Frequency (2000)
      
Directed byGregory Hoblit
      
Written by Toby Emmerich

Dennis Quaid .................. Frank Patrick Sullivan
James Caviezel ......................... John Sullivan
Shawn Doyle ............................. Jack Shepard
Elizabeth Mitchell .................... Julia Sullivan
Andre Braugher .......................... Satch DeLeon
Noah Emmerich ........................... Gordo Hersch
Melissa Errico ....................... Samantha Thomas
Daniel Henson .............. Johnny Sullivan (6 Years)
Jordan Bridges ......................... Graham Gibson
Stephen Joffe ................. Gordo Hersch (8 Years)
Jack McCormack ................... Commander O'Connell
   
The Child is the Father of the Man.
   
                                    WILLIAM WORDSWORTH
   
...the theory of black holes was developed before
there was any indication from observations that they
actually existed.
   
I do not know of any other example in science where
such a great extrapolation was successfully made
solely on the basis of thought.  It shows the
remarkable power and depth of Einstein's theory. 
There is still much we don't know, such as what 
happens to objects and information that fall into a
black hole.  Do they reemerge elsewhere in the
Universe, or in another universe?  And can we warp
space and time so much that one can travel back in
time?  Maybe someone will come back from the future
and tell us.
   
                                       STEPHEN HAWKING
   
   
     FADE IN:

     THE LEGEND READS: OCTOBER 10TH

 1   EXT. MANHATTAN BRIDGE - PREDAWN -                              1   

     Darkness.  Headlights bounce off thick sheets of RAIN.  6,500 
     gallon Esso OIL TRUCK barrels over wet studded pavement, 
     heading towards Manhattan.  It's going fast.  Too fast.

     Up ahead...at the BASE OF THE BRIDGE:

     A large reflective sign - lit up by arc lights: MEN AT WORK.

     There are TWO WORK CREWS, several hundred feet apart.

     THE FIRST CREW is CON ED.  A corrugated vacuum tube feeds 
     into an open MANHOLE.  A WORKER drops into the hole.

     THE SECOND CREW is CONSTRUCTION.  They're at the apron of 
     the bridge securing lumber supports for the roadbed.

     It's late and the men are tired.  A mistake is made.  A FORK 
     LIFT loaded with LUMBER fails to negotiate a turn...whacks 
     into an abutment...spilling its load onto the roadway.

     Bad timing, because right now that Esso OIL TRUCK hits the 
     OFF RAMP.  Not a lot of time for the driver to react to a 
     roadway spewed with lumber.

     He does his best.  Slams the brakes, spins the wheel, hits 
     the horn, but it doesn't matter: 18 wheels skid across the 
     blacktop - spitting thick smoke and burnt rubber, lifting 
     off the slick pavement...twisting...flipping...hemorrhaging 
     oil from its ruptured tanks...grinding its way towards...

     MEN AT WORK.  Seconds to react as an 80,000 pound juggernaut 
     of death plows through parked cars like paper...crushing the 
     Con Ed equipment...lurching to a halt on top of the MANHOLE.

 2   EXT. FIRE STATION - 9TH BATTALION - CONTINUOUS                 2   

     TWO FIRE TRUCKS (1000 Gallon Pumper and Mack Tiller Ladder) 
     pull into the street.

 3   EXT. LADDER TRUCK JUMPER SEATS - MOVING - CONTINUOUS           3   

     SIRENS wail, cherry tops spin.

     FRANK SULLIVAN, 40, is strapped into an open-air jumper seat.

     A real life hard charger, Frank is the kind of iron man fire 
     fighters want coming in after them, should they get caught 
     in harm's way.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 2


     Kind-hearted and hard-fisted, he has the grace and courage 
     of a man living by his convictions.

     Across from Frank sits GRAHAM GIBSON, 20.  A good-looking 
     African-American, "Gib" is a Fire Fighter Fourth Grade, a 
     tank man... and one nervous probie.

     Through a window into the CAB, we SEE LT. BUTCH FOSTER, 50, 
     on a walkie-talkie.  A beefy old pro who's been through more 
     fires than he can remember.

     A walkie-talkie sits in a cradle between Frank and Gibson.

                           BUTCH'S VOICE
                    (through walkie-talkie)
               ...oil all over the street.  Cracked 
               water and gas mains.  Four companies 
               coming in...

     Butch's voice continues as Frank calmly absorbs the 
     information, while at the same time.

                           FRANK
                    (re: rain)
               Oh, man.  Hope it ain't like this in 
               Baltimore tomorrow.

                           GIBSON
               Baltimore?

                           FRANK
               The game, Graham.  The Series?

     Gibson taps his wristwatch.

                           GIBSON
               Oh, yeah.  Damn.  My watch is busted.

                           FRANK
               Hey, Rookie.  Be cool.  Just stay 
               with me.  This is what we do.

                           GIBSON
                    (still tapping his 
                    watch)
               I seem nervous, huh?

     Frank laughs.  Gibson grins, relaxes a bit.  Frank checks 
     his ROLEX DIVER'S WATCH.  Multiple SIRENS fill the dawn.

                           FRANK
               It's 5:30, Gib.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 3


                           BUTCH'S VOICE
                    (through walkie talkie)
               ...two Con Ed men trapped in an 
               underground electrical conductor 
               vault.

     Frank's eyes harden.  His game face sets up.

 4   EXT. MANHATTAN BRIDGE - CONTINUOUS                             4   

     A tableau of impending danger.  Thick black OIL bleeds from 
     the truck onto the street...pouring underneath the rig...and 
     into the MANHOLE.

     POLICE urgently cordon off the area, evacuating the workers.

     EMERGENCY PERSONNEL deal with the badly injured TRUCK DRIVER.

     Firemen wedge sandbags between the hull of the truck and the 
     three-quarters covered manhole -- trying to divert the oil 
     away from the underground vault.

     FIRE COMMANDER O'CONNELL yells at his men to finish the job 
     and get the hell away.

     The BIG TRUCKS ARRIVE.  PUMPER ENGINE and Frank's LADDER 
     TRUCK -- rapidly guided into position by men on the ground.

     Frank, Gibson, Butch and the rest of the unit are on the 
     ground instantly and ready for orders.  They are looking at 
     a nightmare ready to happen.  Frank takes in everything.

     FIRE COMMANDER O'CONNELL and a CON ED SUPERVISOR approach.

                           BUTCH
                    (deep irony)
               A fun one.

                           FRANK
               Yep.

                           COMMANDER
               We got high voltage cables ripped 
               loose in the underground.  They hit 
               water, that fault's gonna arc.

     Frank looks at the tanker over the manhole.  There is now 
     nobody around it.

                           FRANK
               Why haven't they killed the juice?

                           SUPERVISOR
               Switches are shorted out.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 4


                           FRANK
               You're shitting me!

                           SUPERVISOR
               Wish I was.  Oldest part of the system 
               down there.  We're on it, but it's 
               gonna take awhile.

                           FRANK
               We gotta go underground.  Get those 
               guys out, now.

                           SUPERVISOR
               We tried.  Bulkhead door's rusted 
               shut.  Won't budge.

                           COMMANDER
               The block is being evacuated.  I 
               don't want anybody... including our 
               boys...within fifty yards of that 
               tanker...it's a fucking bomb.

     Frank has been staring at the capsized rig.

     Butch knows what he's thinking.  But it's too late.  Frank 
     is gone...slogging through the oozing oil to the hull of the 
     tanker.  He kneels over the three-quarters covered manhole, 
     using a flashlight to peer into the darkness below.  Sparks 
     from the loose cables spit off flashes of light as the cables 
     hiss and slap against the ceiling and walls of the vault.

                           FRANK
               This is the Fire Department.  Frank 
               Sullivan.  You guys okay?

     CON ED WORKER #1'S VOICE

     Please man, you gotta get us out of here...

                           FRANK (CONT'D)
               That's exactly what we're gonna do.

     And Frank is up, heading for his truck, signaling Gibson.

                           FRANK (CONT'D)
                    (yells to Con Ed 
                    Supervisor)
               How do we get to the vault door?

                           SUPERVISOR
               There's a manhole at Canal and Bowery.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 5


                           BUTCH'S VOICE
               Forget it, Frank.  No way you reach 
               those men in time.

     Frank grabs a "halaghan claw tool" and a walkie-talkie.

     Gibson nervously picks out two helmet lights...and they are 
     off and running.

                           FRANK
                    (yelling back)
               I can do it, Butch.  Me and my 'tank 
               man' here.

                           COMMANDER O'CONNELL
                    (to all, and into 
                    walkie)
               Start spraying down the street.  Let 
               me know when we are fully evacuated.

 5   EXT. MANHOLE - CANAL & BOWERY - CONTINUOUS                     5   

     Frank uses the "adz" to rip open the heavy manhole cover.

 6   INT. MANHOLE TUNNEL - CONTINUOUS                               6   

     Frank and Gibson descend into the tunnel, strap lights on 
     their leather helmets to illuminate the damp darkness.  They 
     race down the subterranean passage.  The stench is thick.

     Butch's voice suddenly booms out of the walkie-talkie:

                           BUTCH
                    (via walkie)
               Frank, you hear me?  Frank?

                           FRANK
                    (into walkie)
               Yeah, Butch?

                           BUTCH
                    (via walkie)
               The gas level is getting serious.  
               The underground's combustible - it 
               could flashover.  I want you to abort!  
               Now!  Get the hell out of there!

     Frank picks up the pace.  Charges ahead.  Guy's got balls.

                           GIBSON
                    (into walkie)
               Frank.  We gotta go back.  Frank...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 6


                           FRANK
                    (calling back to him)
               Stay with me, Gib.  We're gonna do 
               this.

                           GIBSON
                    (charging after him)
               I should'a been a fucking mailman.

     Frank reaches the rusted 'submarine-like' VAULT DOOR.  Pounds 
     on the door... a faint response.  He goes to work on it with 
     the halaghan tool.  Gibson arrives...pretty rattled.  Frank 
     gives him a wink and a smile.  It's gonna be okay.

                           BUTCH
                    (via walkie)
               Frank, where are you?

     Frank digs down, suddenly the DOOR GIVES WAY Oil and water 
     rush from the VAULT, pouring over Frank and Gibson, foaming 
     into the tunnel.  But the door is mounted three feet off the 
     ground.  There is still three feet of oil and water trapped 
     inside.  And the smell of gas is now overwhelming...

                           FRANK
                    (into walkie)
               We're in, Butch.

     Frank probes the dark vault with the FLASHLIGHT BLADE.

     Through smoke we see TWO MEN huddled in the corner, trapped 
     by three loose 'HOT' CABLES - WHIPPING AROUND THE TINY VAULT 
     LIKE AN ELECTRIC HYDRA.  Con Ed Worker #2 shivers, ankle 
     broken, leaning on older Con Ed Worker #1.

                           FRANK (CONT'D)
               Time to go home, fellas.

     Gibson sprays the room, clearing out most of the smoke.

     Frank steps into the vault.

                           CON ED WORKER #1
               Careful.  If the hot end of those 
               cables hits you, it'll conduct to 
               the water and we're all fired.

     Frank drops to his knees, ducking under the cables, shuffles 
     to center of the vault.  Places his hands at opposite ends 
     of the halaghan tool, hoping for the cables to pass directly 
     over his head.  A hairy beat, then...

     Frank jackknifes out of the water, ramming the halaghan into 
     the ceiling.  It worked.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 7


     The teeth on the "claw-end" and the spike on the "adz-end" 
     are embedded into the concrete -- STAPLING THE CABLES TO THE 
     CEILING.  Make that balls of steel.

                           FRANK
               Go, Gibby!  Everybody move it.

     Gibson and Con Ed worker #1 help injured Worker #2 out of 
     the vault.  Frank checks to make sure they've cleared the 
     vault and lets go of the tool.

     Frank jumps into the tunnel, hoists the injured worker over 
     his back and races back down the tunnel.

                           FRANK (CONT'D)
                    (to Gibson)
               Haul ass, that claw ain't gonna hold 
               for long...
                    (into walkie)
               Take cover -- she's gonna flash!

 7   EXT. STREET - OIL TRUCK - CONTINUOUS                           7   

     O'Connell and the few remaining cops & firemen run for it...

 8   INT./EXT. MANHOLE - CANAL & BOWERY - CONTINUOUS                8   

     Frank, Gibson and the Con Ed men scramble towards the manhole.  
     Butch and another fireman are waiting up top.  They help the 
     men -- who are covered in oil and slime -- up onto the street.  
     And then they all tear away from the manhole...around a 
     corner... collapsing on the pavement against a building.

     K-A-B-O-O-M -- A MUFFLED EXPLOSION

     The vault ignites, the tunnel "FLASHBACKS" -- a towering 
     geyser of FLAMES AND DIRT ERUPTING out of the manhole from 
     which Frank has just escaped.

     In the distance, FLAMES erupt out of the other 
     manhole...engulfing the OIL TRUCK...blowing it into a million 
     pieces.

     Through the INFERNO at the base of the Manhattan Bridge, 
     Frank can see that no one is hurt.  His eyes glistening with 
     adrenaline and relief, he sits back against the building and 
     throws an arm around Gibson.

                           FRANK
               You did good, Gib.  Real good.

     Frank looks over at the hyperventilating Butch and smiles.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 8


                           FRANK (CONT'D)
               Elvis has left the building.

 9   INT./EXT. MIDTOWN TUNNEL - MORNING                             9   

     Inside the tunnel.  Dark.  Moving fast.  Flashes of LIGHT 
     bounce off the shiny tile walls.  The deep throated ROAR of 
     a '67 HARLEY battles with Martha & the Vandellas' HEAT WAVE.

     We are with Frank, wearing a leather jacket with the insignia 
     of his fire-fighting unit emblazoned on it, and a New York 
     Mets BASEBALL CAP pulled down tight, as he rockets his chopper 
     through traffic, out of the tunnel, and up into...

10   EXT. QUEENS - STREETS - CONTINUOUS                            10   

     CREDIT MONTAGE begins as Frank cruises home.  It has STOPPED 
     RAINING.  Frank passes by billboards and other evidence of 
     the approaching METS/BALTIMORE ORIOLES World Series.

     He circles a LITTLE LEAGUE ball field waving to some OLDSTERS.

11   EXT. SULLIVAN HOUSE - QUEENS - CONTINUOUS                     11   

     Frank glides the Harley alongside his house.  A feisty 
     DALMATIAN PUPPY ELVIS barks his welcome from behind a fence.

     Feeling fatigued, Frank dismounts and enters the backyard, 
     playing for a moment with Elvis while he uprights a TRAINING 
     BICYCLE, tidies up BASEBALL EQUIPMENT, and glances up at a 
     HAM RADIO ANTENNA secured to the roof, before entering through 
     a backdoor.  There is a sense of routine to all this.

12   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    12   

     The kitchen is empty.  Breakfast dishes in the sink.  Frank 
     flips on the RADIO.  It plays out under the rest of the 
     MONTAGE as coverage of the oil truck crash blends into other 
     news stories.

     A note on the refrigerator reads: 8:15.  Hey, Bud.  I'm off 
     to work. Johnny's at school.  Elvis is fed.  I luvs you.

     Setting a grapefruit and a slice of toast on the table, Frank 
     glances at the Daily News.  But his eyes are tired, he stares 
     off into space...letting go.

13   INT. SULLIVAN HOUSE - MASTER BATHROOM - CONTINUOUS            13   

     A radio in the bedroom is tuned to sports news.  Frank soaks 
     in a hot bath.  He looks like he might fall asleep - and 
     does.

     CREDITS END.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 9


14   INT. SULLIVAN HOUSE - MASTER BEDROOM - AFTERNOON              14   

     CRASH!  A SOFTBALL BLOWS through the window from the BACKYARD, 
     landing on the rug next to the bed.  Frank bolts awake, 
     staring at the busted window.

     He checks the clock.  It is 5:15.  He steps to the broken 
     window.  SEVERAL SMALL BOYS scurry from the yard.  Two others, 
     JOHNNY SULLIVAN and GORDO HERSCH, both 6, stand frozen in 
     place.  Elvis tears in circles around them.  All is very 
     quiet.  Then, from somewhere beyond the bedroom door, we 
     HEAR The Beatles' BACK IN THE THE USSR...

15   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    15   

     JULIA SULLIVAN, 32, is rockin' out, chopping vegetables.

                           JULIA
                    (singing to song)
               ...show me 'round the smokey mountains 
               way down south...

     Adorable, sweet and strong.  Strawberry blonde hair, sapphire 
     eyes, soft earthy vibe.  A beauty.

     Frank, wearing FDNY sweats, moves into the kitchen flipping 
     the softball from hand to hand.  Julia turns to him and rolls 
     her eyes at the sight of the ball.  Say no more.

                           FRANK
               Hey, bud.

                           JULIA
               Hey, bud.

     Without breaking stride, he gives her a smack on the lips 
     and steps to the screen door to the back porch.

16   EXT. SULLIVAN HOUSE - BACKYARD - CONTINUOUS                   16   

     Johnny stands nervously outside the door.  Elvis sits at his 
     side.  Gordo watches from the safety of his own porch next 
     door.  Frank opens the screen door, casts a stern look down 
     at his son.

                           FRANK
               Looks like two weeks worth of 
               allowance, Chief.

                           JOHNNY
               I know.  Sorry, Dad.

                           FRANK
               Glad to hear that.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 10


     And Frank drops the softball into Johnny's mitt, closes the 
     screen door and turns back into the kitchen.  Johnny turns 
     away into the yard.

17   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    17   

     With a shrug, and sharing a kids will be kids smile with 
     Julia, he grabs a cold Rheingold from the refrigerator and 
     heads into...

18   INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS                18   

     ...past a CONSOLE TELEVISION, to the HI-FI

                           FRANK
                    (calling to Julia)
               How about a little of the King?

                           JULIA (O.S.)
                    (from kitchen)
               Well, why not a little of the King?

     Julia crosses her eyes, as if she could stop him.  Frank 
     moves to change records.

19   INT. SULLIVAN HOUSE - KITCHEN                                 19   

     Suddenly, a PAN of spaghetti sauce bubbles over.

                           JULIA
               Damn.

                           FRANK (O.S.)
               You alright?

                           JULIA
               I think I ruined the sauce...again.

     As Elvis' SUSPICIOUS MINDS plays, Frank steps back in, moves 
     up behind Julia, and takes her in his arms.

                           FRANK
               What's the matter, Jules?  Trouble 
               workin' an eight hour shift, watching 
               the kid and whipping up a little 
               bolognese?

                           JULIA
               You didn't marry Donna Reed.

                           FRANK
               I'd go with you and Chinese take-out 
               over her any time.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 11


     And he turns her around and they start to dance as Frank 
     sings along to Elvis, badly.

                           FRANK (CONT'D)
                    (singing lyrics)
               Caught in a trap, I can't walk out, 
               because I love you too much b-b-baby.

     We follow the music as it drifts out into the YARD where we 
     can SEE Johnny and Gordo looking in at the weirdness.

                           JULIA
               How was your tour?

                           FRANK
               The usual.

     Frank spots Johnny and Gordo staring at them.  He winks at 
     the boys and swings Julia into a Fred Astaire dip.

                           JULIA
                    (loaded)
               Butch called.

                           FRANK
               Did he?

                           JULIA
               He did.

                           FRANK
               It was under control, Bud.  Butchy's 
               just getting tight in his old age.

                           JULIA
               Nothing wrong with old age, 
               Frank...long as you get there.

     With a laugh, Frank drops Julia into another dip.  As the 
     music fades, we...

20   EXT. SULLIVAN HOUSE - DUSK                                    20   

     CLOSE ON: BICYCLE TRAINING WHEELS lying on the sidewalk.

     Johnny is precariously perched on his fire engine red BICYCLE.  
     He wears a police badge and a whistle around his neck.  Frank 
     stands beside him, holding on to the bike seat.

     We're on a quiet side street next to house.  It's the last 
     light of the day.

     Hold on Johnny's eyes...fear.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 12


                           FRANK
               Okay, start pedaling.

                           JOHNNY
               Daddy put the wheels back on.  I'm 
               gonna fall.

                           FRANK
               Don't think about falling, just keep 
               pedaling.

                           JOHNNY
               Daddy, I'm scared.

                           FRANK
               C'mon, Chief, show some guts.

     Johnny takes a gulp of air, doesn't want to disappoint his 
     father, nods okay.

     He starts pedaling.  Slowly moving forward.  Frank holds on 
     to the seat.  Frank's still hanging on - jogging along side.

                           FRANK (CONT'D)
               I'm gonna let go!

     Frank let's go.  Johnny's pumping those little six year-old 
     legs, but he starts to wobble out of control -- CRASH!

     Johnny starts to cry, quickly gets up and runs back to the 
     house.  Julia comes out of the kitchen door.  Johnny runs 
     into her arms.

                           FRANK (CONT'D)
               Don't quit on me now, Chief.

     Johnny tears himself from Julia's arms, runs inside.

     Frustrated, Frank lights up another cigarette.

                           JULIA
               Don't be so tough on him Frank, he's 
               six years old.
                    (softer)
               He just needs to know you're right 
               there behind him.

     Frank takes a deep drag on the butt.  Steps onto the YARD 
     and stares up at the starry night.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 13


     ANGLE ON UPSTAIRS WINDOW

21   INT. SULLIVAN HOUSE - JOHNNY'S ROOM - CONTINUOUS              21   

     JOHNNY'S POV: Frank standing in the yard, wishing on a star.  
     Johnny looks up at the sky and makes a wish of his own.

     PULL BACK & PAN UP TO STAR-STREWN SKY, CAMERA RACING TOWARDS:

22   EXT. OUTER SPACE - CONTINUOUS                                 22   

     Countless points of light blaze across vast blackness.  A 
     luminous blue sphere floats peacefully below EARTH.  We are 
     22,000 miles away in geosynchronous orbit.

     MULTI-BILLION DOLLAR PIECE OF HARDWARE drifts into and fills 
     the frame - 1 1960's COMMUNICATION SATELLITE, NASA & HUGHES 
     logos affixed to the glistening aluminum hull.

     All is still for some moments.  But then a sound disturbs 
     the quiet of the cosmos.  It's coming from the horizon.  
     From something that looks like a hole in the fabric of space.

     Bright streaks of starlight swirl around into that hole.

     And slowly the satellite begins drifting towards it - pulled 
     in by some invisible force.

     FOLLOW THE SATELLITE AS IT IS SUCKED INTO THE VORTEX.

23   INT. SPACE ANOMALY - CONTINUOUS                               23   

     We look through the ripple of warped space-time.  As if 
     holding a lens to one eye, we glimpse two earths at once --
     two identical North Americas.  The two earths turn slightly...

24   EXT. SULLIVAN HOUSE - DUSK -                                  24   

     THROUGH the screen door, we are CLOSE ON A MAN'S FACE, staring 
     out... JOHN F. SULLIVAN, 35.  John's eyes tell us he needs 
     more than just a shave and a good night's sleep.  This man 
     has demons.  Right now he is LOOKING OUT AT:

     SAMANTHA TAYLOR, 33.  A knockout.  Dark blonde hair, piercing 
     blue eyes.  Not happy.  She jams a suitcase into the back 
     seat of her car and starts back for the house.

                           JOHN
               So, that's it, Sam?  You're just 
               walking out?

25   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    25   

     Samantha strides in past John towards a washer/dryer.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 14


                           SAMANTHA
               I've been walking out for the last 
               six months.  You didn't notice...or 
               care.

     She grabs clothes from the dryer and exits to...

26   INT. SULLIVAN HOUSE - LIVING ROOM - CONTINUOUS                26   

     ...towards a stairway beyond, John not far behind.

                           JOHN
               Fine, go ahead and save the whole 
               world, Sam.
                    (sipping his beer)
               You don't gotta worry about me.

                           SAMANTHA
               Damn you.  I tried.  But you wouldn't 
               help me.

27   INT. SULLIVAN HOUSE - MASTER BEDROOM - CONTINUOUS             27   

     Samantha steps into the bedroom to an open suitcase and travel 
     bag.  She starts jamming the clean clothes into the suitcase 
     and then begins to close the case and bag.

                           JOHN
               You're right.  We should've quit a 
               long time ago.

     Sam can't hold back anymore - she cries openly.

                           JOHN (CONT'D)
               It's not your fault.  It's mine.  I 
               can't change.  Wish I could, Sam.  
               But I can't.

     And suddenly Samantha's tears turn to anger.

                           SAMANTHA
               That's not true and you know it.

     John has no reply.  All he can do is watch as she takes her 
     stuff and heads for the door.

                           SAMANTHA (CONT'D)
               Goodbye, Chief.

     John stands immobilized in the middle of the room.  He looks 
     down and spots a TEDDY BEAR half stuck under a reading chair.

     And then to a photo of him and Sam at a CARNIVAL SHOOTING 
     GALLERY.  Sam's holding the teddy bear.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 15


     John turns at the SOUND of the backdoor slamming.  Looks out 
     a window down to Samantha getting in her car and driving 
     away.

28   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    28   

     John enters, goes straight for a half empty bottle of 
     BUSHMILLS IRISH WHISKEY.  As he brings the bottle to his 
     mouth...BRRRRING.  The PHONE.

29   INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS                29   

     Swigging Bushmills as he steps to a combination portable 
     phone/answering machine, John takes off his jacket.  We notice 
     two things: an NYPD DETECTIVE SHIELD and a .38 REVOLVER.  
     BRRIING.  John grabs the phone.

                           JOHN
               What?  It don't matter, Lady.  Why?... 
               Cause I don't got no friends or 
               family.

     BANG.  Slams down the phone.  And stares around the room.

     WE'VE BEEN IN THIS HOUSE BEFORE -- 29 YEARS AGO.  This was 
     Frank and Julia Sullivan's house.  Time has not been good to 
     it.  Furnishings haven't changed much, but the house is 
     missing the warmth it had when a family filled it with love.

     John's eyes dart to a PHOTOGRAPH next to the desk.  It is a 
     picture of THE SULLIVAN FAMILY from back then.  Too many 
     memories.  He grabs his coat, heads out...

30   EXT. LITTLE LEAGUE BASEBALL FIELD - QUEENS - EVENING          30   

     The field is EMPTY.  Covered in shadows.  John sits alone on 
     the top row of the BLEACHERS, cradling his bottle of 
     BUSHMILLS.  He takes a long pull.  As he stares down at the 
     empty field, his eyes slowly drift over to home plate...

     AUDIO FLASHBACK: a VOICE rises up out of the darkness.  The 
     voice of memory...

                           ANNOUNCER
               Batting next.  Johnny Sullivan.

     We hear the SOUNDS of CHEERING parents.  The CLAPPING, 
     WHISTLING & SHOUTING is hauntingly juxtaposed against the 
     empty playing field and bleachers we see on the screen.

     CRACK: sound of the bat solidly connecting with the ball.

     CAMERA follows invisible runner from home to first base.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 16


                           ANNOUNCER (CONT'D)
               Sullivan's safe at first.  Batting 
               for Johnny's father is...Coach Newman.

     John takes a deep breath, glances from first base back to 
     home plate...then looks off into the distance - a cold 
     thousand yard stare.

31   EXT. SULLIVAN HOUSE - NIGHT                                   31   

     John shuffles up the pathway.  The SOUND of a TV - X-FILES -
     filters out from inside the house.

32   INT. SULLIVAN HOUSE - CONTINUOUS                              32   

     John walks in the front door.  GORDY JR., 8, carrying an 
     overstuffed BLT, whizzes by...

                           GORDY JR.
               Hi, Uncle John.

     John notices smoke filtering out of his kitchen.

                           JOHN
               I'm not your uncle, kid.
                    (yelling into kitchen)
               Gordo, what are you doing here?

                           GORDO (O.S.)
               Sully!  Is that you?

     Follow John into the kitchen.

33   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    33   

     Meet GORDON HERSCH, 35, computer geek, lovable dough boy.

     Last seen by us in 1969 as a six-year old.

                           GORDO
               Hey, Sull.  My cable's out again.

                           JOHN
               What the hell is that smell?

     John glances at a mound of burnt bacon dripping on the stove.

                           GORDO
               Can you believe Ellen still won't 
               let me cook in the house?  I melt 
               one lousy frying pan, y'know?

     Gordy Jr. scoots into the kitchen.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 17


                           GORDY JR.
               John, guess what?  Dad's taking me 
               fishing.  Wanna come?

                           JOHN
               Wish I could, Gordy.  But you bring 
               me back a big one.

                           GORDO
               Hey, OK if Gordy uses your old gear?

                           JOHN
               I think it's somewhere in the 
               closet...  if you can find it.

     Gordy Jr. runs out.  O.S. sounds of him rummaging through 
     hall closet.

                           GORDO
               So Yahoo went up another two points.  
               Man, did we miss the boat on that 
               one.

     John puts the Bushmills bottle down, and grabs two Molsons.

                           JOHN
               Coulda, woulda, shoulda, pal.

     John laughs, hands Gordo a beer, and lights up a cigarette.

                           GORDO
               Sam called Ellen.

     John reacts.  Nothing else needs to be said.  A beat, then...

                           GORDO (CONT'D)
               Why don't you come with us?  Three 
               days of fresh air and barbecue would 
               do you some good, man.

                           GORDY JR. (O.S.)
               Dad, John, c'mere...

34   INT. SULLIVAN HOUSE - ENTRY HALL - CONTINUOUS                 34   

     Gordy Jr. sticks out of the closet, attempting to drag out a 
     large BLACK STEAMER TRUNK, stenciled with yellow letters.

                           GORDO
               Hey, Gordy, what 'ya doing?

                           GORDY JR.
               Dad, check it out.  Fire Department!  
               Can I open it up?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 18


     John thinks about it for a second.  Noting the curious glee 
     in little Gordy's face, nods OK.

     Gordy Jr. pops open the latches, opens the trunk.  Gordo 
     crouches down beside his son, checks out the dusty contents.

     HOLD ON JOHN'S REACTION to what Gordy Jr. finds in the trunk.

                           GORDY JR. (CONT'D)
               Wow.

     Gordy Jr. reaches in and takes out: FDNY HELMET & JACKETS.

     Briefly puts on the enormous helmet, then sets it aside.

     Reaches back into the trunk and pulls out the disassembled 
     pieces of a 12 gauge SHOTGUN.

                           GORDO
               Hey!  Gimmie that!

     Gordo takes the shotgun from the boy and places it gingerly 
     inside the closet.

     Simultaneously, Gordy Jr. hands off a leather-bound SCRAPBOOK 
     to John.  Before John can react, Gordy Jr. lifts up an AMATEUR 
     RADIO TRANSCEIVER.

                           GORDY JR.
               What's this, Dad?

     ANGLE BACK ON JOHN

     Powerful memories fill his face.

                           GORDO
               John, that's your Dad's old ham radio.  
               Remember?  Remember how we used to 
               beg him to let us talk on that thing?

     CLOSE ON

     the transceiver and microphone - mint condition 1965 Yaesu 
     FT 101, and a "Silver Eagle" Astatic D-104 microphone.

                           JOHN/GORDO
               This is not a toy.

                           GORDY JR.
               Can we try it Dad, can we try it?

     Gordo looks at John.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 19


                           JOHN
               What the hell.

35   INT. SULLIVAN HOUSE - STUDY - CONTINUOUS                      35   

     Glass doors separate the study from the family room.  The 
     HAM RADIO is set on a dusty wooden desk.  Scotch-taped to 
     the top of the radio is a diagram for the radio setup and 
     "QSL" cards: certificates from around the world acknowledging 
     "contact" with "WB2YXB" -- FRANK SULLIVAN, BAYSIDE NY.

     Gordo hooks up the radio.  Gordy Jr. shuts off the TV.

                           GORDY JR.
               So this was what people used before 
               the Net, huh?

                           GORDO
               Man, do I feel old.

     GORDO TURNS THE RADIO ON.  Shows Gordy how it works.  Gordy 
     rotates the tuning dial, nothing but "dead bands."  STATIC.

                           JOHN
               It's junk, kid.  Nobody uses those 
               things anymore.

     KNOCK.  Front door opens.  John's head turning around.  Meet 
     ELLEN, 35, Gordo's wife.  The grown-up in the family.

                           ELLEN
               Gordo, do you know what time it is?
                    (a beat)
               Hi, John.

                           JOHN
               Ellen.

     Ellen notices John's weary look but says nothing.  We get 
     the sense she knows what is wrong.

                           ELLEN
               C'mon Gordy, let's go.

                           GORDY JR.
               Oh, mom...

36   EXT. SULLIVAN HOUSE - CONTINUOUS                              36   

     Gordo and family pour into the yard between the two houses.  
     John shuffles out behind them.  Gordo and Gordy Jr. quickly 
     disappear into their house, but Ellen lingers for a moment -
     looking back at John standing alone.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 20


                           ELLEN
               You all right, John?

                           JOHN
               Oh, yeah.

     Ellen holds her glance for a moment.   John smiles, thinly 
     masking his sadness.  Ellen nods okay, and she is gone.  
     John looks up at the stars, then down to the HAM RADIO ANTENNA 
     on his roof, now looking raggedy from 29 years of neglect.

37   INT. SULLIVAN HOUSE - FAMILY ROOM - LATER                     37   

     CLOSE ON

     TV: LARRY KING is interviewing STEPHEN HAWKING.

     John is back on the Bushmills.  He races clumsily for the 
     CORDLESS PHONE.  CLOSE ON SPEED DIAL BUTTONS.  John hits #3.

                           JULIA
                    (answering machine 
                    voice)
               Hi, this is Julia.  Please leave a 
               message after the tone.

                           JOHN
               Hey, Ma, it's me.  Checking in.  
               Probably at work.  Anyways, I'll see 
               you tomorrow night.  Love you.

     John puts down the phone.  Stares at the FDNY trunk.  He 
     stumbles to it.  Sits down and opens it up.  It's filled 
     with his Dad's stuff.  He picks up and leafs through the old 
     SCRAPBOOK - PHOTOS and CLIPPINGS illustrate FAMILY HISTORY...

     A quick glimpse of Dad's high school baseball team; Mom and 
     Dad's 60's wedding.

     CLOSE ON PHOTO:

     John at his First Communion pictured with his MOTHER - WE 
     SENSE LOSS AND SADNESS IN HIS EYES - THIS BOY LOOKS HURT.

     A folded newspaper drops out.  John picks it up.  Front page 
     of the DAILY NEWS.  Top half READS: "October 13, 1969.  
     AMAZIN'S TAKE GAME 2 - SERIES EVEN."  The lower half READS: 
     "FIREMAN KILLED IN WAREHOUSE BLAZE"

     He shoves the paper back in the scrapbook.  Puts the album 
     down - he can't deal with those wounds.  He glances up at 
     the TV:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 21


                           LARRY KING
               Is this anomaly connected to the 
               space storm and the NASA satellite 
               that disappeared in 1969?

                           HAWKING
               We don't know.  But given the 
               similarities of their location and 
               appearance, this is a question that 
               merits further investigation.

     NOTE:  Larry King's show plays for the duration of this scene.

     John settles in, takes off his work shirt.  Underneath he 
     has on a T-shirt.  We notice a NICOTINE PATCH on his arm.

     Doesn't stop him from burning another Marlboro.

     JOHN IS SUDDENLY STARTLED BY A NOISE FROM THE STUDY - A LOUD 
     BURST OF STATIC.

                           FRANK
                    (over radio)
               CQ 15, here is WB2YXB, by for call.

     John gets up, Bushmill bottle in hand, and stumbles into...

38   INT. SULLIVAN HOUSE - STUDY - CONTINUOUS                      38   

                           FRANK (O.S.)
               CQ 15, come in 15.

     Approaching the desk, John sits down at the radio.  Reaches 
     out to the mic -- presses down on the red squawk bar.

                           JOHN
               Uh, hello?

                           FRANK (O.S.)
               WB2YKXB, who've I got?

                           JOHN
                    (slightly slurred)
               Name's John.

     In the BACKGROUND of FRANK'S VOICE, we barely hear WALTER 
     CRONKITE interviewing someone.

                           FRANK
               Are you licensed to broadcast, buddy?

                           JOHN
               Look, I don't really remember how 
               this thing works.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 22


                           FRANK
               Listen, you can't broadcast without 
               a license.  Unless this is an 
               emergency, you gotta get off the 
               band.

                           JOHN
                    (chuckling)
               Pal, my whole life's an emergency.

     A pause.

                           FRANK
               Where are you transmitting from?

                           JOHN
               Queens, New York.

                           FRANK
               Whatta ya know.  Bayside, born and 
               raised.

                           JOHN
               I thought these things were for 
               talkin' around the world.

                           FRANK
               15-band closes down at night.  During 
               the day you can chew the band with 
               China if you want.

                           JOHN
               I can't believe people are still 
               using these things.

     As John releases the squawk bar, the distant sound of Frank's 
     TV filters out of the HAM.

                           FRANK
               Can you hold on a second?

     And then John hears the sound of a door closing.

                           FRANK (CONT'D)
               Sorry 'bout that.  So Queens, you 
               psyched for the Series?

                           JOHN
                    (taking a swig)
               I don't really follow baseball 
               anymore.

                           FRANK
               What?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 23


                           JOHN
               I got fed up with all the bullshit.

                           FRANK
               Fed up?  Lemme tell you something, 
               in a 1000 years, when school kids 
               study America, they're gonna learn 
               about three things: the Constitution, 
               Rock 'n' Roll, and Baseball.

     Despite his mood, John has to smile.

                           FRANK (CONT'D)
               How can you live in Queens and not 
               love the Amazin's?

     John warms to the topic of his boyhood heroes.

                           JOHN
               If you're talking The Amazin' Mets, 
               well, that's different.  You know 
               people talk about Seaver, but I'll 
               love Ron Swoboda til the day I die.

     Static crackles out over the radio.  The signal weakens.

                           FRANK
                    (through static)
               I'm right with you, man.  He's got 
               the heart of a lion.  Hey, how 'bout 
               the first game of the Series?

                           JOHN
               Yeah.  It was all over after Buford 
               nailed Seaver's first pitch outta 
               the park.

     More static.

                           FRANK
               No way, brother.  Ain't gonna happen.

     BZZZSSSSHHHH - loud static.  THE SIGNAL IS GONE.

                           JOHN
               Who the hell was that?

     Behind him, on TV, Larry King and Hawking continue talking.

39   INT. SULLIVAN HOUSE - STUDY - NIGHT -                         39   

     ANOTHER FINGER PRESSING DOWN ON THE RED SQUAWK BAR... FRANK 
     SULLIVAN.  Seated at the polished wooden desk.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 24


                           FRANK
               Hello, Queens.  You there?

     Silence.  The signal is gone.  Frank leans forward, jiggles 
     the frequency dial, trying to regain the signal.  No luck.

     Slightly frustrated, he stands and opens the glass doors to 
     the family room where Julia is watching TV - a very young 
     STEPHEN HAWKING is being interviewed by WALTER CRONKITE, 52.

                           JULIA
               Frankie, Johnny wants to say 
               goodnight.

                           FRANK
                    (a little distracted)
               Sure.

     He starts to take a step into the room, and stumbles over 
     Elvis, sleeping by the door...KNOCKING INTO and CRACKING a 
     GLASS PANE in one door.

40   INT. SULLIVAN HOUSE - STUDY -                                 40   

     John, dog tired and more than a little wasted, gets up from 
     the desk, inadvertently leaving the Ham Radio ON, and shuffles 
     for the family room through the glass doors.

     CAMERA HOLDS, CLOSE on the GLASS PANE...CRACKED in the exact 
     same spot where Frank knocked into it 29-YEARS AGO.

41   INT. SULLIVAN HOUSE - JOHNNY'S BEDROOM - NIGHT -              41   

     Frank unpins the police badge from Johnny's shirt, takes the 
     whistle from around his neck.  He pulls up the covers and 
     softly kisses Johnny's forehead.  You can tell he loves this 
     kid more than anything in the world.

                           FRANK
                    (lullaby-like)
               Take me out to the ballgame, take me 
               out with the crowd.  Buy me some 
               peanuts and cracker jack...

42   INT. SULLIVAN HOUSE - FAMILY ROOM -                           42   

     John plops down on sofa, half asleep.  The TV drones on.

                           JOHN
               ...I don't care if I never get back.

     FADE TO BLACK.

     THE LEGEND READS:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 25


     OCTOBER 11th - FIRST GAME OF THE WORLD SERIES 

     Blue sky.  A SOFTBALL soars into view.  It drops down and 
     into a WILLIE MAYS' style basket catch by Frank Sullivan.

43   EXT. LITTLE LEAGUE BASEBALL FIELD - QUEENS - DAY -            43   

     The same Little League field that Frank circled on his Harley 
     yesterday, October 10, 1969.  And the same field at which 
     John sat in the stands drinking last night, October 10, 1998.

     We are in the 9th inning of a friendly SOFTBALL GAME between 
     the local COPS and FIREMEN.  A lot of NYPD and FDNY T-shirts, 
     sweats and caps.  Plenty of Mets stuff, too.

     Having made the catch, Frank coolly pulls the ball from his 
     mitt as he starts running toward the infield diamond.

     Tagging up at 3rd, sorely tempted to try for home is SATCH 
     DELEON, 30, NYPD Detective.  Satch feints for the plate, 
     Frank feints the throw.  For a maddening, gleeful moment, 
     Frank has Satch caught between 3rd and home.

     In the STANDS, Johnny Sullivan, Marge Hersch and the FAMILIES 
     of the other ballplayers scream for whomever they want to 
     win this game of chicken.

     On the SIDELINES, Johnny, Gordo and the other KIDS serving 
     as BATBOYS and WATERBOYS, jump around in anticipation.

     At HOME, Butch Foster stations himself to take the throw.

     Suddenly, Satch fakes to 3rd, then bolts for home.  Frank 
     pegs it to Butch, who tags the sliding Satch.  Game over.

                           SATCH
               Lucky throw, fire boy.

                           FRANK
                    (jogging in)
               Luck, my ass.

     They square off.  Pretending to fight.  Julia steps between 
     them.  And they all descend into laughter.

     Frank and Satch each wrap an arm around Julia and start off.

     Within a step, Johnny slips in under Frank's other arm.

                           FRANK (CONT'D)
                    (to Johnny)
               See that, kid.  Practice.  Practice.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 26


44   INT/EXT. BUTCH'S HOUSE - DAY - LATER                          44   

     Close on a TV: PRESIDENT NIXON tosses the first ball to open 
     the 1969 WORLD SERIES.

     REVERSE to see many of the PLAYERS and FAMILIES from the 
     softball game are parked around a couple of TVs watching the 
     game.  BEER flows from a keg.  SOFT DRINKS are passed around.

     HAMBURGERS and HOT DOGS are cooking on the BBQ.

     Satch sits with Johnny and Gordo and some other kids.

     Frank and Julia tend the BBQ.  Butch brings out some beers.

     A fun day.

45   EXT. CONSTRUCTION SITE - DAY -                                45   

     A DETECTIVE'S CAR pulls up next to a couple of BLUE & WHITES 
     at West 155th St.  The Northern tip of Manhattan Island.

     Across construction barricades is a half-torn down GREEK 
     RESTAURANT.  Several UNIFORMS can be seen beyond it, looking 
     at something on the ground.

     As John exits the car, the passenger door swings open and we 
     MEET a guy we haven't seen in 29 YEARS - SATCHEL DELEON, 59.

     Shaved head, square jaw.  A ram-rod straight, craggy warrior.

     Thirty-plus years on the force now endow him with a rare 
     combination of smarts, guts and sense of humor.

                           SATCH
                    (as they walk)
               Don't choke on your pride, Sull.  
               You ain't ever gonna catch another 
               one like that.

                           JOHN
               She made up her mind.  Nothin' I do 
               is gonna change it.

                           SATCH
               Nothing you're willing to do.

     Spotting John and Satch, a UNIFORM approaches them.  They 
     keep on walking.

                           JOHN
               What's the story?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 27


                           UNIFORM
               Survey crew found a body.  Actually 
               a skeleton.  Over here.

     The uniform leads John and Satch around some overgrown weeds 
     to SEE a patch of freshly unearthed dirt...out of which sticks 
     a HUMAN SKULL and COLLAR BONE.

     In the B.G., a CRIME SCENE unit can be seen arriving by van.

                           SATCH
               Be real careful when pulling it out.  
               And get the dirt around it.

     As Satch turns to talk to a second UNIFORM and a couple of 
     SURVEYORS, John notices a man raking leaves in a yard not 
     far away.  As he starts to him, to Satch:

                           JOHN
               I think I'll visit the neighbor.

46   INT. SHEPARD RESIDENCE - DAY - CONTINUOUS                     46   

     CLOSE ON FRED SHEPARD, 72.  As the scene unfolds, we can SEE 
     the half torn down diner/crime scene through a window.  Satch 
     oversees the operation.

     MRS. SHEPARD, 70, hands John a cup of coffee.

                           JOHN
               Thanks.

     John looks out the window.

                           MR. SHEPARD
               Used to get breakfast there all the 
               time back from the boat.  Them Greeks 
               were good people.  Once that McDonalds 
               opened up on Dyckman, they lost all 
               their business.

     John glances around the room - notes family PHOTOGRAPHS.

     There's a picture of Shepard in younger days on a commercial 
     fishing boat.  Next to it a faded black and white picture of 
     Mrs. Shepard, 35.  A few pictures of the Shepards and their 
     YOUNG SON.  And at the end, a color photograph of the same 
     son, about 20, in DRESS BLUES, graduating from the Police 
     Academy - CLASS OF '64.

                           JOHN
               Your son on the job?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 28


                           MR. SHEPARD
               Was.  Carl died in the line of duty.  
               October '69.

                           JOHN
               I'm sorry.

     Shepard points to a frame above the fireplace: Distinguished 
     Service Medal, CARL SHEPARD, awarded posthumously.

                           MR. SHEPARD
               My boy lived and bled blue.

     Silence.  Mr. and Mrs. Shepard stand very still.  John 
     discreetly glances at his watch.

47   EXT. CONSTRUCTION SITE - MOMENTS LATER                        47   

     THUNDER in the distance.  CRIME SCENE personnel have made 
     some progress in unearthing the skeletal remains.  A couple 
     of drops of rain tap the ground and the bones.

     John stands looking down at the skeleton.  A long beat.  And 
     then he turns to Satch and they start for the car.  Behind 
     them, the skeleton is carefully pulled free from the ground.

     WE SEE its wrists are BOUND with GLASS TAPE.

48   INT. JULIA'S APARTMENT - MANHATTAN - EVENING - LATER          48   

     CHINESE TAKE-OUT CARTONS are placed in a microwave.

     WIDEN TO REVEAL

     the woman holding the cartons: JULIA SULLIVAN, 29 YEARS OLDER 
     than the last time we saw her.  But she looks okay, she looks 
     happy.

     We are in the kitchen of Julia's Upper West Side apartment.

     It is raining.  We notice THE GEORGE WASHINGTON BRIDGE outside 
     a BAY WINDOW.

                           JULIA
                    (calling out)
               I thought it'd be nicer to eat here.

                           JOHN (O.S.)
               Sounds good.

                           JULIA
                    (walking into the 
                    other room)
               I'm sorry Sam couldn't make it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 29


                           JOHN
                    (lying badly)
               Yeah, those grad school applications 
               are driving her crazy.

     Julia hands John a Coke.  Close on her face - she feels her 
     son's pain.

                           JULIA
               I'm sure everything'll work out.
                    (beat)
               She really loves you...

                           JOHN
                    (changing the subject)
               So how are things at the hospital?

                           JULIA
               Fine.  You know Dr. Schwartz retired 
               last month?

                           JOHN
               No kidd'n, he musta been pushing 90!

                           JULIA
               Close.

     Beat.

                           JOHN
               So how'd you like LION KING?

                           JULIA
               Oh, I loved it.  I wish you'd gone.

                           JOHN
               I know.  I'm sorry.  Work.

                           JULIA
               You work too hard, John.

                           JOHN
               Look who's talking.

     They share a laugh.  And then slowly the laughter dies.

     John's expression changes as he quietly lights a cigarette.

     Julia knows what he's thinking...

                           JULIA
               29-years tomorrow.

     A long beat.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 30


                           JOHN
               I wish I could remember him better.  
               Truth is, most of the stuff I know 
               is from the stories you used to tell.  
               But they're not mine.  They're not 
               my memories.  They're yours.

     Julia glances at an old photo of Frank, then back to John.

                           JULIA
               You would have liked him, John.  And 
               he would have liked you.

     PING.  The microwave timer sounds off.

49   INT. SULLIVAN HOUSE - STUDY - CLEAR NIGHT -                   49   

     CLOSE ON

     Frank's dog, Elvis.  Poking his nose in a carton of Chinese 
     take-out on the floor.  An arm drops into frame - scruffs 
     the puppy's back.  The Rolex diver's watch tells us the arm 
     belongs to Frank.

     WIDEN TO REVEAL:

     Frank sitting at his desk.  He fires up an unfiltered LUCKY 
     STRIKE, pops a Rheingold.  Next to him a Daily News headline - 
     NASA INVESTIGATES SPACE STORM.

                           FRANK
               ...WB2YXB calling unidentified 
               station, Queens.  CQ 15.

                           JOHN (O.S.)
                    (over radio, sounds 
                    like he's had a few 
                    drinks)
               Hello?

                           FRANK
               I been Q-ing you all night.  How the 
               hell did you do it?

                           JOHN (O.S.)
               Huh?

                           FRANK
               The World Series.  You called Buford's 
               homer.

                           JOHN (O.S.)
               Wasn't too tough, buddy.  Game 
               happened almost thirty years ago.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 31


                           FRANK
               What are you talking about?  I'm 
               talking about this afternoon.

                           JOHN (O.S.)
               This afternoon?

     Frank puts his finger on the squawk bar, about to say 
     something, but just at that moment his son Johnny appears in 
     the doorway in his pajamas.

                           JOHNNY
               Daddy, come up and sing the baseball.

                           FRANK
                    (to Johnny)
               I'll be up soon, Little Chief.

50   INT. SULLIVAN HOUSE - STUDY - RAINY NIGHT -                   50   

     John Sullivan's face, thunderstruck.  The camera stays on 
     John.  He puts down his drink.

                           FRANK (O.S.)
               Sorry 'bout that.

                           JOHN
               What'd you just say?

                           FRANK (O.S.)
               Oh, that was my kid.

     John looks up at the photo on the wall: FRANK, JULIA AND SIX 
     YEAR OLD JOHNNY SULLIVAN (CIRCA 1969).  A beat, then:

                           JOHN
               You call your son Little Chief?

                           FRANK (O.S.)
               Uh huh...

                           JOHN
               What'd you say your name was?

     CUT TO CLOSE ON

                           FRANK
               Frank...Frank Sullivan.

     NOW BACK ON

                           JOHN
               Is this some kind of joke?  Gordo is 
               that you?  Are you fucking with me?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 32


                           FRANK (O.S.)
               Look pal, I'm just askin' how you...

                           JOHN
               You're telling me your name is Frank 
               Sullivan, you live in Queens and you 
               just saw the first game of the '69 
               Series...live?

                           FRANK (O.S.)
               Right...and I'm asking how you called 
               the game.

                           JOHN
               Gordo, if this is you, so help me...

                           FRANK (O.S.)
               What the hell does Gordy have to do 
               with it?

     John's POV - top of radio - in FADED PEN, on a piece of 
     masking tape, is written: "WB2YXB"

                           JOHN
               What'd you say your station...uh, 
               your call letters were?

                           FRANK (O.S.)
               W...B...2...YXB.

     The call letters hang in the air.  A breath, then...

                           JOHN
               Now you listen to me.  My name is 
               John Francis Sullivan, I live at 
               1060 41st, where I've lived my whole 
               life.  And I saw the first game of 
               the '69 Series at my Uncle Butch's 
               house with my father...

                           FRANK (O.S.)
               What?

                           JOHN
               29-years ago.

                                                          CUT TO:

     Frank dropping his cigarette in the ashtray.  It rolls out 
     and lies smoldering on the desk.  He doesn't even notice.

                           FRANK
               29 years...?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 33


     BACK ON

                           JOHN
               My dad's name was Frank Patrick 
               Sullivan, he was a fire fighter and 
               a die-hard Mets fan.  And every night 
               when I went to bed he sang to me...
                    (softly, almost singing)
               Take me out to the ball game, take 
               me out with the crowd...

     Beat.

                           FRANK (O.S.)
               What the hell...

                           JOHN
               I'm dreaming this.  Shit, this is a 
               dream.

                           FRANK (O.S.)
               I'm not dreaming.

     John reaches out to touch the radio.  But he stops, his hand 
     hovering just above it.

                           JOHN
               So you're Frank Sullivan, huh?  It's 
               1969 and you're sitting at your desk 
               in the study, just chewin' the rag?

     BACK ON FRANK.

     He smells smoke, sees the cigarette burning a hole in the 
     desk.  Spooked, Smokey the Bear just started a fire.

                           FRANK
               Christ!

     Frank beats out the flame with the newspaper.

                           JOHN (O.S.)
               What's going on?

                           FRANK
                    (lying)
               Nothing...I just spilled something.

                                                          CUT TO:

     A DISTINCTIVE BURN SCAR GRADUALLY MORPHING ONTO JOHN'S DESK.

     John pushes the Bushmills to the side, staring at the scar.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 34


     It hits him - hard.

                           JOHN
               Oh my god.

                           FRANK (O.S.)
               What?

                           JOHN
               You just burned the desk.

                           FRANK (O.S.)
               What's happening?

     John rubs his fingers over the old burn scar.

                           JOHN
               You burnt the desk...I can see it.

     Eerie quiet, the only sound is the rain outside John's window.

     BACK ON

                           FRANK
               That's impossible.

                           JOHN (O.S.)
               What if it's not...

     ON JOHN

     reaching out, touching the radio.

                           JOHN (CONT'D)
               Dad...?

                           FRANK (O.S.)
               Johnny...?

     Shockwave.  A long moment of absorption.  INTERCUT Frank and 
     John.

                           FRANK (CONT'D)
               How could this be happening?

                           JOHN
               I don't know.

                           FRANK
               We gotta be bouncing off the mother 
               sun spot of all time.

                           JOHN
               Sun spot?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 35


                           FRANK
               Yeah, that's how Hams work.

                           JOHN
               Wait a sec...there was something on 
               the news.  Something about this space 
               anomaly.  I think they said it was 
               connected to some storm in '69.

     Frank glances at DAILY NEWS HEADLINE - SPACE STORM.  He says 
     nothing for a long beat, struggling to understand.

                           FRANK
               You sound...grown up...?

                           JOHN
               I'm thirty-five years old.

                           FRANK
               Thirty-five?  That would make it...

                           JOHN
               Frank pulls back from the radio...

                           FRANK
               1998...?  This is wrong.  Who are 
               you?  Why are you doing this?

                           JOHN
               I'm not doing anything.
                    (beat)
               Look, I don't know what's going on.  
               But I swear on my life, I'm here at 
               your old desk, on your Ham, in our 
               house, right now...in 1998.

     John's voice has a conviction that Frank cannot deny.

                           FRANK
               It's really you, isn't it?

                           JOHN
               Yeah...I think so.

     Silence.  Both men trying to wrap their minds around the 
     reality of the situation.  Slowly accepting.

                           FRANK
               Thirty-five?  Jesus, you're almost 
               as old as I am...
                    (long beat)
               What's your life like?  You married?  
               Got kids?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 36


     Beat.

                           JOHN
               No, not yet.

                           FRANK
               Too busy playin' ball, huh?

                           JOHN
               Nah, I gave it up.

     ON FRANK

     Johnny gave up baseball?

                           FRANK
               You happy?

     John takes a sip, the answer caught in his throat.

                           FRANK (CONT'D)
               You're still my Little Chief, right?

                           JOHN
               I'm trying to be, Dad.  I'm tryin'.
                    (pausing)
               It's good to hear your voice.
                    (quiet beat)
               I missed you...so much.

     Quiet beat.  A burst of static crackles the air.

                           JOHN (CONT'D)
                    (re: static)
               What's that?

                           FRANK
               I think I'm losing you.

                           JOHN
               No wait, don't go!

                           FRANK
               It's okay.  I'm still here, Chief.

                           JOHN
               But you're not...you're not still 
               here.

     More static.  The signal breaks up, then returns weaker.

                           FRANK
               What are you talking about?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 37


                           JOHN
               I lost you.

                           FRANK
               What?

                           JOHN
               I never knew you, Dad.

                           FRANK
               Why?

                           JOHN
               Fire.

                           FRANK
               On the job?

                           JOHN
               It was an abandoned warehouse - hit 
               by lightning.
                    (beat)
               Butch told Ma it was just one wrong 
               turn.  Said it wasn't your fault.  
               You went with the training, with 
               your instincts.
                    (beat)
               If you'd just gone left instead of 
               right, you would've made it.

                           FRANK
               That can't be...that's not gonna 
               happen.

                           JOHN
               It did, Pop.  It did.

                           FRANK
               When?

                           JOHN
               October 12, 1969.

     Heavy static now.  They can barely hear each other.

                           FRANK
               But that's tomorrow.

                           JOHN
                    (fully realizing)
               Tomorrow.  Jesus...it hasn't happened.  
               It doesn't have to happen.

     Both men frantic.  Their words overlapping...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 38


                           JOHN (CONT'D)
               Don't go.  Don't go in that 
               warehouse...

                           FRANK
               I don't understand.

     Final blast of static.  The SIGNAL is GONE.  The BAND is 
     GONE.

51   INT. SULLIVAN HOUSE - JOHNNY'S BEDROOM - NIGHT -              51   

     Moonlight casts a glow over the sleeping Johnny.  Frank steps 
     in and stands looking down at him.

52   EXT. ROOF OF JOHN'S HOUSE - NIGHT -                           52   

     John crawls out a window, through the rain, onto the roof.

     JOHN'S POV

     Rusted Ham radio antenna, half-fallen over.

     John scoots over to it, straightening it.  But he slips, 
     sliding down the roof, coming to rest against the chimney.

     A light pops on from an upstairs window across the street.

     Gordo appears in the window.  Does a double take when he 
     sees John, sitting on the roof, soaked, drunk.

                           GORDO
                    (sliding open window)
               Sull!  What the hell!

                           JOHN
               I talked to him Gordo.  I talked to 
               my Dad.

     Gordo's heart starts to break.  His best friend has slipped 
     over the edge.

                           GORDO
               C'mon, man.  Get inside.  I'll come 
               over.  We'll play some Nintendo.

                           JOHN
               No.  I gotta tell him the address, 
               so he doesn't go in.

                           GORDO
               Go in where?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 39


                           JOHN
               The warehouse.  Buxton seeds.  It's 
               tomorrow.

                           GORDO
               I know pal.  I remember.  Twenty-
               nine years tomorrow.

     THE LEGEND READS:

     OCTOBER 12th - SECOND GAME OF THE WORLD SERIES

53   EXT. ABANDONED WAREHOUSE/BUXTON SEED CO. - AFTERNOON -        53   

     BLACK CLOUDS, EARTH SHATTERING THUNDER.  A massive BOLT OF 
     LIGHTNING rockets out of the menacing sky STRIKING THROUGH A 
     WINDOW on the 3rd floor of the warehouse.  A FIRE BEGINS.

54   INT. FIRE HOUSE - 9TH BATTALION/REC ROOM - CONTINUOUS         54   

     GAME 2 plays on TV.  Butch, Gibson and the rest of the unit 
     sit around enjoying the game.  A very distracted Frank stands 
     watching from the doorway to the kitchen.

     We are in the bottom of the 9th with the Baltimore Orioles' 
     Brooks Robinson coming to the plate.

                           GIBSON
               Oh, man. Robinson is gonna nail it 
               and we're gonna be dead.

     SUDDENLY THE ALARM SOUNDS, moving the groaning firemen 
     reluctantly to action, and freezing Frank in surging anxiety.

     Gibson is up and passing Frank...who begins to move like 
     he's in a trance.

     A RAPID MONTAGE of Frank, Butch and the others readying to 
     head out.  Gibson grabs a little TRANSISTOR RADIO.

                           BUTCH
               Let's move it, gentlemen...three 
               alarm.  Lit up abandoned warehouse.  
               West 49th.

     Frank looks like he's going to throw up.

55   EXT. MANHATTAN ST. - COP BAR - DUSK -                         55   

     John, lost in thought, rounds a corner towards the bar.

56   EXT. STREET - LADDER TRUCK - MOVING - AFTERNOON -             56   

     The LADDER & ENGINE trucks barrel out of the firehouse.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 40


     As SIRENS SCREAM, Frank and Gibson secure themselves into 
     position.  Gibson excitedly switches on his radio to the 
     game.  He notes that Frank is not the least bit into it.

                           GIBSON
               Sully, you cool?

     Frank seems not to hear him.

                           GIBSON (CONT'D)
               Frank.  Hey, man.  You alright?

                           FRANK
               I'm alright, Gibby.

     From the RADIO we HEAR the last play of the game as Brooks 
     Robinson grounds out 3rd to 1st.  METS WIN!  CHEERS are heard 
     in the streets and from the CABS of the racing fire trucks.

     Gibson whoops it up.  Frank barely acknowledges the win.

57   INT. COP BAR - DUSK -                                         57   

     John moves through the crowd of cops - ad lib greetings -
     slides into a booth occupied by Satch and Gordo.

                           GORDO
               How you feeling?

                           JOHN
               Better.

                           SATCH
               You get your roof fixed?

     John shoots a look at Gordo, who quickly changes the subject.

                           GORDO
               Can you believe it, Yahoo goes up 
               another point today...

58   EXT. BUXTON WAREHOUSE - DUSK -                                58   

     Located off the East River in lower Manhattan.  The 9th 
     Battalion Fire trucks are first on the scene.  A couple of 
     GREEN & WHITES are already there, uniform cops keeping a few 
     onlookers at a safe distance.

     FLAMES shoot out from the 4th and 5th FLOOR WINDOWS.

     Starting to lick their way up to the 6th floor and roof.

     SMOKE billows out of the windows on the 3rd and 2nd floors.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 41


     Lighter smoke spirals out from the door on the 1st floor.

     Frank, Gibson and other firemen under Butch's command take 
     stock of the situation and start to deploy.

     HOSES are run from HYDRANTS to the PUMPER TRUCKS.

     The LADDER is swung into position for an assault on the roof.

                           GIBSON
               Bastard's moving fast.

                           BUTCH
               Thank God it's abandoned.
                    (to the men)
               Surround and drown...nobody goes in.

     Frank nods in agreement.  Directly above them, another BOLT 

     OF LIGHTNING CRACKS through the darkening sky.

     A death shudder creeps up Frank's spine.  And for the first 
     time in his life, Frank Sullivan is SCARED SHITLESS.

     Frank stares up at the sky, transfixed.  THUNDER punches the 
     sky with a huge roar.  RAIN starts to fall.

     And in the distance, as if from inside the burning building, 
     a FAINT SCREAMING is first heard, and growing louder.

                           FRANK
               Hear that?

                           BUTCH
               What?

     Suddenly, out of the building runs a STONED TEENAGE GIRL 
     screaming and babbling incoherently.

                           GIRL
               Help!  Help!  Oh, god.  Help.  She's 
               up there.  She's trapped!  Please!

     Immediately galvanized, Frank moves to the girl.

                           FRANK
               Hey, hey.  It's gonna be okay.  We're 
               gonna help.  Okay?   Okay.

     She starts to calm down.

                           FRANK (CONT'D)
               Now tell me, who's up there?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 42


                           GIRL
               My girlfriend, Molly.

                           FRANK
               Where?

                           GIRL
               In a room...an office...or something.  
               We live there.  Top floor.  Something 
               fell on her.  I couldn't help her.  
               Please, you gotta...gotta...

     Frank looks to Butch.  A beat.  Butch gives him the nod.

     Frank and Gibson gear up and go.

59   INT. COP BAR - DUSK -                                         59   

                           GORDO
               You realize that if you'd bought a 
               thousand dollars worth of Yahoo in 
               '96, it'd be worth fifty-grand today?

                           SATCH
               You doin' okay, John?

                           JOHN
               Tough day, you know.

     Satch and Gordo nod in sympathy.  Gordo raises his glass.

     Satch and John follow.  A yearly ritual.

                           GORDO & SATCH
               To your dad.

                           JOHN
               To my dad.

60   INT. BUXTON WAREHOUSE - DUSK -                                60   

     Frank and Gibson step into the warehouse.  Butch behind them.

     Flames haven't reached this area yet, but the ROAR of the 
     fire above them is deafening, and smoke billows down THE 
     STAIRWAY before them.  They sprint towards it and start up.

     ONE FLOOR.  TWO FLOORS.  THREE FLOORS, and suddenly they are 
     face to face with a WALL OF FIRE blocking access to the 4th 
     floor.

     Frank and Gibson stop and stare into the inferno.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 43


                           FRANK
               It looks open on the other side.

                           GIBSON
               Don't know what's behind it.

                           FRANK
               One way to find out.

     And he barrels through the line of fire onto the 4th floor.

     Gibson starts to do the same when the 5th floor gives way 
     above Frank, sending burning timber and debris cascading 
     around him and cutting off Gibson's route.

     Now Frank's only way to go is up the stairs toward the 5th 
     floor.  He turns to Gibson.  Coming up behind him is Butch.

     Across a gulf of flames Frank yells and waves at them to get 
     the hell out.  And then suddenly, part of the 3rd floor around 
     Gibson and Butch starts to go.

                           FRANK (CONT'D)
                    (screaming over fire)
               Get out...while you still can...

     Frank turns and bolts for the 5th floor as a huge flaming 
     BEAM CRASHES down onto the stairway behind him, forcing Gibson 
     and Butch to scramble like hell back down the stairs.

                           FRANK (CONT'D)
                    (soft)
               ...it's not your time.

     INTERCUT WITH

61   EXT. BUXTON WAREHOUSE - CONTINUOUS                            61   

     Fire fighters are efficiently and expertly hard at it.

     Running out lines.  Extending ladders.  Moving a FIRE BOAT 
     into place - all communicating via walkie-talkies all on the 
     same frequency.

     The BIG LADDER is now in place.  As it telescopes up, the 
     ROOF MAN, BILL CAWLEY, begins his climb.

     PUMP TRUCKS and THE FIRE BOAT keep pumping water onto the 
     blaze.  But no matter.  For the moment, this is one OUT OF 
     CONTROL NIGHTMARE FIRE.

     BACK TO

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 44


     Frank reaching the 5th floor.  It's an inferno.  He keeps 
     moving, tearing up the stairs for the 6th floor.

                           GIBSON (O.S.)
                    (over walkie)
               Gotta be another way up, Frank.

                           FRANK
                    (into walkie)
               Then fuckin' find it.
                    (heading in)
               I'm going for the girl.

                           BUTCH (O.S.)
                    (over walkie)
               Billy, you better get up top.

62   EXT. WAREHOUSE BUILDING/LADDER - CONTINUOUS                   62   

     ROOF MAN edges up the ladder, as it telescopes above him.

                           ROOF MAN
               This is Billy, Frank. I'm on my way.

     South side.

63   INT. WAREHOUSE - CONTINUOUS                                   63   

                           FRANK
                    (reaching 6th floor)
               Glad to hear it.  See you on top.

     FIRE has torched OPEN a GAPING HOLE IN THE ROOF.

     Frank peers around through the smoke and fire and rain.  
     Then he sees, huddled in the temporary safety of the corner 
     of an OFFICE, but trapped by a fallen CONDUIT, the GIRL, 
     passed out from smoke inhalation.

                           FRANK (CONT'D)
                    (into walkie)
               I've found the girl.

64   INT. WAREHOUSE OFFICE - CONTINUOUS                            64   

     HIPPIE CRASH PAD

     Frank dashes into the office and heaves the conduit off the 
     girl.  He hoists her over his shoulder and heads out.

65   EXT. WAREHOUSE - CONTINUOUS                                   65   

     Butch and Gibson exit the warehouse past the HOSE CREW already 
     working its way into the building.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 45


     They look up to the top of the warehouse where the LADDER is 
     haltingly inching its way up the side of the building.

66   INT. BUXTON WAREHOUSE/6TH FLOOR - CONTINUOUS                  66   

     The fire on this floor is now a raging inferno.  Flames shoot 
     up from the stairway below through the open roof.  Surrounded 
     by fire, Frank, carrying the girl, strides for what looks 
     like a WINDOW on the south side of the floor.

                           FRANK
                    (into walkie)
               It's real hot in here, Billy.  I'm 
               coming out quick.

     But apprehension rips across Frank's eyes as he reaches the 
     window and looks down to see.

67   EXT. BUXTON WAREHOUSE - CONTINUOUS                            67   

     The top end of the ladder FROZEN some 10 FEET BELOW THE 
     WINDOW.  BETWEEN WALKIE-TALKIES.

                           ROOF MAN
               I'm jammed up here, Frank!

68   INT. BUXTON WAREHOUSE - CONTINUOUS                            68   

                           FRANK
               Oh mother...

69   EXT. BUXTON WAREHOUSE - CONTINUOUS                            69   

     Butch and Gibson are now by the base of the LADDER TRUCK 
     which is near the canal side of the building.  Butch screams 
     at the ladder OPERATOR.

                           BUTCH
               What the fuck, GINO!  Tell me!

                           LADDER OPERATOR/GINO
               Gear box cracked, Butch.  We're 
               fucked.

                           BUTCH
                    (into walkie)
               Frank!  Frank!

70   INT. BUXTON WAREHOUSE - 6TH FLOOR - CONTINUOUS                70   

                           FRANK
               I know, Butch.  I know.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 46


     Frank clicks off the walkie-talkie and turns to survey the 
     hell around him.  The STAIRWAY IS GONE.

     To the RIGHT is a DOOR, flames around it, but none coming 
     from the room beyond it.

     To the LEFT, another DOOR, a metal one, this one surrounded 
     by fire - flames licking out all around it from room beyond.

     EASY CHOICE.  Frank turns, heads towards DOOR ON THE RIGHT.

     No.  Wait.  HE STOPS.  SOMETHING'S WRONG.  HEART POUNDING, 
     LUNGS COLLAPSING, EYES & SKIN BURNING, EVERY FUCKING BRAIN 
     CELL SCREAMING...THINK!

     WE HEAR JOHN'S WORDS ECHO IN FRANK'S HEAD:

                           JOHN (V.O.)
               ...one wrong turn...
                    (beat)
               If you'd just gone left.

     And for the first time in his life, Frank Sullivan goes 
     against his instincts and his training as he...

     TURNS BACK AROUND AND GOES THE OTHER WAY.

71   INT. COP BAR - DUSK -                                         71   

     Gordo is in the middle of a story when...

                           GORDO
               ...principal calls us in 'cause Gordy 
               hacked into the school system - sent 
               out a little X-rated e-mail.
                    (nervous laughter)
               Scary, huh?  Eight-years old.

                           SATCH
               Just keep him away from girls.

     ...something happens - TIME STUTTERS AND REPEATS:

                           SATCH (CONT'D)
                    (repeat)
               Just keep him away from girls.

     The effect is like a phonograph needle stuck in the groove.

     It lasts only a second and nobody seems to notice.  Nobody 
     except John, who looks wildly disoriented.  He grabs hold of 
     the edge of the table as if to keep his equilibrium.

     John breaks into a cold sweat.  His HEART POUNDING AWAY.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 47


72   INT. BUXTON WAREHOUSE - DUSK -                                72   

     Franks reaches the door on the LEFT.  White heat and flames 
     shoot everywhere...A FUCKING FURNACE.  He tires to open it.

     IT'S LOCKED!  WHAM!  Frank kicks at it.  WHAM!  WHAM!  The 
     door blows open and flames leap out, the energy of the blast 
     tossing Frank and the unconscious girl back onto the floor, 
     fire surging over their heads.  But then...

     He sees something on the other side of the doorway, inside 
     the room, on the far wall.:

     A SMALL METAL SWINGING DOOR.

73   INT. BUXTON WAREHOUSE/CHUTE ROOM - CONTINUOUS                 73   

     Frank cradles the girl.  Gets down on his knees, crawling 
     under the heat.  Reaching the SWINGING DOOR.  Pushes it open, 
     revealing:

     A smooth metal SPIRAL SEED BAG CHUTE.

     Frank rips open his jacket and bundles the girl to him.  He 
     works himself and the girl onto the top of the chute.

     The ROOM BEGINS TO SHAKE.  BRICKS TUMBLE OUT OF THE WALL.

     The whole GODDAMN BUILDING is going to COLLAPSE.

     Frank lurches forward until he and the girl start to move 
     down the chute.

74   INT. WAREHOUSE CHUTE - CONTINUOUS                             74   

     As Frank and the girl plunge through the bowels of the 
     inferno...large portions of the building begins disintegrating 
     around them...a giant storm of BRICKS, MORTAR, METAL AND 
     BURNING WOOD biting their tails...

     Gaining speed through each up-rushing floor...5-4-3-2...Frank 
     and the girl zoom down towards the END OF THE SLIDE only to 
     find IT'S BOARDED UP.  OH SHIT!

     Frank grips the girl tight, raises his BOOTS, bends his knees, 
     and like a HUMAN BATTERING RAM, SMASHES THROUGH THE ROTTED 
     PLYWOOD BOARDS

75   EXT. BUXTON WAREHOUSE/EAST RIVER CANAL - CONTINUOUS           75   

     THEY'RE AIRBORNE.  Frank and the girl.  Floating in SLOW 
     MOTION out over the CANAL and landing in the water between 
     the WAREHOUSE DOCK and the FIREBOAT.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 48


     A YELL snaps Butch's and Gibson's attention to what is 
     happening.  Gibson starts running for the CANAL, ripping off 
     his coat and hat before leaping into the water.  But Frank 
     is getting pulled down by his fire tank and the weight of 
     the girl.  Finally, Gibson reaches him, taking the girl.  
     Frank quickly sheds his jacket and the tank.

     Butch stands watching on the dock.  He takes a moment to 
     close his eyes in thankful prayer.

                           GIBSON
               You okay, man?

                           FRANK
                    (starting to giggle)
               Elvis has left the building.

     Hitting the water has shot the girl back to consciousness.  
     A look passes between her and Gibson.  A look he won't forget.

     SILENCE.  Then the thunderous SOUND of the WAREHOUSE CAVING 
     IN on itself, sending flames shooting high into the sky.

     Frank lies back, floating on the water, the rain pelting 
     around him, letting the miracle of it all, take him over.

                           FRANK (CONT'D)
                    (soft)
               Little Chief.

     CRASH!  A GLASS OF WHISKEY SHATTERS ON THE TABLE.  WE ARE:

76   INT. COP BAR - DUSK -                                         76   

     It happens again.  Time stutters and repeats.  As if the 
     film sprockets were caught in the projector.

     CRASH!  The GLASS SHATTERS AGAIN!  CRASH...CRASH...

     Camera ratchets into the exploding storm of the flying glass, 
     ice and whiskey.  And then time stops as we hold close on a 
     frozen shard - in it, the cracked reflection of John's eye.

     The camera moves through the reflection and into.

     JOHN'S EYE

     A burst of light and then...distorted images.  Like looking 
     at reflections through a smashed mirror.  The cracks gel, 
     and we are in...

     MONTAGE.  A SERIES OF QUICK FLASHING IMAGES.

     1969: Frank, Johnny, Butch and Satch at the World Series.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 49


     1971: Johnny and Gordo sitting on Frank's lap, at the Ham.

     1972: Frank and Johnny, playing catch.

     1976: Johnny winning a swimming race at Longbranch Boys Club, 
     Frank cheering.

     1984: Frank, Julia and Satch beaming with pride as John 
     graduates from the police academy.

     These images appear as DISJOINTED FRAGMENTS OF NEW MEMORIES -
     A PAST THAT DIDN'T EXIST BEFORE.  A past where Frank Sullivan 
     didn't die in that fire.

     It's like watching random frames from the Sullivan Family's 
     8mm home movies as John's brain struggles to absorb decades 
     of NEW MEMORIES in the span of seconds.

     JOHN'S POV

     Normal vision slowly returning.  The broken glass is rocking 
     on the table.

77   INT. COP BAR - CONTINUOUS                                     77   

                           GORDO
               John.  John, you all right?

                           JOHN
                    (a whisper)
               Longbranch...?

                           GORDO
               What?

     John doesn't respond.

                           SATCH
               You're not looking too good.

                           JOHN
               Whoa, I just...I just...

                           GORDO
               What is it?

     Beat.

                           JOHN
               My father didn't die in a fire?

                           GORDO
               Huh?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 50


                           JOHN
               My father didn't die in a fire?

                           GORDO
               Fire?  What are you talking about?  
               He had cancer, John.

                           JOHN
               Cancer.  It was the cigarettes.  
               Right?  The cigarettes?

                           GORDO
               Yeah, lung cancer.  Ten years ago.

     His hand shaking, John takes a long sip of his beer.  Gordo 
     and Satch exchange a concerned look.

                           SATCH
               Maybe you outta lay off a little...

                           JOHN
               Gordo, I wasn't dreaming.  I talked 
               to him, it was real.

                           GORDO
               Huh?

                           JOHN
               The Ham radio.  That's how come he 
               didn't die in the fire.

     A loaded silence.  Three guys looking at each other, thinking 
     very different things.

78   INT. SULLIVAN HOUSE - STUDY - NIGHT -                         78   

                           FRANK
                    (into radio mic)
               Johnny?  Johnny?  You there?  C'mon, 
               Chief, answer me...

     Nothing but static.  Frank jiggles the frequency dial.

                           FRANK (CONT'D)
               Chief?
                    (louder)
               Chief, are you there?

     Silence.  And then a voice...

                           JOHNNY (O.S.)
               I'm right here, Daddy.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 51


     Frank turns.  Johnny, sleepy faced, wrapped in his blankie, 
     stands just outside the room - he looks a little scared.

                           FRANK
               It's okay, Chief.
                    (beat)
               C'mere.

     Johnny shuffles over, Frank lifts him up on his knee - brushes 
     the hair out of his face...and gets an idea.

79   EXT. SULLIVAN HOUSE - MOMENTS LATER                           79   

     Streetlights flood the tree-lined street.  Frank & Johnny 
     standing next to the little red bicycle.

                           FRANK
               Okay, partner, whatta you say we 
               tame this bronco.

     CLOSE ON

     Johnny's eyes: SHAME & FEAR - doesn't want to disappoint his 
     father again, but too scared to get on the bike.  Frank 
     reaches out, holds Johnny's hand.

                           JOHNNY
               I'm scared.

                           FRANK
               Don't be scared.  This time I'm right 
               behind you if you fall.

                           JOHNNY
               Daddy, Daddy, I can't.

                           FRANK
               No, but we can.  We can do it 
               together.  Spirit and guts, Chief.

     A long beat.  Johnny takes a deep breath, nods OK, slowly 
     getting on the bike.  Frank's holding on to the seat.

                           FRANK (CONT'D)
               Take your time.  I'm not gonna let 
               go 'til you say okay.

     Johnny takes a gulp of air, starts pedaling.  Slowly moving 
     forward.  The bike picks up some speed.

                           FRANK (CONT'D)
               You ready?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 52


                           JOHNNY
               Wait...

                           FRANK
               I'm right here behind you...

     Frank's still running alongside, holding on to the seat.

                           JOHNNY
               Okay!

     Frank lets go.  Johnny keeps pumping those little six-year 
     old legs.  A bit wobbly at first, but he's gonna make it.  
     On Johnny's eyes: determination & self-confidence.

                           FRANK
                    (clapping)
               Yes!  That's it!  You got it, you 
               got it!  Way to go, Chief!

                           JOHNNY
               I'm doing it!  I'm doing it!

     ON FRANK'S FACE

     The proud father.

                           FRANK
                    (under his breath)
               Atta boy.

                           OVERHEAD SHOT
               Johnny blissfully riding around Frank 
               in a big gentle circle.

     Frank slowly spins around keeping his eyes on his Little 
     Chief.

80   INT. SULLIVAN HOUSE - STUDY - NIGHT -                         80   

     John walks in the front door, takes off his coat...

     The house looks different.  Cleaner, furnishings less ragged.

     John moves through his home, taking in the subtle changes.

     He reaches the study.  And there, beside the desk, is 
     something that makes him stop:

     A PHOTOGRAPH on the wall beside the desk -- FRANK, JULIA & 
     FOURTEEN YEAR-OLD JOHNNY SULLIVAN.

                           JOHN
               Oh my God...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 53


     The picture changed.  John aged from 6 to 14.  Julia's 
     hairstyle and clothes changed from 60's to 70's.  Frank's 
     hair receded and grayed.  John is staring at evidence of a 
     history that didn't exist before.

     John grabs the old family scrapbook he found in Frank's trunk.  
     Opens it, unfolds "FIREMAN KILLED" CLIPPING.

     The main headline still reads: "OCTOBER 13, 1969.  AMAZIN'S 
     TAKE GAME 2.  2-1 LEAD.  SEE SPORTS."

     But the sub headline now reads: "FIREMAN RESCUES RUNAWAY 
     FROM INFERNO"

     John turns, stares at the radio questioningly.  He starts to 
     sit down at the desk when he spots something on the front 
     edge of it.  WORDS CARVED INTO THE WOOD, 29 YEARS AGO by 
     fire fighter Frank Sullivan.  The day John saved his father's 
     life: I'M STILL HERE CHIEF The last letter is missing.  But 
     then a patch of wood starts to morph - as if it were being 
     carved by an invisible knife.

     A BURST OF STATIC.  RADIO CRACKLES TO LIFE.

                           FRANK (O.S.)
                    (through radio)
               ...can you hear me?

                                                          CUT TO:

     CLOSE ON FRANK

     One hand on the squawk bar, the other holds the jack-knife 
     he is using to finish carving the letter F.

                           JOHN (O.S.)
                    (through radio)
               Dad...?

                           FRANK
               Chief?!  Is that you?

     INTERCUT FRANK AND JOHN

                           JOHN
               Yeah, it's me.

                           FRANK
               You're the voice of an angel, Johnny.  
               If you hadn't told me, no way I 
               would'a ever made it.

     Frank cuts himself off in mid-sentence.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 54


                           JOHN
               Dad, you there?  You okay?

                           FRANK
               Yeah.  I'm okay.
                    (beat)
               What about you?  I want to know.  
               About you.  And your mom.

     John hesitates for a moment.  Lights up a smoke.

                           JOHN
               We're doing all right, Dad.  We're 
               doing good.

                           FRANK
               Tell me.

                           JOHN
               It's hard to explain.  Something 
               happened today.  It was like a dream.  
               And when I woke up I had all these 
               new memories.  Good times.  Times we 
               never had before.

                           FRANK
               I'm glad.

     But John looks troubled.  Something bothering him.  He takes 
     a hit off his cigarette.

                           JOHN
               Dad, I gotta tell you this...cause 
               you should know.  Cause I still 
               remember.

                           FRANK
               What, Johnny?  What is it?

                           JOHN
               What it was like when you died in 
               the fire...

     Both men are silent for some moments.  The hum of static.  A 
     breath, then --

                           JOHN (CONT'D)
               We needed you.  I needed you.  So 
               many times...I wished for you.  But 
               you weren't there for me.
                    (beat)
               Mom tried.  But she was hurting.  I 
               used to hear her, every night, for 
               years, crying herself to sleep.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 55


     Frank grips the radio mic, stunned.

                           FRANK
               I didn't think...

     The static grows.  John leans into the mic

                           JOHN
               Well, you think about it.  And you 
               remember, cause I don't wanna lose 
               you again.  I don't ever want Mom...

     John's voice cracks, choking back the tears.

                           FRANK
                    (over static)
               You won't.  I swear to God you won't.  
               I love you, son.

     A blast of static.  The signal is gone.  It is quiet.

     John leans back.  Takes a breath.  Reaches out for the phone.

     CLOSE ON PHONE'S THREE SPEED DIAL BUTTONS.

     John HITS #3.

                           JULIA'S VOICE
                    (through answering 
                    machine)
               Hi, this is Julia.  Please leave a 
               message after the tone.

                           JOHN
               Ma, it's me.  Call me.  We gotta 
               talk.

     As John slowly hangs up the phone, something catches his 
     eye.

     Something that wasn't there yesterday.

     LONGBRANCH BOYS' CLUB SWIMMING TROPHY...A GREAT SUMMER.

81   INT. HOSPITAL - EMERGENCY ROOM - LATE NIGHT -                 81   

     Through several glass windows a CLOCK READS: 11:52 PM.

     Julia and other medical personnel are working on a heart 
     attack victim and they are winning.  She is in charge and 
     she is impressive.  Cool...efficient...expert.

     A sixth sense causes her to look up to see:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 56


     FRANK.

     Standing behind the windows.  Motionless.  Gazing at his 
     wife.

     Julia holds on him for a split second, concern and surprise 
     etching across her face.  She turns back to her work, then 
     says something to another ER nurse, who nods okay.  Satisfied 
     the patient is out of the woods, she peels off her gloves 
     and heads for the door.

82   INT. HOSPITAL - EMERGENCY ROOM/HALLWAY - CONTINUOUS           82   

     Julia steps through the door as Frank approaches.

                           JULIA
               Frank...what's wrong?

                           FRANK
               Nothing.  I just wanted to see you.

     He takes her in his arms, snuggling his head against her 
     neck, losing himself in the scent of her hair.

                           FRANK (CONT'D)
                    (whisper)
               I'm not goin' anywhere, Jules.  For 
               the rest of your life.

     It's hard to tell, we can't see his face, but it looks like 
     Frank is crying.

                           JULIA
               Frankie, what is it?

     But Frank is silent.  So they just stand there, holding each 
     other.  And then Julia notices the burn and scrape marks on 
     Frank's arms and neck.

                           JULIA (CONT'D)
               I got a bad feeling today...I was 
               worried.

                           FRANK
               I'm here.  Bruised but not broken.

     Frank pulls his head back, looks into his wife's eyes and 
     kisses her on the mouth.  It's a long kiss.

     As they come up for air.

                           JULIA
               Where's Johnny?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 57


                           FRANK
               I tucked him in at Gordo's.

                           JULIA
               You give him his drops?

                           FRANK
               One in each ear.
                    (beat)
               What would you do without me?

                           JULIA
               Probably marry some rich doctor and 
               never have to work...

     Julia sees something through a glass door that stops her 
     short.  A YOUNG INTERN is standing over a gurneyed PATIENT.

     The YOUNG INTERN is changing the I.V. BAG.

                           JULIA (CONT'D)
               What's he doing?  Frank, I gotta...

     He knows she's back on the job.  Waves "no problem."

83   INT. HOSPITAL EMERGENCY CUBICLE - CONTINUOUS                  83   

     Julia interrupts the Young Intern as he hooks up the bag.

                           JULIA
               Excuse me doctor, is that Benazepril?

                           INTERN
               Yes.

     Julia quickly shuts off the I.V.

                           JULIA
               I gave this patient 50 mills of 
               Benedryal on admittance.
                    (unhooking I.V. bag)
               Mix them and he's dead.

                           INTERN
               Why wasn't I made aware?

                           JULIA
               It's in his chart.

     The intern steps back: "Oh shit."  Julia takes charge.

     The patient stirs: a SCRAGGLY HIPPIE, looks kind of like 
     Pacino in SERPICO.  A breathing mask covers his bearded face.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 58


     Barely conscious, his eyes focus on Julia.

     After a quick double check of the patient, Julia looks up.

     Through the glass door she can see Frank watching.

                           FRANK
                    (mouthing to words)
               I love you, Bud.

                           JULIA
                    (mouthing back)
               I love you more.

     The clock on the wall now reads: 12:01 AM.

     AND THE LEGEND READS:

     OCTOBER 13th - WORLD SERIES TRAVEL DAY

84   INT. FUNERAL HOME - DAY -                                     84   

     SURREAL IMAGES.  SOMEONE'S POV...

     MEN and WOMEN, standing and sitting, seen only from the waist 
     down.  All wearing dark cloths and speaking in hushed voices.

     A recognizable VOICE?  The edge of a CASKET?  A NIGHTMARE.

85   INT. SULLIVAN HOUSE - BEDROOM - LATE NIGHT -                  85   

     John is bathed in SWEAT.  He twists to CAMERA and his eyes 
     pop open.  A glazed, confused look pours out of them.

     SEE past an empty bottle of BUSHMILLS on the night stand - a 
     clock READS 12:01 AM.

86   INT. FUNERAL HOME - DAY                                       86   

     THE NIGHTMARE REPEATS - like some horrible instant replay.

     MEN and WOMEN, standing and sitting, seen only from the waist 
     down.  All wearing dark clothes and speaking in hushed voices.  
     FLASHES OF FACES SWIMMING INTO THE POV...indistinct, blurring 
     into each other.  Is that UNCLE BUTCH?  SATCH?  GIBSON?

87   INT. SULLIVAN HOUSE - BEDROOM / BATHROOM - MOMENTS LATER      87   

     A terrified and disoriented John stumbles out of bed.  He 
     moves to the bathroom.  But he stops.  Something is wrong.

     The bedroom has changed.  It looks like a DUMP.

     John shakes his head, trying to blink away the nightmare.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 59


     But the room does not change back.  He goes to the bathroom.

     Splashes his face.  He looks up to the mirror and...

88   INT. FUNERAL HOME - DAY                                       88   

     The same horrible instant replay.  Flashes of faces swimming 
     into the POV...

     JOHNNY'S POV

     He is CROUCHED UNDER A TABLE.  STARING AT THE CASKET.  Alone.

     Bewildered.  Crying.

     A MAN, seen only from the waist down, approaches the table.

     As he crouches down his face drops into the frame.  It is 
     FRANK.  His face etched in a terrible pain.

89   INT. SULLIVAN HOUSE - KITCHEN - EARLY MORNING                 89   

     The kitchen looks different: dirtier, uncared-for.  John 
     looks different too: like a guy on the tail end of a lifetime 
     bender.  He cracks open a Bushmills.  Pours a couple of shots 
     into his instant coffee.  Several sips to settle his nerves.

     He reaches for the cordless phone and HITS SPEED DIAL #3.

                           CASHIER (V.O.)
               Noah's Deli.  Can you hold?

     Confused, John clicks down the receiver.  His hand is shaking 
     as he punches the speed dial button for the second time.

                           CASHIER (CONT'D)
               Noah's Deli.

     On the slam of John's phone, we got to...

90   INT. JULIA'S APARTMENT - HALLWAY - MANHATTAN - MORNING        90   

     John knocks on the door.  It opens to reveal a Jamaican woman 
     clutching a crying infant, a toddler hanging off her leg.

     Behind them we half recognize Julia's apartment.  We know 
     it's her apartment because of the BAY WINDOW and the view of 
     THE GEORGE WASHINGTON BRIDGE.  But everything else is 
     different.  Different furniture.  Different paint job.

     John stands speechless.  The Jamaican woman regards him...

                           JAMAICAN WOMAN
               Can I help you?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 60


                           JOHN
                    (relaxed)
               I'm looking for Julia Sullivan.

                           JAMAICAN WOMAN
               I think you have the wrong apartment.

                           JOHN
               But this is her place.  910 Riverside.  
               Apartment 3C.

                           JAMAICAN WOMAN
               I'm sorry, but no one by that name 
               lives here.

     John just stands there, lost, questioning his grip on reality.  
     Liquor on his breath, fear in his eyes, he is a scary sight.  
     Jamaican woman does the smart thing - she slams the door.

91   INT. 23RD PRECINCT - DETECTIVE SQUAD - COFFEE ROOM - LATER    91   

     ON SATCH, scavenging the fridge while absorbed in some papers.

     Through the open door he SPOTS JOHN across the squad room.

     Even at that distance, Satch can see John's unsteady walk 
     and fucked up demeanor.  Satch's eyes go to stone.

92   INT. 23RD PRECINCT - MEN'S ROOM - CONTINUOUS                  92   

     John leans over the sink, wet paper towels pressed to his 
     face.  He barely reacts to the SOUND of the door.  He does 
     react to the silence that follows.  Satch stands in the 
     doorway...looking him over.

                           JOHN
               What?

     A long silence.

                           SATCH
               Another rough night, huh?  That it?

                           JOHN
               Yeah.  That's it.

     John moves for the door.  But Satch grabs him, slams him 
     against the wall.  Startled, John freezes.

                           SATCH
               Do not disrespect me.  Disrespect 
               yourself all you want.  But not me.  
               Or anybody else around here.  You 
               got that?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 61


     John shrugs, sagging against the wall.

                           SATCH (CONT'D)
               This is getting real old, John.  And 
               I'm tired up to here with it...

                           JOHN
               I'm sorry.  I just...you know...I...

                           SATCH
               And I'm tired of the I'm sorrys.  I 
               don't need 'em.  What I need is a 
               partner I can count on.
                    (pause; softens)
               I care about you.  Not cause of me 
               and your old man.  Not cause of your 
               mom.  But because of you.

     Satch steps back.  An awkward beat.

                           SATCH (CONT'D)
               We got the preliminary forensics on 
               that skeleton.
                    (opening door to the 
                    squad)
               Your gonna want to look at it.

93   INT. 23RD PRECINCT - DETECTIVE SQUAD ROOM - CONTINUOUS        93   

     Satch and John approach their adjoining desks.  Satch slides 
     an 8X10 PHOTO off the top of an OLD YELLOWED POLICE FILE and 
     hands it to John.  It is a picture of the skeleton discovered 
     behind the Greek Diner.  But what catches John's attention, 
     what picks at his subconscious, is the decaying GLASS TAPE 
     binding the wrists.

                           SATCH
               Bad memories...
                    (re: photo)
               You imagine the odds...us diggin' up 
               a Nightingale Murder?

     John looks from the photo to the file on Satch's desk.  It 
     reads: NIGHTINGALE MURDERS.  John slowly sinks into his chair.

                           SATCH (CONT'D)
               She makes ten.

                           JOHN
               Ten?  No.  I remember this case.  
               Three.  He killed three women.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 62


                           SATCH
               What're you talking'?  You know better 
               than anybody, John.  You've read 
               this file a thousand times.

     John fixes on the file.  Then slowly reaches for it.  It's 
     filled with police and forensics reports.  And PHOTOS.  Crime 
     scene shots of 9 DEAD WOMEN.  Linked by TWO gruesome details - 
     they were all GARROTED, wrists bound with GLASS TAPE.

     John turns over the last PHOTO and his heart stops...his 
     universe crashing down on him.

     CLOSE ON THAT PHOTOGRAPH: A MURDER VICTIM.  GARROTED.  GLASS 
     TAPED WRISTS.  JULIA SULLIVAN.

                           JOHN
               No.

94   INT. SULLIVAN HOUSE - JOHNNY'S BEDROOM - NIGHT -              94   

     Julia is at the door watching Frank tuck Johnny in.  Johnny 
     wears his Mets' cap and cradles his baseball glove.  He's in 
     that exhausted/excited kid moment before sleep sets in.

                           FRANK & JOHNNY
                    (very soft)
               Buy me some peanuts and cracker 
               jack...I don't care if I never get 
               back...

     Johnny's eyes close.

                           JULIA
               Boy is he excited about the game 
               tomorrow.

                           FRANK
               He ain't the only one.

95   INT. SULLIVAN HOUSE - KITCHEN - LATER                         95   

     Marvin Gaye plays from the HI-FI.  Frank grabs a beer, as 
     Julia comes in -- putting on her coat while taking her keys 
     from a hook.  She's wearing her nurse's uniform.

                           JULIA
               I'm off.

                           FRANK
                    (turning to her)
               Wish you weren't.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 63


                           JULIA
                    (stepping to him)
               Do you know how much I love you?

     Frank takes her in his arms.  Starts to move her to the music.

                           FRANK
               Yeah, actually I do.

     They kiss.  And dance.  And kiss.  And dance.  He starts to 
     slip her coat off.  She laughs and wriggles away from him.

     Naughty boy.  And she is out the door.

96   EXT. SULLIVAN HOUSE - NIGHT -                                 96   

     John pulls in past SAMANTHA'S CAR as she comes out the back 
     door with the Teddy Bear and other stuff she left behind.

     John gets out of his car, clutching the 'Nightingale' file.  
     his eyes are red, swollen by tears and booze.

                           SAMANTHA
               John, are you all right?

     The answer is no.  He looks terrible, as haunted as any man

     could possibly be.  He doesn't mean to, but he snaps --

                           JOHN
               What are you doing here?

     Samantha jumps, frightened.

                           SAMANTHA
               Ellen said you were working.  I just 
               wanted to pick up the rest...

     John turns, lost and ashamed.  Sam walks to her car and starts 
     to cry.

97   INT. SULLIVAN HOUSE - STUDY - CONTINUOUS                      97   

     John enters, plunks the Nightingale file on the desk.;  He 
     stares at the FAMILY PHOTOGRAPH on the wall.

     JULIA IS MISSING.   A look of loss in Frank and John's faces.

     John fingers the Nightingale file.  A nightmare.

     He hits the ANSWERING MACHINE BUTTON to hear Samantha's 
     halting message.  As that plays...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 64


98   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                    98   

     John steps to the counter and pours himself a stiff Bushmills.  
     Turns and steps back into...

99   INT. SULLIVAN HOUSE - STUDY - CONTINUOUS                      99   

     John collapses in the chair.  Stares at the words carved in 
     the desk - I'M STILL HERE CHIEF.  He rubs his fingers over 
     the smooth carving...his eyes going to the radio.

     A quiet moment.  John slowly puts his hand on the squawk, 
     leans into the mic...

                           JOHN
               Dad, you there?  Can you here me?
                    (silence)
               Dad?  I need you to be there.

     A long beat.  The hum of static.  And then...

                           FRANK (O.S.)
                    (through radio)
               Right here, Chief.  Sorry I lost you 
               last night.  Damn thing keeps cutting 
               out.

                           JOHN
               Dad...Dad... There's... I need to...

     INTERCUT FRANK AND JOHN.

                           FRANK
               Are you alright"?

                           JOHN
                    (sipping Bushmills)
               Something happened, something...

                           FRANK
               What?  Johnny, what's wrong?

                           JOHN
               It's Mom.

                           FRANK
               What?  What is it?

                           JOHN
               She's not here.

                           FRANK
               Whatta you mean she's not here?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 65


                           JOHN
               She...she died.  It's like it just 
               happened.

                           FRANK
               She just died, your mother just died?

                           JOHN
               No Dad, it happened a long time ago, 
               a long time ago for me.

     A dreadful moment of silence.

                           FRANK
               When?

                           JOHN
               October 22, 1969.

                           FRANK
               Jesus Christ...that's...ten days 
               from now.
                    (beat)
               How?

     Silence.

                           FRANK (CONT'D)
               Johnny, I gotta know.

     Long beat.  You could hear a fuckin' pin drop.

                           JOHN
               She was murdered.

     Eerie silence as John's words hang in the air.

                           FRANK
               Murdered?  Why?

                           JOHN
               There was this case.  A serial.  He 
               murdered three women, all nurses, 
               between '68 and '69.  The papers 
               called them the Nightingale Murders.  
               They never caught him.  But the 
               killings just stopped.

                           FRANK
               What kinda twisted animal.

                           JOHN
               Dad, we did something.  Something to 
               make it worse.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 66


                           FRANK
               Whatta you mean...

                           JOHN
               He didn't just kill three women 
               anymore.  He killed ten.

                           FRANK
               What are you talking about?

                           JOHN
               Something we did changed the 
               case...changed history.
                    (beat)
               Mom wasn't dead.  But then after you 
               didn't die in the fire something 
               must have happened.  And this guy, 
               this Nightingale guy, he kept on 
               killing...it was like a spree...seven 
               more women.

                           FRANK
               I gotta take her away, John.  I'm 
               gonna take your mother away.  He 
               can't hurt her if I take her away.

                           JOHN
               I don't know...
                    (beat)
               What about the other women?

                           FRANK
               I'll warn them.

                           JOHN
               That'll never work.  They'll just 
               think you're crazy.

                           FRANK
               What can we do?  You don't even know 
               who this guy is.

                           JOHN
               No.  Nobody got...
                    (realizing)
               Wait a minute.  I might not know who 
               he is, but I know where he's gonna 
               be.  I got the case file.  We know 
               what he's gonna do before he does 
               it.

                           FRANK
               So what should I do?  Call the police?  
               You think they'll believe me?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 67


                           JOHN
               They will if they catch him in the 
               act.  You can make that happen, Dad.  
               You can tail the victim and call it 
               in at just the right moment.

                           FRANK
               I don't know, John.  I'm a fire 
               fighter.  This is...this is different.

                           JOHN
               I do know.  I'm a cop.  This is what 
               I do.

     John takes a long sip from the Bushmills.

                           JOHN (CONT'D)
               You ever talk to a victim's family?  
               The ones left behind?  They don't 
               act like what you'd think.  There's 
               panic and fear.  But mostly, it's 
               like there's this logic problem.  
               And if they could only solve it, 
               everything would be okay.
                    (a breath)
               But if you look real close - look at 
               their eyes - you can see it.  Just a 
               glimmer.  But somewhere they know.  
               They know their world is never gonna 
               be the same.

                           FRANK
               What if the radio stops working?  
               Christ, what if I can't reach you 
               again?

                           JOHN
               Then you get Mom the hell out.  But 
               Dad, those other women weren't 
               supposed to die.  We don't try to 
               stop this guy, we're gonna live with 
               that for the rest of our lives.

     Frank takes a deep breath, swallows some air.

                           FRANK
               What do I gotta do?

     John grabs the THICK YELLOWED POLICE FILE.  Opens to homicide 
     report on Karen Reynolds.  CLOSE ON FORENSIC PHOTO - KAREN 
     REYNOLDS' CORPSE

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 68


                           JOHN
               The next victim was Karen 
               Reynolds...It happens tomorrow.
                    (reading)
               Case file says she left St. Vincents 
               at six.  Show'd up at Cozy's Bar 
               around six thirty.  She walked outta 
               that bar around seven-thirty.  They 
               found her dead in an empty lot behind 
               the place at eight o'clock.

     Frank jots down the info.

                           FRANK
               Why not just get the cops to watch 
               the bar?

                           JOHN
               They'll question her.  Whatever they 
               tell her could change what happens.
                    (beat)
               No, I want you to follow her.  See 
               if anybody's watching her, hittin' 
               on her.  I'm betting somebody's gonna 
               walk outta that bar with her.  When 
               they do, you call the cops.

     Close on NIGHTINGALE FILE on John's desk.  Zoom in on the 
     date below KAREN'S HOMICIDE PHOTO: October 14, 1969.

     THE LEGEND READS:

     OCTOBER 14th - 3RD GAME OF THE WORLD SERIES

100   INT./EXT. KOREAN GROCERY - EVENING -                        100   

     A woman waits to pay for a mini pack of Kleenex and some 
     gum.

     KAREN REYNOLDS.  A wool coat over her Nurse's uniform.

     Frank's and John's voices continue over the scene.

                           FRANK (V.O.)
               What do I tell them?

                           JOHN (V.O.)
               Tell 'em there's a homicide in 
               progress... cause by the time they 
               show up there will be.

     As Karen moves to the cash register, the CAMERA WIDENS TO 
     REVEAL FRANK, awkwardly pretending to read a magazine.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 69


     Frank readies to follow her when he suddenly trips over a 
     crate of vegetables and goes down on one knee.

     Karen looks in the direction of the accident, and for a split 
     second, her eyes lock with Frank's.  Embarrassed, Frank looks 
     away as he rights himself.

     Frank edges out of the grocery store as Karen steps into the 
     street and dodges traffic towards a corner BAR/RESTAURANT at 
     the end of the block, past a heavily overgrown VACANT LOT.

     Frank follows Karen across the street and finds himself, 
     just as Karen enters the bar, at a point near the murder 
     site described by John.  He pauses to stare at it.

101   INT. COZY'S BAR & RESTAURANT - MOMENTS LATER                101   

     Frank enters the place.  Sort of a singles atmosphere, but a 
     comfortable one.  It's HAPPY HOUR.  On the TV, the Mets' Gil 
     Hodges offers his analysis of Game 3.

     Frank looks about, down the bar and into an area with booths 
     and tables.  A few folks at the bar.  A group of YOUNG WOMEN 
     laughing in a booth.  But NO KAREN REYNOLDS.  Frank's blood 
     runs cold in a spasm of panic when...

                           WOMAN'S VOICE
               Hey, Chuck.

                           BARTENDER
               Hey, Karen.

     Frank wheels around just as Karen passes him from the LADIES 
     ROOM.  There is the trace of a bump, enough for Karen to 
     take note of Frank.  Ad lib EXCUSE ME.  She then starts moving 
     down teh bar towards the booth of young women.

     Frank checks out everyone in the bar, not knowing quite what 
     he's looking for.

     Karen slips into the booth with her friends.  Ad lib HELLOS.

     Frank orders a beer, but his eyes are fixed on the booth.

     Karen and a friend take note of Frank staring at them.

     Embarrassed, he turns away, checking his watch: 6:40PM.  And 
     at just that moment a SCRAGGLY MAN passes by, taking a seat 
     at the end of the bar.  We have seen this man before.

102   INT. 23RD PRECINCT - DET. SQUAD - MEN'S ROOM - NIGHT -      102   

     Satch and a YOUNG DETECTIVE stand at the sinks, washing up.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 70


                           YOUNG DETECTIVE
               Is that really how you got the Son 
               of Sam?  Parking tickets?

     Satch shrugs a yes.  Wipes his hands and heads out into the 
     squad.  The Young Detective follows.

103   INT. 23RD PRECINCT - DETECTIVE SQUAD - CONTINUOUS           103   

     CLOSE ON SQUAD ROOM WALL CLOCK: 6:45PM

     John's at his desk.  Keeps glancing at the phone, fiddling 
     with the NIGHTINGALE FILE... A PHOTOGRAPH OF KAREN REYNOLDS.

     Satch passes John on his way to the coffee machine.

                           SATCH
               Any word on our bones?

     John shakes his head no.  Young Detective joins Satch at the 
     coffee machine.  John overhears:

                           YOUNG DETECTIVE
               But how'd you think of it?

                           SATCH
               You're pulling over with a .44 bulldog 
               tucked in your pants getting ready 
               to blow somebody's brains out...I  
               figure the last thing you're thinking 
               about is alternate side of the street 
               parking.

     Young Detective nods, impressed.  John is less impressed.

                           JOHN
               That's what we need here, Satch.  A 
               lucky break.

                           SATCH
               That wasn't luck, Johnny boy.  That 
               was smarts and ten plus on the job.

104   INT. COZY'S BAR & RESTAURANT - NIGHT -                      104   

     BOTTLE OF RHEINGOLD drops into frame next to half empty one.

                           BARTENDER
               From the girls, pal.  All of 'em.

     Frank glances at the women in the booth.  They're all looking 
     at him, smiling.  A big one from Karen.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 71


     His watch says 7:05.  Taking the new bottle, Frank steps 
     from the bar, past the Scraggly Man and walks to the booth.

     Charmingly shy, Frank is kind of at a loss for words.

                           FRANK
               I was, uh, I'm not really...

                           YOUNG WOMAN #1
                    (noting Frank's jacket)
               Fireman, huh?

                           FRANK
                    (noting wedding ring)
               A married fireman.

                           YOUNG WOMAN #3
               Oh, what the hell.  Have a seat.  
               What's your name, fireman?

                           FRANK
               Frank.

     And Frank takes a seat, sliding in next to Karen.  An awkward 
     moment for him as she takes a closer look at his face.

                           KAREN
               Do I know you?

                           FRANK
               I don't think so.

                           KAREN
                    (puts it together)
               From the Korean market up the street.
                    (laughing)
               Mr. Lee make you pay for those 
               veggies.

                           YOUNG WOMAN #1
               You following her, Frank?  You're 
               not some kind of stalker or something?

                           FRANK
               I follow fires, nothing else.

     General laughter all around.

105   INT. 23RD PRECINCT - DET. SQUAD - NIGHT -                   105   

     John has a CORKBOARD set up next to his desk.  On it he has 
     arrayed several photos of the Nightingale victims under the 
     dates of their murders.  He looks over at the photos, then 
     at the forensics photo of Karen Reynolds on his desk.  BRRING!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 72


     John shoots a look at the wall clock.  It reads: 7:45.

                           JOHN
                    (grabbing the phone)
               Sullivan.
                    (beat)
               You're kiddin'...
                    (grabbing pen; 
                    scribbling)
               Satch is alerted by John's sudden 
               burst of energy.

                           JOHN (CONT'D)
               Mario, you are the best...right, 
               right, right.  Spell it out for me.

106   INT. COZY'S BAR & RESTAURANT - NIGHT -                      106   

     At the bar, the Scraggly Man stares at Frank and the women.

     Franks checks his watch as he tells a story.  It's 7:50.

                           FRANK
               Yeah, it was a close call, but...

                           KAREN
               Close!  The news said it was a miracle 
               you guys got out alive!

                           FRANK
               Close is just close if you're still 
               alive to talk about it, y'know/ The 
               women around him are clearly 
               enraptured.

     In B.G. - at the bar - the Scraggly Man, looking frustrated, 
     slides off his stool and strides out of the place.

107   INT. 23RD PRECINCT - NIGHT - 1998/EXT                       107   

     John hangs up the phone.  Satch looks at him, "Whatta we 
     got?"

                           JOHN
               Our lucky break.  Mario ID'd the 
               dental.  Mary Finelli...reported 
               missing April 16, 1969.

                           SATCH
                    (looking at corkboard)
               April 16...?  That means she was the 
               first.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 73


                           JOHN
               Which means he probably knew her.

                           SATCH
               This case just got hot.  We pull on 
               this string...

     But for some strange reason John has stopped listening to 
     Satch.  Something else has got his full attention.  It is 
     the Nightingale file that lays open on his desk.  It is 
     changing...Karen Reynolds' forensic photo disappears. In 
     fact everything about her, all evidence of her murder - police 
     reports, photos, witness reports - is GONE.

     John's eyes shoot to the corkboard.  The head shot of Karen 
     Reynolds and the date of her murder are also GONE.  John 
     looks between the file and the board.

                           JOHN
                    (whisper)
               Dad...

108   EXT. SULLIVAN HOUSE - FRONT PORCH - NIGHT -                 108   

     Frank and Julia stand on the porch, eyes on Johnny - up past 
     bedtime, proudly riding his bike up and down the street.

                           JULIA
                    (a stretch and a yawn)
               I think I'm gonna head up, take a 
               shower.
                    (slight smile)
               You wanna tuck the monster in and 
               join me?

     Frank doesn't take the bait.

                           JULIA (CONT'D)
               What's the matter?

     Beat.

                           FRANK
               There's something I gotta take care 
               of.  Something I need to tell you 
               about.

                           JULIA
               Okay...

                           FRANK
               I've been talking to this...guy...this 
               cop...on the HAM...and, uh, he...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 74


                           JULIA
               Honey, what is it?  Just tell me.

                           FRANK
               I've been talking to Johnny...on the 
               radio.

                           JULIA
               I know.  He loves that thing.

                           FRANK
               No.  Not our Johnny.  I mean, it's 
               Johnny...but not now...in the future.

     It takes her a moment to absorb what he just said.  And then 
     she gets it... he's talking about a game.

                           JULIA
               Sounds like fun.

     She kisses him on the forehead and heads into the house.

                           JULIA (CONT'D)
               I'll be upstairs...if you want to 
               play.

                           FRANK
               I'm serious.

                           JULIA (O.S.)
               So am I.

     A quiet beat.  And then...

                           JOHN'S VOICE
                    (over static)
               Karen Reynolds is alive and well.  
               We did it, Dad.

     We are now...

109   INT. SULLIVAN HOUSE - STUDY - NIGHT - 1998 &                109   

                           FRANK (O.S.)
                    (over the HAM)
               I'll be damned.

                           JOHN
               Did you see him?  Do you know who he 
               is?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 75


     INTERCUT FRANK AND JOHN

                           FRANK
               No.  I just kept talking to her.
                    (beat)
               There was a lot of guys in that bar -
               could'a been any of 'em.

                           JOHN
               It's okay.  This is working.  This 
               is gonna work.

                           FRANK
               Whatta we do now?

                           JOHN
                    (consults file)
               Sissy Clark, 190 Riverside Dr., 
               apartment 3C.  Tomorrow.
                    (skimming file)
               She's a nursing student.  Paying her 
               way as a cocktail waitress at the 
               Peppermint Lounge, on west 63rd.  
               Left work at two A M...killed in her 
               apartment, between two thirty and 
               five.

     Frank jots down the info.  Fires up a Lucky.

                           FRANK
               Got it.

                           JOHN
               Dad, I think I may be able to get 
               you enough information to make sure 
               the DA can nail this bastard.

                           FRANK
               How?

                           JOHN
               Coupla days ago they dug up a body 
               in Washington Heights - Mary Finelli.  
               Girl disappeared in '68.  Turns out 
               she was his first kill.  Which means 
               he probably knew her.  Most serials 
               know their first victim.  I'm gonna 
               do some checking - see if I can put 
               any of this together...

                           FRANK
               All right, I'm with you.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 76


                           FRANK (CONT'D)
                    (beat)
               I just hope we know what the hell 
               we're doing.

     A soft burst of static.  The signal returns a little fuzzy.

                           FRANK (CONT'D)
               Tell me something good, Chief.  Tell 
               me about the future.

                           JOHN
                    (lighting up a Marlboro)
               Well they found out cigarettes give 
               you lung cancer.

     Frank takes a beat, contemplating the cigarette in his hand.

                           FRANK
               What else, John.  It must be 
               different, huh?  Are people living 
               on the moon?

                           JOHN
               Didn't happen, we got enough problems 
               down here.

                           FRANK
               What are we like in...1998?

                           JOHN
                    (lying)
               We're okay...we're good, Dad.

                           FRANK
                    (groping for good 
                    news)
               Hey, what about the Amazin's?  They 
               pull it off?

                           JOHN
               You really wanna know?

                           FRANK
               Yeah, you betcha.

                           JOHN
               Well, game five was the big one.  It 
               turned in the bottom of the 6th.  We 
               were down 3-0.  Cleon Jones gets hit 
               on the foot - left a scuff mark on 
               the ball.  Clendenon comes up.  The 
               count goes to 2 2.  High fastball.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 77


                           JOHN (CONT'D)
               He nailed it.  Weis slammed a solo 
               shot in the 7th to tie.  Jones and 
               Swoboda scored in the 8th.  We won, 
               Pop.

                           FRANK
               Wow.

     Julia walks into the study.

                           FRANK (CONT'D)
               Hang on a sec, John.

                           JOHN
                    (over the HAM)
               You there?

     ON FRANK

     realizing something.

                           FRANK
               Jules, I want you to say hello to 
               somebody...
                    (re: radio)
               I'm on with John - that guy I told 
               you about.

                           JULIA
               The future guy?

                           FRANK
               Yeah, but, no kidding around, he's a 
               good guy, a real good guy...

     Sensing that somehow this is important to her husband, Julia 
     gives in, willing to play along with his radio game.  She 
     shares Frank's chair, he puts his arm around her.

                           FRANK (CONT'D)
               John, say hello to my wife...Julia.

                           JOHN
               H-hi.

                           JULIA
               Hey, future boy.  Frank tells me 
               you're a cop?

                           JOHN
               Yeah, that's right.

     Hearing voices, Johnny, Gordo and Elvis wander in from the

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 78


     family room.  They are in their pj's...a sleepover.  Julia 
     gives them a smile, turns back to the radio.

                           JULIA
               My six year-old here keeps telling 
               me he wants to be a policeman.  Right 
               after he retires from the majors.  
               We just gave him a badge and a whistle 
               for his birthday.

                           JOHN
               Yeah...I remember.
                    (smiling)
               I used to play cops and robbers but 
               y--...my mom wouldn't let me have a 
               toy gun.

                           JULIA
               Your mom sounds like she's got some 
               smarts.

                           JOHN
               She's pretty special.

                           JULIA
               Are you a good cop, John?

                           JOHN
               I try to be.

                           JULIA
               Then I'll bet she's real proud of 
               you, huh?

                           JOHN
               Yeah.  I just wish I'd told her how 
               proud I was of her.

                           JULIA
               I'm sorry.  I didn't realize...
                    (beat)
               But she knew, John.  A mother knows 
               what's in her son's heart.

     Little Gordo reaches for the microphone.

                           JULIA (CONT'D)
               I better go.  It's been good talking 
               with you.

     Julia scoops Johnny up, carrying him off to bed.  But little 
     Gordo does not follow...fascinated by the radio.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 79


                           GORDO
               I wanna talk on the radio.

     Frank laughs, as Gordo climbs up on his lab.

                           GORDO (CONT'D)
               This is the Space Cowboy.  I'm an 
               intergalactic traveler from the 
               Federation planet earth.

                           JOHN
               Gordo?

                           GORDO
               How'd you know my name, mister?

     John sits back, marvelling at how young Gordo sounds.  A 
     thousand childhood memories playing in his head.  And then 
     he lights up...realizing the opportunity.

                           JOHN
               Hey, Gordo.  My name is Santa Claus.  
               And I'm gonna give you the biggest 
               Christmas present you ever had.

     Gordo looks at Frank: is this for real?  Frank nods, smiling.

                           GORDO
               I better give you my address then.

                           JOHN
               Oh don't worry kid, I know where you 
               live.  Now I want you to go upstairs 
               and write this down, buy Yahoo.  You 
               got that Space Cowboy.  Y-a-h-o-o.  
               It's a magic word and I never want 
               you to forget it.

                           GORDO
               You got a deal, mister.  I mean Santa.

     The sound of Julia's voice calling Gordo to bed.  Gordo 
     scampers out.  Static filters through both radios, then...

                           FRANK
               John, you still there?

                           JOHN
               I'm right here, Dad.

                           FRANK
               You all right?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 80


                           JOHN
               Yeah, I think so...

                           FRANK
               Don't worry, Chief.  I'm not gonna 
               let anything happen to her...no matter 
               what.

     BZZZZ-SHHH.  A burst of loud static.  The band goes dead.

     John takes a beat to come down.  He gets up, making his way 
     into the KITCHEN.  There's a half-full bottle of BUSHMILLS 
     on the counter.  John reaches out to grab but the bottle.  
     But then he stops.  It is time to stop.  John turns on the 
     faucet and dumps the booze down the drain.

     THE LEGEND READS:

     OCTOBER 15th - FOURTH GAME OF THE WORLD SERIES

110   INT. FINELLI HOUSE - MARY'S ROOM - DAY -                    110   

     CLOSE ON

     a white vinyl DIARY with a blue heart shaped padlock held by 
     a hand.  A page is turned and the name ALAN SILVER comes 
     clear.

     RACK FOCUS TO

     an old Catholic High School yearbook on the dresser below 
     the diary and a PICTURE of DARYL ADAMS, 18 years old.

                           JOHN'S VOICE
               Can I keep these for a little while?

     On SOPHIA FINELLI, 55, a profound sadness sits at her core.

                           FINELLI
               Detectives' been through that stuff 
               already back then.

     John nods.  A beat.

                           FINELLI (CONT'D)
               You'll bring them back soon?

                           JOHN
               Promise.

     John pulls a clear plastic BAG from his pocket with a patch 
     of the partially disintegrated clothing found on Mary Finellis 
     skeleton.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 81


                           JOHN (CONT'D)
               Do you know this?

     Mrs. Finelli gasps in recognition, her eyes turning to a 
     closet door.

     John opens the door to reveal MARY's CLOTHES, lined up in 
     perfect order.  Visible among them is a "Candy Striper" 
     uniform... a perfect match with the patch John holds.

                           FINELLI
               Mary volunteered over at St. Vincents' 
               after school.  She loved it...was 
               going to become a doctor.

     Silence.  Tears start to run down her cheeks.  John 
     understands this woman's pain.  He looks around the room at 
     Mary's possessions.  Faded pictures.  Mary and her family.  
     Mary and her friends.

                           FINELLI (CONT'D)
               Her room...I just couldn't...it should 
               only be her room...you know?

     John does know.

                           FINELLI (CONT'D)
               I'm happy you found her, Detective.  
               It makes it easier...now, to know 
               for sure.  You know?

     Silence again.  John nods.

111   INT. 23RD PRECINCT - MEN'S ROOM - AFTERNOON                 111   

     John and Satch stand at the urinals.

                           JOHN
               Okay, lemme walk you through it.

                           SATCH
               Mind if I shake it off first...so's 
               I can concentrate better.

     John waits for Satch to finish.   Then, as they head out 
     into the hallway...

                           JOHN
               Three guys show up in both the 
               yearbook and diary.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 82


112   INT. DETECTIVE SQUAD - INTERROGATION ROOM - CONTINUOUS      112   

                           JOHN
               The first guy passed away ten years 
               ago.  The second one died in Vietnam.

     The room has a HOLDING PEN opposite the door.  A table is 
     pushed up against the door wall and a more elaborate layout 
     of the murder victims, paperwork, and calendar/timeline graphs 
     sit on the table and are pinned on a cork board.  Mary 
     Finelli's uniform is there.

     John shows Satch a photo in Mary Finelli's year book.

                           JOHN (CONT'D)
               The third one is Daryl Adams.

     Satch looks, nods, and steps back.  Waits for more.  John 
     hands him Daryl Adams' rap sheet.

                           JOHN (CONT'D)
               I ran him through BCI...got a hit.  
               Busted for sexual assault: March 22, 
               1970.  Eight days after the last 
               Nightingale murder.

                           SATCH
               So you figure the murders stop 'cause 
               he's off the street.  Then by the 
               time he gets paroled, he's smartened 
               up enough to control himself?

                           JOHN
               Not the first time that's been true.  
               I'm telling you, I got a feeling 
               about this guy.  This is the guy, 
               Satch.

                           SATCH
               Uh, huh.

                           JOHN
               What?

                           SATCH
               I'm just trying to figure what 
               interests me more: the possibility 
               that Daryl is the guy, or you making 
               him absolutely the guy.

113   EXT. NEW YORK ST. - PEPPERMINT LOUNGE - EVENING -           113   

     SISSY CLARK steps off a BUS.  She crosses the street towards 
     the club.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 83


     The bus moves out and WIPES FRAME, revealing Frank sitting 
     at the intersection on his Harley.

     Sissy enters the club.  Frank guns the Harley into an alley.

114   INT. PEPPERMINT LOUNGE - EVENING - MOMENTS LATER            114   

     Business is light at this hour.  The BARTENDER is setting 
     up.

     The Flying Nun plays on a couple TV's over the bar - the 
     audio drowned out by loud Motown music.

     Frank enters and looks around.  No Sissy.  This time he does 
     not panic.  He sits at the bar.

115   INT. RESTAURANT - KITCHEN - DUSK -                          115   

     CLOSE ON

     the 47-year old face of Daryl Adams.  A notably unimposing 
     guy.  He is not a happy camper.

     He is one of two PLUMBERS installing fixtures in the kitchen 
     of a new place.  Several other people are at work getting 
     the kitchen ready.  So as not to be overheard...

                           DARYL
               That was over thirty years ago.  I 
               paid for that and then some.

                           JOHN
               You go to Xavier High School, Daryl?

                           DARYL
               Yeah.

                           JOHN
               You remember Mary Finelli?

                           DARYL
                    (mentally steps back)
               What are you saying?

                           JOHN
               You know what I'm saying.

                           DARYL
               No, I don't.

                           JOHN
               Well, I think you do.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 84


116   INT. PEPPERMINT LOUNGE - EVENING -                          116   

     HAWAII FIVE-O plays on the TV's, the ROLLING STONES over it.

     Frank sits at the same place we last saw him, watching Sissy 
     and scanning the crowd, trying to find a face that might 
     give him pause.

     Sissy, looking sexy and terrific in her Go-Go waitress outfit, 
     moves about doing business.  She steps to the bartender to 
     give her drink orders and pick up prepared drinks, coming 
     within inches of Frank.

                           SISSY
               Give me a couple Bloodys, Gus, and a 
               Dewars on the rocks.

     She casts a friendly eye at Frank.

                           SISSY (CONT'D)
               How ya doin' there?

                           FRANK
               Just fine.  You?

                           SISSY
               Right now, just fine.  Ask me later, 
               fireman.

     And she's off with the drinks.  He checks his watch.  It 
     reads: 9:35PM.

117   INT. 23RD PRECINCT - INTERROGATION ROOM - NIGHT -           117   

     A clock on the wall reads: 9:35PM The Nightingale murders 
     display has been removed.  Daryl sits at the table in the 
     middle of the room.  John sits opposite him.  Satch leans 
     against the two-way mirror wall.

                           JOHN
               Sexual assault, Daryl.  Five years.  
               But you got lucky, right?  You got 
               away with something else.  Something 
               you figured nobody knows about.

                           DARYL
               What I know is what I told you.

                           JOHN
               Let me tell you what I know, Daryl.  
               You went to Saint Xavier with Mary.  
               You lived five blocks from her.  You 
               liked her.  But she ain't interested.  
               That must've hurt, huh?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 85


                           DARYL
               So what?

                           JOHN
               So, what'd you do about it, Daryl?

                           DARYL
               Nothing.

     Satch can see this is going nowhere.

118   INT. PEPPERMINT LOUNGE - EVENING -                          118   

     The 11 O'clock NEWS is on TV.  A "Super" shows the Mets won 
     Game 4.  Score 2-1.  Mets lead series: 3-1.

     CREEDENCE CLEARWATER PLAYS out of the sound system.

     Sissy takes the order from a LONG HAIRED GUY  down the bar, 
     his back to the camera, and starts towards the cash register 
     area.  The bartender serves Frank another club soda.  As 
     Frank drinks the bartender pulls a PACK OF CIGARETTES from 
     his shirt pocket.  But the pack is empty.

                           BARTENDER
               You spare a smoke?

                           FRANK
               I'm trying to quit.  Turns out those 
               things'll kill you.

     The bartender laughs, as Frank stands and heads for the 
     bathroom.

119   INT. 23RD PRECINCT - INTERROGATION ROOM - NIGHT -           119   

     A CLOCK reflected in the two-way mirror.  12:15PM.

     Satch stands drinking a cup of coffee behind the mirror.

     Before him, through the glass, sits Daryl Adams, with John 
     pacing like a panther ready to spring.

     Suddenly, he slaps down crime scene homicide photos of several 
     women in front of Daryl, who blanches...

                           DARYL
               Oh, my God!  What is that?!  Why you 
               showing me this shit!?  JESUS!  JESUS!  
               Get those away from me!

                           JOHN
               Nicky Moore.  Patty Ryan.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 86


                           JOHN (CONT'D)
               Mary Finelli.  These names mean 
               anything to you, asshole?  Julia 
               Sullivan!  She mean anything?  She 
               means something to me!

     John looks like he's about to hit Daryl, but he glances 
     towards the two-way mirror, controls himself.

120   INT. PEPPERMINT LOUNGE - EVENING -                          120   

     Nilsson's EVERYBODY'S TALKIN' fills the air.

     A sexy WOMAN approaches Frank wearing an Emma Peel body suit.  
     Sissy stands nearby, giving drink orders to the bartender - 
     she can't help but smile at the following.

                           WOMAN
               You fight fires, honey?

                           FRANK
               Yep.  That's what I do.

                           WOMAN
               I bet you do.

     The bartender leans into the PA at the bar and announces.

                           BARTENDER
               Last call.

     Frank flashes his wedding ring at the sexy woman.  Smiles at 
     her and shrugs "I'm sorry."

121   INT. 23RD PRECINCT - INTERROGATION ROOM - NIGHT -           121   

     The clock reads 1:30AM.

     John sits at the end of the table, opposite Daryl.  His quiet 
     masks the dark menace he is barely in control of.  Daryl 
     stares at him like a deer caught in the headlights.

     Satch sets a Coke before Daryl and starts to leave the room.

                           SATCH
               I gotta take a leak.
                    (to Daryl)
               You need to use the head?  You can, 
               y'know.  If you want to.

     Daryl shakes his head "no."

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 87


122   INT. PEPPERMINT LOUNGE - EVENING -                          122   

     End of the night.  The place winds down.  An old movie on 
     the TV's.  Elvis' SUSPICIOUS MINDS plays softly.

     Frank watches as Sissy picks up her last tip and heads to 
     the back to change into her street clothes.

                           SISSY
               See you, Fireman.  Don't talk so 
               much next time.

     Frank smiles, checks the time.  2:00AM.  He looks around.

     Nobody suspicious about.  He starts up for the bathroom...

123   INT. OBSERVATION ROOM - NIGHT -                             123   

     Satch enters with a fresh cup of coffee, settles back to 
     watch.

     INTERCUT - INTERROGATION AND OBSERVATION ROOMS

     With great ceremony John removes his watch, his gun, and 
     lastly, his badge, and sets them off to one side.

                           JOHN
               You know, Daryl, sometimes, despite 
               all the training we cops go through. 
               Despite all that we are taught about 
               right and wrong.  Despite all that 
               we would like to honor in ourselves, 
               we can come to a place where we don't 
               give a fuck.  Know what I mean?

     And John starts up from his seat and walks toward Daryl.

                           JOHN (CONT'D)
               You are going to tell me what I need 
               to know, Daryl.

     SUDDENLY, in the door strides...

                           SATCH
               John.

     John freezes.  Looks towards Satch.

                           SATCH (CONT'D)
               Got a minute?

                           JOHN
               Yeah.  Sure.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 88


     Satch opens the door and steps out.  John collects his watch, 
     badge and gun and follows.

124   INT. SQUAD HALLWAY - CONTINUOUS                             124   

                           SATCH
               He ain't our guy, John.

                           JOHN
               Just cause he didn't want to look at 
               the photos doesn't mean he isn't the 
               doer.  Not everyone fits the profile.

     Long beat.

                           SATCH
               If he was gonna give something up he 
               would'a done it already.

     John pauses for several seconds, then nods slowly.

125   INT. PEPPERMINT LOUNGE - MEN'S ROOM - EVENING -             125   

     SUSPICIOUS MINDS filters in.  Frank zips up, heads to the 
     sink.  Bends over to wash his hands, and suddenly.

     His face is smashed on the edge of the sink.  He twists to 
     the floor, fighting to maintain consciousness.

     A black Frye boot explodes into Frank's gut.  He rolls over, 
     looks up at the LONG HAIRED GUY from the bar.  Frank seems 
     to recognize him.  We know him too - SCRAGGLY MAN.  But we 
     don't know his name yet.  So we'll call him...

                           KILLER
               You following me?

     CLOSE ON

     Killer's eyes, evil fuckin' black dots.  He lifts Frank to 
     his knees.  Then rips a fist into Frank's face.

                           KILLER (CONT'D)
               I asked you a question, asshole.

     Frank is clearly incapacitated.  Killer lifts him to his 
     feet so they are eye-to-eye.

                           FRANK
                    (barely able to speak)
               Mary Finelli...

     A look of absolute shock wipes across the Killer's face.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 89


                           KILLER
               Who the fuck are you?

     Caught off guard, Frank is able to slam his knee into Killer's 
     balls.  Killer goes down like a stone, but Frank is too 
     battered to take advantage.

     He collapses on top of Killer, who pushes him off, scrambles 
     up, and delivers a massive kick to his head.  Frank is out 
     cold.

     Quickly, Killer rolls Frank over and rifles his pockets 
     finding his WALLET.  He grabs something from it, then tosses 
     it aside.  He then takes something out of his pocket, a thin 
     leather garrote.  He coils it around his hands and snaps it 
     taut.  He bends down to start the job when suddenly, the 
     bathroom door opens and...

     TWO very stoned MEN stumble in.

                           STONED MAN #1
               Whoa, dude.  Is he okay?

                           KILLER
               Yeah.  He just needs a little time 
               kissing the porcelain.

     And Killer muscles Frank into a toilet stall and puts his 
     head in the bowl.  He closes the door, quickly leaving.

     In the stall, Frank spills onto the floor, his legs sticking 
     out into the bathroom.  His face flush to the tile, his eyes 
     trying to focus on something lying just outside the stall...

     His WALLET.

126   EXT. 23RD PRECINCT - PARKING LOT - NIGHT -                  126   

     John gets in his car.  Sits there, staring into the night.

127   INT. PEPPERMINT LOUNGE - MEN'S ROOM - EVENING -             127   

     Frank starts to come around.  He reaches out and grabs his 
     wallet off the floor.  His money still there.  Credit cards, 
     too.  But something's missing.  His DRIVER'S LICENSE.

     SUDDENLY PANIC SEIZES FRANK.

128   INT. APARTMENT HOUSE STAIRWELL - LATER                      128   

     Frank tears up the stairs...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 90


129   INT. APARTMENT HOUSE CORRIDOR - SISSY'S DOOR - CONTINUOUS   129   

     Frank bangs on it.  Scared.  Desperate.

                           FRANK
               OPEN UP, OPEN THE 
               DOOR...ah...ummm...THIS
               IS THE POLICE.

     Frank keeps banging on the door.  A NEIGHBOR'S DOOR swings 
     open a crack.  AN OLD LADY peers out from behind a security 
     chain.  Frank stops banging.

                           FRANK (CONT'D)
               It's okay, Ma'am.  I'm the police.

     Old Lady skeptically looking him up & down - noticing Frank's 
     bruised face.  She quickly closes the door.

     Frank reaches inside his jacket pocket, pulls out a small 
     bent metal wire, homemade LOCKPICK.  He goes to work on 
     Sissy's lock.  CLICK, CLICK, CLICK - got it.  He opens the 
     door, steps inside.

130   INT. SISSY'S APARTMENT - CONTINUOUS                         130   

     It's dark.  And then a sound...scratching and popping, the 
     sound of a PHONOGRAPH NEEDLE makes when it reaches the end 
     of the vinyl and is scratching against the label.

     The wind catching a curtain allows the shaft of a street 
     light to beam brightly into the room, and in one swift moment, 
     Frank is staring at a NIGHTMARE: Sissy Clark's murdered body.  
     Her dress hiked above her waist.  Her panties ripped off.  
     Paper stuffed into her mouth. Her hands bound with glass 
     tape.  Frank is transfixed and sickened by Sissy's twisted 
     face, her eyes frozen open in horrible death.

131   EXT. SISSY'S APARTMENT HOUSE - CONTINUOUS                   131   

     Frank staggers out of the building towards his Harley.  He 
     bends over and blows his dinner, then mounts the bike and 
     kicks the motor over.  As he roars off down the street, WE 
     SEE in the building window...

     THE OLD LADY looking down at him.

     THE LEGEND READS:

     OCTOBER 16th - FIFTH GAME OF THE WORLD SERIES

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 91


132   INT. SULLIVAN HOUSE - STUDY - MORNING - 1969 & 1998         132   

                           FRANK
               He killed her John.  He killed her 
               and I didn't do a thing to stop it.

     INTERCUT FRANK AND JOHN.

                           JOHN
               It's not your fault, Dad.

                           FRANK
               Yes it is...we did this.  We changed 
               everything.
                    (pausing)
               I've been having bad dreams, Johnny.  
               Dreams where I die...in the fire.
                    (soft)
               I was supposed to die in that 
               warehouse.

                           JOHN
               No.

     ANGLE ON

     Frank.  Trembling, overcome by an awful combination of fear, 
     guilt and shame.

                           FRANK
               This is wrong...it's like we 
               cheated...

                           JOHN
               I know...
                    (beat)
               But Dad, you can't go back.  You 
               didn't die in that fire.  And no 
               matter what you do, nothing is gonna 
               change that.  So all we can do is 
               deal with this...and try to make it 
               right.

                           FRANK
               I don't think I can.  I'm not a cop.  
               I can't.   I can't stop this guy.

                           JOHN
               But we can, we can do it together.  
               Spirit and guts, remember?

                           FRANK
               Johnny, I know, but...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 92


     Frank starts to light up a Lucky.  But he stops, stubbing 
     the cigarette out.

                           JOHN
               I need you to believe in me.  To 
               believe that we can do this.

                           FRANK
               John, he's got my driver's license.

                           JOHN
               What?

                           FRANK
               He took my driver's license, John, 
               he knows where we live.

                           JOHN
               He took your wallet?

                           FRANK
               No, he tossed the wallet, but he 
               kept the license.

                           JOHN
               He touched your wallet!  Where's 
               your wallet?

                           FRANK
               In my pocket.

                           JOHN
               We got him!  Dad you got him!

                           FRANK
               What?

                           JOHN
               His prints.  You've got his prints.  
               I'll run them through criminal index.  
               You gotta get me that wallet.

                           FRANK
               How the hell am I gonna do that?

                           JOHN
                    (thinks)
               Listen to me, very carefully, take 
               your wallet out, just touch it on 
               the corners.

                           FRANK
               What...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 93


                           JOHN
               Please, Dad, just do it.

                           FRANK
               Okay, okay...

     Frank does as John asks.  Taking out his wallet.

                           FRANK (CONT'D)
               I got it.

                           JOHN
               Right, now I need you to tape it up 
               on the outside, where he touched it, 
               so the prints keep.

                           FRANK
               Huh?

                           JOHN
               Then you gotta hide it somewhere.
               Somewhere where nobody's gonna find 
               it...for 29 years!
                    (looking around the 
                    room)
               Put it under the loose floorboard by 
               the window!

                           FRANK
                    (getting it now)
               I gotcha, I gotcha Chief!

                           JOHN
               It's gonna work, Dad.  We're gonna 
               stop him.

                           FRANK
               Hang on.

     Frank fishes around the desk drawer for some electrical 
     tape...quickly ripping off strips of tape...covering the 
     wallet.  Then he goes to the window.  Crouches on the floor, 
     digging his nails around edges of the loose floorboard.

     BACK TO JOHN getting up.

                           FRANK (CONT'D)
                    (over the HAM)
               Okay.

     John scrambles to window.  Crouches down on floor, reaching 
     to find: FRANK'S WALLET COVERED IN ELECTRICAL TAPE!

     John goes back to the radio.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 94


                           JOHN
               We're in business.  Just sit 
               tight...and don't worry.

     And John is up, grabs gun & shield.  Sprints for the door.

133   INT. POLICE FORENSICS LAB - DAY -                           133   

     CLOSE ON SPLIT COMPUTER SCREEN:

     LEFT SCREEN: A FROZEN IMAGE - A BLOWN UP THUMB PRINT.

     RIGHT SCREEN: HUNDREDS OF FINGERPRINTS FLASH ON AND OFF - 
     THE COMPUTER IS SEARCHING FOR A MATCH.

     BINGO.  The right screen freezes.  A THUMB PRINT... A MATCH!

     Pull back to reveal John, standing over a forensic computer 
     technician, HECTOR.  Hector hits a few more keys, a photograph 
     pops on the screen - it is NOT DARYL ADAMS!

                           JOHN
               What the hell?

     Hector hits another key, the man's name and photo pops up...

     CARL SHEPARD

     HE'S 30 YEARS OLDER than when he tangled with Frank in the 
     men's room last night, but this is the killer- Carl Shepard.

     Below Shepard's photo, various biographical information: 
     social security, address, current employment, and a New York 
     City Police Department Discharge - September 1973.

     ON JOHN

     A strange look of recognition.

                           JOHN (CONT'D)
               The old neighbor's son...the cop.  
               But he's dead.

                           HECTOR
               What are you talkin' about?  I know 
               this prick.  He worked outta Brooklyn 
               North.

                           JOHN
                    (realizing)
               He never died...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 95


134   EXT. SHEPARD RESIDENCE - LATER                              134   

     John exits his car to find Fred Shepard watering his plants.

                           JOHN
               Just came by to wrap up over there.  
               Thought I'd say "hello."

                           SHEPARD
               Glad you did.  Come on in.  Buy you 
               a cup of coffee?

135   INT. SHEPARD RESIDENCE - CONTINUOUS                         135   

     They enter the living room.  No Mrs. Shepard.  John's eyes 
     fix on the police academy graduation PHOTO of CARL SHEPARD.

     His gaze then shifts to photos of Mrs. Shepard.

                           JOHN
                    (beat)
               Wife around?

                           SHEPARD
                    (a startled half-laugh)
               No.  No.  Well, sort of.  In my heart.  
               Been dead 29 years.

                           JOHN
               Oh.  Sorry.  How so?

                           MR. SHEPARD
               Well, she, Eve was murdered, 
               Detective.  An ugly one to tell you 
               the truth.

     John's breath catches.  His look shifts back to the photo of 
     Carl Shepard.

     Mr. Shepard reaches to open an album.  There are several 
     photographs of the young Mrs. Shepard.  A couple where she 
     is dressed in a NURSE'S UNIFORM.

     John is stunned.  One can only imagine what is now racing 
     through his mind.

                           MR. SHEPARD (CONT'D)
               The mother of a cop, and they never 
               found the bastard who did it.

     Blown away, John looks out the window to where Mary Finelli's 
     skeleton was found.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 96


                           JOHN
               Happens that way sometimes.
                    (beat)
               Son still on the job?

                           MR. SHEPARD
               Nah.  Doin' P.I. work now.  Got caught 
               up in them Knapp Hearings.  Set up 
               by some dirty cops who needed a fall 
               guy.  Hurt him bad.  Would've broken 
               his mother's heart.

     John can only stay inside himself and wonder at the madness 
     of the world.

136   INT. BROOKLYN WATERFRONT RESTAURANT - LATER                 136   

     John walks past the lunchtime crowd, makes his way to the 
     BAR.  Grabs a stool two...seats away from...Carl Shepard.

     John orders a soda, glances over at Shepard.  Their eyes 
     meet.  John holds his gaze.  A slight nod...

                           JOHN
               You used to be on the job?

                           SHEPARD
               Yeah, long time ago.  I know you?

                           JOHN
               I look familiar?

                           SHEPARD
                    (looking him over)
               No.  What house you work?

     John gets up, slides next to Shepard.

                           JOHN
               The 2-3.  Homicide.

                           SHEPARD
               A hot shot, huh?

                           JOHN
               Nah, just working the job.

                           SHEPARD
               I hear that.

                           JOHN
               As a matter of fact, I caught a case 
               that goes back to your day...one of 
               the Nightingale murders.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 97


     Beat.

                           SHEPARD
               No kiddin'?

                           JOHN
               No.  Missing teenager.  Disappeared 
               thirty years ago.  Found her bones 
               last week.  Buried behind some old 
               diner, up by Dyckman street.  Mary 
               Finelli.

     John waits again for Shepard's reaction...

                           SHEPARD
               Huh.

                           JOHN
                    (sipping drink)
               Talk about dumb luck.  Odds of anybody 
               finding that girl, thirty years later.  
               And then the chances of hitting a 
               dental...forget about it.  Best part 
               is she's the first victim.  She knew 
               the doer.  I'm betting those bones 
               are gonna do a lot of talking.

     Shepard says nothing, but his eyes are burning into John.

                           JOHN (CONT'D)
               The past is a funny thing.  We've 
               all got skeletons in the closet.  
               You just never know when they're 
               gonna pop up and bite you in the 
               ass, Carl.

     John slips something on the bar, next to Shepard.  It is a 
     crime scene photo of Shepard's murdered mother.  He reels 
     back, totally losing his veil of composure.  He is freaked.

                           SHEPARD
               Who are you?

                           JOHN
               I'm the train wreck you didn't see 
               coming.  And I'm gonna steal your 
               life away.  You went down 30 years 
               ago.  You just don't know it yet.

     And with that, John gets up, leaving Shepard stunned.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 98


137   INT. SULLIVAN HOUSE - DAY - 1969 & 1998                     137   

     Johnny and Gordo sit cross-legged in front of the TV.  THE 
     WORLD SERIES is on.  Game 5.  First inning.

     Julia is busy bringing in groceries from her car.

     INTERCUT FRANK AND JOHN.

                           FRANK
               You're telling me this maniac is a 
               cop?  What the hell am I supposed to 
               do with that one?

                           JOHN
               Call the FBI.  Use a pay phone.  
               Don't give 'em your name, Dad.  Just 
               tell 'em that it was Shepard who 
               killed Finelli and Clark and the 
               others.  That he's the Nightingale.

     In the B.G. of Frank's house a DOORBELL RINGS.  Julia can be 
     seen going to answer it.  It is Satch.  There are ad lib 
     greetings that we don't clearly hear.

                           JOHN (CONT'D)
               Tell them where Finelli's body is 
               buried.  They'll be able to connect 
               him to her.  Same high school.  Same 
               class.  I'm betting they search his 
               place they find some souvenirs.

     Satch steps into the study...1969.

                           FRANK
               Okay, I'm on it.
                    (sees Satch)
               Hey.

                           SATCH
               Hello, Frank.

     Frank's hand lifts off the squawk bar.  He notes Satch's 
     tone and demeanor.

                           FRANK
               What are you doing here, Satch?  You 
               off today?

                           JOHN (O.S.)
                    (over the HAM)
               Dad, you there?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 99


                           SATCH
               Frank, we need to talk...

                           FRANK
                    (into radio)
               John, hold on a second.
                    (to Satch)
               I'm in the middle of something 
               important here.  You mind if...

     Frank suddenly spots something through the front window.

     Satch's partner, PHIL HAYES, and TWO UNIFORMS out at the 
     curb.

     Half a penny drops.  All his senses go on alert.  And instinct 
     kicks...he hits the squawk bar.

                           FRANK (CONT'D)
               Satch, you gotta just give me...Satch 
               is here John.  You hear me?  Satch 
               is here.

                           SATCH
               I'm sorry, Frank, but you need to 
               come outside.

     Frank releases the squawk bar.

     Johnny and Gordo remain fixed on the game, oblivious to 
     anything else.  In the kitchen, we can see Julia moving around 
     putting away the groceries.

                           JOHN (O.S.)
                    (over the HAM)
               Dad, what the hell is going on?

                           FRANK
                    (into mic)
               Just a minute, John...okay?  Don't 
               go away.

     Julia now becomes aware of the tension in the voices in the 
     other room.  She looks outside and sees Phil and the uniforms.  
     She looks at Frank and Satch with confusion.

     Frank hits the squawk bar again.  He wants John to hear this.

                           FRANK (CONT'D)
               What is going on here, Satch?  What 
               are those guys doing out there?

                           SATCH
               I think you know, Frank.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 100


                           FRANK
               No, I don't.

                           SATCH
               Let's go outside and talk.  We need 
               to do that.

                           FRANK
               About what?

                           SATCH
               Let's go.  Do us both a favor.

     A long beat.  Frank sees Julia staring at them.  She is now 
     a bundle of growing anxiety.  Frank stands up.

                           FRANK
               Okay.
                    (to Julia)
               It's okay, Bud.  I'll be right back.
                    (into radio)
               Stay there, John.

     And then he and Satch walk out the front door.

138   EXT. SULLIVAN HOUSE - FRONT YARD - CONTINUOUS               138   

     ...and towards a spot halfway between the house and the cops.

     From inside the house, Johnny and Gordo have begun to take 
     in the activity.

                           SATCH
               Where were you last night, Frank?

     The rest of the penny drops.  Frank stalls, trying to think

                           FRANK
               What do you mean?

                           SATCH
               Do you know where I found this?

     And he hands FRANK his missing DRIVER'S LICENSE.  Frank looks 
     like a truck hit him.

                           SATCH (CONT'D)
               415 Greenwich St.  #302.  Under the 
               body of a murdered woman.

                           FRANK
               No.  This isn't what you think.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 101


                           SATCH
               I wanna be wrong here.  But we need 
               to go to the precinct and talk about 
               it.

                           FRANK
               Okay, okay.  I need to go say 
               something to Julia and finish up 
               with the guy on the radio.

                           SATCH
               You can talk to Julia.  Forget the 
               radio.

     Frank nods.  Takes stock of the cops by the cars and heads 
     back into the house.

139   INT. SULLIVAN HOUSE - CONTINUOUS                            139   

     Julia, who has been watching through a front room window 
     with Johnny, moves to meet Frank.  Behind Frank, Satch signals 
     Phil and the uniforms that all is okay, giving Frank a couple 
     of steps on him.

     Frank steps into the house and wraps his arms around Julia, 
     turning so he can see both Satch outside and where he wants 
     to go inside.

                           FRANK
               Trust me, Bud.  Do that for me.

140   INT. SULLIVAN HOUSE - STUDY - CONTINUOUS                    140   

     Frank moves Julia toward the desk, lulling Satch a moment, 
     then quickly steps to the HAM radio and hits the squawk bar.

                           FRANK
               John, you there?

                           JOHN (O.S.)
                    (over the HAM)
               Yeah, Dad.  What the hell is going 
               on?

                           FRANK
               Satch is busting me for Sissy Clark's 
               murder.  John...

     Julia stares dumbfounded at Frank.

                           SATCH (O.S.)
               Frank.

     Satch strides by Julia and reaches to take Frank's elbow.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 102


     Frank wheels at the sound of his name and the touch, and he 
     lurches back from Satch.

                           FRANK
               ...you gotta help me, Chief.

     -- and the movement yanks the mic cord to the radio tight, 
     dragging it to the edge of the desk.

     Johnny tears into the room and clutches onto his mother.  
     "Daddy, Daddy!"

                           SATCH
               That's not the deal, Frank.  Don't 
               do this to your family.

     And Frank throws his hands up in front of his chest in an "I 
     give up" gesture.

                           JOHN (O.S.)
               Dad!  Dad!  What's going on?  Satch?!

     And the HAM radio CRASHES to the floor in 1969.

                                                    SMASH CUT TO:

     1998.  The HAM RADIO TRANSFORMING...a large dent appearing 
     in its casing before John's eyes...dials cracking.

     Dread creeps into John's face as we SMASH CUT TO:

     JOHN'S POV

     We see what John sees in 1998.  But we also go inside his 
     mind and glimpse flashes of new childhood memories.  Memories 
     of seeing his father arrested for murder.  Images that match

     JOHNNY'S POV from moments ago in 1969.

141   INT. 17TH PRECINCT - INTERROGATION ROOM - DAY -             141   

     Frank sits at a metal table bolted to the floor, Satch sits 
     across.  Phil stands.  Two cups of coffee on the table.  The 
     room is very bare.  Cinder block walls.

     Padded locks and bars over the windows.  A small metal cabinet 
     against the far wall.  Satch and Phil smoke.  Frank does 
     not.

                           FRANK
               Carl Shepard.  Detective out of the 
               15th precinct.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 103


     Satch stares at Frank with utter incredulity.  Phil lights a 
     smoke, tossing the pack and the matchbook on the table.

                           FRANK (CONT'D)
               I swear, Satch.

                           SATCH
               Uh, huh...
                    (beat)
               Uh, huh.  And you got this from the 
               guy you were talking to on the radio 
               when I came in?

                           FRANK
               As nuts as that sounds, yes.

                           SATCH
               Uh, huh.

                           FRANK
               Satch, would you listen to me here.  
               Just you and me.  Can I talk to you 
               here, alone?

     Satch looks over at Phil.

                           SATCH
               Give me a little time with this guy.

     Phil nods his understanding, steps out of the room.

                           SATCH (CONT'D)
               Frank, this is not the time to be 
               worried about covering up if you had 
               a thing with this girl.

                           FRANK
               He's not gonna stop, Satch.  He's 
               gonna keep on...

                           SATCH
               Are you listening to me?  You're in 
               a world of shit.  An eye witness has 
               you outside the dead girl's apartment.  
               We got your prints all over the place.  
               Plus the fucking driver's license, 
               Frank.
                    (beat)
               You gotta give me something here.  
               Something I can believe.

     It's quiet for a moment.  And then a sound filters in under 
     the door.  The sound of cops cheering.  It's the World Series.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 104


     Frank sits up - takes a beat.

                           FRANK
               What if I could prove it to you, 
               Satch?

                           SATCH
               How's that?

                           FRANK
               What if I told you that in the bottom 
               of the 6th we're gonna be down 3-0.  
               And Cleon Jones is gonna get hit in 
               the foot.  It's gonna leave a scuff 
               mark on the ball.

                           SATCH
               Frank, please...

                           FRANK
               The next batter, Clendenon, hits one 
               outta the park.

                           SATCH
               Frank, this is insane...

                           FRANK
               In the bottom of the 7th, Weis is 
               gonna hit a solo home run.  Jones 
               and Swoboda are gonna score in the 
               8th.  The Mets are gonna win 5-3.
                    (beat)
               Go watch the game, Satch.

                           SATCH
               Go watch the game?  Go watch the 
               fucking game?  Frank, they're gonna 
               make you for Sissy Clark's murderer.  
               It matches the Nightingale's profile.  
               You understand what that means?

     We hear the bolt slide, the knob turns and the door opens.

                           PHIL
               His wife is here.  She wants to talk 
               to you.

     Satch nods okay to Phil.  He closes the door.

                           SATCH
               Whatta you want me to tell her?

     Frank struggles for an answer...but comes up speechless.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 105


     Satch looks like his heart is breaking.  Unable to comprehend 
     how Frank could have slipped this far.  A long beat, then...

                           FRANK
               She's in harm's way.  He's gonna be 
               coming for her.

     Satch snorts, incredulous.  Frank reaches over the table and 
     takes his hand, deadly serious.

                           FRANK (CONT'D)
               Promise me, as a friend.  October 
               22, don't let her out of your sight.

     Satch nods okay.  They have an understanding.

142   INT. 17TH PRECINCT - SGT'S DESK - MOMENTS LATER             142   

     Satch walks down the stairs.  Julia alone on the bench.

     She sees Satch approaching, stands up, looking at him for an 
     answer, for an explanation...for hope.

                           SATCH
                    (after a beat)
               Let's walk, get a cup of coffee.

     Julia nods okay.  They exit the precinct house and into...

143   EXT. 17TH PRECINCT - CONTINUOUS                             143   

     ...the street.  Around the corner we catch sight of someone 
     familiar - someone Julia and Satch don't recognize: Shepard.

144   INT. 17TH PRECINCT - SGT'S DESK - CONTINUOUS                144   

     Shepard approaches the desk, flashes his shield at Sergeant.

                           SHEPARD
               You got a collar in here for the 
               Nightingale murders?

                           DESK SGT.
               Yeah.

                           SHEPARD
               I'm working with one of the victims 
               outta Brooklyn North.  You mind I 
               take a shot at him?

                           DESK SGT.
               That's Deleon and Hayes' collar.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 106


                           SHEPARD
               They around?

                           DESK SGT.
               Just missed Deleon.  Hayes is up in 
               the squad.

                           SHEPARD
               Where's the collar, in the cells?

                           DESK SGT.
               No, I think he's up in interrogation.

                           SHEPARD
               I'll go find Hayes.

     Shepard turns, gliding through the lobby like a shark...

145   INT. COFFEE SHOP - MOMENTS LATER                            145   

     Satch and Julia sit at a booth in the back.  Satch stirs his 
     coffee, trying to start a very hard conversation.  As he 
     struggles to begin, the camera notices something in the B.G.

     At the counter: a few stray people gathered around watching 
     the WORLD SERIES on an old TV.

     AUDIO COMES UP.

146   INT. 17TH PRECINCT - HALLWAY - CONTINUOUS                   146   

     Shepard passes the COFFEE ROOM.  It is packed with detectives, 
     gathered around a TV...watching the game.  Phil Hayes is 
     among them.  And as Shepard passes, Phil half catches a 
     glimpse of him as he glides down the hall and enters.

147   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        147   

     Frank looks up to see Shepard, who quickly closes the door 
     behind him... and unholsters his gun.  An eerie moment.

                           SHEPARD
               On your feet.

     Frank waits a beat.  Then very slowly, he stands.

                           SHEPARD (CONT'D)
               Now turn around, face the wall.

     Frank steps back, slowly turning.  Shepard holsters the gun.

     Kicks Frank up against the wall as he reaches into his pocket 
     and takes out the leather garrote we saw in the Peppermint 
     Lounge Bathroom.  He coils it around his hands.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 107


                           SHEPARD (CONT'D)
               How did you know?

     Frank is trembling.

                           FRANK
                    (facing the wall)
               You twisted animal...

                           SHEPARD
               Evidence says you're the animal.
                    (snapping garrote 
                    tight)
               That's why you hung yourself.

     But Frank turns.

                           FRANK
               You try putting that thing around my 
               neck and I'll rip your throat out.  
               You want me dead, use the gun.

     Shepard smiles, unfazed...

                           SHEPARD
               Let me draw you a picture.  You live 
               at 1060 41st Ave.  You have a wife 
               who works at New York Hospital.  And 
               a six-year old at P.S. 130.

     Shepard gives Frank a look that would make a Marine Drill 
     Sergeant shit his pants.  Shepard knows Frank's weakness, 
     the one thing that would make him submit to death.

     Closing his eyes, Frank turns to face the wall...But the 
     door handle rattles, someone is outside coming in.  Shepard 
     quickly yanks Frank away from the wall, shoving him in a 
     chair at the interrogation table.

     The door opens.

                           PHIL
               What the hell is going on here?

                           FRANK
               You got to help me.  He's trying to 
               kill me.

     Shepard just laughs.  Phil scans the room - everything looks 
     normal, a cop questioning a perp.

                           SHEPARD
               Mind if we take it outside?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 108


     Phil shrugs okay.

                           SHEPARD (CONT'D)
                    (to Frank)
               I'll be right back.

     Shepard and Phil step out - bolting the door behind them.

148   INT. 17TH PRECINCT - HALLWAY - CONTINUOUS                   148   

     Shepard and Phil stand outside the door.

                           SHEPARD
               ...didn't mean to step on your toes.  
               They sent me up from downstairs, I 
               thought you'd be in there with him.

                           PHIL
               What are you looking at him for?

149   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        149   

     Frank's expression begins to harden.  His eyes search the 
     room.  CLOSE ON his EYES.  He looks like John - controlled 
     rage piercing through that Sullivan thousand yard stare.

     He stands, turning around, looking for something, anything 
     that he can use to get the hell out of there.

     His mind's racing, fire fighter training kicking in.  And 
     then he looks up - just below the ceiling, above the door - 
     a 2'X2' ELECTRICAL CONDUCTOR BOX.

     Follow Frank's eyes to something else.  An AIR CONDITIONER 
     MOUNTED IN THE WINDOW.

     Frank goes to the window.  Runs his fingers along the air 
     conditioner's thick electrical cord - thinking.  He unplugs 
     it.  And then he RIPS cord out of the unit, exposing wire.

150   INT. 17TH PRECINCT - HALLWAY - CONTINUOUS                   150   

     A loud cheer rises out of the coffee room - the game is 
     heating up.  Shepard and Phil are still standing outside the 
     interrogation room.  Shepard flashes a smile, having said 
     something that makes Phil laugh...

                           PHIL
               Yeah, half the uniforms are either 
               at the game or on the street.  It's 
               gonna be a riot if they pull it off.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 109


                           SHEPARD
                    (glancing down the 
                    hall - in direction 
                    of sound of TV)
               What's the score?

151   INT. COFFEE SHOP - CONTINUOUS                               151   

     Julia's crying.  Satch has no words to comfort her, no way 
     of explaining any of this.  He reaches out across the 
     table...taking her hand.  And as they sit quietly.

     CAMERA tracks towards the counter.  And we hear something 
     that Satch does not.  The sound of a voice.  TV ANNOUNCER.  
     THE SERIES...

                           TV ANNOUNCER (O.S.)
               Cleon Jones thinks he's hit.  I think 
               the ball hit him in the foot...

152   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        152   

     Frank uses the heel of his shoe to rip the plug off the other 
     end of the electrical cord.  Both ends now have exposed wires.

153   INT. 17TH PRECINCT - COFFEE ROOM - CONTINUOUS               153   

     Close on a MATCH.  Pull back to reveal Shepard lighting Phil's 
     cigarette, then one for himself.  They are inside the squad's 
     coffee room now.  All eyes on the TV:

                           TV ANNOUNCER
               Hadges is coming outta the dug out.  
               He's calling for the ball.  Can we 
               get a shot of the ball?

     Shepard inhales deeply, sneaking a glance down hall at the 
     closed interrogation room door.

154   INT. COFFEE SHOP - CONTINUOUS                               154   

     Satch looks past Julia, distracted, curious.

                           SATCH
               Can you excuse me for a second?

     Julia seems bewildered as Satch gets up out of the booth, 
     making his way through the restaurant and towards the TV.

155   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        155   

     Frank, in full throttle, drags a chair against the wall.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 110


     Climbs on the chair, uses a dime to unscrew the ELECTRICAL 
     CONDUCTOR BOX.

     He then unscrews the master fuse and SHOVES ONE END OF TH 
     ELECTRICAL CORD'S EXPOSED WIRE AROUND THE FUSE CYLINDER.

     After re-tightening the fuse, and careful not to touch the 
     other end of the cord, he jumps off the chair.

     FOOTSTEPS.  Frank freezes.  Someone's walking down the hall.

156   INT. 17TH PRECINCT - COFFEE SHOP - CONTINUOUS               156   

     Wall to wall cops.  Mesmerized by the game, especially Phil.

                           TV ANNOUNCER
               There's a scuff mark on the ball!  
               The umpire has reversed his decision.  
               He's sending Jones to first base!

     The cops erupt.  Cheering.

                           SHEPARD
                    (yelling over the 
                    noise)
               You mind I go back at the fire boy 
               for a while?  I won't lay a hand on 
               him, just want to see what he's got?

                           PHIL
               Go ahead, knock yourself out.

     Shepard gives Phil one last smile, then slips out - casually 
     heading down the hall...towards the interrogation room.

157   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        157   

     Frank, sweating bullets now, takes the two coffee cups off 
     the table and pours their contents ON THE FLOOR.  The coffee 
     forms a SMALL PUDDLE which Frank is careful not to let slip 
     over the door saddle.

     He puts the cups down.  Then opens the cabinet, rifling 
     through, finding a can of LYSOL spray.

     Sounds of cops cheering filter in under the door.

158   INT. COFFEE SHOP - DAY - CONTINUOUS                         158   

     Satch is riveted to the TV as Clendenon steps up to the plate.  
     Strike one.

     Satch jumps - Julia has come up behind him, touching him on 
     the shoulder.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 111


     She looks mad: how the hell can he be watching the ball game 
     at a time like this?

                           JULIA
               What's going on, Satch?

     Beat.

                           SATCH
                    (dumbfounded)
               I don't know.

159   INT. 17TH PRECINCT - SQUAD ROOM - CONTINUOUS                159   

     All eyes on the TV.  Another strike to Clendenon.  0-2 count.

160   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        160   

     The door knob turns.  The door half-opens.  Shepard sticks 
     his head in, scanning the room.  He relaxes a bit when he 
     sees Frank sitting quietly at the table.

     Shepard opens the door a little further, takes a half step 
     into the room...and into the puddle of coffee!

     Frank raises his arm.  He's holding the live electrical cord.

     Shepard: What the fuck?  Frank flicks the cord...which lands 
     like a snake at Shepard's feet...in the puddle of coffee.

     5,000 volts surge through Shepard's body.  SPARKS AND SMOKE 
     SHOOT OUT OF CONDUCTOR BOX...

161   INT. 17TH PRECINCT - SQUAD ROOM - CONTINUOUS                161   

     CLOSE ON TV.  Clendenon still up.  1-2 count.  The wind up...

     But something is wrong with the TV.  A spark shoots out of 
     the back of the set.

     And then the entire 17th Precinct goes DARK.  Frank has 
     shorted out the electrical system.

     The cops look at each other in a moment of pissed confusion.

162   INT. 17TH PRECINCT - INTERROGATION ROOM - DAY               162   

     Frank lunges over the table, smashing a wooden chair over 
     Shepard's head.  He's in overdrive.  Kicking the still live 
     cord out of the coffee puddle, he then drags Shepard's body 
     into the room, shutting the door.

     Frank quickly rips off Shepard's SPORTS JACKET, pocketing 
     Shepard's WALLET and BADGE.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 112


     And then, moving very fast, Frank grabs the LYSOL can and 
     the matches Phil left on the table.  He LIGHTS A MATCH and 
     holds it IN FRONT OF THE LYSOL CAN.  He points the can at 
     the ceiling - at the FIRE ALARM SENSORS.  Hits SPRAY button -

     Professional Fire Fighter ingenuity - HOME-MADE BLOW TORCH.

163   INT. 17TH PRECINCT - HALLWAY - CONTINUOUS                   163   

     FIRE ALARMS sound off.  SPRINKLER SYSTEM kicks in, water 
     gushing from the ceiling.  Cops begin to move, investigating.

164   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        164   

     Frank cracks open the door and slips out.  As the door closes, 
     Shepard's eyes pop open.

165   INT. 17TH PRECINCT - HALLWAY - CONTINUOUS                   165   

     Sprinklers rain down on Frank as he moves down the hall.

     Through the darkness he can see someone coming. It's Phil.

     Frank covers his face...searching for a place to disappear.

166   INT. COFFEE SHOP - CONTINUOUS                               166   

     Nobody breathes.  All eyes on the TV.

     The count is now 2-2.  The pitch is a high fastball.

     Clendenon takes a massive swing.  He nails it.  HOME RUN!

     The coffee shop breaks into cheers.  Everyone screaming their 
     heads off.  Everyone except Satch, who just stands there, in 
     complete and utter shock.  Julia looking at him questioningly.

                           SATCH
                    (yelling over the 
                    madness)
               He was right!  Everything he said.  
               He was telling the truth.

                           JULIA
               Then you believe him?

                           SATCH
               Yeah I do.  You bet your life I do.

     And they hug.  The weight of the world sliding off Julia's 
     shoulders.  But someone is trying to get Satch's attention.

     It is the counter man, he's holding a phone.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 113


     Satch takes the phone, beat, his face goes ashen.

                           SATCH (CONT'D)
               I'm on my way...

     He drops the phone, heading for the door.

                           SATCH (CONT'D)
                    (to Julia)
               Wait here, I'll send a uniform.

     And Satch is gone.

167   INT. 17TH PRECINCT - HALLWAY - CONTINUOUS                   167   

     Power is still off.  Sprinklers still gushing.  Amidst the 
     chaos, a bathroom door swings open.  A man steps out.  A 
     cop.

     Leather jacket, gold shield.  It's Frank.  He slips through 
     the madness, heading down the hall and towards the stairs.

168   EXT. 17TH PRECINCT - CONTINUOUS                             168   

     Satch races down the crowded block...dodging celebrating 
     Mets' fans...bolting up the precinct steps into the house.

169   INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS        169   

     Phil runs in.  Scanning the room.  But it is empty.  No Frank.  
     No Shepard.  Just a puddle of coffee on the floor.

170   INT. 17TH PRECINCT - SGT'S DESK - CONTINUOUS                170   

     Satch charges into the lobby.  The lights start to flicker 
     back on.  Chaos giving way to order.

     Satch heads for the stairs.

     And there is Frank, wearing Shepard's jacket and shield.  
     But in his hurry, Satch has not spotted him.

     Frank quickly steps behind a pillar as Satch tears by him 
     and up the stairs.

     Stay with Frank as he turns...calmly walking by the Sergeant's 
     desk, gliding out the precinct door and...

171   EXT. 17TH PRECINCT - CONTINUOUS                             171   

     ...disappearing into the street.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 114


                           FRANK
                    (little smile)
               Elvis has left the building.

172   INT. APARTMENT BUILDING - HALLWAY - DAY -                   172   

     John stalks down an apartment building hallway, gun drawn. 
     He reaches a door.  Two locks and a bell.  Fuck 'em.  John 
     smashes his bulk into the door...one...two...three times.  
     It bursts off its hinges.  John charges in.

     Place is empty.  Like somebody got the hell out in a hurry.

     A few odds and ends left behind in the haste...including a 
     pile of unpaid bills.  CARL SHEPARD.

     John's eyes glaze over in rage and fury.  But then he sees 
     something that makes him stop and think.  There is a telephone 
     on the floor, in a corner.  John stares at the phone, wheels 
     spinning.  He reaches in his coat and takes out his notebook.  
     Flipping through pages.  Notes on Shepard: social security, 
     address, DMV registration, and a series of phone numbers... 
     home, office, cellular.

     John runs to the phone.  Punches in the cell number.  Ring.

                           SHEPARD
                    (over phone)
               Hell-

                           JOHN
               You have the right to remain silent.  
               If you give up that right...

     INTERCUT SHEPARD AND JOHN

     Shepard is in his car, over a bridge, on the run...

                           SHEPARD
               Who the fuck is this?

                           JOHN
               Anything you say can and will be 
               used against you in a court of law.

                           SHEPARD
               Sullivan?

                           JOHN
               You have the right to speak to an 
               att --

                           SHEPARD
               Fuck you, asshole.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 115


                           JOHN
               It's a small world, Carl.  And I'm 
               gonna find you.  Real soon.

173   INT. SHEPARD'S APARTMENT - WEST 74TH ST. - DAY -            173   

     CLICK, CLICK -- dead bolt turning...

     Front door opens and SHEPARD WALKS IN.  His '69 apartment is 
     far nicer than the place we just left John in '98.

     Shepard runs to the bathroom.  Rips off the toilet's tank 
     lid, reaches down and pulls out a .357 Magnum Colt Python, 
     wrapped in clear plastic.

     He rips off the plastic, shoves the pistol in his waistband, 
     heads into the kitchen.

     He gropes behind the refrigerator, close on an envelope glass 
     taped to back of the fridge.  Shepard's hand finds the 
     envelope...he rips it loose.  And then he opens it - revealing 
     its contents, souvenirs, POLAROID PHOTOS OF THE NIGHTINGALE 
     MURDERS, WOMEN'S JEWELRY, NEWSPAPER CLIPPINGS...

     Shepard takes out a match to burn the photos.  But then...

     The broom closet door bursts off its hinges.  Frank instantly 
     on top of Shepard.  The souvenirs go flying in the air.

     Frank pummels Shepard's head and back. But Shepard smashes 
     his elbow in Frank's Adam's apple, lands a solid uppercut 
     square on Frank's nose.  Frank's eyes watering up, VISION 
     BLURRING.

     CLOSE ON

     Frank's hand, groping for the handle of a glass pitcher atop 
     the kitchen counter.

     Shepard reaches for his gun, points the .357 at Frank's head.

     Shepard's finger squeezing the trigger. It's over.  But... 
     FRANK SMASHES THE GLASS PITCHER down on Shepard's skull.

     Shepard drops.  CRACK, the gun fires, BLASTING AIR.

     FRANK scrambles for the window.  He's outta there, expertly 
     thundering down fire escape.

174   EXT. ALLEY BEHIND SHEPARD'S APARTMENT BUILDING - CONTINUOUS 174   

     Frank hits the pavement, twisting his ankle.  Hears metal 
     rattling, looks up.  Shepard's clattering down after him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 116


     Shepard tries to get off a shot through the fire escape grid.

     BANG!  The shot ricochets wildly.  Frank takes off, limping 
     and staying close to the building out of the line of fire.

     The streets are still empty, the city glued to their TV's.

     Frank hits CPW.  He glances left, right, straight ahead.

     Central Park.

     Frank runs into the park.

175   INT. SHEPARD'S APARTMENT - W. 74TH ST. - DUSK               175   

     The door is kicked open.  Satch and Phil enter, guns drawn.

     They take in the damage from the fight.  Following the trail 
     of blood back to the kitchen. And there, strewn across the 
     floor are Shepard's photos of his victims, the newspaper 
     clippings, the jewelry, and the envelope with the glass tape 
     still on it.

     Satch knows.

176   EXT. CENTRAL PARK BRIDGE - UNDER CONSTRUCTION - CONTINUOUS  176   

     Frank hears pounding footsteps - Shepard is catching up.

     Frank's adrenaline kicking in, sprints around a bend in the 
     path, reaches long wooden bridge spanning Central Park Lake.

     The bridge is being restored.  Barricades across the entrance.

     Frank hurdles over the barricades, runs onto the bridge.

     Shepard trips in the dirt.  Gets back up, reaches the bridge, 
     knocks over a barricade, runs to the middle of the bridge.

     FRANK'S DISAPPEARED.  Shepard stops, listens - nothing.

177   EXT. CENTRAL PARK BRIDGE - UNDERNEATH - CONTINUOUS          177   

     Frank dangles below the bridge, holding onto the steel girder 
     of substructure - 8 ft. above water.  Not moving a muscle, 
     not making a sound, barely even breathing.

     CLOSE ON SEWER RAT

     Crawling on Frank's arm.  Caught off guard, Frank flinches, 
     sending the rat tumbling.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 117


178   EXT. CENTRAL PARK BRIDGE - TOP OF BRIDGE - CONTINUOUS       178   

     Bridge side railings have been removed for construction.

     Shepard hears something hit the water.  Rushes to the side 
     of the bridge, points his gun at the water.  BANG!

     Shepard leans out further aiming the gun at the water.

     Shepard's outstretched arm only a few feet from Frank's head.

     Frank silently swings his body forward reaching out...

     Snags Shepard's arm, pulling him hard, over the side.

     SHEPARD FALLS, grabs for something, anything.  Wraps his 
     arms around Frank's leg, hangs on tight.

     Frank struggles, kicks wildly, trying to shake Shepard off.

     Shepard hangs on with his left arm.  Pulls out the gun with 
     his right.  He aims it at Frank's head.  Cocks back the 
     hammer.

     FRANK LETS GO.  KERPLUNK.  They plunge into:

179   EXT. CENTRAL PARK - LAKE - CONTINUOUS                       179   

     Murky water, thick with dirt and slime, 5' deep.

     Frank's hanging on to Shepard's arm, trying to wrestle the 
     gun free.  But Shepard's using his free hand to gouge Frank's 
     eyes.  Frank bites down hard on Shepard's wrist.

     The gun sinks silently to the muddy lake bottom.

     But Shepard gets both hands on Frank's throat.  Shoving his 
     head into the shallow water.  Shepard's grip is like a vise, 
     Frank futilely tries to pry Shepard's fingers open.

     Frank is blinded by polluted water.  Starting to lose 
     consciousness.  Desperately, he searches the muddy lake bottom 
     for the gun.  But he's getting weaker, fading out...

     Then he feels something.  A BRICK, fallen off the bridge, 
     half buried in the mud.  Frank struggles to dig it up.

     Summons his last ounces of strength, yanking it back and 
     forth, it's getting loose.

     But Shepard's hands are squeezing tighter.  Frank finally 
     goes limp.  A few last bubbles float to the surface.  Shepard 
     smiles.  Catching his breath, slightly loosens grip on Frank's 
     lifeless neck.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 118


     Frank springs off the lake bottom, rises out of the water 
     like a jack-in-the-box.  Holding the brick with both hands, 
     he swings.  CONTACT.

     The brick smashes against Shepard's head.  Knocking him to 
     yesterday.  He drops like a rock.

     Frank waits for Shepard to come up for air.  Nothing.

     Frank crawls out of the water, collapsing onto the embankment.  
     He just lies there, heart pounding, chest heaving.

     And suddenly, Frank is startled by a MASSIVE ROAR - the sound 
     of eight million New Yorkers screaming in unison.  The Mets 
     have just won the World Series.

     Frank laughs, slowly getting to his feet.

180   EXT. CENTRAL PARK WEST & 65TH - PAY PHONE - DUSK            180   

     Frank's dripping blood and filthy lake water.  The streets 
     have instantly erupted with celebrating Mets' fans.  A giant 
     party.  Cars whiz by, honking their horns, passengers leaning 
     out, pumping fists in victory.  Frank has to yell above the 
     racket.

                           DESK SGT.
                    (over phone)
               17th Precinct.

                           FRANK
               Detective Deleon.

                           DESK SGT.
                    (over phone)
               Hold on.

181   INT. 17TH PRECINCT - SQUAD ROOM                             181   

     The Nightingale evidence from Shepard's kitchen floor is 
     spread all over the squad room.

                           SATCH
               Deleon.

     INTERCUT FRANK.

                           FRANK
               Satch, you gotta listen to me...

                           SATCH
               Frank.  We know.  We know it's 
               Shepard.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 119


                           FRANK
               No kidding.  I'm on the corner of 
               65th and CPW.  Come get me.

     Frank clicks down the receiver, slides in a dime, dials 
     another number.  A beat, then...

                           JULIA
                    (over phone)
               Hello?

     Frank smiles, and we dissolve to

182   EXT. CENTRAL PARK - LAKE - NIGHT                            182   

     The area cordoned off.  Detectives and uniforms.  EMS wagon.

     An inflatable boat is being placed in the lake.  Two police 
     frog men are climbing into their gear.

     Pan over the scene to find Frank and Satch.  Frank's got a 
     blanket wrapped around him.  They talk quietly as Satch walks 
     Frank to a waiting green and white squad car.

                           SATCH
               You missed a hell of a game, Frank.

                           FRANK
               Next time let's put some money on 
               it.

                           SATCH
                    (to the uniform driver)
               Get him home safe.

     Satch sticks out his hand...Frank takes it.  They hold each 
     other's grip for some moments.  Frank starts to say "thank 
     you", but Satch silently cuts him off.

     Frank climbs in the car.  Satch closes the door, taps on the 
     roof, Frank is on his way home.

183   INT. SULLIVAN HOUSE - JOHNNY'S ROOM - LATER                 183   

     JOHNNY is asleep in bed.  Elvis sleeps at the foot of it.  
     In the shadows next to them, Julia sits very still in a 
     rocking chair, half-asleep, half-awake.  Staring out the 
     window.  Her eyes are bloodshot.  She has been through hell.

     A faint STAIRWAY CREAK.  Elvis stirs.  He looks up to SEE:

     FRANK standing in the doorway.  He looks a wreck.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 120


                           FRANK
               Hey, bud.

                           JULIA
               Frank...

     And she is out of the chair.  They meet in a hug.  Over her 
     shoulder Frank takes a long look at his sleeping son.

184   INT. SULLIVAN HOUSE - STUDY - LATER                         184   

     Relatively cleaned up, but very bruised, Frank is at the 
     desk, trying to repair the DISASSMBLED RADIO.  Julia comes 
     in and sets down a cup of coffee.  She kisses him on the top 
     of his head, casts a wondering eye on the radio, and leaves.

185   EXT. SULLIVAN HOUSE - NIGHT -                               185   

     John pulls into the driveway and stops.  He stares out the 
     window, exhausted.  And then something catches his attention.

     A SOUND.  Coming from inside the house.  The HAM RADIO?

     He bolts from the car, runs to the door, scrambles to get 
     the

     backdoor key into the lock, as --

                           FRANK (O.S.)
                    (over the HAM)
               John, John?  You there?  Johnny?

186   INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS                  186   

     John barrels into the kitchen, leaving door ajar, and runs...

187   INT. SULLIVAN HOUSE - STUDY - CONTINUOUS - 1969 & 1998      187   

     John hits the squawk bar on the HAM which...

                           JOHN
               I'm here, Dad.  I'm here.

     INTERCUT FRANK AND JOHN.

                           FRANK
               We did it, John.  We stopped him.

     A short pause, John looks confused.  He sits down.

                           JOHN
               Wait.  Something's wrong.  I don't...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 121


                           FRANK
               What's wrong?

                           JOHN
               I don't remember.  Why don't I 
               remember?

     WHACK!  CLOSE ON FRANK, the back of his skull smashed by the 
     butt of a .45 wielded by CARL SHEPARD.

     FRANK hits the floor with a thud, Shepard looming over him, 
     reaching for a set of handcuffs.

188   INT. SULLIVAN HOUSE - STUDY - NIGHT -                       188   

                           JOHN
               Dad?  Dad?  What's...

     WHACK!  The butt of a .45 smashes the back of JOHN's skull.

     He tumbles to the floor...fighting to stay conscious.

     CARL SHEPARD stands over him, the gun pointing at his head.

                           SHEPARD
               My turn to steal your life.

189   INT. SULLIVAN HOUSE - STUDY - NIGHT -                       189   

     Shepard stands over Frank.  Frank tires to struggle up.

     Shepard forces him back down, tromping a boot into his chest.

                           SHEPARD
               You're a clever fuck, fireboy.

     And he snaps a handcuff on one of Frank's wrists then wrenches 
     him to a steel radiator in the family room where he circles 
     the pipe to the floor with the handcuff chain and attaches 
     the other cuff to Frank's other wrist.

190   INT. SULLIVAN HOUSE - STUDY - NIGHT -                       190   

     John is woozy.  He reaches down to his holster - it is empty!

     Shepard has got John's 9mm in his left hand.  Holding the 
     .45 to John's head, Shepard pops the clip out of the 9mm and 
     tosses it aside.  He then snaps a handcuff around John's 
     wrist, begins dragging him to the radiator.

     John's FOOT ERUPTS up into Shepard's groin.  The .45 goes 
     flying across the room.  For a suspended moment, both men 
     are riveted to the .45 spinning on the floor.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 122


191   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 191   

     Frank, struggling to breathe, is slumped by the radiator 
     staring up at Shepard's groin.  The .45 goes flying across 
     the room.  For a suspended moment, both men are riveted to 
     the .45 spinning on the floor.

192   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 192   

     Frank, struggling to breathe, is slumped by the radiator 
     staring up at Shepard, who is staring back with pure menace.

     The SOUND OF A SHOWER can be heard upstairs.  Shepard looks 
     up.  Smiles.

                           SHEPARD
               Time to meet the family.

                           FRANK
                    (struggling to breathe)
               This is between you and me.

                           SHEPARD
               Not any more.

193   INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT -             193   

     Julia luxuriates in a steaming shower.  Singing, softly.

194   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 194   

     A BRUTAL STRUGGLE FOR THE GUN between John and Shepard.

195   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 195   

     Frank desperately tugs at the handcuffs.  Steel bites down 
     on his wrists.

196   INT. SULLIVAN HOUSE - MASTER BEDROOM - CONTINUOUS           196   

     Julia smiles as she sees a figure through the curtain.

                           JULIA
               Hey, Bud.  Want to join me?

     And the shower curtain flies open to reveal SHEPARD.

                           SHEPARD
               Sure do.

     Julia lets out a bloodcurdling scream and plasters herself 
     against the shower wall.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 123


197   INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS              197   

     Frank reacts to the scream and tears with everything he has 
     in him to rip away from the radiator.  No way.

198   INT. SULLIVAN HOUSE - JOHNNY'S ROOM - CONTINUOUS            198   

     Johnny stirs awake at the sound of the scream...

199   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 199   

     John and Shepard are in a desperate TUG OF WAR over the gun.

     They KICK viciously at each other.  Butting heads.  But John 
     is still woozy from the head wound and Shepard is still very 
     strong.  BANG!  The gun goes off.

200   INT. SULLIVAN HOUSE - MASTER BEDROOM - NIGHT -              200   

     Julia is paralyzed against the wall.  Staring into the dead 
     as-marble eyes of Shepard.  He looks her up and down.

                           SHEPARD
               Nice.

201   INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS              201   

     Frank's wrists are bleeding.  He can't get out.  But then he 
     sees something.  Something he can use.  His WATCH.  Frank 
     struggles to unfasten the watch strap.  He does it.  He 
     pinches the metal clasp with his thumb and forefinger and 
     guides it to the keyhole in the left handcuff.  He works it.

     Nothing.  Then CLICK.  He's out!

202   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 202   

     John Shepard fight furiously.  But John has managed to get 
     control of the .45's TRIGGER.  He squeezes it.  BANG.

     ANOTHER ONE.  BANG!  BANG!

203   INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT -             203   

     Shepard's hands are moving towards Julia's breasts.  SUDDENLY 
     she lashes out, DIGGING HER NAILS DEEP INTO SHEPARD'S FACE... 
     TEARING FLESH, DRAWING BLOOD.

204   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 204   

     CLOSE ON SHEPARD, struggling with John.  A LARGE SCAR ETCHES 
     ONTO HIS FACE, in the exact spot where Julia dug her nails 
     in 29 years ago.  BANG!!  BANG!!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 124


205   INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT -             205   

     Shepard grabs Julia by the throat.  Slams her against the 
     wall, knocking her unconscious onto the shower floor.  He 
     touches the GASH on his face, stares at the blood.

206   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 206   

     BANG!  BANG!  John keeps squeezing that trigger.

     CLICK.  CLICK.  No more bullets.

     Shepard lets go of the gun, heave John over and grabs him by 
     the neck...strangling him.

207   INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT -             207   

     Shepard is on top of Julia in the shower.  He uncoils the 
     garrote, snaps it taut, and starts around her neck.

     And then a SOUND.  Instantly recognizable.  Beyond adequate 
     description.  But once you've heard it, you don't forget 
     it...

     CHUUT, CHUUT, CHUUT: THE SOUND OF A 12-GAUGE PUMP-ACTION 
     SHOTGUN RATCHETING AROUND THE CORNER.

     Shepard's head spins about.

     FRANK STANDS IN THE DOORWAY, SHOTGUN AIMED AT SHEPARD'S FACE.

                           FRANK
               Get your fucking hands off my wife.

                           SHEPARD
               Don't.  Don't do it, Frank.  You're 
               not a killer.

     He is right.  Frank hesitates.  Shepard LUNGES, grabbing the 
     shotgun barrel.

     BOOM!  Frank FIRES.  BUCKSHOT RIPS THROUGH THE AIR.

     SHEPARD'S RIGHT HAND EXPLODES...blood spattering everywhere.

     Like a wounded animal, Shepard bolts, blowing past Frank.

     Frank gently wraps Julia in a towel.  The fading sound of 
     Shepard thundering down the stairs.  Out the door.

     And then softer footsteps.  Coming closer.  Johnny appears 
     in the doorway.  Safe and sound.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 125


208   INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT -                 208   

     SHEPARD RIGHT HAND GOES LIMP AROUND JOHN'S NECK.  HE STARES 
     IN SHOCK AS HIS HAND BEGINS TO DISFIGURE.

     John starts to choke back to life...

     And then something happens.  Some kind of SHOCK-WAVE ripples 
     through the house -- bending light - bizarrely distorting 
     everything in its path, including Shepard and John.

     The shock-wave is over.  But the house is different.

     Changed.

     Shepard scans the changed room - disoriented, bewildered.

     CRASH!  John pounces.  Pounding blows to Shepard's head.

     John is on top of Shepard, hands on his neck.  As John 
     squeezes the life out of him, Shepard struggles to reach 
     down his leg with his good hand...

     There's something down there.  An ankle holster.  Shepard 
     strains to get his hand on the gun.  He does.

     In a flash, Shepard has the gun to John's temple.

     CLICK.  Shepard cocks back the hammer.

                           SHEPARD
               You were the kid.  I remember now.

     Keeping the gun pressed against John's temple, Shepard gets 
     to his feet.

                           SHEPARD (CONT'D)
               But this time, no Daddy.

     John closes his eyes.  It's over, he knows he's gonna die.

     SILENCE.  Then a sound.  A sound we've heard before.  A sound 
     you never forget.  Music to our ears.

     CHUUT, CHUUT, CLICK: THE SOUND OF A 12-GAUGE PUMP-ACTION 
     SHOTGUN RATCHETING A ROUND IN THE CHAMBER.

     Shepard looks up to see: MAN HOLDING SHOTGUN.

     B-O-O-O-M: SHOTGUN BLAST:  Buckshot ripping into Shepard.

     Impact lifting him off his feet.  He lands dead on the floor.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 126


     CLOSE ON JOHN'S FACE

     Opening his eyes.  Looking up at the doorway.  Blinking 
     through shotgun smoke, trying to focus.  Not believing what 
     he sees.

     FRANK SULLIVAN - AGE SIXTY-NINE

     John looks up at his father, speechless.

                           FRANK
               I'm still here, Chief.

209   EXT. LITTLE LEAGUE BASEBALL FIELD - MORNING - SOME YEARS 
     LATER                                                        209   

     We are soaring high above a baseball diamond.  Clear light 
     air, you can see for miles.  Float down to the field...

     The first taste of Spring and Softball.  Picnic baskets.

     Flowers.  Kites flying.  Children running.

     The bleachers filled with families and loved ones.

     Among them sits SAMANTHA.  She's smiling, she's glowing... 
     she's pregnant.  PULL BACK to reveal SATCH, GORDO, ELLEN & 
     GORDY JR.  A dalmation puppy scampers at their feet, barking 
     in recognition as...

     Frank Sullivan steps into the batter's box.

     CLOSE ON

     Pitcher: 22 year-old African-Amerasian, a muscular beanpole.

     Embroidered on the back of the his FDNY jersey is his 
     nickname: PHIRE POWER.

     Quick shot of first baseman.  GRAHAM GIBSON - once a nervous 
     PROBIE, now a seasoned vet.  And one hell of proud father.

                           GIBSON
                    (to pitcher)
               Take it easy on him son, he's older 
               than Moses.

     Frank sneers at Gib, then glances up at GIB's WIFE in the 
     bleachers.  She looks familiar, it's the girl Frank saved in 
     the warehouse 29-years ago.

     PHIRE POWER twirls his arm...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 127


     Frank takes a big swing...contact...the ball fouls back behind 
     the plate.  Towards the parking lot.  Where among the old 
     Chevys and Fords sits a brand new MERCEDES.  The custom 
     license plate reads: YAHOO.

     CRASH!  Frank's foul ball comes down hard.  As the Mercedes' 
     windshield spiderwebs we hear an off-camera scream...

     It is Gordo, jumping up, running across the field.  From the 
     parking lot his eyes meet Frank's.  An I'M SORRY shrug, and 
     Frank turns his attention back to the game.

     The next pitch is high and outside.

     Frank takes a looping swing...driving the ball to the gap in 
     right center.  Frank jogs to first.  An easy single.

     From first, Frank glances over at the third base coach:

     JULIA.  Her hair pinned up under a Mets cap, Julia puts two 
     fingers in her mouth and belts out a loud whistle as...

     The next batter steps out of the dugout.  It is John Sullivan.

     CLOSE ON

     John as he makes his way to the plate.

     Check out his eyes: they're different, he looks like his 
     father.  They've got that Frank Sullivan sparkle.

     John steps into the batter's box, cocks back to wood.

                           FRANK
               Bring me home, son!  Bring me home!

     PHIRE POWER uncorks the fastest softball pitch you've ever 
     seen.  John jumps on it.  Rips a massive shot to deep center, 
     way over the fence.

     The crew in the stands are on their feet, cheering.

     Frank rounds third, John catches up.  A double high-five 
     from Julia and they jog home together.  The game is over.

     Frank puts his arm around John.  Heading for the bleachers.

     A little boy totters up to them.  Jumping into John's arms.

     His name is Frank Jr.

                           JOHN
               Hey there, Chief.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 128


     John gives his son a kiss, glances up at Samantha in the 
     bleachers.   They share a smile.  And as they step off the 
     field, his little boy reaches up, takes John's hat off his 
     head and puts it on his own...

                           FRANK JR.
               Elvis has left the building...

     CLOSE ON

     John's face.  In his eyes, bliss.

     CUE Bruce Springsteen's: TAKE ME OUT TO THE BALLGAME.

     END CREDITS ROLL OVER:

     Archival film footage.  1969 World Series.  Game Five.  The 
     last pitch.  Mets win.  Shea stadium erupts.  Fans stream 
     onto the field.  Lifting the players on their heads.

     The madness continues for a while, then slowly fade to Fifth 
     Ave.  Mets' ticker tape parade.  It's a hell of a party.

                               THE END