AMATEUR NIGHT

*****

Nick: (On the phone) Yeah, Shanice Cornell. I just read about it. What do we have?
Cohen: Nothing much. No IDs. The car was stolen. Shanice was only six, Nick. Just playing outside. Jumping rope. My daughter jumps rope.
Nick: What's the thinking, turf war?
Cohen: As Schanke might say, just the usual rattling of spray paint cans. Bottom line is either a turf war or a settling of accounts that's going to lead to one.
Nick: Yeah, well it's too bad Schanke's not around. Some of these gangs operate out of his old neighborhood. They know him.
Cohen: Well, he's not here, is he? I want you on the team to nail the shooter, Nick, before this thing escalates.
Nick: Sure, Captain.
Cohen: Have a nice day.

Nick: Hi.
Natalie: Hi.
Nick: Problem?
Natalie: No. No, no. No. (She focuses on her croissant) I just finished the autopsy on Shanice Cornell. I don't really know why I came here, I just, uh--
Nick: Nat, it's okay. Sit down. Come on.
Natalie: (Sits and sighs) One round, from a nine millimeter. She died instantly. And she was just a--a little thing. You know, Nick?
Nick: One gun. One killer. You sure? (He watches her fiddle with the croissant) Nat?
Natalie: The third kid under twelve to die in a drive-by in the last six months. That stuff never used to happen around here.
Nick: Yeah, I know.
Natalie: I mean, these killers are just children themselves. Now we have eight-year-old gang members killing each other. They have absolutely no concept of what it means to destroy a life. They, they have no concept of life! And that's gotta be our fault, h-how did we forget to teach them about that? I know. I know. That's just the way things are. Live with it. So...are you going to go after the killer?
Nick: Of course.
Natalie: What about Schank?
Nick: Well, there's nothing I can do about that.
Natalie: Do you think he's gonna be okay?
Nick: I have no idea.

Dealer: That's pure grade-A stuff, my man. Stuff'll get you higher than a kite, and happier than a puppy on a pork chop. Pure, Jones, no Clyde can give you better. Keep cool, my man.
Female cop (Alix): Freeze, scumbags! Is that a kilo in your pocket, or are you just glad to see me?
Dealer: No! You're not gonna take me alive! (Gets cover and files several shots)
Alix: Have it your way. Say your prayers! (She fires back and they exchange a lot of shots)

Schanke: (Who had been watching the above) Cut! Cut, cut, cut, cut, cut, cut.... Cut! Come on, Trevor. I'm...I'm sorry, it-it...it's just that her gun, it's...it's a pearl-handled Howitzer, for crying out loud! I mean, no cop would ever use one of those. I.... It is a problem, isn't it?
Trevor (Director): Listen, Officer-
Schanke: Detective. Schanke. Don Schanke. We've met. You're here to...'consult'? Not to disrupt my movie and push me into overtime. You yell cut again, I'll have you thrown off my set.
Alix: What's happening, Trevor?
Trevor: Oh...oh, no problem, Alix, we just had a...a train over your dialogue.
Alix: I didn't hear a train.
Trevor: Well, it wasn't very big. All right everybody, back to one.
Schanke: He's a great director. Um, I'm--I'm sorry, I--I didn't mean to be the cause of any trouble here, it's...and I would never, ever presume to--tell you how to do your job, it's just that I thought you wanted everything to be authentic.
Alix: What, and this isn't?
Schanke: Well, since you're asking, uh.... In a word.... No! I mean, there's too much gunplay, for one thing. An important part of police work is the prevention of violence. Officers are trained to...head off precarious situations.
Alix: Anything else...Officer?
Schanke: Well, now that you're asking, the, um, the dialogue's not quite in the ballpark. I mean, it sounds like it was written by a white guy in the suburbs.
Alix: Well, what would you say?
Schanke: Well, I wouldn't have let the situation get that far out of hand. But if I did, I-I would, uh, convince the perp to lay down his arm and surrender.
Alix: Well, that's not very dramatic, is it?
Schanke: I know an instance where there was one time, this--
Alix: Trevor, we had an understanding. I said I wanted real. I want street.
Trevor: You approved the script, Alix. A-a-and you were right. The script's great. I love the script. But you know, who really cares about the words? I mean, it's action that puts people in the seats.
Alix: *I* put people in the seats, Trevor.
Trevor: Well, yeah, of course you do, but--the action's just there for support. It's totally secondary. Listen, nobody is going to demand their money back because her gun isn't standard issue. Nobody cares. They're watchin' Alix.
Alix: Well, that's true, Trevor, but it's not entirely the point. Now if Officer Shankie wants--
Schanke: Schanke.
Alix: If John Schanke wants--
Schanke: Don Schanke. That's with a 'D'.
Alix: Whatever. If he says it's not real, I want it changed.
Trevor: Alix. I've got five more pages to shoot before I lose my l-- We'll sit down with, um....
Schanke: The detective.
Trevor: The detective, tonight, and we'll make all the fixes you want.
Alix: Trevor. We do the movie right or I'm not in it. Now, I want real, I want grit! And I just had a terrific idea about that....

Schanke: Nick! Nick, I am telling you, she won't come back unless she gets a taste of real police work.
Nick: Well, that's why they pay you the big bucks.
Schanke: Technically, I'm on vacation. Okay, so I'm moonlighting, but uh, I don't have a case or anything.
Nick: Well, talk to Cohen. Maybe she'll let Alix work traffic for a shift.
Schanke: Traffic. Yeah, I can just see it--Alix Logan starring in 'Parking Meter: The Movie'. You're working that drive-by thing, right?
Nick: Yeah, we've put a team together on it. No way.
Schanke: Come on, Nick!
Nick: Schank, she's an actress.
Schanke: Actor. It's the nineties.
Nick: Actor, actress, I mean, one-man band, what's the difference? She is not trained in police work. She's an amateur!

Chicago, Illinois: 1960s

Captain: As far as I'm concerned, you're an amateur. Sure you've got a few citations for bravery back in Edinburgh...and an impressive resume for someone your age.
Nick: Thank you, sir.
Captain: But it doesn't mean squat here in Chicago. In my mind, you're a liability out there. All my recruits go through the academy.
Nick: *You might want to reconsider, sir, in view of the fact that I've passed all of my proficiency tests.*
Captain: But in your case, seeing as you passed all the proficiency tests, I'll put the paperwork through. Should take about a month.
Nick: *Actually, I was hoping I could start tomorrow.*
Captain (on the whammied side): To hell with the red tape. Stop by first thing in the morning and we'll get you started.
Nick: *If you don't mind, sir, I prefer working the night shift.*
Captain: You want the graveyard? Usually I have to break a few kneecaps to get that shift filled. It's yours.
Nick: Thank you, sir.

Schanke: Just for a few days, Nick. We give Alix a little taste, she's happy, and, uh...I look like a hero.
Nick: Talk to Cohen.
Schanke: Cohen? She'd rip off my head and punt with it, you know that. Come on, this is a partner thing, huh? You know you could use my help. We'll be the team. I know that look, you'll do it, huh? One short ride, you won't even know she's in the car!
Nick: You're pushing it.
Schanke: Pushing? I'm begging.
Nick: Ah, you know the gangs better than I do.
Schanke: You won't regret this. Years from now you'll look back on it.... You're right, I'm pushing it. Thanks, Nick. Thanks. Great. Yes.

Alix: How long are we going to wait? Well, what if they don't show?
Nick: They'll be here.
Alix: So where are your other men, up on the rooftops?
Nick: Other men?
Alix: You know...backup. You mean we're all alone?
Schanke: Ms. Logan, you don't call for backup unless you're sure you really need it. I mean, cops don't appreciate false alarms. They've got better things to do.
Alix: But what if these gang members start shooting at us?
Nick: Ms. Logan.
Alix: Oh, Alix, please.
Nick: Ms. Logan. The gangs understand that if they started a war with the police, they'd lose.
Schanke: But we are prepared for, uh, any eventuality, aren't we, Nick? It could get hairy, I mean there was this one time we had a couple of mob goons, and one of them almost flipped out, but, uh, cooler heads prevailed.
Alix: Yeah. Yeah, right. Okay. What about you, Detective Knight?
Nick: What about me?
Alix: Well, I...I really want to get inside your head. See what you see, know what you know.

Czajkowski: I don't know anything about Edinburgh, but it's different in the city of Chicago, my friend. As my new partner, you'll be expected to learn quickly, and correctly.
Nick: I will, sir.
Czajkowski: Ah, well, that's very good news. But tell me, rook, what is the most valuable weapon we have on the streets?
Nick: (Gestures toward his gun) Is it this, sir?
Czajkowski: (picks it up) This...this piece of antiquated machinery? The rook doesn't seem to know the answer, Captain. Are you certain he knows anything?
Captain: You'll have to find out the hard way, Czajkowski.
Czajkowski: The most important weapon we have on the street, young man, are these--our eyes. First line of defense. Every car that passes you by on the beat is a story. Its driver is a story within a story. Every pedestrian has a secret. Now, the trick is to know when the stories and the secrets could give you a problem. So let's get to the job at hand and uh...see what we can see. (Nick nods) I assume you went to college?
Nick: Of course, sir.
Czajkowski: Well, we'll just have to work around that, huh?

Nick: It's...difficult to quantify what we do, Ms. Logan. You can't possibly understand all the nuances after just a few hours on the job. (He hears them approaching) They're here.
Alix: Where? (The gang members become visible and approach)
Schanke: Stay in the car.

G-Roc: Schanke. Whassup?
Schanke: Movin' up in the world, eh, G-Roc?
G-Roc: (Laughs) Like that. Moving up. You know as well as me there's no up...just everywhere the same.
Nick: What can you tell us about the drive-by on River?
G-Roc: That was a scandal. We didn't do that. You know us, Schanke. We don't like guns. We don't *need* no guns.
Schanke: Oh, right, yeah, you're from the Kung Fu, Tae Kwon Do, shuck and jive school, right?
G-Roc: (Sees Alix) Who's the babe?
Schanke: (To Alix) Get back.
Nick: Nobody.
G-Roc: Hey! I know her! In the movies--she's that movie cop with the big--
Schanke: Be nice.
G-Roc: Alix Logan, right? Hey, you her?
Schanke: Come on. (Laughs) Now what would a movie star be doing hanging with yutzes like us? She's a trainee from the academy. So?
G-Roc: It's a B-Dog thing. But you didn't hear it from me. (A van comes through, shooting)

Alix: (Laughing after car chase) That was great! He's terrific. You're terrific!

Cohen: What the hell's wrong with you? I ought to pull your badges for a stunt like that. She had no business riding with you.
Schanke: Well, you see, Captain, we had set up this meeting and--
Cohen: What is this 'we?' You're on vacation.
Schanke: Well, I knew that Nick was working the drive-by, and I thought--
Cohen: You thought you'd get cozy with one of the rich and famous. Can you imagine where we'd be if she'd been hurt or killed?
Schanke: It was a routine meeting, Captain. I didn't anticipate any problems.
Cohen: Didn't we talk about the likelihood of retaliatory raids?
Nick: Yes.
Cohen: I feel like I'm bawling out a couple of rookies here. You should know better. Did you actually manage to do any investigative work?
Nick: Well, nobody's claiming responsibility for the drive-by. They all suspect each other.
Cohen: So basically you're nowhere. I want the actress back on the set where she belongs. And you, go to the beach or something.
Nick: Uh, Captain. Actually, it would, uh, be a help to me if, uh, Schank was with me.
Schanke: Well, I do know a few people, but--Nick can handle it.
Cohen: You really need him? (Nick nods)
Schanke: I got seven vacation days left!
Cohen: Bank 'em for later. (She leaves)
Schanke: But--but they need me! On the set. No. You really had to go and open your big mouth, didn't you?
Nick: Well, you have the contacts.
Schanke: Well, what am I going to tell Alix?
Nick: She's already seen a real police gunfight and a real police car chase. School's out.

Czajkowski: The beat is where the real police work is done. Every crime in the making has its marker. Car where it shouldn't be...man in a cheap suit with hundred-dollar shoes. Now our job is to notice and act *before* there's a need to call down to homicide. Are you listening?
Nick: Yes.
Czajkowski: Ah...but are you hearing? Busboy muckin' around with the garbage. What's wrong with that picture?
Nick: He's doing his job.
Czajkowski: Is he? You like garbage, Nick? Does anyone? And a busboy's knee-deep in it all day. The last thing he wants to do is linger. No, buddy, he fills up his garbage can, comes outside, and puts it in the bin before you can breathe.
Nick: But he's in no hurry.
Czajkowski: So you ask yourself why. Maybe he's waiting for someone.
Nick: He's a lookout. A robbery in progress.
Czajkowski: You keep tabs on him. Don't make an issue of it till I get to a call box for backup. (He leaves)
(Nick watches, and soon the busboy is handed a bag with money in it and a gun)
Busboy: Okay, all right, I got it.
(The busboy and the man that handed him the bag turn to leave. Nick waits a moment, but his partner isn't coming.)
Nick: Police! (Nick gets shot)
Czajkowski: (Coming back) Nick!

Nick: Well. And to what do I owe the pleasure of this visit?
Alix: To make nice. Schanke told me that the captain came down rather hard on you.
Nick: We'll live.
Alix: And I also came to thank you. I learned a lot.
Nick: Well, if you'd listen to Schanke, you'd learn a lot more.
Alix: But you're the man of action.
Nick: The other night was....
Alix: A thrill.
Nick: Unusual. That's the first high-speed chase we've had since...I can't remember when. It just doesn't happen that often.
Alix: Well, why do you keep saying that like you're apologizing?
Nick: I'm not. You expect levels of action and violence that just aren't real.
Alix: Look. I'm tired of doing mediocre action pictures that the critics trash. I want to do something important, something...to be proud of. I take my work very seriously, just like you.
Nick: Then why don't you take Schanke seriously? He's a real cop.

LaCroix: (With an accent) LeCroy. Internal Affairs. You must be Constable Knight.
Nick: Absolutely, sir. Nicholas Knight. (Stands, turns, and drops his accent) What are you doing here?
LaCroix: Oh, the usual, making your life a living hell.
Nick: It already is.
LaCroix: You say that as if it's a bad thing.
Nick: I'm responsible for nearly having my partner killed.
LaCroix: He may yet die.
Nick: Oh, thanks.
LaCroix: (Laughing) Oh, Nicholas! He's only a mortal. It's not really your fault. It was...a 'rookie mistake'.
Nick: It was a mistake I would not have made, had I more training. If I wasn't a vampire, we both would've been killed.
LaCroix: But my dear boy, you *are* a vampire. That's the whole point. You do not need to go through the rigmarole of schooling and training and whatever. *You* are a superior creature.
Nick: Perhaps. But I'm out of my element.
LaCroix: My dear boy, you don't have an element. You're not one of them. Their rules do not apply. And the longer it takes you to realize that, the longer your life will remain the living hell that it already is.

Alix: You know, I'm sorry that I come off like such a pain in the ass, but this is important to me.
Nick: This isn't about you! It isn't a field trip, it is a murder investigation.
Alix: I know what it is and what it's about, and frankly it doesn't matter what you think--or Schanke, or Cohen. The fact is, my movie is bringing in a lot of money into this town.
Nick: Well, there's a lot of film money in this town right now.
Alix: The mayor is very appreciative, and a big fan.
Nick: Oh, so you've been speaking to the mayor.
Alix: I told you, this is important to me. You'll be ordered to extend me every courtesy. And you damn well better do just that.

Schanke: Okay, Keys, what's the word on the street?
Keys: Look, smokin' that kid was a mistake. Nobody called that number. People are kinda jumpy right now.
Schanke: Tell me who did it, Keys, and we'll take care of it. That's what everybody wants, isn't it? Peace? I just need a name.
Keys: You could just let it alone. The B-Dogs are howlin', man. It happened on their turf. Boys are crawlin' all over each other tryin' to find the shooter.
Schanke: I can't 'let it alone.' You know that.
Keys: It was a renegade, Schanke. A renegade thing.
Alix: (Walks in) Good morning.
Keys: Nice piece!
Schanke: Hey! Okay, why...why do you say it was a renegade thing?
(Alix starts taking notes)
Keys: None of the protectors called for it. And now they're on a code red.
Schanke: Oh, we know that. We also know that the B-Dogs retaliated. I was there myself. I almost got my kishke shot off. A name. That's all we need, and everyone will rest easy.
Key: Look, we take care of our own business. (Gets up and accepts an envelope of money from Schanke) Thanks.
Schanke: Yeah.
Keys: Look, Schanke. If we knew who the shooter was, the matter'd be taken care of by now. So you know the fuse is burnin'.
Schanke: Yeah. Thanks.
(Keys leaves)
Alix: That's it? You're just gonna let him walk?
Schanke: Alix, what are you doing in here? If Cohen sees you, I'm a dead man.
Alix: Oh, relax. She can't touch me. Or you.
Schanke: What are you talking about?
Alix: The mayor is a big fan. And he has assured me that I will have full department cooperation.
Schanke: You talked to the mayor?
Alix: Mm-hmm.
Schanke: Oh, ho, ho, ho, great. Oh, now I am in it deep.
Alix: It's no big deal, Don. So, come on...who was that guy?
Schanke: My gang informant. I can't believe you went over Cohen's head!
Alix: I had no choice! If she gives you any trouble, I'll fix it.
Schanke: That's what I'm afraid of.
Alix: So you and this guy get along?
Schanke: I've been running him a few years. We've developed a certain level of trust. I like the guy.
Alix: (Taking notes) And that's essential to get the information?
Schanke: Y-yeah.
Alix: Okay.... Well, what is a, um, 'protector' and a 'code red?'
Schanke: A 'protector,' uh, well, the gangs say they defend their territory and 'code red' is a command within the gangs to take care of a problem within the ranks.
Alix: Ah. You're mad at me, aren't you?
Schanke: No. I'm just...a little tired.

Cohen: Schanke. Office. Now.
Schanke: I wonder if the condemned man gets a last meal.
Alix: Aw. (She chuckles, gives him a kiss on the cheek, then leaves)

Keys: Hey, what's up?
Vendor: Not much.
Keys: Oh, thanks(?).
Vendor: For you, half price.
Keys: (Putting sunglasses on) Oh, these are so cool.(?) (spots Alix) Yo, man, take care of this for me?
Vendor: Sure.

Keys: Boo!
Alix: Aaah!
Keys: You best be takin' a refresher course in surveillance, woman, 'cause you ain't makin' the grade. Schanke, man, what are you thinkin'?
Alix: Yeah, well, Detective Schanke might have believed your Oscar-winning performance back there, but I didn't. You know who pulled the trigger.
Keys: Look, you get your ass back to the barn where it belongs! And you can tell Schanke he can find another mouth on the street.
Alix: No! No, hey, Keys, come on, don't get all bent out of shape. We trust you. It's just that, you know, we're--we're getting a lot of heat from downtown. But, you know, let's just go with..with..with what Schanke said. Now, let's chill this out.
Keys: Uh-huh.
Alix: You know.
Keys: You want somethin' more?
Alix: Yeah. We do.
Keys: Somethin' you can...take to the bank?
Alix: Yeah, it's..it's gotta be something I can cash.
Keys: (Sighs) All right. I'll tell you what. You meet me here this evening, six o'clock, right? I'll deliver the man, all wrapped up for you like a Christmas present.
Alix: Oh, terrific. I knew we could count on you. Thanks.
Keys: Hey, don't mention it. (Alix leaves) Dumb.

Natalie: Here's the report on Shanice Cornell. Not much help to you, I'm afraid, but I-- (Schanke yawns) You look really bagged, Schank.
Schanke: Oh, I am. Either we solve this thing soon, or we've got a major gang war on our hands.
Natalie: You really will have to get some sleep, you know.
Schanke: I'll knock off when Nick comes in, all right?
Natalie: So...what's she like? Alix Logan! Come on! I just--I just think she's great, maybe, um...maybe you could introduce us?
Schanke: Oh, I dunno. Alix and I are on a pretty tight schedule, Nat.
Natalie: 'Alix and I....' My, my, my, my, my....
Schanke: Believe me--it's nothing like that. Well, here comes Nancy Drew now.
Alix: I got him.
Schanke: You got who?
Alix: The shooter!
Natalie: I--I think I'll just--if you don't-- (She leaves)
Alix: Schanke. I happened to run into our informant after I left here today, we got to talking, and....
Schanke: Wait, wait, wait. You 'ran into' him?
Alix: All right, I tailed him, okay, but the fact is he did know something. Now, it took a bit of persuading, but he has promised to meet me at six o'clock, in the alley, to deliver the killer. Ah...'shooter'.
(Cohen steps up)
Cohen: How does she know about Keys?
Schanke: Okay, I had him in here, Captain, but I didn't *tell* her--
Cohen: Miss Logan. Extending every courtesy does not give you carte blanche to interfere with official police business. I could have you arrested for obstruction of an investigation, as well as harassment of a potential witness.
Alix: And my lawyers would be all over you in a heartbeat, Captain, so cut the officious crap. No! I followed a hunch, and I got something that you didn't. Now why don't we just...play it out?
Cohen: Take someone with you, and escort Miss Logan to this meeting. And I mean every step of the way. Report back here immediately.
Schanke: Right, Captain.

Schanke: Okay. Did he ask you to meet him here?
Alix: That's what he said.
Schanke: (to cop) Double around the other end.
Cop: Got it. (He leaves)
Schanke: Okay, did he ask you to bring any money?
Alix: No.
Schanke: Man, he was yankin' your chain!
Alix: Well, why do you say that?
Schanke: The only reason he gives you anything is for the money. No money, no shooter, no Keys. It's that simple. Alix?
Alix: (Who'd pulled back after looking down an alley) Oh!
Schanke: Alix? (Walks over to where Alix is) Oh my God...Keys.

Cohen: Forensics found half a dozen shells. Only two hit him. The shooter wasn't what you call a good shot.
Schanke: Sounds like the guy who killed the Cornell girl. (Accepting an envelope from Cohen) His fee.
Cohen: This is not your fault.
Schanke: Well then, who else's, Captain? He was my snitch.
Cohen: But you didn't lead the killer to him, Schanke. It's the truth, and she knows it. And by the way, Detective, I don't want to see her face again.
(Cohen walks away and Schanke goes over to Alix)
Alix: I didn't want this to happen.
Schanke: No one said you did.
Alix: I just...I..I thought he knew more than he was telling I..I..he seemed like-
Schanke: Like someone in a movie? Alix, there's no writer here. There are no actors, no sweetness-and-light, happy, mushy endings. Even when you know what you're doing!
Alix: I just.... I wanted to know what it was like, you know, I wanted to feel it, I wanted--I wanted to get into the character, be...a cop.
Schanke: Be a cop. You know, I spent two years at the academy, seven years on the beat, and five years in homicide before I knew what I was doing. You know, Alix, you cannot presume to know what goes on inside our heads until you have lived our life.
Alix: I killed that man, didn't I? How do you live with it?
Schanke: Barely. Believe me, a lot of cops can't. They tailspin into...broken marriages, bouts with the bottle, they go on the take. This job, it changes us. It sets us apart. You know, t-the true policemen, the ones that really make it through, they never stop learning. They never forget why they became a cop, which is to...effect some change, to-to do some good.
Alix: But...Keys is dead because of me and my stupid movie.
Schanke: It's not a stupid movie, not if you...help people understand what we do. Listen, I'll have someone take you back to the hotel.
Alix: No, thanks. I think I'd rather walk.
Schanke: Alix, the killer probably saw you with Keys. It's best that someone takes you. (To a nearby cop) Billy!
Billy (cop): Yeah.
Schanke: Could you take her to the hotel? And make sure she doesn't leave her room. Oh, and Alix...I think it's a good idea if you stay away from the precinct.
(Alix nods)
Billy: (Opens the car door) Here you go, ma'am.

Nick: Oh. You don't look so good.
Schanke: I don't feel so good, either.
Nick: Stop blaming yourself, Schank. It's not your fault.
Schanke: Oh, it is. Alix really turned my head. I was so focused on trying to...look good in her eyes that....You know, when I was a kid, my dad took us to California for the summer. Everything in Hollywood was larger than life. I must have stood in Jimmy Cagney's footprints for an hour just doing bad impressions. I loved it all. I wanted to be part of it, and Alix was my chance.
Nick: We all get our heads turned. I let you turn mine.
Schanke: Yeah, but you knew better. I'm not part of her world. I never could be.
Nick: Why don't you go home and get some shut-eye? Hmm? I'll track the canvass teams in the alley. They might turn something up.
Cohen: Just got a call. Alix Logan has disappeared from the hotel.
Schanke: (looking at his empty coffee cup) Is there any way to take caffeine intravenously?

Schanke: (on the phone) Okay, okay, if you hear anything, just get back to me pronto. (Hangs up) Damn. I've tried her agent, her manager, her lawyer, her personal assistant, her personal assistant's personal assistant....
Nick: How about somebody connected to the film itself.
Schanke: Yeah, I'll try the assistant director. (Dials a number) He seems to know everything that's going on, anyway.

Alix: Who's there?

Schanke: Yeah, Carl. Don Schanke. I-I need to find Alix.... Nah, nah, she shook our man at the hotel. D--where could she be? Okay. Yeah, right. What's the number? Thanks! (Hangs up and starts to dial again)
Nick: What'd he say?
Schanke: He suggests we try the one place in the world where she finds true peace and happiness. Her dressing room at the studio.

Alix: Is there somebody there? (She looks around, sees a light flashing on the phone. As she goes to answer it, a teenaged boy puts his foot on the receiver and she screams) Oh! Ah! A...this is a closed set. You'll have to leave. (He stays put and she backs up) I'm gonna have to call the cops.
Teen: You are the cops.

Schanke: I thought at least the security guard would pick up. Ah, we'll go to the studio.
Nick: Let's hope she's there.
Schanke: Let's pray she's there.

Alix: No, look! I'm not who you think I am. I'm an actress. You've--probably seen my movies.
Teen: Seen Arnold, seen Wesley, never seen you.
Alix: I'm Alix Logan!
Teen: And I'm Julia Roberts. (He pulls out a gun) What were you doing with Keys?
Alix: I--I was just--I--I was just...getting into my role.
Teen: Yeah, Right! You--your boy Keys--he--he had a big mouth! You have to go with either him, or me!

Schanke: Hey! Nick, that light wouldn't be on unless film were rolling, and I know for a fact they're not shooting tonight.
Nick: She's in trouble. (He tries the door) It's locked.
Schanke: Stand back. (Shots the lock, breaking it)

Teen: (After catching Alix) Where you goin', huh? Huh? Huh?
Schanke: Freeze! Police!
Teen: Back off or she's dead!
Schanke: I know you.
Teen: You don't know squat!
Schanke: You're a B-Dog.
Teen: They ragged on me, man. Said I wasn't ready.
Schanke: You weren't ready? Oh, I wonder why. What? You're too young? Too green? Not tough enough to be a B-Dog? Yeah. (Puts his gun away) I thought so. So you staged a little demonstration. Showed 'em you had the stuff? What it takes?
Teen: Damn straight, I do.
Schanke: So you killed...a six-year-old girl to prove it.
Teen: That wasn't supposed to happen!
Schanke: Well, that's what did happen, man! Your first taste of blood. Did you feel like a god? Invincible?
Teen: Shut up! (Aims the gun at Schanke)
Schanke: Did you feel like the toughest guy in the world when you slaughtered little Shanice Cornell when she was skipping rope?
Teen: (Aims the gun at Alix) Shut up!
Schanke: Tell me. You feel awful about what you have done. Oh, but you can't. Because you're a tough guy.
Teen: (Shoves Alix away and aims at Schanke again) I didn't mean to. I didn't mean to!! I didn't mean to. I didn't.... (Falls to his knees) I just wanted to show 'em who I was. (Schanke takes his gun) I just wanted to show them who I was. Who I was.... (Schanke pulls him to his feet)
Schanke: Well...now everybody knows.
Nick: Good work, partner.
Schanke: Thanks.
Nick: Go home and get some sleep.
Schanke: Yeah, right, sleep. Not with this pulse rate.
Nick: I'll take care of it. Come on ???.
(Nick leads the teen away and Schanke goes to Alix)
Schanke: You okay?
Alix: I don't know-- I thought you said happy endings only happened in the movies.
Schanke: Well, I don't think Shanice Cornell's family thinks this is a happy ending. Come on.

Nick: Did you hear from the hospital?
Captain: Czajkowski got out of surgery a half hour ago. He'll be fine. I've put you in for a citation. He'd have been dead if it weren't for you.
Nick: Captain, I've been thinking about what you said before. I really should go through the academy.
Captain: What?
Nick: Uh, you were right, sir. Chicago is much different from Edinburgh.
Captain: Uh--we're talking medal, and you want to go back to school?
Nick: No, sir. I have to. There's a lot, um...well sir, there's a lot I've got to learn.

Alix: Freeze! Police. Very carefully, now, hands on top of the head. Hands on top of the head! Now! Do it! O'Grady!
Schanke (after checking one of the guys for weapons): ...uh, what's my line?
Trevor: Cut! Cut! Cut!