FADE IN: 



INSERT - TITLE CARD

A frame should never distract from the artistry it
displays ... unless the frame holds a mirror. Then the
frame becomes the object of attention.



EXT. LOS ANGELES CITY STREETS - NIGHT

The oversized fog lamps of a shiny new Subaru Impreza WRX
slice through the evening mist as it hurtles through the
gloomy abandoned streets of an industrial area, splashing
through puddles left by a recent rainstorm. 



INT. SUBARU

ANGELO (36) listens to a mellow Sinatra tune, as he
expertly shifts through gears, perfectly attuned to both
the beat of the music and the whine of the engine.



EXT. CITY STREETS

The Subaru flies past a black and white cruiser, which
lights its flashers and pulls a quick U-turn.



INT. SUBARU

Angelo scowls at his rearview mirror.

ANGELO
We need some chase music.

Angelo switches the CD changer to an up-tempo beat and
cranks the volume as he powershifts. 



EXT. CITY STREETS

The Subaru and panda fly past warehouses and loading
docks in a spirited high-speed chase. Confident and
relaxed, Angelo loves to drive fast and knows how. 

With four-wheel drive the Subaru grips the slick
pavement, where the panda car spins out of control.

Angelo ducks around a corner and pulls off-road to hide
in a drainage culvert.



INT. SUBARU

Angelo sits back, relaxed, switches back to the Sinatra
tune, as the panda's searchlight sweeps the area nearby.



EXT. CITY STREETS

A second unit arrives. The OFFICERS confer through their
side windows. The panda kills its searchlight and
flashers and both cars drive away. 



INT. SUBARU

Angelo fires the ignition and pulls out of his hiding
spot. POP! The car shudders.

ANGELO
(curses in Italian)
Emme! Porca l'oca! Merda!



EXT. DRAINAGE CULVERT

Angelo climbs out to examine his flat tire, shaking his
head in dismay. He opens the trunk and his jaw drops.

He quickly slams the lid of the trunk. 

ANGELO
Figlio di puttana! Stronzo!

Angelo looks about nervously, then cautiously opens the
trunk again. Shaking his head, he pulls out a cell phone. 

ANGELO (CONT'D)
(into phone)
Vincent! Problem! There's a body in the
Subaru. A fucking dead body!

VINCENT (V.O.) 
Oh, Christ! Is it Tosh?

ANGELO 
How should I know? Some skinny blond kid. 

VINCENT (V.O.) 
Oh, sweet Jesus. Tell me it isn't Percy.



EXT. SANTA MONICA STREET - SPRING 1991

PERSEPHONE "PERCY" (13), a skinny, awkward waif with
startlingly beautiful features and long blond hair, and
ELLEN (14), auburn hair and an already statuesque build,
ride their bicycles through the Third Street Promenade. 

PERCY
I had this awesome dream last night. Brad
drove up to school in this totally rad
Mitsubishi 3000 GT VR4 which totally blew
away Tony Martin's 280Z.



EXT. MALIBU HIGH SCHOOL - DREAM SEQUENCE

BRAD (15) cruises up in a luminescent VR4. CLASSMATES
crowd around as Brad pops the hood to display the engine. 

ELLEN (V.O.)
Brad isn't even sixteen yet.

PERCY (V.O.)
It's my dream and in my dream he had the
car. Not just a car, but the hottest new
car for nineteen-ninety-one. 

ELLEN (V.O.)
You're a worse gear freak than any guy.

TONY MARTIN (18) tries to start a rusty 280Z.

PERCY (V.O.)
Twin turbo, four-wheel drive, metallic
red with leather upholstery. Three
hundred horsepower. That car is awesome. 

Brad climbs out, Guess jacket and Black Fly wraparounds.

PERCY (V.O.) (CONT'D)
He leans on the hood and tilts his shades
like in some cigarette ad, just too cool.

ELLEN (V.O.)
Smoking is so disgusting, unless it's
weed of course, then it's okay.

PERCY (V.O.)
Priscilla's with her cheerleader crowd,
like her shit doesn't stink.

PRISCILLA (16), every high school boy's fantasy.

ELLEN (V.O.)
I'm a cheerleader. 

PERCY (V.O.)
But your shit stinks big time. Priscilla
saunters over and climbs in the passenger
seat, like the car belongs to her.

Priscilla, as the song goes, walks on imported air.

ELLEN (V.O.)
If the car belonged to her, why didn't
she get behind the wheel?

PERCY (V.O.)
Ellen! I'm getting to the good part. 

ELLEN (V.O.)
For sure you haven't gotten there yet.

The future homecoming king and queen.

PERCY (V.O.)
Brad fires his engine up and it purrs
with this throaty sort of a growl. 

At a stop sign, Percy pulls up next to Brad on a brand
new Fat Boy Harley, midnight blue, custom trim.

ELLEN (V.O.)
Just like what you ride to school! A
three-speed Schwinn.

PERCY (V.O.)
Just wait. I'm going to be famous. 

Percy tilts her shades, a cigarette hanging from her lip.

PERCY (CONT'D)
Race? 

She flicks her cigarette onto Brad's hood and peels away.

PERCY (V.O.) (CONT'D)
Which really pisses him off. I peel out,
but not so fast he can't catch up.

ELLEN (V.O.)
You don't smoke.

PERCY (V.O.)
Maybe it was pot. Can I finish my story?



EXT. MALIBU - DREAM SEQUENCE

The Mitsubishi and Harley scream along PCH. 

They continue along Malibu Canyon, outstripping brightly
colored rice rockets racing along its twisting curves,
darting narrowly between cars, leaping over obstructions. 

PERCY (V.O.)
I lean so far into the turns I scrape my
elbow on the asphalt. Priscilla is being
a total bitch so Brad shoves her out
because the car is too heavy and she's
slowing him down.

ELLEN (V.O.)
What is she, a size four?

PERCY (V.O.)
Well, I'm a size zero. Now he's really
laying it on and I can see he's alone so
I ease up a bit and let him catch up. 

The Mitsubishi crashes through the guard rail and sails
two miles into the ocean.

ELLEN (V.O.)
From one of the canyon roads. 

PERCY (V.O.)
Right. So I skid to a stop and spin
around, but he's not coming up. 

ELLEN (V.O.)
Wasn't he driving away from the ocean?

Percy spins the Harley around, revs up and flies through
the broken guardrail, landing at the ocean's edge. 

Tearing off her leather jacket, she races into the water.



EXT. PACIFIC OCEAN - UNDERWATER - DREAM SEQUENCE

Percy finds Brad trapped in the submerged Mitsubishi.

PERCY (V.O.) 
I pull out a switchblade to cut him free,
but he's been underwater for a couple of
minutes, so I have to give him artificial
resuscitation before I can cut him loose. 



EXT. SANTA MONICA CITY STREET - OUTSIDE MALL 

The girls lock their bicycles to a rack.

ELLEN 
Underwater. 

PERCY
I couldn't let him drown.

ELLEN
It's amazing you can remember so many
details from your dreams. I remember
maybe one moment which I totally forget
by the time I brush my teeth. 

PERCY
You think I'm a dork.

ELLEN
Don't you think Brad is a little old for
you? You're only twelve.

PERCY
Thirteen! And two days.

ELLEN
Percy, you're one of the smartest girls I
know, else they wouldn't have skipped you
all those grades. But you're still a kid.
Brad's a teenager ... 

Percy digs into her knapsack.

PERCY
I'm a teenager now too ... with a five
hundred dollar gift certificate, good at
any shop in the mall.

ELLEN
Must be rough having a movie star for a
father.

PERCY
Stepfather. 



INT. SHOPPING MALL

Percy and Ellen race past fashionable boutiques. Percy
skids to a stop, her attention riveted to a chic outfit.

PERCY
This is the outfit. I have to have it.

ELLEN
Very nice.

PERCY
Let's get matching outfits.

ELLEN
Mucho, mucho dinero.

PERCY
I'll buy it for you.

ELLEN
Not with your birthday money, Percy. 

PERCY
Try it on, at least. We'll be twins for a
few minutes.



INT. BOUTIQUE

Percy preens in the dressing stall, takes a deep breath
and poises herself for a big entrance. 

She struts into the boutique, an anxious and awkward
fledgling runway model, to find Ellen chatting with Brad
and Tony, who take no notice. 

Ellen, who's hit puberty with a vengeance, looks every
inch the fashion model. The outfit lends a sophisticated
air which hasn't escaped the notice of Brad and Tony.

In a mirror, Percy sees herself as a child playing dress
up with her mother's clothes.

Shooting a glance at Ellen and Brad, still oblivious to
her, Percy hurries back to the dressing room.



INT. BEDROOM - 1991

The steel grey eyes of FINIAN O'ROURKE, 48, smolder with
contempt. Ruggedly handsome, fit, trim, a sophisticated
greying of the temples, his muscles taut with a feral
rage directed at MARIA, 26, half alley cat, half sex
kitten, dressed in a expensive peignoir.

FINIAN
Isn't that the one he bought?

MARIA
For all his faults, he had good taste.

FINIAN
You look great, but I never want to see
you in it again.

MARIA
It's just a few scraps of silk and lace.
It doesn't mean anything. 

FINIAN
Then wear something else. You've got
closets full of clothes.

MARIA
I like this one.

FINIAN
I don't.

Maria draws close, uncomfortably close.

MARIA
What are you going to do about it?

Finian brushes his fingertips across Maria's cheek, down
her neck and inside the spaghetti strap of the peignoir. 

Maria smiles condescendingly and leans to kiss him.

Finian abruptly rips the peignoir half off Maria's body.

MARIA (CONT'D)
You bastard!

Maria swings, but Finian blocks the blow. She struggles
to get away, caught in the garment he clutches.

Maria struggles and twists beneath Finian's arms, causing
the torn peignoir to become wrapped around her neck.

Finian draws her close, the torn fabric pulled tight.

FINIAN
God, I love you.

MARIA
God, I hate you.

Maria kisses Finian passionately, tearing at his buttons.
They fall onto the bed together, eager, intense.

CHRISTIAN (O.C.)
Cut. Excellent, excellent. 

CHRISTIAN (33), looks up from a video monitor.

The scene transforms to a low budget movie set. A
WARDROBE ASSISTANT brings a robe to Maria, still locked
in an embrace with Finian. Their tension is palpable. 

CHRISTIAN (CONT'D)
Do we have another nightie? I want to try
it one more time. Maria, this time I want
you to take more initiative pulling
Finian toward the bed. Let's move it, I
want to roll again in five.

Finian and Maria reluctantly break apart. This scene
isn't over. 



EXT. SANTA MONICA STREET - SPRING 1991 - AFTERNOON

A quiet, sunny afternoon. Percy rides her bicycle past
comfortable homes on San Vicente Boulevard, arriving at a
two-story home with a Corvette in the driveway. 

LANCELOT, an Irish setter bounds out to greet her as she
hauls her bicycle onto the front porch and enters. 



INT. PERCY'S HOME

Percy walks past the recreation room, where Finian pours
himself a drink. 

FINIAN
How's the birthday girl?

Percy turns and heads for the kitchen without a word. 

Finian finds Percy in the kitchen setting out fresh food
and water for the dog. He takes a seat at the table.

FINIAN (CONT'D)
Hey, Persephone. Something the matter?

Percy studiously ignores him, tears welling in her eyes. 

FINIAN (CONT'D)
Percy, I know I can never replace your
father, but I want you to think of me as
somebody you can trust and talk to
whenever something is bothering you.

Percy sniffles and nods, but refuses to speak.

FINIAN (CONT'D)
If there were something bothering you,
not that anything is, but if there were,
I'm not doing anything special right now.
My secretary might be able to squeeze you
in. You could have your girl call my girl
and set up a meeting. 

Despite herself, Percy snickers.

FINIAN (CONT'D)
This picture has kept me so busy we
haven't had time to become acquainted.

Percy turns away to position the water dish on the floor.

PERCY
Does this mean you're leaving?

Caught off guard, Finian sips his drink.

FINIAN
Did your mother say I might be leaving?

Percy shakes her head "no."

FINIAN (CONT'D)
Do you want me to leave?

Percy shakes her head more vigorously.

FINIAN (CONT'D)
Then why the question, Percy?

PERCY
My father drank a lot and argued with mom
all the time before he left. 

FINIAN
You were only four.

PERCY
I remember, though.

Finian looks at his glass thoughtfully.

FINIAN
How is it children see so clearly what we
adults can't see at all?

PERCY
I'm not a child!

FINIAN
No, you're not. You're already a
teenager, and quite a pretty one at that.

PERCY
The boys don't think so.

FINIAN
Come sit with me and tell me how you've
become such an expert on what boys think.

Percy takes a seat with a great show of reluctance.

PERCY
They don't look at me. Don't talk to me.
Don't ask me out on dates.

FINIAN
At your age boys can be shy around girls,
especially one as pretty as yourself. 

PERCY
They're not shy around Ellen.

FINIAN
Ellen is a few years older than you. 

PERCY
Not even a year and a half.

Finian seems genuinely surprised.

FINIAN
Some girls grow up fast and others take
their time and do it right. Give it time
and all those guys will realize you're
the better deal. Ellen will have to
settle for your castaways. 

Percy begins sobbing.

PERCY
I don't have time!

Finian draws her into a hug.

FINIAN
You have your entire life ahead of you. 

Percy sobs against Finian's shoulder as he gently rocks.

At the doorway, CYNTHIA (36) SHRIEKS and drops an armful
of groceries. 

A glass quart bottle of milk shatters on the floor. 

Cynthia turns and runs from the kitchen.

Finian breaks away from Percy and follows. 

FINIAN (CONT'D)
Cynthia!

PERCY
Mother!



EXT. PERCY'S HOME - EVENING

Cynthia runs out into a rainy night, climbs into a Mazda
Miata and fishtails out of the wet driveway, as Finian
and Percy run into the front lawn after her.

The Miata pulls into traffic and is hit broadside by a
speeding garbage truck, propelling it through the air,
crashing into parked cars as it bursts into flames.

Percy tries to run to her mother's car, engulfed in
flames, but Finian restrains her. 

Finian hugs Percy as she begins crying uncontrollably. 



INT. JUDITH'S OFFICE - PRESENT

The upscale office of a traditional Freudian, a chaise
longue placed so the patient doesn't see the therapist.

Percy (now 24) sobs and reaches for a tissue. 

PERCY
We couldn't get to her.

JUDITH
Do you feel strong enough to continue?

Percy nods.

JUDITH (CONT'D)
How long were you and your stepfather
talking before your mother came home?

PERCY
A few minutes. I can't remember.

JUDITH
But in those few minutes, the weather
changed from sunny afternoon, to a dark,
rainy night. Could it have been longer? 

Percy twists her tissue into a tight knot.

JUDITH (CONT'D)
Can you remember anything more about the
evening your mother died?

PERCY
I was caught in the rain. By the time I
got home, I was soaked.



INT. PERCY'S HOME - KITCHEN - 1991 - FLASHBACK 

Percy busies herself with the dog's dishes.

FINIAN
How is it children see so clearly what we
adults can't see at all?

Percy turns to confront Finian. The damp fabric of her
sundress clings to her body.

PERCY
I'm not a child!

FINIAN
No, you're already a teenager, a very wet
teenager. You'd better get some dry
clothes on before you catch a cold.

Percy looks down at her body, slowly peeling the hem of
her sundress from her thigh, then pressing it back again.

Finian swallows hard, tries to look away, but can't.

PERCY
It's okay. I don't mind if you look. It's
not like you're my real father.

Percy walks toward Finian in a deliberate attempt at
sultry, slowly pulling her sundress over her head as she
does so. Finian is frozen in his seat. 

Cynthia SHRIEKS, drops the milk and runs.



BACK TO SCENE

JUDITH
Percy.

Judith's voice brings Percy back from a near trance. A
later session, Judith and Percy are dressed differently. 

PERCY
It's okay. I want to remember.

JUDITH
You've been very brave, but try to
remember events as they really happened.

PERCY
I am, honestly I am.

JUDITH
You feel responsible for your mother's
death. The guilt causes your mind to
punish you, making the accident seem more
terrifying, closer to home. In your mind,
you've witnessed a horrifying event, but
that isn't the way it happened. 

PERCY
It is. My memory has always been good.

JUDITH
Percy, your mother's car did not burst
into flames before your eyes.

PERCY
They had to put her in a closed casket.

JUDITH
Your mother was disfigured, but not from
any explosion. 

PERCY
But I saw it.

JUDITH
No, Percy. The accident didn't happen in
Santa Monica, in front of your home, but
in San Diego, near your grandmother's. It
was in all the papers. 

Percy struggles with this.

PERCY
My mother died. I'm not imagining it. 

JUDITH
We cope with painful memories by twisting
them into forms we find more comfortable.
If we believe we avoided a punishment we
somehow deserved, we punish ourselves by
making our memories more painful. It's
called guilt.

PERCY
That doesn't mean it didn't happen.

JUDITH
How did a child who had never been kissed
become a confident vamp who easily twists
older men around her finger?

PERCY
It happened. The night my mother died she
caught me in bed with my stepfather. 

JUDITH
In bed, Percy? Or in the kitchen? 

PERCY
She caught us together. I drove her away.

JUDITH
Percy, I don't doubt something happened
between you and your stepfather, which
had a tremendous impact on your emotional
state. But I seriously doubt you were the
seductress you claim to be. 

Percy twists the tissue in her fingers tighter.

JUDITH (CONT'D)
I've worked with many young ladies who
were victims of relatives who betrayed
their trust, as your stepfather betrayed
yours. In every case, the adult was the
aggressor. I want to help you take this
terrible burden of guilt off your
shoulders and put it where it belongs,
with your stepfather. Can you help me? 

PERCY
I'll try.



INT. BOUDOIR 

An antique vanity mirror in an intricately carved frame
displays the full lips of ELLEN (now 25) in mottled gold,
as she carefully applies lipstick and blows her
reflection a pouting kiss. 

Ellen stretches a stocking across her eyes like a
blindfold, flashing her reflection a wicked grin. 

As she turns, her lacy peignoir reveals a hint of her
breasts. She languidly pulls on the stocking, extending
her leg in the graceful attitude of a ballet dancer. 

Ellen stands, carefully arranging the peignoir, and nods
approvingly at her reflection. 

As she picks up a rose, its wrapping paper flutters to
the floor, revealing the butt of an automatic pistol. 

Ellen sniffs the rose and looks through the French doors
to the bath where KEVIN (26) relaxes in a Jacuzzi. 

Ellen picks up the pistol, outfitted with a silencer. 

Holding the weapon behind her, she walks to the doorway.
Her thumb finds the hammer and softly cocks it.

CHRISTIAN (O.S.)
Cut! Looks good. Nice job, Ellen.

VINCENT brings Christian (48) a sheaf of storyboards, as
the bedroom springs into life as a low budget movie set. 

VINCENT
Okay, people, look lively. Let's get the
lights set up for the hot tub shots and
wrap this scene today.

SALLY (34) tosses a towel to Kevin and wraps a terrycloth
robe around Ellen's shoulders. 

A GAFFER wheels a light to the Jacuzzi as Kevin wraps the
towel around his waist and stops to chat with Ellen.

CHRISTIAN 
We may have a problem with steam from the
Jacuzzi fogging the camera lens.

VINCENT
If not steam from their lovemaking.
(faltering beat)
Maybe somebody could blow a hair dryer at
the lens.

CHRISTIAN
Somebody?

VINCENT
Well, me.

CHRISTIAN
Screw up my audio. We'd have to dub.

Christian, distracted, frowns as he watches the half
naked Kevin joking with Ellen.

VINCENT
Maybe we could get an electric blanket
and wrap it around the lens.

CHRISTIAN
Do we have an electric blanket?

VINCENT
We could send somebody out to get one.

CHRISTIAN
Somebody?

VINCENT
Okay, I could run out and get one.

Kevin and Ellen laugh together.

CHRISTIAN
This isn't a major studio production.

VINCENT
How do the big guys keep lenses clear?

CHRISTIAN
No clue.

VINCENT
Do you want me to go get a blanket?

CHRISTIAN
I want to shoot in half an hour.

Christian continues to watch Kevin joking with Ellen.

VINCENT
I could get one so we'd have it on hand.

CHRISTIAN
You told me the muscle dude was gay.

VINCENT
I don't have any personal knowledge, but
Sally claims to have an infallible sixth
sense and swears he's gay.

Ellen laughs and touches Kevin's forearm.

CHRISTIAN
He's not acting very gay. 

Ellen scrawls a quick note which she hands to Kevin.

CHRISTIAN (CONT'D)
This is too much.

VINCENT
He's not supposed to act gay. He's
playing Ellen's lover.

CHRISTIAN
Not any more. I want him off the set.

VINCENT
He's already in a couple of scenes.

CHRISTIAN
A blur in the background. Get somebody
who looks halfway similar and we're set.
Half an day to reshoot his scenes, max.

VINCENT
Don't you think this is a little extreme?

CHRISTIAN
You know how many actors would give their
left nut to do this scene? I give this
clown a break and he repays me by hitting
on my girlfriend! On my set! On my
payroll! It makes me look bad, very bad.

VINCENT
Should I get you a blanket?

CHRISTIAN
We'll shoot soft focus and call it arty.
Concentrate on finding a new muscle dude.
I want to shoot again in an hour. 

Vincent turns to address the cast and crew.

VINCENT
Everybody take thirty. Kevin, a word.

Ellen wraps her arm around Christian's neck.

ELLEN
How did I do?

CHRISTIAN
Awesome, as always.

ELLEN
We breaking for lunch?

CHRISTIAN
We need to set up for the next scene and
make a few changes. Hungry already?

ELLEN
Can we order in sushi?

CHRISTIAN
Wouldn't do to subject our star to craft
services with the unwashed masses.

Ellen notices Vincent lead Kevin off the set.

ELLEN
What's going on with Kevin?

CHRISTIAN
I'm putting somebody else in the role.

ELLEN
Rôle? All he does is sit and get shot.

CHRISTIAN
You can shoot somebody else.

ELLEN
I can't freaking believe this. You have a
real big problem, you know that?

Christian tries to pull an unwilling Ellen close.

CHRISTIAN
Yeah, it's about five-ten with auburn
hair and limpid blue eyes.

ELLEN
Kevin's not your problem, it's your
jealousy pulling us apart all the time.
Kevin's just a friend.

CHRISTIAN
Buddies already? Thought you just met.

ELLEN
No, I met him several months ago in a
class, if you must know.

CHRISTIAN
When we needed somebody for the hot tub,
you asked Vincent to give him a call?

ELLEN
Like I really want to kiss some stranger.

CHRISTIAN
Maybe I should fire Vincent also. 

Ellen cuddles up close to Christian.

ELLEN
I really don't need this on me, not when
I'm trying to concentrate on my role.
(nibbles his ear)
Let him back in. I promise you won't be
sorry.

CHRISTIAN
I'll give him something in the next one. 
(Ellen breaks away.)
I'll even pay him union scale.

ELLEN
You haven't done a union production in
four years.

CHRISTIAN
Those days are nearly over.

ELLEN
You can't fire people for finding me
attractive.

CHRISTIAN
Is it too much to expect professional
conduct and courtesy from the people who
are supposed to work for me?

ELLEN
Hope you never have to go in for surgery,
'cause if you do, everybody is going to
find out you're full of shit.

Christian watches Ellen walk away in a huff.

CHRISTIAN
At least I'll never have trouble finding
transplant donors. 



INT. ELLEN'S APARTMENT BUILDING - LOBBY

Ellen enters her apartment building to find Percy (22)
waiting, looking as if she hasn't eaten or slept in days.

ELLEN
Percy? That you? I can't believe this.

PERCY
I wasn't sure I'd recognize you, but you
look just like in the movies, great.

Ellen embraces her warmly, but Percy seems distant.

ELLEN
Have you been waiting long?

PERCY
It seems like years.

ELLEN
You should have called. 

PERCY
I couldn't find your number, but your
address was on an old Christmas card. 

ELLEN
Come on up, I'll show you the place.

PERCY
Another time. I'm running late.

ELLEN
It's been too long. Stay awhile.

PERCY
I can't, not tonight.

Ellen fishes in her purse.

ELLEN
Late lunch Saturday? My treat. Maybe do
some shopping? 

PERCY
That sounds nice, really nice.

ELLEN
This card has all my numbers.

PERCY
I'll keep it someplace safe.

ELLEN
Percy, is something wrong?

PERCY
Nothing I can't handle. Sorry I never
called or wrote back. It was a choice I
made, a choice I felt I had to make. 

ELLEN
I understand.

PERCY
Choice sounds so much better than turning
your back on your best friend ever. 

ELLEN
Percy, we all make mistakes. 

PERCY
I made some poor choices, caused innocent
people a lot of pain. But now I'm going
to set everything right. 

ELLEN
Percy, you're talking nonsense. Come on
up for a while and let's talk this over.

Percy backs toward the door.

PERCY
Saturday.

ELLEN
Promise?

Percy is out the door and gone.



INT. CHRISTIAN'S APARTMENT - EVENING

Christian, bare-chested, violently shoves LISA (20),
wearing a badly torn T-shirt over bare legs, across the
living room into the cushions of the sofa. 

CHRISTIAN
You aren't going anywhere until you
return the money you stole.

LISA
That money was supposed to come to me.

The DOORBELL RINGS. Christian turns in annoyance.

Commanding Lisa to silence with an upraised index finger,
Christian opens the door to find Ellen.

ELLEN
We need to talk. May I come in?

Blocking the door, Christian shakes his head.

CHRISTIAN
It's not a good time ... I'm working.
Lunch tomorrow?

ELLEN
How about breakfast?

Christian flashes Lisa an appraising look.

CHRISTIAN
That sounds good, really good, but I
really am working.

ELLEN
That's not what I meant. 

CHRISTIAN
Can you come back later? We'll talk.

ELLEN
Have you seen Percy? 

CHRISTIAN 
Percy? You don't speak to me all week,
then you show up asking about Percy?

ELLEN
I'm really worried about her.

CHRISTIAN
I'm really worried about us.

ELLEN
We were supposed to get together for
lunch. She never showed, never called.

CHRISTIAN
We were supposed to get together for
dinner. You never showed, never called.

ELLEN
Maybe I was upset over you firing Kevin.
You really embarrassed me. ... Again.

CHRISTIAN
Maybe Percy was upset about something.
People get upset. They get over it. 

ELLEN
The day you fired Kevin, I came home to
find Percy waiting for me. She looked
terrible and talked weird stuff about
making choices and putting things right.

CHRISTIAN
Percy made some very poor choices. 

ELLEN
Will you help me find her?

CHRISTIAN
She shut that door, on both of us. Maybe
it's better left shut.

ELLEN
Do it for me.

CHRISTIAN 
Are you coming back?

ELLEN
Are you going to help?

Christian shakes his head in resignation.

CHRISTIAN
For you, anything.

ELLEN
Midnight, then.

CHRISTIAN
Midnight.

Ellen gives Christian a quick kiss and is off. Christian
shuts the door and turns to Lisa. 

CHRISTIAN (CONT'D)
Where were we?

LISA
The money?

CHRISTIAN
Of course, the money you stole. How are
you holding up?

Lisa tugs at the torn T-shirt, barely preserving modesty. 

LISA
A lot better than this T-shirt.

CHRISTIAN
That my shirt or yours?

LISA
Mine.

Christian turns to Vincent, sketching storyboard ideas. 

CHRISTIAN
Let's get Lisa a new shirt to replace the
one she sacrificed in pursuit of art. Buy
her a dozen. Something nice, stylish. See
if there's anything in my dresser she can
wear. We'll pick up from the money.

Vincent sets his pad aside and beckons Lisa to follow.

VINCENT
Let's see what wardrobe has in your size. 

Christian takes a glass from a cabinet behind the wet
bar, fills it with ice, selects a bottle of Scotch from a
row of unopened bottles of liquor, turns to find Vincent.

VINCENT (CONT'D)
Happy hour already?

CHRISTIAN
Seemed like an appropriate occasion.

VINCENT
How long has it been? 

Christian studies the Scotch label.

CHRISTIAN
Three years. Eleven hundred days. Lost
count. No time at all, in the age of a
fine single malt. Care to join me?

VINCENT
Are you willing to risk everything with a
woman who loves you over this hopeless
infatuation with someone who never will?

CHRISTIAN
Does Ellen love me? Or is she using me
the way Percy did?

VINCENT
You'll never find the answer to that one
until you put Percy out of your mind. 

CHRISTIAN
I risked everything for her.

VINCENT
You bet on a long shot and lost. Get over
it.

CHRISTIAN
If I do nothing, I lose her for sure.

VINCENT
Which "her" would that be?

Lisa returns in a frayed Northwestern University T-shirt.

LISA
This one's already torn.

CHRISTIAN
Not my Northwestern T-shirt! It's torn
because I wear it all the time. That's my
favorite T-shirt. Anything but that.

LISA
Okay, boss. I'll try to find something
with less sentimental attachment.

Lisa pulls the T-shirt over her head and tosses it over
her shoulder to Christian, who stretches to catch it.

Folding the shirt, Christian draws Vincent aside.

CHRISTIAN
Still have a number for Patrick O'Malley?

VINCENT
Private detective, technical consultant
for THE DEAD DON'T LAUGH?

CHRISTIAN
See what he can find out about Percy. She
married a photographer named Rathburn a
few years ago, probably changed her name.

VINCENT
I always wondered what happened to her.

CHRISTIAN
Keep it on the Q.T. This could get weird,
maybe even ugly, so no paper trails. Cash
under the table, no phone records.

VINCENT
Plausible deniablility?

CHRISTIAN
You're beginning to sound like the script
to a cheap thriller.

VINCENT
It's the company I keep. Will I get
hazardous duty pay for this?

Christian shrugs indifferently.

CHRISTIAN
No paper trails. 
(beat)
Do you believe in coincidences?

VINCENT
Not enough to gamble on one.

CHRISTIAN
Have him check out the muscle dude in the
hot tub. But strictly under the horizon,
especially around Ellen. She already
thinks I'm insanely jealous.

VINCENT
You are insanely jealous.

CHRISTIAN
We all have our crosses to bear.

A KNOCK. Christian opens the door to a distraught Ellen.

ELLEN
It's Percy. The police found her car.
They've arrested Finian.

Ellen collapses into Christian's arms, begins crying
uncontrollably as Lisa comes out in a new T-shirt.

LISA
What's going on? 

CHRISTIAN
(to Vincent)
Switch on the television. 

ELLEN
The police are questioning Finian. They
think he murdered Percy.