"UNDOCUMENTED FIRST PREFERENCE" Original Story & Screenplay By: Madia-as Digdigan Buenaflor FADE IN EXT. LAX AIRPORT, INTERNATIONAL ARRIVAL SIDEWALK - DAY, 1955 The place is buzzing with activities. Passengers welcomed by friends and families, others catching their rides. A twenty one year old European lady, apparently in the later stage of pregnancy, small luggage in hand, steps out and joins the crowd, searching around for someone to meet her. She is KATERINA KAUFMAN, with a lovely face and long wavy blonde hair and big soulful eyes that light up with anticipation. The passengers slowly disperse, leaving her alone except for a few passers-by. She stops a MIDDLE-AGE WOMAN. KATERINA (politely, European accent) Excuse me, lady, where can I find a bathroom? MIDDLE-AGE WOMAN (curiously eyeing her) Go back inside to your right. You'll see an arrow to a restroom. KATERINA Thank you, lady. You are very kind. The Middle-Age Woman gives her a strange look and walks away hurriedly, shaking her head. Katerina turns and walks back inside the building. CHANGE ANGLE From across the street, BOB, a young man in his early twenties, in military uniform RAISES HIS HAND to hail someone. BOB (calls) Katerina...Katerina...wait! ANOTHER ANGLE Katerina doesn't hear and continues on and is swallowed by the outgoing passengers. FOLLOW Katerina inside the building, who hesitantly searches for a sign and upon seeing the RESTROOM SIGN, hurriedly follows the direction. CUT AWAY TO EXT. LAX, INTERNATIONAL ARRIVAL SIDEWALK - SAME DAY Bob, still focused towards the airport arrival door, runs across the street, excitement all over his face, without regard to the speeding heavy traffic. His BODY FLIES into the air and LANDS on an incoming car with a THUD. The LOUD SCREECHING of car is followed by BLARING of car HORNS and LOUD SCREAMS from the bystanders. DISSOLVE TO: EXT. LAX, INTERNATIONAL ARRIVAL SIDEWALK - SAME DAY Katerina sits on a bench outside the arrival door, waiting; looking tired and weary. SUPER more passengers passing her back and forth as DAY TURNS to NIGHT. She pulls out from her small luggage her butterfly-printed YELLOW SCARF, which from then on, will identify her wherever she goes, using it as a wrap or as a head scarf. Her eyes glisten as she covers her hair and ties the scarf under her neck. There is a sense of longing while she fingers this, as if caressing an invisible presence. CHANGE ANGLE Katerina stands and stretches, massaging the back of her hips as she slowly walks back and forth. Suddenly, she bends over. C.U. Of Katerina's face stoically fighting the surge of pain. SUPER TITLE ON KATERINA'S FACE - "UNDOCUMENTED FIRST PREFERENCE" SUPER THE REST OF THE TITLES ON THE FOLLOWING SCENES- EXT. LOS ANGELES STREET - DAY It is an overcast day and it looks like rain will follow. A bus stops and passengers disembark. Katerina, in her now familiar yellow scarf, steps down the bus with a BUNDLED BABY in her arms. She looks around and walks to a phone booth. INT. PHONE BOOTH - SAME DAY Katerina lifts through the telephone book and opens to a page under SMITH. C.U. Of her finger tracing down to several Roberts and Bobs. CHANGE ANGLE She takes out coins from her purse, dials a number, feeds the phone with coins. She listens. The call is a disappointment. She dials another number and another then another and gets the same disappointing response, until she runs out of change. Her baby starts to cry. She uncovers the baby, revealing TESHA, a week old blonde BABY GIRL. KATERINA You're hungry my baby? She discretely breast feeds her. KATERINA (CONT'D) You feel better? Don't cry my sweet darling Tesha. We will soon find your Daddy. The baby stops crying and starts to coo. Katerina coos back at the baby as she finishes feeding her. KATERINA (CONT'D) Your Daddy will be very happy when he sees how beautiful his baby Tesha looks. LIGHTNING forks across the phone booth. Katerina instinctively ducks. Thunder follows and reverberates through the booth. Tesha SCREAMS and Katerina hurriedly bundles her up. FOLLOW Katerina as she dashes out the phone booth only to be drenched by the instant rain. She takes cover under the canopy of a restaurant, shivering as she hungrily looks through the glass window and sees people feasting on the delicacies before them. EXT. ECHO PARK, LOS ANGELES - DUSK Katerina sits on a bench by the lake. She is coughing and looks sick. Baby Tesha is crying. She feels the baby's forehead. KATERINA You are so hot my baby Tesha. I have to take you to a doctor. INT. HOSPITAL LOBBY, LOS ANGELES - THAT NIGHT All the available seats are taken by sick people of all ages, waiting for treatment. Katerina, apparently tired from standing, sits on the floor and gently rocks her crying baby. EXT. FARM FIELD - TWO NIGHTS LATER - A toppled bus is ON FIRE. Katerina is among the passengers stranded by the roadside with a sign TO SAN FRANCISCO. A PICK UP TRUCK with three MALE MIGRANT WORKERS STOPS. Katerina with her small cloth tote bag and another WOMAN PASSENGER hitch a ride for San Francisco. EXT. SAN FRANCISCO STREET - DAY Katerina with her tote bag walks towards the PRESIDIO with the GOLDEN GATE in the b.g. EXT. LOMBARD STREET, SAN FRANCISCO - DAY A haggard Katerina walks to a Victorian apartment by the LOMBARD WINDING STREET, looking for an address and knocks at one of the doors. A FEMALE TENANT emerges and SHAKES her head. Another disappointment weighs down on Katerina's shoulder as she turns away. EXT. OASIS APARTMENT, LOS ANGELES - DAY A fire had razed down the now blackened Oasis three-story apartment building. The scene overwhelms Katerina with shock and panic. INT. BUS, ALABAMA - DAY Katerina sits in a bus with white passengers in the front seats and black passengers in the rear. ROSA PARKS gets in the bus and receives unwelcome stares from the white passengers with empty seats beside them. PARKS sits down in an empty seat for the whites. CHANGE ANGLE Katerina, sitting across Parks, smiles at her, bowing her head slightly. The DRIVER CONFRONTS Parks. ON Katerina who reacts with silent sad uncomprehending look. EXT. BARGAIN STORE, LOS ANGELES, DECEMBER, 1959 A weary Katerina, stops by the store sidewalk with a BANNER announcing its 1959 YEAR-END SALE. She looks through an array of Christmas toys and picks up a RUG DOLL. EXT. WATTS, SOUTH LOS ANGELES - DAY Among the people running from the burning Watts, is Katerina. C.U. and FREEZE ON Katerina's face in HORROR. INT. AMBASSADOR HOTEL KITCHEN - NIGHT ROBERT KENNEDY and his entourage walk through the kitchen. Katerina looks up with curiosity but resumes washing dishes. The O.S. SOUND of GUNSHOTS and SCREAMS followed by PANDEMONIUM with PEOPLE running through the kitchen distracts Katerina. An excited LADY IN PINK POLKA-DOT dress stumbles against Katerina and a GLOVE drops from the Lady's hand when Katerina tries to hold her back from falling. The Lady trots on. CLOSE SHOT of the STAMPEDE of feet stepping on the glove. EXT. SALINAS GRAPE FARM - DAY The group of MIGRANT GRAPE PICKERS stop from picking the grapes and as one march toward the RALLY OF CESAR CHAVEZ, in b.g. Katerina joins them, walking away from the CAMERA. INT. CANNERY - NEW YORK - DAY, 1975 Scampering CANNERY WORKERS are rounded up by the INS AGENTS. Some are able to escape. Katerina is one of them. EXT. IMMIGRATION BUILDING IN NEW YORK - DAY, 1976 LONG SHOT of the building. It is a mournful day - a bleak morning where several people walk toward the building in lethargic heavy pace, weighted down by their thick coats and their dreaded destination. ZOOM UP TO THE THIRD FLOOR - INT. THIRD FLOOR, IMMIGRATION BUILDING - SAME DAY PAN SHOT of CARL BRIDDLE, as he emerges from his office with a sign on the door - HEARING OFFICER. To both sides of his office are several similar offices. Carl carries a bunch of thick files. He exudes great satisfaction. He is a medium-height stocky man in his early fifties, forcibly-trimmed in his middle as a result of a corset - his chest high and out, giving him an appearance of being perennially short of breathing; his face chubby with visible signs of face-lifts, a wavy ash-brown toupee obviously set on his receding forehead. Carl makes an occasional jerking of his head as if trying to ease his short, thick neck from a too tight collar. He walks in measured strides through - The spacious room with rows and rows of chairs facing a long counter manned by grim-looking MALE INTERVIEWERS. Being interviewed are ALIENS, who are apparently nervous and tense. Many more are seated and waiting for their turn. It is a busy day. Among the Aliens being interviewed are - A middle-age HINDU WOMAN, in "sari" and looks like she belongs to the "Vaishyas." Sadly, she turns away from the counter. Her visa extension is denied. She looks so pent-up. There's no one to talk to. A SPANISH MAN, in his late twenties, showing the interviewer documents to support his application. An elderly ASIAN WOMAN with her DAUGHTER, in her twenties, acting as her interpreter. FULL SHOT of an EUROPEAN MAN, in his late thirties, as he meekly walks back to his seat. PULL OUT TO INCLUDE his WIFE, a haggard-looking woman, in her thirties, feeding an INFANT on her lap. Around her, seemingly oblivious of their problem, are their two SMALL BOYS, ages 5 and 6, and their three SMALL GIRLS, ages 2, 8 and 9. The man shakes his head and his wife reacts with anguish. The rows of chairs occupied by people of various ages, sex, and races, but predominantly Europeans. Most are fidgety, some talking in low voices with friends, relatives or lawyers. MEDIUM SHOT of a teenage ORIENTAL GIRL with a young AMERICAN NAVY, conferring in their seats. The girl is worried, fidgeting with hands on lap, the man patting her hands with reassurance. A few well-dressed people, who could afford to smile and talk animatedly with one another - these are the TOURISTS. The rest are obviously people with immigration problems. Carl AD LIBS greetings to fellow OFFICERS he encounters while passing the activities in the room. SHOW the many people STANDING in TWO LINES, one leading to a counter where a serious-looking young AFRO-AMERICAN GIRL gives out application forms and another line to a counter, where an elderly CAUCASIAN WOMAN receives fees. There is very little exchange of conversation among those in line and if any, in low voices. FOLLOW Carl, as he crosses the big hall and walks towards an ANTEROOM located just a few feet from the rows of elevators. A lady secretary - MISS MAGGIE EMMITT, an attractive lady in her late thirties, sits behind a desk, typing. Piles of folders before her. She wears glasses, which only seem to enhance her calm and confident bearing. Telephone RINGS, as Carl nears her. ANGLE BY DESK - ON CARL and MAGGIE, as she answers the phone. At b. g. is the COMMISSIONER'S OFFICE. MAGGIE (pleasant but businesslike) Commissioner's Office, good morning. (a beat) I'm sorry, Mr. Hymes is in conference. Any message? (reacts with annoyance but answers politely) Very well. I'll hold. CUT AWAY TO INT. COMMISSIONER'S OFFICE - SAME DAY BRANDON HYMES, sits behind his desk. Tall, trim, well-groomed conservatively-dressed. He is in his early forties. Some streaks of white hair in his clean-cut brown hair. He exudes sincerity and honesty. Before him is a high pile of folders. He shakes his head. One after another, he opens each file and puts aside. He was about to open another file when he suddenly retrieves the one he just puts away. With anticipation, he opens it to the page with the passport photo. ON BRANDON FACE'S etched with excitement and nostalgia. E.C.U. Of the PASSPORT PHOTO of a twenty one year old European lady, with a lovely face framed by long wavy blonde hair. A frail-looking, scared girl with sad soulful eyes. The photo now yellowed by time. It is that of KATERINA KAUFMAN. SNEAK IN MUSIC - CUT BACK TO EXT. COMMISSIONER'S OFFICE - SAME DAY Maggie looks up at Carl, who ogles her as he stands by her desk, but she disregards him. MAGGIE (ON PHONE) Yes, sir, Maggie Emmett here, Mr. Hymes secretary. (takes pad and writes) I'm writing it down. Will give this to Mr. Hymes. No, I won't forget. Right. You're most welcome. Maggie replaces the phone. Carl bows and acts very continental, extending two hands heavy with a bunch of thick files. CARL (high-pitched, joking tone) 'mohning, Maggie deah. How ahe yah this fine mohning? MAGGIE (amused but tired of his antic) Cut it out, Carl. Not this early. (a beat) You brought a bunch of files yesterday. And now there's more? CARL (same pitch but formally) Sorry, Maggie. Yesterday's files were very old deportation cases which were never executed. I'm reactivating all my past files. And start fresh with my new quota. Carl puts down his files on the desk. Maggie sighs as she regards the files with concern rather than contempt. CARL (CONT'D) (matter-of-factly) I know how you feel about this. (a beat) But we've got a job to do. MAGGIE (seriously) Know what, Carl? At times I really believe that you enjoy this stuff. You got the highest score so far. CARL (changes the subject) Can't we talk of something else? The invitation is still open. Lunch today? MAGGIE Got a lot of work today. CARL (insistent) Tomorrow then? INTERCOM RINGS. Maggie answers. MAGGIE Yes, sir. Right away. CHANGE ANGLE showing the COMMISSIONER'S OFFICE in b.g. Maggie stands. She is tall, about 6 inches taller than Carl. An eye-catching figure. She picks up a bunch of papers, phone messages plus the files that Carl just brought in. Carl is still waiting for an answer but Maggie just passes him then turns and smiles. MAGGIE (CONT'D) Sorry, Carl. CARL When can I have a secretary like you? MAGGIE Wait till you sit inside that office, Mr. Briddle. (indicates the Commissioner's office) CARL Lunch tomorrow? Maggie smiles and shakes her head. CARL (CONT'D) The day after tomorrow? MAGGIE (amused) We'll see. (a beat) If Mrs. Briddle doesn't show up. ANGLE ON MAGGIE AND CARL Carl, half-smiling, shakes his head and walks away in a huff, OUT OF FRAME. FOLLOW Maggie as she walks toward the door with the sign - COMMISSIONER BRANDON HYMES. She opens the door. CHANGE ANGLE The room bears the taste of a simple and humble man. Panelled wall, a few frames on wall of Rules and Regulations and Personal Philosophy. Reference books in shelves behind the desk. A miniature American flag on desk. Also folders and papers. TWO BOXES are marked - DEPORTATION and APPEALS. A photo of a happy family on desk, of Brandon sandwiched between his wife and 21-year-old daughter. Brandon Hymes is in deep thought, with Katerina's file still before him - now closed. TWO SHOTS - Maggie hands the telephone messages to Brandon and waits. MAGGIE (CONT'D) Congressman Trillo called. The Gordiano case. Brandon reads the message while Maggie lays down his mails and other papers on the desk. BRANDON (calmly yet irritated) That case was denied twice. It's closed. MAGGIE It seems Carl Briddle reassured the Congressman, sir, that something could still be done. BRANDON Carl knows there's nothing I can do with that case. (a beat) Tell Carl I want to talk to him. MAGGIE For your signature, sir. Maggie hands the files. Brandon acknowledges with no enthusiasm. He takes a bunch of folders from the Deportation box and hands to Maggie. BRANDON Have Milton work on these right away. Send out yesterday's memo to all Hearing Officers. And bring me the Investigation Tapes of these files. Brandon indicates the files in the Appeals box, which Maggie empties. BRANDON (CONT'D) And this file number. Brandon indicates Katerina's file and Maggie copies the file number but leaves it. BRANDON (CONT'D) That will be all, for now. MAGGIE And Congressman Trillo? BRANDON I'll call him back later. (a beat) And Maggie, I'll be tied up the rest of the day. MAGGIE Yes, sir. Maggie EXITS. CHANGE ANGLE- Brandon, puts aside the new files and opens his personal mails. Two BIRTHDAY CARDS for him, one from his wife, LORY, the other from his daughter, CHRISTINE. He smiles and looks at the family photo on his desk then proceeds to open the next mail. He REACTS with deep concern as he reads the short NOTE. INSERT the NOTE which reads - "I'LL GET YOU, COMMISSIONER." ON Brandon, who decides not to give any more thought to the threat, tears the note, crumples it and throws into the waste basket. Brandon opens Katerina's file once more, puts it in the Deportation box, but retrieves it. C.U. Of Brandon's face with conflicting emotions. He is in a quandary. FULL SHOT of Brandon as he lays down the file, stands, his shoulders drooping pulled down by an enormous weight. FOLLOW him as he walks slowly toward the window, stops and looks down. P. O. V. Of Brandon - The street below, people hurriedly going, each his own way. An uncaring and unreal world. There is so much indifference around. LOW ANGLE - Brandon looks up at the tall buildings, still damp. The sun has not pierced the thick fog. C.U. Of Brandon's face. He is in deep thought as he remembers- LAP DISSOLVE INT. LABOR ROOM, LOS ANGELES COUNTY HOSPITAL - DAY, 1955 C.U. OF BRANDON'S face, just twenty two years old. He is sweating and very concerned. PULL OUT CAMERA to REVEAL Brandon modestly attired, as he sits on the edge of a hospital bed. He wipes the sweat off the forehead of his wife, LORY, a beautiful young girl of twenty one, with short blonde hair. She is IN LABOR and grimacing from pain. ANGLE ON the narrow labor room. There are two beds against either side of the room. One is occupied by Lory, the other by a patient, Katerina Kaufman, a twenty one year old girl with long wavy blonde hair. Also in labor but silently enduring the pain. A NURSE, with a chart in hand regards Lory. NURSE (matter-of-factly) Everything's going well. You're just doing fine. LORY Can my husband stay? NURSE I see no reason why he can't. After all, it'll be quite a while yet before we take the show on the road. The Nurse EXITS leaving the three. Lory lets go of herself, sobbing. Brandon -agonizes with her. Yet Katerina is quiet, although visibly in pain. She just grimaces and bites her lips. LORY (crying) Brand, Oh God, it hurts. Brandon kisses Lory on the forehead, feeling so helpless. Katerina looks at them with sympathy. CHANGE ANGLE KATERINA (with heavy European accent) It will be over soon. The spasm has subsided and Lory relaxes. She regards Katerina. LORY (apologizes; tries to rationalize) My first. KATERINA This is also my first. LORY Those were real sharp pains. (regards Katerina with curiosity) Haven't heard from you since this morning. Not much pain? KATERINA Oh yes, very painful. LORY But you didn't even cry. Wow, you're really something, girl. KATERINA (looks away) I have suffered many pains. I do not cry anymore. LORY What do you mean? SILENCE. Katerina does not answer. Lory realizes she was intruding and looks at Brandon for assistance. BRANDON (apologetic) Sorry lady, my wife didn't mean to intrude. KATERINA (turns and looks at Brandon and Lory) You are good people. And kind. LORY (relieved) Thanks. I'm Lory. My husband, Brandon. Lory grimaces from pain. C.U. Of Katerina biting her lips to suppress the pain. KATERINA My name is Katerina Kaufman. Brandon feels uneasy watching Lory and Katerina, both grimacing. CHANGE ANGLE BRANDON Guess I better leave you two. Now that you know each other. KATERINA No, mister. You stay. Your wife needs you. BRANDON Brandon, please, Katerina. KATERINA Yes, thank you, Brandon. Don't leave your wife. You stay. BRANDON If you can go through it alone, I'm sure my wife could manage, too. What do you think, sweetheart? Brandon kisses Lory's forehead. She smiles back but holds on to him. KATERINA I try to be brave because I have no husband to hold me. Both Lory and Brandon react with sympathy. C.U. Of Katerina, her face showing no bitterness but hope. KATERINA (CONT'D) Don't worry. I will find my Bob, after I have our baby. You see, I just arrived in America. I came from West Germany but when I was a little girl we lived in Poland. ZOOM IN TO KATERINA'S EYES, in pain. FLASH BACK- INT. BOX-LIKE ROOM, POLAND - NIGHT, 1944, SECOND WORLD WAR KATERINA, 10, her BROTHER 4, three SISTERS, 3, 5, and 7, all under-nourished sit around a bare wooden table with nothing except for a bowl of soup for each of them. The hanging bulb at the center of the table is the only light in the room. One window is boarded up. Their frail FATHER and MOTHER, in their thirties, attend to their children slicing a loaf of bread to pass around. O.S. SOUND of Nazi car siren. The family FREEZES and listens with anxiety. O.S. SOUND of heavy boot steps, nearing their door. The family REACT with fear. The Father signals them to keep quiet as the Mother gathers their children to one corner of the room, all huddled together on the wooden floor, their eyes focused to the direction of the bolted door. The O.S. boot steps stop behind their door followed by LOUD POUNDING of RIFLES on the door. The Mother pushes Katerina into the covered cabinet under the sink and gathers protectively the rest of the children. CHANGE ANGLE The door is BROKEN DOWN by FIVE armed NAZI SOLDIERS, and a SERGEANT. The children start to cry. From AFAR IS HEARD screams OF WOMEN and CHILDREN and the incessant wail of SIREN. The Soldiers gather the family at gun point, accidentally hitting the hanging bulb with the rifle. The Father and the children are dragged out of the room leaving the Mother and Katerina. ON Katerina who is immobile with fear behind the cabinet. ANOTHER ANGLE The Sergeant stays behind and pulls up the Mother. C.U. Of Katerina's face in horror as she watches the rape of her Mother between the slightly ajar cabinet doors, which she instantly closes. Yet she hears her Mother's O.S. scream. CAMERA OUT OF FOCUS. FOCUS BACK on Katerina's face. Her eyes slowly moves to a direction. P.O.V. Of Katerina. Her Mother is sprawled at one corner of the room, dazed and bruised, in a tattered dress. CUT AWAY TO 1955 HOSPITAL SCENE - C.U. OF BRANDON'S FACE, IN AGONY AND ANGER - SUPER ON HIS FACE - CUT BACK TO THE FLASHBACK Katerina crawls to her Mother and wipes her face. She pulls a shawl nearby and wraps her mother with it. Two Nazi Soldiers return and drag them both out. END OF SUPER - DISSOLVE TO: EXT. NAZI CAMP - DAY, 1944 The camp is divided by barbwire fence, separating the male from the female prisoners. As Katerina and her Mother are thrown in, her three Sisters rush to them. ANOTHER ANGLE Katerina's Father could only watch helplessly in anguish from his side of the fence, while her brother cries and hugs their Father. C.U. Of Katerina's Father, who breaks down into convulsive sobs. EXT. NAZI CAMP - SAME DAY There are two lines of prisoners; one line composed of strong and healthy men for labor while the sick and the weak, women and children are dumped into several freight cars. Katerina gets separated from her ENTIRE family. CRIES from separated families are HEARD. C.U. Of TURNING WHEELS of the freight cars accompanied by engine sound. EXT. ANOTHER NAZI CAMP IN POLAND - NIGHT The freight train stops in front of the camp gate where the GAS CHAMBERS are located. Prisoners are ordered to disembark. A long line is leading to the gas chamber. INT. FREIGHT CAR - SAME NIGHT A Nazi Soldier checks the remaining prisoners, using his rifle and feet making sure that those left are only the dead prisoners. Having done his job, the soldier jumps out of the car, and slams the door closed followed by the O.S. locking of the door. CUT TO: 1955 HOSPITAL SCENE - SUPER THE FOLLOWING FLASHBACK SCENES ON C.U. OF LORY'S SHOCKED AND GRIEF-STRIKEN FACE - CUT BACK TO THE FLASHBACK - Katerina who is left for dead, stirs and raises herself from the pile of dead bodies. She crawls toward the door and peeps through the small opening of the door. P.O.V. Of Katerina - TWO LINES of prisoners are led to the direction of two buildings. There is an eerie silence. Katerina's Brother sees his Mother and Sisters in another line and gets away from his line with his Father and RUNS to his Mother. The Brother is summarily gunned down, which triggers off the hair-raising screams and cries from the rest of the horrified prisoners. E.C.U. Of Katerina's face, in a state of shock. CHANGE ANGLE Katerina limply falls to her knees, staring at the dead bodies that surround her. END OF SUPER. FLASHBACK CONTINUES. CUT TO EXT. FREIGHT TRAIN - SAME NIGHT The Nazi soldiers are now running back to the freight train, as the train starts to move. INT. FREIGHT CAR - SAME NIGHT Katerina panics and looks for a way to get out. She tries the door but it is locked. Pushing aside the dead bodies, she discovers a loose wooden floor board. She searches through the bodies for anything she can use and finds a wooden crutch. EXT. FREIGHT TRAIN - SAME NIGHT Some soldiers in the first car are singing as the train passes an open field. INT. FREIGHT CAR - SAME NIGHT Katerina uses the crutch to pry and lift the loose piece of wooden floor board and works on the next piece of board. Through the floor opening she looks down and sees the railroad below passing swiftly but she forces herself through the opening. LOW ANGLE ON Katerina who hangs on to the floor as she dangles under the train. EXT. MOUNTAINSIDE - SAME NIGHT The freight train is passing through the mountainside and as the last car passes by - WHIP PAN TO AN UNCONSCIOUS KATERINA ON THE RAILROAD TRACK. KATERINA (V.O.) I was saved by the underground and cared for by a poor but kind elderly couple. Years later, after the war, we moved to West Germany where the kind couple both died leaving me alone. It was in West Germany in January, 1955 that I met Bob. INT. MOTEL ROOM, WEST GERMANY - DAY, 1955 Sitting up on the bed, in U.S. Army uniform is BOB, a good looking young soldier in his early twenties. He is reading a letter silently, apparently a goodbye letter from a girl friend who found someone else close to home. Two other soldiers are preparing to leave; JOHN, a short, plump young man with a bright disposition and FRANK, a lanky serious-looking young soldier. FRANK (to Bob) Sure, you're not coming? BOB Quite sure. Got to get rid of this hang-over. (a beat) Have a good time. JOHN (excitedly) We sure will. Heard the girls are really (uses hands to indicate the body curves) very ...sexy. This will be the greatest two days of my life. (Acts disappointed) And then back to camp. FRANK Sorry buddy, you'll miss the fun. Bob shrugs his shoulders for an answer. JOHN (jokingly) No big deal. He has his letters for company. (Mimics and clowns ) My dearest darling Bob. Come back home, soon...will ya?... Love you, your ever-loving darling .... Darling. Bob picks up a pillow and throws it after John, who playfully raises his two hands for surrender. After a mock salute, John follows Frank to the door. Before they can close the door, a beautiful frail CLEANING LADY with beautiful but sad soulful eyes, KATERINA, about 20, ENTERS with a bundle of fresh towels in her arms. John whistles as he closes the door. Bob just shakes his head at John's behavior and resumes reading. CHANGE ANGLE Katerina, without paying attention to the two, picks up the pillow and returns this on the bed, throwing a shy glance at Bob, who smiles and winks at her in return. BOB Thanks. Katerina bashfully proceeds to the bathroom leaving the door ajar. CHANGE ANGLE On Katerina hanging the towels. She notices something in the waste can and picks this up. CHANGE ANGLE On Bob, who notices the silence in the bathroom and quietly gets up. INT. BATHROOM - Bob approaches Katerina from behind while she hungrily devours the chocolate bar she found in the trash can. BOB What's taking you so long? Katerina, embarrassed, turns and hurriedly gulps down the chocolate and hides behind her, the remaining chocolate bar. BOB (CONT'D) Sorry, I didn't mean to spy on you. (a beat) Come, I've lots more. Bob steps out leaving a relieved Katerina who hurriedly finishes her chocolate. INT. MOTEL MAIN ROOM -SAME DAY Katerina sits on a sofa beside Bob, feasting on a chocolate bar. Bob, a beer can in one hand, regards her with mixed sympathy and amusement. He notices Katerina's beautiful face. BOB I'm Bob, what's yours? KATERINA (with mouth full) My name is Katerina. Katerina almost chokes. Bob laughs and Katerina joins him. Bob offers her the beer and Katerina helps support his hand as she drinks. They find themselves looking at each other with mutual admiration. KATERINA (V.O.)(CONT'D) Bob was kind to me. He was an orphan like me. He grew up in foster homes. He said the army gave him a chance to learn a trade. Since he was good with tools he dreamed to open his own car repair shop. He encouraged me to dream, too, and to look to the future. For the first time, I was happy. Bob loved me. Whenever he had a chance he visited me. CUT TO CUT Katerina opens the ribboned package that Bob gives her. Her eyes brighten as she raises the beautiful BUTTERFLY-PRINTED YELLOW SCARF- Bob wraps the scarf around her shoulders. C.U. Of Katerina's face, blushing. C.U. Of Bob's face, admiring her. E.C.U. Of Katerina's eyes, tearing. E.C.U. Of Bob's eyes, enamored. E.C.U. Of Katerina's lips, partly opened. E.C.U. Of Bob's lips moving closer to CAMERA. CUT BACK TO INT. LABOR ROOM, LOS ANGELES COUNTY HOSPITAL - DAY, 1955 C.U. OF KATERINA'S FACE - She has a smile on her face - BOB (V.O.) We'll get married as soon as all the papers are cleared. And you'll come with me to America. I will make you very happy. KATERINA (V.O.) And I will also make you very happy. BOB (V.O.) I want you to be the mother of our children. KATERINA (V.O.) (Wistfully) How many? BOB (V.O.) As many as we want. ZOOM IN TO E.C.U. Of Katerina's EYES, suddenly tearing and in pain but as the O.S. SOUND of a BABY'S CRY is HEARD, the same eyes BRIGHTEN with joy. DISSOLVE TO: INT. MATERNITY WARD, LOS ANGELES COUNTY HOSPITAL - TWO DAYS LATER PULL OUT TO REVEAL Katerina, still in patient gown, holding her BLONDE BABY GIRL, TESHA, as she is propped up on her bed. WIDER SHOT to REVEAL Katerina's bed among about twenty beds. Lory's bed is next to hers. Lory is now in a street dress. She sits on the chair beside her bed, cuddling her BLONDE BABY GIRL, CHRISTINE. Most of the other MOTHER-PATIENTS have VISITORS. ANGLE ON KATERINA AND LORY. Katerina is quiet but apparently sad as Lory holds her hand. BRANDON enters frame, CARRYING about 6 stems of DAISIES, a small PAPER BAG of oranges and a used plain box with a FAKE FUR HAT. BRANDON (brightly) To the two mothers. He kisses Lory and their baby; gives the paper bag of oranges to Katerina and places the daisies in a glass of water near Katerina's table by her bed. KATERINA (touched) Thank you. You are my only friends here in America. BRANDON You're a great girl, Katerina. (hands the box to Lory) For you, sweetheart. (takes the baby from Lory) Lory excitedly opens the box and pulls out a used fake fur hat and puts in on. BRANDON (CONT'D) (haltingly) You like it? LORY (mischievously) You bet I do. And I know where you got it, too. Which makes me love it even more. (to Katerina) Don't I look like a rich girl? KATERINA You are beautiful. BRANDON Well, are you all set to go? LORY (excitedly) Since yesterday. (a beat) but Katerina here has to stay a day or two. Doctor's order. BRANDON What's your plan, Katerina? TIGHTER SHOT OF THE THREE - KATERINA I will look for my baby's father, after I get out from here. Bob will be very happy to see our baby girl, Tesha. He must had been very worried when he did not find me at the airport. He did not know that I went into labor and taken here. But I will find him. Brandon scribbles his address on a piece of paper and hands to Katerina. BRANDON Here's our address. In case you need us, please come. I may be able to help you locate Bob. LORY That's right, Katerina. Brandon here will soon be a Lawyer. In four years, that is. And I'm sure he can help. BRANDON I tried touching base with a few government offices but no luck, since we don't have enough information about him. KATERINA Sorry but Bob's letter and information he gave me were in my luggage that was left on the bench at the airport. I was brought here in the hospital with nothing except what I had in my pocket. BRANDON With the information you gave me from what you could remember, I'll call a couple more agencies and try to trace Bob's whereabouts. (a beat) Don't fail to keep in touch. Brandon plants a kiss on Katerina's forehead and on the baby's. Lory hugs Katerina and kisses her baby. LORY Take care of your Tesha. Good luck. KATERINA (stoically holding back her tears) Thank you. You are good people. DISSOLVE TO INT. THE OASIS APARTMENT - NIGHT, TWO WEEKS LATER It is a studio apartment, a freshly-painted second-hand crib near a bed. Lory puts down her sound-asleep baby in the crib. She walks to the small kitchen, pours coffee into two cups and gives one to Brandon, who is engrossed with his books. Lory is in an old robe and Brandon in jeans and sweater. Lory sits across the small table from Brandon, just gazing tenderly at him, unable to distract him from his books. She kisses his ear. Brandon reacts, puts down the book and kisses her passionately, leaving them both breathless. They regard each other and burst into laughter. An O.S. SOUND of a CRYING BABY from outside their door, followed by a KNOCKING, cuts short their laughter. They hurriedly open the door. Katerina, in an old, faded top coat, her yellow scarf around her head, cold and hungry, holds her bundled-up baby. LORY Come in, come in Katerina. You're freezing. SHOT OF THREE - Lory takes the Baby from Katerina who sits at the small table and drinks the coffee Brandon offers her. LORY (CONT'D) Tesha is ill. She's burning with fever. KATERINA Yes. I took her to a clinic but they were asking me for many papers and many questions, so I left. Lory takes a bottle of medicine from a cabinet and administers a couple of drops to Tesha. LORY This will help bring her fever down. KATERINA Thank you. They told me, they will take away my baby if I could not take care of her and place my Tesha in a house...of adoption, is that what they call it? LORY Yes. Of course, we understand why you did what you did. (a beat) Any news about Bob? Katerina sadly shakes her head. BRANDON I could not get anywhere with my calls, either. KATERINA (tries to be enthusiastic) But I will still find him. Tesha and I went to the apartment that Bob wrote me we will move into but I was told that he never moved in. They told me to try this. (She shows a card to Brandon) And I will go there. But Tesha is sick and I don't want her to be taken away from me. (a beat) Please, take care of my Tesha for a few days. She is a very good baby. She will be all right. Yes? LORY Oh yes, she will be. The medicine I gave her will help. Don't worry. KATERINA Then it's all right? You will take care of my Tesha? BRANDON We will Katerina. But you are going to San Francisco without knowing anyone. It will be difficult. And they can just give you the run around. KATERINA Don't worry. I came to America alone. I did not know anyone. But people here are very kind. When I went into labor at the airport, people helped me. (a beat) Besides, I promised my Tesha that I will find her father. You will take care of her? Of my Tesha? Yes? Brandon looks at Lory for an answer and Lory nods. LORY Sure, Katerina. Of course, we will. We'll take care of her as we take care of our baby Christine. KATERINA I will come back for her. LORY I know you will. KATERINA Her father Bob and I will come back for her. LORY That would be wonderful. Good luck, Katerina. (a beat) Do you need anything? You have enough money? KATERINA Yes. You see I saved all the money that Bob sent me and I kept all my money when I worked in west Germany. LORY But you spent a lot for your transportation coming here and for the hospital. (a beat) Don't be shy, if you need anything. KATERINA Thank you. You are very kind. I have some money left. I promise I'll be back soon for my baby Tesha. Katerina kisses Tesha and hands over to Lory. LORY Of course, you will. (a beat) You've such a beautiful baby. She's such a darling. Don't worry, Katerina. We will take very good care of Tesha. C.U. OF a SOUND ASLEEP TESHA. EXT. THE OASIS APARTMENT, L.A. - NIGHT, 1955 Standing in front of a burned three-story building, are Lory and Brandon, comforting each other as they hug a blanket with TWO SETS OF BLONDE HAIR. Beside them is a distraught Apartment Manager, MISS LE CRAB, a heavy-set French Woman in her forties; a cigarette dangling between her lips. END OF FLASHBACK INT. BRANDON'S OFFICE, I.N.S. BUILDING - DAY, 1976 Brandon is still looking out the window, his shoulders sagging. O.S. KNOCKING. BRANDON (without turning) Come in. O.S. SOUND OF OPENING AND CLOSING OF DOOR. CHANGE ANGLE - Brandon walks back to his desk, sits down and pulls out a file. Carl Briddle stands in front of his desk. He has that characteristic jerking of his head whether he is talking or listening as he sits down. Brandon opens the file and hands a page to Carl. BRANDON (CONT'D) I have to reconsider this case. CARL (visibly upset) If you reverse my decision, what does that do to my record? BRANDON We're not talking about your record but of the issues here and the rights of this man. CARL (changes tone; tries to calm down) What I'm asking is just an endorsement of my decision. An approval from you. What have you to lose? My record is on the line here. BRANDON (calmly but firmly) Carl, let's make one point clear. I'm not here to help you win a few personal victories but to see to it that the Law is fairly and faithfully enforced. CHANGE ANGLE Carl is uneasy. Beads of perspiration drench his forehead. Brandon flips more pages in the file. BRANDON (CONT'D) This man's petition is soundly based on solid grounds. He falls under the 3rd Preference based on his profession, but you ignored this and disapproved it on a very flimsy basis. CARL He engaged in a different field of work other than his profession. He could do that here again and take away work that could be held by the non-professionals. BRANDON That was the only available work in his country. We are in need of his profession. Department of Labor certified that. CARL Well, people make mistakes. Happens all the time. BRANDON You're a meticulous and experienced Officer. You can't just make this kind of mistake. And regarding your other case. Misplacing the file is inexcusable. A family's future hangs on it. CARL All right, all right. But this is no big deal. Just one or two inconsequential cases. BRANDON Every case is consequential. We can not condone the twisting of facts which was obviously done here nor can we be careless with documents that are submitted to us. CARL (stands, upset) But you don't even know this man. BRANDON Sit down, Carl. Carl sits down, takes out a handkerchief and wipes his forehead. BRANDON (CONT'D) Just because this man didn't happen to be Trillo's man? Carl reacts and suddenly becomes tense and moves closer to the desk. BRANDON (CONT'D) Gordiano has violated the Law and Congressman Trillo could not change that. CARL (softens; resigned) Okay, Brandon. We've been together here long. We can talk this over. BRANDON You think only of yourself. Carl stands and regards Brandon with mockery. CARL You're such a dreamer, Hymes. Sometimes, we have to play along. Compromise a little. We all need to survive. BRANDON I intend to. But not your way. CARL You're such a clean, righteous man, Hymes. But one day, one of these days, you're gonna slip and I'll be around. Brandon gives Carl a hard look. Carl shrugs it off arrogantly. O.S. KNOCKING ON DOOR- BRANDON Come in. CARL (tight voice) Remember that, GOOD man. BRANDON (coldly) I won't forget. CHANGE ANGLE Maggie ENTERS with the TAPES. She senses the tension, glances at Carl, who ignores her and turns passing by her then EXITS in a huff. Maggie follows him with a surprised look then hands the tapes to Brandon. MAGGIE The tapes, sir. Anything else, sir? PHONE RINGS. Maggie reaches for it from the desk and answers it. MAGGIE (CONT'D) Commissioner's office, good morning. (a beat) For you, sir. It's Mrs. Hymes. Brandon takes the phone - BRANDON Thank you. That's all. Maggie LEAVES. BRANDON (CONT'D) Hi, sweetheart. I got your card and Christine's, too. Thank you. No, Christine hasn't called. I'm sure she will. (a beat) Why don't we have dinner tonight then. Yes, I'll tell her to wait for you. I love you, too. Bye. Brandon replaces the phone and turns to a page labeled -SWORN STATEMENT - C.U. OF SWORN STATEMENT- KATERINA (V.O.) (Voice of a 21-yr.-old) When I was ten, I lived in Poland with my parents, my three sisters and a brother. They were killed at the concentration camp. Then the couple who took care of me, took me with them to West Germany, where they died. That's when I met Bob, the father of my baby. He was going to marry me but before his papers were cleared, his unit was moved out of West Germany. When he called me, I told him I was pregnant with our baby. Bob asked me to fly to Los Angeles where he would meet me. INT. HEARING ROOM, IMMIGRATION OFFICE, NEW YORK - DAY, 1956 FULL SHOT of the eerily bare room except for two desks, one on a platform, where the HEARING OFFICER sits. He is in his sixties with drooping eyes. Facing the Hearing Officer at the other desk are the IMMIGRATION OFFICER, a middle-aged man with a grim and petrifying look, and a scared KATERINA, sitting stiffly. She is in an old top coat and her yellow scarf around her shoulders. A TAPE RECORDER is prominently placed between Katerina and the Immigration Officer. IMMIGRATION OFFICER Of course, Bob never came. KATERINA (V.O.) Yes. I am sure there was a very good reason that he was not able to meet me. IMMIGRATION OFFICER And he never contacted you. KATERINA He did not know that I was taken to the hospital when I went into labor. He wanted so much to have our baby. I looked for him everywhere. I thought may be he opened his own car repair shop so I looked into many repair shops, too. You see I found out that he left the army on the same day I arrived. IMMIGRATION OFFICER Of course. And you kept missing each other. It's a good story but it won't work. KATRINA But it is true, sir. CHANGE ANGLE - IMMIGRATION OFFICER You are here as a visitor of the U.S. government but your visa has long expired. The Law is clear that you have to leave the country. KATERINA (meekly) Can I stay for a few more months? I can not go back until I find Bob. IMMIGRATION OFFICER You had more than sufficient time to do that. (To the Hearing Officer) Your Honor, we submit this matter for your disposition. MEDIUM SHOT of the Hearing Officer, who perfunctorily goes over the papers before him then proceeds to hand down his judgement that seemed to have been long memorized. HEARING OFFICER It has been found that the alien , Katerina Kaufman, a national of Poland, twenty one years of age, has overstayed her lawful period of stay in the United States. C.U. Of Katerina passively listening, meekly looking up at the Hearing Officer. HEARING OFFICER (CONT'D) The alien may elect to voluntarily depart in order that formal deportation order may not be handed against her. CHANGE ANGLE - The Hearing Officer continues to speak - HEARING OFFICER (CONT'D) Do you so elect? ANGLE ON KATERINA, stunned. No answer. HEARING OFFICER (CONT'D) (impatiently) The alien is ordered to answer. Do you so elect to depart voluntarily? SHOT ON THREE - Katerina, looking down in confusion, the Immigration Officer, a picture of victory, as he looks up at the Hearing Officer. The Hearing Officer, waiting impatiently. KATERINA (almost inaudibly) Yes... HEARING OFFICER You are to depart from the United States, on June 20, 1956, and to inform this office of the exact time and place of departure, a week before said date. BACK TO BRANDON, who lifts through the pages of the file. INSERT pages of DEPORTATION ORDERS, dated 1956 and 1967, Los Angeles; 1970, San Francisco; 1973, Houston Texas; 1975 New York; and takes down an address from the New York Deportation order. EXT. ELEVATOR, IMMIGRATION BUILDING - SAME DAY, 1976 Brandon, wearing a top coat, hurries past Maggie, to the open elevator, before it closes. INT. ELEVATOR, IMMIGRATION BUILDING - SAME DAY Brandon towers above the other occupants. One man, an Immigration Officer greets him. He nods in response but without really seeing him. The European Couple and their children are huddled in one corner, sullen-faced except for the children, who seem unaware of their parents' problem. Brandon stares blankly at them. EXT. OLD TENEMENTS - SAME DAY LONG SHOT of the area of low-income families of different races. The streets are abundant with potholes, garbage uncollected, children filthy and unattended, play rough games on streets and sidewalks. Brandon, in his expensive top coat, is a stand-out, a glaring contrast to this blighted forgotten spot of New York. He checks an address in a piece of paper, checking the numbers of the tenements as he walks by - P. O. V. Of Brandon - The tenements with clothes lines at windows; housewives shouting out small talk across windows. CHANGE ANGLE of BRANDON, who stops in front of the tenements' main stairway. As he walks up the stairs, SHOW an elderly malnourished PUERTO RICAN WOMAN 1, sitting on the rung, an INFANT on her lap, TWO more CHILDREN with begrimed faces, beside her. The Woman 1 regard Brandon with suspicion. BOY 1, ten years old, legs crossed, contentedly smoking a cigar and finding Brandon rather an insignificant subject to waste his time on. WOMAN 1 (loudly) Que quiere? Brandon understands but decides not to react and continues on. INT. BUILDING HALLWAY - SAME DAY THE LONG NARROW HALLWAY is dark and filthy. O.S. SOUND of crying babies, LAUGHTER and LOUD VOICES. Brandon stops at the address he is looking for. O.S. SOFT FEMALE VOICES from inside the room. ANOTHER ANGLE - Brandon knocks on the door. SUDDEN SILENCE from inside. O.S. WHISPERING. Brandon continues to knock. The door is slowly partially opened with the chain still on. An ELDERLY EUROPEAN WOMAN 1, 70, suspiciously scrutinizes him. ELDERLY EUROPEAN WOMAN 1 What do you want? BRANDON (politely) I am looking for Katerina Kaufman. All I have is this old address from a year ago. I'm a friend. ELDERLY EUROPEAN WOMAN 1 (almost instantly turns indifferent) No. No one here by that name. I am alone with my Melania...(a beat)...my cat. BRANDON Please, listen to me. I'm a friend of Katerina...I'm here to help her...If you know where I could find her, please, let me know. But the Woman does not hear him for she closes the door and hurriedly locks it. Shaking his head in frustration, Brandon pauses but decides to leave and turns away. He understands the fear and the suspicion. INT. ELDERLY EUROPEAN WOMAN 1 APARTMENT - SAME DAY The Elderly European Woman 1, whispers to someone inside a two-foot high cabinet. ELDERLY EUROPEAN WOMAN (in reassuring tone) He is gone. I'm sure, from the way he looked, he must be from the Immigration Office. You have to hide in my friend's place until they stop looking for you. And be careful at your work at the Garment Shop. EXT. TENEMENT STAIRWAY - SAME DAY As Brandon emerges from the main door of the tenement, the same Puerto Rican Woman 1 looks up at Brandon. PUERTO RICAN WOMAN 1 (mockingly) Vusca V. Un pariente ausente? Brandon disregards her and continues to walk down the stairs. PUERTO RICAN WOMAN 2, middle-aged, stops in front of Brandon and join in the fun. Boy 1, arrogantly regards Brandon and blows a ring of smoke to his direction. PUERTO RICAN WOMAN 1 (CONT'D) Que pasa? Pobrecito, no intiende? PUERTO RICAN WOMAN 2 Wants to know if you're looking for your long lost relative. The two women burst into laughter but Brandon just ignores them and doubles his steps. The women stop laughing, insulted at Brandon's indifference. PUERTO RICAN WOMAN 1 Know what? That man got no manner. The two women guffaw. Boy 1 nods at them with an approving look and raises his clenched fist. 10-YEAR OLD BOY 1, Right on! More laughter. LONG SHOT of the sidewalk, Brandon at the b.g., RETRACING his way toward a group of FIVE BOYS in the f.g. BOY 2, 7-year- old, short and tough, ITALIAN BOY, 9-years-old, tall and muscular, MIGUEL, Puerto Rican boy, aged 6, TWO BOYS, ages 5 and 6. Boy 2 and Italian Boy are in altercation, surrounded by the rest of the boys. BOY 2 (scrutinizing the Italian Boy) New in the neighborhood, eh? I'm boss here, man. You dig? Miguel, show the guy our territory. Miguel takes out from his pocket, a piece of chalk and draws a line between Boy 2 and Italian Boy. BOY 2 (CONT'D) (in a karate stance) Cross the line and you're wasted. The Boys CHEER. BOYS (to Boy 2) Give it to him, boss. CHANGE ANGLE Brandon nears the Boys, as Italian Boy eyes Boy 2 then at the rest of the boys, who wait with excitement. The Italian Boy hesitates then with authority, STEPS ACROSS the line in one long stride. BOY 2 (realizes his predicament, turns suddenly meek.) Just kiddin' man. Boy 2 GALLOPS AWAY. The Boys FREEZE in place, scared. They RAISE THEIR HANDS in surrender. Italian Boy relaxes, turns and exhales with great relief, the fear all over his face, then walks away. The Boys, relieved, burst into UNISON APPLAUSE. Brandon continues walking, this time faster, leaving behind this forgotten corner of New York. INT. ANTEROOM TO BRANDON'S OFFICE - SAME DAY Brandon, his top coat across his arm, nears Maggie's desk. MAGGIE (ON PHONE) Hold on, your Dad is back. (Covers phone, to Brandon) It's Christine, sir. She sounds very upset. Concern crosses Brandon's face as he takes the phone. BRANDON Yes, Christine. Mom called. She stepped out but will be home any time now. (Listens with anxiety) CUT AWAY TO INT. LIZA'S STUDIO APARTMENT - SAME DAY FULL SHOT of the room. CHRISTINE, twenty one, with short blonde hair, in panic, talking on the phone, kneeling on the floor beside the crumpled bed, staring at an unconscious bloody LIZA. Liza is a pretty brunette girl of 22. O.S. SOUND of AMBULANCE SIREN. CHRISTINE (ON PHONE) It's Liza, Dad. She's in bad shape. O.S. Siren comes to a stop. CHRISTINE (CONT'D) The ambulance is here. I'll talk to you later. INT. HOSPITAL LOBBY - SAME DAY Christine, visibly shaken, anxiously looks at the direction of the emergency room. CHANGE ANGLE MERV, a tall, handsome, reserved, clean-cut young man of 22, with well-groomed blonde hair, anxiously approaches Christine, who rushes to him. MERV Christine, what happened? CHRISTINE It's awful, Merv. She wasn't herself, when she called. Just kept saying, she can't take it anymore, over and over again. And when I reached her apartment, she was completely out and bleeding. ANOTHER ANGLE The DOCTOR emerges from the emergency room and Christine and Merv rush to him. CHRISTINE (CONT'D) How's she, doctor? MERV Christine, here, is a friend of Liza. DOCTOR Your friend pulled out of an overdose. CHRISTINE (to self) I didn't know she was on drugs. DOCTOR But there are more serious complications from her recent abortion. CHRISTINE (in shock) A what? (a beat) Doctor, can we se her? DOCTOR Wait till she's moved to her room. I think she will need you. (To Merv) She may want to be with Christine alone. MERV I understand, doctor. DOCTOR Christine, you'll find her very weak and depressed. Don't stay too long. INT. LIZA'S HOSPITAL ROOM - SAME DAY Christine is by Liza's bedside, holding her hand. LIZA (upset, weakly) Why Christine? Why didn't you let me go? Why can't people just leave me alone? I want to die. CHRISTINE (pacifies) Now, Liza, that's being selfish. Turning your back on people who care. A lot of good things are going for you. A good job, a scholarship, parents, who love you and care for you, and Steve. C.U. Of Liza - LIZA (becomes more emotional) There's nothing there. I've lost them. (Sobs) Have you ever experienced being sick? I did, every morning, those terrible nausea. I missed work, days, weeks, and they fired me. And Steve - he moved out. Guess he had to find someone else with a job, who could put him through college. TWO SHOT OF CHRISTINE and LIZA CHRISTINE And you covered up for him? Telling me he went on vacation. And your absences in school. You told me you'll follow him, to visit his folks. Oh Liza! LIZA And my Dad and Mom. I was dirt because Steve moved in with me. They wanted no more part of me. To them I was dead...buried. CHRISTINE I understand how you feel. LIZA (angrily) No, you don't. Because you don't really know how it feels. You have no idea, Christine. CHRISTINE You just get some rest. You'll feel better, you'll see. LIZA And why the abortion? You don't want to know, do you? Well, I'll tell you why...because...because, I know how it feels to be rejected. That baby knew I did not want it. Steve did not want it - the whole world did not want it. Christine hugs Liza. EXT. PARK -SAME DAY Christine and Merv sit on the bench. CHRISTINE It's wrong...the whole thing is just wrong. MERV Ironic, maybe. I guess, we just want to show the world how strong we are...but right down inside we really need some kind of support...from our family perhaps, don't we? A place to run back to when the going gets too rough for us to handle. CHRISTINE The abortion thing Merv, that's what gets to me. It's plain and simple murder...having our kicks...it's all right. I suppose but being too dumb and careless not to take precaution is downright inexcusable. (feels embarrased) What I mean...Perhaps I feel this way because I'm not in this mess and I have Mom and Dad, of course, who are always there for me. Merv is so impressed at the way Christine is taking on the situation. This makes him admire her even more. MERV Christine...you're...I love you. He kisses and hugs her. EXT. HYMES' TWO-STORY, N.Y. HOME - NIGHT LONG SHOT of the house. The library at the second floor is LIGHTED. ZOOM IN to the lighted window. INT. LIBRARY, HYMES N.Y. HOME - SAME NIGHT ANGLE ON Brandon's back in a lounging robe, who sits at his desk, head bowed, supported by both palms. On the desk is the lighted clock-pen-holder lamp shade, showing 12:00 midnight. Also on the desk is the recent happy family picture of Brandon, Lory and Christine. Brandon stares at the folder before him and closes it. He regards their family picture feeling good about his life. He stands and walks to the window. C.U. On Brandon's face. He smiles and remembers - P.O.V. Of Brandon - the dawn breaking in ON THE HORIZON. C.U. Of Brandon's face, still remembering - OUT OF FOCUS - FOCUS BACK TO INT. 1ST FLOOR, OASIS APARTMENT, L. A. - DAY, 22 YEARS AGO Brandon and Lory, both twenty one, stands in front of the door labeled Manager. Lory is in a short white dress, a bouquet of flowers in hand. Brandon, in business suit. Lory hushes Brandon to keep quiet. LORY (mischievously, in soft voice) Expect hell from Miss Le Crab. BRANDON (with apprehension) Is she really that awful? LORY (nods) I didn't give her enough notice. Lory knocks on the door. She peeps through the peephole and seemingly enjoying what she is doing. As she turns to Brandon, the door suddenly OPENS. Lory is caught off-guard. MISS LE CRAB, a heavy-set French woman in her forties with cigarette dangling between her lips, hands akimbo, STEPS OUT. LORY (CONT'D) (stammers) Miss Le Crab...this is Brandon...my ANGLE ON THREE - LE CRAB (impatiently) I know...I know. Miss Le Crab scrutinizes Brandon from head to toe, which embarrasses him. LE CRAB (CONT'D) (loud drawling heavy French-accented voice, cigarette expertly moving from side to side as she speaks) Yeah...you told me. So you're married. And you want to leave? LORY Well, you see...I don't really want to. I like it here and I'm sure Brandon will like it here but... (coyly regards Brandon ) I... we...can't afford it here...if you will charge him, too. LE CRAB (arrogantly) Huh...and you think you can leave, just like that. One month notice, at least. You know that. LORY But Miss... BRANDON (meekly) Miss Le Crab, you see, we're both students but I'll start a second job this week. We'll pay you the one month rent as soon as we can. LE CRAB (haughtily) Oh no...no.. Le Crab fishes out from her pocket a bell and rings continuously. Lory and Brandon react with apprehension. LORY What are you doing? No answer from Le Crab. She continues ringing the bell with authority. O.S. LOUD OPENING OF DOORS. Lory and Brandon look up. P.O.V. Of Lory and Brandon - LOW ANGLE - At the center of the building is a winding stairway. Doors to every floor open and TENANTS of various races barge out with gifts of home-cooked food, etc. ON Lory and Brandon in disbelief. ANOTHER ANGLE LE CRAB Well, what are we waiting for? (calls out) Pietro, music! From behind Lory and Brandon, a white-haired and be spectacled and be-moustached old man plays "Here Comes The Bride" in his accordion. LE CRAB (CONT'D) Now go on... Young man, what's your name again? BRANDON Brandon...Brandon Hymes... LE CRAB Well, what are you waiting for, Brandon? March your bride to her room. Brandon shyly takes Lory's hand. Lory points up to her second floor room. HIGH ANGLE TENANTS from the first to the third floors barge out of their rooms and walk up to the second floor. Le Crab FOLLOWS a self conscious Brandon and an emotional Lory, passing Tenants in celebration. INT. LORY'S ROOM - SAME DAY P.O.V. Of Brandon and Lory as they ENTER the room. A table in the center of the room with a small wedding cake, bottles of soft drinks, etc. PAN AROUND the room and REVEAL a room with paper decorations and a DOUBLE BED in one corner. ANOTHER ANGLE Lory and Brandon regard Le Crab with gratitude. LORY You're an angel, Miss Le Crab. LE CRAB (poker-faced) Ah...ah...only for a month. LORY Then you won't charge us for two? LE CRAB (with mock pride and arrogance) I'm the Manager. And I see only one tenant in this room, understand? And then when I see two, then he pays, too. Lory joyfully hugs Le Crab, then Brandon. SWIPE BACK TO INT. SAME HYMES OASIS APARTMENT - NIGHT, SEVERAL MONTHS LATER Lory and Brandon ENTER the room. Brandon carries a second hand crib, Lory, in maternity dress, with paper bags with baby items. LE CRAB (O.S.) Hey...what's that? Lory and Brandon wink at each other. Le Crab ENTERS FRAME and scrutinizes the crib closely as Brandon puts it down. LE CRAB (CONT'D) Where did you pick up this junk? BRANDON (embarrassed) Thrift shop. LORY (excitedly with pride) Yes and very cheap, too. Still good. Look! BRANDON (tries to explain) You see... LE CRAB Well, why not? You two have just more imagination than money. (Looks closely at crib and dusts off with her hand) All it needs is a fresh coat of paint. Brandon hurriedly gets his books and winks at Le Crab - BRANDON I'll paint the crib after work tomorrow. LE CRAB I'll bring you some spaghetti tonight. Brandon reacts unimpressed, kisses Lory and her belly. BRANDON Take care of our baby. EXT. PUBLIC PARK, NEW YORK - DAY, FOUR YEARS LATER The park is crowded, mostly families with children, who live in apartments and who find the park a weekend luxury. In the f.g. are a concerned Lory and a reassuring Brandon, searching through the crowd. LORY (calls) Christine...baby...where are you? BRANDON We'll find her, Lory. CHANGE ANGLE LORY Christine...Christine... CHRISTINE, a pretty three-year-old girl with curly blonde hair, ENTERS FRAME and hugs Lory from behind, laughing loudly. Lory turns around, kneels and hugs her. BRANDON (laughing) I'm starving. Let's have lunch. Want a race? CHRISTINE Yes, Daddy. Come on Mommy. Christine pulls Lory's hand and Lory obliges. The three immediately get down to position. BRANDON Ready, get set...go! CHANGE ANGLE The three runs toward a tree where a lunch basket awaits them. Brandon and Lory makes it a point to lag behind and allows Christine to win the race, which makes her laugh triumphantly. Her parents pretend to pant behind her. Lory hugs Christine but Brandon takes over and rolls on the grass with Christine. ANOTHER ANGLE Lory hands the sandwiches to the two, who are still horsing around. LORY Here champs. Christine and Brandon readily devour their sandwiches. LORY (CONT'D) (wistfully) Wish we had a place for Christine to play instead of this crowded park. BRANDON We will, sweetheart. Now That I'm through with college. I promise you, we will have our own home with a big backyard...a real big one. EXT. BACKYARD, HYMES' HOME, N.Y. - DAY, THE PRESENT, 1976 LONG SHOT of a vast backyard with the two-story house in the b.g. There is a swimming pool and a tennis court. Brandon and Christine are in an animated tennis competition. LORY at forty is trim and classy, and elegant in her lounging outfit. She brings a tray of refreshment. LORY (brightly) Time's up, champs! She puts down the tray on the table and watches the two as they finish their game. She applauds. Brandon and Christine, hand in and approach her. LORY (CONT'D) (concerned) You're so flushed. Christine and Brandon each plant a kiss on Lory and drink their refreshment. LORY (CONT'D) Too much sun, darling, isn't good for your complexion. CHRISTINE But Mom, we've one more game to go. And a big bet. BRANDON Let's not upset your Mom. We'll have it tomorrow. Double the bet. How about that? CHRISTINE It's a deal, Dad. LORY Finish your drink. We've barely enough time before your cello recital. And You've to have your hair fixed and ... CHRISTINE (teasing) ...my beauty rest. Christine and Brandon gulp down their drink and laughing they walk, with Christine between her parents. CHRISTINE (CONT'D) Roll out the red carpet. The champs are coming. BRANDON And the cello virtuoso. INT. AUDITORIUM - NIGHT On stage is Christine playing the cello. PAN to the audience. FOCUS ON Lory and Brandon who are both proud and touched by Christine's performance. Lory looks up at Brandon, tearing as Brandon puts his arm around her. INT. LIBRARY, HYMES' HOME - LATE NIGHT Angle on Brandon, still looking out the window, in deep thought. The light in the room is turned on. Brandon's thought is interrupted. He turns. BRANDON Lory? LORY (O.C.) Yes, Brand. Lory, in a house coat, walks toward Brandon. He goes to the sofa. LORY (CONT'D) Still awake? BRANDON Can't sleep. Lory joins Brandon. LORY Are you all right? They both sit. TIGHTER SHOT OF TWO BRANDON Yes, I'm fine. LORY You must be tired. May be a little massage will help. Put your head down. Lory lets Brandon lie on the sofa with his head on her lap and starts to massage his head. LORY (CONT'D) Must be office tension. BRANDON How was Christine's date? LORY She hasn't come home yet. I checked her room. BRANDON I'm glad she's going out. For a couple of days she's been deeply involved with Liza's case. What's the latest on her? LORY Still in critical condition. That was quite a traumatic experience for Christine. The whole incident just scares me. BRANDON (sympathetic;he understands her) Of course...of course, I understand. (a beat) Want a drink? LORY Yes, please. Brandon stands and walks to the bar. CHANGE ANGLE As Brandon walks towards the bar, INTERCUT the following FLASH CUTS - INT. HYMES' SECOND APARTMENT, L. A. - NIGHT - TWENTY ONE YEARS AGO LORY, in an inexpensive night gown, just awake from sleep, stares, in shock - P.O.V. Of LORY Brandon blocking the CRIB with his body. REVERSE SHOT C.U. Of Lory, in SOUNDLESS HYSTERICS. CUT BACK TO PREVIOUS SCENE - Brandon mixes the drink at the bar, bothered. LORY You're not all right, Brand. Got a problem? Brandon hands the drink to Lory. LORY (CONT'D) (anxiously) Brand, what is it? BRANDON For two nights now, I can't sleep. I want to spare you this... LORY Is it Christine? Brandon shakes his head, sips his drink, sits down and faces Lory. BRANDON It's Katerina. C.U. OF LORY who FREEZES with anxiety. LORY Katerina Kaufman? Where is she? Did you see her? CHANGE ANGLE BRANDON No. But I have her case. LORY What has she done? BRANDON She has overstayed. For twenty one years she was able to evade Immigration. Just lost in the shuffle. Immigration had issued several orders in every State she had been. And now her file was reopened and activated. Just before I left the office today I was informed of a raid at the Garment district. From the information I received, it was confirmed that she is among those rounded up. This time, she would be facing immediate deportation. LORY (in disbelief and horror) Brand, no. After twenty one years, she'll be a stranger in her country. America is her home now. (a beat) Oh if only she could find Bob. Then they could get married and she could stay. BRANDON It won't help, Lory, even if she finds Bob or marry another American citizen. LORY Oh no Brand, Katerina would never marry another man. Not with the kind of love she feels for Bob. As far as I'm concern, Katerina and Bob are already married ...in their hearts. BRANDON I know. But Katerina had disobeyed the law. She still has to be deported back to Germany even if she got married. She has to stay there for two years and wait for her visa number after her husband has filed papers to sponsor her. You see every country is assigned a quota for certain number of visas. Even Bob could not reverse the deportation order now. CUT AWAY TO INT. HOSPITAL - SAME DAY There is a commotion outside a patients' ward. Nurses are excitedly sharing the news. NURSE 1 What's happening? NURSE 2 A miracle just happened. Our favorite sleeping prince just woke up after twenty one years. NURSE 3 If no one claims him, I will. The three nurses and others listen closely behind the slightly opened door. NURSE 1 Stop it. You're awful. Just because the guy didn't have any visitor doesn't mean he belongs to no one. DOCTOR (O.S.) Do you know your name? NURSE 2 Psst...quiet. BOB (O.S.) (weak voice) I'm Bob...my name is Bob. The three Nurses and others react with joy and "thumbs-up" gestures. DOCTOR (O.S.) Good. That's good Bob. Is there anyone you want us to call? BOB (O.S.) (agitated) Katerina...Germany ...Katerina...Germany... Nurse 3 react with disappointment as Nurses 1 and 2 taunts her. DOCTOR (O.S.) Take it easy Bob. BOB (O.S.) (insistently) But I need to go to Katerina...to Germany... DOCTOR (O.S.) (pacifies Bob) As soon as you are completely well you go find your Katerina in Germany. Right now, we need to give you a complete check up. All right? BOB (O.S.) (mumbles) Katerina...I'm coming Katerina... CUT BACK TO INT. LIBRARY, HYMES' HOME -LATE NIGHT(BACK TO PREVIOUS SCENE) LORY You mean to say Brand, that even if Bob were here right now and marry Katrina, she still has to be deported back to Germany? BRANDON Yes, Lory. It's the law. LORY I don't understand it. (Exasperatedly) You can't let her go. Do something...as a Commissioner. Brandon stands, gulps down his drink, walks back to the bar for a refill. BRANDON No, Lory. My position as Commissioner doesn't give me the license to do what I feel is right or reasonable, only what's lawful. I've asked myself over and over again whether I could just wash the matter off my hands. CHANGE ANGLE Brandon walks back to Lory - BRANDON (CONT'D) I tried to convince myself that I can do nothing more. Lory stands and faces Brandon, searching into his eyes. LORY Then, there's a way you can allow Katerina to stay. Brandon drinks, avoids Lory's eyes and NODS. LORY (CONT'D) Then help her. Brandon lets Lory sit on the sofa and sits beside her, looking straight into her eyes. BRANDON But I don't want to see you cry again. LORY Sweetheart, I'll be very happy if you will help her. We promised her, remember? Brandon NODS. Yes, he remembers, very well. BRANDON The only way, for Katerina to stay, is for her daughter to intercede for her. C.U. Of Lory, in shock. LORY But Katerina's baby is dead. Twenty one years ago. ANGLE ON Katerina and Brandon. She stands and steps away from Brandon. LORY (CONT'D) (emotional) Katerina's daughter can't help her. She's dead. We buried her. She's dead. ON BRANDON who is in agony as he SEES A SCENE BEFORE HIM - FLASH BACK - INT. HYMES' SECOND APARTMENT, L. A. - NIGHT, TWENTY ONE YEARS AGO Lory, in an inexpensive night gown, staring at the crib, in SHOCK. P.O.V. of Lory - The CRIB with two week-old BABIES. One is CRYING and the other silent; one arm limply hanging down between the crib rails. LORY (screaming) Our baby...Brand...my God...our baby is dead...our baby... Brandon ENTERS FRAME. He reaches for the dead baby and gently pulls her out of the rails, hugs the baby and sobs. He slowly puts back the baby, covers with the blanket as if she is just asleep. He then reaches for the crying baby, hugs her and Lory. He is now sobbing uncontrollably. INT. HYMES' SECOND APARTMENT, L. A. - DAY Brandon and Lory are both sitting on their bed. Brandon is holding the cooing Baby, while Lory stares away blankly. She is no longer crying. Just staring. LORY (mumbling) Our baby ...dead...our baby... our dear baby is dead... BRANDON (gently) Lory, sweetheart, look at this baby, she's alive. Please pull yourself together. She needs you. LORY (doesn't seem to hear him) Poor, poor baby...our poor baby...she must be lonely and hungry and cold. I shall go to her and feed her. ..she must be hungry... BRANDON (his voice breaking, tears down his cheeks) Look Lory, our baby's alive. Do you hear me? Our baby Christine's alive. Look at her. She's alive. The baby who died was Katerina's. Tesha was the one who died. We buried Katerina's baby, two weeks ago. The Baby smiles and coos. Lory turns and looks at the Baby. She touches her face and looks at Brandon, wipes his face and hugs him. CUT BACK TO INT. HYMES LIBRARY - SAME EARLY MORNING Brandon holds Lory by both shoulders - BRANDON Lory, please listen to me. He guides her back to the sofa. CHANGE ANGLE Brandon kneels facing Lory, holding her hands. BRANDON (CONT'D) We've been living in a make-believe world. I admit, I too, am at fault. I made you believe in something that wasn't true, for I did not want to see you cry. (a beat) The baby...the baby, who died that evening, the baby we buried was OUR BABY...our Christine. We both know this. LORY (refuses to accept) No Brand...it's not true. That's a lie. How could you be so cruel to say such a lie? BRANDON Please, Lory. Let's face the truth. What I'm telling you is the truth. You know that I would never hurt you for it's like hurting myself, too. LORY No. I don't want to hear it. Stop it. Stop it. Brandon hugs the hysterical Lory but she pushes him away. Brandon stands and walks towards the window. BRANDON For both of us to survive through that nightmare, we decided...we decided that it was Katerina's baby, the baby she left with us. And since she didn't come back or get in touch with us, before our apartment burned down, we told no one that the baby we buried was ours and when we moved here in New York, we brought up her baby as ours, our own Christine. Through all these years, we raised and loved Christine as ours. CHANGE ANGLE Lory sobs and covers her face with her hands hoping to erase the truth. Brandon hugs her and lifts her chin to face him. BRANDON (CONT'D) I love you. Lory throws herself to Brandon and hugs him in total resignation. EXT. HYMES FOYER - SAME EARLY MORNING, 1976 Christine and Merv, both in formal attire. Before opening the door, Merv kisses Christine's neck which makes her giggle. CHRISTINE That tickles, Merv. MERV I love it when you're tickled. Thanks to your Mom. CHRISTINE For what? For being so protective? For having my birthmark removed fearing it was cancerous? And leaving me with a ticklish spot? MERV Which I love so much. I really have to thank her for loving you. Merv unlocks the door for Christine. MERV (CONT'D) We'll have to tell your Mom and Dad. CHRISTINE (overwhelmed; embraces Merv) Yes. Oh Merv I'm so happy. (a beat) How about now? MERV (in disbelief) You're not kidding. At this time? CHRISTINE No Merv. I'm not kidding. Why wait for tomorrow what we can tell today? (Mischievously) Scared? MERV Of course, I'm scared. I'm no veteran on this. As Merv opens the door, Christine pulls him in, chuckling. CHRISTINE Let's do it, Merv. MERV (concerned) They must be asleep by now. It's after midnight. We'll do it tomorrow. First thing. CHRISTINE (probing him) Now, don't tell me you've changed your mind already. That's exactly why I want us to tell them now, before you back out. MERV No way. I've been looking forward to this moment for ages. (a beat) But are you sure they're still up? CHRISTINE Want to bet? With Mom, it's 100% positive. Never sleeps when I'm out. Dad is a light sleeper. Easy to wake him up. Now, what's the verdict? MERV All right you win. But I didn't lose. INT. HYMES STUDY - NIGHT Brandon and Lory are sipping their drinks. Lory is still tense but no longer crying. Behind them is the slightly opened door. Approaching SOUND of O.S. FOOTSTEPS is heard. LORY (reacts with relief and anxiety) Christine... She hastily wipes traces of tears on her cheeks. Christine appears at the door, excitedly. CHRISTINE I know you're still up. CHANGE ANGLE Christine excitedly approaches, hiding her hands behind her. CHRISTINE (CONT'D) Three guesses Mom, Dad. Why am I so deliriously happy? BRANDON You're always happy. But deliriously happy? Okay, it's a first. What can I say? You were voted tennis player of the year. CHRISTINE (shakes her head, laughing) Tough luck. Come on, Mom. Your turn. LORY You had a huge hot fudge sundae. CHRISTINE (enjoying herself) That, too. But that's not it. One more guess, Dad. Last chance. BRANDON How about if I give up? CHRISTINE Not acceptable. BRANDON Well, all right. You had not one but double hot fudge sundae. CHRISTINE That's not fair. Mom will start counting calories on me. Seriously, what am I hiding behind my back? BRANDON Hot fudge sundae! CHRISTINE (laughs) NO! (Shows her ring) I'm engaged! She hugs her parents. BRANDON You deserve a fine young man like Merv. CHRISTINE (jokingly) How sure are you, it's Merv? LORY Because you breathe, eat, sleep, and dream Merv. CHRISTINE Aren't you happy? BRANDON Of course, you know we are. CHRISTINE (notices Lory's eyes, now misty) Mom, you're crying? LORY (composes herself) Oh, no...just...just happy, my darling. CHRISTINE I love you Mom, Dad, very much. (a beat) Merv is in the living room. He wants to talk to you...both of you. LORY At this time? It's past two in the morning, darling. BRANDON (surprised then in a light mood) Why not? This is one time we're both home. And I like a young man who has the courage... (to Christine, jokingly) Did you do some arm-twisting? CHRISTINE Oh no, Dad. I won't do such a thing. LORY Go ahead. We'll change to something more decent. CHRISTINE Don't take too long, Mom. Christine kisses her parents and hurries out the door. BRANDON Give him something to drink. He'll need it. Christine gives an okay thumbs-up sign and excitedly disappears. LORY Brand...I think I need a drink, too. Make it stiffer. (In disbelief and with nostalgia) Our baby engaged? CHANGE ANGLE Brandon refills their glasses at the bar. BRANDON Doesn't take long, does it? LORY Pretty soon we'll be grandparents. (a beat) I shouldn't be dying my hair now. BRANDON Well, for one thing, streaks of gray could look dignified...even glamorous. LORY (drinks) Sweetheart, I think, I'll cry. BRANDON Go ahead but make it brief, before Christine makes Merv too drunk to ask for our daughter's hand. INT. HYMES' LIVING ROOM - SAME EARLY MORNING, 1976 Merv and Christine are seated close to each other while Brandon and Lory sit across them. There is an uncomfortable silence. MERV (nervously holding his drink) Sir... BRANDON Finish your drink, Merv. MERV (gulps down his drink) Well, Sir...Ma'am... this is not an impulsive kind of a thing...our relation, that is. We've known each other for a long time...and.... and... Christine takes the empty glass from Merv and gives him her own glass. MERV (CONT'D) Thanks. (a beat) Christine and I love each other, very much and I would like to marry her. I'd like your permission, Sir, Ma'am. BRANDON You're both mature and we're sure you've considered the responsibilities that go with marriage. MERV Yes, Sir. Christine and I have talked about it. We're both graduating soon. I'll find myself a job. CHANGE ANGLE CHRISTINE It's not difficult for an accountant major like Merv to find a job. And I can work as a speech therapist. Of course Merv plans to continue his studies and take up Law. MERV I'll take care of your daughter, Sir, Ma'am. BRANDON I'm sure you will. All we ask is, you love her as much as we do. MERV I do, I will...love her very much. LORY Have you talked this over with your parents? MERV Yes, Ma'am. My Mom and Dad like Christine, very much. BRANDON That's good to know. (a beat) We would like to talk to your parents. MERV Yes, Sir. As a matter of fact, they wanted to meet you, too. INT. HYMES' MASTER BEDROOM - SAME EARLY MORNING Brandon and Lory are in their night robes; Brandon reclining on the bed; Lory sitting before the dresser. LORY Brand, I think I'll really cry. BRANDON Go ahead. With you crying always helps. Don't you know that it's also therapeutic? LORY (sniffles then stops) No, I'd rather not. BRANDON (tries to humor her) Of course, it's not glamorous for a would-be grandmother to cry. (a beat) Lory Hymes, you're a real woman. (Kisses her) Come on let's go to bed. LORY Sweetheart, let's not spoil everything for Christine. BRANDON You're coming to bed with me. LORY I'd like to talk to Christine. BRANDON Don't be gone long. INT. CHRISTINE'S BEDROOM - SAME EARLY MORNING The room is tastefully-decorated, neat and orderly. LORY (O.S.) Christine, darling.... Christine peeps out of the dressing room. CHRISTINE Come in. Mom. Lory enters with a glass of milk as Christine steps out of the dressing room, trying to get to her night gown. LORY I brought you milk. CHRISTINE Thanks, Mom. Lory puts down the glass on the night table and helps Christine with her night gown. LORY Come, let me brush your hair. CHANGE ANGLE Lory brushes Christine's hair before the dresser. CHRISTINE What is it, Mom? You haven't brushed my hair for quite a while now. LORY It has been long since I did this, yes for you wanted to be a grown-up and independent. (a beat) Your hair has darkened slightly. This used to be very light. (a beat) Do you love him? CHRISTINE Very much, Mom. He's just like Dad. We're very compatible, just like you and Dad. Most times we don't even need to talk. We just seem to know what's in each other's mind. LORY I'm happy for you, darling. Remember, between two people in love, nothing else's should matter more. Christine looks up at Lory and sees concern on her face. CHRISTINE I'll remember that, Mom. Christine takes Lory's hand and kisses it; Lory is deeply touched. LORY Always remember, Christine that I and your Dad love you very much. We love you more than life itself. We'll do anything for you. Anything, my darling. C.U. Of Christine, who is overwhelmed and wonders. INT. HYMES' MASTER BEDROOM - SAME EARLY MORNING Brandon and Lory are on bed. There is no light in the room except for what's coming through the window. LORY Sweetheart, is there any other way we can help Katerina? BRANDON I'm sorry. We just have to tell Christine the whole story. It's just not fair for us to keep on hiding the truth from her. She must have this chance to help her real mother to sponsor her, as a U.S. Citizen, under the 1965 Johnson Law, First Preference. It's the least we can do right now. We have to do it. LORY But how could you prove that Christine is Katerina's daughter when we buried Tesha Kaufman? BRANDON I know, we'll be facing some legal issues but we just have to tell the truth. LORY But we lied, Brand. Will this not affect your position especially since this will involve your office? BRANDON Yes, it could but I am willing and prepared to face the consequences. I am more concerned about our moral obligation than anything else. Lory sobs and Brandon gathers her in his arms. BRANDON (CONT'D) Rest assured that this is the right thing for us to do. We can't live with ourselves if we do otherwise. LORY You could lose everything. BRANDON But I have you. I could not have survived if I lost you, my darling. I have no regrets for what I did. LORY How could I ever thank you for loving me so selflessly? BRANDON You've already done that through all the wonderful years we had. LORY Thank you. It would be difficult and painful and I am scared but I am with you. They hug. INT. HYMES' DINING ROOM - DAY, THE NEXT DAY C.U. Of Lory's hands. She's nervously wringing these. Brandon's hand ENTERS FRAME and holds Lory's. BRANDON (O.S.) Try to take hold of yourself. LORY I'm trying. BRANDON Drink your coffee. PULL BACK TO REVEAL Lory and Brandon seated at the dining table, their breakfast before them. Brandon is dressed for office while Lory is in a fashionable housecoat. BRANDON (CONT'D) Come on, cheer up. Lory forces a smile. She drinks her coffee. BRANDON (CONT'D) That's more like it. O. S. RINGING OF PHONE - BRANDON (CONT'D) I'll get it. WE FOLLOW Brandon as he stands and walks to the phone by the stairway. BRANDON (CONT'D) Hello? ORIENTAL MAN (ON PHONE) (muffled voice of a man in his 40's) Got my message in the mail, Commissioner? I know where you live. I followed you. I'll get you and your family. BRANDON (concerned) Who is this? The caller hangs up and Brandon is visibly shaken but decides to snap out of it. WE FOLLOW Brandon as he walks back to his seat. BRANDON (CONT'D) (matter-of-factly) Wrong number. ANGLE ON THE DINING TABLE and the STAIRWAY. Christine walks down the stairs, dressed in a street dress. CHRISTINE (cheerfully) Good morning. BRANDON (rightly) Good morning. Someone woke up on the right side of the bed. ANOTHER ANGLE Lory forces a smile as Christine kisses her and Brandon and joins them at the table. CHRISTINE Like my dress? Merv loves this. BRANDON It's gorgeous. And decent. CHRISTINE (laughs) It's not "in" if that's what you mean, Dad. (a beat) Merv's picking me up for lunch. And we'll go look up some things. LORY Don't you have classes today? CHRISTINE Mom, it's Friday, last day of our quarterly vacation, remember? LORY Coffee? Lory hands the coffee pot to Christine. CHRISTINE It's kind of chilly. Or just excited, I suppose. Sugar, please, Mom. Lory passes the sugar bowl. CHRISTINE (CONT'D) Thanks, Mom. (a beat) How's work, Dad? BRANDON Got a problem, a deportation case. Lory reacts tensely, looking at Brandon and Christine, CHRISTINE You always have interesting cases up there. TIGHTER SHOT ON THREE. BRANDON (calculatingly) The case is about a Polish woman. She's been here for twenty one years. And is being deported back to her country. CHRISTINE That's awful. Does she have a family? BRANDON One daughter. Lory is so nervous, she unknowingly pours cream in her coffee which Christine notices. CHRISTINE (surprised) You're using cream, Mom? LORY (embarrassed) Hu? Oh yes...yes... I like cream, for a change. CHRISTINE (to Brandon with interest) This Polish woman, she and her daughter are being deported? BRANDON No. The daughter is an American citizen. She stays. CHRISTINE Now wait. I didn't follow that. The government allows that? I mean separation of family? BRANDON That's not being encouraged. As a matter of fact, when the daughter turns twenty one, she can intercede for her mother to stay. Sponsor her. CHRISTINE Well, where's the problem? All the daughter has to do is sponsor her mother. BRANDON Her daughter doesn't know her. TWO SHOT OF LORY and CHRISTINE - CHRISTINE Hu....that's Getting more complicated. That's where the problem is, all right. Christine notices Lory getting teary-eyed. CHRISTINE (CONT'D) Mom, you're crying? LORY No...no, darling. It's...it's the coffee. It's hot. Christine doesn't buy it. She reachers for Lory's cup and feels it. CHRISTINE But it's cold, Mom. (Curiously) Mom, what's wrong? ANOTHER ANGLE The situation has become more tense. Feeling uneasy, Brandon stands behind his chair, facing Christine. Lory looks up at Brandon, pleading silently. BRANDON This woman is ... Lory stands to distract Christine's attention. LORY (cuts in) Brand, please...(a beat) Christine, darling, your Dad is leaving for the office. CHRISTINE (looks at her wrist watch) Oh Mom, come on. It's just a little after seven thirty. Dad doesn't leave this early. (a beat) You were saying, Dad? Lory approaches Brandon pleading silently. CHRISTINE (CONT'D) (suspiciously) The woman, Dad? BRANDON (calmly) Christine...this woman, Katerina Kaufman is...is... your mother. Christine looks at Brandon in disbelief and shock. What she hears doesn't seem to sink in. Lory slowly sits down and sobs quietly. ANOTHER ANGLE CHRISTINE Dad...let's not joke this way. This is heavy stuff. BRANDON Christine, we're not joking and this heavy stuff is the truth. Katerina is your mother. C..U. Of Christine. The message finally sinks in. She stands and faces Brandon, as if to appeal, to let him take back everything. CHRISTINE Please, Dad, I've always loved you. I mean with Merv and I getting married, this wouldn't change anything. I understand if you're hurt, And if this is your way of hurting me, I won't take it against you. TWO SHOT OF CHRISTINE AND BRANDON - BRANDON No Christine. It's ... it has nothing to do with... CHRISTINE I'll do anything, Dad. I'll leave Merv, if that's what you want. BRANDON No Christine, we'll never ask you to do such a thing. Merv loves you and so do we. Christine, please hear me out first. Christine, feeling helpless, turns to Lory SHOT OF THREE CHRISTINE Mom, I love you. (Hugs her) I need you, please, tell me it's not true. LORY (holds her tightly, tries to be strong) Christine, darling...it's true. Getting no help from either one, Christine slowly releases herself from Lory's arms and backs away from them. C.U. Of Christine's face- CHRISTINE (puts up a front of strength) All right, let's just say ...the long beautiful dream is finally over...and I wake up finding no one to run to... (in disbelief) Do you expect me to change parents after twenty one years? (Sadly) Or perhaps I have stayed too long and abused your hospitality. (Sarcastically) Thanks for keeping me, anyway. Perhaps I have finally satisfied your parental instinct and you've decided I've outlived my usefulness. CHANGE ANGLE BRANDON This had been a hard decision for us. But it can not remain a secret any longer. ON CHRISTINE - shaken and in shock - CHRISTINE (almost inaudibly) Why didn't you tell me this before? ANOTHER ANGLE Brandon sits down, suddenly feeling drained of all energy. BRANDON (low voice, can't look at Christine) I admit, it's our fault. Our mistake. CHRISTINE (weakly) And my father? Lory reacts and sits down, holding on to Brandon. LORY (pleads) Brand...please... CHRISTINE (unemotional) I want to know. BRANDON (groping for words) Your mother, never found him. It's difficult ...you see, they were never husband and wife...and she didn't have all the necessary information to find him. C.U. OF CHRISTINE; her agony visibly etched all over her pale face. CHRISTINE So, I'm also illegitimate. (a beat) But why didn't you tell me that I was an adopted child? BRANDON (O.S.) Because we didn't adopt you. We brought you up as our own child. TIGHTER SHOT ON CHRISTINE'S FACE - LORY (O.S.) We had a child, a girl, born in the same hospital, on the same day you were born. A few days later, your mother left you with us. You were very ill and she refused to give you up for adoption, which the clinic she took you in, gave her as an alternative. She promised to come back for you but she never came back, for she was looking for your father. He was supposed to meet her at the airport upon her arrival in 1955 but she went into labor and was taken to the same hospital I was in. They missed each other but she was determined to find him with the little information she had on hand. She must have just kept searching for him, following one lead after another. Since we also moved here to New York when our apartment burned down, we lost contact. CHRISTINE (almost in a whisper) Where is your child? ANGLE ON THREE - BRANDON (looks far; voice breaking) We found her dead in the crib, where the two babies were. Lory sobs softly. She's undergoing the tragedy all over again. Christine looks confused. BRANDON (CONT'D) It was hard for us to accept the death of our baby. We decided ...to bring you up as our own Christine. We didn't tell any one and made up our mind that the baby, our own baby who died was Katerina's. SHOCK SHOT OF CHRISTINE, who looks sick and could stand it any longer. CHRISTINE My God...all this years, I've lived another girl's life. And you ...you disowned your child in death and robbed her of her name. You're sick...you must be sick...just sick... CHANGE ANGLE - Brandon stands and holds Lory protecting her while Christine regard both of them with disdain. BRANDON (hurt; breaking voice) Yes, maybe we were. Your mother here was sick and was out of her mind in grief. I had to do something; make her believe that our baby was alive. Yes, we were both sick but these sick people raised you, cared for you and loved you with all our heart and our soul and everything we were and we are. (Tries to compose himself) Let's not destroy what we've built all these years in a moment of anger. Can't you see the pain it gives your Mom? LORY (with acceptance) Yes, Christine, darling, I was out of my mind. I was not myself. You are right darling, it's true I was crazy. (a beat) You helped me through it all, my darling. You gave me back my life. You gave me reason to go on. And I'm grateful for that. I will forever thank God for you. CHRISTINE (angrily) Stop it. I'm not Christine. I'm nobody. BRANDON (calmly) Your mother needs you, Christine. You are her only hope, the only one who can help her stay in this country she considers her home. LORY Darling help her. This country is her only home now. She has no place to go. CHRISTINE Which mother are we talking about here? The one who made me her substitute child or the mother who deserted me? BRANDON The mother who loved you enough to leave you with us rather than give you away for adoption because she had no way of taking care of you when you were very sick. CHRISTINE I don't buy this patronizing attitude you give her. The sympathetic innocent girl image. Why don't we call a spade a spade? Or is it the guilt you feel for stealing her daughter away. Let's be truthful for once. Why all the cover-up? LORY (shakes Christine) Stop it...stop it Christine. CHRISTINE She left me, never came back because she never planned to. She never wanted me. She's no better than those irresponsible, heartless, mothers who dump their babies in trash bins, or strangle them or leave them in the cold to die. Lory SLAPS Christine. Brandon REACTS with SHOCK. There is a sudden silence. Lory realizes what she has just done but makes no move to apologize. She stands there looking at Christine with disbelief, at her daughter who has always been gentle and sweet. Christine is passive, hard, unfeeling. No tears. LORY (angrily) Don't be so judgmental about those mothers for you do not know their circumstances that led them to their actions. CHRISTINE (hurt) And you defend this Katerina or whoever she is? LORY (almost to self) That was a most ungrateful thing to say. Of a mother like Katerina. She was a noble woman. You should had been proud of her. She had suffered and loved more than anyone of us. As Lory speaks, SLOWLY DOLLY IN TO HER C.U. LORY (CONT'D) A survivor of the holocaust...an orphan...she finally found someone who loved her... WE WHIP PAN TO CHRISTINE'S C.U. CHRISTINE (unemotional) I don't want to hear more lies. WIDE ANGLE ON THE THREE - Christine slowly backs away from Brandon and Lory. Brandon stands and walks slowly toward Christine; Lory also stands and looks at them with concern and anxiety. BRANDON (calmly) Christine, why don't you give your mother a chance? We condemn because we don't know enough of others. You can't just shut her out of your life like this. At least know her. Still no reaction from Christine. She's not listening. She continues to back away from them. BRANDON (CONT'D) I brought your mother's tape and file. I thought you might want to hear her story and know her better. CHANGE ANGLE TO INCLUDE THE STAIRWAY - Christine has now reached the stairway. Lory and Brandon following her. LORY Christine, we love you. CHRISTINE (cold; in low voice) Leave me alone. Christine runs up the stairs and EXITS FRAME. O.S. RUNNING and SLAMMING OF DOOR. LORY (feeling so helpless) What shall we do? BRANDON Give her a chance to sort things out. INT. HYMES' MASTER BEDROOM - SAME MORNING, AN HOUR LATER Lory is seated before the dresser, in deep thought. A TAPE RECORDER and a FOLDER on the dresser. EXT. CHRISTINE'S BEDROOM - SAME MORNING The door to the bedroom is locked. At the hallway just beside the door is a console table. Inside the room is SILENCE. Lory ENTERS FRAME with Katerina's TAPE and FILE. She KNOCKS on the door. No answer. LORY (gently) We're sorry for causing you pain, darling. You have the right to feel this way towards us. I'm not asking anything for myself, but for your mother. Lory knocks again but still no answer. LORY (CONT'D) Please, darling. Give her a chance. At least listen to her tape and read her file. CHRISTINE (screams) I have no mother. And I am nothing...nobody...zero! NO MOTHER...NO FATHER! INT. BRANDON'S IMMIGRATION OFFICE - SAME MORNING Brandon is at his desk, with files, looking very upset. Standing before him is Maggie. BRANDON The Kaufman case was assigned to Ray. I don't understand why Carl had it. Get Ray. MAGGIE Ray was out on another case, sir. And... BRANDON Call Carl, then. EXT. CHRISTINE'S BEDROOM - SAME MORNING Christine, upset, stealthily steps out of her bedroom, tip toes down the hallway and down the stairs. FOLLOW Christine who, after making sure that no one has seen her, walks out the door. INT. LORY'S BEDROOM - SAME MORNING Lory, in a street dress, picks up the tape recorder and the folder from the dresser and walks out the door. EXT. STREET - SAME MORNING Christine's red car is speeding. CHANGE ANGLE On Christine driving, distraught and inattentive to the traffic. O.S. Sound of car horn, followed by SCREECHING OF TIRES. Christine is jolted back to her senses. ANOTHER ANGLE A MALE DRIVER beside Christine's car looks out his window and SCREAMS at Christine. MALE DRIVER (angrily) Mind the road, lady. Get out of here before you kill someone. And take your problem with you. ON CHRISTINE, who seems to be awaken from a trance, and swerves and drives out of traffic and parks beside a public park. She sits in her car and tries to compose herself, then gets out of the car and walks to the park, without a sense of direction. The park is empty. She finds a swing and sits there pondering. ANOTHER ANGLE Seeing a public telephone, an idea comes to her and she walks toward it. INT. TELEPHONE BOOTH - SAME MORNING ON CHRISTINE who picks up the phone, searches for coins from her purse and dials. CHRISTINE (ON PHONE) (coldly; unemotional) Hello, yes, Merv, it's Christine. (Composes herself) Merv, we can't go on with our plans... CUT AWAY TO C.U. OF MERV ON PHONE - MERV (ON PHONE) What do you mean? I'm getting ready to pick you up. CHANGE ANGLE Merv is in the process of changing when interrupted by the phone call. MERV (ON PHONE)(CONT'D) I'll be there on time. CUT BACK TO CHRISTINE IN PHONE BOOTH - CHRISTINE (ON PHONE) (still unemotional) Don't bother to come. I'm talking about our marriage. It's over. CUT TO CUT - MERV (ON PHONE) (in disbelief) What do you mean? What changed? Is it your parents? CHRISTINE (ON PHONE) Things have changed. It's not my folks. It's yours. MERV (ON PHONE) I don't understand. Look, Christine, my Mom and Dad are just crazy about you when I told them about last night. CHRISTINE (ON PHONE) Before, perhaps. Now, they wouldn't want anything to do with me. MERV (ON PHONE) (confused) What's the matter Chris? I've never heard you talk this way. CHRISTINE (ON PHONE) (she's crying now but tries to steady her voice) So many things have changed. You told me how impressed your Dad and Mom were with my folks. MERV Sure. But what's wrong with that? CHRISTINE (tries to sound cheerful but is hurting) You'll find yourself another girl. One you can be proud of. MERV (more confused and irritated) This is a little too sudden for me. (Firmly) I've got to see you. CHRISTINE (firmly) No Merv. Don't. And don't try to find me. Please, don't. It's no use. Christine hangs up the phone and sobs. MERV Chris...hello...hello? Merv replaces the phone, at a loss. Suddenly his expression changes to anger. He stands with determined look, puts on his jacket and walks towards the CAMERA. DOL OUT and hold him in frame, maintaining the same distance as he walks. PULL OUT CAMERA TO REVEAL - INT. JUDGE LANZ OFFICE - SAME DAY The office of Judge Lanz has sophistication in taste. JUDGE LANZ, is an overweight man in his late fifties, his blond hair neatly combed back. He sits on a leather heavily padded chair. His back is turned away from Merv, as he reads a brief. Merv stands in front of his desk. He is in his topcoat. JUDGE LANZ (matter-of-factly; without turning to face Merv) What are you doing here, Merv? MERV Did you talk to Christine's folks, this morning after I told you about Christine and me? JUDGE LANZ (faces Merv, confused) Yes, I talked to the Commissioner but not today. A few days ago, yes, your Mom and I met Commissioner Hymes and his wife at a fund raising dinner. MERV (suspiciously) And what did you talk to them about? JUDGE LANZ What's this about? MERV Then why should Christine back out from our engagement? JUDGE LANZ I have no idea but whatever it is, it must be something that happened this morning. (a beat) Why didn't you ask her? MERV She won't tell me. I want to hear from you, Dad, if there was anything at all that you talked to her parents about that may have changed her mind. Judge Lanz turns his chair and gets up, walks around his desk and faces Merv and looks at his son, putting his hand on his shoulder. JUDGE LANZ (calmly) You've always been a good son, Merv. And will be a good husband. I'm sure. Remember, there will be problems, misunderstanding, maybe petty quarrels between you and Christine. Now that doesn't mean that you do not love each other or that your marriage won't work. There could be misunderstandings even in the best of marriages. When this happens, you don't come running back to me or your Mom. Not that we won't help but it'll be best for you if you handle it yourself. (Slaps Merv on the back with a mock stern look) Now go and handle this like a man. MERV (surprised at his father's attitude; brightly) Thanks, Dad. Judge Lanz casually walks back to his desk. JUDGE LANZ What do you think we talked about? (a beat) They want their daughter to be accepted as she is. The same way we want them to accept you, as you are. Not as THE son of Judge Lanz or Christine as THE daughter of Immigration Commissioner Hymes. (a beat) Go and fix things between you and Christine. Now, if you will excuse me, I have other matters to attend to. The judge walks back to his desk. Merv regards his father with greater admiration. He smiles and turns away. Judge Lanz follows him with a look of pride, then presses the button in his intercom. INT. HOSPITAL ROOM OF LIZA - SAME MORNING In a semi-private room, Christine sits beside Liza's bed. Liza is visibly very ill and weak; Christine holds her hand. CHRISTINE I understand how you feel, Liza. I really do. You see, just like you I, too, have nobody now. From now on it will be just you and me. LIZA No christine. Whatever you're thinking, forget it. Don't ever do what I did. We don't seem to appreciate what we have until we've lost them. I had the time to really sort things out. And you were right. I was selfish; selfish to my parents, to my friends, and to my baby. If Only I had kept my baby ... perhaps ... perhaps I would have something to live for... CHRISTINE Don't talk now. Try to sleep. I'll be here when you wake up. LIZA No Liza. Let me talk. I need to do this. Right now I feel so useless. I feel a void inside. It hurts so bad. I guess this is how my parents felt when I left them. I'm sorry I did what I did. Please, Liza, you are the only friend I have. Please, don't do what I did. Whatever problem you have with your parents or Merv could be settled. Give all of you a chance to think. CHRISTINE But you don't understand, Liza. My problem has no solution without anyone getting hurt. I've hurt my parents already and I have hurt Merv. But I had to do this. Disappear from everyone's life. I am nobody...nothing. I don't belong to anyone. You won't understand this, Liza. It's too complicated even for me to understand. My parents, my supposedly loving parents are not my parents. My supposedly over-protective mother is not my mother. And I'm not even adopted. I'm an illegitimate daughter whose father was not aware of my existence. I'm just a substitute...a surrogate daughter to an innocent baby who was begrudged her own rights to belong because her selfish parents didn't have the courage to face the truth, to undergo the pain of loss, and instead settled for a quick fix of filling the vacuum in their hearts by taking another woman's daughter to fill that gap...to fill their selfish need. How crazy could that be? Now do you understand why I have to leave everyone that I used to belong to, that I used to love, and to care for? LIZA Oh my God Christine, I'm so sorry. But Merv, he has nothing to do with what happened to you and your family. He loves you. He adores you. If I had someone like him, I wouldn't be in this situation. CHRISTINE You don't know the complications that my life has created. My supposedly mother who abandoned me and never came back for me, was a victim of the Nazi cruelty. How do you think this would affect her knowing that Merv's father is German? The very people who inflicted pain to her, who killed her entire family? What do you think the kind of pain, Merv would undergo in this situation? I'd like to spare him the pain of choosing between his father and me? LIZA But Christine you're not thinking clearly just as I was not thinking clearly but with your help you've helped clear up the fog in my mind. Now let me do this for you, my friend. CHRISTINE It wouldn't help, Liza. How would you feel if your daughter marries the son of the very people who inflicted you with all the miseries in your life? And would Merv be comfortable? Would anyone be at peace? LIZA You can help create that peace. You're a level-headed smart girl. You were always the one with the brains and the understanding. Yes, so many unspeakable deeds happened during the war, and even in times of peace, but let's not put everyone in a box and pass judgment because what our ancestors did or didn't do, should not be the verdict that we have to bear in our lives. We can start anew and give everyone a chance to correct whatever mistake the previous generations have committed, otherwise, I don't think we can all survive, hate and vengeance. You might ask why I, the simple-minded of the pair of close friends would suddenly be endowed with common sense. Yes, it might be too late for me but not for you to do the right thing...to do what works. (a beat) When I died, things became clear...clearer than what I can be capable of showing you. It's like I was shown what will become of us if we continue this attitude of looking for someone to blame except ourselves, of being unforgiving, of giving up when things don't go our way. Believe me I've committed all of the above but if I have another chance I promise you my life would be a complete 180 degrees turn around. But it's too late for me, my friend. My spirit would like to go on but my body is too weak and too damaged from all the poison that I've steeped it into and my final act of cutting whatever chance of life I had left. But not for you so please, think. Give everyone a chance including you, especially you. And wherever I would be I'll be with you always for I love you, my dear, dear friend. Christine hugs Liza and sobs. CHRISTINE I'm so sorry, Liza...so sorry. INT. TELEPHONE BOOTH - SAME DAY Merv is talking on the phone. He looks disappointed as he replaces the phone and hurries to his parked car. EXT. HYMES MASTER BEDROOM - SAME DAY Christine knocks softly on the door. No answer. She pushes the door but finds it empty. FOLLOW Christine as she walks back to the hallway to her room but stops by the console table by her bedroom. C.U. Of the TAPE RECORDER and the FOLDER with a NOTE on the table. PULL BACK and include Christine as she opens the NOTE. LORY (V.O.) My dear Christine - I'm not asking you to forgive us. But I'm begging you to please listen to this tape and read Katerina Kaufman's file. Your mother deserves, at least, to be heard by you. INT. BRANDON'S OFFICE - SAME DAY Brandon is behind his desk; Carl stands before him; Maggie nearby. BRANDON I issued a rescinding order on the Kaufman case, yesterday - a stay of deportation. Did Detention get it? CARL I had a couple of Hearings yesterday and one this morning. So I asked Larry to bring the order down to Detention. I just met him across the hall. He just came in. Had to pick up a half a dozen aliens. But he can't find the order. Even if he finds the order, it would be too late. The plane must have left by now. BRANDON (in disbelief) This is an atrocity. (To Maggie) Give me Detention. MAGGIE Right away, sir. INT. CHRISTINE'S BEDROOM - SAME DAY C.U. OF THE TAPE RECORDER ON CHRISTINE'S BED. CHRISTINE'S HAND ENTERS FRAME AND TURNS ON THE REPLAY BUTTON. CARL (V.O.) (Stern high-pitched voice) We are being recorded. Speak aloud and clearly. State your name, age, nationality and the country you came from. As the TAPE PLAYS, PULL BACK TO INCLUDE CHRISTINE , who sits on her bed, holding the passport PHOTO of Katerina. ZOOM IN TO KATERINA'S PASSPORT PHOTO held by a shaking hand. KATERINA (V.O.) (Weak, passive tone, the voice has the timber of a woman beyond the age of fifty or even sixty) My name is Katerina Kaufman. I am 42 years old. I am a national of Poland. I came from Germany. C.U. OF TURNING TAPE - CARL (V.O.) The record shows that in June, 1956 you were found in violation of the U. S. Immigration Law for overstaying and you elected to leave this country voluntarily on June 20, 1956. PULL OUT TO REVEAL CHRISTINE With a tense expression. She's wringing her hands. CARL (V.O.)(CONT'D) Since you violated the terms of the order for voluntary departure, you are now ordered for deportation. Christine stands and walks towards the window, her back to the CAMERA, walking nervously. WE HOLD ON TO HER - KATERINA (V.O.) (Not resisting; calmly) But sir, I have lived in America for more than 21 years. Christine stops AND TURNS. She's listening nervously. KATERINA (V.O.)(CONT'D) I have not done anything against America. I did not go home because I had to find the father of my baby. I promised that I will find her father. I left her with the only friends I had so I can continue to look for Bob. And like I promised my friends, I came back for my baby but their apartment burned down and I had no information where they moved. They were good, decent people who promised to love and take care of my baby. ON CHRISTINE TURNING MISTY-EYED. AS KATERINA'S VOICE IS HEARD, V.O. On the following scenes, that Christine is watching right in front of her: KATERINA WALKING, TAKING THE BUS, WASHING DISHES AT A RESTAURANT, CLEANING HOUSE, calling from telephone books at public phone booth. KATERINA (V.O.)(CONT'D) For months and years, I walked, took the bus, to many places, cities, States, called all the Bobs and the names of my friends in the Phone book, never stopped searching for them between earning an honest living, working any job that no one else was willing to do, until the garment shop I was working in the Bronx was raided by the Immigration Agents and I was one of those arrested because I had no papers to show. I don't know where my baby is or if she is alive because she was sick when I left her and I don't know where her father is but wherever they are I hope that they would know how much I love them. ON CHRISTINE, who is visibly touched by what she hears. KATERINA (V.O.)(CONT'D) So, you see, sir I can not leave without my baby and my Bob. CARL (V.O.) (Impatiently) That's quite a story. Twenty one years is a long grace period. You had given us the run around. Immigration had a hard time tracing you. (Firmly) Do you have the money for your transportation back to Germany? KATERINA (V.O.) Please do not send me back to Germany. America is my home now. CARL (V.O.) Answer the question. Do you have the money for your transportation? KATERINA (V.O.) No, sir. CARL (V.O.) You are ordered to leave the U. S. Tomorrow, Friday, March 4, 1976 at 11:30 in the morning aboard U. S. Airline, Flight 485. Until then, you will be taken to the U.S. Immigration detention. INT. BRANDON'S OFFICE - SAME DAY Brandon is on the phone. Standing restlessly before him is Carl. Maggie beside the desk. BRANDON (ON PHONE) Kurt, you got my order on the Kaufman case? You never received it? (Listens; shocked) What? You've sent her to the airport Detention? What time is the flight? Eleven thirty? Brandon looks at his watch. C.U. Of time which indicates - 11:05. ANGLE ON BRANDON, Carl and Maggie. BRANDON (CONT'D) Give me Airport. Maggie dials the phone on Brandon's desk. Brandon gives Carl a very sharp look. CARL (matter-of-factly) Just one of those things. Tough luck for her. BRANDON This is not just one of those things. And not just tough luck. We don't work through luck here. CARL But it happens. With the load of work we handle. It's bound to happen. Not enough people to work on the cases. BRANDON That's no excuse, Briddle. MAGGIE I can't get through, sir. The line's been busy. BRANDON Keep trying. I'll drive to the airport. (Stands and turns to Carl) Kaufman shouldn't be in that plane and if she is be prepared to answer for a few things. EXT. DRIVEWAY OF HYMES RESIDENCE - SAME DAY Merv is in his car that just stopped at the driveway. He calls the GARDENER. GARDENER She left just now. Driving like hell. EXT. IMMIGRATION BUILDING UNDERGROUND PARKING - SAME DAY LONG SHOT of the parking lot, which is empty except for Brandon, who walks toward his car, with his top coat. His car is parked on the slot designated for - Commissioner. Before his car is a space for - Commissioner's guest. FOLLOW Brandon walking hurriedly to his car. O.S. FOOTSTEPS behind him. He turns to look. P.O.V. Of Brandon. There is no one. ANGLE ON Brandon who proceeds to walk, this time anxiously listening. O.S. FOOTSTEPS RESUMES, behind him. ORIENTAL MAN (O.S.) Don't turn Commissioner. BRANDON recognizes the voice. He heard it before. ORIENTAL MAN (O.S.)(CONT'D) Walk past your car, Commissioner. Brandon follows the instruction. SUDDENLY the SOUND of O.S. SPEEDING CAR IS HEARD. Brandon STOPS. ORIENTAL MAN (O.S.)(CONT'D) I warn you, one wrong move, Commissioner, I repeat keep walking and don't turn. CHANGE ANGLE From behind Brandon and the Oriental Man, INCLUDE the car that SCREECHES to a stop at the slot for the Commissioner's guest. Brandon has just walked past his car, followed by a short man with a top coat. The man's hands are inside the pocket of his top coat. Lory, who just parked her car, sees Brandon and hurriedly opens the car door and runs after Brandon, unmindful of the man behind him. LORY (calls) Brand...sweetheart...wait! As Lory nears Brandon, the Oriental man holds and pushes her to Brandon's side. ORIENTAL MAN Look ahead and walk. MAGGIE TIGHTEN TO THE THREE - LORY (scared) Brand, who is... BRANDON (calms her down) Follow what he says. ORIENTAL MAN I repeat one wrong move... The Oriental man, about 5 foot, 7 inches, in his early forties, a grim and cold expression on his face stays close to them. Only the magnified sound of their footsteps is heard as they walk toward a closed door. ANOTHER ANGLE ORIENTAL MAN (CONT'D) Open the door slowly and get in. Brandon follows. He and Lory enter, followed by the man. INT. EMPTY UNTILITY ROOM The Oriental man turns on the light and closes the door. He faces Brandon and Lory for the first time. The man signals them to stand by the wall; the man's hands still in his pockets. ORIENTAL MAN Stand by the wall and raise your hands above your heads. They follow. ORIENTAL MAN (CONT'D) (coldly) You don't know me. But you had my message and I talked to you, Commissioner. BRANDON Yes, I remember your voice. ORIENTAL MAN Good...because I want you to put this in your mind. I want you and your wife to listen good. BRANDON Why do you do this to us? What have we done to you? ORIENTAL MAN I said, you listen good. (a beat) I came to this country under the Third Preference, because you needed my skill. But one mistake in your sanctuary up there, turned me and my family into hunted animals. C.U. Of the Oriental man. ORIENTAL MAN (CONT'D) Your agents chasing me and my family, leaving me jobless for months, working in hiding, never staying in one job for a long period of time...then your men found my wife and child alone in our apartment, at four in the morning, when I was working and took them away like criminals. I walked up there in your sanctuary but your men just brushed me aside and did not care to give me their time. They misplaced my papers. My stay was legal but do you think anyone apologized? Did you apologize for the agony, the fear, the sleepless nights, the anxiety? CHANGE ANGLE ON THE THREE- ORIENTAL MAN (CONT'D) My wife is in a Mental Institution right now, living in constant fear because of one mistake, because of what you do up there. BRANDON We have a law to enforce. ORIENTAL MAN We are human beings. There are people who have lived through so much fear, atrocity or through war, that the sight of a man in uniform or the arrogance of those in MORE ORIENTAL MAN (CONT'D) authority could drive them out of their wits. Have you ever thought of that? Laws can be enforced and still treat people kindly and as human beings. LORY My husband did not do those things to you. ORIENTAL He is responsible for those people. Because Mr. Commissioner, you are the Immigration. Lory is sure by now that the man would not listen to reason. Scared, she sobs softly. ANOTHER ANGLE ORIENTAL MAN I'm no criminal. I had no plans of hurting or killing you. But I wanted you to experience a small taste of the fear, the anxiety, the mental anguish, the mental torture you had me and my family undergo. I want you to live and to remember this. Out there, are people like me, whose only crime is of being poor and wanting nothing but to work and earn an honest living and provide a bright future for their families. Yes, Commissioner, we want to be decent, Law-abiding members of society. Please help us, make it possible for us to do that, without breaking any Law. Give us a chance. The Oriental man casually brings out his hands from his pockets. He has no gun. He gets out of the room leaving Brandon and Lory dumbfounded. EXT. STREET - SAME DAY Christine's car WHISKS by. PAN to Merv's car following from a distance. INT. CAR - SAME DAY Brandon is driving fast on the freeway; Lory beside him. They're both tense and thinking perhaps of the Oriental man or perhaps of Katerina but one thing is obvious for Brandon, that he bears the responsibility for people out there, just by the very nature of his job and the position he holds. BRANDON What time is it, sweetheart? LORY (checks her watch) It's eleven twenty one. CUT TO: INT. AIRPORT TERMINAL - SAME DAY C.U. Of the terminal walk CLOCK indicating 11:28 a.m. PAN to the adjacent FLIGHT SCHEDULE BOARD showing European destinations. PASSENGERS hurriedly walk to various gates. ON LORY and BRANDON running through the thickening crowd. IMMIGRATION OFFICER #1 (O.S.) (announces) All passengers for flight 485 for Germany get ready. Passengers turn to the source of the announcement and resume their activities. Lory and Brandon follow the source of the announcement. P.O.V. Of Brandon and Lory - A terminal gate labeled "INS DETENTION ROOM" INT. AIRPORT IMMIGRATION DETENTION ROOM - SAME DAY LONG SHOT of the room. It is a big room, a waist-high railing running across it, separating the DEPORTEES, about fifty of them inside the enclosed area from the people seeing them off. SECURITY GUARD 1, stands at the end of the enclosed area near the waist-high swinging door that leads to a cordoned-off hallway leading towards a direction of the airplane. IMMIGRATION OFFICER 1 is at the cordoned-off hallway just outside the swinging door. A line of Deportees, men and women of varied nationalities are being checked by the officer who holds a check list. He is checking the last man. Another SECURITY GUARD 2, stands by another swinging door at the other side of the enclosed area which opens to the visitors. Several feet from this open area is a desk where IMMIGRATION OFFICER 2 sits. He is on the phone; files before him. Brandon and Lory are racing toward him. CHANGE ANGLE - TIGHTER SHOT OF THE ENCLOSED AREA Many Deportees are near the railing engaging in soft and sad conversation with relatives and friends. There are some Deportees, apparently with nobody to send them off. They are quietly and silently sitting on a row of chairs; pieces of small luggage on the floor before them. Immigration Officer #1 has finished checking the Deportees. He signals them to walk ahead through the cordoned-off hallway until they are OUT OF FRAME. He turns to the direction of the Deportees in the enclosed area. IMMIGRATION OFFICER #2 Attention...attention. Passengers for Flight 485 for Germany, prepare to board. Reaction of heightening tension from the Deportees and those sending them off. CUT AWAY TO INT. AIRPORT TERMINAL - SAME DAY IMMIGRATION OFFICER #2 (O.S.) Passengers for Flight 485 for Germany, get ready to board. Passengers lining up to the Gate for Germany again turn to the source of the announcement. CUT BACK TO ANGLE ON Brandon and Lory talk to Immigration Officer #2. CUT AWAY TO INT. AIRPORT TERMINAL - SAME DAY IMMIGRATION OFFICER #2 (O.S.) Katerina Kaufman, report to the desk. Passengers in line for Gate to Germany turn and react to the announcement with curiosity. ZOOM IN TO DOOR LABELED INS DETENTION ROOM. INT. AIRPORT DETENTION ROOM - SAME DAY IMMIGRATION OFFICER #2 I repeat. Katerina Kaufman, you are wanted at the desk. ANGLE at the Deportees in the enclosed area. There is no reaction to the announcement. PAN from one end of the seated Deportees to the next then back on KATERINA, who only now, reacts and slowly picks up her small luggage then slowly stands. Katerina, who is only forty two has doubly-aged. Her tightly pulled hair that is knotted into a bun at her nape, is completely gray; the lines on her face deep. She looks haggard and passively-miserable. Her chest drawn-in and emaciated; an old top coat hangs loosely on her shoulders, her outfit brightened only by the now faded yellow scarf around her shoulders. CHANGE ANGLE ON Brandon and Lory, anxiously looking at the direction of the Deportees. P.O.V. Of Brandon and Lory- The Security Guard #2, opens the swinging door and Katerina slowly and hesitantly EMERGES. Her body droops to one side where she carries a bundle of her earthly belongings. C.U. Of Katerina's face with a confused look as she walks out of the enclosed area. O.S. SOUND of the soft and incessant conversation among the Deportees and the Visitors. FOLLOW Katerina as she approaches the desk. KATERINA (meekly, passively; with heavy European accent) I am Katerina Kaufman. IMMIGRATION OFFICER #2 Here she is, Commissioner. CHANGE ANGLE ON Brandon and Lory, both in shock and disbelief. Lory holds on to Brandon as they start to move towards Katerina. ON Katerina who stands passively. There is no sign of recognition towards Brandon and Lory. Just a passive look. ANOTHER ANGLE Katerina is now face to face with Brandon and Lory. She puts down her bundle of belongings. C.U. OF KATERINA - KATERINA (unemotionally) I am Katerina Kaufman. C.U. OF BRANDON looking at Katerina with sympathy. BRANDON (gently) Katerina...remember me? CHANGE ANGLE - Lory steps closer to Katerina. LORY (gently, nervously) Katerina, it's me, Lory. The hospital...the babies... C.U. OF KATERINA. Her lips quiver as she slowly breaks into a hint of smile. She has forgotten to smile and finds it hard and strange to smile again. There is a sudden lifting of the dark curtain of pain and suffering that had long draped over her face. KATERINA (in disbelief and recognition) Lory. Yes...yes...it's you. ON LORY and KATERINA - Katerina hesitantly raises her hand wanting to touch Lory's face as if trying to be sure that it is not a dream. Lory throws herself towards Katerina in an embrace. She is teary-eyed, although she tries hard to control her emotion. KATERINA (CONT'D) (in a low voice, filled with anxiety, excitement and nostalgia) How are our babies? I came back for my Tesha but you had moved. LORY Christine has grown into a lovely young lady. Katerina's face drops. KATERINA And my Tesha? She did not get well? Lory is now crying. LORY No Katerina. Christine is well... and beautiful. BRANDON Katerina...we are sorry for what happened. Katerina shakes her head, picks up her belonging and turns away with a heavy heart. KATERINA It's all right. I know you loved her and you did what you can. Lory holds Katerina back and stops her. LORY You can't go back. America is your home now. You have no one left in your country. And Christine needs you. (CONT'D) KATERINA (with resignation) Yes. I have no one. I have no home. But I tried. I searched all the places and called all the Bob's in the telephone book of every city and every State. I worked and spent my life looking for my baby Tesha and her father and now I'm tired. I have nothing left. LORY (helplessly) Brand, we can't let her leave. BRANDON Katerina, listen to me. Look at me. Our Christine did not die. She is alive. But Katerina does not seem to hear and continues to walk away. KATERINA (mumbling as in a trance) I can't stay here any more. I have not followed the law. They are sending me back to a place I can not call home. This is my home now but I have to go. IMMIGRATION OFFICER #2 (O.S.) As your name is called, step out of the door. Aloyseus Panopolous. Katerina walks back to the enclosed area, in weak, slow steps, one shoulder drooping from the weight of her luggage. Brandon and Lory are dumbfounded. LORY Brand, please, do something. (suddenly realizes) Oh my God, we've been calling her Tesha, Christine. BRANDON (calls after Katerina) Katerina stop. You have a family here. You would be able to stay. CHANGE ANGLE Katerina does not seem to hear as she passed the swinging door, still mumbling. KATERINA (mumbling) I have no one. I have no family. My baby is dead. IMMIGRATION OFFICER #1 (O.S.) Renato Apinato... An ELDERLY ITALIAN #1 stands from the row of chairs, picks up his luggage and with a sullen face, walks hurriedly towards the railing by the door and hugs ELDERLY ITALIAN MAN #2. Katerina, who is walking by is lightly brushed aside by Italian #1 but Katerina seems oblivious to them. IMMIGRATION OFFICER #1 (CONT'D) Petra Katzmarsik.... ANOTHER ANGLE Lory who is now in tears, runs to the swinging door, bumping against PETRA KATZMARSIK who walks on as if in a trance. LORY Wait Katerina...come back. IMMIGRATION OFFICER #1 Alfonso Villaverde... ANGLE AT THE ENCLOSED AREA The two Italians hesitantly separate and Italian #1 sadly walks toward door #1. Lory is standing near door #2 and Brandon is talking to Security #2. LORY Katerina, Christine is your daughter. Christine is Tesha. Katerina FREEZES in place. C.U. Of Katerina's face, stunned. CUT AWAY TO INT. DETENTION ROOM - SAME DAY On Christine, who just walks into the building, panting. Behind her is Merv, trying to catch up with her. CHRISTINE (calls) Dad...I want to see my mother. BRANDON (pleasantly surprised and touched) Christine? Follow me. ANOTHER ANGLE Christine runs to Brandon who takes her hand and together they run towards the enclosed area where Lory walks toward the immobile Katerina. CHRISTINE (calls) Mother... Katerina stops and freezes. C.U. Of Katerina, who is transfixed in place, her eyes tearing. HOLD ON KATERINA as she slowly turns to the direction of the voice. CHRISTINE (O.S.)(CONT'D) Mother... CHANGE ANGLE On Brandon who joins Lory; both with tears in their eyes. PULL OUT and REVEAL Christine running toward the swinging door; Katerina standing inside the enclosed area, still immobile. ANOTHER ANGLE Katerina is speechless. She drops her luggage as Christine barges through the swinging door and throws herself forward to embrace Katerina. TIGHT SHOT OF KATERINA AND CHRISTINE- Katerina looks at Christine and touches her neck and the smile fades from her face. CHRISTINE (CONT'D) Yes, I am your daughter with the beautiful birthmark. Katerina looks at Christine closely and touches the scar on her neck and her hair. KATERINA You are my Tesha. Yes, yes, you are my Tesha. Christine hugs Katerina, crying, laughing, kissing her, looking at her face and kissing her again and again. CHRISTINE Mother...mother...mother... KATERINA My baby...my Tesha... CUT AWAY TO A MIDDLE-AGE MAN in suit LIMPS toward the desk of Immigration Officer #2. The Officer points him to the direction of Katerina. BOB (calls with excitement) KATERINA! WHIP to C.U. Of Katerina who brightens, releases herself from Christine and barges out the swinging door. KATERINA (in disbelief and excitement) Bob? CHANGE ANGLE Bob RUNS LIMPLY to Katerina who stands immobile in place. As Katerina smiles, the gloomy veil on her face is lifted and a YOUNG KATERINA of 21 is revealed. P.O.V. Of Katerina - The limping middle-age Bob is transformed into a YOUNG MAN in soldier uniform running toward Katerina. As they hug and look at each other they turn back to their PRESENT AGE, their faces lined, but soft and joyful. ANOTHER ANGLE Christine joins the two, Katerina pulls Christine to them and the three hug, and kiss and hug again. SNEAK IN THEME MUSIC AND BUILD UP TO A CRESCENDO. CHANGE ANGLE Behind them stand Merv with Lory and Brandon, all tearing but happy and relieved as they witness the reunion of Katerina, Bob, and Christine. ZOOM OUT TO SHOW - Katerina, Bob, and Christine still in an embrace. Nearby are Brandon, Lory, and Merv tearing as they witness the touching scene. HIGH ANGLE SHOWING the ACTIVITIES in the entire room. The Deportees are walking out the swinging door as their names are called and moving toward the cordoned-off hallway where Immigration Officer #1 checks them out. IMMIGRATION OFFICER #2 (announces) Melzina Avarde...Antonino Galvante... Martina Korniva, ...Anna Eztzagros...Saul Westman... THEME VOCAL MUSIC PLAYS TO THE END OF CLOSING CREDITS. SUPER - "THE END" FADE OUT.