Moment of Innocence 02-10-2015.pdf

8/9/2019 Moment of Innocence 02-10-2015.pdf

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Moment of Innocence

By

C.D. Blomquist

Original Story

2014


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FADE IN:

1 INT. PLEASANT BUT SIMPLE APARTMENT - DAY

Dressed in a quilt robe as she stands by the living room

window. ANGEL, unmarried, mid-twenties, has had a lot ofchanges over the last twelve months. She is more secure nowbut still has worries. Anxious about what lies ahead, shebites her lip and looks wistfully at the park across thestreet.

ANGEL

On the phoneOf course I’m worried. I’m justhoping for the best.

Let me know as soon as you can.

If we’re lucky, I’ll see you in afew hours.

Picks up a framed wedding photo of her parents from thetable by the window.

Yeah, thanks ... after they died Iknew I had to be strong. Heck I wasjust a kid myself. Those next tenyears were tough...

You’re right, who could haveguessed just last year how thingswould be now...

Flash back to:

2 INT. DIFFERENT APARTMENT, DREARY BEDROOM - MORNING

Same framed photo of parents wedding is on a old dresser bya Virgin Mary figure and a small jewelry box.

Angel walks in from the shower, wrapped in a plain cottonrobe. She gets ready for work in front of the dresser.

3 EXT. LARGE OFFICE BUILDING PARKING LOT - MORNING

Headquarters of IPM, Industrial Product Management Corp.Young office worker GWEN is rushing across lot filled withcars. She is alone. She trips, drops her purse thenscrambles to pick up the spilled items.


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4 INT. OFFICE - MORNING

Large open office space with private manager’s office inback. Two men talking inside office. Other workers busy atdesks or cubicles.

5 INT. FILE AREA

Large stacks of papers and files indicate lots of work todo. ANGEL is busy checking material.

Enter Gwen

GWENSorry I’m late. Looks like you dida lot already!

ANGEL

A little miffed.There’s plenty more to do.

Gwen puts her coat on the rack, moves to a file cabinet andputs her purse inside. Starts to say something and pullsback, hurt that Angel has ignored her.

Both busy in silence for a while moving files, checkinglists. They work in a shared area with two computers.

Gwen finds it difficult to concentrate on work.

GWENI gotta find a better route to gethere. Those pro-life protesters hadninth street blocked again. Thecops made me go all the way over toMaple and the train was running.

ANGEL

Doesn’t look up as she makes a computer entry.I got caught by the train last weektoo. I was only a couple minuteslate and Mr. Lopez gave me his

"don’t do that" look.Faces Gwen

It shouldn’t have bothered me, butsince we moved here I can’t affordto screw up. I need the work.

More work in silence. Angel is methodical and efficient. Shehands several files to Gwen and indicates some piles on a


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nearby table. Gwen flits between piles seeming to not reallyaccomplish anything.

6 INT. MANAGERS OFFICE LOOKS OUT ON SAME OFFICE AREA

Salesman GORDY embellishing latest sale.

GORDYI tell ya Les, things are changin’.I had ’em from the start this time.It’s gonna to be much better thanlast month. You can count on me.

Sits on Managers deskNot only did I nail the contract,but I gotta tell ya. You rememberAl’s assistant, Shirley?

Well, I made her an offer shecouldn’t refuse.

Manager LESTER LOPEZ (About twice Gordy’s age) Gestures himoff the desk

GORDYOh, yeah, sure...

StandsYeah, that Shirley, she stayed tolock up after Al left. Yeah, afterI nailed the contract she and memade a contract of our own, if youknow what I mean..

Looks around through window to see Gwen leaning over a filedrawer.

Looks like I’ve got potentialaction here too!

LESTERThe action I want from you issales. Besides she’s been hit on byevery guy in here.

Flips papers on desk.

GORDYHey, how about that one?

Nods head toward Angel by the far wall, motions a femalefigure in the air.


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LESTERAngel? She’s pretty new, and so farshe’s my best researcher. Veryserious though - maybe not yourstyle.

GORDYHey, am I your top sales guy ornot?

LESTER

Waves his hand "so - so"

GORDYWhat’s the name of that account youwant to resurrect? You know the oneChico lost.

LESTERTempleton Industries

GORDYOh yeah... I’ll see if I can nailit and Angel too -

Motions having sex with a pelvis action.What-a-ya-think?

LESTERYou need to work on sales figures.Not the other kind.

7 INT. OUTER OFFICE - LATER

CLOCK INDICATES 4:45

GWENYou know, I could really use adrink after a day like this.

ANGEL

Continue workingUh-huh

GWENI mean it. Come with me to LittleJohn’s - I’m buying.


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ANGELCan’t tonight, I have to get rightto my other job.

GWENYou work too much. Full time here,

part time there. When do you sleepor have fun?

As they put on coats and head toward the door.I hope that job pays better thanhere!

ANGEL

SarcasticOh yeah, I really clean up on thatjob.

8 EXT. APARTMENT BUILDING - DUSK

Angel descends steps and checks purse for keys. She haschanged clothes to a waitress uniform. Goes to her car.

9 EXT. CITY - LIGHTS ON IN THE BUILDINGS - DUSK

Her older car driving at a distance

10 EXT. COUNTRY ROAD - SKY IS ALMOST DARK

Her car passes

11 EXT. SMALL TOWN INTERSECTION - NIGHT

It’s quiet - no traffic

12 EXT. OVERVIEW OF MOTEL/TRUCK STOP AND PARKING LOT - NIGHT

The truck-stop and motel were popular before they changedthe highway. The Motel is the old fashion kind, each roomwith an exterior door and window to the parking lot. Thetruck-stop/restaurant is adjoining. The once quaint motelhas seen better days.

Her car passes the motel and pulls up behindrestaurant/truck stop. Angel gets her bag and walks towardback door of restaurant.


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13 INT RESTAURANT - NIGHT

Angel calls into the kitchen

ANGELHey Eddie, where’s Janet?

EDDIEShe had to take off. I coveredokay. Glad you’re here though we’reexpecting two buses of tourists anyminute.

ANGELYeah and the President will bestopping by at midnight.

EDDIEAgain??

14 EXT. LARGE CATHEDRAL - DAY

15 INT. OFFICE OF THE MONSIGNOR - DAY

MONSIGNOR stands by the window, his back to the seatedpriest nearby.

MONSIGNORFather Dominic you must appreciatemy position. Your past behavior hasnot reflected well on your familyor the church. I am giving you anopportunity to prove that you areworthy of my trust.

DOMINICNice to know someone does.

MONSIGNORDon’t be curt with me - I’d muchrather your were a problem tosomeone else!

Hands the priest a folded paper.I have some light duty for you -manage your time here carefully. Idon’t want your reputationreflecting on me.


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16 EXT. CATHEDRAL PARKING LOT

17 EXT. MERCEDES - DAY

Dominic stands by his shiny black Mercedes coupe, lights a

European cigarette with his expensive gold lighter, checkshis Rolex and drives off.

18 EXT. - MOBILE TV VAN OUTSIDE OF FAMILY CLINIC - DAY

BARBARA WENTWORTH

On camera live... continued protests havedisrupted traffic as police containextremists. Five arrests thismorning as the anti-abortion grouphas multiplied in size andactivity. Earlier we interviewedSylvia Tucker, a local leader.

19 PER-RECORDED TV INTERVIEW

Around Sylvia is in an active group of adults and somechildren.

SYLVIAWe are able to focus attention onour cause by including groups fromthe tri-state area. We’ll be hereevery Saturday ’til hell freezesover.

20 EXT. BARBARA ON CAMERA LIVE. - DAY

BARBARAThis is Barbara Wentworth, livedowntown.

Be sure to tune in channel 24 forupdates on our five and ten PM newsreports.


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21 EXT. OFF CAMERA - PACKING UP - DAY

Barbara off camera to Videographer LUCY as they wrapequipment.

I really hate this location workfor spot news.

It’s hurry up and wait for fifteenseconds on air.

Hell, when I was in Knoxville I didinvestigative reporting. Workingfor the Sheriff gave mecredibility.

LUCY

Packing camera in case.You’re in the big city now. Getused to it.

22 EXT. IPM OFFICE BUILDING PARKING LOT - HALF EMPTY - LATEAFTERNOON

Cars pulling out, people exiting building.

23 INT. OFFICE SPACE

Angel is still working by open file drawer. Gwen is puttingon her jacket.

GWENHey! My treat if you stop now. Theplace won’t fall apart without you.

Take a break - no excuses - nosecond job like last week - Justyou and me and no more of THISPLACE!

ANGEL

Fakes having her arm twistedOkay, Okay - you convinced me.


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24 INT. BAR/RESTAURANT -

Gwen and Angel walk past bar and get seated at a booth.

Gordy and Lester are sitting at the bar.

LESTER

Indicating girls in booth.Looks like our research team isdone for the day too.

Have you laid on your"irresistible" - I mean"resistible" charm yet?

GORDYNot yet, but I can use thepractice.

Takes a swallow of his drink. Walks up to booth.Well ladies, I see the researchdepartment is still in good hands.Your documentation on Carlson &Smith really helped me on the road.Sorry I couldn’t get to thank youat the office.

I’m Gordy, Gordy Wells.

Puts out his hand to ANGEL

ANGELAngel Fortunatto

GORDYHow Fortunatto to meet you. And youare?

Gwen looks at him, rolls her eyes, then to Angel and back, alittle annoyed.

ANGELGwen and I are pleased to meet youGordy. How was the Smith filehelpful to you?

Gordy slides into booth next to Angel

GORDYYou have no idea how helpful yourresearch was? Let me tell ya - theinfo on ...


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Across the room, Lester at the bar has been watching. Heturns back to the bar as Gordy is gesturing as he talks -Angel looks on with interest. Gwen plays with her drink.

25 EXT. BAR - NIGHT

Gwen exits first followed by Angel and Gordy behind engagedin conversation.

GORDYCan I give either of you a lift?

GWENMy car is over there - Angel and Icame together.

Indicates down the street

ANGELMine’s back at the office lot.

Indicates up the street

GORDY

Indicates his car is close by, aimed up the streetThat’s right on my way.

Enthusiastically mimes driving.Come on Angel, I’ll take you for aride.

Gwen looks dubious but says nothing.

ANGELHey Gwen, thanks again for gettingme to lighten up. I needed get outfor a change.

Nods toward GordyWe’ll be fine. I’ll see you Monday.

Angel and Gordy walk together as Gwen crosses to her car.Gwen gets in and drives off.

The two of them approach his car. Angel goes towardpassenger side making room for Gordy to open her door.

Gordy goes to the driver side, fumbles with the keys, openshis door, starts to enter and sees Angel, realizes his lackof manners. Leaves his door ajar and rushes toward her side.A car approaches on the street, honks at the open door.


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Gordy goes back, closes his door returns to her and fumbleswith keys again to unlock the passenger side.

Angel is amused.

26 EXT. - UPSCALE SUBURBAN NEIGHBORHOOD - FOGGY - NIGHT

Shadowy figure, wearing a black hoodie, moves behind bushes,goes to the back door, jimmies the lock, eases inside home.

27 INT. HALL WAY - NIGHT

FAMILY PHOTOS ON WALL of trip to Italy

SFX - ticking sound of clock

Burglar passes grandfather clock - it is 1:00 AM.

SFX - Clock chimes -

Burglar jumps.

Burglar passes window silhouetted, enters bedroom.

Riffles through drawers - finds money - takes jewelry andother things.

Passes out of bedroom into office space. Photos on credenzaof lady with church people, Vatican, vacation shots ofItaly.

A small locked display case filled various beautifulrosaries, crosses and angels is on the desk.

Burglar picks up case, checks it and puts it in bag.

28 EXT. TWO LANE HIGHWAY - DAY

The "blip, blip, blip" of the yellow lines in the road passby. Moving into view is the shadow and then the front ofDominic’s sleek black Mercedes coupe. Only the front anddriver’s side wheel are seen as the car pulls off the roadand on to a side street.


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29 EXT. SMALL TOWN MOTEL AND TRUCK STOP PARKING LOT - DAY

Mid-afternoon, early autumn -

NICK FOREST (pseudonym of Father Dominic) pulls his Mercedesup to the motel.

Nick, exits the car, suit coat over his arm. He approachesthe motel room door, unlocks it, steps in.

30 INT. MOTEL ROOM - DAY

Nick takes a briefcase from the closet. Goes to the desk,turns on the lamp, from the case sets out "confidential"envelopes, puts his smart phone on the envelopes. Takescondoms out of the case to the bedside table.

He sets down condoms, gold lighter, and Euro cigarettes,checks his Rolex, and places it there too. Empties hispockets and wallet into the drawer. Picks up the remote andflips on the TV that is near the door.

31 MOTEL TV SCREEN

Very tight TV image of a love scene. Shapes form intomovements of bodies. There are two pixelated figures on thescreen, the dialog is low under music.

MAN ON TVI want to forget about today, Ijust want to know you care.

WOMAN ON TVI’ll help you forget about it all.Come closer.

32 INT. MOTEL ROOM

Nick now in his underwear he closes the curtains over thesheers. The room is dark except for the desk lamp and theTV. He drops his shorts and heads for the shower.

33 EXT. FREEWAY - SAME AFTERNOON

PHYLLIS drives her red Camaro down an exit ramp from thecity on to a minor road.


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34 INT. CAMARO - SAME AFTERNOON

Phyllis, thirties - average-looking, wears her newseductive outfit - hair blows in the open window.

35 EXT. COUNTRY ROAD - SAME AFTERNOON

Light comes through the trees as Phyllis passes by sameroads that Angel used to get to her truck stop job.

36 INT. MOTEL ROOM

Nick exits the bathroom with a towel wrapped on, checks hiswatch, reduces TV volume to a lower level and tosses remoteto the side chair. He pulls down the covers on the bed, goesto the window, looks out through sheer curtain.

37 EXT. MOTEL PARKING LOT - SAME AFTERNOON

Camaro pulls through truck stop toward motel and parks bythe Mercedes.

Phyllis gets out, straightens her little black dress, walksawkwardly in her new sexy heels to the motel room door, alight coat over her arm.

Looks questioningly at the room number, is hesitant andabout to knock when the door opens.

38 INT. MOTEL ROOM

As the door opens and she steps in, the light from outsidefloods the room. He pushes her back against the door toclose it firmly.

39 MOTEL TV SCREEN IN FULL VIEW.

TV is next to the door, screen shakes as door shuts.

Scene is couple in a bedroom making love.

40 INT. MOTEL ROOM

Phyllis’s back is against the door. Nick is very close.


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NICK(husky)

You found me right on time.

PHYLLIS(toying with him)

Your directions were very specific.

Looks around briefly.Quite a change from the Hyatt.

NICKAh, but much more private.

He kisses her deeply.

PHYLLIS

Recovering from the kissOh Nick,

I missed you too.(Coy, sexy)

MM... how-ya like my dress?

Nick steps back, looks down. We follow his gaze til only histowel, his bare feet, her skirt and legs show.

NICK(Husky, familiar)

Very Nice. Looks great on you ...

even better without...

Let me help you ...

Zipper undone, dress drops to the floor. She steps out,

high heels kicked away bouncing off wall to the floor.

She steps closer. His towel drops to the floor.

PHYLLISOh. My!

Even more husky.Let me help you with THAT!


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41 TV SCREEN

Reflected in the TV screen Nick and Phyllis are caressingeach other. She is groping him, he is undoing her bra. TVSHOW credits roll as the local news promo comes onthe screen. As Nick and Phyllis move away from the TV their

reflection fades away.

The news promo is a backroom news desk, with monitors behindthe set.

42 TV NEWS REPORTER BARBARA WENTWORTH

BARBARA WENTWORTHAlthough the weather is unusuallywarm for this time of year, it willcontinue to be windy. More rain isexpected before the weekend.

43 INT. MOTEL ROOM - MORE OF ROOM BY TV

Phyllis’s dress on the floor, high heels by the door. Bra onthe floor by the towel. Nick and Phyllis are not in view.

BARBARA WENTWORTHTop stories tonight. Continuedarrests of protesters at the localFamily Health clinic.Anti-abortionists insist on beingheard.

Local break-ins are increasing. Arecent string of burglaries insuburban areas have citizens takingextra precautions.

Firearm sales are up in response torecent crimes.

44 FULL ON TV SCREENFollowing tonight news, a special:Women and the men who abuse them.

Black panties land on the TVComing next all the latest in localand Nat....


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45 INT. MOTEL ROOM - ACROSS THE ROOM BY THE DESK

Voice of Barbara faded. The lamp is in focus and bright, theroom is soft and in shadows. Nick and Phyllis stand togetheron the far side of the bed. The sound from the TV is weak.

Phyllis and Nick drown out some of Barbara’s voice withtheir Passion....Rain expected as temperaturesfall... Over the weekend...

46 INT. MOTEL - FROM ACROSS THE BED

Phyllis’s half closed eyes look up at Nick as his handscaress her body with feather-light strokes. She shivers. Helowers his body onto the edge of the bed. He buries his faceas he nips at her breasts. She swoons and goes down on oneknee to meet his lips. He turns her head, pulls her hairback. He edges her head down his chest toward his lap. Sheresists at first. He moves higher on to the bed toying withher hair to better offer himself to her.

NICKAw, now babe, you can do this forme.

She moves toward his lap. He throws his head back andshivers.

NICK (cont’d)Slow down now. Come on over here.

He pulls her up on to the bed as his hand slips between herlegs. She wipes her mouth as she kneels on the bed, readyfor what comes next. He now stands behind her.

The glow of the TV silhouettes Nick as his body slapsagainst Phyllis. The spill of light from the desk lampilluminates her face. She gasps, gripping the sheets as heplunges deeper and pulls her hips into him.

As their bodies collide, she is driven between pleasure anduncertainty.

47 EXT. MOTEL WITH SUN LOWER IN THE SKY - LATE AFTERNOON

Black smoke pumps out of a semi tractor as the driver gunsthe engine and pulls out.


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48 INT. MOTEL ROOM TOWARD WINDOW ACROSS BED - LATE AFTERNOON

Heavy curtain has been pulled back and only the sheer isover the window. She gathers her clothes dresses quickly.

PHYLLIS

Standing near the desk, she glances toward the briefcaseand confidential envelopes.

You said you can’t tell me aboutyour work. But why this place? TheHyatt was so much nicer.

He sits up, casually starts a smoke.

NICK(clears his throat)

I - Uh - the company selected it.Out of the way to avoid attention.

PHYLLIS(asks with hopeful confidence)

Well my schedule has me going backto Omaha tonight. My plane leavesat seven. Will I see you nextmonth?

He gets up naked, full of self-assurance. Puts his arm onher waist.

NICKThings are kinda loose... hard topredict...when I’ll be around.

You were great babe...next time...

Touches her shoulder. Puts his head close to hers andwhispers something.

PHYLLIS

She blushesWell... We’ll see then...

She turns toward door and picks up her coat. He is in shadowsitting back on the bed as she leaves.

Silhouetted against the window, he picks up his smart phonefrom the desk, scrolls to Phyllis’ image and contact info.

He hits "delete".


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49 EXT. MOVIE THEATER AND STREET - NIGHT

People leaving theater. Woman with a boy and girl exit andstop by the entrance. Mom checks her watch. Looks up anddown the street. Girl teases boy.

MOMIf you two are not going to getalong, I’m through taking you outin public.

GIRLHenry took my last Milk Duds!

HENRYThere was only one left!

MOMQuiet now, here comes the taxi.

Taxi #22 pulls up. they get in.

50 INT. TAXI - NIGHT

MOM487 West Hillside

51 EXT. STREET BY THEATER - NIGHT

Taxi #22 drives on streets


MOMIt’s too late tonight, but I wantyou both packed when your Dad getshome tomorrow night. Hopefully wecan leave right away for Grandma’s.She has the weekend all planned forus and I want you both on goodbehavior - OK?

BOY AND GIRLYes, mom.


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53 EXT. SUBURBAN HOME - NIGHT

Taxi #22 arrives at suburban home, mom and kids exit. Taxipulls away.

54 EXT. AIRPORT - NIGHT - WINDY

Taxi #22 pulls up. Driver FRANKIE helps passengers getluggage from trunk. As he goes for second bag in trunk windknocks the trunk lid down on his hand. He winces.

LADYOw!, That must hurt.

FRANKIEOh, I’m OK. You folks have a goodtrip now.

MANCome on Honey, we’re running late.

Hands Frankie trip fee and tip.


Frankie pulls away and reaches for his phone. Nurses the cuton his hand. He dials and put phone to his ear.

56 EXT. TAXI - NIGHT

Driving off.

57 INT. DARK BEDROOM - NIGHT

Naked bodies on bed. She sits up playfully gives a tug onhis nipples. He grabs her arm.

EDUARDOHey, Dats for me to do to you.

He wrestles her over roughly to her back and parts her legs.

Cell phone on the dresser rings. Eduardo tries to ignore itas he positions himself. He raises her hips and starts toenter her.

Third ring, he grabs it in frustration. Still pumping, heanswers.


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EDUARDO (cont’d)Yeah! ...

OK - OK ... Come by tomorrow. I’mbusy now.

Tosses phone on to dresser and leans into her as she smilesback.

58 EXT. MORNING DIFFERENT SUBURBAN HOME - UP SCALE NEIGHBORHOOD- DAY

Barbara knocks on front door with LUCY behind with videocamera.

Young woman answers door.

BARBARAGood Morning, I’m Barbara Wentworthfrom Channel 24. Mrs. Balistreri isexpecting us.

59 INT. FRONT HALL - DAY

Enter home. Pass hallway with family photos, trip toVatican, Grandfather clock. Young woman escorts them intooffice.

MRS.BALISTRERI is well dressed matron. Barbara sets up micas Lucy gets camera in position.

Nod from Lucy

BARBARAI understand your home was anotherin the recent burglaries...

Pan around room as interview voices under are muted. Camerasettles on empty space where religious case was.

MRS. BALISTRERI (V.O.)All of the pieces were special tome. After we sold the jewelrybusiness I kept only a few itemsthat I really loved.

C.U. on stack of 4X6 photos.

MRS. BALISTRERI (V.O.) (cont’d)My son took pictures of each onelast year for insurance purposes.


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Some were quite valuable. Otherswere important to me because theywere unique.

Pan across spread out photos. Last one is of an angel pin.

BARBARA

Thank you for your time Mrs.Balistreri, Making these burglariesmore public may help bring an endto them.

Lucy puts mic and camera away.

60 EXT. FIRST SUBURBAN HOME - 487 WEST HILLSIDE - DUSK

Minivan in driveway, Dad packing back end.

61 INT. KITCHEN - DUSK

MOMHenry, finish up now. We need toget on the road. Just ’cause Dadhad to work late isn’t going tokeep us from leaving.

Dad carries suitcases past Mom toward garage entry door offhallway.

Seven year old Henry is munching on pizza. Older sistersteals a piece from his plate as she walks by with travelbag.

HENRYMom, Sue just took my last piece ofpizza!

MOMYou can have something else when weget to Gramma’s. It’s just a couplehours. Now go check your room -windows closed, lights off!

Follow Henry through house to his room. He grabs a computergame off his table and bumps the mouse of the computer. Thescreen flashes on and a monster face pops on the screen witha noise. Henry exits room leaving lights on. - comes backand flips off light switch.

Henry exits kitchen to garage past Mom who looks mournfullyat dirty dishes.


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MOM (cont’d)Come on Sue, we’re leaving!

Sue with ear buds is texting as she goes out garage door,Mom turns out the lights as she exits.

Kitchen is quiet

SFX of garage door coming down. Kitchen clock ticks.

Clock shows 8:20. Faucet drips.

62 EXT. SAME SUBURBAN HOME - NIGHT

Minivan is pulling away down street. Quiet night.

63 EXT. BACK OF HOUSE - NIGHT

Bushes near rear of house rustle.

Dark hooded figure tries rear door, slips inside.

64 INT. HOUSE - NIGHT

Silhouette of burglar past kitchen windows. Follow burglardown same halls as Henry. Goes into girl’s messy bedroom. -picks bra from bed and looks at it. Pick up a laptop andputs it in bag. Goes to night stand, flips lid on box -music plays, quickly closes it.

Parents room - shuffles through drawer, spots envelope,finds cash, stuffs in bag.

Henry’s Room - Silhouette by windows - sees GameBoy stuff bydesk. Takes a couple, puts in bag. Reaches for another andbrushes mouse.

Scary face pops on monitor screen with a loud yell.

Burglar jumps back, knocks over chair and lamp. Bumps overglass jar filled with coins. It breaks, coins falling,burglar grabs at it and cuts hand on glass.

With anger, burglar shoves monitor to floor with a crash.Grabs bag with loot and leaves.


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65 INT. IPM OFFICE - DAY

Manager’s office

GORDYHey, Les. I told you I’ve got what

it takes.

Shrugs toward Angel in the outer office.Like I told you - last week -Angel. She fell fast and hard. Justhad to pour on the charm.

LESTERVery good Romeo, but what I want isnew sales not BS about your sexlife.

GORDYBS - no way! I couldn’t believe howshe put out. And yeah I’m workingthe Templeton pitch too. I’ll haveresults by next week.

LESTERJust stick to the real job, not theblow job.

66 INT. OUTER OFFICE

GWEN

Gesturing toward Gordy in the managers office.You two sure left me in the dustthe other night. What do you see inMr. Snow Job?

ANGELWell, you were right about meneeding a change - a diversion.Gordy is full of himself but it wasfun to go along with his salespitch. Maybe giving him attentionwill help him close an account.

GWENSo you go along with his come-on toboost his ego - he gets what hewants - what do you get?


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ANGELYou encouraged me to lighten up. Idon’t have to be all business.

Givin’ him a boost might improvehis bottom line.

GWENSo you’ll see him again?

ANGELMaybe. Not for a while though, myother exciting job still calls.

67 EXT. PARKING LOT OF RESTAURANT/TRUCK STOP - NIGHT

Sign at gas pumps reads 12:30

Footsteps of trucker getting into his rig.

SFX - air brakes of truck.

Semi pulls away revealing Nick standing by his blackMercedes. He flicks the ash off his cigarette on the heel ofhis shoe.

68 INT. RESTAURANT - NIGHT

Nick enters restaurant. His moves are deliberate, smooth andsensual. Every touch he makes is textural - his hand glideslightly over the counter.

In the distance, Angel is chatting with the only otherpatron who is leaving.

Nick is watching her as she cleans up dishes. Watches as sheleans down to place items on a lower shelf.

NICKQuiet night so far?

ANGEL

Turning to face himUsually slows down about now.

NICKI’ve noticed.


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ANGELYou’ve been here before?

NICKI get by here on occasion.

ANGELCan’t say as I remember you.

NICKMaybe you were too busy to notice.

ANGELOh, I’d remember you. - What do youneed tonight?

NICKSame thing I always need - love andaffection.

ANGEL

BlushingDon’t we all.

69 EXT. OF RESTAURANT - NIGHT

Through the window we see them talk.

SFX - Night sounds with train whistle in the distance.

70 EXT. DISTANCE SHOT OF TOWN - NIGHT

Quiet streets with truck stop parking lot empty except forMercedes, her car and line cooks car out back. Motel signflashes "VACANCY" and gas station time and temperature says1:40 AM


ANGELI hope I didn’t bore you.

I’m not this open with a everyone.

Angel brushes back her hair and tugs on her uniform as if tostraighten it. Nick’s hand glides over the counter as hegets up. Under his coffee cup is a fifty dollar bill.


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26.

NICKBelieve me, you’re not boring.Thanks for letting me listen.

I’ll see ya ’round.

Nick exits - she picks up his cup and slips the bill into

her pocket. Wipes her hands smoothing her uniform.

72 INT. IPM OFFICE

People entering office from parking lot. Angel is amongthem. Goes to a coat rack, hangs up her coat, drops herglove (seems distracted), looks around and mentally clearsher head.

GWEN

cheerfullyHey!, Morning!

ANGELum.. hi.

Gwen looks concerned but quietly goes to work. They beginlooking over the days needs. Angel alternates betweendetermined concentration and lost in thought.

73 EXT. IPM OFFICE BUILDING - LATE MORNING

Traffic in street, people walking.

74 INT. OFFICE AREA WITH MANY WORKERS.

GWENTime for a break. I can only takeso much of this before my eyesstart to cross. You OK?

ANGELUm - yeah, just seem to be in afog. I didn’t get much sleep.

GWENSo has Gordy been after you?

ANGELOh- Gordy - no. He may be an OKsalesman, but he’s not for me. No,it was last night. A fellow cameinto the diner -


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27.

It was after midnight, the placewas dead. He stayed for over anhour.

I can’t get him off my mind. He wasso easy to talk with. And he’s good

looking to boot!

I think I must have laid out mywhole life. Even told him about myparents car accident and livingwith my aunt.

It was amazing how everythingpoured out of me. I don’t rememberseeing him before but he says hecomes there often - must be on myoff nights.

75 EXT. STREET - BAD CITY NEIGHBORHOOD - NIGHT

Frankie walks in distance.

His feet on pavement, stepping off curb.

"Don’t walk" sign flashing. He goes into street. Car turnscorner and hits horn, braking hard. He backs up to curb,looks again at street checking traffic and continues againstthe light.

76 INT. APARTMENT - NIGHT

Hand with a band aid holding pistol. Opens magazine andloads bullets.

Eduardo checking gun and playfully aiming at imaginedtargets around room.

Door opens and Frankie enters.

Eduardo points gun at him.

FRANKIEWhat the hell! You crazy?

EDUARDOHey man - I’m just playin’ wit chu!

FRANKIEIs it loaded?


29/105

28.

EDUARDOWha’d you think? I got a piece - itain’t gonna do no good empty!

FRANKIE

Curious, and easing upLet me see it.

Eduardo lays it on the table and eases back into the sofa.

Frankie picks it up and examines it.

Suddenly he takes a stance and aims it at Edwardo.

Eduardo just looks at him and puts his feet up on the table.

EDUARDOThe safety is on.

Now what is it you got for me?

77 EXT. OF THE APARTMENT - NIGHT

From across the street through the window the two of themwalk around and interact.

SFX - traffic and sirens.

78 INT. APARTMENT - NIGHT

Frankie and Eduardo drinking beers and talking.

EDUARDOOur deal is pretty sweet, but I gotsomething bigger.

I tell ya’ - It’s perfect. Mycousin says the guy always makeshis deposit after ten. It’s thewhole weeks take. We just wait ’tilhe closes and goes to his car.

Quick and easy. I’ll stop him, youcome up behind and take the bag.You go with the money. I back offand he’s left standin’! Too Easy!

Frankie is hesitant.


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29.

FRANKIEThis is a lot different, I’m not...

EDUARDODon’t forget what I told ya. Youdon’t want no trouble do ya?

...Just one more thing - this isfor you.

Pushes the gun lying on the table toward Frankie.

FRANKIEWhat do I need this for?

EDUARDOInsurance.

Edwardo reaches behind his back and pulls out a second gun.

EDUARDO (cont’d)This is mine. If he turns away Iwant you to insure that he don’trun.

79 INT. ANGEL’S APARTMENT BEDROOM - SUNDAY MORNING

Worn furniture, room is sparse, harsh sunlight in window.Angel stands by dresser. She’s wearing a light coatunfastened over a simple dress for church. She removesearrings placing them in small jewelry box on dresser nextto Virgin Mary figure and the framed parents wedding photo.She looks at herself in mirror. Has a simple cross on herneck.

Forlorn sigh.

Turns from mirror and undresses to underwear.

80 INT. KITCHEN - MORNING

Angel enters wearing jeans and is just buttoning sweater.

SFX - Music on radio.

Frankie is at the stove wearing no shirt. Hand is scratched.He’s just breaking eggs into skillet.

ANGEL

Walking up to his side.(MORE)


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30.

ANGEL (cont’d)Put a couple in for me will ya?

FRANKIE

Surprised to see her.

I didn’t see you come in. Sure, youget the last two.

Angel puts bread in toaster.

ANGELI was worried about you. Youweren’t here when I left forchurch.

Frankie considers answering but remains silent.

ANGEL (cont’d)

When you don’t come home I neverknow what to think. With my secondjob, I hardly see you anyway. Andwhen you’re not here I get scared.

Frankie puts eggs on two plates and brings them to thetable.

FRANKIEDon’t be such a worrier. I was withEduardo - we were drinking, so Istayed with him.

ANGELEduardo! Frankie, he’s no good foryou! You promised me you’d stayaway from him.

FRANKIE

Apologetically but with anger.I didn’t promise anything - Quittrying to run my life!

ANGELPrison friends are not what youneed.

Angel reaches across the table to sooth him, touches the cuton his hand.

Frankie tears his arm away knocking a plate with eggs to thefloor.


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31.

ANGEL (cont’d)Frankie!

FRANKIEDamn!

He gets up, goes to the stove, grabs a worn towel from the

handle. Angel goes down to the floor and is picking upbroken pieces of plate. Frankie kneels down on the floor byher to mop up the mess.

FRANKIE (cont’d)I’m sorry... you’ve been so good tome. - You’re right. - After fiveyears in the joint only you wouldput up with me.

He wipes the floor and tosses food and towel into thegarbage. Wipes his hands and leaves the room.

Frankie returns

FRANKIE (cont’d)Hey, I got something for you. Sinceyou’re my guardian angel, I gotthis for you. Sorry about...

As he says he is sorry, Frankie offers her a small objectwrapped in tissue. Angel wipes her hands and unwraps abeautiful angel pin from the tissue.

ANGELWhere’d ...

She starts to ask where he got it, decides not to probe.Admires the pin.

ANGELThanks Frankie. It’s beautiful.

FRANKIEIt’s OK, I just wanted to give yousomething after being so good to methe last couple months.

ANGELIt’s alright, you needed a place tostay. You can stay as long as youneed to.

FRANKIEFor all you’ve done for me Sis -

Nods toward the pin.


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32.

Thanks

Angel admires the pin, puts her hand on his shoulder as agesture of thanks.As he leaves, Angel looks the pin over carefully, lookstoward the doorway, and gently sets the tissue and angel pin

on the table.

81 INT. IPM OFFICE - DAY - MORNING

Gwen is working. Angel arrives

GWENAgain this week, sales is askingfor more stats. Now on WilsonIndustries, Delano Pharma andCarlson...

ANGELSeems sometimes that research ismore like spy-search. If we dig anydeeper we’re gonna know who wearsbriefs and who wears boxers.

GWENAnd who goes commando.

laughsThings any more exciting at thetruck stop?

ANGEL

looks shy, hesitantEver since the Highway got movedit’s mostly dead at night. Thiswhole month has been slow. It’smore like a ghost-town.

pauses in her work - thoughtfulDid have a few more visits fromNick, my Mr. Mysterious - he’s veryseductive. I can’t keep my eyes offhim. He’s kinda hypnotic.

GWENSounds like he’s coming back for areason - and I’m sure it’s not forthe coffee.


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33.

ANGELHe makes me feel special. He’s gotme wanting him, but I’m not sure hefeels the same.

GWEN

Be careful girl. I know how easy itcan be to fall for a guy - I don’twant you hurt.

ANGELProbably too late for that. Heknows how to push my buttons.

sigh

GWENYeah ’specially when buttons andzippers come undone.

82 EXT. SEEDY PART OF TOWN - NIGHT

Mercedes pulls to curb near bars and strip club.

Nick exits car. Takes his time. Lights cigarette and lockscar with remote. Walks down sidewalk. He is approached by ahooker, they flirt. He walks on, she turns toward anapproaching car. Nick crosses street, flicks off ash on alamp post, goes toward a strip club. Nods to the bouncer whonods back knowingly.

83 INT. STRIP-CLUB

Various action, with some patrons leaving. Barkeep iscleaning up, turning out lights at bar. Stops and makes up adrink for Nick without being asked. Continues cleaning up.Remaining patrons leave. Nick takes a sip, checks his watch.ZENA enters. Puts her hand on his leg.

ZENAHey Baby! I’m ready when you are.

to barkeepGood night Pete - See ya tomorrow.

PETEIt’s already tomorrow.


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34.

84 EXT. MERCEDES - NIGHT

Pulls away from club

85 INT. CAR - NIGHT

ZENACan we stop for a burger? I’mstarving.

NICKSure, If that’s what you want.

ZENAYou know what I want -

they say together"Love and Affection"

and laugh

She pulls out a joint, takes a deep hit. Passes it to him.You can get hungry too.

NICK

He looks at her in lust. Slips his hand between her legs.I’m always hungry.

86 EXT. CAR - NIGHT

Pulls up to all night cafe

87 INT. BOOTH IN CAFE

Sitting across from each other. Food is on plates. She has abig bite in her mouth. They are both high.

ZENA... nice to hear from you again...thought maybe you’d left town.

NICK

Carefully examines his sandwich before taking another bite.Shakes his head.

You know, I’m just never sure whenI’ll be around. But I’m here now,so we can make the best of it -right?


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35.

looks at her in anticipation"love...

ZENA"and INFECTION!"

she laughs

She stands, drains her soda, goes toward restroom - weavingas she walks - waitress crosses her path and is veryfriendly to Nick.

WAITRESS

attractive, with a come-on attitudeHow ya doin’ Sugar, will that beall?

NICK

checking out her name tagMelody - Thanks... for tonightthat’ll be fine.

But there’s always tomorrow

Puts a fifty in her hand and closes her hand with his.

88 INT. MERCEDES DRIVING ON STREET - NIGHT

Hand reaches across to rest in his lap - caresses him.

ZENA

She turns in the seat, picks up the back of her blouse.Hey, undo me will ya Baby?

Nick reaches over with one hand and deftly flicks open herbra.

89 EXT. CAR - NIGHT

Speeds down road.

90 EXT. BY MOTEL/TRUCK STOP- NIGHT

Mercedes pulls up abruptly crooked in parking spot. Nick andZena get out, stumble toward motel.


37/105

36.

91 INT. DINER - NIGHT

Angel is putting on her coat, her new angel pin on thecollar. She looks tired. Sticks her head in kitchen

ANGELGoodnight Eddie.

EDDIETake it easy Honey - see ya nextweek... get some rest - hope thatstomach flu clears up soon.

92 EXT. DINER - NIGHT

Follow Angel to car. She’s moving slowly. As she pulls away,she almost misses seeing his Mercedes. Puzzled look on herface. - checks mirror. Sees it - does a quick circle aroundin lot.

Pulls up so her lights are on his car. She gets out, walkstoward Mercedes. Looks in and sees a bra tossed on to theback seat.

ANGEL(to herself)

I should have figured. Thatbastard.

Her car pulls away quickly. Quiet parking lot.

93 INT. APARTMENT KITCHEN - NIGHT

Frankie is smoking at the table, listening to sports on theradio. Anxiously he is looking over the pistol in his lap.

SFX - Front door unlocking.

He hears Angel coming and shoves the gun under his jacket onthe next chair.

ANGEL

She comes in removing her coat.Another late night? Did you eat?

Frankie shakes his head - no.

ANGEL (cont’d)I brought home some rolls from therestaurant. Let me fix yousomething.


38/105

37.

Angel goes to counter.

ANGEL (cont’d)Clear off the table for me will ya?

Frankie picks up newspaper and ashtray. With other hand

balances two cups on plates and moves toward sink.

Angel goes to move chair with jacket - gun slips on to floorwith a thud.

Frankie turns with fear in his eyes.

Angel picks up the jacket and the gun in disbelief anddisappointment.

With tears in her eyes -

ANGEL (cont’d)Oh Frankie - How could you!

FRANKIE(stammers)

It’s not mine ... Eduardo...

ANGELEduardo!! I told you to stay awayfrom him! What crazy thing has hecooked up?

You have to stay clean!

Get rid of it! Just get rid of it.

Angel runs from room.

94 INT. IPM OFFICE - NOON

Angel and Gwen are in filing area.

ANGELThanks for helping me out of mymood. I do need to lighten up. OKif I take you to lunch?

GWENAre you up for an adventure?There’s a new place over onHampstead. Supposed to be greatThai food.


39/105

38.

ANGELThai is a little too spicy, I’vehad heartburn lately.

GWENThat Chinese place on Nelson is

bland but pretty good. Let’s gothere. I’ll drive.

95 INT. CAR ON THE WAY - DAY

GWENSo has Gordy called you again?

ANGELHe called and he makes come-onmoves, but he’s just a big kid -not really someone I could fallfor. Besides with him on the roadand my night job we can’t reallyget together anyway. Heck, I hardlysee my own brother and we livetogether.

GWENYeah, with him driving cab now.How’s that working out?

ANGELAt least it’s something. Afterprison he really had a hard timegetting any job.

GWENThat really sucks. He should’anever served time anyhow.

ANGELHe was in the wrong place, hangingout with the wrong people. Crossingthe state line with that stolen carwas really stupid.

Drive on in silence.

ANGEL (cont’d)(Emotional)

Frankie was such a shy, sweet kid.Now he’s restless and hard to talkto. I never know what he’sthinking. I’m afraid he’s headedfor trouble again.


40/105

39.

Pulling up to restaurant.

GWENIf you think it would help, I couldtalk to him - maybe he’d open up tome.

Getting out of car.

ANGELMaybe. But how do we arrange that?

96 EXT. ANGEL’S APARTMENT BUILDING - DUSK

Almost dark - light on in Franks bedroom.

97 INT. APARTMENT - FRANK’S BEDROOM -DUSK

Frankie is drying off from a shower. Starts dressing. Takesshoes and socks into kitchen to finish.

98 INT. KITCHEN - DUSK

- on small TV sitting on counter is 5PM news-desk scenefinishing wrap-up.

99 INT. TV NEWS SET

WEATHER GUYStill mild through the weekend,chance of showers on Sunday. Coolernext week.

SPORTS GUYCongratulations Barbara. Yourin-depth probe on the Pro-Lifemovement is getting a lot ofattention.

BARBARAThanks Bob. We’re very excited. Weare going to expand our coverage aslong as confrontations continue.

To cameraHave a pleasant evening from all ofus at Channel 24...


41/105

40.

100 INT. KITCHEN - NIGHT

Angel enters as Frankie is tying his last shoe.

ANGELGlad I caught you before you left.

Awkwardly tries to hug him, he fends it off slightly.

He reaches for his jacket.

She puts up her hand to stop him and get his attention.I have a favor to ask you.

He listens up.You remember Gwen from work? Shehas this reunion thing to go to andshe hasn’t got a date. The guy thatwas going to be her escort had togo out of town - it’s tomorrownight and she really doesn’t wantto go alone.

FRANKIEI don’t know Sis - why me?

ANGELShe just asked if you could and Iknew you weren’t working - give hera call and she’ll tell you thedetails.

FRANKIEI’ll think about it - I gotta gonow.

ANGELHere’s her number.

hands him a piece of paperCall her tonight - OK?

FRANKIE

As he leavesSure - sure


42/105

41.

101 INT. CAB #22 - NIGHT

Frankie to couple in cab

FRANKIEThat’s $21.50

exchange moneyEnjoy the show.

couple exits by movie theater

102 EXT. STREET - NIGHT

Taxi drives off.

103 INT. CAB - NIGHT

Parks in a different location, Frankie is smoking acigarette impatiently - checks his watch, looks around,shifts in his seat - more of the same. Lastly, pulls out hisphone. Takes a last puff and tosses the cigarette out thewindow. Checks scrap of paper and dials.

FRANKIEGwen, Frank Fortunato here -Angel’s brother. Yeah, fine, fine

-- listen -- well -- what the hell,why not.

---- OK, about 6:30? How dressy isthis thing? OK. I can do that.

Yeah, see ya then.(pause)You’re welcome.

Looks relieved - about to light another as cab radiodispatcher sends in a call. Pulls away.

104 EXT. GWEN’S APARTMENT BUILDING - LATE AFTERNOON

Gwen leaves her apartment and goes to her car. Drives away.


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44/105

43.

FRANKIE (cont’d)Angel’s always been able to takecare of herself as far as I know.Is that really what this is allabout?

106 EXT. CAR - NIGHT

Driving along

107 INT. CAR - NIGHT

GWENShe really does worry about you.

FRANKIEI’m being careful. I’m not planningto end up back in the joint.

GWENHey, since I have you kidnapped -at least let me buy you dinner -OK?

FRANKIEYou are desperate for a date!

they both laugh

108 EXT. STREET IN CHINATOWN - NIGHT

Her car pulls up to curb. Lots of people, couples andfamilies on street.

As they walk -

GWENSo since your folks died, Angel hasbeen feeling responsible for bothof you?

FRANKIEYeah, our Mom’s sister took us infor a while but "Uncle" Max wasn’thappy to have us. He treated uslike servants. He’d tell Angel shewas stupid and worthless. I reallyhated him.


45/105

44.

GWENThat sounds terrible

FRANKIEAngel kept trying to protect me.Max got pissed on night and threw

all our stuff out on the frontsteps. She got a place on her ownas a soon as she could and took mewith her.

they walk into restaurant

109 INT. BOOTH IN RESTAURANT

They are mid-eating - Thai food with chopsticks, finger foodand tea.

FRANKIEI was seventeen when I got involvedwith the guys that were stealingand stripping cars. It seemed soeasy at the time. We’d figured we’dbeen fucked-with so stealing wasjust payback. Unfortunately I’dturned eighteen when we got caughtso I had to do time as an adult.

GWENThat’s rough. So getting a job nowhas been tough?

FRANKIEYeah, but the cab’s not so bad. AndI have time to do other things.

GWEN(interested)

What kind of other things?

FRANKIE

pulls back - said too muchThings... like dating desperatefriends of my sister!

they laugh again

GWENFrank - thanks for understanding -I do feel better knowing how youand Angel look out for each other.


46/105


47/105

46.

113 EXT. COUNTRY ROAD - NIGHT

Mercedes passes.

114 INT. MERCEDES - NIGHT

Nick is smoking. His every move is smooth and deliberate.Sensuousness in the way he smokes and drives. He flicks offthe ash into the ashtray. Clock on the dash shows 1:50.

115 EXT. RESTAURANT PARKING LOT - NIGHT

Mercedes pulls in - motor hum is evident - sounds like a catpurr. Headlights are on the restaurant for a moment and thengo dark.

Overview of lot shows only a couple cars including Angel’scar and his Mercedes.

Angel exits back door and goes to his car.

Only the parking lights come on. Slowly the Mercedes crossesthe gravel lot up to the motel.

The lights go out.

Engine off.

116 SCENE CROSS FADES TO DAYLIGHT - SAME ANGLE

Angel leaves motel at dawn and goes to her car.

117 EXT. IPM OFFICE PARKING LOT - MORNING

Angel pulls in to full lot. Looking for a space.

118 INT. CAR -DAY

Checks her watch. Looks in mirror. Collects her things.Tosses uniform into backseat.

119 INT. OFFICE

Angel hangs up her coat. Lester walks up.


48/105

47.

LESTERMs. Fortunato, may I see you?

ANGEL

Checks her hair and clothes to feel if she looks

presentable. Sure, Mr. Lopez. I’ll be rightthere.

Angel goes to filing area, put purse in file drawer. Lookstoward Gwen with a questioning look on her face. Gwenquickly comes by her.

GWENHe asked for you first thing aboutthirty minutes ago.

120 INT. LESTER’S OFFICE

Angel enters.

ANGELSorry I was late. I had cartrouble.

LESTERAngel, have a seat. I’m not soconcerned with that, although if itcontinues, I could be.

Lester takes up a file from his desk, then sits on the edgeabove her.

The company has certain otherconcerns about our employees evenextending into how they conductthemselves outside the office.

ANGELI don’t think it’s any of thecompany’s business. This is onlythe second time I’ve done it.

LESTERDone what?

ANGELStayed at the Mot...

What are you talking about?


49/105

48.

LESTEROur other Divisions want to makesure of an even playing field forall sales reps. Since you haveshown some "contact" with GordyWells outside the office, corporate

wants assurance that he doesn’t get"special treatment".

ANGEL

indignantSpecial like what?

LESTERYou know, confidential researchinformation that only he gets.

ANGELI see.

LESTERHas Gordy gotten "Specialtreatment"?

ANGELNO! He has not! Whatever else thecompany may suspect, I am an adultand I can do as I like.

LESTERI assure you our only interest isin company affairs, not privateones.

ANGELAre we done?

LESTERWell,...yes.

Angel rises to door.Oh, Angel.

She turns.

Lester smirkingDon’t be late again - even if itwas only "your second time".


50/105

49.

121 INT. FILING AREA

GWENWhat was that all about?

ANGEL

Well at first I thought they werespying on my every move. but it’sjust about not giving Gordy a handup on the other divisions in sales.

GWENThat’s all?

ANGELThere’s more. Let’s talk at lunch.

122 EXT. RESTAURANT WITH A WINDOW ON THE STREET - LUNCH TIME

Angel and Gwen inside at a table.

SFX - traffic and cars passing on the street.

123 INT. RESTAURANT - DAY

GWENNo wonder you jumped toconclusions. Do you think Mr. Lopezknows what you meant?

ANGELLester Lopez is too caught up incompany policy to think aboutanything else.

GWENWell, tell me more about Nick.

ANGELYou mean other than I can’t resisthim. I know I’m not his only lover,but Hell, I can’t stop thinkingabout him? Staying all night againwas wonderful.

Shakes her head - changes subjectUnfortunately it will be the lastI’ll see of him for a while. Hedoes some kind of confidentialGovernment contract work. He can’ttalk much about it. They keep the

(MORE)


51/105

50.

ANGEL (cont’d)motel room for him as a remoteoffice, but he’s been called awayfor the next two months.

I’ll miss him but he has made mefeel like no one else ever has.

124 EXT. RESTAURANT - DAY

They talk more in the window.

125 EXT. CEMETERY - LATE AFTERNOON

Through the trees the funeral service is ending. Severalexpensive cars are parked behind one hearse. A small groupis gathered graveside. From behind the priest we see themourners.

FR. DOMINIC... ashes to ashes, dust to dust.

Fr. Dominic closes his prayer book and steps toward thewidow (ANN MCGOVERN). She and her sister(RITA GRIMES) areseated. Everyone else is standing.

Viewed from across the coffin, Dominic steps up to the widowto speak to her, holding her hand in his.

The widow and her sister are late-forties and quiteattractive. The sister’s neckline is rather revealing for afuneral and she is looking intently at Dominic as heconsoles the widow. He nods to Rita and then steps away toshake hands with other mourners.

Rita follows him with her eyes as she and Ann walk to thecar behind the hearse. ROBERT (the chauffeur) is waiting bythe car. As the two sisters talk the remaining mourners aredispersing. Dominic is still with a small group by the gravesite.

RITA(TO HER SISTER)Wait with Robert, I’ll be back in a

minute.Widow Ann enters back seat as Rita looks toward theremaining cars. Dominic and the last few are approachingtheir cars.

Rita walks toward Dominic. As he approaches she takes hishand.


52/105


53/105


54/105

53.


EDUARDO

Eduardo is very relaxed, appears high.This is gonna be sweet. Heard it

was a really good week. The takegonna be big! (Laughs)

Frankie has pistol on his lap, checking it. Looks out windowas they drive.

129 EXT. STREET - NIGHT

Car in traffic on side streets. Turns corner by darkbuilding.


EDUARDOOK, jest like I said. There’s hiscar. Let’s do it!

They park in shadows. Eduardo is showing nerves now.Fidgets. Sniffs several times. Eyes are watery.

EDUARDO (cont’d)Let’ go!

Exits car, wipes his nose, tries shaking off his nerves.

131 EXT. BACK OF BUSINESS - NIGHT

They position on each side of the backdoor in the dark.

Shop owner comes out, looks around cautiously, turns to lockdoor. Eduardo steps up to him, puts gun to his face.

EDUARDOPut chur face to da door!

Knocks his head forwardClose yer eyes!

Nods to Frankie

FRANKIE

Goes to take briefcase, pulls it which jerks storekeeperaround.

(MORE)


55/105

54.

FRANKIE (cont’d)It’s chained to his arm!

The man and Frankie’s eyes meet.

Eduardo hits storekeeper with gun, knocking him down to his

knees.

EDUARDOWhere’s the fuckin key!

Hits the man again.Gimme me the key!

Man is out cold.

Looks in his pockets.

Eduardo waves gun menacingly.

Frankie tries pockets - pulls out key-ring but nothing fits.

FRANKIEThis is shit - lets go.

EDUARDONo Way! Lemme see dem keys!

Fusses with them- nothing works - tosses keys.

Stomps on man’s arm and pulls on case jerking man around.Frankie stops him.

FRANKIEIt’s no good, Let’s get out ofhere!

Eduardo stops - thinks - steps on chain instead of arm andpulls with all his might on briefcase. Nothing. Resetshimself and really heaves against it. The case comes apart -papers spill out and a bag with it.

Eduardo grabs the bag and clutches Frankie’s arm.

EDUARDOLooks right at Frankie and aims gun toward man.

Did he see yer face?

FRANKIENO! - NO!, it was too dark! Leavehim!


56/105

55.

Eduardo is calm again, has confidence. Pulls hammer onpistol. Aims at man on the ground.

EDUARDOYou sure?

FRANKIEDon’t be stupid!

EDUARDO

Aims gun at Frankie - Anger in his eyes

Spits out the wordsNever call me STUPID!

Kicks man on pavement, turns and goes to the car. Frankielooks at the mess and quickly follows.

132 EXT. FAMILY CLINIC - DAY

Aerial of Family Clinic with protesters confined to front ofbuilding. Police cars have rear of building cordoned off.Mobile TV van approaches.

133 EXT. TV MOBILE VAN - DAY

Barbara and LUCY exit the van. Lucy unpacks camera, and mic.

BARBARA(to Lucy)

With these increased protests, ifwe can get deeper coverage, thisstory could be attractive tonational.

LUCYEver since you left the Sheriffdepartment you’ve been looking fora special story.

BARBARAWe just need to gather enough meatto make ’em hungry.

LUCY

holding cameraFor a longer piece we’ll need someintro material to segue into theprotests. Then we’ll need

(MORE)


57/105

56.

LUCY (cont’d)additional crowd shots for fillersand cut-always. But I really needmore action - so far it’s mostlyholding signs or just standingthere. Maybe today things will pick

up.BARBARA

I hope so. Let’s see what developswith few interviews.

134 EXT. BY CROWD - DAY

Approaching a group with signs.

BARBARAHow long have you been involved in

the movement?

SPEAKER ONEWhen I heard about babies beingmurdered, I knew I had to dosomething.

BARBARAI understand your anger. How aboutthe other services provided by thisclinic. Prenatal advice, teenpregnancy prevention, STDinformation and treatment?

SPEAKER ONEThat don’t count if they are stillmurderers!

Barbara to priest

BARBARAHow about you Father, why are youhere?

FR. DOMINIC

wearing sunglassesThe people here need guidance andsupport. Since the crowds are solarge, I felt a calming influenceis needed. We don’t want trouble.


58/105

57.

BARBARAYes, the police don’t want troubleeither and abortion is still legal.

SPEAKER ONEThat’s why I’m here - We’re gonna

change that!

SPEAKER TWO

Speaker two is a man with a large photo sign of a "partialbirth abortion" moves forward and advances on a police tapebarrier.

The unborn deserve to live!

He tosses the sign down and pulls a bag from under hisjacket. He heaves it toward the building. A bag of "blood"breaks against the window of the waiting room.

Police move forward and roughly take the man away.

BARBARADid you get all that?

LUCYYes! Well maybe we’ll make thatspecial yet.

135 INT. TV STATION NEWS ROOM HALLWAY BY NEWS SET

Preparations before going on the air. Barbara is checkingnotes in hall. Lucy approaches.

LUCYHey, I wanted to catch you. I madearrangements for that openingmaterial we need. That priest weinterviewed is going to do a homilyabout abortion next Sunday. HeOK-ed it if we make it anonymousand keep the camera low key and nomobile van outside. Just us.

BARBARAGreat job Lucy. That might be thetouch we need to wrap around thisstory.

Barbara walks on to the set ready for her spot.


59/105

58.

136 INT. ANGEL/FRANKIE’S APARTMENT

TV is in apartment kitchen. Frankie walks past, sits at thetable, starts to put on his shoes. Notices 5PM newscast inprogress.

Frankie is watching TV

137 TV SCREEN

BARBARA

on location at hospitalResults of a robbery gone wrong.Sixty-two year merchant GregoryMorgan was severely beaten and isin critical condition at St.Mary’s.

138 INT. ANGEL/FRANKIE’S APARTMENT

FRANKIEDamn!!

Gets up shoe in hand and slams off the TV with the shoe.

139 INT IPM OFFICE - MORNING

Gwen is chewing gum, brightly moving files and pushing cart- very chipper.

Enter Angel, Takes off her coat, Angel pin is on the lapel.Hangs up coat. She looks tired.

GWENTraffic slow you down again?

ANGEL

hesitantlyYeah ... No ... I just couldn’t getgoing - been really tired lately.

GWENWell Honey, you look like shit. Whydon’t you go wash your face beforeyou start.


60/105

59.

ANGELNo, I’ll be OK. Just need moresleep.

Busy filing in silence. Angel seems very distracted.

Bending down to open lower file cabinet, feels faint andsick to her stomach.

GWENYou OK?

Angel starts to stand, drops files and runs toward ladiesroom.

140 INT. LADIES ROOM

Gwen enters with a worried look. Goes to Angel who isstanding over sink with running water. Hands on the counter.

Gwen looks on - eyes meet.

Angel looks away and into sink

ANGELI’ve been trying to keep it secret.I’m pregnant.

GWENNot that rat Gordy!

ANGELGordy - Ha! Nah, Gordy nevertouched me - It’s Nick and hedoesn’t know - Since he left, thecompany closed up the office at themotel and I have no way to contacthim.

141 EXT. LITTLE JOHN’S - DUSK

After work crowd coming and going.

142 INT. LITTLE JOHN’S BAR

Gwen and Angel walk in.

GWEN

to the bartender(MORE)


61/105

60.

GWEN (cont’d)Hey Sally - How about two bloodyMarys - one virgin?

SALLYAt least I know the virgin is notfor you.

Gwen and Angel sit at the bar.

GWEN (TO ANGEL)My treat, they serve great Italianbeef or whatever you want.

They get the drinks and move to a table near the window -

TV set is visible above the bar.

GWENHow’er you feeling?

ANGELI get really hungry, but then Ifeel sick if I eat too much.

GWENYeah, the same thing happened tome.

ANGELI didn’t know you had any kids?

GWENWell, no I don’t --- But I gotpregnant when I was eighteen. Ithought we’d make it, but about twomonths later he was seeing someoneelse and I knew it was over so Iterminated --- What a lousy word!-- I got rid of the baby, kid,child - whatever.

Takes a drink

Sally comes over with the food. Gwen and Angel eat in

silence. Sally goes back to the bar. TV over bar is tuned tothe 5:00 news - current story is on Anti-abortion protests.Tape from earlier is of Barbara interviewing Chief ofPolice.

BARBARAThere have been several vocaloutbreaks and one action that wentbeyond the limits of public safety.


62/105


63/105

62.

146 INT. BY THE TABLE

GWEN

checking on AngelWhat is it? You OK?

Angel has tears in her eyes. Nods her head, then shakes herhead - gets up quickly and runs to the bathroom.

147 EXT. CHURCH - LIGHT RAIN - LATE MORNING

Cars are pulling away.

148 INT. BACK ROOM OF CHURCH

Barbara and Lucy are exiting the priest’s dressing area.

BARBARAThanks for the follow up Father. Asyou asked, we can use your homilyanonymously for the special. I’llget back to you on the details.

149 INT. INTERIOR OF THE CHURCH, DARK

Dominic walks with them toward the front of the church. Onlythe light from the windows and the dark rainy sky illuminatethe aisle. A few remaining parishioners are leaving as well.Dominic nods to them talks briefly to the last couple andturns back to the dressing area.

As Barbara and Lucy near the doorway to the vestibule,Barbara nearly bumps into Angel as she enters.

150 CLOSE-UP ON ANGEL PIN ON ANGEL’S COAT.

151 INT. VESTIBULE OF CHURCH

Barbara and Lucy are in the entryway as the last of theparishioners file past.

BARBARAYou go ahead I’ll catch you later.

Lucy exits as the last couple leave. Barbara goes quietly tothe far end of the vestibule near the other entrance to themain church.


64/105

63.

152 INT. CHURCH AISLE

Dominic has removed his shawl and placed it over his arm.The church appears to be empty. He walks toward the front.Angel comes out of the dark corner and follows at adistance. Barbara watches from hiding.

153 INT. BACK ROOM

Dominic puts his shawl in the closet and is removing hisvestments. Angel enters.

ANGELWell, imagine my surprise to findthat my "Government Agent" didn’tleave on some secret mission andreally wasn’t what he seemed atall.

DOMINIC/NICK

Startled at her voice but quickly takes on his controllingand soothing style.

Secrets and surprises go hand inhand ... I wanted my life with youto be secret. I never intended tolet the two mix. You must believeme. I still wanted you, I had toleave before I got too involved.

How did you find me?

ANGELTV interviews should be avoided.

DOMINIC

eyes downcastOf course.

He switches off room light leaving only window light Hecontinues to undress.

154 INT. CHURCH

Barbara is stealthily approaching back room, listening in.


65/105

64.

155 INT. BACK ROOM

Dominic has on his black priest shirt unbuttoned and openover an undershirt. His hands are on Angel’s shoulders, onenear the angel pin on her collar.

DOMINICI still want you as much as ever...

Caresses her. She is turned on by his charm. They arereflected in the mirror in the closet, silhouetted in thewindow light.

ANGEL

Pulls away from his advancesI have some news for you.

You are "Father" Dominic in moreways than one.

He looks down at her puzzled at first and then down to herbelly.

DOMINICThat can’t be!

ANGELWell, it is. You are the only one.

Remember when you didn’t want thecondoms - "to feel more special",you said.

DOMINICWhat do you plan to do?

ANGELDo? I’m pregnant - what do youthink?

DOMINICYou have to get rid of it!

ANGELIT! How can you even consider that!What’s wrong with you?

DOMINICI only want what’s right for you.I’ll help you. You know you cantrust me.


66/105

65.

ANGELBut you left me, and now I’m havingyour baby!

DOMINICI need you.

He holds her and tries to sooth her.I always wanted you - but a babycan’t be part of my life. You haveto get rid of it.

Pulls back realizing that she is not taken in by his charm.It really won’t do - it would ruinmy career.

ANGELYour career? You hypocrite!

156 INT. CHURCH INTERIOR

Barbara moves away from her place near the doorway and worksher way toward exit.

157 INT. BACKROOM

ANGEL"Preserve the sanctity of life" or"get rid of it" - which is it?

Dominic ignores her accusation, tries to calm her. Goes tokiss her.

ANGEL (cont’d)You heartless bastard!

Slaps him and rushes out in tears.

158 EXT. CHURCH DOOR - RAINY - DAY

Barbara waits in a corner out of the rain. Angel storms out,goes to her car. Barbara notes license plate numbers.Barbara crosses to her car and enters.


67/105

66.

159 INT. BARBARA’S CAR - RAINY - DAY

On her cell phone. Speed dial.

BARBARAHello Jack, I have a clue to that

burglary story and came acrossanother very unexpected angle. I’llget back to you when I have more totell you. I need time to uncoversome details.

Pulls away from curb and follows Angel’s car at a distance.

160 EXT. STREET - RAINY DAY

Following Angel through traffic to apartment building. Angelparks and enters building. Barbara looks up to building. Athird floor light comes on. Angel comes to window and pullsshade.

161 EXT. POLICE HEADQUARTERS BUILDING - MORNING

Barbara ascends steps.

162 INT. FRONT DESK

To officer.

BARBARADetective West is expecting me.

Walks corridor to office and knocks.

163 INT. HIS OFFICE

BARBARA

Hi Phil, Thanks for getting back to me so soon.

PHILYour reputation from SheriffWindslow was very positive. He saidyour intuitions were always good.

One of these days helping others isgonna get me fired. But if you canhelp me I’ll help you.


68/105

67.

BARBARAWhat can you tell me?

PHILThe plates are registered to Frankand Angelica Fortunatto. Here’s the

address and other info.

Hands her a paper. Barbara looks it over.

BARBARANo record for her, but I see herhusband has seen some time and somejuvenile stuff too.

How about the other thing?

PHIL

Hands her a second paper.Father Dominic has quite thehistory. No criminal record but hispedigree is long. Went to privateschools then Princeton and Harvard.His uncle is a bishop and thefamily fortune goes backgenerations. He has been reassignedoften. Four times in the last sevenyears.

So what have you got for me?

BARBARAI’ll get you clued in as soon asI’m sure of my suspicions. I can’ttell you more unless I knowabsolutely.

PHILWell, if you ever decide to quitthe glamor of TV - you’d be welcomehere. Keep your nose clean anddon’t get busted.

BARBARAThanks again Phil, I’ll be back intouch soon I hope.


69/105

68.

164 EXT. ANGELS APARTMENT - DUSK

Barbara gets out of her car. Checks a mini recorder andturns it on, puts it in her pocket. Ascends stairs.

165 INT. HALLWAY

Barbara knocks at door. Angel answers still wearing her coatfrom the office.

ANGELYes?

BARBARAHello, I’m Barbara Wentworth. May Ispeak with you for a few moments?

ANGELI know who you are.

looks around to see if Barbara is aloneWhat do you want?

BARBARAIt’s not something to discuss outhere. May I come in?

ANGEL

looks again at hallOK, I guess, but make it quick. Ihave to leave soon.

166 INT. APARTMENT FRONT ROOM -DUSK

Barbara enters. Checks out room. Pulls up a straight chairby the door and gestures Angel to sit. Angel looksperplexed. Takes off her coat, lays it on the sofa and sitsnext to it.

BARBARAThis is awkward, but I’ll make itas direct as I can ... I was at St.Augustine’s on Sunday. I was tapingthe mass for a project ... I wasleaving when I saw you at the backof the church. I saw you go tospeak to Father Dominic.


70/105

69.

ANGEL

Fidgets, looks away - starts to get up - stares at BarbaraWhat do you want!

BARBARAI heard your conversation. I’m here

to help you.

ANGEL

standsI don’t need your help. You betterleave!

BARBARAThere is something else. The reasonI stayed behind.

gestures toward Angel’s coat

ANGEL

sitsWhat are you talking about?

BARBARAThat pin on your coat. It’s verydistinctive. I’ve never seenanother one like it.

ANGEL

pissedThis is about you liking myjewelery!

BARBARANo - Sorry, you misunderstood. Thatpin is from a famous collection. Itwas stolen.

ANGELWhat are you saying?

BARBARAI followed you at church because ofthe pin. My overhearing yourconversation was an accident.

ANGELSo what does a TV news reporterhave to do with any on this?


71/105

70.

BARBARAMy story on the family clinic justgot very interesting when I learnedthat the priest leading thePro-life movement has a mistressand is pressing her to abort hischild.

ANGEL

standingI should never have let you in.Please leave.

BARBARAUnfortunately the pin on yourcollar ties you to a crime. So I’mnot done yet.

Angel sits down again - defeated.

BARBARA (cont’d)Tell me about the pin.

ANGELI can’t do that.

BARBARAIt’s from Frank isn’t it?

ANGEL

She tears up - stands again - goes to window.Damn! Damn! I should have known!Ever since our parents died, hecan’t stay out of trouble.

BARBARAFrank is your brother?

ANGELFrankie is three years younger.I’ve been taking care of him sinceI was fourteen... Guess I haven’tdone a very good job.

BARBARAWhere is he now?

ANGELI guess he’s driving his cab. hishours are very irregular, so Inever know.


72/105

71.

BARBARAHere’s what I have in mind. I wantto expose Father Dominic for hisduplicity. If Frank is not in toodeep, I have connections in thepolice that could go light on him.

ANGELSo you want me to inform on mylover to save my brother?

BARBARAIf I’m right about Frank, he may beOK. But if he’s done more than afew burglaries he might be in realtrouble.

ANGELAnd what about Nick, I meanDominic?

BARBARAHe’s on his own. He’s beentransferred before for hismisdeeds. Mostly I’m interested inthe big picture. He’s just part ofthe story.

ANGELSo what do you want from me?

BARBARAYou don’t have to be identified oncamera. Just answer questions aboutyour relationship with Dominic.

ANGELI don’t know about this!

BARBARA

pulls out the turned on recorderI’d like to convince you tocooperate.

ANGELYou bitch!

BARBARATake it easy. I only want to getthe story out and you are a keyelement.


73/105

72.

ANGELWhat about Frankie?

BARBARATalk to him. Find out what he’sdone, and I’ll do my best to makeit easy on him.

ANGELWhy should I trust you?

BARBARA’Cause you need me, and I need you.

Stands and goes to the doorTalk to Frank and get back to me.

hands her a cardAnd make it quick.

167 EXT. SUBURBS - NIGHT

Frankie is helping an older lady out of the cab, takes hersuitcase and walks with her and her husband up to the door.

FRANKIEThanks folks

puts tip in his pocketHave a good evening.

As he walks back to his cab he gets a text message."need to c u - come to truckstop

FRANKIE (cont’d)"Later - 10 OK?"

Gets in cab picks up radio hand-set and drives off.

168 EXT. TRUCK STOP - NIGHT

Clock on gas station says 10:40. Frank pulls up to therestaurant in his taxi.


Angel is wiping counter and checks her watch. Two customersat far counter. Her hair is a mess. She is upset.

Frankie walks in.


74/105

73.

ANGELWhere have you been - you said 10o’clock!

FRANKIEWhoa! Take it easy. I’m here.

What’s the big deal!

ANGEL

calls to cookEddie, watch the counter please. Igotta step out for a minute.

Takes Frankie by the arm and leads him outside.

170 EXT. RESTAURANT - NIGHT - IT’S COLD

ANGELI thought you were staying out oftrouble!

FRANKIEWhat do you mean?

ANGEL

reaches in her pocket and pulls out the angel pinWhere’d you get this?

FRANKIE

startledI...I got it from a guy.

ANGELFrankie! I need to know the truth.You can’t lie to me!

She pulls her arms around herself - (it’s cold outside)

FRANKIE

He tries to put his arms around her, she shakes him off.I got it from Eduardo.

ANGELJesus, Frankie didn’t you figure itwas stolen - why would Eduardo havesomething like this?


75/105

74.

FRANKIEHow do you know it was stolen?

171 EXT. OVERVIEW OF TRUCK-STOP/RESTAURANT PARKING LOT - NIGHT

The wind blows the trees as they argue. Angel gesturestoward Frankie to go away. She goes back in restaurant. Hestands for a minute and gets in his taxi and drives off.


Angel is picking up dishes from a trucker who has finishedeating.

ANGELHey, Tony, don’t stay away so long.Have a safe trip.

TONYMaybe I’ll see ya when I get backfrom Cincinnati.

Angel wipes down counter and puts dishes away. Arrangesnapkins.

Door opens again. She looks over. Nick/Dominic is standingin doorway.

ANGEL

to the kitchenI’m stepping out again, Eddie.

173 EXT. PARKING LOT - NIGHT

They walk toward his car.

NICKI needed to see you.

ANGEL

tearing upWell here I am.

NICKIt’s too cold - here get in.


76/105

75.


NICKDo you need help?

ANGEL

puzzledHelp? What do you mean?

NICKYou know, to get rid of it.

ANGELIt! It! What kind of a monster areyou?

NICKI just need to be sure no oneknows....

ANGELNo one knows that a respected "manof the cloth" is a hypocritical,philandering, son-of-a- bitch!

Nick turns away. Lights a cigarette.

NICKI have to maintain the rightappearances. A baby doesn’t fit inthe picture.

ANGELYou bastard!

NICK

thinks it’s funnyWell, yes. But we don’t wantanother one do we.

ANGELHow can you conduct yourself inchurch or even show your face atthe protests feeling like that?

NICKFeeling?

Self-preservation is my onlyconcern.


77/105

76.

ANGELWell, self-preserve this youson-of-a-bitch. The news-lady thatcame to the church overheard ourlittle tale and is ready to exposeyou.

NICKHow do you know?

ANGELShe came to me - it’s all over foryou.

NICKWe’ll see about that.

Starts his car and motions for her to leave.


Angel exits car. He drives off. She stands until he is outof sight.

176 INT. TV CREW TRUCK

BARBARA

She is pulling together equipment.I’ll arrange the camera and lightmyself. I promised complete privacyfor this interview. I’ll call whenI’m done and you can bring thetruck back to pick me up. OK?

LUCYThe union would bust me for this ifit got around. As far as I’mconcerned you took the stuffwithout my knowledge.

177 EXT. OUTSIDE OF ANGEL’S APARTMENT - DUSK

Barbara on the stairs with the equipment. TV Truck drivesoff.


78/105


79/105

78.

BARBARA(VO)And after that first night?

ANGEL(VO)He seemed to be around more andmore. Then he met me in the city.He arranged a private dining room

at the Hyatt. No one ever gave methat kind attention before. Itrusted him. He seemed to reallycare for me. He also had power overme. We did things I had neverexperienced before.

Hotel rendezvous, dinner, bedroom, varied scenes of passion.

BARBARAYou enjoyed the excitement?

ANGELAnd the glamor. He was verysecretive about his work. He toldme the government kept the motelroom as a remote office. It becameroutine to see him there as well.Our time together was intense.

BARBARAWhat happened to change thatrelationship?

ANGELHe broke it off suddenly. Said hehad to leave the country. Nevercame back to the motel or called meagain.

BARBARAThat was it?

ANGELI was devastated at first. I hadnot told him I was pregnant. I wasafraid he might reject me if I did.I resolved to keep the baby.

BARBARAAnd then you saw him in myinterview?

ANGELI couldn’t believe it at first. Ihad to go and see for myself at thechurch.


80/105

79.

What was "Nick"/Father Domonic’sreaction?

ANGEL (cont’d)He said he wanted me to have anabortion. That was out of thequestion for me, but he insisted I

do it. He was afraid of thepublicity if it got out. Hecouldn’t accept the idea of being aparent.

BARBARASo is there any doubt that FatherDominic Gregor of St. Augustine isresponsible for your pregnancy?

ANGELAre you insinuating I sleep around?...No, He is the one. I haven’tbeen with anyone else for over ayear.

BARBARAAnd even though he has been aspokesman for the Pro-life movementhe has insisted that you abort thebaby?

ANGELYes. He acted so differently asNick. Then he was charming andexciting. As Domonic he is cold anduncaring. After I confronted him atthe church, he came to my job atthe diner and made it very clearthat he wanted me to abort thebaby.

BARBARAHave you seen him since? What areyou planning to do?

ANGELNo, and I don’t want to see him. I

believe that abortion is immoraland I will have the baby, Godwilling.

BARBARA

Shuts off camera and stands.That should do it. As for thestolen jewelry if Frank will talk

(MORE)


81/105

80.

BARBARA (cont’d)to my friend and come clean abouthis crimes I’ll try to worksomething out.

ANGEL

Frankie left his phone here tonightand I have to go to work now soI’ll talk to him as soon as I can.Please do help him. I’m so mixed upwith all of this I’m going crazy.

Barbara packs up camera and light and leaves.

180 EXT. RESTAURANT PARKING LOT - NIGHT

Semi is pulling out. A pickup truck is by restaurant.Time/Temp says 10:22


Farmer is finishing up his meal. Angel is putting away thelast diners dishes. Looks frazzled. Drops dish. It breaks.

ANGEL(tears in her eyes)

Eddie, can you hang in there ’tilAmanda gets here? I gotta get outtahere.

EDDIEOK. Honey - I can handle it if youneed to go. Anything else I can dofor you?

ANGELThanks Eddie, I just have to get myhead together.


Angel goes to her car.

183 INT. CAR IN LOT - NIGHT

Angel on her phone.


82/105

81.

ANGELGwen, Gwen. Can I come see you? ...yeah, tonight. I know it’s crazyand it’s late but I need to talkthings out before I go nuts...yeah,about 30-35 minutes. Thanks. I’ll

see you soon.

184 INT. GWEN’S APT. - NIGHT

Gwen on the phone. She is in bed, holding a sheet as shelays down the phone.

FRANK (V.O.)What’s up?

GWEN

Looks over at Frank lying next to her.It’s your sister. She’s on her wayhere.

FRANKIEI think I’d better go.

GWENYa think!

185 EXT. GWEN’S APT. RAINY - NIGHT

Angel pulls up.

186 INT. HALLWAY

Gwen opens door lets Angel in.

187 INT. APT.

Angel is in tears. Grabs Gwen

ANGELGod! My life is such a mess! Helpme think things through. Please.

GWENSure, sure Honey. Come over here.Sit.


83/105

82.

188 EXT. BUILDING - RAINING - NIGHT

SFX night sounds

189 INT. KITCHEN - NIGHT

Angel and Gwen at the table with tea pot and cups.

GWENI care about you. Nick can go tohell. He deserves whatever iscoming to him. So thisnews-Wentworth-gal has informationabout Frank that she is threateningyou with?

ANGELJust that she knows the pin isstolen and I got it from Frankie.

GWENWhat does Frank say?

ANGELHe says he got it from that idiotEduardo.

GWENYou believe him don’t you?

ANGELI don’t know what to believe.

GWENWell, you should believe him. Ihave a confession to make. Frankwas here when you called tonight.

ANGELWHAT?

GWENI’ve been wanting to tell to you.But your life was complicated

enough. We’ve been seeing eachother for a while.

ANGELYou and Frankie?

Angel hits Gwen’s shoulder with a gentle punch.You should have told me.

Moment of Innocence 02-10-2015.pdf

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