Kramer vs. Kramer Page #4

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:

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