Bad Dreams




                               BAD DREAMS



                               Written by

                   Andrew Fleming & Steven E. de Souza





    FADE IN:


1   EXT. COUNTRYSIDE - SUNSET                                         1
    A serene landscape, mist collecting as the red ball of a sun
    dips behind the mountains.

    In the middle of a field stands a bare-chested man facing the
    sunset. He is HARRIS, forty-ish, greying but handsome, and
    very fit. His hands are outstretched as if embracing an
    invisible entity. He seems filled with some sort of
    transcendental power. Now, an air of fulfillment and resolve
    settles over him. He turns and walks away from us. CAMERA
    ADJUSTS and reveals--


2   EXT. UNITY HOUSE - LONG SHOT - SUNSET                             2
    Once the home of Victorian Gentry, a few seasons of amateur
    repair work have not compensated for decades of neglect. But
    now as Harris walks towards it, the fading daylight and long
    shadows turn it into a fantasy castle. MUSIC ECHOES faintly
    from within; it's "In-A-Gadda-Da-Vida" by Iron Butterfly. If
    the music didn't place the era for us, the battered VW
    MINIBUS parked outside the house does; it's covered with
    flower paintings, slogans, and the ubiquitous peace sign.

    As Harris approaches the house, a dozen or so YOUNG PEOPLE
    rush to greet him and embrace him. Extending his arms out to
    enclose them all, he goes inside.


3   INT. COMMON ROOM - SUNSET                                         3
    This was probably a stately parlor in its day. There is a
    funky assembly of odd handmade furniture. There are muslin
    curtains on the windows, crude paintings, and quilts covering
    ripped chairs and couches. Despite the squalor, there is a
    neatness to the place. Now, the CAMERA begins to ROAM
    through the room and down the hallways lined with fading
    wallpaper.

                        VOICES
                  (various)
              --where did she go...? ... was
              here a moment ago... Cynthia, come
              on, honey, we need you... Cynthia,
              come out, come out wherever you
              are... the sun's going down, we're
              losing the moment...!
                        (MORE)

                                                        (CONTINUED)
                                                                2.
    CONTINUED:             VOICES(CONT'D)
                 Hey, mellow out, we got ten
                 minutes, I like, checked the
                 almanac, okay...? Ready or not,
                 here we come...

    All these comments are made in relaxed and good natured
    tones. Finally the CAMERA PANS OVER to a little storage
    alcove beneath the servant's stairway. A HAND reaches in and
    opens the door, and inside we SEE cartons, antique toys...
    and then CYNTHIA, a pretty 13 year old girl who wears funky
    clothing and a haunted, nervous expression.

                            VOICES (CONT'D)
                 ...There you are, you naughty girl!
                 You almost made us lose the
                 sunset... Come on, honey, time's
                 wasting...

    She shrinks back from the HANDS that are pulling her up and
    out, but they prevail, and she's up and on unsteady feet.
    The CAMERA stays with her as she's led back down the hallway.

                           CYNTHIA
                     (faintly)
                 No, please... I... I really don't
                 want to do this... Can't I just
                 wait for you..? I--I'm not sure
                 about this--

    A SET OF HANDS moves in, separates Cynthia from the others.

4   NEW ANGLE                                                        4
    Revealing VICTOR, a handsome youth a few years older than
    Cynthia.

                           VICTOR
                 Easy, Cyn, easy. You don't want to
                 do this, that's okay... right,
                 Harris?

    The VOICES stop as everyone awaits an answer. CAMERA PANS
    across the common room, to the end we haven't seen yet.

    In the center of the room is a big cistern or font. As we
    watch, Harris has just DUNKED someone in it. The person
    steps out, laughing, sloshing in amber liquid. Standing
    around are other people, some already dripping wet, others
    awaiting their turns. Some are clothed and wet, others in
    varying degrees of undress. It all seems slightly off,
    slightly eerie, despite their smiles and cheer. Harris
    splashes himself with the amber liquid from the tub, pushes
    his hair back.


                                                       (CONTINUED)
                                                              3.
    CONTINUED: (2)

                            HARRIS
                 No, Victor, it's not okay. Here
                 at Unity House, some things have to
                 be done...
                     (slight smile)
                 ...in Unity. This is one of them.

    He WADES CLOSER to the CAMERA, within reach of Cynthia,
    Victor and the others. Smiles again. It's the kind of a
    smile that inspires trust.

                           HARRIS (CONT'D)
                 Cynthia, do you trust me?

    She nods immediately.

                           HARRIS (CONT'D)
                 And have I ever lied to you?

    She shakes her head. He GESTURES. The people around Cynthia
    begin to GET INTO the tub. Some remove their clothing;
    others get in clothes and all. Toddlers and infants are held
    by their parents and playfully splashed.

                           HARRIS (CONT'D)
                 Then I say to you now... to all of
                 you now... that this will be the
                 Ultimate Joining... of man and
                 woman... parent and child...
                 humanity and Godhead.

    He looks at Victor, who reluctantly lets Cynthia's hand go,
    gets in. Now only Cynthia remains.

                           HARRIS (CONT'D)
                 Cynthia. Come. There is no shame
                 in this. No crime. No sin. Just
                 the final break with the old
                 world... As night falls, we start
                 a new day... a day of Unity.
                     (a command, but warm)
                 Come to me... my lovechild.

5   ON CYNTHIA                                                     5
    His last words melt her remaining resistance. Moving like a
    sleepwalker, she steps into the tub, wades forward. Then she
    stops, looks down at the fluid lapping at her jeans... runs
    her hand through it. Her eyes widen.
                                                               4.




6   EXT. HOUSE - LONG SHOT                                             6
    The sun almost gone now, red light reflecting on the gabled
    windows. Even the battered VW van looks good in this
    setting. It's beautiful.

                            CYNTHIA'S VOICE
              No!   No...

                         HARRIS' VOICE
              Cynthia, come back! We can't do it
              without you... We must have unity,
              my lovechild... Unity, now and
              through eternity... Cynthia, you
              cannot run... You belong to us
              forever--!

    Pause. The faint SOUNDS of SPLASHING and then FOOTSTEPS
    skittering on tired wooden floors... and then--

    --UNITY HOUSE EXPLODES!

7   EXPLOSION - ANOTHER ANGLE                                          7
    WINDOWS blow out. Splintered BEAMS propeller through the
    air. The VW camper on the lawn ROCKS with the shock wave.
    Then a SECOND EXPLOSION blows the Victorian cupolas and
    widow's walk off the roof. From somewhere in the distance we
    HEAR SIRENS...

                                               CUT TO:


8   EXT. UNITY HOUSE - NIGHT                                           8
    FIRE is CONSUMING what's left of the building. Rescue
    workers and firefighters are running back and forth.

9   INSPECTOR WASSERMAN                                                9
    A plainclothes detective, he NODS to some uniforms, steps
    around some debris to move closer to the scene. He puts his
    collar up against the SPRAY which leaks from firehose
    connections. Seeing one of his men, he SHOUTS over the din.

                        WASSERMAN
              What have we got?

                        POLICEMAN
              Twenty-four bodies, Inspector.
              Maybe more.


                                                         (CONTINUED)
                                                                 5.
     CONTINUED:

     As he says this, both men watch as firefighters carry out a
     SCORCHED AND BLACKENED CORPSE that looks like a 3,000 year
     old mummy.

10   CORPSE - CLOSER                                                  10
     It's set down on the ground beside other blackened bodies
     partially covered by tarps. As the body is set down it
     CRUNCHES, and a piece BREAKS OFF.

11   BACK TO SCENE                                                    11
     Wasserman blanches, wipes his mouth.

                            WASSERMAN
                  Cause of fire?

                            OFFICER
                  Some kind of explosion... gas main,
                  methane, too soon to tell. God
                  only knows.

                            WASSERMAN
                  Let's hope He doesn't keep it to
                  Himself.

                            A VOICE
                  We got one! We got a survivor! Get
                  a stretcher and oxygen over here,
                  STAT!

     Wasserman and the cop run up the slope with the others.

12   RUINS - CLOSER                                                   12
     Medics run around the parked VW, which drips water and
     chemical foam. Rescue workers move a FALLEN BEAM and pull a
     soot-blackened form out of a hole. As the CAMERA PUSHES
     closer, we see that it is Cynthia. Her clothes are torn and
     singed, and she is unconscious, but as they work on her we
     see that she is largely unharmed.

                            VOICES
                      (busy, frantic)
                  Make room, make room! Get that
                  airway in! I got a pulse, whoa,
                  it's faint... Talk about lucky,
                  she musta fallen in the basement...
                  First and second degree burns...
                  Come on people, move your asses!




                                                        (CONTINUED)
                                                               6.
     CONTINUED: (2)

     Wasserman tries to keep up as they carry her on a stretcher
     towards an ambulance, put her inside. It ROARS AWAY, SIREN
     WAILING. MUSIC COMES UP AND OVER-- it's MAGIC CARPET RIDE by
     Steppenwolf.

                         NEWSCASTER'S VOICE
                   (filtered)
               --Authorities continue to
               investigate yesterday's mysterious
               explosion and fire at Unity House,
               the controversial New Age commune
               headed by self-styled Guru Adrian
               Harris. 32 people died in the
               blaze. Thirteen year old Cynthia
               Weston, the fire's only survivor,
               remains in guarded but stable
               condition at County General. In
               national news, newspaper heiress
               Patricia Hearst was abducted from
               her Bay area apartment shortly
               before dawn today... A communique
               from the so-called "Symbionese
               Liberation Army" demanded that...

                                              CUT TO:


13   INT. HOSPITAL EMERGENCY ROOM - NIGHT                              13
     The doors CRASH ASIDE as Cynthia is rushed in on a gurney.
     The CEILING LIGHTS flicker past us as they move her into the
     emergency room.

                         VOICES
               Blood pressure 90 over 30, we're
               losing her... Where's that cart?
               CLEAR! CLEAR! Okay, it's
               climbing... Watch the EEG...
               Brain activity, shit, damn low...

     We begin a SERIES OF DISSOLVES, including:

          A) WASSERMAN, who appears first in his clothes
          from the fire, then two other wardrobe changes;

          B) HOSPITAL PERSONNEL, at first the harried and
          rushed emergency staff, and then the more blase
          regular doctors and nurses;

          C) VARIOUS MEDICAL EQUIPMENT, as a series of
          DIAGNOSTIC TESTS are run on Cynthia--



                                                         (CONTINUED)
                                                                7.
     CONTINUED:

          D) CYNTHIA, first in her fire-scorched clothing,
          then as it is cut away, and then in several
          HOSPITAL GOWNS, first white, then green, then
          blue...

          E) A SERIES OF HOSPITAL ROOMS AND LABS;

          P) HOSPITAL CHARTS AND FILES, with ever-changing
          DATES;

                            VOICES (CONT'D)
                      (over this)
                  No sign of physical damage but
                  neurological functions still
                  depressed... Sorry, Inspector, no
                  changes... Patient comatose after
                  14 days... Brain scan shows minor
                  irregularities; pupil function
                  within normal range... Still no
                  sign of consciousness... Still
                  comatose after 21 days ... Sorry,
                  Inspector, we'll call you if
                  there's any progress... Still
                  comatose after 42 days... Patient
                  moved out of intensive care....

     As the MONTAGE CONTINUES, TITLES BEGIN. Now we HEAR VARIOUS
     NEWS BROADCASTS which come UP AND OVER, fading IN AND OUT
     with the medical VOICES. (If desired, TV NEWSCASTS might be
     seen as well on a hospital room's set.)

                            VARIOUS NEWSCASTERS' VOICES
                      (filtered, in and out,
                       intermittently audible)
                  ...The mother of Martin Luther King
                  Junior was assassinated today while
                  she played the organ in her son's
                  church... interrupt to bring this
                  bulletin... Richard Milhous Nixon
                  has resigned as President of the
                  United States... As the Marine
                  guards hold back the crowds, the
                  last helicopters took off from the
                  roof of the Embassy in Saigon...
                  Bicentennial festivities begin
                  today in Philadelphia...

14   MONTAGE - CONTINUED                                                14
     We SEE Cynthia in her bad, always in the same near-fetal
     position. The only changes are the occasionally different
     hues of her blankets and the varying length of her hair.


                                                          (CONTINUED)
                                                               8.
      CONTINUED: (2)

                          NEWSCASTERS
                --leak at the Three Mile Island
                facility... 73 Americans remain
                hostage in the Teheran Embassy...
                Ronald Reagan has been elected 40th
                President... renewed fighting in
                the Middle East... assailant shot
                John Lennon at point blank range...
                President Reagan has been shot! He
                is in guarded condition at... The
                Pope has been shot! He was rushed
                by ambulance to... President Anwar
                Sadat has been assassinated...

14A   BERRISFORD - IN MONTAGE                                         14A
      We SEE several SHOTS of this man, first as a white-coated
      RESIDENT in his late 30's, walking past Cynthia's hospital
      doorway, and then stopping, curious, and looking in on her...
      and then in--

14B   OTHER SHOTS - BERRISFORD                                        14B
      as (with changing wardrobe and increasing status) he checks
      in on the girl's unaltered condition as months and years
      continue to click by:

                          NEWSCASTERS(CONT'D)
                ...the Korean airliner was shot
                down by a Soviet jet, killing all
                269 people aboard... invasion of
                the island Nation of Grenada...
                Prime Minister Indira Ghandi was
                assassinated by members of her own
                bodyguard... the PLO hijackers
                shot the wheelchair-bound American
                and threw his body overboard...
                Space Shuttle Challenger exploded
                moments after launch... renewed
                fighting today in the Middle
                East... President Corazon Aquino
                asked the soldiers to lay down
                their arms... Senator Gary Hart
                withdrew from the race... Fawn
                Hall... Lieutenant Colonel Oliver
                North... Contrascam
                Investigation... PTL scandal...
                munitions train severed the lag of
                a protester at the... renewed
                fighting in the Middle East...

                                               DISSOLVE TO:
                                                               9.




15   INT. HOSPITAL NURSE'S STATION - DAY                             15
     The HEAD NURSE looks up, smiles at a YOUNG FLOOR NURSE as she
     walks past. From somewhere we HEAR a Springsteen song on the
     radio.

                         HEAD NURSE
               Debbie. What happened to your
               windsurfing lesson?

                         YOUNG NURSE
               No wind. I changed shifts with
               Nancy.
                   (picking up charts)
               Well... time to weed the vegetable
               patch.

     We FOLLOW the young nurse as she goes into--

16   CYNTHIA'S ROOM                                                  16
     Bored, the nurse goes to the foot of the bad, checks the
     chart there. She moves past MONITORING EQUIPMENT which shows
     only subtle movement. As she begins to take Cynthia's blood
     pressure, CAMERA CONTINUES ON INTO THE BED and we see
     Cynthia,

     She is now a fully grown young woman in her late 20's.   She
     is curled up in a fetal ball.

17   THE YOUNG NURSE                                                 17
     finishes her work and then gathers some bottles from the side
     table. She goes to the door and then REACTS to a SOUND.

     She looks around, puzzled. Meanwhile, we SEE (and she
     DOESN'T) that there is INCREASED ACTIVITY on the monitors.

                         CYNTHIA
                   (faint, weak)
               No... no... it's wrong...
               someone... please help...

                         YOUNG NURSE
               Holy shit...

     Stunned, the nurse DROPS the bottles with a CRASH.
     Recovering her composure, she darts back to the bed, watches
     flabbergasted as Cynthia continues to STIR, her arms weakly
     battling half-realized fears.



                                                       (CONTINUED)
                                                                10.
     CONTINUED:
     The young nurse hits an ALARM, grabs Cynthia's arms to
     prevent her from pitching out of the bed, and then DOCTORS
     and NURSES are scrambling all over the room, and as the DIN
     RISES we

                                                 CUT TO:


18   INT. HOSPITAL PRESS CONFERENCE - DAY                                18
     FLASHBULBS pop and the HOSPITAL SPOKESMAN grins clumsily,
     famous for fifteen minutes.

     There's eight or nine reporters here, all of them wishing
     they were on bigger stories.

                            SPOKESMAN
                      (in mid speech)
                  Twelve years, two months...   nine
                  days.

                            FIRST REPORTER
                  Is that like a world record for a
                  coma or something?

                            SPOKESMAN
                  Actually, no. The longest one on
                  record is 37 years.

     The first reporter closes a notebook, leaves.

                            SECOND REPORTER
                  Does she remember anything about
                  the fire at Universe House?

19   NEW ANGLE - SHOWING THE BACK OF THE ROOM                            19
     Lieutenant (née Inspector) Wasserman is there.    He's grayer,
     paunchier, but the raincoat is the same one.

                            SPOKESMAN'S VOICE
                      (correcting)
                  Unity House. No, she appears to
                  have no memory of the accident
                  itself or the days leading up to
                  it. It's not uncommon after
                  serious trauma.

                            THIRD REPORTER
                  What happens to her now? Have her
                  family or friends been notified?




                                                           (CONTINUED)
                                                                  11.
     CONTINUED:

                            SPOKESMAN
                  We stopped looking for any family
                  ton years ago.. Right now we"re
                  planning to transfer Cynthia to Dr.
                  S.A. Berrisford's Neuropsychiatric
                  Clinic. It's right here on our
                  grounds, and Dr. Berrisford is
                  familiar with both the
                  neuromuscular problems a patient
                  like this will encounter as well as
                  the inevitable mental readjustment
                  that will be required. Thank you.

     The reporters filter out.

     Wasserman is already gone.

                                                   CUT TO:

20   FOOT                                                                  20
     as it is clumsily set down...    another FOOT slides forward.


21   INT. THERAPY ROOM - WIDER                                             21
     Cynthia is standing inside a set of parallel bars. She's
     pale, weak looking. A PHYSICAL THERAPIST is at her elbow,
     egging her on.

                            THERAPIST
                  Good... Very good... Come on,
                  just a few more steps...

     Cynthia blinks, as if just processing the therapist's word
     takes some adjustment.

                            CYNTHIA
                      (weary)
                  I... I can't... I have to rest...

                            BERRISFORD'S VOICE
                  Young lady, you've had fifteen
                  years of rest.

     CAMERA ADJUSTS to show DR. BERRISFORD. In his 50's,
     avuncular, he wears half-framed glasses and a sweater vest
     under his medical coat. Two pieces of tissue paper mark his
     razor's passage on his neck.




                                                             (CONTINUED)
                                                           12.
CONTINUED:

                       BERRISFORD (CONT'D)
             Now walk to the end of that
             platform, or you won't got any
             chocolate ice cream.

Something about Berrisford's mock-stern tone bores in on
Cynthia, gets a reaction. She gropes for an answer.

                       CYNTHIA
                 (finally)
             I... I hate chocolate ice cream.

                       BERRISFORD
             Then walk to the end of the
             platform, or I'll shove an entire
             gallon down your throat.

Cynthia's eyes crinkle with confusion. And then, ah, she
gets it! A joke, the first one in over a decade. She
SMILES, and it's a beautiful smile. Setting her jaw, she
makes a renewed effort and reaches the and of the platform.
The therapist and Berrisford both move quickly to catch her
and set her down in a wheelchair.

                       BERRISFORD
                 (to the therapist)
              That'll be all.

Berrisford begins wheeling Cynthia along. They leave the
therapy room, go down a corridor. (Note: Passage as per
location.) As they go by other patients and staff, there's a
general BUZZ as people whisper about Cynthia.

                        CYNTHIA
                 (peering at Berrisford)
             Am I supposed to know you or
             something?

                       BERRISFORD
             I've looked in on you from time to
             time... but that's hardly an
             introduction. You've been
             transferred into my care, Cynthia.
             I*m Doctor S. A. Berrisford,
             Consulting Chief of Neuropsychiatry
             and head of the Berrisford Clinic.

                       CYNTHIA
                 (fumbling it)
              C-consulting Cheev-- Chief of--




                                                   (CONTINUED)
                                                               13.
     CONTINUED: (2)

                         BERRISFORD
               Oh, forget all that.   Just call me
               what my staff does.

                         CYNTHIA
               What's that?

                         BERRISFORD
               God.

     Cynthia LAUGHS. She likes this man's directness, the way he
     doesn't condescend to her.


22   INT./EXT. SUN DECK OR DAY ROOM - DAY                               22
     Berrisford parks her and site down across from her.

                         CYNTHIA
               What... what kind of doctor did
               you say you were?

     Berrisford notices one of the tissues on his neck.    Scowls,
     flicks it away.

                         BERRISFORD
               Obviously, I'm not a surgeon.
                   (as she laughs)
               I'm a psychiatrist.

                         CYNTHIA
                   (puzzled)
               Why do I need a psychiatrist?

                          BERRISFORD
               Cynthia, you've been out of touch
               with reality for over ten years.
               Your recovery goes beyond your
               muscle tone... You have to ease
               into life... into interacting with
               other people again. Into a world
               that's changed so much that
               sometimes I get confused by it.
                   (taking out an appointment
                    book)
               Now, my assistant Dr. Goldman has a
               group therapy session every day...
               I'm putting you down for it,
               starting tomorrow...




                                                          (CONTINUED)
                                                                 14.
     CONTINUED:

                            CYNTHIA
                      (unsure)
                  Group therapy? But--

                            WASSERMAN'S VOICE
                  Dr. Berrisford?

23   NEW ANGLE                                                         23
     Revealing Wasserman.    He shows his badge to the doctor.

                            WASSERMAN
                  I'm Lieutenant Wasserman. I left a
                  message with your secretary...?

                            BERRISFORD
                      (rising, meeting him
                       halfway)
                  And I left one with your desk
                  sergeant.
                      (a hard whisper)
                  I told you this would have to wait.
                  You shouldn't even be here--

24   FAVORING CYNTHIA                                                  24
     She can't help but listen as they continue in lowered tones.

                            WASSERMAN
                  I've waited fifteen years. That's
                  long enough. Now I want to speak
                  with Miss Weston.

                            BERRISFORD
                  Miss Weston is still recovering and
                  is in no condition for a prolonged
                  interrogation.

                            WASSERMAN
                      (tight smile)
                  Then don't prolong it. I'll be
                  brief with her, I'll be gentle with
                  her--

                            BERRISFORD
                  I'll let you know when she's ready--

                            CYNTHIA
                  E--excuse me...




                                                         (CONTINUED)
                                                                15.
     CONTINUED: (2)


25   ANGLE                                                            25
     They turn and look at her.

                         CYNTHIA (CONT'D)
               Doctor Berrisford, what's this all
               about...? This man wants to talk
               to me...?

     Berrisford starts to answer, but Wasserman rushes in.

                         WASSERMAN
                   (quietly, slowly, as if to
                    a child)
               That's right, Miss Weston. I just
               have a few easy, simple questions.
                   (patient, phony smile)
               About you... and about Unity House.

     Cynthia looks at him strangely, turns to Berrisford.

                         CYNTHIA
                   (sotto)
               Why is he talking like that? Is he
               one of your patients?

     Wasserman burns.   Berrisford LAUGHS.

                         BERRISFORD
               Lieutenant Wasserman is a police
               officer. And the word "patience"
               isn't part of his vocabulary.

     Wasserman scowls, not enjoying being the butt of a joke.    He
     resumes his normal tons, which is far from diplomatic.

                         WASSERMAN
               Miss Weston. What's the last thing
               you remember before...

                         CYNTHIA
               --Before the accident?   Nothing.

                         WASSERMAN
               Then how do you know it was an
               accident?

                         BERRISFORD
               Lieutenant!




                                                       (CONTINUED)
                                                            16.
CONTINUED: (3)

                    CYNTHIA
          I remember... a beautiful sunset.
          Harris, smiling at me...

                    WASSERMAN
              (writing)
           Harris, he was the leader?

Cynthia's eyes are far away.    The memories come back...   the
words are slow, but vivid.

                    CYNTHIA
          Leader, founder... chief cook and
          bottlewasher...
              (smiling)
          Executive in charge of Dreaming.
          We were all together... all
          working to make a now world...
          That last night, there was a...
              (brow furrowing)
          Gathering... a... a sort of...
          baptism... And then...

She winces, rubs her eyes.

                    CYNTHIA (CONT'D)
          I'm sorry, that's all I can see.

                    WASSERMAN
          Miss Weston. This "Unity House"...
          was it a cult?

                       CYNTHIA
          I'm sorry.     I don't understand the
          question.

                    BERRISFORD
          A "cult," Cynthia. A syndrome of
          society you have been fortunate
          enough to miss. They're popular
          with impressionable people, the
          penny press...
              (pause)
          ...and lazy policemen who like to
          blame them for crimes they can't
          solve.

Wasserman closes his notebook, gives Berrisford a cold stare.

                    WASSERMAN
          I was there that night, Doctor. I
          watched them stack those bodies...
                    (MORE)

                                                    (CONTINUED)
                                                                17.
     CONTINUED: (4)      WASSERMAN(CONT'D)
               men, women, children. They looked
               like 2,000 year old mummies. They
               broke apart like 2,000 year old
               mummies.

     Cynthia gasps.

                         WASSERMAN (CONT'D)
               If it was an accident... fine. If
               it wasn't... the person
               responsible could still be out
               there.
                   (pause)
               And he's probably as interested in
               Miss Weston's memory as I am.

     He turns, nods to Cynthia.

                         WASSERMAN (CONT'D)
               Feel better.

     He goes out.   Cynthia's breath comes in short gasps.   Finally
     she calms.

                         CYNTHIA
               I don't like that man.

                         BERRISFORD
               That makes two of us.

     He sits beside her again.

                         BERRISFORD (CONT'D)
               But as long as you're here...
                   (smiling)
               I can keep him away.

     CAMERA TIGHTENS on Cynthia as she considers this...

                                               CUT TO:


26   INT. MEETING ROOM - DAY                                           26
     The room is cheery, commands a view of the city. A VIDEO
     CAMERA sits unobtrusively in one corner. Six people sit in
     chairs in various stages of interest and/or boredom.

     They are MIRIAM, an attractive woman in her forties, who
     chain-smokes designer cigarettes;

     CONNIE, smiling, chipper;



                                                         (CONTINUED)
                                                           18.
CONTINUED:

ED, overweight, friendly;

LANA, pale, worried looking;

and GILDA, tiny, frightened, withdrawn. She sits with feet
pulled up on her chair, arms wrapped around her knees.

CAMERA ADJUSTS to show Cynthia driving her electric
wheelchair into the room and into a place in the circle.

RALPH stands. Long-haired, with the staccato delivery of a
stand-up comic, he smiles.

                       RALPH
             Well, now that we're all here, we
             can begin. Cynthia, I'm Dr.
             Goldman, and I'd like to welcome
             you to our little group. I don't
             know how much my colleague Dr.
             Berrisford has told you about my
             methods. I have my detractors...
             but I have my successes, too!
             We're going to get you out of your
             depression... We're going to got
             you out of your neurosises...
             We're going to got you out of that
             hideous hospital robe and into a
             flimsy revealing negligee--one with
             the little holes here? I can see
             us now on a desert island... You,
             me, a portable waterbed--

As Cynthia's eyes widen, DR. ALAN GOLDMAN comes into the
room, sighs with weary familiarity at Ralph's antics.
(Actually, Alan doesn't look much more like a doctor than
Ralph.)

                       ALAN
             Ralph, sit down and cut out the
             shit, okay?

                       RALPH
             Dr. Goldman, I was on the verge of
             a major breakthrough, and you blew
             it!

                       ALAN
             Ralph?
                 (when he sits)
             Cynthia. I'm Doctor Goldman--at
             least, last time I checked...
                       (MORE)


                                                   (CONTINUED)
                                                     19.
CONTINUED: (2)      ALAN(CONT'D)
          and I doubt if my welcome can equal
          Ralph's, but I'll try. This is the
          Borderline Personality Group. And
          you are now a card-carrying member.

                    CYNTHIA
          What's a borderline personality?

                    MIRIAM
          Don't ask him. He's making this up
          as he goes along.

                    ALAN
          A borderline personality is one
          that can't be accurately placed on
          the Neurosis-Psychosis arc. As a
          personality syndrome it encompasses
          identity crises, chemical
          addictions, emotionalism, anxiety-

                    RALPH
              (standing, SCREAMING like
               Sam Kinison)
          You forgot VIOLENT MOOD SWINGS!

He sits, smiles sweetly.

                    CONNIE
          He also forgot suicidal tendencies.
          But, as one whose previous
          reincarnations stretch back to
          Ancient Atlantis, well, suicide is
          meaningless anyway.

                    ED
          And don't forgot binge eating.
              (pause)
          Gourmet binge eating.

                    MIRIAM
              (sweetly, to Cynthia)
          I told you he was making this up.

                    ALAN
          If everyone is finished--

                    LANA
              (breaking in)
          They're not finished, Dr. Goldman,
          they won't be finished until they
          have her feeling as miserable and
          pathetic and confused as they are.



                                                (CONTINUED)
                                                    20.
CONTINUED: (3)

                    CYNTHIA
          I am confused--

                     LANA
          See?
              (to the group)
          I hope you're all happy--

                    CYNTHIA
          Dr. Goldman, I... I don't really
          know what I'm doing here. I
          mean... I don't think I meet your
          description of a Borderline
          Personality--

                    RALPH
          Give yourself some time, Cynthia.
          We'll help you work on it.

                    CYNTHIA
          --and I don't really know what I'm
          doing here.

                    ALAN
          Didn't Dr. Berrisford explain?

                    CYNTHIA
          He said he thought that this would
          help me... fit into the 80's.

Miriam CRACKS UP.

                     MIRIAM
          Honey, you want to fit into the
          80's, you're already two divorces,
          one condo and a yeast infection
          behind. Why don't you just catch
          up with the 70's and move to
          Cleveland?

                    ALAN
          If I can offer a more practical
          suggestion... Why don't you talk,
          Cynthia?

                     CYNTHIA
          Talk...?

                    ALAN
          About something close to you.




                                               (CONTINUED)
                                                       21.
CONTINUED: (4)

                     MIRIAM
           Stop beating around the fucking
           bush, Goldman! Just come out and
           ask her!

                     LANA
               (to Miriam)
           Do you have to be so crude?

                     MIRIAM
           Come on, Cynthia. Dish out the
           dirt. Tell us all about Unity
           House.
               (gesturing a marquee)
           The last gasp of the Age of
           Aquarius. Building a better world
           through... what? Chemistry? Good
           vibrations? Tie-dying your undies?

                     CYNTHIA
           I'm sorry to disappoint you. I
           don't have those kinds of stories.

                     RALPH
           Back off, Miriam. Cynthia, just
           tell us about the orgies.

                     CYNTHIA
           Ralph, I'm going to bore you.

She thinks for a minute, starts to speak. She's hesitant at
first, and then the old memories come forward. She's
sincere, earnest... captivating.

                     CYNTHIA (CONT'D)
           What we felt... what we
           believed... was that if people
           could become selfless enough, if
           they could free themselves from
           their egos, they would experience
           a... togetherness. A... oneness.
           A Unity. That's where the name
           came from. We had a dream about a
           perfect society based on trust. On
           love. On totally committed
           togetherness. We weren't trying to
           change the whole world. We were
           just trying to change each other.

Pause.   Everyone is affected by her sincerity.




                                                  (CONTINUED)
                                                              22.
     CONTINUED: (5)

                           RALPH
                     (acting out)
                 Bullshit.

                            GILDA
                 No.

27   NEW ANGLE                                                         27
     AS everyone turns, astonished. Gilda gets out of her chair,
     slowly walks towards Cynthia. Takes her hand. And smiles.

                           GILDA (CONT'D)
                 It's beautiful. It didn't matter
                 if it worked. All that mattered
                 was... you tried.

                           CYNTHIA
                     (touched)
                  Exactly!

                                               CUT TO:


28   INT. BERRISFORD'S OFFICE - NIGHT                                  28
     WIDEN from a TV SCREEN which shown the above moment.   As the
     group session CONTINUES UNDER, CAMERA PANS to reveal
     Berrisford and Alan watching the tape.

                           ALAN
                 Gilda hasn't said three words in
                 three weeks. And now, Cynthia
                 comes in with this love, peace and
                 Woodstock routine and... presto.
                 Am I missing something, or what?

                           BERRISFORD
                 She's espousing a total belief
                 system. A kind of holistic healing
                 matrix not unlike the dynamic
                 energy shift model. Isn't that
                 interesting? They're adopting it,
                 embracing it.

                           ALAN
                 Too bad we can't follow through on
                 this.

                            BERRISFORD
                 Why not?



                                                         (CONTINUED)
                                                                23.
     CONTINUED:

                            ALAN
                  Dr. Berrisford, the people in this
                  group... some of them are deeply
                  disturbed. Cynthia doesn't belong
                  with them-- an experiment for one
                  session, fine, but in the long run--

                            BERRISFORD
                  Alan. We've opened primary
                  channels of communication. You've
                  opened them, Alan. Let's not rush
                  to throw away our progress.
                  Neuroses are hardly contagious. A
                  few weeks in the group won't hurt
                  Cynthia. With luck, she'll
                  overcome her memory trauma. That
                  would mean progress... not to
                  Mention getting Lieutenant
                  Wasserman off my back. In the
                  meantime...

     He stands, puts his hand on the younger man's shoulder.

                            BERRISFORD (CONT'D)
                  She seems to like you. See if you
                  can get her to open up, and let's
                  press on.
                      (pause)
                  With a united front?

                            ALAN
                  A united front.   Sure.

     Satisfied, Berrisford smiles, goes out the door.     Alan sighs,
     and looks at Cynthia's image on the screen.

                                                CUT TO:


29   INT. PHYSICAL THERAPY ROOM - DAY                                   29
     Patients in different stages of fitness use the equipment,
     some with supervision, others on their own. HETTIE,
     Berrisford's chief nurse--a Selma Diamond type--comes in with
     a tray of medication in paper cups. She works her way over
     to where

30   CYNTHIA                                                            30
     is doing log lifts on a bench. She's in a leotard and leg
     warmers, and there's real color in her face for the first
     time.


                                                          (CONTINUED)
                                                            24.
CONTINUED:

                       HETTIE
             Drop down to first gear, honey.
             It's Miller time.

She fumbles on her tray for the cup marked "Weston," hands
the pills to Cynthia along with a cup of juice.

                       CYNTHIA
             What are these? Vitamins?

                       HETTIE
             Beauty secrets from the orient.
             Look what they've done for me.

Cynthia laughs, takes the pills. Hettie moves over to Ralph,
who's just finished doing bench presses.

                       HETTIE
             Ralph, you in a cooperative mood,
             or do I have to tie you up again?

                       RALPH
             Promises, promises.

He takes the pills she gives him, smiles.      She just looks at
him, taps his mouth.

                        HETTIE
             Open.

Of course the pills are still under his tongue. Hettie gives
him a shot in the solar plexus and he GULPS. Hettie hands
him the juice.

                       HETTIE (CONT'D)
             Next time I hit lower.

She moves on to other patients.     Ralph moves over to Cynthia.

                       RALPH
             She's crazy about me.
                 (watching Cynthia's
                  workout)
             You're coming along. A regular
             Rocky.

                        CYNTHIA
             Rocky?   The flying squirrel?

                       RALPH
              Rocky the fighting Stallone.
                 (on her blank look)
                       (MORE)

                                                      (CONTINUED)
                                                            25.
CONTINUED: (2)      RALPH(CONT'D)
          I keep forgetting you just left the
          Twilight Zone. Hey, why don't you
          come up to my room, and I'll bring
          you up to date. I've got a VHS
          VCR, a CD, and MTV.

                    CYNTHIA
          You're making this up...      aren't
          you?

He just grins. She slips down to the floor, does some
stretching exercises.

                    CYNTHIA (CONT'D)
          Sounds like a complicated world.
          How do you handle it?

                    RALPH
          Well, whenever it gets to be too
          much, I just let all of the
          negative stuff out of my body.

                    CYNTHIA
          You mean with meditation, yoga,
          what?

                    RALPH
          Nah. I just make a little hole and
          let it all escape.

He pulls open his shirt. On his chest and arms are dozens of
scars in neat little rows.

Cynthia swallows, stunned.      Nonplussed, Ralph buttons back
up.

                    RALPH (CONT'D)
          Uh-uh, here comes the assistant
          Ayatollah. See ya.

As Ralph exits, Cynthia looks around, puzzled.

                    CYNTHIA
          "Ay-a-toll-ah..?"

Then she sees Alan.

                    ALAN
          Buy you some lunch?

                      CYNTHIA
          Sure.



                                                      (CONTINUED)
                                                              26.
     CONTINUED: (3)

     He starts to help her up.   She pushes him off gets up with a
     theatrical hop.

                         ALAN
               I'm impressed.

     They walk out of the therapy room.

                         CYNTHIA
               Impressed enough to call me a cab?

                         ALAN
               I'm not sure I follow you.

                         CYNTHIA
               I've been talking to Ralph. He
               told me about his... personal
               therapy program.
                   (as Alan winces)
               And I've been watching the
               others... Dr. Goldman, they belong
               here. I don't.


31   INT. CORRIDOR - DAY                                              31
     They pass Lana and Miriam who are swallowing medication from
     Hettie's tray. The two women patients wave at Cynthia, who
     smiles.

                         ALAN
                   (as they walk)
               Please, call me Alan. Doctor
               Goldman is my father...
                   (thinking)
               ...and my grandfather. I think my
               first baby toy was a stethoscope--

                         CYNTHIA
               You're changing the subject...
                   (trying it out)
               --Alan. I'm feeling stronger. I'm
               getting used to things like VC
               esses and MCDs. I want to leave.

                         ALAN
                   (carefully)
               Your parents died when you were a
               child. We haven't been able to
               locate any relatives.

     He stops at the elevator doors, hits the button.


                                                        (CONTINUED)
                                                                    27.
     CONTINUED:

                            ALAN (CONT'D)
                  Where would you go?

                            CYNTHIA
                  I guess I'd just look up some of
                  the old hands from Unity House...
                  crash with them for a while...
                      (thinking)
                  ...do people still say "crash"--?

                             ALAN
                  Cynthia...
                      (gently)
                  There aren't any old hands left.
                  The fire that injured you...? It
                  took everyone also with it.
                  They're all gone.

     Cynthia reacts as if struck...    has to loan against the wall
     to catch her breath.

                             CYNTHIA
                  I knew there were deaths...   but...
                  everybody?

                            ALAN
                  I'm afraid so. Look, Cynthia...
                  I'm not saying this to upset you,
                  but the sooner you realize that
                  that whole phase of your life is
                  over, and move on, the better off
                  you're going to be. Why don't you
                  bring this into the open... talk
                  about it in group? Oh, here's our
                  ride.

     Saying this, he turns as an elevator OPENS.      It's pretty
     crowded. He holds the door for her.

                            CYNTHIA
                      (confused)
                  Talk about it...?

     Seeing he's waiting, she straightens, moves into the
     elevator.


32   INT. ELEVATOR - DAY                                                  32
                            ALAN
                  Could somebody hit one?   Thanks.



                                                           (CONTINUED)
                                                           28.
CONTINUED:

                       CYNTHIA
                 (to him)
             "Talk about it in group." Is that
             the answer to everything around
             here?

The doors CLOSE. Everyone huddles in the compact space
silently, politely. The elevator heaves into movement.     It
HUMS as it whisks down the shaft.

The overhead fluorescent light in the car is weak.    It
flickers off and on momentarily.

                       ALAN
             Nobody ever said it would be easy.
             And it works for a lot of people.

                        CYNTHIA
                 (gently)
             It's not working for Ralph... or
             his chest.
                 (pleading tone)
             Can't you at least transfer me...
             get me in a group of people with
             problems a little more like mine--

                       ALAN
             Cynthia, we don't have a lot of
             patients who've been in a coma for
             over a decade!

The light gets weaker. Finally it just goes out.     There is a
general SIGH of annoyance from the passengers.

The light FLICKERS on every few seconds giving off the effect
of a strobe light.

                       A PASSENGER
             You'd think with what they charge
             here they could pay their electric
             bills

LAUGHTER.

                       CYNTHIA
             Relax. They're probably giving
             shock therapy.
                 (for Alan's benefit)
             "It works for most people".

More LAUGHTER. Then Cynthia is RIVETED by the sight of
something across the elevator.


                                                     (CONTINUED)
                                                                   29.
     CONTINUED: (2)

     In the LIGHT of the next strobe like FLASH, we see HARRIS!
     He is staring at Cynthia.

33   ON CYNTHIA                                                            33
     Staggered, disbelievingly, she moves behind Alan, looks over
     to the far corner again.

     Another FLASH. Harris is gone. Suddenly the ELEVATOR JERKS
     TO A HALT, but the doors DON'T OPEN. Passengers GROAN,
     annoyed.

                            PASSENGER
                  Oh, great--

     The emergency BELL starts sounding. Cynthia, still confused,
     gets shoved against the back wall as the passengers busy
     themselves pushing buttons.

     Cynthia bumps into the man next to her.        She looks up at him.

     FLASH.   It is Harris.

     FLASH. Harris reaches out to Cynthia. She CRIES OUT, jerks
     away, slamming into Alan, falling to the floor.

                            PASSENGER (CONT'D)
                  Jesus, lady, relax! We're on the
                  ground floor--

                            CYNTHIA
                  Let me out! Let me out--!

     FLASH. Cynthia is on the floor. She raises her head.
     Someone is on the floor right across from her.

     FLASH.   It's Harris.    His face is burned and skeletal.     He
     GRINS.

                            HARRIS
                  Unity, Cynthia...   Now and forever!

     He has no eyelids or lips. Cynthia SCREAMS, struggles to her
     feet, knocking over another passenger. Now it's chaos in
     here.

                            CYNTHIA
                  Let me out, let me out!   Alan,
                  help, help--!




                                                             (CONTINUED)
                                                                30.
     CONTINUED: (3)

                         HARRIS
               Cynthia, you cannot run...      You
               belong to us Forever--!

34   ALAN                                                                34
     Struggles across the crowded elevator, catches her in his
     arms.

                            ALAN
               Cynthia..?

     The elevator doors suddenly OPEN.


35   INT. FIRST FLOOR CORRIDOR - DAY                                     35
     Cynthia literally TUMBLES out of the elevator, staggers along
     the wall, holding herself up. Alan runs out to aid her. The
     passengers get off the elevator, looking at her oddly. A
     CUSTODIAN runs up and turns off the alarm.

                         ALAN
               Cynthia, what happened--?

                            CYNTHIA
               It's him!     It's him!   He's alive--

                         ALAN
               Who's alive?

                         CYNTHIA
                   (pointing)
               He's alive! Right over--

     She stops. The elevator is open and empty. The passengers
     watch her, some concerned, some voyeuristic. Now they drift
     away.

                         CYNTHIA (CONT'D)
                   (weakly)
                --there...

     Alan just stares at her.

                                                 CUT TO:


36   INT. BERRISFORD'S OFFICE - NIGHT                                    36
     Berrisford sits, listens intently to Alan.



                                                           (CONTINUED)
                                                        31.
CONTINUED:

                       ALAN
             --hallucination, flashback, I don't
             know what to call it-

                       BERRISFORD
             How about psychotic episode?

                       ALAN
             No, no, she doesn't fit the
             pattern--

                       BERRISFORD
             Addictive personalities can be
             borderline. You know that--

                       ALAN
                 (patiently)
             She has no history of drug abuse--

                       BERRISFORD
             There's other kinds of addictions.
                 (standing, pensive)
             we see it in these fringe religious
             groups... these instant creeds
             with pseudo-Messianic delusions.
             You've heard how she talks about
             Unity House? Perhaps that's her
             drug. Perhaps she's going through
             a--withdrawal of sorts. Her memory
             lapses about Unity House are
             equally symptomatic... There's
             some violent turmoil under that
             pretty little facade.

                       ALAN
                 (skeptical)
             You put her in the Borderline Group
             and she became one?

                       BERRISFORD
             No.

CAMERA TIGHTENS ON HIM.

                       BERRISFORD (CONT'D)
             I believe she went into that coma
             a disturbed young lady. Fifteen
             years later... nothing has
             changed.

                                              CUT TO:
                                                              32.




37   INT. ENTRANCE - BERRISFORD CLINIC WING - NIGHT                  37
     We can read the name on the locked security door (albeit
     backwards.) A SECURITY GUARD watches a basketball game on a
     portable set.


38   INT. CYNTHIA'S ROOM - NIGHT                                     38
     This is not the room we saw when she was comatose, but a
     brighter, more residential arrangement. Cynthia sits on the
     bed, watches as Hettie counts out pills for her. Cynthia
     swallows them, hesitates at a red one.

                         CYNTHIA
               This one's new.

                         HETTIE
               It'll help you sleep.
                   (explaining)
               Sort of a post-elevator cocktail?

     Cynthia scowls, takes it. Hettie goes out. Cynthia lies
     down on the bed, stiff. Turns over once or twice. Sighing,
     she picks up the TV remote, shakes her head at the myriad
     buttons. Finally she finds the right one, CLICKS IT.

39   TV - HER P.O.V.                                                 39
     She's come in on the middle of a group therapy scene from THE
     BOB NEWHART SHOW. (NOTE: Or maybe THE SNAKE PIT or SHOCK
     CORRIDOR?)

40   BACK TO SCENE                                                   40
     She watches until she realizes what it is, then CLICKS it
     off.


41   INT. HOSPITAL HALLWAY - NIGHT                                   41
     Hettie leans over the security guard's desk. The guard
     GROANS in frustration an the basketball game ends.

                         HETTIE
                   (extending her hand)
               Pay up. Twenty bucks.

     Neither notices a DARK FIGURE passing by close to the CAMERA.
                                                               33.




42   INT. CYNTHIA'S ROOM - NIGHT                                     42
     Cynthia lies restlessly in her bed. She hears footsteps
     coming closer. They stop at her door. She looks over.

     There is a SHADOW moving in the crack under the door.   The
     doorknob TURNS. Cynthia sits up.

                         CYNTHIA
               Who's there?

     She reaches for the button to call the nurse, but then the
     door is OPEN, and the figure stands there silhouetted.

                         FIGURE
                   (whisper)
               Cynthia?

     The figure comes forward. Cynthia backs off the other side
     of the bed and turns on a light.

     It is Victor, the boy we remember from the opening scene.
     The years have been kind to him. He stands there, the dim
     light spilling on his Army field jacket and bell-bottomed
     jeans.

                          VICTOR
               Cynthia?   It's me.   Victor.

                         CYNTHIA
                   (amazed)
               Vic? Oh, my God--

     She practically leaps across the room, hugs him with all her
     strength.

                         VICTOR
               Look at you.
                   (marveling)
               Little Cyn.
                   (impressed)
               Not so little anymore.

                         CYNTHIA
               Vic, this is just... fantastic,
               it's the most incredible...
                   (hesitating)
               But... how can you be here?

                          VICTOR
               Yeah.   It is after visiting hours--


                                                       (CONTINUED)
                                                              34.
     CONTINUED:

                            CYNTHIA
                  I mean... they said that...      that
                  everybody died.

                            VICTOR
                      (smiling)
                  Do I look like a ghost to you?

                            CYNTHIA
                      (rapid-fire)
                  How did you survive? How did you
                  find me? Is anyone else--

                            VICTOR
                  Whoa, whoa. It's a long story...
                      (looking around)
                  Let me tell it somewhere else. I
                  feel like I'm in, like, the
                  Pentagon or something.

     Cynthia grins, grabs a light jacket.

                            CYNTHIA
                  Then let's go AWOL.


43   INT. HALLWAY                                                   43
     Victor peeks out the door. An orderly passes, then
     disappears. Victor and Cynthia tiptoe out, sprint down the
     corridor to a stairwell marked "EXIT", and they are gone.


44   EXT. PARKING LOT - NIGHT                                       44
     Victor takes her hand, and they run towards a battered VW
     van. We recognize it and its slogans.

                             CYNTHIA
                  Zeke!   You've still got Zeke!

     She runs her hand along the dusty side lovingly, and then
     they hop inside.

45   ON THE REAR LICENSE PLATE                                      45
     Rusted, dated 1973.     The van DRIVES AWAY.

                                                    CUT TO:
                                                               35.




46   EXT. VICTOR'S APARTMENT - NIGHT                                   46
     It's a tacky but cozy building, circa 1958. "Zeke" pulls up,
     rattling to a coughing halt. They get out, head up the
     steps.


47   INT. VICTOR'S APARTMENT - NIGHT                                   47
     They come in, turning on lights. It's a dingy couple of
     rooms, but lush with its variety of objects. Everything
     looks like it came from the Age of Aquarius: beanbag
     furniture, paper "Tiffany" shades on hanging lights,
     blacklight posters, hanging macrame planters.

     Cynthia loves the room and everything in it. But she is
     particularly drawn to a canvas on an easel in the far corner.

48   PAINTING - HER POV                                                48
     It's of her, sitting serenely in a meadow, the Unity House
     perched prominently on a hill in the distance. (In the
     doorway, the bare-chested FIGURE of a man may--or may not--be
     barely visible.) Cynthia's clothes in the painting are the
     ones she wore in the opening scene.

     But her face is that of today's Cynthia.

49   BACK TO SCENE                                                     49
                         VICTOR
               I... did it by memory. I tried to
               imagine... what you'd... look
               like today. Guess I came pretty
               close.

                         CYNTHIA
               It's beautiful. More beautiful
               than I ever was.

                         VICTOR
                   (softly)
               Then you need a new mirror.

     she smiles, flattered.    Suddenly a CAT jumps up on a crate.

                         VICTOR (CONT'D)
               That's Chairman Meow.

     Cynthia picks him up.    Victor takes out a bottle of tequila
     and two glasses.


                                                         (CONTINUED)
                                                                36.
     CONTINUED:

                            CYNTHIA
                  You still haven't told me how you
                  lived. I really can't remember
                  anything about the... accident.

                            VICTOR
                  It wasn't an accident.

     She stiffens.    His eyes are far away.

                            VICTOR (CONT'D)
                  A lot of people back then, they
                  hated Unity House. Hated Harris
                  and his dreams... dreams of
                  peace... of oneness. That hate
                  fed negative energy into the cosmic
                  vortex... Something bad was bound
                  to happen. That hate was so
                  strong... so envious of what we
                  had...

     He has SQUEEZED the shot glass in his hand so hard that it
     EXPLODES. Cynthia JUMPS, and that's when he notices it.

                             VICTOR (CONT'D)
                      (very normal)
                  Oh, fuck--

                            CYNTHIA
                  You've cut yourself--

     She comes over, binds his hand with a dishcloth.     He holds
     onto her.

                            VICTOR
                  I guess talking about the past can
                  be a little dangerous.

     He pours a shot into the remaining glass.

                            VICTOR (CONT'D)
                  Let's drink to the present.
                      (pause)
                  To us.

     He SIPS.   Passes the glass to her.

50   CYNTHIA                                                            50
     She hesitates...    smiles.   Drinks.

     There is a drop of blood in the glass.     She doesn't see it.


                                                          (CONTINUED)
                                                                37.
     CONTINUED: (2)

                           CYNTHIA
               To us.

51   BACK TO SCENE                                                      51
                         VICTOR
                   (quietly)
               To... Unity.

     He pulls her close. They KISS... she seems to malt in his
     grasp. The cat jumps down. Slowly they kiss and touch each
     other. They stop and stare into each other's eyes.

     He moves his hand over her shoulders, neck, through her hair.
     She is completely his.

                                                 DISSOLVE TO:


52   INT. BEDROOM - LATER THAT NIGHT                                    52
     Half a dozen candles illuminate the room.

     Cynthia and Victor are making love. Not violent, but slow,
     passionate, dreamlike. They are completely enjoying each
     other. The satisfaction seems spiritual. They stare into
     each other's eyes the entire time. They are lost.

     Gradually Victor's rhythm builds. As his momentum increases,
     as the ecstasy nears, Cynthia accelerates too. Heaving,
     gasping, they are approaching a beautiful climax.

     But just when it seems Victor is on the verge, the very
     threshold, he stops and JUMPS violently out of bed.

                           VICTOR
               Oh Jesus!

                           CYNTHIA
               Victor?

     Victor paces around the room, practically bouncing off the
     walls.

                         VICTOR
               Oh, my God. I can't believe it.
               What a great idea...! Too amazing!
               Too amazing!

                         CYNTHIA
               Is something wrong?



                                                          (CONTINUED)
                                                        38.
CONTINUED:

                       VICTOR
             Not wrong, Cynthia...right! The
             most right thing in the world!

He goes to his closet and pulls out a shoe box. He holds it
with a coy expression, like a kid hiding a frog. Cynthia's
annoyance with the break in mood fades in light of his
exuberance. Their tone with each other remains loving,
kidding.

                       CYNTHIA
             Are you going to tell me your
             little secret, or should I just got
             dressed?

                       VICTOR
             I'm sorry, Cyn, but I just got the
             most incredible idea. It's
             absolutely beautiful! Do you want
             to know what it is?

                          CYNTHIA
                    (exasperated)
             Yes!

He sits on the bad.

                       VICTOR
             I was just thinking about what we
             were doing here together...

                       CYNTHIA
             I should hope so...

                       VICTOR
             Wouldn't it be incredible if, right
             at the perfect moment right when
             we're coming, if we did it?

                          CYNTHIA
             Did what?

                       VICTOR
             What we were meant to do, of
             course.

                       CYNTHIA
                 (puzzled)
             ...meant to do...?




                                                   (CONTINUED)
                                                        39.
CONTINUED: (2)

                    VICTOR
          That sunset. That last night.      At
          Unity House. Remember?

                       CYNTHIA
          No...     No, Victor, I don't...

                    VICTOR
              (distant)
          They all got to go. You and me...
          we got left behind... while they
          went on.
              (chuckling)
          Guess that's why they say life
          ain't fair. Well...

He opens the box.    Inside it are TWO PISTOLS.

                    VICTOR (CONT'D)
          --we can fix that.

                    CYNTHIA
              (stiffening)
          My God, Victor! Put those away--

He ignores her, checks the cylinder on the revolver, the clip
on the automatic.

                    VICTOR
          This is so great! I mean, I've
          been living with all this shit,
          thinking about you, searching...
          going nowhere. And you, hell, you
          don't fit in with Ralph and Miriam,
          those other flakes... Berrisford
          and Goldman, they're a waste of
          time--

                    CYNTHIA
          H-how do you know about them? I
          never--

He SLAMS the clip home, CLOSES the cylinder.

                    VICTOR
          Yeah. We had the answers, way back
          then. Unity. Unity, now and
          forever. Cynthia, this is our
          second chance!

She shrinks away from him on the bed. He bounces closer like
a kid at a pajama party, holds out one of the pistols.


                                                  (CONTINUED)
                                                        40.
CONTINUED: (3)

                    VICTOR (CONT'D)
          Okay, you do me, and I'll do you--
          but wait until I say go! Hey, get
          rid of the sheet... Let me see
          that grown up body...

He grins, puts the gun to her head and gets an top of her.

                    CYNTHIA
          No, Vic. Please.       Please!   I don't
          want to do this!

                    VICTOR
          Yes, you do. You know you do.

                     CYNTHIA
          No!

He's holding her down.   He's getting into it.

                    VICTOR
          Oh, Cynthia, it's so beautiful.

                    CYNTHIA
          God, God, no--

                    VICTOR
          We're on the edge of space and
          time.

He spreads her legs under the sheets. She's struggling
against him, but it's no use. He's too strong. He's coming
closer.

                    VICTOR (CONT'D)
          Oh, good... good... ummm...
          ummm...
              (continuing)
          Cynthia, it's happening. Put the
          gun to my head.

                    CYNTHIA
          Jesus, Vic, no!

                    VICTOR
          Yeah, oh yeah...     oh, YEAH--

A SHOT sounds.   She SCREAMS--

                                             CUT TO:
                                                                 41.




53   INT. BEDROOM - NIGHT                                                53
     Cynthia BOLTS up out of bed.

                            CYNTHIA
               No!

     The candles are out.    Victor isn't in the room.

     Cynthia, drenched with sweat, slowly catches her breath.      She
     looks around, confused.

                            CYNTHIA (CONT'D)
               Vic?

     She goes into the other room.


54   INT. LIVING ROOM                                                    54
     No Vic. It is dark except for a FIRE in the fireplace. The
     flames REFLECT oddly on the slick surface of the oil painting
     of Unity House.

                            CYNTHIA
               Vic?

     She checks in the kitchen. Nothing.       She looks back in the
     bedroom. The apartment is empty.

     She's just calming when--MEEOW! The CAT LEAPS out of
     nowhere, startling her, and then running out of sight.

     She swallows. Very nervous now, she sits on the couch and
     starts pulling on her jeans and shoes. The CAMERA MOVES
     AROUND her, revealing the entire apartment. We see EVERY
     ANGLE. It is completely quiet and still. The CAMERA SETTLES
     at one ANGLE on Cynthia. A shadow behind her MOVES.

                         VICTOR
               Where are you going?

     Cynthia JUMPS from fright.

                         CYNTHIA
               Jesus, Vic. I thought you... left.

                           VICTOR
               Me?    Leave you all alone?

     He pulls her into his arms.      She hesitates.


                                                           (CONTINUED)
                                                                42.
     CONTINUED:

                             CYNTHIA
                  Vic?   Vic, are you... happy?

                            VICTOR
                  That...
                      (kissing her)
                  ...has to be..
                      (kissing again)
                  ...the stupidest question I ever
                  heard...

     He keeps kissing, caressing.

                            CYNTHIA
                  I mean... with... life.   With...
                  being alive.

     He looks at her oddly.

                            VICTOR
                  What are you talking about?

                            CYNTHIA
                      (relaxing)
                  Never mind... I had this...
                  bizarre dream...

                            VICTOR
                  Welcome to reality.

     He touches her soft face. He runs his hands down her neck.
     They kiss again, she now completely without reservation.
     Their embrace is so all-encompassing that, when she opens her
     eyes, it's only then that she SEES

55   CLOSER                                                             55
     She is kissing a BURNED AND SCARRED FACE WITH ONLY CLUMPS OF
     PUPPY BLACK MUSCLE HANGING ON THE BONE. It is Harris' face,
     the face we saw in the elevator. Cynthia GASPS, fumbles
     backwards off of the sofa.

                            VICTOR (CONT'D)
                  What's the matter?

     She looks back up at him.     He's Victor again, normal again.

                             VICTOR (CONT'D)
                  Cynthia?

     She knocks over a tequila bottle. It's spilled all over the
     floor. She is speechless. He picks the bottle up.


                                                          (CONTINUED)
                                                                 43.
     CONTINUED: (2)

                         VICTOR (CONT'D)
               Why did you pull away?

                           CYNTHIA
               I...    I think I'd better go.

                           VICTOR
               Why?

     She's over by the door.    Victor comes and presses against it
     so she can't get out.

                         CYNTHIA
               Please let me out.

                         VICTOR
               I don't understand...    What did I
               do?

                        CYNTHIA
               Nothing. It's not you, it...     it's
               me. I just want to go.

                         VICTOR
               You know, maybe you belong in that
               clinic, because this, this is
               crazy! We were having a good time--
                   (on her look)
               I'm sorry. Look, what we were
               feeling... it was special.

     She softens--

                         VICTOR (CONT'D)
               --it was Unity.
                   (distantly)
               Unity, Now and through Eternity...
               Cynthia, you cannot run...

     That does it.    Pale, she scrabbles at the doorknob, opens it,
     runs out.

                          VICTOR (CONT'D)
               You cannot run... You belong to us
               Forever--!


56   EXT. STREET - NIGHT                                                 56
     She runs out of the building, past "Zeke."      She looks back.




                                                           (CONTINUED)
                                                                44.
     CONTINUED:


57   THE APARTMENT--HER POV                                            57
     Victor is in the window waving, firelight dancing behind him.
     The reflection on the glass makes the painting on the wall
     look totally aflame.

     ETHEREAL SITAR MUSIC UP OVER THE FOLLOWING SEQUENCE:


58   EXT. HIGHWAY - NIGHT                                              58
     Cynthia has her thumb out as the cars whizz by.     One stops.


59   INT. CAR - NIGHT                                                  59
     A sweaty-looking DRIVER eyes Cynthia.   She just looks off,
     depressed and afraid.


60   EXT. PARKING LOT - DAWN                                           60
     She gets out of the car and goes in the main entrance.


61   INT. HOSPITAL HALLWAY - DAWN                                      61
     She makes her way to her room looking tired, distraught.


62   INT. CYNTHIA'S ROOM - DAY                                         62
     She lies on her bed, exhausted, trying to sleep.     She can't.
     She gets out of bad.


63   INT. HOSPITAL HALLWAY - DAY                                       63
     She's looking for an office. She goes in one marked Dr.
     Goldman. He looks up from his coffee, sees her ashen
     expression... pulls out a chair. Listens as the words
     tumble out. His expression changes... to skepticism... and
     then, as she breaks down SOBBING, to concern. He holds
     her... thinks...

     ...reaches for his car keys.

                                               CUT TO:
                                                                   45.




64   INT. ALAN'S CAR - DAY                                               64
     They are travelling along the highway.      Cynthia POINTS.   He
     turns onto another street.


65   EXT. VICTOR'S APARTMENT - DAY                                       65
     They pull up in front, park.     Go inside.

     CAMERA LINGERS long enough for us to notice a puddle from an
     OIL LEAK exactly where "Zeke" was parked.

     THE MUSIC FADES OUT.


66   INT. APARTMENT CORRIDOR - DAY                                       66
     The MANAGER, a fat woman in a muumuu, waddles ahead of them,
     a huge keychain CLINKING with each of her steps.

                         MANAGER
               Apartment 2-B, right?

     Alan looks at Cynthia.

                            CYNTHIA
               Right.

                         MANAGER
               2B or not 2B, that is the question.

     She chuckles at her own wit, arrives at the door.      Opens it.


67   INT. APARTMENT - DAY                                                67
     They step inside. The place is completely bare.       No
     furniture. Nothing. Cynthia is stunned.

                            CYNTHIA
               B..but...     it... it's empty!

                         MANAGER
               Of course it is. I     don't show
               rented apartments.     Anyway, what
               you see is what you    get... one
               bedroom, gas range,    yadda yadda
               yadda.
                         (MORE)



                                                           (CONTINUED)
                                                             46.
     CONTINUED:             MANAGER(CONT'D)
                  Supposed to be six months minimum,
                  but you seem like nice kids, so if
                  you want a month to month, we can
                  work it out.

                            CYNTHIA
                  This... this is impossible...
                  Alan, I was here... He was here-

     Cynthia is staggering around the room, looking everywhere.
     She stares long and hard at a DUST-FREE rectangle where the
     painting...

     ...might have been.

                            ALAN
                      (to the manager)
                  How long has this place been
                  vacant?

                            MANAGER
                  'Bout six weeks. Couple a
                  deadbeats... their damn kids tore
                  the hell out of it, too--

                            CYNTHIA
                  Alan, I don't care what she says,
                  this is it! Look, look--
                      (pointing)
                  There's a double-door closet in
                  there on the left.

     Alan goes in.


68   INT. BEDROOM - DAY                                               68
     Alan looks and sees the closet as she described it.


69   INT. LIVING ROOM - DAY                                           69
                            CYNTHIA
                      (as he comes back out)
                  Well?

                            ALAN
                  Cynthia, a double closet isn't
                  exactly a positive I.D.--

                            MANAGER
                  What are you two talking about? You
                  wanna rent, or what?


                                                        (CONTINUED)
                                                                47.
     CONTINUED:

     Cynthia looks around, suddenly points to a stain on the rug,
     triumphant.

                            CYNTHIA
                  There! There, look--that's where I
                  spilled the tequila...
                      (on her knees, desperate)
                  See? See? It's still wet!

                             MANAGER
                      (apologetic)
                  Hon, I think that's from the
                  ceiling...

     CAMERA TILTS UP. There is, indeed, a corresponding damp spot
     directly above the one on the rug. As we WATCH a DRIP plops
     down.

                            MANAGER (CONT'D)
                  ...damn plumber was supposed to fix
                  it last week.
                      (smiling)
                  So! We in business?

                                                 CUT TO:


70   INT. BERRISFORD'S OFFICE - DAY                                      70
     Wasserman SLAMS his hand down on the desk, furious. Cynthia
     JUMPS, squeezes Alan's hand. Berrisford sits quietly, leans
     forward and picks up the pan holder Wasserman has displaced.

                            WASSERMAN
                  Twelve hours! You wait twelve
                  hours to tell me about this? Am I
                  supposed to be grateful for your
                  civic-mindedness? I told you the
                  Unity House case was still open--
                      (pointing at Cynthia)
                  --and she's the only lead. You
                  should have called me the minute
                  you found out--

                            BERRISFORD
                      (calmly)
                  Found out what? Lieutenant, if I
                  called the police every time one of
                  my patients experienced a fantasy
                  or a delusion, you'd have to move
                  in here--



                                                           (CONTINUED)
                                                         48.
CONTINUED:

                       CYNTHIA
                 (sharp, stepping forward)
             It was not a delusion! Victor
             Lunes was here--

                       BERRISFORD
             The security guard didn't see
             anyone--

                       CYNTHIA
             Then the security guard needs
             glasses! Alan, tell them--

                       ALAN
                 (on the spot)
             The apartment did match her general
             description--

                       WASSERMAN
             --a one bedroom flat with a beige
             rug... that's rather... generic.

                       CYNTHIA
             --Victor isn't generic--

                       WASSERMAN
             Victor is dead! Dead for fifteen
             years--

                       CYNTHIA
             --you've seen his body?

                       WASSERMAN
             --it was burned beyond recognition--
             but there was I.D.--

                       CYNTHIA
             I knew it--I knew it-

                       ALAN
             Cynthia. Look... we've all done
             it... tumbled out of bed positive
             that we've just lived something
             that was only a dream--

                       CYNTHIA
                 (firmly)
             Damn it, it wasn't a dream--I was
             out there--




                                                    (CONTINUED)
                                                           49.
CONTINUED: (2)

                    WASSERMAN
          No one's denying you flow the coop,
          Miss Weston... You wanna prove the
          rest? Lemme get a policewoman to
          stand by while a gynecologist
          checks out your plumbing. We'll
          see soon enough if your ghost left
          a calling card--

Cynthia hauls off and gives Wasserman a tremendous SLAP.

                    CYNTHIA
          You bastard.

She goes to the door, looks at the doctors.

                     CYNTHIA (CONT'D)
          You...
              (searching)
          --experts!

She goes out, SLAMS the door.    Wasserman rubs his jaw, checks
his mouth.

                    BERRISFORD
          Wonderful! Wonderful! I've been
          waiting and waiting for her to
          finally show real anger--real
          emotion! This could be a
          breakthrough!
              (sincere)
          Thank you, Lieutenant.

Wasserman holds a filling in his fingertips.

                     WASSERMAN
          Hey.   Anytime.

                                           CUT TO:


INT. THERAPY ROOM - DAY

CAMERA PANS past a row of PILLOWS. We WIDEN, see that each
member of the group has a big pillow in front of them.

                    ALAN
          Okay. First off, we're all going
          to feel a little silly and maybe
          look a little silly...




                                                     (CONTINUED)
                                                              50.
      CONTINUED:

                             RALPH
                       (a la Groucho)
                   Especially in that shirt you're
                   wearing, Goldman...

70A   NEW ANGLE - FAVORING CYNTHIA                                    70A
      She sits, looking very distracted. As Alan continues
      speaking, he occasionally looks at her, but--to her relief--
      deliberately doesn't single her out.

                             ALAN
                       (amused, but pushing on)
                   --but this technique works, and
                   we're going to release some of our
                   hidden aggression. Who's going to
                   go first? Lana?

                             LANA
                       (pause)
                   How many helpless goose had to die
                   to fill those stupid pillows?

                             ALAN
                       (as everyone groans)
                   None, Lana. They're polyester.
                   Ed? Want to start?

                             ED
                   Nah. Let's talk about the geese
                   again. Nice fat ones, with all the
                   trimmings--

                             ALAN
                   All right, how about if we all
                   start together and eliminate the
                   wimp factor. Come on.

      He starts POUNDING his pillow with a steady beat. Gradually,
      self-consciously, the others JOIN in except for Cynthia.

                             ALAN (CONT'D)
                       (standing, walking around
                        the circle)
                   Okay. What are we feeling?

                             CONNIE
                       (as she pounds)
                   We used to do something like this
                   in the royal palace in Atlantis.
                   But we used bags of dried kelp.



                                                        (CONTINUED)
                                                               51.
      CONTINUED: (2)

                          RALPH
                Your brain is a bag of dried kelp--

                          ALAN
                    (chiding)
                Ralph. Miriam?

                          MIRIAM
                    (pounding)
                I'm pretending this is my first
                husband... No, maybe my third...
                    (grinning)
                Can I have a baseball bat?

                          ALAN
                Please, people, let's work at being
                serious.

      He moves behind Cynthia, who's still unmoving.   Leans close,
      whispers.

                          ALAN (CONT'D)
                I know you had a rough night.   But
                you have to participate.

      She sighs, starts to pound the pillow. At first she's very
      distracted, but then she gets into an unconscious rhythm...

70B   GROUP - QUICK SHOTS                                             70B
      All of them are finally and legitimately exorcising personal
      demons.

                          ALAN (CONT'D)
                Okay, that's better. Now let's
                hear some emotion. Let it out.
                yell! Scream!

      Miriam gives a very theatrical scream. There's some
      laughter, but others try, too. Gilda begins to give little
      angry yelps. Ralph is really punching some ancient enemy.
      Connie does a respectable if modest SCREAM. Ed SNARLS with
      more anger than we'd expect.

70B   CYNTHIA                                                         70B
      begins hitting the pillow with growing strength. Her eyes
      are far away. She begins to BREATHE HEAVILY. CAMERA
      TIGHTENS ON HER. She closes her eyes. When she opens them,
      she REACTS TO--
                                                                  52.




75    INT. UNITY HOUSE COMMON ROOM - NIGHT                                75
      The scene in exactly like the first time we saw this room
      with one difference: the hospital Group Therapy crowd sits in
      the room. They are oblivious to the change around them. Now
      their pounding gradually UNIFIES, becomes a background voodoo-
      like DRUMMING.

      Cynthia is speechless. She looks at then in amazement, but
      none of them notice her. Suddenly she sees

75A   HARRIS                                                             75A
      He's across from her, SMILING.    Again, he sleeks back his
      hair in that amber liquid.

                           HARRIS
                 You failed me, Cynthia...   You
                 failed all of us...

      Harris holds a wooden match. With it he presses back a
      fingernail. It snaps off and bleeds. Harris watches
      Cynthia.

                           HARRIS (CONT'D)
                 We were supposed to be together...
                 in this world... and in the next...

      CAMERA WIDENS to take in the cistern of liquid.    We SEE the
      dripping wet Unity members.

                           HARRIS (CONT'D)
                 It was going to be perfect, all of
                 us taking the same journey... You
                 shouldn't have run. You made us
                 wait for you while you slept...
                 all those years.

      He presses back another nail SNAP. CAMERA WIDENS FURTHER.
      Now we see something we didn't see before: a dozen or so
      PLASTIC JERRY CANS marked "GASOLINE--DANGER--PLAMMABLE."

                           HARRIS (CONT'D)
                 The waiting time is over, my
                 lovechild. It's time for you to
                 join us. In Unity...

      Another.   SNAP.   Hands and faces everywhere are soaked.   They
      DRIP.




                                                          (CONTINUED)
                                                              53.
      CONTINUED:

                               HARRIS (CONT'D)
                   In death.    You know you want it.

      SNAP.   Drip.

75B   CYNTHIA                                                        75B
      Her throat muscles constrict, but she can't speak. She looks
      over at Alan, who seems not to see any of this. Now, eyes
      widening in horror, Cynthia LOOKS DOWN and sees a POOL OF
      GASOLINE SPREADING TOWARDS HER. It washes against the
      pillow, her knees.

75C   BACK TO SCENE                                                  75C
                             HARRIS (CONT'D)
                   You know we're your family...

      SNAP.   Drip.

                             HARRIS (CONT'D)
                   ...You have no choice...

      He takes the match and strikes it through the pile of nails.

      The nails scatter.

                             HARRIS (CONT'D)
                   ...Come to us, Cynthia. It's time
                   to die. Don't lot another take
                   your place. Come to us... now.

      The match is lit.    He throws it off.

76    SLOW MOTION                                                     76
      It FALLS through the air. Lands on the soaked carpet.   An
      EXPLOSION of flames. They RUSH TOWARDS CYNTHIA--

                             CYNTHIA
                   NOOOOOOOOO--!

      It is a blood-curdling and heart-stopping a scream as ever
      heard.

      There is a FLASH of light.

                                                   CUT TO:
                                                               54.




77    INT. THERAPY ROOM - DAY                                            77
      Cynthia's SCREAM trails off as she THROWS herself back from
      the pillow.

      The Unity House Members and Harris are all gone.

      The group therapy people all turn to her in amazement.

77A   MIRIAM                                                            77A
      Open mouthed, she DROPS the match she's holding to light a
      cigarette. It SIZZLES on the rug. Alan STOMPS it out,
      rushes over to Cynthia, who SAGS in his arms,

                                               CUT TO:


77B   INT. ALAN'S OFFICE - DAY                                          77B
      Cynthia sits in a crumpled sprawl in Alan's office. The room
      is decorated in comforting tones, with Sierra Club posters
      and outdoors-y souvenirs. The late afternoon sun steams in
      through the partially closed blinds.

      Alan sits beside Cynthia on the couch, concerned.   Berrisford
      sucks on his pipe, makes notes.

      Wasserman, rocking on the legs of his chair, jots in his own
      little notebook.

                          CYNTHIA
                    (softly, tense)
                ...They... they sang songs as they
                stacked up the white containers...
                they were... happy. Because it
                was going to be their break with
                the world... a world that didn't
                understand them. I don't remember
                if they took a vote or if Harris
                just... decided. But they all
                agreed. They were... happy...
                smiling... laughing... crying from
                happiness as he drenched them in
                the gasoline...

                          WASSERMAN
                    (under his breath)
                --Jesus--




                                                          (CONTINUED)
                                                              55.
CONTINUED:

                       CYNTHIA
             Somehow, I... I knew it was
             wrong... I ran... When he threw
             the match, I was at the other end
             of the hallway... There was a
             flash... and a... like a wind, or
             the hand of God--picked me up,
             threw me... The ceiling fell in...
             When I opened my eyes...
                 (she looks up)
             I was here.

Hettie appears in the doorway, tray in hand, raises her
eyebrows inquisitively at Alan. Alan nods immediately: Hell,
yes. Hettie comes in, gives Cynthia her medication.

Wasserman closes his book, looks thoughtful.

                       ALAN
                 (to Wasserman)
             If that's what happened, why didn't
             you find any evidence of arson?

                       WASSERMAN
             The plastic jerry cans would've
             burned up before anything else...
             We knew there'd been an
             explosion... We just didn't know
             how or why.

Berrisford stands, approaches Wasserman as the police officer
closes his book, moves to the doorway.

                       BERRISFORD
             Well. You must be pleased.
             Closing a case after... what is it,
             twelve years?

                       WASSERMAN
             Who says it's closed?

The medical people look at him.      Cynthia's thoughts are
elsewhere.

                       ALAN
             What's that supposed to mean?

                       WASSERMAN
             When the fairy princess here woke
             up, she said she didn't remember
             anything about 32 deaths. Now she
             remembers they committed suicide...
                       (MORE)

                                                      (CONTINUED)
                                                               56.
     CONTINUED: (2)      WASSERMAN(CONT'D)
               but she, of course, was innocent.
               Who knows what she'll remember
               tomorrow? Running for help... or
               pouring gasoline on the fire?

     He goes out.

                         HETTIE
               That man's a candidate for shock
               therapy... with a car battery
               right to the cojones.

                         CYNTHIA
               No... he's right.     I am guilty.

     They look at her, startled.

                         CYNTHIA (CONT'D)
               I'm guilty of lying... to Unity
               House. I promised to be part of
               it... Forever. They expected me
               to keep my word.
                   (pause)
               They still do.

     She stands, goes out. Alan and Hettie look worried.
     Berrisford looks... unsurprised. He turns to Alan.

                         BERRISFORD
               Well, Alan. Still think she
               doesn't belong in the group?

     Alan just looks at him.

                                                CUT TO:


80   INT. LOCKER ROOM - DAY                                             80
     Cynthia, in her bathrobe, wanders out of the shower in
     between the dark, steamy rows of lockers. She passes Lana
     and Miriam. Miriam is dressing, and Lana is putting on a
     swimsuit.

                         MIRIAM
               Nothing like a hot shower, huh?

     Cynthia doesn't hear or see them. She settles on the far end
     of the bench. She sits there blankly. Lana nears, with
     great trepidation.

                          LANA
               Cynthia?   Cynthia?   Are you okay?


                                                          (CONTINUED)
                                                               57.
CONTINUED:

Cynthia looks up.

                         CYNTHIA
             What?

                       LANA
             Are you all right?    After that
             session today, I--

                         CYNTHIA
             I'm fine.

Cynthia starts to dress, ignoring Lana.         Lana stands there
for a moment, very awkwardly.

                       LANA
             I think... you're a decent
             person... not a... mean spirited
             witch like some people...

She thrown a look at Miriam, who just smiles pleasantly.

                       LANA (CONT'D)
             --and, well, if you need a friend
             here...

                       CYNTHIA
                 (distant tone)
             All my friends are dead.

Rattled, Lana backs off, on the verge of tears, rushing past
Miriam, who has observed all this.

                       MIRIAM
             Lana, wait a minute, she didn't
             mean it--shit.

Miriam closes her locker and comes over to Cynthia.

                       MIRIAM (CONT'D)
             I know Lana's a mealy-mouthed
             little prude, but she means well.
             I probably pull her chain too
             much... She's reaching out, like
             all of us. Try and help her.

                       CYNTHIA
             I can't even help myself.

Miriam looks at her, puzzled, then exits the locker room,
heading back to the ward.



                                                         (CONTINUED)
                                                                  58.
      CONTINUED: (2)
      Beyond the lockers, through a doorway, we see Lana lowering
      herself into the pool. Blue ripples line the wall beyond.

                          DISTANT VOICES
                    (echo affect)
                Be cleansed!

      The SOUND of the VOICES unnerves Cynthia.     She presses her
      hands against her forehand in pain.

      We are TIGHT ON Cynthia.    We hear SPLASHING.

                          VOICE
                Cleanse the heart of your mind.

      A bright white light melts across Cynthia's face.     She looks
      up. Something draws her forward.

80A   CYNTHIA - SIDE ANGLE                                               80A
      She begins walking, passing behind CLOTHES RACKS and LOCKERS.
      Then, somehow, the SHADOWS of these things become the SHADOWS
      of TREES, and then Cynthia is

80B   ON A BROAD FIELD                                                   80B
      which leads down to a POND. Twenty or so PEOPLE are gathered
      at the edge of the water. We see the Unity House in the
      distance.

      Cynthia moves behind a tree to watch. Harris stands waist-
      deep in the pond. The Unity House Members all sit or stand
      on the shore. Harris holds his hands out in a gesture. A
      girl comes forward through the group out into the water. It
      is Cynthia, the younger Cynthia, with long hair in a braid.

      She smiles at Harris as she nears him. He clutches her
      hands. Behind the tree, Cynthia watches "herself," absorbed.

      Harris looks into Cynthia's eyes.    He touches her face.

                             HARRIS
                Cynthia.     You are part of the
                whole.

      He grabs her by the back of the head and plunges her
      violently under water.

                          HARRIS (CONT'D)
                Cleanse the heart of the mind!

      He yanks her up.   She smiles exultantly.    He dunks her back
      down.


                                                           (CONTINUED)
                                                                   59.
      CONTINUED: (3)

                          HARRIS (CONT'D)
                Cleanse the soul of the self!

      He yanks her up again, but it's not Cynthia. It's LANA.
      Before she can catch her breath, she's plunged back down.

80C   LANA - CLOSER                                                      80C
      She's yanked up, but this time she's not in the pond, she's
      in that gasoline-filled cistern!

                          HARRIS (CONT'D)
                Cleanse the spirit of the body!

      He holds her under. She starts to move her arms around to
      grab hold of something to pull herself up, but Harris is too
      strong. She flails around desperately.

80D   CYNTHIA                                                            80D
      Alarmed, she moves forward--

80E   WITH LANA - UNDER WATER                                            80E
                          HARRIS (CONT'D)
                    (distant)
                Cleanse the spirit.

      Lana's gasping, inhaling water, turning blue.    Harris is
      possessed.

                            HARRIS (CONT'D)
                Cleanse.

      Her movements slow.   Her eyes close.   She is completely
      still.

80F   HARRIS - CLOSE                                                     80F
      He looks directly at Cynthia.

                          HARRIS (CONT'D)
                I warned you, Cynthia. I warned
                you someone else would take your
                place.

80G   UNDER WATER AGAIN                                                  80G
      His HAND withdraws from Lana. Her eyes OPEN. No life there.
      SHE FLOATS UPWARDS. THE CAMERA BREAKS THE SURFACE OF THE
      WATER WITH HER.



                                                          (CONTINUED)
                                                                60.
      CONTINUED: (4)

      We're in the clinic's swimming pool! On the edge of the
      pool, Cynthia SCREAMS, drops to her knees in horror.

80H   OTHER END OF BUILDING                                             80H
      The clinic CUSTODIAN and some staff run into the room.

80I   SWIMMING POOL - HIGH ANGLE                                        80I
      Someone wades out to Lana's body, drags it to the concrete
      deck, tries futilely to pump life back into it.

      Across the pool, Cynthia flails at the people trying to help
      her.

                                                CUT TO:


80J   INT. CYNTHIA'S ROOM - NIGHT                                       80J
      TIGHT on Cynthia's arm as a clear liquid is injected into her
      vein. We WIDEN, see Berrisford has injected her. Alan
      watches, concerned.

      Cynthia flails on the bed, already reacting to the sedative
      qualities of the drug.

                          CYNTHIA
                --He killed her--he killed her
                because I broke my word... He said
                he'd take someone else, and he
                did... She wanted my help... my
                friendship... That's why... he
                took her...

      She's out cold. Behind the doctors, in the doorway, the
      other clinic patients press close, curious. Hettie pushes
      them out and down the hallway.

                          HETTIE
                Move it, people, this ain't a
                sideshow... Get back to your
                rooms...

      Alan looks down at Cynthia with genuine concern.    But
      Berrisford eyes her totally clinically.

                          BERRISFORD
                    (thinking aloud)
                Fascinating.
                          (MORE)



                                                          (CONTINUED)
                                                               61.
     CONTINUED:             BERRISFORD(CONT'D)
                  She's a textbook specimen from a
                  collective environment, an
                  immersion philosophy, run by an
                  extremely manipulative figurehead
                  with Messianic delusions. Unity
                  House at its apex must have been a
                  classic matrix of belief impression
                  overlaid on collectivity--
                      (exciting himself)
                  That would indicate she's
                  symptomatic of a hypothetical
                  Borderline Personality syndrome
                  among cult followers, all
                  externalizing their anxiety!
                      (turning)
                  What do you think?

     Alan looks at him disbelievingly.

                            ALAN
                      (exploding)
                  I think she's fucking freaked out
                  about Lana!

                            BERRISFORD
                      (a shrug)
                  Possible.


88   INT. HALLWAY - DAY                                                88
     The patients file past the nurse's station, taking their meds
     from Hettie. They look unsettled.

                            ED
                      (aside to Ralph)
                  Did you see the swimming pool this
                  morning? The cops are all over
                  it... Fingerprints, photographs...

                            RALPH
                  Next they'll send in the fucking
                  coast guard. Lot of good it'll do
                  Lana.

     HE SMASHES his fist on the counter, denting it.    Hettie looks
     at him.

                            HETTIE
                  Ralph, we're gonna start billing
                  you for these outbursts.




                                                         (CONTINUED)
                                                              62.
      CONTINUED:

      Ralph just crumples his medication cup and throws it towards
      her. She glares at him, doesn't say anything.

88A   NEARBY                                                           88A
      Cynthia and the other women from the group sit in a waiting
      area. Connie sits in a sunbeam, looking ethereal. Gilda is
      nearby, unmoving... tear stains on her cheeks.

                             CONNIE
                   Drowning isn't so bad... I
                   remember when I died in Atlantis...
                   It was like failing asleep. You
                   know what's bad? Burning. When I
                   was in the great Fire of London,
                   well, let me tell you--

      Hearing this, Cynthia chokes back a sob, jumps up and leaves
      the room. Miriam whirls on Connie.

                             MIRIAM
                   Connie, I don't know about your
                   previous lives, but in this one,
                   you're a shithead.

      She follows Cynthia.


88B   INT. CYNTHIA'S ROOM - DAY                                        88B
      Cynthia is on the bad, crying. Miriam comes in, sits beside
      her... Cynthia jumps at the weight on the bad, calms when
      she sees who it is.

                             MIRIAM
                   Honey, you can't blame yourself.
                   Lana was an unhappy girl.
                   Sometimes unhappy girls do foolish
                   things.

                             CYNTHIA
                   She didn't kill herself.

      Cynthia sits up.

                             CYNTHIA (CONT'D)
                   It was Harris.

                             MIRIAM
                   Harris?




                                                         (CONTINUED)
                                                        63.
CONTINUED:

                       CYNTHIA
             From Unity House. He comes to me,
             Miriam. He talks to me. He
             reminds me that I was supposed to
             go with them that night--

                       MIRIAM
             Go with them--

                       CYNTHIA
             Through the fire. To the next
             world. They waited while I was in
             a coma... He told me that if I
             didn't join him, he would take
             someone also... and he did it,
             Miriam, he did it!

Miriam gets up, her face a mixture of sympathy... sympathy
and something else. She lights a cigarette. Involuntarily,
Cynthia FLINCHES at the spark.

                        CYNTHIA (CONT'D)
             You...   you don't believe me, do
             you?

                       MIRIAM
             I believe that you believe it. And
             I also believe that shooting you up
             every time you get the heebie-
             jeebies ain't gonna do shit for
             your real problems. We gotta get
             you out of here--get you to some
             nice place at the beach or the
             mountains where you can fight your
             demons in your own way. Right?

                       CYNTHIA
             But I don't know anyone.   I don't
             have any money.

                       MIRIAM
             You know me.

                       CYNTHIA
                 (skeptical)
             And you have money, right?




                                                   (CONTINUED)
                                                             64.
      CONTINUED: (2)


88C   CLOSE ON MIRIAM                                                88C
                          MIRIAM
                Look. Despite popular opinion to
                the contrary, I have not always
                been the career borderline
                psychotic neurotic that I am today.
                Up until a coupla years ago I was a
                writer, a reporter, a damn good one
                too... Hell, I really kicked some
                ass with that Selectric...

      She seems lost in thought for a moment. Unconsciously, she
      scratches her wrist... a wrist where we notice for the first
      time a PURPLE SCAR across the veins.

                          MIRIAM (CONT'D)
                    (turning)
                I was on the staff of a magazine...
                Well, some people called it a rag,
                but it was home: ME! Magazine. You
                heard of it?

                          CYNTHIA
                    (shaking her head,
                     diplomatic)
                I was in a coma.

                          MIRIAM
                Oh, right. Well, when they took me
                off to the funny farm, Saul--he's
                the editor--he said I was always
                welcome back. Maybe this is the
                time. See, if I can go to him,
                tell him your story, I could get a
                big advance... I'd share it with
                you, and we'd be set! I mean,
                girl, your story has everything...
                death, hospitalization, weird
                rituals, maybe a little romance--
                I've seen all those longing glances
                between you and Goldman-

                          CYNTHIA
                What--!

                          MIRIAM
                --and now with poor Lana we got a
                little mystery. Hell, you're not
                an article, you're a goddamned mini-
                series!



                                                       (CONTINUED)
                                                                 65.
     CONTINUED: (3)

                          CYNTHIA
               I...   I don't know...

                         MIRIAM
               Cynthia, let me be honest. This is
               a great story, and it means a
               second chance for me, so, okay,
               there's some self interest here.
               But I really think you need to tell
               people about Unity House... about
               the way decent ideas and dreams got
               twisted into something sick and
               poisonous. You owe it to the
               world. You owe it to yourself.
               It's your life, and you have to ask
               yourself how you want to live it...
                   (sharper)
               --if you want to live it.

     Cynthia turns, mind made up.

                         CYNTHIA
               Let's do it.

                                               CUT TO,.


92   INT. HALLWAY - DAY                                                 92
     Cynthia walks along with Miriam towards the banks of
     elevators.

                         MIRIAM
               I think I know a way to make a
               phone call. We'll have you out of
               here tonight.

     Miriam suddenly stops, almost paralyzed with anxiety.

                           MIRIAM (CONT'D)
               Cynthia.    This is the right thing
               to do.

                         CYNTHIA
               Of course it is.

                            MIRIAM
               Uh oh.     Mum's the word.

     Alan is coming down the hallway towards them.   They move
     towards the elevator.



                                                          (CONTINUED)
                                                               66.
CONTINUED:

                       ALAN
                 (nodding)
             Ladies. Good to see you
             socializing, Cynthia.

                          CYNTHIA
             Yes.
                 (to Miriam)
             See you later. And...     thanks.

                          MIRIAM
             Thank you.

Miriam then gets into the elevator.         The doors remain open,
Alan turns to Cynthia.

                       ALAN
             How are you feeling?

                          CYNTHIA
             Fine.

                          ALAN
             Good.

He heads off in the opposite direction. Cynthia watches him.
She turns back towards Miriam. Miriam is alone in the
elevator except for one other person.

Miriam smiles and waves.

Cynthia smiles and waves.

From behind Miriam, Harris, all burned and puffy, smiles and
waves.

The elevator doors close.

                          CYNTHIA
             No!

Alan whirls around.       Cynthia rushes to the elevator.

                         CYNTHIA (CONT'D)
             Miriam!    Stop!

She bangs on the buttons. She pounds on the doors.          Everyone
in the corridor turns to look.

                          ALAN
             Cynthia?



                                                         (CONTINUED)
                                                                  67.
     CONTINUED: (2)

     He starts to approach.   She runs to a stairwell.


93   INT. STAIRWELL                                                      93
     Cynthia sprints down a flight.    She goes out onto


94   INT. HALLWAY, ONE FLIGHT DOWN                                       94
     Cynthia runs to the elevator and pounds on the button, but
     the elevator car has already passed.

                         CYNTHIA
                   (yelling into the door)
               Miriam, get out!

     She races back to


95   INT. STAIRWELL                                                      95
     She flies down the steps.    We can hear ALAN tailing her.

                          ALAN'S VOICE
               Cynthia!

     She swings around a turn into a flight and trips.     Suddenly
     she's ROLLING DOWN A


96   EXT. HILLSIDE - NIGHT                                               96
     She SLAMS into a tree.   We see the Unity House in the
     distance.

                          VOICE
               Cynthia!

                         ANOTHER VOICE
               She's trying to get away!

     There are PEOPLE pounding through the brush all around her.
     She gets up and runs along the path into the forest.

                        VOICE
               Cynthia! We want you to stay with
               us! You mustn't be afraid!

     She is in total panic, running blindly.




                                                           (CONTINUED)
                                                             68.
     CONTINUED:

                            CYNTHIA
                  Please, no.

     Branches thrash her face. She can barely see where she is
     going, but she comes to a halt when she reaches a dark
     precipice, a cliff which seemingly has no bottom--just black
     as night.

     The people are getting nearer.

                            FEMALE VOICE
                  She's over here.

     We see someone nearing through the brush.

                            HARRIS
                  No pain, Cynthia. There's no pain.
                  Come with us. Share with us. Take
                  my hand.

     Cynthia looks down the cliff.

                            ORDERLY'S VOICE
                  Take my hand.

     Cynthia backs away. She starts lowering herself down, trying
     to get footing. Some rocks slide out.


97   INT. STAIRWELL                                                  97
                            ORDERLY
                  Cynthia, take my hand.

     The Orderly rushes to her, but she wavers dizzily and FALLS
     down the half-flight. She's dazed, but she becomes alert
     when she sees the orderly approaching. She picks herself up
     and runs.


98   INT. TENTH FLOOR CORRIDOR                                       98
     She gets to the elevator. The door is just closing, but it
     opens again against a purse--Miriam's purse. The elevator is
     empty. Cynthia whips around looking for her. Orderlies and
     nurses are moving towards her.

     At the opposite and of the hallway, a window is broken.
     Cynthia runs to it. There is a WOMAN'S SCREAM from the
     street below. PEOPLE YELLING. Cynthia looks out and down.

     We know what she sees.    She covers her face.


                                                       (CONTINUED)
                                                                     69.
      CONTINUED:

      An orderly takes hold of her. She is docile now, almost
      weak. Alan runs up. He looks out the window. So does a
      Nurse.

                             ALAN
                   Jesus.

      The nurse crosses herself.    Cynthia is escorted away amid the
      confusion.


99    EXT. SKY - DAY                                                           99
      The CAMERA IS MOVING FORWARD, TOWARDS the window.

      It seemingly goes OUT THROUGH THE WINDOW.

      The FRAME is filled with bright blue sky.

      Silence, except for a slight BREEZE.

      Someone is falling through the sky.       It is MIRIAM.

      We see her CLOSER, flowing down, the wind rushing up round
      her. She is happy.

                              MIRIAM
                   Cynthia, it's really quite
                   beautiful.

      The ground comes rushing up and we SLAM into it.

      BLACK.

                                                    FADE IN:


99A   INT. THERAPY ROOM - NIGHT                                               99A
      It's not a session.    It's a wake.   Cynthia sits, face half in
      shadow.

                             CYNTHIA
                   They want us all now. They want us
                   with them. Whether we like it or
                   not, we're going,

                             ALAN
                   Cynthia, we're all upset by what's
                   happened. But let's not get--




                                                                (CONTINUED)
                                                        70.
CONTINUED:

                       CYNTHIA
             Harris promised us eternal bliss on
             the other side when we're all
             together.

                       CONNIE
             Eternal bliss....

                       RALPH
             Eternal bullshit--!

                       CYNTHIA
             Miriam was going to write a story
             about me. He killed her because
             she was going to help me got out of
             here.

                       ALAN
             Cynthia, please...

                       CYNTHIA
             You're not listening to me! He
             wants us all to die! He wants you
             all with them, and it's because of
             me!
                 (sobbing)
             It's all because of me...

Berrisford addresses a pack of about thirty REPORTERS and
PHOTOGRAPHERS and CAMERAMEN.

                       FIRST REPORTER
             Dr. Berrisford, what would you call
             two suicides on your promises so
             close together?

                       BERRISFORD
             I'd call it a tragic coincidence.
             Unfortunately, Borderline
             Personality Disorder is indicative
             of a pre-existing disposition
             towards suicidal tendencies.

                       SECOND REPORTER
             What about the commune girl? Has
             she confirmed that the fire was
             some sort of mass suicide?

                       BERRISFORD
             As that is a police matter, I am
             not at liberty to comment on it.



                                                   (CONTINUED)
                                                                  71.
      CONTINUED: (2)

                          FIRST REPORTER
                Speaking of the police, doctor,
                isn't it true that they suspect
                that the recent deaths may not have
                been suicides at all?

                          BERRISFORD
                That's completely absurd.   Where do
                you get this nonsense?

                          FIRST REPORTER
                    (a smug smile)
                From Lieutenant Wasserman. He
                confirmed to me that he's assigning
                some of his officers to the
                hospital grounds until further
                notice.

      Pandemonium as the other reporters seize this information.

                          REPORTERS
                    (rapid fire)
                Doctor Berrisford, are you
                cooperating with the police? Dr.
                Berrisford, do your patients have a
                history of violence?

                          BERRISFORD
                Ah... I have work to do.    No
                further questions.

      And--flustered for once--he leaves the room.

                                                 CUT TO:


107   INT. CYNTHIA'S ROOM - NIGHT                                        107
      It is raining.   Cynthia sits in bed, in the dark.

      We see the CHARRED AND BURNED HARRIS sitting across the room
      in a shadow. Cynthia looks over at him.

                          HARRIS
                You're in pain, Cynthia.

      He reaches up to his face, and peels off some skin.    It
      CRACKLES and oozes. He peels off more.

                          HARRIS (CONT'D)
                Your pain is my pain. We share it
                all, because we have our love.
                          (MORE)

                                                           (CONTINUED)
                                                                       72.
      CONTINUED:             HARRIS(CONT'D)
                   Our love will never die. Don't
                   make me take another of your
                   friends. Keep your promise,
                   lovechild. Join me.

      She stands, fumbles for the switch, knocks over a glass, and
      turns on the light.

      He is gone. As she stands there in shock, a HAND touches her
      shoulder, spins her around. She GASPS--

      It's Alan, who's just opened the door.        He looks at her,
      worried.

                             ALAN
                   I didn't want you to be alone.

      She sways, dizzy, sags in his arms.

                             ALAN (CONT'D)
                   Looks like I was right.

                                                     CUT TO:


108   INT. CONNIE'S ROOM - NIGHT                                             108
      Connie is sitting on her bad. She takes her pills from
      Hettie dutifully. Ed comes in.

                             HETTIE
                   What are you doing here?

                             ED
                   You know me at feeding time.

      He takes his meds from her, smiling. CHEWS THEM loudly and
      sloppily until she grimaces and goes out.

      Then, the minute the door closes, Ed and Connie are in each
      other's arms. They kiss like characters in a Harlequin
      Romance.

                             CONNIE
                       (coming up for air)
                   Why didn't you tell me before that
                   you were a Prince of Ancient
                   Atlantis?

                             ED
                   It slipped my mind ...    your
                   Highness.



                                                               (CONTINUED)
                                                                 73.
       CONTINUED:

       She kisses him passionately again.    He breaks the clinch,
       pulls her towards the door.

                              ED (CONT'D)
                    They'll have bed check soon.   I
                    know a better place.


109    INT. CYNTHIA'S ROOM - NIGHT                                       109
       Alan site on the counter across from Cynthia's bed.    He plays
       with the hinged mirror on the wall.

                              ALAN
                    I don't know if you want to hear
                    this or not, and frankly, I don't
                    care.

       As he toys with the mirror, we see a CANTED REFLECTION of
       first Cynthia and then the hallway. A nurse passes by.

109A   ON CYNTHIA                                                        109A
       As she listens.

                              ALAN (CONT'D)
                    You are no more responsible for
                    those deaths twelve hours ago than
                    you are for the ones twelve years
                    ago.

       Something catches her eye.

109B   IN THE MIRROR                                                     109B
       Connie and Ed walk by.

                              ALAN (CONT'D)
                    Thinking otherwise is putting you
                    in a self-replicating spiral of
                    depression. And that puts me in a
                    bind... What do I do, write more
                    prescriptions? You need to face
                    reality, not get medicated out of
                    it...

       Cynthia GASPS.    HARRIS HAS APPEARED IN THE MIRROR, following
       Ed and Connie.




                                                           (CONTINUED)
                                                                  74.
       CONTINUED:


109C   BACK TO SCENE                                                      109C
       Cynthia jumps up, heads for the door.    Alan catches her by
       the wrist,

                              ALAN (CONT'D)
                    Damn it, Cynthia, you can't run
                    away from this--

                              CYNTHIA
                    It's Harris--he's going to do
                    something to Connie--to Ed--!

       Alan SLAPS her.    She pales... tries to hit him back.

                              ALAN
                    Good! Get mad--get angry--but not
                    at me--at these fantasies--!

       She stands on rocky feet, unsure...


112    INT. HALLWAY - NIGHT                                               112
       Connie and Ed come to a door marked "Utility." Ed looks
       around cautiously and opens the door, relieved that it's
       still unlocked.


113    INT. UTILITY ROOM - NIGHT                                          113
       Once inside the small space, he kisses Connie. He pulls out
       a pint flask of schnapps from his bathrobe pocket. He gives
       her a swig.

                              CONNIE
                        (wistful)
                    Nectar from the grapes of Atlantis!

                              ED
                    No fooling you.

       He leads her back to a door that's labeled "DANGER:
       Authorized Personnel Only." The lock is busted open.     They go
       in.
                                                               75.




114   INT. TURBINE ROOM - NIGHT                                        114
      There are metal grating steps leading up to a platform that
      sits adjacent to a huge spinning turbine, its six-foot blades
      WHIRRING at top speed. Air ducts lead in and out of the
      space.

      Connie is uplifted, frightened, exhilarated. Their clothes
      and hair are blown around. They ascend the platform, and sit
      across from each other. They each take a swig. They kiss
      softly, spiritually.

                          ED
                I'm so happy.


115   INT. HALLWAY - NIGHT                                             115
      The door to the utility room CLOSES.   It LOCKS.


116   INT. TURBINE ROOM - NIGHT                                        116
      Connie and Ed stare into each other's eyes.   They are lost.

      The CAMERA MOVES IN AND OUT between and around them,
      exploring the depth of their absorption. The CAMERA MOVES
      TOWARDS the huge spinning turbine. Its SOUND builds to a
      tremendous ROAR.

      We see Connie and Ed through the door into the turbine room.
      The door is pulled closed by someone or something. The knob
      locks.


117   INT. CYNTHIA'S ROOM - NIGHT                                      117
      Cynthia keeps looking at the door, worried.

                          ALAN
                Miriam and Lana were both deeply
                disturbed women. Miriam tried to
                kill herself before. Lana was
                obsessed with the morbid... You
                heard her in the sessions. You
                can't twist what they did into
                something other than what it was.

      Just then, all the lights go OUT.




                                                         (CONTINUED)
                                                                76.
      CONTINUED:

                                ALAN (CONT'D)
                   Now what?

      In the darkness, he stumbles towards the light, flicks it.
      Nothing. The door OPENS. In the dim light of the hallway
      emergency lamps, we SEE Cynthia go out.

                             ALAN (CONT'D)
                   Damn it, Cynthia, come back--!

      Trying to follow, he COLLIDES With some furniture.

                                ALAN (CONT'D)
                   Shit--!


118   INT. HALLWAY - NIGHT                                            118
      Darkness and confusion. Cynthia passes by the CAMERA. A
      moment later Alan comes by, looking for her. Other patients
      come out and wonder. Flashlights. A NURSE streams by.

                             NURSE
                   It's just overloaded circuits.
                   Everyone, please go back into your
                   room.

      CAMERA ADJUSTS to show an elderly, skeletal custodian, EDGAR,
      on the phone.

                             EDGAR
                   The turbine room upstairs? All
                   right.
                       (he hangs up)
                   We'll set it straight in a minute.
                   Somethin's caught in the turbine.

                                NURSE
                   Hurry.


120   INT. HALLWAY - NIGHT                                            120
      Edgar comes up to the utility door, but it won't budge.

                                EDGAR
                   Goddammit.

      He walks off.
                                                                    77.




121    INT. UTILITY TUNNEL - NIGHT                                           121
       This is a low passageway between floors. Edgar has to stoop
       under the ducts and pipes. He comes to a small hatchway in
       the coiling above him marked "CAUTION: Turbine."

       There is a latch which has to be pulled to release the
       hatchway. Edgar pulls. It's stuck. He yanks with his frail
       body. The latch barely moves.

       A TRICKLE OF BLOOD streams out at the edge, but Edgar doesn't
       see it.

       Edgar yanks and pulls with all his might, groaning and
       heaving. Finally he stops in frustration. He sits an a
       duct, resting.

       Just then the latch undoes itself. The hatchway slams open.
       Edgar is showered with red lumpy fluid. He is coated with
       it.

                            EDGAR
                  What the hell?

       Edgar looks down. In the pool of red is a woman's shoe.
       Puzzled, he bends down, picks it up. Something FALLS OUT OF
       IT.

121A   ON THE FLOOR                                                        121A
       It is a SEVERED HUMAN FOOT.

121B   ON EDGAR                                                            121B
       as he reacts in shock, the spinning turbine begins to
       SPLATTER DROPS OF BLOOD on him.

                                                     CUT TO:


122    INT. HALLWAY - NIGHT                                                  122
       Cynthia comes towards us.       Alan, further down the hall, sees
       her.

                               ALAN
                  Cynthia--!

       Cynthia turns, reacts...       and then reacts to--




                                                               (CONTINUED)
                                                                      78.
       CONTINUED:

                               CONNIE'S VOICE
                    Cynthia.   Cynthia.

                               CYNTHIA
                    Connie?

       She goes into another corridor. Alan hurries to catch up,
       but then has to help a nurse with a frightened OLDER WOMAN.

122A   ANOTHER CORRIDOR - WITH CYNTHIA                                      122A
                               CONNIE'S VOICE
                    Cynthia.

       Cynthia moves down the hall a bit.       She looks up at the
       coiling.

123    ANGLE - THE AIR VENT                                                 123
                              CONNIE'S VOICE (CONT'D)
                    Cynthia, we're up here!

       Down the hall further, another vent.

                              ED'S VOICE
                    Come with us, Cynthia!

                              CONNIE'S VOICE
                    You must join us, Cynthia!

       Cynthia follows the voices. She is underneath another larger
       vent with a fan spinning inside. Everyone in the hall
       ignores her.

                              HARRIS' VOICE
                    Cynthia, you must reach out and
                    embrace our love for you... You
                    must reach out to me...

       We see Harris now, behind the fan, in brief flashes of light,
       burnt then normal, gazing down at Cynthia. He reaches
       towards her.

                              CYNTHIA
                    Where are Connie and Ed?

       His fingers ARE SLICED OFF BY THE FAN.       He takes no notice.

                              HARRIS
                    They're with us now.




                                                              (CONTINUED)
                                                                 79.
       CONTINUED: (2)

       We hear SPLASHING. Cynthia looks over. Gallons of blood and
       solid matter pour out of the ceiling vents all down the hall.

                           CYNTHIA
                 Where are they?
                     (she is frantic)
                 Where are Connie and Ed?   Where are
                 they?

       Alan wonders at the pouring red, then he hears Cynthia
       screaming. He runs down the hall to stop her.

       The patients and nurses watch the blood pour in horror.
       Cynthia is getting more and more hysterical.

                           CYNTHIA (CONT'D)
                 Where are Connie and Ed?

       Alan corners her.

                           ALAN
                 It's all right--it's all right--

       Suddenly, out of nowhere, a BL00D-COVERED BODY careens into
       them, driving them apart!

123A   ANGLE                                                           123A
       It's Edgar, covered with blood, in a total state of shock.

                           EDGAR
                 --horrible--sweet Jesus--help me--

       Alan struggles to restrain him.   Nurses run to help.

123B   CYNTHIA                                                         123B
       Huddles on the floor in a position not unlike the one from
       her coma. She SOBS uncontrollably.

                                                 CUT TO:


123C   INT. CORRIDOR - NIGHT                                           123C
       Alan and an orderly escort Cynthia to her room. Alan comes
       out, watches Edgar pass by in a wheelchair, raving. Ralph
       and Gilda come up to Alan.

                           RALPH
                 What the fuck is going on?



                                                           (CONTINUED)
                                                                   80.
      CONTINUED:

                             GILDA
                   It's Ed and Connie.    They're dead,
                   aren't they?

      Alan looks at her.       How did the grapevine got it to her so
      fast?

                             ALAN
                   Yes. We're not sure what
                   happened... There was evidence
                   that they were drinking... They
                   fell into... the main turbine.

                             RALPH
                   Fuck... Look, Ed drank before.
                   Lots of times. Didn't know that,
                   did you? But he didn't usually
                   decide to jump into a mix master,
                   man!

                             ALAN
                   Ralph, as for your own safety, you
                   are being given the most amount of
                   protection possible.

                             GILDA
                   The police are powerless.    Ask
                   Cynthia. She knows.
                       (softly)
                   Harris wants us all.

      Ralph looks at Gilda with almost as much dismay as Alan.

                             RALPH
                   Jesus Fucking Christ!    I'm getting
                   the hell out of here.

      Ralph storms out.


125   INT. HALLWAY - NIGHT                                                 125
      As Ralph moves along, a paunchy POLICEMAN intercepts him.

                               RALPH
                   Now what?

                             COP
                   Lieutenant Wasserman assigned me to
                   you. Where you go--




                                                             (CONTINUED)
                                                                81.
      CONTINUED:

                             RALPH
                   I get the picture. Try not to
                   shoot me or your fat ass, okay?

                                                 CUT TO:

126   BERRISFORD'S SILENT IMAGE ON A VIDEO SCREEN                        126


127   INT. CYNTHIA'S HOSPITAL ROOM - NIGHT                               127
      The newscast continues silently on the TV in her room.    She
      is getting dressed. She peaks out the door.


128   INT. HALLWAY - NIGHT                                               128
      The Policeman assigned to her is down the hall a ways,
      chatting with a nurse. Cynthia slips out and down the
      corridor.

      She waits for an elevator. When a door opens, she tries to
      inconspicuously slip inside but she finds herself face to
      face with Alan who in just getting out of the elevator. He
      holds a grocery bag.

                             ALAN
                   Isn't this a coincidence?

                             CYNTHIA
                   I'm getting out of here.

      He takes her arm and starts leading her back to her room.

                             ALAN
                   Believe it or not, this is the
                   safest place for you to be. The
                   police are here. There are doctors
                   here. And I'm going to keep you
                   company, all night. I even brought
                   provisions.

      He shows a variety of fast food.

                              ALAN (CONT'D)
                   Pure unadulterated junk. At this
                   point, who cares about the
                   chemicals?

      She smiles slightly. He holds his arm out for her like a
      swain escorting his date. She takes it in a similar spirit.



                                                           (CONTINUED)
                                                                   82.
       CONTINUED:
       The policeman comes out of Cynthia's room, looking for her in
       alarm. He's instantly relieved to see her there with Alan.
       Alan directs her inside. She goes. Alan gives the Policeman
       a look.

                              ALAN (CONT'D)
                    Try harder next time.

       He goes into her room, leaving the embarrassed cop behind.
       Suddenly the LIGHTS RETURN with an eye-jarring FLASH. The
       cop has his revolver halfway out of the holster before he
       realizes what it is.


128B   INT. CYNTHIA'S ROOM - NIGHT                                       128B
       They both react   to the returned power with relief. Alan
       takes the stuff   out of the bag: chips, dips, cookies, six-
       packs of beer.    He offers some of the chips. She shakes her
       head. The TV's    still on. Alan switches channels with the
       sound muted.

                              CYNTHIA
                        (with frightening
                         casualness)
                    Connie and Ed aren't going to be
                    the last.

                              ALAN
                    Yes, they are. Everyone's under
                    protection. Nothing can happen.

                                                  CUT TO:

128C   CLOSE UP - A KNIFE                                                128C
       pointing upwards. An outstretched hand SLAMS itself down,
       the blade impaling through the palm. The hand squirms its
       fingers a bit, then pulls off.


130    INT. RALPH'S ROOM - NIGHT                                           130
       He gets up clenching the perforated hand. He is very calm.
       He closes the knife and puts it in a drawer.

       Suddenly, violently, he kicks a trash bin.      Then he is calm
       again.

       Ralph's assigned Policeman pokes his head in the door.

                              RALPH'S POLICEMAN
                    Everything okay?


                                                             (CONTINUED)
                                                                   83.
      CONTINUED:

      Ralph sticks his hand behind him.       He is very friendly, very
      normal. He smiles.

                             RALPH
                   Yes, thank you, officer. Hey,
                   lemme buy you a cup of coffee.

                             RALPH'S POLICEMAN
                       (shrugging)
                   Sounds good to me.


131   INT. HALLWAY - NIGHT                                                 131
      Ralph comes out of his room. Ralph's policeman is beside
      him. His hand bleeds, but goes unnoticed.


132   INT. CYNTHIA'S ROOM - NIGHT                                          132
      Alan lies back in front of the TV, eyes closed, SNORING.
      Sympathetic, Cynthia slips the remote control from his
      hand... then there is a KNOCK at the door. She goes there,
      finds Ralph, who steps inside.

                             RALPH
                       (to his cop)
                   Just a sec.

                             CYNTHIA
                   Ralph? What is it?

                             RALPH
                   Nothing. I just came to tell you--
                       (smiling,
                        conspiratorially)
                   Everything's gonna be okay.

                             CYNTHIA
                   What's going to be okay?

      He goes into the bathroom and rinses his blood-soaked hand.
      Cynthia sees this.

                             CYNTHIA (CONT'D)
                   What happened to your hand?

                             RALPH
                   Don't worry. Everything's gonna be
                   okay.




                                                             (CONTINUED)
                                                                    84.
      CONTINUED:

                             CYNTHIA
                   Ralph?

      Cynthia is mystified.    He goes.


133   INT. HALLWAY - NIGHT                                                133
      Ralph walks off, his Policeman following.

                             CYNTHIA
                       (yelling down the hall)
                   Ralph?


134   INT. CYNTHIA'S ROOM - NIGHT                                         134
      She comes in and pokes Alan awake.

                             CYNTHIA
                   Ralph was just here.   His hand
                   was... all bloody.

      They go to the door and they are immediately faced with
      Hettie.

                             HETTIE
                   Dr. Goldman, have you seen Ralph?

                             ALAN
                   I was going to ask you the same
                   thing.

      She holds up a paper cup with a tablet in it.

                             HETTIE
                   He didn't take his four o'clock.
                   If he misses this one, I'm gonna...

      Alan takes the capsule, examines it.

                             ALAN
                   Shit! It's his tranquilizer! If he
                   doesn't take this, he'll completely
                   flip out--!

      Alan and Cynthia run down the hall.     Cynthia's policeman
      follows.
                                                                    85.




135   INT. HALLWAY - NIGHT                                                  135
      Alan and Cynthia and the policeman scan for Ralph.

                             CYNTHIA
                Look.

136   ANGLE - ON THE FLOOR                                                  136
      Every five or six feet along in a line, there is a moderately-
      sized droplet splatter of blood. They follow the droplets
      along the hallway.

      They follow the droplets through a set of double doors.


137   INT. DARK, QUIET HALLWAY - NIGHT                                      137
      Ralph walks along, his policeman trailing.        No one else is
      around.

                          RALPH'S POLICEMAN
                Are you sure you know where you're
                going?

      Ralph stops suddenly and turns to him. Ralph smiles warmly.
      Suddenly he hits the cop in the head using two fists.

      The cop falls.


138   INT. HALLWAY IN CLOSED SECTION OR HOSPITAL                            138
      Alan and Cynthia's policeman move down the hall, following
      the drops, scanning in doorways. Cynthia is just behind
      them.

      These hallways are unused.       Nobody around.

                          ALAN
                Was he behaving strangely?

                          CYNTHIA
                No more strangely than everybody
                also in this place.

                           CYNTHIA'S POLICEMAN
                     (with walkie-talkie)
                I can't get him. He must be shut
                off.



                                                              (CONTINUED)
                                                                      86.
      CONTINUED:

      They pass an open freight elevator.       Cynthia looks in it and
      stops.

      There is a droplet of blood on the floor inside.

                               CYNTHIA
                   Hey.

      A BLOODY HAND reaches out of the elevator covering her mouth
      and pulls her inside.


139   INT. FREIGHT ELEVATOR - NIGHT                                         139
      Ralph holds her, slams the gate closed, and flips the switch.
      The car moves down. Cynthia SCREAMS.


140   INT. HALLWAY - NIGHT                                                  140
      Alan and the policeman rush up just as the car disappears.

                               ALAN
                   Cynthia!


141   INT. FREIGHT ELEVATOR - NIGHT                                         141
      They descend.       She wipes blood from her face.   He looks
      wired.

                             CYNTHIA
                   Ralph, we have to go and get your
                   medication.

      She slowly moves to the control panel. He watches her. Just
      as she is about to reach the buttons, he violently pushes her
      back.

                               RALPH
                   Relax.

      He smiles.


142   INT. BASEMENT - NIGHT                                                 142
      The elevator comes down to a stop. Ralph throws the door
      open. It is a huge dark space, a vast store room. Cynthia
      won't come out. Ralph gestures politely.




                                                              (CONTINUED)
                                                            87.
CONTINUED:

                       CYNTHIA
             Ralph, I'm not going out.    We have
             to go back upstairs.

Ralph grabs her firmly and pulls her out.

                       CYNTHIA (CONT'D)
             Ralph, please!

                       RALPH
             I have to talk to you.

He leans in the elevator, opens the control panel and yanks
some wires. Sparks fly. The HUM of the elevator motor dies.
Cynthia is panicked.

                       RALPH (CONT'D)
             It's very, very, very, very, very
             important that I talk to you.

                       CYNTHIA
             Ralph, you're not being yourself.
             Can't you tell?

                        RALPH
             No!   This is the real me!

He flies across the basement and, grabbing a chair, smashes
the control box for the electric cargo door, the only other
entrance.

He darts up a storage aisle.      He rips a phone off the wall.

                        RALPH (CONT'D)
             I come down here a lot. It helps
             me unwind.

Cynthia can't see him. He wildly paces up and down the
storage aisles. Cynthia starts to cry.

                       CYNTHIA
             Ralph, please! How do we get out?

                       RALPH
             It's been said by better men than
             me in better ways in better times--
             there is no way out!

She goes to a barred window.

                        CYNTHIA
             Help!


                                                      (CONTINUED)
                                                        88.
CONTINUED: (2)

Ralph goes into a rage. He pushes over a huge storage shelf.
Everything spills and breaks. Amid the rubble a pile of
surgical blades lies glinting in a pool of light.

Ralph looks down at it.

Cynthia sees him looking at it. She is afraid. He grabs
some of the blades randomly and disappears. He is walking
crazily up and down the storage aisles. Cynthia only catches
glimpses of him. He jumps up and breaks the individual LIGHT
BULBS which hang on wires, providing the only illumination.
The space grows DARKER. All the while, Ralph talks and
talks.

                    RALPH
          There are only a few chances for
          real glory, and most people fuck it
          up. Most people can't even find
          the noses on their fucking faces.
              (jump, BREAK)
          You want an example? How about
          EVERY FUCKING DOCTOR in this entire
          hospital? Do you think I'm just
          going to let myself slowly dissolve
          into nothingness here?!
              (jump, BREAK)
          I'm talking about a glorious glory.
          And everybody's trying to drag me
          down!

                    CYNTHIA
          Ralph, please, they said you have
          to take some pills.

                    RALPH
          Pills have got nothing to do with
          it! You know what I'm talking
          about!

He jumps, smashes the last bulb.   She can't see him.

                    CYNTHIA
          No, I don't. I don't.

                    RALPH
          You do! Real glory, hallelujah!
          The great big gig in the sky.
          Don't play dumb, Cynthia.

She sees him at the far and of the aisle. His shirt is off.
There are deep, bleeding cuts all over his chest and stomach.
He has blades clenched in both fists.


                                                   (CONTINUED)
                                                            89.
CONTINUED: (3)

Cynthia is terrified.

                    RALPH (CONT'D)
          I think you know the word I'm
          searching for.

He starts making deep slashes on his arm.

                    RALPH (CONT'D)
          U, N, I, T, Y! Unity!

                    CYNTHIA
          Oh God, Ralph! No!

                    RALPH
          Yes, oh, yes! Eternal bliss!

He stops and raises the scalpels to his chest.   He jabs them
in and cuts open down to his stomach.

                    CYNTHIA
          Ralph, please, stop!

He swats at the one remaining lamp. It flickers on and off.
Ralph's eyes flutter. He FALLS. Cynthia rushes to him.

                     CYNTHIA (CONT'D)
          Ralph!

He throws a scalpel at her.   It misses, but she is spattered
with blood.

                    RALPH
              (fading)
          Get back.

Cynthia is crouched down, crying as she watches him.

                    RALPH (CONT'D)
          Join us, Cynthia.

The light flickers off, then on.   A hand is on Cynthia's
shoulder. She looks up...

it is Harris.

                     HARRIS
          Join us.

The bulb DIES.   Blackness.




                                                   (CONTINUED)
                                                                90.
      CONTINUED: (4)

                           VOICES
                Join us.

                                                 CUT TO:


144   INT. CORRIDOR - NIGHT                                              144
      Wasserman rushes in, raincoat over a pajama shirt and chino
      slacks. Another POLICEMAN rushes to meet him.

                          POLICEMAN
                They're in the basement.   The
                girl's alive.

      They run on together.


145   INT. BASEMENT - NIGHT                                              145
      Lots of COPS, a few DOCTORS and ORDERLIES.    Alan is stopped
      by a FEMALE COP.

      He looks into the basement area and sees Ralph in a pool of
      blood. A POLICE PHOTOGRAPHER is taking pictures of him.
      Alan stares at Ralph.

      Berrisford is with Cynthia and a nurse.    Cynthia is getting
      an injection.

      Wasserman comes over to Alan and Berrisford.

                          WASSERMAN
                You're running out of patients,
                Doctors.

                          ALAN
                What did she say happened?

                          WASSERMAN
                She's having a little trouble with
                reality--as usual.

      A nurse and an orderly escorts Cynthia towards the elevator.

                          CYNTHIA
                    (to Alan)
                Goodbye, Alan. Thanks for trying.
                But it's time for me to go now.

      Alan suddenly realizes what she means.



                                                           (CONTINUED)
                                                        91.
CONTINUED:

                       ALAN
             I have to go with her.    Where is
             she being taken?

                          BERRISFORD
             Isolation.

                       ALAN
                 (stunned)
             Isolation? Are you out of your
             mind? That girl needs human
             contact--connection--isolation is
             the worst thing you can do--

                       BERRISFORD
             Dr. Goldman, I know you're fond of
             the girl, but you're out of line.

                       ALAN
             Shit. You want her on the edge,
             don't you... You want to play your
             theory out to the end--

                          BERRISFORD
             Goldman!

                       WASSERMAN
                 (interested)
             Theory? Anything I should know?

                       BERRISFORD
             It's an extraordinarily complex
             situation, severe identity crisis
             compounded with the multiple shock
             of these deaths. She's reverting
             to this total belief system from
             the commune through an intermittent
             psychosis that puts ideology above
             her life itself--

                       ALAN
             Fuck ideology! Fuck you,
             Berrisford! You can't use a human
             being as a guinea pig--
                 (to Wasserman)
             You have to stop this. Call it
             off--I'll--I'll sign her into
             police custody if I can stay on as
             her physician--




                                                   (CONTINUED)
                                                              92.
      CONTINUED: (2)

                           BERRISFORD
                Doctor Goldman. I believe your
                tenure with my clinic has just come
                to an end.
                    (calling off)
                Security? Would you please escort
                Dr. Goldman off the premises?

                                               CUT TO:


146   INT. CORRIDOR - NIGHT                                          146
      Cynthia is escorted through the hospital by the nurse and
      policeman. She moves without resistance, without emotion.
      We hear CRICKETS. Cynthia hovers in a dreamlike calm. The
      hospital is a blur as they move through it.

      Objects pass in front of our view as we TRACK with her.
      Cynthia, the nurse, and the policeman walk up the path to


147   EXT. UNITY HOUSE - DUSK                                        147
      The imposing facade of the old Victorian with its warmly lit
      windows looks inviting. The three make their way over the
      lawn up the path towards the front porch. An evening BREEZE
      is just coming up.

      Cynthia looks around, absorbing the environment. The
      policeman and the nurse say nothing. Cynthia turns to them.

                          CYNTHIA
                Would you like to come in?

                          NURSE
                No, thank you.

      Cynthia steps inside.


148   INT. ISOLATION ROOM - NIGHT                                    148
      The door is closed. It is dark. A video camera hovers
      above. We hear keys L0CKING a bolt. Cynthia stand there.

                          VOICE
                It's time, Cynthia.
                                                               93.




149    INT. CORRIDOR - NIGHT                                          149
       The nurse puts her keys in her pocket, looks at the
       policeman, and goes.

       The policeman stays.

                                                CUT TO:


149A   INT. BERRISFORD CLINIC - NEAR EXIT - NIGHT                     149A
       Furious, carrying a carton of personal items, Alan storms
       towards the exit. The security guard rises to intercept him.

                           SECURITY GUARD
                 --Excuse me, Dr. Goldman?
                     (apologetic)
                 I'm going to have to ask you for
                 your key card.
                     (apologetic)
                 Dr. Berrisford's orders. I'm
                 sorry.

       Burning, Alan shifts his package, finds the card, flings it
       down on the counter.

                           ALAN
                 Tell Berrisford he can use it for a
                 bookmark. Maybe then he can find
                 his dick without a road map.

                           SECURITY GUARD
                 We're gonna miss you around here,
                 Dr. Goldman.

       Alan manages a smile for the man, goes out.

                                                CUT TO:

152    A DIM, FUZZY VIDEO IMAGE                                       152
       FOCUS DOWN until we realize it is Cynthia lying in her bed.

       We are looking at her from directly above. We WIDEN, realize
       that we're at a NURSE'S STATION, where Cynthia is monitored
       along with other patients. We can see that she is talking.
                                                               94.




154    INT. CYNTHIA'S ROOM                                             154
       The only illumination comes from a small lamp near Cynthia's
       bed. She seems comparatively alert.

                             HARRIS' VOICE
                   You were always the favorite.    We
                   love you. Come with us.

                             FEMALE UNITY MEMBER
                   All of us together, that's all
                   we've ever wanted, isn't it?

                             CYNTHIA
                   Why are you doing it to everybody
                   else? Why don't you kill me?

154A   ON HARRIS                                                      154A
       His index finger is AFLAME.

                             CYNTHIA (CONT'D)
                   Why don't you kill me?

       We see the whole room now. It's filled with Unity House
       Members, all of them. They're sitting leaning, slumping
       everywhere in the shadows. Among them are Connie and Ed.

                             CONNIE
                   You have to do it yourself, honey.
                   When you didn't... he took us
                   instead. But we're not mad. It's
                   wonderful here.

                             FEMALE UNITY MEMBER 2
                   Death is like this really beautiful
                   trip Cynthia. We just want to
                   share
                   it with you.

       Lana and Miriam.

                             LANA
                   You mustn't be afraid, Cynthia.

       Harris in playing with his burning finger.

                             MIRIAM
                   if I can do it, you can do it,
                   honey.



                                                         (CONTINUED)
                                                                      95.
      CONTINUED:

                             CYNTHIA
                   Why don't you kill me?


157   INT. NURSE'S STATION - NIGHT                                          157
      A NURSE notices Cynthia's movement on the screen.       She turns
      the volume up.

                             CYNTHIA (ON TV)
                   Why don't you just kill me?!

      The nurse gets up. Gilda is standing there.        She follows.
      Gilda's policeman lurks nearby.

                             GILDA'S POLICEMAN
                   Hey.


158   INT. CYNTHIA'S ROOM - NIGHT                                           158
                             HARRIS
                   You have to join us because you
                   love us. You have to do it for
                   yourself.

      We hear the Nurse UNLOCKING the door.

      A MALE UNITY MEMBER looks over at the door.       We seem him
      momentarily burned.

                             HARRIS (CONT'D)
                   You have to do it for yourself--
                       (smiling)
                   --lovechild.

      We see Harris momentarily burned.       He blows his finger out.

                             CYNTHIA
                   But I'm so scared.

      The Nurse opens the door.    The room is empty except for
      Cynthia on her bed.

                             NURSE
                   You want me to call the doctor,
                   honey?

      Cynthia says nothing.

                             NURSE (CONT'D)
                   Try to sleep, all right?


                                                             (CONTINUED)
                                                                  96.
      CONTINUED:

      Gilda rushes in behind the Nurse, going to Cynthia.

                             NURSE (CONT'D)
                   Hey, get out of here!

                             GILDA
                       (frantic)
                   I can do nothing for you now, but
                   know this--the answer you seek is
                   inside of you! It is inside you!

      Gilda's Policeman comes in.

                             NURSE
                   Get her out of here!

      He pulls at Gilda.

                             GILDA
                       (as she goes)
                   Know yourself and you will be at
                   peace! It is so!

      The Nurse SLAMS the door closed.    Cynthia is alone.


159   INT. HALLWAY - NIGHT                                                159
      Gilda's policeman is on the phone.

                             POLICEMAN
                   Yeah, I'm taking her back to her
                   room... Okay, bye.

      He hangs up, looks around.    Gilda is gone.


160   INT. HALLWAY - ELSEWHERE - NIGHT                                    160
      We are FOLLOWING GILDA through the corridors back to her
      room.


161   INT. HALLWAY - NIGHT                                                161
      Gilda's policeman is still looking for her.      She's nowhere in
      sight.


164   INT. GILDA'S ROOM - NIGHT                                           164
      Gilda comes in and lies down.


                                                            (CONTINUED)
                                                                   97.
      CONTINUED:

      Momentary silence.

      A shaft of light hits Gilda as someone comes in the door.
      Whoever it is nears Gilda. She is calm. She looks over.

                             GILDA
                   I know you'd come.

      Silence.

                             GILDA (CONT'D)
                   But you're too late.

      She holds up a bottle of tablets.       We fleetingly see the word
      "poisonous."

      The bottle SMASHES to the floor.

                                                    CUT TO:


170   INT. CYNTHIA'S ROOM - NIGHT                                           170

171   TIGHT ON HER                                                          171
      She looks like she's been crying.       She stares off into space.

      Someone crosses in the shadows to the window.

      The rubber edging is slit with a scalpel.

                             CYNTHIA
                   It feels good. I know this is
                   right.

                             HARRIS' VOICE
                   That's right. You need our love.
                   We need your love.

      A shadowed hand pushes on the plexiglass.       The windowpane
      plops onto the pavement below.

      A breeze wafts in.

      Cynthia gets out of bed and comes to the window. She looks
      out onto the evening horizon, refreshed, fully experiencing
      the moment.




                                                              (CONTINUED)
                                                                  98.
       CONTINUED:

                              CYNTHIA
                    I know this is right.   We'll all be
                    together.

                                                   CUT TO:


171A   EXT. HOSPITAL - NIGHT                                            171A
       Alan comes out, still fuming. He walks along a ways and then
       looks at the illuminated SIGN pointing out the way to the
       "Berrisford Clinic." Alan stares at it, then in a sudden
       release of fury, KICKS it, once, twice, and then he THROWS
       his carton at it.

       Calming, feeling like an idiot, he sighs.

                              ALAN
                    Brilliant. Do we feel better now?
                    No. Yes. Maybe.

       A thought strikes him.    He reaches into his shirt pocket,
       takes out--

171B   TRANQUILIZER - CL0SE                                             171B
       --the one Hettie handed to Alan two long and bloody hours
       ago.

171C   BACK TO SCENE                                                    171C
                              ALAN (CONT'D)
                        (with a shrug)
                    It's okay, officer. I'll write
                    myself a prescription in the
                    morning.

       He swallows it, dry, with a loud GULP, Then he picks up his
       papers and things, heads for the parking lot.

171D   ALAN'S CAR - NIGHT                                               171D
       PULLBACK as Alan unlocks it, his carton momentarily balanced
       on the car roof. The door open, Alan gets in, puts his box
       in the cluttered back seat. He SHIVERS from one of those
       unexpected chills we all get, then puts the key in the
       ignition, STARTS the engine, turns on the LIGHTS. Then he
       looks up ahead and sees--




                                                             (CONTINUED)
                                                                  99.
       CONTINUED:


171E   DR. BERRISFORD - HIS POV                                         171E
       Briefcase in hand, crossing the parking lot up ahead, his
       long shadow falling across a high retaining wall.

171F   BACK TO SCENE                                                    171F
       Alan sits, face unreadable.   He REVS the engine.   Faster.
       Faster.

       A strange smile crosses Alan's face.   He THROWS THE CAR INTO
       GEAR.

171G   BERRISFORD - CROSSING THE LOT                                    171G
       He taken out his keys, approaches his car...   suddenly REACTS
       as HEADLIGHTS BLIND HIM--

171H   REVERSE ANGLE                                                    171H
       Alan ROARS TOWARDS HIM, grinning behind the wheel--

171I   BACK TO SCENE                                                    171I
       Berrisford gasps, RUNS!

171J   THE CHASE                                                        171J
       Berrisford dodges in and out of cars, behind lamp posts.
       Manic, Alan follows him relentlessly, skidding around turns,
       SIDESWIPING as many cars as budget allows. Finally--

171K   BERRISFORD                                                       171K
       finds himself against a wall--as TIRES SKID in he SCREAMS--

171L   INSIDE ALAN'S CAR                                                171L
       He SLAMS Berrisford against the wall. Berrisford's body
       SMACKS against the bricks, rebounds onto the windshield,
       CRACKING IT.

       Alan recoils from the impact, blood on his lips from his own
       collision with the steering wheel. He looks at Berrisford,
       squirming a foot away with the little life left in him.

       Alan CACKLES, gives Berrisford the finger.

       Then he throws the car into reverse.




                                                           (CONTINUED)
                                                                    100.
       CONTINUED: (2)


171M   REAR TIRES                                                            171M
       SKIDDING BACKWARDS--

171N   BERRISFORD                                                            171N
       SLIDES off the car hood, hits the asphalt, his head CRACKING--

171O   ALAN'S CAR                                                            171O
       RUNS FORWARD AGAIN--

171P   BERRISFORD - QUICK CUTS                                               171P
       As the car GRINDS him into the ground, his wrist bones
       SNAPPING, ribs CRUNCHING, body TWITCHING. Finally he is
       STILL. An artery SQUIRTS fountain-like into the air.

171Q   INSIDE THE CAR                                                        171Q
       The blood hits the windshield.    Idly, distracted, Alan turns
       on the windshield wipers...

       Suddenly HARRIS sits up in the rear seat, a smile on the
       burned and scarred face.

                               HARRIS
                    Good work, Dr. Goldman.   Now, it's
                    your turn.

       Skeletal hands GRAB Alan's throat.       He STRUGGLES.   KICKS--out
       of the corner of his eye he sees-

171R   FRONT OF CAR                                                          171R
       Gasoline is flowing over the dented hood and through the
       cracked windshield and over the dash and over Alan. More and
       more comes.

171S   BACK TO SCENE                                                         171S
       Holding Alan with one hand, Harris leans forward, pulls out
       the cigarette lighter! He holds the GLOWING TIP up in the
       air.

                              HARRIS (CONT'D)
                    Need a light?

       He presses the burning tip against Alan's gasoline soaked
       CREEK. It SIZZLES--Alan SCREAMS--




                                                                (CONTINUED)
                                                                 101.
       CONTINUED: (3)


171T   CAR - LONG SHOT                                                  171T
       It EXPLODES--

                                                   CUT TO:

171U   ALAN - IN HIS CAR                                                171U
       He jerks his head up, face drenched in sweat. He's still in
       his original parking space! He's never even started the car!
       Gasping for air, still freaked, he opens the door, tumbles
       out.

171V   PARKING LOT                                                      171V
       The box of his possessions is still on the roof of the car.
       Alan sees this, staggers against the car, fights a wave of
       nausea. Struggling to remain composed, he takes his pulse.
       Feels his head. Suspicion crosses his face. Then his hand
       moves to his shirt pocket.

171W   FLASH CUT                                                        171W
       of himself taking the pill by the clinic sign.

171X   BACK TO THE PRESENT                                              171X
       fingers down his throat. He HEAVES his guts out beside his
       car... but when he straightens up, he's clear eyed and lucid.
       He turns, runs like hell towards the clinic.


171Y   INT.   CLINIC PHARMACY - NIGHT                                   171Y
       RON, the pharmacist, looks up as Alan storms inside.

                             RON
                   Goldman, you look like shit--

                             ALAN
                       (pushing him aside)
                   Show me the scrips for the therapy
                   group--

                             RON
                   Come on, man, I can't do that--
                   it's Berrisford's show all the way--

       Ignoring him, Alan finds the files.

                             ALAN
                   Shit, this is all standard stuff--


                                                             (CONTINUED)
                                                         102.
CONTINUED:

                       RON
             What do you expect?

                       ALAN
             Do you fill these prescriptions?

                       RON
             Nah, Berrisford does it. He comes
             in every morning and sets up the
             medication for the day--Hettie
             takes it as she needs it--

                        ALAN
             Fuck!

He turns, tries to open the glass case with the prearranged
trays. It's locked. He grabs a paperweight, SMASHES THE
GLASS.

                        RON
             Hey--!

Alan pulls out the tray, scans it. He grabs Ron by the
collar, shoves the files into his face.

                        ALAN
             Read it.   Pesco, Ralph--

                       RON
             He's dead--

                        ALAN
             READ IT!   What's he down for?

                       RON
             Ah, Lithium--four times a day--

Alan grabs the tray, holds up a pill.

                       ALAN
             Is that Lithium?

                       RON
             Fuck, no--that's Endoral--the
             complete opposite--one of those,
             even a normal person would flip
             out--

                       ALAN
             Tell me about it--




                                                  (CONTINUED)
                                                               103.
      CONTINUED: (2)

      Alan looks at the tray and its compartments labeled for Lana,
      Miriam, Ed... all the others. Alan GRABS them all.

                          ALAN (CONT'D)
                What's this? And this?      And this?

                          RON
                This is, uh, dextroamphetamine...
                Christ, take one of these and you
                can walk on the ceiling. Holy
                mother. Methylphenidate! Don't
                mass with that fucker. Clonodine!
                Chlorapromazine! Preludin? Shit,
                I didn't know they still made
                that... Two of these and Mother
                Teresa would turn into a maniac!

      Alan in having convulsions of horror.

181   FLASH CUTS - ON MIRIAM AND LANA -                                  181
      they swallow medication.

182   ON BERRISFORD -                                                    182
      he pulls bottles off the pharmacy shelves.

183   ON CONNIE AND ED -                                                 183
      they swallow medication.

184   ON BERRISFORD -                                                    184
      he hands the bottles of medication to the pharmacy
      administrator.

185   ON NURSE WITH RALPH'S PRESCRIPTION -                               185
      Alan grabs it away.

186   ON BERRISFORD                                                      186
      he injects Cynthia with medication.

                          RON (CONT'D)
                Tetrahydrocannabinol! Do you know
                what that is? Liquid condensed
                marijuana! Just thinking about
                that stuff gets you wasted.

      Alan runs out.



                                                           (CONTINUED)
                                                                104.
      CONTINUED: (3)

                          RON (CONT'D)
                Hey, Goldman, come back here!
                Who's gonna clean up this mess--?


187   INT. HALLWAY - NIGHT                                               187
      Alan running faster.


188   INT. NURSE'S STATION, ISOLATION WARD - NIGHT                       188
      Hettie is standing smiling in the middle of the hall.     Alan
      nears.

                          HETTIE
                You're not supposed to be here, Dr.
                Goldman, are you?

      Alan turns.   Two SECURITY GUARDS are coming.

                          ALAN
                Please, Hettie, I need your help.


189   INT. CYNTHIA'S ROOM - NIGHT                                        189
      She is at the window, facing out.

                             VOICE
                Now.


190   INT. HALLWAY - NIGHT                                               190
      Alan rushes over to Cynthia's door and pounds furiously.

                             ALAN
                Cynthia!     Cynthia!

      The two security guards start     running over. One of them has
      his gun drawn. Alan wants to      run, but he sees there is no
      way out. He sticks his hands      in the air. The guards are
      upon him. They start leading      him away.

                          NURSE
                Sometimes doctors got personally
                involved. I think it's a mistake.
                You've got to keep professional.




                                                           (CONTINUED)
                                                                  105.
      CONTINUED:

                              HETTIE
                   Get some rest, Goldman.   You look
                   like shit.

      He looks back at Hettie.    He sees a fire alarm.

      Suddenly, he grabs one of the Guard's guns.       He dives against
      the wall and pulls the fire alarm.

      All of the Isolation Ward doors open.     BELLS and SIRENS go
      off. Red lights FLASH on and off.

                             HETTIE (CONT'D)
                   Oh, no!

      Alan runs from the guards, shooting but missing. He runs up
      the hall in the opposite direction of Cynthia's room.

      He hides in a doorway. They pass. He heads back up to
      Cynthia's room. He grabs the cop's chair and runs into


191   INT. CYNTHIA'S ROOM - NIGHT                                          191
      He slams the door and rams the metal chair log into the bolt
      latch to secure the door. SIRENS and BELLS continue. Alan
      looks over. The room is dark, except for the red light
      flashing on and off. Cynthia is crouched in the far corner
      by the open window.

      We can see that the room is otherwise empty of anybody.

                             CYNTHIA
                   Get out of here. I want to do it!

                             ALAN
                       (going to her)
                   No. Cynthia, please. I'm not
                   going to be able to come back, but
                   you have to listen! Berrisford's
                   been tampering with the medication
                   for everybody in the group--that's
                   why they've been committing
                   suicide--he's been making them
                   crazy--

                             CYNTHIA
                   But Harris comes to me...   He
                   speaks to me--




                                                             (CONTINUED)
                                                                  106.
       CONTINUED:

                              ALAN
                    A drug induced psychotic state is
                    very suggestible. All we've
                    hearing for days is "Harris,
                    Harris,"... so that's what we all
                    saw... That's what I saw when I
                    took Ralph's pill! It's all part
                    of Berrisford's plan--he has this
                    fucked-up theory about how you
                    still think you're part of the
                    Unity House, and the only way he
                    can prove it is if you want to kill
                    yourself!

       Behind Alan, the dark shape of Berrisford emerges from
       outside the window. It is climbing inside from the ledge.

                              ALAN (CONT'D)
                    Do you hear me?! He's going to
                    want you to kill yourself! He's
                    recreating the whole thing for you!
                    But you can't listen to him!

       Cynthia is getting hysterical.      Berrisford stands behind Alan
       with a scalpel.

                              BERRISFORD
                    Dr. Goldman.

       Alan turns around.

       Berrisford bashes him in the head, neatly slicing off some
       skin. Alan flies against the wall.

       The gun is knocked away.

       Alan writhes a little, then dips into unconsciousness,

       Cynthia is a basket case.     She looks at Alan.

                               CYNTHIA
                    No...   no... no...

       Berrisford comes to her and starts giving her an injection.

       She calms herself.     She looks at him dreamily.

191A   CYNTHIA'S POV                                                       191A
       She sees Harris gazing at her lovingly.




                                                             (CONTINUED)
                                                                107.
      CONTINUED: (2)

                          HARRIS
                Only one thing matters.

      She touches his face.

                             CYNTHIA
                Our love.     We'll be together.   All
                of us.

      Berrisford taken Alan's gun.


192   INT. CYNTHIA'S ROOM - A FEW MINUTES LATER                        192
      Alan comes to. The ALARMS and BELLS are still ringing.
      Cynthia and Berrisford are gone.

                             ALAN
                Shit!


193   INT. HALLWAY - NIGHT                                             193
      The corridors are run amuck with isolation patients (the
      worst kind) all escaped from their rooms. Alan runs out of
      Cynthia's room. He is surrounded by bizarre-looking people
      screaming, singing, dancing, praying.

      Hettie is by the stairway helping Isolation patients exit.

                          HETTIE
                One at a time! No pushing!      Please
                do not use the elevator!

      Alan is frantically looking for Cynthia and Berrisford,
      checking everywhere, pushing open doors.

      The security guards are at the far end of the hallway.    Alan
      goes to Hettie.

                          ALAN
                Where's Berrisford?

                          HETTIE
                This is your fault! These goddamn
                doors won't re-lock!

                          ALAN
                    (furious )
                Where is he? He's going to kill
                Cynthia! Tell me where he is!



                                                         (CONTINUED)
                                                                  108.
      CONTINUED:

                             HETTIE
                   I haven't seen him!

      The guards see Alan.      They come after him.   He runs.

      Alan scans every room. He slams into patients. The guards
      aren't far behind. Alan turns a corner, passing a door
      marked "NOT AN EXIT: ROOF ACCESS." It is ajar. He goes in
      without the guards seeing him.


194   INT. STAIRWAY - NIGHT                                                 194
      It is dark, but the red lights FLASH. He runs up several
      flights. The landings face onto the outside with a railing,
      open, no glass.

      He turns a corner.      Cynthia is there.

      She in perched on the outside of the railing, a serene
      expression on her face, the wind blowing her frail white
      gown.

      Alan freezes.      He moves towards her slowly, hands
      outstretched.

                             ALAN
                       (soothingly)
                   Cynthia, take my hand... Just
                   relax... Think about what you're
                   doing... Stay calm... I want you
                   to take my hand...

      She watches him blankly.      She turns to someone behind Alan.

                             CYNTHIA
                   It's so beautiful.

      Alan turns. There on the stair above is Berrisford, his face
      dancing in the flashing red light.

                             ALAN
                       (to Berrisford)
                   You piece of shit!

      Cynthia lets go.

      Alan reaches out.

                              ALAN (CONT'D)
                   No!



                                                              (CONTINUED)
                                                                109.
      CONTINUED:


195   FALLING                                                            195
      It is a dizzying spiral. We hear the WIND RUSHING up as we
      go FASTER AND FASTER down. We SLAM into the ground.

      CYNTHIA'S HEAD hits rock.

196   ON HER FACE                                                        196
      She is still. Blood drips out her nose and mouth. She is
      dead. We HOLD ON HER until gradually bright light pours in
      over her. The CAMERA LIFTS UP revealing


197   EXT. UNITY HOUSE - DAY                                             197
      Cynthia rises and walks towards the house through a field in
      the foreground.

      She walks up the porch.


198   INT. UNITY HOUSE ENTRANCE - DAY                                    198
      She opens the door. Everything is clean and fresh.      Flowers.
      Light. Birds CHIRPING.

      Harris is at the far and of the hall. There is an intense
      white light behind him. He is smiling beatifically. Cynthia
      goes towards him. As she nears him, she reaches out her
      hands. He does too. They clasp.

                              ALAN'S VOICE
                   Cynthia!

      Suddenly she FALLS.

      She drops and dangles in the night air against


199   EXT. HOSPITAL BUILDING - NIGHT                                     199
      She is unconscious.     She swings twelve stories above the
      pavement.

      The CAMERA FOLLOWS UP her arm to her hand grasped tightly by
      Alan's hand. We CONTINUE UP TO Alan.

                              ALAN
                   Cynthia! Open your eyes!   Open
                   your eyes!



                                                           (CONTINUED)
                                                         110.
CONTINUED:

He is over the railing holding on with his other hand.

Cynthia is coming to.

                       ALAN (CONT'D)
             Pull up! Pull yourself up so I can
             got a grip on you!

                          CYNTHIA
             Let me go.

                          ALAN
             No!

                          CYNTHIA
             Let me go.     I saw it.   It's
             beautiful.

                       ALAN
             You didn't see shit!       Hold on!

                       BERRISFORD
             Eternal bliss.

                        CYNTHIA
             Yes!   I want to go!    Let me go!

                       BERRISFORD
                 (coming forward)
             Let her go. She needs it.

                       ALAN
             No! Cynthia, Harris doesn't exist!
             He's dead! Look at who that is!
             Look at him! Look!

Cynthia looks at Berrisford deliriously.

He CHANGES from Berrisford to Harris with each FLASH.    He
comes to the railing where Alan is holding on.

Almost politely, he tries to undo Alan's grip.

                       ALAN (CONT'D)
             Goddamn you! Goddamn you!

Alan's grip on Cynthia slips down to her fingers.

                       BERRISFORD
             Let her go. Let her go and I'll
             forget your disobedience.
                       (MORE)


                                                    (CONTINUED)
                                                       111.
CONTINUED: (2)       BERRISFORD(CONT'D)
          You can stay one with me in the
          psychosis and cult behavior study.
          We'll publish our findings
          together--

                    ALAN
          Publish this, asshole!

Alan SWINGS one leg up, KICKS Berrisford in the groin.
Berrisford HOWLS and suddenly his calm demeanor cracks.
Snarling like an animal, he stomps, claws and even bites at
Alan's hand.

                    ALAN (CONT'D)
              (to Cynthia)
          Don't you hear him? He's trying to
          bribe me--but I'm not letting go!
          I'll go with you, but I'm not
          letting go!

Berrisford sees the discarded gun... picks it up. He aims
unsteadily... SHOOTS. Alan yanks himself out of the way.
Berrisford misses. Berrisford moves closer. Raises the g=
barrel at point black range towards Alan's hand.

                    ALAN (CONT'D)
          Cynthia, help us! Help us both!

                    BERRISFORD
          You'll be with them, Dr. Goldman,
          Be happy.

                    ALAN
          No!

                    CYNTHIA
          S...stop it... Stop it!

Berrisford SHOOTS. One of Alan's finger joints is BLOWN
AWAY. He SCREAMS, his grip loosens, and he SLIDES down the
railing. Berrisford moves several yards to stay close...
begins to POUND on Alan's mutilated hand.

                    ALAN
          Cynthia, don't let him kill you!
          Don't let him do this!

                    CYNTHIA
          Unity... It... it's my destiny...
          I've fought it too long. Right or
          wrong... my death has a purpose...
          It will close the book. End the
          story.


                                                  (CONTINUED)
                                                         112.
CONTINUED: (3)

                    ALAN
          Your life has a purpose... to
          bring joy and happiness! You're
          part of my life now. That's an
          unfinished story, too...

She looks at Berrisford viciously pounding on Alan's hand.

                       CYNTHIA
          Let me up.     Stop it.

She starts to climb up, but she can't.

                       CYNTHIA (CONT'D)
          Let me up!

                    BERRISFORD
          I'm afraid it's too late for that.

Alan's grip on her slips down to two fingers. They CRACK.
She yells from the pain. She swings in the breeze.

Alan is weakening.   He is losing consciousness.   He knows he
is about to die.

                    GUARD
          Dr. Berrisford?

Suddenly Berrisford freezes.

He is paralyzed at the sight of one of the guards coming up
the stairs. Berrisford backs away glaring.

Alan GROANS.   The guard rushes over.

                    GUARD (CONT'D)
          Jesus
              (Yelling down the stairs)
          Gomez, get up here!

The other guard appears.

They start helping Alan up by Pulling his arm. As they help
him up, Berrisford, in a state of shock, backs further up the
wall. He leans against the wall and puts the gun to his
head. He trembles. He pulls the trigger.

CLICK.

CLICK, CLICK, CLICK. Out of bullets. The others are too
busy to be noticing what he in doing. Just as they pull
Cynthia to the edge, she looks up to see:


                                                    (CONTINUED)
                                                               113.
      CONTINUED: (4)

      Berrisford coming to the railing, and jumping, calmly.
      Silently.

                             GUARD (CONT'D)
                Holy shit.

      Cynthia numbly watches him fall.    Then she in pulled up and
      over...

                                                 CUT TO:


200   INT. HALLWAY - OVERHEAD - NIGHT                                 200
      Cynthia is plopped over onto a gurney. Lights are passing
      her. She is being whisked down a hallway. She is descending
      into a haze of unconsciousness.

                          DOCTOR'S VOICE
                I need a detox prep! Stat!

                          CYNTHIA
                It was him...


201   INT. HALLWAY - NIGHT                                            201
      Alan runs alongside the gurney with doctors and nurses. He
      clutches bloody bandages to his hand, tries to hear Cynthia.

                          ALAN
                It's okay. It's over. It was
                Berrisford. He killed them.

                          CYNTHIA
                Then all those other things...
                Faces... voices? They were...      in
                my head?

                          ALAN
                It was Berrisford. He shot you up
                with hallucinogens. What he didn't
                do, you imagined.

      There is joy through her delirium. She is just able to clasp
      hands with him briefly before she disappears behind a set of
      double doors.


202   EXT. COUNTRY ROAD - DAY                                         202
      A new station wagon whisks along the pretty road.
                                                                  114.




203   INT. STATION WAGON - DAY                                             203
      Alan drives, Cynthia looks at a map.       They both look relaxed.
      They both have bandaged hands.

                          CYNTHIA
                Go right if that's the interstate.
                Yeah, it is.


207   EXT. UNITY HOUSE - DAY                                               207
      Through the greenery are the charred and overgrown remains of
      Unity House. A chiseled sign embedded into a tree verifies
      it. Alan and Cynthia pull up, park. Cynthia gets out and
      looks around. She goes to the front entrance. Alan follows
      her in.


208   INT. FRONT ROOM - DAY                                                208
      A mere skeleton of what it was. Daylight pours in through
      the faded, burnt slats of wood. Patches of woods have
      sprouted up. Cynthia wanders in and marvels at it all. Only
      piles of charcoal signify where furniture was.

      Alan meanders in from the other and of the house.

                          ALAN
                Victorian. Looks like it was a
                nice house once.

                           CYNTHIA
                Yes. I guess appearances can be
                deceiving.

      She moves out upstairs.       He follows her up onto the risky-
      looking steps.

209   ON THE LANDING                                                       209
      She reaches a point at the top that looks out over the meadow
      and pond. She looks out. Alan joins her. Cynthia takes in
      the view contentedly.

                             CYNTHIA (CONT'D)
                It's dead.     It's really dead...

                             ALAN
                What?



                                                             (CONTINUED)
                                                                   115.
       CONTINUED:

       She gestures to the house around them.

                                 CYNTHIA
                    It's over.

       Alan smiles. He pulls her close to him. They look into each
       other's eyes. Neither of them is completely at ease with the
       other, but there is honest affection. They hug, then kiss.


210    EXT. UNITY HOUSE - DAY                                                210
       It looks almost tranquil.       MUSIC UP.

                                                     CUT TO:


210A   INT. HOSPITAL CORRIDOR - DAY                                       210A
       Wasserman walks along, accompanied by a uniformed officer.
       They go into-


201B   INT. BERRISFORD'S HOSPITAL ROOM - DAY                              201B
       where the doctor is in a bed, one leg and one arm in
       traction. He's talking to his LAWYER as the police officers
       enter.

                              LAWYER
                        (in mid-speech)
                    --letters of support could have an
                    influence on the court... You
                    know, from your peers--?

                              BERRISFORD
                        (cutting him off)
                    I have no peers.
                        (turning)
                    Hello, Lieutenant.
                        (smiling)
                    Forgive me for not getting up.

                              WASSERMAN
                    Real funny, Doctor. Try this for
                    laughs: As soon as you're
                    ambulatory, you're going in front
                    of a Grand Jury, and you're going
                    to be charged with six counts of
                    obstruction of justice and two
                    counts of assault.
                              (MORE)


                                                               (CONTINUED)
                                                         116.
CONTINUED:             WASSERMAN(CONT'D)
             Then it gets choice: five counts of
             murder in the first degree, one
             count of murder in the second
             degree. Add the civil liability to
             all that, and you're going to have
             plenty of time to write that book.

                       BERRISFORD
             Well. I don't agree with your
             definition of justice, but I
             suppose I obstructed it... All in
             the name of science, of course--

                       LAWYER
                 (appalled)
             Doctor Berrisford--

                       BERRISFORD
                 (hushing him)
             --but as to murder, well,
             Lieutenant, I beg to differ. I
             didn't kill anyone. Why would I?
             I'm only interested in knowledge.
             Cynthia is a unique girl--the
             product of an environment and a
             philosophy unrivaled in its purity.
             I wanted to understand the depth of
             her commitment, the link between
             psychosis and total immersion
             philosophies, the dark terra
             incognita of the human psyche--

                       WASSERMAN
                 (fed up)
             Hey, go chow on a Latin dictionary,
             okay? You can bullshit all you
             want, but how do you account for
             six bodies?

                       BERRISFORD
             Clearly some unknown variable was a
             factor.

                       WASSERMAN
             Yeah? Well, if you didn't kill off
             the therapy group, who did?

                       BERRISFORD
             Lieutenant, I'll put it in terms
             even a policeman can understand.

He smiles, shrugs the best he can in his plaster cast.



                                                   (CONTINUED)
                                                                   117.
      CONTINUED: (2)

                            BERRISFORD (CONT'D)
                  It beats the fuck out of me.

                                                    CUT TO:


213   EXT. UNITY HOUSE - DAY TRACKING IN                                  213


214   INT.   UNITY HOUSE - DAY                                            214
      Cynthia and Alan are still in each other's arms.        Cynthia
      pulls away.

                            ALAN
                  What's the matter?

                            CYNTHIA
                  I was just thinking about Gilda.
                  Somehow, she knew. She kept
                  talking about "him," but I didn't
                  know what she meant. She said the
                  answer was inside me. Why would
                  she say that?

      Alan doesn't have an answer.     She sighs.

                              ALAN
                  Let's go.

                            CYNTHIA
                  You go down. I'll be out in a
                  minute. I just want to... bury
                  some memories.

                              ALAN
                  You sure?

      She nods.   He goes.

      Cynthia gives a final look around at the deteriorated
      structure and turns down the stairs.

      She stands at the top of what remains of the stairs.

      We FOLLOW HER DOWN. Just as she nears the bottom, the
      TICKING of a clock is audible. It gets LOUDER. Cynthia
      reaches the last stop and turns into
                                                               118.




215   INT. FOYER - NIGHT                                                215
      We FOLLOW HER with a CONTINUOUS PAN. The foyer is new now,
      completely untouched by fire, just as it was at the beginning
      of the film. A candelabrum is lit.

      Cynthia turns and we PAN BACK TO THE STAIRCASE. It is new,
      unburnt. Two KIDS come scrambling down the stairs laughing.

      The entranceway, the archway to the front room, the staircase
      are all intact, just as we saw them in the opening scene.

      CYNTHIA peers into the kitchen. Two WOMEN in work aprons are
      kneading bread dough, chopping vegetables. They smile at
      Cynthia.

                           WOMAN 1
                Cynthia!   Are you staying for
                supper?

      Cynthia is silent, wide-eyed, taking it all in.    She turns
      towards the front door. Victor is coming in.

                           VICTOR
                Cynthia.   It's good.   Come in.

      She in unable to resist.


216   INT. FRONT ROOM - NIGHT                                           216
      They walk in. The room is filled with people. There is a
      fire in the hearth. Children play. Candles illuminate the
      space. Unity Members smile and great her casually as she
      passes them.

      Miriam in talking with a BEARDED MAN intently.

                          MIRIAM
                Cynthia, I'm so glad you're here.

      Ed and Connie are by the fireplace with some others.    They
      smile at Cynthia knowingly.

      Lana is sitting contentedly on the window seat reading with
      some children.

      Ralph is crouched with victor in a corner.    They are laughing
      warmly.




                                                          (CONTINUED)
                                                       119.
CONTINUED:

Gilda comes up to her. She is ebullient, happier, healthier
looking than we've ever seen her.

                       GILDA
             Cynthia, it's so wonderful here,
             but we miss you terribly.

Cynthia nears Harris. He smiles at her and kisses her.
Everyone in the room turns to her. Harris holds up a shiny
and sharp knife with ornamentation on the handle. Cynthia
doesn't see it yet.

He puts the pointed tip against her chest.

                       HARRIS
             It's time, Cynthia.    It's finally
             time, isn't it?

                         EVERYONE
             Yes.

                       CYNTHIA
                 (fighting the vision)
             You don't exist.

                       HARRIS
             I wouldn't say that.
                 (he touches her)
             Go on. Take the knife.

She can't escape his gaze.

                        HARRIS (CONT'D)
             Do it.   You know you want to.

                       GILDA
             You know you do, Cynthia.

                       VICTOR
             You'll see how beautiful it is.

                         SOMEONE ELSE
             You will.

Cynthia clasps her hand around the knife at her chest, Harris
lets go. She holds it there by herself, completely
hypnotized by his words, by his eyes.

                       MIRIAM
             Cynthia, we're only telling you
             this because we love you.



                                                   (CONTINUED)
                                                           120.
CONTINUED: (2)

                    HARRIS
          Beautiful lovechild. All will be
          in balance when you've joined us.
          All will be right when daughter is
          with father.

                    SOMEONE
          You're special, Cynthia.

                    SOMEONE ELSE
          Scared blood... daughter of the
          father.

Cynthia in mortified.

                      CYNTHIA
          I'm...?

                    HARRIS
          Now you remember.

                      CYNTHIA
          Yes...

                    HARRIS
          My own beautiful lovechild.
          Everyone has proven their love to
          me. Now you must.

She is weak now.    She is about to do it.

Her grasp tightens around the knife handle.      She's trembling.
She takes a deep breath.

                      CYNTHIA
          No!

She jams the knife into Harris' throat and pulls it out.

                    CYNTHIA (CONT'D)
          No I don't! I don't love you!      I
          don't need you!

She is crazed. She flies around the room brandishing the
knife at everyone. They back off.

                     CYNTHIA (CONT'D)
          I never loved any of you! I hate
          you! I hate you all! What you did
          was wrong!




                                                      (CONTINUED)
                                                               121.
      CONTINUED: (3)

      She swats the knife at them all. Victor's arm gets cut.
      Gilda has to dive away from her. Cynthia is knocking over
      lamps and chairs in her rage. She is crying hysterically.

                          CYNTHIA (CONT'D)
                It was WRONG! It was stupid!

                          HARRIS
                    (saddened)
                Oh, Cynthia.

                          CYNTHIA
                I never needed you!    Any of you!

      We are TIGHT ON CYNTHIA. She is winding down, crying with
      her face buried in her arms.

                          CYNTHIA (CONT'D)
                I never did...

      She is still.    Gradually, the silence fills with a quiet
      BREEZE.

                            ALAN
                Cynthia?

      She drops the knife. The knife is all rusty and corroded.
      The floor is a charred mass.

      Cynthia turns around.

      Alan comes in the front door. The room is again its empty,
      skeletal self, blackened and silent.

      Cynthia is trembling.

      She walks out of the room.

                          ALAN (CONT'D)
                Are you all right?

                            CYNTHIA
                Let's go.


217   EXT. UNITY HOUSE - DAY                                            217
      She stands on the porch, holding onto a post, trying to calm
      herself. Alan comes out. As he starts the car, a gust comes
      up. The trees are thrashed around.

      The WIND ECHOES through the house.


                                                          (CONTINUED)
                                                                122.
      CONTINUED:

      MUSIC UP SOFTLY, EERILY.

      Cynthia descends the stairs.    The station wagon pulls up.
      She gets inside.


218   INT. STATION WAGON - DAY                                           218
      They pull out. Slowly we see Cynthia collect herself.      A
      sense of hope is evident.

                             CYNTHIA
                   It's going to be okay.   I'm going
                   to be okay.


219   EXT. ROAD - DAY                                                    219
      The car speeds off trailing dust.

      We see the UNITY HOUSE in the distance.     The winds kicks up
      again.


220   EXT. UNITY HOUSE - DAY                                             220
      We are CLOSER. Branches and leaves are being tossed around
      by violent gusts as we MOVE TOWARD the structure.

      A teenage GIRL comes running up from the field behind.     She
      is crying. She runs into the house. We FOLLOW HER.


221   INT. UNITY HOUSE - DAY                                             221
      She goes to a far corner and cries some more, angrily,
      hopelessly.

                             BOY
                       (far off)
                   Come on, where are you? I hope
                   you're not in that house... You
                   always got like this and make
                   stupid threats that you don't mean!

      The girl peeks out the corner of the window.

222   ANGLE -                                                            222
      The TEENAGE BOY is in the field beyond.




                                                           (CONTINUED)
                                                             123.
CONTINUED:

                       BOY (CONT'D)
             If you're not here on three, I'm
             history. Permanently. One...
             Two... Three! Fine. Good
             riddance.

THE GIRL backs away from the window, only more upset now.

A hand touches her shoulder.      She whirls around.

                       GIRL
                 (startled)
             Who are you?

                         HARRIS
             A friend.    You're upset.

She nods.

                       HARRIS (CONT'D)
             What would you say if I could
             promise you eternal bliss?

                       GIRL
             Eternal bliss? What do you mean?

TRACKING IN on the old knife an the floor. It begins to
transform from its rusty and corroded state into a new and
shiny knife.

MUSIC UP.

A burned, skeletal hand reaches INTO FRAME and takes it.

                                             CUT TO BLACK.

                               THE END

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