a screenplay by: edward o'toole

8/14/2019 A Screenplay by: Edward O'Toole

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DELIVERED

A Screenplay

By:

Edward O'Toole

NON SERVIAM

http://aestheteka.forumwise.com/



Edward O'Toole Delivered 2.

COPYRIGHT © 2006 BY EDWARD O'TOOLE. ALL RIGHTSRESERVED.

First Draught 2001

First Edition 2006

All rights reserved. No part of this publication may bereproduced, stored in a retrieval system, ortransmitted, in any form or by any means without theprior written permission of the publisher, nor beotherwise circulated in any form of binding or coverother than that in which it is published and without asimilar condition being imposed on the subsequentpurchaser.

All characters in this publication are fictitious andany resemblance to real persons, living or dead, is

purely coincidental.

Thanks to Pyxiedust for editorial comments

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FADE IN:

EXT: CAR, REMOTE COUNRTY ROAD, NIGHT

A dark blue, late-model Passat estate pushes its waythrough the night. Rain, in sheets, hammers on the

bonnet and windscreen as the 2-liter engine vehicleclings to the dark, drenched road leading from themetropolis to the back of beyond. The car's occupants,a young couple in their mid twenties, appear to be awell-matched pair. As the occasional bolt of lightingtears through the sky, their faces and clothing arerevealed.

INT: CAR, CONTINUOUS

The driver, HAROLD MENKHART – a 29 year old junioradvertising exec – is good looking in a non-Hollywood

way; the sort a mother would be proud to display inpublic, but who wouldn't make it as a starring role.His clothing betrays a middle class upbringing and apredilection for the better high street men's shops. Heis wearing a heavy pullover with the collar of a tartanshirt lifted high to his chin beneath. His hands,

GRIPPING THE STEERING WHEEL

As he strives to maintain the car's hold of the wetroad, are medium sized and show none of the marks thatwould be present if he'd ever had to use them for aliving.

The passenger, KATHLEEN Granger,

LOOKS OUT OF HER SIDE WINDOW,

into the stormy night. She, too, is averagely goodlooking, and her cheekbones give her an elf-likeappearance. Her hair, blonde and mostly pinned back ina ponytail, seems alive as she constantly sweeps backfalling strands from her face.

HER HANDS ARE SLENDER

– a pianists – and, unlike her fiancé's, are beginningto show the stress of their daily routine at thepotter's wheel.

With the radio silenced, the sound of rain fallingfills the car. The quiet between the pair isexaggerated by the annoying tone of water on metal. Anargument, a common occurrence between partners andlovers, has taken place. HAROLD, or HARRY as he prefersto be called, is not amused by the situation he findshimself in.




HARRYPicture a man, going on a journeybeyond sight and sound. We joinHAROLD MENKHART as he steps… intothe In-Law Zone.

KATHLEEN

Knock it off, HARRY.

HARRY chooses to ignore his fiancée's wish; instead, hebegins whistling a well-known theme tune between histeeth.

KATHLEEN makes as if to say something further, butdecides against it. She turns back to her staring outof the rain-lashed window; at this exact moment, themonotony of a downpour is more interesting than arecurrent disagreement.

A thought springs up in her mind and she reaches for

the vanity light.

HARRY(Tutting, removing ahand from the wheeland extinguishingthe light.)

Can you not do that? I can't seewhere I'm going.

KATHLEENI need to check the map.

HARRY shakes his head, and then opens the glovecompartment with his still-free hand. The plasticdrawer falls and lands on KATHLEEN's knee.

HARRYThere's a Maglite in theresomewhere.

KATHLEEN looks in disgust at the sweet wrappers, emptycigarette packets and other junk that fills the

courtesy space.

KATHLEENI thought you said you'd cleanedthe car?

HARRYI did. Check the floor. Spotless.

KATHLEEN sighs and risks a rummage through the junk.




HARRY (CONT.)You found it?

KATHLEEN(Shakes her head,holding up apenknife)

Jesus, HARRY. Something couldevolve in here.

HARRY takes a long look at the road ahead, making surethat no curves are looming, then reaches his hand downinto the opened tray. A few seconds of wrapper-noisysearching later, he withdraws his hand and drops acylindrical, metal object into KATHLEEN's lap.

HARRY(Grinning. Impressedwith himself)

See? Told you it was in there.

(Knocking down agear as the estatebegins its approachto a long, steephill.

Still don't understand why you needa map.

BeatThey're your parents.

BeatIt's a good job we've still got

almost a full tank of gas…

KATHLEEN switches on the torch by twisting its smallhead and begins inspecting the Ordnance Survey. Sheflicks a loose strand of her hair from her face.

KATHLEENAre you being chauvinistic?

HARRYWhat?

KATHLEENAre you implying that if I'd beenmale I'd have instinctively knowndirections?

HARRYKatty…

KATHLEENMaybe I don't share the sameabilities as a drone-bee, but thatdoesn't mean…




HARRYForget it, all right?

(Catches a glimpseof KATHLEEN's handin the thin torchbeam.)

Where's your ring?

KATHLEENWhat ring?

HARRYKatty…. That band of gold with halfof South Africa dumped on top.

KATHLEEN(Laughs. Soundingshallow)

Oh, that ring.

HARRY(Shaking head)

I don't know why we're bothering tovisit your parents if you don'teven have the decency to wear it.

KATHLEENHARRY, I just think that we shouldspeak to them first.

BeatThey'll come around to the idea,but we shouldn't force it down

their throats.

HARRY bites his lip, then reaches for a cigarette inthe map pocket beside his seat. He pushes the dashboardlighter in and waits for it to pop.

KATHLEEN(Watching HARRY ashe lights hiscigarette and blowsa smoke ring.)

You do understand, don't you?

HARRYUnderstand what, Katty? We've beenliving together for three years.

KATHLEENTwo years and eight months.

KATHLEEN's face shows a modicum of concern, a secretrevealed.




HARRY(Spotting KATHLEEN'sdeceptive look.)

You have told them we're livingtogether?

KATHLEEN

(Sighs)They're a bit old fashioned.

BeatThey know we've been dating…

HARRY(Astounded)

Dating? You sure you didn't tellthem we've been stepping out?

KATHLEENPlease don't do this HARRY; not

everyone's parents were atWoodstock.

HARRY(Takes a long dragof his cigarette,and then stubs itout in theashtray.)

I presume, then, that we'll be inseparate rooms?

KATHLEEN

(Turns back to thewindow. Sheswitches off torch,allowing herself tofade back into thedarkness.)

You need to look for a sign saying'Dareham'.

BeatIt should be where this roadcrosses the blacktop.

HARRYYou didn't answer my question.

KATHLEENMaybe it was rhetorical.

HARRY removes his hand from the wheel and switches onthe vanity light. The contrast to the previous darknessis blinding. The road beyond the confines of the carbecomes invisible; the rain drops mirrors and rainbows.




HARRY(Looking atKATHLEEN.)

Katty, I don't want to go throughwith this…

KATHLEEN

If you really loved me, HARRY…

As HARRY reaches his hand towards the gear stick,aiming to bring the car to a halt so that he can speakfurther on the matter, another source of light – a carfast approaching from the opposite lane with

HEADLIGHTS ON FULLBEAM

– swerves across the road. HARRY swings his head backfrom looking at KATHLEEN just in time to observe thatimpact is inevitable. He vainly raises his hands toguard his face as the two cars

SMASH

bonnet to bonnet.

INT: PRIVATE WARD, HOSPITAL, DAY

Voices, garbled, incoherent, distant. The man strugglesto open his eyes to identify their source. As his

eyelids painfully creep open, his pupils contract asthey try to focus in the whiteness of his surroundings.

The man listens for the sound of rain, but finds itnon-apparent. Perhaps it has ceased?

He tries again with his eyes, and then with hisfingers. He can't be certain but it appears thatsomething is covering his skin – a scaly drape thatburns as he moves a digit minutely.

As his eyes began to adapt to their surroundings, theman is shocked to find that it isn't headlights, or

even a torch causing the glow. With blurred vision hecan make out that he is in a room. At the edge of hisvision he can see a window. Outside, the sky is blue;light blue. It is day.

WOMAN'S VOICE (OS)Oh my God! He's awake!

The man tries to move his head to the side to look atthe owner of the voice.




OLD MAN'S VOICE (OS)(Well-schooled,nasal tone))

Please try not to move, HAROLD.Just relax.

MAN/HAROLD

(Croaky)Where am I?

WOMAN (OS)(She makes aguttural whimper)

Oh, Blessed is the Lord! You'rehere, HAROLD. Here with us! You'resafe now.

OLD MAN (OS)(Coughs, as ifembarrassed by the

woman)MARGARET, he doesn't know where heis.

BeatHAROLD, you're in the hospital.We're KATHLEEN's parents.

MAN/HAROLD(Trying to remember.Nothing seemsclear.

KATHLEEN?

Suddenly, the woman lets out a cry, and runs out of theroom, mumbling apologies.

OLD MAN/KATHLEEN'S FATHER (OS)(Coughs, clearsthroat)

Poor woman's never been able tostand up to this sort of emotion.

BeatYou've been through a lot, HAROLD.

Rest now, and we'll talk later.

Still unable to turn his head to look at his host,HAROLD allows his parched eyelids to close. His mouthand throat feel dry; he runs his tongue across his lipsand then his gums. He finds several gaps where teethshould be.

With the sound of the man's footsteps on linoleumslowly fading away, HAROLD lets himself loseconsciousness.




Three names, MARGARET, KATHLEEN and HAROLD swim throughhis mind but he isn't sure why.

INT: PRIVATE WARD, HOSPITAL, DAY - LATER

The sound of ice clinking in a glass, and a spoon in a

bowl of soup, brings HAROLD back to the world of theawake. He listens while a tray is placed near to him,presumably on a cupboard or table.

DAY NURSE (OS)I've brought you some food.Homemade chicken soup…

HAROLD(Smiles)

MARGARET?

MARGARET (OS)

Praise Be!

MARGARET sobs loudly and runs out of the room.

DAY NURSE (OS)(Leaving)

(RE: MARGARET) I'd better go andsee if she's okay.

HARRY ignores MARGARET's antics and smells the broth'saroma so close to him. In Pavlovian response, hisstomach grumbles. God, he is hungry.

HARRY tries to move his hand, and finds that hisfingers are responding, if somewhat robotically. Hestill can't shake the sense of reptilian skin, and heshudders involuntarily. With concerted effort, heraises his right hand until his palm lies flat on thebed, but his forearm is at an angle. He grits hislessened teeth and pushes himself up. As pain scoresthrough his body, he hears the door open and the oldman rush in.

OLD MAN (OS)My God, HAROLD! Don't torture

yourself! Let us do that for you!

Racked in agony, eyes tight shut, HARRY feels the mangently, but firmly grab him and help him into a sittingposition. HARRY feels his own heart as it pounds insidehis frame and pushes the vessels on his head.

OLD MAN (OS CONT.)Here, HAROLD…

HARRY is leant forward and then allowed to lie back,finding a pillow behind him, keeping him at a more orless 90-degree angle.




OLD MAN (OS. CONT.)How does that feel, young man?

HARRY(Taking a deepbreath)

Good, thank you.

HARRY waits for his muscles to stop contracting and forhis heart to settle before opening his eyes again.

The view that awaits him is the fuzzy image of anelderly man, dressed in a burgundy cardigan. White hair– what is left of it – is carefully parted, and ayellow stained moustache adds to the wrinkled features.HARRY grins, even as his cheeks sear in pain from theeffort. In return, the man smiles also, and then placeshis hand on HARRY's.

OLD MAN

That's the spirit! Face the worldwith a smile!

The old man's words are laced with a hidden meaning.HARRY wonders what exactly is going on. He tries toremember the last conversation they'd had. Everythingis so hard to place. His mind is a jumble of fragments,faces, sounds; nothing seems concrete.

HARRY(Unsure. Recallingname)

MARGARET?

OLD MAN(Frowning. Not thename he'd expected)

She'll be back soon.

HARRY(Recalling othername)

KATHLEEN?

Ah! A reaction. The old man looks to his side. What is

wrong? The old man coughs and clears his throat again.HARRY wonders if he'd been a public speaker at somepoint in his long life, whoever the hell he is.

OLD MANI think you should get betterfirst, and then we can talk about…KATHLEEN.




HARRY(Not having a cluewhat is going on,nods.)

Whatever you think's best.

OLD MAN(Smiles, but notwith happiness)

She did choose well, that girl.(Old man looks away,then raises agnarled hand to hiseyes.)

I'm sorry, you shouldn't see melike this.

HARRY closes his eyes, though not from compassion, justfrom the exertion of keeping them open. The sterile

room in which he's found himself is getting to him; theoverhead fluorescent lighting lashes at his senses.

HARRYI'm hungry.

OLD MAN(Pleased to avoidhis earlierweakness)

Of course! That's good. You'll needyour strength.

The old man coughs again and moves to HARRY's side.HARRY listens to the tray being lifted then feels itsweight on his lap. He opens his eyes.

An uncomfortable pause. What does the old man want? Whyis he staring at him so?

Ah! HARRY looks at the soup bowl. The old man isholding the spoon in a half disgusted, half expectantmanner.

HARRY

(Shaking his head.)I'd like to try…

OLD MAN(Smiles, almostgratefully)

That's the spirit. I'll leave youto it…

True to his word, the old man leaves the room, quietlyclosing the door behind him.




HARRY shakes his head. Something very strange is goingon. Even though he finds it difficult to rememberanything, he is sure that he doesn't know the oldcouple, but they obviously know him. For the moment, heresigns himself to the torture of eating, andconcentrates solely on that.

HARRY gingerly moves his hand to take the spoon. Withevery ounce of his will, he guides his limb over to thebowl, his eyes rolling in their sockets while he doesso.

He feels the metal, warm to the touch, and breathes asigh of relief. He looks down to the bowl…

And SCREAMS.

HARRY shoots upright, his knees rising and flinging thetray, sending the soup bowl flying. As he continues toscream, the bowl

SHATTERS

on the floor and the spoon bounces noisily.

The door swings open, and the old man and Day NURSErush in.

OLD MAN(Eyes wide withfear)

HAROLD, what is it?

DAY NURSE tries to get HARRY to lay back against hispillow while collecting the flung crockery and cutlery.

HARRY stares at his own hand, hyperventilating as helooks at the skinless, charred flesh, the crookedfingers. His forearm too is burned. With superhumanstrength, he flings back the duvet and gapes at hislegs, poking out from beneath a man's nightshirt. Theytoo, are black and blistered.

HARRYOh my God! Oh My God! Oh my God!

HARRY vomits bile, then collapses unconscious.

ONE WEEK PASSES




EXT: STREET, BIG CITY, EVENING

The house, one of many identical on the pre-war estate,has been hit by a media blitz. Through the autumn rain,and the evening darkness, tower lights blaze at thefront door, onto the garden, even into the neighboringproperties. A helicopter circles overhead, its search

beam illuminating the surroundings while its rotorblades humm. Police cars, their lights flashing, lineboth sides of the street, and policemen are everywhere.Yellow 'Do Not Cross' tape stretches between lamppostsand telegraph poles, between hedges and post boxes.Crowds of people wearing everything from raincoats tonighties stand hesitantly behind the police zone,getting pissed on from the heavens above.

The front door opens and the collective beast of thecrowd crackles in anticipation. Journalists, reporters,anchormen and women, photographers, all dart forward tobe first in line; their microphones, dictaphones and

cameras spearheading the charge. Armed police form aprotective line, linking arms to withstand theinvasion. Bulbs flash incessantly, reporters speak atcameras while a face appears at the door.

The general consensus is 'She's coming out!'

The young woman, hypothermic face belatedly coveredwith a blanket, is lifted by two masked policeman andrun to an awaiting van. As the media hustles towardsthe escapees, flinging questions and camera flashes,the van door is shut, and the vehicle mobilized.

The white van screeches into the night, turning thecorner at the end of the street, leaving the media tosearch for their answers in the police remaining.


HARRY blinks at the portable television set thatALBERT, the old man, has set up in the room. He watchesthe spectacle with bored interest.

The door opens and HAROLD curses under his breath at

the constant lack of privacy. He doesn't need to turnto feel ALBERT's presence to his side; the smell ofstale pipe tobacco and ancient cologne are unmissable.

OLD MAN/ALBERT(RE: TV News report)

That poor, poor girl.

BeatWait until you've got one of yourown and then you'll understand.




The reporter, a fairly attractive but overly made-upthirty-something in a trench coat, begins spielingtabloid journalese about the miraculous escape ofJennifer Fowler, who, at present, is helping the policewith their enquiries; specifically in the assembly of acomputer generated identikit of her abductor.

The reporter finishes her information, though not therest of her coverage, by repeating the tired phrase:

REPORTER (ON SCREEN)The Police have no comment for themoment but will be holding a PressBriefing in the morning.

ALBERT(Snorts again.)

They'll never catch him.

HARRY

(Raises hiseyebrows,painfully.)

Why not?

ALBERTHe'll have flown to the continent.He's not going to go back home now,is he?

HARRY is unsure how to reply; ALBERT clearly has littleconcept of behavioral science.

HARRYALBERT, don't you think she mightbe in danger? This Jennifer girl?He's not going to allow a witnessto walk around talking about him.

ALBERTHe'll have run.

HARRY lets his breath slowly escape from between hischarred lips. He closes his eyes and listens as ALBERTleaves the room, closing the door behind him.

HAROLD is desperate to go home, wherever that is; theconstant attention of the elderly couple, even theNURSEs, is driving him insane.

He opens his eyes and pulls himself up to a highersitting position. The skin is slowly healing on hisface and trunk, and the swelling on his legs islessening. Apart from his right hand, there is nothingabout him that a good plastic surgeon can't fix and, ifhe is the advertising executive that ALBERT andMARGARET claim him he is, he should be able to affordthat.




HAROLD lowers the volume on the television, allowingthe songbirds outside to permeate into the room, andcontemplates trying to get out of bed. More thananything else, the bedpan routine is the mosthumiliating. He slowly turns his head to the side.

His mouth and eyes open wide with

FEAR, SHOCK AND REVULSION.

Standing, not two feet from the bed is a girl. Or, whathad once been a girl.

Long blonde hair, matted and dirty, falls over abloodied white nightie. The gruesome figure holds bothof her arms towards him; both hands are missing and themuscle, flesh and bone of her wrists is rotten andfungus-ridden. Her lips look like they had been slicedoff, giving her an open-mouth revealing missing teethand blackened gums. Her eyes, or the remnants of

aqueous humus, have seeped out of their sockets like ajelly, and dried on the bleached skin of hercheekbones.

HAROLD whimpers in terror. He wants to scream and callALBERT, but finds himself unable to move.

The girl begins to speak, her voice lisping and plum-full with her lack of lips and bloated tongue.

DEAD GIRLWe're tired. Tell them where weare.

HARRY desperately wants the creature to leave. Itsstench is overpowering. The sound of blackbirds andsparrows chittering in the garden has disappeared. Theroom feels muggy and silent, and he can hear his ownheart beating.

DEAD GIRL (CONT.)We're tired. Tell them where weare.

HARRY

What?

HAROLD doesn't wait for an answer. He shuts his eyestight, and begins counting to ten in hushed tones. Hereaches the final number and opens his eyes.

The creature has gone.

Instantly, as if on cue, the sound of voices and doorsclosing erupts from the corridor outside.




HAROLD strains to listen, glad to have something elseto occupy his mind. Footsteps resound on floor andapproach his door. They stop. Whispering voices, maleand female, taunt HAROLD with their quietness. The dooropens.

PETER

HARRY, mate! Don't get up!

HARRY looks on in confusion as a youngish man stepstowards him and stands at the end of the bed.

PETER (CONT.)It's me, HARRY, PETER.

The youngish man, a little paunchy and with a mop ofbrown hair, grins. HARRY evaluated the stranger's faceclosely, noticing that the eyes do not share theenthusiasm of the smiling mouth; they reflectrevulsion.

HARRYPETER?

PETER looks towards the doorway where, presumably,ALBERT and his wife are waiting.

PETER(Speaking todoorway)

See! I told you he'd remember me!

PETER looks back at his injured friend. He grins and

HARRY returns the gesture.

HARRYI'm not pleasant to look at, am I?

PETERHARRY, you never were mate. Whenare you getting up and out?

HARRY(Sighing)

Better ask ALBERT and MARGARET.

ALBERT (OS)(Clears throat)

Soon, HAROLD. You'll be well enoughto go home soon.

PETER nods, as if expecting such an answer. ALBERT andhis wife edge away and leave the friends a moment ofprivacy.




PETER(Waiting until dooris closed)

No offense, HARRY… I know you'vebeen through a lot, but… you dolook different without eyebrows andhair.

BeatIt'll take some getting used to.

HARRY(Purses lips, notcaring what thisstranger thinks)

What happened, PETER? The crash…ALBERT avoids talking about it.

PETERHaven't the police visited?

HARRYNo. No they haven't.

BeatThey've probably spoken with ALBERTand MARGARET though

PETERThey will, if only to clear up theinsurance.

PETER pulls up a chair next to the bed, in the same

spot where the creature had been only minutes before.He gestures to a freshly laid tray on the cabinet.

PETER (CONT.)Can I get you anything?

HARRY(Shaking head)

Just tell me…

PETER(Takes deep breath)

What can I say? You hit another carhead on. Or, more probably, he hityou.

HARRYWho did I hit?

PETERSome salesman.

HARRYIs he…?




PETERDead? 'Fraid so. His car was burnedout completely. You were lucky tohave been flung clear. Straightthrough the windshield.

Beat

It looks like he hit hiswindscreen, knocked it out, butfell back in.

HARRYKATHLEEN?

PETERThey haven't told you?

HARRY(Shakes head)

Is she dead?

PETERNo. She's in a coma. Pretty badstate.

(Looks away)I'm sorry mate.

The room fills again with birdsong.

HARRYPETER, do you believe in ghosts?

PETER

(Looking back atHARRY)

Do I what?

HARRYGhosts…

PETER(Gives HARRY a lookof sympathy)

You're still traumatized, HARRY.Post-traumatic shock.

( Stands,uncomfortable withconversation)

I brought you some magazines. I'lltell the others at work that you'llbe back soon. They'll want to layon a do for you.

HARRYI'm in advertising…




PETER(Frowns)

Yes, HARRY, you are.(Begins edgingtowards door)

You get yourself better and I'llsee you soon.

HARRYThanks for coming.

PETERAnytime, HARRY.

BeatLook, I'll leave my business cardby the phone here. If you needanything…

PETER leaves and HAROLD finds himself staring at his

empty seat.

EXT: PATIENT'S GARDEN, HOSPITAL, DAY

The garden matches the hospital perfectly (at leastfrom the outside); neat English hedgerow surroundingwell-tended lawn and rose beds. The Victorian mansionthat is now a private hospital looms behind, brickworkdarkened from a century's elements.

HARRY is sitting in a wheelchair (which has been pushedby ALBERT), a glass of freshly squeezed supermarket

orange juice in his hand, a straw between his lips.

The autumn sun permits little warmth, but the fresh airis what HAROLD is seeking. Blackbirds tug at worms inthe lawn, while tits forage for nest material.

The sound of tires on gravel brings HAROLD out of hisbliss. A car door closes and footsteps round the cornerof the hospital. A gate creaks open and closed and thefootsteps continue.

HAROLD listens as ALBERT addresses another stranger.

Soon they are standing before HAROLD, the thin sunbehind the new stranger's back, making him into asilhouette. HAROLD squints to take the man in properly;he is wearing a cheap suit.

DETECTIVE LINESHAROLD MENKHART? I'm DETECTIVELINES.

BeatYou don't mind if we have a chat?




HARRY(Shakes head, allowsstraw to drop fromhis mouth)

Not at all, but I doubt if I'll beable to help much. I still haven'tgot my memory back.

DETECTIVE LINES(Smiles, as ifexpecting such aremark)

I've already spoken to thehospital; they told me.

(Pulls up whitepainted, cast irongarden chair andsits down. IgnoresALBERT, who'slingering behind)

Sometimes, talking about an eventcan help get the brain workingagain, you know, if you look at itobjectively, from a distance, youmight be able to piece it backtogether.

HARRYObjectively…

DETECTIVE LINESYes.

(Withdraws notebook

from his jacketpocket and flicksthrough it.)

Your tox report is clean, no blood-alcohol traces; no drugs.

HARRY(Surprised)

Drugs? I don't think I take drugs…

DETECTIVE LINES(Smiles)

It's just a routine check, Mr.MENKHART. You'd be surprised howmany do.

HARRY(Shrugs)

And the other driver?

DETECTIVE LINES(Sucks air throughhis teeth.)

There wasn't enough left of him tocheck.




HARRY(Thinks)

That's impossible. A body requiresseveral thousand degrees centigradeat a sustained rate for quite aperiod of time to burn completely.

Both the Detective and HAROLD himself are surprised athis revelation.

DETECTIVE LINESThat may be so sir, but that's whathappened.

HARRYDo you know whose fault the crashwas?

DETECTIVE LINESWe believe it was the other

driver's due to the positioning ofthe vehicles.

(Looks at notebookbut has clearlymemorized theincident.)

It was bad weather that night; itwas probably an accident.

BeatHe might have aquaplaned.

HARRY

So how can I help you? You seem toknow everything…


Something came up when we werechecking the other vehicle. Luckilyfor us, the collision sent one ofthe number plates off into theroad. Combined with the chassisnumber, we ran the vehicle throughour database.

HARRY(Frowns, suspectsDETECTIVE LINES isleading tosomething)

Are you saying that you know… knewthis man?

DETECTIVE LINESWe didn't, but we'd liked to havespoken to him.




DETECTIVE LINESComing back to you, sir?

HARRYI… I think I remember the crash…

DETECTIVE LINES

Go on…

HARRY closes his eyes again, permitting the present tofade away. He listens to the sound of his own voice,distant, as he recalls the fateful evening.

HARRY(Distant soundingvoice)

I was driving in my car. I was in ahurry.

Beat

I needed to be somewhere.

ALBERT (OS)You were coming here HAROLD. WithKATHLEEN.

DETECTIVE LINES(Hushes ALBERT)

Go on, Mr MENKHART

HARRY feels himself slip into the past once more.

FLASHBACK:

INT: CAR, NIGHT

He finds himself sitting in his car, radio playingquietly. He is humming to himself and tapping thesteering wheel.

Suddenly, another car swerves across the road,headlights on full beam. HARRY moves his hands toprotect his face.

The cars slam together. HARRY is thrown through thewindshield with extreme force.

He can hear a woman screaming. KATHLEEN?

He doesn't stop. He keeps moving forward, through theair. He opens his eyes slightly and sees another man,flying past him. HARRY crashes through the windshieldof the second car. His body feels numb, but he managesto clamber out onto the road. He collapses.

FLASHBACK ENDS




EXT: KATHLEEN'S PARENTS' GARDEN, AS BEFORE

HARRY opens his eyes and finds himself back in thegarden, his heart beating fast.

DETECTIVE LINESDo you remember anything else, sir?

HARRY thinks. Where is the detective leading with this?HARRY looks to his side.

The mutilated girl is standing beside ALBERT, her armstumps pointing at HAROLD.

DEAD GIRL(Only HARRY can seeor hear her)

We're tired. Tell them where weare.

HARRY(Terrified. Looks toDETECTIVE LINES,who merely raisesan eyebrow)

Can't you see her?

DETECTIVE LINES(Humoring HARRY)

See who, sir?

HARRY(looking back at

Dead girl)The girl! Look at her!

DETECTIVE LINESI'm very sorry, sir, but I can'tsee…

ALBERT(Moves forward andplaces a handgently ondetective's

shoulder.)Detective, perhaps you can comeback another day? HAROLD's beenthrough enough…

DETECTIVE LINES(Looks as though hehas more to say,but closes hismouth and nods)

Very good, sir.




DETECTIVE LINES (CONT.)(Looks at fear-stricken HAROLD,still mesmerized bythe specter.)

I'll try again tomorrow, Mr.MENKHART. Have a think and see if

anything comes back to you tonight.

HAROLD nods, only half hearing the policeman's words;his eyes fixed on the rotting figure.

INT: PRIVATE WARD, HOSPITAL, NIGHT

HAROLD wakes with a start. The bedroom is dark and thecurtains closed. His skin feels clammy and his heart isbeating fast. He quickly looks about him, expecting tosee the ghoul. Nothing.

He hoists himself up and reaches for the bedsidecabinet. He takes the portable phone and PETER'sbusiness card. With shaking, disfigured hand, he dialsPETER's number. The phone rings and rings, the dialtone loud in the silent room.

PETER (OS, FILTERED)(Voice sleep-laden)

Yes?

HARRYPETER, it's me. HARRY.

PETER

BeatHARRY?

BeatHARRY, it's three o'clock in themorning. What do you want?

HARRYI need to speak to you. I've justhad a nightmare.

PETERChrist, HARRY. Go back to sleep.I've got work in the morning.

HARRYNo, PETER, I need to talk now.

PETER

BeatOkay, HARRY. What's wrong?




HARRYRemember I asked if you believe inghosts?

PETEROh not again, HARRY…

HARRYI'm serious. I keep seeing this…this…

BeatIt's a girl, but she's been hackedor something.

PETERI don't want to hear this, HARRY.

HARRYPlease, PETER. She keeps telling me

to 'tell them', whatever the hellthat means.

PETERIt's probably a distorted memory,some unconscious guilt you'refeeling for KATHLEEN's coma.

BeatThe crash wasn't your fault…

HARRY(Sighs, impatiently)

It's not that…

PETER

BeatYou know your voice sounds strange?You don't sound like you used to.

HARRYI'm not exactly in prime conditionat the moment, PETER.

Beat Please…

PETEROkay, HARRY. I'm listening.

HARRYThis girl, she's been mutilated.She's dead. She keeps telling meshe's tired.




PETER(Laughs)

Dead tired?

HARRYIt's not funny. I think she wantsme to help her.

PETERShe's a ghost HARRY… no, forget Isaid that. Now, you've got metalking about ghosts! There's nosuch thing.

BeatGo back to sleep HARRY. Maybe askyour doctor for some medication.

HARRYI need to find out who she is, or

was.

PETERRight. Next time she appears, whydon't you ask her?

BeatHARRY, can I go back to sleep now?Call me when you're better.

HARRY listens as the dial tone sounds. He holds thedevice for a while, as the beeping continues, thenswitches it off.

INT: PRIVATE WARD, HOSPITAL DAY

DAY NURSE is feeding HARRY with a spoon. In thebackground we can hear the TV on.

The door opens and in walks a young woman – pretty,blonde – carrying a bouquet of flowers. HARRY instantlyfeels self-conscious about being fed. He glares at theNURSE, who nods understandingly and moves away.

AMY (KATHLEEN'S SISTER)(Nervous, a littleunsure)

Are you HARRY MENKHART?

HARRYApparently…

AMYThen these are for you, youbastard!




AMY throws the flowers at HARRY, who's unable to defendhimself very well.

HARRYWhat the?

AMYYou put my sister in a coma, youbastard!

AMY storms out the room, leaving HARRY gobsmacked.

Day NURSE reenters and sees the mess. She goes to cleanit up.

DAY NURSEOh my!

HARRY(Stunned)

She thinks I'm responsible…

DAY NURSEThat's for the police to decide.

BeatI'll have a word to the Porters –make sure she doesn't bother youanymore.

The door reopens and both HARRY and NURSE look up,

expecting another tirade from AMY.

We see PETER standing in the doorway, viewing the mess.

PETER(Holding a brownpaper bag, as if tojustify hispresence, whilegesturing at themess)

Whoa, cowboy! Who opened up the can

of whoop ass?

HARRYAMY, KATHLEEN's sister

PETERYou sly dog….

HARRYPETER, please…




PETERSure. Look, I'll leave these here –just some fruit and stuff for you.

Beat

This AMY wouldn't happen to be apretty young blonde about:(Gestures height ofAMY)

So height, would she?

HARRYYeah, I guess.

PETERWell, she's out there in thecorridor crying her eyes out so Ireckon I'll go and give her a

shoulder… you know?

HARRYSure PETER, whatever…

(Watches PETER makefor the door.Thinks. Stops him.)

PETER, does KATHLEEN go away a lot?

PETERWhat mate?

HARRY

KATHLEEN. Does she go away a lot?

PETER(Looks at HARRYfixedly)

The pottery shows? Every season,mate. Don't you remember?

HARRY shakes his head.

PETER (CONT.)(Laughs)

You two have had some right oldrows 'bout that. You know whatshe's like: believes inemancipation.

(Does bad impressionof woman's voice)

"If I'm capable of making potteryon my own, then I'm capable ofselling it on my own – I won't sellmuch sitting at home, will I?"




HARRY(Smiles, humorsPETER'simpersonation)

How long does she go away for?

PETER

A week; two weeks.

BeatJesus, mate, can't you rememberanything?

HARRY shakes his head again, feeling just a littledistraught.


HARRY wakes with a jolt. He feels the clammy sweat

covering his skin. The few hairs that have regrown onthe back of his neck stand on end, as if charged withstatic.

He can feel her standing there, next to the bed. Hegulps, hoping that he is mistaken. Slowly, carefully,he turns to look.

The creature is there.


HARRY(Shakes his head. Ishe going insane?)

I don't understand.


HARRYWho are you? Please, tell me who

you are.

The eyeless apparition, too solid looking to be termeda ghost, doesn't answer.

HARRY (CONT.)Please. I will help you, but youmust tell me who you are.

No response. HARRY closes his eyes and wills thecreature to disappear. He opens his eyes and she'sgone.




HARRY waits for a while, catching his breath. The dooropens and the night NURSE (big black, matronly woman)enters.

NIGHT NURSEAre you awake, Mr MENKHART? Ithought I heard you speaking.

(Tucks him into hisduvet)You been having bad dreams again?

HARRYYeah…

NIGHT NURSEWell, you're going to have to beputting up with someone elsetucking you in for a few weeks –I'm off on my holidays this Friday.

HARRYThat must be really….

NIGHT NURSEYou don't have to tell me! Ihaven't had a holiday for over ayear and these ankles mine arescreaming for a bit of good old Rand R.

EXT: PATIENT'S GARDEN, HOSPITAL, DAY

HARRY is seated in his wheelchair while ALBERT does ajigsaw puzzle on a table. When HARRY sees the Detectiveapproach, he tries to stop himself from grimacing.

DETECTIVE LINESGood morning, Mr. MENKHART. I hopeyou're feeling better.

HARRY smiles, without feeling

DETECTIVE LINES (CONT.)She's a very pretty woman, your

fiancée.

HARRYYou've seen her? How is she?

DETECTIVE LINES(Notices frowninglook from ALBERT.Understands.)

She appears to be doing okay, MrMENKHART.




HARRYShe is?

ALBERT stands up, having completed a simple jigsaw.

ALBERTI think I'll take a short stroll,

if that's okay with you HARRY?

HARRYPlease ALBERT – you need it.

ALBERT(To Lines)

Don't tax the boy too hard,Detective. Remember his condition.

Lines nods and both he and HARRY watch as ALBERTcasually saunters away.

DETECTIVE LINESIt must be nice to have someone so…close… to you all the time.

HARRY(Tries to read theapparent irony inLines' voice,receives only ablank look inreturn)

It is.

DETECTIVE LINES(Produces trustynotebook. Straightto business)

Mr. MENKHART…

BeatDerek Miles. When was the last timeyou saw him?

HARRYDetective, I've no recollection

whatsoever of any Derek Miles.

DETECTIVE LINESYou lived only a few doors awayfrom one another.

HARRYI wouldn't recognise him if Ipassed him in the street.




DETECTIVE LINES(Chuckling at hisown macabre joke)

Well, not now you wouldn't…

HARRYQuite.

BeatDetective, if there's anything Ican help you on with the crash,I'll try my best. As to the othervictim, I'm afraid I won't be muchuse.

DETECTIVE LINESHow long have you lived at 118 ReelStreet, Mr. MENKHART?

HARRY

Detective, if I hadn't been told, Iwouldn't have known that I did livethere.

DETECTIVE LINES(Consults pad)

Six years.

BeatYou and your fiancée have beentogether… three years?

HARRY

Where is this leading, detective?

DETECTIVE LINESI'm just getting a feel for thesituation.

HARRYYou're investigating a caraccident, not a murder.


You're quite right, Mr. MENKHART.It's just that we have a saying:there's no such thing as acoincidence.

HARRY(Amazed)

If you're implying that I crashedinto this… this… Derek Milesdeliberately, then think again.Look at me! I'm scarred for life.My fiancée's in a coma…





I never said anything of the sort,sir. I just asked if you knew him.

HARRYAnd what if I did? Which I don't.

What then?(Ironic)Would it add new light to the case?

Lines licks his lips, and then closes his notepad. Hestares at the faux leather cover for a moment beforeraising his face.

DETECTIVE LINESMr. MENKHART, we are pursuing alead that Mr. Miles may have beeninvolved in the abduction andmurder of several young women.

BeatPerhaps you have seen on thetelevision…?

HARRY(Nods)

I saw that girl being released fromthe house. You think he wasinvolved in that?

DETECTIVE LINES(Shrugs)

We're getting a mixed picture atthe moment, in all honesty. HisVolvo was seen in the area, and thegirl's helped our artist come upwith a sketch of the man shebelieves abducted her.

HARRYAnd is it Miles?

DETECTIVE LINESWe can't be sure. He was an average

looking man, average height, andbrown hair.

BeatI saw in your photos that you hadthe same characteristics… beforethe accident.

HARRYSo does half the male population.Saxon blood.




DETECTIVE LINESMr. MENKHART. I'd like to ask youto provide us with another bloodsample.

HARRYBut you said that the tox report

was clean.

DETECTIVE LINESIt was.

HARRY feels the man's eyes boring into his own.

HARRY(Suspicious)

What?

DETECTIVE LINESHow's your memory? Any clearer?

HARRYNot since the last time I saw you.

Lines shrugs, his suit making a rustling noise,betraying its inferior and artificial fibercomposition.

DETECTIVE LINESDoes the name Jennifer Fowler meananything to you?

HARRY

(Thinking)That's the girl on television. Theabducted one.

(Lines nods)No. Should it?

DETECTIVE LINESPerhaps you may have seen heraround?

HARRYDetective, I don't like your line

of questioning. Are you accusing meof something?

DETECTIVE LINESMr. MENKHART. The accident you wereinvolved in was like nothing I'veseen. We've got one victim in acoma, you with no memory and athird body whose only remains – afew teeth – are welded into thechassis of a vehicle.

Beat




DETECTIVE LINES (CONT.)Both windscreens were out, mostprobably due to bodies flyingthrough them.

HARRYI told you I remember that.

DETECTIVE LINESMr. MENKHART, the position of theteeth in the other vehicle suggeststhat they're not the driver's.

HARRYI don't understand.

DETECTIVE LINESThey're embedded in the passengerdoor.

HARRYMaybe he was knocked that way inthe crash.

DETECTIVE LINESMaybe so. I'm sure you canappreciate the difficulty we'rehaving putting this one together.

HARRYDetective, I'm having a hard enoughtime putting my life back together

without worrying about yourinvestigation.


Mr. MENKHART, Derek Miles is nowunder investigation for multiplekidnap and murder; pleaseunderstand that.

HARRYI still don't see what that has to

do with me.

DETECTIVE LINES(Looking aroundroom, taking infurniture.)

Mr. MENKHART, about the blood test…

HARRY considers the request, and the reasoning behindit. The idea that springs in his mind is hard todigest.




HARRYYou don't believe I'm HAROLDMENKHART.

DETECTIVE LINES(Grimaces)

It's only a precaution. We'll know

by your sample.

HARRYWhat about his teeth? Can't you doa dental record?

DETECTIVE LINESNot until we get them out of theframework, we can't. It's best forboth of us if you assist in thismatter.

Beat

For your own sake.

HARRY feels like a brick has hit him. His mind reels atthe concept. What if he is the killer and not HAROLDMENKHART? He thinks of the creature… But, no. PETER andKATHLEEN's parents had recognized him.

DETECTIVE LINES(Flicks throughnotebook)

PETER Green is quoted as saying,'his voice has changed and he looksdifferent. If I hadn't been told it

was HARRY, I wouldn't have knownhim from Adam. The accident musthave been horrific…'

HARRYSee! He says the accident… And whatabout ALBERT and MARGARET? Theyknew me.

DETECTIVE LINESBefore the accident, you'd nevermet. You were placed in their care

because you'd been in the same caras their daughter before beingthrown from it. They had beenexpecting you.

HARRYDetective, I think your imaginationis going a little too far.

DETECTIVE LINESWould you just go along with theblood test? Just as a precaution,to put both our minds at rest.




HARRY(Sighs, resigned)

If that's what it takes…

DETECTIVE LINESI'm sorry, Mr. MENKHART. It's foryour own protection. Once we clear

this up with a DNA test…

HARRY(Watching Linesstand preparing toleave)

I suppose you'll want to ransack myhouse as well.

DETECTIVE LINESNot until we get the DNA results.If you're not Derek Miles…

BeatWe wouldn't get a warrantotherwise…

HARRYI will sue you, believe me, I willsue.

DETECTIVE LINES(Looking back atHARRY)

It's funny, Mr. MENKHART, you can'tremember who you are, but you can

remember your rights…


DAY NURSE is removing a tray from HARRY's bedside. Shesmiles at him and then leaves HARRY on his own.

From beyond the door, somewhere in the corridor, he canhear footsteps, people talking. His eyes catch sight ofsomething in the corner of the room. Please God, he

thinks, don't let it be that thing again.

Nervously, he looks over.

It is.

The dead girl stares eyelessly back.





HARRYLeave me alone! Tell me who you areor leave me alone!

DEAD GIRLTell them where we are.

HARRYI don't understand! Who are you?

HARRY thinks about the reason for his visitations.Could he really be Derek Miles, the killer? It isn'tpossible. Surely, he'd remember. He has to be HAROLDMENKHART.

DEAD GIRLTell them where we are.

HARRYJust leave me alone!

Beat(Thinks. Controlshimself)

Am I Derek Miles? Is that whyyou're here?

(Dead Girl doesn'tanswer. HARRY feelshis mind losing itsgrip on reality)

Did I… kill… you? Is that whyyou're haunting me?

(Still no reply)

Tell me! I'm going insane overthis! Am I Derek Miles?

(No reply)This is madness. The only personwho I can really ask is a figmentof my imagination…

(Looks at girl, moreclosely)

And a grim one at that.(HARRY waits forsome comment fromthe corpse.

Nothing)Oh, just leave me alone. I'll findout soon enough anyway.

INT: PRIVATE WARD, HOSPITAL, DAY – LATER

HARRY is lying on the bed with his eyes closed. By hisside are ALBERT and MARGARET – ever fussing. PETERstands just inside the doorway.




Day NURSE enters with a plastic cup of tablets and somedrinking water for HARRY. She props him up in bed togive him his medication.

DAY NURSEYou'll be seeing a bit more of mefrom now on – I've been rotated

onto nights.(She smiles)You'll be having 'Danny boy' to putyou to sleep rather than your usualSouthern Lullabies…

HARRYHas the other NURSE…

DAY NURSEGone on holiday? Yes. Well, gonemight be a bit of an exaggeration…she'll be putting her feet up at

home if I know her rightly.

HARRY accidentally knocks the plastic cup, now empty,off of the bed. Day NURSE bends to retrieve it, butALBERT reaches it first. Their hands connect.

ALBERT and Day NURSE find their hands touching. ALBERTgently inspects NURSE's hands.

ALBERT(Quietly, almost toself)

Soft hands…

The moment is broken as

THE BEDSIDE PHONE RINGS.

ALBERT catches MARGARET's accusatory eye as he goes toanswer it. Day NURSE excuses herself from the room.

ALBERT(Into phone)

Yes?

Beat Yes, he is.

BeatThankyou, I'll tell him.

All eyes, especially HARRY's, fall expectantly andanxiously on ALBERT who slowly replaces the receiverand looks up.

ALBERTThat was reception…




HARRYDid they say?

ALBERTAbout the results? No.

Beat

DETECTIVE LINES is coming uppersonally.

HARRY sighs, closes his eyes and lies back. He thinksthat it's all over for him. He really must be DerekMiles.

The atmosphere in the room is pregnant with silence,doubt, everyone thinking their individual thoughts.

Suddenly,

THE DOOR SLAMS OPEN.

HARRY opens his eyes, perhaps fearing a sudden in-streaming of police.

Standing, in the doorway, eyes red with rage, is AMY.She's brandishing a newspaper, which she has managed tocrumple in her hand.

AMY(Flinging newspaperonto bed. Speakingto ALBERT, notHARRY)

Have you seen this? Have you?

ALBERT frowns and picks up the journal. He adjusts it,straightens the pages out as if he were about to do thecrossword.

The front page says it all:

NEWSPAPER FRONT PAGE HEADLINE:

WHO's WHO?

Two grainy photos of similarlooking men – which we knowinstinctively to be Derek Miles andHAROLD MENKHART, grace the cover.Beneath, much smaller, are severalphotos – better quality, highschool yearbook types – of themissing girls.

AMYThis… this… bastard… is DerekMiles! He isn't KATHLEEN's HARRY!




ALBERTWe don't know that, AMY….

AMYLook at him! He's a hideous freak!You're comforting a psychopath!

MARGARETHe's been in an accident….

AMYMother, why don't you just shut up?

MARGARET gasps, tears in her eyes, and then runs fromthe room.

ALBERTLook what you've done! Your poormother!

AMYBecause of this psycho, my sister'sdead, her boyfriend's dead… andyou're treating him like Elvis!

(Marches up to endof bed and juts herjaw out at HARRY,who's too stunnedto speak)

Like what you see? Nice youngblonde? Fancy putting me in acellar, eh? You fucking bastard!

AMY lunges at HARRY but PETER quickly steps in andgrabs her. She fights against him for a moment beforeher adrenalin burns out. She sobs heavily. PETER leadsher out of the room.

AMY(To HARRY, voiceweighted with tearsand emotion)

I'll make damn sure you get thechair, you psycho bastard!

HARRY's breathing quickens, as does his heartbeat. Hecloses his eyes and tries to calm himself. He opensthem again and sees ALBERT reading the newspaper.

ALBERTI don't know how they found out youwere here.

HARRYIt doesn't matter.

Beat




HARRY (CONT.)ALBERT, perhaps you should justleave. If what AMY says is true…

ALBERTWe don't know that HAROLD. Let'sjust wait and see what the police

have to say.

HARRYHow can you even bear to be withme, when there is so much doubt whoI am?

ALBERTTo be frank? I'm doing this forKATHLEEN's sake. I know she lovedyou deeply.

Beat

It's what she would have wanted…

HARRYYou speak as though she's deadalready….

ALBERTThe Doctor's aren't giving much forher chances, HAROLD…

HARRYThen why aren't you with her? Comavictims still know when someone's

talking to them.

ALBERTI spend more time with her thanwith you, HAROLD.

(Lightening themoment)

It must just feel otherwise…

HARRY smiles, as if the old man has read his mind.

The door opens and in walks DETECTIVE LINES. He appears

nervous. He's carrying a brown, card folder – the typeusually used in hospitals.

ALBERTDetective.

DETECTIVE LINES(Nods to ALBERT.Turns to HARRY)

I've got the results…

HARRY's heart beat increases. The tension in the roomrises significantly.




DETECTIVE LINES (CONT.)Mr. MENKHART.

HARRY sighs audibly with relief, closes his eyes andleans back on his pillow. ALBERT clasps a hand onHARRY's shoulder.

HARRYThen I'm definitely not…?

DETECTIVE LINESDerek Miles? No, you're 98% HAROLDMENKHART.

BeatWe had Miles' DNA on record – he'dserved 3 years in the infantry.

BeatYou're not him.

ALBERTOh this is excellent news! I musttell MARGARET!

ALBERT leaves the room. DETECTIVE LINES standsuncomfortably. He watches ALBERT leave and thenapproaches the bed.

DETECTIVE LINES(To HARRY)

Look. I'll understand if you sue.You didn't need that hanging over

you while you're like…this.

HARRYForget it. I'm just relieved. Youdon't know what it's been like, notknowing.

DETECTIVE LINES(Removes a businesscard and places iton bedside tablenext to PETER's)

Well, my Lieutenant didn't take itso well. He's put me on nightshift– I'm still on the case but I won'tbe able to stir up any more troublefor the department for a while.

BeatI guess I really was hanging it allon you – the case I mean. I let myambition cloud my judgment.

Beat




DETECTIVE LINES (CONT.)One whiff of a lawsuit and thedepartment wanted me out of the wayASAFP. No doubt they'll be sendingyou flowers sometime soon.

HARRY doesn't know what to say. The detective's

obviously apologizing – something he's having troubledoing – but HARRY is too shocked to make conversation.

DETECTIVE LINESLook, I'll leave my card. I reckonthe next few weeks will be prettymundane for me – the Lieutenant'snot going to let me anywhere nearthe real case – I'm not going to bemuch help on the graveyard shift.

BeatIf you ever need a chat, someone's

brains to pick…

BeatSee you around, Mr MENKHART

HARRYThe name's HARRY.

DETECTIVE LINESHARRY?

FLASHBACK:

Note – this scene is split between Flashbackvisual/audio and Hospital ward continuous (audio only)

INT: CAR, NIGHT

As before, it's night, dark, bright headlights flashinto windshield.

INT: PRIVATE WARD, HOSPITAL, DAY – AUDIO ONLY

We hear HARRY's heart monitor rising in tempo

INT: CAR, NIGHT

KATHLEEN (OS)(Screaming loudly)

HARRY!

The sound of the two car's screeching brakes.





The sound of running footsteps out of room and intocorridor – Detective Line's.

DETECTYIVE LINES (OS)(Voice is muffled as

he's in thecorridor but stillloud)

NURSE! NURSE!

INT: CAR, NIGHT

The two cars smash together. We see the impact fromHARRY's perspective as he crashes into the windshieldand is propelled through it.

We see the second man – Derek Miles - as he hits his

own windshield and is thrown back into the vehicle.

For a split second, PETER's face is SUPERIMPOSED onDerek Miles'.


The sound of HARRY's heartbeat flatlining.

The sound of a group of NURSEs and Doctors franticallytrying to get HARRY's heartbeat going again. Medicalterminology used.

EXT: ROAD, NIGHT

Derek Miles' car has already caught flame. HARRY islying in a sodden heap on the drenched road.

KATHLEEN (OS)(Screaming in panic)

HARRY! HARRY! Help me!

Totally dazed, HARRY lifts his head to where his own

car must be – we don't get to see it yet. He dragshimself to his feet as the rain continues to pour andDerek Mile's car burns.

FLASHBACK ENDS, AS DOES AUDIO HOSPITAL SCENE





It's late, but HARRY doesn't feel like sleeping. He islying in bed, watching the TV. One lamp illuminates therear of the room and the TV screen the rest. HARRYflicks through the channels until he came to a newsupdate on the Jennifer Fowler abduction. He watches as

the reporter, this time a middle-aged black man withsilver hair, divulges information pertaining to thecase. It sounds like a summation of an officialstatement, but with the words aggrandized to make itsound more startling.

HARRY sits bolt upright when he saw Reel Street enterthe picture. 114 is focused upon. He turns up thevolume to listen about the suspicion regarding DerekMiles, who's recently died in a horrific car accident.

Just the mention of the man's name makes HARRY feelsick. He'd been so close to being wrongly branded a

killer.

As the newscast finishes and moves onto environmentalproblems in the North Sea, some oil leak, HARRYswitches off the set. He sits in the gloomy light,trying to calm down. He reassures himself that hismemory will return and KATHLEEN will come out of hercoma. God, he hasn't even visited her yet, but that wasthe doctor's orders. They are concerned the shock willput him back and cause further amnesia.

He'll sort himself out, go back to work and plan forthe future. Okay, his hand is in a bad state, but other

than that he can have a normal healthy life. Maybethey'll have kids one day…

He feels it before he sees it. The creature lingers onthe edge of his vision. He wants to ignore it; thealbatross that appears unbeckoned. He can't.

HARRYLeave me alone! I'm trying to getbetter and you're screwing up myhead. You're not real. You're ahallucination!


HARRYTell who? Who are you?

BeatNo. You're not real. You're just afigment of my imagination.




Then, the creature moves. HARRY watches in dumb silenceas the ghastly figure moves to the television set.Without being touched, the TV springs into life. TheJennifer Fowler news is back on. An update.

HARRY doesn't know whether to watch the ghost or theTV, but the mention of Reel Street again catches hisattention. A witness is telling how she had seen DerekMiles and another man, on several occasions, enterDerek's house with a pretty young blonde. The witness,voice and face masked to protect her, can't say whetherit was the same girl or not. The reporter finishes bystating the police have asked for more witnesses tocome forward and help identify the mystery accomplice.

HARRY gulps and looked at the mutilated girl.

HARRY

Me? Am I the accomplice?

DEAD GIRLTell them where we are. We'retired.

HARRYIt can't be me! It can't. HAROLDMENKHART is an average, normal guywith a job and a girl. Theaccomplice must be some psycho…

DEAD GIRL

Tell them where we are.

HARRYShut up! Shut up!

(Hearing his heartmonitor rising intempo, tries tocalm himself. Hecloses his eyes)

Please, just leave me alone.

HARRY opens his eyes and the girl is gone.

We hear the door open and ALBERT enters.

ALBERTYou're not asleep, HARRY?

HARRYALBERT, you still here?

ALBERTMARGARET and I are taking it inturns to be with KATHLEEN. I justpopped in to see how you are.




HARRY rummages around until he finds the penknife. Heopens the blade and begins cutting through KATHLEEN'ssafety belt.

Derek Mile's car is now totally aflame and the fire iscreeping up HARRY's car's bonnet.

KATHLEENPlease hurry HARRY!

We're on the edge of our seats as the penknifeeventually severs the belt. HARRY struggles to freeKATHLEEN as she starts to climb out of her seat andthrough the windshield.

HARRY, still half in his own car, helps her out.KATHLEEN gets onto the bonnet and slides down onto theroad.

The rain continues to pour down as the flames roar.

HARRY pulls himself free of his own car. KATHLEEN turnsto face him.

HARRY's engine explodes, sending KATHLEEN hurtlingbackwards into a tree. She smashes into it and drops,unconscious to the ground. HARRY, now a ball of flame,is propelled into the air and into the road. he smackshis head on the surface and loses consciousness. We seethe rain slowly putting out his burning clothes untiljust steam rises from his still body.

FLASHBACK ENDS

INT: PRIVATE WARD, HOSPITAL, EVENING

HARRY is lying in bed. He's exhausted. His heart's notbearing up to the strain.

The door opens and AMY gingerly walking in, carrying abouquet of flowers.

HARRY's eyes widen in alarm, fearing another attack.

AMY notices. She's embarrassed.

AMYThese? I'm sorry about before. Ithought…

HARRYIt's okay. I didn't know who I waseither.

AMYHow are you feeling?




HARRYYou mean in general, or aftertoday's little incident?

AMYEither… both

HARRYJust seeing her there broughteverything back.

BeatShe's going to be alright, isn'tshe?

AMYThe doctors aren't sure. They gavethat usual 'only time will tell'nonsense.

AMY looks away, we can see that she's upset.

HARRYIt's okay.

AMYNo it's not okay. Why her? WhyKathy?

HARRYI really don't know….

The door opens and in walks PETER. AMY turns to him and

gives a weak smile.

PETERHow're you holding up, HARRY?

HARRYI've been better.

PETER(To AMY)

You ready?

AMY nods. PETER smiles at HARRY and then leaves. AMYsmiles at HARRY and turns to go.

HARRY sees Derek Miles' face and PETER's superimposedagain.

HARRYAMY…wait.

AMYWhat is it?




HARRYPETER…

AMYI know, he's being an angel.

HARRY

How well do you know him?

AMYI don't think that's any of yourconcern.

AMY leaves, and HARRY is left frustrated and alone.HARRY shakes his head and switches the TV on. Onceagain, an update on the Derek Miles' abductions.

HARRY stares at the TV set, but his concentration isinterrupted by ALBERT and MARGARET entering.

ALBERTJust seen your friend PETER andAMY. They seem to be getting onwell together.

BeatHe's in advertising with you, isn'the?

HARRYYes.

Beat

ALBERT, I think you should…

MARGARET(Interrupting.Points at TV set.We see anotherphoto, different tonewspaper one, ofDerek Miles – stillgrainy though)

You know, I could have sworn I'veseen him somewhere before.

ALBERTHush dear. That's the man whocaused the accident. He's been inall of the papers.

MARAGERTYes, you're probably right.

BeatSomething about his face.

Beat




MARGARET (CONT.)Doesn't he look like that man webought the Volvo from?

ALBERTI've no idea, dear. That's was afew years ago.

(To HARRY)It's not like the old days when Icould buy a new car every couple ofyears.

MARGARETI'm sure I…

ALBERT(Quite sternly)

I'm sure HAROLD doesn't want to bereminded of that man, dear.

ALBERT (CONT.)(ALBERT switches offthe TV.)

Why don't you go and get us a cupof tea?

(MARGARET, stillthinking, obeys andleaves.)

Poor woman, she must learn to thinkquietly.

HARRYWhere did PETER and AMY go?

ALBERTTo a restaurant, I believe. Why?

HARRYYou haven't noticed anything oddabout him?

ALBERTPETER? No, nothing that springs tomind. Why?

HARRY(Is about to sayabout facesuperimposition,but decides againstit)

Nothing I guess. Perhaps I'm justworried that AMY might be tooemotional at the moment to thinkclearly…




ALBERTOh ho! You're worried about herfalling in love? AMY's a verystrong woman. Very independent –like KATHLEEN. You've no need to

worry for her sake.


HARRY can't sleep. He doesn't want to switch on thetelevision set as he's sick of hearing about theabductions.

Almost instinctively, he turns to his side.

DEAD GIRL is there. She doesn't speak.

HARRY(Resigned)

So I'm the accomplice?

HARRY (CONT.)

BeatYou're worried that now Miles hasgone, no-one will find your body?

(Seeing no reaction)I really can't help you. I've onlyjust remembered the accident.

BeatIf my heart doesn't give out on me,it could take months – even years –to remember everything fully.

(Looks at thestanding corpse)

I guess time's not that importantfor you now, is it?

(Thinks)Look, there' something I've got toask you. What if it isn't me – theaccomplice I mean. What if it's

someone else? You'd tell me right?(No response.Continues,regardless)

What if it isn't me – it could besomeone I know and you're trying totell me that.

(Corpse saysnothing)

I'm beginning to suspect PETER.Nothing conclusive, but I keepseeing his face…




Dead Girl VANISHES.

HARRY (CONT.)Hey! Wait! You didn't let mefinish…

(Thinking)PETER…

HARRY slowly, painfully turns himself in his bed andleans towards the telephone on the cabinet. Beside itare the two business cards – PETER's and DETECTIVELINES'.

With a crabbed hand, HARRY lifts the receiver andbegins pushing the buttons for PETER's number.

With his body bent at an uncomfortable angle, half ofthe bed, HARRY lifts the receiver to his ear. We hearit ringing.

PETER (OS)(Filtered. Sleepy)

Hello?

HARRYPETER?

PETER (OS)

BeatHARRY. Who else could it be at…

Beat

Two-fifteen in the morning?

HARRYI just wanted to chat.

PETERThat's nice, HARRY. What is it thistime? More ghosts?

HARRYI wanted to talk about women.

PETER(Laughs)I don't think you're quite ready atthe moment, pal….

HARRYHow did it go with AMY?

PETER

BeatHow did what go?




HARRYYour date? The restaurant…

PETERFine.

Beat

You called me at this ungodly hourto ask about a dinner date? I knowyou're under a lot of stress…

HARRYDid you take her home? To ALBERTand MARGARET's?

PETERYes…. No. what is this/ Twentyquestions?

HARRY

Just answer me, PETER. Did you takeback to her house?

PETERYou're starting to wear my patiencedown, HARRY.

HARRYDid you or didn't you?

PETER

Beat

No.

We see HARRY thinking. What's his next question goingto be? How will he confront his friend with hissuspicions?

HARRYWhere is she PETER?

PETERWhat?

HARRYWhere is she?

PETERThat's none of your damnedbusiness, buddy.

HARRYI've made it my business.

PETERYou really need to get some help,HARRY




HARRYWhere the hell is she? What haveyou done with her?

PETEROh, for Christ's sake.

We hear the phone being muffled. We're expecting thereceiver to be replaced. Instead, we hear:

AMY (OS)(Filtered. Verysleepy)

HARRY?

HARRYAMY?

AMYLook, HARRY, I don't know what you

want but I'd like to get back tosleep. Can we talk about thistomorrow?

HARRY(Stunned. Has made afool of himself)

Yeah. Sure. Sorry.

PETER (OS)If you wanted to play gooseberry,why didn't you just tell me? Icould have brought you in the

wheelchair….

The dial tone sounds. HARRY feels ridiculous, paranoid.Perhaps he really is going insane. Perhaps he is theaccomplice.

He replaces the receiver and tries to sit back up inbed. He can't.

No matter how hard he tries, he can't get back up fromthe position he needed to be in to use the phone. Hetries a few more times and then gives up.

He sees the 'Call NURSE' button and presses it.

He sighs while he waits, and waits, and waits. Nothing.

He presses it again.

He looks up from his virtually horizontal position,hanging over the bed, one hand on the telephonereceiver. There, before him, is Dead Girl.

She's shaking her head.




HARRYWhat? What now?

He sees she's looking at the business cards. He looksat cards and the back up. She's gone.

Still no response from the NURSE. Something's wrong.

He feels a fool, but he has no choice. He needs to callsomeone and tell them his predicament. Maybe they canphone the night reception and find out where the NURSEis?

He looks at PETER's number, and then decides against it– the memory is still too fresh from a few minutes ago.

He sees DETECTIVE LINES' number. He calls it.

HARRYDETECTIVE LINES?

BeatI know this is going to soundsilly, but….

INT: PRIVATE WARD, HOSPITAL, NIGHT – LATER

HARRY, still in his recumbent position, is woken up bya man's hand. He feels himself being hoisted back uponto the bed. He sees it's DETECTIVE LINES helping him.

DETECTIVE LINES

Where's the NURSE?

HARRY(Embarrassed)

I only meant for you to callreception… I didn't expect you'd…

DETECTIVE LINESIt's the least I could do.

BeatWhen did you last see her?

HARRYWho?

DETECTIVE LINESThe NURSE…

HARRYI've no idea.




DETECTIVE LINESYou wait here. I'll go find thatlittle Irish madam and give her apiece of my mind – if she's drunkon duty….

HARRYShe may have just fallen asleep….

DETECTIVE LINESAnd left you in that state? Yourheart's bad enough as is – whatwould happen if all your bloodrushed to your head?

HARRY tries to stop the now angry Detective fromleaving, but fails. He watches as the policeman stormsout of the room.

INT: KATHLEEN'S ROOM, HOSPITAL, CONTINUOUS

Sleeping Beauty is still asleep. A NURSE sits by herbed, reading a magazine. Suddenly

KATHLEEN FLATLINES.

The NURSE looks up at the heart monitor. It takes amoment for her to come to her senses. She jumps up,dropping the magazine on the floor and races towardsthe emergency button to call a support team. The NURSE

fiddles with KATHLEEN's tubes and wires to make surenothing's come loose.

INT: CORRIDOR, HOSPITAL, CONTINUOUS

DETECTIVE LINES is walking along the deserted corridor.His face set with grim determination.

INT: KATHLEEN'S ROOM, HOSPITAL, CONTINUOUS

The Doctor, and a few NURSEs rush in and prep KATHLEENto start her heart again electrically.

DOCTOR(To NURSE)

Call her parents…

A NURSE nods and leaves the room.




DOCTOR(Taking the diodesand waiting untilKATHLEEN's chest isrevealed andjellied)

Clear!


DETECTIVE LINES is opening doors and peering in them.

He sees an open, corridor door, at the end of thecorridor. A thin light is coming from behind.

DETECTIVE LINES(Quietly, to self)

Are you hiding down there?

EXT: DRIVEWAY, HOSPITAL, CONTINUOUS

A Volvo – which we surmise to be KATHLEEN's parentspulls quickly up, braking on the gravel surfacing.

INT: PRIVATE WARD, HOSPITAL, CONTINUOUS

HARRY is just dozing off when a PORTER enters his roompushing a wheelchair.

HARRY opens his eyes and is confused.

HARRYWhat are you doing?

PORTERIt's your fiancée…

We see in HARRY's eyes instant recognition of what thePORTER is implying. HARRY steels himself and nods.

The PORTER approaches and removes HARRY's duvet.


DETECTIVE LINES SLAMS open the door at the end of thecorridor and steps into:

INT: STAIRWELL, HOSPITAL, CONTINUOUS

He stands still – perhaps he was expecting a room? Helooks upstairs and sees that it's dark. The stairsdownwards have a light somewhere below. He headsdownwards.




As they enter, we hear:

DOCTOR (OS)Time of Death recorded, three-oh-eight-am.

Still facing the wrong way, we see HARRY's face swell

with a multitude of emotions.

INT: STAIRWELL, HOSPITAL, CONTINUOUS

DETECTIVE LINES has reached the bottom of thestairwell. Before him is a double door made from theold type plastic hanging sheets. The light comes frombehind it.

DETECTIVE LINES(To self)

What? You holding a bridge meet

down here?

DETECTIVE LINES pushes open the double doors and stepsinto:

INT: SMALLISH ROOM, HOSPITAL BASEENT, CONTINUOUS

We can't see the room, we can only see Lines' face. Helooks very confused.

DETECTIVE LINESWhat the hell are you doing down

here?

INT: KATHLEEN'S ROOM, CONTINUOUS

HARRY sits and stares at KATHLEEN, while the medicalstaff unplug her from the machines.

MARGARET (OS)Oh HARRY!

HARRY turns his head and sees MARGARET, red-eyed from

crying, standing to one side of the room. She looksdistraught.

HARRYWhere's ALBERT?

INT: SMALL ROOM, HOSPITAL BASEMENT, CONTINUOUS

We now get a better look at the scene.




ALBERTI couldn't hurt my daughters, couldI?

DETECTIVE LINESWhy hurt anyone?

ALBERTI've been watching them. I watchedKATHLEEN shack up with that… that …man

DETECTIVE LINESMENKHART?

ALBERTThat's the one

DETECTIVE LINESShe's an adult, ALBERT, she can do

what she likes.

ALBERTI rented a room, a few doors down.No doubt you know the owner…

DETECTIVE LINESDerek Miles.

ALBERTWeedy little fellow. Didn't knowwho I was.

DETECTIVE LINES(Thinking)

That's why you've been so close toHarry. You couldn't be sure if hewas Miles or not.

ALBERTNeither could you.

DETECTIVE LINESThen you and he?

ALBERT(Nodding)Poor Derek. Possibly the worstsalesman I've ever encountered.Boring, plain… and everydaywatching that blonde strumpet of adaughter mine, flaunting herselfwith that MENKHART.

DETECTIVE LINESAnd the girls? Why take othergirls?




ALBERTThat was my idea… substitution. Itwas easy enough, he with his flashVolvo, and me with what capital Ihave left.

DETECTIVE LINES

Go on

ALBERTHe could enjoy the girls and thinkabout my daughter and when he'dfinished with them….

DETECTIVE LINESYou…

(Thinks carefully)Punished them?

ALBERT

Exactly.

DETECTIVE LINESWhy didn't you try talking to yourdaughter? Tell her what you felt?

ALBERTToo headstrong. Not like hermother, oh no. That woman is how awoman should be – just like thegood old days. Obedient,subservient.

DETECTIVE LINESAnd KATHLEEN wasn't?

ALBERTShe was living like a whore!Shacking up out of wedlock!

DETECTIVE LINESShall we let the NURSE go?

ALBERT

Oh, I don't think so. No doubt shetoo has her own live-in lover and…

As ALBERT lifts his knife and looks longingly, madly,into the NURSE's terrified face, DETECTIVE LINES drawshis revolver on him.

DETECTIVE LINESPut the knife down now, ALBERT!

ALBERTI don't think so, detective…




ALBERT lunges across the room and Lines fires, hittingthe old man in the shoulder.

ALBERT swipes with his knife and slashes Lines's arm.Lines curses and almost drops the gun.

ALBERT turns the blade and rips upwards through Lines's

coat.

Lines jumps back in alarm, obviously in pain. ALBERTcloses on him, his eyes demoniac.

He's face to face with Lines – eyeball to eyeball.

We hear a GUNSHOT.

ALBERT's eyes widen and he slowly drops to his knees.

DETECTIVE LINES looks down at him.

DETECTIVE LINESFucking psycho

INT: KATHLEEN'S ROOM, CONTINUOUS

HARRY, in his wheelchair, is still some distance fromKATHLEEN. He vainly tries to reach for her hand but istoo far away.

HARRY's eyes are deep with sorrow. He tries to reachagain. We see him making the effort.

The PORTER pushes him up to the side of the bed.

HARRY's breathing is now erratic and he looks drowsy.He's almost finished.

He tries to lift his hand and can't even get it to bedheight. His energy's left him.

He drops his arm resignedly and sighs, then closes hiseyes.

Suddenly, he feels his hand being lifted. He opens his

eyes and sees MARGARET holding his wrist. She gentlyeases his hand over KATHLEEN's cold lifeless one.

MARGARET squeezes the two hands together and HARRYsmiles.

HARRY(Quietly)

I love you, Kathy…

HARRY looks over to where MARGARET is standing and sees

DEAD GIRL beside her.




Dead Girl smiles and nods her head.

HARRY, knowing now that it's all over smiles too.

His life leaves him and he slumps down, headfirst ontoKATHLEEN's arm. Dead Girl vanishes.

AMY and PETER rush into the room and see the scene.

MARGARET is standing, watching KATHLEEN and HARRY'sbodies joined together in death.

FADE OUT.

THE END

a screenplay by: edward o'toole

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