BEAUTY AND THE BEAST "An Impossible Silence" Written by Howard Gordon & Alex Ganza Directed by Christopher Leitch FIRST DRAFT October 21, 1987 (Yellow) October 19, 1987 (Pink) October 16, 1987 (Blue) October 14, 1987 BEAUTY AND THE BEAST "AN IMPOSSIBLE SILENCE" ACT ONE FADE IN: 1. EXT. SOUTH STREET DOCKS - LONG SHOT - NIGHT down this wet and empty street. PEROTTA I appreciate you going to bat for me, Danny. I owe you. YATES Forget about it. 2. CLOSER - MOVING with TONY PEROTTA, handsome, mid-thirties, jeans, leather jacket, boots, and a Brooklyn accent: and with DANNY YATES, same age, all-American good looks, courderoy jacket over a sweater. Perotta's got a nervous edge that's been dulled a little by booze. A car passes in b.g. with an adhesive sound against the glistening pavement. Yates casually follows it's progress, as: YATES Keller's on edge like the rest of us. PEROTTA Yeah, well he lost it when I told him. (he exhales an ironic laugh) All we have to do is return it to property. They don't keep track. They'll never know it was missing, and we can all wipe the slate clean. Who needs that kind of pressure? YATES (overriding; firm) I said, don't worry. I'll smooth things over with Laine -- then we'll talk about it. Perotta smiles and nods his appreciation. Beat. Yates buttons his jacket with the sudden realization: YATES It's getting cold... Yates slips on a pair of leather gloves as they move to Perotta's late model Mustang. Perotta fishes out his keys, jingles them to isolate the right one. He opens the driver's door and gets inside. Rolls down the window. YATES You okay to drive? PEROTTA I've driven worse. (then: nervous laugh) Listen to me: some cop, huh? So where'd you park? YATES Couple blocks down on South Street. PEROTTA C'mon. I'll give you a lift. YATES Thanks, but I'm gonna walk. PEROTTA (nods) Sure. See you tomorrow. YATES (beat) Yeah. I'll see you. Yates takes another casual glance around -- before we see him pull a .44 Bulldog from the back of his waistband. And as he raises the gun from behind his back: 3. PEROTTA'S POV as Yates, neutral-faced, extends his arm and fires twice at point-blank. 4. LONG SHOT Yates arm remains extended, as the gunshots reverberate through the empty streets. 5. REVERSE ANGLE to reveal a seventeen year old girl crouched in the shadows across the street, behind a garbage can, still holding the crate of oranges that she had been carrying. Her name is LAURA and her expression tells us that she's seen everything. 6. YATES lowers the gun and stares down at Perotta's motionless body. 7. LAURA quietly sets down the crate. She backs up slowly, inadvertently displacing the garbage can lid so that it SCRAPES the pavement, and: 8. YATES reacts, wheeling around. He scrutinizes the darkness for the sound's source, but sees nothing. He cuts a diagonal across the street, moving toward the sound, and: 9. LAURA'S POV as Yates nears, sweeping the area. 10. CU - LAURA trying to control her nervous breathing. Moment of decision: there's no choice. She bolts out from the shadows and takes off down the sidewalk, and: 11. YATES empties his .44 at her running silhouette, until it disappears down an adjacent alley. He takes off after her. 12. EXT. DOCKSIDE ALLEY Laura runs, pumping her legs and arms with everything she's got. She glances back over her shoulder to find Yates a hundred yards behind her. But the distance between them is decreasing. Quickly. 13. EXT. STREET Laura breaks out around the corner. She stops in the middle of the street. Left or right? With Yates crescendoing footsteps, she chooses to go right. 14. CU LAURA - MOVING with her as she runs, and doesn't look back. Her eyes tear with exhaustion and her face begins to show the ebb of adrenalin. Twenty yards more, and she stagger, falling headlong onto the concrete. 15. LOW ANGLE - LAURA her head bowed, her body heaving for oxygen -- as a pair of spit-polished shoes step INTO FRAME. Laura looks up. startled: 16. ANOTHER ANGLE a UNIFORMED COP regards her with a mixture of concern and confusion. COP You okay? Laura exhales her great relief. He helps Laura to her feet. She nods tentatively, still gaping, then looks back. 17. HER POV no sign of Yates. They are in the parking lot of a run down commercial corner consisting of a laundromat, a hamburger shack, and a mini-market. All closed. A lone streetlamp casts an oblong circle of pale yellow light. 18. RESUME SCENE COP What are you doing in this part of town, anyway? But Laura is strangely shy. She regards the Cop in grateful silence, then looks away, as we: CUT TO: 19. INT. TUNNELS - PASCAL'S PIPE CHAMBER - NIGHT This is one of several communication junctions, where hundreds of pipes of varying diameters run along the walls and ceiling -- even the floor. Where the metallic tapping is constant, creating an incredible, echoing symphony. Where messages from various parts of the tunnel world converge and are relayed to their proper destinations. It is in this room that CHARLIE PASCAL spends most of his time -- monitoring, sending, and receiving. Armed with foot-and-a-half long rods in each hand, Pascal moves from one pipe to another with a dancer's grace and a neurosurgeon's intensity. PASCAL See? I worked out this abbreviation for express stuff. He taps a staccatti code. PASCAL You wouldn't believe how much we cut down on congestion. ANGLE TO INCLUDE VINCENT watching Pascal from the chamber entrance, amused. VINCENT Oh, I believe it. But don't you ever get tired, Pascal? PASCAL (deadpan) Only when I stop. Vincent smiles. Then he turns at the sound of running footsteps, and: 20. ANOTHER ANGLE as Laura rounds the corner, crying, gasping for air, and flies into Vincent's arms. He holds her with soothing firmness. She continues sobbing, choked and breathless. Pascal is visible in b.g., concerned, but bound to the pipe. And on Vincent's deeply troubled face, we: CUT TO: 20A. - 21. OMITTED 22. EXT. DA'S OFFICE - OUTSIDE MAXWELL OFFICE - DAY where Cathy is waiting for Maxwell, who steps out. MOVING WITH THEM as they wend their way through office traffic to the Press Briefing Room. Unconsciously his hand wanders up to check his tie. And, as he catches a reflection of himself in a glass cabinet, he runs his hand through his hair. CATHY You look fine, Joe. Maxwell shoots her a gimme-a-break look. Then: MAXWELL I hate these guys. They move in packs, like wolves... or sharks. CATHY (amused) It's only a roomful of reporters... MAXWELL Easy for you to say. CATHY Relax. It's not like you're running for office. Maxwell's sideways-look at her betrays the political aspirations he hides beneath his easy smile and manner. CATHY Or are you? They stop before a door. Maxwell's tone is serious. MAXWELL Let's just say that putting a copkiller away won't hurt my career any. (then) Wish me luck. Cathy smiles as she follows Maxwell into the room. CUT TO: 23. INT. PRESS BRIEFING ROOM - DAY Cathy leans against the wall beside the door, as Maxwell approaches a small podium to face a battery of microphones and mini-cams. Twenty reporters sit in fold-up chairs waiting for him to say something. Maxwell pulls out a sheet of paper from his coat pocket, flattens it against the podium. He's holding two contrasting emotions in his heart -- nervous but happy to be there. MAXWELL I'm going to read a statement. After that, I'm not at liberty to answer questions. (looks up) I'm sorry. (then; reading) Last night Curtis Jackson was arrested and charged with the murder of Vice Squad Detective Tony Perotta. Ballistics has confirmed that the hand gun found in his car was the murder weapon. The District Attorney has set a preliminary hearing date, and we have every reason to believe that justice will be served in a fair but expeditious fashion. (looking up; all charm) That's all folks. As Maxwell makes his way out, the reporters hurl a few questions at him (e.g. Will you be handling the case personally? Is it true that Curtis Jackson had threatened Detective Perotta on numerous occasions?) which he brushes off with a wave of his hand. MAXWELL Excuse me... He and Cathy exit back into the 24. CORRIDOR where they head back to their offices. After a couple of steps, Joe finally asks: MAXWELL Well... how was I? CATHY (veering away; ironic) Look out City Hall. ON Joe's indignant face, as he watches her go. CUT TO: 25. EXT. YATES'S HOUSE - ESTABLISHING - NIGHT A modest two-family house in Brooklyn. All's quiet. At least on the outside. KELLER'S VOICE (OVER) (exploding) He was my partner eight years, you son-of-a -- DAVIS' VOICE (OVER) (overriding) Hey. 26. INT. YATES' HOUSE - BASEMENT As Jack Davis wedges himself between LAINE KELLER and Yates, who look as though they might kill one another. Davis is Yate's longtime partner, early forties, black. Keller looks older than his fifty-three years: he's tough, but his time on the force has taken a visible toll. KELLER How the hell could you do it, Danny? YATES (right back) You should be thanking me for doing your dirty work. KELLER That's bull! DAVIS Back off. Both of you. The force of Davis' baritone eases the tension a little. Keller takes a few steps away WIDER ANGLE The walls and shelves are cluttered with pictures of the kids at day camp, an assortment of trophies, as well as several service commendations -- which should tell us (in case we haven't already figured it out) that these guys are cops. New York cops. There's also a pool table, several bicycles, dart board, work bench with tools, and a small, adjacent boiler room that has no door, visible in b.g. DAVIS (to Keller; conciliatory) Look. I'm sorry, Laine. But Danny only did what he had to. You know how Tony was, especially the last couple of weeks. He would've blown it - for all of us. Keller is deeply troubled. He knows Davis is right. This knowledge cools him down considerably. DAVIS Anyway, it's done with. And if you're gonna blame Danny, you may as well blame me too. Keller turns to regard Yates and Davis. He swallows hard as he nods. KELLER What about Jackson? DAVIS They got him cold. Murder weapon, motive. We just sit tight and let the system do its thing. Anyway, he's a punk. Whatever he gets, he deserves. Yates rubs a thoughtful hand over his mouth. He's the only one who knows it's not that simple; that there's a witness somewhere out there. YATES Listen - Keller and Davis regard him. He can't tell them. YATES (to Laine) I want you to know, Laine. I only did what was necessary. Keller nods: it is at once a compliance and an apology. Yates moves to a frosted light fixture, which he begins to unscrew from its base - YATES Tony was a good man. From the fixture he removes two plastic bagged kilos of cocaine. As he hefts theses in his hands, a kind of awe spreads over his face YATES But we are talking about a half a million dollars... The power and responsibilities represented in this white powder are undeniable to the three men. For the first time, they are unanimous. Their trance is interrupted by a sound: FOOTSTEPS descending the stairs. Yates quickly hides the pouches into a toolbox, closing the lid, just as MAGGIE YATES enters, carrying a tray with three Budweisers. She's in her early thirties, pretty, and knows her place as dutiful wife and mother. She sets down the tray, and after a quick look exchanged with her husband, approaches Keller, regarding him sympathetically. MAGGIE I'm sorry about Tony... as she gives him a condolent hug. KELLER Yeah, thanks Maggie. Yates cracks open a beer in b.g., and on Keller's profoundly troubled face, we: CUT TO: 27. INT. VINCENT'S CHAMBER - DAY LAURA'S HANDS signing passionately in American Sign Language (ASL), shaping the very air with her words. VINCENT (O.S.) I'm listening... WIDEN to find Vincent, who has just signed "I'm listening..." NOTE: in this scene, Vincent signs only where indicated and his signing should be slow and graceful, mirroring his speech.) He stands before Laura, whose expressive face reflects the passion of her silent language, and the anguish of her message. And we now understand the cause of her shy silence; she's been deaf from birth. As Laura continues to sign, Vincent overlaps. VINCENT (repeating to himself) ... the wrong man. Laura touches the newspaper which lays on a table before Vincent, folded over to the top of the fifth page. 28. INSERT - NEWSPAPER the two-column headline: "COP KILLER CAUGHT." Included in this article is a picture of the young black suspect, CURTIS JOHNSON. 29. RESUME SCENE as Laura regards Vincent expectantly. VINCENT (signing and speaking) Are you sure? Laura nods vigorously. Then: LAURA (signing) I have eyes. I saw him. VINCENT You saw the killer? LAURA (signing) I saw everything... clearly. The man, the killer, was white -- not black. VINCENT (echoing softly) ... The killer was a white man. Laura nods, regarding Vincent, at once relieved of the burden she's been carrying around and frightened by its implications. Vincent's face reflects her concern -- which is now their concern. Then: VINCENT It's good that you came to me, Laura. LAURA (signing) I'm afraid... But you don't have to be an expert to understand her fear and confusion. Laura's eyes start welling, at which point she looks down. Beat. Vincent gently touches her shoulder. She looks up, regards him. Vincent shakes head assuringly. VINCENT Don't be afraid. You're not alone. I promise. And as she wipes away a tear, we: CUT TO: 29A.EXT. CENTRAL PARK - CATHY - NIGHT Descending the slope toward the drainage duct. 30. INT. THRESHOLD TO TUNNEL WORLD - NIGHT At first we hear Vincent's voice -- timbre and bass -- as the CAMERA PANS the sweating walls, CROSSES a tunnel opening leading into the gloom... VINCENT (O.S.) When Laura first came to live with us, she was only a child. Alone and frightened. Her parents abandoned her in the park... and finally FINDS Vincent and Cathy together again. VINCENT ...I suppose they wanted... a normal daughter. But there was a friend, a helper -- and he brought her down here... to where it was safe... to where she could know love. (beat) I remember, in the beginning she used to collect things... keep them on her bedside table. Alarm clocks ... bells ... buzzers. And she would hold them close to her ear... feeling the vibrations... trying to hear the stolen sounds... (then) It broke my heart. Long beat. CATHY And you became her teacher? VINCENT I became her friend. CATHY Vincent... can she speak at all? VINCENT She speaks with her hands... a beautiful language. Cathy's concern grows as she becomes aware of Vincent's powerful connection to the girl, of how important she is to him. CATHY And she told you that she saw this murder? Vincent nods gravely. CATHY How can she be sure it's not the same man. VINCENT The man Laura saw... was not a black man. Cathy considers this. Then: CATHY Vincent... the evidence they have is overwhelming. Is she positive? VINCENT She is not mistaken. (beat) she knows what this might mean. CATHY Coming forward to tell her story. VINCENT Yes. CATHY I'll do everything I can to make that unnecessary. But, Vincent... (beat) ... I don't think there's any other way. ON Vincent's troubled reaction; we, CUT TO: 30A.INT. PASCAL'S PIPE CHAMBER - ON PASCAL - NIGHT who, despite the relentless TAPPING, sleeps soundly on a makeshift hammock that is strung up between two pipes. He's still clutching a sheaf of schematic diagrams -- presumably, renderings of the pipe network. CAMERA PANS, past more of these diagrams strewn across the floor, amongst books and a half-eaten loaf of bread... past twin portraits of Alexander Graham Bell and Samuel Morse... along a length of pipe, and stays on Laura, who is touching it. Her entire body is pressed close to the wall, as she "listens with incredible concentration. Laura deftly moves to another pipe and "listens" -- her face reflecting an almost meditative serenity as she monitors the very pulse of the world. FADE OUT END OF ACT ONE ACT TWO FADE IN: 31. INT. FATHER'S CHAMBER - DAY CAMERA PANS the book-lined room FATHER (O.S.) I understand the problem enough to know that it isn't ours... And finds Father addressing Vincent, who shakes his head In heated disagreement. VINCENT Does our world exempt its people from moral responsibility? FATHER NO. It offers them sanctuary from an impossible madness. Especially those who most need protection. Like the girl. VINCENT Laura is no longer a girl. FATHER She's still vulnerable. Exposing her like that -- (Father breaks off; exhales his frustration; shakes his head) Vincent: here, we've given her The chance to heal. VINCENT And to hide... Father reacts to the truth of Vincent's observation. VINCENT I know Laura's pain. When she came to us, her soul was broken, and our love helped it to mend. But, some day, she'll need to grow beyond all of this... beyond us. FATHER And you think that day is now? VINCENT Without Laura's word, Catherine has no case. An innocent man will go to prison. (beat; emphatic) That should mean something to you. It does. Still, Father's resolve remains firm. FATHER Our priority is to Laura. VINCENT (turning to Father) Before, you said that the problem is not ours. (beat) Neither is our decision. Father's thoughtful silence in an implicit concession. And we: CUT TO: 32. INT. POLICE JAIL - VISITOR'S ROOM - DAY Cathy meets with CURTIS JACKSON, 36, a black and facetious ex-con, through the wire-mesh of the visiting room. JACKSON (laughing) That's a new one to me. Since when does the D.A.'s office go around trying to get people off. (figuring it out) I know, it's some kind of new psychology, right? CATHY (all business) How long were you out of prison? JACKSON Almost a year. CATHY Your parole officer tells me that You've been meeting regularly. Jackson gives her a look out of the corner of his eye. Then, unsure of what she's driving at, he reverts to sarcasm: JACKSON Every week, ma'am. And I've also been helpin' little old ladies 'cross the street, and going to Church every Sunday - - repent my sins. The heat rises in Cathy's throat and face. She remembers what a man like this once did to her. CATHY Let's get this straight... A man who sells drugs to kids doesn't deserve to see the light of day... ever. They say you're rehabilitated. Congratulations. But if it were up to me, I would've buried you. (beat) Now I'm here because I don't think you killed Detective Perotta, and I want to find out who did. And you're going to help me. Jackson looks put upon, rearranges himself in the chair. JACKSON Lotta good it'll do... CATHY (beat) Tell me about these threats you were supposed to have made against Perotta. JACKSON Man. . . that was a long time ago. It was stupid. . . He was the cop that busted me. I was mad. . . said some stupid things, you know. CATHY What was the gun doing in your car? JACKSON How the hell do I know? Somebody put it there. CATHY Any ideas who? JACKSON What you want, a list? CATHY (cold stare; then) Yeah, that's exactly what I want. ON Jackson, reacting to this ballsy lady, we: CUT TO: 33. EXT. NYPD PRECINCT - ESTABLISHING - DAY The flag waves at half-mast. Over this: CATHY'S VOICE Excuse me, I'm looking for Detective Keller. 34. INT. PRECINCT - SQUAD ROOM - DAY Cathy is at the tall front desk, scrambling among several people trying to get the attention of SERGEANT JESSICA WALKER. A mounted bulletin board reads: "Memorial Service For Lt. Tony Perotta -- 3:00 Tuesday -- St. Mary's." (PRODUCTION NOTE: In this and all following precinct scenes, there should be a gritty, almost stylized look and sound of chaotic activity - - in extreme contrast to the romantic lyricism of the world below.) COOPER (pointing) Third desk on the right. Amid the cacophony of voices, ringing telephones, and Computer printers, Cathy wends her way through the various Desks and booking areas to Keller's desk. CATHY Detective Keller. Keller looks up from a thick sheaf of papers, and puts down his pen. KELLER That's me. CATHY (extending her hand) I'm Catherine Chandler, from The D.A.'s office. They shake. CATHY I'm sorry about Lieutenant Perotta. KELLER Yeah. Me too. Eight years is A long time. (then) You have anything to do with nailing Jackson? CATHY -- Yes... KELLER I appreciate it. We all do. Believe me: it's no small consolation. CATHY Detective Keller - - (braces herself, then) I don't think Curtis Jackson killed your partner. KELLER What're you talking about? CATHY We may have an eyewitness Keller isn't sure how to take this, so he takes it slow. KELLER What eye witness? (when Cathy doesn't answer immediately) C'mon, tell me: who? Who says Jackson didn't do it? CATHY I can't disclose that information yet. KELLER What eye witness? (when Cathy doesn't answer immediately) C'mon, tell me: who? Who says Jackson didn't do it? CATHY I can't disclose that information yet. KELLER (flashing) Jackson killed my partner. He had it out for Tony. Everyone knows it. They just about caught him in the act. CATHY He claims he was set up. Keller doesn't have to pretend: this is definitely news to him. He runs his fingers through his hair, regains his composure. Then: KELLER Look. I'm sorry I flew off. CATHY (her heart goes out to him) I understand. KELLER It's just, you come here and drop This on me like a ton of bricks. Now I don't know what to think. CATHY If you have a few minutes, I'd like to ask you some questions about recent cases, who else might have had a motive. Just preliminary, but it might give me a place to start. KELLER (nods, then) Sure: I got a couple minutes... He puts on an I'll-do-what's-best face, but in his eyes there's an acute dread. He's wondering what the hell he's going to do. CUT TO: 35. INT. FATHER'S CHAMBER - DAY CAMERA FINDS Vincent, Father, and Laura intimately gathered in the golden light of the chamber. Laura's manner continues to be hesitant and shy. Sometimes when she signs too quickly, Vincent must translate for gather's benefit. VINCENT Father and I have talked a long time. The decision... will have to be yours, Laura. A part of Laura is terrified by the responsibility, and her eyes wander away from the reality of the conversation. After a moment, Father leans over and touches her shoulder, so that she can read his lips as he speaks. FATHER Laura... this place, our world, means different things to different people. For some, it's a place of healing and safety -- a way station in their lives. For others... (indicating himself) ... it's a home. (beat) But all of us reach a point -- a moment in time -- when we must define for ourselves what this place means to us. Perhaps now is your time to decide... Laura considers this. Then: LAURA (signing to Father) If I decide to go, may I come back? Father smiles. Then, compassionately: FATHER Of course you can come back... (then) ... if you decide to go. Laura looks down into her lap. Grasping her hands tightly together. The weight of the decision and the subtle tension in the air between Father and Vincent combine to make her uneasy. Then: LAURA (signing) I don't know what to do. (beat) Tell me what to do, Vincent. VINCENT I can't tell you what to do. (beat) But you are strong, Laura. Your life... has made you powerful... in ways you can't even begin to imagine... LAURA (signing) If I can't imagine, how do I know it's true? This is too complicated for Father's ASL vocabulary. He turns to Vincent. FATHER Vincent? VINCENT If she can't imagine her strength, how does she know it's true? (to Laura) Laura... you know by learning... by following what your heart tells you is right... by going... where you have to go. Laura takes a long moment to consider this. Then: LAURA (beat; signing) I love you both. There's no need for a translation -- the gestures are more evocative than the words. CUT TO: 36. INT. D.A.'S OFFICE - DAY Cathy is going over a file with several COLLEAGUES when Maxwell approaches the group. Seething. In fact we've never seen him so cold-ass mad. MAXWELL Hey, Radcliffe. Got a sec? CATHY (to others) Excuse me. 37. OMITTED 38. MOVING with Cathy and Maxwell, as he ushers her by the arm in tense silence to a quiet corner, away from the human traffic. Then: MAXWELL What the hell do you think you're doing? CATHY Let go of me. MAXWELL Answer me. CATHY (firm) First let go. Maxwell releases his grip. Momentary remorse. Then he exhales some of his anger. But only some. MAXWELL I don't understand you, Radcliffe. Yesterday everything's beautiful. We close a major investigation like in a textbook. Today I find out you've been sniffing around behind my back. CATHY I just wanted to have something solid before I came to you. (beat) I had second thoughts. MAXWELL Why didn't you tell me about them yesterday? CATHY Because yesterday I didn't know there was a witness. MAXWELL Whoa... back up. CATHY There was a witness, Joe. MAXWELL (skeptical) Can you produce this witness? CATHY (beat; troubled) Not yet. Which only confirms Maxwell's doubts. He shakes his head. MAXWELL I've been playing this game a little longer than you. We've got a cop killer cold, open and shut... (emphatic) You're blowing it. CATHY (angry) What about due process, Joe? And reasonable doubt? Or do you just want me to go out and hang Jackson now and save you the trouble? MAXWELL You still don't get it... (the bottom line) Jackson killed a cop. CATHY If he's innocent what difference does that make? MAXWELL (imperitive) Leave it alone. For your sake. CATHY My sake? Isn't there a hidden agenda here we're not talking about? Like how the truth might make for an embarrassing press conference -- Cathy breaks off, knows she's out of line. And Maxwell's anger has passed into a deeper realm. He speaks slowly. MAXWELL My father was a cop. Up in the South Bronx. Fifty-second precinct. He was just getting off one morning when two guys jumped him. Took his gun and his watch, slit his throat, and left him to bleed to death. There was no arrest. Nobody went to trial. They were fourteen years old. (beat) So was I. He regards Cathy for a moment before starting away. CATHY (calling after him) Joe. But Maxwell is already gone. CATHY (to herself; wistful remorse) Joe... On Cathy, powerfully disturbed by what has just happened, we: CUT TO: 39. A WORLD GLOBE circa 1900, on a wooden floor stand. CAMERA PANS to find Laura, seated before her dressing table mirror, staring intently at her reflection. And we are: INT. TUNNELS - LAURA'S CHAMBER - NIGHT About the size of Vincent's chamber, decorated in much the same way as any young girl's bedroom might be. Laura takes a long time there, trying to reconcile the face staring back at her in the looking glass with what she feels about herself. She is a child, but what she regards in the mirror is a woman emerging... She leans closer to herself. Gently touches her mouth. Something bubbles tentatively on her lips before they go still again. She exhales. Then a sound - - a soul-deep utterance issues from her lips, incomprehensible OUW - - then again, until we can understand what she is trying to say. LAURA Laura... It is an affirmation of her identity, tentative yet somehow bold. And as the edges of her mouth sneak up into a smile, we: CUT TO: 40. EXT. CATHY'S APARTMENT - NIGHT Cathy slides out of a cab and, heels clacking on the pavement, crosses the sidewalk and enters her building. 41. INT. CATHY'S BUILDING - CLOSE ON ELEVATOR DOOR - NIGHT As they whoosh open and Cathy steps out into the corridor. She heads for her apartment door. Balancing her briefcase on her knee, she fishes for her key and finally manages to open the door. She reaches inside to switch on the lights. But as soon as they go on, A GLOVED HAND kills them and then grabs Cathy's wrist, yanking her into: 42. INT. CATHY'S APARTMENT - NIGHT Where she is spun into another man's arms, slamming face first into a wall, and pinned there. Both are stocking- faced - - and Yates crosses through a shaft of liquid moonlight and approaches her in the deep shadow. YATES (to Davis) Turn her around. Davis puts Cathy in a full nelson and roughly turns her around to face Yates. YATES The only thing worse than a cop killer is somebody who covers for one... so back off. As he backhands Cathy across the face. Cathy sags at the blow and would drop to the floor if it weren't for Davis holding her up. She recovers and raises her head to face Yates, spitting out the words: CATHY If you think this is going to stop me... but before she gets out the next syllable, Davis pushes her into Yates, who punches her in the stomach. Cathy sinks to her knees, doubling over, groping for breath. 43. ANOTHER ANGLE of Yates from the waist up. We understand but don't see him kick Cathy... before stealing out, leaving Cathy unconscious, moaning on the floor. TIME LAPSE DISSOLVE: 44. VINCENT minutes later, surges through the balcony doors. He rushes to Cathy's fallen figure, bends down to her. His voice trembles with concern. VINCENT Catherine... She rolls her head to look up at him CATHY (weakly) I'm alright. I think. She tries to move, but the pain overwhelms her, and she sags. Vincent slides his arms under her body, and with no visible effort lifts her up. He carries her across the darkened living room and into her bedroom... where he lays her on the bed. here, too, the moonlight seeps in, making everything seem ghostly transparent. TIME LAPSE DISSOLVE Vincent gently presses a cool, damp cloth to Cathy's forehead. He removes it and listens for a beat. Thinking she's finally asleep, he begins to back away. CATHY (barely audible) Vincent... He bends over her to listen. CATHY Please stay... I need you close. VINCENT I'll watch over you... don't worry. Just sleep. Cathy, now comforted, closes her eyes. Vincent retreats to stand -- facing her -- on the two steps leading to the balcony. TIME LAPSE DISSOLVE: 45. WIDER ANGLE of the scene. Cathy sleeping, and Vincent, her sentry- lover, watching over her in the moonlight, keeping her safe. FADE OUT END OF ACT TWO ACT THREE FADE IN: 45A. - 45B. OMITTED 46. INT. LAURA'S CHAMBER - DAY An old knapsack is open and half-packed on Laura's single bed. From a low bureau, she removes a blue flower-print dress, folds it delicately, and places it in the knapsack. Her eyes survey the room, making sure she hasn't forgotten anything, she picks up her book of "sign", puts it in, and then, she closes the knapsack, one strap at a time. It's done. The finality of this act surprises her, and she abruptly sits down on the bed. After a moment, her hand moves slowly along the bedspread until she finally clutches the knapsack handle. She rises and moves to the chamber entrance. There she turns. HER POV One last look at the room that has been her home for many years. RESUME SCENE As she leaves the chamber. DISSOLVE TO: 47. INT. - TUNNELS - DAY The knapsack draped over her shoulder, Laura walks with Vincent down a long stretch of tunnel. They are silhouettes against the bright light glowing at the tunnel's end. Laura hesitates for a moment, looking back over her shoulder, before she and Vincent merge into the light. CUT TO: 48. INT. SUB-BASEMENT OF CATHY'S APARTMENT - DAY Laura and Vincent arrive at the transition point - the place of migration from one world to the next. They stop and share a moment of the silence that is with Laura always - both of them understanding the significance of her next few steps. After a beat, Vincent gestures to the opening: VINCENT This is where you go out... Laura seems unsure. VINCENT You can still change your mind... Determined, Laura shakes her head. VINCENT Then try not to worry, you'll be safe, I'll be near... The woman I told you about is waiting... LAURA (signing) Catherine... VINCENT Yes, Catherine... Long beat. Then: LAURA (signing) Vincent, there's so much I have to thank you for. VINCENT You have only yourself to thank... and to be proud of... (beat) Sometimes... events in our lives show us what we've known all along. This last year... I've felt it in you: a need... to see a life beyond our tunnels and chambers. (then) You knew inside yourself that it was time... Laura is grateful for the understanding. Vincent looks up when he hears footsteps descending from above. 48A.VINCENT'S POV Cathy appears at the far end of the sub-basement. 48B.RESUME SCENE Laura also sees Cathy, and then turns back to Vincent. LAURA (signing) Until we see each other, I will miss you. VINCENT Until we see each other, I will miss you, too. And they embrace. Then, Laura pulls back and stoops down to pick up her suitcase. VINCENT'S POV - LAURA Walking away -- tall and strong - towards Cathy. She puts her hand behind her back and signs: "I love you." ON VINCENT Watching her go. VINCENT I love you too. VINCENT'S POV As Laura reaches Cathy and together they start up the stairs. CUT TO: 49. EXT. CATHY'S TERRACE - NIGHT Laura looks out over the jewelled city, her hair blown by the cool night breeze. As Cathy comes out from the living room... CATHY Laura, I've - She breaks off and stops with the realization that Laura can't hear her. Cathy wears the evidence from the previous night's attack: discoloration under one eye, a cut lip. She approaches Laura, who now turns to face Cathy. (Note: Cathy enunciates her words to Laura carefully, but not condescendingly.) CATHY Are you cold? Laura shakes her head - then holds up her hand, thumb and forefinger about an inch apart to admit that she is a little cold. Cathy smiles. CATHY Come inside. I made some hot chocolate. Laura nods, and follows Cathy inside. 50. INT. CATHY'S APARTMENT - CONTINUOUS From a service on the coffee table, Cathy hands Laura one of two steaming mugs, taking the other for herself. CATHY Tomorrow you'll have to give a statement to the police. After that is when it gets really tough the depositions and the trial. Lawyers aren't always the nicest people. Laura gestures to Cathy. CATHY Me? I'm not so brave. A little stubborn, maybe... Laura smiles -- but then turns serious as she regards Cathy, visibly disturbed. Her mouth opens, as if she's about to speak. CATHY (sensing) You want to say something... Laura tentatively reaches out and touches the bruises on Cathy's face. It's as if she shares Cathy's pain. She shakes her head and gestures: why? CATHY Why? Because no one wants me on this case except me. Laura indicates herself. Cathy smiles. CATHY Until now. What we're doing is good, Laura, but it's not very popular. (touching her bruised face) I guess this is either a badge of bravery or a sign of stubborness. LAURA (signing) You're still very beautiful. CATHY (trying to translate) I'm... something. (shakes her head, frustrated laugh) I don't understand. Laura scratches her palm with her forefinger. Cathy understands, and digs out a note pad and a pen from a side table drawer. She hands these to Laura, who scribbles something, then turns it toward Catherine. 50A.INSERT PAGE (CATHY'S POV) which reads "I said: you're still very beautiful" 50B.RESUME SCENE as Cathy shares a warm moment with Laura. CATHY Thank you. Laura puts her hand to Cathy's lips -- and then shows her the sign for "thank you." Cathy repeats the sign. And on the bond that's being forged between them, we: CUT TO: 51. - 52C. OMITTED 52D.EXT. NYPD PRECINCT - TO ESTABLISH - DAY A clear, late-autumn morning -- and the flag, still at half-mast. CUT TO: 53. A RASTAFARIAN is hustled PAST CAMERA by a pair of UNIFORMS, and we are: INT. NYPD PRECINCT - SQUAD ROOM - DAY A melange of cops, crooks, and victims, whose voices and movements combine to create a white noise over which occasional words can be discerned. From this human salad, Cathy and Laura emerge: Laura is now in a knee-length blue dress. Cathy is evidently known here -- perhaps by the bruises on her face: the cops seated at these desks look up at her, one by one. 54. CATHY'S POV - MOVING past the intimidating faces. 55. RESUME SCENE - MOVING -CONTINUOUS as Cathy is bumped, hard, by a PLAIN-CLOTHES OFFICER. OFFICER (pure ice) I'm sorry, Miss Chandler. CATHY The hell you are. Cathy holds her own and stares him down, until he passes. Cathy looks at Laura, who affirms her support with a look. Cathy takes a deep breath as they continue, proceeding Down. 56. AN ADJACENT CORRIDOR that's mustard-yellow and narrow. They stop at the third door on the right. Stenciled on the thick frosted grass are the words INTERROGATION ROOM 5. Cathy and Laura exchange a last look before Cathy opens the door and: 57. INT. INTERROGATION ROOM 5 - CONTINUOUS as Cathy and Laura enter the small, sterile room which, behind the closed door, offers some quiet refuge from the constant chaos outside. A long rectangular table is centered here, at which two men (GRIGGS and Homocide Detective SNYDER) and one woman are seated. Griggs has several papers fanned out before him, a pen at the ready. At one end of the table stands a tripoded video camera, hooked up to a monitor which frames the empty chair at the other end of the table. Joe Maxwell brings his chair down on all fours, stands, and approaches Cathy and Laura. His manner is cool and detached. Exaggeratedly professional. MAXWELL Miss Chandler, this is Detective Snyder - he'll be conducting the interrogation - Sergeant Griggs, and Sharon Lewis, from Social Services. She's here to interpret for the witness. CATHY (to all of them) Hello. (beat) This is Laura Williams. Laura nods curtly to everyone. SHARON (signing and speaking) Please have a seat, Laura. Laura looks at Cathy who gives her a nod of quiet strength and silent assurance. Laura sits in the empty chair. Snyder, the hard-assed veteran in charge of the case, now rises and circles around Laura. Griggs stands and moves to the video camera. SNYDER (turning away from Laura; to Griggs) We ready to go? Before Griggs has a chance to respond, Cathy interjects. CATHY Detective. Snyder angles his head toward Cathy CATHY Laura's deaf - SNYDER (overlapping) We know that... CATHY (overlapping) ... and no one speaks in here without facing her first. Snyder glares at Cathy, but complies with her demand SNYDER All set, Larry? GRIGGS You can start anytime. Snyder half-sits on the table. SNYDER Okay, Laura. Why don't you start by telling us what you saw... in your own words. LAURA (signing) I saw somebody kill a man. Snyder waits for more, but Laura is still nervous and her hands remain still. Snyder shoots a skeptical look to Maxwell. Then, his attention returns to Laura. SNYDER And where did you see this happen? LAURA (signing) It was on Cedar Street, near the corner of Edgemont. SHARON It was on Cedar Street... near the corner of Edgemont. SNYDER Would you describe for us what You saw? LAURA (signing) There were two men. One had a gun. And I saw him reach inside a car and shoot the other man. Snyder straightens - Laura's just given a crucial piece Of testimony. SNYDER I'm sorry would you repeat the last part... about the car. Laura doesn't quite understand and looks to Sharon, who signs her Snyder's question. Laura nods and starts again. LAURA (signing) The man who was shot... was sitting in a car. SHARON The man who was shot was sitting in a car. Snyder exhales sharply and addresses Maxwell in a low urgent tone. SNYDER Joe, that information hasn't been made public yet. There's no way she could have known that Perotta was killed in his car. (beat) I think you got the real thing here. Maxwell stirs in his chair and gives Cathy an acknowledging look. Now, with more respect than before. SNYDER Okay, Laura, let's start at the beginning. 58. CLOSE - VIDEO MONITOR as Laura's image appears on the screen, looking off at the detective. Even here, rendered in two-dimensional blue light, Laura's fear is almost palpable. But so is her strength. And as she musters the courage to start at the beginning, we: CUT TO: 59. INT. POLICE PRECINCT - LATER From the relative sanctuary and sanity of the interrogation room, Cathy and Laura reenter the chaos of the squad room jungle. Cathy is charged by Laura's convincing performance and by the stamina and courage of her new friend. As soon as the door to the interrogation room closes behind them, she takes Laura by the shoulders. CATHY You did great. Laura isn't so sure CATHY Really. No jury in the world could discount that testimony. Cathy's genuine enthusiasm convinces Laura, and her eyes shine deeply when she smiles. Cathy affectionately squeezes Laura's shoulders, before they start through the human traffic for the station exit... 60. ANOTHER ANGLE shows Cathy and Laura as they round a section of booking tables, pass by the desk sergeant, and are on the home stretch... when a young, UNIFORMED COP catches up with them. COSTANZO (to Cathy) Excuse me. He positions himself between them and the station Entrance. COSTANZO Are you Catherine Chandler? CATHY Yes I am. COSTANZO There's a call for you. Cathy's first instinct is to glance protectively at Laura. Then: CATHY (to Cop) Who is it? COSTANZO Your office. He points to an empty cubicle way across the squad room. COSTANZO Take it over there if you want. Line five. Cathy turns her attention to Laura, guiding her to a low- backed bench against a wall. CATHY You sit here. I'll be right back, okay? Laura nods and sits down. When Cathy turns away, the cop is still there. COSTANZO Come on, follow me... Which Cathy does... the length of the squad room... to the unoccupied desk and the blinking phone. COSTANZO Line five. CATHY Thanks. Cathy punches the line and picks up the receiver. CATHY(into phone) Hello... Hi Mary... 61. BACK TO LAURA - SLIGHT OVERCRANK sitting straight-backed on the bench, as she watches Cathy move from one phone to the next. A sixth-sense is operating in her head. She knows she's being watched. She doesn't want to... she tries not to... but she has to look across to: 62. HER POV - ACROSS THE CONGESTED SQUAD ROOM - MOS (Post Production Note: All Laura's POV shots should be accompanied by silence to exaggerate her sense of alienation and to convey her heightened terror.) A man's face (Yates'), a pair of eyes boring into her. 63. RESUME LAURA quickly dropping her gaze. And then... slowly... in her face, we see the terrifying connection made: the eyes looking at her are the eyes of the killer, and they are also the eyes of a policeman. The fear heaves up in her stomach and throat like a nausea. She forces herself to look again, and this time the eye contact with Yates is laser-intense. Shakily, she rises to her feet and scans the room for Cathy. No sign of her. She looks back at Yates. 63A.HER POV Yates has started toward her. 63B. - 63C. OMITTED 64. RESUME CATHY - IN THE CUBICLE holding the receiver to her ear with her shoulder, jotting something down in her calendar. CATHY ... and the new hearing date is set for Thursday at five. No, I got it. Thanks, Mary. And she hangs up the phone. She steps out into the squad room, starting back towards Laura. As she grows near, we catch glimpses - through the ebb and flow of the human tide - of: 65. HER POV the empty bench 66. RESUME CATHY as her pace quickens, the first sparks of panic firing in her breast. She reaches the bench, her eyes scanning the surrounding area for a sign of Laura. She wheels around... looking...looking, as the panic consumes her, and she turns a small, tight circle in the middle of the precinct confusion. Then, on impulse, she bolts out of the squad room. 66A.EXT. POLICE PRECINCT - CONTINUOUS Cathy rushes down the stairs to street-level. Her head swings one way and then the other, surveying the lunch-time crowd. No sign of Laura. CAMERA PULLS BACK to show her bewildered and enraged in the human throng. 67. - 69. OMITTED FADE OUT END OF ACT THREE ACT FOUR FADE IN: 70. INT. VINCENT'S CHAMBER - NIGHT Catherine sits at the edge of Vincent's bed. She stares off into herself, her face drained, her body wracked. Vincent stands several feet away. VINCENT Don't blame yourself, Catherine. CATHERINE (distraught) What could be safer than a police station..? VINCENT ... The blame, Catherine, rests only on those who have Laura. Cathy nods. But the weight of the past few days and of Laura's abduction is still too heavy a burden. Tears Start rolling down her face. She turns away. CATHY I don't know what to do. VINCENT You've told the police. It's All you can do for now. CATHY They have no idea where to even start looking. She could be anywhere. She could be -- Cathy breaks off. The last possibility is unutterable. VINCENT Don't even think of it. CATHY (wiping tears) I have to go back. (off Vincent's reluctance) Please, Vincent. Take me back. Beat. Then Vincent nods. Knows he has no choice, as we: CUT TO: 71. INT. TUNNELS - NIGHT Vincent escorts Cathy in silence along a narrow and dark Stretch of tunnel. Beside them, a cluster of pipes snake Along the dank walls. All is quiet as Vincent and Cathy Proceed upward. Then, gently, a rhythmic and ordered CLANKING comes over the pipes, growing in urgency and Volume. Vincent stops dead in his tracks to listen. CATHY Vincent... what is it? VINCENT Shh... Vincent continues to listen. VINCENT There's a message... from Pascal. (then) Come with me, quickly. They turn on their heels and run together, back the way They came, into the bowels of the earth. 72. INT. YATES' HOUSE - BASEMENT - NIGHT Yates and Davis are listening to Keller, who's pacing... KELLER I don't believe this. What are we doing? YATES Only what's necessary. Nothing more and nothing less. Over this, we HEAR a metallic clanking. The noise only Sharpens the fine edge that they're already on. KELLER (to Yates; flashing) Why didn't you tell us there was a witness -- YATES (right back) What difference would that've made? (off Keller's silence) I'll tell you: zip. As the CLANKING continues o.s.... YATES We'd be right where we are now. (to Davis; snapping) Will you tell her to shut up! DAVIS (with quiet strength) Hey, don't talk to me like that. Beat. Yates nods. And Davis rises and moves into 73. THE BOILER ROOM where Laura sits in shadow, each wrist handcuffed to a pipe. She concentrates, tapping out a message by striking the pipes with her steel-bound wrists. DAVIS (O.S.) Hey, shut up. But Laura doesn't hear... until Davis' legs ENTER FRAME and he squats down to catch her wrist. She looks up, terrified. DAVIS (as if to a dog) No. Laura stops, but her eyes turn cold and defiant, as we: CUT TO: 74. OMITTED 75. INT. TUNNELS - PASCAL'S PIPE CHAMBER - NIGHT Vincent and Cathy enter the organ-like pipe chamber. Pascal is huddled in a corner, his ear pressed to a pipe. The room is absolutely still, SILENT - no one is sending Any messages. VINCENT Pascal... Pascal turns to face him. PASCAL I've put out an emergency all- quiet signal... VINCENT Was it Laura? PASCAL (nodding) We think so. It was Outpost Six that picked up her S.O.S. when the tapping stopped. CATHY Isn't there anything we can do? PASCAL (shrugs) Wait... (off her disappointment) But we're all waiting together. CUT TO: 75A.OMITTED 75B.A COLT .38 PYTHON is unwrapped from an oil cloth... YATES(O.S.) Maggie and the kids are gone 'til tomorrow, so now's the time. 76. INT. YATES BASEMENT - CONTINUOUS Yates screws on a silencer with cold determination -- while Keller shakes his head. KELLER No way. I can't let you do this. Yates ignores him as he loads the gun, a bullet at a time. So Keller turns to Davis. KELLER (indicating Laura) Jack, look at her. She's just a girl. What is she, a year older than Nancy? Two? Davis reacts with a pang of remorse. YATES (exploding) Shut up! As Yates moves threateningly to Keller... YATES I'm getting a little damn sick of having to sugar coat everything for you. That's not my responsibility. 76A.ANGLE - LAURA watching the heated argument. YATES(O.S.) You wanted it in the beginning, just like the rest of us, for all the same reasons: you gotta wife, car, kids, mortgage payments -- all starting to weight heavy on a cop's salary. Laura taps once -- then again, glancing furtively toward the outer room. 76B.LAURA'S POV where Yates and Keller argue MOS, leaving Laura's tapping unheeded. 76C.RESUME LAURA as she continues tapping CUT TO: 76D.- 76E. OMITTED 76F.INT. PASCAL'S PIPE CHAMBER - CONTINUOUS as one of the pipes comes alive. Pascal moves closer to listen as the tapping continues: PASCAL That's it. They've found her. She's in... Brooklyn Cathy turns hopefully to Vincent, but there's only the rustle of his cloak at the entrance, as we: CUT TO: 76G.INT. YATES' HOUSE - BASEMENT - CONTINUOUS KELLER If you kill that girl, the blood's on your hands YATES You know the law as well as me. It's on all of our hands. Long, hard beat. Keller shakes his head. KELLER No. Not this time. I'm leaving. YATES You're not going anywhere. KELLER Stop me. He turns his back on Yates and starts for the door. Slowly, Yates raises the silenced pistol and aims at the retreating Keller. 77. KELLER glances at Laura as he goes. When he reaches the door, he puts his hand on the now and squeezes his eyes shut... expecting the bullet in his back, and: 78. YATES holds the gun steady. Davis moves INTO FRAME, and grasps Yates' forearm, shaking his head. DAVIS (low even) Forget it, man. 79. KELLER opens his eyes. He turns the knob and exits the basement alive. CUT TO: 79A.INT. TUNNELS - VINCENT - CONTINUOUS running at great speed... CUT TO: 80. EXT. YATES' HOUSE - NIGHT Keller emerges from the house, and takes a hopeless look over his shoulder before walking off into the moonlit night. 80A.INT. YATES' HOUSE - BASEMENT - CONTINUOUS YATES You should've let me... DAVIS (overriding) C'mon, man, you're talking crazy. YATES Yeah? Whatta you think he's gonna do now? Go to confession? Yates shakes his head, disgusted that he allowed Keller to leave. And Davis' face reveals that Yates' argument, however grim, makes perfect sense. He stares away. DAVIS I'll go get him -- Yates stops him. YATES No. I'll take care of it as soon as I'm done here. CUT TO: 80B.EXT SUBWAY TUNNEL as Vincent hurtles through the tunnel, atop a subway car. and we: CUT TO: 81. OMITTED 82. IN YATES' HOUSE - BASEMENT - NIGHT Yates stands at the entrance to the boiler room, his gun pointed at Laura -- Davis next to him, his face averted -- when the lights go off. Black water darkness, except for shafts of moonlight which spill in through two transom windows... DAVIS What the -- YATES Keller. A shadow passes before the north window. Then a sound. Yates squints into the darkness to find it's source. 82A.HIS POV stillness, moonlight, and tilting shadows. 82B.RESUME SCENE as Davis, never losing touch with the wall, cranes closer to Yates. YATES (fever-pitch) C'mon, Danny. Do it. Yates steps back toward the boiler room. Gives a nervous nod to Davis, as he raises the gun to: 82C.LAURA huddled in the darkness, looking away, wimpering 82D.CU - THE GUN and Yates' finger tightening around the trigger - when Vincent's hand FLASHES INTO FRAME, batting the gun away as it fires. 82E.ANGLE - DAVIS he falls, hit. 82F.YATES clutches his wrist, then looks up, completely stunned, as: 82G.VINCENT steps from the shadows. Yates scrambles for his gun, illuminated a few yards away in a puddle of moonlight. He straightens, tries to steady the gun on Vincent's advancing figure, but that hand doesn't work -- so he shifts hands, aims for a second that is shattered forever when Vincent sidesteps, and catches Yates' head with a powerful forehand, and a roar that echoes through the room. 82H.CU - VINCENT'S EYES as they narrow at the sight of Yates' lifeless body splayed on the floor. 82I.RESUME SCENE as Vincent moves to Laura, who now turns to see. Vincent kneels before her, as she wraps her free arm around his neck. As SIRENS begin to wail in the distance, fast approaching, we: FADE OUT FADE IN: 82J.EXT. D.A.'S OFFICE - ESTABLISHING - DAY 83. - 88. omitted 89. INT. D.A.'S OFFICE - CLOSE ON CATHY - DAY drinking from a water fountain. She straightens and turns, when: 90. ANOTHER ANGLE as she nearly bumps into Maxwell. CATHY (startled) Joe -- There's an awkward moment between them. They both want to say something. Maxwell breaks the ice. MAXWELL Look, I'm... (re: her healing bruises) I'm sorry about what happened. I know it's been tough on you, and I didn't make it any easier. CATHY No, you didn't. MAXWELL (taking it on the chin) I let it get personal. I was stubborn -- and I was wrong... CATHY (smiles, extends her hand) Apology accepted. MAXWELL Good. They shake hands. But something disturbing occurs to Cathy. She regards Maxwell a bit apprehensively, as: CATHY Joe. About your father - MAXWELL (overriding; dissmisive) No. I had no right bringing that up when I did. CATHY You had every right. And I'm glad you told me. MAXWELL Yeah... But Maxwell isn't at all comfortable with this kind of intimacy. Reading this, Cathy changes the subject. CATHY Listen: why don't you walk me to Moreno's office? It's time for my weekly status report. Maxwell nods and: 91. MOVING WITH THEM through the busy office. MAXWELL You might be interested to know: Jackson's being released today. CATHY (beat) How'd the interrogation Go this morning? MAXWELL He's glad it's over. The two kilos of cocaine we recovered from Yates' basement came from the Ricardo bust last month -- which both sets of partners were on. CATHY So when Perotta started getting cold feet, Yates killed him and set up Jackson. (beat) Simple enough. MAXWELL Only Yates didn't count on your witness being there. They've come to Moreno's door, before which Cathy pauses. MAXWELL Speaking of which: where on earth did you find that witness? CATHY I didn't (smile; innocent shrug) She found me. With which Cathy pushes open the door, and enters Moreno's office. CUT TO: 92. EXT CATHY'S TERRACE - NIGHT Against the backdrop of the twinkling New York nightscape, Cathy and Vincent talk. VINCENT I don't think Father has reconciled himself... (beat) All he sees... is that he's losing one of his family. CATHY But he wont stop Laura from coming up? VINCENT No... that's not our way. CATHY Where is she now? VINCENT Below... gathering her things for tomorrow. (beat) One of the helpers will meet her, and look after her... until the time comes when she can live on her own. Vincent turns to face the City. Long beat. Then: CATHERINE What she did took great courage. VINCENT Yes... Laura's a remarkable person. She lives by feeling -- everything - deeply. She embraces life. It's how she survives... CATHERINE (sensing) You're worried about her going up into the world. VINCENT (a beat) . . . Laura's strength is her vulnerability. Cathy reflects on her own time of healing in the tunnel world. She steps closer to him. CATHERINE I think she'll be just fine, Vincent. I really do. (beat) She had a good teacher. As Catherine regards Vincent tenderly, his face reflecting the power of Catherine's comforting words, we: DISSOLVE TO: 92A.INT. TUNNELS - DAY Holding a small suitcase tightly in one hand, Laura ascends a long stretch of tunnel. She is a silhouette against the bright light glowing at the tunnel's end. Tall and strong, she continues to walk, and even as she becomes one with the light, she doesn't hesitate or look back... FADE OUT THE END