Kramer vs. Kramer Page #21

WIDE SHOT--It is early Monday morning.

CUT TO:

138 INT. KRAMER KITCHEN - MORNING

ON TED AND BILLY--They stand side by side, like a

surgeon and his assistant. Spread out on the counter

in front of them are the makings of French toast.

The following is done with great efficiency, in

contrast to the first time we saw them go through the

same ritual. They work in silence except for an

occasional command. Each concentrating on this last

moment of closeness, each doing his best to avoid

thinking about Billy's departure. Finally:

ON BILLY--looking at his father, trying to memorize

the older man's face.

Ted turns, sees his son watching him.

TED:

(with false gaiety)

Hey? What's doin' with that

bread? Let's see a little hustle

around here.

CUT TO:

139 INT. LIVING ROOM, KRAMER APT. - MORNING

WIDE SHOT--Billy's bags are packed and stacked neatly

in the living room. Nearby, Billy and his father sit,

silent, waiting.

Sound-effect:
The intercom from the lobby buzzes.

CLOSER IN ON TED AND BILLY--Ted looks at his son, smiles.

The boy smiles back.

TED:

This is it, pal.

Billy, fighting back tears, nods.

Sound-effect:
The intercom buzzes again.

Ted gets to his feet and starts toward the foyer.

CUT TO:

140 INT. FOYER - DAY

As Ted picks up the intercom:

TED:

Yes?

JOANNA'S VOICE

Ted, it's Joanna. Can you meet

me in the lobby?...Alone?

And she hangs up before he can answer.

TED:

(to Mrs. Willewska,

in the kitchen)

I'll be back in a minute.

CUT TO:

141 INT. LOBBY - DAY

ON THE ELEVATOR DOORS--as they open, Ted steps out,

looks around.

HIS P.O.V.:
The lobby is dark, the only light coming

from the window. Joanna sits off to one side, wearing

sunglasses. She looks up as Ted approaches, a small

smile on her face.

TED:

(abrupt)

Okay, I'm here. Now why did you--

JOANNA:

Ted, do you love him?

TED:

Goddamnit, Joanna. What the--

JOANNA:

(insistent)

Ted, do you love him?

He nods.

JOANNA:

I love him too...I don't think

I ever knew how much until now.

There is a long pause as she looks at Ted, unable to

speak. Finally:

JOANNA:

(a deep breath, then:)

Ted, when we got married it was

because I was twenty-seven years

old and I thought I should get

married and...when I had Billy

it was because I thought I should

have a baby...and I guess all I

did was mess up my life and your

life and--

TED:

Joanna, what the hell is--

JOANNA:

(urgent)

Please...Please don't stop me.

This is the hardest thing I've

ever had to do..

ON TED--struck by the urgency in her voice.

JOANNA:

After I left...when I was in

California, I began to think,

what kind of mother was I that

I could walk out on my own child.

It got to where I couldn't tell

anybody about Billy--I couldn't

stand that look in their faces

when I said he wasn't living with

me. Finally it seemed like the

most important thing in the world

to come back here and prove to

Billy and to me and to the world

how much I loved him...And I did

...And I won. Only...it was just

another "should."

(she begins to

break down)

...Sitting in that courtroom.

Hearing everything you did,

everything you went through...

Something happened. I guess it

doesn't matter how much I love

him, or how much you love him.

I guess it's like you said, the

only thing that counts is what's

best for Billy. I don't know,

maybe that's all love is anyway...

Ted, I think Billy should stay

with you...

TED:

(stunned)

What?

JOANNA:

(she reaches out,

takes his hand)

He's already got one mother, he

doesn't need two...He's yours...

(her last ounce of

reserve crumbles)

I won't fight you for him any more.

He's yours...

TED:

Oh, God...Oh, my God...

JOANNA:

Only can I still see him?

TED:

No more waiting in Coffee Shops

...I promise.

Joanna's last ounce of reserve crumbles, she begins to

sob. Ted puts his arms around her and holds her. They

do not kiss. Then, after a few moments she steps back.

JOANNA:

(chin high)

Okay...I think I'll go talk to

my son now.

(wiping her eyes)

How do I look?

TED:

Beautiful.

They step into the elevator and, as the doors close,

blocking them from view, we

DISSOLVE TO:

142 EXT. STREET - DAY

ON TED AND BILLY, TRACKING JUST IN FRONT OF THEM--as

they walk to the park. They are deep in conversation,

although we are too far away to bear what they are

saying. HOLD ON THEM and, as they reach the entrance

to the park, Billy first, then Ted begin to run, over-

whelmed with the sheer joy of being alive, of being

together. As they continue to run, THE CAMERA PULLS BACK

AND UP AND WE SEE that they are only two among thousands

of parents and children in Central Park on a sunny after-

noon. THE CAMERA CONTINUES TO PULL BACK until they are

lost from view and it is

FADE OUT.

THE END:

Rate this script:4.6 / 13 votes