Kramer vs. Kramer Page #15

TED:

Well, gentlemen, I'm pleased

to be with you.

ANOTHER ANGLE--as they shake hands, say their good-

byes. THE CAMERA TRACKS WITH TED as he makes his way

through the Christmas party that is still going strong.

Then, suddenly, as he passes the very pretty woman we

noticed earlier, he turns and kisses her.

QUICK CUTS--as a look passes between them, a sudden

chemistry, something we have not seen in Ted before.

TED:

(steps back from

the astounded

girl, grins)

Merry Christmas.

CUT TO:

95 EXT. STREET - DAY

ON A BUS--as it pulls to a stop, the doors open and,

along with the usual flood of mothers and children we

SEE Ted and Billy. THE CAMERA TRACKS WITH THEM as they

walk to school. Billy is talking a mile a minute,

describing in minute detail the plot of an episode of

"I Dream of Jeannie." Ted listens intently, then,

almost involuntarily, he glances over his shoulder in

the direction of the Coffee Shop.

HIS P.O.V.:
There, standing in the window, watching,

is Joanna.

ON TED AND BILLY--as they continue to walk. Ted's

eyes remain on Joanna. As they reach the door to the

school, Ted looks at his son.

TED:

(kissing Billy

good-bye)

You're a terrific kid, Billy

Kramer.

He stands watching as Billy rushes off into the building.

Then he turns back and once again looks in the direction

of the Coffee Shop.

HIS P.O.V.:
This time there is no one there.

CUT TO:

96 EXT. KRAMER APT. BLDG. - NIGHT

ESTABLISHING SHOT--HOLD FOR A BEAT as we HEAR:

O.S. Sound:
a telephone ringing. Then, a moment later:

TED'S VOICE

Hello?

SHAUNESSY'S VOICE

Ted? John Shaunessy here. I

just got a call from your wife's

lawyer. She wants to see the

kid.

CUT TO:

97 INT. KITCHEN, KRAMER APT. - NIGHT

Ted Kramer, the phone cradled against his ear is clean-

ing up the remains of one of Billy's attempts to make

the perfect peanut butter sandwich.

CLOSE ON TED--horrified.

TED:

What?! She wants what?!

SHAUNESSY'S VOICE

(he's been through

this a million times)

She's the mother. That means

she's within her legal rights.

TED:

(agitated)

John, what if she kidnaps him.

I've heard all these--

SHAUNESSY:

(the patience of a

saint)

Look, Ted, I don't honestly

think she would go to the trouble

of suing you for custody of

the child if she was planning

on kidnapping him.

TED:

(doubtful)

I don't know, John...I mean,

to be brutally honest, I'm not

so sure what kind of mental shape

Joanna's in right now. Y'know

she admitted she was seeing

a shrink.

SHAUNESSY'S VOICE

(a flicker of

interest)

You ever see her talk to the

walls?

TED:

No, but--

SHAUNESSY'S VOICE

Then you don't have a choice.

Have Billy at the Seventy-

Fifth Street entrance to Central

Park, Saturday at ten.

CUT TO:

98 EXT. FIFTH AVE. SIDE OF CENTRAL PARK - DAY

ON TED AND BILLY, TRACKING IN FRONT OF THEM as they walk

along the Central Park side of Fifth Ave. From their

attitude it is clear that each of them, for their own

reasons, is very nervous.

TED'S P.O.V., TRACKING FORWARD: about half a block

away Joanna paces back and forth. She hasn't seen them

and it is clear that she is as nervous as they are.

ANOTHER ANGLE ON TED AND BILLY--Ted stops, turns to

Billy and gives him a last-minute check. Then, spotting

a smudge he takes his handkerchief, spits on it and

wipes the child's chin. Now satisfied, he takes Billy's

hand and they continue. Suddenly:

C.U. BILLY--as he spots his mother.

BILLY:

Mommy!

QUICK CUT JOANNA--as she turns, spots Billy, starts

to run.

ON BILLY, TRACKING WITH HIM--as he lets go of Ted's

hand and starts to run flat out toward his mother.

She kneels, opens her arms wide for him and he goes

barreling into her, almost knocking her down from the

impact.

JOANNA:

(somewhere between

laughter and tears)

Oh, Billy...Oh my Billy...Oh

my son...

WIDER SHOT--Joanna gets to her feet and takes Billy's

hand.

JOANNA:

(to Ted, but looking

at Billy)

I'll have him back at six.

And they start off in the opposite direction.

ON TED--realizing that Billy has not said good-bye, has

not looked at him once.

JUMP CUT TO:

WIDER SHOT--Ted stands helpless, watching them leave.

JUMP CUT TO:

WIDER SHOT--Ted, now almost lost from view on the

crowded street, still hasn't moved.

FADE TO BLACK.

99 OMIT

100 WIDE SHOT--Ted and Phyllis, getting ready to go to bed.

They look like a couple that has been married at least

five years. Ted is busy talking as he takes off his

tie, jacket and starts to unbutton his shirt. Phyllis

is getting undressed also, hanging things in the closet,

putting things away in drawers. But as Ted continues

to talk, she watches him apprehensively, it is clear

that something is wrong.

TED:

(he has become an

armchair lawyer)

So, naturally, you assume that

since Joanna left, that would

be a compelling point against

her, right?

PHYLLIS:

(thoughtful)

Right.

TED:

But it doesn't work that way.

A major decision was handed

down by the Appellate Court in

1969--in the case of Haskins

vs. Haskins.

PHYLLIS:

Kramer--

TED:

Now in Haskins vs. Haskins the

court ruled in favor of the

mother, thus establishing a

precedent for awarding the child

to the mother even though she

previously abandoned the baby.

PHYLLIS:

Kramer...There's something I

ought to tell you.

TED:

Yeah?

PHYLLIS:

I've been offered a job in

Washington with H.E.W.

CLOSE ON TED--lie stops what he is doing, turns to her.

TED:

And?

PHYLLIS:

(a deep breath)

I'm going to take it.

REACTION, TED--He sits down on the bed.

PHYLLIS:

It's a very good job--too good

to pass up. I'll be handling

funding for the whole...

(she stops, sits

beside him on

the bed)

Look, I...

(she means love)

..."like" you a lot. And you...

(she means love)

..."like" me, okay? Maybe if it

was a year from now, maybe things

would be different...

TED:

(quiet)

But it's not a year from now,

is it?

She shakes her head, then, reaches out and touches him.

PHYLLIS:

I'll miss you, Kramer...

101 INT. KRAMER APT. - DAY

ON THE FRONT DOOR-- It is open and standing in the door-

way is an attractive woman, a bit overweight and very

serious. This is DR. ALVAREZ, the court-appointed

psychiatrist.

ALVAREZ:

Mr. Kramer?

TED:

Yes?

ALVAREZ:

I'm Dr. Alvarez, Judge Atkins

asked me to look in on your son

and prepare an evaluation sheet.

TED:

Oh, yes. Won't you come in.

Dr. Alvarez enters the apartment. Ted helps her off

with her coat.

ALVAREZ:

Where is the child?

TED:

He's in his room, playing.

ALVAREZ:

Good. I'll see him in there.

As Ted carries her coat to the closet, Dr. Alvarez

walks into the living room, looks around.

ALVAREZ:

Mr. Kramer, do you ever have sex

in here with anyone?

TED:

Doctor, I attempt to conduct my

social life discreetly. At the

moment I am seeing no one.

CROSS-CUTTING BETWEEN THEM

ALVAREZ:

Does that distress you?

TED:

Not particularly.

ALVAREZ:

What does?

TED:

The prospect of losing my child.

ALVAREZ:

(makes some notes, then:)

Very well, I'd like to see him if

I may.

They cross to the door of Billy's room. Ted opens it.

102 INT. BILLY'S ROOM - DAY

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