Far from Heaven_2002

FAR FROM HEAVEN
    Written by
    Todd Haynes USE FOR EDUCATIONAL PURPOSES ONLY Hartford, Connecticut, 1957

EXT. NEW ENGLAND VILLAGE - DAY
    The bells of a Gothic church are ringing down upon a comely square near downtown Hartford. The crisp fall day is alive with color, as cornflower skies burst through the autumn reds and golds, setting off the clean brick buildings and freshly painted homes that so proudly distinguish this New England township. Music over OPENING CREDITS. We see a powder blue, '56 Chevrolet turn onto the main road its way into town.

EXT. VILLAGE ST. - DAY
    The Chevrolet stops in front of a small dance school just off State St. and an attractive, red-haired woman in her mid- thirties emerges from the car, wearing sunglasses and a scarf. She says hello to a mother and daughter exiting the school on her way inside, returning a moment later with a strawberry-haired girl in ballet clothes. CATHY WHITAKER, - having collected her 8-year-old daughter JANICE from ballet class is finally returning home from another busy day.

EXT. RESIDENTIAL STREET - LATER
    Cathy's car is turning onto a well-tended, residential street, full of traditional black-shuttered, white wood homes, each set back on spacious lawns against, the blaze of autumn color

EXT. WHITAKER HOUSE - LATER
    She turns into the driveway of a large, fastidiously landscaped 2-story home, with a slate roof and flagstone walkway. DAVID WHITAKER, a typical 11-year-old boy, with-dark hair like his dad's, is circling around the front of the house on his bright red Schwinn:
    DAVID
    Mother! Mother! Can I sleep over at Hutch's tonight? Mrs. Hutchinson gave permission.
    CATHY
    (from the car)
    Not tonight, David.
    CATHY
    Your father, and I are going out and I need you to, look after your sister.
    DAVID
    Aww, shucks.
    CATHY
    Now move your school bag, David, so mother can park.
    The Whitaker's maid SYBIL, a handsome black woman in her early 30's, is just coming down the front steps to the car.,
    JANICE
    (hopping out)
    Sherry Seeger says they only' cost something like five or six dollars Please mother, please can I?
    CATHY
    (opening her door)
    Oh Sybil, thank heavens!
    SYBIL
    Well I knew you were going to the grocery -
    CATHY
    David, please help Sybil unload the car.
    DAVID
    How come Janice doesn't gotta?
    CATHY
    Doesn't have to. Because Janice is carrying in all her, belongings an marching straight upstairs into the bath.
    She steps out of the car loaded down with laundered clothes and packages.
    CATHY
    Your father and I have an engagement so I want you both to have a nice early dinner. And help Sybi1.
    DAVID/JANICE
    (not exactly in sync)
    Yes, ma'am.
    CATHY
    Sybil, did Mr. Whitaker call while I was out?
    SYBIL
    No, Mrs. Whitaker. Not since you've been gone.
    CATHY
    How do you like that guy. Big time executive and he still can't remember a single social obligation!
    JANICE
    So mother can I? Please can I get them?
    CATHY
    Janice I said we'll discuss it with your father. Now hurry on inside. David, put your bike away and help Sybil with the groceries! Where's your jacket?
    DAVID
    Inside.
    Cathy turns to see her best friend ELEANOR FINE, a lean, blond woman in her early 40's, just turning up her drive in a shiny green Imperial.
    CATHY
    Well hello, stranger! Aren't I seeing you in about three hours time?
    Eleanor is stepping out of her car.
    ELEANOR
    You are. But I just left the caterers this instant and I had to dash over.
    CATHY
    You have the samples?
    ELEANOR
    You bet.
    CATHY
    Ooh. Come inside.
    They start into the house.
    ELEANOR
    I can only stay a second.
    CATHY
    You just caught me, actually - David! What did I tell you?
    DAVID
    I'm getting the last bag!
    DISSOLVE TO:

INT. WHITAKER LIVING ROOM - MOMENTS LATER
    Inside, Janice is practicing some ballet steps by a large stone fireplace. Eleanor is in the midst of showing Cathy color samples for the big company party it is their annual venture to host.
    ELEANOR
    And imagine with the table setting I showed you. The aqua trim? Is that smart?
    CATHY
    Oh yes.
    ELEANOR
    You like?
    CATHY
    Mmm-hmm.
    ELEANOR
    (starting to put things away)
    Alright. So I'll call the caterers in the morning and you confirm with Dorothy on the deposit - and honey, we're in business.
    CATHY
    Magnavox '57, here we come.
    ELEANOR
    You betcha.
    JANICE
    Mother, look!
    CATHY
    Janice I thought I told you to go start your bath! You know your father and I -
    JANICE
    Just this one part, pleeease.
    CATHY
    Alright, bunt lickety-split.
    Janice performs a few steps for her mother and Eleanor as . David pours over the TV guide on the couch.
    ELEANOR
    Oh, will you look at that?
    CATHY
    That's lovely darling.
    ELEANOR
    She's getting so grown up.
    DAVID
    Mother, can I stay up and watch The Californians - Please!
    CATHY
    Janice, honey, watch the lamp!
    JANICE
    Ta-da!
    Eleanor and Cathy applaud Janice who beams in delight.
    ELEANOR
    Ohh!
    CATHY
    That was lovely, dear. Now hurry on up and get out of those clothes or mother's going to be late.
    Janice turns, still beaming, and dashes up the stairs.
    ELEANOR
    I better run. I still have loads to do.
    CATHY
    Well I can imagine, with Mona Lauder and that little white glove of hers...
    ELEANOR
    Aren't social mores the most dreadful bore? Mona's invited us at least three times last year so of course there wasn't a thing I could do. And Stan sees Fred at the club...
    Cathy opens the door for her.

EXT. WHITAKER HOUSE - LATER
    Eleanor starts down the front steps of the house toward her car.
    CATHY
    Thanks for stopping by.
    ELEANOR
    I'll see you at eight!
    CATHY
    You know Frank. On the dot!
    Cathy waves goodbye and closes the door. DISSOLVE TO:

INT. WHITAKER'S BEDROOM - EVENING
    Janice is curled into an armchair in the soft glow of Cathy's vanity, watching her mother do her make-up in the mirror. Cathy is dressed for the evening in sleeveless emerald green, setting off the tangerine of her hair.
    JANICE
    Mother?
    CATHY
    (doing her lipstick)
    Uh-huh?
    JANICE
    When you were a little girl you looked like me, right?
    CATHY
    Uh-huh.
    JANICE
    So when I grow up does that mean I'll look like you?
    CATHY
    Is that what you want darling, to look like me?
    JANICE
    Yes. I hope I look exactly as pretty as you.
    CATHY
    What a lovely compliment coming from my perfectly lovely daughter.
    She picks up her wristwatch and glances at the time.
    CATHY
    Seven-fifteen!, Where on earth is your father?
    She gets up and walks over to a dresser.
    JANICE
    Mother?
    CATHY
    (searching for something)
    What is it, dear?
    JANICE
    Can I try putting lipstick on me?
    CATHY
    (starting out the door)
    Not tonight, Janice. Mother's going to be late. Sybil!

INT. FOYER - CONTINUOUS
    Cathy is starting down the stairs.
    SYBIL
    (off)
    Yes, Mrs. Whitaker?
    CATHY
    Did I leave my gloves on the hall table?
    SYBIL
    (off)
    Yes, ma'am. I see them.
    CATHY
    You know it's nearly twenty after and Mr. Whitaker still hasn't phoned!
    Sybil meets Cathy at the foot of the stairs with the gloves.
    CATHY
    Thank you, Sybil... - I'm at my wits end. I even tried calling his office, though I knew there wouldn't be anyone -
    The phone RINGS. Sybil goes to the hall table to answer it.
    CATHY
    Well I certainly hope that's him now. Because if it isn't -
    SYBIL
    Whitaker residence.
    (brief silence, then stiffly)
    Yes sir. One moment, please.
    CATHY
    Who is it?
    SYBIL
    (Lowered voice)
    Police department.
    Cathy frowns, taking the phone.
    CATHY
    Hello?
    OFFICER'S VOICE
    (through receiver)
    Yes. Am I speaking with a Mrs. Frank Whitaker?
    CATHY
    Yes.
    OFFICER'S VOICE
    Of 1616 Sycamore Drive?
    CATHY
    Yes.

INT. POLICE STATION BOOKING - EVENING
    OFFICER
    One moment please.
    The OFFICER hands the phone over to FRANK WHITAKER, a dark- haired, big-boned man in his early forties, who has just finished wiping his ink-stained fingers with a rag.
    FRANK
    Cathy?
    CATHY'S VOICE
    Frank! Frank, what happened? Are you alright?
    FRANK
    I'm fine. Everything's fine. It was a big - mix-up, the whole thing. But you gotta come get me. They won't - let me leave on my own.

INT. WHITAKER FOYER - EVENING
    CATHY
    Oh, Frank. Don't worry, darling. I'll be there as quickly as I can.
    (she hangs up the phone)
    SYBIL
    Is there anything I can do, Mrs. Whitaker?
    CATHY
    No. Thank you Sybil. Just keep an eye on the children. I'm sure I won't be long.
    Cathy grabs her purse and coat and rushes for the door. DISSOLVE TO:

EXT. POLICE STATION - NIGHT
    Cathy's car pulls up in front of the lamp-lit police station She hurries out of the car, still in her evening clothes, and up the stone steps of the precinct

INT. POLICE STATION FRONT DESK - CONTINUOUS
    Cathy walks over to the OFFICER at the desk.
    OFFICER
    Can I help you ma'am?
    CATHY
    Yes, I'm here to meet my husband. The name's Whitaker, Frank Whitaker.
    OFFICER
    Here we go. Room 103. If you'll follow me, ma'am.
    DISSOLVE TO:

INT. BOOKING - LATER
    Cathy signs the report and hands it to the BAIL CLERK.
    BAIL CLERK
    This is your copy, ma'am, and your receipt.
    CATHY
    Thank you.
    Then the door opens and Frank walks through it.
    CATHY
    Oh, Frank!
    Cathy rushes to him and they embrace. As they leave, two of the officers are still watching.

INT. CAR - NIGHT
    Cathy drives while Frank broods in the passenger seat. REAR- PROJECTED streetlights send charcoal shadows across their faces.
    FRANK
    I'll tell you one thing. If it hadn't been for that sniveling junior cop they'd have never gone through the whole charade in the first place!... '
    FRANK
    Stead of trying to save face. I saw the guy they were after - the 'loiterer'. They wouldn't even listen to me! I tell you, I have half a mind to sue the pants off the whole precinct.
    CATHY
    Or... you could simply forget the whole thing ever happened.
    FRANK
    (takes a breath)
    I suppose you're right.
    Brief silence.
    CATHY
    (a bit cautiously)
    So were there - drinks after work?
    FRANK
    What do you mean?
    CATHY
    I thought they said something... Intoxication level, something-or- other - ?
    FRANK
    Christ! I had a lousy cocktail with Bill after work, going over the portfolio! Should I be arrested for that too?
    CATHY
    Of course not, darling.
    FRANK
    The whole thing's just put me in a fowl state.
    CATHY
    I know, dear. You just try to rest. We'll be home in no time.
    DISSOLVE TO:

INT. WHITAKER FOYER - LATER
    Cathy stands in semi-darkness, on the phone with Eleanor. She finds the police report in her purse.
    CATHY
    He's fine... The car's fine. Frank says it was the bumper that got hit, but you know me. I can't tell the difference... I'm just sorry we had to miss it... I know...
    She drops the papers into the waste-basket.

INT. WHITAKER BEDROOM - LATER
    Frank sits in bed with an open book on his lap, staring into space. The door squeaks open and he looks over.
    CATHY
    She was fine. Said it was a dreadful bore, what with Mona Lauder and her gossip.
    FRANK
    (depleted)
    Cathy, I'm sorry.
    CATHY
    (embracing him)
    Darling, you've nothing to be sorry for. It was all just a silly wretched mistake!
    They kiss deeply and he takes her in his arms. Cathy closes her eyes and begins caressing his shoulders and neck. But Frank stops and pulls away. She looks at him.
    FRANK
    Feel so tired.
    He turns and lays down into bed and she caresses the side of his head with her hand.
    CATHY
    Course you do. You sleep now.
    She switches off the light, pulls up his blanket and slowly walks to the bathroom.

INT. BREAKFAST ROOM - MORNING
    The Whitaker clan are all seated around the breakfast room table finishing a breakfast of bacon and eggs.
    DAVID
    Pop, Hutch says if the Russian's drop a bomb on us we couldn't drop one back on them. Is that true?
    FRANK
    Well, son, I'm afraid Hutch has a point there.
    DAVID
    Why, pop? Why couldn't we?
    CATHY
    Drink your orange juice David.
    JANICE
    I already drank mine. Look father!
    FRANK
    Attagirl!
    DAVID
    Pop, why?
    CATHY
    (glancing at the clock)
    Would you look at the time? It's already a quarter after! You kids are going to miss your bus! Sybil can you help me get their coats?
    Sybil helps Cathy distribute coats and lunch-boxes, and hurry them out of the kitchen.
    CATHY
    Alright, now. Say goodbye to your father.
    JANICE
    Bye, father.
    (she kisses him)
    FRANK
    Goodbye, kitten.
    DAVID
    Bye, pop!
    FRANK
    Have a good day at school, son.
    David is first out the door.
    CATHY
    Janice, have you got your notebook?
    JANICE
    Yes, Mother.
    David swings open the front door of the house. We can hear the bus approaching.
    DAVID
    (off)
    The bus is here!
    SYBIL
    David - your lunch!
    Cathy takes it from Sybil and rushes after him.

INT. DEN - MORNING
    CATHY
    David!
    He swoops back in, grabs it, and is off again, followed by Janice.
    JANICE
    Bye, mother!
    CATHY
    Have a nice day at school, dear.
    Cathy pecks her on the cheek and she runs out the door.

EXT. WHITAKER HOUSE - MORNING
    The bus pulls up in front of the house as David and Janice go running and Cathy waves.
    CATHY
    Bye!
    The big yellow door closes behind them and the bus pulls off down the street. A small truck is just pulling up to the house which reads DEAGAN GARDEN SUPPLY.

INT. DEN - MORNING
    Cathy is walking back' into the house as Frank emerges from the kitchen, gathering his things for work.
    CATHY
    I thought you were going to have another piece of toast?
    FRANK
    It's late. I should get over there.
    CATHY
    Well can I at least fix you lunch?
    FRANK
    No, thank you, dear. I've got lunch meetings all week long. It's portfolio season!
    The doorbell rings.
    CATHY
    (calling)
    Sybil, if that's the milkman, his check is in the kitchen drawer!
    SYBIL
    (off)
    Yes, ma'am!
    Cathy helps Frank on with his overcoat.
    CATHY
    Well I'm just glad you're feeling better, dear.
    FRANK
    Thank you, darling.
    Frank embraces Cathy and kisses her warmly just as - BOOM! - a camera flash ignites them, and they turn. Standing beside Sybil in the entryway is MRS. LEACOCK , a grey-faced woman in her 60's, and a young PHOTOGRAPHER with a camera.
    PHOTOGRAPHER
    Pardon me, ma'am, sir.
    SYBIL
    Excuse me, Mrs. Whitaker. This is - Mrs. Leacock? She says she had an appointment with you this morning?
    CATHY
    Oh Jimminy - I completely forgot the time! Yes, of course, Mrs. Leacock, please come in.
    MRS. LEACOCK
    I do apologize, Mrs. Whitaker, but candid views are always the best.
    CATHY
    Darling, this is Mrs. Leacock, the lady I told you about, from the Weekly Gazette.
    FRANK
    Ah, yes. The fine lady who wants to air all our dirty secrets.
    (shaking her hand)
    How do you do, Mrs. Leacock?
    MRS. LEACOCK
    Fear not, Mr. Whitaker. We at the Gazette ascribe to only the highest of professional standards.
    FRANK
    Well I'm glad to hear it. Now if you'll all please excuse me, I have some professional standards of my own to keep up.
    (kissing Cathy)
    Goodbye, darling.
    CATHY
    Goodbye, dear.
    FRANK
    (nodding goodbye)
    Mrs. Leacock...
    MRS. LEACOCK
    Pleasure, Mr. Whitaker.
    Franks gives a final wave to the room and is gone.
    MRS. LEACOCK
    Your husband's a very charming man, Mrs. Whitaker.
    CATHY
    Thank you. We're rather fond of him ourselves. Please, won't you come in and make yourselves at home.
    Cathy escorts them into the living room and over to the couch while untying her kitchen apron.
    CATHY
    As you can see, I'm just running a bit behind schedule today.
    MRS. LEACOCK
    That's quite alright, dear.
    Cathy sits down opposite her, casually smoothing her hair and dress.
    CATHY
    I suppose I still can't imagine why in the world you'd want an interview with me in the first place. It couldn't possibly be very interesting for your readers.
    MRS. LEACOCK
    The readers of the Weekly Gazette, Mrs. Whitaker, are women just like yourself, with families and homes to keep up. A good society paper need not be a gossip rag. You are the proud wife of a successful sales executive, planning the parties and posing at her husband's side on the advertisements.
    She refers to a framed magazine advertisement on the wall, showing Cathy and Frank posed in front of their TV with the heading: MR. & MRS. MAGNAVOX CHOOSE NOTHING BUT THE BEST FOR THEIR HOME!
    MRS. LEACOCK
    To everyone here in Connecticut you are Mr. and Mrs. Magnavox.
    CATHY
    I suppose I should be flattered. I just don't feel I'm so very different from anyone else, really. I like to shop and wear a pretty dress every now and then. But really my life is just like any other wife or mother's - I don't suppose I've ever really wanted anything -
    Suddenly, through the window, Cathy glimpses someone moving through her backyard. She stands.
    MRS. LEACOCK
    What is it, dear?
    CATHY
    I think I just saw someone walking through our yard.
    Cathy walks to the french doors leading to the backyard. There she sees A tall black man standing outside, hunching over something.
    CATHY
    What on earth...?
    MRS. LEACOCK
    (standing, seeing)
    Oh my.
    Cathy opens the door.
    MRS. LEACOCK
    Mrs. Whitaker - Perhaps you should call the police -

EXT. WHITAKER BACKYARD - DAY
    The Whitaker backyard is an ample, two-tiered expanse, with flagstone walkways and fastidiously landscaped hedges, trees and flower-beds bordering the swimming-pool and lawn. Cathy takes a few cautious steps in the direction of the stranger.
    CATHY
    Excuse me. Can I help you?
    The man looks up from a shrub of evergreens, squinting. This is RAYMOND DEAGAN, 40 years old, good-looking. He steps toward her, looking slightly irritated himself. Cathy takes an involuntary step back.
    CATHY
    Who are you?
    RAYMOND
    Ma'am, I'm sorry. My name's Raymond Deagan. I'm Otis Deagan's son. I've just been - taking over some of his jobs since he -
    CATHY
    You're Otis's son?
    RAYMOND
    Yes.
    CATHY
    Well I'm - terribly sorry for speaking to you in that manner. I didn't know who was in my yard.
    RAYMOND
    No need.
    CATHY
    How is your father? I knew he was in the hospital.
    RAYMOND
    Yes, I - My father passed away, I'm afraid.
    CATHY
    No! I had no idea! I'm so very sorry.
    (putting her hand on his arm)
    Please accept our deepest condolences. Your father was a wonderful, dedicated man.
    RAYMOND
    Thank you.
    The phone rings from inside the house.

INT. LIVING ROOM - DAY
    We hear Sybil answering it as Mrs. Leacock watches Cathy through the window - just removing her hand from Raymond's arm.

EXT. BACKYARD - DAY
    Sybil steps out to the porch from the kitchen door.
    SYBIL
    Mrs. Whitaker? I have Greenhill Caterers,on the line!
    CATHY
    Thank you, Sybil!
    (to Raymond)
    I'm sorry. Would you excuse me a moment?
    RAYMOND
    Of course.
    Cathy hurries back inside.
    CATHY
    Mrs. Leacock, I'm terribly sorry! I'll just be a minute more!
    DISSOLVE TO:

INT. MAGNAVOX OFFICES - DAY
    Frank is walking briskly down the wide passageway of his floor at Magnavox, passing secretarial pools and other employees with a smile. Triangles of morning sun bleach the wood-paneled walls of the floor's lean, modern decor. He passes a sprite little secretary named Kitty.
    KITTY
    Good morning, Mr. Whitaker.
    FRANK
    Morning Kitty. Lovely dress you're wearing.
    KITTY
    Thank you, sir.
    Frank continues on towards the outer office of the executive suite where his secretary, MARLENE, is stationed beneath a large abstract wall-hanging. Standing opposite, pooling over a file is STAN FINE, Eleanor's husband, a tall, slightly greying man with a belly, who works right below Frank in the Hartford division.
    FRANK
    Morning, Marlene, Stan!
    MARLENE
    Good morning, Mr. Whitaker.
    STAN
    So how's the second best golfer in Hartford this morning?
    FRANK
    Someone break the books already? Don't tell me our wives' party budgets have finally come in.
    STAN
    Almost as fatal. Millstein called. Looks like New York just shaved a week off portfolio deadline.
    FRANK
    You gotta be kidding me.
    STAN
    I wish I were.
    FRANK
    What're they trying to do, strangle us to death?! Does Dennis know?
    STAN
    Called him first thing.
    FRANK
    Alright. Get Dennis and the others and call a portfolio meeting for lunch today. Marlene, see if you can move production review to dinner.
    MARLENE
    Yes, sir.
    FRANK
    And would you get my wife on the phone?
    (to Stan)
    Thanks, Stan.
    Frank pats Stan on the shoulder and marches through the large wood-paneled door of his office.

INT. FRANK'S OFFICE - CONTINUOUS
    Frank drops his briefcase and sits down heavily at the large, handsomely ornamented desk. He takes a breath before turning and quietly opening a lower drawer, pulling out a quart of Jack Daniels and pouring a swig into his coffee. As he stashes it away we hear
    MARLENE
    (on intercom)
    Sir? I have Mrs. Whitaker on line 1.
    FRANK
    Thank you, Marlene.
    Frank takes a slurp, swallows and pushes line 1 on his phone.
    FRANK
    Cathy, is that you, dear?

INT. WHITAKER FOYER - MORNING
    Cathy speaks to Frank from the phone in the hall.
    CATHY
    Did you forget something?... Oh, Frank... I'm sorry, dear... No, I understand... I just wish you wouldn't overwork yourself, Frank. Especially after... I know - I know, dear... I will... See you then... Goodbye, dear.
    Cathy hangs up the phone and starts back into the living room.
    CATHY
    I'm terribly sorry for the interruptions. Where was it you wanted me?
    PHOTOGRAPHER
    Just one more at the fireplace.
    Cathy walks over to the fireplace where she puts one hand on the mantle and turns toward the photographer.
    PHOTOGRAPHER
    Right there. Now smile.
    Cathy smiles.
    MRS. LEACOCK
    Isn't that darling.
    PHOTOGRAPHER
    Hold it...
    FLASH. DISSOLVE TO:

EXT. DOWNTOWN HARTFORD - NIGHT
    We descend from a moonlit night past the Hartford skyline to the awning of Sammy's Steakhouse, where Frank and four STAFF MEMBERS are just emerging.
    FRANK
    (slightly slurred)
    Well I guess that about wraps it up.
    (shaking hands) )
    Bob, Rick. Gentlemen.
    STAFF MEMBER 1
    You're sure you're alright getting home, sir?
    FRANK
    Thank you, Davis. But as 2nd in command of the US McMillan I do feel equipped to locate my car without cover.
    STAFF MEMBER 1
    Very good, sir.
    FRANK
    Bright and early gentlemen!
    They say goodnight and we follow Frank as he proceeds down the pink, lamplit blocks of downtown Hartford. He passes teenagers clumped in cars, making out. He passes a HOOKER.
    HOOKER
    Where ya headed, tiger?
    Frank looks away as he passes. When he looks up again he sees The marquee of a movie theater glowing up ahead.

EXT. MOVIE THEATER - NIGHT
    Frank approaches the tungsten awning of the old, 20's-style cinema, currently featuring half-price double-bills. He stops. The marquee reads: THREE FACES OF EVE and MIRACLE IN THE RAIN.

INT. MOVIE THEATER - LATER
    ONSCREEN: We are in the middle of THREE FACES OF EVE. Raymond Burr is questioning one of Joanne Woodward's more timid personalities. Frank is walking in from the rear of the theater. He stops along the back wall and stands watching, muted in shadow like Edward Hopper's usherette. ONSCREEN: Joanne Woodward is becoming agitated. She starts switching into another personality. A dark-haired man is getting up from his seat and walking in the direction of the Gentleman's Lounge. Frank notices him pausing a moment at the foot of the small, carpeted stairway just as a second man approaches. The dark-haired man spots the second one and proceeds briskly down the stairs. The second man follows, looking around nervously as he goes. Frank stares darkly down the empty corridor.

INT. WHITAKER BEDROOM - NIGHT
    Cathy sits in the lilac glow of her lamp-lit writing table, addresses party gunshots can be heard from downstairs. Cathy turns the face of her desk-clock to see the time. It reads 10:36.
    CATHY
    (getting up)
    Oh, for heavens sake... DAVID!

INT. WHITAKER LIVING ROOM - NIGHT
    Music escorts us from the dark of the living room to the chestnut glow of the den where David sits watching television. Sybil inventories serving ware in the dining room, as Cathy makes her way downstairs with writing tablet and pen.
    CATHY
    David, this is the third time I've told you to turn that infernal racket off and get into bed! Do you know what time it is?
    DAVID
    Mother please can I just this once stay up and watch the -
    CATHY
    No, David, you most certainly may not and that is final.
    DAVID
    (reluctantly turning it off)
    Ah, jeez...
    CATHY
    That's not the sort of language we use in this house! Now march! And don't forget to wash your teeth!
    As David swaggers off Cathy straightens up the couch.
    CATHY
    Oh, Sybil, be sure and check dinner forks as well. I seem to recall being short last year.
    SYBIL
    I thought it was salad forks we were short on.
    Cathy begins closing drapes in the living room windows.
    CATHY
    Perhaps you're right. Whatever it was, I'd like to try and order a set before the party.
    SYBIL
    That shouldn't be a problem.
    CATHY
    You know, Sybil, I think this may just turn out to be our best one yet.
    SYBIL
    Well I'm sure Mr. Whitaker will be extremely proud.
    Cathy turns off a lamp by the window and parts the drapes a moment. She glances out into the silent, blue-edged night.

EXT. MOVIE THEATER - NIGHT
    A man on a ladder is replacing the letters on the theater marquee as Frank files out of the theater amid the strange week-night crowd. He stops a moment beneath the canopy of bulbs. There's a trill of laughter from down the street and Frank turns. The two men from the movie theater are walking off, one of them laughing. They turn the corner. Frank squints, looking after. And with a frown of curiosity and some unsteadiness, he begins to follow.

EXT. DARK STREET - NIGHT
    The two men are crossing the shadowy side-street. One of them can still be heard as they approach a dark, inconspicuous door, a few steps down from street-level. They open it, sending a sudden flood of green into the darkness, then quickly vanish inside. Frank stares after, stuck between intrigue and fear. He follows.

INT. FRAN'S - NIGHT
    Fran's is a small, burgundy-walled `gentlemen's bar', with black upholstery and a mint-green light embalming its well- groomed clientele - most of whom take subtle notice of Frank as he enters the room. Out of nowhere a voice is heard -
    VOICE
    Identification please.
    FRANK
    (turning, startled)
    What?
    A thin man in his 50's with a pencil-thin mustache stands beside the door.
    MAN WITH MUSTACHE
    Identification, drivers license.
    FRANK
    Oh. Sure.
    Frank shows him his wallet.
    MAN WITH MUSTACHE
    Thank you, sir. Have a pleasant evening.
    FRANK
    Thank you.
    Frank proceeds cautiously into the room, heading to the bar. A SPANISH BARTENDER accent nods slowly as he approaches.
    SPANISH BARTENDER
    Yes, sir? What can I get you this evening?
    FRANK
    Just a Johnny Walker, please. Neat.
    SPANISH BARTENDER
    Yes, sir.
    Frank takes out a cigarette and lights it. He glances stiffly across the room. The plucked and coiffed patrons, seated mostly alone, glance back with the same stiff, self-consciousness. The men from the theater sit in some corner rapt in conversation. Frank's drink is set on the bar and he takes a fast, deep sip, shiny with perspiration. Frank puts down a bill and takes a long, relaxing drag off his cigarette.
    VOICE
    One more of the same.
    Frank looks over and sees a clean-cut BLOND MAN (early 30's) at the bar. He exhales. The blond man glances over and smiles cautiously. Frank smiles cautiously back.
    BARTENDER
    There you are, sir.
    The blond man remains looking at Frank a moment before picking up his drink and starting back to his table. Frank watches him go. DISSOLVE TO:

INT. WHITAKER FOYER - NIGHT
    Frank closes the front door behind him and starts slowly up the stairs of the house, black on shadowy blue, as a slow burden of music rises. He stops at the foot of his bedroom door and stares at

INT. BEDROOM - NIGHT
    Cathy, copper and blue, asleep in bed. Music lightens as we DISSOLVE TO:

EXT. WHITAKER HOUSE - DAY
    We float out from a newspaper photograph of Frank and Cathy kissing in the latest Hartford Weekly Gazette to reveal Eleanor, reading aloud from the paper. The door to the house is open as Cathy and her arriving guests, DOREEN and NANCY, stand around listening, having obviously been stopped in their tracks to do so. Cathy holds a lilac scarf under her chin as a feisty wind whips through the trees and sends a circus of leaves through the sky.
    ELEANOR
    'So does the fabled maxim hold that behind every great man there resides a great lady? In this case - wife, mother and Mrs. Magnovox herself - Cathleen Whitaker proves that it does, a woman as devoted to her family as she is kind to Negroes'!!
    They burst into laughter.
    DOREEN
    To Negroes?!
    CATHY
    (grabbing the paper)
    Let me see that! Oh my heavens. What on earth was that woman thinking?
    NANCY
    How did that come up?
    ELEANOR
    Cathy? Oh she's been liberal ever since she played summer stock at college with all those steamy Jewish boys! Why do you think they used to call her red!
    CATHY
    Oh for heaven sakes, come inside. Before Joe McCarthy comes driving by!
    Eleanor laughs and Cathy hands her back the paper.
    ELEANOR
    Here.
    Suddenly a strong gust of wind sweeps Cathy's scarf right off her head and up over the side of the house.
    DOREEN
    Uh-oh!
    CATHY
    Oh, no! I love that scarf!
    DOREEN
    Oh, I'm sure it just blew behind the house somewhere.
    CATHY
    Oh, for heaven's sake.
    They continue back inside the house.
    ELEANOR
    This really isn't your day, is it?
    NANCY
    So did they really call you 'red'?
    Eleanor laughs some more.
    CATHY
    Oh Nancy, honestly!
    DISSOLVE TO:

INT. DINING ROOM - LATER
    The ladies are just finishing lunch, a bit tipsy from the daiquiris.
    CATHY
    Can I get anyone another daiquiri?
    NANCY
    Oh no. One's my limit.
    DOREEN
    Better not.
    CATHY
    El?
    Eleanor holds out her glass. Cathy smiles, refilling it.
    ELEANOR
    Thanks doll.
    (takes a sip)
    Alright now girls, no more beating around the bush. Nancy?
    NANCY
    I can't.
    ELEANOR
    Come on now. Can't be that bad.
    NANCY
    Alright.
    (she smiles bashfully)
    Well... Mike insists on once a week.
    The laddies giggle, except for Cathy, who stands holding the pitcher of daiquiris.
    ELEANOR
    Ah, you got off easy!
    CATHY
    Once a week?
    DOREEN
    Yea, you're lucky. Ron's more like two or three.
    NANCY
    Really? Three?
    DOREEN
    And how.
    ELEANOR
    That's nothing. Girlfriend of mine?
    (to Cathy)
    Shirley Dawson -
    (back to everyone)
    Her husband? Every night-o-the- week... plus three times more on the weekend! Can you imagine?
    Cathy returns the pitcher to the bar.
    NANCY
    Oh, my.
    DOREEN
    How long have they been married?
    ELEANOR
    Well, long enough! Seven years? Eight?
    Doreen and Nancy break into more giggles as Cathy stands a moment, reflected in thought in the marbled mirror, a note of music accompanying. DISSOLVE TO:

EXT. WHITAKER HOUSE - LATER
    Cathy stands in front of her house waiving goodbye to Eleanor, Doreen and Nancy, who make their way to their cars.
    DOREEN
    It was lovely, Cathleen!
    CATHY
    Thanks, girls.
    DOREEN
    Bye, now.
    ELEANOR
    Chicken was divine.
    CATHY
    Thanks, El.
    ELEANOR
    I'll call you tomorrow!
    CATHY
    Bye.
    ELEANOR
    Thanks again, hon! It was all too divine!
    CATHY
    Thanks, El. I'll call you tomorrow.
    ELEANOR
    Bye!
    Cathy is about to turn back into the house when she puts a hand to her head, remembering her scarf. She glances over toward the side of the house and starts slowly down the front steps, glancing around the yard as she goes. By now the wind has died down and a pale opal light has taken the edge off the sun. A soft spell of music begins. She doesn't see it along the front hedges and continues on to the side of the house. She turns the corner, glancing up at the roof. Suddenly
    RAYMOND
    Could this possibly -
    Cathy turns with a start. Raymond is standing along the side of the house holding her lilac scarf.
    RAYMOND
    I'm sorry.
    CATHY
    No - You found it!
    RAYMOND
    Yes - It was...
    (starts walking toward her)
    hanging off one of the birch's down front.
    CATHY
    It's just been so windy. I was just going back in the house when it just -
    Raymond hands Cathy the scarf.
    CATHY
    ... sailed off my head - Thank you.
    RAYMOND
    I had a feeling it might have been yours.
    CATHY
    Who else could have been so absentminded?
    RAYMOND
    No. The color. Just seemed right.
    CATHY
    Well thank you, Mr. Deagan. For finding it.
    RAYMOND
    Please. Call me Raymond.
    CATHY
    Thank you. Raymond.
    She smiles and they begin walking back to the front yard.
    CATHY
    Everything looks wonderful by the way.
    RAYMOND
    Well good. Pop's a tough act to follow when it comes to his work. But I think we got everything pretty under control.
    Cathy looks at him a moment.
    CATHY
    I'm sure it hasn't been easy. Taking over for your father so quickly.
    RAYMOND
    Well I guess between pa's business, my shop, and looking after my little girl, there's not much time left for reflecting.
    CATHY
    I didn't know you had children.
    RAYMOND
    Just the one. Sarah's her name.
    CATHY
    And how old is Sarah?
    RAYMOND
    Eleven years old, yea. And the sun and the moon to me.
    CATHY
    Well I'm sure she's a lovely child. You and your wife must be very proud.
    RAYMOND
    Well, Mrs. Deagan - my wife - she passed away when Sarah was about five.
    CATHY
    Oh Raymond. I'm so sorry.
    RAYMOND
    Well. Thank you. We do - we do just fine, Sarah and I.
    (reaching for his wallet)
    I have a - picture somewhere...
    (opening it for Cathy)
    There. That's Sarah.
    CATHY
    Oh, she's darling. Look at those eyes... And what's this I hear about a shop?
    RAYMOND
    The plant shop? Yea. It's just a little place, down on Hawthorn.
    RAYMOND
    Started out as a service for gardeners, ordering plants and fertilizer. 'Til I opened the store. 'Bout six years ago. The only thing that business degree's been good for yet.
    CATHY
    Well that's marvelous, Raymond. You should be very proud.
    RAYMOND
    Well. If you're ever in the neighborhood you be sure and stop by. We have some lovely houseplants.
    CATHY
    Well I certainly will.
    RAYMOND
    Alright then.
    She smiles goodbye and walks back into the house.

INT. WHITAKER FOYER - LATER
    Cathy closes the door behind her. Right away we hear Sybil from the kitchen door.
    SYBIL
    (off)
    Mrs. Whitaker? I have that list whenever you're ready!
    CATHY
    Thanks, Sybil. I'll come get it now. Where has this day gone to?
    DISSOLVE TO:

INT. WHITAKER BREAKFAST ROOM - EVENING
    From just outside the blaze of the kitchen we find Cathy and Sybil busily serving dinner to the children.
    CATHY
    Elbows off the table, David!
    JANICE
    Eeuu - I hate those!
    CATHY
    I'm sorry, Janice. But for a growing girl, who needs her vitamins and is studying ballet -
    JANICE
    Oh mother! You said... You said -
    CATHY
    I said we would discuss it and we discussed it. Now I don't want to hear another word about it. I certainly don't like thinking I've raised such spoiled children.
    DAVID
    What do you mean children? I'm not the one who wants some dopey ballet shoes!
    JANICE
    Slippers!
    The telephone rings. Sybil is carrying a tray of food.
    CATHY
    If that's your father... Don't worry, Sybil, I'll get it.
    (she picks up the phone)
    Hello? Frank? You haven't left?... Oh no, not again... I know Frank, but every week... I know, I know darling... I won't... Alright... Goodnight, dear.
    (she hangs up the phone)
    DAVID
    What! He's not coming home again?
    JANICE
    Father never wants to come home!
    CATHY
    Oh Janice, he most certainly does. It's just a terribly busy time for your father right now, and he's under a great deal of strain.
    DAVID
    (to Janice)
    Yea!
    JANICE
    Shut up.
    CATHY
    You know what, Sybil? Wrap up a plate for Mr. Whitaker. I'm just gonna go and take it over there myself.
    SYBIL
    All the way downtown?
    CATHY
    It's really not so far. Anyway, the children are nearly through, and knowing Mr. Whitaker, I'll at least be sparing him another night of pretzels and coffee.
    Cathy picks up her coat from a corner chair and starts out the door as we DISSOLVE TO:

INT. OFFICE BLDG. LOBBY - NIGHT
    Cathy, emerging through the shimmer of a revolving door, as quiet dissonance emerges, building slowly throughout the scene. She walks across the large marble-floored lobby, Tupperware in hand, to the night-watch's table.
    CATHY
    I'm just dropping something off to my husband on the twelfth floor. Mr. Whitaker.
    The NIGHT-WATCH motions her in and Cathy continues briskly to the elevators.

INT. 12TH FLOOR - NIGHT
    The elevator doors open. Cathy steps out onto the darkened floor and starts down the central corridor toward the executive suite. As she approaches the outer office she realizes there is no one else in sight, no lights, no sign of work.
    CATHY
    (to herself, perplexed)
    Frank?
    She glances around as she continues, doubtfully, in the direction of his office. Then she notices A soft strip of light coming from beneath his office door.
    CATHY
    (shaking her head)
    Oh, Frank...
    In a rush of wifely sympathy she walks up to the door and politely opens it.
    CATHY
    Frank - ?

INT. FRANK'S OFFICE - NIGHT
    Instantly she sees it: a shirtless blond man with loosened pants locked in a writhing kiss with another man in shirtsleeves, who appears to be fondling him. Immediately they turn and jolt apart. It takes her a moment to register that the man in shirtsleeves is Frank. All at once Cathy gasps, pulling back and turning, dropping her Tupperware. She shuts her eyes and struggles for breath. Inside we can hear the men scrambling to dress, knocking something over in the process. Suddenly Cathy turns facing the door, reeling, horrified. Music burns with the weight of realization as she starts back- stepping slowly, staring out in confusion and disbelief. She glimpses something through the crack of the door and stops. Frank catches sight of her from inside. Cathy stares. He looks down. Suddenly the blond man slips out past him, darting briskly down the hall. He disappears down the stairwell where we can hear his echoey steps slowly fading away. All at once Cathy turns and runs, music returning with thunder and storm.
    FRANK
    Cathy!
    She runs down the hall to the elevator, bangs on the button until it opens and throws herself inside.

INT. ELEVATOR - LATER
    Cathy gasps for air inside the dim, mirror-lined elevator, trying to pull her hair over her eyes and shut out the world forever. SLOW FADE TO BLACK

EXT. WHITAKER HOUSE - LATER
    Music bathes the shadowy quiet of the Whitaker exterior, its darkness brushed blue with moonlight, as we glide in slowly toward the living room window.

INT. LIVING ROOM - LATER
    Music continues as we creep in slowly on Cathy silhouetted against the glass, frozen in thought. Suddenly there's the sound of keys at the door and we stop, silent. Cathy doesn't move. Frank quietly shuts the door behind him and turns around. Dead, eerie silence. He removes his coat, hangs it on the rack, and takes a quilt out of the closet. He turns and stops, sensing something. Then he sees her. Cathy just stares. But there's a new kind of death in her face. Frank drops his head. He remains still for several seconds. Finally
    CATHY
    (from a strange distance)
    Mr. Maynard... left an estimate... for the roof. I put it in the kitchen.
    (silence)
    Twelve hundred something. I assume you'll want -
    (silence)
    a second opinion...
    FRANK
    Cathy -
    CATHY
    I can't -
    Silence.
    FRANK
    I know.
    Silence. He drops his head.
    FRANK
    I don't -
    (doesn't finish)
    CATHY
    What?
    FRANK
    I don't even...
    Frank looks up. He sighs with resignation.
    FRANK
    See... Once. Long time ago. Long long time ago. I had... problems. I just figured... that was - that was it.
    (shaking his head)
    I never... imagined...
    CATHY
    You had... problems?
    FRANK
    Yes.
    CATHY
    You never... spoke to anyone? A doctor?
    FRANK
    No.
    CATHY
    No one?
    Frank shakes his head.
    CATHY
    I don't... I don't understand.
    FRANK
    I don't either.
    CATHY
    What if... I mean there must be people who - who...
    FRANK
    I don't know.
    CATHY
    There must be.
    Frank suddenly seems a hundred miles away.
    CATHY
    Frank?
    Frank can barely look at her let alone respond.
    CATHY
    Because...
    (suddenly shaky)
    Otherwise, I just - I don't know what - Oh Frank!
    Soft music begins. Frank closes his eyes and quietly nods. Cathy exhales a tiny breath of relief.
    CATHY
    (softly)
    Thank you.
    He slowly-turns and Cathy watches as he starts up the stairs, music expanding. DISSOLVE TO:

EXT. MEDICAL CENTER - DAY
    The last Autumn leaves are falling on this bright, blustery afternoon in the Hartford business district. Cathy's car can be seen turning onto the main road and continuing into town.

EXT. MEDICAL CENTER - DAY
    The large, modern medical complex stretches out against crisp blue skies and white clouds. Down below we see Cathy pulling into the Municipal lot. The white-capped attendant hands her a ticket, raises the gate and smiles as she proceeds in. Cathy walks up to the front of one of the buildings, checks her watch and glances around for Frank. In a small park opposite, a young couple can be seen leaning against a tree, kissing. The girl pulls away but the boy pursues eagerly, stroking the girl's hair and whispering into her ear. Cathy watches, closer (with a rear-projected background). The boy tries kissing her again, but the girl turns away, glancing toward Cathy self-consciously. Cathy looks down. She checks her watch again and glances around one more time for Frank. We see him now, just crossing the street. Cathy waves, starting over in his direction. They meet and begin walking up the slope of stairs. DISSOLVE TO:

INT. DR. BOWMAN'S OFFICE - WAITING ROOM - DAY
    The RECEPTIONIST is swinging open the door of the waiting room.
    RECEPTIONIST
    Mr. and Mrs. Whitaker.?
    CATHY
    Yes.
    Cathy and Frank get up from their chairs. DR. Bowman, an imposing man in his fifties with a distinctive streak of white in his hair, is just stepping through the door as music fades.
    RECEPTIONIST
    This is Dr. Bowman.
    BOWMAN
    (shaking Frank's hand firmly)
    Mr. Whitaker? How do you.
    (politely taking Cathy's)
    Mrs. Whitaker? How lovely.
    CATHY
    Thank you.
    BOWMAN
    Mr. Whitaker, Mrs. Whitaker. As someone who's been around numerous couples like yourselves, I realize how difficult these things can be at times, particularly at the beginning. It's been said the first steps are always the hardest ones to take. But as I'm oft to remind my patients, without them, of course, why we wouldn't even be walking! So allow me first to commend you both... for taking those steps today.
    CATHY
    Thank you, doctor.
    BOWMAN
    Before we sit down, are there any questions I can answer?
    Cathy looks to Frank who vaguely gestures 'no.'
    BOWMAN
    No? Alright.
    (to Frank)
    I suppose we may as well get started.
    Dr. Bowman gestures to the door and Cathy starts in first.
    BOWMAN
    Actually, Mrs. Whitaker, I think it might be best if your husband and I conversed - in private.
    CATHY
    Oh. In private. Of course.
    BOWMAN
    I think it's best.
    CATHY
    Certainly. Then I'll - see you later, dear.
    FRANK
    See you later.
    And they close the door behind them. Cathy is motionless for a moment before turning back into the waiting room and sitting down. She smiles at the receptionist who vaguely smiles back. She looks back at the door. DISSOLVE TO:

INT. DR. BOWMAN'S OFFICE - A BIT LATER
    BOWMAN
    Today, the general attitude regarding this sort, of behavior is, naturally, more modern, more scientific than it's ever been before. After all, we're not living in the dark ages. But for those who do seek treatment, who possess the will and desire to lead normal lives, there still remains only a scant, 5-to-30 percent rate of success. For complete heterosexual conversion. Interestingly, for many, it's the treatment itself that often changes the patient's mind. One thing is certain. A successful outcome is only ever achieved when it's what the patient himself desires more than anything else in the world.
    FRANK
    What does it - comprise of? The treatment.
    BOWMAN
    Treatment is usually comprised of psychiatric sessions, twice a week, sometimes more.
    FRANK
    Just - talking?
    BOWMAN
    Yes. Though some patients have explored additional, more behavioral methods.
    FRANK
    Behavioral?
    BOWMAN
    Electro-shock aversion therapy, for instance, or hormonal re-balancing procedures. But neither of these would be part of any standardized treatment.
    Silence. Frank looks down in thought.
    BOWMAN
    I know it can all seem rather daunting at first.
    (leaning back in his chair)
    I suggest you take some time, think over the various options we discussed, discuss it with your wife -
    FRANK
    No, I - I already know - I want to go ahead. Begin treatment.
    Frank tries to gather his thoughts.
    FRANK
    I can't - let this thing destroy my life - my family's life! I know it's a sickness because it makes me feel - despicable, dirty. I promise you Dr. Bowman, I'm gonna beat this thing. I'm gonna break it. So help me God.
    The doctor is listening. CUT TO:

INT. WAITING ROOM - DAY
    The door swings open and Cathy turns to see Frank and Dr. Bowman step into the waiting room.
    BOWMAN
    So why don't you go ahead and confirm the times we discussed with Rosalyn. And I'll see you here same time next Tuesday.
    (they shake)
    FRANK
    Thank you, doctor.
    Cathy listens on, beaming with pleasure.
    BOWMAN
    Mr. Whitaker.
    (leaning out toward Cathy)
    Mrs. Whitaker!
    CATHY
    Thank you, doctor!
    Frank walks right past her. Cathy turns to catch up with him.

INT. ELEVATOR - DAY
    Cathy joins Frank in the paneled elevator. The door closes as a soft stir of music begins. Cathy looks over at Frank who stares ahead, blankly.
    CATHY
    Frank.
    FRANK
    What?
    CATHY
    I'm just proud of you, that's all.
    FRANK
    Don't say that.
    CATHY
    Well I am. And he seems like a very decent man, Dr. Bowman. Don't you think?
    He doesn't answer.
    CATHY
    Frank?
    FRANK
    I don't know, Cathleen. I suppose he's decent.
    The elevator doors open and Frank stalks through the lobby and out the door, music thickening. Cathy follows.

EXT. MEDICAL BUILDING - DAY
    Frank and Cathy walk out of the building into a strong wind. Behind them an obscure, REAR-PROJECTED Hartford feels a million miles away.
    CATHY
    But Frank, you must have liked him enough to want to see him again.
    FRANK
    Who else am I going see?
    CATHY
    Well - I'm sure there are numerous doctors - in Hartford or in Springfield - if you don't - if you aren't certain about -
    He stops sharply and turns to her.
    FRANK
    Look! I just want to get the whole fucking thing over with! Can you understand that?!
    Cathy stares at him in shock and fear.
    CATHY
    (eyes filling)
    Frank! Please don't -
    Frank takes her hand. Suddenly his eyes fill as well.
    FRANK
    I'm sorry. I'm sorry.
    He embraces her.
    FRANK
    Cathy, I'm so sorry.
    The music opens up. DISSOLVE TO:

INT. MAGNAVOX OFFICES - MORNING
    We pull out from a large, framed version of the Mr.& Mrs. Magnavox ad, to a view of the whole bustling floor. The elevator doors open and we follow Frank as he walks down the central aisle toward his office. He nods to the regular cycle of greetings ('Good morning, Mr. Whitaker... Morning, sir'). He approaches Kitty's desk.
    KITTY
    Good morning, Mr. Whitaker.
    FRANK
    (a bit faintly)
    Kitty.
    KITTY
    I hope you have a pleasant day, sir.
    FRANK
    (glancing back vaguely)
    Thank you.
    He continues on to his office. There, he discovers Marlene standing at her desk holding a broken desk lamp.
    MARLENE
    Good morning, Mr. Whitaker.
    FRANK
    Marlene.
    MARLENE
    I found this in the cupboard, sir.
    FRANK
    What's that?
    MARLENE
    Your desk lamp. Sir. The one that was missing.
    Frank lingers a moment, absently.
    FRANK
    Ah.
    MARLENE
    Should I have it repaired, sir?
    FRANK
    Yes. Yes -
    (continuing into his office)
    Thank you, Marlene.
    MARLENE
    Uh - Mr. Whitaker, Mr. Fine's been -
    The door closes behind him.

INT. FRANK'S OFFICE - MORNING
    Frank stands a moment facing the door in silence.
    STAN
    (off)
    Frank?
    Frank turns around to see Stan seated on a leather couch by the window.
    FRANK
    Didn't see you there!
    STAN
    (slight beat)
    Everything alright?
    FRANK
    With me?
    (brushing it off)
    Oh...
    Frank sits down at his desk as Stan gets up, holding a large flat folder.
    FRANK
    What's up.
    STAN
    Just picked up the galleys from the printer.
    FRANK
    How do they look?
    STAN
    Great. Just great.
    FRANK
    Fine. Fine.
    (flipping through his appointment book)
    Why'n't you leave 'em here and I'll - have a look the first chance I get.
    STAN
    (slightly perplexed)
    Sure.
    Stan walks over to the desk and sets down the folder.
    STAN
    You'll... let me know what you think?
    FRANK
    Course I will. You're first on my list.
    STAN
    (before leaving)
    So what's it gonna take to get you back on that course, anyway? We haven't seen you for weeks!
    FRANK
    I know it. I've just been...
    STAN
    Sunday. No excuses.
    FRANK
    Alright.
    STAN
    I'm holding you to it!
    Stan leaves Frank alone at his desk. Staring straight ahead, he reaches down to the bottom drawer and pulls out the bottle of Scotch. He unscrews the top, closes his eyes and takes a long, dark swig, music rising. DISSOLVE TO:

EXT. FINE'S HOUSE - DAY
    It's a cold, overcast day in the quiet, tree-lined neighborhood of the Blue Hills district, as Cathy and Eleanor emerge from the house carrying serving trays. Cathy's car is parked in the driveway of Eleanor's modern Ranch-style home.
    CATHY
    Thanks again, El.
    ELEANOR
    You sure that's all I can give you?
    CATHY
    Oh, yes. The caterers should have everything. I just thought a few extras would be nice.
    They approach Cathy's car.
    ELEANOR
    Oh - And don't forget! The art show's Saturday so start working on Frank tonight.
    Cathy opens the car door and starts putting the trays inside.
    CATHY
    I swear he's the kind of man you have to pin messages to!
    ELEANOR
    Though I'm sorry to say Mona Lauder will be attending. Turns out her uncle's in town, some hot-shot art- dealer from New York. I think I met him at one of Mona's soiree's. A bit flowery for my tastes.
    CATHY
    How do you mean?
    ELEANOR
    Oh, you know. A touch light on his feet?
    CATHY
    You mean...
    ELEANOR
    Yes, darling. One of those. Of course I could be mistaken. Just an impression I got.
    CATHY
    You don't care for them particularly?
    ELEANOR
    Well, no, not particularly. Not that I actually know any. Call me old-fashioned, I just like all the men I'm around to be all men. Say! Why the third degree?
    CATHY
    It's not the third degree, I just -
    (climbing into her car)
    I'm interested, that's all. In your views.
    Eleanor doesn't look convinced.
    CATHY
    I read an article recently. In a magazine.
    (she closes the car door)
    - What?
    ELEANOR
    Nothing! I'm just delighted to see you taking interest in yet another civic cause! I can see it now: 'Cathleen Whitaker and her kindness to Homosexuals'!
    CATHY
    Oh - that word.
    Cathy begins pulling out.
    ELEANOR
    See you Sunday. And bring Frank!
    CATHY
    I'll try.
    Eleanor waves and starts back into the house as Cathy drives off. DISSOLVE TO:

EXT. WHITAKER HOME - LATE AFTERNOON
    Afternoon shadows stretch across the Whitaker's block as Cathy turns the corner. She pulls into the driveway just as Frank is getting out of his car and David, dressed in his baseball uniform, and Janice, in ballet clothes, come running to greet him.
    JANICE
    Father's home! Father's home!
    FRANK
    Well look who's here. The little ballerina herself.
    DAVID
    Hi-ya, pop!
    FRANK
    (to David)
    Whaduya say, kiddo?
    Cathy steps out of her car just as Sybil appears to meet her.
    CATHY
    What a lovely surprise, having you home at a decent hour. Thank you, Sybil.
    FRANK
    Marlene had me set for another dinner meeting but I just said to reschedule.
    CATHY
    Oh, Frank. I'm so pleased you did.
    They embrace and Frank kisses her as the whole family follows Sybil into the house.

INT. WHITAKER DINING ROOM - EVENING
    The Whitaker family are in the midst of a spirited dinner, though it's clear all the enthusiasm in the room has begun to drain Frank of his.
    DAVID
    Then Billy Hutchison stole a pass at the ten yard line, pop. Ran it all the way for a touch down. You shoulda seen it!
    JANICE
    Father, wanna see my routine for the ballet recital?
    DAVID
    I was talking to pop!
    CATHY
    Children. Give your father a moment to eat his dinner.
    (to Frank)
    Another lambchop, dear?
    FRANK
    I'm fine.
    CATHY
    You sure? I have plenty in the oven.
    FRANK
    I'm fine. Thank you.
    Small silence.
    DAVID
    We're playing Lincoln on Saturday, pop. If you're not working.
    CATHY
    Oh heavens, that reminds me! Darling, this Saturday is that reception I told you about, for the modern art show Eleanor's group was sponsoring. You remember?
    FRANK
    Oh God.
    CATHY
    I know how you hate these things but I simply have to go and Eleanor pleaded with me to ask you.
    DAVID
    What about me! No one cares one bit what I'm doing Saturday! Like playing one of the toughest teams in the whole entire league!
    CATHY
    David I'm sorry but this one Saturday your mother has an engagement that simply can't be changed -
    DAVID
    Pop could come.
    Cathy looks at Frank who is looking down.
    DAVID
    Couldn't you, pop?
    CATHY
    We'll see, David.
    No one talks for several seconds.
    CATHY
    Janice, would you please pass the butter?
    Janice passes the butter to her mother. DISSOLVE TO:

INT. WHITAKER BEDROOM - LATER
    Frank watches TV from bed. Cathy sits at her vanity doing a hundred strokes, looking over at him while brushing.
    CATHY
    Frank?
    FRANK
    Hmm.
    CATHY
    (brief silence)
    Did you see him?
    FRANK
    Yea.
    CATHY
    When?
    FRANK
    Yesterday.
    CATHY
    You didn't say a word.
    He continues staring at the TV.
    CATHY
    So how was it? With Bowman? Did you feel -
    FRANK
    It's fine.
    CATHY
    (putting down the brush, coaxing)
    And there's nothing more you care to share with your very own adoring wife?
    FRANK
    Cathleen, what I discuss with this doctor. It's private. That's - part of it. Alright? I'm sorry.
    CATHY
    I understand, dear. I do.
    Cathy looks at him a moment before lifting up the brush and turning back to the mirror.
    CATHY
    Oh and Frank, wait'll you see the hors d'oeuvres! The caterers are doing such a marvelous job. I think you're going to be very pleased this year, darling. I really do.
    DISSOLVE TO:

EXT. HARTFORD CENTER FOR THE ARTS - DAY
    A frolic of music rises as we survey a busy corner within the Hartford cultural district. A small bustle of ladies and their husbands are milling around the entrance to a spacious, private gallery. The easled sign in the front window reads: - HARTFORD LADIES AUXILIARY PRESENTS - 20 PRINTS BY THE MASTERS OF MODERN ART WORKS BY PICASSO, CHIGAL & OTHERS Finally, Cathy comes running up to the door of the gallery.

INT. GALLERY - DAY
    Cathy squeezes past clusters of visitors holding glasses of wine when she spots Eleanor standing in front of a large Christmas tree. Eleanor is chatting with MONA LAUDER, an imposing, chinless brunette (fortyish), and MR. FARNSWORTH, Mona's uncle, a rotund middle-aged man with died ginger hair and a waxed mustache.
    CATHY
    Eleanor - darling! I'm so sorry I'm late.
    MONA
    Cathleen!
    CATHY
    Hello Mona.
    MONA
    Darling, I want to introduce you to my uncle, Morris Farnsworth, a wickedly successful Gotham art dealer who was kind enough to attend our provincial little gathering. Morris darling, allow me to introduce my dear little friend Cathleen Whitaker - whose face and civic fancies are hardly strangers to the society pages of Hartford!
    CATHY
    Oh Mona, really. You must ignore her, Mr. Farnsworth.
    Mr. Farnsworth extends his hand.
    FARNSWORTH
    (rather affected)
    Charmed.
    CATHY
    I hope you enjoy your stay.
    MONA
    Morris was just telling us the most delightful tale. All about a forged Rembrandt!
    FARNSWORTH
    Well there's really not much more to it than that. You can only imagine my utter disdain in discovering the gifts of so masterful an impersonator in as base and uncivilized a character as the man ultimately convicted of the crime.
    MONA
    It's fascinating, isn't it?
    ELEANOR
    Cathy, darling, don't let us keep you. I know you want to see the show.
    CATHY
    I am dying to see it.
    MONA
    Oh yes. It's simply charming. Eleanor you should be so proud.
    ELEANOR
    Why thank you, Mona.
    CATHY
    Lovely meeting you, Mr. Farnsworth.
    FARNSWORTH
    Likewise, my dear.
    Cathy throws Eleanor a little smile as she starts off into the gallery. MOMENTS LATER Cathy stands in front of a beautiful Picasso 'crying woman'. Suddenly - FLASH! - Cathy turns to see Mrs. Leacock standing beside her photographer.
    MRS. LEACOCK
    Pardon me, dear, but it was too lovely to resist: Wife of Hartford Executive Communing With Picasso!
    CATHY
    Mrs. Leacock. Lovely to see you again.
    MRS. LEACOCK
    And how is that charming husband of yours?
    CATHY
    He's very well, thank you -
    Cathy stops suddenly, spotting someone across the room. Raymond is standing with his daughter SARAH (age 11), leaning over her and discussing one of the pictures on the wall. (Not surprisingly, they're the only black faces in the room.)
    CATHY
    Mrs. Leacock, would you excuse me a moment?
    MRS. LEACOCK
    Certainly, dear.
    Cathy smiles and starts over to Raymond and his little girl as Mrs. Leacock and the photographer observe. Raymond looks up and sees Cathy approaching. He smiles and stands.
    RAYMOND
    Mrs. Whitaker! Hello!
    CATHY
    Raymond. What a tremendous surprise - finding you here. Is this your daughter?
    RAYMOND
    Yep. This is Sarah. Sarah, this is Mrs. Whitaker. Mrs. Whitaker owns one of the gardens I look after.
    CATHY
    Hello, Sarah.
    SARAH
    Hello.
    RAYMOND
    (spotting something out front)
    Say, Sarah, isn't that Hutch and his little brother I see, playing out front?
    Raymond directs Sarah's attention to the front of the gallery where Billy Hutchison. (HUTCH, age 11) and two other white boys can be seen through the glass, playing with paper airplanes.
    RAYMOND
    You remember them, don't you, baby?
    Sarah shakes her head, sullenly.
    RAYMOND
    Sure you do. The day we went to Mrs. Hutchison's house.
    SARAH
    (softly)
    Oh, yea.
    RAYMOND
    What do you say about going out and seeing if they'd like to play for a little while? How does that sound?
    Sarah looks at her father. It's clear it's the very last thing she wants to do, but is too shy to say anything in front of Cathy.
    RAYMOND
    Aww, there's nothing to be afraid of.
    SARAH
    (softly)
    I know...
    RAYMOND
    It's only polite to say hello to people you've met in the past. Ah, go on, give it a try. For daddy.
    Sarah looks down, turns slowly and starts reluctantly toward the front of the gallery.
    RAYMOND
    Attagirl!
    CATHY
    Oh Raymond, she's lovely.
    RAYMOND
    Thank you.
    CATHY
    And how wonderful of you to expose her - to art and culture this way.
    RAYMOND
    Well, my mother, she was always trying to expose my brothers and I to the finer things, and we fought her every step of the way. I guess I'm sort of making up for bad behavior.
    CATHY
    But how on earth did you hear about this show?
    RAYMOND
    Well I do read the papers.
    CATHY
    Well of course you do. I just meant - it was such a coincidence.
    RAYMOND
    I know. I was just teasing you.
    CATHY
    (slightly lower voice)
    Because you know I'm not prejudiced.
    Raymond smiles at her.
    CATHY
    (quite serious)
    My husband and I have always believed in equal right for the Negro, and support the NACP.
    RAYMOND
    Well I'm glad to hear that.
    CATHY
    I just - I wanted you to know.
    RAYMOND
    Well thank you.
    CATHY
    Not at all.
    As they start into the final room of the gallery we see Sarah through the window outside, watching as the boys try unsuccessfully to launch their paper airplane.

EXT. GALLERY - DAY
    Close on Hutch's paper airplane as his friend, Tommy, gives it a throw.
    HUTCH
    Go!
    The plane nosedives and Hutch goes to get it.
    HUTCH
    Straighter, Tommy! You gotta throw it straighter. And hard! One, two, three - GO!
    Tommy throws it hard but it sputters down once again. Sarah giggles to herself.
    SARAH
    It's too heavy!
    The boys stop and turn.
    HUTCH
    What?
    SARAH
    On the end. Your airplane!
    HUTCH
    Who asked you?! C'mon, Bobby.
    Hutch motions to the others and the boys start back into the gallery.

INT. GALLERY - DAY
    Hutch and his brother return to their parents as Sarah watches from outside, alone. MEANWHILE Cathy and Raymond are looking at a Miro.
    RAYMOND
    So what is your opinion on modern art?
    CATHY
    It's hard to put into words really. I just know what I care for and what I" don't. Like this - I'm not sure how you pronounce it - Mirra?
    RAYMOND
    Miro.
    CATHY
    Miro. I don't know why but I just adore it. The feeling it gives. I know that sounds terribly vague.
    RAYMOND
    No. It actually confirms something I've always wondered about modern art, abstract art.
    CATHY
    What is that?
    RAYMOND
    That perhaps it's just picking up where religious art left off. You know. Trying to somehow show you divinity, put it up there on the wall. The modern artist just pares it down to the most basic elements of shape and color. But when you look at that Miro, you feel it just the same.
    CATHY
    Why that's lovely, Raymond.
    We hear the brief shriek of a woman's laugh. Cathy turns to see Mona Lauder, Mr. Farnsworth and two other women, one stifling her giggles, snickering amongst themselves over Cathy and her friend. Eleanor, who is standing listening to an ELDERLY WOMAN, also notices the commotion.
    ELDERLY WOMAN
    To tell you the truth, I was rather shocked by the prices.
    ELDERLY WOMAN
    But then I've always preferred the work of the masters... Rembrandt, Michelangelo -
    Eleanor spots Cathy saying goodbye to Raymond and starting off down the hall.
    ELEANOR
    I'm terribly sorry - Would you excuse me a moment?
    ELDERLY WOMAN
    Certainly.
    Eleanor starts after Cathy.
    ELEANOR
    Cathleen!
    CATHY
    El, honey. It all looks just marvelous -
    Eleanor whisks Cathy to the side.
    ELEANOR
    Cathy, who on earth was that man? You have the whole place in a clamor!
    CATHY
    Oh for heavens sake, why? Because of that ridiculous story?
    ELEANOR
    (squinting off at Raymond)
    Who is he?
    Raymond is now introducing Sarah to a smiling, middle-aged woman in a hat.
    CATHY
    His name's Raymond Deagan. He's Otis Deagan's son.
    ELEANOR
    Your gardener?
    CATHY
    Yes. He passed away very recently and Raymond's taken over his business.
    ELEANOR
    Well you certainly seem on familiar terms with the man.
    CATHY
    Oh what does that mean? Familiar terms? He happens to have some very enlightening views on Miro.
    (glancing at her watch)
    Oh, jeepers, would you look at the time! El, I have to fly.
    They start walking toward the door.
    CATHY
    I'm having the carpets cleaned for tomorrow.
    ELEANOR
    What time are the caterers showing?
    CATHY
    They said four.
    ELEANOR
    I'll come early too. For moral support!
    CATHY
    You're a doll.
    Cathy waves bye and dashes out of the gallery. DISSOLVE TO:

EXT. WHITAKER HOUSE - DUSK
    Music accompanies a slow and stately ascent upon the Whitaker house, trimmed with cars and bursting from inside with the exuberance of the annual company party. We can even hear the distant clamor of merriment and laughter churning from within.

INT. LIVING ROOM - DUSK
    The house, impeccably decorated, is swarming with people in evening dress, drinking, smoking, chatting, laughing. An overstuffed Christmas tree glistens in the corner as an endless parade of hors d'oeuvres are passed solemnly by the all-black, formally uniformed, serving staff. Cathy shimmers in a gown of sapphire blue, standing surrounded at one end of the room, while Frank stands with drink in hand, surrounded at the other. We see various faces from the Magnavox office, including Marlene. Cathy is listening to a middle-aged Elderly Woman.
    ELDERLY WOMAN
    ... Not to say that I'm against integration mind you. I do believe it's the Christian thing to. But I still say what happened in Little Rock could just as easily have happened here in Hartford.
    A stout, red-faced man answers.
    RED-FACED MAN
    Nonsense!
    ELDERLY WOMAN
    And why is that?
    RED-FACED MAN
    Well for one thing, there's no Governor Faubus in Connecticut. But the main reason - They're no Negroes!
    (laughs)
    Two of the serving staff close enough to have heard his remark continue serving.
    DICK DAWSON, a tall, strapping man in his mid-30's, is leaning on a chair beside Cathy.
    DICK
    No, but I do hear there are some rather dangerous pro-integration types. Right here in Hartford!
    ELDERLY WOMAN
    Dangerous?
    DICK
    Oh yes. Some very attractive ones in fact. Noted, I'm told, for their kindness to Negroes!
    CATHY
    (slapping his arm)
    Oh Dick, stop! Where on earth did you hear about that?
    DICK
    Shirley read it to me.
    CATHY
    I should have known.
    RED-FACED MAN
    What's all this?
    CATHY
    Absolutely nothing! Here, let me freshen those.
    Cathy takes Dick and the red-faced man's glasses and starts off toward the bar. Frank is at the couch with Stan Fine, Doreen and her husband RON. As Cathy passes, Stan calls out to her.
    STAN
    By golly there she is now! Prettiest gal in the room!
    CATHY
    Oh, Stan! Liquor does bring out the Texan in you. I just hope Eleanor isn't listening.
    STAN
    (putting an arm around her)
    So what if she is! I still say Frank's the luckiest guy in town.
    RON
    Here, here!
    Frank is hunched over listening, noticeably intoxicated.
    FRANK
    (thinking he's being witty)
    Smoke and mirrors, fellas! That's all it is. You should see her without her face on!
    Frank laughs at his own joke and a few join in awkwardly.
    DOREEN
    Frank!
    CATHY
    No, he's absolutely right. We ladies are never really what we appear. And every girl has her secrets!
    DOREEN
    I'll say.
    FRANK
    (thrusting his glass at her)
    Well how 'bout this girl going and getting her husband another drink? How 'bout that?
    CATHY
    (still smiling)
    You don't think you might have - already had enough, darling?
    FRANK
    No, I don't think I've already had -
    DOREEN
    (interrupting, raising her glass)
    Well I'd just like to take a moment to raise a glass to our marvelous host and hostess and another glorious Annual Party at the Whitaker's! To Frank and Cathy, truly Mr. and Mrs. Magnavox!
    Everyone around them raises their glasses 'To Frank and Cathy' and toasts. Cathy and Frank smile and nod at their guests, but the strain is evident.
    CATHY
    Thank you... Now who can I freshen up? Ron?
    RON
    I'm fine.
    STAN
    Me.
    CATHY
    I think you're fresh enough.
    Cathy starts off toward the bar. Sybil is crossing with a tray.
    LADY
    Wonderful party, Cathleen.
    CATHY
    Thank you.
    SYBIL
    Here, Mrs. Whitaker, let me take those.
    CATHY
    Thank you, Sybil.
    Eleanor approaches Cathy as she finishes giving Sybil the empty glasses.
    ELEANOR
    Cathy?
    CATHY
    Hi.
    Eleanor pulls her aside, by a window.
    ELEANOR
    Honey? Is everything alright?
    CATHY
    What do you mean?
    ELEANOR
    Frank. I've never seen him so soused.
    CATHY
    Oh, no. He's just been - working so hard lately. He's been under such tremendous strain.
    ELEANOR
    You sure that's all?
    CATHY
    Oh, yes.
    ELEANOR
    You'd tell me if there was anything more?
    CATHY
    Of course I would.
    Eleanor puts a hand on Cathy's back as they start back into the party.
    ELEANOR
    By the way, kid. I think we just threw ourselves one class-A swanky function.
    CATHY
    It did turn nicely, didn't it.
    A WOMAN calls out to Cathy.
    WOMAN
    Cathleen, darling. You've simply outdone yourself - once again!
    DISSOLVE TO: WHITAKER LIVING ROOM - LATER Cathy stands at the door waving goodbye to the last guests (probably Eleanor & Stan).
    CATHY
    Thanks for everything! I'll call you tomorrow! Goodnight!
    Cathy closes the door and steps into the half-darkened house, still strewn with party debris. She takes a deep breath of relief, and notices Eleanor's serving-ware by the bar.
    CATHY
    Oh, shoot - I forgot to give Eleanor her servers.
    Frank sits in an armchair, rouged in shadow. Cathy walks toward the stairs and stops, looking at him.
    CATHY
    Frank?
    He doesn't respond, and she continues on toward the stairs.
    CATHY
    Well, if I do say so myself, I think it was a very lovely party, all considering.
    She stops to gather her wrap at the foot of the stairs. She looks off a moment, very still.
    CATHY
    (quiet and level)
    I just don't understand. Why it has to turn ugly. In front of our friends.
    (silence)
    Honestly, Frank. If you didn't insist on -
    She stops, hearing something, and turns - Frank is suddenly approaching.
    CATHY
    What is it - ?
    But all at once he's upon her - rolling into her arms and kissing the side of her neck, music rushing. Cathy is stunned, but gradually begins returning his affection.
    CATHY
    Oh Frank...
    They fold into the couch, kissing, and suddenly Frank is on top of her. At first she's unsettled by his strong urgency but she allows it to continue, stroking his head and trying to slow him down. But he becomes only more persistent, panting and thrusting and turning red from the effort. Cathy closes her eyes and tries to weather it. Then with a sudden half-choked cry, Frank surrenders, turning away from her and muttering aloud in exhaustion and defeat.
    FRANK
    Oh Jesus! Jesus, what's happening! I can't even... Oh God!
    CATHY
    Frank! Frank, it doesn't matter, darling! The important thing is to keep... trying. Keep -
    FRANK
    (sitting up suddenly, his back to her)
    Don't -
    CATHY
    Frank!
    She puts her hand on his shoulder but he shakes it off.
    FRANK
    Don't.
    (silence)
    FRANK
    Because I'm sure - you know - Dick Dawson wouldn't mind... lending his services every now and again!
    CATHY
    Oh, Frank.
    She reaches for his arm again and he tries to wriggle free, but she holds on.
    FRANK
    I mean, you wouldn't mind that so terribly much, would you? Good- lookin' guy like Dick. Maybe even Stan would pitch in!
    CATHY
    (holding tighter)
    Frank, please. You're the only man I'd ever -
    FRANK
    Let go!
    CATHY
    You're all men to me, Frank! And all man!
    FRANK
    STOPPIT!
    Furiously he swipes her hand away and accidentally strikes, her hard in the face with his cufflink.
    CATHY
    (covering her face)
    Oh, Frank!
    FRANK
    I'm sorry. Cathy, I'm sorry. I didn't mean to -
    Cathy grabs a cloth napkin from the coffee table and presses it to her head.
    CATHY
    It's alright. I'm alright. It was an accident.
    FRANK
    Is it bleeding?
    CATHY
    Just the littlest bit.
    FRANK
    Oh, Jesus.
    Frank just stands there, helpless.
    CATHY
    Perhaps you could get me a little ice, dear.
    FRANK
    Ice?
    CATHY
    Yes.
    FRANK
    Cathy, I'm...
    CATHY
    I know, dear. It's alright. I'm alright.
    Frank slowly backs away, toward the kitchen, music expanding. Cathy just closes her eyes. DISSOLVE TO:

INT. WHITAKER BEDROOM - LATE MORNING
    Cathy stands before the mirror in her bedroom vanity brushing her hair over the small wound on her forehead. She puts down the brush, takes one last look and starts out of her room.

INT. LANDING - LATE MORNING
    As Cathy passes an upstairs window she sees Eleanor's car just pulling up to the house. Cathy takes a breath and starts down the stairs.

EXT. WHITAKER HOUSE DOORWAY - LATE MORNING
    Eleanor is just ringing the doorbell when Cathy opens the door, holding her friend's serving-ware.
    CATHY
    Hi.
    ELEANOR
    Hey there, honey. Listen, I can't stay. I'm meeting Stan for lunch at the club.
    CATHY
    That sounds nice. I can't believe I let you get away last night without these.
    ELEANOR
    It's cute, your hair that way.
    CATHY
    Yea? I experimented. Here.
    ELEANOR
    It's adorable.
    As Cathy hands the servers to Eleanor a serving spoon falls out.
    ELEANOR
    Whoopsie!
    Cathy picks it up from the ground and puts its back in the dish.
    ELEANOR
    Thanks.
    Eleanor smiles at Cathy. Suddenly she stops smiling.
    ELEANOR
    Cathy?
    Cathy's hair no longer conceals the bruise on her forehead.
    CATHY
    What?
    ELEANOR
    What happened to your head?
    Cathy's hand flies up to cover it.
    CATHY
    Nothing, I - hit the door. It was the silliest thing.
    Eleanor continues staring with concern.
    ELEANOR
    Cathy.
    CATHY
    What.
    ELEANOR
    Did something happen - between you and Frank?
    CATHY
    What do you mean?
    ELEANOR
    Cathy I'm your best friend.
    CATHY
    Nothing happened. Nothing at all.
    ELEANOR
    Oh, Cathy.
    CATHY
    (suddenly quivery)
    Eleanor!
    ELEANOR
    (looking hard at her)
    Cathy I'm your dearest and closest friend in the world. You can call me. Day or night. You hear?
    Cathy nods. Eleanor remains looking, worriedly at her friend. Then she sighs and turns to go. Cathy watches, unable to move. She can't contain it any longer and starts after - but stops herself again. Eleanor is climbing into her car. She shuts the door. Cathy turns around facing her house, eyes flooding, as we hear Eleanor driving off. Not ready to go back in, she proceeds down the steps to the side of the house, under a tree. There in the shade she takes a few short breaths, trying to gather herself. She begins to focus on something on the ground in front of her. It's a pair of black boots. Raymond stands a couple yards away watching, not knowing what to do. She sees him and the tears spill from her eyes.
    RAYMOND
    Oh - Mrs. Whitaker...
    He takes a step toward her and stops.
    RAYMOND
    Is there - anything I can do?
    She shakes her head no, wiping the tears and trying to shield her forehead from view.
    RAYMOND
    You sure?
    CATHY
    Thank you, no. I'm fine, really. It's just - been a difficult time. With my husband.
    RAYMOND
    It does happen. Between married people.
    CATHY
    I know it does. I just...
    (she turns away)
    It's so embarrassing. Please forgive me.
    RAYMOND
    Forgive you for what?
    He looks off for a moment, then back at Cathy.
    RAYMOND
    Mrs. Whitaker, listen. I have to go deliver some shrubs to a farmhouse just out of town. Which means I have to get a move on. Why don't you come on along for the ride? Little fresh air, change of scenery? Might help take your mind off things.
    Cathy feels a sudden guard.
    CATHY
    No. I couldn't. But thank you, Raymond. For offering. That's very kind of you.
    RAYMOND
    You sure?
    SYBIL
    (off)
    Mrs. Whitaker? Are you out here?
    Cathy turns, calling out toward the porch.
    CATHY
    Yes, Sybil!
    SYBIL
    (off)
    It's Mrs. Barker on the phone!
    CATHY
    Thank you, Sybil! I'll be right in!
    (back to Raymond)
    I should get back.
    RAYMOND
    Okay.
    She turns to leave. From Raymond's view beneath the tree we can see her legs striding back to the porch and up the steps into the house.

INT. WHITAKER'S BEDROOM - MOMENTS LATER
    Cathy walks over to the table by the window and picks up the phone.
    CATHY
    Hello?... Yes. How are you, Mrs Barker... Not at all...
    As Cathy talks she steps over toward her vanity and glances at herself in the mirror. She adjusts her hair so that it covers her forehead as before.
    CATHY
    Yes, I was planning to pick them up at five... I see. So you'd like to switch for Thursday? No, I don't think that would be a problem...
    CATHY
    Well I'm glad I could be of help... Certainly... Bye now.
    Cathy steps back to the table and hangs up the phone, still for a moment. She glances out the window into the yard. Raymond can be seen throwing his toolbag over his shoulder and setting off for the day. Cathy remains looking out, in thought.

EXT. WHITAKER HOUSE - MOMENTS LATER
    Raymond is just shutting the door of his truck when Mrs. Whitaker comes walking briskly from the house. She is wearing her coat and her lilac scarf.
    CATHY
    Raymond!
    Raymond turns, sees her coming.
    RAYMOND
    Mrs. Whitaker...
    Cathy stops a couple of yards from his truck, feeling suddenly rather awkward.
    CATHY
    Hi.
    RAYMOND
    Hello.
    CATHY
    Well, wouldn't you know it. I just received a call and suddenly everything's changed. Anyway. I just...
    She's doesn't even know what to say.
    RAYMOND
    You changed your mind?
    Cathy smiles, shyly.
    RAYMOND
    (smiles back)
    Well good!
    Raymond opens his door and gets out.

INT. LIVING ROOM - LATE MORNING
    Through the living room window, Sybil catches sight of Raymond helping Cathy into his truck. She stops what she's doing a moment as Raymond's truck takes off down the street, music swirling. DISSOLVE TO:

EXT. RURAL VISTA - DAY
    We see Raymond's truck driving down a road flanked by golden hills. He turns up the drive of an old ranch house, and drives up to the top. DISSOLVE TO:

EXT. RANCH HOUSE - A BIT LATER
    A large, rustic ranch-house sits on a bluff overlooking the late-Autumn vista of faded gold. Raymond's truck is parked in front of the house where Raymond stands with the ranch owner signing a receipt. Cathy has begun strolling past the house toward a clearing in the trees. \[Throughout the following exteriors REAR-PROJECTED facsimiles succor the close-ups, but all 'natural splendor' should shimmer with process.\] Raymond shakes hands with the ranch-owner and starts over to where Cathy stands, looking out. On the way he breaks off a branch from a tree with white bark and round, golden yellow leaves which he presents to her.
    CATHY
    It's lovely. What is it?
    RAYMOND
    It's called a Quaking Aspen. Fairly rare in these parts.
    CATHY
    (admiring the branch)
    It's beautiful.
    (looking out at the vista)
    And you were right. What a perfectly lovely spot.
    RAYMOND
    Sometimes a little green, some fresh air, just helps put things back on the shelf. 'Cause it sure can be a disheveling world out there, every now and again.
    CATHY
    I'll say it can.
    Cathy looks over toward a clearing in the grove.
    CATHY
    Is that a path?
    RAYMOND
    Looks like it.
    CATHY
    Oh let's have a peek.
    RAYMOND
    Alright.
    They start off down the path, Cathy leading, music burgeoning. DISSOLVE TO:

EXT. WOODED TRAIL - LATER
    Cathy and Raymond stroll down the gently winding path, red carpeted by the last of autumn while cloaked in an early winter mist. As they stroll they are each aware of the diminished formalities between them. DISSOLVE TO:

EXT. WOODED TRAIL - LATER
    They come upon a cluster of wildflowers.
    RAYMOND
    So you say he's seeing a specialist?
    CATHY
    Yes, well... A psychiatrist, really.
    CATHY
    My husband's been suffering from a great deal of strain, recently. Uncertainty.
    RAYMOND
    I'm sorry.
    CATHY
    I know he's in good hands - It's just... what with everything that's been going on recently, it just - I don't know - feels at times like there's no one left in the world I can talk to!
    Cathy smiles to herself and looks back at him.
    CATHY
    (lightly)
    Except you!
    Raymond smiles.
    RAYMOND
    Well. Sometimes it's the people outside our world we confide in best.
    CATHY
    Why? Just because they're outside?
    RAYMOND
    And because they may have had experiences similar to ours. Because they care to listen.
    CATHY
    And once you do. Confide. Share those experiences with someone. They're no longer really outside, are they?
    They've come upon a small wooden bridge under which a perfect stream passes. They stop for a moment.
    CATHY
    It's lovely, isn't it?
    She kneels down and looks into the stream. Raymond is looking down at her. There's a sadness in his eye, and he squats down beside her, music waking.
    RAYMOND
    (with great gentleness)
    Did he cause that?
    He is looking at the mark on her forehead. Cathy puts her hand over it and stands, silent for a moment.
    CATHY
    He didn't mean to strike me.
    She looks down at the stream and takes a step away.
    RAYMOND
    I'm sorry.
    CATHY
    No. Heaven knows we all have our troubles. I'm sure you yourself...
    RAYMOND
    What?
    CATHY
    Oh, I don't know. Ever since running into you at the exhibition... Well I just kept wondering what it must be like. Being the only one in a room. Colored, or whatever it was. How that might possibly feel. I'm sure I've never -
    She stops, glancing out again at the hills. Raymond looks out as well.
    RAYMOND
    Well, I suppose it's something you sort of grow accustomed to. Over time. Don't get me wrong. There is a world - even right here in Hartford - where everybody does indeed look like me. Only trouble is, very few people ever leave that world. I just want what any father wants for his child, the opportunities growing up I never had.
    CATHY
    Naturally.
    RAYMOND
    But I'll tell you something - If you're really interested -
    CATHY
    Oh I am.
    RAYMOND
    (has a sudden thought)
    Are you hungry? Could you eat something?
    CATHY
    (brief silence)
    I suppose I could.
    RAYMOND
    Tell you what. Let me take you to one my favorite spots, not far from here. On good days they got hot food, cold drink, and just about discernible music.
    CATHY
    Well it's hard to beat that!
    RAYMOND
    (smiling)
    There you go!
    Cathy smiles back as they start back up the path. DISSOLVE TO:

EXT. ERNIE'S BAR & GRILL - LATE AFTERNOON
    Against the gray, industrial side of town, gleams the pink and green neon of Ernie's Bar&Grill. We see Raymond's truck just pulling into the driveway.

EXT. CAR WASH - LATE AFTERNOON
    Across the street at a Car Wash, a young black attendant gives two short honks from a shiny black Edsel and looks around. A woman in a black feathered hat approaches. It's Mona Lauder.
    MONA
    Here I am! Yoo-hoo?
    The attendant takes her ticket and escorts her to the driver's seat but Mona tarries a moment, catching sight of something across the street. The attendant looks off in the same direction. Outside Ernie's, Raymond is seen helping Cathy out of his truck, taking her arm and escorting her into the club. Mona remains devilishly fixed as she steps into the car and the attendant shuts the door.
    MONA
    (handing him a nickel)
    Thank you... very much, indeed.
    Mona starts her engine with a contented little smirk.

INT. ERNIE'S - LATE AFTERNOON
    The front door opens and Cathy and Raymond step into the entry way of the club.
    CATHY
    (fixing her hair)
    Well I'm hardly dressed for a restaurant.
    RAYMOND
    You look fine.
    The main room at Ernie's is a smoky den of small square tables and black booths, colored mostly by neon overspill and Christmas lights. Most notably, everyone in the room is black. As Raymond and Cathy enter everyone in sight turns and looks.
    CATHY
    Raymond.
    Raymond contains a little smile.
    RAYMOND
    Don't worry. It's a very friendly place.
    Raymond starts in and Cathy follows, reluctantly. A small blues band is just setting up as an old jukebox plays and one couple dances. Raymond passes ESTHER, a dolled-up waitress in her late 20's, who scowls at him as he stops, glancing around the room for a table.
    RAYMOND
    Say there Esther, darling. What? You don't say hello any more?
    ESTHER
    (checking out Cathy)
    Looks like you're speakin' fine for yourself.
    RAYMOND
    Oh, you're just sore 'cause I haven't been coming around like I used to.
    ESTHER
    Is that so?
    RAYMOND
    Now what do you say about bringing us over a couple of drinks.
    (to Cathy)
    What would you like?
    CATHY
    Oh. A daiquiri? If they -
    RAYMOND
    One daiquiri, and a bourbon on the rocks. Thank you, doll.
    Esther rolls her eyes and turns. As Raymond escorts Cathy to a table, a GLARING MAN stands up from his table just as Raymond is passing.
    GLARING MAN
    (to Raymond)
    What d'you think you're doing, boy?
    Raymond passes him without looking, continuing with Cathy to a corner table below a mirror and helps Cathy into her chair. He sits down opposite her. The glaring man stares after a moment, then takes off adamantly toward the bar.
    CATHY
    (a little tense)
    Well I hope you find this very amusing.
    RAYMOND
    What do you mean? It's a very welcoming place!
    (spotting someone and nodding)
    How you doin' Gus.
    A middle-aged man at another table (looking fairly soused) raises his glass to Raymond, then to Cathy. Cathy smiles back at him.
    RAYMOND
    See what I mean?
    Cathy watches as a second couple step up to the dance-floor. Meanwhile Esther returns with drinks and menus.
    CATHY
    Thank you.
    RAYMOND
    Thank you, Esther.
    She leaves.
    RAYMOND
    (raising his glass)
    Well. Here's to being the only one.
    Cathy looks at him a moment and then smiles, shaking her head. She toasts his glass and he laughs.
    RAYMOND
    Really. We don't have to stay if you're not comfortable.
    CATHY
    No. As long I keep away from Esther, I think I'll be fine.
    RAYMOND
    Alright, then.
    The jukebox song has ended and the band kicks into its first number, a tender "I'll Be Seeing You." Raymond turns to watch, smiling. A few men in blue-collar uniforms are sauntering out of a smoke-filled pool-room, beer bottles in hand. They also stop to listen to the band, while two more couples head up to the floor to dance. Cathy looks over at Raymond, and smiles to herself.
    CATHY
    Thank you, Raymond.
    He turns to her.
    CATHY
    For a lovely afternoon.
    RAYMOND
    Well thank you, Mrs. Whitaker. I've had one as well.
    CATHY
    'Mrs. Whitaker.' Sounds so formal. Would you -
    She stops.
    RAYMOND
    (gently)
    Would I what?
    Brief silence.
    CATHY
    Ask me to dance?
    Raymond smiles and slowly stands. Cathy does the same and turns, leading as Raymond follows unhurriedly to the dance-floor. The men in blue-collar uniforms watch Raymond pass with contempt in their eyes, before finally turning and filing out of the bar. Cathy stops beneath a blossom of rosy light and turns, smiling as Raymond joins her. She takes his hand and they begin to dance, tenderly, in the soft glow of Ernie's, surrounded by other dancers and other lovers. FADE TO BLACK.: FADE UP ON:

INT. LIVING ROOM - LATE MORNING
    We follow a vase displaying the golden Quaking Aspen branch as Sybil carries it into the living room. Cathy is gathering her belongings, getting ready to leave the house.
    CATHY
    Oh, doesn't that look lovely. Let's see now, where should we put it...? How about there, Sybil, by the window?
    Sybil places the vase on a high end-table near the window.
    CATHY
    Oh yes, that's lovely.
    SYBIL
    It certainly is.
    CATHY
    (checking her purse)
    Now where is that list you gave me - Though I swore to Janice I wouldn't be late for her recital.
    SYBIL
    You can't miss that.
    CATHY
    (finding the list)
    Here it is.
    (walking over to her coat)
    You know, Sybil, I've been meaning to ask you...
    SYBIL
    Yes, ma'am?
    CATHY
    What is the name of that church group you belong to - the one you've mentioned so often...?
    SYBIL
    You mean at Ebenezer? The bible group?
    CATHY
    (putting on her coat)
    Yes, I believe that was it.
    SYBIL
    Or was it South Green Baptist. During the Fair Drive. The ladies auxiliary?
    CATHY
    I didn't realize there was more than one.
    SYBIL
    Oh, yes. I always seem to be signing up for something.
    CATHY
    Well I think that's marvelous, Sybil. That you even find the time, what with all you do for us.
    (putting on her scarf)
    We just have so much up in the attic I've been meaning to go through. I thought you might know of a church or civic group that could benefit from a donation.
    SYBIL
    Well - certainly, Mrs. Whitaker. If that's what you're looking for. Places in need are never too hard to find.
    CATHY
    (opening the door)
    Well I suppose you're right about that -
    Cathy stops with a start. A young black couple are standing in the doorway.
    CATHY
    Yes? May I - help you with something?
    Sybil looks on suspiciously, observing the couple's conservative attire and officious clipboards.
    YOUNG MAN
    Is this the Whitaker residence?
    CATHY
    Yes.
    YOUNG MAN
    Are you -
    (glancing at a clipboard)
    Mrs. Frank Whitaker?
    CATHY
    Yes.
    YOUNG MAN
    (reciting his standard introduction)
    Good afternoon, ma'am. Allow me to introduce myself. My name's Reginald Carter and this is Martha Livingston and we're members of the Hartford branch of the National Association for the Advancement of Colored People. As a charitable organization we rely heavily on the aid of volunteers and membership revenue from the general public. Perhaps you'd be interested in reading over our complimentary brochure which explains more about the N-A-A-C-P, its many achievements and goals for the future.
    CATHY
    Well - certainly, I'm familiar with your organization - I just... May I ask how you obtained our name and this address?
    YOUNG MAN
    You gave it to us ma'am.
    CATHY
    I did?
    YOUNG MAN
    When you signed our petition, supporting the funding initiative.
    CATHY
    (thinks for a moment, then)
    Oh. Yes, I do remember signing for that.
    YOUNG MAN
    Perhaps you'd be interested in reading over our complimentary -
    CATHY
    Yes, I would -
    YOUNG MAN
    ... If you wouldn't mind signing our roster?
    CATHY
    Perhaps - Sybil, would you mind signing for this? I'm terribly late at it is.
    Sybil, who has tried busying herself at the hall table, looks up, just as the phone starts to ring.
    CATHY
    (starting out the door)
    Whoever it is I'm gone! Thank you, Sybil - I should be back by five!
    SYBIL
    (stepping to the door)
    Yes, ma'am.
    As Cathy scurries off the three look after, music hanging. DISSOLVE TO:

INT. CAR - DAY
    Cathy drives down Hawthorne street looking out her window eagerly, music stirring softly. The red-and-green Christmas decorations on the lamp-posts only seem to accentuate the greyness of the neighborhood. Then she spots it. A small storefront with Christmas trees out front reads DEAGAN GARDEN SHOP. She smiles to herself as she continues on, picking up speed. DISSOLVE TO:

EXT. HARTFORD STREET - DAY
    A wind whistles through downtown Hartford as Cathy hurries out of the local Stop-&-Shop carrying groceries. She smiles at a WOMAN passing on the street, and hurries on to her car. The woman stops and turns, looking back at Cathy as she goes. Two ladies are passing down the street - the same two ladies who stood snickering with Mona and her uncle at the art show. One of them spots Cathy and whispers something to the other. Cathy notices, stopping a moment before shutting the trunk of her car, then rushes on. DISSOLVE TO:

EXT. DANCE SCHOOL - LATER
    Cathy dashes in the front door of the building where a sign is posted. It reads: BALLET RECITAL TODAY

INT. DANCE SCHOOL - LATER
    Inside the dimly-lit recital room mothers sit in rows of folding chairs watching as a class of 10 and 11-year-old girls perform a routine. Cathy steps into the main room, hushed in attention, and stops to watch. Janice comes running over.
    JANICE
    Mother!
    A ballet instructor turns and shh's them.
    CATHY
    (whispering)
    Hello, dear.
    Janice embraces her and then turns to face the recital, curling around her mother and keeping hold of her hand.
    CATHY
    Did the recital just begin?
    Janice nods.
    CATHY
    So where are the other little girls from your class?
    JANICE
    Over there.
    A queer fog of music forms as Cathy looks over to the other side of the room. All the other girls Janice's age are standing with their mothers at the opposite end of the room. The mothers all seem to be looking over at Cathy (or pretending not to) while clutching their daughter's hands or pulling them close. And all the little girls are quiet, staring sleepily at their estranged classmate and her silently tainted-mother. Music spills over DISSOLVE TO:

EXT. WHITAKER HOUSE - LATER AFTERNOON
    We MOVE IN from a slow distance, angled toward the garage, as Cathy follows Janice up the porch steps into the house. DISSOLVE TO:

INT. WHITAKER LIVING ROOM - LATE AFTERNOON
    The front door opens and Cathy and Janice enter the house, dank with late afternoon.
    CATHY
    Sybil, we're home!
    There's no answer. Suddenly Janice goes running into the house and straight up the stairs. The phone starts to ring.
    CATHY
    Janice? Janice?
    Cathy watches her go. The phone continues ringing and Cathy sighs, putting down her purse and scarf and starting into the kitchen.
    CATHY
    Sybil?

INT. KITCHEN - DAY
    Cathy enters the kitchen, lit only by the late-day sun. There is no sign of Sybil as she goes to answer the phone.
    CATHY
    Hello?
    ELEANOR
    (through receiver)
    Cathy!
    CATHY
    El?

INT. FINE'S BEDROOM - LATE AFTERNOON
    Eleanor crouches on the phone, pane shadows lining her face.
    ELEANOR
    Oh Cathy, thank heavens you're home. I've been trying you all day.

INT. WHITAKER KITCHEN - LATE AFTERNOON
    CATHY
    El, what is it?
    ELEANOR
    (through receiver)
    So you haven't heard. You haven't heard a thing?
    CATHY
    No - About what? Eleanor, what happened?

INT. FINE BEDROOM - LATE AFTERNOON
    ELEANOR
    Oh Cathy, there's been talk. Vicious talk.
    CATHY
    (through receiver)
    What do you mean? About what?
    ELEANOR
    About you!
    CATHY
    (through receiver)
    Oh, for heaven's sake - What now?
    ELEANOR
    Oh, honey, I wish you never even had to know.
    ELEANOR
    It's Mona, Cathy, she's - Well, she's just been on some kind of rampage, swearing up and down she saw you and a colored man, somewhere out on Franklin, coming out of a truck or some such thing -

INT. WHITAKER'S KITCHEN - LATE AFTERNOON
    Cathy closes her eyes.
    ELEANOR
    (cont'd through receiver)
    The same colored man, she claims, you were talking to at the art show!
    CATHY
    But that's - that's preposterous! I mean yes I've spoken to Mr. Deagan on occasion. But this makes it sound like -
    ELEANOR
    (through receiver)
    Cathy, believe me, I've been at my wits end. You have no idea what it's been like around here - the phone's been ringing off the hook since eight this morning!
    CATHY
    But Eleanor - the entire thing - is so absurd!
    ELEANOR
    (through receiver)
    Darling, I know.
    CATHY
    But what in the world can I do?
    ELEANOR
    (through receiver)
    Well. I suppose you could start by getting yourself another gardener.
    Cathy suddenly turns. Frank is standing in the shadows off the kitchen, looking down.
    CATHY
    Frank! What on earth - I didn't even hear you -
    (to Eleanor)
    Eleanor, Frank just walked in. Can I call you back?
    ELEANOR
    (through receiver)
    Of course. You go ahead.
    CATHY
    I'll call you later.
    Cathy hangs up the phone.
    CATHY
    Frank, what are you doing home? Is everything alright - ?
    He starts toward her, out of the dark, a drink in his hand.
    FRANK
    Just tell me one goddamn thing.
    CATHY
    What?
    FRANK
    Is it true? What they're saying?
    CATHY
    Oh, Frank, I can't believe you even
    FRANK
    Because if it is, even the slightest bit, so help me God, Cathleen -
    CATHY
    Frank I'm sorry you ever even had to hear of such nonsense!
    FRANK
    Yea', well, Dick Dawson didn't seem to think it was such nonsense when he snuck away from his desk today to phone me -
    CATHY
    Good heavens -
    FRANK
    He says the whole friggin' town's been talking!
    CATHY
    Frank, Sybil will hear you.
    FRANK
    I sent her out. - Christ, Cathleen! Do you even have the slightest idea what this means? Do you realize the kind of effect this could have on me and the reputation I've spent the past eight years of my life trying to build? For you and the children and the company?
    CATHY
    Frank, I swear to you, whatever Mona Lauder saw or thought she saw was entirely a figment of that woman's hateful imagination! Yes, I'd spoken with Raymond Deagan on certain occasions - he brought his little girl to Eleanor's art show! But evidently, even here in Hartford, the idea of a white woman even speaking to a colored man is more than any -
    FRANK
    Please! Spare me the Negro rights!
    CATHY
    Frank, you know what that woman is capable of. Besides I - I've already given him notice. We won't be seeing the man again.
    FRANK
    Fine.
    Silence.
    CATHY
    Is that why you're home? Because of what Dick said?
    Frank just looks down at his drink, jiggling the glass.
    CATHY
    Frank?
    He looks up at her with a little smirk, downs the rest of his drink, and walks out of the kitchen toward the bar.
    CATHY
    What, Frank.
    (she follows)
    Did something happen at work?

INT. LIVING ROOM - CONTINUOUS
    Frank is at the bar refilling his drink when Cathy approaches. She stops and looks at him.
    CATHY
    Frank?
    FRANK
    I guess you could call it sort of an early Christmas bonus.
    CATHY
    What do mean?
    Frank takes his drink over to the couches and flops into it.
    FRANK
    A month of rest and relaxation'! Can you imagine? During the busiest season of the year?! I mean what a goddamn honor!! But I guess when you consider the bang-up job I've been doing, ever since good ole Dr. Bowman entered the scene! And for being, as Millstein put it - what? - 'years overdo'! -
    CATHY
    But Frank you do deserve a vacation, after all you've given them.
    FRANK
    Well, Palm Springs is supposed to be nice, says the word from on high.
    CATHY
    Frank, I know it might not seem it now, but with everything that's happened, a trip somewhere, away from it all...
    CATHY
    Frank, it might just be the best thing in the world. For both of us.
    He just looks down.
    CATHY
    Oh, Frank. What a wretched day it must have been for you, darling -
    All at once the front door bursts open and David rushes in. Cathy stands up.
    DAVID
    Say! What do you know, pop's home! What're you doing home, pop?
    Cathy approaches David, gathering up her purse and scarf and starting up the stairs.
    CATHY
    Your father has work to do, David. It's best you help yourself to a glass of milk and get started straightaway on your studies.
    DAVID
    Yes, mother. Say, pop -
    FRANK
    Mind your mother, David.
    DAVID
    Yes, sir.

INT. BEDROOM - LATE DAY
    Cathy closes the bedroom door behind her and stops. A low tremor of music rises as the late day sun filters through curtains a peach and purple fume. Cathy walks slowly toward the window and stops, looking out. Dusk has cast an early freeze over the Whitaker yard. DISSOLVE TO:

EXT. DEAGAN GARDEN SHOP - EARLY EVENING
    Raymond stands outside his shop in the opaline dusk, showing a Christmas tree to a middle-aged man. JAKE, a teenage employee, steps out from inside.
    JAKE
    Say, Mr. Deagan!
    RAYMOND
    Yes, Jake?
    JAKE
    There's a lady on the phone for you.
    RAYMOND
    I'll be right there.
    (to the customer)
    Would you excuse me a moment? I'm terribly sorry.

INT. GARDEN SHOP - EARLY EVENING
    Raymond picks up a wall-phone near the front door, as Christmas colors bleed through the Garden Shop windows behind him.
    RAYMOND
    Yes? This is Raymond Deagan.
    It's Cathy, and Raymond can't conceal his pleasure.
    RAYMOND
    Oh, hello... That's right. Is everything - ?
    (he listens)
    Yea. I think I could... Alright... I'll see you tomorrow then.
    He hangs up the phone but remains a moment, music bridging. DISSOLVE TO:

INT. KELLER'S DRUG-STORE - DOWNTOWN HARTFORD - DAY
    Through the large, Christmas-trimmed windows of Keller's Drug- store we see Cathy, wearing sunglasses and scarf, crossing the street. Raymond waits at the corner of the old-fashioned, seasonally adorned establishment, moderately busy for the middle of the day. The door opens and Cathy walks directly over, stopping beside him.
    RAYMOND
    Hello.
    CATHY
    Hello.
    (silence)
    Thank you for meeting me. I realize you have a busy schedule.
    RAYMOND
    Worked out fine. I was glad you called.
    He turns to her with a smile, but Cathy darts a glance to the counter where Two women are glaring and whispering.
    RAYMOND
    You sure everything's alright?
    Cathy exhales, closing her eyes. She shakes her head.
    RAYMOND
    What is it?
    The SODA JERK has been watching them from the other end of the counter.
    SODA JERK
    Uh - Is there something I can do for you folks?
    CATHY
    (quietly)
    Can we leave here?
    RAYMOND
    Of course.
    Raymond quickly escorts Cathy, head ducked into her collar, out to the street.
    SODA JERK
    Maybe that isn't such a bad idea!
    Several customers turn and glare as they go.

EXT. KELLER'S DRUG STORE - DAY
    Raymond and Cathy are turning down the first corner.

EXT. MOVIE THEATER - LATER
    The 20's-style movie theater stands across the street, streaked in winter light. The marquee reads HILDA CRANE and THE BOLD AND THE BRAVE. Cathy and Raymond cross over to the theater and stop under its awning. Cathy looks down.
    RAYMOND
    What is it? What happened?
    CATHY
    I wanted to see you in person Raymond. I just - I can't -
    (she stops)
    RAYMOND
    Can't what?
    CATHY
    It just isn't plausible, Raymond, for me to be friends with you.
    Raymond tenses.
    CATHY
    You've been so very kind. To me. And I've been perfectly reckless and foolish in return... thinking -
    RAYMOND
    What? That one person could reach out to another? Take an interest in another? And that maybe, for one fleeting instant, could manage to see beyond the surface - beyond the color of things?
    Cathy sighs and thinks a moment.
    CATHY
    Do you think we ever really do? See beyond those things? The surface of things?
    RAYMOND
    'Just beyond the fall from grace/Behold that ever shining place.' Yes, I do. I don't really have a choice.
    CATHY
    (softly)
    I wish I could.
    She takes his hand, a bit formally.
    CATHY
    Good luck to you, Raymond.
    She starts to turn away to leave when Raymond grabs her arm.
    RAYMOND
    Mrs. Whitaker!
    A passing couple with a stroller turn and stop. Schoolgirls waiting to buy tickets do the same.
    CATHY
    (still softly)
    Raymond - please don't -
    A TALL MAN in shirt-sleeves and suspenders shouts from across the street.
    TALL MAN
    You! Boy! Hands off!
    Raymond turns.
    TALL MAN
    Yea, you!
    Cathy puts her hand over Raymond's and gently removes it. She takes a step back. Raymond stands helplessly, everyone watching.
    CATHY
    Oh Raymond -
    He looks at her with such sadness.
    CATHY
    (as much to herself)
    You're so beautiful.
    She mouths 'bye' and turns, starting off briskly down the street. Spectators break into murmurs. The tall man across the street slowly turns and continues on his way. Raymond looks back in Cathy's direction as she disappears around the corner. Music booms, sweeping us inexorably forward. DISSOLVE TO:

EXT. JUNIOR LEAGUE FOOTBALL FIELD - AFTERNOON
    It's a brisk winter day and light flurries are just starting to sprinkle up the sky. David's junior-football team has broken and he and the others are walking back from the field. Along the sidewalk a row of black school-kids in uniform are making their way down the street. One of the children is Sarah Deagan, Raymond's daughter, who is walking with another little girl her age.
    SARAH'S FRIEND
    Which' is how come I almost fell asleep during Math-class, on account of my brother playin' his records all night long - until my mama came and made him switch it off. And I don't even like that type of music!
    Sarah's attention has turned to a powder blue Chevrolet slowing down near the football field. It's Cathy's car, who Sarah recognizes as it comes to a stop. She watches as David, walking back with his friend Hutch, calls out to his mother in the car.
    DAVID
    Mother! Can I sleep over at Hutch's tonight? Please!
    CATHY
    Not tonight, David. Your father's home and we're having a family dinner.
    SARAH'S FRIEND
    Who's that?
    SARAH
    Oh, just some friends of my daddy. You don't have to wait, I'll catch up.
    Sarah's friend continues on as Sarah remains for a moment watching.
    DAVID
    You never let me stay over!
    CATHY
    Next time, David, I promise. Now please get in the car, I'm late as it is.
    David climbs into the back-seat - Janice is seated in front - and the car begins to pull out. Sarah smiles as it approaches. But as she lifts her hand to wave hello only Janice seems to notice her - whisking past the window as they go. Sarah watches as the car speeds off down the road. She looks back in the direction of her group, but now her classmates are a good block away. And the snow has begun picking up. So she plunges her hands in her pockets and starts up after them. Up ahead where the block narrows, Hutch and two of his friends stand leaning against the fence, sharing a cigarette. Sarah notices them ahead. Hutch is the first one to spot her, and he stares hard as she approaches. A chill of music is felt as Hutch leans over and starts whispering to the others. As they look back at her and laugh the music picks up a jazzy beat. Sarah approaches, tucking her head down sullenly.
    HUTCH
    Hey fellas, look who's comin'! It's daddy's girl! Hey there daddy's girl! Where do think you're going?
    SARAH
    (a mumble)
    Home.
    HUTCH
    Home to see your daddy?... Yea, and his white girl?
    Suddenly Sarah tears off, running down the street, music turning fast and brassy. The boys exchange brief smiles before grabbing rocks from the ground and taking off after her.
    HUTCH
    Hey! Where ya goin'? We just want to play!
    Sarah looks back as she runs and sees them following. She starts to panic but continues running, dropping her schoolbooks along the way. She comes to a busy intersection and turns off into an alley.

EXT. ALLEY -AFTERNOON
    Sarah tears around a trash dumpster only to discover that the alley doesn't go through. She turns around just as Hutch and the others arrive, sealing her off, music simmering. The snow falls steadily now.
    HUTCH
    Uh-oh! Wrong turn, daddy's girl!
    2ND BOY
    Hey daddy's girl! Over here!
    With their stone-wielding arms in the air, the boys begin slowly tightening around her, music building. Sarah begins backstepping toward the wall.
    HUTCH
    Yep! She made a wrong turn alright!
    He doubles back with his rock, pitcher style, as the music explodes into wild rhythm, and the other two follow.
    HUTCH
    Just like her daddy!
    All at once their rocks go hurling at Sarah, with Hutch's coming last and hard and hitting her in the head. It knocks her back and she falls to the ground. For a split-second the boys are frozen. Then all at once they take off down the street, music reaching a brassy, frantic peak. RAPID FADE TO BLACK. FADE UP TO:

INT. WHITAKER LIVING ROOM - CHRISTMAS DAY
    Music shimmers suddenly as the top of an unwrapped present is lifted, revealing amid a blossom of tissue a satiny pair of new ballet slippers. We ascend.
    JANICE
    Oh, it is them, it is! Oh thank you, mother! Thank you, father!
    Kaleidoscopic light multicolors the rosy, Christmas-strewn living room as Janice scurries over to Frank on the couch and Cathy returns with an egg nog. David sits on the rug, pooling over his new electric train-set. Outside, the backyard glistens with snow.
    CATHY
    Merry Christmas, darling!
    JANICE
    Now I'll be as good as all the other girls in class.
    CATHY
    (handing him his drink)
    There you are, darling. Just the way you like it.
    DAVID
    (holding up one of the cars)
    Pop! Look at the steam engine!
    FRANK
    Wonderful!
    CATHY
    Well, look at that.
    (walking over to the fireplace)
    I knew I was forgetting something!
    Cathy returns with Frank's Christmas stocking.
    CATHY
    There you are, darling! A little something for Mr. and Mrs. Clause!
    Frank overturns the stocking and a handful of travel brochures slip out onto the table.
    FRANK
    What've we got here? Acapulco, Miami, Palm Springs, Bermuda.
    Cathy sits down beside him on the arm of the couch.
    CATHY
    Take your pick, darling. It's your choice.
    FRANK
    This mean you're paying?
    CATHY
    Well Rio, I know, is a bit extravagant, but the rest are really all quite affordable. As far as warm weather goes. This time of year.
    FRANK
    I don't know. Stan's always raving about Miami.
    CATHY
    Oh, Frank I think Miami would be a dream! El says it's just darling. Everything's pink.
    FRANK
    Oh yea?
    (tiny pause)
    Then maybe we oughta consider Bermuda.
    Cathy looks at him. Frank cracks a little smile. Music sweeps up as Cathy embraces him.
    CATHY
    Oh, Frank! I do love you, darling. I do.
    DISSOLVE TO:

EXT. MIAMI RESORT - NEW YEAR'S EVE NIGHT
    Music can be heard spilling out from the glittering supper- club, jutting off the side of the modern, palm-lined resort.

EXT./INT. TERRACE - RESORT SUPPER-CLUB NIGHT
    Cathy and Frank dance together on the terrace of the sparkling venue, all decked out for New Year's, under the stars. A small band is playing and several other couples are dancing. And though it's not without tension it's clear they are each trying to make the vacation as pleasant as can be.
    CATHY
    I must say you look extremely fetching all gussied up in your white tux and tie.
    FRANK
    Well it's a good thing, since I can hardly breath in it.
    CATHY
    Oh it's not that bad.
    (silence)
    You like my dress?
    FRANK
    Yes. Very much. Didn't I say?
    CATHY
    You did not.
    FRANK
    Well it's a ravishing dress. And a ravishing girl to go with it.
    CATHY
    That's more like it.
    The song ends and everyone claps for the band. Frank kisses Cathy tenderly on the lips, under the stars, and she smiles into his eyes. Frank puts his arm around her gently and escorts her back to their table. As they near their table they are intercepted by a large family being seated. The handsome middle-aged parents sit down first, followed by five blond, handsome children, ranging from late teens to late 20's in age. The BLOND FATHER addresses Frank and Cathy:
    BLOND FATHER
    Excuse us.
    FRANK
    No problem at all.
    One of the middle sons, the prettiest, watches Frank closely as he passes. Cathy doesn't notice. But Frank does.
    FRANK
    You have a lovely family.
    BLOND FATHER
    Thank you. Happy New Year.
    FRANK
    Happy New Year to you.
    Frank nods to the table, catching another glimpse of the pretty blond boy's stare. And he and Cathy take their seats.
    CATHY
    Frank, do you remember that summer? At your uncle's in Vermont? Janice wasn't even born yet. When David broke his finger on the water pump?
    FRANK
    (remembering)
    Oh yea.
    CATHY
    Whatever happened to that house?
    FRANK
    Think Margaret eventually put it on the market.
    CATHY
    That was a wonderful old place. All those wonderful barbeques.
    FRANK
    It was a good summer -
    (distracted by the noise)
    CATHY
    It must be almost time.
    Cathy lifts her glass and Frank refills it, then refills his own. He glances over toward the ruckus from other tables. The blond table is awash in champagne and the pretty son now fully absorbed in the festivities. From the bandstand, the M.C. leads the room in a rousing countdown.
    EVERYONE
    ... Five - four - three - two - one - HAPPY NEW YEAR!!!
    Cathy and Frank toast their champagne and kiss through the rain of pale blue confetti and all the shimmering cheer surrounding them.
    CATHY
    Happy New Year, darling!
    FRANK
    Happy New Year, dear!
    Music swirls. DISSOLVE TO:

EXT. POOLSIDE - MIAMI HOTEL - DAY
    We are surveying a pleasing aqua-blue scene of pleasure-goers by the pool. A girl with a pink bathing cap swan-dives into the sparkling water, which is littered with swimmers and children frolicking by the steps. Frank is just finishing some laps and stops at the shallow end to catch his breath. He sits down on a step, still half- submerged, and smiles at the mothers of the splashing toddlers. He notices something at the other end of the pool. A few members of the blond family are just coming out, dressed in swimwear and robes. They grab a few lounges and chairs and start to settle. The pretty son doesn't seem to be among them. Frank stands, stretches. He steps out of the water and reaches for his towel just as a small black boy, age 4 or 5, goes skipping past him into the first step of the pool. His father, a HOTEL WAITER, is running over from the hut- style snack-bar.
    HOTEL WAITER
    (calling out)
    Martin! Martin, get outa there! You know you're not allowed in there!
    Cathy, who sits among a row of lounges under an umbrella, looks up from her magazine. A woman with a baby is already stepping efficiently out of the pool while others stand, dumbstruck. Everyone else in the water, save one man doing laps, just stares at the tiny intruder. Instantly the waiter arrives and yanks his son out of the water.
    HOTEL WAITER
    (forcefully)
    Now what did I tell you about going in that pool?! You know you're not allowed in there!
    He carries his crying boy off. Frank turns toward Cathy and shrugs. He starts back, drying himself off on the way.
    CATHY
    Hello, there.
    FRANK
    Well hello.
    Frank plops himself down on the lounge, flat on his back, and exhales.
    CATHY
    Mmmm. Good swim, darling?
    FRANK
    (eyes closed, nodding)
    Mmm.
    CATHY
    Feel good?
    FRANK
    Mmm.
    CATHY
    Isn't the sun just marvelous?
    But her expression changes when she glances back toward the pool. Kids who were playing now stare across the pool to the shallow end blankly. The last few bathers near the steps are just stepping out of the water, leaving the entire area cleared. A MOTHER in an unbecoming swimsuit calls out to her DAUGHTER.
    MOTHER
    Donna?
    DAUGHTER
    What?
    MOTHER
    Time to get out.
    DAUGHTER
    But why?
    MOTHER
    (sharply)
    Because I said so.
    The daughter starts swimming reluctantly to the edge, just as the man doing laps makes his final pass. We see the girl in the pink swimming cap climbing up the small ladder in the deep end. Within moments the pool is completely empty. Frank and Cathy observe in silence. Before turning back, Frank takes a final glance at the blond family gathering. The pretty son has just arrived, wearing a white terry-cloth robe and a beach bag over his shoulder. He doesn't notice Frank. We hear Cathy slap shut her magazine.
    CATHY
    Well that does it.
    Frank turns.
    CATHY
    I think I've heard quite enough about fashion and advice for one afternoon! I do believe it's time for my Miss Mitchell.
    Cathy opens up her canvas bag but doesn't see her book.
    CATHY
    Oh, heavens.
    FRANK
    What?
    CATHY
    I must have left it in the room. So silly.
    FRANK
    You want me to go?
    CATHY
    No, darling. You just sat down.
    FRANK
    I don't mind.
    (he sits up)
    CATHY
    What? No, Frank. I'll go.
    Frank stands up and flexes.
    FRANK
    It's fine. I want to get a paper anyway.
    CATHY
    You sure?
    FRANK
    Yea.
    He grabs his shirt and room-key and starts off toward the room - in the opposite direction of the blond boy by the pool.
    CATHY
    Thank you, darling. I'm sure it's just there on the night-stand.

INT. FRANK'S ROOM - DAY
    Frank has left the door ajar as he gathers his wallet and Cathy's book. He stops for a second in front of the mirror and regards himself in his wear. Not bad, for a man his age. Then suddenly he senses something. A hum of music hangs in the air as he turns his head to the gap in the door. There, standing and staring at Frank, is the blond boy. He holds his robe in one hand, revealing a lithe, white body squeezed into pale orange swim-trunks. Frank stares back, captive. The boy's fingers are quietly grazing his crotch. Slowly, like a sleepwalker, Frank begins to approach, music deepening. FADE TO BLACK.: WE HEAR
    JANICE
    They're here! I see their car! They're here!
    FADE UP ON:

INT. WHITAKER LIVING ROOM - EVENING
    Music lightens as David, Janice and Sybil all hurry to the door which flies open on Cathy and Frank, armored with gifts and luggage.
    JANICE
    Mother! Father!
    DAVID
    Hi-ya pop! Hey mother!
    SYBIL
    Welcome home, Mr. And Mrs. Whitaker.
    CATHY
    Well look at you all! What a lovely greeting!
    JANICE
    So mother was it dreamy?
    CATHY
    Listen to you! Dreamy!
    SYBIL
    (taking Mr. Whitaker's suitcase)
    Did you have a nice time Mr. Whitaker?
    FRANK
    Yes, Sybil. It was very relaxing.
    DAVID
    Say, pop!
    CATHY
    David, help Sybil with the luggage.
    Frank sits down on the living room sofa as Sybil starts up the stairs with a suitcase.
    DAVID
    Pop, you'll never guess what happened at school this week? Try and guess!
    FRANK
    I give up.
    CATHY
    David!
    JANICE�
    (lugging a suitcase up the stairs)
    I'm helping, mother!
    DAVID
    Billy Hutchison and these two other boys all got expelled from school!
    FRANK
    You mean suspended.
    Sybil is starting back down the stairs.
    DAVID
    No! Expelled! I swear! For throwing a rock at a girl's head.
    CATHY
    That's terrible. A little girl from school?
    DAVID
    No. She was a Negro.
    CATHY
    What? Who told you such a thing?
    DAVID
    Tommy Hawkings. He saw. So he had to tell the principal.
    Cathy glances up at Sybil who continues slowly down the stairs.
    CATHY
    Sybil? Is this true?
    Sybil glances over to Frank and back to Cathy.
    SYBIL
    Yes, ma'am. I'm afraid it is.
    Cathy looks over at Frank incredulously.
    CATHY
    What in heaven's name has gotten into this town?
    FRANK
    It's just a couple of foolish kids.
    DAVID
    Hutch said they were just trying to teach her a lesson.
    Sybil continues on into the kitchen.
    CATHY
    Well I think it's dreadful. And you're certainly not to see that Hutch boy again. You understand me?
    DAVID
    Yes, ma'am.
    FRANK
    While you're there David, how about flipping on the set for your old man.
    DAVID
    Sure, pop.
    Cathy sighs, picking up the mail from the hall table, and starts upstairs.

INT. BEDROOM - NIGHT
    Cathy enters the dark room, flips on the light and puts down her things. She walks over to the small desk by the window and puts down the mail. There, among the bills, she notices the NAACP brochure. She picks it up. Close on brochure, music taking. DISSOLVE TO:

INT. WHITAKER DINING ROOM - LATE DAY - TWO WEEKS LATER
    Cathy's finger is scanning the telephone book for a listing and comes to rest on a number for the NAACP Information Line. Then she lifts the receiver off the phone and starts dialing. She is sitting at the dining room table, half-toned by a bath of wintery light, while Janice sits at the coffee table doing her homework.
    JANICE
    Mother, how do you spell 'skirt'?
    CATHY
    One minute, dear. Mother's making a call.
    (she finishes dialing and waits)
    Yes - hello. I was wondering if you could help me possibly. I just recently received your brochure - which I found extremely informative - and was curious to learn a little more about what was entailed precisely - in your volunteer program - in terms of particular skills and so on. You see I - what?... Yes, I can hold.
    Cathy hears the front door opening and turns. Frank is walking in the door wearing a snow-dusted coat and hat, looking beat.
    JANICE
    Father's home!
    CATHY
    (complete surprise)
    Frank? What happened to the match?
    Tiny smile.
    FRANK
    Oh, my shoulder's been acting up. I couldn't sit there any longer.
    CATHY
    You didn't say anything.
    He starts taking off his coat and mittens by the coat-rack.
    JANICE
    Father, I did the splits today. Wanna see?
    CATHY
    (hanging up the phone)
    Janice, your father just walked in the door. And you have schoolwork to finish.
    JANICE
    Yes, mother.
    CATHY
    You know, Frank. You never had that physical. I certainly think you're due for one, dear. Can I call Dr. Ellis? It's been three years, Frank.
    Frank doesn't answer as he walks over to the couch and sits down with the TV guide.
    CATHY
    You know my brothers had physicals, every year on their birthday, all during school. Father insisted.
    He doesn't respond.
    CATHY
    Did I tell you the pediatrician thinks Janice is going to need braces?
    JANICE
    Father, do I have to!
    CATHY
    Apparently our little girl has an over-bite.
    David rushes in from the backyard carrying a bucket and rags.
    DAVID
    Say, pop! You'll never guess what I'm doing?
    CATHY
    David, where is your coat?
    DAVID
    In the garage.
    CATHY
    And what's it doing there?
    DAVID
    I'm waxin' pop's car! It's gonna look swell, pop.
    CATHY
    David! How many times do I have to tell you children - you are not permitted outdoors in this kind of weather if you're not properly dressed. It's ten below zero outside, they're expecting flurries! Do you understand me? David?
    DAVID
    Yes ma'am.
    CATHY
    Because I give up. If you children want to go and catch your death of cold then so be it. I mean you try talking sense to them, Frank, because nothing I say ever seems to-
    All of the sudden Frank bursts into tears.
    CATHY
    Frank!
    Janice and David are stunned, staring at their father.
    CATHY
    Frank! What's the matter - !
    She gets up from her chair and starts over to him, a dark mist of music forming.
    FRANK
    Oh - God!
    Janice begins to cry.
    CATHY
    (urgently)
    Janice. David. Go upstairs to your rooms.
    Janice stands, sobbing. David remains, transfixed.
    CATHY
    Now!
    Janice runs up the stairs and David follows in a trance. Cathy stands frozen near the foot of the stairs.
    FRANK
    (crying)
    Oh - Cathy...
    She approaches him but slowly, with a strange foreboding.
    CATHY
    What, Frank. What is it?
    FRANK
    Something happened...
    CATHY
    What?
    (nothing)
    What.
    Frank cries almost like a baby.
    FRANK
    I've fallen in love with someone.
    Cathy stares.
    FRANK
    Who wants to be with me.
    For a moment, just having said it sobers him some, and he looks back at her. Then he crumbles again.
    FRANK
    Oh Cathy, I think I might have to go!
    Music deepens as Cathy numbs, staring flatly, unable to move.
    FRANK
    I just - I never knew... what it was like - I know how cruel that's sounds. But I'm not... - Oh God, Cathy. I tried! I tried so hard to make it go away... I thought I could do it... for you and the children... But I can't! I can't!...
    He buries his head in his hands. After several seconds she responds.
    CATHY
    (lifeless)
    I assume then... you'll be wanting a divorce?
    Frank looks up at her, puffy-eyed. But suddenly the tears seem to have stopped. Cathy looks back at him like a stone.
    FRANK
    (softly)
    Cathy I'm so sorry.
    But all at once she turns, and picking up a glass from the table walks straight-headed up the stairs.

INT. BEDROOM - EARLY EVENING
    Cathy enters, closes the door and stands frozen, in the dark for several seconds.

INT. LIVING ROOM - EARLY EVENING
    We look down at Frank who stands alone in the empty living room. He turns and walks over to the bar and limply pours himself a drink. He stands frozen a moment, drink in hand, as music gathers, softly. Then he throws it back, walks over to his coat and hat and opens the front door of the house. He turns back around for one last look - and closes the door behind him.

INT. BEDROOM - EARLY EVENING
    Cathy stands outside her door looking out the landing window. She hears the sound of Frank's car starting off. Filtered through a new snowfall, the red of his brakes tint the dusky sky and rouge her silent profile. Music deepens. Cathy walks to the window and stares hard at the telephone. She lifts the receiver to her ear. She dials.
    CATHY
    (quivery)
    Eleanor? Eleanor it's me, Cathy.
    Music opens as we DISSOLVE TO:

EXT. FINE HOUSE - NIGHT
    A soggy snowfall continues as we glide through shiny branches outside the Fine's house toward the rosy glow of an upstairs window. There we see Cathy in the glow of Eleanor's bedroom, telling her friend the whole story. DISSOLVE TO:

INT. FINE'S BEDROOM - NIGHT
    Eleanor reaches for Cathy's hands, music settling.
    ELEANOR
    Oh, Cathy.
    CATHY
    So you see, El. You see why I couldn't tell you anything. Anything at all.
    ELEANOR
    Oh you dear, sweet kid. In a million years I couldn't have imagined. Not Frank! I suppose divorce really is the only option - if only to keep it as far from the children as possible.
    CATHY
    I think that's what's been the hardest of all. The endless secrecy. Our entire lives just - shut in the dark.
    ELEANOR
    Are there savings?
    CATHY
    Nothing much to speak of. And certainly not with Frank's job on the line.
    ELEANOR
    Well honey, you know, if there's anything you need, anything at all -
    CATHY
    Oh, El...
    ELEANOR
    I mean it. We're here. Alright?
    CATHY
    Thank you, El. For always having been.
    Cathy reflects a moment and stands, walking toward the window.
    CATHY
    You know it's funny.
    ELEANOR
    What's that.
    CATHY
    This whole time, the only person I've been able to talk to. About any of this.
    (turning back to her)
    Was Raymond Deagan.
    Eleanor looks at Cathy in disbelief.
    ELEANOR
    What?
    CATHY
    It's true. Well, not in the way Mona intended - Nothing like that! We would just talk! But... Somehow it made me feel - oh, I don't know. Alive somewhere.
    She glances out the window at the rain-dampened snow.
    CATHY
    Oh Eleanor, I know it sounds ridiculous and mad...
    CATHY
    But I do, I think of him. What he's doing, what he's thinking. I do -
    Cathy turns back to her friend with the wistful smile of a girl. Eleanor glances off.
    CATHY
    El?
    Eleanor gets up and starts tending to the tray of empty cups.
    ELEANOR
    What can I say? You're so full of surprises. I'm speechless.
    Cathy looks at her.
    CATHY
    What do you mean?
    ELEANOR
    (little laugh)
    Though I'm sure I must have looked entirely the fool, crusading away against Mona Lauder and all her so- called inventions-!
    CATHY
    Eleanor! - How can you say such a thing?
    ELEANOR
    I didn't say a word! Who am I to tell anyone how to lead their lives?
    CATHY
    But El! Nothing happened between us! I told you that!
    ELEANOR
    Cathy it's none of my business. But you certainly make it sound as if something had.
    A soft bed of music rises as Cathy looks back at her, disarmed. DISSOLVE TO:

INT. WHITAKER LIVING ROOM - EVENING
    Music continues as Cathy returns home, hanging up her coat and stepping into the dark, silent house. She walks toward the french doors, etched in silver, and stops. There, filtering moonlight through its gilded maze, the branch of Silver-tip spruce still sits in a vase by the window.
    SYBIL
    (off)
    Mrs. Whitaker?
    Cathy turns toward the kitchen. Sybil stands in the shadows near the kitchen door.
    CATHY
    Sybil.
    SYBIL
    I'm sorry to disturb you ma'am, I just...
    CATHY
    Yes, Sybil?
    SYBIL
    It's something I've been wanting to tell you, ma'am, for some time - Something I believe you'd surely want to know - even if it isn't... exactly my place...
    CATHY
    Sybil, what is it?
    SYBIL
    It's about the little colored girl, ma'am. The one that got hit?
    CATHY
    Yes. What about her?
    SYBIL
    I'm sorry, ma'am, but it was Mr. Deagan's little girl, Sarah -
    CATHY
    What! Oh God, Sybil, it wasn't!
    SYBIL
    The neighbors tell me she's doing just fine -
    CATHY
    Oh that dear, sweet little girl.
    (to Sybil, suddenly incensed)
    How in God's name, Sybil, could you not have told me this? That was weeks ago - !
    She turns and marches to the entry hall, Sybil following.
    SYBIL
    Oh, Mrs. Whitaker, please don't be cross with me! I didn't want to - makes things any worse!
    CATHY
    (throwing on her coat)
    Sybil, Sybil do you have any idea where Mr. Deagan lives?
    SYBIL
    I believe he's been at his father's old place on 12th and Governor.
    CATHY
    12th and Governor. Thank you, Sybil.
    Cathy grabs her purse and opens the door, rain falling.
    SYBIL
    You're going there now?
    CATHY
    Please just keep an eye on the children for me. I won't be long.
    (she starts out)
    SYBIL
    Mrs. Whitaker!
    CATHY
    (turns back, hurriedly)
    What?
    SYBIL
    Would you like me to go with you, ma'am?
    CATHY
    No, Sybil. No. I'll be fine. Thank you.
    Music billows as Sybil watches her go. DISSOLVE TO:

EXT. DEAGAN'S HOUSE - NIGHT
    Rain falls upon the inky, lamp-lit night as we loom down slowly upon a small, wood bungalow, the front windows of which appear to have been boarded up. Through the window downstairs we can just glimpse Raymond walking past.

INT. DEAGAN'S LIVING ROOM - NIGHT
    Raymond is bringing a freshly made cup of hot chocolate into the living room, stirring as he goes.
    RAYMOND
    And here we have it! Your daddy's super-duper world-renowned hot cocoa specially prepared for his super-duper number one girl!
    He hands the cup to Sarah who is stretched out on the couch with pillow and blanket watching TV. A small, square bandage on her forehead still marks her injury.
    SARAH
    Thank you, daddy.
    RAYMOND
    How you feeling, baby?
    SARAH
    Fine, daddy.
    RAYMOND
    What's that you're watching, anyway?
    There's a knock at the door. Raymond stops.
    RAYMOND
    Who on earth...?
    He walks to the front.
    RAYMOND
    Yes?
    The door opens on Cathy, turning suddenly to face him.
    CATHY
    Raymond! Oh Raymond I just heard. Just this instant. I heard and I got in my car.
    (she stops)
    How are you? How's Sarah?
    RAYMOND
    We're fine. Thank you.
    A car passes and Raymond looks out nervously.
    RAYMOND
    (semi-whisper, gesturing)
    Meet me around the side.
    Cathy nods and starts back down the steps as Raymond steps back inside the house.
    RAYMOND
    (grabbing his coat)
    Sarah, everything's alright, honey. I'll just be outside for a minute.
    SARAH
    Okay daddy.

EXT. DEAGAN HOUSE - NIGHT
    Cathy stands facing away, softly illuminated by an outdoor lamp, along the side of Raymond's bungalow. She hears footsteps and turns. Raymond stands near the corner of the house, looking at her.
    CATHY
    Oh Raymond.
    (taking a few steps closer)
    What you must have been through.
    Raymond looks down and shuffles forward some as well.
    CATHY
    What's being done, to the boys who-?
    RAYMOND
    Nothing. I won't make her go through it again. Not now. Not with rocks coming through the window every night.
    CATHY
    Raymond, that's hateful.
    RAYMOND
    It's not white's throwing them - it's coloreds.
    CATHY
    No.
    RAYMOND
    Oh, yea - Seems to be the one place where whites and coloreds are in full harmony. Anyway, we'll be out of here soon enough, once and for all.
    CATHY
    You're moving?
    RAYMOND
    Yea.
    CATHY
    Where to?
    RAYMOND
    I have a...
    (emptying some flooded trash-lids)
    ... brother in Baltimore. Says he can find me work out there. So we're packing up the house. Two weeks Friday we'll be on the 4:30 train, heading South.
    CATHY
    But what about your business, your shop?
    RAYMOND
    The business is through. No one's gonna hire me.
    RAYMOND
    So I'm selling the shop to a cousin of mine. No...
    (he looks off)
    It's pretty well finished for me here.
    (a thought stops him)
    I've never lived anywhere but Hartford.
    CATHY
    (all vulnerability)
    Perhaps... sometime in the future... after you're settled - I could... perhaps come for a visit. See Baltimore? You see I... Well it looks as if I'm to be single again.
    Raymond looks at her. It makes him sad. He smiles softly.
    RAYMOND
    Oh, Mrs. Whitaker.
    CATHY
    (softly)
    Please call me Cathy.
    RAYMOND
    (softly)
    Cathy.
    Silence.
    CATHY
    No one would know us there.
    RAYMOND
    I'm just not sure... it would be such a wise idea. After... well, everything that's -
    Cathy looks at him, feeling the first chill of an impending loss.
    RAYMOND
    All that matters now - what's got to matter most - is what's right for Sarah. I've learned my lesson about mixing with other worlds. And I've seen the sparks fly...
    (tenderly)
    All kinds.
    Cathy turns away, hiding sudden tears. Raymond puts a hand on her shoulder, which she covers with hers.
    RAYMOND
    Have a proud life. A splendid life. Will you do that?
    She closes her eyes. He kisses her fingertips.
    RAYMOND
    Goodbye Cathy.
    His fingers slip from hers. She stands a moment, the black, liquid sky continuing its downpour, then starts walking, hurriedly, to her car. She doesn't look back. Raymond watches gravely, then turns and starts slowly back inside. To which a rising music as bottomless as the sea suddenly answers, spilling over and engulfing what follows. DISSOLVE TO:

INT. WHITAKER BEDROOM - LATER THAT NIGHT
    The curtains are drawn and Cathy lays across the shadowy surface of her bed, sobbing. Everything she's kept inside seems to spill from her now, as we move in gently through aquanautic shadows. Music fades, leaving us alone with her sounds - when the phone starts ringing. Cathy stops, listening. Then sits up in bed and looks over at it, wiping her eyes. Then she slips off the edge of the bed and walks over to the writing table to answer it. Outside, the rain appears to have stopped.
    CATHY
    Hello?
    FRANK
    (through receiver)
    Cathy? Did I wake you?
    CATHY
    Frank?

INT. HOTEL ROOM - NIGHT
    Frank sits on the phone against blue floss hotel wallpaper, his face in shadow.
    FRANK
    I'm sorry to call this late. I hope I didn't...

INT. BEDROOM - NIGHT
    CATHY
    No. I was awake.
    FRANK
    (through receiver)
    I didn't want to - upset the children.
    CATHY
    No. Of course.
    FRANK
    (through receiver)
    How are they, by the way?
    CATHY
    Fine. Just fine. They still ask when you'll be coming home.

INT. HOTEL ROOM - NIGHT
    FRANK
    I know. I know. I guess that's - partly why I was calling...
    Frank sits hunched-over a little table in the dark. Behind him, spread out in bed with newspapers and a half-eaten box of chocolates, the pretty blond boy watches a large TV.
    FRANK
    I, uh - I got a call from Dick yesterday. Said everything was... set, papers drawn up.

INT. BEDROOM - NIGHT
    Cathy just listens. Expressionless.
    FRANK
    (through receiver)
    He wanted to know... how Thursday was for you. Three o'clock sometime. I told him I thought you might have carpool Thursdays but I wasn't absolutely certain. So I said I would check.
    CATHY
    (distantly)
    You never could remember my carpool days. And they've always been the same, Wednesdays and Fridays, as long as I can remember.
    FRANK
    (through receiver)
    Wednesdays and Fridays. Of course. Same old absent-minded -
    CATHY
    What time... did you say on Thursday?
    FRANK
    (through receiver)
    What?
    CATHY
    The appointment? What time?
    FRANK
    (through receiver)
    Oh - Three. Three o'clock.
    CATHY
    (brief silence)
    Alright.
    FRANK
    (through receiver)
    Okay. Well... Great. That was it, really. I know it's late.
    CATHY
    It is.
    FRANK
    (through receiver)
    So I guess I'll see you on - Thursday, then.
    CATHY
    See you Thursday.

INT. HOTEL ROOM - NIGHT
    FRANK
    Goodbye, Cathy.

INT. BEDROOM - NIGHT
    Music rises like a steam.
    CATHY
    Goodbye, Frank.
    She hangs up the phone and sits very still for several seconds. SLOW DISSOLVE:

INT. WHITAKER BEDROOM - DAY - TWO WEEKS LATER
    Outside, through the bedroom window, we can see the new gardener - an Asian man - watering the plants. We slowly move inside to find Cathy sitting at her bedroom table finishing up the bills.
    CATHY
    (writing)
    Sixty-seven dollars and thirty-two cents.
    (looking up a moment)
    Now what is today...?
    She glances over at her desk-calendar, turning the page to the proper day. It reads: SATURDAY, MARCH 1. She copies the date down in her checkbook, then stops a moment. She looks back at the calendar as if trying to remember something. Snapping back to business, she tears out the check, places it in an envelope and seals it. She gathers up her other mail and stands, glancing once around the room before grabbing her purse and sunglasses and starting out the door.

INT. WHITAKER FOYER - DAY
    The soft sunlight shimmers through windows as Cathy comes down the stairs. Sybil is busy polishing the dining room table.
    CATHY
    Oh, Sybil. You don't need to be doing that.
    SYBIL
    It's Friday.
    CATHY
    I know it is, but... There's just so much more to do now. I can hardly expect you to be polishing the table every week.
    SYBIL
    No reason not to keep things up Mrs. Whitaker. No reason at all.
    CATHY
    I know.
    Cathy stops in front of the mirror to fix her hair and put on her sunglasses.
    SYBIL
    Don't forget the grocery list.
    CATHY
    Oh! Thank you, Sybil -
    (she starts checking her pockets)
    I don't know how in the world I'd ever manage - Here it is.
    She takes out the shopping list but finds something else in the pocket. She pulls out a scarf - the lilac scarf - forgotten there since her afternoon with Raymond. Music whispers. She looks at it a moment, then up at the mirror where it's reflected in her hand. She puts it on over her hair and glasses and stops a moment, looking at herself.
    CATHY
    I shouldn't be long, Sybil.
    SYBIL
    (still bent over, polishing)
    Alright, Mrs. Whitaker.
    Cathy turns, music rising, and starts out the door. DISSOLVE TO:

EXT. LITTLE LEAGUE FOOTBALL FIELD - DAY
    Cathy drives up in front of the large green field, stuffed with boys in red, sauntering back to the bleachers. David is amongst them, walking arm-in-arm with another boy, when he spots his mother's car and waves.
    DAVID
    Say - Mother!
    CATHY
    Go and gather your things, David. Mother's in a hurry!
    David races his friends to the bench where he grabs his knapsack and goes running to the car. He hops in the front and we ascend as Cathy takes off down the street. DISSOLVE TO:

EXT. DANCE-SCHOOL - DAY
    Cathy is walking Janice, dressed for ballet, out the door of her dance-school.
    CATHY
    See you next week!
    The door shuts behind them as Cathy hurries Janice into the car. She rushes around to the driver's side, hops inside the car, and is off again, zipping down the road. DISSOLVE TO:

EXT. TRAIN STATION - DAY
    A soft, new sun warms the brick of the Hartford Train Station, standing proudly in the center of town. We see Cathy's car just pulling up and turning into the parking section.

INT. CAR - DAY
    DAVID
    Say! Why are we turning in here?
    Cathy is pulling into a parking space.
    CATHY
    Mother just needs to dash inside for two shakes while you and your sister wait inside in the car.
    DAVID
    No fair!
    JANICE
    Where are you going?
    CATHY
    (getting out of the car)
    I'll be right back. Now stay put. Both of you. And lock the door.
    Cathy shuts the door of the car and looks up at the clock outside. It reads: 4:24. She hurries on inside. \[Music continues in some form through to the end of the film\]

EXT. PLATFORM - DAY
    Cathy emerges out of the stairway onto the platform, a jumble of boarding and goodbyes. She looks back and forth anxiously, then starts walking down the platform toward the front of the train. She hurries along, looking every-which-way, past all the others. Then suddenly she stops. Raymond stands on the platform, gingerly helping Sarah up the steps of the train while a black attendant loads their luggage into an open compartment. Cathy starts over to them, but Raymond slips inside the train without seeing her. Cathy just stares at the door, watching others continue inside. Right in front of her A heavy-set Italian man is saying goodbye to his wife and two sons. The wife is crying. A CONDUCTOR is passing.
    CONDUCTOR
    All aboard! Southbound train to New York and Washington now departing. All aboard!
    Cathy looks back at the train door just as Raymond reappears, stepping out of the train and addressing the young attendant, who hands him his baggage slip. Cathy takes a few unconscious steps in his direction. Raymond tips the attendant and shakes his hand and starts back to the door of the train. He takes one step up and stops, turning around again.
    CONDUCTOR
    All aboard! All aboard!
    He sees her. She smiles for being seen. Raymond smiles warmly back. And suddenly - cruelly - the train begins to move. Though for one luxurious moment it actually sweeps them together - with Raymond gliding toward Cathy and then crossing her - before setting off on its inexorable pull. Cathy lifts a tiny hand goodbye. Raymond lifts his in return. She smiles, tears starting, as Raymond continues shrinking from view before vanishing entirely with the snaking engine. Suddenly everything is still. Cathy stands for several seconds, alone in the sudden stillness. Then all at once she turns and begins walking away, down the platform. Music resumes with sad resolution.
    CATHY (V.O.)
    That was the day I stopped believing in the wild ardor of things. Perhaps in love, as well. That kind of love.

EXT. TRAIN-STATION - MOMENTS LATER
    From a great height we see Cathy walking decisively out of the station on her way back to her car, late afternoon sun burning orange upon the town.
    CATHY (V.O.)
    The love in books and films. The love that tells us to abandon our lives and plans, all for one brief touch of Venus.
    Cathy climbs into her car, shuts the door and begins driving out of the lot.
    CATHY (V.O.)
    So often we fail in that kind of love. The world just seems too fragile a place for it. Or perhaps it's only we who are too fragile.
    Finally Cathy is turning onto the main road, amid all the other cars heading home. Her powder-blue Chevrolet is engulfed. All around, trees are starting to bloom. Spring has arrived. END

Summary: In 1957 suburban Connecticut, Cathy Whitaker seems to be the perfect wife, mother, and homemaker. Her husband, Frank, is an executive at Magnatech, a television advertising company. One evening, Cathy receives a phone call from the local police, who are holding Frank. When she picks him up, he says it is all a misunderstanding, but it turns out that he has been exploring the illicit underground world of gay bars in Hartford. In the midst of all of this, one day Cathy sees an unfamiliar black man walking in her yard. He turns out to be Raymond Deagan, the son of her late gardener, who is taking over his father's accounts. Frank often stays late at the office. One night when he says he is working, Cathy decides to bring him dinner, and she walks in on him passionately kissing a man. He confesses to having had "problems" as a young man and agrees to sign up for conversion therapy. However, their relationship is strained, Frank's work suffers, and he increasingly turns to alcohol. Cathy runs into Raymond at a local art show and, to the consternation of onlookers, initiates a discussion with him about modern painting. After a party, Frank attempts to make love to Cathy, but he is unable to become aroused and accidentally strikes her when she tries to console him. The next day, Raymond catches Cathy crying and asks her to run some errands with him. She agrees, and they wind up going to a bar in a black neighborhood, where Cathy is the only white person present. They are seen together on the street by a gossipy acquaintance of Cathy's, and the woman immediately begins to stir up scandal. When Cathy attends her daughter's ballet performance, the mothers of the other girls shun her. Frank also hears about Cathy and Raymond and, in response to his anger, Cathy denies having an other-than-professional relationship with Raymond and says she has fired him to quell the rumors. She then tells Raymond that their friendship cannot continue, as it is not "plausible". Cathy and Frank go to Miami for New Year's to try to repair their marriage, but, at the hotel, Frank meets a young man and has another homosexual encounter. While they are gone, three white boys taunt and physically assault Raymond's daughter, Sarah, partly because of her father's rumored relationship with Cathy, and the girl is concussed by a rock thrown at her head. Frank breaks down and tearfully tells Cathy that he has fallen in love with a man and wants a divorce. When Cathy learns what happened to Sarah, she visits Raymond, who says he is moving to Baltimore in two weeks, as the rumors have destroyed his business and led his African-American neighbors to throw rocks through his windows. When Cathy tells Raymond she is going to be single and asks if she can come visit him some time, he stoically, but gently, rejects her, saying he has learned his lesson and needs to do what is right for his daughter. Cathy shows up at the train station to see Raymond off, and they silently wave to each other as the train leaves the station.