BAD DREAMS
Written by
Andrew Fleming & Steven E. de Souza
FADE IN:
1 EXT. COUNTRYSIDE - SUNSET 1
A serene landscape, mist collecting as the red ball of a sun
dips behind the mountains.
In the middle of a field stands a bare-chested man facing the
sunset. He is HARRIS, forty-ish, greying but handsome, and
very fit. His hands are outstretched as if embracing an
invisible entity. He seems filled with some sort of
transcendental power. Now, an air of fulfillment and resolve
settles over him. He turns and walks away from us. CAMERA
ADJUSTS and reveals--
2 EXT. UNITY HOUSE - LONG SHOT - SUNSET 2
Once the home of Victorian Gentry, a few seasons of amateur
repair work have not compensated for decades of neglect. But
now as Harris walks towards it, the fading daylight and long
shadows turn it into a fantasy castle. MUSIC ECHOES faintly
from within; it's "In-A-Gadda-Da-Vida" by Iron Butterfly. If
the music didn't place the era for us, the battered VW
MINIBUS parked outside the house does; it's covered with
flower paintings, slogans, and the ubiquitous peace sign.
As Harris approaches the house, a dozen or so YOUNG PEOPLE
rush to greet him and embrace him. Extending his arms out to
enclose them all, he goes inside.
3 INT. COMMON ROOM - SUNSET 3
This was probably a stately parlor in its day. There is a
funky assembly of odd handmade furniture. There are muslin
curtains on the windows, crude paintings, and quilts covering
ripped chairs and couches. Despite the squalor, there is a
neatness to the place. Now, the CAMERA begins to ROAM
through the room and down the hallways lined with fading
wallpaper.
VOICES
(various)
--where did she go...? ... was
here a moment ago... Cynthia, come
on, honey, we need you... Cynthia,
come out, come out wherever you
are... the sun's going down, we're
losing the moment...!
(MORE)
(CONTINUED)
2.
CONTINUED: VOICES(CONT'D)
Hey, mellow out, we got ten
minutes, I like, checked the
almanac, okay...? Ready or not,
here we come...
All these comments are made in relaxed and good natured
tones. Finally the CAMERA PANS OVER to a little storage
alcove beneath the servant's stairway. A HAND reaches in and
opens the door, and inside we SEE cartons, antique toys...
and then CYNTHIA, a pretty 13 year old girl who wears funky
clothing and a haunted, nervous expression.
VOICES (CONT'D)
...There you are, you naughty girl!
You almost made us lose the
sunset... Come on, honey, time's
wasting...
She shrinks back from the HANDS that are pulling her up and
out, but they prevail, and she's up and on unsteady feet.
The CAMERA stays with her as she's led back down the hallway.
CYNTHIA
(faintly)
No, please... I... I really don't
want to do this... Can't I just
wait for you..? I--I'm not sure
about this--
A SET OF HANDS moves in, separates Cynthia from the others.
4 NEW ANGLE 4
Revealing VICTOR, a handsome youth a few years older than
Cynthia.
VICTOR
Easy, Cyn, easy. You don't want to
do this, that's okay... right,
Harris?
The VOICES stop as everyone awaits an answer. CAMERA PANS
across the common room, to the end we haven't seen yet.
In the center of the room is a big cistern or font. As we
watch, Harris has just DUNKED someone in it. The person
steps out, laughing, sloshing in amber liquid. Standing
around are other people, some already dripping wet, others
awaiting their turns. Some are clothed and wet, others in
varying degrees of undress. It all seems slightly off,
slightly eerie, despite their smiles and cheer. Harris
splashes himself with the amber liquid from the tub, pushes
his hair back.
(CONTINUED)
3.
CONTINUED: (2)
HARRIS
No, Victor, it's not okay. Here
at Unity House, some things have to
be done...
(slight smile)
...in Unity. This is one of them.
He WADES CLOSER to the CAMERA, within reach of Cynthia,
Victor and the others. Smiles again. It's the kind of a
smile that inspires trust.
HARRIS (CONT'D)
Cynthia, do you trust me?
She nods immediately.
HARRIS (CONT'D)
And have I ever lied to you?
She shakes her head. He GESTURES. The people around Cynthia
begin to GET INTO the tub. Some remove their clothing;
others get in clothes and all. Toddlers and infants are held
by their parents and playfully splashed.
HARRIS (CONT'D)
Then I say to you now... to all of
you now... that this will be the
Ultimate Joining... of man and
woman... parent and child...
humanity and Godhead.
He looks at Victor, who reluctantly lets Cynthia's hand go,
gets in. Now only Cynthia remains.
HARRIS (CONT'D)
Cynthia. Come. There is no shame
in this. No crime. No sin. Just
the final break with the old
world... As night falls, we start
a new day... a day of Unity.
(a command, but warm)
Come to me... my lovechild.
5 ON CYNTHIA 5
His last words melt her remaining resistance. Moving like a
sleepwalker, she steps into the tub, wades forward. Then she
stops, looks down at the fluid lapping at her jeans... runs
her hand through it. Her eyes widen.
4.
6 EXT. HOUSE - LONG SHOT 6
The sun almost gone now, red light reflecting on the gabled
windows. Even the battered VW van looks good in this
setting. It's beautiful.
CYNTHIA'S VOICE
No! No...
HARRIS' VOICE
Cynthia, come back! We can't do it
without you... We must have unity,
my lovechild... Unity, now and
through eternity... Cynthia, you
cannot run... You belong to us
forever--!
Pause. The faint SOUNDS of SPLASHING and then FOOTSTEPS
skittering on tired wooden floors... and then--
--UNITY HOUSE EXPLODES!
7 EXPLOSION - ANOTHER ANGLE 7
WINDOWS blow out. Splintered BEAMS propeller through the
air. The VW camper on the lawn ROCKS with the shock wave.
Then a SECOND EXPLOSION blows the Victorian cupolas and
widow's walk off the roof. From somewhere in the distance we
HEAR SIRENS...
CUT TO:
8 EXT. UNITY HOUSE - NIGHT 8
FIRE is CONSUMING what's left of the building. Rescue
workers and firefighters are running back and forth.
9 INSPECTOR WASSERMAN 9
A plainclothes detective, he NODS to some uniforms, steps
around some debris to move closer to the scene. He puts his
collar up against the SPRAY which leaks from firehose
connections. Seeing one of his men, he SHOUTS over the din.
WASSERMAN
What have we got?
POLICEMAN
Twenty-four bodies, Inspector.
Maybe more.
(CONTINUED)
5.
CONTINUED:
As he says this, both men watch as firefighters carry out a
SCORCHED AND BLACKENED CORPSE that looks like a 3,000 year
old mummy.
10 CORPSE - CLOSER 10
It's set down on the ground beside other blackened bodies
partially covered by tarps. As the body is set down it
CRUNCHES, and a piece BREAKS OFF.
11 BACK TO SCENE 11
Wasserman blanches, wipes his mouth.
WASSERMAN
Cause of fire?
OFFICER
Some kind of explosion... gas main,
methane, too soon to tell. God
only knows.
WASSERMAN
Let's hope He doesn't keep it to
Himself.
A VOICE
We got one! We got a survivor! Get
a stretcher and oxygen over here,
STAT!
Wasserman and the cop run up the slope with the others.
12 RUINS - CLOSER 12
Medics run around the parked VW, which drips water and
chemical foam. Rescue workers move a FALLEN BEAM and pull a
soot-blackened form out of a hole. As the CAMERA PUSHES
closer, we see that it is Cynthia. Her clothes are torn and
singed, and she is unconscious, but as they work on her we
see that she is largely unharmed.
VOICES
(busy, frantic)
Make room, make room! Get that
airway in! I got a pulse, whoa,
it's faint... Talk about lucky,
she musta fallen in the basement...
First and second degree burns...
Come on people, move your asses!
(CONTINUED)
6.
CONTINUED: (2)
Wasserman tries to keep up as they carry her on a stretcher
towards an ambulance, put her inside. It ROARS AWAY, SIREN
WAILING. MUSIC COMES UP AND OVER-- it's MAGIC CARPET RIDE by
Steppenwolf.
NEWSCASTER'S VOICE
(filtered)
--Authorities continue to
investigate yesterday's mysterious
explosion and fire at Unity House,
the controversial New Age commune
headed by self-styled Guru Adrian
Harris. 32 people died in the
blaze. Thirteen year old Cynthia
Weston, the fire's only survivor,
remains in guarded but stable
condition at County General. In
national news, newspaper heiress
Patricia Hearst was abducted from
her Bay area apartment shortly
before dawn today... A communique
from the so-called "Symbionese
Liberation Army" demanded that...
CUT TO:
13 INT. HOSPITAL EMERGENCY ROOM - NIGHT 13
The doors CRASH ASIDE as Cynthia is rushed in on a gurney.
The CEILING LIGHTS flicker past us as they move her into the
emergency room.
VOICES
Blood pressure 90 over 30, we're
losing her... Where's that cart?
CLEAR! CLEAR! Okay, it's
climbing... Watch the EEG...
Brain activity, shit, damn low...
We begin a SERIES OF DISSOLVES, including:
A) WASSERMAN, who appears first in his clothes
from the fire, then two other wardrobe changes;
B) HOSPITAL PERSONNEL, at first the harried and
rushed emergency staff, and then the more blase
regular doctors and nurses;
C) VARIOUS MEDICAL EQUIPMENT, as a series of
DIAGNOSTIC TESTS are run on Cynthia--
(CONTINUED)
7.
CONTINUED:
D) CYNTHIA, first in her fire-scorched clothing,
then as it is cut away, and then in several
HOSPITAL GOWNS, first white, then green, then
blue...
E) A SERIES OF HOSPITAL ROOMS AND LABS;
P) HOSPITAL CHARTS AND FILES, with ever-changing
DATES;
VOICES (CONT'D)
(over this)
No sign of physical damage but
neurological functions still
depressed... Sorry, Inspector, no
changes... Patient comatose after
14 days... Brain scan shows minor
irregularities; pupil function
within normal range... Still no
sign of consciousness... Still
comatose after 21 days ... Sorry,
Inspector, we'll call you if
there's any progress... Still
comatose after 42 days... Patient
moved out of intensive care....
As the MONTAGE CONTINUES, TITLES BEGIN. Now we HEAR VARIOUS
NEWS BROADCASTS which come UP AND OVER, fading IN AND OUT
with the medical VOICES. (If desired, TV NEWSCASTS might be
seen as well on a hospital room's set.)
VARIOUS NEWSCASTERS' VOICES
(filtered, in and out,
intermittently audible)
...The mother of Martin Luther King
Junior was assassinated today while
she played the organ in her son's
church... interrupt to bring this
bulletin... Richard Milhous Nixon
has resigned as President of the
United States... As the Marine
guards hold back the crowds, the
last helicopters took off from the
roof of the Embassy in Saigon...
Bicentennial festivities begin
today in Philadelphia...
14 MONTAGE - CONTINUED 14
We SEE Cynthia in her bad, always in the same near-fetal
position. The only changes are the occasionally different
hues of her blankets and the varying length of her hair.
(CONTINUED)
8.
CONTINUED: (2)
NEWSCASTERS
--leak at the Three Mile Island
facility... 73 Americans remain
hostage in the Teheran Embassy...
Ronald Reagan has been elected 40th
President... renewed fighting in
the Middle East... assailant shot
John Lennon at point blank range...
President Reagan has been shot! He
is in guarded condition at... The
Pope has been shot! He was rushed
by ambulance to... President Anwar
Sadat has been assassinated...
14A BERRISFORD - IN MONTAGE 14A
We SEE several SHOTS of this man, first as a white-coated
RESIDENT in his late 30's, walking past Cynthia's hospital
doorway, and then stopping, curious, and looking in on her...
and then in--
14B OTHER SHOTS - BERRISFORD 14B
as (with changing wardrobe and increasing status) he checks
in on the girl's unaltered condition as months and years
continue to click by:
NEWSCASTERS(CONT'D)
...the Korean airliner was shot
down by a Soviet jet, killing all
269 people aboard... invasion of
the island Nation of Grenada...
Prime Minister Indira Ghandi was
assassinated by members of her own
bodyguard... the PLO hijackers
shot the wheelchair-bound American
and threw his body overboard...
Space Shuttle Challenger exploded
moments after launch... renewed
fighting today in the Middle
East... President Corazon Aquino
asked the soldiers to lay down
their arms... Senator Gary Hart
withdrew from the race... Fawn
Hall... Lieutenant Colonel Oliver
North... Contrascam
Investigation... PTL scandal...
munitions train severed the lag of
a protester at the... renewed
fighting in the Middle East...
DISSOLVE TO:
9.
15 INT. HOSPITAL NURSE'S STATION - DAY 15
The HEAD NURSE looks up, smiles at a YOUNG FLOOR NURSE as she
walks past. From somewhere we HEAR a Springsteen song on the
radio.
HEAD NURSE
Debbie. What happened to your
windsurfing lesson?
YOUNG NURSE
No wind. I changed shifts with
Nancy.
(picking up charts)
Well... time to weed the vegetable
patch.
We FOLLOW the young nurse as she goes into--
16 CYNTHIA'S ROOM 16
Bored, the nurse goes to the foot of the bad, checks the
chart there. She moves past MONITORING EQUIPMENT which shows
only subtle movement. As she begins to take Cynthia's blood
pressure, CAMERA CONTINUES ON INTO THE BED and we see
Cynthia,
She is now a fully grown young woman in her late 20's. She
is curled up in a fetal ball.
17 THE YOUNG NURSE 17
finishes her work and then gathers some bottles from the side
table. She goes to the door and then REACTS to a SOUND.
She looks around, puzzled. Meanwhile, we SEE (and she
DOESN'T) that there is INCREASED ACTIVITY on the monitors.
CYNTHIA
(faint, weak)
No... no... it's wrong...
someone... please help...
YOUNG NURSE
Holy shit...
Stunned, the nurse DROPS the bottles with a CRASH.
Recovering her composure, she darts back to the bed, watches
flabbergasted as Cynthia continues to STIR, her arms weakly
battling half-realized fears.
(CONTINUED)
10.
CONTINUED:
The young nurse hits an ALARM, grabs Cynthia's arms to
prevent her from pitching out of the bed, and then DOCTORS
and NURSES are scrambling all over the room, and as the DIN
RISES we
CUT TO:
18 INT. HOSPITAL PRESS CONFERENCE - DAY 18
FLASHBULBS pop and the HOSPITAL SPOKESMAN grins clumsily,
famous for fifteen minutes.
There's eight or nine reporters here, all of them wishing
they were on bigger stories.
SPOKESMAN
(in mid speech)
Twelve years, two months... nine
days.
FIRST REPORTER
Is that like a world record for a
coma or something?
SPOKESMAN
Actually, no. The longest one on
record is 37 years.
The first reporter closes a notebook, leaves.
SECOND REPORTER
Does she remember anything about
the fire at Universe House?
19 NEW ANGLE - SHOWING THE BACK OF THE ROOM 19
Lieutenant (n�e Inspector) Wasserman is there. He's grayer,
paunchier, but the raincoat is the same one.
SPOKESMAN'S VOICE
(correcting)
Unity House. No, she appears to
have no memory of the accident
itself or the days leading up to
it. It's not uncommon after
serious trauma.
THIRD REPORTER
What happens to her now? Have her
family or friends been notified?
(CONTINUED)
11.
CONTINUED:
SPOKESMAN
We stopped looking for any family
ton years ago.. Right now we"re
planning to transfer Cynthia to Dr.
S.A. Berrisford's Neuropsychiatric
Clinic. It's right here on our
grounds, and Dr. Berrisford is
familiar with both the
neuromuscular problems a patient
like this will encounter as well as
the inevitable mental readjustment
that will be required. Thank you.
The reporters filter out.
Wasserman is already gone.
CUT TO:
20 FOOT 20
as it is clumsily set down... another FOOT slides forward.
21 INT. THERAPY ROOM - WIDER 21
Cynthia is standing inside a set of parallel bars. She's
pale, weak looking. A PHYSICAL THERAPIST is at her elbow,
egging her on.
THERAPIST
Good... Very good... Come on,
just a few more steps...
Cynthia blinks, as if just processing the therapist's word
takes some adjustment.
CYNTHIA
(weary)
I... I can't... I have to rest...
BERRISFORD'S VOICE
Young lady, you've had fifteen
years of rest.
CAMERA ADJUSTS to show DR. BERRISFORD. In his 50's,
avuncular, he wears half-framed glasses and a sweater vest
under his medical coat. Two pieces of tissue paper mark his
razor's passage on his neck.
(CONTINUED)
12.
CONTINUED:
BERRISFORD (CONT'D)
Now walk to the end of that
platform, or you won't got any
chocolate ice cream.
Something about Berrisford's mock-stern tone bores in on
Cynthia, gets a reaction. She gropes for an answer.
CYNTHIA
(finally)
I... I hate chocolate ice cream.
BERRISFORD
Then walk to the end of the
platform, or I'll shove an entire
gallon down your throat.
Cynthia's eyes crinkle with confusion. And then, ah, she
gets it! A joke, the first one in over a decade. She
SMILES, and it's a beautiful smile. Setting her jaw, she
makes a renewed effort and reaches the and of the platform.
The therapist and Berrisford both move quickly to catch her
and set her down in a wheelchair.
BERRISFORD
(to the therapist)
That'll be all.
Berrisford begins wheeling Cynthia along. They leave the
therapy room, go down a corridor. (Note: Passage as per
location.) As they go by other patients and staff, there's a
general BUZZ as people whisper about Cynthia.
CYNTHIA
(peering at Berrisford)
Am I supposed to know you or
something?
BERRISFORD
I've looked in on you from time to
time... but that's hardly an
introduction. You've been
transferred into my care, Cynthia.
I*m Doctor S. A. Berrisford,
Consulting Chief of Neuropsychiatry
and head of the Berrisford Clinic.
CYNTHIA
(fumbling it)
C-consulting Cheev-- Chief of--
(CONTINUED)
13.
CONTINUED: (2)
BERRISFORD
Oh, forget all that. Just call me
what my staff does.
CYNTHIA
What's that?
BERRISFORD
God.
Cynthia LAUGHS. She likes this man's directness, the way he
doesn't condescend to her.
22 INT./EXT. SUN DECK OR DAY ROOM - DAY 22
Berrisford parks her and site down across from her.
CYNTHIA
What... what kind of doctor did
you say you were?
Berrisford notices one of the tissues on his neck. Scowls,
flicks it away.
BERRISFORD
Obviously, I'm not a surgeon.
(as she laughs)
I'm a psychiatrist.
CYNTHIA
(puzzled)
Why do I need a psychiatrist?
BERRISFORD
Cynthia, you've been out of touch
with reality for over ten years.
Your recovery goes beyond your
muscle tone... You have to ease
into life... into interacting with
other people again. Into a world
that's changed so much that
sometimes I get confused by it.
(taking out an appointment
book)
Now, my assistant Dr. Goldman has a
group therapy session every day...
I'm putting you down for it,
starting tomorrow...
(CONTINUED)
14.
CONTINUED:
CYNTHIA
(unsure)
Group therapy? But--
WASSERMAN'S VOICE
Dr. Berrisford?
23 NEW ANGLE 23
Revealing Wasserman. He shows his badge to the doctor.
WASSERMAN
I'm Lieutenant Wasserman. I left a
message with your secretary...?
BERRISFORD
(rising, meeting him
halfway)
And I left one with your desk
sergeant.
(a hard whisper)
I told you this would have to wait.
You shouldn't even be here--
24 FAVORING CYNTHIA 24
She can't help but listen as they continue in lowered tones.
WASSERMAN
I've waited fifteen years. That's
long enough. Now I want to speak
with Miss Weston.
BERRISFORD
Miss Weston is still recovering and
is in no condition for a prolonged
interrogation.
WASSERMAN
(tight smile)
Then don't prolong it. I'll be
brief with her, I'll be gentle with
her--
BERRISFORD
I'll let you know when she's ready--
CYNTHIA
E--excuse me...
(CONTINUED)
15.
CONTINUED: (2)
25 ANGLE 25
They turn and look at her.
CYNTHIA (CONT'D)
Doctor Berrisford, what's this all
about...? This man wants to talk
to me...?
Berrisford starts to answer, but Wasserman rushes in.
WASSERMAN
(quietly, slowly, as if to
a child)
That's right, Miss Weston. I just
have a few easy, simple questions.
(patient, phony smile)
About you... and about Unity House.
Cynthia looks at him strangely, turns to Berrisford.
CYNTHIA
(sotto)
Why is he talking like that? Is he
one of your patients?
Wasserman burns. Berrisford LAUGHS.
BERRISFORD
Lieutenant Wasserman is a police
officer. And the word "patience"
isn't part of his vocabulary.
Wasserman scowls, not enjoying being the butt of a joke. He
resumes his normal tons, which is far from diplomatic.
WASSERMAN
Miss Weston. What's the last thing
you remember before...
CYNTHIA
--Before the accident? Nothing.
WASSERMAN
Then how do you know it was an
accident?
BERRISFORD
Lieutenant!
(CONTINUED)
16.
CONTINUED: (3)
CYNTHIA
I remember... a beautiful sunset.
Harris, smiling at me...
WASSERMAN
(writing)
Harris, he was the leader?
Cynthia's eyes are far away. The memories come back... the
words are slow, but vivid.
CYNTHIA
Leader, founder... chief cook and
bottlewasher...
(smiling)
Executive in charge of Dreaming.
We were all together... all
working to make a now world...
That last night, there was a...
(brow furrowing)
Gathering... a... a sort of...
baptism... And then...
She winces, rubs her eyes.
CYNTHIA (CONT'D)
I'm sorry, that's all I can see.
WASSERMAN
Miss Weston. This "Unity House"...
was it a cult?
CYNTHIA
I'm sorry. I don't understand the
question.
BERRISFORD
A "cult," Cynthia. A syndrome of
society you have been fortunate
enough to miss. They're popular
with impressionable people, the
penny press...
(pause)
...and lazy policemen who like to
blame them for crimes they can't
solve.
Wasserman closes his notebook, gives Berrisford a cold stare.
WASSERMAN
I was there that night, Doctor. I
watched them stack those bodies...
(MORE)
(CONTINUED)
17.
CONTINUED: (4) WASSERMAN(CONT'D)
men, women, children. They looked
like 2,000 year old mummies. They
broke apart like 2,000 year old
mummies.
Cynthia gasps.
WASSERMAN (CONT'D)
If it was an accident... fine. If
it wasn't... the person
responsible could still be out
there.
(pause)
And he's probably as interested in
Miss Weston's memory as I am.
He turns, nods to Cynthia.
WASSERMAN (CONT'D)
Feel better.
He goes out. Cynthia's breath comes in short gasps. Finally
she calms.
CYNTHIA
I don't like that man.
BERRISFORD
That makes two of us.
He sits beside her again.
BERRISFORD (CONT'D)
But as long as you're here...
(smiling)
I can keep him away.
CAMERA TIGHTENS on Cynthia as she considers this...
CUT TO:
26 INT. MEETING ROOM - DAY 26
The room is cheery, commands a view of the city. A VIDEO
CAMERA sits unobtrusively in one corner. Six people sit in
chairs in various stages of interest and/or boredom.
They are MIRIAM, an attractive woman in her forties, who
chain-smokes designer cigarettes;
CONNIE, smiling, chipper;
(CONTINUED)
18.
CONTINUED:
ED, overweight, friendly;
LANA, pale, worried looking;
and GILDA, tiny, frightened, withdrawn. She sits with feet
pulled up on her chair, arms wrapped around her knees.
CAMERA ADJUSTS to show Cynthia driving her electric
wheelchair into the room and into a place in the circle.
RALPH stands. Long-haired, with the staccato delivery of a
stand-up comic, he smiles.
RALPH
Well, now that we're all here, we
can begin. Cynthia, I'm Dr.
Goldman, and I'd like to welcome
you to our little group. I don't
know how much my colleague Dr.
Berrisford has told you about my
methods. I have my detractors...
but I have my successes, too!
We're going to get you out of your
depression... We're going to got
you out of your neurosises...
We're going to got you out of that
hideous hospital robe and into a
flimsy revealing negligee--one with
the little holes here? I can see
us now on a desert island... You,
me, a portable waterbed--
As Cynthia's eyes widen, DR. ALAN GOLDMAN comes into the
room, sighs with weary familiarity at Ralph's antics.
(Actually, Alan doesn't look much more like a doctor than
Ralph.)
ALAN
Ralph, sit down and cut out the
shit, okay?
RALPH
Dr. Goldman, I was on the verge of
a major breakthrough, and you blew
it!
ALAN
Ralph?
(when he sits)
Cynthia. I'm Doctor Goldman--at
least, last time I checked...
(MORE)
(CONTINUED)
19.
CONTINUED: (2) ALAN(CONT'D)
and I doubt if my welcome can equal
Ralph's, but I'll try. This is the
Borderline Personality Group. And
you are now a card-carrying member.
CYNTHIA
What's a borderline personality?
MIRIAM
Don't ask him. He's making this up
as he goes along.
ALAN
A borderline personality is one
that can't be accurately placed on
the Neurosis-Psychosis arc. As a
personality syndrome it encompasses
identity crises, chemical
addictions, emotionalism, anxiety-
RALPH
(standing, SCREAMING like
Sam Kinison)
You forgot VIOLENT MOOD SWINGS!
He sits, smiles sweetly.
CONNIE
He also forgot suicidal tendencies.
But, as one whose previous
reincarnations stretch back to
Ancient Atlantis, well, suicide is
meaningless anyway.
ED
And don't forgot binge eating.
(pause)
Gourmet binge eating.
MIRIAM
(sweetly, to Cynthia)
I told you he was making this up.
ALAN
If everyone is finished--
LANA
(breaking in)
They're not finished, Dr. Goldman,
they won't be finished until they
have her feeling as miserable and
pathetic and confused as they are.
(CONTINUED)
20.
CONTINUED: (3)
CYNTHIA
I am confused--
LANA
See?
(to the group)
I hope you're all happy--
CYNTHIA
Dr. Goldman, I... I don't really
know what I'm doing here. I
mean... I don't think I meet your
description of a Borderline
Personality--
RALPH
Give yourself some time, Cynthia.
We'll help you work on it.
CYNTHIA
--and I don't really know what I'm
doing here.
ALAN
Didn't Dr. Berrisford explain?
CYNTHIA
He said he thought that this would
help me... fit into the 80's.
Miriam CRACKS UP.
MIRIAM
Honey, you want to fit into the
80's, you're already two divorces,
one condo and a yeast infection
behind. Why don't you just catch
up with the 70's and move to
Cleveland?
ALAN
If I can offer a more practical
suggestion... Why don't you talk,
Cynthia?
CYNTHIA
Talk...?
ALAN
About something close to you.
(CONTINUED)
21.
CONTINUED: (4)
MIRIAM
Stop beating around the fucking
bush, Goldman! Just come out and
ask her!
LANA
(to Miriam)
Do you have to be so crude?
MIRIAM
Come on, Cynthia. Dish out the
dirt. Tell us all about Unity
House.
(gesturing a marquee)
The last gasp of the Age of
Aquarius. Building a better world
through... what? Chemistry? Good
vibrations? Tie-dying your undies?
CYNTHIA
I'm sorry to disappoint you. I
don't have those kinds of stories.
RALPH
Back off, Miriam. Cynthia, just
tell us about the orgies.
CYNTHIA
Ralph, I'm going to bore you.
She thinks for a minute, starts to speak. She's hesitant at
first, and then the old memories come forward. She's
sincere, earnest... captivating.
CYNTHIA (CONT'D)
What we felt... what we
believed... was that if people
could become selfless enough, if
they could free themselves from
their egos, they would experience
a... togetherness. A... oneness.
A Unity. That's where the name
came from. We had a dream about a
perfect society based on trust. On
love. On totally committed
togetherness. We weren't trying to
change the whole world. We were
just trying to change each other.
Pause. Everyone is affected by her sincerity.
(CONTINUED)
22.
CONTINUED: (5)
RALPH
(acting out)
Bullshit.
GILDA
No.
27 NEW ANGLE 27
AS everyone turns, astonished. Gilda gets out of her chair,
slowly walks towards Cynthia. Takes her hand. And smiles.
GILDA (CONT'D)
It's beautiful. It didn't matter
if it worked. All that mattered
was... you tried.
CYNTHIA
(touched)
Exactly!
CUT TO:
28 INT. BERRISFORD'S OFFICE - NIGHT 28
WIDEN from a TV SCREEN which shown the above moment. As the
group session CONTINUES UNDER, CAMERA PANS to reveal
Berrisford and Alan watching the tape.
ALAN
Gilda hasn't said three words in
three weeks. And now, Cynthia
comes in with this love, peace and
Woodstock routine and... presto.
Am I missing something, or what?
BERRISFORD
She's espousing a total belief
system. A kind of holistic healing
matrix not unlike the dynamic
energy shift model. Isn't that
interesting? They're adopting it,
embracing it.
ALAN
Too bad we can't follow through on
this.
BERRISFORD
Why not?
(CONTINUED)
23.
CONTINUED:
ALAN
Dr. Berrisford, the people in this
group... some of them are deeply
disturbed. Cynthia doesn't belong
with them-- an experiment for one
session, fine, but in the long run--
BERRISFORD
Alan. We've opened primary
channels of communication. You've
opened them, Alan. Let's not rush
to throw away our progress.
Neuroses are hardly contagious. A
few weeks in the group won't hurt
Cynthia. With luck, she'll
overcome her memory trauma. That
would mean progress... not to
Mention getting Lieutenant
Wasserman off my back. In the
meantime...
He stands, puts his hand on the younger man's shoulder.
BERRISFORD (CONT'D)
She seems to like you. See if you
can get her to open up, and let's
press on.
(pause)
With a united front?
ALAN
A united front. Sure.
Satisfied, Berrisford smiles, goes out the door. Alan sighs,
and looks at Cynthia's image on the screen.
CUT TO:
29 INT. PHYSICAL THERAPY ROOM - DAY 29
Patients in different stages of fitness use the equipment,
some with supervision, others on their own. HETTIE,
Berrisford's chief nurse--a Selma Diamond type--comes in with
a tray of medication in paper cups. She works her way over
to where
30 CYNTHIA 30
is doing log lifts on a bench. She's in a leotard and leg
warmers, and there's real color in her face for the first
time.
(CONTINUED)
24.
CONTINUED:
HETTIE
Drop down to first gear, honey.
It's Miller time.
She fumbles on her tray for the cup marked "Weston," hands
the pills to Cynthia along with a cup of juice.
CYNTHIA
What are these? Vitamins?
HETTIE
Beauty secrets from the orient.
Look what they've done for me.
Cynthia laughs, takes the pills. Hettie moves over to Ralph,
who's just finished doing bench presses.
HETTIE
Ralph, you in a cooperative mood,
or do I have to tie you up again?
RALPH
Promises, promises.
He takes the pills she gives him, smiles. She just looks at
him, taps his mouth.
HETTIE
Open.
Of course the pills are still under his tongue. Hettie gives
him a shot in the solar plexus and he GULPS. Hettie hands
him the juice.
HETTIE (CONT'D)
Next time I hit lower.
She moves on to other patients. Ralph moves over to Cynthia.
RALPH
She's crazy about me.
(watching Cynthia's
workout)
You're coming along. A regular
Rocky.
CYNTHIA
Rocky? The flying squirrel?
RALPH
Rocky the fighting Stallone.
(on her blank look)
(MORE)
(CONTINUED)
25.
CONTINUED: (2) RALPH(CONT'D)
I keep forgetting you just left the
Twilight Zone. Hey, why don't you
come up to my room, and I'll bring
you up to date. I've got a VHS
VCR, a CD, and MTV.
CYNTHIA
You're making this up... aren't
you?
He just grins. She slips down to the floor, does some
stretching exercises.
CYNTHIA (CONT'D)
Sounds like a complicated world.
How do you handle it?
RALPH
Well, whenever it gets to be too
much, I just let all of the
negative stuff out of my body.
CYNTHIA
You mean with meditation, yoga,
what?
RALPH
Nah. I just make a little hole and
let it all escape.
He pulls open his shirt. On his chest and arms are dozens of
scars in neat little rows.
Cynthia swallows, stunned. Nonplussed, Ralph buttons back
up.
RALPH (CONT'D)
Uh-uh, here comes the assistant
Ayatollah. See ya.
As Ralph exits, Cynthia looks around, puzzled.
CYNTHIA
"Ay-a-toll-ah..?"
Then she sees Alan.
ALAN
Buy you some lunch?
CYNTHIA
Sure.
(CONTINUED)
26.
CONTINUED: (3)
He starts to help her up. She pushes him off gets up with a
theatrical hop.
ALAN
I'm impressed.
They walk out of the therapy room.
CYNTHIA
Impressed enough to call me a cab?
ALAN
I'm not sure I follow you.
CYNTHIA
I've been talking to Ralph. He
told me about his... personal
therapy program.
(as Alan winces)
And I've been watching the
others... Dr. Goldman, they belong
here. I don't.
31 INT. CORRIDOR - DAY 31
They pass Lana and Miriam who are swallowing medication from
Hettie's tray. The two women patients wave at Cynthia, who
smiles.
ALAN
(as they walk)
Please, call me Alan. Doctor
Goldman is my father...
(thinking)
...and my grandfather. I think my
first baby toy was a stethoscope--
CYNTHIA
You're changing the subject...
(trying it out)
--Alan. I'm feeling stronger. I'm
getting used to things like VC
esses and MCDs. I want to leave.
ALAN
(carefully)
Your parents died when you were a
child. We haven't been able to
locate any relatives.
He stops at the elevator doors, hits the button.
(CONTINUED)
27.
CONTINUED:
ALAN (CONT'D)
Where would you go?
CYNTHIA
I guess I'd just look up some of
the old hands from Unity House...
crash with them for a while...
(thinking)
...do people still say "crash"--?
ALAN
Cynthia...
(gently)
There aren't any old hands left.
The fire that injured you...? It
took everyone also with it.
They're all gone.
Cynthia reacts as if struck... has to loan against the wall
to catch her breath.
CYNTHIA
I knew there were deaths... but...
everybody?
ALAN
I'm afraid so. Look, Cynthia...
I'm not saying this to upset you,
but the sooner you realize that
that whole phase of your life is
over, and move on, the better off
you're going to be. Why don't you
bring this into the open... talk
about it in group? Oh, here's our
ride.
Saying this, he turns as an elevator OPENS. It's pretty
crowded. He holds the door for her.
CYNTHIA
(confused)
Talk about it...?
Seeing he's waiting, she straightens, moves into the
elevator.
32 INT. ELEVATOR - DAY 32
ALAN
Could somebody hit one? Thanks.
(CONTINUED)
28.
CONTINUED:
CYNTHIA
(to him)
"Talk about it in group." Is that
the answer to everything around
here?
The doors CLOSE. Everyone huddles in the compact space
silently, politely. The elevator heaves into movement. It
HUMS as it whisks down the shaft.
The overhead fluorescent light in the car is weak. It
flickers off and on momentarily.
ALAN
Nobody ever said it would be easy.
And it works for a lot of people.
CYNTHIA
(gently)
It's not working for Ralph... or
his chest.
(pleading tone)
Can't you at least transfer me...
get me in a group of people with
problems a little more like mine--
ALAN
Cynthia, we don't have a lot of
patients who've been in a coma for
over a decade!
The light gets weaker. Finally it just goes out. There is a
general SIGH of annoyance from the passengers.
The light FLICKERS on every few seconds giving off the effect
of a strobe light.
A PASSENGER
You'd think with what they charge
here they could pay their electric
bills
LAUGHTER.
CYNTHIA
Relax. They're probably giving
shock therapy.
(for Alan's benefit)
"It works for most people".
More LAUGHTER. Then Cynthia is RIVETED by the sight of
something across the elevator.
(CONTINUED)
29.
CONTINUED: (2)
In the LIGHT of the next strobe like FLASH, we see HARRIS!
He is staring at Cynthia.
33 ON CYNTHIA 33
Staggered, disbelievingly, she moves behind Alan, looks over
to the far corner again.
Another FLASH. Harris is gone. Suddenly the ELEVATOR JERKS
TO A HALT, but the doors DON'T OPEN. Passengers GROAN,
annoyed.
PASSENGER
Oh, great--
The emergency BELL starts sounding. Cynthia, still confused,
gets shoved against the back wall as the passengers busy
themselves pushing buttons.
Cynthia bumps into the man next to her. She looks up at him.
FLASH. It is Harris.
FLASH. Harris reaches out to Cynthia. She CRIES OUT, jerks
away, slamming into Alan, falling to the floor.
PASSENGER (CONT'D)
Jesus, lady, relax! We're on the
ground floor--
CYNTHIA
Let me out! Let me out--!
FLASH. Cynthia is on the floor. She raises her head.
Someone is on the floor right across from her.
FLASH. It's Harris. His face is burned and skeletal. He
GRINS.
HARRIS
Unity, Cynthia... Now and forever!
He has no eyelids or lips. Cynthia SCREAMS, struggles to her
feet, knocking over another passenger. Now it's chaos in
here.
CYNTHIA
Let me out, let me out! Alan,
help, help--!
(CONTINUED)
30.
CONTINUED: (3)
HARRIS
Cynthia, you cannot run... You
belong to us Forever--!
34 ALAN 34
Struggles across the crowded elevator, catches her in his
arms.
ALAN
Cynthia..?
The elevator doors suddenly OPEN.
35 INT. FIRST FLOOR CORRIDOR - DAY 35
Cynthia literally TUMBLES out of the elevator, staggers along
the wall, holding herself up. Alan runs out to aid her. The
passengers get off the elevator, looking at her oddly. A
CUSTODIAN runs up and turns off the alarm.
ALAN
Cynthia, what happened--?
CYNTHIA
It's him! It's him! He's alive--
ALAN
Who's alive?
CYNTHIA
(pointing)
He's alive! Right over--
She stops. The elevator is open and empty. The passengers
watch her, some concerned, some voyeuristic. Now they drift
away.
CYNTHIA (CONT'D)
(weakly)
--there...
Alan just stares at her.
CUT TO:
36 INT. BERRISFORD'S OFFICE - NIGHT 36
Berrisford sits, listens intently to Alan.
(CONTINUED)
31.
CONTINUED:
ALAN
--hallucination, flashback, I don't
know what to call it-
BERRISFORD
How about psychotic episode?
ALAN
No, no, she doesn't fit the
pattern--
BERRISFORD
Addictive personalities can be
borderline. You know that--
ALAN
(patiently)
She has no history of drug abuse--
BERRISFORD
There's other kinds of addictions.
(standing, pensive)
we see it in these fringe religious
groups... these instant creeds
with pseudo-Messianic delusions.
You've heard how she talks about
Unity House? Perhaps that's her
drug. Perhaps she's going through
a--withdrawal of sorts. Her memory
lapses about Unity House are
equally symptomatic... There's
some violent turmoil under that
pretty little facade.
ALAN
(skeptical)
You put her in the Borderline Group
and she became one?
BERRISFORD
No.
CAMERA TIGHTENS ON HIM.
BERRISFORD (CONT'D)
I believe she went into that coma
a disturbed young lady. Fifteen
years later... nothing has
changed.
CUT TO:
32.
37 INT. ENTRANCE - BERRISFORD CLINIC WING - NIGHT 37
We can read the name on the locked security door (albeit
backwards.) A SECURITY GUARD watches a basketball game on a
portable set.
38 INT. CYNTHIA'S ROOM - NIGHT 38
This is not the room we saw when she was comatose, but a
brighter, more residential arrangement. Cynthia sits on the
bed, watches as Hettie counts out pills for her. Cynthia
swallows them, hesitates at a red one.
CYNTHIA
This one's new.
HETTIE
It'll help you sleep.
(explaining)
Sort of a post-elevator cocktail?
Cynthia scowls, takes it. Hettie goes out. Cynthia lies
down on the bed, stiff. Turns over once or twice. Sighing,
she picks up the TV remote, shakes her head at the myriad
buttons. Finally she finds the right one, CLICKS IT.
39 TV - HER P.O.V. 39
She's come in on the middle of a group therapy scene from THE
BOB NEWHART SHOW. (NOTE: Or maybe THE SNAKE PIT or SHOCK
CORRIDOR?)
40 BACK TO SCENE 40
She watches until she realizes what it is, then CLICKS it
off.
41 INT. HOSPITAL HALLWAY - NIGHT 41
Hettie leans over the security guard's desk. The guard
GROANS in frustration an the basketball game ends.
HETTIE
(extending her hand)
Pay up. Twenty bucks.
Neither notices a DARK FIGURE passing by close to the CAMERA.
33.
42 INT. CYNTHIA'S ROOM - NIGHT 42
Cynthia lies restlessly in her bed. She hears footsteps
coming closer. They stop at her door. She looks over.
There is a SHADOW moving in the crack under the door. The
doorknob TURNS. Cynthia sits up.
CYNTHIA
Who's there?
She reaches for the button to call the nurse, but then the
door is OPEN, and the figure stands there silhouetted.
FIGURE
(whisper)
Cynthia?
The figure comes forward. Cynthia backs off the other side
of the bed and turns on a light.
It is Victor, the boy we remember from the opening scene.
The years have been kind to him. He stands there, the dim
light spilling on his Army field jacket and bell-bottomed
jeans.
VICTOR
Cynthia? It's me. Victor.
CYNTHIA
(amazed)
Vic? Oh, my God--
She practically leaps across the room, hugs him with all her
strength.
VICTOR
Look at you.
(marveling)
Little Cyn.
(impressed)
Not so little anymore.
CYNTHIA
Vic, this is just... fantastic,
it's the most incredible...
(hesitating)
But... how can you be here?
VICTOR
Yeah. It is after visiting hours--
(CONTINUED)
34.
CONTINUED:
CYNTHIA
I mean... they said that... that
everybody died.
VICTOR
(smiling)
Do I look like a ghost to you?
CYNTHIA
(rapid-fire)
How did you survive? How did you
find me? Is anyone else--
VICTOR
Whoa, whoa. It's a long story...
(looking around)
Let me tell it somewhere else. I
feel like I'm in, like, the
Pentagon or something.
Cynthia grins, grabs a light jacket.
CYNTHIA
Then let's go AWOL.
43 INT. HALLWAY 43
Victor peeks out the door. An orderly passes, then
disappears. Victor and Cynthia tiptoe out, sprint down the
corridor to a stairwell marked "EXIT", and they are gone.
44 EXT. PARKING LOT - NIGHT 44
Victor takes her hand, and they run towards a battered VW
van. We recognize it and its slogans.
CYNTHIA
Zeke! You've still got Zeke!
She runs her hand along the dusty side lovingly, and then
they hop inside.
45 ON THE REAR LICENSE PLATE 45
Rusted, dated 1973. The van DRIVES AWAY.
CUT TO:
35.
46 EXT. VICTOR'S APARTMENT - NIGHT 46
It's a tacky but cozy building, circa 1958. "Zeke" pulls up,
rattling to a coughing halt. They get out, head up the
steps.
47 INT. VICTOR'S APARTMENT - NIGHT 47
They come in, turning on lights. It's a dingy couple of
rooms, but lush with its variety of objects. Everything
looks like it came from the Age of Aquarius: beanbag
furniture, paper "Tiffany" shades on hanging lights,
blacklight posters, hanging macrame planters.
Cynthia loves the room and everything in it. But she is
particularly drawn to a canvas on an easel in the far corner.
48 PAINTING - HER POV 48
It's of her, sitting serenely in a meadow, the Unity House
perched prominently on a hill in the distance. (In the
doorway, the bare-chested FIGURE of a man may--or may not--be
barely visible.) Cynthia's clothes in the painting are the
ones she wore in the opening scene.
But her face is that of today's Cynthia.
49 BACK TO SCENE 49
VICTOR
I... did it by memory. I tried to
imagine... what you'd... look
like today. Guess I came pretty
close.
CYNTHIA
It's beautiful. More beautiful
than I ever was.
VICTOR
(softly)
Then you need a new mirror.
she smiles, flattered. Suddenly a CAT jumps up on a crate.
VICTOR (CONT'D)
That's Chairman Meow.
Cynthia picks him up. Victor takes out a bottle of tequila
and two glasses.
(CONTINUED)
36.
CONTINUED:
CYNTHIA
You still haven't told me how you
lived. I really can't remember
anything about the... accident.
VICTOR
It wasn't an accident.
She stiffens. His eyes are far away.
VICTOR (CONT'D)
A lot of people back then, they
hated Unity House. Hated Harris
and his dreams... dreams of
peace... of oneness. That hate
fed negative energy into the cosmic
vortex... Something bad was bound
to happen. That hate was so
strong... so envious of what we
had...
He has SQUEEZED the shot glass in his hand so hard that it
EXPLODES. Cynthia JUMPS, and that's when he notices it.
VICTOR (CONT'D)
(very normal)
Oh, fuck--
CYNTHIA
You've cut yourself--
She comes over, binds his hand with a dishcloth. He holds
onto her.
VICTOR
I guess talking about the past can
be a little dangerous.
He pours a shot into the remaining glass.
VICTOR (CONT'D)
Let's drink to the present.
(pause)
To us.
He SIPS. Passes the glass to her.
50 CYNTHIA 50
She hesitates... smiles. Drinks.
There is a drop of blood in the glass. She doesn't see it.
(CONTINUED)
37.
CONTINUED: (2)
CYNTHIA
To us.
51 BACK TO SCENE 51
VICTOR
(quietly)
To... Unity.
He pulls her close. They KISS... she seems to malt in his
grasp. The cat jumps down. Slowly they kiss and touch each
other. They stop and stare into each other's eyes.
He moves his hand over her shoulders, neck, through her hair.
She is completely his.
DISSOLVE TO:
52 INT. BEDROOM - LATER THAT NIGHT 52
Half a dozen candles illuminate the room.
Cynthia and Victor are making love. Not violent, but slow,
passionate, dreamlike. They are completely enjoying each
other. The satisfaction seems spiritual. They stare into
each other's eyes the entire time. They are lost.
Gradually Victor's rhythm builds. As his momentum increases,
as the ecstasy nears, Cynthia accelerates too. Heaving,
gasping, they are approaching a beautiful climax.
But just when it seems Victor is on the verge, the very
threshold, he stops and JUMPS violently out of bed.
VICTOR
Oh Jesus!
CYNTHIA
Victor?
Victor paces around the room, practically bouncing off the
walls.
VICTOR
Oh, my God. I can't believe it.
What a great idea...! Too amazing!
Too amazing!
CYNTHIA
Is something wrong?
(CONTINUED)
38.
CONTINUED:
VICTOR
Not wrong, Cynthia...right! The
most right thing in the world!
He goes to his closet and pulls out a shoe box. He holds it
with a coy expression, like a kid hiding a frog. Cynthia's
annoyance with the break in mood fades in light of his
exuberance. Their tone with each other remains loving,
kidding.
CYNTHIA
Are you going to tell me your
little secret, or should I just got
dressed?
VICTOR
I'm sorry, Cyn, but I just got the
most incredible idea. It's
absolutely beautiful! Do you want
to know what it is?
CYNTHIA
(exasperated)
Yes!
He sits on the bad.
VICTOR
I was just thinking about what we
were doing here together...
CYNTHIA
I should hope so...
VICTOR
Wouldn't it be incredible if, right
at the perfect moment right when
we're coming, if we did it?
CYNTHIA
Did what?
VICTOR
What we were meant to do, of
course.
CYNTHIA
(puzzled)
...meant to do...?
(CONTINUED)
39.
CONTINUED: (2)
VICTOR
That sunset. That last night. At
Unity House. Remember?
CYNTHIA
No... No, Victor, I don't...
VICTOR
(distant)
They all got to go. You and me...
we got left behind... while they
went on.
(chuckling)
Guess that's why they say life
ain't fair. Well...
He opens the box. Inside it are TWO PISTOLS.
VICTOR (CONT'D)
--we can fix that.
CYNTHIA
(stiffening)
My God, Victor! Put those away--
He ignores her, checks the cylinder on the revolver, the clip
on the automatic.
VICTOR
This is so great! I mean, I've
been living with all this shit,
thinking about you, searching...
going nowhere. And you, hell, you
don't fit in with Ralph and Miriam,
those other flakes... Berrisford
and Goldman, they're a waste of
time--
CYNTHIA
H-how do you know about them? I
never--
He SLAMS the clip home, CLOSES the cylinder.
VICTOR
Yeah. We had the answers, way back
then. Unity. Unity, now and
forever. Cynthia, this is our
second chance!
She shrinks away from him on the bed. He bounces closer like
a kid at a pajama party, holds out one of the pistols.
(CONTINUED)
40.
CONTINUED: (3)
VICTOR (CONT'D)
Okay, you do me, and I'll do you--
but wait until I say go! Hey, get
rid of the sheet... Let me see
that grown up body...
He grins, puts the gun to her head and gets an top of her.
CYNTHIA
No, Vic. Please. Please! I don't
want to do this!
VICTOR
Yes, you do. You know you do.
CYNTHIA
No!
He's holding her down. He's getting into it.
VICTOR
Oh, Cynthia, it's so beautiful.
CYNTHIA
God, God, no--
VICTOR
We're on the edge of space and
time.
He spreads her legs under the sheets. She's struggling
against him, but it's no use. He's too strong. He's coming
closer.
VICTOR (CONT'D)
Oh, good... good... ummm...
ummm...
(continuing)
Cynthia, it's happening. Put the
gun to my head.
CYNTHIA
Jesus, Vic, no!
VICTOR
Yeah, oh yeah... oh, YEAH--
A SHOT sounds. She SCREAMS--
CUT TO:
41.
53 INT. BEDROOM - NIGHT 53
Cynthia BOLTS up out of bed.
CYNTHIA
No!
The candles are out. Victor isn't in the room.
Cynthia, drenched with sweat, slowly catches her breath. She
looks around, confused.
CYNTHIA (CONT'D)
Vic?
She goes into the other room.
54 INT. LIVING ROOM 54
No Vic. It is dark except for a FIRE in the fireplace. The
flames REFLECT oddly on the slick surface of the oil painting
of Unity House.
CYNTHIA
Vic?
She checks in the kitchen. Nothing. She looks back in the
bedroom. The apartment is empty.
She's just calming when--MEEOW! The CAT LEAPS out of
nowhere, startling her, and then running out of sight.
She swallows. Very nervous now, she sits on the couch and
starts pulling on her jeans and shoes. The CAMERA MOVES
AROUND her, revealing the entire apartment. We see EVERY
ANGLE. It is completely quiet and still. The CAMERA SETTLES
at one ANGLE on Cynthia. A shadow behind her MOVES.
VICTOR
Where are you going?
Cynthia JUMPS from fright.
CYNTHIA
Jesus, Vic. I thought you... left.
VICTOR
Me? Leave you all alone?
He pulls her into his arms. She hesitates.
(CONTINUED)
42.
CONTINUED:
CYNTHIA
Vic? Vic, are you... happy?
VICTOR
That...
(kissing her)
...has to be..
(kissing again)
...the stupidest question I ever
heard...
He keeps kissing, caressing.
CYNTHIA
I mean... with... life. With...
being alive.
He looks at her oddly.
VICTOR
What are you talking about?
CYNTHIA
(relaxing)
Never mind... I had this...
bizarre dream...
VICTOR
Welcome to reality.
He touches her soft face. He runs his hands down her neck.
They kiss again, she now completely without reservation.
Their embrace is so all-encompassing that, when she opens her
eyes, it's only then that she SEES
55 CLOSER 55
She is kissing a BURNED AND SCARRED FACE WITH ONLY CLUMPS OF
PUPPY BLACK MUSCLE HANGING ON THE BONE. It is Harris' face,
the face we saw in the elevator. Cynthia GASPS, fumbles
backwards off of the sofa.
VICTOR (CONT'D)
What's the matter?
She looks back up at him. He's Victor again, normal again.
VICTOR (CONT'D)
Cynthia?
She knocks over a tequila bottle. It's spilled all over the
floor. She is speechless. He picks the bottle up.
(CONTINUED)
43.
CONTINUED: (2)
VICTOR (CONT'D)
Why did you pull away?
CYNTHIA
I... I think I'd better go.
VICTOR
Why?
She's over by the door. Victor comes and presses against it
so she can't get out.
CYNTHIA
Please let me out.
VICTOR
I don't understand... What did I
do?
CYNTHIA
Nothing. It's not you, it... it's
me. I just want to go.
VICTOR
You know, maybe you belong in that
clinic, because this, this is
crazy! We were having a good time--
(on her look)
I'm sorry. Look, what we were
feeling... it was special.
She softens--
VICTOR (CONT'D)
--it was Unity.
(distantly)
Unity, Now and through Eternity...
Cynthia, you cannot run...
That does it. Pale, she scrabbles at the doorknob, opens it,
runs out.
VICTOR (CONT'D)
You cannot run... You belong to us
Forever--!
56 EXT. STREET - NIGHT 56
She runs out of the building, past "Zeke." She looks back.
(CONTINUED)
44.
CONTINUED:
57 THE APARTMENT--HER POV 57
Victor is in the window waving, firelight dancing behind him.
The reflection on the glass makes the painting on the wall
look totally aflame.
ETHEREAL SITAR MUSIC UP OVER THE FOLLOWING SEQUENCE:
58 EXT. HIGHWAY - NIGHT 58
Cynthia has her thumb out as the cars whizz by. One stops.
59 INT. CAR - NIGHT 59
A sweaty-looking DRIVER eyes Cynthia. She just looks off,
depressed and afraid.
60 EXT. PARKING LOT - DAWN 60
She gets out of the car and goes in the main entrance.
61 INT. HOSPITAL HALLWAY - DAWN 61
She makes her way to her room looking tired, distraught.
62 INT. CYNTHIA'S ROOM - DAY 62
She lies on her bed, exhausted, trying to sleep. She can't.
She gets out of bad.
63 INT. HOSPITAL HALLWAY - DAY 63
She's looking for an office. She goes in one marked Dr.
Goldman. He looks up from his coffee, sees her ashen
expression... pulls out a chair. Listens as the words
tumble out. His expression changes... to skepticism... and
then, as she breaks down SOBBING, to concern. He holds
her... thinks...
...reaches for his car keys.
CUT TO:
45.
64 INT. ALAN'S CAR - DAY 64
They are travelling along the highway. Cynthia POINTS. He
turns onto another street.
65 EXT. VICTOR'S APARTMENT - DAY 65
They pull up in front, park. Go inside.
CAMERA LINGERS long enough for us to notice a puddle from an
OIL LEAK exactly where "Zeke" was parked.
THE MUSIC FADES OUT.
66 INT. APARTMENT CORRIDOR - DAY 66
The MANAGER, a fat woman in a muumuu, waddles ahead of them,
a huge keychain CLINKING with each of her steps.
MANAGER
Apartment 2-B, right?
Alan looks at Cynthia.
CYNTHIA
Right.
MANAGER
2B or not 2B, that is the question.
She chuckles at her own wit, arrives at the door. Opens it.
67 INT. APARTMENT - DAY 67
They step inside. The place is completely bare. No
furniture. Nothing. Cynthia is stunned.
CYNTHIA
B..but... it... it's empty!
MANAGER
Of course it is. I don't show
rented apartments. Anyway, what
you see is what you get... one
bedroom, gas range, yadda yadda
yadda.
(MORE)
(CONTINUED)
46.
CONTINUED: MANAGER(CONT'D)
Supposed to be six months minimum,
but you seem like nice kids, so if
you want a month to month, we can
work it out.
CYNTHIA
This... this is impossible...
Alan, I was here... He was here-
Cynthia is staggering around the room, looking everywhere.
She stares long and hard at a DUST-FREE rectangle where the
painting...
...might have been.
ALAN
(to the manager)
How long has this place been
vacant?
MANAGER
'Bout six weeks. Couple a
deadbeats... their damn kids tore
the hell out of it, too--
CYNTHIA
Alan, I don't care what she says,
this is it! Look, look--
(pointing)
There's a double-door closet in
there on the left.
Alan goes in.
68 INT. BEDROOM - DAY 68
Alan looks and sees the closet as she described it.
69 INT. LIVING ROOM - DAY 69
CYNTHIA
(as he comes back out)
Well?
ALAN
Cynthia, a double closet isn't
exactly a positive I.D.--
MANAGER
What are you two talking about? You
wanna rent, or what?
(CONTINUED)
47.
CONTINUED:
Cynthia looks around, suddenly points to a stain on the rug,
triumphant.
CYNTHIA
There! There, look--that's where I
spilled the tequila...
(on her knees, desperate)
See? See? It's still wet!
MANAGER
(apologetic)
Hon, I think that's from the
ceiling...
CAMERA TILTS UP. There is, indeed, a corresponding damp spot
directly above the one on the rug. As we WATCH a DRIP plops
down.
MANAGER (CONT'D)
...damn plumber was supposed to fix
it last week.
(smiling)
So! We in business?
CUT TO:
70 INT. BERRISFORD'S OFFICE - DAY 70
Wasserman SLAMS his hand down on the desk, furious. Cynthia
JUMPS, squeezes Alan's hand. Berrisford sits quietly, leans
forward and picks up the pan holder Wasserman has displaced.
WASSERMAN
Twelve hours! You wait twelve
hours to tell me about this? Am I
supposed to be grateful for your
civic-mindedness? I told you the
Unity House case was still open--
(pointing at Cynthia)
--and she's the only lead. You
should have called me the minute
you found out--
BERRISFORD
(calmly)
Found out what? Lieutenant, if I
called the police every time one of
my patients experienced a fantasy
or a delusion, you'd have to move
in here--
(CONTINUED)
48.
CONTINUED:
CYNTHIA
(sharp, stepping forward)
It was not a delusion! Victor
Lunes was here--
BERRISFORD
The security guard didn't see
anyone--
CYNTHIA
Then the security guard needs
glasses! Alan, tell them--
ALAN
(on the spot)
The apartment did match her general
description--
WASSERMAN
--a one bedroom flat with a beige
rug... that's rather... generic.
CYNTHIA
--Victor isn't generic--
WASSERMAN
Victor is dead! Dead for fifteen
years--
CYNTHIA
--you've seen his body?
WASSERMAN
--it was burned beyond recognition--
but there was I.D.--
CYNTHIA
I knew it--I knew it-
ALAN
Cynthia. Look... we've all done
it... tumbled out of bed positive
that we've just lived something
that was only a dream--
CYNTHIA
(firmly)
Damn it, it wasn't a dream--I was
out there--
(CONTINUED)
49.
CONTINUED: (2)
WASSERMAN
No one's denying you flow the coop,
Miss Weston... You wanna prove the
rest? Lemme get a policewoman to
stand by while a gynecologist
checks out your plumbing. We'll
see soon enough if your ghost left
a calling card--
Cynthia hauls off and gives Wasserman a tremendous SLAP.
CYNTHIA
You bastard.
She goes to the door, looks at the doctors.
CYNTHIA (CONT'D)
You...
(searching)
--experts!
She goes out, SLAMS the door. Wasserman rubs his jaw, checks
his mouth.
BERRISFORD
Wonderful! Wonderful! I've been
waiting and waiting for her to
finally show real anger--real
emotion! This could be a
breakthrough!
(sincere)
Thank you, Lieutenant.
Wasserman holds a filling in his fingertips.
WASSERMAN
Hey. Anytime.
CUT TO:
INT. THERAPY ROOM - DAY
CAMERA PANS past a row of PILLOWS. We WIDEN, see that each
member of the group has a big pillow in front of them.
ALAN
Okay. First off, we're all going
to feel a little silly and maybe
look a little silly...
(CONTINUED)
50.
CONTINUED:
RALPH
(a la Groucho)
Especially in that shirt you're
wearing, Goldman...
70A NEW ANGLE - FAVORING CYNTHIA 70A
She sits, looking very distracted. As Alan continues
speaking, he occasionally looks at her, but--to her relief--
deliberately doesn't single her out.
ALAN
(amused, but pushing on)
--but this technique works, and
we're going to release some of our
hidden aggression. Who's going to
go first? Lana?
LANA
(pause)
How many helpless goose had to die
to fill those stupid pillows?
ALAN
(as everyone groans)
None, Lana. They're polyester.
Ed? Want to start?
ED
Nah. Let's talk about the geese
again. Nice fat ones, with all the
trimmings--
ALAN
All right, how about if we all
start together and eliminate the
wimp factor. Come on.
He starts POUNDING his pillow with a steady beat. Gradually,
self-consciously, the others JOIN in except for Cynthia.
ALAN (CONT'D)
(standing, walking around
the circle)
Okay. What are we feeling?
CONNIE
(as she pounds)
We used to do something like this
in the royal palace in Atlantis.
But we used bags of dried kelp.
(CONTINUED)
51.
CONTINUED: (2)
RALPH
Your brain is a bag of dried kelp--
ALAN
(chiding)
Ralph. Miriam?
MIRIAM
(pounding)
I'm pretending this is my first
husband... No, maybe my third...
(grinning)
Can I have a baseball bat?
ALAN
Please, people, let's work at being
serious.
He moves behind Cynthia, who's still unmoving. Leans close,
whispers.
ALAN (CONT'D)
I know you had a rough night. But
you have to participate.
She sighs, starts to pound the pillow. At first she's very
distracted, but then she gets into an unconscious rhythm...
70B GROUP - QUICK SHOTS 70B
All of them are finally and legitimately exorcising personal
demons.
ALAN (CONT'D)
Okay, that's better. Now let's
hear some emotion. Let it out.
yell! Scream!
Miriam gives a very theatrical scream. There's some
laughter, but others try, too. Gilda begins to give little
angry yelps. Ralph is really punching some ancient enemy.
Connie does a respectable if modest SCREAM. Ed SNARLS with
more anger than we'd expect.
70B CYNTHIA 70B
begins hitting the pillow with growing strength. Her eyes
are far away. She begins to BREATHE HEAVILY. CAMERA
TIGHTENS ON HER. She closes her eyes. When she opens them,
she REACTS TO--
52.
75 INT. UNITY HOUSE COMMON ROOM - NIGHT 75
The scene in exactly like the first time we saw this room
with one difference: the hospital Group Therapy crowd sits in
the room. They are oblivious to the change around them. Now
their pounding gradually UNIFIES, becomes a background voodoo-
like DRUMMING.
Cynthia is speechless. She looks at then in amazement, but
none of them notice her. Suddenly she sees
75A HARRIS 75A
He's across from her, SMILING. Again, he sleeks back his
hair in that amber liquid.
HARRIS
You failed me, Cynthia... You
failed all of us...
Harris holds a wooden match. With it he presses back a
fingernail. It snaps off and bleeds. Harris watches
Cynthia.
HARRIS (CONT'D)
We were supposed to be together...
in this world... and in the next...
CAMERA WIDENS to take in the cistern of liquid. We SEE the
dripping wet Unity members.
HARRIS (CONT'D)
It was going to be perfect, all of
us taking the same journey... You
shouldn't have run. You made us
wait for you while you slept...
all those years.
He presses back another nail SNAP. CAMERA WIDENS FURTHER.
Now we see something we didn't see before: a dozen or so
PLASTIC JERRY CANS marked "GASOLINE--DANGER--PLAMMABLE."
HARRIS (CONT'D)
The waiting time is over, my
lovechild. It's time for you to
join us. In Unity...
Another. SNAP. Hands and faces everywhere are soaked. They
DRIP.
(CONTINUED)
53.
CONTINUED:
HARRIS (CONT'D)
In death. You know you want it.
SNAP. Drip.
75B CYNTHIA 75B
Her throat muscles constrict, but she can't speak. She looks
over at Alan, who seems not to see any of this. Now, eyes
widening in horror, Cynthia LOOKS DOWN and sees a POOL OF
GASOLINE SPREADING TOWARDS HER. It washes against the
pillow, her knees.
75C BACK TO SCENE 75C
HARRIS (CONT'D)
You know we're your family...
SNAP. Drip.
HARRIS (CONT'D)
...You have no choice...
He takes the match and strikes it through the pile of nails.
The nails scatter.
HARRIS (CONT'D)
...Come to us, Cynthia. It's time
to die. Don't lot another take
your place. Come to us... now.
The match is lit. He throws it off.
76 SLOW MOTION 76
It FALLS through the air. Lands on the soaked carpet. An
EXPLOSION of flames. They RUSH TOWARDS CYNTHIA--
CYNTHIA
NOOOOOOOOO--!
It is a blood-curdling and heart-stopping a scream as ever
heard.
There is a FLASH of light.
CUT TO:
54.
77 INT. THERAPY ROOM - DAY 77
Cynthia's SCREAM trails off as she THROWS herself back from
the pillow.
The Unity House Members and Harris are all gone.
The group therapy people all turn to her in amazement.
77A MIRIAM 77A
Open mouthed, she DROPS the match she's holding to light a
cigarette. It SIZZLES on the rug. Alan STOMPS it out,
rushes over to Cynthia, who SAGS in his arms,
CUT TO:
77B INT. ALAN'S OFFICE - DAY 77B
Cynthia sits in a crumpled sprawl in Alan's office. The room
is decorated in comforting tones, with Sierra Club posters
and outdoors-y souvenirs. The late afternoon sun steams in
through the partially closed blinds.
Alan sits beside Cynthia on the couch, concerned. Berrisford
sucks on his pipe, makes notes.
Wasserman, rocking on the legs of his chair, jots in his own
little notebook.
CYNTHIA
(softly, tense)
...They... they sang songs as they
stacked up the white containers...
they were... happy. Because it
was going to be their break with
the world... a world that didn't
understand them. I don't remember
if they took a vote or if Harris
just... decided. But they all
agreed. They were... happy...
smiling... laughing... crying from
happiness as he drenched them in
the gasoline...
WASSERMAN
(under his breath)
--Jesus--
(CONTINUED)
55.
CONTINUED:
CYNTHIA
Somehow, I... I knew it was
wrong... I ran... When he threw
the match, I was at the other end
of the hallway... There was a
flash... and a... like a wind, or
the hand of God--picked me up,
threw me... The ceiling fell in...
When I opened my eyes...
(she looks up)
I was here.
Hettie appears in the doorway, tray in hand, raises her
eyebrows inquisitively at Alan. Alan nods immediately: Hell,
yes. Hettie comes in, gives Cynthia her medication.
Wasserman closes his book, looks thoughtful.
ALAN
(to Wasserman)
If that's what happened, why didn't
you find any evidence of arson?
WASSERMAN
The plastic jerry cans would've
burned up before anything else...
We knew there'd been an
explosion... We just didn't know
how or why.
Berrisford stands, approaches Wasserman as the police officer
closes his book, moves to the doorway.
BERRISFORD
Well. You must be pleased.
Closing a case after... what is it,
twelve years?
WASSERMAN
Who says it's closed?
The medical people look at him. Cynthia's thoughts are
elsewhere.
ALAN
What's that supposed to mean?
WASSERMAN
When the fairy princess here woke
up, she said she didn't remember
anything about 32 deaths. Now she
remembers they committed suicide...
(MORE)
(CONTINUED)
56.
CONTINUED: (2) WASSERMAN(CONT'D)
but she, of course, was innocent.
Who knows what she'll remember
tomorrow? Running for help... or
pouring gasoline on the fire?
He goes out.
HETTIE
That man's a candidate for shock
therapy... with a car battery
right to the cojones.
CYNTHIA
No... he's right. I am guilty.
They look at her, startled.
CYNTHIA (CONT'D)
I'm guilty of lying... to Unity
House. I promised to be part of
it... Forever. They expected me
to keep my word.
(pause)
They still do.
She stands, goes out. Alan and Hettie look worried.
Berrisford looks... unsurprised. He turns to Alan.
BERRISFORD
Well, Alan. Still think she
doesn't belong in the group?
Alan just looks at him.
CUT TO:
80 INT. LOCKER ROOM - DAY 80
Cynthia, in her bathrobe, wanders out of the shower in
between the dark, steamy rows of lockers. She passes Lana
and Miriam. Miriam is dressing, and Lana is putting on a
swimsuit.
MIRIAM
Nothing like a hot shower, huh?
Cynthia doesn't hear or see them. She settles on the far end
of the bench. She sits there blankly. Lana nears, with
great trepidation.
LANA
Cynthia? Cynthia? Are you okay?
(CONTINUED)
57.
CONTINUED:
Cynthia looks up.
CYNTHIA
What?
LANA
Are you all right? After that
session today, I--
CYNTHIA
I'm fine.
Cynthia starts to dress, ignoring Lana. Lana stands there
for a moment, very awkwardly.
LANA
I think... you're a decent
person... not a... mean spirited
witch like some people...
She thrown a look at Miriam, who just smiles pleasantly.
LANA (CONT'D)
--and, well, if you need a friend
here...
CYNTHIA
(distant tone)
All my friends are dead.
Rattled, Lana backs off, on the verge of tears, rushing past
Miriam, who has observed all this.
MIRIAM
Lana, wait a minute, she didn't
mean it--shit.
Miriam closes her locker and comes over to Cynthia.
MIRIAM (CONT'D)
I know Lana's a mealy-mouthed
little prude, but she means well.
I probably pull her chain too
much... She's reaching out, like
all of us. Try and help her.
CYNTHIA
I can't even help myself.
Miriam looks at her, puzzled, then exits the locker room,
heading back to the ward.
(CONTINUED)
58.
CONTINUED: (2)
Beyond the lockers, through a doorway, we see Lana lowering
herself into the pool. Blue ripples line the wall beyond.
DISTANT VOICES
(echo affect)
Be cleansed!
The SOUND of the VOICES unnerves Cynthia. She presses her
hands against her forehand in pain.
We are TIGHT ON Cynthia. We hear SPLASHING.
VOICE
Cleanse the heart of your mind.
A bright white light melts across Cynthia's face. She looks
up. Something draws her forward.
80A CYNTHIA - SIDE ANGLE 80A
She begins walking, passing behind CLOTHES RACKS and LOCKERS.
Then, somehow, the SHADOWS of these things become the SHADOWS
of TREES, and then Cynthia is
80B ON A BROAD FIELD 80B
which leads down to a POND. Twenty or so PEOPLE are gathered
at the edge of the water. We see the Unity House in the
distance.
Cynthia moves behind a tree to watch. Harris stands waist-
deep in the pond. The Unity House Members all sit or stand
on the shore. Harris holds his hands out in a gesture. A
girl comes forward through the group out into the water. It
is Cynthia, the younger Cynthia, with long hair in a braid.
She smiles at Harris as she nears him. He clutches her
hands. Behind the tree, Cynthia watches "herself," absorbed.
Harris looks into Cynthia's eyes. He touches her face.
HARRIS
Cynthia. You are part of the
whole.
He grabs her by the back of the head and plunges her
violently under water.
HARRIS (CONT'D)
Cleanse the heart of the mind!
He yanks her up. She smiles exultantly. He dunks her back
down.
(CONTINUED)
59.
CONTINUED: (3)
HARRIS (CONT'D)
Cleanse the soul of the self!
He yanks her up again, but it's not Cynthia. It's LANA.
Before she can catch her breath, she's plunged back down.
80C LANA - CLOSER 80C
She's yanked up, but this time she's not in the pond, she's
in that gasoline-filled cistern!
HARRIS (CONT'D)
Cleanse the spirit of the body!
He holds her under. She starts to move her arms around to
grab hold of something to pull herself up, but Harris is too
strong. She flails around desperately.
80D CYNTHIA 80D
Alarmed, she moves forward--
80E WITH LANA - UNDER WATER 80E
HARRIS (CONT'D)
(distant)
Cleanse the spirit.
Lana's gasping, inhaling water, turning blue. Harris is
possessed.
HARRIS (CONT'D)
Cleanse.
Her movements slow. Her eyes close. She is completely
still.
80F HARRIS - CLOSE 80F
He looks directly at Cynthia.
HARRIS (CONT'D)
I warned you, Cynthia. I warned
you someone else would take your
place.
80G UNDER WATER AGAIN 80G
His HAND withdraws from Lana. Her eyes OPEN. No life there.
SHE FLOATS UPWARDS. THE CAMERA BREAKS THE SURFACE OF THE
WATER WITH HER.
(CONTINUED)
60.
CONTINUED: (4)
We're in the clinic's swimming pool! On the edge of the
pool, Cynthia SCREAMS, drops to her knees in horror.
80H OTHER END OF BUILDING 80H
The clinic CUSTODIAN and some staff run into the room.
80I SWIMMING POOL - HIGH ANGLE 80I
Someone wades out to Lana's body, drags it to the concrete
deck, tries futilely to pump life back into it.
Across the pool, Cynthia flails at the people trying to help
her.
CUT TO:
80J INT. CYNTHIA'S ROOM - NIGHT 80J
TIGHT on Cynthia's arm as a clear liquid is injected into her
vein. We WIDEN, see Berrisford has injected her. Alan
watches, concerned.
Cynthia flails on the bed, already reacting to the sedative
qualities of the drug.
CYNTHIA
--He killed her--he killed her
because I broke my word... He said
he'd take someone else, and he
did... She wanted my help... my
friendship... That's why... he
took her...
She's out cold. Behind the doctors, in the doorway, the
other clinic patients press close, curious. Hettie pushes
them out and down the hallway.
HETTIE
Move it, people, this ain't a
sideshow... Get back to your
rooms...
Alan looks down at Cynthia with genuine concern. But
Berrisford eyes her totally clinically.
BERRISFORD
(thinking aloud)
Fascinating.
(MORE)
(CONTINUED)
61.
CONTINUED: BERRISFORD(CONT'D)
She's a textbook specimen from a
collective environment, an
immersion philosophy, run by an
extremely manipulative figurehead
with Messianic delusions. Unity
House at its apex must have been a
classic matrix of belief impression
overlaid on collectivity--
(exciting himself)
That would indicate she's
symptomatic of a hypothetical
Borderline Personality syndrome
among cult followers, all
externalizing their anxiety!
(turning)
What do you think?
Alan looks at him disbelievingly.
ALAN
(exploding)
I think she's fucking freaked out
about Lana!
BERRISFORD
(a shrug)
Possible.
88 INT. HALLWAY - DAY 88
The patients file past the nurse's station, taking their meds
from Hettie. They look unsettled.
ED
(aside to Ralph)
Did you see the swimming pool this
morning? The cops are all over
it... Fingerprints, photographs...
RALPH
Next they'll send in the fucking
coast guard. Lot of good it'll do
Lana.
HE SMASHES his fist on the counter, denting it. Hettie looks
at him.
HETTIE
Ralph, we're gonna start billing
you for these outbursts.
(CONTINUED)
62.
CONTINUED:
Ralph just crumples his medication cup and throws it towards
her. She glares at him, doesn't say anything.
88A NEARBY 88A
Cynthia and the other women from the group sit in a waiting
area. Connie sits in a sunbeam, looking ethereal. Gilda is
nearby, unmoving... tear stains on her cheeks.
CONNIE
Drowning isn't so bad... I
remember when I died in Atlantis...
It was like failing asleep. You
know what's bad? Burning. When I
was in the great Fire of London,
well, let me tell you--
Hearing this, Cynthia chokes back a sob, jumps up and leaves
the room. Miriam whirls on Connie.
MIRIAM
Connie, I don't know about your
previous lives, but in this one,
you're a shithead.
She follows Cynthia.
88B INT. CYNTHIA'S ROOM - DAY 88B
Cynthia is on the bad, crying. Miriam comes in, sits beside
her... Cynthia jumps at the weight on the bad, calms when
she sees who it is.
MIRIAM
Honey, you can't blame yourself.
Lana was an unhappy girl.
Sometimes unhappy girls do foolish
things.
CYNTHIA
She didn't kill herself.
Cynthia sits up.
CYNTHIA (CONT'D)
It was Harris.
MIRIAM
Harris?
(CONTINUED)
63.
CONTINUED:
CYNTHIA
From Unity House. He comes to me,
Miriam. He talks to me. He
reminds me that I was supposed to
go with them that night--
MIRIAM
Go with them--
CYNTHIA
Through the fire. To the next
world. They waited while I was in
a coma... He told me that if I
didn't join him, he would take
someone also... and he did it,
Miriam, he did it!
Miriam gets up, her face a mixture of sympathy... sympathy
and something else. She lights a cigarette. Involuntarily,
Cynthia FLINCHES at the spark.
CYNTHIA (CONT'D)
You... you don't believe me, do
you?
MIRIAM
I believe that you believe it. And
I also believe that shooting you up
every time you get the heebie-
jeebies ain't gonna do shit for
your real problems. We gotta get
you out of here--get you to some
nice place at the beach or the
mountains where you can fight your
demons in your own way. Right?
CYNTHIA
But I don't know anyone. I don't
have any money.
MIRIAM
You know me.
CYNTHIA
(skeptical)
And you have money, right?
(CONTINUED)
64.
CONTINUED: (2)
88C CLOSE ON MIRIAM 88C
MIRIAM
Look. Despite popular opinion to
the contrary, I have not always
been the career borderline
psychotic neurotic that I am today.
Up until a coupla years ago I was a
writer, a reporter, a damn good one
too... Hell, I really kicked some
ass with that Selectric...
She seems lost in thought for a moment. Unconsciously, she
scratches her wrist... a wrist where we notice for the first
time a PURPLE SCAR across the veins.
MIRIAM (CONT'D)
(turning)
I was on the staff of a magazine...
Well, some people called it a rag,
but it was home: ME! Magazine. You
heard of it?
CYNTHIA
(shaking her head,
diplomatic)
I was in a coma.
MIRIAM
Oh, right. Well, when they took me
off to the funny farm, Saul--he's
the editor--he said I was always
welcome back. Maybe this is the
time. See, if I can go to him,
tell him your story, I could get a
big advance... I'd share it with
you, and we'd be set! I mean,
girl, your story has everything...
death, hospitalization, weird
rituals, maybe a little romance--
I've seen all those longing glances
between you and Goldman-
CYNTHIA
What--!
MIRIAM
--and now with poor Lana we got a
little mystery. Hell, you're not
an article, you're a goddamned mini-
series!
(CONTINUED)
65.
CONTINUED: (3)
CYNTHIA
I... I don't know...
MIRIAM
Cynthia, let me be honest. This is
a great story, and it means a
second chance for me, so, okay,
there's some self interest here.
But I really think you need to tell
people about Unity House... about
the way decent ideas and dreams got
twisted into something sick and
poisonous. You owe it to the
world. You owe it to yourself.
It's your life, and you have to ask
yourself how you want to live it...
(sharper)
--if you want to live it.
Cynthia turns, mind made up.
CYNTHIA
Let's do it.
CUT TO,.
92 INT. HALLWAY - DAY 92
Cynthia walks along with Miriam towards the banks of
elevators.
MIRIAM
I think I know a way to make a
phone call. We'll have you out of
here tonight.
Miriam suddenly stops, almost paralyzed with anxiety.
MIRIAM (CONT'D)
Cynthia. This is the right thing
to do.
CYNTHIA
Of course it is.
MIRIAM
Uh oh. Mum's the word.
Alan is coming down the hallway towards them. They move
towards the elevator.
(CONTINUED)
66.
CONTINUED:
ALAN
(nodding)
Ladies. Good to see you
socializing, Cynthia.
CYNTHIA
Yes.
(to Miriam)
See you later. And... thanks.
MIRIAM
Thank you.
Miriam then gets into the elevator. The doors remain open,
Alan turns to Cynthia.
ALAN
How are you feeling?
CYNTHIA
Fine.
ALAN
Good.
He heads off in the opposite direction. Cynthia watches him.
She turns back towards Miriam. Miriam is alone in the
elevator except for one other person.
Miriam smiles and waves.
Cynthia smiles and waves.
From behind Miriam, Harris, all burned and puffy, smiles and
waves.
The elevator doors close.
CYNTHIA
No!
Alan whirls around. Cynthia rushes to the elevator.
CYNTHIA (CONT'D)
Miriam! Stop!
She bangs on the buttons. She pounds on the doors. Everyone
in the corridor turns to look.
ALAN
Cynthia?
(CONTINUED)
67.
CONTINUED: (2)
He starts to approach. She runs to a stairwell.
93 INT. STAIRWELL 93
Cynthia sprints down a flight. She goes out onto
94 INT. HALLWAY, ONE FLIGHT DOWN 94
Cynthia runs to the elevator and pounds on the button, but
the elevator car has already passed.
CYNTHIA
(yelling into the door)
Miriam, get out!
She races back to
95 INT. STAIRWELL 95
She flies down the steps. We can hear ALAN tailing her.
ALAN'S VOICE
Cynthia!
She swings around a turn into a flight and trips. Suddenly
she's ROLLING DOWN A
96 EXT. HILLSIDE - NIGHT 96
She SLAMS into a tree. We see the Unity House in the
distance.
VOICE
Cynthia!
ANOTHER VOICE
She's trying to get away!
There are PEOPLE pounding through the brush all around her.
She gets up and runs along the path into the forest.
VOICE
Cynthia! We want you to stay with
us! You mustn't be afraid!
She is in total panic, running blindly.
(CONTINUED)
68.
CONTINUED:
CYNTHIA
Please, no.
Branches thrash her face. She can barely see where she is
going, but she comes to a halt when she reaches a dark
precipice, a cliff which seemingly has no bottom--just black
as night.
The people are getting nearer.
FEMALE VOICE
She's over here.
We see someone nearing through the brush.
HARRIS
No pain, Cynthia. There's no pain.
Come with us. Share with us. Take
my hand.
Cynthia looks down the cliff.
ORDERLY'S VOICE
Take my hand.
Cynthia backs away. She starts lowering herself down, trying
to get footing. Some rocks slide out.
97 INT. STAIRWELL 97
ORDERLY
Cynthia, take my hand.
The Orderly rushes to her, but she wavers dizzily and FALLS
down the half-flight. She's dazed, but she becomes alert
when she sees the orderly approaching. She picks herself up
and runs.
98 INT. TENTH FLOOR CORRIDOR 98
She gets to the elevator. The door is just closing, but it
opens again against a purse--Miriam's purse. The elevator is
empty. Cynthia whips around looking for her. Orderlies and
nurses are moving towards her.
At the opposite and of the hallway, a window is broken.
Cynthia runs to it. There is a WOMAN'S SCREAM from the
street below. PEOPLE YELLING. Cynthia looks out and down.
We know what she sees. She covers her face.
(CONTINUED)
69.
CONTINUED:
An orderly takes hold of her. She is docile now, almost
weak. Alan runs up. He looks out the window. So does a
Nurse.
ALAN
Jesus.
The nurse crosses herself. Cynthia is escorted away amid the
confusion.
99 EXT. SKY - DAY 99
The CAMERA IS MOVING FORWARD, TOWARDS the window.
It seemingly goes OUT THROUGH THE WINDOW.
The FRAME is filled with bright blue sky.
Silence, except for a slight BREEZE.
Someone is falling through the sky. It is MIRIAM.
We see her CLOSER, flowing down, the wind rushing up round
her. She is happy.
MIRIAM
Cynthia, it's really quite
beautiful.
The ground comes rushing up and we SLAM into it.
BLACK.
FADE IN:
99A INT. THERAPY ROOM - NIGHT 99A
It's not a session. It's a wake. Cynthia sits, face half in
shadow.
CYNTHIA
They want us all now. They want us
with them. Whether we like it or
not, we're going,
ALAN
Cynthia, we're all upset by what's
happened. But let's not get--
(CONTINUED)
70.
CONTINUED:
CYNTHIA
Harris promised us eternal bliss on
the other side when we're all
together.
CONNIE
Eternal bliss....
RALPH
Eternal bullshit--!
CYNTHIA
Miriam was going to write a story
about me. He killed her because
she was going to help me got out of
here.
ALAN
Cynthia, please...
CYNTHIA
You're not listening to me! He
wants us all to die! He wants you
all with them, and it's because of
me!
(sobbing)
It's all because of me...
Berrisford addresses a pack of about thirty REPORTERS and
PHOTOGRAPHERS and CAMERAMEN.
FIRST REPORTER
Dr. Berrisford, what would you call
two suicides on your promises so
close together?
BERRISFORD
I'd call it a tragic coincidence.
Unfortunately, Borderline
Personality Disorder is indicative
of a pre-existing disposition
towards suicidal tendencies.
SECOND REPORTER
What about the commune girl? Has
she confirmed that the fire was
some sort of mass suicide?
BERRISFORD
As that is a police matter, I am
not at liberty to comment on it.
(CONTINUED)
71.
CONTINUED: (2)
FIRST REPORTER
Speaking of the police, doctor,
isn't it true that they suspect
that the recent deaths may not have
been suicides at all?
BERRISFORD
That's completely absurd. Where do
you get this nonsense?
FIRST REPORTER
(a smug smile)
From Lieutenant Wasserman. He
confirmed to me that he's assigning
some of his officers to the
hospital grounds until further
notice.
Pandemonium as the other reporters seize this information.
REPORTERS
(rapid fire)
Doctor Berrisford, are you
cooperating with the police? Dr.
Berrisford, do your patients have a
history of violence?
BERRISFORD
Ah... I have work to do. No
further questions.
And--flustered for once--he leaves the room.
CUT TO:
107 INT. CYNTHIA'S ROOM - NIGHT 107
It is raining. Cynthia sits in bed, in the dark.
We see the CHARRED AND BURNED HARRIS sitting across the room
in a shadow. Cynthia looks over at him.
HARRIS
You're in pain, Cynthia.
He reaches up to his face, and peels off some skin. It
CRACKLES and oozes. He peels off more.
HARRIS (CONT'D)
Your pain is my pain. We share it
all, because we have our love.
(MORE)
(CONTINUED)
72.
CONTINUED: HARRIS(CONT'D)
Our love will never die. Don't
make me take another of your
friends. Keep your promise,
lovechild. Join me.
She stands, fumbles for the switch, knocks over a glass, and
turns on the light.
He is gone. As she stands there in shock, a HAND touches her
shoulder, spins her around. She GASPS--
It's Alan, who's just opened the door. He looks at her,
worried.
ALAN
I didn't want you to be alone.
She sways, dizzy, sags in his arms.
ALAN (CONT'D)
Looks like I was right.
CUT TO:
108 INT. CONNIE'S ROOM - NIGHT 108
Connie is sitting on her bad. She takes her pills from
Hettie dutifully. Ed comes in.
HETTIE
What are you doing here?
ED
You know me at feeding time.
He takes his meds from her, smiling. CHEWS THEM loudly and
sloppily until she grimaces and goes out.
Then, the minute the door closes, Ed and Connie are in each
other's arms. They kiss like characters in a Harlequin
Romance.
CONNIE
(coming up for air)
Why didn't you tell me before that
you were a Prince of Ancient
Atlantis?
ED
It slipped my mind ... your
Highness.
(CONTINUED)
73.
CONTINUED:
She kisses him passionately again. He breaks the clinch,
pulls her towards the door.
ED (CONT'D)
They'll have bed check soon. I
know a better place.
109 INT. CYNTHIA'S ROOM - NIGHT 109
Alan site on the counter across from Cynthia's bed. He plays
with the hinged mirror on the wall.
ALAN
I don't know if you want to hear
this or not, and frankly, I don't
care.
As he toys with the mirror, we see a CANTED REFLECTION of
first Cynthia and then the hallway. A nurse passes by.
109A ON CYNTHIA 109A
As she listens.
ALAN (CONT'D)
You are no more responsible for
those deaths twelve hours ago than
you are for the ones twelve years
ago.
Something catches her eye.
109B IN THE MIRROR 109B
Connie and Ed walk by.
ALAN (CONT'D)
Thinking otherwise is putting you
in a self-replicating spiral of
depression. And that puts me in a
bind... What do I do, write more
prescriptions? You need to face
reality, not get medicated out of
it...
Cynthia GASPS. HARRIS HAS APPEARED IN THE MIRROR, following
Ed and Connie.
(CONTINUED)
74.
CONTINUED:
109C BACK TO SCENE 109C
Cynthia jumps up, heads for the door. Alan catches her by
the wrist,
ALAN (CONT'D)
Damn it, Cynthia, you can't run
away from this--
CYNTHIA
It's Harris--he's going to do
something to Connie--to Ed--!
Alan SLAPS her. She pales... tries to hit him back.
ALAN
Good! Get mad--get angry--but not
at me--at these fantasies--!
She stands on rocky feet, unsure...
112 INT. HALLWAY - NIGHT 112
Connie and Ed come to a door marked "Utility." Ed looks
around cautiously and opens the door, relieved that it's
still unlocked.
113 INT. UTILITY ROOM - NIGHT 113
Once inside the small space, he kisses Connie. He pulls out
a pint flask of schnapps from his bathrobe pocket. He gives
her a swig.
CONNIE
(wistful)
Nectar from the grapes of Atlantis!
ED
No fooling you.
He leads her back to a door that's labeled "DANGER:
Authorized Personnel Only." The lock is busted open. They go
in.
75.
114 INT. TURBINE ROOM - NIGHT 114
There are metal grating steps leading up to a platform that
sits adjacent to a huge spinning turbine, its six-foot blades
WHIRRING at top speed. Air ducts lead in and out of the
space.
Connie is uplifted, frightened, exhilarated. Their clothes
and hair are blown around. They ascend the platform, and sit
across from each other. They each take a swig. They kiss
softly, spiritually.
ED
I'm so happy.
115 INT. HALLWAY - NIGHT 115
The door to the utility room CLOSES. It LOCKS.
116 INT. TURBINE ROOM - NIGHT 116
Connie and Ed stare into each other's eyes. They are lost.
The CAMERA MOVES IN AND OUT between and around them,
exploring the depth of their absorption. The CAMERA MOVES
TOWARDS the huge spinning turbine. Its SOUND builds to a
tremendous ROAR.
We see Connie and Ed through the door into the turbine room.
The door is pulled closed by someone or something. The knob
locks.
117 INT. CYNTHIA'S ROOM - NIGHT 117
Cynthia keeps looking at the door, worried.
ALAN
Miriam and Lana were both deeply
disturbed women. Miriam tried to
kill herself before. Lana was
obsessed with the morbid... You
heard her in the sessions. You
can't twist what they did into
something other than what it was.
Just then, all the lights go OUT.
(CONTINUED)
76.
CONTINUED:
ALAN (CONT'D)
Now what?
In the darkness, he stumbles towards the light, flicks it.
Nothing. The door OPENS. In the dim light of the hallway
emergency lamps, we SEE Cynthia go out.
ALAN (CONT'D)
Damn it, Cynthia, come back--!
Trying to follow, he COLLIDES With some furniture.
ALAN (CONT'D)
Shit--!
118 INT. HALLWAY - NIGHT 118
Darkness and confusion. Cynthia passes by the CAMERA. A
moment later Alan comes by, looking for her. Other patients
come out and wonder. Flashlights. A NURSE streams by.
NURSE
It's just overloaded circuits.
Everyone, please go back into your
room.
CAMERA ADJUSTS to show an elderly, skeletal custodian, EDGAR,
on the phone.
EDGAR
The turbine room upstairs? All
right.
(he hangs up)
We'll set it straight in a minute.
Somethin's caught in the turbine.
NURSE
Hurry.
120 INT. HALLWAY - NIGHT 120
Edgar comes up to the utility door, but it won't budge.
EDGAR
Goddammit.
He walks off.
77.
121 INT. UTILITY TUNNEL - NIGHT 121
This is a low passageway between floors. Edgar has to stoop
under the ducts and pipes. He comes to a small hatchway in
the coiling above him marked "CAUTION: Turbine."
There is a latch which has to be pulled to release the
hatchway. Edgar pulls. It's stuck. He yanks with his frail
body. The latch barely moves.
A TRICKLE OF BLOOD streams out at the edge, but Edgar doesn't
see it.
Edgar yanks and pulls with all his might, groaning and
heaving. Finally he stops in frustration. He sits an a
duct, resting.
Just then the latch undoes itself. The hatchway slams open.
Edgar is showered with red lumpy fluid. He is coated with
it.
EDGAR
What the hell?
Edgar looks down. In the pool of red is a woman's shoe.
Puzzled, he bends down, picks it up. Something FALLS OUT OF
IT.
121A ON THE FLOOR 121A
It is a SEVERED HUMAN FOOT.
121B ON EDGAR 121B
as he reacts in shock, the spinning turbine begins to
SPLATTER DROPS OF BLOOD on him.
CUT TO:
122 INT. HALLWAY - NIGHT 122
Cynthia comes towards us. Alan, further down the hall, sees
her.
ALAN
Cynthia--!
Cynthia turns, reacts... and then reacts to--
(CONTINUED)
78.
CONTINUED:
CONNIE'S VOICE
Cynthia. Cynthia.
CYNTHIA
Connie?
She goes into another corridor. Alan hurries to catch up,
but then has to help a nurse with a frightened OLDER WOMAN.
122A ANOTHER CORRIDOR - WITH CYNTHIA 122A
CONNIE'S VOICE
Cynthia.
Cynthia moves down the hall a bit. She looks up at the
coiling.
123 ANGLE - THE AIR VENT 123
CONNIE'S VOICE (CONT'D)
Cynthia, we're up here!
Down the hall further, another vent.
ED'S VOICE
Come with us, Cynthia!
CONNIE'S VOICE
You must join us, Cynthia!
Cynthia follows the voices. She is underneath another larger
vent with a fan spinning inside. Everyone in the hall
ignores her.
HARRIS' VOICE
Cynthia, you must reach out and
embrace our love for you... You
must reach out to me...
We see Harris now, behind the fan, in brief flashes of light,
burnt then normal, gazing down at Cynthia. He reaches
towards her.
CYNTHIA
Where are Connie and Ed?
His fingers ARE SLICED OFF BY THE FAN. He takes no notice.
HARRIS
They're with us now.
(CONTINUED)
79.
CONTINUED: (2)
We hear SPLASHING. Cynthia looks over. Gallons of blood and
solid matter pour out of the ceiling vents all down the hall.
CYNTHIA
Where are they?
(she is frantic)
Where are Connie and Ed? Where are
they?
Alan wonders at the pouring red, then he hears Cynthia
screaming. He runs down the hall to stop her.
The patients and nurses watch the blood pour in horror.
Cynthia is getting more and more hysterical.
CYNTHIA (CONT'D)
Where are Connie and Ed?
Alan corners her.
ALAN
It's all right--it's all right--
Suddenly, out of nowhere, a BL00D-COVERED BODY careens into
them, driving them apart!
123A ANGLE 123A
It's Edgar, covered with blood, in a total state of shock.
EDGAR
--horrible--sweet Jesus--help me--
Alan struggles to restrain him. Nurses run to help.
123B CYNTHIA 123B
Huddles on the floor in a position not unlike the one from
her coma. She SOBS uncontrollably.
CUT TO:
123C INT. CORRIDOR - NIGHT 123C
Alan and an orderly escort Cynthia to her room. Alan comes
out, watches Edgar pass by in a wheelchair, raving. Ralph
and Gilda come up to Alan.
RALPH
What the fuck is going on?
(CONTINUED)
80.
CONTINUED:
GILDA
It's Ed and Connie. They're dead,
aren't they?
Alan looks at her. How did the grapevine got it to her so
fast?
ALAN
Yes. We're not sure what
happened... There was evidence
that they were drinking... They
fell into... the main turbine.
RALPH
Fuck... Look, Ed drank before.
Lots of times. Didn't know that,
did you? But he didn't usually
decide to jump into a mix master,
man!
ALAN
Ralph, as for your own safety, you
are being given the most amount of
protection possible.
GILDA
The police are powerless. Ask
Cynthia. She knows.
(softly)
Harris wants us all.
Ralph looks at Gilda with almost as much dismay as Alan.
RALPH
Jesus Fucking Christ! I'm getting
the hell out of here.
Ralph storms out.
125 INT. HALLWAY - NIGHT 125
As Ralph moves along, a paunchy POLICEMAN intercepts him.
RALPH
Now what?
COP
Lieutenant Wasserman assigned me to
you. Where you go--
(CONTINUED)
81.
CONTINUED:
RALPH
I get the picture. Try not to
shoot me or your fat ass, okay?
CUT TO:
126 BERRISFORD'S SILENT IMAGE ON A VIDEO SCREEN 126
127 INT. CYNTHIA'S HOSPITAL ROOM - NIGHT 127
The newscast continues silently on the TV in her room. She
is getting dressed. She peaks out the door.
128 INT. HALLWAY - NIGHT 128
The Policeman assigned to her is down the hall a ways,
chatting with a nurse. Cynthia slips out and down the
corridor.
She waits for an elevator. When a door opens, she tries to
inconspicuously slip inside but she finds herself face to
face with Alan who in just getting out of the elevator. He
holds a grocery bag.
ALAN
Isn't this a coincidence?
CYNTHIA
I'm getting out of here.
He takes her arm and starts leading her back to her room.
ALAN
Believe it or not, this is the
safest place for you to be. The
police are here. There are doctors
here. And I'm going to keep you
company, all night. I even brought
provisions.
He shows a variety of fast food.
ALAN (CONT'D)
Pure unadulterated junk. At this
point, who cares about the
chemicals?
She smiles slightly. He holds his arm out for her like a
swain escorting his date. She takes it in a similar spirit.
(CONTINUED)
82.
CONTINUED:
The policeman comes out of Cynthia's room, looking for her in
alarm. He's instantly relieved to see her there with Alan.
Alan directs her inside. She goes. Alan gives the Policeman
a look.
ALAN (CONT'D)
Try harder next time.
He goes into her room, leaving the embarrassed cop behind.
Suddenly the LIGHTS RETURN with an eye-jarring FLASH. The
cop has his revolver halfway out of the holster before he
realizes what it is.
128B INT. CYNTHIA'S ROOM - NIGHT 128B
They both react to the returned power with relief. Alan
takes the stuff out of the bag: chips, dips, cookies, six-
packs of beer. He offers some of the chips. She shakes her
head. The TV's still on. Alan switches channels with the
sound muted.
CYNTHIA
(with frightening
casualness)
Connie and Ed aren't going to be
the last.
ALAN
Yes, they are. Everyone's under
protection. Nothing can happen.
CUT TO:
128C CLOSE UP - A KNIFE 128C
pointing upwards. An outstretched hand SLAMS itself down,
the blade impaling through the palm. The hand squirms its
fingers a bit, then pulls off.
130 INT. RALPH'S ROOM - NIGHT 130
He gets up clenching the perforated hand. He is very calm.
He closes the knife and puts it in a drawer.
Suddenly, violently, he kicks a trash bin. Then he is calm
again.
Ralph's assigned Policeman pokes his head in the door.
RALPH'S POLICEMAN
Everything okay?
(CONTINUED)
83.
CONTINUED:
Ralph sticks his hand behind him. He is very friendly, very
normal. He smiles.
RALPH
Yes, thank you, officer. Hey,
lemme buy you a cup of coffee.
RALPH'S POLICEMAN
(shrugging)
Sounds good to me.
131 INT. HALLWAY - NIGHT 131
Ralph comes out of his room. Ralph's policeman is beside
him. His hand bleeds, but goes unnoticed.
132 INT. CYNTHIA'S ROOM - NIGHT 132
Alan lies back in front of the TV, eyes closed, SNORING.
Sympathetic, Cynthia slips the remote control from his
hand... then there is a KNOCK at the door. She goes there,
finds Ralph, who steps inside.
RALPH
(to his cop)
Just a sec.
CYNTHIA
Ralph? What is it?
RALPH
Nothing. I just came to tell you--
(smiling,
conspiratorially)
Everything's gonna be okay.
CYNTHIA
What's going to be okay?
He goes into the bathroom and rinses his blood-soaked hand.
Cynthia sees this.
CYNTHIA (CONT'D)
What happened to your hand?
RALPH
Don't worry. Everything's gonna be
okay.
(CONTINUED)
84.
CONTINUED:
CYNTHIA
Ralph?
Cynthia is mystified. He goes.
133 INT. HALLWAY - NIGHT 133
Ralph walks off, his Policeman following.
CYNTHIA
(yelling down the hall)
Ralph?
134 INT. CYNTHIA'S ROOM - NIGHT 134
She comes in and pokes Alan awake.
CYNTHIA
Ralph was just here. His hand
was... all bloody.
They go to the door and they are immediately faced with
Hettie.
HETTIE
Dr. Goldman, have you seen Ralph?
ALAN
I was going to ask you the same
thing.
She holds up a paper cup with a tablet in it.
HETTIE
He didn't take his four o'clock.
If he misses this one, I'm gonna...
Alan takes the capsule, examines it.
ALAN
Shit! It's his tranquilizer! If he
doesn't take this, he'll completely
flip out--!
Alan and Cynthia run down the hall. Cynthia's policeman
follows.
85.
135 INT. HALLWAY - NIGHT 135
Alan and Cynthia and the policeman scan for Ralph.
CYNTHIA
Look.
136 ANGLE - ON THE FLOOR 136
Every five or six feet along in a line, there is a moderately-
sized droplet splatter of blood. They follow the droplets
along the hallway.
They follow the droplets through a set of double doors.
137 INT. DARK, QUIET HALLWAY - NIGHT 137
Ralph walks along, his policeman trailing. No one else is
around.
RALPH'S POLICEMAN
Are you sure you know where you're
going?
Ralph stops suddenly and turns to him. Ralph smiles warmly.
Suddenly he hits the cop in the head using two fists.
The cop falls.
138 INT. HALLWAY IN CLOSED SECTION OR HOSPITAL 138
Alan and Cynthia's policeman move down the hall, following
the drops, scanning in doorways. Cynthia is just behind
them.
These hallways are unused. Nobody around.
ALAN
Was he behaving strangely?
CYNTHIA
No more strangely than everybody
also in this place.
CYNTHIA'S POLICEMAN
(with walkie-talkie)
I can't get him. He must be shut
off.
(CONTINUED)
86.
CONTINUED:
They pass an open freight elevator. Cynthia looks in it and
stops.
There is a droplet of blood on the floor inside.
CYNTHIA
Hey.
A BLOODY HAND reaches out of the elevator covering her mouth
and pulls her inside.
139 INT. FREIGHT ELEVATOR - NIGHT 139
Ralph holds her, slams the gate closed, and flips the switch.
The car moves down. Cynthia SCREAMS.
140 INT. HALLWAY - NIGHT 140
Alan and the policeman rush up just as the car disappears.
ALAN
Cynthia!
141 INT. FREIGHT ELEVATOR - NIGHT 141
They descend. She wipes blood from her face. He looks
wired.
CYNTHIA
Ralph, we have to go and get your
medication.
She slowly moves to the control panel. He watches her. Just
as she is about to reach the buttons, he violently pushes her
back.
RALPH
Relax.
He smiles.
142 INT. BASEMENT - NIGHT 142
The elevator comes down to a stop. Ralph throws the door
open. It is a huge dark space, a vast store room. Cynthia
won't come out. Ralph gestures politely.
(CONTINUED)
87.
CONTINUED:
CYNTHIA
Ralph, I'm not going out. We have
to go back upstairs.
Ralph grabs her firmly and pulls her out.
CYNTHIA (CONT'D)
Ralph, please!
RALPH
I have to talk to you.
He leans in the elevator, opens the control panel and yanks
some wires. Sparks fly. The HUM of the elevator motor dies.
Cynthia is panicked.
RALPH (CONT'D)
It's very, very, very, very, very
important that I talk to you.
CYNTHIA
Ralph, you're not being yourself.
Can't you tell?
RALPH
No! This is the real me!
He flies across the basement and, grabbing a chair, smashes
the control box for the electric cargo door, the only other
entrance.
He darts up a storage aisle. He rips a phone off the wall.
RALPH (CONT'D)
I come down here a lot. It helps
me unwind.
Cynthia can't see him. He wildly paces up and down the
storage aisles. Cynthia starts to cry.
CYNTHIA
Ralph, please! How do we get out?
RALPH
It's been said by better men than
me in better ways in better times--
there is no way out!
She goes to a barred window.
CYNTHIA
Help!
(CONTINUED)
88.
CONTINUED: (2)
Ralph goes into a rage. He pushes over a huge storage shelf.
Everything spills and breaks. Amid the rubble a pile of
surgical blades lies glinting in a pool of light.
Ralph looks down at it.
Cynthia sees him looking at it. She is afraid. He grabs
some of the blades randomly and disappears. He is walking
crazily up and down the storage aisles. Cynthia only catches
glimpses of him. He jumps up and breaks the individual LIGHT
BULBS which hang on wires, providing the only illumination.
The space grows DARKER. All the while, Ralph talks and
talks.
RALPH
There are only a few chances for
real glory, and most people fuck it
up. Most people can't even find
the noses on their fucking faces.
(jump, BREAK)
You want an example? How about
EVERY FUCKING DOCTOR in this entire
hospital? Do you think I'm just
going to let myself slowly dissolve
into nothingness here?!
(jump, BREAK)
I'm talking about a glorious glory.
And everybody's trying to drag me
down!
CYNTHIA
Ralph, please, they said you have
to take some pills.
RALPH
Pills have got nothing to do with
it! You know what I'm talking
about!
He jumps, smashes the last bulb. She can't see him.
CYNTHIA
No, I don't. I don't.
RALPH
You do! Real glory, hallelujah!
The great big gig in the sky.
Don't play dumb, Cynthia.
She sees him at the far and of the aisle. His shirt is off.
There are deep, bleeding cuts all over his chest and stomach.
He has blades clenched in both fists.
(CONTINUED)
89.
CONTINUED: (3)
Cynthia is terrified.
RALPH (CONT'D)
I think you know the word I'm
searching for.
He starts making deep slashes on his arm.
RALPH (CONT'D)
U, N, I, T, Y! Unity!
CYNTHIA
Oh God, Ralph! No!
RALPH
Yes, oh, yes! Eternal bliss!
He stops and raises the scalpels to his chest. He jabs them
in and cuts open down to his stomach.
CYNTHIA
Ralph, please, stop!
He swats at the one remaining lamp. It flickers on and off.
Ralph's eyes flutter. He FALLS. Cynthia rushes to him.
CYNTHIA (CONT'D)
Ralph!
He throws a scalpel at her. It misses, but she is spattered
with blood.
RALPH
(fading)
Get back.
Cynthia is crouched down, crying as she watches him.
RALPH (CONT'D)
Join us, Cynthia.
The light flickers off, then on. A hand is on Cynthia's
shoulder. She looks up...
it is Harris.
HARRIS
Join us.
The bulb DIES. Blackness.
(CONTINUED)
90.
CONTINUED: (4)
VOICES
Join us.
CUT TO:
144 INT. CORRIDOR - NIGHT 144
Wasserman rushes in, raincoat over a pajama shirt and chino
slacks. Another POLICEMAN rushes to meet him.
POLICEMAN
They're in the basement. The
girl's alive.
They run on together.
145 INT. BASEMENT - NIGHT 145
Lots of COPS, a few DOCTORS and ORDERLIES. Alan is stopped
by a FEMALE COP.
He looks into the basement area and sees Ralph in a pool of
blood. A POLICE PHOTOGRAPHER is taking pictures of him.
Alan stares at Ralph.
Berrisford is with Cynthia and a nurse. Cynthia is getting
an injection.
Wasserman comes over to Alan and Berrisford.
WASSERMAN
You're running out of patients,
Doctors.
ALAN
What did she say happened?
WASSERMAN
She's having a little trouble with
reality--as usual.
A nurse and an orderly escorts Cynthia towards the elevator.
CYNTHIA
(to Alan)
Goodbye, Alan. Thanks for trying.
But it's time for me to go now.
Alan suddenly realizes what she means.
(CONTINUED)
91.
CONTINUED:
ALAN
I have to go with her. Where is
she being taken?
BERRISFORD
Isolation.
ALAN
(stunned)
Isolation? Are you out of your
mind? That girl needs human
contact--connection--isolation is
the worst thing you can do--
BERRISFORD
Dr. Goldman, I know you're fond of
the girl, but you're out of line.
ALAN
Shit. You want her on the edge,
don't you... You want to play your
theory out to the end--
BERRISFORD
Goldman!
WASSERMAN
(interested)
Theory? Anything I should know?
BERRISFORD
It's an extraordinarily complex
situation, severe identity crisis
compounded with the multiple shock
of these deaths. She's reverting
to this total belief system from
the commune through an intermittent
psychosis that puts ideology above
her life itself--
ALAN
Fuck ideology! Fuck you,
Berrisford! You can't use a human
being as a guinea pig--
(to Wasserman)
You have to stop this. Call it
off--I'll--I'll sign her into
police custody if I can stay on as
her physician--
(CONTINUED)
92.
CONTINUED: (2)
BERRISFORD
Doctor Goldman. I believe your
tenure with my clinic has just come
to an end.
(calling off)
Security? Would you please escort
Dr. Goldman off the premises?
CUT TO:
146 INT. CORRIDOR - NIGHT 146
Cynthia is escorted through the hospital by the nurse and
policeman. She moves without resistance, without emotion.
We hear CRICKETS. Cynthia hovers in a dreamlike calm. The
hospital is a blur as they move through it.
Objects pass in front of our view as we TRACK with her.
Cynthia, the nurse, and the policeman walk up the path to
147 EXT. UNITY HOUSE - DUSK 147
The imposing facade of the old Victorian with its warmly lit
windows looks inviting. The three make their way over the
lawn up the path towards the front porch. An evening BREEZE
is just coming up.
Cynthia looks around, absorbing the environment. The
policeman and the nurse say nothing. Cynthia turns to them.
CYNTHIA
Would you like to come in?
NURSE
No, thank you.
Cynthia steps inside.
148 INT. ISOLATION ROOM - NIGHT 148
The door is closed. It is dark. A video camera hovers
above. We hear keys L0CKING a bolt. Cynthia stand there.
VOICE
It's time, Cynthia.
93.
149 INT. CORRIDOR - NIGHT 149
The nurse puts her keys in her pocket, looks at the
policeman, and goes.
The policeman stays.
CUT TO:
149A INT. BERRISFORD CLINIC - NEAR EXIT - NIGHT 149A
Furious, carrying a carton of personal items, Alan storms
towards the exit. The security guard rises to intercept him.
SECURITY GUARD
--Excuse me, Dr. Goldman?
(apologetic)
I'm going to have to ask you for
your key card.
(apologetic)
Dr. Berrisford's orders. I'm
sorry.
Burning, Alan shifts his package, finds the card, flings it
down on the counter.
ALAN
Tell Berrisford he can use it for a
bookmark. Maybe then he can find
his dick without a road map.
SECURITY GUARD
We're gonna miss you around here,
Dr. Goldman.
Alan manages a smile for the man, goes out.
CUT TO:
152 A DIM, FUZZY VIDEO IMAGE 152
FOCUS DOWN until we realize it is Cynthia lying in her bed.
We are looking at her from directly above. We WIDEN, realize
that we're at a NURSE'S STATION, where Cynthia is monitored
along with other patients. We can see that she is talking.
94.
154 INT. CYNTHIA'S ROOM 154
The only illumination comes from a small lamp near Cynthia's
bed. She seems comparatively alert.
HARRIS' VOICE
You were always the favorite. We
love you. Come with us.
FEMALE UNITY MEMBER
All of us together, that's all
we've ever wanted, isn't it?
CYNTHIA
Why are you doing it to everybody
else? Why don't you kill me?
154A ON HARRIS 154A
His index finger is AFLAME.
CYNTHIA (CONT'D)
Why don't you kill me?
We see the whole room now. It's filled with Unity House
Members, all of them. They're sitting leaning, slumping
everywhere in the shadows. Among them are Connie and Ed.
CONNIE
You have to do it yourself, honey.
When you didn't... he took us
instead. But we're not mad. It's
wonderful here.
FEMALE UNITY MEMBER 2
Death is like this really beautiful
trip Cynthia. We just want to
share
it with you.
Lana and Miriam.
LANA
You mustn't be afraid, Cynthia.
Harris in playing with his burning finger.
MIRIAM
if I can do it, you can do it,
honey.
(CONTINUED)
95.
CONTINUED:
CYNTHIA
Why don't you kill me?
157 INT. NURSE'S STATION - NIGHT 157
A NURSE notices Cynthia's movement on the screen. She turns
the volume up.
CYNTHIA (ON TV)
Why don't you just kill me?!
The nurse gets up. Gilda is standing there. She follows.
Gilda's policeman lurks nearby.
GILDA'S POLICEMAN
Hey.
158 INT. CYNTHIA'S ROOM - NIGHT 158
HARRIS
You have to join us because you
love us. You have to do it for
yourself.
We hear the Nurse UNLOCKING the door.
A MALE UNITY MEMBER looks over at the door. We seem him
momentarily burned.
HARRIS (CONT'D)
You have to do it for yourself--
(smiling)
--lovechild.
We see Harris momentarily burned. He blows his finger out.
CYNTHIA
But I'm so scared.
The Nurse opens the door. The room is empty except for
Cynthia on her bed.
NURSE
You want me to call the doctor,
honey?
Cynthia says nothing.
NURSE (CONT'D)
Try to sleep, all right?
(CONTINUED)
96.
CONTINUED:
Gilda rushes in behind the Nurse, going to Cynthia.
NURSE (CONT'D)
Hey, get out of here!
GILDA
(frantic)
I can do nothing for you now, but
know this--the answer you seek is
inside of you! It is inside you!
Gilda's Policeman comes in.
NURSE
Get her out of here!
He pulls at Gilda.
GILDA
(as she goes)
Know yourself and you will be at
peace! It is so!
The Nurse SLAMS the door closed. Cynthia is alone.
159 INT. HALLWAY - NIGHT 159
Gilda's policeman is on the phone.
POLICEMAN
Yeah, I'm taking her back to her
room... Okay, bye.
He hangs up, looks around. Gilda is gone.
160 INT. HALLWAY - ELSEWHERE - NIGHT 160
We are FOLLOWING GILDA through the corridors back to her
room.
161 INT. HALLWAY - NIGHT 161
Gilda's policeman is still looking for her. She's nowhere in
sight.
164 INT. GILDA'S ROOM - NIGHT 164
Gilda comes in and lies down.
(CONTINUED)
97.
CONTINUED:
Momentary silence.
A shaft of light hits Gilda as someone comes in the door.
Whoever it is nears Gilda. She is calm. She looks over.
GILDA
I know you'd come.
Silence.
GILDA (CONT'D)
But you're too late.
She holds up a bottle of tablets. We fleetingly see the word
"poisonous."
The bottle SMASHES to the floor.
CUT TO:
170 INT. CYNTHIA'S ROOM - NIGHT 170
171 TIGHT ON HER 171
She looks like she's been crying. She stares off into space.
Someone crosses in the shadows to the window.
The rubber edging is slit with a scalpel.
CYNTHIA
It feels good. I know this is
right.
HARRIS' VOICE
That's right. You need our love.
We need your love.
A shadowed hand pushes on the plexiglass. The windowpane
plops onto the pavement below.
A breeze wafts in.
Cynthia gets out of bed and comes to the window. She looks
out onto the evening horizon, refreshed, fully experiencing
the moment.
(CONTINUED)
98.
CONTINUED:
CYNTHIA
I know this is right. We'll all be
together.
CUT TO:
171A EXT. HOSPITAL - NIGHT 171A
Alan comes out, still fuming. He walks along a ways and then
looks at the illuminated SIGN pointing out the way to the
"Berrisford Clinic." Alan stares at it, then in a sudden
release of fury, KICKS it, once, twice, and then he THROWS
his carton at it.
Calming, feeling like an idiot, he sighs.
ALAN
Brilliant. Do we feel better now?
No. Yes. Maybe.
A thought strikes him. He reaches into his shirt pocket,
takes out--
171B TRANQUILIZER - CL0SE 171B
--the one Hettie handed to Alan two long and bloody hours
ago.
171C BACK TO SCENE 171C
ALAN (CONT'D)
(with a shrug)
It's okay, officer. I'll write
myself a prescription in the
morning.
He swallows it, dry, with a loud GULP, Then he picks up his
papers and things, heads for the parking lot.
171D ALAN'S CAR - NIGHT 171D
PULLBACK as Alan unlocks it, his carton momentarily balanced
on the car roof. The door open, Alan gets in, puts his box
in the cluttered back seat. He SHIVERS from one of those
unexpected chills we all get, then puts the key in the
ignition, STARTS the engine, turns on the LIGHTS. Then he
looks up ahead and sees--
(CONTINUED)
99.
CONTINUED:
171E DR. BERRISFORD - HIS POV 171E
Briefcase in hand, crossing the parking lot up ahead, his
long shadow falling across a high retaining wall.
171F BACK TO SCENE 171F
Alan sits, face unreadable. He REVS the engine. Faster.
Faster.
A strange smile crosses Alan's face. He THROWS THE CAR INTO
GEAR.
171G BERRISFORD - CROSSING THE LOT 171G
He taken out his keys, approaches his car... suddenly REACTS
as HEADLIGHTS BLIND HIM--
171H REVERSE ANGLE 171H
Alan ROARS TOWARDS HIM, grinning behind the wheel--
171I BACK TO SCENE 171I
Berrisford gasps, RUNS!
171J THE CHASE 171J
Berrisford dodges in and out of cars, behind lamp posts.
Manic, Alan follows him relentlessly, skidding around turns,
SIDESWIPING as many cars as budget allows. Finally--
171K BERRISFORD 171K
finds himself against a wall--as TIRES SKID in he SCREAMS--
171L INSIDE ALAN'S CAR 171L
He SLAMS Berrisford against the wall. Berrisford's body
SMACKS against the bricks, rebounds onto the windshield,
CRACKING IT.
Alan recoils from the impact, blood on his lips from his own
collision with the steering wheel. He looks at Berrisford,
squirming a foot away with the little life left in him.
Alan CACKLES, gives Berrisford the finger.
Then he throws the car into reverse.
(CONTINUED)
100.
CONTINUED: (2)
171M REAR TIRES 171M
SKIDDING BACKWARDS--
171N BERRISFORD 171N
SLIDES off the car hood, hits the asphalt, his head CRACKING--
171O ALAN'S CAR 171O
RUNS FORWARD AGAIN--
171P BERRISFORD - QUICK CUTS 171P
As the car GRINDS him into the ground, his wrist bones
SNAPPING, ribs CRUNCHING, body TWITCHING. Finally he is
STILL. An artery SQUIRTS fountain-like into the air.
171Q INSIDE THE CAR 171Q
The blood hits the windshield. Idly, distracted, Alan turns
on the windshield wipers...
Suddenly HARRIS sits up in the rear seat, a smile on the
burned and scarred face.
HARRIS
Good work, Dr. Goldman. Now, it's
your turn.
Skeletal hands GRAB Alan's throat. He STRUGGLES. KICKS--out
of the corner of his eye he sees-
171R FRONT OF CAR 171R
Gasoline is flowing over the dented hood and through the
cracked windshield and over the dash and over Alan. More and
more comes.
171S BACK TO SCENE 171S
Holding Alan with one hand, Harris leans forward, pulls out
the cigarette lighter! He holds the GLOWING TIP up in the
air.
HARRIS (CONT'D)
Need a light?
He presses the burning tip against Alan's gasoline soaked
CREEK. It SIZZLES--Alan SCREAMS--
(CONTINUED)
101.
CONTINUED: (3)
171T CAR - LONG SHOT 171T
It EXPLODES--
CUT TO:
171U ALAN - IN HIS CAR 171U
He jerks his head up, face drenched in sweat. He's still in
his original parking space! He's never even started the car!
Gasping for air, still freaked, he opens the door, tumbles
out.
171V PARKING LOT 171V
The box of his possessions is still on the roof of the car.
Alan sees this, staggers against the car, fights a wave of
nausea. Struggling to remain composed, he takes his pulse.
Feels his head. Suspicion crosses his face. Then his hand
moves to his shirt pocket.
171W FLASH CUT 171W
of himself taking the pill by the clinic sign.
171X BACK TO THE PRESENT 171X
fingers down his throat. He HEAVES his guts out beside his
car... but when he straightens up, he's clear eyed and lucid.
He turns, runs like hell towards the clinic.
171Y INT. CLINIC PHARMACY - NIGHT 171Y
RON, the pharmacist, looks up as Alan storms inside.
RON
Goldman, you look like shit--
ALAN
(pushing him aside)
Show me the scrips for the therapy
group--
RON
Come on, man, I can't do that--
it's Berrisford's show all the way--
Ignoring him, Alan finds the files.
ALAN
Shit, this is all standard stuff--
(CONTINUED)
102.
CONTINUED:
RON
What do you expect?
ALAN
Do you fill these prescriptions?
RON
Nah, Berrisford does it. He comes
in every morning and sets up the
medication for the day--Hettie
takes it as she needs it--
ALAN
Fuck!
He turns, tries to open the glass case with the prearranged
trays. It's locked. He grabs a paperweight, SMASHES THE
GLASS.
RON
Hey--!
Alan pulls out the tray, scans it. He grabs Ron by the
collar, shoves the files into his face.
ALAN
Read it. Pesco, Ralph--
RON
He's dead--
ALAN
READ IT! What's he down for?
RON
Ah, Lithium--four times a day--
Alan grabs the tray, holds up a pill.
ALAN
Is that Lithium?
RON
Fuck, no--that's Endoral--the
complete opposite--one of those,
even a normal person would flip
out--
ALAN
Tell me about it--
(CONTINUED)
103.
CONTINUED: (2)
Alan looks at the tray and its compartments labeled for Lana,
Miriam, Ed... all the others. Alan GRABS them all.
ALAN (CONT'D)
What's this? And this? And this?
RON
This is, uh, dextroamphetamine...
Christ, take one of these and you
can walk on the ceiling. Holy
mother. Methylphenidate! Don't
mass with that fucker. Clonodine!
Chlorapromazine! Preludin? Shit,
I didn't know they still made
that... Two of these and Mother
Teresa would turn into a maniac!
Alan in having convulsions of horror.
181 FLASH CUTS - ON MIRIAM AND LANA - 181
they swallow medication.
182 ON BERRISFORD - 182
he pulls bottles off the pharmacy shelves.
183 ON CONNIE AND ED - 183
they swallow medication.
184 ON BERRISFORD - 184
he hands the bottles of medication to the pharmacy
administrator.
185 ON NURSE WITH RALPH'S PRESCRIPTION - 185
Alan grabs it away.
186 ON BERRISFORD 186
he injects Cynthia with medication.
RON (CONT'D)
Tetrahydrocannabinol! Do you know
what that is? Liquid condensed
marijuana! Just thinking about
that stuff gets you wasted.
Alan runs out.
(CONTINUED)
104.
CONTINUED: (3)
RON (CONT'D)
Hey, Goldman, come back here!
Who's gonna clean up this mess--?
187 INT. HALLWAY - NIGHT 187
Alan running faster.
188 INT. NURSE'S STATION, ISOLATION WARD - NIGHT 188
Hettie is standing smiling in the middle of the hall. Alan
nears.
HETTIE
You're not supposed to be here, Dr.
Goldman, are you?
Alan turns. Two SECURITY GUARDS are coming.
ALAN
Please, Hettie, I need your help.
189 INT. CYNTHIA'S ROOM - NIGHT 189
She is at the window, facing out.
VOICE
Now.
190 INT. HALLWAY - NIGHT 190
Alan rushes over to Cynthia's door and pounds furiously.
ALAN
Cynthia! Cynthia!
The two security guards start running over. One of them has
his gun drawn. Alan wants to run, but he sees there is no
way out. He sticks his hands in the air. The guards are
upon him. They start leading him away.
NURSE
Sometimes doctors got personally
involved. I think it's a mistake.
You've got to keep professional.
(CONTINUED)
105.
CONTINUED:
HETTIE
Get some rest, Goldman. You look
like shit.
He looks back at Hettie. He sees a fire alarm.
Suddenly, he grabs one of the Guard's guns. He dives against
the wall and pulls the fire alarm.
All of the Isolation Ward doors open. BELLS and SIRENS go
off. Red lights FLASH on and off.
HETTIE (CONT'D)
Oh, no!
Alan runs from the guards, shooting but missing. He runs up
the hall in the opposite direction of Cynthia's room.
He hides in a doorway. They pass. He heads back up to
Cynthia's room. He grabs the cop's chair and runs into
191 INT. CYNTHIA'S ROOM - NIGHT 191
He slams the door and rams the metal chair log into the bolt
latch to secure the door. SIRENS and BELLS continue. Alan
looks over. The room is dark, except for the red light
flashing on and off. Cynthia is crouched in the far corner
by the open window.
We can see that the room is otherwise empty of anybody.
CYNTHIA
Get out of here. I want to do it!
ALAN
(going to her)
No. Cynthia, please. I'm not
going to be able to come back, but
you have to listen! Berrisford's
been tampering with the medication
for everybody in the group--that's
why they've been committing
suicide--he's been making them
crazy--
CYNTHIA
But Harris comes to me... He
speaks to me--
(CONTINUED)
106.
CONTINUED:
ALAN
A drug induced psychotic state is
very suggestible. All we've
hearing for days is "Harris,
Harris,"... so that's what we all
saw... That's what I saw when I
took Ralph's pill! It's all part
of Berrisford's plan--he has this
fucked-up theory about how you
still think you're part of the
Unity House, and the only way he
can prove it is if you want to kill
yourself!
Behind Alan, the dark shape of Berrisford emerges from
outside the window. It is climbing inside from the ledge.
ALAN (CONT'D)
Do you hear me?! He's going to
want you to kill yourself! He's
recreating the whole thing for you!
But you can't listen to him!
Cynthia is getting hysterical. Berrisford stands behind Alan
with a scalpel.
BERRISFORD
Dr. Goldman.
Alan turns around.
Berrisford bashes him in the head, neatly slicing off some
skin. Alan flies against the wall.
The gun is knocked away.
Alan writhes a little, then dips into unconsciousness,
Cynthia is a basket case. She looks at Alan.
CYNTHIA
No... no... no...
Berrisford comes to her and starts giving her an injection.
She calms herself. She looks at him dreamily.
191A CYNTHIA'S POV 191A
She sees Harris gazing at her lovingly.
(CONTINUED)
107.
CONTINUED: (2)
HARRIS
Only one thing matters.
She touches his face.
CYNTHIA
Our love. We'll be together. All
of us.
Berrisford taken Alan's gun.
192 INT. CYNTHIA'S ROOM - A FEW MINUTES LATER 192
Alan comes to. The ALARMS and BELLS are still ringing.
Cynthia and Berrisford are gone.
ALAN
Shit!
193 INT. HALLWAY - NIGHT 193
The corridors are run amuck with isolation patients (the
worst kind) all escaped from their rooms. Alan runs out of
Cynthia's room. He is surrounded by bizarre-looking people
screaming, singing, dancing, praying.
Hettie is by the stairway helping Isolation patients exit.
HETTIE
One at a time! No pushing! Please
do not use the elevator!
Alan is frantically looking for Cynthia and Berrisford,
checking everywhere, pushing open doors.
The security guards are at the far end of the hallway. Alan
goes to Hettie.
ALAN
Where's Berrisford?
HETTIE
This is your fault! These goddamn
doors won't re-lock!
ALAN
(furious )
Where is he? He's going to kill
Cynthia! Tell me where he is!
(CONTINUED)
108.
CONTINUED:
HETTIE
I haven't seen him!
The guards see Alan. They come after him. He runs.
Alan scans every room. He slams into patients. The guards
aren't far behind. Alan turns a corner, passing a door
marked "NOT AN EXIT: ROOF ACCESS." It is ajar. He goes in
without the guards seeing him.
194 INT. STAIRWAY - NIGHT 194
It is dark, but the red lights FLASH. He runs up several
flights. The landings face onto the outside with a railing,
open, no glass.
He turns a corner. Cynthia is there.
She in perched on the outside of the railing, a serene
expression on her face, the wind blowing her frail white
gown.
Alan freezes. He moves towards her slowly, hands
outstretched.
ALAN
(soothingly)
Cynthia, take my hand... Just
relax... Think about what you're
doing... Stay calm... I want you
to take my hand...
She watches him blankly. She turns to someone behind Alan.
CYNTHIA
It's so beautiful.
Alan turns. There on the stair above is Berrisford, his face
dancing in the flashing red light.
ALAN
(to Berrisford)
You piece of shit!
Cynthia lets go.
Alan reaches out.
ALAN (CONT'D)
No!
(CONTINUED)
109.
CONTINUED:
195 FALLING 195
It is a dizzying spiral. We hear the WIND RUSHING up as we
go FASTER AND FASTER down. We SLAM into the ground.
CYNTHIA'S HEAD hits rock.
196 ON HER FACE 196
She is still. Blood drips out her nose and mouth. She is
dead. We HOLD ON HER until gradually bright light pours in
over her. The CAMERA LIFTS UP revealing
197 EXT. UNITY HOUSE - DAY 197
Cynthia rises and walks towards the house through a field in
the foreground.
She walks up the porch.
198 INT. UNITY HOUSE ENTRANCE - DAY 198
She opens the door. Everything is clean and fresh. Flowers.
Light. Birds CHIRPING.
Harris is at the far and of the hall. There is an intense
white light behind him. He is smiling beatifically. Cynthia
goes towards him. As she nears him, she reaches out her
hands. He does too. They clasp.
ALAN'S VOICE
Cynthia!
Suddenly she FALLS.
She drops and dangles in the night air against
199 EXT. HOSPITAL BUILDING - NIGHT 199
She is unconscious. She swings twelve stories above the
pavement.
The CAMERA FOLLOWS UP her arm to her hand grasped tightly by
Alan's hand. We CONTINUE UP TO Alan.
ALAN
Cynthia! Open your eyes! Open
your eyes!
(CONTINUED)
110.
CONTINUED:
He is over the railing holding on with his other hand.
Cynthia is coming to.
ALAN (CONT'D)
Pull up! Pull yourself up so I can
got a grip on you!
CYNTHIA
Let me go.
ALAN
No!
CYNTHIA
Let me go. I saw it. It's
beautiful.
ALAN
You didn't see shit! Hold on!
BERRISFORD
Eternal bliss.
CYNTHIA
Yes! I want to go! Let me go!
BERRISFORD
(coming forward)
Let her go. She needs it.
ALAN
No! Cynthia, Harris doesn't exist!
He's dead! Look at who that is!
Look at him! Look!
Cynthia looks at Berrisford deliriously.
He CHANGES from Berrisford to Harris with each FLASH. He
comes to the railing where Alan is holding on.
Almost politely, he tries to undo Alan's grip.
ALAN (CONT'D)
Goddamn you! Goddamn you!
Alan's grip on Cynthia slips down to her fingers.
BERRISFORD
Let her go. Let her go and I'll
forget your disobedience.
(MORE)
(CONTINUED)
111.
CONTINUED: (2) BERRISFORD(CONT'D)
You can stay one with me in the
psychosis and cult behavior study.
We'll publish our findings
together--
ALAN
Publish this, asshole!
Alan SWINGS one leg up, KICKS Berrisford in the groin.
Berrisford HOWLS and suddenly his calm demeanor cracks.
Snarling like an animal, he stomps, claws and even bites at
Alan's hand.
ALAN (CONT'D)
(to Cynthia)
Don't you hear him? He's trying to
bribe me--but I'm not letting go!
I'll go with you, but I'm not
letting go!
Berrisford sees the discarded gun... picks it up. He aims
unsteadily... SHOOTS. Alan yanks himself out of the way.
Berrisford misses. Berrisford moves closer. Raises the g=
barrel at point black range towards Alan's hand.
ALAN (CONT'D)
Cynthia, help us! Help us both!
BERRISFORD
You'll be with them, Dr. Goldman,
Be happy.
ALAN
No!
CYNTHIA
S...stop it... Stop it!
Berrisford SHOOTS. One of Alan's finger joints is BLOWN
AWAY. He SCREAMS, his grip loosens, and he SLIDES down the
railing. Berrisford moves several yards to stay close...
begins to POUND on Alan's mutilated hand.
ALAN
Cynthia, don't let him kill you!
Don't let him do this!
CYNTHIA
Unity... It... it's my destiny...
I've fought it too long. Right or
wrong... my death has a purpose...
It will close the book. End the
story.
(CONTINUED)
112.
CONTINUED: (3)
ALAN
Your life has a purpose... to
bring joy and happiness! You're
part of my life now. That's an
unfinished story, too...
She looks at Berrisford viciously pounding on Alan's hand.
CYNTHIA
Let me up. Stop it.
She starts to climb up, but she can't.
CYNTHIA (CONT'D)
Let me up!
BERRISFORD
I'm afraid it's too late for that.
Alan's grip on her slips down to two fingers. They CRACK.
She yells from the pain. She swings in the breeze.
Alan is weakening. He is losing consciousness. He knows he
is about to die.
GUARD
Dr. Berrisford?
Suddenly Berrisford freezes.
He is paralyzed at the sight of one of the guards coming up
the stairs. Berrisford backs away glaring.
Alan GROANS. The guard rushes over.
GUARD (CONT'D)
Jesus
(Yelling down the stairs)
Gomez, get up here!
The other guard appears.
They start helping Alan up by Pulling his arm. As they help
him up, Berrisford, in a state of shock, backs further up the
wall. He leans against the wall and puts the gun to his
head. He trembles. He pulls the trigger.
CLICK.
CLICK, CLICK, CLICK. Out of bullets. The others are too
busy to be noticing what he in doing. Just as they pull
Cynthia to the edge, she looks up to see:
(CONTINUED)
113.
CONTINUED: (4)
Berrisford coming to the railing, and jumping, calmly.
Silently.
GUARD (CONT'D)
Holy shit.
Cynthia numbly watches him fall. Then she in pulled up and
over...
CUT TO:
200 INT. HALLWAY - OVERHEAD - NIGHT 200
Cynthia is plopped over onto a gurney. Lights are passing
her. She is being whisked down a hallway. She is descending
into a haze of unconsciousness.
DOCTOR'S VOICE
I need a detox prep! Stat!
CYNTHIA
It was him...
201 INT. HALLWAY - NIGHT 201
Alan runs alongside the gurney with doctors and nurses. He
clutches bloody bandages to his hand, tries to hear Cynthia.
ALAN
It's okay. It's over. It was
Berrisford. He killed them.
CYNTHIA
Then all those other things...
Faces... voices? They were... in
my head?
ALAN
It was Berrisford. He shot you up
with hallucinogens. What he didn't
do, you imagined.
There is joy through her delirium. She is just able to clasp
hands with him briefly before she disappears behind a set of
double doors.
202 EXT. COUNTRY ROAD - DAY 202
A new station wagon whisks along the pretty road.
114.
203 INT. STATION WAGON - DAY 203
Alan drives, Cynthia looks at a map. They both look relaxed.
They both have bandaged hands.
CYNTHIA
Go right if that's the interstate.
Yeah, it is.
207 EXT. UNITY HOUSE - DAY 207
Through the greenery are the charred and overgrown remains of
Unity House. A chiseled sign embedded into a tree verifies
it. Alan and Cynthia pull up, park. Cynthia gets out and
looks around. She goes to the front entrance. Alan follows
her in.
208 INT. FRONT ROOM - DAY 208
A mere skeleton of what it was. Daylight pours in through
the faded, burnt slats of wood. Patches of woods have
sprouted up. Cynthia wanders in and marvels at it all. Only
piles of charcoal signify where furniture was.
Alan meanders in from the other and of the house.
ALAN
Victorian. Looks like it was a
nice house once.
CYNTHIA
Yes. I guess appearances can be
deceiving.
She moves out upstairs. He follows her up onto the risky-
looking steps.
209 ON THE LANDING 209
She reaches a point at the top that looks out over the meadow
and pond. She looks out. Alan joins her. Cynthia takes in
the view contentedly.
CYNTHIA (CONT'D)
It's dead. It's really dead...
ALAN
What?
(CONTINUED)
115.
CONTINUED:
She gestures to the house around them.
CYNTHIA
It's over.
Alan smiles. He pulls her close to him. They look into each
other's eyes. Neither of them is completely at ease with the
other, but there is honest affection. They hug, then kiss.
210 EXT. UNITY HOUSE - DAY 210
It looks almost tranquil. MUSIC UP.
CUT TO:
210A INT. HOSPITAL CORRIDOR - DAY 210A
Wasserman walks along, accompanied by a uniformed officer.
They go into-
201B INT. BERRISFORD'S HOSPITAL ROOM - DAY 201B
where the doctor is in a bed, one leg and one arm in
traction. He's talking to his LAWYER as the police officers
enter.
LAWYER
(in mid-speech)
--letters of support could have an
influence on the court... You
know, from your peers--?
BERRISFORD
(cutting him off)
I have no peers.
(turning)
Hello, Lieutenant.
(smiling)
Forgive me for not getting up.
WASSERMAN
Real funny, Doctor. Try this for
laughs: As soon as you're
ambulatory, you're going in front
of a Grand Jury, and you're going
to be charged with six counts of
obstruction of justice and two
counts of assault.
(MORE)
(CONTINUED)
116.
CONTINUED: WASSERMAN(CONT'D)
Then it gets choice: five counts of
murder in the first degree, one
count of murder in the second
degree. Add the civil liability to
all that, and you're going to have
plenty of time to write that book.
BERRISFORD
Well. I don't agree with your
definition of justice, but I
suppose I obstructed it... All in
the name of science, of course--
LAWYER
(appalled)
Doctor Berrisford--
BERRISFORD
(hushing him)
--but as to murder, well,
Lieutenant, I beg to differ. I
didn't kill anyone. Why would I?
I'm only interested in knowledge.
Cynthia is a unique girl--the
product of an environment and a
philosophy unrivaled in its purity.
I wanted to understand the depth of
her commitment, the link between
psychosis and total immersion
philosophies, the dark terra
incognita of the human psyche--
WASSERMAN
(fed up)
Hey, go chow on a Latin dictionary,
okay? You can bullshit all you
want, but how do you account for
six bodies?
BERRISFORD
Clearly some unknown variable was a
factor.
WASSERMAN
Yeah? Well, if you didn't kill off
the therapy group, who did?
BERRISFORD
Lieutenant, I'll put it in terms
even a policeman can understand.
He smiles, shrugs the best he can in his plaster cast.
(CONTINUED)
117.
CONTINUED: (2)
BERRISFORD (CONT'D)
It beats the fuck out of me.
CUT TO:
213 EXT. UNITY HOUSE - DAY TRACKING IN 213
214 INT. UNITY HOUSE - DAY 214
Cynthia and Alan are still in each other's arms. Cynthia
pulls away.
ALAN
What's the matter?
CYNTHIA
I was just thinking about Gilda.
Somehow, she knew. She kept
talking about "him," but I didn't
know what she meant. She said the
answer was inside me. Why would
she say that?
Alan doesn't have an answer. She sighs.
ALAN
Let's go.
CYNTHIA
You go down. I'll be out in a
minute. I just want to... bury
some memories.
ALAN
You sure?
She nods. He goes.
Cynthia gives a final look around at the deteriorated
structure and turns down the stairs.
She stands at the top of what remains of the stairs.
We FOLLOW HER DOWN. Just as she nears the bottom, the
TICKING of a clock is audible. It gets LOUDER. Cynthia
reaches the last stop and turns into
118.
215 INT. FOYER - NIGHT 215
We FOLLOW HER with a CONTINUOUS PAN. The foyer is new now,
completely untouched by fire, just as it was at the beginning
of the film. A candelabrum is lit.
Cynthia turns and we PAN BACK TO THE STAIRCASE. It is new,
unburnt. Two KIDS come scrambling down the stairs laughing.
The entranceway, the archway to the front room, the staircase
are all intact, just as we saw them in the opening scene.
CYNTHIA peers into the kitchen. Two WOMEN in work aprons are
kneading bread dough, chopping vegetables. They smile at
Cynthia.
WOMAN 1
Cynthia! Are you staying for
supper?
Cynthia is silent, wide-eyed, taking it all in. She turns
towards the front door. Victor is coming in.
VICTOR
Cynthia. It's good. Come in.
She in unable to resist.
216 INT. FRONT ROOM - NIGHT 216
They walk in. The room is filled with people. There is a
fire in the hearth. Children play. Candles illuminate the
space. Unity Members smile and great her casually as she
passes them.
Miriam in talking with a BEARDED MAN intently.
MIRIAM
Cynthia, I'm so glad you're here.
Ed and Connie are by the fireplace with some others. They
smile at Cynthia knowingly.
Lana is sitting contentedly on the window seat reading with
some children.
Ralph is crouched with victor in a corner. They are laughing
warmly.
(CONTINUED)
119.
CONTINUED:
Gilda comes up to her. She is ebullient, happier, healthier
looking than we've ever seen her.
GILDA
Cynthia, it's so wonderful here,
but we miss you terribly.
Cynthia nears Harris. He smiles at her and kisses her.
Everyone in the room turns to her. Harris holds up a shiny
and sharp knife with ornamentation on the handle. Cynthia
doesn't see it yet.
He puts the pointed tip against her chest.
HARRIS
It's time, Cynthia. It's finally
time, isn't it?
EVERYONE
Yes.
CYNTHIA
(fighting the vision)
You don't exist.
HARRIS
I wouldn't say that.
(he touches her)
Go on. Take the knife.
She can't escape his gaze.
HARRIS (CONT'D)
Do it. You know you want to.
GILDA
You know you do, Cynthia.
VICTOR
You'll see how beautiful it is.
SOMEONE ELSE
You will.
Cynthia clasps her hand around the knife at her chest, Harris
lets go. She holds it there by herself, completely
hypnotized by his words, by his eyes.
MIRIAM
Cynthia, we're only telling you
this because we love you.
(CONTINUED)
120.
CONTINUED: (2)
HARRIS
Beautiful lovechild. All will be
in balance when you've joined us.
All will be right when daughter is
with father.
SOMEONE
You're special, Cynthia.
SOMEONE ELSE
Scared blood... daughter of the
father.
Cynthia in mortified.
CYNTHIA
I'm...?
HARRIS
Now you remember.
CYNTHIA
Yes...
HARRIS
My own beautiful lovechild.
Everyone has proven their love to
me. Now you must.
She is weak now. She is about to do it.
Her grasp tightens around the knife handle. She's trembling.
She takes a deep breath.
CYNTHIA
No!
She jams the knife into Harris' throat and pulls it out.
CYNTHIA (CONT'D)
No I don't! I don't love you! I
don't need you!
She is crazed. She flies around the room brandishing the
knife at everyone. They back off.
CYNTHIA (CONT'D)
I never loved any of you! I hate
you! I hate you all! What you did
was wrong!
(CONTINUED)
121.
CONTINUED: (3)
She swats the knife at them all. Victor's arm gets cut.
Gilda has to dive away from her. Cynthia is knocking over
lamps and chairs in her rage. She is crying hysterically.
CYNTHIA (CONT'D)
It was WRONG! It was stupid!
HARRIS
(saddened)
Oh, Cynthia.
CYNTHIA
I never needed you! Any of you!
We are TIGHT ON CYNTHIA. She is winding down, crying with
her face buried in her arms.
CYNTHIA (CONT'D)
I never did...
She is still. Gradually, the silence fills with a quiet
BREEZE.
ALAN
Cynthia?
She drops the knife. The knife is all rusty and corroded.
The floor is a charred mass.
Cynthia turns around.
Alan comes in the front door. The room is again its empty,
skeletal self, blackened and silent.
Cynthia is trembling.
She walks out of the room.
ALAN (CONT'D)
Are you all right?
CYNTHIA
Let's go.
217 EXT. UNITY HOUSE - DAY 217
She stands on the porch, holding onto a post, trying to calm
herself. Alan comes out. As he starts the car, a gust comes
up. The trees are thrashed around.
The WIND ECHOES through the house.
(CONTINUED)
122.
CONTINUED:
MUSIC UP SOFTLY, EERILY.
Cynthia descends the stairs. The station wagon pulls up.
She gets inside.
218 INT. STATION WAGON - DAY 218
They pull out. Slowly we see Cynthia collect herself. A
sense of hope is evident.
CYNTHIA
It's going to be okay. I'm going
to be okay.
219 EXT. ROAD - DAY 219
The car speeds off trailing dust.
We see the UNITY HOUSE in the distance. The winds kicks up
again.
220 EXT. UNITY HOUSE - DAY 220
We are CLOSER. Branches and leaves are being tossed around
by violent gusts as we MOVE TOWARD the structure.
A teenage GIRL comes running up from the field behind. She
is crying. She runs into the house. We FOLLOW HER.
221 INT. UNITY HOUSE - DAY 221
She goes to a far corner and cries some more, angrily,
hopelessly.
BOY
(far off)
Come on, where are you? I hope
you're not in that house... You
always got like this and make
stupid threats that you don't mean!
The girl peeks out the corner of the window.
222 ANGLE - 222
The TEENAGE BOY is in the field beyond.
(CONTINUED)
123.
CONTINUED:
BOY (CONT'D)
If you're not here on three, I'm
history. Permanently. One...
Two... Three! Fine. Good
riddance.
THE GIRL backs away from the window, only more upset now.
A hand touches her shoulder. She whirls around.
GIRL
(startled)
Who are you?
HARRIS
A friend. You're upset.
She nods.
HARRIS (CONT'D)
What would you say if I could
promise you eternal bliss?
GIRL
Eternal bliss? What do you mean?
TRACKING IN on the old knife an the floor. It begins to
transform from its rusty and corroded state into a new and
shiny knife.
MUSIC UP.
A burned, skeletal hand reaches INTO FRAME and takes it.
CUT TO BLACK.
THE END
