THE FIRST HUSBAND

By Robert Soul

EXT. A BEACH IN CANCUN, MEXICO. EARLY MORNING

We see the surf crashing on the beach, a swimmer in the waves, a child making a sand castle. A crab makes its way across the beach to a large rock and crawls under it. Beyond the rock we see the resort hotel, Melia Blanca. The camera slowly zooms to a window on the seventh floor of the hotel.

INT. MELIA BLANCA HOTEL, ROOM 715

We hear sighs from a couple in bed on their honeymoon. They just finished making love as the camera moves from items of clothing on the floor to the couple lying on the bed.

SARAH

Michael Penner, I love you so much.

MICHAEL

I know you do.

SARAH

Baby, I want to come back here next year for our anniversary.

MICHAEL

That would be great, Sarah.

She rolls over from his side to on top of him.

SARAH

Anywhere with you would be perfect. We wouldn’t have to come back here. This place is amazing though, huh?

MICHAEL

You’re amazing, Sarah.

SARAH

Oh, baby. You are my dream. You know that, don’t you?

MICHAEL

Yeah.

SARAH

Michael.

She embraces him tightly and kisses him passionately.

FADE OUT.

TWO DAYS EARLIER.

EXT. THE TEMPLETON ESTATE- A SUNNY AFTERNOON.

As a few hundred guests are finding their seats, the sun beats down on a singer as she sings a prelude to the wedding ceremony.

INT. THE CHILDHOOD BEDROOM OF SARAH TEMPLETON

Sarah Templeton is dressed in a wedding dress and is being attended to by Billie, an older cousin. Tee, Sarah’s sister, enters.

TEE

Girls, we don’t have all day. Brad said you would make us wait. I told him I knew my sister. She has everything planned out like clockwork. Don’t prove me wrong.

SARAH

I’m almost ready.

BILLIE

Yes you are.

TEE

My little sister is getting married. I love you sis and you know I’m very happy for you. I hope your man is better than mine. Brad is an idiot. He had everyone park on the west side by the pond. It gets so muddy over there.

SARAH

It’s okay.

TEE

Dad would never have had everybody park over there. Sar, Dad would be so proud of you right now.

Sarah just thinks with an expressionless face.

TEE

He would, Sar. He loved you very much, sweetie.

Tee begins to tear up.

TEE

Okay, I better get out of here before I end up looking like a raccoon. Hurry up will you, Billie?

Tee exits.

BILLIE

There. Perfect. Come here. Look.

Billie motions Sarah over to a large mirror.

BILLIE

See. You’re perfect.

Sarah walks over and looks at herself in the full-length mirror. She has just a faint smile.

SARAH

Thank you so much, Billie.

EXT. THE TEMPLETON ESTATE

We join the wedding ceremony at the end as the priest announces the married couple.

PRIEST

May I introduce to you, Mr. And Mrs. Michael Penner.

The audience cheers and claps and a live band begins to play. We see the guests mingling. Sarah’s boss, Jason Stevenson, is standing in a group of her fellow employees from the New York Times.

KARA

Poor Jason, look at him.

JASON

What?

KARA

Oh, Jason, you can still have me.

The group laughs.

R.C.

It’s not like she’ll be gone forever. It’s just a honeymoon.

BRIAN

I don’t think he’s afraid of losing a copy editor.

KARA

The offer always stands Jas.

JASON

Sarah and I have been over for three years.

BRIAN

You mean she’s been over you. I’m not so sure it’s the other way around.

JASON

I introduced them. What are you talking about? We’re cool. We’ve got an understanding.

KARA

I think we all understand Jason.

JASON

I’m perfectly happy for them.

BRIAN

Okay, Jason. Whatever you say.

R.C.

Right.

KARA

Oh Jason. You poor man, I’m so here for you.

They laugh some more.

JASON

Oh, you guys are so hilarious.

The band finishes a song and the best man, Alan Simpkins, takes a microphone.

ALAN

If I can have your attention everyone… Thank you. I would like to lead us in a toast. To Mrs. Templeton, I guess there is only one woman left in your family I could marry. So I am proposing right here and now. Oops. I guess that’s the Champaign talking. To Sarah, the brave woman… To Michael, congratulations on finding someone who would marry you… Seriously, Michael and Sarah are amazing together. To the Bride and Groom, I hope you have many happy years with each other. Cheers.

INT. MELIA BLANCA HOTEL- LOBBY

LAST MORNING OF THE HONEYMOON

Sarah sits with a few of her bags in the hotel lobby and impatiently looks at her watch. She stands up and looks at the front desk of the hotel.

SARAH

Where is he? We’re so late.

She walks toward the front desk, making eye contact with a pretty young woman behind it.

SARAH

My husband is going to make us miss our flight. Can you call room 715? I can’t believe he’s taking so long. God, Michael. Just tell him his wife is waiting down here for him.

YOUNG WOMAN

I’m sorry, Senora, there is no answer.

SARAH

Try again.

YOUNG WOMAN

Sorry, Senora, there is still no answer.

SARAH

God, Michael! Where are you?

An older man who appears to be a manager comes over to assist the young woman from behind the front desk.

MANAGER

Anita, what is the matter?

ANITA

Senora is waiting for her husband and is afraid they will miss their flight.

MANAGER

How long have you been waiting, Senora?

SARAH

About 30 minutes and our flight is leaving in an hour.

MANAGER

Did you offer to call the room Anita?

ANITA

Yes.

SARAH

This isn’t like Michael. I’m starting to get worried.

MANAGER

What is your room number, Senora?

ANITA

715.

Sarah turns from the manager to look at Anita.

SARAH

Yes. Mr. And Mrs. Michael Penner.

MANAGER

Senora Penner, I will go up to your room and see if I can assist your husband. We will make sure you do not miss your flight. Have no worries. You can have a seat, yes?

Sarah walks back over to her bags and sits down biting a fingernail.

INT. ELEVATOR

The manager watches the elevator numbers light up until they get to 7 and the elevator bell rings. The elevator opens and he walks out. We see room numbers 710-730 are to the right. The manager pulls a room key card out of his pocket and stands in front of room 715.

As he opens the door to the room we hear the sound of the ocean and seagulls coming through open balcony doors. He looks around and sees a very neat room with several bags lined up in front of the bed. The curtains are fluttering in the gentle breeze coming through the balcony doors. He walks toward the doors and then out on to the balcony. He looks at the ocean and down to the bottom of the hotel. As he begins to walk back into the room he glances at the breakfast plates and two martini glasses on the table.

INT. HOTEL LOBBY

Sarah is sitting down as she intently watches Anita, the reservationist, walk toward her.

ANITA

Can I get you anything, Senora?

SARAH

No, I think you’ve done enough!

ANITA

Senora?

The manager has returned.

MANAGER

I’m sorry Mrs. Penner. Your husband isn’t in the room. Maybe he is in the cantina or on the beach?

SARAH

He wouldn’t be there. We are leaving for New York in 30 minutes!

MANAGER

I can go check them for you in case. What does Senor look like?

SARAH

He wouldn’t be in the cantina! But go try if you want.

She hands him a picture from her purse.

SARAH

Here!

The manager takes it, looks at it, and hands it to Anita. She looks at it for a few seconds before Sarah takes it out of her hands.

Sarah looks at Anita with anger in her eyes.

SARAH

I can’t believe he would do this!

Anita says nothing and goes to stand behind her computer terminal at the front desk.

MANAGER

I will be back in a few moments Senora.

Sarah is sitting with her bags as we see time lapse with many people walking past, in and out of the hotel.

We see: Four hours later.

The manager walks up to Sarah who appears to be very distraught.

MANAGER

Senora Penner, could you please come with me. I will take your bags for you.

SARAH

Why? Where are we going?

MANAGER

My office, Senora. Perhaps you would be more comfortable.

SARAH

Okay.

INT. THE MANAGER’S OFFICE HOTEL MELIA BLANCA

The manager opens his office and offers Sarah to enter. She walks in and sees a taller man standing to the right of the manager’s desk with his back turned. The manager closes the door.

MANAGER

Please have a seat Mrs. Penner.

SARAH

Is everything…okay?

The taller man turns to face Sarah with his hands behind his back.

DESPIADO

Hello Senora Penner. I am Inspector Despiado.

Inspector Despiado begins to pace between the manager who has assumed his seat behind his desk and Sarah who seems to begin to worry.

DESPIADO

I have seen this before of course, Senora Penner.

SARAH

I’m sorry, who are you? I don’t understand.

DESPIADO

Inspector…

SARAH

Is everything okay? Did you find Michael? Oh, God!

DESPIADO

We have no reason to believe anything has happened to your husband Senora.

SARAH

Then why are you here? I want to know.

DESPIADO

Senora, I am Inspector Despiado from Cancun Police. We received a call that your husband was missing. I am here to help.

SARAH

Something has happened to Michael. I’m sure of it!

DESPIADO

As I was beginning to say, Senora Penner, I have seen this many times. A husband decides he wants to leave. He has possibly changed his mind, no?

SARAH

What! Changed his mind? What are you talking about!

DESPIADO

Of course it can be a shock but a young man can decide he has made a mistake…

MANAGER

Senior Inspector…

SARAH

Are you trying to say my husband just left me! How dare you!

Tears begin to rush from her eyes.

MANAGER

(In Spanish) Inspector, I am sorry but she is in a bad condition. Please.

DESPIADO

Of course, you do not know for sure what has happened. This is true. He may be lost.

SARAH

And you obviously don’t know either. You don’t know Michael. How dare you come in here and tell me he just left. How dare you…

She begins to weep.

DESPIADO

I have some officers searching possibilities. We searched your room of course. What did you and your husband do this morning?

SARAH

We had breakfast, took a shower, and then of course, I came down to the lobby. He said he would meet me in the lobby and he never came down.

DESPIADO

Why did you come down separately?

SARAH

The hotel is on my credit card so he asked me to go down and make sure everything was paid before he got down so we could just go straight out to a cab. He was bringing down most of the bags so I hurried down to make sure everything was good with the front desk.

DESPIADO

I see. And you waited for thirty minutes?

SARAH

I don’t know exactly how long. Why don’t you go looking for him? I’m so worried… something terrible has happened to him.

She cries more with her head in her hands.

DESPIADO

We will do all that is possible to assist you, Senora.

EXT. THE BEACHES OF CANCUN, MEXICO. EARLY EVENING TO NIGHT

We see a passage of time from the early evening to the night.

INT. HOTEL ROOM OF MELIA BLANCA

Sarah is her room talking on her wireless phone with her sister Teanna.

SARAH

Tee. I just don’t know what to think. Michael wouldn’t just leave like this.

TEE

Don’t listen to that asshole. He doesn’t know Michael. Please let me come down to see you. I could do something.

SARAH

No, Tee. I want you to come down if you want. But wait. Okay.

TEE

God, Sarah. I just want to be there for you. Are you sure you’re okay? You know…

SARAH

I’m okay, Tee. I promise. I will call you first thing in the morning…

TEE

If I don’t call you first…

SARAH

Okay.

TEE

We all love you, baby. You know that, right? We need you to be strong.

SARAH

I will. Good night Tee.

TEE

Good night Sar.

Sarah closes her phone and begins to unzip one of her bags. She finds a swimsuit.

INT. HOTEL LOBBY

We see Sarah get out of the elevator with shorts and shirt covering a swimsuit. She carries a towel over her shoulder as she walks out the back of the hotel and through the cantina and onto the beach. She lays her towel down and feels the gentle warm breeze blow through her hair.

She takes off her shirt and shorts and walks toward the water. She wades out to deeper water and begins to swim.

We see: Three nights earlier.

Sarah is swimming and kind of laughing as she chokes on water.

SARAH

Where are you?

She looks around as she treads water. The hotel is seen in the distance as the moon shines down on the water.

SARAH

Michael! That’s enough. You’re scaring me!

He grabs her feet from below the water under her and then takes her into his arms.

MICHAEL

Ah ha!

SARAH

God, Michael! Are you trying to drown me?

MICHAEL

No. But maybe that’s a good idea.

SARAH

And why is that?

MICHAEL

For making me do all that shopping today.

SARAH

Wait ‘til we get back home. I’ve got so many things to buy for our house.

MICHAEL

Oh, okay. Do I have any say?

SARAH

Uh, no.

She begins to swim to shore. He swims along side.

MICHAEL

Oh, really?

SARAH

Really. Michael?

MICHAEL

Yes, baby?

SARAH

Will you please start taking pictures? I know what you said earlier, but please baby. Please…for me.

She stops swimming and begins to tread. So does he.

MICHAEL

I told you sweetie. This is my vacation too! I don’t want to see a camera this whole trip. I just want to see you. No work.

SARAH

Please. It doesn’t have to be work. Just shoot pictures for memory sake. Please. I’ll pose in every one of them. I am your favorite model, right? (playfully) Right?

MICHAEL

Sarah.

SARAH

My sister says you’ll never be faithful to me with all those models you’re with every day.

MICHAEL

Your sister?

He laughs.

MICHAEL

I think your sister is just jealous.

SARAH

Very. Please take some pictures.

She begins to swim again.

SARAH

I’ll make it worth your while.

Michael tries to keep up with her.

MICHAEL

Sarah, I didn’t even bring any of my equipment.

She yells back at him as she swims.

SARAH

I did!

MICHAEL

You did what?

SARAH

I brought all your equipment!

MICHAEL

What!

Sarah laughs and swims faster.

MICHAEL

Hey come back!

She reaches the shore just before he does.

MICHAEL

Hey! Where are you going?

SARAH

To the room!

MICHAEL

Wait! Let’s negotiate this!

Sarah turns to Michael as he wades through the water and smiles at him.

SARAH

I told you, I’d make it worth your while.

She turns to run toward the hotel. Michael laughs.

INT. MELIA BLANCA HOTEL, ROOM 715

We see Sarah’s hotel room phone up close as it rings very loudly. Sarah is startled as she struggles to answer it.

DESPIADO

Senora Penner?

SARAH

Yes?

DESPIADO

This is Inspector Despiado.

SARAH

Yes?

DESPIADO

I would like to meet with you.

SARAH

Did you find Michael?

DESPIADO

I am in the hotel lobby. If you would please come down to meet me…

SARAH

Did you find Michael? Is he okay?

DESPIADO

I am in the lobby. I will be waiting.

SARAH

Did you find Michael?

There is no answer.

SARAH

Hello? Hello?

Despiado has hung up.

Sarah looks around as if trying to gather herself.

INT. HOTEL LOBBY

Despiado is standing with two larger uniformed officers as the elevator bell rings. We see Sarah as the doors open and she is teary-eyed.

Despiado walks toward Sarah as she comes out of the elevator.

DESPIADO

Senora Penner, please come…

SARAH

What did you find out…

Despiado takes her arm and leads her to a secluded corner of the lobby and motions for her to sit as the two larger officers follow behind him.

DESPIADO

Please.

SARAH

No. I don’t want to sit! I want to know, did you find Michael? Is he okay? Please tell me.

DESPIADO

We found your husband, Senora. If I may please ask you to have a seat…

She shakes her head.

DESPIADO

I am very sorry to say Senora Penner that we found who we believe is your husband. It is very terrible. His body is very badly burned. I am sorry. Your husband is dead.

SARAH

No. This can’t be true.

She collapses into the cushioned seat behind her and Despiado and the officers close in on her.

SARAH

How do you know it’s him? Please tell me it might not be him.

DESPIADO

The body was in an automobile rented in your husband’s name.

SARAH

What? We didn’t rent a car?

DESPIADO

It was rented one week ago from…

SARAH

I’m telling you, we didn’t rent a car.

DESPIADO

Mrs. Penner, this is a very difficil time. I am sure…

SARAH

Are you listening to me? That isn’t Michael. There must be a mistake! Michael didn’t rent a car. I want to see the body!

Sarah stands up as the officers move closer to her.

DESPIADO

I cannot allow it.

SARAH

I want to see the body. If it is Michael, I have the right to see him!

Despiado looks around as other vacationers are taking notice and squeezes Sarah’s arm. She sits down with her head in her hands.

DESPIADO

I do not recommend it. The body is very badly burned and we are still waiting on dental records to confirm.

SARAH

How did you get those?

DESPIADO

We are the police, Mrs. Penner. We have abilities…

SARAH

I want to see him. I want to see him!

Despiado hesitates and his face expresses that he is about to act against his better judgment.

DESPIADO

Senora Penner, please come with me.

The officers move even closer to her.

DESPIADO

I will take you to the body, but you must understand it will not be recognizable. It is very horribly burned. Come.

Despiado and the two officers escort Sarah to a police car in front of the hotel.

EXT. CANCUN CITY DAYTIME

We see the police car driving on a busy thoroughfare and then onto a few side streets into an industrial-looking section of town. They pull up to a white one-story building that appears to be a clinic of some kind. Despiado gets out first and goes immediately into the building as the officers escort Sarah into the building.

INT. A CLINIC WAITING ROOM

Sarah enters with the officers and sees a uniformed female officer behind a desk. It appears to be a clinic of some kind.

WOMAN OFFICER

Senor Inspector will be with you momentarily, Senora Penner.

SARAH

Please, I want to see the body.

WOMAN OFFICER

It isn’t ready to view, Senora. Please have a seat.

The two large officers motion for Sarah to sit and she complies. She tries to use her wireless phone but it doesn’t work.

FADE OUT TO BLACK

FADE IN

We see: THREE HOURS LATER

Sarah is looking at her watch, as the two officers are standing stone-faced in front of the door. The female officer appears to be doing paperwork.

SARAH

How long are you going to keep me here! I can’t believe this!

WOMAN OFFICER

We aren’t keeping you here, Senora.

SARAH

Then I either want to see the body, which is why I thought I was brought here, or I want to leave RIGHT NOW!

WOMAN OFFICER

Senora. I will find out again, how much longer.

The female officer goes through the door behind the desk as one of the male officers stands in front of it. Sarah sees how she is being corralled and is completely fed up.

SARAH

You better move!

Sarah sees he will not move and is too large for her to overpower. The faint sound of a car arriving outside is heard.

SARAH

What is wrong with you people! My wireless won’t work in here, you won’t let me leave, and you won’t let me see Michael!

She sits back down and quietly sobs. The female officer enters.

FEMALE OFFICER

Senora Penner, Senor Inspector will let you see the body now.

Sarah enters the room, which is spotless white, almost translucent. In the middle of the room is a table with a thick white cloth covering what appears to be a body the size of Michael. To the left and in front of the table is Inspector Despiado and behind the table and to the right is a short man with thick glasses dressed in a white lab coat.

DESPIADO

I am very sorry but the dental records we retrieved from the United States match your husband’s. If you must view the body, I understand but I do not advise it.

Sarah slowly walks forward.

SARAH

Let me see.

The man in the lab coat moves to the head of the table and readies to lift the cloth. He does so as we see a close-up of Sarah’s face.

SARAH

Oh, Michael…

She moves closer and gets a closer look as she acts as if she wants to embrace the charred body.

SARAH

Michael…

She sobs. Despiado stands still as he watches her sob. The female officer puts her arms around her and leads her into the front room to sit down. Despiado follows and closes the door behind him.

SARAH

Are you sure it’s him?

DESPIADO

Yes.

SARAH

How…How did this…happen?

DESPIADO

We believe the automobile was discovered three days after the car was burned with the body inside.

SARAH

Who would do this?

DESPIADO

I will find this out, Senora. Do you know why he rented the automobile?

SARAH

I told you, I didn’t know Michael rented a car. We took a taxi the whole time we’ve been here.

DESPIADO

This is of course very…difficult…for you, Senora. However…we would suggest that the body is cremated before you take it back to the U.S.

SARAH

I don’t know…I mean…that can’t be Michael…I mean…what happened? What happened?

Despiado motions for the officers to leave. The woman officer helps Sarah to her feet as they leave the clinic.

She begins to sob again.

INT. COMMERCIAL AIRPLANE

Sarah is sitting on a plane with an empty seat next to her. She holds a box that contains ashes of the body. She gets up behind other passengers and walks off the plane, through a corridor, and then we see a crowd of people waiting for passengers.

We see Sarah’s mother and Alan Simpkins, Michael’s best man. Jason, Sarah’s boss and former boyfriend, is there too.

In slow motion we see them comforting each other in the airport terminal.

FADE OUT

We read: THREE YEARS LATER

EXT. NEW YORK CITY, NIGHT

A ground-level view of New York City is seen. People are walking to clubs, dressed to the nines. Cabs are whizzing by. Horns are honking. The city is pulsing with lights and music and an energy uniquely its own. Our viewpoint is then directed upward to one of the many high-rise apartments.

INT. SARAH’S APARTMENT

We see an elegantly decorated table for two with wine chilled and candles burning. A view of New York City can be seen from the table through two very large full-length windows.

INT. AN ELEVATOR

We see Sarah’s hand close up pressing button number 25.

The elevator ‘dings’. She exits and walks up to her apartment door.

INT. SARAH’S APARTMENT

The door opens as we see Sarah’s face. It is an emotionless face. She places her purse and keys beside the door as she shuts it and then turns to see the romantically decorated table.

ALAN

Sarah?

Alan Simpkins comes through a kitchen door into the same view of the table.

ALAN

Hello sweetheart.

SARAH

Alan…I…

ALAN

I thought maybe we could just eat in tonight.

SARAH

I really don’t…

Alan approaches her, takes one of her hands, and caresses her face and her hair.

ALAN

I thought I could serve my wife tonight.

SARAH

Alan, you know I…

ALAN

Sarah…

SARAH

I’m sorry. I just don’t feel like doing anything tonight.

Alan’s voice begins to exhibit an increasing frustration.

ALAN

Okay.

SARAH

You know how I get…

ALAN

How you get?

SARAH

During…

ALAN

During?

SARAH

During this time of the year…

ALAN

What? This time of the year? Oh, Really? No! I had no idea!

SARAH

Alan.

Tears are forming in Sarah’s eyes.

ALAN

‘This time of the year?’ What are you referring to! The falling of the leaves!

Sarah can say nothing.

ALAN

Or is it your dead husband? Of course, I know how you get during this time of the year! And I’m acutely aware of how you treat me.

SARAH

Alan, I’m sor…

ALAN

For two and a half years of marriage, Sarah…two and a half years, I’ve been competing for the love of my wife with a dead man! A dead man!

Alan’s word hit Sarah like a two-by-four in the face.

ALAN

Don’t look at me like that! I’ve had it Sarah. It’s either him or me. I was devastated when he died too! Don’t think I wasn’t affected. You know I was, but I moved on. When the hell are you?

SARAH

But Alan, I…

Alan takes a deep breath and calms his tone of voice.

ALAN

Sarah, he was your husband. You loved him. I understand. But you told me you were moving on. You said I helped you do that.

SARAH

You did. I love you for that…

ALAN

Then prove it. I’m tired of feeling like I’ll never match the love you had for a husband you only knew for less than a week.

SARAH

God Alan, I can’t explain it. If I could maybe you would.

ALAN

In two months our three-year anniversary will be here, but after going through this again this whole week I’m not sure I will!

Alan grabs a jacket from a closet, puts it on and takes out his keys.

SARAH

Alan, where are you going?

ALAN

Out, so you two can be alone!

Alan slams the door and Sarah stands in tears for a moment. Then she turns to face the window and the view of the night. As she walks to the window she pulls a lighter and a box of cigarettes from an end table. She stops at the table Alan had arranged and touches the chilled wine bottle. She looks at every aspect of the decorated table, appearing to be disappointed in herself.

EXT. SARAH’S APARTMENT BALCONY

Sarah lights up a cigarette and takes a long drag on it. She walks over to the edge of the balcony and looks around. She looks down. She sees other apartments and notices a few people through the windows: A man working on his computer, a young woman chasing a child trough her apartment, a young couple sitting close on a couch watching a television.

Her wireless phone rings from inside the apartment. Sarah looks back at the open door of the apartment, lays her cigarette down and walks in. She picks up her cell phone and makes a call.

SARAH

Teanna. Hi.

Sarah walks back out to the balcony and shuts the door. She picks up her cigarette. We just hear Teanna’s voice.

TEE

Hey sweetie. How are you baby?

SARAH

Alan says he’s leaving me.

TEE

He said that?

SARAH

Yes.

TEE

Why?

SARAH

God, Tee. You know why.

TEE

Yes. I guess I do. You know he’s been pretty patient with you.

SARAH

I know.

TEE

Brad’s been very patient with me too though, especially since Spencer. Did I tell you he’s walking now, for the last three or four days?

SARAH

That’s really great, Tee.

TEE

Are you okay? I mean, have you thought about…

SARAH

No. Well, not really. Tee, I really think Alan is serious. He says it’s either him or Michael. I just can’t help shutting down, especially during this time of the year. God, I don’t want to keep doing this.

TEE

You know, I could be there in a flash.

SARAH

I know.

TEE

I miss you.

SARAH

You too.

TEE

I wonder what you’d do without me?

SARAH

I don’t know.

TEE

I’m sure you and Alan will have worked everything out in no time.

SARAH

Tee?

TEE

Yeah sweetie?

SARAH

Thanks for always being here for me.

TEE

What’s a perfect sister like me for?

A child cries in the background.

TEE

I better go now hun. Call me anytime.

SARAH

Okay.

TEE

I’m here for you. You know I always am.

SARAH

I know.

The child cries even louder.

TEE

I would do anything for you. You know that.

SARAH

I know.

TEE

Spencer, mommy’s on the phone. Sar…gotta go baby.

SARAH

Okay. Bye Tee.

TEE

Bye.

Sarah looks down again at the other apartments and sees all the lights have gone out except the man working on his computer. She watches him and then makes a call on her wireless phone. It is to her boss and former boyfriend, Jason Stevenson.

INT. NEW YORK TIMES OFFICE OF JASON STEVENSON

We see Jason in front of a computer monitor, typing furiously. He is attempting to finish an article on the state of human rights in Afghanistan during the Coalition Occupation.

JASON

Sarah. Hey.

SARAH

Hey.

JASON

What’s up?

SARAH

I need to talk.

JASON

I’m here but kind of busy since I can’t get people to stay late around here.

SARAH

Alan says he’s leaving.

EXT. SARAH’S APARTMENT BALCONY

Sarah is slowly pacing back and forth on the balcony.

JASON

Uh huh.

SARAH

He says it’s either Michael or him.

JASON

Oh, he’s not going on a trip?

SARAH

I really believe he means it now.

JASON

Sarah.

SARAH

He’s right too. I need to get over Michael.

JASON

Is that what he said?

SARAH

Yes. You know how I am around the time that Michael disappeared.

JASON

Yes I do. What do think I’ve been putting up with here?

SARAH

I’m sorry.

JASON

Don’t have to apologize.

SARAH

Alan has the right to feel like this but I don’t know what to do.

JASON

What about Dr. Chen?

Sarah pauses, puts out her cigarette, and walks into the apartment.

INT. JASON’S OFFICE

SARAH

Jason.

JASON

I’m serious. You might want to talk to her.

SARAH

God Jas, is that your answer for everything?

INT. SARAH’S APARTMENT

Sarah walks from the living room, through the kitchen, and into her bedroom.

The following action occurs during Jason’s following dialogue:

Sarah pulls a shoebox off a shelf in a large walk-in closet and walks back into the kitchen. She opens it and sees a picture of Michael, herself and Jason at a bar.

JASON

No. But maybe it is for this. I probably should have gone to see somebody when my girlfriend dropped me for my high school buddy who I just introduced her to and then married him.

Sarah touches the picture of her, Michael, and Jason.

SARAH

You have a pretty good memory Jason.

JASON

Well, I have a constant reminder of the whole incident since that old girlfriend of mine won’t quit working for me and refuses to be fired.

SARAH

Just say the word, I’m sure she’d be happy to leave.

INT. JASON’S OFFICE

Jason smiles and continues typing.

JASON

You mean I need to do more than just hint at it?

SARAH

God Jas. Be serious. I don’t know what to do. Maybe I’ll just burn all my pictures of Michael and show Alan I…

JASON

Does he know you have all those pictures?

INT. SARAH’S KITCHEN

SARAH

Yes.

She browses through the pictures. They are honeymoon pictures mixed with other occasions, including her and Jason.

JASON

Well, would Alan want you to get rid of those?

SARAH

Yeah, probably.

JASON

Actually, Sar, you don’t have to get rid of those pictures. That’s not the answer.

SARAH

Okay. Then, what? What do I have to do?

JASON

Let go. Quit living in the past, for God sakes. I have.

SARAH

Oh, really? Then why do you conveniently remind me how I left you for Michael? Huh?

JASON

Well, you brought that up didn’t you?

SARAH

No.

JASON

Well, okay. But my point is still valid. You can’t keep making him feel like he’s competing with a dead man.

SARAH

That’s exactly what he said.

JASON

See? He doesn’t need you to get rid of pictures in a shoebox. Just the pictures in your mind you keep holding on to in your heart.

Sarah laughs.

SARAH

I don’t need Dr. Chen. I have you.

INT. JASON’S OFFICE

Jason laughs only lightly.

JASON

Oh, I see.

SARAH

Now do you see now why I never quit?

JASON

Me or the job?

SARAH

The job. You asshole.

JASON

Listen, I’ve got to go. You’re slowing me up a little here.

INT. SARAH’S KITCHEN

Sarah walks from the kitchen back into her bedroom closet and puts the pictures back in their place on the shelf.

SARAH

I still don’t know how you do it?

JASON

What?

Sarah makes her way back outside to the balcony.

SARAH

Talk on the phone and type about two completely different things.

She lights up a new cigarette.

INT. JASON’S OFFICE

JASON

It’s one of my few redeeming qualities.

SARAH

There’s more than that.

JASON

I know. That’s why I said a few.

SARAH

You have more than a few redeeming qualities.

JASON

Oh, thanks.

SARAH

You’ve really carried me through a lot of stuff. You know.

JASON

I’ll carry you any time you need me to.

SARAH

I know. Just don’t feel like you have to save me every time.

JASON

I’ll never quit trying to save you.

EXT. SARAH’S BALCONY

SARAH

I know. So, by the way, what happened to that girl on the 18th floor?

JASON

Who?

SARAH

God, Jas. Don’t play. I thought you liked her?

JASON

Oh, that one. So, many to remember…I think she knew she’d never compete with my career.

SARAH

One of your not-so-redeeming qualities.

JASON

I guess that’s the way you felt, right?

SARAH

Yeah. With Michael, he was so relaxed. He didn’t make his job his life, or at least the center of it like some people I know.

JASON

A man can change.

SARAH

Sure, but it’s 10:30 at night…

INT. JASON’S OFFICE

Jason is typing away.

SARAH

And where are you Jason?

JASON

Okay, good point. But if I could get some good help around here for God sakes…

SARAH

Whatever. How long are you gonna use that one?

JASON

Okay. Sarah, I really need to go. You’re gonna be okay, right?

SARAH

Yeah.

EXT. SARAH’S BALCONY

Sarah looks down from the balcony.

JASON

Good.

SARAH

You cheered me up. I think I know what I need to do.

JASON

Dr. Chen?

SARAH

No. Okay. Good night.

JASON

Good night Sarah. See you in the morning.

SARAH

Yeah. Bye.

JASON

Bye.

Sarah ends the call and once again looks around the skyline of the city. Walking into her apartment, she sees the table again and caresses the tablecloth, wine bottle, and a few other items. She turns to look at the apartment door, where earlier Alan had stormed out and wonders where he is. She turns off the lights.

INT. SARAH’S APARTMENT KITCHEN –MORNING

We see Alan walk in the kitchen from the bedroom. He looks around for Sarah. She is sitting between him and the kitchen table in a silky nightgown with a seductive smile. He grabs the coffee pot just as he sees her and almost breaks it.

ALAN

Sarah!

Sarah stands and slinks toward him.

SARAH

Alan, I am so sorry…

ALAN

No. Sarah. It’s my fault. I want to give you more time. I understand how difficult it is for you. I’m the one who should apologize.

Sarah is now caressing Alan from head to shoulders.

SARAH

I’m the one with the problem sweetie but please…

She touches his chest and stomach

SARAH

Let me convince you…

She works her way down his body and then stands up, pressed up against him and slowly kisses his lips.

SARAH

You…

Another kiss.

SARAH

Are…

Another slow, sensuous kiss…

SARAH

The only…

Kiss.

SARAH

Man…

Kiss.

SARAH

For me.

Sarah takes Alan by the hand and leads him back into the bedroom. His face appears numb from shock.

EXT. A BUSY NEW YORK CITY MORNING

INT. A PACKED SUBWAY TRAIN

Sarah is standing, smashed between two other passengers but with a beautiful smile of peace and contentment. She is happy.

The train engineer calls for the next exit and the doors open. Sarah is just staring ahead while a number of people get off to the right. She is thinking of the decision she made to completely let go of her hurt and confusion after the disappearance of Michael and to love Alan. No longer would her heart be divided. She felt new. Alive again. Amazingly refreshed. She was over Michael. It was just a decision.

She laughed when she thought of Alan’s shocked response to her decision and the amazing time she had earlier that morning with the man she truly loved. Alan had been so patient with her. She was so lucky her never really left.

Many people get on the train and the doors shut as the train starts again racing to the next stop. Scores of businessmen carry leather bags and briefcases. Gray haired men. Balding men. Men with no hair. Men in great shape. Men out of shape. Muscular men and fat men. Only a few women were on this train.

A man at the front of the train turns his face from forward to the back of the train where Sarah is standing. He smiles at her. She doesn’t notice until the split second before he turns his head back to the front.

It is Michael. At least it looked like it. His hair was very short, but it looked just like him. Sarah is gripped with anxiety. She begins to sweat and her heart beats faster and faster.

Next stop. The doors open and she sees the man for only a moment from the back, not his face, as he exits.

Sarah is frozen. Is this her imagination? She just promised Alan that she would leave Michael in the past. He’s dead for all she knows, but who is the man walking away in the sea of businessmen?

It could be her mind’s last-ditch effort to revive the feelings for Michael.

The doors are closing. He’s out of site, in the river of pedestrians making their way to their offices from the subway.

Sarah has to know.

She jumps out of the door next to her and stands on the platform. The train closes its doors and whizzes off. She begins to walk as she stares at the back of every man moving to the escalator leading to the streets of the city. She spots him, or at least she thinks she does.

The pace of Sarah’s heart quickens as she walks faster and faster, pushing others aside to get to the escalator. He’s at the top just as she gets to the bottom. He’s out of site again. She can’t get to the top quick enough. She begins butting in line and making her way to the top as fast as possible.

The glare of the blinding sun meets Sarah at the top of the escalator. Where there were hundreds and thousands of people in the subway, there are thousands and millions on the streets before her. Where did he go?

People are walking away from her. People are moving toward her.

She moves to the right and left to get a view of as many men as possible. There he is.

She sees the man turn a corner a block away. She begins to run, bumping into a few people along the way as she turns the corner to the right. For a moment, she has lost her view of him again. But then she sees him. He appears to be looking back and increasing his pace. He turns another corner.

When Sarah makes it to the next turn, she stops to catch her breath and searches for him in her view. He isn’t anywhere to be found. Her chest is moving in and out as it slowly comes to a noticeable stop. Was this Michael? She just stands there as people walk around her busily on their way to work.

EXT. THE APARTMENT BALCONY -NIGHT

Sarah is smoking a cigarette. Alan comes through the balcony screen door.

ALAN

Hello beautiful.

Sarah snaps out of her deep thought.

SARAH

Hello.

She slinks up to him, attempting to shake off her dark, controlling thoughts of the entire day.

ALAN

You’re home. I’m surprised. What, Jason give you the night off early?

SARAH

Yeah.

She gives him a very long kiss, again, attempting to push her thoughts about Michael away.

ALAN

I really enjoyed this morning. You are amazing, Sarah.

SARAH

You too, sweetie.

ALAN

So, how was your day, then? Anything interesting?

SARAH

Mmmm? Well, no. Just thought about you.

Sarah’s face is increasingly forming into the possessed expression from the morning.

ALAN

I thought about a vacation, or something, maybe a second honeymoon.

Sarah begins to drift away in her mind. Alan’s words begin to sound like running water, becoming a wall between her thoughts and the rest of the world.

She remembers a time with Michael, on the honeymoon.

EXT. YUCCATAN PENNINSULA –CHICHEN ITZA –BRIGHT SUNNY DAY

Sarah is climbing the steps of the El Castillo pyramid of Chichen Itza. She is dirty and sweaty but her skin reflects her femininity, glistening in the sun. Michael appears from below her.

MICHAEL

Where the hell do you get all this energy!

SARAH

Exercise baby. You should try it more often.

MICHAEL

Fuck you.

Sarah reaches the top and appears to be reveling in her victory in the race to the top. She smiles down on Michael as he reaches the top platform. He embraces her, pulling her body against him. She kisses him. He then pushes her toward the edge, grabbing her to safety, again embracing her. She pulls away from him.

MICHAEL

What if I wanted to get my hands on all your money?

Sarah laughs.

SARAH

All mine and my Mother’s. Gonna kill her too?

MICHAEL

All I’d have to do is just say it was an accident. I tried to save her, but she just slipped.

SARAH

Oh really? Well, I’d like to see you really try it, baby. You might just end up wishing you hadn’t as I give you your first flying lesson. Besides if I thought you married me just for my money, I’d already have killed you.

Michael laughs.

MICHAEL

Oh, okay.

SARAH

I know why you married me.

MICHAEL

And what’s that?

SARAH

You couldn’t stand to see me with someone other than yourself.

MICHAEL

True.

SARAH

That makes me feel good, baby.

She kisses him and begins to climb down. He watches her start down and looks around at the scenery before making his descent.

EXT. THE APARTMENT BALCONY –NIGHT

Sarah’s memory fades out as Alan’s word come back to the surface.

ALAN

Do you know what I mean, somewhere in France or a little town in Spain on the coast of the Mediterranean?

SARAH

Oh…Ummm…yeah, I’d really like than Alan.

ALAN

We could meet my cousin in Barcelona if we wanted. He could show us around.

SARAH

That would be great. That would be nice, baby.

INT. THE BUSY SUBWAY –MORNING RUSH

Sarah is again, smashed between a couple passengers, on her route to work. As the exit arrives where she had seen the man who looked like Michael the morning before, the doors open.

Sarah wants to forget yesterday morning. It wasn’t Michael, she tells herself. But who was it? It looked just like him, but with short hair.

People exit the train. She tries to convince herself to just keep going. Go to work. Forget it. It’s just your mind, trying to hold on to Michael, trying to make him more than just a memory.

But what if it was him? She has no know.

She stops the door from closing and gets off. She stands at the platform, watching the people head toward the escalator like the morning before. Michael isn’t there though. She starts to walk.

She walks the same path as the morning before, taking all the same turns, but no Michael. Maybe she’s there too early? Maybe he’ll be walking by any moment? Then she’ll see him. Maybe she’ll see the man and realize it looks a lot like Michael, but not really him. She has to know.

Her wireless phone rings. She doesn’t answer it.

She finds herself at the same spot where she no longer saw the man and just stands there for a long time, maybe an hour. A long time. She looks possessed, like the morning before.

For a whole week, she takes the same path, following the same footsteps. Still, no Michael. She doesn’t go to work.

Her phone rings. She doesn’t answer it.

She tries to hide this from Alan. If he knew what she was doing, he’d leave her.

INT. JASON’S OFFICE –MORNING

Jason is in front of his computer monitor, reading something he’s written. Without looking way, he picks up his phone and presses a speed dial button. The phone rings in his ear. Sarah’s voice mail plays and then he leaves a message.

JASON

Sarah, where the hell are you? For God sakes, I don’t remember anything about you being on vacation. I tried to call Alan’s office phone but it’s been so long I thinks it’s changed. Don’t make me come looking for you. Just call, okay? I’m starting to have to cover for you. Everyone’s starting to wonder. Okay, call me Sarah. This is Jas. Bye.

Jason looks at his watch and decides to go look for her.

INT. THE SUBWAY

Jason takes a train and exits. He walks by a coffee shop and looks in the window. He stops by a small bookstore and doesn’t see her. He decides to go to her apartment. As he gets off the train, he sees her get on. He gets back on.

JASON

Sarah!

She doesn’t answer or even respond. He watches her stand with her back to him. The exit comes where she has been getting off the last week comes and as the doors open, she walks out. He follows her.

JASON

Sarah!

She doesn’t respond. He sees her face. Her blank face looks almost translucent, absent of blood. Her ghostly walk makes her look like she is being pulled by an invisible string. He watches her as he follows her on her path of possession.

She ends up in the very same spot as before. Just standing. He walks closer. He calls her name. His voice is muted but gradually increases in volume, as he gets closer.

JASON

Sarah. Sarah.

She appears to be waking from a dream as she slowly turns to Jason who is walking behind her.

JASON

Sarah?

She looks at him in a half-asleep expression.

SARAH

Hi, Jason.

JASON

What are you doing?

SARAH

Walking?

JASON

Where have you been?

SARAH

Michael was here, Jas.

JASON

Michael? Sarah, what are you talking about?

SARAH

He was right here, but then I didn’t see him.

JASON

Where the hell have you been the last week?

SARAH

I told Alan I was over Michael, but then I saw him. I followed him. He was right here. But I haven’t seen him since.

JASON

Since when? Last week? Sarah, is this what you’ve been doing the last week? For God sakes, Sar, why haven’t you answered your phone?

Jason attitude turns from frustration to compassion.

JASON

Sarah, lets get some coffee or something. Okay? And, you can tell me exactly what happened.

INT. COFFEE HOUSE

Jason is sitting across from Sarah as they drink coffee.

JASON

So, why do you think it’s him?

SARAH

I don’t know if it’s him or not. But I just feel so obsessed. God, Jas. I’m so sorry I didn’t call you.

JASON

Well, I haven’t slept for the last two nights. I know Alan would have called me if something happened to you, but still…for God sakes Sar. You have to promise me you’ll see Dr. Chen.

SARAH

Will you stop bringing her up, please?

JASON

You know I’m not.

SARAH

Well, I’m not going to see her.

JASON

Why? She could have really helped you if you would have kept going.

SARAH

You don’t know how hard it is to sit there and spill everything you’ve gone through, over and over again. I’m not doing that anymore.

JASON

But, Sar, I don’t know how else to put this but when you start seeing people who aren’t really there…

SARAH

God Jas…

JASON

No, listen to me. You were walking around like a zombie just 45 minutes ago. I watched you. It was like you were possessed or a ghost or something like that.

SARAH

I’m sorry, I don’t expect you to know what I’m going through. I saw Michael, Jas. I don’t see people who aren’t really there.

JASON

You saw someone who looked like him.

SARAH

What if it was him? I never believed that inspector.

JASON

Dr. Chen helped you with all that. You know they had the dental records. But, you never saw Michael dead, so that’s why it will always be hard to accept.

SARAH

I saw the body. It wasn’t Michael. They burned that body so fast, there was no way to know anything.

JASON

Listen to yourself Sar. You’ve got to stop this. Does Alan know what you’ve been doing?

SARAH

No.

JASON

Sarah.

SARAH

No. Don’t say anything to him. Please, Jason, don’t say a word to him. Not a word.

JASON

I won’t say anything if you go to Dr. Chen.

SARAH

Dr. Chen! Dr. Chen! Why don’t you go see Dr. Chen? You talk about her enough. You’re the one that needs to go see Dr. Fucking Chen, as much as you remind me how I broke your heart. And don’t tell me you’re just kidding around. You’re the one with the problem. You know, Jason, you’re an asshole. You don’t have any idea what’s going on in my head and you think you have all the fucking answers.

JASON

No I don’t. But maybe you’d find some of those answers if you’d just go get some help. I let you go when you wanted to be with Michael and when you married Alan but I’m sorry Sarah, I will always care about you.

SARAH

God Jas, I know. I’m sorry. I didn’t mean what I said.

JASON

I know. I am very concerned. I need you as a friend and an editor. You know I’m up for Curt’s position.

SARAH

You’re going to Afghanistan?

JASON

Not if you’re acting like this. I’m not going anywhere until I feel good about you, Sar.

SARAH

God. Jas.

JASON

You know what I mean.

Jason takes her hands. She looks directly into his eyes.

SARAH

I know. I won’t forget. Jas, I will never forget.

JASON

I don’t want to lose you. Nobody does. Do you believe that?

SARAH

Yes.

EXT. NEW YORK CITY –NIGHT

We read: Three Years earlier.

The camera pans to an apartment building.

INT. MICHAEL’S APARTMENT

We read: Michael’s apartment.

Sarah is sitting on a couch with her hands around the container of ashes, holding it on the coffee table in front of her. Teanna and her mother are comforting her. Brad and Alan are standing next to the couch.

Cut to moments later. Sarah’s family is leaving her alone in the apartment.

MRS. TEMPLETON

Are you sure you’ll be okay?

TEE

You’ll be alright?

SARAH

Yes. I just want to be with Michael, you know. I just want to spend time with him. Just one last night here in this apartment, that’s all.

TEANNA

You know we’ll be at home if you need us.

MRS. TEMPLETON

You can call if you need to.

SARAH

I know.

TEANNA

You can reach me on my wireless. Okay?

SARAH

Thank you, I love you.

They embrace and then Teanna and the rest of them leave.

Sarah turns around after the door shuts in front of her and looks at the ashes on the coffee table. She walks toward it and sits back down on the couch. She slowly breaks into tears.

SARAH

I’m sorry, Michael. Why, Michael? Why?

She sits for a moment, caressing the container of ashes. She looks over at the telephone next to the couch. She moves over to pick up the receiver.

INT. JASON’S OFFICE –NIGHT

Jason is typing in front of a computer.

JASON

Hello?

TEE

Jason?

JASON

Yeah? Oh, Sarah?

TEE

It’s me.

JASON

Oh, hello.

TEE

Hey, Sarah is staying the night at Michael’s. Could you call her in a little bit? Just to check up on her.

JASON

What? I don’t get it.

TEE

It wasn’t my idea, I’ll tell you that. You know how she is, Jas. She’s so stubborn. I’m a little worried about her.

JASON

Listen. Stay right there. I’m…

The phone hangs up.

JASON

Wait!

Jason stands up with the phone in his hand and walks toward a window. He dials the number to Michael’s apartment as he looks out at the city. He gets a busy signal.

JASON

Her wireless.

He dials her wireless phone. It rings a few times then goes to her voicemail.

SARAH

Sorry you missed me, I’m either snorkeling with Michael or surfing with Michael or shopping with Michael or any number of things a girl like me would do with her husband on her honeymoon. So, leave a message.

Beep.

JASON

Sarah. It’s Jason. I know you’re not checking your voicemail, so I don’t know why I’m leaving this. Okay. Call me.

Jason calls Michael’s number again. It’s busy again.

JASON

What the hell? For God sakes, Sarah.

Jason’s face begins to turn pale and his chest shows deeper, faster breathing. He puts the phone down and grabs his keys and hurries out of the office.

INT. MICHAEL’S APARTMENT

We hear the distant sound of running bath water as our view of the container of ashes in front of the couch gets closer and closer. Our view turns slowly to the left and the end of the couch where the phone is clearly laying off the hook. We see Sarah walking down a dark hall to an open door at the end of it. The sound of the water is louder and louder.

We see a close up of her face. Tears flowing. Mascara running. Blood shot eyes.

We see her in the frame of the bathroom door at the end of the hall with a razor in her hand. She shuts the door behind her.

INT. TAXI CAB

Jason is calling again on his wireless. Busy.

JASON

Damn it, Sarah! Pick up your phone!

INT. MICHAEL’S APARTMENT

We see the closed bathroom door at the end of the hall. The lights turn off. The water pipes squeal as the water is turned off.

INT. TAXI CAB

JASON

Can you drive faster! This is an emergency! Let’s go!

The driver turns sharply as he speeds up. Moments later, they arrive across the street from Michael’s apartment.

JASON

That’s it! Stop here! Here!

He gives the driver some cash and runs out across the street, through traffic, nearly getting hit. He reaches the entrance to Michael’s apartment building. He looks at the directory and presses the button for Michael’s buzzer.

INT. MICHAEL’S APARTMENT

We see the container of ashes on the table in front of the couch. We hear nothing.

EXT. OUTSIDE THE APARTMENT BUILDING

Jason presses the button several times. Finally, he starts beating on the door to the apartment building. An older thin-haired woman wearing a bathrobe comes to the door from the inside. She is the Superintendent.

SUPER

What do want!

JASON

Michael Penner’s apartment. His wife is in there.

SUPER

I’m sorry. Michael Penner died last week.

JASON

I know that. I’m a friend of his! His wife…

SUPER

Well, I can’t let you in…

JASON

His wife is in there. For God sakes, let me in! I think she might be trying to…

SUPER

His wife?

JASON

Yes, Sarah! She might be trying to kill herself! Let me in!

SUPER

Oh!

The Super presses the button to open the door.

SUPER

You might need these.

She hands him a key among a large set of keys.

SUPER

This one opens all of them. Do you know which one is Michael’s?

It’s 4B!

Jason has already gone up a flight of stairs. Next thing we see is Jason at the door of apartment 4B fumbling with the keys in his hands.

INT. MICHAEL’S APARTMENT

We see Jason enter, just beyond the view of the container of ashes. He sees the phone off the hook and runs to the hall, looking into the bedroom.

JASON

Sarah!

He runs to the end of the hall where the bathroom is. The door is locked. He beats on the door.

JASON

Sarah! It’s Jason! Sarah!

He beats even harder, testing its strength. He starts to pound on the door, attempting to break in. He then hits the door with his entire body twice as the door breaks open.

He turns on the light. We see his face in horror.

JASON

Sarah! God! No!

His face fades out as we see Sarah and Jason sitting in the coffee shop. He has her hands in his hands as he turns her wrists over. They are scarred from attempted suicide. She pulls her arms back from him.

SARAH

Jas.

JASON

I’ll help you find him.

SARAH

You will?

JASON

Yes. I’ll make a deal with you. But you have to promise me that if I help you try to find Michael and after Thursday if we don’t find him, you’ll go to see Dr. Chen.

Sarah pauses with words on the end of her tongue.

SARAH

We’ll find him. I swear it was Michael. I don’t know how I know, but I know.

JASON

Sarah, you have to promise me.

Sarah takes a deep breath.

SARAH

Jas. Please…

JASON

That’s the deal. I mean it.

SARAH

I can’t.

JASON

Then I’m not going to help you look for him.

SARAH

I wish you knew what it was like Jason. She stares at me with empty eyes asking me questions she already knows the answers to. It’s like she just wants to see me agonize over the pain.

JASON

I know you don’t believe that. She’s been there for you your whole life. I’ve met her. I know she cares about you. That’s not where she’s coming from.

SARAH

I’ll be spending the next few weeks talking about my father. I don’t want to go through the whole thing again.

JASON

Sarah, you can’t give up trying to come to grips with these things.

SARAH

We’ve already talked about this. Why can’t you just drop it? I don’t want to talk about my father. I don’t want to talk about finding his body. I don’t want to talk about seeing his face. I don’t want to talk about how fucking guilty I felt and still feel even though I didn’t do anything! Do you understand Jason?

JASON

Sarah, I can’t say I do completely. I admit that. But, I’m sorry, you still need some help Sarah.

SARAH

You and I can talk about all of it if you want.

JASON

I’m not a doctor. I’ll help you look for him, but after I want you to talk to her.

SARAH

You don’t believe me.

JASON

I do believe you saw someone who looks like him, but I can’t say I believe you saw Michael. I will help you. Do you want me to help you or not?

SARAH

Yes. I need you.

JASON

Then, we look for him the next three mornings. That’s it. If we don’t find him then you go see her. We can look for him later on if you want but you’ve got to talk to Dr. Chen.

SARAH

Okay. Thank you Jason.

EXT. NEW YORK CITY SUBWAY –MORNING

They arrive at the exit where Sarah saw the man the first morning. She nods to Jason to exit. She exits. He follows. They both look at everyone possible as they make their way to the escalator then up to the street.

SARAH

He walked this way. I didn’t see him at first but then he turned the corner on this street when I saw him again.

They walked to the corner and turned to watch people approaching. Occasionally they see men who resemble Michael but then quickly can tell it isn’t him. They end up at the coffee shop a couple hours later.

JASON

We can try to get to the top of the escalator earlier than this morning.

SARAH

Like a stakeout.

JASON

Right. We can just stay in one spot. Then everyone who comes from the subway we can get a good look at.

SARAH

Thank you for doing this for me.

JASON

I’m here for you. What have you been doing to keep Alan from knowing all this?

SARAH

I really do love him. He’s so caring, Jason. He’s so different from you and Michael.

JASON

Wow! Thanks for putting it that way.

SARAH

Well, both you and Michael always made me feel like I couldn’t invade certain parts of your life. Alan makes me feel like he’s dropped everything for me. I really don’t deserve him.

JASON

You mean you haven’t been acting strange around him these last two weeks?

SARAH

I guess I’m really good hiding it right now.

JASON

Well, you never hid anything from me, right?

SARAH

You mean, other than Michael? No, nothing.

JASON

I don’t count that because you didn’t really try to hide any of that, neither one of you.

SARAH

Well, I probably would have tried to hide it as long as I could, because I never wanted you to be hurt. But Michael wanted you to know. He really couldn’t hide it from you.

JASON

I’ll never forgive him for making you so happy.

Sarah laughs and Jason smiles.

SARAH

He did make me very happy. Jason, if he’s here, if he’s alive. Why?

JASON

I don’t know. I honestly don’t see how it’s him. Can we just talk about something else?

SARAH

Okay. You think you’re going to Kabul?

JASON

Yes, I do. If you were around these last few weeks you’d see all the hints Demasters has been dropping. He acts like Curt’s ready to come home.

SARAH

Well, you deserve to be there. You’ve been wanting this for a long time.

JASON

But I’m not going until you’re able to deal with all this.

EXT. NEW YORK CITY STREET

Sarah and Jason are watching people come up from the subway, each with a wireless phone in hand. They don’t see anyone who resembles Michael. We see several shots of different people. They talk to each other on their wireless phones from opposite sides of the street. Ultimately they are back at the coffee shop.

EXT. NEW YORK CITY STREET

This is the third day of Jason helping Sarah find the man who looked like Michael. They see a lot of the same people, but no one who looks like Michael. Just as Jason is about to tell Sarah that he’s through trying to help they both see a man who looks a lot like Michael. It may be the same man she saw on the subway that first day but his hair is much darker and he’s wearing sunglasses and dressed much more casual.

SARAH

Jason. I think that’s him.

Jason sees the man she is looking at and begins to walk behind him. Sarah is a block in front of them and the man is walking toward her.

JASON

I see him.

She gets a better look at him but it is still difficult to see his face completely. The man passes her and she begins to walk along with Jason. The pace begins to quicken. The man begins to jog. Jason and Sarah look at each other thinking the man realizes they are following him. He turns a corner and they begin to run. As they turn the corner, he is nowhere to be found. They stop to breathe and look around. They see him behind a magazine stand. Slowly they walk up to the stand. He makes no movement. Jason motions to Sarah that he is going to tap the man on the shoulder. Sarah braces herself to get a close up look at him as she stands directly behind him. Jason taps the man on the shoulder with a lot of force and the man turns very quickly, losing his ball cap. He takes his sunglasses off and stares at Jason and Sarah.

MAN

What the? Who are you?

SARAH

Oh! I’m so sorry…

MAN

Can I help you!

JASON

We’re so sorry. We thought you were somebody else.

SARAH

Yes. We are so sorry.

MAN

Were you following me?

JASON

No. Yes. We actually…

SARAH

I’m so sorry. It’s my fault. We thought…

Jason takes Sarah by the arm and pulls her away as he apologizes again to the man.

JASON

It was just a mistake. Again, we’re terribly sorry.

They end up in the coffee shop.

INT. COFFEE SHOP

SARAH

I can’t believe this. I’m so sure I saw Michael. You didn’t see him that morning. I did.

JASON

I thought that guy could have been Michael. Don’t you see? You probably just had Michael on your mind and wanted to see him. I wanted to see him, for your sake. But Sarah, Michael is dead. He’s not going to just appear on the subway.

SARAH

I know. I guess I saw him and thought somehow…

JASON

I know you wanted to see Michael. I understand. I want to take you to see Dr. Chen.

SARAH

No, Jason.

JASON

Damn it, Sarah! That was the deal! You need some help for God sakes.

SARAH

Well, I’m not doing it!

Sarah stands up abruptly, disturbing a few people seated close to their table.

JASON

Where are you going?

SARAH

I’m not going somewhere to kill myself, if that’s what you think!

Sarah storms out of the coffee house as Jason follows her but he lets her go. He watches her run out of sight. Jason pinches the bridge of his nose and takes a deep breath, closing his eyes. Someone pulls his hand away from his face and Jason is caught off guard. It is Alan and he appears very upset.

ALAN

What the hell are you two doing!

JASON

Alan.

ALAN

I’ve been following you for the last two days. What are you doing with my wife, Jason?

JASON

It’s complicated, but you should know, you live with her.

ALAN

I’m listening…

JASON

She thinks she saw Michael.

ALAN

What?

JASON

On the subway about a week ago she thought she saw him. The day she told you she was over all of it.

ALAN

You’re not fucking her?

JASON

No! Alan, she needs help. I’ve been trying to get her to go to Dr. Chen. I told her I would help her look for Michael if she promised to see her, but she’s too stubborn.

ALAN

So where’d she go?

JASON

I don’t know. I’m sure she’s headed back to your apartment. I told her she needed to see Dr. Chen, that was our deal, but she just stormed out.

ALAN

I don’t know what to do with her, Jason. I can’t take anymore of this.

JASON

You need to convince her to get help. Do it for her, you know.

ALAN

I wish she could see what she’s doing to everybody around her.

JASON

She’s your wife, Alan. You’ve got to help her get through this. I would have said something to you eventually but she didn’t want you to know about any of it. She doesn’t really want to hurt you.

ALAN

Well, I couldn’t tell.

JASON

She loves you Alan and she needs you. I’ve been trying but you’ve got to get her to see Dr. Chen or somebody. If she doesn’t, she’s going to try to kill herself again.

ALAN

You’re right I’m sure.

JASON

She’s trying in her own way to deal with him being gone. Eventually she’s going to realize she has no answers. I don’t know. She’ll try it again.

ALAN

I’m going to the apartment.

JASON

What are you going to do?

ALAN

I’ve got an idea.

JASON

Call me. Let me know anything.

INT. THE APARTMENT

Sarah is out on the balcony, smoking and pacing back and forth. Alan enters the apartment and sees her.

ALAN

Baby?

Sarah is surprised to see him, so she tries to wipe her tears and brush her hair with hands quickly.

SARAH

Alan, hi. You’re home?

ALAN

Just… decided to get home early.

SARAH

Oh yeah, I needed to come by the apartment. I’ll be headed back to work in a little bit.

ALAN

What are you doing out here?

SARAH

Just a quick smoke. Thinking.

ALAN

Wine?

SARAH

Sure.

Alan leaves and comes back with two full wine glasses. He just dropped something in her glass as she turns to him.

ALAN

Here.

SARAH

Thank you, baby.

ALAN

Stay the rest of the day. You don’t need to go back to work.

She takes a long full drink and a drag from her cigarette.

SARAH

Maybe I will.

Alan takes her cigarette and puts it out.

ALAN

Come inside and sit with me on the couch.

He leads her by the hand inside and they sit on the couch.

ALAN

I haven’t been here for you and I know it. I’m sorry.

SARAH

What do you mean? You’re great Alan. I don’t blame you for anything. I told you before. I’m the one who’s sorry.

ALAN

I’ve been selfish and wanted you to get over everything once and for all about Michael. It’s not easy. I guess I realize more than ever how hard it is for you. I’ve just thought about how you’ve made me feel.

Sarah looks uncomfortable and stares away attempting to hide her expression.

SARAH

I’m over it Alan.

ALAN

You’re over Michael?

SARAH

Yes.

ALAN

Sarah. I talked to Jason. I saw you leave the coffee shop.

SARAH

What? Coffee shop?

She laughs uncomfortably.

SARAH

When? Where did you see me?

ALAN

Just an hour ago. I saw you run out.

She laughs even more falsely.

SARAH

Alan. Oh, that? We were just having coffee, he made a comment I didn’t agree with and I…

ALAN

He told me about the subway and the man who looked like Michael.

Sarah begins to shed tears of embarrassment and then her face begins to look angry.

SARAH

What did that son of a bitch tell you?

Alan puts his hand on her shoulder securing her to the couch.

ALAN

Sweetheart. He’s a friend of yours. You know that. He told me because I was following you.

SARAH

Why were you…following…me?

Sarah is beginning to feel drowsy from the sedative Alan put in her drink.

ALAN

Jason’s right honey, you do need to see Dr. Chen. I’ve already called her.

SARAH

Whaa…

Sarah makes a very weak attempt to get up as Alan gently holds her down.

ALAN

It’s going to be okay. I’m doing this for your own good. You need help, sweetheart.

SARAH

What did you put in my…Alan…please…

The room begins to look a heavy warm yellow tint to Sarah as she slips to sleep.

INT. JASON’S OFFICE –AFTERNOON

Jason is ending a phone call with Alan as one of his employees, Kara, enters his office.

JASON

Thanks Alan. I’ll stop by to see her tomorrow. All right. Bye.

KARA

Was that Alan, Sarah’s Alan?

JASON

Shut the door. She’s okay. I can’t say much about it. And I don’t want you to say anything to anybody. This isn’t anything to talk about. Do you hear me Kara?

KARA

God Jason. Whatever you say? Where’s she been?

JASON

That’s a long story.

KARA

Well, I know you care about her, but if you’re not careful Jason you won’t be the one going to Afghanistan. You’ve had to cover for her and I’ve had to cover for you these last two mornings.

JASON

I know, thank you Kara.

KARA

Anything for you. I just told Jack you were downtown again.

JASON

I’m going to Afghanistan, Kara. I’m not worried about that. In fact, I’m more sure about it than ever.

KARA

I will miss you.

JASON

Well, I will need you to keep things going here. Sarah won’t be able to do much for a while I’m afraid.

KARA

She was going to take your position, I thought.

JASON

No, that was never my plan. I offered your name.

KARA

Me? Really. Oh, Jason. You love me after all.

JASON

Yes I do.

KARA

Actually, I had hoped you’d ask me to go with you.

JASON

To Kabul? Why would you want to do that?

KARA

I wouldn’t be going for the nightlife.

JASON

I wouldn’t even consider it now, Kara. Yeah, I could use you there but you’re really needed here, especially with Sarah going through what she’s going through.

KARA

Jason, did she try to…

JASON

No. Kara, I’ll tell you more when I can.

KARA

You still love her, don’t you?

JASON

Yes.

Kara says nothing for a small silent moment, then turns and walks out.

Jason turns to the window, swiveling in his chair. He thinks back about his discussions with Sarah over the last few days and recalls her mentioning Despiado and the body being burned so quickly. He turns back to his desk and begins typing in his computer. He looks up a telephone number for the police department in Cancun.

JASON

Hello, This is Jack Trace from NYPD. I need to be connected to Inspector Despiado.

WOMAN

Yes. Senor. Un moment. Please.

Phone rings on the other end several times.

DESPIADO

Bueno. Inspector Despiado.

JASON

Inspector Despiado, this is Jack Trace from NYPD.

DESPIADO

How can I help you, sir?

JASON

I need some information about an unsolved homicide. A man named Michael Penner.

DESPIADO

Michael Penner?

JASON

Yes, from 3 years ago.

DESPIADO

Why do you need this information?

JASON

There is a possibly link to Mr. Penner to another homicide her in New York.

DESPIADO

Is that so?

JASON

Yes. I would appreciate you sending me a fax or possibly e-mail any information about the case.

DESPIADO

I don’t remember any case by that name and I’m not sure we could send any information for some time. We are very busy, but I will see what I can do.

JASON

Here’s the fax number. 212-555-2323 or you could e-mail my office at jacktrace@homicide.nypd.com

DESPIADO

My report with be in Spanish, Senor Trace.

JASON

I’ll manage. It’s okay.

DESPIADO

Senor Trace, I will contact you sometime as soon as possible.

JASON

Thank you Inspector.

DESPIADO

Goodbye.

INT. JASON’S OFFICE –DAY

The phone at Jason’s desk is ringing. Kara walks over and picks it up.

KARA

Times, this is Kara.

JASON

Kara, hey. Will you look something up for me?

KARA

Jason, where are you?

INT. TAXI –CANCUN, MEXICO –DAY

Jason is riding in the back of a taxi.

JASON

Mexico.

They pass under and overhead highway sign with an arrow pointing forward to Chichen Itza.

KARA

Mexico?

JASON

Yeah. Look up Mayan ruins on the Yucatan Peninsula.

KARA

What are you doing in Mexico? Yucatan?

JASON

Yeah, Yucatan Peninsula.

KARA

Does this have something to do with Sarah?

JASON

Yes. I’ll tell you more later.

INT. JASON’S OFFICE

KARA

I want to know what’s happening Jason.

JASON

I don’t really know Kara. There’s something wrong with what happened to Michael.

KARA

What do you mean?

INT. TAXI –CANCUN, MEXICO

JASON

It wasn’t some random crime. Sarah never got over it and I’m starting to understand why.

KARA

What do you need to know about Mayan ruins?

JASON

Has there ever been a murder reported at any of the tourist sites of the Mayan ruins?

INT. JASON’S OFFICE

Kara is accessing the inter-net.

KARA

Looking. Okay. No. I can’t find anything.

JASON

Keep looking. Look under Mexico tourist crime or something like that.

KARA

Okay. What are you looking for?

INT. TAXI CAB –CANCUN, MEXICO

JASON

I told you. I’m not sure. Michael’s body was found in a burned out car, obviously torched, but the report they filed said it was an accident and the body was cremated in less than 48 hours. Did you find anything?

KARA

Actually. Yes. There’s an article here about rising crime and how it’s bad for the tourist economy on the Yucatan Peninsula, Cancun, etc. It’s from July ’94.

JASON

Who wrote the article?

KARA

E.M. Somersett.

JASON

What can you find about him?

KARA

Mmmm? Not much here. Oh, here’s something. He’s a writer for a couple magazines.

JASON

Tell me he lives in Cancun, please.

KARA

No. He’s here in New York.

JASON

Oh, really. Where?

KARA

Somewhere here in Manhatten. This article’s pretty wacky, by the way. He keeps mentioning something called The Business. He says they’re like some sort of secret organization that controls the Yuccatan Peninsula.

JASON

Find out more for me and we’ll go visit him when I get back.

KARA

When will you be back?

JASON

Should be this weekend.

KARA

Are you all right?

JASON

Yes, Kara. I’ll explain it when I get back. I promise.

KARA

Okay.

EXT. YUCCATAN PENNINSULA –CHICHEN ITZA –COOL LATE AFTERNOON

Jason pays the taxi driver as he turns to the entrance of the Chichen Itza ruins. He walks through the entrance. A few tourists are spread around the grounds of the ruins. Various shots of Chichen Itza are shown. Jason walks up to the foot of El Castillo, the tall pyramid in the middle of Chichen Itza. He looks up to the top of the pyramid. A voice from behind Jason breaks the peaceful silence.

DESPIADO

Senor Trace.

Jason turns around.

JASON

Inspector Despiado?

DESPIADO

Yes, I have been looking for you.

JASON

You have? That must be the reason your secretary says you aren’t in every time I call.

DESPIADO

One of these days I will use a cellular. Too accessible for me, I think. You are admiring the magnificent pyramid? El Castillo! Tourists can no longer climb to the top.

JASON

Sarah said she climbed to the top with her husband, Michael.

DESPIADO

Michael Penner? Oh, yes, I have some information for you about his case.

JASON

Why didn’t you send the case information Inspector? You had my fax number.

DESPIADO

I mentioned we are very busy, of course. It is a busy job keeping our Cancun so free from the crime. If you would like to visit me tomorrow morning I can give the files to you personally.

JASON

Why do you think my friend would say she and her husband climbed to the top of this?

DESPIADO

I cannot be sure. It is very unlikely. There are guards patrolling the grounds during the closed time. During the open hours, Senor Trace, they do not allow visitors to climb it. Will you visit my office in the morning, Senor Trace?

JASON

How did you know I was here?

DESPIADO

I am an Inspector, Senor Trace. Of course, we policeman have our ways. Correct?

JASON

Yes. Yes I will be at your office tomorrow morning.

INT. COLUMBIA UNIVERSITY HERMANN PSYCHIATRIC HOSPITAL –HALLWAY

A long narrow sterile-looking hallway leads us to the inside of Sarah’s room.

INT. SARAH’S HOSPITAL ROOM

Sarah is sleeping but a close-up of her face shows she is having a nightmare.

EXT. A GRAVEYARD –MOONLIGHT NIGHT

Sarah is walking in a nightgown breathing heavily. She walks past her father’s gravestone and then Michael’s gravestone.

INT. STAIRWELL

Flashes of her teenage suicide attempt are shown as Sarah is walking in her nightgown down flights of stairs, leaving bloody footprints. As she looks at the numbers posted next to each exit door, they constantly change and never make sense. She goes down a flight from floor 7 and it says 23rd floor. She goes down again and it says floor 83. She goes up and it says 4th floor. Eventually the floor numbers become letters and then symbols that make no sense at all.

We hear a faint voice of a man talking to someone.

Sarah exits a door only to find herself in the stairwell again and again. She exits over and over. Her trails of bloody footprints multiply.

A voice slowly fades in… “Sarah. Sarah. Sarah…” It is the voice of Dr. Chen.

INT. SARAH’S HOSPITAL ROOM

Dr. Chen is a beautiful Asian woman in her Mid to Late 40’s sitting with her legs crossed and looking at Sarah from a chair across the room. Sarah is waking up, drenched in sweat and tears.

DR. CHEN

Sarah? It’s time…

SARAH

No.

DR. CHEN

…to wake up.

SARAH

Please. I don’t…Dr. Chen.

DR. CHEN

You need to eat something, Sarah.

SARAH

I want to go home…Please, I don’t…

DR. CHEN

Don’t want to what Sarah?

SARAH

I’m not hungry.

DR. CHEN

You were dreaming about the stairs again.

SARAH

Dr. Chen…

Sarah begins to wake up completely and is suddenly very scared. Dr. Chen motions for attendant to inject Sarah to settle her down.

FADE TO SOFT WHITE AND THEN FADE BACK IN.

Time has passed. Dr. Chen is sitting again in the chair dressed slightly different. Sarah is heavily sedated.

DR. CHEN

Sarah, tell me what you dreamed. Tell me what you saw.

EXT. A GRAVEYARD –MOONLIT NIGHT

SARAH (V.O.)

I’m walking in a cemetery. It’s my father’s gravestone… and Michael’s. I’m so… cold.

We see bloody footprints behind Sarah as she walks.

DR. CHEN (V.O.)

What are you wearing?

SARAH (V.O.)

I don’t know.

DR. CHEN (V.O.)

Tell me, Sarah.

SARAH (V.O.)

I don’t know!

INT. SARAH’S HOSPITAL ROOM

DR. CHEN

Are you wearing a swimming suit?

SARAH

No.

EXT. A GRAVEYARD –MOONLIT NIGHT

DR. CHEN (V.O.)

Are you wearing shoes?

SARAH (V.O.)

I don’t know.

DR. CHEN (V.O)

Sarah, tell me.

SARAH (V.O.)

No!

DR. CHEN (V.O.)

Look! Look down, Sarah. Are you barefoot?

Sarah stops walking and looks down but can’t see her feet.

SARAH (V.O.)

I can’t see my feet.

DR. CHEN (V.O.)

You can’t see them?

SARAH (V.O.)

No!

Sarah begins to run. She is suddenly in the stairwell.

INT. STAIRWELL

Sarah walks up the stairwell and looks at the floor numbers.

DR. CHEN (V.O.)

You’re in the stairwell, aren’t you?

SARAH (V.O.)

Yes.

We see her bloody footprints again.

DR. CHEN (V.O.)

Where are you going?

SARAH (V.O)

I don’t know.

DR. CHEN (V.O.)

I want to get out.

SARAH (V.O.)

Yes.

DR. CHEN (V.O.)

Are you looking for someone?

We hear a faint voice of a man.

SARAH (V.O.)

I want to get out.

DR. CHEN (V.O.)

Are your feet still cold?

SARAH (V.O.)

Yes. I just want to get out. Let me out. Let me out!

DR. CHEN (V.O.)

Sarah, you can get out. Go through the exit.

SARAH (V.O.)

No.

We hear the man’s voice a little louder.

We see her go through exit door after exit door.

DR. CHEN (V.O.)

Sarah, you can go through. Just look at your feet and tell me what you see.

SARAH (V.O.)

No!

DR. CHEN (V.O.)

Look down Sarah.

Sarah keeps going through exit doors but begins to slow down.

DR. CHEN (V.O.)

Look at your feet!

Sarah begins to look down at her feet as she moves through a couple more exit doors.

SARAH (V.O.)

No!

Sarah slowly looks down at her feet and sees the bottoms of them covered in blood. She looks back at her trail of bloody footprints.

DR. CHEN (V.O.)

What do you see? Tell me Sarah.

SARAH (V.O.)

I’m bleeding. My feet are bleeding.

DR. CHEN (V.O.)

No, they aren’t, Sarah. You’re not bleeding.

Sarah sits down on the stairs and begins rubbing the soles of the feet. The blood comes off and she finds no cuts at all.

The man’s voice is a little louder.

She then notices the blood on her hands then sees the scars on her wrists.

INT. SARAH’S HOSPITAL ROOM

Sarah wakes up clutching her wrists and she looks at them. Then she sees Dr. Chen.

SARAH

I saw them.

DR. CHEN

Your feet?

SARAH

The blood.

DR. CHEN

Sarah…

SARAH

How long do I have to stay here?

DR. CHEN

Alan brought you here and I’m glad he did, Sarah.

SARAH

Alan?

DR. CHEN

He was afraid you were going to try to kill yourself again.

SARAH

I wasn’t going to try to kill myself!

DR. CHEN

He said you claimed you saw Michael on the subway. Sarah, you weren’t responsible for your father’s death and Michael’s death wasn’t your fault either.

SARAH

I don’t want to talk about it! He’s lying! I don’t…

DR. CHEN

You were found passed out with your father’s blood on the bottoms of your feet but Sarah, your father’s death was an accident…

SARAH

Shut up! Don’t talk to me about it! I don’t want to talk about it!

INT. JASON’S MOTEL ROOM

Jason washes his face in the bathroom sink. He looks at himself in the mirror.

He slips on a sweatshirt and grabs his keys.

EXT. JASON’S MOTEL ROOM –CANCUN, MEXICO. MORNING

Jason sees that the tires on his rental car are slashed.

JASON

Damn it!

Jason looks around to see if anyone is watching. He makes a call on his wireless.

JASON

Hello?

We see a split screen with Jason on a wireless phone on the right side and an older gentleman answering a phone on the left.

MAN (LEFT SIDE)

Hello? Yes. This is E.M. Sommersett.

Kara is now on the Right side of the screen in Jason’s office in New York and Sommersett is still on the left.

KARA (RIGHT SIDE)

Dr. Sommersett, I’m Kara Brighton. I wonder if I can meet with you. I work for the New York Times.

DESPIADO (LEFT SIDE)

Senor Trace.

JASON (RIGHT SIDE)

You’re not going to scare me that easy.

We now see the screen split into four quadrants: Sommersett is on top left. Despiado is on bottom left. Kara is on top right and Jason is on bottom right. The two conversations occur simultaneously.

SOMMERSETT

What can I help you with?

KARA

I am working on a story concerning crime in the Yucatan Peninsula.

DESPIADO

I don’t know what you’re talking about.

SOMMERSETT

I’m not sure I know what you’re speaking of.

JASON

You know exactly what I’m talking about!

KARA

Crime in Cancun, Dr. Sommersett?

JASON

You had my tires slashed! If I get a chance to expose whatever it is…

SOMMERSETT

(laughing) In Cancun? Doesn’t happen.

DESPIADO

(laughing) In Cancun? This doesn’t happen, Senor Trace.

KARA

You wrote an article about it, didn’t you?

JASON

You had one of your men do it!

SOMMERSETT

No, I would never have any reason to write such a thing.

DESPIADO

I can’t believe you would accuse me of such a thing.

KARA

I’m looking at an article right now with your name on it.

JASON

I’m looking at the tires right now, Despiado, and I’m sure you’re behind this.

SOMMERSETT

Okay. Wait a minute miss, I could meet with you. Where are you?

DESPIADO

Settle down, Senor Trace. I’ll send an officer to pick you up. Where are you?

KARA

I’m in Manhatten.

JASON

You know where I am!

DESPIADO

I’m sending someone now.

SOMMERSETT

Here are the directions…

We then see just a split screen with Kara on the top getting into a cab and Jason on the bottom half getting into a police car.

Each car drives off.

INT. SARAH’S HOSPITAL ROOM

Sarah is finishing a bowl of cereal and toast from her bed. Dr. Chen is sitting across the room in the chair.

DR. CHEN

Thank you for eating something.

Sarah shoots a look of defiance at the doctor.

DR. CHEN

Yesterday was a hard day for you, I know. But you’ve made progress. You are so close to the answers you’re looking for.

SARAH

I’m not looking for answers. I don’t want any answers, not from you.

DR. CHEN

The answers aren’t coming from me, Sarah.

Sarah’s vision becomes blurry and soon the room becomes washed out.

DR. CHEN (V.O.)

Sarah?

SARAH (V.O.)

Yes.

DR. CHEN (V.O.)

Tell me about the first memory you have of your father.

INT. LARGE LIVING AREA OF TEMPLETON MANSION

We see Sarah’s father smiling from Sarah’s P.O.V. when she was a child. He’s on the floor with her.

SARAH (V.O.)

He played with me everyday. We played with dolls and laughed.

DR. CHEN (V.O.)

Did you play inside or outside?

EXT. BEHIND THE TEMPLETON MANSION

We see Sarah’s father walking with her (Sarah’s P.O.V.)

SARAH (V.O.)

We played inside a lot but sometimes we went for walks.

DR. CHEN (V.O.)

I want to ask you a very important question. I’ve asked you this before.

SARAH (V.O.)

Okay.

DR. CHEN (V.O.)

What were you doing right before you found your father’s body?

SARAH (V.O)

Swimming.

EXT. SWIMMING POOL BEHIND THE MANSION -NIGHT

We see Sarah’s father holding her hands and spinning her around in the water from Sarah’s P.O.V.

SARAH (V.O.)

He had very strong hands. My daddy was very strong.

DR. CHEN (V.O.)

What did you see when you found his body?

INT. SARAH’S HOSPITAL ROOM

Sarah’s body is tensing up. Dr. Chen can see this.

SARAH

I don’t remember.

DR. CHEN

You said you were swimming just before you found him.

EXT. TEMPLETON SWIMMING POOL -NIGHT

SARAH (V.O.)

Yes. I love swimming.

We see Sarah doing laps in the pool with a lot of passion.

DR. CHEN (V.O.)

Were you swimming alone that night?

SARAH (V.O.)

No. Dad and I were swimming…and my sister.

A concerned look is on Dr. Chen’s face.

DR. CHEN

Your sister?

SARAH

Yes. Teanna.

DR. CHEN

Teanna.

SARAH

Yes.

We see Sarah’s father and Teanna playing at one end of the pool.

INT. SARAH’S HOSPITAL ROOM

DR. CHEN

Did your father leave you swimming alone with your sister that night?

SARAH

I don’t remember. I don’t remember!

DR. CHEN

Sara, this is just like your dream. You only thought you couldn’t see your feet because you didn’t want to see them.

SARAH

I’m afraid.

DR. CHEN

You don’t have to be.

SARAH

Oh. God.

DR. CHEN

You see blood on your feet, don’t you?

EXT. THE MAIN ENTRYWAY BEHIND THE TEMPLETON MANSION.

We see Sarah standing wet in her bathing suit and towel. She looks down at her feet. She’s standing in a puddle of blood.

SARAH (V.O.)

Yes. I see…blood.

DR. CHEN (V.O.)

Who’s blood is it?

SARAH (V.O)

Daddy’s blood. He’s dead. Daddy’s dead.

DR. CHEN

Is your sister there?

SARAH

No. I don’t know.

INT. SARAH’S HOSPITAL ROOM

DR. CHEN

What do you see?

SARAH

I can’t see him. He’s gone.

DR. CHEN

Sarah, he’s there. I know you don’t want to look. That’s okay. But you have to Sarah.

EXT. TEMPLETON POOL

We see Sarah scrubbing her feet with her hands and the blood is washing off into the pool.

SARAH (V.O.)

I can’t get the blood off. It won’t come off…come off…

DR. CHEN (V.O)

The blood came off Sarah. It was washed off.

SARAH (V.O.)

No! It won’t come off! Come off!

The more she scrubs the more blood fills the pool. Eventually the entire pool is blood.

We see Sarah walking into the pool filled with blood and slowly completely submerged. As she goes deeper and deeper we see her first suicide attempt in a bathtub.

SARAH (V.O. WHISPER)

I want to die. It’s my fault. I want to die.

FADE TO BLACK

EXT. SOMMERSETT’S HOUSE -DAY

We see Kara being let inside the home.

INT. DESPIADO’S OFFICE.

We see Jason’s face close up, then Despiado shaking Jason’s hand.

DESPIADO

Senor Trace. Sit down. Now what can I do for you?

JASON

What are you trying to hide Despiado?

DESPIADO

I’m sorry, Senor Trace?

JASON

About the death of Michael Penner…You know what I’m talking about.

DESPIADO

You aren’t so wise Senor Trace, coming into my station and accusing me of wrongdoing. This isn’t New York.

JASON

Is that a threat?

DESPIADO

Do you feel threatened?

JASON

I do after finding my tires flattened this morning.

DESPIADO

Senor Trace, I have the files you requested.

Despiado hands Jason the files.

DESPIADO

This is a case that I had certainly forgotten about. Such a shameful accident.

JASON

Accident? How Do you figure that?

DESPIADO

We have specialists Senor Trace.

JASON

The same specialists who cremated the body before any autopsy?

DESPIADO

We tested the dental records.

JASON

What dental records? Nobody requested his dental records. I checked with Michael’s dentist in New York.

DESPIADO

It is a full report in there, Senor Trace. Doctor Reynoldo signed the papers.

JASON

I’d like to speak to Dr. Reynoldo.

DESPIADO

I’m sorry. That is not possible.

JASON

Are you saying you won’t cooperate?

DESPIADO

I’m afraid Dr. Reynoldo will not cooperate with you.

JASON

And why is that?

DESPIADO

He is dead.

Jason’s phone rings.

JASON

Hello. Oh Kara.

EXT. SOMMERSETT’S HOUSE -DAY

Kara is standing outside the front door.

KARA

Listen, I don’t think we really got anywhere with this guy. He has some weird theory about something called The Business that he claims controls the Mexican police or something.

JASON

Okay, Kara. Thanks. Bye.

KARA

Bye.

JASON

What do you know about The Business?

DESPIADO

The Business?

Despiado laughs.

DESPIADO

Is that why you are here? You think The Business is responsible for your friend’s death?

JASON

What can you tell me about The Business?

DESPIADO

We are The Business. My police. But we are no secret society as some say, Senor Trace. There is no The Business, Senor Trace. It is a legend here in Mexico. We are just police, making sure Cancun is a safe place. We ensure that the tourists can come here and spend their money and leave happy.

JASON

And what about Michael Penner? He didn’t leave here happy.

DESPIADO

No.

JASON

And I’m not leaving until I find out what happened to him. I’m not even sure Michael’s dead.

DESPIADO

I would be interested in your theory.

JASON

I think you and The Business are somehow responsible for what happened to Michael.

Despiado laughs again.

DESPIADO

Oh, Senor Trace. You have seen too many American movies. It was nothing more than a very sad accident what happened to your friend.

JASON

I’ll find out what happened.

Jason gets up to leave.

DESPIADO

I am starting to wonder what business the New York police has in this Michael Penner. Is there something that you are hiding, Senor Trace?

Two large police officers enter the room. Jason looks at Despiado and then the officers.

JASON

If you think you can intimidate me…

DESPIADO

I do not intend to intimidate you Senor Trace, or should I say Senor Jason Stevenson. Yes, we have our ways of finding out things, like a reporter from the New York newspaper.

Jason struggles with one of the officers, attempting to leave but the other officer knocks him down to the ground with a pistol.

INT. SARAH’S HOSPITAL ROOM

Dr. Chen is sitting in her chair.

DR. CHEN

We don’t have to talk about your father anymore. Tell me who it was you think you saw on the subway? Was it your sister?

Sarah is lying there with her eyes closed.

SARAH

No. I think it was Michael.

She smiles.

DR. CHEN

Are you sure?

A short pause.

SARAH

No.

DR. CHEN

Why not?

SARAH

Because…because he…

DR CHEN

Because he what Sarah?

SARAH

I loved Michael.

DR. CHEN

How did Michael die Sarah?

SARAH

I don’t know.

DR. CHEN

Why do you say you don’t know Sarah?

SARAH

I don’t know.

DR. CHEN

You told me what the police said. Do you remember?

SARAH

No!

DR. CHEN

They found him in a car. His body was burned.

SARAH

I know.

DR. CHEN

How do you think that happened?

SARAH

I don’t know.

DR. CHEN

Tell me about the last time you saw him alive in Cancun.

SARAH

We were swimming.

EXT. A BEACH CANCUN, MEXICO -NIGHT

We see Sarah and Michael embracing in the water.

SARAH

Michael. Thank you for taking the photos.

MICHAEL

You’re welcome. I think they’ll be great.

SARAH

Thank you. Oh! Thank you, baby!

MICHAEL

Anything for you baby. I love you.

SARAH

I don’t want this to end, you know.

MICHAEL

I know.

INT. SARAH’S HOSPITAL ROOM

DR. CHEN

Did you go swimming that morning?

SARAH

It was…night.

DR. CHEN

Did you go swimming the morning before you left?

SARAH

No. I don’t remember.

DR. CHEN

Sarah. You said the last time you remember Michael you were swimming. Is that right?

SARAH

Yes.

DR. CHEN

So, you went swimming the morning before you were supposed to leave?

SARAH

I don’t remember.

Dr. Chen pulls out a piece of paper from a file in her lap.

DR. CHEN

Do you remember what you told the police?

INT. THE MANAGER’S OFFICE HOTEL MELIA BLANCA

DESPIADO

What did you and your husband do this morning?

SARAH

We had breakfast, took a shower, and then of course, I came down to the lobby. He said he would meet me in the lobby and he never came down.

DESPIADO

Why did you come down separately?

SARAH

The hotel is on my credit card so he asked me to go down and make sure everything was paid before he got down so we could just go straight out to a cab. He was bringing down most of the bags so I hurried down to make sure everything was good with the front desk.

DESPIADO

I see. And you waited for thirty minutes?

SARAH

I don’t know exactly how long. Why don’t you go looking for him? I’m so worried… something terrible has happened to him.

The words, “Something terrible has happened to him” echo…

INT. SARAH’S HOSPITAL ROOM

We see Sarah mouthing the words that are echoing.

SARAH

Something terrible has happened to him. Something terrible has happened to him.

We see Dr. Chen’s eyes up close as she hears Sarah whisper those words.

There is a long pause.

SARAH

Something terrible has happened to him.

DR. CHEN

What happened to Michael?

SARAH

I don’t know.

DR. CHEN

What happened to your father?

SARAH

Something terrible happened to him.

DR. CHEN

Sarah, you know what happened to Michael, don’t you. He didn’t die in a car explosion. Did he?

SARAH

No.

DR. CHEN

What happened?

SARAH

I don’t know.

DR. CHEN

Why did you try to kill yourself Sarah?

SARAH

Because it was my fault.

DR. CHEN

Did you kill him Sarah?

SARAH

No.

DR. CHEN

Did you kill your father?

An image of her dead father flashes on the screen.

SARAH

No!

DR. CHEN

Why was it your fault?

SARAH

I don’t know.

EXT. THE MAIN ENTRY WAY BEHIND THE TEMPLETON MANSION.

We see Sarah standing wet in her bathing suit and towel. She looks down at her feet. She’s standing in a puddle of blood.

DR. CHEN (V.O.)

Why do you think it was your fault?

We see Sarah slowly beginning to look at her father’s body.

The camera slowly tilts up from the blood at Sarah’s feet to eventually the hand and arm of her father’s body.

The voice of Dr. Chen echos.

DR. CHEN (V.O)

Why do you think it was your fault?

We see Sarah looking at her father’s body.

SARAH (V.O.)

I don’t know!

The camera tilts up past her fathers body slowly up toward the second story.

DR. CHEN (V.O.)

Why do you think it was your fault?

As the camera gets nearer the balcony of the second story, Sarah breathes harder and we cut back and forth between Sarah in her hospital bed, the upward tilting camera, and a close up of Dr. Chen’s eyes.

SARAH (V.O.)

I…don’t …

When the camera tilts completely up to the balcony, we see Teanna looking down from it.

INT. SARAH’S HOSPITAL ROOM

Sarah wakes up from her hypnotic state.

SARAH

No!!!

EXT. CANCUN POLICE STATION -AFTERNOON

INT. DARK ROOM

DESPIADO

What can you tell us about Michael Penner?

JASON

He was a friend of mine.

DESPIADO

Did you kill him?

JASON

I should be asking you that you son of a bitch. Why did you cremate the body so quickly if you weren’t trying to cover something up?

DESPIADO

We could not allow her to take his body like that back to the United States. What do you know about Mrs. Penner? I think she killed him.

JASON

Sarah? She loved Michael.

DESPIADO

Her story never exactly made sense to me but in the end we couldn’t prove anything.

JASON

Why are you keeping me here?

DESPIADO

I want answers. If you are trying to cover up something for Mrs. Penner then I must find out.

JASON

Sarah didn’t kill Michael.

DESPIADO

Maybe she didn’t but she knew more than she was telling. The fact that you are coming down here under a false name makes me suspicious.

JASON

You can’t…false name?

DESPIADO

You don’t expect me to believe you’re an officer, Senor Stevenson. There is no inspector Trace with the New York police.

JASON

You can’t keep me here.

DESPIADO

I am not keeping you here. You are free to leave at any time. Only, keep in mind that we will keep our eyes on you.

JASON

You won’t have to worry about me. I’m going back to New York.

DESPIADO

Be careful, Senor Trace.

Inspector Despiado laughs.

Jason gets up, pushes Despiado aside and pulls open the door. It opens to a hall in the police station.

EXT. CANCUN AIRPORT -AFTERNOON

We see Jason getting on a plane headed for New York.

INT. COLUMBIA UNIVERSITY HERMANN PSYCHIATRIC HOSPITAL –NURSE STATION

We see two young doctors, a man and a woman, seated behind a nurse’s station in front of several black and white video monitors drinking coffee. It is about midnight.

MAN

Does David know you’re with another man tonight?

WOMAN

Whatever. He doesn’t get jealous.

MAN

He would if he knew you were with me all night Tuesdays and Wednesdays.

WOMAN

Jealous of what? Your stupid jokes?

MAN

Women are drawn to my boyish charm and witty humor.

WOMAN

What women?

MAN

You were… the minute we started working this shift together.

WOMAN

I was what?

MAN

You have to admit there’s been something between us from the beginning.

WOMAN (LAUGHING)

Oh my God. That is all in your mind.

MAN

You obviously can’t see what I see.

WOMAN

And what is that?

MAN

I catch you watching me.

WOMAN (LAUGHING)

What?

MAN

You’re obviously very attracted to me.

WOMAN

Oh my God. You are so sad. Poor guy. I am not remotely attracted to you. Sorry, but you’re not my type.

MAN

What is your type?

WOMAN

Good looking. I’m going for a smoke. Keep an eye on things.

She leaves and he sits there mumbling some explicative to himself as he turns to watch the monitors. He sees Sarah in her bed. He watches her for a moment. He then notices she seems to be having a dream of sexual nature. He looks around, stands up, and looks at a set of keys in his hand.

He starts to walk toward Sarah’s room. We see him walk to her room on the monitor and unlock it, leaving the keys in the door.

INT. SARAH’S HOSPITAL ROOM

The door opens slowly. The room is dark. The doctor quietly enters and shuts the door behind him. He slowly walks toward her bed.

He takes off his lab coat, unbuckles his belt, and stands over the end of Sarah’s bed. He then begins to crawl toward her.

He begins to touch her arms and then her thighs. She appears to still be dreaming but is receptive to his touch. She smiles with her eyes closed and turns to the doctor who is now straddling over her. She begins to kiss him and he caresses her neck and breasts. She quickly turns over on top of him with her eyes still closed and starts to undo his pants kissing his stomach.

As she rubs her hands down both of his hips we then realize she is awake and actually feeling for keys.

The doctor has his eyes closed as Sarah rises up and knees him in the groin. He doubles over as Sarah jumps from the bed to the door. The doctor is still in pain as she locks the door and takes the keys.

INT. COLUMBIA UNIVERSITY HERMANN PSYCHIATRIC HOSPITAL –NURSE STATION

The woman doctor has come back to the nurse’s station and hears the male doctor banging on the door from inside Sarah’s room. She sees him inside Sarah’s room on the monitor.

We see Sarah leaving that wing of the hospital on a monitor.

EXT. JFK INTL AIRPORT -NIGHT

We see Jason catching a cab.

INT. TAXI CAB -NIGHT

JASON

Alan, hey. Can you meet me at Sarah’s hospital?

ALAN

You’re back in New York?

JASON

Yeah. I really want to see if we can talk to Sarah tonight.

ALAN

Jason, she left the hospital.

JASON

She what!

ALAN

She got out somehow. I can only hope she’s coming here. What did you find out in Mexico?

JASON

I’m not sure. Call me if she shows up there.

ALAN

I will…Oh… Hi…Jason, she’s here…

JASON

Alan? Alan? 63rd street!

INT. ALAN AND SARAH’S APARTMENT -NIGHT

Sarah is drenched from rain and still in her hospital nightgown.

ALAN

Sweetie. Come here. What are you doing leaving the hospital? Dr. Chen called and we’ve been very worried?

SARAH

I’ve got to go home.

ALAN

Sarah, you’re home. Sit down. You’re not right baby.

SARAH

Don’t touch me! Alan, I’m going home to see mother. I’m afraid for her.

ALAN

Afraid for her? Why? She’s just fine. She’s worried about you too. I just called her.

SARAH

I’m afraid my sister is going to kill her.

ALAN

Baby, sit down.

SARAH

You didn’t see what I saw! Dr. Chen knows! And I’m going to stop her! She did it! I know she did! I never wanted to believe it. But Teanna killed daddy! I saw it! I know this sounds crazy…

ALAN

Crazy? Sarah, calm down! You’re not all there baby.

SARAH

Alan, you just stay out of this! I don’t want to hear anything from you! It’s your fault I went back to Dr. Chen! I never would have gone back but you and Jason had to do it.

She breaks down crying. Alan tries to comfort her.

SARAH

Get off! I’m never forgiving you for this!

She runs back into the bedroom. He follows.

INT. BEDROOM

She has a gun in her hand.

ALAN

What are you doing?

SARAH

I’m going to kill her if I have to.

EXT. STREET IN FRONT OF SARAH AND ALAN’S APARTMENT -NIGHT

Jason pays the driver and goes to the lobby but can’t get in. There is no answer in the apartment. He calls Alan’s cell phone. No answer.

JASON

Damn!

A girl comes in and she goes through the door. He pushes her aside.

GIRL

Hey!

He takes the stairs to their apartment. He goes up every flight to the seventh floor.

When he gets to the apartment the door is open.

JASON

Alan? Sarah?

He moves in slowly.

JASON

Alan? Sarah?

He goes through the kitchen and opens the bedroom door. Behind the bed is Alan. He’s been shot and nearly dead.

JASON

Alan!

ALAN

Jason.

JASON

What happened? Where’s Sarah? Who did this?

ALAN

Her mother’s… house…

JASON

Who shot you Alan?

Alan dies.

JASON

Alan! Alan!

EXT. THE TEMPLETON ESTATE

We see Sarah leaving her car parked in front of the home and running into the house.

SARAH

Mother! Mother!

INT. THE  TEMPLETON ESTATE

Sarah is slowly moving through the home and becoming more and more anxious.

SARAH

Mother?

She finally makes her way to a large study and in the shadows a figure is sitting in a chair.

SARAH

Mother?

It is Teanna but Sarah can’t see.

TEANNA

Hello Sarah.

SARAH

Why did you do it?

TEANNA

What sweetie?

SARAH

Daddy. Why did you kill Daddy?

Teanna laughs.

TEANNA

I killed Daddy?

SARAH

Why?

Teanna laughs again.

TEANNA

You think you have everything figured out don’t you? I told you not to go back to Dr. Chen. Honey you’re not ever going to be ready for any of this.

SARAH

What did you do?

TEANNA

What did I do? Oh honey, what do you mean?

SARAH

You killed Daddy didn’t you?

TEE

Sarah, listen. I told you you’re not ready for this.

SARAH

I want you to tell me!

TEE

How much do you really remember sweetie?

SARAH

I remember now. You pushed him off the balcony. Why did you do it?

TEE

I did it for you sweetie but I’m afraid you still don’t under…

SARAH

Why Tee? I want you to tell me!

TEE

Settle down sister. I’m afraid you’ll shoot me with that gun in your pocket.

Sarah realizes she has a gun in her coat pocket.

TEE

You’ll only hurt yourself if you try to kill me sweetie. Besides, I thought you wanted to know why we had to get rid of Daddy.

SARAH

You did it! Not me! Dr. Chen always told me I didn’t have to feel guilty about Daddy or Michael and now I know why…

Tee laughs hysterically.

TEE

You know why! You know Why? Oh you don’t know anything. But I’m going to tell you and then it will be over and if you think you can live with what I’m about to tell you then fine! If you really want to hear what I’ve been trying to protect you from all these years then here it comes! Are you listening?

SARAH

Yes.

TEE

Are you listening!

SARAH

Yes!

TEE

Do you remember Christmas after you turned eleven?

SARAH

Yes.

TEE

Well, you know what Daddy and I did on Christmas eve? We weren’t waiting for Santa, Sarah! We had sex! That’s right, Sarah! For the first time I let him do everything to me! Oh yeah! I bet that’s not what you wanted to hear! Well, it was the beginning of three years of hell! For three years he did that to me and finally I decided either I would kill myself or I would kill him and maybe both. We went swimming after your birthday party. Do you remember?

SARAH

Yes. It was my fourteenth birthday party.

TEE

Is it coming back to you? Well, let me refresh your memory. The balcony. He always went out to the balcony to smoke after we had sex. I gave you his habit you know, smoking. Well, I went out to him on the balcony and it was a lot easier than I thought it would be. I got him to sit on the edge and without any hesitation, I pushed him off. You should have seen his face. Well, you did see his face didn’t you?

Tee laughs. We see a flash of his face.

TEE

I really wanted to kill myself, end it for both of us. I was ready to do it but Mother called the police.

SARAH

Mother? Where is she?

TEE

She’s in bed, sweetie.

SARAH

What did you do?

TEE

Me? Well, let’s just say we accidentally stabbed her to death, okay?

We see a flash of her mother under covers in her bed with obvious stab wounds through the blankets.

TEE

Don’t worry, Sarah, I’ll take the blame for it all. Like I have for Daddy and…Michael. That’s right, Sarah. It’s time to lay it all out. You were there. Don’t you remember? No of course you don’t.

SARAH

Michael? You killed him?

TEE

Oh Sarah, you’re making this so hard. You were there. Remember the stairs? I know you do. Don’t you remember why you were in the stairwell? Don’t you remember what you saw just before you went into the stairwell? You saw Michael with that young girl from the Hotel. Well, I saw him with her.

SARAH

Who?

TEE

Anita. That little bitch from the front lobby. I saw how he looked at her. And I decided before he hurt you I would have to well, kill him. It was all for you, sister. Maybe I was just a little paranoid. Maybe I didn’t actually see him in bed with her, but I had to do something to protect you from all that pain.

SARAH

So you killed him!

TEE

Sweetie, you were there. Do I have to spell this out to you? Remember, we got him drunk at the club and you drove out to some secluded parking lot we found and I torched the car. You just stood there watching.

SARAH

That’s not true.

TEE

Oh sweetie, I told you that you weren’t ready for any of this.

SARAH

I don’t believe it!

Sarah pulls the gun out of her coat pocket and aims it at Teanna.

TEE

Go ahead. Do it. It’s what you’ve tried to do all along. But sweetie I’ve just been trying to protect you. Don’t blame me.

SARAH

I will do it.

TEE

Oh I know you will. Just make sure you do it right this time.

Tee kneels in front of Sarah and puts Sarah’s gun to her head.

TEE

Pull the trigger, sweetie. Do it!

SARAH

Tee! Don’t do this!

TEE

Everyone else you love is dead! Just do it!

SARAH

No Tee! I won’t do it.

TEE

For God’s sake Sar, then I’ll do it.

Tee grabs the gun and Sarah wrestles with her.

EXT. THE TEMPLETON ESTATE

Jason arrives in a cab and runs into the house.

JASON

Sarah!

INT. THE TEMPLETON ESTATE -STUDY

Sarah and Teanna hear Jason’s voice.

TEE

Okay, maybe not everyone you love, but it’s too late sweetie.

Teanna shoots herself in the chest and Sarah and Teanna both fall back. The gun lies there between them both. They both have chest wounds. Jason enters and sees Sarah.

JASON

Sarah! No!

He rushes over to Sarah and sits down between them. He tries to stop the bleeding on Sarah’s chest.

SARAH

Jason.

JASON

Sarah. No. I’m going to get you to a doctor.

SARAH

I’m sorry. I love you.

JASON

Don’t. You’re going to be okay.

SARAH

Teanna?

Sarah looks over at Teanna and she doesn’t say anything even though she’s breathing and she has her eyes open.

JASON

Sarah, stay with me here. I’m calling an ambulance.

Teanna grabs Sarah’s arm.

TEE

I was just trying to protect you sweetie. I was just trying to protect you.

Teanna slumps down.

SARAH

No! Tee!

JASON

Sarah. Stay still. The ambulance is on it’s way. Tell me. What happened? Who shot you?

SARAH

Tee and I were wrestling with the gun and I shot her. She shot me.

JASON

Who shot you Sar?

SARAH

Teanna?

JASON

Teanna?

SARAH

Yes. She killed Michael and Daddy too.

JASON

Who did, Sarah?

SARAH

Teanna, my sister.

JASON

Your sister?

SARAH

Yes.

JASON

Sarah…you don’t… have a sister.

Sarah looks at Jason and slowly looks over at the other side of Jason. Teanna isn’t there.

We then see all of the different murders Teanna has committed and this time we see that it was Sarah all along.

JASON

Hold on Sarah. I’m here.

SARAH

I know.

JASON

I’m here.

SARAH

Oh my God, Jason…

JASON

Sarah. Don’t talk.

SARAH

You can’t save me.

JASON

I’m going to save you.

SARAH

Not this time.

She stops breathing and dies in Jason’s arms.

JASON

Sarah.

EXT. THE TEMPLETON ESTATE

The police and the ambulance pull up as Jason carries Sarah’s body out the front door.

THE END.

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