BEAUTY AND THE BEAST

-Arabesque

(Formerly "Shooting Star")

Written by

Virginia Aldridge

Directed by

Thomas J. Wright

WITT/TBOMAS PRODUCTIONS956 N. Seward St.Hollywood, CA 90038(213) 46S-741S-Ho11ywood, CA(213) S83-1630-Vernon, CA

FIRST DRAFTFebruary 1, 1989

BEAUTY AND THE BEAST

"Arabesque"

(Formerly "Shooting Star")

CHARACTERS

CATHERINEVINCENTYOUNG VINCENTFATHER

SAMANTHAMARY

JOE MAXWELLLISA CAMPBELLYOUNG LISACOLLIN HEMMINGSBETHJILLMARIEFRANKJOHN FARLEYLISA'S LAWYERREPORTER #1REPORTER #2

EXTRAS

DANCERS12 TUNNEL DENIZENSPOLICEMENONLOOKERS

* BOLDFACE TYPE INDICATES NEW CHARACTERS

CHARACTERS OMITTED:PASCALZACHMRS. FIELDINGSAM

BEAUTY AND THE BEAST

-Arabesque

(Formerly "Shooting Star")

INTERIOR EXTERIOR

PLAZA HOTEL -Lisa's suite -Hallway -Stairs

CATHY'S BALCONY (N)

THEATRE -Dressingroom -Corridor -Backstage

PLAZA HOTEL (N)-Establishing-Hotel window ledge-Fire escape-Alley

CENTRAL PARK (N)-Tunnel entrance-Street by park-Establishing shot (STOCK)

LINCOLN CENTER-Observation chamber-Empty performance hall (STOCK)-Grated opening

CATHY'S APARTMENT BLDG- (D)

MICROFILM ROOM SUBWAY TUNNEL (N)

TUNNELS (N)-Central Park threshold -Brick tunnels-Drainage duct

.INDUSTRIAL AREA (N)

COURTHOUSE (D)-Limo out front

WELL STREETS (N) -Alley

GUEST CHAMBER

VINCENT'S CHAMBER

FATHER'S CHAMBER

GREAT HALL-Past and present

FURNITURE FACTORY

D.A.’S OFFICE

LINCOLN CENTER-Observation chamber-Swan Lake Ballet (STOCK)-

* BOLDFACE TYPE INDICATES NEW SETS

BEAUTY AND THE BEAST

"Arabesque"

ACT ONE

FADE IN:

1 THE PLAZA . NIGHTEXT. 1

A cloudless, cold evening under a sky sharp with stars. Fewpeople brave the chill that invades the air. At the top ofthe wide steps, the hotel doors open and a woman in a blackcape emerges into the night. This is LISA CAMPBELL. Overthis:

VINCENT (V.O.)You darkness, that I come from,/I love you more than all thefires/ that fence in the world,/

2 CLOSE LISA 2

Etherially beautiful, descending the stairs. She pauses andlooks back up at the hotel, her long hair blowing about herface... eyes wide as a frightened deer that flees the lion.Seeing nothing, she pushes forward.

VINCENT (V. O.)for the fire makes / a circle oflight for everyone,/

3 ANGLES 3

As Lisa hurries down the slick sidewalk, swallowed into thenight.

VINCENT (V. O.)and then no one outside learns ofyou./

4 EXT. STREETS NIGHT 4

An alto sax is heard, faint and faraway, seeming to draw Lisaonward. Breathlessly, she turns a corner, stops deadin her tracks, listens ..... Nothing except the sax. Nobodyis following. She continues moving, this caped figure in thedark. Finally, around yet another corner, she comes uponCLARENCE, playing his lonely sax, to the lonely night-- caseopend before him

VINCENT (V. O.)But the darkness pulls ineverything:/

5 CLOSE LISA 5

With trembling hands and bowed head, she takes a sealedenvelope from the folds of her cape and drops it into the case.Clarence doesn't miss a beat but his eyes widen everso slightly .... as he watches her withdraw.

VINCENT (V.O.)shapes and fires, animals andmyself,/

6 RESUME 6

as Lisa quickly makes her way back towards the hotel.

VINCENT (V.O.)how easily it gathers them! --/powers and people--/

7 WIDER ANGLE 7

Lisa hastens back along an alley. From the opposite side ofthe street, a shadowed figure of a man watches her.

8 8SHADOWED MAN

Close on the intent face of COLLIN HEMMINGS (British). A welldressed, heavy set man, his shrewd eyes following her.

VINCENT (V.O.)and it is possible a greatenergy /

CUT TO:

2

9 INT. VINCENT'S CHAMBER. NIGHT 9

Vincent sits in his chair, the book of poems open in hislap.

VINCENT'S VOICEis moving near me./ I have faith innights.

As Vincent finishes reading the poem, Father enters.

FATHERVincent…

Vincent gazes up at Father, who seems troubled by somedistant anguish.

VINCENTWhat is it, Father?

FATHERA message arrived for you tonight.From above.

Father draws the sealed envelope from his coat, passes itto Vincent. Vincent turns it over in his hands, examineshis name written in a familiar cursive. He breaks the seal andpulls out the Plaza stationery. He reads the short note.

FATHERIs it...?

VINCENTYes, Father.

FATHERWhat does she want?

VINCENTTo see me.

FATHERWhen?

VINCENTMidnight.

FATHERShe always did have a taste forthe theatrical. I wish she'dleave us alone.

(CONTINUED)

3

4

9 CONTINUED: 9

VINCENTI'm surprised she hasn't comesooner. I've wanted to see her.

He and Father exchange a significant look.resignedly and withdraws from the chamber.the note once again.

Father nodsVincent regards

LISA (0.S.)Come and see me at midnight. Ourspecial place. Lisa.

Vincent eyes lift from the words as if seeing into a timelong ago.

VINCENT(softly)

Lisa...

DISSOLVE TO:

(FLASHBACK)

10 INT. GREAT HALL YOUNG VINCENT'S POV 10

Two decades ago. A single lantern hangs from the ceiling,sending shards of flickering light into the dark recesses ofthe hall. And young Lisa dances near, a vision of softsensuality in her gossamer dress, which catches and holds thelight, as she turns closer and closer... For a second she isstill, and her full face turns toward us, flawless andalluring, but before we can drink it in, she moves awaybecoming beautiful motion again.

(END FLASHBACK)

DISSOLVE TO:

11 INT. TUNNELS - NIGHT 11

Moving with Vincent as he walks slowly through the tunnelsheading toward the park entrance. His thoughts filled with theturmoil of reawakened memories of his teenage years.A voice enters his consciousness.

YOUNG LISA (OVER)... I will dance for all theworld. I will dance for kings. ButI will be dancing only for you.

(CONTINUED)

15

16

11 CONTINUED: 11

The sweetness of these innocent words touches Vincent evennow. The power and purity of first love. He moves PAST THECAMERA, steering down a long tunnel.

CUT TO:

12 INT. LINCOLN CENTER - OBSERVATION CHAMBER NIGHT 12

Vincent arrives in this small chamber, hidden underneath thefirst balcony. Some old theater seats are stacked against onewall, and a thin rectangular grating runs along another nearthe ceiling. The chamber is empty, and after a beat, Vincentsteps up to the grating, looks through it.

13 HIS POV (STOCK) 13

The empty performance hall.finally the empty stage.

Rows of empty seat, and

14 RESUME VINCENT 14

As he pulls away from the grating... and begins to wait.

DISSOLVE TO:

LATER 15

Vincent is still waiting. A part of him idealizing this womanfrom the past. Yet an equal part remembering the pain and losshe also felt. And it is this second part that now impingesupon his memory. First come the sounds.

YOUNG VINCENT (OVER)I must see her, Father.

FATHER (OVER)She's gone.

DISSOLVE TO:

(FLASHBACK)

INT. FATHER'S CHAMBER DAY 16

A fifteen-year old Vincent, head bowed, youthful heartfilled with guilt and recrimination, sits before Father. Whoholds an equal measure of guilt in his own heart.

(CONTINUED)

5

16

17.

18

6.

CONTINUED: 16

VINCENTShe can't be.

FATHER(gently)

She went above with a helper. Toa dance school.

VINCENTNo.

FATHERIt's best for her. It's whatshe's always dreamed of.

VINCENT(miserable)

What have I done, Father?

After a harrowing, uncertain beat:

FATHER(denial)

You've done nothing wrong,Vincent. Nothing.

(END OF FLASHBACK)

DISSOLVE TO:

INT. LINCOLN CENTER OBSERVATION CHAMBER NIGHT 17

Vincent's eyes refocus on the present. Lisa is long overdue,and Vincent pulls her note from his cloak -- wondering whereshe could be, and why after all these years she has chosen tosee him again. He elects to continue waiting for her.

CUT TO:

EXT. CATHY'S BALCONY - NIGHT 18

Catherine looks at Vincent with concern. This message fromthe past has clearly affected him...

VINCENTA message in the night... It said solittle -- and yet I could feel theurgency, her need.

(CONTINUED)

7.

18 CONTINUED: 18

CATHYBut she never came...

VINCENTNo. It's almost as if I imagined it.

CATHYThere's a touring company herenow. She might be with them...

(a beat)Your memories must be strong.

VINCENT .She left us so many years ago. Weheard of her successes. Helperswould bring us news.

CATHYI saw her dance once...

Vincent looks at her, waiting for more...

CATHYIt was truly inspired.

VINCENT(nods, faraway)

... Yes.

CATHYDid she leave the tunnels in order todance..?

Vincent has no immediate response...

CATHYTo follow her dream..?

VINCENT(a long, troubled beat)

That is not why she left --although, it might have been areason in time...

CATHYWhy did she leave?

VINCENT(painful certainty)

... Because I loved her.

CUT TO:

8.

19 INT. THEATRE - BACKSTAGE - NIGHT 19

Cathy makes her way through a bustle of post performanceactivity as dancers mill about on their way to the dressingrooms. They step over cables and around flats as stage handsbreak the sets and set up for the next day's performance. Twomembers of the Corps de Ballet, JILL and BETH, are approachedby MARIE, the wardrobe mistress, carrying an armload ofcostumes. She's a blustery,gregarious, motherly sort.

MARIE(to the dancers)

Come on girls, I need thosecostumes.

JILL(to Marie indicatingher costume)

Do you think you could takethis in on the side?

MARIEWhat? So you can split the seamsnext time you eat lunch? I'llbe here till three in the morningjust fixing the damage you didtonight.

She grabs Jill's skirt, holding up a tear in the material.

MARIENo go on, both of you, get thosecostumes to wardrobe.

JILLOkay, okay.

Jill and Beth saunter off.

MARIE(to herself)

Honestly, you'd think I hadnothing better to do.

Cathy catches Marie's attention.

CATHYExcuse me. Can you tell me whereLisa Campbell's dressing room is?

Marie points down a side corridor.

(CONTINUED)

21

9.

19 CONTINUED: 19

MARIESure, honey. She's holding courtright down there. Third door.

CATHYThanks.

20 INT. CORRIDOR - NIGHT 20

Cathy walks past the other dressing rooms as dancers in variousstages of dress and undress come and go along with bits oftheir conversations. "That stage is like a rock, must be cementunderneath." "I think I'm getting that solo in 'Sylphides.'""Yeah, sure. You and everybody else Victor's dating." Cathyreaches Lisa's dressing room. The door is ajar.

INT. DRESSING ROOK - CATHY'S POV - NIGHT 21

As Cathy stands in the doorway she sees Lisa at herdressing table, surrounded by flowers. She's in a robe butstill wearing her stage makeup. An elderly, dapper man,FRANK, hovers over her, admiring...

FRANKI've seen you every time you'vedanced here.

LISAEvery time?

FRANKAs far as I know...

LISA(playing with him)

And which performance was yourfavorite?

FRANKWithout question: Giselle.December 23, 1978.

Lisa smiles at his ardor. Then, wistfully:

LISAI was only twenty-two.

FRANKMay I say, you're just asbeautiful now, Miss Campbell.

(CONTINUED)

10.

21 CONTINUED: 21

LISALisa, please.

FRANK(reverently)

Lisa...

LISAAnd thank you for the flowers.

FRANK(bowing)

Thank you Miss Campbell.

As he graciously leaves...

CATHYMay I come in?

LISAPlease…

CATHYYou danced wonderfully tonight.

LISADo you come to the ballet often?

As Lisa takes her costume and hangs it on the rack.

CATHY As often as I can... Actually I'mhere for a friend... a friend ofboth of ours.

LISAOh?

CATHYVincent...

The name hangs in the momentary stillness of the room, thenLisa slowly turns to Cathy.

LISA(guarded)

Who?

CATHY(gently)

You left a message... He waitedfor you. He was concerned...

(CONTINUED)

11

21 CONTINUED: (2) 21

LISA(cautious)

Did he send you?

CATHYI said I'd try to find you...and see if everything was allright.

Lisa says nothing. An awkward pause. Cathy realizes that Lisawould understandably be skeptical of her...

CATHYVincent cares for you very much.Know that if you need him, he'll bethere for you.

Lisa begins to soften, but still reveals very little.

LISA(hesitant)

Will... Will you see him?

CATHYYes.

LISATell him, I'm sorry. I would havecome, if I could.

(then)Are you a helper?

The door pushes open behind Cathy, and Collin silentlysteps in... unseen by Cathy, but visible to Lisa whoimmediately changes the tone of their conversation...glossing it over with charm and ease.

LISA(lightly)

... Everything is fine. I justwanted to say hello while I'mhere...

Without missing a beat, over Cathy's shoulder.

LISACome in, Collin.

Cathy turns end sees Collin.

COLLINMr. Forsythe is on the telephonefor you.

(CONTINUED)

12.

21 CONTINUED: (3) 21

LISATell Edward I'm visiting with anold and dear friend.

Lisa smiles as she makes the introductions.

LISA(to Collin)

Collin, this is Cathy Chandler. Wewent to school together. Cathy,this is Collin Hemmings.

CATHYHow do you do.

Collin regards Cathy with a level gaze. Then, more a quest forinformation than casual conversation...

COLLINSo you went to school together.Here in New York?

Cathy glances at Lisa fleetingly instantly sensing hertension. Then, to Collin...

CATHYYes...

COLLINWhich school was that?

Lisa covers.

LISABrookfield School of the Arts, ofcourse.

Cathy smiles, keeping up the pretense while trying to sense theundercurrents.

CATHY(quickly, to both)

Well you probably have plans and Idon't want to keep you. I've got tobe going anyway.

Cathy starts for the door.

LISA(to Cathy)

Call me. We can have lunch beforeI go.

(CONTINUED)

22

23

13.

21 (4) 21CONTINUED:

CATHYThat would be great. We can catchup.

(to Collin)Nice to meet you, Mr. Hemmings.

Collin just nods as Cathy leaves.

CUT TO:

INT. CORRIDOR - NIGHT 22

Cathy closes the door behind her. She looks back at thedressing room, troubled, trying to decipher Lisa's behavior.

CUT TO:

INT. MICROFILM ROOM. DAY 23

CLOSE TERMINAL SCREEN. We SEE a news photo of Lisa dancing thelead in "Les Sylphides" with the Paris National Ballet. Thecaption reads: "Lisa Campbell enchants Paris."

The film blurs forward to a picture of Lisa on the arm of anItalian Count. The caption: "Will dancing's darling add aCount to her conquests?"

The images blur forward again and stop. The scroll moves downpage 3 of a newspaper to a small review. "Lisa Campbell, in aless than inspired performance, disappointed this reviewer onceagain..."

Cut to a photo of Lisa on the arm of a distinguished lookingman. The caption: "Lisa Campbell, here with London financier,Edward Forsythe, quits London Ballet. Replaced by rising youngstar."

24 INT. LISA'S HOTEL SUITE. NIGHT 24

A lavish suite, but Lisa seems imprisoned by it's very luxury.Although dressed for a party in a flowing dress(Mrs. Fielding's party), she paces restlessly, stopping only tolook out the window into the dark night that hovers overCentral Park. Her face mirrors her deeply troubled thoughts.She doesn't hear the knock at the door at first, only as itgrows insistant does she turn to the door.

LISAYes?

(CONTINUED)

14.

24 CONTINUED: 24

The door opens and Collin comes in. He stands near thedoor. Lisa smiles. Her face instantly a mask of charm.

LISAYes, Collin. What is it?

COLLINA change of plans. We're leaving forLondon tonight.

Lisa laughs, dismissing it.

LISADon't be silly. I have three moreperformances this week.

COLLINThey've been cancelled.

LISA(disbelief)

What do you mean? I didn’tcancel anything? Who..?

COLLIN....I suggest you take it up withMr. Forsythe when we get back toLondon.

Lisa tries to digest this.

LISA(with growing anxiety)

But Why? Why would he do this? Heknows how important this is to me.

She stops, regarding Collin suspiciously.

LISAWhat did you say to him?

COLLIN(slight smile)

You overestimate me.

LISA(beat, then pointedly)

Do I?

COLLINI just do what I'm told. Isuggest you do the same.

(CONTINUED)

24

25

26

CONTINUED: (2)

Collin just smiles. Lisa looks away, out the window.

CLOSE LISA 23

As she stares into the park below, she gathers herself, hermind racing. Then her demeanor changes... 180 degrees.Chamelion-like, she now wears an expression of softacceptance as she turns back to face Collin.

RESUME 26

LISAWell, if I'm not going to dance, Isuppose I might as well go back.

(smiles)It will be good to get home.

COLLIN(impassive)

I'm glad you feel that way.

Lisa walks toward Collin with a gracious smile.

LISAYou will give me time to changeand pack.

Collin is not taken in.

COLLINOf course...

(smiles)I'll be waiting right outside.

He leaves, closing the door behind him. After he goes, Lisa'sfacade fades and she stands, paralyzed with indecision. Thenas a sense of defeat washes over her, she crosses to thedresser, opens a drawer and starts taking out some clothes. Asshe glances across the room she notices the door to theadjoining room. A moment's hope as she sees escape. She dropsthe clothes and goes to the door. She tries to open it, butit's locked from the other side. She turns from the door infrustration, her mind racing. Momentum building. She has toget away. The window. She runs to it and pulls it open. Thebreeze sweeps in, washing over her like freedom. She looksout.

15

LISANo! He can’t do this to me.He doesn’t own me.

29

16.

27 LISA'S POV 27

A narrow ledge and a three story drop... but there is a fireescape 25 feet away near the corner of the building.

28 RESUME SCENE 28

Lisa ducks back inside, trying to quiet the rising sense ofpanic that grows within her.

COLLIN {V.C.}{from outside the door}

Five minutes.

Lisa startled, whirls about, but sees that the door isstill closed. Catching her breath...

LISAYes…

CLOSE LISA 29

There is no time and there are no choices left. Shesoundlessly creeps out the window onto the ledge.

30 EXT. HOTEL WINDOW LEDGE. NIGHT 30

Lisa huddles on the ledge, fighting back her fear as sheglances down at the long drop beneath her. Her breath coming ingasps, as she struggles to her feet. Her fingers dig into thebricks of the wall behind her as she inches along toward thefire escape, deftly balancing on the marginal footing. Sheedges forward, cringing as she HEARS Collin knocking at thedoor. The wind gusts about her, billowing her dress and hair.Almost a gothic image as she traverses the brick 'tower.'

31 EXT. FIRE ESCAPE. NIGHT 31

Lisa stretches her trembling fingers for the iron guard rail.From her room the SOUND of Collin's knocking grows louder,more insistant. Clutching the rail tightly, she leaps over.Without pause, she lunges toward the stairs.

CUT TO:

33

34

35

17.

32 HALLWAY OUTSIDE LISA'S ROOM 32NIGHTINT.

Collin stops knocking with the realization that Lisa is nolonger in there. He bolts toward an adjacent exit landing, aswe:

CUT TO:

EXT. FIRE ESCAPE STAIRS 33

As Lisa speeds downward. Lightly, her nimble feet ablur... a 'bourree'. Down one flight, two flights.

CUT TO:

INT. HOTEL STAIRS 34

As Collin takes the stairs three at a time, vaulting over therailing onto the next floor...

CUT TO:

EXT. FIRE ESCAPE 35LOWER PLATFORM

Lisa struggles to release the ladder that drops to the street,but it's rusted shut. Clutching the bottom of the gratedplatform, Lisa lowers herself over the edge.

36 EXT. ALLEY - NIGHT 36

Lisa drops to the alley. Rolling as she lands, she boundsto her feet and races toward the street.

37 EXT. STREET BY PARK - NIGHT 37

Lisa runs desperately into the street, dodging traffic ascars screech to a halt and swerve to miss her, horns blaring.Lisa runs into the park and disappears in the trees, just as:

38 38COLLIN

rounds the corner to the fire escape landing... but Lisa isnowhere in sight. He looks up, spitting mad, at the curtainsbillowing from Lisa's window.

CUT TO:

39

40

41

42

43"

18.

EXT. PARK - NIGHT

Like a frightened gazelle, Lisa runs swiftly across thegrasses of the park.

EXT. PARK TUNNEL ENTRANCE. NIGHT

Lisa runs down the drainage duct and disappears inside...

INT. CENTRAL PARK THRESHOLD NIGHT

Lisa, breathless and frightened, runs to the barred gates.She clutches them...

LISAPlease... oh please be here...

ANGLE

as Vincent steps from the recesses of the tunnel.

LISA

Her face brims with relief as she sees Vincent. She runstoward him, throwing herself into his arms.

LISAVincent, Vincent...

44 ON VINCENT

His face registering ambivalence and caution, we:

FADE OUT:

END OF ACT ONE

39

40

41

42

43

44

ACT TWO

FADE IN:

45 CENTRAL PARK THRESHOLD CONTINUOUS

19.

45

Vincent withdraws from the embrace, while Lisa steps backwondering at his appearance.

INT.

LISALet me look at you, Vincent!

VINCENTHello, Lisa.

LISAYou’re changed.

VINCENTYes, I have.

A long moment passes between them.

LISAYou're my most special memory inall the world, and you're not happyto see me.

VINCENTThat's not true.

Another silence.

LISAI'd forgotten how quiet you are...

VINCENTI was always listening to you.

LISAYou're angry, I never came tovisit.

VINCENTYou had reasons... and we had word ofyou from time to time. And twice... Isaw you dance.

LISA(touched)

You did?

(CONTINUED)

20.

45 45CONTINUED:

VINCENTYou must have known I would come.

LISATell me...

VINCENTYou were magical... You had becomeyour dream.

LISAOh, Vincent. To hear that fromyou!

Vincent must will himself not to get swept up in her charmand enthusiasm.

VINCENT(with difficulty)

Lisa... why are you here?

LISATo see you. And Father, andeveryone.

VINCENTFifteen years... Much hashappened.

LISAI know that.

VINCENTLisa... is there trouble in yourlife?

LISANo, no, of course not.

And on her winning smile of reassurance, we

MATCH DISSOLVE TO:

46 46CLOSE ON SAMANTHA

Her young face enthralled; her eyes aglow.

LISA (O.C.)I even danced in Russia once...

CAMERA PULLS BACK, and we are:

21.

47 FATHER'S CHAMBER LATERINT. 47

Father, Vincent, Mary, Samantha and a DOZEN TUNNEL DENIZENSare listening as Lisa charms with tales of her travels. Lisadoes present an enticing picture with her beautiful dress andcharming manner. Samantha is wide-eyed with wonder. Sittingclose to Lisa, she soaks it all in, but Father is reserved,uneasy. Vincent sits somewhat apart from the others.

SAMANTHARussia?

LISAWith the Kirov -- oh, you should seethe theater! Just to set foot on thatstage... I've never seen anything sobeautiful. Like dancing in acathedral.

SAMANTHABut you grew up here in thetunnels. How did you ever get tobe a ballerina?

Lisa smiles wonderfully at Samantha's innocence.

LISAI loved it here, Samantha. Withoutthis place, I might never havedanced. Father found me a teacher...

48 NEW ANGLE 48

MOVING IN ON VINCENT, his face growing soft with recall.

LISA (O.C.)And Vincent took me to see my veryfirst ballet...

DISSOLVE TO:

(FLASHBACK)

49 NIGHT 49INT. TUNNELS

A teenage Vincent leads a teenage Lisa down a longunfamiliar passage. She's full of excitement. He plays thechivalrous and proud suitor.

(CONTINUED)

50

51

22.

49 CONTINUED: 49

YOUNG LISAWhere are we going? You've got totell me. I hate surprises.

YOUNG VINCENTBe patient. You'll see.

He leads her around a dank corner, her white dress whispingbehind her.

CUT TO:

INT. OUTSIDE WELL 50SAME TIME

They arrive at a narrow passageway, where a gaping hole inthe tunnel wall leads into utter blackness. Vincent regardsLisa for a beat before stepping through the hole into thebase of a dark well. Lisa hesitates outside.

YOUNG VINCENTDon't be afraid.

He reaches out to her.

YOUNG VINCENTHere, take my hand.

Lisa grasps his hand and boldly steps:

INTO THE-WELL 51

They stand together in this close black space, looking upabove them.

52 THEIR POV 52

A row of iron rungs bolted into the sweating wall leads upinto the gloom.

53 53RESUME SCENE

Vincent places a hand on the third rung.

YOUNG VINCENTI'll go first. You follow.

And he begins to climb. Lisa watches his dark shape ascend intothe darkness. After a while, she can only hear him, the gentleclink clink of heel against iron. Then silence.

(CONTINUED)

23.

53 CONTINUED: 53

From way above comes a voice.

YOUNG VINCENTYour turn.

Tentatively, Lisa reaches fordeep breath starts climbing.lifts herself rung by rung upThree-quarters of the way up,continue.

the third rung, and with aCAMERA MOVES WITH HER as shethe curving wall. she falters -- unable to

YOUNG LISAI'm scared.

YOUNG VINCENTYou're almost there. You can doit. Don't look down.

Lisa looks down at the bottom of the well, way below her. Avertigo swims in her head. Her grip loosens on the ironrung... and she's about to fall, when Vincent's strong handthrusts into the frame, grabbing her arm, pulling her tosafety.

Together, they sit on the ledge at the top of the well,breathing hard at their close call.

VINCENTYou're safe now.

(beat)Should we go back?

Lisa peers over the edge back where they came from.

YOUNG LISAI don't think so...

CUT TO:

54 BRICK TUNNELS 54INT.

Closer to the surface, Vincent and Lisa walk with greater care,more quietly. Up above them, there's a faint RUMBLE. But it'snot a subway. Vincent puts up his hand to stop Lisa. He turnstowards her, and motions for her to be still.

Together, they listen to the APPLAUSE from the theater abovethem. And then the first strands of the orchestra playingthe overture to Swan Lake.

(CONTINUED)

24.

54 CONTINUED: S4

YOUNG LISA(in wonder)

Vincent, listen.

YOUNG VINCENT

We must hurry.

And they run down the: tunnel...

CUT TO:

55 LINCLOLN CENTER OBSERVATION CHAMBER SSINT.

Vincent leads Lisa into the chamber. He pulls two boxes upagainst the wall, and together he and Lisa stand on the boxesand peer through the grating. After a moment, Lisa turns tolook at Vincent, her face transformed by joy. She mouths thewords: "Thank you." Vincent regards her with love. She turnsback to the grating to watch the ballet. Vincent continues towatch her for a beat, and then also turns his head toward theperformance.

56 THEIR POV 56

SWAN LAKE BALLET (STOCK)

The purity and grace of Swan Lake unfolds as Odete andAlbrecht dance.

DISSOLVE TO:

S7 REVERSE ANGLE 57

Vincent's and Lisa's faces behind the grating, watching.Lisa is mesmerized, and so is Vincent.

APPLAUSE, CHEERS, BRAVOS, as

DISSOLVE TO:

58 58THEIR POV THE BALLET

The dancers take their bows; flowers are brought from thewings to the ballerina who graciously accepts. Single rosesare tossed at her feet.

DISSOLVE TO:

60

61

25.

59 IN THE OBSERVATION CHAMBER 59

Enraptured, fiercely determined, Lisa turns to faceVincent.

YOUNG LISAOne day, I'm going to be out theretoo, Vincent. I will dance for allthe world. I will dance for kings.But I will be dancing only for you.

ON Vincent's trusting and happy expression, we:

(END OF FLASHBACK)

MATCH DISSOLVE TO:

INT. FATHER'S CHAMBER NIGHT 60CLOSE ON VINCENT

As the recall fades and the present comes back into focus.

LISA (O.C.)And that's when I knew...

NEW ANGLE 61LISA

as she turns from Samantha to regard Vincent.

LISAThanks to Vincent.

(to Samantha)So you see, dreams begin rightwhere you are, right now.

SAMANTHA(shyly)

Will you show me to dancesometime...?

LISAIf that's what you want...assuming Father will allow me tostay for a while.

Father answers almost too quickly and politely for hisenthusiasm to be genuine.

FATHEROf course, you're welcome to...For as long as you wish. But Ithought you were scheduled formore performances...

(CONTINUED)

26.

61 61CONTINUED:

LISA(easy lie)

We closed early.

FATHERWell, in that case, please...stay...

LISAWonderful.

CUT TO:

62 62D .A. ' S OFFICE-- NIGHTINT.

Cathy is putting in a late night as the office. Hunched overher desk, a case file open before her. Joe comes out of hisoffice, briefcase in hand, a coat draped over his arm. Hepauses in front of Cathy.

JOEThat's what I like to see: thetaxpayer's money hard at work.

CATHYI never thought of that…I pay my own salary.

She pretends to start packing up for the night.

JOEDon't get any ideas.

CATHY(smiling; opening herfile)

'Night, Joe.

JOEGoodnight.

Joe starts away, then turns back.

JOEHey, were you the one asked meabout this guy -- Edward Forsythe?

CATHYYeah…

(CONTINUED)

27.

62 CONTINUED: 62

JOEI knew the name sounded familiar.Buddy of mine over at Justicementioned him.

CATHYAnd?

JOESome kind of international armsbroker, I think. Kind of guy playsgolf with Ollie North on theweekends.

(beat)From what I hear, he's about to beindicted. Why'd you wanna know?

CATHYHeard the name. I was curious.

Joe lingers for a beat. Then:

JOEOkay... See you in the morning.

CATHYBye.

As Cathy digests the information, we

CUT TO:

63 INT. TUNNELS NIGHT 63

MOVING with Vincent and Lisa as they walk slowly towards theguest chamber.

LISAI wonder how long it will take tooutstay my welcome.

VINCENTWhy do you say that?

LISA

You don't have to hide anything from me,Vincent. Father hates me.

VINCENTHe doesn't hate you.

(CONTINUED)

28.

63 CONTINUED: 63

LISAHe hates me. Or at least, heblames me.

VINCENTPerhaps a part of him does...

LISALet's not talk about it.

VINCENTLisa... there are things you don'tknow.

LISAVincent, please.

VINCENTA time in my life after you left-

LISAI want to remember glad things.

VINCENTLisa...

LISAI remember running through thetunnels as a girl. So dark. Sofast. And I always ran towards thelight, the blinding light...

VINCENTYou were so happy.

LISAI was happy, wasn't I?

VINCENTYes... you were.

Lisa smiles and continues walking a few paces beforestopping to face Vincent.

LISAI'm suddenly tired.

VINCENTThe guest chamber is near...

(CONTINUED)

29.

63 (2) 63CONTINUED:

LISAI can find my way. You needn'twalk me any further.

Vincent begins to protest.

LISAPlease... I'm fine.

A moment. Their eyes meet. Then Vincent steps back.

VINCENTAs you wish... Goodnight.

Without a word, Lisa turns and hurries off down the tunnel.Vincent watches her disappear, before turning in the otherdirection.

64 CONTINUOUS 64INT. GUEST CHAMBER

Where Lisa enters and sits heavily on the bed, this solitarywoman. Her mask slowly melts away, revealing her truedistress and weariness. And finally she drops her head intoher hands, as the first sob comes...

FADE OUT:

END OF ACT TWO

67

30.

ACT THREE

FADE IN:

65 EXT. CENTRAL PARK (STOCK) NIGHT 65

to establish.

66 CENTRAL PARK DRAINAGE DUCTINT. NIGHT 66

Cathy tells Vincent of Lisa's involvement with EdwardForsythe. Vincent tells Cathy that Lisa has come below.

(DIALOGUE TO FOLLOW. APP. 2 1/2 PAGES)

DISSOLVE TO:

INT. FATHER'S CHAMBER NIGHT 67

Father paces, trying to restrain his anger over the newsthat Vincent has just brought.

VINCENTWe have a responsibility to her...

FATHERTo help her face her problems,yes. not to hide from them.

VINCENTFather, she has no other place.

FATHERShe has the world...

VINCENTBut this is her home...

FATHER(flashing)

This was her home.

Father's looks away from Vincent's probing look, ashamed byhis outburst.

FATHERI'm sorry...

(CONTINUED)

31.

67 CONTINUED: 67

VINCENTWhy, Father? Why do you stillhold such anger toward Lisa?

FATHERVincent, don't...

VINCENTSeventeen years, and nothing haschanged since you sent her away.

FATHERI never sent her away.

VINCENT -But you did!

FATHERNo...

VINCENTJust like Devin!

FATHER(flashing)

I had to protect you, for God'ssake! Don't you understand?

The velocity of their exchange has taken them to a new levelof honesty... and the consequent pain is evident in Vincent'svoice.

VINCENT... Protect me?

FATHERFrom their dreams...

VINCENTBut I shared those dreams.

FATHERYes... for a time. But dreamscan't live in the imaginationforever. They become hopes...possibilities.

Vincent softens with understanding. Father regards him,remembering with sad, tender emotion.

(CONTINUED)

32.

67 (2) 67CONTINUED:

FATHERI watched you... growing up besideDevin and Lisa and the others...dreaming dreams I knew you couldnever realize.

Vincent's eyes drop, and after a moment...

VINCENTThat must have been a heavy weight tobear...

FATHERNo, Vincent...

Father steps to Vincent... with both hands, tenderly raisingVincent's face to his.

FATHERWith the strength and courage yougave me... it was no burden at all.

As they regard one another with the realization that theirfates are, as they always have been, inextricably bound, we...

DISS0LVE TO:

68 DAY 68CATHY'S APARTMENT BUILDINGEXT.

LONG SHOT

Cathy exits her building, hails a cab... and as she enters thecab.

RACK FOCUS

to reveal that she's being watched from a late model Jaguaracross the street. Inside it are Collin and a cohort, JOHNFARLEY -- who twists on the ignition and pulls away fromthe curb after Cathy.

CUT TO:

33.

69 INT. GREAT HALL DAY 69

ANGLE STAIRCASE as Vincent slowly descends the stone steps andenters the dim, empty hall. He stands for a long, thoughtfulmoment at the foot of the stairs. A soft, warm light begins toappear on his face from some unseen source. Music eases in,haunting, lyrical ("Apollo" of "Meyerling" perhaps) as Vincentturns toward the light.

DISSOLVE TO:

(FLASHBACK)

70 INT. GREAT HALL 70

A single torch from a wall sconce sends flickering lightagainst the rocky walls. Young Vincent stands at the foot ofthe stairs, watching Lisa as she dances... a vision of softsensuality in her gossamer dress, lost in the music, inherself, in her fantasy. Then, Lisa sees him, their eyeslocking for just a moment... as she continues to dance.

Yet her movements seem to beckon Vincent closer... and hecannot help but move toward her. Lisa dances near, resting herhand on Vincent’s shoulder as she balances in an arabesque, andtheir eyes lock...

VINCENTYou are so beautiful...

He raises his hand to touch her, but Lisa turns away,moving behind him. Vincent turns, but she spins away fromhim again... back into the center of the light, her lithesilhouette casting graceful weaving shadows on the walls.

71 ANOTHER ANGLE 71

Entranced, almost beyond himself, Vincent moves closer toher... to the sensual image that entices... lures. She dancesaround him, brushing past, laughing gently. He turns his headas if to follow her sweet elusive scent.

Now Lisa turns and runs straight for Vincent, taking to the airjust as she is upon him -- trusting him completely as Vincentlifts her high, her arms forming a graceful arch overhead. Heholds her aloft for a long moment... then easing her slowlydown as she lowers her arms around him. Their bodies are inchesapart, pressed close. Lisa's bare shoulders glisten.

74

75

76

34.

72 CLOSER 72

Their faces almost touching... as their lips brush... thenbrush again... then hold. The passions of youth rising...until Lisa suddenly pulls away and regards Vincent witha flicker of disgust: as if seeing his strange presence forthe first time.

VINCENTLisa...?

(NOTE: over the following sequence, the music grows morestrident, the angles sharper, the cuts quicker...surrealistic.)

73 LISA

Pulls away sharply, straining to free herself fromhis grasp.

73

VINCENT 74.

holds on, as if trying desperately to regain the sweetpromise of only a moment ago, his eyes imploring her tostay.

LISA 75

shakes her head, struggling harder to get away.

LISANo...

ANOTHER ANGLE 76

as she twists away violently within Vincent's grip, his fingersslice through the sheer fabric of her dress, into the delicateflesh of her shoulders and back. From the force of her efforts,Lisa falls to the ground with a scream. She pulls herselfacross the floor, away from Vincent, before getting to her feetagain. Then she notices: touches the blood as it soaks into herdress: looks up at Vincent, her face reflecting a deeper horroras she backs away, and turns to run...

VINCENTLisa!

79

80

81

82

35.

77 VINCENT 77

78

79

80

81

82

CLOSE

starts after her when TWO HANDS ENTER FRAME, restraininghim. Vincent wheels around, ready to strike...

78 HIS POV ECU FATHER

shouting over the whirling din in Vincent's head.

FATHERVincent, stop it!

(then)Stop it...

RESUME VINCENT

his face full of hurt and shame. His eyes fill with tearsnow. Father takes him into his arms, holding him as hesobs...and as the light form the past fades away.

(END OF FLASHBACK)

DISSOLVE TO:

INT. GREAT HALL THE PRESENT

CLOSE on Vincent, as he turns away from the painfulmemory... and reacts as he SEES:

LISA

standing near the staircase, her face full of the samestark and fearful images from a time long past.

ANOTHER ANGLE

as they regard one another, an aching silence between them,we:

FADE OUT

END OF ACT THREE

36.

ACT FOUR

FADE IN:

83 INT. GREAT HALL CONTINUOUS 83

As Vincent and Lisa regard one another across a bridge ofsilence. Then:

VINCENTI know you're remembering too,despite the years. It's there... inboth our hearts.

Lisa is reluctant to hear, but unable to leave.

LISAPlease don't...

AS Vincent approaches her...

VINCENTFor so long I couldn't forgivemyself for what I did... forhurting you... driving you away.

LISAVincent...

Lisa shakes her head.

LISAWhat happened between us was noone's fault. Don't you see? If I'dstayed any longer...

(she breaks off,. then:)Even when I was a little girl, Iknew that I would leave... someday.

VINCENTBecause you couldn't findhappiness here...

LISABecause wherever I am... whereverI've been... happiness was somewhereelse.

A silence follows her tragic confession.

VINCENTI'm sorry...

(CONTINUED)

. 83 CONTINUED: 83

LISADon't be.

Lisa shrugs, trying to spread the thin veil of a smile overthe pain on her face.

LISAI suppose it's my fate.

After a moment:

VINCENTPerhaps we should try to forgiveone another.

LISAI'd like that. I really would.

Lisa and Vincent are very close now. Closer than they have beenin seventeen years. It's a moment where it seems anything canhappen. Then:

VINCENTI know you are in danger, thatyou're afraid... hiding.

Lisa looks away.

VINCENTLet me help you...

LISAIt's not true.

VINCENTLisa...

Vincent fights his growing frustration.

LISAI don't need your help. I don'tneed anyone's help. I'm fine.

VINCENTPlease, you must trust me...

He moves to face her, but she does not look up at him.

VINCENT(softly)

... as you once did.

(CONTINUED)

r

37

84

85

38.

83 (2 83CONTINUED:

But Lisa feels only her past memories and present troublesclosing in, suffocating. Unable to face either one, she turnsaway from him.

LISALeave me alone...

She starts toward the stairs, and Vincent takes a few stepsafter her, when he turns suddenly, and the CAMERA ZOOMSIN ON HIS FACE.

CATHY (OVER)What is this?!

SMASH CUT TO:

EXT. D.A.'S OFFICE NIGHT 84

Collin has come up beside Cathy on the busy street, wrapped hisarm around her shoulder with one hand, the other hand pressinga gun concealed by a folded newspaper into her side.

CATHYLet go of me!

Cathy struggles in his grip, but he jams the point of the guninto her ribs with a quiet, but ominous smile.

COLLIN(very dry)

Come, let's go for a drive, shall we?

As he shoves her sharply toward the curb, into the idlingJaguar, which screeches away from the curb into traffic.

CUT TO:

EXT. 85SUBWAY TUNNEL VINCENT

riding atop a subway car, hurtling through the darkness.

CUT TO:

39

86 INDUSTRIAL AREA NIGHT 86EXT.

A creeping mist rises from the rain slicked asphalt. TheJaguar pulls to a quick stop, and the driver door opens.John gets out and opens the back door, jerking Cathyviolently from the car. Collin follows, shutting the doorbehind, following Cathy and John into an empty furniturefactory.

CUT TO:

87 87TUNNELS NIGHTINT.

Vincent powers through the tunnels...

CUT TO:

88 88FURNITURE FACTORY NIGHTINT.

Moonlight spills in through the grimy skylights. As theCAMERA MOVES amid the hulking silhouettes of heavy dutymachinery, and the thousands of unfinished chairs and tableswaiting to be finished...

CATHY (O.S.)(emphatic)

I don't know where she -

Then the sound of a violent SLAP! as the CAMERA TURNS thecorner, FINDING Cathy as she tries to catch her fall againstthe wall. John moves to prop her up again... but Cathy comes uphard with a backhand, which John dodges expertly -- but justbarely -- catching her from behind and shoving her hard to theground.

COLLIN(to John)

Pick her up...

John lifts Cathy up. She leans heavily against the wall,breathless and bruised, blood trickling from her nose andfrom the corner of her mouth.

COLLINNow tell me...

(then)Where's Lisa?

CATHYI don't know.

COLLINWrong answer.

(CONTINUED)

89

90

91

88 CONTINUED: 88

John unleashes a powerful blow across her face.staggers and tries to regain her footing.

And as she

COLLINLet's try again, shall we?

CUT .TO:

EXT. NIGHT 89ALLEY

Vincent running...

CUT TO:

INT. FURNITURE FACTORY NIGHT 90

CLOSE SPOT as John swings a crow bar into a heavy oak tableleg, breaking it neatly in two, collapsing the table corner-first.

COLLIN You see, it's just that easy with ahuman leg. Easier, really. John'sdone it a thousand times. And youwouldn't be the first woman.

Cathy stares at Collin in defiant silence. Collin's lips twistinto a thin, crooked smile. John brings back the crow bar...when a SHATTERING OF GLASS calls their attention upward.

THEIR POV (SLIGHT OVERCRANK) - VINCENT 91

flying down from a skylight in a shower of shards.

92 92RESUME SCENE

Vincent unleashes an unearthly roar as he gashes open thefront of John's chest. John falls in a lifeless heap asVincent turns to Collin, who grabs Cathy from behind, pinningher close with his gun in her neck. Vincent stops cold. It's astandoff. Collin backs away, staring at Vincent with abjectfear... and Vincent continues toward him, staring him down. Atense standoff.

40

96

41.

93 CLOSER 93

Collin's gun hand starts to shake. He's losing his nerve. Ina sudden panic, he straightens his arm, aims the gunat Vincent -- and in a single motion, Cathy grabs his wrist,ducks under the arm, twists the gun toward Collin just as itFIRES!

94 COLLIN AND CATHY 94

facing one another for a suspended moment, before Collinsinks to the ground, dead, still clutching the gun.

95 ANOTHER ANGLE 95

Vincent steps to Cathy, sweeping her into his arms, holding herclose...

DISSOLVE TO:

INT. GUEST CHAMBER NIGHT 96

As Lisa explains, she can scarcely look Vincent in the eye.Her tone is cool, matter-of-fact...

LISAOne of the most useful things I'velearned living above is knowing whento leave.

VINCENTThen that's what you've decided...

LISAI think it's time.

(then, flip)You'll tell Fatheryou?

for me, won't

Vincent tries to curb his rising hurt and anger.

VINCENTWhere will you go?

LISASouth America. Buenos Aires,actually. I know some peoplethere.

VINCENTSo you intend to forsake yourobligation to the law...

(CONTINUED)

42.

96 CONTINUED: 96

Lisa regards Vincent point blank.

LISA(pure ice)

I intend to survive.Is that so awful?

VINCENT(exploding)

Catherine nearly died tonightbecause of your selfishness! And Ialmost lost the one person who meanseverything to me!

The power of Vincent's emotion overwhelms Lisa. She tries toget past Vincent, but he stops her. She doesn't look at him.

LISALet me go...

VINCENT(powerful)

No! This time you will listen... andyou will hear me!

LISAYou're frightening me...

VINCENTYou have only yourself to fear.Your cowardice. You surroundyourself with illusion... butillusions fade.

Lisa still averts her face.but Vincent is unrelenting.

Tears begin to well inside,

VINCENTWhen you can no longer dance toenchant the world, what will youdo? Will you cling to whoeverwill have you?! Is that allyou're worth?

Lisa wipes at the tears she can no longer contain as she backsaway, sitting on the bed. Vincent's rage is tempered by heranguish, his tone softens...

(CONTINUED)

43.

96 CONTINUED: (2 96

VINCENTBeyond the chaos of dreams liesa world rich with possibilities...but only if you first acknowledgethe pain you're feeling.

(then)Because without that pain... wecan never truly know happiness.

Lisa's tears are quieting as she listens, although shestill cannot look at Vincent.

VINCENTThere is much I would change if Icould, but... we must accept thepast and learn to grow beyond it.

Lisa looks down in silence.slowly to her side.

A moment as Vincent moves

VINCENT(softly)

Listen to your heart. It will tellyou what you need to know.

He touches her shoulder gently. This time Lisa does notpull away, but turns slightly toward the softness of histouch. A beat as they both feel this moment of gentlehealing.

VINCENT(a whisper)

I will always believe in you.

Then Vincent leaves her. Lisa looks up and watches himgo... her gaze lingering long after he is gone.

DISSOLVE TO:

97 EXT. COURTHOUSE DAY 97

A throng of people mill about the front steps -- reporters,police, onlookers. Cathy is among them. "Think she'll show?""She's already late." "No one's seen her for days." Then, alimo approaches and pulls to the curb. Instantly the momentcomes alive as reporters surround the car with cameras,microphones. "It's her." "There she is."

98

99

100

101

102

44.

ANGLE LIMO 98

The back door opens and a suited man gets out: Lisa'sLAWYER. He turns and extends his hand to Lisa, who steps tothe curb beside him. She wears a tasteful black suit andsmiles charmingly for the cameras as her lawyer tries toshield her and get her to the steps.

REPORTER #1Miss Campbell, where have youbeen?,

Lisa smiles, shakes her head.

LISAI'm sorry...

REPORTER #2What’s your relationship toEdward Forsythe?

REPORTER #1What are you going to say inthere?

LAWYERMiss Campbell has no comment atthis time.

ANGLE CATHY 99

watching from the steps, very pleased as she backs awayfrom the crush.

RESUME 100

Lisa and her lawyer start up the steps as two uniformedpolicemen clear a path. Lisa glances over and seesCathy...

CATHY 101

a brief smile of recognition... approval.

TO SCENE 102

Lisa holds Cathy's look for a fleeting moment... until herlawyer hustles her up the steps and inside. The reportersfollow. The onlookers begin to drift away.

103

104

CATHY

We HOLD on Cathy's warm smile as the moment's drama playsout. Vincent's soft voice fills the space, as we:

DISSOLVE TO:

EXT. CATHY'S BALCONY NIGHT

103

104

(DIALOGUE TO FOLLOW. APP. 2 PAGES.)

FADE OUT.

THE END

45