BEAUTY AND THE BEAST

ďA Gentle RainĒ

Aired Episode Transcript Ė original air date: February 17, 1989


Opening credits:

Starring

 

Linda Hamilton

 

Ron Perlman

as ďVincentĒ

 

Roy Dotrice

 

Jay Acovone

 

Ren Woods

 

 

ďA Gentle RainĒ

 

 

Guest Starring

 

Piper Laurie

 

David Greenlee

 

†Ritch Brinkley

 

Elayne Heilveil

 

and
Scott Jaeck

 

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 Kurzfield

 

Producer

George R.R. Martin

 

Produced by

Kenneth R. Koch

 

Co-Producers

Alex Gansa

Howard Gordon

 

Created by

Ron Koslow

 

Written by

 M.M. Shelly Moore &

Linda Campanelli

 

Directed by

Gus Trikonis

 

INT. - TUNNELS
In a large chamber BELOW. Pan slowly toward the right, showing lit
and unlit candles of various sizes and shapes standing in carved niches all around the chamber walls until the camera comes to VINCENT, who is lighting a candle on a tall pedestal standing on the floor. Vincent walks to his right carrying a lighted taper candle and goes to light another candle on the wall. Camera pulls back as he turns and walks forward crossing in front of the entry to light yet another candle.

 

CATHERINE (off camera)

Vincent?

 

VINCENT

(calling over his shoulder)

In here!

 

CATHERINE enters the chamber, holding a basket of flowers. She stops and looks around in wonder.

 

CATHERINE

Oh, Vincent.

 

VINCENT

(lighting more candles)

You like it?

 

CATHERINE

Itís beautiful. Itís perfect.

How could Kanin carve solid rock

into something like this?

 

VINCENT

Because he trained himself.
I donít think he knows what canít be done.

 

CATHERINE

That explains him asking me

to get lilacs at this time of year.

 

Catherine pulls a lilac out of the basket and proceeds placing flowers on shelves carved into the cavern wall.

 

VINCENT

When he asked me to light the candles,
†I thought he meant four or five.

 

CATHERINE
How much time do we have?

 

VINCENT

We should hurry.

 

CATHERINE

Was Oliviaís first husband this romantic?

 

VINCENT

How can I judge?
I didnít know Kanin was this romantic.

 

 

Catherine laughs. Vincent nods his head toward an area behind her.

 

VINCENT

In there, too.

 

Catherine walks into the section of the cavern Vincent indicated, also lit by multiple candles. She stops short, seeing a double bed with a high, white carved headboard, with several delicate pillows atop a white bedspread. Catherine sighs at the sight. Still lighting candles in the outer chamber, Vincent turns his head toward her. Catherine walks to the bed and lays the flowers about the bed. Vincent stands, watching. Catherine removes a large bouquet from her basket, rearranging the top pillow to place the bouquet center among the pillows. She backs up to look at the effect. Vincent comes up behind Catherine, and leans against the chamber wall, watching her.

VINCENT

Do you think Olivia will like this room?

 

Catherine pauses before answering, looking around the bedroom a final time. She turns and walks out, crossing in front of Vincent.

 

CATHERINE

(glancing at Vincent ans she passes him)

Olivia will love this room.

 

†Vincent stands, still holding his lighted taper. He looks down at it and then around, pensively

 

KANIN (V.O.)

No, not yet.

 

OLIVIA (V.O.)

Kanin...

 

Catherine runs up to Vincent, reaching for him. He holds out his hand to her.

 

CATHERINE
(
whispering)

Vincent, theyíre here.

 

Catherine takes his hand and they start to leave, realize they are trapped, and retreat to stand in front of the wall on the side of the entry. KANIN walks in holding LUKE, their baby, and leading OLIVIA by the hand. She is wearing a blindfold and laughing. He looks at Vincent and Catherine hugging the wall, acknowledging them with a quick nod. He leads Olivia past Vincent and Catherine, and they slip out into the tunnel.

 

KANIN

Right here.
Ok
ay, now come and stand right over here.
Turn this way.
Are your eyes closed?

 

OLIVIA

Yes.

 

KANIN

Keep them closed, now.

(he reaches up to undo the blindfold)

Okay, open them.

(Olivia opens her eyes)
Happy anniversary.

 

Olivia stands, taking it all in. Slowly, she turns, the camera panning with her, seeing all the lit candles, the space, the bed.

 

KANIN

You like it?

 

OLIVIA

Is it ours?

 

Kanin smiles.

 

INT. - TUNNELS
Vincent and Catherine standing just outside the Kanin's and Olivia's chamber, Vincent still holding his lit taper, Catherine with her hands thrust into the pockets of her coat.

 

VINCENT

There always seemed to be another family
whose need for a chamber was greater than his own.

 

CATHERINE

I think Olivia had given up.

 

Kanin approaches, carrying his son.

 

KANIN

Hi. Here he is.

 

Kanin hands Luke to Catherine. Catherine smiles as she takes the baby.

 

CATHERINE

Hey, Luke.

 

KANIN

Tell Mary one of us will be by for him
first thing tomorrow morning.

(to Luke)
You be a good boy. I love you.
Vincent, Catherine, thank you.

 

 Vincent takes Luke's outstretched hand and kisses it.

 

CATHERINE
Donít worry about Luke.

 

Kanin turns and goes back inside the chamber. Smiling, Vincent and Catherine turn and walk away down the tunnel. Vincent still holds the lit taper!

 

INT. - TUNNELS
Back in the chamber, Kanin gives Olivia a kiss on the cheek.

 

KANIN

I also have one more present for you.

 

OLIVIA

Kanin...

 

Kanin produces a small wooden box. Olivia takes it and  slowly lifts the lid to discover a music box. It plays a gentle tune.

 

OLIVIA

Oh, itís beautiful.

 

As the melody continues to play, Kanin takes the box and places it on a shelf in front of two candles. He returns to Olivia, smiling.

 

KANIN

Dance with me, Livvy.

 

Kanin and Olivia begin to dance. Kanin kisses her hand. The camera pulls back to show them dancing.

 

EXT. Ė CITY STREET

†A city street in the daytime with traffic flowing.

 

INT. Ė HARDWARE STORE

KANIN is looking at some drill bits in a hardware store. He is dressed in more regular looking street clothes. He takes two long drill bits, turns and walks down the aisle, looking as he goes. He stops and picks up a small sledge hammer, feeling its heft. Camera switches to Kaninís view and there is a well-dressed WOMAN in the next aisle. They look briefly at one another then look away, then the woman looks again, startled by recognition. Kanin looks again, and notices her recognition. Their gazes lock a moment. The lady looks off to her left, almost as if she canít believe what she sees. She slowly begins to walk away.

 

Kanin turns, lowering the hammer, then looks back. The woman turns back and looks again. Kanin looks away and the woman looks away. She continues walking. Kanin looks again briefly, then lays down his drill bits on the shelf.

 

The woman slows, finally stopping. She turns around. Kanin is gone. She walks rapidly back to where she was and beyond, going around the aisle to look for him. She walks a cross-aisle, looking down each aisle she crosses, moving more rapidly as she goes. She turns down an aisle that leads out, hastening into a slight jog. She goes out into what appears to be an alley.† A crate-lifting tractor crosses in front of her, blocking her exit momentarily. She walks out.

 

EXT. Ė CITY STREET

Kanin peers around a corner to see if she followed him outside. He goes around a corner, trying to act casual, as there are men working nearby. He waits until no one is around and lifts a grate in the cement floor. He goes down, replacing the grate above him. He climbs down a short ladder to the city tunnel floor, turns and leans against the tunnel wall, panting from his exertion. These tunnels are rounded cement tube-like tunnels created by the city.

 

The woman continues walking down the alleyway. Men are bustling with activity all around her. She reaches the end of the alley, and looks out. She sees more men and some vehicles, but no Kanin. She turns to walk back into the store.

 

INT. Ė CITY TUNNELS

In the city tunnels, Kanin runs back, heedless of stepping in puddles as he goes. Down one tunnel into another until he reaches a carved tunnel.

 

INT. - TUNNEL

MOUSE and JOHN are carrying a heavy wooden beam. Kanin comes up behind them in the tunnel, stopping when he hears John speak.

 

JOHN

Set it down here, Mouse.

 

Kanin flattens himself against the tunnel wall. He leans his head back, panting, eyes tightly shut. He slows his breathing, and opens his eyes. Olivia enters the tunnel and stops short when she sees him. Sheís holding a container.

 

OLIVIA

Kanin...

(sensing something is wrong)

Whatís the matter?

 

KANIN

Nothing. What are you doing here?

 

OLIVIA

I brought you your lunch. Whatís wrong?

 

KANIN

Nothing.

(he reaches for the container)

Thanks.
(he leans over and kisses her cheek)
IÖ IÖ I have to go back to work.

 

OLIVIA

Are you sure youíre all right?

 

KANIN

Yeah. Thanks for bringing this.

 

They stand looking at each other briefly. Olivia smiles, then turns to leave.

 

KANIN

Livvy?

 

She turns to look at him. They stand uncertainly. Kanin finally speaks.

 

KANIN

Your hairÖ I like it that way.

 

Olivia smiles and gives a quiet laugh while she fingers the braid she wears over her left shoulder. She turns and walks away. Kanin watches her go.

 

INT. Ė TUNNELS

John  is drilling a large hole in a big wooden beam by turning a hand drill.† Mouse is doing something to a beam above him when Kanin walks up.

 

KANIN

Hey.

 

MOUSE

Just in time.

 

JOHN

That was quick.

 

MOUSE

Get drills?

 

KANIN

No, they were out.
(he removes his jacket)
Iíll pick some up next trip.

 

Kanin picks up his tools and begins chiseling some rock out of the tunnel wall.

 

INT. Ė TUNNELS Ė Much later

Kanin  is wearing glasses, still chiseling rock. Heís taken off his outer shirt. He looks as if he has been doing this quite a while. No one else is around. He gets flashes of memory of a car with a woman and a young boy in it. He sees the boy screaming in fright. A crash is heard, echoing in Kanin's memory. He stops and squeezes his eyes shut, as if to block the sound of the boyís cries.† He collects himself, and starts pounding on the chisel as Vincent walks up.

 

KANIN

Hello, Vincent.

 

VINCENT

Itís late.

 

KANIN

(pounding rock again)

Yeah, I know. †
(he stops, looks at Vincent)
Thanks again for your help last night.

 

VINCENT

Was Olivia surprised?

 

KANIN

Yeah. Must be a worldís record
for keeping a secret.

 

VINCENT

How long before the room is ready to move in?

 

KANIN

Ah, well now that Livvy knows, †
I figure Iíve got about a week
, at most.

 

VINCENT

Luke will probably celebrate
the occasion by walking for you.

 

KANIN

Yeah.

(smiles to himself)

Heís sure trying.

 

Vincent watches his smile disappear quickly. He watches as Kanin earnestly begins striking the chisel with a hammer, as if driven by something.

 

EXT. †Ė CRIMINAL COURTS BUILDING

INT. Ė CATHERINEíS OFFICE

Catherine  is seated at her desk, talking on the phone while flipping through a case book.

 

CATHERINE

What about Harris versus Georgia?
No, thatís not the one I want. Wait, I got it.
(she reaches for another case book as someone
drops off a couple more books on her desk)
What aboutÖ wasnít there some case against the

Albany police department a couple of years ago?
Yeah, well, read it to me.

 

JOE walks over to Catherine's  desk, holding some files in his hand.

 

JOE

RadcliffeÖ

 

CATHERINE

(on the phone)

Hang on, Charlie.

 

Catherine watches Joe place the stack of files on her desk. She stares at the stack.

 

JOE

Sorry.

 

CATHERINE

NoÖ

 

Joe opens a candy dish on her desk and helps himself.

 

JOE

Itís your turn.

 

CATHERINE

No!

 

JOE

Just some odds and ends.

 

CATHERINE

Joe, I am swamped!

 

JOE

Youíre breaking my heart, Radcliffe.

 

Joe turns and walks away. Catherine resumes her phone conversation. At the same time she opens a couple of the files Joe has placed on her desk and glances at the first page.

 

CATHERINE

(on the phone)

Yeah, Iím here. Why donít you read it to me.

Oh, thatís perfect, I need the opposite decision.
Well, what am I gonna do?
This case is on the docket for nextÖ

 

Catherineís train of thought is interrupted by what she sees in the third file she's opened. The top page is an arrest report listing a DWI Manslaughter charge for one Kanin Evans, age 20. Catherine looks at the file, as if disbelieving its contents.

 

FADE TO BLACK

 

END OF ACT ONE

 

 

 

 

ACT TWO

 

INT. Ė TUNNELS - STAIRWAYS TO THE GREAT HALL

Wind is heard blowing as Catherine rounds a corner, hair blown by the wind. She pauses at the top of the stairway. Kanin, Mouse and John are hauling a heavy beam up the stairs. She starts down the stairs.

 

MOUSE

Catherine!

 

CATHERINE

Hi, Mouse.

 

JOHN

Be careful!

 

CATHERINE

I need to talk to Kanin.

 

KANIN

Weíre right in the middle of this.

 

CATHERINE

Itís important.

 

MOUSE

(re: the beam)

Got this.

 

KANIN

Are you sure?

 

JOHN

Yeah, go ahead.

 

KANIN

Okay.

 

Catherine continues down the stairs, followed by Kanin.

 

INT. Ė TUNNELS Ė GREAT HALL

Catherine and Kanin  enter the Great Hall. A single torch burns inside the large room. They struggle to shut the heavy doors. Kanin places the beam across the doors to keep them shut. They walk a little ways into the room. Catherine eventually turns around to look at him.

 

CATHERINE

Kanin, I got a file on my desk this morning.
The person I was supposed to find is you.

 

Kanin turns away as Catherine is speaking, reaches up to remove his glasses. He looks over at Catherine for a few seconds, then walks past her. He looks about the room. He faces away from Catherine, and crosses his arms across his chest.

 

KANIN

Do you believe there's a God, Catherine?

 

CATHERINE

Yes.

 

KANIN

Do you believe if you pray very hard for something,
God will answer your prayers?

 

CATHERINE:
(thinking a moment, then sighing)

Not necessarily.

 

Kanin slowly turns to face Catherine.

 

KANIN

Iíve been praying that woman didnít recognize me,
even though I knew she did. But even then
Iíve been telling myself, what difference would it make?
How could she possibly find me down here?
Itís funny what the mind does.
Not once did I ever think about you.
Have you told anybody else?

 

CATHERINE

No.

 Why did you run, Kanin?

 

KANIN

I was twenty years old, I was scared.
Jail isnít a place you wanna be when youíre
twenty.
But every year after that I didnít go back,
it got a little easier. Finally I just lived with it.

 

CATHERINE

Does anyone know?

 

KANIN

No.
So what are you going to do?

 

CATHERINE
(sighs)
I think the question is,
what are you going to do, Kanin?

 

Kanin and Catherine just look at one another.

 

INT. Ė TUNNEL CHAMBER

Kanin and Olivia are talking in their chamber.

 

OLIVIA

What?

 

Kanin had Luke in his arms, and goes to put him down in his bassinet.

 

OLIVIA (cont'd)

What is it?

 

Kanin comes back, and sits at the table. Olivia stands holding onto a chair.


OLIVIA
(cont'd)

Youíre scaring me.
Just tell me.

 

Kanin holds his head with his hand at his temple.† Then he sits up, clasps his hands together.† Finally, Olivia sits down. He takes her hands in his.

 

KANIN

CatherineÖ
Catherine found something out

about me, about my past.

 

OLIVIA

What?

 

KANIN

When I was twenty years old,

a year before I came to the tunnels,
I was in a car accident coming home

from a party one night.
A little boy was killed.
I was arrested for driving while intoxicated.

 

OLIVIA
But you donít drink.

 

KANIN

Iíd had a couple of beers. I havenít had one since.
The other day
, while I was topside,

the mother of that little boy spotted me.
Sheís bringing it all up again.

 

OLIVIA
How is she bringing it up again?

 

KANIN

Livvy, I ran.
Sixteen years ago
, I jumped bail and I ran.
Thereís a warrant for my arrest.

 

OLIVIA

Then, what you told usÖ
why you came hereÖ

 

KANIN

It was a lie.

 

Olivia stands up and turns away.

 

KANIN (cont'd)

Everything I told you was a lie.

 

Olivia turns to face him.

 

OLIVIA
Not everything.

 

Kanin stands up and walks over to Olivia. He stoops to kiss her hand. The track of a tear shines beneath his right eye.

 

KANIN

Catherine says I have to go back up.

 

Olivia looks at him, slightly shaking her head Ďno.í

 

KANIN (cont'd)

I canít ask her to lie for me.

  

OLIVIA

No.

 

Kanin looks at Olivia with anguish. She reaches for him and he steps into her embrace.

 

OLIVIA (cont'd)

No.

INT. -† VINCENTíS CHAMBER

Vincent and Catherine sitting at the table

 

CATHERINE
When I was talking to him,
I kept seeing this look in his eyesÖ
He wouldnít ask it but he was begging me
:
can I just let it go?

 

VINCENT

How much trouble is he in?

 

CATHERINE
He killed someone.
He jumped bail,
he hid out for sixteen years,
he was spotted and he ran agai
n.
If there is a mistake he hasnít made,
I donít know what it is.

 

VINCENT

Now he has a wife and a son,
he
's begun a new lifeÖ

 

CATHERINE
(sighs in exasperation)
Ten other desks in that office,
why did this have to land on mine?

 

Vincent looks at Catherine.

 

VINCENT

So you could help him.

 

She looks at Vincent as he continues to look at her.

 

INT. Ė JOEíS OFFICE

Joe in his office, on the phone. The camera looks out of his office door to see other people working and Catherine walking into the outer office.

 

JOE

Yeah, all right, well, check it out

and get back to me, will ya?
Yeah, all right. Iíll talk to you later. Cathy!

 

Catherine walks to his office door, holding her coat.

 

CATHERINE

Yes?

 

JOE

Those case piles I put on your desk?

One was a DWI?

 

CATHERINE

Yeah?

 

JOE

Yeah, well the motherís here.

 

CATHERINE

(Catherine turns and glances behind her)
What?
(she moves in front of Joeís desk)
Why?

 

JOE

She wants to talk to you.

 

CATHERINE

WhÖ what about?

 

JOE
I donít know.
Sheís in the conference room.

 

CATHERINE

Uh, well, Joe, I havenít done anything with it.

 

JOE

I know. Look, just go in

and see what she wants.

Iíll stick my head in in a few

minutes and rescue you, okay?

 

CATHERINE

(nodding, very uncertain)

Okay...

 

JOE

Is there a problem?

 

CATHERINE
No
... no.

 

Catherine turns and walks out of Joeís office.

 

INT. Ė DA OFFICE

Catherine goes to her desk and picks up a pad of paper, a pencil, and a file. She straightens the papers of the file by tapping the folder edge on her desk, tucks the paperwork into the crook of her arm, and goes to the conference room. She sees the silhouette of the woman through the marbled glass of the door. She hesitates a moment, then opens the door.

 

INT. Ė CONFERENCE ROOM

MRS. DAVIS, the elegant woman of the hardware store,  stands alone in the conference room. He holds a black handbag and gloves. Her black overcoat is draped over one arm. 

 

CATHERINE

Mrs. Davis?

 

MRS. DAVIS

(softly, nodding)

Yes.

 

Catherine closes the conference room door.

CATHERINE

Iím Catherine Chandler,

(they shake hands)

Iím the deputy district attorney assigned to your case.

But Iím afraid I just got it, and I havenít

really had a chance to do much with it yet.

 

MRS. DAVIS

Have you been able to do anything?

 

CATHERINE

No, not really.

 

MRS. DAVIS

†Well, is there something youíd like me to do?

 

CATHERINE

(sighing)

No, not really.

 

Catherine walks around the table, pulls out a chair, but remains standing.

 

MRS. DAVIS

Are there any questions you want to ask me?

 

CATHERINE
(looking through the file)

Uh, not yet, but I do have your

phone number if I need to call you.

 

MRS. DAVIS

You think youíre going to find him?

 

CATHERINE

We will do everything we can.

 

MRS. DAVIS

And how long will it take? A week? Two weeks?

 

CATHERINE

Mrs. Davis...
(she sits down and looks up at Mrs. Davis)

I donít wanna make any promises.

 

MRS. DAVIS

Iím sorry.
(
she glances away)
I canít believe this has all come back.

 

There is a knock at the door and the door opens.

 

JOE
(steps into the room)

Excuse me. Cath, but, uhÖ

 

CATHERINE

Joe, Iím in the middle of something.

 

Surprised, Joe looks from Cathy to Mrs. Davis, and back again.

 

CATHERINE

Can  it wait?

 

JOE
(shrugs his shoulders)
Yeah, sure.

 

Joe backs out of the doorway and closes the door. Mrs. Davis sits down across  the table from Catherine.

 

MRS. DAVIS

Iím very sorry. I know how

uncomfortable this makes people.

 

CATHERINE

Donít apologize.

 

MRS. DAVIS

What will happen to him if you find him?

 

CATHERINE

Well, heíll be brought up on charges
and there will probably be a trial.

 

MRS. DAVIS

And how long will that take?

 

CATHERINE

Maybe a year until it gets into court.

 

MRS. DAVIS
(briefly closes her eyes)

I wish Iíd never walked into that hardware store.

 

CATHERINE

Mrs. Davis, donít you wanna see this man found?

 

MRS. DAVIS
I want it for Joey.

 

CATHERINE

And what about for yourself?

 

MRS. DAVIS

I just want it over. Sixteen years ago,

in less than a minute, the world changed.

I lost Joey, and after that, I...

His father left me,

he couldnít take me anymore

and neither did my friends.

And then, three days ago, I saw that face

in the hardware store.

(the track of a tear shines beneath his right eye)

I donít wanna go back to where I was.

Iím gonna lose everything all over again.

 

DISSOLVES TO:

 

CATHERINE sitting at her desk, staring at a photograph, the picture of Mrs. Davisí son, Joey.

 

FADES TO BLACK

 

END OF ACT TWO

 

 

 

ACT THREE

 

EXT. Ė† CITY SKYLINE

A view of the New York City skyline at night. Catherine is speaking as the image dissolves to Catherine's balcony.

She is sitting on a bench and Vincent is sitting atop the balcony ledge.

 

CATHERINE

I knew I was withholding information

from her she needed to know. Part of me

wanted to tell her about Kanin, to promise

her that the end is in sight. I donít know

what Iím supposed to be here, Vincent!

Am I a friend or a prosecutor?

How can I be both?

 

VINCENT

You follow truth.

 

CATHERINE

The truth is...

(sighs)

... most of the time I think

the people we prosecute deserve

to be punished. But I know Kanin,
heís a good man and I know what

he means to all of us.

Where is the justice in that?

 

VINCENT

Perhaps in making it possible

for these two people to finally release

their burden.

 

CATHERINE

To do that, Kanin has to come Above.
I donít see any other way.

 

VINCENT
There is none.

Father and I will talk to him.

 

INT. - †KANINíS CHAMBER

FATHER sits at a chair, Vincent stands with his arms crossed, listening. Kanin stands in front of both, stating his case. Olivia sits on the bed by the bassinet where Luke is. She watches the conversation with concern.

 

KANIN

If I go up, if I turn myself in,

what do I say? ďIíve been a good guy,

trust me. Iíve been a good guy

for the past sixteen years.

I havenít had one drink

in the past sixteen years.Ē

Do you think theyíre just

gonna take my word for that?

Donít you think theyíre gonna

wonder, if I am such a good guy,

where all my friends are, why nobody

is standing up for me?

 

VINCENT

Catherine will be there.

 

KANIN

Catherine canít say any more than I can.
Not to the judge, not to that mother.
Theyíre going to put me on a witness stand and
swear me to tell the truth, and what do I say?
I canít tell them where Iíve been living or
what Iíve done with my life. Is that fair? Is that justice?

 

Father looks away momentarily, his head propped up by his hand, his arm over the back of the chair. He sees the dilemma in Kaninís words.

 

OLIVIA

Weíre all supposed to be a family here,
weíre supposed to take care of each other.
How can you just send him away?

 

FATHER

But for the safety of the community,
we cannot harbor a criminal.

 

OLIVIA

He isnít a criminal!

 

FATHER

Thereís a warrant out for his arrest
and he has admitted the crime.
Technically, he is a criminal.

 

OLIVIA
ďTechnicallyĒ he is one of the

most decent men youíve ever met!

 

Kanin walks over to comfort Olivia.

 

VINCENT
Has Catherine explained to you

that because this is your only offense,

the sentence may not be as harsh as we thought?

 

KANIN

VincentÖ †
I live with that night.

†A day doesnít go by when I donít think of it.
There isnít one thing Iíve done

that isnít in some way trying to make up for it,

to give backÖ to give something back.
Because thatís my sentence, Iím already serving life.
I had friends Above, a family.

I was going to college, I had a life.

(he turns and looks at Luke lying in his bassinet)

I read in a paper eight years ago that my father died.
It said he was survived by his wife, two sons and a daughter.
Another son was deceased. Thatís me. Iím deceased,
I donít exist anymore. All the topsiders wanted
was one or two years of my life.

(he talks to Father, squatting down in front of him)
Iím the one that said forever.
Iím the one that said this is going to be forever!
And now youíre telling me that I have to go back
and serve their sentence, too?

 

Father looks at Vincent, Vincent looks back at Father. Father sits forward and grasps Kanin by his shoulders, then moves a hand to cup his cheek.

 

FATHER

Kanin, all weíre telling you

is that your presence here

jeopardizes the whole community.

 

Kanin hangs his head, and Father starts to caress  his hair, when Kanin stands abruptly, and walks away a few steps.

 

OLIVIA

Then weíll leave.

 

Kanin walks over to Olivia. She looks up at him.

 

KANIN

No.

 

OLIVIA

Yes! Yes, you know the

tunnels, you know places.

If these people donít want us here,

weíll find someplace else.

 

KANIN

Livvy, this is your home,

this is where you were born.

 

VINCENT

Olivia, no one wants you

to find someplace else.

 

OLIVIA

Then donít ask me to say

goodbye to someone I love,
and donít ask Kanin to try to fix

something that canít be fixed.

 

All three look at Olivia after her last words.

 

EXT. - †CITY STREET

City street filled with traffic and people on the sidewalks.

 

INT. Ė CRIMINAL COURT BUILDING

Catherine is buying something at a booth inside the court house. Joe can be seen approaching the doors from outside.

 

CATHERINE

Thank you.

 

VENDOR (off camera)

Youíre welcome, Miss Chandler.

 

JOE

Radcliffe!

 

CATHERINE

Morning.

 

JOE

Have I gotta talk to you.

 

CATHERINE

Whatís up?

 

JOE

I met this woman last night.

 

CATHERINE

Congratulations! Whereíd you meet her?

 

JOE

I met her at the grocery store.

 

CATHERINE

Thatís a healthy start.

 

JOE

Radcliffe, this is serious.

This isnít just any woman.

In fact, she isnít like any

other women Iíve ever met.

 

CATHERINE

So she wasnít wearing spandex?

 

JOE

Excuse me, did I just say this was serious?

 

CATHERINE
(laughing)

Iím sorry.

 

JOE

Now, my next move with this woman
could affect the rest of my life.
So whatís my next move?

 

CATHERINE

Call her.

 

JOE

You donít think itís too soon?

 

CATHERINE

No.

 

JOE

Ok, good. So far, so good.
I did
. I called her.

 

CATHERINE

This morning?

 

JOE

Yes.

 

CATHERINE

Whatíd she say?

 

Joe and Catherine are interrupted.

 

MRS. DAVIS

Ms. ChandlerÖ

 

Cathy turns and sees Mrs. Davis. Her appearance has vastly deteriorated. She's wearing sunglasses, no make up, hair not coiffed, her face worn out drained.

 

CATHERINE

Mrs. Davis.

 

MRS. DAVIS.

Iím sorry, I didnít mean to interrupt.

 

JOE

Ah, no, thatís okay.

 

CATHERINE

Is something wrong?

 

MRS. DAVIS

I just havenít heard anything.

 

Catherine turns back to Joe.

 

CATHERINE

Um, Iíll be up in a minute.

 

JOE

Yeah, sure.

 

Joe walks off.

CATHERINE

Thereís a coffee shop next door.
Come on, letís go sit down.

 

Catherine takes Mrs. Davisí arm and leads the way.

 

INT. Ė DINER

Mrs. Davis  is seated at a table with a cup of coffee. Catherine is seated across from her, also with a cup of coffee.

 

CATHERINE

Well, we are working on your case.
I just donít have anything to tell you yet.

 

MRS. DAVIS

Have you been to the hardware store andÖ
and talked to theÖ the people who work there?

 

CATHERINE

No. The police will cover that.

 

MRS. DAVIS

No they arenít, I was just there, at the police station.
Nobody is working on this case.

 

CATHERINE

Mrs. Davis, has something happened?

(Mrs. Davis sighs)
Whatís happened?

 

MRS. DAVIS

I want him found. ItísÖ itís all such a joke, you know.

Sixteen years ago, my life was going along just fine,

everythingís fine. Kanin Evans comes along and boom.

Last week my life was wonderful.

Great job, great man who loves meÖ

Kanin Evans comes along,

my life is falling apart again.

I havenít been to my office in four days,

 I don't sleepÖ

(Catherine reaches out and takes her hand)
Itís just, I keep seeing him.

 

CATHERINE

Kanin Evans?

 

MRS. DAVIS.

No, my little boyÖ

Every time I close my eyes,

I see him. Everywhere I look,

I see him in that car.

He looks up at me and he says,

ďMamma, help me.Ē

But I canít, I canít reach him,

I canít even touch him.

I told him I loved him,

I donít know if he heard me.

(a tear runs down her cheek)
The man who did that to my child

has never spent one day in jail.

 

CATHERINE

(she wipes a tear from her face)
Kanin Evans will be prosecuted.

 

MRS. DAVIS

Whoíre you kidding!
Theyíre never gonna find him!
Nobodyís out looking for him!
And then theyíre going to start telling me
that I have to live with it.

 

Catherine looks upon Mrs. Davis somberly.

 

INT. -  FATHERíS CHAMBER

Father and Vincent are walking into Fatherís Chamber.

 

FATHER

Yes, but they canít go and live
in the tunnels outside the perimeter.

 

VINCENT

Oh they can, they can survive.
Itís just not the life any of us would wish for them.

 

FATHER

Olivia was just being rash.

 

They reach the table. Father pulls out a chair while Vincent walks around to the other side.

 

VINCENT

She has her own concerns

about Kanin going topside.

 

FATHER

Mmhm, yes, I suppose she does.
(Father sits)
Well, what are we going to do?

 

VINCENT

We canít ask Catherine to lie.

 

WILLIAM appears in the entry.

 

WILLIAM

Why not?

 

MARY follows William into Fatherís chamber, followed by John and Mouse.

 

MARY

We may have to, Vincent.

 

JOHN

Or maybe we can just feed Kanin to the wolves.

 

FATHER

No one is gonna feed Kanin to the wolves.

 

MOUSE

Not being friend.

 

FATHER

But our rules state quite clearlyÖ

 

JOHN

(overriding)

Our rules donít apply here, Father!

 

WILLIAM

Or we have to change them.

 

MARY

Or make an exception.

 

FATHER

We canít do that. This particular rule
is a fundamental principle to our world.
It speaks to the trust we are able to have
in each other, to our very security.

 

VINCENT

We should wait for Kaninís decision.

 

WILLIAM

The decision has been made.

 

MARY

They're going.

 

JOHN

Kaninís leaving.

He and Olivia are packing.

 

FATHER

Theyíre not serious.

 

JOHN

Are you forgetting

what Kanin has meant to us?

 

FATHER

No, I am not forgetting.

Unfortunately, what Kanin

has done for us is not the point.

 

JOHN

What the hell is?

 

MARY

Father, Kanin is no more

criminal than you or I.

 

WILLIAM

Itís not going to help anybody

for him to turn himself in.

 

CATHERINE (off camera)

Itíll help the mother.

 

Everyone turns to look at her, standing in the entry. She's arrived unnoticed.

 

CATHERINE (cont'd)

 A woman up there is being

destroyed by all of this.

 

JOHN

Because of her own vengeance.

 

CATHERINE

That is not true.

 

WILLIAM

People, weíre talking about Kanin here.
We donít know even know this mother.

 

VINCENT

Does justice belong only to the people we know?

 

WILLIAM

No. Weíre saying the mother has

friends Topside and Kanin doesnít.

 

CATHERINE

I am his friend.

 

MOUSE

Then let him go.

 

Everyone looks at Catherine. She bears their gaze stoically.

 

FADE TO BLACK

 

END OF ACT THREE

 

 

 

ACT FOUR

 

 

INT. KANINíS NEW CHAMBER

The double bed in the new chamber, still strewn with some flowers. In the background, a music box† tune is playing. Pan left to see that only a few of the candles are lit in the chamber; finally, Kanin is seen leaning on a ledge, holding the music box. He looks around the chamber, then abruptly closes the music box. He glances up and sees Vincent standing in the entry of the chamber.

 

KANIN

Weíre leaving. Livvy wanted

something we left here.

 

VINCENT

Where will you go?

 

KANIN

I donít really know.
Thereís nothing more

to talk about here, Vincent.

 

Vincent grabs Kaninís arm, and Kanin looks at his hand, then up at Vincent.

 

VINCENT

Donít do this.

 

KANIN

Donít do what? Donít stay with my family?
Donít care for them?

 

VINCENT

Theyíll be cared for here, you know that.

 

Kanin throws off Vincentís hand.

 

KANIN

No.

 

VINCENT

You prefer to run from this

for the rest of your life?

 

KANIN

Iíd walk into hell if it meant

I wouldnít have to face that woman!

I would. I canít face her,

Vincent, I donít know how.

 

VINCENT

With courage.

 

KANIN
(shaking his head)

I donít have that kind of courage.

 

VINCENT

You do.

 

KANIN

No. If someone took Luke,

if someone did to Luke what

I did to her son, Iíd never forget them.

Iíd tear off my arm if I thought

that would bring her son back!

I would do anything.

 

VINCENT

Then face her. Thatís what she needs.

Thatís the only thing

you can do for her, then do that!

 

KANIN

It wonít do any good.

 

VINCENT

It will give her somebody to blame

and then, then it would give her

somebody to begin to forgive.

 

KANIN

Sheís never going to forgive me.

 

VINCENT

Youíve never given her that chance!

You're afraid thereís nothing

you can do for this woman.

There is so much you can do for this woman!

You can change her life.

 

KANIN

What do I say to her?

 

Kanin just looks at Vincent, then breaks eye contact and stares down at the floor.

 

INT. Ė KANINíS OLD CHAMBER

Luke in his bassinet. Kanin is packing, Olivia is seated on the edge of the bed.

 

OLIVIA

Why canít we go with you?

 

KANIN

Where would you stay?

 

OLIVIA

I donít care where weíd stay,

weíd be with you!

 

KANIN

Livvy, I already jumped bail once,

you know what that means?

 

OLIVIA

No.

 

KANIN

It means theyíre going to keep me in jail!
Now, now you have to stay here.

 

Kanin throws up his hands in frustration. Olivia stands up and takes him in her arms.

 

OLIVIA

Come back to me.

 

KANIN

I will.

 

They hold each other.

 

EXT. -  CRIMINAL COURTS BUILDING

 

MRS. DAVIS  (V.O.)

So how did you find him?

 

INT. Ė CONFERENCE ROOM

Mrs. Davis stands in the conference room, she's talking to Catherine.

 

CATHERINE

He turned himself in.

 

MRS. DAVIS

Will I be able to say anything to him?

 

CATHERINE

Yes.

 

MRS. DAVIS

I donít know what to say to him.

 

CATHERINE

Say anything you want.
Heíll listen.

 

MRS. DAVIS.

So whatís his story?

Where has he been?

 

CATHERINE

He has a family.
A wife, a ten months old baby.

 

Mrs. Davis looks away. She crosses back in front of Catherine and walks deeper into the room. There is a table in the middle of the room, with a flask of water and two glasses.

 

MRS. DAVIS

A boy or a girl?

 

Mrs. Davis keeps walking as she listens to Catherine, until she reaches the back of the room.

 

CATHERINE

A boy.

It was hard for him to leave them.

 

MRS. DAVIS

Iím so nervous.

 

CATHERINE

Can I get you something?
A glass of water or something?

 

Catherine steps to the table to reach for the flask and a drinking glass.

 

MRS. DAVIS

No.

 

A young policeman opens the door and lets Kanin in. He is dressed in a light blue shirt and jeans. Mrs. Davis is still facing the back wall. She slowly turns to look at Kanin. He looks at her as she continues to look at him. Both are anguished. Kanin finally speaks.

 

KANIN
(softly)

Iím sorry.

(a long pause, then he speaks a little louder)

Iím sorry.

 

Mrs. Davis closes her eyes as a tear runs down her cheek.

 

MRS. DAVIS

I am, too.

 

Kanin also has tears on his face. Mrs. Davis slowly approaches him. She pauses when along side him, not yet looking him in the eye. Kanin turns his head to meet her gaze. Finally, she is able to look at him. He feels uncomfortable under her gaze and shifts his around a bit, still coming back to look at her. She extends her fingers toward his hand. At the last moment, she drops her hand, and walks out the door. Kanin stands there, breathing somewhat heavily. Catherine looks on in sadness.

 

EXT. -  CENTRAL PARK

One shot of the bridge. Shift to another shot of a walkway in the park. Pull back to the city skyline at night.

 

EXT. Ė CATHERINEíS BALCONY

Close up of Vincent sitting on the floor of the balcony, leaning up against the wall.

 

VINCENT

ďWhat though the radiance which was once so bright

Be now for ever taken from my sight,

Though nothing can bring back the hour

Of splendour in the grass, of glory in the flower;

We will grieve not, rather find

Strength in what remains behind;

In the primal sympathy

Which having been must ever be;

In the soothing thoughts that spring

Out of human suffering;

In the faith that looks through death,

In years that bring the philosophic mind.Ē

 

Catherine sits next to him, her arms wrapped around one of his, her head resting against his shoulder, her eyes closed. Vincent looks at her and shifts as he closes the book.

 

CATHERINE

Iím not asleep.

 

VINCENT

No?

 

CATHERINE

Mm-mm... Just in that wonderful place in between.

 

VINCENT

Where everything shimmers and floats.

 

CATHERINE

Am I floating?

 

VINCENT

Yes.

A great burden has been lifted.

 

CATHERINE

They both seem finally freed.

Now maybe the healing can begin.

 

Vincent turns to Catherine, and kisses the top of her head.

 

VINCENT

Rest now.

 

CATHERINE

As long as you keep reading.

 

Vincent opens the book again. Catherineís eyes have remained closed.

 

VINCENT

ďAnd O, ye Fountains, Meadows, Hills, and Groves,

Forebode not any severing of our loves!

Yet in my heart of hearts I feel your might;

I only have relinquished one delight

To live beneath your more habitual sway.

I love the Brooks which down their channels fret,

more than when I tripped lightly as they;

The innocent brightness of a new-born Day

Is lovely yet;

The Clouds that gather round the setting sun

take a sober colouring from an eye

That hath kept watch o'er man's mortality.Ē

 

FADE TO: a starry sky then to BLACK

 

 

THE END

 

 

 

 

Closing credits

 

 

Executive Producers

Paul Junger Witt

Tony Thomas

Ron Koslow

 

Associate Producer

Anthony Mazzei

 

Coordinating Producer

David F. Schwartz

 

Co-starring

Ellen Geer Ė Mary

Chris Paul Davis Ė John

 

Unit Production Manager

Tony Brown

 

1st Assistant Director

John Hockridge

 

2nd Assistant Director

Joseph John Kontra

 

Art Director

Joseph Hubbard

 

Set Decorator

Peg Cummings

 

Property Master

Allan J. Gordon

 

Literary Consultant

Patricia Livingston

  

Main Titles

Robert Farina

Chris Arnold

 

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

Carl Swartz

 

Stunt Coordinator

John C. Meier

 

Special Effects Coordinator

Gary Bentley

 

Costume Designer

Judy Evans

 

Casting by

Joyce Robinson C.S.A.

&

Penny Ellers C.S.A.

 

Beast designed & created by

Rick Baker

 

Matte Paiting & Special Visual
Effects by ILLUSION ARTS

 

Lenses & Panaflex ģ Camera by

Panavision ģ

 

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