Beauty and the Beast
"Notes From the Underworld"
Author Unknown
ACT ONE
OVER BLACK
FLASHBACK -- TUNNEL EXPLOSION -- DREAM SEQUENCE
A TREMENDOUS EXPLOSION, as the blackness fades into a haze of
thick, almost sepia colored dust which obscures the shot.
Another EXPLOSION, then the SOUND of falling, crumbling rocks and
a man's SCREAM...long and penetrating. Through the spreading
dust a man's hand is seen, then the rest of his body, as he
staggers into frame. His features are unrecognizable from facial
cuts, blood and dust. There is a large wound on his forehead.
He makes no noise but we can still hear the sound of falling
rocks and the screams of men...hurt...dying.
The man stumbles down the tunnel. The dust settles and the only
SOUND is the heart wrenching screams of the men...louder, until
it is almost one voice. The man is getting weaker and the
screams stronger. Suddenly the man looks up and is confronted
with a blinding LIGHT. He staggers into the light and is lost.
The voices stop abruptly.
DISSOLVE TO:
INT. TUNNEL CHAMBER - DAY
PAN slowly across the room which is filled with items from the
earth...quartz rocks, geodes, pieces of earth drilling equipment,
a huge sign from a now abandoned subway station, engineering
diagrams and tunnel maps. It reflects the owner's interest in
the workings of the earth's core. The camera FINDS and comes to
rest on an old man in bed. This is CARL. He is very ill.
CLOSE ON CARL'S FACE
His eyes are only half opened and sweat pours from him. A
compress covers his forehead. A hand reaches into frame and
readjusts the compress. It is VINCENT's hand.
PULL BACK to reveal Vincent sitting next to the bed.
CARL
Thank you Vincent. I feel much better.
VINCENT
Father will be back soon. He was very concerned about
you.
CARL
Probably worried he'll lose a chess partner -- one he can
beat.
Carl pauses for a moment, gathering his strength. He sees the
old tunnel maps which Vincent has been studying. He touches the
old faded paper gently, caressingly.
CARL
Are you still looking for secret passages?
VINCENT
(smiling, remembering)
I still search.
CARL
There are great treasures...if only you know where to
look.
VINCENT
Every time I travel through our world, I see them. You
taught me that. I shall forever be grateful for those
lessons.
Carl lies back and is strangely calm. He looks around at his
home and then back at Vincent.
CARL
(quietly)
Vincent,...I know I am dying.
Vincent starts to say something but is stopped by Carl.
CARL
Should have died 25 years ago. Borrowed time, they call
it.
(pause)
I tried to do the right thing. To help Father...to give
something back to this world.
VINCENT
Father could never have gotten along without you...and
your knowledge.
Carl grows weaker, but as he takes Vincent's hand, it is still
with a strong and vigorous grip.
CARL
You learned so much Vincent.
(pause)
I only wish I could have taught my own son as well.
VINCENT
I did not know you had a son.
CARL
Only a few know my secret. His name is Michael. An
architect...already a junior partner in a big firm. One
of the helpers keeps track of him for me.
VINCENT
Why did you not try to contact him?
CARL
He thought I was dead...better off not knowing.
VINCENT
You denied him knowledge of his own father. Are you sure
that was right?
CARL
(beat)
No.
(pause)
Vincent I want to see him. I want him to know what
happened to me.
(beat)
...my journal.
Carl points to his desk. Vincent gets up and retrieves the
journal. He returns to Carl's bedside and opens the book.
INSERT
Old, candid photos of a handsome young boy growing up - childhood
through college graduation, even clippings about the firm he
works for. Carl's "friend" has quietly collected all he could.
It is enough to touch us and Vincent.
RESUME SCENE
VINCENT
I promise...I will do what I can.
Carl, satisfied, drops off to sleep.
DISSOLVE TO:
INT. CARL'S ROOM - SAME SCENE - LATER
Vincent has been looking at the scrapbook as he watches over
Carl. FATHER comes in and walks over to the bed.
VINCENT
He was awake earlier.
(pause)
He knows he is dying.
FATHER
Yes...I only wanted to make this as peaceful as possible.
It is the least we can do.
VINCENT
He wants to see his son.
Father looks at the journal and turns a page.
FATHER
I knew this would happen eventually.
VINCENT
Then you approve?
FATHER
With some reservations, yes.
(pause)
I will have one of our people above contact him.
VINCENT
(quickly)
Father, I would like to take care of this matter.
FATHER
It must be done carefully. We do not have time to handle
this as I would like.
VINCENT
Which is why I would ask Catherine.
FATHER
You don't have to get her involved in this.
VINCENT
Carl asked the promise from me. This is the best way I
can fulfill it.
FATHER
(giving in)
Yes. Go now.
(looking down at Carl)
You won't have much time.
CUT TO:
EXT. CATHY'S TERRACE - NIGHT
CATHY and Vincent stand on the terrace looking out at the city.
VINCENT
Carl's only wish...is to see his son.
CATHY
That shouldn't be too hard. Do you have any information
on the child?
VINCENT
He is no longer a child and he believes his father
died...25 years ago.
Vincent pulls out the old journal from beneath his cape. Cathy
takes it gingerly and leafs through it.
CATHY
Why now? Why after all of these years?
VINCENT
To ease his guilt? To right a wrong? I am not certain.
I only know that the obligation was passed to me...
Cathy closes the book and holds it close to her.
CATHY
...and to me.
(beat)
I'll do what I can. But a ghost coming back to
life...it's hard for anyone to accept.
VINCENT
Yet to know...it could never be too late.
Cathy knows how much this means to Vincent, and senses his
personal longing. They exchange a parting look as Vincent melts
into the darkness.
CUT TO:
INT. ARCHITECT'S OFFICE - DAY
The camera PANS slowly around the spacious office of an up-and-
coming junior partner. It's decorated with pictures and models
of past and current projects and great New York architectural
landmarks. It also has several large samples of building
materials, marble, granite, etc., and a few pieces of antique
surveyors equipment. This is the modern version of Carl's room
in the tunnels below. As we PAN across the room, we HEAR the
voice of a man, MICHAEL SULLIVAN.
MICHAEL (V.O.)
You're from the District Attorney's office?
The camera FINDS Michael standing behind his desk, hold a
business card. He is in his early 30's, a very handsome,
energetic young man...and very charming. The camera PULLS BACK
to reveal Cathy standing in front of his desk. Michael gestures
for her to be seated and sits down himself.
CATHY
This isn't official business, but the matter is
urgent...and personal.
MICHAEL
And very mysterious.
Cathy begins to relax in his presence. Maybe this isn't going to
be that hard after all.
CATHY
I'm sorry. This isn't my usual job.
MICHAEL
As long as the firm isn't being investigated.
CATHY
No. As I said, it's of a personal nature.
(beat)
You are the Michael Sullivan whose father, Carl...25
years ago...
MICHAEL
...died in a cave-in.
CATHY
No,...he didn't. That's why I've come to see you. Carl
lived through that and has been in seclusion ever since.
But, he's dying now...and wants to see you.
MICHAEL
No!
CATHY
I can assure you I'm telling you the truth. I've checked
the facts.
MICHAEL
(very cold)
My father is dead and if he isn't he should be.
CATHY
I know it's a shock...and I understand why you're
angry...
MICHAEL
Angry! Try hate. He is a murderer. 11 men died in that
tunnel explosion, and my father caused it.
CATHY
You'd deny a dying man his last request?
MICHAEL
(vehemently)
He's already dead...at least to me.
Cathy tries to say something.
MICHAEL
(very calm, controlled)
Good day, Ms. Chandler. I'm sorry you wasted your
morning. I don't think there is anything else to
discuss.
Cathy gets up to leave.
CATHY
If you should change your mind, you have my card. We
don't have much time.
MICHAEL
I have all the time in the world.
On Cathy's shocked look we
CUT TO:
INT. CATHY'S BASEMENT - DAY
as she descends the ladder carefully. She has not stopped to
change clothes or even her shoes. Cathy enters and
IN THE TUNNELS
walks quietly along until she reaches the rendezvous place.
CATHY'S POV
She looks around at their usual meeting place by the gate. It
takes her a moment to find Vincent. His back is to her, lost in
the shadows.
CATHY
Vincent...?
VINCENT
I know, Catherine. He would not come.
CATHY
I'm sorry. I tried.
Vincent turns to her.
VINCENT
To deny one's father...? All of these years to
wonder...to ask questions.
Vincent is amazed and hurt emotionally.
CATHY
I'll try again Vincent. Michael has to listen to me.
VINCENT
If Carl can hold on.
(pause)
To see him so frail, Catherine...It pains me.
(pause)
He had the very power of the earth in him. He explored
the old caves further than anyone. Our maps, our secret
passages...Carl gave us so much and now he wants only one
thing.
CATHY
The debt is not only yours, Vincent.
VINCENT
But one I would gladly pay.
Cathy tries to think of anything that might help Vincent.
CATHY
How did Carl come to your world?
VINCENT
(pause)
A city crew was drilling a new tunnel. They hit a pocket
of gas. An explosion occurred. Carl was the only
survivor. He stayed with us. He is part of our family.
Cathy knows how much that means to Vincent.
CATHY
Michael called him a murderer.
VINCENT
Carl has never spoken of the tragedy until now. Yet, I
know he has always blamed himself for the others' deaths.
CATHY
Then no one knows what really happened?
VINCENT
No.
(pause)
The area surrounding the tunnel was sealed off. Pockets
of gas...Even the city disbanded their work. It is
forbidden to all.
CATHY
I will do everything I can, Vincent.
A long beat as he looks at her. There is complete understanding
between them. Vincent disappears into the tunnel, lost in the
shadows of his world.
CUT TO:
INT. DISTRICT ATTORNEY'S OFFICE - DAY
Cathy arrives loaded down with her brief case and papers. When
she finally gets through the traffic of busy workers and to her
desk she is amazed to see dozens of files piled all over it. She
hardly has any room for her own things. Cathy goes through one
of the case files, a look of amazement on her face. She looks up
as Joe walks in.
CATHY
What is this? Are you house cleaning?
JOE
Something like that.
CATHY
Joe,...what's going on?
JOE
We've been hijacked...claim jumped...bushwhacked. Let's
see, what else is there?
CATHY
Justifiable homicide, if you don't tell me what's going
on.
JOE
Delancey quit. Got a better job offer.
CATHY
In the middle of the Wickes' case! Joe...
JOE
...and guess who gets it?
CATHY
No!
(beat)
I already have a dozen more cases than I should.
JOE
It's all yours, Radcliffe.
CATHY
I think I'll quit.
JOE
No you won't. You're too dumb...just like me.
Joe starts to leave.
CATHY
Joe...How many did you get?
JOE
The rest. A piece of cake.
As Joe leaves, Cathy rearranges her desk and looks for her phone.
She finds it, takes a piece of paper from her jacket pocket and
dials a number. As she waits for the phone to be answered she
glances through the case notes. Finally...
CATHY
Michael Sullivan's office, please.
CUT TO:
INT. TUNNEL EXPLOSION - FLASHBACK (CARL'S DREAM)
The tunnel is small and the walls are rough, natural rock. The
only light comes from a huge, old flashlight. We can barely make
out the figure of a kneeling man. From the angle and the hard
hat obscuring the face, it could be anyone. He examines a soil
sample, then makes an entry into a large leather book. He turns
and we can SEE it is the younger Carl from the first dream
sequence. Before we get a closer look, the first EXPLOSION
occurs. It knocks Carl to the ground. Rocks and dirt cloud the
screen. We can hardly see Carl from the dust.
ANOTHER EXPLOSION. Carl manages to get to his feet. He grabs
the light and leaves everything else, including his tools and the
book.
With great difficulty Carl makes his way down the tunnel. The
EXPLOSIONS get LOUDER and we begin to HEAR the CRIES, the SCREAMS
of men in fear and pain. There is a final and BIGGER EXPLOSION.
The tunnel SHAKES as pieces of the ceiling COLLAPSE on Carl,
covering him.
ANGLE ON CARL
Carl claws through the layers of dirt and rocks. He has lost his
hard hat and has a bad head wound, among other injuries.
CARL'S POV
The tunnel back to his men is sealed off - now a solid wall of
rocks and debris. A small side tunnel is still open. He has no
choice...and follows it.
ANGLE ON CARL
As Carl staggers through the tunnel, we INTERCUT with a series of
shots from the first DREAM SEQUENCE. These shots are quick and
still soundless, except for the SCREAMS of the men - louder, more
haunting and penetrating.
CARL'S POV
The blinding LIGHT again. This time as Carl walks into the
golden light we see someone. The outline is blurred but still
recognizable - it is Father.
MATCH DISSOLVE TO:
CARL'S ROOM - LATER - DAY
The haloed face of Father comes into focus through the light.
CARL (V.O.)
Trying to save me again?
The ANGLE WIDENS to reveal Father standing by Carl's bed.
FATHER
Whatever it takes.
CARL
A deal with the devil.
FATHER
You'd probably win. Rest now.
CARL
...and Michael?
Carl looks around the room as well as he can. He spots Vincent,
OFF camera.
CARL
Vincent,...you promised.
Camera PULLS BACK to reveal Vincent, standing quietly by Carl's
desk. He moves next to Father.
CARL
Why doesn't he come?
VINCENT
Catherine must persuade him.
Carl sinks down into the bed.
CARL
He believes...I am responsible for the deaths of my
crew...my friends.
Vincent and Father exchange a glance...it's true but they didn't
want him to know.
CARL
That was the reason I never went back.
VINCENT
But to give up your own son, your family...to be
separated from them...forever.
CARL
Thought it would be easier for them this way.
FATHER
I wish you had confided in me, Carl. We could have
helped.
CARL
By the time I had recovered it was too late. They had
declared me dead...
(softly)
and a murderer.
FATHER
Carl, what happened? You've never told me the entire
story.
Carl is reluctant to relive it again.
CARL
I wasn't with the others. I was exploring a side tunnel.
That's the only reason I'm alive.
Carl closes his eyes as if to ward off any more unpleasant
memories.
VINCENT
The truth is sometimes painful, but it must be told.
CARL
(pause)
We were behind schedule...drilling was rough. We were
looking for a short cut. Another natural cavern. We
were in one...saved us days of work.
(beat)
I was conducting some tests. My foreman was running the
crew...hit a pocket of gas. It shouldn't have been
there.
(beat)
The reports said it was clear.
VINCENT
You did not feel it was safe?
CARL
...didn't believe their tests - I argued...but they
pushed it. Deadlines! The hell with safety!
Carl relives his anger and despair. It takes a great deal out of
him.
FATHER
Their greed...it could have destroyed our world as well.
VINCENT
(to Carl)
Was there no way you could have proven your innocence?
Carl holds onto consciousness only through great will.
CARL
(barely audible)
Wanted to go back. Open the old tunnel. I
dreamed...even planned...I'm a coward...I couldn't go
back in there. Could bring more death.
(hard to get out)
Too many ghosts...
FATHER
Which is why it is forbidden by our laws...the ultimate
punishment. Only a fool would endanger everyone's life
to prove a point.
VINCENT
Carl, I have seen your bravery many times. You are not
a coward.
CARL
I wish my son believed as you do.
Carl quietly slips off to unconsciousness. He is too still...and
the end is very near.
CUT TO:
INT. D.A.'S OFFICE - EVENING
Cathy is still working when she is interrupted.
MICHAEL (V.O.)
Ms. Chandler.
As Cathy glances up we PULL BACK to reveal Michael standing in
front of her desk.
MICHAEL
I'd like to talk to you.
She indicates a nearby chair.
CATHY
I've been trying to reach you all day. I have more
information...
MICHAEL
(interrupting)
No. I'm sorry...
(beat)
I'm not going to see him. I only came to apologize for
being so rude.
CATHY
Your father is dying. I don't need an apology.
MICHAEL
Then call it an explanation.
CATHY
(reluctantly)
All right.
MICHAEL
I don't remember much about my father...but I do remember
the stories.
(beat)
He was an irresponsible wanderer. He dragged my mother
all over the world...one adventure after another. Be the
best at any cost. He never thought of anyone else but
himself.
(pause)
It caught up with him. He killed 11 people.
CATHY
It was an accident!
MICHAEL
That's not what I heard. The stories...the gossip.
"Poor kid, hope he doesn't turn out like his old man."
Well, I made certain I didn't.
CATHY
So you'd condemn a dying man over hearsay.
MICHAEL
Other kids read Wind in the Willows. I read The Accident
File for Public Works' Tunnel Number 38. It didn't leave
much to dream on.
CATHY
What did the report say?
MICHAEL
(almost reciting)
Negligence caused by the engineer, in failure to meet
proper safety precautions and make cautionary tests in a
potentially hazardous environment.
(beat)
You're the lawyer. You should know what that means. He
was responsible. He caused their deaths...and now you
tell me he's alive and wants to see me. Where was he
when I was growing up...or when my mother died?
Cathy is upset. She's always trusted Vincent's judgment about
people, but perhaps this time he is wrong.
CATHY
Michael, I don't know what to say. Everything I've been
told about your father, it doesn't even sound like the
same person.
MICHAEL
Did you know him?
CATHY
No, but someone I trust would lay down his life for him.
MICHAEL
Several people already did.
(beat)
I'd like to believe your friend is right...but I think
it's too late.
It may be, and on Cathy's worried look we
CUT TO:
INT. CARL'S ROOM - DAY
Carl rests, but his breathing is labored. Vincent sits near by.
MOUSE is with them, curled up in a chair, tinkering with a piece
of Carl's old surveyor's equipment.
MOUSE
Vincent. Did you really go searching for gold?
VINCENT
Yes.
MOUSE
Didn't find any. Heard the story. Got lost.
VINCENT
We were not lost, Mouse. Carl knew where we were.
(beat)
But he let us have our adventure.
MOUSE
(softly, looking at Carl)
No more adventures.
Carl starts gasping for air.
VINCENT
Mouse, go get Father...now!
Mouse jumps up and runs out as fast as he can. Vincent cradles
Carl, comforting him. He knows this is the end for Carl...they
have run out of time.
VINCENT
Carl...?
Carl does not respond. He is still alive...barely.
DISSOLVE TO:
INT. TUNNEL CAVE - (DREAM SEQUENCE)
We can SEE more clearly during this dream. It is not the falling
dust that obscured the shot, but the lighting.
(Production Note: There should be a very surreal sense of
perspective to this scene, using both light and sound.)
We hear the BLAST of another EXPLOSION and then the SOUND of
rocks falling. It is louder and more distinct than any other
time. So are the VOICES and the CRIES of the men. This is the
first time you can distinguish specific voices calling for "help"
or just crying out in pain.
Carl stumbles through the tunnel. He is breathing heavily and
leans against the tunnel wall for support.
CLOSE ON CARL
He is not covered in dirt, nor is his face dirty from blood and
cuts, but it is old. It is the face of the older Carl.
RESUME
As Carl resumes his terrifying escape from the tunnel we INTERCUT
with a series of SHOTS. Again, the shots should be quick, still
distorted from the light, and the sheer terror that Carl is
experiencing.
a) HANDHELD POV of Carl running through the tunnels, in fear and
panic. The only sound that can be heard are the SCREAMS of the
men. They don't even sound human.
b) CLOSE ON CARL as he reacts to sounds.
c) Carl as he looks around at the tunnels. They seem to be
closing in on him. He stumbles on.
d) HANDHELD POV as the final EXPLOSION almost throws him to the
ground. He continues on.
e) CARL'S POV. He is now at the wall and the secret entrance to
the Tunnel world. He stops - unable to go on. The SCREAMS get
louder and louder...overpowering him. They SCREAM out his name -
a distorted slash of sound...a banshee's cry for the
dead...ECHOING.
f) CLOSE UP on Carl's face. He is in great suffering as he
listens to the cries of the dead - calling his name.
SMASH CUT TO:
INT. CARL'S ROOM - DAY
CLOSE ON Carl's face. He is near death.
VINCENT (V.O.)
Carl...Carl?
Vincent holds Carl, trying to ease his pain. Carl doesn't have
much time left, but he is lucid, even strong again as he holds
onto Vincent's hand.
CARL
My son? Vincent, where is he?
Vincent pauses for a moment, deeply troubles as to what his next
action should be.
VINCENT
(softly, hesitantly)
He is with Catherine. They are coming.
The look of joy on Carl's face is worth the "white lie". Vincent
holds the old man tighter. Vincent's head is lowered and his
hair hides his face from us.
CARL
I did the wrong thing, not going back.
(beat)
He would have loved me no matter what I did?
VINCENT
Yes.
CARL
I just wanted to see him...to tell him the truth...I'm
not a murderer...
(beat)
and I've always loved him.
VINCENT
He knows...and believes.
CARL
I knew Michael would forgive me.
(softly, a whisper)
Vincent...thank you.
Carl's breathing stops. He dies, peacefully in Vincent's arms.
After a moment, Vincent looks up...he is crying.
FADE TO BLACK
END OF ACT ONE
ACT TWO
INT. FATHER'S CHAMBERS - DAY
The mood is somber, with the chamber beautifully lit with dozens
of candles. Cathy is seated in one of the big chairs, having a
cup of tea. Vincent is nearby - dressed in more formal attire.
He is uneasy and paces as he talks.
VINCENT
I am glad you came today. It is something I wanted to
share.
CATHY
I only wish Michael could have been here. Everyone's
love and affection would have said everything I couldn't.
VINCENT
If he did not believe your sincerity or hear the truth
when it was spoken...I do not know what else to offer
him?
CATHY
Concrete proof. That report has ruled his life.
VINCENT
Carl wanted justice. Justice from those we believe
in...is that too much to ask?
FATHER (V.0.)
From those above...yes. You may both be asking for too
much.
PULL BACK to reveal the entire room with Father and Mouse
standing on the landing. Mouse carries a large box and Father an
old leather book. They descend and Mouse puts the box on
Father's desk.
FATHER
Carl understood that. That is why he stayed with us.
(handing the book to Vincent)
His diary. He wanted you to have it, Vincent.
Vincent takes it reverently. It means a great deal to him.
VINCENT
Thank you, Father.
FATHER
The service...Your words were most eloquent, Vincent.
VINCENT
They were not adequate. I should not have been the one
chosen.
Cathy knows what is really troubling Vincent.
CATHY
Vincent, you did the right thing. You couldn't let Carl
die thinking his son hated him.
FATHER
Your actions were tempered with wisdom. That is a hard
lesson.
VINCENT
It was still wrong...and nothing above has changed.
FATHER
(a little angry)
Could you have changed things, by telling Carl the truth.
VINCENT
No. But, it is still a matter of conscience...of
honesty.
Cathy gets up and goes over to him.
CATHY
No, it's a matter of love.
A look of understanding passes between them - so strong it can
even be seen and felt by Father. Mouse has been sorting through
the box and has pieces of mechanical things spread all over
Father's desk.
(Note: One of the items is an old flashlight, like the one Carl
used during the tunnel dreams.)
MOUSE
Look. Treasures.
Father looks at his cluttered desk. He picks up one strange item
very carefully.
FATHER
That is definitely a matter of opinion, Mouse.
Mouse won't be discouraged. He holds it up for Cathy to see.
CATHY
I won't even take a guess...
(beat)
Besides, I have to leave.
Mouse quickly drops the device back into the box.
MOUSE
I'll take you above, Catherine.
Mouse is suddenly nervous, thinking he may have gone too far.
CATHY
Thank you, Mouse.
Cathy goes over to Vincent, who has been strangely quiet.
CATHY
You can't give up, Vincent.
On their look, we
DISSOLVE TO:
INT. THE TUNNELS - VARIOUS SHOTS - DAY
Mouse escorts Cathy to her basement exit. It is obvious Mouse
has a crush on Cathy, but he is also concerned and curious about
Vincent's behavior.
MOUSE
What is the matter with Vincent?
CATHY
I think it's a question of justice...of morality...that's
bothering him.
MOUSE
Morality?
CATHY
Your philosophy of life...How you deal with things.
MOUSE
Easy. Fix things. Something doesn't work - try
something else.
CATHY
You can't do that with people.
MOUSE
Why not? Some people worth fixing...helping. Others
broken. Throw out.
CATHY
(laughing)
Mouse, you're quite the philosopher.
MOUSE
I am?
He is pleased, but puzzled. They reach Cathy's exit point.
MOUSE
Then what is the matter with Vincent?
CATHY
He helped...he fixed something for Carl. But the way he
did it...he feels it was wrong. It's a moral point.
MOUSE
But it worked. Didn't it?
Cathy doesn't know what to say, because Mouse is right - it did
work.
CUT TO:
EXT. D.A.'S OFFICE - ESTABLISHING SHOT - DAY
INT. D.A.'S OFFICE - DAY
Cathy maneuvers across the office traffic while balancing several
large folders. She makes her precarious way to Maxwell's office
and pushes open the door.
INT. JOE MAXWELL'S OFFICE - DAY
Joe's desk is a bigger and even messier example of Cathy's.
There is literally no room, even the chair has things piled on
it. She pushes them aside and makes room for her files. Joe
gets up to help and almost upsets his own growing mound of paper
work. They look at each other in sympathy.
JOE
Bet you didn't think this is what you'd be doing when you
left your Dad's firm.
CATHY
Chasing the bad guys through mounds of paper...? No.
JOE
But that's how they got Al Capone...trapped him for tax
evasion.
CATHY
I'd rather trap another file clerk!
JOE
File clerk...what's that? Cath...I need a vacation.
Someplace nice and peaceful...
(phone RINGS)
with no phones...where no one can find me.
Joe finally picks up the phone as Cathy leaves. She smiles. She
knows just the place, but it's not exactly what Joe had in mind.
CUT TO:
INT. CARL'S ROOM - DAY
Vincent is looking over some of Carl's maps and his technical
manuals. Mouse tries to help, but he is more interested in
Carl's tools and instruments. He finds a small tablet of papers
and darts over to show it to Vincent.
MOUSE
Watch. Magic trick.
Mouse tears off one of the papers and holds it up for Vincent to
see. It is white, with a slight yellowish cast. Mouse makes a
big point of sucking it a lot of air and then holds his breath.
When he can't hold it any longer, he lets it out, blowing on the
paper.
INSERT
The paper changing color, from whitish to a bright blue.
RESUME SCENE
MOUSE
Carl taught me.
Vincent takes the paper from him. He looks it over.
VINCENT
The carbon monoxide from your breath changed the
chemicals on the paper. Different gases...different
colors. A very ingenious trick, Mouse.
MOUSE
(disappointed)
Not magic...if you know how it's done.
VINCENT
Magic that might save your life.
(beat)
May I have some?
Mouse is only too pleased to give his friend the papers.
MOUSE
Here. Lots more. Lots more tricks too.
Vincent takes the tablet.
VINCENT
Mouse...what other magic do you have?
CUT TO:
EXT PUBLIC BUILDING - STOCK - DAY
The building is old and the sign above the door reads "PUBLIC
WORKS AND ENVIRONMENTAL CONTROLS".
INT. BASEMENT ARCHIVES OF THE PUBLIC BUILDING - DAY
Cathy searches through boxes of old files and papers. A file
CLERK, an older man almost at his retirement age, brings her
another stack of material. Cathy looks up.
CATHY
Thanks. Are there any more?
CLERK
That's about it. If you want anything else, the
Department of Safety...they might have something.
CATHY
I've got a copy of the Accident Report. I'm looking for
the geological surveys...the daily drilling logs.
The clerk checks the pile of reports. He pulls out one.
CLERK
Geological. Used to be in black binders...now they're in
periwinkle blue.
He hands it to Cathy who quickly thumbs through it. It's not
what she's looking for.
CATHY
How about the daily reports?
CLERK
Look for red. They call it "Vermilion" now. Progress!
Never can keep it straight when I'm ordering supplies.
They both go over the papers quickly.
CATHY
I don't see anything.
CLERK
Doesn't surprise me. Years ago we merged with
Environmental Controls. Still can't find some files.
CATHY
All I've found is requisitions for equipment. Some
preliminary soil reports. Not very much.
CLERK
Well, it was a long time ago.
CATHY
Yes, another lifetime.
(beat)
Can we put a trace on the other files?
Cathy gives him one of her cards. He reads it and smiles.
CLERK
We can try. I'll call the warehouse. Maybe they've got
something.
Cathy picks up her purse and briefcase.
CATHY
Thank you for your help.
As soon as Cathy leaves the Clerk checks his very worn rolodex
and makes a phone call. (NOTE: He does not dial 7 numbers -
inner office - to another government department.)
CLERK
Agnes? It's Clive over in Archives. Got a flag on one
of the files to call your office if anyone came asking
for it.
(pause)
...on tunnel 38.
(pause)
Yes. Got the name. From the District Attorney's office.
Catherine Chandler.
(pause)
Thanks. I'm sure your boss will be very generous. He
always is.
CUT TO:
EXT. NEW YORK STREET - DAY
Cathy and Michael stand near a hotdog stand. They have finished
their quickie al fresco lunch.
CATHY
You're sure there aren't any papers at home?
MICHAEL
My Mom kept everything of his in an old trunk. There's
nothing on the last project.
CATHY
And nothing at the documents office. Cleaned out, at
least with anything that might be useful to us.
MICHAEL
Just a coincidence. It was an abandoned project.
CATHY
I would have liked to have found something. This is
beginning to mean a lot to me.
MICHAEL
I can try and track down one of his old friends, Maxie.
They worked on several of the same projects.
CATHY
It could help. He might be able to lead us to
someone...or something.
MICHAEL
Don't get too optimistic, Cathy. I haven't heard from
this guy since my Mom died.
CATHY
You have to stay optimistic in my line of work.
Cath looks at her watch.
CATHY
I'd better get back.
MICHAEL
Cathy...thank you. I don't know why I'm doing
this...but...I have so many questions.
Cathy smiles as Michael turns and walks off.
CUT TO:
INT. WHISPERING GALLERY (MATTE) - DAY
Vincent sits in the center of the bridge, a place of solitude to
think and to read. He has Carl's diary and is going through it.
He stops at one page and reads a passage.
VINCENT (V.O.)
"...I have found a new life here, and others to share it
with. People who are willing to trust and ask nothing in
return. That is good. I have very little to give..."
Vincent thumbs through till something else catches his eye.
VINCENT (V.O.)
"It has been almost 6 years. I wonder if those above
remember me? Michael was in a school play. My helper
saw it. I almost hated him for that pleasure..."
Vincent turns the pages. It bothers him, but he has to go
on...looking for any information. He stops and reads again.
VINCENT (V.O.)
"The explosions...their screams...I can still hear them,
echoing through the tunnels...through my dreams...
(beat)
Always the fear that it was my fault. Worrying each
decision...Always there...creeping through my mind, even
when I know I am right.
(pause)
I should have gone back to fight them. My records would
have told the truth...They filed their false reports and
killed 12 men."
Vincent can't go on. He closes the book...holding it. He is
very troubled by the words.
FADE TO BLACK
END OF ACT TWO
ACT THREE
FADE IN
EXT. D.A.'S OFFICE - ESTABLISHING SHOT - NEXT DAY
INT. CATHY'S OFFICE - DAY
Cathy is busy at her desk. Her out box has a stack of files in
it. She looks up when Joe comes in.
CATHY
Empty handed? What are you planning now?
JOE
Cathy...?
Cathy looks more closely at Joe. He seems upset.
CATHY
Joe, I was only teasing.
JOE
Cath,...
(beat)
Moreno just got a call from the Mayor's office. A
complaint about one of our people moonlighting...on
company time. What have you been up to?
CATHY
Investigating an explosion that occurred years ago!
That's what I've been up to.
JOE
It's been strongly suggested that you make better use of
your time.
CATHY
(controlled fury)
I'm tired of these nebulous villains. Just who wants me
off this case?
JOE
Take it easy, Radcliffe. I'm not one of the bad guys.
(beat)
Someone at City Hall. Pretty high up.
CATHY
I thought I was just chasing shadows, but now...
JOE
...you're going to pursue it. Message received and duly
noted.
(beat)
I'll see what I can find out.
Cathy smiles at Joe as he leaves.
CUT TO:
INT. THE THRESHOLD - DAY
Cathy waits restlessly. We HEAR footsteps, and Vincent emerges
from the tunnels.
VINCENT
Yes?
CATHY
Vincent, I've checked everything I can think of. So far
nothing. If there were any reports...they've
disappeared.
VINCENT
Then we have only Carl's word.
CATHY
Yes.
(beat)
Michael's trying to help. He wants so badly to believe
in his father.
Vincent is very quiet, even to this bit of good news.
CATHY
I know we're right. I've been ordered to stop my
investigation.
VINCENT
Catherine...you must be careful. This is my obligation
to Carl, not yours.
CATHY
Vincent, how can you say that? I am now part of this,
which means it has become ours.
VINCENT
Your help is always appreciated. But there are some
things that must be done alone. Some burdens...
CATHY
(interrupting)
No, not a burden. Vincent...
(beat)
I want to share everything above with you... But I
can't... That's why all of this is important. It's not
just a physical or mental bond...it's the sharing that
makes us stronger.
VINCENT
And that strength will always be with me, Catherine.
(beat)
But what I must now do, I must do alone. The tunnel
holds the answers.
Cathy moves next to Vincent but doesn't touch him.
CATHY
Vincent. Let me keep on searching. Going into the
tunnel is too dangerous.
VINCENT
To continue the excavations...yes. But Carl believed the
gas was no longer a danger.
CATHY
Then why didn't someone go in there a long time ago.
VINCENT
It is forbidden by our laws. Yet, I see no alternative.
CATHY
You've always told me to follow my heart...I can't give
you any better advice than that.
VINCENT
Yes.
(beat)
It is advice I must take, even if it brings us both pain.
Vincent turns leaving a worried Catherine standing in the tunnel.
DISSOLVE TO:
INT. D.A.'S OFFICE - NIGHT
There are only a few people left in the office when Cathy walks
in. She is tired and doesn't notice Michael waiting for her.
MICHAEL
Cathy, I talked to that friend of my father's. He'll see
us tonight.
CATHY
Michael, tonight...?
MICHAEL
(interrupting)
I want to help. Now that we've started this...I have to
know.
CATHY
Even if you get answers you might not like.
MICHAEL
Yes.
CATHY
Come on then.
They rush out of the office.
DISSOLVE TO:
INT. CARL'S ROOM - NIGHT
Vincent looks over Carl's maps and books. He has a makeshift
knapsack on the desk and fills it with items he might need,
including some strange looking gauged instruments. He picks up
Mouse's magic paper and puts that in. He checks through the
knapsack again. He has everything for his journey, including the
old flashlight. Before he leaves he pulls out a letter from the
folds of his cloak.
INSERT
On the envelope is his beautiful handwriting: IN THE EVEN I DO
NOT RETURN, and signed simply V.
RESUME
Vincent places it carefully on the desk. He picks up the
knapsack, the flashlight and quietly leaves.
DISSOLVE TO:
INT. TUNNELS - NIGHT
TRACKING WITH VINCENT as he moves down a very long tunnel. His
stride is quick and even. He knows where he is going and why.
There is no turning back.
CUT TO:
EXT. NEW YORK STREET - NIGHT
In an older rundown, half commercial, half residential section of
town. There are several cars parked on the street, but the area
looks deserted. A jeep pulls up and parks. It is Michael's jeep
and Cathy is with him.
INT. JEEP - NIGHT
Cathy holds a piece of paper. They both look around trying to
find the address.
CATHY
It's on this side of the street.
(beat)
There it is.
She indicates an old multi-storied hotel on her side of the
street. Michael pauses a moment before they get out.
CATHY
Nervous?
MICHAEL
Kind of. Maxie use to tell me tall tales about...about
my father. I wouldn't listen. Now I'm here in the
middle of the night...
CATHY
Looking for the truth.
Michael nods and climbs out of the car.
INT. PARKED CAR ACROSS THE STREET - NIGHT
The interior is dark, but we can see two men. They are watching
Michael and Cathy.
POV
Michael and Cathy get out and lock the car. They look around
carefully, especially Cathy. She is not nervous, just properly
aware of her surroundings.
CUT TO:
INT. A NARROW, TWISTING TUNNEL - NIGHT
CAMERA MOVES with Vincent as he makes his way through a tunnel of
natural, rough rock. No one has been this way in a long time.
An entrance appears before him, low and narrow enough that
Vincent has to squeeze through.
INT. TUNNEL ROOM - NIGHT
The chamber is small, but the ceiling is high. The walls are
tooled smooth and man-made. On the other side is a door. It
looks like a door to an underwater chamber, even to the round
wheel in the middle. Vincent walks to the door and examines it.
He places the flashlight on the tunnel floor - it throws
distorted shadows across the chamber. He then tries the wheel.
It will not budge, even under his incredible strength. He tries
again and this time it turns slightly. Vincent stops and quietly
considers his next move.
CUT TO:
EXT. STREET - NIGHT
Michael and Cathy walk towards the hotel.
EXT. PARKED CAR - NIGHT
The two men get out of the car and disappear into the darkness.
CUT TO:
INT. TUNNEL PASSAGE - NIGHT
Mouse hurries down the corridor and almost collides with Father.
Before Mouse can get out of the way, Father stops him.
FATHER
Mouse, have you seen Vincent? Mary was looking for him.
MOUSE
Carl's room. Fixed flashlight for him.
FATHER
Thank you, Mouse. I'll check there.
MOUSE
Not there. Just leaving.
FATHER
Then do you know where he was going?
MOUSE
Packed his bag. Didn't say.
Father is very curious, but before he can ask another question
Mouse has darted away. Father shakes his head at Mouse's usual
behavior and continues down the tunnel.
DISSOLVE TO:
INT. TUNNEL CHAMBER - NIGHT
Vincent tries the wheel again. It turns slowly. The NOISE of
the door unlocking reverberates in the quiet. Calmly, Vincent
takes a deep breath and opens the door slightly. He grabs the
light and steps through the open door and quickly closes it after
him. We remain on the door for a moment, then
CUT TO:
EXT. NEW YORK STREET - NIGHT
As Michael and Cathy walk up the steps of the hotel they are
jumped by the two men. The man attacking Cathy doesn't expect
much resistance and is surprised when she effectively strikes
back.
CUT TO:
INT. TUNNEL MOUTH - NIGHT
Vincent leans against the wall for a moment. His breathing is
heavy and labored. The air is musty and old, but not poisoned.
He starts to go on, when suddenly...with every sense alter, he
knows Catherine is in danger.
VINCENT
Catherine...?
EXT. NEW YORK STREET - NIGHT
CLOSE shot of Cathy as she is fighting.
INT. TUNNEL MOUTH - NIGHT
Vincent fights the first surge of panic. There is nothing he can
do for her now. As he calms himself, be becomes more aware of
his own problems. The air is breathable, but oppressive.
Vincent begins to HEAR, very slightly, the voices Carl has always
heard during his nightmares. Vincent pushes on, a foot or two
more. The voices become LOUDER. Is it his imagination? Or...?
It effects him strongly.
CUT TO:
EXT. STREET - NIGHT
VARIOUS ANGLES as the four fight. Cathy gets hit a few times but
manages to do some damage. Michael is a very good street fighter
and his opponent doesn't stand a chance. Before the fight can be
finished, one of the attackers scrambles to his feet and runs
off. The other one takes off after his partner. The fight has
been quick, silent and very vicious.
Cathy and Michael are both out of breath. Cathy sits down on the
hotel steps. Michael joins her.
MICHAEL
Are you OK?
Michael doesn't wait for her response.
MICHAEL
Is this part of your line of work, too?
CATHY
Professional hazard.
(beat)
You're pretty good...
MICHAEL
Had to learn real early how to take care of myself.
(beat)
I didn't always have a room with a view.
CATHY
Now I'm really interested in talking to your father's old
friend...
They stand and start up the steps. Cathy stops suddenly - a look
of fear on her face. She knows Vincent is in trouble and there
is nothing she can do. Cathy takes a deep breath and continues
up the stairs. The psychic backlash hits her again. She can
feel Vincent's panic, the underlying sense of oppression - of
fear.
MICHAEL
Cathy what's wrong?
CLOSE ON Cathy's stricken face as she turns from Michael's view.
CUT TO:
INT. TUNNEL - NIGHT
Vincent has gone only a few more feet, but the VOICES have become
stronger. His innate psychic ability picks up the fear, the hurt
and anguish that has been haunting this place for 25 years. It
is a wall of emotional pain.
CLOSE UP ON VINCENT
He gives a tremendous ROAR of pain as these emotions overwhelm
him. The roar and the voices mingle, echoing back at him.
Vincent SCREAMS again and then collapses to his knees as we
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. TUNNEL - NIGHT
With great effort, Vincent pulls himself to his feet and leans
against the wall for support. Vincent takes a step forward, then
another. He fights for every foot. We can still HEAR the voices
- coming in waves of sound, still trying to push him back.
VARIOUS TUNNEL SHOTS
We can't see the rest of the tunnel too clearly, just what is
illuminated by the light, as Vincent moves along slowly. This
part of the tunnel has not suffered much damage.
INT. TUNNEL CAVE IN - NIGHT
Vincent is stopped by the cave in. The dirt and rocks after all
of these years have settled and the blockage doesn't look as
formidable as it did to Carl. It reaches almost to the roof.
There is a hole at the tope of the slide, but it's not large
enough for Vincent, yet...
He scans the mound of rocks with the light, and then puts it and
his bag down in a safe place. Vincent moves some of the rocks
away, starting a small landslide. The SOUND is deafening. The
slide stops but the sound lingers, on, ECHOING.
TIME DISSOLVE TO:
INT. TUNNEL CAVE IN - NIGHT
The entrance is now wide enough for Vincent to get through. He
tests the air with one of Mouse's magic papers.
INSERT
The paper has turned a slightly blue color.
RESUME SCENE
There is something in the air...but it is not poisonous. Vincent
breathes a little deeper and harder than normal, even after the
exertion of clearing away the rocks. He picks up the light and
his pack and climbs up and through the hole.
CUT TO:
INT. HOTEL ROOM - NIGHT
The room is small, just a bedroom/living room combination, with a
compact kitchen. Everything is very old, including MAXIE. The
walls are covered with photos from all over the world, showing
the many projects and places Maxie had traveled to. Maxie is
probably Carl's age, but looks much older. He is seated in the
only chair while Michael and Cathy sit opposite him on the bed.
Maxie has a strong East London accent, even after all of these
years.
MAXIE
Want a bedtime story, hey kid? Why the sudden interest
in your ol' man?
MICHAEL
Because I wouldn't listen then. Now I need to know the
truth.
MAXIE
Pulled me out of the sewers, he did. I was a flusher...a
Ganger no less, in the London tunnels. Carl got me out
of there. Saw the world...had a good life...
Maxie looks around at his little world.
MAXIE
At least I've got my memories...
But Maxie is not interested in talking about his friend.
CATHY
Maxie...we know Carl's been alive all these years!
He is surprised they know this, but remains silent.
CATHY
Carl is dead, Maxie. But before he died he wanted
Michael to know the truth about the cave in.
MAXIE
Shoulda asked years ago. Not that it would have done ya'
any good.
MICHAEL
And now...?
(pause)
We're not the only ones interested. Someone
tried to stop us from seeing you.
CATHY
It didn't work but they might try something
else...something against you.
This doesn't scare Maxie but he is beginning to break down.
MICHAEL
Maxie, you always said you were my Father's best
friend...
MAXIE
I was...I was the only one left.
(pause - remembering fondly)
Six months after the accident Carl came to me. Looked
pretty good for a ghost.
(beat)
It was too late to clear his name. The lads who could
have helped was either dead, out of the country or...too
scared to talk.
CATHY
(gently)
Like you Maxie?
Maxie shakes his head slowly "yes".
MICHAEL
Why, Uncle Max? You could have told my mother... You
could have told me.
MAXIE
Was the way your father wanted it. Reports had been
destroyed. People threatened... Can't fight City Hall!
CATHY
You can Maxie. People do...and win.
MAXIE
(getting angry)
Against these politicos? Our boss was Rosenberg. Top
man in city politics...still is. His career started with
that tunnel. Bring it in on time. He didn't care
how...bribes made...tests falsified. Rosenberg never
liked your father. Carl asked too many questions. After
the accident, Rosenberg made certain he was blamed.
Can't fight people like that.
(beat/calmer)
...best to stay a ghost.
Maxie has dissolved into tears. Michael tries to comfort him.
Michael and Cathy share a moment of compassion for the old man.
They now have answers, but no proof.
CUT TO:
INT. TUNNEL CAVE IN - NIGHT
Vincent crawls back down from the slide opening. He is
disheveled, dirty and has lost his pack. But has found a large,
leather-bound book, which he holds protectively against him.
This journey has been hard on him. The VOICES can still be
heard, but are now softer, less strident and troubled. Vincent
gathers up the light and slowly walks on.
INT. VARIOUS TUNNELS - NIGHT
We continue with Vincent as he makes his way back through the
tunnels to the door. The wheel moves easily and with a final
twist it swings open. The GOLDEN GLOW pours in. Vincent steps
through into the light, just as Carl did in his dreams.
INT. OUTSIDE TUNNEL - NIGHT
As the blinding light settles, we see Father and TWO MEN waiting
for him. Vincent closes the door and toggles the wheel. The
others do not move or speak until he is finished.
FATHER
(hardly able to speak)
Vincent...why?
VINCENT
(indicating the book)
I had to find the answers.
FATHER
At this price... Nothing is worth...your life.
VINCENT
Some things are. You taught me that.
FATHER
But banishment?
(hardly able to go on)
A Commons Meeting has been called.
Vincent nods and does not say another word. As he starts to
leave, the other men form an escort...his Guards. Father
follows, slowly. Vincent turns to help him, but Father pulls
away. Vincent is troubled, but understands Father's actions.
DISSOLVE TO:
INT. LARGE CHAMBER - NIGHT
The chamber is huge, and already crowded with people. The room
is lit by torches, giving a formal atmosphere to The Commons
Meeting. THE CAMERA PANS the faces of the people. MARY is
standing with some of the children...she has been crying. JAMIE
and Mouse stand together. Jamie holds on to him for comfort.
PASCAL, in the shadows, leans against a tunnel wall. The people
talk quietly amongst themselves, until Father, with Vincent and
the Guards arrive.
Father walks slowly to the center of the chamber.
FATHER
A Commons Meeting has been called.
(searching the crowd)
Pascal...?
Father's gaze finds Pascal, who fidgets, knowing all eyes are on
him.
PASCAL
(very formal)
A message for the trial has been sent to all outposts.
All other communications have been suspended.
FATHER
When everyone is in attendance, we will hear...the
charges. We will have an open debate...and a communal
vote.
This causes quite a stir among the people. A YOUNG MAN, steps
forward.
YOUNG MAN
Why not a regular trial? That's how its been done
before. A trial by jury...with the head of the Council
as judge.
There is more discussion amongst the people - a very divided
crowd. Finally Mary steps forward.
MARY
This concerns all of us too much not to have a vote.
YOUNG MAN
But our laws...
MARY
Our laws also give us an open vote.
There is more discussion among the people.
FATHER
We will listen...then vote. All of us...will be
answerable to the group's decision.
ANOTHER VOICE
Why the change?
FATHER
(hardly able to speak)
Because...I can not be the one to sentence my son.
Banishment...it would mean Vincent's death.
The CAMERA PANS the crowd again. The implication of the trial's
severity is sinking in. Justice has to be preserved. The CAMERA
FINDS Mary, Pascal, then Jamie and Mouse. Jamie is so
preoccupied she doesn't notice Mouse quietly slip away.
CUT TO:
INT. CATHY'S APARTMENT - NIGHT
Cathy and Michael relax over a cup of coffee as Michael looks
through Carl's scrapbook on him. Cathy is still upset. She
knows something is wrong with Vincent, but can't pull the
feelings together.
MICHAEL
Where was my father hiding?
CATHY
He wasn't hiding. He was with friends who protected him.
He became a very respected member of their community.
MICHAEL
It sounds like my father had a lot of good friends.
CATHY
Yes...a few special ones.
MICHAEL
And there's nothing any of them can do to help.
CATHY
They've tried. We'll watch and wait. That's all we can
do now.
Cathy is hit by another wave of emotion. This one is chilling
and makes her shiver.
MICHAEL
Maybe you need something more in that drink than coffee.
CATHY
I'll be find. I'm just worried.
MICHAEL
About someone...special...?
Cathy nods "yes".
MICHAEL
Just my luck. The good ones are always taken. Lucky
guy.
Cathy smiles, not sure exactly what to say. She is saved by a
LOUD KNOCK on the front door. She gets up to answer it.
CATHY
Excuse me, Michael.
There is another LOUD KNOCK before she can open the door.
CATHY'S POV
opening the door to find a very upset and agitated Mouse.
RESUME SCENE
Cathy is surprised to see him. Before she can say anything, he
grabs her hand and tries to pull her out the door.
MOUSE
Catherine... Must come...got to come. A trial... All
wrong.
Mouse is not making sense. Cathy tries to quiet him. She
doesn't want Michael to become involved.
CATHY
Mouse. Calm down.
Mouse doesn't calm down, but does stop pulling her. He gives a
furtive glance into the room and spots Michael, who has risen and
walks toward the door. Cathy turns to Michael.
MICHAEL
It's ok, Michael. This is a friend of mine.
Michael isn't too sure, especially when he gets a better look at
Mouse. Very strange.
Mouse stares at Michael and starts to say something. Cathy gives
Mouse a little nudge down the hall. He's said and done too much
already.
CATHY
Michael, I've got to go.
She grabs her keys from the entry table and practically pulls
Michael out the door.
INT. CATHY'S HALLWAY - NIGHT
Cathy closes the door and turns to Michael.
CATHY
This is an emergency. I'll explain everything tomorrow.
She and Mouse race down the hall and into the elevator. Michael
stands bemused for a moment, then makes a quick decision and
starts after them.
CUT TO:
INT. BASEMENT ENTRANCE - NIGHT
They have just descended the ladder.
MOUSE
Hurry, must go to the Commons. Not far.
Cathy is about ready to strangle Mouse. He takes her hand and
pulls her across the room and into the tunnel. The CAMERAL PANS
back to the basement ladder. Michael makes his way down, quietly
and quickly. He hurries across the basement floor and looks into
the tunnel.
MICHAEL'S POV
The tunnel entrance and the golden LIGHT of the other world.
RESUME SCENE
He doesn't hesitate but walks into the light.
DISSOLVE TO:
INT. VARIOUS TUNNELS - NIGHT
Cathy and Mouse move quickly. The tunnels are strangely quiet.
The only tapping SOUND heard is just one message, continuously
repeated. Cathy has finally had enough and stops. Mouse also
stops and turns back to her.
MOUSE
No...Gotta go.
CATHY
Mouse. I'm not going anywhere until you tell me what's
going on. What's wrong with Vincent?
MOUSE
In big trouble. Went into forbidden tunnel. Found
Carl's papers.
CATHY
But that's wonderful.
MOUSE
Noooo! Don't understand. Don't have many laws...don't
need them. This is a big law. Vincent broke it. Now a
big trial. Shouldn't have gone.
CATHY
But, he had to help.
MOUSE
Now who's going to help Vincent?
Mouse tries to drag Cathy on. She hesitates for one moment,
pulling him back.
CATHY
Mouse...what is the punishment??
MOUSE
(quietly)
Banishment. Forever.
DISSOLVE TO:
INT. COMMONS CHAMBER - NIGHT
More people have gathered in the commons room. An OLD MAN is
talking as we PAN the group.
OLD MAN (V.O.)
We must make this decision in all fairness to the laws
that we created for our world and its survival. To
negate those rules would create anarchy. We would be no
better than the hypocrites above with their two sets of
laws.
The camera FINDS the old man. He looks more like a rag-picker
than the eloquent orator we have been listening to.
OLD MAN
We can not make exceptions...for anyone.
Father tries to run the trial as he always would. He does a good
job, but it costs him a great deal of emotional pain.
FATHER
(a little angry)
There will be no exceptions made. That is why all of
you...those who live in this world and contribute to
it...even the children...have a vote.
ANOTHER ANGLE - ONE OF THE CHAMBER'S ENTRANCES - NIGHT
Mouse and Cathy enter and he pulls her through the crowd. They
stop beside Mary, who is glad to see Cathy. Cathy tries to
assimilate what is going on, as she looks for Vincent.
ANGLE TO VINCENT
Vincent stands between his Guards. He still holds Carl's
journal. He does not see Cathy, but senses her presence.
RESUME SCENE
The camera PANS the commons chamber. More people have arrived,
even NARCISSA. At the mouth of a tunnel, hidden from everyone is
Michael. He is amazed at what he sees.
FATHER
The accused will have a chance...for a defense...just as
all of you...have the right to question.
Father turns to Vincent and asks almost pleadingly.
FATHER
Vincent, why did you go into the tunnel?
YOUNG MAN
(interrupting)
Never mind why? Vincent went in there. He could have
killed us all.
There is a general mumbling of agreement.
FATHER
That is true...but I still want an explanation for this
act.
All eyes are on Vincent.
VINCENT
I am responsible for my actions. I went into the tunnel.
(beat)
I would never have endangered...any of your lives. If
the air had been poisoned...I would have been the one to
suffer. I would not have let it contaminate our world.
WOMAN #1
How can you be so positive?
VINCENT
I was never sure.
(beat)
Carl had left many devices to test the air...
MAN #1
(interrupting angrily)
Then why didn't he go back in there...a long time ago.
PASCAL
Would you have...after what happened to him in there?
Pascal's words hit home, and the man reluctantly shakes his head
"no". Most of the crowd agrees...they couldn't have gone back in
there either. Narcissa quietly steps forward.
NARCISSA
None of you...would have been able to withstand the
journey.
(directed to Vincent)
The souls of the underworld...they now...are at peace.
As the Trial continues, the camera PANS the crowd to get
different reaction shots, including Cathy, Mouse and Michael
where he is still hiding. Michael is in a state of shock,
especially after he gets a good look at Vincent.
VINCENT
I had to find Carl's journal. It was needed to clear his
name of murder with those above.
FATHER
Vincent, that is not enough of a reason to risk our
lives...or yours. Carl is dead. Those above have
already tried...and convicted him.
VINCENT
I had made a promise to Carl. It was the only way I
could fulfill it.
The crowd reaction is very mixed.
FATHER
Vincent, a promise...
Father is interrupted by CALLOW, a tall and rather intense man,
as he angrily pushes his way through the crowd.
CALLOW
(pointing at Vincent)
Did you go into the tunnel?
VINCENT
Yes.
CALLOW
Then he's guilty. And we should vote.
Some of the crowd agrees with this.
FATHER
Is there anyone who will speak...for the accused, before
we vote.
Several people step forward, including Mary, Pascal, Mouse, and
Cathy. Father notices Cathy for the first time.
FATHER
Only one of you may speak on his behalf.
Cathy steps into the middle of the chamber and the light.
CATHY
I will speak for Vincent.
There is a moment of surprise from the crowd. Some one yells
out...
VOICE
She's not one of us.
CATHY
I am one of you, and have a right to be heard.
JAMIE
Our helpers have always had the right to speak at a
commons meeting.
There is general agreement to her statement. Cathy comes forward
and stands near Vincent. The look that passes between them is
one of purest understanding. Cathy turns to face the crowd.
CATHY
One of the first things I learned about this world, was
that all of you live by one general rule...to give help
and support to those who need it. It's how you all
exist. It's so thoroughly ingrained...you don't think
about it, you just do it.
(beat)
How can you condemn Vincent for obeying a greater
law...which he has been taught all of his life...giving
help to those who need it.
CALLOW
But Carl is dead.
CATHY
Vincent was trying to help the living as well...for those
above.
OLDER WOMAN
But it could have meant our death.
CATHY
Not yours. Only his own. Vincent would never risk the
chance of hurting any of you. You know that.
MAN #1
But he went into the tunnel, for nothing...just some
stupid papers.
CLOSE-UP ON MICHAEL
Michael is deeply moved by all of this. He can't let it go on
without speaking up, no matter what the consequences.
MICHAEL
No! It wasn't for nothing...It was for me.
RESUME SCENE
Michael's comment and his presence causes quite a stir. He
pushes his way through the crowd, to stand near Cathy.
MICHAEL
I know I don't belong here, but I feel I should say
something...Carl was my father...and...
(beat)
All of this was done for me...because I had to have proof
of what really happened in that tunnel.
(to Cathy)
Proof that he really loved me...that's what all of this
is about.
OLD MAN
It still doesn't alter the facts. Vincent went into the
forbidden tunnel. Our laws have been broken.
CATHY
Vincent was upholding the first and most important
law...the one law all of you made, and live by...that
makes this world so special.
(pause)
Banishment forever would mean his death. Your love and
acceptance is everything to Vincent. Without it our love
could never exist. You can not banish him for obeying
what all of you say you believe in. This rule has
touched all of you...
(beat)
It saved my life...
CALLOW
But he is still guilty by his own admission.
(to Vincent)
You do understand why...?
VINCENT
I understand, Callow. I knew I was breaking our law. If
there was only one way to help...I had no other choice
but to follow it.
Michael is not longer scared and turns to Vincent.
MICHAEL
Thank you...Vincent.
Vincent holds out the book.
VINCENT
From your father.
Michael takes it and quietly steps aside.
FATHER
We have discussed this enough. It is time to vote.
CATHY
But the law says banishment...forever. Can't it be
changed?
The chamber is very quiet, until Mouse jumps in, almost literally
as he pushes his way into the middle of the room.
MOUSE
The silence!
(beat)
Well, did it to me. One month...you said.
CALLOW
The punishment must fit the crime.
OLD MAN
Just because you don't like a law you can't go and break
it. We do not have many rules, but the punishment for
this is banishment.
PASCAL
We must temper this law with good judgment.
MOUSE
Then just banish Vincent a little bit.
Many of the spectators agree with Mouse.
FATHER
Justice with mercy. That is what we never received
above. Vincent has admitted his guilt, it is up to us to
give the proper sentence.
CALLOW
I vote for complete banishment...
(beat)
for one month.
MAN #1
That is not long enough.
NARCISSA
(laughing)
Then one month...and one day.
There is general approval to this.
FATHER
Then we shall vote. Those in favor of imposing the
punishment...will please so indicate.
CLOSE ON THE FACES OF THE CROWD
as we begin to PAN SLOWLY around the Commons Chamber. One by one
the people make their choice. Mary is crying, but still turns
away from the camera and Vincent. Jamie, Pascal, Callow,
Narcissa and even the children are troubled by their decision,
before they all turn away. Mouse can't make up his mind and
there are a few others who do not turn away. Finally the last
people we come to are Father and Cathy.
CLOSE ON FATHER
This has taken a great deal out of him. With one last look at
Vincent, he turns away.
CLOSE ON CATHY
She is the last one to vote. Having claimed acceptance into
their world she must now pay the price. This is one of the
hardest things she has ever had to do. She turns her back.
CLOSE ON VINCENT
He can feel her anguish, but knows also what she must do. When
she turns from him, he is filled with despair, but also with
great pride at her courage.
RESUME SCENE
The camera PANS the group again, their backs to Vincent and the
camera. Even Mouse has made the hard choice and has turned away.
CLOSE UP ON FATHER
There is a great deal of sadness hanging over him, but also a
relief that it was not worse. He takes note of all who voted for
the temporary banishment.
FATHER
The jury of the commons has voted...Vincent will be
banished from our world for one month and one
day...Starting now.
RESUME SCENE
Father and the others turn around. Vincent has disappeared.
DISSOLVE TO:
EXT. MANHATTAN SKYLINE - EVENING
Over STOCK shot of New York. "3 WEEKS LATER"
CUT TO:
INT. TUNNEL RENDEZVOUS - NIGHT
Cathy makes her way to the usual rendezvous point. Father is
there waiting for her.
FATHER
Thank you for coming, Catherine.
(pause)
Our perimeter guards have not seen any signs
of...Vincent. Jamie even went as far as the
lake...nothing. I was...
CATHY
I don't know. Vincent has broken the connection. I know
how hard that is.
(beat)
I have tried...to reach him. But I know he's not...
Father and Cathy share one of the rare moments of emphatic
understanding. Father nods his head in agreement.
FATHER
(smiling for the first time)
I...even consulted Narcissa. She could not "reach"
him...but neither does she fear for his safety.
There is an awkward moment of silence between them.
FATHER
Michael is turning out well. He will be a good
helper...and friend.
CATHY
I'm glad. He has a lot to offer your world.
FATHER
Mouse won't leave him alone. Always pestering him with
new ideas.
(beat)
I hope for Michael's sake his father's name can be cleared.
CATHY
Rosenberg resigned last week. It maybe hard to get him
on a crime committed 25 years ago, but the DA's office is
going to try. He's left a trail of corruption.
(beat/smiling)
Joe Maxwell has another case on his desk.
FATHER
Justice must be preserved...And as long as Michael
believes...
CATHY
...that's all that matters.
Father starts to turn away, but...
FATHER
Catherine... If anything...
CATHY
I will.
Father turns to leave. Before he can, Cathy, in an impulse,
rushes to him and throws her arms around him. Father is rather
taken aback, but finally responds. The comfort and need is
understood by both. They finally part, and without another word
go back to their own worlds.
CUT TO:
EXT. VIEW FROM CATHY'S TERRACE - NIGHT
Over STOCK shot of New York. - "ONE WEEK AND ONE DAY LATER"
EXT. CATHY'S TERRACE - NIGHT
Cathy walks onto the terrace. This the "the" day or rather the
night. Half of her is eager to see Vincent, the other half is
scared that something might have happened to him. Being cut off
from him has left its toll on her as well.
Cathy walks to the ledge and looks out. She notices a book of
poetry and a rose on the table. She picks it up and looks
around...there is no sign of Vincent. Hoping that he has left
her a message, she opens the book to where the rose has marked a
passage.
CLOSE ON CATHY
as she reads it silently
VINCENT (V.O.)
One look now
Will lap me round forever, not to pass
Out of its light, through darkness lie beyond; Hold me
but safe again within the bond
Of one immortal look! All woe that was,
Forgotten, and all terror that may be,
Defied, - no past is mine;
Look at me!
Cathy knows Vincent is there and looks to the corner of the
terrace.
CATHY'S POV
Vincent, as he steps into the light. He looks tired and worn.
The banishment has been hard on him as well. All of this takes
her but a moment to see, as she rushes to him.
RESUME SCENE
as Cathy runs to him. She wants to fall into his arms, but
stops. She reaches out slowly to touch his face. He raises his
hand to meet hers. He pulls her close and as they embrace we
FREEZE THE SHOT.
FADE TO BLACK
THE END