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BEAUTY AND THE BEAST di GRRM

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Non so bene ancora che cavolo sia sta roba? Uno sceneggiato? Cmq è un lavoro dello Zione quindi........

 

 

 

BEAUTY AND THE BEAST

 

"Ceremony of Innocence"

 

 

 

 

 

Story by

 

George R.R. Martin & Howard Gordon

& Alex Ganza

 

 

 

 

Teleplay by

George R.R. Martin

 

 

 

 

Directed by

 

Gus Trikonis

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FIRST DRAFT

April 20, 1989 (Blue)

April 19, 1989 (Grey)

April 18, 1989 (Goldenrod)

April 18, 1989 (Green)

April 17, 1989 (Yellow)

April 14, 1989 (Pink)

April 13, 1989 (Blue)

 

BEAUTY AND THE BEAST

"Ceremony of Innocence"

 

ACT I

 

FADE IN:

 

 

0. INT. - VINCENT'S CHAMBER - NIGHT

 

Deep midnight. PAN slowly through the gloom of the

chamber. Across unlit candles sitting half-melted in pools

of hardened wax; Vincent's cloak draped across

the back of an empty chair; a miniature of the Empire State

Building lying on its side. Everything looks somehow

abandoned... lost in shadow... forlorn. Under the darkened

window, Vincent's bed is empty. We PUSH PAST into the

darkest corner of the chamber, where the blackness is

almost TOTAL...

 

EYES look out of the darkness. Unblinking, cold, steady.

We MOVE IN on them slowly, and there in the deepest shadow

FIND Vincent seated, alone, hands locked beneath his chin,

staring out at the dark with an intensity that is almost

frightening. We know just from looking at him that he has

been here for a long time, that he has not slept, will not

sleep. His face is tense and terrible; behind his eyes

some ferocious power burns.

 

When he MOVES, it is abrupt, startling. He strides across

his chamber, gathers up the cloak, every motion swift,

deliberate. Under it all is a rage and grief of epic

proportions, barely held in check. He exits.

 

 

0A.INT. - VARIOUS TUNNELS - SERIES OF SHOTS

 

Vincent strides through the tunnels, his cloak flowing

Behind him, his face stern. The world below sleeps.

Vincent walks alone, haunted by his memories.

 

 

0B.INT. - MIRROR POOL - NIGHT

 

The shining black waters of the pool are full of STARS as

Vincent enters. He stops on the bridge, stares down,

closes his eyes in pain, and sinks slowly to his knees.

 

DISSOLVE TO:

 

 

1. INT. - CATHY'S BEDROOM - DAWN

 

Cathy wakes from a restless sleep, sits up in bed, the

blankets tangled around her. Her face is drawn, tired.

It's been a bad night. All the nights have been bad

lately, since she said goodbye to Vincent.

 

 

2. WITH CATHY

 

as she drags herself out of bed, slips into a bathrobe.

Barefoot, she pads through the apartment to the front

door... but hesitates when she gets there. It's been four

days since she said goodbye to Vincent; four days since

Bernie Spirko took the photographs that shattered their

dreams forever; four days that she's risen expecting to

read the worst in the morning paper. Every day it gets

harder to open that door.

 

Hating it, dreading it, but knowing that it has to be done,

Cathy steels herself, undoes the chain, opens the front

door. The paper is there on the threshold.

 

 

 

3. CLOSE ON THE NEWSPAPER

 

The New York Sentinel. The headline screams at us as Cathy

bends to pick it up. DA'S DEMON LOVER IN MURDER SPREE, the

banner reads. Beneath, a subhead warns Police promise full

investigation. It's the lead story, slugged with Bernie

Spirko's byline. The rest of the front page is taken up

with photographs. A head shot of Cathy, a grotesque

artist's rendering of Vincent at his most bestial, and

several of Spirko's graphic action shots (from "What Rough

Beast") depicting Vincent in the act of ripping apart Gus

and Vic. There are no other stories; the whole front page

of the newspaper is devoted to Spirko's photographs and

story.

 

 

4. RESUME CATHY

 

She stands in the doorway, holding the newspaper, almost

numb with shock. We can see that's she torn up inside.

She HEARS a door open, and looks up.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

5. A LITTLE GIRL is standing in the door of the apartment at

the other end of Cathy's hall. Cathy forces a smile.

 

CATHERINE

Hi, Amy...

 

But the girl doesn't reply, and suddenly her AMY'S MOTHER

appears in the doorway behind her. She gives Cathy a look

that tells all, WHISPERS something to the child and pulls

her inside, then pauses to look at Cathy with fear and

loathing, before she SLAMS her door behind her.

 

Cathy fights to hold back the tears as she takes the

newspaper, and retreats back into her apartment.

 

 

DISSOLVE TO:

 

 

6. INT. - DA'S OFFICE - MORNING

 

Heartsick and tired, Cathy drags herself through the front

doors of the DA's office, and finds a small battalion of

REPORTERS camped out waiting for her; newspapermen,

photographers, television news crews. They descend on her

the moment she appears. Cameras FLASH, minicams begins to

roll, microphones are thrust into her face, she's

surrounded, jostled. Voices fling questions at her from

every side, dialogue OVERLAPPING.

 

TV REPORTER NEWSPAPERMAN

Miss Chandler! What about the How many men has

Sentinel story? he killed for you?

 

TABLOID REPORTER WOMAN REPORTER

We'll pay ten thousand cash What did your father

for your exclusive story. think about Vincent?

 

TV REPORTER TABLOID REPORTER

How did you feel the first time There's big bucks if

you saw him tear someone apart? you get us a picture.

 

NEWSPAPERMAN WOMAN REPORTER

Moreno's called for your Was Vincent the one who

resignation. Are you going slashed up your face?

to fight for it? you think he's human?

 

Cathy is in SHOCK for a moment as the reporters close in

around her. She looks from face to face, terrified, in

pain. She tries to move through them, but they only press

closer. Other employees in the DA'S office just stand and

watch, their faces cold. As the questions get uglier,

Cathy finally covers her ears and fights her way through

the press, shoving and struggling, until she reaches the

sanctuary of Joe Maxwell's office.

 

 

7. INT. - JOE'S OFFICE

 

Cathy slams the door behind her, shutting out the

Reporters. She's close to tears

 

 

CATHERINE

Joe, you've got to help me...

 

 

She stops suddenly when Joe looks up from the morning

Sentinel spread across his desk. There's no warmth or

affection in his face.

 

 

JOE

It's a little late for that, don't

you think?

(accusatory)

I trusted you. How long were

you going to keep up the lies,

Chandler?

 

 

Cathy reels back under the unexpected assault. Joe

rises from behind his desk and comes up at her. He grabs

a fistful of the newspaper, thrusts it in her face.

 

 

JOE

Look at these pictures. Look

at them! Didn't it ever make

you sick? These were human

beings, damn it... which is

more than I can say for your

boyfriend!

 

CATHERINE

You don't understand. Vincent

isn't like that... Spirko

made him out...

 

JOE

Vincent's a monster...

 

CATHERINE

No... Joe, please... don't...

 

JOE

He's an animal. And what does

that make you, Radcliffe?

 

 

Cathy, shell-shocked by this verbal assault, cringes back

against the door as Joe grabs her shoulders and begins to

shake her, SHOUTING into her face.

 

 

JOE

(shouting)

What does that make you, huh?

What does that make you?

 

 

 

Cathy turns away, covers her ears, and SCREAMS, and we

 

 

 

SMASH CUT TO:

 

 

 

8. INT. - CATHY'S BEDROOM - DAWN

 

as she sits bolt-upright in bed, SCREAMING, covered with

cold sweat, her heart triphammering in her chest.

Everything up to now has been a DREAM, a nightmare of what

awaits her with Spirko's story hits prints.

 

Cathy realizes where she is. She SHIVERS, hugs herself.

For a moment she looks too drained and exhausted to move.

We CRANE UP, away from the small, huddled figure in the

tangled bedclothes, and

 

 

 

DISSOLVE TO:

 

 

 

9. INT. - CATHY'S TERRACE - LATER

 

Showered and dressed, Cathy looks a little better, but the

strain and the loneliness are still apparent on her face.

She carries a steaming mug of COFFEE as she steps out onto

her balcony for a breath of morning air. She stands for a

moment looking out over the city. Then her gaze lights on

her newly-planted rosebush in its planter. The bush is

in full bloom now, covered with a profusion of both RED and

WHITE ROSES, all mixed together in a tangles of leaves,

thorns, and branches. It reminds her of Vincent. She

heads back inside with a bittersweet look on her face.

 

In the dining room, Cathy puts down her cup, stuffs a

shoulder bag full of case files, and strides toward the

door... and hesitates, just like in the dream. It takes

all her strength to open the door.

 

 

 

10. OMITTED

 

 

 

11. INT. - CATHY'S HALLWAY

 

No paper on the stoop. Shouldering her bag, Catherine

locks her door, starts down the hall. Then the door to

the other apartment opens, and there's the little girl

again, looking at her with those same wide eyes. Cathy

stops suddenly, nervously. She has to force the smile.

 

CATHERINE

Hi, Amy...

 

The little girl just stares, until suddenly her mother

appears behind her. But this time the woman smiles warmly,

and speaks playfully to the child.

 

AMY'S MOTHER

(to little girl)

What's the matter, cat got your

tongue? Say good morning to

Cathy.

 

AMY

(very shy)

Good morning, Cathy...

 

OFF Cathy's relieved smile, we

 

 

CUT TO:

 

 

12. INT. - MIRROR POOL - DAWN

 

The stars are fading, and the black waters shimmer with a

hint of blue. Dawn is coming to the world above, and we

see its first glimmerings reflected dimly in the pool.

Vincent has not moved in all these hours. Father enters

behind him, leaning heavily on his cane.

 

FATHER

Vincent. Your bed hadn't been

slept in, I was worried. Have

you been here all night?

 

Vincent does not look back at Father.

 

VINCENT

Catherine dreamt. I could

taste... the nightmare...

 

Troubled, Father struggles for a reply. He sees the water,

tries to frame a hopeful comment.

 

FATHER

Dawn...

 

VINCENT

No... only its reflection...

 

Father hears all the anguish in Vincent's voice. He

puts a comforting hand on Vincent's shoulder.

 

FATHER

It's been four days... long

enough to hope. Perhaps this

man reached into his heart,

and... realized the harm his

story would do... reconsidered.

 

VINCENT

Perhaps...

(beat)

But as long as I go above... as

long as Catherine is in my

life... there will always be

another man waiting. . . with a

camera or a notepad or a gun.

And one day, one of them will

not... reconsider.

 

Father struggles with that, but can't deny the truth.

 

FATHER

It was a dream, Vincent... you

knew that from the start... this

is your world...

 

VINCENT

No, Father...

(rises)

This is my tomb.

 

He walks off into the dark, leaving Father alone.

 

CUT TO:

 

13. INT. - JOE'S OFFICE - DAY

 

Cathy sticks her head into Joe Maxwell's office.

 

CATHERINE

Rita said you wanted to see...

 

She stops suddenly. Joe is behind his desk, reading the

morning Sentinel, just as he was in her dream. He looks

up, his face grave, worried.

 

JOE

Yeah. You seen this morning's

Sentinel?

CATHERINE

No...

 

JOE

You better sit down.

 

 

Cathy steps inside, shuts the door.

 

 

CATHERINE

Just tell me.

 

JOE

Cath, this is...

 

CATHERINE

(shrill, on edge)

Just let me see...

 

 

 

She strides over to his desk, grabs the newspaper, and

stares at the headline in SHOCK.

 

 

 

14. CLOSE ON THE HEADLINE

 

The major headline reads: MISSING REPORTER FOUND MURDERED,

over a grainy photograph of police carrying a body,

concealed in a body bag, toward a morgue wagon. Under the

photo, the slugline reads: Mutilated body of SENTINEL

reporter Bernie Spirko washes ashore in Brooklyn.

 

 

15. RESUME CATHY

 

as she REACTS to the news. It's not what she had expected,

not what she had feared, but in a way, it's just as bad.

We see the doubt in her eyes.

 

 

JOE

You want to talk about it?

 

CATHERINE

There's nothing to talk about.

 

 

Cathy glances away, unable to look Joe in the eyes.

 

 

 

16. FLASHBACK - INT. SUB-BASEMENT

 

as Vincent, roaring in a bestial frenzy, looms over Spirko,

about to kill the cringing reporter. The cut should be

hard, fast, almost SUBLIMINAL.

 

17. RESUME JOE'S OFFICE

 

JOE

What's going on, Radcliffe?

 

 

Cathy shakes her head, answers softly.

 

 

CATHERINE

... nothing...

 

It's tearing her up inside to lie to Joe; he baffled.

 

JOE

How come I don't believe you?

 

CATHERINE

(sharply)

I can't help what you believe

 

JOE

Hey, Cath, time out. I'm on your

side, remember?

 

He gets up and comes around the desk, close to her.

 

JOE

I don't know what's going on here,

but if you need a lawyer... or

a friend...

 

CATHERINE

I know, Joe. I... appreciate

that...

 

JOE

I gotta tell you... as a lawyer

and a friend... if you've got any

idea why Spirko got knifed, you

ought to --

 

 

Cathy picks up on something and reacts, INTERRUPTING.

 

 

CATHERINE

Knifed?

 

JOE

Yeah, the autopsy said...

(beat, hesitates)

Cath, I'm not sure you need to

hear this.

 

CATHERINE

Go on, Joe...

JOE

Coroner says he was killed with

a double-edged blade... 'bout yo

long...

(indicates with his

hands)

... razor sharp, like some kind

of surgical tool. Entry wound

was in the lower abdomen, but

he was... sliced open clear up...

 

Joe hesitates, looking at Cathy's face, a strange, taut

mixture of horror and relief: Vincent didn't kill Spirko.

 

 

JOE

You sure you're okay?

 

CATHERINE

Yes. I think I am...

 

CUT TO:

 

 

18. INT. - FATHER'S CHAMBER - DAY

 

 

A glum Father tells MOUSE of his concern for Vincent.

 

FATHER

He feels trapped now. His home

has become a prison, cutting him

off from the world above. He

needs the night sky, the stars...

 

Father is groping for something -- anything -- to help

Vincent in his hour of darkness. But Mouse, with his

innocent wisdom, cuts right to the heart.

 

 

MOUSE

Not stars. Needs Catherine.

 

 

Father gives him a look. Both men know it's true. Very

wearily, father shakes his head.

 

 

FATHER

How I wish I could... make

it so. Everything I say and do

seems so small... still, we must

help... however we can.

 

Mouse listens, understands. They cannot touch the real

cause of Vincent's grief, but as his friends, they must

do whatever small things they can.

MOUSE

Okay good, okay fine. Bring down

the sky.

(thoughtful)

Something better than the mirror

pool. Sun and stars and stuff,

all alive, moving.

(doubtful)

Hard. Harder than hard.

(determined)

Mouse will work on it.

 

Father brightens slightly and puts a hand on Mouse's

shoulder in thanks. JAMIE enters, her MINER'S HELMET

cocked rakishly, carrying a thick manila envelope.

 

JAMIE

One of the helpers sent this down.

(to Mouse)

What's going on?

 

 

She hands Father the envelope, looks curiously at Mouse.

As Jamie and Mouse talk, Father SLITS OPEN the envelope.

 

 

MOUSE

(very serious)

Making plans.

 

JAMIE

What kind of plans?

 

MOUSE

Secret plans.

 

Mouse EXITS. Jamie looks curiously after him, then back at

Father just as he glances at the contents of the packet.

He stares, unable to hide his REACTION.

 

 

JAMIE

Father? Are you all right? What

is it?

 

Father recovers his poise, stuffs the contents back inside

the concealing envelope.

 

 

FATHER

Just a...bit of news... nothing

To concern you.

 

Jamie doesn't know quite what to make of this. He sits

heavily, lost in thought, almost as if he's forgotten Jamie

is there. She waits a beat, SHRUGS, and leaves.

 

 

No sooner has she gone, than the fear returns to Father's

face. His hands TREMBLE just a little as he re-opens the

packet and slides out its contents, a file of 9x12 glossy

black-and-white photo blow-ups. INTERCUT from the images

to Father's face as he begins to go through Spirko's

photographs, crystal clear enlargements of Vincent caught

in the act of ripping apart Gus and Vic.

 

FATHER

Dear God...

 

His eyes are wide, horrified. He looks at as many of the

enlargements as he can stomach, then shoves them away.

There's a handwritten note with them. He opens it.

 

666 Sutton Place

come alone

or see these published

 

The note is unsigned.

 

His face grim, Father picks up the first photograph and

holds it over a candle flame until it catches and begins

to BLACKEN. As the photograph burns, we PUSH IN TIGHT on

the flames, and

 

 

DISSOLVE TO:

 

 

19. MONTAGE - DOUBLE EXPOSURE

 

Over the continuing imagery of the photographs burning, one

by one, of all that horror and blood vanishing in the

cleansing fire, SUPERIMPOSE a

 

SERIES OF SHOTS

 

Of Father preparing to journey above, changing into his

old suit, and finally -- in his last act before leaving

-- opening a drawer and removing the PISTOL that Cathy

brought him in "The Outsiders." He holds it for a long

moment, then slides it into a pocket, and slowly exits.

 

 

CUT TO:

 

 

20. INT. - ELLIOTT BURCH'S OFFICE - DAY

 

ELLIOTT BURCH stands behind his desk, facing private

detective CLEON MANNING, a tall, slender, impeccably

attired black man, about 40. Burch has a rolled up copy

of the Sentinel in his hand

 

 

 

ELLIOTT

I hired you to get some answers

out of Bernie Spirko for me.

(slaps down paper)

So maybe you can tell me why I

have to buy a paper to read that

he's been fished out of the East

River?

 

MANNING

Floaters are tough to find, Mr.

Burch. Even tougher to question.

 

ELLIOTT

What about the story he was

working on? Somebody was feeding

Spirko information about Catherine

Chandler. I want to know who.

 

 

Manning looks distinctly uncomfortable at that one.

 

 

MANNING

Problem is, Mr. Burch, that Spirko

told his editor that you were his

source...

 

ELLIOTT

That's absurd!

 

MANNING

I figured that much out for

myself.

 

ELLIOTT

He must have left something

behind. Notes, photographs,

computer files...

 

MANNING

All gone. We'll keep looking,

but...

 

Manning gives an eloquent SHRUG. Elliott controls himself,

sits down, thinks it over for a beat.

 

ELLIOTT

I want to know everything that

Spirko did last week. Every place

he went, everyone he talked to,

every phone call he made. I want

to know what he ate for dinner

and how much he paid for it and

whether he or not he liked it.

 

 

MANNING

I'll need a lot more men.

 

ELLIOTT

Put your whole agency on it if

you have to. Just do it.

 

MANNING NODS

 

 

CUT TO:

 

 

 

21. INT. - PENTHOUSE TOWER - DAY

 

 

Father warily descends the STAIRS in the penthouse

apartment. The interior is dimly lit, silent, gloomy;

dust motes swim in a SHAFT OF SUNLIGHT between the heavy

drapes, but otherwise there is no light,

 

 

FATHER

John...

 

 

PARACELSUS(O.S.)

I'm here, Jacob. I've been

waiting for you.

 

 

 

22. REVERSE ANGLE

 

Father turns. Paracelsus sits the high-back choir chair

in a corner of the room. He has donned the golden mask,

but otherwise wears the clothing of the world above.

 

 

FATHER

(very calm)

It had to be you.

 

 

PARACELSUS

You always were a perceptive man,

Jacob... in you own way.

(rises, moves closer)

I trust that you enjoyed the

photographs?

 

 

FATHER

I burned them.

 

 

 

PARACELSUS

Pity. I thought they showed the

boy in an... interesting light.

But your appetite for truth was

always... rather limited, as I

recall.

 

FATHER

There was nothing of truth in

those pictures.

 

PARACELSUS

The camera does not lie, Jacob.

(beat)

But not all of us are strong

enough to look on the face of the

Medusa, are we?

 

 

Father has grown impatient with this sparring.

 

 

FATHER

You wanted me. Well, I'm here.

What is this all about?

 

PARACELSUS

What it has always been about.

you. Me. The child.

 

FATHER

I will not allow you to publish

those photographs...

 

PARACELSUS

Ah. And how do you propose to

stop me, old friend?

 

 

Father's face is grim as he reaches inside his jacket with

a trembling hand and pulls out a PISTOL. He aims it at

Paracelsus, pulls back with hammer with a CLICK. The

alchemist seems only mildly surprised.

 

 

PARACELSUS

I see. So is this what it has

come to in the end, all your fine

talk of love and turning the other

cheek?

(shrug, smiles)

Kill me then. You'll find me

quite unarmed...

 

 

Paracelsus turns, walks to the window with calm

deliberation. Father keeps him in his sights, but cannot

bring himself to shoot the man in the back. Paracelsus

pulls back the drapes, flooding the room with SUNLIGHT.

Father must raise a hand to shield his eyes from the glare.

As he stands blinking, gun in hand, Paracelsus gazes out

over Manhattan, then turns back.

 

PARACELSUS

Does the light offend your eyes?

Forgive me. You've spent too long

in the dark, Jacob. Perhaps we

all have.

 

Father LOWERS the gun. He cannot shoot; both men know it

now.

 

FATHER

(bone weary)

What do you want, John? It's more

than my death... you might have

had that a dozen times over. For

god's sake, tell me your price...

 

PARACELSUS

A small thing, really.

 

He crosses to a ROLLTOP DESK, opens a drawer, removes

something from inside.

 

PARACELSUS

It is time for the boy to claim

his birthright...

 

In his hand Paracelsus fondles an antique LOCKET of solid

gold, with a golden chain. Smiling, he holds it out to

Father. His thumb presses the release, and the locket pops

open. OFF Father's look of DREAD, we

 

 

FADE OUT:

 

 

END OF ACT ONE

 

 

 

ACT II

 

FADE IN:

 

 

23. INT. - CATHY'S HALLWAY - AFTERNOON - WITH CATHY

 

as she gets off the elevator. When she turns the corner,

she's startled to discover Father slumped in a chair,

deeply troubled, a thick MANILLA ENVELOPE on his lap.

 

CATHERINE

Father... what are you doing here?

Is something wrong?

 

 

Father seems almost dazed.

 

 

FATHER

Yes... I... I...

 

He stares off into space. Something has Father as troubled

as Cathy has ever seen him.

 

CATHERINE

You'd better come inside.

 

Father NODS, gets up. Cathy unlocks the door and he

follows here into the apartment.

 

 

 

24. INT. - CATHY'S APARTMENT - CONTINUOUS

 

Cathy puts down her things and looks at Father with

mounting concern.

 

 

CATHERINE

Are you alright? Can I get you

anything?

(he shakes his head)

tell me what's wrong...

 

 

Wordlessly, Father gives her the envelope. Cathy opens the

flap, glances inside. Her eyes widen.

 

 

CATHERINE

Spirko's photographs...

 

FATHER

Everything is there. The

negatives, story notes...

 

 

 

CATHERINE

(astonished)

But how...

 

 

FATHER

From Paracelsus

(off her reaction)

It was him from the start...

always him...

 

 

Up to this moment, Catherine thought the secret source was

ELLIOTT. She's STUNNED by Father's news.

 

 

CATHERINE

Paracelsus...

 

 

FATHER

There was... a price. We made

a devil's bargain. He... made

me promise to tell Vincent...

certain things... that I have...

kept from him...

 

 

CATHERINE

What sort of things?

 

 

FATHER

Hard things...

(beat)

If you could be there... I

think... afterwards... Vincent

will need you...

 

 

 

Father removes the gold locket from the pocket of his suit,

and opens it. We PUSH IN on the picture within, a

woman's face. She's mid-thirties, dark hair worn in an

old-fashioned cut, her face plain but pleasant.

 

 

 

MATCH DISSOLVE TO:

 

 

25. VINCENT'S HAND

 

holding the locket, as Father speaks OVER

 

FATHER(O.S.)

On the way down, I thought...

better to drop it into the

abyss, as if it had never

been...

 

 

 

26. INT. - FATHER'S CHAMBER - DAY

 

Vincent looks up from the locket. Father is still dressed

in his street clothing. Cathy stands close.

 

 

 

VINCENT

Why would you ever consider such

a thing?

 

 

FATHER

To... to protect you...

(beat)

But Catherine convinced me you

had a right to know the truth.

 

 

Vincent looks from Cathy to Father. He's troubled.

 

 

FATHER

Please understand... no one ever

wanted to lie to you, but... there

some things that I thought you...

you did not need to hear...

 

 

That's even more disturbing to Vincent, but the need to

understand is growing in him. He goes to the point.

 

 

VINCENT

Father, who was she?

 

 

For a moment Father has difficulty speaking as he struggles

With old memories, old emotions.

 

 

FATHER

Her name was... Anne. She was

one of us... in the beginning...

a good woman...

(struggling)

One night... it was the

coldest night of the year...

 

 

 

Father cannot continue, but Vincent has gotten the idea.

 

 

 

VINCENT

Anna was the one who found me?

 

 

 

Father hesitates a long time, struggling with some inner

doubt. But finally he shakes his head: no.

 

 

 

FATHER

That was... only a story. You

were never... found...

(long beat)

Anna was... your mother.

 

 

 

27. CLOSE ON VINCENT

 

SHOCKED, he struggles to digest this. A few short words;

but they have ripped the underpinnings out from beneath

Vincent's world, and left him adrift. A storm of

emotions passes across his face; a thousand questions

pass across his eyes.

 

 

 

VINCENT

My...

 

 

Even the word is too much, the concept too overwhelming.

Vincent has to turn away, suddenly speechless. He looks

at the locket, then back at Father.

 

 

28. RESUME

 

 

Father nods weakly. Lost, stunned, Vincent looks at Cathy.

 

 

CATHY

I told Father that you'd want to

know... no matter what...

 

 

A formless anger takes hold of Vincent.

 

 

 

 

VINCENT

Why did...

 

 

There are so many questions. Vincent hardly knows how

To frame them, or where to begin.

 

 

VINCENT

All these years... you said...

 

 

Father knows what he said, so often and so long. He

Looks down, guilty and ashamed of the secrets he's kept.

 

 

VINCENT

Father... what happened to her?

 

 

FATHER

She... she died, Vincent...

(beat)

It was... an accident... so

long ago. We buried her...

down in the catacombs...

(imploring)

Vincent, please... let it go...

 

 

VINCENT

(hard, angry)

No!

(deeply hurt)

How can you even ask that?

 

 

And with that, Vincent WHIRLS and strides from the

chamber, his hand closing hard around the locket. Cathy

follows as Father remains helplessly behind.

 

 

CUT TO:

 

 

 

29. INT. - ROCK TUNNELS - NIGHT

 

Vincent and Cathy walk through the candle-lit tunnels.

 

 

 

VINCENT

(very troubled)

Father lied to me...

 

 

CATHERINE

Father's a good man... but he's

only human, Vincent. Maybe he

just... loved you too much...

 

VINCENT

She was my mother... and he

took her from me!

 

CATHERINE

He must have had some reason.

 

 

Vincent gives her a long, haunted look. He knows Father

Must have had a reason; that hidden reason is what he

Fears. OFF his doubt and growing apprehension, we

 

 

DISSOLVE TO:

 

 

30. INT. - FATHER'S CHAMBER - NIGHT

 

Father sits alone, looking forlorn, worried. Mouse comes

bursting in carrying a rolled up parchment.

 

 

MOUSE

Got it! Look!

 

 

With a dramatic flourish, Mouse unfurls the parchment in

front of Father. He crosses his arms and beams proudly as

Father studies the diagram.

 

FATHER

A camera obscura. Ingenious.

 

MOUSE

Sun and stars. Rain and snow.

light and shadow. Bring up top

down here.

(beat, eager)

Lots of work. Better start now.

 

Father rolls up the parchment, hands it back to Mouse.

 

FATHER

A lovely idea... but for the

moment, dear Mouse, a bit

impractical...

 

MOUSE

(crestfallen)

But... you said...

 

 

The discussion is interrupted as WILLIAM enters the

chamber, followed closely by PASCAL and two other men.

 

 

FATHER

Ah, there you are. Please, be

seated. Mouse, please stay...

this concerns you too.

 

 

Mouse looks confused for a moment; he's not usually invited

to council meetings. But he stays.

 

 

PASCAL

Will this take long? I hate to

leave Zach alone on the pipes

when the crosstalk gets heavy...

 

 

FATHER

I'm afraid this is rather serious.

It concerns... Paracelsus.

 

 

Everyone REACTS to the name.

 

 

CUT TO:

 

 

31. INT. - ELLIOTT'S OFFICE - NIGHT

 

 

Cleon Manning stands in front of Elliott's desk, making his

report. Burch is in shirtsleeves.

 

 

MANNING

We got lucky. Spirko didn't

believe that no-parking signs

applied to him. In the past

month, he was cited four times

in the same two-block area. I

put twenty legmen on the

street, flashed his picture

around... Spirko was making

regular calls to a penthouse on

Sutton.

 

 

 

 

 

 

 

ELLIOTT

Who's penthouse?

 

 

MANNING

Good question. The place was

Leased a month ago. No name on

File for the tenant.

 

 

ELLIOTT

Isn't that a little irregular?

 

 

MANNING

Yeah... but when you pay a year's

rent in advance... at twice the

normal rates... in gold... you're

allowed to be a little irregular.

 

 

ELLIOTT considers all this, weighing the alternatives.

 

 

 

ELLIOTT

(decisive)

Stake out the building. I want

full surveillance, twenty four

hours a day. Cameras, audio,

phone taps, the works.

 

 

MANNING

You got it. You want to ring the

police in on this?

 

 

 

ELLIOTT thinks about it, doesn't like the idea. Cathy's

Caught up in this somehow, and he's promised to keep her

Secrets.

 

 

 

ELLIOTT

No.

(softer, troubled)

No. Let's just... keep this

under wraps for now.

 

Manning nods.

 

 

 

CUT TO:

32. INT. - FATHER'S CHAMBER - LATER

 

as he finishes telling them about his meeting with

Paracelsus

 

 

FATHER

... I fear that this assault on

Vincent and Catherine was only

the beginning. But how and where

his next attack may come...

 

Father gives a doubtful shake of the head.

 

MOUSE

(with bravado)

Only one man. Mouse isn't scared.

 

PASCAL

Maybe Mouse should be.

 

WILLIAM

Paracelsus has always had his

followers down below us...

 

FATHER

And now he has made dangerous.

allies in the world above as well...

 

PASCAL

We have to change all the tunnel

entrances...

 

FATHER

John Pater discovered half of

these tunnels. He won't be fooled

by a few false walls.

 

MOUSE

Mouse can make more traps! Ropes,

chutes. Wrong step...

(loud clap)

... up he goes!

 

FATHER

He'd only cut through your ropes,

Mouse.

 

WILLIAM

How about deadfalls, pits... ?

 

Mouse gapes at him as if he's gone insane. Pascal is

bothered too, and speaks up.

 

PASCAL

Someone might get hurt.

 

William touches his ample stomach, as if the wound

he received from Paracelsus was still fresh.

 

WILLIAM

This is Paracelsus we're

talking about. He murdered

Lou...

 

MOUSE

Killed Winslow too...

 

WILLIAM

I still have the scar where he

cut me. And you're worried that

he might get hurt?

(beat)

I say we arm our sentries.

 

The suggestion provokes a shocked, awkward silence.

 

PASCAL

I don't know, William...

 

 

Something has occurred to Mouse. He looks around.

 

 

MOUSE

Hey! Where's Vincent?

 

FATHER

Vincent has concerns that

weigh heavily on him right now.

(beat)

William, what sort of weapons

would you suggest?

 

 

And as William begins to expand on his plan, we

 

 

CUT TO:

 

 

 

 

33. INT. - MIRROR POOL - NIGHT

 

On the way up to the surface with Catherine, Vincent stops

on the bridge, looks down at his own reflection in the dark

waters of the pool, trying to find some truth there, some

hint of who or what she is. Catherine stops too, looks

back at him, worried

 

 

CATHERINE

Vincent?

 

 

Vincent slowly lifts his eyes from the image to Cathy.

Something has hold of him now; it won't let go.

 

VINCENT

Catherine, I must go...

 

A long beat. She knows what he is talking about.

 

CATHERINE

To her tomb?

(off his nod)

Vincent, give yourself time...

 

VINCENT

Too much time has passed already.

 

 

Seeing him, Cathy knows he cannot be talked out of this.

 

 

CATHERINE

Then I'm going with you.

 

VINCENT

(brusque)

No.

(softer)

This is something I must face

alone.

 

CATHERINE

Why? Don't you see what

you're doing? You're throwing

up walls... isolating yourself

from the people who love you...

 

VINCENT

Sometimes... walls help keep

us safe, Catherine.

 

He turns away from her, walks brusquely back in the

direction from which they came, leaving her there.

 

 

FADE OUT

 

 

END OF ACT TWO

 

 

 

 

 

 

 

 

 

ACT THREE

 

 

FADE IN:

 

 

 

34. INT. VARIOUS TUNNELS - MONTAGE

 

Vincent begins his quest. USE STOCK from previous episodes

as he journeys ever downward: through the concrete tunnels

and rock tunnels, across the bridge in the Whispering

Gallery, down the great stone stairway in the Chamber of

the Winds. Somewhere along the way, he removes a burning

TORCH from a wall sconce, and carries it to light his way.

 

 

 

DISSOLVE TO:

 

 

35. INT. - WELL - NIGHT

 

Vincent descends the stairs of the well into subterranean

depths. He's far below the surface now. Down here, the

well is VERY DARK; the only light is his torch. The walls

are DAMP, covered with FUNGUS and NITRE. Far below, MISTS

swirl so the steps seem to descend forever. We hear the

sound of DRIPPING WATER, the SCURRYING of RATS. Finally

Vincent STOPS, wary. We sense that's something is wrong.

He lowers the torch. . . and we SEE that the next step is

MISSING, the stone broken off raggedly. The step below

that has been shattered too, and the one after that. One

more step and Vincent would have plunged to his death.

 

There's no way to continue down, unless... Vincent LEAPS

down over the gap. But the step BREAKS under the impact

of the landing. Stone and torch FALL into the endless,

echoing depths of the well, but Vincent GRABS hold of

another step, hangs suspended for a moment, then pulls

himself up.

 

 

 

DISSOLVE TO:

 

 

 

35A.CLOSE ON A BURNING TORCH

 

as Vincent pulls it down from a wall sconce. The flames

push back the darkness; Vincent moves ahead into:

 

 

 

36. INT. BONE TUNNELS

 

Vincent moves through a natural ROCK TUNNEL, narrow and

dark, its floor uneven. Thick FOG swirls around his

feet, and here and there we see the BONES of long-dead

animals. The passage twists and turns; in places the

walls press so close he must squeeze through sideways. A

low ceiling makes him duck. Jagged stalagmites thrust up

from the floor like daggers; beads of water drip off the

stalactites that descend from the ceiling.

 

As he edges around one turn, Vincent comes on an

ancient MUMMY, gaunt and hideous, LYING in a horizontal

niche in the stone wall. Its grave wrappings are brown

with age, its eyeholes like two black pits. As Vincent

looks down at it grimly, we hear

 

NARCISSA(O.S.)

Let him sleep, Vincent. It is

not good to wake the dead.

 

 

36A.REVERSE ANGLE

 

 

Vincent turns as NARCISSA emerges from the MISTS of a

nearby tunnel, reaching out for him with a trembling hand,

blind eyes full of concern.

 

 

 

VINCENT

(startled)

Narcissa...

 

NARCISSA

So far from home, Vincent...

there is nothing for you down

here... what is it you seek?

 

VINCENT

Anna...

 

 

That name seems to frighten Narcissa. She turns away.

 

 

 

VINCENT

You know these catacombs...

show me the way, Narcissa.

 

NARCISSA

Her bones have no answers.

Go back, Vincent...

 

 

 

 

VINCENT

It is too late for that...

 

 

Narcissa looks up at him. His face is grim; he will not

turn back, cannot turn back. With a reluctant nod, the

old blind woman leads Vincent deeper into the earth.

 

 

CUT TO:

 

 

 

37. INT. - CATACOMBS (MATTE) - NIGHT

 

 

A vast, cavernous chamber. This in an ancient place,

gloomy and foreboding. What little illumination we find

is a dim, sickly GREEN and a faint VIOLET, from the areas

of FUNGUS that festoon the walls, GLOWING with its own

faint phosphorescence. Below runs a swift, treacherous

UNDERGROUND RIVER, its black waters thundering around a

landscape of rocks and fallen pillars.

 

 

Narcissa leads Vincent along a narrow LEDGE that hangs

over the river. A series of CAVE MOUTHS open onto the

ledge like the mouths of hungry beasts. Other ledges --

MOVE IN TIGHT, we see that many -- though not all -- of

the small caves have been CAPPED with huge rocks, made

into sepulchres for the dead.

 

 

Vincent stops, and we TILT BACK to reveal that he has

stopped in front of the tomb.

 

 

The sepulchre is closed by a massive stone, covered with

purple-white nitre. We can read the name ANNA, chiseled

deep into the stone. There is more writing, but it is

so OVERGROWN by nitre that the words CANNOT BE READ.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

37A.INT. - ANNA'S TOMB - NIGHT

 

Narcissa touches Vincent's arm, to draw him away.

 

 

NARCISSA

There is nothing here but cold

stone... death... her spirit is

gone, child...

 

VINCENT

Once you told me you could

summon spirits...

 

Narcissa shakes her head; she can't, or won't.

 

 

NARCISSA

Some who walk in death are...

fearful... cold and bitter as the

wind that roars up from the

abyss... evil...

 

VINCENT

Anna was a good woman.

 

NARCISSA

In life... but death can twist

a heart... poison it... and Anna's

death was... terrible.

 

VINCENT

How did she die, Narcissa?

 

 

Sadly, Narcissa reaches up, touches Vincent's face.

 

 

NARCISSA

Ask the Father.

 

Vincent's mouth twists unhappily at that suggestion; he

is beginning to doubt the answers he gets from Father.

He turns his attention back to the stone, reaches up,

begins to pull away the clinging vines, to clean off the

thick covering of nitre that obscures the tombstone.

 

 

37B.CLOSE ON THE STONE

 

as Vincent exposes the other words. The large deep

letters read ANNA PATER. Underneath is carved Beloved

wife to John.

 

 

 

 

38. CLOSE ON VINCENT

 

 

He stares at the tomb in SHOCK, whispers one portentous

word as the realization hits him.

 

 

VINCENT

(whisper)

... Paracelsus...

 

 

It all began to come together for him. The fears, the

doubts, the suspicions too terrible to say aloud. OVER

we hear the first, faint beginning of a steady, ominous

POUNDING on the sound track, a dim, insistant throb

behind Vincent's eyes. As it grows louder, we INTERCUT

the CU of Vincent with a series of QUICK, SHORT CLIPS

from previous episodes:

 

 

39. a) Father telling the children how Vincent was found and

brought to him (from "God Bless the Child"),

 

40. b) Paracelsus asking Vincent if he really believes the

story Father told him (from "The Alchemist"),

 

41. c) Father telling Vincent that Anna was his mother from

earlier this episode,

 

42. d) Paracelsus avowing that he loved Vincent, was not

allowed to take him with him (from "To Reign in Hell"),

 

43. e) Paracelsus with his knife at Father's throat at

Winterfest, saying "but we remember, don't we?" (from

"Dead of Winter")

 

 

44. RESUME

 

 

Wild-eyed and frantic, Vincent turns to Narcissa... but

the old woman is gone, melted away as mysteriously as she

appeared. He is alone. The POUNDING inside his head is

DEAFENING now. He bares his fangs in a silent snarl,

throws back his head, covers his ears, and lets loose

with a ROAR of pain and rage to drown out the noise.

 

 

Maddened, he begins to pull at the massive stone that

seals Anna's tomb, trying to open the sepulchre, but the

stone is too heavy even for Vincent's strength and his

efforts come to nothing. As Vincent SLUMPS in tortured

defeat, we

 

DISSOLVE TO:

 

 

45. OMITTED

 

 

46. INT. - ELLIOTT BURCH'S OFFICE - MORNING

 

 

ELLIOTT Burch is reviewing some blueprints when his

intercom BUZZES. He picks up the phone.

 

 

ELLIOTT

Burch.

(beat, reacts)

Yes. Send her right in.

 

 

His office door opens, and Cathy enters. ELLIOTT rises and

comes around his desk. There's a certain tension in the

moment, given their last meeting.

 

 

ELLIOTT

If you're here to make some

More accusations, you can go

Right out the way you came in.

 

CATHERINE

I'm here to say I'm sorry. I

Was wrong about you, ELLIOTT.

 

 

ELLIOTT considers that for a moment, then nods.

 

 

ELLIOTT

Apology accepted. I've given you

reason to doubt me in the past,

and... well... it seems even

Spirko thought he was dealing with

me.

 

 

CATHERINE

(surprised)

How do you know that?

 

 

 

 

 

 

 

 

 

 

 

ELLIOTT

I had to try and clear my good

name.

(beat, wry)

Such that it is. I've got a

private detective looking for

Spirko's source.

 

CATHERINE

ELLIOTT, be careful. The man

you're after is very dangerous.

I know him...

 

 

ELLIOTT REACTS, raises an eyebrow.

 

 

ELLIOTT

Then why haven't you gone to the

police?

(she can't answer)

More secrets. Of course.

 

 

Cathy turns to leave. At the door, she hesitates.

 

 

 

CATHERINE

If you can find him...

 

ELLIOTT

Don't worry. You'll be the first

To know.

 

 

Cathy nods her thanks and departs. ELLIOTT sits back down,

makes a steeple of his fingers, and stares thoughtfully

off into the distance.

 

 

DISSOLVE TO:

 

 

47. OMITTED

 

 

48. INT. - FATHER'S CHAMBER - DAY

 

 

Father is working alone, going over some maps of the

tunnels, as Cathy enters, worried. He looks up, almost

expressionless for a moment.

 

 

 

 

 

FATHER

Catherine. Vincent's not back

yet, I'm afraid...

 

CATHERINE

I need to talk to both of you.

It's ELLIOTT, he -

 

 

She breaks off as Vincent enters suddenly; the look on

his face drives all thought of ELLIOTT from her mind.

There is something grim and terrible about him, an

intensity that is almost frightening. When he speaks,

his voice is brusque, a little scary. Although he

addresses Catherine, his eyes never leave Father even for

a second.

 

 

VINCENT

Catherine, leave us.

 

 

Cathy moves closer to him. She can see he's in pain;

she wants desperately to console him.

 

 

CATHERINE

Vincent, what...

 

 

Vincent still stares at Father as he interrupts her.

 

 

VINCENT

(curt, hard)

Anna was John Pater's wife.

 

 

Visibly shaken, father averts his eyes. Stunned by the

news, Cathy can only look between the two men. Silence

hangs in the air, and the tension is almost palpable.

Cathy realizes she has to let them alone to settle this.

 

 

CATHERINE

I'll wait in your chamber.

 

 

Vincent gives a tiny, almost imperceptible NOD. Cathy

EXITS, with a last, concerned look behind. Only when

her footsteps have died away does Vincent speak.

 

 

 

 

 

 

VINCENT

Is it true, then? Was...

Paracelsus... my father?

 

 

Father's face is twisted in pain as he looks up. He

tries to speak, to frame some kind of answer, but the

words will not come. His mouth works, but nothing

emerges but a helpless choking sound; he is barely

holding back the tears. Finally, unable to answer,

Father buries his head in his hands.

 

 

VINCENT

(agonized)

Father, what have you done?

 

 

At that, Father looks up, forces himself to speak.

 

 

FATHER

It was done... out of love...

 

 

VINCENT

The greatest crimes are always

committed in the name of love.

 

 

FATHER

Once it all seemed so... so

obvious... now... dear god,

sometimes I feel so lost...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

VINCENT

Tell me...

 

 

Father meets Vincent's implacable stare, looks away.

 

 

 

FATHER

The beginning... was John.

 

 

Vincent listens with a grim face, never sitting, moving

restlessly around the chamber as Father speaks, his

motions progressively faster and more abrupt, like a

caged animal that can barely contain its rage.

 

 

FATHER

He and Anna... had tried for so

long to have a child, but... it

was impossible, Vincent. The

fault was in John. He was...

unable to father a child.

 

 

VINCENT

Yet Anna became pregnant...

 

 

FATHER

Anna thought it was a miracle.

but John just... smiled... as

if, somehow... he knew...

 

 

Father stops suddenly, struggling with painful memories.

 

 

VINCENT

Go on.

 

FATHER

Vincent, please...

 

 

VINCENT

(very sharp)

Go on!

 

 

Father looks away, fighting back tears at the bite in

Vincent's voice. He seems to have lost the track of the

story; Vincent prompts him to continue.

 

 

 

VINCENT

Why did you lie to the others?

 

 

FATHER

I... thought it best not to...

frighten them...

 

 

VINCENT

I was an infant. What could they

Have feared?

 

 

FATHER

The unknown.

(beat)

Men are afraid of what they

cannot understand... and they

hate what is different...

 

 

VINCENT

But surely someone must have

known. Anna was pregnant...

 

 

 

 

FATHER

No one knew. Anna...

(beat, shaken)

Vincent, she was only in her third

month when she went into labor.

 

 

We see Vincent's SHOCK as he whirls back on Father.

 

 

VINCENT

Her third month?

 

 

FATHER

The moment it began, I knew

something was... wrong... but I

never could have imagined...

 

 

VINCENT

Paracelsus...

 

 

FATHER

John was a genius in his own way,

but... unorthodox... still,

none of us ever dreamed that he

would... experiment... on his

own wife...

 

 

VINCENT

Did Anna know what he was doing?

 

 

FATHER

Right at the end... when she

was too weak to scream... she

looked at John and I saw the

knowledge there in her eyes...

(beat)

Afterwards... I made myself

perform the autopsy. What I found

was... unspeakable...

 

 

There's a long, ominous silence as Vincent, pacing tries

to come to terms with what father has said. But finally he

stops, turns, stares into Father's eyes.

 

 

VINCENT

Then... Anna died in childbirth...

like Devin's mother...

 

 

FATHER

(evasive)

Not. . . precisely like Devin's

mother, no...

 

Father looks away. Vincent turns his face back.

 

VINCENT

Then how?

 

When Father will not speak, Vincent SHAKES him roughly.

 

VINCENT

How?!

 

Father looks at Vincent with fear in his eyes.

 

FATHER

Vincent, you... were not...

born... like other children

you... you... ripped your way out

of your mother's body. There was

nothing I could do...

(weeping)

Dear God, there was nothing I

could do...

 

Some dark part of Vincent had suspected it all along, so he

reacts not with surprise, but with the stunned sickness

of a man who realizes his worst fears are true. He

shoves Father away as if he no longer mattered, raises

his clawed hands, stares at them.

 

CUT TO:

 

 

49. INT. - VINCENT'S CHAMBER - SIMULTANEOUS

 

Catherine waits alone in Vincent's chamber, restive,

uncomfortable, worried. She moves restlessly about the

room, silently struggling with her own thoughts, her own

fears. The room is dim, with the only sound of her

footsteps to break the silence.

 

Then, suddenly, ECHING down the tunnels from Father's

chamber, comes a terrible wordless SCREAM that goes on and

on and on, an endless despairing wail of unspeakable

anguish... the cry of a human being in unbearable pain, but

laced with inhuman desperation and animal rage.

 

It's like no cry Vincent has ever made before, and the

sound of it chills Catherine to the bone. OFF her

REACTION, we

 

FADE OUT

 

END OF ACT THREE

 

 

ACT IV

 

FADE IN:

 

 

50. INT. - VINCENT'S CHAMBER - NIGHT

Catherine waits anxiously. When Vincent enters, she starts

to rush toward him, but the look in Vincent's eyes freezes

her where she stands. Suddenly Cathy is afraid.

 

 

CATHERINE

Vincent, what is it?

 

 

Vincent looks away from her. He cannot meet her gaze.

 

 

VINCENT

Catherine, you must leave me.

 

CATHERINE

No...

 

 

WHIRLING suddenly, Vincent snaps out at her in rage.

 

 

VINCENT

YES!

(softer, contrite)

Go back to your world, Catherine.

Go back to the life you once

lived, and put all memory of me

behind you.

 

 

Catherine is devastated, but not about to give up.

 

 

CATHERINE

What did Father tell you?

 

VINCENT

He told me... that all my worst

fears are true...

 

CATHERINE

Tell me what he said.

(off his silence)

Vincent, I love you... whatever

it is, we can face it together.

 

VINCENT

What you love is only part of me.

 

 

CATHERINE

No. I love all of you,

Vincent.

 

VINCENT

You cannot know what you're

saying. There are darknesses

within me that you cannot

imagine...

 

CATHERINE

Whatever Father said ... it

doesn't matter. You haven't

changed. You're still gentle...

strong... wise...

 

 

But Vincent, tormented to the breaking point, interrupts

her.

 

 

VINCENT

(sharp, angry)

Stop!

(she falls silent)

You and father... neither of you

will admit the truth, even as it

stands right in front of you.

Look at me, Catherine. Look at

me! What do you see?

 

CATHERINE

(simply, with dignity)

The man that I love.

 

 

The look on Vincent's face says it all; he is not a man

at all. He turns away, struggling with grief, rage, a

thousand other emotions. There's a long silence.

 

 

VINCENT

(very softly)

There are no mirrors in this

chamber, Catherine...

(beat)

... but there are mirrors in the

soul, and I cannot live with what

I see there.

 

 

Vincent's back remains turned. Catherine moves close,

reaches out to him, to soothe him with her touch, perhaps

embrace him. But he seems to sense her approach.

 

 

VINCENT

(very sharp)

Don't...

(she draws back)

... touch me.

(long beat)

It is... not safe to love me,

Catherine.

 

Vincent raises his clawed hands and regards them for a

moment with loathing. He closes them into fists, and his

next words are so soft we barely hear them.

 

 

VINCENT

I killed Anna. These hands...

ripped apart my mother's

flesh. . . tore me from her

womb... I was born in blood.

 

 

51. CLOSE ON CATHY

 

as she reacts to the revelation. There's a brief moment

of stunned shock, but it's gone almost at once.

 

 

CATHERINE

(quiet passion)

No. I don't believe it.

 

52. RESUME

 

 

VINCENT

(lost in despair)

Believe what you want. Just...

leave me...

 

Silence falls over the chamber. Cathy stands very still

for a long time, facing Vincent's back, wanting so much

to touch him. She reaches out... and Vincent, sensing her,

whirls, SNARLING. Cathy draws back, suddenly afraid.

Vincent turns away again, every muscle taut with tension,

forbidding and somehow... alone... beyond her comfort.

There's nothing more to be said. Helpless, Catherine

starts to leave. She's at the exit when Vincent speaks.

 

 

VINCENT

Catherine...

 

Hopes flare briefly in Cathy's face; is he going to ask

her to stay? But Vincent does not move. He speaks with

his back still to her.

 

 

VINCENT

Don't. . . look back.

 

 

Tearful, Catherine turns and EXITS. The camera lingers

on Vincent, alone in his moment of existential torment.

 

 

DISSOLVE TO:

 

 

 

53. OMITTED

 

 

54. INT. - ELLIOTT BURCH'S OFFICE - NIGHT

 

Burch is in shirtsleeves as manning gives him an update.

 

 

ELLIOTT

Patience is not one of my

virtues, Manning. How long is

this going to take before we

get some answers?

 

MANNING

Stakeouts are like souffles

Mr. Burch. Can't rush 'em.

 

 

Cathy enters unannounced, intent, a woman with a mission.

 

 

ELLIOTT

(startled)

Cathy, what are you --

 

She glances at Manning, figures out who he must be.

 

 

CATHERINE

This is your detective?

(no one denies it)

Spirko's source... how much

have you found out?

 

Manning looks at Burch. Elliott nods.

 

 

MANNING

We've traced him to a penthouse

on Sutton, but the man seems

to have vanished.

 

 

 

CATHERINE

He's good at that. I have to

get inside the penthouse.

 

 

 

She looks at Elliott. Burch studies her face;

there's a desperation there. He can tell how important this is.

Elliott make his call, turns to the detective.

 

 

 

ELLIOTT

That shouldn't be too hard to

arrange, should it?

 

 

MANNING

You're talking about breaking

And entering, Mr. Burch. I

Could lose my license.

 

 

ELLIOTT

I'll buy you a new one.

 

 

Manning hesitates a beat, then SMILES.

 

 

MANNING

Let's go.

 

 

Elliott grabs his jacket. They all head ou

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Beauty and The Beast è uno telefilm a cui Martin ha collaborato come sceneggiatore : è stato trasmesso anche in Italia da Italia Uno all' inizio degli anni novanta, se non sbaglio, attorno all' ora di pranzo.

A me non spiaceva il personaggio di Vincent (the beast).

Era molto romantico e dark :lol::unsure::lol:

Magari ora stanno pensando di proseguire la serie.

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non ho mai sentito parlare del film....anche perche nel 90 avevo solo 4 anni

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non ho mai sentito parlare del film....anche perche nel 90 avevo solo 4 anni

Non è un grave problema ... Internet essite anche per questo ^_^:angry:

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Io lo guardavo e mi piaceva parecchio.. molto gothic ^___^

Poi c'era Linda Hamilton, una delle mie attrici preferite.

 

Sarà stato un segno del destino?

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idem... molto molto bello...

se non ricordavo male la "bestia" faceva parte di un popolo che viveva nelle fogne (tipo le tartarughe ninja per intenderci) o cmq "sotto" la città, e lui ne era il capo, o il re, non ricordo bene... aveva un volto umanoide, ma con tratti somatici molto caricaturali... era anche parecchio alto. Quando potevo lo vedevo, ma non ricordo assolutamente nulla di questa storia, se non l'amicizia/storia tra lui e una ragazza della "città di sopra"...

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Io lo ricordo! ma è strano perchè nel 90 avevo...ehm....un anno <_<

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ehm ma secondo me lo replicarono anche fino al 99 sai?

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ehm ma secondo me lo replicarono anche fino al 99 sai?

ah ecco mi pareva >_>

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È assurdo…

Faccio una fatica smisurata per associare Martin al telefilm che è stato il mio preferito in assoluto per tutta l’adolescenza (e oltre).

Forse perché la serie era permeata da una grazia e una delicatezza tangibili, l’atmosfera era così diversa da quella delle Cronache… le volte sotterranee illuminate dalle candele, la comunità di ‘reietti’ guidati dal Padre, le poesie di Vincent (che già anticipava il buon Neo bisbigliando per tutta la serie), le parentesi romantiche con Cathy, l’investigatrice che nella seconda parte si occupa del loro caso… non avrei mai detto che fossero opera sua, ma non posso che inchinarmi di fronte a tanta maestria.

Impareggiabile, ancora una volta.

 

P.S. Caro Zio, resta il fatto che non accetterò mai, e dico mai, che tu dia il ruolo del Mastino a Ron Pearlman. Non m’importa se lavorandoci accanto l’hai sempre immaginato così. Ron è vecchio e brutto, mentre Sandor ha solo mezza faccia devastata, gli manca un orecchio, gli sporge una parte di osso dalla mandibola e non gli crescono i capelli da un lato della testa. C’è una bella differenza, non trovi?

 

>_>

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Io lo ricordo benissimo quel telefilm......

 

non ho mai sentito parlare del film....anche perche nel 90 avevo solo 4 anni

>_>

Io lo ricordo! ma è strano perchè nel 90 avevo...ehm....un anno

:(

 

Ah beata gioventù!!! ^_^

Mi sento la vostra "zietta" ^_^ nel 1990 io avevo.....ok lasciamo perdere! :)

Comunque, qualche annetto addietro, la prima volta che è stato trasmesso, lo davano di sera.

 

Kisses >)

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