Kramer vs. Kramer Page #2

O.S. Sound:
A key turning in the lock.

As Joanna looks up,

CUT TO:

HER P.O.V.:
as the door swings open to reveal Ted Kramer,

an enormous grin on his face, a bottle of champagne in

his hand. He is so full of himself that he doesn't

notice there is anything wrong.

Note:
Throughout the entire scene he carries the bottle

of champagne, never putting it down.

TED:

I thought you might just like to

know that at five-fifteen this

afternoon we were officially

handed the Fire and Ice account

by Revlon.

CROSS-CUTTING BETWEEN THEM:

JOANNA:

(she takes a deep

breath, then:
)

Ted, I'm leaving you.

TED:

That represents a gross billing

in excess of two million--

(hearing her)

What?!

Joanna opens her purse, takes out her keys and wallet.

JOANNA:

Here are my keys. I won't be

needing them any more.

Note:
Ted does not for a moment believe that his wife

will really leave him. All he can think of right now

is that he will have to spend the rest of the evening

coping with one of her moods.

TED:

(sardonic)

I'm sorry I'm late, all right?

I'm sorry I didn't call--I was

busy making a living.

CROSS-CUTTING BETWEEN THEM: Joanna doesn't even bother

to look up at him. She opens her purse, takes out her

wallet and begins removing credit cards.

JOANNA:

My American Express...My

Bloomingdale's Credit Card...

My check book--

TED:

(the martyr)

Okay, okay...What is it this

time? What did I do now?...

JOANNA:

(ignoring this)

I took two thousand out of the

savings account. That was what

I had in the bank when we got

married.

TED:

Joanna, whatever it is, believe

me, I'm sorry.

JOANNA:

Here are the slips for the laundry

and the cleaning. They'll be

ready on Saturday.

TED:

(hard lining it)

Now listen, before you do something

you'll really regret you'd better

stop and think--

JOANNA:

(not bothering to

look up)

I've paid the rent, the Con-Ed

and the phone bill, so you don't

have to worry about them.

She checks off the last item on her list as her husband

watches, dumbfounded.

JOANNA:

There, that's everything.

Joanna gets to her feet and starts toward the front

door. In an instant Ted is after her.

TED:

(panic starting)

For God's sake, Joanna, would

you at least tell me what I did

that's so terrible! Would you

do me that little favor?

ON JOANNA--at the door.

JOANNA:

Look, it's not your fault, okay?

It's me. It's my fault--you

just married the wrong person.

TED:

(placating her)

So we've got problems. Everybody's

got problems--that's normal--

Joanna opens the door and they step out into the hallway.

14 INT. HALLWAY OUTSIDE KRAMER APT. - EVENING

JOANNA:

Ted, you're not listening to me.

It's over, finished.

TED:

I'm listening, Joanna--believe me,

I'm listening. My wife is walking

out on me after eight years of--

JOANNA:

(bitter)

You just don't get it, do you?

(as though to a child)

I - am - really - and - truly -

leaving - you.

TED:

I heard you, Joanna. I promise

I heard you.

JOANNA:

No you didn't.

(quietly)

You didn't even ask about Billy.

TED:

(stiffening)

What about Billy?

JOANNA:

I'm not taking him with me.

TED:

What?

JOANNA:

(tears start)

Ted, I can't...I tried...I really

tried but...I just can't hack it

anymore...

TED:

C'mon, Joanna, you don't mean

that. You're a terrific mother--

JOANNA:

(from her gut)

I am not! I'm a terrible mother!

I'm an awful mother. I yell at

him all the time. I have no

patience. No...No. He's better

off without me.

(unable to look

at Ted)

Ted, I've got to go...I've got

to go.

TED:

(desperate)

Okay, I understand and I promise

I won't try and stop you, but you

can't just go...Look, come inside

and talk...Just for a few minutes.

JOANNA:

(pleading)

NO!...Please...Please don't make

me stay...I swear...If you do,

sooner or later...maybe tomorrow,

maybe next week...maybe a year

from now...

(looking directly

at him)

I'll go right out the window.

Sound-effect:
The elevator approaching.

CROSS-CUTTING BETWEEN THEM--There is nothing more that

can be done, this is the last moment of intimacy.

TED:

(quiet)

Where are you going?

JOANNA:

I don't know...

The elevator door opens, Joanna steps inside.

TED:

Do you want me to help you get a

cab?

Joanna shakes her head. The elevator door closes behind

her and it starts to descend.

ON TED KRAMER--He stands for a moment, stunned, unable

to move. Then he turns and races back into the

apartment.

15 THE CAMERA TRACKS WITH HIM as he rushes across

to one of the living room windows, throws it open

and leans out.

16 HIS P.O.V.: looking down to the street from the

eighth floor. We SEE Joanna step off the curb and

hail a passing taxi.

TED:

(calling out)

Joanna!?.. .Joanna?!

Either she doesn't hear him or else she pays no attention.

She gets into the cab, closes the door behind her and it

drives away.

CUT TO:

17 INT. APT. - NIGHT

ON TED--as he stands for a moment watching the taxi as

it disappears. Then, slowly, he closes the window,

turns, and AS THE CAMERA TRACKS WITH HIM, walks into

the bedroom.

The bedroom is a mess: the closet door stands open,

inside Joanna's section is empty except for some shoe-

boxes and a few dresses that are scattered across the

floor. Several dresser drawers have been pulled out

and their contents emptied. HOLD IN A WIDE SHOT-as Ted

wearily picks up one of the dresses and hangs it back

on its hanger in its proper place, ready for Joanna's

return. As he continues straightening up the room,

THE CAMERA SLOWLY FADES TO BLACK.

FADE IN:

18 INT. LIVING ROOM - VERY LATE AT NIGHT

WIDE SHOT--Ted Kramer paces back and forth, eyeing the

phone. Then, coming to a decision, he crosses to it,

picks up the receiver and starts to dial.

CUT TO:

19 EXT. APT. BLDG. - LATE AT NIGHT

WIDE SHOT--The building is dark except for the Kramer

apartment which is ablaze with lights. HOLD as we HEAR:

Sound:
The phone ringing. Then:

WOMAN'S VOICE

(obviously asleep)

Huh.. .Hello?

TED:

(righteous)

All right, Thelma...That's it.

I've had it. You can call your

good friend Joanna Kramer and tell

her enough is enough, okay? I

mean, I don't know what I did,

but you can tell her she's made

her point.

WOMAN'S VOICE

Ted, what are you talking about?!

TED:

Don't play innocent with me,

Thelma. You know perfectly

well what's going on.

WOMAN'S VOICE

(exasperated)

Ted, I don't understand a word

you're saying. Where's Joanna?

TED:

Ha! You tell me.

Sound-effect, as Ted slams down the receiver.

20 Instantly a light is turned on two floors below.

CUT TO:

21 INT. FOYER, KRAMER APT. - NIGHT

ON THE FRONT DOOR--as we HEAR:

Sound-effect:
the doorbell rings.

A moment later Ted opens the door and THELMA PHILLIPS

enters. She is a neighbor (Apt. 6-B) and Joanna

Kramer's best friend. About four months ago Thelma

and her husband Charley were divorced. Until then the

two families had been very close, the Kramer's son

(Billy) being about the same age as the Phillips'

daughter (Kim). With the divorce, however, the Kramers

tried to remain friends with both Thelma and Charley

and that has caused a certain amount of friction.

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