BEAUTY AND THE BEAST

“Orphans”

Aired Episode Transcript – original air date: February 24, 1989

Opening credits

Starring

Linda Hamilton

Ron Perlman

as “Vincent”

Roy Dotrice

Jay Acovone

Ren Woods

“Orphans”

Guest Starring

John McMartin

Frederic Arnold

Douglas Roberts

Kate Williamson

Abraham Alvarez

and

David Greenlee

Director of Photography

Stevan Larner

Production Designer

John Mansbridge

Editor

Michael F. Anderson

Theme by

Lee Holdridge

Music by

Don Davis

Supervising Producer

Stephen Kurzfeld

Producer

George R.R. Martin

Produced by

Kenneth R. Koch

Co-Producers

Alex Gansa, Howard Gordon

Co-Producer

Patricia Livingston

Created by

Ron Koslow

Written by

Alex Gansa & Howard Gordon

Directed by

Victor Lobl

--

HOSPITAL CORRIDOR

CATHERINE walks down a hospital corridor. She appears anxious and bewildered.

REGISTRATION AREA

Close up of RECEPTION NURSE from Catherine’s point of view.

NURSE

How do you spell the last name again?

CATHERINE

(twisting her purse strap nervously)

C-H-A-N-D-L-E-R.  Charles Chandler. 

He was admitted this morning.

NURSE

You’ll have to check with the duty nurse in ICU.

HOSPITAL CORRIDOR

Catherine walking down another hospital corridor.

ICU NURSE, opening the glass doors of the Intensive Care Unit.

ICU NURSE

Your father’s had a stroke.

Catherine reacts to the news.

ICU NURSE (cont'd)

Why don’t you have a seat in the family room?

HOSPITAL - FAMILY ROOM

Fade to several scenes - lighting shows that it's day, then slowly night.

Catherine sitting on the couch, alone, afraid and uncertain.  She still has her coat and gloves on as she waits.

Catherine with her legs folded under her on the couch as she waits and tries to get comfortable.  She removed her coat, and looks lonely and scared. A tray of untouched food is on the coffee table

Catherine lying on the couch with her coat over her like a blanket as she waits.

A DOCTOR talking to Catherine.

DOCTOR

An artery gets clogged and that prevents the blood

from reaching a particular part of the vascular tree, 

in this case, the blood vessels that feed the brain. 

It’s a pseudo-coma - 

loss of all motor function and some sensory function. 

In other words, (he sighs)

he can’t move and he can’t see you.

CATHERINE

(after trying to take this all in)

You mean he’s blind?

DOCTOR

Yes, but we believe that he may still be able

to hear you and understand what you’re saying.

He’s stabilized now, and we’re staying optimistic about some partial recovery.

CATHERINE

How optimistic?

DOCTOR

You should prepare yourself for any possibility.

HOSPITAL ROOM

We see a close-up on the ventilator, then Catherine, as she views her FATHER, Charles Chandler, lying in his hospital bed.  His eyes are open but  unseeing.  The machines are breathing for him.  Catherine moves closer.

CATHERINE

Daddy?

He's unresponsive. Catherine, a shocked look is on her face, leans towards him.

CATHERINE (cont'd)

Daddy, it’s me.

She sits next to her father.  She folds her hands as she watches him.

CATHERINE’S BALCONY - NIGHT

VINCENT and Catherine are together.  They hold each other in a tight embrace.

VINCENT

I’m here.  Always.

Catherine steps back.

CATHERINE

Always.

(smiling sadly, fondly)

Such a father’s word…always.

VINCENT

What is it?  What are you thinking?

CATHERINE

Something he did when I was little. 

He made me laugh, that’s all. 

Whenever I was upset, he’d make me laugh.

(her face softens at her memories)

He’d come to the door and I would be crying on the bed. 

Already a part of me would start to smile. 

I would try not to, but I couldn’t help it,

and he would say in this deep voice,

“Don’t laugh, don’t laugh.”

Vincent chuckles.

CATHERINE (cont'd)

And, he’d come in and I would try not to look,

But I would look anyway,

and there he was with this enormous red clown’s nose.

(she laughs and shakes her head)

  Vincent laughs too.

CATHERINE

I don’t even know where he got it.

VINCENT

It’s a wonderful memory to have.

CATHERINE

(serious again)

I wish we’d stayed that close.

VINCENT

You told me before of the growing distance between you.

CATHERINE

We got in a habit. 

There were things I didn’t want to tell him.

VINCENT

And there were things you couldn’t tell him. 

Catherine, there’s still time.

HOSPITAL ROOM - NIGHT

Charles Chandler is in the hospital bed.  There has been no change in his condition. Catherine is sitting at his father's bedside, holding one of her father’s hands in both of hers, teary-eyed.

CATHERINE

I’m trying to understand your side of all this. 

And, I don’t even know if you can understand me.

But I hope you can.

Because I want you to know that I love you.  And, I’m here for you. 

(wipes tears from her eyes)

Daddy, I want you to know that I’m okay. 

A lot of things have changed for me in the last two years. 

Even if sometimes you didn’t understand those changes,

you always trusted me. 

Remember when you said that what Mom wanted

was for me to have a happy life? 

Well, that’s a complicated thing. 

But I am happy, Daddy, I really am. 

It’s just that there’s been a part of me that I haven’t been able to show you. 

See, I haven’t been alone. 

There’s been someone in my life. 

His name is Vincent.

When I had the accident, it was Vincent who saved my life. 

Those days that I was missing, they weren’t lost or forgotten.

I was with him, healing, and learning things about myself

I might never have known.

Vincent is standing in the corner by the window, hiding in the shadows, with his cloak on and his hood over his head.

CATHERINE (cont'd)

But Vincent was a secret I couldn’t share,

not even with you.

As Catherine tenderly strokes her father’s cheek, Vincent approaches the bedside. He glances at Catherine, then he folds back the hood to his cloak. 

VINCENT

I realize that to you I am a stranger and that was not your choice. 

But what Catherine and I share has taken great courage

…especially for Catherine. 

She sacrificed much in order to live a life of generosity and of love.

CATHERINE

Daddy, I’ve gotten so much back! I had to change. 

I had to find my own strengths and Vincent has helped me to do that.

Vincent leans in and sits next to the bed.

VINCENT

Please know this: 

that I will protect Catherine, watch over her

and love her ’til my last breath.

Catherine kisses her father’s hand.  She smiles. On the last shot of Charles Chandler's face, who's never changed nor visibly acknowledged anything of what happened, Catherine's voice-over starts.

EXT. CHURCH  - DAY

INT. CHURCH FULL OF PEOPLE, FLOWERS NEAR THE ALTAR

Catherine is at the podium speaking to the crowd assembled for her father’s funeral.

CATHERINE

My Father made strong friends,

and it means a lot to me that so many of you could come today. 

I thought for a long time about what I could say up here. 

But everything I thought of seemed small and insubstantial

next to the man that my father was. 

So what I’d like to do is to read to you

a part of a story that I know he loved. 

(she unfolds some papers)

It’s a story about two toys. 

A new toy - a rabbit, and an old, worn-out toy - a skin horse.

(she pauses and takes a breath)

“What is real?” asked the rabbit one day when they were lying side by side. 

“Does it mean having things that buzz inside you and a stick-out handle?”

“Real isn’t how you are made,” said the skin horse. 

“It’s a thing that happens to you when a child loves you for a long, long time. 

Not just to play with, but really loves. 

Then you become real.”

FADE TO:

Catherine greeting people in a receiving line after the funeral as Catherine’s voice-over continues the story.

CATHERINE (V.O.)

“Does it hurt?” asked the rabbit.

“Sometimes,” said the skin horse, for he was always truthful. 

“When you are real, you don’t mind being hurt.”

“Does it happen all at once, like being wound up?”

the rabbit asked, “or bit by bit?”

CUT TO:

GRAVEYARD - DAY

Close up of Catherine as the funeral continues at the gravesite.

CATHERINE (V.O. - cont'd)

“It doesn’t happen all at once,” said the skin horse.

“You become. It takes a long time.

That’s why it doesn’t often happen to people who break easily

or have sharp edges or have to be carefully kept.”

FADE TO:

CATHERINE’S BALCONY - NIGHT

Catherine looks out at the city lights.

CATHERINE (V.O. - cont'd)

“Generally, by the time you are real,

most of your hair has been loved off

and your eyes drop out, and you get loose in the joints and very shabby. 

But these things don’t matter at all,

because once you are real you can’t be ugly,

except to people who don’t understand. 

Once you are real, you can’t become unreal again. 

It lasts for always.”

PANORAMIC VIEW OF MANHATTAN – DAY

EXT. CHARLES CHANDLER’S OFFICE BUILDING - DAY

INT. CHANDLER AND COOLIDGE LAW OFFICES  - DAY

Catherine sits at a table with JAY COOLIDGE; Jay’s son MARK stands behind his father.  She is examining papers.

JAY

Your father and I drafted this after you left the firm. 

He wanted…uh…well, we both wanted to protect your option to return.

CATHERINE

It’s not a decision I’m prepared to make right now.

JAY

Of course.

MARK

Whatever you decide, though, doesn’t affect your entitlement.

Basically, you’re due continuing and uncollected fees,

 but only on those cases in which Charles was actively involved.

JAY

Rather than a prolonged payment schedule,

Mark and I discussed the possibility

of offering you a lump sum settlement.

MARK

The fact is, your father’s participation has been...

pretty limited over the past few years.

JAY

Mark!

MARK

I’m just being honest, Dad.

JAY

We’ve come up with a range of figures

which I think are quite substantial. 

But it’s certainly open to discussion.

CATHERINE

That’s fine, Jay. 

(shakes her head)

Right now I’m not feeling very open to discussion.

She closes the folder to signal the end to the conversation.  Jay and Mark leave the room as Catherine seems to be thinking about all they said. 

INSIDE CHARLES CHANDLER'S OFFICE

Catherine is cleaning out her father’s office. She is holding a framed picture of her mother, which she then slowly wraps in paper and prepares to add to a box. There is a knock on the door.  The door opens and in walks MARILYN, Charles Chandler's long-time assistant.

CATHERINE

Marilyn!

Marilyn opens her arms and Catherine rushes into them and they share a moment of comfort. Catherine kisses Marilyn’s neck. They pull back and Marilyn holds Catherine by the shoulders.

MARILYN

How are you?

CATHERINE

I’m all right.

(at Marilyn’s disbelieving look)

Really. 

How about you?

MARILYN

I’m not sure yet.  It’s hard to imagine this place without him.

CATHERINE

I know. 

(she takes Marilyn’s hands)

Mark doesn’t seem to have the same problem.

MARILYN

Mark is a very young man.  He has his own ideas.

CATHERINE

He said that Daddy hadn’t been very active in the practice lately.

MARILYN

That’s nonsense!

CATHERINE

Marilyn, come on, you can be honest with me.

MARILYN

Cathy, even when you were here,

your father was letting go of some of the responsibility.

CATHERINE

So that I could take over.

MARILYN

I suppose.

CATHERINE

(lips trembling, holding back tears)

And, when I left…

MARILYN

When you left, I think your father’s priorities changed. 

But he respected your decision Cathy. 

I think your honesty helped him realize that corporate law wasn’t everything. 

God knows, I’d been trying to do that for twenty-five years. 

He lived.  He took time for the things that he loved -   

travel, the theater, old friends, you.  You really were his world.

Catherine begins to cry softly.

EXT. BUSY NEW YORK STREET - DAY

Catherine is in the back of a cab.  There is a lot of slow-moving traffic around her. She looks at a cab next to her and sees her father sitting in the back seat.  She can’t believe her eyes.  As the car moves forward, she sees that she is mistaken…it is another man.

INT. CATHERINE’S APARTMENT 

Someone is knocking on the door.  Catherine opens the door. It's Joe.

JOE

Cathy.

CATHERINE

Joe!

JOE

Hi! I took an early lunch. 

Thought I’d stop by and see how you were doing.

CATHERINE

Oh. Come in. 

(as Joe walks in and begins looking around)

You want something to drink?

JOE

No, no thanks, I’m fine.

CATHERINE

At least sit down.

JOE

Yeah, okay.  For a minute. 

(they sit on the couches)

So, how are you doing?

CATHERINE

Better.

JOE

Escobar tells me you’re coming back to work tomorrow.

CATHERINE

I think the work will be good for me. 

(at his disbelieving look)

What else am I supposed to do?

JOE

(getting off his couch and kneeling next to her on hers)

Look, Cathy, I’m no psychiatrist,

but experience teaches us things that books just can’t. 

When my Father died…it... it goes a lot deeper then you think. 

It takes a long time to get your head straight,

a lot longer than three days.

CATHERINE

I don’t know. 

(sighs)

I don’t know what I want to do.  I just don’t know.

EXT. CRIMINAL COURTS BUILDING - DAY

INT. HALLWAY

Catherine is approaching her office from the hallway.  She opens the door, sees all the activity and the hustle and bustle of the workplace.  It’s all too overwhelming.  She turns away.

EXT. CITY SIDEWALK - DAY

Catherine walks along a busy New York sidewalk.  She appears lost, bewildered and sad.

EXT. CENTRAL PARK – NIGHT

Catherine walks through Central Park at night.

EXT. CENTRAL PARK – DAY

Catherine runs to the drainage tunnel.

INT. TUNNEL

Catherine enters the tunnel and runs straight into Vincent’s arms, who's there waiting for her.  They hold each other close for some time.  She backs away from Vincent and begins pacing as she talks.

CATHERINE

I had nowhere to go.

VINCENT

You’re here now.

CATHERINE

I’ve been walking everywhere like

I’m looking for something. I don’t know.

VINCENT

Catherine, what you’re looking for is inside you.

CATHERINE

I’m losing myself. 

(looking back down the tunnel toward the park)

I can’t go back there.

VINCENT

Catherine…

CATHERINE

There’s nothing for me there. 

I tried.  That life isn’t mine anymore.

VINCENT

Give yourself the time to mourn.

CATHERINE

(imploring)

Vincent, I need to be with you. 

I need you.  I need you!

Vincent draws Catherine to him, burying her face in his chest and holding her tightly. Then he puts his arm around her and begins to lead her to the inner tunnels.

VINCENT

Come.

He closes the gate and the secret door behind them.

TUNNELS - A GUEST CHAMBER FILLED WITH LOTS OF LIT CANDLES

Catherine is sitting on the bed.  Vincent stands before her.

VINCENT

So sudden the loss. 

You had no time to prepare.

CATHERINE

The pain goes through me and then subsides.

VINCENT

I can feel it in you.

CATHERINE

I know you can.

VINCENT

It’s late.  You should sleep.

CATHERINE

I am tired.

VINCENT

(taking a step towards Catherine)

You sure you’ll be all right?

CATHERINE

I’m sure.

A moment of strong emotion between the two of them, tentative and charged.  Vincent eventually turns to go.

CATHERINE

Vincent!

He turns back.  Another moment full of undercurrents of emotion. They stare longingly at each other, then finally Catherine looks away.

CATHERINE

Good night.

VINCENT

Good night.

Vincent leaves the chamber.  Catherine gazes after him.

TUNNELS - VINCENT’S CHAMBER

Vincent is writing in his journal at his table.  Father walks in.

FATHER

How’s Catherine?

VINCENT

Sleeping.

FATHER

Vincent, I know how difficult this is for you.

VINCENT

To have her so close.

FATHER

Yes. 

(he sits at the table)

How long will she be staying?

VINCENT

As long as she needs.

FATHER

I see.

VINCENT

Catherine knows how much her presence here affects me.

FATHER

Does she?  What have you told her?

VINCENT

Nothing.

FATHER

Perhaps you should.

VINCENT

What should I tell her that won’t frighten her? 

She’s already in enough pain.

FATHER

Before there was the safety of distance between you. 

But now…

VINCENT

She comes here in grief. 

Whatever she needs, whatever sacrifice I must make,

 I will make to be there for Catherine.

FATHER

Vincent, I’m afraid for you.  Afraid for both of you.

VINCENT

Father…

FATHER

I fear that, whether Catherine stays or leaves,

it’s going to cause you both deep sorrow.

Father and Vincent clasp hands.

TUNNELS - GUEST CHAMBER

The morning after. Catherine turns over in bed and awakens. She smiles as she realizes where she is.  She's wearing tunnel night clothing, and from this moment she'll be seen wearing tunnel garments.

She notices a tea service set up at her bedside.

Young GEOFFREY enters the chamber, with a kettle of steaming water.

GEOFFREY

Good morning.

CATHERINE

Good morning, Geoffrey.

GEOFFREY

Vincent wanted me to ask you if you needed anything. 

Do you need anything?

CATHERINE

Maybe some hot water?

She takes the top off the teapot as Geoffrey pours.

CATHERINE

Where is Vincent?

GEOFFREY

He’s down in the lower tunnels working on the new chambers. 

He said if you need him that I would go get him.

CATHERINE

No, no.  I’m fine.

(at Geoffrey’s hesitation)

What is it?

GEOFFREY

I’m sorry about your father.

CATHERINE

Me too.

GEOFFREY

Do you miss him?

CATHERINE

Very much.

GEOFFREY

I never knew my parents, but I miss ‘em anyway. 

Do you still have a mother?

CATHERINE

She died when I was ten.  When I was your age.

GEOFFREY

I guess that makes you an orphan too.

CATHERINE

I guess so.

GEOFFREY

It’s okay.

They smile at each other.

TUNNELS - CHAMBER OF THE FALLS

Catherine and Vincent are sitting on an outcropping, talking.

CATHERINE

I spent the entire morning by myself and somehow I didn’t feel alone.

VINCENT

You’re not alone, here.

CATHERINE

It’s strange.

VINCENT

What?

CATHERINE

Being here makes me realize what I’ve been missing all along. 

The chance to be with you. 

I wasn’t sure if this time would ever come, if I would ever be so certain. 

But you know it’s always been a dream.

VINCENT

(looking down)

For both of us.

CATHERINE

I want to stay.

VINCENT

(sighs, shaking his head)

Catherine…

CATHERINE

You know me, Vincent.  You know what I’m feeling. 

I want to live in your world.  I don’t want to go back.

VINCENT

I don’t want you to go back.

EXT.  – CRIMINAL COURTS BUILDING - DAY

INT. – JOE’S OFFICE

Joe picks up the phone and dials.  The phone rings and rings, with no answer.

INT. – CATHERINE’S APARTMENT 

The superintendent opens the locks.  Joe comes in with two police officers. 

JOE

Cathy?

Joe searches the apartment.

JOE

She’s not here.

They leave.

NEW YORK CITY SKYLINE – DUSK FADING TO NIGHT

TUNNELS - VINCENT’S CHAMBER

Vincent is writing in his journal.  As he writes, his voice is heard in a voice-over reading what he is writing.

VINCENT (V.O.)

Our world sleeps and she is near. 

Strange and wonderful and sad, this feeling rising in me like a tide. 

To have all I ever dreamed of so close and yet to know that…

(sighs)

All I know is that she is here and that I must live for her,

surround her easily, guide her out of suffering. 

While she is here, I must live moment by moment for her.

TUNNELS - GUEST CHAMBER

Catherine is sitting up in bed with her legs drawn to her chest.  She is sobbing uncontrollably.  Vincent enters.  He goes to her, sits on the bed and puts his arm around her, drawing her close.  She buries her face in his chest. He wraps her in his arms.

VINCENT

Just cry.

LATER

The storm of tears has passed, and Catherine is sleeping in Vincent’s arms.  He is semi-reclining and awake.  In her sleep, Catherine turns away on her side, her back to him.  He leans over and extricates his arm from under her head.  He brushes the hair out of her eyes tenderly.  He stands up and looks down at her sleeping form for a long beat. Then slowly leaves the chamber.

FADE TO:

Catherine who stirs, wakes up, turns to look for Vincent.

CATHERINE

Vincent?

He's not there. She sits up and...

CHARLES

(in a funny voice)

Don’t laugh!  Don’t laugh, don’t laugh.

She notices her father, sitting on an armchair in front of her bed and wearing a red clown’s nose.

CATHERINE

(stunned)

Dad?

CHARLES

(pulls the nose off)

Never worked much after you were 13 anyway.

CATHERINE

(smiling sadly, tears in her eyes)

I have missed you so much.

CHARLES

I’ve missed you too.

CATHERINE

(through her tears)

These last few days I’ve felt your presence so strongly.

CHARLES

I’ve been near.  That’s what grief is.  Soon, I’ll move farther away.

CATHERINE

No...

CHARLES

Don’t worry.  It’s all right.  It’s necessary. 

And I understand so much more about you now. 

What you have is a rare thing.

CATHERINE

With Vincent?

CHARLES

Yes.

CATHERINE

I wish I could have told you sooner.

CHARLES

(jovially)

You had to wait until I was old enough!

CATHERINE

Did you understand?

CHARLES

I understood everything he said

and I understood everything you said.

CATHERINE

I just wanted you to know how much I love him. 

And how much I love you.

CHARLES

Your love made it easier for me to let go.

CATHERINE

Do you think I’m doing the right thing?

CHARLES

Do you remember after we lost your mother? 

You always wanted to go into the park.

CATHERINE

(nodding)

I wanted to climb trees.

CHARLES

Almost every Saturday, and I used to watch you. 

And sometimes you would be very bold and you would

climb very high and then you would look down on me.

CATHERINE

You were always smiling.

CHARLES

But I’ll tell you a secret. 

Inside, my heart was pounding so much.

I wanted to cry out two words but I did not: 

Don’t fall! 

Catherine laughs.

CHARLES (cont'd)

I was so worried about you and so proud of you at the same time. 

You wanted to climb trees and somehow I knew I had to let you. 

I had to trust you, and never once did you go out so far

that the branches would break, or stay up too long in the cold. 

Then, when you were ready, you always came back down.

(he looks at his watch)

And I’ve stayed too long.

CATHERINE

Dad, please!

CHARLES

I can’t.  Goodbye, Cathy.

He exits the chamber.

CATHERINE

(crying)

Dad?  Dad?

She cries and lies back down. 

FADE TO:

Again we see Catherine stirring, waking up, turning around. The armchair is empty. She swings her legs over the side of the bed, puts on her boots and exits the chamber.

INT. TUNNELS

She walks in the tunnels. 

INT. CENTRAL PARK DRAINAGE DUCT

She emerges from the iron door and opens the gate.  She ventures out of the drainage tunnel. 

OUTSIDE DRAINAGE DUCT - DAY

She steps into the light and stands there, listening, observing the world around her. Then she turns to go back in the tunnel.

CHAMBER OF THE FALLS - DAY

Catherine and Vincent sit facing each other, obviously having been engaged in deep conversation.

CATHERINE

But it wasn’t like a dream. 

He was there, talking to me.

VINCENT

Giving you his blessing.

CATHERINE

Yes!  He… he understood about our secret. 

He understood… everything. 

 I could feel his trust.  Whatever I do now, it’s okay.

VINCENT

You found peace with him.

CATHERINE

Yes.

VINCENT

But not yet with yourself.

CATHERINE

I’m…I’m not sure.

VINCENT

Don’t ever be afraid of the truth.

CATHERINE

I don’t want to hurt you.  I don’t ever want to disappoint you.

VINCENT

By returning Above?

CATHERINE

I feel like I’ve failed.

VINCENT

(sighs)

Catherine... every moment that we share is a triumph and a gift. 

And every one of those moments is a lifetime.  Complete. 

There is no failure. 

It doesn’t mean our dream can never be. 

It just means that now is not the right time. 

You came here to grieve and to begin to heal. 

But, now your destiny is to be in both worlds. 

You are a woman of both worlds.  That is who you are.

CATHERINE

But my heart is here.

VINCENT

And my heart is with you. 

Wherever you are, wherever you go, you take me. 

You stand for me.  For us.  For our dream. 

You carry our light.  That, too, is your destiny.

CATHERINE

Do you think that someday….

Will we ever be together?  Truly together?

VINCENT

(looking away)

Only if and when we understand how great the sacrifice

and how large the fears, and are able to move through them.

CATHERINE

(touches Vincent's chin to turns him to look at her)

I’m not scared.

VINCENT

(takes her hand from his chin and holds it)

Catherine, we are something that has never been,

and our journey is one that none have ever taken. 

We are just now setting out. 

We must go with courage and we must go with care.

INT. - CATHERINE'S SUB BASEMENT

Catherine and Vincent are slowly walking toward the threshold to Catherine’s apartment building. She's wearing again her Topside clothing. As they come to the brick treshold, she turns to face Vincent.

CATHERINE

I’m… I’m a little scared.

VINCENT

I know.

CATHERINE

Isn’t that strange?

VINCENT

No.

Catherine and Vincent embrace.  She smiles at him and turns to go back to her world.  As she's about to disappear into the dustly blue light, she stops. She turns back, looks  at Vincent, and walks back toward him.

She steps right up to Vincent and tenderley kisses him on the lips.  Vincent accepts the kiss, and as they part, we see that his face is a mask of wonder...

CATHERINE

Thank you, Vincent.

She turns and walks away again as Vincent stares after her.

EXT. CRIMINAL COURTS BUILDING - DAY

INT. JOE'S OFFICE

Joe is looking through papers.  Catherine enters.

CATHERINE

Hi, Joe.

JOE

(overjoyed at first, then accusatory)

Cathy! 

Where were you?  I mean, where the hell have you been?

CATHERINE

Thanks for worrying. 

Joe sighs, not angry now, but relieved.

CATHERINE (cont'd)

I’m ready to come back to work.

JOE

You sure?

CATHERINE

I’m sure.

JOE

(smiling)

Okay.

She smiles back.

CENTRAL PARK - DAY

Catherine walks through the park as Vincent is heard in voice-over, repeating the words he said to her at the falls.

VINCENT (V.O.)

Wherever you are, wherever you go, you take me. 

You stand for me… For us. 

For our dream.  You carry our light.

Catherine is smiling.  She stops at a huge tree and looks up at it.  She begins to climb the tree.  Up she goes until she finds just the right branch to sit on.  As she sits there she is filled with happiness and joy and she begins to laugh.

CATHERINE

(smiling)

Don’t worry, Daddy.  I won’t fall.  I won’t fall.

The camera pulls back from her as she is sitting in the tree.

Closing credits

Executive Producers

Paul Junger Witt,

Tony Thomas,

Ron Koslow

Associate Producer

Anthony Mazzei

Coordinating Producer

David F. Schwartz

Co-starring:

Phillip Waller – Geoffrey

Carolyn Finney – Rita

Rosie Lee Hooks – Nurse

Heather James – Nurse

Unit Production Manager

Tony Brown

1st Assistant Director

Robert Yannetti

2nd Assistant Director

Richard Feld

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 Make-up

Margaret Beserra

Make-up Artist

Fred Blau, Jr.

Hair Stylist

Josephine McCarthy

Costumers

Mary Taylor, Ron Hodge

Sound Mixers

Pat Mitchell, Rick Ash

Sound Editing

David Hankins

Music Editor

Lori Slomka

Main Titles

Robert Farina, Chris Arnold

Costume Designer

Judy Evans

Casting

Joyce Robinson , Penny Ellers

Beast designed and created by

Rick Baker

Matte Paiting & Special Visual
Effects by ILLUSION ARTS

Excerpt from “The Velveteen Rabbit” by Margery Williams

Lenses & Panaflex ® Camera by

Panavision ®

The persons and events in this program are fictitious.

Any similarity to actual persons or events is

unintentional.

COPYRIGHT © MCMLXXXIX

BY REPUBLIC PICTURES CORPORATION

ALL RIGHTS RESERVED

This program is protected under the laws of the

United states and other countries. Unauthorized

Duplication, distribution or exhibition may result

In civil liabilities and criminal prosecution.

In association with

Ron Koslow Films

A Witt Thomas

Production

Republic

Pictures

CBS Paramount

Television