Work Text:
Starcrossed Lovers
BEAUTY AND THE BEAST (TV VERSION)
by mhood97
Copyright © 1994
ACT ONE
FADE IN.
ESTABLISHING SHOTS: New York City by day, approaching Central Park along the route of the subway underneath.
INT. SUBWAY CAR - DAY
The car is crowded with kids after school—the commute rush hasn’t even begun yet. In the flurry of high spirits and tossing papers, SCOTT HAYDEN stands out like a worried statue. He is as young as the other kids, but he is thinner, and slightly more ragged. Holding the strap and swaying gracefully to the car’s motion, he looks over his shoulder too often.
As the car draws to a stop, and a cloud of kids gets off, Scott sits down by PAUL FORRESTER, moving a worn and floppy travel bag to do so. Paul is handsome, calm, yet alert as the kids pass by—he watches them with fascination.
SCOTT
Wow! I can’t believe it! We’re almost there!
Paul smiles lovingly at him.
SCOTT
(continuing)
Do you think she’s really gonna be there?
PAUL
You’ve read Liz’s letter as often as I have. Meet Jenny Hayden today, four o’clock, Central Park.
Scott jitters with tightly controlled excitement, looks over his shoulder again.
SCOTT
I want to see her so bad I can taste it!
PAUL
(beat)
You can?
SCOTT
Aw, Dad, gimme a break—and I still say it wasn’t fair for you to get to see Mom in Saguaro when I couldn’t.
PAUL
Well, we’ll both see her soon. Only an hour to go.
SCOTT
Man! I can’t wait!
INT. JOE MAXWELL’S OFFICE - DAY
Joe is shaking hands over his desk with GEORGE FOX, a short, intense man with a mission. Agent WYLIE stands at the door looking sheepish. Catherine enters through the door, smiles graciously.
JOE
Oh—Cathy, good. Let me introduce you to—
He has obviously forgotten the name already.
FOX
I’m George Fox of the Federal Security Agency. District Attorney Moreno has been kind enough to allow me to brief you on the services I’ll need—
CATHERINE
(extending her hand)
Catherine Chandler.
Fox shakes speedily, then immediately pulls photos from a sheaf of duplicates in a thick folder. He points at Wylie with the photos.
FOX
My assistant, Wylie. Now I’ve been going to every police station, court and jurisdiction in the greater New York area to alert Law Enforcement and Justice officials to the possible presence of these individuals—
He passes the photos over.
FOX
(continuing)
They’re wanted for questioning by the FSA. It is vital to the security of the United States that they be apprehended and turned over to me as soon as possible.
CATHERINE
(looking at photo)
But he’s just a boy!
JOE
What are they wanted for?
Fox has answered this question too many times, always unsuccessfully. Wylie shrugs in the background.
FOX
Questioning.
Joe and Catherine share a look.
FOX
(continuing)
It is utterly vital that they be captured! If at any time you have any sightings—(he coughs) any information on these individuals, please call my office in Washington. (hands over a card) They’ll forward the information to me—or you can call direct to the Sheraton Hotel where I’ll be staying for the next few days. The number’s on the card. Let me thank you in advance for your cooperation.
Canned speech over, he turns to leave. Joe and Cathy stare, slightly fish-mouthed in astonishment.
FOX
(to Wylie)
What’s our next stop?
WYLIE
(consults clipboard)
Uh, a police precinct…
Fox rushes past him.
FOX
(over his shoulder)
Get it in gear, Wylie!
WYLIE
(nods to Joe & Cathy)
Nice to meet you! Bye!
Wylie hurries to catch up to Fox.
CATHERINE
Do you understand what that was all about?
JOE
Our Federal Government at work. (hands photos to her) Well, Radcliffe, throw those on top of your already burdened case load, why don’t you?
CATHERINE
Thanks a lot! (serious) I wonder what they’ve done?
EXT. PARK - DAY
Tunnel children are running at play. Paul and Scott walk on the path carrying their bags. Scott watches the kids enviously, looks over his shoulder.
SCOTT
How much longer?
PAUL
Another twenty minutes.
SCOTT
And then it’ll be great! We’ll be together as a family—
PAUL
We’ll blend in with the crowd—maybe even come back to the park when we can enjoy it. Don’t you think it’s amazing—in the middle of this huge city—all this country.
SCOTT
(explaining)
That’s what parks are. ‘Course, it’s all tame.
PAUL
It’s peaceful, but I wouldn’t call it boring.
SCOTT
Not tame: boring. Tame, like man-made. No wild animals or plants.
Paul, looking over his shoulder, sees mounted police officer BROWN.
PAUL
But there’s a horse.
Scott looks back and goes all tense.
SCOTT
Dad, that’s not just a horse. That’s a COP on a horse.
Paul grabs Scott’s elbow gently. He is very alert, but not tense.
PAUL
Stay calm. Where can we run to?
Scott looks frantically around, spots tunnel entrance.
SCOTT
Over there.
PAUL
Got it. If he stops us, I’ll create a diversion, ok?
He fishes a small metallic sphere out of his pocket.
Brown spots them, recognizes them, and approaches.
SCOTT
I hate this.
Brown stops his horse in front of them on the path. Paul and Scott are forced to stop too.
BROWN
Afternoon.
PAUL
Hello.
BROWN
Mind showing me some ID?
PAUL
I’m sorry.
He extends his hand to the horse, which suddenly spooks in terror, rearing wild-eyed. Paul and Scott jump aside as the horse plunges past them at a dead run. Brown is unable to control it.
SCOTT
(running)
Way to go, Dad!
PAUL
(scrambling after)
Poor horse! I know how she feels.
They go into the tunnel entrance. The tunnel kids notice this.
SCOTT O.S.
(plaintive)
How are we gonna meet Mom now?
The tunnel kids fade out of the park.
INT. FATHER’S CHAMBER - DAY
Father was writing in a ledger, but he sits attentively listening to two of the tunnel kids who were in the park.
FATHER
They ran from the policeman? They weren’t armed?
KID
Not as far as we could see.
OTHER KID
They looked ok—kinda nice, but scared.
KID
(to other kid)
You’d look scared too, if a policeman chased you.
FATHER
Well, we’ll have to keep an eye on them. If they just use the entrance as a hiding place for a little while, there’s no harm done. But, to be safe, we should prepare a welcoming party. Go ask Vincent and Pascal and Mary to be ready.
KID
Yes, Father.
The kids run off. Father takes his glasses off and taps the earpieces together thoughtfully.
INT. TUNNEL ENTRANCE - DAY
Out of sight of the entrance to the park, Paul looks carefully at the hidden tunnel entrance mechanism, not yet understanding what he sees. Scott is pacing furiously.
SCOTT
Why does this happen every time! We were so close to meeting her!
PAUL
I know. It’s hard.
But he’s not paying as much attention to Scott as he is to the wall. Scott notices, and disgustedly goes to the park entrance.
INT. PARK ENTRANCE - DAY
From Scott’s P.O.V. we see the park, swarming with cops, and Catherine, talking to Brown who is on foot, holding his horse.
INT. TUNNEL ENTRANCE - DAY
Scott returns to Paul.
SCOTT
So much for this attempt at happily-ever-after. There’s cops all over now.
PAUL
(holds Scott’s eyes)
We’ll find her. This is just a—temporary setback. Stay cold.
SCOTT
That’s—cool, Dad. Not cold.
PAUL
I knew that. I just wanted to make you feel better. It’ll be ok. Trust me.
Scott looks away.
EXT. PARK - DAY
Catherine is interviewing Brown, who is holding a now calm horse.
BROWN
It was definitely them; physical ID’s, clothes, all matched.
CATHERINE
So what happened?
BROWN
The weirdest thing! After I asked ‘em for ID—Bonnie here went crazy. Now this horse is not skittish—(he pats her neck) We’ve been through riots together and she’s never bolted on me. But this guy sticks his hand out and—blam—we’re three blocks down the road and she won’t stop.
CATHERINE
(strokes horse’s nose)
She seems fine now.
BROWN
(he’s not certain)
Yeah. (beat) Those suspects are definitely weird.
EXT. ANOTHER SECTION OF PARK - DAY
JENNY HAYDEN sits forlorn on a park bench, looking at her watch, and crying. She nervously glances around, wipes her eyes, pulls her worn traveling bags together, puts them back down and wipes her eyes again, then picks them all up and starts walking down the path. After a few steps, she stops, dejected, and turns back the opposite way. As she trudges through the park, she grows sadder and sadder.
EXT. PARK - DAY
Blinded by tears, Jenny nearly blunders into one of the outlying cops still searching the area. She drops a bag, blows her nose, and turns away, only to run straight into Catherine.
CATHERINE
Are you all right?
Jenny glances fearfully sideways at the cop, sees that Catherine is NOT a cop, and nods her head.
CATHERINE
(continuing)
Are you sure?
Jenny nods again, picks up the fallen bag, and walks back in the direction she has just come from. Catherine watches her indecisively for a moment, then follows, walking companionably next to her.
CATHERINE
(continuing)
I’d like to help, if I can.
JENNY
I was just supposed to meet somebody here—a—a couple somebodies.
She wipes her eyes again.
CATHERINE
What happened?
JENNY
They—didn’t show. I guess they had—a good reason. I hope…I’m sorry to have bothered you.
Jenny tries to walk away, but Catherine follows.
CATHERINE
Wait! Would you like a cup of coffee?
JENNY
Oh, I don’t…
CATHERINE
Please. Let me help.
JENNY
You’re very kind.
Catherine smiles.
INT. TUNNEL ENTRANCE - DAY
Paul, facing the hidden entrance, has his sphere out; it glows bright blue in the dim light.
PAUL
Scott, this is amazing!
SCOTT
What, that it glows in the dark?
PAUL
No—there’s a whole network of little roads through the earth connected here.
SCOTT
You mean tunnels?
PAUL
Tunnels? Yes! Some of them run really deep. That wall is a door to a whole new world!
SCOTT
What, another one?
PAUL
Here, feel for yourself!
The blue glow extends to Scott, who looks up in awe.
SCOTT
Whoa, radical! I feel it!
Paul smiles at his son like a co-conspirator.
PAUL
You know, since the police are still out there, we could do some exploring—
SCOTT
(loses awe immediately)
What? We miss Mom again and it’s hey-presto! Off to the next world? Don’t you ever get tired of it?
PAUL
Never.
He goes to the tunnel entrance and with the palm of his hand flat on the door, opens it. It swings open to reveal VINCENT, staring with surprise at the opening door, and with shock at the glowing sphere in Paul’s hand.
Paul looks up at Vincent’s leonine face with only wonder; Scott is frightened, but stands his ground behind Paul.
From Vincent’s P.O.V. Paul and Scott are surrounded by a brilliant nimbus of blue light.
VINCENT
Who are you?
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN.
INT. TUNNEL ENTRANCE - DAY
Same moment. CLOSE ON Paul’s face; he feels no fear, only wonder.
Vincent looks at the glowing sphere, back at Paul, and he doesn’t understand.
Paul remembers that the sphere is on.
PAUL
Oh. Uhh…
The sphere’s light goes off, and Paul quickly stuffs it in his pocket, then extends his hand and smiles.
PAUL
(continuing)
Hello. I’m Paul Forrester. This is my son, Scott.
Scott ducks his head in a wary nod.
Vincent looks at both of them in disbelief; PULL BACK to show the contrast between his huge, caped figure, and their ordinariness—but Vincent is the one who is scared.
VINCENT
What are you doing here?
PAUL
We’re hiding from the police.
Paul waves his hand toward the entrance.
VINCENT
Why?
PAUL
(beat)
Because we’re…different.
Both Vincent and Scott react. Scott recovers first.
SCOTT
Yeah, well, who are you, anyway? Did you come from the tunnels?
VINCENT
How do you know about—?
PAUL
(interrupting)
I’m sorry—we didn’t know there was anybody else down here. We wouldn’t have intruded, but it was an emergency. Is there somewhere else we can stay for a while…and still be safe?
SCOTT
We gotta give the cops a couple hours to search, then we can leave.
VINCENT
No—you can’t—
MARY and PASCAL rush up behind Vincent, and see that Paul and Scott are standing at the entrance.
PASCAL
Vincent! How did they—? Did you—?
Vincent puts out his hand to stop them from getting any closer. He’s protecting them.
VINCENT
Stop there!
MARY
What’s wrong?
Scott recognizes Vincent’s action for what it is—and he’s hurt.
Paul’s head turns in sync with Vincent’s a moment before we hear voices and scuffling from just outside the tunnel entrance.
POLICE OFFICER (O.S.)
You heard the Captain. Search everywhere.
POLICE OFFICER 2 (O.S.)
(disgusted)
Even the sewers?
Pascal, Mary, Vincent, and Scott are paralyzed, looking toward the entrance—but Paul just hefts his bag, grabs Scott’s sleeve and takes a step toward the tunnel door. Pascal and Mary give them room to enter. Vincent stands still, barring the way. Paul comes right up close to him, into his face, pleading with his eyes until Vincent gives way, more confused than ever. Paul and Scott come through the door into the tunnel. Vincent closes the door behind them. Paul and Scott stand with their backs to it.
EXT. COFFEE SHOP - DAY
Establishing shot, a snug cafe.
INT. COFFEE SHOP - DAY
Catherine and Jenny sit in a private booth, cups in hand. Jenny dries her eyes with her napkin—again. There are other used tissues on the table.
JENNY
I shouldn’t…I don’t know why it should seem so…safe to talk to you.
CATHERINE
I would hope it’s because it is. You don’t have to tell me anything.
JENNY
(laughs involuntarily)
It wouldn’t matter—my story’s so unbelievable, most of the time I think it’s all a dream myself. Or a nightmare…
Jenny sniffs, then her face softens—it isn’t all a nightmare.
CATHERINE
I’m open. Try me.
JENNY
(gulps coffee)
Fifteen years ago, my husband…died. I couldn’t cope. I was living in Wisconsin, in a little cabin on a lake…trying to drown my sorrows. Then he came. A man. He looked exactly like Scott—I know this sounds incredible, but it really did happen!
She looks at Catherine, as if gauging her acceptance of the story so far.
JENNY
(continuing)
He wasn’t Scott. He—wasn’t a man either.
CATHERINE
I don’t think I follow you.
JENNY
I’m sorry! I know how crazy the next part makes me sound—
CATHERINE
(interrupting)
No—I didn’t mean to—
JENNY
Yes. My own brother wouldn’t believe me. How can I expect you to?
CATHERINE
Well, I can’t believe anything you don’t tell me.
JENNY
He was an alien. You know, an outer space alien.
CLOSE ON Catherine’s reaction.
INT. TUNNEL BY ENTRANCE - DAY
Paul and Scott are still standing with their backs against the entrance. Vincent is watching them and Pascal and Mary are watching Vincent. From behind the entrance come sounds of SCUFFLING FEET and MUFFLED VOICES. Pascal and Mary are alarmed at their proximity. Nobody moves until the sounds fade away.
PAUL
I’m sorry—
Vincent makes an abrupt silencing gesture, finger to lips. Scott adjusts his pack. They wait, listening, another beat.
MARY
(to Vincent)
What are we going to do?
PASCAL
We’ve got to bring them to Father.
VINCENT
NO!
He looks extra ferocious in his fear.
MARY
Why, Vincent, what’s wrong with you?
Vincent steps back, baffled at her question.
VINCENT
Can’t you see? Can’t you tell? It’s not safe! They’re—
PAUL
Hi. I’m Paul, and this is my son, Scott. We need a place to stay for a little while.
MARY
(mothery)
Well, of course we’ll help you. Come along and we’ll take you to Father.
She bustles Paul and Scott along the tunnel. Pascal accompanies them. Vincent stands at the entrance, watching with foreboding.
EXT. CENTRAL PARK - NEAR SUNSET
Near the tunnel entrance, there is only one cop milling around. George Fox stands talking to Brown, who is still holding his horse, but much more impatiently.
FOX
Tell me again, everything that happened.
Brown would like to punch Fox, but instead, takes a deep breath, preparing to tell it all again.
ANOTHER ANGLE ON Wylie, with another police officer right at the tunnel mouth. Wylie peers into the tunnel.
WYLIE
This is neat. Where does it go?
POLICE OFFICER
Into the sewers.
WYLIE
(enthused)
Really? Is it big enough to walk around in?
POLICE OFFICER
Yeah.
WYLIE
When I was a kid, I always wanted to explore stuff like this. I wish…
He sneaks a look at Fox, who is still arguing earnestly, but futilely, with Brown. Brown has hold of reins, saddle and stirrup like he wants to mount and ride right now. Wylie slinks into the tunnel entrance.
INT. TUNNEL ENTRANCE - NEAR SUNSET
Wylie stares in fascination at the sordid strangeness of it all. He sniffs, but can’t smell anything disgusting. He looks at everything, including the ground in front of the hidden tunnel entrance, where there is just enough light to show two sets of clear footprints (one large, one smaller) directly facing the entrance. He looks at the footprints, at the door, and then thinks deeply. (This is hard for him.) Then he shakes his head.
WYLIE
Naah! Couldn’t be.
He turns back to the park entrance.
EXT. CENTRAL PARK - NEAR SUNSET
Wylie walks to Fox, who turns away from Brown in exasperation. Brown mounts and rides away, happy to be gone.
FOX
Well?
WYLIE
There are miles and miles of tunnels running all under New York! Alligators and all kinds of things live there. It’s fantastic!
FOX
(beat)
Wylie—(another beat)
WYLIE
Yes, Mr. Fox?
FOX
Wylie, get me a cup of coffee.
WYLIE
Yes, Mr. Fox!
INT. TUNNEL - NIGHT
Pascal and Mary lead Paul and Scott toward Father’s chamber. Vincent follows. He is still worried. Paul and Scott are intrigued with the tunnels.
SCOTT
Wow. This is impressive. And people live here.
PAUL
Yeah. It feels nice, too. Kind of like—home.
Scott reacts.
PAUL
(continuing)
Oh, not really, but it’s…quiet. Peaceful.
Pipes suddenly start banging. Scott grins as they both turn their heads to listen. Paul wiggles his eyebrows at Scott, asking what it means.
SCOTT
(whispers)
It’s probably a code—like in jail when they tap on the bars to send messages.
Paul nods in understanding. Pascal and Mary look at each other. The pipes are saying Father expects them.
PAUL
I wonder who this ‘Father’ is.
SCOTT
I dunno. Maybe he’s some kind of priest or something.
PAUL
What’s a priest?
INT. COFFEE SHOP - TWILIGHT
Catherine faces Jenny over a deeper pile of tissues, plus the remains of pie on plates.
JENNY
And then, after he left, and after the man from the government finally finished asking me questions, I thought I could, you know, go back to living a normal life, just me and the baby—
CATHERINE
Wait a minute! The baby?
JENNY
(blushes)
Yes, well, I, uh, couldn’t have children before…and he—fixed me.
Catherine sits back, astonished.
CATHERINE
What—did it look like?
JENNY
My son was beautiful! He was perfect! He had Scott’s eyes, and my hair, and—
CATHERINE
And you never even considered the consequences? What if—(haunted by her own fears) what if the child had looked…different?
Jenny has no idea what’s behind Catherine’s question. She only remembers what it was like to hold her child.
JENNY
I would have loved him just as much! (hardens) But I forgot about Fox—
Catherine homes in on the name.
CATHERINE
(interrupting)
Fox?
JENNY
Yeah, the man from the government. He didn’t forget about me! When Scottie was three, he almost caught us. I had to—I had to—
She almost can’t say the next part.
JENNY
(continuing)
I gave him up to a foster family—so he’d be safe! I couldn’t protect him! I couldn’t—
She disappears behind another tissue.
CATHERINE
(gently)
And then what happened?
JENNY
That—that was eleven years ago. Six months ago, he came back.
CATHERINE
Who, Fox?
JENNY
(transfigured)
No—him. He found me, where I was hiding in Arizona. He came back…to help his son—our son. Scottie’s foster parents had died, and had been all alone. They looked for me, and he found me—he didn’t look the same—(anguished) but I never got to see my son! You see, Fox caught them—
She shreds the tissue, then tosses it.
JENNY
(continuing)
My brother helped them escape. I had to run again—we were going to meet today in Central Park.
CATHERINE
Then you’d be able to recognize him? Even if he didn’t…look the same? What does he look like…now?
JENNY
(smiling)
He’s very handsome. Tall. Black hair. Blue eyes. His whole face lights up when he smiles. And when he listens to you—there’s no one else in the universe for him.
Catherine’s getting a horrible suspicion by now.
CATHERINE
What—what’s his name?
JENNY
You know, I never asked him—I guess it’s something unpronounceable.
CATHERINE
Then, what name does he use?
JENNY
Oh—Paul Forrester.
Catherine’s worst suspicion is confirmed.
INT. FATHER’S CHAMBER - NIGHT
Father stands waiting as Pascal and Mary lead Paul and Scott into the chamber. Vincent stands back on the stairs as if guarding the exit. Paul steps up to Father, holding his hand out to shake.
PAUL
Hello.
Father harrumphs, but shakes.
FATHER
Er-hello.
Scott knows this meeting is awkward. He waves.
SCOTT
Hi.
FATHER
(fiddling with his glasses)
Am I to understand that you two are refugees?
Paul looks to Scott for a translation.
PAUL
Refugees?
SCOTT
(nervous—everybody’s watching)
You know—people who have to leave their homes because it’s too dangerous.
PAUL
Oh! (to Father) Yes, Scott’s a refugee.
VINCENT
And you are not?
PAUL
(smiles)
No. My home—
SCOTT
(interrupting)
Dad!
FATHER
(taking charge)
But you are both running from the police?
PAUL
Yes, but only because a man from the government is chasing us. We haven’t done anything.
FATHER
(sits down heavily)
Oh, splendid!
PAUL
What’s wrong?
Vincent approaches to explain.
VINCENT
Our life here in the tunnels is only secure so long as no one knows we are here. We live secluded, safe from the violence of the world above, but it is a precarious existence.
Paul looks to Scott again for translation.
SCOTT
Uh—he means we’ve put them in danger, especially if Fox wants to come looking for us.
PAUL
And he’ll want to. (to Father) I’m sorry. We didn’t mean any harm. We’ll leave right away.
He looks sadly around at the gloom and complicated furnishings of Father’s chamber.
FATHER
(firmly)
You can’t leave now.
SCOTT
Why not?!
VINCENT
Before you can leave, we must know that you will keep our secret.
FADE OUT.
END OF ACT TWO
ACT THREE
FADE IN.
INT. GREASY SPOON - NIGHT
Fox and Wylie sit at a booth, eating. Fox is disgusted with his food.
FOX
Wylie, why do I let you talk me into eating at places like this?
WYLIE
I’m sorry, Mr. Fox. It looked like a place with character, and—
FOX
(interrupting)
I can’t believe they got away again! Why? Every time we get so close—
He throws down his fork.
WYLIE
Well, sir, he is an alien—
FOX
(ignores Wylie)
He’s got to be somewhere nearby. He can’t have gone that far. Depending on why he was in the park in the first place…
WYLIE
Yeah, I can’t figure out why he’d want to go to a park. After all…
FOX
If there wasn’t enough time for him to get away, he’s got to still be in there!
WYLIE
Well, the police are patrolling, sir.
FOX
(reluctantly focuses on Wylie)
I’m going to be patrolling, too. And so will you! This is too important. I’m not going to let some bored city cop blow it!
WYLIE
But, Mr. Fox, you need your rest.
FOX
We’ve got to capture that alien. The fate of the world rests on us, Wylie. Me, and (beat) you.
Fox looks hopelessly at Wylie.
INT. CATHERINE’S APARTMENT - NIGHT
Catherine turns on the lights and closes the door behind herself—and Jenny. Jenny looks around the apartment with undisguised pleasure.
JENNY
How lovely!
Catherine nods her head, and goes into the bedroom to hang up her coat. She returns in a moment.
CATHERINE
Would you like to freshen up?
JENNY
Yes—thanks!
Jenny disappears into the bathroom.
Catherine finds Fox’s card in her purse, picks up her phone and dials the number. She waits.
CATHERINE
(to phone)
Room 617, please. He’s out? No, no thank you. I won’t leave a message. (beat) Wait! Yes, I will. Tell him Catherine Chandler called.
INT. TUNNEL CHAMBER - NIGHT
Vincent stands at a doorway, holding a hanging curtain. Paul and Scott sling their bags over an old-fashioned double bed.
SCOTT
Hey, at least it’s cheaper than a motel.
Paul is fascinated by the handmade bedspread. He fingers it with amazement.
PAUL
This is beautiful!
Vincent watches him closely.
SCOTT
Yeah, it is. Somebody must have made it. It’s probably crochet, or knitting or something.
VINCENT
Mary knitted it.
PAUL
(looking at the intricacy)
How did she do that?
SCOTT
Well, all I know is, you take yarn and needles—
Paul shudders dramatically.
PAUL
Ughh! Needles.
SCOTT
Not that kind of needle! They’re longer and fatter…
PAUL
(twinkles at Scott)
That’s enough for me! Did you ever see so many books outside a library?
VINCENT
(can’t hold it longer)
Who are you, really?
SCOTT
(jumping to Dad’s defense)
Who the heck are YOU?
VINCENT
You see me as I am. But I see you—(to Paul) why do you shine with your own light, bright as the sun, blue as the sky?
PAUL
That’s who I am.
VINCENT
How can that be?
SCOTT
No, really. How did you get here? I mean, my mother’s from Wisconsin. Where’s yours from?
Vincent whips his head around. He focuses on Scott with barely suppressed rage.
PAUL
(parental)
Scott!
SCOTT
(ignores his danger)
What?! Do you recognize him, Dad? Do you know his type from your jaunts around the galaxy? I’d like to know.
Vincent’s head see-saws back and forth.
PAUL
Scott, stop it. I recognize a human being.
Vincent steps back. Scott’s jaw drops.
PAUL
(to Vincent)
My son…is upset. We missed meeting his mother today—again—and we don’t know yet how, or when, we’ll find her.
SCOTT
I’m upset? We miss mom again and I’m only upset? How the hell would you know? You don’t even care!
PAUL
Oh, Scott. You spend so much energy trying to solve a problem you can’t fix.
Scott runs past Paul and Vincent, out into the tunnels. Paul watches him go with sympathy. Vincent is too busy trying to assimilate all of what just went on.
EXT. CENTRAL PARK STREET - NIGHT
Fox and Wylie drive by in a rented car. They’re in surveillance mode.
INT. CAR ON CENTRAL PARK STREET - NIGHT
Fox searches restlessly. Wylie too, but less so.
FOX
It’s too big. How can we be sure to be in the right place at the right time?
Wylie shrugs.
FOX
(continuing)
We’ve got to catch them. We’ve just got to.
Wylie looks away, into the darkness.
INT. TUNNEL CHAMBER - NIGHT
Vincent is watching Paul.
VINCENT
So. You really are…
He can’t say it. Paul nods, calmly.
VINCENT
(continuing)
And do you know…what I am?
PAUL
A friend?
Off Vincent’s LOOK.
INT. TUNNELS - NIGHT
Scott is running blindly, then running for the sake of running; at a junction of tunnels he pauses only briefly, then takes the right-hand turn.
INT. CHAMBER - NIGHT
Paul admires the bedspread while he arranges his and Scott’s things comfortably. Vincent faces the exit anxiously, then turns back to Paul.
VINCENT
I’d better go after him. It’s so easy to get lost…
PAUL
(smiling calmly)
My son won’t be lost.
VINCENT
How can you be so sure?
PAUL
He’s got a map, (places finger on forehead) right here.
Vincent looks at him in wonder.
PAUL
In Father’s room—I’ve never seen that many books in one place before outside a library. Have you read them?
VINCENT
It’s my chief joy.
PAUL
There’s so much I need to know, so much to learn. I don’t suppose you have children?
Vincent looks away, with a grief Paul doesn’t understand.
VINCENT
We have many children who live here in the tunnels.
PAUL
I make so many mistakes with Scott. Like just now. He—reacts so strongly. I’m never sure when I should be doing something and when I should just let it be.
Vincent begins to understand.
INT. TUNNELS - NIGHT
Scott is running easily through the maze-like darkness. The torch lights pass over him mesmerizingly. Suddenly he stops as a cloud of tunnel kids (the same ones who were playing in the park earlier) dashes from a cross-tunnel just ahead and surrounds him. They all speak at once.
KID 1
Hi! You’re new!
KID 2
What’re you jogging for?
KID 3
How come you were running from the cops?
KID 4
Did’ya see me? I got a new tooth!
SCOTT
WHOA! Hey! What?
KID 1
You’re new! I bet you’d like to hear the whispering cavern.
ALL KIDS
YEAH!
They take him by the hands and drag him down the tunnels, laughing.
INT. CATHERINE’S APARTMENT - NIGHT
Jenny and Catherine are finishing their food.
JENNY
No, really, you’ve done more for me than I can ever repay. I should be going…
CATHERINE
No, don’t!
She searches for an excuse to keep Jenny in the apartment.
CATHERINE
(continuing)
It’s so late now. I feel responsible for you. Please stay.
JENNY
I shouldn’t. But I get so tired of running all the time. It’s so rare to meet someone who cares to help.
Catherine looks away, embarrassed. She’s just waiting for Fox to return her call.
INT. TUNNEL - NIGHT
The tunnel kids have led Scott to the entrance to the Whispering Chamber. They have hold of him, trying to draw him in there, but he has planted his feet firm.
KID 1
Come on! It’s neat! You can hear all these people talking!
KID 2
Yeah! Everybody comes here!
KID 3
Don’t be a chicken! If you’re really brave, like Vincent, you’ll sit out on the bridge! You really hear best that way, anyway.
KID 4
And if you don’t go, I’ll bite you with my new tooth!
SCOTT
Okay! Okay!
He allows them to push him in.
INT. WHISPERING CHAMBER - NIGHT
Scott stands in the middle of the bridge, with the tunnel kids jumping up and down on the ledge. He looks around, and down into the chasm. He stands, listening to all the VOICES and MUSIC that filter through from the world above. The VOICES include mothers calling to their children. He is listening for one particular voice, but he does not hear it.
Vincent enters, and stands motionless at the end of the bridge, watching Scott. He gestures at the tunnel kids to leave. They file out.
Scott sits on his haunches in the middle of the bridge over the chasm, lost in the random noises. Scott sees Vincent, but refuses to acknowledge him. Vincent squats down, companionably, just sitting and listening with Scott.
VINCENT
I listen here often—hoping for the whisper of a familiar voice, wishing that I might recognize a voice I’ve never known.
SCOTT
My mother gave me up when I was three years old—sometimes I dream that she’s singing to me.
VINCENT
Your father—
SCOTT
(sarcastic)
My father is an alien from another planet. Pretty cool, huh? He’s got all these amazing powers—he made an image of my mom the last time we missed her. Three-dee, full color, I could touch it. I heard her voice for the first time in eleven years—but she was still crying.
He casts a splinter from the bridge into the depths. Vincent looks into his own painful memories.
VINCENT
I will never know who my parents were.
Scott looks at him for the first time.
SCOTT
Yeah, well, that might be a g—
He thinks better of finishing that statement.
SCOTT
(continuing)
You want to know what’s really awful? I think about all these people—Earth people, star people, whatever—and they’re all either one thing or the other. But not me.
Vincent’s recognition of this feeling is fierce and joyful.
VINCENT
That’s exactly how I feel—always. How unfair it is that others should be alike, when there is only one of me.
Scott looks at him, hearing the truth and feeling it too.
SCOTT
That you know of. There could be others.
VINCENT
How would I learn of them, buried here? No, there is only one of me in the world.
They sit in silence. Together.
Vincent is alight with sympathy for Scott, who is allowing himself to be jollied out of his black mood by it.
SCOTT
You think that’s hard. How about being the only one of you in the universe?
VINCENT
(suppressing a smile)
That must be much harder.
Scott grins quickly, as if afraid to let himself be happy.
SCOTT
Yeah, well, everybody’s got that problem.
Vincent’s head comes up, and he sniffs.
SCOTT
(continuing)
What?
VINCENT
I think Mary’s cooking chicken for dinner.
SCOTT
(getting up)
She a good cook?
VINCENT
One of the best.
INT. DINING CHAMBER - NIGHT
A crowd of tunnel folk are eating dinner. Paul and Scott are in the midst of the community, passing food, eating with gusto, happy for a brief moment. Vincent watches them, no longer wary. Now he begins to feel protective of them. Father, however, has only begun to worry. He leans over and whispers to Vincent.
FATHER
We need more information about those two.
Vincent would like to disagree, but isn’t sure what he dares to reveal.
FATHER
(continuing)
We might be able to ask one of the helpers, but I wouldn’t want to draw unwanted attention to any of them. Perhaps Catherine…
Father waits for Vincent to take the bait. Vincent does, but for his own reasons.
VINCENT
I can go see her later. She has access to so much information.
Father smiles.
EXT. CENTRAL PARK - NIGHT
Wylie is sleeping in the car. Fox is at a phone booth, almost jumping with excitement.
FOX
(to phone)
She left me a message? Catherine Chandler? That’s good. That’s great. Just a minute.
He fumbles for a notepad and pencil.
FOX
(continuing)
Okay. What’s her number. (beat) What do you mean she didn’t leave a number?
He pulls up the phone book holder. It is empty.
CUT TO:
EXT. CENTRAL PARK - NIGHT
Another phone booth. A short time later. Fox is frantically paging through the book, counting the Chandlers. He pulls the book off its fastening, and brings it over to Wylie.
FOX
Wake up. Make me a list of all the C. Chandlers and Catherine Chandlers here. And I want their numbers.
WYLIE
Whu-what?
CUT TO:
Fox dropping quarters in the phone like a slot machine.
INT. DINING CHAMBER - NIGHT
Everybody is helping clean up after dinner, including Paul and Scott.
Father takes a plate out of Paul’s hands, and draws him off by the arm.
FATHER
So, tell me about yourself.
PAUL
I’m a photographer.
From Vincent’s P.O.V., Father nods significantly at him. Vincent nods back, and turns to leave.
INT. CATHERINE’S APARTMENT - NIGHT
Catherine and Jenny are sitting quietly, sipping tea. The phone RINGS.
FADE OUT.
END OF ACT THREE
ACT FOUR
FADE IN.
Catherine rises to answer the RINGING phone. Jenny watches.
CATHERINE
Hello.
Fox’s voice can be heard through the phone. He is dynamically excited.
FOX (O.S.)
Miss Chandler of the DA’s office?
Catherine recognizes his voice, and looks to Jenny to be sure she doesn’t hear.
CATHERINE
Yes.
FOX
Did you see him? Has someone reported his whereabouts to you? Tell me!
Catherine is taken aback at his intensity.
CATHERINE
Actually, I wanted to learn more about…
FOX (O.S.)
Has he spoken to you? Has he corrupted your mind, too? The capture of this thing is THE most important event in history! What are you waiting for?
Catherine has heard enough.
CATHERINE
I’m sorry. I’m not interested now.
She hangs up. The phone almost immediately RINGS again. It is, of course, Fox. He GABBLES. Catherine hangs up, and pulls the plug on the phone.
CATHERINE
(to Jenny)
Sorry. Persistent salesman!
Jenny nods as if she understands.
EXT. CENTRAL PARK - NIGHT
Wylie in the car is watching Fox yell into the phone. A movement in the darkness catches his eye. He sees Vincent’s hooded form walk purposefully by. Fox hangs up the phone so hard the hangar piece breaks. Wylie smiles at this, then straightens his face as Fox stomps over.
FOX
Wylie, what’s her address?
WYLIE
Whose?
FOX
(gritting his teeth)
Catherine Chandler’s.
WYLIE
(amazed)
We’re not going to somebody’s house at this hour? That’d be really rude, sir.
FOX
(forces himself to be calm)
What. Is. Her. Address?
WYLIE
Oh…
Wylie flips through his clipboard notes.
EXT. CATHERINE’S BALCONY - NIGHT
Jenny and Catherine admire the city lights. Suddenly, Vincent comes swarming over the edge of the balcony. Catherine sees him and smiles warmly, then remembers Jenny is there.
Jenny sees Vincent and her first reaction is fear; then she takes a second guess.
JENNY
(hopeful)
Is that you? Have you…changed again?
Vincent is chagrined at being caught on the balcony by a stranger. Then he notices the oddness of her greeting.
VINCENT
My name is Vincent. I have always been like this.
Now Jenny goes back to being afraid. Catherine tries to reassure her.
CATHERINE
It’s all right. I know him. He’s…a friend.
Jenny looks at Catherine.
JENNY
All this time I’ve been telling you my story…No wonder you believed me.
CATHERINE
Vincent, this is Jenny Hayden.
Vincent is surprised.
VINCENT
(to Catherine)
I’ve come to ask you for information about two people we are sheltering—a man named Paul Forrester and a boy named—Scott Hayden.
JENNY
Paul! My son! How—?
Abrupt, hammering knocks can be heard on the door to the apartment. Fox is YELLING. Jenny recognizes his voice.
JENNY
(continuing)
Oh, my God! That’s Fox! How did he find me?
She looks at Vincent who looks back innocently, then she sees Catherine’s shamefaced glance.
JENNY
(continuing)
You called him? That was him on the phone! How could you?!
CATHERINE
I didn’t know! (to Vincent) Take her with you!
Vincent sweeps Jenny into his arms and exits the balcony over the edge.
VINCENT O.S.
(whispering)
Don’t be afraid! I’m taking you to Paul, and Scott.
Catherine sends her love after them, then rushes to the door. She opens it the width of the chain, only. Fox tries to push his face through the opening.
FOX
Miss Chandler! What do you think you’re doing! If you’re obstructing the capture of this creature, you will be liable for severe penalties!
Catherine reluctantly opens the door.
INT. TUNNELS - NIGHT
Vincent leads Jenny through a series of tunnels—they hurry faster through each one.
INT. FATHER’S CHAMBER - NIGHT
Father and Scott are engaged in a game of chess. Paul is browsing through the stacks of books. All three of them are delighted, although Father has not lost his wariness.
Suddenly, Paul turns his head and looks at the entrance. He is overjoyed to see Vincent and Jenny rush in.
PAUL
Scott!
JENNY
Paul! SCOTT?
She rushes forward, but then halts, uncertain.
Scott turns so hard he scatters the chess board completely about—he doesn’t notice. He can only stare at Jenny, unbelievingly.
SCOTT
Mom?
Scott rises and slowly walks to her, looking her over searchingly, trying to see someone he remembers.
Jenny looks at him with all the love and longing she has carried for eleven years.
Paul watches both with unalloyed happiness.
JENNY
(to Scott)
You’re so tall!
Scott nods, embarrassed. He looks at Paul, for confirmation or permission, then he reaches out to touch his mother’s face. She seizes him in a desperate hug, and he hugs back, but he is reserved.
Father, watching without comprehension, turns to Vincent.
FATHER
What is the meaning of this?
VINCENT
Father, this is Jenny Hayden, Scott’s mother.
FATHER
How—?
VINCENT
I found her with Catherine. She met Jenny in the park this afternoon, after their rendezvous was interrupted.
Paul walks to mother and son.
PAUL
(to Vincent)
Thank you!
He puts his arms around both Jenny and Scott.
PAUL
I’ve wanted to do that for so long!
Scott breaks away.
SCOTT
It really is you? I’m not dreaming?
Now Jenny starts to cry.
JENNY
It’s really me, Scotty…
Scott recognizes the tears in her voice. He’s going to cry any second, too, but he punches Paul in the arm instead.
SCOTT
Why didn’t you tell me she was so pretty?
PAUL
I didn’t think I had to!
EXT. STREET OUTSIDE CATHERINE’S APARTMENT - NIGHT
Fox angrily gets into the driver’s side of the rental car and slams the door, waking Wylie again.
INT. RENTAL CAR - NIGHT
Wylie looks up at Fox, who is cursing under his breath.
WYLIE
What happened?
FOX
That woman!
He pounds the steering wheel.
FOX
(continuing)
She wouldn’t tell me anything! But I’m convinced she knows something. (beat) And do you know why, Wylie?
WYLIE
No, sir.
FOX
She had two teacups out. Somebody was with her.
WYLIE
Maybe she has a friendly neighbor?
FOX
Hah! Well, we’re not going to let her get away. We’re staying right here.
WYLIE
Another stakeout?
INT. FATHER’S CHAMBER - NIGHT
Paul, Jenny and Scott sit close together, excitedly catching up on events. Vincent and Father stand near one another.
FATHER
So you’ll vouch for them? How do you get to know people so quickly, Vincent?
VINCENT
They shared their secrets with me. I know they’ll keep our secret.
FATHER
You’re sure?
VINCENT
Trust me.
Vincent’s eyes are alight with vicarious happiness.
EXT. CATHERINE’S BUILDING - NIGHT
Catherine exits the front door, looking around into the darkness—she doesn’t see Fox and Wylie in their car. She walks quickly to the Central Park tunnel entrance.
INT. RENTAL CAR - NIGHT
Fox and Wylie follow Catherine at a distance.
FOX
(triumphant)
I knew it! She was hiding something!
WYLIE
(still sleepy)
Well maybe she’s going to meet the tall guy in the cape.
FOX
Wylie, will you come out of dreamland and get back on duty! Your actions now could affect the fate of the world!
WYLIE
(unconvinced)
Yes, sir.
EXT. CENTRAL PARK TUNNEL ENTRANCE - NIGHT
Catherine looks around again before entering. Wylie and Fox follow at a distance.
WYLIE
(astonished)
This is where we were this afternoon.
FOX
(satisfied)
I knew there was a connection!
INT. TUNNEL ENTRANCE - NIGHT
Fox and Wylie inspect the empty entrance.
WYLIE
Where did she go?
Fox sees the footprints in front of the door; Catherine’s footprints cross them. Fox grows very still before turning accusingly to Wylie.
FOX
(pointing to footprints)
Wylie, what are these?
WYLIE
(inspects footprints)
Uh…they’re footprints, Mr. Fox.
FOX
(inhumanly patient)
What do footprints like this suggest to you?
WYLIE
That somebody stood here?
FOX
(furious)
They went in there, you idiot! Why didn’t you tell me about this earlier?
WYLIE
(hurt)
Nobody really lives there. It’s just a story. Nobody’d really go there.
Fox hangs his head, near despair. Then he straightens, and tries the door, but it is locked.
FOX
We need a crowbar.
INT. FATHER’S CHAMBER - NIGHT
Catherine enters, sees Paul, Jenny and Scott together, and crosses to be with Vincent. She hugs him, and smiles at Father.
FATHER
Catherine, how did you get mixed up in this?
She smiles wider.
CATHERINE
I was just in the right place at the right time.
She tows Vincent over to the family group. Jenny is not sure whether she will forgive her, but she relents, and is gracious.
JENNY
I’m sure you can guess—this is my son, Scott, and this is…Paul.
CATHERINE
I’m so glad to meet you. Jenny’s told me so much…
Catherine and Paul shake hands. Scott looks at Jenny, concerned about their security. Paul only gazes from Catherine to Vincent and back, with wonder and almost awe.
PAUL
(to Catherine and Vincent)
You’re connected. (to Jenny) He feels everything she does.
Catherine is stunned. Vincent is proprietary. Jenny is confused. Paul grabs Scott’s hand—puts it in a handshake with Catherine.
PAUL
(to Scott)
Here! Feel that!
Scott’s ears go back; he looks back and forth at Vincent and Catherine, then blushes and pulls away.
SCOTT
Sorry! Excuse me!
He laughs to cover the faux pas, and gestures at Paul.
SCOTT
(continuing)
He gets so carried away sometimes. (to Paul) Come on, Dad. You gotta leave people some privacy!
PAUL
You do?
JENNY
(confirming Scott)
You do!
INT. TUNNEL ENTRANCE - NIGHT
Fox is attacking the door with his crowbar. Wylie stands aloof, growing more and more disapproving.
FOX
(grunting)
Wylie! Lend me a hand here! Make yourself useful.
This is the last straw.
WYLIE
Mr. Fox, you shouldn’t be doing that!
Fox is amazed that Wylie is speaking to him in this way.
FOX
What did you say?
WYLIE
You shouldn’t have called me an idiot. I’m not stupid! At least I’m not that stupid—
FOX
Well, well, the worm turns, eh?
WYLIE
And I’ll tell you another thing! As long as we’ve been chasing the alien, he’s been a better person than you have! Everyone who’s ever met him has liked him. Do you know how many people like you?
Fox tries to muster some bravado.
FOX
It isn’t necessary that people like me, only that they do their jobs. Which you aren’t doing. Give me a hand here.
WYLIE
You know, I used to really respect you.
FOX
Wylie, for God’s sake, remember what we’re doing here!
WYLIE
I know what I’m doing here. I’m leaving.
Wylie exits. Fox is astonished.
FOX
Wylie! (beat) You can’t…(another beat.) You’re fired!
He attacks the door again.
FOX
(to himself)
I’ll capture you if I have to do it all alone. I’ll save this planet…
The door opens.
INT. TUNNEL CHAMBER - NIGHT
Paul and Scott, with Jenny, are looking around the chamber just as if they hadn’t seen it before. Catherine and Vincent stand in the doorway, Vincent holding the curtain.
SCOTT
Okay, where am I gonna sleep?
Paul begins to reply to this, but raises his head as if listening to a sound no one else can hear. Then an alarm begins to sound, and the pipes begin ringing.
CATHERINE
(to Vincent)
An intruder? At the Central park entrance?
INT. TUNNEL - NIGHT
Vincent runs quickly, cape flowing behind him. Paul and Scott follow. They are practiced runners.
INT. TUNNEL BY ENTRANCE - NIGHT
Fox has only walked a little way into the tunnel. He is muttering to himself and counting with the crowbar.
FOX
Flashlight. Ball of twine. Flares.
Vincent rushes up.
CLOSE on Fox’s reaction.
FOX
(continuing)
Oh, God! It’s another one! It’s a nest of them!
Vincent snarls, showing his teeth. Fox retreats; he trips over the crowbar and falls, hitting his head. He sprawls, unconscious. Vincent is dismayed. Paul and Scott approach.
SCOTT
Way to go, Vincent!
PAUL
(kneeling by Fox)
Scott! He’s badly hurt.
SCOTT
You’re not going to heal him—again!
VINCENT
He can’t be allowed to remember the tunnels! Or me! You two may be used to running, but there is nowhere for us to go! The tunnels must be kept safe.
PAUL
(looking up)
I can’t do that!
SCOTT
Dad, you gotta!
PAUL
No. Scott, how would you like it if someone took away your love for your mother? Tampering with minds—memories—I won’t do it.
VINCENT
(dangerous)
Even when our safety is at risk?
PAUL
Doing the wrong thing for a right reason won’t help.
Catherine and Jenny run up. Jenny rushes to hug Scott. Catherine stands by Vincent, looking down at Fox and Paul.
CATHERINE
Will he be all right?
PAUL
In a minute or two.
Paul takes out his silver sphere and powers it up. A blue glow lights up Fox’s head. All the faces looking down are washed in the eerie light.
CATHERINE
I never thought I’d see such magic.
Paul straightens Fox out.
PAUL
There. He’ll sleep comfortably for a while.
SCOTT
(sly)
Dad—if he wakes up outside the tunnels, how will he know all this wasn’t a dream? There are no witnesses…
CATHERINE
Especially if his credibility evaporates? I think I can handle that part of it.
VINCENT
We can block off this section of the tunnels from those lower below…
JENNY
And we all can live happily ever after!
INT. TUNNEL ENTRANCE - NIGHT
Paul lays Fox on the ground on the other side of the tunnel. Scott carefully places the crowbar.
PAUL
There! When he wakes up, he’ll think he hit his head just a bit.
SCOTT
But we’d better be gone before then, anyway.
They vanish behind the entrance door, which closes with finality.
INT. TUNNEL - NIGHT
Paul focuses his sphere energy on the door while Vincent, Catherine, Scott and Jenny watch. The door metamorphoses into solid unblemished stone.
PAUL
There. That won’t open in a hurry.
VINCENT
You’re sure you won’t stay?
Paul goes to Jenny and holds her waist. He smiles lovingly at her.
PAUL
(to Vincent)
I think we’d like to stay. But it would still be too dangerous. We’ll leave, but at least this time—
JENNY
(interrupting)
We’ll leave together.
She smiles with joy. Scott comes in for a triple hug. Catherine holds Vincent’s hand, and looks up at him longingly.
FADE OUT.
END OF ACT FOUR
EPILOG
FADE IN.
INT. TUNNEL ENTRANCE - NEAR DAWN
A sheepish Wylie comes in and is shocked to see Fox lying on the ground.
WYLIE
Mr. Fox! Mr. Fox, are you all right?
Fox groans, and opens his eyes.
FOX
Wylie? Don’t just stand there. Help me up.
Wylie frowns at this.
WYLIE
I thought you fired me.
FOX
Then what are you doing here? Oh, my head!
He sees the entrance door and is galvanized. He goes to where the door used to be, but there is only a blank stone wall. He beats on it.
FOX
(continuing)
Wylie! I remember! It’s down there! There’s a nest of them! And one of them looks like a lion, with teeth out to here!
He demonstrates an improbable dental length.
WYLIE
(unconvinced)
Mr. Fox, I think you had a nasty bump on the head, and you’ve been having nightmares. There’s nothing down there.
FOX
There is! Don’t you remember the door that was here yesterday?!
Wylie shakes his head. He feels sorry for Fox.
WYLIE
Mr. Fox, someone called a tip in to the Police that Forrester was seen in Greenwich Village. Don’t you want to investigate?
Fox rubs the injured part of his head. He dusts himself off, and starts to walk out without answering Wylie, who remains, staring down at the footprints that walk into a solid wall. Almost out into the park, Fox turns around.
FOX
Come on, Wylie, get it in gear! We’ve got a lead to follow!
Wylie follows him.
EXT. ANOTHER TUNNEL ENTRANCE - DAWN
Vincent and Catherine stand close together within the entrance. Paul and Scott and Jenny are outside, carrying their packs.
PAUL
Thanks again for having your helper send Fox on a wild goose chase.
CATHERINE
I’m just sorry he came so close.
JENNY
Well, everything worked out for the best—
SCOTT
(interrupting)
So far.
VINCENT
We’ll never forget you.
PAUL
I hope we’ll see each other again. You’re a very interesting Earth person.
Vincent smiles.
PAUL
(continuing, to Jenny)
So where are we going?
JENNY
Wisconsin! Scott’s never met his grandparents.
PAUL
(walking away)
Ah! Fair Wisconsin, scene of my youth…
SCOTT
(embarrassed)
I think he got into some of Father’s really old books…
Scott and Jenny hurry after Paul.
PAUL
Jenny, do you know how to knit? Can you teach me?
Vincent and Catherine, arm in arm, watch as the family walks into the sunrise.
FADE OUT.
THE END