BEAUTY AND THE BEAST

 

 

"A Distant Shore"

by

Marie Therese Squerciati

 

First aired: April 14, 1989

 

 

 

 

 

ACT ONE

 

 

Fade In:

 

EXTERIOR: NEW YORKíS SKYLINE Ė NIGHT

 

A drummer gives the rhythm Ďone, two, threeí with his drum sticks and music begins as the camera pans over the city.

 

 

INTERIOR: RECORDING STUDIO

 

The drummer and other musicians perform a rock composition. Pan to the console room where people are watching them. A man gives the sound engineers directions concerning the handling of the console for a better sound result.

 

CUT TO:

 

A receptionist reading a ĎRolling Stoneí magazine.

 

CATHERINE

(voice over)

Excuse me? Iím looking for studio five.

 

No answer.

 

CUT TO:

 

Catherine leaning on the counter by the receptionist.

 

CATHERINE

Excuse me? Adam Gold?

 

RECEPTIONIST

(startled)

Back there, left, right, then another left at the water cooler.

 

CATHERINE

Thank you.

 

CUT TO:

 

Catherine walking through some hallways, passing people talking. She sees a man who seems willing enough to help and decides to ask.

 

CATHERINE

Excuse me? Iím looking for studio five.

 

MAN

Hey, lifeís a journey! Iím looking for the

menís room!

 

Catherine stares open-mouthed and speechless at the manís rude answer. Another man is coming toward her with a smile on his face:

 

MAN

Excuse me, miss. The door is right behind you.

 

CATHERINE

Thanks.

 

She turns and opens the door. Enters.

 

INTERIOR: CONSOLE ROOM

 

Catherine enters the recording booth, looking around. Nobody pays attention to her. Music still plays.

 

MEL RAY

My father used to say: the first rule in this

business. Donít ever ask a German sausage

maker to make you French pastry. It wonít

work. It comes out flat every time.

 

The guitarist finishes his part and takes off his earphones.

 

SOUND ENGINEER

Howís that Danny?

 

DANNY

Can I have less drums in the cans?

 

MEL RAY

Artie. What are we talking about here?

This guitarist has no ear anyway.

Turning it down can help it a whole lot.

 

Catherine approaches a young woman.

 

CATHERINE

Could you tell me which one is

Adam Gold?

 

WOMAN IN BOOTH

Not here.

 

Mel Ray lifts from his chair, hands his coffee to Artie and heads to Catherine.

 

MEL RAY

Can I help you? Iím Mel Ray.

 

CATHERINE

Thatís ok; Iíll wait.

 

MEL RAY

I hate to tell you this, but you are wasting

your time. He didnít show for the session.

Maybe, I can help you?

 

CATHERINE

No. Itís personal.

 

WOMAN IN BOOTH

YeahÖSo personal she doesnít even

know what he looks like.

 

CATHERINE

Iíll come back some other time.

 

MEL RAY

Well, Iíll tell him you were here.

IÖI donít know your nameÖ

 

CATHERINE

Thatís ok. Iíll catch up with him

myself. Thank you.

 

 

EXTERIOR: D.A.íS BUILDING - DAY

 

INTERIOR - CATHERINEíS OFFICE

 

Joe leaves his office and moves to Catherineís. He holds photos in his hands.

 

JOE

You were looking for Adam Gold?

 

CATHERINE

Yeah.

 

JOE

Our star witness O.D.ed last night.

 

CATHERINE

Oh, God, no!

 

JOE

Yeah. They found an inventory of counterfeit

tapes and drugs in his apartment. Interesting

thing is the coroner says he didnít appear to

be a drug user.

 

CATHERINE

He was ready to go public on the counterfeit

operation. Someone killed him and planted

the evidence to make us drop the case.

 

JOE

Something like that.

 

Rita Escobar walks towards them, waving a sheaf of printouts in the air.

 

RITA

Iíve got Adam Goldís phone records. Last night

there were six one minute phone calls to a

woman in Los Angeles. Must have been just

before he died. I got the name and address.

I checked. Itís an answering machine.

 

CATHERINE

Thanks, Rita.

 

JOE

Tape piracy is one thing. We might

be talking about murder.

 

CATHERINE

We should get hold to this woman.

 

JOE

Maybe you should go out there, Radcliffe.

 

CATHERINE

To L.A.?

 

JOE

Itís our only lead. Why should we give her

a chance to disappear on us?

 

CATHERINE

You want me to go?

 

JOE

If he tried to call her six times before

he died, he must have wanted to talk

to her real bad.

 

CATHERINE

All right.

 

JOE

Weíve got four months of misery invested

in this case. That Phoenix album is all over

the place. A recording engineer is dead,

and I am not ready to write this off.

 

CATHERINE

Last time I was in L.A. I was eight.

I got sick on cotton candy at Disneyland.

Vomited in Sleeping Beautyís castle.

Joe chuckles as Catherine laughs lightly.

 

EXTERIOR:CATHERINEíS BUILDING - DAY

 

INTERIOR: CATHERINEíS BEDROOM

 

Catherine packs for L.A. Rita writes down instructions to be followed during her absence.

 

CATHERINE

Lab reports from the Beckler case are

due Tuesday. Make sure Joe gets them.

 

RITA

Ok.

 

CATHERINE

AndÖMcPherson will probably move

for dismissal this week. Maybe you should

interview all the witnesses from the drug store.

 

RITA

Donít we already have statements?

 

CATHERINE

Right. I donít know how much more youíll

learn, but it will keep Joe happy. You

want to keep Joe happy!

 

RITA

Iím learning!

 

CATHERINE

Makes life easier!

 

Catherine grabs a plastic covered white pantsuit on a hanger from a chair. Rita notices it.

 

RITA

Itís pretty. Did you check the weather there?

 

CATHERINE

YeahÖ In the seventies.

 

RITA

Great! Rent a convertible.

 

Catherine smiles at Rita, trying not to show her reluctance about her leaving. But it doesnít work.

 

RITA

Youíre not excited.

 

CATHERINE

No. Not really . . .

 

RITA

How come?

 

CATHERINE

I donít know. I donít like leaving.

I love this city; I love being home.

 

RITA

Is there someone you donít wanna leave?

 

CATHERINE

(embarrassed)

YeahÖ

 

RITA

Who is he? Tell me about him.

Hey, why donít you take him with you?

 

CATHERINE

He has a tough time getting away.

(laughs)

Anyway, Iíve got a lot to do.

 

RITA

Ok. Good luck!

(hugs)

 

CATHERINE

Thanks.

 

RITA

And if you run into Mel Gibson, tell

him that I am willing to relocate.

 

Catherine laughs with her heart.

 

EXTERIOR: CITY SKYLINE - NIGHT

 

VINCENT

(voice over)

Three thousand miles.

 

CUT TO:

 

EXTERIOR: CATHERINEíS BALCONY - NIGHT

 

VINCENT

Thatís a great distance to be apart

from someone.

 

CATHERINE

Someone close.

 

VINCENT

How long will you be away?

 

CATHERINE

A week maybe. Is there something

youíd like me to bring you from

California?

 

Vincent nods and Catherine smiles.

 

CATHERINE

What?

 

VINCENT

Yourself. Safely home.

 

CATHERINE

Iím only going to interview someone.

It wonít be dangerous.

 

VINCENT

If something should happen to you . . .

 

CATHERINE

Iíll be all right. Youíll be with me.

 

VINCENT

Tomorrow youíll be standing on another

shore . . . looking out on another ocean.

 

CATHERINE

Iíll be seeing it for both of us.

 

VINCENT

Iíll miss you, Catherine.

 

CATHERINE

I already miss you.

 

She hugs him and buries her face in his shoulder.

 

FADE OUT:

 

 

 

 

END OF ACT ONE

 

 

 

 

 

 

ACT TWO

 

 

 

 

FADE TO:

 

Plane landing at LAX.

 

INTERIOR: CATHERINEíS HOTEL ROOM

 

Catherine calls but she listens to the answering machine again.

 

VOICE

Hi! Itís Gina. Iím not in right now

but donít take it personally! Leave

a message and Iíll call you right back!

Trust me!

(beep)

 

Catherine leaves her message.

 

CATHERINE

Yeah, Gina, this is Catherine Chandler

again. I do need to talk to you; so if

youíll call me back, Iím at 555-1689.

Room 312. Thank you.

 

Catherine lies back on her bed. She is tired and lonely.

 

INTERIOR: VINCENTíS CHAMBER

 

Vincent is sad and sceptical. He misses her a lot.

 

EXTERIOR: STREETS OF LOS ANGELES - DAY

 

Catherine parks her car and gets out of it.

 

CUT TO:

 

Catherine opening the door and entering the ad agencyís office. She looks around for someoneís presence.

 

CATHERINE

Hello?

 

VOICE

(from behind bar room doors)

Yeah?

 

 

CATHERINE

Hi . . . I . . . is this Gina Barrettís office?

 

VOICE

Sometimes. Who wants her?

 

CATHERINE

Iíd like to talk to her if I could . . .

 

VOICE

You got pictures, a rťsumť and a demo tape?

We donít see anyone without it.

(The woman sticks her head out from behind the door.)

Weíll call you.

 

She ducks back behind the doors not giving Catherine time to explain, but before she can say anything the woman is out again, checking her from head to toes.

 

GINA

Are you a singer? Or with a group?

 

CATHERINE

Oh no, Iím Catherine Chandler. Iíve been

trying to reach Miss Barrett since yesterday.

 

GINA

Oh, yeah. She didnít get back to you?

 

CATHERINE

No, and I do need to see her.

 

GINA

Oh, thatís bad luck. Gina just left. She went

on location. One of her clients is shooting a video.

 

CATHERINE

Could you tell me where that is?

 

GINA

Closed set . . .

 

The phone rings. Catherine turns her head disappointed.

 

WOMAN

Yeah? No, the setís up at ten. Well, who says

you canít park there? Pay the guy at the Oceanic

to let you park overnight and make sure one

of the P.A.s sleeps in the truck, I donít want

any equipment missing in the morning.

(hangs up)

 

CATHERINE

When will she be back?

GINA

A few days. Itís hard to say.

 

CATHERINE

Well, Iím only going be in L.A. till Sunday.

If you could have her call me at this number

or in New York, Iíd appreciate it.

 

WOMAN

(Looking at her card)

Hmm. Maybe. Some name for a rock group.

The Assistant District Attorneys . . . ha!

 

Catherine leaves the agency, realising that she is wasting her time with Gina Barrettís employee. But when the door is closed the woman seems troubled.

 

EXTERIOR: NEWSPAPER STAND IN L.A. Ė NIGHT

 

A punk and some strangely dressed people are flipping through magazines. Catherine buys a paper and gets into her car for a night drive in the streets of L.A. The wind messes her hair and she is lost in thoughts.

 

FADE TO:

 

INTERIOR: FATHERíS CHAMBER

 

Father enters the hall.

 

FATHER

Vincent, how about a game of chess?

 

VINCENT

Not tonight.

 

FATHER

(playfully)

Ah, I see . . . The prospect of beating

me doesnít exciter you?

 

VINCENT

Well, I must admit that thrill has

begun to wear thin.

 

FATHER

Are you suggesting there is no contest anymore?

You might be surprised, you know!

 

VINCENT

Iíve never wanted to deny the possibility of miracles!

 

FATHER

Miracles? That bad is it? Now I was just about

to say how pleasant it was spending an evening

with you!

 

Father begins to descend the stairs, comes near Vincent and touches his hand.

 

FATHER

You miss her . . .

 

VINCENT

I miss feeling her near, knowing where to

find her.

 

FATHER

How fortunate you are, Vincent . . . To know

that feeling.

 

VINCENT

Yes.

 

FATHER

Except, until she returns, you simply

have to put up with me.

 

Vincent smiles.

 

VINCENT

One of my fondest memories when I

began to read . . . truly read

 

FATHER

Voraciously I remember.

 

VINCENT

Every night after dinner we should read to

each other something weíd found that day,

a poem, a passage, something that struck

us in a deep place.

 

FATHER

Yes, I know.

 

VINCENT

And weíd talk, sometimes into the night

about what all the words meant, about everything.

 

FATHER

Those were wonderful talks. I remember.

 

VINCENT

No child ever had a better education.

 

FATHER

And I promise you, Vincent, no father ever learned

more from any child. Whatís that you got there?

Anything that resonates? Why donít you read

something to me? Come on.

 

VINCENT

ĎI have been one acquainted with the night.
I have walked out in rain and back in rain.
I have out walked the furthest city light.
I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet,í

 

CUT TO:

 

EXTERIOR: NIGHT

 

Vincent exits the culvert and walks the streets of New York and then returns to stand in front of the culvert opening while:

 

VINCENT

(voice over)
ĎWhen far away an interrupted cry
Came over houses from another street,
But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky
Proclaimed the time was neither wrong nor rightí

 

INTERIOR: FATHERíS CHAMBER

 

Vincent looks up at Father as he finishes the poem.

 

VINCENT

I have been one acquainted with the night.í

(voice over)

Be well, Catherine.

 

 

 

 

 

EXTERIOR: VIEW OF A BEACH - SUNSET

 

VINCENT

(voice over)

Be safe.

 

Catherine walks by the beach to watch the sun set.

 

FADE TO SUNSET

 

Catherineís hand reaches down to pick up a nautilus shell and examines it. She is sitting in a beach chair with a pen and a notepad. She puts the shell down and begins to write.

 

FADE TO:

 

EXTERIOR: CULVERT - NIGHT

 

Vincent waiting for her outside in the rain.

 

 

END OF ACT TWO

 

 

 

 

 

 

ACT THREE

 

 

FADE TO:

 

INTERIOR Ė A TUNNEL PASSAGE

 

Vincent returns from his walk, enters the library and then he meets Father.

 

VINCENT

Father.

 

FATHER

Itís late.

 

VINCENT

I couldnít sleep.

 

FATHER

Neither could I.

 

Vincent touches his wet hair.

 

VINCENT

Park is beautiful when itís wet.

 

They start walking.

 

VINCENT

I . . . uh . . . found myself on

Catherineís balcony.

 

FATHER

There can be a little comfort in that

when itís empty.

 

VINCENT

I wanted to sense of her.

 

FATHER

What did you find?

 

VINCENT

Only her absence.

 

FATHER

What about your . . . connection

to her, your . . .bond?

 

VINCENT

I feel it . . . at a distance.

Sheís . . . so far away.

 

FATHER

But you can feel it.

 

VINCENT

Oh, yes.

 

FATHER

Then trust in that, Vincent.

(sighs and shakes his head)

Itís remarkable thing . . . to feel the beat

of a womanís heart . . . on a distant shore.

 

EXTERIOR: BEACH Ė DAY

 

People are transferring movie equipment and parts of a set when Catherine arrives with her car.

 

CATHERINE

Excuse me. Iím looking for Gina Barrett.

 

YOUNG MAN

Straight over there . . .

(he points in Ginaís direction)

in the red jacket. You canít miss her.

 

CATHERINE

Ok, thank you.

 

Catherine takes off her shoes and wades through the sand to where Gina is standing.

 

GINA

I ordered smoke machines. Where are they?

 

P.A.

Itís too windy . . .

 

GINA

Look, no, I donít care about the wind, I want smoke.

 

CATHERINE

Gina Barrett?

 

GINA

(holds up a hand to stop Catherine)

Yeah, hold on.

(turns back to the P.A.)

I want those smoke machines.

 

Gina turns to Catherine.

 

GINA

All right, all right you got me.

What do you want from me?

 

CATHERINE

Obviously, you are very busy but . . .

 

GINA

I donít want to talk to any D.A.

 

CATHERINE

Weíre investigating a tape bootlegging case.

 

GINA

Isnít that FBI?

 

CATHERINE

The Phoenix Concert Album was recorded

live. It falls under state jurisdiction.

 

GINA

Look, I really canít help you at all.

I left New York way before Phoenix

recorded that album.

 

CATHERINE

Itís Highlife Records I want to talk

about. You used to work there.

 

GINA

Years ago, I had a damn job. Listen,

you have really got the wrong girl.

I walked away from all of that.

 

CATHERINE

What is that suppose to mean?

 

GINA

It means youíre not gonna hear

anything from me.

 

CATHERINE

Could you tell me about Adam Gold?

 

GINA

If you wanna know about Adam, talk to Adam.

 

Catherine grabs Ginaís arm and turns her to face her.

 

CATHERINE

Gina, Adamís dead.

 

GINA

Youíre crazy. No . . . I just got a

message on my machine.

 

CATHERINE

Thatís how I found you . . . through

his phone records.

 

GINA

How?

 

CATHERINE

An overdose. Ah . . . An accident, maybe.

 

GINA

Maybe nothing. Adam didnít do drugs.

Youíre working on a murder case.

 

CATHERINE

That was my hunch . . . Iím sorry you

have to find out this way . . . Iím sorry

youíve lost your friend.

 

GINA

I gotta get out of here. I canít handle this.

 

A crew member passes by and Gina stops him.

 

GINA

Hey, look . . . hmm . . . take over

for me, ok? I just got some bad news.

 

CREW MEMBER

Sure.

 

CUT TO:

 

VIEW OF THE OCEAN - DAY

 

GINA

Adam and I were buddies at Highlife. We

were young and innocent. Then Mel Rae and his

boys bought in and everything got big and then

came the drugs, the payoffs, and the mess.

 

CATHERINE

How did Adam get involved?

 

GINA

Oh no, you got him all wrong. He was

just a great engineer. He loved the music.

He was one of the good guys. Heís the

one who talked me into leaving Highlife

and getting out New York.

 

CATHERINE

Why?

 

GINA

I found out that Mel was embezzling from

the company. Adam was afraid for me.

 

CATHERINE

Why would Mel Rae bootleg one of his

own albums?

 

GINA

Because it was easy and - and itís there.

Instead of splitting it six ways, he gets

to keep it all himself. Iím sure he couldnít resist.

 

CATHERINE

Adam was going to help us try to prove that.

 

GINA

A lot of good it did him.

 

CATHERINE

What did his messages say the other night?

Do you remember?

 

GINA

Lot of it didnít make sense. I . . . oh, I hope

I didnít erase it. We can to go check. Come on.

 

EXTERIOR: GINAíS BUILDING -DAY

 

INTERIOR: GINAíS APARTMENT

 

The door opens, Gina enters, followed by Catherine.

 

GINA

This day has been like one long . . . nightmare.

 

The apartment is in a mess, ransacked.

 

CATHERINE

There is someone here.

 

A man pops out from the bedroom and runs between Catherine and Gina to the open door, shoving them down.

 

CATHERINE

Gina . . . Oh . . . he was in a hurry.

 

GINA

Iíll say.

 

CATHERINE

Did you recognise him?

 

GINA

No. I didnít see his face, but I know where

he bought his leather, so we can rule out

the theory that poverty forced him to a life

of crime. But I can tell you one thing for

sure about him.

 

CATHERINE

Whatís that?

 

GINA

He is very messy.

 

CATHERINE

And thorough. God, what was he looking for?

 

Gina opens a drawer and takes out a wad of money and waves it at Catherine.

 

GINA

Not money.

 

CATHERINE

Did you have anything here?

Did Adam ever send you anything?

 

GINA

No, there was just the message on the

Machine . . . God, it was the night he died.

Oh, I hope itís still here.

 

Gina starts the machine.

 

 

VOICE

Gina, itís Terry. Everythingís cool.

Iíve got the truck parked.

 

Gina stops the machine.

 

GINA

Itís gone.

 

CATHERINE

Gina, itís very important that you try

to remember everything that Adam said

to you that night.

 

GINA

Well, he said that heíd call back, and that

there were some prints he wanted me to see.

 

CATHERINE

Prints? What sort of prints? Artwork . . .

um . . . snapshots?

 

GINA

No, Adam was not what you call visual.

He only cared about music.

 

CATHERINE

Well, what kind of prints? What did

he want you to see?

 

GINA

Wait. Wait a minute.

 

Gina runs to her stereo. She picks a tape.

 

CATHERINE

Phoenix album?

 

GINA

Have you got a copy of the bootlegged version?

 

CATHERINE

Yeah. Itís in my purse.

 

GINA

Come on. Weíre gonna check this out.

 

CATHERINE

Where are we going?

 

GINA

To my friend Ritchieís studio. Heís got an

analyser there that gives you graphic readout

of sound waves. Weíll make computer voice

prints of both cassettes and compare them.

And then maybe we can see what Adam heard.

 

CATHERINE

All right, letís go.

 

They leave apartment.

 

CUT TO:

 

INTERIOR: RITCHIEíS STUDIO

 

RICHIE

Well, they both have the same sub frequency

copy code so the bootleg had to come from the

studio master.

 

GINA

Adam laid in a secret sound code on the

master tape. Mel never knew it was there!

 

CATHERINE

Sub frequency?

 

RICHIE

Yeah, you canít hear it, but you can

see it. Itís right here on the paper.

 

CATHERINE

This might just be the only proof we need.

 

GINA

Hey, I maybe a little hyperactive but when

Iím motivated I can be semi brilliant . . .

Richie.

Gina pinches Richieís cheeks and kisses him. Then follows Catherine.

 

FADE TO:

 

A STARRY SKY

 

INTERIOR: MIRROR POOL CHAMER

 

Vincent is kneeling by the edge of the pool, looking at the stars reflected in the still waters.

 

MOUSE

(Voice over)

Vincent . . .

 

Mouse enters the chamber, holding a small package in his land. He walks to the edge of the pool and looks into the water.

 

MOUSE

Stars are pretty.

 

CUT TO:

 

SURFACE OF THE POOL

 

Reflected in the pool are the stars and the figures of Vincent and Mouse. Vincent points at a star.

 

VINCENT

Yes, look. Orion . . . with three bright

stars on his belt.

 

MOUSE

Seen those before . . . last year.

 

VINCENT

He returns every year . . . The hunter.

Striding across the winter sky. Never resting.

Catherine walks under the same stars. Even now.

 

Mouse gives Vincent the small package.

 

MOUSE

Helper brought this down. For you, from

Catherine.

 

Sand sifts from the package.

 

MOUSE

Not Mouseís fault. Came that way.

 

Vincent holds the package over Mouseís cupped palms and sand falls onto his palms.

 

VINCENT

Sand . . . from the shores of the Pacific.

How far its come!

 

MOUSE

A lot like our sand!

 

Vincent nods.

 

INTERIOR: VINCENTíS CHAMBER

 

Vincent opens the package, sees the shell, and smells the sand and starts reading the letter.

 

VINCENT

Vincent, itís the strangest thing. Weíve never

been so far apart. And yet I can feel you with

me so deeply. Sometimes itís if Iím seeing

things through your eyes. The sun is coming

up now. The sky is pink. The ocean is deep

purple and I feel like a child . . .

 

Catherine continues reading.

 

FADE TO:

 

EXTERIOR: L.A. BEACH

 

Catherine is walking along the oceanís edge.

 

CATHERINE

I wish I could just scoop it all up with a shell,

run to you, and pour it into your hands.

Everything! The cry of the gulls, the warm sun,

the breeze and the ocean spray it carries,

the taste of salt, the waves.

 

She looks up and Vincent is standing there.

 

CATHERINE

(voice over)

God, itís so quiet right now Vincent. And the

waves are so peaceful.

 

Vincent takes her hand. And they walk along the beach together. Embrace.

 

CATHERINE

(voice over)

And the feeling is so one of solitude,

except youíre here too. I find myself talking

to you, listening to you. This morning I think

we walked for miles together. Just you and me.

And it was so clear, Vincent, I didnít think I

imagined it! I think we walked for miles together.

 

 

 

 

INTERIOR: VINCENTíS CHAMBER

 

Vincent continues to read her letter.

 

CATHERINE

(voice over)

I miss you.

 

FADE TO:

 

EXTERIOR: GINAíS BUILDING - NIGHT

 

CATHERINE

Joe, these prints make it clear. The bootleg

could only come from the studio master.

It was an inside job. Everything points to

Mel Rae.

 

Gina interrupts the call to show Catherine her boots.

 

GINA

(whispers)

These ok?

 

Catherine nods and Gina goes into her bedroom.

 

CATHERINE

Look, I want your ok to bring Gina

with me to New York.

(pause)

 

Gina dashes out of her bedroom.

Good!

 

GINA

Ask him how cold it is.

 

CATHERINE

How cold is it?

(whispers to Gina)

Not very cold.

 

Gina dashes back into her bedroom.

 

Ok, well, we have a plane to catch. I should

be in sometime tomorrow. All right. All right,

donít worry. Ok, bye.

 

GINA

Let me guess. Is Joe the kind of guy who

wears his pants above his guts or below it?

 

CATHERINE

(laughs)

Youíll have to see for yourself.

 

GINA

Ok!

 

Catherine laughs.

 

INTERIOR: GINAíS BASEMENT

 

Catherine and Gina exit the elevator.

 

GINA

Coffeemaker, curlers, iron, terrace door.

Did I turn the answering machine on?

 

CATHERINE

I donít know.

 

GINA

I better go back and check.

 

CATHERINE

All right, give me your car keys, Iíll load up.

Meet you down here.

 

CUT TO:

 

INTERIOR: VINCENTíS CHAMBER

 

Pan in on the shell and then to Vincent whose sleep is restless. He is dreaming about Catherine and himself on the beach. Catherine wears a long black cloak with a fur lined hood and leaves him.

 

CATHERINE

There is something I must do.

 

VINCENT

Catherine, no!

 

Catherine climbs a promontory.

 

VINCENT

Come back!

 

Catherine wonít listen. She looks back at him.

 

CUT TO:

 

Vincent deep in a nightmare.

 

CUT TO:

 

INTERIOR: GINAíS GARAGE

 

Catherine enters and finds Ginaís car.

 

EXTERIOR: BEACH Ė NIGHT

 

CUT TO:

 

Catherine, the shell and then to Vincent.

 

VINCENT

Catherine.

 

Catherine on the rocks turns her back towards the sea.

 

VINCENT

Catherine! Catherine!

 

Catherine disappears as the waves crash around her.

 

CUT TO:

 

INTERIOR: GINAíS GARAGE

 

Catherine loads the car. She suddenly hears Vincentís voice. She turns her back in time and hits the man in the leather jacket, who tries to sneak up on her, with one of the suitcases. The man falls down and she earns time to run and hide under another car. Then the man gets up, searching for her.

 

CUT TO:

VINCENTíS CHAMBER

 

Vincent wakes up frightened. He has clasped the shell so hard that it has cut his palm.

 

 

END OF ACT THREE

 

 

 

 

 

 

 

ACT FOUR

 

 

FADE TO:

 

INTERIOR: GINAíS GARAGE

 

Catherine remains hidden and when the man approaches the car, she jabs him in the leg with the tire iron. When he goes down, Catherine crawls out from under the car and kicks him in the head. Gina runs up to Catherine.

 

GINA

Are you ok?

 

CATHERINE

Yeah. Itís Mr. Leather. The same guy

who trashed your apartment.

 

GINA

Canít get enough of me, ha?

 

CATHERINE

Anyone you know?

 

GINA

Yes. Julian. Melís slave, drug connection

and pimp. Funny, lying there he looks

almost human.

 

CATHERINE

Go call the police.

 

FADE TO:

 

 

INTERIOR: AIRPLANE - DAY

 

Catherine is returning home and sheís happy. We listen to ĎThe first time I loved foreverí while she remembers beautiful moments she and Vincent shared.

 

INTERIOR: VINCENTíS CHAMBER

 

Vincent is sitting in his large chair, all his attention centered on Catherine.

 

FATHER

Vincent? Vincent?

 

VINCENT

Sheís coming back! Sheís coming back!

 

He runs from the chamber and Father remains alone, smiling.

 

EXTERIOR: D.A.ís BUILDING - DAY

 

INTERIOR: CATHERINEíS OFFICE

 

Catherine and Gina enter the office.

 

RITA

Hey, youíre back!

 

CATHERINE

Yeah! Feels good!

 

RITA

Whereís your tan?

 

JOE

Hey, Radcliff you did it. We already

got the warrants. The master tape was

seized from the record company this

morning. Everybodyís ecstatic.

 

CATHERINE

Good.

 

JOE

And Mel Raeís been picked up.

 

CATHERINE

Great!

 

JOE

And the L.A. P.D. told me all about the

action in the garage.

 

CATHERINE

And I was worried this is just going

to be a desk job.

 

Gina tries to attract attention.

 

CATHERINE

Oh, Iím sorry . . . Joe Maxwell, D.A.ís

office,meet your star witness Gina Barrett.

 

Gina and Joe shake hands.

 

GINA

This is your boss? You donít look like a lawyer.

 

JOE

Thanks for coming Miss Barrett. And Iím very

sorry about your friend.

 

GINA

Thanks . . . Gina.

 

JOE

Gina . . .

 

GINA

At least now I know that Adamís . . . Well

nobodyís gonna walk away from this.

 

JOE

Not with what weíve got.

 

They look down, embarrassed to see that theyíre still clasping hands.

 

JOE

So, how was the flight?

 

CATHERINE

Smooth flight, dopey movie.

 

GINA

I didnít eat a thing. Have you ever

had airplane lasagna?

 

JOE

Oh . . .

 

CATHERINE

Joe only eats his motherís lasagna!

 

JOE

Thatís not true. I got this great place in

Astoria that makes it almost as good as

my momís. Would you like to go? Come

on, Iíll take you, my treat.

 

GINA

Oh, thatís great, Iím starving. New Yorkís

the only place they know how to make Italian food.

 

JOE

How about Italy?

 

GINA

Ok, weíll go there after Astoria.

 

CATHERINE

Listen, guys. Would you mind if I bow

out? Someoneís waiting for me.

 

JOE

Are you sure? Youíre gonna miss

her deposition and some great lasagna!

 

Behind Joeís back Gina is trying to get Catherine to say no.

 

CATHERINE

Joe, Iíve been on this case all week.

Iím taking the night off.

 

JOE

Ok!

 

CATHERINE

See you guys!

 

Gina reaches for one of her suitcases.

 

JOE

(to Gina)

Oh here, let me. Iíll help you out there.

 

CUT TO:

 

INSIDE A TAXI - NIGHT

 

Catherine enters the cab.

 

CATHERINE

East 60ís near Central Park. Is the

Central Park drive through open?

 

TAXI DRIVER

I think so. Been out of town? You

sound homesick.

 

CATHERINE

Yeah.

 

TAXI DRIVER

Come in from the airport?

 

 

CATHERINE

Uh huh.

 

TAXI DRIVER

You come over to Queensboro bridge?

 

CATHERINE

Yeah. Why?

 

TAXI DRIVER

You get that great view from Queensboro Bridge.

Didnít you read the ĎGreat Gatsbyí?

 

CATHERINE

Yeah. I didnít know Fitzgerald wrote about

the best routes from the airport.

 

TAXI DRIVER

Yes, he did. I know it by heart. "The city seen

from the Queensboro Bridge is always the

city seen for the first time. Itís the first wild

promise of all the mystery and beauty

in the world." You canít do any better

than that, lady!

 

Catherine laughs.

 

CUT TO:

 

INTERIOR: OPENING ELEVATOR DOORS

Catherine exits the elevator and hurries to her door, opens it, and dashes inside. Throwing her suitcases and purse to the floor, she runs to the balcony where Vincent already waits for her. They hug tightly.

 

VINCENT

Catherine!

 

CATHERINE

Iím back!

 

VINCENT

I felt your return. These four days . . .

 

CATHERINE

I know . . . I know . . .

VINCENT

There was a moment I felt you were in

great danger. There was nothing I could do.

I wanted so desperately to reach out to you!

 

CATHERINE

But you did, Vincent! I could feel you

watching over me. I heard your call out.

Vincent, you saved me!

 

VINCENT

Catherine . . . this bond we share . . .

this connection . . .

 

CATHERINE

Yes . . . that strong!

 

They embrace as the sheer drapes close over them and the music swells.

 

 

 

 

THE END