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Six Degrees Of Separation Movie Script

Writer(s) : John Guare

Genres : Comedy, Drama, Mystery

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                           SIX DEGREES OF SEPARATION


                                  Written by

                                  John Guare



                                                            April 1992                     

                         

                         1

          INT KITTREDGE'S APARTMENT LIVING ROOM DAWN
          JOHN FLANDERS KITTREDGE and LOUISA KITTREDGE ("FLAN" and
          "OUISA") , an attractive couple in their 40s, in their night
          clothes are in an uncharacteristic state of shock.
          Some sort of horrible disaster has happened to them.
          THEY survey their living room which under normal
          circumstances would appear to be a serene haven.
          But why are they-so aghast? And terrified?
          Has the apartment been violated?
          The Fifth Avenue apartment, red and cozy, threadbare with
          the legacy of years of kids and dogs running in and out, is
          filled with beautiful objects chosen with care. Even though
          the apartment is 19th Century in feel, a lot of modern
          paintings hang on the walls.
          No. No visible disaster here.
          But then why FLAN and OUISA's emotional state? THEY run
          between the hall and the living room.

                         OUISA
          Is anything gone?
          OUISA opens the front closet with trepidation. But nothing
          leaps out. SHE sees a mink is still there..

                         FLAW
          How can I look? I'm shaking.

                         OUISA
          My god! The Kandinsky!
          0UISA runs into the living room. SHE can see by the
          discoloration on that wall that a painting is missing.

                         OUISA Y
          It's gone! Call the police!

                         FLAN
          There it is!
          An early abstract painting by Kandinsky leans against a
          Philadelphia Chippendale chair: the painting is wild and
          brilliantly colored.

                         0UISA
          Thank god!
          SHE picks the painting up and flips it around. It's a double
          sided painting. The artist, Kandinsky, had painted in
          different styles on either side of the canvas.

                         

                         

                         

                         

                         2
          One side of the painting is geometric and somber; the other
          side is all chaos and brilliant colors.
          OUISA replaces the framed canvas on the wall where it
          belongs, but the side she chooses to display is the
          geometric side. SHE admires it.
          FLAN opens the door from the hall into

          THE OFFICE.
          A computer. Calendars. File cabinets. Bulletin boards with
          prints of paintings tacked on. FLAN checks - the slide
          projector is there. FLAN opens and closes cabinet drawers.
          OUISA appears in the doorway of the office.

                         OUISA
          We could've been killed.

                         FLAN
          Don't say that. The silver Victorian inkwell!
          FLAN runs past OUISA down the hall back to the living room.
          OUISA follows HIM back into

          THE LIVING ROOM.
          FLAN looks on an antique table crowded with framed family
          photographs going way back in time and all kinds of
          mementoes.

                         OUISA
          How can you think of things? We could have been
          murdered.

                         FLAN
          I want to know if anything's gone?
          HE picks up an ornate Victorian inkwell capped by a silver
          beaver and looks at it with great objectivity..

                         FLAN
          There's the inkwell. Silver beaver. Why?
          OUISA, drained, looks out the window down onto Central Park.

                         OUISA
          Slashed ---our throats slashed.
          Go to bed at night happy and then murdered.
          Would we have-woken up?
          OUISA screams.

                         

                         

                         

                         

                         3
          But it's their pug dog licking her leg.
          OUISA picks up the dog and pets it.
          FLAN remembers something and buries his face in his hands.


                         FLAN
          We have to go to the wedding.

                         OUISA
          I am in no mood to go to any wedding.

                         FLAN
          We have to

                         OUISA
          They're your friends

                         FLAN
          I beg to differ. They're Your fr -
          FLAN stops, frightened suddenly, listening.

                         FLAN
          Hello?
          OUISA runs to HIM, terrified. HE holds HER.

                         OUISA (WHISPERS)
          You don't call out Hello unless--
          THEY walk softly to the dark hall.

                         FLAN
          I think we could tell if someone else was here.

                         OUISA
          We didn't all night.
          THEY look down the silent dark hall.

                         

                         

                         

                         

          INT THE WHITE WALL SOMEWHERE ELSE
          We don't know where we are yet but it's certainly not the
          KITTREDGE'S. The rain drumming outside and the distant
          thunder and the soft cool jazz playing makes the air of this
          room with the white wall, wherever it is, claustrophobic,
          even erotic.
          A YOUNG BLACK MAN whose name is PAUL comes into frame and
          leans against this white wall. Right off, you say this
          YOUNG MAN is a winner.
          PAUL frowns, then smiles. Right into the camera.

                         PAUL

                         (SERIOUS)
          Hello.

                         (FLIRTATIOUS)
          Hello.

                         (QUESTIONING)
          Hello?

                         (SUSPICIOUS)
          Hello...

                         (ELATED)
          Hello!
          Yes.
          Hello.
          SOMEONE OFF SCREEN claps.
          PAUL bows to the OFF SCREEN PRESENCE.

          EXT KITTREDGE'S APARTMENT BUILDING 910 FIFTH AVENUE DAY
          OUISA and FLAN run out of their apartment building, their
          clothes hastily pulled on, their faces swollen with shock.
          THEY run down the side street into

          THE GARAGE.
          Their car is waiting - a Mercedes - FLAN slips the
          attendant a bill. FLAN gets in the driver's seat.
          OUISA gets in the passenger seat.
          FLAN (a statement of fact)
          I'm shaking.

                         OUISA
          Then I'll drive.

                         FLAN
          I have to hang on.

                         

                         

                         

                         

                         5

                         T

                         OUISA
          Let's just get there

          INT THE WHITE WALL
          The Sound of the rain, the jazz, the thunder.

                         PAUL
          Bottle of beer.
          Bottle of beer.
          Bottle of beer.
          AN UNSEEN YOUNG MAN OFF CAMERA speaks - elegant phrasing.

                         VOICE
          Bottle of beer.

                         PAUL
          Bottle- of beer.

                         VOICE
          Very good. You owe me.
          PAUL takes off his shirt. HE's strongly built. HE throws

                         
          the shirt directly into the camera.

          EXT HENRY HUDSON PARKWAY DAY
          FLAN is driving terrifically fast. OUISA puts on a tape.
          MARIA CALLAS sings the death scene from La Traviata.

                         OUISA
          Be care - !
          A CAR veers by. FLAN swerves his car.

                         OUISA
          Let me drive!

                         FLAN (FURIOUS)
          Driving calms me!

                         OUISA
          When you're in one of these moods you do not
          drive well and I do not want to be killed today.

                         FLAN
          We could have been killed last night.

                         OUISA
          Stop saying that!

                         6

          !
          FLAN pulls himself together. HE moves over to the Slow lane.

                         FLAN
          I'm driving slowly. See. Slowly.

                         OUISA
          I went in the room first.
          FLAN looks for signs.

                         FLAN
          Where's the goddam turnoff onto the Taconic?
          A truck veers and almost hits them.

                         OUISA
          You didn't see what I saw!
          FLAN puts on brakes.

                         FLAN
          It's that fucking Maria Callas!
          Turn that damn thing off!

                         
          FLAN snaps off the tape deck.
          THEY resume driving.

                         OUISA
          It's not Maria Callas. It's that truck and you.

                         FLAN
          And last night.
          THE COUNTRYSIDE speeds by.

          EXT ST PETER'S EPISCOPAL CHURCH LITHGOW, NEW YORK DAY
          LOTS OF CARS parked in front of this sweet rural wooden
          chapel near Millbrook, New York.
          THE BRIDE, 20s, gets out of a limo escorted by her FATHER.
          OUISA and FLAN run up to the BRIDE and kiss her.

                         OUISA
          Happy is the bride the sun shines on

                         BRIDE (ALARMED)
          You look horrible!

                         OUISA (BRIGHT)
          No no! Could've been killed. All fine!

                         

                         

                         

                         

                         7

                         

                         FATHER
          What?

                         FLAN
          Wonderful wedding. Wonderful day.
          THEY run into

          THE CHAPEL.
          This.perfect country chapel with a dozen or so rows of pews
          is bedecked with flowers and lit by candles.
          A STRING QUARTET at the side of the little altar plays
          Dvorak's American Quartet.
          THE USHER in morning clothes, greets FLAN and OUISA and
          shows them to their pew.

                         USHER
          Bride's side? Groom's side.

                         FLAN
          Either side. I can't even remember
          how we met them. Why are we here?
           THEY walk down the aisle, heads down.

                         OUISA
          Do not make a scene.
          THEY kneel.

                         FLAN (WHISPER)
          Now I lay me down to sleep - the most
          terrifying words  just think of it -

                         OUISA(WHISPER)
          I pray the Lord my soul to keep-

                         FLAN (WHISPER)
          The nightmare part - If I should
          die before I wake -

                         OUISA(WHISPER)
          If I should die - I pray the Lord
          my soul to take -
          COUPLE IN THE PEW IN FRONT turn. A
          MAN, A WOMAN, strangely not unlike FLAN and OUISA, perhaps A
          few years older, perhaps more nautical as if they'd flown a
          in from Nantucket, are named SANDY and CONNIE.

                         

                         

                         

                         

                         SANDY
          Is anything wrong?

                         OUISA
          We were almost murdered

                         FLAN

                         THROATS SLASHED
          THE PEOPLE in the pew in front gasp.
          FLAN and OUISA are serious.
          THE QUARTET plays The Wedding March.
          EVERYONE stands.
          THE BRIDE and her FATHER walk down the aisle.
          CU OUISA'S FACE lost in thought.
          Bright vivid colors fill the screen. Later we will learn
          they are from a double-sided painting by Kandinsky, which

                         HANGS IN

          THE KITTREDGE'S LIVING ROOM.

                         OUISA (VO)

                         
          Chaos.
          OUISA'S face appears briefly, smiling, then is replaced by
          dark, geometric patterns. The other side of the painting.
          It is lowered to reveal OUISA very serious.

                         OUISA (VO)
          Control.
          (The painting is flipped.)
          Chaos.
          (OUISA smiles. Flips it again. Frowns.)
          Control.

          BACK IN THE CHAPEL
          OUISA, still frowning at her memory, realizes the wedding
          ceremony is over.
          THE BRIDE and the GROOM run up the aisle beaming at EVERYONE
          to the strains of Lohengrin.
          But even THEY slow down when THEY see the state FLAN and
          OUISA are in.

                         GROOM
          Is everything all
          FLAN snaps out of it, putting on his party smile.

                         

                         

                         

                         

                         9

                         FLAN
          We always get this way at weddings.
          THE BRIDE and GROOM resume their run up the aisle.
          It's FLAN and OUISA's turn to leave the pew and go up the
          aisle. SHE is stricken.

                         OUISA
          I do not always get this way at weddings.

                         FLAN
          We're alive.
          THEY walk up the aisle into the foyer of the chapel.
          SHE puts her head into his shoulder.

                         OUISA
          Oh, it was awful awful awful awful.
          Then OUISA and FLAN put on their best smiles as THEY pass
          through a receiving line, finally shaking hands with the

          WEDDING COUPLE.

                         BRIDE

                         
          Did you say you could have been killed?

                         OUISA (MERRY)
          Yes! Only hours ago!

                         FLAN (MERRY)
          But we're here!

                         OUISA
          Wouldn't miss it!
          THE BRIDE and GROOM look after THEM.

          EXT THE MILLBROOK GOLF AND TENNIS CLUB DAY
          A spankingly bright and solid country club in Millbrook New
          York situated on the golf course grounds surrounded by lots
          of tennis courts.

          INT MILLBROOK CLUB DAY
          THE WEDDING GUESTS file into the cheery club, all bright
          white and a shade of cheery green that only country clubs
          seem to find.
          MORE GUESTS than could f it into the CHAPEL are here in the
          club waiting for the Bride and Groom.
          FLAN and OUISA hesitate before going into the ballroom.

                         

                         

                         

                         

                         10
          THEY stop in the small quiet dark clubby BAR.
          THEY sit at a small table, pulling themselves together.
          SANDY and CONNIE (the people from the pew in front of them)
          come up to THEM. A WOMAN who looks like a dormouse is with
          them. SHE is named JULIA.

                         SANDY
          We hate to pry -

                         FLAN
          No no. You're not prying

                         CONNIE
          But what happened -

                         SANDY
          This is our friend Julia

                         FLAN
          Do we know each other?

                         JULIA
          Oh yes through...

                         9 FLAN
          Of course. Haven't seen them in years
          FLAN shakes hands with the new acquaintance.

                         CONNIE
          We're worried for you
          FLAN and OUISA look at each other.

                         OUISA
          Tell them!
          SANDY and CONNIE and JULIA sit down at the small table.

                         FLAN
          We were having a wonderful evening last night.

                         OUISA
          A friend we hadn't seen for many years came by
           for dinner. I don't think you know him -

                         FLAN (PORTENTOUSLY)
          Geoffrey Miller. From South Africa--

                         OUISA
          Don't say it so portentously.

                         

                         

                         

                         

                         11

                         

                         FLAN (BRIGHT)
          Geoffrey from South Africa.

                         OUISA
          Don't be ga-ga.
          (THEY give their orders to THE BARTENDER.)
          Something large.

                         SANDY
          I didn't know Geoffrey was in town.

                         JULIA
          I saw him at Susie Baxter's

                         SANDY
          I wasn't at Susie Baxter's

                         CONNIE
          Sandy forgets he was married to Susie Baxter.
          THE WAITER goes.

                         SAVOY
          That's no reason why she can't
          invite me to a party.
          CONNIE whispers to JULIA, her eyes on FLAN.

                         CONNIE
          He's an art dealer.
          JULIA nods now that's she's remembered.
          FLAN (hears it)
          Private sales. Purchases.
          OUISA leans forward. Somehow the telling calms HER.
          THE CHUMS lean forward.

                         OUISA
          We knew Geoffrey

                         FLAN
          through our children when Geoffrey and his
          family all lived in New York.

                         OUISA
          They've moved back to South Africa.

                         FLAN
          He was here in New York briefly on business
          and asked us to ask him for dinner.

                         

                         

                         

                         

                         12

                         OUISA
          He's King Midas rich. Literally. Gold mines.
          THE WAITER puts down the tray of drinks.

                         FLAN
          Seventy thousand workers in just one gold mine.

                         OUISA
          But he is always short of cash because his
          government won't let its people --

                         FLAN
          Its white people --

                         OUISA
          -- its white people take out any money. So it's
          like taking in a War Baby.

                         (TO WAITER)
          Thank you. That one's mine -
          THEY switch drinks.

                         FLAN
           When he called it was like a bolt from the blue
          as I had a deal coming up and was short by

                         OUISA

                         TWO MILLION
          FLAN puts down his drink.

                         FLAN
          The figure is superfluous
          OUISA turns to CONNIE.

                         OUISA
          I hate when he uses the word "superfluous". I
          mean, we needed two million and we hadn't seen
          Geoffrey in a long time and while Geoffrey might
          not have the price of a dinner he easily might
          have two million dollars.

                         FLAN
          The currents last night were very churny.

                         CUISA
          we weren't sucking up. We like Geoffrey.

                         

                         

                         

                         

                         13

                         FLAN
          It's that awful thing of having truly
          rich folk for friends.

                         OUISA
          Face it. The money does get in the -

                         FLAN
          Only if you let it. The fact of the money
          shouldn't get in-

                         OUISA
          Having a rich friend is like drowning and your
          friend makes life boats. But the friend gets
          very touchy if you say one word: life boat.
          (THE CHUMS laugh.)
          Well, that's two words. We were afraid our
          South African friend might say "You only love me
          for my. life boats?" But we like Geoffrey.

                         CONNIE
          I know who he is now.

                         JULIA
           Lovely man.

                         X

                         SANDY
          Didn't he invite us to visit him?

                         FLAN
          It wasn't a life-threatening evening.

                         OUISA -
          Rich people can do something for you even if
          you're not sure what it is`you want them to do.
          THEY turn at the sound of applause.
          THE BRIDE and GROOM have entered the Country Club and our
          table in the bar looks up as THE WEDDING PARTY passes by for
          a moment rushing past the Bar into the ballroom.
          Off in the ballroom THE SMALL ORCHESTRA strikes up "Just One
          Of Those Things" for the ten thousandth time.
          EVERYONE in the club is applauding and OUR TABLE applauds
          too. OUISA starts to rise.

                         OUISA
          Should we?

                         CONNIE
          Not on your life.
          CONNIE pulls OUISA back down to the table.

                         

                         

                         

                         

                         14

                         
          FLAN signals another round.

                         FLAN
          Hardly a Life Boat evening -
          OUISA sits, enjoying this.

                         OUISA (SING-SONG)
          Portentous.

                         FLAN
          But when Geoffrey called and asked us to take
          him for dinner, he made a sudden pattern in
          life's little tea leaves because who wants to
          go to banks?
          FLAN'S VOICE takes us back to last night

          INT THE KITTREDGE.'S LIVING ROOM NIGHT

                         FLAN (VO)
          Geoffrey called and our tempests settled
          into showers and life was manageable. What
          more can you want?

                         
          GEOFFREY stands up into the frame, an elegant, impeccably
          British South African, more English than the English, ten
          years older than Ouisa and Flan.
          FLAN and OUISA are both dressed very stylishly and nattily
          tonight. But not trendy, not so it shows.
          FLAN was definitely an athlete and he still keeps himself in
          trim. If HE's in the art world, there's nothing arty about
          him.

                         GEOFFREY
          Listen.
          OUISA stops doing what she's doing which is rolling out a
          drink trolley with little hors d'oeuvres on plates.
          FLAN stops doing what he's doing which is checking that a
          slide projector is in place on the desk along side the
          silver beaver inkwell.
          FLAN and OUISA both tense.

                         FLAN
          What's wrong?

                         

                         

                         

                         

                         15

                         GEOFFREY
          It always amazes me when New York is so quiet.
          OUISA and FLAN relax and laugh.

                         OUISA
          With the kids away, we get used to a lower noise
          quotient.
          FLAN pours a drink for GEOFFREY.

                         FLAN
          Geoffrey, you have to move out of
          South Africa. You'll be killed.
          Why do you stay in South Africa?

                         GEOFFREY
          One has to stay there to educate the black
          workers and we'll know we've been successful
          when they kill us.

                         FLAN
          Planning the revolution that will destroy you.

                         
          OUISA sits back on the comfy sofa amazed at the thought.

                         OUISA
          Putting your life on the line.

                         GEOFFREY
          You don't think of it like that.
          I wish you'd come visit.
          OUISA takes her drink and strokes the ears of her dog.

                         OUISA
          But we'd visit you and sit in your gorgeous
          house planning trips into the townships
           demanding to see the poorest of the poor. "Are
           you sure they're the worst off? I mean, we've
           come all this way. We don't want to see people
          just mildly victimized by apartheid. We demand
          shock." It doesn't seem right sitting on the
          East Side talking about revolution.

                         FLAN
          Only small murky cafes for Pepe le Noko here.

                         OUISA
          No. La Passionaria. I will come to
          South Africa and build barricades and
          lean against them, singing.

                         

                         

                         

                         

                         16

                         FLAN
          And the people would follow.

                         OUISA
          "Follow Follow Follow". What's that song?

                         FLAN
          The way Gorbachev cheered on the striking coal
          miners in the Ukraine - yes, you must strike-
          it is your role in history to dismantle this
          system. Russia and Poland - you can't believe
          the developments in the world -
           (HE remembers:) "The Fantasticks" (SINGS:)
          "Follow Follow Follow".

                          OUISA
          China.
          FLAN and OUISA (despair)
          Oh.

                         GEOFFREY
          Oy vay China. As my grandmother would say.
          Our role in history. And we offer ourselves up

                         
          to it.

                         FLAN
          That is your role in history. Not our role.
          OUISA ponders this thought.

                         OUISA
          A role in history. To say that so easily.
          GEOFFREY suddenly gets up and looks through the telescope by
          the window.

                         GEOFFREY'S POV
          GEOFFREY flashes down nine floors into Central Park. HE
          frowns in puzzlement when HE sees

          A STATUE OF AN ALASKAN HUSKY
          baying up into the sky.
          FLAN and OUISA look at GEOFFREY's back and then at each
          other. How to keep the ball rolling?
          FLAN (to Geoffrey)
          Do you want another drink before we--

                         

                         

                         

                         

                         17

                         
          GEOFFREY turns into the room.

                         GEOFFREY
          Wonderful view.

                         OUISA
          The phrase - striking coal miners - I see all
           these very striking coal miners modelling the
          fall fashions.

                         GEOFFREY
          Where should we?

                         FLAN
          There's good Szechuan. And Hunan.

                         OUISA
          The sign painter screwed up the sign. Instead
          of The Hunan Wok, he painted The Human Wok.

                         GEOFFREY
          God! The restaurants! New York has become the
          Florence of the Sixteenth Century. Genius on
          every corner.

                         OUISA
          I don't think genius has kissed the Human Wok.
          THEY finish off their drinks.

                         GEOFFREY
          The new Italian looked cheery.
          FLAN and OUISA
          Good.

                         FLAN
          We made reservations.
          FLAN looks at the slide projector.

                         FLAN
          Geoffrey, I'd like to show -
          FLAN'S sentence hangs in mid-air as GEOFFREY follows OUISA

                         INTO

          THE HALL.
          OUISA burrows in the closet getting her coat and
          GEOFFREY's coat out of the hall closet stuffed with tennis
          rackets and skis and boots.

                         

                         

                         

                         

                         18

                         

                         OUISA
          This restaurant - they wrap ravioli up
          like salt water taffy.
          FLAN appears behind HER to help HER.
          THEY both wrestle the coats out of the closet.

                         FLAN
          Six on a plate for a few hundred dollars.
          And FLAN gets the coats. A clatter of tennis rackets
          falling. GEOFFREY takes his topcoat.

                         GEOFFREY
          You have to come to South Africa so
          I can pay you back. I'll take you on my plane
          into the Okavango Swamps -

                         OUISA
          Did you hear - to take back to Johannesburg.
          out in Eastharpton

                         FLAN

                         LAST WEEKEND

                         OUISA
          a guy goes into one of the better food stores -

                         FLAN
          Dean and DeLuca -
          FLAN helps OUISA on with her coat.

                         OUISA
          one of the Dean and DeLuca look alikes. Gets a
          pack of cigarettes and an ice cream bar. Goes
          up front. Sees there's a line at the register.
          Slaps down two twenty dollar bills and goes out.
          GEOFFREY doesn't get the anecdote.

                         FLAN
          We sent it to the Times.
          GEOFFREY smiles politely.
          FLAN and OUISA press a little bit too hard.

                         OUISA
          They have the joke page of things
          around New York.

                         IV

                         

                         

                         

                         

                         19

                         

                         FLAN
          They send you a bottle of champagne.
          THEY all laugh brightly.

          INT MILLBROOK CLUB BAR
          THE CHUMS listen enrapt. OUISA is serious.

                         OUISA
          We weren't auditioning but I kept thinking Two
          Million dollars Two Million dollars.

                         FLAN
          It's like when people say -Don't think about
          elephants' and all you can think about is
          elephants elephants elephants.

                         OUISA
          Two million dollars Two million dollars.

          BACK IN THE KITTREDGE'S LIVING ROOM
           OUISA and FLAN laugh brightly. THE FRONT DOORBELL rings.
           OUISA and FLAN look at each other. Who is that?
          OUISA goes into the hall.

                         OUISA
          What ever you do, don't think about elephants.

                         GEOFFREY
          Elephants?
          FLAN rapidly steers GEOFFREY to a chair, closes the living
          room door, then wheels a projector with a carousel tray into
          place.

                         FLAN
          Louisa is a dada manifesto. About the Cezanne -
          unless we're careful, it'll be sold and never
          seen again -
          FLAN switches off the room's lights and clicks on the
          projector. The slide projection of a beautiful green
          landscape by Cezanne fills the wall by the door.

                         

                         

                         

                         

                         20

                         0

                         FLAN
          Mid-period. Landscape of a dark green forest.
          In the far distance you see the sunlight. One
          of his first uses of a pale color being forced
          to carry the weight of the picture. The
          experiment that would pay of f in the apples. A
          burst of color asked to carry so much-- The
          Japanese don't like anything about it except
          it's a Cezanne--
          And suddenly the door in the wall opens up.
          A YOUNG BLACK MAN supported by the ELEVATOR MAN, (EDDIE)
          appears in the Cezanne forest holding his eyes against the
          projector's light. And OUISA behind HIM.
          FLAN clicks off the projector.
          OUISA switches on the living room lights.
          THE YOUNG BLACK MAN - PAUL - is in his early twenties, very
          handsome, very preppy. His shirt front is ripped and
          bloodied. Fresh blood. EDDIE helps PAUL to the sofa,
          OUISA following at a loss.

                          PAUL
           I'm so sorry to bother you, but I've been hurt-
           and I've lost everything and I didn't know where
           to go. Your children-- I'm a friend of --

          MILLBROOK CLUB BAR
          THE CHUMS are transfixed.

                         OUISA
          And he mentioned our childrens' names.

                         FLAN
          And the school where they went.

                         OUISA
          Harvard. You can say Harvard.

                         FLAN
          We don't want to get into libel.

          BACK IN THE KITTREDGE'S LIVING ROOM
          PAUL (exhausted and scared)
          I was mugged. Out there. In Central Park. By
          the statue of that Alaskan husky. I was
          standing there trying to figure out why there is
          a statue of a dog who saved lives in the Yukon
          in Central 'Park and I was standing there trying
          to puzzle it out when -

                         

                         

                         

                         

                         21

                         

                         OUISA
          Are you okay?

                         PAUL
          They took my money and my brief case. I said my
          thesis is in there -
          PAUL looks down. HE sees the blood seeping through his
          shirt.

                         FLAN
          His shirt's bleeding.

                         OUISA
          His shirt is not bleeding. He's bleeding.
          PAUL holds his mouth, nauseous.

                         PAUL
          I get this way around blood.
          FLAN (leading PAUL out of the room)
          Not on the rug. Eddie, get the doctor--
           EDDIE turns to leave.

                          PAUL
           No! I'll survive. Please. No doctors -
           PAUL, frightened, looks at FLAN.
           FLAN (To EDDIE)
           We'll call if we need any -
          FLAN helps PAUL out of the room down the hall.

                         OUISA
          Thank you, Eddie -
          EDDIE goes.
          FLAN, followed by OUISA, supports PAUL into

          THE WHITE TILED BATHROOM.
          PAUL sits on the side of the tub.
          PAUL takes off his blazer and pulls off his ripped shirt.
          His tie is still around his neck. There is a good sized
           knife slash in his side by his rib cage. OUISA and FLAN
          cringe. FLAN opens the medicine cabinet.

                         

                         

                         

                         

                         22

                         PAUL
          I don't mind the money. But in this age of
          mechanical reproduction they managed to get the
          only copy of my thesis.

                         FLAN
          Where's the first aid book!
          OUISA runs into their bedroom.
          PAUL looks out the bathroom door into FLAN and OUISA'S
          bedroom. PAUL watches OUISA as she goes into

          THE MASTER BEDROOM.
          OUISA rummages through her book case and finds her Red
          Cross manual. OUISA turns and sees PAUL sitting on the edge
          of the tub staring at HER.
          FLAN is crouched down, bathing PAUL'S slash.

          MILLBROOK CLUB BAR
          OUISA is moved by these events.

                         OUISA
           We bathed him. We did First Aid.

          BACK IN THE KITTREDGE'S BATHROOM
          OUISA reads from the manual.

                         OUISA
          The Red Cross advises: Press edges of the wound
          firmly together, wash area with water-

                         FLAN
          Yes! I'm doing that - Hold on
          FLAN daubs on mercurochrome.

                         PAUL
          Owww!

                         FLAN
          Hold still! Ouisa! I need gauze!
          GEOFFREY pokes his head in the bathroom.

                         GEOFFREY (LEAVING)
          It's been wonderful seeing you--

                         

                         

                         

                         

                         23

                         
          OUISA (firm but cheery)
          No no no! Stay!

                         GEOFFREY
          My time is so short. Before I leave America, I
          really should call -

                         OUISA
          You darling old poop -

                         FLAN
          Have you seen the new book on Cezanne?

                         GEOFFREY

                         NO

                         OUISA
          An absolute revelation - this'll only take a mo-
          OUISA rushes out of the bathroom after GEOFFREY.

                         FLAN
          I need the gauze

          MILLBROOK CLUB BAR

                         OUISA
          I ran down the hall to get the book on Cezanne,
          got the gauze from my bathroom--

          BACK AT THE KITTREDGE'S
          We watch a flustered OUSIA dart about as she describes--

                         OUISA (VO)
          Gave the Cezanne to Flan who wanted the gauze,
          gave the gauze to Geoffrey who wanted Cezanne.
          OUISA mutters under her breath as she dashes down

          THE HALL.

                         OUISA
          two million dollars two million dollars

                         AND INTO

          THE LIVING ROOM

                         

                         

                         

                         

                         24

                         0
          GEOFFREY stares at the gauze he's just been handed.

                         FLAK'S VOICE
          ouisa?
          OUISA grabs the gauze out of GEOFFREY's hand.
          SHE runs back down the HALL.

          MILLBROOK CLUB BAR

                         OUISA
          Two million dollars two million dollars--

          BACK IN THE KITTREDGE'S BATHROOM
          FLAN finishes bandaging PAUL's wound.
          OUISA goes into

          HER SON'S BEDROOM.,
          SHE takes a pink shirt from the bureau.

          THE MASTER BEDROOM
          PAUL puts on the pink shirt and looks at HIMSELF in the
          mirror.

                         FLAN
          He's going to be fine.
          GEOFFREY appears in the door with the book on Cezanne.

                         GEOFFREY
          Lovely book.
          FLAN looks stricken.

                         OUISA
          Please? Stay?
          GEOFFREY pauses.

                         GEOFFREY
          Agreed.
          FLAN beams.

          MILLBROOK CLUB BAR

                         OUISA
          And peace was restored.

                         

                         

                         

                         

                         25

                         

          BACK IN THE MASTER BEDROOM
          FLAN holds out PAUL's blazer. PAUL winces as HE lifts his
          arms to put it on.

                         PAUL
          Your children said you were kind. All the kids
          were sitting around the dorm one night dishing
          the- shit out of their parents. But your kids
          were silent and said No, not our parents. Not
          Flan and Ouisa. Not the Kittredges. The
          Kittredges are kind. So after the muggers left,
          I looked up and saw these Fifth Avenue
          apartments. Mrs. Onassis lives there. I know
          the Babcocks live over there. The Auchinclosses
          live there. But you lived here. I came here.
          OUISA, so touched, turns to FLAN and GEOFFREY.

                         OUISA
          Can you believe what the kids said?
          PAUL looks at the framed photos on wall of

          0 THE HALL.

                          PAUL
           But your kids - I love them. Talbot and Woody
           mean the world to me.

                         FLAN
          He lets you call him Woody? Nobody's
          called him Woody in years.
          THEY come into

          THE LIVING ROOM.
          PAUL looks around happily. HE goes to the wall by the
          mantlepiece and looks at a dark abstract painting.

                         PAUL
           They described this apartment in detail. This
          is a Kandinsky! - a double. One painted on
          either side. May I see - ?
          OUISA lifts the painting off the wall and turns it around.
          Even GEOFFREY is taken by the painting.

                         

                         

                         

                         

                         0 26

                         FLAN
          What makes it valuable is Kandinsky painted on
          either side of the canvas in two wildly
          different styles. One side is geometric and
          somr=r. The other side is wild and vivid.

                         GEOFFREY
          My god!

                         FLAN
          We flip it around for variety.
          OUISA happily turns the painting back and forth to show off
          its two sides. The SCREEN is filled with the bright colors
          then the dark colors.

                         OUISA
          You like? You like? Chaos? Control?
          Chaos? Control?
          SHE puts on a goofy happy face for the chaotic side and a
          dopey tragic face for the geometric. Yes. We've been here
          before, through OUISA's memory, at the wedding.

                         PAUL
          It's wonderful.
          OUISA leans the painting against a chair, the chaotic side
          showing.

          MILLBROOK CLUB BAR
          FLAN turns to JULIA.

                         FLAN
          Wassily Kandinsky. Born 1866 Moscow. Blue
          Rider Exhibition 1914. He said "It is clear
          that the choice of object that is one of the
          elements in the harmony of form must be decided
          only by a corresponding vibration in the human
          soul". (very spiritual) Died 1944 France.
          JULIA nods. Ah yes.

          BACK IN THE KITTREDGE'S LIVING ROOM
          PAUL looks around the apartment, so cozy, warm.

                         PAUL
          It's the way they said it would be.

                         

                         

                         

                         

                         27

                         

          MILLBROOK CLUB BAR

                         OUISA
          Geoffrey had been silent up to now.

          BACK IN THE KITTREDGE'S LIVING ROOM

                         GEOFFREY
          Did you bitch your parents?

                         PAUL
          As a matter of fact. No. Your kids and I...we
          both liked our parents... loved our--Look, am I
          getting in the way? I burst in here,
          hysterical. Blood. I didn't mean to---
          FLAN and OUISA
          No!

                         OUISA
          Tell us about our children.

          MILLBROOK CLUB BAR
          FLAN (to JULIA)
          Three. Two at Harvard. Another girl at Groton.

          BACK IN THE KITTREDGE'S LIVING ROOM

                         OUISA
          How Harvard?

                         PAUL
          Well, fine. It's just there. Everyone's in a
          constant state of luxurious despair and constant
          discovery and paralysis.

          MILLBROOK CLUB BAR

                         OUISA
          We asked him where home was

                         FLAN
          Out West, he said.

          BACK IN THE KITTREDGE'S LIVING ROOM

                         PAUL
          Although I've lived all over. My folks are
          divorced. He's remarried. He's doing a movie.

                         

                         

                         

                         

                         28

                         

                         OUISA
          He's in the movies?

                         PAUL
          He's directing this one but he does act.

                         FLAN
          What's he directing?

                         PAUL
          Cats.

                         OUISA
          Someone is directing a film of Cats?

                         FLAN
          Don't be snooty.

                         PAUL
          You've'seen it? T.S. Eliot--

                         FLAN
          Well, yes. Years ago.

                         OUISA
          A benefit for some disease or school---

                         FLAN
          Surely they can't make the movie of Cats.

                         OUISA
          Of course they can.

                         PAUL
          They're going to try. My father'll be here

                         AUDITIONING-

                         OUISA
          Cats?

                         PAUL
          He's going to use people.

                         OUISA
          What a courageous stand!

                         PAUL
          They thought of lots of ways to go. Animation.

                         FLAN
          Animation would be nice.

                         

                         

                         

                         

                         29

                         PAUL
          But he found a better way. As a matter of fact,
          he turned it down at first. He went to tell
          the producers - as a courtesy - all the reasons
          why you couldn't make a movie of Cats and in
          going through all the reasons why you couldn't
          make a movie of Cats, he suddenly saw how you
          could make a movie of Cats --

                         OUISA
          Eureka in the bathtub. How wonderful.

                         FLAN
          May we ask who --

          MILLBROOK CLUB BAR
          Can it be possible? A FEW MORE GUESTS have joined the table.

                         OUISA
           And it was here we pulled up - ever so
          slightly - pulled up closer--

                         FLAN
          And he told us.

                         OUISA
          He named the greatest black star in movies.

                         SIDNEY -

                         FLAN
          Don't say it. We're trying to keep this
          abstract. Plus libel laws.

                         OUISA
          Sidney Poitiers There. I don't care. We have
          to have truth. He started out as a lawyer and
          is terrified of libel. I'm not.

                         

                         

                         

                         

                         30

                         

          INT THE WHITE WALL
          PAUL, leaning against the wall, talks with great vivacity to
          that OFF SCREEN PRESENCE who is the POV of the camera.

                         PAUL
          Sidney Poitier, the future Jackie Robinson of
          films, was born the twenty fourth of February
          1927 in Miami during a visit his parents made to
          Florida - legally? -to sell tomatoes they had
          grown on their farm in the Bahamas. He grew up
          on Cat Island, "so poor they didn't even own
          dirt" he has said. Neglected by his family, my
          father would sit on the shore, and, as he told
          me many times, "conjure up the kind of worlds
          that were on the other side and what I'd do in
           them." He arrived in New York City from the
           Bahamas in the winter of 1943 at age fifteen and
           a half and lived in the pay toilet of the bus
           station across from the old Madison Square
           Garden at Fiftieth and Eighth Avenue. He moved
           to the roof of the Brill building, commonly
           known as Tin Pan Alley. Washed dishes at the
           Turf restaurant for $4.11 a night. He taught
          0 himself to read by reading the newspaper. In the
           Black newspaper, the theater page was opposite
           the Want Ad page. Among his 42 films are No Way
           Out 1950/ Cry the Beloved Country 1952/
           Blackboard Jungle 1955/ The Defiant Ones 1958/
           Raisin in the Sun 1961/ Lilies of the Field
           1963/ In the Heat of the Night 1967/ To Sir With
           Love 1967/ Shoot to Kill 1988 and, of course,

           PAUSE. (THE OFF SCREEN VOICE JOINS HIM)
          Guess Who's Coming To Dinner.

                         PAUL (LAUGHS)
          He won the Oscar for Lilies of the Field and
          was twice named top male box-office star in
          the country. My father made no films from 1977
          to 1987 but worked as director and author. Dad
          said to me once "I still don't fully understand
          how all that came about in the sequence it came
          about".
          And we hear the OFF SCREEN PRESENCE applauding.
          PAUL bows, happily.
          HE kicks his shoe off into the camera.

                         

                         

                         

                         

                         31

                         

          BACK IN THE KITTREDGE'S LIVING ROOM

                         PAUL
          Dad's not in till tomorrow at the Sherry. I
          came down from Cambridge. Thought I'd stay at
          some fleabag for adventure. Orwell. Down and
          Out. I really don't know New York. I know Rome
          and Paris and Los Angeles a lot better.

                         OUISA
          We're-going out to dinner. You'll come.

                         PAUL
          Out to dinner?

                         FLAN
          Out to dinner.

                         PAUL
          But why go out to dinner?

                         OUISA
          Because we have reservations and oh my god'what
          time is it? Have we lost the reservations and
           we don't have a damn thing in the house and it's
          Sixteenth century Florence and there's genius on
          every block.

                         GEOFFREY
          Don't mock.
          SHE kisses GEOFFREY.

                         PAUL
          You must have something in the fridge.

                         FLAN
          A frozen steak from the Ice Age.

                         PAUL
          Why spend a hundred dollars on a bowl of rice?
          Let me into the kitchen. Cooking calms me. What
          I'd like to do is calm down, pay back your kids-

          MILLBROOK CLUB BAR

                         OUISA
          He mentioned our kids names--

                         

                         

                         

                         

                         32

                         
          FLAN turns to a NEWCOMER.

                         FLAN
          Two. Two at Harvard. A daughter at Groton.

          BACK IN THE KITTREDGE'S LIVING ROOM

                         PAUL
          - who've been wonderful to me.

                         OUISA
          They've never mentioned you.

                         FLAN
          What are they supposed to say? We've become
          friends with the son of Sidney Poitier, barrier
          breaker of the fifties and sixties?

                         GEOFFREY
          Your father means a great deal in South Africa.

          MILLBROOK CLUB BAR

                         OUISA
          Even Geoffrey was touched.

          BACK IN THE KITTREDGE'S LIVING ROOM

                         PAUL
          I'm glad of that. Dad and I went to Russia once
          to a film festival and he was truly amazed how
          much his presence meant -

                         OUISA
          Oh no! Tell us stories of movie stars tying up
          their children and being cruel.

                         PAUL
          I wish.

                         GEOFFREY
          You wish?

                         PAUL
          If I wanted to write a book about him. I really
          can't. No one would want to read it. He's
          decent. I admire him.

                         OUISA
          He's married to an actress who was in one of--
          she's white? Am I right?

                         

                         

                         

                         

                         33

                         
          PAUL (painful territory)
          That is not my mother. That is his
          second wife. He met Joanna making
          "The Lost Man". He left my mother
          who had stuck by him in the lean years.
          X had just been born. "The Lost Man"
          is the only film of my father's I can't
          bring myself to see.

                         OUISA
           Oh, I'm sorry. We didn't mean to -

                          PAUL (BRIGHT)
          No! We're all good friends now. . His kids from
          that marriage. Us - the old kids. I'd love to
          get in that kitchen.
          FLAN (to Ouisa)
          What should we do?

                         OUISA
          It's Geoffrey's only night in New York.

                         GEOFFREY
           I vote - stay in.
          OUISA, FLAN and PAUL
          Good!

          MILLBROOK CLUB BAR

                         OUISA
          We moved.into the kitchen.

          BACK IN THE KITTREDGE'S KITCHEN
          THE KITCHEN is large, was built in the 205 when people had
          big dinners at home.
          PAUL opens the refrigerators and freezers.
          PAUL'S actions are synchronous with the words.

                         FLAN (VO)
          We watched him cook.

                         OUISA (VO)
          We watched him cook and chop.

                         FLAN (VO)
          He sort of did wizardry

                         OUISA (VO)
          An old jar of sun dried tomatoes--

                         

                         

                         

                         

                         34

           FLAN (VO)
           Left avers - tuna fish - olives - onions -
          It's all dazzling and rapid. FLAN opens the wine. OUISA
          takes dishes and silver out and hands them to GEOFFREY.
          EVERYONE is in a picnic spirit. PAUL fills a large pot with
          water from the tap.
          PAUL (to Geoffrey)

                         YOU'RE FROM

                         GEOFFREY
          Johannesburg.
          PAUSE. PAUL Studies GEOFFREY. OUISA and FLAN freeze.
          Is it a tense moment?
          PAUL takes a breath. PAUL puts the water on the fire, eyes
          never off GEOFFREY. Then PAUL resumes chopping onions
          briskly and dropping them into the frying pan.

                         PAUL
          My dad took me to a movie shot in South Africa.
          The camera moved from this vile rioting in the

                         
          streets to a villa where people picked at lunch
          on a terrace, the only riot the flowers and the
          birds-- gorgeous plumage and petals. And I
          didn't understand. And Dad said to me "You meet
          these young blacks who are having a terrible
          time. They've had a totally inadequate
          education and yet in '76 - the year of the
          Soweto riots - they took on a tremendous
          political responsibility. It just makes you
          wonder at the maturity that is in them."
          PAUL opens a cabinet and takes out a Haitian candelabra that
          obviously hasn't been used since it was brought home as a
          souvenir. PAUL dusts it off.

                         PAUL
          it makes you realize that the 'crummy childhood'
          theory, that everything can be blamed in a
          Freudian fashion on the fact that you've had a
          bad upbringing, just doesn't hold water. May I?

                         FLAN
          Oh, please.
          PAUL pours a brandy.

                         

                         

                         

                         

                         35

                         

                         GEOFFREY
          What about being black in America?
          PAUL scoops a melange of vegetables into a glass dish and
          puts it in the microwave.

                         PAUL
          My problem is I've never felt American.
          I grew up in Switzerland. Boarding school.
          Villa Rosey.

                         OUISA
          There is a boarding school in Switzerland that
          takes you at age eighteen months.

                         PAUL
          That's not me. I've never felt people liked me
          for my connections. Movie star kid problems.
          None of those.
          THE WATER boils. HE dumps in pasta.
          The microwave timer goes off. PAUL removes the glass dish.

                         PAUL
          But I never knew I was black in that racist way
          0 till I was sixteen and came back here. Very
          protected. White servants. After the divorce we
          moved to Switzerland. My mother, brother and Z.
          I don't feel American. I don't even feel black.
          I suppose that's very lucky for me even though
          Freud says there's no such thing as luck. Just
          what you make.
          PAUL takes the pasta off the boil and drains it, plopping
          the pasta into a brightly colored bowl.
          OUISA, FLAN and GEOFFREY sit at the counter, transfixed.

                         OUISA
          Does Freud say that?
          PAUL holds out three dishes heaped with food.

                         PAUL
          Here's dinner. All ready.

                         OUISA
          Shall we move into the dining room?
          OUISA opens double doors leading into

          THE DINING ROOM.

                         

                         

                         

                         

                         36
          This room has not been in use for a while.
          The overhead chandelier is very bright and harsh.
          A sewing machine is in the corner there.
          Bookkeeping items at one end of the long table.
          Nineteenth century Victorian mythological paintings hang.on
          the walls. FLAN adjusts the rheostat to dim the lights in
          the chandelier.

                         OUISA
          Don't look at the sewing machine.
          FLAN sweeps the bill things off the table onto a chair.
          OUISA opens the sideboard and takes out four linen place
          mats and silverware and quickly sets the table.
          PAUL takes out matches and lights the Haitian card"e'Yabra.
          FLAN runs into the living room and returns with a vase of
          flowers.
          THEY smile at the appearance of the sudden party in this
          wonderful room.
          THEY sit down. THEY eat. Surprise. It's delicious.

                          PAUL
          Is everything okay?
          FLAN, OUISA and GEOFFREY
          Mmrmmm .. yes.

                         GEOFFREY
          This is the best pasta I've ever -

                         OUISA
          The best!

                         PAUL
          My father insisted we learn to cook.

                         FLAN
          Isn't he from Jamaica? There's a taste of--

                         GEOFFREY
          The islands.

                         PAUL
          Yes. Before he made it, he ran four restaurants
          in Harlem. You have good buds!

                         GEOFFREY
          See? Good buds. I've never been
          complimented on my buds-

                         R

                         FLAN
          I am astonished!

                         

                         

                         

                         

                         

                         37
          PAUL leans back and watches them happily.

                         OUISA
          Where's yours?

                         PAUL
          The cook never eats.

                         FLAN
          The more for us!
          THEY all laugh.
          PAUL leaves the room abruptly.
          FLAN, OUISA and GEOFFREY look at each other.
          FLAN stands.

                         FLAN
          Hello?
          PAUL returns with the rest of the real in brightly painted
          bowls.

                         

                         PAUL
          Seconds?
          THEY laugh and are served.

                         OUISA
          Have you declared your major yet?

                         PAUL
          You're like all parents. What's your major?

                         FLAN
          Geoffrey, Harvard has all those great titles the
          students give courses.

                         OUISA
          The Holocaust and Ethics?

                         FLAN
          Krauts and Doubts.

                         OUISA
          I think we're lucky having this dinner. Isn't
          this the finest time? A toast to you.

                         GEOFFREY
          To Cats!

                         FLAN
          Blunt question. What's he like?

                         

                         

                         

                         

                         38
          OUISA reaches for the bottle of wine.

                         OUISA
          Let's not be star fuckers.

                         FLAN
          I'm not a star fucker.

                         PAUL
          My father, being an actor, has no real identity.
          You say to him, Pop, what's new? And he says,
          'I got an interesting script today. I was asked
          to play a lumberjack up in the Yukon. Now, I've
          been trained as a Preacher, but my church fell
          apart. My wife says we have to get mbney to get
          through this winter. And I sign up as part of
          this team where all my beliefs are challenged.
          But I hold firm. In spite of prejudice because
          I want to get back to my wife. Out of this
          forest,back to the church... .' And my father is
          in tears and I say Pop, this i:. not a real
           event, this is some script that was sent to
          you. And my father says ' I' m trying it out to
          see how it fits on me.' But he has no life--he
          has no memory--only the scripts producers send
          him in the mail through his agents. That's his
          past.

          MILLBROOK CLUB BAR
          Can it be? The CROWD listening to FLAN and OUISA is even
          larger.

                         OUISA
          I just loved the kid so much. I wanted to reach
          out to him.

                         FLAN
          And then we asked him what his thesis was on.

          BACK IN THE KITTREDGE'S DINING ROOM

                         GEOFFREY
          The one that was stolen. Please?

                         

                         

                         

                         

                         39

                         PAUL
          Well...
          (HE takes a deep breath and leans back in

                         HIS CHAIR)
          A substitute teacher out on Long Island was
          dropped from his job for fighting with a
          student. A few weeks later, the teacher
          returned to the classroom, shot the student
          unsuccessfully, held the class hostage and then
          shot himself. Successfully. This fact caught my
          eye: last sentence. Times. A neighbor
          described the teacher as a nice boy. Always
          reading Catcher In the Rye.
          The nitwit - Chapman - who shot John Lennon said
          he did it because he wanted to-`draw the
          attention of the world to Catcher In the Rye and
          the reading of that book would be his defense.
          And young Hinckley, the whiz kid who shot Reagan
          and his press secretary said if you want my
          defense all you have to do is read catcher in
          the Rye. It seemed to be time to read it again.

                         FLAN
          I haven't read it in years.
          OUISA shushes FLAN.

                         PAUL
          I borrowed a copy from a young friend of mine
          because I wanted to see what she had underlined
          and I read this book to find out why this
          touching, beautiful, sensitive story published
          in July 1951 had turned into this manifesto of
          hate.
          I started reading. : It's exactly as I
          remembered. Everybody's a phoney. Page two: "My
          brother's in Hollywood being a prostitute."
          Page three: "what a phony slob his father was."
          Page nine: "People never notice anything."
          Then on page twenty two my hair stood up.
          Remember Holden Caulfield--the definitive
          sensitive youth--wearing his red hunter's cap.
          "A deer Hunter hat? Like hell it is. I sort of
          closed one eye like I was taking aim at it.
          This is a people shooting hat. I shoot people
          in this hat."

                         

                         

                         

                         

                         40

                         

                         PAUL (CONTINUES)
          Hmmm, I said. This book is preparing people for
          bigger moments in their lives than I ever
          dreamed of.
          Then on p. 89 "I'd rather push a guy out the
           window or chop his head off with an ax than sock
          him in the jaw. I hate fist fights...what
          scares me most is the other guy's face..."
          I finished the book. It's a touching story,
          comic because the boy wants to do so much and
          can't do anything. Hates all phoniness and only
          lies to others. Wants everyone to like him, is
          only hateful, and is completely self involved.
          In other words, a pretty accurate picture of a
          male adolescent.
          FLAN, OUISA, .GEOFFREY are transfixed.
           And what alarms me about that book--not the book
           so much as the aura about it--is this: the book
           is primarily about paralysis. The boy can't
           function. And at the end before he can run
          away and start a new life, it starts to rain and
          he folds. Now there's nothing wrong in writing
          about emotional and intellectual paralysis. It
          may indeed thanks to Chekhov and Samuel Beckett
          be the great modern theme.
          The extraordinary last lines of Waiting For
          Godot--"Let's go." "Yes, let's go." Stage
          directions: They do not move.
          But the aura around this book of Salinger's--
          which perhaps should be read by everyone ut
          young men---is this: It mirrors like a fun
          house mirror and amplifies like a distorted
          speaker one of the great tragedies of our times-
          --the death of the imagination.
          Because what else is paralysis?
          The CAMERA moves closer and closer in on PAUL.

                         

                         

                         

                         

                         42

                         PAUL (CONTINUES)
          The imagination has been so debased that
          imagination--being imaginative-- rather than
          being the lynch pin of our existence now stands
          as a synonym for something outside ourselves
          like Science fiction or some new use for
          tangerine slices on raw pork chops---what an
          imaginative summer recipe--and Star wars! So
          imaginative and Star Trek--so imaginative! And
          Lord of the Rings--all those dwarves--so

                         IMAGINATIVE---
          The imagination has moved out of the realm of
          being our link, our most personal link, with our
          inner lives and the world outside that world--
          this world we share--what is schizophrenia but a
          horrifying state where what's in here doesn't
          match up with what's out there?
          Why has imagination become a synonym for style?
          I believe that the imagination is the passport
          we create to take us into the real world.
          I believe the imagination is another phrase for
          what is most uniquely Is.

                         
          Jung says the greatest sin is to be unconscious.
          Our boy Holden says "what scares me most is the
          other guy's face--it wouldn't be so bad if you
          could both be blindfolded"--most of the time the
          faces we face are not the other guys' but our
          own faces. And it's the worst kind of
          yellowness to be so scared of yourself you put
          blindfolds on rather than deal with yourself.
          To face ourselves.
          That's the hard thing.
          The imagination.
          That's God's gift to make the act of self-
          examination bearable.

          PAUSE.
          FLAN, GEOFFREY, OUISA are very moved.

                         OUISA
          Well, indeed.

                         FLAN
          I hope your muggers read every word.

                         

                         

                         

                         

                         42
          OUISA (chiding FLAN)

                         DARLING

                         GEOFFREY
          I'm going to buy a copy of Catcher i. the Rye at
          the airport and read it.

                         OUISA
          Cover to cover

                         PAUL
          I'll test you. I should be going.
          PAUL starts to go. THEY follow.
          THE DINING ROOM opens into

          THE LIVING ROOM.

                         FLAN
          Where will you stay?

                         OUISA
          Not some flea bag.

                         PAUL
           I get into the Sherry tomorrow morning. It's not
          so far off. I can walk around. I don't think
          they'll mug me twice in one evening.
          FLAN and OUISA take's PAUL's by the arm and leads him down
          the hall into

          THEIR DAUGHTER'S BEDROOM.

                         OUISA
          You'll stay here tonight.

                         PAUL
          No! I have to be at the hotel at seven AM sharp!

                         OUISA
          We'll get you up.

                         PAUL
          or Dad will have a fit.

                         QUISA
          Up at six fifteen which is any moment now and we
          have that wedding in Millbrook-
          OUISA pulls back the covers on the bed and puts the dolls on
          the floor.

                         

                         

                         

                         

                         4 3

                         

                         FLAN
          There's an alarm by the bed

                         OUISA
          Your feet might hang out over the end

                         PAUL
          If it's any problem--

                         FLAN
          It's only a problem if you leave.
          PAUL takes the alarm and sets the time.

                          PAUL
          Six fifteen? I'll tip toe out.

                         FLAN
          And we want to be in Cats.

                         OUISA

                         FLAN:

                         PAUL
          It's done.
          THEY shake hands.

                         GEOFFREY
          I'll fly back. With my wife.

                         OUISA
          Pushy. Both of you.
          PAUL sits on the bed, testing it.

                         PAUL
          He's not. Dad said I could be in
          charge of the extras. You'd just
          be extras. That's all I can promise.

                         FLAK
          In cat suits?

                         PAUL
          No. You can be humans.

                         FLAN
          That's very important. It has to be in our
          contracts. We are humans.

                         

                         

                         

                         

                         44

                         
          THEY all return down

          THE HALL.

                         GEOFFREY
          We haven't got any business done tonight.

                         FLAN
          Forget it. It was only an evening at home.

                         OUISA
          Whatever you do, don't think about elephants.
          GEOFFREY puts on his overcoat.

                         PAUL
          Did I intrude?
          FLAN and OUISA
          No!

                         PAUL
          I'm sorry - Oh Christ -
          GEOFFREY (to Flan)

                         0
          There's all ways of doing business. Flanders,
          walk me to the elevator.

                         OUISA
          Love to Diana.
          OUISA kisses GEOFFREY on the cheek.

          MILLBROOK CLUB BAR
          It seems the BRIDE and GROOM have joined the people
          listening to FLAN and OUISA's tale.

                         OUISA
          We embraced. And Flan and Geoffrey left -

          BACK IN THE KITTREDGE'S HALL
          FLAN walks GEOFFREY to the elevator, leaving OUISA and PAUL
          alone. PAUL and OUISA look at each other. Then PAUL breaks
          the moment and goes to

          THE DINING ROOM.

                         _ PAUL
          Let me clean up -

                         

                         

                         

                         

                         45
          OUISA follows.

                         OUISA
          Hal Leave it for -
          PAUL looks at the table filled with dishes and bowls and
          glasses and napkins.

                         PAUL
          Nobody comes in on Sunday.
          PAUL snuffs out the candles with his fingers.

                         OUISA
          Yvonne will be in on Tuesday.

                         PAUL
           You'll have every bug in Christendom -
          The room is dark, -lit only from the living room.
          THEY both reach for the dishes.

                         OUISA
          Let me -

                         
          PAUL takes the dishes.

                         PAUL
          No. You watch. It gives me a thrill to be
          looked at.
          PAUL looks at HER. OUISA is momentarily at a loss.
          PAUL goes into the kitchen.
          The service door into the kitchen swings back and forth.

          DINING ROOM/KITCHEN
          OUISA in the dining room looks at PAUL's back as HE washes
          dishes at the sink.
          Suddenly the dining room is flooded with light.
          FLAN has flicked on the light.

                         FLAN
          He's in.

                         OUISA
          He's in?
          FLAN parades around the table.

                         FLAN
          He's in for two million.

                         

                         

                         

                         

                         46

                         

                         OUISA
          Two million!

                         FLAN
          He says the Cezanne is a great inv1stment. We
          should get it for six million and sell it to the
          Tokyo bunch for ten.

                         OUISA
          Happy days! Oh god!
          PAUL comes into the dining room.

                         PAUL
          Two million dollars?
          FLAN runs into

          THE LIVING ROOM.
          FLAN picks up the slide carousel and kisses it.

                         FLAN
          Figure it out. He doesn't have the price of -a
          dinner but he can cough up two million dollars
          and the Japs will go ten!
          PAUL and OUISA come into the living room.

                         PAUL
          Go to ten? Ten million?

                         OUISA
          Break all those dishes! Two million! Go to ten!
          And we put up nothing?

                         PAUL
          Nothing?

                         FLAN
          Geoffrey sold that Hockney print I know he
          bought for a hundred bucks fifteen years ago for
          thirty four thousand dollars. Sotheby took
          their cut, sure but still--Two million! Wildest
          dreams. Paul, I should give you a commission.

                         PAUL
          Your kids said you were an art dealer. But you
          don't have a gallery. I don't understand -

                         

                         

                         

                         

                         47

                          FLAN
          People want to sell privately.
          Not go through a gallery.

                         OUISA -Ͽ�
          A divorce. Taxes. Publicity.
          FLAN (holding up a slide)
          People come to me looking for a
          certain school of painting.

                         OUISA
          A modern.. Impressionist. Renaissance.

                         FLAN
          But don't want museums to know where it is.

                         OUISA
          Japanese.
          OUISA, FLAN and PAUL go down the hall to

          FLAN'S OFFICE.
          FLAN flicks on his computer.

                         

                         FLAN
          I've got Japanese looking for a Cezanne. I have
          a syndicate that will buy the painting. There is
          this great second level Cezanne coming up for
          sale in a very messy divorce.
          FLAN holds up the slide.

                         OUISA
          Wife doesn't want hubby to know she owns a
          Cezanne.
          PAUL looks at the slide.

                         FLAN
          I needed an extra two million. Geoffrey called.
          Invited him here for dinner.

                         OUISA
          Tonight was a very nervous very
          casual very big thing.

                         PAUL
          I couldn't tell -

                         

                         

                         

                         

                         48
          s PAUL gives the slide very carefully back to FLAN who files
          it.

                         OUISA
          All the better. 0
          FLAN opens a door in the OFFICE. THE OFFICE connects to

          THE MASTER BEDROOM.
          PAUL follows FLAN and OUISA into their bedroom.

                         PAUL
          I'm glad I helped -

                         OUISA
          You were wonderful!

                         PAUL
          I'm so pleased I was wonderful.
          All this and a pink shirt.

                         OUISA
          Keep it. Look at the time.

                         PAUL
          It's going to be time for me to get up.

                         FLAN
          Then we'll say our good nights now.

                         PAUL
          Oh Christ. Regretfully. I4l1 tip toe.
          PAUL and OUISA follow FLAN into

          THE HALL.
          PAUL goes into their daughter's bedroom.
          FLAN and OUISA hover in the hall.
          FLAN takes out his wallet.

                         FLAN
          Take fifty dollars.

                         OUISA
          Give him fifty dollars.

                         PAUL
          Don't need it.

                         

                         

                         

                         

                         49

                         

                         OUISA
          Suppose your father's plane is late?

                         FLAN
          A strike. Air controllers.

                         OUISA
          Walking around money. I wouldn't want my kids
          to be stuck in the street without a nickel.
          PAUL sits on the bed and takes off his shoes.

                         FLAN
          And you saved us a fortune. Do you know what
          our bill would've been at that little Eye-tie
          store front?

                         OUISA
          And we picked up two million dollars. One
          billionth of a percent commission is -

                         FLAN
          Fifty dollars.
          FLAN hands PAUL the money. PAUL hesitates, then takes it.

                         PAUL
          But I'll get it back to you tomorrow. I want my
          father to meet you.

                         OUISA
          We'd love to. Bring him up for dinner.

                         PAUL
          Could I?

                         FLAN
          You see how easy it is.

                         OUISA
          Sure. If Paul does the cooking.
          FLAN, OUISA and PAUL laugh.
          OUISA goes into the bathroom and fills a glass with water
          and puts it on the night table.

                         OUISA
          Goodnight.
          PAUL smiles at them.

                         

                         

                         

                         

                         50

                         

          THE MASTER BEDROOM/BATHROOM
          FLAN and OUISA get ready for bed, undressing, hanging jacket
          and trousers up neatly. OUISA undoes her dress.
          THEY are in and out of bathroom and bedroom, -brushing
          teeth.

                         FLAN
          I want to get on my knees and thank god -money-

                         OUISA
          Who said when artists dream they dream of money?
          I must be such an artist. Bravo. Bravo.
          FLAN putting on pajamas, OUISA her nightgown.

                         FLAN
          I don't want to lose our life here. I don't
          want all the debt to pile up and crush us.

                         OUISA
          It won't. We're safe.
          OUISA in bed turns off the light.
           FLAN looks out the window onto the park.

                         FLAN
          For a while. We almost lost it. If I didn't
          get this money,. Ouis, I would've lost the
          Cezanne. It would've gone. I had nowhere to
          get it.
          OUISA gets out of bed and comes to FLAN.

                         OUISA
          Why don't you tell me how much these things
          mean? You wait till the last minute -
          OUISA and FLAN get into bed.

                         FLAN
          I don't want to worry you.

                         OUISA
          Not worry me? I'm your partner.

                         FLAN
          There is a god.

                         OUISA
          And his name- is --

                         A

                         

                         

                         

                         

                         51

                          FLAN
          Geoffrey?

                         OUISA
          Sidney.
          THEY embrace. THE CAMERA comes in very close, circling
          FLAN and OUISA, their love, their safety. Then THE CAMERA
          drifts back and away from them, travelling out through the
          window, out of their cocoon to

          EXT THE APARTMENT BUILDING/CENTRAL PARK NIGHT
          down the face of the solid apartment building and drifts
          away through the night down into Central Park and stops at
          the statue of the husky barking at the moon.

          MILLBROOK CLUB BAR

                         OUISA
          I dreamt of Sidney Poitier and his rise to
          acclaim. I dreamt that Sidney Poitier sat at
          the edge of my bed and I asked him what troubled
          him? Sidney? What troubles you? Is it right
          to make a movie of Cats?

                         

          BACK IN THE MASTER BEDROOM
          FLAN is asleep on his side of the bed. OUISA is wide awake,
          staring at A MAN in dinner clothes, who sits on the edge of
          her bed. His back is to the camera. Is it SIDNEY POITIER?
          THE CAMERA drifts in to OUISA, who is transfixed by this
          apparition.
          "SIDNEY" (very comforting)
          I'll tell you why I have to make a movie of
          Cats. I know what Cats is, Louisa. May I call
          you Louisa?
          (OUISA nods Yes)
          I have no illusions about the merits of Cats.
          But the world has been too heavy with all the
          right to lifers. Protect the lives of the
          unborn. Constitutional amendments. Marches!
          When does life begin? Or the converse. The end
          of life. The Right To Die. Why is life at this
          point in the 20th century so focussed on the
          very beginning of life and the very end of life?
          What about the eighty years we have to live
          between those two inexorable book ends?
          THE CAMERA closes on OUISA. Her face, seen over "SIDNEY's"
          shoulder, is all wonder.

                         

                         

                         

                         

                         52

                         OUISA
          And you can get all that into Cats?
          THE CAMERA drifts round with OUISA'S gaze to finally see
          "SIDNEY'S" face. �,.
          It is PAUL.

                         PAUL/SIDNEY
          I'm going to try.

                         OUISA
          Thank you. Thank you. You shall.
          THE CAMERA circles off PAUL to OUISA. She is asleep.
          CUT BACK to reveal
          No one is sitting on the bed.
          THE CAMERA moves onto FLAN's face, sleeping.
          Slides of paintings by Matisse, Picasso, De Kooning, Pollock
          appear over his face.

                          FLAN (VO)
           This is what I dreamt. I didn't dream so much
           as realize this. I felt so close to the
           paintings. I wasn't just selling like pieces
           of meat. I remembered why I loved paintings in
           the first place - what had got me into this -
           and I thought - dreamed - remembered-

           INT AIRPLANE HANGAR
           FLAN happily sits in the bright vast empty space at a slide
           carousel projecting slides of paintings into the air.

                          FLAN (VO)
           How easy it is for a painter to lose a
           painting. He can paint and paint - work on a
           canvas for months and one day he loses it - just
           loses the structure - loses the sense of it -
           you lose the painting.
          A BRIGHT WHITE LIGHT shines on FLAN who turns to see
          A TEACHER, in her forties, very pure and happy, hanging
          beautiful and brilliantly colored children's drawings in the
          air. FLAN'S VOICE echoes in this vast space.

                         

                         

                         

                         

                         53

                         

                         FLAN
          Why are all your students geniuses in the second
          grade? Look at the first grade. Blotches of
          green and black. Look at third grade.
          Camouflage. But the second grade --your grade.
          Matisses everyone. You've made my child a
          Matisse. Let me study with you. Let me into
          the second grade! What is your secret?

                         THE TEACHER
          Secret? I don't have any secret. I just know
          when to take their drawings away from them.
          THE TEACHER hangs pink shapes like paper versions of PAUL'S
          button down shirt on a clothes line stretching to the end of
          the hangar.
          THE SCREEN is filled with the color Pink.

          EXT PINK SKY DAWN
          The bright pink morning sky flashes with golden blotches,
          abstract, until WE see it is the morning sun reflecting off
          windows on the West Side of Central Park.
          Then we realize it is the view from

                         

          THE KIZTREDGE'S MASTER BEDROOM DAWN
          THE CAMERA pulls back from the window to FLAN and OUISA in
          bed, cozy. SHE wakens, smiles, kisses HIM.
          FLAN mumbles in his sleep and rolls over.
          OUISA looks at her bedside clock. 6 A.M.
          SHE gets out of bed, then pauses to take in the dawn
          display.
          OUISA walks through

          THE LIVING ROOM
          and opens the front door. SHE picks up the Sunday papers
          and goes into

          THE KITCHEN.
          OUISA looks at the spotlessly clean sink and counter.
          SHE flicks on the coffee machine and takes juice out of the
          refrigerator scanning the front page.
          SHE sits at the counter and opens the magazine to the back
          page and begins to do the cross word puzzle.

                         

                         

                         

                         

                         54

          MILLBROOK CLUB BAR
          THE CHUMS hang on OUISA's every word.

                         OUISA
          I sat in the kitchen happily doing the cross
          word puzzle in ink. Everybody does it in ink. I
          never. met one person who didn't say they did it
          in ink.

          BACK IN THE KITCHEN
          OUISA fills in a word on the puzzle. is it in ink? Then
          looks up.

                         OUISA (VO)
          And I'm doing the puzzle and I see the time and
          it's nearly seven and Paul had to meet his
          father and I didn't want him to be late and was
          he healthy after his stabbing?
          OUISA puts the puzzle down and goes into

          THE HALL.

                         0

                         OUISA (VO)
          The hall is eighteen feet long.
          OUISA walks down the hall which now seems impossibly long.

                         OUISA (VO)
          I stopped in front of the door.
          OUISA taps on the door of her daughter's room.

                         OUISA
          Paul?
          SHE hears - what? - sounds of moaning?

                         OUISA
          Paul??

                         PAUL (MOANING)

                         YES YES

                         OUISA
          Are you all right?
          OUISA opens the door to

          HER DAUGHTER'S BEDROOM.

                         

                         

                         

                         

                         55
           SHE turns on the light. SHE screams.
           A GUY mid 20s, buck naked except for ratty white socks,
          stands up on the bed.

                         HUSTLER
          What the fuck is going on here. Who the fuck
          are you?!
          PAUL, startled,"sits up in bed and pulls on his clothes.
          OUISA screams.

                         OUISA
          Flan!!

          THE MASTER BEDROOM
          OUISA shakes FLAN violently. FLAN comes to.

                         FLAN
          What is it?!
          FLAN AND OUISA step out into

          THE HALL.

                         

          SILENCE.
          THEY hear their dog bark in

          THE LIVING ROOM.
          THE HUSTLER, naked but for white socks, wanders around the
          living room picking up things. THE DOG is barking at HIM.
          THE HUSTLER turns and smiles at FLAN and OUISA. -

                         HUSTLER
          Hey! How ya doin'? Nice stuff.

                         FLAN
          Oh my God!
          THE HUSTLER stretches out on the sofa.

                         HUSTLER
          Hey. I got to get some sleep--
          FLAN tips the sofa, hurling the HUSTLER onto the floor.
          THE HUSTLER leaps at FLAN threateningly.

                         OUISA
          Stop it! He might have a gun!

                         

                         

                         

                         

                         56
           HUSTLER (laughs)
          Yeah. I might have a gun. I might have a knife.
          THE HUSTLER raises his hand threateningly.

                         OUISA
          He has a gun! He has a knife!
          THE HUSTLER chases OUISA around the room.
          FLAN chases the HUSTLER. THE DOG chases FLAN.
          PAUL,dressed, runs in to the living room, carrying THE
          HUSTLER's clothes which HE hurls down onto the sofa.

                         PAUL
          I can explain.

                         OUISA
          You went out after we went to sleep and picked
          up this thing?

                         FLAN
          You brought this thing into our house! Thing!
          Thing! Get out! Get out of my house!
          FLAN picks up the HUSTLER'S clothes and opens the front
           door.

                         THE HUSTLER
          Hey! Be careful of the pants!

                         FLAN
          Take your clothes. Go back to sleep
          in the gutter.
          FLAN flings the clothes out into

          THE OUTSIDE CORRIDOR.
          FLAN pushes the elevator button.
          THE HUSTLER suddenly lunges at FLAN and grabs FLAN by the
          lapels of his bathrobe.

                         HUSTLER
          Fuck. You!
          THE HUSTLER throws FLAN back violently, then picks up his
          clothes.
          OUISA runs to FLAN.
          FLAN gasps, catching his breath.
          THE ELEVATOR DOOR opens..
          EDDIE, the elevator man, is startled by the sight.

                         W

                         

                         

                         

                         

                         57
          OUISA is terrified as PAUL stands at the front door.

                         PAUL
          Please. Don't tell my father. I don't want him
          to know. I haven't told him. I got. so lonely.
          I got so afraid. My dad coming. I had the
          money. I went out after we went to sleep and I
          brought him back. You had so much. I couldn't
          be alone. I was so afraid. I am so sorry.

                         OUISA
          Just go.

                         EDDIE
          Is everything all right?

                         FLAN
          Make sure they go out!

                         PAUL
          I can explain!

                         FLAN
          Give me my fifty dollars.

                          PAUL
           I spent it.

                          OUISA
           Get out!

                          PAUL
          I'm so sorry.
          THE HUSTLER is in the elevator, pulling on his seedy
          clothes.

                         FLAN
          Make sure they leave. By the back door.
          PAUL steps into the elevator. The door shuts.

          BACK IN THE LIVING ROOM
          FLAN and OUISA survey the room. THEY are at a loss.
          THEY straighten out the pillows on the sofa.
          THEY are exhausted.

          MILLBROOK CLUB BAR
          THE CROWD is astonished.

                         

                         

                         

                         

                         58

                         OUISA
          And that's that.

                         FLAN
          Well, it's not

          BACK IN THE KITTREDGE'S LIVING ROOM
          FLAN and OUISA survey the living room.

                         FLAN
          I am shaking.

                         OUISA
          You have to do something.

                         FLAN
          it's awful.

                         OUISA
          Is anything gone?

                         FLAN
          How can I look? I'm shaking.

                         OUISA
          Did he take anything?

                         FLAN
          Would you concentrate on yourself?

                         OUISA
          I want to know if anything's gone?

                         FLAN
          Calm down.

                         OUISA
          We could have been killed.

                         FLAN
          The silver Victorian inkwell.

                         OUISA
          How can you think of things? We could
          have been murdered.
          FLAN picks up an ornate Victorian inkwell capped by a silver
          beaver.

                         FLAN
          There's the inkwell. Silver beaver. Why?

                         

                         

                         

                         

                         59

                         OUISA
          Slashed ---our throats slashed.
          A framed portrait of a pug.

                         FLAN
          And there's the watercolor. Our dog.
          FLAN pets his dog.

                         OUISA
          Go to bed at night happy and then murdered.
          would we have woken up?

                         FLAN
          we're alive.
          THEY sit on the sofa, drained, holding onto the phone.
          The phone suddenly rings. THEY clutch each other.

                         OUISA
          Don't pick it up!
          FLAN does.

                          FLAN
          Hello?

          INT A LIMOUSINE MORNING
          GEOFFREY sits in the back seat of a limousine talking on a
          cordless portable phone.

                         GEOFFREY
          Flanders. Look, I've been thinking.
          Those Japs really want the Cezanne.
          They'll pay. You can depend on me
          for an additional overcall of two fifty.

          THE KITTREDGE'S LIVING ROOM MORNING
          FLAN's rind is boggled.

                         FLAN
          Two hundred and fifty thousand?

                         

                         

                         

                         

                         60

                         

          EXT CURBSIDE KENNEDY AIRPORT
          As GEOFFREY'S DRIVER takes care of the baggage, GEOFFREY
          proceeds into the

          THE FIRST CLASS LOUNGE
          never dropping one beat on his radio phone.

                         GEOFFREY
          And I was thinking for South Africa. What about
          a black American film festival? With this Spike
          Lee you have now and of course get Poitier down
          to be the president of the jury and I know Cosby
          and I love this Eddie Murphy and my wife went
          fishing in Norway with Diana Ross and her new
          Norwegian husband. And also they must have some

                         NEW BLACKS-

          KITTREDGE'S LIVING ROOM
          OUISA is trying to hear the other end of the call.

                         FLAN
          Yes. It sounds a wonderful idea.

          INT JFK THE TERMINAL
          GEOFFREY walks through the terminal.

                         GEOFFREY
          I'll call Poitier at the Sherry --

          KITTREDGE'S LIVING ROOM

                         FLAN
          No! We'll call!

          INT AIRPORT IMMIGRATION
          GEOFFREY puts the phone down on the security belt.
          The phone goes through radar.
          All the while we hear FLAN's voice.
          The SECURITY PERSON impassively watches the phone on the
          X-Ray screen.
          GEOFFREY picks up the phone as it slides off the band.

                         GEOFFREY
          They're calling my plane- And again last night-

                         

                         

                         

                         

                         61

           KITTREDGE'S LIVING ROOM

                         FLAN
          No need to thank. See you shortly.

          INT KENNEDY AIRPORT THE GATE

                         GEOFFREY
          The banks.

          KITTREDGE'S LIVING ROOM

                         FLAN
          My lawyer.

          KENNEDY AIRPORT THE GATE

                         GEOFFREY
          Exactly.

          KITTREDGE'S LIVING ROOM

                         FLAN
          Safe trip.

                         

          KENNEDY AIRPORT THE GATE
          GEOFFREY snaps the phone shut, sticks it in his pocket and
          goes into the gate.

          KITTREDGE'S LIVING ROOM
          FLAN and OUISA look at each other in amazement.

                         OUISA
          We're safe?
          As FLAN hangs up the phone we hear a car door shut as FLAN
          and OUISA get in their car.

          EXT THE MILLBROOK GOLF AND TENNIS CLUB DAY
          THE GROUP FROM THE WEDDING waves goodbye not at the BRIDE
          and GROOM but at FLAN and OUISA. THE BRIDE and GROOM as a
          matter of fact are there.

                         THE BRIDE
          And then?

                         SANDY
          And then?

                         

                         

                         

                         

                         62

                          OUISA
          That's all we know!
          And FLAN and OUISA drive out of the parking lot.

          INT/EXT THE CAR TACONIC PARKWAY DAY
          THE CAMERA pulls back to show FLAN and OUISA driving back
          down the Taconic Parkway. THEY are more composed now than
          when THEY left - and even pleased.
          THE RADIO plays a Bach Cantata: Gloria!
          THE CAMERA pulls back further to show them entering New York
          City via the Triborough Bridge. THE CITY looks magnificent
          for a moment from this vantage.

          EXT EAST 67TH STREET DAY
          Below us FLAN and,OUISA's car heads for the garage.
          OUISA's hand suddenly flies out of the car window, waving
          at a couple in their forties, KITTY AND LARKIN, crossing the
          street. FLAN honks the horn. THE CAMERA travels down to
          KITTY and LARKIN as they glare at the car, then smile when
          THEY see who it is.

                         T

                         OUISA
          Do we have a story to tell you!

                         KITTY
          Do we have a story to tell you!

          INT PRECINCT NIGHT
          We cannot tell where we are yet.
          But OUISA and FLAN and KITTY and LARKIN lean across a desk
          and tell a MAN we will learn shortly is a DETECTIVE.

                         OUISA
          Our two and their son are at Harvard together.
          KITTY and LARKIN are pleased about this.

          INT MORTIMER'S RESTAURANT AFTERNOON
          THE TWO COUPLES sit a table in this definitive East Side
          restaurant.

                         FLAN
          Let me tell you our story.

                         

                         

                         

                         

                         63

                          LARKIN
          When did your story happen?

                         FLAN
          Last night. We are still zonked.

                         KITTY
          we win. Our story happened Friday night.
          So we go first.

                         LARKIN
          We're going to be in the movies.

                         KITTY
          We are going to be in the movie of Cats.
          OUISA puts down her white wine.

                         OUISA
          You tell your story first.

                         LARKIN
          Friday night we were home, the doorbell rang---

                         KITTY
          I am not impressed but it was the son of -

                         INT PRECINCT
          THE DETECTIVE makes notes.
          OUISA and FLAN
          You got it.

          BACK AT MORTIMER'S RESTAURANT

                         KITTY
          The kid was mugged. We had to go out. We left
          him. He was so charming. His father was taking
          the red eye. He couldn't get into the Hotel
          till seven AN. He stayed with us.
          SHE is very pleased.

                         LARKIN
          In the middle of the night, we heard somebody
          screaming Burglar! Burglar! We came out in the
          hall. Paul is chasing this naked blonde thief
          down the corridor. The blonde thief runs out,
          the alarm goes off. The kid saved our lives.

                         

                         

                         

                         

                         64

                          FLAN
          That was no burglar.

                         OUISA
          You had another house guest.
          KITTY and LARKIN laugh.

                         LARKIN
          We feel so guilty. Paul could've been killed by
          that intruder. He was very understanding -

                         OUISA
          Was anything missing from your house?

                         LARKIN
          Nothing.

                         FLAN
          Did you give him money?

                         KITTY
          Twenty-five dollars until his father arrived.

                         THE PRECINCT

                         
          THE DETECTIVE looks at THEM carefully.
          FLAN (to the detective)
          We told them our story.

          MORTIMER'S RESTAURANT NIGHT

                         KITTY & LARKIN
          Oh.

                         OUISA
          Have you talked to your kids?

                         KITTY
          Can't get through.

                         FLAN
          Let's go back to our place.

          INT KITTREDGE'S APARTMENT NIGHT
          The sound of keys in the door. The door swings open.
          FLAN switches on the lights. THE TWO COUPLES run in heading
          for the phone. OUISA dials.

                         

                         

                         

                         

                         65

                         

                         OUISA
          Sherry Netherlands. I'd like--

                         THE PRECINCT

                         LARKIN
          She gave the name.

          BACK IN THE KITTREDGE'S LIVING ROOM

                         OUISA
          No! I'm not a fan. This is not a fan call.
          Sidney Poitier must be registered.
          His son is a friend of-
          CLICK. The Sherry's hung up.
          The doorbell rings. FLAN goes to the door.

                         LARKIN
          He must be there under another name.
          Another phone call.

                         OUISA
          Hi. Celebrity Service? I'm not
           sure how you work.

                         KITTY
          Greta Garbo used the name Harriet Brown.

                         OUISA
          You track down celebrities? Am I right?

                         LARKIN
          Everybody must have known she was Greta Garbo.

                         OUISA
          I'm trying to find out how one would get in
          touch with---No, I'm not a press agent--No, I'm
          not with anyone---My husband. Flanders
          Kittredge?

                         (CLICK)
          Celebrity Service doesn't give out information
          over the phone.

                         LARKIN
          Try the public library.

                         KITTY
          Try Who's Who.
          FLAN returns carrying an elaborate arrangement of flowers.
          FLAN reads the card.

                         

                         

                         

                         

                         66

                          FLAN
          "To thank you for a wonderful time.
          Paul Poitier.'"
          FLAN reaches into the bouquet. HE takes out a p.t of jam.

                         FLAN
          A pot of jam?

                         LARKIN
          A pot of jam.
          THEY back off as if it might explode.

                         KITTY
          I think we should go to the police.

          EXT THE 19TH PRECINCT NIGHT
          THE FOUR approach the precinct on East 94th Street.

          INT THE PRECINCT
          THE DETECTIVE, whom we recognize from earlier, looks up from
          his desk.

                         

                         DETECTIVE
          What are the charges?

                         OUISA
          He came into our house.

                         FLAN
          He cooked us dinner.

                         OUISA
          He told us the story of Catcher In The Rye.

                         FLAN
          He said he was the son of Sidney Poitier.

                         DETECTIVE
          Sidney Poitier?
          FLAN and OUISA
          You got it.

                         DETECTIVE
          Was he?

                         OUISA
          We don't know.

                         

                         

                         

                         

                         67

                         FLAN
          We gave him fifty dollars.

                         KITTY
          We gave him twenty five.

                         LARKIN

                         S HHHH

                         OUISA
          He picked up a hustler.

                         FLAN
          He left.

                         KITTY
          He chased the burglar out of our house.

                         OUISA
          He didn't steal anything.

                         LARKIN
          We looked and looked.

                         KITTY
           Top to bottom. Nothing gone.
          THE DETECTIVE closes his notebook.

                         OUISA
          Granted this does not seem major now.

                         DETECTIVE
          Look. We're very busy.

                         FLAN
          You can't chuck us out.

                         DETECTIVE
          Come up with charges. Then I'll do something.

          INT THE MORGAN LIBRARY NIGHT
          FLAN and OUISA have come to a charity do featuring a string
          quartet playing Schubert Trio in B flat.
          But FLAN and OUISA are not entranced by the music.
          THEY stand at the back of the room by the bar telling their
          story to a GROUP of fascinated FRIENDS (none of whom was at
          the wedding) as the QUARTET plays. These FRIENDS are all
          dressed formally but with the look of people who dress this
          way every night. There-'s always one of these going on and
          they're always there.

                         

                         

                         

                         

                         68

                         FLAN
          Yes, there is another chapter.

                         OUISA
          Our kids came down from Harvard. a
          Loud groans of protest and disbelief fill the

          KITTREDGE'S LIVING ROOM DAY
          Two of FLAN and OUISA'S college aged CHILDREN, WOODY and
          TESS, and KITTY and LARKIN'S boy, BEN, slump around the
          room. They are in dismay at OUISA, FLAN, KITTY and LARKIN
          and their story.

                         FLAN
          --the details he knew--how would he know about
          the painting?
          FLAN has taken the Kandinsky off the wall and flipped it
          around to the wild side.

                         FLAN
          Although I think it's a very fine Kandinsky.
          FLAN leans the painting against a chair and studies it.

                         OUISA
          And none of you knows this fellow? He has this
          wild quality--yet, a real elegance and a real
          concern and a real consideration.
          TESS looks at the floral arrangement PAUL sent.
          It's only slightly wilted.

                         TESS
          Well, Mom, you should have let
          him stay. You should have divorced
          all your children and just let this
          dreamboat stay. Plus he sent you flowers.

                         FLAN
          And jam .

                         THE KIDS
          Oooooo.

                         OUISA
          I wish I knew how to get hold of his father.
          Just to see if there is any truth in it.

                         

                         

                         

                         

                         69

                         LARKIN
          Who knows Sidney Poitier so we could just call
          him up and ask him?

                         KITTY
          I have a friend who does theatrical law.
          I bet he -

                         LARKIN
          What friend?
          KITTY (suddenly trapped)
          Oh, it's nobody.

                         LARKIN
          I want to know.

                         KITTY (SCREAMS)
          Nobody!

                         LARKIN (RECONSIDERS)
          Whatever's going on anywhere, I do not
          want to know. I don't want to know.
          I don't want to know.

                         

                         KITTY (OVERLAPPING)
          Nobody. Nobody. Nobody.

                         BEN (OVERLAPPING)
          Dad. Mom. Please. For once. Please?
          BEN, KITTY, LARKIN scream at each other in anguish.
          TESS, in a fury, leaves the apartment.
          FLAN follows HER to

          THE OUTSIDE CORRIDOR.

                         FLAN
          Tess, when you see your little sister, don't
          tell her that Paul and the hustler used her bed.

                         TESS
          You put him in that bed. I'm not going to get
          involved with any conspiracy.

                         FLAN
          It's not a conspiracy. It's a family.
          THE ELEVATOR DOOR opens. TESS and FLAN virtually growl at
          each other as the door shuts on TESS.

                         

                         

                         

                         

                         70
           FLAN sees KITTY, LARKIN and BEN screaming at each other.
          FLAN sees OUISA, to avoid involvement in the domestic stir,
          hang the Kandinsky back on the wall.
          The geometric ordered side.

          EXT CENTRAL PARK DAWN
          The Alaskan Husky barks at the moon.
          THE CAMERA travels out of the park up the face of the Fifth
          Avenue apartment once again into the safety of

          THE MASTER BEDROOM.
          FLAN and OUISA are in bed asleep.
          OUISA sits up when SHE hears someone tapping insistently on
          the window pane. SHE looks around the room.
          PAUL appears outside on the window ledge wearing the pink
          shirt. OUISA gets out of bed and opens the window.

                         PAUL
          The imagination. That's our out. Our
           imagination teaches us our limits and then how
           to grow beyond those limits. The imagination
           says listen to me. I at your darkest voice. .I
          am your 4am voice. I am the voice that wakes
          you up and says this is what I'm afraid of. Do
          not listen to me at your peril. The
          imagination is the noon voice that sees clearly
          and says yes this is what I want for my life.
          It's there to sort out your nightmare, to show
          you the exit from the maze of-your nightmare, to
          transform the nightmare into dreams that become
          your bedrock. If we don't listen to that voice,
          it dies. It shrivels. It vanishes.
          (PAUL takes out a switch blade and opens it.)
          The imagination is not our escape. on the
          contrary, the imagination is the place we are
          all trying to get to.
          PAUL lifts his shirt and stabs himself.
          OUISA screams.
          PAUL falls over backward into space.
          The phone rings, waking OUISA. FLAN picks up the phone.
          OUISA sits up, a little stunned. She is relieved to find
          things so normal.

          INT THE PRECINCT EARLY MORNING

                         DETECTIVE
          I got a call that might interest you.

                         

                         

                         

                         

                         71

          BACK TO THE MORGAN LIBRARY
          The string quartet reaches a climax.

                         FLAN
          And a new character entered our story

          EXT BETH ISRAEL DOCTORS HOSPITAL DAY
          FLAN and OUISA, KITTY and LARKIN come to this hospital
          across from Gracie Mansion.

          INT BETH ISRAEL DOCTORS HOSPITAL DR. FINE'S OFFICE
          DR. FINE, an earnest professional man in his 50s, comes
          down the hall, and opens his office door.
          FLAN, OUISA, KITTY and LARKIN sit in his office.

          DR. FINE
          I was seeing a patient. I'm an
          obstetrician at New York Hospital.
          The nurse opened my office door.

          INT EXAMINING ROOM DAY
           THE NURSE, a sturdy woman in her 50s, opens the door.

                         NURSE
          There's a friend of your son's here.
          PAUL appears,- looking much as HE was when HE came to FLAN
          and OUISA's. PAUL's shirt front is bleeding.

          DR. FINE'S OFFICE
          OUISA and FLAN, KITTY and LARKIN are filled with dread.

          DR. FINE
          I treated the kid. He was more scared than
          hurt. A knife wound, a few bruises.

                         EXAMINING ROOM
          PAUL gets off the examining table, buttoning his pink shirt.

                         PAUL
          I don't know how to thank you, sir. My father
          is coming here.

          DR. FINE'S OFFICE
          THE TWO COUPLES sit cramped on the Doctor's leather sofa.

                         

                         

                         

                         

                         72
          FLAN and OUISA and KITTY and LARKIN
          He's making a movie of Cats.
          DR. FINE stands by the window looking out at the river.

          DR. FINE
          And he told me the name of a matinee idol of my
          youth. Somebody who had really forged ahead and
          made new paths for Blacks just by the strength
          of-his own talent. Strangely, I had identified
           with him, before I started Medical School. I
           mean, I'm a Jew. My grandparents were killed in
           the war. I had this sense of self-hatred, of
          fear. And this kid's father - the bravery of
          his films - had given me a direction, a
          confidence. Simple as that. We're always
          paying off debts. Then my beeper went off. A
          patient in her tenth month of labor. Her water
          finally broke. I gave'him the keys.

                         EXAMINING ROOM
          DR. FINE gives PAUL a set of keys and walks him out into

          THE HOSPITAL HALL.

                         

                         PAUL
          Doug's told me all about your brownstone. How
          you got it at a great price because there had
          been a murder in it and for a while people
          thought it had a curse but you were a scientific
          man and were courageous!

          DR. FINE
          Well, yes! Courageous!

          DR. FINE'S OFFICE
          FLA.N and OUISA, KITTY and LARKIN agree.

                         FLAN
          Very courageous.

          DR. FINE
          I ran off to the delivery room. Twins! Two
          boys. I thought of my son. I dialed my boy at
          Dartmouth. Amazingly, he was in his room.
          Doing y hat I hate to ask.

                         

                         

                         

                         

                         73

           INT COLLEGE DORM ROOM DAY
           The call wakens DR. FINE'S son, DOUG, 20.
          DOUG grabs for the phone from under the covers. Is there
          someone else in bed with Doug?

          DR.FINE'S EXAMINING ROOM

          DR. FINE
          So you accuse me of having no interest in your
          life, not doing for friends, being a rotten
          father. Well, you should be very happy.

          COLLEGE DORM ROOM

                         DOUG
          The son of who? Dad, I never heard of him.
          Dad, as usual, you are a real cretin. You gave
          him the keys? You gave ,& complete stranger who
          happens to mention my name the keys to our
          house? Dad, sometimes it is so obvious to me
          why Mom left. I am so embarrassed to know you.
          You gave the keys to a stranger who shows up at
          your office? Mother told me you beat her! Mom
          told me you were a rotten lover and drank so
           much your body smelled of cheap white wine. Mom
           said sleeping with you was like sleeping with a
           salad made with bad dressing. Why you had to
           bring me into the world!
          A GIRL sits up in bed, terrified.

                         EXAMINING ROOM

          DR. FINE
          There are two sides to every story -

          COLLEGE DORM ROOM

                         DOUG
          You're an idiot! You're an idiot!
          THE GIRL in bed puts pillows over her head.

          DR. FINE'S OFFICE
          FLAN and OUISA, KITTY and LARKIN lean forward in
          fascination.

          DR. FINE
          I went home..-courageously with a policeman.

                         

                         

                         

                         

                         74

           EXT DR. FINE'S BROWNSTONE DAY
          DR. FINE puts the key in the door. The COP with HIM has his
          gun drawn. DR. FINE and THE COP enter

          THE BROWNSTONE.
          THEY hear a Debussy quartet playing.
          PAUL sits in the living room wearing a silk robe, swirling a
          snifter of brandy, listening to the music.
          PAUL smiles when HE sees DR. FINE, but when the COP appears
          with the gun, PAUL rolls over on his side out of the chair.

          DR. FINE
          Arrest him!
          DR. FINE snaps off the radio.
          PAUL backs up against the wall.

                         PAUL
          Pardon?

          DR. FINE
          Breaking and entering.

                          PAUL
          Breaking and entering?

          DR. FINE
          You're an imposter.

                         PAUL
          Officer, your honor, your eminence, Dr. Fine
          cave me the keys to his brownstone. Isn't that
          so?

          DR. FINE
          My son doesn't know you.

                         PAUL
          This man gave me the keys to the house.
          Isn't that so?
          THE COP puts his gun away.

                          POLICEMAN (SCREAMS)
           Did you give him the key to the house?

           DR. FINE
           Yes, but under false pretenses. This fucking
           black kid crack addict comes into my office

                         LYING -

                         

                         

                         

                         

                         75
           PAUL (cool and forgiving)
          I have taken this much brandy but can pour the
          rest back into the bottle. And I've used
          electricity listening to the music, but I think
          you'll find that nothing's taken from the house.
          PAUL takes off the silk robe and neatly places it on the
          table.

          DR. FINE
          I want you to arrest this fraud.
          PAUL puts on his jacket and leaves the house.

          DR. FINE
          Stop him!
          THE POLICEMAN walks away.

          COLLEGE DORM ROOM
          DOUG continues his tirade.

                         DOUG
          A cretin! A creep! No wonder mother left you!

                         
          DOUG flings the phone against the wall.

          DR. FINE'S OFFICE
          FLAN and OUISA, KITTY and LARKIN look at DR. FINE
          sympathetically.

          DR. FINE
          Two sides. Every story.
          But THE TWO COUPLES are also embarrassed.

          BACK TO THE MORGAN LIBRARY
          PEOPLE from the back row of the concert turn away from the
          music and listen to OUISA and FLAN.

                         OUISA
          We went down to the Strand -

                         FLAN
          Five Sherlock Holmeses-

                         

                         

                         

                         

                         76
          0 EXT THE STRAND BOOKSTORE 12th STREET AND BROADWAY DAY
          The TWO COUPLES AND DR. FINE, go into

          THE STRAND BOOKSTORE.
          which advertises itself as possessing Eight miles of books
          and that seems an understatement.
          THE CAMERA rushes past rows of books.
          And then suddenly stops.

                         OUISA
          I found it!
          OUISA'S HAND reaches up and brings down.

                         CU
          A COPY OF SIDNEY POITIER'S AUTOBIOGRAPHY: "This Life"
          OUISA reads from the Poitier autobiography.
          THE OTHERS are enrapt..

                         OUISA
          "Back in New York with Juanita and the children,
          I began to become aware that our marriage,
           while working on some levels, was falling apart
          in other fundamental areas."
          FLAN takes the book.

                         FLAN
          There's a picture of him and his four-
          daughters. No sons. Four daughters.

          BACK TO THE MORGAN LIBRARY

                         FLAN
          The book's called This Life.

                         A CONCERT-GOER
          No sons?

                         OUISA
          No sons!

          THE STRAND BOOKSTORE

                         KITTY
          Oh dear.

                         OUISA
          This kid bulldozing his way into our lives.

                         

                         

                         

                         

                         77

          LA.RKIN
          is We let him in our lives. I run a foundation.
          You're a dealer. You're a doctor. You'd think
          we'd be satisfied with our achievements.

          TNT THE GOTHAM RESTAURANT DAY
          THE FIVE of THEM have gone down the street fram the Strand
          to this swell restaurant.

                         FLAN
          Agatha Christie would ask what do
          we all have in common?

                         OUISA
          It seems the common thread linking us all is an
          overwhelming need to be in the movie of Cats.

                         KITTY
          Our kids. Struggling through their lives.

                         LARKIN
          I don't want to know anything about the
          spillover of their lives.

                         OUISA

                         
          All we have in common is our children went to
          boarding school together.
          FLAN (to Dr. Fine)
          How come we never met?

          DR. FINE
          His mother had custody. I lived out West. After
          he graduated from high school, she moved west.
          I moved east.

                         LARKIN
          I think we should drop it right here.

                         KITTY
          Are you afraid Ben is mixed up in this fraud?

                         LARKIN
          I don't want to know too much about my kid.

                         KITTY
          You think Ben is hiding things from us? I tell
          you, I'm getting to the bottom of this. My son
          has no involvements with any black frauds.
          Doctor, you said something about crack?

                         

                         

                         

                         

                         78

                         LARKIN

                         
          I don't want to know.

          DR. FINE
          It just leaped out of my mouth.
          No proof. Oh dear god, no proof.

                         FLAN
          We'll take a vote. Do we pursue this to the end
          no matter what we find out about our kids?

                         OUISA
          I vote yes.

          DR. FINE
          I trust Doug. Yes.

                         LARKIN
          No.

                         KITTY
          Yes.

                         FLAN
          Yes.
          KITTY looks through the Poitier autobiography.

                         KITTY
          Listen to the last page. ".. .making it better
          for our children. Protecting them. From what?
          The truth is what we were protecting those
          little people from... there is a lot to worry
          about and I'd better start telling the little
          bastards - start worrying!" The end.
          KITTY closes the book in dismay.
          OUISA, FLAN, LARKIN, and DR. FINE are each lost in thought.

          INT LINCOLN CENTER METROPOLITAN OPERA NIGHT
          FLAN and OUISA, dressed formally, the way people used to
          dress for the opera, stand at the small champagne bar
          outside the boxes. Their similarly dressed FRIENDS are
          engrossed in the tale.

                         FLAN
          We all went up to Harvard.

                         OUISA
          We had to enlist our children -

                         

                         

                         

                         

                         79

          EXT HARVARD UNIVERSITY DAY
          FLAN and OUISA, KITTY and LARKIN, and DR. FINE cut through
          the Harvard Yard at an urgent pace.

          INT ELIOT HOUSE HARVARD
          The FIVE PARENTS sit in the empty Dining Commons.
          THEY've come for lunch. And now lunch is over.
          TESS, WOODY, BEN and DOUG sit on the other side of the
          refectory table, glaring at their parents, lunch trays
          between the generations.
          STUDENTS walk in and out. THE PARENTS speak in hushed,
          library size whispers to avoid any echo.

                         FLAN
          It's obvious. It's somebody you went to High
          School with, since you go to different colleges.

          DR. FINE
          I just want to tell you how I appreciate
          your coming today -

                         DOUG
           Dad? Spare me?
          DOUG'S voice echoes.

                         OUISA
          He knows the details about our lives.

                         FLAN
          Who in your high school, part of your gang, has
          become homosexual or is deep into drugs?

                         TESS
          That's like about fifteen people.
          TESS enjoys her echo because it makes FLAN and OUISA
          uncomfortable.

                         LARKIN
          I don't want to know.

                         TESS
          I find it really insulting that you would assume
          that it has to be a guy. This movie star's son
          could have had a relationship with a girl in

                         HIGH SCHOOL---
          And BEN is just as loud.

                         

                         

                         

                         

                         80

                         HEN
          That's your problem in a nut shell.
          You're so limited.
          FLAN and OUISA try to shush them.

                         TESS
          That's why I'm going to Afghanistan.
          To climb mountains.

                         OUISA
          You are not climbing mountains.

                         FLAN
          We have not invested all this money in
          you to scale the face of K-2.
          TESS leans across the table, matching them whisper for
          whisper.

                         TESS
          Is that all I am? An investment?

                         

                         OUISA
          All right. Track down everybody in your high
          school class. Male. Female. Whatever. Not
          just homosexuals. Drug addicts. The kid might
          be a drug dealer.
          DOUG throws back his chair.

                         DOUG
          Why do you look at me when you say that? Do you
          think I'm an addict? A drug pusher? I really
          resent the accusations.

          DR. FINE
          No one is accusing you of anything. Sit down.
          LARKIN gets up and paces around the table.

                         LARKIN
          I don't want to know. I don't want to know.
          I don't want to know.

                         FLAN
          Nobody is accusing anyone of anything.
          I'm asking you to go on a detective search and
          find out from your high school class if anyone
          has met a Black kid pretending to be a movie
          star's son.

                         

                         

                         

                         

                         81

                          BEN
          He promised you parts in Cats?

                         OUISA
          It wasn't just that. It was fun.

                         TESS
          You went to Cats. You said it was an all time
          low in a lifetime of theater going.
          OUISA considers.

                         OUISA
          Film is a different medium.

                         TESS
          You said Aeschylus did not invent theater to
          have it end up a bunch of chorus kids wondering
          which of them will go to Kitty Kat Heaven.

                         OUISA
          I don't remember saying that.

                         FLAN
          No, I think that was Starlight Express -

                         

                         TESS
          Well, maybe he'll make a movie of Starlight
          Express and you can all be on roller skates!
          THE KIDS stand up.

                         DOUG
          This is so humiliating.

                         BEN
          This is so pathetic.

                         TESS
          This is so racist.

                         OUISA
          This is not racist!
          THE KIDS stride out of the DINING HALL into

          THE CORRIDOR.
          THEIR PARENTS run ahead trying to circle them.

                         

                         

                         

                         

                         82

                          DOUG
          How can I get in touch with anybody in high
          school? I've outgrown them.

                         KITTY
          Now can you outgrow them?
          You graduated a year ago!
          THE PARENTS stop in front of

          THE MAIN ENTRANCE
          blocking TESS and DOUG and BEN's escape. OUISA takes a red
          book out of her bag and brandishes at THEM.

                         OUISA
          Here is a copy of your yearbook. I want you to
          get the phone numbers of everybody in your
          class. You all went to the same boarding
          school.

          DR. FINE
          You can charge it to my phone.

                         OUISA
           Call everyone in your class
          and ask them if they know--
          THE THREE KIDS try to break through the blockade.

                         DOUG
          Never!

                         TESS
          This is the KGB.

          DR. FINE
          You're on the phone all the time. Now I ask you
          to make calls all over the country and you
          become reticent.

                         TESS
          This is the entire McCarthy period.
          WOODY saunters up to his PARENTS.
          HE is very cool.
          FLAN and OUISA smile at his sweet attitude.

                         WOODY
          I just want to get one thing straight.

                         

                         

                         

                         

                         83

                         FLAN
          Finally, we hear from the peanut gallery.
          And WOODY screams at THEM in rage, his voice echoing,
          mindless of the STUDENTS who freeze in the background as you
          would at a traffic accident.

                         WOODY
          You gave him my pink shirt? You gave a complete
          stranger my pink shirt? That pink shirt was a
          Christmas present from you. I treasured that
          shirt. I loved that shirt. My collar size has
          grown a full size from weight lifting. And you
          saw my arms had grown, you saw my neck had
          grown. And you bought me that shirt for my new
          body. I loved that shirt. The first shirt for
          my new body. And you gave that shirt away. I
          can't believe it. I hate this life. I hate
          you.

          EXT ELIOT HOUSE
          WOODY's wrath grows and grows and drives OUISA and FLAN,
          indeed all the PARENTS, out of the serene, venerable Harvard
          building onto the street. PASSERSBY stop and gape.
           WOODY doesn't care.

                         DOUG
          You never do anything for me.

                         TESS
          You've never done anything but
          tried to block me.

                         BEN
          I'm only this pathetic extension
          of your eighth rate personality.

                         DOUG
          Social Darwinism pushed beyond all limits.

                         WOODY
          You gave away my pink shirt?

                         TESS
          You want me to be everything you weren't.

                         DOUG
          You said drugs and looked at me.
          THE PARENTS go down the street, speechless, defeated.

                         

                         

                         

                         

                         84

           CUT TO
          PAGES of a Yearbook turning. The pages stop.

                         TESS (VO)
          Trent Conway. -

          EXT THE BANKS OF THE CHARLES RIVER DAY
          THE FOUR KIDS look through their high school yearbook.
          TESS spots a face. THEY all consider.

                         THE KIDS
          Trent Conway.

                         CU

          TRENT CONWAY'S YEARBOOK PICTURE
          TRENT is weasel faced. Very hard to read. Not quite
          looking into the yearbook photographer's camera.

                         TESS
          Trent Conway.

                         DOUG
          Look at those beady eyes staring out at me.

                         

                         BEN
          Trent Conway.

                         WOODY
          He's at MIT.

          INT KITTREDGE'S LIVING ROOM DAY
          TESS has come down to New York with news for her mother.

                         TESS
          So I went to MIT. He was there in
          his computer room and I just pressed
          him and pressed him and pressed him.
          I had this strapped to me.
          TESS puts a small tape recorder on the desk.
          TESS turns it on. OUISA listens to the tape.

          TRENT'S TAPED VOICE
          Yes, I knew Paul.

          INT A COMPUTER ROOM AT MASSACHUSETTS INSTITUTE OF TECHNOLOGY
          THE CAMERA focusses in on her thigh. WE can see the slight
          bump where TESS has strapped the recorder.

                         

                         

                         

                         

                         85

                         
          TRENT looks up from his bank of computers at TESS.
          TRENT's pinched face looks as if it has never, known one
          truly happy day.

                         TESS A
          But what happened between you?

                         TRENT
          It was...It was...

          EXT A DOORWAY RAIN NIGHT
          PAUL dressed in ragged clothes stands huddled in a doorway
          to get out of the freezing rain.
          TRENT passes by the doorway.
          TRENT is gone.
          Then TRENT reappears and stares at PAUL.

          INT TRENT CONWAY'S APARTMENT NIGHT
          PAUL stands against the WHITE WALL we've seen earlier.
          Rain. Distant thunder. Jazz playing somewhere.
          PAUL, unlike the elegant PAUL we have seen, is dressed in
          torn jeans, a ripped tank top, dirty high top sneakers.
          This is the PAUL we first saw.

                         
          PAUL looks at TRENT with a mixture of contempt and I dare
          you.
          PAUL stretches out on the bed.
          HE pulls out a thick address -book from under him.

                         PAUL
          What's this?
          PAUL speaks.street talk speech. Hardly what we've heard.

                         TRENT
          My address book.
          TRENT tries to take the address book away from PAUL.

                         PAUL
          All these names. Addresses.
          Tell me about these people.
          TRENT lies along side PAUL.

                         TRENT
          This is where I wanted you to be...
          Right here...
          PAUL, hypnotised by the-'address book, slaps TRENT away from
          him and gets out of the bed.

                         

                         

                         

                         

                         86

                         PAUL (FIERCE)
          Tell me about these people, man!

                         TRENT
          I just want to look at you. Sorry.

                         PAUL
          Are these all rich people?
          TRENT sits up in bed.

                         TRENT
          No. Hand to mouth on a higher plateau.

          KITTREDGE'S LIVING ROOM
          OUISA looks at the tape recorder, horrified at this
          judgement.

                         OUISA
          How long did Trent keep Paul?
          TESS shushes OUISA.

          TRENT CONWAY'S APARTMENT

                         
          PAUL paces around the room, looking into this book.

                         PAUL
          I think it must be very hard to be with rich
          people. You have to have money. You have to
          give them presents.

                         TRENT
          Not at all. Rich people do something nice for
          you, you give them a pot of jam.

                         PAUL (AMAZED)
          That's what pots of jam are for?

                         TRENT
          Orange. Grapefruit. Strawberry. But fancy.
          They have entire stores filled with fancy pots
          of jam wrapped in cloth. English. Or French.

                         PAUL
          I'll tell you what I'll do. I pick a name. You
          tell me about them. Where they live. Secrets.
          And for each name you get a piece of clothing.

                         TRENT
          All right.

                         

                         

                         

                         

                         87
          PAUL picks a name at random, circling his finger and

                         0
          plunging into the address book.

                         PAUL
          Kittredge. Talbot and Woodrow.

                         TRENT
          Talbot called Tess was anorexic and was in a
          hospital for a while.
          PAUL takes off a shoe and kicks it to TRENT.

          KITTREDGE'S LIVING ROOM
          Now it's TESS's turn to be hurt. OUISA comforts TESS.

          PAUL'S TAPED VOICE
          Their parents.

          TRENT CONWAY'S APARTMENT

                         TRENT
          Ouisa and Flan for Flanders Kittredge. Rhode
          Island I believe. Newport but not along the
          ocean. The street behind the ocean. He's an art
           dealer. They have a Kandinsky.

                         PAUL
          A Kan--what- ski?

                         TRENT
          Kandinsky. A double-sided Kandinsky.
          PAUL kicks off his other shoe.

          KITTREDGE'S LIVING ROOM
          OUISA and TESS look up at the Kandinsky hanging geometric
          side front.

          TRENT CONWAY'S APARTMENT
          TRENT catches PAUL's sneaker joyously.

                         TRENT
          I feel like Scheherazade!
          TRENT embraces PAUL with fierce tenderness.
          Maybe TRENT had one happy day and this is it.

                         

                         

                         

                         

                         88

                         TRENT
           I don't want you to leave me, Paul. I'll go
           through my address book and tell you about
          family after family. You 111 never not fit in
          again. we'll give you a new ideas it.y. I'll
          make you the most eagerly sought after young man
          in the East. And then I'I1 come into one of
          these homes one day---and you'll be there and
          I'll be presented to you. And I'll pretend to
          meet you for the first time and our friendship
          will be witnessed by my friends, our parents'
          friends. If it all happens under their noses,
          they can't judge me. They can't disparage you.
          I'll make you a guest in their houses. Ask me
          another name. I'd like to try for the shirt.
          PAUL kisses TRENT.

                         PAUL
          That's enough for today.
          PAUL takes his shoes and the address book and goes.

          KITTRED4 E' S LIVING ROOM
          40 OUISA brushes TESS's hair as THEY listen.

          TRENT'S TAPED VOICE
          Paul stayed with me for three months.

          TRENT CONWAY'S APARTMENT
          PAUL leans against the white wall.
          PAUL frowns, then smiles.
          All ready PAUL has begun to change from a street kid to
          someone quite preppy - very Ralph Lauren. Only on the
          surface. HE's still learning.

                         TRENT
          This is the way you must speak. Hear my accent.
          Hear my voice. Never say you're going horse
          back riding. You say You're going Riding. And
          don't say couch. Say sofa. And you say
          Bodd-ill. It's bottle. Say bottle of beer.

                         PAUL
          Bodd-ill a bee-ya.

                         TRENT
          Bottle of beer.

                         

                         

                         

                         

                         89

                          PAUL

                         (SERIOUS)
          Bodd-ill a bee-ya.

                         (FLIRTATIOUS)
          Bodd-ill a bee-ya.

                         (SUSPICIOUS)
          Bodd-ill a bee-ya.

                         (ELATED)
          Bottle of beer.
          TRENT claps. PAUL bows to TRENT.
          TRENT'S face is transfigured with joy.

                         COMPUTER ROOM
          TRENT smiles at TESS but the smile is one of tight lipped
          stoicism.

                         TRENT
          We went through the address book letter by
          letter. Paul vanished by the L's. He took the
          address book with him. Well, he's already been
          in all your houses. Maybe I will meet him
          again. I sure would like to.
          TRENT stands up signalling an end to the conversation. HE
          turns off his computers.

                         TESS
          His past? His real name?

                         TRENT
          I don't know anything about him.
          It was a rainy night in Boston.
          He was in a doorway. That's all.

                         TESS
          He took stuff from you?

                         TRENT
          Besides the address book? He took my stereo and
          sport jacket and my word processor and my laser
          printer. And my skis. And my TV.

                         TESS
          Will you press charges?

                         TRENT
          No.

                         TESS
          It's a felony.

                         

                         

                         

                         

                         90

                         TRENT
          Why do they want to find him?

                         TES S
          They say to help him. If there's a crime, the
          cops will get involved.

                         TRENT
          Look, we must keep in touch. We were friends
          for a brief bit in school. I mean we were
          really good friends.

          KITTREDGE'S LIVING ROOM

          TESS'S TAPED VOICE
          won't you press charges?

          TRENT'S TAPED VOICE
          Please.
          TESS leans forward-and snaps off the tape recorder.
          OUISA is amazed.

          INT LINCOLN CENTER METROPOLITAN OPERA NIGHT
           FLAN and OUISA have brought their FRIENDS up to date.

                         OUISA
          Paul learned all that in three months!

                         OPERAGOER
          Three months?

                         FLAN
          Three months!
          The chimes ring, signalling the start of the opera.

                         OUISA
          who would have thought it? Trent Conway, the
          Henry Higgins of our time.
          THE GROUP laughs and finishes their drinks as THE USHER
          unlocks the door to

          THE OPERA BOX.
          THE GROUP proceeds in, deciding who'll sit where in the box
          and checking their programs.
          OUISA looks into the vastness of the Metropolitan Opera
          House.
          THe chandeliers are rising into the ceiling.

                         

                         

                         

                         

                         91

                         OPERAGOER #1
          Quick - what the hell is the story of this
          opera?
          FLAN adjusts his opera glasses. a

                         OPERAGOER #2
          Boy meets girl. Boy loses girl.
          OUISA is distracted.

                         OUISA
          Paul must have looked at all those
          names and said I am Columbus. I am Magellan.
          I will sail into this new world.
          The camera comes in on OUISA as she remembers

          THE KITTREDGE LIVING ROOM.
          TESS laughs. OUISA laughs. It's a nice moment between these
          two.

                         OUISA
          I read somewhere that everybody on this planet
          is separated by only six other people. Six
          degrees of separation. Between us and everybody
          else on this planet. The President of the
          United States. A. gondolier in Venice. Fill in
          the names. I find that A.] tremendously
          comforting that we're so close and B.] like
          Chinese water torture that we're so close.
          Because you have to find the right six people to
          make the connection. It's not just big names.
          It's anyone. A native in a rain forest. A
          Tierra del Fuegan. An Eskimo. I am bound to
          everyone on this planet by a trail of six
          people. It's a profound thought. How Paul found
          us. How to find the man whose son he pretends to
          be. Or perhaps j& his son, although I doubt it.
          How every person is a new door, opening up into
          other worlds. Six degrees of separation between
          me and everyone else on this planet. But to
          find the right six people.
          TESS kisses HER MOTHER.
          OUISA puts out the light and THEY leave the room.

                         

                         

                         

                         

                         92

                          MUSIC
          THE ACT ONE MUSIC OF PUCCINI'S TOSCA suddenly swells up and

                         CONTINUES UNDER:

          THE MASTER BEDROOM NIGHT
          OUISA looks out the window down into the park.

          EXT CENTRAL PARK
          THE HUSKY bays up at the moon.

          INT LINCOLN CENTER METROPOLITAN OPERA NIGHT
          The curtain comes down on Act One of TOSCA.
          Applause.
          SANDY and CONNIE (yes! Pram the wedding) have leaned over
          from the next box.

                         FLAN
          No. No news.

                         OUISA
          He just vanished.

                          FLAN
          Nothing. All quiet. Thank god.
          THEY pass out of the box into

          THE CHAMPAGNE BAR.
          EVERYONE is very cheery.

                         OUISA
          Yes! We are going to Rome.
          CONNIE gives OUISA a card with a name on it.
          OUISA reads the card and passes it to FLAN.

                         OUISA
          No! I don't know them.
          FLAN smiles when HE sees the card.

                         FLAN
          Always wanted to meet them! Of course we'l1
          call. As soon as we get to Rome! What fun!

                         

                         

                         

                         

                         93

                         

          EXT ROME DAY
          THE CAMERA floats high across the city heading for ST.
          PETER'S BASILICA. It descends, circling ST. PETER'S,

                         TOWARDS

          THE VATICAN.

                         FLAN (VO)
          Rome is always remarkable but to see -
          Columns flash past. The blurring clears and we are moving

                         INTO

          INT SISTINE CHAPEL
          with FLAN and OUISA. They are escorted, through a maze of
          scaffolding, by an elderly Italian ART DEALER.

                         FLAN (VO)
          the Sistine Chapel like this!

                         OUISA (VO)
          To stand at the very top on scaffolding!

                         
          FLAN and OUISA ride up through the scaffolding, in a
          rickety elevator.

                         OUISA
          We were at the opera and ran into them and they
          gave us your address!

                         FLAN
          This is staggering!
          THEY step out, in great excitement, right onto

          THE SISTINE CHAPEL SCAFFOLDING.

                         FLAN (VO)
          They restored it after all these years -
          FOUR ITALIAN WORKERS scrub away at the ceiling a few feet
          above them. They refer constantly to banks of computers
          operated by TWO JAPANESE.

                         OUISA (VO)
          scraped all this paint off it

                         FLAN (VO)
          and years of smoke and tourists and it's brand
          new!

                         

                         

                         

                         

                         94
           OUISA looks up. SHE is right beneath the hand of God
           touching the hand of Man. SHE looks at it in awe. To be
           this close to it! THE SCREEN is filled with the cleaned
          ceiling of the Sistine Chapel.

          INT SOHO LOFT NIGHT
          FLAN and OUISA sit on cushions of a Soho loft done in the
          most glamorous minimal Japanese mode.

                         FLAN
          The colors are vibrant!

                         OUISA
          Flan went for business but for me it was -
          THE OWNERS of this loft are a MAN, 40s, who is confined to a
          wheel chair, and his beautiful COMPANION, an elegant
          Japanese woman. THE TEN DINNER GUESTS are dressed all in
          black, except OUISA who has on a bright Chanel suit. SHE
          and FLAN have managed to capture stage center.

          THE WHEEL CHAIR MAN

                         (INTERRUPTING OUISA)
          But what happened!

                         FLAN
          No. It's not important -

          THE JAPANESE HOSTESS
          You must!

                         OUISA
          Well, the day we got back from Rome -

                         FLAN
          We stepped out of the taxi from the airport and

          EXT THE KITTREDGE'S APARTMENT BUILDING DAY
          FLAN steps out of the cab first.

                         OUISA (VO)
          our doorman whom we tip very well at Christmas
          and any time he does something nice for us-- our
          doorman spits at my husband, J. Flanders
          Kittredge. I mean, spit at him!
          The DOORMAN - FRANK - good faithful loyal FRANK - holds
          the door open and spits at FLAN.

                         

                         

                         

                         

                         95

           SOHO LOFT
          THE CROWD gasps.
          FLAN frowns at OUISA for telling this part.

                         FLAN
          Darling, they don't have to know every detail.

          EXT THE KITTREDGE'S APARTMENT BUILDING
          OUISA is afraid to come out of the cab.

                         DOORMAN
          Your son! I know all about your son.

                         FLAN
          What about my son?

                         DOORMAN
          Not the little shit who lives here. The other
          son. The secret son. The negro son you deny.

                         FLAN
          The negro son?

                         DOORMAN
          The black son you make live in Central Park
          while you're gallivanting around Rome.
          The DOORMAN spits at FLAN again.

                         SOHO LOFT
          THE JAPANESE HOSTESS is interested.

          THE JAPANESE HOSTESS
          You have a black son?

                         FLAN
          No! The cops brought this young girl to us!

                         OUISA
          The cops called us up and we went
          down to the precinct again!

          INT PRECINCT DAY
          THE DETECTIVE sits on the edge of his desk.
          OUISA and FLAN sit in chairs in the small office, looking on
          uncomfortably. The emotion in the shabby room is too big for
          the size of it. THEY watch a young woman named ELIZABETH,in
          her mid-20s, seated behind the DETECTIVE'S desk.

                         

                         

                         

                         

                         96
          ELIZABETH (in a rage)
          I want him dead. That's all I want.

                         SOHO LOFT
          OUISA leans forward at the dinner table.

                         OUISA
          The next chapter.
          THE PARTY is silenced.

                         THE PRECINCT

                         ELIZABETH
          My boy friend and I took a picnic
          into the park

          EXT CENTRAL PARK DAY
          RICK, ELIZABETH and PAUL sprawl out on the grass in the
          sun, under the statue of the Alaskan husky, the remains of a
          picnic around them. Bongo Drums play in the distance.

                         ELIZABETH (VO)
          and we met this guy and started
          singing and talking.
          RICK, a nice young guy in his mid-twenties, plays his guitar
          energetically, the THREE of them having a great time singing
          a cheery old rock song.
          PAUL is wearing the pink shirt and the khakis but looks
          pretty seedy. HE eats hungrily.

                         PAUL
          I was hallucinating from not eating-

                         ELIZABETH
          If I told people back home that
          New York had trees and picnics,
          they'd swear I was lying. I love New York so
          much. Look at it! I can't get over it.

                         RICK
          We're here from Utah.

                         PAUL
          Do they have any black people in Utah?

                         RICK
          Maybe two.

                         

                         

                         

                         

                         97

                         ELIZABETH
          I saw them once. Two black people.

                         RICK
          Yes, the Mormons brought in two.
          THEY all laugh, enjoying each other, the day, the meeting.

                         ELIZABETH
          We came here to be actors.

                         RICK
          She won the all-state competition
          for comedy and drama.

                         PAUL
          My gosh!
          ELIZABETH stands up and declaims.

                         ELIZABETH
          "The quality of mercy is not strained.
          It droppeth like the gentle rain from heaven.."
          SHE's not bad. But then SHE giggles and the Shakespearean
           effect crumbles.

                         RICK
          And we study and we wait tables.

                         ELIZABETH
          Because you have to have technique.
          ELIZABETH and RICK are very earnest.

                         PAUL
          Like the painters. Cezanne looked for the rules
          behind the spontaneity of Impressionism.

                         RICK
          Cez - That's a painter?

                         ELIZABETH
          We don't know anything about painting.

                         PAUL
          My dad loves painting. He has a Kandinsky but
          he loves Cezanne the most. He lives up there.

                         RICK
          What?

                         

                         

                         

                         

                         98
           PAUL points up at 910 FIFTH, the home of the Kittredge's.

                         PAUL
          He lives up there. Count six windows over.
          John Flanders Kittredge. His chums-call him
          Flan. I was the child of Flan's hippie days.
          His radical days. He went down South as a
          freedom marcher, to register black voters - his
          friends were killed. Met my mother. Registered
          her and married her in a fit of sentimental
          righteousness and knocked her up with me and
          came back here and abandoned her. Went to
          Harvard. He's now a fancy art dealer. Lives up
          there. Count six windows over. Won't see me.
          The new wife--the white wife-- The Louisa
          Kittredge Call Me Ouisa wife - the mother of the
          new children wife--

                         RICK
          Your brothers and sisters?

                         PAUL (BITTER)
          They go to Andover and Exeter and Harvard and
          Yale. The awful thing is my father started out
          good. My mother says there is a good man inside
          s J. Flanders Kittredge.

                         ELIZABETH
          He'll see you if he is that good. He can't
          forget you entirely.

                         PAUL
          I call him. He hangs up.

                         RICK
          Go to his office -

                         PAUL
          He doesn't have an office. He works out of
          there. They won't even let me in the elevator.

                         RICK
          Dress up as a messenger.

                         ELIZABETH
          Say you have a masterpiece for him.
          "I got the Mona Lisa waitin' out in the truck."

                         

                         

                         

                         

                         99

                          PAUL
          I don't want to embarrass him. Look, this is so
          fucking tacky.

                         (PAUSE)
          You love each other? a

                         ELIZABETH
          A lot.
          RICK and ELIZABETH touch each other's hands.
          PAUL (standing up to go)
          I hope we can meet again.

                         RICK
          Where do you live?
          PAUL looks around HIM and makes a hopeless grand gesture.

                         PAUL
          Live? I'm,home.
          PAUL picks up two plastic shopping bags which are filled
          with clothing.

                         

                         ELIZABETH
          You're not out on the streets?

                         PAUL
          You're such assholes. Where would I live?
          PAUL shrugs his shoulders and leaves.
          RICK and ELIZABETH look at each other then follow him down
          the path leading through the park to the carousel.
          THE CAROUSEL calliope plays merrily.

                         RICK
          Stay with us.

                         ELIZABETH
          We just have a railroad flat in a tenement --
          PAUL looks at a bank of daffodils planted by the carousel.
          HE begins picking a bouquet of daffodils.
          RICK and ELIZABETH are being as persuasive as they can.

                         RICK
           It's over a roller disco. The last of the
           roller discos but it's quiet by five AM and a
          great narrow space -

                         

                         

                         

                         

                         100

                          ELIZABETH
          A railroad loft and we could give you a corner.
          The tub's in the kitchen but there's light in

                         THE MORNING-

                         SOHO LOFT

                         OUISA
          And he did!

          INT RICK AND ELIZABETH'S TENEMENT DAY
          RICK and ELIZABETH'S tenement is disastrously crummy and
          probably violates every building code. But, yes, light
          does flow in through that one narrow window.
          PAUL puts the bouquet of daffodils into a jelly jar and sets
          it down on a board that covers the tub.

                         THE PRECINCT
          ELIZABETH composes herself.
          OUISA pours ELIZABETH a glass of water.

                         ELIZABETH
           He stayed for a few weeks. He taught
          us so much. We even thought he was the
          reason for coming to New York. He opened
          up a new world for us. That's all anybody
          wants, isn't it? A new world?
          OUISA looks at FLAN.

          RICK AND ELIZABETH'S TENEMENT
          RICK and ELIZABETH listen intently to PAUL.

                         PAUL
          This is the way you must speak.
          Hear my accent. Hear my voice.
          Never say you're going horse back riding.
          You say You're going Riding. And don't
          say Couch. Say Sofa. And you say bodd-ill.
          It's bottle. Say bottle of beer.

                         RICK
          Bodd-ill a bee-ya.

                         

                         

                         

                         

                         101
          ELIZABETH pokes around in the refrigerator.

                         ELIZABETH

                         (SERIOUS)
          Hello. �. _

                         (FLIRTATIOUS)
          Hello.
          (SHE discovers two bottles of beer)
          Hello hello!
          SHE opens the beers. PAUL regards RICK for a moment.
          PAUL takes the bottle of beer.
          RICK and ELIZABETH share the other.

                         PAUL
          Bottle of beer. And never be afraid of rich
          people. You know what they love? A fancy pot
          of jam. That's all. Get yourself a patron.
          That's what you need. You shouldn't be waiting
          tables. You're going to wake up one day and the
          temporary job you picked up to stay alive is
          going to be your full time life.
          ELIZABETH is struck by his advice and embraces PAUL
          gratefully.

                         

                         THE PRECINCT
          ELIZABETH is more pulled together, sipping her drink of
          water. FLAN takes OUISA's hand.

          RICK AND ELIZABETH'S TENEMENT
          RICK and ELIZABETH have made love and lay on their backs in
          bed and dream.

                         RICK
          I'll tell you all the parts I want to play.
          Vanya in Uncle Vanya.

                         ELIZABETH
          Masha in Three Sisters.

                         RICK
          I'd like a -
          ELIZABETH is on fire with happiness and unwittingly cuts off

          RICK.

                         ELIZABETH
          No, Irina first. The young one
          who yearns for love.

                         

                         

                         

                         

                         102

                          RICK
           I'd like a shot at -

                         ELIZABETH
          Then Masha who loves.

                         RICK
          I'd like a shot -

                         ELIZABETH
          Then the oldest one, Olga, who never knows love!
          RICK'waits to see that ELIZABETH is through, then:

                         RICK
          I'd like a shot at Laertes. I think
          it's a much better part.
          ELIZABETH gazes in a mirror that- SHE holds close to her
          face.

                         ELIZABETH
          Do you think it'll hurt me?

                         RICK
           What'll hurt you?

                         ELIZABETH
          My resemblance to Liv Ullmann.
          PAUL runs into the loft.

                         PAUL
          He wrote me! I wrote him and he _
          wrote me back! He's going to give
          me a thousand dollars! And that's
          just for starters! He sold a Cezanne
          to the Japanese and made millions and
          he can give me money without her knowing it.
          PAUL lets out a whoop and leaps up onto the bed with RICK
          and ELIZABETH in it and begins jumping up and down.

                         ELIZABETH
          I knew it!
          PAUL goes to a corner which contains a single mattress on
          the floor and begins to pack his few things back in the
          plastic bags.

                         PAUL
          I'm moving out of here!

                         

                         

                         

                         

                         103

                         
          ELIZABETH reaches for her robe and pulls it on.
          RICK pulls on his jeans.

                         ELIZABETH
          You can't!

                         RICK
          No!
          RICK and ELIZABETH surround PAUL to make HIM stay.
          PAUL hugs THEM.

                         PAUL
          But I am going to give you the money to put on a
          showcase of any play you want and you'll be in
          it and agents will come see you and you'll be
          seen and you'll be started. And when you win
          your Oscars - both of you - you'll look in the
          camera and thank me -
          ELIZABETH loves the moment and weeps her acceptance speech.

                         ELIZABETH
          I want to thank Paul Kittredge.

                         RICK
          Thanks, Paul!
          THEY all hug each other and that's real.

                         PAUL
          One hitch. I'm going to meet him in Maine. He's
          up there visiting his parents in Dark Harbor.
          My grandparents whom I've never met. He's
          finally going to tell my grandparents about me.
          He's going to make up for lost time. He's going
          to give me money. I can go back home. Get my
          momma that beauty parlor she's wanted all her
          life. One problem. How am I going to get to
          Maine? The wife checks all the bills. He has
          to account for the money. She handles the purse
          strings. Where the hell am I going to get two
          hundred and fifty dollars to get to Maine?

                         ELIZABETH
          How long would you need it for?

                         PAUL
          I'll be gone a week. But I could wire
          it back to you.

                         

                         

                         

                         

                         104
          PAUL goes into the john to take his toothbrush and razor.
          ELIZABETH pulls on her dress and straightens out her hair.

                         RICK (QUIET)
           We could lend it to him for a week.

                         ELIZABETH (QUIET)
          We can't. If something happens -

                         RICK (QUIET)
          You're like his stepmother. These women holding
          on to all the purse strings.

                         ELIZABETH
          No. We worked too hard to save that.
          PAUL comes out of the john.
          RICK - always laid back - is suddenly quite angry.

                         ELIZABETH
          Paul. I'm sorry. We just can't.

                         PAUL
          Look. No problem. I understand.

                         ELIZABETH
          I'll meet you both after work. If your father
          loves you, he'll get you the ticket up there.

                         PAUL
          He does. It'll work out. Hey.
          Posture. Stand up straight. Don't slump.
          Attitudes of defeat.
          ELIZABETH kisses PAUL and looks at sullen RICK and leaves.

                         SOHO LOFT

                         OUISA
          She was one of those armies of
          young people who come to New York
          filled with dreams and end up on a treadmill
          working and working just to stay alive.

          INT A WEST SIDE RESTAURANT NIGHT
          ELIZABETH is one of the few waitresses in this crowded bar
          and works very hard.

          EXT CASH MACHINE NIGHT
          ELIZABETH gapes at the information on the screen.

                         

                         

                         

                         

                         105

          CU MESSAGE ON SCREEN

                         "ACCOUNT CLOSED"
          ELIZABETH begins hitting the machine to get her card back.
          ELIZABETH picks up the phone on the machine and calls the
          emergency number.
           ELIZABETH (in phone)
           There's some mistake. It says my joint account
           - can you see the numbers on the screen - that's
          right. that's my name. And his name. Joint
          account. What do you mean? Closed? Who closed
          the account? Who took everything out of the
          account? Who did this! Give me my card back!
          THE GUY next in line nudges her.

          THE NEXT CUSTOMER
          Let somebody else in here.

          EXT THE KITTREDGE'S APARTMENT BUILDING NIGHT
          An hysterical ELIZABETH goes into

                         

          THE LOBBY.
          FRANK, the DOORMAN, is having a snooze.
          ELIZABETH shakes him. HE wakes up terrified at the sight of
          this hysterical creature over HIM.

                         ELIZABETH
          - people named Kittredge. This Kittredge guy
          has a black son he makes live in the park -

                         FRANK
          Mr. Kittredge has what?

                         ELIZABETH
          His black son took money from me -

                         FRANK
          You have to be quiet

                         ELIZABETH
          I want to get up to see them!

                         FRANK
          You'll have to call or write a letter -

                         ELIZABETH
          They owe me money!

                         

                         

                         

                         

                         R

                         106
           FRANK takes ELIZABETH by the arm and ushers her out of

          THE KITTREDGE'S APARTMENT BUILDING.
          FRANK, the DOORMAN, bolts the front door to the-building.
          ELIZABETH bangs on the door.

                         ELIZABETH
          I'm here trying to get to meet people.
          I am stranded. Who do I know to go to?
          I want my money. I work tables. I work hard.
          A CAB pulls up. A POSH COUPLE steps out of the cab to go
          into 910 Fifth. THEY look at ELIZABETH.

                         ELIZABETH
          "The quality of mercy is not strained?"
          Fuck you, quality of mercy.
          FRANK opens the door quickly. THE POSH COUPLE scoots in.
          ELIZABETH kicks the building.

          INT ORSO'S RESTAURANT NIGHT
           FLAN and OUISA have come to this Broadway Italian restaurant
          after the theater with a MAN and WOMAN who from their dress
          and manner are obviously in the theater: ANDREW and ZEANNIE.
          FLAN and OUISA are in mid-story.

                         FLAN
          - all over the building that I had abandoned
          some mistake of my past in Central Park!
          THE COUPLE gasps!

                         JEANNIE
          But it's too fantastic!

                         FLAN
          Can't you just see me marching
          down South for Freedom Now!

                         OUISA (PROUDLY)
          Yes. Yes, I can.

                         FLAN
          It was so embarrassing.

                         ANDREW
          Horrible!

                         

                         

                         

                         

                         107

                         OUISA
          It wasn't so embarrassing.

                         JEANNIE
          I bet Flan loves being outraged.
          FLAN (mock outrage)
          I don't!

                         ANDREW
          You do! Flan loves getting into
          high dudgeon! His cheeks go all rosy!
          Look at his cheeks! Dudgeon becomes him.
          THEY all laugh as the WAITRESS puts down the plates of food.

                         FLAN
          To high dudgeon!
          THEY all toast.
          But OUISA has stopped laughing.

          INT RICK AND ELIZABETH'S TEN EME NT NIGHT
          ELIZABETH sits up in bed in the dark. SHE impassively
          watches a rat scramble across the floor. RICK comes in,
          drained, dressed in a baby blue tuxedo with a ruffled blue
          shirt - the kind of tux worn at high school proms.

                         RICK (BRIGHT)
          Hi!
          ELIZABETH puts on the light.

                         ELIZABETH
          Where's the money?

          BACK IN ORSO'S RESTAURANT
          OUISA continues her tale.

                         DUISA
          - she understandably wanted to know.

          RICK AND ELIZABETH'S TENEMENT
          RICK laughs brightly and sits beside HER on the bed.

                         

                         

                         

                         

                         108

                          RICK
          No! Let me explain. Paul found some extra
           money of his own and he wanted to thank us for
           staying here! He would've treated you but you
           had to work or else we would've . We rented
          these tuxedos! Isn't it a gas! He's going to
          give us the money back! And then I'm going to
          take you to the Rainbow Room. That's where we
          went! I brought you matches!

          INT THE RAINBOW ROOM NIGHT
          RICK, in his ruffled blue tux, and, PAUL, in impeccable
          black tie, look into the Rainbow Room.
          THE CAPTAIN takes THEM to a table by the window.
          RICK and PAUL look out over the city. The view is magic!

                         RICK (WHISPERS)
          Now did we get this table!

                         PAUL
          Stick with me, baby. I know the
          right name to drop.

          RICK AND ELIZABETH'S TENEMENT
          RICK (laughs brightly)
          And it's not that expensive for what you get.
          Well, it's not a bargain but it's

          THE RAINBOW ROOM
          THE WAITER opens a bottle of champagne.

                         RICK
          How an I going to explain to Elizabeth
          about the money?
          PAUL tastes the champagne. THE WAITER pours.

                         PAUL
          She'll have it back. With interest. Wonderful
          bouquet. Bouquet. That's what you call the
          taste of the wine. And I believe that wine from
          the even numbered years is generally the
          superior to the odd numbered years. Although
          it's just a theory - Cheers! Skol! Prosit!

                         RICK
          You are just about the greatest -
          THE DANCE ORCHESTRA plays a salute to 1930's romance.

                         

                         

                         

                         

                         109

                          PAUL
          Do you want to dance?

                         RICK
          Elizabeth has never seen anything l_4e here. I
          wish she was... Who do we dance with?
          THE ORCHESTRA segues into a tango. PAUL stands.

                         RICK
          We're guys.

                         PAUL
          Every moment in life is a learning experience or
          what good is it? Right? Right?

                         RICK
          Well, yes.

                         PAUL
          Then let this bunch of jerks see class.

                         ORSO'S RESTAURANT
          FLAN nods for their dinner guests, ANDREW and JEANNIE.

                         
          A little bit of titillation.

                         FLAN
          They danced. That's right! High
          over New York City.

          THE RAINBOW ROOM
          RICK and PAUL go to the dance floor and begin to dance,
          PAUL leading. RICK loving it.

          RICK AND ELIZABETH'S TENEMENT
          RICK tries to laugh it up into a wild experience.
          ELIZABETH sits impassively.

                         RICK
          I swear nothing like this ever
          happened in Utah.

          THE RAINBOW ROOM
          At first PEOPLE don't notice RICK and PAUL dancing. Then
          PEOPLE do notice.

                         

                         

                         

                         

                         110

           RICK (VO)
          And, I'll tell you, nothing like that must have
          ever happened at the Rainbow Room because they
          asked us to leave. It was so funny.
          PAUL spins RICK round and round and the CAMERA spins with

          THEM.

          RICK AND ELIZABETH'S TENEMENT

                         RICK
          You'll love the place. It's up so high.

          THE RAINBOW ROOM
          THE CAMERA spins around the panoramic view sixty-five floors
          and then spins out of the windows down onto

          EXT THE ICE RINK ROCKEFELLER CENTER NIGHT
          THE CAMERA focusses in on a COUPLE spinning in the middle of
          the ice. RICK and PAUL, hysterical with laughter, cut
          through Rockefeller Center and then come to Fifth Avenue
          where A HANSOM CARRIAGE waits. THE DRIVER tips his hat to
          these customers. PAUL jumps into

          THE HANSOM CARRIAGE.

                         RICK
          We don't have any money -

                         PAUL
          Amigo! When will you learn! Money is one
          commodity you can always get.
          THE HANSOM CARRIAGE proceeds up to Central Park.
          RICK leans forward looking out the isinglass windows.

                         RICK
          I'm going to have to explain to Elizabeth about
          the money and calm her. She gets so nervous

                         ABOUT-
          (PAUL draws a circle on RICK's back.)
          Hey, stop that. Paul. Come on.

                         PAUL
          I was wondering if I could fuck you.
          RICK laughs. Then sees PAUL is serious.

                         RICK
          I don't do things like that.

                         

                         

                         

                         

                         111

                         

                         PAUL
          That's what makes it so nice. You don't.

          RICK AND ELIZABETH'S TENEMENT
          RICK reaches over and turns off the light by the bedside.
          Downstairs we hear the throb beginning of the roller disco.
          ELIZABETH looks at him coldly.

                         RICK
          - and he did and it was fantastic.

          THE HANSOM CARRIAGE
          Time has passed.
          PAUL kisses an amazed, mussed RICK on the mouth and jumps
          out of the CARRIAGE and goes off into the dark.

          EXT CENTRAL PARK
          THE DRIVER stands up seeing PAUL run out. RICK runs out of
          the CARRIAGE after PAUL. THE DRIVER chases them.

                         CU
          RICK lost in the nighttime park.
          RICK looks up and sees the STATUE OF THE HUSKY.

          RICK AND ELIZABETH'S TENEMENT
          RICK paces back and forth.

                         RICK
          Didn't we come here for experience? Right? We
          can use this. Right?
          ELIZABETH lies on her stomach on the bed away from him.

                         THE PRECINCT
          ELIZABETH rolls a pencil back and forth on the desk.
          FLAN and OUISA watch sympathetically.

                         ELIZABETH
          He rambled on for hours. His own father
          warned me Rick was a fool and I looked
          at Rick and knew his father was right.

                         

                         

                         

                         

                         112

           RICK AND ELIZABETH'S TENEMENT
           RICK paces back and forth in a rage, pulling at his tux.

           RICK - -
           My father is not right! I can't have him be
           right. I wanted experience. We came here for
          experience. What's so wrong with that? Right?
          ELIZABETH is repelled by him.

                         ELIZABETH
          Don't touch me!

                         THE PRECINCT
          ELIZABETH rubs her hands over her face as if trying to get
          the memory away.
          OUISA looks at FLAN and THE DETECTIVE.

                         ELIZABETH
          He went on for a long time trying to get me
          just to look at him. I couldn't even do that.

          RICK AND ELIZABETH'S TENEMENT

                         

                         RICK
          But I didn't come here to do this or lose that
          or be this or do this to you. Not to you. Look
          at me? Elizabeth! What did I let him do to me?

                         ELIZABETH
          Nobody did this but you.

          BACK IN ORSO'S RESTAURANT

                         FLAN
          Now the amazing part is

                         OUISA
          talk about six degrees

                         FLAN
          We were in the roller disco that night!
          ANDREW and JEANNIE's jaws drop.

                         

                         

                         

                         

                         113

                         

                         OUISA
          Yes! There we were roller skating for heart
          disease or cancer -

                         FLAN
          It was illiteracy.

          INT ROLLER DISCO NIGHT
          MIDDLE AGED PEOPLE all dolled up roll skate around and
          around trying to keep their balance to 40s swing music.
          Among the SKATERS we spot FLAN and OUISA at this ROLLER
          DISCO BENEFIT skating round and round breathlessly going
          faster and faster, laughing and laughing.
          Lights flash and whirl.

                         ORSO'S RESTAURANT

                         OUISA
          I hadn't skated in I hate to tell you how many

                         YEARS -

                         FLAN
          We came outside giddy and reeling

                         0

          EXT ROLLER DISCO NIGHT
          Lights reflect in a puddle on the wet street. THE CAMERA
          pulls back to reveal it is a puddle of blood, seeping out of
          a crumpled body.

                         OUISA (VO)
          The body must have just landed there in a clump

                         FLAN (VO)
          Because the blood seeping out had not yet
          reached the gutter...

                         OUISA (VO)
          The blood just oozing out slowly
          towards the curb.
          FLAN and OUISA and another COUPLE, SANDY and CONNIE from
          the wedding, stop at the sight. They stare at the body
          that has slammed into the pavement. The body of RICK.

                         FLAN (VC)
          The boy had jumped from above.

                         OUISA (VO)
          We just missed it by minutes.

                         

                         

                         

                         

                         114

                         ORSO'S RESTAURANT

                         OUISA
           Perhaps we could have saved him - called an
          ambulance - but it was too late -

                         FLAN
          He could've landed on us!
          ANDREW and JEANNIE are appalled. No!
          OUISA frowns.

                         JEANNIE
          It's so funny you say that. Yesterday we walked
          through the park by Gracie Mansion

                         ANDREW
          and it was cold and we saw police putting a
          jacket on a man sitting on a bench.

                         JEANNIE
          Only we got closer and it wasn't a jacket.

                         ANDREW
          It was a body bag. A homeless person
           had frozen during the night.

                         OUISA
          Was it that cold?

                         ANDREW
          Sometimes there are periods where you see death
          everywhere.
          FLAN waves to someone over there.
          THE WAITRESS brings coffees.
          OUISA looks straight ahead.

          THE PRECINCT DAY
          OUISA and FLAN sit with the DETECTIVE and ELIZABETH.

                         DETECTIVE
          When this young lady told me the black kid was
          your son, it all seemed to come into place.
          What I'm saying is she'll press charges.

                         ELIZABETH
          I want Paul dead. He took all our money. He
          took my life. Rick's dead! You bet your life
          I'll press charges.

                         

                         

                         

                         

                         115

                         

                         OUISA
          We haven't seen him since that night.

                         DETECTIVE
          Find him. We might have a case. a

                         OUISA
          How do we find him?

                         FLAN
          We'll trap him. I'll release it to the papers.
          I can call the New York Times. I have friends.
          They'll publish the story. Someone will see
          it. And turn him in. We'll find Paul.

                         OUISA
          Six degrees. Six degrees.
          OUISA looks at FLAN. FLAN is so secure.

          INT THE FRONT DOOR OF THE KITTREDGE'S APARTMENT DAY
          FLAN, in his bathrobe, opens the door and picks up the
          morning paper.
          t HE scans through the paper, then lets out a whoop and runs
          through the apartment to

                         INSERT
          NEW YORK TIMES article entitled:
          "Who Says New Yorkers Don't Have a Heart"

                         THE KITCHEN
          OUISA is making a breakfast drink at the blender.
          FLAN (reading from the Times)
          "Smart sophisticated tough New Yorkers such as
          J. Flanders Kittredge who opened their homes and
          pocket books to a young man learned yesterday
          they had been boondoggled by a confidence man
          now wanted by police -
          FLAN pounds the kitchen counter in glee.
          OUISA looks at him, askance.

          EXT LINCOLN CENTER THE STATE THEATRE NIGHT
          The fountain shoots up. The camera drifts up the face of
          the State Theatre. It's intermission. FLAN and OUISA are
          out on the terrace in,.mid story talking to A COUPLE (ALEX
          and LILY) who are there with a YOUNG GIRL who is obviously
          an aspiring ballerina.

                         

                         

                         

                         

                         116

                         

                         LILY
          I didn't see that piece.

                         ALEX
          We were in Aspen.
          THE CHIME signals the intermission's end.

                         FLAN
          I'll send you the clipping.

                         OUISA
          You could wall paper the Empire State Building
          with all the copies he made.

                         ALEX
          We'll meet right here at the next intermission-
          THEY return inside.

          THE YOUNG BALLERINA
          Did you ever hear from Sidney Poitier?

                         FLAN
           No.

                         ALEX
          Did you hear from the boy?

                         FLAN
          No.

          EXT CATHEDRAL OF ST. JOHN THE DIVINE DAY
          OUISA and FLAN get out of a taxi in front of this gothic
          cathedral. THEY see KITTY and FLAN running down the street
          to the same destination.

          INT CATHEDRAL OF ST. JOHN THE DIVINE
          OUISA and FLAN walk down the aisle with KITTY and LARKIN.

                         KITTY
          Come for dinner with us after

                         OUISA
          We'd love to but can't!

                         FLAW
          So sorry! Have to work.

                         

                         

                         

                         

                         117

                         

                         OUISA
          Black-tie auction - Sotheby's -
          FLAN leans in close to KITTY. Top secret.

                         A

                         FLAN
          We are bidding tonight on an Henri Matisse.

                         LARKIN
          The nudes? The bathers? The dancers?
          THEY cut down a side aisle.

                         FLAN
          It's a second level Matisse -

                         OUISA
          but a Matisse -

                         KITTY
          Who are you buying it for? The Japanese?
          Germans?
          AN ORGAN suddenly begins playing a triumphant Bach cantata.

                         OUISA
          Not allowed to tell.
          OUISA turns to look up at the choir loft.

                         LARKIN
          Then it's the Germans.

                         FLAN
          They'll go as high as -

                         OUISA
          Don't tell all the family secrets -

                         FLAN
          Well over 25 million.

                         LARKIN
          Out of which you will keep -

                         OUISA
          Not that much in this new market.

                         

                         

                         

                         

                         118

                         FLAN
          Ugh. Bring back the 80s.
          I'll have to give most of it away, but the good
          part is it gives me a credibility in this new
          market. It's all out of whack. Everything's
          up. Everything's down. I mean, a David Fucking
          Hockney print sold for a hundred bucks fifteen
          years ago went for Thirty four thousand dollars!
          A print! A flower. You know Geoffrey. our
          South African -
          OUISA shushes FLAN.
          THEY have arrived at

          INT THE BAPTISTRY OF THE CATHEDRAL OF ST. JOHN THE DIVINE
          OUISA and FLAN are part of the GROUP in this stone Gothic
          chamber witnessing the baptism of the infant child of two
          FRIENDS of theirs. KITTY and LARKIN are the godparents.
          EVERYBODY applauds as THE PRIEST shakes the water on the
          baby's head.

          CU A SHOWER HEAD
          spewing a jet of water

           INT KITTRIDGE'S MASTER BEDROOM/BATHROOM EARLY EVENING
          FLAN is in the shower singing merrily.

                         FLAN
          The Matisse will be mine
          - for a few hours
          Then off to Tokyo
          Off to Saudi
          OUISA is on the speaker phone with TESS while she is
          dressing for the auction.

                         TESS (VO)
          What do you have on?

                          OUISA
           I'm totally dolled up. The black. Have you seen
          it? I have to tell you the sign I saw today.
          Cruelty-free cosmetics. A store was selling
          cruelty-free cosmetics.

          INT HARVARD DORM ROOM
          TESS is curled up on her bed enjoying this chat.

                         

                         

                         

                         

                         119

                         TESS
          Mother, that is such a beautiful thing. Do you
          realize the agony cosmetic companies put rabbits
          through to test eye shadow?

                         A

                         MASTER BEDROOM

                         OUISA
          Dearest, I know that. I'm only talking about
          the phrase. Cruelty-free cosmetics should take
          away all evidence of time and cellulite and--

          HARVARD DORM ROOM

                         TESS
          Mother, I'm getting married.

                         MASTER BEDROOM
          OUISA picks up the receiver on the cordless phone. This is
          too important for 'a speaker phone.

                         OUISA
          I thought you were going to Afghanistan.

                         TESS (VO)
          I am going to get married and then go to
          Afghanistan.

                         OUISA
          One country at a time. You are not
          getting married.

          HARVARD DORM ROOM

                         TESS
          Immediately so deeply negative--

                         OUISA (VO)
          I know everyone you know and you are not
          marrying any of them.

                         TESS
          The arrogance that you would assume you know
          everyone I know. The way you say it: I know
          everyone you know -

                         MASTER BEDROOM
          In the Background, FLAN shaves at the bathroom mirror.

                         

                         

                         

                         

                         120

                          OUISA
           Unless you met them in the last two days - you
          can't hold a secret.
          (The other line rings)
          Wait- I'm putting you on hold

                         TESS (VO)
          No one ever calls on that number.

                         OUISA
          Wait. Hold on.

                         TESS (VO)
          Mother!

                         OUISA
          Hello?

          EXT UNIDENTIFIED PHONE BOOTH DUSK
          Lights flash on the glass of this UNSPECIFIED LOCATION.
          PAUL, frightened, is on a street phone AND dressed as HE was
          when TRENT first met him, ragged, scared.

                         PAUL
          Hello?

          BACK IN THE MASTER BEDROOM

                         OUISA
          Paul?
          We will cut back and forth between these two locations for
          the remainder of this scene. At times, the two will share
          the screen.
          During this scene OUISA walks throughout THE APARTMENT
          speaking on the cordless phone.

                         PAUL
          I saw the story in the paper. I didn't know the
          boy killed himself. He gave me the money. I
          didn't steal any -

                         OUISA
          Let me put you on hold. I'm
          talking to my child.

                         PAUL
          If you put me on hold, I'll be gone and you'll
          never hear from me again.
          OUISA pauses.

                         

                         

                         

                         

                         121

                         

          HARVARD DORM ROOM

                          TESS
          Mother! I -

                         A
          TESS is cut off.

          BACK IN THE KITTREDGE'S HALL

                         OUISA
          You have to turn yourself in. The boy comaitted
          suicide. You stole the money. The girl is
          pressing charges. They're going to get you.
          Why not turn yourself in and you can get of f
          easier. You can strike a bargain. Learn when
          you're trapped. You're so brilliant. You have
          such promise. You need help.

                         PAUL
          Would you help me?

                         OUISA
          What would you want me to do?

                          PAUL
          Stay with you.

                         OUISA
          That's impossible-.

                         PAUL
          Why?

                         OUISA
          My husband feels you betrayed him.

                         PAUL
          Do you?

                         OUISA
          You were lunatic! And picking that drek off the
          street. Are you suicidal? Do you have AIDS?
          Are you infected?

                         PAUL
          I do not have it. It's a miracle. But I don't.
          Do you feel I betrayed you? If you do, I'll
          hang up and never bother you again -

                         OUISA
          Where have you been?

                         

                         

                         

                         

                         122

                         PAUL
          Travelling.

                         OUISA
          You're not in trouble? I mean, more trouble?

                         PAUL
          No, I only visited you. I didn't like the first
          people so much. They went out and just left me
          alone. I didn't like the doctor. He was too
          eager to please. And he left me alone. But you.
          You and your husband. We all stayed together.

                         CUISA
          What did you want from us?

                         PAUL
          Everlasting friendship.

                         OUISA
          Nobody has that.

                         PAUL
          You do.

                          OUISA
          What do you think we are?

                         PAUL
          You're going to tell me secrets? You're not
          what you appear to be? You have no secrets.
          Trent Conway told me what your kids have told
          him over the years.

                         OUISA
          What have the kids told him about us?

                         PAUL
          I don't tell that. I save that for blackmail.

                         OUISA
          Then perhaps I'd better hang up.

                         PAUL (PANIC)
          No! I went to a museum! I liked
          Toulouse-Lautrec!

                         OUISA
          As well you should.

                         PAUL
          I read the Andy Warhol Diaries.

                         

                         

                         

                         

                         123

                         

                         DUISA
          Ahh, you've become an aesthete.

                         PAUL
          Are you laughing at me?

                         OUISA
          No. I read them too.

                         PAUL
          I read The Agony and the Ecstasy by Irving Stone
          about Michelangelo painting the Sistine Chapel.

                         DUISA
          You're ahead of me there.

                         PAUL
          Have you seen the Sistine Chapel?

                         OUISA
          Oh yes. Even gone to the top of it in a rickety
          elevator to watch the men clean it.

                         PAUL
           You've been to the top of the Sistine Chapel?
          PAUL leans into the phone, amazed, as the screen floods with
          the brightly colored ceiling of the

          INT SISTINE CHAPEL
          OUISA and FLAN stand on the top of a rickety platform.
          THE WORIOCkN slaps it.

                         OUISA (VO)
          Absolutely. Stood right under the hand of God
          touching the hand of man.

                         THE WORKMAN
          Hit it. Hit it. It's only a fresco.
          OUISA looks up at the hand of God. SHE laughs and slaps
          the hand of God.
          PAUL smiles in wonderment as the SCREEN fills with color.
          But then WE're out of his imagination and see the squalid
          surroundings of his phone booth.

                         PAUL
          You slapped God's hand!

                         

                         

                         

                         

                         124

          KITTREDGE'S LIVING ROOM

                         

                         OUISA
          I slapped God's clean hand.
          And you know what they clean it with? All this
          technology? Q-tips and water.
          PAUL is thrilled by this bit of knowledge.

                         PAUL
          No!

                         OUISA
          Clean away the years of grime and soot and paint
          ovens. Q-tips and water changing the history of
          Western art. Vivid colors.

                         PAUL
          Take me to see it?

                         OUISA
          Take you to see it? Paul, they think you might
          have murdered someone! You stole money!
          0 FLAN appears, needing help with his studs.

                         FLAN
          Honey, could you give me a hand with--
          OUISA (mouths to Flan)
          It's Paul.
          FLAN goes to the other phone.

                         FLAN
          I'll call that detective.
          The other phone line rings. FLAN picks it up.

          INT HARVARD DORM ROOM

                         TESS
          Dad! We were cut off. I'm getting marr -

                         FLAN (VO)
          Darling, could you call back -

                         TESS
          I'm getting married and going to Afghanistan -

                         

                         

                         

                         

                         125

          BACK IN THE KITTRIDGE'S LIVING ROOM

                         FLAN
          We cannot talk about this now -

          HARVARD DORM ROOM

                         TESS
          I'm going to ruin my life and get married and
          throw away everything you want me to be because
          it's the only way to hurt you!
          TESS hangs up.
          ANOTHER PHONE is picked up. It is at

          THE PRECINCT.
          THE DETECTIVE doesn't even get to say "Hello".
          FLAN (on the phone)
          I've got that kid on the line.

                         DETECTIVE
          Find out where he is.

                         

          KITTREDGE'S LIVING ROOM
          FLAN (mouths to Ouisa)
          Find out where he is

                         PAUL
          Who's there?

                         OUISA
          Look, why don't you cone here. Where are you?
          PAUL, pressed in the battered phone booth, doesn't want to
          be in this cold street with its brightly lit squalor. HE
          wants to be at OUISA's, but his fear wins out.

                         PAUL
          I come there and you'll have the cops waiting.

                         OUISA
          You have to trust us.

                         PAUL
          Why?

                         OUISA
          Because - we like you.

                         

                         

                         

                         

                         126
           FLAN (mouths)
          Where is he?
          PAUL, straining to hear, gets very paranoid.

                         PAUL
          Who's there?

                         IT'S -
          I'm not here.
          It's Flan.
          FLAN groans impatiently.
          PAUL brightens.
          THE OPERATOR makes noises.
          PAUL drops a coin in the box.

                         PAUL
          Are you in tonight? I could come and make a
          feast for you.

                         

                         OUISA
          We're going out now. But you could be here when
          we come back.

                         FLAN
          Are you nuts! Tell a crook we're going out. The
          house is empty.

                         PAUL
          Where are you going?

                         OUISA
          To Sotheby's.
          FLAN grabs the phone.

                         FLAN (SARCASTIC)
          The key's under the mat!
          PAUL is as cheery as HE can be.

                         PAUL
          Hi! Can I come to Sotheby's?
          FLAN thrusts the phone back to OUISA.

                         

                         

                         

                         

                         127

                         OUISA

                         
          Hi.

                         PAUL
          I said hi to Flan.

                         OUISA

                         FLAN

                         OUISA

                         PAUL
          That's wonderful! I'll come!

                         OUISA
          You can't.

                         PAUL
          Why? I was helpful last time -

                         FLAN
           Thank him - he was very help -
          OUISA hands FLAN the phone.

                         FLAN
          Paul? You were helpful getting me that money
          for the Cezanne. You impressed Geoffrey -

                         PAUL
          Really! I was thinking maybe that's what I
          should do is what you do - in art but making
          money out of art and meeting people and not
          working in an office -

                         FLAN
          You only see the glam side of it. There's a
          whole grotty side that -

                         PAUL
          I could learn the grotty -

                         FLAN
          You have to have art history. You have to have
          language. You have to have economics -

                         -- PAUL
          I'm fast. I could do it. Do your kids want to

                         

                         

                         

                         

                         128

                         FLAN
          No, it's not really a profession you hand down
           from generation to gen - what the hell at I
           talking career counselling to you! You
           embarrassed me in my building! You stole money.
           There is a warrant out for your arrest.'
           OUISA (wrests the phone away)
          Don't hang up! Paul? Are you there? Paul!
           (TO FLAN) You made him hang up -

                         PAUL
          I'm here.

                         OUISA
          You are! Who are you? What's your real name?

                         PAUL
          If you let me stay with you, I'll tell you.
          That night was the happiest night I ever had.
          OUISA (to Flan)
          It was the happiest night he ever had.

                         FLAN

                         
          Oh please. I am not a bullshitter but never
          bullshit a bullshitter.
          FLAN goes.
          SHE paces into the KITCHEN, looking at the implements PAUL
          had used that night, the funny candelabra.

                         OUISA
          Why?

                         PAUL
          You let me use all the parts of
          myself that night -
          OUISA opens the door into the DINING ROOM.

                         OUISA
          It was magical. That Salinger stuff -
          SHE turns on the chandelier in the DINING ROOM.

                         PAUL
          Graduation speech at Groton two years ago.

                         OUISA
          Your cooking -

                         

                         

                         

                         

                         129

                          PAUL
           Other people's recipes. Did you see Donald
          Harthleme's obituary? He said Collage was the
          art form of the 20th century.

                         OUISA
          Everything is somebody else's-

                         PAUL
          Not your children. Not your life.
          SHE walks around the empty dining room table.

                         OUISA
          Yes. You got me there. That is mine.
          It is no one else's.

                         PAUL
          You don't sound happy.
          SHE walks back into the LIVING ROOM.

                         OUISA
           There's so much you don't know. You are so.
           smart and so stupid -

                         
           PAUL slams the side of the phone booth.

                          PAUL (FURIOUS)
           Never say I'm stupid -

                          OUISA
           Have some flexibility! You're stupid not to
           recognize what you could be.

                         PAUL
          What could I be?

                         OUISA
          So much.

                         PAUL
          With you behind me?

                         OUISA
          Perhaps. You liked that night?
          I've thought since that you spent
          all your time laughing at us.

                         PAUL
          No.

                         

                         

                         

                         

                         130
          SHE walks down the HALL.

                         DUISA
          That you had brought that awful hustling thing
          back to show us your contempt -

                         PAUL
          I was so happy. I wanted to add sex to it.
          Don't you do that?
          OUISA looks into the MASTER BEDROOM and goes in.

                         DUISA (PAUSE)
          No.

                         PAUL
          I'll tell you my name.

                         OUISA
          Please?

                         PAUL
          It's Paul Poitier-Kittredge.
          It's a hyphenated name.
          SHE sits on her bed.

                         OUISA
          Paul? You need help. Go to the police. Turn
          yourself in. You'll be over it all the sooner.
          You can start.

                         PAUL
          Start what?

                         OUISA
          Your life.

                         PAUL
          Will you help me?
          OUISA stands up.

                         OUISA
          I will help you. But you have to go to the
          police and go to jail and -

                         PAUL
          Will you send me books and polaroids of you and
          cassettes? And letters?

                         

                         

                         

                         

                         131

                         OUISA
          Yes.
          OUISA walks rapidly down the HALL.

                         PAUL
          Will you visit me?

                         OUISA
          I will visit you.

                         PAUL
          And when you do, you'll wear your
          best clothes and knock em dead?
          SHE's in the LIVING ROOM.

                         OUISA
          I'll knock em dead. But you've got to be careful
          in prison. You have to use condoms.

                         PAUL
          I won't have sex in prison. I only
          have sex when I'm happy.

                          OUISA
          Go to the police.

                         PAUL
          Will you take me?

                         OUISA
          I'll give you the name of-the detective to see-

                         PAUL
          I'll be treated with care if you
          take me to the police. If they don't
          know you're special, they kill you.

                         OUISA
          I don't think they kill you.
          PAUL puts the phone receiver over his head in a sudden
          gesture of fear. Then HE returns the receiver to his ear.

                         PAUL
          Mrs. Louisa Kittredge, I am black.

          PAUSE.

                         

                         

                         

                         

                         132

                         OUISA
           I will deliver you to them with
          kindness and affection.

                         PAUL
          And I'll plead guilty and go to
          prison and serve a few months.

                         OUISA
          A few months tops.

                         PAUL
           Then I'll come out and work for
          you and learn -

                         OUISA
          We'll work that out.

                         PAUL
          I want to know now.

                         OUISA
          Yes. You'll work for us.

                         PAUL
          Learn all the trade. Not just the grotty part.

                         

                         OUISA
          Top to bottom.

                         PAUL
          And live with you.

                         OUISA
          No.

                         PAUL
          Your kids are away.

                         OUISA
          You should have your own place.

                         PAUL
          You'll help me find a place?

                         OUISA
          We'll help you find a place.

                         PAUL
          I have no furniture.

                         

                         

                         

                         

                         133

                          OUISA
          We'll help you out.
          PAUL beams as HE becomes the PAUL from that night. His
          imagination is off and running. The lights, from wherever
          HE is, shine on his face and reflect on the broken glass of
          the booth.

                         PAUL
          I made a list of things I liked in the museum.
          Philadelphia Chippendale.

                         OUISA
           Believe it or not, we have two Philadelphia
          Chippendale chairs -

                         PAUL
          I'd rather have one nice piece than
          a room full of junk.

                         OUISA
          Quality. Always. You'll have all that.
          Philadelphia Chippendale.

                         PAUL
           All I have to do is go to the police.

                         OUISA
          Make it all history. Put it behind you.

                         PAUL
          Tonight.

                         OUISA
          It can't be tonight. I will take you tomorrow.
          We have an auction tonight at Sotheby's -

                         PAUL
          Bring me?

                         OUISA
          I can't. It's black tie.

                         PAUL
          I have black tie from a time I
          went to the Rainbow Room. Have
          you ever been to the Rainbow Room?

                         OUISA
          Yes.

                         

                         

                         

                         

                         134

                         PAUL
          What time do you have to be there?

                         OUISA
          Eight o'clock.

                         PAUL
          It's five thirty now. You could come
          get me now and take me to the police
          tonight and then go to Sotheby's--

                         OUISA
          We're going to drinks before at the Pierre.

                         PAUL
          Japanese?

                         OUISA
          Germans.

                         PAUL
          You're just like my father.

                         OUISA
          Which father?

                         PAUL
          Sidney!

          PAUSE.

                         OUISA
          Paul. He's not your father. And
          Flanders. is not your father.
          FLAN comes in to the living room, dressed.

                         FLAN
          Oh fuck. We have drinks with the Japanese at
          six- fifteen - Get off that fucking phone. Is
          it that kid? Get him out of our life! Get off
          that phone or I'll rip it out of the wall!
          OUISA (looks at FLAN)
          Paul, I made a mistake. It is not the Germans.
          We will come right now and get you. Where are
          you? Tell me? I'll take you to the police. They
          will treat you with dignity.

                         

                         

                         

                         

                         135

          EXT PHONEBOOTH BY THE MARQUEE OF THE WAVERLY THEATER,

                         GREENWICH VILLAGE

                         PAUL
          I'm in the lobby of the Waverly movie theater on
          Sixth Avenue and Third Street.

          KITTRIDGE'S LIVING ROOM

                         OUISA
          We'll be there in half an hour.

                         PAUL
          I'll give you fifteen minutes grace time.

                         OUISA
          We'll be there. Paul. We love you.

                         PAUL
          Ouisa., I love you. Ouisa Kittredge. Hey?
          Bring a pink shirt.

                         OUISA
          We'll have a wonderful life.
           SHE hangs up and looks at FLAN.

                         OUISA
          We can skip the shmoozing. Pick
          the boy up, take him to the police
          and be at Sotheby's before eight.

          INT A FORMAL DINING ROOM
          Of all the PARTIES we've been to, this is the most luxurious
          of all, given by one of New York's legendary hostess's, a
          glamorous woman who must be in her late 80s, MRS. BANNISTER.
          OUISA and FLAN are here.
          This dinner is really a state occasion in honor of that
          United Nations type at MRS. BANNISTER'S right.
          But FLAN and OUISA have captured the table.

                         OUISA
          t The story ended there...

                         FLAN
          It did not!
          Clearly OUISA is as disturbed by the telling of the events
          as FLAN is energized.

                         

                         

                         

                         

                         136

                         OUISA
           There are so many other people here tonight. We
          didn't mean to take up so much
          MRS. BANNISTER slams her napkin down.

          MRS. BANNISTER
          No! It's my supper and I command you to sing!

                         FLAN
          We called our new best friend, the detective.

                         OUISA
          We told them Paul was at the Waverly theater.
          FLAN (to his dinner partner)
          Sixth Avenue and Third Street. The lobby.

                         OUISA
          But we had promised Paul that we would
          bring him to the police. We told the police he
          was special.

                         FLAN
          Well, Ouisa did.

                          OUISA
          The detective said he'd honor our promise.

                         FLAN
          We skipped the cocktails

                         OUISA
          But we didn't count on

          EXT TRAFFIC ON FIFTH AVENUE
          OUISA and FLAN in dinner clothes are stuck in a traffic jam.

                         OUISA (VO)
          Traffic traffic traffic
          FLAN gets out of the car and looks ahead in this din of
          honking horns.

          EXT WAVERLY MOVIE THEATER, GREENWICH VILLAGE NIGHT
          FLAN and OUISA speed up Sixth Avenue and double park in
          front of the Waverly Movie Theater.
          Two Cop cars are there. Red lights spinning.
          PEOPLE gape on the street.

                         

                         

                         

                         

                         137
          THEY see PAUL being dragged into one of the two Cop cars,
          t kicking and screaming.
          THE COPS throw PAUL into the back seat.
          FLAN tries to talk to one of the POLICE while OUISA runs up
          to the Cop car window.
          PAUL, being handcuffed, looks at OUISA. HE smiles as if
          HE's bumped into DUISA at a cocktail party.

                         PAUL
          The Kandinsky is painted on both sides.
          DUISA is startled. THE COP slams the car door on PAUL.

                         OUISA
          Paul? Officer? Let me go with you -
          I promised I'd take him!

                         OFFICER
          Lady. Out of the way --
          FLAN takes OUISA's-arm.

                         OUISA
          We have to do soaething!

                         FLAN

                         
          Let's just get the hell out of here.
          THE COP CAR pulls away, sirens blaring.
          PAUL turns and looks at OUISA. Betrayal.

          BACK IN THE FORMAL DINING ROOM

          MRS. BANNISTER
          There's nothing more you can do -

                         FLAN
          What could we do? We tried.

                         OUISA
          went to the precinct.

          INT THE PRECINCT DAY
          DUISA hands the detective's card to the DESK CLERK.

                         CLERK
          He's transferred.

                         OUISA
          Since yesterday? He's been handling this

                         

                         

                         

                         

                         138

                         CLERK
           He's transferred -

                         OUISA
          This is about an arrest made yesterday at the
          Waverly Movie theater -
          THE CLERK checks the records.

                         CLERK
          This precinct didn't do any business at the
          Waverly Theater.

                         OUISA
          I didn't imagine it -

                         CLERK
          I'm not saying you did.

                         OUISA
          Could you find out which precinct -
          THE CLERK looks through the book.

                         CLERK
          The name?

                         

                         OUISA
          Poitier. He's a young black man. Or maybe
          Kittredge. I don't know the exact name -

                         CLERK
          Are you family?

                         OUISA
          Not exactly. But the detective
          promised me yesterday that I could go with the
          young man when he was arraigned to let them know
          he was special.

                         CLERK
          We have no record of it. Some other precinct
          must have made the arrest. It sounds like your
          special friend was wanted for something else.

                         OUISA
          Like what?

                         CLERK
          Lady, how can I help you? You don't even know
          your friend's name.

                         

                         

                         

                         

                         139

                         OUISA
           We can find anybody - Six degrees
          THE CLERK closes the book.

          BACK IN THE FORMAL DINING ROOM

                         OUISA
          We weren't family. We didn't know Paul's name.

          EXT HOGAN PLACE THE DISTRICT ATTORNEY'S OFFICE DAY

                         OUISA (VO)
          I went to the District Attorney's office.
          we weren't family. We didn't know Paul's name.

          EXT THE CRIMINAL COURTS BUILDING

                         OUISA (VO)
          I called the Criminal Courts.
          I wasn't family. I didn't know Paul's name.

          THE FORMAL DINING ROOM

                         OUISA
          You see, I read today that a young man
          committed suicide in Riker's Island.
          Tied a shirt around his neck and hanged
          himself. Was it the pink shirt? This
          burst of color? The pink shirt. Was it Paul?
          We never found out who he was.

                         FLAN
          I'm sure it's not him.

          MRS. BANNISTER
          Yes. I agree. Isn't it amazing.

                         FLAN
          He'll be back. We haven't heard the last of
          him. The imagination. He'll find a way. Could
          we talk about something else? Our guest of
          honor tonight- it's such a pleasure to meet you-
          But.THE GUEST OF HONOR FROM THE UN leans forward.

          THE GUEST OF HONOR
          Why does it mean so much to you?

                         

                         

                         

                         

                         140

                         OUISA
           He wanted to be us. Everything we are in the
          world, this paltry thing--our life--he wanted
          it. He stabbed himself to get into our lives.
          He envied us. We're not enough to be envied.

                         FLAN
          Like the papers said. We have hearts.

                         OUISA
          Having a heart is not the point. We were hardly
          taken in. We believed him -- for a few hours.
          He did more for us in a few hours than our
          children ever did. He wanted to be your
          child. Don't let that go. He sat out in that
          park and said that man is my father. He's in
          trouble and we don't know how to help him.

                         FLAN
          Help him? He could've killed me. And you.
          THE GUESTS agree.

                         OUISA
          You were attracted to him -

                         
          FLAN throws down his napkin in mock outrage. Almogj mock
          outrage.

                         FLAN
          Cut me out of that pathology! You are
          on your own -

                         OUISA
          Attracted by youth and his talent and the
          embarrassing prospect of being in the movie
          version of Cats. Did you put that in your Times
          piece? And we turn him into anecdote to dine out
          on. Like this. As we are right now. But it was
          an experience. I will not turn him into an
          anecdote. How do we fit what happened to us
          into life without turning it into an anecdote
          with no teeth and a punch line we'll mouth over
          and over for years to come. "Tell the story
          about the imposter who came into our lives---"
          "That reminds me of the time this boy--". And
          we become these human juke boxes spilling out
          these anecdotes. But it was an experience. How
          do we keep the experience?
          OUISA looks around the dinner table.
          THE GUESTS have decided to start on their dinners.

                         

                         

                         

                         

                         141
          FLAN (to his Dinner Partner)

                         
          That's why I love paintings. Cezanne. The
          problems he brought up are the problems painters
          are still dealing with. Color. Structure.
          Those are problems.
          OUISA (to herself)
          There is color in my life, but I'm not
          aware of any structure.

                         FLAN
          What are you saying, darling?
          OUISA looks at FLAN clinically. FLAN frowns and turns back
          to his dinner partner brightly.

                         FLAN
          Cezanne would leave blank spaces in his
          canvasses if he couldn't account for the brush
          stroke, give a reason for the color.

                         OUISA
          Then I am a collage of unaccounted-for brush
          strokes. I an all random.
           OUISA stands up from the dinner table.
          Her chair scrapes. There is an embarrassed rush.
          MRS. BANNISTER (an order)
          Sit down.
          OUISA leaves the dinner table.

          THE CORRIDOR OUTSIDE THE FORMAL DINNER PARTY
          OUISA pushes the elevator button.
          FLAN comes into the hall.

                         FLAN
          What kind of behavior is -

                         OUISA
          God, Flan, how much of your life
          can you account for?
          THE ELEVATOR DOOR opens.

                         FLAN
          Do you realize how important this woman is!
          SHE steps in the elevator. FLAN follows.

                         

                         

                         

                         

                         142
          THEY descend in silence, not wanting a scene in front of the
          THE OPERATOR. THE ELEVATOR DOOR opens into the lobby.

          INT PARK AVENUE LOBBY NIGHT
          FLAN follows OUISA through the lobby.

                         FLAN
          Are you drunk? What are you unhappy about? The
          Cezanne sale vent through. The Matisse went
          through. We are rich. Geoffrey's rich. Next
          month there's a Bonnard and after that -

                         OUISA
          These are the times I would take a knife and dig
          out your heart. Answer me? How much of your -

                         FLAN
          - life can I account for! All! I am a gambler!
          OUISA smiles at the simplicity of her realization.

                         OUISA
          We're a terrible match.
          OUISA steps out onto

          EXT PARK AVENUE NIGHT
          FLAN (following OUISA)
          She is a very important woman. I am hoping to
          do business! Did you see the paintings on her
          walls! She might want to sell! She
          FLAN glares at HER and turns back into the lobby and returns
          to the party.
          OUSIA moves to follow FLAN, then walks up PARK AVENUE, lost,
          agitated, unsure.
          OUISA walks on, remembering

          THE SISTINE CHAPEL.
          OUISA's hand completes the action.
          OUISA slaps the frescoed ceiling of the Sistine Chapel.
          OUISA slaps the Hand of God!

                         PARK AVENUE
          OUISA gasps when SHE looks in a SHOP WINDOW