BEAUTY AND THE BEAST
“Song of Orpheus”
Written by
Alex Gansa and Howard Gordon
Directed by
Peter Medak
Episode as aired
BEAUTY AND THE BEAST
“The Song of Orpheus”
ACT ONE
FADE IN:
Pan across the city bridge, over the bustling city streets and into Lou’s barbershop.
LARRY
Well I’ll see you next week.
LOU
Ok Larry, you take care now.
Lou settles into a waiting chair with the morning paper. He expertly cracks and folds the paper down to manageable size. As if by ritual, he turns to the Classifieds. His eyes scan the Personals. Something there hooks his attention.
INSERT - NEWSPAPER
An ad in the Personals
BACK TO SCENE:
He sees an advertisement “The Wreck of My Memories” which he circles, writes FTR on it, cuts it out and then folds it into a bottle. He leaves the shop and drops the bottle into a storm drain.
CUT TO:
FATHER’S CHAMBER
He and Vincent are playing chess; Vincent has just made a move and it’s Father’s turn.
FATHER
Hm, hm Fischer-Spassky forth game
VINCENT
Seventh game
FATHER
(laughs)
I don’t know what masochistic impulse
ever prompted me to teach you chess.
Dustin appears at the top of the stairs
FATHER
Come in Dustin
(Dustin hands him the bottle with the note from Lou)
Thank you. Now if I recall that seventh
game correctly Fischer was saved by a pawn.
Father studies the board while he absently slides out the clipping from the bottle and then makes his move.. He then opens the clipping and reads it… as some deep and distant anguish spreads over his face. Vincent is immersed in the game, until he notices Father, still staring at the clipping...
VINCENT
Father?
Father stands up from the chess board and moves away.
VINCENT
What is it?
Father turns and raises his eyes to Vincent.
FATHER
I’d always wondered when it would happen.
Now it has. Vincent, I’ve..…I’ve never lied to you.
The things I’ve taught you about the
world above… so much was to protect you
and it was also to help me to forget,
forget a world I once loved.
VINCENT
I’ve always sensed that.
FATHER
I have kept certain things from you about my life before.
VINCENT
Father, what are you trying to tell me?
FATHER
I have to return, I have to go above.
VINCENT
When will you go?
FATHER
As soon as I prepare myself. I’ll be back
this evening. When I return, we’ll talk.
VINCENT
Father, you…..
FATHER
Please Vincent don’t ask me anything.
CUT TO:
A HOSPITAL ROOM
Margaret Chase is lying in a hospital bed speaking with her lawyer and friend, Alan Taft.
MARGARET
Still no answer?
ALAN
You can’t expect after all this time…
The ad’s run for seven days now.
Do I have your permission to cancel
this nonsense?
MARGARET
No
ALAN
Margaret…
MARGARET
Listen to me. A day hasn’t past when
I haven’t thought about him, of seeing
him again, especially now.
ALAN
He dropped off the face of the earth
35 years ago. We’re not even sure….
MARGARET
I know he’s alive.
ALAN
This is difficult for me Margaret. I’m worried
about you, as your lawyer and as your friend.
First this (he indicates the newspaper) and
now these new provisions you’ve made
for your will. Your judgment….
MARGARET
Oh please Alan not now,
Henry’s due here any minute.
ALAN
That’s who I’m worried about.
MARGARET
We’ve been through all this before,
he’s a sweet man. He’s good to me;
not to mention what he’s done
for others. You shouldn’t worry.
There’s a knock on the door and Henry Denton enters carrying a huge vase of flowers.
HENRY
I hope I’m not interrupting?
ALAN
(annoyed)
Would you excuse us please!?
MARGARET
Oh Henry, come on in.
You’re not interrupting anything.
ALAN
I’ll call you tomorrow.
MARGARET
Don’t go.
ALAN
Goodbye Margaret.
Alan leans over and kisses Margaret on the forehead.
MARGARET
Goodbye
Taft walks toward the door, stops and stares at Henry for a moment, and then leaves.
HENRY
Well!
Henry places the flowers on the hospital bed table.
MARGARET
I wish you and Alan would get
along together better.
HENRY
Margaret I try, I really do
MARGARET
I know you do.
(She notices the flowers.)
They’re beautiful Henry.
HENRY
Oh, thank you. So how are you feeling?
MARGARET
Better
HENRY
Yeah?
MARGARET
Much better.
HENRY
Well that’s good.
MARGARET
I don’t know how I’d manage without you.
HENRY
You’re not going to have to. First thing
in the morning, I’m taking you home.
DISSOLVE TO:
INTERIOR FATHER’S CHAMBER
Father sits alone, looking small in the vast room. During this, he is pensive, almost meditative.
Finally he stands and goes over to his armoire. He opens the double doors hesitantly and stares into it. Finally reaches for a fedora which he holds up to examine; on his face, betraying a faint, elegiac smile... a trace of nostalgia. Father dusts it off and places it on his head.
Next he reaches in and pulls out an old tweed suit, circa 1950, immaculately preserved. He holds it suspended for a long moment...
DISSOLVE TO:
INT TUNNELS - DAY
In the tweed suit and the fedora, Father turns a corner and takes a moment before this final leg: a short tunnel with a bright light glowing at its end. Father takes a breath and walks the length of the tunnel, his silhouetted back to us, receding, as...
CUT TO:
EXTERIOR TAFT’S OFFICE BUILDING
HENRY- VOICE OVER
You see, people want to believe
what they’re doing is right. I simply
assure them they are. Is there anything
wrong with that?
CUT TO:
INTERIOR TAFT’S OFFICE
Taft and Dutton are walking through the outer office.
ALAN
Nothing
Both men enter Taft’s main office. Dutton remains standing while Taft walks behind his desk and sits down.
HENRY
Yet here I am defending myself.
ALAN
You made the appointment.
HENRY
Yes, and you agreed to see me.
What was it? Just curiosity?
ALAN
Something like that.
Dutton needs to know if Taft has anything on him and so now tries another tack..
HENRY
You’re a hard man to draw out Alan.
Let me help you. You’re worried.
Six months ago Margaret is diagnosed
with pancreatic cancer. She has an
enormous estate and not a single living
relation. Simply put, you question the
coincidence of my arrival on the scene.
Taft isn't denying that one.
HENRY
Look, I’m not going to
lie to you. We’re a charity. I mean,
who better to solicit. Wealthy people
want to be remembered for their
good works. I’m sure Margaret had
other offers. She happens to have chosen us.
ALAN
She chose you, Dutton. That’s what
I’m worried about.
HENRY
Oh so you, you can be direct.
Direct enough to advise Margaret against
the trust she’s established.
HENRY
Why?
ALAN
I commissioned someone to look into your
fiscal affairs a couple of weeks ago. He called
yesterday from the Cayman Islands. For
Margaret’s sake I’m willing to keep
what he’s found quiet, but only if you
disassociate yourself from her completely.
HENRY
You’re an old man Alan. You don’t
want to lock horns with me.
CUT TO:
EXT. MANHATTAN STREETS - DAY
Father comes up the stairs from the subway. The sidewalk teems with people from every color and class, skimming shoulders, walking fast. Over this, the WHITE NOISE of traffic sounds and people and rap music blasting. Frenetic urban pulse. CAMERA MOVES WITH HIM, an anachronism, awkward in this changed world.. He passes the justice building and remembers…….
DISSOLVE TO:
INT. FEDERAL BUILDING LOBBY - WASHINGTON D.C. (1953) DAY
(NOTE: Flashbacks should be shot in black-and-white or sepia-toned.)
Reporters rush down the stairs. Flashbulbs pop as an elevator opens and a younger Father emerges, dressed in the same suit., holding the same hat, flanked by plain-clothes Federal Marshals. A crowd of reporters pushes in toward him, calling out questions…
REPORTER
What do you make of the committee’s findings?
FATHER
I’ve said all I wanted to say at the
hearing. I’ve nothing further to add.
DISSOLVE TO:
EXTERIOR OF THE JUSTICE BUILDING IN THE PRESENT
Father continues to walk past the building.
DISSOLVE TO:
NIGHT CITYSCAPE AND THEN THE INTERIOR OF TAFT’S OFFICE BUILDING.
Father steps out of an elevator. He walks down the hallways, looking for Alan’s office. When he finds it, the door is ajar. A security light blinks on the wall. As Fathers moves through the outer office he calls…
FATHER
Alan? Alan?
He enters Alan’s office and sees papers scattered all over the floor and then he sees Alan lying behind his desk on the floor. Rushing to his side he discovers that Alan is dead and at that moment the police rush into the office.
POLICE OFFICER
Move away from the desk – NOW!
Larry, we got a man down, radio an ambulance.
FATHER
Look, I’m a doctor, he was already….
POLICE OFFICER
Shut up!
This is the law offices of Alan Taft. 4300 building and
Park. We have a 1015, do you copy? Over.
While this is going on, Father is taken into the outer office, pushed against a wall and frisked.
LARRY
We have a 1015 already filed. Do you copy?
DISPATCHER
We copy unit two. Man down.
Ambulance and paramedics
dispatched to 4300 Building
and Park. Back up not requested.
1015 has been filed.
POLICE OFFICER
You’re under arrest. You have the right
to remain silent. Anything you say can
and will be held against you in a court of law.
Father is handcuffed.
CUT TO:
EXTERIOR CATHERINE’S BUILDING THEN CUT TO HER BALCONY
Vincent peers in through the balcony windows. Camera moves back to show Catherine sleeping in bed. Vincent taps on the door. Catherine gets up out of bed and goes out to him.
CATHERINE
Vincent
VINCENT
I’m sorry to wake you Catherine.
CATHERINE
Something’s wrong.
VINCENT
It’s Father.
CATHERINE
What’s happened?
VINCENT
He went above today for the first time I can
remember. He should have been back
hours ago. He’s somewhere in this city.
I need your help Catherine.
CATHERINE
Of course I’ll help.
VINCENT
I should never have let him go alone.
CATHERINE
Where was he going?
VINCENT
It had something to do with his life before.
CATHERINE
When he lived above?
(Vincent’s nods yes.)
What has he told you about his life then?
VINCENT
Only that it was another life, lived by
another person and that the memory of it
was best forgotten. I know he was a doctor.
CATHERINE
Do you know his full name?
VINCENT
I’ve always called him Father.
CUT TO:
INT. POLICE DEPARTMENT - BOOKING AREA - ON FATHER - NIGHT
Getting his mug shot taken, holding a placard before his chest that reads: "John Doe - GL2S-43."
Close up on Father’s haggard face as the camera flashes.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN:
INT. FATHER'S CHAMBER
Vincent enters the vault-like room. Without Father's presence, it's more like a shrine, and Vincent has trouble overcoming the feeling that he's somehow trespassing. He pauses in the center of the chamber, his eyes scanning for a place to begin his search for Father's past. His gaze lingers on the desk. He hesitates and then pulls open the first drawer and begins pulling out papers.
TIME LAPSE DISSOLVE:
VINCENT
Hasn't turned anything up. Books and papers lie scattered all over the furniture and the floor. Father has clearly destroyed anything that might remind him of his former life. Frustration and sadness are part of what Vincent's feeling. He now moves reluctantly to the only place he hasn't searched: the antique dresser...
Vincent turns the big key in the lock, and pulls open the doors. He scans the interior until something catches his eye. It’s a badge.
INSERT -SECURITY CLEARANCE BADGE
The laminated letters read " Chittenden Research Institute –with a picture of Father on it.
VINCENT
Looking further, he removes a framed, black and white wedding photograph of a younger Father and a Woman (Margaret), radiant, in her wedding gown. He holds it up to the light and studies it. The image of Father in love has a powerful effect on him...
Turning the photograph over he finds... an envelope, threadbare and shiny with age, tucked into the frame. He starts to open it but again, his sense of betrayal prevents him from doing so.
CUT TO:
INT. POLICE DEPARTMENT - OUTSIDE INTERROGATION ROOM – DAY
CAMERA SHOOTS THROUGH a window: Father, now dressed in jail garb, his arms crossed on the long table.
The names are confused here. From the next scene where Gutierrez starts the questioning, I think the wrong name is given for the first line. I think it starts as a voice over. At the end of the second speech, the last lines are spoken by the other officer. I think assigning the first line to Gutierrez
GUTIERREZ
Guy still won’t give his name huh?
PARKER
Nada. But check out this stuff we got from his
pockets; silver certificates, they’ve been out
of circulation for now what… twenty, thirty years?
A pair of ticket stubs from a Dodger/ Giants game.
GUTIERREZ
Brooklyn, New York….Ebbett’s field 1952.
PARKER
Twilight Zone
GUTIERREZ
Huh?
PARKER
Twilight Zone
GUTIERREZ
Yeah
PARKER
So what do you think?
GUTIERREZ
What do I think? What I always
think, why me?
CUT TO:
INSIDE INTERROGATION ROOM
GUTIERREZ
Why’d you kill Alan Taft?
FATHER
I didn’t kill Alan Taft. When I found him,
he was already dead.
GUTIERREZ
I see. So you know him?
FATHER
I knew him.
GUTIERREZ
What were you doing in his office? You were
looking for something right? The place was
torn apart.
Silence. Gutierrez takes the top sheet from the open folder. It's a Xerox of the classified ad. He pushes it over the table to Father.
Maybe this will help you remember.
It’s got Taft’s address. We found it in your
pocket; the wreck of my memories.
What’s it mean? Come on, maybe you
start by telling us your name. What do you say?
PARKER
Hey mister, who the hell are you?
CLOSE UP - FATHER'S EYES
as they look into the past
DISSOLVE TO:
INT. FEDERAL BUILDING - WASHINGTON D.C. - HEARI.NG HALL - (1953) DAY
A grim-faced INVESTIGATOR speaks into the microphone in a piercing monotone.
On either side of him, a half dozen down-to-the-bone bureaucrats, all members of the inquisitional Un-American Activities Committee.
INVESTIGATOR
Will you answer the question. please:
Are you now or have you ever been
a member of the Communist Party?
ANGLE - FATHER
seated at a long table. A microphone before him. He answers evenly, with dignity -- although he is obviously keeping his patience tethered.
FATHER
No I have not.
SPEAKER
What is your occupation?
FATHER
I’m a research physician. I was employed
at the Chittenden Institute until some months ago.
SPEAKER
It is this committee’s understanding
that your security clearance was denied
for subversive activities.
FATHER
I am a doctor; I was trying to save lives.
SPEAKER
Please confine your answers to the
questions asked.
FATHER
Why is it that no one wants to hear that
the atomic energy commission has grossly
miscalculated radiation doses? Now this
is not communist inspired propaganda. It is
a medical fact, the result of intensive research.
My God! In Nevada they are exploding nuclear
devices in front of our own troops!
Now I can site you…..
ANGLE - INVESTIGATOR
as he flicks a switch beneath the long table, shutting off Father's microphone, imposing silence, as:
INVESTIGATOR
(coldly)
You will limit your testimony, sir,
to the Committee 's agenda.
And speechmaking is not on that agenda.
DISSOLVE TO:
INT. POLICE INTERROGATION ROOM - (PRESENT) DAY
Father sits in a chair bracketed by the two detectives who are standing.
PARKER
It’s a waste of time, Renny. I'm telling you.
Gutierrez looks down at Father, trying to size him up, wondering what kind of nut case he's got on his hands. as:
FATHER
maintains his serene silence... as though he has learned a lesson from history.
DISSOLVE TO:
EXT. NEW YORK PUBLIC LIBRARY - ESTABLISHING - LATE NIGHT AND THEN TO THE INTERIOR AFTER HOURS
Catherine is sitting at a microfilm machine scanning back issues of newspapers while
Vincent is sitting at a desk looking through a book.
CATHERINE
Here’s something, in June 1951.
“The Chittenden Research Institute was given a
grant by the defense department to conduct studies
on the effects of nuclear fall out.” There’s something
else in November of that year. Here it is. One of
the research doctors claimed that the Chittenden
Institute was misrepresenting his findings.
My God, it’s him. There’s a photo. He was
forced to retire when he called for the abolition
of atomic weapons, a halt of research. His name is
Doctor Jacob Wells.
VINCENT
Jacob
CATHERINE
There’s more, give me a second.
Vincent moves over to sit next to Catherine, taking the letter he found behind the wedding photograph out of his pocket.
ON ILLUMINATED SCREEN
As the images fast-forward -- a blur of history. They slow, then stop, jarring into focus. CAMERA ISOLATES a two-columned article with a photograph of Father and a headline that cries: "ANTI - ATOMIC RESEARCHER NAMED A COMMUNIST: The sub-head: "Stripped Of Medical License."
CATHERINE
He was black listed!
The un-American Activities Committee.
VINCENT
I’ve read about that time.
I also found this in his dresser,
(he lays the envelope in front of her)
behind a photograph, a wedding photograph.
CATHERINE
And you haven’t opened it?
VINCENT
I couldn’t.
His head is turned from her; she turns his head to look at her with a finger under his chin
CATHERINE
Vincent, if we have any hope of finding him
we need to learn everything we can about his life.
VINCENT
I know.
She takes the letter out of the envelope and begins to read out loud.
CATHERINE
Dear Jacob,
I am writing you from Paris, where my father has sent me. Spring has arrived early here, the time for lovers, and it’s as if the season mocks my sadness.
DISSOLVE TO:
MARGARET’S HOSPITAL ROOM
Margaret lies in her bed, in the dark. Her voice over reads…
But I’m beginning to understand that loss is sometimes necessary. I know of no gentle way to tell you, my father has annulled our marriage.
DISSOLVE TO:
INT. HOLDING CELL - ON FATHER - NIGHT .
lying awake on his cot, eyes open and unblinking. Margaret’s voice continues to read the letter.
I’d be lying to you if I said that I’d fought him. I can’t even blame him. Forgive me, Jacob, because I know you’re innocent and still I don’t have the strength to stand by you.
But you are strong and you will rebound of that I’m positive. Please don’t hate me. We knew each other so short a time. All I can say seems useless and still I cling to the wreck of my memories before they sink forever.
Goodbye Jacob. I’ll love you always.
Margaret
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN:
EXTERIOR OF MARGARET’S APARTMENT THEN TO INTERIOR OF HER LIVINGROOM.
The place is decorated right out of Sotheby's. Cathy is sitting in an elegant love seat she sips from a cup of coffee. Dutton stands, indicating a huge oil portrait above the mantle of grim-faced older man. He speaks with a strange kind of fascination…
CATHERINE
Margaret’s father?
HENRY
(moves to sit in a chair)
Classic robber baron. You know he helped finance
both sides of the Spanish American War.
He went through the depression untouched.
It’s all past history right?
CATHERINE
Possibly.
HENRY
Possibly? Listen, I’m awfully sorry Margaret
wasn’t up to it. Umm… maybe tomorrow?
CATHERINE
Tomorrows fine, just tell me when.
HENRY
Oh I wish I could. I can’t. I mean her condition
doesn’t allow me to be that specific. Listen, why
don’t I help you. Whatever it is, I can help you with it.
CATHERINE
I’m sorry. It’s private.
HENRY
I thought you said you were from the
district attorney’s office?
CATHERINE
I am. It’s still private.
Cathy puts down her coffee cup and fishes a card out or her purse. She places it beside the saucer.
CATHY
My service number's on the card.
So you can reach me tomorrow...
.whenever Ms. Chase feels up to it.
HENRY
Well of course.
They both rise and Cathy crosses the room to leave:
CATHY
Thank you.
HENRY
Um hmm.
(pause)
Uh… Miss Chandler...?
At the door, she turns to face him.
HENRY
Are you always so mysterious?
CATHY
(shrugs)
Occupational hazard. I guess.
(then)
Thank you for the coffee.
She lets herself out. Henry stand, for a moment in apprehensive silence. From another door, CONNOR enters and approaches Henry. He's clean cut, late-twenties, a muscular six feet, and dressed like an investment banker. But he's no investment banker.
CONNOR
Miss Chase is awake, she’s asking for you again.
HENRY
I’ll see her in a moment. Connor? The woman who was just here…
CONNOR
Sir?
HENRY
Satisfy my curiosity would ya? Find out what she wants.
(Connor nods and moves toward door)
Good man.
Connor leaves by the same door as Catherine. Henry goes into Margaret’s bedroom.
HENRY
Margaret?
MARGARET
I feel as if I’ve been sleeping for half a century.
I think a walk in the park would do me good,
see a little real green and smell some fresh air.
HENRY
You need your rest, Margaret.
MARGARET
What time is it?
HENRY
It’s time for your medication.
MARGARET
Oh damn. Damn those things.
HENRY
Now you should be grateful for those things.
MARGARET
I hate pain killers, a little pain is good for the soul.
HENRY
Come on now, I’ve got a meeting with the planning
commission, it started five minutes ago.
MARGARET
Please Henry, I’d rather not.
HENRY
Come on, come on Margaret. Take your medicine
now, doctors orders….that’s a girl.
(gives her a glass of water)
There you are.
MARGARET
I wonder why Alan hasn’t called.
HENRY
Oh well, you know Alan.
MARGARET
That’s just it, I…I do know Alan.
DISSOLVE TO:
EXTERIOR D.A. OFFICE AND THEN CATHERINE’S DESK
Catherine is talking on the phone.
CATHERINE
No he definitely has a beard…ok thank you.
(She hangs up the phone)
Damn.
(she grabs her head with her hands, rubbing her temples)
JOE
Headache, at 9 am? Hmm…. not a good sign
(He’s got a bag of something that he keeps eating.)
CATHERINE
Keep eating those and my headache is going
to move into my stomach. What are those?
JOE
Chocolate cheese nuggets. Mmmmm
CATHERINE
For breakfast?
JOE
Want some?
CATHERINE
No, thank you.
JOE
So what are you working on?
CATHERINE
Nothing.
JOE
Nothing, that’s good.
(looking at his watch)
‘Cause you’re 15 minutes late
for the Bartolli deposition.
CATHERINE
Great!
(she grabs her coat and bag)
See you later, Joe
JOE
Have a nice day.
CUT TO:
CITY JAIL.
Catherine walks past several cells getting wolf whistles from the inmates. Then she sees Father sitting in one. She stops outside his cell but when he sees her, he turns away. She is stunned but continues on.
CATHERINE
Mr Bartolli, come with me, I’ll take your statement now.
DISSOLVE TO:
INTERIOR JAIL VISITING ROOM
Catherine is sitting on one side of a desk with a glass partition cutting it in half. Father is brought in by a guard and takes the seat opposite her.
CATHERINE
(to the guard)
Leave us alone please
(the guard leaves)
Are you alright?
(Father nods)
Can I get you anything?
FATHER
No. Please stay out of it. You must. Anything
you do to draw attention to me can only…..
CATHERINE
You’re being charged with murder! You must
tell me everything that happened. Don’t you
know by now that you can trust me.
FATHER
It’s not that. I maybe a stranger to your world,
but I’m no stranger to the betrayals of your judicial system
CATHERINE
I’m the only one who can help you.
FATHER
If you really want to help me, please, go away.
CATHERINE
I can’t do that. Jacob…
(he reacts to the use of his name)
I know who you were, what you went through….
FATHER
What about Vincent?
CATHERINE
He knows.
FATHER
I didn’t want to keep things hidden from him.
I wanted to… forget. Does he understand that?
CATHERINE
Yes. You have nothing to be ashamed of.
FATHER
I’m not ashamed
CATHERINE
Was it Margaret who sent for you?
FATHER
Margaret, have you seen her?
CATHERINE
I tried, she’s too ill to have visitors.
FATHER
Is she in a hospital?
CATHERINE
No, she’s at home.
FATHER
She sent me a message, “the wreck of my memories.”
CATHERINE
Did her message to you mean that she was in trouble?
(She takes out her notepad and pen)
FATHER
I don’t know, I took it to mean
that she wanted to see me again.
CATHERINE
And who was Alan Taft?
FATHER
A friend, he defended me during the witch
hunts, put his own reputation on the line.
CATHERINE
Was he Margaret’s lawyer?
FATHER
He was a family lawyer.
CATHERINE
Do you know a man named Henry Dutton?
FATHER
(shakes his head)
Why?
CATHERINE
I don’t know. Well, what else can you tell
me about Margaret? Anything that
would help me piece this together?
FATHER
I don’t know. She was so young
when I knew her… and so beautiful.
DISSOLVE TO:
WHISPERING GALLERY
Vincent on the bridge of the Whispering Gallery, with a book in his hand. Then we see him walking through a tunnel when he stops to listen to a message on the pipes. He turns in another direction to meet Dustin who hands him a message. He opens it.
VINCENT
(with a sigh of relief, he puts a hand on Dustin’s shoulder)
She found him, he’s alright.
DISSOLVE TO:
D.A. OFFICE
Catherine and Edie are walking to Catherine’s desk.
EDIE
If Dutton’s a player, he’s playing by the rules.
CATHERINE
How far back did you go?
EDIE
All the way, poor kid from Queens, to four years
in Cambodia with the Peace Corp, to his latest project.
CATHERINE
Which is….?
EDIE
A ten million dollar shelter for the homeless.
CATHERINE
Where does he get his hands on that kind of money?
EDIE
Got his own foundation, private fund raisers, grants, donations…
CATHERINE
No history of misappropriations or complaints filed?
EDIE
Nothing
CATHERINE
Impressive
EDIE
But you’re not impressed.
CATHERINE
I don’t know. I just didn’t expect for him
to come out so damn spotless
EDIE
I’m telling you the man is Noble Prize material.
CUT TO:
EXTERIOR ALAN TAFT’S OFFICE BUILDING
Catherine pulls up in a taxi. Unbeknownst to her she is followed by Connor. She goes to the Taft office door and picks up the mail that she finds on the floor. Entering the office she puts the mail on the desk and goes over to the rack of filing cabinets. Going through the files she finds one marked Dutton but it’s empty. She goes through the mail that she had picked up and finds a fiscal report on Dutton clearly indicating that he is a crook. She is startled when a security guard opens the door. As she’s leaving with the report, Connor and another man trap her in the revolving door.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN:
INTERIOR MARGARET’S BEDROOM
Margaret is sleeping in her bed. The camera pans to the door where Dutton stands watching her. He closes the door. Catherine is pacing in the livingroom being watched by Conner. Dutton enters and walks up to Catherine.
CATHERINE
You never had any intention of building that shelter.
HENRY
Oh, in the beginning, maybe.
CATHERINE
And instead you funneled everything into your private account.
HENRY
Do you have any idea what it’s like to spend your life
so close to so much wealth, to find a cause to rally
and support and never see a dime? I got tired of doing unto others.
CATHERINE
Even though you had to kill for it?
HENRY
Especially because I had to kill for it.
CATHERINE
And now what?
HENRY
I wish I had a choice Miss Chandler, I really do.
INT. APARTMENT BUILDING CORRIDOR - ON CATHY - NIGHT
Catherine, Connor and Dutton walk down the hallway and enter the elevator. The elevator doors whoosh close, locking Cathy inside with Connor and Dutton
INT. ELEVATOR - CONTINUOUS
Typical elevator atmosphere -- going down. Tense, Cathy searches for a way out, a weakness she can exploit. But she has no chance in these close quarters.
INT. ELEVATOR SHAFT – VINCENT
Vincent has climbed down the shaft and now disables the elevator by shorting it out, causing the elevator to shudder to a halt.
INT. ELEVATOR
Confusion -- and Cathy takes advantage of it. She hits Connor with a vicious elbow to the man's solar plexus. Then she turns on Dutton.
INT. ELEVATOR SHAFT - VINCENT
Smashes open the elevator ceiling egress hatch.
VINCENT
Catherine!
VINCENT
a' la Errol Flynn, thrusts his hand into the elevator compartment and pulls her to safety, slams the emergency egress shut
VINCENT
Hold on, Catherine.
She puts one arm over his shoulder and the other under his opposite arm linking her hands in front of him in a “fireman’s carry”. He shimmies up the cable effortlessly.
DISSOLVE TO:
DAYTIME CITYSCAPE AND THEN TO A SIDEWALK NEAR THE SUBWAY
Catherine and Father are approaching the subway stairs that he had come up from so recently.
CATHERINE
Well, goodbye.
FATHER
Catherine, you’ve been more than a good friend to me.
I know what you’ve risked and believe me,
I am grateful. Goodbye.
Father begins to walk down into the subway but Catherine calls to him.
CATHERINE
Father, I just want you to know.
I would never hurt him. I love him
FATHER
I know. I also know it can only bring him unhappiness.
CATHERINE
Why do you say that?
FATHER
Because part of him… is a man
They turn and go their separate ways.
CUT TO:
FATHER’S CHAMBER
Vincent is reading a book in the lower level while Margaret sits in another chair on an upper level.. Father enters his study, looks around at the familiar surroundings and comes down the stairs and walks to Vincent.
VINCENT
Father, I’m so glad you’re safe.
.
They embrace each other warmly.
FATHER
It’s good to be home. Where is she?
MARGARET
Over here, Jacob.
(she hurries down the stairs to him)
Jacob, oh Jacob.
FATHER
You’re too beautiful; I can’t believe you’re here.
MARGARET
No words… just hold me, hold me.
Father and Margaret reach for each other and hold each other tight.
DISSOLVE TO:
ANOTHER AREA OF BELOW.
Father is showing Margaret the sights of the tunnel world.
DISSOLVE TO:
FATHER’S CHAMBER
Father and Margaret are returning from their walk when Margaret doubles over in pain.
FATHER
Margaret!
MARGARET
I’m alright Jacob, really.
FATHER
Here sit down; you know we’ve done too much.
MARGARET
I just need to rest a bit. You’ve made a remarkable
world here Jacob. I never felt so at peace.
FATHER
And all these years, I dreamed only of showing it to you.
MARGARET
If only I hadn’t been such a fool.
FATHER
No, no, don’t Margaret, please.
MARGARET
No I have to say it. I’ve…I’ve been meaning to all
along. Now suddenly I don’t know how to begin.
I’m dying Jacob, sometimes it seems so damned unfair.
Something in my body has turned against me.
Then I remember what happened to you… what
I did and I get the same feeling all over again,
like some how I’m being punished.
FATHER
Don’t, Margaret.
MARGARET
I know it’s absurd, but I can’t help thinking it.
FATHER
Margaret all is forgiven, I let go of all that
anger years ago. Oh yes, there was a time
when I gorged myself on bitterness and self pity,
but then I came to know someone who had
every reason to curse fate, to feel punished
and yet he accepted all that life had to offer
with gratitude and love.
MARGARET
Vincent. We must do that too.
(they embrace then kiss)
DISSOLVE TO:
NIGHTTIME CITYSCAPE AND THEN CATHERINE’S BALCONY. CAMERA PANS UNTIL WE SEE VINCENT AND CATHERINE STANDING FACING EACH OTHER.
VINCENT
Margaret said the last seven days were the happiest of her life.
CATHERINE
And how is Father?
VINCENT
Healing… alone… grateful.
CATHERINE
They truly loved each other.
VINCENT
Yes
CATHERINE
It’s so sad, to have had a beginning and an end
and all the time in the middle empty.
VINCENT
They had seven days Catherine, seven days.
She regards him now, with all the poignancy of their impossible love.
FADE OUT
END OF ACT FOUR
THE END