FADE IN:

SUGAR BABIES

EXT. NEW YORK STREETS - DAY

AS TITLES ROLL, hip city music plays in the background, the camera covers a plethora of scenes.  A young boy shining shoes, a young Italian street hustler showing people gold chains and watches, a legless man on a skateboard dealing pencils, a blind man playing saxophone, homeless people are sitting on park benches, some reading, some sleeping.  The city is alive.

CUT TO: Mary Lou watches a police van outside the police station.  A group of prisoners wearing manacles on their legs and wrists are being herded into the police van.  Her father looks up at her and motions his head in despair.

REACTION SHOT: Mary Lou forces back a tear and wipes her eyes with the sleeve of her coat.

EXT. TENEMENT BUILDING - DAY - TO ESTABLISH

Tracy walks down the hallway to her apartment.  The door is padlocked from the outside.  A CLOSER ANGLE reveals note sticking out from underneath.  Tracy drops to her knees and pulls it out.

CLOSEUP: GONE TO CALIFORNIA WITH FRANK.  LOVE, MOM.  She looks in envelope and there are a few twenty dollar bills.  She crumples them up and puts them in her pocket.

CUT TO:

EXT. TRACT HOME - NIGHT - TO ESTABLISH

Sally opens the door to the hallway.  There is a fist mark through her door.  She tiptoes out carrying a night bag.  She goes through the living room which is in shambles.

A CLOSER ANGLE reveals she has a bruise under her left eye.  Her lip is also puffy.

TITLE READS - SIX MONTHS LATER

INT. ABANDONED BUILDING - DAY

A CLOSER ANGLE reveals an abandoned warehouse with a sliding door and window around the door.  A small chihuahua is chasing down a rat.  The scene is comical and when he gets the rat cornered, the rat turns on him and he takes off at a high pace.  The dog barks frantically and wakes up a young girl sleeping on an old mattress covered with green army blankets.

TRACY
(dressed in a nightshirt)
Spanky, you're up early.  That old rat giving you a hard time again?  (The dog comes over and rolls on his back next to her.)  You're such a good boy.  I'd better get Sally and Mary Lou up so we can be out of here.

PAN TO:

Two girls lying on cardboard and covered up by old blankets.  Tracy gives each of them a little nudge.

SALLY
I ain't getting up for nobody.  Go away girl.  Don't bother me no how.

TRACY
Come on Sally, get up.  The sun's out already.  We gotta hit the streets and grab some eats.  (Tracy flashes a pictures perfect smile.)
SALLY
What about Mary Lou.  You gettin her up too?

TRACY
That'll take a lot of doing.  She's out.

Mary Lou's foot is sticking out from beneath her blanket.  Sally starts tickling her.  She stirs and then wakes up mean.

MARY LOU
What's this mess?  Who be messin with me?

SALLY
Time to get up.  Time to be going downtown.

CUT TO:

EXT. DOWNTOWN - MORNING

The three girls make their way through the alley to a busy street.  They stop and buy some hot pretzels from a vendor who takes no pity on their obvious lack of funds, and tries to cheat them out of their change.  Sally demands their change.  After doing some window shopping, the girls enter into a subway tunnel.

PAN IN:

INT. TUNNEL - DAY

The sound of three harmonizing young voices, with hand clapping and foot tapping, fills the subway station.  The echo is great and, after awhile, their collection box begins to fill up with change.

TRACY
(picking up the box)
Hey!  We got enough for lunch.  Let's go to Bernard's deli.

MARY LOU
What about the shoes I've been needin.  (She's barefoot.)

SALLY
My stomach's hungry.  Your feet can wait.

TRACY
She's right, honey.  We gotta eat.  It's just your feet.  Maybe Angelo can cop you some shoes.

MARY LOU
My feet wouldn't be comfortable in no stolen property.

SALLY
Well, I don't think your feet will know the difference.

MARY LOU
My brain sure will!

TRACY
Well, your brain should tell you you're hungry.  We haven't eaten since yesterday.  Let's go.

INT. TENEMENT HOUSE - DAY

A young woman is carrying a baby girl.  She is struggling with the stove trying to heat up a bottle.  She gets it heated up and sits down to feed her daughter and faints.

EXT. APARTMENT HOUSE - DAY

An emergency vehicle pulls up to the curb.

INT. TENEMENT HOUSE - DAY

Two attendants try to carry a stretcher down the stairs.  They nearly drop the body and barely keep it from falling on the stairs.  Angelo, a handsome boy, walks up the stairs wearing his overcoat.  He goes into the apartment and sees the door open.  Several neighbors are standing around.

ANGELO
(In Spanish)  Where is Teresa?

NEIGHBOR WOMAN
The doctors they took her, she was sick.  We heard the baby crying and the crying wouldn't stop.  (She hands him the baby.)

He takes the baby and rushes down the stairs.

ANGELO - WITH CHILD:

INT. HOSPITAL - DAY

Angelo watches as a gurney is being pushed out of the operating room a sheet is draped over the face.

ANGELO
Is she going to be alright?  (He addresses the doctor.)

DOCTOR
(puts his hand on Angelo's shoulder and pats the baby)
I'm afraid she didn't make it.  She had a major aneurism.  She never had a chance.  That her baby?

ANGELO
Yea, I guess I'm her only relative.  Our mom and dad died two years ago.

DOCTOR
I'm sorry ......

Doctor walks away.

EXT. STREETS - DAY

Angelo walks along a debris filled street carrying the baby.

EXT. DAY - STREET

The young, Italian hustler seen in the opening credits is putting a small 18 month old child in a cardboard box on an alley off the main street.  He spots Leroy, a young shoe shine boy.

ANGELO
Hey, Leroy, would you watch my niece?  I'm gonna go hustle some of the rich tourists by the Helmsley.

LEROY
Well, don't be gone too long.  I got some shining to do myself.

CUT TO:

EXT. DAY - STREET

Angelo hustles a woman wearing a raincoat and is showing her an array of chains.

ANGELO
I swear, mam, it was my mom's.  Look!  It's real 14 kt. gold.

CLOSE UP:  Gold Chain

SECRETARY
Young man, I really don't want any jewelry.

ANGELO WITH SECRETARY:

ANGELO
Look.  How bout ten dollars.  I need it to feed my baby sister.  (Angelo pulls out a picture of a baby.)

INSERT:  Picture

The lady examines the picture and opens her purse.

SECRETARY
All right.  Here's ten dollars, but you keep the jewelry.  (Angelo grins.)

PAN TO:

Angelo turns and goes into the alley.  He walks over to a box, pulls back the cover and looks at the baby who, seeing him, smiles contentedly.  Leroy walks over.

LEROY
Make any money?
ANGELO
Not much.  Not enough to get me off the streets.  How 'bout you?  Got a place to live yet?

LEROY
Yea, I'm staying at my mom's.  There's the ten of us, two bedrooms, but it sure beats a cardboard box.

ANGELO
I can't just turn my sister's kid into some orphanage.  Like you know, she's family.  

Leroy peers down at her.

LEROY
Sure is a cute one.

ANGELO
I'm gonna go uptown and see if things are better around there.  These people have no pity.

LEROY
Most of them can't even look you in the eyes.

Angelo walks.

LEROY
Later!

ANGELO
Yea, later!

CUT TO:

INT. POLICE STATION - DAY

Several police are sitting around an office desk in a glassed in room.

SERGEANT
We've been getting complaints from the Helmsley's Palace about panhandlers pestering the tourists and businessmen.  I know it's not a pleasant thing to do, but I want you to run them in for vagrancy.  Make an example of them.

OFFICER WHITE
They're only kids.  Most of the panhandlers I've seen are only kids.

A CLOSER ANGLE reveals a very mean looking, middle-aged, well-dressed man.

HOTEL MANAGER
Need I remind you we pay a hefty amount of city taxes and we expect our doorways and grates to be cleared of this rift-raft.

CUT TO:

SERGEANT
(pointing to a very stern looking woman)  
Mrs. Holder from the Juvenile Division will take custody of all of them.  Just run them down to the Juvie Center on 85th Street.

MRS. HOLDER
I know nobody likes running in children, but Social Services is well equipped to handle these people and keep them safe and off the streets.

OFFICER WHITE
Not meaning any disrespect, mam.  But, you really think putting panhandlers in jail with murders, dope addicts and prostitutes is the way to handle them?

MRS. HOLDER
We expect to be opening a facility for minor transgressors just as soon as City Council approves the funds.

SERGEANT
Look.  Let's just keep 'em off the streets.  Especially the ones bothering the tourists and the business districts.

HOTEL MANAGER
The city should have housing for these people.  They are a dreadful eyesore.

OFFICER WHITE
(stands up)  
Well, why don't you just put some of them in your fancy rooms?  If the developer hadn't destroyed all the low income housing building your hotel, there wouldn't be so damn many homeless to begin with.

The manager, stunned, gets up and leaves.

SERGEANT
Look, I know how you feel.  The request came from the commissioner, so just do it.

OFFICER WHITE
10,000 crack pushers and we've got to pick up vagrants.  Somebody's got their head up their ass.

He slams the door and leaves.

ANGLE HELMSLEY HOTEL:

EXT. STREETS - DAY

Officers are rousing teenagers selling costume jewelry and begging money.  While rock music is playing in the background, a young hustler tries running from a police officer.  He knocks over an old lady before being nabbed.

OFFICER WHITE
What's your name?

ANGELO
I don't have to tell you nothin.  I know my rights . . .

CLOSE UP:

OFFICER WHITE
Yea, kid.  You got the right to have a real sore pair of wrists if you don't start talking.

ANGELO
The name's Angelo Martinez.  Hey!  I wasn't doing nothin.  Why you pickin on me?

Angelo is pushed up against the brick wall and handcuffed.

OFFICER WHITE
You were bumming money, weren't you?  Hustling honest citizens?

ANGELO
What you want?  I should steal for my baby sister?

OFFICER WHITE
You're going in.  Sorry, kid.

ANGELO
But!  My niece!  Who'll take care of her?

Angelo struggles to get free.

OFFICER WHITE
Keep quiet!  Every one of you young punks has some kind of story.

Leroy watches as Angelo is taken away, makes his way into the alley.  He digs into a box and retrieves Angelo's baby sister.  She is sound asleep and wrapped in dirty blankets.  He takes her with him.

CUT TO:

EXT. STREETS - DAY

The girls are set up singing and they are finishing a song.  Passersby put in some pocket change.  Leroy approaches them carrying the baby.

LEROY
Hey!  Angelo was just busted!  Can you take care of his niece?

MARY LOU
What do we know about raisin a kid?  We'd like to help . . .

CLOSEUP REVEALS smiling blonde baby girl.

TRACY
Yes.  We'll take her.  She can hang out with us while we sing.  She's small, can't eat that much.

SALLY
Say, where did they take Angelo, anyway?

LEROY
They ran him downtown.  He wasn't doin nothin.  I've seen ten people run in today: all for panhandlin by the Helmsley Palace.  (Leroy hands the baby to Sally.)  Look, I'll get word to Angelo.  Thanks.

Leroy walks off.

SALLY
What's her name?

LEROY
(shrugs his shoulders)  
Beats me.

The girls stand there a minute looking at the little baby.  They count their money and disappear down the street.  As they cross the street a police officer in a cruiser sees the girls carrying the baby and does a U-turn.  The girls spot him coming and hightail it down the alley.  The baby starts crying, and though the policeman can hear the crying, he can't figure out where it is coming from.  

CLOSE UP: Police Officer on radio

CUT TO:

Tracy, Sally and Mary Lou are hunched down behind a dumpster.

TRACY
Keep her hushed up.  The man's almost at our doorstep.

SALLY
Shhh, shhh.

MARY LOU
Hey.  I'll go out and have him chase after me.

TRACY
You crazy girl?

MARY LOU
Be back in a flash.

A CLOSER ANGLE:

EXT. ALLEYWAY - DAY

MARY LOU
Hey, you!  (She hits the cop with a pebble.)  Lookin for me?

OFFICER
Yea.  Stay right there.  I want to ask you some questions.

MARY LOU
You are gonna have to catch me first.

Mary Lou sees another police car approaching and starts to run.  Passing near the first officer as she makes her escape, he reaches out to grab her, but only nabs her sweater, which tears away.  The four officers chase Mary Lou, but she is too fast for them.  Two officers run smack into a hot dog vendor.  One knocks over a man walking his dog, and gets tangled up in the leash.  The fourth officer cuts around a fountain and ends up getting knocked down by a kid on a skateboard.  Mary Lou gets away.

CUT TO:

INT. HIDEAWAY - DAY

Tracy and Sally are holding the baby, which has finally quieted down.  They look out the metal grating and notice the police are gone.  The baby beams a big smile.

SALLY
We're goin to have to get this baby some milk.

TRACY
I've got some money left.  I'll sneak out and get her some.

ANGLE:  Police Car

EXT. CENTRAL PARK - DAY

Tracy is walking back toward their house with a container of milk.  She notices a police car drive by.  As she gets closer to the hideout, she hears a loud whisper.  She quickly turns and sees Mary Lou in a doorway.

TRACY
You got away!

Police car passes slowly in the background.

MARY LOU
It was real close.  The man tore my sweater.

TRACY
How long you been hidin here?

MARY LOU
I just sneaked back.  What's in the bag?

TRACY
Milk for the baby.  I guess we'll be keepin her.  Come on, the man's done left.  I gotta get back before the kid starts wailin again.

CUT TO:

INT. DETENTION CENTER - DAY

Angelo is being pushed along by a bully-looking guard.  He can't seem to move fast enough.  The guard pushes him ahead and Angelo bumps his head on the metal bars.

GUARD
Move it!  Move it along.

ANGELO
What's your problem, man?  I am moving.  (Angelo trips the guard with his foot.)

The guard stumbles and quickly recovers his balance.  He wacks Angelo on the head with his flashlight and kicks him as he falls to the ground.  Another guard spots the commotion.

2ND GUARD
What are you doing man?  You're gonna kill the punk!

1ST GUARD
I should.  He tried to trip me!

Angelo is lying in a heap with blood coming out of his ears.

2ND GUARD
Come on, I'll help you get him to the infirmary.  

1ST GUARD
Shit, he's not even moving.  (They carry him away.)

INT. HIDEAWAY - DAY

The girls are all fiddling with the baby, putting clothing on her.  Mary Lou puts the finishing touches on her diaper.

TRACY
We can't just leave her here while we go off performing.

MARY LOU
Why don't we put her in my backpack.  We can take turns carrying her.

SALLY
Sounds alright to me.  I'll cut some holes in it for her little legs.

TRACY
What about extra diapers?

Mary Lou pulls out a wad of cloth.

MARY LOU
I got some cloth from the john at Central Station.  We can cut it into little diapers.

SALLY
That's cool.  We can get some formula at the food bank over at Missionary Baptist.  They always used to help my mom out.

TRACY
What if the cops try to nail us with the baby?

MARY LOU
Just tell them we're the baby sitters.

SALLY
Who'd be leaving us with a blonde white baby?  (They all pause.)

MARY LOU
(excitedly)  
Why don't we make the baby look darker?  I can get some shoe polish from Leroy.  I'll be right back.

EXT. STREETS - DAY

Mary Lou runs down the alley.  She passes some homeless cooking over a fire in a barrel.  She runs through a crowd of people and spots.  Leroy.  Leroy is working the streets, hustling for shoe shine customers.  Mary Lou walks up.

MARY LOU
Hi, Leroy!

LEROY
How's the baby?

MARY LOU
Fine.  We need some brown shoe polish.

LEROY
What for?  You don't even have shoes.

MARY LOU
Not for me!  For the baby!  We thought it would be better if the baby wasn't so white looking.

Leroy hands can of shoe polish to Mary Lou.

LEROY
Yea!  That makes sense.  Here (hands over a can).  This should last you pretty good.  Be careful you don't get it in the baby's mouth or too near the eyes.

MARY LOU
(Kisses him on the cheek.)  Thanks.  Come on over and see us today.  We'll be working the subway.  (Mary Lou points across the street.)

Leroy reaches in his coat pocket and pulls out a rattle.

LEROY
O.K.  I picked this up for the baby.

MARY LOU
That's cute.  I'm sure she'll like it.  Any word on Angelo?

ANOTHER ANGLE

LEROY
I couldn't get in to see him, but I talked to a kid that just got released.  He said Angelo was beat up by one of the guards.  I don't know when he'll be getting out.  You all just keep hanging on to his baby.

Mary Lou walks away.

MARY LOU
Thanks!

CUT TO:

EXT. HIDEOUT - DAY - TO ESTABLISH

INT. HIDEOUT - DAY
The girls are hovering around the baby.  It looks quite comical with brown shoe polish everywhere except around the eyes and mouth.

MARY LOU
She looks like a black baby NOW.  What do you want to call her?

SALLY
Angelo didn't give her a name?

MARY LOU
We can give her our own name.

TRACY
How about Sugar?  Seeing that she's so sweet.

MARY LOU
Sugar Baby.  Yea, I like the sound of that.

SALLY
Me too.  Well, little Sugar, you got yourself a name.  Sugar Baby.

MARY LOU
(Singing)  
"Our little baby got a name."

TRACY & SALLY
"Sugar Baby, Sugar Baby."

MARY LOU
"Some day she gonna be the rave."

TRACY & SALLY
"Sugar Baby, Sugar Baby."

MARY LOU
"Right now she's really got it made."

TRACY & SALLY
"Sugar Baby, Sugar Baby."

The sound of the girls harmonizing overlaps into the next scene where they are performing.

EXT. SUBWAY - DAY - TO ESTABLISH

INT. SUBWAY - DAY

The girls are working up a storm and the donations are coming along great.  They've got their hat full to the brim and everyone is ogling the baby.

OLD LADY
Where'd you gals get such a cute little baby?

SALLY
We're watchin it for a friend.  He got busted for panhandling.

OLD LADY
You all better be real careful.  (She points her finger.)  A lot of people would like to get hold of a baby like that.

Old Lady turns and walks away.  Mary Lou grabs the hat and begins to count the money.  Tracy picks up Sugar and walks over to Mary Lou.

MARY LOU
Ain't nobody, nohow, gonna take our Sugar.  Hey, we've got nearly fifty dollars here.  Sugar Baby's done brought us luck.  I'm buying me some shoes.

TRACY
Well, what are we waiting for.  Let's have us some lunch.

CUT TO:

EXT. RESTAURANT - DAY

The girls are seated at an outdoor cafe in Central Park.  Sugar is propped up in a baby chair.  The patrons are looking over at them somewhat disdainfully.  A big limo pulls up with Nick and Al.  The chauffeur lets the two men out, and as they walk by the sidewalk cafe the girls look enraptured.

TRACY
Those are some pumped up dudes.  I wonder what they do.

The waiter, an eighteen year old black, walks up to the table with a tray full of ice tea.

MARY LOU
Say, who are those dudes?

WAITER
That's the heaviest music producers in New York.  Brown and James.  They lay down all the tracks for The Jams; Billie, Billie Junior; Tomahawk; you name it, they produce it.

MARY LOU
What they doing here?

WAITER
(points up)
See that building over there?  They own it.  Jam Power Productions.  Say, where'd you kids get that crazy lookin baby?  Is that baby white?

TRACY
You can tell?

WAITER
Yea.  And you best get that mess out of here.  I overhear the boss saying he's calling the Child Protective Service.

SALLY
I'm not even finished eatin yet.

WAITER
You'd better all get before the man finish with YOU.

The girls rise up to leave.  As they get about thirty yards down the street, the Child Protection Service wagon pulls up.  Several of the cafe patrons stand and point in the girls' direction.  The men from C.P.S. start chasing the girls.  The girls run in three separate directions.  Mary Lou has the baby in her pack.  She is the last to react to the danger, and one of the officers comes close to grabbing her.  She ducks into a sidewalk magazine stand and comes out the other side (and on a different street).  The officer follows her, pushing people out of his way.  She looks around, nervously, wondering which way to go.  She takes off and gets about fifty yards down the street before he pops out of the magazine stand and spots her.  Mary Lou slows down enough to yell to Alfred (a double amputee who is selling pencils on the sidewalk).

MARY LOU
Alfred, the Man's after my baby!

ALFRED
Duck down this alley.  There's a crawl space under the rear dumpster.  I'll stall him.  Go!  Quick!!

CLOSEUP: Frantic C.P.S. Officer nervously looks back and forth.

(CONTINUED)

Mary Lou ducks down the alley.  Alfred shoves the skateboard he uses to get around right at the feet of the C.P.S. man, who tumbles to the ground.  Then Alfred climbs on his knuckles and jumps him, bouncing him with his torso.  Mary Lou looks frantically and finally finds the crawl space next to the garbage can.  She crawls in, pushing the baby in front of her.  Sugar is scared and starts crying.  Mary Lou comforts her and she quiets down.

EXT. STREET - DAY

The police arrive and find the C.P.S. officer lying on the street.  Alfred has taken his skateboard and fled.  There are pencils scattered all over the sidewalk.

INT. CRAWLSPACE - DAY

Alfred sits next to Mary Lou in the crawlspace.  Mary Lou looks shaken up a bit.

ALFRED
What'd you ever do to get in such trouble with the Man?

MARY LOU
We've just been trying to take care of this baby for a friend.

POINT OF VIEW CRAWLSPACE.  Alfred looks out to see if it is clear of police.

ALFRED
There's another way out of here.  If you slip down that corridor, you'll come out another alley on 56th Street.  You just watch yourself, little girl.  That baby's far better off with you than with the State.  Who knows who'd end up with her.  (Alfred pulls out a wad of bills he has stashed.)  Here.  You take some of this green and doll her up real nice.  That way nobody be figuring you mighta stole her away.  These day there's people looking for stolen babies under 

(CONTINUED)

every bush.  Go into some fancy store and buy her a real nice outfit.

MARY LOU
That's almost a hundred dollars.  I can't take this from you.

ALFRED
Just because I'm a cripple don't mean I can't make money.  Now hush child and take this money.  I've got more where that came from.  My legs is cripple, but my brain sure ain't.

MARY LOU
(kissing Alfred on the cheek)  
Thanks, Alfred.  I'll always remember you for this.

EXT. HIDEAWAY - NIGHT - TO ESTABLISH

Mary Lou comes in the opening with the baby.  Tracy and Sally are huddled down listening to their ghetto blaster.

SALLY
Mary Lou, you got away.  I was sure the Man had nailed you.

MARY LOU
Yea, ol Alfred helped me out.  He gave me some money for baby clothes too.
TRACY
We barely got away.  We went into the St. Frances and ended up hiding in the laundry.  I almost suffocated.

SALLY
Yea.  One of the housekeepers let us out the back door.  She gave us some stuff for our place.  (Shows a pile of white linen.)

MARY LOU
Where'd you get the ghetto blaster?

TRACY
I used some of our money and bought it from some guy on the way back.  It was only twenty bucks.  He even had a copy of the new tunes from The Jams.  Listen.

She turns the ghetto blaster on and the girls start singing. 

EXT. JAM POWER PRODUCTIONS - DAY - TO ESTABLISH

INT. JAM POWER PRODUCTIONS OFFICE - DAY

A very plush office with Gold Records and awards displayed everywhere.  Nick is pacing back and forth, and slams the telephone down.

NICK
(hangs up the phone)  
Those lawyers are at it again.  (Punches the intercom.)  Hey Al, we got another problem with Billie, Billie Junior.

Al, dressed-to-kill, in a white silk suit and keyboard scarf, comes into the office.

AL
What's it this time, Nick?

INSERT: Document

NICK
This!  Billie, Billie Junior's lawyers want five of his own songs on this album, and they also want them released as singles.

REACTION SHOT

AL
He'd be lucky to get his songs played in a ghost town.  The kid can't write hits.  We can't go along with that.

NICK
The lawyer says he's got every right over artistic control.  I don't see any way out of it.  What the hell, let him hang himself.  Let's have him write the whole album.  (Starts laughing.)

AL
Yea.  When the record company gets an ear full they'll be melting his records back into hockey pucks.  Hey, get Billie Boy on the phone.

Nick dials.  Phone answers.

AL
Hey, Billie.  Nick and I want to hear your new material.  You think you'd be up to writing a whole album?  (Pause)  Yea, right now.  We'll send the limo.

EXT. SOUND CITY STUDIOS - NIGHT - TO ESTABLISH

INT. STUDIO - DAY

Billie is playing the electric piano and singing a totally inane song about puppy love.  Behind the panel Al and Nick are splitting a gut.  Al is laying on the floor laughing in hysterics.

NICK
(pushing the intercom)
Hey man, great.  That's a wrap.  Come on in.

Billie walks in, full of confidence.

BILLIE
What do you think?  You like it?  I got lots more.  My piano lessons have really paid off, haven't they?  My mom thinks it's great.

AL
Hey, you just bring us the rest.  We'll juice up your tracks a little bit.

Al and Nick lay down a drum track on their machine and add bass lines rhythm to it.  They punch in Billy Voice, which sounds way out of place.

NICK
You know the record company's gonna fry somebody when they hear this.  Old Clarence is gonna have himself a heart attack.

AL
I'm not gonna spend a hundred grand on lawyers just to get the kid to honor his contract.  The kid was a nobody when we found him and he'll be a nobody without us.  We owe the company one more album on him.  If he insists on writing the songs, let him write them all.  I'm not gonna contribute any material to go on the backsides of his shit material.

NICK
Hey, what do you say we hire one of those buggies and take our ladies cruisin by Central Park.  Let's get a little fresh air.

Al and Nick slap their palms together and dance their way right out of the studio.

CUT TO:

EXT. CENTRAL PARK - CORNER - NIGHT

POINT OF VIEW: Buggy

Leroy is shining shoes on a street corner and looks up to see Nick and Al with two beautiful fashion models, cruising by.  The corner is filled with young people.  Some are standing in circles doing crack.

NICK
Look Al, I told you all the kids are doing it.  Even the rich white kids from Westchester and Connecticut.

JERI
What harm is it?  A lot of the girls at the agency do coke.

AL
A lot of people doing it don't make it right.  Those kids are killing themselves.  They're living for it.  That's all they know.  Hey driver, stop here.

The carriage stops, Al gets out and walks up to a young drug pusher.

AL
Man, that's real sorry.  You're ruining yourself with that trash.  Why don't you go on home and get back in school?

TEDDY
Sorry, dude, this IS my home.  You's walkin on it.  I've been dealing on the street for two years.  I got no need for school.  I'll just stay high.

Leroy walks up to him.  By now the girls have gotten out of the carriage.

LEROY
You need a shoe shine?

AL
(looks at him)
Sure, go ahead.  Shine 'em up good.  Get him too.  (He points to Nick.)

LEROY
You bet!

AL
Is this like this all the time?  (He motions with his hand.)

LEROY
Like what?

AL
Everyone doing crack.  This all they do?

LEROY
Not me.  I won't touch it.  I'm gonna be going to college.

AL
Good for you.  What will you be studying?

LEROY
Music.  I'm gonna be an arranger.

AL
Well, that's a plan.  What do you play now?

LEROY
(pulling out a harmonica)  
This.  He blows a couple of notes.

AL
Not bad.  What's your name?

LEROY
Leroy.

AL
(hands him a hundred dollar bill and a business card)  
When you get going, look me up.  I'll see if I can pull some strings for you.  Keep the change.  College ain't cheap, I've been that route.  Come on Nick, let's split.

Leroy, looking stunned, stares at the $100 bill for a moment and then starts doing a jig, shouting hallelujah!
EXT. CENTRAL PARK SOUTH - HOTEL FRONT - TO ESTABLISH

WIDE SHOT of Leroy polishing shoes as Mary Lou, Sally and Tracy walking by with the baby.

(CONTINUED)

CLOSE IN:

LEROY
Hey, wait!

MARY LOU
Our favorite shoe shine harmonica man.  What's cool?

Leroy pulls out the business card.

LEROY
Look.  I got a business car 'en $100 tip from Al.  The cat who produces The Jams, and Billie, Billie Junior.

TRACY
You played for him?

LEROY
Yea.  He told me to look him up if I ever need any help when I get out of college.  I'm gonna too.  I'm havin the card laminated so it won't wear out.  You guys should go see them too.  They're real nice.

MARY LOU
Are they real cute?

LEROY
What would I know from cute.  I knows that they sure is rich.  He gave me this $100 just for shinin his shoes.

SALLY
A hundred dollars?  What you do with that kind of bread, Leroy?

LEROY
I'm savin it to go to college.

SALLY
What's up with Angelo?  You heard anything?

LEROY
He's never gettin out.  Word is, the guards killed him.  It's a good thing Sugar's too young to know.

They are approached by a shifty looking white dude, wearing shades and a leather trenchcoat.

DEALER
Hey.  You folks want some crack?  Some nose candy make you feel hot and dandy.  It'll set you flyin.

LEROY
Move along chum.  We ain't no chumps, and don't want what you got.

MARY LOU
Pedal your shit to somebody else, man.  Don't need your kind of trouble.

DEALER
You got a real big mouth for a little girl.  Little girl's already got a baby.  How much you chargin gal?  How about fifty dollars we get things real straight?  (He peels out a roll of dough, real thick.)

MARY LOU
Look, big man.  You might be buying, but nothin here's for sale.  You can take your roll of dough and put it where the sun don't shine.

Everybody laughs.  The dealer's face flushes.

DEALER
I ain't met a girl yet didn't have her a price.  Some just want to be wined and dined first.

MARY LOU
The only place I'd go with you, dude, is to your execution.  You just out here killin' people.

DEALER
(Protesting)
Who you callin a killer?  I ain't iced nobody.  I sell clean shit.  My stuff ain't stepped on.

SALLY
Look, ace.  Mary Lou's mom was killed by a dude on crack.  He shot her right in the face and ripped off her purse.  She had a whole twenty dollar bill.  You think any of us need your trash?  You're worse than a slave trader.  Only difference is, you got the chains in their noses, not on their feet.

LEROY
The Man's comin down.  (Police officer walks over.)

TRACY
Let's split.  (The girl leaves with the baby.)

EXT. ALLEYWAY - DAY - TO ESTABLISH

Outside the alley, Alfred the amputee pushes himself along on his skateboard.  He has a difficult time getting around all the garbage strewn on the street.  He comes to the abandoned building where the girls are holing up and gives a knock on one of the windows.  He glances around to make sure he hasn't been followed.  Mary Lou pokes her head out the window.

MARY LOU
Alfred, I though it was the man still on our case.

ALFRED
I sure ain't the man.  I just wanted to see if you made it back O.K.

MARY LOU
Come on around the side.  I'll let you in.

She motions him to the side and by the time he gets over there, she has pushed an old door open and left him room to get in.

INT. HIDEAWAY - DAY

Alfred comes into their place and looks around.  There is a stack of new clothes next to Sugar.  He rolls up to her and touches her face with his partially gloved hand.

ALFRED
This one is a doll.  What'd you name her?

TRACY
Sugar.  What do you think?

ALFRED
I think it fits perfectly.  (He reaches in his coat and pulls out a package.)  I brought you all something.  It's a big baby doll.  (He pulls it out and it talks.)  "Mommy, mommy, I'm hungry mommy."

Sugar looks at it with her eyes wide open.  She tries to touch it and ends up squeezing its nose.

SALLY
Alfred, that's so nice of you.  You really shouldn't have--the money for the clothes and now this.

ALFRED
Hey, we're all in the same boat.  We got to help each other, right?

TRACY
You want to stay for dinner?  I was just makin some spaghetti.

ALFRED
A Puerto Rican girl that makes spaghetti.  Hey, I wouldn't miss it for the world.  I guess you all heard the news about Angelo.  I ran into Leroy a while ago.  Word is Angelo didn't make it.  He died of brain injuries.

MARY LOU
(Wipes back a tear.)  That's all the more reason to take good care of Sugar.  (Pulls out a telegram.)  If I could get ahold of my dad, he's got a lot of money.  He should be out of jail . . .

TRACY
(interrupts)
You want to take drug money . . .

MARY LOU
Damn straight, money is money.  It'll help out, Sugar.

ALFRED
Whoo, hold on.  Money is neither good or bad.  It's all what you do with it.  It doesn't matter where it comes from.  Over at the mission we get a lot of anonymous donations that probably come from drug dealers whose consciences are bothering them.  We buy food with it and pay the electric bills.

TRACY
(Looks over and there is something burning on the plate.)  My spaghetti!

Everyone watches as she rushes over and takes off her spaghetti.  They are all laughing.

TRACY
It's not funny.  (She pouts.)

MARY LOU
Don't worry, girl.  We'll still eat it.  I'm starved.  I could eat anything.

SALLY
Yea, even your burnt offerings.

As they are serving up the plates, another knock comes.  Everyone freezes . . .

LEROY
(off scene)  
Hey, it's me, Leroy.  Open up.

Sally goes over and slides back the door.  Leroy comes in carrying a bag full of stuff.

LEROY
Hey, what's that smell?  Tracy cooking again?

TRACY
Thanks, Leroy.  What you got?

LEROY
The manager at Burger King just unloaded a bunch of their 99 cent cheeseburgers.  I got five of them for a dollar.  Thought you all might be hungry.  (He opens the bag and begins handing them out.)

MARY LOU
You know, for a moment I thought we were really going to have to eat your spaghetti, Tracy . . .

Everyone laughs.

EXT. PUBLIC HOUSING PROJECT - DAY - TO ESTABLISH

EXT. STREET - DAY

The girls are walking by wasted people.  It's an epidemic.  Everywhere they look, people are dealing and smoking crack and snorting coke.

SALLY
You really think you can find your Daddy in this mess?

MARY LOU
(pulls out a telegram)
Before Mom died, she got this from him.  He had a friend in this building.  Maybe he's straightened out.

They knock on the door of a rundown tenement house.  No one answers, and the door is unlocked.  They walk up trash strewn stairs.  The baby starts crying.  Tracy is trying to hush her up.  They are coming upon what appears to be overdose bodies sprawled on the steps.

SALLY
(Bending down.)  I think this one is dead.

TRACY
If your dad's here, he sure not going straight.

MARY LOU
Marvin.  Said he saw him right round here last week.  Let's try this one.  (She knocks.)  Daddy?  It's me, Mary Lou.  I'm here with some friends.  (As she opens the door a shotgun goes off and blows a hole in the door.  She lurches back, hits the rail and the baby goes flying out of the pack and lands on the steps.  Tracy rushes down and picks up the baby.)

TRACY
She ain't movin.  Sugar, please baby, don't be dead.

SALLY
(Nudging Mary Lou.)  Hey, Mary Lou.  We got to get out of here.  

A stocky Columbian, wearing a muscle shirt and a beret comes out of the room running.  He's carrying a sawed-off shotgun and a black bag.  Almost trampling Tracy as he rushes past her and down the stairs, he stares her in the face and grabs her as if to throw her over the stairs.  He looks at the baby and changes his mind.  Another Columbian dressed in a luxurious Italian suit follows him.  He checks all three girls out and throws his cigarette down and grinds it.

EDWARDO
You girls forget you ever saw my face.

EXT. STREET - NIGHT

An ambulance picks up Mary Lou.  As she is being put in she is looking at Sally.

SALLY
You're gonna be all right.  They're just taking you to the hospital.

MARY LOU
Where's Sugar?  I saw her fall.  Is she alive?

SALLY
Tracy went down with her.  They took her over to St. Joseph's.  We'll be over tomorrow to see you.  (Sally is crying.)  You're daddy's dead.  That man done killed him.  I'll find him and he's gonna pay.

EXT. ST. JOSEPH'S - NIGHT - TO ESTABLISH

INT. HOSPITAL ROOM - DAY

A doctor is pouring over a brain scan and discussing with another doctor.

DR. BIERSTEIN
Lateral contusion, minimal swelling of the cerebral sac.  Semi-coma, no telling how long she'll be in it.

DR. GOULARDI
Any indication of recovery time?

DR. BIERSTEIN
No, I've seen them snap out of it in a week and some stay in a semi-comatose state for years.

They look and notice the two young girls.

DR. GOULARDI
Looks like she has some visitors.

Tracy and Sally are looking through a window at Sugar lying in an oxygen tent.  A nurse approaches them.

NURSE
You know you girls aren't supposed to be up here.  Visiting hours were over at eight.

TRACY
That's our baby.  We've been takin care of her for a friend who died in jail.  What's wrong with her, she's hardly movin?

NURSE
She is in a coma--semi-conscious condition.  No one knows when she'll come out of it.

TRACY
Whey they got her in that tent with all those tubes?  How she supposed to get better if nobody can even hold her?

NURSE
We can't be hand feeding all these patients.  She's being fed through IVs.

SALLY
What about our friend Mary Lou Thomas?  She was brought in at the same time.  What room is she in?

NURSE
What was her last name?  Thomas?  Let's see.  (She looks on her clipboard.)  We just had a Mary Lou Thomas checked out.  She was just released an hour ago.  She's fine.  Just a slight concussion and some surface abrasions.  You two aren't going to be able to do anything here for this baby.  You should check yourself into a church and pray for her.  This child is going to need a mighty powerful miracle.

The girls press their noses up close against the glass pane.  The baby is still.  Both girls are shedding tears.  They whisper goodby to her.

EXT. EVANS MORTUARY - EVENING - TO ESTABLISH

INT. MORGUE - NIGHT

The camera does a close-up of an open casket from the backside.  As it slowly pans around you can see Mary Lou kneeling in front of her dad.

MARY LOU
Dad.  If only I'd got to see you one more time.  I could have told you how much I really loved you.  It doesn't matter what you did Daddy.  I've always loved you.  Dad, my friends and I have been doing really good singing, and we've even got a little baby that we've been taking care of.  We take her for walks in the Park just like you used to do with me.  Dad, why'd you have to deal with drugs?  (She breaks down crying.)  Couldn't you have done something else to make a living?  Oh Daddy, Daddy, Daddy . . .

The policeman walks over to her.

POLICEMAN
We need some information and a description about the fellow who killed your father.  Would you mind coming down to the station house with me?  It won't take too long.

MARY LOU
(Wipes her runny nose with the kleenex next to the casket.)  No.  I'll come with you.

INT. STATION HOUSE - NIGHT

Mary Lou is sitting at a desk looking at a gang of photographs.  Police Lieutenant is standing over her.

POLICEMAN
Was there anything unusual about the man?  Did you notice any scars? Tattoos?

MARY LOU
He was wearing a big diamond earring in this ear.  (She points out her left ear.)  I only saw it for a flash.  Then I was out cold.  (She points to a photo.)  He looked mean, like this one.  Dark skinned, but not black.

POLICE SGT.
A Columbian?  The man who shot your father was a Columbian.  Have you ever seen him before.

MARY LOU
I haven't even seen my father for six months.  He was in prison.

POLICE LT.
What's your address?  In case we have some more questions.

MARY LOU
I don't have an address.  I stay wherever.  (He looks surprised.)  Look, I don't have or use nothin.  I'm a singer.  (She starts crying.)

POLICE LT.
(pulling out a twenty dollar bill)
Here, get yourself something to eat.  Give me a call in the next day or two.  We'll see if we can catch this maniac.

MARY LOU
You're not gonna throw me in juvie?

POLICE LT.
Juvie's for criminals, not for orphans.  Look, here's my card.  I ain't got much, but if you ever 
(CONTINUED)

need somebody to talk to or some money for food, I'll try to help you out.

MARY LOU
(runs up and gives him a hug)
Thank you.  Thank you, I will.  (Mary Lou leaves the room.)

POLICE SGT.
How come you went easy on her?  Book says she should have gone to juvenile hall.

POLICE LT.
That's what the book might say, but common sense tells me that girl don't need to be around a bunch of whores and addicts.  (Sergeant scratches his head.)

POLICE SGT.
Yea.  I guess you're right.

INT. HIDEAWAY - NIGHT

Tracy and Sally look up gloomily as Mary Lou walks in.

MARY LOU
Where's Sugar?  Is she still at the hospital?

SALLY
Yea.  The doctors have her in a kind of tent.  We couldn't even touch her.  She was barely even movin.  (Tears are streaming down her face.)

TRACY
What did the cops do to you?  How come they went easy on you?

MARY LOU
The guy was a human.  He even gave me money and told me to call if I needed help.  It was cool.  I can't believe my dad died before I even got a chance to see him.

TRACY
The guy that killed him - I saw when he hit me that he was missing a finger.  The middle one on the left hand.  He couldn't be too hard to find, do you think?

SALLY
That dude in the Italian threads has ice in his veins.  Don't you think we've got enough going on without looking for a killer?

TRACY
Mary Lou's not going to feel like this thing is over til the man that killed her dad has paid for it.

MARY LOU
What are we going to do about Sugar?

SALLY
We only can do one thing, and that's pray.  And hard.

CUT TO:

INT. HOSPITAL - DAY

The oxygen tent is in the background as a nurse is reading numbers off of a machine.  There is no sign of movement.  The doctor walks in.

NURSE GLORIA
What's the prognosis on this one, Doctor Bierstein?

DR. BIERSTEIN
The risk of infection is over.  Even though she is still in a semi-comatose state.  She can be taken out of the tent and placed in intensive care, nurse.  Her brain and internal organs have suffered a major trauma.  I want an EKG run.  Being an orphan, 

(CONTINUED)

she'll have to be sent out to the County Hospital soon.  We can't have charity cases in at $2,500 a day.  If and when she stabilizes, arrange for transfer.  (He looks at her name band.)  Sugar Doe.

NURSE GLORIA
(shakes her head)  
Doctor, a reporter doing a special on crack house murders has already filmed her here.  We tried to stop him, but he had a special permit from the arch diocese.

DR. BIERSTEIN
O.K.  Postpone that transfer.  Perhaps it would be to our advantage to take care of the child.  Make sure this one has her own private room.  Let's not waste an opportunity to make an impression on our community.

NURSE GLORIA
A private room for a ward of the state.  Isn't that a waste?

DR. BIERSTEIN
(fakes a smile)
Keeping up appearances is never a waste.  When that reporter's story hits the air, there are possibilities of follow-up stories.  These days hospitals can use all the good publicity, especially with our fund drive coming up for our new pediatric unit.

NURSE GLORIA
We'll do it first thing tomorrow.

INT. HOSPITAL - DAY

A photographer is snapping pictures of Sugar lying with tubes connected to her body.  A newswoman thrusts a microphone in front of Dr. Bierstein.

NEWSWOMAN
Isn't this rather special treatment to be giving an orphan?

Newswoman looks at the name tag.  CLOSEUP on Sugar Doe.

DR. BIERSTEIN
We don't discriminate here at St. Joseph's between those who can pay and those who can't.  We are here trying our best to give the very best of care to all who need it.

NEWSWOMAN
What will happen to the child when she recovers?

DR. BIERSTEIN
Several people have already expressed an interest in adopting her.  I'm sure there will be no problem finding a nice home for her.  (Looks at his watch.)  Excuse me, I have to suit up for a surgery.  Thank you for coming by . . 
Newswoman continues to write in her pad and has Bierstein answer one more question as Bierstein steps away.

NEWSWOMAN
Dr. Bierstein, when do you expect her full recovery?  Any indication?

DR. BIERSTEIN
(looks behind him)  
We provide some of the best pediatric care in the world.  The miracles we leave up to God.

EXT. ST. JOSEPH'S HOSPITAL - NIGHT - TO ESTABLISH

INT. ST. JOSEPH'S HALLWAY - NIGHT

Tracy, Sally and Mary Lou are dressed in dark clothes and sneaking up a stairwell in the hospital.  They open the door and peer around.  No one is about.  They creep down to where Sugar

(CONTINUED)

is being kept.  A janitor comes by, and they duck into a storeroom.  He puts his bucket and mop in the room and totally misses seeing them, but comes within inches of stepping on Mary Lou's foot.  When he leaves, the girls hurry out of the room.

MARY LOU
Remember, you can't let her make a sound.

SALLY
I know where they are keeping her.  The one nurse told me.  Tracy, you still got that doll?  (Tracy nods.)  Let's go.

INT. ST. JOSEPH'S INTENSIVE CARE - NIGHT

The girls go to the tent with Sugar in it.  She is sleeping.  They unhook the tubes and remove her from the bed.  They place the doll in the bed and are about to leave when they hear footsteps down the hall.  They hide under the bed and a nurse comes in just checking over the charts.  The nurse doesn't even notice the doll in Sugar's place.  After nosing around the other children, the nurse turns and leaves.  Sally makes a scraping noise and the nurse turns around suddenly, but decides her ears are playing tricks on her and leaves.

EXT. CENTRAL PARK - NIGHT

The girls are carrying Sugar, who is still sleeping.  They walk by several people sleeping on park benches.  A dog barks and they quicken their pace.  Their dog runs in front of them, guarding them.

TRACY
Are you really sure we should have taken her out of there?  She looks bad.

SALLY
The nurse done told me there was nothin they could do for her, so we're gonna have to do it for her.  Hey, look at Spanky.  He's ready to take on all comers.  (All the girls laugh.)

MARY LOU
But look at her, Sally.  She's not even movin.  She's just starin off into space.  How can we help her?

SALLY
I don't know just how we are gonna help her, but I know that we love her and we can keep on lovin her and sooner or later she's gonna feel our love and our little Sugar's gonna snap out of this.  And we're gonna find the guy that did this thing to her.

MARY LOU
Well, we best get out of here quick.  Before they find our doll.

TRACY
Yea.  Old St. Joseph is gonna be in for a real surprise to find a doll in intensive care.

MARY LOU
Gee, I hope it doesn't wet their sheets.  (She laughs.)

SALLY
Wait til they pick it up.  I'd love to see their sorry faces.

INT. ST. JOSEPH'S INTENSIVE CARE - DAY

The nurse comes in the room and opens up the curtains.  She goes over to the bed and looks at the baby.  A very quizzical look comes over her and she picks up the baby.

DOLL
Mommy.  Mommy.  Will you play with me, mommy?

The nurse, in shock, drops the doll.

DOLL
Mommy.  Mommy.  I'm hungry.  (The nurse faints.)

INT. ST. JOSEPH'S ADMINISTRATION OFFICE - DAY

Two police officers enter a plush office.  Dark maroon carpeting, read leather couch and deck chair, walnut floor to ceiling bookcase with a view of Central Park.

POLICE LT.
I'm Lieutenant Neeley.  I understand you've had a kidnapping?

DR. BIERSTEIN
Yes.  Someone came in last night, left this doll and took a comatose child out of here.

POLICE LT.
Do you have any photos of the child?

INSERT: Sugar poster for fund-raising caption--St. Joseph Cares For All Children.

DR. BIERSTEIN
Yes.  Here's one.  I want this child found.  She's in much too serious condition to be out on the streets somewhere.

ANOTHER ANGLE

POLICE LT.
Any ideas who might'a taken her?

DR. BIERSTEIN
She has no known relatives, but one of the nurses said that a young black girl came by yesterday asking a lot of questions about her.  That's who she was with when she was injured.  Apparently she was bounced off a stairwell during a drug deal.

POLICEMAN
That was the one over in Harlem last week, wasn't it?  I know the girl.  I questioned her myself.  We'll find her.  The first thing

(CONTINUED)

we'll do is give this photo to all the papers and television stations.  Someone is bound to see her.  This baby is not gonna just disappear.

DR. BIERSTEIN
Must you announce she was kidnapped from our institution?  We do have our benefactors to think about.  Surely she could be found without going public about the incident?

POLICE LT.
Look, Doctor, I know you have an image to protect, but our job is to protect the innocent, and at this moment we don't care about anything else, capiche?  Call me if you hear anything.

Lieutenant hands business card to Dr. Bierstein.

CUT TO:

INT. HIDEAWAY - DAY

The girls are sitting around in the room trying to feed Sugar.  She isn't responding very much, and Mary Lou is working her jaw trying to get her to chew the food.

SALLY
It's like she just checked out.  I can't understand.  She doesn't seem hurt.

MARY LOU
Well, we probably ought to be giving her some vitamins.  I'm gonna split into Lenny's and buy some.

TRACY
How's our money holding out?

MARY LOU
We got more than enough.  We got enough food stockpiled to last at least three weeks.

Dog barks.  Mary Lou throws the dog some food.

MARY LOU
Yea, we got enough for you too, Spanky.

EXT. DRUGSTORE, STREET - DAY

Mary Lou walks by the news stand where the headlines read "Authorities Search for Missing Child Kidnapped From St. Joseph's."  She grabs a copy of the paper and hands the paper man a quarter.  Sugar's photo is pasted on the cover along with a full story.  Leaving the stand, she runs into Leroy.

LEROY
Did y'all nab Sugar?  How'd you ever pull it off?

MARY LOU
It wasn't easy.  You haven't told anyone, have you?

LEROY
You think I'm crazy?  I haven't told a soul.  How is she, any better?

MARY LOU
She still isn't moving.  It's like she's frozen in a trance.  It's gonna take a miracle.  And there ain't been many of those going down.  Hey, we tried to get in to see those music producers, but couldn't get past the doorman.  Anyway, now we can't even go perform.  We gotta be there with Sugar.

LEROY
Look.  You all need to be looking out for yourselves, too.  I'll watch Sugar in the mornings for ya.  Just bring her over.  My mom won't even notice.  We got so many kids in our flat, one more won't make her any difference.

MARY LOU
O.K.  Y'all are still livin in the projects?

LEROY
Yea.  Just look for the cockroaches guarding the door.

MARY LOU
We'll bring Sugar over tomorrow morning on our way to the subways.

They lift their hands and exchange a power grip.

MARY LOU
Be real, Leroy.

LEROY
You too.
EXT. TRUMP TOWERS - DAY - TO ESTABLISH

INT. PENTHOUSE - DAY

Hybero walks in the penthouse.  Edwardo and Juan are impeccably dressed and drinking.  They are playing billiards.  A mirror full of cocaine sits on the edge of the pool table.  The room is 1950's style decked out with Coca-Cola signs and a large tiffany style shade over the pool table.

EDWARDO
Hybero, until those girls are resting permanently, I can't rest.  There's a potential murder one rap hanging over me.  They were all eye-witnesses.  Comprende.

Hybero walks over and snorts an ungodly amount of white powder.

HYBERO
I couldn't blow them away on the stairs.  The one was holding a little baby.

EDWARDO
Well, our informant at police headquarters tells me the baby was just kidnapped.  We find the baby, we find the girls.

JUAN
We pay you a lot of money, man, not to fuck up.  Hey Hermono.

Juan gets up and throws his vodka glass into the marble fireplace.  It shatters.

JUAN
Look, I don't want nobody putting my brother in prison.  He was a little foolhardy going on your hit.

EDWARDO
It wasn't supposed to be a hit.  The dude wouldn't pay.  It was a business decision and we wasted him.

Juan raises his hand for his brother to be silent.

JUAN
We need to remove these girls.  They are threats to my brother's freedom ...  We like it here in America.  We live like kings in a building with movie stars, rock stars.

Juan grabs Hybero's face in between his hands.

JUAN
We don't want to leave.

HYBERO
Look, I'll get on it.  Swear to God.

EDWARDO
Don't be overdoing the blow, man.  It'll affect your sense of reality.  (He laughs.)

CUT TO:

INT. HOTEL ROOM - NIGHT

Hybero is sitting in bed with Cynthia, a big bosomed prostitute.  Hybero is drinking rum straight from a bottle.  The room is decorated in blue and white with a large screened television blasting away.

CYNTHIA
Why don't you take it easy on that stuff, Hybero.  You can barely keep it together.

HYBERO
What do you care for anyway?  You got your money.

He gets out of bed and turns up the television.  The news is on.

NEWSWOMAN
Today's disappearance of Baby Sugar Doe from St. Joseph's Intensive Care Ward has police baffled.  Sugar is the infant who was injured in a crack house slaying last week and was being treated for massive internal injuries.  Authorities are seeking information.  She was last seen with this young girl.  (Picture flashes of Mary Lou.) 

INSERT: Mary Lou's picture

NEWSWOMAN
Anyone with any information regarding this kidnapping may call the Crime Hotline at 1-800-756-0900.

Hybero picks up the hotel room phone.  He is oblivious to the fact that Cynthia is listening.

HYBERO
Edwardo, yea, the girl's name is Mary Lou.  I just saw her on the television.  Look, video tape the news at 11:00.  We'll try and find her . . . just put a couple of G's on the street.  Nobody can stay hidden . . . (Gets up and starts dressing.)  Gotta go babe.  Thanks for the good time.

BACK TO SCENE

The door slams, Cynthia picks up the phone and dials a number.

CYNTHIA
Yea, crimestop.  Yea, I have some information about the kidnapped girl . . . no, you can send an officer over . . . Broadmore Hotel, Suite 454.

EXT. POLICE STATION - NIGHT - TO ESTABLISH

INT. POLICE STATION - NIGHT

Sergeant hands the Lieutenant a message.

CAPTAIN
Some woman has some information on the kidnapping.  Take Neeley with you.  It could prove to be interesting . . .

CUT TO: Police car pulls up in front of swanky hotel.

INT. HOTEL LOBBY - NIGHT

The walk in the hotel and several call girls are lounging around.  One approaches Neeley.

CALL GIRL
You boys looking for a good time?

OFFICER NEELEY
(opens his coat and shows his badge)  
No, I don't think so.

The elevator door opens and they get on.  They get off the elevator and go to the door.  They knock.  Cynthia answers.  The police show their badges.  She looks around and lets them in.

LIEUTENANT
You called about the kidnapping?

CYNTHIA
Yea, one of my regulars made a call right after the news.  They were talking about wasting some young girl.  Look, I ain't no do-gooder.  I mean, like this is how I make my living.  But, I ain't into seeing nobody killed either.

OFFICER NEELEY
(pulls out a package of photos)  
Can you identify any of these for us ... he shows her a bunch of Columbians.  She leafs through them one by one.

CYNTHIA
No . . . no . . . no . . . look, this guy is missing a finger on his left hand.  He works in the Diego family from Medellin.  I doubt if you even have him in your computers.  These people are real big, you know, like the Rockefellers.  We're talking $500 bottles.  Rothchild wines . . .

LIEUTENANT
(pulls out his card)
Thanks for the additional info.  See if you can get us a picture . . .

CYNTHIA
He hangs out around here at one of these bars.  That's how I ran into him.  He's been a steady for four months.

OFFICER NEELEY
When he split, what was he wearing?

CYNTHIA
He has a long, black leather coat, earring in his right ear with a diamond in it . . .

The officers go to the door and start out.

CYNTHIA
(to Officer Neeley)
If you need any more questions, come up and see me any time.

Neeley looks back as if tempted . . .

LIEUTENANT
Let's go.

OFFICER NEELEY
What do you say we check out these bars around here?

LIEUTENANT
Good idea.  I'll call for some extra units.  Maybe we can flush this dude out.  I'm sure he's at least carrying a piece.  We should be able to bust him for something.

CUT TO:

INT. STUDIO - NIGHT

Nick and Al are working on music.

ENGINEER
You need to hear that mix again?

AL
No.  It's a wrap.  We got all we need.  Billie, Billie Junior has just been played out.

NICK
You sure you want to turn these cuts over to Irving at the record company?

AL
Yea.  But we'll give Billie's mom the producer's credit.  (He laughs.)

NICK
Hey, you up for some pizza and brew?  Let's hit Ferrarri's.

EXT. FERRARRI RESTAURANT - NIGHT - TO ESTABLISH

INT. PIZZA RESTAURANT - NIGHT

Hybero walks in the front door of Ferrarri's.  His eyes are glazed.  He stares at Al and Nick who are chowing down.

HYBERO
You blacks are all alike; thieving, lying scum.

NICK
Hit the road, man.  Don't be laying your trash on us.  (Sees the guy reaching for a piece.)

HYBERO
How 'bout you pay me to leave?  (Pulls out an Uzi.)  All you blacks ever give us is trouble.  "It's our turf, man."  Give me your wallets.

Al reaches in his pocket and pulls out his billfold.

AL
Look!  Here's five hundred dollars.  Hit the road like my friend said.  Don't be messin with us.

HYBERO
I think I'd like to have your piano scarf.  (Reaches over and pulls the scarf off of Al.)

Hybero turns toward the door admiring the scarf he has just acquired.  Nick stands up with pizza in hand.

NICK
Hey, you low life!  Give him back his scarf!

Hybero turns around to look at Nick, but gets the pizza in his face.  He fires a burst, which goes wild and breaks a pitcher of beer sitting on the counter.  Al stands up with the reel of tape and hurls it at him like a frisbee.  It catches him on the neck and sends him tumbling to the ground.  The crowd is beginning to gather around as one of them picks up the gun.  Hybero is on the floor semi-unconscious.  The police pull up in their cruiser and push their way through the crowd.

AL
That dude there, officer.  He robbed us.

POLICEMAN
He's done more than that.  We've had an APB out on this guy for the past three hours.  He's our main suspect in a cocaine killing.  (Picking Hybero to his feet.)  No one leaves here until we get your name.  I want statements from everyone.  (Notices the tape on the floor and bends and picks it up.)  What's this?

NICK
That's Billie, Billie Junior's latest album.  

POLICEMAN
My kids would love to hear that.  Officer Clark will give you a ride to the station.  We won't take up too much of your time, but we're gonna have to get a statement.  You all going to press charges?

AL
Yea.  

NICK
Sounds like a plan to me.  Say Al, ol Billie's tape did some good after all.  Knocked that dude out.

AL
Yea, laid him right out.

They laugh as they pick up the tape.  Hybero is handcuffed and taken outside.

INT. STATION HOUSE (STARK INTERROGATION ROOM) - DAY

POLICE LT.
Look!  We know you killed that dealer over in Harlem.  Maybe you kidnapped the baby too.  We got

(CONTINUED)

enough on you already to send you to Attica til you're ninety.  Make it easy on yourself.  Roll over on the Diegos and we'll let you off with ten to life.  You'll be out in two and a half years.

HYBERO
I don't know nothin 'bout no murder.  Nothin 'bout no baby.  I don't know nothin 'bout nothin til I talk with my lawyer.  I ain't sayin anything.  Comprende?

Officer Neeley grabs his ear with the earring.

OFFICER NEELEY
Listen.  We've got statements from the two guys you tried to rob at the pizza place.  That's assault with a deadly weapon.  If you don't give us the information we want on that kid, someone might be tempted to put down our suspicions down on your rap sheet about you molestin that kid.  You know how long a big, tough guy like you would last inside with shit like that on his rap sheet?

POLICE LT.
First chance somebody had, they'd push a pencil right through your brain.  You'd be a real treat for all the machos.  They'd be wearing out another asshole for you.  They might even dress you up and make a party doll out of you.

HYBERO
Look, don't be givin me no shit.  You know I didn't touch no baby.  Don't be laying no rap on me.  I ain't no child molester, and I ain't no homo either.

OFFICER NEELEY
Look, did you ice that dude in the cocaine deal?  We've got descriptions on you, on your clothes and they all point to the dude with the missing finger.  Come clean, baby.  I told you, we'll go easy on you.  You tell us what you know.  Roll over on the Diegos, you'll be out in two, at the most, three years.  You want to make it easy on yourself, don't you?

HYBERO
Yea.  You get my lawyer here.  He'll make any deals need to be made.

POLICE LT.
Let him make his call.  Even the scum in this country got rights.

Officer Neeley grabs the Lt. by the arm and takes him out into the hallway.

OFFICER NEELEY
Let me squeeze him some more.  I think I can get him to break.

POLICE LT.
No.  All we got is assault with a deadly weapon.  He'll be out on bail in three hours.  Just make sure he's tailed.  Let's put three men on him.

OFFICER NEELEY
Alright.

EXT. HIDEAWAY - NIGHT - TO ESTABLISH

An unidentifiable black youth pries the window of the hideaway back and climbs in.

INT. HIDEAWAY - NIGHT

Tracy is holding a frying pan about to hit him.

TRACY
Leroy!  What cha doing scaring us like that?

LEROY
I told Mary Lou I'd watch the baby while you all sang.

MARY LOU
It's alright.  You're just early.

LEROY
(hands them the paper)  
I thought you might like to see this article on Sugar.

INSERT: Newspaper

Headline reads:  "Man Apprehended in Assault - Suspected Kidnapping."

LEROY
Paper says this guy was caught trying to lift a tape from those music producers I was telling you about.  They knocked him out with a tape from Billie, Billie Junior's new album.  It also says the police are trying to pin a kidnapping charge on him and the others involved with taking that baby.

TRACY
We didn't kidnap Sugar.  We was asked to take care of her, and they had her locked up inside a stuffy ol tent with nobody even lovin her.

MARY LOU
Look.  We know why we took her, but they don't.  Maybe we should let somebody know why.

SALLY
Let's make a tape and send it to the radio stations.  We'll do a song for them, letting them know Sugar's alright.

TRACY
Yea.  That's a great idea.  Say, Leroy.  You got your camera?

LEROY
No problem.  You gonna take a picture of the baby?

TRACY
Yea.  They'll know she's alright and then they'll quit looking for her.

ALFRED
(rolls in)  
Got some bad news, Mary Lou.  Before that dude was busted, he done put about five grand on the street looking for you.  You're gonna be pretty hot property for awhile.

LEROY
Alfred, you got to be bustin us, man.  Five grand to find, Mary Lou.

TRACY
Hey, you two the only ones who even knows that we stayin' here.  Mary Lou, be cool.  Let's do that song.  Alfred, you still happening on the bongos?

ALFRED
I can still throw down some mean chops.  What you got in mind?

SALLY
We're doing a song to send to the radio and T.V. stations to let them know that Sugar is O.K.  Like this?

She starts off.  The girls gather around the tape recorder and begin to sing.  Leroy plays harmonica.

Sugar, lyin in the tent.
Couldn't move, couldn't move.
Need lovin, so we went.
Down the hall and turned her loose.
Sugar Baby, Sugar Baby.
The baby's got a home with us.
Three good mommas, lots of love.
She still can't smile, she just stares.
But she knows inside that her mommas
  care.
God's gotta do a miracle.
Pull her through and get her cured.
She's restin peaceful in our cave.
Not goin back where they'll dig her
   grave.
So rest your mind, she's in good hands.
No need to look, call off the man.

The girls giggle and turn off the tape recorder.

LEROY
Let me get a couple of pictures of the baby.  (They set the baby up and put a rattle in her hand and snap a picture of her.)

SALLY
Let me prop her up better.

INSERT: Photos

LEROY
(looking at the pictures)  
These are great shots.  Look.  I can take these and the tape over to Metromedia.  I shine by there all the time.  They'll probably call off the whole search when they hear the tape and see that she's O.K.

The girls all clap and hug Leroy.

EXT. METROMEDIA BUILDING - DAY

Leroy walks up with his shoeshine kit and the guard looks at him funny.  He walks up to the receptionist's desk.

RECEPTIONIST
Can I help you?

LEROY
(hands a grubby envelope to her)  
Yea.  I got a tape and some pictures your news department should see.  It's the missing baby that was taken from the hospital.

RECEPTIONIST
Why, thank you, young man.  Can you wait a minute?  I'll have someone come right down.  (Picking up the phone.)  Jean, can you have Henry come down here?  I think he'd be very interested in a package that has just been dropped off.

Leroy, looking uncomfortable, sits with his shoe shine kit.  Very soon a young looking executive comes out of the elevator.

HENRY
(to the receptionist)  
What do you have?

Receptionist points to Leroy who is sitting leafing through a magazine.  She hands Henry an envelope.  He opens it and removes photos.

RECEPTIONIST
He says it's pictures of the missing baby.  The one that was taken from the hospital.

Leroy walks up.

LEROY
There's some pictures of the baby and a tape from the girls that are watching her.  They couldn't stand seeing her in the hospital without any lovin and not even movin.

HENRY
Don't they know they can't just do something like that?  It's called kidnapping.

LEROY
They didn't kidnap the baby.  They was asked to care for it.  She belonged to a friend of mine that was taken to juvenile hall and left her with us.

HENRY
What was his name?

LEROY
I ain't gettin into the namin.  I'm just here to drop off this package.  Do you want it or not?  And will you run it on the air?

HENRY
We'll have to check and make sure it's the same baby.

LEROY
The baby's got a birthmark on the bottom of its left foot.  Check that out with the hospital.  Hey, look.  Tell the police to call off the search.  She's alright.  (He bolts out the door.)

INT. POLICE STATION - DAY

DETECTIVE
Yea.  The file on the baby shows she has a birthmark on her left foot.  Do you have information on the kidnapping?

VOICE
No.  Just be watching the news.
EXT. APPLIANCE STORE - NIGHT

Leroy and Mary Lou are watching the television from the city street.  Sound is being pumped outside.

T.V. NEWSCASTER
And now on the local scene.  A tape and pictures of the missing Sugar Doe baby taken from St. Joseph Hospital last week has

(CONTINUED)

turned up today at our station.  (Picture flashes on the screen.  Tape rolls.)  Several young girls, who are apparently watching over the child, composed this song.  They claim the child is safe, and have requested the search be called off.  

INT. - PENTHOUSE APARTMENT - NIGHT

Al and Nick are chowing down on Chinese food while watching television and hearing the girls sing.

AL
Those girls can sing!

NICK
Yea.

ANNOUNCER
The tape was brought in by a shoe shine boy who didn't identify himself.  He pointed out the baby's birthmark and said the child was the sister of a young juvenile recently sent to the State juvenile holding center.

AL
I wonder if that shoe shine kid at Central Park is the one they're talking about?  Those girls sure can sing.

ANNOUNCER
On the religious scene.  Tomorrow, members of the TBN network plan a march through the New York porn district.  Thousands of marchers are expected, and evangelist Arthur Blessit had this to say to Mark Woodward.  (Videotape on the street scene.  Announcer, holding a microphone and interviewing Arthur Blessit who is holding a large wooden cross.)

ARTHUR
If you want to clean up America, you gotta start right where the sinners are.  We're taking our message to the streets.  To people that need healing and young runaways that need help.  We'll be on the streets all day tomorrow to pray for everybody and see if we can't offer help to get these young kids off of prostitution and drugs.

ANNOUNCER
Are you expecting any opposition from the business owners?

ARTHUR
We let the Lord fight our battles.  I'll be carrying my cross through Manhattan tomorrow and anyone that wants to join us and help clean up America, come on out.

Al turns off the television.

AL
Nick, let's cruise by Central Park tonight.  I'd like to find that little shoe shine kid.  Those girls could be hot property for our new label, and I've got a hunch that kid knows them.

NICK
You want to give Donna and Alisha a call?

AL
No.  This is business!

INT. POLICE DEPARTMENT OFFICE - NIGHT

The phones are ringing off the hook and everyone is gathering for an informal meeting.

OFFICER NEELEY
Have you gotten any more information from that reporter?

POLICE LT.
He claims confidentiality of sources.  He won't say anything and refuses to cooperate with our artist.

OFFICER MENDEZ
Can't we book him?

POLICE LT.
Yea.  And bring a lawsuit down on our heads.  No thanks.

OFFICER NEELEY
We've been picking up shoe shine boys all day long and haven't gotten anything.

SERGEANT
Suppose the kid is better off where she is.  Why don't we just tone down our whole search?

POLICE LT.
We can't let babies be kidnapped out of our intensive care wards.  Did anybody run a make on the girl injured in the robbery-drug murder?

OFFICER NEELEY
We've got a composite drawing of her, but there are probably 100,000 kids in this city that fit that description.

POLICE LT.
Yea.  But only one with our missing baby, and that's the one we want.  Marco, I want you to comb every abandoned building and basement within two miles of the hospital.  And I don't care how many people you have to drag in here.

SERGEANT
Lieutenant, Hybero Degas gave our men the slip.

POLICE LT.
Put out an APB on him.  He's the only one that can definitely identify those girls.  Stake out all the Diego's pad. The word is he's got big money on the street.

OFFICER MENDEZ
Yea, I heard.  And those girls are the ones who can place him in the apartment with the murdered drug dealer.

POLICE LT.
Shit.  Why couldn't Henderson have stayed with him?  Now he'll be gunning for those kids.  Neeley, take Cooper and Hamlin.  Make sure every bar owner in Manhattan has a photo of this guy.  Tell Gina to run you off a thousand prints of his mug shot.  I want him picked up before he can find them kids.

OFFICER NEELEY
I'll get right on it.

EXT. CENTRAL PARK - NIGHT

From the window of their limousine, Al and Nick are casing Central Park.  They see a young kid with a shoe shine kit that looks like Leroy.

NICK
Hey Al, is that the kid?

AL
John, stop here by the corner.  Let's check this out.

The people on the street watch as they step out of the limo.  They walk over to the hot dog stand and order some food.

PUSH IN on vendor's face.

VENDOR
What'll it be?  You want I should get you a couple of dogs?

NICK
Yea.  I'll take two.  What about you Al; you having one?

AL
Say, Mister.  What's that kid's name over there?  (He points.)  Does he work around here all the time?

VENDOR
Little Leroy?  Yea.  He's a real hustler.  Why you ask?

AL
(pulls out a twenty)
Keep the change.  Know if he hangs out with any singers?

VENDOR
Yea.  All the kids, the homeless ones, got some kind of hustle going.  He's pretty friendly with some young girls.

AL
Thanks.  (He walks over towards Leroy.)

LEROY
Need your shoes shined, Mister?  Hey, aren't you . . .

AL
Yea.  I gave you my card, remember?  Say, how 'bout we go sit down and have a little talk.  Nickey will get you a couple of hot dogs.  O.K.?  I need your help.

LEROY
From me?

AL
That's right.  (They walk over and sit down.)

AL
Now play straight with me Leroy.  I'm playing on a wild hunch coming out here tonight, but the television announcer said a shoe shine boy dropped him off a tape today.  Any chance that could have been you?

LEROY
(nervously)
What would I be doing talking to a television announcer?  (He fidgets with his collar.)

NICK
(walks over with the hot dogs)
Hey Leroy.  We ain't trying to bust you.  We just really liked the way those girls sing.  I mean, maybe you don't have nothing to do with the missing baby, but do you know some girls that can sing like them kids?

LEROY
What you're telling me is that you ain't worried about the kidnapped baby.  All you want is to meet the singers on the tape?

AL
We ain't the Man.  When you do find those girls, you'll never be shining shoes again.  Get the drift?

LEROY
You wouldn't turn them over to the police?

AL
I ain't saying I don't care about the baby.  What I am saying is we want to meet the girls.  We're looking for some raw talent, street wise and not too shy.

NICK
Look Leroy, you're cool.  We need to meet these girls.  Do you know them?

LEROY
Yea.  I know them.  (He looks relieved, having shared his secret.)  But don't be tellin nobody.

CLOSEUP

NICK
(pulls out his keys)
This key will let you in the back door at our place.  You can take the maintenance elevator to the fourteenth floor and go to 14-A.  If we're not there the housekeeper can let you in.  Got it?

Leroy looks around nervously to see if anyone is watching.

LEROY
Look.  Thanks a lot for the key, but I'm not sure these girls are gonna want to be meetin anybody right now.  The heat is on, man.  I ain't making no promises, but I'll talk to them.

AL
(pulls out a wad of hundreds)
Hands him a ream of bills.  Look, this is just a taste.  Keep them off the streets.

LEROY
(grabs the money)
(He looks around as though suffering from paranoia.)  You carry this kind of bread with you.  You crazy?  (He gets up.)  I'll be in touch.

Nick and Al get up and walk back to their limo.

INT. PENTHOUSE SUITE - NIGHT

Hybero works a combination lock to a penthouse.  As the door opens the camera picks up a lush apartment done with thick carpeting and white leather furniture.

EDWARDO
Well Hybero, you've managed to elude the policia.  I hope you have not left a trail that leads here.  I have my reputation to protect.

HYBERO
No Senior, I have left no trail which will lead here.  I need the family's help.  I haven't been able to clean up our witness problem.

EDWARDO
Very sloppy, Hybero.  Very stupid drawing undue attention to yourself.

Edwardo brings a 45 up and points at Hybero.

CLOSEUP: Hybero sweating

EDWARDO
I should just waste you.  But I'm feeling generous.  What do you want we should do?

HYBERO
The girls are young.  They are homeless.  We need them gone and who cares if we kill them.  There are ten thousand girls like that in Manhattan.

JUAN
We can't just ice them in broad daylight.  That would bring the heat down on us.

HYBERO
Well, the ones that have the missing baby, they're singers.  Look, the police are looking for them too.  They probably even have drawings of them.

CLOSEUP: Hybero grins

REACTION SHOT

JUAN
We have a man with the police.  We'll get the pictures, distribute them and up the reward to $50,000 alive.  Whoever brings them in, we'll waste them as well.

HYBERO
I'd personally like the honor.

EDWARDO
Be patient with that kind of money out.  We could waste the President.

CUT TO:

INT. HIDEAWAY - NIGHT

Leroy is pacing back and forth.  Behind him the girls are seated listening.

LEROY
Look.  They ain't gonna bust you.  This is your big chance.

MARY LOU
They got everybody looking for us.  How are we supposed to get over there?

LEROY
Look, they're having that big parade tomorrow, right?  Yea, that's it.  We can just melt in with the crowd.  We'll just paint

(CONTINUED)

little Sugar up again.  Nobody's gonna be looking for a black baby.

SALLY
They liked us that much, huh?

TRACY
Hey, we got it made now.

LEROY
Yea.  Look at this wad.  (He whips out the hundreds.)

MARY LOU
Don't it make my brown eyes green, baby.  He laid that on you?

TRACY
Well, those guys must be real serious.  Like bigtime.  What time's that parade anyway?

LEROY
It's gonna be tomorrow night.  You all are gonna have to lay low tonight.  (He reaches into his pack.)  Look, I'll be back around here tomorrow about three o'clock.  Get Sugar all ready.

MARY LOU
You sure these guys are gonna help us hide Sugar?

LEROY
They said something about their housekeeper letting us all in.  He even gave me a key to open the back door.  That's real serious.

The girls jump up as Sally shouts.

SALLY
Well, I just knew something like this was gonna happen cause I been prayin 'en prayin.

MARY LOU
We all ought to be prayin more for Sugar here, cause if she's got to stay here with us all winter, there's no tellin if she'll make it.

LEROY
Listen, this is for sure.  These guys are looking for raw talent from the streets.  Who could they find any better?  Look, I'm gonna split.  (He walks over to where Sugar is lying.)  You take good care of little Sugar.

EXT. DELI - EVENING - TO ESTABLISH

A man of Columbian extraction is looking at a police drawing of three young women.  On the bottom is a note offering a $50,000 reward with a phone number.  He gives it a good look over and folds it up and puts it in his back pocket.

EXT. HIDEAWAY - EVENING - TO ESTABLISH

Inside the hideaway the girls are playing a game of cards.  Their stereo is on and they are really into a heated game.  Everyone is picking up cards and throwing down cards.  Mary Lou fishes for cards and arranges her hand and throws them down.

MARY LOU
I'm out cold.

Mary Lou flashes a picture perfect smile.

TRACY
Girl, you're crazy.  You play like a mad dog.

She turns to Spanky, who is busy with a big steak bone.

TRACY
Right, Spanky?

Spanky barks in acknowledgement.

MARY LOU
Girl, it's your turn to go to the store.  I went last time.

TRACY
No way.  I'm staying right here.  I'm not moving a muscle.

Sally is getting visibly upset.  She storms to where their cookie jar is and grabs out some money.

SALLY
You two are always going at it.  Look, Sugar needs some more food.  And we need some food.  So why you two sit around on your giant butts?  I'll go.

Sally walks over to the crib and looks down at Sugar.  She gives her a kiss on the cheek.

SALLY
Later.

Sally walks out of the hideaway and cruises over to the main street.

EXT. DELI - EVENING

Two young punks over with an overcoat are hanging out around the deli.  The pay phone outside the deli rings and they grab it.  One takes his cigarette and puts it out right in the coin return of the phone.

CUT TO:

EXT. STEREO STORE - EVENING

Sally stops in front of a stereo store on Broadway.  The windows are full of televisions and they are programmed to MTV.  There is a female singer on and Sally begins to imitate her and basically has her steps down perfectly.  The music is loud and a crowd gathers around Sally blocking the entrance to the stereo store.

PAN TO:  Large Iranian pushing his way through the crowd right in front of Sally.

IRANIAN
You!  You want to buy a T.V.?  Why do you make a disturbance in front of my store?

SALLY
What do you mean a disturbance?  I can't help it if the people stopped to watch me.  Maybe I'm good.

Sally shrugs her shoulders arrogantly.

IRANIAN
You move on.  You have no money for my T.V.s.

SALLY
You can treat me like I'm some piece of newspaper blowing down an empty street.  But someday.

Sally points her finger right at his chest.  The crowd has dwindled down to nothing.

SALLY
Someday . . . People are going to be lining up to watch me.

Sally does a 180o turn, puts her hands on her hips, and struts off.

EXT. BROADWAY DELI - NIGHT - TO ESTABLISH

A black limo swings into view and stops in front of the deli.

CLOSEUP:

The blacked out rear window rolls down.  Hybero motions the two young punks over.  They look around and walk over.  Hybero grabs one of them by the collar.

HYBERO
Are you sure that dude has seen these girls?

PUNK ONE
Hey, easy on the threads.  He told both of us they came in shopping.  They must hang around here.

HYBERO
(peels off a few hundred)
Call me on my car phone.

PUNK TWO
How we gonna call you if we have to tail them?  Why don't you just let us waste them?

HYBERO
My boss don't want no blood in the street, hermano.

Hybero takes out a plastic case and shows them a small portable phone.  He hands it to Punk One.

HYBERO
This is programmed with my number.  Anything at all.  Call.  Remember fifty big ones.  You could seriously change your lifestyle.

Hybero rolls up the window and the limo pulls away.  As the limo pulls away, the punks don't even notice Sally walking into the deli.

INT. DELI - NIGHT

The counter attendant gives Sally the once-over when she walks in.  He pulls out the reward poster and looks at it, then looks at her.  She is oblivious to anything going down.  Sally browses through the baby food and picks up a couple of things.  She also picks up some juice out of the large refrigerator.

CLOSEUP: Counterman on the phone.

CUT TO:

EXT. DELI FRONT PAY PHONE - NIGHT

The pay phone is ringing and no one is answering it.  The two punks are out of earshot in the distance, checking out their own phone.

INT. DELI - NIGHT

Sally comes up to the counter and puts her items down.  The man looks at her and he flushes with guilt.  He begins to ring her up.  He bags her items, takes her money and gives her the

(CONTINUED)

change.  She walks out.  He throws off his apron and goes out of the store.  He looks frantically up and down the block and spots the two punks.  He rushes up to them.  There is a lot of arms gesturing on his part, and the one punk pushes him away and they both go after the girl.

EXT. BROADWAY - NIGHT

Sally is unaware that she is being tailed and is waiting at the crosswalk for the light to change.  She doesn't notice that just 50 feet behind her the two punks are pushing their way through the pedestrians.  Right as the light changes she steps off the curb and is in the middle of the street.

CLOSEUP:  The overcoat is lifted back to reveal an uzi.  It is jammed into Sally's back.

PUNK ONE
Just keep walking and nobody is gonna get hurt.

Punk Two is on the phone giving directions to Hybero in the limo.

SALLY
I ain't got no money.  Honestly.  I just spend about the rest of what I had on food for my baby.

PUNK TWO
We'll be getting picked up in a minute.

Punk Two gestures to the front of the stereo store about 30 feet away.  I'll tell him to pick us up there.

SALLY
Wait a minute.  I've got to get home. . . .

She winces in pain as the gun is shoved into her ribs.

PUNK ONE
I'm not telling you again.  I've got somebody that wants to meet you.  So be cool.  Now move it.

They walk through the crowd and stop in front of the television store.
(CONTINUED)
Leroy is across the street shining the shoes of a businessman.  The businessman looks over Leroy who is stopped down applying the final shine and sees the two punks and the girl.  The black limo pulls up and the businessman jumps a little as he sees the limo door open and the two punks struggling with the girl.  Leroy looks behind him and sees.

CLOSEUP:  Sally is struggling.

CUT TO:  Leroy dashes through traffic with his shoe shine box.  He is wearing tennis shoes.

CLOSEUP:  Leroy's shoes in the air and a thud as they hit the hood of the limo.

CAMERA PULLS BACK:  Sally is within inches of being shoved into the back seat of the limo.  Leroy tackles the one punk and Sally manages to pull away.  She runs towards the stereo store.

INT. STEREO STORE - DAY

Sally dashes by the Iranian who begins to object until he sees her being chased by the punk with the uzi.  Television picture tubes begin to burst as the young punk takes out his fury on everything around him.  Customers and salespeople hit the floor miraculously saved from the carnage.  Sally has crawled behind a counter and begins to crawl toward the back door.

CAMERA CUTS TO:  Leroy walks in the front door only 15 feet behind the punk with the uzi.  He turns to fire and is empty.  Leroy seizes the moment and jumps over a display of boom boxes and tackles him.  The limo pulls out.  Several of the customers crowd around the punk who is being held down by Leroy.  Leroy gets off the top of him and looks around for Sally.  She pops her head up and he pushes his way through the circle to give her a hug.

LEROY
It was the Columbian.  If I hadn't been across the street, they would have wasted you.

SALLY
We'd better go . . .

The big Iranian walks up to her.

IRANIAN
You . . . you're much bad luck.

He shakes his head and walks away.  His arms gesture despair. . . .

DISSOLVE TO:

INT. ABANDONED BUILDING - NIGHT

The building is empty except for Mary Lou and the baby.

LEROY
(breathing hard)
Where's Tracy?

MARY LOU
She took some of that money you gave them and went out.  She wanted to pick up barbecued chicken and fries.

Leroy rushes out.  Mary Lou calls to him from the cave.

MARY LOU
Leroy!  Leroy, what's wrong?

Sally walks into the hideaway.

SALLY
Where's he going?

MARY LOU
I just told him Tracy went out to get some chicken.  What's wrong with you girl?

CUT TO:

Leroy is running towards the barbecue house.

CUT TO:

INT. AUTO - NIGHT

Hybero with one of his men is stalking the streets in a black limo.  A machine gun is resting on his lap.  They are smoking dope and snorting coke, with a little tequila.

HYBERO
We've could have wasted her, man.  (He spots Tracy.)  Hey, pull up alongside there.  (He pulls out his poster.)

INSERT: Wanted Poster

Tracy is walking down the street and passes a hot dog vendor who is between her and the limo.  The auto pulls alongside and opens fire on them.  The girls duck behind the cart.  Leroy is about four hundred feet away and sees the whole scene.  He races over as the limo squeals out nearly hitting him.  He turns and gets a look at the tag number.  He dashes over to Tracy whom he finds is still alive.

CLOSEUP: Tags LUX 24K

LEROY
Tracy, man, it's a miracle you aren't hurt.  It's that Columbian guy that killed Mary Lou's dad.  They don't want you identifying him in a murder rap.

SALLY
How did he know where we were?

LEROY
I don't know.  Let's go back to your place.  This is crazy.

TRACY
It's the same people that killed Mary Lou's dad?

LEROY
Look.  If you saw the dude that hit your daddy, then they's not gonna want you around.  The dudes have a lot of money out trying to eliminate you guys.  Not let's get the hell off these streets.

They run past camera to safety of an alley.

EXT. BROADWAY STREET - STEREO STORE - NIGHT

Ambulances are pulled up with orderlies treating people for glass cuts.

OFFICER NEELEY
Did anybody at all get a plate number on the limo?

POLICE LT.
Negative.  I think Mendez is trying to get some information from that lady.  She only speaks Spanish though.  See if you can give him a hand.  (Neeley assists Mendez with the woman who is quite shaken up.)

OFFICER MENDEZ
She says it was a big limo.  They looked like Columbians.  (She continues babbling in Spanish.  He hands him the reward poster.)   We found it in that dude's pocket.

OFFICER NEELEY
It's gotta be the strong-arm man for the Diegos.  They don't want him implicated in that murder.  They want to waste those girls.

POLICE LT.
Why'd that freakin judge have to let him out on bail?

OFFICER NEELEY
That's the law, Lt., it stinks but we'll nail the bastard.

POLICE LT.
Mendez.  I want Spanish Harlem turned upside down.  Get that guy!

OFFICER MENDEZ
You got it.

INT. WELFARE HOSPITAL - DAY

The hospital is jammed with crying babies, old people in wheelchairs.  A crazy man in a strait jacket acts like people are coming to get him.  Two overworked doctors are looking over everyone.  Tracy approaches one of them.

TRACY
Excuse me.  (She pulls on his coat.  He looks at her with a harried look and then is attracted by the beauty of the baby.)
DOCTOR
Yes, can I help you?

TRACY
(points to Mary Lou and Sally)  
Our baby's been in a coma.  She's been eatin all right but she just keeps staring into space, like she don't see nothin.

DOCTOR
(points to a room with a glass door)
Bring her in that room.  I'll have a look at her.

Tracy goes in the room and sets the baby down on the table.  The baby is perfectly still.  The doctor walks in, shines a light into her eyes, checks her pulse.

TRACY
She gonna snap out of it.

DOCTOR
(checks the back of her head)
She's had a severe concussion.  Her comatose state is the body's way of reacting to shock.  It's like a power overload or blowing a fuse.  Her cure isn't gonna come from any medical treatment.  Only time.  How are you feeding her?
SALLY
We've been just putting like straws of liquified food and sort of blowing it down her throat.

DOCTOR
Ingenious.  I can give you a prescription for a special formula to make sure she's getting all the essential vitamins and nutrients.  She appears to be in good health.  Are any of you her mom?

MARY LOU
All of us.  We're all she's got.  Her mom and uncle are both dead.

DOCTOR
Well, you're doing the right thing trying to nurse her back to health.  She's not going to get personal care in a welfare hospital.  She'd catch an infection and wouldn't last a month.  I'm a little restricted by the city on what I can actually do for you here.  I have a friend that runs a lab and I'm sure if there is anything she needs, he can do a couple of checks on her real quick.  The formula he can probably help you out with as well.

TRACY
I'll take Sug . . . ah, Cynthia, Sally.

DOCTOR
This is the baby from the news, isn't it?

MARY LOU
Yea, it is . . . (They all look at him.)

DOCTOR
Look, I don't know nothing, but I think it would be a lot cooler to take that exit there.  (He points to a rear sign marked Exit.  He winks.)  You go now.  You can probably catch him . . . and by all means, keep that baby warm . . .

The girls leave and hit the streets.

MARY LOU
Let's just go over now.  It's on the way to those producers' place, and Leroy won't be waiting until 1:00.

SALLY
We can go that road that they're having the parade on.  The drug dealers will never find us there.  Too many people.

TRACY
Good idea.  (She looks at Sugar.)  I sure hope the Lord's watchin our baby.

EXT. STREET - DAY

CLOSEUP of Leroy, Sally, Tracy and Mary Lou, who is holding Sugar.  They turn the corner of a busy Manhattan street and find themselves running into a group of religious protesters carrying placards and singing.  They stay in a tight group and try to weave through them and 

CUT TO:

EXT. STREET - DAY

Several riot vehicles pull up and the police get out carrying nightsticks wearing helmets with face places and yielding big shields.  They begin to move in on the crowd.

REACTION SHOT

Leroy reacts to the police coming and takes Mary Lou under his arm.

LEROY
Things are going to get crazy.  Let's get out of here quick.

SALLY
There's no place to go.

P.O.V.  Sally turns and sees police coming the other way as well.  The group of protesters singing is even louder.

ANOTHER ANGLE reveals

Protesters are chained to the telephone and light poles in front of the porno theatres.  Traffic on the street comes to an almost complete standstill and horns are blowing furiously.

MARY LOU
Let's try to get to the other side of the street.  Leroy, you'd better take Sugar.

CAMERA PANS and reveals that there is no way to get in between the cars.  They are wedged bumper to bumper.

Leroy jumps up onto the hood of a taxi.  The Iranian yells at him to get off.

CLOSEUP OF SUGAR reveals a tear forming in her eye.  CAMERA stays on face shot as Leroy leaps to the next vehicle, a Cadillac limousine.  The driver wedges his way out and starts screaming at Leroy.  Sugar begins to cry.  Leroy jumps off the car and the girls gather around.

MARY LOU
(grabs her)
Sugar, you're alright.

The limousine driver is shaking his fist and using his handkerchief to wipe off the tennis shoe prints on his hood.

LIMOUSINE DRIVER
If you didn't have a baby, I'd tear your food head off.

SALLY
Don't you understand, mister?  Your yelling got Sugar out of her come.

Sally gives the limo driver a big kiss on the cheek.

The other drivers watching from their cars and standing outside their driver's door applaud and honk their horns.

CUT TO:

INT. APARTMENT HOUSE - DAY

The three girls and Leroy are riding up the elevator with the baby.

LEROY
Now, you all be real cool.  These dudes don't know you are bringing

(CONTINUED)

this baby along with you.  And Sugar (he touches her), don't you be doing no fussin.  They already like the way you all sing, so just be real polite and maybe they'll make you all stars.

SALLY
Supposin they don't like us when they meet us?  I mean, we ain't ever sung anywhere but in subways and street corners.  These dudes are used to the best.  They may not even like us.

TRACY
Relax.  We's good, and they knows it.  Iffen they asked Leroy about us, they must be interested in us.  Didn't you say they heard our tape on the television?

LEROY
Yea.  And they loved it.  Now just be real cool.

INT. PRODUCER'S APARTMENT - DAY

The doorbell rings and a heavyset, black woman answers it.  She is dressed in a maid outfit, and she smiles at the people in the hall.

MISS ELLA
Well, I do say.  Nickey told me some folks would be coming over, but I really didn't expect a bunch of young girls and a baby.  Lord, Lord.  Well, come on in and I'll fix you all something to drink.  How about some soft drinks?  You can go right on in there to the living room.  Master Nick's on the phone.  I'll tell him you're here.  (The kids make it to the living room.)

The view is spectacular.  A large rounded window gives a bird's eye view of Central Park.  The living room is a splendidly decorated masterpiece with contemporary art and a massive high-gloss grand piano.  The floor is covered with a thick Persian rug and there are several French country pine antiques scattered about.  As they are taking in the view and the sheik luxury of their surroundings, Miss Ella enters with a tray of soft drinks and donuts.

MISS ELLA
Now you all don't be shy.  I'm Miss Ella, and anything you want you just let me know.  That baby of yours sure looks dirty.  How 'bout you and me, we go wash her up?

MARY LOU
Well, sure.  It has been awhile.  You live here?  This place is something else.  I've seen places like this at the movies, but I didn't think people really lived like this.  It's like you're on top of the world.

MISS ELLA
Well, Master Nick is on top of the world.  He's sold over a hundred million records.  He's a genius, honey child, and if he's gonna help you all get a start you're in pretty good hands.

Nick walks into the living room.  He's dressed in a spotless, white jogging suit and high top red sneakers.  He picks a soft drink off of Ella's tray.

NICK
You bragging on me again Ella?  Look everybody, don't mind her.  Sometimes she thinks she's my momma.  This must be the one you all were singing about on the news.  hey, this is a live one!  (The baby kicks, and moves away from him.)  I thought the baby you all had was in a coma.

CLOSEUP OF SUGAR smiling as Nick rubs her cheek.

LEROY
We were trying to get away from the police and I had to jump on the hood of this limo.

TRACY
Yea, the driver got out, started screaming, and all of a sudden . . .

SALLY
Sugar started wailing like somebody stuck her with a pin.

NICK
That's the wildest thing I ever heard.  If the police knew that they'd probably call off the search . . . hey, look!  I got a great idea.  Why don't we make a little movie of Sugar and send it to the news.  Let everybody know she's alright.  Maybe they'd take the heat off of you.

SALLY
Great.  You can do that?  Make a movie?  Right here?

NICK
Yea.  Al has got the most laid out equipment you've ever seen.  It would be the greatest.  Look, I'll get him over right away.  (He picks up the phone.)

MISS ELLA
Well, if you all are gonna be puttin this little child in a movie, I'd best get her all washed up.  Come on, Honey.  What's you name child?

MARY LOU
(pointing)
My name is Mary Lou, this is Tracy, that's Sally and that is Leroy.

MISS ELLA
Well, a fine bunch you all are.  Let's get this child all scrubbed up, then we'll be makin us a movie. 

LEROY
You mind if I make a phone call?  There's something I got to get off my chest.

MISS ELLA
No youngun, you come with me.  You can use the phone in the kitchen.  Come on girls, let's get this baby in the tub.  She's gonna be makin her first movie.  Do you all have any other clothes for this little child?  This little outfit is awfully raggedy.

TRACY
That's all we have.  We left everything else back in our place.  We're lucky to get here with those guys lookin for us.

SALLY
Yea.  Last night I was  gunned down.  About twenty people around me were hurt.  Leroy saved me. 

MISS ELLA
Well, that won't mind none.  We'll just get the youngun some new threads.  Mary Lou, you fill up the tub.  Tracy and I are going shoppin.

EXT. NEWS STAND - DAY

Miss Ella and Tracy are carrying shopping bags piled high.  They approach a news stand.

INSERT: Newspaper Headlines

DRUG DEALERS PUT OUT $50,000 REWARD

INT. APARTMENT LOBBY PHONE - DAY

Leroy is on the phone.

CUT TO:

INT. POLICE STATION - DAY

POLICE LT.
Yea, O.K., but just give me the number of the license plate on that car you saw.  (Writing)  So what was the description of the car again?  A big, black limo?  LUX?  That's it?  O.K. kid.  Yea.  Thanks.  You've been a big help.  If you remember anything else, call extension 156.  O.K.

OFFICER NEELEY
It's hopeless trying to track down a limo.  There must be five thousand of them in the city that fit that description.

POLICE LT.
(enters the room)
We got a lead.  Have the DMV run a check on all limos with the letters LUX.  We need the names of all the owners and all the renters for the past year.  Chances are the thing was stolen, but we'll nail whoever it was.

OFFICER NEELEY
Well, we'd better get some kind of lead on this.  Otherwise the Commissioner is gonna have our heads.  We're up for a big wage talk on our new contract.  If we don't get some action on this case we can forget about a raise for a long time.

INT. COMPUTER ROOM - DAY

The computers are running and spitting out paper.  The operator grabs the paper and runs over to his superior.  The superior glances at it, inserts it in a folder and rushes to his teletype machine.  He begins entering the data.

INT POLICE HEADQUARTERS - DAY

The teletype machine starts cranking and the receptionist, noticing the nature of it, gets on her phone.

RECEPTIONIST
Sir, the list is in.  (She goes back to her typing.  

OFFICER NEELEY
Great.  Finally, a needle in the haystack.  (There are five hundred and fifteen names of autos with LUX at the beginning.  Only four are limos.  He takes the list to the Lt.)

POLICE LT.
Get Mendez and O'Rourke to my office on the double.

INT. POLICE OFFICE - DAY

POLICE LT.
We need inside information from all these companies.  Manny, do you think you can get some info from Freeman Luxury Limos without letting them know we're onto their renters?

OFFICE O'ROURKE
Yea.  I'll tell them we need some transportation for some foreign diplomats.  I'll get a look at their books without them even knowing why.

OFFICER NEELEY
My brother's wife's cousin works for this outfit in Queens, Arabian Knights Limousines.  I'll get the info from him.  We might have to wash some of the drivers' records.

POLICE LT.
No problem.  Look, if we have to wipe the slate clean for all of them, I don't care.  We want the maniacs who wasted all of these people.  Mendez, I understand you were working narcotics uptown before being transferred over to us, is that right?

OFFICER MENDEZ
Yea, that's right.  I requested the transfer.  Things were getting a little hot and I didn't want to stick my nose where it could get blown off.  A lot of the guys were wearing fancy watches and taking nice vacations, so I wanted out.

POLICE LT.
Good.  We all try to keep our noses clean.  Our department doesn't have inquests, just funerals.  I know you're a good man.  I need you to dig into everything you can find out about this lawyer, Morgenstein.  I want everything on them that you can find.  Get a wire tap order from Judge Holmes.  I want to know every phone call that goes in and out of his office.  Take notice of every vehicle that even comes close to their garage.  I'm giving you eight men.

EXT. BROOKLYN BRIDGE - LIMO GARAGE - DAY - TO ESTABLISH

INT. LIMO GARAGE - DAY

Camera pans in on two men talking.  One is dressed in an overcoat.

OFFICER NEELEY
Look Terry, I just need to know who rented the limo with the LUX on the plate.  The dude may have murdered about forty people.

TERRY
Ted, you know I'd like to help you.  But we keep our clientele top secret.  Our customers don't like to be known.  There are too many kidnappings and shit.

OFFICER NEELEY
Terry, I could get a court order and ransack this place so bad you wouldn't have anything left unsettled except the grease spot on the cement, and your family.  I don't want to hassle you, Ter, but I need this information.  Now are you gonna help me or do I have to come back with a whole army and tear this place to shreds?  (Getting somewhat irritated.)  Because, believe me, if I have to, I will.  We want these dudes and we mean to get them.  Now, either you're gonna help or not, which is it gonna be?

TERRY
The car you want is a Lincoln, #LUX 24K.  It's been rented out the last twelve months to a Columbian.  They pay in cash, like $10,000 a month.  The plates are phonies.  The limo those plates belong to is right here.  It goes out every day.  The original plate was LUX 24.  We ordered a duplicate and added the "K".  All I know is they pay cash.

OFFICER NEELEY
O.K. Terry.  Now, I need the address of where I can find that car.

TERRY
With God as my witness, I don't know.  I'm supposed to make the money pick-up tomorrow over at Shelby's.  That's all I know.  I pick it up, always on a Friday night in a bar over on 44th Street in Manhattan.  Look Ted, if this gets out that I helped you, I'm a dead man.

A man who was washing one of the limos walks by, but they don't even notice him.  He pulls out a quarter and goes over to the pay phone where he makes a call.  He glances back in their direction while he is waiting for his party to answer.

CUT TO:

INT. APARTMENT - DAY

Al is shooting footage of Sugar climbing up the couch.  Sugar turns and flashes a big smile.

AL
Well, this should satisfy them that the child is O.K.  I'll send them this tape and I'm sure everything will be O.K.  Maybe they'll call off the search and forget about the whole thing.  It seems like they're making a big deal out of one missing baby.

LEROY
Look.  It's more than just the missing baby.  Mary Lou and Tracy both saw the murderer.  That's why everybody is going insane in this city.  We got people firing machine guns at little girls.  They're gonna have to identify these guys.

Nick places his camera down and goes to the window and looks out over the city.

NICK
That dude that tried to shake us down.  He's the crazy that's been puttin everybody in cold freeze?  (He laughs.)  And we knocked him out with a Billie, Billie Junior tape.

AL
Only it ain't so funny now.  These girls aren't gonna be safe until those dudes are dead or in jail.

Al walks over and sits next to Sally.  She takes a sip of cola.

SALLY
We just can't turn ourselves in.  If we do they'll arrest us for sure.  They think we kidnapped Sugar.  They don't know we were asked to take care of her.

MISS ELLA
Mr. Nick.  Why don't we all just adopt the baby.  I bet your high powered lawyer you've been buyin all those fancy cars for could arrange it.  You could be her daddy.

AL
Yea Nick.  You've always wanted to be a sugar daddy.  I think that's a great idea.  You girls know that Nick and I were looking for a new group to sing these songs Billie, Billie Junior never recorded.

TRACY
You want us to sing them?  We've never sung anywhere but the streets and subways.

MARY LOU
Yea.  Most of the time we just sang along with stuff or made up our own words to instrumentals.

NICK
Look you all.  We heard the tape on the newscast you did for Sugar.  We know you all got what it takes.  You got the juice.  Let me play one of the tracks.  Al will help you out with the melody.

Nick pushes a couple of buttons and the wall cabinet slides open revealing sophisticated equipment and banks of recording gear.  Nick pushes a series of buttons and the music starts.  Al is talking over the music and Nick rolls an overhead mike down from the ceiling right in front of them.  He sings a line and the girls follow him.

AL
You all are picking this up really fast.  I'm gonna record you this time.  The scene ends with the camera panning out onto the New York City skyline.

INT. LAW OFFICES - DAY

The opulence of the office is overwhelming.  All the walls are done in a dark walnut with brass trim.  The office, itself, is massive and overlooks a terraced garden.  The camera zooms in on a bespeckled older man on the phone who is wearing a large diamond ring.  He is somewhat heavyset, with the look of a real slick devious man.  He adjusts his tie nervously while speaking and plays with a 24kt gold lighter.

MORGENSTEIN
Look, I know you pay me a lot of money to smooth over the rough spots.  But there's not enough money in the world to keep somebody out of jail after shootin up a stereo store on Broadway.  Do you think this city is some damned jungle?  This isn't Bogata, Hybero.  It's New York.  It's just a matter of time before they close in on you.  (Pause.  Loud shouting through the receiver which is inaudible.)  The cops have already been poking

(CONTINUED)

around at the limo company.  Yea.  My informant thinks he might'a put the bead on you.  (Pause.  Loud shouting again.)  I can get you all into Canada.  I have a yacht over on the island.  You can catch a flight out of Canada and go wherever you want.  I can get you all new passports.  It'll take a few days though.  (Pause.)  If I were you I wouldn't worry about the new load of coke you got coming in.  Unless you need the money for cigarettes in Attica. (Pause.)  Yea.  Look.  Dump the limo.  No, better yet, leave the car in front of the club.  I'll have my associates take care of it personally.  (Hangs up phone.  Pushing the intercom.)  Miss Welsh.  Please get Don Julio on the phone, will you.  (He fiddles with his gold putter and knocks a hole in one into the ball catcher.)  Yea, Don.  Little problem.  Yea.  With your cousin's limo company.  Look, can you meet me at six?  O.K.  Great.

INT. NIGHTCLUB - NIGHT

Morgenstein walks into the club wearing an executive class overcoat.  He is smiling as he checks in his hat and cane.  The girl checks in the coat.  He spots Don Julio sitting with a young, dark haired fellow that is wearing a white sportcoat and heavy jewelry.  Morgenstein casually walks over to their table.

DON JULIO
Well counselor, it's been awhile.  I suppose you want to collect on the little favor you did for my brother.  You know, he's eternally grateful to you for his new identity.

MORGENSTEIN
Cut the shit, Julio.  Your brother would be having his head shaved and twenty thousand volts pushing him into the next century if I hadn't gotten him out.  Here.  (He pushes some keys towards them.)  It's in the parking garage here.  (Hands him a slip of paper.)  This will sweeten the favor for me.  (The envelope is thick with bills.)

DON JULIO
I hope this is really what you want.  You are begging for heat.

MORGENSTEIN
I just want what's best for my client, that's all.  It couldn't get any hotter for him anyway.

INT. POLICE STATION - NIGHT

OFFICER NEELEY
Sir, I found the limo company that rented out the vehicle we're looking for.  I talked to my brother's wife's cousin.  They have two vehicles with the letters LUX.  The one we're looking for is LUX 24K.  He'll be picking up some money for it tomorrow night at Shelby's.

POLICE LT.
Put the place under surveillance.  Get a man in the new stand there and get with the phone company and have them bring in an underground cable truck.  I don't want them even smelling a tail.  Good work, Neeley.  Let's hope we nail these bastards.  (Woman officer Riley walks in.)

OFFICER RILEY
Sir, it's the television station.  They have received another tape.  The news director wants you to come over and view it.  This time it's a video tape.  His story is pretty unbelievable, Sir.

POLICE LT.
Thanks, Riley.  Look, Neeley needs some help clearing some red tape for a surveillance set up tomorrow.  I need you to get the phone company, some delivery vehicles, the works.  We need at least fifteen men there tomorrow to cover an exchange.  (As he is speaking these lines, he straightens up some papers and walks out the door.)

MATCHING SHOT ONE - DOOR CLOSES - ONE IS OPENED

INT. TELEVISION STATION - NIGHT

Police Lt. enters a television studio door.  He looks at photographs of major news events including a crashed airliner, a photo of the Pope, a ticker tape parade, the New York Yankees.  The door opens again and the female news director comes in.  She is carrying something in a manila envelope.

NEWS DIRECTOR MARSHA CORBIN
Thank you for coming down so quickly Lt.  We received this today.  It's a video tape of the kidnapped child.  (She pops it into a video recorder and it shows a perfectly healthy baby playing.)  We confirmed the identity of the child with the hospital staff.  As you can see, she has experienced a miraculous recovery.

POLICE LT.
Any idea on who might have dropped off the tape, or who shot it?

MARSHA
It's standard VHS tape.  Available anywhere and the machine it was recorded on is available at hundreds of stores.  We will be running with this on the ten o'clock news.

POLICE LT.
(turns away from the tape)
You can't run that tape.  Those people are the key to solving these mass murders.  It's all tied in.

MARSHA
We kept it off the five o'clock news until we got a positive I.D. on the child.  We can't suppress a story like this.  This is a miracle recovery, Lt.  This child was comatose and now she's suddenly healthy.  There must be some way you can use this to aid your investigation.

POLICE LT.
I see your point.  We need them to make a positive I.D. of our murder suspect.  Can you announce on the news that the charges of kidnapping and endangerment of a minor have been dropped and plea with the young girls to come forward?  We need them as material witnesses.

MARSHA
You sure you want us to announce that?  Those are serious charges to drop.

POLICE LT.
If we don't get some answers soon, mam, this whole damned city is going to explode.  Private citizens carrying guns in the subways.  We've had five accidental shootings since this

(CONTINUED)

thing happened, and it will only get worse.  The baby's O.K., the hospital's off the hook and the kidnappers have obviously not harmed anyone.  I'll get the official clearance to drop the charges.  You just do the story.  You'll be receiving a call from the D.A.'s office.  Do you have an extra copy of that tape?

MARSHA
(pulling the tape out of the recorder)
This one is yours.

Lt. takes the tape.  They look at each other eye-to-eye.

MARSHA
Good luck, Lieutenant.

INT. RECORD COMPANY - DAY

The office walls are covered with gold records and a state-of-the-art stereo system.

IRVING
(listening to the end of the tape)
These the three new singers you were hoping to sign?  They're great.  The best ones you've ever brought to us.  You know, that Billie, Billie Junior project is cacca.  How is it you can bring us such good material, after delivering that to us?

AL
He wanted to do his own songs, Irving.  The success went to his head.  He thought he was great and acted like he was great.  We couldn't tell him he didn't know how to write songs.  I can't afford the anguish of litigation.  You gave us creative control and when you renegotiated with him, you gave it away.  You gave the little brat everything, but you'll still ship gold.

IRVING
I know we'll ship gold, but the returns.  These kids will be ruining the tapes just to bring them back.  Look, let's talk about these girls.  These are the ones with the baby, right?  I heard last night the heat was coming off from the police.  Are they gonna step forward?  You know, my brother-in-law is in with the D.A.'s office.

AL
I know.  They want to cooperate, but they don't want to lose the baby.  I'll tell you.  We want $200,000 for the album and 15 points.  We want a three year contract with a mutually renewable option, and a guaranteed promotion budget of $250 thousand per album along with tour support.  We keep all European rights and give you all Canadian and Asian.  It'll be the hottest seller you'll have all year.

IRVING
(pushes a button)
Marge, have Leonard come in with a check, will you?  (He turns to Al.)  You've got a deal.  We'll draw it up.  If all the material is of this quality, I don't doubt you one single bit.  (He pushes the tape player button down.)  This smokes.  (Even though he is an old man, he gets up and starts to boogy.  Leonard walks in with a check.)  Make it out for $100,000.  A little earnest money for Al.  When can we expect the master?  We'd like to get it out before Christmas.

AL
We'll have it in a week.  The songs are already done.  All we have to do is lay the vocals.  Look, will you take care of the problem with the D.A.'s office?  We're gonna try and adopt the kid.

IRVING
Yea.  Look.  That bit on the news.  Real cute.  Any fool would know where you lived though.  You can see Central Park right out of your window.  I'd be careful if I were you.  You can't have everybody knowing where those girls are, especially if they are material witnesses to a murder, you know what I mean?

AL
Yea.  I know what you mean.  Hey, Irving.  You must really smell money in this deal.  (He's heading out the door.)  Your nose has grown an inch.  (Irving touches his nose.)

Irving stands up and shakes Al's hand.

IRVING
Yea.  Al, did I tell you I got a statue in my front yard look just like you?  The dogs, they love to pee on it.

AL
Hey, if you was my dog, I'd shave your butt and make you walk backwards.

IRVING
Did I tell you I got you some beachfront property in South Africa. . . .  So long champ.

Al leaves as he goes out.  He blows the secretary a kiss.

EXT. POWER JAM PRODUCTIONS - DAY

Al is out front waiting for his limo to pull up.  An elderly lady, in a mink, approaches him.

LADY
Sir, will you please get our car for us?  We are in a dreadful hurry.

AL
Sorry, mam.  (As a limo pulls up and the driver get out.)  I'd love to help you but I've got some business myself.

The lady's mouth drops open as the chauffeur opens the rear door and Al gets in.  He smiles and waves goodbye to her.

INT. APARTMENT - DAY

Al walks in and commands everyone's attention.  He's wearing a shit-eating grin.

MISS ELLA
Well, you'se grinning like a cat in heat.  What is it?

AL
Tell everybody to come in the living room.  I got some news that'll knock your socks off and set your head spinning.

NICK
(walking in)
What's up, Al?  You sure is smiling.  Where have you been?

TRACY
Is everything O.K.?

AL
All right.  I'll tell you all what's up.  Remember that little tape you all made this morning?  (Everyone comments.)  Well, I played it for Irving at Globe

(CONTINUED)

Records International.  (He pauses.)  He didn't really like it.  (Everyone looks dis-appointed.)  He loved it!  (Everyone squirms around.)  Here's the best news - he already made a payment on it.  One hundred thousand dollars.  You girls are through singing in subways.  Irving's gonna put some real push behind this one.  250,000 worth.  I told him we'd deliver the finished album in a week.

NICK
In a week?  Are you out of your mind?  Why did you tell him that?

AL
We got all the tracks cut.  You saw how they learned songs.  (He walks over to Leroy.)  I know you're not part of the group, Leroy, but you get a 10% finder's fee.

LEROY
Ten thousand dollars!  Come on, man.  Don't be messin with my mind like that.  Shit, ten thousand.  Whoo Weee!  No more shining shoes.  I'm going to school.  (He jumps in the air and slaps everyone's hands.)

TRACY
You can buy your own shoe shine stand, Leroy.

SALLY
Yea.  And let everyone else work while you play harmonica.

LEROY
Man.  I'm gonna buy something real nice for my mom, and my sisters and brothers.  Man . .

AL
You girls aren't gonna have to worry anymore.  The rest of this money is for you.  $90,000 split three ways.  But first we gotta clear up this thing with the police.  Irving told me his brother at the D.A.'s office said all charges against you all have been dropped.  I talked to our lawyer and he said he can almost guarantee we'll be able to adopt the baby.

MISS ELLA
See, I told you all not to fret.  Everything is gonna work out just fine.  Sose don't be worryin no more.  Mr. Nick, these gals is gonna need a place to stay tonight.

NICK
We got them a suite at the Helmsley House, till we can find them their own place.  And Ella, I'd like you to look after them.  I'm not saying I don't need you around here, but I'd feel a lot better if you'd look after them.

MARY LOU
We'd rather just stay here.

SALLY
We don't need our own room.

TRACY
Mr. Al.  When are we supposed to go in and identify the murderer?  It gives me the creeps going into a police station.  They busted Angelo and he never came out alive.  How do we know they ain't gonna throw the book at us?

SALLY
I only saw the guy for a few seconds.  I'm not even sure I remember what he looked like.

AL
Look, I've got Irving's word on it.  So relax.  Nothin is gonna happen.  We'll just be going down to look at mug shots.

SALLY
I don't understand.  If they had the guy, took his picture and knew he probably did it, why they let him out?

NICK
Honey, most of those cops have no brains.  They're so busy suckin up to the politicians they let most of the criminals go.  

MARY LOU
Well, I'm not going near that place.  I only saw the back of his head.  I'd like to do some shopping.  Can we use the limo, Nick?

NICK
Sure, anything you want.  I told the D.A. we'd all be in this afternoon.

MONTAGE

EXT. NEW YORK SHOPPING DISTRICT - DAY

Sally, Mary Lou and Tracy are in the limo coming in and out of stores.  The limo pulls out onto Park Avenue with boxes piled on the back.  They stop in front of a clinic.  The three girls get out and take off the packages.  The chauffeur helps them.

EXT. WELFARE CLINIC - DAY

The girls struggle to get in the door of the welfare clinic.  People look at them surprised because they are dressed so nice.

Sally approaches the receptionist.

RECEPTIONIST
Can I help you?

SALLY
Yea, the other day one of your doctors, a real young one, looked at my baby for me.  Is he here?

RECEPTIONIST
You must mean our intern from St. Johns, Dr. Kennedy.  Yes, but he's awful busy.

SALLY
We bought a bunch of clothes for the babies he's lookin after.

Sally points to her friends and the some twenty boxes.

RECEPTIONIST
Well, in that case, maybe I can disturb him.

She calls on her phone.  Mary Lou walks up to Sally.

MARY LOU
Is she getting him?

SALLY
Yea, I think so . . .

Just as she answers, Dr. Kennedy walks into the foyer.

DR. KENNEDY
I heard the news on the television.  A real miracle, huh?

TRACY
Yea, I guess they weren't in such short supply after all.

Sally points to the boxes.

SALLY
Look, doc.  We're all set.  We signed a big record contract and are already making more money than we can spend.  We bought these things for your kids here.

As she speaks, they open the boxes and some of the patients begin to drift in to the foyer.  The girls start handing out shoes and clothes.

DR. KENNEDY
This is unbelievable.

CLOSEUP:  His eyes fill with tears.

TRACY
We've been this route, doc.  We ain't gonna turn our backs on our brothers and sisters just because we're rich and we made it.

SALLY
This homeless poverty just ain't gonna go away because we live in some high rise overlooking Central Park.

Mary Lou looks at a black baby girl and picks out a real cute outfit for her.

MARY LOU
Thanks for not turning us in, doc.  And thanks for helping out our people.  We'll be doing a show after we finish this album.  We'd like you to come.  It's gonna be a benefit for the homeless and drug abusers.

DR. KENNEDY
I'd be delighted.

Mary Lou shocks him by reaching over and kissing him.  Kennedy blushes.

MARY LOU
We'll be back with some more things next week.  Look, just give us a call over at Jam Power Productions if you need anything.  We'll see what we can do.

The girls turn around and walk out.

DR. KENNEDY
Charlene, let's get these boxes in the back so we can more logically distribute these things.

CHARLENE
I've never seen anything like that.

DR. KENNEDY
Wonderful . . .

EXT. BROADMORE HOTEL - DAY - TO ESTABLISH

Hybero wearing his leather trenchcoat walks into the lobby of the hotel.  He ignores the stares of the bellmen and the desk clerk and pushes a button for the fourth floor.

He exits the elevator and knocks on the door.

PROSTITUTE
Who is it?

HYBERO
Room service.

The door opens.  The woman is muttering about not ordering room service.  She steps back as he walks in the room.

HYBERO
Surprised to see me, Cynthia . . .

CLOSEUP:  Cynthia, barely dressed, looks nervously.

CYNTHIA
Yea, you haven't been around in a while.

HYBERO
I found out who fingered me to the police.

Hybero pulls back his coat and puts the cartridge in his gun.

HYBERO
You whore . . .

CYNTHIA
Wait . . .

Her sentence is interrupted by gunfire as she falls to the ground in a heap.  The silencer nuzzle keeps it from being loud.  He shuffles through her purse and removes her I.D.  Puts his gun back in his jacket.  Stops, looks in the mirror, straightens his collar, and walks out of the room.

EXT. STREET - NIGHT

A news stand operator watches a black limo pull up alongside Sharkey's Tavern.  Two nondescript hoodlum types get out and get into a vehicle that pulls up next to them.  The news stand operator picks up a walkie talkie.

OFFICER NEELEY
Roger.  Suspect vehicle just pulled up.  Driver left driving a brown Ford, LTD tag number GHY 767.

POLICE LT.
Units 4, 7 and 10 move in to intercept brown Ford LTD.

EXT. STREETS - NIGHT

Hybero adjusts a pair of infrared glasses and examines the scene from the window of his hotel with Morgenstein standing next to him and Diego.

HYBERO
(fingers the control device)
Let me senor.  I hate these policias.

MORGENSTEIN
Go ahead, before they call in their dog to sniff out the car.  (Hybero detonates the mechanism.  From where they are they can see the explosion.  Bodies are thrown in all directions and the entire front of the bar is on fire.)

POLICE LT.
Shit.  It was a plant.  They've blown up the whole damned street.  Unit 4, did you apprehend the getaway car?

UNIT 4
It disappeared sir.  They must have gone into an underground garage.  It never crossed Broadway.

POLICE LT.
O.K., forget it.  We need every available unit down here now.  I want this area turned upside down.  (He walks over to the burning car.  All three people are dead and burned beyond recognition.  Detective Flynn approaches.)

FLYNN
Sir.  Officer Riley said the two girls that can identify Hybero being at the murder scene came in a few minutes ago with their attorney.  They are also accompanied by Greenspoon from the D.A.'s office.  (He appears visibly shaken.)  You want me to notify Officer Neeley's wife?

POLICE LT.
You better.  I don't think I'd have anything to say.  I'm going back to headquarters.  That bomb had to be set off by remote control.  That means the perpetrators are still around here.  Cordon off this area.  Nobody in or out.  Nobody!  Check all the hotel registrations, all these exclusive apartments, everything.  These guys aren't getting through.  (He pulls out an envelope.)  These are pictures of Diego, Hybero, and Morgenstein.  

INSERTS:

They are shots taken at various functions.  Morgenstein is wearing a tuxedo at a champaign party.  Diego is sitting at a five star restaurant and the shot of Hybero is a mug shot.

POLICE LT.
Have copies of these shown to every doorman and every clerk in the area.

EXT. STREETS - NIGHT

Police units sweep down on the area.  They take charge of all the streets in a block radius and traffic snarls up.  Angry taxi drivers honk their horns, pedestrians are forced to wait in long lines while officers check their IDs.

INT. HOTEL LOBBY - NIGHT

An officer shows a copy of the pictures to a registration clerk.  As the man examines it, the elevator door opens up and Morgenstein starts to walk out with Diego and Hybero.

CLERK
That's them, Officer.  

The officer turns around.  They spot him at the same time, and Hybero opens up with a submachine gun.  The officer and several civilians are shot.  Although the officer gets his service revolver out, he never gets a chance to get a shot off.  The rest of the hotel patrons scatter as Morgenstein and the others rush out the door.

CLERK
(lying on the floor, shot, with a telephone)
Yes.  Emergency at the    . . . St. Regis.  There has been an officer shot.  Three men.  One has a machine gun.  Send an ambulance.  People are dying.

EXT. STREETS - NIGHT

As the three step outside, they see the police blockades set up.  They hop in a silver Mercedes and are driving away when Flynn runs in front of the car.  He gets a shot off right through the front windshield.  It is to the right of the driver and Flynn dives off the road in the nick of time.  Police Lt. is just steppin into his vehicle when he sees what is happening.  His vehicle is in a sidestreet only five hundred yards from where Officer Flynn shot at them.  Their Mercedes picks up speed. 

(CONTINUED)

Hybero opens the rear window and begins to spray people with machine gun fire.  The Lt. engages his car which doesn't turn over immediately, heightening the tension.  The ignition finally engages when the car is 200 feet away.  The Lt. puts the shotgun on the gas pedal and drops the gear shift into drive.  It arrives seconds later in the street right in front of the Mercedes which blows up seconds after impact.  Hybero struggles out of the back seat, still carrying his machine gun.  The Lt. drops him with one shot right through the skull.  Other police officers rush forward.

FLYNN
(pokes over the dead body of Hybero)
No sense running this one in Lt., he ain't movin.  That must have been Diego's car.  That scum won't be dealing nothing except brimstone now.

POLICE LT.
What about O'Rourke?

FLYNN
They shot him in the hotel.  He'll make it.

POLICE LT.
Get this body down to the morgue.  I want positive I.D. made on those two that were in the car, too.  Dental plates, whatever.

INT. MORGUE - NIGHT

The two girls are standing with their backs towards the camera as the Detective pulls the sheet off the body of Hybero.  The Detective takes his head and moves it in their direction.  The hole in his head is the size of a half dollar.

POLICE LT.
Is this him?  This the one you saw coming out of that apartment?

The girls pull the sheet back farther and look at his hand.  It's missing a finger.

TRACY
It's him.

SALLY
He looks a lot whiter, but it looks like his eyes.  (The Detective pulls the sheet back over Hybero's head.)

POLICE LT.
You know girls, one thing still really puzzles me.  We had the biggest manhunt in New York City looking for you and that missing baby.  And nobody could find you.

SALLY
Well, on the streets you just sort of blend into the scenery.  Nobody pays you much mind.  People don't really look at you, they just sort of look right through you.  Like they're ashamed of looking at you.

TRACY
We never meant to cause anyone any harm.  We were just doing what was best for our baby.  (Their lawyer guides them out.)

EXT. STREET - DAY

Leroy, dressed to kill, is walking down the street with a large ghetto blaster and playing harmonica.  He passes Alfred, the amputee, who is selling pencils.

LEROY
Alfred, my man.  What be happening?

ALFRED
(shows off a motorized skateboard)
Look Leroy, Mary Lou came by and bought me this motorized skateboard.  I can travel in style now.  She some girl, that one.

LEROY
I know.  We bought us our very own condominium.  All my brothers and sisters got their own rooms now.  You going to their concert in the Park?

ALFRED
(beams with pride and pulls out a sticker)
Wouldn't miss it for nothin.  A chauffeur supposed to be pickin me up shortly.  I'm supposed to be meetin the Mayor and Governor.  Gonna have my picture taken with them.  Can't wait to send it to my kids.

LEROY
You got kids?

ALFRED
Yea.  Two.  They're both in college.  I don't see them much, but we write all the time.  (A man walks up and buys a pencil.)  Thank you, sir.

LEROY
Well Alfred, be cool.  (He struts on down the street.)

EXT. BUILDING - DAY

The camera zooms in on a sign that says "Leroy's - Best Shine in Town.  Free Weather Coating."  Leroy cruises up where three young fellows are working the chairs.

LEROY
Tommy, my man.  (Interrupts him.)  You're missin the whole essence.  (The well dressed man in the chair looks over the Wall Street Journal inquisitively.)  You got to give it some flair.  Show a little more care.  (Leroy is demonstrating his finesse with the polishing rag.)

TOMMY
I see, man.  All done, sir.

BUSINESSMAN
(examines his shoes)
Very nice.  Keep the change.  (Tommy looks down at the five dollar bill.)

LEROY
You see what I mean.  (He winks.)

INT. DRESSING ROOM - DAY

Mary Lou, Tracy and Sally are primping themselves in front of the mirror.  Al and Nick walk in.

AL
You guys look gorgeous.  You're gonna knock 'em out.  Guess who wants to meet you?  The mayor's wife.  She's gonna give you all an award for those anti-crack songs.

MARY LOU
But you all wrote them.

NICK
We've got our rewards.  This one's gonna be special just for you.  You all are the ones delivering the message.  It's more than just a song to you all.  You all have been there.

The stage manager pokes his head in.

STAGE MANAGER
You all are on.  Let's go.  (The music starts playing the background.  They are escorted past the backstage onlookers, up the stage where they dance out and sing in unison.)  "You can do it."

The camera freezes.  The song continues, and the credits roll.