns, but when an OLD MAN passes,
she gives a small smile. The Man lights up.
Catch looks at her. She tries to shrug it off, but can't
quite hide her pleasure. Now Catch is pausing as a woman
is walking her six-year-old daughter to their parked car.
Catch makes eye contact with the girl and does a goofy
wave that makes her smile. Sharon smiles, too. As the
girl's MOTHER is unlocking the car, the girl shyly looks
back at Catch for more fun. He does that quick finger
trick -- trying to catch his own thumb, and the girl
giggles But the Mother is impatient.
The girl gets in. The Mother is about to close the door.
She frowns, mean-eyed.
Move your arm!
The girl slides in further, and the Mother slams the
door. The girl follows her mother with hurt eyes as she
walks around to the driver's side. Catch has paused to
watch this, his eyes gentle on the girl. The Mother is
about to enter the car when she sees Catch staring.
What are you staring at?
She feels bad 'cause you yelled at
What?! Who the hell do you think
Sharon is uncomfortable. Catch persists, never flinching
at the woman's anger.
She just needs you to smile at
It's none of your business!
Why not smile at her? What's it
Who the hell are you to talk to
Catch's anger is like flint in his eyes. It surprises
Sharon. She's upset by this.
You're so damn impatient.
Get away from me!
You're so busy being pissed off,
and time is going by.
It's not her fault.
The Woman gets into the car and slams the door.
I'm calling the police!
No. I'm calling the police.
(turns to Sharon)
Hey -- police.
The Woman speeds her car away. Sharon gets in Catch's
Jesus Christ, Catch.
Maybe she'll think about it now.
You had no right to do that. God!
You think you know everything?!
Who the hell are you, some expert
on raising kids?! The
neighborhood angel?! Jesus!
No. No, I just... some people are
walking around blind...
That's not your problem!
Don't tell me what my problem is!
Okay, fine -- you tell me what it
Maybe it's not my problem. Maybe
it's your problem. Maybe you're
going around blind.
Blind to what?!
Blind to what's going on around
you. Blind to what people need.
We're supposed to take care of
each other. We're supposed to
keep each other safe. That's the
way it should be -- if you're not
going around blind, like that
Or like me, right? What about
you? How come you can see?
That stops him, the darkness rising. He looks about,
trying to contain it.
I think I'll... walk the rest of
the way on my own.
I'll call you later -- about the
I'll be out.
She turns and walks away. He is still angry, but sorry
to see her go.
Shar... wait. Hey!
But she keeps walking, and he watches her walk away.
Then he walks on, upset, mad at himself, trying to pound
through it, walking quickly. He is passing an alley,
when he hears a CRASH. He looks in...
EXT. ALLEY - DAY
He sees a large dog that has just knocked over a garbage
can. He and the dog stare. Catch walks into the alley,
approaches the big dog, squats down to look the animal in
the eye, and begins petting it. The big mutt is now
leaning into the petting, and Catch's eyes go deep -- and
slowly find their way to a sad smile.
EXT. CITY STREETS - DAY
Sharon and Robby are patrolling in their unit. Robby is
driving. Sharon is watching out the window with a deep-
eyed look, a bit down because of her argument with Catch.
She is staring as she rolls along.
She is watching the people on the street, NOTICING, for
once, just how isolated they are, each in a box, passing
INT. CATCH'S APARTMENT - LATER THAT DAY
We've never seen the apartment flooded by sunlight like
this, all blinds open.
We START in the kitchen, staring at the drawer that is
now so loaded with toys, it won't shut. Some brightly-
painted soldiers are sticking out of the drawer.
In the living room there are two chairs now, and more
lamps and tables. Our PAN REVEALS that the dog from the
alley is sitting in the living room, watching Catch --
whom we now see is hanging a picture on the wall -- a
mountain scene. He holds the picture in one place, then
moves it to another, wondering. His fight with Sharon
still colors his mood, but he's working through it.
Do we go for... symmetry? Or...
more off-center. Japanese.
He glances at the dog as he moves the picture.
Are you into this? Bob?
The dog watches him.
EXT. LARRY'S HOUSE - EVENING
It is early evening of the same day, and Sharon is just
off shift, out of uniform in her own car, parking on
Larry's street and walking to the door. She knocks --
and takes a step back. Larry opens the door, already
angry, his nose bandaged, eyes blackened a bit from the
I don't want you around here.
Let's go talk in the yard.
They stare. She starts walking back into his darkening
front yard, looking over her shoulder. She walks to a
tree where the tire swing hangs, waits there. He goes
back inside, but leaves the door open. In a moment he
reappears, coming outside, closing the door behind him.
ON SHARON AND LARRY
As they meet by the tire swing. His eyes burn her, hate
You took a swing at me.
You asked for it -- calling me a
coward. You knew I'd swing. You
think I look bad now? Look at
He has a Polaroid photo in his hand, holds it in front of
her, dried blood and bad bruising on his face.
Nice, huh? Beautiful. The
cops'll love this, right?
Evidence. Don't you guys love
He puts it in his pocket, and they stare a moment more.
You wanted me to swing.
She looks away. She nods, speaks softly.
I'm sorry I hit you so hard.
But you're not sorry you hit me.
Jesus, Larry, what about Kathy's
That's not your business! Nobody
called you, right? She didn't ask
for you to come here. This is my
family. You don't get it, 'cause
you've got no family. Nobody. So
you try to run everybody else's
life. Jesus Christ -- get your
own life. That's the goddam
problem. Get your own goddamn
Their stare holds, but she is giving way.
Okay. I'm sorry I came here. I'm
sorry I hit you. Okay?
This is very hard for her.
Don't go to my department, all
Why the hell not?
Because the job's all I got.
That's what I said, right? No
She nods, her voice smaller, almost a whisper.
That's what you said.
He makes her wait, thinking it over.
And you won't come around here.
You won't call. Ever.
In a moment Sharon nods.
And I don't want you to come to
Mom and Dad's celebration...
Her eyes snap to his, surprised.
Not the church. Not the party.
Stay away. I don't want you
around. I don't want to see you,
After another moment, she nods again -- and he snatches
the photo out of his shirt pocket and pushes it against
her chest and walks away. The photo falls to the ground.
Larry says without turning...
Go get a life.
... and she snaps.
I got a life!
The words burst out of her, thick with tears, but she's
not crying. Larry stops and turns.
How the hell would you know about
You know nothing about me, because
you don't want to know. The
family doesn't want to know me.
Well, too bad. Sharon's got a
life. Sharon's got a boyfriend.
Sharon's going hiking in the
morning with her boyfriend. She's
not sitting alone miserable like
you want. Too bad!
She reaches down, snatches the Polaroid photo off the
ground, walks to her car, enters and slams the door as
hard as it is possible to slam it.
EXT. SANTA MONICA MOUNTAINS - DAY
Moving through the panorama are two small figures on a
hiking trail, traveling uphill on a ridge.
ON SHARON, CATCH
Sharon is pounding along, barely out of breath. She
studies the beautiful view, and it helps her. It lifts
her. Catch is falling behind, breathing heavily.
Hey. Hey! Can you wait up a
She waits. He catches up.
I thought you walked all over the
The city is flat. Okay? Can we
stop here? Can we examine the
view? Have a Milky Way? I've
burned every calorie I ever had.
But she walks on.
My favorite lunch spot is another
She smiles and walks on, and he follows, calling out.
I'm not one of those competitive
guys, you know!
EXT. POND - DAY (BIT LATER)
Sharon is already unpacking their lunch as Catch trudges
up and collapses near a stream-fed pond. She hands him a
sandwich, but he shakes his head.
No thanks. I can't eat and have a
heart attack at the same time.
She smiles again and takes a bite and stares off, and
soon enough her dark thoughts come and cover her, and
As soon as you get happy, you get
I'm okay. Everything's code four.
Fine? This isn't fine. I know
fine. This is something else.
Something happened yesterday.
Yesterday -- you mean you want to
hear about it?
Sure I do.
No kidding. Why? You never talk
All my days are the same.
He keeps staring, waiting. She is chewing a sandwich,
looking at him. Finally, she begins -- with no emotion.
Yesterday. Okay. Yesterday we
rolled on a 415. Juliette and
Sanchez had these four guys
against a wall, but they were
H.D.B. and definitely unco-op. It
got pretty jumpy, but we got them
in the car with a couple of
bruises and Robby got a sprained
wrist, so I did the rest of the
shift with a rookie who lost it
over a D.B. in Sunset Park, old
woman who'd been dead maybe six,
seven days, and I usually do all
right but the smell got to me, and
I can still smell her. Then we
arrested a prostitute working out
of her home, and I carried her
little girl out to the social
worker, and the kid was holding on
real tight and making my shoulder
wet and I wanted to punch her
rock-head mother, and then shift
ended and I had a nice visit with
my brother Larry.
He is staring at her. He takes her hands, holds them.
I'm sorry. That would make
Sorry you asked?
No. No, you can always tell me.
She stares a moment, then speaks with an irony he doesn't
pick up on.
Well... I feel better now. You
I feel fine. Great.
He takes off his T-shirt and begins stripping off his
shorts, his underwear!
What are you doing?!
She is surprised, smiling, as he plunges into the pond,
her darkness dissipating.
Catch! There's no swimming here!
And you can't be naked in a state
He dives under and surfaces again.
Take the day off, Pogo!
What if a park ranger comes?!
He dives and surfaces once more. We STAY CLOSE ON him.
Take your badge off for once.
Don't be such a damn Marine about
He stops because she isn't there. He looks about. Then
suddenly he sees her, poised on a boulder right above
him, in her underwear about to dive! He yelps and gets
out of her way, and she dives off the rock in classic,
near-professional form, a beautiful, sleek dive. She
hits the water just right and surfaces, and they splash
and swim and frolic and dunk each other in unabashed
At one point she jumps at him to dunk him, and he catches
her. They are in chest-deep water and their faces are
close. They pause -- then she goes in for a kiss, but he
pulls his head back, avoiding that kiss and says...
Someplace I've never been kissed.
She smiles, staring, then slowly reaches her hands to his
face, gently closes his eyes and is about to kiss him on
the closed lids, but she changes her mind and instead
puts her lips tenderly on each of the small scars on his
face. Then she moves away. He opens his eyes. She
walks to the shore, moves to her clothes and starts
getting dried and dressed, giving him a soft look.
Catch comes to the shore to dry himself, but as he
dresses, Sharon glances at his body -- and the scarring
on his chest and arms. He is troubled about this,
avoiding her eyes. Then he makes a decision.
They tell me I was in an accident.
Long time ago.
Looks like a bad one.
I don't remember it. I...
She waits -- but he says no more. She continues to
dress, sliding her shorts over her wet underwear -- but
before she puts her shirt on, she turns her back to take
off her wet bra. He glances at her. She looks over and
catches him glancing. They both smile softly,
ironically, as they finish dressing.
We should be thinking about lunch.
We have to pack up.
Some of us have to work.
You ever work?
Yeah. I worked.
Oh? You remember that? Working?
She smiles and walks off toward the food. He stares
after her, his smile fading into thoughtfulness, memory,
as he dresses.
EXT. COFFEE HOUSE - DAY
Catch is standing outside, looking in through the large
window, searching. His eyes settle on a man, and he
stares. The man, about his age, is having coffee and
reading the paper. Catch is staring deeply, mustering
his courage. He walks into the place.
INT. COFFEE HOUSE - DAY
Catch hesitates, then walks over and stands beside this
man until he -- JACK MOLINA -- looks up. Jack beams with
recognition and surprise.
Catch -- Jesus!
Catch is held back, smiling a bit, but on thin ice here,
dipping into his past.
How are you? Sit down. Been
years. You been out of town?
I've been around.
Jack's smile clouds as memory kicks in.
Oh, man, I'm really sorry about
what happened. I never got a
chance to say...
Catch, with a steady look, says...
We don't need to go there.
Jack nods a moment.
Okay. All right. So... what
d'you want, a coffee?
I want my old job back.
What d'you think?
You been workin'?
No, but I'm up to speed.
Well, it's not good with Randal
No, he's out of it, but Danny
Coley's got something going.
Wanna go see 'im?
Catch stares, nods.
Finish your coffee.
EXT. PARKING LOT - DAY (LATER SAME DAY)
In a seedy parking lot, tough part of town, Robby and
Sharon are arresting two teenage girls. One of them is
leaning on the car as Sharon searches her. Robby stands
back with the other (cuffed) girl. Robby is staring at
Sharon through this moment -- noting the difference in
her, still very professional -- but softer. The girl is
upset, near tears. Sharon is gentle in her search.
I have to check these jacket
pockets. What's your name --
The girl nods, not trusting her voice.
I need to unsnap this, Allison.
I'm checking your waistband. You
got to Whitney School?
Sharon is searching, Robby is noting all this, his eyes
appreciating the difference.
Lift your arms higher. Got a good
basketball team at St. Mark's.
You play basketball?
EXT. STREET - NIGHT (LATER THAT NIGHT)
Sharon and Robby are still on the job, their unit rolling
down a residential street of apartment buildings. A
parked car is BLASTING MUSIC, and Robby halts beside it.
Sharon starts making dancing moves to the MUSIC, sitting
there beside Robby, and he stares at her as she grooves,
kidding it. Then Robby HITS the HORN to get the driver's
attention in the parked car. Robby makes a gesture to
lower the volume, and the man SNAPS OFF his TAPE. Robby
rolls on, glancing at Sharon. She wears a small smile,
checking their beat.
What's going on, Pogo? You're not
happy or anything?
Well, it's a mix, Robby. Life is
shit, but I'm dating this great
She smiles at Robby's look.
He says before I came along, he
thought he was dead. Sounds
better when he says it --
Robby stops the unit, rolling the windows down. They
hear the FARAWAY SOUND of...
The trumpet player.
Robby pulls over.
This time we got his ass.
They exit the car and stand in the street, looking up,
scanning the dark buildings -- but the sound is hard to
track, a FAINT BALLAD on a skillful HORN.
Look at that moon.
They stare at the full moon. In a moment, we hear the
sound of ROARING CARS, their TIRES SCREECHING as they
turn onto this street, one car speeding ahead to cut off
the other and force it to stop. The two male drivers are
screaming at each other. Robby shakes his head.
Full moon, man. Hey!
They run toward the drivers who are exiting their cars to
confront each other. One big guy carries a baseball bat.
Robby heads off one DRIVER while Sharon intercepts the
This guy's crazy!
This asshole side-swiped me!
Are you McGuire?
Then put that bat away. Put it in
your trunk. Now.
The man hesitates, then moves toward his trunk.
I never touched his car.
You lying bastard!
The man charges, bat in hand, and Sharon makes a flying
tackle, bringing him down hard on the street -- and we
INT. SHARON'S BEDROOM - NIGHT (LATER)
as she lies on the bed, on her stomach, her top off, and
Catch straddles her, massaging her back and shoulder
which are sore from her tackle.
No. That's good. Deeper.
(as he works)
How heavy was this guy?
Like a truck.
Pickup. Ow. Ow! That's really
She begins to moan as he digs out the pain. He is
fighting against the erotic charge of this, trying to
keep it medicinal, but he's got his hands all over her
naked back, and she is moaning -- so he stops and takes a
I better... More oil.
He reaches to the bed table and puts oil on his hands,
noticing a card that stands open on the tabletop, a very
This is pretty.
Don't get oil on it.
Renewal of vows -- that's great.
Is this your parents?
Yes. Just put it down. I'm not
She doesn't answer. He puts it down, comes back to the
slow rubbing of her shoulders, her neck. In a moment...
If I go, my brother'll hurt me
with the department. I got mad
and knocked him down. All they
need is a complaint. Just leave
it alone and keep rubbing. Okay?
She moans in pleasure as he rubs, trying to push all
other thoughts away.
So... he says you can't go?
Can't you rub without talking?
It's been bad with my family a
long time, so the hell with it
anyway. If they don't want me
there, I don't want to be there.
(then, as he works)
But we see her eyes turn inward toward the old pain and,
for once, she shares it.
My father used to knock us around,
all of us. But I'm the one who
called the cops -- finally.
They say I turned against the
Catch works in silence a while, absorbing this, looking
at Sharon with more tenderness than ever. In a moment...
But... they invited you.
You don't know anything about it.
So forget it.
Well... I know about family.
Oh, yeah? What about it?
It's... a door you don't close.
I didn't close the door.
You're closing it now. Right?
Family invites you, you go.
Family shows up, you welcome them
in. That's family.
Oh, sure. What if they don't
Then you forgive.
You have all the answers.
No. I just... It seems like a
chance, doesn't it? A chance to
make things right. I'd take it.
Then you tried -- y'know? And
it's up to them.
Sharon is considering his words, but she's also deep in
her old pain, defensive, challenging.
You close with your family?
That hits him, but he keeps rubbing her, gentle now,
looking a little lost. He doesn't answer.
See? So why should I listen to
But as he works her back in silence, we see her facing
her pain and thinking through it.
INT. SHARON'S APARTMENT - NEXT MORNING
Just after dawn. Catch is on the couch, stirring in his
sleep, in the grip of an unsettling dream. We hear what
he hears: the VOICES of his wife, his son, murmurings.
We're not sure of the words, even laughter. Catch's eyes
snap open, jolted out of sleep, but the VOICES don't
stop, and he suddenly sits up. The VOICES FADE as he
catches his breath, gulping air. He tries to calm down.
In a moment, he rises and moves to Sharon's bedroom.
INT. BEDROOM - MORNING
He comes to the side of the bed and sees that she is
asleep. He sits on the bed and studies her, his dark
thoughts dissipating as he watches her sleep, his eyes
going deep. In a moment he begins to raise a hand to
brush her cheek -- the way awakened her before -- but he
stops before touching her. Instead, he brings his face
close to her and lightly kisses her.
She stirs. He kisses her again. She opens her eyes.
They stare at each other. She raises a limp hand and
touches his face. He begins to come close, slowly, for
another kiss. She welcomes it. They kiss on the mouth,
very tenderly. They kiss again -- deeper. They kiss
again, and she holds him, and he moves fully onto the
bed, lying over her and supporting his weight on his
elbows and kissing and kissing and letting go for once,
hungry for her because she is in his heart now, and she
is a salvation, and there is a moment when they both
pause and stare clear-eyed, acknowledging what they are
doing, and both of them abandon their fear and pain and
begin to smile, and they make love that way, smiling, as
INT. BLUES CLUB - NIGHT
The night of that same day finds us at this neighborhoody
place with a lot of down-to-earth atmosphere and not a
lot of noise, like Harvell's in Santa Monica -- earthy
blues and jazz from a small band in a darkish club, small
dance floor. We PAN during this slow number and ARRIVE
AT a few dancing couples, including Sharon and Catch who
mostly just hold each other and sway. When their eyes
meet, there is a lot of deep pleasure there.
The music ends. The small crowd applauds. Couples head
back to the tables, but the little band goes right into a
more up-tempo but still earthy blues. Sharon stops and
pulls Catch back onto the dance floor. He smiles and
This number has a driving beat, and, slowly, we watch
Sharon drop her inhibitions and become more and more free
out there, and Catch is smiling and wowed by her, and she
laughs, wowing herself, and she keeps going, getting wild
and playful, and it's something to see. We LINGER ON the
joy and abandon. She's earned it. They go a little
crazy, happy crazy, and in a while we...
SAME - HOURS LATER
The blues club is emptying out. It's late. The band is
finishing what seems to be its last number, for the last
of thinning crowd -- including a tired, happy Sharon and
Catch who applaud the end of the number. Catch stares at
What's your favorite song?
He rises -- as if to go to the band with a request. She
Catch, I'm beat. So are they. I
think they're finished.
One more. It's a surprise.
She watches as he leaves her, walks to the bandstand. He
talks to the leader who is the PIANO PLAYER.
From the instrument cases on the floor behind the piano,
Catch picks up a trumpet case, opens it. Now Sharon's
tired smile is changing to curiosity, wonder.
As he puts the mouthpiece on the horn, nervous, but
excited, too, speaking to the Piano Player.
DANNY (PIANO PLAYER)
Gonna be good having you back,
Catch comes to the edge of the bandstand, grinning a bit
at Sharon, at his surprise for her, nervously fingering
the horn. He puts it to his lips.
Mouth-open surprise -- and then smiling with the wonder -
- and Catch begins to play, closing his eyes and
rendering a ballad, like the haunting "ANGEL EYES."
Sharon's smile slowly fades, replaced by a much deeper
look, not only because he is so good, but because he is
showing her his heart, his love and even his pain -- more
than he can show her any other way. We INTERCUT as he
opens his eyes briefly, watching her, sending her the
music, closing his eyes again to fall into the song -- as
Sharon's eyes fill at the beauty and sadness of it, and
at this look inside her man. We LINGER. Then...
EXT. CLUB - NIGHT
We keep the sound of CATCH'S TRUMPET going as he and
Sharon exit the club and begin to stroll away, arms
around each other. In a moment, he stops. He can't go
another step. He has to kiss her. He holds her face and
comes in for the kiss, and above the music we hear her
Where I've never been kissed.
He stops and stares a moment, then takes her hand and
walks her out into the middle of the traffic-less
boulevard and there, in the center of the street, kisses
her, and she responds, and it is their finest, fullest
moment, lifting on the MUSIC, and it is ironic and
prophetic that at its peak they are washed over by the
revolving light from a police car and a SIREN that CHIRPS
once as they break, staring.
We WIDEN to see Ray and Sanchez in their police unit 20
feet away. Ray uses a small electronic bullhorn to
Are you in danger there?
I was talking to him, Pogo.
No thanks, Ray. Everything's code
four. Go away.
Sharon laughs aloud and walks (with Catch in hand) to the
police car, her joy overwhelming any embarrassment. She
gestures behind them at the jazz club.
See that place? He's going to be
playing there every weekend.
Catch notes the pride with which she says this.
(impressed; to Catch)
Oh, yeah? What d'you play?
It's music, Ray. You wouldn't
She waves and walks off with Catch, arms around each
other. The cops watch them go.
INT. CATCH'S BEDROOM - DAY (NEXT MORNING)
Sharon is asleep, alone in the tousled bed.
INT. LIVING ROOM - MORNING
Catch is dressed, putting a leash on Bob, glancing into
the bedroom at Sharon.
There is love in his look, and then a passing question,
too, a residue of fear now that their relationship has
begun in full -- but it all ends up in a soft smile for
her as he walks Bob to the door. He hesitates at the
door -- then walks into the kitchen and slides open that
drawer of toys, stares at them.
INT. BEDROOM - MORNING (MINUTES LATER)
Sharon is waking, sleepy. She rises, finds a robe and
slips it on, calling out softly for Catch.
INT. LIVING ROOM - MORNING
Sharon sees that Catch and Bob are gone. She drifts to
the window, looks at the day, looks down at the street --
and she sees them.
She sees Catch and Bob on their way into the park across
the street from the building.
She smiles and moves into the bedroom to dress.
EXT. CITY PARK - DAY (MINUTES LATER)
Catch is walking Bob in the park, but is also checking
for someone, studying the playground. He begins walking
toward the swings.
ANGLE - SANDBOX
Tommy, Catch's neighbor, is playing in the sand with a
metal truck. Catch walks up to Tommy, carrying a bulging
plastic bag -- but Tommy's attention is on Bob, and pets
the big, friendly dog.
ANGLE - CANDACE
She sits on a bench nearby, watching this, smiling a bit.
ON CATCH, TOMMY
Catch kneels in the sand, beside the boy, and he spills
out the contents of the bag -- action figures,
superheroes, soldiers. Tommy goes wide-eyed at the
array. Catch is pleased by the boy's reaction. Catch
keeps a layer of emotion covered here.
You like these?
Well... They're for you. We can
pretend it's your birthday.
Tommy stares at him, then back at the toys in delight.
Candace is walking toward them, and Catch turns to her.
I hope you don't mind.
They're for me, Mom!
Her look of surprise questions him.
Yeah. I've... kind of been saving
He nods. She kneels close to her boy, the toys, pleased
but not quite knowing what to say.
Well, thank you. Thanks a lot.
Catch nods, grins at Tommy who is already at play with
ANGLE - SHARON
She has entered the park and witnessed this from a
distance. She is angling toward the playground.
He watches Tommy at play with the figures, but it's
almost too much for him. He touches the boy and rises,
smiles and nods at Candace and begins to walk off.
She hurries her steps to intersect with Catch.
ON CANDACE, TOMMY
Wow, Tommy -- Look at them all.
Did you say thank you?
Now Tommy looks up. Catch is moving away with Bob,
walking home. Tommy stands up, Candace calls out to stop
But he is walking on, some of the emotion seeping
through, not darkness, some old joy welling up. We see,
in b.g., Tommy starts to run after him to say thanks. We
now have a convergence of Tommy, Sharon and Catch, who is
moving steadily toward the street, crossing a bike path
now. A BIKER is coming on. All in one moment Catch
hears the WHIZZ of the BIKE, Tommy calling out "Thank
you," and Candace shouting "Be careful!" And Catch goes
cold inside and turns quickly and rushes onto the bike
path, taking the collision with the bike so Tommy is sure
to be safe. Catch and the biker fall hard. Sharon stops
-- holding her breath. Tommy watches, wide-eyed, and
Candace comes running.
Catch is rising, a little sore and soiled. The biker is
Goddammit -- I saw the kid.
Jesus. I wasn't even close.
But Catch is walking away with that frozen, numb look,
all shut down by his fear and his memory as Bob trots
along beside him and the Biker comes after him and Tommy
and Candace watch him go and Sharon hurries her steps to
catch up. The Biker reaches Catch first.
Wait a minute! Hey!
But Catch won't turn to him, walking on -- and the man
gets in front of him, raging.
Why the hell did you cause a
wreck?! I told you -- I saw the
kid, you idiot. I was...
Pain and darkness build in Catch's eyes until he says in
a quiet, choked voice, right into the Biker's face...
One more word, and your life will
The man stops talking, looking at the dead certainty in
Catch's eyes. He wants to say more, to save face, but
Catch's look holds him like a fist. Sharon has stopped,
frozen, watching. The Biker turns away and walks back to
his downed bike as Catch moves on. Sharon can hardly
believe all of this, following Catch again.
ON CATCH, SHARON
It takes a moment for her voice to penetrate, then he
quickly turns and sees her approaching.
Are you all right? Your elbow's
But he is tight, nearly frozen, everything held in.
He walks away from her, and this shakes her, and she
catches up again.
Where are you going? Catch --
you're scaring me. Please...
But he walks on, desperate, and she gets in his way,
Please, Catch, don't... Can't you
talk to me?!
He turns and walks off, heading for the street.
Please. Wait. I... Catch!
He has walked into traffic -- not completely unmindful of
the cars, but desperate to get away. She watches this,
frozen, as HORNS BLARE. He has to stop in the middle of
the street to wait a moment, and he stands there,
As the traffic moves around him and the dog -- a HORN
BLARES, BRAKES SCREECH, and he thrown into a storm of...
That come sharper and faster than before, bits and pieces
of memory outside any order: He is driving, Annie smiles
at him, headlights blind him, Annie screams, the little
boy in Annie's arms grins at him, BRAKES SCREAM, Annie
says something to him, calmly, but he can't hear her, the
headlights blind him again and BRAKES SCREAM again, and:
BACK TO SCENE (PRESENT)
Catch stands there shaken and shut down.
Watching him, shocked and frightened for him. She sees
the traffic let up, and Catch crosses and walks toward
home. She watches him go.
EXT. BUSY STREET - DAY (LATER)
As Robby and Sharon's police unit moves along with
traffic. In a moment they pull over and park beside an
office building. It is the same building the man entered
shouting, "Catch!" Sharon watches the building's
entrance. After a while...
Are you going to tell me why we're
sitting outside this building
Watching for somebody. Tall guy.
40s. Grey-blond hair.
What's it about?
Fine -- what am I supposed to do?
She watches the building, studying the people who come
INT. CATCH'S APARTMENT - DAY
Catch is at home, still shaken by what happened to him in
the park. He reaches for the PHONE, punches in a number.
It RINGS and Elanora Chu picks up. Catch is deep in his
Hi! How are you? Have you been
out in this great afternoon?
Brenda took me for a walk.
She senses the silence on the other end and quiets a bit.
I've been... remembering.
She is quiet for a moment.
Catch... This is good.
No. No, there's good to remember.
He doesn't speak, shakes his head.
I'll call you.
He hangs up, staring at his thoughts.
EXT. BUSY STREET - DAY
Sharon is still staking out the office building. Robby
is fidgeting. She just keeps watching. When Robby
begins to speak, she puts up a hand to stop him, going
very still, staring out the window at the man who Catch
was afraid of, Richard Pindella. The man enters the
building. Sharon gets out of the car, intense...
Give me fifteen.
And she hurries after the man.
INT. OFFICE BUILDING - DAY
As Sharon enters, sees the man at the elevators. He gets
into an elevator, and she just misses him. She watches
the elevator indicator. It stops at two. She hurries up
INT. CORRIDOR - DAY
As Sharon bangs into a hallway through the stairway door.
She looks one way, looks the other way down the long
hall, and sees the man just entering a door. She walks
to that door. It is marked "private." She knocks and
INT. OFFICE - DAY
She enters a comfortable office, many shelves, books,
couch and chairs, big desk. She hears the man's voice
from an anteroom. He's coming toward her.
Excuse me -- that's a private
He sees her now, sees the uniform.
Oh... is there a problem?
He's calm, gentle in the eyes. She stares a moment,
trying to keep her emotions undercover.
I'm not sure. Who am I speaking
I'm Dr. Pindella.
She takes her time, afraid.
What kind of doctor?
What is this?
Do you know a Catch Lambert?
Oh. Yes! Is he in trouble?
I... need to talk to you.
He glances at his watch, worried for Catch.
Well, I have a patient in five
minutes. But I can...
Are you a...?
I'm a psychiatrist.
And Mr. Lambert...
My relationship with Mr. Lambert
She's dying inside -- but covering, lying, forcing her
way into this.
He's your patient. He's your
patient we... know all this. This
is police business. I'm officer
Sharon Pogue -- L.A.P.D.
Look... I want to help Mr. Lambert
but I can't tell you anything that
isn't public record.
In general. In general. He's
your patient, and he...
He's not my patient. He walked
away from treatment. That was...
nearly a year ago.
Why did he walk away?
I can't discuss that, but if you
know how to reach him, I would
appreciate being able to talk to
You can help by just telling me
what's in the public record.
It'll take me half a day to do a
search. Can you tell me? Just...
She is unable to play this out as a "cop," her emotions
coming through. Pindella sees this. She sits on the
edge of a chair and takes a breath, speaks more softly.
Can you please tell me what's in
He stares a moment, sympathetic -- and realizing...
You were with him -- in the car.
Your uniform threw me. Are you
She looks at him, nods.
He takes that in, leans back on the desk.
I can tell you he was in an
accident, hospitalized, referred
to me as an outpatient...
A bus... a city bus hit his
vehicle. That was a couple of
years ago. It was... an awful
thing. His family was in the van.
His wife and child. His wife's
A bus... and a van. Where? On...
Something is pulling at her memory. Her vision turns
inward, and she stops breathing for a moment --
remembering. She was there. And here we get a...
FLASHBACK - CARNAGE
A glimpse of the carnage -- what she saw, first on the
scene -- with Catch lying there. All the while Pindella
I think so. Yes. Near Santa
Monica. On the freeway. He was
severely injured but... thrown
clear. The others were trapped in
BACK TO SHARON (PRESENT)
still in shock, looks at Pindella again.
Survivors? Only him? I... don't
Yes. I was there. I was there.
Pindella stares, then...
His wife's mother survived, but...
she was paralyzed.
She takes a moment, absorbing this.
Elanora Chu. She's still in town,
Does he... still see her?
He used to. I don't know.
I'm glad to see... he has someone
else who cares about him. I know
he's running from this. He left
all his friends, his home, his
He says... he doesn't remember the
He lost a lot of memory. I tried
to help him with that. He
resisted. Walked away.
I think he remembers me.
Very subdued now, she asks...
How does he live?
He received a large settlement
from the city, but he...barely
touches it. He was a professional
She stares at him and nods.
As he says that, we hear our TRUMPET MUSIC begin -- a
fast and furious MUTED TRUMPET, incredible RIFFS, and we
use this to carry us, as we...
INT. POLICE HEADQUARTERS - DAY
Sharon is in the report room, using the computer,
hunting. We MOVE AROUND to see her and the screen. She
is searching the police records to find the accident.
The CONTINUING TRUMPET RIFFS are the motor for this. She
suddenly stops as we FOCUS ON the name: "LAMBERT." Then
we watch her as she punches up the data and she reads.
INT. SHARON'S APARTMENT - NIGHT
We MOVE THROUGH Sharon's nearly dark apartment, its
stillness in strange contrast to the manic TRUMPET RIFFS.
We PAN to find her curled in a chair, staring deeply,
sadly, drinking a drink. As we PAN, we DISCOVER she is
looking at that mural of the mountains and through this
to her thoughts, and then she makes a decision and rises
and goes to the phone, punches in a number.
INT. CATCH'S BEDROOM - NIGHT
He is sitting on his bed, back against the headboard,
sitting there fully dressed, shoes and all, knees up --
as he plays his muted trumpet, hard and fast, playing the
incredible riffs we've been hearing, playing in a driven
way, keeping his demons away. When the RING of the PHONE
breaks through, he stops suddenly. He waits. His
MACHINE CLICKS ON and BEEPS. We INTERCUT the call as
Sharon's voice comes on, subdued.
Catch, it's me. Can you pick up?
But he sits there, waiting, listening.
Why don't we... meet tomorrow?
I'll be in Westwood. Can you meet
me there? Westwood and Cole.
About two o'clock. Okay?
He sits there. He slowly puts the horn down. He reaches
for the phone now -- but she hangs up before he picks up
EXT. WESTWOOD STREET - CORNER - NEXT DAY
Catch waits on a busy street corner in Westwood Village
not far from Santa Monica. He is waiting, glancing over
the passing crowds for Sharon. He sees her. She is off
duty, out of uniform. He watches her until she spots
him. She smiles a little, but there is a mix of fear and
sadness in her smile. They walk to each other and stop
and hug, but it is brief, and then she keeps walking
slowly, and he walks beside her. There is a strain
lingering between them.
Shar, I'm sorry about yesterday.
It's hard to explain, but it's...
I'm okay now.
You don't have to explain.
He glances at her, wondering, walking along.
So... why'd we meet here?
So you're the trumpet player who
was waking people up -- on my
They walk along in silence a moment.
I used to practice late...
outside. On my roof.
On your roof? That's why we
couldn't find you.
I didn't know it bothered anybody
until you mentioned it. You
They smile nervous smiles. She walks on, leading him
somewhere. He looks about, beginning to show some
agitation, but covering it.
You going to tell me where we're
(as she doesn't
That's okay. I mean... I'll go
anywhere with you, Shar. Jaws of
death. The mall on a Saturday.
Just about any...
He slows his steps, looking across the street and down
half a block...
We see an ivy-covered brick building there, with a sign
that is too far away for us to read.
ON CATCH AND SHARON
He looks quickly away from that building. She sees his
You can trust me, you know.
She takes his hand.
I've got you now. I'm holding on
-- like before.
What d'you mean?
Like I held you before. Like I
did -- at the accident.
He suddenly pulls his hand out of hers, shocked, and it
What makes it so... unspeakable,
Catch? What makes it like that?
He begins to shut down, to grow cold and numb and not
Is it because you were driving?
He turns away, closing his eyes.
I read the reports, and it wasn't
your fault. It wasn't. Is it
because you survived and they
She puts her hand out for him again.
Catch. Please. Hold on, and
we'll go in there together...
He does not take her hand, so she takes his and walks a
few steps toward that building.
You can talk to them. You can say
goodbye or I love you or
He pulls his hand away again, more violently, a layer of
rage over his pain.
This is wrong! It's wrong! Why
are you doing this?!
To help you.
I don't need your help! I don't
need this. We don't need this --
We're not. We're not fine, Catch.
Nothing is fine -- no matter how
much you pretend.
It is as if she's fighting for his life again -- and her
You pretend that nothing happened.
You walk all over the city helping
people, but you're dying inside.
I'm not dying! I'm not
pretending! I don't remember! I
don't remember any of it. So
leave me alone! What good does it
do? It's gone! And I'm all right
this way! Why do you have to
change it? I'm all right.
She points at the building across the street.
Then walk in there.
He can't even look at the place.
Walk in there, and I'll walk in
with you. Walk in there and say
it's real -- what happened is
real. Your family died.
Don't talk about that! Don't!
All right -- you talk about it!
You tell me your family died and I
say yes, I know, I'm sorry, and
you say, I loved them... and I
say, what an awful thing to lose a
Damn you, Shar. Damn you -- why
won't you stop?!
So you can have a life!
I have a life! We could have a
life. We could get up and go to
work and come home to each other
and never, never talk about
before. We don't need to do that!
Why do we need to do that?!
Because it happened! Because it's
the truth! I'm sorry. I'm so
sorry it happened, but...
Nothing happened! If we say it,
then that's the truth, that can be
the truth. Say it. Nothing
happened. Say it, Shar.
Catch -- take my hand. Please.
Say it! I'm asking you to say it.
Her tears come, and she shakes her head.
Because I want it too much. I
want everything with you. I want
all of you -- not just the part
that isn't hiding and running
Why are you pushing so hard? Why
does it have to be your way? Why
does it have to be your truth?
This is who I am! This is the way
Not anymore. It doesn't have to
be this way anymore because you're
not alone -- because we're the
family now. We can be the
You like to push people, don't
you? You just have to push and
shove and make it right for you --
for you. You push everybody,
Shar. You even pushed your family
away, didn't you?
He has stung her. The tears are in her throat. She has
to take a moment, but she pushes through to say
I just... want to say...
You already said it. You said it
When you're ready, I'll be there
for you. I just want to say that.
And she turns and walks away. He watches her go, angry,
scared and sorry for what he said. He takes a few steps
after her, wanting to call out and to stop her. We see
him almost call to her. He is coming apart, watching
her, needing her so much, but unable to call out.
He is shaky. He takes a glance at that building, then
away. He stares after Sharon -- but she's out of sight
now. He steels himself, then looks across the street
again at that building.
He is desperately afraid. He stares at the building a
long while. He begins to cross the street. He makes
fists to keep from shaking. He walks to the entrance.
EXT. BUILDING - DAY
This is the "Wellston Memorial Chapel and Mausoleum."
The sign is on one of the brick pillars. The iron gate
is open. He can't walk in there. He just can't. He
walks away quickly, as if escaping.
EXT. POLICE BUILDING PARKING LOT - NEXT DAY
The new shift of cops is heading for its cars -- Sharon
and Robby, Ray and Sanchez, others. The mood is relaxed,
teasing talk, but Sharon is way down. She tries to push
her mood away and tough through it.
Rib House after shift today?
I think I'll head home.
Pogo? Bring your friend.
No, I think I'll turn vegetarian.
Gotta have that meat to keep your
How come it's not working for you?
There is a scattering of laughter -- almost by rote -- as
Sharon enters her car without even the hint of a smile.
Robby notices. She just punches up the CAD monitor, all
business. Our TRUMPET MUSIC comes in, aching now, and
takes us into...
INT. SHARON'S APARTMENT - NIGHT
She is exercising on the machine, sliding into her
crunches, fast and furious, but all the pain and sorrow
is in her eyes, and in a moment she just stops. The
TRUMPET MUSIC KEEPS GOING ON through this. She looks
over at the phone.
INT. CATCH'S APARTMENT - NIGHT
We PAN OVER Bob-the-Dog, watching something. We see a
few scattered sheets of music lying about, hearing
RUSTLING, and we ARRIVE AT Catch, seated on the floor,
shuffling through a stack of sheet music, driven, looking
for something. The PHONE RINGS. He ignores it. He is
opening up each chart of music, shaking it out,
Sharon's voice comes on his machine, almost hollow with
Catch. Can you... pick up?
Will you call me?
He keeps searching, seeming to not even listen. The
MACHINE CLICKS OFF. He shakes the next music chart and
something falls out. He stares at this piece of paper,
picks it up, slowly turns it over. It is a picture of
himself, a man blowing a horn, drawn in crayon by a four
or five-year-old. Catch stares at this with a depth that
goes on forever, as the MUSIC ENDS.
EXT. STREET - NEXT DAY
Sharon and Robby are rolling to a stop in a strip mall
parking lot, exiting their car. No rush. She's still
very downbeat. As they walk from the car, he keeps
glancing at her, concerned for her.
She puts up a hand to brush all the words away. She
can't talk about it. She pushes through it by doing the
Which store is it?
The little market there. They
came through a back window last
night. Mostly vandalism...
They walk on, but as Sharon reaches the sidewalk, a
little child, three years old or so, toddles out the door
of a shop. A SKATEBOARDER is rattling along, and Sharon
makes a grab for the child, taking his arm gently...
... and pulling him to safety as the Skateboarder passes
And now the WORRIED MOTHER is emerging from the shop...
Oh, God, thank you. Billy!
She picks up her boy, walks back into the shop. Sharon
stands there -- as it all blooms inside of her, rocks
her, really, this little act, evoking Catch, who he is,
what he said and what he means to her. Robby is a few
steps ahead, waiting for her, but she can't move yet,
looking around her now at the people walking among the
shops and cafes. She picks one. She catches the eyes.
She gives a brief smile. The smile is answered, shyly,
kindly, the person moves on.
She doesn't move for a moment. Then she turns to Robby.
There's something I have to do. I
need an address and phone.
What's the name?
Robby looks at her, then nods, giving her this.
Let's do it.
They walk back to the car.
EXT. UPSCALE RESIDENTIAL STREET - DAY
We see Sharon walking quickly from her police car to the
front of Mrs. Chu's home. Robby waits in the unit.
EXT. CHU HOME - DAY
Sharon walks under that covered portico to the front
door, but before she rings the bell, a voice startles her
Mrs. Chu emerges from the shadows of the portico, rolling
her wheelchair toward Sharon. She has a smile for her --
but with some reserve.
I'm Sharon Pogue. I know all
Sharon nods, very held back. She gestures toward the
I'm sorry for... what happened. I
know about the accident.
He told you?!
No. I found out, and... I
remembered. I was there.
Sharon stares a moment, begins with some of her tough
cover in place, over her emotions.
I guess he comes here a lot -- to
talk to you.
He shops for me. Twice a week.
Oh. And when he comes here -- he
never mentions the past, never
talks about the accident?
And you... let him do that? All
this time? Why?
It's what he needs.
Walking all over the city like...
Like an angel. Yes. Sweet man.
But... you let him get so lost.
Elanora is a bit defensive now.
I let him find his own way through
it. Why did you come here,
Because... I want to know how to
You are helping him.
I don't think so.
He... he was paying me back, I
guess, for the accident, for
helping him. That's why he
felt... so close to me. But...
Is that what you think?
But now he probably hates me.
I took him to the cemetery, and...
Elanora's look darkens and she begins to shake her head
I thought it might help him...
come back, you know? But he
wouldn't even go in. He screamed
What made you take him there?
For the truth...
He knows the truth.
But he won't even say it, or...
That's his way. That's his way
through all this. He made a wall
-- around that whole day, that
night -- other things, too. He
keeps them behind the wall -- his
little boy, my daughter. He can't
help it. The cemetery?! Do you
know how hard it is for me to go
to the cemetery? Can you imagine?
Sharon is shaken by this, realizing, crumbling a bit as
Mrs. Chu goes on.
That's where it stares you in the
face -- the loss. And it's too
Elanora takes a breath, acknowledging how upset she is.
See? I'm still finding my way
through it. And Catch -- it
almost kills him to think about it
or say it or drive a car or see
the place where it happened or...
go by the cemetery.
I was trying to help him... come
back to some kind of life. I...
But he was coming back. Do you
realize how much he changed in the
past weeks? His apartment, his
life, his music is coming back.
He fell in love! He even got a
job, Sharon -- for you. For the
two of you. Isn't that coming
back? Why do you have to rush?
Everybody has to rush these days.
Sharon, battered by the truth of this, is totally exposed
now, realizing, admitting.
I was scared. I push so hard...
when I'm scared.
Scared of what?
Losing him. So I did. I lost
him. He won't talk to me. I... I
didn't know what I was doing.
Elanora sighs, looking at her, and her anger drains away,
studying Sharon's misery.
You were finding your way. What
else can we do? You think I'm
always sure what to say to him,
what not to say? I do what I
think is right and hope he sees
the love in it.
She shakes her head at Sharon's tears, her warmth showing
now, liking this girl.
Look at you -- so worried now, so
miserable. That's the love in it.
Did I... make it worse for him?
I don't know. I really don't.
But I think he'll see the love in
what you did.
Sharon stares, without much hope. She puts out her hand
to touch Elanora's, to say goodbye. Elanora takes her
hand and holds on a moment, staring into the girl, with
strength. Sharon nods and walks off, dark and sad.
Elanora watches her go.
INT. SHARON'S APARTMENT - DAY
It's the next day, and Sharon is preparing to go to her
parents' renewal of vows. She is at the bottom -- with
Catch gone from her life -- but she is doing her best to
go through with this.
We START ON a table, looking at the invitation and next
to that is a wrapped gift. We hear Sharon moving about,
see her nervous, half-dressed, speaking to herself. In
the b.g. we hear our TRUMPET-BASED MUSIC. Very soulful.
I just came by to... wish you
well. To... congratulate you and
wish you well. Shit.
She checks the mirror again, doesn't like the look,
starts undressing, comes back to the table with the gift
on it, wonders if she should add more decoration to the
box. She does, and as the trumpet plays on we --
dressed differently, re-wrapping the gift and then --
dressed differently, rewrapping it again and then --
sitting still in a chair, holding the gift on her lap,
looking at the clock, nervous, scared, sad.
EXT. STREET - DAY (SAME DAY)
Catch is walking down a commercial street -- no Bob-the-
dog, no strolling gait. He is focused, deep-eyed, on a
mission of some kind. Our MUSIC CONTINUES over this and
EXT. STREET - DAY
The MUSIC CONTINUES over Sharon driving to the church,
parking, taking a deep breath, exiting the car. There is
no one else outside the church. The ceremony has already
begun. She's planned it that way. She enters the church
as the MUSIC FADES OUT.
INT. CHURCH - DAY
As Sharon comes in quietly. The church is not full, but
perhaps 50 people sit in the front pews, watching the
ceremony at the altar: The priest, Mr. and Mrs. Pogue,
altar boys. Sharon moves forward and slips into a pew a
few back from the altar. The slight disturbance of
people sliding over to let her in causes a few people to
One of them is Kathy. They trade a brief, nervous nod.
Then Kathy whispers to her husband...
We see Larry grow tense and angry.
Don't say anything. Think of your
Larry doesn't look at Sharon. The little boy, looking
fine in a tiny suit and tie, and being bored, leans to
look at his aunt.
Sharon and Larry, Jr. trade a look. She winks, then
settles back in her pew, watches.
We get our first look at Sharon's FATHER, Carl Pogue, 62.
Standing beside his wife, a rather big, stolid guy, taken
with the moment, both he and his wife emotional over
this. He wears a hearing aid. The priest is speaking.
watching with a mix of feelings as the mass continues and
the vows are renewed, the priest reciting the rituals.
EXT. STREET - DAY
The PRIEST'S VOICE from the church plays over this scene,
invoking the blessings, saying the prayers of the mass as
we watch Catch continuing his mission, slowing his steps
now and pausing at the entrance to the Welston Memorial
Chapel. He hesitates. We see the price he's paying and
the determination. He walks through the gate.
EXT. CHAPEL GROUNDS - DAY
He walks into a courtyard of several small buildings in a
garden setting -- all red brick and ivy, fountains and
flowers. He is fighting his way through this, moving
closer to one of the buildings. He is nearly alone on
the chapel grounds, and, as he reaches the sheltered wall
of this building, he is alone.
This is a wall of bronze vaults within the bricks, and on
each vault is a plaque -- a name. His breath shivers in
his body as he struggles to lift his eyes. Slowly, his
gaze comes to rest on a name: "LAMBERT."
As he stares, the PRIEST'S VOICE from Sharon's church
FADES OUT, and we are left with silence. Catch is
shaky,. He takes a step closer to the wall, to the name,
to them -- and he tries to speak, but can't. He tries
again -- his voice intimate, just above a whisper at
Annie. Chet. I don't... want you
to think I forgot about you. It's
just that I... I couldn't find
I woke up, and you were gone.
Everything was gone. It all
just... disappeared. In one
minute. I couldn't remember that
minute. I lost it. It took me so
long to find it. I think I found
it all now. I used a calculator.
I did. I figured it out. You
know... we get about 1400 minutes
a day and so I figured it out. I
was 33 years old and three months
and eight days, so it was... I've
got it here...
He fishes a piece of paper out of his pocket. His hand
is shaking as he reads a number off the paper.
It was minute number 17 million
eight hundred ten thousand, two
hundred... or so.
He puts the paper away.
That's the one I lost. And...
when I lost that minute, I guess I
tried to lose it all, all the
memories -- because they hurt. I
tried, but... I couldn't do it.
FLASHBACK - INT. VAN
to that minute and, for once, we go in order and play out
each piece of it. We see Catch driving the van, his wife
ANNIE beside him. His son Chet is in back with his
grandparents, Elanora and her husband. The boy is a bit
We INTERCUT the flashback WITH --
at the grave, struggling through this.
Chet... you weren't feeling so
good, remember? It was your
birthday, and you ate too much.
We see Annie and Catch both glance back toward Chet, and
we get present sound in this FLASHBACK scene as Catch and
Annie both say, "What's the matter? Hm? Aww." And then
Annie looks out the window and turns to Catch and -- we
CUT TO Catch at the grave, his eyes filling.
And, Annie, you said... you
In the FLASHBACK we see Annie turn to him again, and this
time we hear her say, softly...
Slow down in the rain, all right?
We GO TO Catch at the grave, fighting tears.
And I don't know if I slowed down.
I don't know. I hope I did,
but... I didn't always listen. I'm
sorry. I'm really sorry.
Back in the FLASHBACK, we see Annie reach around as
Elanora hands Chet to her. Then we're BACK at the grave
and INTERCUTTING so that we see Catch speaking through
his tears and we also see this tender moment played out
in the van.
... You put him on your lap, and
he looked at me, and I made a
face. Remember? I made you
And then we all smiled, and it was
a great minute. It was. I'm
really glad... I found that
minute. No matter what.
Catch stares at the grave, in tears, as the rest of that
minute now plays out, punishing him. It lasts only about
three seconds: a bus out of control, headlights suddenly
glaring through the windshield, Catch turning the wheel,
BRAKES SCREAMING, PEOPLE SCREAMING -- and then it's over.
And Catch has been battered by the memory, and is
weeping, but has not looked away. He is still staring at
the name of his family, and he is able to say, in a
I won't forget... anymore. I love
He steps forward and puts his hand on the plaque, rests
it there. We STAY ON this, then in a moment, we...
INT. CHURCH - DAY
The renewal of vows is over, and Sharon is standing in
the aisle, nervous and not sure what to do. Guests are
up and milling about, many leaving the church. "See you
at the house." "See you at the party." Etc. A
PHOTOGRAPHER is setting a group shot at the front of the
church. Mr. and Mrs. Pogue, Larry and Kathy and the
All right. The whole family in
this one. Just...
Out of the milling crowd comes Sharon, taking a breath
and braving it, walking up there, speaking quietly.
Where do you want me?
The Photographer turns to her, wondering.
I'm the daughter.
Oh! Oh, well, how about...
We see the family shift so that Larry and his family are
on one side of the parents. Sharon follows the
Photographer's gesture to stand at the other side, beside
her Mother. Her Father has not looked at her. The photo
is taken. Sharon now turns to her mom and dad. This is
difficult, the strain is thick in the air.
You both look so great.
I just wanted to...
The Father speaks to her, his voice not hard, but flat,
not warm either. No smile.
You coming to the party?
He nods, then turns to greet well-wishers. Sharon is
left alone by the drifting away of the family, but one
old couple greets her, the older woman (Mrs. Vander)
wearing her new blue dress, her HUSBAND beaming beside
Sherry! Look how nice you look.
Big police officer now.
Not so big.
(to Mrs. Vander)
Sharon moves off toward a side exit, trying to catch up
with Larry and his family.
EXT. SIDE OF CHURCH - DAY
As Larry and his family exit -- and Sharon comes out of
the church, calling ahead.
He starts to just walk on, ignoring her, but Kathy takes
the little boy and walks ahead, with a look at Larry, at
ON SHARON AND LARRY
They nod to a few passing guests. Then they're alone.
His nose is still bandaged, but less so, anger and
betrayal in his eyes.
How did you have the guts to walk
into a church after breaking your
I have to be here. It's a chance
to make things right, and I'm
Why even talk go me? You got what
you wanted. You laugh about it?
You tell your cop friends how
You think I talk about it?! You
She stops herself, catching her rush toward the old
anger. She goes calmer, deeper, even sad.
She hands him something. It is the Polaroid photo. He
looks at it, surprised. They lock eyes. She speaks
I was invited. I'm here. I'm
going to the party. You do what
And she walks off toward the parking lot.
INT. POGUE HOME - DAY
We're in the midst of the party. We see Sharon drifting
a bit, a hello here and there. She feels out of place.
Though the home and yard are thick with people, there is
some tension, especially in the core group -- all who
know about the estrangement of Sharon. Now and then a
nervous glance from her mother is directed at Sharon, or
a hostile glance from Larry.
Sharon passes the videographer, who is pointing light,
camera and microphone at the Vanders -- having them put
their good wishes on tape. She smiles, then looks over
and sees her Father across the room. He is alone. She
steels herself and heads his way. He makes eye contact,
then averts his look. She is approaching him, about to
speak, when he walks up to some friends and starts joking
with them, leaving Sharon hurt, humiliated.
Her mother has seen this and comes to her, speaking
Don't make him talk about...
Mom, I was going to fix his tie.
His tie is crooked.
She sighs, pushing through her hurt to say...
It was a nice ceremony.
Yes. We're running out of
chicken, though. Nobody's eating
It's a great party, Mom. You look
Some joy is allowed to surface in her Mother's face.
Thirty-five years and still in
Her Mother's look clouds a little, nervous again.
You think that's wrong, don't you?
Of course not...
I always... I feel like
apologizing to you. But I love
And then I feel like apologizing
to him for loving you. I'm the
one in the middle. I'm the only
one in this family who knows how
to forgive anybody.
And she walks away. Sharon's eyes follow her, surprised
and thoughtful. She watches her Mother approach her
Father and straighten his crooked tie. Then Kathy is
moving toward Sharon. Sharon turns to her and they both
speak quietly -- at the same time.
You look great.
Then they smile sad smiles. Kathy gestures to her face,
the faded bruise.
Tons of makeup. On Larry, too.
They smile wryly again.
Sorry about that, but... I
couldn't stand him doing that to
you. I took it on...
Don't worry. I'm not your mother.
If he tries it again, I'm gone.
I'm out of there, me and Larry
Junior. He knows that.
They stare, and Sharon gives her a hug, Kathy returns it.
We see Larry, across the room, notice this hug. He keeps
his expression intact for the group he's in, but we see a
flare of anger in his eyes.
moving across the living room.
She sees Larry Jr. sitting alone and goes to him, sits
beside the child -- who looks sad.
What's up with you?
They won't let me watch T.V.
Oh. Well... let's pretend this is
T.V. It's a show about a party.
They look about the room.
(as if it's a secret)
That man... is really a super
Is too. And so is she. Look.
See? Red tights under her
dress... Oh-oh, that man gave her
a drink with something in it.
With stuff to make her sleep.
He's a bad guy.
The woman sips her drink, and the boy smiles, getting
She drank it.
Watch. She'll fall down any
The boy is suddenly swooped up, lifted away by his
father. Larry puts the boy down near the door.
Hey, sport, you should go play
He turns to Sharon.
Stay away from my family.
Then he turns to the crowd, smiling a smile without
humor, speaking loudly.
Hey, everybody, keep it down.
Somebody might call the police.
There is some nervous laughter, people watching them now.
Sharon is angry and embarrassed, keeping her voice low.
What're you doing?
Once the cops leave, we can really
The crowd around them is all staring now -- as he turns
back to Sharon.
Why don't you give everybody a
break -- and go home?
In the hushed tension that follows, a GLASS falls and
SHATTERS, and more people quiet down and stare. Sharon
looks at her glaring brother, looks at her Mother
nervously picking up the broken glass -- no support
there. Angry and shaken, she turns to the door.
She walks to the door, opens it, starts to leave, starts
to close the door behind her, and she stops, take takes a
breath, battling hard against the old patterns of hurt
and anger. She looks at that nearly-closed door. She
pushes it open and walks back in.
We see a surprised and angry look from Larry, a worried
look from her Mother -- but Sharon is moving through the
crowd, searching until she sees her Father. She heads
toward him. He sees her and walks into the kitchen,
avoiding her. She follows him. We see Larry and his
Mother exchange an anxious look -- and then move toward
INT. KITCHEN - DAY
Sharon enters, waits, others are leaving the kitchen,
leaving her alone with her dad, but he starts to follow
Don't walk away. Okay?
He acts as if he just noticed her.
She gestures toward his hearing aid.
Is it working? Do you need to
He absently touches the device.
But the kitchen door opens. We hear the party going on
out there. Larry and Sharon's Mother enter, her Mother
looking at her husband and back to her daughter, very
frightened. Larry is raging in a near whisper.
What the hell are you doing?!
Please? Please what?! Will you
stop protecting him? You were
always protecting him! Don't talk
to your father. Don't bother your
She turns to her dad.
I'm going to bother you for one
minute, Dad. Okay? Can you
Larry advances on her.
Just get the hell out...
And she turns on him in a fury that halts him.
This isn't about you, Larry -- or
you, either, Mom. This is between
me and my father, so leave us
alone for one goddam minute!
She turns back to her father.
How about you, Dad. Do you want
me to leave?
Up to you.
Dad... I'm asking. Am I welcome
Jesus -- you're here, aren't you?
What d'you want?
I want to know!
Do you want me here? Do you love
me, Dad? I want to know.
The question's out, and she's totally exposed now -- and
the silence that follows breaks her heart. She nods
toward his hearing aid. Her voice is close to a whisper,
thick with tears.
Do you... need to... check that
I feel like...
He can't finish it.
What, Dad? You feel like what?
I feel like I don't have a
She takes the blow and doesn't crumble, only her eyes
show the depth of the pain. She speaks quietly, softly.
Well... you do. It's a shame
you're going to miss knowing her.
You're going to miss all that.
And she leaves, brushing past Larry and her Mother.
INT. LIVING ROOM - DAY
Sharon comes out of the kitchen, blinking back tears.
The party goes on around her, oblivious. She stops on
her way to the door because she sees the video crew
moving, hunting the next guest -- and she makes a
decision and walks toward them, stops in the light, faces
As they roll tape, people turn, gather, watch. Sharon
speaks over a torrent of emotions.
Hi, Mom and Dad. Congratulations.
We see her family coming out of the kitchen and walking
into this, surprised, stopping still.
Y'know... being in this house
reminds me of something. I was
about ten, I guess, and Larry and
I were playing aliens -- remember,
Lar? We're making a lot of noise,
and Dad comes home from work tired
and pissed off...
watching this. Her Mother is near panic, Larry staring
hard, Kathy wondering. INTERCUT their reactions
We're yelling like mad, and Dad
bursts into the room and says,
what the hell are you doing? And
I'm scared. I'm really scared.
And I say, we're playing alien
invasion, Dad, and he says, oh,
yeah, I'll show you a damn
invasion, and he picks me up,
picks me up off the floor and
throws me on the couch. I hit
that couch and bounce off, and he
grabs Larry and throws him on the
couch, and then... then he starts
making these monster sounds, and
he says, we came to earth to kick
ass, and I run at him and jump on
him and he tosses me on the couch
and then Larry, and we're laughing
so hard I almost wet myself, and
he keeps tossing us and growling
and beeping, and it was... it was
great. It was great, and I'm
never going to forget that.
Never. And I miss that. I miss
it. So I just... I wanted to tell
you tanks for that, Dad. Thanks.
She hands the microphone back and walks away as the
surprised looks, the deep looks of her Father, Mother,
Larry and Kathy follow her. She walks to the front door
EXT. POGUE HOUSE - DAY
Sharon exits and starts to walk away. She sees Larry Jr.
look up from his play. He smiles at her. She returns
the smile -- it means a lot to her, and she walks on. As
she reaches the gate, she notices something across the
street that halts her. She stops still, surprised and so
Catch is there, waiting near her car, watching her now.
BACK TO SCENE - FULL SHOT
as Sharon walks to him, so glad he's there, needing him
-- but still not sure of what he's feeling about her,
until she gets close and sees his eyes and the way he
opens his arms -- and they embrace, and she holds on
tight, eyes closed.
They break the embrace, still holding on, searching each
Sorry, Shar. For what I said.
In a moment, he gestures toward the Pogue house.
Was it bad?
They don't like me in there.
Then they don't deserve you in
She stares a moment more, still together.
That's a nice thing to say.
It's not a thing to say. It's the
She can only look away, not wanting to cry.
Why do you try so hard not to cry?
She stares at him again. Her throat fills with tears,
mouth is trembling a bit. She starts quietly, finally,
with nothing held back -- but this is not anger as much
It's not fair.
The tears come, and she doesn't fight them, emptying the
old, old wound, speaking through her weeping now. The
first time we've seen her cry.
It's not fair. Things got better
for them because of what I did.
Things got better, and I'd still
do it. I'd do it all over again.
And it's not fair they shut me
out. It's not.
It's not fair. I was 19, and I
didn't know what else to do. I
didn't know how else to stop it.
It's not fair I don't have a
No. It's not, Shar. It's not.
He raises his hands to her face, places a palm gently on
each cheek, and she covers his hands with her own and
closes her eyes. They remain that way awhile. In a
moment he lightly kisses her forehead. There is a depth
to his words...
We're the family, Pogo.
She opens her eyes, staring deep into his. He has said
it all -- as it is and as it will be. She smiles a bit
through her tears and nods. He puts an arm around her
shoulder and holds her tight against him as they walk to
her car. She puts an arm around his waist.
They reach the car, and she unlocks it, gets in behind
the wheel as Catch gets into the passenger seat.
INT. CAR - DAY
Sharon just sits behind the wheel, still shaky from
crying. She puts the key in the ignition, but doesn't
move -- no longer sad, but drained now. He watches her.
In a moment, he gets out of the car.
EXT. CAR - FULL SHOT
Catch comes around to Sharon's window. She rolls the
window down, concerned, wondering what he's doing. Is he
leaving? But he reaches for her door and opens it and
says without a fuss...
She stares a long moment, realizing, but also making no
fuss about it as she gets out of the car, walks around
and enters the passenger side. They close the car doors.
Catch STARTS the CAR and drives them away. Drives them