Beauty and the Beast

 

 

 

 

 

The Beast Within

 

 

 

 

Episode 6

 

 

 

 

 

 

 

 

Original Air Date November 6, 1987

 

 

 

 

 

 

 

 

 

 

 

Director of Photography Ė Bradford May

Production Designer Ė John Mansbridge

Editor Ė Craig Ridenour

Music by Lee Holdridge

Supervising Producer Ė Ron Koslow

Co-Supervising Producer Ė Stephen Kursfeld

Producer Ė David Peckingpah

Producer Ė Andrew Laskos

Produced by Harvey Frand

Co-Producer Ė John David

Associate Producer Ė Christopher Toyne

Created by Ron Koslow

Written by Andrew Laskos

Director Ė Paul Lynch

Executive Story Consultant Ė George R. R. Martin

Executive Producer Ė Paul Junger Witt

Executive Producer Ė Tony Thomas

 

Guest Stars

Mitch Denton Ė Asher Brauner

Sam Denton Ė John McLiam

Frank De Corsia Ė Michael Pniewski

Jack Sweeney Ė Michael Alldredge

DA John Moreno Ė Bill Marcus

Ned Ė Stan Kamber

 

Supporting Cast

Jack McGee Ė McQuade

Monty Bane Ė Rado

Gisela Caldwell Ė Mrs. Sweeney

Cory Danzinger Ė Kipper

Michael J. London Ė Shanks

Robert Factor Ė Garza

Glen Fagin Ė Tom

Lindsay Fisher Ė Laura

Tom Flynn Ė Nico

J. Bill Jones Ė Frazer

 

 

ACT ONE

 

FADE IN:

EXTERIOR Ė DAY:

Opens on the docks, sea gulls are crying and flying about while long shore men are unloading heavy containers off a ship with a large crane. A truck drives away already loaded with a container. Workers in hard hats are handling boxes; another worker stands atop a container directing the crane. A Corvette pulls up and MITCH DENTON steps out.

 

MITCH

Ned!

 

NED a heavy set man walks over to him, chewing on a toothpick.

 

NED

Six hundred and twenty three guys at five

bucks a head, not a bad slice.

 

MITCH

Any trouble?

 

NED

Nah, the usual.

 

MITCH

What about Flynn?

 

He nods at the MAN who is directing the crane.

 

NED

Heís still making noises.

 

MITCH

Enough is enough.

 

Ned nods, knowing what Mitch wants done. Mitch opens his car door, gets in and pulls away. Ned catches the eye of the crane operator and gestures with the toothpick. The crane operator nods, turning the crane with the heavy container. One of the workers looks over at Ned.

 

NED

Flynn, middle container! Now!

 

CHARLIE FLYNN jumps off the container he was standing on to the ground.

NED

Okay, take it up.

 

The crane lifts the container high up into the air.

 

NED

Rado, letís get those drums off!

 

Flynn catches hold of one of the guide ropes attached to the rising container, ANOTHER WORKER stands close behind him. When the container is in position, the worker behind Flynn shoves him to the ground beneath the container.

JACK SWEENEY, another worker, has just walked up behind the two men and yells as Flynn is tossed to the ground.

 

JACK

Charlie!

 

The crane operator releases the container, and it falls to the ground right on top of Flynn. Flynn screams as he sees the container hurtling towards him, unable to get out of its way. He is crushed beneath it. Jack is thrown back. The workers converge on the fallen container, yelling. As Ned looks on, a small smile tugs at his lips.

 

NED

Hey.

 

Jack is shocked and leans back on a pile of boxes for support.

 

CUT TO:

 

EXTERIOR Ė NIGHT:

 

A lone taxi drives down a deserted street, a building boasting a sign that reads Katoís contains the apartment of a helper that Vincent is currently visiting. He stands above the bed as the flashing sign illuminates him. SAM, the man in the bed, groans in pain, turning his head and opening his eyes as he realizes that someone is in the room with him.

 

VINCENT

Hello, Sam. Are you all right?

 

SAM

I just drifted off.

Wasnít sure you were coming.

(Wheezes painfully)

 

VINCENT

Father sent you more medicine.

 

Vincent moves a chair closer to the bed, puts the bottle of medicine down on the night table and sits down.

 

SAM

Oh, that must be expensive. Where did he find it?

 

VINCENT

One of our friends, a helper . . . like youíve been.

 

SAM

I guess it all comes around, huh?

The good and the bad.

 

VINCENT

Kipper will be here tomorrow with food.

 

SAM

Thanks, I appreciate it. All of it.

 

VINCENT

You rest.

(He rises)

Iíll see you again soon.

 

SAM

Vincent? I donít know, but . . . maybe you

shouldnít come around here again. Not for a while.

 

VINCENT

(Putting the chair back where he found it)

Why not?

 

SAM

I hear Mitch is back.

 

VINCENT

(He freezes, his back to Sam)

Have you seen him?

 

SAM

No. He hasnít come around here yet.

But if he does, I donít want him causing you,

or anyone down there, any trouble.

Mitch is poison. Thatíll never change.

 

VINCENT

(Turning around and going to the bed)

You try not to worry about that.

 

SAM

Donít care so much, Vincent.

Not about people, people always let you down.

 

VINCENT

(Sitting on the bed)

You never let us down, Sam,

when we needed supplies or food,

you were always there for us;

weíll be here for you.

 

Vincent rises up off the bed and heads for the window. As he sits on the ledge, he looks back at Sam compassionately before leaving.

 

CUT TO:

 

INTERIOR Ė CRIMINAL COURTS BUILDING Ė DAY:

 

Catherine is walking through the busy common room, a pile of files tucked under one arm and a coffee mug in her other hand. She nods to co-workers as they bustle by, phones are ringing; the buzz of conversations is noisy.

 

CATHERINE

Morning.

 

She places her mug under the coffee urn as Edie comes up to her.

 

EDIE

Hey, girlfriend.

 

CATHERINE

Hi, Edie.

 

EDIE

Whatís going on in the conference room?

Something high level.

 

They look over and see Moreno shaking hands with someone.

 

EDIE

Are we preparing to invade New Jersey?

Why donít they consult me on these things?

 

CATHERINE

(Laughing)

ĎCause they know what youíd say.

 

EDIE

Yeah: forget Jersey, go directly to Rio.

 

CATHERINE

Rio? Staying home nights watching

old Fred Astaire movies?

 

EDIE

(Swinging her hair back)

My relationship with Fred is none of your business,

and if you must know, is more fulfilling

than all recent boyfriends put together.

 

They share a laugh and Edie once again looks over at the men in front of the conference room.

 

EDIE

Who are those guys?

 

CATHERINE

Union officials from the docks.

 

EDIE

Sounds serious to me.

 

CATHERINE

It must be; theyíve got me reading case files.

 

EDIE

Shh, you better get to it.

 

As Catherine leaves Edie and heads for her desk, Edie picks up a mug of coffee and calls out to her.

 

EDIE

Cat! Letís do lunch, you buy.

(She points her finger at her)

 

CATHERINE

If they donít need me.

As she rounds her desk, Joe comes over to her.

 

JOE

Hey, howíre you doing with that stuff?

 

CATHERINE

Getting a pretty grisly picture of life on the docks.

 

JOE

The mobís making a major move against the union.

This could be a big one for everybody, Radcliffe.

High visibility.

 

CATHERINE

Am I on it?

 

JOE

We need somebody we can trust not to make mistakes.

A mistake down there not only blows the case, it could kill you.

 

CATHERINE

(Eagerly)

Am I on it, Joe?

 

JOE

Look, I want you to know going in; it could be dangerous.

 

CATHERINE

I can handle it.

 

JOE

(Smiling)

Yeah, I know you can; thatís why we want you on it.

Come on, the boss wants to see you.

 

Joe knocks on the door of the conference room. Moreno is sitting on the table in front of a man seated in a chair. They both stand as Joe and Catherine enter the room.

 

MORENO

Thereís someone Iíd like you to meet.

Frank De Corsia . . . Cathy Chandler.

(They shake hands)

 

FRANK

Ms. Chandler, good to meet you.

 

CATHERINE

That was an impressive piece on

your union in Sundayís paper.

 

FRANK

Made me sound a lot more important than I am.

 

JOE

Not according to the Waterfront Commission.

 

MORENO

Frank cleaned up his local almost single-handedly,

and heís done a fine job of keeping the mob off the docks.

 

FRANK

Itís like killing roaches, they always come back.

 

CATHERINE

The accident on the docks last week?

 

FRANK

The strong-arm guys are trying to turn back the clock

and muscle their way in again. Weíve gotta move

fast before they get their hooks in too deep,

especially now that Dentonís out of prison.

 

MORENO

Mitch Denton was the enforcer on the docks

a few years ago.

 

CATHERINE

I read the summary of his trial;

he went up for extortion.

 

JOE

Yeah, we tried to nail him for murder.

He beat the rap.

 

FRANK

Now heís back . . . and his lousy circus

is starting again.

 

CATHERINE

And Charlie Flynn is dead.

 

FRANK

Flynn had guts; he was prepared to testify

against Denton. Denton got to him first.

 

MORENO

Ms. Chandlerís been quite successful

in bringing witnesses forward.

 

FRANK

Iíd like you to meet some of the men who

were there when Charlie Flynn was killed.

 

CATHERINE

Fine . . . Sounds like a good place to start.

 

CUT TO:

 

EXTERIOR Ė DAY:

 

Catherine is with Frank in his car driving along the docks. Thereís a boat tied up, men are walking to and fro, trucks loaded with containers and pulling out.

 

FRANK

My dad swore I was not going to spend my

life in the hold of a cargo ship like him.

I went to college on a union scholarship.

 

CATHERINE

But it sounds like you have the waterfront

in your blood.

 

FRANK

(Chuckling)

Yeah, they say this place breaks the backs

of its workers and harbors the scum of the world.

Thatís all true. But I love it . . . stink and all.

 

They get out of the car.

 

CATHERINE

You have witnesses who saw the container fall?

 

FRANK

D and D witnesses.

 

CATHERINE

D and D?

 

FRANK

Deaf and dumb.

 

He leads her to a door, opening it for her. Inside, they enter a lunch room where three longshoremen are currently eating.

 

FRANK

Iíd like you to meet a friend of mine.

This is Cathy Chandler from the DAís office.

 

JACK

What makes you so sure we want to meet her?

 

MAN ONE

I thought this was supposed to be a union inquiry?

 

MAN TWO

About the accident.

 

FRANK

Nobodyís so sure it was an accident.

 

CATHERINE

You were all there; Iíd like to know what you saw.

 

MAN TWO

I didnít see nothing.

 

MAN ONE

I was loading boxes. I didnít get there

till afterwards, after he was dead.

 

Catherine looks at Jack who is standing with his back towards her at one of the vending machines. He turns to look over his shoulder.

 

CATHERINE

Did you see the container come down?

 

JACK

I donít know anything about it.

 

FRANK

Come on Sweeney, Charlie Flynn was your

friend. Arenít you sick and tired of Denton

breathing down your necks? Every time

that hiring boss blows his whistle, youíre

paying him off just to keep working.

 

JACK

I got nothing to say to either of you.

 

CATHERINE

Okay, Mr. Sweeney.

 

JACK

Letís get out of here.

 

The three men leave the room.

 

FRANK

(Imploringly)

Come on, guys.

 

Frank and Catherine leave the building.

 

FRANK

You canít give up down here; thatís the first rule.

 

CATHERINE

Itís a good rule.

 

FRANK

Keep hitting from all sides.

 

An altercation is going on a few feet away from them.

 

RADO

(Shoving another man in the chest)

Want to stay healthy? Hmm? Hmm?

So wise up, eh?

 

Frank walks over to them; he pushes the man into the side of a building.

 

FRANK

(shouting)

Get the hell off this pier.

 

The man comes back at him, and Frank grabs him by the front of the shirt and smashes a knee into his groin. The man sinks to the ground, and Franks pins him down with a foot.

 

FRANK

Keep your hands off my men.

Tell your boss. Got that?

 

Frank lets the man up and he stands up and moves away.

 

CATHERINE

What was that about?

 

FRANK

One of Dentonís gorillas.

 

They head back to the car.

CUT TO:

 

EXTERIOR Ė CATHERINEíS APARTMENT BUILDING - NIGHT:

 

The city at night viewed from her balcony.

 

CATHERINE

Itís so peaceful and quiet out there tonight.

 

VINCENT

But thereís a storm raging within you.

 

CATHERINE

You felt it?

 

VINCENT

(Closing his eyes)

I can almost hear it.

All your feelings, colliding, thundering.

 

CATHERINE

Vincent, Iíve been given a chance to do

something important at work.

Itís a great challenge, the riskÖ

 

VINCENT

Is it a risk worth taking?

 

CATHERINE

Itís a chance to help honest men keep

their jobs, a chance to make a difference.

Itís everything I wanted. But Iím afraid.

 

VINCENT

Of what, Catherine?

 

CATHERINE

Failure? The danger . . .

 

VINCENT

You canít fail.

 

CATHERINE

I hope not.

 

VINCENT

You have the strength, you have the courage,

we both know that, so you must use them.

I only wish I could be there for you,

to keep you safe . . . always.

 

CATHERINE

You are.

 

CUT TO:

 

EXTERIOR Ė NIGHT:

 

Outside of Sam Dentonís apartment, TWO YOUNG THUGS head into the building.

 

INTERIOR Ė SAMíS APARTMENT:

 

Sam is perched on crutches, spooning some food out of a pot into a plate. The two thugs rush up the stairs as Sam carefully maneuvers himself and his meal to the table. The two men crash through the door as Sam eats his meal, startled he turns around.

 

THUG ONE

Hey, grandpa, how ya doing?

 

SAM

Get outta here, leave me alone.

 

THUG ONE

All alone.

 

SAM

Thereís a cop down the hallway,

and thereís the door.

(He points)

Use it!

 

THUG TWO

Youíre telling us where the door is?

You think weíre stupid?

(Turning to his friend)

He thinks weíre stupid.

 

SAM

(Grabbing his crutches)

Help me! Someone help me!

 

He tries to stand but he is pushed back into his chair.

 

THUG ONE

We donít want to hurt you, grandpa.

(Suddenly there is a knife in the manís hand)

But you gotta talk to us.

You gotta tell us where the money is.

 

SAM

I donít have any money. Please.

 

THUG TWO

The old manís wasting our time.

Cut him!

 

The man with the knife lunges at Sam. Sam grabs the manís wrist, deflecting the thrust but falls to the floor, the second thug holds him.

 

SAM

Help me! Help me!

 

Suddenly Mitch Denton appears and kicks the knife out of the manís hand. He grabs him by the shirt and punches him in the face. The second thug throws a lamp at him. He ducks and throws the man into the wall, his forearm tight against his throat.

 

SAM

Mitch!

 

The first thug tries to pull Mitch away, but gets an elbow to the face. Mitch throws the man he was choking into the other and pushes them both out the door. The two robbers go racing down the stairs; Mitch turns to his father.

 

MITCH

Pop! Pop, you okay?

 

SAM

(Rolling to his side)

Yeah, Iím fine . . . fine.

 

Mitch helps him up to the couch.

 

MITCH

What the hell happened?

 

SAM

Theyíre scavengers, lousy scavengers;

they broke in.

 

MITCH

Youíre lucky I come by.

 

SAM

Yeah.

 

Mitch grabs a chair from the table and places it closer to his father.

 

SAM

Why did you?

 

MITCH

Is it so terrible to want to see your old man?

I heard you were sick; I was worried.

 

SAM

I canít complain about your timing.

 

MITCH

Yeah, thatís more like it.

 

Mitch shifts from the chair to the couch.

 

SAM

Mitch, what is it you want from me?

 

MITCH

I just wanted to see you, Pop.

I swear thatís all.

 

SAM

You think that coming back here to see me is

going to open up a place in heaven for you?

 

MITCH

Thatís not it

(He stands)

I had plenty of time to think.

I know I caused you a lot of grief,

what I donít want . . . I donít want you

to hate me, Pop.

 

SAM

I donít hate you.

 

MITCH

(Sitting back down on the couch)

Look, let me get you out of here.

Let me move you into a decent place.

 

SAM

No, no.

 

MITCH

Listen to me, Iíll get you a nurse

to take care of you.

 

SAM

I got people to take care of me.

 

MITCH

Who? Vincent?

 

SAM

Heís been a friend, more than a friend.

 

MITCH

(Getís up)

More like a son?

 

SAM

Vincentís been good to me.

 

MITCH

Vincent wasnít so good to me.

 

SAM

He always wanted to help you.

 

MITCH

I put in five years behind bars because

Vincent wouldnít let me hide out

in those tunnels until the heat blew over!

 

SAM

Why canít you forget?

 

MITCH

I donít forget . . . and only God forgives.

 

Mitch leaves the apartment and heads down the stairs; he slams the stair post, then goes through the door that leads to the basement, an evil smile on his face. Light streaks in from a window as he walks to some boxes. Moving them, he uncovers a hole in the brick wall. Pushing some of the loose bricks aside, he cautiously steps through. He flicks on his lighter for a moment to get his bearings and then moves deeper into the tunnels. A tunnel sentry spots him and raises the alarm.

 

FADE OUT:

 

 

END OF ACT ONE

 

 

 

 

 

ACT TWO

 

FADE IN:

 

INTERIOR Ė TUNNELS:

 

Fatherís chamber, Vincent and Father are studying some maps.

 

VINCENT

Here, just below the twin chambers.

 

FATHER

A freshwater spring?

 

VINCENT

I knew there was one.

 

KIPPER

(Running into the chamber)

Intruder! Luke just tapped out a warning!

He spotted an intruder in the tunnels.

 

Vincent runs through the tunnels, his cloak flapping out behind him. Mitch walks slowly peering down the different tunnels. Vincent streaks by heading for Lukeís post. A door squeaks on rusty hinges as Mitch pulls it open. He goes through, pulling it shut behind him. Mitch stands in a large room full of pipes and pieces of equipment; he hears a noise.

 

MITCH

Whoís there?

 

Vincent strides out in front of him, and then slowly walks towards him.

 

MITCH

Vincent, donít you recognize me?

Iíve come home, old friend.

 

VINCENT

Youíre not welcome here.

 

MITCH

I couldnít resist a little nostalgia.

Came by to see my old man;

I thought Iíd check out the tunnels.

 

VINCENT

What do you want?

 

MITCH

You changed the tunnel entrances;

I got lost.

 

VINCENT

We changed them to keep out intruders.

 

Vincent stands like a rock, solid and still as Mitch walks around him.

 

MITCH

Me, an intruder?

I used to live down here, remember?

 

VINCENT

What I remember is our friendship as children.

Those times I remember.

 

MITCH

The day we went to the train yard: you, me,

Rennie, and Ike. Those hobos were chasing us;

they had their knives; they were going to carve

us up; and they were right on your heels.

Who held open the grate so you could slip

through by the skin of your teeth?

Who held open the grate?

Remember?

 

VINCENT

Yes . . . I remember.

 

MITCH

(Shouting)

Not well enough! Not enough to help

me when I needed help, when I was in trouble!

 

VINCENT

You betrayed our faith in you, our trust.

You ceased to be a part of us years ago.

 

MITCH

Thatís right, my old man stuck me down

here for eight years and what did it get me?

 

VINCENT

We offered you a chance for a better life.

 

MITCH

Living like a rat?

I had a chance for a better life and I took it.

 

VINCENT

(Shaking his head)

No . . . not a better life.

 

MITCH

Donít tell me that. You donít know anything.

Do you want to hear about the real world?

 

VINCENT

Is that the real world?

 

MITCH

It beats living in this hole!

Up there, if youíre smart,

you get anything you want.

After I ran away from here,

I had to sweat blood to get work.

Getting onto those docks took some doing.

A lot of mean guys were in the way.

 

VINCENT

So you killed them.

 

MITCH

Law of the jungle, you ought

to know something about that.

 

VINCENT

You were better that this . . .

you still can be.

 

MITCH

Noble Vincent, forget it.

 

VINCENT

Iíll guide you out.

Donít ever come back.

 

Vincent turns, walking away.

 

MITCH

Come back? Donít worry.

 

He follows Vincent out.

 

CUT TO:

 

INTERIOR Ė TUNNELS Ė FATHERíS CHAMBER:


He is looking at a map of the tunnels by Samís building.

 

FATHER

And we absolutely must seal up the

entrance below his fatherís building.

(He points with his glasses)

He canít be allowed to return.

 

VINCENT

Weíve already begun.

 

FATHER

Good, and we must secure all the

other entrances in that area.

(He waves his glasses over the map,

finally throwing them down, then walking around the table.)

I was afraid this might happen,

now heíll never leave us in peace.

How can an act of kindness go so wrong?

 

VINCENT

Your act of kindness to him was

the only kindness he ever knew.

 

FATHER

His father Sam was too ill to look after him;

I had to accept him. Besides he was . . .

was full of promise then; I know you

were fond of him. Maybe if Iíd been

more attentive, tried harder, worked with

him, but he would never listen.

 

VINCENT

I know what you feel, I felt it too,

when I looked at him,

I tried to find the face of a little boy

I knewÖall I saw was hatredÖand evil.

 

 

CUT TO:

 

 

EXTERIOR Ė CRIMINAL COURTS BUILDING Ė DAY:

 

Catherine approaches the computer console where Edie is busy typing on a keyboard. She sets down a Styrofoam cup by her friend.

 

CATHERINE

Anything?

 

EDIE

Dentonís walking the straight and

narrow since he got out of stir.

 

CATHERINE

Heís shaking down the whole waterfront.

 

EDIE

Nice and legal, at least on paper anyway.

This guy owns a bunch of small service

corporations that have contracts with

the shipping companies. Itís extortion

disguised to look like straight business.

 

CATHERINE

Thereís got to be a way to get him

off the street, even if itís for a day.

Otherwise Iíll never get the

cooperation of those men;

theyíre all terrified of Denton.

 

EDIE

Yeah, I wish some of that

terrified would rub off on you.

Denton is not the kind

of cat you play with, Catherine.

 

CUT TO:

 

EXTERIORĖ STREET Ė NIGHT:

 

CUT TO:

INTERIOR - BAR:

 

Frank and Catherine are seated at a table.

 

CATHERINE

You look tired.

 

FRANK

Sometimes fighting the good

fight beats the hell out of you.

 

CATHERINE

What do you do when youíre not doing this?

 

FRANK

Iím always doing this. Seems like Iím

always in a bar waiting to meet somebody

or on my way to a bar to meet somebody

after a meeting.

 

CATHERINE

No family?

 

FRANK

(Shaking his head)

Wouldnít be fair, would it?

 

CATHERINE

I guess not, not with your kind

of commitment.

 

FRANK

And there is some risk in this job.

 

CATHERINE

There is.

 

FRANK

Nothing you can do about it; canít let it

stop you, but it does make you think

twice about a family.

 

They spot Jack Sweeney strolling by the bar counter.

 

FRANK

Jack.

 

CATHERINE

Mr. Sweeney.

 

JACK

You didnít say anything about her being here.

 

FRANK

Just sit down for a minute.

 

JACK

I got nothing to say.

 

CATHERINE

We havenít asked you anything.

 

JACK

Want to ask some questions?

Ask him about the unionís investigation

of Charlieís death.

 

FRANK

You know our investigators couldnít

prove anything.

 

JACK

Who paid off the investigators?

 

CATHERINE

You know something, do you?

 

JACK

(Quickly)

No! I donít.

 

He goes to the bar and then turns back to them.

 

JACK

(Whispering)

Look, Iíve got to think of my family;

Iím sorry.

 

CATHERINE

Please believe me, I know the risk

Iím asking you to take, but we

can put you and your family into

a witness protection program.

 

JACK

Iíve said too damn much already.

 

He leaves the building.

 

Frank and Catherine leave as well.

 

FRANK

Itís tough to fight back when Dentonís

threatening their families with steel

pipes and baseball bats.

 

CATHERINE

All we need is Sweeney.

 

FRANK

Patience. Down here, thatís as important

as muscle. Want me to give you a lift?

 

CATHERINE

(Shaking her head)

Thanks. I got my own car.

 

FRANK

I appreciate you hanging in there

with me, Cathy.

 

CATHERINE

See you in the morning.

 

They part, each going their separate ways. As Frank starts his engine, the car blows up. Catherine is horrified, people are screaming.

 

FADE OUT:

 

 

END OF ACT TWO

 

 

 

 

 

 

 

 

ACT THREE

 

FADE IN:

 

EXTERIOR Ė CATHERINEíS BUILDING - NIGHT:

 

She is curled up on her couch in her night cloths, a sad expression on her face. Vincent taps on the window of the balcony door. Slowly she opens the door.

 

VINCENT

Catherine.

 

CATHERINE

(Her eyes are filled with tears)

Vincent . . . A good man was murdered

tonight.

 

VINCENT

Death almost took you . . .

I felt it.

 

CATHERINE

It came close.

 

VINCENT

Catherine, youíre in grave danger.

 

CATHERINE

I know.

 

VINCENT

Go no further with this.

 

CATHERINE

(Shocked)

What? What are you saying?

 

VINCENT

Stop . . . you must.

 

CATHERINE

I canít. . . . I have to see this through.

 

VINCENT

(Turning away from her, clutching the balcony rail)

If I ever lost you . . .

 

CATHERINE

Vincent, youíre the one who taught me to

face my fear and to find courage. I canít

pull back now; it would compromise everything

. . . me, the case . . . even what you think of me.

I have a chance to bring down the men

responsible for all of this. I have to.

 

VINCENT

A life without youÖwould be unbearable.

(Turning to look at her)

Take great care.

 

She nods. They gaze at each other for a moment and then he leaves.

 

FADE TO:

 

EXTERIOR Ė NIGHT Ė STREET:

 

Catherine pulls her car up to Jack Sweeneyís house, parks, and gets out. Inside JACKíS SON AND DAUGHTER are doing homework on the coffee table in the living room while he sips a cup of coffee at the dinning room table. Catherine knocks on the door and JACKíS WIFE opens it.

 

CATHERINE

Mrs. Sweeney?

 

MRS. SWEENEY

Yes?

 

CATHERINE

Iím Catherine Chandler with the

District Attorneyís office.

 

MRS. SWEENEY

Come in.

 

JACK

You donít give up, do you?

 

CATHERINE

Not very easily; Iíd like to talk to you

 

JACK

Look, Miss, uh . . .

 

MRS. SWEENEY

Please, sit down.

(She takes a seat at the dinning room table next to Jack)

 

JACK

What are you doing, coming to my home?

 

CATHERINE

Mr. Sweeney, I wouldnít be here

if it wasnít extremely important.

 

MRS. SWEENEY

Would you like some coffee?

 

CATHERINE

Yes, thank you.

 

JACK

Iíll tell you right now youíre wasting

your time.

 

CATHERINE

Was Frank De Corsia wasting his time?

Mr. Sweeney, itís got to stop.

 

JACK

What do you want from me?

 

CATHERINE

You know what I want, I want to know

if it was an accident. I want to

know if Mitch Denton was involved.

 

JACK

The only way to fix Denton is a baling

hook in a dark alley. Maybe one night Iíll

try just that.

 

CATHERINE

Heíll kill you first and plead self-defense.

You want to fix Mitch Denton?

Fight him in court with the union

and the D.A.ís office behind you.

 

MRS. SWEENEY

Sheís right, Jack.

 

JACK

Stay out of this, huh?

 

MRS. SWEENEY

Not this time. Weíre in this together.

 

CATHERINE

Someone has to take the first step;

itís the only way to stop the intimidation.

Mitch Denton and his men are counting

on no one having the courage to stand up to them.

 

JACK

You know what youíre asking?

If I testify against Denton, my life,

my familyís lives arenít worth this

cup of coffee. Iíd be risking everything.

 

CATHERINE

Iím aware of the risks, Mr. Sweeney.

But our witness protection program

can keep you and your family safe.

If necessary, weíll relocate you.

 

JACK

Now youíre asking me to give

up my life here; just pick up and move.

 

MRS. SWEENEY

What kind of life, Jack?

Living in fear, not knowing if

youíre gonna have work from day to day.

 

Jackís children come into the room

 

JACK

What are you doing?

Donít you have homework?

 

MRS. SWEENEY

This affects them, too; donít think

it doesnít.

 

TOMMY

Stand up to him, Dad. Donít worry

about us. Just do what you have to do.

 

JACK

Come here, Tommy.

It isnít only me, itís all of us.

We have to move, start over again

somewhere else, you have to

leave your friends, your school.

 

LAURA

You always told us doing the

right thing can be hard sometimes.

 

Jack looks around at the faces of his family and then locks eyes with Catherine.

 

JACK

OkayÖIíll testify.

 

CUT TO:

 

INTERIOR Ė CRIMINAL COURTS BUILDING Ė DAY:

 

Catherine, Joe, Jack Sweeney and a stenographer are in the conference room.

 

JACK

Then Charlie Flynn started talking about

going to the union, trying to get Denton

off our backs Ďcause Denton was shaking

us down again since he got out of prison.

 

JOE

And this Rado worked for Denton?

 

JACK

Sure, right from the beginning.

 

JOE

And you saw Rado push Charlie Flynn

under the container?

 

JACK

I was standing right there.

 

JOE

All right. Mr. Sweeney, what youíve just

told us is enough to send Denton away

again with any luck at all, for murder.

 

JACK

Sounds pretty good to me.

 

JOE

(Turning to Catherine)

Letís get Mr. Sweeney and his family

in the witness protection program, ASAP.

Will you handle that personally?

 

CATHERINE

Right away.

 

JOE

Weíre going to move you to a nice comfortable

house in the country with complete protection.

Weíll all breath a lot easier.

 

JACK

Finally get my house in the country.

 

JOE

Mr. Sweeney, I know this wasnít easy.

Thank you.

(He reaches across the table to shake hands)

 

JACK

Pretty persuasive lady you have here.

You know, itís been a long time since

I stood on my own two feet . . . feels pretty good.

 

CUT TO:

 

 

INTERIOR Ė RESTAURANT:

 

Mitch Denton is having a meal with Ned and Rado.

 

MITCH

Sounds like Sweeneyís getting ready

to sing for the D.A.; doesnít it?

 

RADO

All I know is the chick from the D.A.ís

office was at his house last night. Didnít

Sweeney go to the D.A.ís office this morning?

I ainít taking the rap, Mitch.

 

MITCH

He hasnít testified yet.

 

NED

What do you want to do?

 

RADO

We can hit him today on his way home.

 

MITCH

Itís gotta be bigger than that.

Itís gotta be a sign for everybody.

Weíll do it tonight . . . late.

 

NED

Make a house call.

 

MITCH

Make it a family affair.

 

CUT TO:

 

EXTERIOR Ė NIGHT:

 

Sweeny house, inside Catherine is helping the family pack their belongings into boxes.

 

LAURA

(Walks into the room with an arm load of stuff teddy bears)

Will there be enough room for all of them?

 

CATHERINE

Sure.

 

MRS. SWEENEY

Laura, youíre taking all of those?

You havenít even looked at them in years.

 

LAURA

I donít want to leave them behind.

 

CATHERINE

Thereíll be lots of room in the van thatís coming,

and anything you forget, weíll pick up later.

 

 

 

CUT TO:

 

EXTERIOR - NIGHT

 

Mitch, Rado and Ned are in a car driving to the Sweeney residence.

 

MITCH

It figures he lives way out in Queens.

 

CUT TO:

 

INTERIOR - SWEENEY HOME:

 

Jack comes down with some suitcases as the rest of the family tapes up boxes.

 

CUT TO:

 

Denton in the car.

 

CUT TO:

 

Inside the Sweeney house.

 

CATHERINE

(On the phone)

Weíre just about ready here.

Okay, thank you, see you soon.

 

CUT TO:

 

EXTERIOR - SWEENEY HOUSE:

 

Denton and his men pull up to the sidewalk.

 

 

MITCH

Letís go.

 

Theyíre just about to get out of the car when a police car and van pulls up to the house.

 

NED

Whatís that?

 

MITCH

Easy . . . just pull out easy,

Ned, real slow.

 

Catherine and the Sweeneyís walk out of the house while police go in to collect their belongings.

 

JACK

Ms. Chandler, I donít know how

to thank you.

 

CATHERINE

Iím proud of you both.

 

Mrs. Sweeney and Catherine hug.

 

MRS SWEENEY

Thanks for what you did for us.

 

CATHERINE

See you soon.

 

CUT TO:

 

INTERIOR - CATHERINEíS APARTMENT BUILDING:

 

Catherine gets out of the elevator and is just fitting her key into the lock when Denton and Rado come through the stairway door.

 

MITCH

Hey, Iím looking for a guy named Sweeney,

maybe you can help me.

 

FADE OUT:

 

END OF ACT THREE

 

 

 

 

 

 

 

 

ACT FOUR

 

FADE IN:

 

 

EXTERIOR Ė NIGHT:

 

Mitch and his men drive Catherine to a building by the docks.

 

MITCH

Thereís two things youíre gonna do for me

tonight; youíre gonna tell me what Sweeney

told you, and then youíre gonna tell me

where I can find Sweeney . . . Believe it,

youíre gonna tell me.

 

CATHERINE

Never!

 

MITCH

No?!

 

He grabs her and shakes her.

 

CUT TO:

 

Vincent feels her fear and begins to run.

 

CUT TO:

 

Interior of car.

 

MITCH

Donít you understand, this is the end of

the line, right now itís just a question

of whether itís quick and easy or slow

and ugly.

 

Vincent speeds through the tunnels.

 

CATHERINE

Maybe we can make a deal.

 

MITCH

What kind of deal?

 

She hits him across the Adamís apple and takes his gun out of his pocket, then bolts out of the car, running for cover. She hides behind a dumpster and fires off a shot at her pursuers. Rado returns her fire. Vincent is in the building and running towards her. Rado fires off another round, Catherine shoots him and he falls backward. Mitch runs towards her and she shoots again. Vincent comes upon the scene just as Catherine breaks from cover and Mitch shoots her in the back; she screams and falls to the ground right in front of him. Mitch sees him.

 

MITCH

(Frightened)

Letís get out of here.

 

Vincent crouches beside Catherine, rolling her over; she is limp, lifeless. Vincent anguished roar splits the air. Denton drives away as Vincent picks up Catherine and runs her to the hospital. Gently he lays her on the steps of the emergency entrance.

 

VINCENT

(Whispering)

Donít die, Catherine, if you dieÖso do I.

 

A car approaches and he reluctantly leaves her, turning for one last look before he goes.

 

Someone comes out of the hospital and sees her there. Catherine is wheeled into surgery as Vincent runs in search of Mitch.

 

DOCTOR

Operating team is scrubbed and ready.

Weíre going to O.R. Five.

 

Vincent races to a building where Mitch is hiding, guarded by a bunch of his men. Steam escapes from pipes making a hissing sound. Ned checks his revolver as he stands watch. Mitch paces nervously, smoking a cigarette.

 

NED

Mitch, relax youíre gonna have a heart attack.

 

Mitch moves along the cat walk high above the floor.

 

MITCH

George, if anything moves, shoot it!

 

He walks to the other end, another man is there armed with a rifle.

 

MITCH

Anything?

 

He goes back to where Ned is waiting.

 

NED

You scared of this guy or something?

 

MITCH

You idiot, you donít know what we unleashed.

 

NED

How do you know heís gonna come after you?

 

MITCH

Heíll come.

 

NED

I still donít get it, who is he?

 

MITCH

When he comes, youíll know who he is.

 

One of the guards thinks he hears a noise and goes to investigate, as he shines his flashlight around, Vincent soundlessly sneaks up behind him and breaks his neck. He throws the lifeless body to the ground. Mitch paces nervously as George now looks around. Vincent drops down right in front of him, growls and swats him.

 

MITCH

What was that?

(He runs to where he had last seen George.)

George! George!

 

He runs to the other side of the building, looking for the other guard.

 

MITCH

Alex!

 

He signals to Ned to go down to investigate.

 

MITCH

Go! Now!

 

Ned cautiously heads down the stairs with Mitch looking on. When he reaches the landing where the stairs turn, he spots a flashlight lying there. He squats down to pick it up and uses it to illuminate the way before him. As he disappears around the corner, Vincent growls, and Ned screams.

 

MITCH

Ned?

 

Ned staggers around the corner

 

MITCH

Ned?

 

Slowly Ned climbs the stairs, whimpering. As he gets nearer, Mitch starts to back up. He can see that Ned is covered in blood. He backs into a cement wall and suddenly Vincentís arm smashes through the wooden slats of the adjacent wall. Mitch screams and squirms away, falling to the ground. Terrified he crouches there as Vincent breaks all the way through, roaring. Quickly Mitch gets up and runs, Vincent follows close behind. Mitch scrambles around the cat walk trying to get away, but itís no use. Vincent confronts him on a narrow walkway and backs Mitch into a wall. Mitch is sobbing in fear, pleading with him.

 

MITCH

Please, please, Vincent,

Mother of God, donít. Please donít.

 

Vincent is terrifying in his anger as he growls and snarls at his quarry, his teeth bared and gleaming in scant light.

 

PAN AWAY TO:

 

EXTERIOR Ė HOSPITAL:

 

CUT TO:

 

Catherine lying in a bed connected to a beeping monitor; slowly she wakes up.

 

CATHERINE

(Whispers)

VincentÖ

 

CUT TO:

 

INTERIOR Ė BUILDING:

 

Vincent suddenly stops in mid growl, his eyes widen; he looks at the sobbing man in front of him.

 

MITCH

Please, donít.

 

VINCENT

(Looking down at Mitch)

Thereís nothing left of you . . . nothing.

 

Vincent walks away.

 

CUT TO:

 

EXTERIOR Ė HOSPITAL Ė NIGHT:

 

Catherine slowly opens her eyes and focuses on Vincent.

 

CATHERINE

Vincent?

 

VINCENT

Shh...

 

CATHERINE

(Sighing)

Youíre here?

 

VINCENT

Iím here.

 

CATHERINE

I had a dream about you.

 

VINCENT

About me?

 

CATHERINE

We were walking down Fifth Avenue,

the sky was blue . . .

 

VINCENT

And then?

 

CATHERINE

Then . . . you bought me ice cream,

no one looked twice.

 

Vincent chuckles as Catherine closes her eyes and drifts back to sleep. He stands over her hospital bed, watching over her.

 

FADE OUT:

 

 

THE END