BEAUTY AND THE BEAST

ďGod Bless The ChildĒ

Aired Episode Transcript Ė original air date: December 16, 1988


Opening credits:

Beauty and the Beast

Starring

Linda Hamilton

Ron Perlman

as ďVincentĒ

Roy Dotrice

Jay Acovone

Ren Woods

 

ďGod Bless The ChildĒ

 

 

Guest Starring

Katy Boyer

 

and

Willard E. Pugh

 

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 Kurzfeld

 

Producer

George R.R. Martin

 

Produced by

Kenneth R. Koch

 

Co-Producers

Alex Gansa

Howard Gordon

 

Created by

Ron Koslow

 

Written by

Alex Gansa &

Howard Gordon

 

Directed by

Gus Trikonis

 

 

 

ACT ONE

 

FADE IN

EXTERIOR NIGHT- SCENES OF NEW YORK CITY SKYLINE

Various montage scenes of New York City dressed in Christmas holiday decorations; people are ice skating with Santa at Rockefeller Center; the Christmas Tree is lit with white angels trumpeting before it.† A young womanís voice can be heard in conversation with another person.

LENA

(as voice on a telephone)

I donít know whatís happening to me.

Iím on the street, I keep moving,

but itís like Iím invisible, you know?

Like if Iím not around tomorrow,

believe me, no oneís even going to notice.

I just canítÖ

 

CATHERINE

(as voice on a telephone)

Iím listening. Whatís your name?

 

LENA

Lena.

 

CATHERINE

Lena. Are you alone right now?

 

LENA

Iím always alone.

Look, just forget it.

It doesnít matter.

 

CATHERINE

It does matter.

 

LENA

No, youíre wrong.

I just want it to be over.

 

CATHERINE

Lena! Think!

There must be someplace

you can go, someone you

could talk to, a friendÖ

FADE TO:

INTERIOR- CRISIS CENTER

A non-descript office, a desk. A hand is seen holding a pencil and lightly touching a sign taped to the desktop, that reads:

 

Crisis Counselors

Please Remember:

Effective Intervention

Not Personal Involvement

 

Catherine sits at a desk with the phone to her left ear. A nicely decorated Christmas tree sits in the back of the room. We keep hearing Lena's voice on the phone.

 

LENA

God, Iím scared.

 

CATHERINE

(holds the phone with her right hand

to free her left hand look at her watch)

My shift is over in about 15 minutes.†

Can you meet me for a cup of coffee?

(listens)

How does that sound?

 

LENA

I donít know.

 

CATHERINE

Where are you calling from?

 

LENA

Broadway...down by 12th.

 

CATHERINE

We can just talk if you want, thatís all. Okay?

 

LENA

(hesitating)

Yeah, okay.

 

CATHERINE

Good. I know a diner two blocks

from where you are.

 

FADE TO:

EXTERNAL Ė CITY STREET IN FRONT OF AGAMENON'S DINER

A city street, in front of a diner. A lone figure stops to look in the window.

 

FADE TO:

INTERNAL Ė INSIDE OF DINER

Inside, Catherine and another young woman are seated in a very ordinary diner, in a booth. The benches are an avocado green and the tabletop is brown and bare of any covering. Catherine sits on the left side with a cup of coffee in front of her and her companion sits across from her on the right, a young blonde woman, wrapped up in a leopard coat and brown scarf. The song ďJingle BellsĒ plays in the background.

 

CATHERINE

Iím glad you came.

 

LENA

Free cup of soup, right?

 

CATHERINE

Sure. Why not.

(sighs)

I know itís hard, opening

up to a stranger. I have a

tough time with that myself.

But you soundedÖ

(exhales)

Iím not exactly sure why Iím here,

or what I can do. You could just

tell me whatís on your mind.

Or if you want, we can just sit.

 

LENA

(avoids looking directly at Catherine)

You never told me your name.

 

CATHERINE

Catherine.

 

FADE TO:

INTERNAL Ė INSIDE OF DINER

Lena stirs an almost empty bowl of soup with different kinds of vegetables in it. We get our first good look at Lena. Her coat is now off. Her hair hangs limply down the sides of her face; it looks as if it hasnít been washed in a while. She still doesnít look Catherine in the eye. Itís obvious that the young woman is pregnant. ďThe First NoelĒ is playing in the background.

 

LENA

I...did what I had to do.

 

CATHERINE

You donít know who the father is?

 

LENA

(shakes head slightly)

No.

 

CATHERINE

Thatís okay.

 

LENA

(finally looking directly at Catherine)

Then how come it feels so bad?

 

CATHERINE

LenaÖ

 

LENA

Itís gonna grow up to be just like me.

When I think of thatÖ

 

CATHERINE

Your babyÖ

is about what can be,

not about what is. If you donít believe that,

then nobody will. Iím not saying it is easy,

because it isnít. But it is possible.

 

LENA

(desperate)

Donít tell me that, cause you donít know.

Things donít change, not on the street.

You...look into the houses and...you can see

what itís like inside. You see the lights,

the Christmas tree, people...talking and laughing,

And...you get this cold feeling

on the outside, like...youíre never

gonna be the one whoís in there.

 

Lena looks down at the table, defeated, near tears.

 

FADE TO:

EXTERNAL NIGHT Ė CATHERINEíS BALCONY

Vincent leans against the balcony railing, listening to Catherine. Catherine stands in front of her closed balcony doors which are outlined with multicolored little Christmas lights. She wears a sweater coat, her hands in the pockets.

 

CATHERINE

There was something in her voice.

I donít know, a calling out to be

a part of something, to belong.

(sighs)

Sheís really just a girl,

alone in a dangerous city.

(sighs)

And itís Christmas.

 

Catherine moves closer to Vincent, then away again, as if pacing.

 

VINCENT

So many come into your life, Catherine.

This girl must have truly touched you.

 

CATHERINE

Sheís dying, Vincent.

The streets are killing her.

And sheís fighting to hold on

to her spirit. And sheís carrying a child.

She told me that she would

rather see the baby die than

bring another life into this world.

 

Catherine has moved to Vincentís side at the balcony rail, leaning toward him to emphasize the despair in Lena.

 

VINCENT

How can it be that this world could

have no more to offer her?

 

CATHERINE

(sighs, and turns away, then comes back again)

Iíve talked to a dozen social workers

and a dozen shelters, but I donít thinkÖ

I know she wonít respond.

She doesnít have the

strength anymore, or the hope.

 

VINCENT

Then she has lost her way.

 

CATHERINE

(walks to the left side of Vincent)

I am afraid to think what might happen to her,

Vincent, if sheís left alone.

Sheís so far away from herself.

I broke every rule by going to see her.

 

VINCENT

Perhaps Father can break

a few rules of his own.

 

FADE TO:

INTERIOR Ė CATHERINEíS SUB-BASEMENT

Catherine has taken Lena to meet with Father at the tunnel entrance under her apartment building. Lena looks better with her hair washed and combed, and wearing some makeup on her face. She stands, looking stoically forward. Catherine leans against the tunnel wall beside Lena. Father stands a little distance from both of them. They form a triangle in the basement room, with Lena standing in the ray of light from Catherine's building.

 

FATHER

You were a prostitute.

(long pause)

Was there nothing else for you to do?

(Lena doesnít answer)

What has Catherine told you about where we live?

 

LENA

She told me itís a secret place

where people live together

and take care of each other.

I thought she was making it up.

 

FATHER

No, she wasnít making it up.

We have made a life together down here.

We built a home, and yes,

we really do try to take care of each other.

 

CATHERINE

And each of us is also responsible

for keeping this place safe

from those who wouldnít understand.

 

LENA

I can keep a secret.

 

FATHER

Whatever may happen?

 

LENA

Whatever happens.

 

FATHER

Good. Now Iím going to ask you

a difficult question. Ordinarily, thereís a process

by which people come to live with us.

Itís a slow and gradual process.

Our friends Above, like Catherine,

act as our eyes and ears,

judging need...trustworthiness.

Sometimes, as with you,

we are forced to make exceptions.

But we must ask ourselves:

why should we risk everything we worked

so hard to create?

Why should we trust you?

 

CATHERINE

Itís all right. Just...tell him what youíre feeling.

 

LENA

What Iím feeling? Iím feeling you got no reason

to trust me and I should just save you

the trouble and walk outta here myself.

But I canít. Iíve got someone else

to think about now. And itís not fair that this

baby should have to suffer just Ďcause

itís unlucky enough to get stuck inside of me,

instead of someone else.

(pauses, tearing up)

You give my baby a chance for something better

and I wonít mess it up.

 

FATHER

Donít be frightened.

You spoke your heart.

I want to welcome you.

 

Lena smiles, looks as if this is the first bit of kindness she has had in a long time.

 

CATHERINE

(sighs)

Good luck, Lena.

 

Father leads Lena through the basement entry into the tunnel proper as Catherine stands framed by the white light shining down, watching them leave.

 

FATHER

Come.

 

CATHERINE

Iíll come to see you soon.

 

Father and Lena progress down the tunnel. Messages on the pipes can be heard.

 

LENA

Whatís that sound?

 

FATHER

Oh, thatís how we communicate

with each other, tapping upon the pipes.

 

LENA

Come on, really?

 

FATHER

Yes, really.

 

LENA

(clutches stomach)

Oh!

 

Lena slides down the tunnel wall, finally sitting against it.

 

FATHER

(kneels down to Lena)

Itís all right! Now, donít worry.†

Sit, sit down. Ok, breathe,

breathe deeply.

(demonstrates)

Breathe into the pain.

 

FADE TO:

INTERIOR Ė FATHERíS CHAMBER.

Mary, standing slightly to Lenaís right, has her arms about Lenaís shoulders. Lena is seated, listening to Father during his examination.

 

Father finishes listening with his stethoscope and removes them from his ears.

 

FATHER

Itís a false alarm. And rest assured,

your babyís heart is strong and regular.

 

MARY

Come...Iíll take you to your chamber.

Itís a stoneís throw from mine,

so Iíll be close when youíre ready.

 

She helps Lena stand and begin to leave.

 

MARY

And donít worry.

Iíve delivered a hundred babies.

 

Samantha runs excitedly into Fatherís chamber. She goes directly to Father, who has moved to where his medical bag sits on the table, and begins putting away the instruments he used to examine Lena.

 

SAMANTHA

Father! Father! Look what I made for Vincent!

 

She holds up what looks to be a green rock with holes in it, which Father takes from her and examines quite curiously.

 

MARY

Oh, thatís beautiful! What is it?

 

SAMANTHA

Itís a pen holder.

 

FATHER

Why, of course. What else?

And I happen to know,

thatís exactly what he needed.

 

SAMANTHA

(excitedly)

Iím giving it to him right now!

 

Samantha turns and prepares to leave as quickly as she came.

 

FATHER

Uh, Samantha...

 

Samantha pauses at the top of the short stairway into the chamber.

 

FATHER

This is Lena.

Sheís our new friend.

 

SAMANTHA

Hi! Bye!

 

LENA

Whoís Vincent?

 

FATHER

Heís, uh, one of us.

Go now, child, and rest.

 

Mary helps Lena up the short stairway.

 

FADE TO:

INTERIOR Ė LENAíS GUEST CHAMBER

Lena is resting in bed, and hears hear children singing ďIt Came Upon A Midnight ClearĒ echoing in the tunnels. She rises, grabs her robe, and goes to search for the singing. She comes to the chamber where Father is leading the children in song. She hangs back in the tunnel hallway to listen. Eventually, the music stops, and Lena now sits on a rock outcrop, leaning against the tunnel side, listening to the conversations. Father is seated with the children gathered around him.

 

CHILDREN

Please, Father!

You promised!

Tell us a story about Vincent!

 

FATHER

Arenít you at all tired of that?

 

CHILDREN

(all speaking at once)

No! Father please! Itís great! Tell us!

Please! Itís Christmas!

 

FATHER

Very well, very well!

It was the twelfth of January...

the coldest day in the year.

 

SAMANTHA

Youíre the one who found him,

right, Father? Near St. Vincentís Hospital?

 

FATHER

Ahh, not exactly Samantha, no.

He was found and then

he was brought to me.

And he was wrapped in rags,

rather like a present,

but nobody wanted him.

Because of the way he looked.

 

KIPPER

ďThrow him out,Ē they said!

ďHeís not our problem.Ē

 

ZACH

We donít want him!

Leave him to the Topsiders!

 

FATHER

Yes, Vincent was different,

and you see, people are terribly afraid

of what they donít know. But soon,

very soon afterward, the people--

and they were mainly your parents and

grandparents--they accepted Vincent

and they grew to love the very differences

that at first made them so afraid.

 

SAMANTHA

You left out the part about his being sick.

 

FATHER
Iím so sorry. Youíre quite right,

I did, Samantha.

When Vincent first came to us,

he was very tiny and very sick.

 

ZACH

And he cried for three straight days.

 

FATHER

And he cried for three straight days.

And no one thought he would survive.

 

SAMANTHA

But you knew, didnít you, Father?

 

FATHER

Yes, I felt the strength in him.

But then came a time of terrible darkness

†in our world...a time we must never forget.

Then when I brought a friendÖ

 

Mary comes down the tunnel way and sees Lena seated.

 

MARY

Are you all right?

 

LENA

I was just listening.

 

FATHER

(in background, indistinct)

...a man on whom I builtÖ

 

MARY

Well, itís Fatherís time to be

with the children.

 

FATHER

(in background)

...many of you knowÖ

 

MARY

Itís time for you to be in bed.

 

Mary helps Lena stand and they begin to walk back toward Lenaís chamber.

 

MARY

Are you worried about the delivery?

 

LENA

I just wish it would be over already.

 

MARY

Thatís what everyone says.

 

LENA

Yeah?

 

MARY

Yes.

 

They reach the chamber, and Mary pulls back the covers, and pats the bed, beckoning Lena to it.

 

MARY

Good night, now.

 

She turns and heads toward the chamber entrance to leave.

 

LENA

Good night. Mary...

can I ask you something?

 

MARY

Humm?

 

Mary stops, and returns to Lenaís bedside. She helps Lena get her feet up on the bed and under the covers.

 

MARY

Of course.

 

LENA

I heard Father talking back there.

About Vincent.

 

MARY

What did you hear?

 

As they talk, Mary removes Lenaís robe from around her shoulders.

 

LENA

Not much. Just that heís different

from everybody.

 

MARY

Vincent is very special to us.

In some ways, itís his fate. Itís his life,

that holds us all together.

He protects us...and we protect him.

 

She helps Lena settle against the headboard and brings the covers up.

 

LENA

Will I ever get to meet him?

 

MARY

Youíll meet him. You sleep now.

 

She lightly caresses Lena on her chin before parting.

 

FADE TO:

INTERNAL Ė CHAMBER OF THE FALLS

Vincent sits, casting pebbles down into the cavernís river. Pulling back, a waterfall is seen in the distance, and Vincent sits with one leg over the side of the ledge. Rays of light shine in from the left, showing a haze. He hears someone approach, and pulls up his hood. It is Lena, carrying a water jug.

 

LENA

Youíre Vincent.

 

VINCENT

Yes.

 

LENA

Mary said this was the best water.

(fills a cup)

Want some?

 

VINCENT

(turns slightly in her direction)

No, thank you.

 

She puts down her cup and slowly approaches Vincent. Vincent tries to turn away.

 

LENA

Donít turn away!

Whatís wrong?

 

VINCENT

You donít understand.

 

LENA

Iíve been hearing about you.

Itís almost like you donít exist.

Youíre never around.

 

VINCENT

There are reasons.

 

LENA

What reasons?

 

VINCENT

We didnít want to frighten you.

 

Vincent begins to get up, turns to go with his back still toward Lena. She reaches out to stop him, holding onto his cloak at his back. He looks down, but stops.

 

LENA

I want to see you.

 

She gradually moves around Vincent, coming to his front. She reaches to removes his hood to better see his face.

Vincent stops her movement with his hands on her wrists, where she clearly looks at his furred hands and clawed fingers. She looks intently, curious but not alarmed.

 

VINCENT

LenaÖ

 

Vincent drops his hands. Lena continues to lower his hood, looking into his face. Vincent avoids looking her in the eyes.

 

VINCENT

Donít be afraid.

 

LENA

Iím not afraid.

 

She slowly lowers her hands by sliding them down his vest. Vincent finally looks into her eyes. They share a long look.

 

FADE TO BLACK

 

END ACT ONE

 

 

 

 

ACT TWO

 

FADE IN:

INTERNAL† Ė CHAMBER OF THE FALLS

Both Lena and Vincent are seated on the ledge by the cavern river. Vincent sits with one leg tucked under, and one knee up with his hands wrapped around holding him upright. Lena sits facing the river, both legs dangling over the ledge.

 

VINCENT

Donít punish yourself for feeling alone, Lena.

 

LENA

Iím trying not to feel that way anymore.

 

VINCENT

Good.

 

LENA

Itís hard. Itís all Iím used to.

But I never...would have dreamed

that there was a place like this,

or anyone like you.

 

She turns and smiles at Vincent.

 

VINCENT

Sometimes, if you let your mind go,

you can accept things you

wouldnít believe possible.

 

LENA

Yeah. I got real good at letting my mind go.

 

VINCENT

Where has it taken you?

 

LENA

Promise you wonít laugh?

(Vincent nods)

The mountains. Every day I used to

pass this travel agent.

I could see the poster through the window.

Steep, green mountains. Thatís where I went.

(long pause)

Donít you sometimes feel

like your whole life could be different?

 

VINCENT

It can be.

 

LENA

Vincent, have you ever

been to the mountains?

 

VINCENT

(he looks up, gazing outward)

No.

 

LENA

Me, either.

 

LENA

(grimaces in pain, doubling over)

Oh, God!

 

Vincent leaps up, picks up Lena, and carries her away.

 

FADE TO:

INTERNAL Ė LENAíS CHAMBER

There is a bed, and privacy screens about. Mary is walking Lena around the chamber to ease her labor pains. Father and Vincent are off to the side.

 

MARY

How do you feel?

 

LENA

Like Iím about to explode.

 

MARY

Is your back hurting you?

 

LENA

Yes.

 

MARY

Come here, Vincent!

(he walks over)

Now I want you to bend over just a little.

Now Lena, I want you to wrap

your arms around him.

Go on, itís all right.

It takes the pressure

off the spine. Now Vincent,

very slowly, I want you to

lift her up. Just a little!

 

Lena has her arms around Vincentís neck as Vincent bends slightly downward. Vincent straightens up, slightly lifting Lena off her feet.

 

LENA

Ohhh!

 

Lena sags into Vincent, looking directly into Vincentís face.

 

MARY

Howís that feel?

 

LENA

Better...

 

MARY

You let her down now.

 

As Vincent moves to let her down, their faces come very near; Lena stares intently at him the entire time.

 

FADE TO:

INTERNAL Ė LENAíS CHAMBER

Lena in bed and in labor, looking very uncomfortable. Mary is seated by her left side; Father stands next to Mary, holding Lenaís left wrist as he takes her pulse.

 

MARY

If it hurts, itís all right to cry out.

 

FATHER

(notices Lena drawing up her knees)

If you if you can, try not to raise

your legs yet. Thatís it.

Keep them straight.

(measuring Lena's pulse while looking at a pocket watch)

Well, youíre doing fine.

 

FADE TO:

INTERNAL Ė LENAíS CHAMBER

Later. Father and Vincent stand to the right side of Lena by the bed. Mary still sits on the left side.

 

MARY

Remember, breathe in when you

feel the muscles contract,

breathe out when they release.

Thatís good.

Breathe with the contraction.

 

Lena grasps Vincentís hand when another contraction hits.

 

MARY

Youíre very close now,

it wonít be very much longer.

 

VINCENT

Be brave.

 

LENA

Iím trying.

 

Father looks at Lena, looking at Vincent, and looks up at Vincent, looking back at Lena.

 

FADE TO:

INTERNAL Ė LENAíS CHAMBER

Lena lying flat in bed, looking tired, sweat beading on her face. She lies in bed panting from the exertion of labor.

 

MARY

Thatís good! Youíre almost there.

Donít bear down yet, donít bear down.

Short breaths.

(Lena pants)

Thatís right. Thatís good, Lena.

Let the baby do the work.

Go ahead, cry out if it hurts. It helps.

 

Lena screams out, then cries.

 

MARY

Itís time now, Lena.

Bear down.

 

Lena grunts, pushing as hard as she can. Soon, a baby is heard crying. Vincent bends down to Lena, and moves a pillow under her head. Father, muttering to the baby, wraps it and lays it in the crook of Lenaís arm.

 

FATHER

Yes, there we go, thereís a good girl.

Itís a little girl.

 

LENA

A girl?

 

FATHER

Yes, a daughter.

 

Lena smiles as she gazes at her daughter.

 

FADE TO:

INTERNAL† Ė LENAíS CHAMBER

Catherine sits by Lenaís bed, visiting her and the baby. A bright bouquet of flowers sits at her bedside.

 

LENA

Iíve almost forgotten how much it hurt.

Let me tell you something--it hurts!

But when I look at her, I forget.

 

CATHERINE

Sheís amazing.

 

LENA

Isnít she? I mean yesterday,

she wasnít even here. Now suddenly,

thereís this new life.

 

CATHERINE

You have a lot to be proud of. Youíre very lucky.

 

LENA

I guess I was due for some good luck, huh?

 

CATHERINE

You deserve it, Lena.

And no one can take it away from you.

 

LENA

I didnít...think it was possible.

So much has happened so fast.†

Yet it feels incredible, Cathy!

Like I filled up a part of me

I didnít even know was there.

 

Cathy and Lena move closer together, to the baby and marvel at her together.

 

CATHERINE

Hello.

(touches the baby's face)

Hello.

 

They giggle with the baby. Off in the distance, Father is speaking to someone. It turns out to be Vincent. They enter Lenaís chamber.

 

FATHER

ÖRosalind, no Imogen.

 

VINCENT

Please, Father. Imogen?

 

FATHER

Whatís wrong with Imogen?

 

VINCENT

For one thing, itís difficult to pronounce.

 

FATHER

It was good enough for Shakespeare.

 

VINCENT

Well, if itís Shakespeare youíre set on,

why not Juliet, or Maria?

 

CATHERINE
Whatís going on?

 

FATHER

Oh! We were discussing

possible names for the child.

 

VINCENT

After every birth, the child is welcomed

into the community with a naming ceremony.

 

CATHERINE

(wryly)

Donít you think Lena should have a say in it?

 

VINCENT

Of course!

 

FATHER

Yes, by all means! We were just, ah...speculating.

 

CATHERINE

I see.

 

Vincent nods.

 

LENA

Here, Vincent.

 

Lena gathers the baby to hand her to Vincent.

 

LENA

(to the baby)

Itís okay.

(to Vincent)

Hold her. Go on...

 

Vincent reaches to safely tuck the baby in his arms. Catherine looks on with wonder, longing, and perhaps some realization of Lenaís feelings. Vincent gazes tenderly down at the baby.

 

FADE TO BLACK

 

END OF ACT TWO

 

 

 

 

ACT THREE

 

FADE IN:

INTERIOR Ė OUTSIDE OF CATHERINEíS SUB BASEMENT

Vincent and Catherine stand across from one another in the entry; the light shining from above.

 

VINCENT

Our time together is always so short.

 

CATHERINE

Tell me something, Vincent,

before I have to go.

 

VINCENT

What should I tell you?

 

CATHERINE

(looking wistful)

Tell me how it felt to hold

a baby in your arms.

 

VINCENT

(sighs after a long pause)

There are no words.

 

They share a long look.

 

FADE TO:

INTERIOR - VINCENTíS CHAMBER

Lena walks toward the entrance to Vincentís chamber with the baby held in a sling in front of her, a book in her hand. Vincent sits at his table, reading.

 

LENA

Hello, Vincent?

 

VINCENT

Come in. Lord Byron.

You're already finished?

 

LENA

(smiling)

No, not yet. But Iím liking it.

Especially the letters.

 

VINCENT

Well then, you should keep the book.

 

LENA

Thank you.

 

Lena comes further into the chamber, crossing behind Vincentís chair to his right side.

 

LENA

Vincent...when we first met,

you remember how we talked

about feeling alone?

 

VINCENT

I remember.

 

LENA

Well, Iíve been thinking...

(she kneels down in front of him)

It doesnít have to be that way.

Not anymore.

All these things keep coming

back into my head--

Everything we talked about,

things I never talked to

anybody about before.

And I keep thinking about

when the baby came...

how you were there,

close to me...close to her.

 

Vincent draws back a bit, closes his eyes briefly, and begins to look away.

 

LENA

Let me love you, Vincent.

 

VINCENT

(expels a short breath, casting his head backward)

Lena...

 

Lena reaches out and places her hand over Vincentís chest.

 

LENA

I can feel your heart.

 

Vincent covers her hand with his, gently removing it.

 

VINCENT

I will always cherish the moment we first met--

how you saw me, how you accepted me.

 

LENA

You did the same for me.

 

VINCENT

I know, but what you ask now is impossible.

 

LENA

Why?

 

VINCENT

(Vincent looks down before looking directly at Lena)

Because, my heart is bound to another.

 

LENA

Catherine?

 

VINCENT

Yes.

 

LENA

Do you love her?

 

VINCENT

With all that I am, with

all that I can ever become.

 

LENA

But sheís not here.

Why isnít she with you?

 

VINCENT

She is where she needs to be.

I... I canít expectÖ

 

LENA
If sheís not here,

how can she love you?

 

VINCENT

Lena, you donít understand.

Her love opened the world for me.

 

LENA

WhatÖdo you think

youíve done for me?

 

Lena comes up to her knees in front of Vincent, shaking her head.

 

LENA

Donít you see?

Iíve never...loved anybody before.

 

Vincent looks away, shaking his head. Lena continues to look at Vincent, hurt.

 

FADE TO:

INTERIOR. Ė FATHERíS CHAMBER

Father and Vincent are talking in his chamber. Father is seated at his desk on the left; Vincent sits across the chamber at another desk.

 

FATHER

Well, clearly, she has misplaced her feelings,

projecting them onto you.

 

VINCENT

It's more than that, Father.

There is something true between us.

 

FATHER

Then you believe her love for you is real?

 

VINCENT

It is what Lena believes.

To deny that would be unfair.

 

FATHER

(rising from chair and walking toward Vincent)

Perhaps Catherine could speak with her,

help her understand.

 

VINCENT

No, Father. Not now. Not yet.

Lena is still too fragile.

 

FATHER

Vincent, you must be very careful.

Allow time to come between yourself

and Lena, and hope, in the meanwhile,

she will gain some perspective.

 

VINCENT

All her life she has known nothing

but rejection, and nowÖ

just when sheís come so far.

 

FATHER

You cannot encourage her, Vincent!

 

VINCENT

I know.

 

FATHER

Lena will not be alone in this.

That I promise you.

(pause)

Iíll have a word with Mary. And

Iíll be there for Lena myself.

 

Father pulls back from Vincent and walks away.

 

VINCENT

Father?

 

Father turns and come back to Vincent, looking concerned.

 

VINCENT

When Lena came to me,

there was a moment, a Ö

pull beyond thought, when I felt

what it might be like

to be someone elseís possibility.

 

Vincent grasps a nearby candle sitting on the table and pulls it in front of himself, staring into it.

 

VINCENT

But it was just a moment.

 

Father grasps his hand in comfort before turning and walking away. Vincent continues pondering, still holding the candle.

 

FADE TO:

INTERIOR - LENAíS CHAMBER

Lenaís chamber. The bed lies empty, but humming can be heard.

 

Lena sits holding the baby, who is fussing.

 

LENA

Ssh! Donít cry! Go to sleep.

Donít you know I never had a

Momma to sing to me!

(pause)

Donít you worry! Nothing like that

is ever going to happen to you.

Youíre not going to be anything like me.

Youíre going to have a different life,

youíre going to have a real family

and theyíre never going to do

anything to you that you donít want,

Ďcept teach you things you need to know

and take care of you when

you need taking care of. So donít you worry!

 

Lena kisses the babyís forehead.

 

FADE TO:

INTERNAL Ė VINCENTíS CHAMBER

Vincent is lying asleep in bed. Lena walks into his chamber and stands next to the bed gazing at him. She is dressed in her nightgown. Vincent startles, awakes, and props himself up on his right elbow

 

LENA

Vincent! I didnít mean to wake you.

Lena sits on the side of the bed.

 

LENA

I couldnít sleep.

 

Vincent reaches for a blanket behind him, turning to place it on Lena.

 

VINCENT

Please, cover yourself...

 

Lena refuses the blanket, drawing her hand above it and taking Vincentís hand in hers. Vincent sits up in bed.

 

VINCENT
Lena...

 

LENA

Donít be afraid.

Lena lightly strokes Vincent's hand. Vincent looks down.

LENA

I want to stay with you tonight.

 

Vincent quickly looks up at her again

LENA

Please, Vincent.

 

Vincent looks down, shaking his head.

LENA

For the first time,

it means something to me.

Donít send me away again.

 

Vincent looks at her face, sighs, pulls his hands away from hers, and places them on her shoulders as Lena leans closer to him. He struggles with what to say.

 

VINCENT

Lena, you must go.

 

They look at one another, Vincent with resolve, and Lena with growing sadness. She withdraws, stands, and turns to leave, walking slowly with her arms hugging herself. Vincent gazes after her.

 

FADE TO BLACK

 

END OF ACT THREE

 

 

 

ACT FOUR

 

FADE IN:

EXTERIOR Ė NIGHT - CITY SKYLINE BY THE PARK

Vincent is with Catherine. She is wearing her nightgown and robe. They stand on her balcony looking out at the city. 

 

 

VINCENT

Sheís gone. She fled in the night.

Her childÖ

(long pause)

She left her child behind.

Mary is watching over her.

 

CATHERINE

(sighing)

You couldnít have done anything, Vincent.

Lena wasnít ready.

It was my fault for not seeing that.

 

VINCENT

No, Catherine. Itís I that didnít see,

or didnít want to see.

 

CATHERINE

That she would leave?

 

VINCENT

That she would fall in love.

 

He sighs, leaning down on the balcony wall.

 

VINCENT

She was so vulnerable and so frightened...

And yet I saw part of myself in her

and I thought if I just reached out to her

she would accept my friendship.

 

CATHERINE

Her need was too great.

 

Vincent rises to face Catherine.

 

VINCENT
Perhaps I should have come to you sooner.

 

CATHERINE

I understand why you didnít.

 

VINCENT

There was no gentle way to refuse her love.

 

CATHERINE

Iím sorry Vincent.

Iím sorry for whatís happened.

 

Grasping Vincentís cloak, Catherine hugs him. He sighs, embracing her with one arm. Catherine rests her head on his chest.

 

VINCENT

I fear for what is still happening, for Lena.

 

CATHERINE

I know.

Iíll try to find her.

 

She turns and walks back into her apartment.

 

FADE TO:

EXTERIOR Ė NEW YORK CITY STREET

Prostitutes and pimps are all along the street as Catherine drives her car slowly looking for Lena. She stops before a small group to ask for information. A prostitute, Lady, with spiky blonde hair, heavy makeup, a flashy red scarf around her neck leans into the car.

†††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††

LADY

Happy Christmas!

 

CATHERINE

Iím looking for a girl.

Sheís about 20, blonde,

her name is Lena.

 

LADY

Hey, what she can do,

I can do better.

 

CATHERINE

Iím sure you can, but itís her Iím looking for.

 

LADY

Whatís the name again?

 

CATHERINE

Lena.

 

Lady turns to her pals.

 

LADY

Yo! Anybody know a Lena?

 

WOMEN ON THE STREET

Lena? Lena who? Nah!

 

LADY

No luck, lady.

What you want her for, anyway?

 

CATHERINE

Sheís in trouble.

 

LADY

Who isnít?

 

Catherine just looks at her pleading. Finally, the prostitute relents.

 

LADY

Try Maurice at the Penthouse.

989 Avenue C.

 

She turns away and walks from the car.

 

FADE TO:

INTERIOR - BUILDING

Catherine walking up a dark stairway littered with trash. She approaches a dark room at the top of the stairway.

 

CATHERINE

Hello?† Hello?†

 

Catherine opens the apartment door.

 

CATHERINE

Maurice?

(pause) ††

Maurice?

 

Suddenly a bright light shines in her face. She holds up her hands in front of her face trying to block it.

 

CATHERINE

Hey!

(pause)†

Are you Maurice?

 

MAURICE

Some people call me Maurice.

 

CATHERINE

Would you mind putting down the flashlight?

 

MAURICE

Not if you donít mind

putting down that purse.

 

Catherine puts down the purse. Maurice comes over to pick it up, still keeping Catherine in the beam of his light. He moves back to sit, finally pointing the light away.

 

CATHERINE

Iím looking for a girl.

 

MAURICE

Lena, right? Word travels fast on the street,

faster than light. Street speed.

 

CATHERINE

Then you know where she is?

 

MAURICE

Iím an information broker.

 

CATHERINE

Does that mean yes?

 

MAURICE

It means I got to get my commission.

Twenty-five dollars?

(holds up the money from her purse)

Woman, I donít sell the time of day

for that chump change.

 

He starts to leave.

 

CATHERINE

Then Iíll have to owe you!

 

MAURICE

What you think?

Iím running a credit store?

 

They stare at one another. Finally, Maurice shifts the light back into her face. She reacts by covering her eyes again with her hands.

 

MAURICE

Donít think Iím going to forget the debt.

1157 39th street, Apartment 202.

 

Maurice leaves.

 

CUT TO:

INTERIOR - APARTMENT

Lena sits in a robe at a makeup table, putting on lipstick. The door is behind the table, facing Lena. There is a knock. The door opens, and Catherine walks in. She stands there, looking at her.

 

LENA

What do you want?

 

CATHERINE

(closing the door)

I came to see how you were.

 

LENA

Nothing you say is going

to make me go back there.

 

CATHERINE

Youíre your own person, Lena.

I canít force you.

But your babyís down there.

 

LENA

She belongs there.

 

CATHERINE

So do you.

 

LENA

I hate it there. It doesnít matter,

itís not a real place to me anymore.

 

She draws a black beauty mark above the right corner of her mouth.

 

CATHERINE

(gesturing to the room)

This is real?

 

LENA

(removes her robe to reveal a lacy camisole top)
This is what I know.

This is what I do.

I do anything,

Anything you want, Iíll do it.

 

She puts on a sleeveless bronze colored, shiny top.

 

CATHERINE

And youíre okay with that now?

 

LENA

(walks around the table to stand in front of Catherine)

Damn right.

 

She puts on a red skirt.

 

CATHERINE

It keeps you alive.

 

LENA

Keeps me alive.

 

CATHERINE

A week ago, you said it was killing you.

 

LENA

So that was then! Things change.

 

CATHERINE

What things?

 

LENA

Things.

 

CATHERINE

Like your voice?

You donít even sound the same!

(pauses as Lena approaches her)

Donít you see what youíre doing?

Painting your face.

Putting on this costume.

Youíre trying to make yourself

†into someone else.

 

LENA

Donít you give me that.

 

She walks behind Catherine to sit back at her table, puts her hearings on..

 

CATHERINE

It hurts me to see like this!

†I canítÖ

(sighs)

You remember

what you told me that first night?

About being outside? That cold feeling?

Well, you can hide there if you want,

but you've got a place on the inside now,

with friends. People that care

about you! Itís your choice.†

If you want me to leave, just say so.

 

LENA

(looks up at Catherine)

Leave.

 

CATHERINE

(nods slightly)

If you ever want to talk with someone, Iím there.

 

Catherine turns and heads to the door.

 

LENA

PleaseÖ.

(Catherine turns back to look)

Donít leave.

 

Lena looks down, crying. Catherine walks over and hugs her.

 

CATHERINE

Itís VincentÖ

 

LENA

I love him.

 

CATHERINE

I know. So do I.

 

Catherine leans back, tilts Lenaís face up with her gloved hand to her chin, lightly touches her cheek. She gets a tissue and begins to remove some of the makeup from Lenaís face.

 

FADE TO:

INTERIOR - TUNNELS

Lena and Catherine come striding down the tunnel way. They approach where Vincent stands waiting, a torch in his right hand and Lenaís baby in the crook of his left arm. Lena and Catherine draw near. Vincent looks at Lena. Lena quietly looks back at Vincent. Catherine watches them both. He moves to give her baby back to her.

 

VINCENT

Welcome home, Lena.

 

LENA

Thank you.

 

Lena gazes fondly at her baby, while Vincent and Catherine share a look between them. Catherine smiles.

 

FADE TO:

INTERIOR - FATHERíS CHAMBER

Fatherís chamber where the naming ceremony is taking place. Father stands next to Lena on the right side of the chamber. Lena holds her baby. Tunnel residents surround them. Catherine and Vincent stand opposite Lena and Father.

 

FATHER

It has been said that the child

is the meaning of this life.

Today, we celebrate the child.

This new life that has been

brought into our world.

We welcome the child with love,

that she may be able to love;

we welcome the child with gifts,

that she may learn generosity;

and we welcome the child with a name,

upon which I believe Lena has decided.

 

LENA

Catherine.

 

Catherine looks shocked and pleased. Father looks over, approvingly.

 

LENA

Her name is Catherine.

 

Catherine breaks into a big grin, sighs happily, looking at Vincent. Several others laugh appreciatively. Samantha steps up.

 

SAMANTHA

Isnít it time for the presents, now?

 

FATHER

Yes, Samantha, itís time.

 

Everyone starts to pass by to lay their gifts on the table.Children sing ďIt Came Upon a Midnight ClearĒ in the background as various tunnel scenes transition to the park tunnel opening.

 

FADE TO BLACK

 

THE END

 

 

 

 

 

Closing credits

 

 

Executive Producers

Paul Junger Witt

Tony Thomas

Ron Koslow

 

Associate Producer

Anthony Mazzei

 

Coordinating Producer

David F. Schwartz

 

Unit Production Manager

Tony Brown

 

1st Assistant Director

John Hickridge

 

2nd Assistant Director

Gavriela Vazquez

 

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 Painting & Special Visual Effects

Illusion Arts

 

Lenses and 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 © MCMLXXXVIII 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

 

CBS Paramount Television