Unravelling

This is a script I'm working on. I would like your comments on it. Please. Thanks.

FADE IN:

INT. ROSE HILL PSYCHIATRIC INSTITUTION -- NIGHT

A line of photographs rest on a table. They are of teenagers in happy times, smiling and laughing at dances and parties. Some are posed, others are candids. There are many of them, perhaps hundreds.
One of the last photos is of Elizabeth at a formal dance. She wears a stunning red dress, her hair swept up and pinned with faux rubies. She holds a young man's arm, but his face is hidden by an ashtray, his features distorted.

CUT TO:

INT. GYM -- NIGHT

The photographer's flash goes off and Elizabeth and the young man, one RYAN WELSH, step away. He moves over to arrange payment for the photo while a trio of gals in formal dresses, KELLY, ANNAMAE, and AMY, sandy-blond, blond, and curly black hair, respectively, break from their dates to talk to Elizabeth. They are also dressed in formal wear, this is Homecoming Night at Walsh Jesuit High School.

KELLY
Elizabeth, I love your dress...

AMY
It's so pretty...

ANNAMAE
Where did you get it...

Elizabeth smiles. Her bright smile sparkles up a room.

ELIZABETH
Kohl's..

The girls' chatter becomes indistinct as other girls and their dates, waiting in line, appear. One of these girls, SARAH HINKERT, looks very bored. She looks over to her date and sighs. She rolls her eyes, uncomfortable and wanting to go home.

Her date stares over at Elizabeth, glancing out of the corner of his eye. He half-smiles, seeing her giggle and clutch her wrap. The bright lights of the gymnaisium have begun to make him sweat, the order form for the photos is clutched in a shaking hand. The nails are torn to shreds, the cuticles dried blood.

Ryan comes over to Elizabeth and takes her arm. They walk towards the dance floor commons. Ash floats down from the ceiling and lands on Ryan's head. He doesn't notice as his features become distorted and:

DISSOLVE TO:

INT. ROSE HILL PSYCHIATRIC INSTITUTION -- NIGHT

Ryan's face is again covered by the ashtray.

A hand taps ash into the tray. An arm dressed in a windbreaker travels up towards a mouth. He inhales, then exhales. His face is littered with acne scars, his hair, long and unwashed, tied back in a small ponytail. His hand clutches a piece of paper, shaking.

This is the young man from the dance. COLIN HENDERSON, twenty years old. Intense, he is handsome despite his flaws.

Colin looks out onto the empty grounds. He half-smiles.

He brings the paper up into the light and unfolds it. It is a letter typed in a cursive font. It is from Elizabeth.

ELIZABETH (V.O.)
Colin, there is Kronos and there is Kairos. Kronos is deadlines and time tables...

The writing follows along with Elizabeth's voice.

DISSOLVE TO:

INT. HOSTEL BEDROOM-NIGHT

Colin, on one of Walsh's religious retreats, reads her letter.

ELIZABETH (V.O.)
...Kairos is sun-swept beaches and empty valleys. Kronos is stress and rejection...

DISSOLVE TO:

INT. ELIZABETH'S BEDROOM-NIGHT

The letter in Colin's hand turns into a computer screen. Elizabeth types the words as she speaks.

ELIZABETH (V.O.)
...Kairos is a waltz in vienna with your soul mate.

DISSOLVE TO:

INT. COLIN'S BEDROOM-NIGHT
Elizabeth's words morph into Colin's as he types a similar letter.

COLIN (V.O.)
And the reason that I believe you're my soul mate, Elizabeth is because I can't stop thinking about anyone but you. The sun rises and sets with you. I truly believe that. Now, I know you consider me just a friend...

Colin watches the letter print off the computer.

COLIN (V.O.)
...and crossing that line is the furthest thing from reality in your mind, but I had to tell you. You are the one person who has reached out and kept me close. I think.

Colin folds and seals the letter in an envelope.

COLIN (V.O.)
Even if we never speak again after this, know that I am forever changed by who you are and what you mean to me.

CUT TO:

INT. WALSH JESUIT -- MORNING

Colin enters and sees Elizabeth. She and her friend STACEY BLESSING are the only other people in the commons.

Elizabeth sees Colin and smiles. She waves.

Colin reaches into his pocket and brings out the letter. He hands it to her.

COLIN
Either this changes nothing or it changes everything. Thanks.

He walks away. As he walks towards his table, panes of glass start to fall into place until...

DISSOLVE TO:

INT. ROSE HILL PSYCHIATRIC INSTITUTION -- NIGHT

...Colin looks down at the letter in his hand. He folds it neatly and places it in his pocket.

Colin turns and sweeps all the photos into a briefcase. He taps out the last of his cigarette and looks over at his bed.

Lying on the bed is a petite young woman with short dark hair and wide expressive eyes. She wears a men's undershirt/top and dark jeans. This is CRISTINA RODRIGUEZ HARPER, twenty years old. She is also a patient at Rose Hill.

Colin walks over to the bed and glances down at her sleeping form. He nudges her shoulder.

COLIN
Hey...

Cristina stirs.

COLIN
Time to go.

Cristina rubs the sleep from her eyes and sits up. She smiles.

CRISTINA
I had a lovely dream. I drempt I was a princess.

COLIN
Really? You'll have to tell me all about it...in the car.

CUT TO:

INT. BUS -- NIGHT

Colin and Cristina ride west across the upstate New York landscape, going home. Colin reads a news magazine while Cristina sleeps on his shoulder. The story on the magazine cover reads "The Hunt for The Midwestern Monster" (or some similar exploitive title about the Midwestern serial killer).

Colin shivers and then frowns. Cristina stirs, but does not awake.

EXT. REST STOP -- NIGHT

The rest stop is a classy state-funded place astride the tollway with several franchise eateries availible. A large passenger bus is parked out front.

INT. REST STOP -- NIGHT

Colin washes his face and hands, bending over in the bathroom sink. He rubs the sleep out of his eyes and straightens up.

He sees in the mirror Elizabeth, standing behind him. He lets out a cry of surprise. She's quite pale but dirty, and wears rather buisness like clothes, a matching skirt and blouse.

COLIN
Elizabeth? What are you doing here?

ELIZABETH
I'm dead, Colin. I'm dead and you know it.

Colin slouches back onto the sink.

COLIN
You always did have a way of saying things. Now why are you really here?

Elizabeth half-smiles, sad.

ELIZABETH
I'm sorry to bother you. I thought you were someone else.

She turns to go, then whirls around. Her hair has gone greasy, her eyes have sunk into her skull, and her skin has gone a mottled, decomposing brown around her skull.

She reaches out with a bony, clawed hand and stabs it right through Colin's chest. It come out the other side. He is unharmed.
With a peverse, rough growl, she says:

ELIZABETH
I THOUGHT YOU WERE SOMEONE WHO WOULD HELP ME! SOMEONE WHO SAID HE LOVED ME, ALIVE OR DEAD! WAS I MISTAKEN?

Colin starts to scream, but she clamps another bony hand across his mouth. Her fingers massage his forehead, digging into the skin.

He sees a series of images: Elizabeth, walking home, being kidnapped, raped, tortured, murdered, abandoned. They are very fast and very horrible.

His eyes widen in horror. He looks at the ghoul.

ELIZABETH
NOW YOU SEE. WAS I MISTAKEN?

COLIN
N...no.

She removes her hand from his body and turns back into her normal ghostly self.

ELIZABETH
Good. Now, go trade in your bus ticket. You've got a lot of work to do.

CUT TO:

INT. REST STOP -- MOMENTS LATER

Colin exits the bathroom and heads over to Cris. She's sitting, half-curled, in a booth with a soft drink cup in her hands. Several children play nearby. She watches them.

COLIN
Let's go.

CRISTINA
But I was watching the babies...

Colin takes her hand and pulls her out of the booth.

COLIN
Come on. We're going on an adventure.

CRISTINA
An adventure? Will there be princes? And ogres?

They start to walk out of the rest stop.

COLIN
Sure. Whatever you want.

CRISTINA
Goody.

She smiles, almost child-like.

CUT TO:

EXT. REST STOP -- CONTINUOUS

Colin and Cristina walk through the parking lot, looking at cars. They stop at several models, then move on. Cristina skips ahead. Colin peers at one car, then pauses.

He turns to see Cristina standing at a car. He looks at her.

COLIN
Find one?

He walks up to her. She looks at the car, her eyes wide. The vehicle is an old but still expensive model. The car doors are locked.

She says in an almost growl:

CRISTINA
This is the car.

COLIN
Oh? And how do you suppose we-

The car doors unlock from the inside and swing open. Cris walks around to the passenger side.

CRISTINA
Get in.

Colin shrugs. He gets in the car. A pair of keys is already in the ignition.

He looks at Cristina. The edge is gone, her eyes have that lost look again.
COLIN
I didn't see these a minute ago...did you?

CRISTINA
This is a pretty car. Can we drive it, Colin? Can we have an adventure? Can we?

Colin grins.

COLIN
Sure. Rock and roll.

And he starts the car. Cristina squeals in delight. She claps her hands like a little child.

CRISTINA
Yay.

CUT TO:

MONTAGE SEQUENCE

Over classic seventies rock, we see Colin and Cristina travelling across upstate New York, leaving the state, entering Pennsylvania, sleeping in the car, eating at small, cheapo rest stops, leaving Pennsylvania and entering Ohio. They travel up the highway towards the northeastern part, passing exits for Cincinatti, Canton, Akron, and finally, Mogadore.

END MONTAGE SEQUENCE

CUT TO:

INT. GREG'S HOUSE-KITCHEN -- NIGHT

It is semi-late. GREG MARTIN, washes the dishes in the sink. Next to him, his wife STEPHANIE (STEPHANIE) dries them. Greg is a burly guy with thick brown hair on his head and arms. He's twenty-two.

Stephanie looks like she could be in her thirties. She's very pretty and reminds everyone of their favorite schoolteacher. She's also pregnant. Her blondish-brown hair is cut short around her neck.

GREG
John's been quiet lately.

STEPHANIE
I know.

GREG
You worry.

STEPHANIE
We're parents. It's in our nature.

GREG
I'm sure he's gonna turn out fine, sweetheart. After all, he comes from a very good upbringing. And besides...

He puts down the plate and puts his hand on hers.

GREG
...being quiet does have its benefits.

Stephanie playfully hits him.

STEPHANIE
Oh, you!

GREG
Domestic violence, not good. Looks like I'm going to have to resort to more serious measures.

He reaches for the rinsing hose above the sink. Stephanie squeals and runs away.

GREG
Like this!

He sprays her. She shrieks as the water soaks her. She begins to giggle.

STEPHANIE
Gregory, stop!

GREG
Come on, I barely hit you. Now this-

He sprays her again. She's dripping with water.

GREG
-Is hitting you.

He sprays her again. She dives down onto the floor.

Greg puts the hose back in the sink and grabs a bowl of soapy water.

He begins to walk around the kitchen looking for her.

GREG
Stephanie, we're married. Married people talk about their problems.

Behind his back, Stephanie reaches and grabs an ice tray off the counter.

GREG
All I want to do is...talk.

She sneaks up behind him.

GREG
Stephanie...where are you?

She pulls his collar back. Before he can react, she dumps the whole tray of ice cubes down his back.

GREG
Ahhhhh!

He whirls around. Stephanie giggles, laughs, then starts to run away.

GREG
No, you don't!

He chases after her and traps her in a corner of the kitchen.

GREG
Come on. Kiss and make up.

She shakes her head, no. Greg grins.

GREG
All right then...

He lifts the bowl of water above her head.

STEPHANIE
No!

Greg dumps the whole bowl of water down on to her, soaking her and him.

GREG
Now...

He pulls her closer to him.

GREG
Now we make up.

They kiss. It's passionate. Stephanie returns the kiss. They fall to the floor and start to make love.

They're really hot & heavy when the doorbell rings. Greg sticks his head up over the island in the kitchen.

GREG
God.

He rolls his eyes. Stephanie, bare shoulders exposed, joins him. They exchange a glance.

STEPHANIE
I'm going to get dressed.

She kisses him on the cheek.

STEPHANIE
Pig.

GREG
Oink, oink.

They giggle and kiss again. The doorbell rings again.

CUT TO:

EXT. GREG'S HOUSE -- NIGHT
Colin and Cris stand outside the door. Cris shivers.

CRISTINA
I'm cold.

The door opens. Greg is wiping himself off with a towel, his shirt thrown on hastily.

GREG
All right, what do you-

He stops and sees who it is.

GREG
Colin?

COLIN
In the flesh. Back from the dead.

GREG
You're damn right you are!

He laughs, then envelops the lanky man in a huge bear hug.

GREG
I thought I was never gonna see you again, brother. We thought you were...well, we all did...we all thought the Stablers locked you up for good.

Colin groans in the hug.

COLIN
Let's just say I had a good lawyer.

GREG
A very good lawyer.

Greg puts him down and looks at him. He realizes that the situation is serious.

GREG
You didn't come back to visit, did you?

COLIN
No.

He pauses.

COLIN
A friend of mine....well, she needs some help. I-we-need a place to stay for a while.

GREG
Anytime. Come on in.

CUT TO:

INT. GREG'S HOUSE-LIVING ROOM -- MOMENTS LATER

Moments later, Colin and Cristina sit on the couch while Greg sits in a chair. They wait for Stephanie.

CRISTINA
I like your house...it's pretty.

GREG
You'll have to thank Stephanie. How she finds time to manage a kid, teaching, and still find time to Martha Stewart the place is beyond me. I sure as hell couldn't do it.

STEPHANIE
(O.S.)
I sometimes ask myself that.

The trio looks up. Stephanie, changed into a simple blue maternity dress, stands in the entrance way to the living room.

STEPHANIE
Hi, I'm Stephanie. Greg's wife.

COLIN
Now that I knew. Congradulations. When is it due?

STEPHANIE
Late December.

COLIN
Wow.

CRISTINA
I love babies. They're so cuddly.

STEPHANIE
Thank you. That's sweet.

CRISTINA
You're welcome.

Colin stands.

COLIN
I'm sorry, I'm being rude. I'm a friend of Greg's. Colin Henderson.

STEPHANIE
I know who you are. Greg talks an awfuly lot about you. Thank you.

COLIN
For what?

STEPHANIE
Everything.

She pats Greg on the shoulder as he looks down at his hands.

GREG
Stephanie...these guys need a place to stay.

STEPHANIE
Well, certainly. We don't have much room...

COLIN
Greg, we can just get a motel then-

GREG
Out of the question. You're here.

STEPHANIE
...but I think there's at least two more beds around here somewhere.

COLIN
But-

GREG
This conversation is over. You're staying here.

STEPHANIE
I'm being silly. The guest room. It has two of its own.

CRISTINA
Does it have flowers?

STEPHANIE
Excuse me?

CRISTINA
Does the room have flowers?

STEPHANIE
Well, no, but I think we can find some.

CRISTINA
I love flowers. They remind me of my home. In the plains.

COLIN
That reminds me. Greg, will you help me get our stuff out of the car?

CUT TO:

EXT. GREG'S HOUSE -- MOMENTS LATER

Greg shuts the trunk door. Both he and Colin carry two large suitcases, along with Colin's briefcase.

GREG
So, Stephanie seems to like your friend...

COLIN
I hope so. She could use a little friendship. Hanging around with me gets to people.

GREG
Don't say that. You're home now.

They walk up the front steps.

GREG
Welcome to Mogadore.

COLIN
(low)
The armpit of the universe.

GREG
What?

COLIN
Oh, never mind.

CUT TO:

INT. GREG'S HOUSE-GUEST ROOM -- LATER

The guest room is simple. Cristina lies in one of the beds, the covers pulled up to her chin. She cuddles around them in a fetal position. Colin sits on the edge and strokes her hair, telling her a story.

COLIN
...and then the princess and the prince went back to their castle and they were fair, and wise, and good, and their sons were fair, and wise and good, and their sons were fair, and wise, and good....and they all lived...

She whispers along with him.

CRISTINA & COLIN
...happily ever after.

COLIN
Good night, princess.

He stands to go.

CRISTINA
Thank you, Colin.

COLIN
For what?

Her voice trails off into sleep as she answers.

CRISTINA
Everything...

Aww...they told me to post here. Come on, I know there aren't any pretty pictures but i'm anxious as to what you guys think and if you want to see more.

Voltes, it's explained later, but the hint is that Elizabeth, in a spiritual form, is opening the doors and providing the keys. I'm also toying with adding some sort of alternate world that Cristina lives in, which will be explained in THIS next part. Thanks, guys. Bill, I'm so glad you liked it.

Colin shuts off the light and closes the door. He walks down the hall and into the kitchen. Greg is standing there, drinking a beer.

COLIN
Sorry. She wanted a story told to her.

Greg almost snorts.

GREG
A story? What is she, five?

COLIN
She's a recovering PTSS victim. I met her in the hospital.

Greg swallows another swig of beer.

GREG
Really? Post-tramatic stress?

COLIN
Yes. She got there two years before I did. She came in for a week at first, stayed there once the doctors got a look at her. You should have seen what they were doing when I arrived. The guards, patients, even the doctors were using her. She was a toy to them. A fucking toy!

Colin reaches into the refrigerator for a bottle of water, anything.

GREG
So what did you do?

COLIN
What else? I knew I didn't belong there and the twins were gonna try and keep me there, so I needed-

GREG
Colin. You beat Neal within an inch of his life. He lost-

Colin whirls around and slams the door, a water bottle in his hand. He glares.

COLIN
Neal Stabler was a pig and a pervert who got what was coming to him! I was his friend for four years, and he spit in my eye. He spit in my fucking eye!

GREG
An eye you later took from him, right?

Colin pauses, then laughs. He and Greg chuckle for several moments about that. Colin is very amused.

COLIN
Greg, m'man, you're the best. Always say the right thing at the right time.

GREG
I didn't always. You helped me.

COLIN
Not as much as I should have.

GREG
You did more than enough. If it wasn't for you, I wouldn't have met Stephanie. I owe you that.

COLIN
You don't owe me anything.

GREG
Sure I do.

Colin takes several medicine bottles out of his pocket and opens them.

COLIN
Time for my "happy pills."

GREG
Does she take them, too?

COLIN
"She" has a name. And yes, Cris does. I gave them to her before she went to bed.

GREG
I see.

There's a silence as Colin swallows his pills. He puts down the bottle of water and looks at Greg.

COLIN
Oh. So after I got there, I needed something to keep me sane. Protecting Cris was the best thing, really. It worked out for the both of us. I stayed sane and she got better. Enough for us both to get released. But-

GREG
But what?

COLIN
Her body's been broken and her mind shattered, Greg. She lives in and out of fairy-tale delusions. She's a child.

Another long silence desends.

COLIN
I gotta use the john.

He walks down the hall and goes into the bathroom.

He unzips and starts to urinate.

ELIZABETH
(O.S.)
Colin.

He jumps.

ELIZABETH
What are you doing?

COLIN
One, don't do that. Two, I'm using the bathroom. Three, what is it with you and bathrooms?

ELIZABETH
All right. I know. I don't know.

COLIN
But you're the undead. You're supposed to know everything.

ELIZABETH
Not the undead. The dead. I died. That's why you're here, remember?

He finishes peeing and turns to face her. She is wearing a red dress and has her arms crossed.

COLIN
What?

ELIZABETH
Nothing.

Outside, Greg's walking down the hall. He hears Colin talking.

COLIN
(through door)
Yeah, I said that. Never got anything in return.

There is a pause.

COLIN
I don't care if you're the pope. This is crazy.

Back in the bathroom, Elizabeth shakes her head, disappointed.

ELIZABETH
Crazy never stopped you before. And I'm going to help you. I already have, remember?

COLIN
Oh yeah. Thanks for the car.

ELIZABETH
You're welcome. Now listen. This is what I want you to do...

CUT TO:

INT. GREG'S HOUSE-KITCHEN -- MORNING

Cristina, wearing a sundress, sits at the kitchen table eating cereal. Stephanie is at the counter, making a lunch.

STEPHANIE
How's the cereal?

CRISTINA
It's the best I've ever had.

Stephanie smiles.

STEPHANIE
Well, thank you.

CRISTINA
You're welcome.

Colin enters, wearing a tie. He kisses Cris on the cheek.

COLIN
Morning.

CRISTINA
Morning.

COLIN
I like your dress.

CRISTINA
You do? It's Miss Stephanie's. She said I could have it. And today, after she teaches school, she says, she'll take me shopping! Shopping, Colin!

COLIN
That's so nice. You should thank Stephanie.

CRISTINA
I did. I'm so excited.

Colin walks over to the cabinet and takes out the bowl.

Greg, wearing a suit, enters the kitchen, carrying a briefcase.
He walks over to Stephanie and kisses her on the lips.

GREG
I'm off.
(To Colin)
Hey, man. What's your plan for the day?

COLIN
I'm going up to Stabler International. Maybe they'll give me a job.

GREG
I don't think that's a very good idea.

COLIN
I've been asked by a friend.

GREG
The same friend you mentioned last night?

COLIN
Yes.

GREG
When are you gonna tell us about that?

COLIN
Soon.

GREG
I gotta run. Tonight?

COLIN
Probally.

CUT TO:

EXT. STABLER INTERNATIONAL-DAY
Colin drives his car into the parking lot past a sign reading "Stabler International. Tomorrow's pictures today." It is a classic office building, tall and shiny. The sun glistens off the building. Colin parks and looks out.

ELIZABETH
I think he's compensating for something. Don't you?

Colin turns. Elizabeth sits in the back seat.

COLIN
I suppose. Although you would know better than I, wouldn't you?

ELIZABETH
Whatever gave you that idea?

COLIN
You dated. Remember?

ELIZABETH
Oh yes.

She smiles.

ELIZABETH
I'd forgotten. I guess that makes him a suspect, then.

COLIN
Bullshit. I'm not here to play detective for you.
(pause)
Does Neal work here, too?

ELIZABETH
Eleventh floor. Legal department. He's Dr. Stabler now. PhD. History. Remember?

COLIN
Oh no. Must've been able to buy himself a fancy degree with all that money. My father's money. My money.

Elizabeth reaches out and puts her hand on his shoulder.

ELIZABETH
Relax. You're just going to walk in, meet with Nick, tour the place, and leave. That's it.

COLIN
Don't I need an appointment, a card, something?

ELIZABETH
Look in your jacket.

Colin reaches inside his jacket pocket. He brings out a piece of paper. A buisness card for Nick Stabler, Stabler International, Inc., it reads on the back: "Your appointment is at nine a.m. on Thursday, Oct. 15." In the slot that says name, Colin's name has been written in a elegant hand.

Colin stares at the card.

COLIN
How do you do that?

ELIZABETH
Being dead does have its advantages.

CUT TO:

INT. STABLER INTERNATIONAL -- DAY

Colin walks in to the building. He stands tall, a swagger in his step.
Colin saunters up to the desk. SUZETTE, a pretty, blond secretary sits there.

COLIN
What's a pretty girl like you doing in a big bad building like this?
She sneers.

He reaches into his pocket and pulls out the card, waving it around.

She yanks the card out of the air and picks up the phone.

NICK
(O.S.)
Colin Henderson!

Standing in a doorway behind the desk is NICK STABLER, twenty-two. The traces of baby fat line his otherwise fit body. He is very charming. His lip curls in a psuedo-grin. Although Colin hates him, Nick presents a perfectly affable personality.

Though he is still young, Nick is the president and C.E.O. of Stabler International, Inc. He dresses to match. He talks in a stage British accent with silky tones.

NICK
How are you?

He walks out to Colin.

NICK
We haven't seen you in years. How wonderful.

Nick extends his hand. Colin shakes it, then jerks away.

COLIN
It's nice to see you, too.
(pause)
I heard you make movies here. I was wondering if-

NICK
Why don't I take you on the tour of the place? We can talk in my office.

COLIN
Sure.

CUT TO:

INT. ELEVATOR -- DAY

NICK
When did you get released?

COLIN
A week ago.

NICK
You must be glad to be out.

COLIN
It was a madhouse in there.

Nick laughs.

The elevator doors open and they step out. They're in the middle of a large photography set. All around them are different areas: stairs, bedrooms, kitchens, exteriors, interiors, etc. It's a classy operation, but still, there's a grimy feel to the whole place.

NICK
Welcome to the heart of Stabler International. "Tomorrow's pictures-today."

COLIN
I see.

They begin to walk around.

NICK
Our photographers are off today, but normally, we're very busy. Were there any conditions to your release?

COLIN
No. What do you do here, actually?

NICK
How unfortunate. We're a digital production company. Top of the line software. This, however, is where the raw product begins.

COLIN
I see. What would I-

NICK
You absolutly must see this camera, Colin. It's right up your alley.
He leads him over to one of the cameras in a back corner. It's a very nice, very expensive looking piece.

NICK
New model. What do you think?

COLIN
I think you haven't changed a bit.
NICK

I meant the camera. I feel the same way about you.

They exchange a glance.

CUT TO:

INT. STABLER INTERNATIONAL-TENTH FLOOR -- MOMENTS LATER

Nick and Colin get off the elevator onto a typical office. There are cubicles lined up, each with a different programmer typing away.

NICK
The nerve center. Everything we recieve comes in here and goes out to the public. For a small fee, people can be spaired the energy of going to the shop.

They continue talking while walking through the office.

COLIN
A rather large operation for a petty need. Still feeding off the rich?

NICK
I never had any need to. You, however-We do many different things here, not just photo development. We're also a top notch graphic studio. Do all the major work for Paramount Pictures. Trailers,
posters, the like.

COLIN
The movie career didn't work out?

NICK
Much better than yours. Here, let me show you.

He leads Colin into a cubicle where CARLA, a pretty redhead, is working on an digital editing program.

NICK
This is Carla. She's editing together a ShoWest reel for the studio. Carla, show this hack what real directors do.

Carla punches a few keys and a miniature movie begins. There are explosions, jumping, running, kissing, and the like.

As Nick and Carla watch, Colin slowly rises and looks around the other cubicles. On the far wall, he sees a FAMILIAR HANDSOME GUY about his age waiting by a door.

Colin and the Familiar Handsome Guy exchange glances. The door opens and he steps in. Colin can't see what's inside.

NICK
That's where our top designers work. We take care of people here.

COLIN
Like you took care of my father?

NICK
(not at all upset)
You won your battle. We won our war. A small price to pay for your place in history.

COLIN
A place you much rather would have occupied.

NICK
I don't think so. Let's talk in my office.

CUT TO:

INT. NICK'S OFFICE -- DAY

Colin walks into the very nice office and Nick closes the doors behind them.

Colin notices the two armed security guards, BRUCE and JAKE, standing at his side.

Nick walks around to face him as Bruce and Jake step forward.

Colin continues to bluff.

COLIN
What is this? I had an appointment-

NICK
I don't know how you got onto my schedule, but your very being here is a violation of the law.

COLIN
What the fuck are you talking about? I did my time in that shithole you sent me to, I'm a free man.

NEAL
(O.S.)
A free man under a restraining order.

Colin sees the tall figure, DR. NEAL STABLER, PhD, leaning against Nick's desk. He's much bulkier than his brother, sinister, but shorter and weaker. He wears a dark suit like Nick. They look very much like twins, except for the dark eypatch running across his left eye.

COLIN
The monster returns, and now he's talking to me! How's the eye?

Neal ignores him. He withdraws several papers from inside his suit coat.

NEAL
This is a restraining order. You're not to be within fifty feet of either us or our property from now on.

He hands them to Colin, who snatches them away.

NEAL
I don't know how you got out of Rose Hill, but I can assure you, you'll be seeing them again real soon.

COLIN
(low)
You sonofabitch.

NICK
Excuse me?

COLIN
You sonofabitch! Here I come crawling back, begging for a job, after you wreck my life, my dreams, ruin my family, and you spit in my eye. You. Spit. In. My. Eye.

He lunges for Neal, who steps away. Bruce and Jake grab Colin and restrain him.

NICK
Not this time. Gentlemen.

Bruce and Jake lead Colin out of the office.

CUT TO:

EXT. STABLER INTERNATIONAL -- MOMENTS LATER

Bruce and Jake throw Colin out the back door into a wall. He groans and falls to the ground.

The guards walk outside towards Colin. They pull him up from the ground.

BRUCE
Here's a little homecoming present from Mr. Stabler.

COLIN
Still too scared to fight me-

Bruce jacks Colin in the stomach. They proceed to kick the crap out of him.

Yes, you're right. I plan on removing that line and keeping it one more time. I don't know, it's made sort of clear in THIS next part. Thanks for your comments.

INT. GREG'S HOUSE -- DAY

Cristina is home alone. She plays on the living room carpet with some of Stephanie's old stuffed animals, making up a story. She's very good at telling stories.

There is a knock on the door. Cristina looks up and around, flitting her neck back and forth like a scared animal.

She gets up and goes to the door. When she opens it, Colin falls into her arms. He's beat to hell, bloody and bruised.

She looks at him. He looks up at her. He gurgles, spitting blood.

She continues to look at him. Then, something in her changes.

CRISTINA
Come on.

She leads him into the house.

CUT TO:

INT. GUEST BEDROOM -- DAY

Cristina helps Colin take his shirt off. His chest is also beat to sludge.

CUT TO:

EXT. GRADUATION PAVILLION -- DAY

A younger Colin walks up to a younger Neal and puts his arm around his shoulder.

COLIN
Neal. Congratulations.

Neal yanks Colin's arm off his shoulder.

COLIN
What's your problem?

CUT TO:

INT. GUEST BEDROOM -- DAY

Cristina helps Colin, ribs bandaged, lie down onto the bed. He groans.

CUT TO:

EXT. GRADUATION PAVILLION -- DAY

Colin, seething, talks to Nick. Nick stands between Colin and his brother.

COLIN
I've been a friend to your brother for four years and he treated me like dirt for the last two.

There is a silence. Many of the students in the background are eagerly awaiting something.

Finally, Nick extends his hand outwards, pointing away.

Colin just stares at him.

COLIN
You arrogant prick. Don't tell me what to do!

Nick jabs his hand towards a point on the horizon, as if for emphasis.

Colin continues to stare.

COLIN
You're not worth it.

He turns to walk away.

CUT TO:

INT. GUEST ROOM -- DAY

Cristina dabs a wet cloth across Colin's bruised face. He looks up at her calm and serene eyes.

CUT TO:

EXT. GRADUATION PAVILLION -- DAY

Colin whirls around and hits Nick in the jaw with a left hook. He then rams his other fist into Nick's jaw with a brutal uppercut.

Nick staggers back.

COLIN
Then again, maybe you are.

He grins. Neal starts to run.

Colin runs after him.

COLIN
No, you don't.

Colin catches up to Neal. He grabs him by his graduation robe and swings him around. Neal falls.

Before he can get up, Colin brutally begins kicking him in the face again...and again...and again.

Neal tries to make an attempt to fight back by swinging his hands.

Colin smashes Neal's fingers onto the ground. The bones crack with vicious snaps.

Nick tries to jump Colin from the back. Colin whirls around and kicks him in the balls. When Nick doubles over, Colin kicks him in the forehead.

He turns to see Neal trying to get up.

COLIN
I ain't finished with you, you fat motherfucker.

Colin rushes Neal and shoves him up against a post. He bashes Neal's face, already a pulp, into the wood.

A horrified silence descends on the crowd as they watch. Nobody does anything.

Colin throws Neal away from the post.

A large shard of wood hangs from the post.

Colin sees it. He grabs it.

Colin walks over to Neal, quivering on the ground. He plunges his fingers into the red quagmire and pries Neal's eye open.

Colin hovers over him like a horrifying monster.

COLIN
Spit in my eye...here!

He brings the shard of wood down.

CUT TO:

INT. GUEST ROOM -- DAY

Colin sits up, then winces, still sore from the beating.

CRISTINA
Feel better?

COLIN
Yes.

He looks at her, sitting on the bed across from him.

COLIN
Was I...asleep...long?

CRISTINA
Not long. But long enough.

COLIN
Thanks. I guess you didn't get to go shopping?

CRISTINA
Shopping...

She changes again. Whatever caused her to become more mature and developed leaves her body and she becomes a little child again.

CRISTINA
Shopping, Colin! I'm going shopping!

She jumps up and skips out of the room.

CUT TO:

INT. KITCHEN -- NIGHT

Colin pokes in the fridge while Greg talks to him.

GREG
You well enough to journey out into the world?

COLIN
I think so. Why?

GREG
Well, Stephanie and Cristina are out tonight, and some of the Mystical Knights have been asking about you...so I thought we could all hang out.

Colin closes the fridge.

COLIN
What did you have in mind?

GREG
I don't know...a movie...a bar...Heaven's Ecstacy.

Colin looks at him.

CUT TO:

INT. STABLER INTERNATIONAL--NICK’S OFFICE--NIGHT

Nick sits at his desk. Neal sits on the edge. Everyone else has gone for the day.

Nick hangs up the phone.

NICK
That was Dr. Tolliver at Rose Hill. He says unless Colin takes action against one of us, we can’t apply for reinstitutionalization.

NEAL
Is that even a word?

NICK
No, but it sounds nice. What do you think?

NEAL
I don’t buy this “begging for a job” stuff he fed us today. He’s up to something.

NICK
He always was. Have your men watch him.

NEAL
I’ll see what I can do.

CUT TO:

EXT. HEAVEN'S ECSTACY -- NIGHT

Greg pulls into the parking lot of this strip club. He and Colin get out of the car.

They start to walk across the parking lot.

ELIZABETH
(o.C.)

ELIZABETH
Colin!

Colin looks around. Greg stops and waits for him.

COLIN
I think I left something in the car...Go on, I'll only be a minute.

Greg walks on. Colin turns and sees Elizabeth leaning against the car.

ELIZABETH
What do you think you're doing?

COLIN
I'm going to a strip club with some of the guys. What does it look like?

ELIZABETH
But that's not what you are supposed to be doing.

COLIN
Look. I'm tired of your crap. I came back to help you, and look where it's gotten me. Nowhere.

ELIZABETH
But you said...

COLIN
I was sixteen, Elizabeth. Maybe I was wrong!

ELIZABETH
I don't believe you. You said you loved me.

COLIN
Yeah. I did. And did you ever tell me you loved me? Did you ever acknowledge that I had feelings for you? No. You just went off in your world and ignored me. I would have taken a bullet for you, and you treated me like I didn’t even exist.

ELIZABETH
You scared me.

COLIN
You scared me! What was I supposed to think, you and your "Ghostbusters" transformation schtick? That you'd swallow my soul?

ELIZABETH
You know I can't do that. Now get in the car and let's go home.

COLIN
No. You can't tell me what to do. You're dead. And I'm alive, and nothing is going to change that. I'm sorry, Elizabeth, but I have to go now.

He starts to walk away.

ELIZABETH
Colin...you must help me. You have to. You're all I have left.

COLIN
(not turning around)
You never had me to begin with. Sorry.

He walks into the club. She watches him go.

CUT TO:

INT. HEAVEN'S ECSTACY -- MOMENTS LATER

The club is mid-end, fairly classy but not by much. There's a stage and barely dressed dancers serve drinks.

JULIETTE, a pretty woman, strips on the stage.

Colin walks over to a table in the corner with Greg and four other guys. They are RYAN, DEVIN, ROB, and STEWART, all about the same age but with different builds and hair colors. These are the MYSTICAL
KNIGHTS.

RYAN
Hey, it's Colin.

DEVIN
But I thought he was dead.

ROB
Well, it looks like he's back-

STEWART
-from the dead.

COLIN
Hey, guys. What's up?

MYSTICAL KNIGHTS
Sit down!

Colin sits down at the table.

RYAN
Heard you had a little run in with your friends today.

COLIN
Yeah. Wasn't nothing.

STEWART
Uh, no. I heard you totally got your ass beat.

Devin smacks Stewart upside the head.

DEVIN
Shut the fuck up, Stew!

COLIN
Nah, he doesn't need to. It's just Stewart, that's all. How ya been?

STEWART
I'm all right. Little pissed off about the way politics are going.

ROB
Here we go again...

GREG
(to Colin)
He's been on this rant for days.

DEVIN
Weeks, even.

STEWART
Well, I think I have a right too, ya know? I mean, the fucking liberals cut the goddamn military budget again!

DEVIN
Remind us why we care.

STEWART
Because that's money in my pocket they're stealing, asshole. Food for my kids.

DEVIN
Maybe it's time to get a real job.

STEWART
Maybe it's time for you to shut up.

ROB
Boys, boys. Relax. There's no point in having this argument. Besides-
He raises his glass to Colin.

ROB
-This is Colin's night. To you.

The guys raise their glasses in toast.

MYSTICAL KNIGHTS
To you.

COLIN
Thanks, guys.

ROB
Now, as I was saying, I think she will most definitly go out with me.

GREG
You and James Bond.

ROB
He's an icon. Like Sinatra. Why learn from no one but the best?

DEVIN
Because he's stupid, and because she is one frigid bitch.

STEWART
Even if you fucked all night, your dick would still get frostbite and fall off.

He laughs.

RYAN
Okay. That was almost funny.

STEWART
If you think that was-

He turns towards the bar and yells.

STEWART
Marty! Get your cute ass over here and refill these drinks!

The guys turn towards the bar. Wiping down the counter is MARTA DOMINGUEZ CONNELLY, twenty-one. She has very short black hair and Hispanic features. Compared to the other waitresses in the club, she's dressed conservatively in black leather.

Marta looks up at Stewart, sneers, and gives him the finger.

The guys turn back to their table.

STEWART
See what I mean? One frigid bitch is right.

COLIN
Who was that?

RYAN
You should know.

DEVIN
You only followed her sister around during all of high school.

ROB
Adopted sister.

DEVIN
Whatever.

COLIN
You're shitting me. Is that-

RYAN
-Marta Connelly? Uh, yeah.

Colin looks back towards the bar. Marta is gone.

COLIN
Bullshit. I thought she was in New York.

STEWART
Ha! She came back two weeks after leaving. Total failure.

ROB
That wasn't the reason, and you know it.

STEWART
Blow me. What matters is that she didn't go back. Most likely because they didn't want her at Julliard.

Devin smacks Stewart again.

DEVIN
For the last time, shut your fucking mouth!

COLIN
No. It's all right. I'm interested. What's she do now, Stew?

STEWART
Fuck if I know, Cap'n, what she does when she isn't here.

RYAN
Don't be a smart-ass.

ROB
He's always a smart-ass.

STEWART
Anyway. I guess Marta does a little bartending, a little clean-up-

The club DJ interuppts him.

CLUB DJ
Now, for your viewing pleasure and much, much more, please welcome, from the sandy beaches of the world--Cuba Libre!

There's clapping as they face the main stage. The curtains open and Marta steps out, made-up and wearing a sexy outfit. Funky music plays as she walks up the stage.

STEWART
-And a whole lot of that!

Marta starts to strip off her top.

Colin gets up and walks out of the club.

The Mystical Knights watch him go.

DEVIN
What's his problem?

GREG
I don't know.

On the stage, Marta continues to strip.

Last part. After this it starts getting nasty and I have to psych myself up to just write it. May be a while.

EXT. HEAVEN'S ECSTACY -- MOMENTS LATER

Greg, a little drunk and pissed off, comes out of the bar. He sees Colin standing next to their car.

Greg storms over.

GREG
The fuck’s your problem?

COLIN
You’re drunk, and you get mean when you do that. I’d rather not.

GREG
Bullshit you’d rather not. Fuck’s your problem, man?

COLIN
That girl has talent. It isn’t right.

GREG
Fuck are you talking about? That was any other girl, you’d be in there stickin’ fuckin’...stickin’ fuckin’...fuckin’ dollar bills in her g-string like anyone else. Those guys respect you, man.

COLIN
I know, and it was good to see them. But Marta’s a special girl-

GREG
Special girl my ass. She fuckin’ gave it out in high school, she gave it out at Julliard, and she’s givin’ it out right now. But you’re just jealous.

COLIN
Tell me, Greg. What do I have to be so jealous about?

Greg laughs.

GREG
Because you can’t fuckin’ get any, you stupid shit! You spent four years of your life chasing some unobtainable piece of ass, and what did you get for it?

COLIN
Beth was more than just that. She was-

GREG
Yeah, yeah, yeah, I know. She was beautiful, she was your angel, you were in love, I’ve heard this before. What did you get, Colin? What did you get for all those perfect ideals? A stint in a mental institution. You got your scholarship revoked. Of all of us...of all those fuckin’ guys...you had the chance to make it out...and you fuckin’ blew it. Fuckin’ blew it!

COLIN
Don’t give me that “Good Will Hunting” Chuckie bullshit, Greg! You had a chance to make it out too. We all did. Devin was gonna draw comics-now he fucking sells them. Stew, Stewie coulda been a fuckin’ A and E hotshot or military mastermind. What does he do now? He teaches history to white supremacist rednecks and serves in the National Guard on weekends. Rob knew the ins and outs of finance and international buisness. He runs a bank.

GREG
Nice to know you’ve been keeping up on us. They get the internet in the madhouse?

COLIN
Yeah, but that’s not the point. We all could have been something, Greg. We all had that chance. Things just didn’t work out that way. We gotta deal with it.

GREG
Buddy, I am dealing with it. You think I don’t think about that night? You think I don’t thank God everyday for that? Huh? You think it’s all I can do from fuckin’ tellin Steph what the fuck we did?

COLIN
Tonight was just the wrong night. I’m sorry.

GREG
Goddamn it, Colin, don’t start pulling that patronizing bullshit on me!

COLIN
I wasn’t patronizing.

GREG
Sure. Just like all those times when the smart guy had to cover the fat boy’s ass in junior high. Just like all the times you’d come home from your fancy prep school, down here to Bum-Fuck, Egypt to hang out with us, actin’ so goddamn superior.

COLIN
If I was so superior, why’d I hang out with you?

GREG
Because they hated your guts up there, that’s why.

COLIN
Maybe. Wouldn’t be in the situation I am now if they did.

GREG
Fuck are you talking about, man? Fuck are you talking about?

A brief silence.

COLIN
You believe in ghosts?

GREG
The fuck you mean?

COLIN
Do you believe that a person’s spirit can come back from the dead?

GREG
I believe in what I can see and feel. No, no I don’t believe in ghosts.

COLIN
Then you can’t help me.

GREG
Suppose I said I did believe in ghosts. What would you say then?

COLIN
I’d tell you I got one.

GREG
A ghost?

COLIN
No, a heiatel hernia. Fuck, yeah, a ghost!

GREG
Bullshit. You’re seeing things.

COLIN
Maybe I am. And maybe I’m not. But there are things I gotta do, ghosts or not.

GREG
Such as?

COLIN
Just have to fix some things. You know, tiding up before I leave.

GREG
You’re leaving?

COLIN
I made that clear, didn’t I? I gotta do what I gotta do, and then Cris and I gotta take off.

GREG
You could leave her with us.

COLIN
No.

GREG
Why not? She’s a very...nice...woman. Stephanie seems to like her.

COLIN
Because I’ve seen the way you look at her. I trust you, buddy, but I don’t trust you for a second around a pretty girl with nice tits and a good ass.

GREG
Well, she don’t got much in the way of tits. But that is a great ass. Grade A.

COLIN
Top choice?

GREG
Yah.

COLIN
Like to tap it, would you?

GREG
Hell I would.

COLIN
You’re a real sonofabitch when you’re drunk.

GREG
So are you. You blinded a guy.

COLIN
Not really. And you know what?

GREG
What?

COLIN
I haven’t take a drink since that morning.

GREG
Being sent to a mental hospital will do that to you.

THIS scene, a shadow of things to come, replaces the earlier one between the twins.

INT. STABLER INTERNATIONAL--NICK’S OFFICE--NIGHT
Nick sits at his desk. Neal sits on the edge. Everyone else has gone for the day.

Nick hangs up the phone.

NICK
That was Dr. Tolliver at Rose Hill. He says unless Colin takes action against one of us, we can’t apply for reinstitutionalization.

NEAL
Is that even a word?

NICK
No, but it sounds nice. What do you think?

NEAL
I don’t buy this “begging for a job” stuff he fed us today. He’s up to something.

NICK
He always was. Have your men watch him.

NEAL
I’ll see what I can do. Are Libby's pics ready?

NICK
Ryan says they should be up tomorrow.

NEAL
Good. That should give those Knights a thrill. Active members.

NICK
I know.
(pause)
Dr. Tolliver mentioned that Colin brought another patient back with him.

He slides several photographs across the desk. Neal picks them up and looks through them.

NICK
Think she has "potential"?

NEAL
That is a nice ass. Good tits, too.

NICK
Yeah? Well, she's got the mental maturity of a five-year-old.

NEAL
That's not a problem. And there's the added bonus of leverage.

Nick grins.

NICK
You're sick.

NEAL
That's what she said.

He smiles and tosses the photos down onto the desk. We see that they are of Cristina, back when she was sane, in a string bathing suit and other candid shots.

This concludes act one. I've rewritten the last part of the dialogue between Colin and Greg. This part is fairly graphic, so be warned.

GREG
Well, she don’t got much in the way of tits. But that is a great ass. Grade A. She bring that wide eyed innocent act to be-

Colin slams him, hard up against a car.

COLIN
Shut up! You talk about her that way-

Greg pushes him off.

GREG
Don't fucking touch me!

Colin stands, slugs him.

COLIN
Watch your mouth and I will!

Greg grabs Colin in a headlock and slugs him in the stomach.

GREG
Don't...tell...me...what...to...do!

Colin wrenches out of the headlock and flips Greg over his shoulder.

Greg gets up and uses all his weight to pile drive Colin into a nearby car.

Colin groans.

MARTA
(O.S.)
Knock it the fuck off!

Greg looks up. Marta stands a few feet away from them. She wears a leather jacket over her bartending clothes and holds a cigarette.

GREG
Hey.

Marta walks over. She gets in his face.

MARTA
I know who you are.

GREG
You do?

MARTA
Yeah.

MARTA
And I don't think Stephanie would like to hear that you were here. Tonight.

GREG
Stephanie?

MARTA
Yeah, dumbass. Your wife.

GREG
Yeah, I know who she is.

MARTA
Go home. Go home to your wife and kid.

Greg starts to walk away. He turns.

GREG
Colin!

MARTA
I got it. He's fine.

GREG
You sure?

MARTA
Yes. Now go home.

Greg walks off. Marta bends down and looks at Colin. He's resting on the ground with his hands behind his head. He can see up Marta's tank top.

COLIN
Nice view.

She slaps him.

COLIN
Ow!

MARTA
That's what you get for being a pig.

She helps him up and hugs him gently.

MARTA
How the hell are you, Colin?

COLIN
For someone who got his ass kicked twice in one day, I'm fine.

She steps back and looks at him.

MARTA
You look good.

COLIN
So do you.

CUT TO:

INT. MARTA'S CAR -- NIGHT

Marta drives along, smoking with the window open. She and Colin make small talk.

COLIN
So you decided to come back.

MARTA
It wasn't by choice.

COLIN
That isn't what Stewart said.

Marta snorts.

MARTA
Stewart is just jealous because I won't let him cheat on his wife.

COLIN
He's married?

MARTA
Yeah.
(pause)
We missed you.

COLIN
Wasn't the case before.

MARTA
People change.

They drive along in silence for a few moments.

MARTA
They never found her body.

COLIN
I know. I'm sorry.

Marta stops the car. She starts to softly cry.

COLIN
I'm sorry. I'm sorry.

MARTA
She said she would only be gone a few minutes. A few minutes. When she didn't come back...I thought she got out. Again.

COLIN
And that's what you wanted?

MARTA
Yes. That's why I didn't report her gone. But afterwards, when the police showed up...That's when I knew. That's when I thought...

COLIN AND MARTA
"She's gone."

Marta pauses, looks at him.

MARTA
You felt it, too?

CUT TO:

INT. ROSE HILL PSYCHIATRIC INSTITUTION -- DAY

Colin sits in the main room, watching Cristina play with her toys. He smokes, gazing off into space.

A shock hits him. He shivers.

COLIN
(to himself)
She's gone.

CUT TO:

INT. MARTA'S CAR -- NIGHT

Colin stares out the window.

COLIN
Yes.

He shakes his head.

His hand brushes against Marta's and the shock slams into him.

CUT TO:

INT. ELIZABETH'S CAR -- NIGHT

Elizabeth, wearing the outfit she wore in the rest stop, sits for a second before the someone rips the car door open.

Elizabeth turns towards the unseen figure.

She is yanked out of the car.

CUT TO:

EXT. PARK -- NIGHT

Elizabeth, panicked, runs through the park. She clutches her side.

Blood seeps through her fingers.

CUT TO:

EXT. PARK -- CONTINUOUS

Hands reach in and beat Elizabeth's beautiful features bruised and bloody.

The hands rip open her blouse.

They unfasten their belt buckle.

CUT TO:

INT. MARTA'S CAR -- NIGHT

Colin slumps down in the car seat.

COLIN
My God.

MARTA
Colin?

COLIN
The park. Drive.

MARTA
Why?

COLIN Doing his best Samantha Morton wink
DRIVE!

She takes off into high gear.

CUT TO:

EXT. PARK -- NIGHT

The hands wrap a thick length of twine around Elizabeth's wrists.

They fling the end of the rope around a branch.

Elizabeth, naked (though we only see her shoulders and ankles), rises up above the ground.

A whip cracks.

Elizabeth winces. She starts to pray through bloodied lips.

ELIZABETH
Our father...who art in heaven...Hallowed be thy name...

CUT TO:

INT. MARTA'S CAR -- NIGHT

Marta squeals through the streets of Mogadore. Colin also mumbles the Lord's Prayer.

COLIN
...Thy kingdom come...thy will be done...on Earth as it is in heaven...forgive us our trespasses...

CUT TO:

EXT. PARK -- NIGHT

A distorted voice from behind Elizabeth mocks her.

VOICE
You like that...

He whips her. Crack.

VOICE
...Slut?

Crack.

VOICE
You like that?

Crack.

ELIZABETH
...As we forgive those who trespass against us...Lead us not into temptation...

VOICE
Shut the fuck up!

Crack.

CUT TO:

INT. MARTA'S CAR -- NIGHT

COLIN
...But deliver us from evil...

CUT TO:

EXT. PARK -- NIGHT

ELIZABETH
For thine is the kingdom...

CUT TO:

INT. MARTA'S CAR -- NIGHT

COLIN
...The power...

CUT TO:

EXT. PARK -- NIGHT

A hunting knife comes out of its sheath.

ELIZABETH
...And the glory...now and-

The knife slices across Elizabeth's throat.

She gasps. The light in her eyes trickles out.

ELIZABETH
Colin...

CUT TO:

INT. ROSE HILL PSYCHIATRIC INSTITUTION -- DAY

Colin sits in his chair, watching Cristina. The psychic shock reaches him.

COLIN
...Beth...

CUT TO:

INT. HEAVEN'S ECSTACY -- NIGHT

Marta, dressed simply, wipes down the bar.

She feels the shock.

MARTA
...Sis?

CUT TO:

EXT. PARK -- NIGHT

Elizabeth's eyes flutter shut.

There is a pause, then she dies.

CUT TO:

EXT. PARK -- NIGHT

Colin runs through the park. Marta follows after him.

MARTA
Colin! What are you doing?

COLIN
She's here. She's here!

MARTA
Who?

COLIN
Who do you think? Your sister!

Marta stops.

MARTA
Sis?

CUT TO:

EXT. PARK -- CONTINUOUS

Colin climbs down the tree. Marta stands at the base, smoking.

COLIN
There's a rope up there. She's here.

He starts to look around. Marta sighs.

MARTA
The police searched for days after they found her car.

Colin spots a tool shed down the path. He walks towards it.

MARTA
You're not going to find anything!

CUT TO:

INT. SHED -- NIGHT

Colin walks inside. Gardening tools and yard equipment hang on the wall and lie scattered on the floor.

COLIN
Come on...Beth, I'm sorry...I believe you.

ELIZABETH
(O.S.)
Dying sucks.

Colin turns. She stands behind him in a red dress.

COLIN
That's why I'm here, isn't it? To find the body?

She nods.

ELIZABETH
That's part of it, yes.

Colin looks around. He lifts a tarp off a wheelbarrow, looks inside a large tool case. Elizabeth watches him.

COLIN
Well. Where the fuck is it?

Elizabeth reaches over and pounds a post.

The shed rattles.

A panel in the roof smashes open.

Colin looks up.

Elizabeth's naked, bloody body drops down, head first.

Colin screams.

Elizabeth crosses her arms. She smiles.

ELIZABETH
There.

Behind her, Marta opens the shed door.

She sees the body and her jaw drops.

The cigarette falls from her mouth and hits the floor.

This brief scene replaces the earlier one in the death sequence with Marta.

INT. BALLET ROOM (JULLIARD) -- NIGHT

Marta, dressed in ballet training wear, dances while classical music plays in the background

She feels the shock and stops.

MARTA
...Sis?

The plot thickens with cliches and I make an attempt to write better dialogue.

EXT. SHED -- NIGHT

DETECTIVE JAMES STORAD, forty-five, speaks to his partner, DETECTIVE LAMAR ROBINSON, sixty-four, while two uniformed officers, DAN GRIEBEL and DAMEN THERIL, load the cart with Elizabeth's body into the back of a police van.

Storad is tall and balding. He wears his hair cut short around his bald patch and drinks from a coffee cup. He talks long, fast, and clipped. Robinson is short with a thick head of gray hair. He says little and watches Colin and Marta watch Officers Griebel and Theril load Marta's body.

STORAD
Guess this puts a cramp into our "investigation." A big cramp. Damn. And here the wife and I, we were planning to take the boat out this weekend. You know? Maybe catch some fish.

ROBINSON
Mmm.

STORAD
Let's question these kids and get out of here. I got things to do, papers to file, places to be.

ROBINSON
Okay.

They walk over to Marta and Colin. Marta sees them first and goes on the defensive.

MARTA
You're not gonna pin this one on us!

COLIN
Marta, relax.

Marta grumbles.

MARTA
You didn't have to put up with their crap for three weeks. Three weeks!

STORAD
And it'll be another three if you don't cooperate. Three weeks, missy. Now. Did you find the body?

MARTA
No, I didn't find the body. I told your junior partners over there all this already. You should have their notes.

STORAD
Don't get smart. Answer the question. Who did?

Marta swings a thumb over at Colin.

MARTA
My friend-him-did.

Storad looks Colin up and down. Robinson narrows his eyes at Colin.

COLIN
Nice to meet you. Colin Henderson.

He extends his hand.

STORAD
Put your hand back in your pocket, son. I'm not here for you to kiss my ass. I need answers. I don't have time to waste. So how'd you find the body?

COLIN
Magic.

STORAD
So you're a smart ass? Like your friend?

COLIN
I'm cooperating. I don't know how I found the body.

STORAD
Our officers looked through this area for three days. They tore that shed apart.

MARTA
Did you look in the roof? 'Cause that'd be the first place I'd look.

STORAD
Shut up. You're not from around here, are you?

Marta laughs at the question.

MARTA
Great question, Officer.
(mocking)
"Yer not from around here, are yeu?"

STORAD
Connelly. Do you like being in jail?

MARTA
It's like a regular vacation.

Storad, frustrated, turns to the two officers.

STORAD
I've had it with you, young lady. Had it! Griebel, Theril, get over here. This smart little girl's spending the night in the lockup.

He turns back to Marta, triumphant.

STORAD
Now who's the smart one?

MARTA
Still me.

Storad loses his temper. He smacks her.

COLIN
Don't you fucking touch her!

He rushes Storad, but Robinson catches him.

Storad, angry, gets into Colin's face.

STORAD
You wanna join your friend? She got what was coming to her. Respect!

MARTA
I got your respect right here.

She makes the jerking-off motion with her hand.

Officers Griebel and Theril come up behind her and cuff her.

Marta tries to push the away.

MARTA
Get your hands off me! Don't fucking touch me!

They grab her, kicking and screaming, towards the police car.

MARTA
Don't you fucking touch me! Don't you fucking touch me! Pigs! Oink, oink. Bacon! Pork! Holy shit, I forgot my fork!

Storad looks at Colin for a moment.

Colin gives him the ice-cold stare back.

Storad snaps his fingers in recognition.

STORAD
I know you. You're that punk who blinded Neal Stabler at his graduation. Drunk. I knew it. You're joining that little slut.

MARTA
You're just jealous I won't give you any, pig!

STORAD
Can it. I've had it. Tired of you punks. Tired. You're outta here.

He cuffs Colin, who remains silent.

CUT TO:

INT. POLICE STATION -- NIGHT

Colin sits in a cell by himself. He looks at the wall.

ELIZABETH
(O.S.)
Two days. That's some sort of record.

Colin looks up. Elizabeth is standing outside his cell.

COLIN
Hey. I don't suppose you can do that little unlocking trick here, can you?

Elizabeth walks through the bars. She stands in front of Colin.

COLIN
Have a seat.

ELIZABETH
Colin. You should know better.

Colin grins.

COLIN
Oh yeah. You're a real ghost.

Elizabeth becomes suddenly quiet.

Colin looks at her.

COLIN
What?

ELIZABETH
Thank you for finding me.

COLIN
Welcome.
(pause)
I saw...what he did to you.

Elizabeth sniffles.

COLIN
I'm sorry. I should have been there for you. I wasn't.

ELIZABETH
(whispering)
He was so strong, Colin. He was so strong.

Coming soon: pornography, internet-style, the return of Stewart, and a torrid sex scene. Damn this thing is explotative.

Voltes, Storad was talking to Colin, not Marta, in that scene. She was just making fun of him because she's brassy and can't keep her mouth shut.

But it doesn't matter because I'm rewriting that whole last sequence so that the character of Storad is dropped completely.

Also, I've picked up on a major discrepancy regarding Elizabeth and I have to fix that. Thanks, guys.

This replaces the earlier beginning to act two.
EXT. POLICE STATION -- NIGHT

Marta walks out of the station. She slams the doors behind her.

MARTA
Fuck them. Fuck 'em. I'm sick and tired of their fucking shit.

COLIN
Marta, relax.

MARTA
Fuck no. You didn't have to put up with their crap for three fucking weeks. I'm tired of them thinking that just because I fucking take my clothes off for a living, that fucking makes me a suspect.

COLIN
What do you mean?

MARTA
Fuck do you think I mean, Colin? I was a suspect. My own sister. They thought I fucking killed her. Me. Of all people.

COLIN
Well, if I recall, you two didn't have the most...pleasant of relationships.

MARTA
Fuck are you talking about? That makes no fucking sense, you know that?

COLIN
Come on, Marta. You know what I mean.

Marta stops in the middle of the parking lot and crosses her arms. She glares at him.

MARTA
No, no I don't, Colin. Why don't you explain that to me?

COLIN
Never mind.

MARTA
Hey. Fuck you, "never mind." You fuckin' made this accusation, now you're gonna fuckin de-fend yourself.

COLIN
Well. I just mean that, you know, we both know that you did some...things...in high school that may have strained your relationship with your sister.

Marta snorts.

MARTA
Fuck you. You only know this shit because you stalked Beth for four years. You-

COLIN
You fucked Damien. Everyone knew that.

MARTA
Fuck you. I did not.

COLIN
Sure, you did.

MARTA
What any fucking difference would it make if I did?

COLIN
All I'm saying is that if you did, which you did, it would have broken Beth's heart and made things difficult between her and you.

MARTA
Fuck you. I know what you're fucking implying.

Colin rolls his eyes and crosses his arms.

COLIN
And what would that be, exactly?

MARTA
You think I fucking killed her, don't you, you dipshit? You psycho.

COLIN
Don't.

MARTA
Psycho. Weirdo. Nutcase.

COLIN
Why are you doing this?

MARTA
Because you fucking deserve it, you creep. Stalker. Diseased. You fucking lunatic asylum inmate goddamn sister stalking window peering mentally psychotic FREAK!

COLIN
SHUT UP! JUST SHUT UP!!

He lunges for her. She backs away and trips.

She falls on her back. Colin glares down at her, fist raised, ready to strike. Marta looks at him.

MARTA
Go ahead. You know you want to. You know it'll make you feel so...good.

Colin just stares at her.

She glares back.

MARTA
You know you want to. Just go ahead and hit me. Hit me!

A horn honks in the distance.

Colin turns. He sees Stephanie sitting behind the wheel of her car. She waves.

Colin looks back at Marta. He extends his hand.

She ignores it and pushes herself off the ground. She glares at him and starts to walk away.

MARTA
See you around. Freak.

COLIN
Hey, Marta..

She ignores him.

COLIN
Maybe we could go out sometime...you know, when you get off work...

Marta stops.

MARTA
I'm not my sister, Colin.

COLIN
I know.

She walks away.

COLIN
It was just a question.

MARTA
I know. And I'm telling you I'm not my sister.
Drop it.

COLIN
But-

MARTA
Drop it.

She walks off.

This replaces the earlier beginning to act two.
EXT. POLICE STATION -- NIGHT

Marta walks out of the station. She slams the doors behind her.

MARTA
Fuck them. Fuck 'em. I'm sick and tired of their fucking shit.

COLIN
Marta, relax.

MARTA
Fuck no. You didn't have to put up with their crap for three fucking weeks. I'm tired of them thinking that just because I fucking take my clothes off for a living, that fucking makes me a suspect.

COLIN
What do you mean?

MARTA
Fuck do you think I mean, Colin? I was a suspect. My own sister. They thought I fucking killed her. Me. Of all people.

COLIN
Well, if I recall, you two didn't have the most...pleasant of relationships.

MARTA
Fuck are you talking about? That makes no fucking sense, you know that?

COLIN
Come on, Marta. You know what I mean.

Marta stops in the middle of the parking lot and crosses her arms. She glares at him.

MARTA
No, no I don't, Colin. Why don't you explain that to me?

COLIN
Never mind.

MARTA
Hey. Fuck you, "never mind." You fuckin' made this accusation, now you're gonna fuckin de-fend yourself.

COLIN
Well. I just mean that, you know, we both know that you did some...things...in high school that may have strained your relationship with your sister.

Marta snorts.

MARTA
Fuck you. You only know this shit because you stalked Beth for four years. You-

COLIN
You fucked Damien. Everyone knew that.

MARTA
Fuck you. I did not.

COLIN
Sure, you did.

MARTA
What any fucking difference would it make if I did?

COLIN
All I'm saying is that if you did, which you did, it would have broken Beth's heart and made things difficult between her and you.

MARTA
Fuck you. I know what you're fucking implying.

Colin rolls his eyes and crosses his arms.

COLIN
And what would that be, exactly?

MARTA
You think I fucking killed her, don't you, you dipshit? You psycho.

COLIN
Don't.

MARTA
Psycho. Weirdo. Nutcase.

COLIN
Why are you doing this?

MARTA
Because you fucking deserve it, you creep. Stalker. Diseased. You fucking lunatic asylum inmate goddamn sister stalking window peering mentally psychotic FREAK!

COLIN
SHUT UP! JUST SHUT UP!!

He lunges for her. She backs away and trips.

She falls on her back. Colin glares down at her, fist raised, ready to strike. Marta looks at him.

MARTA
Go ahead. You know you want to. You know it'll make you feel so...good.

Colin just stares at her.

She glares back.

MARTA
You know you want to. Just go ahead and hit me. Hit me!

A horn honks in the distance.

Colin turns. He sees Stephanie sitting behind the wheel of her car. She waves.

Colin looks back at Marta. He extends his hand.

She ignores it and pushes herself off the ground. She glares at him and starts to walk away.

MARTA
See you around. Freak.

COLIN
Hey, Marta..

She ignores him.

COLIN
Maybe we could go out sometime...you know, when you get off work...

Marta stops.

MARTA
I'm not my sister, Colin.

COLIN
I know.

She walks away.

COLIN
It was just a question.

MARTA
I know. And I'm telling you I'm not my sister.
Drop it.

COLIN
But-

MARTA
Drop it.

She walks off.