BEAUTY AND THE BEAST
"A CHILDREN'S
STORY"
written by
B.F. BENNET
(pseudo of Ron Koslow)
TRANSCRIPTION
AS AIRED
first airing December 14th, 1987
~~~
Characters - in order of appearance
Kipper
Peter, a boy from Ridley
man #1 pursuing Peter
man #2 pursuing Peter
Vincent
Father
Catherine
Joe Maxwell
Receptionist at Ridley
Richard Barnes
Teacher at Ridley
Custodian at Ridley
Little girl at Ridley
Eric Peterson
Ellie Peterson
Margaret, Catherine's friend
Male Catherine's friend
Greg, Catherine's date
Noj
Deb
Matron at Bridgemont Youth House
Edie
Clerk at Child Social Services
Boy #1 at Bridgemont
Boy #2 at Bridgemont
Nick at Bridgemont
Nicholas, tunnel boy
Freddie, Noj's sergeant
Police officer
~~
"A CHILDREN'S STORY"
Opens with Kipper jogging down a street with a skateboard tucked under his arm. Suddenly a boy of about the same age is running towards him. Worriedly the boy looks over his shoulder as he runs, two men are chasing him; he ducks between two park cars. Kipper calls out to him.
KIPPER
They’ll find you. Come on…!
PETER
Get away!
The Boy scrambles out from under the car. He and Kipper rush into another alley. Kipper finds a small metal door opening down to a coal chute. They crawl down the chute.
MAN #1
He’s here, somewhere…
Kipper and the Boy hide in the coal bin of the abandoned building
KIPPER
Who are those guys chasing you?
PETER
They’re from Ridley
KIPPER
Ridley?
PETER
The foster home, Ridley Hall. They whack you and pretend they’re helping you.
It’s a slime pit. They catch me, I’m dead meat…
KIPPER
What do you mean?
PETER
Kids even disappear…
KIPPER
Disappear?
PETER
That’s what they’re trying to do to me.
(listening for sounds of the men)
Think they’re gone?
KIPPER
I don’t know…
The boy starts to climb out of the coal bin...
KIPPER
Hey! Where’re you going?
PETER
(exiting)
Far away from Ridley
The two men that were following him were waiting, and they grab him as he comes out
PETER
Hey! let me go!
MAN
Shut up!
They drag him off kicking and yelling as Kipper watches, deeply distressed...
CUT TO FATHER’S STUDY:
Father and Vincent are standing at the desk looking over blueprints that are spread out over its surface
VINCENT
You see, at this point the wall appears solid,
when pressure is applied here
(points)
it swings inward
FATHER
Good, good.
(he removes his glasses swinging them in his hand)
We can’t be too cautious. Now how soon can we get this in place?
VINCENT
The stones are being cut.
Kipper comes slowly down the spiral stairs.
FATHER
Ah, Kipper! you’re late for your lesson.
Father returns his glasses to his nose peering more intently at the plans
KIPPER
I know… I’m sorry…
VINCENT
(to Kipper)
What’s Father teaching you now?
KIPPER
Chess…
VINCENT
(to Father, chiding)
Training another student to beat you?
FATHER
Still caught up in the plans
Hm… no, no… to beat you.
Vincent and Father chuckle. Kipper stands there with a troubled expression.
FATHER
Kipper takes the game quite seriously.
He pats Kipper on the head letting his hand rest on the boys shoulder.
Vincent notices Kipper’s solemn demeanor and moves around Father to sit in the chair in front of the boy.
VINCENT
Kipper, what’s troubling you?
KIPPER
Something that happened.
VINCENT
(gently)
Tell me
KIPPER
This kid was being chased, and I helped him hide…
VINCENT
Who was chasing him?
KIPPER
Some men from this place called Ridley.
VINCENT
Ridley?
KIPPER
It’s a foster home.
He said bad things happen there,
kids got whacked, kids even disappeared.
I wanted to bring him down here. I wish I could have…
VINCENT
What happened to this boy?
KIPPER
The men grabbed him. They dragged him away…
FATHER
Kipper, do you think this boy was telling the truth?
Kipper nods his head yes
CUT TO CATHERINE’S APARTMENT:
Cathy comes home from a late night at work, her arms full of legal briefs and investigation reports. She enters her bedroom, dumps the workload. She steps out on the terrace from a breath of night air. On her small outdoor table she finds a red rose and a message which reads: "Eleven o’ clock beyond the bridge. Until then...". She hurries out…
CENTRAL PARK – NIGHT
Cathy walks alone through Central Park. She reaches a deserted area of the park —— moves down a gulley end enters a large drainage duct, disappearing into darkness...
CUT TO AN ADJACENT TUNNEL - DIMLY LIT
Cathy is waiting... Vincent appears... When she sees him striding towards her she goes to the gate.
CATHERINE
(through the bars)
Vincent…
VINCENT
Are you well?
CATHERINE
Yes. I’ve missed you so much... Are you well?
I hadn’t heard from you…
Something’s wrong? what is it?
VINCENT
When I see you Catherine,
I’m filled with a happiness
sweeter than anything I’ve ever known…
and at the same time I am reminded
of a life that can never be… and I feel great pain.
CATHERINE
I know so do I. Vincent… what will we do?
VINCENT
The only thing we can do:
we’ll endure the pain and savor every moment of the joy.
He opens the gate and steps out to her
VINCENT
We don’t have much time Catherine;
I need to tell you something very important.
The children Below speak of a place called Ridley.
CATHERINE
Ridley Hall… the foster home?
VINCENT
Yes.
CATHERINE
It’s supposed to be a very good one.
VINCENT
No, Catherine! children are being hurt there.
CATHERINE
Are you sure?
VINCENT
I believe they are...
These children have no one to protect them.
We can’t let them hurt the helpless ones…
they must be made to feel safe.
How can this be, how can this happen?
CATHERINE
If children are being abused in this place
I can stop it! I’ll look into it right away
.
VINCENT
Be careful, Catherine…
They exchange a parting look... he leaves shutting the gate behind him…
CUT TO THE DA OFFICES
Cathy is in the midst of a heated discussion with JOE, walking down a hallway to Joe’s office.
JOE
An anonymous tip?!
CATHERINE
Someone reliable with access to information…
JOE
Ridley is supposed to be a model place,
one of the good ones.
CATHERINE
Supposed to be.
JOE
Look, I can’t have you snooping
around some foster home right now.
I’m already juggling seven cases,
all going to trial, and I’m gonna need you
on the Talsky case…
CATHERINE
The Kowalski case! It’s all routine,
you don’t need me on that anymore!
It’s all paperwork from here.
JOE
Cathy, we go to trial next week!
there’s going to be press coverage,
I’m gonna need you there to keep an eye on the witnesses…
CATHERINE
It’s all routine! I could do it in my sleep!
JOE
Yeah, in your sleep… your bed that big?
CATHERINE
Knock it off….
(dogged)
Joe, this is important.
I wouldn’t be asking if it wasn’t.
I’ve got good reason to believe
there are serious problems at Ridley Hall.
We’re talking about kids!
Joe, do you hear me? it can’t wait.
JOE
(teasing)
Radcliffe, do I hear your biological alarm ringing?
CATHERINE
(stubbornly)
I need to check it out…
JOE
All right, okay fine, go check it out…
but make it fast, okay? You know
you’re not working with your father’s
cushy law firm anymore.
We got plenty of work to do right here…
CATHERINE
(pleased)
Okay… Thank you.
JOE
Okay...
Hey… a buddy of mine in undercover
said he saw you walking in the park last night…
Have you lost your mind?
CATHERINE
Just out… for some fresh air…
CUT TO RIDLEY HALL
Catherine is at the reception desk
RECEPTIONIST
Can I help you?
CATHERINE
(banding her a card)
Yes, I’m Catherine Chandler,
with the District Attorney’s office.
RECEPTIONIST
What can we do for you?
CATHERINE
I would like to have a look around.
RECEPTIONIST
Do you have an appointment?
CATHERINE
No I don’t.
RECEPTIONIST
Let me see if Mr. Barnes is able to see you.
Barnes comes out of the back office
BARNES
That’s all right, if you’d like a tour of the facilities,
I’d be glad to show you around.
(extending his band)
I’m Richard Barnes, the administrator.
CATHERINE
(shaking his hand)
Catherine Chandler.
BARNES
Why don’t we start upstairs?
So you’re with the District Attorney’s office?
CATHERINE
That’s right.
They go up-stairs
BARNES
And what brings you here Miss Chandler?
CATHERINE
Well, we’re making a survey
of the cities foster care systems.
BARNES
Well.. we truly try to do the best we can for the children.
CATHERINE
You have a good reputation.
BARNES
As I said we try.
He leads her into a dormitory room. A few kids are playing quietly.
BARNES
This is a typical dorm room everything,
clean, in order; we stress that.
CATHERINE
I can see.
There’s a boy with thick glasses sitting cross-legged on the bed staring at her. Cathy notices him.
CATHERINE
Well… hm, I’d like to see a classroom.
BARNES
Certainly, right this way.
They enter a classroom with a class in progress.
TEACHER
Good morning Mr. Barnes.
The classroom is filled with children all sitting very quietly doing their work.
BARNES
I guess you could say we run a tight ship.
CATHERINE
It looks that way. They’re remarkably
well behaved. How do you do it?
BARNES
Structure, we give them structure.
Shall we go elsewhere?
They leave the classroom.
BARNES
I think kids need a sense of structure,
you know, especially these kids.
As they walk down a hallway the boy with the glasses is taking a drink from the water fountain, he steps in front of Catherine. He looks as if he wants to speak to her.
CATHERINE
Hello… ?
An older girl comes by and grabs the boy by the hand; she drags him away and up a flight of stairs.
BARNES
Let me show you the play area.
CATHERINE
You know, I’d like to talk
to a few of the children.
BARNES
All right. I’ll get some of them together.
CATHERINE
No, I could just walk around for
a few minutes. You don’t mind?
BARNES
Of course not. You know, Miss Chandler,
we may not be perfect, but compared
to the squalor and depravity that some of
these kids come from, Ridley is a positive force.
CATHERINE
Thank you for the tour Mr. Barnes
BARNES
No problem…
A custodian comes by as Catherine leaves.
BARNES
Keep an eye on her, will you?
Catherine goes down the hall and opens the door of the dorm room where she first met the boy with glasses; it’s empty. The next room is a playroom with children engaged in various activities. She squats down next to a young girl sitting in a chair clutching a doll.
CATHERINE
Hi. What’s your dollies name?
LITTLE GIRL
Suzie…
CATHERINE
Where does Suzie live?
The girl shrugs her shoulders.
CATHERINE
Does Suzie live here with you?
LITTLE GIRL
No, she lives with her mommy
and daddy and little sister, but she
comes here to play with me sometimes.
CATHERINE
Does she have fun when she comes here?
LITTLE GIRL
(looking at Cathy intensely)
You know I’m not ‘sposed to talk to strangers…
CUT TO STAIR CASE AT RIDLEY:
Catherine is walking down the stairs where she again encounters the boy with the glasses. He stares at her.
CATHERINE
(urgently)
What...? Did you want to tell me something?
ERIC
They took Peter!
He didn’t run away, they took him.
CATHERINE
Who, what do you mean?
ERIC
They made him disappear!
CATHERINE
OK, let’s start over: what’s your name?
ERIC
Eric.
Suddenly the same older Girl that interrupted them before grabs him by the hand again and begins to go up the steps.
ELLIE
Are you crazy? Come on!
CATHERINE
Wait!
ERIC
She’s my sister!
CATHERINE
What’s your last name?
ELLIE
Shut up Eric!
She tugs him up the stairs. Cathy watches them go in deep frustration.
CUT TO DA OFFICE:
Catherine is at her desk on the phone.
CATHERINE
No, I don’t have his last name…
his first name is Eric…
No, I can’t go out there, I’ve been out there.
That’s the point, I want to talk
to him away from Ridley Hall…
When can I get the transfer order?...
Tomorrow!?... Can I talk to your supervisor?
Joe comes up, listens… she gives him an exasperated look.
CATHERINE
And when will she be back?...
All right, tomorrow morning first thing, I’ll be there.
She hangs up, turns to Joe.
JOE
Bureaucracy in action.
CATHERINE
The rules designed to protect the child
from being moved are the same rules that
prevent the child from being moved to safety.
JOE
Sounds perfectly logical.
CATHERINE
Unless you’re the kid stuck in a home and being abused,
he’s gotta wait. It makes me furious.
JOE
What are you going to do? The wheels won’t turn any faster.
CATHERINE
(gathering her things)
Well I’m out of here.
JOE
Hey, you’ve only put in 12 hours today…!
CATHERINE
(She laughs)
Good night.
JOE
Listen, if there’s anything I can do.
CATHERINE
(turning)
No… just stay as cynical as you are.
She leaves saying Good Night over her shoulder
JOE
Where’re you going?
CATHERINE
Got a date.
She leaves
JOE
Well, that’s ok… I was busy anyway.
CUT TO NEW YORK PUBLIC LIBRARY - EVENING
A black tie cocktail fundraiser. An opera singer has just finished singing. Catherine is standing on the mezzanine with her "date", Greg, and a group of old acquaintances, people from her "previous life". She has a faraway look.
WOMAN FRIEND
Cathy..?
Cathy turns, looks at the woman blankly...
WOMAN FRIEND
I asked how the job was going?
It’s been a long time we’ve missed you.
Catherine shakes herself out of her reverie.
CATHERINE
I’m sorry Margaret, it’s going fine.
MAN FRIEND
(teasing)
As she prowls the mean streets,
fighting evil and corruption
where ever it raises its ugly head.
CATHERINE
Something like that…
Greg puts an arm around her shoulder.
GREG
(earnestly)
I think what she’s doing is terrific,
something she feels passionate about.
CATHERINE
I knew I could count on Greg to defend my honor…
MARGARET
Well, here’s passion, wherever you find it.
MAN FRIEND
Do me a favor: when you find it let me know…
They raise their glasses and drink to the toast.
Sometime later the two women are alone.
MARGARET
So what’s going on with you and Greg?
CATHERINE
(flat)
Nothing.
MARGARET
Nothing? Really? He seems like a really nice person.
CATHERINE
He is a really nice person…
MARGARET
So…?
CATHERINE
So… that’s about it.
MARGARET
No chemistry, huh?
CATHERINE
No chemistry.
MARGARET
There’s nothing you can do about that one, too bad.
I mean, where are all the really great guys?
Before I got divorced they were everywhere.
What happened? They all go underground?
Catherine smiles.
CUT TO CATHERINE’S BALCONY:
Catherine steps onto the balcony, and stands, looking out over the city.
CUT TO THE BRIDGE OF THE WHISPERING GALLERY:
Vincent is sitting on the bridge, lost in thought.
CUT TO RIDLEY HALL:
Catherine is again at the reception desk.
CATHERINE
Is Mr. Barnes in please?
RECEPTIONIST
Just a minute I’ll check for you.
CATHERINE
Good morning.
BARNES
Good morning.
She hands him a paper.
CATHERINE
It’s a transfer order from the
department of child social services.
BARNES
(reading, guarded)
Yes, I see, one little boy named Eric,
no last name. What’s this about?
CATHERINE
I’m not free to discuss that.
BARNES
Well we have a few Eric’s here.
CATHERINE
This one has a sister here.
BARNES
Ah, then we have a problem.
CATHERINE
What problem?
BARNES
Eric and his sister ran away last night.
CATHERINE
Where are they?
BARNES
I’ve got people out looking for them right now.
CATHERINE
Have you notified the police?
BARNES
I notified child social services.
CATHERINE
May I use your phone?
BARNES
Certainly.
Catherine picks up the phone.
CATHERINE
Child social services please… (pause)
Yes this is Catherine Chandler with the DA’s office,
have two children from Ridley Hall, a brother and a sister,
been reported missing in the last 24 hours… Thank you.
She hangs up the phone.
CATHERINE
I’ll be back.
She exits...
CUT TO A LOCKED ROOM AT RIDLEY:
Eric sitting on a bed, the door opens and Barnes enters.
BARNES
You’re being transferred.
ERIC
To where?
BARNES
To a home that suits you better. You don’t
like it here,so I’m taking you some place else.
ERIC
What about my sister?
BARNES
She’s being transferred too.
He grabs Eric roughly.
BARNES
Let’s go.
As he drags Eric out of the room they see Ellie also being dragged by two men, a custodian and Noj.
BARNES
(yelling to them)
I told you to wait!
ERIC
(calling out)
Ellie…!
ELLIE
(calling back)
They’re splitting us up!
Barnes picks up Eric, putting him under his arm as he runs out the door. Ellie struggles with the two men holding her. Both children are screaming.
ELLIE
Where are you taking my brother?
She tries to break free from the two guys but they shove the girl up the stairs and hustle her off...
NOJ
Hey, hey, cool down. Nobody’s gonna
hurt you, nobody’s gonna hurt your brother
ok? As long as you behave yourself…
She struggles in his grip.
NOJ
But listen now; I don’t want no scenes
on the way over. You make it hard for me,
I’m gonna give you your brothers head on a stick.
CUT TO DA’S OFFICE, JOE’S OFFICE:
CATHERINE
Joe I want a search warrant.
JOE
(laughs)
Forget it. What have you got?
Where’s your probable cause?
Did you see any bruises? Have you got
any cooberating witnesses?
CATHERINE
I’ve got the word of a kid.
JOE
Who ran away, you don’t even have
the kid. Cathy, you’ve got nothing.
CATHERINE
I’m not giving this up. I’ll go back
on Talsky, but I’m not giving this up!
JOE
Look, here’s a list of witnesses to be
notified and prepped for tomorrow… please.
CUT TO BASEMENT HANG OUT OF NOJ’S STREET GANG:
In a common area a group of tough-looking kids ranging from 7 to 17 are lounging on torn furniture and watching T.V. Noj is coming down the stairs with Ellie, his hand firmly on her shoulder.
NOJ
This is Ellie; she’s staying with us.
Deb, a 15 year old girl comes forward.
NOJ
Hey Deb, help her get settled,
take care of her, make Ellie feel at home.
DEB
(to Ellie)
Come on, I’ll show you where we sleep.
NOJ
Go with her.
He pushes her toward Deb...
CUT TO BRIDGEMONT YOUTH HOUSE:
Barnes is there with Eric talking to the matron.
BARNES
He’s a problem.
MATRON
Well he’ll have to do some thinking about that…
He’ll have to decide how he’s going to act here.
ERIC
Leave me alone.
Eric gets locked in a detention room.
CUT TO NOJ’S BASEMENT LAIR:
DEB
You from Ridley?
ELLIE
Yeah
DEB
There are others here from Ridley.
You can sleep on that one.
She indicates a cot by the wall.
ELLIE
What is this place?
DEB
It’s not so bad if you can learn quick
and don’t make too many mistakes.
It’s better than living on the street.
Sometimes we have fun.
NOJ
That’s right, we’re sort of a family here.
Families hang together look out for each other.
Nobody’s gonna hassle you, we won’t let them,
but you gotta look out for us and don’t even
think about making trouble here
cause you don’t ever want to see
me get mad. Ask Deb about that.
He pulls Deb up off the bed by her hair.
CUT TO THE DETENTION ROOM AT BRIDGEMONT:
Eric sitting in the small locked room.
CUT TO DA’S OFFICE:
Edie is banging away on the keyboard of a computer
CATHERINE
What else have you got on Richard Barnes.
EDIE
Nothing the guy is Mr. Clean Cath.
CATHERINE
There’s gotta be something else.
Can you get me a list of kids at Ridley?
EDIE
I’ll try.
We see on the computer screen "Sealed Documents Entry Denied"
EDIE
All those child social service files are sealed.
That’s the way those people operate.
CATHERINE
Edie I’ve got to find that boy. Those kids didn’t run away.
I don’t know what happened, but I feel
responsible. There’s got to be another way.
EDIE
Breaking into sealed files?
That’s just about impossible.
CATHERINE
Impossible is what you do best.
EDIE
Yeah I should be making more money.
CUT TO OUTSIDE ON SIDEWALK:
Catherine is walking down the street noticing children looking through garbage, begging, selling newspapers.
CUT TO CATHERINE’S APPARTMENT:
Catherine is sitting in front of her dressing table mirror, she gets up and goes to the balcony. Vincent steps out of the shadows, she turns to him.
VINCENT
Catherine, I felt your sadness.
CATHERINE
Vincent
VINCENT
Don’t lose heart Catherine.
CATHERINE
The children I was trying to help, they’re gone
and I don’t know what happened to them.
I’m afraid I did more harm than good. I feel like I failed them.
VINCENT
You haven’t failed, you haven’t
given up and you won’t, will you?
CATHERINE
I know there are terrible things going on at Ridley.
If I could just find that boy I could begin to unravel it.
VINCENT
The ones who prey on children steal
everyone’s hope. Don’t give up Catherine.
CATHERINE
I won’t.
Vincent leaves.
CUT TO HALLWAY AT CHILD SOCIAL SERVICES:
Catherine and Edie walking down a hallway.
EDIE
There’s one thing you can count
on working for the city, 12:00 comes
and everybody runs to stuff their face.
CATHERINE
Looks pretty empty, let’s do it.
EDIE
If this gets me fired I’m moving in with you.
CATHERINE
Deal
EDIE
Indefinitely
They push open the door to the records room.
EDIE
I must be crazy, tell me I’m crazy,
I only think I’m doing this.
CATHERINE
You’re not crazy.
EDIE
What we’re doing has gotta be a felony right?
What’s that six months in the slammer minimum?
CATHERINE
A year.
EDIE
Wonderful
Catherine looks through the files on the shelves.
CATHERINE
Here it is.
They hear someone in the front office.
CATHERINE
I thought you said…
EDIE
Keep looking I’ll handle it.
She runs out of the room into the hallway and back into the front office.
There’s a clerk just coming back in settling himself down at his desk.
EDIE
There you are you handsome devil.
I’ve been looking all over for you.
I’ve gotta have these names verified by
two this afternoon. Can you help me out?
CLERK
After lunch
He unwraps his sandwich.
EDIE
What you’ve got on that sandwich?
Those sardines?
CLERK
Anchovies
EDIE
Anchovies! You know what they
say about anchovies don’t you?
CLERK
No what?
EDIE
I’d join you for lunch, but I can’t find my diet wafer.
She begins to unload her purse onto his desk.
EDIE
I know I had one in my purse.
She takes out a pair of slippers.
Meanwhile Catherine finds the file with Eric and Ellie’s last name…Peterson.
EDIE
I’ve got to ask you a personal question.
What kind of cologne are you wearing?
CLERK
Cologne? No, I’m not wearing any cologne.
EDIE
Oh come on, nobody smells like that naturally.
Catherine sneaks out of the records room signally to Edie.
EDIE
Oh you know what…
I’m gonna be back in five minutes.
She puts all her stuff back into her purse.
EDIE
I just remembered something I forgot to do,
if I don’t do it I’m gonna get in trouble. I’ll be right back.
CUT TO OUTSIDE ON SIDEWALK:
Noj is showing Ellie how his kids are robbing an elderly couple.
NOJ
All right look, those two over there.
Here it comes… keep your eyes open…
it’s gonna happen fast. All right, here comes Bobby.
Bobby holds up the sign right in his face
and then everybody goes to work.
Ok… it’s all over, then Deb takes the drop.
Everybody does their job, everybody works together.
Deb crosses the street and walks over to Noj and Ellie. He takes the girls by the shoulders walking towards an alley
NOJ
Come on
He ducks into a stairwell.
NOJ
Come on
He motions with his hand, Deb hands over a wallet, he takes it from her then grabs her wrist.
NOJ
You sure you didn’t forget nothing?
DEB
I was coming to it, it was in the other pocket.
NOJ
Just making sure.
He takes the watch from her then roughly pinches her chin.
NOJ
I see everything, nothing gets around me.
I got eyes in the back of my head, remember that.
CUT TO PAY TELEPHONE ON STREET:
Edie on a street telephone, Catherine standing at her shoulder looking at the file.
CATHERINE
BYH it’s some sort of abbreviation or code.
EDIE
Hi I’m sorry to bother you again, it’s Edie.
Look, listen, I know we didn’t have any luck
but I just remembered I’ve got some court records
on those names with letters or initials. BYH…
does that help you at all? Bridgemont Youth House,
what’s that? A foster facility. Well ok thanks again handsome.
She hangs up the phone.
EDIE
Who’s magic?
CATHERINE
Do you have to ask?
She gives Edie a hug.
CUT TO RIDLEY:
Barnes and Noj are standing outside transacting business.
BARNES
How’s she doing?
NOJ
She’s a tough one, doesn’t talk
much, but she’s smart…I think.
BARNES
I thought it might work out knowing how bright she is.
Noj hands him an envelope he takes it and begins to open it.
BARNES
How much is here?
NOJ
Fifteen hundred
BARNES
I told you I wanted twenty five hundred for the next one
NOJ
Twenty five?
BARNES
And this is the last one.
NOJ
Last one? What are you talking about?
BARNES
It’s getting too risky; there are
too many people on my back.
NOJ
How about for the next one
I give you three thousand?
BARNES
No, no, no I want twenty five hundred
for this one and then it’s over and out.
NOJ
All right, all right I’ll find another source.
He gets in his car and drives away.
Vincent has watched the whole transaction from a safe vantage point.
CUT TO BRIDGEMONT YOUTH HOUSE:
Catherine enters Bridgemont Youth House, there are two boys watching TV in the common room.
CATHERINE
I’m looking for a boy named
Eric Peterson? He had glasses?
KID 1
Eric? Hey what’s the new kids name?
KID 2
I don’t know.
KID 1
Upstairs in detention.
KID 2
Locked up.
Catherine goes up the stairs to the door marked detention. She knocks on it and calls out softly.
CATHERINE
Eric?
Eric gets up off the floor where he’s been sleeping on and goes to the door.
CATHERINE
Eric?
ERIC
Yeah
A woman comes down the hallway and sees Catherine.
MATRON
What is this?
She grabs Catherine’s arm.
MATRON
What are you doing?
CATHERINE
I want to talk to this boy.
MATRON
Who are you?
CATHERINE
I think you had better unlock this door now!
MATRON
I think you better leave.
They grapple and Catherine twists the woman’s arm behind her back.
CATHERINE
Get me the
key.
ERIC
Let me out, let me out, let me out.
He bangs on the door.
MATRON
(She calls for help.)
Nick!
Catherine unlocks the door.
ERIC
You!
CATHERINE
Yes Eric, go downstairs,
get in the car in front…GO!
Eric goes down the stairs as Catherine shoves the matron into the room and locks her in.
Nick tries to grab her, but she pushes him down the stairs. She follows his tumbling body and rushes out the door into her car.
CUT TO FATHERS CHAMBER:
Vincent is reading a book when a boy rushes in.
BOY
Vincent she’s in the park, she’s waiting there.
VINCENT
Thank you Nicholas, go to
Father tell him I will return soon.
He gathers up his cloak and goes up the spiral stairs.
CUT TO GATE AT PARK ENTRANCE:
Catherine sees him approach the door she goes to greet him.
CATHERINE
Vincent
He opens the door.
CATHERINE
I’ve got the boy, I found him.
VINCENT
I knew you would.
CATHERINE
They’ve separated him from his sister.
They’ll be looking for him; if I take him back now
I’m afraid I’ll lose him again. I can’t chance that Vincent.
VINCENT
He’ll be safe with us.
CATHERINE
Great! I was hoping.
Vincent starts to approach the boy who is curled up on the ground sleeping.
CATHERINE
No wait, I’m afraid he’ll…
VINCENT
That he’ll be afraid.
CATHERINE
He’s been through a lot, I don’t know how…
VINCENT
It’s all right, wake him.
He steps back into the shadows.
CATHERINE
Eric…
She shakes his shoulder gently.
ERIC
What? What are we going to do?
CATHERINE
I’m going to take you to someplace safe
where no one can hurt you.
ERIC
You going too?
CATHERINE
We’re going with a friend of mine,
someone very extraordinary.
I’d like you to meet him, his name is Vincent.
Vincent walks over to Eric squatting down so he is eye level with the boy.
VINCENT
Eric…
ERIC
What is that? Is it real?
VINCENT
It’s real.
Eric reaches out to stroke Vincent’s face.
ERIC
How’d you get like that?
VINCENT
I don’t know, I don’t think I ever will.
I never knew my mother or father.
ERIC
I bet you’d know them if you saw them.
The two smile at each other.
CUT TO NOJ’S BASEMENT:
NOJ
Excuse me sir is Lincoln Center
in that direction? Thanks, nice hat.
You hear any bells ringing? No bells.
He is standing by a manikin that is dressed in a suit with bells sewn all over it. He has just lifted a wallet out of the pocket without any of the bells ringing. He is showing Ellie how to be a pick pocket.
NOJ
The bells ring, its all over, you go to jail.
I don’t want to hear those bells,
you don’t want to hear them.
By the way sir, where did you get that hat?
He has picked a watch off the manikin without ringing a bell.
DEB
He’s so amazing.
ELLIE
I’m not gonna do this, I don’t care.
DEB
You’ll do it.
CUT TO TUNNELS, FATHER’S STUDY:
Father is seated at his table talking to Eric as Vincent and Catherine look on.
FATHER
Vincent tells me you might want to stay with us.
ERIC
Maybe.
FATHER
Well you know, Eric, we only want
those here who want to be here.
No one’s going to force you to stay;
no one will ever keep you from leaving.
ERIC
Well, right now I don’t have anywhere
else to go, so can I stay here for a while?
FATHER
Yes of course you can, until our good
friends above find some safe place for you.
ERIC
And my sister too?
FATHER
Hm, hm… of course, but you know Eric
there are promises you have to make and keep.
ERIC
What kind of promises?
FATHER
To give help and support to those who need it and
to accept help and support from those who offer it to you.
ERIC
I promise that.
FATHER
It’s a very important promise; it’s how we exist.
ERIC
How about not telling anybody about this,
keep it a secret?
FATHER
Well… you know Eric, suppose
you were to tell this secret to anyone.
Do you think they’re going to believe you?
And… even if they did believe you,
to do you think anyone
is going to find their way down here?
ERIC
I’ll keep it a secret anyway.
FATHER
Good! Well, then… welcome!
He shakes Eric’s hand.
VINCENT
Welcome Eric.
Eric goes to Catherine, hugging her.
CUT TO NOJ’S BASMENT HANGOUT:
There is a full size manikin dressed in a suit that has little bells sewn all over it. Noj wants Ellie to take a wallet out of the pocket.
NOJ
The pocket on the left side, do it.
Do it Ellie…do it!
She pulls the wallet out, ringing a bell
NOJ
You little idiot!
We’re going to be here all night.
CUT TO VINCENT’S CHAMBER:
Eric is tucked up in Vincent’s bed.
VINCENT
Eric, we’ll find your sister
ERIC
And can we both stay here?
VINCENT
For as long as you like.
ERIC
Ok, good
VINCENT
You’re safe, you’re with friends.
Now rest.
CUT TO NOJ’S BASEMENT:
ELLIE
No more… please…
NOJ
I own you, I bought you,
get it through your head you’re mine
and you better be glad about that
because without me you got nothing,
without me you got the chicken hawks
on the street. You want to be selling your body?
You want to be strung out on drugs?
ELLIE
I don’t want to be here either.
NOJ
You got nothing else. The pocket, do it!
He strikes her.
CUT TO DA OFFICE:
Catherine seated at her desk, Joe is standing in front of her.
JOE
The matron at Bridgemont Youth House
just caved in and she’s talking a blue streak.
We got what we need to bring in Barnes
on illegally transferring kids and child abuse.
CATHERINE
Good!
JOE
Good instincts.
CATHERINE
More than just instincts.
JOE
Well what do you want Radcliffe?
A gold star?
CUT TO FATHER’S CHAMBER:
Vincent is with some of the tunnel children he shows them a drawing her made of Noj.
VINCENT
Have you ever seen this man?
KIPPER
I think I have
NICHOLAS
Around Time Square maybe
Eric takes a look at the picture
ERIC
He took my sister, that’s the guy
that took my sister from Ridley.
VINCENT
See if you can find him,
if you do find out where he lives,
you know how.
The boys leave the tunnels looking for Noj, they spot him waling with three of his kids. They follow him to his hang out.
CUT TO OUTSIDE ON THE STREET:
Catherine is coming out of the door of her office building when a boy runs up to her and pushes a note into her hand. She reads it and turns rushing home where she changes into clothing more appropriate for the tunnels. She goes down to the basement to meet Vincent at the entrance there.
CUT TO THE THRESHOLD OF CATHERINE’S APPARTMENT BUILDING:
VINCENT
Catherine, we’ve made progress.
CATHERINE
The superintendent of Ridley
is about to be arrested.
VINCENT
Hm.
He shows her the drawing of Noj
VINCENT
This is the man who took Eric’s sister.
CATHERINE
Who is he?
VINCENT
A thief, one who uses little children,
the worst kind; he’s connected with
the supervisor of Ridley, I saw them
talking together, arguing about money.
CATHERINE
He’s selling kids!
Barnes is selling kids out of Ridley!
VINCENT
Only the ones with no known relatives,
the ones who are all alone.
CATHERINE
And he has Eric’s sister?
Vincent nods his head
CATHERINE
Where is he Vincent, do you know?
Take me there.
VINCENT
Too great a risk.
CATHERINE
It’s the only way I can move on them,
you can’t testify against them Vincent.
The only way I can get an arrest warrant
is to see with my own eyes, I’ll take that risk.
Vincent takes back the drawing and takes her hand leading her through the tunnels to the basement where Noj has the children.
CUT TO NOJ’S BASEMENT:
Catherine emerges from an air vent and looks around. She hears Noj yelling.
NOJ
You try that again and I’ll cut your
feet off, you don’t run away from me!
ELLIE
Let go, don’t, I won’t do it again.
He ties her hands behind her back to a chair.
NOJ
You’re staying right here. I can’t trust you.
Deb where are you, you’re
suppose to keep an eye on her.
He moves away and Catherine comes out of hiding and goes to Ellie
CATHERINE
Ellie, its ok I’m taking you out of here to Eric
ELLIE
Who are you?
CATHERINE
Shh!… we don’t have much time,
I’m the one Eric was talking to at Ridley.
Do you remember?
ELLIE
You found him?
CATHERINE
Yes. Let’s go.
She unties Ellie and they start to leave, but bump into Deb.
ELLIE
Deb don’t say anything please.
CATHERINE
Come with us, you can all come!
DEB
Noj! Noj!
NOJ
What’s this? You know this woman?
CATHERINE
I’m taking her out of here,
don’t you try to stop me!
NOJ
Wouldn’t think of it.
He reaches for her, she kicks him in the shin and then elbows his nose
CATHERINE
Come on!
She and Ellie run
NOJ
Freddie, Freddie!
Freddie runs past the air vent and Vincent rips him, dragging him into the tunnel
NOJ
Freddie?
Noj runs after Catherine and Ellie right into Vincent who roars and then cuffs him, he falls and Vincent drags him into the tunnel as well.
CUT TO RIDLEY HALL:
The police are there arresting Barnes, the receptionist and the custodian
POLICE OFFICER
Let’s go, this way, watch your step
CUT TO FATHER’S CHAMBER:
The boys are playing a game of checkers when Father, Vincent, Catherine and Ellie appear at the head of the stairs.
ERIC
Ellie!
ELLIE
Eric!
Ellie jumps down the stairs giving her brother a big hug
ELLIE
It’s sort of like a dream… isn’t it?
ERIC
No… better
CUT TO THE THRESHOLD OF CATHERINE’S BUILDING:
CATHERINE
Vincent, I’ve been all over the world,
met people, done things. I’ve lived in luxury
most people could never imagine,
but I can’t remember a time when I felt
as good or complete as I do right now.
VINCENT
Hmmm… I feel it in you, through you
CATHERINE
You really can…
VINCENT
It’s very beautiful.
.
CATHERINE
Sort of… like a dream?
VINCENT
(smiling)
Better…
Catherine leaves him going into the beam of light to her apartment. Vincent starts to leave then hesitates and turns staring at the light, then he also leaves.
THE END