BEAUTY AND THE BEAST
"The Watcher"
Written by
Linda Campanelli & M.M. Shelly Moore
Directed by
Victor Lobl
Episode as aired
BEAUTY AND THE BEAST
"The Watcher"
CHARACTERS
CATHY
VINCENT
FATHER
JOE
RITA
JENNY
DETECTIVE GREG HUGHES
TROOPER
UNIDENTIFIED DETECTIVE
LOCKSMITH
MAN AT WATER FOUNTAIN
EXTRAS
WORKERS AT DA’S OFFICE
UNIDENTIFIED PLAIN-CLOTHED POLICEMAN
WOMAN'S VOICE on Police phone
RESTAURANT EMPLOYEES
TROOPERS AND RESCUE WORKERS
BEAUTY AND THE BEAST
"The Watcher"
SETS
INTERIOR
CATHY'S APARTMENT (N)
- corridor
- living room
- deadbolt/doorknob
WATCHER'S APARTMENT (N)
CATHY'S SUB - BASEMENT
• threshold
D.A.'S OFFICE (D)
ELEVATOR
- panel
- floor indicator
- doors
- interior
STAIRWELL
- door
- landings
JOE'S OFFICE (D)
CATHY'S BEDROOM
- pov from closet
- nightstand drawer
- closet
CATHY'S BATHROOM
JENNY'S APARTMENT
PARKING GARAGE
- door "G"
- angle inside car
CATHY'S CAR
- trunk
FATHER'S CHAMBER
TUNNELS
EXTERIOR
CATHY'S BALCONY (N)
CATHY'S OFFICE BUILDING (D)
- corridor
CATHY'S APARTMENT ROOFTOP (N)
CATHY'S CAR
- windshield
GEORGE WASHINGTON BRIDGE (N)
MARSHY LAKE (N)
- woods
POLICE DEPARTMENT
building exterior
front desk
BEAUTY AND THE BEAST
The Watcher
ACT ONE
FADE IN:
PAN ACROSS a view of the City at night. DISSOLVE TO Vincent settling himself on a rooftop to look out at the lights. GO IN ON Vincent’s face as he finishes speaking – a voice over.
VINCENT
I look out on this city of night…and tonight I am one with it.
I see the pathways and crossroads…the rush of possibilities,
and I feel every point of light that is a life…each with its wonders…and terrors.
I see how, in a single night, a world can be transformed.
How in one terrifying and wondrous moment my world was transformed…
on a night as dark and glittering as this.
Two years ago I found Catherine.
SLOW DISSOLVE TO CATHY'S BALCONY
There are many candles lit on the balcony. The living room door is open, and the inside of the apartment glows with candlelight.
GO IN ON Cathy lighting the last of a lot of candles.
She looks up, sees Vincent waiting on the balcony, and goes to meet him.
CATHY
Two years ago…tonight.
Vincent looks over her shoulder as if questioning the candlelit apartment.
CATHY
I thought maybe we could go inside…by the fire.
(Vincent hesitates)
It’s warm.
Vincent follows Cathy's look through the open doors. He hesitates, then seems to intend to follow her inside.
Inside the apartment, the PHONE RINGS. After TWO RINGS, the ANSWERING MACHINE in the living room picks up.
CATHY'S VOICE
(on machine)
You have reached 555-8291.
Please leave a message after the beep.
BEEP
JENNY’S VOICE
Are you there? It’s Jenny.
Cathy, pick up the phone if you’re there. Cathy. Pick up the phone.
CATHY
Yeah, Jen. I’m here. What’s wrong?
JENNY'S VOICE
(filtered)
Are you okay?
CATHY
Yeah. I’m fine. Why?
JENNY
I don’t know. I just had one of those weird dreams, and you were in it.
CATHY
Well, I’m fine.
JENNY
You sure?
CATHY
Positive.
JENNY
Why are you awake?
CATHY
Go back to sleep, Jen.
CUT TO:
INT. THE WATCHER'S APARTMENT SIMULTANEOUS POV - CATHY'S BALCONY (FULL FRAME)
as seen through a telescope from a balcony vantage point somewhere across the park. Cathy hangs up her phone and heads back towards Vincent. THE IMAGE MOMENTARILY BLURS, as focus is adjusted, then SHARPENS AGAIN.
ANOTHER ANGLE • THE WATCHER'S HAND
reaches for a phone setting near a high-powered telescope. He is unidentifiable except for a high-tech, multi-function black WRISTWATCH. The WRISTWATCH'S ALARM BEEPS TWICE. He starts to dial a number (555-8291). His attention goes back to the telescope.
POV - CATHY'S BALCONY (FULL FRAME)
as seen through the telescope. Cathy reacts to her phone ringing again, goes to answer it.
TELESCOPE POV FOLLOWS CATHY. FOCUS is adjusted to a sharp MEDIUM-SHOT - CATHY
veiled by gently billowing gossamer curtains.
CATHY'S VOICE
(filtered/expecting Jenny)
Hello?
WATCHER
Cathy, I can see you.
Not fully believing, Cathy does look towards the french doors (and therefore the telescope).
A chill down Cathy's spine. Her glance shoots towards Vincent. The Watcher lets her squirm an extra second.
View of Vincent waiting on the balcony, facing the watcher
WATCHER
And I can see him, too.
SLAM CUT TO:
INT. CATHY'S LIVING ROOM - SIMULTANEOUS
Cathy hangs the phone up as if it's on fire and runs back to the balcony.
EXT. BALCONY - CONTINUOUS
Her tone urgent, violated...
CATHY
Get off the balcony.
VINCENT
What is it?
CATHY
Someone’s watching. Go! I’ll meet you down Below.
Vincent, immediately alert, his eyes darting across the cityscape as she speaks. He doesn’t move.
CATHY
Please, Vincent. Go!
Vincent leaves.
Cathy watches for a split second then heads back into her apartment.
GO WITH CATHY.
INT. CATHY'S APARTMENT - CONTINUOUS
Cathy pulls the drapes in the dining room then moves through her dark apartment to get her coat from the bedroom. She grabs her keys. The PHONE RINGS as she is headed for the door. She waits. After TWO RINGS, the ANSWERING MACHINE picks up.
CATHY'S VOICE
(on machine)
You have reached 555-8291.
Please leave a message after the beep.
BEEP.
WATCHER'S VOICE
(on machine)
Open the drapes.
Cathy hesitates only a second, thinking 'the hell with you,' then exits.
WATCHER'S VOICE
Open the drapes, Cathy.
DISSOLVE TO:
INT. THRESHOLD - CATHY'S SUB-BASEMENT - A FEW MINUTES LATER
Vincent is waiting.
VINCENT
Do you have any idea who it might be?
CATHY
There was a call on my answering machine yesterday. I…I didn't think anything of it.
I just thought it was just a prank call.
VINCENT
What do we do now?
CATHY
I can’t go to the police. We can’t take that chance. We don’t know what he has. I mean…maybe he took pictures.
Vincent…the balcony isn’t safe anymore. That was the only part of my world that belonged to us. I will not let him destroy it.
DISSOLVE TO:
INT. FATHER'S CHAMBER – NEXT DAY
FATHER and Vincent's discussion has grown heated.
FATHER
Vincent, someone has seen you.
If you go to her, he'll see you again.
VINCENT
How can I leave her alone? She must be protected.
FATHER
If she is in danger…we'll find a way to protect her. There are other ways.
VINCENT
This is Catherine. I must protect her.
FATHER
Of course.
And what is she doing to find this man?
VINCENT
All she can, but she’s alone in this. She refuses to seek help. She’s afraid for me…for our secret.
FATHER
And he probably knows that.
VINCENT
And will use it to torment her.
DISSOLVE TO:
INT. D.A.'S OFFICE
CLOSE ON - CATHY
sitting at her desk, oblivious to everyone and everything going on around her. There's a legal pad in front of her where she's penciled various notes. She is wearing a set of mini-earphones which are plugged into a small cassette player. She has been repeatedly listening to a phone message from an answering machine tape, trying to hear something she's missed, to recognize the voice, identify a background noise... something...
WATCHER'S VOICE (CONT.)
(on audio tape)
I didn’t like your hair. Don't wear it that way again.
SOUND: ANSWERING MACHINE BEEP.
WE HEAR Cathy REWIND THE CASSETTE TAPE.
She glances at the recorder counter, presses the 'play' button.
SOUND: DEAD AIR then ANSWERING MACHINE BEEP.
TIGHT ON CATHY
WATCHER'S VOICE
(on audio tape)
I like that red sweater you wore today, but…I didn't like your hair.
Don't wear it that way again.
She rewinds the tape again, presses the 'play' button.
WATCHER'S VOICE
(on audio tape)
I didn't like your hair. Don't wear it that way again.
She rewinds the tape again, presses the 'play' button.
WATCHER'S VOICE
(on audio tape)
Open the drapes.
(HG SOUND: WRISTWATCH
BEEP-BEEP)
She rewinds the tape again, presses the 'play' button.
WATCHER'S VOICE
(on audio tape)
Open the drapes.
(HG SOUND: WRISTWATCH
BEEP-BEEP)
She rewinds the tape again, presses the 'play' button, trying to focus, to identify, or at least to memorize the beep-beep sound.
WATCHER'S VOICE
(on audio tape)
I like that red sweater you wore today, but…I didn't like your hair.
Don't wear it that way...
She rewinds the tape again, presses the 'play' button.
WATCHER'S VOICE
(on audio tape)
I like that red sweater you wore to…
Just now, Cathy is startled seeing JOE in front of her. She quickly turns off the cassette player and takes off the earphones. Joe is wearing an overcoat, carrying his briefcase, and holding a two-inch thick bound computer print-out.
JOE
Forgettting something this morning, Radcliffe?
(off Cathy's blank look)
Brian Crater? His deposition...?
A missed appointment registers with Cathy, her heart sinking.
CATHY
Oh my God. I'm so sorry.
JOE
It's okay, I got it.
(handing her print-out)
Dave caught me on the way by. That’s for you.
Cathy knows what it is. She hopes Joe hasn't noticed.
CATHY
Thank you.
JOE
Look, is there something going on here I should know about?
CATHY
No. Why?
JOE
Because you missed a deposition,
(re: print-out)
and you requested a status list for all your prior cases.
Behind Joe, JENNY ARONSON has come up and stopped several feet away, not wishing to intrude. Cathy notices her.
CATHY
Jenny
JENNY
Hi.
Hi, Joe.
JOE
Hi, Jenny.
CATHY
What are you doing here?
JENNY
Surprising you…and taking you out to lunch, I hope.
CATHY
(glancing at watch)
Lunch time already?
I…It’s only eleven o’clock.
JENNY
I'm hungry.
CATHY
You are always hungry.
(to Joe)
Do you want to go over that deposition right now?
JOE
No. No, it can wait---
CATHY
(to Jenny)
---Then we're on---
JOE
( from above/re: print-out)
--- but I do want to know about this.
CATHY
I ordered these just to keep my files up-to-date,
but you're cute when you're worried.
JENNY
Why are you worried?
CATHY
I missed an appointment – can we drop it?
Cathy grabs her jacket.
On the women's exit...
DISSOLVE TO:
EXT. CITY STREET
Cathy and Jenny are seated in a booth inside a restaurant, in mid-conversation. Jenny keeps stalling on telling about her bad dream. Cathy's interest is piqued, but deep down she's also a little afraid.
JENNY
I don’t know. It’s just a crazy dream.
I...I feel I…I'm putting a curse on you.
CATHY
I'm going to throw something at you if you don't tell me about this dream.
Come on, Jen. Not all your bad dreams come true.
Jenny still hesitates, thinking "this is serious..."
Finally, a deep breath...
JENNY
Um… Okay. You were…well, I don’t know where you were,
but there were flowers…all around. And um…all of a sudden the lights went
out, and you werein the dark. And you were…uh…trying to move,
but you couldn’t. And there was this...ah…hand, but it wasn’t connected to anything,
and it was trying to touch you.
CATHY
Uh-huh...
JENNY
And…uh…you wanted to scream, but you couldn't.
CATHY
Severed hand comes at me, I'm gonna scream.
Guaranteed -- I will scream.
JENNY
Okay, so you started running --
CATHY
And the hand is still after me?
JENNY
(genuinely although subtly trying to warn Cathy)
I don't know, Cath. Um…You were running, a-and I don’t know whether the…
you were running from someone…or maybe to someone...
But you couldn’t catch your breath... you couldn’t breathe.
CATHY
And then what?
A beat. Jenny edits.
JENNY
I woke up. I guess I needed to hear the sound of your
voice, so I called you.
Cathy can't help but think of the Watcher. Off her look...
JENNY
What?
CATHY
(still absorbed)
...It is so strange that you have these dreams...
JENNY
Why?
CATHY
About a minute after you called, I got another call from some guy.
JENNY
Who?
CATHY
I don't know -- I don't know who he is.
He just… He said something that scared me.
JENNY
What did he say?
CATHY
Nah. It's not important. But if I ever find out who he is, I'm going to
strangle him, and then your dream will have a happy ending.
Jenny has reacted to the word 'strangle' with wide-eyed alarm.
JENNY
Oh, my god, I can't believe you said that.
CATHY
What?
JENNY
I didn’t want to tell you. That is…what I saw. You
couldn't breathe. There was something
around your neck. You were
trying to pull it off. You were being strangled.
(a beat)
You died Cathy.
As they look at each other...
DISSOLVE TO:
INT. CATHY'S OFFICE BUILDING – CORRIDOR OUTSIDE THE DA’S OFFICES – AFTER LUNCH
Rita enters from a door across the hall and calls Cathy.
RITA
Cathy.
Cathy? Are you ready for this?
The judge just threw out the Santis case.
There was a defect in the search warrant.
What are we going to do?
Cathy notices a man working on the water fountain. We hear his watch beep and he’s wearing a Hawaiian shirt with large flowers. Cathy speaks to Rita, but is distracted and keeps turning to stare at him.
CATHY
File an appeal, I guess.
RITA
You don’t think we can get a conviction without the notebook?
CATHY
(VO – Thinking-)
There were flowers everywhere.
RITA
Or maybe we can track down the accountant…
try to get him to testify. What do you think?
The man at the water fountain picks his things up and exits past Cathy and Rita.
REPAIRMAN
Thanks, but I’m a happily married man.
RITA
Excuse me?
CATHY
Don’t ask. File an appeal.
INT. DA’S OFFICE - CONTINUOUS
The two women enter the office and go their separate ways. As Cathy nears her desk, she can see a
vase of roses on it. She hesitates, looking suspicious, then reaches for the card. We see Joe notice
her from the next desk before he exits.
JOE
Reel him in, Radcliffe.
CATHY hesitantly opening the card. We can almost feel the chill run down her spine when she opens it.
CATHY
(reading to herself)
You're starting to feel me with you,
aren't you? Could you feel me
in your room last night?
...I was there."
ON CATHY'S REACTION...
FADE
END OF ACT ONE
ACT TWO
EXT. CATHY”S OFFICE BUILDING
INT. JOE'S OFFICE - A FEW MINUTES LATER
Joe is standing just outside his office door reading a file. Cathy walks past several other people and touches his elbow to get his attention.
CATHY
You got a second?
JOE
Yeah. Sure. Come on in.
Cathy follows Joe into his office and Joe closes the door.
INT. JOE’S OFFICE - CONTINUOUS
JOE
What's up?
CATHY
Cathy sits on a sofa near the door.
Joe sits on the edge of his desk facing her.
(After hesitating)
If--- Let's say…someone called
you in the middle of the night...
and then…hung up. How would
you go about finding that person?
JOE
Ah…what did this person say?
CATHY
Nothing really…just… I want to find him.
JOE
(a beat then)
You know what department policy
on this---
CATHY
---I don't want the police involved.
JOE
Have you called the phone company?
CATHY
Yeah, they said--- actually they said
there's gonna to be some new things on the
market, this summer, but right now I'm on my own.
Unless I want to change my number.
JOE
That's a possibility---
CATHY
No.
I want to find him.
JOE
...What about a wire tap?
CATHY
(no police)
No.
JOE
Tracing unit?
CATHY
I ordered one. It's going to be
installed tomorrow, but I don't know
if he'll stay on the line long enough.
JOE
Does this have anything to do
with ordering that list of your prior cases?
CATHY
I don't think it's a prior case.
JOE
Is he threatening you?
Cathy hesitates in answering...and that's Joe's answer.
JOE
Come on, Cathy. What's this guy saying?
CATHY
Nothing.
(off Joe's unconvinced look as he moves to stand behind his desk)
Benign things.
JOE
Like what?
CATHY
Like benign things.
JOE
Like give me an example.
CATHY
Like “I like your sweater…hate your hair.”
I don't know.
Joe reacts by returning to stand closer.
JOE
Call the cops.
CATHY
Why?
JOE
Because he's watching you.
CATHY
No.
JOE
Cathy, call Greg Hughes right now.
CATHY
Joe. I don't want to overreact.
People like this…fantasize,
but they don't really ever do anything.
JOE
Would you like me to pull some files
with some not so pretty pictures?
You don't fool around with creeps like this.
(off Cathy’s reaction)
...What has this guy got on you?
CATHY
...My phone number…my address.
Joe is well-aware he's not getting the full story. A beat.
JOE
Where are you keeping your gun?
CATHY
In my nightstand.
JOE
Carry it…in your purse.
On Cathy's response
DISSOLVE TO:
EXT. ESTABLISHING SHOT - THE CITY (STOCK) - EVENING
DISSOLVE TO:
EXT. CATHY'S ROOFTOP - THAT EVENING
Vincent is waiting, looking out on the city. He turns at the sound of SOMEONE APPROACHING via the stairwell. The door CREAKS as it opens.
CATHY
emerges from the stairwell which is located so Vincent cannot immediately see her. She takes a moment to steel herself, to psyche herself into an act...she hopes.
ANOTHER ANGLE -
Cathy comes up alongside Vincent and puts her briefcase down.
VINCENT
Did he contact you?
CATHY
...He sent me flowers.
VINCENT
(having felt her panic)
It was more than just flowers.
CATHY
He knows about you...about us.
And until we find out what he wants…
VINCENT
He wants you, Catherine.
CATHY
Vincent, you have to stay away.
VINCENT
I feel your fear. How
do I leave you alone with that?
CATHY
Because I can handle fear
-- but if something happened to you...
Cathy leans against Vincent’s shoulder, and he holds her.
VINCENT
Cathy moves back.
CATHY
I can’t. I can’t let him do that to me.
I can’t.
(a beat)
We’re alone in this.
Vincent pulls her close again. We can see his fear for her.
DISSOLVE TO:
INT. CATHY'S APARTMENT - SAME EVENING
Cathy exits the elevator and goes to her apartment, unlocks the door.
INT. CATHY'S APARTMENT - CONTINUOUS
Cathy reaches in, SWITCHES ON THE LIGHT, enters. She locks the door behind her, including the chain, glances around, throws her stuff down, seeing the ANSWERING MACHINE blinking (one call). She tentatively REWINDS THE TAPE, switches to 'play.'
WATCHER'S VOICE
(on machine)
Why aren't you there?
(pause/anger deep)
You're with him, aren't you?
(pause)
Of course, you are.
Why do I even ask?
(pause/firmer)
Whore.
(a long beat then softening, like a hurt husband)
No more. Okay, Cathy -- no more?
DEAD AIR THEN ANSWERING MACHINE BEEP.
Cathy SWITCHES OFF the machine. She SWITCHES OFF THE LIVING ROOM LIGHT, unlocks the balcony doors.
EXT. CATHY'S BALCONY - CONTINUOUS
Cathy steps out onto the balcony. CAMERA WATCHES FROM THE REAR as she moves to the railing to look out across the city. BEGIN SLOW CRANE AROUND -- we half-expect the CAMERA at any moment to reveal someone in the shadows behind Cathy. HOLD ON CATHY'S FACE as she looks out across the thousands of pin-prick lights, knowing one
of them could be the Watcher, wondering which one.
INT. CATHY'S APARTMENT - CONTINUOUS
CATHY
turns and reenters the apartment, locking the balcony door behind her, leaving the drapes closed. She does not switch on the living room light.
INT. CATHY'S BEDROOM - CONTINUOUS
POV FROM INSIDE CATHY'S CLOSET - CATHY
enters the bedroom, flipping THE LIGHT ON. We see her through the closet louvers. She takes off her jacket, hangs it casually on the closet knob, and heads for the bathroom, starting to remove her shirt. .
INT. CATHY'S BATHROOM . MINUTES LATER
CATHY
is taking a shower.
WATCHER”S POV
We see the closet doors open, a look around the bedroom to the armoire. He opens the drawer at the bottom and takes a piece of lingerie. He reaches to take a small box from a glass table and knocks something to the floor.
INT. CATHY'S BATHROOM SIMULTANEOUS
CATHY
hears the object fall.
CLOSE ON - CATHY'S FACE
reacting, for a moment paralyzed.
Cathy thinks to look for a weapon.
CATHY'S POV - THE BATHROOM
her eyes searching for a weapon... She takes a pair of scissors from a drawer.
She steels herself, opens the bathroom door, prepared for the Watcher to be standing in the doorway. No one is there. She enters the dark bedroom, ready for the Watcher to be on either side of the doorway.
INT. CATHY'S BEDROOM - CONTINUOUS
No one is there. Now, he could be anywhere. The closet door, closed earlier, is now open. The drapes are open. A bouquet of roses is on the bed. She makes her way to the nightstand, keeping her eyes on the room, the shadows, even as she slides the drawer open. She reaches in, searches for the gun.
POV - NIGHTSTAND DRAWER
The gun is not there.
ON CATHY'.S TERROR.
FADE OUT:
END OF ACT TWO
ACT THREE
FADE IN:
INT. CATHY'S BEDROOM - DIRECT PICK-UP
CATHY'S POV - THE BEDROOM
No one else appears to be in there.
Cathy moves from the bedroom into the living room, her eyes scanning the room.
CATHY'S POV - LIVING ROOM
Suddenly, behind her, she hears
SOUND: BEEP-BEEP.
Cathy spins. At first, nothing. Then she sees...
CATHY'S POV - HIGH-TECH WRISTWATCH
left by the Watcher on the mantle
Suddenly, Cathy is startled again by an ABRUPT KNOCK ON THE FRONT DOOR.
CATHY
Who is it?
JOE (O.C.)
It's me --- Joe.
CATHY
immediately goes to the door - LOCKS ARE ALREADY UNBOLTED.
CATHY
(opening door wide)
Joe, did you see him?
INT. CATHY'S APARTMENT CORRIDOR - CONTINUOUS
JOE
(immediately alert)
Who?
CATHY
Him! He was here!
JOE
Wait here.
Having not seen anyone between the elevator and the door, Joe heads for the stairwell. Cathy catches him as he throws that door open, in determined pursuit.
CATHY
No, Joe – he’s got my gun.
Joe moves quickly back into the apartment with Cathy.
JOE
(as they move)
Did he hurt you?
INT. CATHY'S APARTMENT - CONTINUOUS
CATHY
No.
JOE
Did you see him?
CATHY
No.
Cathy locks the door then turns to see Joe pick up the phone.
CATHY
What are you doing?
JOE
You know what I'm doing. I’m calling the police.
CATHY
(going to block)
No---!
JOE
Yes.
(as he dials)
I am not gonna wake up to a phone call that
says this guy got to you.
VOICE ON PHONE
New York 33rd…
JOE
Yeah. Greg Hughes, please.
DISSOLVE TO:
INT. CATHY'S LIVING ROOM LATER THAT EVENING
We see the locksmith’s hand testing the key in the new deadbolt and opening the door.
CATHY
is sitting on the arm of her sofa, looking at the floor, paying attention, but not involved in the room’s activity. She is now dressed in casual clothes.
JOE
is closer to the door, dealing with the locksmith.
LOCKSMITH
Okay. That ought to take care of it.
JOE
Great.
LOCKSMITH
Here’s your keys.
JOE
Thanks.
LOCKSMITH
And it’s sixty bucks.
Joe counts out three twenties and hands them to the locksmith.
JOE
Sixty. Twenty…forty…sixty.
LOCKSMITH
Alright. Thanks.
JOE
Thank you.
LOCKSMITH
That’s a…that’s a good lock. You shouldn’t have any problems.
JOE
Okay. Great.
LOCKSMITH
And thanks again.
JOE
Yep.
Nearby, a PLAIN-CLOTHED COP is packing up and closing his fingerprinting case. DETECTIVE GREG HUGHES enters from the bedroom, finishing up and putting away his note pad.
DETECTIVE HUGHES
Okay, I think we've got everything
we're going to get tonight.
Greg Hughes entry pulls Joe and Cathy from their thoughts, but Cathy is as close as she needs to be, does not move with Joe, Cohen, and the cop to the door.
JOE
Did you find anything?
DETECTIVE HUGHES
(sensitive to Cathy)
No, it’s pretty clean.
If we do get lucky on any of the prints,
it won't be until late tomorrow.
COP
Leaves – on his way out passing between Joe and Greg Hughes as they talk
JOE
(nodding)
Well, if you do come up with something,
I’d like the information to go directly to Cathy.
(a glance to Cathy)
And if you can't find her, then I’d like it to go to me. Nobody else…okay?
DETECTIVE HUGHES
('whatever you say')
Sure.
CATHY
Thank you, Greg.
DETECTIVE HUGHES
(to Joe)
You want a cop outside?
Joe looks to Cathy.
CATHY
(already answering Hughes)
No.
JOE
(Acknowledges Cathy has last say)
No.
Joe and Hughes exchange a look, Hughes following cop into corridor.
DETECTIVE HUGHES
(for Joe's ears)
Can't live with 'em --- can’t live without ‘em---
JOE
(Laughs)
Yeah...
(ready to close door)
Thanks, Greg. Thanks a lot.
Just as Hughes is in the corridor, Joe closing the door behind him, Cathy has a last thought.
CATHY
(catching the door)
Greg?
(Hughes has paused)
I owe you a favor. Uh…don't file a report, okay?
DETECTIVE HUGHES
(reluctantly)
Okay.
Hughes exits. Joe closes the door, he and Cathy, both still at the door.
CATHY
Thank you.
JOE
(heading for couch)
So...what's on tonight?
CATHY
Nothing.
JOE
Radcliffe ---
CATHY
Listen, Joe….
JOE
I'm not leaving. I'm gonna sleep right there,
on that short-little-dinky couch.
CATHY
No, you're not.
JOE
Yes, I am.
CATHY
No, you're not.
JOE
Why not?
CATHY
...I have my reasons.
JOE
...Whatever it is, Cathy, we can get you out of it.
CATHY
(her own meaning)
No, we can't.
Her attitude is unwavering; he's not staying.
JOE
Okay. Here’s your keys. Lock your door.
(gives her set of keys)
Put one of your chairs in front of it.
On second thought, put one of your couches in front of it.
(Turning as he leaves with the attitude of a stern father)
Lock it.
CATHY
Good-night.
Cathy turns the deadbolt, locks the door securely, turns looking into the apartment.
CATHY'S POV - HER APARTMENT
ON CATHY
We see her fear...
DISSOLVE TO:
INT. CATHY'S APARTMENT - LATER THAT NIGHT
ALL THE LIGHTS ARE OUT. START ON THE CLOCK which reads 12:15. BEGIN A SLOW PAN CONTINUE PAN...past the furniture…over to the front door...past the locks and knob, shiny in the dark...across the apartment... until we find CATHY next to the balcony door, the drapes pulled shut. Cathy is looking out between the drapes with binoculars.
DISSOLVE TO:
INT. CATHY'S LIVING ROOM - LATER SAME NIGHT
START ON the balcony drapes where we last saw Cathy with the binoculars. She is no longer there. The room is now FAINTLY LIT with one TABLE LAMP. FIND CATHY lying on the sofa, a pillow under her head, a blanket over her legs, which are pulled up, the fireplace poker in her hands. She is fighting sleep.
MOVE IN SLOWLY ON CATHY
She is startled by something, gets up with the poker to check it, and is relieved when it’s nothing.
TABLE IN WATCHER’S APT. - We see the box and lingerie taken from Cathy’s apartment next to a small medicine bottle and a folded white cloth. His hand picks up the bottle and the cloth. We see his eye as he looks through the telescope again.
INT. CATHY'S LIVING ROOM - LATER SAME NIGHT
CATHY
enters the living room with a cup of tea. She sees the shadow of feet in the light under her front door and freezes in fear.
MAN”S VOICE - OC
This way. That’s not my apartment.
Cathy relaxes
CUT TO:
INT. THRESHOLD - CATHY'S SUB-BASEMENT
Vincent stands waiting, sensing her fear. The pull is strong to go to her.
INT. CATHY'S LIVING ROOM
CATHY
Sits on the sofa transfixed on the locks.
Various SOUND BITES haunt her:
WATCHER (V.O.)
(from answering machine)
You’re with him, aren’t you?
Of course you are. Why do I even ask?
CONTINUE TO MOVE IN CLOSER ON CATHY
transfixed on the door...
VINCENT (V.O.)
(from rooftop)
He wants you, Catherine.
CONTINUE TO MOVE IN CLOSER ON CATHY
transfixed on the door...
WATCHER (V.O.)
(from answering machine)
I liked that red sweater you wore today, but I didn’t like your hair.
Don’t wear it that way again.
CONTINUE TO MOVE IN CLOSER ON CATHY
Reacting to fear and frustration
JOE (V.O.)
Where are you keeping your gun?
WATCHER (V.O.)
(answering machine)
I can see you.
JOE (V.O.)
You don’t fool around with creeps like this.
WATCHER (V.O.)
(answering machine)
Whore
JENNY (V.O.)
You died, Cathy...
WATCHER (V.O.)
(answering machine)
Why aren’t you there?
JENNY (V.O.)
You died, Cathy...
WATCHER (V.O.)
(answering machine)
Why aren’t you there?
JENNY (V.O.)
You died, Cathy... You died, Cathy... You died, Cathy...
CATHY
a decision made. She bounds from the sofa, goes into the bedroom and returns. Her jacket on, Cathy unlocks the various door locks and exits the apartment.
INT. APARTMENT CORRIDOR - CONTINUOUS
Cathy locks her door and walks to the elevator, pushes the 'down' button and waits, poised at the door. She glances up at the FLOOR INDICATOR which shows the elevator is starting to move up. We see it indicate the tenth and eleventh floors. She waits impatiently.
CATHY
Come on.
We continue to INTERCUT between Cathy in front of the doors, Cathy impatiently watching the Floor indicator.
Each time we see the Floor Indicator, the lights indicating a progressive approach, we get the feeling something is wrong.
ANOTHER ANGLE - CATHY
backing away from the elevator, a sudden bad feeling hitting her.
ANGLE - THE STAIRWELL DOOR
as Cathy exits into the stairwell.
THE ELEVATOR MOVING ON. No other sounds from the corridor. The floor indicator shows that the elevator stopped at the eighteenth floor.
INT. STAIRWELL – SIMULTANEOUS
Cathy moving down the stairs, looking around, nervous.
CUT TO:
ANGLE • ELEVATOR
The doors open. Joe exits, dressed more casually, a large, covered styrofoam coffee cup and a magazine in hand. FOLLOW him to the corridor chair near Cathy's door. He is set for the night, it appears, and sits down in a chair outside Cathy’s apartment.
CUT TO:
INT. STAIRWELL – SIMULTANEOUS
Cathy moving down the stairs, her paranoia growing...our paranoia growing...Cathy pausing suddenly when she hears a DOOR SEVERAL FLOORS DOWN FAINTLY OPENING. She waits.
CUT TO:
INT. THRESHOLD - SIMULTANEOUS
Vincent is waiting. He reacts, feeling her fear.
INT. STAIRWELL – SIMULTANEOUS
Cathy waiting on the stairs, her paranoia growing...our paranoia growing...THE DOOR CLOSES SEVERAL FLOORS DOWN. She moves on.
INT. THRESHOLD - SIMULTANEOUS
Vincent moving toward the light to wait at the ladder.
CUT TO:
INT. STAIRWELL - SIMULTANEOUS
Cathy continues down the stairs.
CATHY'S POV - STAIRWELL
ominous before her, every landing, every turn, every door, frightening...
She thinks she hears another set of footsteps in the stairwell. After two or three more steps, she pauses, listening. We hear a FAINT CREAK. It stops. It might be someone, it might not... Cathy tries to look back up the stairwell.
CATHY'S POV - LOOKING UP STAIRWELL
Seeing nothing out of the ordinary, she moves on, her pace gradually quickening...
CUT TO:
INT. THRESHOLD - SIMULTANEOUS
Vincent is waiting ---worried.
CUT TO:
INT. CATHY'S CORRIDOR - SIMULTANEOUS
Joe looks up when he hears Cathy's PHONE RINGING in her apartment. He goes quietly to her door to listen, ready if he senses trouble.
THE PHONE IS STILL RINGING. Joe KNOCKS AT THE DOOR, anxiously wondering why Cathy isn't answering, at least, his knocks.
JOE
Cathy?
Joe KNOCKS AT THE DOOR again.
JOE
Radcliffe?
Joe backs up to gather momentum and kicks the door.
CUT TO:
INT. CATHY'S APARTMENT - SIMULTANEOUS
Suddenly, THE DOOR IS KICKED OPEN. Joe rushes in, can see that Cathy isn't in that room. We STAY IN LIVING ROOM as Joe moves directly to the bedroom and the bathroom.
JOE
Cathy, it's me, Joe... Are you here? Cath?
CUT TO:
INT. STAIRWELL - SIMULTANEOUS
Cathy is racing down the stairs...reaches the first floor door...
Cathy opens the door quietly and looks around before exiting into the corridor to the parking garage.
CUT TO:
INT. CATHY'S APARTMENT - SIMULTANEOUS
Joe comes back into the living room, grabbing the RINGING PHONE.
JOE
Hello?
CUT TO:
INT. JENNY'S APARTMENT - SIMULTANEOUS JENNY, frantic, turns suddenly in the middle of a pace, carrying her phone.
JENNY
Who is this?
INTERCUT TWO-WAY BETWEEN JOE AND JENNY:
JOE
Who's this?
JENNY
Jenny---
JOE
---Jenny, it's Joe.
Do you know where Cathy is?
JENNY
No, but she is in trouble.
CATHY'S POV - THE GARAGE FLOOR DOOR
A big “G” painted on it.
INT. PARKING GARAGE – CONTINUOUS
Cathy enters the parking garage. She turns, reacting something behind her.
Cathy suddenly grabbed by the Watcher -- a crumpled white handkerchief tight against her mouth and nose. She struggles against the Watcher.
CUT TO:
INT. THRESHOLD - SIMULTANEOUS
Vincent reacting, snarling, in motion...
CUT TO:
INT. BASEMENT STAIRWELL - SIMULTANEOUS
The handkerchief is held hard against her face. The Watcher is angry.
WATCHER
You're going to him, aren't you?!
I knew you would. You'll go to him,
but you won't come to me!
No more, Cathy.
The chloroformed handkerchief takes effect; Cathy slips towards unconsciousness.
CUT TO:
INT. PARKING GARAGE - A MOMENT LATER
ANGLE - INSIDE CAR
Having used Cathy's keys, The Watcher has put Cathy in her car. She is crumpled down in the seat, unconscious.
CUT TO:
INT. PARKING GARAGE - A MOMENT LATER
Cathy's car screeches out of its parking place, the Watcher at the wheel.
CLOSE ON - CATHY THROUGH THE WINDSHIELD
She is unconscious.
Suddenly Vincent comes out of nowhere. The car barrels down on him, smashes into him.
Vincent is thrown between parked cars, Cathy's car speeding on...
Suddenly the STAIRWELL DOOR flies open. Joe rushes out just in time to see Cathy's car careening out of the garage. Joe exits back into the stairwell. PAN OVER to see Vincent just a few feet away, pulling himself up, his determination to rescue Cathy outweighing his injuries.
CUT TO:
EXT. CATHY'S CAR - NIGHT
CLOSE ON - CATHY THROUGH THE WINDSHIELD
The city's lights wipe across her face. She is unconscious.
DISSOLVE TO:
EXT. GEORGE WASHINGTON BRIDGE - (STOCK) NIGHT
As the Watcher takes Cathy out of the city...
DISSOLVE TO:
INT. TUNNELS - VARIOUS DISSOLVES – NIGHT
Vincent in motion: racing around a corner, through a tunnel...on top of a speeding subway..
INTERCUT between the car, Cathy unconscious in the car and Vincent trying to reach her.
DISSOLVE TO:
EXT. WOODS NEAR LAKE – NIGHT
We hear a car door close.
EXT. MARSHY LAKE – NIGHT
ANGLE – BACK OF CAR
The Watcher carrying Cathy, semi-conscious, towards the rear of the car. The trunk is already open, the Watcher puts Cathy inside.
WATCHER
I like it here. I used to play here when I was a kid.
Now you'll be here, and I'll come visit you.
CLOSE ON - CATHY IN TRUNK
We hear the trunk lid close.
CUT TO:
Vincent on top of the subway car
EXT. MARSHY LAKE – SIMULTANEOUS
The Watcher pushes the car off an embankment, Cathy is inside the trunk...
The car nose dives into the lake with a splash...
The Watcher from behind…watching the car
EXT. WOODS
Vincent rushing through brush...
CUT TO:
EXT. MARSHY LAKE
Car sinking
GO INSIDE DARK TRUNK...
as Cathy's adrenalin helps bring her back to consciousness...the cold water rushing in, rising...
CUT TO:
Vincent running through the woods…
BACK TO CATHY
Awake, realizing her situation
Continue to INTERCUT between Cathy struggling in the trunk, Vincent running and the car in the lake.
CATHY
struggling against the rising water…
CATHY
No! No! NO!
FADE OUT:
END OF ACT THREE
ACT FOUR
FADE IN:
EXT. MARSHY LAKE – NIGHT
Car is sinking further into the lake
INT. CAR TRUNK
Cathy is still struggling to escape.
CUT TO:
EXT. POLICE DEPARTMENT
DISSOLVE TO:
INT. POLICE DEPARTMENT
Joe is waiting at the front desk.
DETECTIVE HUGHES O.C.
Joe!
JOE
Did you find her?
DETECTIVE HUGHES
Just got a call. The car may have been spotted near Stoney Point.
JOE
What about Cathy?
DETECTIVE HUGHES
I don’t know.
The two men exit
EXT. MARSHY LAKE - NIGHT
The car in the lake
INT. CAR TRUNK
The water is rising fast. Cathy can’t be seen.
EXT. WOODS - NIGHT
Vincent comes into a clearing and stops. His breathing is labored, his concern for Catherine overpowering.
TIGHT ON - VINCENT'S HEAD,
We see in his eyes he can feel her slipping away... his legs crumple beneath him. His head goes back, towards the Heavens. A bloodcurdling, agonized wail coming from the deepest part of his soul... It is followed by sobs.
WATCHER O.C.
Too late.
ANGLE - BEHIND THE WATCHER:
The watcher stands in front of Vincent. Vincent is still down on his knees, his head lowered. He looks up, an immediate recognition. The watcher sounds triumphant.
WATCHER
You’re too late.
Vincent starts to rise, the thirst for blood in his eyes. The Watcher sees what's coming, doesn't move, at some level feeling a destiny tonight. Vincent annihilates the Watcher.
DISSOLVE TO:
INT. CAR TRUNK - NIGHT
TIGHT ON – CATHY’S HAND
floating at the surface of the water
DISSOLVE TO:
A VELVETY BLACK SCREEN.
Cathy ENTERS THE FRAME, her face bathed in a WARM WHITE LIGHT. Seeing something in the distance, a contentment washes over her. A peace.
ANOTHER ANGLE - THE LIGHT SOURCE
large and vague yet definite in the dark expanse. Still a distance away. A MAN AND A WOMAN are silhouetted by the Light, waiting...
Cathy moves towards the Light.
CATHY”S POV
The man and woman are waiting in the distance.
BACK TO CATHY
CATHY
Mother.
LIGHT SOURCE
The woman holds her arms out to Cathy
EXT. MARSHY LAKE - SIMULTANEOUS
Vincent makes a dramatic leap onto the partially submerged car, his black cloak billowing...
CUT TO:
DARKNESS/LIGHT SOURCE
The light on Cathy's face is gradually becoming whiter, softer, warmer as she moves towards it.
CATHY'S POV - SILHOUETTES IN THE DISTANCE
Cathy's smile deepens.
CUT TO:
EXT. MARSHY LAKE - SIMULTANEOUS
Vincent is finishing ripping the TRUNK LID off, is reaching into the icy water...
CUT TO:
DARKNESS/LIGHT SOURCE
We see Cathy is drawing close now to the Silhouettes in the Light, the Woman waiting with open arms. Suddenly from the dark Nowhere, Vincent appears behind Cathy, scoops her up, into his arms, taking her away from the Light.
SLOW DISSOLVE TO:
EXT. MARSHY LAKE - NIGHT - CONTINUOUS
START TIGHT ON THE TWO OF THEM.
Vincent has brought Cathy back to life at the water's edge. He has wrapped Cathy in his cloak. He pulls it tighter around her. He is on his knees, holding Cathy against him, her face nestled on his chest, her eyes closed, her body drained, weary.
VINCENT
(as he draws her tighter)
Oh, Catherine...
CATHY
(her eyes not opening)
...I love you...
Vincent pulls her even tighter against him, his body warming hers.
SLOW DISSOLVE TO:
EXT. MARSHY LAKE - LATER SAME NIGHT
The night is alive with activity. Lights flash on the patrol car and the ambulance; POLICE RADIOS SQUAWK, filling the air with disembodied voices.
DETECTIVE AND TROOPER
Walking away from the ambulance. The detective is looking at the Watcher’s identification.
DETECTIVE
And…uh…he’s got a record, but he’d never gone this far before.
See if his address was across the park from hers. Okay?
The detective hands the trooper the identification.
TROOPER
Sure.
DETECTIVE
Thank you.
The trooper walks toward the clearing where three patrol cars are parked, the lights flashing. Joe comes running toward the trooper from behind one of the cars, showing his identification.
JOE
Joe Maxwell. DA’s office. Where's Catherine Chandler?
TROOPER
She’s over there, sir.
Trooper indicates the ambulance.
Cathy is sitting at the edge of the back door of the ambulance, still wrapped in Vincent's cloak but now wearing someone's grey sweats too. Someone is refilling a coffee cup in her hands.
VOICE FROM OFF CAMERA
Where’s that coroner?
CATHY”S POV
The detective has come back to question her.
DETECTIVE
You don't remember how you got out of the trunk?
CATHY
No.
JOE
(rushing up)
Cathy.
CATHY
Hi.
JOE
You okay?
CATHY
Yeah.
JOE
You sure?
CATHY
Yeah. Would you take me home?
He helps her down from where she was sitting.
JOE
Yeah, sure.
(to detective)
You can reach her through Greg Hughes…
at the New York Thirty-third.
DETECTIVE
New York Thirty-third.
JOE
Yeah
DETECTIVE
Okay.
As Joe and Cathy move towards the cars, Joe notices the cloak.
JOE
(re: cloak)
What’s this?
CATHY
Someone gave it to me to keep me warm.
DISSOLVE TO:
EXT. CATHY”S APARTMENT BUILDING
CUT TO:
INT. CATHY'S APARTMENT - SAME NIGHT
Joe and Cathy enter her apartment, an anxious Jenny at the open door.
JENNY
Are you all right? Tell me you’re all right!
CATHY
(keeps walking past as she answers)
Yeah, I’m all right. I’m fine. Just…tired.
JOE
Can you stay with her tonight, Jenny?
JENNY
Yes--
CATHY
---No.
JOE
Yes.
You really scared me tonight, Radcliffe.
(to Jenny)
What about the door?
JENNY
They’re going to fix it tomorrow morning.
JOE
All right. I’ll leave a cop downstairs.
CATHY
(mumbled)
What happened to my door?
JOE
I kicked it in.
(beat)
Goodnight.
CATHY
Thanks, Joe.
Cathy moving into the apartment toward her bedroom.
INT. CATHY'S APARTMENT
JENNY’S POV
Cathy coming toward her from the bathroom, tying the belt of her robe.
JENNY
What can I get for you?
CATHY
Oh, Jenny, I’m really okay. You don't have to stay.
JENNY
I know, but I am---
CATHY
--Jen---
JENNY
No. I'm staying, so what can…
CATHY
Jen…
(a beat)
I’m not going to be alone.
JENNY
Oh…
(a beat)
You’re not going to be alone?
Well…um... What am I doing here?
Jenny picks up her coat and purse. Cathy follows her into the living room and gives Jenny a hug.
JENNY
I sure am glad that you’re okay.
CATHY
Thank you.
Jenny tries to let herself out.
CATHY
(indicating the chain lock)
Yeah.
JENNY
(as she exits)
Bye-bye.
CATHY
Bye.
Cathy slides the chain lock into place, turns out the light and goes through the dark apartment, stopping briefly at the bedroom when she sees Vincent standing on the balcony in the doorway.
THE BALCONY.
Vincent is there, Cathy rushing into an immediate, tight embrace...they can't get close enough.
VINCENT
I felt you go…
I felt you go.
CATHY
Hold me tighter…
Tighter.
DISSOLVE TO: BALCONY – LATER THAT NIGHT
Candles are being lit on a table. Catherine is dressed for an anniversary evening.
CLOSE ON:
Cathy and Vincent
CATHY
(Looking at the city lights)
Someone else could be watching.
VINCENT
Perhaps.
CATHY
We can’t be afraid, can we? We can’t let that stop us.
VINCENT
This balcony is our window…our vantage point.
And…perhaps, Catherine…
someone behind one of those lights is watching…
and smiling on us.
CATHY
Perhaps they are.
DISSOLVE TO:
BALCONY – later
Vincent and Cathy are standing with their arms around one another.
VINCENT
How do you feel now?
Are you still afraid?
CATHY
No. Just very grateful.
VINCENT
We have endured…much.
CATHY
Yes, we have. And I know, in the deepest part of who I am,
that whatever happens now, Vincent, we will endure. We will.
FADE OUT:
THE END