AMATEUR NIGHT, written by John Scheinfeld and Michael Levine Forever Knight season 2, episode 17 transcribed by Victoria E. Meredith Characters with lines other than "AAAAAAH!" (in the order in which they appear) Shanice Cornell's mother (woman) Detective Nick Knight, Metro homicide cop; vampire (N) Police Captain Cohen (C) Dr. Natalie Lambert, coroner (NA) Drug dealer Alix Logan, a movie star (A) Detective Don Schanke, Metro homicide cop (S) Trevor, director of Alix's latest movie A police captain in Chicago (Captain) Czajkowski, a cop in Chicago; Nick's first partner (Partner) G-Roc, a gang member (G) Busboy LaCroix, vampire (L) Keys, a gang informant (K) A cop Billy, a cop The teenaged shooter TEASER [A playground. Children laugh, playing on the swings or in the sandbox. Several teenagers stand around. A car pulls around the corner, and a gunman leans out the window and begins shooting at the playground. The teenagers jump for cover and pull out their own guns, returning fire. Children and mothers scream as gunfire riddles the park. A teen boy falls, perhaps hit in the shoulder. The car swerves around another corner and is gone. As the shaken teens get up, a woman's voice wails louder than the children's frightened cries. Behind a park bench, we see a mother cradling her six-year-old daughter's blood-spattered body, weeping hysterically. The little girl does not move.] Woman: Help me! Help me! Please! Someone! Help me please! Oh, God, no.... OPENING CREDITS He was brought across in 1228. Preyed on humans for their blood. Now he wants to be mortal again, to repay society for his sins. To emerge from his world of darkness....from his endless forever night. COMMERCIAL [Nick's place. He is on the phone with Capt. Cohen. A newspaper is spread out in front of him. On the front page is a large photo of a little girl.] N: Yeah, Shanice Cornell? I--I just read about it. What do we have? C: Nothing much. No I.D.--the car was stolen. Shanice was only six, Nick. Just playing outside. Jumping rope. My daughter jumps rope. N: What's the thinking, turf war? C: As Schanke might say, just the usual rattling of spray paint cans. Bottom line is either a turf war, or a settling of accounts that's going to lead to one. N: Yeah, well it's too bad Schanke's not around. Some of these gangs operate out of his old neighborhood. They know him. C: Well, he's _not_ here, is he? I want you on the team to nail the shooter, Nick, before this thing escalates. N: Sure, Captain. C: Have a nice day. [In her office, she hangs up, then picks up a framed photo of her daughter and looks at it.] [Nick's place. An upset Natalie lets herself in. She is carrying a take-out box, and has a croissant in her mouth.] N: Hi. NA: [Shortly.] Hi. N: Problem? NA: No! No, no. No. [She inspects her croissant.] I just finished the autopsy on Shanice Cornell. I don't really know why I came here, I just, uh-- N: Nat, it's okay. Sit down. Come on. [She does.] NA: [Sighs.] One round, from a nine millimeter. She died instantly. And she was just a--little thing. You know, Nick? N: One gun. One killer. You sure? [Nat fiddles with the croissant.] Nat? NA: The third kid under twelve to die in a drive-by in the last six months. [Her voice shakes.] That stuff never used to happen around here. N: Yeah. I know. NA: I mean, these killers are just children themselves. Now we have eight-year-old gang members killing each other, they have--absolutely no concept of what it means to destroy a life, they--They have no concept of _life_! And that's gotta be our fault, h--how did we forget to teach them about that? [Nick looks at her and shakes his head silently.] I know. I know. [Exasperated sigh.] That's just the way things are. Live with it. [Leans back.] Sooo...are you going to go after the killer? N: Of course. NA: What about Schank? N: Well, there's nothing I can do about that. NA: Do you think he's gonna be okay? N: I have no idea. [Street scene. A drug dealer in an expensive suit meets another man in an alley; the dealer gives the other man a huge bag of cocaine, and gets a wad of bills in return.] Dealer: That's pure grade-A stuff, my man. [We see Schanke watching from the shadows.] Stuff'll get you higher than a kite, and happier than a puppy on a pork chop. Pure, Jones, no Clyde can give you better. Keep cool, my man. [Out of the shadows steps a glamorous-looking female cop wearing a very tight, very low cut uniform shirt. She trains her gun on the men.] Female cop: Freeze, scumbags! [Behind his stack of boxes, Schanke looks startled.] Is that a kilo in your pocket, or are you just glad to see me? [The two men look at her, then make a run for it. Schanke makes no move to pursue, but the female cop takes off after the men.] Dealer: No! You're not gonna catch me alive! [He dives for cover, then fires several shots at the female cop. She avoids them.] Female cop: Have it your way. Say your prayers! [She fires back. The other man fires on her as well. Several seconds of gunplay. We see Schanke again, looking distressed. Finally, he leaps out from behind the boxes and yells:] S: Cut! Cut, cut, cut, cut, cut, cut. Cut! [On the movie set, a dozen people moan in protest. The actress playing the female cop looks disgusted. Schanke walks over to a man sitting in a director's chair.] Come on, Trevor. [Seeing the director's angry look.] I'm--I'm sorry, it--it--it's just that her gun, it's--it's a pearl-handled Howitzer, for crying out loud! I mean, no c--cop would ever use one of those. I--it is a problem, isn't it? Trevor: [Not at all pleased.] Listen, _officer_-- S: Detective. Schanke. Don Schanke. We've met. Trevor: You're here to..."consult"? Not to disrupt my movie and push me into overtime. You yell cut again, I'll have you thrown off my set. Female cop (Alix): What's happening, Trevor? Trevor: Oh--oh, no problem, Alix, we just had a--a train over your dialogue. Alix: I didn't hear a train. Trevor: [Glaring.] Well, it wasn't very _big_. [To the cast and crew:] All right everybody, back to one. S: [Nervously, to Alix.] He's a great director. Um, I'm--I'm sorry, I--I didn't mean to be the cause of any trouble here, it's...and I would never, ever presume to--tell you how to do your job, it's just that I thought you wanted everything to be authentic. A: What, and this isn't? [Heads towards her chair. Schanke follows her.] S: Well, since you're asking, uh....In a word...no! I mean, there's too much gunplay, for one thing. An important part of police work is the prevention of violence. Officers are trained to...head off precarious situations. A: Anything else...officer? S: Well, now that you're asking, the, um, the dialogue's not quite in the ballpark. [Laughs.] I mean, it sounds like it was written by a white guy in the suburbs. A: Well, what would you say? S: Well, I wouldn't have let the situation get that far out of hand. [Oops!] B--but if I _did_, I--I would, uh, convince the perp to lay down his arm and surrender. A: Well, that's not very _dramatic_, is it? S: I know an instance where there was one time, this-- A: Trevor! We had an understanding. I said I wanted real. I want street. Trevor: You approved the script, Alix. [Oops!] A--a--and you were right. The script's great. I love the script. But you know, who really cares about the words? I mean, it's action that puts people in the seats. A: _I_ put people in the seats, Trevor. [Walks off. Trevor follows.] Trevor: Well, yeah, of course you do, but--the action's just there for support. It's totally secondary. Listen, nobody is going to demand their money back because her gun isn't standard issue. Nobody cares. They're watchin Alix. A: Well, that's true, Trevor, but it's not entirely the point. Now if Officer Shankie wants-- S: Schanke. A: --If John Schanke wants-- S: _Don_ Schanke. That's with a "D." A: WHATEVER. If he says it's not real, I want it changed. Trevor: [Nervous laugh.] Alix. I've got five more pages to shoot before I lose my l-- [She stares.] We'll sit down with, um... S: The detective. Trevor: The detective, tonight, and we'll make all the fixes you want. A: Trevor. We do the movie right, or I'm not in it. Now, I want real, I want grit! [Inspiration strikes. She turns to look at Schanke.] And I just had a terrific idea about that.... [Police station.] S: Nick! Nick, I am telling you, she won't come back unless she gets a taste of real police work. N: Well, that's why they pay you the big bucks. S: Technically, I'm on vacation. Okay, so I'm moonlighting, but, uh, I don't have a case or anything. N: Well, talk to Cohen. Maybe she'll let Alix work traffic for a shift. S: Traffic. Yeah, I can just see it: "Alix Logan starring in _Parking_Meter_:_The Movie_." [Nick chuckles.] You're working that drive-by thing, right? N: Yeah, we've put a team together on it. [Schanke brightens.] No way. S: Come on, Nick! N: Schank, she's an actress. S: Actor. It's the nineties. N: Actor, actress, I mean, one-man band, what's the difference? She is not trained in police work. She's an amateur! [Across the room, yelling breaks out. An officer restrains a long-haired prisoner. This leads Nick into a--] [Flashback] [A Chicago police station, 1950's (???). Nick stands before the captain.] Captain: As far as I'm concerned, you're an amateur. Surely you've got a few citations for bravery back in Edinburgh...and an impressive resume for someone your age. N: [Using a Scots accent:] Thank you, sir. Captain: But it doesn't mean squat here in Chicago. In my mind, you're a liability out there. _All_ my recruits go through the academy. N: You might want to reconsider, sir, [Nick looks into his eyes, hypnotizing him] in view of the fact that I've passed all of my proficiency tests. Captain: But, in your case, seeing as you passed all the proficiency tests, I'll put the paperwork through. Should take about a month. N: [Hypnotizing him again.] Actually, I was hoping I could start tomorrow. Captain: To hell with the red tape. Stop by first thing in the morning and we'll get you started. N: If you don't mind, sir, I prefer working the night shift. Captain: You want the graveyard? [Laughs.] Usually I have to break a few kneecaps to get that shift filled. It's yours. N: Thank you, sir. [Present. Schanke is still arguing with Nick.] S: It's just for a few days, Nick. We give Alix a little taste, she's happy, and, uh...I look like a hero. N: Talk to Cohen. S: Cohen? She'd rip off my head and punt with it, you know that. Come on, this is a partner thing, huh? You know you could use my help. We'll be the team. I know that look--you'll do it, huh? One short ride--you won't even know she's in the car! N: You're pushing it. S: Pushing? [Laughs.] I'm begging. N: [Relenting.] Well, you know the gangs better than I do. S: You won't regret this. Years from now you'll look back on it and--you're right. I'm pushing it. Thanks, Nick. Thanks. Great. Yes. [He leaves. Nick looks after him, shaking his head.] COMMERCIAL [Night. Inside a nondescript car, Nick, Alix and Schanke stake out a paved lot.] A: How long are we going to wait? Well, what if they don't show? N: They'll be here. A: So where are your other men? Up on the rooftops? N: Other men? A: Y--you know...backup. [Nick and Schanke are silent. Alix gets worried.] Y--you mean we're all alone? S: Ms. Logan, you don't call for backup unless you're sure you really need it. I mean, cops don't appreciate false alarms. They've got better things to do. A: B--but what if these gang members start shooting at us? N: Ms. Logan. A: Oh, "Alix," please. N: Ms. _Logan_. The gangs understand that if they started a war with the police, they'd lose. S: [Trying to regain Alix's attention.] But we are prepared for, uh, any eventuality, aren't we, Nick? It could get hairy, I mean there was this one time we had a couple of mob goons, and one of them almost flipped out, but, uh, cooler heads prevailed. A: [Dismissing Schanke.] Yeah. Yeah, right. Okay. [To Nick:] What about you, Detective Knight? N: What about me? A: Well, I--I really want to get inside your head. See what you see, know what you know. [Flashback] [Chicago police department. Nick, in uniform, stands at attention in the captain's office. His new partner inspects him.] Partner: I don't know anything about Edinburgh, but it's different in the city of Chicago, my friend. As my new partner, you'll be expected to learn quickly, and correctly. N: I will, sir. Partner: Ah, well, that's very good news. [He and the captain smile at the rookie.] So tell me, rook, what is the most valuable weapon we have on the streets? [Nick genuinely doesn't know. He hesitates, then gestures towards his gun.] N: Is it...this, sir? [His partner picks up the gun.] Partner: This...this piece of...antiquated machinery? The rook doesn't seem to know the answer, Captain. Are you certain he knows anything? Captain: You'll have to find out the hard way, Czajkowski. Partner: The most important weapon we have on the streets, young man... [points towards his eyes] ...are these. Our eyes. First line of defense. Every car that passes you by on the beat is a story. Its driver is a story within a story. Every pedestrian has a secret. Now, the trick is to know when the stories and the secrets could give you a problem. So let's get to the job at hand and,uh...see what we can see. [Nick nods.] I assume you went to college. N: O--of course, sir. Partner: Well. I guess we'll just have to work around that, hm? [Smiles.] [Present. Back in the car.] N: It's...difficult to quantify what we do, Ms. Logan. You can't possibly understand all the nuances after just a few hours on the job. [His vampire hearing picks up the sound of the approaching gang members.] They're here. A: Where? [After a few seconds, the gang members appear over a rise. They walk towards the car, slowly and quietly.] S: [To Alix:] Stay in the car. [He and Nick approach the teens; Alix steps out of the car as soon as their backs are turned.] G-Roc: Schanke. Whassup? S: Movin' up in the world, eh, G-Roc? G: [Laughs.] Like that. Moving up. You know as well as me there's no up...just everywhere the same. N: What can you tell us about the drive-by on River? G: That was a scandal. [Someone in wildly striped athletic shoes watches the meeting from a distance.] We didn't do that. You know us, Schanke. We don't like guns. We don't _need_ no guns. S: Oh, right, yeah, you're from the Kung Fu, Tae Kwon Do, shuck and jive school, right? G: [Sees Alix.] Who's the babe? [They turn.] S: [To Alix.] Get back. N: Nobody. G: Hey! I know her! In the movies--she's that movie cop with the big-- S: --be nice-- G: Alix Logan, right? Hey, you her? S: Come on. [Laughs.] Now what would a movie star be doing hanging with yutzes like us? She's a trainee from the academy. [Pause.] So? S: It's a B-Dog thing. But you didn't hear it from me. [Automatic gunfire. A van swerves past, guns blazing from the windows. All the gang members pull out guns and dive for cover, returning fire. Nick and Schanke run for the car. A stray bullet cracks the car's windshield. Schanke shoves Alix into the backseat, Nick hops in the driver's seat, and they take off in pursuit, portable siren blaring. One shot cracks the windows. In the back seat, Alix grins. She is thrown against Schanke in the turns. Nick drives like a man posessed, but another car eventually cuts in front of him and he is forced to screech to a halt.] A: [Laughing.] That was great! He's terrific. [To Nick:] You're terrific! [Laughs again.] Oh! [Police station. In her office, Cohen chews out Nick and Schanke.] C: What the hell's wrong with you? I ought to pull your badges for a stunt like that. She had no business riding with you. S: Well, you see, Captain, we had set up this meeting-- C: What is this "we?" _You're_ on vacation. S: W--well, I knew that Nick was working the drive-by, and I thought-- C: You thought you'd get cozy with one of the rich and famous. Can you imagine where we'd be if she'd been hurt or killed? S: It was a routine meeting, Captain. I didn't anticipate any problems. C: [To Nick.] Didn't we talk about the likelihood of retaliatory raids? N: Yes. C: [Exasperated sigh.] I feel like I'm bawling out a couple of rookies here. You should know better. Did you actually manage to do any investigative work? N: Well, nobody's claiming responsibility for the drive-by. They all suspect each other. C: So basically you're nowhere. I want the actress back on the set where she belongs. And you-- [Turns to Schanke] --go to the beach or something. N: Uh, Captain. Actually, it would, uh, be a help to me if, uh, Schank was with me. S: W--I do know a few people, but--Nick can handle it. C: [To Nick.] You really need him? [He nods.] S: I got seven vacation days left! C: Bank 'em for later. [Cohen leaves. Schanke yells after her.] S: But--but they need me! [Giving up.] On the set. No. [Sighs.] You really had to go and open your big mouth, didn't you? N: Well, you have the contacts. S: Well, what am I going to tell Alix? N: She's already seen a real police gunfight and a real police car chase. School's out. [Schanke sighs again and leaves.] [Flashback--Nick] [Chicago. Nick is walking the beat with his new partner.] Partner: The beat is where the real police work is done. Every crime in the making has its marker. Car where it shouldn't be...man in a cheap suit with hundred-dollar shoes....Now, our job is to notice and act _before_ there's a need to call down to homicide. [Nick looks spaced out.] Are you listening? N: Yes. Partner: Ah...but are you _hearing?_ [Nick laughs. They stop. Nick's partner points down an alley.] Busboy muckin' around with the garbage. What's wrong with that picture? N: He's doing his job. Partner: Is he? You like garbage, Nick? Does anyone? And a busboy's knee-deep in it all day. The last thing he wants to do is linger. No {?buddy?}, he fills up his garbage can, comes outside, and puts it in the bin before you can breathe. N: But he's in no hurry. Partner: So you ask yourself why. Maybe he's waiting for someone. N: He's a lookout. A robbery in progress. Partner: You keep tabs on him. Don't make an issue of it till I get to a call box for backup. [He leaves. Nick watches as the busboy signals to someone. A man steps out with a bag. Inside are several bundles of money and a gun.] Busboy: Okay, all right, I got it. [The man and the busboy turn to leave. Nick looks around nervously, afraid that they'll get away before his partner returns. He can't wait any longer.] N: Police! [He steps out of the shadows and points his gun at the robbers. For a second, they freeze, but they pull out guns and fire at Nick. The shots don't harm him, of course, and Nick does manage to hit the busboy, but Nick's partner runs onto the scene and is hit in the chest by one of the other man's bullets. Nick's partner falls, bleeding.] Partner: Uh! Nick! [Nick makes a vampire leap and grabs the other perp, disarming him and pinning him to the wall. On the ground, Nick's partner stares at the blood on his hands and coughs weakly.] COMMERCIAL [Present. Nick's place. Alix sits in his living room. He is just civil.] N: Well. And to what do I owe the pleasure of this visit? A: To make nice. Schanke told me that the captain came down rather hard on you. N: We'll live. A: And I also came to thank you. I learned a lot. N: Well, if you'd listen to Schanke, you'd learn a lot more. A: But you're the man of action. N: The other night was... A: A thrill. N: Unusual. That's the first high-speed chase we've had since...I can't remember when. It just doesn't happen that often. A: Well, why do you keep saying that like you're apologizing? N: I'm not. You expect levels of action and violence that just aren't real. A: [Gets up.] Look. I'm tired of doing mediocre action pictures that the critics trash. I want to do something important, something...to be proud of. I take my work very seriously, just like you. N: Then why don't you take Schanke seriously? He's a real cop. [Flashback] [Nick, in uniform, sits facing away from the door in his captain's office. A man dressed in black enters. We cannot see his face yet, and neither can Nick.] Man in black: [In a strange Chicago/Brooklyn accent:] LeCroy. Internal Affairs. [Nick sits up ramrod straight.] You must be Constable Knight. N: [Very Scots.] Absolutely, sir. Nicholas Knight. [He turns to face the I.A. man. It is LaCroix. He smiles. Nick drops the Scots accent.] What are you doing here? L: Oh, the usual, making your life a living hell. N: It already is. L: You say that as if it's a bad thing. N: I'm responsible for nearly having my partner killed. L: [Cheerfully.] He _may_yet_ die. N: Thanks. L: [Laughing.] Oh, Nicholas! He's only a mortal. It's not really your fault. It was...a "rookie mistake." N: It was a mistake I would not have made had I more training. If I wasn't a vampire, we both would've been killed. L: But my dear boy, you _are_ a vampire. That's the whole _point_. You do not need to go through the rigamarole of schooling and training and whatever. _You_...are a superior creature. N: Perhaps. But I'm out of my element. L: My dear boy, you don't _have_ an element. You're not one of them. Their rules do not apply. And the longer it takes you to realize that, the longer your life will remain the living hell that it already is. [Present. Alix and Nick argue.] A: You know, I'm sorry that I come off like such a pain in the ass, but this is important to me. N: This isn't about you! It isn't a field trip, it is a murder investigation. A: I know what it is and what it's about, and frankly it doesn't matter what you think--or Schanke, or Cohen. The fact is, my movie is bringing in a lot of money into this town. N: Well, there's a lot of film money in this town right now. A: The mayor is very appreciative, and a big fan. N: Oh, so you've been speaking to the mayor. A: I told you, this is important to me. You'll be _ordered_ to extend me every courtesy. And you damn well better do just that. [She leaves.] [Day. Police station. Schanke questions his informant.] S: Okay, Keys, what's the word on the street? [Keys fingers a full keychain thoughtfully.] K: Look, smokin' that kid was a mistake. Nobody called that number. People are kinda jumpy right now. S: Tell me who did it, Keys, and we'll take care of it. That's what everybody wants, isn't it? Peace? I just need a name. K: You _could_ just let it alone. [Schanke laughs.] The B-Dogs are howlin', man. It happened on their turf. Boys are crawlin' all over each other tryin' to find the shooter. S: I can't "let it alone." You know that. K: It was a renegade, Schanke. A renegade thing. [Alix walks in. She is dressed in an expensive-looking outfit, complete with matching hat.] A: [Cheerfully.] Good morning. K: Nice piece! S: Hey! [He looks at Alix, then sighs. To Keys:] Okay, why--why do you say it was a renegade thing? [Alix surreptitiously begins to take notes.] K: None of the protectors called for it. And now they're on a code red. S: [Laughs.] Oh, we know that. We also know that the B-Dogs retaliated. I was there myself. I almost got my kishke shot off. A name. That's all we need, and everyone will rest easy. K: Look, we take care of our own business. [Keys gets up. Schanke hands him an envelope of money. Keys smiles.] Thanks. S: Yeah. [Keys turns to leave, then stops.] K: Look, Schanke. If we knew who the shooter was, the matter'd be taken care of by now. So you know the fuse is burnin'. S: Yeah. Thanks. [Keys leaves, giving Alix an appreciative glance.] A: That's it? You're just gonna let him walk? S: Alix, what are you doing in here? If Cohen sees you, I'm a dead man. A: Oh, relax. She can't touch me. Or you. S: What are you talking about? A: The mayor is a big fan. And he has assured me that I will have full department cooperation. [Schanke's eyes widen.] S: You _talked_ to the mayor? A: Mm-hmm. S: [Laughing.] Oh, ho, ho, ho, great. Oh, now I am in it deep. A: It's no big deal, Don. [He smiles at her familiar use of his first name.] So, come on--who was that guy? S: [Deep breath.] My gang informant. I can't believe you went over Cohen's head! A: I had no choice! If she gives you any trouble, I'll fix it. S: That's what I'm afraid of. A: So you and this guy get along? S: I've been running him a few years. We've developed a certain level of trust. I like the guy. A: [Taking notes.] And that's essential to get the information? S: Y--yeah. A: Okay....Well, what is a, um, "protector" and a "code red?" S: A "protector," uh, well, the gangs say they defend their territory, and "code red" is a command within the gangs to take care of a problem within the ranks. A: Ah. You're mad at me, aren't you? [Pause.] S: No. I'm just...a little tired. [They leave the room where Schanke questioned Keys; Cohen spots Schanke.] C: Schanke. Office. Now. [He sighs.] S: I wonder if a condemned man gets a last meal. A: Aw. [She chuckles, then kisses him on the cheek. He perks up considerably, then walks off to meet his doom. Alix sees Keys leaving and decides to follow him. She is, of course, extremely conspicuous, and does a terrible job of tailing him. Keys, stopping at a newsstand, spots her right away.] K: Hey, what's up? [He tries on a pair of sunglasses.] Vendor: For you, half price. K: {inaudible}. [Keys spots Alix in the mirror and returns the glasses.] Yo, man, take care of this for me? [He walks around a corner. Alix follows just a few steps behind, but by the time she gets to the alley, Keys is nowhere to be seen. She turns around, confused--and Keys appears from behind her.] K: Boo! A: Aaah! K: You best be takin' a refresher course in surveilance, woman, 'cause you ain't makin' the grade. Schanke, man, _what_ are you thinkin'? A: [Collecting herself.] Yeah, well, Detective Schanke might have believed your Oscar-winning performance back there, but I didn't. You know who pulled the trigger. K: Look, you get your ass back to the barn where it belongs! And you can tell Schanke he can find another mouth on the street. [Turns to leave. Alix panics.] A: No! No, hey, Keys, come on, don't get all bent out of shape. We trust you. It's just that, you know, we're--we're getting a lot of heat from downtown. But--you know, let's just go with--with--with what Schanke said. Now, let's chill this out. [Keys has her pegged now, but she's too wrapped up in her act to notice that he's toying with her.] K: Uh-huh. A: You know. K: [Leans close.] You want somethin' more? A: Yeah. We do. K: Somethin' you can...take to the bank? A: Yeah, it--it's gotta be something I can cash. [Keys' face says, "I can't _believe_ this woman," but he keeps up the pretense.] K: [Sighs.] All right. I'll tell you what. You meet me here this evening, six o'clock, right? I'll deliver the man. All wrapped up for you like a Christmas present. A: Oh, terrific. I knew we could count on you. Thanks. K: Hey, don't mention it. [She leaves, toting her notepad and pencil. Keys watches her go, chuckling to himself.] Dumb. [Nearby, we see someone wearing a pair of wildly striped athletic shoes standing in the alley. Whoever it is watches Keys as he turns away.] COMMERCIAL [Police station. Schanke has his head down on his desk. Someone drops a thick stack of papers on the desk, and Schanke jumps awake. Natalie walks up, drops a folder on his desk.] NA: Here's the report on Shanice Cornell. Not much help to you, I'm afraid, but I-- [Schanke yawns] --you look really bagged, Schank. S: Oh, I am. Either we solve this thing soon, or we've got a major gang war on our hands. NA: You really _will_ have to get some sleep, you know. S: I'll knock off when Nick comes in, all right? NA: [Trying to hide her excitement.] So...what's she like? [Schanke gives her a blank stare.] Alix Logan! Come on! I just--I just think she's great, maybe, um...maybe you could introduce us? S: Oh, I dunno. Alix and I are on a pretty tight schedule, Nat. NA: "Alix and I...." My, my, my, my, my. S: Believe me--it's nothing like that. [Alix walks back into the station.] Well, here comes Nancy Drew now. [Nat gawks. Alix ignores her and walks up to Schanke, shaking her notepad.] A: _I_ got him. S: You got who? A: The shooter! NA: I--I think I'll just--if you don't-- [Leaves.] A: Schanke. I happened to run into our informant after I left here today, we got to talking, and.... S: Wait, wait, wait. You "ran into" him? A: All right, I tailed him, okay, but the fact is he _did_ know something. Now, it took a bit of persuading, but he has promised to meet me at six o'clock, in the alley, to deliver the killer! [Cohen peers around the corner.] Ah--"shooter." [Cohen steps out.] C: How does she know about Keys? S: Okay, I had him in here, Captain, but I didn't _tell_ her-- C: Miss Logan. Extending every courtesy does _not_ give you carte blanche to interfere with official police business. I could have you arrested for obstruction of an investigation. As well as harassment of a potential witness. A: [Unfazed.] And my lawyers would be all over you in a heartbeat, Captain, so cut the officious crap. No! I followed a hunch, and I got something that you didn't. Now, why don't we just...play it out? [Cohen frowns harder, then looks at Schanke.] C: Take someone with you, and escort Miss Logan to this meeting. And I mean _every_ step of the way. Report back here immediately. S: [Tired sigh.] Right, Captain. [ Alix chuckles.] [They arrive at the meeting place.] S: Okay. Did he ask you to meet him here? A: That's what he said. S: [To backup cop.] Double around the other end. Cop: Got it. [He leaves.] S: [To Alix.] Okay, did he ask you to bring any money? A: No. S: [Exasperated.] Man, he was yankin' your chain! A: Well, why do you say that? S: The only reason he gives you _anything_ is for the money. [Alix turns to look down an alley and stops, eyes wide. Scanke doesn't notice.] No money, no shooter, no Keys. It's that simple. [He sighs.] Alix? A: Oh! [She backs away.] S: Alix? [He walks to where she's standing. In the alley is Keys, murdered.] Ohhh, my God, Keys. [In a few moments, there are cops everywhere. In the background, a shaken Alix gives her statement.] ?: Thank you. C: [To Schanke.] Forensics found half a dozen shells. Only two hit him. The shooter wasn't what you call a good shot. S: Sounds like the guy who killed the Cornell girl. [Cohen hands him an envelope from the body.] His fee. C: This is not your fault. S: Well, then, who else's, Captain? He was my snitch. C: But _you_ didn't lead the killer to him, Schanke. [She turns to stare at Alix. Alix looks down.] It's the truth, and she knows it. And by the way, Detective...I don't want to see her face again. [Cohen walks away. Schanke walks over to Alix.] A: I didn't want this to happen. S: No one said you did. A: I just--I--I thought he knew more than he was telling--I--I--he seemed like-- S: Like someone in a movie? [She looks down, ashamed.] Alix, there's no writer here. There are no actors, no sweetness-and-light, happy, mushy endings. Even when you know what you're doing! A: I just--I wanted to know what it was like, you know, I wanted to feel it, I wanted--I wanted to get into the character, _be_...a cop. S: Be a cop. You know, I spent two years at the academy, seven years on the beat, and five years in homicide before I knew what I was doing. Huh. You know, Alix, you cannot _presume_ to know what goes on inside our heads until you have lived our life. A: [Crying.] I killed that man, didn't I? How do you live with it? S: [Shakes his head.] Barely. [Pause.] Believe me, a lot of cops can't. They tailspin into...broken marriages, bouts with the bottle, they go on the take.... This job, it changes us. It sets us apart. [Sighs.] You know, the--the true policemen, the ones that really make it through, they never stop learning. They never forget why they became a cop, which is to...effect some change, to--to do some good. A: B...but Keys is dead because of me and my stupid movie. S: It's not a stupid movie, not if you...help people understand what we do. Listen, I'll have someone take you back to the hotel. A: No, thanks. I think I'd rather walk. S: Alix. The killer probably saw you with Keys. It's best that someone takes you. [To a passing cop.] Billy! Billy: Yeah. S: Could you take her to the hotel? And make sure she doesn't leave her room. Oh, and Alix...I think it's a good idea if you stay away from the precinct. [She nods sadly.] Billy: [Opening the patrol car door.] Here you go, ma'am. [Police station. Schanke walks over to Nick's desk.] N: Oh. You don't look so good. S: [Sighs.] I don't feel so good, either. N: Stop blaming yourself, Schank. It's not your fault. S: Oh, it is. Alix really turned my head. I was so focused on trying to...look good in her eyes that....You know, when I was a kid, my dad took us to California for the summer. Everything in Hollywood was larger than life. I must have stood in Jimmy Cagney's footprints for an hour just doing bad impressions. I loved it all. I wanted to be part of it, and...Alix was my chance. N: We all get our heads turned. I let you turn mine. S: Yeah, but you knew better. [Sigh.] I'm not part of her world. I never could be. N: Why don't you go home and get some shut-eye? Hm? I'll track the canvass teams in the alley--they might turn something up. [Cohen appears.] C: Just got a call. Alix Logan has disappeared from the hotel. [Schanke looks regretfully at his empty coffee cup.] S: Is there any way to take caffeine intravenously? [Alix enters her dressing room at the set. She turns on the lights, throws herself down on the couch, and cries. After a moment, she hears a crash on the set. She gasps. On the darkened set, we see the feet of the person wearing the striped athletic shoes.] COMMERCIAL [Nick and Schanke drive in the Caddy. Schanke is on a portable phone.] S: Okay, okay, if you hear anything, just get back to me pronto. [Hangs up.] Damn. I've tried her agent, her manager, her lawyer, her personal assistant, her personal assistant's personal assistant...[Sigh.] N: How about somebody connected to the film itself. S: Yeah! I'll try the assistant director. [Dials.] He seems to know everything that's going on, anyway. [On the darkened set, Alix investigates the noise.] A: Who's there? [In the Caddy.] S: Yeah, Carl. Don Schanke. I--I need to find Alix....Nah, nah, she shook our man at the hotel. D--where could she be?....Okay. Yeah, right. What's the number?....Thanks! [Hangs up, then starts to dial again.] N: What'd he say? S: He suggests we try the one place in the world where she finds true peace and happiness. Her dressing room at the studio. [Movie set.] A: Is there somebody there? [She walks slowly around, looking behind set pieces. She sees a light flashing on the phone and moves to answer it. A dangerous-looking teenaged boy wearing the now-familiar shoes stomps his foot down on the receiver. She screams.] Oh! Ah! [Covering her fear.] A--this is a closed set. You'll have to leave. [He doesn't. She backs away.] I'm gonna have to call the cops. Teen: You are the cops. [She eyes the phone.] [In the Caddy. Schanke hangs up the phone and sighs, disappointed.] S: I thought at least the security guard would pick up. Ah, we'll go to the studio. N: Let's hope she's there. S: Let's pray she's there. [Movie set. Alix backs away.] A: N--no, look! I'm not who you think I am. I--I'm an actress. You've--probably seen my movies. Teen: Seen Arnold, seen Wesley, never seen you. A: I'm Alix Logan! Teen: And I'm Julia Roberts. [He pulls out a gun.] What were you doing with Keys? A: I--I was just--I--I was just...getting into my role. [She sees the lighting board. A sticky note plastered on it reads, "Caution! Lighting FX. HANDS OFF!"] Teen: Yeah, RIGHT! You--your boy Keys--he--he had a big mouth! [He half-turns.] You have to go with either him, or me! [Alix shoves her hand into the lighting board and runs. Strobes flash all over the set, dazzling the teen for a few critical seconds. She runs to the wall and clicks on a switch. Outside, a red revolving light comes on. She moves away; the boy stalks her.] [Nick and Schanke pull up outside. They see the flashing light.] S: Hey! Nick, that light wouldn't be on unless film were rolling, and I know for a fact they're not shooting tonight. N: She's in trouble. [He tries the door.] It's locked. S: Stand back. [Schanke fires his gun at the lock, breaking it. He kicks the door in. Inside, the teen and Alix hear him. Nick uses his vampire vision, but sees no one. He signals Schanke, and they split up. The teenager trips, and Alix makes a run for it. He grabs her, sticking the gun into her face. She screams.] Teen: Where you goin', huh? Huh? [Schanke pops around the side of a set piece, gun ready.] S: Freeze! Police! Teen: Back off or she's dead! [Schanke looks at the teen.] S: I know you. Teen: You don't know squat. S: You're a B-Dog. Teen: They ragged {?ratted?} on me, man. Said I wasn't ready. S: You weren't ready? Oh, I wonder why. [Unnoticed by the teen, Nick approaches from the rear.] What? You're too young? Too green? Not tough enough to be a B-Dog? Huh. Yeah. [Schanke holsters his gun and starts toward the boy.] I thought so. So you staged a little demonstration. Showed 'em you had the stuff? _What_it_takes_? Teen: Damn straight, I do. S: So you killed...a six-year-old girl to prove it. Teen: That wasn't supposed to happen! S: Well, that's what _did_ happen, man! Your first taste of blood. Did you feel like a god? Invincible? Teen: Shut up! [Aims at Schanke.] S: You feel like the toughest guy in the world when you slaughtered little Shanice Cornell when she was skipping rope? Teen: [Moves the gun back to Alix's head. His hand shakes.] Shut up! S: Tell me. You feel awful about what you've done. Oh, but you can't. Because you're a tough guy. Teen: [Shoves Alix away and aims at Schanke again.] I didn't mean to. I _didn't_--_mean_--_to_! [He breaks into sobs.] I didn't mean to. I didn't-- [His voice trails off and he falls to his knees.] I just wanted to show 'em who I was. [Schanke takes the kid's gun.] I just wanted to show them who I was. Who I was.... [Crying. Nick approaches as Schanke pulls the boy to his feet.] S: Well...now everybody knows. N: Good work, partner. S: Thanks. N: Go home and get some sleep. S: Yeah, right, sleep. Not with this pulse rate. N: I'll take care of it. Come on {???}. [He leads the teen away. Schanke goes to Alix, who is holding her throat and coughing.] S: You okay? A: I don't know wh-- [Takes a breath.] I thought you said happy endings only happened in the movies. S: Well, I don't think Shanice Cornell's family thinks this is a happy ending. [She nods.] Come on. [He leads her away.] COMMERCIAL [Flashback] [Nick comes into his captain's office.] N: Did you hear from the hospital? Captain: Czajkowski got out of surgery a half hour ago. He'll be fine. [Nick breathes with relief.] I've put you in for a citation. He'd have been dead if it weren't for you. N: Captain. I've...been thinking about what you said before. I really should go through the academy. Captain: What? N: Uh, you were right, sir. Chicago is much different from Edinburgh. Captain: Uh--we're talking medal, and you want to go back to school? N: No, sir. I have to. There's a lot, um...well, sir, there's a lot I've got to learn. [The captain nods.] [Street scene. The two druggies from the first scene are back, but this time dressed in flannel shirts and jeans. They deal for a tiny packet of white powder.] Dealer: It's not bad. Don't worry. [The buyer tastes the packet's contents, and they complete the deal. Alix steps out of the shadows and trains her guns on the two men. She is wearing a regulation uniform, less "glamour" makeup, and a hat.] A: Freeze! Police. [They do.] Very carefully, now, hands on top of the heads. Hands on top of the heads! Now! Do it! [They do, looking almost embarassed. Alix yells to someone off-camera.] O'Grady! [O'Grady comes into the picture, his back towards us. He elaborately frisks the dealer. As O'Grady moves, we see that he is Schanke in costume. Schanke opens his mouth, his face set. Dramatic pause as he prepares with great self-importance to utter his line. Another pause. Schanke wrinkles his forehead and looks straight into the camera.] S: Uh, what's my line? [The crew lets out an "aw!" The director yells:] Trevor: Cut! Cut! Cut! END CREDITS