The following teleplay is being posted solely for the purpose of showcasing one example of my earlier writing. There'll be a screenplay to follow. This episode was never aired by Witt-Thomas Productions, and this work is not a commodity. It is not posted to be sold for a price or intended to be resold for a price to the general public. Some elements of formatting have been left out, modified and/or condensed for length constraints. Hope you enjoy!
WGA #393383
BEAUTY AND THE BEAST
“One Breath of Innocence”
ACT ONE
FADE IN:
1 EXT. UNNAMED STREET IN A ROUGH AREA OF TOWN –
ESTABLISHING - NIGHT
The CAMERA moves slowly, drawing our attention to the various
activities of the night that locals are engaged in on this street . . .
two prostitutes on one corner, the neon lights overhead announcing
adult entertainment within, a local street gang huddled by their
favorite rendezvous point . . .
DISSOLVE TO:
2 EXT. RUN-DOWN HOTEL LOCATED ON THIS STREET
Three nameless and disheveled characters are loitering by the
front door, engrossed in inaudible conversation as the CAMERA
moves past them and into the hotel lobby, playing around the
lobby to give us a feel of the existing state of disrepair found at
every turn. The CAMERA moves up an ominously silent flight
of stairs and once at the top proceeds to the end of a hallway
where it rests at the closed door to Room 24. Cries of someone
can be heard coming from the other side of the door.
CUT TO:
3. INT. ROOM 24
A beautiful young woman named Lisa Kirstin is delivering a
baby inside the stark hotel room. There are complications with
the delivery and she’s having a difficult time. Two men, Jace
Marinello and Rudy Daniels, are standing above her, glaring
maliciously. Jace is a hard case . . . into dealing, prostitution
and child pornography. Rudy, Jace’s assistant, isn’t so rough
around the edges, although he doesn’t want Jace to know that.
Lisa’s strength is ebbing, with barely enough left to plead for help.
LISA
(whispers breathlessly)
Something’s wrong. Why won’t you take
me to a hospital?
JACE
You brought this on yourself, Lisa! I
told you to lose that kid months ago.
Now I ain’t footin’ the bill for your
careless mistake with one of your tricks!
Lisa’s breathing grows more labored as she gets ready to push.
Rudy looks down at her, suddenly worried.
RUDY
I . . . don’t know, Jace. She’s losing
a lot of blood here.
JACE
(glares at Rudy)
It ain’t . . . my . . . problem!
Lisa screams and falls back unconscious. Rudy sees the baby’s
been born and turns to Jace, terrified.
RUDY
She had the baby! What do we do now?
JACE
(unruffled)
How should I know? Wrap it up in
somethin’.
Jace feels Lisa’s neck for a pulse and then glances at Rudy,
who is wrapping the baby in a towel as it cries.
JACE
Lisa’s dead.
RUDY
(panicked)
What’ll we do?
JACE
(mocking Rudy)
What’ll we do? Get a grip on yourself,
Rudy. We’ll dump the body outside the city
somewhere. It’ll work out.
RUDY
(casts a worried gaze
on the baby)
What about her?
Jace eyes Rudy suspiciously, deciding he doesn’t trust him to
carry out his instructions.
JACE
Give her to me. I’ll take care of her.
You start cleaning up this place.
Rudy turns the baby over with grave misgivings.
CUT TO:
4 EXT. UNNAMED STREET – ESTABLISHING NIGHT
Vincent and Catherine stand huddled together in a shadowed
doorway.
CATHERINE
We lost Jace Marinello again.
VINCENT
This man is elusive.
CATHERINE
And vile. He’s abusing young girls, Vincent,
forcing them into prostitution, child pornography.
But so far the only thing we can get a conviction
on are drug possession charges. He’d be back
on the streets, no disruption to his real business.
We’ve got to get something more solid, then
figure out how he keeps evading us.
VINCENT
Could he be using the tunnels?
CATHERINE
(sighs)
I don’t know, maybe. That might explain his
phantom-like behavior.
VINCENT
We’ll patrol this area as a precaution.
CATHERINE
He’s dangerous, Vincent. Watch your back--
Don't let him surprise you.
VINCENT
You do the same.
CUT TO:
5 EXT. DARK AND DESERTED ALLEY – ESTABLISHING –
NIGHT
Vincent is returning from his excursion above. He walks toward a
tunnel entrance.
CUT TO:
6 INT. TUNNEL ENTRANCE – AN UNFAMILIAR AREA OF
TUNNELS
Vincent opens the grate and makes his way through the tunnel.
He hears movement from behind some boxes and recoils
backward, but then notices the sound as it takes the tone of a
baby crying. Overcome by what he’s hearing, it takes him a
second to compose himself and investigate the disturbance.
Back in a sheltered area Vincent finds the infant girl, wrapped
only in some towels. She’s working herself up to a healthy
squall as the lack of attention has been taking effect. Vincent
tenderly picks her up, cradling her in his arms as he looks about.
Finding no sign of a returning parent he directs his attention back
to the baby, who’s quieted down. He lifts her to his face to get
a better look.
VINCENT
(whispers)
You perfect baby. Someone left you
to die here, but I won’t let that happen.
You will live . . . as I did.
Vincent bundles the infant into his cloak and disappears through
the tunnel.
CUT TO:
7 INT. FATHER’S CHAMBER
Father walks into his study and sees Vincent sitting in a chair,
hiding something in his cloak. The scene ignites Father’s
curiosity . . .
FATHER
Vincent?
VINCENT
(gazes at Father with a warm
smile)
I found something tonight.
FATHER
Yes, I see that.
Vincent slowly removes his cloak, revealing the bundle
underneath. Father is astonished . . .
FATHER
You . . . found . . . this baby?
VINCENT
Yes. Someone . . . left her behind some
boxes in the Broom Street tunnel.
FATHER
In the tunnel?
(walks away for a beat, thinking,
then faces Vincent)
One of our helpers may have found her, or
perhaps this baby’s mother left her there
while she searched for food.
VINCENT
(a resentful expression)
No caring mother would leave her baby
like that. Our helpers would have brought
her to us. She was left to die. Given a fate
worse than mine.
FATHER
The plight of those above must be unspeakable
at times, to force such drastic measures upon
them.
VINCENT
Nothing so drastic as to excuse taking a life.
FATHER
(nods in agreement)
I’m glad you happened along when you did.
Father sits down to watch Vincent, both touched and amused as
he observes Vincent’s gentle interaction with the baby.
DISSOLVE TO:
8 INT. VINCENT’S BEDROOM AREA
Vincent sits on the edge of his bed, bent over the baby as he
tries to get her attention with a toy he holds over her head.
VINCENT
Can you see this, little one? Probably
not . . .
He lays the toy down beside her on the bed and gazes silently
at her for a beat . . .
9 ANOTHER ANGLE – WITH VINCENT
VINCENT
I can’t keep calling you little one. You
must have a name.
(a slow smile)
A name has no life of its own. The person
who bears it brings it to life . . . to beauty.
The passion I feel for the name Catherine
comes from the woman who inspires it.
You’ll do the same for whatever name
you’re given.
10 ANOTHER ANGLE – A CLOSE UP OF THE BABY
The back of Vincent’s head can be seen coming INTO frame
as he leans close to the baby . . .
VINCENT
The world will live to hear your name . . .
as I live to hear hers.
11 ANOTHER ANGLE – WITH VINCENT
VINCENT
This is how it will be for you. I promise.
DISSOLVE TO:
12 INT. FATHER’S CHAMBER
Father tries to read, but is distracted by Vincent and the
baby nearby. Father puts down his book on the table.
FATHER
Vincent, the grief from losing someone you
love is . . . unfathomable. You’re losing your
heart to this little girl; opening yourself
up to more grief than you’ve ever known;
not to mention that keeping her here could
bring the authorities to our very door.
VINCENT
They know nothing of her. If they did, they
wouldn’t know where to look.
FATHER
What about Catherine? The minute she finds
out about this she’ll be forced to notify the
authorities.
VINCENT
Catherine will never betray me.
FATHER
No, but look at the terrible position you’ll put
her in. It could drive a wedge through your
relationship.
VINCENT
(reflects on this a beat)
Catherine has learned to follow her heart. She
won’t deny me the love of this baby, nor will
she condemn me for it.
13 ANOTHER ANGLE – A CLOSE UP OF FATHER
Father frowns over his inability to reason with Vincent.
CUT TO:
14 EXT. STREET CORNER BY THE HOTEL WHERE LISA
DIED –ESTABLISHING - NIGHT
Catherine is dressed to kill, in full make-up and looking every
inch the professional woman of the evening as she stands on
the street corner. A car pulls up in front of her and stops.
15 ANOTHER ANGLE – INT. OF CAR
Sporting a wide grin, Joe Maxwell leans over and rolls down
the passenger window.
16 ANOTHER ANGLE – EXT. JOE’S CAR ON PASSENGER
SIDE
Catherine steps to the car and leans down enough to make eye
contact with Joe.
JOE
Are we celebrating the holidays early
this year? Your attire's rather festive.
CATHERINE
Is that an insult?
JOE
No, not at all . . . you look like one
terrific Christmas present. I’ve been a
good boy all year.
CATHERINE
(a disgusted smirk)
That’s not what I heard. Now would you
please get out of here?
JOE
Okay, I wasn’t that good. Just remember;
I’ve got a Christmas list with your name
at the top of it. We’ll be around the corner
listening, so keep that bug taped to your
stocking stuffers . . .
(beat)
Which reminds me-- just for the sake of
argument, how much do you charge?
17 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
CATHERINE
(gives Joe a death to you look)
More than you can afford.
Catherine is shocked as a strong hand grips her shoulder. The
angle pans out to show Jace Marinello at her side as he leans
into Joe’s window.
JACE
Throw some glass in that pneumonia hole
and disappear. She’s with me.
18 ANOTHER ANGLE – WITH JOE
JOE
Whatever you say, pal.
19 WITH CATHERINE
Catherine gives Joe a last resigned look and turns to Jace as
Joe drives away.
JACE
I take quick notice of outside business in
my territory.
(looks over Catherine)
I’d be blind not to notice you.
CATHERINE
You Jace Marinello?
JACE
Who’s asking?
CATHERINE
My name’s Catherine Chandler.
JACE
Is that name supposed to mean something
to me?
CATHERINE
Not especially. I’m new in town. But you
do know Issac Stubbs?
JACE
Yeah, I know Issac. What about him?
CATHERINE
He sent me to you.
Jace looks around him suspiciously, and then motions for
Catherine to follow him. They walk through a back street and
up a flight of stairs into a deserted building.
20 ANOTHER ANGLE – INT. DESERTED BUILDING –
JACE’S OFFICE
The room is bleak; a desk and chair, two paintings thrown on
the wall and one light overhead. Jace sits at the desk.
CATHERINE
This is your office?
JACE
One of many. I move around alot. Let’s
discuss Issac Stubbs. How’d you meet him?
CATHERINE
Learning to defend myself. A lot of psychopaths
in my line of work.
JACE
Issac Stubbs is known to have a weakness for
the ladies . . . but I don’t trust him. Push
comes to shove, he’s too upstanding for
this sort of thing.
CATHERINE
Issac didn’t send me to you. Your name
came up in conversation and I took it from
there.
JACE
(sarcastic)
Very resourceful.
Jace stands and walks around his desk, leering at Catherine as
he sits on the corner of the desk in front of her.
JACE
I make it a point never to throw new
material on my paying public without my
personal stamp of approval.
21 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
CATHERINE
(calculating)
I make it a point never to undress in
public unless there’s money involved.
You willing to pay?
22 ANOTHER ANGLE – SIDE ANGLE OF JACE AND
CATHERINE
JACE
(pulls out a handful of bills)
Set your price.
CATHERINE
I don’t want money.
(on Jace’s skeptical look)
I’m a performer. I’m looking for a career in
films and I’ve heard you can accommodate me.
So I’ll perform for you, after you perform
for me first.
JACE
(cups her chin in his hand)
The camera would love your face . . .
(walks back around his
desk and opens a drawer)
. . . but I have to wonder about your acting
ability. Just how good are you?
23 WITH CATHERINE
Her eyes widen slightly in alarm and she tenses.
24 ANOTHER ANGLE – SIDE ANGLE OF JACE AND
CATHERINE
Jace pulls a device out of the drawer that he points in
Catherine’s direction. A signal goes off telling him Catherine’s
wired with an electronic bug.
JACE
Not good enough, Miss Chandler!
Jace pulls a gun from the drawer as Catherine dives behind
the desk. His shot misses, and he hears the commotion of
agents and police on the stairs outside, forcing him to flee out
an adjoining office door without pulling off another shot. Joe
and two assistants burst in through the other door. Joe helps
Catherine up while the assistants pursue Jace.
JOE
You okay?
Catherine nods and she and Joe run OUT.
CUT TO:
25 INT. BASEMENT OF DESERTED BUILDING
The basement is empty as the two assistants run IN after
Jace, immediately canvassing the room as Joe and Catherine
follow IN behind them. Joe points to an open window
leading into the alley.
JOE
He’s in the alley!
Joe and the assistants hurry OUT the door after Jace.
Catherine starts to follow, but pauses at the door when she
notices some furniture askew. She pulls the furniture aside
and finds a tunnel entrance. She opens it and steps inside for
a beat, looking around.
26 ANOTHER ANGLE – OPEN BASEMENT WINDOW
A pair of feet are seen running by the window, then pro-
ceeding back more slowly, stopping in front of the window.
JOE (O.S.)
Radcliffe? You still in there?
27 ANOTHER ANGLE – WITH CATHERINE IN THE
TUNNEL
Catherine hears Joe and hurries back into the basement.
28 ANOTHER ANGLE – THE BASEMENT
Catherine moves quickly to replace the furniture in front of
the tunnel entrance as Joe stoops down to have a look
through the window.
JOE
What’re you doing? You're not
performing in there, are you?
CATHERINE
(snorts while shaking
her head)
I'm seeing what I might turn up down here.
JOE
Anything?
CATHERINE
No. How about you?
JOE
Disappeared without a trace. This guy’s
eerie.
Catherine throws a troubled look towards the hidden tunnel
entrance.
CUT TO:
29 INT. TUNNEL ENTRANCE – LATER THAT EVENING
Catherine emerges INTO the tunnel she discovered. She’s
returned with a flashlight and a more appropriate outfit. As
she makes her way cautiously down the tunnel she pulls a
gun from her coat pocket.
30 ANOTHER ANGLE – FURTHER DOWN THE TUNNEL
The CAMERA catches the light from Catherine’s flashlight as
it dances across the tunnel walls for a beat before Catherine
appears around the corner. She stops in the middle of the
connecting tunnels and faces the CAMERA, looking nervous
and lost. She points her flashlight in the opposite direction,
then decides to continue in the direction of the CAMERA.
31 ANOTHER ANGLE – ANOTHER TUNNEL
Catherine advances slowly through this tunnel, and as she
nears a corner she hears a noise around the other side. She
stops short and grips her gun more securely.
VINCENT (O.S.)
Catherine?
Catherine breathes a sigh of relief as Vincent appears around
the corner. Catherine stows her gun and they embrace
momentarily. Vincent pulls away to gaze at Catherine.
VINCENT
You’re lost, Catherine. That could be
dangerous here-- I could sense your fear.
(on Catherine’s nod)
What are you doing in this area of tunnels?
CATHERINE
Following Jace Marinello’s escape route. I
know he’s using the tunnels. I need to locate
where the closest entries are . . . find out
where he’s escaping to.
VINCENT
(thinks a moment, comes to
a hard decision)
Come. I can show you on Father’s map.
Vincent takes Catherine’s hand as they head to Father’s
chamber.
DISSOLVE TO:
32 INT. FATHER’S CHAMBER
Catherine and Vincent stand before a large map spread across
Father’s table. Vincent points to a certain area on the map.
VINCENT
The access where you were is limited. Only
three entries for over a mile.
Vincent grows solemn, turns and walks away from Catherine.
CATHERINE
Vincent? Is there something wrong?
VINCENT
(turns and faces Catherine)
Your Jace Marinello may be guilty of more
than you realize.
CATHERINE
(a confused look)
What do you mean?
Vincent walks to the chamber entrance, turns and extends his
hand to Catherine, silently beckoning for her to follow. She
walks to Vincent and together they walk OUT.
CUT TO:
33 INT. VINCENT’S BEDROOM
The baby is asleep on Vincent’s bed as they ENTER. Catherine
is caught unprepared and gasps under her breath. Vincent picks
up the baby as Catherine walks to them both, lightly touching the
baby’s cheek . . .
CATHERINE
Vincent, whose baby is this?
VINCENT
(slow to answer)
She’s mine.
Catherine is bewildered and smiles at Vincent tenderly, not
knowing what to say . . .
CATHERINE
Yours?
VINCENT
I found her. She was abandoned in the
area of tunnels you were searching.
CATHERINE
(shocked and angry as she
puts it together)
Jace Marinello is responsible for this! I’m
sure of it. One of his girls got in trouble . . .
this was his way of dealing with it. I think
I’ve finally got something I can nail him on!
VINCENT
Any publicity surrounding this case could
pose a serious threat to our world.
CATHERINE
The tunnels are common knowledge, Vincent.
The department knows about them.
VINCENT
The more people the force has staking out
the tunnels, the greater the risk.
CATHERINE
There’ll be no risk. My report won’t mention
the tunnels. I’ll change the location where
she was found to a nearby alley. When we
arrest Marinello he won’t contradict my
location; it would be an admission of guilt.
Vincent grows quiet and morose.
CATHERINE
(softly)
But that doesn’t solve what’s really bothering
you, does it?
(on Vincent’s silence as he
places the baby on the bed)
Vincent, she has to be turned over to Child
Welfare and the proper authorities notified.
That’s my responsibility, my legal obligation.
I have no choice.
VINCENT
(his back still to the CAMERA)
We all have choices. Some harder than others.
She was my secret . . . a secret I chose to share
with you.
CATHERINE
You couldn’t keep this from me. It was only
a matter of time before I found out.
VINCENT
(faces Catherine)
I wouldn’t keep this from you. You are my life!
(beat)
But she’s claimed part of my life as well . . . and
I want her to stay. The world above has
discarded her, Catherine. I can give her the
love they refused to.
CATHERINE
(frustrated)
You’re asking me to compromise my ethics . . .
VINCENT
(interrupts)
For love, Catherine—your love for me, and
my love for this baby. No one’s looking
for her. She’ll not be missed above.
CATHERINE
How can you be sure? The child’s mother may
be a child herself! She could’ve been forced
into this decision. If Marinello condemned this
baby to death he can’t go unpunished!
VINCENT
(unyielding)
Find some other way to get Marinello. Don’t
use her to do it.
CATHERINE
(sighs)
I’ll see what I can do, Vincent-- if I can find
any trace of a parent or relative. If I don’t,
I’ll keep your secret. If I do . . .
VINCENT
You won’t, Catherine.
Catherine’s pensive look rests on Vincent, then the baby.
CUT TO:
34 EXT. D.A.’S OFFICE – ESTABLISHING (STOCK) – DAY
CUT TO:
35 INT. D.A.’S OFFICE – AT CATHERINE’S DESK
The CAMERA follows Catherine as she walks from her desk
through the crowded office until she tracks down Edie.
CATHERINE
Can you take five with me in the break-room?
EDIE
Get serious. No one takes five around here.
It’s fifteen or nothin’.
CATHERINE
How about ten and I’ll buy breakfast?
EDIE
I can live with that.
CUT TO:
36 INT. BREAK-ROOM
Catherine and Edie bring their coffee and breakfast snack to
a remote table in a corner of the room and sit down.
CATHERINE
Edie, I need you to do some of your prized
snooping for me. What I tell you is not for
publication, understand?
EDIE
Hey, I don’t bite the hand that feeds me.
What’ve you got for me?
CATHERINE
A baby.
EDIE
I don’t think so. I ain’t ready for motherhood!
CATHERINE
(laughs lightly)
She’s already spoken for.
EDIE
Anyone I know . . . or am lookin’ at?
CATHERINE
(nods)
I have reason to believe the baby’s mother
worked for Jace Marinello. I need a composite
report on women working for Jace who were
arrested over the past year. That might show
something.
EDIE
Okay, I’ll start there.
(beat)
What if we find her-- what then?
CATHERINE
(heartfelt)
I haven’t allowed myself to dwell on what if’s.
I need to know that no one has more of a claim
to her than I do.
Edie looks thoughtfully at Catherine in silence.
CUT TO:
37 INT. VINCENT’S BEDROOM AREA
Catherine and Vincent sit beside each other on his bed. The
baby sets on his lap as he cradles her against him.
CATHERINE
So far I’ve not come up with any leads on her
mother.
VINCENT
(nods, is silent for a beat)
She is so beautiful.
CATHERINE
Yes.
Catherine smiles as Vincent carefully sets the baby in her arms.
CATHERINE
She’s had quite an impact on you, hasn’t she?
VINCENT
On all of us. Even Father.
CATHERINE
That surprises me.
VINCENT
Father makes a point of bringing possible
repercussions to my attention, but I’ve
watched him with her when he thinks no one
is looking. The love is there. It’s in his eyes.
CATHERINE
Love is . . . what makes children flourish. It
overcomes any lack in a child’s life.
VINCENT
(notes Catherine’s gentle
insinuation)
Anything I’ve ever lacked, Father’s made up for
ten times over. I can speak from experience . . .
love is the catalyst for a happy life.
DISSOLVE TO:
38 INT. FATHER’S CHAMBER
Vincent holds the baby while locked in a tense discussion with
Father.
FATHER
Vincent, I overheard you talking with Catherine
earlier. Couldn’t you hear what she was trying
to tell you? Let me be more to the point: Your
little girl is healthy and normal. She should be
allowed a normal life in the world above.
VINCENT
(jerks his head up angrily)
I don’t call what she’s been through normal!
She’ll know more love here than she’ll ever
experience above.
FATHER
(sighs, tries another tack)
For you, Vincent, love had to be enough. I
could give you little else. An alternative life . . .
was impossible. But for her, she has the entire
world at her doorstep; a world of possibilities.
With the right influence above she can be
whatever she wants to be . . . maybe even
another Catherine.
Vincent makes eye contact with Father as Father’s last remark
hits home. Father sees he has found a chink in Vincent’s armor
and presses the point . . .
FATHER
Catherine wouldn’t be the woman you love
so deeply if she’d been forced to remain here
all her life . . .
VINCENT
(defensive)
You don’t know that.
FATHER
I’m fairly certain. And so are you.
Vincent digests all this slowly, painfully. He gradually stands,
handing over the baby to Father and then turns to leave the
room.
VINCENT
I need some time . . . to think.
Father gazes sympathetically at Vincent as he walks OUT,
then begins to play with the baby as he whispers to her.
FADE OUT
END OF ACT ONE
* * * * * * * * * * * * * * * * * * * * * * * * * * *
ACT TWO
FADE IN:
39 INT. TUNNEL WITH TABLE (STOCK)
CUT TO:
40 INT. OF A TUNNEL PASSAGEWAY
Vincent absorbs the atmosphere of the tunnels as he walks,
deliberately attempting to assess the surrounding living con-
ditions objectively for the first time. He passes various people,
old and young.
DISSOLVE TO:
41 INT. OF ANOTHER TUNNEL PASSAGEWAY
Vincent sees three children being given a reading lesson by an
appointed teacher . . .
DISSOLVE TO:
42 INT. FURTHER ALONG THE TUNNEL PASSAGEWAY
Vincent passes an old man sleeping on the tunnel floor. He
stops, looking puzzled at the man, then crouches on one knee,
gently waking him up.
VINCENT
Don’t you have someplace better to sleep,
Sam?
SAM
I’m fine, Vincent. This beats the hell out of
the benches I used to sleep on. Let me get
back to my dream. I was feeling thirty years
younger, if you know what I mean.
Vincent smiles faintly, leaving the old man to his fantasies.
DISSOLVE TO:
43 INT. VINCENT’S BEDROOM AREA
The baby girl is asleep on her stomach with her face turned
toward the CAMERA, positioned in the middle of Vincent’s
bed. A small blanket covers her from her mid-back down.
Vincent comes to her, sitting on the edge of the bed while he
watches her sleep. He reaches his hand over to caress the
back of her head.
VINCENT
(softly)
You have brought me . . . such joy . . . even
in this brief time. But Father’s right. Your
life awaits you above.
Father walks INTO frame behind Vincent and lays his hand
on Vincent’s shoulder.
FATHER
I know how hard this is for you, Vincent. But
remember you've touched that eternal spark
in her soul. Your love for her made an imprint
there. It will stay with her . . .always.
CUT TO:
44 INT. D.A.’S OFFICE – AT EDIE’S COMPUTER
TERMINAL
Catherine walks up to Edie and sits beside her.
CATHERINE
What have you got for me?
EDIE
(disgusted)
I got Jace’s women in and out of prison more
times than you go shopping, but no mention
of a little bundle on the way for any of them.
So, wouldn’t Jace have more to lose if one
of his teenage film stars had this baby?
CATHERINE
No doubt. But, tracing information on
runaway teens . . .
EDIE
. . . is next to impossible.
Catherine nods her head.
CUT TO:
45 INT. TUNNEL ENTRANCE UNDER CATHERINE’S
BUILDING
Catherine climbs down the ladder under her building to meet
Vincent. She walks around the corner and finds him waiting,
holding the baby wrapped in his arms. Her face clouds over in
a puzzled frown.
CATHERINE
I don’t understand.
VINCENT
I can’t keep her, Catherine. The cost to her
would be too great. So I brought her to you.
Without warning he abruptly places the baby in Catherine’s
arms, as if physically turning her over will sever the heartache
he feels. Catherine looks to Vincent for an explanation.
VINCENT
See that she finds a loving family. Parents
who will help her reach her potential.
CATHERINE
(stunned, deeply concerned)
But . . . Are you sure you want to do this?
VINCENT
(barely audible)
Yes.
Catherine gazes down upon the baby while Vincent turns and
begins to walk away . . .
CATHERINE
Wait! Vincent, I can’t do anything with her
tonight. Please . . . stay with me . . . until I’m
a little more comfortable with this.
Vincent pauses, slowly coming to a decision, then walks back
to Catherine and the baby.
CUT TO:
46 INT. CATHERINE’S LIVING ROOM – ESTABLISHING –
NIGHT
Catherine unlocks her apartment door and walks inside with
two bags of groceries containing diapers, etc. She looks
affectionately at Vincent, who is leaning back on her couch.
The baby is asleep on his chest.
47 ANOTHER ANGLE – VINCENT
Vincent opens his eyes when he hears her come in . . .
CATHERINE
I think I bought one of everything they had.
Vincent nods and smiles. Catherine pads across the floor to
her table and sets down the groceries. After closing the door
she sits down on the couch across from Vincent, something
within her stirring as she taps into the immense love Vincent
feels for the infant.
CATHERINE
(a hushed voice)
Vincent, are you really sure this is what you
want? I’ve never felt you more certain about
anything in your life than keeping this baby.
You convinced me she’s part of you now,
so why this sudden change of heart?
VINCENT
(a beat as he deliberates
how to respond)
Father forced me to put things into proper
perspective.
CATHERINE
What did he say?
VINCENT
(a pained expression)
That . . . she could grow up someday to
become someone much like you . . . but
only if given the same opportunities you
were.
CATHERINE
So much of what I am is because of you.
VINCENT
No, Catherine. Your spirit is your own--
something I can’t take credit for.
CATHERINE
You’ve had to contend with so much pain
in your life. Why add this?
48 ANOTHER ANGLE – A CLOSE UP OF VINCENT
VINCENT
This pain will pass. It’s hers I’m thinking about;
if I force the wrong path upon her. I have no
choice.
49 ANOTHER ANGLE - WITH CATHERINE
CATHERINE
We all have choices, Vincent. You said so
yourself.
50 ANOTHER ANGLE – THE BABY
The baby stirs and awakens. Catherine stands, comes to
Vincent and picks up the baby, nestling her in her arms and
pacifying her with a quiet lullaby as she walks around the
room. Vincent sits up . . .
51 ANOTHER ANGLE – CLOSE UP OF VINCENT
Vincent’s eyes are riveted on Catherine, watching her
maternal display with heartfelt longing.
52 ANOTHER ANGLE – WITH CATHERINE
Sensing the intensity of Vincent's gaze watching her, Catherine
turns to Vincent with a sympathetic smile, her compassion for
his predicament flooding her face.
CUT TO:
53 INT. CATHERINE’S BEDROOM – WINDOWS
ESTABLISHING – NIGHT
The CAMERA plays around the room and comes to rest on
Catherine in bed asleep with the baby next to her. The baby’s
cries of hunger awaken her and she reaches over to a nearby
nightstand for a bottle, raises up on her elbow, checks the
temperature and begins to feed the baby.
CUT TO:
54 INT. CATHERINE’S KITCHEN – WINDOWS
ESTABLISHING – DAY
Catherine has the infant propped in a carrier on her dining
table. She stands above the baby watching her sleep, her
indecisiveness over giving up the baby becoming more evident
as time goes by. She takes a drink of coffee while churning
over just what her course of action should be. The night before
the decision was clear. Now her emotions are fueling her urge
to procrastinate. She puts down the coffee and picks up the
phone, never breaking her gaze on the infant.
CATHERINE
Joe? It’s Cathy. I need a favor. I need
the day off for some personal business.
Can you cover for me?
(beat as she listens)
Thanks, Joe, as always.
Catherine hangs up the phone and walks back to the baby.
CATHERINE
Well, today it’s you and me, kid.
Catherine sips her coffee while she watches the baby.
CUT TO:
55 EXT. MANHATTAN STREET – ESTABLISHING - LATE
AFTERNOON
The CAMERA focuses on an office building from across the
street, and pans back to focus on a taxi pulling INTO frame
and stopping.
CUT TO:
56 INT. BACK SEAT OF TAXI
Catherine has pulled up in the taxi, lifting the baby from her car
seat. The taxi has stopped for her to disembark as she takes a
hard thoughtful look at the building.
CATHERINE
(quietly to the baby)
I can’t turn you over . . . not yet.
(to the taxi driver)
Please take me back to my apartment.
DISSOLVE TO:
57 EXT. ROAD BORDERING OPEN FIELDS OUTSIDE OF
CITY – DAY
A young man is backpacking along the highway as his pet
Labrador scavenges through the field close by. The Labrador
acts true to his nature, nose down to the ground without one
thought of where he’s going.
BACKPACKER
Buddy . . . come back here!
The Labrador comes running, content to stay by his master’s
side for a beat, until he catches a scent and makes a beeline
for the source.
BACKPACKER
Buddy!
(impatient)
Buddy . . . what have you dug up now?
The backpacker is stumped over the dog’s persistent defiance.
58 ANOTHER ANGLE – A CLOSE UP OF THE
BACKPACKER’S FEET
Following the trail of mashed weeds, his stride slows with each
advancing step.
59 A CLOSE UP OF THE LABRADOR
The back of the Labrador is seen through the weeds as it
whimpers and prances over its discovery.
60 BACKPACKER’S FEET
His pace has slowed to one hesitant step at a time.
BACKPACKER
(nervous)
Buddy . . . what have you found, boy?
61 THE LABRADOR
The backpacker reaches the Labrador just as the dog steps
aside and allows the CAMERA to catch sight of the back of
someone’s hair.
CUT TO:
62 EXT. CATHERINE’S BUILDING – ESTABLISHING
(STOCK) – NIGHT
DISSOLVE TO:
63 INT. CATHERINE’S BEDROOM
Catherine is in bed sleeping serenely with the infant. They are
facing out towards her patio. The CAMERA scans from a
front angle around the room until Catherine’s back is facing
the CAMERA and her moonlit patio can be seen in the
background. Vincent appears at the patio door.
64 VINCENT
Basks in the emotionally charged vision of Catherine and the
baby framed before him, gazing into the bedroom for a long
beat before he turns and walks to her patio ledge. He leans on
the ledge, deep in thought as he stares out at the city lights.
65 ANOTHER ANGLE – CATHERINE AND THE BABY
Catherine awakens, sees Vincent on her patio and eases out of
bed so as not to disturb the baby, moving her toward the center
of the bed. She walks to the door and turns the knob.
66 THE BALCONY
Vincent turns around when he hears the click of the door
opening. Catherine opens the door and steps outside, turning
to partially close the door behind her so the night air won’t chill
the infant. She comes to stand before Vincent.
VINCENT
Looking upon the two of you just now . . .
took my breath away.
CATHERINE
(a smile of tender concern)
Are you all right?
VINCENT
I am now.
(beat)
I didn’t mean to awaken you. I’m sorry.
The . . . intense feelings I’ve sensed in you
these past two days . . . confused me. I came
here tonight wanting to understand.
(looks at the baby, then
smiles at Catherine)
You’re falling in love, Catherine.
CATHERINE
Yes.
VINCENT
You haven’t given her to the authorities.
CATHERINE
I tried, Vincent. But my heart and mind
were having a major difference of opinion.
I couldn’t do it.
VINCENT
What was your heart telling you?
CATHERINE
(searching for the words)
That . . . maybe fate intervened to make you
cross her path for a reason, just as it brought
you to me. And believing that as I do, then
maybe fate meant for her to be yours. To be ours.
Catherine walks to the ledge and looks out as she collects her
thoughts.
67 ANOTHER ANGLE – A SIDE VIEW OF CATHERINE
Vincent comes and stands in rapt attention at her opposite side
facing the CAMERA. His expression is awash with disbelief
and hope.
CATHERINE
The problems I’d face gaining legal custody
would be monumental, but I think it can be
done. If so, I can keep her above as you want,
with me.
68 ANOTHER ANGLE – FACING OUT AT THE CITY
CATHERINE
(turns to Vincent)
You know me, Vincent . . . better than anyone.
You know I’ve longed for this, for what’s been
missing from my life . . .
VINCENT
A child. Something you and I could never share.
CATHERINE
Until now. If she were ours, she would grow up
to be part of your world, and part of mine. And
together we could give her the best of both.
She’d lack for nothing.
Vincent turns away from Catherine, slowly pacing to the far end
of the patio, his heart pounding in this throat. Catherine and the
baby . . . his. An unconventional family, but a family nonetheless.
He struggles to keep his emotions under control as he turns to
face Catherine. She sees immediately how overcome he is and
smiles lovingly . . .
CATHERINE
This is what I want, Vincent.
Vincent stands frozen for a moment, the energy from his
impassioned state permeating the airspace. He slowly,
deliberately draws near to Catherine, and she’s transfixed by
the emotion she feels emanating from him. Vincent reaches for
her waist and lifts her high in the air in celebration as Catherine
laughs, surprised and delighted. The tension between them is
magnetic as he slowly lowers her to the ground and they gaze
at one another.
VINCENT
(heartfelt)
To the end of my days I’ll never dream again.
I’ve no need. What you’ve brought to my life
far exceeds any dream I could dare think of.
Their eyes lock for a beat,Vincent’s euphoria flooding over
Catherine as well.
DISSOLVE TO:
69 EXT. D.A.’S OFFICE BUILDING – ESTABLISHING
(STOCK) – DAY
CUT TO:
70 INT. CATHERINE’S OFFICE BUILDING – AT HER
DESK
Catherine’s report is staring her blankly in the face, untouched
for some time as she sits at her desk in contemplation. Edie
walks INTO frame and up to Catherine’s desk. Catherine
smiles blissfully at her as she approaches.
EDIE
Eh-hem, are you with us today?
CATHERINE
More or less.
EDIE
Less would be my vote.
(looks around to be sure
no one’s listening)
I might have a lead on that baby of yours.
By the way, who’s taking care of her today?
CATHERINE
A . . . friend. So, go on.
EDIE
The coroner’s office called up; they have a
woman on ice. They estimate she’s been
dead right at about ten days. Their autopsy
revealed she died from blood loss during
childbirth. Her body was found dumped and
well hidden outside the city.
CATHERINE
The baby?
EDIE
No trace of it. Someone went through a lot
of trouble.
CATHERINE
This could be her. It would explain a lot of
things . . .
EDIE
I’m running an identity check on her right now.
I should know something this afternoon.
CATHERINE
Thanks, Edie.
EDIE
Keep your thanks, girlfriend. This one’s not a
freebie.
CATHERINE
You’re a bandit. How much this time?
EDIE
I want an evening alone with that baby of
yours while you go trippin’ around town.
CATHERINE
(beams)
You can collect on that anytime.
CUT TO:
71 EXT. UNFAMILIAR APARTMENT BUILDING –
ESTABLISHING – DAY
CUT TO:
72 INT. JACE’S APARTMENT
Jace frets, agitated, in his expensive but gaudy apartment.
There are loud paintings and objects d’art strewn clumsily
around the living room, with one live piece making herself
comfortable on the couch. Rudy answers his summons and
Jace dismisses the woman from the living room.
JACE
What did they say?
RUDY
Sharon and Bridgit told me that an
investigator from the D.A.’s office has
been pokin’ her nose around here asking
questions about Lisa.
JACE
Damn! I thought I had that body hidden
where no one would find her!
Jace’s scowl deepens as another thought crosses his mind . . .
JACE
Any word from anyone on that baby?
RUDY
No, nothing. What am I supposed to be
listening for? What’d you do to her?
JACE
Left her in the tunnels.
(on Rudy’s frown of
disapproval)
It was better than the alternative. One of
those phantoms I’ve seen darting around
down there probably found her . . .
RUDY
And if they didn’t?
JACE
(blows up)
Stick to your job and quit asking so many
questions!
RUDY
(frowns)
Sure thing, Jace.
Jace stares out the window, visibly rattled.
JACE
(under his breath)
Some skirt from the D.A.’s office. She
makes my life miserable, I’ll repay the
favor . . . with interest. Find out who
she is, Rudy.
Rudy nods and walks OUT. Jace continues to stare mindlessly
out the window.
FADE OUT
END OF ACT TWO
* * * * * * * * * * * * * * * * * * * * * * * * *
ACT THREE
FADE IN:
73 EXT. OFFICE OF CHILD WELFARE - ESTABLISHING – DAY
A normal hectic street scene . . .
CUT TO:
74 INT. OFFICE OF CHILD WELFARE
Catherine sits in one of the offices, looking as though she’s just
received news of her imminent demise. A middle-aged caseworker
named Mrs. Cavanaugh has given Catherine a verdict she was not
expecting.
CATHERINE
I came here to start proceedings to legally
adopt my baby, and you tell me I can’t
keep her?
MRS. CAVANAUGH
I’m sorry, Miss Chandler, but we have strict
regulations regarding abandoned infants. They
must be placed in the care of qualified foster
families, who have temporary custody until suitable
certified parents can be found to adopt them.
CATHERINE
(heated)
I’m well aware of your regulations! What I want
to know is where do I fit in? I’ve been caring for
this baby . . . loving her like she is my own. The
extenuating circumstances should count for
something!
MRS. CAVANAUGH
I can appreciate how difficult this must be for you.
CATHERINE
No, you can’t. I want to speak with your
supervisor.
MRS. CAVANAUGH
(stands with a resigned expression)
As you wish. If you’ll wait a moment, I’ll see if
Mr. Stewart is in.
Catherine is still reeling, but tries to remain polite, even though it’s
an anemic effort.
CATHERINE
Thank you.
The CAMERA stays on Catherine as Mrs. Cavanaugh goes OUT,
zeroing in on her face as the reality of losing the baby sets in, and
what that will do to Vincent.
CUT TO:
75 INT. MR. STEWART’S OFFICE
Catherine sits in front of Mr. Stewart’s desk, facing an extremely
kind-looking older man, dressed rather commonplace but
impeccably neat. His office is nuts-and-bolts, no unnecessary
frills or decorations. There are certificates, memos and
miscellaneous reminders tacked up all over the walls.
MR. STEWART
I’m sorry, Miss Chandler, really I am, but we
can’t bend the rules, not even in this case.
Think of the couples who’ve been waiting such
a long time, and have gone through the complete
certification program. If we turn over what could
have been their baby to someone outside the
system, can you imagine the repercussions?
CATHERINE
Just tell me what I have to do to become part of
your ‘system’.
MR. STEWART
Well, you’re not married, for one thing.
CATHERINE
(taken aback)
I was given to understand that the marriage
prerequisite wasn’t an issue anymore.
MR. STEWART
A common misconception. To this day a married
couple will still be considered first before a single
parent. It’s antiquated, but that’s how it is.
Before Catherine knows what her mouth is saying, she slips
out . . .
CATHERINE
That won’t be a problem. I’m engaged to be
married . . . soon.
MR. STEWART
Well then, I do have good news. You can’t
legally adopt your baby for two years after
your wedding, but you can have temporary
custody until then . . . providing you go through
the certification program right away. When is
your wedding?
Catherine tries her best to keep her flustered state hidden.
CATHERINE
In two weeks . . . is that soon enough?
MR. STEWART
The sooner the better. I’ll get Mrs. Cavanaugh.
She can start the paperwork.
CATHERINE
Thank you.
Mr. Stewart stands and goes OUT.
76 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
Catherine’s confident mask dissolves into helpless frustration.
CUT TO:
77 EXT. D.A.’S OFFICE – ESTABLISHING (STOCK) – DAY
CUT TO:
78 INT. D.A.’S OFFICE – OUTSIDE JOE’S DOOR
Catherine takes a deep breath and knocks on the door to Joe’s
office.
CATHERINE
(opens the door)
Have you got a few minutes, Joe?
JOE
(cups a hand over the phone)
Sure, Radcliffe, come on in.
Joe finishes his conversation as Catherine closes the door.
79 WITH JOE
Catherine closing the door signals a weighty discussion is forth-
coming. Joe frowns, almost imperceptibly.
JOE
I want the summary of Ross’s testimony
on my desk by the end of the day. Thanks.
Joe hangs up the phone. Catherine has seated herself in front of
his desk as he turns his attention to her, lifting an eyebrow at the
obvious discomfort she’s exhibiting. Joe leans back in his chair
slightly, intrigued.
CATHERINE
There’s no easy way to get into this, so
I’m going to jump right in.
JOE
(smiles seeing her squirm)
By all means.
CATHERINE
I have . . . an incredibly big favor to ask you . . .
and I realize up front that you have every right
to turn me down flat.
JOE
(amused)
It’s not illegal, is it?
CATHERINE
Why would you say that?
JOE
By the way you’re fidgeting around.
CATHERINE
(a slight, nervous laugh)
No, it’s not illegal.
JOE
So . . . . what's the favor?
Catherine pauses and takes another deep breath, ready to
plunge in . . .
80 A CLOSE UP OF CATHERINE
CATHERINE
I have to get married. I need a husband
immediately . . . so I can adopt a baby I’ve
been caring for . . .
81 WITH JOE
JOE
(incredulous as he
interrupts)
Whoa, backtrack . . . what did you just say?
Husband? As in joint tax returns and
community property?
CATHERINE
Yes. Joe . . .
JOE
(interrupts again)
Radcliffe, did I just hear you proposing to
me here?
CATHERINE
Joe, will you listen a minute?
Joe laces his fingers behind his neck, leans further back and
crosses his legs on the desk.
JOE
Go ahead. I don’t want to miss a word of this!
82 ANOTHER ANGLE – BOTH CATHERINE AND JOE
CATHERINE
I found a baby abandoned in an alley off 12th
Street. I’ve been taking care of her for almost
two weeks . . .
JOE
(leans forward, posturing, dropping
his feet to the floor)
What were you doing in an alley off 12th
Street?
CATHERINE
(Joe’s trying her patience)
Can we skip the interrogation? I love this baby,
Joe, and I want to adopt her as my own. But I
can’t get Child Social Services to consider me
seriously without being married first. So I told
them I was getting married . . . in two weeks.
JOE
Two weeks?!! Are you serious?
(shocked over Catherine’s
predicament)
No chance of us just living together first?
(sighs on Catherine’s glare)
Okay, okay. What’s the story on the baby’s
mother?
CATHERINE
She’s dead. She was one of Marinello’s girls.
I’ve checked all leads-- the baby has no one--
except me. So I’m asking your help by
marrying me, on paper, and attending the
certification classes. I won’t interfere with
your life any more than necessary, I promise.
83 WITH JOE
Joe rubs his chin as a smile again finds its way to his face.
Truthfully, it never left.
JOE
On paper, huh? Somehow I thought my
marriage would be more romantic than that.
But then, I also thought I’d be the one doing
the asking. You assertive types never cease
to amaze me.
84 ANOTHER ANGLE – SIDE VIEW OF CATHERINE AND
JOE
CATHERINE
Joe, please. I need this desperately. We can
get divorced just as soon as the adoption is
finalized.
JOE
When will that be?
CATHERINE
(hesitates to give him the bad
news)
In two years.
JOE
TWO YEARS? Cathy, are you really sure you
want to do this? Have you given any thought to
how much this will impede your lifestyle?
CATHERINE
I know what I’m doing. I’m making the right
decision. Question is, is it one you can live
with?
JOE
(shakes his head)
I don’t know, Radcliffe. I’ve gotta’ chew on this
awhile. I’ll give you an answer as soon as I can.
CATHERINE
(nods with a pained smile)
Fair enough.
Catherine stands and unhurriedly leaves his office, closing the
door behind her while glancing at Joe’s expression one last time
as he’s deep in thought.
CUT TO:
85 EXT. JACE’S HOTEL WHERE LISA DIED –
ESTABLISHING – DAY
The street in front of the hotel is quiet. The area doesn’t come
alive until after the sun sets.
CUT TO:
86 INT. HOTEL LOBBY
Catherine walks up to the counter to confront the manager of
the hotel. The manager’s face and body bear the signs of a
life’s worth of hard living. Catherine lays her business card
down on the counter.
CATHERINE
My name is Catherine Chandler; I’m with the
District Attorney’s Office. I’ve been told that a
man by the name of Jace Marinello frequents
this establishment. What can you tell me
about him?
MANAGER
Nothin’. I don’t turn on my payin’ customers.
87 CATHERINE
CATHERINE
(a look of steel)
Look, I know you’re aware of Mr. Marinello’s
line of work. What you may not know is that his
business has branched out, big enough to take
you right down with him, if that’s your choice!
88 ANOTHER ANGLE – THE MANAGER
MANAGER
(drops his voice and leans
forward)
You shouldn’t go throwin’ that puny weight
around. I don’t like your threatening me.
89 WITH CATHERINE
CATHERINE
You don’t have to like it. You can cooperate
and keep your doors open and your assets out
of jail, or not. It’s up to you.
(on his glittering eyes)
And yes, my supervisor knows I’m here.
MANAGER
(deliberates)
What do you want to know?
90 ANOTHER ANGLE – FAVORING THEM BOTH
CATHERINE
Jace Marinello had a girl working for him named
Lisa Kirstin. The last time anyone saw her
alive she was due to give birth. Have you seen
her?
MANAGER
Yeah. About two weeks ago. Jace brought her
up to Room 24. I heard a couple of screams
comin’ from up there.
CATHERINE
(disgusted)
And you didn’t investigate?
MANAGER
With the types we get in here? You would cringe
over the things I hear in this place every night . . .
(over-the-top sarcastic)
. . . so, no, I didn’t investigate.
CATHERINE
Did your maid notice anything out of the ordinary
when she cleaned up the room?
MANAGER
Not really. Other than the room was messy
and . . . all the towels were gone.
CATHERINE
Towels like these?
91 ANOTHER ANGLE – A CLOSE UP OF CATHERINE’S
BAG
From her bag Catherine pulls out a towel that’d been wrapped
around the baby when Vincent found her.
92 CATHERINE AND THE MANAGER
Catherine lays the towel on the counter in front of the manager.
MANAGER
That’s mine. Where’d you get it?
CATHERINE
It was wrapped around Lisa Kirstin’s baby
when it was left to die in an alley. Where’s
Jace now?
MANAGER
(troubled at the revelation)
I don’t know.
(on Catherine’s dubious look)
Really, I don’t. But he uses Room 24 every
Saturday night from 8:00 on, if that’ll help.
CATHERINE
(turns to leave)
Thanks.
MANAGER
Hey, can I have my towel back?
CATHERINE
Sorry, evidence. Take it out of Jace’s bill.
Catherine stops and looks back at the manager with a caustic
smile . . .
CATHERINE
But you’d better collect . . . soon.
CUT TO:
93 INT. D.A.’S OFFICE – AT CATHERINE’S DESK –
EARLY EVENING
Catherine looks up from her desk to see Joe approaching. Her
nerves tighten, realizing that the answer Joe’s bringing will make
such an impact on her life, one way or the other. Joe sits on the
corner of her desk, studying Catherine’s nervousness. His
serious expression relaxes into a smile.
JOE
So . . . when’s the big date?
Catherine’s face lights up with joy as she jumps to her feet and
hugs Joe.
CATHERINE
Thank you, Joe! I’m forever in your debt!
JOE
(still smirking)
Just remember that.
94 ANOTHER ANGLE – THE OFFICE BACKGROUND
BEHIND THEM
Their little display has caught the attention of some office
stragglers who’re still mulling around. Catherine notices them
out of the corner of her eye and she backs off a bit.
CATHERINE
(lowers her voice)
I’ll make an appointment with the Justice Of
The Peace as soon as possible.
JOE
Can’t wait to start playing house, Radcliffe?
CATHERINE
(a knowing smile)
House . . . not Doctor.
CUT TO:
95 EXT. CATHERINE’S BUILDING – ESTABLISHING
(STOCK) – NIGHT
DISSOLVE TO:
96 EXT. CATHERINE’S BALCONY
Vincent and Catherine stand on Catherine’s terrace. Vincent
faces out at the city with his head slightly lowered while
Catherine is turned towards him, absorbing his remorse. Her
impulse to comfort him leads her to reach out and touch his
arm sympathetically.
CATHERINE
I’ve never seen you look so hurt.
VINCENT
(struggling)
I . . . really wanted us to have that baby.
CATHERINE
Vincent, I can get the baby back . . .
Vincent’s surprise is obvious . . .
CATHERINE
. . . but it’ll require sacrifice from both of
us. I have to marry Joe, and go through a
certification program before I can legally
adopt her. You’ll have to keep your distance
until all the classes and home visits are over.
Vincent is speechless, assimilating very little after hearing
Catherine speak of marrying Joe.
VINCENT
You . . . must marry?
CATHERINE
In name only, but that doesn’t change the fact
it won’t be easy on any of us. Joe included.
However, he’s agreed to help, and it’s what
you and I want.
97 WITH VINCENT
VINCENT
(with great hesitation)
Will Joe . . . settle for a marriage in name
only?
98 CATHERINE
Catherine smiles, deeply touched by Vincent’s insecurities and
concern.
CATHERINE
I can handle Joe. Don’t worry.
Vincent holds his silence briefly while letting all this sink in.
99 ANOTHER ANGLE – VINCENT
VINCENT
I envy Joe the next few months.
Catherine steps into Vincent's cloak and hugs him tightly.
FADE OUT
END OF ACT THREE
* * * * * * * * * * * * * * * * * * * * * * * * * * * *
ACT FOUR
FADE IN:
100 EXT. JACE’S HOTEL – ESTABLISHING – NIGHT
Catherine and Joe stand beside the entrance to the hotel,
waiting to hand Jace Marinello an arrest warrant . . .
CATHERINE
Thanks for coming, Joe.
JOE
I love passing out arrest warrants on Saturday
night-- makes me appreciate Mondays so
much more than most people. Why are we
doing this? It isn’t our job.
CATHERINE
It’s important to me that Marinello’s arrest
doesn’t become a media circus.
JOE
Because of the baby?
CATHERINE
Yes.
JOE
I still think we should’ve had backup. You have
a gun?
CATHERINE
No. You wimping out?
(cracks a smile as Joe glares)
We’ve seen Jace, remember? You and I can
take him easily. We only had one chance at this--
if Jace saw our men combing the place he’d
disappear again.
JOE
Are we destined to spend our married life arguing
like this?
CATHERINE
Probably.
A limousine pulls up front fairly close to Catherine and Joe. All
the windows are so darkly tinted it’s impossible to see inside.
Jace steps out from the driver’s seat and heads into the hotel.
101 ANOTHER ANGLE – CATHERINE AND JOE
Catherine and Joe accost Jace at the entrance . . .
CATHERINE
Jace Marinello.
JACE
(hard as nails)
What business is it of yours?
(recognizes Catherine)
The D.A. decoy . . . I thought you might be
the firebrand on my tail.
CATHERINE
I have a warrant here for your . . . arrest . . .
102 ANOTHER ANGLE – FROM BEHIND JACE’S BACK
Catherine and Joe peer around Jace’s shoulders after hearing
the sounds of car doors opening . . .
103 EXT. OF HOTEL WITH LIMO IN FOREGROUND AND
CHARACTERS IN BACKGROUND
Three large musclemen step out of the car from all sides . . .
104 JOE AND CATHERINE
Catherine’s voice trails off into silence, still holding the warrant
in front of her . . .
JOE
(to Catherine as he
clutches her shoulder)
Now see? You shoulda’ listened to me.
(to Jace)
Please excuse the little Mrs. She can be a
bit pig-headed when it comes to her work.
CATHERINE
(kicks Joe in the leg)
We’re in trouble . . . quit kiddin’ around!
JACE
(grins evilly)
Yes, you are!
CUT TO:
105 INT. TUNNEL PASSAGEWAY (STOCK)
Vincent runs through a tunnel having been alerted to
Catherine’s danger . . .
CUT TO:
106 EXT HOTEL – WITH JOE AND CATHERINE
Joe grabs Catherine’s arm . . .
JOE
We didn’t bring enough warrants for Larry,
Moe and Curly! Come on!
They cut and run in a hasty retreat while being chased by Jace
and his three henchmen. The CAMERA follows behind them as
Catherine and Joe round a corner and are confronted by a long
dark alley, which they bolt into with a full head of steam. Their
pursuers are hot on their heels . . .
CUT TO:
107 EXT. HOTEL FRONT ENTRANCE
The manager sees the confrontation between Jace, Catherine
and Joe, then the couple bolting from the scene being chased
around the corner. He rushes outside and hears Joe yell and
sounds of the chase in progress nearby . . .
CUT TO:
108 INT. HOTEL LOBBY
The manager runs in, picks up the lobby phone and calls the
police . . .
CUT TO:
109 EXT. DARK AND DESERTED STREET (STOCK)
Vincent runs full-throttle down a dark street, closing in on the
commotion . . .
CUT TO:
110 EXT. DEAD-END OF A DARK ALLEY
Catherine and Joe have found themselves cut off and, facing
each other for an instant, sudden dread on their faces as they
turn to face the inescapable, they stoop, pick up and hurl
whatever objects they can lay their hands on. Some glance
off of their pursuers, but none of the objects do any real
damage. Jace’s men close in on Joe and leave Catherine to
Jace.
JACE
(sneering)
Little Mrs., huh? You should’ve listened
to your hubby and left me alone.
Catherine crouches in preparation for a one-on-one battle.
111 ANOTHER ANGLE – WITH JOE
Joe puts up an impressive display of brawn and moves, but is
knocked unconscious in spite of his efforts. The men turn to
Jace and Catherine, who’ve been O.S., and they see Catherine
getting the upperhand on Jace as he lands peacefully at rest
next to Joe. The men swarm at Catherine, roughing her up
considerably. Vincent’s roar is heard O.S. as the three men
freeze in their tracks, releasing Catherine, who falls unconscious
to the ground . . .
CUT TO:
112 FLASH CUT – VINCENT’S FANGS
are bared, ready to strike as he growls . . .
113 THE THREE MEN
now find themselves cut off, their eyes going wide in terror.
They strike at Vincent in defense all at once. Vincent lashes out
in a blur of motion that continues until the men fall incapacitated
to the ground. Turning to Catherine, Vincent bends down on
one knee, places an arm underneath her neck and carefully lifts
her head close to him while gently pushing the hair out of her
face with his free hand. He begins to lift her when he hears Joe
moan and the police sirens approaching. Changing his mind he
lays her back down. He sees Joe coming around so he stands
quickly and flees, just as Joe regains his faculties. Joe catches
sight of Vincent through the haze of returning consciousness . . .
JOE
Hey . . . Hey!
But Vincent’s disappeared in the shadows. Joe painfully crawls
over to Catherine and feels her pulse as the police cars
approach in the background . . .
JOE
Hang on Radcliffe, help is here.
114 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
Her face becomes hazy as she fades into a dream . . .
CUT TO:
115 INT. CATHERINE’S APARTMENT – DREAM
SEQUENCE
Catherine watches a scene unfolding in her apartment. A stern-
faced caseworker is prying the baby girl-- now the age of a
toddler-- away from Vincent. She won’t take no for an answer.
CASEWORKER
(glares at Vincent)
We have the authority to take this child now
that Catherine Chandler has died. Her marriage
was a sham . . . and there’s no possibility
we’ll allow you as her guardian!
VINCENT
She’s mine! My daughter! You’re taking from
me all that’s left of my life . . . all I have left of
Catherine! Please . . . don’t do this.
The woman ignores him, leaving with the girl who’s crying for
Vincent. Numb with agony, Vincent, slowly makes his way
onto Catherine’s balcony and deliberately climbs over the
railing, sitting on the ledge . . .
116 A CLOSE UP OF VINCENT
VINCENT
(emotionally charged)
They took our baby away, Catherine.
Now I have nothing.
He looks dully out at the city, the life gone out of him.
VINCENT
I can feel you with me now, so close . . .
(draws out a ragged sigh)
I need you closer still . . . forever.
Vincent jumps off the ledge . . .
CUT TO:
117 INT. HOSPITAL ROOM – CLOSE UP OF CATHERINE
IN BED
Catherine startles awake . . .
CATHERINE
NO!! Vincent!!
Catherine looks around, uncertain of her surroundings, then sees
Mrs. Cavanaugh who’s visited her in the hospital and is standing
over her with a worried gaze . . .
MRS. CAVANAUGH
Do you need help? Should I get a nurse?
CATHERINE
(her voice still shaky)
No. I just had a bad dream.
MRS. CAVANAUGH
I heard you were in the hospital. I wanted
to make sure you’re all right.
CATHERINE
(rubs her bandaged
forehead)
How long have I been here?
MRS. CAVANAUGH
Two days.
CATHERINE
(silent a beat, collecting her
thoughts)
Thank you for your concern.
MRS. CAVANAUGH
(avoids Catherine’s gaze)
I also came to see if you might reconsider your
decision . . .
(as Catherine sighs and turns
her head away)
. . . with your line of work you could've just
as easily been killed the other night. Where
would that leave the baby?
Catherine shakes her head and musters a bitter smile.
CATHERINE
That’s exactly what my nightmare was about.
Mrs. Cavanaugh bends over Catherine, softly entreating her to
listen to reason.
MRS. CAVANAUGH
Yes. You shouted the name Vincent, not Joe.
My instincts tell me this marriage you’re planning
is only to help take possession of that baby.
What kind of marriage is that, for either of you?
(on Catherine’s soft moan)
We have a couple who’ve been waiting for a
child for seven years. The wait’s tearing them
to pieces, and yet they hang on. They’re
exceptional people, Ms. Chandler. Please let
the baby have a family that can fill her days with
happiness . . . but just as important . . . stability.
Catherine begins to cry. Her expression looks far away, seeking
out Vincent, whom she knows can feel what she’s going through.
Realizing she’s said all she can, Mrs. Cavanaugh prepares to
leave, picking up her purse and coat from a nearby chair.
MRS. CAVANAUGH
Let me know what you decide. We’ll be waiting
to hear from you.
Mrs. Cavanaugh goes OUT as Catherine’s eyes follow her. She
lays motionless in her hospital bed with her head turned toward
the door as she sinks into a fully distraught state.
CATHERINE
(whispers)
Vincent . . .
118 ANOTHER ANGLE – A CLOSE UP OF CATHERINE’S
WINDOW-ESTABLISHING – NIGHT
Vincent comes through the window-- he’s been waiting on the
ledge outside and has heard the conversation. Catherine hears
the noise at the window as he enters, and turns her head to find
Vincent standing before her. She smiles, grateful for his
comforting presence. Quickly however, she notices the remorse
written on his face . . .
CATHERINE
You heard.
Vincent nods silently.
CATHERINE
(miserable)
What’re we going to do, Vincent? I
wanted that baby . . . for us.
VINCENT
Yes.
Vincent drops the bed railing between himself and Catherine,
taking her hand . . .
VINCENT
(softly)
Catherine, I think we both know in our
hearts what’s best for that baby. It’s why
we struggle.
Vincent perches himself on the edge of Catherine’s bed, facing
her as he thinks out loud . . .
VINCENT
Having me for a father—besides the obvious
problem of being who I am—would cause her
pain in later years; my being unable to give
her the things a normal father could, being
unable to spend the time with her she needs--
her not being able to tell anyone above about
me. Living between two different worlds could
cause her to become displaced; divided
between your world and mine . . . unsure of
her identity . . . of where she belongs. We’re
doing the right thing by letting her go.
CATHERINE
My heart may know all that, but that doesn’t
mean it isn’t breaking.
Vincent lowers his head, having a hard time keeping his
emotions reigned in. Catherine hesitantly lifts her arm and
brushes her fingers through his hair . . .
119 ANOTHER ANGLE – A CLOSE UP OF VINCENT
Vincent raises his eyes and watches Catherine, sweetly
surprised at the affection she’s showing him . . .
120 ANOTHER ANGLE – CATHERINE
CATHERINE
We’ll have another time, Vincent. I feel it.
121 VINCENT
His expression mirrors Catherine’s; one of adoration . . . and
hope. Catherine’s hand reaches behind Vincent’s neck and
gently pulls him down to her shoulder, closing her eyes to the
feel of his hair falling across her arm. She strokes his hair
slowly as they comfort each other.
DISSOLVE TO:
122 EXT. HOSPITAL BUILDING – ESTABLISHING – DAY
DISSOLVE TO:
123 INT. CATHERINE’S HOSPITAL ROOM
Joe enters her hospital room carrying flowers that he places by
her bedside table. His cheek sports a good-sized bandage from
the ruckus, and he’s wearing an ear-to-ear grin.
JOE
I think we need to lay down a few ground
rules, Radcliffe. I can’t have any wife of
mine out wrestling pimps on Saturday nights.
What would the neighbors say?
CATHERINE
(a faint smile on her face)
Joe, we need to talk.
JOE
Okay.
CATHERINE
My caseworker was here last night. She
told me about a couple she has who’ve
been waiting to adopt a baby . . .
they’ve been waiting seven years. They . . .
can give her more than I ever could.
A real family, to start with.
JOE
(frowns)
So, what are you saying?
CATHERINE
I’m saying I’ve decided to take everyone’s
advice and give up on this idea.
JOE
Can you do that?
CATHERINE
I have to do that. Any other decision would
be unfair to her . . .
(gazes unflinchingly at Joe)
. . . and to you.
JOE
(smiles warmly)
Believe me, Radcliffe; I wasn’t complaining.
It’s not every day I get proposed to by a
beautiful woman-- or even an ugly one. Are
you sure you won’t reconsider the living
together part?
Catherine grins half-heartedly, shaking her head . . .
CATHERINE
You’re such a jerk. How can you make me
laugh when I feel so terrible?
JOE
It’s a special gift I have. Endearing, isn’t it?
CATHERINE
(earnest and serious)
Yes, it is.
JOE
(caught off-guard by
her candor)
Are you going to be all right?
CATHERINE
I get out today, I hope.
JOE
(points to his temple)
I meant up here.
CATHERINE
That’s . . . going to take a while longer.
JOE
Take whatever time you need.
CATHERINE
Thanks, Joe.
Joe prepares to leave, then decides there’s one little piece of
unfinished business that needs to be brought up . . .
JOE
But when you feel up to it, there’s something
we need to discuss.
CATHERINE
I'm up to it. What?
JOE
I’d like to know how we got the upper hand
on four men while lying unconscious.
CATHERINE
The police got there in time to intervene . . .
JOE
The police . . . or your mystery man?
124 ANOTHER ANGLE – WITH CATHERINE
Catherine endeavors to remain calm in the face of Joe’s little
bombshell . . .
JOE
I saw him again when I was coming to; and
no, it wasn’t my imagination. My imagination’s
pretty powerful stuff, but it can’t knock out
four gorillas. And neither can you. It’s time
you leveled with me.
CATHERINE
You're right . . .
JOE
(shocked)
I am?
CATHERINE
I'm not up to it.
JOE
(glares, then smiles
mischievously)
Cathy . . . if we're ever getting this
relationship toward the alter we can't
keep secrets from each other. Tell
me.
CATHERINE
I will . . . when I’m feeling better.
Still smiling, Joe leans over Catherine and plants a kiss on her
bandaged forehead. Catherine winces slightly.
JOE
Don’t think I won’t hold you to that.
CATHERINE
I know better.
DISSOLVE TO:
125 EXT. CATHERINE’S BUILDING – ESTABLISHING
(STOCK) – NIGHT
CUT TO:
126 EXT. TUNNEL ENTRANCE
Catherine and Vincent are standing by the tunnel entrance
underneath her apartment building.
CATHERINE
Vincent, Joe saw you again the other night.
He’s demanding explanations.
VINCENT
Joe is a good man, Catherine. We must have
faith he will keep our secrets.
CATHERINE
He will. In my world he’s the best there is. He
won’t betray us.
(silent a beat, thinking)
At least we got Jace Marinello. He’ll never
destroy another life.
VINCENT
For all he’s guilty of, I don’t think he meant
to harm the baby.
CATHERINE
(surprised)
How can you say that?
VINCENT
Mary told me she’s seen Jace before; they
surprised each other coming around a corner
in that area of tunnels. Mary ran away from him.
Jace purposely left the baby where he knew
she’d be found . . . taken care of.
Catherine senses Vincent’s melancholy and steps close to him.
CATHERINE
Vincent, I want you to know that Elizabeth
is being adopted by a wonderful couple.
He’s a prominent physician . . . she’ll never
want for anything.
VINCENT
You named her Elizabeth. How beautiful.
CATHERINE
I couldn’t say good-bye to her without giving
her something of myself . . . a name I’d give
my baby girl, if I had one. And I did have
one . . . for a little while. So Elizabeth Kirstin
is the name on her birth certificate. Elizabeth
Smithers will be her adopted name.
VINCENT
We’ll hear that name again someday.
CATHERINE
I believe we will.
Vincent and Catherine both smile as she steps fully into his arms
for an embrace. They hold a long beat, then . . .
FADE OUT
THE END
WGA #393383
BEAUTY AND THE BEAST
“One Breath of Innocence”
ACT ONE
FADE IN:
1 EXT. UNNAMED STREET IN A ROUGH AREA OF TOWN –
ESTABLISHING - NIGHT
The CAMERA moves slowly, drawing our attention to the various
activities of the night that locals are engaged in on this street . . .
two prostitutes on one corner, the neon lights overhead announcing
adult entertainment within, a local street gang huddled by their
favorite rendezvous point . . .
DISSOLVE TO:
2 EXT. RUN-DOWN HOTEL LOCATED ON THIS STREET
Three nameless and disheveled characters are loitering by the
front door, engrossed in inaudible conversation as the CAMERA
moves past them and into the hotel lobby, playing around the
lobby to give us a feel of the existing state of disrepair found at
every turn. The CAMERA moves up an ominously silent flight
of stairs and once at the top proceeds to the end of a hallway
where it rests at the closed door to Room 24. Cries of someone
can be heard coming from the other side of the door.
CUT TO:
3. INT. ROOM 24
A beautiful young woman named Lisa Kirstin is delivering a
baby inside the stark hotel room. There are complications with
the delivery and she’s having a difficult time. Two men, Jace
Marinello and Rudy Daniels, are standing above her, glaring
maliciously. Jace is a hard case . . . into dealing, prostitution
and child pornography. Rudy, Jace’s assistant, isn’t so rough
around the edges, although he doesn’t want Jace to know that.
Lisa’s strength is ebbing, with barely enough left to plead for help.
LISA
(whispers breathlessly)
Something’s wrong. Why won’t you take
me to a hospital?
JACE
You brought this on yourself, Lisa! I
told you to lose that kid months ago.
Now I ain’t footin’ the bill for your
careless mistake with one of your tricks!
Lisa’s breathing grows more labored as she gets ready to push.
Rudy looks down at her, suddenly worried.
RUDY
I . . . don’t know, Jace. She’s losing
a lot of blood here.
JACE
(glares at Rudy)
It ain’t . . . my . . . problem!
Lisa screams and falls back unconscious. Rudy sees the baby’s
been born and turns to Jace, terrified.
RUDY
She had the baby! What do we do now?
JACE
(unruffled)
How should I know? Wrap it up in
somethin’.
Jace feels Lisa’s neck for a pulse and then glances at Rudy,
who is wrapping the baby in a towel as it cries.
JACE
Lisa’s dead.
RUDY
(panicked)
What’ll we do?
JACE
(mocking Rudy)
What’ll we do? Get a grip on yourself,
Rudy. We’ll dump the body outside the city
somewhere. It’ll work out.
RUDY
(casts a worried gaze
on the baby)
What about her?
Jace eyes Rudy suspiciously, deciding he doesn’t trust him to
carry out his instructions.
JACE
Give her to me. I’ll take care of her.
You start cleaning up this place.
Rudy turns the baby over with grave misgivings.
CUT TO:
4 EXT. UNNAMED STREET – ESTABLISHING NIGHT
Vincent and Catherine stand huddled together in a shadowed
doorway.
CATHERINE
We lost Jace Marinello again.
VINCENT
This man is elusive.
CATHERINE
And vile. He’s abusing young girls, Vincent,
forcing them into prostitution, child pornography.
But so far the only thing we can get a conviction
on are drug possession charges. He’d be back
on the streets, no disruption to his real business.
We’ve got to get something more solid, then
figure out how he keeps evading us.
VINCENT
Could he be using the tunnels?
CATHERINE
(sighs)
I don’t know, maybe. That might explain his
phantom-like behavior.
VINCENT
We’ll patrol this area as a precaution.
CATHERINE
He’s dangerous, Vincent. Watch your back--
Don't let him surprise you.
VINCENT
You do the same.
CUT TO:
5 EXT. DARK AND DESERTED ALLEY – ESTABLISHING –
NIGHT
Vincent is returning from his excursion above. He walks toward a
tunnel entrance.
CUT TO:
6 INT. TUNNEL ENTRANCE – AN UNFAMILIAR AREA OF
TUNNELS
Vincent opens the grate and makes his way through the tunnel.
He hears movement from behind some boxes and recoils
backward, but then notices the sound as it takes the tone of a
baby crying. Overcome by what he’s hearing, it takes him a
second to compose himself and investigate the disturbance.
Back in a sheltered area Vincent finds the infant girl, wrapped
only in some towels. She’s working herself up to a healthy
squall as the lack of attention has been taking effect. Vincent
tenderly picks her up, cradling her in his arms as he looks about.
Finding no sign of a returning parent he directs his attention back
to the baby, who’s quieted down. He lifts her to his face to get
a better look.
VINCENT
(whispers)
You perfect baby. Someone left you
to die here, but I won’t let that happen.
You will live . . . as I did.
Vincent bundles the infant into his cloak and disappears through
the tunnel.
CUT TO:
7 INT. FATHER’S CHAMBER
Father walks into his study and sees Vincent sitting in a chair,
hiding something in his cloak. The scene ignites Father’s
curiosity . . .
FATHER
Vincent?
VINCENT
(gazes at Father with a warm
smile)
I found something tonight.
FATHER
Yes, I see that.
Vincent slowly removes his cloak, revealing the bundle
underneath. Father is astonished . . .
FATHER
You . . . found . . . this baby?
VINCENT
Yes. Someone . . . left her behind some
boxes in the Broom Street tunnel.
FATHER
In the tunnel?
(walks away for a beat, thinking,
then faces Vincent)
One of our helpers may have found her, or
perhaps this baby’s mother left her there
while she searched for food.
VINCENT
(a resentful expression)
No caring mother would leave her baby
like that. Our helpers would have brought
her to us. She was left to die. Given a fate
worse than mine.
FATHER
The plight of those above must be unspeakable
at times, to force such drastic measures upon
them.
VINCENT
Nothing so drastic as to excuse taking a life.
FATHER
(nods in agreement)
I’m glad you happened along when you did.
Father sits down to watch Vincent, both touched and amused as
he observes Vincent’s gentle interaction with the baby.
DISSOLVE TO:
8 INT. VINCENT’S BEDROOM AREA
Vincent sits on the edge of his bed, bent over the baby as he
tries to get her attention with a toy he holds over her head.
VINCENT
Can you see this, little one? Probably
not . . .
He lays the toy down beside her on the bed and gazes silently
at her for a beat . . .
9 ANOTHER ANGLE – WITH VINCENT
VINCENT
I can’t keep calling you little one. You
must have a name.
(a slow smile)
A name has no life of its own. The person
who bears it brings it to life . . . to beauty.
The passion I feel for the name Catherine
comes from the woman who inspires it.
You’ll do the same for whatever name
you’re given.
10 ANOTHER ANGLE – A CLOSE UP OF THE BABY
The back of Vincent’s head can be seen coming INTO frame
as he leans close to the baby . . .
VINCENT
The world will live to hear your name . . .
as I live to hear hers.
11 ANOTHER ANGLE – WITH VINCENT
VINCENT
This is how it will be for you. I promise.
DISSOLVE TO:
12 INT. FATHER’S CHAMBER
Father tries to read, but is distracted by Vincent and the
baby nearby. Father puts down his book on the table.
FATHER
Vincent, the grief from losing someone you
love is . . . unfathomable. You’re losing your
heart to this little girl; opening yourself
up to more grief than you’ve ever known;
not to mention that keeping her here could
bring the authorities to our very door.
VINCENT
They know nothing of her. If they did, they
wouldn’t know where to look.
FATHER
What about Catherine? The minute she finds
out about this she’ll be forced to notify the
authorities.
VINCENT
Catherine will never betray me.
FATHER
No, but look at the terrible position you’ll put
her in. It could drive a wedge through your
relationship.
VINCENT
(reflects on this a beat)
Catherine has learned to follow her heart. She
won’t deny me the love of this baby, nor will
she condemn me for it.
13 ANOTHER ANGLE – A CLOSE UP OF FATHER
Father frowns over his inability to reason with Vincent.
CUT TO:
14 EXT. STREET CORNER BY THE HOTEL WHERE LISA
DIED –ESTABLISHING - NIGHT
Catherine is dressed to kill, in full make-up and looking every
inch the professional woman of the evening as she stands on
the street corner. A car pulls up in front of her and stops.
15 ANOTHER ANGLE – INT. OF CAR
Sporting a wide grin, Joe Maxwell leans over and rolls down
the passenger window.
16 ANOTHER ANGLE – EXT. JOE’S CAR ON PASSENGER
SIDE
Catherine steps to the car and leans down enough to make eye
contact with Joe.
JOE
Are we celebrating the holidays early
this year? Your attire's rather festive.
CATHERINE
Is that an insult?
JOE
No, not at all . . . you look like one
terrific Christmas present. I’ve been a
good boy all year.
CATHERINE
(a disgusted smirk)
That’s not what I heard. Now would you
please get out of here?
JOE
Okay, I wasn’t that good. Just remember;
I’ve got a Christmas list with your name
at the top of it. We’ll be around the corner
listening, so keep that bug taped to your
stocking stuffers . . .
(beat)
Which reminds me-- just for the sake of
argument, how much do you charge?
17 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
CATHERINE
(gives Joe a death to you look)
More than you can afford.
Catherine is shocked as a strong hand grips her shoulder. The
angle pans out to show Jace Marinello at her side as he leans
into Joe’s window.
JACE
Throw some glass in that pneumonia hole
and disappear. She’s with me.
18 ANOTHER ANGLE – WITH JOE
JOE
Whatever you say, pal.
19 WITH CATHERINE
Catherine gives Joe a last resigned look and turns to Jace as
Joe drives away.
JACE
I take quick notice of outside business in
my territory.
(looks over Catherine)
I’d be blind not to notice you.
CATHERINE
You Jace Marinello?
JACE
Who’s asking?
CATHERINE
My name’s Catherine Chandler.
JACE
Is that name supposed to mean something
to me?
CATHERINE
Not especially. I’m new in town. But you
do know Issac Stubbs?
JACE
Yeah, I know Issac. What about him?
CATHERINE
He sent me to you.
Jace looks around him suspiciously, and then motions for
Catherine to follow him. They walk through a back street and
up a flight of stairs into a deserted building.
20 ANOTHER ANGLE – INT. DESERTED BUILDING –
JACE’S OFFICE
The room is bleak; a desk and chair, two paintings thrown on
the wall and one light overhead. Jace sits at the desk.
CATHERINE
This is your office?
JACE
One of many. I move around alot. Let’s
discuss Issac Stubbs. How’d you meet him?
CATHERINE
Learning to defend myself. A lot of psychopaths
in my line of work.
JACE
Issac Stubbs is known to have a weakness for
the ladies . . . but I don’t trust him. Push
comes to shove, he’s too upstanding for
this sort of thing.
CATHERINE
Issac didn’t send me to you. Your name
came up in conversation and I took it from
there.
JACE
(sarcastic)
Very resourceful.
Jace stands and walks around his desk, leering at Catherine as
he sits on the corner of the desk in front of her.
JACE
I make it a point never to throw new
material on my paying public without my
personal stamp of approval.
21 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
CATHERINE
(calculating)
I make it a point never to undress in
public unless there’s money involved.
You willing to pay?
22 ANOTHER ANGLE – SIDE ANGLE OF JACE AND
CATHERINE
JACE
(pulls out a handful of bills)
Set your price.
CATHERINE
I don’t want money.
(on Jace’s skeptical look)
I’m a performer. I’m looking for a career in
films and I’ve heard you can accommodate me.
So I’ll perform for you, after you perform
for me first.
JACE
(cups her chin in his hand)
The camera would love your face . . .
(walks back around his
desk and opens a drawer)
. . . but I have to wonder about your acting
ability. Just how good are you?
23 WITH CATHERINE
Her eyes widen slightly in alarm and she tenses.
24 ANOTHER ANGLE – SIDE ANGLE OF JACE AND
CATHERINE
Jace pulls a device out of the drawer that he points in
Catherine’s direction. A signal goes off telling him Catherine’s
wired with an electronic bug.
JACE
Not good enough, Miss Chandler!
Jace pulls a gun from the drawer as Catherine dives behind
the desk. His shot misses, and he hears the commotion of
agents and police on the stairs outside, forcing him to flee out
an adjoining office door without pulling off another shot. Joe
and two assistants burst in through the other door. Joe helps
Catherine up while the assistants pursue Jace.
JOE
You okay?
Catherine nods and she and Joe run OUT.
CUT TO:
25 INT. BASEMENT OF DESERTED BUILDING
The basement is empty as the two assistants run IN after
Jace, immediately canvassing the room as Joe and Catherine
follow IN behind them. Joe points to an open window
leading into the alley.
JOE
He’s in the alley!
Joe and the assistants hurry OUT the door after Jace.
Catherine starts to follow, but pauses at the door when she
notices some furniture askew. She pulls the furniture aside
and finds a tunnel entrance. She opens it and steps inside for
a beat, looking around.
26 ANOTHER ANGLE – OPEN BASEMENT WINDOW
A pair of feet are seen running by the window, then pro-
ceeding back more slowly, stopping in front of the window.
JOE (O.S.)
Radcliffe? You still in there?
27 ANOTHER ANGLE – WITH CATHERINE IN THE
TUNNEL
Catherine hears Joe and hurries back into the basement.
28 ANOTHER ANGLE – THE BASEMENT
Catherine moves quickly to replace the furniture in front of
the tunnel entrance as Joe stoops down to have a look
through the window.
JOE
What’re you doing? You're not
performing in there, are you?
CATHERINE
(snorts while shaking
her head)
I'm seeing what I might turn up down here.
JOE
Anything?
CATHERINE
No. How about you?
JOE
Disappeared without a trace. This guy’s
eerie.
Catherine throws a troubled look towards the hidden tunnel
entrance.
CUT TO:
29 INT. TUNNEL ENTRANCE – LATER THAT EVENING
Catherine emerges INTO the tunnel she discovered. She’s
returned with a flashlight and a more appropriate outfit. As
she makes her way cautiously down the tunnel she pulls a
gun from her coat pocket.
30 ANOTHER ANGLE – FURTHER DOWN THE TUNNEL
The CAMERA catches the light from Catherine’s flashlight as
it dances across the tunnel walls for a beat before Catherine
appears around the corner. She stops in the middle of the
connecting tunnels and faces the CAMERA, looking nervous
and lost. She points her flashlight in the opposite direction,
then decides to continue in the direction of the CAMERA.
31 ANOTHER ANGLE – ANOTHER TUNNEL
Catherine advances slowly through this tunnel, and as she
nears a corner she hears a noise around the other side. She
stops short and grips her gun more securely.
VINCENT (O.S.)
Catherine?
Catherine breathes a sigh of relief as Vincent appears around
the corner. Catherine stows her gun and they embrace
momentarily. Vincent pulls away to gaze at Catherine.
VINCENT
You’re lost, Catherine. That could be
dangerous here-- I could sense your fear.
(on Catherine’s nod)
What are you doing in this area of tunnels?
CATHERINE
Following Jace Marinello’s escape route. I
know he’s using the tunnels. I need to locate
where the closest entries are . . . find out
where he’s escaping to.
VINCENT
(thinks a moment, comes to
a hard decision)
Come. I can show you on Father’s map.
Vincent takes Catherine’s hand as they head to Father’s
chamber.
DISSOLVE TO:
32 INT. FATHER’S CHAMBER
Catherine and Vincent stand before a large map spread across
Father’s table. Vincent points to a certain area on the map.
VINCENT
The access where you were is limited. Only
three entries for over a mile.
Vincent grows solemn, turns and walks away from Catherine.
CATHERINE
Vincent? Is there something wrong?
VINCENT
(turns and faces Catherine)
Your Jace Marinello may be guilty of more
than you realize.
CATHERINE
(a confused look)
What do you mean?
Vincent walks to the chamber entrance, turns and extends his
hand to Catherine, silently beckoning for her to follow. She
walks to Vincent and together they walk OUT.
CUT TO:
33 INT. VINCENT’S BEDROOM
The baby is asleep on Vincent’s bed as they ENTER. Catherine
is caught unprepared and gasps under her breath. Vincent picks
up the baby as Catherine walks to them both, lightly touching the
baby’s cheek . . .
CATHERINE
Vincent, whose baby is this?
VINCENT
(slow to answer)
She’s mine.
Catherine is bewildered and smiles at Vincent tenderly, not
knowing what to say . . .
CATHERINE
Yours?
VINCENT
I found her. She was abandoned in the
area of tunnels you were searching.
CATHERINE
(shocked and angry as she
puts it together)
Jace Marinello is responsible for this! I’m
sure of it. One of his girls got in trouble . . .
this was his way of dealing with it. I think
I’ve finally got something I can nail him on!
VINCENT
Any publicity surrounding this case could
pose a serious threat to our world.
CATHERINE
The tunnels are common knowledge, Vincent.
The department knows about them.
VINCENT
The more people the force has staking out
the tunnels, the greater the risk.
CATHERINE
There’ll be no risk. My report won’t mention
the tunnels. I’ll change the location where
she was found to a nearby alley. When we
arrest Marinello he won’t contradict my
location; it would be an admission of guilt.
Vincent grows quiet and morose.
CATHERINE
(softly)
But that doesn’t solve what’s really bothering
you, does it?
(on Vincent’s silence as he
places the baby on the bed)
Vincent, she has to be turned over to Child
Welfare and the proper authorities notified.
That’s my responsibility, my legal obligation.
I have no choice.
VINCENT
(his back still to the CAMERA)
We all have choices. Some harder than others.
She was my secret . . . a secret I chose to share
with you.
CATHERINE
You couldn’t keep this from me. It was only
a matter of time before I found out.
VINCENT
(faces Catherine)
I wouldn’t keep this from you. You are my life!
(beat)
But she’s claimed part of my life as well . . . and
I want her to stay. The world above has
discarded her, Catherine. I can give her the
love they refused to.
CATHERINE
(frustrated)
You’re asking me to compromise my ethics . . .
VINCENT
(interrupts)
For love, Catherine—your love for me, and
my love for this baby. No one’s looking
for her. She’ll not be missed above.
CATHERINE
How can you be sure? The child’s mother may
be a child herself! She could’ve been forced
into this decision. If Marinello condemned this
baby to death he can’t go unpunished!
VINCENT
(unyielding)
Find some other way to get Marinello. Don’t
use her to do it.
CATHERINE
(sighs)
I’ll see what I can do, Vincent-- if I can find
any trace of a parent or relative. If I don’t,
I’ll keep your secret. If I do . . .
VINCENT
You won’t, Catherine.
Catherine’s pensive look rests on Vincent, then the baby.
CUT TO:
34 EXT. D.A.’S OFFICE – ESTABLISHING (STOCK) – DAY
CUT TO:
35 INT. D.A.’S OFFICE – AT CATHERINE’S DESK
The CAMERA follows Catherine as she walks from her desk
through the crowded office until she tracks down Edie.
CATHERINE
Can you take five with me in the break-room?
EDIE
Get serious. No one takes five around here.
It’s fifteen or nothin’.
CATHERINE
How about ten and I’ll buy breakfast?
EDIE
I can live with that.
CUT TO:
36 INT. BREAK-ROOM
Catherine and Edie bring their coffee and breakfast snack to
a remote table in a corner of the room and sit down.
CATHERINE
Edie, I need you to do some of your prized
snooping for me. What I tell you is not for
publication, understand?
EDIE
Hey, I don’t bite the hand that feeds me.
What’ve you got for me?
CATHERINE
A baby.
EDIE
I don’t think so. I ain’t ready for motherhood!
CATHERINE
(laughs lightly)
She’s already spoken for.
EDIE
Anyone I know . . . or am lookin’ at?
CATHERINE
(nods)
I have reason to believe the baby’s mother
worked for Jace Marinello. I need a composite
report on women working for Jace who were
arrested over the past year. That might show
something.
EDIE
Okay, I’ll start there.
(beat)
What if we find her-- what then?
CATHERINE
(heartfelt)
I haven’t allowed myself to dwell on what if’s.
I need to know that no one has more of a claim
to her than I do.
Edie looks thoughtfully at Catherine in silence.
CUT TO:
37 INT. VINCENT’S BEDROOM AREA
Catherine and Vincent sit beside each other on his bed. The
baby sets on his lap as he cradles her against him.
CATHERINE
So far I’ve not come up with any leads on her
mother.
VINCENT
(nods, is silent for a beat)
She is so beautiful.
CATHERINE
Yes.
Catherine smiles as Vincent carefully sets the baby in her arms.
CATHERINE
She’s had quite an impact on you, hasn’t she?
VINCENT
On all of us. Even Father.
CATHERINE
That surprises me.
VINCENT
Father makes a point of bringing possible
repercussions to my attention, but I’ve
watched him with her when he thinks no one
is looking. The love is there. It’s in his eyes.
CATHERINE
Love is . . . what makes children flourish. It
overcomes any lack in a child’s life.
VINCENT
(notes Catherine’s gentle
insinuation)
Anything I’ve ever lacked, Father’s made up for
ten times over. I can speak from experience . . .
love is the catalyst for a happy life.
DISSOLVE TO:
38 INT. FATHER’S CHAMBER
Vincent holds the baby while locked in a tense discussion with
Father.
FATHER
Vincent, I overheard you talking with Catherine
earlier. Couldn’t you hear what she was trying
to tell you? Let me be more to the point: Your
little girl is healthy and normal. She should be
allowed a normal life in the world above.
VINCENT
(jerks his head up angrily)
I don’t call what she’s been through normal!
She’ll know more love here than she’ll ever
experience above.
FATHER
(sighs, tries another tack)
For you, Vincent, love had to be enough. I
could give you little else. An alternative life . . .
was impossible. But for her, she has the entire
world at her doorstep; a world of possibilities.
With the right influence above she can be
whatever she wants to be . . . maybe even
another Catherine.
Vincent makes eye contact with Father as Father’s last remark
hits home. Father sees he has found a chink in Vincent’s armor
and presses the point . . .
FATHER
Catherine wouldn’t be the woman you love
so deeply if she’d been forced to remain here
all her life . . .
VINCENT
(defensive)
You don’t know that.
FATHER
I’m fairly certain. And so are you.
Vincent digests all this slowly, painfully. He gradually stands,
handing over the baby to Father and then turns to leave the
room.
VINCENT
I need some time . . . to think.
Father gazes sympathetically at Vincent as he walks OUT,
then begins to play with the baby as he whispers to her.
FADE OUT
END OF ACT ONE
* * * * * * * * * * * * * * * * * * * * * * * * * * *
ACT TWO
FADE IN:
39 INT. TUNNEL WITH TABLE (STOCK)
CUT TO:
40 INT. OF A TUNNEL PASSAGEWAY
Vincent absorbs the atmosphere of the tunnels as he walks,
deliberately attempting to assess the surrounding living con-
ditions objectively for the first time. He passes various people,
old and young.
DISSOLVE TO:
41 INT. OF ANOTHER TUNNEL PASSAGEWAY
Vincent sees three children being given a reading lesson by an
appointed teacher . . .
DISSOLVE TO:
42 INT. FURTHER ALONG THE TUNNEL PASSAGEWAY
Vincent passes an old man sleeping on the tunnel floor. He
stops, looking puzzled at the man, then crouches on one knee,
gently waking him up.
VINCENT
Don’t you have someplace better to sleep,
Sam?
SAM
I’m fine, Vincent. This beats the hell out of
the benches I used to sleep on. Let me get
back to my dream. I was feeling thirty years
younger, if you know what I mean.
Vincent smiles faintly, leaving the old man to his fantasies.
DISSOLVE TO:
43 INT. VINCENT’S BEDROOM AREA
The baby girl is asleep on her stomach with her face turned
toward the CAMERA, positioned in the middle of Vincent’s
bed. A small blanket covers her from her mid-back down.
Vincent comes to her, sitting on the edge of the bed while he
watches her sleep. He reaches his hand over to caress the
back of her head.
VINCENT
(softly)
You have brought me . . . such joy . . . even
in this brief time. But Father’s right. Your
life awaits you above.
Father walks INTO frame behind Vincent and lays his hand
on Vincent’s shoulder.
FATHER
I know how hard this is for you, Vincent. But
remember you've touched that eternal spark
in her soul. Your love for her made an imprint
there. It will stay with her . . .always.
CUT TO:
44 INT. D.A.’S OFFICE – AT EDIE’S COMPUTER
TERMINAL
Catherine walks up to Edie and sits beside her.
CATHERINE
What have you got for me?
EDIE
(disgusted)
I got Jace’s women in and out of prison more
times than you go shopping, but no mention
of a little bundle on the way for any of them.
So, wouldn’t Jace have more to lose if one
of his teenage film stars had this baby?
CATHERINE
No doubt. But, tracing information on
runaway teens . . .
EDIE
. . . is next to impossible.
Catherine nods her head.
CUT TO:
45 INT. TUNNEL ENTRANCE UNDER CATHERINE’S
BUILDING
Catherine climbs down the ladder under her building to meet
Vincent. She walks around the corner and finds him waiting,
holding the baby wrapped in his arms. Her face clouds over in
a puzzled frown.
CATHERINE
I don’t understand.
VINCENT
I can’t keep her, Catherine. The cost to her
would be too great. So I brought her to you.
Without warning he abruptly places the baby in Catherine’s
arms, as if physically turning her over will sever the heartache
he feels. Catherine looks to Vincent for an explanation.
VINCENT
See that she finds a loving family. Parents
who will help her reach her potential.
CATHERINE
(stunned, deeply concerned)
But . . . Are you sure you want to do this?
VINCENT
(barely audible)
Yes.
Catherine gazes down upon the baby while Vincent turns and
begins to walk away . . .
CATHERINE
Wait! Vincent, I can’t do anything with her
tonight. Please . . . stay with me . . . until I’m
a little more comfortable with this.
Vincent pauses, slowly coming to a decision, then walks back
to Catherine and the baby.
CUT TO:
46 INT. CATHERINE’S LIVING ROOM – ESTABLISHING –
NIGHT
Catherine unlocks her apartment door and walks inside with
two bags of groceries containing diapers, etc. She looks
affectionately at Vincent, who is leaning back on her couch.
The baby is asleep on his chest.
47 ANOTHER ANGLE – VINCENT
Vincent opens his eyes when he hears her come in . . .
CATHERINE
I think I bought one of everything they had.
Vincent nods and smiles. Catherine pads across the floor to
her table and sets down the groceries. After closing the door
she sits down on the couch across from Vincent, something
within her stirring as she taps into the immense love Vincent
feels for the infant.
CATHERINE
(a hushed voice)
Vincent, are you really sure this is what you
want? I’ve never felt you more certain about
anything in your life than keeping this baby.
You convinced me she’s part of you now,
so why this sudden change of heart?
VINCENT
(a beat as he deliberates
how to respond)
Father forced me to put things into proper
perspective.
CATHERINE
What did he say?
VINCENT
(a pained expression)
That . . . she could grow up someday to
become someone much like you . . . but
only if given the same opportunities you
were.
CATHERINE
So much of what I am is because of you.
VINCENT
No, Catherine. Your spirit is your own--
something I can’t take credit for.
CATHERINE
You’ve had to contend with so much pain
in your life. Why add this?
48 ANOTHER ANGLE – A CLOSE UP OF VINCENT
VINCENT
This pain will pass. It’s hers I’m thinking about;
if I force the wrong path upon her. I have no
choice.
49 ANOTHER ANGLE - WITH CATHERINE
CATHERINE
We all have choices, Vincent. You said so
yourself.
50 ANOTHER ANGLE – THE BABY
The baby stirs and awakens. Catherine stands, comes to
Vincent and picks up the baby, nestling her in her arms and
pacifying her with a quiet lullaby as she walks around the
room. Vincent sits up . . .
51 ANOTHER ANGLE – CLOSE UP OF VINCENT
Vincent’s eyes are riveted on Catherine, watching her
maternal display with heartfelt longing.
52 ANOTHER ANGLE – WITH CATHERINE
Sensing the intensity of Vincent's gaze watching her, Catherine
turns to Vincent with a sympathetic smile, her compassion for
his predicament flooding her face.
CUT TO:
53 INT. CATHERINE’S BEDROOM – WINDOWS
ESTABLISHING – NIGHT
The CAMERA plays around the room and comes to rest on
Catherine in bed asleep with the baby next to her. The baby’s
cries of hunger awaken her and she reaches over to a nearby
nightstand for a bottle, raises up on her elbow, checks the
temperature and begins to feed the baby.
CUT TO:
54 INT. CATHERINE’S KITCHEN – WINDOWS
ESTABLISHING – DAY
Catherine has the infant propped in a carrier on her dining
table. She stands above the baby watching her sleep, her
indecisiveness over giving up the baby becoming more evident
as time goes by. She takes a drink of coffee while churning
over just what her course of action should be. The night before
the decision was clear. Now her emotions are fueling her urge
to procrastinate. She puts down the coffee and picks up the
phone, never breaking her gaze on the infant.
CATHERINE
Joe? It’s Cathy. I need a favor. I need
the day off for some personal business.
Can you cover for me?
(beat as she listens)
Thanks, Joe, as always.
Catherine hangs up the phone and walks back to the baby.
CATHERINE
Well, today it’s you and me, kid.
Catherine sips her coffee while she watches the baby.
CUT TO:
55 EXT. MANHATTAN STREET – ESTABLISHING - LATE
AFTERNOON
The CAMERA focuses on an office building from across the
street, and pans back to focus on a taxi pulling INTO frame
and stopping.
CUT TO:
56 INT. BACK SEAT OF TAXI
Catherine has pulled up in the taxi, lifting the baby from her car
seat. The taxi has stopped for her to disembark as she takes a
hard thoughtful look at the building.
CATHERINE
(quietly to the baby)
I can’t turn you over . . . not yet.
(to the taxi driver)
Please take me back to my apartment.
DISSOLVE TO:
57 EXT. ROAD BORDERING OPEN FIELDS OUTSIDE OF
CITY – DAY
A young man is backpacking along the highway as his pet
Labrador scavenges through the field close by. The Labrador
acts true to his nature, nose down to the ground without one
thought of where he’s going.
BACKPACKER
Buddy . . . come back here!
The Labrador comes running, content to stay by his master’s
side for a beat, until he catches a scent and makes a beeline
for the source.
BACKPACKER
Buddy!
(impatient)
Buddy . . . what have you dug up now?
The backpacker is stumped over the dog’s persistent defiance.
58 ANOTHER ANGLE – A CLOSE UP OF THE
BACKPACKER’S FEET
Following the trail of mashed weeds, his stride slows with each
advancing step.
59 A CLOSE UP OF THE LABRADOR
The back of the Labrador is seen through the weeds as it
whimpers and prances over its discovery.
60 BACKPACKER’S FEET
His pace has slowed to one hesitant step at a time.
BACKPACKER
(nervous)
Buddy . . . what have you found, boy?
61 THE LABRADOR
The backpacker reaches the Labrador just as the dog steps
aside and allows the CAMERA to catch sight of the back of
someone’s hair.
CUT TO:
62 EXT. CATHERINE’S BUILDING – ESTABLISHING
(STOCK) – NIGHT
DISSOLVE TO:
63 INT. CATHERINE’S BEDROOM
Catherine is in bed sleeping serenely with the infant. They are
facing out towards her patio. The CAMERA scans from a
front angle around the room until Catherine’s back is facing
the CAMERA and her moonlit patio can be seen in the
background. Vincent appears at the patio door.
64 VINCENT
Basks in the emotionally charged vision of Catherine and the
baby framed before him, gazing into the bedroom for a long
beat before he turns and walks to her patio ledge. He leans on
the ledge, deep in thought as he stares out at the city lights.
65 ANOTHER ANGLE – CATHERINE AND THE BABY
Catherine awakens, sees Vincent on her patio and eases out of
bed so as not to disturb the baby, moving her toward the center
of the bed. She walks to the door and turns the knob.
66 THE BALCONY
Vincent turns around when he hears the click of the door
opening. Catherine opens the door and steps outside, turning
to partially close the door behind her so the night air won’t chill
the infant. She comes to stand before Vincent.
VINCENT
Looking upon the two of you just now . . .
took my breath away.
CATHERINE
(a smile of tender concern)
Are you all right?
VINCENT
I am now.
(beat)
I didn’t mean to awaken you. I’m sorry.
The . . . intense feelings I’ve sensed in you
these past two days . . . confused me. I came
here tonight wanting to understand.
(looks at the baby, then
smiles at Catherine)
You’re falling in love, Catherine.
CATHERINE
Yes.
VINCENT
You haven’t given her to the authorities.
CATHERINE
I tried, Vincent. But my heart and mind
were having a major difference of opinion.
I couldn’t do it.
VINCENT
What was your heart telling you?
CATHERINE
(searching for the words)
That . . . maybe fate intervened to make you
cross her path for a reason, just as it brought
you to me. And believing that as I do, then
maybe fate meant for her to be yours. To be ours.
Catherine walks to the ledge and looks out as she collects her
thoughts.
67 ANOTHER ANGLE – A SIDE VIEW OF CATHERINE
Vincent comes and stands in rapt attention at her opposite side
facing the CAMERA. His expression is awash with disbelief
and hope.
CATHERINE
The problems I’d face gaining legal custody
would be monumental, but I think it can be
done. If so, I can keep her above as you want,
with me.
68 ANOTHER ANGLE – FACING OUT AT THE CITY
CATHERINE
(turns to Vincent)
You know me, Vincent . . . better than anyone.
You know I’ve longed for this, for what’s been
missing from my life . . .
VINCENT
A child. Something you and I could never share.
CATHERINE
Until now. If she were ours, she would grow up
to be part of your world, and part of mine. And
together we could give her the best of both.
She’d lack for nothing.
Vincent turns away from Catherine, slowly pacing to the far end
of the patio, his heart pounding in this throat. Catherine and the
baby . . . his. An unconventional family, but a family nonetheless.
He struggles to keep his emotions under control as he turns to
face Catherine. She sees immediately how overcome he is and
smiles lovingly . . .
CATHERINE
This is what I want, Vincent.
Vincent stands frozen for a moment, the energy from his
impassioned state permeating the airspace. He slowly,
deliberately draws near to Catherine, and she’s transfixed by
the emotion she feels emanating from him. Vincent reaches for
her waist and lifts her high in the air in celebration as Catherine
laughs, surprised and delighted. The tension between them is
magnetic as he slowly lowers her to the ground and they gaze
at one another.
VINCENT
(heartfelt)
To the end of my days I’ll never dream again.
I’ve no need. What you’ve brought to my life
far exceeds any dream I could dare think of.
Their eyes lock for a beat,Vincent’s euphoria flooding over
Catherine as well.
DISSOLVE TO:
69 EXT. D.A.’S OFFICE BUILDING – ESTABLISHING
(STOCK) – DAY
CUT TO:
70 INT. CATHERINE’S OFFICE BUILDING – AT HER
DESK
Catherine’s report is staring her blankly in the face, untouched
for some time as she sits at her desk in contemplation. Edie
walks INTO frame and up to Catherine’s desk. Catherine
smiles blissfully at her as she approaches.
EDIE
Eh-hem, are you with us today?
CATHERINE
More or less.
EDIE
Less would be my vote.
(looks around to be sure
no one’s listening)
I might have a lead on that baby of yours.
By the way, who’s taking care of her today?
CATHERINE
A . . . friend. So, go on.
EDIE
The coroner’s office called up; they have a
woman on ice. They estimate she’s been
dead right at about ten days. Their autopsy
revealed she died from blood loss during
childbirth. Her body was found dumped and
well hidden outside the city.
CATHERINE
The baby?
EDIE
No trace of it. Someone went through a lot
of trouble.
CATHERINE
This could be her. It would explain a lot of
things . . .
EDIE
I’m running an identity check on her right now.
I should know something this afternoon.
CATHERINE
Thanks, Edie.
EDIE
Keep your thanks, girlfriend. This one’s not a
freebie.
CATHERINE
You’re a bandit. How much this time?
EDIE
I want an evening alone with that baby of
yours while you go trippin’ around town.
CATHERINE
(beams)
You can collect on that anytime.
CUT TO:
71 EXT. UNFAMILIAR APARTMENT BUILDING –
ESTABLISHING – DAY
CUT TO:
72 INT. JACE’S APARTMENT
Jace frets, agitated, in his expensive but gaudy apartment.
There are loud paintings and objects d’art strewn clumsily
around the living room, with one live piece making herself
comfortable on the couch. Rudy answers his summons and
Jace dismisses the woman from the living room.
JACE
What did they say?
RUDY
Sharon and Bridgit told me that an
investigator from the D.A.’s office has
been pokin’ her nose around here asking
questions about Lisa.
JACE
Damn! I thought I had that body hidden
where no one would find her!
Jace’s scowl deepens as another thought crosses his mind . . .
JACE
Any word from anyone on that baby?
RUDY
No, nothing. What am I supposed to be
listening for? What’d you do to her?
JACE
Left her in the tunnels.
(on Rudy’s frown of
disapproval)
It was better than the alternative. One of
those phantoms I’ve seen darting around
down there probably found her . . .
RUDY
And if they didn’t?
JACE
(blows up)
Stick to your job and quit asking so many
questions!
RUDY
(frowns)
Sure thing, Jace.
Jace stares out the window, visibly rattled.
JACE
(under his breath)
Some skirt from the D.A.’s office. She
makes my life miserable, I’ll repay the
favor . . . with interest. Find out who
she is, Rudy.
Rudy nods and walks OUT. Jace continues to stare mindlessly
out the window.
FADE OUT
END OF ACT TWO
* * * * * * * * * * * * * * * * * * * * * * * * *
ACT THREE
FADE IN:
73 EXT. OFFICE OF CHILD WELFARE - ESTABLISHING – DAY
A normal hectic street scene . . .
CUT TO:
74 INT. OFFICE OF CHILD WELFARE
Catherine sits in one of the offices, looking as though she’s just
received news of her imminent demise. A middle-aged caseworker
named Mrs. Cavanaugh has given Catherine a verdict she was not
expecting.
CATHERINE
I came here to start proceedings to legally
adopt my baby, and you tell me I can’t
keep her?
MRS. CAVANAUGH
I’m sorry, Miss Chandler, but we have strict
regulations regarding abandoned infants. They
must be placed in the care of qualified foster
families, who have temporary custody until suitable
certified parents can be found to adopt them.
CATHERINE
(heated)
I’m well aware of your regulations! What I want
to know is where do I fit in? I’ve been caring for
this baby . . . loving her like she is my own. The
extenuating circumstances should count for
something!
MRS. CAVANAUGH
I can appreciate how difficult this must be for you.
CATHERINE
No, you can’t. I want to speak with your
supervisor.
MRS. CAVANAUGH
(stands with a resigned expression)
As you wish. If you’ll wait a moment, I’ll see if
Mr. Stewart is in.
Catherine is still reeling, but tries to remain polite, even though it’s
an anemic effort.
CATHERINE
Thank you.
The CAMERA stays on Catherine as Mrs. Cavanaugh goes OUT,
zeroing in on her face as the reality of losing the baby sets in, and
what that will do to Vincent.
CUT TO:
75 INT. MR. STEWART’S OFFICE
Catherine sits in front of Mr. Stewart’s desk, facing an extremely
kind-looking older man, dressed rather commonplace but
impeccably neat. His office is nuts-and-bolts, no unnecessary
frills or decorations. There are certificates, memos and
miscellaneous reminders tacked up all over the walls.
MR. STEWART
I’m sorry, Miss Chandler, really I am, but we
can’t bend the rules, not even in this case.
Think of the couples who’ve been waiting such
a long time, and have gone through the complete
certification program. If we turn over what could
have been their baby to someone outside the
system, can you imagine the repercussions?
CATHERINE
Just tell me what I have to do to become part of
your ‘system’.
MR. STEWART
Well, you’re not married, for one thing.
CATHERINE
(taken aback)
I was given to understand that the marriage
prerequisite wasn’t an issue anymore.
MR. STEWART
A common misconception. To this day a married
couple will still be considered first before a single
parent. It’s antiquated, but that’s how it is.
Before Catherine knows what her mouth is saying, she slips
out . . .
CATHERINE
That won’t be a problem. I’m engaged to be
married . . . soon.
MR. STEWART
Well then, I do have good news. You can’t
legally adopt your baby for two years after
your wedding, but you can have temporary
custody until then . . . providing you go through
the certification program right away. When is
your wedding?
Catherine tries her best to keep her flustered state hidden.
CATHERINE
In two weeks . . . is that soon enough?
MR. STEWART
The sooner the better. I’ll get Mrs. Cavanaugh.
She can start the paperwork.
CATHERINE
Thank you.
Mr. Stewart stands and goes OUT.
76 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
Catherine’s confident mask dissolves into helpless frustration.
CUT TO:
77 EXT. D.A.’S OFFICE – ESTABLISHING (STOCK) – DAY
CUT TO:
78 INT. D.A.’S OFFICE – OUTSIDE JOE’S DOOR
Catherine takes a deep breath and knocks on the door to Joe’s
office.
CATHERINE
(opens the door)
Have you got a few minutes, Joe?
JOE
(cups a hand over the phone)
Sure, Radcliffe, come on in.
Joe finishes his conversation as Catherine closes the door.
79 WITH JOE
Catherine closing the door signals a weighty discussion is forth-
coming. Joe frowns, almost imperceptibly.
JOE
I want the summary of Ross’s testimony
on my desk by the end of the day. Thanks.
Joe hangs up the phone. Catherine has seated herself in front of
his desk as he turns his attention to her, lifting an eyebrow at the
obvious discomfort she’s exhibiting. Joe leans back in his chair
slightly, intrigued.
CATHERINE
There’s no easy way to get into this, so
I’m going to jump right in.
JOE
(smiles seeing her squirm)
By all means.
CATHERINE
I have . . . an incredibly big favor to ask you . . .
and I realize up front that you have every right
to turn me down flat.
JOE
(amused)
It’s not illegal, is it?
CATHERINE
Why would you say that?
JOE
By the way you’re fidgeting around.
CATHERINE
(a slight, nervous laugh)
No, it’s not illegal.
JOE
So . . . . what's the favor?
Catherine pauses and takes another deep breath, ready to
plunge in . . .
80 A CLOSE UP OF CATHERINE
CATHERINE
I have to get married. I need a husband
immediately . . . so I can adopt a baby I’ve
been caring for . . .
81 WITH JOE
JOE
(incredulous as he
interrupts)
Whoa, backtrack . . . what did you just say?
Husband? As in joint tax returns and
community property?
CATHERINE
Yes. Joe . . .
JOE
(interrupts again)
Radcliffe, did I just hear you proposing to
me here?
CATHERINE
Joe, will you listen a minute?
Joe laces his fingers behind his neck, leans further back and
crosses his legs on the desk.
JOE
Go ahead. I don’t want to miss a word of this!
82 ANOTHER ANGLE – BOTH CATHERINE AND JOE
CATHERINE
I found a baby abandoned in an alley off 12th
Street. I’ve been taking care of her for almost
two weeks . . .
JOE
(leans forward, posturing, dropping
his feet to the floor)
What were you doing in an alley off 12th
Street?
CATHERINE
(Joe’s trying her patience)
Can we skip the interrogation? I love this baby,
Joe, and I want to adopt her as my own. But I
can’t get Child Social Services to consider me
seriously without being married first. So I told
them I was getting married . . . in two weeks.
JOE
Two weeks?!! Are you serious?
(shocked over Catherine’s
predicament)
No chance of us just living together first?
(sighs on Catherine’s glare)
Okay, okay. What’s the story on the baby’s
mother?
CATHERINE
She’s dead. She was one of Marinello’s girls.
I’ve checked all leads-- the baby has no one--
except me. So I’m asking your help by
marrying me, on paper, and attending the
certification classes. I won’t interfere with
your life any more than necessary, I promise.
83 WITH JOE
Joe rubs his chin as a smile again finds its way to his face.
Truthfully, it never left.
JOE
On paper, huh? Somehow I thought my
marriage would be more romantic than that.
But then, I also thought I’d be the one doing
the asking. You assertive types never cease
to amaze me.
84 ANOTHER ANGLE – SIDE VIEW OF CATHERINE AND
JOE
CATHERINE
Joe, please. I need this desperately. We can
get divorced just as soon as the adoption is
finalized.
JOE
When will that be?
CATHERINE
(hesitates to give him the bad
news)
In two years.
JOE
TWO YEARS? Cathy, are you really sure you
want to do this? Have you given any thought to
how much this will impede your lifestyle?
CATHERINE
I know what I’m doing. I’m making the right
decision. Question is, is it one you can live
with?
JOE
(shakes his head)
I don’t know, Radcliffe. I’ve gotta’ chew on this
awhile. I’ll give you an answer as soon as I can.
CATHERINE
(nods with a pained smile)
Fair enough.
Catherine stands and unhurriedly leaves his office, closing the
door behind her while glancing at Joe’s expression one last time
as he’s deep in thought.
CUT TO:
85 EXT. JACE’S HOTEL WHERE LISA DIED –
ESTABLISHING – DAY
The street in front of the hotel is quiet. The area doesn’t come
alive until after the sun sets.
CUT TO:
86 INT. HOTEL LOBBY
Catherine walks up to the counter to confront the manager of
the hotel. The manager’s face and body bear the signs of a
life’s worth of hard living. Catherine lays her business card
down on the counter.
CATHERINE
My name is Catherine Chandler; I’m with the
District Attorney’s Office. I’ve been told that a
man by the name of Jace Marinello frequents
this establishment. What can you tell me
about him?
MANAGER
Nothin’. I don’t turn on my payin’ customers.
87 CATHERINE
CATHERINE
(a look of steel)
Look, I know you’re aware of Mr. Marinello’s
line of work. What you may not know is that his
business has branched out, big enough to take
you right down with him, if that’s your choice!
88 ANOTHER ANGLE – THE MANAGER
MANAGER
(drops his voice and leans
forward)
You shouldn’t go throwin’ that puny weight
around. I don’t like your threatening me.
89 WITH CATHERINE
CATHERINE
You don’t have to like it. You can cooperate
and keep your doors open and your assets out
of jail, or not. It’s up to you.
(on his glittering eyes)
And yes, my supervisor knows I’m here.
MANAGER
(deliberates)
What do you want to know?
90 ANOTHER ANGLE – FAVORING THEM BOTH
CATHERINE
Jace Marinello had a girl working for him named
Lisa Kirstin. The last time anyone saw her
alive she was due to give birth. Have you seen
her?
MANAGER
Yeah. About two weeks ago. Jace brought her
up to Room 24. I heard a couple of screams
comin’ from up there.
CATHERINE
(disgusted)
And you didn’t investigate?
MANAGER
With the types we get in here? You would cringe
over the things I hear in this place every night . . .
(over-the-top sarcastic)
. . . so, no, I didn’t investigate.
CATHERINE
Did your maid notice anything out of the ordinary
when she cleaned up the room?
MANAGER
Not really. Other than the room was messy
and . . . all the towels were gone.
CATHERINE
Towels like these?
91 ANOTHER ANGLE – A CLOSE UP OF CATHERINE’S
BAG
From her bag Catherine pulls out a towel that’d been wrapped
around the baby when Vincent found her.
92 CATHERINE AND THE MANAGER
Catherine lays the towel on the counter in front of the manager.
MANAGER
That’s mine. Where’d you get it?
CATHERINE
It was wrapped around Lisa Kirstin’s baby
when it was left to die in an alley. Where’s
Jace now?
MANAGER
(troubled at the revelation)
I don’t know.
(on Catherine’s dubious look)
Really, I don’t. But he uses Room 24 every
Saturday night from 8:00 on, if that’ll help.
CATHERINE
(turns to leave)
Thanks.
MANAGER
Hey, can I have my towel back?
CATHERINE
Sorry, evidence. Take it out of Jace’s bill.
Catherine stops and looks back at the manager with a caustic
smile . . .
CATHERINE
But you’d better collect . . . soon.
CUT TO:
93 INT. D.A.’S OFFICE – AT CATHERINE’S DESK –
EARLY EVENING
Catherine looks up from her desk to see Joe approaching. Her
nerves tighten, realizing that the answer Joe’s bringing will make
such an impact on her life, one way or the other. Joe sits on the
corner of her desk, studying Catherine’s nervousness. His
serious expression relaxes into a smile.
JOE
So . . . when’s the big date?
Catherine’s face lights up with joy as she jumps to her feet and
hugs Joe.
CATHERINE
Thank you, Joe! I’m forever in your debt!
JOE
(still smirking)
Just remember that.
94 ANOTHER ANGLE – THE OFFICE BACKGROUND
BEHIND THEM
Their little display has caught the attention of some office
stragglers who’re still mulling around. Catherine notices them
out of the corner of her eye and she backs off a bit.
CATHERINE
(lowers her voice)
I’ll make an appointment with the Justice Of
The Peace as soon as possible.
JOE
Can’t wait to start playing house, Radcliffe?
CATHERINE
(a knowing smile)
House . . . not Doctor.
CUT TO:
95 EXT. CATHERINE’S BUILDING – ESTABLISHING
(STOCK) – NIGHT
DISSOLVE TO:
96 EXT. CATHERINE’S BALCONY
Vincent and Catherine stand on Catherine’s terrace. Vincent
faces out at the city with his head slightly lowered while
Catherine is turned towards him, absorbing his remorse. Her
impulse to comfort him leads her to reach out and touch his
arm sympathetically.
CATHERINE
I’ve never seen you look so hurt.
VINCENT
(struggling)
I . . . really wanted us to have that baby.
CATHERINE
Vincent, I can get the baby back . . .
Vincent’s surprise is obvious . . .
CATHERINE
. . . but it’ll require sacrifice from both of
us. I have to marry Joe, and go through a
certification program before I can legally
adopt her. You’ll have to keep your distance
until all the classes and home visits are over.
Vincent is speechless, assimilating very little after hearing
Catherine speak of marrying Joe.
VINCENT
You . . . must marry?
CATHERINE
In name only, but that doesn’t change the fact
it won’t be easy on any of us. Joe included.
However, he’s agreed to help, and it’s what
you and I want.
97 WITH VINCENT
VINCENT
(with great hesitation)
Will Joe . . . settle for a marriage in name
only?
98 CATHERINE
Catherine smiles, deeply touched by Vincent’s insecurities and
concern.
CATHERINE
I can handle Joe. Don’t worry.
Vincent holds his silence briefly while letting all this sink in.
99 ANOTHER ANGLE – VINCENT
VINCENT
I envy Joe the next few months.
Catherine steps into Vincent's cloak and hugs him tightly.
FADE OUT
END OF ACT THREE
* * * * * * * * * * * * * * * * * * * * * * * * * * * *
ACT FOUR
FADE IN:
100 EXT. JACE’S HOTEL – ESTABLISHING – NIGHT
Catherine and Joe stand beside the entrance to the hotel,
waiting to hand Jace Marinello an arrest warrant . . .
CATHERINE
Thanks for coming, Joe.
JOE
I love passing out arrest warrants on Saturday
night-- makes me appreciate Mondays so
much more than most people. Why are we
doing this? It isn’t our job.
CATHERINE
It’s important to me that Marinello’s arrest
doesn’t become a media circus.
JOE
Because of the baby?
CATHERINE
Yes.
JOE
I still think we should’ve had backup. You have
a gun?
CATHERINE
No. You wimping out?
(cracks a smile as Joe glares)
We’ve seen Jace, remember? You and I can
take him easily. We only had one chance at this--
if Jace saw our men combing the place he’d
disappear again.
JOE
Are we destined to spend our married life arguing
like this?
CATHERINE
Probably.
A limousine pulls up front fairly close to Catherine and Joe. All
the windows are so darkly tinted it’s impossible to see inside.
Jace steps out from the driver’s seat and heads into the hotel.
101 ANOTHER ANGLE – CATHERINE AND JOE
Catherine and Joe accost Jace at the entrance . . .
CATHERINE
Jace Marinello.
JACE
(hard as nails)
What business is it of yours?
(recognizes Catherine)
The D.A. decoy . . . I thought you might be
the firebrand on my tail.
CATHERINE
I have a warrant here for your . . . arrest . . .
102 ANOTHER ANGLE – FROM BEHIND JACE’S BACK
Catherine and Joe peer around Jace’s shoulders after hearing
the sounds of car doors opening . . .
103 EXT. OF HOTEL WITH LIMO IN FOREGROUND AND
CHARACTERS IN BACKGROUND
Three large musclemen step out of the car from all sides . . .
104 JOE AND CATHERINE
Catherine’s voice trails off into silence, still holding the warrant
in front of her . . .
JOE
(to Catherine as he
clutches her shoulder)
Now see? You shoulda’ listened to me.
(to Jace)
Please excuse the little Mrs. She can be a
bit pig-headed when it comes to her work.
CATHERINE
(kicks Joe in the leg)
We’re in trouble . . . quit kiddin’ around!
JACE
(grins evilly)
Yes, you are!
CUT TO:
105 INT. TUNNEL PASSAGEWAY (STOCK)
Vincent runs through a tunnel having been alerted to
Catherine’s danger . . .
CUT TO:
106 EXT HOTEL – WITH JOE AND CATHERINE
Joe grabs Catherine’s arm . . .
JOE
We didn’t bring enough warrants for Larry,
Moe and Curly! Come on!
They cut and run in a hasty retreat while being chased by Jace
and his three henchmen. The CAMERA follows behind them as
Catherine and Joe round a corner and are confronted by a long
dark alley, which they bolt into with a full head of steam. Their
pursuers are hot on their heels . . .
CUT TO:
107 EXT. HOTEL FRONT ENTRANCE
The manager sees the confrontation between Jace, Catherine
and Joe, then the couple bolting from the scene being chased
around the corner. He rushes outside and hears Joe yell and
sounds of the chase in progress nearby . . .
CUT TO:
108 INT. HOTEL LOBBY
The manager runs in, picks up the lobby phone and calls the
police . . .
CUT TO:
109 EXT. DARK AND DESERTED STREET (STOCK)
Vincent runs full-throttle down a dark street, closing in on the
commotion . . .
CUT TO:
110 EXT. DEAD-END OF A DARK ALLEY
Catherine and Joe have found themselves cut off and, facing
each other for an instant, sudden dread on their faces as they
turn to face the inescapable, they stoop, pick up and hurl
whatever objects they can lay their hands on. Some glance
off of their pursuers, but none of the objects do any real
damage. Jace’s men close in on Joe and leave Catherine to
Jace.
JACE
(sneering)
Little Mrs., huh? You should’ve listened
to your hubby and left me alone.
Catherine crouches in preparation for a one-on-one battle.
111 ANOTHER ANGLE – WITH JOE
Joe puts up an impressive display of brawn and moves, but is
knocked unconscious in spite of his efforts. The men turn to
Jace and Catherine, who’ve been O.S., and they see Catherine
getting the upperhand on Jace as he lands peacefully at rest
next to Joe. The men swarm at Catherine, roughing her up
considerably. Vincent’s roar is heard O.S. as the three men
freeze in their tracks, releasing Catherine, who falls unconscious
to the ground . . .
CUT TO:
112 FLASH CUT – VINCENT’S FANGS
are bared, ready to strike as he growls . . .
113 THE THREE MEN
now find themselves cut off, their eyes going wide in terror.
They strike at Vincent in defense all at once. Vincent lashes out
in a blur of motion that continues until the men fall incapacitated
to the ground. Turning to Catherine, Vincent bends down on
one knee, places an arm underneath her neck and carefully lifts
her head close to him while gently pushing the hair out of her
face with his free hand. He begins to lift her when he hears Joe
moan and the police sirens approaching. Changing his mind he
lays her back down. He sees Joe coming around so he stands
quickly and flees, just as Joe regains his faculties. Joe catches
sight of Vincent through the haze of returning consciousness . . .
JOE
Hey . . . Hey!
But Vincent’s disappeared in the shadows. Joe painfully crawls
over to Catherine and feels her pulse as the police cars
approach in the background . . .
JOE
Hang on Radcliffe, help is here.
114 ANOTHER ANGLE – A CLOSE UP OF CATHERINE
Her face becomes hazy as she fades into a dream . . .
CUT TO:
115 INT. CATHERINE’S APARTMENT – DREAM
SEQUENCE
Catherine watches a scene unfolding in her apartment. A stern-
faced caseworker is prying the baby girl-- now the age of a
toddler-- away from Vincent. She won’t take no for an answer.
CASEWORKER
(glares at Vincent)
We have the authority to take this child now
that Catherine Chandler has died. Her marriage
was a sham . . . and there’s no possibility
we’ll allow you as her guardian!
VINCENT
She’s mine! My daughter! You’re taking from
me all that’s left of my life . . . all I have left of
Catherine! Please . . . don’t do this.
The woman ignores him, leaving with the girl who’s crying for
Vincent. Numb with agony, Vincent, slowly makes his way
onto Catherine’s balcony and deliberately climbs over the
railing, sitting on the ledge . . .
116 A CLOSE UP OF VINCENT
VINCENT
(emotionally charged)
They took our baby away, Catherine.
Now I have nothing.
He looks dully out at the city, the life gone out of him.
VINCENT
I can feel you with me now, so close . . .
(draws out a ragged sigh)
I need you closer still . . . forever.
Vincent jumps off the ledge . . .
CUT TO:
117 INT. HOSPITAL ROOM – CLOSE UP OF CATHERINE
IN BED
Catherine startles awake . . .
CATHERINE
NO!! Vincent!!
Catherine looks around, uncertain of her surroundings, then sees
Mrs. Cavanaugh who’s visited her in the hospital and is standing
over her with a worried gaze . . .
MRS. CAVANAUGH
Do you need help? Should I get a nurse?
CATHERINE
(her voice still shaky)
No. I just had a bad dream.
MRS. CAVANAUGH
I heard you were in the hospital. I wanted
to make sure you’re all right.
CATHERINE
(rubs her bandaged
forehead)
How long have I been here?
MRS. CAVANAUGH
Two days.
CATHERINE
(silent a beat, collecting her
thoughts)
Thank you for your concern.
MRS. CAVANAUGH
(avoids Catherine’s gaze)
I also came to see if you might reconsider your
decision . . .
(as Catherine sighs and turns
her head away)
. . . with your line of work you could've just
as easily been killed the other night. Where
would that leave the baby?
Catherine shakes her head and musters a bitter smile.
CATHERINE
That’s exactly what my nightmare was about.
Mrs. Cavanaugh bends over Catherine, softly entreating her to
listen to reason.
MRS. CAVANAUGH
Yes. You shouted the name Vincent, not Joe.
My instincts tell me this marriage you’re planning
is only to help take possession of that baby.
What kind of marriage is that, for either of you?
(on Catherine’s soft moan)
We have a couple who’ve been waiting for a
child for seven years. The wait’s tearing them
to pieces, and yet they hang on. They’re
exceptional people, Ms. Chandler. Please let
the baby have a family that can fill her days with
happiness . . . but just as important . . . stability.
Catherine begins to cry. Her expression looks far away, seeking
out Vincent, whom she knows can feel what she’s going through.
Realizing she’s said all she can, Mrs. Cavanaugh prepares to
leave, picking up her purse and coat from a nearby chair.
MRS. CAVANAUGH
Let me know what you decide. We’ll be waiting
to hear from you.
Mrs. Cavanaugh goes OUT as Catherine’s eyes follow her. She
lays motionless in her hospital bed with her head turned toward
the door as she sinks into a fully distraught state.
CATHERINE
(whispers)
Vincent . . .
118 ANOTHER ANGLE – A CLOSE UP OF CATHERINE’S
WINDOW-ESTABLISHING – NIGHT
Vincent comes through the window-- he’s been waiting on the
ledge outside and has heard the conversation. Catherine hears
the noise at the window as he enters, and turns her head to find
Vincent standing before her. She smiles, grateful for his
comforting presence. Quickly however, she notices the remorse
written on his face . . .
CATHERINE
You heard.
Vincent nods silently.
CATHERINE
(miserable)
What’re we going to do, Vincent? I
wanted that baby . . . for us.
VINCENT
Yes.
Vincent drops the bed railing between himself and Catherine,
taking her hand . . .
VINCENT
(softly)
Catherine, I think we both know in our
hearts what’s best for that baby. It’s why
we struggle.
Vincent perches himself on the edge of Catherine’s bed, facing
her as he thinks out loud . . .
VINCENT
Having me for a father—besides the obvious
problem of being who I am—would cause her
pain in later years; my being unable to give
her the things a normal father could, being
unable to spend the time with her she needs--
her not being able to tell anyone above about
me. Living between two different worlds could
cause her to become displaced; divided
between your world and mine . . . unsure of
her identity . . . of where she belongs. We’re
doing the right thing by letting her go.
CATHERINE
My heart may know all that, but that doesn’t
mean it isn’t breaking.
Vincent lowers his head, having a hard time keeping his
emotions reigned in. Catherine hesitantly lifts her arm and
brushes her fingers through his hair . . .
119 ANOTHER ANGLE – A CLOSE UP OF VINCENT
Vincent raises his eyes and watches Catherine, sweetly
surprised at the affection she’s showing him . . .
120 ANOTHER ANGLE – CATHERINE
CATHERINE
We’ll have another time, Vincent. I feel it.
121 VINCENT
His expression mirrors Catherine’s; one of adoration . . . and
hope. Catherine’s hand reaches behind Vincent’s neck and
gently pulls him down to her shoulder, closing her eyes to the
feel of his hair falling across her arm. She strokes his hair
slowly as they comfort each other.
DISSOLVE TO:
122 EXT. HOSPITAL BUILDING – ESTABLISHING – DAY
DISSOLVE TO:
123 INT. CATHERINE’S HOSPITAL ROOM
Joe enters her hospital room carrying flowers that he places by
her bedside table. His cheek sports a good-sized bandage from
the ruckus, and he’s wearing an ear-to-ear grin.
JOE
I think we need to lay down a few ground
rules, Radcliffe. I can’t have any wife of
mine out wrestling pimps on Saturday nights.
What would the neighbors say?
CATHERINE
(a faint smile on her face)
Joe, we need to talk.
JOE
Okay.
CATHERINE
My caseworker was here last night. She
told me about a couple she has who’ve
been waiting to adopt a baby . . .
they’ve been waiting seven years. They . . .
can give her more than I ever could.
A real family, to start with.
JOE
(frowns)
So, what are you saying?
CATHERINE
I’m saying I’ve decided to take everyone’s
advice and give up on this idea.
JOE
Can you do that?
CATHERINE
I have to do that. Any other decision would
be unfair to her . . .
(gazes unflinchingly at Joe)
. . . and to you.
JOE
(smiles warmly)
Believe me, Radcliffe; I wasn’t complaining.
It’s not every day I get proposed to by a
beautiful woman-- or even an ugly one. Are
you sure you won’t reconsider the living
together part?
Catherine grins half-heartedly, shaking her head . . .
CATHERINE
You’re such a jerk. How can you make me
laugh when I feel so terrible?
JOE
It’s a special gift I have. Endearing, isn’t it?
CATHERINE
(earnest and serious)
Yes, it is.
JOE
(caught off-guard by
her candor)
Are you going to be all right?
CATHERINE
I get out today, I hope.
JOE
(points to his temple)
I meant up here.
CATHERINE
That’s . . . going to take a while longer.
JOE
Take whatever time you need.
CATHERINE
Thanks, Joe.
Joe prepares to leave, then decides there’s one little piece of
unfinished business that needs to be brought up . . .
JOE
But when you feel up to it, there’s something
we need to discuss.
CATHERINE
I'm up to it. What?
JOE
I’d like to know how we got the upper hand
on four men while lying unconscious.
CATHERINE
The police got there in time to intervene . . .
JOE
The police . . . or your mystery man?
124 ANOTHER ANGLE – WITH CATHERINE
Catherine endeavors to remain calm in the face of Joe’s little
bombshell . . .
JOE
I saw him again when I was coming to; and
no, it wasn’t my imagination. My imagination’s
pretty powerful stuff, but it can’t knock out
four gorillas. And neither can you. It’s time
you leveled with me.
CATHERINE
You're right . . .
JOE
(shocked)
I am?
CATHERINE
I'm not up to it.
JOE
(glares, then smiles
mischievously)
Cathy . . . if we're ever getting this
relationship toward the alter we can't
keep secrets from each other. Tell
me.
CATHERINE
I will . . . when I’m feeling better.
Still smiling, Joe leans over Catherine and plants a kiss on her
bandaged forehead. Catherine winces slightly.
JOE
Don’t think I won’t hold you to that.
CATHERINE
I know better.
DISSOLVE TO:
125 EXT. CATHERINE’S BUILDING – ESTABLISHING
(STOCK) – NIGHT
CUT TO:
126 EXT. TUNNEL ENTRANCE
Catherine and Vincent are standing by the tunnel entrance
underneath her apartment building.
CATHERINE
Vincent, Joe saw you again the other night.
He’s demanding explanations.
VINCENT
Joe is a good man, Catherine. We must have
faith he will keep our secrets.
CATHERINE
He will. In my world he’s the best there is. He
won’t betray us.
(silent a beat, thinking)
At least we got Jace Marinello. He’ll never
destroy another life.
VINCENT
For all he’s guilty of, I don’t think he meant
to harm the baby.
CATHERINE
(surprised)
How can you say that?
VINCENT
Mary told me she’s seen Jace before; they
surprised each other coming around a corner
in that area of tunnels. Mary ran away from him.
Jace purposely left the baby where he knew
she’d be found . . . taken care of.
Catherine senses Vincent’s melancholy and steps close to him.
CATHERINE
Vincent, I want you to know that Elizabeth
is being adopted by a wonderful couple.
He’s a prominent physician . . . she’ll never
want for anything.
VINCENT
You named her Elizabeth. How beautiful.
CATHERINE
I couldn’t say good-bye to her without giving
her something of myself . . . a name I’d give
my baby girl, if I had one. And I did have
one . . . for a little while. So Elizabeth Kirstin
is the name on her birth certificate. Elizabeth
Smithers will be her adopted name.
VINCENT
We’ll hear that name again someday.
CATHERINE
I believe we will.
Vincent and Catherine both smile as she steps fully into his arms
for an embrace. They hold a long beat, then . . .
FADE OUT
THE END
