BEAUTY AND THE BEAST
EXTERIOR - ALLEY
A piano is being played and Vincent has stopped in his nightly wanderings to listen. He is leaning against the brick wall of a building, standing between two garbage cans. His eyes are closed as he listens to the notes of Beethoven’s piano sonata “Pathetique”. The piano is being played by an old man in the basement of an apartment building opposite from where Vincent is standing.
Suddenly Vincent hears the squeal of tires as a car enters the alleyway. He crouches down, hiding behind the garbage can and watches as two men get out of the car and light firebombs. The old man stops playing when he hears the car and switches off the light. The two men throw their firebombs through the basement window and drive away.
(He stares in horror as the basement ignites.)
Help! Somebody help me!
(He begins coughing as the smoke becomes thick.)
Vincent, using his feet, crashes through the window, takes off his cloak and begins beating out the flames. The old man succumbs to the smoke and sinks to the floor.
Vincent succeeds in smothering the flames and has donned his cloak. he watches as the old man regains consciousness then backs away, preparing to leave.
Wait! I owe you my life.
Come no closer.
Vincent is in shadow, only his eyes are lit by the light coming through the basement window.
Why do you hide? Let me see you.
Without your help, those punks would have
killed us all.
The other tenants, those who refuse to be chased
from their apartments.
These men that did this, why do they try to drive
you from your homes?
Because we’re old and there’s a dollar to be made.
He tries to get up but can’t. Vincent moves to help him. Mischa is startled when he sees his rescuer’s face.
INTERIOR - MUSEUM
Another piano is being played at an opening of an art exhibit. Catherine is there with some friends admiring the paintings, and the man who has donated them to the museum.
It’s hard to imagine a better private collection.
Can you imagine being rich enough to give it away?
And he started with nothing! Elliot Burch is beyond
As Catherine studies the object of her friend’s admiration, Elliot looks up and catches her staring at him. They lock eyes, instantly fascinated with one another.
Mr. Burch, what is the estimated value of your collection,
and what prompted you to donate it to the museum?
Can you put a price tag on magic?
The true value of great art lies in its ability to
influence and enhance the quality of humanity,
and contrary to popular opinion, I believe New
Yorkers still qualify.
Flash bulbs from photographers are going off as he speaks, but the whole time he and Catherine are still staring at each other.
Excuse me, Mr. Burch, could you look this way.
Just one more picture, please.
Fade from Catherine’s face to a painting she is studying, Elliot Burch comes up behind her.
Incredible isn’t it? Everything happening at the
same time: passion, humor, danger.
A little like life.
More than a little, I’m Elliot Burch.
Of course you are. I’m sorry, but you are
the reason we’re all here.
I suppose I am.
And I’m Catherine Chandler.
I asked one of your friends.
I guess it’s my turn to be a little flustered.
Yes, it’s only fair.
And not entirely un-enjoyable.
Do you know that it has been a very, very
long time since I’ve been good and flustered?
A man walks up to the pair, interrupting their conversation.
Elliot . . . ah . . . I need a word with you.
Well, do you know I really don’t have a
moment to spare? Lewis is my lawyer, he’s
a professional worrier and I will be in the
office very early . . . Catherine, come on.
Catherine and Elliot go, leaving the lawyer staring after them in exasperation.
INTERIOR - BASEMENT
Vincent and Mischa are seated across from one another.
So we stay inside behind locked doors like
frightened children. They come and turn off
our heat, break the elevators, stop up the plumbing…
A light is suddenly switched on and a voice calls.
Mischa? Are you all right, Mischa?
Something will be done; I promise you.
He turns to leave.
Will you tell me your name?
Vincent turns back from the window he is about to climb through.
(Coming down the stairs)
It’s freezing down here. You’re going
to catch you death…
(She sees the remains of the fire)
My God! Mischa, Mischa what . . . what happened?
Don’t worry, don’t worry, I’m fine. Those punks
threw a firebomb through the window.
When will it stop? When are they going to
leave us in peace?
Elliot and Catherine are talking.
Your father must have been very disappointed
when you left his firm.
He was, but he wants me to be happy.
The work is relentless, exhausting, but sometimes . . .
it feels like . . . somehow, in someway I make
a difference. That’s a good feeling.
Yeah, it’s no fun starting at the bottom
No body cuts me any slack, but when
I do get a kind word it’s because I’m
doing the job, not because I’m the boss’s daughter.
You know, you kids who grew up rich,
you got just as much to prove as those
of us who grew up poor. We spend our
whole lives trying to prove to the whole world
that we’re worth something; you have to prove
it to yourself. If your father isn’t proud of
you, he damn well should be.
She smiles at him and Vincent walking through a tunnel stops as if he has heard or felt something.
EXTERIOR - STREET
Outside the museum, Catherine and Elliot have just exited the building and are surrounded once again by reporters and photographers. They head for a waiting limo.
Cut to Vincent in a tunnel still in an attitude of listening.
Catherine and Elliot enter the limo and it drives away.
EXTERIOR OF BAR
A sign over the bar announces Carnival.
INTERIOR - BAR
A man name Mundy is on the phone.
Something went wrong. I don’t know, all right?
Place should have gone up like a haystack. Don’t
threaten me, pal. Hey, you want to handle the job
yourself? Oh no, I didn’t think so. Wouldn’t want
to get any dirt under those manicured fingernails,
now would we? Look, you handle your part
of the deal, I’ll handle mine. Ok?
He hangs up the phone.
EXTERIOR - CATHERINE’S APARTMENT BUILDING
Elliot’s limo pulls up in front of Catherine’s apartment building. Elliot gets out and helps Catherine out. They face each other.
Elliot, thank you.
It was a terrific evening.
Well, you did something quite wonderful for the city.
Oh, you mean the art, I was thinking along
completely different lines.
Well, thank you for the ride.
She begins to turn away, he stops her.
Cathy, when can I see you again?
She takes a business card out of her purse and hands it to him.
They are obviously very attracted to each other. Mounting the stairs to her building, she turns to smile at him as he enters the limo and lowers the window to watch her.
INTERIOR - CATHERINE’S APARTMENT
Catherine is seated at her makeup table, removing an earring when she catches sight of Vincent on the balcony. She rushes to open the door.
Did I startle you?
I…I came to…leave you a message.
She picks up the piece of paper he had left on the table. He turns to go.
(She reads the note)
He and his friends are being driven from their
homes . . . terrorized. They’ve been beaten . . . robbed…
You’re hurt! Is that a burn?
(She rushes to him, reaching out a hand to his face)
Let me get you something.
I’m not the one who needs your help, Catherine.
These people are old, terrified, their homes
almost burned tonight.
Well, who’s doing this to them?
The ones hired to chase them out. Can you help?
I’ll try…of course.
Good . . . you have a generous heart, Catherine.
Something I learned from you.
No . . . it can’t be taught . . . it’s from the soul,
and you have so much to give.
It’s all still very new. Sometimes I wonder
how all those little pieces will ever fit
Follow your heart, Catherine. Follow your heart, you must.
She nods and he leaves.
END OF ACT ONE
EXTERIOR - MISCHA’S APARTMENT BUILDING
There is a moving truck and men moving to and fro, loading it. Mischa and Sophia are saying goodbye to friends who are moving out.
Herman, I’m gonna miss you.
We’ve been playing pinochle every Thursday
night for the last thirty years.
I know, Mischa I know.
Catherine pulls up in a taxi.
I’m Catherine Chandler. I’m an investigator
with the District Attorney’s office.
You’ve heard about what’s going on here?
Why don’t you tell me in your own words?
These people must be stopped.
They send punks to rough us up, vandalize
our apartment. The elevator’s broken a
week; they don’t fix it; we have to climb.
Now we don’t have any hot water.
And you believe all of this is organized?
This is a rent-controlled building; the law
says they cannot evict us or raise our rents.
The only way they can make us move is to drive us out.
Who is they?
Mundy walks over to the couple that is moving out.
Over there he’s the one
(he indicates Mundy)
that sends the punks to try and scare us off.
I told you to stay away from us. Leave us alone.
I just came by to congratulate Herman and Sylvia
on the deal they made: five thousand dollars, new
condominium in Jersey. The offer is more than generous.
Our life is here; we are not interested in
your offer. This is our home.
I don’t know how much more I can do
for you people. The company won’t wait
forever. Please, think it over very hard. What
if they have the building condemned? Then what?
You’d be out on the street with nothing. Will your
pride keep you warm then?
Catherine moves to confront Mundy.
Are you threatening these people?
I’m just telling them the way it is.
Be careful in this neighborhood, lady,
it can get pretty rough.
He turns with a smirk, going back to his car.
Do you know his name?
Mundy, he works for the managing company
that took over when they sold the building
two months ago. I’ve dealt with bullies like him
before, only then they wore the brown shirts.
INTERIOR - JOE’S OFFICE
Leo Mundy, what a prince. Bounced off the
force on a brutality beef in ’78, six arrests
since then, all strong-arm stuff, no convictions;
bad and smart, that’s a tough combination.
Now he calls himself a security consultant,
hangs out at a downtown saloon? . . . boy,
this guy’s a class act all the way.
Can we move on him?
I take this into the boss; he ventilates my shorts
for wasting his time. You’ve got nothing
tying Mundy into these punks.
What does he have to kill one of them
before we do…
Whoa, whoa, whoa, penalty flag. Now we
can’t do the outrage the system stinks rap,
we’re part of it. You give me the tools
I do the job on him.
She leaves his office.
INTERIOR - DA OFFICES
Catherine and Edie are walking together towards Catherine’s desk.
No, because you need special authorization
just to gain access…Whoa, ho,ho
Edie has just spotted the dozen roses on Catherine’s desk.
Girl friend, you must be a great first date.
This vase alone has to cost about
a thousand bucks. Who’s this guy?
Come on, what’s the story?
Catherine opens the card that came with the flowers.
Does he have a darker brother? I expect
all the juicy details at eleven.
There are no juicy details…yet.
Edie begins to walk away
Not so fast. Could you check out this guy for me?
I also need particulars of any real estate transactions
in that area in the last year. Looks like someone’s
trying to buy themselves a whole block
down there; I want to know who.
Well, it’s gonna take a minute; they got me swamped here.
You know I wouldn’t ask…
If it wasn’t important. I’m so good to you.
Catherine sits down at her desk and opens a file, the phone rings.
Yes. Yes I got the flowers they’re beautiful.
Tonight? No, I don’t have any plans. I’d like that.
Ok, eight o’clock then.
INTERIOR - FATHER’S CHAMBER
Vincent, what weighs so heavy? Hmm . . . please tell me?
Vincent gets up out of his chair, walking away from Father, going to a sideboard with a figurine of a girl on it. He touches it and, with his back to Father, explains his melancholy state.
She met a man…she’s falling in love.
Let her. Let her fall in love, Vincent.
My mind tells me to rejoice for her . . . that she
deserves the happiness . . . but my heart . . . is dying.
I’m poisoned by feelings . . . I’ve never felt before.
(He turns leaning against the sideboard with his head bowed)
Father . . . it hurts.
I’ve always . . . dreaded . . . this moment . . . for you.
(He gets out of his chair, walking toward Vincent)
And I . . . I suppose I’ve . . . always known it would
Come . . . the day when your heart . . . would lead
you to long for a life . . . that can never be, Vincent.
Yes, a life that can never be.
Father strokes Vincent’s head. Vincent pulls away from his touch and slowly leaves the chamber.
EXTERIOR - STREET
Catherine and Elliot are walking arm in arm down a sidewalk. Two saxophonists are playing a duet.
I do love the city. The thing is you can’t walk
a block without seeing somebody or something
that just absolutely knocks you out, stuns you.
The good, the bad and the utterly absurd.
Yeah, yeah, you know it’s constantly changing.
It’s constantly transforming itself, reinventing itself;
it’s unbelievable. It’s always expanding.
With a little help from you.
I’ve been lucky enough to realize
some of my dreams
EXTERIOR – ANOTHER STREET
On another street in a neighborhood that isn’t so nice Sophie and Mischa are walking arm in arm.
Thank you for coming with me. I thought
my medicine would last till morning.
A car pulls up behind the couple, the two that threw the firebombs are in it; one gets out.
Remember when the drug store delivered?
Nobody cares about service anymore.
And they had the soda fountain?
Egg creams, how you loved egg creams.
The punk grabs Mischa from behind and drags him into an alley while the other punk pulls the car in along side.
Nice and easy now.
You come here, too?
Sophie whimpers as they are dragged into the alley.
They start hitting Mischa while Sophie cowers against the wall in horror.
Don’t get smart, old man.
Suddenly Vincent appears shoving the punk off Mischa, throwing him into a garbage can. As Vincent rips the coat off the other one a wallet falls out, his claws ripping the shirt underneath into shreds. He throws him against the wall and then onto the hood of the car. The other punk throws a garbage can at a roaring Vincent then dives through the open window of the car as the first punk drives off.
Get out of here!
Vincent picks up the wallet out of the jacket he ripped off the one punk and runs off.
INTERIOR - CARNIVAL BAR
Mundy is shooting pool when the two punks come in to report.
One of the old folks pull a cane on you?
Some guy jumped us.
He had a roared like something out of the jungle.
Yeah, that’s right, Leo. He looked like an animal . . .
hair, and he had these teeth, didn’t he, Charlie?
He had claws about this long.
(He gestures with his hands)
And a big long tail, too?
(He adds mockingly)
Hey, come on now, Leo, what kind of man does
that, huh? Look at that.
(He shows him the shredded back of his shirt, which he’s still wearing)
Mundy hits him in the stomach with the thick end of his pool cue.
A man with a razor. That’d make you two guys look
like jerks, wouldn’t it? Like you’re punked out.
You were too stupid to do a simple job. You guys are
very close to being through you know. I’m not
talking career here, you know what I’m saying?
EXTERIOR – FOUNTAIN IN THE CITY
Catherine and Elliot with their arms around each other are walking towards a fountain. They stop, look at each other, and then kiss.
EXTERIOR - CULVERT
Vincent stands in front of the drainage pipe looking forlorn.
END OF ACT TWO
EXTERIOR - STREET
Catherine is just coming out of a building when a guy on a bicycle approaches her
Ah, I wish I could ride like you.
Nobody rides like Benny.
(He hands her an envelope)
(He rubs her head)
(He rides off)
She opens the envelope; it’s the wallet Vincent took from the punks jacket with a note: ‘This might help-V’
INTERIOR - OFFICES OF THE DISTRICT ATTORNEY
Catherine is seated at her desk on the phone.
Mr. Langer, we have a good lead on the men
who attacked you. When we pick them up,
we’ll need you to identify them in a line up.
Are you prepared to testify when they come to trial?
Good, and Sophie feels the same way? Terrific!
Well, I’ll call you as soon as we have any news.
She hangs up the phone. Edie rushes up.
Ok. All the buildings on their block are owned by
different holding companies. The three empty
ones are scheduled and ready for demolition. The
only thing stopping the wrecking ball on the
fourth is your old people who won’t move out.
Thanks Edie, I appreciate it.
How come you’re not looking thrilled?
I was hoping to find a smoking gun, one name
to tie in all four buildings. Five will get you ten,
these holding companies are just a paper veil
concealing who really owns the buildings.
If we could just pierce that veil.
I love the way you say ‘we.’ I’ll find it, Cath.
Thanks, Edie, I owe you
I’ll put it on your tab
INTERIOR - JOE’S OFFICE
Joe is seated at his desk on the phone.
Yeah, that’s right aggravated assault. Hey,
don’t sweat it, all right? You pick them up;
my witnesses will testify.
(He looks at Catherine who is standing at the other side of his desk)
I want to know the second you got these guys. Right.
What about Leo Mundy?
What about him? The old folks say he beat them up?
(He gets up)
Hey look, we’re getting two hard cases off the street
that’s better than nothing.
(He moves around his desk to the file cabinet)
Will you deal? Let them plead to lesser charges
if they testify against Mundy?
Now she’s playing public defender.
(He flips through some files)
You’re pushy, Radcliffe, I like your style.
Let’s just say . . . it’s possible. Ok?
(He looks up, out the open door of his office)
What the hell is going on out here?
Elliot Burch is following a waiter who is pushing a cart towards Catherine’s desk.
Catherine stands by Joe as they watch
I see you’re brown bagging it like the rest
of us working stiffs, hey Chandler?
All Catherine’s co-workers are watching and whispering
You said you were too busy for lunch
so I brought lunch to you. I hope you like lobster.
He lifts the lid off one of the plates to reveal a lobster dish
Elliot, this is a very sweet gesture but…
Fresh raspberries and cream
(He holds a bowl of raspberries, trying to feed her a fork full)
No, thank you
Please, try one
(She backs away)
Please, this is my office; I work here.
Elliot looks around finally realizing the embarrassing situation he has put her in.
I’m really very sorry, Catherine.
The pop of a champagne bottle being opened is heard.
All I can say is it seemed like a wonderful
idea at the time.
He nods to her. He turns to the waiter.
(He turns back to Catherine)
(She nods and he leaves, following the waiter)
She waits a minute then follows him out the door.
Elliot, don’t think it was a total waste.
The gesture was lovely.
Yeah. Well then, will I see you tonight?
EXTERIOR - STREET
Catherine comes out of a building and tosses a bill wrapped around a note into the case of a saxophone player, giving him a knowing nod. When she walks away, he stops playing, reads the note, and leaves.
EXTERIOR - MISCHA’S BUILDING
Catherine is escorting Mischa and Sophie out of the building into her car. As the couple get into the car, she notices Mundy sitting in a car across the street.
Don’t worry. He’s just trying to frighten
you so you won’t testify.
She begins to get into the car when she turns and walks over to Mundy.
You got a problem, lady?
My witnesses are testifying, and if any harm
comes to them, I’ll know where to look, so stay away.
I don’t know what you’re talking about.
Well then, you better do a bed check, Mundy.
Two of your campers are in a holding cell downtown.
I’m going to put you away, you and whoever you work for.
Maybe some day you and me will get a chance
to dance together, lady, in the dark; I’d like that.
She leaves, going back to her car.
What if they roll over on us, Leo?
Sell us out for a lighter rap.
I’m connected in very high places . . . one call,
and they’re back out on the street.
She’s got nothing.
EXTERIOR - PARK
It’s night and Catherine is walking towards the culvert watched by Mundy who is parked on the drive in his car.
Vincent opens the door as she enters.
I’m glad you came; I . . . wasn’t sure you would
Have you been well?
Yes, we’ve been able to help you friend,
Mischa, and his friends. We’ve already put
some men in jail. It’s only the beginning,
but the violence should stop.
Vincent, I don’t want to cause you any pain.
Don’t struggle, Catherine; there is no need.
No need! Why?
Because we know, we always knew that this
bond between us was only a dream we shared.
A dream? No, Vincent, our bond is the most
real thing I’ve ever known. more than anything in my life.
Do you love this man?
I don’t know. But if I do it won’t change
anything; I won’t let it.
Someday . . . someone will come, and you’ll live
another life . . . and dream another dream.
I don’t want to lose you, Vincent.
He walks back to the tunnel opening, looks back at her and ducks through the door. As she looks on, he closes the door.
Mundy watches as she comes out of the culvert, waits till she’s out of sight and then goes in himself. He looks around and spots Vincent’s footprints in the dirt.
END OF ACT THREE
INTERIOR - BAR
Mundy is on the phone.
So what about getting my guys out of jail?
We’ll handle it.
I’m telling you this broad is trouble,
she keeps nosing around that building
she’s gonna make us very miserable.
You’ve been following her?
I watched her meet some guy in the park
today in a tunnel. I saw her go in
and I saw her come out, but I didn’t
see him just some footprints. I don’t know
how the hell he got out without me seeing him.
Find out who it was.
What are we going to do about the broad?
(The voice turns out to be Elliot Burch’s lawyer, Lewis Arthur)
Forget about her, do what you were
hired to do, clear out that building.
EXTERIOR - CRIMINAL COURTS BUILDING
INTERIOR - CRIMINAL COURTS BUILDING -- COMPUTER ROOM
Catherine walks up to Edie who is sitting at a computer console.
Hey, still a long way from it. I been punching
into these holding companies trying to find out
who the principal players are. I mean somebody
has gone through a lot of trouble to make that
damn near impossible. I mean, I know the serious
drug czars run this kind of game to launder money,
can’t mention any names yet, but there’s this.
(She points to computer screen)
Three of those holding companies use the same law
firm as agent and New York business address. That one.
Have I told you lately that you’re amazing?
Yeah, me and the Mets, who by the way are at
Shea Sunday should you . . . trip across a spare
ticket or two, say in your daddy’s . . . private box?
You’re a bandit.
Dinner with Mookie post game would be lovely.
EXTERIOR - OFFICE BUILDING
INTERIOR - OFFICES OF LEWIS ARTHUR
Mr. Arthur, there’s someone here from the
District Attorney’s office to talk to you.
Mr. Arthur, Catherine Chandler.
She shows Catherine into the office
(He stares at her)
have we met?
Almost. The other night at the museum opening.
Ah yes, of course, you’re Elliot’s . . . ah . . . new friend.
Here sit down. And how may I help you?
You’re the agent of record for these corporations,
Mr. Arthur. I’d very much like to contact the
principals regarding an investigation I’m working on.
(She hands him a list)
Oh, I’m afraid I can’t do that. These names
are privileged information. However, if there’s
anything else I can help you with.
You can tell me if these companies are
controlled by Elliot Burch.
Ms. Chandler, surely you can respect my
position regarding confidentiality.
I’ll get a court order if need be.
Do what you will, Ms. Chandler.
Now . . . you really must excuse me, I have . . .
A busy calendar? I know.
She leaves; he seats himself at his desk and pushes the intercom button.
Yes, Mr. Arthur?
Get me Elliot Burch, it’s urgent
INTERIOR - JOE’S OFFICE
Joe is seated at his desk throwing darts. Catherine opens the door as a dart whizzes past her face; she quickly closes it again.
I just found out Mundy’s leg breakers
are back on the street
Yeah, I know, it kind of surprised me too,
bail being as high as it was. No self-respecting
bonds man would touch it.
Spare change to whoever signs Leo Mundy’s paychecks
Do you have a name?
I have a hunch, I don’t want to jinx it.
Well, can we get police protection for our witnesses?
No way this is penny ante stuff.
Hand me those darts, will you please?
We are talking about two old people brave
enough to do their part for us. We owe them!
She grabs the darts out of the board and stalks over to him
You know those thugs are going to be right back!
All right. Look, I’ll see if I can increase patrols
in the area that’s the best I can do.
He holds his hand out for the darts; she gives him the phone instead.
EXTERIOR - BURCH OFFICE BUILDING
INTERIOR - RECEPTION AREA
The room is filled with reporters and photographers waiting for Elliot to make an announcement. Catherine strides purposely for his office door.
You can’t go in there; Mr. Burch is
preparing for a press conference.
Elliot is seated at his desk when Catherine barges in.
Cathy, I’ve been trying to reach you all morning.
I just got off the phone with Arthur, he told me…
You own the building!
Well yes, I . . . ah . . . I…I had no idea what was going on.
You’ve got to believe me. I…
Leo Mundy works for your management company.
Cathy, I’ve got hundreds and hundreds of employees.
I can’t monitor of every one of them.
Listen, I’m appalled at the things that have been going on.
I’m not so sure, Elliot.
I think those old people are just obstacles to you,
to be removed regardless of the price
That’s not true and if it was true what are we talking.
We’re talking about thirty people, fifty people?
The project that I’m planning for that block
will employ ten thousand people. When it’s
completed, it’ll generate millions of dollars of
new jobs, revitalize the entire neighborhood.
At what price? We’re talking about human beings!
Listen, I’ve been very, very generous with these people.
Generous? You are rationalizing everything you’ve
done. Men on your payroll have tried to murder people!
Honey, that is a pretty wild accusation.
I don’t have enough to go public…yet.
But I promise you this isn’t over.
Cathy, don’t walk away.
She goes through the door. He follows, pulling on his suit jacket.
She turns to glare at him as the reporters converge.
There he is. What’s the projected cost of the building, Mr. Burch?
EXTERIOR - BURCH BUILDING
Catherine leaves the building, crying.
INTERIOR - MISCHA’S APARTMENT
‘The Pathetique’ is playing on an old portable record player.
There’s a knock on the door.
(She checks on Mischa who is taking a nap
in the bedroom and goes to the door)
Sophie, it’s Cathy.
Sophie unlocks the door.
Just in time I’m making dinner.
(Catherine re-locks the door)
Something new about the case?
Mundy’s punks got out of jail.
Sophie, there’s somebody very powerful behind
all this. The whole block is being leveled for a
new development. The most important thing now
is your safety. You must all use every precaution.
I’ve ordered extra patrols. Where’s Mischa?
He’s laying down; he’s fine, don’t worry.
This whole business has him worn out. You should
have known him when he was young full of energy,
strong. They broke him; they crushed his spirit, made
him old, now this. You’ll, please, eat with us there’s plenty.
I’d love to.
Catherine gets up and replaces the chain on the door and the bar.
Mundy’s punks? You think they’ll come for us now?
Sophie, it might get worse.
Are you sure it’s worth all of this?
Oh yes, someone has to stand up to them and say
no and refuse to run. It starts with one person,
even an old man or and old woman. See, if nobody
says no, stands up and fights this madness then
the nightmare begins again.
(She pulls back the sleeve of her dress where
Catherine can see a number tattooed.)
Believe me we know.
INTERIOR - MISCHA’S BUILDING
Mundy comes into the building with three of his thugs; they have baseball bats and flash lights.
Get the basement.
They put stockings over their heads.
INTERIOR - MISCHA’S APARTMENT
Sophie and Mischa are showing Catherine a picture album.
Look at my Sophie, she’s eighteen
here, the year we were married.
You were so tall and handsome.
No wonder I fell in love with him.
The telephone rings, Sophie goes to answer it.
Hello…in the building? Call the police.
The thugs cut the phone wires.
The power is turned off.
They’re in the building.
Mischa, Sophie and Catherine leave the apartment.
We’ll fight, all of us together.
Please, Mama, go with Cathy; I’ll get the others.
The last apartment on the left is empty.
Catherine and Sophie hurry down the hall as Mischa goes down the stairs, he hears Mundy.
Get going; it’s the next floor.
Mischa quickly goes back up as Mundy and his thugs come up the stairs. They pass the floor Mischa has entered. Catherine and Sophie hide in the empty apartment. Mundy and his men kick open the door to Mischa’s apartment, quickly going through it.
There’s no one here.
Let’s move on.
Meanwhile Mischa knocks on the door of a neighbor.
What is it?
What’s going on?
Come on. All of you.
Arm yourselves. Don’t panic.
Kick them all in.
The thugs kick in the door of an occupied apartment, a woman screams.
INTERIOR - WHISPERING BRIDGE
Vincent is walking on the bridge when he feels Catherine’s panic; he turns and runs.
INTERIOR - MISCHA’S APARTMENT BUILDING
Get out here.
WOMAN’S VOICE (0.S.)
No, no, leave us alone.
He herds a couple out of their apartment.
Mischa, meanwhile, is on the lower floor continuing to wake people up and having them arm themselves with anything they can use as a weapon.
Go. Everyone wake up.
Cathy and Sophie in empty apartment.
Come. Let’s go.
MAN’S VOICE (O.S.)
Somebody get some help!
Old people are pouring into the hallway, armed with hammers and pipes.
Don’t be cowards. We all stick together.
Come here. Come on out of there.
Mundy kicks in the door where Catherine and Sophie are.
Cut to Vincent riding on top of subway car.
Cut to Mischa leading a group of residents.
Get out of our building!
Get back, come on, get back.
Well, sweetheart, it looks like we’re going to
get a chance to dance after all, huh?
As Mundy is removing the stocking from his face, Catherine attacks him. She punches him in the stomach then hits him with her flashlight. He tumbles out into the hallway where there is a melee in progress.
You’ve had it old man; you’ve had it.
One of the thugs has Catherine around the waist, lifting her off her feet. Vincent leaps in through the window, roaring in anger. Everyone stands stunned as he pulls the thug holding Catherine away and lifts him high against the wall. He slashes the thug as another one comes at him with a bat. Vincent throws him with such force that he lands at the other end of the hall under the window.
Mundy comes at him, but when he sees Vincent’s face, he backs away and trips over the body of the other thug and falls out the window. Vincent makes a grab for him, but he misses and they hear the sound of screeching tires. Vincent turns back from the window. Everyone stares at him as Catherine makes shooing motions.
We’re all right…go!
Mischa smiles at him as he turns to the window and climbs out.
Did you see that?
What was it?
Enough, he’s a friend, a friend like this one
and no one must ever know.
EXTERIOR - CATHERINE’S APARTMENT BUILDING
Catherine gets out of a taxi.
Thanks a lot, lady.
Elliot has been waiting across the street in his limo; he gets out, quickly crossing the street to her.
Catherine, I’ve been waiting for you. Look
there’s been a terrible misunderstanding.
Only on your part, those people are not moving.
I’ve got enough on your management company
to stop the project
Yes! The building stays!
She turns, glaring to emphasize her point. Elliot leaves, slapping his gloves against his leg in frustration.
EXTERIOR - CATHERINE’S BALCONY
Catherine comes out on her balcony; as she looks down at the table, she sees a book. It is the sonnets of William Shakespeare. Inside the flyleaf Vincent has written: ‘Shakespeare knew everything’. A red rose is pressed between the pages of the twenty ninth Sonnet.
We hear Vincent reading it:
When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess’d,
Desiring this man’s art, and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate;
For thy sweet love remember’d such wealth brings,
That then I scorn to change my state with kings.
EXTERIOR - CITY
Vincent sits on the roof of a building, watching over the city at night.