BEAUTY AND THE BEAST
ďGod Bless The ChildĒ
Aired Episode Transcript Ė original air date: December 16, 1988
Beauty and the Beast
ďGod Bless The ChildĒ
Willard E. Pugh
Director of Photography
Stevan Larner A.S.C.
George R.R. Martin
Kenneth R. Koch
Alex Gansa &
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.
(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
(as voice on a telephone)
Iím listening. Whatís your name?
Lena. Are you alone right now?
Iím always alone.
Look, just forget it.
It doesnít matter.
It does matter.
No, youíre wrong.
I just want it to be over.
There must be someplace
you can go, someone you
could talk to, a friendÖ
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:
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.
God, Iím scared.
(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?
How does that sound?
I donít know.
Where are you calling from?
Broadway...down by 12th.
We can just talk if you want, thatís all. Okay?
Good. I know a diner two blocks
from where you are.
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.
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.
Iím glad you came.
Free cup of soup, right?
Sure. Why not.
I know itís hard, opening
up to a stranger. I have a
tough time with that myself.
But you soundedÖ
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.
(avoids looking directly at Catherine)
You never told me your name.
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.
I...did what I had to do.
You donít know who the father is?
(shakes head slightly)
(finally looking directly at Catherine)
Then how come it feels so bad?
Itís gonna grow up to be just like me.
When I think of thatÖ
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.
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.
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.
There was something in her voice.
I donít know, a calling out to be
a part of something, to belong.
Sheís really just a girl,
alone in a dangerous city.
And itís Christmas.
Catherine moves closer to Vincent, then away again, as if pacing.
So many come into your life, Catherine.
This girl must have truly touched you.
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.
How can it be that this world could
have no more to offer her?
(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.
Then she has lost her way.
(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.
Perhaps Father can break
a few rules of his own.
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.
You were a prostitute.
Was there nothing else for you to do?
(Lena doesnít answer)
What has Catherine told you about where we live?
She told me itís a secret place
where people live together
and take care of each other.
I thought she was making it up.
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.
And each of us is also responsible
for keeping this place safe
from those who wouldnít understand.
I can keep a secret.
Whatever may happen?
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,
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?
Itís all right. Just...tell him what youíre feeling.
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.
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.
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.
Iíll come to see you soon.
Father and Lena progress down the tunnel. Messages on the pipes can be heard.
Whatís that sound?
Oh, thatís how we communicate
with each other, tapping upon the pipes.
Come on, really?
Lena slides down the tunnel wall, finally sitting against it.
(kneels down to Lena)
Itís all right! Now, donít worry.†
Sit, sit down. Ok, breathe,
Breathe into the pain.
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.
Itís a false alarm. And rest assured,
your babyís heart is strong and regular.
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.
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.
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.
Oh, thatís beautiful! What is it?
Itís a pen holder.
Why, of course. What else?
And I happen to know,
thatís exactly what he needed.
Iím giving it to him right now!
Samantha turns and prepares to leave as quickly as she came.
Samantha pauses at the top of the short stairway into the chamber.
This is Lena.
Sheís our new friend.
Heís, uh, one of us.
Go now, child, and rest.
Mary helps Lena up the short stairway.
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.
Tell us a story about Vincent!
Arenít you at all tired of that?
(all speaking at once)
No! Father please! Itís great! Tell us!
Please! Itís Christmas!
Very well, very well!
It was the twelfth of January...
the coldest day in the year.
Youíre the one who found him,
right, Father? Near St. Vincentís Hospital?
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.
ďThrow him out,Ē they said!
ďHeís not our problem.Ē
We donít want him!
Leave him to the Topsiders!
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.
You left out the part about his being sick.
Iím so sorry. Youíre quite right,
I did, Samantha.
When Vincent first came to us,
he was very tiny and very sick.
And he cried for three straight days.
And he cried for three straight days.
And no one thought he would survive.
But you knew, didnít you, 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.
Are you all right?
I was just listening.
(in background, indistinct)
...a man on whom I builtÖ
Well, itís Fatherís time to be
with the children.
...many of you knowÖ
Itís time for you to be in bed.
Mary helps Lena stand and they begin to walk back toward Lenaís chamber.
Are you worried about the delivery?
I just wish it would be over already.
Thatís what everyone says.
They reach the chamber, and Mary pulls back the covers, and pats the bed, beckoning Lena to it.
Good night, now.
She turns and heads toward the chamber entrance to leave.
Good night. Mary...
can I ask you something?
Mary stops, and returns to Lenaís bedside. She helps Lena get her feet up on the bed and under the covers.
I heard Father talking back there.
What did you hear?
As they talk, Mary removes Lenaís robe from around her shoulders.
Not much. Just that heís different
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.
Will I ever get to meet him?
Youíll meet him. You sleep now.
She lightly caresses Lena on her chin before parting.
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.
Mary said this was the best water.
(fills a cup)
(turns slightly in her direction)
No, thank you.
She puts down her cup and slowly approaches Vincent. Vincent tries to turn away.
Donít turn away!
You donít understand.
Iíve been hearing about you.
Itís almost like you donít exist.
Youíre never around.
There are reasons.
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.
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 drops his hands. Lena continues to lower his hood, looking into his face. Vincent avoids looking her in the eyes.
Donít be afraid.
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
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.
Donít punish yourself for feeling alone, Lena.
Iím trying not to feel that way anymore.
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.
Sometimes, if you let your mind go,
you can accept things you
wouldnít believe possible.
Yeah. I got real good at letting my mind go.
Where has it taken you?
Promise you wonít laugh?
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.
Donít you sometimes feel
like your whole life could be different?
It can be.
Vincent, have you ever
been to the mountains?
(he looks up, gazing outward)
(grimaces in pain, doubling over)
Vincent leaps up, picks up Lena, and carries her away.
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.
How do you feel?
Like Iím about to explode.
Is your back hurting you?
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 sags into Vincent, looking directly into Vincentís face.
Howís that feel?
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.
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.
If it hurts, itís all right to cry out.
(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.
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.
Remember, breathe in when you
feel the muscles contract,
breathe out when they release.
Breathe with the contraction.
Lena grasps Vincentís hand when another contraction hits.
Youíre very close now,
it wonít be very much longer.
Father looks at Lena, looking at Vincent, and looks up at Vincent, looking back at Lena.
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.
Thatís good! Youíre almost there.
Donít bear down yet, donít bear down.
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.
Itís time now, Lena.
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.
Yes, there we go, thereís a good girl.
Itís a little girl.
Yes, a daughter.
Lena smiles as she gazes at her daughter.
INTERNAL† Ė LENAíS CHAMBER
Catherine sits by Lenaís bed, visiting her and the baby. A bright bouquet of flowers sits at her bedside.
Iíve almost forgotten how much it hurt.
Let me tell you something--it hurts!
But when I look at her, I forget.
Isnít she? I mean yesterday,
she wasnít even here. Now suddenly,
thereís this new life.
You have a lot to be proud of. Youíre very lucky.
I guess I was due for some good luck, huh?
You deserve it, Lena.
And no one can take it away from you.
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.
(touches the baby's face)
They giggle with the baby. Off in the distance, Father is speaking to someone. It turns out to be Vincent. They enter Lenaís chamber.
ÖRosalind, no Imogen.
Please, Father. Imogen?
Whatís wrong with Imogen?
For one thing, itís difficult to pronounce.
It was good enough for Shakespeare.
Well, if itís Shakespeare youíre set on,
why not Juliet, or Maria?
Whatís going on?
Oh! We were discussing
possible names for the child.
After every birth, the child is welcomed
into the community with a naming ceremony.
Donít you think Lena should have a say in it?
Yes, by all means! We were just, ah...speculating.
Lena gathers the baby to hand her to Vincent.
(to the baby)
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
INTERIOR Ė OUTSIDE OF CATHERINEíS SUB BASEMENT
Vincent and Catherine stand across from one another in the entry; the light shining from above.
Our time together is always so short.
Tell me something, Vincent,
before I have to go.
What should I tell you?
Tell me how it felt to hold
a baby in your arms.
(sighs after a long pause)
There are no words.
They share a long look.
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.
Come in. Lord Byron.
You're already finished?
No, not yet. But Iím liking it.
Especially the letters.
Well then, you should keep the book.
Lena comes further into the chamber, crossing behind Vincentís chair to his right side.
Vincent...when we first met,
you remember how we talked
about feeling alone?
Well, Iíve been thinking...
(she kneels down in front of him)
It doesnít have to be that way.
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.
Let me love you, Vincent.
(expels a short breath, casting his head backward)
Lena reaches out and places her hand over Vincentís chest.
I can feel your heart.
Vincent covers her hand with his, gently removing it.
I will always cherish the moment we first met--
how you saw me, how you accepted me.
You did the same for me.
I know, but what you ask now is impossible.
(Vincent looks down before looking directly at Lena)
Because, my heart is bound to another.
Do you love her?
With all that I am, with
all that I can ever become.
But sheís not here.
Why isnít she with you?
She is where she needs to be.
I... I canít expectÖ
If sheís not here,
how can she love you?
Lena, you donít understand.
Her love opened the world for me.
WhatÖdo you think
youíve done for me?
Lena comes up to her knees in front of Vincent, shaking her head.
Donít you see?
Iíve never...loved anybody before.
Vincent looks away, shaking his head. Lena continues to look at Vincent, hurt.
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.
Well, clearly, she has misplaced her feelings,
projecting them onto you.
It's more than that, Father.
There is something true between us.
Then you believe her love for you is real?
It is what Lena believes.
To deny that would be unfair.
(rising from chair and walking toward Vincent)
Perhaps Catherine could speak with her,
help her understand.
No, Father. Not now. Not yet.
Lena is still too fragile.
Vincent, you must be very careful.
Allow time to come between yourself
and Lena, and hope, in the meanwhile,
she will gain some perspective.
All her life she has known nothing
but rejection, and nowÖ
just when sheís come so far.
You cannot encourage her, Vincent!
Lena will not be alone in this.
That I promise you.
Iíll have a word with Mary. And
Iíll be there for Lena myself.
Father pulls back from Vincent and walks away.
Father turns and come back to Vincent, looking concerned.
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.
But it was just a moment.
Father grasps his hand in comfort before turning and walking away. Vincent continues pondering, still holding the candle.
INTERIOR - LENAíS CHAMBER
Lenaís chamber. The bed lies empty, but humming can be heard.
Lena sits holding the baby, who is fussing.
Ssh! Donít cry! Go to sleep.
Donít you know I never had a
Momma to sing to me!
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.
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
Vincent! I didnít mean to wake you.
Lena sits on the side of the bed.
I couldnít sleep.
Vincent reaches for a blanket behind him, turning to place it on Lena.
Please, cover yourself...
Lena refuses the blanket, drawing her hand above it and taking Vincentís hand in hers. Vincent sits up in bed.
Donít be afraid.
Lena lightly strokes Vincent's hand. Vincent looks down.
I want to stay with you tonight.
Vincent quickly looks up at her again
Vincent looks down, shaking his head.
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.
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
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.
Sheís gone. She fled in the night.
She left her child behind.
Mary is watching over her.
You couldnít have done anything, Vincent.
Lena wasnít ready.
It was my fault for not seeing that.
No, Catherine. Itís I that didnít see,
or didnít want to see.
That she would leave?
That she would fall in love.
He sighs, leaning down on the balcony wall.
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.
Her need was too great.
Vincent rises to face Catherine.
Perhaps I should have come to you sooner.
I understand why you didnít.
There was no gentle way to refuse her love.
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.
I fear for what is still happening, for Lena.
Iíll try to find her.
She turns and walks back into her apartment.
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.
Iím looking for a girl.
Sheís about 20, blonde,
her name is Lena.
Hey, what she can do,
I can do better.
Iím sure you can, but itís her Iím looking for.
Whatís the name again?
Lady turns to her pals.
Yo! Anybody know a Lena?
WOMEN ON THE STREET
Lena? Lena who? Nah!
No luck, lady.
What you want her for, anyway?
Sheís in trouble.
Catherine just looks at her pleading. Finally, the prostitute relents.
Try Maurice at the Penthouse.
989 Avenue C.
She turns away and walks from the car.
INTERIOR - BUILDING
Catherine walking up a dark stairway littered with trash. She approaches a dark room at the top of the stairway.
Catherine opens the apartment door.
Suddenly a bright light shines in her face. She holds up her hands in front of her face trying to block it.
Are you Maurice?
Some people call me Maurice.
Would you mind putting down the flashlight?
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.
Iím looking for a girl.
Lena, right? Word travels fast on the street,
faster than light. Street speed.
Then you know where she is?
Iím an information broker.
Does that mean yes?
It means I got to get my commission.
(holds up the money from her purse)
Woman, I donít sell the time of day
for that chump change.
He starts to leave.
Then Iíll have to owe you!
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.
Donít think Iím going to forget the debt.
1157 39th street, Apartment 202.
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.
What do you want?
(closing the door)
I came to see how you were.
Nothing you say is going
to make me go back there.
Youíre your own person, Lena.
I canít force you.
But your babyís down there.
She belongs there.
So do you.
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.
(gesturing to the room)
This is real?
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.
And youíre okay with that now?
(walks around the table to stand in front of Catherine)
She puts on a red skirt.
It keeps you alive.
Keeps me alive.
A week ago, you said it was killing you.
So that was then! Things change.
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.
Donít you give me that.
She walks behind Catherine to sit back at her table, puts her hearings on..
It hurts me to see like this!
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.
(looks up at Catherine)
If you ever want to talk with someone, Iím there.
Catherine turns and heads to the door.
(Catherine turns back to look)
Lena looks down, crying. Catherine walks over and hugs her.
I love him.
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.
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.
Welcome home, Lena.
Lena gazes fondly at her baby, while Vincent and Catherine share a look between them. Catherine smiles.
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.
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.
Catherine looks shocked and pleased. Father looks over, approvingly.
Her name is Catherine.
Catherine breaks into a big grin, sighs happily, looking at Vincent. Several others laugh appreciatively. Samantha steps up.
Isnít it time for the presents, now?
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
Paul Junger Witt
David F. Schwartz
Unit Production Manager
1st Assistant Director
2nd Assistant Director
Allan J. Gordon
Fred Blau Jr.
John C. Meier
Special Effects Coordinator
Joyce Robinson C.S.A.
Penny Ellers C.S.A.
Beast designed & created by
Matte Painting & Special Visual Effects
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