A Screenplay By: Edward O'toole

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A Screenplay By: Edward O'Toole

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Edward O'Toole

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2.

COPYRIGHT © 2006 BY EDWARD O'TOOLE. ALL RIGHTS RESERVED.

First Draught 2001 First Edition 2006

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

All characters in this publication are fictitious and any resemblance to real persons, living or dead, is purely coincidental.

Thanks to Pyxiedust for editorial comments

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Edward O'Toole

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3.

FADE IN: EXT: CAR, REMOTE COUNRTY ROAD, NIGHT A dark blue, late-model Passat estate pushes its way through the night. Rain, in sheets, hammers on the bonnet and windscreen as the 2-liter engine vehicle clings to the dark, drenched road leading from the metropolis to the back of beyond. The car's occupants, a young couple in their mid twenties, appear to be a well-matched pair. As the occasional bolt of lighting tears through the sky, their faces and clothing are revealed. INT: CAR, CONTINUOUS The driver, HAROLD MENKHART – a 29 year old junior advertising exec – is good looking in a non-Hollywood way; the sort a mother would be proud to display in public, but who wouldn't make it as a starring role. His clothing betrays a middle class upbringing and a predilection for the better high street men's shops. He is wearing a heavy pullover with the collar of a tartan shirt lifted high to his chin beneath. His hands, GRIPPING THE STEERING WHEEL As he strives to maintain the car's hold of the wet road, are medium sized and show none of the marks that would be present if he'd ever had to use them for a living. The passenger, KATHLEEN Granger, LOOKS OUT OF HER SIDE WINDOW, into the stormy night. She, too, is averagely good looking, and her cheekbones give her an elf-like appearance. Her hair, blonde and mostly pinned back in a ponytail, seems alive as she constantly sweeps back falling strands from her face. HER HANDS ARE SLENDER – a pianists – and, unlike her fiancé's, are beginning to show the stress of their daily routine at the potter's wheel. With the radio silenced, the sound of rain falling fills the car. The quiet between the pair is exaggerated by the annoying tone of water on metal. An argument, a common occurrence between partners and lovers, has taken place. HAROLD, or HARRY as he prefers to be called, is not amused by the situation he finds himself in.

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HARRY Picture a man, going on a journey beyond sight and sound. We join HAROLD MENKHART as he steps… into the In-Law Zone. KATHLEEN Knock it off, HARRY. HARRY chooses to ignore his fiancée's wish; instead, he begins whistling a well-known theme tune between his teeth. KATHLEEN makes as if to say something further, but decides against it. She turns back to her staring out of the rain-lashed window; at this exact moment, the monotony of a downpour is more interesting than a recurrent disagreement. A thought springs up in her mind and she reaches for the vanity light. HARRY (Tutting, removing a hand from the wheel and extinguishing the light.) Can you not do that? I can't see where I'm going. KATHLEEN I need to check the map.

HARRY shakes his head, and then opens the glove compartment with his still-free hand. The plastic drawer falls and lands on KATHLEEN's knee. HARRY There's a Maglite in there somewhere. KATHLEEN looks in disgust at the sweet wrappers, empty cigarette packets and other junk that fills the courtesy space. KATHLEEN I thought you said you'd cleaned the car? HARRY I did. Check the floor. Spotless.

KATHLEEN sighs and risks a rummage through the junk.

Edward O'Toole You found it?

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HARRY (CONT.)

KATHLEEN (Shakes her head, holding up a penknife) Jesus, HARRY. Something could evolve in here. HARRY takes a long look at the road ahead, making sure that no curves are looming, then reaches his hand down into the opened tray. A few seconds of wrapper-noisy searching later, he withdraws his hand and drops a cylindrical, metal object into KATHLEEN's lap. HARRY (Grinning. Impressed with himself) See? Told you it was in there. (Knocking down a gear as the estate begins its approach to a long, steep hill. Still don't understand why you need a map. Beat Beat

They're your parents. It's a good job we've still got almost a full tank of gas…

KATHLEEN switches on the torch by twisting its small head and begins inspecting the Ordnance Survey. She flicks a loose strand of her hair from her face. KATHLEEN Are you being chauvinistic? What?

HARRY

KATHLEEN Are you implying that if I'd been male I'd have instinctively known directions? Katty…

HARRY

KATHLEEN Maybe I don't share the same abilities as a drone-bee, but that doesn't mean…

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HARRY Forget it, all right? (Catches a glimpse of KATHLEEN's hand in the thin torch beam.) Where's your ring? What ring?

KATHLEEN

HARRY Katty…. That band of gold with half of South Africa dumped on top. KATHLEEN (Laughs. Sounding shallow) Oh, that ring. HARRY (Shaking head) I don't know why we're bothering to visit your parents if you don't even have the decency to wear it. KATHLEEN HARRY, I just think that we should speak to them first. Beat

They'll come around to the idea, but we shouldn't force it down their throats.

HARRY bites his lip, then reaches for a cigarette in the map pocket beside his seat. He pushes the dashboard lighter in and waits for it to pop. KATHLEEN (Watching HARRY as he lights his cigarette and blows a smoke ring.) You do understand, don't you? HARRY Understand what, Katty? We've been living together for three years. KATHLEEN Two years and eight months. KATHLEEN's face shows a modicum of concern, a secret revealed.

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HARRY (Spotting KATHLEEN's deceptive look.) You have told them we're living together? KATHLEEN (Sighs) They're a bit old fashioned. Beat

They know we've been dating… HARRY (Astounded) Dating? You sure you didn't tell them we've been stepping out? KATHLEEN Please don't do this HARRY; not everyone's parents were at Woodstock. HARRY (Takes a long drag of his cigarette, and then stubs it out in the ashtray.) I presume, then, that we'll be in separate rooms? KATHLEEN (Turns back to the window. She switches off torch, allowing herself to fade back into the darkness.) You need to look for a sign saying 'Dareham'.

Beat

It should be where this road crosses the blacktop. HARRY You didn't answer my question. KATHLEEN Maybe it was rhetorical.

HARRY removes his hand from the wheel and switches on the vanity light. The contrast to the previous darkness is blinding. The road beyond the confines of the car becomes invisible; the rain drops mirrors and rainbows.

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HARRY (Looking at KATHLEEN.) Katty, I don't want to go through with this… KATHLEEN If you really loved me, HARRY… As HARRY reaches his hand towards the gear stick, aiming to bring the car to a halt so that he can speak further on the matter, another source of light – a car fast approaching from the opposite lane with HEADLIGHTS ON FULLBEAM – swerves across the road. HARRY swings his head back from looking at KATHLEEN just in time to observe that impact is inevitable. He vainly raises his hands to guard his face as the two cars SMASH bonnet to bonnet. INT: PRIVATE WARD, HOSPITAL, DAY

Voices, garbled, incoherent, distant. The man struggles to open his eyes to identify their source. As his eyelids painfully creep open, his pupils contract as they try to focus in the whiteness of his surroundings. The man listens for the sound of rain, but finds it non-apparent. Perhaps it has ceased? He tries again with his eyes, and then with his fingers. He can't be certain but it appears that something is covering his skin – a scaly drape that burns as he moves a digit minutely. As his eyes began to adapt to their surroundings, the man is shocked to find that it isn't headlights, or even a torch causing the glow. With blurred vision he can make out that he is in a room. At the edge of his vision he can see a window. Outside, the sky is blue; light blue. It is day. WOMAN'S VOICE (OS) Oh my God! He's awake! The man tries to move his head to the side to look at the owner of the voice.

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OLD MAN'S VOICE (OS) (Well-schooled, nasal tone)) Please try not to move, HAROLD. Just relax. MAN/HAROLD (Croaky) Where am I? WOMAN (OS) (She makes a guttural whimper) Oh, Blessed is the Lord! You're here, HAROLD. Here with us! You're safe now. OLD MAN (OS) (Coughs, as if embarrassed by the woman) MARGARET, he doesn't know where he is. Beat

HAROLD, you're in the hospital. We're KATHLEEN's parents. MAN/HAROLD (Trying to remember. Nothing seems clear. KATHLEEN?

Suddenly, the woman lets out a cry, and runs out of the room, mumbling apologies. OLD MAN/KATHLEEN'S FATHER (OS) (Coughs, clears throat) Poor woman's never been able to stand up to this sort of emotion. Beat

You've been through a lot, HAROLD. Rest now, and we'll talk later.

Still unable to turn his head to look at his host, HAROLD allows his parched eyelids to close. His mouth and throat feel dry; he runs his tongue across his lips and then his gums. He finds several gaps where teeth should be. With the sound of the man's footsteps on linoleum slowly fading away, HAROLD lets himself lose consciousness.

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10.

Three names, MARGARET, KATHLEEN and HAROLD swim through his mind but he isn't sure why. INT: PRIVATE WARD, HOSPITAL, DAY - LATER The sound of ice clinking in a glass, and a spoon in a bowl of soup, brings HAROLD back to the world of the awake. He listens while a tray is placed near to him, presumably on a cupboard or table. DAY NURSE (OS) I've brought you some food. Homemade chicken soup… HAROLD (Smiles) MARGARET? Praise Be!

MARGARET (OS)

MARGARET sobs loudly and runs out of the room. DAY NURSE (OS) (Leaving) (RE: MARGARET) I'd better go and see if she's okay. HARRY ignores MARGARET's antics and smells the broth's aroma so close to him. In Pavlovian response, his stomach grumbles. God, he is hungry. HARRY tries to move his hand, and finds that his fingers are responding, if somewhat robotically. He still can't shake the sense of reptilian skin, and he shudders involuntarily. With concerted effort, he raises his right hand until his palm lies flat on the bed, but his forearm is at an angle. He grits his lessened teeth and pushes himself up. As pain scores through his body, he hears the door open and the old man rush in. OLD MAN (OS) My God, HAROLD! Don't torture yourself! Let us do that for you! Racked in agony, eyes tight shut, HARRY feels the man gently, but firmly grab him and help him into a sitting position. HARRY feels his own heart as it pounds inside his frame and pushes the vessels on his head. Here, HAROLD…

OLD MAN (OS CONT.)

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

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OLD MAN (OS. CONT.) How does that feel, young man? HARRY (Taking a deep breath) Good, thank you. HARRY waits for his muscles to stop contracting and for his heart to settle before opening his eyes again. The view that awaits him is the fuzzy image of an elderly man, dressed in a burgundy cardigan. White hair – what is left of it – is carefully parted, and a yellow stained moustache adds to the wrinkled features. HARRY grins, even as his cheeks sear in pain from the effort. In return, the man smiles also, and then places his hand on HARRY's. OLD MAN That's the spirit! Face the world with a smile! The old man's words are laced with a hidden meaning. HARRY wonders what exactly is going on. He tries to remember the last conversation they'd had. Everything is so hard to place. His mind is a jumble of fragments, faces, sounds; nothing seems concrete. HARRY (Unsure. Recalling name) MARGARET? OLD MAN (Frowning. Not the name he'd expected) She'll be back soon. HARRY (Recalling other name) KATHLEEN? Ah! A reaction. The old man looks to his side. What is wrong? The old man coughs and clears his throat again. HARRY wonders if he'd been a public speaker at some point in his long life, whoever the hell he is. OLD MAN I think you should get better first, and then we can talk about… KATHLEEN.

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HARRY (Not having a clue what is going on, nods.) Whatever you think's best. OLD MAN (Smiles, but not with happiness) She did choose well, that girl. (Old man looks away, then raises a gnarled hand to his eyes.) I'm sorry, you shouldn't see me like this. HARRY closes his eyes, though not from compassion, just from the exertion of keeping them open. The sterile room in which he's found himself is getting to him; the overhead fluorescent lighting lashes at his senses. I'm hungry.

HARRY

OLD MAN (Pleased to avoid his earlier weakness) Of course! That's good. You'll need your strength. The old man coughs again and moves to HARRY's side. HARRY listens to the tray being lifted then feels its weight on his lap. He opens his eyes. An uncomfortable pause. What does the old man want? Why is he staring at him so? Ah! HARRY looks at the soup bowl. The old man is holding the spoon in a half disgusted, half expectant manner. HARRY (Shaking his head.) I'd like to try… OLD MAN (Smiles, almost gratefully) That's the spirit. I'll leave you to it… True to his word, the old man leaves the room, quietly closing the door behind him.

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HARRY shakes his head. Something very strange is going on. Even though he finds it difficult to remember anything, he is sure that he doesn't know the old couple, but they obviously know him. For the moment, he resigns himself to the torture of eating, and concentrates solely on that. HARRY gingerly moves his hand to take the spoon. With every ounce of his will, he guides his limb over to the bowl, his eyes rolling in their sockets while he does so. He feels the metal, warm to the touch, and breathes a sigh of relief. He looks down to the bowl… And SCREAMS. HARRY shoots upright, his knees rising and flinging the tray, sending the soup bowl flying. As he continues to scream, the bowl SHATTERS on the floor and the spoon bounces noisily. The door swings open, and the old man and Day NURSE rush in. OLD MAN (Eyes wide with fear) HAROLD, what is it? DAY NURSE tries to get HARRY to lay back against his pillow while collecting the flung crockery and cutlery. HARRY stares at his own hand, hyperventilating as he looks at the skinless, charred flesh, the crooked fingers. His forearm too is burned. With superhuman strength, he flings back the duvet and gapes at his legs, poking out from beneath a man's nightshirt. They too, are black and blistered. HARRY Oh my God! Oh My God! Oh my God! HARRY vomits bile, then collapses unconscious. ONE WEEK PASSES

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EXT: STREET, BIG CITY, EVENING The house, one of many identical on the pre-war estate, has been hit by a media blitz. Through the autumn rain, and the evening darkness, tower lights blaze at the front door, onto the garden, even into the neighboring properties. A helicopter circles overhead, its search beam illuminating the surroundings while its rotor blades humm. Police cars, their lights flashing, line both sides of the street, and policemen are everywhere. Yellow 'Do Not Cross' tape stretches between lampposts and telegraph poles, between hedges and post boxes. Crowds of people wearing everything from raincoats to nighties stand hesitantly behind the police zone, getting pissed on from the heavens above. The front door opens and the collective beast of the crowd crackles in anticipation. Journalists, reporters, anchormen and women, photographers, all dart forward to be first in line; their microphones, dictaphones and cameras spearheading the charge. Armed police form a protective line, linking arms to withstand the invasion. Bulbs flash incessantly, reporters speak at cameras while a face appears at the door. The general consensus is 'She's coming out!' The young woman, hypothermic face belatedly covered with a blanket, is lifted by two masked policeman and run to an awaiting van. As the media hustles towards the escapees, flinging questions and camera flashes, the van door is shut, and the vehicle mobilized. The white van screeches into the night, turning the corner at the end of the street, leaving the media to search for their answers in the police remaining. INT: PRIVATE WARD, HOSPITAL, DAY HARRY blinks at the portable television set that ALBERT, the old man, has set up in the room. He watches the spectacle with bored interest. The door opens and HAROLD curses under his breath at the constant lack of privacy. He doesn't need to turn to feel ALBERT's presence to his side; the smell of stale pipe tobacco and ancient cologne are unmissable. OLD MAN/ALBERT (RE: TV News report) That poor, poor girl. Beat

Wait until you've got one of your own and then you'll understand.

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HARRY (Surprised by ALBERT's interest, lowers the volume with the remote.) How do you mean? ALBERT That could have been our KATHLEEN in that cellar. HAROLD, after having heard KATHLEEN's name seldom used over the previous week, is tempted to make another enquiry into just where the woman is. He's deduced that he'd been in some sort of relationship with her, and that she was ALBERT and MARGARET's daughter. Where she is, is a mystery; although by the way MARGARET keeps bolting from the room in tears, HAROLD is fairly sure the girl didn't survive the crash. He chooses to try another line of conversation instead. HARRY The rePORTER said she's the first they've found. That girl, I mean. ALBERT (Coughs) The first they've found alive. Beat

There's some evil in this world.

HARRY, after having watched the same news and its analysis repeated throughout the day, feels that he is on sound footing. HARRY They say it's a serial killer. ALBERT (Chuckle-snorting through his nose) They used to call them Stranger Killers. Beat

That girl said anything yet?

HARRY, beginning to answer 'no', sees some activity on the screen; he increases the volume.

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The reporter, a fairly attractive but overly made-up thirty-something in a trench coat, begins spieling tabloid journalese about the miraculous escape of Jennifer Fowler, who, at present, is helping the police with their enquiries; specifically in the assembly of a computer generated identikit of her abductor. The reporter finishes her information, though not the rest of her coverage, by repeating the tired phrase: REPORTER (ON SCREEN) The Police have no comment for the moment but will be holding a Press Briefing in the morning. ALBERT (Snorts again.) They'll never catch him. HARRY (Raises his eyebrows, painfully.) Why not? ALBERT He'll have flown to the continent. He's not going to go back home now, is he? HARRY is unsure how to reply; ALBERT clearly has little concept of behavioral science. HARRY ALBERT, don't you think she might be in danger? This Jennifer girl? He's not going to allow a witness to walk around talking about him. ALBERT He'll have run. HARRY lets his breath slowly escape from between his charred lips. He closes his eyes and listens as ALBERT leaves the room, closing the door behind him. HAROLD is desperate to go home, wherever that is; the constant attention of the elderly couple, even the NURSEs, is driving him insane. He opens his eyes and pulls himself up to a higher sitting position. The skin is slowly healing on his face and trunk, and the swelling on his legs is lessening. Apart from his right hand, there is nothing about him that a good plastic surgeon can't fix and, if he is the advertising executive that ALBERT and MARGARET claim him he is, he should be able to afford that.

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HAROLD lowers the volume on the television, allowing the songbirds outside to permeate into the room, and contemplates trying to get out of bed. More than anything else, the bedpan routine is the most humiliating. He slowly turns his head to the side. His mouth and eyes open wide with FEAR, SHOCK AND REVULSION. Standing, not two feet from the bed is a girl. Or, what had once been a girl. Long blonde hair, matted and dirty, falls over a bloodied white nightie. The gruesome figure holds both of her arms towards him; both hands are missing and the muscle, flesh and bone of her wrists is rotten and fungus-ridden. Her lips look like they had been sliced off, giving her an open-mouth revealing missing teeth and blackened gums. Her eyes, or the remnants of aqueous humus, have seeped out of their sockets like a jelly, and dried on the bleached skin of her cheekbones. HAROLD whimpers in terror. He wants to scream and call ALBERT, but finds himself unable to move. The girl begins to speak, her voice lisping and plumfull with her lack of lips and bloated tongue. DEAD GIRL We're tired. Tell them where we are. HARRY desperately wants the creature to leave. Its stench is overpowering. The sound of blackbirds and sparrows chittering in the garden has disappeared. The room feels muggy and silent, and he can hear his own heart beating. DEAD GIRL (CONT.) We're tired. Tell them where we are. What?

HARRY

HAROLD doesn't wait for an answer. He shuts his eyes tight, and begins counting to ten in hushed tones. He reaches the final number and opens his eyes. The creature has gone. Instantly, as if on cue, the sound of voices and doors closing erupts from the corridor outside.

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HAROLD strains to listen, glad to have something else to occupy his mind. Footsteps resound on floor and approach his door. They stop. Whispering voices, male and female, taunt HAROLD with their quietness. The door opens. PETER HARRY, mate! Don't get up! HARRY looks on in confusion as a youngish man steps towards him and stands at the end of the bed. PETER (CONT.) It's me, HARRY, PETER. The youngish man, a little paunchy and with a mop of brown hair, grins. HARRY evaluated the stranger's face closely, noticing that the eyes do not share the enthusiasm of the smiling mouth; they reflect revulsion. PETER?

HARRY

PETER looks towards the doorway where, presumably, ALBERT and his wife are waiting. PETER (Speaking to doorway) See! I told you he'd remember me! PETER looks back at his injured friend. He grins and HARRY returns the gesture. HARRY I'm not pleasant to look at, am I? PETER HARRY, you never were mate. When are you getting up and out? HARRY (Sighing) Better ask ALBERT and MARGARET. ALBERT (OS) (Clears throat) Soon, HAROLD. You'll be well enough to go home soon. PETER nods, as if expecting such an answer. ALBERT and his wife edge away and leave the friends a moment of privacy.

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PETER (Waiting until door is closed) No offense, HARRY… I know you've been through a lot, but… you do look different without eyebrows and hair. Beat

It'll take some getting used to. HARRY (Purses lips, not caring what this stranger thinks) What happened, PETER? The crash… ALBERT avoids talking about it. PETER Haven't the police visited? HARRY No. No they haven't.

Beat

They've probably spoken with ALBERT and MARGARET though PETER They will, if only to clear up the insurance.

PETER pulls up a chair next to the bed, in the same spot where the creature had been only minutes before. He gestures to a freshly laid tray on the cabinet. PETER (CONT.) Can I get you anything? HARRY (Shaking head) Just tell me… PETER (Takes deep breath) What can I say? You hit another car head on. Or, more probably, he hit you. Who did I hit? Some salesman. Is he…?

HARRY PETER HARRY

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PETER Dead? 'Fraid so. His car was burned out completely. You were lucky to have been flung clear. Straight through the windshield. Beat

It looks like he hit his windscreen, knocked it out, but fell back in. KATHLEEN?

HARRY

PETER They haven't told you? HARRY (Shakes head) Is she dead? PETER No. She's in a coma. Pretty bad state. (Looks away) I'm sorry mate. The room fills again with birdsong. HARRY PETER, do you believe in ghosts? PETER (Looking back at HARRY) Do I what? Ghosts…

HARRY

PETER (Gives HARRY a look of sympathy) You're still traumatized, HARRY. Post-traumatic shock. ( Stands, uncomfortable with conversation) I brought you some magazines. I'll tell the others at work that you'll be back soon. They'll want to lay on a do for you. HARRY I'm in advertising…

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PETER (Frowns) Yes, HARRY, you are. (Begins edging towards door) You get yourself better and I'll see you soon. HARRY Thanks for coming. PETER Anytime, HARRY. Beat

Look, I'll leave my business card by the phone here. If you need anything…

PETER leaves and HAROLD finds himself staring at his empty seat. EXT: PATIENT'S GARDEN, HOSPITAL, DAY The garden matches the hospital perfectly (at least from the outside); neat English hedgerow surrounding well-tended lawn and rose beds. The Victorian mansion that is now a private hospital looms behind, brickwork darkened from a century's elements. HARRY is sitting in a wheelchair (which has been pushed by ALBERT), a glass of freshly squeezed supermarket orange juice in his hand, a straw between his lips. The autumn sun permits little warmth, but the fresh air is what HAROLD is seeking. Blackbirds tug at worms in the lawn, while tits forage for nest material. The sound of tires on gravel brings HAROLD out of his bliss. A car door closes and footsteps round the corner of the hospital. A gate creaks open and closed and the footsteps continue. HAROLD listens as ALBERT addresses another stranger. Soon they are standing before HAROLD, the thin sun behind the new stranger's back, making him into a silhouette. HAROLD squints to take the man in properly; he is wearing a cheap suit. DETECTIVE LINES HAROLD MENKHART? I'm DETECTIVE LINES. Beat

You don't mind if we have a chat?

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HARRY (Shakes head, allows straw to drop from his mouth) Not at all, but I doubt if I'll be able to help much. I still haven't got my memory back. DETECTIVE LINES (Smiles, as if expecting such a remark) I've already spoken to the hospital; they told me. (Pulls up white painted, cast iron garden chair and sits down. Ignores ALBERT, who's lingering behind) Sometimes, talking about an event can help get the brain working again, you know, if you look at it objectively, from a distance, you might be able to piece it back together. Objectively… Yes.

HARRY DETECTIVE LINES

(Withdraws notebook from his jacket pocket and flicks through it.) Your tox report is clean, no bloodalcohol traces; no drugs. HARRY (Surprised) Drugs? I don't think I take drugs… DETECTIVE LINES (Smiles) It's just a routine check, Mr. MENKHART. You'd be surprised how many do. HARRY (Shrugs) And the other driver? DETECTIVE LINES (Sucks air through his teeth.) There wasn't enough left of him to check.

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HARRY (Thinks) That's impossible. A body requires several thousand degrees centigrade at a sustained rate for quite a period of time to burn completely. Both the Detective and HAROLD himself are surprised at his revelation. DETECTIVE LINES That may be so sir, but that's what happened. HARRY Do you know whose fault the crash was? DETECTIVE LINES We believe it was the other driver's due to the positioning of the vehicles. (Looks at notebook but has clearly memorized the incident.) It was bad weather that night; it was probably an accident. Beat

He might have aquaplaned. HARRY So how can I help you? You seem to know everything… DETECTIVE LINES (Smiles) Something came up when we were checking the other vehicle. Luckily for us, the collision sent one of the number plates off into the road. Combined with the chassis number, we ran the vehicle through our database. HARRY (Frowns, suspects DETECTIVE LINES is leading to something) Are you saying that you know… knew this man? DETECTIVE LINES We didn't, but we'd liked to have spoken to him.

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HARRY

DETECTIVE LINES (Leans back in chair and looks around garden. He looks back at HAROLD.) Did you know him, sir? What?

HARRY

DETECTIVE LINES We have an odd coincidence on our hands. His name was Derek Miles, and he lived at 114 Reel Street. (Pauses. No reaction from HARRY) You live at 118 Reel Street. Ergo, you must have known him. HARRY Detective, I can't even remember who I am, never mind someone who crashed into me with his lights on full beam… Realization hits in. HAROLD has remembered. He closes his eyes and allows the memory to flood back. FLASHBACK: INT: CAR, NIGHT We can only see that outside it's dark, rain is lashing the windshield. Suddenly, BRIGHT HEADLIGHTS Fill our vision and we hear the screeching of brakes and the CRASH Of the two cars. END FLASHBACK EXT: PATIENT'S GARDEN, HOSPITAL, DAY HARRY opens his eyes and finds Lines staring at him inquisitively.

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DETECTIVE LINES Coming back to you, sir? HARRY I… I think I remember the crash… Go on…

DETECTIVE LINES

HARRY closes his eyes again, permitting the present to fade away. He listens to the sound of his own voice, distant, as he recalls the fateful evening. HARRY (Distant sounding voice) I was driving in my car. I was in a hurry. Beat

I needed to be somewhere. ALBERT (OS) You were coming here HAROLD. With KATHLEEN. DETECTIVE LINES (Hushes ALBERT) Go on, Mr MENKHART

HARRY feels himself slip into the past once more. FLASHBACK: INT: CAR, NIGHT He finds himself sitting in his car, radio playing quietly. He is humming to himself and tapping the steering wheel. Suddenly, another car swerves across the road, headlights on full beam. HARRY moves his hands to protect his face. The cars slam together. HARRY is thrown through the windshield with extreme force. He can hear a woman screaming. KATHLEEN? He doesn't stop. He keeps moving forward, through the air. He opens his eyes slightly and sees another man, flying past him. HARRY crashes through the windshield of the second car. His body feels numb, but he manages to clamber out onto the road. He collapses. FLASHBACK ENDS

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EXT: KATHLEEN'S PARENTS' GARDEN, AS BEFORE HARRY opens his eyes and finds himself back in the garden, his heart beating fast. DETECTIVE LINES Do you remember anything else, sir? HARRY thinks. Where is the detective leading with this? HARRY looks to his side. The mutilated girl is standing beside ALBERT, her arm stumps pointing at HAROLD. DEAD GIRL (Only HARRY can see or hear her) We're tired. Tell them where we are. HARRY (Terrified. Looks to DETECTIVE LINES, who merely raises an eyebrow) Can't you see her? DETECTIVE LINES (Humoring HARRY) See who, sir? HARRY (looking back at Dead girl) The girl! Look at her! DETECTIVE LINES I'm very sorry, sir, but I can't see… ALBERT (Moves forward and places a hand gently on detective's shoulder.) Detective, perhaps you can come back another day? HAROLD's been through enough… DETECTIVE LINES (Looks as though he has more to say, but closes his mouth and nods) Very good, sir.

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DETECTIVE LINES (CONT.) (Looks at fearstricken HAROLD, still mesmerized by the specter.) I'll try again tomorrow, Mr. MENKHART. Have a think and see if anything comes back to you tonight. HAROLD nods, only half hearing the policeman's words; his eyes fixed on the rotting figure. INT: PRIVATE WARD, HOSPITAL, NIGHT HAROLD wakes with a start. The bedroom is dark and the curtains closed. His skin feels clammy and his heart is beating fast. He quickly looks about him, expecting to see the ghoul. Nothing. He hoists himself up and reaches for the bedside cabinet. He takes the portable phone and PETER's business card. With shaking, disfigured hand, he dials PETER's number. The phone rings and rings, the dial tone loud in the silent room.

Yes?

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

HARRY PETER, it's me. HARRY. PETER Beat Beat

HARRY? HARRY, it's three o'clock in the morning. What do you want? HARRY I need to speak to you. I've just had a nightmare. PETER Christ, HARRY. Go back to sleep. I've got work in the morning. HARRY No, PETER, I need to talk now. PETER

Beat

Okay, HARRY. What's wrong?

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HARRY Remember I asked if you believe in ghosts? PETER Oh not again, HARRY… HARRY I'm serious. I keep seeing this… this… Beat

It's a girl, but she's been hacked or something. PETER I don't want to hear this, HARRY. HARRY Please, PETER. She keeps telling me to 'tell them', whatever the hell that means. PETER It's probably a distorted memory, some unconscious guilt you're feeling for KATHLEEN's coma.

Beat

The crash wasn't your fault… HARRY (Sighs, impatiently) It's not that… PETER

Beat

You know your voice sounds strange? You don't sound like you used to. HARRY I'm not exactly in prime condition at the moment, PETER.

Beat

Please… PETER Okay, HARRY. I'm listening. HARRY This girl, she's been mutilated. She's dead. She keeps telling me she's tired.

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PETER (Laughs) Dead tired? HARRY It's not funny. I think she wants me to help her. PETER She's a ghost HARRY… no, forget I said that. Now, you've got me talking about ghosts! There's no such thing. Beat

Go back to sleep HARRY. Maybe ask your doctor for some medication. HARRY I need to find out who she is, or was. PETER Right. Next time she appears, why don't you ask her?

Beat

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

HARRY listens as the dial tone sounds. He holds the device for a while, as the beeping continues, then switches it off. INT: PRIVATE WARD, HOSPITAL DAY DAY NURSE is feeding HARRY with a spoon. In the background we can hear the TV on. The door opens and in walks a young woman – pretty, blonde – carrying a bouquet of flowers. HARRY instantly feels self-conscious about being fed. He glares at the NURSE, who nods understandingly and moves away. AMY (KATHLEEN'S SISTER) (Nervous, a little unsure) Are you HARRY MENKHART? Apparently…

HARRY

AMY Then these are for you, you bastard!

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AMY throws the flowers at HARRY, who's unable to defend himself very well. What the?

HARRY

AMY You put my sister in a coma, you bastard! AMY storms out the room, leaving HARRY gobsmacked. Day NURSE reenters and sees the mess. She goes to clean it up. Oh my!

DAY NURSE

HARRY (Stunned) She thinks I'm responsible… DAY NURSE That's for the police to decide. Beat

I'll have a word to the Porters – make sure she doesn't bother you anymore.

The door reopens and both HARRY and NURSE look up, expecting another tirade from AMY. We see PETER standing in the doorway, viewing the mess. PETER (Holding a brown paper bag, as if to justify his presence, while gesturing at the mess) Whoa, cowboy! Who opened up the can of whoop ass? HARRY AMY, KATHLEEN's sister You sly dog…. PETER, please…

PETER HARRY

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

This AMY wouldn't happen to be a pretty young blonde about: (Gestures height of AMY) So height, would she? Yeah, I guess.

HARRY

PETER Well, she's out there in the corridor crying her eyes out so I reckon I'll go and give her a shoulder… you know? HARRY Sure PETER, whatever… (Watches PETER make for the door. Thinks. Stops him.) PETER, does KATHLEEN go away a lot? What mate?

PETER

HARRY KATHLEEN. Does she go away a lot? PETER (Looks at HARRY fixedly) The pottery shows? Every season, mate. Don't you remember? HARRY shakes his head. PETER (CONT.) (Laughs) You two have had some right old rows 'bout that. You know what she's like: believes in emancipation. (Does bad impression of woman's voice) "If I'm capable of making pottery on my own, then I'm capable of selling it on my own – I won't sell much sitting at home, will I?"

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HARRY (Smiles, humors PETER's impersonation) How long does she go away for? PETER A week; two weeks. Beat

Jesus, mate, can't you remember anything?

HARRY shakes his head again, feeling just a little distraught. INT: PRIVATE WARD, HOSPITAL, NIGHT HARRY wakes with a jolt. He feels the clammy sweat covering his skin. The few hairs that have regrown on the back of his neck stand on end, as if charged with static. He can feel her standing there, next to the bed. He gulps, hoping that he is mistaken. Slowly, carefully, he turns to look. The creature is there. DEAD GIRL We're tired. Tell them where we are. HARRY (Shakes his head. Is he going insane?) I don't understand. DEAD GIRL We're tired. Tell them where we are. HARRY Who are you? Please, tell me who you are. The eyeless apparition, too solid looking to be termed a ghost, doesn't answer. HARRY (CONT.) Please. I will help you, but you must tell me who you are. No response. HARRY closes his eyes and wills the creature to disappear. He opens his eyes and she's gone.

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HARRY waits for a while, catching his breath. The door opens and the night NURSE (big black, matronly woman) enters. NIGHT NURSE Are you awake, Mr MENKHART? I thought I heard you speaking. (Tucks him into his duvet) You been having bad dreams again? Yeah…

HARRY

NIGHT NURSE Well, you're going to have to be putting up with someone else tucking you in for a few weeks – I'm off on my holidays this Friday. HARRY That must be really…. NIGHT NURSE You don't have to tell me! I haven't had a holiday for over a year and these ankles mine are screaming for a bit of good old R and R. EXT: PATIENT'S GARDEN, HOSPITAL, DAY HARRY is seated in his wheelchair while ALBERT does a jigsaw puzzle on a table. When HARRY sees the Detective approach, he tries to stop himself from grimacing. DETECTIVE LINES Good morning, Mr. MENKHART. I hope you're feeling better. HARRY smiles, without feeling DETECTIVE LINES (CONT.) She's a very pretty woman, your fiancée. HARRY You've seen her? How is she? DETECTIVE LINES (Notices frowning look from ALBERT. Understands.) She appears to be doing okay, Mr MENKHART.

Edward O'Toole She is?

Delivered HARRY

ALBERT stands up, having completed a simple jigsaw. ALBERT I think I'll take a short stroll, if that's okay with you HARRY? HARRY Please ALBERT – you need it. ALBERT (To Lines) Don't tax the boy too hard, Detective. Remember his condition. Lines nods and both he and HARRY watch as ALBERT casually saunters away. DETECTIVE LINES It must be nice to have someone so… close… to you all the time.

It is.

HARRY (Tries to read the apparent irony in Lines' voice, receives only a blank look in return)

DETECTIVE LINES (Produces trusty notebook. Straight to business) Mr. MENKHART… Beat

Derek Miles. When was the last time you saw him? HARRY Detective, I've no recollection whatsoever of any Derek Miles. DETECTIVE LINES You lived only a few doors away from one another. HARRY I wouldn't recognise him if I passed him in the street.

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DETECTIVE LINES (Chuckling at his own macabre joke) Well, not now you wouldn't… Quite. Beat

HARRY

Detective, if there's anything I can help you on with the crash, I'll try my best. As to the other victim, I'm afraid I won't be much use. DETECTIVE LINES How long have you lived at 118 Reel Street, Mr. MENKHART? HARRY Detective, if I hadn't been told, I wouldn't have known that I did live there. DETECTIVE LINES (Consults pad) Six years.

Beat

You and your fiancée have been together… three years? HARRY Where is this leading, detective? DETECTIVE LINES I'm just getting a feel for the situation. HARRY You're investigating a car accident, not a murder. DETECTIVE LINES (Smiles) You're quite right, Mr. MENKHART. It's just that we have a saying: there's no such thing as a coincidence. HARRY (Amazed) If you're implying that I crashed into this… this… Derek Miles deliberately, then think again. Look at me! I'm scarred for life. My fiancée's in a coma…

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DETECTIVE LINES (Smiles) I never said anything of the sort, sir. I just asked if you knew him. HARRY And what if I did? Which I don't. What then? (Ironic) Would it add new light to the case? Lines licks his lips, and then closes his notepad. He stares at the faux leather cover for a moment before raising his face. DETECTIVE LINES Mr. MENKHART, we are pursuing a lead that Mr. Miles may have been involved in the abduction and murder of several young women. Beat

Perhaps you have seen on the television…? HARRY (Nods) I saw that girl being released from the house. You think he was involved in that? DETECTIVE LINES (Shrugs) We're getting a mixed picture at the moment, in all honesty. His Volvo was seen in the area, and the girl's helped our artist come up with a sketch of the man she believes abducted her. HARRY And is it Miles? DETECTIVE LINES We can't be sure. He was an average looking man, average height, and brown hair.

Beat

I saw in your photos that you had the same characteristics… before the accident. HARRY So does half the male population. Saxon blood.

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DETECTIVE LINES Mr. MENKHART. I'd like to ask you to provide us with another blood sample. HARRY But you said that the tox report was clean. It was.

DETECTIVE LINES

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

What?

HARRY (Suspicious)

DETECTIVE LINES How's your memory? Any clearer? HARRY Not since the last time I saw you. Lines shrugs, his suit making a rustling noise, betraying its inferior and artificial fiber composition. DETECTIVE LINES Does the name Jennifer Fowler mean anything to you? HARRY (Thinking) That's the girl on television. The abducted one. (Lines nods) No. Should it? DETECTIVE LINES Perhaps you may have seen her around? HARRY Detective, I don't like your line of questioning. Are you accusing me of something? DETECTIVE LINES Mr. MENKHART. The accident you were involved in was like nothing I've seen. We've got one victim in a coma, you with no memory and a third body whose only remains – a few teeth – are welded into the chassis of a vehicle. Beat

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DETECTIVE LINES (CONT.) Both windscreens were out, most probably due to bodies flying through them. HARRY I told you I remember that. DETECTIVE LINES Mr. MENKHART, the position of the teeth in the other vehicle suggests that they're not the driver's. HARRY I don't understand. DETECTIVE LINES They're embedded in the passenger door. HARRY Maybe he was knocked that way in the crash. DETECTIVE LINES Maybe so. I'm sure you can appreciate the difficulty we're having putting this one together. HARRY Detective, I'm having a hard enough time putting my life back together without worrying about your investigation. DETECTIVE LINES (Smiles) Mr. MENKHART, Derek Miles is now under investigation for multiple kidnap and murder; please understand that. HARRY I still don't see what that has to do with me. DETECTIVE LINES (Looking around room, taking in furniture.) Mr. MENKHART, about the blood test… HARRY considers the request, and the reasoning behind it. The idea that springs in his mind is hard to digest.

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HARRY You don't believe I'm HAROLD MENKHART. DETECTIVE LINES (Grimaces) It's only a precaution. We'll know by your sample. HARRY What about his teeth? Can't you do a dental record? DETECTIVE LINES Not until we get them out of the framework, we can't. It's best for both of us if you assist in this matter. Beat

For your own sake.

HARRY feels like a brick has hit him. His mind reels at the concept. What if he is the killer and not HAROLD MENKHART? He thinks of the creature… But, no. PETER and KATHLEEN's parents had recognized him. DETECTIVE LINES (Flicks through notebook) PETER Green is quoted as saying, 'his voice has changed and he looks different. If I hadn't been told it was HARRY, I wouldn't have known him from Adam. The accident must have been horrific…' HARRY See! He says the accident… And what about ALBERT and MARGARET? They knew me. DETECTIVE LINES Before the accident, you'd never met. You were placed in their care because you'd been in the same car as their daughter before being thrown from it. They had been expecting you. HARRY Detective, I think your imagination is going a little too far. DETECTIVE LINES Would you just go along with the blood test? Just as a precaution, to put both our minds at rest.

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HARRY (Sighs, resigned) If that's what it takes… DETECTIVE LINES I'm sorry, Mr. MENKHART. It's for your own protection. Once we clear this up with a DNA test… HARRY (Watching Lines stand preparing to leave) I suppose you'll want to ransack my house as well. DETECTIVE LINES Not until we get the DNA results. If you're not Derek Miles… Beat

We wouldn't get a warrant otherwise… HARRY I will sue you, believe me, I will sue. DETECTIVE LINES (Looking back at HARRY) It's funny, Mr. MENKHART, you can't remember who you are, but you can remember your rights…

INT: PRIVATE WARD, HOSPITAL, DAY DAY NURSE is removing a tray from HARRY's bedside. She smiles at him and then leaves HARRY on his own. From beyond the door, somewhere in the corridor, he can hear footsteps, people talking. His eyes catch sight of something in the corner of the room. Please God, he thinks, don't let it be that thing again. Nervously, he looks over. It is. The dead girl stares eyelessly back. DEAD GIRL We're tired. Tell them where we are.

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HARRY Leave me alone! Tell me who you are or leave me alone! DEAD GIRL Tell them where we are. HARRY I don't understand! Who are you? HARRY thinks about the reason for his visitations. Could he really be Derek Miles, the killer? It isn't possible. Surely, he'd remember. He has to be HAROLD MENKHART. DEAD GIRL Tell them where we are. HARRY Just leave me alone! Beat

(Thinks. Controls himself) Am I Derek Miles? Is that why you're here? (Dead Girl doesn't answer. HARRY feels his mind losing its grip on reality) Did I… kill… you? Is that why you're haunting me? (Still no reply) Tell me! I'm going insane over this! Am I Derek Miles? (No reply) This is madness. The only person who I can really ask is a figment of my imagination… (Looks at girl, more closely) And a grim one at that. (HARRY waits for some comment from the corpse. Nothing) Oh, just leave me alone. I'll find out soon enough anyway.

INT: PRIVATE WARD, HOSPITAL, DAY – LATER HARRY is lying on the bed with his eyes closed. By his side are ALBERT and MARGARET – ever fussing. PETER stands just inside the doorway.

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Day NURSE enters with a plastic cup of tablets and some drinking water for HARRY. She props him up in bed to give him his medication. DAY NURSE You'll be seeing a bit more of me from now on – I've been rotated onto nights. (She smiles) You'll be having 'Danny boy' to put you to sleep rather than your usual Southern Lullabies… HARRY Has the other NURSE… DAY NURSE Gone on holiday? Yes. Well, gone might be a bit of an exaggeration… she'll be putting her feet up at home if I know her rightly. HARRY accidentally knocks the plastic cup, now empty, off of the bed. Day NURSE bends to retrieve it, but ALBERT reaches it first. Their hands connect. ALBERT and Day NURSE find their hands touching. ALBERT gently inspects NURSE's hands. ALBERT (Quietly, almost to self) Soft hands… The moment is broken as THE BEDSIDE PHONE RINGS. ALBERT catches MARGARET's accusatory eye as he goes to answer it. Day NURSE excuses herself from the room.

Yes? Beat Beat

ALBERT (Into phone)

Yes, he is. Thankyou, I'll tell him.

All eyes, especially HARRY's, fall expectantly and anxiously on ALBERT who slowly replaces the receiver and looks up. ALBERT That was reception…

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HARRY

ALBERT About the results? No. Beat

DETECTIVE LINES is coming up personally.

HARRY sighs, closes his eyes and lies back. He thinks that it's all over for him. He really must be Derek Miles. The atmosphere in the room is pregnant with silence, doubt, everyone thinking their individual thoughts. Suddenly, THE DOOR SLAMS OPEN. HARRY opens his eyes, perhaps fearing a sudden instreaming of police. Standing, in the doorway, eyes red with rage, is AMY. She's brandishing a newspaper, which she has managed to crumple in her hand. AMY (Flinging newspaper onto bed. Speaking to ALBERT, not HARRY) Have you seen this? Have you? ALBERT frowns and picks up the journal. He adjusts it, straightens the pages out as if he were about to do the crossword. The front page says it all: NEWSPAPER FRONT PAGE HEADLINE: WHO's WHO? Two grainy photos of similar looking men – which we know instinctively to be Derek Miles and HAROLD MENKHART, grace the cover. Beneath, much smaller, are several photos – better quality, high school yearbook types – of the missing girls. AMY This… this… bastard… is Derek Miles! He isn't KATHLEEN's HARRY!

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ALBERT We don't know that, AMY…. AMY Look at him! He's a hideous freak! You're comforting a psychopath! MARGARET He's been in an accident…. AMY Mother, why don't you just shut up? MARGARET gasps, tears in her eyes, and then runs from the room. ALBERT Look what you've done! Your poor mother! AMY Because of this psycho, my sister's dead, her boyfriend's dead… and you're treating him like Elvis! (Marches up to end of bed and juts her jaw out at HARRY, who's too stunned to speak) Like what you see? Nice young blonde? Fancy putting me in a cellar, eh? You fucking bastard! AMY lunges at HARRY but PETER quickly steps in and grabs her. She fights against him for a moment before her adrenalin burns out. She sobs heavily. PETER leads her out of the room. AMY (To HARRY, voice weighted with tears and emotion) I'll make damn sure you get the chair, you psycho bastard! HARRY's breathing quickens, as does his heartbeat. He closes his eyes and tries to calm himself. He opens them again and sees ALBERT reading the newspaper. ALBERT I don't know how they found out you were here. HARRY It doesn't matter. Beat

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HARRY (CONT.) ALBERT, perhaps you should just leave. If what AMY says is true… ALBERT We don't know that HAROLD. Let's just wait and see what the police have to say. HARRY How can you even bear to be with me, when there is so much doubt who I am? ALBERT To be frank? I'm doing this for KATHLEEN's sake. I know she loved you deeply. Beat

It's what she would have wanted… HARRY You speak as though she's dead already…. ALBERT The Doctor's aren't giving much for her chances, HAROLD… HARRY Then why aren't you with her? Coma victims still know when someone's talking to them. ALBERT I spend more time with her than with you, HAROLD. (Lightening the moment) It must just feel otherwise…

HARRY smiles, as if the old man has read his mind. The door opens and in walks DETECTIVE LINES. He appears nervous. He's carrying a brown, card folder – the type usually used in hospitals. Detective.

ALBERT

DETECTIVE LINES (Nods to ALBERT. Turns to HARRY) I've got the results… HARRY's heart beat increases. The tension in the room rises significantly.

Edward O'Toole Mr. MENKHART.

Delivered DETECTIVE LINES (CONT.)

HARRY sighs audibly with relief, closes his eyes and leans back on his pillow. ALBERT clasps a hand on HARRY's shoulder. HARRY Then I'm definitely not…? DETECTIVE LINES Derek Miles? No, you're 98% HAROLD MENKHART. Beat

Beat

We had Miles' DNA on record – he'd served 3 years in the infantry. You're not him. ALBERT Oh this is excellent news! I must tell MARGARET!

ALBERT leaves the room. DETECTIVE LINES stands uncomfortably. He watches ALBERT leave and then approaches the bed. DETECTIVE LINES (To HARRY) Look. I'll understand if you sue. You didn't need that hanging over you while you're like…this. HARRY Forget it. I'm just relieved. You don't know what it's been like, not knowing. DETECTIVE LINES (Removes a business card and places it on bedside table next to PETER's) Well, my Lieutenant didn't take it so well. He's put me on nightshift – I'm still on the case but I won't be able to stir up any more trouble for the department for a while. Beat

Beat

I guess I really was hanging it all on you – the case I mean. I let my ambition cloud my judgment.

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DETECTIVE LINES (CONT.) One whiff of a lawsuit and the department wanted me out of the way ASAFP. No doubt they'll be sending you flowers sometime soon. HARRY doesn't know what to say. The detective's obviously apologizing – something he's having trouble doing – but HARRY is too shocked to make conversation. DETECTIVE LINES Look, I'll leave my card. I reckon the next few weeks will be pretty mundane for me – the Lieutenant's not going to let me anywhere near the real case – I'm not going to be much help on the graveyard shift. Beat

Beat

If you ever need a chat, someone's brains to pick… See you around, Mr MENKHART HARRY The name's HARRY. HARRY?

DETECTIVE LINES

FLASHBACK: Note – this scene is split between Flashback visual/audio and Hospital ward continuous (audio only) INT: CAR, NIGHT As before, it's night, dark, bright headlights flash into windshield. INT: PRIVATE WARD, HOSPITAL, DAY – AUDIO ONLY We hear HARRY's heart monitor rising in tempo INT: CAR, NIGHT

HARRY!

KATHLEEN (OS) (Screaming loudly)

The sound of the two car's screeching brakes.

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INT: PRIVATE WARD, HOSPITAL, DAY – AUDIO ONLY The sound of running footsteps out of room and into corridor – Detective Line's. DETECTYIVE LINES (OS) (Voice is muffled as he's in the corridor but still loud) NURSE! NURSE! INT: CAR, NIGHT The two cars smash together. We see the impact from HARRY's perspective as he crashes into the windshield and is propelled through it. We see the second man – Derek Miles - as he hits his own windshield and is thrown back into the vehicle. For a split second, PETER's face is SUPERIMPOSED on Derek Miles'. INT: PRIVATE WARD, HOSPITAL, DAY – AUDIO ONLY The sound of HARRY's heartbeat flatlining. The sound of a group of NURSEs and Doctors frantically trying to get HARRY's heartbeat going again. Medical terminology used. EXT: ROAD, NIGHT Derek Miles' car has already caught flame. HARRY is lying in a sodden heap on the drenched road. KATHLEEN (OS) (Screaming in panic) HARRY! HARRY! Help me! Totally dazed, HARRY lifts his head to where his own car must be – we don't get to see it yet. He drags himself to his feet as the rain continues to pour and Derek Mile's car burns. FLASHBACK ENDS, AS DOES AUDIO HOSPITAL SCENE

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INT: PRIVATE WARD, HOSPITAL, NIGHT It's late, but HARRY doesn't feel like sleeping. He is lying in bed, watching the TV. One lamp illuminates the rear of the room and the TV screen the rest. HARRY flicks through the channels until he came to a news update on the Jennifer Fowler abduction. He watches as the reporter, this time a middle-aged black man with silver hair, divulges information pertaining to the case. It sounds like a summation of an official statement, but with the words aggrandized to make it sound more startling. HARRY sits bolt upright when he saw Reel Street enter the picture. 114 is focused upon. He turns up the volume to listen about the suspicion regarding Derek Miles, who's recently died in a horrific car accident. Just the mention of the man's name makes HARRY feel sick. He'd been so close to being wrongly branded a killer. As the newscast finishes and moves onto environmental problems in the North Sea, some oil leak, HARRY switches off the set. He sits in the gloomy light, trying to calm down. He reassures himself that his memory will return and KATHLEEN will come out of her coma. God, he hasn't even visited her yet, but that was the doctor's orders. They are concerned the shock will put him back and cause further amnesia. He'll sort himself out, go back to work and plan for the future. Okay, his hand is in a bad state, but other than that he can have a normal healthy life. Maybe they'll have kids one day… He feels it before he sees it. The creature lingers on the edge of his vision. He wants to ignore it; the albatross that appears unbeckoned. He can't. HARRY Leave me alone! I'm trying to get better and you're screwing up my head. You're not real. You're a hallucination! DEAD GIRL We're tired. Tell them where we are. HARRY Tell who? Who are you? Beat

No. You're not real. You're just a figment of my imagination.

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Then, the creature moves. HARRY watches in dumb silence as the ghastly figure moves to the television set. Without being touched, the TV springs into life. The Jennifer Fowler news is back on. An update. HARRY doesn't know whether to watch the ghost or the TV, but the mention of Reel Street again catches his attention. A witness is telling how she had seen Derek Miles and another man, on several occasions, enter Derek's house with a pretty young blonde. The witness, voice and face masked to protect her, can't say whether it was the same girl or not. The reporter finishes by stating the police have asked for more witnesses to come forward and help identify the mystery accomplice. HARRY gulps and looked at the mutilated girl. HARRY Me? Am I the accomplice? DEAD GIRL Tell them where we are. We're tired. HARRY It can't be me! It can't. HAROLD MENKHART is an average, normal guy with a job and a girl. The accomplice must be some psycho… DEAD GIRL Tell them where we are. HARRY Shut up! Shut up! (Hearing his heart monitor rising in tempo, tries to calm himself. He closes his eyes) Please, just leave me alone. HARRY opens his eyes and the girl is gone. We hear the door open and ALBERT enters. ALBERT You're not asleep, HARRY? HARRY ALBERT, you still here? ALBERT MARGARET and I are taking it in turns to be with KATHLEEN. I just popped in to see how you are.

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HARRY I'm fine ALBERT, just fine. INT: CORRIDOR, HOSPITAL, DAY HARRY is being pushed along the corridor in a wheelchair by a PORTER. A doctor is keeping pace with him. DOCTOR Are you sure you're ready for this, Mr MENKHART? It could set you back, you know. HARRY I've got to see her… DOCTOR I still deem it inadvisable. The wheelchair convoy makes its way along the corridor, rounding corners until it comes up to a door. The doctor stops the PORTER before they enter. DOCTOR Please, Mr MENKHART, I really don't think that this is going to help you any… HARRY Doctor, I've got to see her… I've got to know… DOCTOR Are you sure you wouldn't prefer to wait a while? At least until we're more sure of your heart. HARRY She asked me once if I loved her. Beat

Just before the accident. DOCTOR And what did you say? HARRY I didn't get chance to say anything….

The PORTER looks at Doctor for further instructions. The doctor reluctantly nods and the door opens.

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INT: KATHLEEN'S ROOM, HOSPITAL, DAY This should be a moment of emotion. The room is empty apart from KATHLEEN's bed, where she is lying in a coma. She resembles sleeping beauty but with a myriad of wires and tubes leading from her to various machines. ALBERT, MARGARET and AMY are standing in one corner of the room. HARRY visibly gulps when he sees his fiancée. He's choked with emotion. He sits still for a moment, just taking in the spectacle, then tries to wheel himself towards her. He doesn't have the strength. The PORTER obliges. Just as HARRY is about to reach Sleeping Beauty, ALBERT speaks. HARRY…

ALBERT

FLASHBACK EXT: ROAD, NIGHT We're back where we left him earlier. Rain sodden, dragging himself to his feet while Kathleen screams OS. HARRY aims his battered and bruised body at his own car. We can now see it, and KATHLEEN trapped in the passenger seat with her belt still on. The flames from Derek Mile's car are getting higher and approaching HARRY's. KATHLEEN continues to scream for help throughout the scene. HARRY tries to open the door, but it won't budge. He climbs onto the bonnet and frantically begins trying to pull KATHLEEN out through the now-gone windshield. The flames are getting higher and higher, very close to HARRY's back. We see both HARRY and KATHLEEN trying to loosen the seatbelt, but it's jammed solid. HARRY keeps looking back at the burning car. Then he remembers. He leans his whole body into the front of the car and wrenches open the glove compartment. We see the mess tumble onto KATHLEEN's lap.

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53.

HARRY rummages around until he finds the penknife. He opens the blade and begins cutting through KATHLEEN's safety belt. Derek Mile's car is now totally aflame and the fire is creeping up HARRY's car's bonnet. KATHLEEN Please hurry HARRY! We're on the edge of our seats as the penknife eventually severs the belt. HARRY struggles to free KATHLEEN as she starts to climb out of her seat and through the windshield. HARRY, still half in his own car, helps her out. KATHLEEN gets onto the bonnet and slides down onto the road. The rain continues to pour down as the flames roar. HARRY pulls himself free of his own car. KATHLEEN turns to face him. HARRY's engine explodes, sending KATHLEEN hurtling backwards into a tree. She smashes into it and drops, unconscious to the ground. HARRY, now a ball of flame, is propelled into the air and into the road. he smacks his head on the surface and loses consciousness. We see the rain slowly putting out his burning clothes until just steam rises from his still body. FLASHBACK ENDS INT: PRIVATE WARD, HOSPITAL, EVENING HARRY is lying in bed. He's exhausted. His heart's not bearing up to the strain. The door opens and AMY gingerly walking in, carrying a bouquet of flowers. HARRY's eyes widen in alarm, fearing another attack. AMY notices. She's embarrassed. AMY These? I'm sorry about before. I thought… HARRY It's okay. I didn't know who I was either. AMY How are you feeling?

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54.

HARRY You mean in general, or after today's little incident? Either… both

AMY

HARRY Just seeing her there brought everything back. Beat

She's going to be alright, isn't she? AMY The doctors aren't sure. They gave that usual 'only time will tell' nonsense.

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

HARRY

AMY No it's not okay. Why her? Why Kathy? HARRY I really don't know…. The door opens and in walks PETER. AMY turns to him and gives a weak smile. PETER How're you holding up, HARRY? HARRY I've been better. PETER (To AMY) You ready? AMY nods. PETER smiles at HARRY and then leaves. AMY smiles at HARRY and turns to go. HARRY sees Derek Miles' face and PETER's superimposed again. AMY…wait. What is it?

HARRY AMY

Edward O'Toole PETER…

Delivered HARRY

AMY I know, he's being an angel. HARRY How well do you know him? AMY I don't think that's any of your concern. AMY leaves, and HARRY is left frustrated and alone. HARRY shakes his head and switches the TV on. Once again, an update on the Derek Miles' abductions. HARRY stares at the TV set, but his concentration is interrupted by ALBERT and MARGARET entering. ALBERT Just seen your friend PETER and AMY. They seem to be getting on well together. Beat

He's in advertising with you, isn't he? Yes.

Beat

HARRY

ALBERT, I think you should… MARGARET (Interrupting. Points at TV set. We see another photo, different to newspaper one, of Derek Miles – still grainy though) You know, I could have sworn I've seen him somewhere before. ALBERT Hush dear. That's the man who caused the accident. He's been in all of the papers. MARAGERT Yes, you're probably right.

Beat Beat

Something about his face.

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MARGARET (CONT.) Doesn't he look like that man we bought the Volvo from? ALBERT I've no idea, dear. That's was a few years ago. (To HARRY) It's not like the old days when I could buy a new car every couple of years. I'm sure I…

MARGARET

ALBERT (Quite sternly) I'm sure HAROLD doesn't want to be reminded of that man, dear. ALBERT (CONT.) (ALBERT switches off the TV.) Why don't you go and get us a cup of tea? (MARGARET, still thinking, obeys and leaves.) Poor woman, she must learn to think quietly. HARRY Where did PETER and AMY go? ALBERT To a restaurant, I believe. Why? HARRY You haven't noticed anything odd about him? ALBERT PETER? No, nothing that springs to mind. Why? HARRY (Is about to say about face superimposition, but decides against it) Nothing I guess. Perhaps I'm just worried that AMY might be too emotional at the moment to think clearly…

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ALBERT Oh ho! You're worried about her falling in love? AMY's a very strong woman. Very independent – like KATHLEEN. You've no need to worry for her sake. INT: PRIVATE WARD, HOSPITAL, NIGHT HARRY can't sleep. He doesn't want to switch on the television set as he's sick of hearing about the abductions. Almost instinctively, he turns to his side. DEAD GIRL is there. She doesn't speak. HARRY (Resigned) So I'm the accomplice? HARRY (CONT.) Beat

Beat

You're worried that now Miles has gone, no-one will find your body? (Seeing no reaction) I really can't help you. I've only just remembered the accident. If my heart doesn't give out on me, it could take months – even years – to remember everything fully. (Looks at the standing corpse) I guess time's not that important for you now, is it? (Thinks) Look, there' something I've got to ask you. What if it isn't me – the accomplice I mean. What if it's someone else? You'd tell me right? (No response. Continues, regardless) What if it isn't me – it could be someone I know and you're trying to tell me that. (Corpse says nothing) I'm beginning to suspect PETER. Nothing conclusive, but I keep seeing his face…

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Dead Girl VANISHES. HARRY (CONT.) Hey! Wait! You didn't let me finish… (Thinking) PETER… HARRY slowly, painfully turns himself in his bed and leans towards the telephone on the cabinet. Beside it are the two business cards – PETER's and DETECTIVE LINES'. With a crabbed hand, HARRY lifts the receiver and begins pushing the buttons for PETER's number. With his body bent at an uncomfortable angle, half of the bed, HARRY lifts the receiver to his ear. We hear it ringing.

Hello? PETER?

PETER (OS) (Filtered. Sleepy) HARRY PETER (OS)

Beat Beat

HARRY. Who else could it be at… Two-fifteen in the morning? HARRY I just wanted to chat. PETER That's nice, HARRY. What is it this time? More ghosts? HARRY I wanted to talk about women. PETER (Laughs) I don't think you're quite ready at the moment, pal…. HARRY How did it go with AMY? PETER

Beat

How did what go?

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HARRY Your date? The restaurant… Fine. Beat

PETER

You called me at this ungodly hour to ask about a dinner date? I know you're under a lot of stress… HARRY Did you take her home? To ALBERT and MARGARET's? PETER Yes…. No. what is this/ Twenty questions? HARRY Just answer me, PETER. Did you take back to her house? PETER You're starting to wear my patience down, HARRY. HARRY Did you or didn't you? PETER

Beat

No.

We see HARRY thinking. What's his next question going to be? How will he confront his friend with his suspicions? HARRY Where is she PETER? What? Where is she?

PETER HARRY

PETER That's none of your damned business, buddy. HARRY I've made it my business. PETER You really need to get some help, HARRY

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HARRY Where the hell is she? What have you done with her? PETER Oh, for Christ's sake. We hear the phone being muffled. We're expecting the receiver to be replaced. Instead, we hear:

HARRY?

AMY (OS) (Filtered. Very sleepy)

AMY?

HARRY

AMY Look, HARRY, I don't know what you want but I'd like to get back to sleep. Can we talk about this tomorrow? HARRY (Stunned. Has made a fool of himself) Yeah. Sure. Sorry. PETER (OS) If you wanted to play gooseberry, why didn't you just tell me? I could have brought you in the wheelchair…. The dial tone sounds. HARRY feels ridiculous, paranoid. Perhaps he really is going insane. Perhaps he is the accomplice. He replaces the receiver and tries to sit back up in bed. He can't. No matter how hard he tries, he can't get back up from the position he needed to be in to use the phone. He tries a few more times and then gives up. He sees the 'Call NURSE' button and presses it. He sighs while he waits, and waits, and waits. Nothing. He presses it again. He looks up from his virtually horizontal position, hanging over the bed, one hand on the telephone receiver. There, before him, is Dead Girl. She's shaking her head.

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61.

HARRY What? What now? He sees she's looking at the business cards. He looks at cards and the back up. She's gone. Still no response from the NURSE. Something's wrong. He feels a fool, but he has no choice. He needs to call someone and tell them his predicament. Maybe they can phone the night reception and find out where the NURSE is? He looks at PETER's number, and then decides against it – the memory is still too fresh from a few minutes ago. He sees DETECTIVE LINES' number. He calls it. HARRY DETECTIVE LINES? Beat

I know this is going to sound silly, but….

INT: PRIVATE WARD, HOSPITAL, NIGHT – LATER HARRY, still in his recumbent position, is woken up by a man's hand. He feels himself being hoisted back up onto the bed. He sees it's DETECTIVE LINES helping him. DETECTIVE LINES Where's the NURSE? HARRY (Embarrassed) I only meant for you to call reception… I didn't expect you'd… DETECTIVE LINES It's the least I could do. Beat

When did you last see her? Who? The NURSE… I've no idea.

HARRY DETECTIVE LINES HARRY

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DETECTIVE LINES You wait here. I'll go find that little Irish madam and give her a piece of my mind – if she's drunk on duty…. HARRY She may have just fallen asleep…. DETECTIVE LINES And left you in that state? Your heart's bad enough as is – what would happen if all your blood rushed to your head? HARRY tries to stop the now angry Detective from leaving, but fails. He watches as the policeman storms out of the room. INT: KATHLEEN'S ROOM, HOSPITAL, CONTINUOUS Sleeping Beauty is still asleep. A NURSE sits by her bed, reading a magazine. Suddenly KATHLEEN FLATLINES. The NURSE looks up at the heart monitor. It takes a moment for her to come to her senses. She jumps up, dropping the magazine on the floor and races towards the emergency button to call a support team. The NURSE fiddles with KATHLEEN's tubes and wires to make sure nothing's come loose. INT: CORRIDOR, HOSPITAL, CONTINUOUS DETECTIVE LINES is walking along the deserted corridor. His face set with grim determination. INT: KATHLEEN'S ROOM, HOSPITAL, CONTINUOUS The Doctor, and a few NURSEs rush in and prep KATHLEEN to start her heart again electrically. DOCTOR (To NURSE) Call her parents… A NURSE nods and leaves the room.

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63.

DOCTOR (Taking the diodes and waiting until KATHLEEN's chest is revealed and jellied)

INT: CORRIDOR, HOSPITAL, CONTINUOUS DETECTIVE LINES is opening doors and peering in them. He sees an open, corridor door, at the end of the corridor. A thin light is coming from behind. DETECTIVE LINES (Quietly, to self) Are you hiding down there? EXT: DRIVEWAY, HOSPITAL, CONTINUOUS A Volvo – which we surmise to be KATHLEEN's parents pulls quickly up, braking on the gravel surfacing. INT: PRIVATE WARD, HOSPITAL, CONTINUOUS HARRY is just dozing off when a PORTER enters his room pushing a wheelchair. HARRY opens his eyes and is confused. HARRY What are you doing? PORTER It's your fiancée… We see in HARRY's eyes instant recognition of what the PORTER is implying. HARRY steels himself and nods. The PORTER approaches and removes HARRY's duvet. INT: CORRIDOR, HOSPITAL, CONTINUOUS DETECTIVE LINES SLAMS open the door at the end of the corridor and steps into: INT: STAIRWELL, HOSPITAL, CONTINUOUS He stands still – perhaps he was expecting a room? He looks upstairs and sees that it's dark. The stairs downwards have a light somewhere below. He heads downwards.

Edward O'Toole

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64.

INT: CORRIDOR, HOSPITAL, CONTINUOUS As DETECTIVE LINES heads downstairs, the Porter pushes HARRY out into the corridor and heads in the opposite direction. INT: PETER'S BEDROOM, PETER'S FLAT, CONTINUOUS It's dark. The phone rings. We hear PETER 'tut' loudly. He switches on the bedside lamp and we see that he's lying in bed next to a sleeping AMY. He reaches for the receiver and picks it up. PETER HARRY…. This is getting ridiculous. (We see PETER's expression change as he learns that it's not HARRY, but the hospital calling for AMY) Sure. Right away. (PETER replaces receiver and takes a deep breath. He turns towards AMY and shakes her shoulder. She mumbles) AMY, we've got to get up. What? It's KATHLEEN…

AMY PETER

AMY (Realizing) Oh my God… is she… PETER Not yet, but it doesn't look good. They get out of bed and hurriedly dress. INT: CORRIDRO, HOSPITAL, CONTINUOUS. The PORTER pushes HARRY up to KATHLEEN's door. He turns himself, and the wheelchair around, so that he can use his back to open the door.

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65.

As they enter, we hear: DOCTOR (OS) Time of Death recorded, three-oheight-am. Still facing the wrong way, we see HARRY's face swell with a multitude of emotions. INT: STAIRWELL, HOSPITAL, CONTINUOUS DETECTIVE LINES has reached the bottom of the stairwell. Before him is a double door made from the old type plastic hanging sheets. The light comes from behind it. DETECTIVE LINES (To self) What? You holding a bridge meet down here? DETECTIVE LINES pushes open the double doors and steps into: INT: SMALLISH ROOM, HOSPITAL BASEENT, CONTINUOUS We can't see the room, we can only see Lines' face. He looks very confused. DETECTIVE LINES What the hell are you doing down here? INT: KATHLEEN'S ROOM, CONTINUOUS HARRY sits and stares at KATHLEEN, while the medical staff unplug her from the machines. Oh HARRY!

MARGARET (OS)

HARRY turns his head and sees MARGARET, red-eyed from crying, standing to one side of the room. She looks distraught. HARRY Where's ALBERT? INT: SMALL ROOM, HOSPITAL BASEMENT, CONTINUOUS We now get a better look at the scene.

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66.

Bound to a chair, and gagged, is the blonde NURSE. She's terrified. Standing behind her is ALBERT, with a particularly large knife and a hacksaw. DETECTIVE LINES is watching them from across the room. We can see his hand slowly reaching to unclip his revolver. INT: KATHLEEN'S ROOM, CONTINUOUS MARGARET It's his turn to sit with KATHLEEN – it was his turn. Beat

Isn't he with you?

HARRY, torn between looking at his now deceased fiancée and the look of confusion and worry on Margaret's face, shakes his head in the negative. INT: SMALL ROOM, HOSPITAL BASEMENT, CONTINUOUS A Mexican standoff. DETECTIVE LINES can see that ALBERT's too close to the NURSE. If the policeman makes a wrong move, ALBERT could easily kill her with his knife. DETECTIVE LINES Put the cutlery down, ALBERT ALBERT Little whores with pretty little hands…. What?

DETECTIVE LINES

ALBERT They were my daughter's once. Once. A long time ago. Thing's were different then. DETECTIVE LINES (Indicating NURSE) She isn't your daughter. She's a NURSE. ALBERT Do you take me for a fool? Of course I know she's not my daughter! DETECTIVE LINES I don't understand….

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ALBERT I couldn't hurt my daughters, could I? DETECTIVE LINES Why hurt anyone? ALBERT I've been watching them. I watched KATHLEEN shack up with that… that … man MENKHART? That's the one

DETECTIVE LINES ALBERT

DETECTIVE LINES She's an adult, ALBERT, she can do what she likes. ALBERT I rented a room, a few doors down. No doubt you know the owner… Derek Miles.

DETECTIVE LINES

ALBERT Weedy little fellow. Didn't know who I was. DETECTIVE LINES (Thinking) That's why you've been so close to Harry. You couldn't be sure if he was Miles or not. ALBERT Neither could you. DETECTIVE LINES Then you and he? ALBERT (Nodding) Poor Derek. Possibly the worst salesman I've ever encountered. Boring, plain… and everyday watching that blonde strumpet of a daughter mine, flaunting herself with that MENKHART. DETECTIVE LINES And the girls? Why take other girls?

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ALBERT That was my idea… substitution. It was easy enough, he with his flash Volvo, and me with what capital I have left. Go on

DETECTIVE LINES

ALBERT He could enjoy the girls and think about my daughter and when he'd finished with them…. You…

DETECTIVE LINES

(Thinks carefully) Punished them? Exactly.

ALBERT

DETECTIVE LINES Why didn't you try talking to your daughter? Tell her what you felt? ALBERT Too headstrong. Not like her mother, oh no. That woman is how a woman should be – just like the good old days. Obedient, subservient. DETECTIVE LINES And KATHLEEN wasn't? ALBERT She was living like a whore! Shacking up out of wedlock! DETECTIVE LINES Shall we let the NURSE go? ALBERT Oh, I don't think so. No doubt she too has her own live-in lover and… As ALBERT lifts his knife and looks longingly, madly, into the NURSE's terrified face, DETECTIVE LINES draws his revolver on him. DETECTIVE LINES Put the knife down now, ALBERT! ALBERT I don't think so, detective…

Edward O'Toole

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ALBERT lunges across the room and Lines fires, hitting the old man in the shoulder. ALBERT swipes with his knife and slashes Lines's arm. Lines curses and almost drops the gun. ALBERT turns the blade and rips upwards through Lines's coat. Lines jumps back in alarm, obviously in pain. ALBERT closes on him, his eyes demoniac. He's face to face with Lines – eyeball to eyeball. We hear a GUNSHOT. ALBERT's eyes widen and he slowly drops to his knees. DETECTIVE LINES looks down at him. Fucking psycho

DETECTIVE LINES

INT: KATHLEEN'S ROOM, CONTINUOUS HARRY, in his wheelchair, is still some distance from KATHLEEN. He vainly tries to reach for her hand but is too far away. HARRY's eyes are deep with sorrow. He tries to reach again. We see him making the effort. The PORTER pushes him up to the side of the bed. HARRY's breathing is now erratic and he looks drowsy. He's almost finished. He tries to lift his hand and can't even get it to bed height. His energy's left him. He drops his arm resignedly and sighs, then closes his eyes. Suddenly, he feels his hand being lifted. He opens his eyes and sees MARGARET holding his wrist. She gently eases his hand over KATHLEEN's cold lifeless one. MARGARET squeezes the two hands together and HARRY smiles. HARRY (Quietly) I love you, Kathy… HARRY looks over to where MARGARET is standing and sees DEAD GIRL beside her.

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Dead Girl smiles and nods her head. HARRY, knowing now that it's all over smiles too. His life leaves him and he slumps down, headfirst onto KATHLEEN's arm. Dead Girl vanishes. AMY and PETER rush into the room and see the scene. MARGARET is standing, watching KATHLEEN and HARRY's bodies joined together in death. FADE OUT.

THE END