Season Two, Episode 35

Original Air Date March 13, 1989

Written by Virginia Aldridge

Created by Ron Koslow

Director – Thomas J. Wright

Director of Photography – Stevan Larner

Production Designer – John Mansbridge

Editor – Michael F. Anderson

Theme by Lee Holdridge

Music by Don Davis

Supervising Producer - Stephen Kurzfeld

Producer - George R. R. Martin

Producer - Kenneth R. Koch

Co-producer – Alex Gansa

Co-producer – Howard Gordon

Co-producer – Patricia Livingston

Associate Producer – Anthony Mazzei

Coordinating Producer - David F. Schwartz

Unit Production Manager – Tony Brown

1^st Assistant Director – John Hockridge

2^nd Assistant Director – John Kontra

Art Director – Joseph Hubbard

Set Decorator – Peg Cummings

Property Master – Allan J. Gordon

Stunt Coordinator – John C. Meier

Special Effects Coordinator – Gary Bentley

Script Supervisor – Patience Thoreson

Beast Designed & Created by Rick Baker

Beast Make-up – Margaret Beserra

Make-up Artist – Fred Blau Jr

Hair Stylist – Josephine McCarthy

Costume Designer – Judy Evans

Costumer – Mary Taylor

Costumer - Ron Hodge

Sound Mixer – Pat Mitchell

Sound Mixer – Rick Ash

Sound Editing – David Hankins

Music Editor – Carl Swartz

Main Titles – Robert Farina

Main Titles – Chris Arnold

Casting – Joyce Robinson

Casting – Penny Ellers

Catherine Chandler – Linda Hamilton

Vincent – Ron Perlman

Beth – Marguerite Hickey

Colin – Christopher Neame

Father – Roy Dotrice

Frank – Preston Hanson

Jill – Michelle Costello

Joe Maxwell – Jay Acovone

Lawyer – Nicholas Shaffer

Lisa Campbell – Elyssa Davalos

Marie – Linda Hoy

Mary – Ellen Geer

Reporter #1 – Ron Brooks

Reporter #2 – Peter DuPont

Samantha – Marcie Leeds

Young Lisa – Kelli Williams

Young Vincent – Mark Neal

FADE IN:

EXTERIOR NIGHT

The stage door of a theater opens and a beautiful, dark haired woman steps through (Lisa Campbell), closing it behind her. Furtively, she glances down the alley, checking in both directions. She turns up the collar of her coat against the breeze and moves through the alleyway to the street, checking behind her as she walks. As she moves through the cold night Vincent is reading:

CUT TO:

INTERIOR TUNNELS NIGHT – VINCENT’S CHAMBER:

You darkness that I come from,

I love you more than all the fires that fence in the world.

CUT TO:

EXTERIOR NIGHT – ALLEYWAY:

Lisa descends a set of half a dozen concrete steps.

CUT TO:

INTERIOR TUNNELS NIGHT – VINCENT’S CHAMBER:

For the fire makes a circle of light for everyone

and then no one outside learns of you.

CUT TO:

EXTERIOR NIGHT – ALLEYWAY:

She comes to a storm grate in the street and squats beside it, removing an envelope from her coat pocket. Nervously looking over both shoulders, she holds the envelope in both hands and kisses it.

CUT TO:

INTERIOR TUNNELS NIGHT – VINCENT’S CHAMBER:

But darkness pulls in everything, shapes and fires…

CUT TO:

EXTERIOR NIGHT – ALLEYWAY:

She then slips it between the bars of the grate, and quickly gets up and leaves.

CUT TO:

INTERIOR TUNNELS NIGHT – VINCENT’S CHAMBER:

Animals and myself,

how easily it gathers them,

powers and people…

CUT TO:

EXTERIOR NIGHT – ALLEYWAY:

She walks briskly down the street. Suddenly a man stands before her.

Colin!

She composes herself quickly.

It’s a magical night isn’t it?

He stares at her icily, but says nothing.

Maybe it’s just cold. You should button up.

She reaches up and draws the edges of his lapels together.

Good night.

She walks away; his hard, glacial stare following her.

CUT TO:

And it is possible a great energy is moving near me.

I have faith in nights.

CUT TO:

INTERIOR TUNNELS - VINCENT’S CHAMBER:

Vincent is sitting in his great chair reading. Father enters the chamber.

Vincent. Ah, there you are.

Vincent marks his place in the book as Father moves further into the room.

What is it Father?

A message arrived for you tonight from Above.

He hands Vincent the envelope. He opens it as Father looks on apprehensively. As Vincent reads the letter, he hears Lisa’s voice:

Come and see me at midnight. Our special place.

When he finishes reading it he stares into space.

Lisa…

In his mind, he sees a young Lisa dancing in the Great Hall.

DISSOLVE TO:

FLASHBACK – INTERIOR TUNNELS GREAT HALL:

Music is playing, and candles are everywhere with their flames dancing in unison with Lisa. He sees himself as he was then – young, gangly and totally infatuated with the beautiful nymph-like creature dancing around him.

END OF FLASHBACK:

DISSOLVE TO INTERIOR TUNNELS – VINCENT’S CHAMBER:

He stares at the note as another memory resurfaces.

DISSOLVE TO:

FLASHBACK – INTERIOR TUNNELS:

I must see her, Father!

He stands with his back to Father.

She’s gone, Vincent.

She can’t be.

She went Above.

Above?

It’s best… for her. I promise.

No!

Vincent…

It’s because of me I know it.

He goes to Vincent turning him around to face him.

You’ve done nothing wrong, Vincent.

Nothing!

END OF FLASHBACK:

DISSOLVE TO INTERIOR TUNNELS:

Vincent stands at an intersection of tunnels with Lisa’s note in his hands. He waits patiently for a while and then begins pacing back and forth as midnight passes and there is no sign of Lisa.

CUT TO:

EXTERIOR CENTRAL PARK

PAN TO:

EXTERIOR NIGHT - CATHERINE’S BALCONY:

Catherine and Vincent are talking.

A message in the night, it said so little

 but I could feel the urgency. Her need.

But she didn’t come?

No. Huh… It’s almost as if I imagined it.

There is a touring company in town maybe she’s with them.

Your memories must be strong.

She left the tunnels so many years ago.

We’ve heard of her successes.

Helpers would bring us news.

I saw her dance once. It was truly inspired.

Yes.

Vincent looks out over the railing, staring at the city, but not really seeing it. He turns back, his eyes looking at nothing; his finger tracing patterns on the patio table. He appears unsettled and brooding.

What is it, Vincent?

Please tell her that she has a place… and that I’m here.

I will.

Did she leave the tunnels in order to dance?

That is not why she left.

Although it may have been a reason in time.

Why did she leave?

Because I loved her.

CUT TO:

INTERIOR THEATER – NIGHT:

Catherine walks back stage after the ballet performance she has just attended. A sign on the wall declares it to be a rehearsal area. There are workmen and dancers milling about, and she carefully weaves her way through them, looking for Lisa. A portly, spectacled woman loaded down with costumes bustles by.

Come on girls, come on I need those costumes!

DANCER 1

I screwed up my back again.

Do you think you could take this in on the side?

What so you can split the seam the next time you eat lunch?

Look I’m going to be here till three o’clock in the

 morning repairing the damage you’ve done tonight.

No, no you two just go right on and

I want those costumes in wardrobe.

Ok, ok.

Excuse me.

What?

Could you tell me where Lisa Campbell’s

dressing room is please?

Oh sure honey, she’s holding court

right over there at the foot of the stairs.

Thank you.

Hm, hm. Hm, hm.

As she approaches the area she hears a conversation. An elderly man is talking to Lisa and is clearly besotted with her.

And which was your favorite?

Oh, no question, Giselle December 23^rd 1978

Why, I scarcely knew how to walk back then!

May I say you’re even more beautiful now, Ms. Campbell.

Lisa, please (taking his hand).

Lisa.

And thank you again for the beautiful flowers.

Oh, thank you, Ms. Campbell

He leaves passing Catherine who is standing in the doorway. Catherine nods in acknowledgement and smiles, amused by his sycophancy.

May I come in?

Please.

You danced wonderfully tonight.

Oh, thank you. You come to the ballet often?

As often as I can. Actually, I’m here

for a friend. A friend of both of ours.

Oh?

Vincent?

You left a message. He waited for you.

He was concerned.

Who are you?

I’m Catherine Chandler. I told Vincent

 that I would try to find you

and just make sure that everything is all right.

Well, everything’s fine.

Vincent… cares about you very much.

I suppose he wanted me to remind

you in case you’d forgotten.

Will you see him?

Yes.

Suddenly Lisa sees Colin standing by the door.

Well Catherine, I can’t thank you

enough for coming back stage.

She turns toward the door.

Please come in, Colin.

Mr. Taggart’s expecting your call.

Oh please tell Alain that I’m visiting with a very old friend.

We went to school together. Colin, I’d like

to introduce you to Catherine Chandler.

Catherine, this is Colin Hemmings;

my ever-faithful and fearless watch dog.

How do you do?

You know Colin; you mustn’t have such a stern

 look on your face. It doesn’t become you.

So you went to school together, here in New York?

Yes

Which one was that?

Brookhill.

Good old Brookhill of course, School of the Arts.

(Laughing)

Well, you must have plans and

I don’t want to keep you. I should go.

Call me when we can have lunch.

Great. It’ll be nice to catch up.

As Catherine leaves the room she passes Colin in the doorway and looks up at him.

Nice to meet you Mr. Hemmings.

As she passes through he closes the door behind her. She pauses and glances back at the door perplexed.

CUT TO:

Catherine is sitting in front of a microfiche machine, using it to scan back newspapers for articles about Lisa. She comes across one showing a picture of Lisa with a headline declaring that Lisa Campbell Enchants White House. She sees another stating Lackluster Lisa Disappoints Dallas. Yet another declares Campbell quits London ballet theatre for financier.

CUT TO:

EXTERIOR NIGHT - HOTEL:

CUT TO:

INTERIOR NIGHT – LISA’S HOTEL ROOM:

After hearing a knock on the door Lisa strides over to it holding a glass of wine.

Yes?

She opens it to find Colin standing there.

What is it Colin?

There’s been a change of plans.

We’re leaving for London tonight.

She stares at him incredulously.

Don’t be silly! I have three more performances yet.

Oh, they’ve been cancelled.

What are you talking about?

I haven’t cancelled anything.

I suggest you take it up with Mr. Taggert

when we get back to London.

What exactly did you say to him?

You over-estimate me.

Do I?

Look, I just do what I’m told.

I suggest you do the same.

Well…huh, well then, if I’m not going

 to dance I might as well get back.

It will be good to get home again.

I’m glad you feel like that.

You will give me time to change and pack?

Of course. I’ll be right outside the door.

She stands by the fireplace gripping the mantel tightly with one hand as Colin leaves the room, then she frantically moves around the room ending up at the window.

Five minutes Lisa!

Yes! I know Colin!

Quickly, she opens the window and removing her shoes, steps out of it onto a narrow walkway. She sidles along it until she reaches some vertical bars, which she squeezes through. She takes the hem of her long, pink dress in her teeth and hurries down the fire escape.

Lisa…Lisa!

When she does not answer, he unlocks the door with his key and rushes into the room staring at the open window. He runs out of the room after her. Lisa reaches the ground and races down some stairs to the street. When Colin reaches the street, she has gone.

Damn it!

CUT TO:

EXTERIOR PARK NIGHT – TUNNEL ENTRANCE:

Lisa reaches the culvert and runs into the drainage pipe. She clutches the bars of the steel grate that guards the tunnel entrance.

Oh Vincent, please be here.

Vincent!

Vincent comes up behind her, touching her on the shoulder. She turns startled, and then breaks into a huge smile.

Oh Vincent!

Oh… Let me look at you…

(Appreciatively)

You’ve changed…Oh, oh…Vincent.

 (Hugging him again)

You’re my most special memory in all the world.

I’d forgotten how quiet you are. You’re angry…

You’re angry I didn’t come the other night.

I…I would have come if I could have…

I tried to, but you see Mr. Palmieri…

Mr. Palmieri is a patron of the ballet

 and well he’d invited me to dinner, and

he first saw me dance when I was twenty two,

and well he’s…he’s underwritten the

entire touring company for the season and well…

Why are you here?

Vincent, please don’t worry I’m in

New York and I so wanted to see you again…

 And Father, and everyone.

You never came before.

She walks away from him again.

You know…you must think of me as a

profligate sister. Long lost, abandoned who’s

finally found her way home again for a visit.

She walks back to him and gazes up at him intently.

To me you were more than a sister…

Then she reaches up to clasp the top of his vest.

CUT TO:

INTERIOR TUNNELS - FATHER’S CHAMBER:

There is a crowd of people standing, or sitting in various nooks and crannies listening to Lisa who is sitting on the floor surrounded by the young children. Father is sitting at his desk looking displeased. Vincent stands quietly off to one side listening and reminiscing.

And I danced in Russia, once.

Russia?

With the Kirov ballet.

Oh, the theater was a vision. Just to set foot on that stage.

I’d never seen anything so beautiful in all my life.

 It was like dancing in a cathedral…

Did you really grow up in tunnels?

I did. Oh, you just can’t possibly

imagine all the people who ask me

where I was born, or where I learned to dance.

That’s something you should always remember,

Samantha. You see eighty percent

of a woman’s charm is in her mystery.

I’ll remember.

In fact, if it hadn’t been for this place

I might have never learned to dance at all.

It was Father who found me my very first teacher…

…and Vincent. Why, it was

Vincent who took me to see my very first ballet.

Vincent is standing off to one side and thinks back to that time.

DISSOLVE TO:

FLASHBACK – INTERIOR TUNNELS BENEATH THEATER STAGE:

I love surprises.

Is my dress all right? How do I look?

Lovely.

They hear music floating down from the stage somewhere far above them.

Vincent, listen.

You found a way didn’t you?

Yes. We must hurry. Here, take my hand.

You go first and I’ll follow.

He helps her to the first metal staple protruding from the wall. They climb upward ending at a grate that has a view of the stage. There is a man and woman dancing a ballet. Lisa is staring through the grate mesmerized by the vision on the stage. Vincent stands close behind her supporting her as they watch the ballet together. Lisa is utterly entranced.

One day, I’m going to be out there too, Vincent.

I will dance for all the world.

I will dance for kings,

but I will be dancing only for you.

END OF FLASHBACK:

DISSOLVE TO INTERIOR TUNNELS:

Vincent comes back to the present and hears Lisa say:

And that’s when I knew.

You see …

(standing)

dreams begin right where you are right here.

Right now…

Will you teach me how to dance sometime?

Of course I will, Samantha.

…Assuming that Father

will allow me to stay for a while.

You’re welcome to as long as you wish,

but what about your performances.

Well, the show’s closed.

I was told yesterday evening at dinner.

I see, well in that case please… stay.

Lisa smiles and looks at Vincent.

CUT TO:

EXTERIOR DAY - CRIMINAL COURT BUILDING:

CUT TO:

INTERIOR DAY - DISTRICT ATTORNEYS OFFICE:

Catherine is working at her desk. The room is practically empty except for the custodian and Joe. He approaches her desk on his way out

That’s what I like to see.

The tax payers’ money hard at work!

I never thought of that. Ha! I pay my own salary!

Don’t get any ideas.

Good night, Joe

Good night.

Hey, were you the one that asked me

about that Englishman, Alain Taggert?

Yeah…

I knew the name sounded familiar.

 A buddy of mine over at the

US Attorneys Office mentioned him.

Yeah?

He’s some kind of international arms broker.

You know, the kind of guy  who likes

to play golf with Ollie North on weekends?

He’s been dealing weapons to terrorist countries.

From what I hear he’s about to be indicted.

Why’d you want to know?

Oh… just heard his name. I was curious.

Ok. See you in the morning.

Bye.

CUT TO:

INTERIOR TUNNELS NIGHT:

Lisa and Vincent are walking down a tunnel toward the guest chamber.

You know that Father hates me.

Father, doesn’t hate you.

He hates me or why would he insult me

with his politeness. He blames me.

Perhaps a part of him does.

Let’s not talk about it.

Lisa, there are things you don’t know.

Please, Vincent.

A time in my life after you left.

I only want to remember the pleasant moments.

Lisa…

I remember…I remember running

through the tunnels through the dark…

So very fast, and I always ran towards the light…

That blinding light…

Do the children still swim naked

in the pools beneath the falls?

I think they do.

Oh, and the cliffs! Oh, do you remember the cliffs?

I remember.

Diving down so very deep into the water holding

our breath for as long as we possibly could.

You were happy here

I was happy, wasn’t I?

I think you were.

I’m suddenly tired.

Come…

The guest chamber is near.

I can find my way. You needn’t walk me any further.

Lisa, I…

Please Vincent, I remember.

Sleep well.

CUT TO:

EXTERIOR - CENTRAL PARK STORM DRAIN:

Catherine and Vincent are speaking by the iron grate.

She’s involved with a man who’s about

 to be indicted for arms smuggling.

There’s a good chance

she’ll be called to testify against him.

For Lisa to come back to us,

I knew there were other reasons.

I’m sorry. Her performances were cancelled.

She’s probably gotten herself out of the country by now.

Catherine… she’s with us.

She is?

Well… at least we know where she is.

Yes.

What does this woman mean to you, Vincent?

Can you tell me?

He stares at her for a moment then turns away, leaning on the gate.

There are moments… images

I remember so clearly. Burning so deeply.

Tell me about those moments.

It was a time when I first felt the tremendous joy

that dreams could bring. Intoxication of sending your heart

soaring into the realm of hope, at that same time that I

(sighing)

learned that for me, dreams could bring

 more pain than I could ever bear.

Enough pain to destroy me; even those around me.

How? What happened?

You can tell me…you can tell me anything…

I once thought that, but there are things.

Things that I had dreamt away.

We’ve never withheld the truth

 from each other…never.

I know.

Slowly, he walks through the gate and closes it. She stands watching him go, perplexed and alone. Looking at her once, he pulls the lever that moves the massive steel door into place shutting her out.

CUT TO:

INTERIOR TUNNELS – FATHER’S CHAMBER:

Vincent and Father are talking.

We have a responsibility to her.
She has no other place.

She has the world, Vincent.

This is her home.

This was her home.

Why do you persist in punishing
Lisa for what happened?

For what I did?

Don’t ever say that, Vincent!

Nothing has changed since you sent her away.

I didn’t send her away.

You did!

No!

How can you deny it?

Oh for God’s sake, don’t you understand?
I was trying to protect you!

To protect me?

From her… From disappointment.
I watched you growing up beside Lisa…
watched you growing closer together.
Knowing that one day she would leave the tunnels…
and you.

I…I’ve tried to be fair, Vincent in…in raising all of you.

I made choices that had to be made…

Oh, I don’t know anymore which was right,
and which was wrong. All I do know

Vincent, is that they were made with love.

And it is with love, I make the choices I must… now.

CUT TO:

EXTERIOR STREET – DAY:

Cars are rushing by. Catherine enters a taxi cab.

13^th and Lex please.

The taxi pulls away, followed by a car containing Colin and another man.

CUT TO:

INTERIOR TUNNELS - DAY:

Vincent is sitting deep in thought remembering the time when he watched Lisa dance in the Great Hall.

DISSOLVE TO:

FLASHBACK – GREAT HALL:

Lisa dances around Vincent tantalizingly. Touching him, and running her hands over him. She tenderly kisses his cheeks, and he holds her arms pulling her in close to him.

Lisa.

Let go of me!

Stop! No!

She pulls away, and he accidentally tears her dress, raking her left shoulder. He stares down mortified at his blood-covered hand.

Lisa!

He begins to move toward her when Father grabs him from behind.

No Vincent!

Vincent turns and growls; his arm lifted up and back ready to strike. He stares at Father, finally recognizing him and falls into his arms. Father strokes his face.

No…no…

Lisa stands holding her shoulder and looks down at the floor as Vincent cries in Father’s arms.

END OF FLASHBACK:

DISSOLVE TO INTERIOR TUNNELS – GREAT HALL:

Vincent comes back to the present; he hears someone approach and stands up. Lisa is standing on the stairs that lead down to the floor of the Great Hall. Vincent’s chair is in the middle of the floor surrounded by many candles - their flames flicker in the current of air. They look at each other for a long moment.

What’s the matter?

She swings herself through the stair rail, twirling before she reaches him.

You have such a strange expression on your face…

Something’s the matter.

I’m just going to pretend that I don’t notice
anything different about you at all.

What on Earth are you thinking of?

What happened in this hall.

Winterfest…candles (twirling) music…

What happened between both of us…

For so long I…I couldn’t forgive myself
for hurting you. Driving you away…

I’m going to make a new life for myself.

Lisa…

You hold too great a reverence for the past, Vincent.

It was nothing. Don’t you see? It was child’s play.

So are we playing now?

Now?

Yes!

Now that you’re in danger.

I know that you’re afraid. I know that you’re hiding.

You surround yourself with illusions, but illusions fade.
Lisa…

Lisa, you must trust me, please. As you once did.

CUT TO:

EXTERIOR STREET - DAY:

Catherine is walking down a street

CUT TO:

INTERIOR TUNNELS GREAT HALL:

Vincent’s attention is suddenly torn from Lisa.

CUT TO:

EXTERIOR STREET – NIGHT:

As Catherine walks down the street, Colin grabs her from behind.

CATHERINE.

Hey what…?

Let’s go for a little drive shall we?

CUT TO:

INTERIOR TUNNELS GREAT HALL:

Vincent stands still to concentrate on something.

CUT TO:

EXTERIOR STREET – DAY:

Catherine is thrust into the back seat of a car - Colin slides in beside her.

CUT TO:

INTERIOR TUNNELS:

Vincent is running.

CUT TO:

EXTERIOR STREET – DAY:

The car containing Catherine speeds away.

CUT TO:

INTERIOR SUBWAY:

Vincent is riding atop a subway car.

CUT TO:

INTERIOR OLD BUILDING – DAY:

Colin’s companion, John, is repeatedly hitting Catherine in the face.

Now tell me! Where is Lisa?!

I don’t know.

Wrong answer.

All right let’s try again shall we?

You see, it’s just that easy with a human limb.

John’s done it a thousand times, haven’t you John?

And you wouldn’t be the first woman…

Suddenly, they hear a roar and Vincent comes crashing through a skylight. Colin grabs Catherine using her as a shield and moves away, part of the debris falls on John. Vincent grabs John, slashes him across the face and throws him through a wall as Catherine struggles with Colin. Colin holds a gun to Catherine’s head. Vincent turns and roars at Colin who now pointing the gun at him. Catherine swings her elbow into Colin’s stomach and grabs for the gun, they struggle for it and it goes off. Vincent is horrified, his eyes glaring wildly; he rushes to Catherine holding her from behind. She sags in his embrace, blood dripping from her mouth; her breath coming in ragged gasps. He clutches her to him.

I’m ok… I’m ok…

He holds her close, his head on hers, kissing the top of her head.

CUT TO:

INTERIOR TUNNELS – VINCENT’S CHAMBER:

Catherine is laying on Vincent’s bed her knees drawn up, her head back on a pillow. She probes the damage John inflicted on her face with cautious fingers. Lisa runs in, but stops abruptly when she sees Catherine.

Oh, excuse me, I didn’t mean to…

Lisa.

I was just looking for Vincent.

Please. Please come in.

What happened?

Your friend, Colin. He was determined to find you.

He thought I might know where you were.

Colin? I don’t believe that…

Quite a few people are wondering where you are…

Who? Who’s wondering?

The US Attorney, a Federal Grand Jury.

They want to ask you some
questions about Alain Taggert.

That’s quite a statement.

I’m sure Mr. Taggert would like to get

you out of the country before that happens,

or find some other way to stop you from incriminating him.

I promise you I don’t know what you’re

talking about. (Innocently) you must have made a mistake.

No… You’re lying to me

Don’t tell me I’m lying.

You’ve lied to Vincent.

No, never. Never to him.

You have caused him some deep pain which I cannot reach.

Well, if that’s so… I’ll leave… immediately.

But you have no place to go.

Nonsense. I’ve hundreds of places I could go…

Buenos Aries. I have wonderful friends there.

How long do you intend to keep hiding?

I. I intend. To survive.

What are you going to do Lisa?

What will you do when it’s all over?
When the world no longer loves you?

Will you just cling to whoever will have you?
Is that all you’re worth?

You don’t mean to be unkind, do you?

No, just realistic.

Realistic… Ok, it is over.

Vincent enters, stopping in the entrance to watch. Father is directly behind him.

Played out.
Do you know what ‘played out’ means to me?

…It’s when the music stops.

CUT TO:

EXTERIOR COURT HOUSE STEPS:

A limo pulls up to the curb, Lisa steps out to a crowd of reporters and photographers.

Catherine stands at the top of the steps watching.

Ms. Campbell! Where have you been?!

Would you like to make a statement about…?

Lisa sees her and takes off her dark glasses, acknowledging her, they exchange smiles:

Ms. Campbell! What’s your relationship with…?

CUT TO:

EXTERIOR NIGHT NYC - CATHERINES BALCONY:

Catherine walks through the doors, Vincent is there.

Catherine.

I wonder if I’ll ever not be surprised to see you there.

We’ve never withheld the truth from each other.

No.

Catherine, there are things I must tell you
 about who I am…and what I am.

Vincent, to me… you’re beautiful.

What I have to tell you is not beautiful….

It’s terrifying and shameful, but it is the truth.

Then I want to hear it.

It’s about Lisa and what she meant in my life.

Yes…

I would watch her dance. She would dance
in the Great Hall alone, for herself….me.

There was nothing in the world as beautiful as Lisa.

And you desired her. There is no shame in that.

For me there is.

Why?

Because I hurt her. Because in my desire
I forgot who I was, who I am.

As she moved closer I wanted to hold her…
She was dancing and I felt a pull.

It was pulling me, to her and I reached out for her.

Suddenly, in her eyes I saw a fear of me.
I saw myself, but I couldn’t let go of her.

These hands wouldn’t let go of her and I hurt her.

And I knew that these hands
were not meant to give love

These hands are beautiful!

These are my hands

She stands kissing each of his hands in turn, and looking up to reassure him. Their foreheads touch as his tears continue to fall.

FADE OUT: