MDB __TWIN SOULS-FINAL Completer All Pages 1 through 120
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"TWIN SOULS"
(The Many Shades Of Violet)
Original Story & Screenplay
By:
Madia-as Digdigan Buenaflor
FADE IN
EXT. HORIZON - (IC/PT-INTENSE COLORATION/PURPLE TINT) - DAWN
SUPER TITLES as the SUN peeks from the horizon and its beams
glide across the serene ocean. FOLLOW the expanding light as
it awakens and stirs into a lively symphony -
EXT. VIRGINAL LANDSCAPE - (IC/PT) - SAME DAWN
- with the verdant mountains, where trees sway in rhythm with
the wind and chirping birds; with the exotic flowers that burst
in colors; with the clear stream water that dances with the
sparkling fish; with valley, plateaus, cliffs merging with all
of nature's creations and -
EXT. FORESTED WATERFALL (IC /PT) - SAME DAWN
- THE MAJESTIC WATERFALL.
MADIGAN, 30's, joyfully bursts forth from under the cascading
waterfall, a lilac camisole clinging to her svelte figure. She
radiates an engaging aura, and a lightness of spirit.
SPLASH ON SCREEN -
"TWIN SOULS"
(The Many Shades Of Violet)
A PURPLE BUTTERFLY alights on Madigan's long auburn hair, as
she lifts her arms in oblation, her eyes closed. Instantly,
myriad BUTTERFLIES converge above her.
And -- as the first rays of dawn splurge on her, she extends
her arms in welcome. Butterflies flutter in all directions,
once the glorious colors of the rising sun SWEEP --
- over the lush sylvan landscape, the placid ocean, and -
SEGUE TO
EXT. MANHATTAN, NEW YORK - (IC/PT) -SAME DAWN
- ACROSS the city infrastructure. And finally, like laser beams,
the colors rush to where the TWIN TOWERS once stood --- and ---
---from the gaping emptiness, thousands upon thousands of
resplendent BUTTERFLIES spiral up in celebration then merge and
recreate the Twin Towers, in all their grandeur!
---The Towers vibrate into a blinding light that converts
back into butterflies that joyfully soar to the heavens.
END OF TITLES
A solitary PURPLE BUTTERFLY gleefully flutters away from the
rest and above Manhattan, racing along with the simultaneous
O.S. SOUND of a variety of ALARM CLOCKS.
DISSOLVE TO:
INT. MANHATTAN, FLEUR-DE-LIS APTS.,MADIGAN'S BEDROOM - SAME DAWN
The O.S. SOUND of the alarm clock CROWING of a ROOSTER wakes up
PEGASUS, a white male MALTESE. He slides down from his miniature
bed, prances to Madigan's bed, leaps onto it, and licks her HAND.
FOLLOW Madigan's hand turn off the alarm clock as INSTRUMENTAL
CLASSICAL MUSIC with SOUNDS of water and birds, PLAYS.
Madigan caresses Pegasus, who snuggles against her face, while
the same Purple Butterfly nestles on her hair.
PULL BACK TO A HIGH ANGLE - as Madigan stretches in the same
lilac camisole, savoring the music and her every movement.
ANOTHER ANGLE - Madigan, a lady of impeccable taste, favors all
shades of violet, including a painting above her headboard of a
gazebo crowned with purple wisteria blooms, atop a grassy hill.
Pegasus sniffs Purple, and promptly it flits about the room; its
presence AMAZES Madigan.
REVERSE ANGLE - Madigan addresses the potted plants and Purple.
MADIGAN
Thanks for filtering my air...and for
the company. "Purple," my dear friend,
how in the world did you get in here?
Madigan's P.O.V. - Purple hovers by the sliding glass doors to
the balcony, where potted plants make up a hanging garden at
Madigan's high-rise apartment, that overlooks Central Park.
She opens the door, allows Purple to fly out, lifts Pegasus.
MADIGAN (CONT'D)
Isn't this a glorious day, Pegasus?
INT. BERNARD'S MANHATTAN PENTHOUSE TERRACE - SAME DAWN
A life-size marble STATUE of a Pegasus prominently stands by
the entry to the open terrace, that overlooks Central Park.
BERNARD, in short silk kimono, sits at the terrace in a lotus
position, facing the splendor of dawn in the panorama beyond.
REVERSE ANGLE FAVORS BERNARD, in meditation; in his forties,
virily-handsome, composed, self-assured gentleman, who emanates
a quiet dignity; his stance, reflective and reposeful.
ANOTHER ANGLE -
Bernard stands and does his T'AI CHI rites.
INT. FLEUR-DE-LIS APTS., BROOKE ADLER'S BEDROOM - SAME DAWN
An alarm clock RINGS ONCE. BROOKE, 30, a petite dynamo with
avant-garde taste, hops down from a high-tech bed, assumes a
defensive karate move, marches to a desk, turns on her
computer to a schedule -
- ON SCREEN, and TYPES -- HELLO PARIS!
6:00 A.M. - RISE and SHINE, jog, etc., etc.
9:00 A.M. - JFK AIRPORT 12:00 NOON - FLIGHT TIME
She doffs an imaginary beret and sprints OUT OF FRAME.
SWIPE TO the luggage by the door. Brooke skips BACK INTO FRAME,
now, in jogging suit. WHISTLING "Vive La Campagne", she marches
OUT OF THE BEDROOM.
INT. FLEUR-DE-LIS APTS., CHANDLER RAINS' BEDROOM -SAME DAWN
CHANDLER, in short silk sleepwear, GLIDES to the Boulle divan
to TANGO MUSIC, picks up a short robe for an IMAGINARY
PARTNER, and draws open the drapes with a FLOURISH.
He is a tall, trim, impishly good-looking, flamboyantly
elegant, Oxford-accented, cultured gentleman, in his 30's.
INT. FLEUR-DE-LIS, MADIGAN'S BEDROOM BALCONY-SAME EARLY MORNING
Madigan moves expressively to INSTRUMENTAL MUSIC - gliding,
twirling, greeting each plant; Pegasus spinning and rolling.
MADIGAN
Good morning...good morning! Wow...
your color is more intense today, and
you've grown quite a bit, too.
(she notices a PUPA on an
orchid; looks closer)
Now...what do we have here?
C.U. Of the PUPA starting to METAMORPHOSE.
PULL BACK to INCLUDE Pegasus, restlessly twirling.
MADIGAN (CONT'D)
Go...you can do it...yes you can.
Pegasus runs to the bedroom open bathroom with twin toilets
between a waist-high partition; a 3-step booster beside one.
Pegasus gets up the booster, raises the toilet seat with a
paw, relieves himself, presses down the flush handle, drops
the toilet seat, steps down, scampers to Madigan, and leaps
up to her, while Purple alights on Madigan's hair, unnoticed.
MADIGAN (CONT'D)
Good job, Pegasus.
(whispers
conspiratorially)
Now, let's watch nature's wonder at work.
ZOOM IN to the PUPA. It's metamorphosis is now completed -
the delicate, flimsy, "WINGS" a colorful butterfly emerges.
ZOOM OUT to INCLUDE the excited Madigan and Pegasus. As the
butterfly settles on a cattleya, she puts down Pegasus.
LOW ANGLE -
Madigan looks down from her balcony, cupping the butterfly
between her palms. ZOOM UP towards the balcony.
MADIGAN (CONT'D)
Welcome to the world WINGS! I think
you better start from a less dizzying
height, than swooping down from here.
INT. BERNARD BRADSWORTH'S PENTHOUSE - SAME EARLY MORNING
CONTINUE ZOOMING UP -
- to Bernard's terrace as he sips his tea, listening to a
PIANO SOLO. He is now in a long kimono.
FOLLOW Bernard to the adjacent breakfast room.
ARTHUR - Bernard's butler, brings in Bernard's breakfast of
fresh fruits and orange juice. He is an Englishman - 60's,
affable, mild-mannered, fatherly, and dignified-looking.
BERNARD
How are you this morning, Arthur,
and how's your knee?
ARTHUR
It's another lovely day, Bernard,
and the knee is much better. The
herbal balm helped, indeed!
BERNARD
I'm glad to hear that.
The telephone RINGS. Arthur turns to answer.
BERNARD (CONT'D)
I'll take it.
FOLLOW Bernard to the phone as Arthur limps OUT OF FRAME.
BERNARD (CONT'D)
(on phone, cheerfully)
Grandma, how are you? (listens) Oh,
yes...yes! I like that very much.
(listens) I love you, too. See you.
Arthur ENTERS FRAME with Louis Vuitton overnight and garment
bags, and VIOLIN and SAXOPHONE, in CASES.
BERNARD (CONT'D)
I won't make it to my flight, not
at nine this morning, but nothing's
more important than breakfast with
Grandma. Please, call Ms. Kendall
for a noon flight, instead.
ARTHUR
All right. (a beat) You are to your
Grandma Eloise, what the sun is, to
plants. You make her eyes sparkle.
BERNARD
And she, to me. (a beat) Thank you for
packing my violin. I'll leave the sax.
ARTHUR
Fine. You are wise to have music in your
life...it's elixir to the soul. It kept
you company growing up.
EXT. FLEUR-DE-LIS APARTMENTS - SAME MORNING
FULL SHOT of the high-rise complex. Madigan, in jogging
shorts, at the gated garden; Pegasus' leash around her wrist;
Purple on her hair. She notices Purple only as it flies away.
ANGLE ON - Madigan opens her palms and Wings flaps and flits
from flower to flower while Pegasus excitedly wags his tail.
MADIGAN
Higher "Wings"...you can do it!
Wings soars, a prism of lights plays thru its gossamer wings.
MADIGAN (CONT'D)
Let's exercise those legs, Pegasus.
Brooke, in jogging suit, trots through the gate, puffing.
BROOKE
Bonne jour Madigan ma bone amie.
(tousles Pegasus' head)
Comment allez-vous, Pegasus?
MADIGAN
Wow Brooke...you met a French jogger?
BROOKE
Pardon moi. I'm talking Paris here.
(a beat) You are packed, aren't you?
MADIGAN
(plays innocent)
What about Paris?
BROOKE
(hands akimbo, exasperated
MADIGAN!!!
Madigan starts to walk out the gate, Pegasus in tow; turns,
lets out a hearty laugh, doffs, and waves at Brooke.
MADIGAN
Au revoir! Pegasus will fly me to
gay Paree.
EXT. BRADSWORTH ESTATE GROUNDS, SOUTH HAMPTON - SAME MORNING
Bernard finishes breakfast with ELOISE BRADSWORTH, who sits
across him at a table under a tree; the mansion behind them.
Eloise is in her 70's, white hair, frail, but not sickly; her
serene lined face still delicately beautiful.
BERNARD
Breakfast is delicious, Grandma.
ELOISE
Why didn't you tell me, that you
have a scheduled flight to Paris?
CHANGE ANGLE - Eloise and Bernard stand and amble, facing the
ocean.
BERNARD
And miss your company? There'd be other
flights. Did you ever think that your
only grandson will pass this up?
ELOISE
I'm glad I have you all to myself while
your grandpa plays golf with North.
BERNARD
Great. No business for a change.
ELOISE
Let's hope not, for North Thorpe does
nothing but business. It's time, that
Grant let's you take over the Company.
Come, walk me to the koi pond, dear.
ANOTHER ANGLE - They feed the KOIS from the pond bridge.
BERNARD
It's amazing how the kois, so rich
in color seem unaffected by such
gift.
FLASH BACK - BERNARD WATCHES himself, at 7, with his DAD and
MOM; all in party attire. He cowers from the PAPARAZZI'S
FLASHBULBS; his dad shields him; his mom relishes it.
ELOISE (V.O.)
It's an act of kindness not to flaunt
one's excesses to those who have none.
Bernard listens pensively as he walks Eloise down the bridge.
ELOISE (CONT'D)
I remember we were walking at Central Park,
you were seven, barely started on your
cotton candy, when a little girl kept
staring at it, and you just gave it to
her. I'll never forget the joy in your
eyes, when you saw how ecstatic she was
with your cotton candy all over her face.
BERNARD
I remember.
ELOISE
And Robin, she reminds you of how
you felt then?
BERNARD
Yes, I love seeing her happy.
ANGLE ON a Pegasus-shaped hedge by the rose garden. Eloise
touches the Pegasus, fondly; Bernard by her side.
ELOISE
You found a friend in Pegasus, so your
grandfather made sure you had Pegasus
everywhere. Remember what you told us?
BERNARD
Pegasus flew me, wherever I wanted to.
ELOISE
Very often, to heaven, to visit your
Mom and Dad.
BERNARD
That, too.
Eloise motions Bernard to the bench overlooking a waterfall.
ELOISE
(looks at him, kindly)
Kindness is not to be mistaken for
something else, but kindness. Being kind
to someone is not being in love. It may
sustain us thru time, but it's a poor
substitute to being in love and being
loved. Our hearts should be nourished
with love, for us to continue giving,
lest it drains us.
I hope, you found in Robin, what you've
been waiting for, all these years.
A PURPLE BUTTERFLY alights on Bernard's shoulder. He and
Eloise regard it with WONDERMENT, as it sprightly flies away.
ELOISE (CONT'D)
Always follow your heart, my dear.
INT. FLEUR-DE-LIS HALLWAY - SAME MORNING
Madigan and Brooke, in chic travel clothes --dragging their
luggage, emerge from their apartment; Brooke with beret,
backpack and briefcase; Madigan with hat and shoulder bag. A
long flimsy LILAC SCARF drapes over Madigan's left shoulder.
Chandler appears from his suite across the hall in a stylish
outfit with garment bag over his shoulder, and a luggage.
CHANDLER
Bonne jour, Mademoiselles Madigan
Bloom...Brooke Adler.
MADIGAN & BROOKE
BON JOUR, Monsieur Chandler Rains.
They curtsy and doff; laughing as they turn to the elevators.
INT. JFK AIRPORT, LUGGAGE CHECK-IN AREA - SAME MORNING
Brooke, Chandler, and Madigan are next in line; Madigan
frantically digs into her shoulder bag. An IMPATIENT MALE
PASSENGER GLARES at Madigan. Brooke gives him a look. He
RECOILS.
MADIGAN
I can't find my ticket and passport.
BROOKE
It's all right. Let's step aside.
CHANDLER
We have time, keep looking.
MADIGAN
I must have left it. I've got to go back.
BROOKE
Yeah, okay...go. We'll wait for you
before we check these in.
CHANDLER
You want me to accompany you?
MADIGAN
No, thanks I'll be right back.
INT. JFK AIRPORT VIP LOUNGE - SAME MORNING
CRAIG FREMONT, 30's, energetic and passionate, Bradsworth's
Int'l. Dev. Corp. Legal Counsel and Bernard's friend and
college mate, anxiously paces and talks on his phone.
CRAIG (ON PHONE)
Bernard, I've the docs you wanted. I'm
at the VIP lounge, where are you?
EXT. JFK AIRPORT - SAME MORNING
Bernard steps out of the limo, cell phone and briefcase in
hand. His chauffeur, RALPH, 20's, plump and sunny, follows
him with the violin case, and a garment and overnight bags.
BERNARD(ON PHONE)
Right here, Craig...just a few short
steps from you.
INT. JFK AIRPORT TWO-WAY/SIDE-BY-SIDE ESCALATORS-SAME MORNING
Madigan hurriedly gets on the DESCENDING ESCALATOR as Bernard
steps on the ASCENDING; Ralph following, five people behind.
SHOCK SHOT of Bernard as he looks up at Madigan.
REVERSE SHOCK SHOT of Madigan looking down at Bernard.
ANOTHER ANGLE - Instant inexplicable recognition between
Bernard and Madigan. A magnetic attraction. THEME MUSIC PLAYS.
INTERCUT FACES of MADIGAN and BERNARD - as the escalators inch
on - bringing them closer and closer - and suddenly, a COUPLE
OF RUNNING PASSENGERS whisk behind them, thrusting them to
each other - face to face.
The world freezes! In the magic of the moment! And when
everything resumes, an end of Madigan's LONG FLIMSY SCARF,
gets caught beneath Bernard's hand without them noticing it.
They slowly part farther as the escalators continue to move.
The scarf gradually loosens --- trailing from Madigan's
shoulder, its one end still under Bernard's hand, connecting
them with a shimmering cord. Their eyes long to hold on as
they look back, not wanting to let go of such wonder.
CHANGE ANGLE - Once Madigan reaches down, she hurriedly steps
off the escalator, and races thru the crowd towards the exit
door; instinctively looks back in wonderment, again and again.
Upon reaching the top, Bernard steps off, finds the scarf in
his hand, and realizing, who it could belong to, immediately
gets on the descending escalator, with excited anticipation.
Bewildered, Ralph follows, luggage and all.
Madigan is now running thru the crowd, looking back
occasionally, not seeming to understand her action, but
likes it.
Now Bernard is also running through the same crowd trying to
catch up with Madigan; Ralph following from a distance.
As Bernard nears Madigan, she looks back at him -- but bumps
against the oncoming hurrying passengers. Her shoulder bag
slips off, its contents spilling all over the floor.
Bernard's phone RINGS, and reaching for it, fails to dodge
the rushing passengers, that bump him. Phone and PEN fly off;
the pen landing on the floor under Madigan's HANDKERCHIEF.
Bernard stops, returns the scarf to Madigan, who gratefully
acknowledges, and helps recover her scattered things.
Once again, Madigan and Bernard are face to face with no
words exchanged; just a deep look into each other's eyes.
CHANGE ANGLE - Madigan stands to go, notices her handkerchief,
picks it up, tucks it in her jacket pocket, and races thru the
crowd; preoccupied with her misplaced ticket and passport.
Bernard retrieves his cell phone between rushing feet-- sees
beside it a CONTACT LENSES CASE, picks it up and speeds past
the thickening crowd, that comes from opposite directions.
ANGLE ON BERNARD, who nears the exit door, raises the contact
lenses case, and tries to get Madigan's attention.
BERNARD
Miss, your (mumbles) eye accessory.
MADIGAN walks out the door without seeing Bernard.
EXT. JFK AIRPORT SIDEWALK - SAME MORNING
MADIGAN hails a taxi and gets in. Bernard emerges from the
door in time to catch a glimpse of Madigan as she closes the
taxi door. The taxi SCREECHES away.
Ralph is now following immediately behind Bernard.
BERNARD (CONT'D)
(calls after the taxi)
You'll need this! (a beat)
Ralph...let's follow that cab.
RALPH
Yes, sir!
EXT. FREEWAY - SAME MORNING
The limousine zigzags thru traffic, still far from the taxi.
INT. TAXI - SAME MORNING
WINDOW SHOT FAVORING MADIGAN. She rummages thru her bag --
sweating and muttering.
MADIGAN
Where's my handkerchief? I need my...
She dips her hand into her jacket pocket, and fishes out her
handkerchief, then discovers Bernard's pen enwrapped in it.
C.U. OF the gold pen with SILVER RELIEF FIGURE of a PEGASUS.
Angle on MADIGAN, intrigued by the pen in her hand.
MADIGAN (CONT'D)
Where did this come from?
(brightens) Could it be his?
ANGLE ON the TAXI DRIVER, a Hindu, wise-looking man. He
glances at Madigan at the front rearview mirror.
TAXI DRIVER
Are you all right, Miss?
MADIGAN
Not at all. I misplaced my ticket and
passport, and found this pen, instead.
TAXI DRIVER
Sometimes when we lose one thing we
find another. Who knows if what you
found could lead you to what you
are looking for.
Madigan ponders, then dips her hand into the other pocket of
her jacket, and is astounded to find her ticket and passport.
MADIGAN
Wow! I found my ticket and passport!
TAXI DRIVER
Things work out, don't they?
MADIGAN
Oh yes...they sure do. Please, drive
back to the airport. Hurry, please.
EXT. FREEWAY - SAME MORNING
The taxi makes a sharp lane change to the off-ramp, and finds
a heavily-congested traffic caused by an accident.
INT. BERNARD'S LIMOUSINE - SAME MORNING
RALPH
Oh no! Sir, Mr. Bradsworth, I can't
believe this. I just lost the cab.
BERNARD
Well, we tried. Drive back to the
airport.
INT. JFK AIRPORT CHECK-IN COUNTER - SAME DAY
Chandler, Brooke, and Madigan are running to the ticket check
in counter, dragging their luggage.
BROOKE
Let's try checking in our luggage
at the ticket check-in counter.
MADIGAN
Sorry about this.
CHANDLER
Nothing happens for no reason.
As the three reaches the counter, panting but relieved -
COUNTER LADY
Sorry. The plane just taxied to the runway.
MADIGAN
I tried, but the traffic was too heavy.
BROOKE
Oh well, we'll book another flight.
CHANDLER
It's wonderful when we accept things
that are beyond our control. Imagine
the energy we save ourselves.
BROOKE
Yeah, yeah, Chandler I'm learning. I
hope there's a LOGICAL explanation ...
a REALLY...TRULY GOOD reason.
CHANDLER
Logical, maybe not; reason, ABSOLUTELY!
For the best? ALWAYS!
INT. JFK AIRPORT VIP LOUNGE - SAME DAY
Craig in a panic as he sees the plane preparing to take off.
Bernard, calm, and a still excited Ralph, approach Craig.
BERNARD
Hi, Craig!
CRAIG
What happened to the few short steps?
Now... don't tell me you got lost.
BERNARD
Just the contrary...I'm found. Something
needing no explanation, happened. (a beat)
Something..."DELICIOUSLY HEAVENLY"...!
Craig hands folders of docs to Bernard, who shows no interest.
Ralph tries to contain his excitement over his boss' pursuit.
CRAIG
How about Paris?
BERNARD
Call Ms. Kendall. I'll take the 12
noon with Robin, tomorrow. Also to
inform the Human Rights Committee I
can make it to the meeting.(a beat)
It's a lovely day, Craig. Smile!
CRAIG
What else is there to smile about,
Bernard? (a beat) Anytime you need
these docs.
O.S. SOUND of CRASHING IMPACT followed by SCREAMING of horror.
Bernard, Craig, and Ralph turn to look.
THEIR P.O.V. - A SMALL PLANE CRASHED AGAINST BERNARD'S PLANE.
CRAIG (CONT'D)
That's your flight. Whoever your
"deliciously heavenly" vision was,
just renewed your lease to life.
BERNARD
Ever believe in synchronicity?
INT. JFK AIRPORT GLASS WALL AREA - SAME DAY
Madigan, Chandler, and Brooke, see thru the glass, FIRE and
SMOKE raging high into the air. The crowd is in shock. Brooke
and Chandler turn to Madigan in disbelief and relief.
BROOKE
That was our plane. You saved us.
MADIGAN
And...all the time I had my ticket and
passport with me...here in my pocket.
BROOKE
What a coincidence! And for a reason.
CHANDLER
Absolutely! Always! Without fail! But
coincidence? Oh no! Synchronicity
happens everyday, but we seem not to
pay any attention. Pity!
ANGLE ON Madigan bewildered, beside her Brooke, now pensive.
INT. BERNARD'S PENTHOUSE TERRACE - THAT NIGHT
Bernard stands at the terrace, passionately playing his VIOLIN,
composing a hauntingly romantic melody for his "deliciously
heavenly" vision; the FULL MOON and DISTANT STARS, his audience.
Behind, Arthur enters with Bernard's tea, stops, and quietly
leaves Bernard alone with his music.
INT. FLEUR-DE-LIS, MADIGAN/BROOKE'S LIVING ROOM - SAME NIGHT
A tranquil Madigan, stands by the flourishing blossoms at the
balcony, and like Bernard, gazes at the same full moon and
stars; Pegasus beside Madigan, goggling up at the moon.
SPLIT SCREEN SHOT - Bernard plays his violin, at one side; at
the other, Madigan in reverie. As the playing ends ---
WIPE OUT Bernard and FOLLOW Madigan as she holds Pegasus and
STROLLS to the AQUARIUM in the LIVING ROOM. O.C. KNOCKING ON DOOR.
ON BROOKE who lets in Chandler; both in robes. He holds up a
PLATTER of CANAPES. They walk to the living room passing Madigan,
who seems mesmerized by the FISH she is feeding.
BROOKE
Hey, so did you call Pierre about our
7:00 p.m. Flight tomorrow?
CHANDLER
Oui! And had to calm him down when I
mentioned the plane mishap. Miraculously,
there were no fatalities! The N.Y. Fire
Dept. Did an excellent job, indeed!
Chandler sets the platter on the coffee table --- both he and
Brooke raise canapes in a toast, then lounge on the sofa.
BROOKE
Thanks, up there. Thanks F.D.N.Y.
Here's to life! (a beat) I called
the office. Per Marie, Felicia
Thorpe is coming tomorrow at 9:00 a.m.
No problems, I hope. It's good we
missed our flight today.
CHANDLER
Right. I still get that shiver, just
thinking about it. That was a very
close call, indeed!
BROOKE
I'm not talking about the...Oh, can we
just let the plane incident rest?
CHANDLER
Sure! But not to worry about Mrs. Thorpe.
Our staff could manage any situation.
Madigan, smiling blissfully, dreamily ENTERS FRAME, takes a
canape' for Pegasus, who instantly gobbles it up.
BROOKE
What's the dazed look ... for?
CHANDLER
Beatific, I should say. When love
whispers, everything turns melodic,
poetic...mystical. Just perfection!
BROOKE
Hmmm, is it Mr. Millionaire? Or
someone else?
CHANDLER
(sings with gusto)
Ah sweet mystery of life at last I
found thee...
Madigan picks up a canape' for Pegasus and dreamily turns away.
BROOKE
I really have to talk to her.
CHANDLER
Can't you see? She's not here. She's up
among the stars...or somewhere...
INT. FLEUR-DE-LIS, MADIGAN/BROOKE'S LIVING ROOM - NEXT MORNING
Brooke breezes thru the room, leaves a briefcase and laptop by the
vase of red roses on the dining table, goes to the kitchen, pours
a glass of milk, and drinks in one long gulp.
MADIGAN (O.C.)
Hold it, Brooke!
CLOSE SHOT of Brooke who reacts, and abruptly stops drinking.
PULL BACK to INCLUDE Madigan gliding seductively towards the
dining room, in office outfit; Pegasus strutting behind her.
MADIGAN (CONT'D)
We're alive. Our business is doing
extremely well, so choking yourself is
totally unnecessary and NOT SMART for
someone whose I.Q. is way...way...up
there. A toast to life , is more
appropriate, don't you think?
BROOKE
Yeah...yeah...Chandler and I did that
last night..with canapes. (a beat) And
about the choking bit, did you ever think
I will make it easy for you and Chandler
to go mansion-shopping with my share in
our company? (a beat) Chandler must be
waiting. The Felicia Thorpe thing. By the
way, more roses from Mr. Millionaire.
Madigan reads the card, smiles, and smells the roses.
MADIGAN
He's asking me to see him for lunch.
BROOKE
Ah...a persistent and lavish romantic.
MADIGAN
About Chandler...not to worry. We've
plenty of time. Hmmm...Chandler may
just be in one of his creative moods.
His way of refocusing when he's fazed,
edgy as in escaping a plane collision.
That kind of edgy.
BROOKE
Yeah, yeah, I get that part of it,
but when something is about to explode
as the Felicia Thorpe thing, he
refuses to worry, or speculate until
that thing actually materializes.
Madigan kisses Pegasus, ambles to the front door; Brooke trailing.
MADIGAN
Then, with a clear mind, he crosses
the bridge. Makes sense, doesn't it?
BROOKE
To him maybe it does. I don't let the
wheels turn on their own. I'd rather hold
the rein. (a beat) Why do you think
Felicia Thorpe wants to see us...again?
MADIGAN
More changes? Cancel the contract? Her
daughter says no wedding? Take your pick.
It won't bother me, if it's reasonable.
BROOKE
(rattles off breathlessly)
Has Felicia Thorpe ever been reasonable?
How about change thousands of white
roses we've already ordered, to fuchsia
orchids we have no idea where to order
at this late date because she likes to
see her daughter wear violet contact
lenses and demands everything to reflect
the color of her eyes?
INT. FLEUR-DE-LIS HALLWAY -SAME MORNING
They walk out of the hallway towards Chandler's door ---
MADIGAN
"Tell us your dream, we will make it
happen." Does that sound familiar?
BROOKE
Yeah...yeah...I was just kidding.
MADIGAN
Me, too.
They laugh. Brooke gapes at a NOTE on the door.
BROOKE
He prepared breakfast. He's in his
creative mood all right. So, how did
you know? A whisper from the wind?
MADIGAN
Nothing of the sort. (touches nose)
I trust this ...old reliable one.
BROOKE
Not only is this complex sound-proof,
it's unquestionably, odor-proof.
MADIGAN
Oh sure. Scientifically-tested,
too. (a beat) I wish he'll serve
his cheese crepe. Don't you miss
it? I do.
INT. FLEUR-DE-LIS, CHANDLER'S SUITE - SAME MORNING
Chandler is at his designer's kitchen - an apron over a silk
outfit, totally comfortable, as a King is, in his kingdom,
amidst profusion of flowers.
CHANDLER
Entrez, Mademoiselles.
MADIGAN & BROOKE
Hi, Chandler, love!
They find an elegantly-set table with plates of fresh cheese
crepe. Brooke is agape as she regards Madigan.
BROOKE
Hey...you just wished for the cheese
crepe. Chandler hasn't made that for
ages. (a beat) How did you do that?
MADIGAN
(nonchalantly)
Just a guess...I guess.
CHANDLER
Or a strong wish...perhaps?
BROOKE
Really Madigan. You're being evasive.
Not missing a beat, Madigan sits, forks the crepe, savors it.
MADIGAN
I have NOOO IDEA what you are talking
about. THIS is truly THE ULTIMATE!
CHANDLER
Thank you my angels, my inspirations!
MADIGAN
(to Chandler, matter-of-factly)
Your phone. (a beat) Tell Claude, Mitzi's
taking care of Pegasus. Not to worry.
PHONE RINGS. Chandler and Brooke eye Madigan suspiciously.
CHANDLER(ON PHONE)
Hello, Claude? Don't worry, Mitzi's
taking care of Pegasus. (a beat) Am I
missing something?
Madigan continues to eat, smiling at Chandler and Brooke.
INT. BERNARD'S BEDROOM - SAME MORNING
Bernard is on the phone, in office outfit. On the line is MISS
KATE KENDALL, his fortyish secretary, whose husky voice enunciates
every syllable distinctly.
KATE (O.S.-ON PHONE)
Yes, Mr. Bradsworth, the Int'l. Human
Rights Committee is informed of your
attending its meeting this morning at
nine. Your grandfather...
He straightens a WATER COLOR of Pegasus above his headboard.
KATE (O.S.-ON PHONE) (CONT'D)
...wants you to attend an emergency
meeting at 11 a.m. today on the Bronx
Dev. Project with Mr. Thorpe. You won't
make it to your noon flight to Paris.
However, there is one at 7:00 tonight,
or noon tomorrow.
BERNARD (ON PHONE)
I'll be there, and seven tonight is
fine. Thank you, Miss Kendall.
INT. LIMOUSINE - SAME MORNING
Bernard reflects on a VIOLIN SELECTION. CELL PHONE RINGS.
BERNARD (ON PHONE-CONT'D)
(brightly)
Hello Robin!
EXT. THE THORPE ESTATE VERANDA, SOUTH HAMPTON - SAME MORNING
ROBIN, 22, blonde, tall, and slim. In spite her sophisticated
look, she exhibits both ebullience and innocence. She is by
the veranda that faces vast grounds and the ocean.
ROBIN (ON PHONE)
Darling, you won't be flying with me?
INT. LIMOUSINE - SAME MORNING - FAVORING BERNARD ---
BERNARD (ON PHONE)
Grandfather wants me to join him and
your father at a meeting. However,
I'm taking the 7:00 flight tonight.
EXT. THORPE ESTATE - SAME MORNING - REVERSE SHOT
ROBIN (ON PHONE)
Want me to change my flight to 7:00?
SIX WELL-GROOMED LABRADORS run towards Robin. She SHRIEKS
GLEEFULLY as the dogs romp with her.
ROBIN (ON PHONE)(CONT'D)
Call 911! I'm being abducted ... by aliens.
BERNARD
Want FBI? SWAT Team? MEDICS? (A beat) Use
mind over matter...Robin Thorpe!
ANOTHER ANGLE ON the THORPE ESTATE. Robin throws away her
shoes and the dogs scamper to retrieve.
ROBIN
So would you like me to fly with you?
SPLIT SCREEN with Robin and Bernard TALKING ON THE PHONE.
BERNARD
Oh no Robin, you and Felicia go
ahead and give yourselves some
headstart buying up Paris. (a
beat) And how did your your
essay turn out?
ROBIN
Just an "A+"... thanks to you.
BERNARD
Admit it, you're a talented writer.
I had nothing to do with it.
ROBIN
Except inspire me and believe in
me. A trophy of appreciation would
be appropriate for your decisive
vote in favor of my pursuing
Journalism over Father's dictum
that I Master in Matrimonial
Readiness for our BIG DAY! (waxing
romantic) All my life I breathe and
dream you. (giggles) How do I serve
thee ... MASTER?
BERNARD
I don't need a SLAVE!
ROBIN (ON PHONE)
If you say so, SIR! See you in Paris.
BERNARD (ON PHONE)
Before you could unpack.
SWIPE BERNARD OUT OF FRAME. PULL BACK FROM ROBIN to INCLUDE
six dogs running back with Robin's shoes. She evades them,
runs to the grounds, LAUGHING and SCREAMING into her phone.
ROBIN (ON PHONE)
I love you, Bernard Bradsworth!
INT. LIMOUSINE - SAME MORNING
BERNARD (ON PHONE)
Me, too. (a beat) Ralph, pick me up
at three. Go buy your school books.
Bernard hands the money. Ralph salutes thru the front rear
view mirror. Aghast at the amount, Ralph turns to Bernard--
RALPH
Thanks sir, Mr. Bradsworth.
REVERSE SHOT - The limo swerves, almost hit by an oncoming
car. Ralph over-compensates. LOUD SCREECHING SOUND of TIRES.
RALPH (CONT'D)
Sorry, sir...it won't happen again.
BERNARD
(calmly)
Take it easy pal - breathe...
INT. FLORAL WONDERS, INC. OFFICE - SAME MORNING
SHOT OF ELEVATOR OPENING to the 20th floor -
The TRIO (Madigan, Brooke, Chandler), springs out the elevator
and to FLORAL WONDERS, INC. reception. JOY, 20's, the pretty,
plump receptionist, brightens up as they near her.
JOY
Thanks Fairy Godmom, you're all fine.
MADIGAN
Yes, Joy, it's great to be alive!
BROOKE
We're expecting Mrs. Felicia Thorpe.
JOY
She's at the atrium with Lyle.
MOVING SHOT - Thy enter an office that's more like a garden.
THREE DOZENS EMPLOYEES, of varied ages and nationalities are
in high spirit. They greet the Trio cheerily.
As the Trio walks -- MARIE, 30's, sophisticated; CHRISTIE,
20's, fit and perky; and PAUL, 40's, artistic and energetic,
converge and walk along with them. They carry FOLDERS.
PAUL
Brooke, our orchid order confirmation
to Hawaii and Thailand. You're still
here, so be useful. Autograph, please.
BROOKE
Great. So Paul, are we on schedule?
PAUL
Like clock-work. Smooth, as always.
REVERSE MOVING SHOT - They're signing documents as they walk.
MARIE
Chandler, the amended Kern contract.
CHANDLER
Thanks, Marie. Love the details.
CHRISTIE
The Thorpe wedding is all ready to go.
I was at the shop. All's fantastic!
MADIGAN
That's good to hear, Christie.
Should we need more orchids for the
Thorpe wedding, could we manage?
PAUL
Not a problem. There's Indonesia.
BRAD, 20's, glides toward Madigan and hands a box of red roses.
BRAD
Another delivery from Le Millionaire.
Have a blast in Paree, ville de amour!
MADIGAN
Wow! (reads card; to self) I'll be there.
INT. ATRIUM - SAME MORNING
P.O.V. Of the Trio - Floral props and arrangements are in
progress. By the arch, FELICIA THORPE poses; her back to them.
Like her daughter, Robin - Felicia is tall, slim, and blonde.
Her hair pompously-coiffed. She turns and faces them.
Felicia, 40's, is heavily-made-up, and excessive in taste,
although with fine features. Chameleon-like, she could be
pleasant one moment, aloof and snobbish the next.
MADIGAN, BROOKE, CHANDLER
Good morning, Mrs. Thorpe.
MADIGAN
Shall we go to the office?
Felicia disapproves of LYLE'S presence, nearby. The Trio nods
at Lyle, who is in his 30's and winsome. He waves and leaves.
FELICIA
This is private enough. If there's
no mention of my daughter's fiance,
it's not an omission. He values his
privacy.
CHANDLER
We've handled celebrities, so we
certainly understand the need for
discretion.
FELICIA
There's been a leak. So we're
changing the site and date.
BROOKE
We've no problem there. Is it later?
FELICIA
A week earlier,and it will be at our
estate in South Hampton. You can see
the place when we return from Paris.
I fly at noon today. With my daughter.
CHANDLER
Isn't this serendipitous? We leave
for Paris tonight for my friend,
Pierre Du Bon's Fashion Show. Also,
an Associate is doing the florals.
FELICIA
We're attending that, too. I might give
him some business, my daughter's
trousseau. When are you coming back?
BROOKE
In two weeks. We've more than a week
for adjustments with the new location.
MADIGAN
Flowers are ordered and construction
work all done. We'll be fine.
FELICIA
I want this sketch in orchids, too.
MADIGAN
(checks the sketch)
We can do this.
INT. ATRIUM - SAME MORNING
MOVING SHOT OF THE TRIO walking cross the atrium by the
flower arrangements. Chandler fixes a thing here and there,
with flair, as they pass by. Brad excitedly joins them.
BRAD
(excitedly)
Claude called...RAVES...RAVES for the
florals at the breakfast reception.
MADIGAN
Wonderful! And the extra food order
for the center, was it done?
BRAD
(excitedly, with
flourish)
Of course! Claude wanted to let you
all know, that Sean, the caterer, finds
the whole concept delectably genius.
Mrs. B. likes the idea of extra food
order included in her catered party,
for donation to the center. She will
also ask her friends to do the same.
CHANDLER
Lovely! Please have the food
transferred to the wagon. We'll
deliver.
BRAD
Done!
Brad EXITS FRAME and the Trio continues on to their offices.
CHANDLER
One this afternoon, fine with you two?
BROOKE
Sure. But Madigan has a lunch date.
MADIGAN
Yes, but I'll make it for the center.
CHANDLER
Once again synchronicity works. Yesterday
the tiara for the Fashion Show wasn't
ready. It'll be finally ready today. Thanks
to our flight delay. Who'll pick it up?
MADIGAN
I will. Treasures Jeweler's on my way.
CHANDLER
Merci beaucoup. You're an angel.
EXT. THE INTERNATIONAL DEV. CORP. BUILDING - SAME MORNING
KEN, 60's, the doorman, opens the door for Bernard.
BERNARD
Hello Ken. How's the new grandchild?
KEN
Doing great, Mr. Bradsworth,
thank you.
INT. THE INTERNATIONAL DEV., CORP. OFFICE - SAME MORNING
As Bernard walks by, the LADIES vie for his attention, which
he politely acknowledges without encouraging.
Bernard's protective full-bodied smartly-clad, KATE KENDALL,
poses by the office. A plate reads: BERNARD BRADSWORTH - V.P.
KATE
Good morning, Mr. Bradsworth. Your
flight for 7:00 tonight is confirmed.
BERNARD
Thank you, Miss Kendall.
Kate proudly opens the door. He MOUTHS "thank you," and
before she follows him, she turns and throws the Ladies that
taunting victorious look. Eat your heart out.
REACTIONS from the Ladies - envy and disgust.
INT. BERNARD'S OFFICE - SAME MORNING
On Bernard's desk, a small Lalique pegasus; behind his desk,
the Manhattan architectural terrain. He leafs over
invitations. Kate waits for instructions.
BERNARD
Please send my regrets to Miss
Voss' dinner, Miss Spander's
luncheon, Ms. Rhode's soiree,
and Mrs. Foch's Debut Ball for
her daughter. Send five dozens
roses to Chaste Foch. Respond
with pleasure to all donation
requests.
Telephone RINGS. Kate answers with formal courtesy.
KATE
Mr. B. Bradsworth office, good
morning. (a beat) Yes, you'll
receive a press release on the
concert. He'll appreciate your
not printing his photo. Thank
you for your understanding.
BERNARD
Thanks. I'll sign the Human Rights
concert letters after the meeting.
KATE
Your grandfather is in the boardroom.
INT. BOARDROOM, INTERNATIONAL DEV. CORP. - SAME DAY
At the head of the conference table is GRANT BRADSWORTH, a
distinguished-looking gentleman in his 70's.
With him are -- NORTH THORPE - 50's, well-built, good
looking, over-bearing; BRUCE, 40's, Thorpe's Assistant; MRS.
LAMBERT, Grant's matronly secretary, and Craig.
Bernard enters the room. They acknowledge his presence.
BERNARD
Good morning Grandfather ... North
...Mrs. Lambert...Bruce...Craig.
GRANT
Dev. has looked into North's joint-
venture proposal. I want you to be
apprised with this.
Craig handles the slide presentation, showing the land area.
GRANT (CONT'D)
In the 40's we lived in the Bronx and
Father bought more land around us, but
when the neighborhood got blighted we
moved out. For decades we did not consider
doing anything with the property until
North presented me with his proposal.
NORTH
A year ago, confidential
information came to my attention
regarding the city's expansion plan
for the new millennium. My company,
in the last several months bought
every property adjoining the
Bradsworth's. With our combined
real estate holdings, we can
undertake a project of this
magnitude. Bruce will present what
the brains in our Design and
Development have created.
BRUCE
The North-Grant City!
ON SCREEN, RENDERING OF ULTRA-MODERN INFRASTRUCTURE.
BRUCE (CONT'D)
With its latest technology this will
serve as the base of global trends.
BERNARD
What's presently on the land?
CRAIG
Abandoned properties and squatters.
BRUCE
Thorpe Dev. has taken cared of the
occupants. We're ready to go.
GRANT
How about the displaced people?
Have provisions been made for
relocation?
NORTH
That is not our concern, Grant.
Property owners have been paid. We do
business, not subsidize squatters.
BERNARD
What kind of public facilities and
environmental measures do we offer?
NORTH
Only the best, for the exclusive
use of our residents and clientele.
This is our monument, Grant. The
peak of our achievements!
GRANT
Not at the expense of those who find
themselves homeless and excluded.
NORTH
Let's define our priorities Grant.
It's a developer's dream. (a beat)
Our part is cleared. How about yours?
BERNARD
Craig, what's the status on our part?
CRAIG
Notices to vacate have been served,
however, we discovered from the
Hall of Records, that one property,
smack in the center of the project
is deeded to someone in Paris.
NORTH
Offer an indecent amount of money.
CRAIG
We did, but received no response.
BERNARD
I'm flying to Paris. Craig, provide me
with the info. I'll see the owner.
Grant REACTS vehemently, which shocks everyone.
GRANT
NO! (composes himself) Bernard is
closing a big contract in Paris. I
don't want him distracted by this.
North, your architects can redesign
and build around that property.
NORTH
We're not going to allow a small
property owner to foil a venture of
two giant developers. If the owner
has not responded, whoever is there
must just be another squatter. Just
evict. Better yet, have the city
Department find some violations.
Stopping progress, is intolerable.
GRANT
NO! No dirt digging... no legalese.
(Exasperated)
I am too old for this.
NORTH
Let Bernard work with me. After all
we'll be family...very soon.
BERNARD
We will talk when I return from
Paris, North. Let's go home Grandpa.
Grandma worries when you get upset.
GRANT
Eloise always does. She should not
know about this.
Bernard helps Grant; Mrs. Lambert follows, concerned. North
stands, shaking his head. Bernard confers with Craig.
BERNARD
Check out the place, but whatever
you find, don't do anything until
my return.
CRAIG
Will do.
INT. RESTAURANT IN MANHATTAN - AFTERNOON, SAME DAY
The HOSTESS leads Madigan to a table in an exclusive glass
walled restaurant in a high-rise building in Manhattan.
THEODORE BEDFORD, 40's, welcomes Madigan. A tall, ruggedly
handsome man, he exudes power and wealth, yet looks worried.
THEODORE
Thank you for seeing me.
MADIGAN
What's wrong, Theodore?
The WAITER approaches. Theodore is unmindful of him.
THEODORE
I heard about the plane collision.
I just had to see you, before you
take another flight to Paris.
MADIGAN
(to Waiter; discreetly)
We'll order a little later. (a beat)
Theodore, the roses you sent were
lovely, thank you for your
thoughtfulness. (a beat) But at the rate
you have been buying up all those roses,
for the past four months, I'm afraid you
will drain all our suppliers.
THEODORE
It gives me much pleasure doing
anything for you. (a beat) You know
how much I value your friendship...
and...
MADIGAN
I know Theodore. You're a very dear and
caring friend. And patient. How many
invitations to Broadway premiers and
fund-raisers I've passed up? Yet, you
never crossed me off your guest list.
THEODORE
I would never do that. There is only
one name on my list. Yours, Madigan.
(He reaches over for her hand)
Please give me a chance to show you,
how deeply I care for you.
MADIGAN
Let's, let's not go there now, please.
THEODORE
I'm sorry. You have your trip to
think about. I'll be here waiting.
MADIGAN
Know what? Dinner's on me, when I
come back from Paris.
THEODORE
I can't wait. But please, it's on me.
MADIGAN
Sure, Theodore. (a beat) I'm starving.
THEODORE
My fault. It's insensitive of me.
Theodore motions for the Waiter. They laugh.
INT. THE TREASURES JEWELER - SAME AFTERNOON
Madigan walks to the counter of the TREASURES JEWELER.
GIGI
I'm Gigi. Does anything interest you?
MADIGAN
I've come to pick up a tiara.
GIGI
I'll tell the owner, Mr. Gerard.
She leaves Madigan, who is attracted to the display window.
ZOOM IN TO A C.U. Of an AMETHYST RING in a small heart-shaped
glass case with a caption beneath it. The ring, in platinum
setting is of two palms, male and female, also in platinum,
cupping two heart-shaped amethysts, entwined as twins.
While Madigan is enraptured by the ring, MR. GERARD, 40's,
cultured with charming manner, comes with the tiara box.
MR. GERARD
Pardon me Miss, you came for the tiara?
MADIGAN
Oh yes ... yes.
Mr. Gerard shows Madigan the high-styled tiara, and replaces
it in the box. He refers to the amethyst ring.
MR. GERARD
Beautiful, isn't it?
MADIGAN
It's...it's more than beautiful.
It's highly creative...imaginative...
In an emotional way. It touches me.
MR. GERARD
Impressive! I've never heard anyone
describe it that way. I love it. I'm
flattered. Let me get it for you.
Mr. Gerard brings out the heart-shaped case, sets it on the
counter, and hands the ring to a breathless Madigan.
MADIGAN
May I?
Mr. Gerard nods and Madigan wears it on her left ring finger.
MADIGAN (CONT'D)
Unbelievable...it reaches out to me.
MR. GERARD
If all my clientele have your eyes for
beauty and your heart that appreciates,
I'll be the happiest and most fulfilled
mortal in the cosmos.
MADIGAN
You're not bad yourself. No price?
MR. GERARD
Unfortunately, it is not for sale,
otherwise, I would love to have you
wear it. (a beat) It is a "Sweetheart
Ring." I display it for the passing
world to see and to remind us mortals,
that in spite all our craziness, one
thing is constant and immutable. For
indeed, the greatest of all.. is love!
MADIGAN
I agree. Wow, you've a gift for words!
MR. GERARD
A frustrated poet, who truly believes,
but cannot seem to hold on to its
magic; its promises. This says it all.
Mr Gerard hands the caption to Madigan who reads it aloud.
MADIGAN
"When you find your twin soul...the
Universe will let you know." Wow!
What inspired you?
MR. GERARD
A friend. I designed this as a dare. The
three of us, friends since first grade,
fantasized about everything...girls,
etc., etc. But one of us, the romantic...
the dreamer...the stubborn one...
Madigan gives the ring and Mr. Gerard reflects on it.
MR. GERARD (CONT'D)
...who sounded almost mystical, declared,
that he will only marry when he meets his
twin soul. Of course, we did not believe in
such a fantasy. Meanwhile, the two of us,
impatient and eager ones, are now on our
second and third divorces. How about that?
MADIGAN
And the third...is still waiting
for his...twin soul.
MR. GERARD
When he picks this up, who knows when,
or if ever, perhaps we will believe
that there's, in fact, such a thing as
twin souls...somewhere in the galaxy.
MADIGAN
Believe it !
C.U. Of Madigan FACE - BEAMING WITH HOPE.
EXT. SLUMS, SOMEWHERE IN THE BRONX - SAME AFTERNOON
PULL BACK from Madigan's FACE TO REVEAL her, sitting between
Chandler, who's driving, and Brooke. Chandler, in his black
T-shirt and black jeans; Brooke in aerobic tights and head
band. Madigan in body tights, a sarong-style-wrap, around
her waist. They sing along with Cher's "BELIEVE."
FOLLOW the STATION WAGON - "FLORAL WONDERS, INC." Painted on
its side, passing blighted streets of store-fronts progressing
to a no-man's land - a stretch of junk cars, tires, garbage,
abandoned buildings with graffiti, over-grown bushes.
The wagon slows down before a once-gated private property, a
faded sign hangs from the wrought iron arch that reads; "THE
POWER OF LOVE" CENTER. Ancient trees surround the area.
The wagon drives thru the missing gates, on a brick-paved
driveway, to a once-elegant, now weather-beaten residence.
EXT. "THE POWER OF LOVE" CENTER -SAME AFTERNOON
Chandler stops the wagon in front of the center. Above its
tall double-door, is its slogan, "LOVE CONQUERS ALL." MUSICAL
INTERLUDE - "The Power Of One" sung by Donna Summer.
Chandler parks the wagon beside the driver side of a VAN,
SENIORS' HEAVENLY SHELTER painted on an opened sliding door.
TEN MEN and WOMEN WAVE at the Trio, and proceed to the
center. The Trio WAVES back, and unloads the BOXES of food.
The DIAL-A-RIDE BUS parks beside the Seniors" van, 8 SENIOR
VOLUNTEERS step out, WAVE at the Trio. The bus leaves.
CHANGE ANGLE - As soon as the Trio and the new arrivals
disappear into the center, LILY, 10, a malnourished blonde
girl, sneaks out from the bushes, grabs a take-out plate from
the wagon, back to the bushes, and devours the food.
ANGLE ON an OLD MODEL CAR parking in the space just vacated
by the bus. The black driver, BOB, 20's - steps out with
ANTON, 60, and RAY, 50's; both shabby, each clutching a small
bundle of belongings. They look unsure and suspicious.
BOB
Come on...it's all right. Safer and
warmer here than the streets.
The two men hesitate, then trail Bob to the center.
INT. CENTER LIVING ROOM - SAME DAY
CARESSA FOURNIER, 70's an agile French lady, with white hair in a
French twist, and a lovely joyful face, gently touches Lily, who
sleeps on a bench at the bright and neat living/reception room.
Lily stirs and instantly gets up.
CARESSA
(with a hint of French
accent)
Hi, I'm Caressa. What's your name?
LILY
Lily...
CARESSA
Hungry?
Lily SHAKES her head "NO." Caressa extends her hand, smiling.
CARESSA (CONT'D)
Come, Lily, let's join the others.
HALLWAY - Caressa leads Lily and opens a door; both peep in.
P.O.V. - A ROOM - Brooke does aerobics with EIGHT YOUNG BOYS
and GIRLS and Eight Seniors, to "I Will Survive."
WE FOLLOW Caressa and Lily looking in at the NEXT ROOM.
Chandler demonstrates tango steps with JANE, to Seniors and
TEENAGE VOLUNTEERS and SIX HOMELESS MEN and WOMEN. Partners
tango spiritedly around the room, gliding by Caressa and
Lily.
ON Caressa and Lily MOVING ON, peeping into the NEXT ROOM.
Madigan, with 16 MEN and WOMEN SENIORS; TEENAGE BOYS and
GIRLS, all moving expressively to INSTRUMENTAL of "MISTY."
MADIGAN
Close your eyes, feel the music.
Fly. Be a butterfly, a bird. Be
free as the wind. Breathe deeply,
for the air is free to us all.
Inhale and be refreshed; exhale and
be cleansed. Dance with your
heart...with your soul...
They are inspired; swaying, stretching, leaping, spinning.
ANOTHER ANGLE - Lily looks up at Caressa, who nods. Lily
shyly joins behind the group. Madigan gives her a welcoming
smile.
P.O.V. Of Madigan - Lily tentatively, slowly moves to the music,
and soon enrapt in her own world, expresses herself freely.
MADIGAN (CONT'D)
Feel good about yourself...dare to
dream, for this, too, is free.
Truly, truly believe, for dreams do
happen...
Caressa smiles, closes the door, and strides DOWN THE HALL.
INT. CENTER STUDY ROOM - SAME DAY
Senior Volunteers, NONA, BURT, and CARL each helps TWO
PRETEENS BOY and GIRL with homework, counsels a distraught
10-year old MARIO and teaches computer to a TEENAGE BOY, a
TEENAGE GIRL, and a HOMELESS WOMAN.
INT. CENTER DINING ROOM - SAME DAY
Bob, FRED , and TESS, 20 to 30, unpack boxes of food, while
Anton and Ray eat from take-out plates, as Caressa enters.
BOB
These are real gourmet food,
Caressa.
CARESSA
Good Bob! No one could ever tell us,
how gourmet cuisine tastes like.
BOB
True! Isn't sharing just cool? Hey,
you beautiful people out there...
have parties with extra food
orders, and have your caterers pack
'em and send 'em out this way...and
to other places, too.
Fred, Tess, Anton, and Ray, CHORUS "AMEN" and APPLAUD.
CARESSA
That's the right spirit, Bob. The
positive way can go a long way.
INT. CENTER SECOND FLOOR BEDROOM - SAME DAY
Caressa looks pensively, at the two dozen bunkbeds. She
holds a typewritten LETTER. O.S. LAUGHTER and FOOTSTEPS
of the Trio.
BROOKE, CHANDLER, MADIGAN
(O.S., animatedly)
Caressa, are you there? We're
leaving. We just want to say
good-bye.
The Trio ENTERS FRAME, but surprised to see a sad Caressa.
MADIGAN
Is something wrong, Caressa?
Caressa hands Madigan, the letter. The Trio reads silently.
EXT. CENTER GROUNDS - SAME AFTERNOON
CARESSA and the Trio survey the grounds sprouting with blooms;
PAIRS of SENIORS and YOUTHS engaged in a variety of activities.
CARESSA
Isn't this sad to be evicted after
so many have found a home here?
MADIGAN
We can talk to the developers, and
request for an area for the center.
BROOKE
Yeah? If 2 and 2 don't add up to 4,
if there's no profit, forget it.
CHANDLER
At least ask. It's an opportunity
to show their humanity. Perhaps ask
for a facility for the homeless.
CARESSA
You're right. We have to believe
that they care. We need a nurturing
place for the temporarily
displaced; a place for seniors to
feel that they haven't outlived
their usefulness; that they're not
like fully-depreciated cars...
P.O.V. Of Caressa and the Trio - CHARLIE, late 60's, teaching
car repair to 3 TEENAGE BOYS, using a dismantled car engine.
CARESSA (V.O.)(CONT'D)
Our seniors have the wisdom and
experience they can share with
our youths.
BROOKE
You're an optimist, Caressa, in a
world that no longer seems to
encourage it.
CARESSA
Optimism is a gift. No one can take
it away, unless we give it up, but
why give up the force that sustains
us? Why give up the air? As Madigan
says, it's free.
CHANDLER
We are the unorthodox ones.
Remember, how we overcame the
obstacles on our homeless senior
youth efforts? We've disproved
the general opinion, that because
we would be dealing with what is
labelled as anti-social attitudes,
this place could be a haven of
manipulative and destructive
elements. But because we respect
them, believe in them, they know
that they could be productive
again. They even enrich their
lives with music and dancing.
MADIGAN
Surely our spirits need to feel good.
CARESSA
What we do maybe idealistic, but it
works. When the intention is honest
and born of love, miracles happen.
Love is on our side. Believe in its
power. So, developers, come see us!
BROOKE
We are dreamers. Face the real world.
CARESSA
Brooke, my precious child, we are
not dreamers...we are optimists.
The big difference is, we just
don't lie down under shady trees
on hot afternoons, dreaming for
things to happen. We're optimists
for we are doers. WE CAN!
THREE MALE SENIORS and TWO PRE-TEEN BOYS are RAPPING while
working on the vegetable garden. Caressa raps with them.
CARESSA (CONT'D)
When we turn work to play...
Muscle pains go away.
The group applaud; the Trio impressed by Caressa's spirit.
CARESSA (CONT'D)
I came from a world...and a time
more cruel than this. Hope, optimism,
we had to have, or we just fade
away. I love life, and here I am,
appreciating it more and more
each day.
They pass by Lily, braiding the hair of VERA, 70's, while
Burt shows Mario how to play drums, using old metal pots.
CARESSA (CONT'D)
Faith makes things possible, but
never promises us things would be
easy. So I make sure I have close
to my heart at all times, faith and
optimism. One, makes it possible, the
other, makes it, hopefully... easier.
They stroll by the flower garden tended by YOUTHS and SENIORS,
where butterflies flit from flower to flower.
CARESSA (CONT'D)
Go, enjoy Paris. Love be with you!
Look at those joyful and free
butterflies. Like love, they flit
from blossom to blossom, whispering
their song, till the world stills
to listen and sings in unison.
(a beat) Au revoir!
INT. AIRPLANE, BUSINESS SECTION - NIGHT
Madigan, eyes closed, sits between Chandler and Brooke.
C.U. Of MADIGAN'S EYES - SUPER - FLASH CUT (IC/PT)-PRESENT
AUNTIE ANGELA - late 30's, petite, bruised, is kicked by her
husband, BRUNO; middle-age, 6-foot, Pot-bellied hulk. He
raises a baseball bat, but Madigan CALLS, "AUNTIE ANGELA,"
and from behind, she jumps him, and bites his right arm. He
SCREAMS. SCENE FADES OUT.
BACK TO PREVIOUS SCENE - ANGLE ON - Chandler and Brooke,
eyeing Madigan, WHISPERING.
CHANDLER
Madigan, my fair lady, pray tell.
She opens one eye, peers at Chandler; the other, at Brooke.
BROOKE
(to Chandler,
conspiratorially)
About which? The whoever in her
life inspires her to waltz on cloud
ten? Or the Claude phone call, or
other 2-and-2-equals-five things?
CHANDLER
Come Madigan, love, confess. Please!
MADIGAN
(whispers back, evading)
Not my making. Things just happen.
CHANDLER
Which ones?
MADIGAN
All of the above.
BROOKE
All of the above could be explained
scientifically. Some of us are able
to use more than just 10% of our
idle brain. No mystery there. About
the odd look? Simply ask her. No
sweat.
CHANDLER
Not as simple as you think. Many
things can't be explained.
BROOKE
Oh, you're talking metaphysical.
Or psychic phenomena. Give me
something to chew on. (a beat)
Why are we whispering?
CHANDLER
It's discreet. About proof? One
day you'll have it. Maybe even
sooner.
Meanwhile, Madigan seems to sense a presence. She stands.
BROOKE
Now, what? Do we bail out, or what?
CHANDLER
Must have felt some kind of
vibration.
FOLLOW Madigan who sidles past Chandler, walks to the First
Class, is about to peep in, but STEWARDESS, 30's steps out.
STEWARDESS
You need anything, Miss?
Madigan stops, pauses, and smiles -
MADIGAN
No. Just stretching.
Madigan turns back, as the Stewardess closes the curtain.
INT. AIRPLANE, FIRST CLASS SECTION - SAME NIGHT
The Stewardess turns, walks by the aisle, smiles at Bernard,
who sits alone, drinking a bottled water. He smiles back.
STEWARDESS
(flirts subtly)
Mr. Bradsworth, interested in
juice...wine...liquor...tea...
coffee? Anything?
INTERCUT - Bernard politely shakes his head to her every offer.
BERNARD
No, thanks water is fine.
Bernard feels something appealing behind him; turns, smiles,
disregards it, and closes his eyes.
INT. AIRPLANE, BUSINESS SECTION - SAME NIGHT
Madigan is back at her seat. Smiling, she closes her eyes,.
CHANDLER
Enlighten us, Madigan. Something
is definitely brewing. You know
we care.
BROOKE
Yeah. Lots of square pegs in round
holes and vice versa...
Hey, you bit your lips? There's red
on your teeth.
MADIGAN
It's nothing...must be my lipstick.
EXT. ARC DE TRIOMPHE - DAY
PIERRE DU BON, a French gentleman, late 30, short, suave, and
charming, with eloquent hands, takes photos of his friends,
Chandler, Madigan, and Brooke by the Arc de Triomphe.
BROOKE
Pierre, mon ami, you make my first
visit, tres merveilleuse! I always
felt an affinity for anything
French. Like I've been here before.
PIERRE
Perhaps. (a beat) Enjoy the Eiffel
Tower.
FOLLOW PIERRE'S SWEEPING HANDS.
PIERRE (V.O.) (CONT'D)
The Palais Royal, Tuileries, Musee
de Louvre...
SERIES OF SHOTS - The group pose and take photos of the Notre
Dame, L' Opera, St. Madeleine, Palais du Luxemburg, Bois de
Vincennes, Le Grande Arche, etc. They mimic the MIMES, JUGGLERS,
FIRE-EATERS, and ARTISTS at the Pompidou center piazza.
EXT. CASTLE GROUNDS -ANOTHER DAY
Madigan, Brooke, Chandler, and Pierre are enjoying a picnic
on the lush grounds with the castle behind them.
MADIGAN
(excitedly pointing at
the castle)
That's my castle in the sand, as I
dreamed it, when I was a little girl.
CHANDLER
Dreams are indeed powerful when the
heart wills it. And little girls
and little boys have such magical
ways of making dreams come true.
They BELIEVE!
BROOKE
How did you find this place Pierre?
PIERRE
My favorite. (joyfully twirls
around) As a child, I promised my
little brother, mom frere, that
I'll take him here when we grow up.
BROOKE
(remembers; as if in a
trance)
This is weird. My older sister twirled
exactly like that, whenever she got
excited.(becomes emotional) She was such
an angel, and I was the ogre. While she
slept, I branded her leg with a hot
horseshoe, for good luck, I explained to
mother as she wrestled the hot stuff from
me and burned her arm, as well.
Chandler hugs Brooke and brushes her cheek gently with the
back of his palm. Brooke looks at him, uncomprrehendingly.
CHANDLER
Now...now little one..ma amie...hush.
BROOKE
(tearfully reminisces,
still as if in a
trance)
I was inconsolable for my misdeeds,
and she calmed me down just as
you're doing. "I still love you,"
she whispered, "and always will,"
mon fils, mon amour."
Laughing, Pierre flaunts his horseshoe birthmark on his shin
and Chandler shows off a horseshoe scar on his arm.
PIERRE
Lucky me, a painless birthmark
memento.
CHANDLER
And a free tattoo from birth.
BROOKE
I was a terror. (tearing) I wish
they know how sorry I am.
CHANDLER & PIERRE
(compassionately hug
Brooke)
Oh... they know.
Pierre pulls up Brooke, and they both twirl around laughing;
Chandler applauding. And Pierre bursts into a song.
PIERRE
Oui! Life is a carousel, my friends!
C.U. Of Madigan who smiles as she sees a different scene.
P.O.V. Of Madigan -
The SCENE with Pierre, Chandler, and Brooke BLURS and FOCUSES
BACK into (IC/PT) with them appearing as CHILDREN in French
peasant costumes; Pierre as a GIRL and Brooke, as a BOY and
Chandler as the MOTHER, 20's, contentedly watching.
MADIGAN
(watching scene;
confidently)
All will just be fine...you'll see.
BACK to the PICNIC - THE PRESENT - They're TOASTING happily.
PIERRE
By the way, how did you three meet?
BROOKE
I met Madigan at a shelter. I was a
disillusioned...messed up youngster,
with no place to go home to.
MADIGAN
And I was a scared...lost orphan.
CHANDLER
At Central Park, one Sunday, I came
across these two ebullient, smart young
ladies selling the most creative, most
poetic, lyrical, floral arrangements.
BROOKE
Our way of raising college tuition...
MADIGAN
...and this most gorgeous young man
listened to our business idea...just a
dream really...but he believed in us.
CHANDLER
And the rest is history, as they
say. Serendipity at its best!
PIERRE
Chandler here left Oxford for
Paris Otis Parsons, that's where
we met, ladies, in Art class. My
calling is to dress up the ladies;
his, to dress up the galas.
CHANDLER
The Universe conspires, indeed, and
shapes our ends. We just do our part.
PIERRE
But Chandler mon bon ami, besides
your successful business and your
volunteer work, what's your
dream, just for yourself?
CHANDLER
My fondest dream, wish, if you
will, is to be with friends, like
all of you, who respect, care,
love, and feel for me, as I for
them, and of course, appreciate my
cooking, and my many other talents.
But seriously, in the grand scheme
of things, I dream of a life with
one who's caring, and honest. A
life with someone, sans hypocrisy.
PIERRE
That's fantastique. You know exactly
what you want, and you'll have it,
mon amour. I can just feel it. (a beat)
And how about you Brooke, ma belle?
No one's caught your fancy yet? Why?
BROOKE
Because what I'm looking for, must
be in other planets. But I'm okay
where I'm at. Why be in a
relationship that will just cramp
my style...my freedom?
PIERRE
You must have a dream, ma bonne amie.
BROOKE
Dream? Oh yeah, but they will
remain just dreams. (seriously)
But yeah, I dream, too. That
someday out there in the galaxy,
is someone who can see thru this
super-efficient Brooke, the
scared girl, who dreads to repeat
the pattern of her parents' so
called-commitment, where one
spouse leaves the other, at a time
in one's life when opportunities
are no longer that available; when
it becomes too late for the one,
whose value had been completely
depleted and spent. And the body
worn out and all wrinkled up.
MADIGAN
Oh God, Brooke you can't believe
that. It isn't your pattern...
it's not you. We each shape our
own pattern.
CHANDLER
We're sorry about your parents,
but that pattern ends right now,
right here with you. Trust me on
this and believe!
PIERRE
I didn't mean this to happen. S'il
vou plait, have pity on my mascara.
Let's change the subject. (a beat)
If you have to place a "want ad"
how would it read?
BROOKE
This one I like. First, I'd place the
ad in the Intergalactic Bulletin, and
it would read: Looking for a tall,
(that's to improve our offsprings' DNA)
impishly good-looking, cultured (to
polish my rough edges), and a GENTLE
man, who'll love me despite my
shenanigans, for inside this fireball,
is but an iceberg waiting for passion
to melt it, and, of course, one who can
whip up gourmet cuisine.
Madigan and Pierre look quizzically at Chandler, who smiles.
BROOKE (CONT'D)
As a CPA, I believe in balance sheets,
but when I find one I'm in love with,
and who'll love me, there will be no
balance sheet, no 50/50 arrangements.
When I give, I give my 100%...my all.
CHANDLER
And if he gives you back 150%?
BROOKE
Then I'll give him back 200%. And
it'll be a relationship of endless
giving. If there is someone out
there who fits the bill.
MADIGAN
Sometimes when we look far (teases)...
we miss what's right under our nose.
BROOKE
Yeah? And where is that elusive one?
MADIGAN
(evasively)
I'll have to excuse myself, ma
cheri amour. That shade tree is
so inviting. Au revoir.
Madigan glides towards a shade tree, leaving the three agape.
EXT. SHADE TREE - SAME DAY
Madigan is sound asleep under the shade tree, the three not
far from her; the castle, a towering backdrop.
CHANGE ANGLE - Brooke, Chandler, and Pierre regard Madigan.
BROOKE
Don't you just envy her? She can
will herself to relax anytime,
anywhere.
C.U. OF MADIGAN. SUPER (IC/PT) on her FACE -
FLASH CUT - NIGHT, PRESENT - A hog-tied GLEN, 15, good-looking
lanky boy, his HEAD in PLASTIC BAG, is kicked out of a car
with CHEERING BOYS. The car SPEEDS away. Madigan BARGES INTO
FRAME, frantically biting the plastic bag open. FADE OUT.
CHANGE ANGLE - MADIGAN WAKES UP, deeply bothered. She walks
away from the three, who chat animatedly. But they notice and
Brooke CALLS AFTER HER.
BROOKE (CONT'D)
Slept well? Where are you going?
MADIGAN
I'll be by the lake.
EXT. THE LAKE - SAME DAY
Madigan sits by the lake, speaking to someone from long ago.
MADIGAN
I need to talk, Granny Lola. My
friends notice, and I don't want
to lie to them.
MADIGAN WATCHES A SCENE ---
EXT. LAKE, NOT THIS LAKE - ANOTHER DAY, LONG AGO
It is another lake; more idyllic, more rustic. CHILD MADIGAN, 8,
sits under a tree, beside LOLA, her great, great, grandmother.
CHILD MADIGAN
I'm scared, Granny Lola. Auntie
Angela said I shouldn't tell anyone
because they will think I'm crazy.
LOLA
It's a gift, Madigan, a special one.
CHILD MADIGAN
But I don't know what to do with
it. I'm just a little girl.
LOLA
Patience, child. In time you will.
Accept the gift with gratitude. God
only gives what we can handle. For
He is a kind and wise God.
CHILD MADIGAN
Do other children have this gift, too?
LOLA
We all have it, if only we pause to
listen. But yours is very special.
CHILD MADIGAN
Do you have this gift, too, Granny Lola?
LOLA
Yes, Madigan. Do you think I'm crazy?
Madigan shakes her head, "NO" and smiles up at Lola.
EXT. THE LAKE - SAME DAY, THE PRESENT
ESTABLISHING SHOT of the lake with Madigan walking along its
bank...pensively...reflectively.
LOLA (V.O.)
If everything we feel and everything we
know, we have to explain to those who
refuse to believe, we will be spending
our entire life explaining things,
because life is one mystery after
another. If we can only appreciate
life's wonders and together think
good thoughts, we can do good deeds.
And hopefully reinvent our world.
P.O.V. - The lake with water lilies. A kingfisher swoops down,
swiftly soars up, then releases a tiny fish in its beak.
LOLA (V.O. (CONT'D)
Mysteries exist whether we deny
or believe, whether we understand
or not.
ANOTHER ANGLE - Swans serenely bask, a weeping willow stands
in solitude, its branches thirstily reaching into the water.
LOLA (CONT'D)
Listen to your heart and you'll
not go wrong. Believe and be
unafraid.
MADIGAN
Thank you, Granny Lola. I feel
much better already.
EXT. BRIGHTLY-LIT CHATEAU - NIGHT
Limos and luxury cars unload GUESTS in masquerade costumes.
INT. CHATEAU GRAND STAIRCASE - SAME NIGHT
GUESTS, in period costumes with masks, step down the grand
staircase, and are welcomed by the hostess, the BARONESS.
Bernard, Robin, and Felicia are by the reception line, when
the Trio and Pierre arrive above the staircase.
Strong chemistry between the masked Bernard and Madigan.
WE FOLLOW Bernard, Robin, and Felicia as they saunter to the
elegant MUSIC ROOM. The Trio and Pierre ENTER FRAME.
Bernard and company continue on to the LIVING ROOM and on to
the DINING ROOM. The Trio and Pierre follow and merge with
other guests. Bernard and Madigan feel an uplifting presence.
At the ART GALLERY, the Trio and Pierre view the art collection of
paintings and observe the other guests, as well.
BROOKE
Who are all these people, Pierre?
PIERRE
The creme de la creme of Paris society.
BROOKE
So, what are we doing here?
CHANDLER
Playing creme de la creme. Pray
tell why, Pierre.
PIERRE
Our Hostess, the Baroness and many of
the guests are among my clientele.
BROOKE
Must be fulfilling, to say the least,
to influence Paris' haute couture.
CHANDLER
Absolutely! However, what I admire
most is how you, Pierre and other
benefactors show that sense of
"noblesse oblige." Just lovely!
PIERRE
Yes, it feels good to give something
back. This Masquerade Ball is always
a big fund-raiser for the Intl. Human
Rights Org. However, the Committee
has other fund-raising events as well,
like the Concert next week, which I
insist, you all attend.
ANOTHER ANGLE - Madigan gets absorbed by a PAINTING of the
GIVERNY RIVER and lingers in awe before moving on.
Bernard is drawn to the same painting, while Felicia and
Robin stop to talk to some of the guests.
EXT. CHATEAU GROUNDS AND GARDENS - SAME NIGHT
Madigan strolls, stopping by the fountain with dancing waters.
Nearby, Bernard, alone this time, finds the leaping waters,
appealing. Madigan feels exhilarated as Bernard nears her.
The O.S. PLAYING of the ORCHESTRA is HEARD and the strolling
guests and Madigan return to the chateau. Bernard follows.
INT. CHATEAU BALLROOM - SAME NIGHT
The Orchestra PLAYS the "MINUET" and guests in pairs move to
the center of the ballroom for the Minuet dance -
Madigan with Chandler and Brooke with Pierre join in;
opposite them, Robin with Bernard and Felicia with a KING.
During the switching of partners, Madigan and Bernard waltz
for a few turns, but the magnetism lingers on, way after the
dance had long ended.
INT. FASHION SHOW HALL - ANOTHER NIGHT
The Trio is among the chic audience at the Fashion Show. And
an impressive floral decor stands out.
The FINALE - WEDDING ENSEMBLE. The BRIDE, wears Chandler's
TIARA. Standing ovation greets Pierre Du Bon, on stage.
Across the ramp from the Trio, sit Felicia and Robin.
BROOKE
The floral of Maurice is fantastique.
CHANDLER
Fleur Magnifique Du Paris does wonders.
MADIGAN
And the tiara is fabulous!
INT. FASHION SHOW RECEPTION HALL - SAME NIGHT
The Trio, MAURICE & NICOLE, both French and ANYA, Danish, all
thirtyish, are with Pierre, when Felicia and Robin join them.
CHANDLER
Mrs. Thorpe, my friend, Pierre du Bon.
Pierre, Mrs. Thorpe, our client.
PIERRE
(kisses her hand)
Madam Thorpe, the pleasure is mine.
FELICIA
My daughter, Robin Thorpe; Robin, Pierre.
PIERRE
(kisses her hand)
Very pleased. Mademoiselle Thorpe.
ROBIN
I love your collection, Pierre.
FELICIA
We are buying for Robin's trousseau.
PIERRE
Marvelous! Merci! I'm thrilled.
ROBIN
My fiance missed the show, but he'll
meet us for dinner. We would love to
have you all join us. Please do.
CHANDLER
Thanks, but we are dining with Pierre
and our local associates. Please meet
Maurice and Nicole. Anya, our supplier
from Denmark.
After the handshakes, Pierre's well-wishers surround him.
MADIGAN
See you all in a while. Mrs. Thorpe,
Robin, see you back in the States.
They acknowledge and the Trio walks thru the animated crowd.
CHANDLER
Pretty and classy girl, that Robin.
BROOKE
For a very young, rich girl, she's
okay. Doesn't have her mother's air
or looks more like insecurity to me.
MADIGAN
I like her.
EXT. PARIS TRENDY RESTAURANT - SAME NIGHT
A taxi nears the restaurant where a haggard FRENCH MOTHER,
40, and a DAUGHTER, 8, hungrily peep at its glass window.
INT. TAXI - FAVORING BERNARD AT THE BACK SEAT, LOOKING OUT.
His P.O.V. - The DOORMAN, motions away the Mother and Daughter.
They move and sit by the sidewalk; eyeing the restaurant.
INT. TRENDY PARIS RESTAURANT - SAME NIGHT
On stage is the "CAN CAN." At the front table are Robin and
Bernard having fun; Felicia not pleased, whispers to Robin.
FELICIA
We're supposed to have a quiet
dinner.
ROBIN
Enjoy it Mother. It's Paris.
BERNARD
After my meetings, I welcome this.
Felicia nibbles with her appetizer, Robin and Bernard savor
theirs. Bernard looks bothered, SIGNALS for the MAITRE"D, and
discreetly WHISPERS an instruction. The Maitre'd NODS and
LEAVES. Bernard, now relaxed, resumes eating.
EXT. EIFFEL TOWER - SAME NIGHT
Madigan, Brooke, Chandler, Pierre, Maurice, Anya, and Nicole
step out of the limo, laughing. And as they look up in awe,
PAN UP to the top of the Eiffel Tower.
INT. EIFFEL TOWER, JULES VERNE RESTAURANT - SAME NIGHT
The HOSTESS escorts the group to a table with the view of PARIS
AT NIGHT, which looks like clusters of sparkling jewels.
INT. TRENDY PARIS RESTAURANT - SAME NIGHT
ROBIN
Try this, darling. It's very
French.
BERNARD
Whoa...how much wine is in here?
ROBIN
Tons! For a non-drinker like you, it's
an ocean, but you'll drown happy.
They laugh together with Felicia, who is by now, tipsy.
INT. HOTEL LIMOUSINE - SAME NIGHT
Felicia, Robin, and Bernard continue to enjoy a good laugh.
FELICIA
Know what I like most about French
cuisine? No need to spend on wine.
ROBIN & BERNARD
How so?
FELICIA
From the appetizer, to the dessert,
you'll get all the wine you ever need.
(giggles) For once I'm actually saving
your father, HUGE...BIG money.
They laugh, but Bernard stops as he looks out the window.
P.O.V. OF BERNARD - The French Mother and Daughter sit by the
sidewalk enjoying the gourmet food from take-out plates.
ANGLE FAVORING BERNARD, who smiles with a sense of peace.
INT. A FRENCH DISCO CLUB - SAME NIGHT
HIGH ANGLE of the DANCE FLOOR, crowded with beautiful people.
Robin and Bernard have fun on the dance floor, when his cell
phone RINGS. Robin playfully resists as he leads her to the
table, where Felicia is relieved to see them rejoin her.
Felicia shakes her head glaring at Robin, who wiggles in her
seat, as an amused Bernard strains to listen on the phone.
BERNARD (ON PHONE)
Yes?
(his face saddens)
What's the available fight tonight?
(a beat) Please book it. Thanks.
ROBIN
Darling, what is it?
BERNARD
It's grandfather. I'm flying home.
Bernard cuts thru the crowd; Robin and Felicia tagging along.
Pierre leads the Trio, and Maurice, Anya, and Nicole into the
club. They are laughing and already dancing to the frenzied
MUSIC, while wading thru the wiggling, undulating bodies.
Robin and Pierre notice each other and call out exuberantly.
ROBIN
Hi, Pierre!
Bernard turns and for a second he stops and freezes.
PIERRE
Hello, Robin!
Madigan catches a fleeting sight of Bernard, who is quickly
engulfed in the crowd. She stops and scans the crowd, but
Brooke pulls her to the dance floor.
Bernard's P.O.V. - The crowded dance floor. Pierre and
Brooke, Maurice with Anya and Nicole dance spiritedly.
Chandler and Madigan weave in and out of the constantly
moving bodies.
Robin and Felicia follow Bernard, who hesitates momentarily,
looks back, then hurries to the door. Robin wonders.
INT. BRADSWORTH ESTATE, GRANT'S BEDROOM - 2:00 A.M.
NURSE, MISS WILSON, 40, checks Grant's I-V line, while he
sleeps, when Bernard approaches her.
BERNARD
How is Grandfather, Miss Wilson?
MISS WILSON
He is resting comfortably. (a beat)
Has Dr. Woodrow updated you on your
Grandfather's condition?
BERNARD
Yes. The stroke left him with a
partial paralysis affecting his
left body and his speech.
MISS WILSON
I am sorry. (a beat) Dr. Woodrow
said, no hospital stay for him. A
standing instruction, I understand.
BERNARD
A pact between Grandfather and
Grandma. They're very close.
(a beat) It's two in the morning,
take a break. I'd like to stay.
MISS WILSON
I'll be in the next room. Thank you.
CHANGE ANGLE -Miss Wilson leaves the room. Bernard Pulls a
nearby chair and sits by the bedside, holding Grant's hand;
touching his face, and softly talking to him.
BERNARD
Thank you, for being a father to
me. Mom and Dad up there, must be
grateful for taking care of their
son. I am never wanting of love.
Grandma and you lavish me with it.
INT. GRANT'S BEDROOM - 4:00 A.M. - SAME MORNING
The room is now dimly-lighted from the two side table lamps.
The door SLOWLY OPENS, and Eloise, in a sleeping gown,
emerges and inches towards Grant's bed.
PULL OUT TO INCLUDE Bernard, who stirs; quietly straightens
in his chair at a corner of the room, and checks the CLOCK.
INSERT SHOT - The table clock INDICATES 4:00 A.M.
CHANGE ANGLE - Eloise sits on the bed's edge, unaware of
Bernard's presence. She kisses Grant. Grant opens his eyes,
brightens at the sight of her,and tries to talk, but
couldn't. There is so much love in their eyes.
INTERCUT the FACES of Grant and Eloise as MUSICAL INTERLUDE
of "WHEN I LOOK IN YOUR EYES," sung by Linda Eder, PLAYS.
ANGLE ON BERNARD, sitting in the dark, feeling so privileged
to witness such deep affection between those he loves.
ELOISE
Thank you, my darling for
loving me.
Grant tries in vain to talk, to apologize for something bothering
him. Eloise gently places a finger on Grant's lips to hush him.
ELOISE (CONT'D)
I know...I know everything.
Grant looks at her in pained disbelief, followed by relief.
ELOISE (CONT'D)
It's all right, I understand what you
did. You're an honorable man. I love
you and always will...forever.
She kisses him, gets up the bed, nestles beside him stroking
his face and hair. Grant blissfully closes his eyes. And like
Grant, Eloise, does the same, contentedly, peacefully.
MUSICAL INTERLUDE SNEAKS UNDER and OUT.
INT. GRANT'S BEDROOM - EARLY MORNING
It's early morning. Grant and Eloise, in peaceful slumber.
Bernard, still in his chair, wakes up and smiles as he looks
at his grandparents; peaceful in sleep. He approaches them
quietly and kisses Eloise's forehead. It is cold. He touches
her cheek...her hand...both also cold. He freezes. Anxiously,
tentatively, he checks her pulse.
BERNARD
(shocked and in pain,
calls hoarsely)
Miss Wilson!
Bernard hugs Eloise and sobs softly. Grant's eyes open. He
looks at Bernard, questioningly. Bernard touches his cheek,
where a tear drips down slowly. Bernard hugs them both.
Miss Wilson races to Grant, and checks his pulse. Confused,
she checks Eloise's pulse. There is none. In shock and
disbelief, she could only look helplessly at Bernard.
EXT. CEMETERY - DAY
Bernard plays "Meditation" in his violin before Eloise's coffin.
PRIEST, Robin, Felicia, North, and FRIENDS solemnly stand.
INT. BRADSWORTH ESTATE, GRANT'S BEDROOM - SAME DAY
Grant is motionless on his bed, gazing up; tears brimming.
Beside his bed, Miss Wilson silently shares in his grief.
EXT. CEMETERY - SAME DAY
BERNARD
(whispers as he lays a
rose on the coffin)
From Grandfather, with love,
Grandma. Thank you, for loving
me, so purely.
(a hint of a smile)
Pegasus will fly me to visit you.
(a beat) Be happy. Be at peace.
I love you.
Bernard bends and kisses his grandmother's coffin.
EXT. LUXURIOUS HOTEL IN PARIS - NIGHT
Bernard in tux, straightens up from kissing the gloved hand
of a REGAL LADY PATRON, at the Hotel red-carpeted entrance.
COMMITTEE MEMBERS of the Intl. Human Rights Org. Fund-raising
concert, welcome PATRONS as they glide up the cordoned red
carpet walkway. FANS, SPECTATORS, and PAPARAZZIS crowd both
sides. Bernard discreetly avoids the flashbulbs.
ANGLE ON Madigan, Chandler, Brooke, and Pierre, in evening
attire, stepping out of a limo, two cars from the red carpet.
BROOKE
I think, I'm starting to get used
to rubbing elbows with the Paris
elite. It's intoxicating.
CHANDLER
Is this the same Brooke I'm hearing?
MADIGAN
Our friend's taste is going up a
notch. It's good. That's progress.
BROOKE
So they got (famous artists) to
perform?
PIERRE
Oui...which explains the presence
of the fans and paparazzis.
ANGLE ON Madigan, who senses something, searches the crowd,
wades thru it, unnoticed by her friends, she leaves behind.
Bernard, also, picks up a presence. He scans the crowd.
Madigan and Bernard catch a glimpse of one another in the
crowd, and strain to locate each other, but SUDDENLY ---
A THUNDEROUS STAMPEDE of EXCITED SCREAMING Fans and Paparazzis
BREAKS thru the cordoned area as a LIMO STOPS in front.
SLOW MOTION - Bernard in a panic, races towards his
"deliciously heavenly" vision, to shield her from the closing
in STAMPEDE; Madigan longingly strives to reach him.
HIGH ANGLE of the PANDEMONIUM. Rushing Fans and Paparazzis
encircle the limousine, pushing and shoving. People fall and
are trodden on; the SECURITY fighting back the mob.
INT. PARIS HOSPITAL EMERGENCY HALL (IC/PT) SAME NIGHT
The hallway bustles with frantic activities; NURSES attend to
injured Fans and Paparazzis; Madigan, in the same concert
gown, unscathed, searches for a face in the crowd.
INT. PARIS HOSPITAL PRIVATE ROOM - SAME NIGHT
Bernard is in bed; his left shin in a cast, a bandage around
his head. NOELLE, a young seductive French nurse, hands to
Bernard his medication; by his bedside, an uninjured Felicia
sketches a figure of a Pegasus on Bernard's cast.
NOELLE
This will help you sleep.
FELICIA
I was in the powder room when
it happened, but I heard the
screamings.
BERNARD
I'm glad you're okay.
FELICIA
Robin wants to fly in, but I told her,
not to worry. I'll stay with you.
BERNARD
I'll call her. She can't miss her
final exams. Noelle, do tell Mrs.
T. I'll be just fine.
NOELLE
He's fine. It's just a hairline shin
fracture. However, he is still under
observation due to the concussion.
Noelle winks seductively at Bernard as she fusses over him,
which shocks and irks Felicia. Bernard finds this amusing.
BERNARD
Fly home. The committee needs you to
get to donors for the concert. (a
beat) Please arrange for the hotel to
have my violin delivered here.
FELICIA
And keep other patients awake? (a
beat) Of course, I will.
BERNARD
(gives Felicia's sketch
a thumb-up)
Pretty good. Pegasus will keep guard.
Inform the committee that I'm okay, not
to visit. And no flowers, please.
FELICIA
Whatever you wish. Don't stay long.
BERNARD
Craig will join me to finish up my
business. I'll be back in....
(throws Noelle an inquiring look.)
NOELLE
A week, the most. (She winks.) Although
we'd rather you stay a little longer.
FELICIA
(kisses Bernard;
whispers)
Come home soon, before you drive all
the female population here, drooling.
Felicia STRUTS out, throwing Noelle, a DISAPPROVING look.
Noelle WIGGLES her way out of the room. Bernard shakes his
head in disbelief, and closes his eyes.
LAP DISSOLVE
INT. PARIS HOSPITAL PRIVATE ROOM (IC/PT) - SAME NIGHT
ON BERNARD - asleep. O.S. SOUND of SLOW OPENING of the door.
He drowsily opens his eyes, tries to focus.
BERNARD'S P.O.V. - A blurred ethereal vision to a clearer
Madigan, in the same gown, peeps in. She appears relieved.
MADIGAN
Hi! I'm glad I found you.
CHANGE ANGLE - Bernard sits up.
BERNARD
Are you...my...angel?
MADIGAN
No, but I could be anything you want.
Madigan walks to Bernard's bed and stands by his bedside.
MADIGAN (CONT'D)
My classmates called me Cherub, their
love-note bearer. You know, an angel.
BERNARD
Cherub, love the name. I know what a
cherub is. I'll show you. Watch this.
Bernard reaches for a pen and paper from his side table,
draws an ANGEL HEAD, writes "CHERUB," and shows to Madigan.
MADIGAN
You're good. Sure looks like a cherub.
(She notices the Pegasus
sketch on Bernard's
cast.)
What do you have here? (a beat) My
Maltese is named Pegasus, too.
BERNARD
You named your dog...Pegasus?
MADIGAN
Uhum, I like it. It has personality.
BERNARD
Absolutely! (drowsily) Just like Cherr...
He dozes off as she regards him with amused disappointment.
MADIGAN
That's rude. A gentleman doesn't sleep and
leave a lady visitor alone to herself.
(a beat) See you, Pegasus. Sleep well.
EXT. PARIS HOSPITAL GROUNDS (IC/PT) - DUSK
Behind the hospital is the lush sprawling rolling grounds.
Bernard is asleep, in a wheelchair under a tree, a blanket
across his knees, a violin on his lap; left shin in a cast.
MADIGAN (O.S.)
Pegasus...
ON BERNARD, who awakens. THEME MUSIC SNEAKS IN --
Bernard's P.O.V. - Madigan in a flimsy dress, buoyantly gliding
down in SLOW MOTION -- long hair flying -- skirt floating.
REVERSE SHOT - Bernard, transfixed with excitement, stares at
Madigan, and attempts to move his wheelchair to meet her.
CHANGE ANGLE - She motions him to stop.
BERNARD
(confused, straining to
remember)
I was just thinking ... of you...
MADIGAN
And here I am.
BERNARD
You came last night. You're Cherr..
Madigan nods, "YES" and sits on the grass by Bernard's feet.
She encourages him with a nod - "YES."
BERNARD (CONT'D)
Cherr...ru...Cherub...it is you.
MADIGAN
Yes, sir, Pegasus.
(She points to the
violin.)
Don't let me stop you. Come on,
let's hear it.
THEME MUSIC UNDER AND OUT -
Bernard PLAYS his VIOLIN. The same MELODY he composed one evening
at his terrace, for his "deliciously heavenly" vision.
Madigan, closes her eyes, moves to the music; first her head,
shoulders, her hands, fingers; rises and sways, glides, spins,
and skips farther and farther away.
CHANGE ANGLE as Madigan leaps; the first of a series of the
grounds' sprinklers on timer, spews up water. Madigan
joyfully dances away from one sprinkler to the next, escaping
the geysers, that leap in graduated elevations, along with
the music; the geysers chasing her around the grounds.
Bernard plays joyfully, watching Madigan dance; she, leaping,
spinning, waltzing towards him. Now, dripping wet, laughing
gaily as she dances back, just as Bernard finishes playing.
THEME MUSIC SNEAKS BACK IN -
Bernard replaces his violin in its case, puts his arms around
Madigan's waist, and looks up searchingly into her eyes.
Madigan kneels down as Bernard drapes the blanket around her
shoulders, wipes her hair, lets the blanket drop, feels her.
With that rising ecstasy, they close their eyes, and drown in
each other's soul. In blissful joy, their lips almost
touching, they reach their Heavens; open their eyes, content!
THEME MUSIC SOARS UP AND OUT!
MADIGAN (CONT'D)
I have to go.
BERNARD
May I see you ... again?
MADIGAN
It's not for me to tell you. Your
heart will ... if you let it.
BERNARD
I do. I listen to nothing else but my
heart and you are in its every beat.
MADIGAN
How about the Eiffel Tower?
BERNARD
Stay. Please ...
MADIGAN
You don't want me to catch colds!
She runs towards the hospital, looks back and calls out.
MADIGAN (CONT'D)
Tomorrow, same time...the Eiffel Tower!
INT. VIEWING DECK, EIFFEL TOWER (IC/PT) - DUSK, NEXT DAY
Madigan looks out at the lights of Paris from the Tower, and
smiles as she senses a healed Bernard approaching behind her.
MADIGAN
You made it!
BERNARD
I promised.
MADIGAN
(turns to face him)
Hmmm...impressive! And healed, too.
BERNARD
(takes her hand to his heart)
One has to want it, very badly...and
this here, hears it loud and clear.
That's how much I wanted to see you.
MADIGAN
(holds his hand to her heart)
I believe you. And I, too, listen
to this... always. When we
passionately want it, we can even
fly together around Paris.
And fly, they literally do; hand in hand, SWEEPING AROUND the
entirety of the CITY OF LIGHTS.
MADIGAN (CONT'D)
Oh Paris, your splendor touches
my heart.
Once again, standing at the Eiffel Tower, face to face ---
BERNARD
What else about Paris, fascinates you?
MADIGAN
Its flowers..gardens...fountains...
Museums...statues...chateaus...BOATS!
BERNARD
Then boat it shall be!
EXT. RIVER (IC/PT) - DUSK
Bernard rows the boat; Madigan facing him. Breeze blowing.
MADIGAN
Isn't this heaven? My great, great
Grandmother, Granny Lola, always
said to me, that with our hearts
and our spirits, we create our own
Heaven, right here, on earth.
Bernard puts down the oar, and holds Madigan's hands.
BERNARD
I couldn't agree more. Such a very
wise soul, your Granny Lola.
MADIGAN
She surely was.
BERNARD
We're both very lucky we had
grandparents who shared their
wisdom with us.
The boat drifts. Nearby, the O.C. SOUND of CHIRPING BIRDIES.
ZOOM IN to the floating NEST, under the weeping willow tree,
with five newly-hatched shivering hungry BIRDIES in it.
ANGLE - Bernard rows towards the nest and Madigan retrieves
it.
MADIGAN
They're beautiful, but they could
catch colds, get sick, even...
BERNARD
We'll make sure they're warm and well.
Bernard rows to the bank. Madigan sits under the tree, the
nest on her lap; coos as she wipes each bird with the hem of
her dress. Bernard offers her, his handkerchief, which she
uses to dry the birdies, while he watches.
MADIGAN
Their mother would be looking for them.
BERNARD
She won't notice if we return them.
MADIGAN
(kisses the birdies' hungry
beaks and whispers)
Let's not worry your mama.
BERNARD
Your mama will never know about your
little exploit.
(He takes the nest.)
But maybe you can tell her that a
kind and beautiful lady took care of
you...your angel.
ANGLE - Bernard carefully sets the nest between two branches.
MADIGAN
You guys, when your wings are strong,
venture far and high, explore this
wonderful Universe. Who knows, you
may even encounter Pegasus here, in
one of his flights.
ANOTHER ANGLE - Bernard kisses the hands of a grateful
Madigan. They watch as the MOTHER BIRD returns to its nest
and feeds the birdies with food from its beak, while the
birdies hungrily open their beaks, with excited anticipation.
CHANGE ANGLE - Bernard leads Madigan to a grassy knoll, where
they sit, watching the swans swim.
MADIGAN (CONT'D)
(sadly remembers)
When I was a little girl, I found two
birds on the ground, after a storm. One
was newly-hatched; its body featherless
and pinkish, and shivering from the cold;
the other, with its broken wings spread
in a protective embrace over the baby
bird, was cold and lifeless. It was the
mother bird.
Bernard listens with empathy. Madigan is now emotional.
MADIGAN (CONT'D)
The baby bird's chest was still heaving,
very weakly. It was gasping for air, so
I blew into its mouth. I don't remember
how long I did it, but I just blew and
blew... until it turned cold in my
hands. But I was just a little girl.
BERNARD
For a little girl, you did so much. You
may not have saved its life, but that baby
bird felt, not only its mother's love, but
a little girl's kindness and caring.
MADIGAN
Have you ever seen such deep love as
the mother bird had for her chick?
BERNARD
Yes, I have. A love that couldn't stand
to watch the pain of a beloved. Grand-
father's stroke devastated Grandmother.
She refused to see him go, so she did,
in her sleep, embracing him. I saw only
tears in Grandfather's eyes, for he
couldn't speak, yet I saw his pain. And
love. I felt so privileged to have
witnessed such deep affection.
MADIGAN
It's so beautiful.
BERNARD
Unconditional love was what Grandma
had for Grandfather. She adored him;
he appreciated her. He was kind to her.
They reach for each other's face and wipe their solitary tear.
A FLOCK OF BIRDS FLY past them to roost, after leaving WET
SPLASHES on each of their arms. They burst out LAUGHING.
EXT. PARIS PONT DES ARTS (IC/PT) -SAME NIGHT
Bernard and Madigan walk, leaning against each other.
MADIGAN
Something is bothering you?
BERNARD
Yes. Something I overheard the night
Grandma came to Grandfather's room.
What it was she knew all along, but
fully accepted, and in spite of it,
loved him anyway. It has since been
in my mind... their treasured secret.
(a beat) I'm sorry for making you sad.
But you make me feel so comfortable.
I can open up my heart to you.
MADIGAN
Thank you for sharing. You do the
same to me.
EXT. BATEAU MOUCHES (IC/PT) - SAME NIGHT
The lighted CRUISE BOAT passes GLOWING SIGHTS along the Seine.
Bernard and Madigan are alone at the bow of the top deck of
the CRUISE BOAT. TOURISTS are in other areas of the boat.
MADIGAN
Long ago, Granny Lola told my
confused teenage Auntie Angela,
that we will know when we've found
the love that's just for us, for
the moment Twin Souls connect,
magical things happen, and the
Universe reveals its mysteries to
them. And from then on, there'll be
no more restlessness, and no more
far away look. For they've reached
their Heavens.
BERNARD
I believe in Twin Souls. (a beat) Grand-
father found peace and serenity with
Grandma, yet through the years, I saw him
with that far away look in his eyes. If
what they had was not enough, what is?
MADIGAN
Keeping alive the passion and the magic.
BERNARD
He told me never to compromise in love.
Was it because he did? Or he didn't.
MADIGAN
As Granny Lola said, you'll know, in time.
Edith Piaf's "LA VIE EN ROSE," PLAYS throughout the boat.
They dance - eyes fixed on each other; WHISPERING.
BERNARD
I don't want to lose you.
MADIGAN
You won't.
BERNARD
Let's make tonight last forever.
MADIGAN
It will. For the heart always
remembers, what the mind sometimes
forgets. Let's just close our eyes,
choose a place, and we're there.
BERNARD
What's your favorite place?
They walk to the railing. She stands behind him with her
cheek against his back. Bernard listens with eyes closed.
MADIGAN
A rolling grassy hill, a gazebo all
covered with purple wisteria, of the
brightest shade... flowers all around
it, beyond it the waters, seagulls
flying, celebrating their freedom.
The BOAT STOPS and some passengers DISEMBARK.
BERNARD
(still with eyes closed,
adds on)
A lone pegasus sculptured from hedges,
standing guard by the gazebo ...
Madigan lifts her hands from Bernard's back, as he continues
his reverie. She slowly and quietly walks OUT OF FRAME.
BERNARD (CONT'D)
... with wings spread, ready to
soar, and pierce through the clouds.
How is that for a rendezvous?
SILENCE. NO ANSWER. Bernard turns and finds Madigan gone.
The boat moves and Bernard panics. He looks out at the boat
stop; the disembarked passengers now dispersed.
There, at the boat stop, she stands alone; smiling, waving,
and yelling at him. He runs to the top deck's end, yelling
back as the boat pulls away.
MADIGAN
My stop!
BERNARD
When do we meet again?
MADIGAN (CONT'D)
Soon. Our favorite place. I'll be
there.
BERNARD
So will I! (softly) So will I.
EXT. PARIS HOSPITAL - DAY
Bernard and Craig walk out of the hospital to the limousine.
BERNARD
I can't leave now, Craig.
CRAIG
Of course, you've a contract to
close. But, back home, you've the
Human Rights fund-raising concert
to wrap up.
INT. LIMOUSINE - SAME DAY
BERNARD
(shows the paper with
his cherub sketch)
You saw this at the hospital, Craig.
Why did I sketch it? Everything is
so hazy. I can't remember anything.
Yet I feel good inside.
CRAIG
You had a concussion. Could be
just a temporary lapse of memory.
But feeling good is definitely
good. Not just good. It's great!
EXT. OUTDOOR CAFE AT ST. GERMAIN-DES-PRES- NEXT DAY
CRAIG
Business is done. Time to fly home.
(a beat) Still bothered by the cherub?
BERNARD
Someone or something triggered it.
CRAIG
A visit from an angel, perhaps? (a beat)
You haven't had any visitors after
Felicia left, and before I came. Drop
it. It's just a dream.
BERNARD
Oh no! Not a dream. And there's
more. Why do I have this feeling
that I've been all over Paris?
CRAIG
Of course you've been here many times
What's so mysterious about that?
BERNARD
The fact, that I feel I've seen parts
of Paris I haven't been to before...
CRAIG
Then, how do you reconcile the fact
that the hospital assured me, that
you haven't been out of hospital
grounds? Tell me.
BERNARD
I don't know ... yet I feel I know.
CRAIG
Here's a theory. Either you had a
dream, or worse case scenario you
were hallucinating. Some medication
adverse effect. It happens everyday.
EXT. CHARLES DE GAULLE NO. 2 AIRPORT - SAME DAY
BERNARD
Remember the New York plane collision?
CRAIG
Of course. How could I forget? Your
"deliciously heavenly" vision saved you.
INT. CHARLES DE GAULLE NO. 2 VIP LOUNGE - SAME DAY
BERNARD
From that day I saw her ...
CRAIG
Saw who? (a beat) Oh, your "deliciously
heavenly" vision, what's her name?
BERNARD
I didn't have a chance to get her name.
I've no idea where she is from. But
since then all I can think of is her.
CRAIG
A legal case I can handle, but not this.
BERNARD
For a brief moment, I saw her in the crowd
at the concert and tried to get to her, but
the stampede happened before I could reach
her. Next moment I woke up in the hospital.
CRAIG
Now, you're seeing visions; imagining
her everywhere. What's next?
BERNARD
There's more. What's interesting is, I
saw her once, yet I feel, I really know her.
CRAIG
What's this? Some Twin Souls theory?
BERNARD
Theory, no; fact, yes. No doubt at all.
CRAIG
Hold on. You've a huge dilemma here.
Where do Robin and that Cherub, fit in?
That Cherub intrigues you, Robin needs
you, but your "deliciously heavenly"
vision, definitely captivates you. How
do you plan to handle this?
BERNARD
I've no idea. But I have this nagging
feeling that we're supposed to meet
again.
CRAIG
Know what? In this Concorde flight back to
New York, just sit back and relax; close
your eyes, focus, and think about her and
of where you are supposed to meet, again.
BERNARD
That's familiar. Where did I hear that?
CRAIG
Right here. Of course, I just said it.
Look, I wish you'll find your answer. Soon.
You've got me hooked. Mystery's addictive.
EXT. LOWER MANHATTAN - NIGHT
Bernard's limo is driving through a not-so-desirable street.
INT. BERNARD'S LIMOUSINE - NIGHT
Bernard, in jeans, a SAXOPHONE CASE beside him, listens
serenely to M. Bolton's, "POURQUOI ME REVEILLER"; Ralph,
uneasy, steals a glance at him thru the front rearview mirror.
BERNARD
Stop here, Ralph.
RALPH
You want me to go with you? I can
carry your sax.
BERNARD
No. Just drop me off. Go get a bite.
Pick me up in an hour, right here.
Ralph stops the limo. Bernard steps out with the sax case.
BERNARD (CONT'D)
Go ... go.
EXT. LOWER MANHATTAN STREET - SAME NIGHT
The limo leaves. FOLLOW Bernard turn a corner to a HOTDOG
CART. JAKE, 40, Puerto Rican vendor, is glad to see Bernard.
JAKE
Hey, brother, where have you been?
BERNARD
How are you, Jake?
JAKE
Better, now that my favorite
customer's back.
Jake pulls out from under his cart a carton of several six
pack of beer and soda; fills bun with hotdogs, relish, the
works; Bernard watching with fascination.
JAKE (CONT'D)
I never asked you this before, brother.
But this had been bugging me.
BERNARD
So, don't.
JAKE (CONT'D)
C'mon brother, give a lonely man some
sleep tonight. You know, I love mystery.
That Columbo fella, he's my guy, knows
how to get to the bottom of things.
BERNARD
(chuckles)
No black bottom here, Jake.
JAKE
I feel things brother, here in my guts.
Never lies to me. You think I don't feel
it for my one biggest customer? Something's
bothering you. Something deep. (He points
to the sax case) The black bottom? You got
a machine gun in there? Nah! Your face too
clean, no scars. (a beat) Ah, a lady... two
ladies! YOU KNOW who's for you! She's the
one you've waited for, brother.
Jake gapes at the money Bernard pays him. Bernard carries the
Carton, chuckles, strides away, turns, and calls back.
BERNARD
Go see a movie, Jake. Buy a pair
of dancing shoes... go dancing.
JAKE
You won the lottery?
EXT. LOWER MANHATTAN ALLEY 0SAME NIGHT
Bernard walks in a dark alley and suddenly freezes. A knife
is held against his nape by SNAKE, as BALDY and BOSS, all in
their 20's, jump in front of him, grimacing and brandishing
their knives.
BERNARD
Easy pals... you can have this ...
Bernard cautiously puts down the carton. Baldy looks and
kicks it disgustedly, spilling a few hotdogs.
BALDY
Do we look hungry? We accept cash only.
BERNARD
Okay, just...just move the knife away.
BOSS
Snake, back off! Your wallet, quick...
BALDY
We don't have all night!
BERNARD
Okay, okay, let me put this down ...
BOSS
Don't even try. Baldy take the case.
Baldy grabs the sax case, opens it gingerly, and grins.
BALDY
We can pawn this ... BOSS.
Bernard's face contorts. No one touches his sax. In a flash,
he puts to use his training in self-defense. Baldy runs away
with his sax.
A barrage of kicks and spins, jumps and hits follow, and arms
twist, knives fly, legs crack, bodies fall. Just then, Baldy,
his arms twisted behind him, is dragged back by Jake, who has
retrieved Bernard's SAX.
JAKE
Careful when you visit this way.
Lots of rats around.
Bernard REACTS, JUMPS and HOPS about, SQUIRMING. Jake laughs.
BERNARD
I abhor rats.
JAKE
Not rat, rats. BIG, MEAN TWO-LEGGED
RATS. Those kinds of rats.
BERNARD
Oh, those.
JAKE
So, shall I call the cops?
BERNARD
NO! He's just holding my sax for me.
JAKE
You sure? He ran away with it.
BERNARD
He's a good guy. Just got carried away.
Thanks, anyway. Now go dancing.
Jake shakes his head, hands the sax to Bernard and walks away.
Bernard hands the sax to Baldy as Boss and Snake surreptitiously
crawl away. Bernard collars them.
BERNARD (CONT'D)
Oh no...you're not going anywhere. From
now on, I appoint you three as my
assistants. Pick those up and come with
me, And you, careful with my sax.
The three meekly obey as asked and follow Bernard, bewildered.
EXT. LOWER MANHATTAN ALLEY - SAME NIGHT
Bernard enters a seedy alley; garbage, cardboard shelters all
around. DUKE, an Afro-American man, 60, emerges and hugs him.
DUKE
Welcome, welcome, Bernard.
BERNARD
Welcome our new friends, Duke.
DUKE
Our place is your place. You'll
like it here. We support each
other. Our turn-over is high. But
we remember those we leave behind.
The three give their names and put down their loads.
DUKE (CONT'D)
What happened, Bernard? You look awful.
BERNARD
I tripped.
DUKE
Lots of potholes here. (calls out)
Come out everyone!
TWO DOZENS HOMELESS MEN, WOMEN, TEENAGERS, converge around
the carton, and feast. Bernard pensively looks on as Duke
skips towards him, drinking his beer, biting on a hotdog.
DUKE (CONT'D)
Where's your violin? (a beat) What
do you have there, Bernard?
(He talks to the sax case.)
Kenny G, is that you, man?
Everyone around heartily guffaws. Bernard smiles back.
DUKE (CONT'D)
Show us your lung power, man, I'll
show you the moves.
Duke wiggles his hips, and does a number of tap dance steps.
Laughter and applause receive Duke's performance.
GROUP
We want Kenny G! We want Kenny G!
Bernard takes out his sax from Baldy. An OLD MAN offers him a
crate to sit on, and bows down with a flair. TWO TEENAGE BOYS
jump up and RAP.
TWO TEENAGE BOYS
This is home, the sky's our roof, the ground's our floor.
All else is free, sun, stars, and moon.
But it's just a meantime, no less no more.
A MAN and WOMAN join in.
TWO TEENAGE BOYS, MAN & WOMAN
We fell through the cracks, broken we're not.
We're still in the game, we've got our dreams.
It's just a meantime, we still have names.
When our break comes, we grab with both hands.
Pull everyone up for together we can.
Goodbye meantime. World, here we come.
EVERYBODY
Music you bring, we dance, we sing.
Goodbye cold nights, today is spring.
No more meantime, our life just changed.
Our spirits free to roam, to open doors,
to fly high, to soar. Fly and soar. Oh yeah!
They applaud. Bernard PLAYS the sax, and a soulful MELODY
floats thru the night. Each one slowly walks back and snuggles
in his or her own little corner, savoring the music, dreaming
a dream, under the moonlit night.
EXT. GRASSY WATER BANK (IC/PT) - SUNSET
On a grassy water edge, is the silhouette of Bernard, in swim
ming trunk, performing his T'ai Chi rites. The water before
him dazzles with the colors of sunset.
REVERSE FULL SHOT of Bernard, his face serene.
ANOTHER ANGLE - After the short ritual, Bernard jumps into the
water, swims away from the bank, and submerges himself.
CHANGE ANGLE - From the nearby trees, Madigan emerges.
ANGLE - Madigan drops her wrap-around skirt, and in camisole,
swims towards Bernard's direction, and dives in. She shrieks,
startled as she comes up just as Bernard surfaces before her.
MADIGAN
Pegasus...Hi Peg!
BERNARD
Cherub...it is you. It's really you.
MADIGAN
Yes...yes...yes! It's me!
And together, Bernard and Madigan hand in hand dive into the
deepest, bluest sea.
SERIES OF MAGICAL SCENES - (IC/PT) - SAME SUNSET
And they KISS - DEEPLY. Lights shoot out from them and
bubbles burst into brilliant sparklets.
GRANNY LOLA (V.O.)
(reverberates thru the
water)
The moment Twin Souls connect, magical
things happen and the Universe reveals
its mysteries to them ...
From everywhere schools of fish of all colors and species
swim in and out and among the fabulous array of coral reefs.
A DOLPHIN SMILES at them, inviting them to follow. And they
do, swimming along. And lo and behold, the water parts and
opens into -
INT. CRYSTAL CAVE - (IC/PT) - DAY
- A CRYSTAL CAVE, with stalactite and stalagmite of precious
stones and gems. ORCHESTRAL MUSIC celebrate with the corals
and gems and MERMAIDS and MERMEN. The SIRENS sprinkle Golden
sands on Madigan and Bernard and INSTANTLY ...
EXT. MEADOW - (IC/PT) -DAY
They find themselves in the greenest emerald meadow with
breathing colorful flowers and swaying trees, exotic birds
and animals, all harmoniously whispering to one another in
joyful melodious sound.
Beyond the bridge is an old lady, communing with the DEERS.
The lady TURNS. It is ELOISE, resplendent among the flowers.
As she WAVES at them, Bernard and Madigan are SWIFTLY blown
by the breeze toward her. Bernard kisses her forehead and
introduces Madigan, who in turn also kisses her. Eloise is
pleased nodding with approval. DOVES, in droves, fly in and
surround them. A breeze throws petals across Eloise and
transforms her into A LADY IN HER THIRTIES.
As the breeze blows the petals, it sweeps Bernard and Madigan
along to -
EXT. ISLAND IN THE LAKE - (IC/PT) -DUSK
- a small island in the middle of a lake. GRANNY LOLA sits
serenely under a weeping willow with flickering FIREFLIES,
watching the SWANS in the water. Madigan runs to her and hugs
her. Madigan gestures to Bernard, who kisses Granny Lola's
hand. Granny Lola smiles and walks away then turns to face
them - as A LADY IN HER THIRTIES. She raises her hands toward
the sky and ...
EXT. THE WORLD - (IC/PT) - DAY
Madigan and Bernard are CATAPULTED to the HIGHEST SNOW-CAPPED
PEAK. Standing on top they look down from a dizzying height
and see the ENTIRE WORLD - all of SEVEN ONTINENTS, high
lighting the best of its contribution to the world. They
float in their shimmering gossamer robes.
P.O.V. Of MADIGAN and BERNARD - A SWIRLING PRISM of COLORFUL
LIGHTS from the centrifugal light, turns like a tornado. PEOPLE
of ALL COLORS and COSTUMES, genuflect, bow, raise their arms,
lay prostrate on the ground and in various forms of VENERATIONS,
adore the REVOLVING changing IMAGE of GOD, in all His forms and
callings. And all venerating the same source of light of
different shapes and images that merge into -
HEAVENS, where clouds float like cotton balls and a RAINBOW
becomes the people's common bridge to a disc of lights, where
flowers sprout as the people walk together and sing in joyful
choral voices. The VISION DISSOLVES into -
INT. OCEAN - (IC/PT) -DAY
- WAVES and Madigan and Bernard find themselves once again
under the water, swimming, kissing, emitting light. They
regard each other with love and wonder and TOGETHER THEY
SHOOT UP through the water and surface, laughing. Their faces
glow with awe.
EXT. GRASSY WATER BANK (IC/PT) - SAME SUNSET
Giggling, Madigan extricates herself from Bernard, and swims
back to the grassy bank; he following -- laughing.
CHANGE ANGLE - Madigan scampers towards the trees, and puts
on her skirt, while Bernard wraps a towel around his waist.
BERNARD
Stop! Please, come back.
HIGH ANGLE - Madigan turns and sees Bernard extending his
arms, beckoning her. Madigan seductively glides towards him.
CHANGE ANGLE - Bernard sweeps his arms up to a GRASSY HILL,
where a GAZEBO towers on top, resplendent in its crown of
PURPLE WISTERIA sprays; tall trees backdrop in the distance.
BERNARD (CONT'D)
Your favorite place.
MADIGAN
Wow...we found it!
With their eyes locked, hand in hand they run up to the gazebo.
LOW ANGLE - Madigan and Bernard are under the gazebo in an
embrace, their bodies dripping wet. Two long wisteria vines
hang down, brushing against their faces. They giggle, and
simultaneously, with each holding one wisteria vine, ENTWINE
both into a BRAID.
Bernard snaps a TENDRIL from where the vines intertwine,
fashions it into a RING, puts on Madigan's left ring finger,
and gently kisses it.
ANGLE ON a CUT TWIG from the entwined vines that brushes
against Madigan's ring as they embrace. They kiss deeply.
Slowly their lips part... their eyes locked.
BERNARD
With every breath I take, I feel you.
MADIGAN
I love you yesterday, today, tomorrow,
forever and ever.
(She kisses him deeply; stops,
smiles excitedly -)
Guess what... I've something that belongs
to you. Please, wait here for me.
BERNARD
I won't move!
Madigan runs downhill and throws Bernard a KISS.
BERNARD'S P.O.V. - Madigan runs until the trees obstructs his
sight of her.
INT. PARIS HOSPITAL - NIGHT
Madigan, eyes closed, in patient gown, lies on a hospital
bed. At either side of her bed are Brooke, rubbing Madigan's
face; Chandler, rubbing Madigan's right arm.
MADIGAN
(calls)
I'll be back...
Chandler and Brooke react with shock, disbelief, and joy.
BROOKE
Double shit...! Madigan, you're
back.
Brooke is beyond herself, LAUGHING, SOBBING, hugging Madigan.
Chandler is emotional as he plants a quick succession of
kisses on Madigan's face and hand.
CHANDLER
Darling Madigan...thank God! How's
our sleeping beauty?
Madigan opens her eyes, and stares at Brooke and Chandler,
questioningly. Brooke presses the button to summon a nurse.
BROOKE
Madigan, honey, do you know who I
am? I'm Brooke, your best friend
and room-mate and business partner.
CHANDLER
Remember me? I'm all those plus more.
Add chef par excellence less the room
mate part.
MADIGAN
I met him! I met him!
BROOKE & CHANDLER
St. Peter?
MADIGAN
Peg...Pegasus! I found him.
BROOKE
Pegasus is in New York. We're still
in Paris...in a hospital.
CHANDLER
Darling, Pegasus is with Mitzi.
Madigan tries to get up. MIMI, 50, French nurse, races in.
MIMI
I'll call Dr. Richelieu...keep her down.
MADIGAN
(agitatedly)
I've to get back to him. He's waiting.
BROOKE
It's the drug, Madigan. Drugs can
induce hallucination, nightmares,
dreams. But hey, you're all right.
CHANDLER
Darling, you were out for three days.
BROOKE
You were in a coma. Believe us, you
haven't moved an inch from this bed. We
were here with you. Remember the hotel
concert, the paparazzi, the fans, the
stampede?
MADIGAN
You don't understand. I was with him. He
gave me a ring that he made himself.
Madigan holds up her left hand and shows her finger. But, NO
RING! Just a FRESH SCRATCH along her ring finger.
MADIGAN (CONT'D)
Pegasus did. He put it on this finger.
BROOKE
Its just a scratch. Must be
something in the bed. SSSHIT...!
CHANDLER
Hmmm, possible. Very, very possible!
Just then DR. RICHELIEU and Mimi ENTER.
DR. RICHELIEU
Please, leave us.
Chandler leads Brooke out. Madigan calls after them.
MADIGAN
Really I'm fine. He's waiting for me.
BROOKE
This is insane.
CHANDLER
This is marvelous... and mystical!
BROOKE
Are you nuts?
CHANDLER
New York may just have the answer
to this.
INT. FLEUR-DE-LIS, BROOKE & MADIGAN'S LIVING ROOM - NIGHT
The champagne cork POPS UP. The Trio applauds and cheers;
Pegasus on Madigan's lap, yelps. They lounge while Chandler
pours the champagne. They raise their glasses in a toast.
BROOKE
Welcome back to our world, Madigan!
CHANDLER
Welcome home to us all!
MADIGAN
Glad to be back. To friendship!
ALL THREE
To LIFE! Hear ... hear...!
BROOKE
You've no idea, how relieved we are
that everything is all right with
you, Madigan.
CHANDLER
Darling, don't ever do that again.
MADIGAN
You're the best friends anyone could
ever have. It's time I share with
you, what I've kept to myself for a
long time.
BROOKE
Please do. Disregard my...you know.
CHANDLER
Enlighten us. We're listening.
MADIGAN
As far as I can remember, I always had a
sense of things. Most times I knew before
things happen. One person I confided to,
besides Auntie Angela, who ratted on me,
was Granny Lola, my great, great grand
mother. When Granny Lola passed on, I
kept everything to myself. I was eight
with no one to share my fears. One
morning, while having breakfast with
the young lady teacher, who took me in,
when my entire family left me right
after Granny Lola, I knew teacher will
die. (a beat) That night, she did. Fell
down the stairs, that earlier gave me a
creepy feeling. Why did I have to know if
I could not be of help? Why didn't I tell
my teacher to avoid the stairs?
In 4th grade, I feigned illness and got
off the school bus going to our field
trip, for something felt very wrong.
Later, the bus crashed.
Many of my classmates were injured. One
died; my seat-mate. Why didn't I tell our
teacher? (a beat) So, I prayed for God to
take it all away. Since then I
disregarded the feelings... the knowing.
BROOKE
You weren't sure that, that creepy
feeling about the stairs, and the
bus meant anything. Maybe they
would have not listened anyway.
CHANDLER
You can't blame yourself for what
happened in your childhood. You were
scared... people were not ready to
listen. Now, hopefully, we'll allow
ourselves just a miniscule of curiosity
about things out there. Things as
ESP, psychic phenomena, UFOs, aliens,
other entities, etc., etc. ...
BROOKE
So it's back, in spite of your denial?
CHANDLER
I've read that when we attune ourselves
with nature, nourish our spirit with
music, dance to nurture our body, and
quiet ourselves, we become more recep-
tive to what we have. Perhaps you've
developed your gifts even further.
MADIGAN
I'm no longer resisting. I've come
to accept. Yes, it's happening again,
and in the most frustrating way.
BROOKE
Like what bothered you at the picnic in
Paris? And the walk by the lake?
MADIGAN
I did some soul-searching, talking...
CHANDLER & BROOKE
To the lake?
BROOKE
Then, let's be your lake. We don't mind
being THE LAKE. But your meeting with -
who was it? You were so positive that it
was real, although I still think that it
was just the drug.
CHANDLER
Paris must be an entirely new arena.
MADIGAN
Way beyond anything I'd experienced.
BROOKE
We may believe in different things,
we may disagree, but I'm with you
in getting to the bottom of this.
CHANDLER
As the saying goes, "go your way, I
will go mine, but let's walk down
the street together."
BROOKE
Yeah ... yeah...I agree. Totally.
MADIGAN
So do I. Already, I feel much better.
CHANDLER
There's a Metaphysics Symposium two
nights from now, here in Manhattan.
We can go if you like. It may help.
MADIGAN
Sure. There's nothing to lose by
listening to what's out there.
EXT. AUDITORIUM IN MANHATTAN -NIGHT
The SIGN on the billboard reads: METAPHYSICS SYMPOSIUM. An
orderly crowd enters the auditorium. A mix of OFFICE WORKERS,
SENIORS, STUDENTS, PROFESSIONALS, BEAUTIFUL PEOPLE, ARTISTS,
with noticeable sense of positive interaction among them. The
Trio is in line, curiously-observant.
INT. AUDITORIUM - SAME NIGHT
The big hall is full to capacity. The Trio sits together.
Seated on stage are: DR. JANICE TOUCHSTONE, 40, poised, and
charming: FLAHERTY, 60, serene, confident. GORSHAM, 50,
affable and passionate, MOVES ABOUT the stage as he SPEAKS.
GORSHAM
Each of us, at one time, or another, must
have experienced synchronicity, but perhaps
we brushed it aside as mere coincidence.
Synchronicity is a meaningful coincidence that
impacts our lives in an emotional and deep way.
But more than this, synchronicity is a sign that
lets us know, that we are on the right track;
that things are falling into place; that what
we're doing is synchronized and not disordered.
When we perceive meaningful coincidences, and
become aware of synchronistic events in our
lives, we avail ourselves of a beacon, a guide
as we tread our paths.
APPLAUSE. Chandler and Madigan can relate; Brooke subdued.
ANOTHER ANGLE - The stage with the speaker, DR. TOUCHSTONE.
TOUCHSTONE
How often have we wondered why someone is so
familiar, or why we feel so drawn to some people?
Could it be possible, that we had an encounter on
another level? An astral encounter, perhaps?
Our astral body, which is our emotional and
desire nature, leaves our body during sleep, in
a coma, or in other forms of unconscious state.
Once back in our physical body, the emotional
experience stays with us. But because in our
waking hour, it is our conscious mind that
holds the control button, everything that the
subconscious mind may have experienced through
the astral body, remains mere feelings.
The conscious mind finds it difficult to accept
the fact that through our astral body we can be
in any place in a matter of minutes or an hour
or two; because it is not logical; because it
could not be explained within the parameter of
time and space.
There are those, who can remember all, even when
back in the physical body; those who transcend
the restrictions of time and space. So, while one
could only feel, the other could both feel and
also know and say with conviction. "I was there.
I saw you." The other could only say, "I have a
feeling, a vague recollection. I was thinking of
you." But indeed, they met and it was real.
APPLAUSE and REACTIONS of agreement among the audience.
ON MADIGAN, Chandler, and Brooke - amazed as realization hits.
BACK ON THE STAGE - FLAHERTY'S EYES survey the audience.
FLAHERTY
When twin souls are ready for each other, the
Universe conspires for them to meet. The depth
of their emotional desires inspires their
spirits to cross space and time. But until then,
they may by-pass one another, while they polish
their rough edges through the many encounters
with others; growing, developing, preparing for
their ultimate meeting.
Their profound attraction no longer just manifests
in that emotional deep look into each other's
eyes, but in a commonality of purpose, an agreement
of paths to tread, of values, ideals, and
philosophies. So complementary, that they mirror
each other, as twins.
WE SHOW BERNARD, who NODS with a SENSE OF CONFIRMATION.
FLAHERTY (CONT'D)
They thrive in cooperation, instead of competition;
self-esteem, instead of insecurity; trust, instead
of suspicion and jealousy; respect, instead of
discourtesy and abuse. They feel for the feeling of
the other. Their relationship is one of mutual
support.
Let us all view relationships in all their human
imperfections, as learning experiences; honing,
tempering, polishing, so sparkling gems can emerge
to become priceless jewels.
Tonight, let us bless and celebrate our experiences;
be these painful, seemingly unnecessary and trivial,
but most of all, let us appreciate the fulfilling,
and the joyful.
STANDING OVATION. PAN TO BERNARD, smiling and hopeful as he
turns to leave. CONTINUE PANNING to the Trio.
MADIGAN
(she mumbles; excitedly
with relief)
I'm not crazy! (She laughs.) I'm
not crazy.
BROOKE & CHANDLER
Who says you are?
MADIGAN
(with narrowed eyes fixed at
a distant target)
Someone did. A long, long time ago.
INT. BRUNO & ANGELA'S LIVING ROOM - DAY, THE PRESENT
A rural hovel, its room in disarray. A serious-looking
Madigan, glowers at BRUNO, middle-age, potbellied, drunk hulk
of a man; slouching on a worn sofa, peering at her.
BRUNO
Who are you?
Madigan brushes back her hair, displaying a RED RAISED CROSS
BIRTHMARK behind her right EAR. Bruno grins his pervert grin.
BRUNO (CONT'D)
MAD GUN? You're back! They locked you
up? You escaped! (He yells.) ANGELA!
ANGELA
(O.S., nervously)
Lunch is almost done...dearrr...
BRUNO
Sweetie Pie, look who's here. Its
your loony niece, MAD GUN.
ANGELA, races INTO FRAME, disheveled and bruised; a ladle in
hand, more shriveled than her already petite frame, older than
her late 30's. She lights up, as she looks up at Madigan.
ANGELA
Madigan? My goodness, you're SO TALL.
She hugs Madigan. Madigan hugs back more of pity than joy.
MADIGAN
Auntie Angela, you don't have enough
yet, of all this? You were not
created to be a punching bag or a
doormat, otherwise, God could have
easily made both with no sweat. THIS
THING here is NOT, what love is.
BRUNO
(furiously)
Don't puke your mashed-up brain all
over my Sweetie.
Bruno stretches to his six-foot frame, from the rickety sofa, and
glares, ready to hit Madigan. She kicks him in the groin, sending
him back to the sofa, curled up and groaning. Angela hugs him,
but he pushes her, sending her reeling on the floor.
MADIGAN
Your kind is the lowest scum, that
ever inhabit this earth. Someone has
to grind you up, and liquefy you, and
dump you down the deepest, darkest,
malodorous, rat-infested gutter, that
collects all the dirt and grime of
this Universe. You WIMPY COWARD! Yes,
I am Madigan, not MAD GUN, and I am
NOT crazy. And you, Auntie Angela, I
"shouldn't tell anyone," so you
warned me. But you did. You gave this
creature a pastime to ridicule and
harass me. I grew up believing that I
had something awful and shameful to
hide.
Bruno and Angela are shocked. Madigan can rage.
MADIGAN (CONT'D)
But there's a God, who's just and
compassionate to little, helpless
children. He helps them survive. I
did not come to punish you, Bruno.
We do that on our own, to ourselves,
when we don't feel worthy inside.
(Compassionately)
But inside that shell of a man, a
sick man, is still God's creation,
who needs help.
I don't know what happened in your
life but whatever it was gives you
no right to take it on upon
others, to degrade, abuse, and
hurt another human being,
including the one you profess to
love. This endless succession of
violence has to end.
BRUNO
(still nursing his groin;
furiously)
No one came to help me from my father.
Not even my mother. (shouts) ANGELA,
I'm hungry!
Angela jumps up in obedience but Madigan holds her back.
MADIGAN
No more, Auntie Angela! If you love
yourself, let go. This is your chance
to be free. He needs help but not
from you. You don't have to be afraid
anymore. You will be helped.
(dials her cell phone)
You may come in now. I'll meet you
at your office.
BRUNO
(grabs Madigan with his
right arm)
Who did you call?
CLOSE SHOT of Bruno's right arm with a deep TEETH MARK SCAR.
REACTION SHOT of Madigan, puzzled and in disbelief.
TWO POLICEMEN and FEMALE and MALE SOCIAL WORKERS, BURST IN.
Bruno curses and resists; Angela, cries in the arms of the
Social Worker. Madigan hugs Angela and walks out.
EXT. OPEN RUSTIC PLAIN - SAME DAY
Madigan looks to the rustic field, gets in the top-down MBZ,
and speeds away, leaving behind the pain of her childhood.
EXT. RESIDENTIAL ESTATES IN SOUTH HAMPTON - DAY
A top-down MBZ driven by Chandler passes forested estates.
The Trio is in good spirit, enjoying the sight; Madigan
HUMMING the MELODY, that Bernard composed. Brooke WHISTLES
along, joined by Chandler, who CROONS with gusto.
CHANDLER
Nice melody. Romantic and passionate.
BROOKE
It's kind of easy to remember, too.
(a beat) Where did you hear it?
MADIGAN
Well, you may not believe this, but
Pegasus played it on his violin.
BROOKE
In...your...dream.
CHANDLER
(gives a hint to stop
the subject)
Yes, Brooke, in her dream. We do
remember some of our dreams, don't
we, huh, Brooke?
BROOKE
(changes the subject)
Aren't these properties, offensively
extravagant?
CHANDLER
Wouldn't it be great buying an estate
here and relocating the center?
BROOKE
Keep dreaming Chandler.
MADIGAN
If it's meant to happen, it will.
(a beat) Look! Isn't that estate
just gorgeous?
The Trio's P.O.V. - an imposing mansion surrounded by lush trees.
ANOTHER ANGLE - They all look up at the mansion, in awe as
they drive by the electric gate with a nameplate that reads:
"THE BRADSWORTHS." They drive on without noticing the name.
CHANDLER
We're here.
INT. THE THORPE'S MANSION - SAME DAY
Felicia Thorpe STRUTS ACROSS her mansion, followed by the
Trio, and stops by the grand staircase. They shake hands.
BROOKE
Our crew will commence work this
weekend.
FELICIA
(hands an envelope to
Brooke; sweetly)
I took the liberty of assessing
your company for three $2,000
tickets to the Int'l. Human Rights
fund-raising concert this Saturday
evening. It's for a worthy cause
and it's tax deductible.
Brooke is unhappy at Felicia's arbitrariness, but Chandler
winks at Brooke and takes over, graciously.
CHANDLER
Of course, it's our pleasure.
MADIGAN
Thank you for thinking of our
company.
FELICIA
I'll recommend your company to all my
friends for all their floral needs. And
I've placed additional food order with
the wedding reception caterer, as my
donation to your center.
CHANDLER
We appreciate the referral and the
food donation to the center, of
course.
INT. THE THORPE'S MANSION GRAND STAIRCASE - DAY
Robin, in shorts and pony tail, skips down the grand
staircase. Felicia emerges and calls after her.
FELICIA
Don't leave Robin. Andre is coming
for your wedding dress fitting.
ROBIN
We're having our graduation
rehearsal.
Felicia walks away. Robin stops and turns, feeling guilty.
INT. FELICIA'S BEDROOM - SAME DAY
Felicia is by the window. Robin approaches her, remorseful.
ROBIN
Look Mom, you've been doing fine
with this wedding preparation
without me. What fits you, fits me.
Just stand in for me. Besides,
Bernard and I are not really into
this show. It's your brain child,
not ours. In fact, the entire rush
wedding date is, of course,
father's plan, as always. I love
Bernard but I don't want this
wedding to be part of Father's
business agenda. And, as usual, you
seem not to mind at all.
Felicia looks at Robin sadly then smiles wryly, struts to a
divan, opens boxes from shopping bags, and flaunts items with
a tinge of irony.
FELICIA
I've decided not to fight the
current and I've learned to swim
with it. Your father and I are like
two addicts. He can't stop making
money. I can't stop spending it.
ROBIN
So this is all about father? You
surround ourself with these
expensive things in excessive
proportions...
(approaches Felicia and
gently touches her face)
... even this... why Mother?
FELICIA
(still with an arrogant
front)
And why not? Who are we fooling? At
Least, I am honest. I have money, I
spend it and share with charities.
I have clothes and jewelry, I wear
them; I put make-up, I show it.
ROBIN
You're wearing, not make-up but mask,
Mom. Where is all this coming from?
Felicia stops, goes to her bed, and sits on its edge. Robin
approaches, kneels and cups Felicia's hands in hers.
FELICIA
You finally paused to ask why. I
feel like a fixture in this house
for so long. Why not be the most
expensive fixture? Undertaking this
preparation for your wedding is the
best thing that ever happened in my
life. It makes me feel useful and
needed. (a beat) It gives me a
thrill to envision you in your
wedding gown, visualize the
entourage, flowers, guests, music.
(She sadly mutters.)
Everything I never had. (a beat)
Your father and I started with
nothing but ourselves and our love
for each other. I was a Nursery
School Teacher, sending a husband
through college. As a young girl,
I, too, had a dream.
ROBIN
I didn't know Mom. I'm truly sorry.
Robin hugs her mother, laying her face on her mother's lap.
EXT. THE TREASURES JEWELER - SAME DAY
Madigan walks past the window of Treasures Jeweler. Suddenly,
she stops and looks back at the display window.
MADIGAN'S P.O.V. -
The "Sweetheart Ring" is gone.
C.U, Of Madigan, in disbelief then smiles looking hopeful.
INT. FLEUR-DE-LIS APT., MADIGAN/BROOKE LIVING ROOM - NIGHT
Madigan is all dressed up in her long gown for a dinner date;
Brooke and Chandler checking her over.
BROOKE
This Mr. Millionaire, Theodore
guy must mean business, huh?
MADIGAN
It's just a dinner. I promised to go
out with him before our trip to Paris.
Chandler gives Brooke a "hands-off, none-of-our-business"
kind of look. But Brooke is not to be deterred.
BROOKE
Yeah...yeah, but this long gown
thing is kind of serious. (a beat)
On the contrary, this is good ...
very good. At least, you're going
out with a real, three-dimensional
entity, unlike our, "you know who."
CHANDLER
The "you know who," my dear Brooke,
may just be as real, depending on
whose perspective it's coming from.
Enjoy, love. Go with your instinct.
BROOKE
Actually, whatever makes you happy is
what we wish for you. (a beat) I
shouldn't be clucking like some mother
hen, huh? But, I care.
CHANDLER
So does Daddy roaster.
Chandler flaps his arms and crows. LAUGHTER and KISSES.
MADIGAN
Isn't it just wonderful to be one
lovable baby chickadee? (a beat)
Bye you two. Peace.
Madigan swings around and glides seductively towards the
door, as Chandler wraps an arm around Brooke's shoulders, and
like doting parents, they follow Madigan with adoring look.
INT. SUPPER CLUB - SAME NIGHT
Madigan is escorted by a tuxedoed Theodore. An elegant pair.
She is overwhelmed by what welcomes them.
P.O.V. Of Madigan - The plush club is theirs alone for tonight.
It is turned into a virtual paradise; candlelights and all.
As Theodore guides Madigan to a lone table, VIOLIN SOLO with
back-up from a STRING QUARTET fills the room. A WAITER sets
on the table, a SILVER COVERED PLATTER and leaves.
MADIGAN
This is amazing! It's magical...
...enchanting!
THEODORE
If you'll allow me, I want to give
you all that I am, all that I have.
Theodore uncovers the platter and Madigan is aghast.
C.U. Of a 7 CARAT CANARY DIAMOND SOLITAIRE RING on a bed of
roses inside the platter.
THEODORE (CONT'D)
(kneels and offers the
ring to Madigan)
I love you and I need you. Please
say you'll marry me.
MADIGAN
(compassionately cups his
hands)
Please, get up Theodore. Let's
talk.
Theodore, with anticipation, gets up and sits on his chair;
Madigan, still cupping his hands. The MUSIC still PLAYS ON.
MADIGAN (CONT'D)
You are a decent and caring
gentleman. You deserve to be happy.
I wish things were different. But
it's not. For my heart is out there
with someone. What I have, what I
feel, and what I can offer you is
my friendship, nothing more. And
it's unfair to you. In fact it'll
be unfair to both of us.
THEODORE
Anything you give me is more than enough.
MADIGAN
No, Theodore, you deserve more. No
one has to settle for anything less,
for I truly believe that someone out
there can give you more.
When the time is right for both of you,
you'll find each other.
THEODORE
(tearing, the wound is
still raw)
I've already found her, but I lost her.
MADIGAN
I know. In a plane crash six months
ago. I'm very sorry for the loss of
your wife.
The big hunk of a man suddenly looks so frail and helpless.
THEODORE
And I never sent her flowers, never
told her how much she meant to me.
I just didn't know how, then. It
was uncomfortable for me expressing
myself.
(tear inches out of
Theodore's eyes)
I have so much love to give, yet we
were allowed, just a few months...
MADIGAN
(gently brushes his tear
with a finger)
Yes, Theodore, she came into your
life, however brief, to help you
realize that you have the capacity
to extend yourself unabashedly, to
someone you love. Her sudden
departure is a reminder of how
important it is to say what we want
to say, and to do what we want to
do, while we still can. Then, there
will be no more, "if onlys." There
will only be precious memories of
time and love shared. You'll find
love again. I know you're ready, for
you've already shown me. Out there
is someone just for you, who can
share the person that you've become.
(a beat) Please, dance with me.
They dance; wishing things were different, but it is good-bye.
INT. FLORAL WONDERS ATRIUM - DAY
Madigan works with Paul and Marie on a floral piece and some
2 ft. sq. Orchids blankets, when Brooke drops in.
BROOKE
Hmm... Mrs. Thorpe's additional
order?
MADIGAN
Uhum...Have you seen Chandler?
BROOKE
He left for the center. A new boy
needs help.
MADIGAN
Good. Hopefully, he'll have an update,
as well, on the eviction case. Caressa
is very positive that she will get a
visit from the developers.(a beat)
I kind of feel it, too.
BROOKE
I wish. (a beat) Any plans for today?
MADIGAN
None so far. Be here most of the day.
BROOKE
(whispers teasingly)
That CANARY DIAMOND RING still haunts
me...Have fun. I'll be at the office.
EXT. CENTER GROUNDS - SAME DAY
Chandler walks with a distraught GLEN, the boy, who was hog
tied, and thrown from a car one evening, near the center.
GLEN
Caressa said, I was lucky the plastic
bag over my head got torn. I don't
know them. Why did they hate me?
CHANDLER
Perhaps you were in the wrong place
at the wrong time. Or is it because
you refuse to fight? Or you prefer
music, art, dancing? You're gentle,
courteous?
GLEN
Yes. (a beat) But how do you know?
CHANDLER
Sounds familiar, but nothing to be
embarrassed about. Your interest and
traits may not fall into the stereo-
type of what people think a man should
be, however, that doesn't. make you
any less of a human being.
GLEN
Is it my fault that I'm different?
(a beat) I try to fit in.
CHANDLER
Just be true to yourself. And you
know, instead of spending your
energy worrying how to fit in,
perhaps making the best of what you
are, may be more productive.
(makes Glen face him squarely;)
Don't put on a face that's not yours.
Remember, you are just as worthy as I
and anybody else. We are all here for
a reason, man, woman, young or old, gay,
lesbian or straight, colored or white.
Each can make a difference, for even the
smallest pebble can create a ripple,
whether cast into the tiniest lake or
the biggest and deepest ocean.
GLEN
What really makes a man ... a man?
CHANDLER
Wouldn't you rather want to know
how one can be a positive force in
our Universe?
GLEN
Even I could be a positive force?
CHANDLER
Precisely! Being you, is a good
start.
Glen wipes his tears. He feels relieved and hopeful.
INT. BERNARD'S OFFICE - SAME DAY
CRAIG
North is putting the pressure on us.
BERNARD
Only if we allow him to. I've got
to be comfortable with the concept.
And have the inspiration to do it.
CRAIG
Doesn't sound like a good business
practice.
BERNARD
Maybe. However, to me, the best way
to do business is to do away with
all the business mumbo-jumbo and
just go for what works.
CRAIG
I couldn't agree more. Even back in
college, you've always been for
what is fair and just, instead of
what is legal, and even right.
BERNARD
You know as well as I do that legal
isn't always right, just, or fair.
Even right, if it doesn't work is
counter-productive, especially if it
is without compassion. Reasons, why
North's modi operandi bother me.
CRAIG
North is all business, I agree, but he
seems to have the savvy to deal with
the real world. Idealism isn't always
the answer; just most of the time.
BERNARD
Compassion is the ONLY answer, ALWAYS.
Craig waves goodbye. As he turns, Bernard calls after him.
BERNARD (CONT'D)
I suddenly get this inspiration. I'll
visit that Bronx property. Right now!
Craig gives Bernard a thumbs-up sign and skips out of the room.
INT. FLORAL WONDERS ATRIUM - SAME DAY
Madigan works with Paul and Marie. Suddenly she FREEZES in
FEAR and PANIC; hurries to the office; leaving them amazed.
INT. BROOKE'S OFFICE - FLORAL WONDERS, INC. - SAME DAY
Madigan barges in, in distress, which startles Brooke.
MADIGAN
Is there a car I can use?
BROOKE
Chandler took one of the wagons, but...
MADIGAN
Whatever is available. I need the key.
BROOKE
Sure. Here's the Mercedes'. Where
are you going?
Madigan grabs the key and hurries to the door.
MADIGAN
To the center.
She slams the door behind her. Stunned and concerned, Brooke
grabs her back-pack and hurries out.
EXT. CENTER GROUNDS - SAME DAY
Madigan drives the top-down Mercedes, in panic. And a short
distance before the center gate, she abruptly swerves the car
off the road, and hurries inland through the woods.
Brooke's Floral Wonders van speeds past Madigan's turn, worry
and concern visibly etched on her face.
MOVING SHOT of Madigan running through debris in the woods.
ZOOM IN to TWO GROUPS OF CHILDREN; boys and girls ages 9 to
12, in confrontation; each leader with a hand gun. The leaders
are: LEON, 12, and CLAY, 13. Each group has trade mark head
band and cap; weapons as knives, bats, crow bars, etc.
MADIGAN
STOP...!
The two groups are aghast, when she stands firmly between them.
LEON
(angrily)
What's your problem?
MADIGAN
If you don't stop this, something
terribly dreadful will happen; an
awful, awful tragedy.
CLAY
Get out of the way!
MADIGAN
Many of you will die, you hear me? It
could be you...and you...and you...
LEON
Crap! What are you, psychic or psycho?
MADIGAN
Listen to me. I will do everything to stop
this craziness. Not you, or you, will stop
me from acting on what I feel, and what I
know. I am no longer a child, scared that
no one will believe me. That fear cost me
my father, mother, and baby brother.
LEON
Who cares? None of our business.
CLAY
Get lost!
MADIGAN
After I've said what I need to say.
Reactions of RUMBLINGS. Leon and Clay subdue their groups.
MADIGAN (CONT'D)
Many years ago, my whole family went on
a trip for a relative's funeral. I was
not with them. I was sick. But something
was wrong. I felt it. I wanted to stop
them but I got scared. (a beat) Who would
believe a child of eight? (a beat) On
their way, my father made a wrong turn to
a dead end that dark night. Their car got
riddled with bullets from rival gangs. The
killers were children, just like you, and
prison stole their childhood.
LEON
Don't listen to her! You've said your piece.
Leave! We've territories to reclaim.
MADIGAN
This is no one's territory; not yours,
not the center's, but we can all be
here. We can coexist, help each other.
LEON
Crap! This is about revenge, an eye
for an eye. They kill one of us, we
kill back. Get it?
MADIGAN
Oh yes, I know about revenge. That rage
inside that digs down deep into your guts
and grinds until you choke in your own
bile. It consumed me, until I remembered
what a wise old woman once said. "We hate
because no one cares to understand where
we're coming from; how we feel. We resort
to violence out of frustration that no
one cares to listen. We condemn because
we are sure that we're right and they're
wrong." (a beat) It's not too late to
believe that living with hate only kills
the good in us. Hate could have destroyed
me. To forgive is difficult, but I did.
For what did I have to lose but my
hatred? (a beat) You want revenge? When
will the hate and the killings stop?
There's no end to revenge until no one
related to anyone of you is left. Is that
what you want to do with your lives?
Because if it is, then go ahead and KILL
until no one is left to kill.
Clay and Leon raise their guns; others, knives, crowbars, etc.
EXT. ENTER GROUNDS - SAME DAY
Brooke anxiously approaches Chandler, who is with Glen.
BROOKE
Have you seen Madigan?
CHANDLER
No. Why?
O.S. SOUND of GUNSHOTS is HEARD. The grounds activities FREEZE.
BROOKE
MADIGAN!
Brooke and Chandler run towards the direction of the gunshots.
Fred, Bob, and Tess, coming from the center, follow; so does Glen.
EXT. CENTER'S GATE - SAME DAY
Bernard's four-wheeler SCREECHES to a stop by the center gate. He
jumps out and runs towards the direction of the gunshots.
EXT. SHOOTING SITE - SAME DAY
Madigan stands petrified between the two groups; weapons piled
before her. Chandler and Brooke arrive, panting and anxious.
BROOKE
Are you all right?
Madigan nods, "YES" - immobile, unfeeling, and in shock.
CHANDLER
What happened?
MADIGAN
(to groups, unemotionally)
Go, leave, all of you; right now.
Go!
They hesitate; Leon and Clay grasp hands in reconciliation;
walk away together, and disperse in different directions.
Fred, Bob, Tess and Glen arrive; anxious and confused.
MADIGAN (CONT'D)
Nothing happened here.
CHANDLER
(nods and pockets the guns)
Sure, we found these in the clean-up.
BROOKE
And the guns accidentally fired.
They nod and pick up the weapons. GLEN STOPS, REGARDS
Madigan, WONDERING, and proceeds to help in the clean-up.
MADIGAN FREEZES at seeing Glen. Is it really possible? Tears
well in her eyes.
MADIGAN
(mutters in disbelief
and relief)
He is alive!
Madigan, as if in a trance, hurries towards the direction of
her car. Chandler and Brooke go after her, concerned.
Bernard arrives, catches a fleeing glimpse of Chandler and
Brooke's back, but not of Madigan's. He turns to Bob.
BERNARD
What happened? Is anyone hurt?
BOB
Nothing. No! We're just cleaning up.
Altho not convinced, Bernard nods, turns to retrace his path.
EXT. OUTLOOK TO EAST RIVER - SAME DAY
MOVING SHOT FOLLOW Madigan, who hyperventilating, drives the
top-down MBZ to an outlook, stops the car, exits, runs to its
top; LAUGHING till realization sets in, and LAUGHTER turns to
SOBS. She falls on her knees, HYSTERICALLY CRYING.
EXT. CENTER GROUNDS - SAME DAY
Bernard observes with interest as he and Caressa tour the
grounds, where Seniors and Youths are in various activities.
CARESSA
I just arrived in this country,
when I came to this place. It was
occupied by a few homeless. I
stayed, worked, and went to night
school. Soon, more homeless and
runaways joined us. This is how we
started the center, pairing youths
and seniors, helping homeless back
on their feet. Those we helped,
returned as volunteers.
BERNARD
But why this particular place?
From her pocket, Caressa brings out a YELLOWED ENVELOPE and
hands it to Bernard. The return address baffles him.
BERNARD (CONT'D)
This letter came from this address?
CARESSA
Yes. This is how I found this
place.
BERNARD
Records show that a Mlle. Elsa
Grouchier from Paris, owns this
property.
C.U. Of CARESSA, looking confused.
BERNARD (CONT'D)
Do you know her?
CARESSA
After the war, I heard, that she
died before she could leave for
America. No one knew that she owned
a property here.
BERNARD
(kindly)
Please come with me. We're going to
see the developer.
INT. BRADSWORTH COVERED BALCONY - SAME DAY
At the library balcony, Grant is asleep in his wheelchair;
Miss Wilson and Bernard by the open door, looking at him.
MISS WILSON
Your grandfather was asking for you
earlier. I'll leave you two.
CHANGE ANGLE - Miss Wilson walks to the library, passing
Caressa, who sits serenely on a sofa.
Bernard goes to Grant who stirs, hands Bernard a LETTER, MOTIONS,
and PRODS Bernard to read aloud.
BERNARD
(reads the letter aloud)
"My dear Bernard,
I loved your Grandma. She was a decent lady, who did not
deserve to be hurt, so I kept this to myself. But, all along,
she knew, yet allowed me my sense of dignity.
GRANT (V.O.)
I was a young soldier in Paris toward the end of the Second
World War, when we met. We had passion. We burned when we
touched. That very instant, we knew that we were meant to be
together, forever; that no distance, time, or death could
come between us. All this time, I feel her. After the war, we
were shipped home. We did not have the chance to say goodbye.
I wrote but later lost contact. Meanwhile, Eloise, patiently
waited for me to marry her. We were childhood friends.
I never thought that I could have any love left to give to
another. Yet, I found that I also had enough love for your
Grandma, who showed me how to care and love selflessly.
One day, I received a letter from a midwife in Paris, who
claimed to have my son in her care, when his mother died in
childbirth. She had my letters and she knew all about us.
I went to Paris to claim my son, but the midwife wanted more,
besides money, for she planned to come to America. At the
time, we already moved to this house, so I transferred the
title of the Bronx property, that my father gave me as a
gift, to the midwife, Elsa Duroucher.
BERNARD
(reads the letter aloud)
Your grandmother couldn't have children, so I arranged for
the adoption of my son, without her knowing that he was mine.
My son, was your father. Eloise loved him like her own and
loved you even more. That is why I did not want you to see
the owner of the Bronx property, in Paris. I could not bear
to hurt your Grandma. I'm sorry, I kept this from you all
this years. I'm sorry she had to die to give me our son.
Please forgive me.....your Grandfather."
CARESSA (O.C.)
The midwife, Elsa Duroucher, told me...
SHOCK SHOT OF CARESSA, standing by the open library door.
CARESSA (CONT'D)
...that my son...died...at birth...
SHOCK SHOT of GRANT, eyes brimming with tears, lips quivering.
He struggles to stand, and does, but weakly sits back.
SHOCK SHOT of BERNARD, SPEECHLESS.
As Caressa rushes towards Grant -- FLASH BACK: INTERCUT A FOGGY
SCENE of the YOUNG GRANT in SOLDIER UNIFORM, and a YOUNG
CARESSA. From afar, they wave goodbye. And in SLOW MOTION, they
run back toward each other. MUSICAL INTERLUDE - "WE'LL MEET
AGAIN" - "I'LL BE SEEING YOU" MEDLEY. As they embrace --
MERGE TO PRESENT: Caressa kneeling before Grant, hugging him.
CARESSA (CONT'D)
Grant, mon amour. My heart, my life,
my soul, always yours, avec mon amour.
ANGLE - Bernard kneels beside Caressa and kisses her and Grant.
BERNARD
Grand mama, ma grand'mere. (a beat)
Thank you, Grandpa.
CARESSA
Mon petit-fils, mon amour.
Grant gives out SOBBING SOUNDS, but the life is back in his
eyes. Bernard leaves his grandparents alone to themselves.
MUSIC UP AND UNDER AND OUT -
EXT. BRADSWORTH GARDENS - SUNRISE
Grant and Caressa sit on a garden bench, a wheelchair beside
it. They relish their first sunrise together. A few
butterflies flutter among the flowers. From behind, Bernard
walks in, kisses his grandparents and hands each a red rose.
BERNARD
Good morning Grand mama...Grandpa.
CARESSA
Isn't it a glorious day, Bernard...
my dear grandson?
(smells the rose)
Life is so wonderful.
GRANT
(with a slight effort)
It's time you take over the company,
Bernard. Craig has all the documents
I've signed. You're ready, grandson.
Besides, your grand mama and I have a
lifetime of catching up.
BERNARD
I promise you, Grandpa, that all your
wishes and all that you believe in,
will live on. And Grand mama, your
center has our full support.
CARESSA
Thank you. Merci. I know. It's clear
that your heart beats to the same
tempo as your Grand pere and mine.
(with a naughty smile)
Right now, our hearts are bursting with
so much love, so let's spread it around.
BERNARD
Not only shall you have your permanent
Center - with all your visions in it, but
you'll have it in a place that will serve
the most number and be a beacon to all.
As you've eloquently and beautifully
expressed yesterday - "Love is just like
the butterfly ...
Grant and Caressa join in -
BERNARD, CARESSA, & GRANT
... it flits from blossom to blossom,
whispering its song till the world
stills to listen and sing in unison.
EXT. UNIVERSITY GROUNDS - AFTERNOON, SAME DAY
After an outdoor graduation ceremony, the GRADUATES converge.
ROB, 23, a clean-cut, free-spirited graduate, hugs Robin.
ROB
Come on, Chirpee, everyone's going
to the party. It would be fun.
ROBIN
(acting so maturely, but
dispiritedly)
Rob, it's Robin...no longer
Chirpee, or Roby. (a beat) I can't
go. Mother made dinner reservation.
ROB
No problem, Chirp. Pick you up
in an hour? You'll be home before
dinner.
Rob leaves before she could answer. Bernard and Felicia join
Robin. A hug from Felicia, a kiss and bouquet from Bernard.
ROBIN
Thank you, darling. Thank you,
Mother.
(dejectedly)
Father is busy as usual.
FELICIA
You know your father. Get used to it.
See you both for dinner tonight.
EXT. SEASIDE CLIFF - SAME AFTERNOON
Bernard and Robin walk towards the cliff, hand in hand. She
has taken off her cap and gown, and is in a classic suit.
ROBIN
Why are we here?
BERNARD
To have time together. Congratulations.
You deserve it. Be proud and be happy.
ROBIN
But, why don't I feel that?
BERNARD
Because you equate success with
your father's approval?
ROBIN
It's not easy when one hungers for it,
for so long, but gets hurt, so often.
Remember the time I barged into my
father's meeting with you, your grand-
father, and some businessmen, to show
Daddy, the ribbon I won in the Father's
Day Poetry contest? All he said was,
"good," without even looking at me.
And before I closed the door as I left,
he said, that "ribbons do not produce
profit, this contract, does.
BERNARD
I'm sorry you heard it.
ROBIN
But you left his meeting, joined me
for a milk shake in the kitchen, to
celebrate my "poetry," you said. I
was so happy, I cried myself to
sleep, for I found my Hero. And for
once, I felt worthy to be loved.
BERNARD
Of course, you are. And yes, you
had been hurt very deeply by your
father, but you have it in you, to
rise from your past, and move on.
It's time you decide, what you, Robin
Thorpe, really want for yourself; not
for your father, not for me. Shall we
go thru with this wedding because your
father needs it to seal his joint-venture
with my grandfather, knowing that
Grandfather never turns his back on
family?
Or because your mother has completely
immersed herself into this,
her dream wedding project?
ROBIN
I'm so sorry we allowed them to
manipulate us. But I love you.
BERNARD
You love the person, who showed you
kindness, where there was none; love
when you needed it most. That was
then, but, what you want now, may not
be what you'll want later. We grow,
we change. I'm set in my ways; you
are just finding yours. Let's not be
trapped by the circumstance we find
ourselves in. You have your youth,
brains, beauty. You've triumphed over
those years of growing up. Go out and
enjoy; challenge opportunities.
ROBIN
With you, my hero, by my side, I can
do anything. I'm forever grateful to
you for always looking out for me.
BERNARD
Please don't put me up there. I do not
want to be worshipped. I can't watch
you be enrapt in this, for you can lose
yourself. A relationship based on
idolatry, or gratitude is not love, not
the kind marriage is built on.
ROBIN
You are... really worried.
BERNARD
Yes, for both of us. Wanting to
see you happy became my obsession,
but I am not helping, not this way.
I know this now. Robin, someone out
there is calling me. I'll never forgive
myself, if I allow this once-in-a-
lifetime part of me, pass me by.
ROBIN
So how...what...what do we do now?
BERNARD
Let's not lose what we have. It's
rare. I have faith in you to know
what feels right. We'll both face
your parents. You won't be alone.
ROBIN
You helped me fly, go soar and reach
for her. I think I can handle this by
myself, for the child has just grown
up. A floodgate has just opened.
BERNARD
Now, don't drown anyone.
ROBIN
No, I won't do that. On the contrary,
I'll just extricate all the stones
and rocks that have remained imbedded
all this years, and wash them off from
the strangling, slimy moss and mire.
BERNARD
You amaze me. Do you realize how
strong and wise you are? Oh, Robin,
you're worth much, much more.
Bernard hugs Robin, kisses her forehead. Robin sobs, whispers.
ROBIN
Thank you, my hero. I love you.
INT. THORPE ESTATE LIBRARY - SAME AFTERNOON
Robin excitedly enters the library in her cap and gown, and
kisses North, who is behind his desk, screaming on the phone.
NORTH (ON PHONE)
I don't care how you do it, just
do it! (a beat) What time is your
graduation?
ROBIN
(victoriously puts her
diploma before him)
It's over, Father. I did it!
NORTH
Your mother wanted one, too. But
you both don't need this sheepskin.
Bernard will provide for you, as I
did for your mother.
ROBIN
You don't get it. You're too myopic
to see what's staring at your face.
NORTH
Ah women! Always so melodramatic.
ROBIN
Have you never thought even in an iota
of a second that Mother and I need
something else besides money? We need
our self-esteem. Ever since I can
remember, you've made it a habit of
cutting me down at every opportunity.
NORTH
(slams down his papers
and her diploma)
Damn it. You bring home this, measly
piece of crap, suddenly you think
you have stepped on top of a pedestal.
Listen to me, girl. No pedestal is
tall enough for you to stand on, to
see me at eye level. And if thru
luck you do, the slightest air I
exhale will send you crumbling down.
ROBIN
I just found one. Me. And not even
your hurricane can topple me down.
Not anymore, Father. You've already
done all the damage you can ever do
to me, And you know what I just
realized? I can stand on my own
pedestal instead of inching myself
precariously on the ledge of yours,
only to fall, and break to pieces
at your whim. I don't need your
approval anymore to make me feel
worthy, nor can you use me to
further your business venture.
NORTH
Use you? You're NOTHING without me.
ROBIN
It's you who'll be nothing without
us who kowtow to you. You see NO
SLAVES, NO MASTERS! It'll be a new
world from now on, Father.
NORTH
Enough with this emotional
rantings. Get out and forget this
ever happened.
ROBIN
What is sad, Daddy, is, Mommy and I
really love you. Isn't it ironic
that with all your money, you and
Mommy can't be happy? Have you
forgotten how it was when you were
just starting? Can't you see that
there's a little girl in her,
that's hurting, because she misses
how you were, and can't even have
her simplest dream? I wonder what
your dream is, Daddy. The real one.
I know what mine is. (a beat) It's
not my fault if North, Jr., My dear
brother, died in that accident, and
I live. I wish you could appreciate
what you have, and not be so damn
angry at what you lost; for you
will end up losing all.
Robin kisses North, picks up her diploma, and strides away.
North is left in shock. Sadly, he gazes at a desk photo.
INSERT SHOT - THE PRESENT FAMILY PHOTO - of Robin, a sad
young lady; of Felicia, over-made-up, over-dressed, and
insecure; and of a domineering North.
Back on North, who sadly pulls out another photo underneath
the picture frame. He stares at it with nostalgia.
INSERT SHOT - THE OLD FAMILY PHOTO of young, simple, smiling
Felicia, and grinning North; both hugging two happy children.
A little innocent girl, ROBIN; and a younger boy, NORTH,JR.
INT. THORPE ESTATE GRAND STAIRCASE - SAME AFTERNOON
Robin closes the door above the grand staircase, takes off
her cap and gown, dumps both on the settee, and strides down
the staircase. WALTER, the butler, 60, meets her below.
WALTER
Master Roby just left.
FOLLOW Robin as she runs and opens the front door.
ROBIN
(calls)
Roby, wait!
ANGLE - Rob in casuals, leaps out of his top-down Jaguar and
opens the door, amazed at a spirited Robin, who hops in.
ROBIN (CONT'D)
Drive Roby. We can't miss the party!
ROB
You got it Chirpee!
Robin stands, takes off her jacket and lets down her hair,
which the wind blows in disarray, as Rob speeds away. They
laugh jubilantly. Finally, she feels -- so free!
ANOTHER ANGLE - An oncoming ROLLS ROYCE avoids a swift passing
swarm of BUTTERFLIES and SWERVES in front of Rob's Jaguar. Rob
maneuvers out of the way. LOUD SCREECHING OF TIRES.
Both cars SPIN out of control and end up by the roadside.
INCESSANT BLURRING OF CAR HORNS.
CHANGE ANGLE - Walter with FIVE THORPE HOUSEHOLD STAFF,
followed by North, run to the scene.
FOLLOW NORTH rush to a BLOODY ROBIN and in agony, HUGS her.
ANOTHER ANGLE - Seeing an INJURED FELICIA, Rob helps up Robin
and with North, the three STAGGER to her. North, in anguish,
ROCKS Felicia. Felicia sees a remorseful North.
ON NORTH SOBBING as he EMBRACES Robin and Felicia.
EXT. COMMERCIAL MULTI-PLEX - DAY
LONG SHOT of a TOP-DOWN RED MBZ driving toward a commercial
establishment.
ON CHANDLER at the wheel with Brooke beside him. At the back
seat, is Madigan, DOZING OFF. The breeze CARESSES their
faces; PLAYING on the CD is YOYO MA'S CELLO SELECTION.
BROOKE
Soft breeze plus cello serenade equals
dreamland. Ah...what a restful day.
CHANDLER
Right. But wait till you're caught in
the frenzy of the giant "White Sale."
Love the linens!
C.U. OF MADIGAN'S FACE. FLASH CUT -
INT. MALL - (IC/PT) - SAME DAY
Wading through the crowd of linen shoppers, a MIDDLE-AGED
MAN, in blue suit, TAGS ALONG a FOUR-YEAR-OLD GIRL. Madigan
BUMPS against them.
MADIGAN
I'm sorry. Are you all right?
MIDDLE-AGED MAN
Yes...yes. We're in a hurry. My
daughter here needs to go to the
little girl's room.
The Middle-Aged Man looks uneasy and the Girl, confused.
MADIGAN
Well, sir, you're in luck. I'm on my
way there, too. I'll take her there.
Madigan takes the Girl's hand but the Middle-Aged Man holds
on. Madigan notices something.
MADIGAN'S P.O.V. - the HAPPY FACE TATTOO on the back of the
Man's right hand holding the Girl.
ANGLE - The Girl stands FROZEN, her eyes, pleading.
MIDDLE-AGED MAN
Thank you, Miss, but we're fine.
The Middle-Aged Man hurries away with the Girl, who looks
back at Madigan. Madigan goes after them.
MADIGAN
Sir, you're going the wrong way.
Don't worry, I'll take her in. You
can wait outside. (jokingly) sorry,
no men allowed in there.
ANOTHER ANGLE - Madigan takes the Girl from the Middle-Aged
Man and hurries to the direction of the restroom and gets
lost among the shoppers. The Man goes after them, scanning
the crowd.
EXT. MALL PARKING LOT - SAME DAY
Chandler and Brooke get out of their parked car. Madigan, at
the back seat, still sound asleep.
BROOKE
Hey, Madigan, we 're here.
MADIGAN
(jumps up)
Already?
INT. MALL - SAME DAY
There is a commotion with shoppers surrounding the four-Year
Old Girl. Her MOTHER, 20's, is CRYING as she HUGS her. A LADY
SECURITY questions the Girl.
FOUR-YEAR-OLD GIRL
A beautiful lady took me away from
him, then she called in the phone by
the wall over there and said that the
man was wearing a blue suit and had a
happy face tattoo on his hand.
LADY SECURITY
I'm glad you're all right, sweetie.
Thank God for her.
(To Mother)
But as soon as she handed your daughter
to me, she kind of just disappeared.
MOTHER
I wish I could thank her for saving
my baby.
LADY SECURITY
Maybe, she didn't want the publicity.
Just then TWO SECURITY MEN HUSTLE through the crowd, holding
on to the Middle-Aged Man.
FOUR-YEAR-OLD GIRL
(screams)
That's him, Mommy! He said you were
waiting for me with my ice cream.
(To Man)
You're not my Mommy's friend.
ON THE TRIO, CRANING behind the crowd.
BROOKE
Lucky girl!
CHANDLER
She must have an Angel watching
over her. We'd never know which
ones are in this crowd.
ON MADIGAN, who tries to hold back her tears, as she smiles
with gratitude.
INT. CONCERT HALL IN MANHATTAN, NEW YORK - NIGHT
Tuxedoed and Gowned GUESTS fill the hall. The Trio is in mid
center section; North between Felicia and Robin, in the front
row. There is a SWEETNESS between all three.
APPLAUSE FOLLOWS a MUSICAL GROUP'S performance.
Madigan, CELL PHONE in hand, whispers to Brooke, sidles to
the aisle, walks up to the entrance door behind the audience.
The EMCEE, 50, a dignified man takes the stage.
Madigan REENTERS, but remains at the top of the back aisle.
EMCEE
It is my honor to present to you, the
Chairman of the Int'l. Human Rights
Org., Mr. Bernard Bradsworth.
APPLAUSE. Bernard, in coat and tails, ENTERS with his violin.
ON MADIGAN, who is flabbergasted at the sight of Bernard.
BERNARD
Good evening. As a way of thanking you,
for your support to this very worthy
cause, the protection and preservation
of human rights of people all over the
world, I give you my music.
MORE APPLAUSE. CHANGE ANGLE -
Bernard looks appreciatively to the stage wing, where Grant,
in tux, Caressa in, gown, sit. They beam with pride, as they
acknowledge Bernard's gesture..
Bernard plays passionately, with full orchestration, what he
composed for his "deliciously heavenly" vision.
ZOOM IN TO MADIGAN, who is entranced by Bernard's music.
ON BROOKE and CHANDLER. They recognize the melody; look at
each other in amazement; mesmerized by Bernard's rendition.
ON THE AUDIENCE, completely captivated and engulfed in the
music; Felicia and Robin, both emotionally affected.
GRANT and CARESSA, deeply touched; their spirits transported
back to the Paris of their youth.
BACK TO BERNARD, playing his violin with passion.
ANGLE ON MADIGAN, who walks down the aisle, eyes fixed at
Bernard. She stops past her seat, but remains standing.
The PLAYING ends. APPLAUSE and exuberant STANDING OVATION.
ON MADIGAN, who applauds jubilantly with tears of joy.
GUESTS ARTISTS join Bernard on stage. Sustained APPLAUSE.
LIGHTS ON. Madigan walks towards the stage, wading against
the flow of the exiting audience.
ANGLE ON BERNARD kissing Grant and Caressa goodbye as Miss
Wilson and Grant's chauffeur prepare Grant's wheelchair.
INT. BACKSTAGE - SAME NIGHT
WELL-WISHERS, COMMITTEE MEMBERS, and Guest Artists
congratulate Bernard, as he joins them.
ON MADIGAN - Unable to get to Bernard, she steps aside, takes
out from her purse the "Pegasus" PEN and puts in an ENVELOPE.
She requests a SECURITY GUARD nearby, to hand the envelope to
Bernard. The guard nods and walks through the crowd.
ANOTHER ANGLE - The Security gives the envelope to Bernard,
who pockets it, when more guests converge around him.
ON MADIGAN, who waves at Bernard to call his attention. Her
smile and excitement are dampened by the scene she sees.
Brooke and Chandler excitedly join her to share the news
about her melody, but stumped as they follow her sight.
BROOKE
Ssshit...! Double ssshit...!
THEIR P.O.V. - Robin and Felicia kiss Bernard; North gives
him a pat on the back.
Madigan, Brooke, and Chandler are shocked at what they see.
A PHOTOGRAPHER is blocked by the Security, but Bernard allows
him to take pictures. Bernard excludes himself. He recoils
from the FLASHBULBS.
MONTAGE OF FLASH CUTS: a 7- year old Bernard, cowers from the
flashbulbs; his Dad shielding him, his Mom posing. All in
formal attire.
BERNARD, 7, in pajamas, witnesses from behind their
bannister, the shooting of his parents coming from a gala
affair. The TWO MASKED MEN, are in turn shot by their HOME
SECURITY GUARDS.
BERNARD, 7, still in pajamas, still behind the bannister,
is blinded by the FLASHBULBS as photos are taken of his
dead parents in a pool of blood in their living room.
BACK TO THE PRESENT - MORE FLASHBULBS. Bernard is still
affected by the memory.
Robin clings to Bernard as they leave with Felicia and North.
C.U. Of MADIGAN, devastated and utterly defeated.
EXT. CONCERT HALL - SAME NIGHT
Bernard gets in his limo and Ralph drives away. Other cars
leave; among these, the MBZ of Chandler, Madigan, and Brooke.
INT. BERNARD'S LIMOUSINE - SAME NIGHT
Bernard remembers the envelope and is excited to find his pen.
BERNARD
Ralph, drive back to the concert hall.
INT. CONCERT HALL - SAME NIGHT
Bernard talks to the Security, who seems to describe Madigan.
EXT. CONCERT HALL - SAME NIGHT
Bernard looks around. Back to his limo. Limo drives away.
INT. BERNARD'S OFFICE - SAME NIGHT
Bernard, direct from his concert, scans the computer for the
concert guest list, checking off female names. O.S. KNOCK and
OPENING OF DOOR. Craig, in his concert tux ENTERS FRAME.
CRAIG
I came to pick up some files and
saw your lights. What's up?
BERNARD
She must be in this concert guest list.
CRAIG
Come on Bernard, it's a hopeless
search. If she's that "deliciously
heavenly," she must be either engaged,
married, or unreal. Robin is real.
You're marrying her. Let go.
BERNARD
She's real. She heard me play for her.
She returned my pen. And per the
Security, she's blindingly stunning.
And yes, "deliciously heavenly." I have
to find her. When you meet your twin
soul, you just don't let go. You search
for her. To the end of the world.
INT. FLEUR-DE-LIS APTS., MADIGAN'S BEDROOM - EARLY DAWN
Madigan sits up on her bed, in a panic. Brooke shakes her
back to her senses. Chandler barges in.
CHANDLER
What's wrong?
BROOKE
I heard her scream. I had to call you.
MADIGAN
(hyperventilating;
inconsolably agitated)
Something...something horrible is going to
happen. We've got to save everybody -
people ... seniors...children..pets...
BROOKE
You're freaking me out. Yeah... yeah,
we'll save them! But where are they?
CHANDLER
All right, Madigan, love, breathe.
Now, start from the beginning.
MADIGAN
A building complex... evacuate the
building before it's too late.
BROOKE
Which building? Is it ours?
CHANDLER
Tell us about the building, its
architecture, period, location...
BROOKE
Stop it, Chandler. It's just a nightmare.
MADIGAN
NO! It's real. The building...I've seen
it before. There's a pet shop on the
ground floor...it's where I got Pegasus.
BROOKE
The "Love You Back" Pet Shop.
CHANDLER
I know the structure. The Shangrila.
MADIGAN
Yes...yes. We have to warn them.
BROOKE
What? And tell them what? That
there'll be an alien invasion?
CHANDLER
Why don't we all the Manager?
BROOKE
Are you crazy, Chandler Rains?
INT. THE SHANGRILA - MANAGER'S BEDROOM - SAME EARLY DAWN
A half-awake middle-aged MALE MANAGER, angrily answers the
phone, his WIFE, who is SNORING beside him, JUMPS UP,
MANAGER (ON PHONE)
Are you crazy? You want everyone to
evacuate the building? What? Someone
had a dream? Hey, it's two in the
morning. We've no problem here. Get a
life. Go back to sleep. Wacko!
The Wife DROPS BACK on bed and instantly SNORES.
INT. FLEUR-DE-LIS APTS. - MADIGAN'S BEDROOM - SAME EARLY DAWN
CHANDLER
He called me crazy. I tried. Sorry.
BROOKE
Yeah, yeah, me, too. We'll sleep
with you. It's just a dream.
Tomorrow will be fine, you'll see.
INT. THE SHANGRILA, HALLWAYS - (IC/PT) - SAME EARLY DAWN
Madigan, in the same nightwear, runs in a panic, setting off
one FIRE ALARM after another at hallways from floor to floor.
INT. AIRPLANE COCKPIT - SAME EARLY DAWN
An ELDERLY MALE PILOT suddenly clutches his chest and slump
against the plane instrument panel.
INT. FLEUR-DE-LIS APTS., MADIGAN'S BEDROOM - EARLY MORNING
O.C. CROWING OF A ROASTER (alarm clock). Pegasus jumps up on
Madigan's bed. Brooke and Chandler, who cuddle Madigan
between them, leap up in unison.
BROOKE
SSHIT! Now what...what?
CHANDLER
Good morning, Pegasus darling.
Madigan turns off the alarm clock and goes back to sleep. Brooke
jumps down from he bed, does her defensive karate move. Chandler
tangos with Pegasus and draws open the drapes with a flourish.
Brooke and Chandler, with Pegasus, jump back to bed. Brooke shakes
Madigan up.
BROOKE
Time to get up, Madigan!
CHANDLER
Rise and shine, sleeping beauty!
BROOKE
What have you done now, jog around
Manhattan?
CHANDLER
Let her sleep. She looks pretty pooped.
Brooke reaches for the TV REMOTE and turns on the TV on MUTE.
Almost as one, Brooke and Chandler sit up in disbelief.
CHANDLER (CONT'D)
Turn on the sound. Quick. Fast. Pronto!
Brooke panics for the button. The sound BOOMS FULL VOLUME.
Madigan jumps up. SHOCK and DISBELIEF on their faces.
ON TV SCREEN;
FIRE RAGES from a building complex - The Shangrila. A PLANE'S TAIL
DANGLES from its wall; the plane's fuselage on the ground.
PULL BACK TO REVEAL - FIRE TRUCKS, FIREMEN, TENANTS (SENIORS,
ADULTS, CHILDREN, still in their sleepwear), BIRDS, CATS,
DOGS,FISH, etc., etc., rescued from the Pet Shop, crowd near
the burning inferno. Shocked faces surround a TV REPORTER.
REPORTER
(in disbelief )
What we are witnessing here is nothing
short of a miracle. (to crowd) Why did
you evacuate the building before the
plane crash?
CROWD
All the fire alarms went off at the
same time. We thought there was a fire.
REPORTER
You are the Manager. Tell us what
happened. You're a hero. Why did
you set off all the alarm?
MANAGER
(basking on his
celebrity)
Well ...
REACTION SHOT of Brooke, Chandler, and Madigan.
BROOKE
He changed his mind. Your call did
it, Chandler.
BACK TO TV SCREEN - Warning look from Manager's Wife humbled him.
MANAGER
No, I didn't do anything. (mumbles)
I didn't do anything. It was a
miracle.
REPORTER
There you heard it. A MIRACLE? Did
something or someone trigger off
the alarm? We'll never know.
But we thank the New York Fire
Dept. Their quick response and
heroism saved everyone on the
ground and those from the plane.
On Chandler and Brooke - numbed. Madigan emotionally grateful,
pulls the two to her. They hug, in disbelief and joy.
EXT. THORPE ESTATE GROUNDS - LATE AFTERNOON
FULL SHOT - The HUGE WEDDING GAZEBO by the water edge, its
dome and columns covered with roses and fuchsia orchids.
PULL BACK TO REVEAL a long aisle between rows of some two
hundred floral-decorated chairs. Elegantly-dressed GUESTS are
seated by gentlemen USHERS in tuxedos.
REVERSE LONG SHOT of the gazebo, to the flower-covered
pergola, which extends from the aisle's end to the back of
the mansion and to the reception site, rich with flowers.
ANOTHER ANGLE - MUSICIANS PLAY Beethoven's "Moonlight Sonata"
ANGLE to an open floral-bedecked fenced area by the reception
site, where adorned DOG-GUESTS are left to the ATTENDANTS.
MATRONLY GUEST 1
CIAO, Princepessa. Mama will miss you.
YOUNG LADY GUEST 2
Enjoy, Leonardo. Remember, you're
King of the world. Ta...ta...
Chandler is in tux; Brooke and Madigan, in long gowns; Madigan in
Lilac. They leave a floral-adorned Pegasus with the Attendant.
MADIGAN, BROOKE, CHANDLER
See you soon, Pegasus. Cheer up!
BROOKE
I think congratulations are in order,
to the Floral Wonders, Inc. As always,
our creations are fabulous. Love it!
- on to the wedding site. Madigan is bothered; fidgets.
CHANDLER
I'm sure this one you'd love to hear.
Caressa wants to see us tomorrow.
Something about an exciting surprise.
Brooke and Chandler regard Madigan with concern.
BROOKE
Your attendance is a bad idea, huh?
CHANDLER
Are you positive you can handler this?
MADIGAN
We're here on business, right?
(Mutters)
We promised to find each other.
When I returned his pen, he should
have known that I was there.
BROOKE
Maybe the pen wasn't even his.
Maybe it was just all a dream.
Otherwise, why in the world would
he do this to you when he's
marrying Robin? He doesn't look
like one of those guys. Or does he?
I give up. Hey, just walk right up
to him and settle this huge mystery
once and for all.
MADIGAN
No, I won't do that. Not at the
expense of another. He is getting
married to Robin.
CHANDLER
Precisely. Besides, we can't force a
thing on the Universe before its time.
BROOKE
Oh yeah? And when is that time? After
the "I do's" had been exchanged?
CHANDLER
Nothing that's meant for you could
others take.
BROOKE
Yeah...yeah. All right, then be
prepared to settle as his mistress.
Because if he's truly yours,
there's no stopping for the two of
you to be together.
MADIGAN
I have to check the reception florals.
Near tears, Madigan leaves Brooke and Chandler.
BROOKE
She's falling apart. This is a
total disaster. I told you she
shouldn't have come. And stop
feeding her with your...your...
CHANDLER
With what I feel and know, exist?
BROOKE
I wish I could just believe, like
you two.
I can't understand why she had to
come witness his wedding and
torture herself. What is she, a
masochist?
CHANDLER
We were hired. She's a professional.
But as they say, this, too, will pass.
MOVING SHOT of Madigan in anguish, nearing the reception.
MADIGAN
(to self, in pain)
Pegasus, Bernard, I'm here. I love you.
EXT. AN ANCIENT TREE BY THE WATERS - SAME LATE AFTERNOON
Bernard in tux, a solitary figure under the tree.
BERNARD (ON PHONE)
(animatedly)
Hi, Robin, is everything going well?
EXT. RECEPTION SITE, THORPE GROUNDS - SAME LATE AFTERNOON
Madigan surveys the site with CLAUDE, 30, refined; Paul and
Brad, all in tux; Marie and Christie, in gowns.
CLAUDE & CO.
Well, Madigan, everything's perfect.
Time to relax and enjoy the moment.
MADIGAN
Thanks. You're all great. (a beat)
Go ahead.
Massenet's "MEDITATION" is PLAYED. Madigan feels hopeless. Claude
and Co. starts for the wedding site.
Madigan lags behind and motions them to go ahead.
SHOT OF PEGASUS, looking thru the slat fence. He sees Madigan,
slips out, and runs to her; an Attendant after him.
ANGLE ON MADIGAN, jolted from her reverie, as Pegasus jumps into
her arms. She waves the Attendant away. Pegasus slips down and
playfully lures her toward the direction of the adjacent
property. Paul and Marie notice, but walk on.
ANGLE ON the bridal procession. The Thorpe's SIX LABRADORS,
each one sporting a floral coronet and a floral blanket over
its back, emerge from the pergola to the aisle.
PAN SHOT OF GUESTS with REACTIONS of "ahs" and "ohs."
FOLLOW MADIGAN who chases Pegasus as he runs out of the side
gate of the property to the street. As the gate closes after
Madigan, WE HEAR LOUD SCREECHING of TIRES, a SCREAM from
Madigan and a SHRILL YELP from Pegasus.
EXT. FORESTED BRADSWORTH ESTATE -(IC/PT)- SAME LATE AFTERNOON
PEGASUS emerges from the gate and barks at Madigan behind
him. Pegasus runs to the adjacent estate; Madigan chasing.
O.S. BRIDAL MARCH is PLAYED. She sinks to her knees. Pegasus
comforts her.
ATMOSPHERIC SHOT - Pegasus leads Madigan with his STOP-GO
antics. As if in a trance, she staggers toward a TUNNEL of
two long rows of mature trees, their branches forming a solid
arch; its path, a carpet of grass and flowers.
MOVING SHOT of Madigan, who looks up and around, bewildered.
The rays of the sun pierce the foggy and seemingly endless
green tunnel. Then the clear blue sky. She stops, amazed.
P.O.V. OF MADIGAN - The green rolling hill with a gazebo on
top, dripping with abundance of purple wisteria blooms.
REVERSE MOVING SHOT of Madigan, as she slowly walks up the
hill and stops at the gazebo, in awe; a breeze whizzing by.
MADIGAN'S P.O.V. - The tranquil waters beyond, seagulls
freely flying, dazzling sun on the horizon.
Madigan scans the wisteria above her, and is INCREDULOUS.
ZOOM IN to the BRAIDED VINES and a CUT TWIG where the
TENDRIL RING that Bernard made is caught in it.
Madigan SMILES as she retrieves the ring and wears it.
The SOUND of the O.S. THUNDEROUS APPLAUSE and the CHEERING
from the Thorpe grounds, is HEARD. Madigan freezes and in
pain, knowing that the wedding ceremony is finally over.
CHANGE ANGLE - Madigan looks out at the waters and scans the
surroundings, which all seems so familiar.
She catches sight of the top portion of a life-size hedge
sculptured Pegasus, just below the gazebo; its head proudly
looking far, its wings raised up in flight.
EXT. WEDDING CEREMONY SITE - SAME LATE AFTERNOON
ANGLE FAVORING CHANDLER and BROOKE with Paul, Christie,
Marie, Claude, and Brad. The guests APPLAUD and CHEER.
BROOKE
(whispers to Chandler,
breathlessly)
We have to find Madigan, immediately.
CHANDLER
Has anyone seen Madigan?
PAUL & MARIE
She went after Pegasus toward that
adjacent estate.
Chandler and Brooke quietly leave and hurry to the direction
of the adjacent estate.
EXT. GAZEBO ATOP A ROLLING HILL - SAME LATE AFTERNOON
Pegasus leaves Madigan and instinctively runs down the hill.
MADIGAN
(calls)
PEGASUS...
Madigan cranes to look down at the Pegasus hedge sculpture.
Someone in tux, by the Pegasus hedge, looks to the horizon.
ON BERNARD who stiffens without turning. He feels something
inexplicable, but dismisses it; stands and pensively runs his
hand on the Pegasus' mane and whispers.
BERNARD
Someone's calling you, my friend.
MADIGAN
(calls again, guardedly)
Pegasus?
SILENCE. Pegasus barks and sniffs Bernard. Now Bernard feels
it strongly, as he looks at Pegasus. He turns and there,
MADIGAN is, enchantingly beautiful and statuesque. THEME
MUSIC.
ANOTHER ANGLE - Bernard runs up to the gazebo, picks up, and
twirls Madigan around; both laughing emotionally; Pegasus
joyfully celebrating.
BERNARD
It's you! I'd been searching for you.
MADIGAN
Yes, and we found each other, Pegasus.
Bernard FREEZES, slowly brings down Madigan, and searches
into her eyes. Madigan's smile fades, as she looks at
Bernard, anxiously... uncomprehendingly.
MADIGAN (CONT'D)
You're not...PEGASUS?
Bernard SHAKES HIS HEAD, "NO," afraid to take his eyes off
from gazing into Madigan's face.
MADIGAN (CONT'D)
Are you real?
Bernard happily NODS, "yes."
MADIGAN (CONT'D)
Then...then you just got...
married.
CUT AWAY TO
EXT. THE RECEPTION - SAME LATE AFTERNOON
Under the floral cage, stands North, in white tux, and
Felicia, in Robin's BRIDAL GOWN; both holding the string that
trails down the cage. Felicia, now without her customary
HEAVY MAKE-UP, is REFRESHINGLY lovely.
ROBIN
Pull the string, Mom, Dad!
ANGLE ON THE COUPLE. They pull the string and WHITE DOVES
burst out. The guests applaud and incessantly beat spoons
against glasses, urging the groom to kiss his bride.
ANGLE ON ROBIN, who cries with joy for her parents, and
especially for her mother's fulfilled childhood dream.
Robin turns to Rob, in tux, beside her, and like two free
spirited children, high-five and burst into laughter.
ZOOM OUT TO INCLUDE Felicia and North, blissfully happy, and
ZOOM OUT FURTHER to the applauding guests, as both kiss.
EXT. GAZEBO - SAME LATE AFTERNOON
MADIGAN
You ...DID NOT...get married?
Bernard happily SHAKES HIS HEAD, "NO." Madigan embraces him.
MADIGAN (CONT'D)
You really did not get married?
BERNARD
How could I? That moment at the
escalator never left me. It was
indelibly etched in the very core
of my being. As if a shimmering
cord connected us forever. (a beat)
I'm Bernard...Bernard Bradsworth.
Thank you for finding my pen and
for finding me.
MADIGAN
I knew it belonged to you. Oh, I'm
Madigan...Bloom.
BERNARD
Your eyes are so beautiful, Madigan
(a beat) By the way, I still have
your contact lenses.
MADIGAN
But...I've never worn contacts.
Wondering smile from Bernard -- the Universe conspires, indeed.
BERNARD
I love you, Madigan. You had been
in every minute and in every second
of my waking and sleeping hours.
Something indescribable... almost
ethereal happened that first
instant I looked into your eyes.
MADIGAN
Yes. Music...heavenly music. And
then those magical moments and
wonders we were so privileged to
experience...to share...to feel.
Madigan reaches for the braided wisteria vines.
MADIGAN (CONT'D)
Remember this?
BERNARD
(thinks, smiles, SHAKES
his head, "NO")
...but there are a million and one
wonders I feel and I know about
you.
Bernard brings out from his breast pocket a ring -
BERNARD (CONT'D)
I've waited for you for eons and
eons of years.
INSERT SHOT of the SWEETHEART RING between Bernard's fingers.
C.U. OF MADIGAN, who is ecstatic, as she gazes at the ring,
that has since, touched her, so deeply.
WIDER SHOT - Bernard puts the ring in Madigan's left ring
finger, next to the TENDRIL RING, which he admires.
BERNARD (CONT'D)
This is ingenious. You made this?
Madigan does not answer, but snaps a tendril, fashions it
into a ring, and puts it in Bernard's left ring finger.
MADIGAN
Yes...this one.
BERNARD
I love it. Do you know that in my
dreams, I search for you? And just
the vision of you, lifts my spirit
and comforts my heart.
MADIGAN
Isn't this just magical? I feel you
and see you and I sense you
everywhere...everyday...every
moment...
BERNARD
I have always believed that "when
we find our twin souls..."
MADIGAN
"...we will know. For once found,
there'll be no more restlessness..."
BERNARD
"...and no more far away look. For
once found, we never, ever let go."
(Kneels before Madigan)
I've waited for this moment all my life.
LOW ANGLE - Brooke and Chandler just arrive below the rolling
hill, look up and find Bernard kneeling before Madigan.
Bernard stands and kisses Madigan, ever so tenderly.
ANOTHER ANGLE -
BROOKE
SSSHHIII....
She stops as she sees Chandler's eyebrow-raising reaction.
BROOKE (CONT'D)
...SSSHHHOOOT...TING STARS...!
CHANDLER
(looks down at Brooke
happily victorious)
TOUCHE'...!
Brooke looks up at Chandler, like a meek child. He puts his
arm around her shoulders brushing the back of his palm
against her cheek; both tearfully smiling. They walk away.
CHANGE ANGLE - Bernard's VIOLIN COMPOSITION SNEAKS in --
Bernard lifts Madigan exultantly and swings her around PURPLE
BUTTERFLY flies INTO FRAME and hovers above them. And the
MOST COLORFUL BUTTERFLY of all, SWOOPS in and FLAPS its
gossamer wings. From everywhere, MYRIADS butterflies JOIN IN
and FLUTTER in celebration.
The MUSIC builds up to a CRESCENDO -- with the SWIRLING SHOT
of Madigan and Bernard laughing with exuberance as they
continue to hug and twirl around.
PEGASUS BARKS and relentlessly tries to get their attention.
He TUGS at Bernard's leg and pulls him down the hill, barking
even more vehemently.
BERNARD looks back helplessly at Madigan for assistance.
MADIGAN
Go. I'll be waiting.
As if on cue, PEGASUS RUNS AWAY as fast as he can, Bernard
running after him.
FOLLOW PEGASUS and Bernard through the green tunnel to the
property side gate and out to the street, through the crowd
of limo drivers and some guests from the Thorpe estate.
HIGH ANGLE - a GLARE of LIGHTS hits the scene.
ANOTHER ANGLE - Madigan, crumpled in a prone position, lies
unconscious on the street. Bernard cuddles Madigan, in her
bloody gown.
BERNARD
NO...no...you can't leave me. I
just found you. No...no...please
God...NOOOO!
ON CRAIG among the crowd, in utter disbelief.
Brooke and Chandler arrive - in shock as they kneel down beside
Madigan and uncomprehendingly look at Bernard then stand back.
O.S SCREAMING of AMBULANCE SIREN.
BERNARD (CONT'D)
(tearing and in anguish)
Please, wake up...live...please, live...
MADIGAN
(opens her eyes and
whispers)
Bernard. Thank you for finding me.
I'm Madigan...Bloom.
BERNARD
I know, Madigan. (a beat) Thank you God.
I'm here now. I'll never leave you. You
have me for life, forever, for eternity.
Bernard kisses Madigan's blood-stained left hand.
E.C.U. Of Madigan's left hand with the "sweetheart" and tendril
rings and of Bernard's finger, also with the tendril ring.
REACTION SHOTS of disbelief from Mr. Gerald, Craig, Brooke,
and Chandler, who are among the crowd.
MADIGAN
(in a panic)
Pegasus? Where's Pegasus? Pegasus?
Madigan retrieves a limp and bloody Pegasus from beneath her gown.
The horrified crowd GASP IN UNISON.
Madigan cradles Pegasus and desperately BLOWS AIR into his
mouth.
SUPER OVER THE SCENE-
The CHILD MADIGAN desperately blowing air into the baby
bird's beak.
BACK TO PREVIOUS SCENE-
Bernard hugs Madigan and looks up in fervent prayer.
The CROWD intensely PRAY in silence. STREAMS of LIGHT
emanate from the crowd and SHOOT toward Pegasus.
The Purple Butterfly SWOOPS DOWN and BATHES the scene with
brilliant light.
SUDDENLY - a WHIMPER from Pegasus delightedly astounds
Madigan and Bernard.
SUPER OVER THE SCENE -
The lifeless baby Bird, in the CHILD MADIGAN's hands, turns
pink and like an ethereal beam of light flies up to the
Heavens.
The crowd stand in awe and BURST into jubilant cheering and
applause.
From the Heavens, a CANOPY OF BUTTERFLIES joyfully descends.
VIOLIN COMPOSITION FADES OUT and THEME VOCAL MUSIC STARTS.
SUPER CLOSING TITLES and CREDITS on the following FROZEN
SCENES at the END of EVERY SCENE:
EXT. GATE, "THE POWER OF LOVE" CENTER - DAY
The place is restored. Bernard, in white tux, helps down the
giggling Madigan, in an elegant Pierre Du Bon wedding gown,
from the floral-decorated open carriage driven by a pair of
white horses. Pierre fusses around Madigan and his creation.
The exultant APPLAUSE and CHEERS from the CENTER POPULATION,
all dressed for the festivity, welcome them.
EXT. "THE POWER OF LOVE" TWO-STORY RESIDENCE - SAME DAY
LONG SHOT of the renovated building. CHEERINGS, as rice and
petals shower upon the bride and groom.
At the door, with the motto - "LOVE CONQUERS ALL" - Caressa,
and Grant lead the reception with Chandler, Brooke with
Pegasus, Robin, Rob, Felicia, and North.
EXT. CENTER GROUNDS - SAME DAY
HIGH ANGLE MOVING SHOT - OVERVIEW of the festivity at the
newly-developed grounds. SHOW a GAZEBO and a PEGASUS-SHAPED
HEDGE.
ANOTHER ANGLE - PAN AROUND TO REVEAL the RAPPING led by Duke
and his Alley Homeless; Clay and Leon and their Groups.
The LONG LINE around the sumptuously-filled, long buffet
table supervised by Bob, Fred, Tess, Anton, and Ray.
AT THE GAZEBO, are Grant and Caressa, slow-dancing.
The FLORAL-DECORATED BASKETBALL COURT - As Madigan and Bernard
dance, family, friends,Floral Wonders Staff, Seniors, Youths,
and Volunteers, CHEER; Pegasus twirling at the center, barks
at the couple; Pierre dances and hovers around his creation.
AUNTIE ANGELA, joyfully hugs Madigan. A YOUNG MAN with her.
THEODORE and CERISE, 30's congratulate Madigan and Bernard.
THE THREE CLASSMATES, Craig, Mr. Gerard, and Bernard, high
five and hug one another. Together, they kiss Madigan.
HIGH ANGLE - THE FLOWER GARDEN - Every one cheer and wave at
Madigan and Bernard, who scamper away; Pegasus chasing. A
BEVY OF BUTTERFLIES FLUTTER all over, and --
As WE ZOOM IN on the JOYFUL FACES of Madigan and Bernard, the
butterflies CONVERGE into formation that READS:
"WE'VE ONLY JUST BEGUN!"
END OF CREDITS.
ZOOM OUT through the Center Gate with its NAME and MOTTO:
THE POWER OF LOVE
"Love Conquers All!"
CONTINUE ZOOMING OUT through the TOWERING TWIN LIGHTS that
once were the TWIN TOWERS.
THEME VOCAL MUSIC UP AND OUT.
FADE OUT.
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Script created with Final Draft by Final Draft, Inc.
