A DEATH FORGOTTEN: THE LONG LOST HISTORY OF SUICIDAL TENDENCIES
FADE IN:
INT. LIBRARY - NIGHT
Worn thin by neither years nor worries, but joy only, a middle aged woman, LILLY, ambles about a long corridor, replacing one book after another.
Lilly whistles as she proceeds in her tedious effort, not even the faintest allusion to perpetual boredom.
Reinstating a final novel, Lilly pushes her cart down a long hallway.
Whistling seizes. Eyes widen. Before Lilly sits a young man, mumbling, grumbling, hunched over a table rotting.
Lilly sighs, gathers false courage, and approaches the young man, tapping his shoulder.
The young man jumps, startled, clutches his chest, chuckles. Lilly taps her wrist. The boy looks at her oddly. Lilly nods to a window dark and forboding.
The boy gasps, gapes, gathers meager belongings, and darts down the long hallway.
Lilly chuckles, turns, stops: a book neglected. Lilly picks it up.
A DEATH FORGOTTEN: THE LONG LOST HISTORY OF SUICIDAL TENDENCIES.
Lilly sighs, studies the deserted corridor, places the book upon the trolley, and marches down the long passageway.
INT. OFFICE - NIGHT
Drowning in papers, suffocating betwixt them, Lilly pushes her way to a filing cabinet.
Lilly flips through colored folders, a dewy decimal system, searching for the authors, PROFESSOR TARR and DR. FEATHER. Nothing.
Lilly sighs, closes the cabinet, and opens the book.
A name. An address.
EXT. HOUSE - NIGHT
Lilly sits in her car gathering false courage, studying an address pasted to a mailbox.
Lilly sighs, steps out of the car, and approaches the front door.
Rustling. Shuffling. Lilly pauses, hesitates. No one. Nothing.
Lilly shivers, knocks. No response.
Another knock. Nothing still.
Lilly searches the grounds and places the book upon the front porch.
A final knock; still no answer.
Lilly hurries back to her car, back to dying warmth, starts the car, and drives off.
EXT. LIBRARY - DAY
Lilly pulls into a lot, steps out of her car, and approaches the library.
Pause. Hesitate. Lilly frozen in place.
Before her, beyond her, leaning against sallow walls, two men stand, JOHN and PAUL, chain smoking.
Head down, eyes low, Lilly makes her way to the front door, between the two men. The two men close in, block her way.
JOHN
A few words.
LILLY
Yes?
JOHN
Have you seen this man?
John holds up a picture of the young man.
Lilly hesitates.
LILLY
No.
John sighs, nods, and tucks the photo away.
JOHN
Sorry to bother.
John nods to Paul and the two stagger off, back towards their car parked in another lot.
Lilly gathers false courage and withdraws rusted keys. Trembling, quivering, shaking uncontrollably. Lilly struggles, strains, unlocks glass doors, and steps into the building.
INT. LIBRARY - DAY
Lilly trudges her way through tedious errands, scanning one book after another.
Lilly gawks, gapes, stares, an unmarked vehicle stalls near.
Mumbling. Grumbling. Harsh irriatable whsipers.
BOY
Hey lady! Lady! Miss librarian lady! Ain't you gonna check me out already?
Lilly turns to the boy, looks at him oddly.
BOY
The books, member? Gotta read em somehow!
Lilly nods, lacking understanding.
BOY
Well go on then. Get to it.
Lilly nods, obliges, absently scans one book after another.
The boy grumbles, mumbles, snatches the books, and stomps out of the library.
Still Lilly stares at the car, the two men.
Another patron steps up to the counter. Lilly stares at the woman, the books, and abandons the institution.
EXT. LIBRARY - DAY
Push, pull, struggle, strain. Lilly opens a car door, falls in.
One breath. Two breaths. Three.
Lilly starts the car, closes her eyes, opens them wide, and drives off.
Another car follows.
EXT. LIQOUR STORE - DAY
Lilly pulls into a lot; another car pulls in behind. Lilly sits in her car, tapping her fingers, forestalling anxiety.
Gathering courage, Lilly steps out of the car and into the shop.
The two men whisper to each other, gesticulate, argue, hush, quiet; Lilly steps out of the shop with a bag full of liqour.
Back in the car, Lilly opens a bottle, chugs a quarter, returns the cap, starts the car, and drives off.
The two men follow.
INT. CAR - DAY
Driving down a dirt road, Lilly downs another swallow.
Another. Another.
Nerves calm, relax. Lilly pulls over to the side of the road. Another car also.
EXT. FIELD - DAY
Lilly steps out of the car and stumbles towards the other.
Tap, knock. A window rolled down.
Lilly pulls out a small bottle of rum.
LILLY
Liqour?
PAUL
On the job.
LILLY
Figures.
PAUL
Perhaps...
LILLY
Huh?
PAUL
Nothing.
LILLY
Well I'll tell you something. Harassing people like this, following them around, stalking them and all, that's not legal. Thats against the law. I have rights, ya know.
PAUL
Yes mam.
LILLY
What do you want with me, anyhow?
Paul hesitates.
JOHN
The boy, madam.
LILLY
What about him?
JOHN
Gone missing.
LILLY
I'm no legal guardian.
JOHN
No mam, but you are the last one to see him.
LILLY
According to who?
JOHN
Just about everybody.
LILLY
Whats it to you?
PAUL
We have a job to do.
LILLY
Well go do it somewhere else then.
PAUL
Mam?
LILLY
Private property. Can't you read? Bout half a mile back now. Spect you better get going then.
The young officer, Paul, looks to the older. John sighs, nods.
JOHN
Have a nice day now.
The two drive off.
Lilly stumbles back to her car, opens the door, starts the car, and drives off.
EXT. LIBRARY - DAY
Stumbling, fumbling, Lilly makes her way back towards the library.
INT. LIBRARY - DAY
Citizens turn with the boisterious intrusion of the drunken librarian.
LILLY
What are you lookin at?
Many abandon small treasures for the safety of private property.
Lilly fumbles to the counter and stumbles behind it.
LILLY
What are you lookin at lady?
The woman looks away nervously.
Lilly scans the books offered and pushes them forward; more than a few fall off the counter.
The woman gathers dropped books and scurries away.
LILLY
Next!
INT. LIBRARY - NIGHT
Alchol fading, drunkeness dissipating, Lilly strokes throbbing temples masochistically.
Push. Pull. Doors rumble, rattle. Lilly points to a sign hung upon locked doors.
LILLY
Closed, stupid.
The man persists.
Lilly sighs, approaches, stops. The man holds a boquet of flowers.
Lilly feigns a false smile and unlocks the glass doors. The man, CHARLEY, fumbles into the library.
LILLY
Charley...
CHARLEY
Now just let me talk for a minute.
LILLY
Theres nothing to talk about.
CHARLEY
Tons of stuff.
LILLY
Like?
CHARLEY
Well, what you don't understand is, see, well
LILLY
You screwed the mechanic.
CHARLEY
Well, yes, thats true, but
LILLY
And the florist. And the architect.
CHARLEY
Well yes, thats all true, but
LILLY
You're the worst.
CHARLEY
Well maybe not the worst, no, but I am certainly
LILLY
The worst.
CHARLEY
Ok. The worst then. But what you need to understand is
LILLY
What?
CHARLEY
I don't want to be this way. You have to understand. I don't want to do what I do. I just do. I can't control it.
LILLY
I'm pretty sure you can.
CHARLEY
No. You don't understand.
LILLY
Am I stupid?
CHARLEY
Yes! No! Of course not. No. But see, what my doctor told me is
LILLY
You're a whore?
CHARLEY
An addict, Lilly. I'm a sex addict.
LILLY
Good for you.
CHARLEY
So its not my fault, see. I can't do anything about it.
LILLY
Obviously.
CHARLEY
So?
LILLY
So what?
CHARLEY
So, well, can we try this again?
LILLY
Try what again?
CHARLEY
Us. Ya know. The whole marriage thing.
LILLY
Because it worked out so well last time.
CHARLEY
Well no, maybe not exactly. But I'm an addict, you see, and now that I know that I can
LILLY
What?
CHARLEY
Change. Really. I can.
LILLY
Good for you.
CHARLEY
So what do you say? Wanna give this another chance?
Lilly scoffs, stomps off. Charley chases after.
EXT. LIBRARY - NIGHT
CHARLEY
Well at least think it over, will ya?
LILLY
Goodnight Charley.
CHARLEY
I'll see ya in the morning?
LILLY
Until I get another restraining order.
CHARLEY
Ah, you wouldn't do that again.
LILLY
Just keep trying.
Lilly opens a car door.
CHARLEY
Can I at least get a ride home? That mechanic totaled my car.
Lilly abandons Charley to his fate.
EXT. SCHOOLHOUSE - NIGHT
An old schoolhouse rots in miserable squalor.
Tired, exhausted, Lilly tumbles towards a gate rotting.
Struggling. Straining.
An old woman, BEATRICE, leans against a decaying doorframe.
LILLY
You're early.
BEATRICE
You're late.
Lilly fumbles past Beatrice and into the decay. Beatrice sighs, follows.
INT. SCHOOLHOUSE - NIGHT
BEATRICE
Bridge is at four.
LILLY
I have a job, ma.
BEATRICE
We all do sweetheart.
LILLY
I'd hardly call painting making a living.
BEATRICE
The public would dispute that claim vehmently.
LILLY
You can paint whenever you want.
BEATRICE
And you? Are you not the only librarian?
LILLY
People depend on me, ma.
BEATRICE
Who? Who depends on you? Whats it matter if a book is late a day or two?
LILLY
Its not about that, ma. Its about the community. My duty. My service. My responsibility.
BEATRICE
You count books for a living, dear; how much responsibility does that necessitate?
LILLY
More than you could ever imagine.
BEATRICE
Now don't be childish, Lilly. Dinner is almost ready.
LILLY
And father?
BEATRICE
Extra shift at the factory.
LILLY
So he can miss dinner?
BEATRICE
Of course not, sweetie. He should be home any minute.
Lilly sits at a small table while Beatrice gathers supper.
A door opens, closes. An old man, EDGAR, weathered, beaten, limps into the kitchen.
LILLY
You're late.
EDGAR
You're early.
BEATRICE
How was work, dear?
EDGAR
The same as always.
LILLY
How's that?
EDGAR
Miserable.
BEATRICE
Don't squabble, dear.
EDGAR
I'm not squabbling!
BEATRICE
Of course not dear.
EDGAR
What about you?
BEATRICE
What about me?
EDGAR
What makes you so cheery?
BEATRICE
Why I have you, dear.
EDGAR
Do ya now?
BEATRICE
Of course I do. Now enough of this foolishness. Dinner is practically frozen over.
The three divy up meager proportions.
BEATRICE
And you, dear, any news?
Lilly shakes her head. A knock upon wood.
BEATRICE
Why, whoever could that be?
Beatrice stands. Lilly grabs hold, a terrified glance.
BEATRICE
Don't be boorish, dear. A guest is a guest and deserves out respect.
Beatrice shakes Lilly off and approaches the door.
Mumbling. Grumbling. Chuckling. Laughing.
Beatrice returns with two men close behind.
BEATRICE
Lilly, honey, I want you to meet a some new friends of mine.
Beatrice pauses, hesitates: Lilly nowhere to be seen.
BEATRICE
Now where did she run off to?
Edgar shrugs, devouring a meager meal.
EXT. SCHOOLHOUSE - NIGHT
Behind bushes, trees, leaves, Lilly watches. Beatrice laughs, chuckles, giggles, grows serious, sillhouetted by false luminesence.
After a few quiet words, the two men offer adieu, and head out the front door.
Outside the school, beyond closed doors, the two pause, stop, scan the perimeter.
Finding nothing, no one, the two head back to their car, drive off.
Lilly steps back towards the house.
Hesitation.
Lilly reaches into her pocket, finds keys rusting, turns around, walks to her car, and drives off.
EXT. HOUSE - NIGHT
A victorian home. A barren field. A rotting barn.
Slowing, stopping, the two men step out of their car and into the mansion.
Lilly, upon the precipice of pavement, gathers lost breath, courage.
Lilly steps out of the car and approaches the mansion.
Closer. Closer. Behind leaves. Trees. Fall foilage.
Lilly presses her body against a damp wall, next to a window, looks in, gawks, gapes.
The boy, gone missing, shares a meal with 8 others, the two men amongst them.
One of the gathering, a young woman, APRIL, hops to her feet and opens the window. Lilly shrinks back into shadows.
APRIL
Lilly, silly, what are you doing?
Lilly stutters, stares.
APRIL
Well come on in now silly, dinner's getting chilly.
Lilly gapes, frozen in place. April sighs, climbs out the window, and grabs Lilly by the hand.
APRIL
Well if you're gonna be stubborn, you can sulk in your room.
LILLY
My room?
APRIL
Why of course, silly! We've been expecting you.
Lilly doesn't move.
APRIL
Must I call upon the bad men too?
LILLY
Bad men?
APRIL
Oh you know! Those two!
LILLY
No! No...thats quite alright. Just...please, show me to my room.
APRIL
Show you? Why, have you forgotten already?
LILLY
No...I...if you could just point me in the right direction
APRIL
Oh no you don't Lilly! Not this time again! I'm not falling for that one after the last one! No sir ree. I'm taking you straight to bed, right away.
With inhuman strength, April drags Lilly away.
INT. MANSION - NIGHT
Amongst knick knacks and sculptures, trash and treasures, April drags Lilly up a steep set of stairs rotting.
At the top of the steps, April stops, digs through her pockets, withdraws a key rusting, and opens a door lightly.
APRIL
Well go on then, silly. What are you waiting for?
LILLY
I...nothing.
APRIL
Well get to it then, silly. What do you need, an invitation or something?
LILLY
Perhaps a glass of water.
APRIL
Yes! Yes! Of course! Of course! All in good time. But first...
April nods to the room. Lilly hesitates, steps in.
APRIL
All the way, silly.
Lilly takes a step forward. Another. Another.
APRIL
Much better.
INT. ROOM - NIGHT
April slmas the door shut. Lilly pushes, pulls. Locked.
Lilly struggles, strains, bashes, smashes.
Useless.
Lilly grows tired, exhausted.
Lilly tries the window, locked. Lilly grabs a chair, hurls it against glass: not even a scratch.
The door opens.
Paul sighs, looks to John; John shakes his head, solemn.
LILLY
What is this? Some sort of sex thing? Is that what this is? Some sort of weird sort of sex thing.
John nods to Paul. Paul steps out of the room. John offers a cigarette.
LILLY
A disgusting habit.
JOHN
Better than this.
LILLY
And what, exactly, is this, exactly?
JOHN
What do you think?
LILLY
I don't know, some sort of nut house or something.
John chuckles.
JOHN
Smart.
LILLY
What?
JOHN
Thats just what this is.
LILLY
And you?
JOHN
A practitioner.
LILLY
And me?
JOHN
Lets just call you a consultant for now.
LILLY
I'm a librain.
JOHN
Of course you are Marian.
LILLY
You think this is funny?
JOHN
Its certainly not very serious.
LILLY
Kidnapping, then. Thats your gambit?
JOHN
No gambit.
LILLY
What then?
JOHN
A consultant.
LILLY
Slavery is hardly a fulfilling employment
JOHN
Why Lilly, don't play the fool. You came here upon your own accord.
LILLY
My own accord?! Why I
JOHN
Followed us to the premises, parked across the street, walked in through the front door. I'm no mastermind, Lilly, but that sure seems like some pretty shabby kidnapping to me.
LILLY
But the locked door!
John opens the door, closes it again.
JOHN
To the left, Lilly. The knob must be turned to the left.
LILLY
And the window?
JOHN
Natural precaution.
LILLY
For?
JOHN
Suicide. You wouldn't be the first.
LILLY
There are others?
JOHN
A nuthouse, Lilly. Of course there are others.
LILLY
So what do you want then? My thoughts on Lovecraft, Orwell, Poe?
JOHN
It is not your skills as a librarian we seek.
LILLY
What else?
John sighs, opens the door, whistles, mumbles, clutches a folder.
John closes the door, leafs through the manila folder.
JOHN
Bachelors at Harvard. Doctorate at John Hopkins. A licensed therapist, and an MD on top of it. I'd say you're far more than an overqualified librarian.
LILLY
If you'd done even the slightest of research you'd know I've been barred from the practice.
JOHN
Yes. Insurance fraud. How quaint.
LILLY
Its a serious offence.
JOHN
Treating the poor? How nefarious.
LILLY
I was practically imprisoned!
JOHN
But not quite.
LILLY
So what then? You want me to cure you? Them? Run this whole thing?
JOHN
Run? No. We've hardly started crawling. No, Lilly, first, I believe, we should start with the beginning.
LILLY
Like?
JOHN
Names.
LILLY
You already know mine.
JOHN
And I'm John. Now you know mine.
LILLY
John what?
JOHN
Don't be childish.
LILLY
And your friend?
JOHN
Paul.
LILLY
Anything else I should know?
JOHN
Tonight? No. For now, just get some rest; probably much needed.
LILLY
And whats to stop me from leaving?
JOHN
Absolutely nothing.
John closes the door. Lilly hesitates, rushes the door, turns the knob. The door opens.
JOHN
Eager one, aren't you?
Lilly gapes, astonished.
JOHN
Goodnight, Lilly. I'll see you again in the morning.
John vanishes into a collision of stairs. Lilly hesitates, steps back into the room, and closes the door behind her.
INT. ROOM - DAY
Lilly comes to, lying in bed. A long, tumultous sigh. Lilly looks out the window: a barn not far in the distance.
LILLY
Not dead yet.
Lilly climbs out of bed.
INT. DINING ROOM - DAY
Mumbling, grumbling, whispering, cackling, 7 patients devour inexhastable foodstuffs.
Lilly pauses at the precipice of the crowded room. John nods to a chair next to his own. Lilly sighs, obliges.
John raises his hand. All fall silent.
JOHN
As you all well know, our good friend Lilly here will be joining us for a little long while. I want you to treat her with kindness and courtesy, but no different than any other. She is one of us now, and should be treated with such assurances. Any concerns will now be directed by her discretion. If it pertains to her in particular, concerning any sort of innaporpriate behavior, please do not hesitate to come to me or Paul directly.
LILLY
(Whispering)
Is this really all necessary?
JOHN
It is not for them that I worry, but your own sanity. These are a people far beyond genneral paranoia. If you were to take every complaint, including your own, I'm afraid even prometheus wouldn't be up to the task.
LILLY
I'm quite capable, I assure you.
JOHN
Assurance or not, we'll keep things as they are, at least for the time being. If you prove useful, which I have no doubt you will, then we can again discuss your current arrangement.
A young man, GEORGE, raises his hand.
GEORGE
Excuse me? Mr. John! I have a question!
JOHN
Yes George?
GEORGE
Well if shes gonna be running things around here, who's gonna be getting me my cereal?
JOHN
Why you are, George. Just like always.
GEORGE
But Ringo said
An older woman, RINGO, retaliates.
RINGO
I ain's said nothin!
GEORGE
Yes you did. You said by the morrow everything would be different.
RINGO
But I ain't said nothin bout no cereal.
GEORGE
But if everythings different, nothings the same. And if nothings the same, then I can't very well get my own cereal, now can I? Ergo, someone else has to.
RINGO
Ain't you ever think you just might never get no cereal?
GEORGE
You take that back!
John slams his hands upon the table.
JOHN
George!
George cowers.
JOHN
Thats quite enough!
Ringo sticks out her tongue.
JOHN
And as for you, Ringo, I suggest you finish breakfast in your room.
RINGO
But I ain't even do nothin!
JOHN
Ringo...
Ringo snatches her plate and stomps out of the room.
Lilly moves to stand, held back, down.
JOHN
Violence, my dear friend. It is the only end to this madness.
LILLY
I couldn't.
JOHN
You misunderstand me. Ringo, when she gets like this, she becomes rather...irrational.
LILLY
But to punish her for no fault of her own.
JOHN
It is the way of our forefathers. Proffessor Tarr in particular.
LILLY
The book.
JOHN
Quite so. A wise man, once. Established this whole institution. Cured hundreds, thousands, and you won't believe this, but myself and Paul included.
LILLY
You mean you were
JOHN
Once. A long time ago since. But fortune favors the strong willed, eh? Of course, it is not lightly we tread upon such waters, so perhaps we should drop the matter for the time being.
LILLY
I mean not to pry.
JOHN
Pry? Pry! Why of course you must pry! Why dear Lilly, thats precisely what we do here at the foundation!
LILLY
But to offend.
JOHN
None taken. We will discuss this again when the time is deemed neccessary. But now, these fine fellows must be off to recreation.
John stands and nods to a door. Patients scurry, scatter.
LILLY
Are they always so
JOHN
Obedient?
LILLY
Mannered.
JOHN
A key building block to our system.
John gathers plates, utensils, lumbers off into the kitchen.
LILLY
And you, Paul? Is it true? You were once a patient here too?
Paul cackles, guffaws.
PAUL
Why of course, dear Lilly. Every last one of us, once. All part of Tarr's process.
LILLY
And what, exactly, is that process, exactly?
PAUL
Well its all rather simple, really. We here believe the mind is more malleable than previously considered; even the most savage of us, in good time, are bound to change eventually.
LILLY
Well I certainly can't argue with the malliability of the brain, but certainly one must consider the biological quirks which challenge these particular patients.
PAUL
First and foremost. But Proffessor Tarr theorized the external could alter the internal. That is, if one could merely act sane, feign the cloth of sanity, the mind, in good time, with all its queer ways, would eventually give in to sanity.
LILLY
But biology is not that which can simply be cheated.
PAUL
Hardly. But changed, certainly.
LILLY
But in the case of those whose complications are more than just psychological, more, biochemical, I mean, as in those whose brains are malformed or deteriating.
PAUL
Regeneration is no longer science fiction dear Lilly. The body can, and does, heal rather quickly. The brain is no different. It simply requires a bit more activity.
LILLY
But surely an MRI would disqualify such theories.
PAUL
Am I mad?
LILLY
I'm sorry?
PAUL
Am I insane? Coocoo for cocoa puffs? Writhing on the floor, frothing at the mouth? Am I not the man you see before you?
LILLY
Well yes, of course, but surely you do not believe all cases are like your own.
PAUL
Alike? No. Not a single one. But this is a system which dates far beyond our own.
LILLY
Then there must be papers, journals, whole libraries, even.
PAUL
Many, yes. But none of any value. We find conventional medicine lacking in curiosity.
LILLY
But the very scientific method is founded upon just such curiosity.
JOHN
So the dilemma baffles us.
Lilly turns to find John leaning against the door leading into the kitchen.
PAUL
We find ourselves at odds with a system hell bent on self-destruction.
JOHN
Surely you of all people can grasp the vices of such a system.
Lilly moves to retaliate, stops.
JOHN
But enoguh of this cross-examination, though this debate is rather intriguing. We must be off to our own recreation.
Paul leaps to his feet and skips out of the room.
LILLY
Is he always so
JOHN
Manic?
LILLY
Happy.
JOHN
Very much so.
LILLY
You don't find that disconcerting?
JOHN
Is happiness so cruel?
LILLY
Of course not.
JOHN
Then let us follow too.
John steps out of the room. Lilly hesitates, follows.
EXT. FIELD - DAY
Wandering, roaming, marching, stomping; patients amble about a field rotting, a barn decaying at the edge of the property.
Lilly leans against architecture slowly decomposing. Paul and John smoke beside her.
JOHN
You must let it go Lilly.
LILLY
But I don't know how.
JOHN
Think no more and its all rather simple.
LILLY
But it doesn't make any sense!
JOHN
Sense or not makes no difference.
LILLY
But how can I simply trust you're theory?
JOHN
Faith, dear Lilly, is certainly required.
LILLY
But even faith is founded upon something.
JOHN
Like?
LILLY
The world. The universe. Unexplainable acts. So called miracles.
JOHN
Then consider this your saving grace.
LILLY
But what proof is that? For all I know, you've always been this way, which, considering, isn't all that sane.
JOHN
What can I say?
LILLY
Just give me something, anything; work with me here.
JOHN
Franklin. Lovecraft. Poe.
PAUL
Oppenheimer. Pollock. Johnson.
JOHN
All graduates of our system.
LILLY
So you're telling me theres some sort of mass conpiracy curing lunacy?
JOHN
We simply do what we do and hope for the best.
LILLY
Then why isn't this taught in school? Why isn't this on the news? Why is this so blatantly forgotten?
JOHN
Secrecy, dear Lilly, is of upmost importance.
LILLY
A coward's excuse.
JOHN
Then perhaps you can do better. Perhaps you are whats missing. Perhaps you are the prophet we've so long been craving. Well go on then! Tell them! Expose them! Reveal this wretched secret!
Lilly hesitates, berated by sudden cruelty.
JOHN
No? What then?
LILLY
Well...what about you?
JOHN
What about me?
LILLY
You acknowledge your past demons.
JOHN
I still live amongst them.
LILLY
So?
JOHN
So the comparison is easy.
PAUL
Nothing like the world out there.
JOHN
So only we treat us.
LILLY
But I'm
JOHN
An anomaly; but nonetheless necessary.
LILLY
But why me? Why not a doctor? Why risk your practice on an abject failure?
JOHN
Failure, my dear Lilly, is in the eye of the beholder. You may have feigned failure in the eyes of the ignorant, but to us, the wise and the learned, you have commited no such atrocity. I assure you, Lilly, you are far more resilent than you ever imagined.
LILLY
How can you be so sure?
John shrugs. Paul frowns.
A young man, OSWALD, the boy once missing, approaches.
JOHN
Lilly, meet Osawald, our brightest of students. Practically cured. It was his idea to encourage you to join.
LILLY
Is that so?
Oswald nods, eyes glued to the floor.
OSWALD
I...I...I...
LILLY
Yes?
OSWALD
(Stuttering)
Ththththank you.
LILLY
For?
OSWALD
(Stuttering)
Hhhhhelping mmmmme.
LILLY
Well I haven't done anything as of yet.
OSWALD
(Stuttering)
Bbbbbbbbbooks.
LILLY
You like to read?
Oswald nods eagerly.
LILLY
And what do you like to read, Oswald?
OSWALD
(Stuttering)
Mmmmmmmmysteries.
LILLY
Well I'll keep that in mind.
Oswald scurries off.
JOHN
How odd.
PAUL
Absolutely preposterous!
LILLY
What?
JOHN
He hasn't stuttered like that since graduation.
LILLY
Nerves, only.
JOHN
I fear there may be more to this regression.
LILLY
Regression?
JOHN
All too common.
PAUL
Dr. Feather?
JOHN
I'm afraid so.
LILLY
Who?
JOHN
Another founder.
PAUL
A man with much sterner tactics.
LILLY
Sterner how?
JOHN
Perhaps another time.
John whistles. Patients gather. John nods, patients follow.
Paul and Lilly left abandoned.
PAUL
Find him funny, do ya?
LILLY
Funny? No. Just odd.
PAUL
Well everybodies odd around these parts. Kind of the whole deal.
LILLY
And Dr. Feather?
PAUL
Oh don't talk too much about him. Least not around John.
LILLY
You're the one who brought him up.
PAUL
Yes. Yes. And he's likely to also. But best to keep your distance when he starts spouting such gibberish.
LILLY
But I thought you said he was one of your founders.
PAUL
But a feared one, also. Even disdained, by others. His tactics require a lot more, well, how shall I put it...brutality, if you can believe it.
LILLY
Surely you're not suggesting violence.
PAUL
I'm afraid its much worse than that.
LILLY
Worse?
A bell rings.
PAUL
No time to speak. Meet me in the cellar in just over an hour.
LILLY
But
Paul hurries off into the house.
Lilly sighs, digs through her pockets, withdraws a cigarette, and smokes, agitated.
INT. CELLAR - DAY
Lilly stands at the precipice of a steep set of stairs, staring down at a cellar dark and forboding.
Grimy walls line a creaky staircase, mold seeping and oozing and constantly growing.
Lilly gathers false nerves and steps down into the cellar.
At the bottom of the stairs, betwixt a boiler and heater, Paul mumbles, grumbles, back to Lilly, anxious, agitated.
Lilly approaches, taps Paul on the shoulder.
Paul yelps, screams, whimpers, clasps his hands over his mouth, calms at the sight of her.
PAUL
Have you told anybody?
LILLY
About?
PAUL
This?
LILLY
No. Not really.
PAUL
No? Or not really?
LILLY
I haven't told anybody.
PAUL
Well next time say that already!
LILLY
I'm sorry.
A long pause.
LILLY
What is it, exactly, that you wanted to talk about, exactly?
PAUL
I don't like it Lilly. I don't like it.
LILLY
Like what?
PAUL
John. His methods. Dr Feather.
LILLY
What methods?
PAUL
Terrible, horrible, unutterable actions.
LILLY
Punishment?
PAUL
Quite.
LILLY
For?
PAUL
Insubordination.
LILLY
What do you mean?
PAUL
Regression. Questioning. Any sort of rebellion.
LILLY
Rebellion?
PAUL
A couple years back, some of the folks tried to change things for the better. Ya know, a real prolitarian movement.
LILLY
You mean you and the patients.
PAUL
We thought things should be different. Fought off guards, doctors, even overran the institution.
LILLY
But I thought John said
PAUL
Fairytales. All of it.
LILLY
But the others. The doctors? What happened to them?
PAUL
Gone. Couldn't take it. Left, every last one of em. Put John in charge instead.
LILLY
I thought he already was?
PAUL
A practitioner of Dr Feather's, certainly. But no leader of our choosing.
LILLY
But what can I do?
PAUL
What John never could.
LILLY
Upon only your word?
Paul shakes his head.
PAUL
Upon no word. When day falls, night comes, wait for John, follow him, wherever he goes.
LILLY
Where?
A crackle. A pop. Paul jumps back.
PAUL
Just follow him.
Paul leaps up the steps.
INT. BEDROOM - NIGHT
Lilly paces. This way. That. Back. Forth. Again. Again.
A door opens, closes. Lilly looks out the window.
John steps down wooden stairs creaking. Lilly hesitates, follows.
EXT. HOUSE - NIGHT
Amidst darkness, shadows, Lilly roams, stalks, keeping her distance, terribly quiet.
A snap. A crack. A twig broken.
Lilly falls flat on her stomach. John looks back, sees nothing.
John continues on. Lilly also.
EXT. BARN - NIGHT
Wailing. Screaming. Howls of agony.
John steps into the barn. Lilly gawks at the monstrosity.
Lilly hesitates, gathers false courage, approaches.
Closer. Closer. Closer.
At the doors. Lilly closes her eyes, gathers lost breath, clutches the door.
JOHN
Lilly?
Lilly stops, hand latched to the door.
JOHN
Is that you?
Lilly gathers lost breath, feigns a false smile, and turns towards John.
LILLY
I...I thought I heard something.
JOHN
In the barn?
LILLY
It was stupid. Probably nothing.
JOHN
No. Go on then. Please. I insist.
LILLY
It was nothing. Really.
John chuckles.
JOHN
Screaming?
LILLY
What?
JOHN
Isn't that what you heard?
LILLY
Well I...I mean...
JOHN
Go on then. Open it.
LILLY
What?
JOHN
The doors. Go on then. If you're so curious. Open them.
LILLY
No. No. I couldn't.
JOHN
Open them.
Eyes glower with fury.
Lilly turns back to the doors, shaking uncontrollably. Lilly pushes the doors open.
Lilly gawks. Gapes.
Goats. Chickens. Sheep.
JOHN
I slaughter them at night, so as not to cause a fright. Most of what we eat comes from these little fellas.
Lilly gawks, surprised.
JOHN
Paul got you fooled, didn't he?
Lilly looks at him oddly.
JOHN
A little joke he likes to play on outsiders. Makes em all jumpy. Part of a former life I suppose, though he doesn't think much of it. Just fun and games to most of us nowadays. Though I do regret your worrisome troubles. Sometimes his jokes can come across as rather cruel.
Lilly feigns a false smile, forces a chuckle.
LILLY
A joke. Yeah. Of course. I knew that. I was just playing along. Thats all. What do you take me for, a fool?
JOHN
Of course not Lilly. But Paul, well, he can be rather...convincing.
LILLY
Yes, well, he's certainly something. But seeing that you have this all handled, I'll just be going.
JOHN
Nonsense Lilly, please, stay. I insist. It will lighten your worry.
LILLY
No. No. Really. I couldn't. Thank you, but I can't. Sleep, you know, important for hygine.
JOHN
Very well then, if you so insist. In the morning, then, I'll see you again.
John nods and steps into the barn. Lilly heaves a haggard breath and stumbles back to the house.
INT. DINING ROOM - DAY
Lilly staggers into the room, pauses, sits next to John.
Lilly stares at a chair: empty. Paul, gone.
John leans over, whispers.
JOHN
Errands. Back tomorrow. Groceries and the like.
LILLY
Alone?
JOHN
Does it take more than one?
LILLY
I guess not.
JOHN
Then eat up. We have a long day ahead of us.
INT. LIVING ROOM - DAY
Patients huddle, whisper, mumble to each other; one of the patients, a middle aged man, HUBERT, approaches a grand piano.
All fall silent.
The man sits, steadies, slams scrawny fingers upon wooden keys molding.
The crowd whoops, cheers.
Hubert stops, stands, bows, leers, lumbers over to a chair, and sits next to Lilly, holding out a hand in greeting.
HUBERT
Hubert's the name, piano's the game. What can I call you, Ms. Lilly? That is, what makes you you, and not me or him or her or anyone else sitting around doing nothing but nothing?
LILLY
Well, at one time, I used to be a doctor.
HUBERT
Work? Work? No one much cares about work! I'm talking about heart Ms. Lilly! I'm talking about passion! I'm talking what makes you you and not any of these others.
LILLY
I guess I like to read a bit.
HUBERT
Guess! Guess! Why thats hardly worth anything! I ask what you hold most dear and the best you can do is guess? Why surely there's more to it than that! Surely thats not nearly all you have! What makes you tick, Ms. Lilly? What makes you seeth? What makes you throw your head against the wall and scream with fury?
LILLY
My husband.
HUBERT
A married woman! Of course! No wonder you're so boring!
LILLY
Once. Not anymore.
HUBERT
It can't be! Please, indulge me.
LILLY
I think we just expected different things out of life.
HUBERT
And what, pray tell, did you expect, Ms. Lilly?
LILLY
I don't know, happiness, I guess.
HUBERT
But not him?
LILLY
He wanted different things.
HUBERT
Children?
Lilly nods.
HUBERT
So I suspected! Women are such interesting creatures.
LILLY
It wasn't his decision.
HUBERT
Now the truth is laid bare! Now things become more interesting! An abortion, then, to be clear.
LILLY
I wasn't ready.
HUBERT
Nor was it his sacrifice.
LILLY
How can I be to blame for his blunder?
HUBERT
Now I see the dilemma.
LILLY
Whats that?
HUBERT
You blame him as he blames you.
LILLY
What else?
HUBERT
Forgiveness, my dear Lilly. It's a powerful antidote.
LILLY
And you?
HUBERT
My own burdens, to be sure. But that is my shame, not yours.
LILLY
And what shame is that?
Hubert smiles sadly.
HUBERT
A child of my own. Lost. Forgotten. I thought it was best, considering everything that happened.
LILLY
What happened?
HUBERT
You'll think me cruel.
LILLY
No one is free from the burden of history.
HUBERT
But admittance liberates few.
LILLY
But it may loosen the chains.
HUBERT
You would never forgive me.
LILLY
Only if you don't tell me.
Hubert sighs.
HUBERT
Very well, but its no happy story.
LILLY
Misery is life's one assuridity.
HUBERT
But this may just be cruelty.
LILLY
Is it?
A long pause. Hubert shakes his head slowly.
HUBERT
I didn't abandon him, you must understand. It was only for the night, only to save him.
LILLY
Save whom from what?
HUBERT
My son. My boy. From the CIA. You must understand, I was trying to save him.
LILLY
What happened?
HUBERT
I hid him in the woods, away from all of them monsters. But mostly from that woman who tried to betray me.
LILLY
Who?
HUBERT
My wife, formerly. Unbeknownst to me, a member of the CIA. Meant to track me, murder me. Me and my kin, every last one of them.
LILLY
Hers?
HUBERT
Yes. Of course. All part of their plan. Leverage, you see. They knew I'd be a great father. They knew I'd do anything to save him. So I had to get rid of him. I had to stop them! You must understand, I did what I had to.
LILLY
What happened?
HUBERT
I hid him somewhere nobody would find him. I figured I'd throw them off the trail and then come back for him. But when night ended, when day commenced, he was gone, lost in the wilderness. And I know thats where he was. I know thats where I left him. They stole him, you must understand! They kidnapped my only child!
Lilly gathers haggard breath.
LILLY
And then?
HUBERT
Well, maybe he's still out there, somewhere. They say they found him, under some leaves or branches or something. But no boy of mine would be so easily captured. And of course they blame me, this unknown boy so innocently murdered, all just so they can hold me hostage! Calling him my son! Blasphemy! My son is no cadaver! He's out there, somewhere, you must believe me. I commited no wrongdoing. Everything I did was for the sake of my family. And now he's safe, having escaped their maleficent capture. Yet still they blame me for the death of some nobody. Well fooey! Thats what I say! Preposterous to the nth degree, if I've ever heard any!
A long pause.
LILLY
And your wife?
HUBERT
Not a word since. Must've gone deep under cover after that failure.
LILLY
Yoh don't suppose I could be her? Or Ringo? Or any other?
Hubert guffaws.
HUBERT
Even you can't feign the cloth of such brilliance! A talent like that can hardly be hidden!
LILLY
But it is perhaps such great talent which keeps her hidden.
Hubert hesitates.
HUBERT
No. No. Thats wrong. You're wrong. Clearly you must be mistaken.
LILLY
Clearly.
HUBERT
But enough of this nonsense, this arbitrary squabble; tea time is soon upon us, and I've yet to boil water.
LILLY
Then I bid you adieu, fine sir. Until we meet again
Hubert holds out a hand. Lilly obliges.
HUBERT
Until then, my sweet Lilly pad.
Hubert lumbers out of the room. John sits next to her.
JOHN
This is why we wanted you.
LILLY
Is it really all true?
JOHN
I'm sure you can seperate fact from fiction.
LILLY
And his wife?
JOHN
Imprisoned, if you can believe it.
LILLY
Her? How?
JOHN
Hubert is beyond the intellect of your average patient. Even the most brilliant would struggle to conquer that determination.
LILLY
Has he seen her, since...what happened?
JOHN
No. Certainly not. She still sends him letters, but we intercept them. An admirable woman, far beyond the bounds of human kindness.
LILLY
But how can he heal without understanding consequences?
JOHN
He must first understand the crime before he can be punished for it.
LILLY
So why not confront him?
JOHN
A fragile mind. Insanity assured. First he must know what he did, not why.
LILLY
But how do you seperate one from the other?
JOHN
Dissasociation. He must first be convinced it was not he, but another. Then, when that is assured, all becomes rather clear, rather certain. And the why, with all its lurid reasoning, is entirely forgotten.
LILLY
Surely there must be more to it than that.
JOHN
Certainly, but nothing precedes it. We must first convince him it was not he, but another, before we can continue upon his journey.
LILLY
And the others?
JOHN
No different.
LILLY
But what can I do that another couldn't?
JOHN
Thats for us to find out.
A crash. A tumble. Glass broken.
John chuckles, winks, and strolls out of the room.
EXT. HOUSE - DAY
Lilly sits on steps rotting, smoking a cigarette dimming.
April waddles out of the house and sits next to Lilly.
APRIL
Bum a smoke.
LILLY
You can't be a day over eigtheen.
APRIL
A month, actually.
LILLY
Too young kid.
APRIL
Says who?
LILLY
The law.
APRIL
I can kill people, you know
LILLY
Hardly.
APRIL
What do you call war? The military? Soldiers? What makes them better than murderers?
LILLY
Well its not that simple.
APRIL
What makes it any different? Just cus some guy says some other guy's evil that makes it okay?
LILLY
Well no, it doesn't, but thats not what I'm trying to say.
APRIL
Well what you're trying to say doesn't really all that much matter, now does it? All that does is what does, and thats what you said, which is murder is okay.
LILLY
I never said that.
APRIL
Well you might as well have.
LILLY
Even so, that doesn't justify a cigarette.
APRIL
So I can kill people, but not smoke a single cigarette?
LILLY
Apparently so.
APRIL
Thats messed up.
Lilly shrugs.
LILLY
Maybe. But I'll tell you what. You join the army, and I'll buy you a smoke.
APRIL
Yeah?
LILLY
Sure.
APRIL
Well I'm not joining no capitalistic pigs, if thats what you're thinking.
LILLY
Then I suppose some patience will be required.
APRIL
I don't see why you gotta be like that. The last lady wasn't.
LILLY
Last lady?
APRIL
What? You think you're the only lady doctor?
LILLY
No, I just thought, well, I don't know what I thought.
APRIL
Well don't.
LILLY
What?
APRIL
Think. It won't do ya any good.
LILLY
So it seems.
APRIL
I think I liked the last lady better.
LILLY
Why's that?
APRIL
Well she didn't kill Paul, for starters.
LILLY
Kill? Hardly. He's just running errands.
APRIL
Thats what they said about the last lady also.
Lilly hesitates.
LILLY
Don't be crude.
APRIL
I'm just saying it seems rather odd that the moment anyone starts saying anything about anything they suddenly go missing.
LILLY
Don't be foolish.
APRIL
Don't believe me, do ya? Think I'm crazy, just like the others? Well, just wait, you'll see. Stay by your window and see what you won't.
April stomps off before Lilly can answer.
INT. BEDROOM - NIGHT
Lilly lies in bed, tossing and turning, forcing slumber upon her weary body: futile. Lilly stares out the window.
A long sigh.
Lilly sits, stands, approaches the window.
No one. Nothing.
Lilly shakes her head, chuckles, stumbles back into bed, closes her eyes.
Useless.
Lilly looks back to the window, hesitates, stands, drags a chair to the window, sits, withdraws a cigarette, and smokes, watching night fade.
A cigarette gone. Another. Another. Lilly yawns, wipes sleep from her eyes.
Lilly nods off.
A crash. A ruckus. Lilly comes to.
A figure in the shadows, running, sprinting. Another chases after.
Pushed, pulled, tackled, dragged into darkness.
A muffled yell. A drowned out scream. A thunderous boom. Silence.
Lilly gawks, gapes, gathers herself, her belongings, leaps to the door, stops, hesitates.
Lilly presses her ear against the door: nothing.
Lilly opens the door, peeks out, looks back, escapes.
EXT. HOUSE - NIGHT
Further, farther, faster.
Push, pull, a car door opens. Key in ignition. Turn. Turn. Turn.
The car won't start.
Lilly slams on the wheel, fear and frustration all one and the same.
A shadow in the distance, strolling down the promenade.
Lilly tries again. Again. Again.
Closer. Closer. Closer.
The car sputters and spews and sparks but still won't start.
Flesh upon glass. Knuckles upon metal. Lilly jumps, screams. John smiles.
Lilly closes her eyes, gathers lost breath, and unlocks the door. John climbs in, sits next to her.
JOHN
Going somewhere?
LILLY
I couldn't sleep.
JOHN
You shouldn't drive tired.
LILLY
If I was I wouldn't be driving.
JOHN
Fair point.
LILLY
And you?
JOHN
I heard a strange sound, thought I'd investigate.
LILLY
Strange how?
JOHN
Like a car that just wouldn't start.
Lilly's fingers go white.
JOHN
Mind if I take a look?
Lilly shakes her head.
John smiles, nods, steps out of the car and opens the hood. John taps the car.
JOHN
Try her now.
The car starts. John closes the hood, climbs in beside.
JOHN
Where to?
Lilly shakes her head.
JOHN
Hungry?
Lilly shrugs.
JOHN
Lets go get some food.
Lilly nods.
JOHN
Well go on then. Don't be scared. I'll tell you where.
Lilly drives off.
INT. DINER - NIGHT
Surrounded by the eery glow of false luminesence, the two sit alone, across from eachother, accompanied only by a chef and a waiter, neither of which take much notice.
Lilly stares at a menu, seeing nothing, hearing less.
John lowers her menu. Lilly stares at him, through him.
JOHN
You alright there Lilly? You look a little out of it.
LILLY
Just...ghost stories.
JOHN
Remembered or forgotten?
LILLY
Just kid stuff.
John nods, sighs, studies her solemn demeanor.
JOHN
This work can get to ya. Often does. Many a man who couldn't last more than a month. But I promise you, Lilly, it won't always be this taxing. It gets easier. It does. Take my word for it.
LILLY
How would you know?
JOHN
Whats that?
LILLY
All you've ever known is this life and that. You've never had to live in the land of the living.
John cackles.
JOHN
Well when you put it like that, no, not really; but I've certainly had my fair share of struggles. And I've seen more than one good man go rotten.
LILLY
Well you can count me safe. I just want a milkshake.
Lilly waves her hand. The waiter ignores her.
JOHN
Its not that easy.
LILLY
No?
JOHN
When paranoia is commonplace, its hard to stay sane.
LILLY
I'm not paranoid.
JOHN
Who told you to stay up late?
LILLY
Now look who sounds paranoid.
JOHN
Who told you to sit at your window and wait.
LILLY
I couldn't sleep John. Its no more than that.
JOHN
If you're going to lie, at least have fun with it.
LILLY
I'm not lying.
JOHN
Stop it!
John's voice sputters with fury, eyes fierce with rage.
John sighs. Rage seeps from his eyes.
JOHN
Theres no use playing games. Someone made you this way. I just want to know who, why.
LILLY
What for?
JOHN
Clearly their in a state of regression.
LILLY
What determines paranoia from suspicion?
JOHN
The truth.
LILLY
Which is?
JOHN
You're worrying about nothing.
LILLY
Then where's Paul, John; what happened to Paul? It doesn't take all day and night to run a couple of simple errands.
John sighs.
JOHN
I see.
LILLY
I mean really, John, how dumb do you think I am? Did you really just think I'd believe he just left.
JOHN
No. No. Of course not. You're right. You should know.
John stands.
LILLY
Know what?
JOHN
You wanted to see Paul.
LILLY
What do you mean?
JOHN
Come with me.
John walks past the counter and into the kitchen.
Lilly runs after.
INT. KITCHEN - NIGHT
A door at the end of a long corridor.
JOHN
Are you sure about this?
LILLY
About what?
JOHN
The end of suspicion.
LILLY
What else?
John sighs, nods, opens the door.
INT. ROOM - NIGHT
Paul sits on the floor, rocking back and forth, mumbling to himself, cackling without a doubt.
JOHN
Paul. This is Lilly. Remember her?
Paul squawks, squeals, screams.
Lilly takes a step closer, another, another.
Paul snarls, snips, snaps, bites. Lilly jumps back, terrified.
JOHN
The end we fear most.
LILLY
Why not bring him back?
JOHN
Theres nowhere to go.
LILLY
Surely in a home
JOHN
Move within a yard and he'll cut your throat.
LILLY
I don't understand. What happened to him?
JOHN
I'm afraid this is my doing. I insisted upon your presence. He resisted. He refused. Thought you'd be our ruin.
LILLY
Me?
JOHN
The first outsider in six generations. Its incredibly uncommon. I'm sure you've heard of Jack the Ripper.
LILLY
You mean
JOHN
The last outsider. Drove everyone insane, himself included. Destruction and death, thats all that ever happens.
LILLY
Then why even bother with someone like me?
JOHN
Oswald. The boy. The book.
LILLY
What do you mean?
JOHN
He wanted you, its true, but we told him not to. But he ignored us, and left that book for you too.
LILLY
So?
JOHN
Evidence, Lilly. The end of all privacy. Such a sacrifice could hardly be bargained.
LILLY
So all that stuff about me being neccessary
JOHN
A lie, yes, but in truth. Our system is failing. Theres no question about it. I fear, if not for you, we'd be mad already.
LILLY
But Paul
JOHN
A worthy sacrifice. He knew the risks, but stayed on anyways. It beat him, yes, but perhaps this can be a lesson. Perhaps this can be our saving grace.
LILLY
And him?
JOHN
We'll do what we can. Food, water, a place to live. But...he'll never be Paul again...at best, he'll be this, and even that is more than hope can salvage.
LILLY
This isn't right.
JOHN
What else?
LILLY
You have to do something.
JOHN
Like?
LILLY
Drugs. Medicine. A medical practioner. An actual physician. A licenseed psychiatrist. Surely anything is better than this!
John smiles sadly.
JOHN
I'm afraid you don't understand. Faith is a rather permanent predicament. Such assistance would be the very antithesis of our practice. More than wrong, it'd be immoral. A sin which transcends all others. It is the very foundation of our faith to seek no help from those who can offer none.
LILLY
Prison, then, thats your answer?
JOHN
We are neither villains nor captors. He is free to go at a moments notice. All we're doing is trying to help him. Is that too much to ask for, a little less misery?
Lilly sighs.
LILLY
I just don't think this is the best course of action.
JOHN
Nevertheless, it's what we must do, for this is who we are, what we are, no matter the cost.
LILLY
You'll ruin him.
JOHN
You already did.
John steps out of the room. Lilly hesitates, follows, closes the door behind her.
EXT. HOUSE - DAY
Lilly and John pull up to the house, stop.
John grabs the door handle, opens the door, pauses.
JOHN
Its best if you speak little of this. None, if possible.
LILLY
They should know what happened.
JOHN
And risk them too?
Lilly sighs, stares out the window.
JOHN
Give it some time. The day, at least.
LILLY
If anyone asks?
JOHN
Family troubles. Thats all.
Lilly nods.
LILLY
What do we do now?
JOHN
The best we can.
John steps out of the car and back towards the house.
Lilly hesitates, follows.
INT. DINING ROOM - DAY
Eight of the nine, once ten, sit at a table, ready for breakfast. Lilly steps into the room, sits where Paul sat.
To her left sits a young woman, JULIET, to her right, a young man, ROMEO.
JULIET
(To Romeo)
Did you hear about Paul?
ROMEO
(To Juliet)
I heard he got knocked off.
JULIET
Proffessor Tarr?
ROMEO
And Dr. Feather also.
JULIET
Ya don't say.
ROMEO
Thats what they say.
JULIET
Who?
ROMEO
The people.
JULIET
What people?
ROMEO
All the people.
LILLY
Its not true.
JULIET
Huh?
ROMEO
What?
LILLY
Its not true. Pretend. Make believe. Thats all.
JULIET
How do you know?
ROMEO
Yeah, who told you?
LILLY
Me? No one. I saw so myself.
JULIET
It?
LILLY
Him.
ROMEO
And?
LILLY
Rather well. Shame about his brother though.
JULIET
Brother?
ROMEO
I didn't know he had one.
LILLY
Real close. Just passed away. Really got to him.
JULIET
Did he...
LILLY
What?
ROMEO
Ya know...
LILLY
He's perfectly sane.
JULIET
That'll be the day.
LILLY
What will?
ROMEO
When sanity has no end.
LILLY
Time. Thats all.
JULIET
Hasn't worked so far.
LILLY
You've yet to begin.
ROMEO
But John
LILLY
Doesn't know what he's talking about.
John sighs, clears his throat, walks off into the kitchen. Lilly excuses herself, follows.
INT. KITCHEN - DAY
Lilly steps into the kitchen. Pushed, pulled, thrown against a wall.
JOHN
I thought we had an agreement.
LILLY
We do. I said
JOHN
You were supposed to say nothing!
LILLY
Well its better to quell rumors.
JOHN
Its better not to run your slutty little mouth off.
LILLY
I was only doing what I thought best.
JOHN
Well maybe you should leave that to me.
LILLY
Thinking?
JOHN
If thats what it takes.
Lilly pushes John back.
LILLY
I'd rather just leave.
Lilly steps towards the back door.
JOHN
And them?
Lilly hesitates, hand on the latch.
LILLY
No different than before.
JOHN
And Paul?
Lilly clenches the doorknob, lets go.
LILLY
What do you want?
JOHN
Order. Thats all.
Lilly stares him down.
LILLY
I won't say a word.
JOHN
Thats all I ask.
LILLY
And when rumors spread?
JOHN
Let me handle that.
LILLY
And me? What about me? Since I'm clearly too stupid for the most simple of tasks.
JOHN
What you're here to do: help.
Lilly pushes past John and into the dining room.
EXT. FIELD - DAY
Lilly walks amongst flowers, grasses, nodding to patients as she makes her way nowhere.
Push, pull, tug. Lilly held back.
Lilly turns to find April holding her back.
APRIL
Well?
LILLY
Paranoia, thats all, nothing more.
APRIL
You stayed up then? You watched him go? You heard those screams?
LILLY
Nothing nefarious, I can assure you. And as for those screams: sheep and goats.
APRIL
How do you know he's not just pulling a fast one on you. Ya know, pulling the wool over you?
LILLY
Why would he do that?
APRIL
Don't know. Maybe you got too close. Maybe you got something you shouldn't. Maybe was afraid you might go and tell somebody something.
LILLY
Like who?
APRIL
The police. The authorities. The government. The media. Anybody, really.
LILLY
It's not my place to speak ill of a friend.
APRIL
So you believe him then? Think he's right? Think what he's doing is for the good of mankind?
LILLY
So it seems.
APRIL
Why don't you go talk to Ringo then? Or Oswald for that matter? They'll set you straight. They'll let you know whats really happening.
LILLY
How so?
APRIL
Don't know. Never was. Wouldn't know.
LILLY
What do you mean?
APRIL
Ask and you shall recieve.
April skips off into the field.
Lilly turns back towards the house, the patients, searches for Ringo, Oswald, approaches the former, not finding the latter.
Ringo mutters and mumbles and cackles and howls, twitching and quivering, sitting upon the ground.
LILLY
Ringo?
Ringo looks up, offers a maniacal smile.
LILLY
May I?
Ringo doesn't respond. Lilly sits next to her.
LILLY
Ringo. I want you to tell me something. Can you do that for me?
Ringo stares at her, through her.
LILLY
Now you remember the other day, don't you, when you were sent to your room? That fight you had with George, you remember, about the cereal?
A long pause. Ringo stares.
LILLY
Well, I was wondering if you could tell me what happened after you went to your room? Did Paul or John hurt you? Beat you?
Ringo extinguishes a shrill snarl.
RINGO
Bach bach bach bach bach bach.
LILLY
Rungo.
RINGO
Bach bach bach bach bach bach bach.
LILLY
Ringo. This is serious. I need you to tell me what happened.
RINGO
Cock-a-doodle-doo! Cock-a-doodle-do!
LILLY
Ringo!
Lilly clutches Ringo's arm. Ringo falls silent.
LILLY
I'm sorry...I...we'll talk about this tomorrow.
RINGO
Bach bach bach bach bach bach bach!
Lilly stumbles away.
INT. LIVING ROOM - DAY
All sit, reverent, patient, quiet. John nowhere to be seen. Hubert slams upon wooden keys.
Lilly sits on a sofa next to Oswald.
LILLY
Oswald?
OSWALD
(Stuttering)
Yyyyyes?
LILLY
What happened to Ringo?
OSWALD
(Stuttering)
Pppprofessor Tarr. Dr. Feather.
LILLY
What does that mean?
OSWALD
Chchchchchikens.
LILLY
What do you mean chickens?
John stomps into the room. Hubert stops. All stare.
John fumbles, stumbles, drunk, falls into a chair next to Lilly and Oswald.
JOHN
Well don't stop on my account!
Hubert hesitates.
JOHN
Well go on then! Play!
Still Hubert hesitates.
JOHN
I said play!
Hubert stares at the keys, frozen in place.
John jumps to his feet, grabs Hubert by the collar, throws him aside, and slams on the keys.
JOHN
Is this so hard? Is it? Is it?
All cower. John consumed with terrible rage.
JOHN
Well go on then! Say it! Go on! Say it!
A long pause. No one answers.
JOHN
You're all cowards! Every last one of you! Terrified! Horrified! Nothing but make believe!
John reaches, grabs, pulls; a revolver.
JOHN
Well what about this? Huh? What about this? Will this make you happy, will it?
Trembling, quivering, silence penetrating.
John spits on the floor and stumbles out of the room.
Lilly runs after.
EXT. BARN - DAY
John stumbles through the field, towards the barn, crumbles, falls, doesn't get back up again. Lilly approaches, pauses, hesitates.
LILLY
John?
JOHN
Don't touch me!
Lilly steps back.
JOHN
Hopeless! All of em! Every last one of em!
LILLY
John, what happened?
JOHN
You. Thats what happened! Everything was fine and dandy until you put your nose in it.
LILLY
John...what happened?
JOHN
Paul. Thats what happened! Had to put him out of his misery!
LILLY
You don't know what you're saying.
JOHN
Shot him! Dead! Just like an animal.
John cackles.
JOHN
He didn't even beg or plead or grovel.
LILLY
John, you're not making any sense.
JOHN
Of course I am! You just don't want to hear it! I killed him! Murdered him! Shot him right in the temple!
LILLY
Where John? How? Tell me what happened. How did you get that gun?
JOHN
This thing?
John aims it at Lilly. Lilly steps back instinctively.
JOHN
Ringo's, if you can believe it. Under her bed. Figures. That bitch! I did what I had to. Thats what you don't get. Paul was no good to me, to anyone, never again.
Lilly gathers tethered nerves.
LILLY
Where is he, John? Where's Paul? What did you do with him?
John cackles.
JOHN
I did what I always do! The barn! The barn! Just like the rest of em!
Lilly stares at John, the barn.
LILLY
Whats in the barn, John?
John can't keep his eyes open.
LILLY
Whats in the barn?!
John succumbs to darkness: unconcious.
Lilly sighs, steps over, picks up the gun, cocks it, and approaches the barn.
Closer. Closer. Closer.
Lilly before the barn.
Push. Pull. Locked.
Lilly turns back to John, cautiously approaches.
One pocket, another, another, nothing.
Lilly looks around, drags John to the side of the house, and leans him against it. Lilly tucks the gun into her back pocket and steps into the house.
INT. LIVING ROOM - DAY
All gawk, gape, stare. Lilly enters the room.
LILLY
Go. Leave. You're free.
No one moves.
LILLY
Well go on then! Get! While you still have a chance.
Hubert sighs, shakes his head.
HUBERT
You don't understand.
LILLY
Whats to understand?
GEORGE
This is our home.
ROMEO
Where we live.
JULIET
Where we grew up.
APRIL
Where we exist.
OSWALD
Whwhwhere we're meant to be.
RINGO
Bach bach bach bach bach bach!
HUBERT
There is nowhere but here, Lilly. This is all we have. Cruelty, certainly, but nothing so cruel as the desecration of a family.
LILLY
But John! Paul! The chickens!
HUBERT
Come with me.
Lilly hesitates, follows.
EXT. BARN - DAY
Through flowers, weeds, Lilly follows, pauses. Hubert reaches into his pockets: a set of keys jingling.
One key, another, another. Yelping. Screaming. Just beyond the precipice.
Hubert pushes, pulls, opens the doors.
No one. Nothing.
Hubert walks to the middle of the room, clears dust, dirt, hay: a trap door.
Another lock. Another key. Click. Clack. The trap door opens.
Howls of terrible horror.
Lilly approaches, steps closer, closer, closer; gun in hand, quivering, trembling, shaking.
Lilly looks down into the cellar.
Black, ferocious, feathered monstrosities. Hooing and hawing and screeching and howling.
Hubert closes the door. Lilly gapes at the horror.
HUBERT
Proffessor Tarr and Doctor Feather.
LILLY
Animals?
HUBERT
No one knows for certain.
LILLY
But why?
HUBERT
Incredibly dangerous. Far beyond the strength of ten individuals.
LILLY
Why not kill them?
Hubert smiles sadly.
HUBERT
Pity, mostly.
LILLY
But trapped. Imprisoned. Locked away. Jailed. Thats no way to live.
HUBERT
So it is John's duty. The only one who can stomach the cruelty.
LILLY
Who knows about this?
HUBERT
You. Me. John. Thats all. The others could never stomach it.
LILLY
But...
HUBERT
Why me?
Lilly nods.
HUBERT
I am not who I appear to be. The piano, the meals, the shinnagins, a facade, an act, to be one with the others. They feel safe around me, because surely I must be even crazier than them.
LILLY
And the boy, your son?
HUBERT
All true.
LILLY
How'd they get there?
HUBERT
Who?
LILLY
The animals?
Hubert smiles sadly.
HUBERT
Been there for generations. They breed like wild. Kill one and theres ten more waiting. They've been down there ever since the beginning of our civilaztion.
LILLY
Why not just let them starve? Abandon them?
Hubert shakes his head.
HUBERT
It's the sacred oath of every caretaker. We ask not why nor how nor what, but only to care for those who so choose
LILLY
Choose what?
HUBERT
To live.
Lilly shakes her head.
LILLY
And all this about helping patients, about the method
HUBERT
Nonetheless true. This is just the part we'd rather keep private.
LILLY
And Ringo?
Hubert sighs.
HUBERT
I don't know. I'm sorry. I can't fathom what cruelty burdens her soul.
Lilly nods, sighs, tucks her gun into her back pocket.
HUBERT
Rest will suit you well. We can discuss this again when you're ready.
INT. BEDROOM - DAY
Lilly comes to. A terrible fright.
Lilly calms, sighs, stands, steps over to the window, stares out at the barn.
A knock upon wood.
Lilly turns. John opens the door.
JOHN
About yesterday.
LILLY
I know.
JOHN
Worry is a burdensome trifle.
LILLY
Don't.
JOHN
Hubert?
Lilly nods.
JOHN
My cross to bear only. Worry no longer.
LILLY
Is it true?
JOHN
Rare is the man who lies in these parts.
LILLY
You kill them?
John chuckles.
JOHN
Kill? No. I suppose he's still a fool.
LILLY
But the blood.
JOHN
The animals. I really do slaughter them.
LILLY
But...why?
JOHN
Our institution, our way of life, long living. Dozens of generations. It is the sacred duty of every caretaker to keep these strange beasts breathing. So is my burden; may it not be yours also.
LILLY
But why keep it secret? Why not tell the others? Why keep them hidden?
JOHN
For the greater good. Their's, for sanity. The beasts, for pity.
LILLY
Pity?
JOHN
Blinded by light. Terrified of mankind. Violence isn't likely, its inevitable.
LILLY
So you cage them like theifs?
JOHN
What else?
LILLY
Let them go free.
JOHN
Death to all.
LILLY
Then why not just slaughter them?
JOHN
Is tradition nothing to you?
LILLY
But your tradition helps no one, benifits none. It is only pure misery.
JOHN
Then you bear this burden. You carry this cross. If this evil is so malicious, why not take it upon yourself?
Lilly hesitates.
JOHN
Thats what I thought.
John turns to go.
LILLY
Wait.
John stops, holding the door.
LILLY
Okay.
JOHN
Okay what?
LILLY
I'll do it.
JOHN
Do what?
LILLY
What you never could.
John chuckles, cackles, throws the door open.
JOHN
Be my guest.
Lilly feigns confidence and marches out of the room.
INT. DINING ROOM - DAY
All babble and gaggle and talk nonsensically, all but Ringo, who clucks relentlessly.
Lilly stomps into the room, John close behind her. All quiet.
LILLY
Hubert, the keys.
Hubert looks at her oddly.
LILLY
Now!
Hubert sighs, nods, and places the keys onto the table. Lilly grabs, snatches.
LILLY
The rest of you, to the barn.
All falter, hesitate.
LILLY
Less you rather the chickens.
All stand in a hurry and stumble out of the room.
John shakes his head, follows. Hubert sighs, stands.
HUBERT
A mistake.
LILLY
They will be slaves no longer.
HUBERT
The beasts, or the patients?
LILLY
Both.
HUBERT
And you?
LILLY
A meager sacrifice.
Hubert nods with solemnity.
HUBERT
I commend you, I do. You may act in ignorance, but at least with courage.
LILLY
And you?
HUBERT
Simply my duty.
Hubert walks out of the room.
EXT. BARN - DAY
Lilly pushes, pulls, lock, key, twist, turn: doors open. Lilly approaches the hatch.
All quiet.
LILLY
What we here stand witness to today is a world gone wrong, a wolrd forgotten. I will be privy to this shame no longer. Below these doors writhe terrible beasts, horrible, despicable, unfathomable creature. But such cruelty is not innate. No, rather, its learned, taught, by brutal masters. Today they will be freed, a curse no longer.
Lilly throws the door open. All jump, howl, scream.
OSWALD
Chickens! Chickens!
RINGO
Bach bach bach bach bach bach!
LILLY
Cower not, dear friends! For these are but simple beasts, lost in their ways.
None heed her futile words. Lilly reaches for a rope not too far off, ties it to a wooden pillar, and throws it down.
With a ferocity unknown, a quickness never seen, beasts hurl themselves up the rope.
LILLY
Steady now! Steady! They mean us no harm.
The group cowers in a corner, John and Hubert included.
A wrecthed animal climbs onto dirt, squinting with misery, bespeckled with feathers.
The beast charges, pushes, throws. Lilly falls. The beast towers, howls, growls, others climb up the rope, surround the group.
Closer. Closer. Closer.
Lilly grabs, pulls, cocks, threatens: a gun fully loaded.
The beast cackles, steps closer, shot, drops: dead.
Beasts howl, screech, run out of the barn and into the wilderness, hooing and hawing and reveling in guttural turmoil.
Lilly stares at the blood which gathers, at the others who stare.
Shaking, trembling, Lilly climbs to her feet and approaches the monster.
Pushed, grabbed, pulled, thrown. Lilly falls to the ground. The beast straddles her.
Struggling, straining, strangling.
Coughing, choking, dying.
Reaching, stretching, grabbing.
Lilly slams the revolver into the beast's head.
The beast howls, screams, rolls off, climbs to its feet.
Lilly cocks, aims, the beast takes a step closer. Lilly pulls the taut trigger.
Click. Clack. The gun jammed.
The beast charges.
Lilly ducks, dodges. The beast just misses.
Lilly grabs, clutches, a scythe, ready to fight. The beast cakcles, seizes a rusted axe, approaches.
One step back with every step forward. At a wall, the others gone. Lilly swings her weapon wildly.
Blocked by the axe, grabbed by the beast, the butt end thrown into Lilly.
Lilly coughs, gasps. The weapon tossed aside.
The beast steps closer, closer. Lilly falls onto her knees, whimpers, cowers, screams.
A mighty swing.
Lilly opens her eyes. The axe at her side, in the wall, an inch from her skull.
Lilly searches the room. No one to be found.
Lilly climbs to her feet, quivering, shaking, falls, faints.
Darkness consumes all.
INT. BEDROOM - DAY
Lilly comes to. A knock upon wood. A stranger steps into the room.
Lilly cowers. The stranger, DUPIN, draws a chair, approaches, sits near.
DUPIN
Introductions, I presume, are most likely in order.
Lilly stares.
DUPIN
I'm detective Dupin, and
LILLY
Detective?
DUPIN
Just so. And I, dear Lilly, have come to your rescue.
LILLY
Rescue?
DUPIN
Yes, well, perhaps I am not best suited for this particular intrusion. Officer? If you would be so kind as to indulge an old fool.
Paul limps into the room.
LILLY
What happened to you?
DUPIN
Happened? Why dear Lilly, that was your doing!
LILLY
What do you mean?
PAUL
Just a misunderstanding.
LILLY
I don't understand.
Paul struggles onto the bed.
PAUL
I couldn't see a thing. Shadows, only. I assumed you were John. Or Hubert, maybe. But never you, truly. Not till I heard you, or rather, that version of you. That terrified, petrified, despicable horror.
LILLY
What are you talking about?
Paul sighs, looks to Dupin.
DUPIN
Yes, well, this does require quite the explanation.
LILLY
Will someone please just tell me what the hell is going on!
DUPIN
Yes, well, its sort of like this. A few weeks back your husband got in touch with me; sounded rather worried. But only one of a hundred just like it. A wife leaves her husband and suddenly goes missing. Nothing new in it. But something was different about the last few gone missing. All the same story. Some strange looking men berade some young woman, and then, within a day or two, poof, gone missing, with a husband all a worry. Even more odd, doctors, all of em, all out of practice. So that made me curious. That piqued my interest. So began our official investigation. Low and behold, I'm lead to this institution, only to be shot at by some writhing lunatic. But a man of the law is not so easily thwarted; nonetheless, you can be assured, such stoicism was swiftly fading. But then again, what right did I have, without any sort of warrant? So I left and came back, with the right legislation, and wouldn't you know it, there were these strange creatures running all over the place. And wouldn't you believe it, one of em just so happened to be this poor fellow, with a story even stranger. Tarred, he was, and feathered also, along with many others. Trapped in a cellar, just like a caged animal.
LILLY
But how? Why? None of this makes any sense.
DUPIN
Well, see, its sort of like this. This place, this house, this home, used to be part of an asylum, a refuge, for the ill, mentally, if you can imagine. And John, you see, was one of the patients.
LILLY
So I've gathered.
DUPIN
But mutiny, unfortunately, was the savage end. John saw himself much like Sam Adams did. A revolutionary, of sorts. Thought the ways of the staff were, well, unpardonable, apparently. So he took matters unto himself.
LILLY
How so?
DUPIN
Revolution, dear Lilly.
PAUL
A supposed slave revolt, with staff tarred and feathered and thrown into a hole.
LILLY
And you?
PAUL
The original fool.
LILLY
So John was
PAUL
A fraud, unfortunately. And I'm ashamed to say so, but myself included.
LILLY
And the others?
DUPIN
Safe, considering. A home down the road. All but Hubert and John.
LILLY
You mean
DUPIN
I wouldn't concern yourself with such matters.
Lilly sighs, nods.
LILLY
And me?
DUPIN
A hero, no doubt! But a discussion for another bout.
LILLY
And you?
PAUL
Back to the force.
Dupin stands.
DUPIN
And with that, we bid you adieu.
Dupin walks out of the room. Paul too.
Howling, growling, maleficent snarling.
Lilly climbs out of bed and steps out of the room
EXT. BARN - DAY
Closer. Closer. Barn doors menacing.
Lilly pushes, pulls: no resistance.
Lilly studies the field, the house, steadies her hands, shaking, her breath, quivering, and steps into the stable.
INT. BARN - DAY
Screaming, howling, groaning, moaning. Lilly approaches the trap door once hidden.
Closer. Closer. Closer.
A long pause.
Lilly throws the door open.
A shrill wail. A feral scream. A cackle from Lilly of unhinged ecstacy.
FADE OUT