Kramer vs. Kramer Page #12

Silence. She still cannot look at him.

TED:

Look, if it's too much

responsibility--

Thelma nods, unable to speak.

TED:

You're sure?

She nods again.

TED:

Thank you, Thel. Thank you

very much.

CUT TO:

77 INT. BILLY'S ROOM - EARLY MORNING

MED. SHOT ON BILLY--as he lies in bed asleep. Some time

has passed and Billy's bandage is much smaller. HOLD ON

HIM as we HEAR

O.S. Sound:
From the street below, the regular six-

forty-five garbage truck that serves as Billy's alarm

clock.

HOLD ON BILLY as he wakes up, struggles to his feet.

THE CAMERA TRACKS WITH HIM as, eyes closed, he stumbles

into the bathroom, pees, and still not remembering to

flush the toilet walks into the bedroom and wakes his

father. As the child turns and walks toward the

kitchen, THE CAMERA HOLDS ON TED. He heaves himself

to his feet and, eyes closed, in much the same manner

as his son, stumbles into the bathroom. He automatically

flushes the toilet without bothering to look, walks

into the living room, opens the front door and picks

up the paper. As he starts into the kitchen, he meets

Billy coming the other way carrying two plates, a

doughnut on each.

THE CAMERA NOW TRACKS WITH BILLY as he walks into the

living room, carefully sets the plates on the dining

table, crosses to the television set, and turns it on.

He returns to the table, and sits down as Ted appears

carrying two glasses of orange juice and vitamins. He

takes a seat in the chair opposite Billy and opens his

paper and starts to read.

HOLD ON THEM as they sit without talking, eating their

breakfast--the only sound, a children's cartoon program

coming from the T.V. From time to time Ted glances up

from his paper to look across at the cartoon.

HOLD ON THEM as we SEE that they have become roommates

in the best sense of the word.

78 EXT. TED'S OFFICE BLDG. MIDTOWN - DAY

WIDE SHOT--It is a gray, cloudy day in mid-November.

Snow is falling.

Sound-effect:
a telephone ringing. Then:

TED'S VOICE

Hello?

JOANNA'S VOICE

Ted?

TED'S VOICE

Joanna?

CUT TO:

79 INT. RESTAURANT, ISLE OF CAPRI - NIGHT

ON THE DOOR--as Ted enters, looks around. The Maitre

d'hotel approaches. From his attitude, it is clear

that Ted and Joanna were regular customers.

MAITRE D'HOTEL

Good evening, Mr. Kramer. We

haven't seen you for a long time.

Mrs. Kramer, she waits for you

in the back.

TED:

Thank you, John.

THE CAMERA TRACKS WITH TED as he walks toward the back

room of the restaurant. Several waiters approach and

say hello, the piano player looks up and smiles. As

he reaches the door to the back room.

CUT TO:

80 INT. BACK ROOM

TED'S P.O.V., JOANNA: She sits against the wall, a

glass of white wine in front of her. She is dressed

simply and no longer has a tan. Nevertheless, Joanna

is still stunningly beautiful. HOLD ON HER FOR A BEAT

as she looks up, smiles.

ON TED--He stands watching her, his knees weak. It is

impossible not to fall in love with her all over again.

TWO SHOT--as he crosses to her table, sits down.

JOANNA:

Hello, Ted. You look well.

TED:

So do you.

The waiter appears, carrying a scotch and soda. He

sets it down on the table in front of Ted.

WAITER:

The usual, Mr. Kramer.

TED:

(not taking his eyes

off Joanna)

Thanks, Gino.

The waiter nods and promptly disappears.

JOANNA:

How's the new job?

TED:

Fine.

There is a self-conscious pause. From the bar, the

piano player begins playing a new song. From Ted and

Joanna's reaction, it is clearly a song that has meant

a great deal to them in the past. They listen for a

moment, then:

TED:

Look at us, Joanna. Just like

any old married couple having

dinner. Who would believe it.

JOANNA:

Yes...How's Billy?

ON TED--The question he has been dreading.

TED:

He's great...except...

(not looking at

her)

...Except he had...he fell and

he cut his face. He...He has a

scar, Joanna, from about here to

here.

(indicating where

and how big)

There is a beat of silence. A moment of shared feeling.

TED:

(he has to say it

to someone)

I can't help but feel somehow...

it's my fault. I keep thinking

I could've done something--

stopped it...

JOANNA:

You can't tell it from a distance,

Ted.

For the first time he looks up at her.

TED:

What?

CROSS-CUTTING BETWEEN THEM

JOANNA:

I've seen him.

TED:

You have?

JOANNA:

A few times. Sometimes I sit in

that coffee shop across the street

and watch when you take him to

school.

ON TED--speechless.

JOANNA:

He looks like a terrific kid.

TED:

He is...

(he still can't get

over it)

You sat in that coffee shop

across from school--

JOANNA:

(completing the sentence)

Watching my son...Ted, I've been

living in New York for the past

two months.

TED:

(amazed)

You've been living here, in

the city?

JOANNA:

(a deep breath)

Ted...The reason I wanted to see

you...I want Billy back.

TED:

You want what?!

JOANNA:

(firm)

I want my son. I'm through

sitting in coffee shops looking

at him from across the street.

I want my son.

TED:

Are you out of your mind?!

You're the one that walked out

on him, remember?

JOANNA:

(trying to explain)

Ted, listen to me...You and I,

we had a really crappy marriage--

(hastily)

Look, don't get so defensive,

okay? It was probably as much

my fault as it was yours...

Anyway when I left I was really

screwed up--

TED:

Joanna, I don't give a--

JOANNA:

(she will be heard)

Ted, all my life I'd either been

somebody's daughter or somebody's

wife, or somebody else's mother.

Then all of a sudden, I was

a thirty-two-year-old, highly

neurotic woman who had just

walked out on her husband and

child. I went to California

because that was about as far

away as I could get. Only...

I guess it wasn't far enough.

So I started going to a shrink.

(leaning forward,

very sincere)

Ted, I've had time to think.

I've been through some changes.

I've learned a lot about myself.

TED:

(like a shot)

Such as?

Silence.

TED:

(boring in)

Come on, Joanna, what did you

learn? I'd really like to know.

Silence.

TED:

(relentless)

One thing, okay? Just tell me

one goddam thing you've learned.

There is a beat of silence, then:

JOANNA:

(quiet, determined)

I've learned that I want my son.

ON TED--He reacts as though he has been slapped.

TED:

Joanna, go be a mother. Get

married, have kids. Don't get

married, have kids. Do whatever

you want. I don't give a damn.

Just leave me out of it--and

leave my baby out of it.

JOANNA:

Ted, if you can't discuss this

rationally--

TED:

(getting to his feet)

Joanna, go f*** yourself!

And with that he turns on his heels and stalks out of

the restaurant.

CUT TO:

81 INT. LAWYER'S OFFICE - DAY

WIDE SHOT--A large, very plush office: lots of

antiques, beautiful nineteenth century paintings on the

wall along with autographed photographs of at least

three ex-Presidents of the United States. Sitting

behind a large and imposing desk is JOHN SHAUNESSY,

a handsome, formidable man in his early sixties. He

is well-dressed, a cornflower in his buttonhole, that

sort of thing. At the moment, Shaunessy leans back

in his chair as Ted finishes his story.

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