MICHELLE'S BOX
by:
Miles J. Kimball
FADE IN:
INT. MICHELLE'S VW CONVERTIBLE - TRUNK - NIGHT
Dark. Murky. The faint sound of water sloshing back and
forth. The THUMP, THUMP, THUMP of a bass guitar.
A pair of terror-filled eyes suddenly BOLT out of the water.
MICHELLE HARRIS, 18, smacks her head on the trunk. She tilts
her head sideways. Gasps for air in the cramped water-filled
quarters.
Blood seeps from a nasty cut on her forehead. She feels
around with her hands.
SCREAMS at the top of her lungs.
The incessant THUMPING of the bass guitar drowns her out.
She abruptly stops. Realizing all at once that her screaming
is futile. She takes a moment. Catches her breath.
She reaches out with one hand. Times the beat of the THUMPS.
Gets a rhythm down.
Starts BANGING on the trunk lid between beats.
THUMP. BANG. THUMP. BANG.
INT. MICHELA'S BEDROOM - DAY
THUMP. BANG. THUMP. BANG. Of a Hip Hop song blasting out of
the radio alarm clock sitting on a chair.
Faint sunlight filters through floor-length draperies, falls
across a rumpled mattress.
A hand flies out from under the covers, smacks into the radio
alarm clock, sending it CRASHING to the floor.
MICHELA (O.S.)
Noooo.
Sash, a black and white cat, flies off the bed. Races out of
the room.
MICHELA GAGNON, 32, rips off a sleeping mask. Her wild raven
hair falls across her face. She brushes it away. Sweat drips
down her face. Her pulse races. She gasps for air.
Grabs her pocketbook off the floor. Searches through it.
Pulls out an INHALER. Pumps a shot into her mouth.
DJ (V.O.)
(muffled)
Rise and shine, sleepy heads.
Intense blue eyes search the room for the voice. Spots the
radio alarm clock laying upside down. It reads: 6:01 AM.
DJ (V.O.) (CONT'D)
(muffled)
For all you crazy people out there...
Michela stares at the clock.
DJ (V.O.) (CONT'D)
Who like it hazy, hot and humid. Get
ready, 'cuz...
She reaches out. Shuts it off. Lays back on the mattress.
Hugs a pillow.
EXT. TOWN RESERVOIR - DAY
A myriad of colors explodes across a tranquil body of water
surrounded by tall pines. A fiery sun rises over.
EXT. COUNTRYSIDE - DAY
Rolling hills. A church bell RINGS in a steeple towering
above the tree-line.
EXT. QUAINT NEW ENGLAND TOWN - DAY
In the center of a picturesque New England town.
INT. MICHELA'S HOUSE - LIVING ROOM - DAY
Dark. Dank. The wooded floor CREAKS. Draperies open. Sunlight
floods the room.
The interior looks like it hasn't been lived in, in years.
Cobwebs. Layers of dust. Faded paint and wallpaper. Sheet
covered furniture.
WINDOW
Neglected lawn. Overgrown bushes. Movers unload moving trucks
parked in a gravel driveway.
EXT. QUAINT NEW ENGLAND TOWN - DAY
A young priest, FATHER MURPHY, 33, tall, good looking,
casually dressed, stands at a cross walk talking with a young
mother and child as they wait for the light to change.
A red VW convertible rolls slowly down Main Street.
Father Murphy shields his eyes from the sunlight. Glances at.
Michela pulling into a parking space. She's wearing a ball
cap. Big black sun glasses.
The light turns red. Father Murphy crosses the street. Does a
double-take as Michela climbs out of the convertible in baggy
clothes.
Old timers swap stories in front of the barber shop.
A mailman nods at Michela as he crosses the street in the
opposite direction.
The old timers think of fond memories, smile, as Michela
sashays down the sidewalk.
INT. ROSEWOOD DINER - DAY
Lunch crowd. Chatter. The owner, KELLY DOWD, 32, short
cropped hair, tomboyish figure, frantically works over the
hot grill.
She places two heaping orders on the counter top. Taps a tiny
bell.
Two town employees sit at the crowded counter.
TOWN EMPLOYEE #1
You see the moving vans in front of the
Harris house?
TOWN EMPLOYEE #2
Who'd want that dump?
A young waitress, JESS SMITH, 18, places the heaping plates
in front of the two employees.
JESS
Enjoy.
The front door opens.
Sunlight silhouette's Michela. She feels the wandering eyes.
Keeps her head down. Crosses to the register.
Jess walks by with an order.
JESS
Grab a seat. I'll be right with you
MICHELA
I'm just picking up an order for Gagnon.
KELLY (O.C.)
I got it, Jess.
Kelly places a box stacked with Styrofoam lunch containers
next to the register. Studies Michela as she rings it up.
Michela fishes through her wallet.
MICHELA
(not making eye contact)
Is there anything wrong?
Keeps her eyes glued to the food box as she hands Kelly two
twenties.
KELLY
Excuse me.
Michela unconsciously twirls a loose string of hair.
MICHELA
You're staring.
Kelly hands Michela her change.
KELLY
Have we ever met?
Michela looks up. Kelly's jaw drops. She turns white as a
ghost.
MICHELA
(picking up the box)
No.
Kelly grabs onto the counter-top for support.
Michela turns around. Bumps into unobtrusive, shy, ADAM
SMITH, 35.
ADAM
Sorry.
Michela solemnly looks into his eyes. Whispers in his ear as
she walks by.
MICHELA
Watch your step.
Adam shrugs his shoulders. Looks at a cryptic Kelly.
ADAM (O.C.)
What's her problem?
INT. CATHOLIC CHURCH - FATHER MURPHY'S OFFICE - DAY
Father Murphy's leaning back in his chair, feet on his
cluttered desk. He scribbles a note on a legal pad.
A KNOCK on the door.
SECRETARY
Father, there's a young woman here to see
you.
Father Murphy takes his feet off the desk, smiles at his
sixty year old secretary.
FATHER MURPHY
Send her in.
SECRETARY
She said she'd be waiting in a
confessional.
INT. CATHOLIC CHURCH - CONFESSIONAL - DAY
Michela sits in the dark. A door quietly CLOSES. A small
slider is pulled back.
Father Murphy's face appears.
FATHER MURPHY
(gentle voice)
How may I help you my child?
Michela's face is hidden in the shadows. She speaks softly.
Her voice almost inaudible.
MICHELA
I met a man today. Saw his future. Soon
he will die.
FATHER MURPHY
Why do you say that?
Silence. A door opens. Sunlight fills the spot where Michela
was just sitting.
FATHER MURPHY
Wait.
INT. CATHOLIC CHURCH - SANCTUARY - DAY
Father Murphy steps out of the confessional. Scans the
magnificent room.
Rays of sunlight slice through the intricate stain glass
windows, sending a kaleidoscope of colors across a handful of
worshipers praying in a sea of pews.
Kelly sits in the back row, head down, praying. In her hand
is a small paperback BOOKLET called, "Acceptance."
Soft FOOTSTEPS grow closer. She looks up.
Michela's figure, head down, quickly moves through the
shadows of a side aisle.
Father Murphy spots Michela making her way past the last pew.
Kelly puts her head down, pretends to pray. Watches closely.
Michela slips by. Heads for the outer doors.
Father Murphy silently makes his way down the center aisle.
EXT. CATHOLIC CHURCH - DAY
A front door opens.
Father Murphy steps outside. Shields his eyes. Scans his
surroundings.
The parking lot is empty. The town common quiet.
Michela's VW convertible pulls out of a parking space on the
opposite side of the common.
EXT. MICHELA'S HOUSE - DAY
A dilapidated rambling country home set back from the road,
surrounded by ancient gnarled trees.
Empty Styrofoam food containers sit on the front steps.
INT. MICHELA'S HOUSE - LIVING ROOM - DAY
Michela directs the movers to place her belongings in any
open space.
She begins pulling off the dusty sheets covering the antique
furniture left by the previous owner.
INT. OX BOW TAVERN - NIGHT
Dimly lit. Decadent. Smoke-filled. Rock music floats out of a
juke-box. A pool game's being played in the background. The
Red Sox are on the TV behind the bar.
Kelly sits at the end of the bar, sipping a drink.
An obnoxious regular flirts with her.
She polishes off her drink, smiles politely. Gets up. Leaves.
EXT. CATHOLIC CHURCH - PARKING LOT - NIGHT
A full moon rises above the towering steeple.
A catering van rolls into the parking lot. Pulls up beside a
mint 1966 Chevelle SS.
INT. CATERING VAN - NIGHT
A single light glows in a Father Murphy's office.
The interior light goes on.
Kelly flips down her driver's side visor. Quickly applies a
dab of RED lipstick. Smacks her lips together. Runs her
fingers through her hair.
She opens the ashtray. Grabs a Certs container.
INT. CATHOLIC CHURCH - FATHER MURPHY'S OFFICE - NIGHT
Father Murphy reads a paragraph in a reference book. He
pauses, thinks about what he read for a moment, scribbles a
note on a pad of paper.
INT. CATHOLIC CHURCH - HALLWAY - NIGHT
Footsteps echo in the darkened hallway.
INT. CATHOLIC CHURCH - FATHER MURPHY'S OFFICE - NIGHT
Father Murphy takes off his glasses. Rubs his eyes. He rips a
sheet of paper off the legal pad. Crumbles it up.
Lofts it toward an overflowing waste paper basket in the
corner. It bounces off the top.
Falls to the ground in front of a pair of boots.
KELLY (O.C.)
Got a minute.
Father Murphy smiles.
FATHER MURPHY
Sure. Grab a seat.
Kelly places a paper bag on the cluttered desk.
KELLY
Thought you might be hungry.
Father Murphy pulls a Styrofoam container and plastic
utensils out of the bag. Pops open the container.
He looks at a grilled chicken salad.
FATHER MURPHY
You trying to tell me something?
KELLY
Someone has to watch out for you.
FATHER MURPHY
(teasing)
He brought you. Didn't he?
KELLY
You know what I mean.
Kelly looks at the clutter on his desk.
KELLY
Sure I'm not disturbing you?
Father Murphy takes a bite of salad.
FATHER MURPHY
(through a mouthful)
Believe me. I could use a break.
Struggling with a sermon.
KELLY
What's it about?
FATHER MURPHY
Fate.
KELLY
Why'd you pick that subject?
FATHER MURPHY
A teenager died in a freak accident. Her
best friend came looking for answers.
A poignant look crosses Kelly's face.
KELLY
What did you say to her?
Father Murphy sighs, plays with his salad.
FATHER MURPHY
That God sometimes does things we don't
understand.
(gazing into Kelly's eyes)
She didn't buy it. Asked me about fate.
KELLY
And what did you tell her?
FATHER MURPHY
That I'd have to do some research.
KELLY
You mean you didn't have the answer?
FATHER MURPHY
(chuckling)
Hard to believe, huh?
Kelly smiles. Father Murphy takes a bite of his salad.
KELLY
So do you believe in fate, Sean?
FATHER MURPHY
You know that I believe everything can be
explained.
KELLY
I saw Michelle today.
FATHER MURPHY
Who?
KELLY
Michelle Harris.
FATHER MURPHY
It must have been someone that looked
like her.
KELLY
No. It was her.
Father Murphy glances up, a concerned look on his face.
FATHER MURPHY
How can you be so sure?
KELLY
Woman's instinct.
FATHER MURPHY
She recognize you?
KELLY
No. But it's been fifteen years.
FATHER MURPHY
C'mon, you haven't changed that much.
KELLY
Is that suppose to be a compliment?
Father Murphy leans back in his chair, frowns.
FATHER MURPHY
I wonder why she would come back after
all this time?
Kelly shrugs her shoulders.
KELLY
Who knows.
Kelly picks a piece of paper up off the desk. Looks at the
scribbled references.
PAPER
Destinies. The fates. Clotho. Lachesis. Atropos.
KELLY
What's the Destinies?
FATHER MURPHY
Come hear my sermon.
KELLY
Be real.
FATHER MURPHY
They're the three goddesses of classical
mythology.
KELLY
What was their purpose?
FATHER MURPHY
You should really come hear my sermon.
KELLY
Yeah, right.
FATHER MURPHY
They supposedly determine the course of
our lives.
Kelly rolls her eyes.
KELLY
You don't really believe that b-s, do
you?
The phone RINGS.
FATHER MURPHY (O.C.)
He works in mysterious ways.
INT. ADAM'S HOUSE - BEDROOM - NIGHT
The phone RINGS. A radio alarm clock reads: 3:45AM.
A hand slips out from under the covers, reaches for the
portable phone on the night-stand.
ADAM
(groggy voice)
Hello?
The caller's (Kelly) voice is low, muffled, unidentifiable.
He can't tell if it's a man or woman.
KELLY'S MUFFLED VOICE (V.O.)
Accept.
Adam fumbles with a lamp on the night-stand. Turns it on.
Shields his eyes from the blinding light.
ADAM
(glancing at the clock)
You got any idea what time it is?
KELLY'S MUFFLED VOICE (V.O.)
And he will greet you.
ADAM
Who is...Hello...Hello?
INT. MICHELA'S HOUSE - KITCHEN - DAY
Michela eagerly cleans the kitchen. She washes the counter
tops. Cabinets. Windowsills. Floor.
INT. MICHELA'S HOUSE - LIVING ROOM - DAY
Michela dips the roller in the paint tray. The roller glides
along the window trim leaving a fresh sheen of paint in it's
wake.
EXT. MICHELA'S HOUSE - DAY
Michela's VW convertible pulls into the driveway.
INT. MICHELA'S HOUSE - FOYER - DAY
The front door swings open. Michela enters carrying bags of
groceries. Makes her way through the transformed interior.
Fresh paint. Flowers. Plants. Knickknacks.
INT. MICHELA'S HOUSE - KITCHEN - DAY
Michela unloads the groceries. Neatly lines up the can goods
as she places them on the shelves. She rearranges a couple of
items. Satisfied, she closes the cabinet.
Sash appears out of nowhere. Softly meows.
MICHELA
(opening a cabinet)
Someone hungry?
She takes out a bowl and a box of dry cat food. Pours a small
amount into the bowl. Places it on a mat beside a saucer of
milk.
She puts the cat food away. Grabs a beer out of the
refrigerator. Cracks it open. Puts it to her lips.
EXT. MICHELA'S HOUSE - FRONT PORCH - DAY
Dappled sunlight spills across the front porch as Michela
rests the beer can on the arm of her Adirondack chair.
Sash stretches in her lap. Michela scratches her belly. Looks
across the open field. Smiles.
Puffy clouds engulf the sun, forming a prism of colors.
INT. ADAM'S HOUSE - LIVING ROOM - NIGHT
A black pocketbook hangs off the back of a chair. A pair of
high heels sit underneath it.
COFFEE TABLE
Open containers of Chinese food. Dirty dishes. An empty
bottle of wine. TWO wine glasses.
Adam climbs off the floor half-dressed.
ADAM
I'll run a bath.
INT. ADAM'S HOUSE - BATHROOM - NIGHT
A plugged in HAIR DRYER dangles off a towel rack beside the
tub.
Adam pushes a slider back. Turns on the faucets. Running
water fills.
INT. MICHELA'S HOUSE - BATHROOM - NIGHT
A bear claw tub. Lit candles FLICKER in a light breeze.
A terry-cloth bathrobe DROPS to the floor.
A tanned shapely leg steps into a bubble bath.
Michela leans back in the tub. Closes her eyes, a contented
look on her face. She relaxes. Slips under the water.
The water QUIVERS. Starts SPLASHING violently.
Michela's hands bolt out of the water. Grab onto the sides of
the tub.
Her eyes bulge. Her body trembles, as she uses all her
strength to pull herself up.
INT. CATHOLIC CHURCH - SANCTUARY - DAY
Father Murphy makes his way down the center aisle, nods
greetings to the morning worshipers.
He kneels at the alter. Crosses himself. Rises. Strolls over
to a confessional. Steps inside.
INT. CATHOLIC CHURCH - CONFESSIONAL - DAY
Father Murphy opens the small slider. Kelly's face is
swallowed-up by darkness.
FATHER MURPHY (O.C.)
In the name of the Father...
Kelly cuts him off. Her voice is low. Matter-of-fact.
Unrecognizable.
KELLY
He's dead Father.
FATHER MURPHY (O.C.)
Who?
KELLY
I didn't know where else to turn.
FATHER MURPHY (O.C.)
What happened?
KELLY
And now he needs you're prayers.
FATHER MURPHY (O.C.)
Who does?
Kelly's shadowy figure rises. A soft CLICK.
KELLY (O.C.)
Please bless his soul.
A door CLOSES.
Father Murphy sits there, a troubled look on his face.
INT. ROSEWOOD DINER - DAY
STEVE MATTHEWS, 34, three days growth and unruly hair, takes
his change from Kelly at the register. Drops a dollar in the
tip jar.
ED FARMER, 33, the no-nonsense Chief of Police, sits at the
counter, eating a light breakfast, chatting with a couple of
retirees.
Steve touches Ed's shoulder.
STEVE
See you Friday.
ED
Yeah.
Kelly pours a customer a fresh cup of coffee. Glances out a
window.
WINDOW
Steve climbs into his track.
EXT. ROSEWOOD DINER - PARKING LOT - DAY
Vinyl letter on it reads: Matthews Construction Co.
Residential Remodeling. (413) 567-8685.
Michela stops to ask him a question. Her hair hangs loosely,
touching the straps of her paint splattered overalls.
INT. ROSEWOOD DINER - DAY
Michela enters.
A retiree nudges Ed. He glances over his shoulder. Does a
double-take.
Michela sits down in a booth, back to the counter. Picks up a
menu.
Ed glances at Kelly. She's busy behind the grill.
Jess pours Michela a cup of coffee. Takes her order.
Ed places some money on the table, excuses himself. Bends his
sore knee a couple of times.
Michela pours a dab of milk into her coffee. Ed's looming
figure casts a shadow over the table.
ED (O.C.)
Why'd you come back after all this time?
Michela picks up a spoon, stirs the coffee, not realizing
that the man in blue towering over her booth is actually
talking to her.
Ed slides into the booth, glares at Michela. She continues
stirring the coffee.
MICHELA
(without looking up)
Do you always sit down uninvited, or are
you just plain rude?
ED
Answer my question.
Michela glances at him.
MICHELA
Excuse me?
ED
What are you doing back here?
MICHELA
I like the food.
Ed leans forward. Whispers in a low, harsh voice.
ED
Don't play games with me.
Michela glares back at him.
MICHELA
If you don't leave right now, I'll report
you to your boss.
ED
I am the boss, Michelle.
MICHELA
My name's Michela.
She takes a sip of her coffee.
ED
So you changed your name.
Gives him a smug smile.
MICHELA
Wrong again.
Ed leans back in the booth, studies her.
ED
Lemme see your license.
Jess's hand shakes as she places Michela's omelette down.
MICHELA
What are you planning on charging me
with? Disorderly eating.
The walkie-talkie on Ed's hip SQUAWKS.
CINDY (V.O.)
Chief, you there?
Ed pulls the walkie-talkie off his hip, talks into it.
ED
One second.
JESS
Can I get you anything Chief?
Michela holds Ed's gaze. Twirls a loose string of hair.
MICHELA
He was just leaving.
Jess nervously looks at Ed.
ED
No thanks, Jess.
She quickly moves to another table.
ED
(rising)
We're not finished.
Michela gives him a curt look, takes a bite of her omelette.
INT. UNMARKED POLICE CRUISER - DAY
Ed starts the cruiser up. Grabs the two-way radio microphone.
ED
Go ahead Cindy.
CINDY (V.O.)
You're needed at 372 Longview Road.
ED
Is that Adam Smith's place?
CINDY (V.O.)
Yes sir.
He puts the car in gear. Reaches for the rear-view mirror.
ED (O.C.)
What you got?
INT. ADAM'S HOUSE - BATHROOM - DAY
BATHROOM MIRROR
Scribbled in red lipstick; Listen closely & you will hear.
Close your eyes & you will see. Open you're heart & HE will
forgive you. SERENITY.
Medical Examiner LINDSAY HUNTER, 40's, maidenly, steps back.
LINDSAY
Have a look for yourself.
The hair dryer's electrical cord runs from a wall socket into
the tub. It's partially covered by a soaking wet towel.
Adam's limp wrist dangles over the edge of the tub. His
haunting eyes stare out from a bluish face.
ED (O.C.)
Who called it in?
INT. ADAM'S HOUSE - LIVING ROOM - DAY
Ed and Lindsay make their way through the living room, past a
police officer dusting the coffee table for prints.
COFFEE TABLE
Flies buzz around the open containers of Chinese food. Dirty
dishes. An empty bottle of wine. ONE wine glass.
LINDSAY (O.C.)
Anonymous tip.
EXT. ADAM'S HOUSE - DRIVEWAY - DAY
Two assistant Medical Examiners place Adam's body in the rear
of the van.
JIMMY (O.C.)
Chief. You better take a look at this.
Ed closes the driver's door.
ED
Lemme know what you find.
LINDSAY
I will.
Ed taps the roof of the van, heads back into the house.
INT. ADAM'S HOUSE - BEDROOM - DAY
Ed enters. Rookie Officer JIMMY CAMPBELL, 24, eager, stands
back from the walk-in closet.
WALK-IN CLOSET
The clothes have been pushed back. A false wall removed.
Stacked neatly inside, a stash of kiddie porn.
Ed kneels down, looks through the assorted magazines. Young
girls in skimpy outfits, posing provocatively.
Ed mumbles under his breath.
ED
Sick bastard.
EXT. CURLY'S - PARKING LOT - DAY
The mint 1966 Chevelle SS pulls into the parking lot.
INT. CURLY'S - DAY
Pub style restaurant. Ed's sitting at the bar munching on a
burger and fries, nursing a beer.
Father Murphy slides onto a bar stool beside him. He motions
to the bartender for a round.
FATHER MURPHY
How was your day?
ED
Just great. Yours?
FATHER MURPHY
That's what I want to talk to you about.
The bartender places two long necks on the counter.
BARTENDER
Menu?
FATHER MURPHY
Not right now thanks.
Father Murphy waits until the bartender is out of ear shot.
FATHER MURPHY
Someone die today?
ED
(nonchalantly)
Why?
Father Murphy quickly glances around.
FATHER MURPHY
I had a strange visit.
Ed takes a sip of his beer, studies Father Murphy.
ED
And?
Father Murphy leans in close.
FATHER MURPHY
She told me someone had died.
Ed perks up.
ED
Who was she?
FATHER MURPHY
I don't know. It happened in the
confessional.
ED
What were her exact words?
Father Murphy ponders this for a moment.
FATHER MURPHY
He's dead Father. And I should bless his
soul.
ED
That's it?
FATHER MURPHY
Yeah.
Ed sighs, takes a sip of his beer.
ED
I saw Michelle this morning.
Ed can tell by Father Murphy's look that it's not news to
him.
ED
You knew?
FATHER MURPHY
No. Not really. Kelly stopped by last
night. Told me she had seen her.
ED
Why didn't you call me Sean?
Father Murphy peels the label off his beer bottle.
FATHER MURPHY
I just find it hard to believe... What
makes you so sure?
ED
That plain-Jane look. Dressing down to
cover her hot bod...The way she always
twirled that loose string of kinky hair.
(off Father Murphy's look)
What?
FATHER MURPHY
Nothing... If it is her...Why come back
after all this time?
Ed finishes his beer, rises.
ED
That's what I'm gonna find out.
INT. MICHELA'S VW CONVERTIBLE - DAY
Fading sunlight. The top's down. Michela soaks in the country
air as she cruises through rolling hills. Past cattle grazing
in open fields.
EXT. COUNTRY ROAD - DAY
Michela's VW convertible rolls down a winding country road,
disappears under a canopy of trees.
The faint sound of a SIREN.
INT. MICHELA'S VW CONVERTIBLE - DAY
Michela turns down her stereo.
The SIREN grows louder.
She looks in the rear view mirror.
REAR VIEW MIRROR
A police cruiser rapidly gains on her.
EXT. COUNTRY ROAD - DAY
Michela slows down, pulls off to the side of the road, the
police cruiser right behind her.
MICHELA (O.C.)
Great.
INT. MICHELA'S VW CONVERTIBLE - DAY
REAR VIEW MIRROR
Jimmy climbs out of the cruiser. Walks up to Michela's
convertible.
JIMMY
License and registration.
MICHELA
Was I spending?
JIMMY
License and registration, please.
Michela rips the glove box open. Takes out the registration.
She opens her pocketbook. Grabs her license. Flops her hand
out.
Jimmy grabs the license and registration.
JIMMY
I'll be right back, Ma'am.
Michela mimics him as he walks back to the car.
INT. POLICE STATION - CHIEF'S OFFICE - DAY
Ed scribbles Michela's information on a piece of paper.
ED
Thanks. And give her a warning.
EXT. MICHELA'S VW CONVERTIBLE - DAY
Jimmy hands Michela her license, registration and a warning.
JIMMY
I'm letting you off with a warning this
time.
MICHELA
Did your chief put you up to this?
JIMMY
Have a good night, Ma'am.
Jimmy heads back to the cruiser.
Michela slams the car into gear. Stomps on the gas. The tires
spin, kicking dust and stones into the air. SQUEAL as they
hit pavement.
INT. POLICE STATION - NIGHT
Ed pours himself a cup of coffee, Crosses to the printer.
Grabs a printout.
He FLICKS the lights off. Glances at the information as he
walks into his office.
The office door closes.
INT. POLICE STATION - FRONT ENTRANCE - NIGHT
The front door closes. Footsteps echo through the empty
building.
INT. POLICE STATION - CHIEF'S OFFICE - NIGHT
Ed's leaning back in his leather chair, feet up on the desk,
reading the printout.
INT. POLICE STATION - NIGHT
A hand reaches for the door knob.
INT. POLICE STATION - CHIEF'S OFFICE - NIGHT
The door flies open. Michela storms in.
MICHELA
Who the hell do you think you are?
Ed nonchalantly looks up from the printout, smiles.
ED
Is there a problem?
MICHELA
Like you don't know.
Ed sits up. Flips the printout upside down on his desk.
ED
Grab a seat.
MICHELA
I'd rather stand.
ED
Suit yourself.
Ed takes a sip of his coffee. Michela leans over the desk.
MICHELA
One of your boys pulled me over for no
reason at all.
ED
(rubbing his chin)
Now why would he do something like that?
Michela glances at overturned printout on the desk.
MICHELA
To get information on me, Einstein.
ED
Gee. I wish I thought of that.
MICHELA
I don't know who you think I am, but I'm
not her. So get a life.
Michela heads for the door.
ED
Why?
Michela turns around, looks at him confused.
MICHELA
Why what?
ED
The charade.
MICHELA
I feel sorry for you.
Michela storms out. Ed slams his desk in frustration.
INT. KELLY'S HOUSE - LIVING ROOM - NIGHT
Kelly enters, a bottle of wine in her hand. She plops down on
the couch. Picks her wine glass up off the coffee table.
Her hand shakes as she pours a glass. She rests the bottle of
wine next to a photo album.
Takes a sip of wine. Makes herself comfortable. Picks up the
open high school yearbook laying next to her on the couch.
Rests it in her lap. Flips the pages until she reaches the
letter H. Runs a finger down the page. Lands on the name
Michelle Harris.
EXT. MICHELA'S HOUSE - DAY
Steve's pickup is parked behind Michela's VW convertible.
A make-shift work bench. A pile of rotted clapboards. Tool
box. New clapboard siding stacked up.
INT. MICHELA'S HOUSE - KITCHEN - DAY
Michela rinses off the morning dishes, places them in the
dishwasher.
A power saw WHINES in the background. It suddenly stops.
KITCHEN WINDOW
Steve puts down the power saw. Mumbles under his breath.
Michela pours soap into the dishwasher. A screen door CLOSES.
STEVE (O.C.)
Pete call you back yet?
MICHELA
Nope.
He opens the basement door, disappears from sight. Heavy
footsteps race down the basement steps.
STAIRWELL
The BEAM of a flashlight floats through the darkness, lands
on the back wall.
A basement light goes on.
Steve bounds up the steps.
STEVE
I'll drag his sorry ass over here
tomorrow.
MICHELA
Thanks.
Steve holds the screen door open.
STEVE
Oh yeah. Don't use any appliances.
The screen door CLOSES.
EXT. MICHELA'S HOUSE - BACKYARD - DAY
Michela steps outside with a pitcher of ice tea and a glass.
STEVE (O.C.)
I'll be right down.
Steve's standing on a ladder under a boarded-up second floor
window. He finishes nailing a new clapboard in place. Checks
his handy work. Climbs down the ladder.
STEVE
It's gettin' there.
(talking the glass)
Thanks.
Steve takes a huge gulp. Michela stares at the window.
MICHELA
I can't get in that room. It's locked. I
can't find the key anywhere.
STEVE
Maybe it's in the room.
MICHELA
Maybe.
STEVE
She ran away one night.
MICHELA
Who?
STEVE
The girl. Never came back. The mother
died of a lonely heart. The father ended
up in a nursing home.
MICHELA
That's a shame.
STEVE
Yeah.
Steve finishes off the rest of his ice tea.
MICHELA
More?
STEVE
Please.
Michela fills up Steve's glass. Their hands touch.
MICHELA
You swim?
STEVE
Couple miles a day. Why?
MICHELA
Just a feeling.
Michela opens the screen door. Hesitates. Turns around.
MICHELA
Be careful.
Steve frowns. The screen door swings shut.
EXT. TOWN RESERVOIR - DIRT ROAD - DAY
A canopy of trees creates a cool dim haven as Michela jogs
down a dirt road running parallel to the reservoir.
Her strides long, graceful, gazelle-like.
EXT. TOWN RESERVOIR - DAY
Michela slows down, walks across the footbridge above the
dam. Makes her way down the gently slope.
Kneels at the water's edge. Takes off her cap. Dunks her head
in the crystal clear water.
EXT. MICHELA'S HOUSE - BACKYARD -DAY
Steve sticks a nail in a clapboard. Lifts his hammer back.
The RUMBLE of thunder.
He looks over his shoulder.
EXT. TOWN RESERVOIR - DAY
Ominous clouds roll in behind a sprawling, turn-of-the
century estate, perched on a hilltop overlooking the tranquil
reservoir.
Michela rises. Throws her cap on. Stops. Stares.
A SHINY reflection under the surface one hundred feet from
shore.
Michela stands there, transfixed. The shiny reflection
appears to be reaching out to her.
The sky darkens. A strong breeze rustles the leafs.
A faint whisper floats through the air.
FAINT VOICE
Michela.
The EXPLOSION of thunder shakes Michela out of her trance
like state.
She looks towards the estate.
The storm's fast approaching.
She breaks into a jog. Heads towards a path that leads into
the woods.
EXT. COUNTRY ROAD - DAY
Dark clouds cast a shadow over a winding road. Steve's pickup
appears.
The sky opens up.
EXT. TOWN RESERVOIR - WOODS - DAY
Darkness. Wind-swept showers. Michela pulls the brim of her
cap down over her eyes. Races through the forest.
She reaches the crest of a slop. Transverses down the other
side. Hits a patch of wet leafs. Starts sliding down the
rocky trial. Trips over a rock. Looses her balance.
Grabs onto a tree branch. It slips out of her hand. She
tumbles to the ground. Slides down the trail.
Smacks her head against a rock. Lays perfectly still.
INT. STEVE'S PICKUP - DAY
Rain pelts the windshield. The wipers whip back and forth.
His cell phone RINGS. Steve grabs it off the seat.
STEVE
Matthews.
KELLY'S MUFFLED VOICE (V.O.)
Rejoice.
STEVE
What?
KELLY'S MUFFLED VOICE (V.O.)
For he wants you.
STEVE
Who is...
Steve looks at his phone. Jumps at a FLASH of lighting.
EXT. TOWN RESERVOIR - WOODS - DAY
STROBE-LIKE flashes of lightning struggle through the thick
foliage.
Michela slowly sits up. Blood drips from a cut on her
forehead. She touches the cut. Grimaces.
FAINT VOICE
Michela.
A twig SNAPS. Michela turns. Shields her eyes.
A FIGURE (Sean/Father Murphy), wearing a ball cap BACKWARDS,
and shrouded in darkness moves, down a path diverging from
the one she is on.
He's moving away at an angle, a limp female body (Michelle)
slung over his shoulder. Her long dark kinky hair flopping
about..
The heavy rain's deafening. Her voice is drowned out.
MICHELA
Wait.
The couple disappears. Swallowed-up by the woods.
INT. POLICE STATION - FRONT DESK - DAY
Jimmy talks on the phone. His smile fades.
JIMMY
Let me call you back.
He hangs up. Stares at a soaking wet, disheveled Michela.
MICHELA
Is the Chief in?
JIMMY
Yeah. One second.
INT. POLICE STATION - CHIEF'S OFFICE - DAY
Ed's behind his desk, studying photos from the Smith murder
scene.
A KNOCK on the door.
ED
Yeah.
The door opens. Jimmy sticks his head in.
JIMMY
That lady's here. Something's up.
ED
Send her in.
INT. POLICE STATION - FRONT DESK - DAY
Jimmy motions Michela to come over.
JIMMY
Ma'am. He'll see you now.
Michela rises from her wooden chair.
INT. POLICE STATION - CHIEF'S OFFICE - DAY
Michela enters. Ed's smile disappears. Ed motions for Jimmy
too close the door.
ED
Have a seat.
Ed's eyes follow her, a concerned look on his face.
ED
You okay?
Michela sits rigid. She doesn't make eye contact. Stares at
the manila envelope on the spotless desk.
Michela nods.
MICHELA
Slipped while I was jogging.
ED
Can I get you anything?
MICHELA
I'll be okay.
Ed drums his fingers on the manila envelope.
Michela senses his eyes upon her, unconsciously curls her
hair behind an ear.
ED
How can I help you?
Draws a circle on her leg with a finger.
MICHELA
I saw something in the woods. I think the
girl might be dead.
The drumming stops. Ed leans forward.
ED
Where?
MICHELA
On a trail behind the town reservoir.
ED
(rising)
Think you can find her.
MICHELA
I don't know. I'm pretty sure it was a
vision.
ED
What?
MICHELA
A vision.
Ed drops back into his seat, looks at her sceptically.
MICHELA
I see things. Most of the time it deals
with the future. But there was something
different about this one.
Ed rubs his forehead.
ED
You see things?
MICHELA
You sound sceptical.
He looks directly into her eyes.
ED
Very perceptive. Was that a vision?
Michela averts her eyes. Rises.
MICHELA
I'm sorry. I shouldn't have wasted your
time.
Michela stops at the door. Turns.
MICHELA
How's the knee?
ED
Good days, bad...
Ed's voice trails off. He looks at her, surprised.
MICHELA
Old basketball injury. Right?
Ed stares, at a loss for words as Michela closes the door.
INT. ROSEWOOD DINER - DAY
The diner's quiet. Kelly, Ed and Father Murphy are sitting in
a window booth, drinking coffee.
Kelly stirs her coffee, lost in her own thoughts.
Ed hands Father Murphy a photo copy of a fax.
ED
She goes by Michela Gagnon now.
Father Murphy glances at it.
FATHER MURPHY
I don't think it's her.
ED
She knew about my knee. How do you
explain that?
FATHER MURPHY
Maybe she had one of those visions.
ED
Visions my ass.
Father Murphy slides the photo copy across the table.
FATHER MURPHY
The mind's capable of amazing things Ed.
ED
Save it for someone else Sean.
Ed stuffs the photo copy back in his pocket.
ED
Kelly you talked to her.
Kelly snaps out of it.
KELLY
Who?
ED
Michelle.
KELLY
Only for a second.
(shrugging her shoulders)
She didn't recognize me.
ED
But you know it's her. Right?
Kelly glances out the window. Fading sunlight.
EXT. MICHELA'S HOUSE - DAY
Disappears behind the trees.
INT. MICHELA'S HOUSE - KITCHEN - NIGHT
The stove BUZZER goes off. Michela pushes the dishwasher.
Reaches over to turn the buzzer off.
It stops. The lights go off. The dishwasher shuts down.
MICHELA
Sash, we need an electrician, like
yesterday.
Sash happily eats dinner. Michela grabs a pack of matches off
the windowsill.
INT. MICHELA'S HOUSE - BASEMENT - NIGHT
Damp. Musty. Pitch-black. Michela strikes a match. She
glances at the fuses. Spots the blown one. Unscrews it.
She searches the cluttered workbench for a new fuse. The
match burns down. Michela blows it out.
Light FOOTSTEPS cross the kitchen floor.
MICHELA
I'm in the basement.
A match GLOWS.
Sash lets out a low angry meow.
The top step of the rickety staircase CREAKS.
Michela's hand shakes as she frantically rips the plastic off
a new fuse box with her teeth.
The match FLICKERS once. Goes out.
Michela fumbles with the fuse box in the darkness.
MICHELA
(shaky voice)
Who's there?
Another step CREAKS.
Sash HISSES.
Michela fumbles putting the fuse in.
Another step CREAKS.
MICHELA
Steve?
The lights go on. Michela spins around.
A SHADOW disappears up the stairs.
Sash let's out a menacing meow.
A LOUD crash.
Michela grabs a wrench off the workbench. Races up the steps.
INT. MICHELA'S HOUSE - KITCHEN - NIGHT
Wet floor. Scattered flowers. Shattered Vase.
Michela enters. Stops.
Sash, fur raised, bolts down the hall.
Light FOOTSTEPS on the second floor hallway.
Michela chases after Sash.
INT. MICHELA'S HOUSE - SECOND FLOOR HALLWAY - NIGHT
Sash flies around the corner. Bounces off a wall.
INT. MICHELA'S HOUSE - STAIRWELL - NIGHT
Michela takes the steps two-at-a-time. Hits the landing.
Stops dead in her tracks.
Sash is standing at Michelle's door. Fur raised. HISSING.
Michela squeezes the wrench in her hand, quietly makes her
way down the hall. She puts her finger up to her mouth,
motions for Sash to be quiet.
Michela reaches for the door knob. Slowly turns it. It's
locked. She pushes on the door. It won't budge.
MICHELA
I know you're in there. Now come out.
Silence.
MICHELA
Okay. Have it your way.
She raises the wrench. SLAMS it into the door knob. Does it
again. And again. And again.
The door knob drops to the floor.
Michela pushes on the door. It still won't budge.
MICHELA
You gotta come out sometime.
Michela slides down onto the floor. Gets comfortable. Sash
climbs into her lap. Curls up.
EXT. TOWN RESERVOIR - NIGHT
A full moon engulfs the night. It's reflection wandering
across the glass-like water.
Laughter floats through the still night air.
Clothes are casually dropped at the water's edge.
Two figures frolic in the cove. The woman (Kelly), back to
us, giggles as she playfully pushes Steve under the water.
INT. MICHELA'S HOUSE - SECOND FLOOR HALLWAY - DAY
Michela's asleep on the floor outside Michelle's door. Sash
appears. Licks her nose. Michela throws her hand out. Bolts
upright.
She looks around confused. Shakes the cobwebs from her head.
Stretches her aching body.
Michela looks at Sash.
MICHELA
(rising)
This is ridiculous.
INT. MICHELA'S HOUSE - MICHELLE'S BEDROOM - DAY
Dark. Dank. A ray of sunshine slices through a boarded-up
window.
The sound of a rusty nail being pulled out of a board.
Sunlight engulfs the room.
EXT. MICHELA'S HOUSE - BACKYARD - DAY
Michela's standing on the ladder. She pries the last board
away from the window. It falls to the ground.
She raises the crowbar. Turns her head sideways. Closes her
eyes.
SLAMS the crowbar into the window.
INT. MICHELA'S HOUSE - MICHELLE'S BEDROOM - DAY
It EXPLODES. Shattered glass falls to the floor.
Michela uses the crowbar to knock shards of glass off the
window frame.
EXT. MICHELA'S HOUSE - BACKYARD - DAY
Michela drops the crowbar on the floor. Carefully climbs.
INT. MICHELA'S HOUSE - MICHELLE'S BEDROOM - DAY
Inside. Glass CRUNCHES under her feet. She looks around.
Cobwebs. Dusts. The room hasn't been touched since the day
Michelle disappeared.
2x4's nailed across the door.
Rock Stars and Teenage Heartthrobs adorn the walls.
BUREAU
Photos: Mother and father. Friends.
Michela studies one photo.
PHOTO
A young Ed leaning against a Camaro.
She crosses to the vanity.
VANITY
Wallet-size graduation pictures tucked into the mirror.
Michela stares at a familiar face.
WALLET-SIZE PHOTO
A young Kelly.
EXT. TOWN RESERVOIR - DAY
A deer grazing on a freshly cut bank raises it heads.
Children's voices grow louder.
The deer rushes up the bank. Bolts into the woods.
Three boys carrying backpacks, fishing pools attached to the
bike handles, come out of the woods. Ride along a path
towards the cove.
FRECKLED FACE BOY
What's that?
COVE
A body floats upside down in the water.
LANKY BOY (O.C.)
Let's check it out.
The boys cut off the path. Race down the slope towards the
water's edge. Slide to a stop beside a pile of male clothing.
GEEKY BOY
Hey mister. You okay?
FRECKLED FACE BOY
(nervously)
Think he's dead?
LANKY BOY
Let's find out.
The lanky boy hops off his bike. Kicks off his sneakers.
Pulls off his shirt.
LANKY BOY
Well?
The other two look at each other.
FRECKLED FACE BOY
I'm not goin' near him.
GEEKY BOY
Me either.
LANKY BOY
Wimps.
The lanky boy wades into the water. Dives in. Swims out to
the body.
A hand reaches out. Grabs onto Steve's body. Flips him over.
Ed stares into Steve's bulging eyes. He turns away. Wraps an
arm around Steve. Swims toward shore.
EXT. TOWN RESERVOIR - SHORELINE - DAY
Jimmy questions the three boys.
Two officers wade into the water. Help Ed drag Steve's body
onto dry land.
Jimmy's walkie-talkie SQUAWKS. He steps away from the boys.
The lanky boy looks towards Steve's body. He covers his
mouth. Races up the bank towards the woods.
Jimmy walks up to Ed. Whispers in his ear.
EXT. TOWN RESERVOIR - CART PATH - DAY
Sunlight struggles through a canopy of trees. A police
officer dusts Steve's pickup for prints.
A dripping wet Ed and Jimmy walk down the cart-path. Stops in
front of the pickup. Gaze at the windshield.
WINDSHIELD
Scribbled in red lipstick; Listen closely & you will hear.
Close your eyes & you will see. Open you're heart & HE will
forgive you. COURAGE.
ED (O.C.)
Looks like we can rule out accidental
drowning.
INT. CATHOLIC CHURCH - SANCTUARY - DAY
Father Murphy enters. Spots an unfamiliar figure. He quietly
makes his way down the center aisle towards the front.
Michela sits in the middle of the sanctuary, head bowed. She
feels his presents. Looks up.
Father Murphy is standing over her, a smile on his face.
FATHER MURPHY
May I?
Michela hesitates for the briefest second.
FATHER MURPHY
I won't bite.
His smile is intoxicating. His voice, soft, soothing.
FATHER MURPHY
Promise.
Michela slowly slides across the pew. Father Murphy sits
down. They sit in silence.
FATHER MURPHY
Beautiful, isn't it?
Michela nods in agreement.
FATHER MURPHY
I thank the Lord every day for the beauty
he brings into this room.
He turns to Michela.
FATHER MURPHY
By the way, I'm Father Murphy.
(offering his hand)
But everyone calls me Sean.
Michela glances at his hand. Looks straight forward. Father
Murphy rest his hands in his lap, not the lest bit offended
by Michela's gesture.
FATHER MURPHY
You don't believe, do you?
MICHELA
In what?
FATHER MURPHY
Him.
Michela follows Father Murphy's eyes. Stares at striking
rendition of Christ on the cross.
FATHER MURPHY
It's nothing to be ashamed of.
MICHELA
I'm not ashamed... I have my reasons.
Father Murphy nods knowingly.
FATHER MURPHY
(rising)
If you would ever like to talk. I'm easy
to find.
MICHELA
You're awful young to be a priest.
Father Murphy chuckles.
FATHER MURPHY
I didn't know there was a minimum age
requirement.
Michela blushes. Stumbles over her words.
MICHELA
No. I mean. It's just that. Well, you
are. You just don't...
Her voice trails off.
FATHER MURPHY
Look like your typical priest?
MICHELA
Well, yeah.
FATHER MURPHY
So I've been told.
Father Murphy turns to leave.
MICHELA
Do you know a Steve Matthews?
FATHER MURPHY
Yeah. I grew up with him. Why?
Michela looks down at her lap.
MICHELA
He's dead.
Father Murphy slumps. Crosses himself. Slides into a pew.
Kneels. Closes his eyes. Says a silent prayer.
INT. CATHOLIC CHURCH - FATHER MURPHY'S OFFICE - DAY
Father Murphy opens his eyes. Looks up.
FATHER MURPHY
What happened?
MICHELA
I don't know. I just know he's dead.
Father Murphy snaps his fingers.
FATHER MURPHY
The confessional. Right?
Michela nods. Drops her eyes. He studies her features. Shakes
his head.
MICHELA
What?
FATHER MURPHY
The resemblance is rather striking. You
and Michelle could've passed for sisters.
MICHELA
Michelle?
FATHER MURPHY
Harris. Ed's ex...The chief's ex
girlfriend.
(off Michela's look)
I heard.
MICHELA
What happened to her?
Father Murphy sighs.
FATHER MURPHY
Nobody's sure. She ran away fifteen years
ago. Haven't heard from her since... Ed's
still waiting.
MICHELA
Might explain all those stares.
FATHER MURPHY
(chuckling)
Small town thing.
EXT. STEVE'S HOUSE - DAY
Large Cape. White picket fence. Two polices cruisers are
parked in the driveway.
INT. STEVE'S HOUSE - DEN/OFFICE - DAY
Ed's sitting at Steve's cluttered desk. Looking through the
drawers. Listening to the answering machine.
The answering machines beeps.
KELLY'S MUFFLED VOICE (V.O.)
Trust him. He'll make it right.
Ed glances at the answering machine. Hits the rewind button.
JIMMY (O.C.)
You need to see this.
Ed holds up a finger. Hits play.
KELLY'S MUFFLED VOICE (V.O.)
Trust him. He'll make it right.
ED
That sound like a man or woman?
Jimmy shrugs his shoulders.
JIMMY
Hard to tell.
Ed opens the answering machine. Takes out the tape.
ED
(rising)
What you find?
INT. STEVE'S HOUSE - BASEMENT - FINISHED ROOM - DAY
Ed and Jimmy are standing in a finished room.
Plush furnishings. Wall-to-wall carpeting. Shuttered windows.
Leather couch. Plasma TV.
A large water bed. Wrists and leg restraints hang from the
ceiling.
Bondage apparatus dangling on a wall. Shelves stocked with
sex toys.
A video camera on a tripod.
Ed opens a pack of TUMS, pops two into mouth.
ED
Amazing what some guys will do to get
their rocks off.
INT. UPSCALE BOUTIQUE - DAY
GEORGE HENDERSON, 34, jovial, hands the signed credit card
receipt to the clerk.
CLERK
(handing George two bags)
Who's the lucky lady.
George's cell phone RINGS. He takes the bags. Smiles.
EXT. NEWBURY STREET - BOSTON - DAY
A bustling street filled with restaurants, boutiques and
shops.
George strolls down the street talking on his cell phone.
KELLY'S MUFFLED VOICE (V.O.)
Surrender.
GEORGE
What?
KELLY'S MUFFLED VOICE (V.O.)
And he will make you happy.
GEORGE
Who is this?
EXT. CATHOLIC CHURCH - PARKING LOT - NIGHT
A lone spotlight shines down on Father Murphy, ball cap on
BACKWARDS, and five teenagers playing an intense game of
three-on-three.
Friendly bantering back and forth. Pushing and shoving. Sweat
pouring off their bodies.
A shot goes up from outside. Nothing but net.
Father Murphy grabs the basketball, walk towards the key.
FATHER MURPHY (O.C.)
Twenty-twenty. Next basket wins.
Ed, paper bag in hand, sits down on a stone wall.
PLAYER #1
The pizza's gonna taste sweet.
Father Murphy hands him the ball. Gets right in his face.
FATHER MURPHY
Especially since you'll be paying.
Player #1 slaps the ball.
There's pushing and shoving as players fight through picks.
Player #1 tries to drive toward the basket. Father Murphy
guards him closely. Forces him to pass to Player #2.
Player #2 does a touch pass to Player #3 down in the low
post.
Player #3 spins to shoot.
Father Murphy appears out of nowhere. Forcing Player #3 to
alter his shot. He fades back.
The shot floats through the air. Bounces high off the rim.
Father Murphy rips the rebound out of the air and in one
fluid motion, dishes the ball to a teammate standing at the
top of the key.
The teenager fakes left. Drives right. Lays it in.
Father Murphy high-fives his teammates.
FATHER MURPHY
I'll catch up with you guys later.
Father Murphy grabs his towel, wipes himself down as he walks
over to Ed.
FATHER MURPHY
I'm getting too old for those young hot
shots.
Ed smiles. Flips him a bottle of water.
ED
Least you can still play.
Father Murphy nods. Takes a long swig of water.
Music grows louder. A car rolls by. Father Murphy gives the
peace sign.
FATHER MURPHY (O.C.)
So what's up?
The teenagers wave. A rock song CRANKS.
INT. ROADSIDE BAR & GRILL - NIGHT
Out of the juke-box. Ed lays two photos in front of Father
Murphy.
PHOTOS
Adam's bathroom mirror. Steve's truck's windshield.
Father Murphy studies the writing on the photos.
ED
Religious connotations. Right?
Father Murphy looks up.
FATHER MURPHY
Where you headed with this?
Ed takes a sip of his beer, studies Father Murphy.
ED
Michelle moves back to town. Two guys
that were involved are dead.
FATHER MURPHY
It wasn't rape Ed. She wanted you...
Ed SLAMS his fist into the table.
ED
Don't tell me what it was.
Father Murphy raises his hands, like calm down.
ED
She was semi-religious. Those look like
messages to me. Put two-and-two together.
FATHER MURPHY
Don't you think that would be a little to
obvious?
ED
I don't know. I've never been inside the
mind of a serial killer... Have you?
INT. MICHELA'S HOUSE - KITCHEN - DAY
Rock music floats out of counter-top radio. Michela sings-a
long as she rinses off dishes, puts them in the dishwasher.
Gravel CRUNCHES under the weight of car tires rolling down
the gravel driveway.
A car door CLOSES.
Michela peeks out the window.
WINDOW
Ed steps behind the unmarked police cruiser.
EXT. MICHELA'S HOUSE - FRONT PORCH - DAY
Climbs onto the porch. RINGS the door bell. Glances around.
Admires the work being done on the place.
A window curtain FALLS back into place.
He RINGS the door bell again.
ED
I know you're in there. I saw the curtain
move.
MICHELA (O.C.)
Go away.
ED
We need to talk.
INT. MICHELA'S HOUSE - LIVING ROOM - DAY
Michela stands next to the window.
MICHELA
I've got nothing to say to you.
Ed's voice is right outside the window. Michela jumps back at
the sound of his voice.
ED (O.C.)
I've got two murders on my hands.
MICHELA
What's that got to do with me.
EXT. MICHELA'S HOUSE - FRONT PORCH - DAY
ED
You're involved somehow.
MICHELA (O.C.)
Are you insane?
ED
Prove me wrong.
INT. MICHELA'S HOUSE - LIVING ROOM - DAY
ED (O.C.)
Let me in.
Michela puts the inhaler up to her mouth, takes a hit.
MICHELA
Give me one good reason why?
ED (O.C.)
Don't make me go get a warrant. It'll
piss me off. Then I'll get ugly.
EXT. MICHELA'S HOUSE - FRONT PORCH - DAY
Michela paces back and forth.
MICHELA
You mean you actually have a nice side.
Ed can't help but chuckle. He pulls a ripped-in-half photo
out of his pocket.
ED
Let me show you a photo. If you can look
me in the eye, tell me it's not you... I
won't bother you again... Fair enough?
INT. MICHELA'S HOUSE - FOYER - DAY
Michela stands at the screen door.
MICHELA
This better not be a trick.
Ed holds up the ripped photo.
ED
It's not. Promise.
Michela ponders this for a moment.
EXT. MICHELA'S HOUSE - FRONT PORCH - DAY
Opens the screen door a crack. Sticks her hand out.
Ed gives her the ripped photo.
INT. MICHELA'S HOUSE - FOYER - DAY
Michela stares at the photo in her hand.
RIPPED PHOTO
Michelle's leaning against the rear fender of a red
convertible, an arm over her shoulder. The resemblance to
Michela is striking.
MICHELA (O.C.)
Who is she?
INT. MICHELA'S HOUSE - FRONT PORCH - DAY
Ed leans against the bannister.
ED
Her name's Michelle Harris.
Michela stands behind the screen.
MICHELA
Do I look like her? Yes. Is it me? No.
Ed takes a deep breath. Exhales.
ED
Look. I don't know what exactly happened
that night... Cause you ran away.
MICHELA
How many times do I have to tell you it's
not me.
ED
Maybe you're blocking it out.
Michela throws her hands up in the air.
MICHELA
What will it take to get it through that
thick scull of yours?
ED
There hasn't been a murder in this county
in over forty years. You come back...I've
got two. It ain't a coincidence.
Michela shakes her head.
MICHELA
Don't move. I'll be right back.
Michela disappears around the corner. Ed pulls out a roll of
Tums. Rips the pact open. Pops two into his mouth.
The screen door CREAKS open. Michela hands Ed a small piece
of paper.
MICHELA
Call Detective Stone. Savannah P-D.
Homicide. That's his number.
Ed looks at the piece of paper.
ED
What's he got to do with this?
MICHELA
He'll vouch for me.
Ed hold Michela's gaze. Finally stuffs the piece of paper in
his pocket.
ED
I'll be in touch.
Michela watches him back down the steps.
EXT. MICHELA'S HOUSE - DRIVEWAY - DAY
Cross to his car.
INT. UNMARKED POLICE CRUISER - DAY
Ed starts the cruiser. Flips on the air. Opens the ashtray.
Pulls out the other half of the ripped photo. Pieces them
together.
RIPPED PHOTO
Ed and Michelle leaning against an older red VW convertible.
Ed puts the cruiser in gear. Backs down the driveway.
ED (O.C.)
I know it's you. I'd bet my life on it.
Michela's red VW convertible fills the windshield.
EXT. SELF-SERVE GAS STATION/FOOD MART - DAY
Michela shuts off the pump. Screws the cap back on. Closes
the lid. Crosses the lot.
George, twelve pack in hand, holds the door open for her.
MICHELA
Thanks.
He does a double-take.
GEORGE
Michelle?
Michela enters the building.
INT. SELF-SERVE GAS STATION/FOOD MART - DAY
Modern. Clean. Michela reaches for a six-pack of water.
A hand touches her shoulder.
GEORGE
Michelle Harris, right?
Michela startled, drops her six-pack of water. It hits a rack
of junk food, spilling items all over the floor.
Michela gives George a dirty look.
GEORGE
Ooops. Sorry.
Michela kneels down. Starts picking up the items. George
kneels down to help.
GEORGE
Remember me. George Henderson. We went to
school together.
Michela frustrated, yells.
MICHELA
Get away from me.
Customers turn. Stare.
George turns beat-red. Puts his hands up in a defensive
posture.
GEORGE
Sorry. My mistake.
He quickly gets up. Heads out the door.
A female hand picks up an item.
KELLY (O.C.)
What was that all about?
Michela looks up. Kelly's kneeling across from her, picking
up items.
EXT. TOWN RESERVOIR - DAY
Fading sunlight. A myriad of colors races across the glass-
like water.
EXT. DIRT ROAD - TOWN RESERVOIR - DAY
Michela jogs down the road at a steady pace.
INT. ED'S HOUSE - HALL CLOSET - NIGHT
Shoes, sneakers and boxes sit on the floor. Ed's rummaging
through a cluttered closet. He pulls out a box. Opens it.
BOX
Jammed pack: Photo album. Memorabilia. Trophies. Junk.
He digs through it. Finds what he wants. Pulls out a high
school yearbook.
EXT. MICHELA'S HOUSE - DRIVEWAY - DAY
Twilight. Michela sprints into the driveway. Slows to a walk.
Sweat pours off her body. She climbs the front steps.
EXT. HENDERSON ESTATE - NIGHT
A full moon engulfs the sprawling, secluded, turn of the
century country estate, perched on a hilltop with panoramic
views of the hilly, wooded countryside and the tranquil water
of the reservoir lurking below.
INT. MICHELA'S HOUSE - MASTER BEDROOM - NIGHT
A sweaty Michela enters. Kicks off her jogging sneakers.
INT. HENDERSON ESTATE - POOL HOUSE - NIGHT
Scattered clothing. Empty beer cans.
KELLY'S MUFFLED VOICE (O.C.)
I'm hot.
Moonlight filters in through the open windows, falls across
two people shrouded in covers.
GEORGE
Wanna go for a swim?
INT. MICHELA'S HOUSE - BATHROOM - NIGHT
Michela turns on the shower. Pulls the sports bra over her
head.
EXT. HENDERSON ESTATE - POOL - NIGHT
George bounces up and down on the diving board. Floats
through the air. Does a belly flop into the water.
Water splashes.
INT. MICHELA'S HOUSE - BATHROOM - NIGHT
Across Michela's face. Steam WAFTS above the shower stall.
The shower goes off. A hand appears from behind the shower
curtain. Grabs a towel.
The shower curtain rolls back. A towel clad Michela steps
out. Grabs another towel. Bends over. Wraps it around her
head.
She stands up. Looks into the steamy mirror. Staggers
backward.
MIRROR
Her blurred reflection. And scribbled in the steam: Help Me!
INT. POLICE STATION - CHIEF'S OFFICE - NIGHT
ERASABLE DISPLAY BOARD
Michelle's enlarged high school graduation photo is tacked in
the middle. Adam's and Steve's high school graduation photos
on either side.
Snapshots of the messages from the bathroom mirror and
windshield.
Listed in marker: Marital status. Jobs. Education. Hobbies.
Friends.
Interconnecting lines. Arrows pointing to Michelle.
Ed closes the yearbook. Pulls a folded piece of paper out of
his pocket.
He checks his watch. Picks up the phone. Dials the number on
the piece of paper.
He rises. Crosses to the board.
ED (O.C.)
Yes. I'd like to speak with Detective
Stone.
He picks up a red marker. Circles the word CABIN at the
bottom of the board.
Draws an arrow. Connects it to Michelle's column.
INT. MICHELA'S HOUSE - MICHELLE'S BEDROOM - NIGHT
The window's boarded-up. A large candle flickers. Michela
enters, a bottle of beer in her hand. Sits down in the middle
of the floor.
She crosses her legs. Looks at the Ouija Board spread-out in
front of her.
Sash stretches out. Watches from the doorway.
MICHELA
So you want my help.
Michela takes a sip of beer. Puts it down. Places her fingers
on the planchette. Closes her eyes.
MICHELA
Talk to me.
Nothing happens. Michela finally opens her eyes. Takes her
fingers off the planchette. Looks around the room.
MICHELA
Michelle, if it's you...
She places her fingers back on the planchette.
MICHELA
Show me. Give me something. Anything.
Michela closes her eyes. Waits.
Sash lifts her head. Stares.
The candle FLICKERS.
The planchette starts to move. Lands on the letter L.
Michela opens her eyes. Her heart skips a beat.
The planchette drifts over to the letter I. Stops. Moves onto
the letter B. Stops.
Michela's fingers shake as the planchette picks up speed.
It glides over to the letter R. Stops. Quickly moves over to
the letter A. Stops. Then quickly back to the letter R.
Stops.
Then slowly moves across the board. Towards the letter Y.
The candle FLICKERS. Goes out.
EXT. CITY LIBRARY - PARKING LOT - DAY
Michela climbs out of her VW convertible. Crosses the parking
lot.
EXT. CITY LIBRARY - ENTRANCE - DAY
Climbs the front steps. Enters the library.
INT. ED'S HOUSE - BEDROOM - DAY
Disheveled appearance. Clothes piled on the floor. Newspapers
tossed on the floor. Rumpled bed.
The phone RINGS. A toilet FLUSHES.
Ed enters, half-dressed, toothbrush in mouth. He crosses to
the bed. Grabs the phone off the night-stand.
NIGHT-STAND
A photo of Ed, Michelle, Father Murphy and Kelly. Michelle
and Kelly stand in the Middle. Ed and Father Murphy on either
side.
Kelly's head is resting against Michelle's shoulder, a wicked
smile on her face.
ED (O.C.)
Yeah... Okay. I'm on my way.
INT. CITY LIBRARY - RESEARCH DEPARTMENT - DAY
Michela sits at a microfilm machine. Glances at an occasional
article as she scrolls through the pages.
Something catches her eye. She goes back. Slows down. Stops.
MONITOR
The HEADLINE reads: "Police Break-up Late Night Party At
Henderson Estate"
Michela scans the article. Scrolls down the page. At the
bottom, a small caption.
MONITOR
The small CAPTION reads: "Local Teen Runs Away"
Michela quickly reads the article. Moves on.
Scrolls further. Page after page. Suddenly stops.
MONITOR
The HEADLINE reads: "Local Teen Missing Six Weeks"
Under it, MICHELLE'S high school graduation photo.
Michela reads the article.
It contains vital information; Height. Weight. Age. Where she
was last scene.
Michela stares blankly at the screen.
MONITOR
Michelle's date of birth: June 13, 1971.
EXT. HENDERSON ESTATE - DAY
Emergency vehicles parked in the driveway.
EXT. HENDERSON ESTATE - POOL - DAY
Blazing sunshine. An assistant Medical Examiner strips down
to his boxer shorts.
Lindsay stands on the edge of the pool.
POOL
George's body floats face down.
LINDSAY (O.C.)
I'm getting tired of seeing you sorry
face.
ED
Same here.
Ed pulls out a rolls of Tums. Pops a couple into his mouth.
Offers the roll to Lindsay.
LINDSAY
No thanks.
ED
This one better be natural causes.
POOL
The assistant Medical Examiner wades into the water.
JIMMY (O.C.)
Chief?
Ed looks towards the pool house. Jimmy's standing in the
doorway.
JIMMY
Another message.
ED
(disgustedly)
Great... Call me.
Lindsay nods. Ed crosses to the pool house.
INT. HENDERSON ESTATE - POOL HOUSE - DAY
Cozy. Plush. Beach style furniture. TV. Stereo. Empty beer
cans. Disheveled sofa bed.
Jimmy points to the mirror above a wet bar.
WET BAR MIRROR
Scribbled in red lipstick; Listen closely & you will hear.
Close your eyes & you will see. Open you're heart & HE will
forgive you. WISDOM.
ED
Let's check the house. See if he's got
any perverted little secrets.
INT. CATHOLIC CHURCH - SANCTUARY - DAY
Father Murphy confers with a young priest at the alter about
an upcoming funeral.
Soft footsteps echo through the vast room.
Father Murphy looks up, smiles. Excuses himself from the
young priest. Quietly makes his way down a side aisle.
Michela, head bowed, whispers. The words unintelligible.
Father Murphy quietly stands over her.
Michela feels his presents. Slides down the pew without
looking up.
Father Murphy takes this as an invitation to sit down. He
kneels. Says a little prayer of his own.
The silence is unsettling. Michela fidgets in the pew. Plays
with the GOLD LOCKET dangling from her neck.
FATHER MURPHY (O.C.)
That's a beautiful locket.
Michela drops her hand down. Reaches for her purse.
MICHELA
I need a favor.
FATHER MURPHY
Name it.
She opens her purse. Takes out a piece of paper. Hands it to
Father Murphy.
He unfolds it. Looks at a faded BIRTH CERTIFICATE.
MICHELA
I need to know where she was born. If she
was adopted. If so, why?
Father Murphy nods knowingly.
FATHER MURPHY
I'll see what I can do.
He studies her troubled face. Speaks tenderly.
FATHER MURPHY
Those that suffer the most, and except
there faith, will be rewarded the
greatest when he calls them home.
Michela looks into his eyes. For a brief moment she can feel
his pain.
MICHELA
Nothing personal, but I don't buy it
Father.
Father Murphy takes a small booklet off the rack on the back
of the pew. Hands it to Michela.
BOOKLET
The cover reads: Acceptance
FATHER MURPHY
You may find the answers you are
searching for in there.
Michela quickly flips through it. Stops on the Serenity
Prayer. Glances at it.
MICHELA
Why did you become a priest?
Father Murphy rises. Smiles.
FATHER MURPHY
Long story. Suffice to say...I had an
epiphany.
MICHELA
Have you forgiven yourself Father?
FATHER MURPHY
Forgiveness is the greatest gift ever
bestowed upon us.
MICHELA
You walk with a very heavy heart. Don't
you?
Father Murphy holds up the folded birth certificate.
FATHER MURPHY
Give me a couple of days.
Michela watches him slowly stroll down the aisle.
INT. HENDERSON ESTATE - MASTER BEDROOM - DAY
Jimmy sits on the edge of the bed. Flips through a photo
album.
JIMMY
Think he tried to pick up men?
WALK-IN CLOSET
A closet-full of woman's clothing. Rows of shoes. Different
colored wigs neatly lined up on shelves.
ED
Make a hellava motive for murder.
Ed steps out of the closet.
ED
Anything good?
Jimmy closes the photo album, rises.
JIMMY
He made one ugly woman.
Ed chuckles.
ED
What about the answering machine?
Jimmy follows Ed out the door.
JIMMY (O.C.)
(serious)
Nothing.
EXT. HENDERSON ESTATE - DRIVEWAY - DAY
Jimmy's inside his running cruiser. Ed's leaning against the
driver's door of the unmarked cruiser.
ED
I gotta make a stop.
Jimmy nods. Pulls out.
EXT. SHADY OAKS NURSING HOME - DAY
A sprawling modern complex nestled between tall oaks and
rolling hills, designed to give you that rustic New England
feel.
EXT. SHADY OAKS NURSING HOME - GROUNDS - DAY
Manicured grounds. Patients mingle in the fresh air.
Father Murphy is sitting on a park bench under a shady oak,
talking to a well-dressed man in a wide-brim hat.
Father Murphy rises. Squeezes the man's shoulder. Whispers in
his ear.
The solitary figure sitting erect on the bench, nods.
Father Murphy taps his shoulder. Makes his way across the
grounds.
A blind, BEN HARRIS, 70's, Michelle's father, looks
immaculate in his short sleeve button down shirt, tie, wide
brim hat and sun glasses.
INT. MICHELA'S HOUSE - KITCHEN - DAY
Michela opens the oven. Pulls out a tray of blueberry
muffins. She grabs a toothpick. Sticks it into a muffin.
A KNOCK on the door.
MICHELA
It's open.
The screen door SHUTS. Footsteps move down the hall.
HALLWAY
Ed glances at family photos hanging on the walls as he moves
down the hall.
He stops in the doorway. His heart aches. Michela looks so
much like Michelle in her faded jeans and T-shirt.
Michela places a glass of milk and a plate of blueberry
muffins on the kitchen table.
MICHELA
Hope you like blueberry muffins.
Ed stares at the muffins.
ED
I came too apologize.
MICHELA
Apology excepted. Now grab a seat.
Ed crosses to the table, sits down. Michela grabs another
glass of milk and joins him.
Ed takes a big bite. Knocks it down with milk.
MICHELA
What did he tell you?
ED
That you could be cold. Arrogant.
Difficult. No. Pig-headed.
Michela playfully slides the plate of muffins away from Ed.
MICHELA
You're not making any points Chief.
ED
He said you have an incredible gift.
Michela pushes the plate back.
MICHELA
I'd say it was more of a curse.
Ed peels the baking cup off.
ED
Tell me about these so-called visions.
MICHELA
What would you like to know?
ED
How they work.
MICHELA
Does that mean you're starting to
believe?
Ed rolls his eyes.
ED
No.
Michela smiles.
MICHELA
Most of the time I'm in the present.
Bordering on the future.
ED
What happens?
Michela shrugs her shoulders.
MICHELA
I make a some type of connection. Usually
just by touching someone... And it's like
I'm projecting into their body.
ED
How long's it last?
MICHELA
A few seconds. Minute, max. Long enough
to see what's going to happen to them.
Ed studies her.
ED
Do you feel any pain?
Michela glances at the table. Her body begins too quiver.
Ed speaks in a gentle tone.
ED
It wasn't your fault.
Michela swallows hard. Clears her throat.
MICHELA
I sent the police down the wrong road.
Tears roll down her cheeks.
MICHELA
A little boy died.
Ed reaches out to touch her hand. She quickly pulls it away.
ED
He'd already killed six children.
Michela dabs at the tears with a napkin.
MICHELA
Explain that to the little boy's parents
who were depending on me.
ED
You got him off the street before he
killed more kids.
MICHELA
He toyed with me. Got inside my head.
Showed me who was stronger.
Michela picks at her blueberry muffin.
MICHELA
And when he got tired. He let me catch
him... It was all just a game to him.
ED
He was sick.
MICHELA
He said we were the shame. That there's a
fine line between a killer and a savior.
(looking into Ed's eyes)
That we're both trying to play God.
ED
That's bullshit.
MICHELA
(solemnly)
Is it?
Michela averts her eyes. Stares at her muffin.
MICHELA
You've come to ask for my help.
ED
Three men are dead. There's some type of
link to you. And I don't know where else
to turn.
The phone RINGS.
MICHELA
(rising)
Let me think about it.
ED
Fair enough.
MICHELA
Hello?... Hi.
Ed picks up a blueberry muffin.
MICHELA
Really?... Okay.
ED
(whispering)
One for the road.
Michela smiles. Her eyes follow Ed as he shows himself out.
MICHELA
How about seven?
EXT. CURLY'S - DAY
A beer sign goes on in a window.
INT. CURLY'S - DAY
Michela and Father Murphy sit in a corner booth. Away from
the crowd.
Father Murphy munches on an appetizer as Michela studies
Michelle's birth certificate.
MICHELA
(looking up)
Is it possible?
Father Murphy nods.
MICHELA
I never knew. I mean, I always felt like
a part of me was missing... I never felt
whole. Always thought it was in my head.
FATHER MURPHY
It's tough any time you lose someone. But
to go through what you. At three years
old.
Father Murphy shakes his head at the tragedy of it all.
MICHELA
Don't get me wrong. I've had a great
life... I just wish my adopted parents
had said some something.
FATHER MURPHY
Maybe they couldn't.
MICHELA
Why?
FATHER MURPHY
Privacy issues. Ben told me it was part
of the adoption process... He wanted to
adopted both of you. Couldn't afford to
feed four mouths.
MICHELA
What's he like?
FATHER MURPHY
Find out for yourself. He wants to meet
you.
MICHELA
Really?
FATHER MURPHY (O.C.)
Yeah.
INT. FATHER MURPHY'S CHEVELLE SS - DAY
Father Murphy turns the ignition. The car rumbles to life.
FATHER MURPHY
Said he's got a box of Michelle's stuff
that he wants you to have.
He slaps the shift into first. Pulls out.
MICHELA
What time you picking me up?
EXT. COUNTRY ROAD - NIGHT
Twilight. Father Murphy's Chevelle SS cruises down the
winding road. Disappears under a canopy of trees.
FATHER MURPHY (V.O.)
How does nine sound?
EXT. COUNTRY ROAD - DAY
Blazing sunlight. Father Murphy's Chevelle SS appears from
under the canopy of trees. Roars down the road.
INT. FATHER MURPHY'S CHEVELLE SS - DAY
Father Murphy's behind the wheel. Michela's riding shotgun.
They sing-a-long to a rock song blasting out of the stereo.
EXT. SHADY OAKS NURSING HOME - PARKING LOT - DAY
Father Murphy's Chevelle SS rolls into the visitor parking
lot. Pulls into a space. Parks. The passenger door opens.
FATHER MURPHY (O.C.)
I'm right here if you need me.
INT. FATHER MURPHY'S CHEVELLE SS - DAY
Michela closes the door. Sticks her head back in.
MICHELA
Thanks.
EXT. SHADY OAKS NURSING HOME - PARKING LOT - DAY
Michela crosses the crowded parking lot. Climbs the front
steps.
INT. SHADY OAKS NURSING HOME - FOYER - DAY
Stops at the front desk. Talks with the receptionist.
INT. SHADY OAKS NURSING HOME - 2ND FLOOR - DAY
The elevator door opens. Michela steps out. Apprehensively
makes her way down the hall.
INT. SHADY OAKS NURSING HOME - BEN'S ROOM - DAY
Small. Tidy. Family photos adorn the walls. Ben paces back
and forth. Dressed in his Sunday best. Sport coat and tie.
Shiny wing tips.
Michela's footsteps grow louder. Stop outside the door.
EXT. SHADY OAKS NURSING HOME - 2ND FLOOR - DAY
Michela raises her hand to knock, hesitates.
BEN (O.C.)
Just like a woman to keep a man waiting.
Michela smiles.
INT. SHADY OAKS NURSING HOME - BEN'S ROOM - DAY
Enters. Ben's sitting erect in his recliner.
MICHELA
How did you know it was me?
BEN
You're perfume.
Michela smiles.
BEN
Have a seat.
Michela sits at a small wooden table. Glances at a PHOTO on
the wall.
PHOTO
An attractive woman in her fifties.
MICHELA
Is that your wife?
BEN
The love of my life. Betty took our son's
drowning real hard. Thought she'd never
get over it. Then we adopted Michelle.
Our ray of sunshine. Over time the pain
disappeared. And then she...she...
Ben's voice cracks.
MICHELA
Maybe I should go?
Ben pulls a clean crisp hanky out of a pocket. Wipes the
tears from his face.
BEN
No. Don't. I'm just an old fool with too
much time on his hands.
Michela wipes a tear from her eye.
Ben pulls a pint of Ginger Brandy out of the side pocket of
his recliner. Unscrews the cap. Takes a hit.
BEN
(chuckling)
Medicinal purposes.
He tightens the cap. Slides the bottle back in place.
BEN
That box by the door's for you.
Michela glances at the large box sitting in a chair.
LARGE BOX
Michelle is SCRAWLED in large black letters on the side.
MICHELA (O.C.)
But those are your memories.
BEN
(pointing to his head)
I keep 'em up here now.
Michela shifts in her chair. Curls a string of hair behind
her ear.
MICHELA
Do you have any idea of what happened to
Michelle?
BEN
Cops say she ran away. I never bought it.
MICHELA
Why?
BEN
Something happened at that rich folks
house... I tried to get some answers.
(shaking his head in disgust)
It's amazing what money can do.
He let's that thought hang in the air.
BEN
Sean says you look like her.
MICHELA
He's not the only one.
BEN
Mind if I see for myself?
MICHELA
(rising)
No. Not at all.
She kneels in front of him. He reaches out. She guides a
thick hand up to her face.
He gently runs his fingers over her hair.
BEN
Wild.
Around her eyes. Down her nose. Across her lips.
BEN
Ski jump nose. Full lips.
(pulling his hand back)
I bet you look just like her.
Michela bites down on her quivering lip.
BEN
Thank you.
Her eyes fill with tears.
MICHELA
For what?
BEN
Letting me catch a glimpse of what a
beautiful woman Michelle would have been.
Michela doesn't say a word. Rubs a cheek across the back of
his hand.
BEN
Did I say something wrong?
She kisses his hand. Holds it tight.
MICHELA
I was just thinking how lucky Michelle
was.
EXT. FATHER MURPHY'S CHEVELLE SS - DAY
Father Murphy studies the sports page. Looks at the results
of last night's Red Sox game.
He glances in the rear view mirror.
REAR VIEW MIRROR
Michela's walking through the lot with Michells' box.
EXT. SHADY OAKS NURSING HOME - PARKING LOT - DAY
Father Murphy hops out of the car. Opens the trunk.
FATHER MURPHY
How'd it go?
MICHELA
He's sweet. And in a lot of pain.
Father Murphy takes the box from Michela.
MICHELA
I have to help him find closure.
Places it inside the trunk.
FATHER MURPHY (O.C.)
How?
Closes the lid.
INT. MICHELA'S HOUSE - KITCHEN - DAY
The back door opens. Michela enters. Places Michelle's box on
the kitchen table.
Sash runs into the room. Walks over to her dish.
MICHELA
Hungry?
Sash meows. Michela opens a cabinet under the sink. Takes out
the box of dry cat food.
She grabs the portable phone. Dials a number as she fills the
cat dish.
MICHELA
Ed. It's Michela.
INT. ED'S HOUSE - DEN - DAY
Ed's stretched-out on the couch.
ED
(sitting up)
What made you change your mind?
He grabs the remote, turns the volume down.
ED
Yeah. He has.
INT. MICHELA'S HOUSE - KITCHEN - DAY
Michela cradles the phone in her shoulder. Closes the
refrigerator door with her foot. Places the leftovers on the
counter-top.
Sash HISSES. The CLATTERING of her cat dish flipping over.
MICHELA
Sounds good.
(turning around)
See you...
Sash flies out of the room.
Michela's eyes pass over the overturned cat dish. Dry food
scattered across the floor. Land on the kitchen table.
TABLE
The flaps on the Michelle's box are open.
MICHELA (O.C.)
Then.
Michela puts the phone down. Shivers. She rubs her hands over
her arms as she ever slow slowly cross to the table.
Stops dead in her tracks. Grabs onto a kitchen chair for
support. Stares at a box flap.
BOX FLAP
Scrawled in black marker, "SAVE ME."
Michela's hands shake as she reaches into the box.
INT. MICHELA'S HOUSE - LIVING ROOM - NIGHT
Pulls out an intricate musical jewelry box. Places it on the
coffee table by a group of framed photos of Michelle and
friends during their high school years.
Michela gazes at the musical jewelry box. Closes her eyes.
Runs her fingers across the fine craftsmanship. She lifts up
the lid.
The box comes to life. Plays a soothing song. The tray
contains a smorgasbord of costume jewelry.
Michela smiles to herself. Lifts up the tray. Places it on
the table.
Gazes at a worn diary laying inside. Hesitates. Conflicted,
by the need to learn about Michelle and delving into her
intimate thoughts.
Curiosity finally wins out. Michela picks up the diary.
She grabs her glasses off an end table. Lays down on the
couch. Gets comfortable.
Sash hops onto the couch. Curls up beside her.
Michela opens the first page. Begins to read. She turns pages
as she reads along. She stifles a yawn. Her hand becomes more
relaxed.
The diary slips out of her hand.
INT. MICHELA'S HOUSE - BEDROOM - NIGHT
Lands on a bathrobe on the bedroom floor.
The draperies flutter in a light breeze. Streaks of moonlight
spill into the room, fall across a restless Michela.
Soft FOOTSTEPS come up the stairs. Stop outside the bedroom
door.
The floor CREAKS.
The light breeze carries the faint voice through the night.
FAINT VOICE
Michela.
Sash stirs. Lifts up her head. Stares.
A faint white glow seeps under the crack between the door and
the floor.
The door knob slowly turns.
FAINT VOICE
Save me.
The door inches open. The faint light grows brighter.
Sash rises. Curls her body in attack mode. Let's out a low
spine chilling meow.
Jumps off the bed. Floats through the air.
The faint light fades down the hallway as Sash bounds through
the door.
A stiff breeze slams the door shut.
Michela screams out.
MICHELA
Nooo.
Bolts upright. Flips on a bedside lamp. And with heart
racing, glances around the empty room.
EXT. COUNTRY ROAD - DAY
Ed's unmarked police cruiser rolls through the countryside.
ED (V.O.)
Should I expect any surprises?
INT. UNMARKED POLICE CRUISER - DAY
Michela's head's tilted out the window. Her wild hair blowing
in the breeze.
MICHELA
Like what?
Ed keeps his eyes on the road.
ED
I don't know... Could it turn violent?
Michela turns towards him. Smiles behind her sunglasses.
MICHELA
You won't need a gun.
Ed slows down. Turns into Adam's driveway.
ED
I'm serious.
Michela shrugs her shoulders.
MICHELA
I suppose it could. But it's never
happened before.
Ed stops. Puts the shift lever in park. Turns to Michela, a
concerned look on his face.
ED
There's always a first time.
INT. ADAM'S HOUSE - LIVING ROOM - DAY
Ed peels the foil off a roll of TUMS. Pops two in his mouth.
Watches Michela methodically make her way through the room.
Michela kneels down beside the clean coffee table. Runs a
hand across it. Stops.
MICHELA
He had his last meal in here.
She looks at the floor. Then to the couch.
Ed intently watches as Michela grabs a pillow off the couch
and lays down on the floor.
She gets comfortable. Closes her eyes.
MICHELA
He wanted to have sex. She said she felt
dirty. He said he'd draw a bath.
ED
Do you know who is she?
MICHELA (O.C.)
I can't see her face.
INT. ADAM'S HOUSE - BATHROOM - DAY
BATHROOM MIRROR
Scribbled in red lipstick; Listen closely & you will hear.
Close your eyes & you will see. Open you're heart & HE will
forgive you. SERENITY.
Michela's intense face is reflected through the words.
MICHELA
Interesting play on words.
She touches the outlet next to the sink. Traces a line
towards the tub. Kneels down. Runs a hand across the surface.
MICHELA
She wanted to punish him for what he did.
ED
Anything to do with the porn?
Michela shakes her head, no.
MICHELA
No. It's something she thinks she saw.
ED
What?
MICHELA
A couple.
(rising)
Embracing.
EXT. TOWN RESERVOIR - DIRT ROAD - DAY
Ed's unmarked police cruiser rolls in and out of the canopy
of trees.
ED (O.C.)
How do you know this?
EXT. UNMARKED POLICE CRUISER - DAY
MICHELA
Every house has secrets. You just have to
listen closely.
Ed looks at her sceptically as he pulls to a stop in the dirt
parking lot.
EXT. TOWN RESERVOIR - COVE - DAY
Michela and Ed stand at the water's edge.
ED
This is where we found his clothes.
MICHELA
And his body?
ED
About seventy fifty feet out.
MICHELA
Do you mind turning around?
Ed rolls his eyes as he turns around.
Michela quickly strips down to her sports bra and boxers.
Wades into the water. Dives in.
Ed turns around. Paces back and forth as he waits for her to
surface. He glances at his watch. Starts to pull his shirt
over his head.
MICHELA (O.C.)
How's this?
Ed pulls his shirt down.
ED
About twenty feet to your left.
Michela breaststrokes over.
ED (O.C.)
That looks about right.
She closes her eyes. Trends water. A faint whispers floats
through the light breeze.
FAINT VOICE
Michela.
Michela opens her eyes. Looks around. Gazes down.
SURFACE
Michelle's reflection stares back at her. Reaches out towards
her. Mouth's the words, help me.
FAINT VOICE
Help me.
Air bubbles stream towards the surface. Her reflection's
being pulled away. Towards the murky depths.
The bubbles diminish. Her reflection fades. Michela runs a
hand across the water's surface. Sticks it under.
ED
Everything...
She disappears from sight, sucked under the water.
Ed looks nervously around.
ED
Michela!
She surfaces. Gasps for air. Her arms flaying away. Like
she's trying to protect herself from someone.
MICHELA
Hel...
She disappears again.
Ed pulls off his shirt. Rips off his shoes. Throws his gun on
the ground. Races into the water.
UNDERWATER
Shafts of sunlight slice through the murky haze. Michela's
being pulled towards the bottom. Deeper and deeper.
SURFACE
Ed reaches the spot where Michela disappeared. Dives under.
UNDERWATER
Searches through the murky haze. Spots Michela frantically
struggles with an unseen attacker.
MICHELA
Eyes bulge out. Her lungs ready to explode.
ED
Knifes through the water.
A sudden BEAM of white light appears. Engulfs Michela.
ED
Races towards her.
MICHELA
Stops struggling. Her body goes limp.
ED
Grabs onto her wrist. Drags her towards the top.
SURFACE
Ed and Michela surface. He fills his lungs with air. Puts an
arm under her chin. Swims towards shore.
EXT. TOWN RESERVOIR - SHORELINE - DAY
Ed carries Michela onto shore. Lays her on the grass.
ED
C'mon.
Begins mouth-to-mouth resuscitation.
ED
Don't quit on me.
Frantically works on her.
ED
(screaming)
Michelle.
Michela suddenly coughs. Ed turns her onto her side. She
spits up water. Lays back down on the ground, reaches for her
shorts.
ED
You okay?
Michela shakes her head, yes. Pulls out her inhaler.
Ed gazes at the water.
ED (O.C.)
You wanna tell me what happened out
there.
Michela's breathing relaxes.
MICHELA
This is going to sound crazy...But
something pulled me under.
Ed turns to Michela.
ED
This reservoirs known for it's strong
whirlpools.
INT. MICHELA'S HOUSE - LIVING ROOM - DAY
Michela's curled up on the couch, wrapped in blankets.
MICHELA
Then how do you explain these?
She flips the blankets back. Puts her feet on the coffee
table.
MICHELA'S SHINS
Deep red hand marks on both shins.
ED
Nobody could stay under the water that
long.
MICHELA
I never said it was human.
Ed frowns.
ED
What are you trying to say?
MICHELA
I think it was a spirit.
ED
A spirit?
MICHELA
I told you it sounded crazy.
ED
There's gotta be some other explanation.
MICHELA
I think she was trying to tell me
something.
ED
She?
MICHELA
Michelle's spirit.
Ed's face drains of color.
ED
(rising)
I think I need some air.
EXT. MICHELA'S HOUSE - FRONT PORCH - DAY
Twilight. Puffy clouds. A myriad of colors races across the
sky.
Ed's leaning against the railing, lost in his thoughts.
The screen door SLAMS shut.
Michela places a beer on the railing.
Ed twists off the cap, takes a sip. Gazes off into the
distance.
ED
She's why I became a cop. Thought I could
track her down... I was in love.
(turning around)
Still am.
Ed sighs, takes another sip of beer.
MICHELA
What time we going to the Henderson
Estate?