BEAUTY AND THE BEAST
ďA Gentle RainĒ
Aired Episode Transcript Ė original air date: February 17, 1989
ďA Gentle RainĒ
Director of Photography
Stevan Larner A.S.C.
George R.R. Martin
Kenneth R. Koch
M.M. Shelly Moore &
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)
(calling over his shoulder)
CATHERINE enters the chamber, holding a basket of flowers. She stops and looks around in wonder.
(lighting more candles)
You like it?
Itís beautiful. Itís perfect.
How could Kanin carve solid rock
into something like this?
Because he trained himself.
I donít think he knows what canít be done.
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.
When he asked me to light the candles,
†I thought he meant four or five.
How much time do we have?
We should hurry.
Was Oliviaís first husband this romantic?
How can I judge?
I didnít know Kanin was this romantic.
Catherine laughs. Vincent nods his head toward an area behind her.
In there, too.
section of the cavern
Vincent indicated, also
by multiple candles. She stops
a double bed with a high,
carved headboard, with
delicate pillows atop a white bedspread. Catherine sighs at the sight.
Still lighting candles in the
Vincent turns his head toward her. Catherine walks
the bed and lays
the flowers about the bed. Vincent stands, watching. Catherine removes a
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,
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.
(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.
No, not yet.
Catherine runs up to Vincent, reaching for him. He holds out his hand to her.
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.
Okay, now come and stand right over here.
Turn this way. Are your eyes closed?
Keep them closed, now.
(he reaches up to undo the blindfold)
Okay, open them.
(Olivia opens her eyes)
Olivia stands, taking it all in. Slowly, she turns, the camera panning with her, seeing all the lit candles, the space, the bed.
You like it?
Is it ours?
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.
There always seemed to be another family
whose need for a chamber was greater than his own.
I think Olivia had given up.
Kanin approaches, carrying his son.
Hi. Here he is.
Kanin hands Luke to Catherine. Catherine smiles as she takes the baby.
Tell Mary one of us will be by for him
first thing tomorrow morning.
You be a good boy. I love you.
Vincent, Catherine, thank you.
Vincent takes Luke's outstretched hand and kisses it.
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!
Back in the chamber, Kanin gives Olivia a kiss on the cheek.
I also have one more present for you.
Kanin produces a small wooden box. Olivia takes it and slowly lifts the lid to discover a music box. It plays a gentle tune.
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.
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.
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.
(sensing something is wrong)
Whatís the matter?
Nothing. What are you doing here?
I brought you your lunch. Whatís wrong?
(he reaches for the container)
(he leans over and kisses her cheek)
IÖ IÖ I have to go back to work.
Are you sure youíre all right?
Yeah. Thanks for bringing this.
They stand looking at each other briefly. Olivia smiles, then turns to leave.
She turns to look at him. They stand uncertainly. Kanin finally speaks.
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.
Just in time.
That was quick.
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.
(pounding rock again)
Yeah, I know. †
(he stops, looks at Vincent)
Thanks again for your help last night.
Was Olivia surprised?
Yeah. Must be a worldís record
for keeping a secret.
How long before the room is ready to move in?
Ah, well now that Livvy knows, †
I figure Iíve got about a week, at most.
Luke will probably celebrate
the occasion by walking for you.
(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.
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.
(on the phone)
Hang on, Charlie.
Catherine watches Joe place the stack of files on her desk. She stares at the stack.
Joe opens a candy dish on her desk and helps himself.
Itís your turn.
Just some odds and ends.
Joe, I am swamped!
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.
(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
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.
I need to talk to Kanin.
Weíre right in the middle of this.
(re: the beam)
Are you sure?
Yeah, go ahead.
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.
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.
Do you believe there's a God, Catherine?
Do you believe if you pray very hard for something,
God will answer your prayers?
(thinking a moment, then sighing)
Kanin slowly turns to face Catherine.
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?
Why did you run, Kanin?
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.
Does anyone know?
So what are you going to do?
IÖ 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.
Kanin had Luke in his arms, and goes to put him down in his bassinet.
What is it?
Kanin comes back, and sits at the table. Olivia stands holding onto a chair.
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.
Catherine found something out
about me, about my past.
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.
But you donít drink.
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.
How is she bringing it up again?
Livvy, I ran.
Sixteen years ago, I jumped bail and I ran.
Thereís a warrant for my arrest.
Then, what you told usÖ
why you came hereÖ
It was a lie.
Olivia stands up and turns away.
Everything I told you was a lie.
Olivia turns to face him.
Kanin stands up and walks over to Olivia. He stoops to kiss her hand. The track of a tear shines beneath his right eye.
Catherine says I have to go back up.
Olivia looks at him, slightly shaking her head Ďno.í
I canít ask her to lie for me.
Kanin looks at Olivia with anguish. She reaches for him and he steps into her embrace.
INT. -† VINCENTíS CHAMBER
Vincent and Catherine sitting at the table
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?
How much trouble is he in?
He killed someone.
He jumped bail,
he hid out for sixteen years,
he was spotted and he ran again.
If there is a mistake he hasnít made,
I donít know what it is.
Now he has a wife and a son,
he's begun a new lifeÖ
(sighs in exasperation)
Ten other desks in that office,
why did this have to land on mine?
Vincent looks at Catherine.
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.
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.
Those case piles I put on your desk?
One was a DWI?
Yeah, well the motherís here.
(Catherine turns and glances behind her)
(she moves in front of Joeís desk)
She wants to talk to you.
WhÖ what about?
I donít know.
Sheís in the conference room.
Uh, well, Joe, I havenít done anything with it.
I know. Look, just go in
and see what she wants.
Iíll stick my head in in a few
minutes and rescue you, okay?
(nodding, very uncertain)
Is there a problem?
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 closes the conference room door.
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.
Have you been able to do anything?
No, not really.
†Well, is there something youíd like me to do?
No, not really.
Catherine walks around the table, pulls out a chair, but remains standing.
Are there any questions you want to ask me?
(looking through the file)
Uh, not yet, but I do have your
phone number if I need to call you.
You think youíre going to find him?
We will do everything we can.
And how long will it take? A week? Two weeks?
(she sits down and looks up at Mrs. Davis)
I donít wanna make any promises.
(she glances away)
I canít believe this has all come back.
There is a knock at the door and the door opens.
(steps into the room)
Excuse me. Cath, but, uhÖ
Joe, Iím in the middle of something.
Surprised, Joe looks from Cathy to Mrs. Davis, and back again.
Can it wait?
(shrugs his shoulders)
Joe backs out of the doorway and closes the door. Mrs. Davis sits down across the table from Catherine.
Iím very sorry. I know how
uncomfortable this makes people.
What will happen to him if you find him?
Well, heíll be brought up on charges
and there will probably be a trial.
And how long will that take?
Maybe a year until it gets into court.
(briefly closes her eyes)
I wish Iíd never walked into that hardware store.
Mrs. Davis, donít you wanna see this man found?
I want it for Joey.
And what about for yourself?
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.
CATHERINE sitting at her desk, staring at a photograph, the picture of Mrs. Davisí son, Joey.
FADES TO BLACK
END OF ACT TWO
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.
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?
You follow truth.
The truth is...
... 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?
Perhaps in making it possible
for these two people to finally release
To do that, Kanin has to come Above.
I donít see any other way.
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.
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?
Catherine will be there.
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.
Weíre all supposed to be a family here,
weíre supposed to take care of each other.
How can you just send him away?
But for the safety of the community,
we cannot harbor a criminal.
He isnít a criminal!
Thereís a warrant out for his arrest
and he has admitted the crime.
Technically, he is a criminal.
ďTechnicallyĒ he is one of the
most decent men youíve ever met!
Kanin walks over to comfort Olivia.
Has Catherine explained to you
that because this is your only offense,
the sentence may not be as harsh as we thought?
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)
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.
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.
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.
Then weíll leave.
Kanin walks over to Olivia. She looks up at him.
Yes! Yes, you know the
tunnels, you know places.
If these people donít want us here,
weíll find someplace else.
Livvy, this is your home,
this is where you were born.
Olivia, no one wants you
to find someplace else.
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.
VENDOR (off camera)
Youíre welcome, Miss Chandler.
Have I gotta talk to you.
I met this woman last night.
Congratulations! Whereíd you meet her?
I met her at the grocery store.
Thatís a healthy start.
Radcliffe, this is serious.
This isnít just any woman.
In fact, she isnít like any
other women Iíve ever met.
So she wasnít wearing spandex?
Excuse me, did I just say this was serious?
Now, my next move with this woman
could affect the rest of my life.
So whatís my next move?
You donít think itís too soon?
Ok, good. So far, so good.
I did. I called her.
Whatíd she say?
Joe and Catherine are interrupted.
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.
Iím sorry, I didnít mean to interrupt.
Ah, no, thatís okay.
Is something wrong?
I just havenít heard anything.
Catherine turns back to Joe.
Um, Iíll be up in a minute.
Joe walks off.
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.
Well, we are working on your case.
I just donít have anything to tell you yet.
Have you been to the hardware store andÖ
and talked to theÖ the people who work there?
No. The police will cover that.
No they arenít, I was just there, at the police station.
Nobody is working on this case.
Mrs. Davis, has something happened?
(Mrs. Davis sighs)
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,
IÖ I don't sleepÖ
(Catherine reaches out and takes her hand)
Itís just, I keep seeing him.
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.
(she wipes a tear from her face)
Kanin Evans will be prosecuted.
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.
Yes, but they canít go and live
in the tunnels outside the perimeter.
Oh they can, they can survive.
Itís just not the life any of us would wish for them.
Olivia was just being rash.
They reach the table. Father pulls out a chair while Vincent walks around to the other side.
She has her own concerns
about Kanin going topside.
Mmhm, yes, I suppose she does.
Well, what are we going to do?
We canít ask Catherine to lie.
WILLIAM appears in the entry.
MARY follows William into Fatherís chamber, followed by John and Mouse.
We may have to, Vincent.
Or maybe we can just feed Kanin to the wolves.
No one is gonna feed Kanin to the wolves.
Not being friend.
But our rules state quite clearlyÖ
Our rules donít apply here, Father!
Or we have to change them.
Or make an exception.
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.
We should wait for Kaninís decision.
The decision has been made.
He and Olivia are packing.
Theyíre not serious.
Are you forgetting
what Kanin has meant to us?
No, I am not forgetting.
Unfortunately, what Kanin
has done for us is not the point.
What the hell is?
Father, Kanin is no more
criminal than you or I.
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.
A woman up there is being
destroyed by all of this.
Because of her own vengeance.
That is not true.
People, weíre talking about Kanin here.
We donít know even know this mother.
Does justice belong only to the people we know?
No. Weíre saying the mother has
friends Topside and Kanin doesnít.
I am his friend.
Then let him go.
Everyone looks at Catherine. She bears their gaze stoically.
FADE TO BLACK
END OF ACT THREE
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.
Weíre leaving. Livvy wanted
something we left here.
Where will you go?
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.
Donít do this.
Donít do what? Donít stay with my family?
Donít care for them?
Theyíll be cared for here, you know that.
Kanin throws off Vincentís hand.
You prefer to run from this
for the rest of your life?
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.
(shaking his head)
I donít have that kind of courage.
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.
Then face her. Thatís what she needs.
Thatís the only thing
you can do for her, then do that!
It wonít do any good.
It will give her somebody to blame
and then, then it would give her
somebody to begin to forgive.
Sheís never going to forgive me.
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.
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.
Why canít we go with you?
Where would you stay?
I donít care where weíd stay,
weíd be with you!
Livvy, I already jumped bail once,
you know what that means?
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.
Come back to me.
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.
He turned himself in.
Will I be able to say anything to him?
I donít know what to say to him.
Say anything you want.
So whatís his story?
Where has he been?
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.
A boy or a girl?
Mrs. Davis keeps walking as she listens to Catherine, until she reaches the back of the room.
It was hard for him to leave them.
Iím so nervous.
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.
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.
(a long pause, then he speaks a little louder)
Mrs. Davis closes her eyes as a tear runs down her cheek.
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.
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.
Iím not asleep.
Mm-mm... Just in that wonderful place in between.
Where everything shimmers and floats.
Am I floating?
A great burden has been lifted.
They both seem finally freed.
Now maybe the healing can begin.
Vincent turns to Catherine, and kisses the top of her head.
As long as you keep reading.
Vincent opens the book again. Catherineís eyes have remained closed.
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
Paul Junger Witt
David F. Schwartz
Ellen Geer Ė Mary
Chris Paul Davis Ė John
Unit Production Manager
1st Assistant Director
2nd Assistant Director
Joseph John Kontra
Allan J. Gordon
Fred Blau Jr.
John C. Meier
Special Effects Coordinator
Joyce Robinson C.S.A.
Penny Ellers C.S.A.
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