And All is Mended

Moira Keeley

If we shadows have offended
Think but this and all is mended
That you have but slumbered here
While these visions did appear
And this weak and idle theme
No more yielding than a dream
Gentles, do not reprehend
If you pardon, we will mend...

ACT ONE

EXT. - OUTSIDE A MANHATTAN HOSPITAL -NIGHT TIME

(Two men pull up in a late model Plymouth sedan. Both are clean cut - wearing suits and trench coats.)

ROBERT

This is so typical of this case. It figures we only find out that someone else has some information after she goes missing; and now sheís dead. Damn! All weíve got is the bottom feeders. Weíre farther away from the top now than when we started.

JACK

Iím not so sure of that. The District Attorney of New York is a pretty big fish.

ROBERT

Maybe. But the kind of influence weíre talking about, itís got to go a lot higher. And anyway, what do we really have on Moreno? Itís one thing to know something, itís another to prove it.

(The men exit the vehicle, walk toward the hospital entrance passing a sign that says MORGUE.)

JACK

Chandler must have been headed in the right direction. I wonder how near she came.

ROBERT

Seeing as this is where she ended up; Iíd say pretty close.

(the men are now walking through a hallway of the hospital)

NURSE AT DESK

May I help you?

JACK

(Both men pull out badges with FBI embossed on them) Yes, Weíd like to speak to whoever is in charge.

NURSE

That would be Dr. Weinstein, Youíll find him in there. (Indicates a door behind her)

ROBERT

What a way to spend Saturday Night!

(A hospital morgue in full swing. They approach an elderly gentleman, white hair, glasses, slightly stooped, tired looking)

JACK

Are you Doctor Weinstein?

DR. NATHAN WEINSTEIN

Who wants to know?

(They display their badges. The Doctor inspects them, nodding, then keeps walking. They follow him.)

ROBERT

We need a favor Doc.

DR. WEINSTEIN

Everybody does.

JACK

If you wouldnít mind Doctor. We would really appreciate it if you could expedite the autopsy of Catherine Chandler. Weíve been working on a case that we believe she was working on also. It might be the reason she died.

ROBERT

Itíd be a real solid help, Doc. Weíve had a long day. Four hours driving, and another two sitting in that parking lot they call the entrance to the Verrazano.

DR. WEINSTEIN

Iím afraid I canít help you gentleman.

ROBERT

(bristling) Hey, come on... (His partner gives him a look)

JACK

We can see that youíre busy. Full moon - Saturday night, huh?

DR. WEINSTEIN

(Looking around him and nodding as they continue to follow him) Yes we are inundated, but thatís not the reason I canít comply with your request.  ( The doctor stops by the foot of a Gurney) I donít ordinarily perform autopsies on individuals who arenít dead.

(Jack and Robert look at each other, confused. The doctor points toward the occupant of the Gurney. Camera Pans up a figure wrapped in a sheet and blanket, an IV in her arm, she is wearing an oxygen mask, itís Catherine.)

ROBERT

(Unbelieving) Sheís alive?

DR. WEINSTEIN

No, not exactly. But sheís not dead either. If I had to guess I would say that she is somewhere in between.

JACK

What do you mean?

DR. WEINSTEIN

I mean that when they brought her in, she did not appear to be breathing. I couldnít detect a heart beat. But there was no lividity, no signs of rigor either. I took a blood sample, Iím waiting for the results. And Iíve been trying to get her upstairs for a brain scan. But theyíre as busy up there as we are down here.

ROBERT

Well, Iíll be damned. Is there any chance...will she make it, do you think?

DR. WEINSTEIN

(Shaking his head) I donít know. Iíve only seen this once before; more than thirty years ago. It was a young boy, he had fallen into the East River; been in for over twenty minutes. Youíd think twenty seconds in that water would have done him in. But no, he was alive, although just barely. Made a full recovery too. I never forgot it.

(A technician hurriedly passes and hands the doctor a report, she keeps moving.)

DR. WEINSTEIN

Ah, here it is. (The men exchange glances) It was a drug overdose. A sizable one. It should have killed her really. (He gazes at Catherine, confounded.)

JACK

A drug overdose?

DR. WEINSTEIN

( he approaches Catherine, standing at her shoulder.) Yes. (Half to himself) There had been an I.V. in this arm, see the tape marks. I think she herself must have torn it out, probably immediately after giving birth. She never could have delivered with all those drugs in her system.

JACK

Giving birth? She had a baby?

DR. WEINSTEIN

Oh, yes. Poor girl. (To Catherine) What did they do to you?

ROBERT

They tried to kill her, thatís what they did Doc. Sheís not safe even now. If any one finds out sheís alive...

JACK

(Interrupting) The situation is this Dr. Weinstein. We believe that some very powerful and well connected men are behind this. She was kidnapped and held for months. Maybe they wanted to know what she knew and she refused to tell them. Maybe they waited till she had the baby so they could use it to blackmail her into telling them what they wanted to know. Itís all just guess work at this point. But what my partner says is true. If these men have any idea that they didnít actually kill her, sheís in danger.

DR. WEINSTEIN

Well you can protect her, Youíre the FBI.

JACK

Yes, we can. But I think weíll need your help with that. ( the agent looks around at the people passing back and forth. No one is paying any attention to the three of them.) Doctor, do you think you could see your way clear to fake an autopsy, sign a death certificate for her?

DR. WEINSTEIN

No. I couldnít do that. Itís totally unethical. And what about her family, her friends? I could never consent to being a party to something like that.

JACK

She has no family. Her parents were both only children and theyíre both deceased. She had no siblings; no grandparents still alive - no husband, no children.

ROBERT

That part about the baby is news to us. Weíve been working on her case since she disappeared. We couldnít find a boyfriend. Her friends, they all say they hadnít seen that much of her in recent years. And as for co-workers, we suspect one of them is responsible for her being in this condition.

DR. WEINSTEIN

My God. How terrible. Sheís a beautiful girl, isnít she? Sweet face. And sheís all alone?

ROBERT

Except us. Weíre here. And you. It would be just to give us some time Doc, to figure out what our next move is.

DR WEINSTEIN

All alone. (contemplating) Iíll do it.

(The doctor goes to his desk, pulls out a fresh chart and starts choosing forms from a rack.)

ROBERT

(To Jack) Weíre going to need a substitute.

JACK

I know. Dr. Weinstein, weíll be right back.

(The men exit back to the main area, look around till they locate several pay phones. Jack gets on one, Robert on another.)

JACK

You call for the bus, Iím gonna to try and locate a stand-in.

ROBERT

Will do.

(Both men start dialing, cut back to Dr. Weinstein. He transfers the blood test results from Catherineís actual chart to the new false one. He copies some information, makes up the rest. Cut back to Robert and Jack.)

JACK

Thanks a lot. Weíre sending someone over for her. We owe you one. ( Hangs up, still writing something on a pad) Rob, have that bus make a detour. The City morgue has an unknown female white, approximately thirty years of age, DOA from Alphabet City. Homeless guy flagged down a radio car, they found her in an abandoned building. Pregnant junkie, miscarried and bled out. No I.D., no one claimed the body. They just released her for burial. Hereís the address.

ROBERT

(Taking the paper from Jack) A body for a body! (Into the phone) Take this down.

Dissolve to -

(Two AMTs roll in a gurney containing a body bag. They position it right next to Catherine.)

DR. WEINSTEIN

(He is holding two charts. One he places near Catherineís legs. The other and hangs on the gurney belonging to the DOA. He places his hand on Catherineís head, whispers a prayer.) Where are you taking her?

JACK

Some place safe. A Hospital in Virginia. We know what youíre risking...

DR. WEINSTEIN

Oh, donít worry about me. In three months Iíll be retired. What are they going to do, fire me?

ROBERT

Youíre a peach doc.

DR. WEINSTEIN

You just take care of her. (A beat) God speed Gentleman. (As they exit he goes over to the Jane Doe, starts to open the bag, tells her) At least now youíll get a decent burial, child.

FADE OUT

 

ACT TWO

EXT. - CATHERINEíS GRAVE - NIGHT TIME

One shot after another - The seasons changing, leaves blowing, snow, flowers blooming. Last shot is of Fall, nighttime - the moon is full.

VO

No other sun has lightened up my heaven,
No other star has ever shone for me;
All my lifeís bliss from thy dear life was given,
All my lifeís bliss is in the grave with thee

(Pan out to Vincent sitting by the grave side. A small, sleepy looking child leans against him. Vincent places a rose on the grave. He puts his arm around the child.)

VINCENT

(Half to himself) Itís been three years Jacob. Three years. Without you (hugs the child tighter) I donít know that I would have survived it.

(Sits quietly. The camera pans to the full moon.)

 

DISSOLVE TO - INT. - NURSING DESK AT A HOSPITAL.

A doctor walks up and chooses a chart. He is about forty, hair thinning, thick glasses - not handsome, but a kind face.

DR. ANDREW FOSTER

Howís our Jane Doe doing?

NURSE

Still holding her own

DR. FOSTER

Good to hear.

(The doctor walks down the hallway with the chart in hand. He turns into a room.)

DR. FOSTER

(Approaching the bed) How you doing tonight Jane? (There is no response. The patient is hooked up to various machines, we are unable to see her face. He holds her hand briefly- then lets go and walks away to the window. The shot lingers on the womanís hand. The fingers move slightly. The doctor opens the blinds, looks up at the full moon.) Beautiful night.

(He continues talking but the camera pans back to the patient. Patientís POV - blurry, but the moon is visible. The doctor closes the blinds, comes to her bedside and looks down at the patient; it is Catherine. The doctor tells her that everyone there is pulling for her. He says goodbye and leaves, unaware that the patient has stirred.)

CUT TO CATHERINEíS GRAVE

(Vincent lifts his face to the moon with a look of both wonder and incomprehension.)

FADE OUT

INT. VINCENTíS CHAMBER - AS WE REMEMBER EXCEPT THERE IS A SMALL BED NEXT TO VINCENTíS

(Vincent is sitting by his table reading. Enter Diana and another woman who is about thirty with a pleasant face; she is obviously pregnant. Between them they are holding Jacobís hand. Vincent puts down the book. Leans down and greets his son.)

VINCENT

There you are Jacob. Did you enjoy your ride on the carousel?

JACOB

(nodding enthusiastically) Look what Diana gave me. (Holding out a book: "Louis Untermeyerís Family Treasury of Poetry." Vincent takes it, smiles.)

VINCENT

We had the same one when I child. Devon and I fair wore it to pieces. Did you thank Diana?

DIANA (laughing)

He did. We had a wonderful time.

ELEANOR

Yes we did. And itís not over. Jacob, I believe William is baking you a cake. And I think he might be persuaded to let you lick the bowl. Shall we go see?

JACOB

Yes! (He goes and gives his father a hug, then Diana, exits with Eleanor)

VINCENT

Thank you, for the book, and for taking Jacob to the Carousel in the park. It was a lovely idea. (A beat) This day, Itís so strange. Itís the anniversary of his birth...

DIANA

And the anniversary of his motherís death.

VINCENT

(nodding, looking down) Yes. But....I find that doesnít make this day any more unbearable than any other. I feel her loss equally every day.

DIANA

Iím sorry. (Vincent nods acknowledgment) Vincent, there is something I need to tell you.

VINCENT

(Looks up, suddenly wary - but asks quietly) What is it you need to tell me?

DIANA

Iím going away. (Looks at Vincent - then away again, pacing the room) It could be for several weeks, maybe longer. There is a case in Arizona; a serial killer. There have been five murders. There is hardly any pattern, he leaves no physical evidence. The police there are at a dead end.

VINCENT

Then it sounds as if they can use your help Diana.

DIANA

(Nodding) I wouldnít bring this up - today of all days - expect that Iím flying out tonight. And Iíve been wanting to tell you something, to ask you...(stops - looks at him) What does our relationship mean to you?

VINCENT

(Leaning forward) You must know what you mean to me Diana. You have been a great help to this whole community and a dear friend to me. You saved my life. Without you, I may never have found my son. I can never express my gratitude....

DIANA

(Almost angry) I donít want your gratitude... (Strides over to Vincent and takes the chair opposite him.)  I want you to see me, I mean really see me. Iím right here, right here in front of you.

VINCENT

Diana...

DIANA

(Rising from the chair and pacing the room again) I know what you are going to say. But youíre holding onto the past instead of looking forward to the future. There is so much life left in you. Why wonít you let yourself feel it? Instead youíve chosen to bury yourself here, with your books and with your sorrow. Do you really think thatís what she would have wanted?

VINCENT

You cannot understand...

DIANA

Yes, I can, and I do. It is you who donít understand. You will not allow yourself to even contemplate the possibility with me. But if you just opened your mind to it. If you just....

VINCENT

Diana, Please. I could never give you what you imagine I could. The bond that Catharine and I shared was unique, unique to the two of us, to Catherine and myself. And what you fell in love with was the idea of us. You sensed what we had and were intrigued by it. Our bond was what drew you to me, how you found me. But now, now you think I am capable of giving love like that to some else - to you. (Vincent shakes his head). It is impossible.

DIANA

You canít know that. And even if that is true. It doesnít have to be the same as it was with her. Iím a different person, with different feelings and needs.

VINCENT

What you are saying is that you are willing to settle for less. But it would never satisfy. Eventually you would long for something deeper, something stronger. And I... I would be always looking backward. You would be disappointed Diana. And disappointment can turn to bitterness and resentment. Youíre asking for poison.

DIANA

No, Iím not. Iím asking for a chance. (Vincent shakes his head. Diana comes to his side, kneels beside him) Vincent, all Iím asking of you is for you to think about it. You tell me there is risk involved; and well, that risk is to me, and Iím willing to take it. I would risk anything to be with you. But you keep shutting me out. (Diana pauses, starts to rise, but then continues) While Iím gone just think about what Iíve said, what you mean to me, what we could mean to each other. Please. Just consider it.

(She suddenly kisses him, passionately but briefly) I love you Vincent.  (She exits quickly. Vincent leans back in his chair and sighs deeply, contemplating).

DISSOLVE TO - INT - DAYTIME - CATHERINEíS HOSPITAL ROOM

A nurseís aide is cleaning the room. Catherine - unobserved - is watching her. She tries to speak and is unable. The aide exits as Dr. Foster enters the room. He is looking down at the chart, without glancing at Catherine, he comes over to check the monitors. He looks, he looks again. Then he turns around and stares at Catherine. She is calmly looking back at him. He is too startled to say anything. He just stands there.

CATHERINE

(She tries to talk and cannot. She motions that she would like a drink. )

DR. FOSTER

(Recovering his composure.) Oh, Youíd like some water?

(Catherine nods. The doctor goes into the adjoining bathroom and comes back with a paper cup. He helps her drink. She chokes a little, but manages a small amount.)

CATHERINE

(Very low, almost mouthing the words) Thank you.

DR. FOSTER

(Still stunned) How long have you been awake?

CATHERINE

(still very low) Since last night, I think.

DR. FOSTER

Do you know your name? ( Catherine shakes her head.) Well, Iíve been calling you Jane, I suppose that will have to continue to do.

CATHERINE

You donít know my name?

DR. FOSTER

(hesitant) No. Iím sorry. But Iím sure now that your awake weíll find that out soon enough. (smiles) I donít believe this. Iím actually talking to you. And you seem perfectly coherent. (A beat) Hey, we gotta do some tests. (Leans on the intercom) Nancy, could you come to Jane Doeís room.  (He canít take his eyes off her. He holds out his hand to her.) Iím Dr. Foster. Let me be the first to welcome you back to the world.

FADE OUT

 

ACT THREE

INT. - CATHERINEíS HOSPITAL ROOM

She is sitting up in bed. A neurologist is examining her. Dr. Foster is standing to one side observing. The doctor finishes the examination and starts packing up.

DR. KLEIN

So how are the headaches?

CATHERINE

Better, thank you.

DR. KLEIN

And the nightmares?

CATHERINE

(Uncomfortable) The same. Not too bad. (Changing the subject) What about my memory?

DR. KLEIN

Now, weíve already discussed that. You know you canít force it. It will come back, or it wonít. Agonizing about it wonít help either way. You just need to relax and take things as they come. Believe me, you are making amazing progress. (He turns to Dr. Foster) Tell her.

DR. FOSTER

Iíve been telling her.

CATHERINE

(Smiling) Thank you, thank you both.

DR. FOSTER

Yes, thanks Bruce.

(Dr. Klein exits, Dr. Foster approaches the bed.) See, that wasnít so bad. Youíre doing terrifically.

CATHERINE

(Still smiling) Then why donít I feel terrific?

DR. FOSTER

You will. Youíll see. And I had such confidence that you were going to do well today that I bought you a reward.

CATHERINE

You did?

DR. FOSTER

I did. You know how you werenít interested in any of the books on the book cart. (Catherine nods.)

I thought you might like this one. I know you said your mother had a rare book collection.

CATHERINE

It is one of the few things I do remember.

DR. FOSTER

Well, maybe this will bring back some memories. Iím sure there must have been some Dickens among your motherís books. (Catherine takes the book, examines it, looking thoughtful. Dr. Foster pulls up a chair) Here, weíll read it together. (sits down, takes the book from her, opens it, smiles at her, begins reading:) 'My fatherís family name being Pirrip, and my Christian name Philip...'

(Catherine leans back, closes her eyes, her mind wanders to an image of herself as a child - sitting in her motherís lap, she looks around her at her motherís library. She tries to re-focus, the voice reading to her has changed, it has become low and gravelly. She listens intently.)

'Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things, seems to me to have been gained on a memorable raw afternoon towards evening... '

(She opens her eyes, the spell is broken. The voice dissolves back to Dr. Fosters. He breaks off - looks at her )

DR. FOSTER

You look a little sleepy. Maybe we should leave this to another time. (Catherine nods.)

CATHERINE

I am tired. Thank you for the book. (She takes it back from him, runs her hand over the cover.) It was a perfect choice.

FADE OUT

 

INT - VINCENTíS CHAMBER - MORNING

Vincent is finishing dressing Jacob. Pascal and Eleanor (who is even more obviously pregnant) enter. Eleanor goes to Jacob and offers him her hand which he takes. She turns to exit.

ELEANOR

Be careful.

PASCAL

We always are. (Putting his arm around her, kissing her cheek) Donít worry. Itís probably just a quick patch job. Kanin doesnít think the leak is very severe. Itís just in a crucial place, we have to get it patched quickly. We wonít be too late.

ELEANOR

Donít be, or you wonít get any dinner. (Smiling as she says this) See you later. Say goodbye to your father Jacob.\

JACOB

Bye bye, Papa.

VINCENT

(kissing him.) Good bye Jacob. Be good for Eleanor. (Jacob nods and Eleanor and Jacob exit.)

PASCAL

Weíre just waiting for Mouse, I told him to meet us here.

VINCENT

(nodding) I heard on the pipes last night that Devon is back.

PASCAL

Yes, he came in very late. I imagine he is still asleep.

VINCENT

Father will be glad to see him.

PASCAL

Yes, thatís why I sent him a message telling him to come.

VINCENT

(Surprised) You sent for Devon? Why?

PASCAL

(Hesitating) Havenít you noticed Fatherís condition of late?

VINCENT

(On the defensive) Yes, of course I can see that he is ill. But he is recovering, just more slowly than we would like.

PASCAL

Vincent, Father is no longer a young man. And Iíve never seen him down like this before. Itís not like him. I donít like this any more than you do but... (pauses, changes tack) Vincent, are you still having those feelings,... do you still believe that Catherine is somehow trying to communicate with you? (Vincent, his head down, nods.) Did it ever occur to you that she might be trying to warn you...

VINCENT

(Angry) Are you trying to tell me that Catherine is coming to me as a harbinger of death?

PASCAL

Not exactly that. Maybe she just wants to prepare you, to remind you, that even the most terrible loss can be endured. You have found the strength to continue without her, and maybe, maybe the time has come to find the strength to go on without Father.

VINCENT

(Overwhelmed) No! I donít believe that. (Mouse arrives, looks from Pascal to Vincent)

MOUSE

Sorry. Know Iím late. Got up last night when Devon came. Wanted to see him. Promised to bring back something from Mexico.  (Mouse smiles, adjusts the brightly colored poncho he is wearing, suddenly looks at the two men - worried) Has Mouse done something wrong?

VINCENT

(Sighing) No Mouse, we were just talking. Are you ready to go?

 

DISSOLVE TO -

INT - CATHERINEíS HOSPITAL ROOM -DAYTIME

(A nurse wheels Catherine into the middle of her room. An alarm goes off O.S.)

NURSE

Oh, my goodness. Do you mind dear. Iíll be right back.

(Catherine smiles, waits - looking out of the window. Finally she looks at the bed. Stands up, very unsteady. She attempts to walk toward the bed. The wheel chair slips backward, well out of her reach. She decides to move forward. She takes a few tentative and shaky steps, then falls. She tries unsuccessfully to struggle to her feet. She is becoming increasingly frustrated and angry. Finally she collapses, she lays on the floor in despair, the bed looking a million miles away.)

(V.O. VINCENT) You have the strength Catherine, you do.

(Catherine looks around the room, as if trying to see the owner of the disembodied voice. She struggles to her feet and makes it to the bed, falling toward it. She rights herself and then sits lost in thought.)

DISSOLVE TO -

INT - THE TUNNELS - MORNING

Vincent walking with Mouse and Pascal, stops, puts his hand on the wall, looking mystified.

PASCAL

(walking back to him) Vincent, what is it?

VINCENT

I...(shrugs, shakes his head) continues walking looking perplexed.

FADE OUT

 

VINCENTíS CHAMBER - INT.- EVENING

Devon is sitting by Jacobís bed reading to him. Vincent enters and listens.

The Rhino is a homely beast,
For human eyes heís not a feast,
but you and I will never know
Why Nature chose to make him so.
Farewell, farewell, you old rhinoceros,
Iíll stare at something less preposceros.

 

VINCENT

(coming forward, to Jacob, kissing him on the head) I remember when Devon used to read that same poem to me.

JACOB

(Sleepy) Youíre back Papa.

DEVON

(Looks up, grins) Vincent! (Beat) It always made you laugh, this one. (Turns over the book looking at it) Theyíve put out a new edition. (Beat) I hope you donít mind. Jacob was falling asleep on his feet. I thought I might as well put him in his own bed.

VINCENT

(Turning to Jacob) Iím sorry I was so long Jacob. (He is asleep. Vincent smiles, adjusts this covers, to Devon) Fixing the leak was much more complicated than we expected. Iím afraid this was not a very auspicious way to welcome you back Devon.

DEVON

Oh, you neednít bother about me. I can entertain myself. Anyway, I spent the day with Father and Mary.

VINCENT

Did you? I am glad. Your being here will mean a lot to him. (They rise and move off to the opposite side of the room. Vincent begins peeling off the top layer of his work clothes.)

DEVON

He looks better than I expected he would, when I got Pascalís message I thought...

VINCENT

Pascal worries too much. He exaggerates Fatherís condition.

DEVON

Oh, Iím not so sure of that. Vincent, there is definitely something wrong. Has Peter examined him? I didnít want to ask Father.

VINCENT

Yes. Peter has been coming down often. He wants Father to come above, check into a hospital for some tests, but Father refuses.

DEVON

Why am I not surprised? He is a stubborn old man.

VINCENT

(Smiling) He is.

DEVON

I thought maybe if we all got together, You and me, Mary, Pascal, maybe some of the others -if we all told him as a group how concerned we are, he might listen.

VINCENT

Youíre planning an ambush.

DEVON

I wouldnít call it that. I just think If he hears all our voices together, he might be persuaded.

VINCENT

Perhaps youíre right. Have you spoken to the others?

DEVON

Just Mary. She has agreed. We spoke when Father dozed off. And I sent word above to Peter. (Devon begins leafing through the poetry book again. Smiles) You know when you were little you loved the poems about animals. But as you grew older, it was the story poems you always asked for, remember? "The Skeleton is Armor", "Lochinvar", "The Highwayman." (Vincent watches him, waiting for the other shoe to drop. Devon sees this, smiles.)  Mary and I talked of other things too. Vincent, what's going on?

VINCENT

I wish I could tell you. I donít know myself. I only know that after three years of having no sense of her I can feel her again now, although at a distance. Sometimes, particularly at night, I awaken and have this overwhelming sense that I need to find her. I turn in every direction, trying to locate where she is; I want to run, to run to her. But I canít. Even returning to her grave brings no satisfaction, no sense that I am any closer to her. And then I find myself so frustrated, so exasperated, I donít know where to turn, or what to do. There are times when I feel as if this is the worst kind of torture. And yet, at the same time, I cannot help feeling less bereft. I have sense of her again. I am not so lonely.

DEVON

Is it possible...could it be Diana?

VINCENT

No. There is only one person who could evoke these thoughts, these feelings, that have been rising up in me these last few months.

DEVON

Youíre sure?

VINCENT

I am very sure.

DEVON

(Checking to make sure Jacob is asleep) But Vincent, you know she is gone, you were there when she died.

VINCENT

(Angry) You need not remind me of that. Am I likely to forget? (Charging around the room) I am not imaging this. ( He halts) Where ever Catherine is, our bond has not been broken. Devon, death has had no dominion.

FADE OUT

 

CATHERINEíS HOSPITAL ROOM - DAYTIME

(Catherine is speaking to a nurse when Dr. Foster enters)

DR. FOSTER

Good morning. How are you? (The nurse exits)

CATHERINE

Good morning! Youíre here bright and early.

DR. FOSTER

I thought Iíd bring you to physical therapy today. (Reaches for the crutches at her bedside)

CATHERINE

Well, Iím glad you came. I wanted to talk to you about something. (Catherine produces a sheet of paper from her bedside table.)

DR. FOSTER

(Smiling indulgently) What do we have here? ( the smile slowly leaves his face) What is this?

CATHERINE

Itís just some ideas I had so I could try and find out who I am.

DR. FOSTER

Some of these are pretty ingenious. Why would someone raised the way you were, someone with your education, know how to track down a missing person? This is no amateurís list.

CATHERINE

I donít know. But if Iím really that good at it, then we should find out why Iím so talented. ( A beat) The chart you showed me, the one that traveled with me - that was from a hospital in Quantico right?

DR. FOSTER

Yes.

CATHERINE

But thatís not where I started. Someone razored off the top of some of my records. Why do you think anyone would go through the trouble of doing that? Itís because they didnít want to disclose where I was originally treated. Andrew, obscuring my identity was no accident. It was deliberate.

DR. FOSTER

And thatís all the more reason this can wait. I thought we agreed. We wouldnít start trying to find your identity until you were fully recovered.

CATHERINE

(Resigned) I know. I suppose youíre right.

DR. FOSTER

(Hesitating) How are the nightmares?

CATHERINE

(Trying for nonchalance) The same. (Cheering up) But letís get started. I have a feeling today is going to be a really good day.

DR. FOSTER

(Smiles) OK

FADE OUT

 

INT. - VINCENTíS CHAMBER - DAYTIME

(Eleanor is sitting playing with Jacob. She rises as Vincent enters)

JACOB

(Runs to him) Papa.

VINCENT

(Picks him up, laughing) I see that you missed me. (Eleanor stands) Thank you Eleanor, You know, you have been invaluable to me these last two years. I sometimes wonder how we got on before you came below.

ELEANOR

Iím glad I can help. And you know, itís good practice. (She puts her hand on her abdomen)

VINCENT

Oh, you donít need any practice. You are going to be a wonderful mother.

ELEANOR

(Smiling) I think so too. (Vincent puts Jacob down, he goes across the room to where there is a chest of toys and begins amusing himself. They watch him.) Vincent, I hope you donít mind. Pascal has told me about these, I donít know what to call it, these messages you have been receiving from Jacobís mother.

VINCENT

Of course I donít mind. (Vincent indicates a seat, Eleanor takes it and Vincent sits at the table opposite her.)

ELEANOR

Iíve been thinking about it a lot. But Iím not sure I entirely understand it. Do you hear her, or see her?

VINCENT

No. No. How can I describe it? When Catherine was alive I would feel her emotions as she was feeling them. Anger, happiness, sadness - fear. But even before she died I had lost that ability, that ability to always know where she was, what she was experiencing. Yet suddenly, over the last couple of months, some form of it has come back to me.

ELEANOR

And what is it now that you sense sheís feeling?

VINCENT

Iím not sure exactly. Sometimes fear, sometimes frustration, but most often it is a feeling of uncertainty, of being cast adrift, with no way home.

ELEANOR

How strange. (Sitting back, then leaning forward again) How is this possible?

VINCENT

I donít know. It is unfathomable. I have been turning it over and over in my mind. I cannot reach any satisfactory conclusion.

ELEANOR

Do you think it is possible Vincent, do you think that she could still be alive?

VINCENT

No, Eleanor. You see, I was with her...( Beat) holding her when... (Vincent breaks off)

ELEANOR

(Looking at him intently, waiting for him to finish, he doesnít) Iíve been wanting to tell you something Vincent. (A beat) This isnít the first time Iíve been pregnant.

VINCENT

(surprised) No?

ELEANOR

(Shaking her head.) No. I was just out of high school, the boy that I had been seeing... Well, it was an accident. But I was thrilled anyway. We got married. ( trying to maintain her composure) I guess he wasnít so happy about it as I was. He had become very irritable. I suppose he felt trapped. He had never laid a hand on me before. (Vincent watches her with growing concern, she looks at him, then drops her eyes, continues) He came home in a foul mood. And I asked him if he had remembered to pick up the paint, the paint for the babyís room. He just got so angry all of a sudden. He lost control. He beat me so badly I lost the baby.

VINCENT

(Reacting) Eleanor, Iím sorry, I didnít know...

ELEANOR

(Quickly) You wouldnít. No one does except Pascal. I never talk about it. Anyway, I never saw him again, my husband I mean, after I got out of the hospital. I didnít even press charges. I just wanted to go some place far away, forget it ever happened. I divorced him. And not that long after I met someone else. A very decent man. He married me despite what the doctors said.

VINCENT

The doctors?

ELEANOR

Yes. You see, they said I would never be able to conceive again, no less carry a child. The damage, the scarring, was too extensive. But I wouldnít believe it. I went from doctor to doctor. I took test after test. They said there was nothing they could do for me. But I wouldnít give up. Thatís what ruined my second marriage. He told me it was all I ever thought about; that I was obsessed. He said we didnít need children, a baby. But I couldnít let it go. So he left. Then I just wandered around for a few years, till I found this place ( looks around in wonder), all of you. (Fondly) Pascal. (Rising, coming around the table to Vincent) So you see Vincent, you could say that all those doctors were wrong, that they had been mistaken. But me,  (placing her hand on Vincentís shoulder) I believe in miracles.

(Vincent covers her hand with his own.)

FADE OUT

 

INT - HOSPITAL HALLWAY - EARLY HOURS OF THE MORNING

(Dr. Foster exits the elevator, he moves toward the nurseís station. (O.S. A SCREAM ) The doctor exchanges a look with the nurse and sprints toward Catherineís room. The nurse remains where she is, just shaking her head.)

(As he enters Catherineís room, she is sitting up in bed, her hand on her chest, she is making an effort to calm herself down. Dr. Foster moves to her night stand, pours her some water from the plastic pitcher, gives it to her.)

CATHERINE

Thank you (She looks at him, shaking her head a little, as if to say ĎArenít I being ridiculousí. She sighs, leans back.)

DR. FOSTER

Same nightmare?

CATHERINE

Same one. Youíd think Iíd be boring myself by now.

DR. FOSTER

Well, he sounds pretty frightening. ( he smooths back her hair) Just the same as always?

CATHERINE

Un huh. Itís that heís so real, thatís the thing. The noises he makes, the growling, like a wild animal. And the way his victims scream. (shuddering) I hear and see it all so clearly, itís not like a dream at all.

DR. FOSTER

(Half smiling) I know, the way you describe him I can almost even see him myself. Half man, half beast, and. his clothing...

CATHERINE

...dressed like Cryrano Du Begerac. ( Dr. Foster laughs, Catherine has to too.) I know it sounds silly. ( more seriously) but youíre not the one he visits at night - with blood on his claws - and those fangs.

DR. FOSTER

Now, listen. It sounds to me like it could have been an illustration from a book that frightened you as a child. And now, now youíve brought it to life. Childhood fears and impressions can be very strong.

CATHERINE

That does made sense. (thinking it over) You must be right. Its just, just that I see him so vividly. Sometimes I think when I wake up he will actually be in the room, I donít think I would even be surprised.

DR. FOSTER

(Laughing) Well, I know I would be. Jane...

CATHERINE

My name isnít Jane.

DR. FOSTER

(Taken aback) Do you know what it is?

CATHERINE

I do. Itís Cathy.

DR. FOSTER

Cathy. Are you sure?

CATHERINE

Earlier this evening, I remembered I was walking with my father. (Sentimental) We were in a large park; I climbed a tree. Eventually he called up to me, told me it was time to come down. He was going to take me home for lunch. He called me Cathy.

DR. FOSTER

Cathy. Kathleen or Catherine?

CATHERINE

I donít know.

DR. FOSTER

Cathy. Either way, (smiling at her) it suits you.

FADE OUT

 

 

INT. - FATHERíS CHAMBER -DAYTIME

Father is seated in an easy chair, he looks ill. Mary is sitting close by, knitting. Devon is leaning up against a book case. Vincent enters carrying Jacob.

DEVON

Hey, thereís my little man. (Puts his arms out and takes Jacob from Vincent.)

FATHER & MARY

Good morning Vincent.

VINCENT

(Goes to Father and kisses him) How are you this morning Father?

FATHER

Very well thank you Vincent. And how are you Jacob? (Devon sets Jacob on his feet and he goes to Father)

JACOB

Very well, Father. (Father canít help smiling at the reply.) Are you going to tell me the rest of the story?

FATHER

Oh, certainly, certainly Jacob. Let me see; where did we leave off. (Searches a nearby table)

VINCENT

(picking up the book, crouching to Jacobís level.) Jacob, I would like to speak to Father for a few moments. (Looks up as Mouse and Jamie enter the room.)  Mouse and Jamie wanted to show you something in their chamber.  (Vincent stands up, exchanges a look with them. Mouse and Jamie say their good mornings.)

JAMIE

Mouse has been working on a new experiment. Would you like to see it Jacob?

JACOB

Very much!

JAMIE

Come on then. (Holds out his hand.)

JACOB

What is it?

MOUSE

Not sure yet. Makes things move. Mouse will show you. (They exit and pass Pascal on the way out.)

PASCAL

Morning all.

FATHER

Good morning Pascal, how is Eleanor?

PASCAL

Very good. Thank you. Itís going to be any day now.  (All three men and Mary gather around father looking from one to the other as if not sure where to begin.)

FATHER

(Looking around suspiciously) I begin to suspect a conspiracy.

VINCENT

Hardly that, Father. Itís just that weíve all been concerned is all.

DEVON

Father, we have all agreed that we want you to go above, have those tests Peter has been asking you to take.

MARY

Weíre worried about you.

PASCAL

Youíre a man of science; What could your objection could be?

FATHER

(Sighing) I admit I have been reluctant. Because (beat) because I believe I know what my illness is. And if I am correct in my diagnosis, your hospital - and your tests cannot help me. (Mary covers her mouth with the tips of her fingers.) I have lived the better part of my life down here. I intend to die here. Not in some cold hospital room, but surrounded by my books, by the people I love, and who love me.

VINCENT

Father, please, we are not suggesting you stay above. Just allow Peter to set up these tests.

FATHER

There will be questions.

DEVON

This city is full of indigents Father. Peter can claim ignorance of your identity. It can be done.

PASCAL

Peter says it will take two days, three at most.

VINCENT

Father, please.

FATHER

And this is what you all what? So say you all?

VINCENT

(Smiling) So say we all.

FATHER

Well then, it seems I have no choice. I will bend to the will of the majority. But you all must agree that when it comes to a course of treatment, you will not interfere with whatever decisions I make. I am competent; I am a physician. If it comes to that, it is I who will decide how I will face my own mortality.

(He looks to each one of them, they all nod reluctantly, solemnly)

Then you may tell Peter that I will agree to his tests, for whatever good they will do me.

FADE OUT

 

INT. -PHYSICAL THERAPY ROOM - DAYTIME

Catherine is walking with the assistance of a therapist. He stands before her, lightly holding her hands. Jason is an attractive man in his thirties, brown skinned, probably of mixed race. He wears his black hair pulled back in a pony tail. He is advising her on her progress. Dr. Foster watches from the side lines and encourages her. She tries to smile but is obviously in pain. She does not stop.

JASON

Thatís O.K. Jane...Cathy. We can take a break now.

CATHERINE

(Shaking her head) I can do it.

JASON

(Hesitating, then nodding) Just a few more feet.

CATHERINE

(she suddenly falls to her knees. As she struggles back to her feet Jason attempts to lift her but she shakes her head.) I can do it. (smiling though grimacing in pain. She continues to the other side of the room and Jason helps her into her wheelchair.)

JASON

Why donít we take that break now?

CATHERINE

(Laughing) Youíre getting soft Jason. we still havenít done our curls. (Catherine wheels herself over to the weight machine and starts work on her arms. Jason joins Dr. Foster.)

DR. FOSTER

(admiring) Sheís something, isnít she?

JASON

(absently) Yes. She is.

DR. FOSTER

Have you ever had a patient with such determination?

JASON

No. No, as a matter of fact I havenít. And I donít like it.

DR. FOSTER

You donít...what do you mean?

JASON

There is something about that, about how determined she is... You know she never cries, never curses me, never breaks down and swears she is giving up. And she is always cheerful, always upbeat.

DR. FOSTER

Sheís the ideal patient. What could you possibly find wrong with that?

JASON

(Contemplating) Iíve been doing this for a long time now. Iíve never seen anyone react this way to their disabilities. And she has no support system, no family, no friends. Itís just... Itís not normal. (beat) And speaking of family, have you found out anything about her past - any clues?

DR. FOSTER

No. I really think it is a little premature to go looking too hard. (Jason looks questioning) Someone tried to kill her. You know as well as I do that she would never have put a needle into her own arm. Suppose it was someone she knew? Suppose she was kidnapped for ransom and could identify her attackers? No. Itís too risky. I think she should be fully recovered before we take that risk.

JASON

(Conceding) Maybe. Itís just that the only explanation I can think of for this kind of determination is that there is something out there for her. Something she wants very badly, whether she knows it or not. (Looking at the doctor) Are you sure it is her that you feel will be at risk when she knows who she is?

FADE OUT

 

INT. - FATHERíS CHAMBER -DAYTIME

Father is dressed in his old suit. Devon and Peter are assisting him to his feet. Father looks at Mary who is trying not to cry. But then she throws are arms around him and begins to sob.

FATHER

Now, there there, Mary. Itís just for a few days, really. There is no need for such a fuss. (Mary releases her hold on him and Devon and Peter help Father walk to the bottom of the stairs. Vincent is standing at the top, silent, grave.)

MARY

But what will you tell them Jacob, about who you are?

PETER

I donít intend to tell them anything Mary. I believe Devonís suggestion was best. I will tell them Jacob is a vagrant I found living in the alley behind my building.

FATHER

(smiling) Well, then I shall be sure to behave oddly, so as to support your ruse.

DEVON

I donít think youíll have to, that suit youíre wearing ought to do the trick.

(The three of them laugh as they continue up the stairs. Vincent does not join in. Father reaches the landing and looks at Vincent who attempts to speak. He is too devastated, no words come. Instead he bends and takes Fatherís hand, brings it to his cheek, holds it there, just looking at him. Then he kisses his hand. Jacob, fighting back tears, frees his hand and strokes Vincentís hair. They look at each other. Father turns and walks away with the other two in silence. Mary approaches Vincent and embraces him. He buries his head in her neck.)

DISSOLVE TO:

INT. - CATHERINEíS HOSPITAL ROOM -EVENING

Catherine and Dr. Foster are seated in two chairs by the window.

CATHERINE

There is a big library in Houston isnít there?

DR. FOSTER

Yes, but are you sure youíre ready Cathy?

CATHERINE

Iím sure. What is it Andrew? Why are you so hesitant about finding my real identity?

DR. FOSTER

Iíve already told you my reasons. Cathy, why are you so anxious? Hasnít everyone here been good to you?

CATHERINE

(Touched) You have all been wonderful. Really. But Andrew, I had a life somewhere. I need to find out what happened. How I ended up here - by myself.

DR. FOSTER

Youíre not by yourself.

CATHERINE

(Realizing she cannot explain to him without hurting his feelings) I need to find out who I was, and how I came to be here. (Nancy enters the room and begins bustling around, bringing fresh water, throwing out some old flowers. They smile and nod to each other. Catherine continues -) We should send my fingerprints to the FBI. They might have a missing persons report filed on me. Donít you have someone in the hospital who can fingerprint me, in Maternity maybe?

DR. FOSTER

Yes. (Resigned) Iíll call down tomorrow. What do you want to do at the library?

CATHERINE

Well, we should start around the time I disappeared. There must be something in the newspapers about it.

NANCY

(putting in her two cents worth) Oh yes, like the one in New York. The papers gobbled that up, father was a prominent lawyer, you remember that one, donít you?

DR. FOSTER

No.

NANCY

You must remember, it made the national news. She disappeared for a couple of weeks, then she turned up with her face all slashed up with a razor. Didnít even remember where sheíd been.  (Catherineís hand goes instinctively to her face, to the remaining scar.)

DR. FOSTER

(Suddenly very interested) Yes. I do remember. What was her name?

NANCY

I canít recall. I should though, I was visiting my sister on Long Island when she disappeared again, it was in the papers for days.

CATHERINE

She disappeared again? Was she ever found?

NANCY

Yup. She turned up five months later, in her own apartment.

DR. FOSTER

Did she remember where she had been this time?

NANCY

If she did she wasnít in a position to tell anyone. She was dead. Murdered. (Catherine falls back, disappointed.)

DR. FOSTER

(Exasperated) Now that was a lovely bedtime story. (Nancy shrugs and exits.) Tomorrow happens to be my day off. Iíll take you to the library. (Rising) Try and get some sleep now.

NANCY

(Poking her head back in) I just remembered the womanís name, the one in New York. It was Chandler, Catherine Chandler

CATHERINE

(Softly) Catherine Chandler. (Aloud) Andrew, why did you react like that when you heard that woman had been cut with a razor?

DR. FOSTER

(Uncomfortable) Maybe I should have told you this sooner. Cathy, Youíve had extensive plastic surgery on your face. (A beat) Iíll see you tomorrow. (Exits. Catherine touches her face again, wondering.)

CUT TO :

INT - VINCENTíS CHAMBER

VINCENT

(sitting by Jacobís bedside. He has a book in his lap, looks thoughtful, rouses himself, begins reading)

Wynken, Blynken, and Nod one night
Sailed off in a wooden shoe;
Sailed on a river of crystal light
 Into a sea of dew,
"Where are you going, and what do you wish?"
The old moon asked the three.
"We have come to fish for the herring-fish

That live in this beautiful sea;
Nets of silver and gold have we,"
Said Wynken, Blynken, and Nod.

FADE OUT

INT - FATHERíS HOSPITAL ROOM -EVENING

PETER

So what do you think of our accommodations Jacob?

FATHER

(Laughing) Very impressive. Very impressive indeed. I must say, it is one thing to read about the advances that have been made in medicine in the last thirty years. It is another to witness them first hand. That echo-cardiogram, to see your own heart beating. I was stupefied.

PETER

I know. I see these advances everyday. But sometimes I pause and realize how miraculous they really are.

FATHER

Do you remember when we were in medical school Peter? You were always anxious to work with the patients - remember - with people. And I, I was going to do the grand research. Isolate the cause of diseases that plagued us. Find cures. (Smiles at his younger self.) I wanted to help mankind. I thought I would help millions of people. And yes, I admit it. I wanted the accolades too, the glory (snorts). You came much closer to your dream than I did to mine Peter.

PETER

Yes Jacob, I did - and in large part due to you. When you took that fall - from a prominent and respected research physician to - what did they brand you - a criminal, a traitor. You didnít fold, Jacob. Not even after you had lost everything. You just found a different way to benefit mankind. And you allowed me to help you. Look at all the children weíve saved from an over-burdened and inefficient foster care system. I am grateful every day for the opportunities you have given me - for each and every child we have seen grow into adulthood. Never a day goes by that I am not grateful for my own blessings, and for the blessings we have been able to share with those around us. Weíve had a life Jacob. Maybe there was no glory, no accolades, no making a difference to millions. But we did make a difference - to so many - especially to the children - especially to one child in particular.

FATHER

(Nodding) Vincent

PETER

Vincent. And to each other. Weíve been good friends Jacob. Truly good friends. (Takes fatherís hand)

FATHER

(barely able to speak) That we have.

 

EXT - HOUSTON PUBLIC LIBRARY - DAYTIME

Camera follows Catherine and Dr. Foster up the steps and into the library, they approach a research desk.

LIBRARIAN

May I help you?

DR. FOSTER

(Looking at Catherine for conformation.) Yes. We are looking for newspaper articles on a woman who went missing in the Fall of 1989, October probably, in a major northern city. New York maybe - or Chicago.

DISSOLVE TO -

(Andrew and Catherine loaded down with micro-film, bringing it to a work table. They begin loading the viewing machines.

CATHERINE

(Looking at her own viewing machine, she smiles at what she sees, leans toward Dr. Foster.) Donít bother with Chicago, Andrew. Iím a New Yorker.  (She stops. Taken by his expression) What is it?

DR. FOSTER

(Leans back, stares at her) Cathy, remember the story Nancy told us last night. (Looking at the screen in front of him) Well, Catherine Chandler never died. (Catherine looks from him to what he is looking at. The headline reads MISSING INVESTIGATOR FOR THE D.A. FOUND DEAD - beside it is a picture. Catherine is looking at her own obituary.)

FADE OUT

 

INT. - DAYTIME - FATHERS CHAMBER

Vincent and Kanin talking over some maps. There is a distinct upheaval on the pipes. They look up.

KANIN

Fatherís back! (Both men turn and quickly exit the room. )

CUT TO - INT. - THE TUNNELS

(Father and Peter walking together - they are greeted as members of the community converge upon them. Vincent approaches them.)

VINCENT

Father, you didnít send word you were returning...(stares at him, not daring to ask)

FATHER

Have you ever heard the old maxim about the how the physician who treats himself has a fool for a patient? (Father produces a prescription bottle from his pocket.) It seems that all I really needed were these.

VINCENT

Youíre all right then? Father!

PETER

Well, heíll have to stay on the medication for as long as he lives. But as long as he does, yes. Heíll be fine.

FATHER

You can go ahead Vincent, I wonít break. (Vincent embraces father, then he takes Peterís arm, squeezes it, takes his hand.)

VINCENT

Peter, how can we ever thank you.

PETER

(Peter and Father exchange a look) You already have - every day. ( he turns to the others) All of you.

CUT TO -

EXT- PARKING LOT OUTSIDE OF HOSPITAL -DAYTIME

(A cab pulls up)

CATHERINE

I donít know how I can ever thank you - What youíve done for me. (She puts her arms around him.

DR. FOSTER

(wistful) Itís been my pleasure Cathy. Really.

CATHERINE

Thank you for the money. Iíll pay you back as soon as I straighten things out in New York.

DR. FOSTER

Donít worry about that. Worry about keeping yourself safe. Cathy, are you sure you donít want to wait for me to come with you? I could be ready in a day or two.

CATHERINE

No. Thank you Andrew. You have done so much for me already. I need to do this on my own. Iíll miss you though. (Catherine starts to move away, he holds unto her.)

DR. FOSTER

Cathy. I want you to know if you ever need anything. I mean anything at all... Remember... remember...

(Dr. Fosterís voice fades away...replaced by Vincentís:) Remember our love, let it guide you, keep you strong, know that what we had can never be taken away from us.

CATHERINE

(Disengages herself from Dr. Foster. Looks at him curiously, although she knows it was not him she heard. Recovers herself.) Good bye Andrew. (She kisses him on the cheek, then squeezes his hand. She turns and enters the taxi.)

CUT BACK TO - INT. - THE TUNNELS

(Same scene as before, Father surrounded by community)

FATHER

Vincent? What is it?

VINCENT

I donít know. (Beaming) Itís this feeling suddenly, like everything Iíve ever wanted is coming back to me.

(Olivia and Eleanor approach with their own children and Jacob. Vincent turns and smiles at his son, takes him in his arms, turns back to father who hugs them both.)

 

INT - AIRPLANE - THE APPROACH TO KENNEDY - NIGHTTIME

(Catherine sits going over the copies of newspaper clippings. She flips through articles on Elliot Burch, the D.A.s office, her disappearance. She drops the papers into her lap and looks out of the window. The plane swings out over the Atlantic, the wing dips and the lights of Manhattan become visible below, She is coming home.)

 

EXT - CENTRAL PARK -NIGHTTIME

(Vincent walking in the park, he pauses, looks up - full of a sense of wonder and elation.)

 

ACT FOUR

INT. - HOTEL ROOM

Catherine awakens to the sound of traffic in the street below. Smiles to herself. She throws the bed covers aside and goes to the window. Manhattan. She looks at the notebook she has brought with her, picks up the telephone and starts to dial.

FADE TO

INT. RECEPTION AREA HER FATHERíS OLD FIRM - MID MORNING

CATHERINE

Hi, Iím Catherine Chandler. I have an appointment.

SECRETARY

(her manner impersonal) Oh yes. You are expected. (Looks up at Mark who is passing by)

MARK

(With restrained warmth.) Cathy. Cathy I donít believe it. Itís just too incredible. (Shakes her hand) Remember me? No. Of course not. How are you?

CATHERINE

Fine, I think.

MARK

Iím Mark. Our fathers founded this firm together, and we went to law school together. Come into my office.

CATHERINE

Thank you. (He leads the way, she follows)

MARK

Cathy Chandler. Youíre looking well, which is surprising after all youíve been through. When my secretary told me this morning about your phone call I was sure we were being trifled with. But here you are.

CATHERINE

(awkward) Here I am.

MARK

My father will be glad to hear of this. Heís retired now. South of France. (Stiff smile) Well, weíll need to get started. I had one of my girls contact the court this morning. Getting you declared alive again is going to take some doing. How are you set for money right now?

CATHERINE

(smiles, shrugs) I borrowed some from the doctor in Texas who took care of me.

MARK

Really? O.K. (Hands Catherine a pad) Write down his particulars so we can reimburse him. Youíll need some spending money until we can get the Probate Court to release some assets. Iíll see what I can arrange. (Rifling papers on his desk) You know, maybe in the long run all the upset your former employer caused will actually work to our advantage. (Smiles his tight smile) Seeing as how everything is turning out.

CATHERINE

Upset? What are you talking about?

MARK

Well, I guess you would have no way of knowing. Your superior at the District Attorneyís office - Joseph Maxwell. He filed an injunction against any dispersal of your assets. Claims you have a child now living. Didnít matter that he couldnít produce said child. Managed to create an absolute nightmare for everyone involved...

CATHERINE

(interrupting) A child? I have a child?

MARK

So Mr. Maxwell claims. Managed to convince the court too. He produced some affidavits from former employees of the man responsible for your dea...condition.

CATHERINE

(very emotional) A child? A girl or a boy?

MARK

(unconcerned) A boy. Ah, here we are. These are the documents filed with the Court. (Hands them to her) You see there, the minor child to be known as Julian. Thatís what he named him - Julian. That was the lunatic who kidnapped you named him that, not that other lunatic, Joseph Maxwell I mean. (Watching her) Itís all there.

CATHERINE

(reading quickly) I have a son. And Mr. Maxwell doesnít know what happened to him.

MARK

Nobody does. He just vanished. Although as you can see when Mr. Gabrielís employees were apprehended by the police they gave the following statements. One was employed as a nurse, the other a body guard. Those are their sworn affidavits. They claim that when the police surrounded the residence and they effected their escape, the child was alive and well and inside the building.

Anyway, Joseph Maxwell must have some influence somewhere in the system. Heís held up probate on your will; so all your assets have been frozen by the court -just hanging suspended, as it were. Your co-op was leased out initially but there was some trouble with the tenants. Itís vacant now. All your personal belongings are being kept in a storage facility in Brooklyn. (Smiling, rigid, handing her a pen.) Now Iím going to need your signature a couple of million times to help get the ball rolling here.

CATHERINE

(looking at him like heís from Mars.) I have a son.

MARK

Yes. That is what I said. (Sliding the documents across the desk.) You can sign by the little post- it arrows.

CATHERINE

She canít get out of there fast enough, she emerges onto a NYC street. Hails a cab then consults her list, to herself) I could use some air.

 

EXT. - GRAVEYARD - DAYTIME

She walks among the graves till she sees her own. Disturbed. She shouldnít have come. As she turns away she sees a man, dark haired, medium height. He is tending to a nearby grave.

CATHERINE

Excuse me. Do you work here.

MAN

(Appraising her -flirtatious) Yeah Bonita, I work here.

CATHERINE

Can you tell me, this grave, are their many visitors?

MAN

Catherine Chandler. Yeah, not so many as there were in the beginning. But she still gets her fair share. Real strange bunch if you ask me.

CATHERINE

Strange? How?

MAN

(shrugging) The way they dress mostly. This older guy with a cane, well, I havenít seen him lately. Guy dresses like he bought his clothes from a Thrift store that only sells stuff from the 1950s. Him and this other guy, doctors the two of them.

CATHERINE

Doctors? How do you know?

MAN

They came during a funeral once. This lady passed out. They helped her. Thatís what they said they were.

CATHERINE

Anyone else?

MAN

Yeah, this whole big gang a kids, they all always come together. Bring day old flowers. You wouldnít believe the way they dress. And I donít mean the rings in their noses or the purple hair thing. These kids look like they shop in a dumpster. Real polite though, these kids, respectful like.

CATHERINE

That is odd.

MAN

Then there was the time this drunk guy passed out on her grave.

CATHERINE

"Drunk guy?"

MAN

Yeah, I least thatís what I thought he was. Although now Iím thinking of it there was some blood on my coat after I helped carry him out of here.

CATHERINE

Blood? What happened? Tell me.

MAN

(Shrugs) I donít know. He was passed out cold. I figured he must a been crying in his beer about Catherine here.

CATHERINE

What did he look like?

MAN

Dunno. Never saw his face. He was wearing a cape or something. His face all covered. The red headed lady acted like she didnít want me to look at him. And I figure itís none of my business no how. She paid me sixty bucks to help get him to her apartment. I didnít see the blood on my jacket till I got back here.

CATHERINE

Her apartment? Do you remember the address?

MAN

No. Sorry, lower Manhattan somewhere. Not the best neighborhood, you know what I mean?

CATHERINE

And her, what did she look like?

MAN

A real looker. Long red hair, big eyes - not as pretty as you though Bonita.

CATHERINE

(Smiling, tries to act flattered. She wants him to keep talking) Does she come here often?

MAN

Never saw her again. And I donít know about the drunk guy. Of course, thereís always him. Could be the same one.

CATHERINE

Him?

MAN

(He leans down and picks up a white rose, holds it up.) Him. He leaves them every night. Never misses -donít matter what weather. He moves around here like heís one of them. (Sweeps his hand, indicating the head stones) Ainít never seen him, no sign of him but this, every morning - a rose. There was this other guy who used to leave flowers too. Real big fancy bouquets, used to come around in a big black limo. Never see him now.

CATHERINE

Elliot Burch. Well, thank you. I appreciate you taking the time to tell me all this. And youíre a very good caretaker. (She smiles - looking at the grave.)

MAN

(He smiles at her, gives her the rose he is holding.) No problemo. Glad I could help. (He looks her up and down and then walks away -but Catherine is no longer paying attention to him. She is gazing at the rose in her hands.)

CATHERINE

( V.O.) You must think that something is happening with you. That life has not forgotten you, it holds you in its hand, it will not let you fall.

CUT TO - INT. - LOWER TUNNELS

Vincent is moving a large pile of stones. He stops, stands still.

KANIN

Vincent, what is it?

VINCENT

I donít know Kanin. (Shaking it off) I just, thought of a poem, one of havenít thought of in a long time. Thatís all.

KANIN

(Uncertain) O.K. (Beat) You can tell me, you know, if something is bothering you.

VINCENT

I know. (Smiles) I know that Kanin. (They look at each other for a moment, then both men turn back to their work.)

 

CUT TO - EXT. - DAYTIME -GOVERNMENT BUILDING

Catherine exits a cab. Looks up at the building as if she doesnít expect much from it.

 

INT. - DAYTIME - DISTRICT ATTORNEYíS OFFICE

Catherine enters, walks up to a desk. Joeís secretary looks up

JOAN

May I help you? (Uninterested)

CATHERINE

Yes. I would like to see Mr. Maxwell.

JOAN

Do you have an appointment? (Bored)

CATHERINE

No. But I think heíll see me. I used to work in this office. (Trying to smile) My name is Catherine Chandler.

JOAN

(Annoyed) That isnít funny.

CATHERINE

(a little taken aback) It wasnít meant to be. Could you please just tell Mr. Maxwell Iím here.

JOAN

(pressing a button on the phone) Mr. Maxwell. There is a woman here who says she used to work for you. (Gives Catherine an evil look) She says her name is Chandler - Catherine Chandler. (A beat) She says her name is...(she hangs up the phone, justified in her anger)

(A door with Joeís name on it bursts open. He comes barreling out looking to run over whoever is standing there. He stops - stares. Takes a minute. )

JOE

(voice hoarse) Cathy? Cathy is it really you? Youíre...It is you - isnít it?

CATHERINE

(slightly embarrassed) Whatever is left of me, yes.

JOE

(Comes toward her, hesitant at first, then throwing his arms around her.) Cathy. (Hugs her tight) Youíre real. I donít understand.

CATHERINE

Iíve been in a hospital in Texas, recovering from a near fatal drug overdose.

JOE

Near fatal? Cathy, I saw your...you werenít breathing.

CATHERINE

Iíve been in a coma for three years. I barely remember anything of my life.

JOE

Cathy, If you only new the Hell I...we all went through. You donít remember what happened to you?

CATHERINE

No. All I really know about myself is what Iíve learned from the newspapers. I have no idea how I came to wake up where I did.

JOE

And you donít remember me?

CATHERINE

(Shaking her head. Joe lets go of her and just stands there looking at her.) And I donít know what happened to my baby.

JOE

( looks around him, realizes the whole office has stopped and is gaping at them.) Why donít we start at the beginning then. We canít stand here all day. Joan, if anyone calls looking for me, just tell them I died. (Realizes what he just said and looks at Cathy, they both laugh and Joe leads her into his office.)

CATHERINE

Mr. Maxwell...

JOE

Thatís Joe to you. (Invites her to sit on the couch in his office) Julian is still missing, Cathy. But I havenít given up looking for him. Maybe now you can help. You were a really good investigator, Radcliffe.

CATHERINE

(Leaning forward, smiles) Radcliffe? Thatís where I went to school.

JOE

Just sort of a nickname I had for you...(hugs her again, remembers he is a total stranger. Lets go. Looks sheepish. They both laugh.)

CATHERINE

(Leans back) Tell me what you know Mr...Joe.

JOE

(Joe picks up the phone). Unfortunately, not enough. Joan. Could you come in here. We have a list of phone calls to make.

JOAN

(pad in hand) Yes.

JOE

I need to speak to the Doctor who signed off on Catherine Chandlerís autopsy. Also the funeral home that buried her. I want the body exhumed. Do that first because the paper work on that one is gonna take forever. Also contact the super of Cathyís old building. Get a hold of Jenny Aronson. (To Cathy) Your best friend.

CATHERINE

I think I could use one of those.

JOE

Well, sheís living in Paris now; bought an art gallery. We keep in touch though. Also, Call the storage company holding Catherineís belongings, tell them we want them delivered to her old apartment tomorrow. If they argue put them through to me. (To Cathy) Maybe if we go through your things together, we might be able to make some of the pieces fit. Then maybe weíll find something that will lead us to Julian.

CATHERINE

What happened Joe? What do you know about what happened at Gabrielís house?

(Dissolve one scene into the other as Catherine and Joe talk through the afternoon. At times he gets up and speaks on the phone. Last scene Joe sitting leaning forward telling her)

JOE

We found two of Gabrielís henchmen dead downstairs. We found another guy, a doctor, all wrapped up and ready for disposal. But the true prize was in an upstairs bedroom. Gabriel himself; shot through the heart. And this is the killer, the gun that fired the fatal shot was registered to you. Radcliffe, who ever got there before us, avenged your death.

CATHERINE

But the baby wasnít there.

JOE

No. The nurse had taken off maybe five or ten minutes before we surrounded the house, all the help did, some quisling in the department had tipped Gabriel off. We caught up with her at the airport. Anyway, she said the baby was in his crib and doing just fine when she left. That was all we could get out of her.

CATHERINE

Do you think whoever shot Gabriel took my son.

JOE

Yes, itís possible. (Hesitating) or, it could be that one of Gabrielís employees took him, so they could all join up at a later date. I just donít know Cathy.

CATHERINE

I hope itís the former.

JOE

Me too.

(The phone buzzes Joe picks it up and OK's something.)

Come on Radcliffe. Letís get a bite to eat. Then youíre coming back to my apartment for the night. Iíll take the couch.

CATHERINE

That isnít necessary. I have a hotel room.

JOE

No way. Weíll stop and pick up your things. Iím not letting you out of my sight. You might disappear again.

 

INT. - JOEíS APARTMENT - THE FOLLOWING MORNING

(Joe and Cathy are sitting in his living room drinking coffee.)

CATHERINE

Diana Bennett? Is that the woman you told me about yesterday?

JOE

Yes. Sheís a police investigator, special unit. Sheís been out of town for a few months. She told me things, some things. Iím sure she never told me everything. Whatever your secrets were Cathy, she kept them for you.

CATHERINE

Is she attractive, with red hair?

JOE

Yes. How did you know that?

CATHERINE

I visited my own grave yesterday.  (Cathy starts to tell about her experience in the grave yard. Fade out and then back in. Joe gets up, starts to walk around the room, stops)

JOE

Cathy, does the name Vincent mean anything to you?

CATHERINE

Vincent? (Softly) Vincent. I donít know. Should it? (Catherine looks over at the white rose which is sitting with her belongings on a side table.)

JOE

Maybe. He was someone you knew, knew well, but you never told me anything about him, not directly anyway. Diana seemed to think you had a relationship with him.

CATHERINE

Do you think Vincent is the one who is leaving the roses on my grave?

JOE

Yeah, yeah I do. It would be just like this guy, Always there, but never seen by anyone. (Catherine gets a flash from her nightmares, Vincent growling. She shakes it off.)

JOE

(Interrupting her reverie) We should get moving, we have a busy day in front of us. First weíre going to stop by your fatherís old firm.

CATHERINE

(Smiling) And visit with Mark?

JOE

Oh yeah, and you know thatís always a pleasure. That man has computer ink running through his veins. But he knows what he doing. Heís already gotten us a appointment in front of the probate Judge today. We also have a meeting with at the FBI office in New York. We can go back to your old apartment after that. The movers should be finished by then.

CATHERINE

You donít waste any time.

JOE

Nope. We can pick up breakfast on the way.

CATHERINE

OK

FADE OUT

 

INT. - CATHERINEíS APARTMENT - EVENING

Joe and Catherine enter, the furniture is haphazardly arranged. There are a number of boxes scattered through out the apartment. They walk around, looking around them. Catherine opens the french doors and walks out unto the balcony - going straight to the railing, looking out over the city. She smiles to herself. Joe calls to her, he is rooting through some of the boxes. She goes back inside and notices one full of books. She pulls a slim volume out, opens it, a rose falls to her feet, she bends down. Tight shot on the rose, she picks it up slowly, holds it gently. She looks at the page which the rose marked.

CATHERINE

(Reads) 'When in disgrace with fortune and menís eyes, I all alone beweep my outcast state,  And trouble deaf Heaven with my bootless cries,,, '

JOE

What have you got there?

CATHERINE

(Showing him the book, she flips through to the fly-leaf and reads:) Shakespeare knew everything - Vincent (she smiles)

JOE

(unimpressed) You always did like that kind of stuff, Radcliffe.

CATHERINE

(laughs) She carefully replaces the rose and replaces the volume in its sleeve. She folds it in her arms as she continues to inspect the apartment.

JOE

We havenít had dinner yet, you hungry?

CATHERINE

Sure. I could eat.

JOE

Pizza, Chinese?

CATHERINE

What ever youíd like Joe.

JOE

I wonít be long.

CATHERINE

Continues to wander, opens the closet doors, there are several more boxes there, she drags one out into the living room. She sits on the floor, leaning up against the sofa, she begins taking out items: Letters, photographs, childrenís books. She closes her eyes. Images from her childhood. Sitting on her motherís lap, playing with her pearls. Her father teasing her, making her laugh. Tears start to blur her vision, then the grief gets a real grip. Sobbing, she leans back against the sofa.

CUT TO:

INT -FATHERíS CHAMBER -

Father is in bed, Vincent sits beside him reading. He looks up.

FATHER

Vincent, what is it?

(But he is already off and running. He races through the tunnels, past the pipes, up the stairs.)

CUT TO:

INT. - HALLWAY OUTSIDE CATHERINEíS APARTMENT

(Joe emerges from the elevator, juggling the keys and the pizza, he opens Catherineís door -hears her crying. He practically throws down the pizza box, goes to Catherine. She continues crying in his arms. There is a noise out on the balcony. Joe looks up alarmed. Catherine startled, catching Joeís fear. He rises, makes a motion for her to be still. He quietly approaches the patio doors. He opens them quickly, stepping outside.

Hood thrown back, tears in his eyes, Vincent towers above Joe. He seems about to speak, but Joe goes for his weapon and Vincent disappears back over the railing. Joe stands there, dazed. He collects himself with an effort, goes back into the living room.)

CATHERINE

What was it?

JOE

Nothing. Come on, pizza getting cold.

CATHERINE

(looking at the terrace) Nothing?

JOE

Oh, just the neighborís cat.

CATHERINE

The neighborís cat? Joe, weíre seventeen floors up.

JOE

He probably jumped over from the next balcony. Look, if youíre nervous we can spend the night at my place again.

CATHERINE

What was out there Joe?

JOE

I told you. Come on. Itís late. Weíre not going to get anything done here. We can come back tomorrow in the daylight. No ghosts then. O.K.?

CATHERINE

O.K. Joe.

 

INT. - JOEíS APARTMENT - MORNING

(Catherine is awakened by Joeís voice as he speaks on the phone. He is confirming arrangements to have Catherineís body exhumed. He hangs up and dials again. He is inquiring if it will be possible to inspect Gabrielís house. He dials again, this time whoever he is calling does not pick up. Catherine pulls on her robe.)

JOE

Morning Radcliffe. (Offers her something from a bag) Want some?

CATHERINE

Cheese Doodles? For breakfast? (Shakes her head, looks out the window) Not very nice out today, is it?

JOE

Gray day. It might snow. Iíve got a few things to do today. First stop is the cemetery. That should be fun. Why donít you just stay here and rest. Youíve been overdoing it the past couple of days anyway. You can call Jenny in Paris again. And that doctor who wanted you to keep checking in with him, what was his name?

CATHERINE

Foster. Iím going with you to Gabrielís house.

JOE

Not necessary. The house has new owners, there really wonít be anything to see.

CATHERINE

Then why are you going?

JOE

I just want to get a mental picture of something.

Catherine

Of what?

JOE

(exasperated) I canít explain just yet. Iím hoping to know more when I get back tonight. Look, you can keep trying Diana Bennettís number. (He hands her an address book) She checked out of her hotel in Arizona yesterday. She must be on her way home. If you want to pick up something different for breakfast thereís a radio car outside. Heís your personal chauffeur for the day.

CATHERINE

Being the District Attorney for Manhattan has its privileges I see.

JOE

Sure thing. Take it easy today Cathy, really.

(Joe pulls on his coat and dons a scarf. He kisses her cheek and exits the apartment. Catherine watches him go and then looks at Dianaís number, there is an address as well, she goes to get dressed.)

FADE OUT

EXT. - MORNING - ON THE STREET IFO DIANAíS APARTMENT BUILDING

DIANA

(Catherine is standing on the sidewalk watching the traffic go by. A cab pulls up. Diana emerges carrying several pieces of luggage. Catherine recognizes the red hair and moves to help her, taking one of the bags that Diana is juggling. Diana turns around and is struck by the sight of her. ) Do I know you?

CATHERINE

In a way. You investigated my murder. (Diana just stares at her in open mouthed shock, Catherine tries to manage a smile)

CUT TO:

INT. - DIANAíS APARTMENT

CATHERINE

(Surprised) You really donít know any more than that?

DIANA

(Ambivalent) Iím afraid I really canít help you, Iím sorry.

CATHERINE

Joe was so sure you knew more than you ever told him - about someone named Vincent.

DIANA

Joe was mistaken. I told him everything I knew.

CATHERINE

(Resigned, nodding, she knows Diana is holding out on her, but can see itís useless -getting ready to leave) Iím staying with Joe right now, but Iíll be back in my old apartment soon. If you remember anything that you think might help - please let me know.

DIANA

(nods reluctantly, without commitment) Yes, I will.

CATHERINE

(turning to leave she sees the rose bush It's blooming) Oh, theyíre beautiful. (kneels down to inspect them.)

DIANA

Theyíre yours. They would have died.

CATHERINE

Oh, Iím glad they didnít. (Holding a bloom between her fingers)

DIANA

Iíll have them sent over to your apartment.

CATHERINE

You donít have to. Youíve taken such good care of them. I donít want to...

DIANA

(Interrupting) No. They belong to you. You should have them back.

CATHERINE

(Smiles) Thank you. ( Extends her hand to Diana who takes it reluctantly.)

Good bye.

DIANA

(Softly) Good bye Cathy.

 

EXT. - STREET IFO DIANAíS BUILDING

(Approaches officer who is leaning on his vehicle.)

CATHERINE

Next stop - Staten Island.

OFFICER

(opening the car door for her) Your carriage awaits. (They both laugh as Catherine enters the vehicle.) Gabrielís old house right?

EXT. - GABRIELíS ESTATE - DAYTIME

JOE

( waiting outside, he opens the car door for her.) I was hoping you changed your mind.

CATHERINE

(Getting out) Why?

JOE

(Noncommital) Itís a long drive. (Turning toward the house) Some digs huh? (Joe reaches into his pocket) By the way, this belongs to you. (Hands her a gun) And Iíll tell you Radcliffe, I had a tough time renewing your permit - being that youíre dead and all.

CATHERINE

Thanks Joe. Do I know how to use it?

JOE

You did once. Iíll make an appointment for you at the range. Itíll come back to you. (They move toward the front door. Joe rings the bell) You know, like riding a bike.

CATHERINE

Joe, why did you go through all the trouble of making sure Iím armed? What would I need a gun for?

JOE

Youíre living in New York. I think youíve forgotten how rough this city can be. You never know when it might come in handy.

BUTLER

Mr. Maxwell, Iíve been expecting you. (ushers them inside.)

JOE

Hi, how you doing?

BUTLER

I am fine - thank you Sir. My employer is sorry he can not be here himself. But he instructed me to be of assistance in any way I can.

CATHERINE

That was very kind of him.

BUTLER

Yes. Well, if the truth be told - he is quite a crime and punishment buff. He has friends in the department - high placed friends. As a matter of fact they allowed us to look at this house before it went up at auction. My employer had to have it - with the history of it and all.

JOE

(dryly) Yeah, I can see how that would be a selling point. Could we see the basement?

BUTLER

(Moving with Joe and Catherine in tow) You want to see the cage I suppose.

CATHERINE

The cage?

BUTLER

Oh yes, there was an electrified cage down in the basement. My employer has kept it intact. Quite a conversation piece. He takes his guests down here during dinner parties. (descending the stairs.) I can tell you, there has been the most wild speculation as to what was kept in it.

JOE

(to himself) Not wild enough Iíll bet.

CATHERINE

(horrified) Joe, you donít think this is where...

JOE

Gabriel kept you. No, I donít. Forensics did a thorough sweep of the place. They never found anything that could be linked to you. (Joe squints up at the video cameras in each corner of the cage, contemplating.)

CATHERINE

(increasingly disturbed) What did they find?

JOE

(ironically) Nothing they could ever match to anything they had on file.

BUTLER

I understand they found a body just about here. (Catherine backs up) There were four found in and about the house that day. More buried in the back yard.

CATHERINE

(very disturbed, looking at the cage) I donít like this place.

JOE

(Looks at her curiously, a beat, to the butler) Why donít you take her back upstairs?

BUTLER

Very good sir. (He allows Catherine to proceed him, she is glad to go. He turns to where Joe is standing trying to get a mental picture.) They say it had been disemboweled. The body, I mean, the one found here.

JOE

They say that, do they?

BUTLER

Yes Sir. (The butler follows Catherine up the stairs.)

JOE

(going back inside the cage, inspecting the gate which is propped up inside.) He tore the door off its hinges. Thatís why there was burned flesh on these bars. Then he got the first one here. (Moving along, talking to himself, he quickly goes up to the first floor and towards the second) Came up the stairs, met the next one here, got rid of him too. (Looking up the stairway) Then he went for Gabriel. ( Joe continues to follow a mental trail - Catherine moves with him now, listening, the butler follows along. They enter the room that was Julianís. It is a den now. )

BUTLER

This is the room where the crib was.

CATHERINE

The crib? The baby was kept here?

BUTLER

Yes, apparently so. They say it was a child the previous owner had kidnapped. I donít think they ever found it. But I understand that the bed clothes were still warm when the officers arrived.

CATHERINE

Is that right Joe?

JOE

Yes. Yes it is. So then how did he get out? We had the house surrounded. (Joe looks around the room, looks out of the window, then starts rapping on the walls. Finally he stands in the middle of the room, looking at the spot where Gabrielís body had been.) And why was Gabriel shot? Why didnít he finish it the way he began it? (A beat, then excited) Diana!

CATHERINE

(grabbing him by the coat collar) Joe, what is it?

JOE

(tries to shake her off) Go back to my apartment and wait for me, Cathy.

CATHERINE

Tell me what you know, Joe, tell me now!

JOE

I canít. Not yet, Cathy. Iím not sure Iím right about this. I need some questions answered first. I need to talk to Diana. (They start to go back down the stairs)

CATHERINE

I spoke to her already today.

JOE

(stops, surprised) Sheís home?

CATHERINE

Yes. And she told me she doesnít know anything. She never discovered who Vincent was. She doesnít have any answers Joe.

JOE

If she told you that sheís lying.

CATHERINE

(On the edge of hysteria) Why would she do that Joe - why would she lie to me? Why are you? What happened here? Where is my son? Is he still alive? Why wonít you tell me?

JOE

Cathy, Please, You just have to give me another day or two. I canít explain it yet. Iím just not sure.

CATHERINE

I donít believe you Joe. You know what happened here. You just canít face telling me. (Backing away) Neither can Diana.

JOE

Thatís not it. I swear it. (Tries to soothe her, she pulls away) I canít believe Iím saying this Cathy. But I think your son is with his father.

CATHERINE

Vincent? (Joe just stands there looking at her. she turns and exits. Joe follows and tells the uniformed officer waiting at the door to drive her back to the city. )

INT. - D.A.s OFFICE- LATE AFTERNOON

Catherine enters the office accompanied by the police officer.

OFFICER

I Thought we were going back to Maxwellís apartment.

CATHERINE

We will. I just wanted to check something first.

OFFICER

(Indicating the break room) Would you mind if I grabbed a cup?

CATHERINE

No. Thatís fine. Iíll just be a few minutes.

OFFICER

You?

CATHERINE

(shakes her head) No. (Approaches one of the clerical workers.)

CLERK

Hi, how are you today Ms. Chandler? (looking behind her for Joe)

CATHERINE

Oh, Iím fine. (Forced smile) Thank you for asking. Could I bother you for a file. Joe is still in Staten Island. He just wanted me to take a look at it.

CLERK

Of course. What are we looking for?

CATHERINE

One of the files on the Gabriel case. Iím specifically looking for the one that recorded the evidence which found during the police raid on the Staten Island Estate.

CLERK

Sure. Why donít you wait in the conference room. Iíll bring it in. (Catherine moves to the conference room. Clerk comes in with the file.) Some of these pictures are pretty gruesome. I guess it goes with the territory though. Are you coming back to work?

CATHERINE

(Attempting for casual) I might. I havenít thought that far ahead yet.

CLERK

(Nodding) Yell if you need anything else.

(Catherine waits till she leaves and then scatters the contents of the file over the table. She picks up and discards some of the paper work. Then she comes across a collection of photographs. They are pictures of the bodies found at Gabrielís house. Catherine examines a photo of of the first guard lying by the cage. (Stock : INVICTUS - Vincent escapes and kills first guard) beginning to shake, Catherine looks at the second picture (the guard on the stairs) Again, in her mind, she sees the killing taking place. Then she flips to a third (Gabriel lying in the room with the cradle. Three huge gashes torn into his face.) Catherine drops the photos. She puts her hand over her mouth - backs away from the table. The creature is real. He disemboweled these men. He was in the room with her baby. )

Catherine bolts, she runs out of the office and out onto the street where she staggers to a halt. Looks around her, it is growing dark. She hails a cab.

EXT. - CATHERINEíS GRAVE - TWILIGHT

Vincent approaches the grave, stops, looks in disbelief. He runs forward, sees the gaping hole, the head stone which now lies on the ground. The rose he is carrying drops from his hand, he drops to his knees. He bows his head, then throws it back and screams.

1RST MAN

What the hell was that?

2ND MAN

(Shrugging) I donít know.

(The men drop their tools and move toward Catherineís grave. Vincent hears their approach and struggles to his feet, turns and fleas into the dark.)

1RST MAN

(Approaching the grave) They dug it up this morning. Took the coffin away. Damned if I know why.

2ND MAN

Hey lady, donít you know we close at sunset?

(stops, recognizing her. She opens her wallet and shoves several bills at them.)

CATHERINE

I need to know who is leaving the flowers on this grave.

2ND MAN

You ainít gonna see him, weíve waited too, just outta curiosity. He never comes around when anyoneís here.

CATHERINE

Iíll wait anyway. ( They look as if they might argue.) My name is Catherine Chandler.

(The men look at the headstone lying on the ground- then back at her - then at each other.)

2ND MAN

O.K. Bonita, suit yourself. (They give her a wide berth)

CATHERINE

(Starts to settle down, she takes a seat by the grave, then she sees the rose, half crushed in the dirt, she leans forward, then leaps forward, picks it up.) Why didnít you wait? Why didnít you wait for me? (Breaks down crying )

CUT TO:

INT. - THE TUNNELS

Vincent stops, leans his head against the tunnel wall, heís had about as much as he can take.

 

INT. - DIANAíS APARTMENT -NIGHT

The doorbell buzzing insistently.

DIANA

(over the intercom) Yes.

JOE

Itís me Diana. Let me up.

DIANA

Iíve had a long trip today Joe. Iíll come by the office tomorrow.

JOE

Oh no. Youíre gonna talk to me, and itís gonna be tonight. Iím not leaving. (Joe leans on the buzzer again to make his point)

DIANA

(cursing under her breath, she lets him up, continues unpacking, Joe follows her around.) Sorry if I was rude Joe. But itís late and Iím tired.

JOE

Iíll make it short then. Where is It now and does It have Catherineís baby?

DIANA

(Freezes) I have no idea what your talking about.

JOE

Oh, you donít huh? Donít pull that innocent routine on me Diana. I know you were at Gabrielís house that night, and I know It was there too.

DIANA

It? For Godís sake Joe, make some sense.

JOE

Him, That, It. Whatever you want to call It. Thereís no use telling me it doesnít exist, youíre the one who told me about It, remember? Heís her protector you said. He knows when sheís in trouble. Look, I never would have believed it if I hadnít seen It with my own eyes. (Diana canít help reacting) Yea, I saw It. What the hell is It anyway, Bigfootís cousin?

DIANA

(stunned) When did you...?

JOE

On Catherineís balcony. I heard a noise and there It was, larger than life. Good thing I had my gun.

DIANA

(leaps at him) Your gun? Joe, you didnít...

JOE

Shoot It? Nah. I didnít have time. It just disappeared over the railing. Climbs like a monkey I guess.

DIANA

Stop it! Stop it! How dare you? You have no right talking about him like that.

JOE

(Snapping at her) Hey, I got every right. He sliced and diced Gabriel and his whole crew, not to mention Marino and God only knows who else. That thing rips people apart with his bare...(Joe examines his hands, as if trying to find a word for Vincentís) hands. All I want to know from you is, is this Thing dangerous? I mean, if Catherine doesnít remember It, if she acts frightened or horrified, will It turn on her? Is It capable of harming her too?

DIANA

Stop calling him that. You donít understand. You donít know him.

JOE

Then introduce me to him. (Diana looks at him, disgusted) I mean it, Diana. I lost Catherine once, Iím not gonna let it happen again. All I want from you is reassurance, Iíve got to know whether it presents any kind of a threat to her.

DIANA

You are so far out of the ballpark Joe. It was your fault Catherine almost lost her life, you gave her that book. Vincent would as soon rip his own arm off as let a hair on her head be touched.

JOE

He looks like he could do it too. By the way he does have her son, doesnít he?

DIANA

Their son Joe. Catherineís and his. That thing, as you called him, was Catherineís lover. And he is the father of her child.

JOE

(contemplating this, nodding his head almost imperceptibly.) How can I find this guy?

DIANA

(Stomps over to the elevator door, opens it.) Itís time you were going Joe!

JOE

Tell me one thing first. (Diana looks away, she isnít going to tell him anything) Tell me what it is about this...man, who doesnít even look human - tell me what can make the two most beautiful, most intelligent women I have ever known both fall in love with him. (Joe pulls up the collar on his rain coat and gets into the elevator. Diana slams the button)

FADE TO -

INT. -CATHERINEíS APARTMENT - NIGHT TIME

Catherine is pulling bed linens out of a box and putting them on her bed. The phone rings, surprised, she turns and searches for it.

CATHERINE

I didnít know I had a phone. (Picks it up) Hi Joe, thanks for the phone.

JOE

You're welcome. Where the hell have you been?

CATHERINE

Your office.

JOE

I heard.

CATHERINE

Those were some lovely pictures Joe. Why didnít you tell me?

JOE

Because until last night I didnít know what had done it. (Beat) Look, Iím coming over to get you.

CATHERINE

No, Joe. Donít. Iím tired. Iíll sleep here. (Beat) Did you ever read Frankenstein?

JOE

Sure, they made us read it in high school.

CATHERINE

You remember how Victor Frankenstein had to cut off all contact with his loved ones? He had to in order to keep them safe - because he didnít dare lead the monster to them.

JOE

Cathy, youíve got it all wrong. Youíre going the wrong way on this.

CATHERINE

(Skeptical) Am I?

JOE

Let me come over, weíll talk, Iíll tell you everything I know.

CATHERINE

Do you know where Vincent is? And my son, do you know where he is?

JOE

(quietly) No.

CATHERINE

(Angry) No. I didnít think so. (Relenting) I donít want to sound ungrateful. Without you, I donít know what I would have...Youíve done so much for me...Youíre the one person...(canít find the words) Iíll see you tomorrow Joe.

JOE

Cathy, Vincentís not...

CATHERINE

Good night Joe. (She hangs up)

JOE

Vincent...(talking to the dial tone) Vincent is the monster. (Presses the button and dials again) Hi Jeff, Joe again. Look, I need a couple more uniforms for special assignment.

FADE OUT

Gabriel is standing over the baby, pillow in hand. Vincent enters the room, snarling, he strikes Gabriel, sending him reeling. Vincent pounces on him and finishes the job. Then he wheels around with blood soaked talons and stalks the cradle where Jacob lies crying.

CATHERINE

(wakes up - screaming) Vincent! (She sits up, sees a figure in the corner of the room, one foot on the stair, silently keeping watch. (stock: AN IMPOSSIBLE SILENCE) she leaps up, fumbling for the gun on her night stand, but the figure has disappeared.

CUT TO:

(Vincent bolts up) Catherine!

CUT TO:

(She drops back onto the bed, sobbing, the gun falls to the floor with a thud.)

CUT TO:

(Jacob is fussing. Vincent has awakened him by crying out. He goes to Jacobís bed, kneels beside him to comfort him. He begins to sing, low, Catherineís lullaby, the one her mother sang to her.)

CUT TO:

(Catherine lying on the bed crying. Suddenly she makes an effort to stop, readjusting the bedclothes - she pulls the covers over herself -visibly calming down. She closes her eyes.)

CUT TO:

(Jacob has fallen back to sleep. Vincent stops singing, just gazing at him.)

CUT TO:

CATHERINE

Donít stop.

CUT TO:

VINCENT

(sitting straight up. Looks around, turning and searching the shadows, incredulous. Finally accepting there is no one in the room, he starts singing again. He ends the song and looks around him. He rises -whispers) Good night Catherine.

FADE OUT

 

ACT FIVE

INT. - CATHERINEíS BEDROOM -MORNING

Catherine is awakened by the phone ringing

CUT TO:

INT.- DIANAíS BEDROOM

DIANA

Catherine, this is Diana. I need to speak to you. (A beat) I lied to you yesterday. I do know who Vincent is. And I know what happened to your son.

CUT TO:

(Catherine begins to speak, Diana cuts her off) Meet me in Central Park, there is a drainage tunnel - large enough for someone to walk into.

CATHERINE

(Perplexed) A drainage tunnel?

DIANA

Yes. There is something there that I have to show you. Catherine, I donít think you could understand what I have to tell you - you to need you to see for yourself.

CATHERINE

(Decisive) Iíll find it.

DIANA

Good. Iíll be there in an hour. (Line goes dead. Catherine looks at the clock, heads for the bathroom.)

 

EXT. - THE TUNNEL ENTRANCE IN CENTRAL PARK

(Catherine is standing in the corner where the two walls adjoin. It is a sunny day - but cold, Catherine pulls her coat tightly around her.)

CUT TO:

CONGESTED NYC STREET

Diana is caught in traffic, cursing under her breath. She sees an opening and tries to slip in. A small truck has the same idea - sound of crunching metal. Diana exits the vehicle, the other driver does the same.

DRIVER

What the hellís the matter with you lady! Look what you did!

DIANA

Look what I did? Whereíd you get your license - Jersey?

DRIVER

Hey, Who do you...

DIANA

(Diana flashes her badge. That stops him cold. She re-enters her vehicle, pulls over to the side and exits again with a pad, hastily writes something down, throws it at the driver.) Give this to the officers when they come. (She turns and starts at a run)

DRIVER

Hey, where the hell are you going...you canít just take off! Hey! Ah Jeez! (Kicks the tire of his truck. Diana is running toward the park.)

CUT TO:

(Catherine is still standing by the tunnel entrance. She looks across the park and sees the roadway, a vision passes through her mind. Stock: ONCE UPON A TIME: Van slows down and tosses a body. Cut back to Catherine standing by the mouth of the tunnel - Cut to a figure bending over the body. Cut to Catherine -suddenly she hears a noise from within the interior of the tunnel. Before she can react a band of oddly dressed children emerge. Jeffery and Samantha, now teenagers, lead the others. They donít notice Catherine but pass her by. Catherine looks curiously at them and then into the tunnel. She looks at her watch then looks back into the junction. She goes to investigate. The iron gate has been left swinging open. Catherine hesitates, looks outside and then into the tunnel. She moves slowly forward down the passage way. )

CUT TO:

(The children walking through the park. Jeffery stops.)

JEFFERY

Did you remember to close the gate ?

SAMANTHA

No. I didnít.

JEFFERY

I forgot. You go ahead, Iíll catch up. (Jeffery runs back. He presses the lever and the door slides back into place. He closes the gate and leaves. Catherine turns when she hears the tunnel door closing. She runs back but the door has already slid shut. She looks at it, then attempts to open it. Fighting panic she looks for a handle. Then she looks for a fulcrum - something to open it with.

Unsuccessful, she turns back toward the tunnels. Images reel through her mind. (THE OUTSIDERS) Catherine realizes that it is here that the nightmares originate - in these tunnels. Panicked, she starts to run. She reaches an intersection, randomly picks another path.)

CUT TO -INT. -VINCENTíS CHAMBER - MORNING

(Vincent and Jacob are seated at the table. MUSIC COMES UP: A HAPPY LIFE ; Vincent is struck. He leaps to his feet, lifts Jacob to his shoulder and wraps him in his cloak.)

(Catherine runs into a dead end, doubles back, another passage -another dead end. A noise behind her. Catherine swings around, terrified. Vincent appears at the end of the tunnel. She backs against the wall, caught in an almost supernatural terror. He starts toward her then stops - her fear holding him back. He mouths the word Catherine, unable to speak. Swaying. Tears are streaming down his face. He kneels, opens his cape, sets Jacob on his feet and whispers to him. Jacob looks toward the end of the tunnel where Catherine is standing, she is watching them now. Jacob begins walking toward Catherine, Vincent follows slowly and unsteadily behind. Catherine seems to have completely forgotten Vincent, her eyes are on Jacob. Jacob turns around - receives encouragement from his father - continues toward her. Catherine starts forward, stumbles to her knees, then puts her arms out to him. The music culminates as Catherine reaches for Jacob - gathering him to her. Vincent leans against the wall for support. A bar of light is thrown across his eyes, the rest of his face in shadow. Catherine hugs and kisses a bewildered looking Jacob, then she looks up, looking for his father.)

CATHERINE

(Hoarse) He is mine....

VINCENT

(From where he is standing) Jacob is your son, Catherine.

CATHERINE

(Struck by the voice, she peers through the dark, trying to discern the owner.) Jacob. (Smiles down at her son. Then looks back up at Vincent.) Your name is Vincent.

VINCENT

(Leaving the safety of the shadows he walks forward with his head bowed. He kneels before her and lifts his face to hers. He will not be ashamed before Catherine.) It is.

CATHERINE

( with no recognition, but no fear either) And you are his father? ( a beat) His natural father?

VINCENT

(Tilting his head to one side) He is our child, yours and mine. (Catherine gazes at Jacob, then back curiously at Vincent, from one to the other. Smiling at Jacob she rises and attempts to lift him also. She falters, Vincent reaches out to help her but then drops his arms, afraid of reawakening her fear of him. They stand and face each other.)

VINCENT

(Bursting) Catherine, you died in my arms - by what miracle do you stand before me now?

CATHERINE

(hesitating, unsure, she cannot help reacting to the pathos in his voice) I almost died; and I have been very ill for a long time. Even now, I have no recollection of my adult life.

VINCENT

You donít know me.

CATHERINE

(thinking of her dreams) No.

VINCENT

(knowing there is something she is not telling him.) Catherine, below us there are chambers, and there are others who will want to know that you are alive and safe. My father. We can sit, talk - (Bends down and picks up his son) explain to Jacob Catherine nods her consent and Vincent automatically starts to extend his hand, then withdraws it.) Come.

 

INT - DISSOLVE TO OTHER TUNNELS

( Vincent is leading the way, holding Jacob in his arms. They start to skirt the abyss.)

VINCENT

(turning, holding out his hand to her) You are growing fatigued, and the path narrows, Catherine. (She hesitates, looking at the hand (paw) extended to her.)  (Stock: Vincent slashing) She looks back up at him. He knows.

JACOB

(suddenly) My motherís name was Catherine. (looks at her) Sheís an angel now.

VINCENT

(looking at Catherine) Yes, she is. ( a beat, turns to Jacob) Suppose I were to tell you that this Catherine is your mother Jacob?

JACOB

(considers this, then dismisses it.) Angels donít come back.

VINCENT

Well, they hardly ever do. (a beat, looking at Catherine) But this one has. (Jacob, confounded, turns his head and buries it in his fatherís shoulder. Catherine looks affectionately at them both. Vincent again extends his hand toward her. She takes it this time, without hesitation. They continue.)

FADE TO ANOTHER TUNNEL, THE NOISE ON THE PIPES IS LOUD AND INCESSANT

CATHERINE

What is that?

VINCENT

People are communicating through these pipes. Sending messages to each other.

CATHERINE

Messages? It sounds so chaotic.

VINCENT

It does. But we usually donít have this much traffic. We have been seen, Catherine. Jamie has told them of your arrival. There is a debate raging. Some are saying it is not possible, others say that Jamie can be taken at her word. Then there are others still who say that everyone must withhold judgment till they have seen for themselves. They are all congregating in Fatherís chamber.

CATHERINE

And thatís where we are going?

VINCENT

Yes. But if you donít feel up to it, I can take you someplace quiet and then go speak to them myself.

CATHERINE

No. I can do it. And I must admit Iím a little curious. Are the others...?

VINCENT

Like me? No. Most of the members of our community are people from the world above, who for one reason or another, have found sanctuary down here. (Jacob indicates he wants to be put down. Vincent sets him down and Jacob first runs his hands over the pipes, then runs ahead.) Are you ready?

(Catherine nods. They continue on to just outside fatherís chamber which is rapidly filling up with tunnel dwellers. As Catherine and Vincent approach Mouse and Jamie are at the fore front.)

JAMIE

(coming forward) I told them it was you. They wouldnít believe me. I told them... ( voice breaking, gazing at Catherine, she suddenly throws her arms around her)

MOUSE

Mouse believed Jamie. Not surprised. Knew all along that Vincent could never really lose Catherine.

VINCENT

(interceding between Jamie and Catherine, he tries to steer Jamie away but she starts to hug him instead of Catherine. Vincent laughs - disengaging himself. They walk forward, Vincent looks around at the gathering crowd announcing ) Now we must all give Catherine some room. She has been ill, and she does not remember any of us. We do not want to overtax her strength.

CATHERINE

Iím OK.  (Smiles at Vincent -suddenly shy. Jacob has preceded them down the steps. Catherine looks around her and then down at Devon, who is standing at the foot of the stairs smiling up at her.)

DEVON

(Putting out his hand) I guess you donít remember me. Iím Vincentís brother Devon. In a way I know what youíre going through. I was resurrected around here myself once.

CATHERINE

(Grinning) That must be an interesting story.

DEVON

(Holding her hand as he speaks, smiling into her eyes) Oh, I have a lot of those. ( a beat) Youíre as beautiful as ever Cathy. Welcome home.

CATHERINE

Thank you. (Vincent steers Catherine toward Father, who is closely surrounded by Mary, Pascal and Eleanor with the baby.

VINCENT

Catherine, this is my father. (Catherine feels awkward, but Father does not, tears on his face, he extends his arms towards her)

FATHER

Catherine, my child. (Catherine hesitates, then impulsively throws herself into his embrace. He kisses the top of her head, looks at her, holding her face in both his hands.) It really is you. I can hardly believe my own senses. Oh, my dear. And youíve been ill all this time?

CATHERINE

Yes, in a coma. I came out of it a few months ago.

VINCENT

On a night when the moon was full.

CATHERINE

(turning to look up at him, disbelieving) Yes. ( pause, then to father) Iím afraid I donít remember much. And I had to go through physical therapy; learn how to walk again.

FATHER

Youíve been through a lot Catherine. But youíre here now. Youíre safe, and among friends. Among people who have missed you very much. Are you still much affected? You donít look entirely well. It was a drug overdose, wasnít it?

CATHERINE

Yes. I spoke to the doctor who performed the autopsy - well, the supposed autopsy. He said the amount of drugs I was given should have killed me.

ELEANOR

(stepping forward) Maybe. Or maybe the doctor was just wrong. Or... ( looking at Vincent) maybe there is another explanation.

PASCAL

(Also coming forward)  My name is Pascal. This is my wife Eleanor, and our daughter, Rosalind.

ELEANOR

You donít know me. I came after... (Smiling) Well, I guess it doesnít make a difference, you donít know any of us.

CATHERINE

(Standing to greet them. She looks at the baby) Sheís so tiny. How old is she?

ELEANOR

Three weeks. I guess weíre both new mothers.

CATHERINE

(Smiling, looking around at Jacob, who is hanging back watching her curiously.) I guess we are. (There is a sudden loud commotion. Samantha, Jeffery and the children come clattering in all talking at once.) What we heard on the pipes? Is it true? Is she really here? Where is she?

(They spot Catherine and all surround her. Vincent hears something over the din however and looks up toward the spiral staircase where Diana is now standing. They look at each other for a moment and then she turns away. Vincent touches Catherineís arm briefly and indicates Diana who is retreating. They exchange a nod.)

DISSOLVE TO TUNNEL

(Diana is walking away, Vincent appears behind her, following her, he catches up to her, and reaches his hand toward her shoulder, turning her around. She refuses to look at him, too ashamed.)

VINCENT

Diana...

DIANA

Vincent donít. You donít know what I did.

VINCENT

I think I do. Diana, please. I understand....you were disappointed.

DIANA

I came back full of hope. I convinced myself that I was coming back to you, to be with you. Then, when I saw her. I couldnít believe it; It didnít seem real. I couldnít make myself tell her. Iím so sorry Vincent.

VINCENT

Itís done Diana. And no real harm came of it.

DIANA

No, I knew that you would find your way back to each other. No matter what I did. I knew that.

VINCENT

Then come back with me now. Youíre a part of our world Diana. We all care a great deal about you here.

DIANA

Not right now Vincent. Maybe not for a while. I need time.

VINCENT

(looking at her, nods slowly) Whenever you feel you are ready. Just so long as it is not for too long. (Vincent moves toward her, embraces her. Diana closes her eyes for a moment, then leaves him. Vincent watches her go with a look of utmost compassion, then turns and goes back.)

 

FATHERíS CHAMBER

Vincent returns, Catherine is seated near Father, Jacob is standing nearby studying her. He obviously feels more comfortable now that he is with the other children who are also clustered around her.

JACOB

Rosalind is kind of my sister. I help take care of her sometimes.

CATHERINE

You do?

JACOB

Yes. I... (switching gears) Are you really my mother? Like Eleanor is Rosalindís mother?

CATHERINE

Yes. Just like that.

JACOB

And you were sick?

CATHERINE

Thatís right.

JACOB

Did you sneeze?

CATHERINE

(Laughing) No. I mostly just slept.

DARK HAIRED GIRL

Like Sleeping Beauty?

VINCENT

(Approaching) Like Sleeping Beauty.

DARK HAIRED GIRL

Did you find her and kiss her Vincent, so she could wake up?

VINCENT

No. Though if I had known where she was I think I certainly would have. No, Catherine woke up by herself, and she found her own way back to us.

ELEANOR

(Smiling) Iím not so sure about that. I think she might have had a little help.

CUT TO ENTRANCE FROM THE PARK

Diana exiting the tunnels, she is closing the gate behind her when she is approached by Joe Maxwell

DIANA

(startled) Joe, what are you doing here? How did you...

JOE

Know about this? I didnít. I had some uniforms posted outside Catherineís apartment. One of them followed her here. He left her just outside here to find a payphone and call me. When he came back she was gone, had just disappeared. And then, surprise, surprise, when he was looking for Catherine he saw you, running across the park. He said you were headed this way, and then he lost you too. Imagine that? Poor guy had a long night, I sent him home. (A beat) This is where he lives, isnít it?

DIANA

(Striding out of the tunnel with Joe following her.) You should learn to mind your own business Joe.

JOE

(They exit the tunnel, continue walking) Oh, this is my business. Does she remember him now?

DIANA

I donít think so. Not that that makes any difference.

JOE

He wasnít upset about that?

DIANA

(Stops, facing him) Heís got her back Joe. He can keep her safe now. His son has a mother. Nothing else matters. (walking again)

JOE

And Cathy?

DIANA

She probably doesnít realize yet, what she has. But Iím betting sheíll figure it out.

JOE

How about you Diana? Are you all right?

DIANA

(Stops again, not facing him, fighting back tears.) Iím fine Joe.

JOE

(turns her around, hugs her) Sure you are. (Diana breaks down. Joe tightens his grip on her.)

 

CUT TO - FATHERíS CHAMBER

MARY

Dear, you look like youíve had quite enough excitement for one day. And you too Father. Vincent?

FATHER

Pshaw

VINCENT

Oh, I quite agree Mary. And I think we might include Jacob in that group. (Jacob is leaning on Catherineís arm, his eyes half closed.)

PASCAL

Everyone, there will be time enough to speak to Catherine on another day. And Iím quite sure a lot of you have chores to complete. (Giving a stern look at the children) Come on. (Everyone reluctantly starts to drift out. Catherine kisses Jacobís head and Vincent picks him up. Jacob lolls against Vincentís shoulder.)

MARY

Why donít you come with me dear? You look like you could use some tea. You go along Vincent, I think Catherine and I will get reacquainted for a bit in my chamber. (Reluctant to lose sight of her, he nods anyway. Watches them go, hugs Jacob and smiles.)

 

INT. - MARYíS CHAMBER

CATHERINE

He seems so gentle - his voice. In the hospital I used to dream of him. But in the dreams he was always...angry, violent, in a way that is hard to imagine.

MARY

Catherine. Vincent protects us all. And he protected you with the weapons he was born with. Those weapons may be unique, and yes, frightening. But what person, man or woman, is not frightening when roused to violence to protect their home, their loved ones.

CATHERINE

(nodding) I think I understand that.  Itís only that...I canít reconcile the two. I cannot believe that he is the...man in my nightmares.

MARY

He offered you that protection many times. That is how the two of you found each other. The violence that the men in the world above had done to you...

CATHERINE

(Her hand on her scar) They cut up my face with a razor.

MARY

Yes, and left you for dead. He found you and brought you down here. Father, Vincent and I took care of you. But it was Vincent who barely left your side. Vincent who read to you...

CATHERINE

(To herself) Great Expectations.

MARY

Fed you, watched over you, (A beat) started to fall in love with you.

CATHERINE

And me, did I love him right away?

MARY

(Coming to sit beside her, takes her hand) Iím not sure. You always came to him when you were in trouble. When you were confused or upset, when you needed comforting. You spent some time here when your father passed away. What the two of you had was more than what two people usually share. Catherine, to love another, even more than we do our own selves, is a very unusual thing. So often, people only see the person that they love as a reflection of themselves; as someone who they can transfer their own needs to. You only have to read the newspapers from the world above us to know that: A man who will actually take the life of the woman he can no longer have. Men and women who marry, have children, and then if the marriage doesnít succeed they use, they hurt, their own children as a way of destroying each other. They are capable of this because they cannot see enough outside of themselves to actually see the their own spouse, or to see the hurt they are inflicting on their own children. What you and Vincent had was so much different from that.

CATHERINE

I wish I could remember.

MARY

My dear, that doesnít matter - even if you never regain your memory. What you and Vincent shared, what you gave each other, was the very spirit of love; and Catherine, that can never be broken or lost. (Embracing Catherine) But youíve been with me long enough dear. (Mary rises, brings Catherine a night dress) If you choose to stay here tonight. (Catherine stands up) Catherine, You need not fret. All you need to do is just hold still and listen. Sooner or later, your own heart will tell you what you need to hear.

CATHERINE

Thank you Mary.

FADE TO

INT. - VINCENTíS CHAMBER

 

(Jacob is asleep on Catherineís bed. Vincent turns and eagerly awaits Catherine. Devon leads her in.)

DEVON

I used to sleep here when I was a child. Vincent and I were roommates.

CATHERINE

(Surveys the room. Devon stands off to the side. Looks at Vincent, then down at Jacob. To Vincent:) Itís odd. Being away from you I can almost believe I made you up.

VINCENT

I am real enough. Sit down, please.

CATHERINE

(Catherine goes and sits on the bed beside Jacob, smooths his hair.) Heís beautiful. (The words hurt him, reminding him of the loss of the last three years.)

DEVON

I should go.

CATHERINE

Devon, please tell the others. It meant a lot to me, the way you all...the way everyone here greeted me today. I need to ask a favor (she looks at both Vincent and Devon) I need to get a message to Joe Maxwell.

DEVON

Easy enough. I can do that myself. (Beat) I donít think you can understand what your presence among us means to us all Cathy. (Devon brings Cathy a pen and paper. She writes on it. Devon folds it for her. Exits.)

VINCENT

(Beat, Vincent canít look at her enough) Catherine, what happened to you?

CATHERINE

Well, you know the part about how Gabriel tried to kill me. When they brought me to the hospital the FBI came to question the medical examiner. He told them I wasnít dead. They wanted to keep it quiet, to protect me. So I was taken to a hospital in Quantico. But my file changed hands, one agent was promoted, another transferred to another unit. And then when I didnít recover, and after Joe dismantled Gabrielís organization, they transferred me to a long care facility in Texas. My file was moved from desk to desk till it was finally just lost. (A beat) and me with it.

VINCENT

(Pulling a chair over to the bed) Catherine, I have something of yours...perhaps you would like it back.  (Vincent removes the pouch from around his neck. shakes the contents into his hand.)

CATHERINE

(Leaning forward eagerly) My rose. My motherís rose.

VINCENT

You remember this? (He holds it up - offers it to her.)

CATHERINE

Yes. She gave it to me so I would know...(Catherine pauses) You didnít mean to give me this rose. You were going to give me that crystal. (Vincent smiles. Catherine takes the crystal. ) Was this a gift from you? (Vincent nods.) Itís beautiful. And I, Did I give you the rose? (Vincent nods almost imperceptibly. He takes the rose and puts it back in the bag, then he takes the crystal from her and deposits that too.)

VINCENT

You should have them both, this too. You made it.

CATHERINE

(smiling) I didnít know I could sew. (She bends her head so Vincent can hang the pouch around her neck.) Thank you Vincent. But... isnít it hard for you to part with them?

VINCENT

Theyíre just symbols Catherine. Youíre here. (Drops his eyes, then lifts them to hers again. He sighs. He cannot say what he wants to say.)

CATHERINE

(knowing that he doesnít dare tell her what he is feeling. Looks around) You have a great many books. (Looking at him) Why donít you read to me?

VINCENT

With pleasure. (Touched, smiling. He crosses the room and removes a book. Comes back, pulls the chair a little way off, sits, begins -) 'Book one : Recalled to Life. It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness...'

DISSOLVE TO

Vincent sitting with the book in his lap, watching Catherine and Jacob sleeping on his bed. Devon enters, hands Vincent a note.

DEVON

(Quietly) Itís the reply from Joe Maxwell. (Smiles at Catherine and Jacob) I guess it can wait.

VINCENT

(Looking up over his shoulder at Devon) Has any man ever had as much?

DEVON

Certainly no man has ever had more.

DISSOLVE TO -

Catherine is sitting in Vincentís chair, Jacob on her lap. She is wearing the home made garment Mary has given her. Vincent enters, hesitating on the threshold.

VINCENT

May I come in?

CATHERINE

(Smiles) It is your room.

(Jacob puts his arms out for Vincent. They look at each other. It will take time, they know. Jacob slides off her lap. gives Vincent a quick hug and wanders over to his toy chest, bored with both of them. Catherine smiles and rises, going over to one of Vincentís book shelves. She glides her hand over the spines and reads the titles to herself. She turns to Vincent, seems about to speak, but then doesnít. She turns and surveys the books again.)

VINCENT

Catherine. (pulls a chair away from the table and motions for her to take it. She comes over and sits down. He goes around the table and sits opposite her. Leaning forward.) I know (unsure how to proceed) how torn you are, knowing what you once felt for me, and what you cannot now feel.

CATHERINE

(begins to shake her head, to deny it. He looks steadily at her.) Itís not that simple. Really. I know what I once must have felt for you. Mary told me how you found me in the park, how you saved my life. I gave you my motherís rose. Vincent, I had your child. ( a beat) And now I canít even remember you, except ...

VINCENT

Except in a way that frightens you. It distresses you, to have me know that. And to have me know that the love we once shared is lost to you now.

CATHERINE

Vincent, I donít understand why ...why when I dreamt of you, you werenít like this, like you are now?

VINCENT

(Deliberately not answering the question, he tells her instead) Catherine, when you awoke here, in my chamber, and we spoke to each other for the first time; we felt an immediate connection, a current, that moved through both of us, pulling us together. But the love that developed between us formed more gradually. It was only over time that we came to know the extent of our bond.

I had an experience in my adolescence that convinced me that I would never be able to express my love for a woman physically. I believed this, well, in part because I made myself believe it, and because it was obvious, even to the people who loved me most. I told myself over and over again, that the love that can give a man a wife, and a family, was a love that was never meant for me. But as our feelings, as our desire for each other grew, you refused to acknowledge the obstacles which I knew stood between us. You wanted me to know love, your love. I was afraid for you, for both of us. I could not justify taking such a risk. ( looks down, and then back up at her.) But Catherine, you had more faith in me than I ever had in myself. I think that it was that faith, even more than your love - that saved me, that brought me back from the brink of despair, that gave us our son. ( a beat) What I felt today, when I watched you with Jacob...  (His voice breaks, he collects himself.) You donít know the pain that it brought me, to see his first step, to hear his first word, and know that his mother would never know that joy. It broke my heart every day. And now, knowing that my son has his mother. That he will have the benefit of your love, your guidance, your very presence. ( pausing). We can never regain all that was lost to us when they took you away from me. And Catherine, I would never demand from you that you feel something which you no longer feel. If your love, the way it was before, is lost to us now... ( Vincent raises his hands in gesture of resignation.) I will not pretend to be indifferent to that, but neither will I let that undermine the miracle of having you back in our lives. ( beat) Did you really believe I could be so ungrateful?

Catherine, you need to know... I will always be here. I will always love you. You will always have my devotion, my protection ...and my understanding; whatever path you choose. And whatever choices you make, I will accept and respect those choices. For Catherine, just as you once had faith in me, so I have, in equal measure, that same faith in you.

Vincent looks for affirmation of what he has told her. His head to one side, looking into her eyes. She smiles, and nods slightly, showing she has understood. Vincent stands to leave, Catherine lowers her eyes and picks up the volume lying on the table before her, absently leafs through it, then she notices the fly leaf.

CATHERINE

I gave you this book?

VINCENT

(Nodding). Yes. I had given my own copy to a friend of Devonís. You gave me this volume to replace it. I believe it once belonged to your mother. (Catherine stares at the inscription. Vincent moves over to Jacob, who is towering blocks. He tells him -) If you need anything, Iíll be close by.

CATHERINE

(Catherine reacts to this, she looks curiously at him, then away) Vincent, it was fear wasnít it, that always brought you to me?

VINCENT

Yes, and other emotions too, though not as quickly.

(Vincent watches her, knowing she is struggling for answers, and knowing she has to find them herself. He exits. Catherine watches him go, a perplexed look on her face. She gets up from the table, still holding the book, she takes a chair and sits by her son. She opens the volume and begins reading to herself.)

DISSOLVE TO -

CATHERINE

(Jacob asleep in his bed. Catherine, now lying on Vincentís bed, still reading... aloud, repeating the words to herself -) 'If, when I tell you, dearest dear, that your agony is over, and that I have come here to take you from it...' (Tears start in her eyes, she looks at Jacob, and then off stage. Catherine gets up and exits the chamber.)

INT: CHAMBER WHERE CATHERINE STAYED (ORPHANS)

He is sitting writing in his journal. He stands suddenly, almost knocking the chair backward. Catherine appears. As they speak Catherine and Vincent move slowly closer to each other. When Catherine stops speaking they are face to face.

VINCENT

Catherine!

CATHERINE

Vincent, when I regained consciousness - alone - in that hospital....I wanted so much to know if somewhere I had a family, if I had friends who would be glad that I was alive. But at the same time, I couldnít imagine that, that if there was anyone who cared for me, loved me, that they would have just left me like that. Why hadnít they been looking for me? Why was I left all alone, abandoned, for three years?

The hospital staff was wonderful, everyone was kind. It would have been ungrateful of me to... I couldnít tell them: How angry I felt; how frustrated and isolated and alone. So at night, in my dreams, I allowed myself expression of those emotions through you. Someplace inside me I must have known that you would feel what I was feeling; that you would know what I could not show to anyone else, not even to myself. And the fear that I summoned with those nightmares - surely I knew you would know it, feel it. It was you that gave me the strength to recover. But Vincent, I cannot imagine what you must have suffered in these past few months. To feel those feelings and not know their origin. To suffer through my pain, my loneliness. I feel as if I've wronged you in some way.

VINCENT

Catherine.

CATHERINE

 You don't have to tell me, I know.  If it helped me to recover, if I suffered less because of it, it was a sacrifice that you gladly made.

VINCENT

Gladly.

CATHERINE

(Nods, understanding perfectly) Vincent, since I awoke, I have been searching desperately, for who I am, for where I belong. And today, when I heard your voice, when you said my name. I knew. (placing her hand on his chest) I already knew, always knew...you are who I am, you are where I belong.

(Vincent touches her cheek, she turns and kisses his hand. He moves it to her hair. They kiss, a real flesh and blood kiss, one worth waiting twenty years for.)

DISSOLVE TO :

V.O. Vincent

And the Country proverb know,
that every man should take his own,
In your waking shall be shown:
And Jack shall have Jill;
Naught shall go ill;
The man shall have his mare again, and all shall be well.

INT. - JOEíS OFFICE - DAYTIME

(Joe is at his desk, Diana in the chair beside it. Catherine enters carrying Jacob in her arms. Joe comes forward and shakes Jacobís hand. Catherine and Diana stand making eye contact, understanding one another.)

INT. - FATHERíS CHAMBER - DAYTIME

EVERYONE IS ASSEMBLED. VINCENT AND CATHERINE STAND FACING EACH OTHER, SHE IN A PALE COLORED SATIN DRESS, HE IN HIS SUNDAY BEST. DEVON STANDS BY HOLDING JACOB. VINCENT AND CATHERINE JOIN HANDS AND SAY THEIR VOWS TO EACH OTHER. PULL BACK TO VIEW THE ROOM, THE TUNNELS, THE PARK.

DIANA IS STANDING BY HERSELF ON THE BRIDGE OVER LOOKING THE LAKE, HALF SAD, HALF SMILING. SHE TURNS AND SEES JOE STANDING BY THE EDGE OF THE BRIDGE. THEY SMILE AT EACH OTHER.

 

AND THEY LIVED HAPPILY EVER AFTER