Season Two, Episode 36 

Original Air Date March 31, 1989

Teleplay by Robert John Guttke and George R.R. Martin

Story by Robert John Guttke

Created by Ron Koslow

Directed by Victor Lobl

Director of Photography – Stevan Larner A.S.C.

Production Designer – John Mansbridge

Editor – Craig Ridenour

Theme by Lee Holdridge

Music by Don Davis

Supervising Producer – Stephen Kurzfeld

Producer – George R. R. Martin

Produced by Kenneth R. Koch

Co-Producers – Alex Gansa and Howard Gordon

Co-Producer – Patricia Livingston

Associate Producer – Anthony Mazzei

Coordinating Producer – David F. Schwartz

Executive Producer – Paul Junger Witt

Executive Producer – Tony Thomas

Executive Producer – Ron Koslow

Original Art by — Olivia

Unit Production Manager – Tony Brown

1^st Assistant Director – Robert Yannetti

2^nd Assistant Director – Joseph John Kontra

Art Director – Joseph Hubbard

Set Decorator – Peg Cummings

Property Master – Bill Dietz

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 – Lori Slomka

Main Titles – Robert Farina

Main Titles – Chris Arnold

Casting – Joyce Robinson

Casting – Penny Ellers

Poetry excerpt from "The Lady of Shalott" by Alfred Tennyson

Catherine Chandler – Linda Hamilton

Vincent – Ron Perlman

Kristopher Gentian – Franc Luz

Mr. Smythe – Severn Darden

Jenny Aronson – Terri Hanauer

Father – Roy Dotrice

Gallery Owner – William De Acutis

OPEN with a view through a glass entrance door. The numbers 777, stenciled on the glass, cast a shadow on the floor as the door opens. CATHERINE and JOE enter. As they push open the door, a little bell jingles.

INTERIOR-USED BOOKSHOP – DAY:

Joe follows Catherine into bookshop

Cathy how long is this going to take?

We’re running late already.

I just want to browse for a few minutes. I love old books.

Joe pulls a book from the shelf and hands it to Catherine.

Here…this one’s old.

CLOSE ON BOOK SPINE

(with expression of affectionate disdain)

The Collected Sermons of Cotton Mather?

Not exactly what I had in mind.

Catherine hands the book back to Joe. Enter the bookshop owner, MR. SMYTHE.

Perhaps I can be of some help?

Joe points to Catherine.

Yeah… Uh…she’s looking for a book.

(gestures with his hand)

Well…

Something very special. A first edition, maybe?

Poetry?

English poetry is at the end of aisle three. You can

feel free to browse as long as you want.

(Checks his watch, looks at Catherine)

We’ve only got like 32 minutes.

Young man, there is a video store on the next block.

I understand they have Vampire Cheerleaders in stock.

Catherine smiles.

(to Smythe, indignant)

Hey…I read! I’m a lawyer.

We shan’t hold that against you.

(Rolls his eyes at Smythe, then gestures to Catherine and walks away)

I’ll be back in 20 minutes.

You’re on your own for lunch, Radcliffe.

We shall miss you young man. On this way please.

Catherine laughs as she walks down the aisle with Smythe.

As Joe exits, the bell on the door jingles.

FADE TO:

Catherine walks slowly along, perusing the books on the shelves, and turns into another aisle. After a few steps, she stops, selects a heavy volume and skims through it, unaware that a man is peering at her through a gap between books from the next aisle. She thumbs through the pages, replaces the book and is reaching up over her head to take another when….

Enter KRISTOPHER GENTIAN. He appears behind her out of nowhere.

(with a gentle smile)

Try this one.

(Looks at the book, then at Kristopher with curiosity)

She takes the old, leather bound book and leafs through it. We see the ex libris: "From the Library of Kristopher Gentian"

Kristopher stands by silently, gazing at Catherine.

(in awed voice)

Tennyson! First edition. Oh, this is perfect. Thank …

The man has disappeared. She turns to look for him but he’s not to be seen. She walks around the end of the aisle, checks back, and then walks up a long aisle toward the front of the store. She stops for a final look back before continuing to the checkout counter.

I see you’ve found your book.

Yes.

Well, it’s Mr. Tennyson’s book actually, but it was waiting for you.

All books wait. They sit patiently on their shelves,

collecting the most refined dust until the cover is opened

and the pages are turned by the proper person.

Catherine gets her wallet from her purse.

Joe enters.

(Walks toward counter)

OK, Radcliffe, lunch is over.

(Looks at watch)

We got 10 minutes to get back to court.

Oh joy, the tit willow is back!

Catherine laughs.

(smirks)

That’s funny.

Catherine laughs again as she pays for the book.

FADE TO:

EXTERIOR TO INTERIOR-CRIMINAL COURTS BUILDING-DAY:

Joe is taking long, agitated strides as he enters the lobby. Catherine has trouble keeping up with him.

Six continuances! I can’t believe this!

At this rate, I’ll be drawing Social Security

before I get to trial on this thing. Hold the elevator!

Without thought to Catherine, Joe runs inside the elevator.

(Trying to catch the elevator door)

Wait!

See you up there.

The door closes, leaving Catherine in the lobby, exasperated. Catherine steps back, pushes the elevator button and waits for the next car.

Excuse me

(Taps Cathy on the shoulder)

You!

Kristopher smiles.

CUT TO:

INTERIOR-FATHER’S CHAMBER-DAY:

Father’s back is to Vincent, who stands with his arms spread on the desk, watching.

(Looking for a book)

I know I’ve got it here somewhere. Ah yes, I think this is…

No, that’s not it.

(Moving to another section, selects book)

You know, I really must get Mouse to build me some book shelves

(Peers at book)

(Turns and looks up as awareness dawns on him)

No, on second thought, I better ask Cullen.

(Looks up at Vincent)

Vincent, what is it?

Father removes his glasses.

(Looks mystified)

Nothing. For a moment I felt a coldness!

Father stares at Vincent.

CUT TO:

INTERIOR-CRIMINAL COURTS BUILDING LOBBY-DAY:

Catherine and Kristopher stand in front of the elevators.

Boy, this sort of thing is never very easy.

What sort of thing?

Are you often approached by strangers?

This is New York City. I’m approached by all sorts of…

Lunatics. Yeah, well, I’m not a lunatic,

But, ah, I’m the next best thing.

(He hands her the business card he has found

in his pocket. She reads it out loud)

Kristopher Gentian, Artist?

Honest.

Well, good for you, Mr. Gentian. What do you want?

Just you. Ah...call me Kristopher.

I beg your pardon?

You can call me Kristopher.

I caught that part.

Oh, OK. Uh…

(Matter-of-factly)

I thought maybe you could, ah, model for me.

(looks away, nodding her head)

Model for you?

Too eccentric?

(curtly)

Is this some sort of come on?

Oh no, no, no. Really, it’s not like that.

Ah...you can bring your boy friend or something,

you know, to watch to make sure I don’t ah...

(Smiles widely)

try anything.

(smirks)

That might be interesting.

I want to make you immortal.

Modest aren’t you?

Kristopher smiles. The elevator chime sounds indicating the car’s arrival.

Thank you. I don’t think so.

(Cathy moves through the open doors of the elevator

and turns to face the front of the car.)

Wait! My card. I only have the one.

Catherine hands him the card. Kristopher backs away, staring at Cathy, and the elevator doors close. Catherine looks bewildered.

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY:

Catherine is sitting at her desk, on the telephone with her friend Jenny Aronson.

Would I kid you, Jen? Right down in the lobby.

INTERIOR-JENNY ARONSON’S OFFICE-DAY:

Jenny is at her desk, pen in hand, telephone to her ear;

Then he took back his card?

Yes, he said he only had one.

He sounds like an artist alright. Do you remember Craig?

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY-CATHY’S DESK:

Oh God, yes! The one with the ponytail?

Yeah, and the unheated loft…

CUT TO:

INTERIOR-JENNY ARONSON’S OFFICE-DAY-JENNY’S DESK:

Anyway I posed for him for three weeks

(Taps fingers)

in February

(Taps fingers)

in a sheet

(Taps fingers)

and when I finally looked at the painting

I wasn’t even in it

(Gestures with her hands).

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY-CATHY’S DESK:

No!

CUT TO:

INTERIOR-JENNY ARONSON’S OFFICE-DAY-JENNY’S DESK:

(giggles)

Well, he told me that he liked to look at naked women

while he was working, that it helped his creative juices or something.

Cathy is heard laughing.

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY-CATHY’S DESK:

Jenny is heard speaking.

But do not let me influence you.

CUT TO:

INTERIOR-JENNY ARONSON’S OFFICE-DAY-JENNY’S DESK:

They all can’t be like Craig, and you never know...

This guy might turn out to be another Picasso or something.

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY-CATHY’S DESK:

So you think I should pose for him?

CUT TO:

INTERIOR-JENNY ARONSON’S OFFICE-DAY-JENNY’S DESK:

What, you might wind up on the wall of the Metropolitan

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY-CATHY’S DESK:

Jenny is heard speaking.

and I’ll buy postcards of you and send them to my friends.

Oh yeah. Maybe you could publish calendars.

CUT TO:

INTERIOR-JENNY ARONSON’S OFFICE-DAY-JENNY’S DESK:

Sure…or framed prints, or wrapping paper

or coffee mugs.

Cathy is heard laughing.

CUT TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY-CATHY’S DESK:

Jenny is heard speaking.

There is no telling where this might end.

Joe is standing at Catherine’s desk, pointing to a file.

(laughing)

Well, this had better end right now. The tit willow needs me.

(heard on the phone)

What?

I’ll tell you next week at dinner. OK, bye.

(Laughing, she hangs up the phone)

What was that all about?

An artist followed me back from the book store.

Jen thinks maybe I should pose for him.

Pose for him?

Cathy, you’ve got to watch out for these artsy types.

I mean, they get you alone, give you a little wine,

and the next thing you know...well...

I mean, they’ve all got a line, these guys.

They like to take advantage.

Cathy looks at Joe with sweet, naive innocence.

How’s that Joe?

Well, you know. They try to talk you into…

or out of… Well, it’s not like fashion modeling.

Sometimes you have to pose…

(grows increasingly embarrassed)

without any….well, kind of…nude.

(innocent)

Oh, is that all? You don’t have to worry, Joe.

I posed for a life study class in college.

Joe looks around the office, obviously uncomfortable.

Are you blushing, Joe?

Hey, look. This is none of my business, OK?

(Leans forward toward paperwork, a tap is heard)

I need the Ketter testimony broken down by tomorrow morning.

(changing subject)

Are you sure this guy is on the up and up?

There’s a scam on every corner

of this city, Radcliffe. He give you a name?

Mm, hm. Kristopher Gentian

Gentian.

(looks suspicious)

Relax, Joe.

(Looks down at paperwork)

I’m sure he’s harmless.

Yeah, famous last words;

(Points to paperwork)

I need that stuff tomorrow morning.

(Walks away)

OK, I’ll take it home, do it tonight.

Cathy watches with a bemused smile on her face as Joe turns and walks off. RITA ESCOBAR, headed for Cathy’s desk, is crossing past Joe when he stops and looks back.

(Turns back to face Catherine)

In college? That would be Radcliffe, right?

You had me going there for a second, Chandler.

That’s a girls school.

(to Catherine)

Didn’t Radcliffe go coed?

Mm, hm, in 1971. But you better not tell Joe.

The two of them laugh and Rita walks away.

FADE IN:

EXTERIOR-CULVERT ENTRANCE IN CENTRAL PARK-NIGHT:

Staring at the night sky, Catherine leans against the concrete culvert wall. She has obviously been waiting for a long time and has just started to walk away when Vincent appears in the opening.

(Turning to Vincent, her arms crossed over the book, holding it tight to her chest)

It’s been so long. I was afraid….

That I might not come…?

(looks longingly at Catherine, then down with a sad expression)

I was away. There’s a place miles beneath the city—

a nameless river that runs through the darkness.

Sometimes I go there.

Catherine walks toward Vincent, hugging the book. When she is close, she holds the book out.

I wanted you to have this.

(Hands him the book)

(Turns the book up, looks at the spine)

Tennyson....

First edition.

I always loved Idylls of the King.

I even knew some parts of it by heart.

Some nights I dreamt of Camelot...and Lancelot.

(his eyes on the book as he speaks)

Lancelot was fatally flawed, destined never to find the grail.

(with look of love and concern)

Still, he was the greatest knight of all.

Vincent looks up lovingly at Catherine. They gaze into each others eyes and then move into a long, emotional embrace. Shadows of Vincent and Catherine reflect on the culvert wall.

RESUME

Outside the culvert. Leaning at the wall outside the opening, Vincent reads to Catherine.

But in her web she still delights

To weave the mirrors magic sights,

For often, thro’ the silent nights

A funeral, with plumes and lights

And music, went to Camelot….

Suddenly a voice is heard from close by.

…When the moon was overhead,

Came two young lovers lately wed…

Catherine turns to face the voice, blocking Vincent from view, then turns, shoving him toward the entrance of the tunnel.

Go! Go, before they see you!

Kristopher is still reciting, still unseen.

 "I am half sick of shadows,"

said the lady of Shallot…

Catherine turns to face the intruder. As Kristopher steps out from behind a bush, she takes a step toward him and stops, astounded.

Kristopher?

Kristopher walks toward her.

You didn’t have to send him away.

(angrily)

What in hell do you think you’re doing here?

God, he reads beautifully!

(furious)

I want you to stop following me! Do you understand?

Do you think he’d sit for me?

(sighs, irritated)

Who are you talking about?

What century did he walk out of Cathy? What story book?

This is outrageous!

(throws her arms out in frustration)

(recites with heartfelt emotion)

…And over our heads floats the blue bird

singing of beautiful and impossible things,

Of things that are beautiful, of things that are

lovely and never happen…

Catherine angrily pushes past him, stomping up the hill.

…Of things that are not and should be!

It’s Oscar Wilde!

Where are we going?

Home!

OK! Does that mean you want to pose for me?

Kristopher follows Catherine away from the park culvert.

CUT TO:

INTERIOR-FATHER’S STUDY-NIGHT:

Father and Vincent are talking in Fathers study.

Did he see you?

(looking down)

I don’t know...perhaps a glimpse, but…

A glimpse? And if he thinks about what he saw,

if he wonders about it?

Vincent, do you realize the risk?

(facing Father)

I’ve lived with that risk all my life!

Do you think I could ever forget it?

I think sometimes...you grow careless…especially of late.

You and Catherine lose yourselves in the moment.

(sarcastically)

And the night, and the stars....

... and in each other.

No! That is not how it was. I heard all of the stirrings of the city:

the distant sound of traffic, the wind rustling in the foliage,

someone skipping stones across the lagoon.

So how could this man possible creep up on you unawares?

(perplexed)

I don’t know.

Well, there must be a rational explanation.

Fine! Tell me what it is.

Vincent stares long at Father. Father looks away.

CUT TO:

EXTERIOR-STREETS OF NEW YORK-NIGHT:

Catherine walks quickly along the sidewalk with Kristopher bouncing around her.

You’re still mad aren’t you?

(Catherine looks away)

You might even say furious!

Kristopher walks backwards, facing Catherine.

I know, I know! I shouldn’t have followed you.

I shouldn’t have spied on you, but if I hadn’t

would you be here with me now? Would I have seen him?

I don’t know who you think you saw.

Yes, you do. Yes, you do.

When are you going to tell me about him?

You are being very trying, Kristopher.

I can’t help it! I’m an artist!

Kristopher twirls in front of Catherine.

An artist. I know. Since when is

invasion of privacy part of the creative process?

I have to follow my heart.

Well, next time you may just follow it

past the Louvre and into city jail!

Kristopher stops, allowing Catherine to walk ahead of him. Speaking to a strange woman on the street, Kristopher points at Catherine.

Did you hear that?

He grabs the woman and twirls her around and around. The woman gasps and screams, "No!" Kristopher stops and releases the woman.

She said next time, next time!

That means she’s forgiven me!

She’s forgiven me!

Don’t worry! We’re having him committed – soon!

Kristopher turns, his mouth drops open dramatically, and he points at Catherine.

She’s smiling.

Kristopher walks towards Catherine with his index finger pointing at her face, a twinkle in his eyes. He steps in front of her.

Yes, yes, yes! That is definitely a smile.

I thought you were shy!

(Kristopher reaches his arms toward the sky)

I am large! I contain multitudes!

You like Espresso?

(Shakes her head)

Kristopher...

Cappuccino, café au lait, cannoli,

a zabaglione that would break your heart.

Kristopher…

She begins laughing at him. He’s like a child—the enthusiasm pours out of him—and she cannot resist.

Just an hour, that’s all I want. Well, maybe two.

And I won’t speak about Vincent,

and I’ll never bother you again.

Please, please, please, please, please, please, please.

Kristopher begs, persuades and charms Catherine into a genuine smile and giggle.

CUT TO:

STREET SCENE - then to

INTERIOR-COFFEE HOUSE-NIGHT:

Cathy and Kristopher are seated at a table in a coffee shop. The walls are red brick, covered with paintings of various sizes and styles. The tables are round and numerous. It is busy.

Great, isn’t it?

(He indicates the coffee shop, sitting sideways in his chair)

I love this place. It always makes me feel

like Lorenzo de Medici may walk in

at any moment to discuss a commission.

With you?

(Kristopher turns in his chair to face Catherine)

Who else? But he will have to wait until

I finish having coffee with Simonetta Vespucci.

She was Sandro Botticelli’s greatest inspiration.

You can see her face in all his paintings.

Waitress comes with their order.

You used to cut the crusts off those.

It’s alright. I’m allowed to eat crusts.

So, did Simonetta and Botticelli

meet for coffee on a regular basis?

Kristopher sips his Cappuccino. It leaves a frothed milk moustache on his upper lip.

Oh yeah, he was very fond of her...

...even though she was destined to be with another.

She loved Giuliano de Medici,

but Botticelli took them both to heart.

Kristopher takes another sip. Catherine remains focused on his story.

Three female art students sit at the adjacent table. Kristopher grabs a large book off their table.

Hey!

Oh, it’s alright.

The girls look at each other, annoyed. Catherine shares a look of disbelief with the students

.

See!

(Kristopher points to the pictures in the book)

That’s Simonetta and Giuliano. They both became inspirations.

(Looks from the picture to Kristopher)

And did they live happily ever after?

Giuliano was killed during the Pazzi rebellion,

and Simonetta was taken by a fever.

Nothing is forever, Cathy.

That’s a strange thing for an artist to say.

They live forever…here.

(She indicates the book, tapping it)

(approaches the table)

Can I have my book back?

Kristopher hands her the book.

Yeah, sure. Oh hey!

Are you using that sketch pad?

I just bought it!

Great!

(Grabbing the pad)

Thanks.

The girls share another look of disbelief.

You know, they do sell those.

(Opens the sketch pad)

Only to people with money.

The girl gives Kristopher a dirty look and walks off with her friends.

Where do you exhibit, Kristopher?

(He looks up from the sketch pad, stricken)

You haven’t sold much of your work?

My stuff is a little…strange. Still, look up there.

(Pointing, indicates a painting hanging on the wall)

Yours?

I ran up quite a tab.

The owner took it as payment.

He was like a million years old, Cathy.

You would have loved him. He’s dead now.

I’m sorry.

Still, that’s a sale, isn’t it? Kind of? You like it?

No, no, no, no, no, no, no!

Don’t tell me if you hate it. I’ll be crushed.

It’s very powerful. You’re talented Kristopher.

You like it.

(Looks back up at the picture)

Yes.

(excitedly)

I knew you would. So you’ll pose for me, right?

(embarrassed)

Oh, you never give up!

Does a moth give up when he’s seen

the most beautiful flame he’s ever beheld?

(smiling in a teasing manner)

That is a good way to get your wings singed.

Hazards of my profession Cathy. My wings are forever singed.

OK, just sit there, sip your espresso and…let me sketch you.

Catherine hesitates.

What can it hurt?

(Giving in)

All right.

Great, great. You won’t be sorry, Cathy. I promise.

(embarrassed)

I can’t believe I’m doing this.

You wouldn’t happen to have a pencil would you?

Catherine giggles out loud.

CUT TO:

INTERIOR-VINCENT’S CHAMBER-NIGHT:

Vincent is sleeping, tossing and turning. He’s dreaming that he walks through a cob-webbed, fog-filled warehouse with a strange assortment of things stored in it: wooden Indian, a harp, a fortune telling machine. He calls out, "Catherine?" He hears Catherine say, "Where are you?" then sees a dream-like figure of Catherine walking away from him. He runs to catch up to her.  She calls out again, "Where are you?" Vincent turns a corner and sees her standing still, facing him. She looks up at him and says, "He’s dead...dead." She suddenly disappears. Vincent finds himself standing by a large steamer trunk. He opens it to find a young boy wearing a Mets cap sitting inside the trunk on a pile of crayons, spilled out of their boxes. The boy is scribbling circles in a coloring book with a crayon.

FADE TO:

INTERIOR-DISTRICT ATTORNEY’S OFFICE-DAY:

Catherine works at her desk. She is turning the pages of a report and writing furiously on a legal pad.

Joe walks up and leans on her desk.

You finished with the Ketter breakdown yet?

Oh, I’m about half way through.

Can you give me two more hours?

I thought you were going to finish it at home last night?

Yeah, I was but…something came up.

Well, this something doesn’t have anything to do

with this so-called artist, does it?

Catherine innocently nods at Joe.

(Shakes his head)

Now look, Cathy. I don’t know how to say this but,

I’d stay clear of this guy if I were you.

He’s running some kind of scam on you.

Joe, what are you talking about?

Kristopher is an artist.

Yeah, a con-artist you mean.

He told you his name was Kristopher Gentian, right?

Yes.

Well. He can’t be.

What do you mean?

Well, I had Escobar run a little check on him and it…

(shocked)

You what?

I know, I know it’s none of my business.

OK, fine, shoot me. I was worried about you

and you ought to be glad I made it my business.

Kristopher Gentian has been dead for almost two years.

Catherine looks stunned.

I want that in two hours.

(Pointing at the brief, Joe walks away)

Catherine looks even more stunned.

FADE OUT:

CUT TO:

INTERIOR-USED BOOKSHOP-DAY:

Joe follows Catherine into the bookshop.

Radcliffe this is nuts! Why don’t you just let me

buy you lunch and we’ll forget about this, huh?

Hello, is anyone here?

(Stops at front counter)

Cathy, what’s it gonna take to convince you? The guy is dead!

(Turns to face Joe)

Well then a dead man did a sketch of me last night.

Hey, you said it. I didn’t.

Look, we went to a coffee house,

I had espresso, he had zabaglione.

Dead men can’t even spell zabaglione.

Five’ll getcha ten he stuck you with the check too.

He did; Cathy’s face gives it away, and Joe sees it.

JOE

I told you the guy is nothing but a scam.

Mr. Smythe walks up the aisle, holding a pile of books.

Oh can I help…? Oh! It’s you!

Did you enjoy Mr. Tennyson?

(Puts books down on front counter)

(to Smythe)

Yes, very much. There was a man in the shop

when I was here yesterday.

Of course there was.

Cathy turns and gives Joe a satisfied smirk.

Well, I need to talk to him.

That should be easy. He’s standing right behind you.

(Motions to Joe)

Cathy turns to Joe and Joe wiggles his fingers at her, grinning.

(to Smythe)

No, no. Not Joe.

I understand.

She’s looking for some guy she met

back in the poetry section.

Well, it’s definitely not you then.

Claims he’s an artist.

We get a lot of artists here.

Sometimes one of them even purchases a book.

Well, this man is about this tall

(indicating height with her hand over her head)

kind of rumpled, wears a Mets cap.

His name is Kristopher Gentian.

(with a strange, closed expression)

I can’t recall any such person.

Perhaps you saw him somewhere else?

(convincingly)

No, it was here. You must have seen him.

(Looks down at the book pile, dismissively)

I’m afraid not. Now if there’s nothing else...

(Talking in Catherine’s ear)

Can we go now?

(puzzled)

I don’t know what’s going on.

(takes a business card from her purse

and places it atop the book pile)

If your memory should happen to return,

would you give me a call?

Joe waves goodbye to Smythe. Smythe takes the card. He reads the card and looks away.

DISSOLVE TO:

INTERIOR-VINCENT’S CHAMBER-DAY:

Vincent is resting on his bed when he hears a noise. He looks around but sees nothing. He reaches for the book Catherine gave him, opening it to the fly leaf, showing that it once belonged to Kristopher Gentian. There’s another noise, Vincent slams the book shut.

(Sits halfway up, facing the noise, looking toward a statue)

Who’s there?

Vincent picks up a candle and walks toward the noise, inspecting his chamber. He hears a noise behind him and swiftly turns, growling. Mouse jumps as he comes into the chamber. Startled at first, Vincent sags when he realizes it’s Mouse.

Mouse! I thought for a moment…

I thought I saw an intruder in the shadows.

Mouse is dripping wet, wearing a homemade miner’s cap, a dangling flashlight strapped to the ear flaps of a sports helmet.

(quizzically)

Down here? In your chamber?

It makes no sense.

Finished new aqueduct.

(squeezing his drenched shirt)

Little problem.

So I see.

Need your help.

To stop the flood?

No! Fixed it. Swimming lessons.

(Relieved, Vincent sighs and places his hands on Mouse’s shoulders)

Tomorrow, we’ll go to the mirror pool.

I’m going to see NARCISSA. Tell Father I’ll be back by evening.

He hands Mouse the candle, picks up his cloak and walks off.

(looking around the chamber)

Intruders. Don’t scare Mouse.

The candle snuffs out. Mouse gasps.

CUT TO:

INTERIOR- CRIMINAL COURTS BUILDING –DAY:

Catherine leans over in front of Rita’s desk.

Let’s just say I’ve never seen a ghost

with a cappuccino mustache.

Why would anyone pretend to be dead?

Well, the world has a way of ignoring live artists

and celebrating dead ones. Kristopher

would not be the first painter to fake his own death.

Let’s see what you’ve got on our elusive Mr. Gentian.

(Catherine takes notes)

Well, he was a native New Yorker,

went to Cooper Union, on an art scholarship.

Mm, hm.

His family’s deceased. He had a small inheritance,

but it must have run out.

He owed money to everybody when he died.

Sounds like Kristopher all right…address?

A loft in the east village but he’d been evicted...living on the street.

The night he died, the temperature got down to 20 below.

They found the body in an alley off Bleeker.

With all of Kristopher’s I.D.?

Mm, hm. A friend viewed the body,

confirmed identification;

a Mr. Smith. No...Smythe, Jonathan Smythe.

He owns a book store.

Let me guess. It’s in the Village? 777?

Rita nods and Catherine hurriedly walks away

DISSOLVE TO:

INTERIOR- NARCISSA’S CHAMBER:

Candles flicker as Narcissa crushes powder into a bowl of water and sloshes it around. She stares into the bowl. Vincent silently walks up behind her.

(Sensing Vincent’s presence)

Vincent...come.

(Looking at Narcissa)

You heard me approach?

I saw you, in the waters.

Oh yes, Child, come look.

Vincent bends to look into the bowl.

All I see is ripples and reflections,

the flame of the candle.

You are your fathers' son.

(Looks back at Narcissa)

What do you see?

(Expresses her story with her hands and emotion)

The past, the future, faces of the dead.

Spirits seek their own level too, Vincent, like the waters.

(She laughs)

But I’m a crazy old woman. Ask the Father.

Did he tell you ghost stories when you were young, Child?

(Remembering)

I...fled the headless horseman,

rode in Kipling’s phantom rickshaw.

Yes. I remember Marley’s ghost.

(gesturing with her hands)

Bound by chains he forged in life...

but there are other kinds of chains,

Vincent. Fear, love, hate...dreams.

Your world has room for spirits, Narcissa.

Catherine lives in another world,

a world where ghosts walk only in stories.

Are you so sure, child? Come here. Look again.

Vincent turns from Narcissa and gazes into the bowl at his reflection.

Open your eyes. Look deep.

Could such a being as this walk the world

your Catherine lives in?

Vincent looks into the water and sees more than his own reflection.

CUT TO:

INTERIOR- USED BOOKSHOP-NIGHT:

Catherine enters.

(standing behind the front counter)

Oh, I’m sorry, we’re closed.

(looking up, he sees Catherine)

You are the persistent one, aren’t you?

(at the counter)

Is that a compliment, Mr. Smythe?

(Catherine pauses)

You lied to me.

Well, I fibbed.

How long have you known Kristopher?

When he was a little boy, he used to come in here,

and sit and read for hours-book after book—

mythology, folklore, poetry.

Even after he grew up, he would rather read than eat.

Then why did you pretend you didn’t know him?

Because it is such a bother.

No one believes me any how. You’re not the first you know.

Not the first what?

To see Kristopher’s ghost.

He materializes for all the…more attractive young ladies.

I can’t believe this.

You see!

You’re still claiming he’s dead?

My dear young lady, Kristopher is dead.

I had to identify the body myself. It was such a shame.

He had so much talent.

(sighing in frustration)

That’s it. I give up.

(She walks away, pauses, then turns around)

Wait a minute, his paintings.

There was no will, no family.

He never sold any of his paintings what happened to them?

His landlord took them—a dreadful man.

(Walks back toward Smythe)

For the back rent?

Yeah, he took all the books too, but I bought those back.

I thought it was only right. Old friends coming home again.

The landlord must have tried to sell the paintings, too?

Undoubtedly, but the only portraits that he appreciated

were the ones on dollar bills. I doubt if he succeeded.

Kristopher’s work is most probably off

in storage somewhere, if they still exist.

They exist all right, otherwise what’s the point of this charade?

My dear young lady, you are so young and so cynical.

You should not be so certain.

The world devoures all of our certainties

and all of our beauties as well.

Catherine stares at Smythe, perplexed. The camera cuts back and forth between their faces.

CUT TO:

EXTERIOR-DARK, LONELY STREET-A YELLOW CAB PASSES:

FADE TO:

EXTERIOR-WAREHOUSE PARKING LOT-NIGHT:

Catherine approaches metal warehouse doors, which she finds chained and padlocked. Yanking on the lock and heavy chain, she is unable to get in. She returns to the car, turns on the headlights and starts the ignition. The padlock suddenly opens and the chain slides out of the door handles. As the warehouse doors swing open, she leans to grab a flashlight from the glove compartment, gets out of the car and enters the warehouse. Shining the light around the interior, she slowly walks deeper inside. She turns when she hears a noise and the flashlight goes out. Banging on the side of it, she exclaims....

Damn it, damn it!

The flashlight comes back on and shines on a figure standing in front of her. She jumps back, inhales and gasps, before realizing its Vincent.

(shaken,yelps)

Vincent, for a moment there I thought…

Thank God it’s you. I tell you I am…..

(mysteriously)

Half sick of shadows?

Yes! I was ready to give up before you unlocked the door.

Catherine, I didn’t unlock any doors.

Then….

Vincent suddenly turns and growls. Somebody is seen in the distance, holding a lantern. Vincent gives chase, running among the strange, stored items. He runs up to a mirror and sees his reflection. He pauses, then turns again, runs and leaps over a pile of boxes, to quickly grab the intruder by the shoulder. He turns toward Vincent in amazement. He's Kristopher.

Hi.

Vincent and Kristopher stare at each other.

FADE TO:

INTERIOR-WAREHOUSE-NIGHT:

How long have you been here?

Kristopher, Catherine and Vincent walk slowly through the stored items. Kristopher is holding a lantern and seems to be looking for something.

Here? I don’t know. Its funny, you know?

I can’t seem to remem...

(He ponders)

It’s this way...I think.

I want some answers, Kristopher.

How did you open that padlock without my seeing you?

I just did. I didn’t want you to go away.

You’re living here now? Is that it?

So many questions.
(Stops and turns to look at Catherine)
Watch out, you might get answers.

You’ll explain all the wonders and mysteries in life.

Then all the wonders and mysteries...die. I hate questions.

Turns away and continues walking forward. Excited, Kristopher finds what he’s been searching for and suddenly runs and points.

That’s my stuff!

Kristopher tries to pull a heavy trunk into the open aisle, but can’t manage it. Vincent grabs the handle on the exposed end and easily drags it out. Kristopher looks at him, and glances at Catherine, in amazement and then grins and opens the lid. The trunk is filled with coloring books and crayons. He picks one up and flips through the pages.

Coloring books.

I couldn’t get enough of these when I was little.

(Smiles as she looks at Kristopher’s ‘art work’)

You went outside the lines.

I like going outside the lines.

(leaning on the open trunk lid)

Some men ignore the boundaries…

Hmm…all the boundaries.

Coloring books is one thing.

Pretending to be dead is something else.

Dead? What do you mean dead? Who’s dead?

Good question. Look, I don’t think you planned it.

(grinning)

I never plan anything if I can help it.

You just hit rock bottom. Your work was gone.

You were living on the street; no one cared.

You stumble across a dead man

roughly the same age, the same build...

(Realizing what Catherine is saying)

Maybe I am dead. As good as dead anyway.

An artist is only as alive as his work, right?

And Botticelli will live forever, but me…

He moves around Catherine and Vincent, and tried to remove a case from in front of cloth covered paintings. Again Vincent easily pulls the case out of the way and sets it aside. Kristopher removes the dusty cloth, revealing his paintings. Kristopher backs away as Catherine and Vincent move forward to look at them. As Catherine flips through the paintings, Vincent looks around puzzled.

Oh, Kristopher, these are wonderful! Where on…..

(She looks around for him but he’s gone)

Oh...I hate it when he does this.

He’s gone, Catherine. I have no sense of him.

That’s impossible.

(continuing to look around)

Is it?

(looking around even more)

Well, he must be hiding somewhere.

Maybe there’s another door?

(smiling)

Or a magical one.

(turning to Vincent)

I don’t believe in magic.

(Lifting his arms)

Then what is all this?

Catherine and Vincent gaze with wonder at Kristopher’s paintings.

CUT TO:

INTERIOR-JENNY’S OFFICE-DAY:

Jenny, holding papers, is standing at her desk on the phone.

If the revisions aren’t in by this week

he will not make the fall list.

I’ve got another call. You tell him that, OK?

(Answering the other phone line)

Jenny Aronson…

Hi, Jen. It’s me.

Oh Cathy, hi. Does, uh, this mean

that we’re finally going to make dinner?

(Sits at her desk)

CUT TO: RAPID BACK AND FORTH BETWEEN CATHERINE AND JENNY ON TELEPHONE

Oh, I wish. Maybe next week.

(perturbed)

Where have I heard that before?

Listen Jen, I need a favor.

All those art books you’ve edited...you

must know a few gallery owners?

(Laughing sardonically)

Some of them a lot better than I ever hoped to.

I want to arrange a show.

Easier said than done. When?

Soon...a week, two weeks. Is that possible?

(Shaking her head)

Absolutely no way.

(Cathy is seen holding the phone but is silent)

Well…

(Changing her mood)

let me work on it. I’ve got some people

that owe me some pretty big favors.

Is this for this guy, the one that wanted you to pose?

Yes, Kristopher Gentian.

(grinning)

Did you do it?

(Catherine grins, holding the phone, but doesn’t answer)

My God, you did.

Alright, you have got to tell me everything.

Is he any good? How are his paintings?

What should I tell the gallery owners?

Oh, you can tell them he is better than good.

He’s dead.

CUT TO:

INTERIOR-ART GALLERY-NIGHT:

People are milling around, waiters are carrying champagne trays. Kristopher’s art is displayed on every wall. Joe Maxwell is studying a painting hanging on the wall and flipping through the brochure. He peers at the information that’s to one side of Kristopher’s painting of a woman in a strange flared skirt.

(Walks over to Joe)

I don’t think you’ll find the model’s phone number there.

(gazing at the painting)

What do you figure they want for something like this?

Why? You thinking of buying it?

CLOSE ON PICTURE

Hey why not? The guy’s dead right?

Got to be a good investment.

Yeah, I think I could look at her for a long time.

What do you think...put it right over the couch?

Catherine smiles at Joe’s enthusiasm, then as she looks away from him, she spots Kristopher, grinning, dressed as a waiter, serving drinks to Jenny and another woman.

Excuse me.

Walks purposefully away from Joe toward Jenny.

Joe turns to watch at her as she leaves.

Catherine walks through the crowd to intercept Kristopher, but he’s disappeared.

(puzzled)

(to Jenny)

Where is he?

Who?

The waiter...with the champagne.

Oh, here you go.

(Grabs a glass of champagne from a passing waiter

and tries to hand it to Catherine)

(Looking around)

No, I’m not thirsty.

Jonathan Smythe comes up behind her as she looks for Kristopher.

Mr. Smythe! Did you come with Kristopher?

From his family crypt?

(smiling)

I knew he wouldn’t be able to resist his own opening.

Well, I’m sure that he’s here in spirit.

To think how close we came to...to losing all this.

You’ve done a marvelous thing.

All I contributed was the setting.

The marvels belong to Kristopher.

They’ve sold half a dozen works already.

The rest should be gone before the show is over.

The gallery takes a commission off the top.

I told them to send the rest of the money to you.

(surprised)

To me? My dear young lady, whatever for?

(knowingly)

For Kristopher, of course.

He’ll need money for paints, canvas…rent.

But Kristopher is ah…dead.

So you don’t want the money?

You mustn’t put words in my mouth.

There’s always, um, cemetery up-keep.

Oh and um…as long as I’m here, I hope

you wouldn’t mind introducing me

to the proprietor of this establishment.

Just in case, say, more works by

Kristopher Gentian should happen to show up?

I dare say...you can never tell.

(Opens eyes wide)

Catherine and Smythe walk off, arm in arm.

FADE TO:

INTERIOR-ART GALLERY-NIGHT:

The gallery is empty. The opening is over and Jenny and Catherine are preparing to leave.

Oh, it went great. Don’t you think it went great?

Yeah, I’m happy.

You know, I didn’t know they made artists

like Kristopher any more.

They don’t.

Do you want to share a cab?

You know the night’s so lovely, I think I’ll walk.

OK.

Thanks for everything.

The two women hug. Catherine kisses Jenny on the cheek.

My pleasure, OK? And dinner?

Tuesday.

Good.

Bye.

Jenny leaves. As Catherine puts on her coat, she hears someone call her name. A gallery worker walks from the back room with a large parcel.

Cathy? Oh, I was so afraid that you’d gone. Here.

He has a large rectangular package that’s wrapped in heavy cloth, tied with twine, with a tag attached to it.

(puzzled)

What is this?

Well, I can’t say for sure, but whatever it is, it’s yours.

It turned up when we were rooting through

that dreadful warehouse. It was sealed up

way in the back and...I don’t know....

Anyway, it has your name on it,

so I put it aside for you.

Did you know the artist when he was alive?

Well, of course you would.

What am I saying. Anyway…here. Enjoy.

Catherine is puzzled by the package. The gallery worker walks away.

FADE TO:

INTERIOR-TUNNELS-NIGHT:

INTERIOR-VINCENT’S CHAMBER-NIGHT:

Vincent and Catherine are standing close together, side by side, staring at a painting.

He had a sketch of me to work from I suppose…

but he must have painted you from memory.

Astonishing, isn’t it?

You might even say magical.

(Looks at Vincent)

Now you’re starting to sound like Kristopher.

(Looks at Catherine)

Am I?

(Looking back at the painting, smiling,

He touches the painting and shakes his head)

Hmm…

Why are you smiling?

Kristopher…worked only in oils?

(Looking at painting)

Yes.

SCAN TO PAINTING OF VINCENT AND CATHERINE EMBRACING, VINCENT STANDING BEHIND CATHERINE

Oils take months to dry completely, Catherine,

sometimes years. This canvas…

Don’t say it. I have to hold on to

some of my certainties don’t I?

Vincent and Catherine gaze at each other, then back to the painting, marveling at its remarkable resemblance and detail. Catherine leans her head on Vincent’s shoulder, and he gently lays his cheek to her hair.

Camera closes on painting and then back to Catherine and Vincent.

We shall lay our hands upon the basilisk,

and see the jewel in the toad’s head.

Champing his gilded oats, the hippogriff will stand

in our stalls, and over our heads will float the blue bird

singing of beautiful and impossible things,

of things that are lovely and that never happen,

of things that are not and that should be.

FADE OUT: