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ONCE UPON A TIME IN THE CITY OF
RE-BOOT “AIR DATE SEPTEMBER 25, 2012” Loosely based on RON KOSLOW’S original series pilot script and the transcript of the pilot which aired on September 25, 1987 WHAT IF THE CW RE-BOOT WAS REALLY A RE-IMAGINING
OF THE ORIGINAL SERIES?
~~~ Characters - in order of appearance Catherine Chandler Receptionist Female colleague Male colleague Joan Charles Chandler Joe Maxwell Crisis center volunteers (5) Detective Greg Hughs Jones Vincent Father Edie Thug Isaac Stubbs Man Policeman
~~~
ONCE UPON A TIME
FADE IN: PANORAMIC VIEW MIDTOWN The sun splashes against the skyscrapers. It’s one of those dazzling summer days...
TITLES -- "Once upon a time in the city of A beautiful, chicly dressed young woman slides out of a cab
and hurries across the plaza. She is CATHERINE CHANDLER, late twenties, a
lawyer in a high-powered INT. LAW OFFICES - RECEPTION AREA - DAY The elevator doors open. Catherine Chandler steps out into
the offices of RECEPTIONIST (in
background, on the phone) No, he’s at lunch, sir. CATHERINE (to receptionist, cheerfully) Morning! RECEPTIONIST (good-naturedly) Not anymore! CATHERINE (laughs) Picky, picky! As Catherine passes, the receptionist shakes her head in
disbelief. RECEPTIONIST (in
background, on telephone) Yes, sir. Thank you. FOLLOW as Catherine strides down a corridor blithely
exchanging greetings. FEMALE COLLEAGUE Great look. CATHERINE Thanks! MALE COLLEAGUE Cathy, please don't forget the
settlement conference at three. CATHERINE I'll be there. She pokes her head into her father’s outer office. CATHERINE Hi, Joan. JOAN (receptionist) Hi! INT. CHARLES CHANDLER’S OFFICE - DAY Charles Chandler, a handsome, white-haired country-club
type, sits in his huge corner office, talking on the phone. He waves his
daughter in as she enters through his private office door. MR. CHANDLER Cathy! CATHERINE Hi, Dad! MR. CHANDLER (into phone) Hal, let me call you back. (hangs up; to Catherine) Hal Sherwood’s coming up from
Will you have dinner with us? CATHERINE (shakes her head) I can't. I lost a friendly wager on the Olympics to Sarabeth, and I promised to spend the evening manning the
hotline at the crisis center. MR. CHANDLER (joking) That might be more entertaining
than dinner with two old lawyers! . CATHERINE (smiles) You never know! I might make a
new friend. They laugh. MR. CHANDLER Well, how about dinner on
Saturday? CATHERINE (pulls out her iPhone) Let me check my calendar. (keys in the appointment) You’re on! MR. CHANDLER (noting she’s carrying a purse) You just getting in? CATHERINE Had a late night, had some
errands to run today. (shrugs apologetically) Sue me! MR. CHANDLER Well, it's a little late for
that. I should’ve sued you when you were five. (concerned) What’s up with you? You don't
enjoy the work? You don’t find it stimulating? CATHERINE (carefully) It’s
fine, Dad. I
love working with you. But
the work itself? I’ll
admit it’s not very fulfilling. (hesitating) I’ve
been … thinking about making a change. MR. CHANDLER What kind of change? CATHERINE I’m not sure yet. But when I figure it out, you’ll be the first to know! Catherine smiles at her father as she heads off to her
office. CUT TO: A bank of battered old metal desks fills the screen, with volunteers
engaged in serious conversations on phones at five of them. At the center desk sits
CATHERINE, looking up at and nodding her head at JOE MAXWELL, the crisis center
manager standing beside her. Joe hands Catherine a piece of paper – we see a brief
CLOSE-UP of the rules he has obviously just explained. Catherine nods again and Joe moves off. Catherine glances
at the rules then looks around uncertainly at the hubbub around her. The phone at her desk rings and with some trepidation she
picks it up. She hears a husky, half-whispering Male Voice. MALE VOICE (an intriguing blend of rough
and smooth, very hesitant) I … I’m not sure if this is the
right place to call …. CATHERINE (encouraging) Tell me. We’ll figure it out
together. MALE VOICE I saw something. Something … horrible. I need to tell someone …. CATHERINE (leaning into the phone) A crime? Did you call the police? MALE VOICE Yes …. No…. I saw a crime being committed … but I … I can’t call the
police. CATHERINE (confused) Why not? (after seconds of silence on
the phone, with a determined face) How can I help? MALE VOICE (relieved) Let the police know. Someone
should know …. CATHY (nodding) Give me whatever information
you can. I’ll contact the police. Scene FADES OUT on Catherine keying information onto an iPad, nodding her head as she listens to the Male Voice. CUT TO: ALLEYWAY – LATE EVENING CATHERINE is standing beside DETECTIVE GREG HUGHS. Behind
them a woman’s body lies on the ground as technicians comb the alley for clues. HUGHS (irritated) You don’t know who the caller
was? CATHERINE No. The call was anonymous, and in
any case, he said he was calling from a
burner phone. HUGHS Do you think the caller was
involved in this? CATHERINE No! He seemed … genuinely upset. He told me he’d seen a man slit
the woman’s throat but by the time he got to the
alley, she was dead. He followed the murderer. The man got into a car and sped
off. I gave 9-1-1 the plate number. HUGHS That’ll help a lot, but ... unless this witness comes
forward to place the guy at the scene, we may not have enough to charge
him. Can you convince the caller to
come forward? If he calls again, I mean. CATHERINE I doubt it … but I’ll try. HUGHS OK, well, thank you, Ms.
Chandler. (he indicates a policeman
standing nearby) Jones here will take your
statement. Catherine turns to Jones, who hands her his cell phone. She
enters her business number into it as he begins to ask her questions which we
do not hear. CUT TO: CRISIS CENTER – THE NEXT DAY JOE leans against the wall, playing with a rubber band,
while CATHERINE puts her purse in a drawer and sits at an empty desk. JOE (smiling uncertainly, a little
confused) Sarabeth told me you lost a bet, which is why you volunteered
last night. Usually we don’t get people
coming back again so soon – particularly when they get dragged
into a police investigation their
first time out. CATHERINE (hesitantly) Last night, I felt … useful. For the first time in a long while, what I did … mattered. It was a good feeling. JOE (pushing away from the wall) Well, whatever the reason, we’re happy to have you. For a big city, we never seem
to have enough volunteers for all the troubled souls who need us. FADE TO: MUCH LATER THAT EVENING CATHERINE is still manning a phone at the crisis center.
The lights are low. Most of the volunteers have gone home. JOE is murmuring into
a phone several desks away. The phone rings and Catherine answers it. CATHERINE Hello, crisis center. How can I help? MALE VOICE I called last night … CATHERINE (recognizing the voice) You spoke to me. About the … the crime you
witnessed? MALE VOICE (relieved) Yes. I wasn’t sure you would be
there …. CATHERINE I came back … hoping you’d call. (after an awkward silence,
knowing she is breaking a rule) I’m Catherine. MALE VOICE Catherine … (after a long hesitation) My name … is Vincent. CATHERINE Vincent … the police are hoping you will
come forward. It may be the only way they can
bring the murderer to justice. VINCENT (frustrated) I can’t. I’m sorry. CATHERINE (sensing his deep regret; sympathetically) It’s OK. The police now have leads they
wouldn’t have had otherwise. VINCENT I know it’s not enough, but …. CATHERINE (reassuringly) You did more than many people
would have. Vincent … if this happens again
… (she turns over the list of
rules; she’s going to break more of them) I’m going to give you my cell
number. You can call or text me
anytime. VINCENT (startled) You would do that? CATHERINE I trust you. (smiling to herself) Believe me, it’s not something
I do lightly. VINCENT (solemnly) I will keep your trust,
Catherine. I promise. CUT TO: OUTSIDE THE CRISIS CENTER – LATER THAT NIGHT JOE turns as he is locking the door. CATHERINE obviously
has just told him of her conversation with VINCENT. JOE (shocked) You did WHAT?! CATHERINE I know, I broke the rules. But there’s something about
Vincent … JOE (groaning) You think you have a
relationship with this guy? Oh, jeez, Cathy … we aren’t the
cops! CATHERINE I know. I’m aware of the dangers. But there’s no way of knowing
when he’ll call again or if I’d be the one to answer. And I strongly suspect he won’t
confide in just anyone. I think it’s a risk worth
taking, especially if it helps solve a murder. JOE You are nuts, lady! But … and it pains me to say
this … I see your point. (shakes his head, incredulous) Let’s not make a habit of this,
OK? CATHERINE (smiles, relieved) I promise! CUT TO: INT. FATHER’S CHAMBER BELOW – TWO DAYS LATER VINCENT, his face shielded from view by the camera angle,
enters a vault-like room two stories high. The walls are lined with books,
floor to ceiling -- books of every description -- a vast library of the city’s
cast-off books. The room is lit mostly by oil lamps, with one overhead electric
fixture casting inadequate light. Sitting at an overflowing desk piled high
with papers and books we find Vincent’s FATHER, hunched over an out-of-date
computer screen, two wires winding their way out of the computer and up the
short set of stairs behind him. Clearly someone with technical skills has
brought his study into the 21st century. Father’s face and features are finely chiseled, and
somewhat in shadow. He has the appearance of a wise, sensitive man who has seen
too many terrible things. He wears a cloak against the cool ambient air. As Vincent comes in wearing a cloak with the hood up, masking
his features, Father looks up, extremely upset. FATHER (accusingly) You are the “anonymous witness”
the media says reported the
murder of that prostitute! VINCENT (head down; reluctantly) Yes. FATHER How could you expose yourself
in that way? To be a witness, you must have
been Above. Do you know what they’d do if
they captured you up there? So many buildings have closed
circuit cameras, it’s a miracle you haven’t been
caught on film before now. I know you believe society
Above has gotten more open, more welcoming … but there are
limits, Vincent … and you are well beyond those
limits. Even if they wouldn’t kill you,
they’d study you, hound you, make your life a
misery. Trust me, they’d make you wish
you were dead. VINCENT I am aware of the dangers. I take … precautions. My cloak and hood keep me safe… and I know where the cameras
are. FATHER The article said you called the
information in to a crisis center. VINCENT Yes. It was the best way. And the woman I gave the
information to … she will not reveal my name. FATHER (apoplectic) You told her your NAME?! VINCENT And I know hers. Catherine. FATHER You have taken leave of your
senses, Vincent! How could you risk yourself? VINCENT How could I not? A woman was murdered while I
watched. What I saw could lead to the
capture of the man who did it. How could I keep silent? FATHER What good will it do? You can
never testify. If you went Above, the police
would incarcerate you, or worse. Your differences are too great,
even for the more tolerant society that has developed since I left
that world. VINCENT The police are not looking for
me. Catherine has told me they have
found the murder weapon. She is a lawyer. She said they will be able to
bring the man to justice without eyewitness testimony,
using fingerprint and DNA evidence. FATHER (visibly relieved) Well, thank heaven for that. Vincent approaches Father and leans over his chair to kiss
the top of his head. Vincent’s face is shadowed by the cowl of the cloak he is
wearing. We get only a vague impression of unusual features. VINCENT Times have changed, Father. FATHER (grumbling) When I was young, before all
this … (waves his hand dismissively at
his computer) technology … it was easier to stay hidden. The lines between Above and
Below are so blurred now. VINCENT (removes his cloak and sits as
he speaks, his back to the camera) I’m thankful for that. It allows me to feel like a
part of the world Above … even if I’m not. FATHER (smiling ruefully) And I fled it, even though I
could have remained a part of it. VINCENT I understand your reasons. You felt the world was in
increasing turmoil in the early ‘70s. War in the The global oil crisis. The stock market collapse. You were wiped out financially
and feared for the future. FATHER Yes. Taking refuge here, in these
tunnels, was a radical move, but one I
felt was necessary. I realize now that was
alarmist. But the time is long past when
I would willingly return. And since you came into my life
…. CUT TO: CLOSE-UP of VINCENT’S face. We see him for the first time -
leonine features upon a partially human face surrounded by a thick mass of
red-gold hair which cascades to his shoulders. He is handsome, unusual and intimidating,
all at the same time. He’s wearing an amalgam of patched cast-offs which make
him look like he’d be at home at a renaissance fair. As he speaks, the camera
shows him gesturing with his hands – furred, claw-tipped hands. VINCENT You felt you couldn’t. FATHER No. I didn’t want to. This is home … our home. VINCENT (gently) It needn’t be … for you. FATHER Yes, well, I have no desire to
return to that world. For one thing, my skills, such
as they are, are hopelessly out of date. VINCENT (indicating the computer) You could always upgrade them. If I could get a doctorate online, there’s no reason you couldn’t. FATHER Education for its own sake is
fine. I use this blasted thing, of
course. But I’m too old to start over
Above. Nor do I desire to. (abruptly standing) The discussion is closed. (with humor) And don’t think I haven’t
noticed how you got me off the topic of telling
this Catherine person your name! CUT TO: CRISIS CENTER – EVENING CATHERINE is settling at a desk as Joe approaches, a woman
trailing in his wake. The woman is EDIE, a pert and perky woman about
Catherine’s age whose eyes glint with mischief. JOE Hey, Cath. I want you to meet one of our
regular volunteers. Edie, this is Catherine
Chandler. EDIE (shaking hands with Catherine) Sarabeth told me about you. You should never bet against
her. That woman knows her
volleyball! CATHERINE (laughing) Now
you tell me! But that’s one bet I’m glad I
lost. I really enjoy working here. EDIE (rolling her eyes at Joe) Right. She drops in to do her time,
pay her bet, Then we’ll never see her again. JOE Actually … no. That’s the reason I wanted to
introduce you. Cathy paid her bet off but
she’s been coming back. (whispering theatrically to
Edie) I think she’s a keeper. EDIE (eying Catherine assessingly) Yeah? We’ll see, girlfriend. It takes a lot out of you to
listen to the problems we listen to week after week. CATHERINE (smiling, understanding Edie’s
skepticism) I’ll count on you to keep me on
my toes then. EDIE Oh, I will. You can count on that! CLOSER ANGLE – CATHERINE She is sitting in the front row on an end seat. A grate
lies just to her right. We watch her as she listens, eyes closed, enraptured by the
music. It’s the 25th anniversary of the CUT TO: INT. TUNNELS - BELOW THE BANDSHELL GRATE - NIGHT VINCENT is standing below the grate, head turned up, eyes
closed, letting the same concert music wash over him. As a boy 25 years earlier,
Father had brought him to this spot to hear his first professional concert –
Astor Piazzolla and his New Tango Quartet. FADE TO: CATHERINE, still in her seat. But the concert is long over.
The audience and musicians have dispersed. Reluctant to emerge from the spell
of the music, Catherine has lingered, re-reading the program to find and
download Piazzolla’s music to her phone. When she
finishes and looks around, she is startled to realize she is alone. Now, as she
quickly leans forward to gather her purse, the shadowy figure of a THUG looms
up beside her. She lifts her head to see who it is. We see a flash of concern
on her face. THUG (reaching for her purse) Give it up, lady! Reacting instinctively, Catherine stands and yanks her
purse out of the thug’s reach. CATHERINE No! They struggle. No one is around to help her. CUT TO: VINCENT tensing from his vantage point Below. He can hear
the shouts and scuffling very close above him. The indecision on his face lasts
only a moment. He reaches up to dislodge the grate above his head. CUT TO: CATHERINE and the THUG, still struggling. Catherine is obviously
out of her element, unsure how to fight back, panic and hesitation making her counter-attack
ineffectual. The THUG laughs at her feeble efforts, but he loses patience when Catherine
finds a way to wrest her purse from him. As she turns to run away, he pulls out
a thick club that had been tucked into his jeans under his shirt. THUG (swings the club at her head) This is your fault, bitch! FADE OUT. END OF ACT ONE ACT TWO FADE IN: The THUG’s arm is coming toward
her, club close to her head. But the blow never connects. CATHERINE hears a
strangled yelp and the sound of a body hitting the ground. She risks a look
behind her and sees her attacker out cold, one arm lying at an odd angle. A
cloaked figure stands over him. As she stops and stares in astonishment, the
cloaked figure looks up at her. VINCENT Did he hurt you? It’s the kindest, gentlest voice she’s ever heard, and one
she immediately recognizes, although what she can see of his hooded face bears
no resemblance to what she had imagined he looked like. Suddenly, his need for
secrecy makes sense. CATHERINE (gathering her wits) N-no … I-I’m fine. (incredulously) Vincent?! VINCENT (shocked; recognizing her voice
in turn) Catherine? CATHERINE Yes. I can’t believe it. Where did you come from? VINCENT (waits a beat, trying to decide
how much to reveal) I heard your cries. I came … Above. With one hand he indicates the upended grate. Catherine’s
eyes go from his face to the grate and back again. Surprise lights her eyes,
but is quickly replaced by gratitude. CATHERINE Thank you. (shaking her head ruefully) I know it was stupid of me to
resist, but in the moment …. VINCENT Your instincts took over. (shrugging) As did mine. They stare at each other for a long moment. Rousing
himself, Vincent looks around quickly. VINCENT You cannot stay here. It’s not safe. (looking down) If he awakens …. (gazes up at her for another long
moment) I will be nearby. Go now. Goodbye. CATHERINE Wait! Walk me to the edge of the
park? VINCENT (hesitant) All right. Catherine approaches him and slips her hand around his arm.
This startles Vincent, who takes a deep breath to steady himself. CATHERINE (leans her head to the right) This way. DISSOLVE TO: CATHERINE and VINCENT walk slowly together, the hood of his
cloak pulled up to prevent passersby from getting a good look at him. Clearly
they have been talking for some time, idling, deeply engrossed in each other.
Catherine suddenly realizes they have come to the pathway that leads to the
exit from the park, across the street from her apartment house. She turns to
face him. CATHERINE Can you … come with me? VINCENT (shakes his head) I shouldn’t have come this far. CATHERINE (fervently) Your secret is safe with me. I would never betray your
trust. VINCENT I know. I knew that from the beginning, when you trusted me. She reaches out to him, puts her hand on his chest and her
head on his shoulder. CATHERINE What can I say to you? The tenderness of her embrace is a feeling he’s never felt
before, never even dreamed of. It’s almost more than he can stand. He lays the
palm of his hand on the small of her back and holds her close. Suddenly we HEAR FOOTSTEPS AND VOICES approaching on the
nearby sidewalk. CATHERINE (she steps away, then turns to
look at him; quickly) Will we see each other again? VINCENT (clearly torn) I … I don’t know .... CATHERINE Tell me we will. VINCENT (softly) All right. We will. CATHERINE (satisfied … for the moment) Good! And until then … (she pulls her iPhone out of her pocket as she backs towards the sidewalk) I’m only a text away. CUT TO: A montage of shots of CATHERINE in various locations – her
law office, in a cab, at the crisis center, at her home working on a laptop. In
each case she answers her iPhone. We see her say
hello then smile as she hears a voice she recognizes. She pulls out her iPad and takes notes, nodding her head. Intercut these
shots with shots of her one the phone with GREG HUGHS, or at a crime scene
talking to a policeman, referring to her iPad notes. We get the impression that Vincent has notified her of
crimes he has witnessed – assaults, breaking and entering, armed robbery –
which she either has reported to the police on his behalf or for which she has
provided to the police information to help them catch the perpetrators. From her clothing as the scenes unfold we see that the
weather has changed, indicating months have passed. In the last shots, she is
wearing a coat. CUT TO: CRISIS CENTER –LATE EVENING JOE is approaching the door with CATHERINE. They are the
last ones to leave. His hand hovers near the light switch, but instead of
turning off the light, he lowers his hand and turns to Catherine. JOE Got a minute? Or do you need to get right
home?
CATHERINE
(smiling)
I’m all yours! JOE (clearly enamored of her,
trying not to show it) I should be so lucky! (becoming serious) Anyway, I have a proposition for
you. (at her raised eyebrow) Hold on! It’s nothing like
that! Simpson is leaving. It’s hard to keep good staff,
since we pay next to nothing. I know you make a heck of a lot
at that law firm and I know I’m crazy to even
ask, but …. Would you consider taking his
job? CATHERINE (surprised) The coordinator’s job? But I’ve only been volunteering
for a few months. JOE You’ve got the skills. You know
the routine. You catch on quickly. Edie tells me you’ve got the
right stuff. And except for that mystery guy
who calls you about crimes he’s seen, you do
everything by the book. So if you want it, the job’s
yours. CATHERINE (smiling broadly) I think I just might take it! Thanks, Joe! INT. CHARLES CHANDLER’S OFFICE - DAY CHARLES CHANDLER is sitting at his desk, listening to CATHERINE
give him what he considers bad news. CATHERINE (apologetic) I know it seems sudden. But I’ve been looking for a
change for some time now. When I went to the crisis
center … something just clicked. It’s right, Dad. I know it. CHARLES CHANDLER (clearly uneasy) Well… if you’re sure …. CATHERINE (firmly) I am. Mr. Maxwell said the
coordinator job is mine if want it, and I do. The pay isn’t great, but we both know that’s not an
issue. It’s work I want to do … I’m
excited about doing. CHARLES CHANDLER (rising; coming around his desk
to hug her) Then all I can say is I wish
you the best. They hug. CATHERINE Thank you. I know you don’t understand, but I appreciate your support. CHARLES CHANDLER (getting emotional) I love you, sweetheart. CATHERINE I love you too, Daddy. FADE OUT. END OF ACT TWO ACT THREE FADE IN: FAST-CUT SCENES AT THE CRISIS CENTER. CATHERINE walking in the hall of the crisis center with JOE
MAXWELL. CATHERINE standing at a desk, handing the rules to a
hotline volunteer sitting in front of a ringing phone. CATHERINE talking on the hotline late at night. CATHERINE still talking on the hotline early in the
morning, drinking coffee as she nods, listening, and types into her iPad. CUT TO: CATHERINE’S iPhone rings. She
glances down at the screen and the camera sees that it’s a blocked number. She
smiles and answers. CATHERINE (anticipating, clearly happy) Hello? CUT TO: A dark alley. VINCENT is standing in the shadow of a
recessed doorway, burner phone in hand. VINCENT Catherine … it’s … CUT TO: CLOSE-UP of CATHERINE on the phone. CATHERINE …Vincent. I know. I could tell you were calling,
almost before the phone rang. CUT TO: CLOSE-UP of VINCENT. VINCENT (takes a moment, considering
her comment, before speaking) I know something ... something the police should be
aware of. CUT TO: CATHERINE on the phone, at her desk. CATHERINE Tell me. We don’t hear what Vincent is saying, but clearly he’s
reporting on another crime. Catherine begins to nod, then gathers her things.
As soon as she hangs up her phone, she speed-dials Hughs. CATHERINE Greg? It’s Cathy. I’ve got another one for you. HUGHS (groans) From Mystery Guy? CATHERINE (laughs) Come on, Greg. You know he’s helping. And a little mystery in life is good for the soul! (turns serious) There’s a woman who has been
beaten lying in an alley. She’s got a child with her,
Greg. We need to hurry. FADE TO: CUT TO: CATHERINE is shutting down computers, turning off lights.
She’s the last to leave. Just as she’s about to open the door to go out, she
pulls her iPhone from her pocket, staring at it,
obviously thinking about Vincent, wishing he would call … just to talk. Her phone rings. She smiles. CATHERINE (softly) I was hoping you’d call. VINCENT (hesistant) I … wasn’t sure I should. The woman and child? CATHERINE They’re safe. VINCENT Good. (he waits another beat before
adding) I have nothing to report. I just …. CATHERINE Wanted to talk? VINCENT (embarrassed to admit it) Yes. CATHERINE And I’ve been hoping you would. (as she’s locking the door) Could we meet somewhere in the
Park? VINCENT Near the bandshell? CATHERINE (smiling; hailing a cab) I can be there in 15 minutes! CUT TO: BANDSHELL – NIGHT CATHERINE approaches the bandshell.
From out of the shadows, a figure in a hooded cloak joins her. She smiles and
reaches for him, enveloping him in a warm hug. For a second he seems startled,
but slowly raises his arms and hugs her back. VINCENT Have you been well? CATHERINE Yes. And you? VINCENT (nods) There’s a quiet path …. (indicates the direction with
one arm) As they walk, the camera follows them. CATHERINE I’ve been wondering … VINCENT I knew you’d have questions
eventually. CATHERINE I have so many! Maybe … if you just … told me… (unsure) something about your life? VINCENT There is much I cannot reveal. CATHERINE (shrugging, resigned) I shouldn’t have asked. They walk several paces together without speaking. Then,
without prompting, Vincent begins. He’s made the decision to tell her about
himself. VINCENT I was found one night in deep
winter, abandoned in the park, freezing,
sick, hungry. Someone brought me to the man
who became my father. I was wearing little – a
diaper, a tee shirt. There was an image of a Van
Gogh painting on it. CATHERINE (comprehension dawning) Is that why you were named
Vincent? VINCENT Yes. No one knew exactly how old I
was, let alone my birthday. So it was decided I was a year
old. The date I was found – January
12 – is when I celebrate my
birthday. CATHERINE Your parents? VINCENT No one knows. Nor how I was born and survived
… this way. CATHERINE (shy) You are … beautiful. VINCENT (astonished; stops in his
tracks and stares at her) I’ve … been called many things. Never … that. CATHERINE (gently) Well … yours is not a
conventional beauty. “The beauty that addresses
itself to the eyes is only the spell of the moment; The eye of the body is not
always that of the soul.” VINCENT George Sand. CATHERINE (impressed) Yes. (realizing she’s embarrassing
him; changing the subject) Can you tell me where you live? When I was in trouble after the
concert, you pointed to the grate when I
asked where you’d come from. VINCENT (knowing he’d already revealed too
much; sighing) We call it … Below. There are miles of tunnels
beneath the city. It’s a refuge, and we’ve made
it our home. For me … it’s the only home I
will ever know. CATHERINE (realizing what this confession
means) That secret must have cost you a
lot to share. Know that I’ll keep it safe. FADE OUT. FADE IN: EXT. ESTABLISHING SHOTS OF As the sun rises and the city awakens. INT. ISAAC STUBBS’ CATHERINE stands in a shabby loft in a rundown old building
on the CATHERINE (calling out) Hello? Mr. Stubbs? No answer. CATHERINE (calling) Anybody here? VOICE (softly, from behind) We know you’re here. She jumps, spins around and finds ISAAC STUBBS standing
inches behind her. He is a man in his thirties, built like a fireplug with arms
of coiled steel and a loveable smile. ISAAC (smiling) You should always know what’s comin’ up behind you. This time it’s good news. (holds out his hand) I’m Isaac, Isaac Stubbs. CATHERINE Catherine Chandler. ISAAC So … you wanna
learn to take care of yourself. CATHERINE That’s right. I … got into a stupid
situation. It almost turned out badly. ISAAC And you want to be prepared if anything
like that ever happens again. CATHY (resolved) Absolutely. ISAAC Okay. Now I don’t teach none of
that Asian stuff -- no Kung Fu, no egg fu yung. This is so what I do teach is mean and dirty. Only philosophy that counts
around here is doing whatever it takes to come
out alive. You use what you got. Let me
see your shoe. He reaches down and Catherine gives him her shoe. He whips the
shoe across the head of a dummy then drives the heel into its temple. ISAAC You can kill a man with a shoe. Now, it ain’t fancy, it ain’t
pretty, but it works – if you got the stomach for it. CATHY (determined) When do we start? CUT TO: CATHERINE crosses the street and approaches a steam grate.
She hesitates for a moment, looking at it. She smiles and walks over it. CUT TO: INT. TUNNELS - VINCENT’S
CHAMBER. It’s filled with cast-off items from Above and piles of books. There
are massive pieces of mis-matched furniture, a
brazier, a bed covered with pillows and quilts. Behind the bed is a huge arched
stained glass window through which yellow light filters. FATHER is in mid-argument with VINCENT. FATHER You must stop this madness! Each time you go Above, each time you call her, you
risk yourself. VINCENT (adamant) Those are risks I must take! Besides … there’s something growing
between us. It’s as if we’re connected. Father shakes his head in exasperation. VINCENT I can feel what she’s feeling, when she’s frightened, when she’s happy or sad. FATHER Vincent, your senses -- your
empathic powers are quite extraordinary. It’s your gift. But don’t let your act of gallantry
destroy you. VINCENT I promise, I’ll be careful. But those moments with her … they’re worth everything.
CUT TO: INT. ISAAC STUBB’S ACADEMY This scene is a “free-for-all.” CAMERA MOVES with CATHERINE
and ISAAC as they grapple with each other -- kicking and clawing their way over
the mats, careening off the walls. Isaac wears heavy pads and headgear. His
objective is to subdue Catherine. Catherine may use all available means to stop
him from doing so. She kicks, punches, claws and uses an assortment of
impromptu weapons to prevent Isaac from getting a death grip on her. Isaac
keeps coming at her, taunting her, pushing her to the limit and then beyond --
to the point where it becomes pure animal survival. CUT TO: INT. VINCENT’S CHAMBER VINCENT is reading. Suddenly he looks up, startled, as he senses
something beyond the tunnels. It’s Catherine. CUT TO: INT. ISAAC STUBB’S ACADEMY
CATHERINE and ISAAC continue their mock battle, which is no
less fierce for being a practice. CUT TO: INT. VINCENT’S CHAMBER VINCENT places one hand on his heart as he focuses on the
connection he’s experiencing with Catherine. He realizes Catherine’s emotional
intensity is not driven from fear but determination. He smiles and returns to
his book. CUT TO: INT. ISAAC STUBB’S
ACADEMY The mock battle continues. Then CATHERINE gains the upper
hand. ISAAC (on the floor, raising his
hand, as Catherine is about to whack him with a bat) Hold it! She stops. She stands there, panting, with a startled look,
shocked that she was capable of going that far over the edge, with such
ferocity. ISAAC (smiling) Was that you? Huh? Was that
you!? Catherine, gasping for breath, can only smile. CATHERINE Yeah! And then she starts to laugh in exhilaration. CUT TO: VINCENT’S CHAMBER VINCENT is washing up. We see him from behind, stripped to
the waist, as he finishes rinsing his arms. His back is sculpted muscle, nearly
devoid of hair. He reaches for a towel as he turns to face the camera, tossing
his head to shake his hair off his neck and shoulders. As he rubs the towel
over his forearms and across a well-muscled chest, we note the thick coat of
hair (or is it fur?) on his forearms and pectorals, gradually thinning from
elbow to shoulder and from beneath his pectorals to the waistband of his jeans. A VOICE is heard calling out to him, and he turns to face
the entrance to his chamber. VINCENT (smiling) Come in, Mouse. MOUSE enters. He is shorter than Vincent and over a decade
younger, with tousled long blond hair and a sweet face. He is dressed in an old
Army surplus jacket and patched jeans, wearing a thick turtleneck sweater under
the jacket. MOUSE You’re going Up Top tonight. VINCENT Yes. MOUSE Not to the Park. To her. VINCENT (surprised; wary) You know about her? MOUSE (quite proud of himself) Mouse knows lots of things. Knows Father… (frowns as he mimics the older
man) Disapproves. VINCENT When has that ever stopped… (he claps a hand on Mouse’s
shoulder) …either of us? They both smile, conspirators together. CUT TO: EXT. CATHERINE’S APARTMENT BUILDING - NIGHT . CUT TO: INT. CATHERINE’S APARTMENT - NIGHT CATHERINE comes into the bedroom in a nightgown and robe.
She’s carrying her iPad. She sits on top of the bed.
We watch as she calls up a document: a press release about the crisis center.
She reads it and makes edits. She HEARS a strange sound. She looks up and out at the
balcony through the French doors, then, after a few beats, returns to her
reading. She HEARS the sound again -- a CREAKING just outside the French
doors. She slips off the bed and sets her iPad
down, picking up her iPhone from the nightstand and
queuing up the police emergency number. With her finger hovering above the
“call” icon, she heads to the French doors. She opens one of the doors and
steps out onto the balcony. She looks down and spots a long-stemmed rose lying on the
ground. ANGLE - THE FIRE ESCAPE Hidden in the shadows, standing in a corner of her balcony,
we SEE a large form. CATHERINE Vincent! She shoves her phone in the pocket of her robe then rushes
to him and embraces him. VINCENT I didn’t mean to frighten you.
I’m sorry. CATHERINE No, no, I’m so glad to see you. (smiles shyly) Thank you for the rose. VINCENT It was foolish of me. CATHERINE No! It was lovely! Won’t you come inside? VINCENT (holding back) No. I have to go now. CATHERINE No, not yet, please. Stay a while. Come here, sit down. (they sit) Our phone conversations are
always so short. And those walks in the Park have left me wishing for more
time with you. I have something to tell you. VINCENT Yes? CATHERINE I’ve been taking self-defense
classes. VINCENT Ah… (hesitates) Catherine, I felt it. (at her confused look) I’ve begun feeling the things you’re feeling, when you do. CATHY (unsure) How do you mean? VINCENT (shakes his head, unable to
find the words) Just know that it’s true. It’s as if we’re connected … almost as if we are one. She looks at him in wonder. CATHERINE I’m … not sure I understand. But I believe you. And … it’s kind of wonderful. VINCENT (quietly) I am connected to your world in
many ways. (smiling) Facebook can be quite … interesting. (serious again) And through the Internet I’ve
taken coursework And seen sights I could never have
hoped to otherwise. But I can never truly be a part
of this place. CATHERINE Are you sure? VINCENT Yes … at least, for now. I can’t think only of myself. There are others who depend on
my world for refuge, for safety. There would be too many
questions if I suddenly appeared, even if I could prove my right
to be accepted as a citizen … or even as human. CATHERINE (a long beat; understanding) Yes. VINCENT So … for now … I’d like to have your friendship… beyond the crisis center … beyond
what first brought us together. I cannot promise much. But what I can offer … I will. CATHERINE I’d like that … very much. (they gaze into each other’s
eyes with something more than friendship) VINCENT (looking away) My father calls me a fool,
speaks of risks. But he also taught me what
Nehru said: that being too cautious is the
greatest risk of all. CUT TO: EXT. CATHERINE’S BUILDING – ON THE BALCONY - EVENING LONG
SHOT We see them sitting on the balcony, the lights of the city
night in the background, as we HEAR... CATHY (V.O.) (reading to Vincent) ‘... And as the morning mists
had risen long ago when I first left the forge, so
the evening mists were rising now, and in all the broad expanse of
tranquil light they showed to me, I saw no shadow of another
parting from her.’ FADE OUT. END OF ACT THREE ACT FOUR FADE IN: CATHERINE is saying goodbye to some volunteers, who smile,
wave and laugh as they file out of the office. She will take the late night
shift alone. She has locked the door and returned to her desk, but we see
a MAN standing outside the door, furtively working at the lock. He manages to
unlock the door and slips inside, quickly looking around to ensure he hasn’t
been observed. He pulls out a gun and advances on an unsuspecting Catherine as
she finishes filling the coffee maker, preparing for a long night. MAN (nervous) Hey! Turn around slow! CATHERINE (a long beat; understanding
she’s in trouble here; turning to face him, coffee pot in hand) All right. MAN You alone? CATHERINE (nods; careful to speak calmly as
sees his gun) This is a crisis center. Is there something I can help
you with? MAN Yeah, you can. (waves the weapon at her
menacingly) My wife … I heard someone called this
place for her. Now she’s in hiding. I need you to tell me where. CATHERINE (trying not to panic, trying to
recall Isaac’s training) In hiding? Why? MAN She claims I beat her. Bitch is always tryin’ to get me in trouble. She’s in a special place now, Some kinda
shelter. And I can’t see her or my kid. But you’re gonna
help me get them back. CATHERINE Why don’t we sit down and talk
about this? (nods toward his weapon) You don’t need the gun. MAN (laughs harshly) Yeah? I’m not stupid. I know you don’t wanna tell me where she is. That’s why I need this
“persuader.” He advances toward her. Catherine stands her ground. CATHERINE (trying to calm her terror) I don’t know where she is
exactly. But I can get a message to her. MAN Not good enough. (sarcastically) You really don’t know where she
is? CATHERINE (shakes her head) I don’t. We don’t keep information like
that. We only refer callers to phone
numbers, to people who can provide help. MAN Then you’re no use to me. And I ain’t
leavin’ you alive to warn her I’m coming. (raises his arm and fingers the
trigger) Catherine swings the arm holding the coffee pot and smashes
it against his hand just as the gun goes off. The bullet goes wild and the gun
drops from the man’s hand. He howls and lunges for her. Catherine shoves a
rolling desk chair against his lower body, tripping him. As he struggles to get
up, she flees toward the back of the building, leaving the lights off to hamper
her pursuer. She knows the way to the door without lights. Flinging the back door open, Catherine charges into the
alley behind the building, turning left towards the relative safety of the street
just a few yards away. But before she can gain much ground, the man grabs her
by the collar of her sweater and yanks her around, smashing her against the
brick wall of the building. Stunned, she slips down against the wall, but gets
her arms in front of her and pushes off with force, shoving the man behind her
off his feet. A siren is heard in the distance. Someone has alerted the
police to the gunshot. But they are too far away to help Catherine. Suddenly an unearthly roar fills the alleyway, just as the
man regains his feet. Catherine has picked up a battered trash can and is
hefting it, preparing to defend herself with the only weapon she can find. They
both turn toward the sound. A shadowy figure wrapped in a dark cloak looms
close. An arm snakes out and back-hands the man into the side of a heavy metal
dumpster. The man collapses, unconscious. Catherine looks at the figure in the cloak, startled at its
sudden appearance. Blue eyes peer from the folds of a hood. It’s Vincent. Catherine whips off the leather belt of her jeans and
kneels, tying the unconscious man’s hands behind his back. Car tires screech at the entrance to the alley. In moments
the police will see the tableau. CATHERINE Thank you! But … go! Quickly! Vincent nods, turns, and disappears into the gloom of the
dark alley. A policeman rushes up, staring in disbelief at the trussed
man on the ground and at the small woman with her knees on the man’s back. POLICEMAN You OK, lady? FADE TO: CATHERINE’S BALCONY – LATER THAT NIGHT Vincent and Catherine are standing close, facing each
other. We see the glittering lights of the city at night behind them. CATHERINE You took a great risk of being
seen. VINCENT I felt your fear. I had to come. CATHERINE You really can feel what I’m
feeling? VINCENT Yes. CATHERINE (wonderingly) When I know it will be you on
the phone …. VINCENT It’s the same thing. CATHERINE (in awe) It’s … remarkable. Magical, even. VINCENT (considers, then shrugs) Whatever it is … it exists. CATHERINE I’m grateful it does. (she smiles up at him) And I’m grateful … for you. VINCENT (tilts his head in
acknowledgement of the compliment) You’re safe now. I should go. CATHERINE (wraps him in an impulsive hug
which he hesitates to return but finally does) Don’t stay away too long. (fervently) Promise me. VINCENT (reluctantly steps out of her
embrace) I promise. Catherine watches as he disappears from her balcony,
climbing to the rooftop and melting into the darkness. FADE OUT. END OF ACT FOUR THE END
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