Primary Evidence
 
FADE IN:
EXT. MANHATTAN STREET - HIGH ANGLE - NIGHT
The East Village -- a part of New York's Lower East Side.
At this hour the streets are almost empty. It's unusually
chilly for early autumn and steam rises from the occasional
manhole cover. There is a faint flicker from a neon sign in
the distance.
WE MOVE IN toward a tenement building, completely dark
except for a single lighted window. CLOSER on the lighted
window. WE CAN SEE a MAN in blue jeans cross the room, switch
on a television set and flop down in a bed.
INT. TENEMENT APARTMENT - NIGHT
The opposite of clean and neat. Boxes piled high, a generally
disheveled atmosphere. On the walls, movie size posters of
Jack Webb, Frank Lovejoy, Eddie Constantine.
The man in blue jeans, ALEX RADA, is watching ETouch of EvilR
on television. (It is the scene in which Orson Welles wanders
into a seedy Mexican bordello run by Marlene Dietrich).
Rada fluffs up a pillow, tosses it behind his head and watches
the action on screen.
CLOSE ON THE TELEVISION SCREEN
WELLES
"Have you forgotten your old friend?"
DIETRICH
"I told you we're closed."
WELLES
"I'm Hank Quinlin."
DIETRICH
"...I didn't recognize you. You should
lay off those candy bars."
WELLES
"It's either the candy or the hootch.
I must say I wish it was your chili I
was getting fat on. Anyway, you're
sure looking good."
Dietrich stares, a cigarette dangling from her lips.
DIETRICH
"...You're a mess, honey."
On this, Rada MOVES INTO FRAME, switches off the TV.
ANOTHER ANGLE
By the night table -- Rada reaches for a wrinkled newspaper.
He sits precariously on the edge of the bed, the paper resting
on his legs as he gazes off at nothing in particular.
Holding up the newspaper now, hands outstretched trying to read
it. He's obviously having trouble focusing -- a man in need
of glasses. A few more moments. Squinting. He tosses it aside.
We now see Alex close up for the first time. He is sandy-haired,
rudely handsome, still young -- but it is youth tempered by a kind
of battered dignity.
INT. KITCHEN
Light from the bedroom filters in to illuminate the room. Alex
moves toward the refrigerator, opens it. Very little inside.
We are struck by the freezer, it approximates the Antarctic ice
pack. There is something in there all right, but the caked ice
won't not relinquish it. His foot braced against the bottom
of the refrigerator for leverage, he yanks and tugs at some
frozen thing. Can't dislodge it. Finally gives up.
Moving around the kitchen. Alex trips over something large
and pliable. We HEAR a GROAN.
ALEX
Shit, Victor, are you still here?
INT. LYNCH HEADQUARTERS - GRAND HYATT HOTEL BALLROOM - NIGHT
Balloons. Lots of NOISE. A political rally is in progress.
On the platform, a woman in her mid fourties acknowledges the
CHEERS of the CROWD. She wears a well-tailored outfit and
a politician's smile. This is DELANEY LYNCH, the new senatorial
candidate of the New York State Democratic party.
She moves to the podium. Tremendous enthusiasm. The band
strikes up Happy Days are Here Again.
DELANEY
(looking around, milking it
for all it's worth)
Well...it's been a long night...and
a tough primary...but we've finally
made it.
A ROAR from the crowd.
ANOTHER ANGLE - BEHIND THE PODIUM
Delaney Lynch's inner circle: PAT CADELL, DAVID GARTH
types. Also some acolytes. Hangers on. They are beaming,
applauding fervently. We move through this group, HOLD on
FRANK WILLIS, press spokesman for Delaney Lynch. He looks
tired, but we're not sure if it's from the long night or the
tough living.
ANGLE ADJUSTS TO INCLUDE PROFESSOR KATHARINE RAINES. She is
standing next to Frank Willis and they exchange a knowing wink,
a savvy nod. Katharine is a good ten years younger than the rest
of Delaney Lynch's set. Her look and manner, like her academic
credentials, are impeccable.
THE CROWD
as though it were New Year's Eve.
DELANEY LYNCH
steps back and brings her husband ALFRED to the podium. At
fifty-five he is a Wall Street don, and a power in this city.
She kisses him. They wave to the crowd. Delaney raises
Alfred's arms above his head in a gesture of triumph, almost
as though he, too, were on the ticket.
FRANK WILLIS AND KATHARINE RAINES
Frank leans in toward Katharine, slips her a piece of paper.
(Throughout the remainder of the scene, Delaney Lynch's
speech will OVERLAP and play UNDER Frank and Katharine's dialog)
KATHARINE
This is all the way downtown.
FRANK
(not looking at Katharine,
but to the podium)
Would you rather I do it?
DELANEY LYNCH (V.O.)
(measured cadence)
Let us bring together this party...
(more cheers)
...to face the challenge before us.
(beat)
We intend to run hard, to fight hard --
and when we're elected -- to work
hard for the people of the State of
New York---
KATHARINE
(above the din)
No. I'd better go.
DELANEY LYNCH (V.O.)
---We seek freedom, but not at the
expense of responsibility. We seek
fairness, but not at the expense of
justice...We seek peace, but not
at the expense of diligence---
KATHARINE
Frank, are you sure?
FRANK
He can find her, Katie. But, do me a
favor, don't ask me if I'm sure..of
anything.
DELANEY LYNCH (V.O.)
---And when we sit in the Senate of the
United States...this time, this time,
It - Will - Not - Be - Politics as usual.
CHEERS.
KATHARINE
Cynic 'til the end, Frank.
EXT. GRAND HYATT HOTEL ENTRANCE - NIGHT
A limousine pulls up to the curb followed by two black rental
cars. The Lynch's chauffeur, JIMMY DOYLE, steps out of the
limo, positions himself by the car's back door. He is in full
livery, standing stiffly, cap under one arm. With his close
cropped blond hair and boyish face, he gives the appearance of
a Wermacht conscript.
Delaney, Alfred, and their entourage emerge from the hotel.
Although we cannot hear what they are saying above the
GENERAL CLAMOR, Delaney and Katharine Raines are deeply involved
in conversation. Delaney's arm is wrapped around Katharine's
shoulder; Katharine is poking the air with her finger to make
a point.
Delaney pauses as a FEW PHOTOGRAPHERS approach. She flashes
a smile and the 'okay sign' for the early edition.
FREEZE AND FADE OUT:
FADE UP - CLOSE ON TWO ROWS OF BUTTONS ON A PANEL
A hand moves in and presses one. We HEAR the slow WHIRRING
of an old elevator.
PULL BACK TO REVEAL
Katharine Raines, head tilted slightly upward in the direction
of her ascent.
CUT AHEAD TO:
THE END OF A HALLWAY
Katharine reaches a door, pulls out a set of keys, unlocks it.
INT. APARTMENT - DAY
The mid morning sun slices beams of light through gaps in the
curtains.
There is no sound as Katharine moves about on a carpet.
She is obviously looking for something.
.* sun and no sound give a surreal feeling
INT. BEDROOM
She looks under the bed. By the dresser. Night stand. Finds
nothing. She half looks into the bathroom- not much chance there.
INT. LIVING ROOM
Checks around again. She moves off into the kitchen, but we
stay in this room in LONG SHOT, getting a sense of the
place-- well kept, almost prim.
Katharine comes back into the room, moves toward the door, stops,
one more look over her shoulder. She exits.
EXT. EAST VILLAGE STREET - DAY
TRAVELLING
with Katharine as she checks a piece of paper, looks to the
numbers on storefronts and doorways. She stops at an old
tenement, the ground floor occupied by the offices of 'THE
UKRAINIAN FREEDOM PARTY.' To the right of this faded sign,
an entrance way leading up a flight of stairs.
Katharine hesitates, taking it all in. Again looks to the
piece of paper with the address.
INT. VELESHKA COFFEE SHOP - DAY
Older immigrants. Artists. Downtown types. The Veleshka is a
gathering place for an eclectic clientele -- a popular, old style
eatery complete with a fountain and newspapers sold inside.
Alex Rada is at one of the tables wolfing down breakfast.
Through the window, we can see Katharine across the street.
She turns to CAMERA, then moves toward the tenement and
through the entrance.
A broad faced Slavic looking WAITRESS trudges over to
Alex's table.
WAITRESS/LESIA
Good, Alex?
ALEX
(still eating)
Like always, Lesia. Home cooking.
LESIA
Yeah, yeah, home cooking. Alex,
we make some stuffed cabbage.
I put some in a bag for you, okay
Alex?
ALEX
Fine.
She wipes down the table. At the cash register, FATHER STEFANYK,
an Orthodox priest, buys the Ukrainian paper, Svoboda. He
strokes his grayish beard and slowly wags his finger at Alex.
Alex smiles, Lesia turns around.
LESIA
Alex, you see in the paper? They say
a riot in Kharkiv.
ALEX
Can't read Ukrainian like I used to.
(an afterthought)
Don't you think the print in those
papers is kind of small?
LESIA
Shouldn't lose touch with the homeland,
Alex. Maybe comes a revolution.
ALEX
Cavalry charge by the Hetman, Lesia.
INT. TENEMENT BUILDING - DAY
Katharine is at an apartment door. A badly stenciled sign
in black spray paint reads, 'RADA INVESTIGATIONS.'
She RINGS the BELL. No answer. Again. Nothing. Slowly
she turns the knob and pushes the door open.
INT. ALEX RADA'S APARTMENT
Katharine is in the living room now, although it aspires to
be an office of sorts. It's as mangy as in the beginning
scenes-- Men's close and general EstuffR are scattered about.
KATHARINE
Hello...Mr. Rada?
Sees another door, walks cautiously toward it.
KATHARINE
Hello?
THE DOOR
it swings open.
A FACE
A grubby, bedraggled face of a man is behind it.
KATHARINE
startled, frightened-- she backs up, loses her balance and
half falls on to a desk.
THE MAN
he inches forward. He wears a tattered sweatshirt with the
words 'Thank You Paine Webber' emblazoned on it.
Katharine is frozen for a moment, but just a for a moment. She
holds her arm up to her face protectively, raises her leg as if
to kick out.
We HEAR FOOTSTEPS on the stairs. Alex saunters through the
door holding a brown paper bag in one hand. He looks to
Katharine, then to this raggedy man.
The man (VIC D'AMATO) waves at Alex.
VICTOR
(an ear to ear
toothless grin)
Hello, Alex!
Alex walks past Katharine as though she weren't there. He hands
Victor the brown bag.
ALEX
From the Veleshka. Stuffed cabbage.
Victor opens the bag, sniffs inside.
VICTOR
Thanks, Alex.
Alex pats him gently on the back, turns to Katharine:
ALEX
And who might you be?
Still a bit stunned, she gawks at these two for a beat.
Composes herself. Then, as if to restore her dignity:
KATHARINE
Doctor Katharine Raines.
She brushes herself off.
ALEX
(extending his hand)
Alex Rada. Sorry about Victor.
Got no place to go, really. He's
a good guy, so I let him stay
when he needs to.
Victor is now sprawled on the couch, making a horrible mess
of the stuffed cabbage with his fingers.
ALEX (cont'd.)
(to Victor, almost a yell)
You're a good guy, aren't ya Victor?
VICTOR
Yeah, Alex.
Katharine sits, takes out a cigarette, lights it.
KATHARINE
(without looking up)
Tell him not to drip.
Alex takes the hint, sits behind the desk across from Katharine.
ALEX
Victor, why don't you take that into
the kitchen?
Victor obliges.
ALEX (cont'd.)
(to Katharine)
He fought Carmen Basilio once, got
knocked out in the twelfth.
(a beat, she's clearly
not interested)
Is this a house call, Doctor?
KATHARINE
(a bit sheepishly)
Actually, my doctorate's in Political
Science.
(a pull from the cigarette)
There was no message on your answering
machine so I...I'd like to hire you,
Mr. Rada.
ALEX
...For?
KATHARINE
I'd like you to find someone.
A student. My graduate assistant.
ALEX
Okay...what's your interest? How
about her parents?
KATHARINE
She has no relatives that I know of.
Just some friends at N.Y.U., that's where
I teach. They're worried about her.
(a beat)
She was special, Mr. Rada, and I'd like
to help. I just want to know what happened
to her, I feel responsible
Alex is studying her, realizing how beautiful she is. He takes
a pencil, drums it the on desk-- he's not quite sure he's
buying all this. A moment of silence.
ALEX
I've been meaning to get it fixed...
the answering machine. Tried the police?
KATHARINE
Yes. She's not in any of the hospitals
or the morgue. The party line is that
anyone over twenty-one can pack up
and leave, and they can't do anything.
But she didn't.
Alex still drumming with the pencil.
KATHARINE (cont'd.)
She liked to hang around the clubs,
and bars down here.
(a smack of sarcasm)
Your bailiwick, I understand.
ALEX
You said, she EwasR special. Was?
KATHARINE
(beat)
No one's seen her for almost a week,
Mr. Rada
Alex stops drumming, tosses the pencil aside.
ALEX
Okay, I get $350 a day plus any
expenses. If there are any...
Katharine, stubs out her cigarette, surveys the 'office',
looks to Rada skeptically. It's Alex's turn to be embarrassed.
ALEX
All right, how about three hundred?
(Katharine, still staring)
Okay, we're having a sale, it's
Ukrainian Flower Day...two fifty.
KATHARINE
(slight nod of agreement)
Just for the record, Mr. Rada, I can
afford a great deal more than I'm paying
you. But I don't like cost overruns.
ALEX
Fine, as long as...uh...we
understand each other.
EXT. WASHINGTON SQUARE PARK - DAY
TRAVELLING
with Alex and AMY SALOMON, a young woman in her early twenties.
Amy walks with her hands folded, a concerned expression.
In b.g. we can see the buildings of New York University.
AMY
Well, she isn't around very much.
ALEX
She stayed out late? Liked to party?
AMY
Sure. But I mean I practically have
the room to myself. I see her maybe
once or twice a week.
ALEX
Where do you think she goes?
AMY
(shrugs)
I don't know, Sue is...you know,
private.
ALEX
How about her friends?
AMY
She mentioned some guys, brought
one up once. Brian, I think.
(a sensual smile)
Primo cute.
ALEX
How cute?
AMY
About as cute as you. Shorter though,
maybe 5-10. Dark hair, blue eyes --
nicer than yours.
ALEX
(straight ahead)
I'll need a picture of Susan. And
I'd like to take a look around if
it's okay?
INT. DORM ROOM - N.Y.U. RESIDENCE HALL - DAY
Alex is rummaging around, opening a closet, picking through
some paint brushes on a dresser, etc.
AMY (V.O)
I think I have a yearbook somewhere.
Is that okay?
ALEX
Yeah, fine. No parents? Relatives?
Amy strides into view with the yearbook. Rips out a page,
hands it to Alex.
AMY
An aunt and uncle on Long Island,
they brought her up.
Alex is surprised, both by her answer and the act of ripping the
page. Amy notices.
AMY
(smiling, perhaps a
bit too seductively)
That's okay, I don't need it.
She moves to Alex, presses up against him as she points out a
photo in the yearbook.
INSERT PHOTO
of a delicate, strikingly beautiful woman. Under the photo,
the name 'SUSAN D. BLAKE.'
BACK TO SCENE
ALEX
Do you know where on Long Island, Amy?
Alex moves to a rolled up poster by the wall.
AMY
No, I sure don't. She called them
a couple of times, but I don't know
the town.
He unrolls it, takes a long look. It's a poster of Che,
the standard-- showing Gueverra in beret and bandellero.
ALEX
The two of you discuss politics?
She talk much about the Reds?
He re-rolls it, props it back up against the wall.
AMY
(incredulous)
Sorry? Reds!?
This reaction is not all together new to Alex. He responds
almost wearily.
ALEX
Yeah. Reds. You know, the guys who
want to suck up your individuality.
Turn you into Robbie the robot for
the State...Reds.
Amy's mouth agape. She can't believe what she's just heard.
Really made a mistake with this guy.
AMY
(a distinctly different
tone)
The poster's mine. Sue isn't
into politics much.
ALEX
So what she doing in Political
Science?
AMY
Sue isn't in Poli Sci, she's
in the Art School.
ALEX
(not sure he's
understood her)
Wait...you mean she's not Doctor
Raines' graduate assistant?
AMY
No. She helped Professor Raines
with some project or something, I
know that. Maybe she took a media
course with her.
For a moment they stare, not knowing what to make of one
another. Finally:
AMY
Look, I've got class in a little
while, okay?
EXT. STREET - DAY
SHOOTING ACROSS a busy street, WE SEE Alex emerge from a
TOBACCO SHOP. He heads toward a building up the block.
INT. HALLWAY - ADMINISTRATION BUILDING - DAY
A sign on the wall reads, 'REGISTRAR'. Alex walks through
a set of doors next to the sign and WE FOLLOW Alex into--
THE RECEPTION AREA
A large room with a long counter at one end. Some STUDENTS
mill about. An open area behind with A FEW CLERKS at
computer screens.
An older WOMAN is at the counter, a pair of glasses attached
to a black elastic band hangs from her neck.
Alex pulls a pipe from his pocket, sidles up to the counter,
smiles his most ingratiated smile.
ALEX
Excuse me, I wonder if you could help.
I need the home address of one my
students.
WOMAN
And you are...?
ALEX
Professor Raines. Poli Sci.
The woman pushes away a small microphone attached to a flexible
stand, begins pecking away at the terminal in front of her.
WOMAN
(not looking up)
Professor, you'll have to go to your
own department for that.
Sliding on her glasses, she reads something off the terminal.
A slight smirk.
ALEX
Our computer's down. Secretary's at
lunch...and it's sort of an emergency.
She looks to Alex, then to the screen. Wholesale skepticism.
Alex pushes the smile. Reluctantly she acquiesces.
WOMAN
Student's name?
ALEX
Blake, Susan D.
She types it in, waits.
WOMAN
There is no home address. There's
a contact. A Mr. Harry Della Famina---
ALEX
Just a second.
Alex lays the pipe down, takes a pen from the counter and
begins to write.
WOMAN
Ready professor?...Mr. Harry Della
Famina, 1643 Derby Drive, Plainview,
Long Island...516-KL5-1950.
(looking up)
Okay?
ALEX
Yes, well thanks very much. You've
been a great help.
WOMAN
(an aside)
I'll bet.
ALEX
as he moves toward the double doors.
ANGLE ON WOMAN
She looks to Alex, to the computer screen, to Alex again. Reaches
for the microphone.
ANGLE FAVORING THE EXIT DOORS
The woman's VOICE over the LOUDSPEAKER:
(V.O.)
Professor EKatharineR Raines, will you
please pick up your pipe at the
registrar's desk.
Alex MOVES INTO FRAME. Stops for just a beat, then exits,
closing the door behind him. HOLD ON DOOR.
SHOCK CUT TO:
A DARK SCREEN - WE HEAR THE GUNNING OF AN ENGINE
A car emerges from the depths of a garage. As CAMERA PULLS
BACK we can see a 'Hertz Rental' sign and the car turning
onto a city street. Alex is driving.
CUT AHEAD TO:
EXT. THE LONG ISLAND EXPRESSWAY - DAY
Alex's rental moving along. Not too much traffic.
CUT AHEAD TO:
THE EXPRESSWAY- FARTHER ON
The car moves past a sign reading: 'Plainview - Exit 2 Miles.'
INT. CAR
Alex is listening to the RADIO-- the tail of a campaign ad
for PETER VERESS, Delaney Lynch's opponent in the Senate
race. He pushes the buttons, gets some fusion jazz
(maybe Oingo Boingo) -- this is more to his liking.
About a mile down the road we can see an overpass. We HEAR
what sounds like a faint RUSH OF WIND. Then, a SUDDEN CRUNCH
as another car careens into the rental car's side.
For a moment, Alex freezes, not realizing what has happened.
He glances to the side, sees the other car move ahead.
ALEX
What the fuck...?
He holds tight to the wheel, trying to control the car.
On the shoulder now, and very quickly the concrete of the
overpass rushes up to meet him. The SOUND of BRAKES against
the gravel.
ALEX'S CAR
it SMASHES into the abutment.
Front lights smashed in, the hood bent damaged. WE HOLD.
Alex emerges, dazed, but okay. He looks down the highway.
The other car has pulled over. Alex squints at it.
ALEX'S POV
the other car in the distance. He can't quite make its detail,
never mind the plate-- just some kind of black vehicle to him.
It abruptly takes off again down the highway.
ALEX'S RUMPLED CAR
He surveys the damage to the rental, peeks down the highway
for one more look. He's not sure what to make of this.
Alex moves to touch the car, runs his hand over hood. He turns
toward the road, then again to the car, his hands now on his
hips. Confusion.
ALEX
I knew I should've gotten collision.
Slowly he gets back into the car, SLAMS the door.
EXT. SUBURBAN STREET - DAY
Alex's rumpled rental moves down the block. It stops in front
of a house which looks almost identical to the others on this
street.
INT. DELLA FAMINA LIVING ROOM - DAY
Alex is speaking with a ROBERTA DELLA FAMINA, a slim,
self-conscious woman in her early fifties. she doesn't
make eye contact easily.
ROBERTA
My husband's out on the patio. Won't
you come this way?
Alex follows her through the living room and into the kitchen.
Roberta reaches for a small towel, wipes her hands before
ushering Alex to a rear screen door. She opens it for him,
but stays inside.
EXT. PATIO
HARRY DELLA FAMINA sits on one of those aluminum framed chairs
held together by thick strands of woven vinyl. His leg is
outsretched and raised up on a squared stool. He is a man
who once must have been tough-- now he is old beyond his
years, a distinctive yellow pallor to his face.
Della Famina is playing solitaire on a large outdoor table...
and cheating at it. Next to him, a bottle of scotch and two
glasses. He looks up as Alex steps out on the patio.
DELLA FAMINA
...I was a little surprised to get
your call, Mr. Rada. Susan again.
Alex moves to shake his hand. Instead Della Famina pours himself
a scotch.
DELLA FAMINA
You'll forgive me if I don't get up --
phlebitis...that's not the half of it,
either. Scotch?
ALEX
No thanks. I'm trying to keep my
car on the road.
Alex looks around at the back yard, the separate garage
behind-- pleasant middle class surroundings. He sits in
an aluminum chair opposite Della Famina.
ALEX
Nice place you've got.
Della Famina reads Alex's face for a hint of sarcasm. Can't
find any, but supplies plenty of his own.
DELLA FAMINA
You like it, Mr. Rada? Built up
from nothing. Outdoor patio,
mid-size Ford in the garage...
plastic swimming pool in the summer...
Now, how can you beat that, Mr. Rada --
the American Dream.
He takes in Alex's discomfort, almost relishes it.
DELLA FAMINA (cont'd)
...But you've come about Susan, haven't
you?
ALEX
Uh huh. You knew she was missing?
DELLA FAMINA
Missing? Not likely. Run off
with some bum maybe.
ALEX
Is she's your niece, Mr. Della Famina?
DELLA FAMINA
My sister's girl. She and her husband
died in --------, remember that?
(a moment in thought)
...He was a fuckin' prick anyway.
Della Famina sets the solitaire deck aside.
DELLA FAMINA (cont'd.)
Hope you're getting paid well for this.
You're wasting your time. The girl's
always been trouble.
(leaning in toward Alex)
...Once, I caught her in the garage,
putting on a show for the local boys,
playing with it, too...Know how old
she was?...Eleven.
Alex doesn't want to hear this, doesn't like this man.
ALEX
(pressing on)
Mr. Della Famina, has she been around
lately? Know any of her boyfriends?
Maybe, where they live?
Della Famina downs some scotch, looks to the kitchen.
DELLA FAMINA
Roberta!
(to Alex)
She doesn't come around. Can't stand her
uncle.
Roberta comes from the kitchen with a tray of cheese and
crackers, each neatly topped with a piece of pimento. She
places it on the table. Della Famina is waiting for her
to leave.
ALEX
(takes one; looks
to Roberta)
Thanks, Mrs. Della Famina.
A tight smile from Roberta. She exits.
DELLA FAMINA
I took good care of Susan, you know.
My brother wouldn't take her in.
Too busy with his catalog sales--
product fulfillment, they call it...
Took his company public last year.
Doesn't give a flying piss about me,
though.
(checks himself; empties
the glass of scotch)
...Always flaunting it. She had no
gratitude. Gave her everything, and
wasn't getting it much in return. I
was like a real father to her.
(beat)
A father has rights, Mr. Rada.
Alex bristles at this remark.
ALEX
I bet it must be tough...being
a father. Beautiful daughter
like that, all those healthy young
men around.
(looking to Della
Famina's leg)
I could see how she'd give you trouble
after a while.
DELLA FAMINA
(an involuntary shudder)
What the EfuckR is that supposed to mean?
ALEX
Hey, take it in the spirit it was given.
Alex stands, grabs another one of the pimento things. Starts
toward the kitchen.
ALEX
Don't bother to get up.
INT. LIVING ROOM
Alex is walking to the front door. As he reaches it,
Roberta appears.
ROBERTA
Mr. Rada...?
Alex turns around
ALEX
Yes, Mrs. Della Famina?
ROBERTA
She used to call me here. If he
got on the phone, she would hang up.
Susan's a wonderful, sensitive person.
Naive in a lot of ways.
(beat)
I don't know why he goes on like that.
in b.g we can make out Della Famina calling out
for Roberta.
ALEX
(soothing)
Do you know where she is?
ROBERTA
No. She left a telephone number...
in case of emergencies. I'll get it
for you.
HOLD ON Alex. He really feels for this woman.
INT. EAST VILLAGE BAR - THE ZIG ZAG - AFTERNOON
Like most of the neighborhood, the Zig Zag bar is changing--
a thin veneer of gentrification covers the seediness.
Hamburgers on English muffins, nine ball at the pool table.
Alex is planted on a stool, waxing philosophic with MAX, one
of the locals.
STASH, the bartender, sports an earring and military beret.
He pours cheap vodka into a shot glass. Alex downs it;
he's already had a few.
CLOSE ON ALEX
An expression not unlike the one in the previous scene with
Roberta -- except now Alex is feeling sorry for EhimselfR.
ALEX
It's a great place.
STASH
I like New York -- you know where
you are.
ALEX
-- Nobody hears about Burma much any
more -- that's why it's so good. Okay,
maybe they got bugs there, ya know,
those kind of cockroaches that're as big
as shoes...Hey, but nothing's perfect.
ANGLE ADJUSTS
MAX
You don't need no Burma for that.
You come to my place, I'll show you
some mother roaches humpin' my sneakers.
Laughter.
ALEX
Yeah, but here's the thing, see.
(motions with his hands)
In Burma, you can be yourself...
nobody bothers you. There's nothing
to...join.
MAX
Alex, you've never even been to Burma,
what are you talkin' about?
ALEX
That's not the point, Max, is it?
I could do pretty well there on
what I get.
(beat)
...and the women, beautiful women
in Burma.
EXT. ALEX'S TENEMENT BUILDING
WE SHOOT FROM ACROSS THE STREET. Katharine Raines steps out of
the doorway of Alex's building. Hands in the pockets of her
coat, she watches people walk up and down the avenue.
A double-take. Katharine spots Victor panhandling on the
corner. She moves toward him, asks him something. Victor
points toward the neon sign of the 'Zig Zag' bar.
INT. THE ZIG ZAG BAR
Alex still holding forth.
ALEX
...what -- the last five, ten years
maybe? People are scared, but the
thing is, they don't know what they're
scared of. It's definitely something,
but nobody knows exactly what...and I'm
just not talking EhereR, I mean all
over...you know?
STASH
It's that ozone thing over the South
Pole that gets me...sucking out all
the oxygen or something ---
MAX
(overlapping)
--- No, no, the weird shit. You
know, that people say isn't true, but
really is -- That the government's
holding back on? Like aliens doing
medical experiments on people in
their spaceships.
(beat)
It all started with the Warren
Commission.
Katharine enters. She is backlit by the sunlight from the open
door. They all look toward her. She moves toward Alex.
KATHARINE
The ever popular Mr. Rada.
ALEX
Class out for the day, professor?
KATHARINE
Well, let's see -- there were several
phone calls. Then I tried what you
facetiously refer to as your office.
Mr. Rada, aren't you supposed to
be working for me?
Stash now busies himself at the bar. Max quietly sips his
drink. Party's over.
Katharine looks to her wrist to check the time. Realizes
she's not wearing a watch. She's flustered by this.
ALEX
It's three-thirty -- You in a hurry?
Look, don't you believe in taking
breaks?
KATHARINE
Breaks are fine, Mr. Rada. It's the
binges I object to.
ALEX
(past Katharine-- to
Max and Stash)
I'm telling you...Burma.
CUT AHEAD TO:
A TABLE IN THE CORNER
Katharine is studying Alex, not quite sure she's got his number.
Alex, sobering up, nurses a club soda.
ALEX
It seems to me, we've got a pretty
good deal going here. I pretend I'm
working and you pretend you're
telling me the truth.
KATHARINE
I haven't told you the truth?
ALEX
Oh, c'mon, lady, don't take me for
a complete idiot. Susan Blake's
not your assistant, she's in the
damn art school for Chris' sake.
I spent six years in the New York
City police department, I think I can
handle the mystery of the professor's
assistant -- But I tell you what; I
bet if you really looked hard you
could find somebody even stupider
than me not to find Susan Blake.
KATHARINE
I didn't realize you were so sensitive.
(hand under her chin)
Low self-esteem, Mr. Rada?
ALEX
Just cut the crap, and don't
analyze me, okay? We'll call it
a day, all right? -- I prefer cash.
(beat)
You really like living on the edge.
We HEAR the SINGING of 'Happy Birthday' from a table in the
rear.
ANOTHER ANGLE
Katharine looks up, glances over. Alex turns around.
A group of FOUR YOUNG WOMAN, perhaps tourists, eating and
celebrating a birthday.
The kitchen doors swing open. A man with fire in his eyes
rushes out waving a meat cleaver, locates the source of the
commotion. The man is clearly the COOK. He wipes the cleaver
against his stained apron, then, with a LOUD THWACK, buries it
deep in the wooden table.
COOK
(glowering ominously
at these women)
Shut -- The -- Fuck -- Up!
He leaves the cleaver embedded in the table. Spots Alex across
the room.
COOK
(cool and casual)
Hi'ya doin', Alex.
ALEX AND KATHARINE
Alex averts his eyes, brushes away an imaginary crumb from the
table. Then with a pained expression, looks up, nods in
acknowledgement.
KATHARINE
Another friend of yours?
ALEX
We were about to wrap this up, remember?
Call it three days. And I'd really
prefer cash.
Katharine tilts her head. A small, confessional smile.
KATHARINE
Look Mr. Rada, I EdoR want to find
Susan Blake and I did lie to you. I'm
sorry.
Alex chews on the ice from his club soda, deliberating over the
apology.
ALEX
Well, that's a start, anyway.
Our view of Alex and Katharine is obscured by FOUR FIGURES
MOVING ACROSS FRAME IN FOREGROUND. They appear as a blur,
but these are the four woman from the rear table. A moment
later, we HEAR a door SLAM SHUT.
ALEX
Okay. C'mon, lets go.
KATHARINE
Go? Where?
ALEX
I have to do some shopping.
KATHARINE
You're joking.
INT. KITCHEN AREA - ALEX RADA'S OFFICE/APARTEMENT - DUSK
Bags of groceries on the counter. Alex is putting away a never
ending series of canned goods on a shelf. Cans, cans, and more
cans. Katharine watches -- amused and astonished.
ALEX
(not facing her)
Look, professor, I like things simple.
No hassles. I do a little process
serving from time to time, find
a few runaways -- I get by. I'd
just like to keep it that way.
(reaches into a bag;
rummages for more cans)
Someone bashed into my Hertz one-day
special while I was running down
the relatives that you told me
Susan Blake didn't have. As far
as I'm concerned, that's not a
terrific omen.
(beat)
And it also strikes me that this job
is not hassle-free.
KATHARINE
As far as Susan having relatives, I
honestly had no idea. And the accident
with the car...well, that can't have
anything to do with me EorR Susan Blake.
Katharine reaches into one of the grocery bags, hands Alex a
couple of the cans.
KATHARINE
(stressing his first name)
Look, Alex...
(hesitates)
You know that I'm working for the
Lynch campaign?
ALEX
(sardonic)
I'm not a private detective for
nothing. I've seen your picture
with her in The Post.
KATHARINE
Susan was a wonderful artist. I brought
her to a couple of campaign functions,
asked her to do some sketches. She
KATHARINE (cont'd.)
was going to paint a few canvases that
I'd give to Delaney after the election --
as a present, for her Washington office.
It does sound kind of ridiculous now,
but I just thought it prudent that I
separate...that no matter how tangential,
your investigation shouldn't involve
the campaign. So I simply told you
she was my grad assistant.
(beat)
It wasn't that far from the truth.
Alex takes a can from her hand, shakes his head in a gesture
of resignation.
ALEX
Never play poker with a guy named
Doc, professor.
KATHARINE
Does that mean I'm forgiven?
ALEX
It means I hope I can walk away
from the table with some spare change.
INT. ALEX'S APARTMENT/OFFICE - NIGHT
Alex, screwdriver in hand, labors over his answering machine.
The cover and a few parts on his desk, he peers into the guts
of the mechanism, not really sure what he's looking at.
Presses one button. Presses another. Nothing seems to happen.
The screwdriver slips. A piece of the machine flies out.
Rolls about the floor. On hands and knees after it.
ALEX
Shi -- it!
On his desk, the phone rings. He's slightly surprised by this.
Gets up to answer.
ALEX
Alex Rada.
(pause)
Hey, Lysenko!
INTERCUT WITH:
INT. PHONE COMPANY OFFICE - DISPATCH
LYSENKO, the man on the phone, pours over some blueprints
and checks a page in a book for Alex at the same time.
LYSENKO
Got a pencil?
ALEX
You got something for me?
...yeah, hold on.
Alex cradles the phone under his chin, rummages around for
a pencil and paper.
LYSENKO
Alex, why don't you just subscribe
to the reverse directory, it'd make
my life a hell of a lot easier.
ALEX
Things are a little slow late...
(starts writing)
Yeah...yeah, I got it...An apartment
number? Okay, good...Bridging equip-
ment. Yeah, I know it's tough...I
appreciate it.
(beat)
Hey, Lyensko, what do you know about
answering machines?
(pause)
...Hello?...Hello?
INT. APARTMENT BUILDING - LOBBY - NIGHT
From the hallway decor, we can see this is not a modern
building. Alex waits a moment for the elevator. He steps
inside, presses the button for his floor-- We HEAR the
WHIRRING of an old elevator as it ascends.
INT. HALLWAY
Alex walks down the same hallway as did Katharine Raines in
the prior scene. He reaches the same doorway. Rings the
bell. Waits. No one answers.
Alex checks the hall, reaches into the his back pocket for a
set of picks. He jimmies the bottom lock. The top lock
appears tougher. He bends to have a look at it, while turn-
ing the doorknob. Surprisingly, it opens -- and Alex is
caught momentarily frozen in position. Pleased with himself,
he straightens up and enters.
INT. APARTMENT - LIVING ROOM - NIGHT
Alex switches on the light, takes in the room -- as
neat and well kept as before.
A grimace on Alex's face; he recognizes a distinct odor.
ALEX
Not hassle free at all.
He glances around looking for something. The living room is
decorated, not furnished. One wall is completely covered
with pale blue drapery -- blues and whites everywhere, a
feeling of the first frost. Alex moves cautiously toward
an archway.
INT. KITCHEN
Searches around, finds a dish towel in an overhead cabinet.
CAMERA FOLLOWS him back through the archway.
THE LIVING ROOM
as he moves tentatively toward a passage way at the opposite
end of the room. He now covers his face with the towel.
THROUGH THE PASSAGE WAY - ALEX'S POV
slowly toward another room. This hallway is dark, but there is
light ahead.
THE BEDROOM
Still moving with him now.
THE WALLS OF THIS ROOM ARE SPLATTERED WITH BLOOD
Alex (CAMERA) lowers his eyes to the bed, approaches it.
Flecks of blood on that too. It blocks our view of what lies
beyond. All we can see protruding past the bed is AN ARM,
the carpet next to it drenched red.
CLOSE ON ALEX
The towel to his face, faint protection from the stench of
death.
THE ROOM
It is AWASH IN BLOOD. Hard to believe this mayhem is from
one person.
Alex is standing over a body now. OUR VIEW IS BLOCKED by the
bed. He gazes down. An horrific sight. He Gags. Going to
be sick. Turns toward a set of wood and glass doors half
hidden by sheer curtains. Pushes through them.
A TERRACE
Outside in the night air, Alex grips the brick railing, breathes
in deeply. Head down, eyes shut, he hesitates -- wretches over
side.
ALEX
Je -- sus!
(quietly)
Jesus.
A few moments. He looks up, gazes out over the terrace.
The sky is filled with colored light, flashing neon: Alex is
looking out over TIMES SQUARE. Pulsating signs, movie marquees,
the traffic below -- all assaulting him in one visual stroke.
He takes it in, WE HOLD.
THE BEDROOM
Alex removes the cover from the double bed, strips the sheet.
He stands over the body, drapes the sheet over it gently, almost
as though he were putting a child to sleep.
Kneeling now, he pulls back the sheet to reveal just the head
and neck of the corpse. WE SEE IT FOR THE FIRST TIME. The face
is battered and cut, but we clearly recognize the delicately
beautiful woman from the yearbook picture -- Susan Blake.
Alex, now more dispassionate, examines the face: contusions,
fresh blood around the left nostril, a wound to the larynx,
and what appears to be a peculiar purplish scratch mark on
the neck. He looks at it closely, runs his finger over the
scratch -- almost a caress.
He covers the face again, stands over her for a moment. A
thin channel of blood seeps through the sheet, as though
Susan Blake had been slit open.
CUT AHEAD TO:
AN OPEN CLOSET
Alex has the dish towel wrapped around his hand like a glove.
He goes through boxes on a shelf in the closet.
At a chest of drawers now, he goes through that. Opens a
drawer in a small night table: a few pens, a picture of
Susan Blake with Roberta Della Famina and THREE TWENTY DOLLAR
BILLS. Alex holds the picture in his hand, pockets it along
with the money.
About finished with this room, Alex starts toward the door.
Stops. A gesture of, "Oh, what the hell" as he moves back
to the night table, replaces the money.
CUT AHEAD TO:
BATHROOM
Looking through the medicine chest, etc.
CUT AHEAD TO:
LIVING ROOM
At a mahogany desk. Rifles through the drawers. Stops
to read some papers. Nothing of interest. He looks around.
Has he missed anything? Scans the room again to make sure.
Moves to the drapes, peeks around them -- another set
of doors to the terrace.
OUTSIDE ON THE TERRACE
A few yards from where he was before. A small wrought iron
table and chairs. Two coffee cups and saucers on the table,
next to one of them is a watch. Alex stares at it, picks it
up for a closer look. It is an elegant woman's watch with a
braided gold band. Alex tosses it around in his hand, flipping
it lightly in the air.
We HEAR the SOUND OF SIRENS.
EXT. BUILDING - TIMES SQUARE AREA - NIGHT
The SOUNDS of SIRENS continue. They come from a squad car
and E.M.S. ambulance in front of the building. Another
squad car SCREECHES to a halt. FLASHING RED LIGHTS.
MORE BLARING SIRENS in the distance.
Alex stands next to a phone booth across the street. Moves
to a trash can nearby, tosses in the dish towel.
The emergency services team enters the building wheeling a
stretcher. For a long moment, Alex watches -- the flashing
red lights revealing the anguish on his face.
INT. KATHARINE RAINES' LIVING ROOM - NIGHT
Elegant. Katharine, Delaney Lynch and HAL RENNERT - Delaney's
campaign manager - sit on sofas surrounding a great glass
coffee table. Hal's ASSISTANT leans on the edge of a sofa,
while Frank Willis paces the room.
They're all drinking a Madeira, or Casa Brunella. Something
red, anyway. All except Delaney.
Katharine about to pour Delaney a glass of the wine. Delaney
places her hand over the empty glass. Doesn't want any.
Instead, she pours ice water into a tumbler from a pitcher on
a tray. Drinks that.
KATHARINE
The point is we have to counter it.
We're outspending them three to one
and it looks like we're buying it.
FRANK
Well, the Federal Election Commission's
not going to bring an indictment -- but
what the hell, a leak of the investigation
is plenty.
DELANEY
The F.E.C. is claiming what?...that
it's not my money, but Alfred's?
HAL
That's about where it stands, yeah.
DELANEY
Just technical crap, I can spend what I
want on the campaign, after all it's EourR
money. We can make it a freedom of speech
issue.
FRANK
(shaking his head)
It's a non-starter. People can't
grab hold of it. They don't see
that without the money you can't reach
them. They can't see that as a right.
They see a price tag -- period...
We're up eleven points, we don't need
to take it head on.
ASSISTANT
It was fourteen last week.
A brief and slightly awkward silence -- no one's asked him.
KATHARINE
(to Hal)
How far along are we on the community
center spots?
HAL
They're in post now.
KATHARINE
Well let's move on them. Air them
as soon as we can.
HAL
How are we handling the investigation?
KATHARINE
(to Delaney)
Frank can say it's politically motivated
and there is no violation.
(to Hal)
And let's use the family issue; there
is no distinction between Alfred's and
Delaney's money...a tight knit family.
It gives us some mileage from Veress's
divorce.
DELANEY
Well, shit, nobody's going to tell
me I can't spend my own damn money
on the campaign.
(pours more ice water
from the pitcher)
Maybe I can get Pamela Veress to
endorse me.
Some laughter.
KATHARINE
We need to rush those spots -- shirt
sleeves, people's aspirations, that
sort of thing. Put some noise in
the channel...drown them out.
The telephone rings. Katharine picks it up as the political
conversation continues.
KATHARINE
Hello?...Yes.
(a long pause)
Hold on, I'll take it in the other
room.
(to the group)
Be right back.
AN ALCOVE
Katharine is on the phone, listening in stunned silence.
KATHARINE
(after a long pause)
Yes. I'm here...No, I have guests.
I'd better meet you...No, not downstairs.
(another pause)
Somewhere near here...I can't get
away for at least an hour...Where?
...All right, wait for me.
LIVING ROOM
Katharine enters. The conversation still going on. Frank
Willis glances up.
FRANK
You okay?
Her body language says no, but her reply to the group is
controlled, almost casual:
KATHARINE
Fine. Let's get back to it.
Eye contact and unspoken words between Katharine and Frank.
EXT. GRAND ARMY PLAZA - NIGHT
A mini-park and fountain in front of the PLAZA HOTEL. Alex on
a stone bench staring into the fountain. He turns, sees
Katharine walking toward him.
ALEX'S POV
as he watches Katharine move slowly from the shadows of the
avenue into the reflected light of the plaza.
NEW ANGLE
Looking up at her. Eyes empty.
ALEX
Hello, Katharine.
Katharine sits, eyes fixed straight ahead. A long moment.
KATHARINE
I want to hear about it.
ALEX
There isn't much to tell.
(pause)
She was killed. Susan was murdered.
I found her...and then I covered her
and called the police.
Tears welling up, Katharine looks away, not wanting Alex to see.
KATHARINE
Was she assaulted?
ALEX
I don't know.
KATHARINE
How was she...?
Alex doesn't respond. Katharine is up, circling, arms wrapped
around herself. Her head snaps up, glares at Alex. She wants
to know.
ALEX
(reluctantly)
She was beaten up pretty badly. There
was some sort of puncture wound. Some-
one...she was...slashed...
(losing eye contact)
...slashed up.
He now looks to Katharine, moves to comfort her, not sure
how, or even if he should. Alex holds her awkwardly.
Katharine really not letting go. Crying quietly.
KATHARINE
(after a moment)
Just some damned crazy. G0d damned
crazy.
ALEX
Maybe someone she knew. No one broke
in anyway. An apartment, over near Times
Square.
Katharine stiffens, pulls back.
ALEX
What's the matter?
KATHARINE
Nothing!
She holds up her hands. Pushing against an invisible wall.
She backs away.
ALEX
Hey.
KATHARINE
(her voice flat now)
Alex, thank you. But right now, I
just want to think for a while. Can
I call you in the morning?
ALEX
Maybe you could use a drink. And you
know me and the phones.
KATHARINE
I'd like to walk a little...by
myself.
EXT. FIFTH AVENUE - NIGHT
TRAVELLING
with Katharine moving down Fifth Avenue. Alex catches up,
falls in step beside her.
ALEX
I think we'd better talk a little more.
KATHARINE
Tomorrow.
Walking in silence. Alex angles toward the window display of
Van Cleef & Arpels -- rings, diamond necklaces, etc.
Katharine continues on a few yards. Stops. What's he up to
now? She steps over to the window.
ALEX
(fixed on the display)
...How do you suppose Susan Blake
rated that apartment? It had to cost
plenty, and her uncle sure as hell
wouldn't foot the bill, even if he
could afford it.
No response from Katharine.
ALEX
(nodding toward the jewelry
display)
Beautiful, aren't they? Expensive
stuff.
KATHARINE
(preoccupied)
Very.
Still peering into the window, Alex reaches into his pocket.
He looks to Katharine, hands her the watch with the braided
gold band from Susan Blake's apartment.
ALEX
I found your watch.
Katharine turns white. She's caught. Looks to the watch, frozen.
KATHARINE
(quietly)
How did you know?
ALEX
You lost a watch, I found a watch --
I took a shot. It seems we've both
been to Susan Blake's apartment
recently.
(beat)
...How about that talk, now?
INT. OAK BAR - PLAZA HOTEL - NIGHT
A SMALL TABLE
Alex is clearly out of his element here. He looks around for
a waiter, none in sight. Katharine motions with her finger.
A WAITER appears.
KATHARINE
Dewers, rocks.
WAITER
(to Katharine)
And the gentleman?
ALEX
The gentleman will have the same.
Waiter moves off.
ALEX
Above 14th Street, they don't know
I exist.
A tight smile from Katharine. Silence. Finally:
KATHARINE
You think I killed her.
ALEX
It crossed my mind.
(beat)
No. I don't think you did...that kind
of murder, it's too grisly. Women
don't commit those kinds of crimes...
(his finger tapping his chest)
...We do.
KATHARINE
Saved by male chauvinism.
ALEX
Look, Katharine --
The waiter comes to table, serves the drinks, leaves.
ALEX
-- Look, we're both in deep shit here.
Now, you've got to level with me. I walked
out of that apartment with evidence from
a homicide investigation --
(louder)
-- not to mention things like disturbing
a crime scene, leaving a crime scene --
cleaning up the damn crime scene like
I'm the men's room attendant at the
Hotel Dixie. They take your license
away for that, just for starters.
Alex looks around, realizes he's shouting. He leans into
Katharine, speaks softly.
ALEX
You felt comfortable enough in that
apartment to take off that gold watch.
I want to know what this is all about.
Katharine places her hand on top of Alex's.
KATHARINE
Rada, I'm very scared.
ALEX
(as Alex removes her hand)
Join the club. I do missing persons.
This is murder, the police do murder.
Now lay it out for me. Someone was
Efucking murderedR here, you understand?
KATHARINE
(angry now)
Of course, I understand. Susan was
very close to me. And I don't know
who murdered her. There's no reason in
the world why anyone would want to
murder her. Do EyouR understand?
ALEX
Then let's just go to the police.
Downs his drink.
KATHARINE
No. The election is three weeks away, I
won't jeopardize the campaign.
ALEX
Either you tell me a good story or I'm
going to talk to the cops.
KATHARINE
All right. I'll pay you twenty-five
thousand dollars to find out who
killed Susan, good enough?
ALEX
(without missing a beat)
Where did Susan Blake get the money
for the apartment?
KATHARINE
I gave it to her.
ALEX
You did? Why?
KATHARINE
She needed it.
ALEX
What are you, the Rockefeller Foundation?
Katharine, you think you can buy me?
KATHARINE
Yes. I do, Alex.
THE BAR AREA
A flurry of excitement. People are greeting a well tailored
man accompanied by a small entourage. It is Alfred Lynch. A
beautiful yellow and blue macaw is perched on his shoulder.
Alfred, in an imperial manner, only manages to acknowledge
a few of those looking to him. The bird flutters its wings
nervously.
Alfred notices Katharine at her table, sweeps the bird onto his
outstretched fingers. Tries to hand it to one of his retinue, a
blond man in a dark suit. We recognize him as Jimmy Doyle, the
chauffeur we've seen before, although now he appears more like a
bodyguard.
Doyle tilts his head away from the bird, more out of loathing
than fear. Alfred smirks at him, places the bird back on his
shoulder, strides over to Katharine.
AT THE TABLE
ALFRED
(taking no notice
of Alex)
Hello, Katharine.
Katharine is clearly uncomfortable. A forced pleasantness.
KATHARINE
Alfred.
(gestures toward Alex)
I don't think you know Alex.
Alex Rada, Alfred Lynch.
Alex stands, extends his hand. As he does, the bird flaps its
wings, lunges toward Alex.
BIRD'S VOICE
Awk! Sleaze bucket!
Alfred Lynch laughs, perfunctorily shakes Alex's hand as he
quickly looks him over. From his manner, it's clear he
agrees with the bird.
ALFRED
I'm afraid Griffin likes very few people,
Mr. Rada.
(to Katharine)
How'd your meeting go?
KATHARINE
Fine. I don't think there'll be
a problem.
ALFRED
Splendid. Splendid. Delaney's
flying up to Syracuse tomorrow.
Leaving me to guard the fort.
KATHARINE
Association for a Better New York.
ALFRED
Preaching to the converted. We'll
see you at the house Thursday, of
course.
KATHARINE
Yes.
He smiles at Katharine, then looks to Alex unenthusiastically.
ALFRED
Nice to have met you, Mr. Rada.
Alfred moves off before Alex has a chance to reply.
ALEX
(almost to himself)
Same here.
Katharine watches Alfred Lynch, makes sure he's out of sight.
She turns to Alex.
KATHARINE
Well?
ALEX
(mimicking Alfred)
Splendid. Splendid fellow.
KATHARINE
(annoyed)
The money. Will you do it?
(more controlled)
I believe you said you prefer cash?
ALEX
Look, if I'm going to put my ass on
the line, I want to know why. I think
Susan Blake knew whoever killed her.
That puts me out there running inter-
ference -- against the cops, against
a murderer...
(fixing on Katharine)
If I wind up like Susan, what the
hell is the money?
Katharine -- a long pause. Then quietly, deliberately:
KATHARINE
I want to know who killed Susan, I
need to know that.
(beat)
Alex, Susan and I...we had a special
relationship. We cared very deeply
for one another.
Doesn't come as a complete surprise. Alex rubs his nose,
reflecting on this.
ALEX
And you don't want anyone to find out,
especially before the election.
KATHARINE
If it was a mistake, I was the one who
made it. No one else should have to pay
for that. I believe in Delaney Lynch,
what she's capable of doing -- a lot of
good for a lot of people. If it were to
come out in the middle of the campaign
that I was having an affair with...
(looking at Alex dead on)
...with a girl who was murdered...
KATHARINE (cont'd.)
Delaney would be tarred with the
same brush. Alex, she doesn't deserve
that.
Silence. Then, a tapping sound. Alex's fingers on the table.
Finally stops. Okay, she's made her point.
ALEX
...What about the apartment? Anything
there the police can tie to you?
KATHARINE
I don't think so, no.
ALEX
There's something else. You said you
hadn't seen Susan in a week?
KATHARINE
That's right.
ALEX
At the the Zig Zag, you were surprised
you didn't have your watch...You must
have left it in Susan's apartment in
the last day or two.
KATHARINE
I was in the apartment yesterday.
Susan hadn't been there.
ALEX
Are you sure?
KATHARINE
Of course.
A NEW YORK CITY BUS MOVES INTO FRAME
Alex gets off, squints as the bright sunlight hits his face.
He carries a shopping bag and an arm full of groceries.
He notices Victor in his usual spot, motions to him as he holds
up the a grocery bag.
INT. ALEX RADA'S APARTMENT/OFFICE - DAY
Alex is cooking something in the kitchen area -- maybe chili.
Stirs a pot of something while breaking up pieces of chopped
meat in a frying pan.
CUT AHEAD TO:
ALEX AND VICTOR AT THE TABLE
Victor eats the chili, ritualizing the procedure as if he's
at George Plimpton's for a dinner party. Alex is observing
this with a gentle scowl.
VICTOR
Could I a have napkin, please?
Alex raises an eyebrow, slowly gets up, throws Victor a
wash cloth from the sink. Victor neatly folds it in his lap.
VICTOR (cont'd)
And a knife please, Alex.
Alex -- his eyes glued to Victor and the chili as he hands
him the knife.
ALEX
Is there something in there you
have to cut?
No response. Alex sits, continues eating, still watching the
intricate maneuvers.
ALEX (cont'd)
(after a moment)
You know, you're driving me crazy?
You're really annoying me, I hope you
realize that.
VICTOR
Setting is very important to the
enjoyment of coozine, Alex.
Alex looks down in his bowl, stirs it as he eats, doesn't
say anything.
ALEX
(quietly; after a
moment)
Yeah...and you make me feel guilty,
too.
CUT AHEAD TO:
CLOSE ON THE KITCHEN TABLE
A few scraps of food left in two bowls. PULL BACK TO
REVEAL ALEX AND VICTOR. The shopping bag is on the table
as well as a box labeled, The Easa-Phone Answering System.
Some cables and tapes are strewn about.
Victor reads a small manual. Alex holds the machine above
his head. He is unenthusiastically studying the jacks in
the back, clearly preoccupied with something else.
Alex puts the machine down, rises, slightly exasperated.
ALEX
(very deliberate)
Victor...you are trained boxer, and I
think there is no question that you would
have a better shot at installing this
than I would.
INT. BEDROOM
Alex rummaging through cartons. Finds the one he was looking
for, lifts out a metal box. He sets it on the bed.
THE METAL BOX
Alex opens it -- a nine millimeter Astra A-90 semi-automatic,
cartridges and a hip holster.
ALEX
He stares at it, the muscles of his face tensing as he does.
NEW ANGLE
Victor wanders in, looks to the metal box, then to Alex.
Almost a look of reproach from Victor. Alex notices, shrugs.
VICTOR
You know what you're doing, Alex?
ALEX
Nope.
Alex moves to a poster of Frank Lovejoy. Wets two of his
fingers like a spitball pitcher, touches the forehead in
the picture.
INT. LISMAR LOUNGE - NIGHT
A downtown hang out. Alex is moves through a group of post-punk
and downtown art scene types. Several acknowledge his presence.
He's been here before.
It's NOISY and some sort of rap-reggae-fusion band plays in b.g.
Alex shows the yearbook picture of Susan Blake to some regulars.
Shaking of heads. Shrugs.
Alex moves to a redheaded WOMAN in her twenties with cascading
hoop earrings. She smiles in recognition, moves to
the beat of the music.
ALEX
(holding out the picture)
Heard about it?
WOMAN
(above the music)
In the papers. Awful. Like
some gruesome performance piece.
ALEX
See her around lately?
WOMAN
Don't think so.
ALEX
Remember any of the people she
used to hang around with?
WOMAN
I didn't really know her that well.
ALEX
How about a guy named Brian?
Dark hair, blue eyes...little
shorter than me?
WOMAN
Brian?
(thinking; shrugs)
Sorry.
ALEX
Thanks.
Alex makes his way through the crowd. MUSIC rises.
EXT. LISMAR LOUNGE - NIGHT
Alex on the street. He hesitates a moment, moves downtown. As he
does, CAMERA SLOWLY MOVES UP, UP -- A GREAT, MAMMOTH CRANE SHOT.
We still HEAR the FUSION RHYTHMS of the Lismar Lounge as we
move high overhead.
EXT. SIDE STREET - NIGHT
Quiet. Empty. Alex walks past a Ukrainian Orthodox
church. Stops.
ALEX POV
The darkened church. He stares up at it. The spires reach
into the night. A SOUND, like an echo of footsteps.
NEW ANGLE
Alex listens, still looking to the church. He moves on, angles
toward the stoop of a brownstone. Rests on its stone steps.
He unties his shoe, glances toward the church and beyond,
watching for something -- someone in the dark.
Nothing there. He waits, reties his shoe, moves off. WE
FOLLOW him down the block, around a corner.
EXT. BAR - NIGHT
A lighted avenue, a neon sign -- 'Downtown Beirut.' Alex steps
inside.
INT. DOWNTOWN BEIRUT - NIGHT
About the same ambience as its namesake -- dank bombed-out,
except here a few paintings from local artist decorate the
walls. It's relatively quiet, just a few customers.
The bartender, TOMMY, serves a customer a drink. Alex slips
onto a stool. Bartender spots him.
TOMMY
Alex!
ALEX
Hey, Tommy-rot.
TOMMY
(gesturing)
New surroundings.
ALEX
Last time I saw you, you were working
at Madam Rosa's.
TOMMY
It closed. Now, I'm slumming.
Commies still under the bed?
ALEX
In the closet, Tommy-rot, in
the closet.
TOMMY
(pointing at Alex)
Scotch straight up with a side
of water. I never forget a
true patriot.
ALEX
(lets it slide)
No, I'm holding off.
TOMMY
Runaway time?
ALEX
Not exactly. Murdered girl. Susan
Blake. You heard about her?
TOMMY
(becoming interested)
Yeah, yeah. She used to come in a
lot when I first started. Beautiful
girl. Very hot.
ALEX
Ever with anybody?
TOMMY
Yeah -- a real dickhead. Thought
he was an artist, wanted to put
some paintings up -- severe crap.
ALEX
Know his name?
TOMMY
No.
A CUSTOMER yells for a drink.
TOMMY (cont'd)
(to customer)
Hold on, okay? I'm talking to a
major force here.
ALEX
The kid have dark hair?
TOMMY
No...uh, bleached chop.
ALEX
Hey, Tommy, you ever see her come
in with any woman?
TOMMY
No, I don't think so.
Tommy looks to the customer, gestures that he'll be there in
a minute.
ALEX
How about someone named Brian?
TOMMY
You mean with Susan Blake? I know
Brian over at Siberia. He might
have known her. You know him --
ex-roadie, pretty boy -- helps
Eric Montaug run the place.
(thinking)
Susan Blake...I don't know, maybe.
CLOSE UP -- A WOODEN HORSE'S HEAD
PULL BACK TO REVEAL a man wearing it. He makes strange,
mechanical movements. We can now see others masked in the
heads of different animals, strutting machine-like on a stage.
Others ACTORS, on tiers of scaffolding, turn quickly like
huge gears.
We are watching a performance piece in the SIBERIA CLUB.
This particular piece is a form of Constructivist theatre.
In bizarre counterpoint, THREE WOMEN, bathed in a baby
blue spot on center stage SING old Supreme's numbers a cappela.
ANGLE ON THE ENTRANCE CORRIDOR
Alex is squinting at the stage, trying to figure out what
this is all about.
Alex leans into a MAN who acts like a host, looks like a
bouncer. Alex whispers something to him. Bouncer checks
around the club, points to a table in the back away
from the stage.
ANOTHER ANGLE - THE HOUSE TABLE
A GROUP OF FOUR at the table -- two young women, a dark
haired man in his twenties, another man slightly older.
Alex stands over the dark haired man.
ALEX
Brian?
BRIAN
Yeah?
ALEX
I'm Alex Rada. Can I take
a few minutes --
BRIAN
-- And do what, man?
Brian looks to one of the women, caresses her neck. They laugh.
ALEX
...And talk to you about Susan Blake.
BRIAN
(looks up at Alex)
...I know you, right?
ALEX
We've seen each other around.
BRIAN
You're not a cop, right?
Alex nods. He knows this is a lost cause.
BRIAN (cont'd)
Bye.
ALEX
(one more try)
Just a couple of minutes. How
about later? I'll be by the bar.
BRIAN
Hey, man, you're not listening.
(with a whole lot
of emphasis)
Fuck Off.
EXT. SIBERIA CLUB - STREET - LATE NIGHT
Alex leans on a car near the corner. Not many people on
the streets now. A few stragglers leave the Siberia Club.
Alex keeps an eye on the entrance.
Brian and the young woman emerge from the club, move arm in
arm in Alex's direction. They both wear leather jackets.
Brian notices Alex.
ALEX
(moving off the car)
How about now?
BRIAN
Shit, don't you give up?
ALEX
I'd really like to talk.
BRIAN
Too fuckin' bad.
He starts to move away. Alex grabs his jacket, pulls him
in the direction of the corner.
YOUNG WOMAN
(pulling at Alex)
Lay off, damnit.
Alex -- pushing her away and yanking Brian around the corner,
into the alley behind Siberia. He slams Brian against a wall.
Young woman bangs her fists against Alex's shoulder.
ALEX
(to woman)
Go home!
She backs away. Alex holds Brian by the lapels of his jacket,
raises his fist as if to hit him.
ALEX
Okay, asshole, let's have a little
cooperation.
A PUNCH
and then another. Both to Alex's stomach. Alex falls to the
ground, sprawled on his back, his hip holster exposed.
A KICK
this time to Alex's rib cage. Alex winces.
BRIAN
bends down, reaches into the hip holster, snatches Alex's gun
ANOTHER ANGLE
Brain and the young woman stand over Alex, laughing, taunting.
Brian waves the gun, jumping up and down.
BRIAN
Fuckin' phony. You're a pussy,
piece a shit pushover.
Pointing the gun at Alex, both laughing wildly, they back up
the alley. He takes aim at Alex as he moves away.
BRIAN (cont'd)
Let's have a little cooperation,
asshole.
He squeezes off a round. It's SOUND echoes through the alley.
The SHOT HITS in front of Alex. Alex pulls his arms up to his
face, his knees move toward his stomach in the fetal position.
Brian and the young woman move farther down the alley toward
a garbage dumpster. They are still facing Alex.
BRIAN (cont'd)
Fuck you, man. Fuck you.
He raises the gun a second time, then --
A PUNCH FROM NOWHERE
smack on Brian's chin. He goes down on his back, out cold.
THE FACE OF A BEDRAGGLED BUM
Victor standing over Brian, reaches down, picks up the gun.
The young woman SCREAMS, goes shrieking off into the night.
Alex is up slowly; he slogs toward Victor.
ALEX
(holding his side)
Victor, you care.
Victor smiles. They drag Brian toward a wall, prop him up.
ALEX (cont'd)
(dawning on him)
You've been following me all night,
haven't you?
VICTOR
You're a great detective, Alex.
Alex ponders this remark.
ALEX
(shaking his head)
That's not a compliment.
He takes the gun from Victor, places it in his holster.
Grabs Brian's face with his hand. Brian looks up, coming
out of it.
ALEX
Okay, juiceman, let's me hear about
Susan Blake.
BRIAN
I hardly knew her.
Alex -- squeezing Brian's face.
BRIAN (cont'd)
Look, I went out with her a couple
of times, maybe six months ago.
ALEX
So why'd you kill her?
BRIAN
Fuck it, you're crazy, man. I didn't
kill nobody. Sue had other interests;
Sue was schizoid -- I can't handle that.
ALEX
I still say you killed her.
BRIAN
Try somebody else.
ALEX
Convince me.
BRIAN
I never saw you, right?
(beat)
She hung around some real Doctor
strange. A guy named Jimmy Ice.
He had his own car, used to pick her
up and they'd take off -- end of story.
(wipes away a trickle of
blood from his mouth)
Now why don't you be a nice piece of
shit and leave me alone.
ALEX
Why Jimmy EIceR?
BRIAN
I don't know, maybe he's not that
friendly.
ALEX
What does he look like?
BRIAN
Aw c'mon. He's pale, I don't
know -- thin, blond chopped hair...
okay?
ALEX
Have you seen him lately?
BRIAN
No, really.
Alex slaps him lightly on the face a few times.
ALEX
Splendid. You're a splendid fellow.
PAN TO THE PAVEMENT in front of them.
DISSOLVE TO:
A SIMILAR PAVEMENT - EARLY MORNING
People's feet traipsing over it. A few at first, then
many more.
PULL BACK TO REVEAL
Delaney Lynch greeting morning shift WORKERS at the
Carrier plant in Syracuse. A few local NEWS PEOPLE. Hal
Rennert and Frank Willis stand at a respectful distance.
Lots of: "Hello, I'm Delaney Lynch, running for U.S. Senate",
"Need your vote", "Good to see you", etc.
EXT. CARRIER PLANT GATE - SYRACUSE - EARLY MORNING
Hal Rennert near a chain link fence, signals a car outside.
INT. CAR
CLOSE ON THE PALE VISAGE OF JIMMY DOYLE, THE BLOND CHOPPED HAIR.
He spots Hal, starts the car, drives through the gate.
MOVING WITH THE CAR
rolling slowly toward Delaney, Frank and Hal.
EXT. HANCOCK AIRPORT - SYRACUSE - DUSK
The car pulls to a stop near a hanger. Jimmy Doyle and
Hal Rennert exit from the front, Delaney and Frank from
the back.
The four move toward a Sessna Citation aircraft. We HEAR the
SOUND OF THE ENGINES.
INT. CITATION - IN FLIGHT - NIGHT
Delaney, Frank and Hal have been checking over some notes.
Jimmy Doyle smokes a cigarette in a seat behind.
HAL
...Advance people did okay, don't you
think?
DELANEY
Where do we stand?
HAL
Got the meeting at your house when
we get back. Go over manana.
DELANEY
Who's there?
HAL
Garth and his polling people,
Katharine too.
DELANEY
(to Frank)
Pretty damned good turnout at the
university. Getting younger all
the time.
(leans her head back
on the seat)
...even the professors.
Hal Rennert notices Jimmy Doyle holding a disposable lighter
under his palm, moving the flame slowly back and forth close
to the skin on his hand. Hal swings around toward him.
HAL
(to Delaney as he
watches Doyle)
...As long as they can vote in this
State.
HAL AND DOYLE
Hal's eyes narrow, fascinated by what Doyle is doing.
Doyle looks dead on at Hal. He brings the flame even closer,
holding it under his hand, searing the skin on the palm.
HAL
(nodding toward the
lighter)
What's the trick?
DOYLE
(glaring)
The trick is in not minding.
Hal holds on him for a beat, looks away and pretends to go over
some notes. We see a perceptible shiver.
DELANEY AND FRANK
DELANEY
(eyes closed now)
...Frank?...How's Katharine doing?
FRANK
Like all of us, I little tired
I guess.
DELANEY
She's teaching, too.
FRANK
I think it's just the three hours
this semester.
Delaney massages her eyes with the fingers of her hands.
DELANEY
Well, she looks like hell lately.
Needs a rest...And there'll be a
damn sight more work after the election.
FRANK
I'm not sure she'll come to Washington.
Eyes still closed, she reaches over and pats Frank's hand.
DELANEY
You're never sure of anything, are you
Frank?
Frank glances over, some anger showing. He's about to say
something, thinks better of it.
DELANEY (cont'd)
She loves the action. Inside the Beltway,
...that's Katharine's natural habitat.
INT. - LYNCH TOWNHOUSE - SITTING ROOM - NIGHT
CLOSE ON A CRACKING FIRE
We HEAR VOICES.
PULL BACK to take in a white fireplace and the Louis XV
girandole mirror above it. A sense of opulence and
style -- just as the other rooms of this house must have.
CAMERA FINDS Katharine. She is listening to Hal Rennert's
voice as he goes through a schedule. Katharine does look a
bit drawn, certainly not as elegant as in prior scenes.
ANGLE ON FRANK WILLIS AND DAVID GARTH
They are carrying on their own conversation. Behind them,
Garth's ASSISTANTS.
ANGLE ON HAL RENNERT AND DELANEY LYNCH
Hal reads off a list, leans in toward Delaney.
HAL
...then the luncheon speech, Metro-
politan Women in Business at 12:30 --
Photo op with the mayor at 2:30...
(turning a page)
4 O'clock -- New York Hospital shift
change -- 5:15 Grand Central --
6 O'clock, subway stop southeast
corner of Lex and 68th.
(looking up)
...And the formal dinner back here
at eight.
DELANEY
Ah, the contributors...let's not
forget the contributors.
(to Frank)
-- Find out the name of Stu Rudin's
new wife; they change so fast I can't
keep track.. .And the names of the
commissioner's children.
ANOTHER ANGLE
FRANK
All of them?
DELANEY
If they're more than two or three,
just get me the oldest.
FRANK
You pulling the comparable worth
thing in the luncheon speech?
Delaney smiles, a derisive edge to it.
DELANEY
You've got press there Frank, you
don't want me to talk about the
issues, do you?
The maid, ETTA, wheels in a tray -- glasses, and champagne on
ice. She is followed by Alfred, the Macaw perched on his
shoulder.
Delaney strides over, kisses Alfred, looks to the Macaw.
DELANEY
(nuzzling the bird)
...And how's my little baby?
She holds out her arm, the bird perches on it.
Alfred gestures to the assembled. Nods toward David Garth.
ALFRED
David's told me about the latest
poll figures.
(handing glass to Delaney)
I don't think it's too premature
for a toast.
Champagne is poured. Toasts are made. Alfred moves
toward the fireplace, throws his glass into it.
It SHATTERS. Another glass follows. Others in the
group, less flamboyant than Alfred, follow with theirs,
perhaps a bit self-consciously.
One lone glass does not shatter, bounces off the fireplace
brick, clinks about, rolls onto the antique Bessarabian rug.
It's Katharine's glass. She closes and opens her eyes slowly,
goes "Hmph" to herself, looks around as if to say --
"What next?"
NEW ANGLE - DELANEY AND KATHARINE
DELANEY
Alfred's view is that the election is
over; voting is just the tedious ritual
that confirms the polls...He started as
a technical analyst -- all those buy
and sell signals.
(beat)
Katharine, I'm going to need you in
Washington and I'd like you to be
a hundred percent. You look awfully
tired.
KATHARINE
I'm fine, Delaney.
Frank approaches, listens to the conversation.
DELANEY
I don't think so. Why don't go
down to the house in Mousteek**
for a few weeks, get some rest.
KATHARINE
(with an edge)
It's out of the question, certainly
not until after the campaign.
A flash of anger from Delaney. She's seldom spoken to in
this tone.
DELANEY
(controlled now;
insistent)
All right, Katharine, but why
don't you call it a night.
Katharine realizes she's overstepped. Usually defers to this
woman.
FRANK
(interceding)
I'll take you home, Katie.
DELANEY
(to Frank)
No, I need you here.
Delaney moves to phone, picks up the receiver, presses one
of the buttons on the unit.
DELANEY
(into phone)
...Jimmy, would you bring the car out
front, I'd like you to take Dr. Raines
home.
INT. LIMOUSINE - NIGHT
Katharine staring out the window, lost in herself.
The buildings of Fifth avenue stream by.
Reflected off the front mirror, we can see Jimmy Doyle's
eyes fixed on Katharine.
The car pulls up to the curb. Doyle gets out, opens
the door for Katharine.
EXT. KATHARINE'S BUILDING - FIFTH AVENUE - NIGHT
As Katharine emerges from the back, a DOORMAN tips his cap.
JIMMY DOYLE
I'll see you in Miss Raines.
KATHARINE
(waving him off)
That's all right, Jimmy.
INT - KATHARINE RAINES' APARTMENT - LIVING ROOM - NIGHT
Katharine, in a robe, relaxes on a sofa. Her hair is wet.
She sips a drink; a cigarette burns in an ashtray.
We HEAR the DOORBELL RING.
Looks over with some surprise: Who could that be?
Reluctantly she gets up, moves toward the door.
KATHARINE
Yes...?
As she approaches
THE DOOR
We HEAR MUFFLED SOUNDS and holes rip through the door --
fragments fly about.
KATHARINE
almost instinctively knows what this assault is. As another
BULLET tears into the room, she lunges at the floor,
crawls behind an overstuffed wing chair.
Another muffled sound, another shot from some weapon with
a silencer -- all this happening very quickly, nearly
instantaneously.
A LAMP
as a bullet cuts into its shade. It moves the lamp precariously
onto the edge of the table.
KATHARINE
behind the protection of the chair. Terror. Rage.
Quiet now. The fusillade has stopped. Katharine peers over the
chair toward the door, takes in four bullet holes. Slowly
starts to get up.
The lamp, perched precariously at the end of the table, falls
to the floor, CRASHES, POPPING THE LIGHT BULB.
KATHARINE
turns toward it. Startled, she jumps in fear.
SHOCK CUT TO:
A BLACK SCREEN
We hear A PHONE RING.
Alex rolls over in bed, reaches for the phone.
ALEX
(not quite awake)
...Sixth pre...
(beat)
...What? Oh. Sorry...Yeah? Yeah,
okay. Jesus!...all right, just hang
on -- I'm on my way now.
INT - KATHARINE RAINES' APARTMENT - LIVING ROOM - NIGHT
Katharine is kneeling picking up pieces of the broken
lamp. Alex joins her, both tossing pieces into a
plastic bag.
ALEX
Go over it again. Anything unusual
happen before your meeting?
KATHARINE
No. But it was all...almost surreal.
The meeting. We went over tomorrow's
campaign stops, the dinner at the
Lynch's...then Alfred comes in with
champagne.
(beat)
The damn glass didn't break, it bothered
me. Must have been tired or in a fog or
something. Next thing I remember Jimmy
dropping me off...
ALEX
The chauffeur.
Katharine reaches for a piece of the lamp. Her robe opens, falls
gently over her legs. Alex looks at them. Katharine notices,
casually covers herself.
KATHARINE
Nothing much in between. I must have
been somewhere else. It was strange,
he's usually not that polite. Said
he would see me in.
(staring off; holding
a piece of the lamp)
Generally a bleak little character --
you know, I don't know if I've ever heard
him say anything before.
Alex glances at the closed robe. Moves up to watch her face.
There is a moment. Alex stands, tosses a piece of glass into
the plastic bag.
ANOTHER ANGLE
Alex approaches the door, runs his fingers over the holes. He
has to reach over his head. They are placed almost neatly.
ALEX
Looks like someone just wanted to
scare the hell out of you.
KATHARINE
Well, they succeeded.
ALEX
Someone uses a silencer, chances are
they know what they're doing. This
guy was aiming for someone like Patrick
Ewing, not you.
KATHARINE
That's very comforting. Rada, what
the hell is going on?
ALEX
Got any cider vinegar?
KATHARINE
What?...Yes. For what?
INT. KITCHEN
Alex is pouring milk and cider vinegar in a glass. He holds
it up, measuring with his eye. a jar of honey sits on the
counter.
ALEX
It' an old Ukrainian remedy. Relaxes
you.
Katharine watches from the entrance way.
ALEX (cont'd)
How about some rum?
KATHARINE
Drink a lot of rum in the Ukraine
do they?
ALEX
Another one of life's inconsistencies.
Katharine tries a smile, leaves. Alex carefully measures
a spoonful of honey, pours it in, then another. Katharine
reappears with the rum, hands it to him.
ALEX
Thanks. I don't suppose he has
blond hair?
KATHARINE
Who?
ALEX
(pours in the rum)
The chauffeur. What's his last name?
She's not sure where this is going.
KATHARINE
He does. Short blond hair.
(staring at Alex)
His name's Doyle, I think. Why?
ALEX
You think he might have known Susan
Blake?
Katharine is surprised by the question, looks to Alex with
some suspicion as he stirs the concoction he's made.
KATHARINE
(annoyed)
Not likely, Alex.
ALEX
She had boyfriends.
KATHARINE
I suppose so. Not many, she was careful.
Susan wasn't stupid...I can't imagine him.
ALEX
(he hands her the
drink; walks past her)
Susan was a lot of things to a lot
of people.
INT. LIVING ROOM
Katharine sits sipping the drink, not liking it. Alex
sits across.
KATHARINE
You think the Lynchs' chauffeur killed
Susan? And he got in the building
after he let me off to what, kill me,
scare me? Why? It doesn't make sense.
ALEX
I don't know.
(massaging his temples)
Susan hung around the clubs with a
thin blond kid, thought of himself
as an artist. Does this Doyle paint?
KATHARINE
How would I know?
ALEX
Okay. Has he been with them long?
KATHARINE
A couple of years I guess. Does
the driving, also keeps the wrong
people from getting too close.
ALEX
(nods toward the drink)
Finish it up. He stays at the house?
KATHARINE
As far as I know. He has a room
downstairs. They both do.
(grimaces, downs the stuff)
Jimmy and Etta, the maid.
ALEX
(a broad smile)
How'd you like to take me to that
party?
KATHARINE
(incredulous)
The dinner? You're joking?
ALEX
What's the matter?
(sincerely hurt)
Thanks.
She's touched by his vulnerability, looks at him in a new
light. Katharine smiles, rethinks it.
Katharine smiles, looks at him in a new light.
KATHARINE
Hey, Rada, you have a tux?
ALEX
(smiling back)
Yeah...at the waiters' union.
KATHARINE
I have a date you know. And I'm not
sure how pleased the Lynchs' will be.
ALEX
I'd like to get in there. Can you fix
it?
KATHARINE
We'll see what we can do.
INT. KATHARINE RAINES' APARTMENT - MORNING
CLOSE ON ALEX
We can see part of a blanket tucked under Alex's chin.
Katharine moves INTO FRAME, kisses him gently on the forehead.
NEW ANGLE
Alex slowly awakens. He is on the living room couch. Katharine
stands over him holding a glass of orange juice. She hands
it to him.
KATHARINE
An old Anglo-Saxon remedy. Wakes you up.
Alex takes it, sits up.
KATHARINE (cont'd)
Thanks for staying.
ALEX
What time is it?
KATHARINE
About nine-thirty. I've got to
get going.
ALEX
Maybe I better tag along.
KATHARINE
No.
(gestures toward the
door)
You did say that was just meant
to scare me, right? Right?
ALEX
Ninety percent, yeah. Probably
scare the hell out of your neighbors
when they see it...There is a small
chance...
KATHARINE
I can't lock myself up in here.
If someone really wants to...
(beat)
There's a man's razor in the bathroom,
I left it out for you. Just close
the door behind you when you leave,
they'll be replacing it this afternoon.
Katharine moves to a closet, selects a coat, puts it on.
KATHARINE
(turning toward Alex)
You're a decent guy, Rada.
Alex glances up, admiring her, wanting to say something.
ALEX
What time do I pick you up tonight?
EXT. MANHATTAN SOUTH PRECINCT - MORNING
Cars double parked on the street. PEOPLE around the entrance,
a few drinking coffee from containers.
Alex moves up the steps, through the entrance.
INT. MANHATTAN SOUTH PRECINCT - FIRST FLOOR - MORNING
A common area -- tiled walls, bulletin boards, benches. COPS
in uniform move about.
Alex waits next to a CIVILIAN WORKER behind a desk. She looks
up.
ALEX
Detective DeMarko?
CIVILIAN WORKER
(points)
Stairs. Second floor on your right.
INT. SECOND FLOOR - SQUAD ROOM
Activity. MEN and a FEW WOMEN, mostly in plain clothes, a few
uniforms.
Alex makes his way through a maze of desks. Catches someone's
eye.
ALEX
Gene DeMarko?
MAN
The desk in the back, right next
to that side room there.
ALEX
Thanks.
WE FOLLOW Alex through the activity to the back. No one
at the desk. Alex peeks into the room next to the desk.
It's filled with file cabinets.
A burly man about fifty with a receding hair line is opening
and closing drawers. This is DETECTIVE DEMARKO -- shirt
sleeves rolled up, mostly business.
ALEX
Detective DeMarko?
DEMARKO
Yeah.
ALEX
I'm Alex Rada, I called before.
DEMARKO
Oh, yeah, right.
(checking over a file)
So what's up?
ALEX
I understand you're assigned the
Susan Blake case.
DeMarko looks up, quickly studies Alex, places a file on
top of the cabinet.
DEMARKO
(pointing)
There's some coffee over there. Why
don't you grab a cup?
ALEX
No, I'm fine.
Demarko moves out of the room, spots someone, motions slightly
with his head. Another man in shirtsleeves acknowledges him,
wanders toward them.
DEMARKO
Did you know her?
ALEX
No. She, uh, might've been a runaway I
was looking for. Thought I'd check
with you. Blake her real name?
DEMARKO
(a hint of disdain)
Uh huh. You a P.I.?
DETECTIVE SHERMAN joins them. Younger than DeMarko, he's very
thin, a heavy New Yawk accent.
ALEX
Yeah.
(looking around the
room)
I knew your brother at the Sixth.
We worked senior citizens robbery
unit together.
DEMARKO
Rada, right? I can check that. He's
up at the two-four now, got his gold
shield.
(nodding to Sherman)
This is detective Sherman.
SHERMAN
Hiya doin'.
DeMarko folds his arms, sits on the desk.
ALEX
You want to check, go ahead.
DEMARKO
You got shot, right? Sure, Rada.
Right. No, I remember. Phil used
to talk about you. Got shot in the
shoulder or something, some kid.
ALEX
Leg.
DEMARKO
What...four years ago? Phil used to
have nightmares about it.
ALEX
Me too.
DEMARKO
Yeah, well...
(realizing, his voice
trails off)
SHERMAN
Tough out there, huh? Missing
persons, that's shit work. That
broad got cut up excellent.
ALEX
That's what I heard.
DeMarko throws Sherman a look as if to say, "enough already."
DEMARKO
(laughing it off)
Motor mouth.
Alex looks to DeMarko, then over at Sherman.
SHERMAN
(glancing at DeMarko,
takes the hint)
I hear ya.
(as he's leaving)
Gotta check with crime scene unit,
anyway.
DeMarko lets out a sigh. Stares at Alex for a moment.
DEMARKO
So?
ALEX
I'd like to take a look at the
D.D. Fives.
DEMARKO
You're nuts. This is an active in-
vestigation, I'm not letting you look
at a homicide folder.
(pointing a finger
at Alex)
You got some information, you better
let me know, this is a fuckin' hot
case; I don't like competition.
ALEX
Homicide task force still on it with
you?
DEMARKO
For a while, yeah.
ALEX
Well, you never know, if I came across
something in my travels...
Demarko sizing him up, focusing on Alex, trying to read him.
Finally:
DEMARKO
I'm going for a cup of coffee; I'll
be back in five minutes
(nods toward file room)
And don't look at that folder on
top of the cabinet.
INT. FILE ROOM
Alex reading through the homicide folder: complaint follow-up
informationals, serology reports, an autopsy.
Scanning this information, he slows at the last page of the
preliminary autopsy report.
CLOSE ON THE LAST PAGE
At the bottom, It reads:
CAUSE OF DEATH
Puncture wound of neck with transected internal
carotid artery. Massive hemorrhage.
HOMICIDE
AUTOPSY: DR. WILLIAM A. MINTZ
Associate Medical Examiner
CLOSE ON ALEX
puzzled by what he's just read.
INT. MIDTOWN SOUTH PRECINCT - HALLWAY
Alex strides down a hallway, into the men's room.
INT. MEN'S ROOM
Alex sees DeMarko moving away from a urinal. DeMarko zips up
his fly; Alex is washing his hands as DeMarko approaches.
ALEX
I don't get it. She dies from a stab
wound, something sharp punctures the
artery in the neck. She was cut open
EafterR she was killed?
DeMarko taps the soap container at the sink. Washes his
hands. They don't look directly at each other, but use the
mirror above the sink to converse.
DEMARKO
Better than that. There was blood
all over the walls of that place,
some freak ripped her open and then
splashed the shit over the walls.
Hands dripping, DeMarko reaches for a paper towel. Wipes his
hands. Alex is silent.
DEMARKO (cont'd)
...At the orifice of the vagina, creamy
white material is noted. Always gets
me. That's a euphemism. Has a certain
ring to it though, don't you think?
ALEX
What?
DEMARKO
You don't read so good, Rada.
(beat)
The autopsy. She had intercourse, too.
Must have been a hell of a night.
Demarko tosses the paper towel in he trash can. As he leaves,
he turns to Alex.
DEMARKO
It's not like the old days. All I
hear about is clearance rates, clearance
rates. Lieutenant's got a hard-on for
clearance rates. Don't screw me over.
You think being an ex-cop makes you family,
Rada?
(beat)
It does...EdistantR family. You got
something, you let me here about it,
okay?
DeMarko exits. Alex shuts off the water tap, stares at himself
in the mirror.
EXT. KATHARINE RAINES' APARTMENT BUILDING - NIGHT
CLOSE ON A DOORMAN
He is blowing a WHISTLE, hailing a cab.
PULL BACK TO REVEAL
Katharine and Alex near the doorman, both dressed to the nines.
Taxi pulls up. They get in.
INT. CAB - NIGHT
Katharine is smiling to herself. Alex notices.
ALEX
You all right? No problems, today?
KATHARINE
I'm fine.
(glances at him,
then away)
Fine, really.
The smile is infectious. Alex grins.
ALEX
No, come on, really?
Turning to him again, looking at his tux.
KATHARINE
You look...great.
ALEX
You expected something different,
right?
KATHARINE
(almost chiding)
Alex...?
ALEX
Maybe, I'm a little nervous, all
those high flyers going to be there.
KATHARINE
Take it from me, it doesn't make a
difference. Like who?
ALEX
Like the police commissioner for one.
Katharine laughs.
KATHARINE
(almost haughtily)
A very distant object at the purlieu
of the galaxy.
Alex looks over -- what did she say?
KATHARINE (cont'd)
(she takes note)
In other words, he's lucky he got
invited.
ALEX
Oh. I'll be sure and tell him that.
CAB DRIVER turns around.
CAB DRIVER
Looks pretty lousy here, how 'bout
I take Park?
ALEX
Yeah, fine. That's okay.
KATHARINE
Rada, you think you don't fit in
anywhere -- in its own way that's
arrogant. It gives you license to
dislike people like the Lynch's.
ALEX
And you.
KATHARINE
Maybe.
ALEX
I fit in...downtown. Downtown, nobody
tries -- that's why I like it. I belong
with people who don't belong anywhere.
KATHARINE
That's incredible self-pity.
ALEX
Why do you have to try to analyze me?
This started off really good.
EXT. CAB - PARK AVENUE - NIGHT
Bumper to bumper. The cab barely moves through the street
choked with traffic.
INT. CAB
Alex stares out his window, Katharine hers. The cab driver
HONKS the HORN, breaks the silence as he yells out the window
at the car up ahead.
CAB DRIVER
Move it! You from Jersey?!
(to Alex and Katharine)
You can't make money in this. I'd
rather park the son of a bitch and
get drunk.
ALEX
A man after my own heart.
Katharine looks over, a disapproving glare.
ALEX
(to Katharine)
You want to get out and walk?
EXT. PARK AVENUE - NIGHT
TRAVELLING
with Alex and Katharine. They walk in silence, occasionally
glancing at shop windows. Finally Alex:
ALEX
...Guess I didn't say it before, but
you, uh, look pretty terrific yourself.
(beat)
Look, I know this isn't easy for you.
You have a right to be scared and all...
KATHARINE
You trying to apologize, Rada?
He gestures, palms up.
KATHARINE (cont'd)
Probably the closest I'll come. I
accept. Tough ex-cop huh?
ALEX
Naw, I'm not tough at all.
KATHARINE
What about the ex-cop part?
ALEX
(putting his hands in
his pocket)
What about it?
They continue down the avenue. Alex takes in a deep breath,
lets it out.
ALEX
Got into an argument with a
robbery suspect. Only he had a
weapon...my weapon. He points it
in my face and I say to him, it's
all right, go ahead, I'll leave you
alone.
(derisive laugh)
I'm telling EhimR, and he's got
the gun, which is mine anyway.
So he starts to walk away, and I
don't know, I guess I'm angry so
I jumped him. We wrestle a little
and he shoots me -- point blank, in
my leg.
(beat)
They say I almost bled to death.
I don't remember. Just kept thinking
how come my leg is smoking. Eighteen
months of hospitals and physical
therapy I don't walk with a gimp. Just
retirement pay and a half-hearted
commendation.
He looks to Katharine. She slips her arm in his, feels
his guilt, embarrassment.
KATHARINE
That's past. Maybe you have to
leave it --
ALEX
-- in the purlieu, right?
KATHARINE
(nodding self-consciously)
Yeah...right in the old purlieu.
CUT AHEAD TO:
EXT. YORK AVENUE - NIGHT
They turn onto Sutton Place. We see a Federalist style
townhouse -- the Lynch's home.
As they approach, Alex sees a built in garage, notices
two cars: a limousine and a black sedan.
Katharine stops him, turns Alex toward her. She brushes off
his lapels, adjusts his bow tie.
KATHARINE
The Lynch's can be a bit overbearing.
Don't let it get to you, okay?
ALEX
Okay, captain. I'll need to
get into the kid's room. Downstairs?
About fifteen minutes. You cover for
me.
She pushes him toward the door, speaks rapidly.
KATHARINE
Do it before dinner. Please, please
don't get caught. Lord, I hope I
know what I'm doing.
INT. LYNCH TOWNHOUSE - LIVING ROOM - NIGHT
Before dinner cocktails. MOVERS AND SHAKERS, POLITICAL TYPES,
SOME of the LITERATI. High fashion. Drinking. Chatter.
In b.g. we see Alex and Katharine appear in the foyer. Etta
takes their coats.
INT. FOYER
Alex is self-conscious as he looks at the assembled. Katharine
smiles as Delaney Lynch approaches.
Delaney moves to Katharine, kisses her, steps back to observe
Alex.
DELANEY
And this is the mysterious new young
man.
KATHARINE
Delaney, this is Alex Rada.
Alex, Delaney Lynch.
ALEX
How do you do?
Delaney shows her best politician's smile. She's really
not pleased. The conversation is more like an admonishment.
DELANEY
We've had to change things a bit,
you know. But I see now it's all worth
it.
(to Katharine)
He's charming, Katharine. Delightful.
A VOICE from behind them: "Hello, Alex." Alex turns to see
Frank Willis, a drink in his hand. He's clearly had more
than his limit.
ALEX
(surprised)
Frank, what are you doing here?
FRANK
(glancing at Delaney)
I often wonder myself.
Delaney -- without missing a beat, smile unwavering.
DELANEY
Shall we go inside, we're missing
the party.
FRANK
I'd like to talk to my old friend
here.
DELANEY
Well, I think I'll steer Katharine
toward the bar.
KATHARINE
(a nervous laugh)
I'm all for that.
Delaney takes Katharine's arm, maneuvers her toward the
living room. Katharine turns her head toward the two men
as she moves, silently mouths something Alex can't make out.
FRANK
Well, old buck, you stole my date,
you know that?. How the hell are you?
ALEX
You and Katharine?
(puzzling this out)
Seldom get to these kind of affairs,
Frank. She does get around, Katharine.
FRANK
You're talking about the woman I
love.
Alex studies Frank, not sure he's serious.
ALEX
(flat; non-committal)
No kidding.
Frank slaps Alex on the back, a drunken gesture. Wraps his
arm around Alex as he leads toward the living room.
FRANK
We'll need to fortify ourselves
if we're going to greet the glorious
gliterati, note the alliteration.
INT. LIVING ROOM
As Alex enters, a deadly enemy appears -- the macaw.
It is perched in an elaborate mini-habitat, resembling
a tropical thicket. It eats some sort of berry, a
watchful eye on the proceedings.
ALEX
Well, that makes the set, the birdie's
here, too.
A WOMAN walks past Frank. A gentle half-bow as he moves out of
her way. He jostles Alex in the process, pushes him closer to
the macaw.
THE MACAW
a fluttering of wings, a COMMOTION. He lunges at Alex.
ALEX AND THE MACAW
This time he gets him, a beak digging into Alex's neck.
NEW ANGLE
Alex grabs his neck, crouches away from the bird.
ALEX
Shit!
(raises the back of his
hand toward the bird)
You dirty...
FRANK
You all right?
(quick pull on his
drink)
Medic!
A few of the guests gather around, ask if Alex is okay.
Delaney appears. Alfred strides over with Katharine.
Katharine looks to Alex as if to say, "Nice going, Rada."
DELANEY
Mr. Rada, I am sorry. Would
you like to have someone take a look
at that?
Before Alex can respond, Delaney turns toward Alfred.
DELANEY
Perhaps Griffin would be more
comfortable on his perch in the
study.
Alex is incredulous: The bird would be more comfortable?
Alfred Lynch sweeps the macaw onto his arm, caresses it.
ALEX
(no one's listening)
No, I'm okay, really.
ALFRED
(as he moves off)
Exile, I'm afraid, Griffin.
Alex looks around, dumbfounded. Finds Frank who wears a
shit-eating grin.
FRANK
(holds up his glass
toward Alex)
A question of priorities, old boot.
Katharine grabs Alex by the arm, whispers in his ear.
KATHARINE
Isn't the idea EnotR to draw attention
to yourself?
ALEX
(whispers back)
You never mentioned you and Frank
Willis.
KATHARINE
I told you I had a date. And who
do you think recommended you? Or
did you think I got you out of the
yellow pages?
ALEX
No. I'm not in the yellow pages.
ANOTHER ANGLE
Alfred stands beside the door of the study at the far
end of the room. He's waving Alex over.
ALEX
(spotting Alfred)
What does he want?
INT. STUDY
Books line the walls. A great oak desk dominates the room. On
the desk, a green tiffany glass lamp which gives the room its
illumination. The macaw sits on a simple perch.
ALFRED
(pointing to another
door)
You can clean up in there if you like.
There's some alcohol on the shelf.
Alfred moves over to the macaw, places his finger in its beak,
Alex glances around, crosses to the bathroom door.
ALEX
Nice little place you have to work
in.
ALFRED
(ignoring the compliment)
I understand you're a private investi-
gator, Mr. Rada.
A conversation mostly of blue smoke and mirrors. The two
are feeling each other out.
ALEX
And how do you understand that?
ALFRED
We're very close to Katharine.
Naturally, we're always interested
in her young men.
ALEX
Does that include Frank Willis?
ALFRED
Frank? We've known Frank a very long
time, Mr. Rada. We really don't know
you at all -- don't know the kind of
man you are.
(beat)
Frank, you see, is predictable --
that's the advantage of a press
spokesman. They're not paid to
think independently, just to repeat
what they're told.
ALEX
Frank used to be a hell of a reporter,
you wouldn't want to sell him short.
ALFRED
No, of course not. You knew Frank --
from the old days?
The two men stare at each other. A sense that Alfred already
knows the answer to this.
ALEX
...I used to work robbery unit in
the village when Frank was a crime
reporter. We had mutual interests.
He used to write a damn good story...
ALFRED
-- Writing is the last refuge of
a dilettante, Mr. Rada. Frank's
come to grips with life's realities,
as I'm sure you have.
ALEX
Meaning?
Alfred strokes the macaw's plummage, disregards the question.
ALFRED
You'd better take care --
(pointing)
of that scratch. I have guests to
attend to.
(as he leaves)
About Katharine? Best not to get
too involved.
INT. BATHROOM
Alex dabs at the scratch with a small towel. Stares at
himself in the mirror. He's surprised at how classy he appears
in the tux. He places the towel next to the sink, saunters out.
WE HOLD. He saunters back in. One more look at himself in the
mirror. As he adjusts his bow tie:
ALEX
...Bond. James Bond.
INT. STUDY
As Alex moves across the room, the macaw scrutinizes him;
Alex gives the bird a wide berth.
INT. FOYER AREA
Party in b.g. Alex checks to see if anyone is around. Makes
his way down a staircase. WE FOLLOW.
DOWNSTAIRS CORRIDOR
Several doors. He knocks on one, opens it. Looks
like the maid's room. Moves to the door across. Taps
lightly, peeks in -- biker posters, an unmade bed, a magazine
or two on the floor (maybe ESoldier of FortuneR or
EGuns and AmmoR).
INT. JIMMY DOYLE'S ROOM
Alex goes through a dresser, scans some books on a shelf,
generally examines the artifacts of Doyle's life.
He moves to a closet with a sliding door, partially opened,
pushes it open further. As he does --
A BLACK CAT
leaps out, scurries past Alex. Scares the hell out of him.
Alex jumps away, falls back on the bed.
ALEX
(soto; shaking his
head in disbelief)
What is this, Mutual of Omaha's
Wild Kingdom?
Gets up, again moves to the closet, examines it.
Uniforms and casual clothes, leather jacket, boots on
the floor. Next to them a metal case and a stack of painted
canvases.
Alex flips through them: very ugly, severe crap. He opens
the case. There are separations for brushes and what
appear to be tools.
CLOSE ON THE METAL CASE
Among the tools, several filed and sharpened screwdrivers of
varying lengths. Alex picks up one of the shorter ones, holds
it not like a screwdriver, but like an ice pick.
CUT AHEAD TO:
INT. DINING ROOM
Almost a state dining room: Gilt detail, silk drapery,
Baccarat stemware.
Dinner is in progress. WAITERS serve. Small talk among the
guests. Alex and Katharine close to the head of the table
where Delaney and Alfred are ensconced. Next to them,
Texas Congressman WADE PATTMAN and his WIFE. Frank sits next
to a DOWAGER type, a bit farther from the seats of power.
They all listen to a OSCAR RUCKELHAUS (a Kissinger clone)
expounding on the state of the world.
RUCKELHAUS
...Centripital and cetrifugal forces,
the great conflict of the 20th century.
Nationalism on the one hand, a new world
culture on the other -- and the
ineluctable upheaval left in its wake.
Leans in confidentially, as if he's surrendering a State secret.
RUCKELHAUS
...My own view is that is that
eventually the fundamentalists will
prevail. An end to Christendom -- to
Western civilization.
(looking around for a
concurring opinion)
Now, Katharine, I appeal to you,
don't you agree?
KATHARINE
Well, I hardly think we're presiding
over the destruction of the world...
WADE PATTMAN
-- Now, a course not.
KATHARINE
...But, instant communication,
the instant images of anarchy -- they
tend to become a self-fulfilling
prophesy. We dominate the world
media and we need to channel it in
our own interest...Or maybe, at some
point, Oscar's scenario actually
happens.
RUCKELHAUS
There, you see, I'm vindicated.
Katharine glances over to Alex, sees he's trying to appear
interested. Must think these people are from another galaxy.
She winks. He winks back.
WADE PATTMAN
Now, Oscar here's always puttin' these
things in those grandiose geo-PO-litical
terms. Never ran for county assessor.
If he had, he'd think more like Delaney
and me.
(puts his hand over Delaney's)
Concern with the family, yessir...that's
the ticket.
DELANEY
(mimicking him a bit)
Wade, I can't think of the last time
I did run for assessor.
WADE PATTMAN
Now darlin' when you get down to
Washington, the two of us are goin'
to make one hell of a pair. Maybe get
those folks in the White House a little
(holding up his fingers)
tintzy, wintzy bit nervous. We
just might put the fear of G0d into
those boys before we're done.
(to Ruckelhaus)
Now, no offense, Oscar.
(to Alex)
What about you, Mr. Rada?
ALEX
(astounded)
I, uh...
(beat)
...I think you're looking in the wrong
place.
(pointing his finger)
We've still got to worry about the
Communists, see. I haven't heard a
word about that. They're all over
the place. They're comin' back, it's
not over them. No matter what they say
the Russians down deep are still Commies.
(Katharine squeezes his
hand)
And I'll tell you what, if J. Edgar Hoover
were alive, it wouldn't be happening.
A drop dead silence. Wade Pattman finally chimes in.
WADE PATTMAN
Now, I think Mr. Rada's got something
there. I knew old J. Edgar, you know.
He was one tough old crow, wouldn't put
up with any KAY-rap from the left or
right...
(beat, turns to Alex)
...But ya see, Alex, when we all wake up to
that fine New York sunrise tomorrow...Well,
I have the distinct feelin' we're goin' to still
need an adversary. Don't matter much who. Iranians.
The Chinese. Hell, I never did care too much for
daamn French.
(Laughter)
DELANEY
It's not about ideology, it's about
power.
Looking to Alex, now. More than a blush of condescension.
DELANEY
Fear is a great motivator, Alex.
RUCKELHAUS
You are a Republican, Mr. Rada?
ALEX
(bewildered by the
attention)
Me? I'm not a joiner.
Waiters move in, serve a baked Alaska.
WADE PATTMAN
(about the dessert)
Well, look at that! Now isn't that
sumptuous.
RUCKELHAUS
(to Alex)
Wouldn't belong to a club that
would have you as a member? Ay,
Mr. Rada?
ALEX
No. I wouldn't belong to a club
that would have any members at all.
Peals of laughter.
WADE PATTMAN
Now remind me to let my speech writers
in on that one, Alex.
Alex looks around, mystified -- doesn't get the joke.
Puts his energy into eating the baked Alaska.
EXT. KATHARINE RAINES' APARTMENT BUILDING - LATE NIGHT
Katharine and Alex step under the canopy of the building, stride
through the entrance.
INT. KATHARINE'S APARTMENT - LIVING ROOM
They stand just inside the door, which has been replaced.
KATHARINE
Why so silent? You were a hit.
ALEX
(nods toward the door)
Nice job.
Katharine closes the door, she a bit tipsy. They regard each
other for a moment. Both a bit unsure.
Katharine takes Alex's hand, walks with him across the living
room, stops by a small side table next to the bedroom. She
reaches into a glass goblet, lifts out a spent round.
KATHARINE
(holding out the bullet
to Alex)
They found it when they replaced the
door. Heap big tip, no questions asked.
I thought it might be important; you
know, find the gun it came from?
ALEX
(flat, going along)
Yeah. I'll check into it.
KATHARINE
You didn't find a gun in Doyle's
room?
ALEX
No.
KATHARINE
Alex, he didn't do it, did he?
He examines the bullet, rolls it around between his fingers.
ALEX
...I don't know about you, but I'm
a bit loaded. At least they know
how to lay on the booze, the Lynchs.
Let's talk about it tomorrow.
(kisses her on
the forehead)
Good night.
Katharine moves closer, nestles up against him.
KATHARINE
Why is it I never seem to be able
to get a response from you?
(kisses Alex on
the lips)
...Goodnight...
Katharine stays close, touches the button of Alex's shirt,
lets her fingers linger over them.
ALEX
You wouldn't want me to take advantage?
She kisses him again. Leisurely allows her mouth to brush
against his before pulling back.
KATHARINE
No...I wouldn't want that. A man in
your condition...The advantage is all
mine.
Katharine pulls at his bow tie, undoes it. Alex takes her in
his arms. A long embrace. We see the dress slip from
Katharine's shoulders.
INT. KATHARINE'S BEDROOM - MORNING
CLOSE ON ALEX
The incongruity of sunlight bathing his stubbled face in an
angelic glow.
Alex awakens. Opens and closes his eyes. Turns to look at
Katharine next to him.
ANOTHER ANGLE
Alex reaches over, brushes back Katharine's hair. He kisses her
gently. Gets up.
INT. BATHROOM
Mirrored on three sides. Alex, a towel wrapped around his
waist, holds a toothpaste tube. Sticks his tongue out, examines
himself in the mirror.
Katharine stands by the door in a robe. Arms folded, she's
grinning. Enjoys watching him, catching him in that silly
act with his tongue.
Through the mirror, Alex sees her, smiles back. He also notices
the side of his neck -- the macaw bite, now a purplish mark
against his skin. He touches it, runs his finger along it.
A quick glance at Katharine, he turns, bolts from the bathroom.
INT. BEDROOM
Alex dresses in a rush. Katharine's at a loss.
KATHARINE
Hey!
ALEX
At the bar in the Plaza.
(hopping about as
he puts on a sock)
-- Doyle hated the damn bird.
He holds the bow tie in his hand, not knowing what to do with
it. Stuffs it in his pocket, then takes it out.
ALEX
(hands the bow tie
to Katharine)
Take care of this, I'll be back,
okay?
He hurries out.
KATHARINE
(yelling after him)
Rada...?!
EXT. 30TH. STREET - MEDICAL EXAMINER'S OFFICE - DAY
Alex, still in tuxedo shirt and pants, dashes up the steps.
INT. MEDICAL EXAMINER'S OFFICE - RECEPTION AREA
Checking a directory on the wall. Alex finds what he's
looking for, moves off.
UPSTAIRS CORRIDOR
We see Alex turn a corner, stride TOWARD CAMERA. He stops
in front of an open office door which reads: 'DR. W. MINTZ -
ASSOCIATE MEDICAL EXAMINER.'
Alex peers into a small office, sees a SHORT BALDING MAN man
in his late thirties. Long strands of hair from the side
are plastered down on top of his head. The office is cluttered.
Alex recognizes a kindred spirit.
INT. MINTZ'S OFFICE
Mintz is erasing something from a piece of paper. Alex
walks in, smiles, feels sort of at home. Mintz looks up.
ALEX
Dr. Mintz?
MINTZ
(pointing to himself)
Yes. Mintz, comma, William.
ALEX
Alex Rada.
MINTZ
Hello, Alex Rada.
ALEX
I'd like to talk to you about
an autopsy you performed.
Mintz leans back in his chair, waves his arm at a set of filing
cabinets.
MINTZ
Which one?
ALEX
I don't have a case number. It was
recent. A woman. Susan Blake.
MINTZ
(thinking; nods)
That one I remember. Beautiful woman.
MINTZ (cont'd.)
Bizarre. You do so many, you usually
forget. You insurance?
Mintz raises his eyebrows, ala Groucho Marx, points to
Alex's clothes.
MINTZ
Formal investigation?
ALEX
Sure, why not?
MINTZ
You guys are doing well these
days.
(shrugs)
Public record.
ALEX
I need your help. The forms'll take
me forever.
Mintz gets up. Gestures for Alex to follow.
MINTZ
Okay, Rada comma Alex, c'mon.
INT. AUTOPSY ROOM
A PATHOLOGIST washing up at a sink. A covered body on a table.
Mintz looks around, spots a circular drill. Turns it on. Alex's
eyes bulge -- bewildered horror.
ALEX
(nervously)
Hey, what, uh...you're not going to...
MINTZ
(waves him off)
No, no, no, relax. Let's go.
THE CORRIDOR - TRAVELLING
Alex points to the wound on his neck.
ALEX
I think the girl had the same mark.
MINTZ
I'll check the report. Take a look at
the pictures.
MINTZ'S OFFICE
The autopsy report and photos are spread out on the desk.
Alex and Mintz are going over them.
Mintz bends down, pulls some files off the top of a tiny
refrigerator, looks around for a place to put them. Hands them
to Alex, who places them on a chair.
Bending down again, Mintz opens the refrigerator, finds half
a salami. Grabs it and some bread. The WHIRRING of the
CIRCULAR DRILL, it slices through the salami. Mintz cuts
a few pieces, makes a sandwich.
MINTZ
Want some?
ALEX
I'll pass.
(pointing to photo)
See, here -- It's the same kind of
bite I have on my neck
Mintz eats his sandwich, looks over the autopsy report.
MINTZ
Okay...
ALEX
It's a bird bite, right? A macaw.
MINTZ
A bird with a hooked bill wouldn't
be inconsistent with the findings --
Maybe a parrot.
ALEX
And how long before she died did she
get the bite?
MINTZ
Hard to say, Alex Rada. Within,
oh, twenty-four hours of death.
Alex paces the small room, thinking.
MINTZ
(holding out sandwich)
Sure you don't want a bite?
ALEX
(waves him off)
Look -- could she have been brought
to the apartment unconscious, then
killed?
MINTZ
She was definitely killed in the
apartment --
ALEX
-- With a sharpened screwdriver,
maybe?
MINTZ
Or an ice pick. See?...Then that
extraordinary wound extending to
the symphysis pubis.
(showing Alex a photo;
he tries hard not to
look)
The contusions didn't cause death.
They were administered before, so it
wouldn't be inconsistent with the
findings.
ALEX
Is that a yes? She could have been
knocked unconscious somewhere else
and then killed in the apartment? --
Would that be consistent with the
findings?
MINTZ
If you put it that way -- yes.
ALEX
(brightening)
Thanks, Doc.
(about the sandwich)
You know, you should try that with
some nice Ukrainian bread.
EXT. FLOWER SHOP - DUSK
We see Alex exit the florist holding what appears to be a
a single flower wrapped in tissue paper. He no longer
wears the tuxedo shirt and pants; he is dressed (for Alex
anyway) normally.
INT. HALLWAY - KATHARINE'S APARTMENT BUILDING - NIGHT
Alex steps off the elevator, moves to Katharine's door.
He holds a flower, a single white rose -- the romantic sap.
He RINGS the BELL.
KATHARINE (V.O.)
...Who is it?
ALEX
It's me, Alex.
There is a long moment, perhaps muffled sounds from inside.
Finally, Katharine opens the door. She peers around the door,
doesn't look that happy to see him. She notices the flower,
opens the door all the way to let him in. Guilt written all
over her -- a kind of tenderness, too.
KATHARINE
Come on in, Alex.
INT. KATHARINE'S LIVING ROOM
ALEX
For you.
Hands her the flower, waits for a response. She can't make
eye contact.
KATHARINE
It's beautiful.
He moves to kiss her, she turns her head so the kiss is on her
cheek. Katharine strides off with the flower.
ALEX
What's the matter?
Lays the rose on a glass coffee table, turns to Alex.
KATHARINE
...About last night...
He can tell what's coming -- his defense is sarcasm.
ALEX
Don't bother, I understand. I just
work for you.
KATHARINE
(sharp)
-- That's not it -- and that's not
fair.
(beat, softer)
Look, Alex...you wouldn't want me...
I'm all confused, mixed up...You know
we'd kill each other. All that
constant bickering...
The bedroom door opens, Frank Willis appears.
FRANK
Hiya, Alex.
Frank looks to Katharine, he feels rotten about this.
KATHARINE
(annoyed, embarrassed)
Frank!
FRANK
Might as well get it over with,
Katie.
(to Alex)
Sorry, Alex.
ALEX
(staring at Katharine)
...You've been a busy little beaver.
She lets the remark slide.
Alex stands awkwardly, conscious of his hands, not knowing
what to do with them. Slides them into the pockets of his
coat.
KATHARINE
Frank, maybe Alex and I should talk
alone?
FRANK
Sure...Sure, Katie.
ALEX
(overlapping)
No, no, don't let me interrupt.
I'm just leaving.
Alex, trying to hide his feelings, moves to the door with a
kind of swagger. Katharine grabs him. She glances back at
Frank, who disappears inside.
KATHARINE
...Alex, I like you very much.
Very much...It's just that Frank
and I...It's comfortable, Alex. He
puts up with a lot. I just wasn't
really sure...until all this.
(a pause)
Last night was my...
ALEX
-- Fault? Is that what you're going
to say, fault?
KATHARINE
(stiffening now)
No -- I'll tell you what it is, Rada.
It's that I'm a sucker for decent guys.
Men who never quite push hard enough, men
who think they're tough, then let them-
selves get ripped apart inside because
they really care about something...only
they won't admit it, even to themselves.
(beat)
Decent guys, Rada...like you.
A long moment from Alex. He's unforgiving.
ALEX
You left out decent young girls.
Katharine's eyes narrow -- the hurt is there, but she won't
strike back.
KATHARINE
Okay, Alex...
(beat)
...Okay.
ALEX
And try this one on, lady. Your...
EfriendR...Susan Blake?...Alfred Lynch
did her, not the Doyle kid.
KATHARINE
(not certain she's grasped
what Alex has just said)
What? That's just crazy talk.
ALEX
Is it? We'll see.
KATHARINE
Alex, don't do anything stupid.
ALEX
You paid me to do a job. Like
you said, all I have to do is push
a little harder, right?
EXT. FIFTH AVENUE - FRONT OF KATHARINE'S BUILDING - NIGHT
Cars and buses. The glow from headlights. HONKING of HORNS.
Alex crosses the street toward Central Park. From behind,
Frank Willis catches up. They stand in the middle of the
avenue as traffic whizzes by.
FRANK
Look, Alex, it's just the way it is.
ALEX
Right, Frank.
Cars dodging them. Swerving. Honking.
FRANK
Can we at least talk about this
on the sidewalk?
ALEX
I don't give a shit -- you love
her?
FRANK
About the only thing I care about,
old buck.
Alex nods, accepts this. He walks across the street. Frank
waits for a car to pass, catches up again on the sidewalk
opposite.
TRAVELLING - ALEX AND FRANK
FRANK
...I want you to know something,
Alex. About Katie. I knew...about
her affairs -- about the Blake girl.
She wanted someone to find her. I
helped.
ALEX
Thanks for the business, Frank.
FRANK
You think I'm an A-number-one
putz, right?
Alex stops, pats Frank on the shoulder.
ALEX
It's been a long night all around.
I'm going to go home. Why don't
you go where you have to, Frank.
Alex again moves up the block, Frank begins to follow,
Alex waves him off.
FRANK
Alex...
ALEX
(turning toward Frank)
...Really, Frank.
Alex turns away. We watch him pad downtown.
EXT. ENTRANCE TO CENTRAL PARK - NIGHT
Quiet. Empty. A wall separates the entrance of the park
from the sidewalk. Benches line Fifth Avenue in front of
the wall.
Alex, disconsolate, is not sitting on a bench, but on top of
the concrete wall. He stares off at the apartment buildings
across the street.
WE HOLD ON ALEX.
EXT. - SUTTON PLACE - THE LYNCHS' TOWNHOUSE - NIGHT
A squad car SCREECHES INTO FRAME. Another and then another.
POLICE jump out, guns drawn. FLASHLIGHTS spray the darkness.
Sprawled out on the sidewalk in a drunken stupor is Victor.
He slowly attempts to get up as two cops approach. He staggers
toward the brick of the townhouse, tries to prop himself up
near a window.
THE FRONT DOOR
Etta looks out on this scene, half hidden by the partially open
door.
THE POLICEMEN AND VICTOR
They help him up. As they do, he pushes them away, spreads
his arms in a gesture as if to say, "Hey, I'm fine."
One hand holding a bottle, Victor thrashes about, knocks into
a window pane, breaking it.
A SHRIEKING BURGLAR ALARM SOUNDS
The policemen spin Victor around, grab the bottle, handcuff
him from behind.
THE FRONT STEPS
Another patrolman moves toward Etta.
POLICEMAN
(above the sound)
Shut it off! Can you shut it off?
Etta disappears. The patrolman waits.
A SQUAD CAR
Two policemen put Victor in the car, one tucks the back of
his head down as he pushes him into the back seat.
THE FRONT STEPS
The alarm has stopped. A cop talks to Etta.
ETTA
...Later. This is the Lynchs'. Mrs.
Delaney Lynch and Mr. Alfred Lynch.
Nobody's here now, later.
POLICEMAN
Yes, Ma'am. You be sure to turn that
alarm back on now?
ETTA
Don't you worry about that.
THE SQUAD CARS
They leave, SIRENS BLARING.
FROM THE SHADOWS
As the squad cars move out, Alex emerges from near an iron fence
overlooking the river. He sneaks toward another ground floor
window. With the sirens still blaring, he breaks the pane.
It can hardly be heard above the din.
He reaches in, unlatches the window lock, boosts himself inside.
INT. LYNCHS' LIVING ROOM
Alex moves about, pulls a flashlight from a pocket. In the
b.g. there is a faint light coming from the downstairs
quarters.
A STAIRCASE
leading to the upstairs bedrooms. Alex points the flashlight
toward them.
ALFRED LYNCH'S BEDROOM
Alex inspects the bedroom, looking for some connection between
Alfred Lynch and Susan Blake. Finds a gun in the night table,
examines it, puts it back.
THE FIRST FLOOR STUDY
going through the oak desk, filing cabinets, papers on a small
table. Nothing.
Alex sits in the leather chair behind the desk, glances to
the open window, thinking. Spots a few newspapers on top of the
desk, leafs through them casually. They are all out of town
papers: Utica, Syracuse, Albany -- all have articles about the
campaign.
A front page picture of Delaney Lynch in the
Buffalo Evening News, her staff behind her. Alex
notices something -- the long flowing hair of a woman
in the background of the photo. He opens a drawer of the
desk, then another. Where'd he see it? Finds the magnifying
glass he'd spotted.
INSERT -- NEWSPAPER PHOTO SEEN THROUGH MAGNIFYING GLASS
Susan Blake is clearly visible near Hal Rennert and Alfred
Lynch.
BACK TO SCENE
Alex folds the paper, stuffs it in his jacket. Places the
magnifying glass back in the drawer, it makes a sound as he
closes it.
Alex is up now. We HEAR a NOISE coming from the hallway.
Instinctively, Alex pulls his gun from the hip holster, unlocks
the safety.
From outside in the hallway:
ETTA
...Mr. Lynch?...Jimmy Doyle, is
that you...?
Alex lowers the gun down to his side, stands very still.
A long moment, then footsteps moving away from the study.
Satisfied Etta has gone off, Alex turns toward the window.
Listening carefully, he hears ANOTHER SOUND, this time from
within the study. Someone else is in this room.
Alex shines the flashlight toward the sound. He sees a
pair of SMALL BEADY EYES. Alex makes a move to the window,
bumps his knee on the desk, knocks his gun loose -- THE
GUN GOES OFF -- A CHILLING INHUMAN SCREAM next to him.
Frantically, Alex points the flashlight toward the floor,
grabs his gun. Leaps toward the window.
EXT. SUTTON PLACE - NIGHT
Alex running down the block, around the corner.
EXT. YORK AVENUE - NIGHT
Alex still running through the streets. Looks behind.
No one following. He stops to catch his breath. WE CAN
NOW SEE FEATHERS on his jacket, in his hair. He notices them.
Breathing heavily, he brushes them off. It dawns on him, a
slight smirk.
ALEX
Bye, bye, birdie.
INT. KITCHEN - LYNCH TOWNHOUSE - EARLY MORNING
Delaney and Alfred, both in robes, are up and about. Delaney
reaches for a bowl, places it on a counter. Alfred sits at
the table. They look tired.
Etta appears in the entrance to the kitchen, surprised to
see the Lynchs.
ETTA
(moving toward counter)
Mrs. Lynch...? I'll do that.
DELANEY
That's all right, Etta, I'll take
care of it this morning.
ETTA
Yes, Ma'am.
Etta exits. Delaney crosses to the refrigerator, retrieves
some butter and eggs along with a carton of orange juice.
DELANEY
Nothing was taken?
ALFRED
I don't think so.
DELANEY
Son of a bitch! Why would someone
do that? They were looking for something,
Alfred.
Moves to Alfred, pours him some juice.
ALFRED
What could they find? Don't let this
interfere with what we have to do.
Delaney crosses back to the counter. Heats a frying pan.
DELANEY
It was much simpler back when...remember,
making you breakfast in the house on
Legion Street?
(beat; thinking)
...They didn't have to kill Griffin.
It was planned. I'm telling you,
Alfred, this was planned.
Staring off now, Delaney CRACKS THE EGGS against the side of
the bowl. Lost in thought. A beat.
DELANEY
...That detective Katharine's seeing.
He thinks he has reason to be susp...
ALFRED
(interrupts)
Perhaps I should have a talk with
Mr. Rada. A meeting...to discuss
his future.
Beating the eggs in the bowl.
DELANEY
Yes. Yes. And I want Katharine with
me in Albany tomorrow.
CLOSE ON THE FRYING PAN
Delaney pours in the eggs, the pan sizzles.
ALFRED (V.O.)
Of course, it's really not our affair.
It's possible she may not see him
again.
A SUNLIT SKY BRACKETED BY TWO CITY SKYSCRAPERS - TILT DOWN TO:
THE WOLLMAN ICE RINK
A man sits on a bench. We MOVE IN CLOSER. It's Alex. He's
feeding pigeons from a brown paper bag. He holds a newspaper
under his arm.
SCHOOL CHILDREN parade past, all in the unifrom of some
private academy. Alex lingers on the bench, then moves to
the railing of the ice rink to watch the skaters.
Katharine Raines strides into view, stands next to Alex. He
doesn't look at her.
KATHARINE
Thanks, Alex.
ALEX
Anytime.
KATHARINE
I still feel as though...
ALEX
-- that's not what you wanted to talk
about, is it?
She takes a thick envelope from her coat, hands it to Alex.
KATHARINE
No, I brought you something.
Alex opens it -- a whole lot of money. He flips through the
bills, places the envelope in his pocket.
ALEX
(still watching skaters)
...You know, the other night at that
dinner party, I had a conversation with
Alfred Lynch in his study. I thought
he was trying to warn me off you...
but it was Susan Blake he was talking
about. I was a little slow.
KATHARINE
I just don't believe it. Let the
police handle it.
ALEX
(turning toward her)
The police? Why the police all of
a sudden?
KATHARINE
Take the money, Alex. It's finished.
(beat)
Just some freak...some crazy freak;
it wasn't Alfred Lynch.
CUT AHEAD TO:
A CENTRAL PARK PATH - TRAVELLING WITH ALEX AND KATHARINE
ALEX
...He wouldn't get his hands dirty.
(staring at her)
You forget what they did to her?
It was the Doyle kid, but he did
it for Alfred Lynch...for ELynchR.
When Doyle used to pick her up
downtown, he was driving her to see
your friend Alfred.
ALEX (cont'd.)
(beat)
And I've got news for you, Susan Blake
wasn't really missing, she was upstate --
with him.
KATHARINE
(uncertain)
How do you know that?
I read it in the papers.
Alex hands her the paper he carries under his arm -- the
copy of the EBuffalo Evening NewsR. Katharine stops,
studies the picture, looks to Alex.
KATHARINE
(still resisting)
...it doesn't prove he had her killed.
Why?
ALEX
Susan Blake had trouble letting go.
Maybe she was going to tell the
future Senator, or the papers. Maybe
Alfred got nervous...maybe he enjoyed
it.
KATHARINE
...Let me count the maybe's. You'll
need something more than a newspaper
picture and speculation about...
ALEX
-- Well, I'll let you know tonight,
Alfred wants to see me.
KATHARINE
(incredulous)
What?
ALEX
Right. Why would Alfred Lynch want to
see me, get some advice on a leveraged
buyout, maybe? I'll call you tonight...
KATHARINE
-- I won't be around tonight, I'm going
to Albany with Delaney -- the last
Veress debate. I want out, Alex.
KATHARINE (cont'd.)
I want the investigation finished.
(she turns to leave)
Just finish it now, okay?
Alex grabs her arm, takes out the envelope. He removes a
few bills, hands Katharine back the envelope with the rest
of the money.
ALEX
(a wry smile)
For expenses. Probably won't be
able to use the rest anyway.
(serious now)
What does that mean, 'you want
out?' -- That mean you don't want
to know...or that you already know?
INT. ALFRED LYNCH'S STUDY - NIGHT
An eerie glow. The only illumination, the light from the green
tiffany lamp on the desk.
Alex and Alfred sit across the desk from one another, staring,
not saying a word. Alfred's hands rest under his chin, as
if in prayer. Finally:
ALFRED
You can't seriously believe I had
something to do with this woman's death?
It's delusional, Mr. Rada.
ALEX
I think you were screwing her and you
had your boy Doyle kill her...that's
what I think.
Alfred doesn't react, his eyes betray nothing.
ALFRED
You saw her picture in a newspaper.
Lot's of women follow the campaign
around, that's hardly an indictment
for murder...Do you know I'm astonished
by you? You've got balls, all right.
Do you actually think you can challenge
me? In this town?
(beat)
I'll tell you this: Nothing is going
ALFRED (cont'd.)
to stand in the way of my wife's
election. You may not comprehend
this, Mr. Rada, but I hold your
future in my hands.
Alfred rises to his feet, moves to the now empty perch of the
Macaw, swings it slowly back and forth. He faces away from Alex.
ALEX
You wouldn't be threatening me would
you, Mr. Lynch?
ALFRED
(disdainful tone)
Not at all, Mr. Rada.
ALEX
You know I saw her, after.
(beat)
Her guts were in a puddle on the
floor.
Alfred turns toward Alex, just stares at him for a long
moment.
ALEX
Yeah...?
ALFRED
Someone broke in here last night.
Deliberately killed our macaw. It
was a vicious, spiteful act.
ALEX
Maybe the bird had enemies.
ALFRED
Are you trying to be clever, Mr.
Rada?
ALEX
(mimicking Alfred's
disdainful tone)
Not at all, Mr. Lynch.
A curl from Alfred's lip, not actually a smile.
ALFRED
You EareR interesting in your own way.
Do you know EPolitics Among NationsR?
I have it here somewhere.
Puts a hand in his pocket, moves to the bookshelf. Looks
for the volume. Can't find it.
ALFRED
In any case, it's the same among
human beings -- one nation...one
person, they're essentially irrelevant.
It's power that counts. Power,
Mr. Rada, is an elegant principle
of universal law, the less you use,
the more you accumulate.
(beat)
And if you EdoR use it and lose,
its evanescent nature becomes clear.
Alex stares blankly -- is this guy joking? A deep sigh from
Alfred, know he's not quite communicating. Tries the direct
tack.
ALFRED
-- What I mean, Mr. Rada, is that
if you go up against me, you better
be damn sure you can win.
ALEX
Well, Mr. Lynch, I'm going to give what
you said a great deal of consideration.
Yes sir...consideration.
ALFRED
(he does laugh --
in disbelief)
You are a ballsy son of a bitch.
(beat)
Know Cargill, Finch and Wells?
ALEX
Yeah, I know it. Big time law
firm. So?
.bp
ALFRED
They're looking for an investigator,
I'll arrange it for you. We'll call
it a lesson in power -- it enhances
mine and you get a chance to accumulate
a little of your own. I'd rather have
you on my side of the line, even though,
quite frankly, Mr. Rada,
(enunciating slowly)
you are one very small piece of shit.
ALEX
I appreciate the sentiment.
ALFRED
It's your life after all...think
about it.
EXT. SUTTON PLACE - NIGHT
Alex walks along the sidewalk opposite the Lynch townhouse.
Glances back over his shoulder, sees Alfred through the window.
He's framed by the glow of the tiffany lamp, working on papers
at his desk.
We follow Alex to the corner. Very little activity on York
Avenue. HEADLIGHTS of a black sedan switch on, the car rolls
toward Alex, gains speed as it pulls away from the sidewalk.
For a moment, Alex freezes. The car shoots by him.
Alex turns, again looks back toward the Lynchs' study. The
light has gone out.
INT. ALEX'S APARTMENT - NIGHT
Alex is on the phone with Detective Demarko.
ALEX
...I might have something for you.
You may not like...What? No, don't
worry.
(beat)
...Hey, DeMarko I need a little
favor...C'mon, would I do that? Look,
can you check on a drunk and disorderly
for me, up at the eleventh? The name
is D apostrophe A-M-A-T-O...Victor...
It couldn't have been much. If you
would...
A KNOCK on the door.
ALEX
(raised voice
toward the door)
Yeah, hold on!
(into phone)
...Yeah, pals, Demarko. Vagrants are
my life, right. Will you check?
Thanks, you're a prince...wha...
a few days, okay. Right.
Hangs up. Rises.
ALEX
Who is it?
From behind the door.
VICTOR (V.O.)
It's me, Alex -- Victor.
Moves to the kitchen table, picks up a glass decanter of gum
drops with a small ribbon attached. Alex strides toward the
door.
ALEX
I was just talking about you.
(as he opens the door)
Got you something...
THE OPEN DOOR - CLOSE ON VICTOR'S FACE
His eyes bulge, a screwdriver planted in his neck. Victor
clutches at it, falls toward Alex.
ALEX
stunned, catches him with one hand, still holds the decanter in
the other.
FROM BEHIND THE DOOR - JIMMY DOYLE
Holding another sharpened screwdriver, plunges it toward
Alex's face. Instinctively, Alex holds up the decanter --
it blocks the weapon. The decanter is shattered, the
contents spilling over the floor.
ALEX AND DOYLE
Doyle lunges at him again, but he slips over the gum drops
on the floor. Falls. Sprawled on his back.
Alex tries to lay Victor down gently, kicks at Doyle at the
same time. Alex catches him square in the face, Doyle writhes
in pain.
ALEX'S HIP HOLSTER
He reaches for his gun, pulls it out.
DOYLE
on the floor, lashes out with the screwdriver, stabs Alex in
the leg.
ALEX
as he screams in pain, "Son of a bitch." Tries to aim the gun
at Doyle.
DOYLE
scrambles up, runs out the door.
ALEX
down on one knee now, holding his leg. Looks to Victor, turns
him over. Nothing he can do for him anymore.
Alex is up, half running, half hobbling out the door, down the
stairs.
ON THE AVENUE
Alex spots Doyle running up the block. Braces himself and
points his weapon. People near him scatter. He squints,
can't quite see. Too much of a crowd up ahead anyway.
Takes off after Doyle, forgetting his leg. We can see
the blood drenching through his pant leg.
RUNNING THROUGH THE STREETS
past street peddlers pushing their wares, past outdoor
fruit stands still open -- not getting much closer to Doyle.
Alex sees him turn down a side street.
THE SIDE STREET
Much quieter, no one about. We HEAR GLASS SHATTERING
in the distance. Alex stops, listening for it again.
He moves past the Ukrainian church we've seen before,
toward a row of tenement buildings.
THE STEPS OF A TENEMENT BUILDING
Alex peers in toward the entrance -- the inner glass
door has been shattered. Not all that unusual in this
neighborhood.
TENEMENT BUILDING - GROUND FLOOR
Inside, Alex checks the hall. Gun drawn. He moves cautiously
toward the stairs. Climbing up slowly, he feels his leg for
the first time, reaches around to touch the back of his pants.
Stares dumbly at his bloodied hand.
THIRD FLOOR LANDING
Alex hugs the wall, quickly moves out into the light. Points
his gun toward the landing above. No one there.
THE DOOR TO THE ROOF
Alex on the last set of stairs, pushes through the door.
THE ROOF
We PAN the roof area -- unused brick smoke stacks, a flat
tar-papered surface with no barrier at the roof's edge;
no connection to the next tenement building, or to the
Ukrainian church on the other side.
Alex listens for a sound, can't hear anything but vague
traffic noises below -- maybe Doyle is not here.
Alex turns to leave, opens the roof door. As he does, from
above the roof door --
AN ARM
slashes out, rips through Alex's jacket.
ALEX
clenches the arm, rips Doyle down from above the door.
DOYLE
on his back, a gun pointed in his face. We HEAR a CLICK
as the A-90 is cocked.
CUT AHEAD TO:
THE EDGE OF THE ROOF - ALEX AND DOYLE
Alex holds Doyle by his hair, the gun is pointed not at
Doyle's head, but pressed against his crouch.
ALEX
(pulling hard on
Doyle's hair)
Tell me what I want to hear, you fuckin'
little cum stain or -- You - Are - Dead.
DOYLE
You want to know if I killed the bitch,
too? Yeah. You think I'm afraid of dying,
man? Not like your friend. Pissed in his
pants.
(beat; taunting Alex)
It was my idea to rip her open -- And
the blood all over the walls, too...
(almost an ecstasy)
...It was majestic.
Alex pulls Doyle's hair tighter, holds him over the edge of
the roof -- we can see the church steps, the street far
below.
DOYLE
(contemptuous,
challenging Alex)
I fucked her, Rada...after.
Alex. Losing it. Shouting now.
ALEX
Why did you bring her back to that
apartment!?
DOYLE
I do what I want, I do what I'm
told. Fu -- cking majestic.
ALEX
By Lynch? Alfred Lynch told you!?
Doyle spits at Alex, shakes his head loose from Alex's grip.
Spreads his arms out as if to fly. Pushes off the roof.
As he falls backward toward the street below:
DOYLE
(laughing and yelling
as he plummets)
Yeah! Lynch! Fuck you!
Alex leans over the edge, watching him fall. We can make
out a figure walking down the church steps.
THE CHURCH STEPS
The figure is Father Stefanyk. He glances up as Doyle crashes
onto the church steps next to him, landing with arms out-
stretched in the shape of a cross. Father Stefanyk looks
to the body, toward the sky, toward the body again. He kneels,
crosses himself.
INT. DETECTIVE DEMARKO'S DESK - MANHATTAN SOUTH PCT. - DAY
Lots of activity. Demarko has a folder open. Alex is next
to him
DEMARKO
Forget it.
ALEX
She was knocked unconscious and then
brought back to that apartment --
EthenR she was killed.
DEMARKO
You got something that isn't old
news?
ALEX
Why did Doyle go to all the trouble
to bring her up there? He could have
did her and dumped the body anywhere.
DEMARKO
What the hell does this have to do
with Alfred Lynch?
ALEX
Susan Blake had a lover, a lover
that paid for that place -- maybe
Lynch didn't know who it was, but
he was going to lay it on whoever
was keeping her...and he was going
to leave it to you to find out who.
Then I came along and screwed things
up for him.
DEMARKO
In the first place, Susan Blake
paid for that place every month,
with her own checks.
ALEX
Yeah, so where did she get the money?
DEMARKO
...Maybe she earned it. Look,
Rada, you don't really think I'm
going to arrest Alfred Lynch --
EAlfred Lynch yetR, on some
cockamamie theory about a lover
and why the Doyle kid does the
girl in her own apartment? The
Doyle kid was a freak show --
he was into whaddaya call it,
uh, performance artwork -- that's
why he does her there with all the
blood...like a ritual, see?
ALEX
Doyle admitted it was Alfred Lynch.
DeMarko shakes his head, grimaces. Speaks to Alex as though he
were incapable of comprehension.
DEMARKO
Do you know if I arrested Alfred Lynch
on the basis of what you've been saying
they'd have my shield. EAt bestR,
DEMARKO (cont'd.)
I'd be doing dispatch duty at the
borough, answering phones -- giving
out log numbers all day. I don't want
to do that.
Alex leans on the desk, grabs a pencil from several in a mug,
starts tapping the pencil on the desktop as he listens.
DEMARKO
Now, this case is closed. The lieutenant
says it's closed, the assistant chief
says it's closed and I say it's closed,
okay?
ALEX
Okay, DeMarko, but let me guess?
Nothing to the press until EafterR
the election, right?
DEMARKO
(defensive)
That's the way it's coming down, yeah.
There are some loose ends, some paper
work, sure -- so?
ALEX
Right. After the election.
DEMARKO
Rada, what are you knocking your head
against? It doesn't work. And where
the hell is this so called lover --
you got absolutely nothing.
Alex looks to Demarko, realizes he's right. Sticks the pencil
back in the mug, gets up, strides for the door.
DEMARKO
(yelling after him)
Hey, Rada, where you going?
...Albany.
EXT. ALBANY AIRPORT - EVENING
A commercial flight lands, taxis towards a gate.
INT. AIRPORT
Alex moves though the airport with other passengers.
EXT. ALBANY MARRIOTT HOTEL - EVENING
A cab pulls up. Alex get out, enters the hotel.
INT. SITTING AREA - DELANEY LYNCH SUITE - MARRIOTT - EVENING
Delaney and her campaign aides. Last minute details on the
Peter Veress debate. Clipboards. Pacing. Jokes.
DAVID GARTH
...Sure, from his perspective he has
nothing to lose.
DELANEY
I want to grind him, go over sixty
percent on Tuesday.
HAL RENNERT
We may be vulnerable on the crime issue,
he'll do the prosecutor Veress number.
DELANEY
That sounds like a Frank Willis remark.
(glances over to Frank,
smiles)
I think I can hit the curve ball, Hal.
Just throw back the statistics at him.
Nobody's going to be listening to
Peter Veress anyway, they're all going
to be watching for that little tic.
Some laughter. Except for Katharine. She seems preoccupied.
HAL RENNERT
Every one of those little babies is
worth at least a half a percentage
point. Press guys have a pool on
how many.
More laughter.
DELANEY
(checks around)
That everything? Okay, guys, I'd like
to relax a little.
Frank, Hal, David Garth and a FEW AIDES start packing up.
Katharine lingers, moves to Delaney.
DELANEY
Katharine?
KATHARINE
Maybe this isn't the best time?
DELANEY
What's up?
Delaney strides toward the bedroom portion of the suite.
Katharine follows. The men file out the door toward the
hall.
KATHARINE
Alfred met with Alex Rada yesterday.
DELANEY
Alfred's gotten him a position at
Cargill, Finch.
KATHARINE
What? You're joking? Alex Rada?
INT. SUITE BEDROOM
Delaney sits at a dressing table, turns toward Katharine.
DELANEY
I believe so.
(beat)
He's accepted. We thought that's what
you'd want.
INT. HALLWAY - MARRIOTT HOTEL - EVENING
Alex moving down the hallway toward the suite. Spots the boys
coming out. They acknowledge him. Frank does a double-take.
FRANK
Alex. What are you doing here?
ALEX
Katharine in there?
Frank grabs Alex by the arm. Alex shoots him a look. Frank
lets go.
FRANK
Let me buy you a drink, Alex.
ALEX
(hesitates; nods)
Sure. Later, Frank, okay? I'll meet
you in the bar.
The last one out of the room is David Garth. Alex pushes past
him and into the suite.
INT. SUITE - SITTING AREA
Alex doesn't immediately see anyone. He walks to the bedroom
door, spots Delaney and Katharine inside.
INT. BEDROOM AREA
Delaney rotates her neck, as though she is tense, tired. We
see Alex in b.g.
Delaney presses her fingers against the muscles of her neck,
stares at Katharine, almost nostalgically. Through the mirror
on the dressing table:
DELANEY
I've always wanted the best for you,
Katharine...
For the first time we see a softness in Delaney's eyes.
DELANEY
...One last time?...like it used to
be...
(beat)
...massage my neck?
Katharine moves her hands to Delaney's shoulders, feels the
taut muscles. She does this apprehensively, and with a curious
detachment -- an involuntary act which she has done before.
Her motion stops. Katharine turns toward the bedroom entrance.
Alex. She sees him. Startled. Delaney now turns, too.
ALEX
What's the matter, don't you recognize
your old friend?
KATHARINE
Alex!
Alex -- staring at the two of them for a long moment.
Comprehending more than Katharine does.
ALEX
(to Katharine)
...You're a real mess, honey.
He moves into the room, glares at Delaney.
ALEX
(to Delaney)
It was you, wasn't it?
(a derisive laugh
to himself)
Had the wrong Lynch. Doyle was
picking her up for you...EYouR and
Susan Blake, not Alfred.
Katharine -- confused, frightened. Pushing not to show it.
KATHARINE
What is he talking about?!
ALEX
(to Katharine)
The senator EdesignateR here wanted
to hang Susan Blake's other lover.
When she found out it was you, it
was a whole other story.
(staring hard at
Delaney now)
She tried to scare you into leaving
for a while, or at least have me
called off. -- Damage control was
better downtown than with me, right
Senator?
Delaney doesn't respond. Alex glares at the two of them,
then turns for the door.
ALEX
(as he moves)
By the way, you're going to need
a new chauffeur. Doyle's dead.
...Have a nice debate.
Katharine watches Delaney through the mirror. Realizing.
DELANEY
(using the mirror
to converse)
Katharine? I would never hurt you,
you know that. Just as you would
never hurt me.
A wave of revulsion washes over Katharine's face. She holds
a moment, then storms out of the room.
Delaney casually reaches for a brush, about to stroke her
hair with it. SLAMS it down on the dresser. Rushes to catch
up with Katharine.
INT. SITTING ROOM
DELANEY
Katharine!
(checks herself; softer)
Katharine, you needed a rest -- You
need one now. I'm sorry about Susan
Blake. If Jimmy...whatever Jimmy Doyle
did to her, it's over now.
(beat)
Katharine, we're on our way.
KATHARINE
You knew her.
DELANEY
Yes, I knew her. She was around the
campaign, you know that.
KATHARINE
You bitch! Jimmy Doyle. It
was you -- Susan wouldn't let go...
she told you, what? -- that she'd make
it public? She wouldn't have, you
know. She never would have.
(beat)
All she wanted was someone who'd care
about her -- someone who wasn't after
something. Susan needed decency in her
life, there was never enough of that
around...and you're incapable of decency.
DELANEY
(hard)
It's you that doesn't understand.
She was a duplicitous little tramp
who'd do anything for her own benefit.
She played a good game, Katharine. She
fooled us both -- Don't you see I'd
have too much to lose?
KATHARINE
What've you done!?
DELANEY
You're confused. I haven't done
anything.
A frozen beat. Stunned monotone from Katharine.
KATHARINE
You're not even contrite, are you?
DELANEY
Contrite? What would you like me to
be EsorryR about?
(beat)
Contrition is bullshit.
EXT. ALBANY CONFERENCE CNTR. - THE ROCKEFELLER COMPLEX - NIGHT
An area once known as the mall. State buildings surrounding
a long rectangular wading pool. Desolate at night. This is
the site of the Lynch-Veress debate.
Two solitary figures set against the marble backdrop of
the buildings, gusts of wind blowing an occasional bit
of trash past their feet.
CLOSE ON - ALEX AND KATHARINE
KATHARINE
No one is going to believe you. First
you say it's Alfred, then you say
Delaney -- and what proof is there?
Who's going to buy it?
ALEX
No one has to buy it, Katharine. You
can take it away from her -- the
election is the most important thing
in her life -- and all you have to do
is pop the lid.
Katharine folds her arms, glares at her own reflection in
the pool.
ALEX
Just say you were once Delaney Lynch's
lover, that you knew she was having
an affair with the girl that got killed.
(beat)
How do you think that would play?
KATHARINE
I didn't know about Susan and Delaney.
ALEX
You do now.
Lights and a crowd coming from a building known as 'The Egg.'
THE ENTRANCE TO THE EGG
Photographers and press follow Delaney and her entourage from
the building. She's all smiles. Lots of NOISE. Lots of:
"How'd you think you did?"; "Did you win that one, Delaney?";
"Remember me on Tuesday"; etc.
Cars pull up, Delaney and the entourage get in. Frank Willis
spots Alex and Katharine by the rectangular pool.
RECTANGULAR POOL AREA
Alex and Katharine watching as the lights fade, as the
crowd disperses. Frank slowly moves toward them.
The three of them together now. The wind whips up, chilled
by the marble and the desolation.
WE HOLD.
CLOSE ON A MINI-CAM
As we pull back, we can see the electronic and print press
at a news conference. We are in a conference room at the
Albany Marriott.
Frank Willis moves to a podium. He hasn't gotten much sleep.
Katharine waits in back. Some REPORTERS sit, others stand.
WOMAN REPORTER
Frank, is this going to be official?
FRANK
(sullen)
Dr. Raines has a statement. We're
not going to be taking questions.
REPORTER #2
C'mon, Frank, let's have a little
cooperation.
FRANK
Dr. Raines is going to read her
statement.
NOISE AND ACTIVITY from the press corp.
FRANK
If you'll be quiet boys and girls,
we have a statement.
Frank nods toward Katharine. She approaches the microphones.
INT. LOBBY AREA - OUTSIDE CONFERENCE ROOM - MARRIOTT - DAY
(The scene should have a documentary, HAND-HELD CAMERA feel.)
Buzzing with activity. Reporters scurry in the background.
Cables hastily strung about. A GABE PRESSMAN TYPE readies
a stand-up. A reporter near him looks into a small monitor
near his feet. (THE DIALOG IN THE SCENE OVERLAPS).
GABE PRESSMAN TYPE
...Do we have a feed?
WOMAN REPORTER
Okay, let me know when you're ready.
Another reporter next to her, holds a mike and presses a
finger to his earpiece. He's on air.
ON-AIR REPORTER
-- It looks that way. The disclosure
by an aide to Delaney Lynch has apparently
crippled this campaign, Tom.
We see LIGHTS TURN ON AND OFF, other reporters, other sound
bites like: "So close to the election"; "...a disaster for
this campaign"; etc.
CAMERA SLOWLY PULLS AWAY from this scene.
DISSOLVE TO:
INT. CARGILL, FINCH AND WELLS OFFICES - DAY
Alex, his back to us, stares out the window. He wears a
suit.
ALEX'S POV - THE STREET BELOW
A few floors up. Across the street we see the New York
Public library. Outside, in front of the building, a limousine
pulls up. A chauffeur opens the door for the man in back. The
man is Alfred Lynch.
NEW ANGLE
A SECRETARY walks in.
SECRETARY
Mr. Lynch is on his way up to see
Mr. Wells. Will you be joining them?
Alex turns toward the secretary. HE IS WEARING GLASSES.
ALEX
No, I don't think so.
SECRETARY
It's a shame about Mrs. Lynch. Awful,
isn't it?
ALEX
Yeah, Awful.
He moves to his desk, sits down. The secretary points to
some boxes.
SECRETARY
Can I help you unpack?
ALEX
Don't bother, I won't be here that long.
She gives him a strange look, shrugs, exits.
Alex gazes out over the street to the library, to the
stone lions guarding its entrance. Lost in thought. He
watches a group of school children from some private
academy marching up the steps, all in uniform, all in
unison.
FADE OUT



THE END