HALFWAY

by Anthony Kirkwood

TV Script
Email: anthonykirkwood@hotmail.com

Twenty six year old Daniel Leftman is admitted to the psychiatric ward of a general hospital after his life spirals out of control. After making friends with a group of mixed-up patients, they all embark on a caper to retrieve a cache of stolen money. This TV script is in two parts. The scripts are registered with the Writers Guild of America, West.

                      HALFWAY
                    
                         BY
                   ANTHONY KIRKWOOD


              PART ONE

FADE IN:
EXT. CHURCH - DAY
A funeral service is about to begin. A group of mourners, family and friends of the deceased, are entering the church. There are people with their arms linked together, leaning on each other for support. Some people are wiping tears from their eyes.
A car pulls up outside the church. Inside is the Leftman family - the MOTHER and FATHER, their twenty eight year old daughter, AMY, and their twenty six year old son, DANIEL. Daniel is wearing a dark suit and dark glasses. Amy is in a black dress. The parents are also dressed in dark sombre outfits.
INT. CAR - DAY
The Father peers through the side window at the church, looking for a sign with the name of the church.
FATHER
Is this it?
MOTHER
I think this is it.
AMY
I recognize a couple of them. That's Eleanor and Dean.

DANIEL
(angrily)
What'd you mean, is this it?
Daniel's parents turn and look at Daniel. Amy also turns her head and looks at Daniel.
AMY
(sharply)
Keep a lid on it, please, Daniel, just for today.
The parents don't speak and turn back around.
FATHER
I'm going to find a park. Why don't you get out here? I'll park somewhere and join you.
DANIEL
Is this it? Of course this is it. Are you stupid? Wait, don't answer. Of course you are.
(to his father)
You see that sign over the church, and the groups of people dressed in black, arm in arm, consoling each other, tears streaming down their cheeks? Does that tell you something? Does it tell you maybe, just maybe, we're at the right church?
FATHER
Daniel. Please. There's no need to get angry.
DANIEL
(contemptuously)
Why not? Anger is a natural emotion. Everyone feels anger. Most people just bottle it up. That's the wrong way of dealing with anger. Expressing anger is natural. As natural an emotion as happiness or sadness or . . .
AMY
(to Daniel)
Oh, Daniel. Shut up. We're here to pay our respects. Marcus was your friend. You grew up together for god's sake. Show a little feeling.
DANIEL
You don't think I know Marcus was my friend? You think you have to tell me that? I mean, did you ever meet Marcus? No. Did you ever speak to Marcus? No. Did you ever take any interest in any of my friends?
AMY
Daniel, shut up! I came to support you. If you're too dumb to see that, maybe we should just turn around and go home.
MOTHER
We're all going in and we're going to pay our respects.
AMY
(to Daniel)
And what do you know about anger anyway?
DANIEL
(to Amy; ready for a fight)
I beg your pardon?
FATHER
Why don't you all go inside a find a seat? I'll only be a minute.
The Mother and Amy get out of the car. Amy is still furious. Daniel doesn't move. He stays where he is. The Father sees the Daniel isn't getting out.
FATHER
Daniel?
DANIEL
What?
FATHER
Don't you want to pay your last respects to an old friend? This is it. This and the burial. This is your last chance to say goodbye to Marcus.
DANIEL
Hey, it's not my fault Marcus is dead. I didn't kill him. And I didn't tell him to kill himself.
FATHER
He was one of your oldest friends. Please, Daniel.
DANIEL
(contemptuously)
Fine.
Daniel gets out of the car. He slams the door behind him.
The Father calls out the window.
FATHER
(to the family)
I'll see you in a few minutes.
The Father drives on.
EXT. CHURCH - DAY
Daniel, his mother and Amy walk up to the church.
Daniel sees the parents of Marcus, sad and almost inconsolable, standing outside the church. The mother is seeking support in a friend's arms.
DANIEL
Shit. It's Marcus' mother. Don't make me speak to her. I can't cope with her tears.
AMY
(to Daniel)
You really are a cold-hearted bastard. You know that? She just lost her son to suicide. Where's your heart? You know, the thing you used to have?
DANIEL
I'll see you inside. Feel free to dwell on the miseries and sufferings of life while you're here. Excuse me if I don't. I've done that already and it doesn't get you anywhere.
Daniel walks up the church and disappears inside. He nods and smiles (an insincere smile) to Marcus' parents as he passes.
INT. CHURCH - DAY
The coffin is situated at the front of the church. On top of the coffin there is a large black and white photograph of Marcus. There is sombre, sad music playing somewhere in the church. The church is half full. Most people have already taken their seats and are talking quietly or sitting silently, waiting for the funeral service to begin.
Daniel stands just inside the church and takes it all in. He removes his sunglasses and sticks them in the top pocket of his coat.
A hand touches Daniel's shoulder. Daniel turns and sees who it is. It is SIMON, one of Marcus' other oldest friends. Daniel is also an old friend of Simon. Simon is a large, muscular young man. He is in a suit and tie. He looks sad, like the rest of the mourners.
DANIEL
Hey Simon. Look, I'm sorry about this.
SIMON
So am I.
There is a moment of silence.
DANIEL
Do you . . . do you blame me for this?
SIMON
For what?
DANIEL
Everyone seems content to blame me for Marcus. You know, why he died.
SIMON
No. Of course I don't Daniel. Why would you think that?


DANIEL
Thanks. That means a lot. To tell you the truth, I'm waiting for the knives to come out.
SIMON
Don't worry. I'm sure people don't see it the way you think.
DANIEL
Trust me, they do. Did you . . . see what was happening . . . to Marcus?
SIMON
We all saw. We saw but we couldn't do anything, hard as we tried. But no one blames you.
Daniel nods.
SIMON
I mean . . . I know what you two did. I know what you and Marcus got up to in your spare time. And you had a lot of spare time. Both of you. Didn't you tell Marcus it wasn't worth pursuing goals in life because they're all a waste of time?
DANIEL
Don't say it too loud, thanks. Okay, Simon? I've copped enough shit already from everyone, particularly Marcus' family. They're convinced I killed him.
SIMON
Did you?
DANIEL
Simon, look at me.
Simon looks back at Daniel.
DANIEL
It's not my fault Marcus died. You know that. Marcus had a . . . a screw loose. If anyone should get the blame it's his family.
Simon nods, accepting the point.
DANIEL
How's the football going?
SIMON
Good. We won our last three games. Last week we thrashed this team from the sticks.
DANIEL
Good. Glad to hear that.
SIMON
I think I'll go and take a seat.
DANIEL
Okay.
Simon ambles off. Daniel watches Simon as he finds his seat and sits down.
Daniel's mother and Amy enter the church. Daniel turns as they enter and he sees them. To avoid them, Daniel walks off to inspect the ornate decorations and the pictures on the walls of the church.
Daniel walks slowly along the side of the church. As he slowly walks down the church, he passes Marcus' family. Tears are still wet on their cheeks and some look distraught. Daniel can't help but look at them all for a few seconds. Then he turns away, just as they look up at him. Daniel decides not to acknowledge them, knowing what they think of him.
The distraught and emotional family members are now focused on Daniel. One whispers and points and the others nod as they recognize him.
Daniel turns slowly again and sees all the whispering and pointing. He frowns at them and their pointing.
Marcus' relatives sit quietly now and look back at Daniel, the anger and emotion barely containable. Finally, Daniel speaks.
DANIEL
(to Marcus' family)
What? You have something to say to me? Why just whisper and point when I'm right here?
The tone of Daniel's voice ignites their anger and exacerbates their distress, but they are just able to contain it. Heads in the church start to turn and watch.
MARCUS' AUNT
You're Daniel, aren't you?
DANIEL
Yes. I am.
MARCUS' AUNT
You were a friend of Marcus.
DANIEL
An old friend. We went back a long way.
MARCUS' AUNT
There's something wrong with you, Daniel. We know about you.
DANIEL
What do you know?
MARCUS' AUNT
You know what I'm talking about. You took a young, healthy, innocent boy, and you turned him into something he wasn't.
(almost breaking down now)
It should be you in that coffin.
The other family members reach across and comfort Marcus' Aunt, who is on the verge of tears.
DANIEL
Is that a fact? You know what? I didn't want to come to this funeral, because I knew that this is exactly what would happen. The finger-pointing, the criticism, and the blame. Let's all blame Daniel. He's responsible. Someone has to be responsible. It must be Daniel.
(to the point)
Marcus made a decision which no one could have stopped. I didn't kill him. Marcus killed himself. I didn't shove the pills down his throat.
This last comment horrifies Marcus' family. They turn away in disgust, several gasp, and they are all too horrified to utter a word. The church has gone quiet and everyone is watching the scene unfolding. Daniel sees everyone in the church looking at him.
DANIEL
(to the whole church, loudly)
That's right! I didn't shove the fucking pills down his fucking throat! Marcus made that decision himself.
(back to Marcus' family)
In fact, you know what, I'm leaving. Fuck this church, fuck this funeral, and fuck Marcus. I'm sorry he's gone, I feel it too, more than you'd know, but I won't be held responsible. Not now. Not ever.
MARCUS' UNCLE rises to his feet. He looks calm and in control. Daniel starts to leave. As he does, the uncle calls out, pleadingly.
MARCUS'S UNCLE
Daniel. Please. You need treatment. You need help. Please, get some help.
DANIEL
Marcus needed help.
Daniel walks off, towards the entrance.
MARCUS'S UNCLE
(to the leaving Daniel; not angrily)
We tried to get him help. He wouldn't listen, because you told him not to listen. Daniel, please, come back.
Daniel, disgusted by the accusations, storms from the church.
MARCUS' UNCLE
Get help Daniel. Before it's too late. It's not too late for you. Get help unless you want to end up here, like Marcus.
Everyone in the church is still looking at the uncle and at Daniel as he storms from the church. Daniel disappears out the door.
EXT. CHURCH - DAY
Daniel walks out of the church, seething and in a vile mood. He walks past a few more mourners making their way inside.
Marcus' parents are still standing outside the church. They look with teary eyes as Daniel appears from the church entrance. They are about to say something when Daniel dismisses them with a wave of his hand. He keeps going.
Daniel's father walks up the steps to the church entrance as Daniel is walking down them. Daniel storms past him.
FATHER
Daniel?
No reply.
FATHER
Daniel? Daniel, where are you going?
Daniel crosses the street and strides down the street away from the church.
INT. CHURCH - DAY
The funeral is being conducted. A speech is being given by Marcus' father. He is standing at the front of the church, next to the coffin.
MARCUS' FATHER
Marcus was a bright boy. He was clever and he was gifted. Marcus was also a good friend to everyone that knew him. Marcus was never without a smile and a cheery greeting. Everyone here knows that Marcus could have been whatever he wanted to be. If he had wanted it. But Marcus chose a different kind of life.
(tears are welling up in his eyes)
He chose a life that we all knew was bad. We all did our best to help him, to talk to him about what he was doing, but our best wasn't enough. I know that everyone in this church will miss Marcus for the rest of their lives.
INT. BAR - DAY
Daniel is downing a full glass of beer in one hit. He is already quite drunk. He is surrounded by three friends, all shady looking characters. They are all heavy drinkers and drug users. The shady friends cheer and urge him on. Daniel drains the glass and slams it down on the counter. He reaches for another full beer. He holds it up.
DANIEL
Here's to free living. Here's to doing whatever we want to do, when we want to do it.
More cheers of encouragement from his friends.
DANIEL
Here's to not having people tell us what to do and what to think.
SHADY FRIEND
That's right Daniel. No one, I mean no one, is ever going to tell us what to do and what to think.
DANIEL
(his glass still raised)
You know what we are? We're free souls. We're free from all the shit that people put up with every day of their stupid, pathetic lives. We're better than that.
(pause, more quietly)
We're better than that.
SHADY FRIEND
Damn straight.
The Shady Friend raises his glass and all the glasses are raised in a toast. They all touch glasses. Daniel puts his glass back down on the table.
SHADY FRIEND #2
So tell us what else happened?
DANIEL
With what?
SHADY FRIEND #2
With what! The funeral.
DANIEL
Oh. Marcus. Yeah, there were some bad feelings in the church. Everyone there was ready to strangle me.
SHADY FRIEND #3
For doing what?
DANIEL
Some of his family, maybe all of them, are of the opinion that I was somehow responsible for Marcus being where he is now.
SHADY FRIEND #3
They think you killed Marcus? You didn't kill Marcus. Marcus was . . .
SHADY FRIEND #1
Marcus couldn't handle his freedom.
Daniel is suddenly serious and there is a trace of anger on his face.
DANIEL
What the hell does that mean?
SHADY FRIEND #1
I mean, he couldn't handle himself in his new state of freedom. The freedom that you, me, all of us, have achieved. There are trappings in the world we live in, the trappings of freedom, and he fell into one of the holes. The black holes. They're bottomless and once you're in they're endless and you can't get out.
DANIEL
(to the others)
What the hell is he talking about?
SHADY FRIEND #2
He means that Marcus was naive and inexperienced. He didn't know what he was doing. He didn't even really know why he was doing it. That's why he's dead.
DANIEL
Marcus is dead because he was sick. He had an illness that messed with his head. I saw the change. I saw it take hold of him. It got so bad he couldn't think straight. That's why he's dead. It all got too much for him.
SHADY FRIEND #1
You know what Daniel? We think you're a bit . . . naive and inexperienced too. We think you're like Marcus.
DANIEL
You think I'll fall into one of your black holes?
SHADY FRIEND #2
Not if you stick with us.
SHADY FRIEND #3
Yeah. We'll teach you a few things.
Daniel laughs to himself.
DANIEL
I don't need your advice. I'm doing just fine.
SHADY FRIEND #1
Stick with us. We'll make sure you don't end up in a coffin.
Daniel is silent, astounded by what they're saying, and completely incredulous.
DANIEL
(to all of them)
You're serious?
They look at Daniel, but don't speak.
DANIEL
You'll protect me from the black holes?
They're silent, with traces of smiles on their face.
DANIEL
I think you got it wrong. It's the other way around. I should be teaching you how to handle life.
SHADY FRIEND
Daniel, please. We already see the signs that you're slipping.
DANIEL
Is that right?
SHADY FRIEND
We can save you. We can help you find true freedom.
Daniel is silent. He looks at his beer and after a while takes a sip. He looks back at his shady friends.
DANIEL
Whatever. Let's just drop it. None of you know what the hell you're talking about.
(pause)
Anyone feel like taking a ride?
EXT. QUIET STREET IN CITY - AFTERNOON
The wide city street is deserted. There are no cars, except those parked along the sides of the street.
Suddenly, a car screeches around a corner and onto the quiet street. It speeds down the street, well exceeding the speed limit and veering left and right.
INT. CAR - AFTERNOON
Daniel is at the wheel. His shady friends are in the car with him. Daniel has a bottle of beer in his hand.
They scream and yell out the window, laughing the whole time.
DANIEL
(ecstatic)
This is it! This is it!
SHADY FRIEND
Some rush, hey, Daniel?
Daniel floors it and the car goes even faster. Suddenly a dog runs out in the road. Daniel sees it and has a split second to react. He slams on the breaks and turns the wheel to the right. The car skids out of control and slams into a number of parked cars, before upturning and sliding to a stop.
Smoke is trailing from the car into the air. There is total quiet in the street.
Daniel is the first to wake up and crawl from the car. The others don't move.
Daniel's face is cut and bleeding. He manages to stand but staggers around for a second. He looks at the wrecked car. He walks to it and crouches down.
DANIEL
(to his shady friends)
Hey. Hey.
There is no response. Daniel looks for people to call for help. No one is there.
Daniel starts to walk away from the car, looking for help.
DANIEL
(shout to anyone)
Help! Help!
No one hears.
DANIEL
(desperate shout)
Help! Somebody, help!
Daniel gets giddy, his legs get wobbly, and he collapses to the ground. In the background, the wrecked car still has smoke drifting from it.
INT. HOSPITAL - NIGHT
Daniel wakes up slowly. He finds himself on a hospital stretcher in a crowded hospital room. Initially, his vision is blurred. He looks around him. The lights are too bright for his eyes and he winces and shuts his eyes for a second. When his eyes start to focus, he sees where he is. There are people cut, bruised and bleeding all around him. No one is looking at him.
An emergency room doctor, DR. SCRATE, who has seen that Daniel is awake, appears by his side.
DOCTOR SCRATE
Daniel?
DANIEL
Where am I? What happened?
DOCTOR SCRATE
You're at the hospital. You had an accident.
DANIEL
Where are the others?
DOCTOR SCRATE
You mean your friends who were in the car with you?
DANIEL
Where are they?
DOCTOR SCRATE
They . . . they're alive.
DANIEL
Are they hurt?
DOCTOR SCRATE
Yes. Two are in a coma. Their conditions aren't great. All we can do is wait and hope. The third is awake, but his injuries are serious.
Daniel tries to sit up, slightly alarmed. Dr. Scrate restrains him gently.
DOCTOR SCRATE
Relax Daniel. Don't try to get up.
Daniel lies back down.
DOCTOR SCRATE
The police are waiting to speak to you about the crash. They want to know what happened.
DANIEL
I can't remember. I think . . . I hit a dog.
DOCTOR SCRATE
Daniel, the good news is you're okay. You're not badly hurt. Just a few lacerations and bruises. You'll make a full recovery.
DANIEL
Where are my parents?
DOCTOR SCRATE
They're in the waiting room. Do you want to see them now?
Daniel thinks about this.
DANIEL
No. Not yet. I'm not ready to face the music.
DOCTOR SCRATE
Daniel, I was speaking to your parents and your sister. They're worried about you.
DANIEL
They shouldn't be.
DOCTOR SCRATE
Well, they are. To tell you the truth, I'm worried about you.
DANIEL
Don't believe them. Whatever they told you isn't true. They're all liars.

DOCTOR SCRATE
They seem like good, honest, caring people.
DANIEL
They've certainly got you fooled. I thought doctors were supposed to be intelligent.
Daniel winces at a sudden pain.
DOCTOR SCRATE
Where does it hurt?
DANIEL
No. Forget it. I'm okay.
DOCTOR SCRATE
Daniel, if I may make a suggestion. We have a good section of the hospital here that helps people in a situation like . . . that helps people who are in a situation like you are in.
DANIEL
(sarcastically)
Really. What section is that?
DOCTOR SCRATE
We have a psychiatric facility here. There are doctors and nurses who can look after you while you get better.
DANIEL
I'm not sick.
A POLICEMAN appears by Dr. Scrate's side. Dr. Scrate and Daniel look at him.
POLICEMAN
(to Dr. Scrate)
This him?
DOCTOR
Yes. This is Daniel.
POLICEMAN
(to Dr. Scrate)
Is he alright now?
DOCTOR SCRATE
He's just woken up. He's still groggy and in some pain.
POLICEMAN
But he'll be okay?
DOCTOR SCRATE
Yes.
POLICEMAN
(to Daniel)
Some accident you had today, Daniel. Did Dr. Scrate tell you that three people are badly hurt? Two of them are in a coma.
DOCTOR SCRATE
I told him.
POLICEMAN
Their families want to know whose responsible Daniel. What am I supposed to tell them?
DANIEL
Tell them to go to hell.
POLICEMAN
When you're feeling up to it, we have a few questions for you.
DANIEL
Like what?
POLICEMAN
We'll get to that later.
(he pats Daniel's leg)
Rest up.
(to Doctor Scrate)
Thanks. Please let us know when your patient is up to talking.
The Policeman walks away.
DANIEL
(quietly; to himself)
Asshole.
DOCTOR SCRATE
We're going to move you to your own room. You'll being staying in the hospital for a couple of days. But don't worry, you'll be on your feet in no time.
DANIEL
Good. Because I hate being here.
DOCTOR SCRATE
Think about what I said.
DANIEL
(dismissive and sarcastically)
Yeah, don't worry. I'll give it plenty of thought.
Dr. Scrate walks away.
INT. POLICE ROOM - DAY
A few days later.
Daniel is in a police room, being questioned by the police. Daniel is sitting at a table. POLICEMAN #1 is sitting opposite him, on the other side of a table. POLICEMAN #2 is standing near one of the walls in the room, his arms folded across his chest.
POLICEMAN
How are you feeling Daniel?
DANIEL
(sarcastically)
Oh, I feel just great. I feel like a million bucks.
POLICEMAN
Well?
DANIEL
Well what?
POLICEMAN
Tell us what happened.
DANIEL
I think I hit a dog.
POLICEMAN
We didn't find any dog.

DANIEL
(sarcastically)
How hard did you look?
The Policemen are silent, and stare at Daniel, unimpressed by his sarcasm. Daniel gets the message.
DANIEL
I saw a dog run onto the road. By the time I reacted it was too late. I tried to go around it. I lost control, the car spun out of control, and I think I hit some parked cars. That's all I can remember.
POLICEMAN #2
Had you been drinking? Had you taken any drugs?
DANIEL
(hesitant)
I don't remember.
POLICEMAN
Let me tell you what we know you were doing. You were driving, over the speed limit, and you were under the influence of a very, very dangerous concoction of alcohol and drugs.
Daniel doesn't reply to this. He looks at the floor.
POLICEMAN
The toxicology report doesn't lie. Your blood was full of illegal substances and your alcohol reading was extremely high. Extremely high. That's always bad news for someone who thinks they can get into a vehicle and drive.
DANIEL
What do you want me to say?
POLICEMAN
That's up to you.
DANIEL
I'm sorry. Okay?
POLICEMAN #2
Maybe you should apologize to the families of the friends who were in the car with you. They're an interesting bunch. They're swearing that they'll spill your blood in revenge.
Daniel looks across at Policeman #2, then back to Policeman #1.
DANIEL
What's the worst that you can do to me?
POLICEMAN
You can be held responsible for the accident. How's that? But that's if their families don't get to you first.
INT. DANIEL'S HOUSE - NIGHT
Daniel is back at home. He is sitting with his parents and his sister, Amy, at the dining table. Dinner is on the table and they are eating in silence. Daniel hardly touches his food. He moves his food around with his fork and then lays the fork down loudly. Daniel breaks the silence.
DANIEL
Did you tell the doctors lies about me?
AMY
They're not lies. You're not well.
DANIEL
Aren't I?
AMY
No. And neither was Marcus. It's sad but it's true. It's time you faced up to reality.
DANIEL
(sarcastically and insulting)
Like you know all about reality.
AMY
Oh, what a very mature response. I know more about the real world than you'll ever know Daniel.
DANIEL
What? You know all about the real world? You mean like when you used to believe in Santa Claus until you were ten, hoping every year he'd come down the chimney and put presents under the tree for you? Or, like your long held belief that star formations can alter the course of your life and change the future of the world? Yeah, it's obvious now I think about it. You do know more about reality than me.
Angry now, Amy stands up and is about to walk from the room.
AMY
(to their mother and father)
I'm sorry. I won't put up with this.
(to Daniel)
Good luck with your life Daniel.
Amy storms angrily from the room. Daniel and his parents sit in silence.
DANIEL'S MOTHER
Daniel, that wasn't necessary.
DANIEL'S FATHER
Daniel, we've been giving your situation a lot of thought. We think perhaps you need help.
DANIEL'S MOTHER
Professional treatment by people who really understand your problems and what you're going through.
DANIEL
I don't need any psychiatrists.

DANIEL'S FATHER
We were thinking you should be admitted to the psychiatric facility at Hallford Hospital. It would be voluntary.
DANIEL
Are you serious?
DANIEL'S FATHER
We think it's the only way you'll get better.
DANIEL
I don't believe this. You're selling me out too to a bunch of charlatans. That's what head doctors are. Fucking charlatans.
DANIEL'S FATHER
The police say they'll give you the chance to get help before they consider your case. They understand you were under a lot of stress and emotional distress that day.
DANIEL'S MOTHER
It might really help you get better. You might be able to find peace again.
DANIEL'S FATHER
Please, think about it.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
The next day.
Daniel is standing outside the psychiatric unit of Hallford Hospital with Dr. Scrate, and his parents and Amy. A sign on the front of the building reads: HALLFORD PSYCHIATRIC HOSPITAL. Daniel has one small suitcase with him, containing his clothes and personal belongings.
DOCTOR SCRATE
This is it, Daniel.
DANIEL
So what am I supposed to do here? What do crazy people do with their time?
DOCTOR SCRATE
Once you're inside, you'll be looked after by the doctors and the nurses who work in this unit. They're very well trained and experienced in psychiatric care.
DANIEL
Right. So I'm in good hands then.
DOCTOR SCRATE
You never know Daniel. You might get more out of this than you expect.
DANIEL
Maybe.
DOCTOR SCRATE
Good luck, Daniel.
Dr. Scrate smiles. He presses a button and a few moments later the door opens. Daniel waits and then enters, followed by his parents and Amy. Daniel turns before the door closes.
DANIEL
(to Dr. Scrate)
You're not coming?
DOCTOR SCRATE
No. They're expecting you. You'll do fine.
DANIEL
Gee, what a shame. I'll really miss you.
Daniel turns and enters the building. Dr. Scrate waits until they are all in and the door is closed. Then he turns and leaves.
INT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
DOCTOR BLUME, the head doctor of the Hallford Psychiatric Hospital, is standing just inside the entrance. Daniel and his parents and Amy come through the doors. Doctor Blume extends a hand and Daniel and Doctor Blume shake hands.
DOCTOR BLUME
Daniel, nice to meet you. My name is Dr. Blume. I'm the head doctor of the Hallford Psychiatric Hospital.
DANIEL
You can cut out the pleasantries. I don't like being here and I doubt I'll like you.
DANIEL'S MOTHER
Daniel. Please.
DANIEL'S FATHER
(to Doctor Blume)
Please excuse Daniel. He doesn't really mean that.
DANIEL
I can speak for myself. I am an adult you know.
AMY
Then perhaps you should act like one.
DOCTOR BLUME
It's okay. I understand. Daniel doesn't want to be treated like a child.
DANIEL
You figured that out all by yourself? God, you must be qualified.
DOCTOR BLUME
Daniel, would you like a look around?
DANIEL
Not really.
DOCTOR BLUME
I think it would be good for you to get acquainted with the unit straight away.
DANIEL
Sure.

DOCTOR BLUME
Before we get to that though, I need to inform you a few of the rules. You can have visitors of course, but they must be screened by us. And they can only visit at visiting times.
DANIEL
Okay.
DOCTOR BLUME
Second, no alcohol or drugs are permitted here.
DANIEL
Don't do them.
DOCTOR BLUME
Your toxicology report would indicate otherwise.
DANIEL
What else?
DOCTOR BLUME
We will also need to check your bag and your belongings. There are certain items you're not permitted in the facility. For your safety of course.
DANIEL
Sharp objects?
DOCTOR BLUME
Yes.
DANIEL
Anything else?
DOCTOR BLUME
There are a few other things.
DANIEL
Look, just go through my stuff, take out what isn't allowed and then give my things back to me.
DOCTOR BLUME
Daniel, do you know why you are in this unit?
DANIEL
I have the basic idea.
DOCTOR BLUME
You're here to be treated by specialists. By people who understand your problems and what you're feeling.
DANIEL
How many quacks have you got here?
DOCTOR BLUME
You'll see a doctor each day. Twice a day if they think it necessary. Our goal is to make you better. Through effective treatment, you can get better. The Hallford Psychiatric Hospital has a high success rate, one of the highest in the country. We're proud of our achievements.
DANIEL
I get it. I'm in good hands, and you'll do everything you can to help me.
DOCTOR BLUME
Yes. Outside of treatment, you're free to do what you want, within reason of course. We give our patients a range of activities to do. Paining, drawing, recreational activities, relaxation classes, yoga.
DANIEL
All the things I like to do at home.
(pause)
Can I go out for coffee if I feel like it?
DOCTOR BLUME
No. You're not allowed to leave the premises, except with clearance and under strict supervision.
DANIEL
Because I'm a menace to society and can't be trusted in other people's company. Right? You think I might do something dangerous.
DOCTOR BLUME
Until we know your state of mind, we can't let you out of the facility.
DANIEL
(to his parents)
I know my state of mind, god damn it. I know exactly what I think and exactly what I feel!
(to Doctor Blume)
No offense Doctor Blume, but I'd rather not have strangers probing inside my head twice a day. Not once a day, but twice a day.
DANIEL'S FATHER
It'll do you good Daniel. We can't stress enough that it's all to help you. The sessions with the doctors and the questions and all that is to help you get better. To put you back in control of your life. What else can we say to comfort you?
DANIEL
(to Doctor Blume)
Can I see my room now?
DOCTOR BLUME
Yes, of course.
DANIEL'S FATHER
Perhaps it's time we left.
DOCTOR BLUME
Yes. Perhaps.
DANIEL
(mockingly)
Yes, perhaps.
(then seriously)
Go. Go.
Daniel's mother and father both step forward and hug Daniel, his mother first. Amy then hugs Daniel.
DANIEL
(as he is hugged)
Yes, yes, okay. I won't be here that long. So you won't have to miss me for long.
DANIEL'S PARENTS/AMY
Bye Daniel.
Daniel's parents and Amy turn and walk to the exit doors and out of the facility. When they are gone,
DANIEL
So what happens if I need to go to the toilet? Will you be there to hold my hand?
DOCTOR BLUME
Daniel . . .
DANIEL
Come on. Let's just get it over with. Show me around.
INT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
Daniel and Doctor Blume are standing outside the suicide-watch section of the facility. There are patients sitting quietly inside, watching TV, or drawing, or reading.
DANIEL
What's wrong with them?
DOCTOR BLUME
This is where patients who need close watch stay.
DANIEL
(looking at the patients)
Suicide cases?
DOCTOR BLUME
Some are. Some are just more on edge. More unpredictable. They need a closer watch. If you ever . . . feel that things aren't going so well, and you feel like these people . . . please, tell us.
DANIEL
What else is there to see?
INT. NURSE'S STATION OF PSYCHIATRIC UNIT - DAY
The five nurses on duty are standing in a group in the nurses station. Doctor Blume and Daniel are standing in front of them.
NURSE GRAND
Hello Daniel.
The others say hello too.
OTHER NURSES
Hello, Daniel. It's nice to meet you.
DOCTOR BLUME
These are some of the hospital's nurses - Nurse Grand, Nurse Hisbeck, Nurse French, Nurse Crown, and Nurse Nollstich. They're here to look after you while you're under our care. Feel free to approach them at any time, no matter what.
Daniel nods. He waves a hand at the nurses.
DANIEL
Nice to meet you. Glad to be here. I hope my time here is a happy one.
(to Doctor Blume)
Is there anything else?
DOCTOR BLUME
No. Everything else you can see when you like - the recreation room, the TV room, the dining area. I'll show you your room now, if you like.


INT. DANIEL'S ROOM - DAY
Daniel is led into his room by Doctor Blume. There is one bed in the small room. Daniel looks around the small room.
DANIEL
This is it?
DOCTOR BLUME
Most of our patients share rooms. You have your own. Lucky for you the last patient in this room checked out this morning.
DANIEL
Checked out 'permanently', or just checked out?
DOCTOR BLUME
Lunch is going to be served in twenty minutes. Why don't you unpack, settle in, and then come down to the dining room?
Doctor Blume turns and exits the room.
EXT. DINING ROOM - DAY
Daniel walks into the hospital's dining room. Metal tables and plastic chairs are spread around the room.
There are a group of three patients sitting in the dining room, talking. Their names are LARRY BRIAN, REGINALD ARBUT and ROGER RYAN. There are other patients in the room, most of who are eating and talking quietly. Some sit alone.
ROGER
So, what's more than infinity?
REGINALD
Nothing is more than infinity. Infinity just keeps on going.
ROGER
But it has to end somewhere.
REGINALD
No. That's why it's called infinity. It doesn't stop.
LARRY
I always said the human mind is too small to understand these types of concepts.
REGINALD
I understand it perfectly. It's not a hard concept to understand.
LARRY
Roger doesn't get it.
Larry, Reginald and Roger look up at Daniel as he enters. They stop here and watch as Daniel enters. The conversation ceases.
Daniel ignores them and takes a seat away from them. They watch him with curiosity and discuss him quietly from the other side of the room.
LARRY
Who's that?
REGINALD
That's the new guy.
LARRY
What's his name? Is he in our room?
REGINALD
Don't know his name.
LARRY
Any idea why he's here?
REGINALD
Don't know. I haven't spoken to him yet.
LARRY
Maybe we should invite him over and introduce ourselves.
They sit, but no one moves.
REGINALD
Well?
LARRY
I'm not doing it. He might be hostile . . . or dangerous. He might lash out if I go over there.
ROGER
He looks harmless.
LARRY
Yeah, but you can never tell. Remember Ed. When he came in, I tried to speak to him, he flipped when I did, and tried to break my arm. I don't need that again.
ROGER
I'll go.
Roger stands up and walks over to Daniel. He stops at Daniel's table.
ROGER
Hi. My name's Roger.
Roger stands and extends a hand. Daniel looks briefly at Roger's outstretched hand and then he looks back at Roger's face.
DANIEL
What do you want?
ROGER
Usual etiquette is to accept the outstretched hand and to shake it in a friendly way. That's normally how it works.
DANIEL
Very funny. What do you want? I don't want to seem rude, but I'd rather not . . . try and pretend that I want to be your friend. I won't be here for long, so there's no point us getting acquainted. It'd only break your heart when I left.
ROGER
I'd hate to lose a friend.
DANIEL
(sarcastically)
Would you?
ROGER
I don't know if there's any point my asking this now, seeing as you've made your position clear to me, but . . . would you like to come and join us for lunch?
Daniel looks over at the group of the patients at the other table. They are watching him intently. Larry smiles and waves when Daniel looks at him. Daniel looks back at Roger.
DANIEL
No.
Roger doesn't know what to say to Daniel. He turns and walks back to the group of other patients. Roger sits back down.
REGINALD
(to Roger)
What did he say?
ROGER
He said no.
LARRY
See, some of them don't like to be disturbed. Like Ed. He didn't say a single word for two weeks. And when he did speak, the first words out of his mouth were 'leave me alone'. They just don't like talking.
REGINALD
I don't see why. In here, at least they know they're not alone. I wish they'd just open up. It'd surely make life easier for them.
Daniel sees a stack of newspapers and magazines on a nearby table. He walks over and picks up a tabloid magazine and sits back down. He looks at the cover. On it is a picture of Roger Ryan. The headline reads: "Roger Ryan's mental breakdown. Was it a matter of time and will he ever work again? (Let's hope not!)"
Daniel recognizes Roger's face, turns his head and scrutinizes Roger at the other table, to see if it is in fact the same person. The group is still looking at Daniel. Daniel holds up the magazine to the group and points at the cover.
DANIEL
(calling out across the room to Roger)
Hey! That you?
ROGER
(embarrassed, but angry too; to Larry and Reginald)
I thought I told you to get rid of all the magazines with me on the cover.
LARRY
(to Daniel)
Yep. That's him alright.
Daniel looks at the cover of the magazine again.
DANIEL
(to Roger)
This magazine is dated two months ago. You been here for all that time?
LARRY
Roger's making a good recovery. This is just a temporary setback for Roger. Once he's out of here, he'll get back into acting. And it'll be his best work yet. His career can only go upward from here.
DANIEL
The magazine doesn't seem to think so.
REGINALD
Forget what the magazine says. Roger Ryan is one of the most in demand actors working today. And one of the best of his generation.
LARRY
Yeah, he's made some great movies. You ever see Leech?
Daniel shakes his head.
DANIEL
What was that one about?
LARRY
Giant blood-sucking leeches that invade New York City. Leeches that suck people dry and leave withered corpses in their wake.
DANIEL
(sardonically)
Wow. That's amazing. How original.
LARRY
(not getting Daniel's true meaning; with a genuine smile)
I thought so too.
REGINALD
What about Revenge of the Zombie High School Girl Killers?
Daniel shrugs and shakes his head.
LARRY
The Brain in the Jar?
DANIEL
Can I guess what that one's about?
REGINALD
You mean, you haven't seen it?
DANIEL
No. Should I have?
REGINALD
It was only the most popular movie of 2003.
DANIEL
Sorry.
REGINALD
I got it. The Smiling Assassin. The action movie that redefined action movies. Roger brought something new to cinema with that role.
DANIEL
Again, I seemed to have missed it.
LARRY
Larry's a versatile actor. Horror, action, drama, comedy, even romance.
Larry and Roger both smile.
DANIEL
Romance?
(to Roger)
You?
LARRY
Cyber-Love.
Daniel sits. He watches them with a straight face.
DANIEL
Okay. I think it's safe to say I haven't seen any of Roger Ryan's films.
LARRY
Come on, Daniel. Don't tell me you don't know any of Roger Ryan's films. Surely you know some.
DANIEL
Can't say I do. But then again, I hardly go to the movies. I used to watch cartoons as a kid. That was about it. You know, Bugs Bunny. That sort of thing.
(to Roger)
You ever win any awards?
ROGER
No. At least, not yet. I've come close a few times. A few times I've been pipped at the post. But the critics love me. They adore my work.
DANIEL
(non-believing)
Do they?

ROGER
Yes. I've received more than my fair share of rave reviews. I'm blessed in a way.
DANIEL
How?
ROGER
To have been given the opportunity for a start. And to have so many people enjoy my work and tell me how much I mean to them.
DANIEL
(laughing)
What sort of people are these?
REGINALD
Fans. Lots of them. They love Roger. Everyone does.
DANIEL
What do they say?
ROGER
Some say I touch them in ways they've never experienced. You know, they find my films moving. Others just enjoy my emotional intensity on screen. Others just enjoy the laughter they get from my parts.
DANIEL
You're a comedian too? You must be gifted. Making people laugh is a hard thing to do. Ever done stand up comedy?
ROGER
No.
DANIEL
That'd be tough. A lot of people think they can do it, but they all bomb first go.
LARRY
Acting is tough too. For anyone. Except the truly great ones, like Roger.
DANIEL
You ever get letters from fans?
LARRY
Of course he does. Mountains of them. Piles and piles. The postman hates Roger because he has to carry so much fan mail each day.
DANIEL
Is that right?
LARRY
And the critics! The critics all want exclusives with the great Roger Ryan.
REGINALD
And then there are the women. Tons of them. A different woman every night for Roger. Isn't that right, Roger?
ROGER
(modestly)
Well . . .
DANIEL
But no awards. Oh well. Too bad. Maybe one day. Eh, Roge?
REGINALD
(to Daniel)
Forget what the magazine says. You can't trust what they say in those types of magazines.
LARRY
You don't know where they're getting their information from. They're always wrong. Always.
DANIEL
(interested in the magazine now)
Is this a fact?
Daniel opens up the magazine and opens it to the pages with the story on Roger Ryan. He starts to read. Larry and Reginald look to Roger. Roger gestures that it's okay. He's not offended.
DANIEL
(reading the article out loud)
"The great Roger Ryan has made some poor acting choices in his long career. Oh, what an understatement that is! It is safe to say that Roger Ryan's entire career has been a disastrous failure. Critics wonder what he's doing in film at all. Their repeated scathing reviews do not seem to stop the dimwits in the film industry from casting Roger Ryan in a series of disastrous roles. Nor do they seem to have any effect upon the abominable Ryan, who continues to strive to produce what you could call the worst acting performances of all time. Perhaps now though, Ryan has finally received the message from his critics and from the public. Ryan was recently admitted to a psychiatric hospital for reasons at present unknown. This magazine suspects however, that one too many bombs has led to a nervous breakdown in poor Ryan, and a realization has dawned on Ryan that he simply is no good."
Daniel puts down the magazine. While Daniel has insensitively read this, Ryan has become embarrassed and ashamed. Daniel has an amused look on his face. He looks at Roger.
DANIEL
That's a pretty hard review.
LARRY
Whoever wrote that doesn't know what they're talking about.
(to Roger)
Forget about it Roger. It's nothing. The writer is stupid. He's got no understanding of character development or your emotional depth.

DANIEL
It's a 'she' actually.
REGINALD
You just can't please everyone. It's the fans that matter most to Roger. Like we said, Roger has fans all over the world. He has a fan club who write him letters, telling him how much his work means to them. Isn't that right, Roger?
ROGER
They're all hard reviews. Every damn one of them. I've put up with them throughout my whole career. Every film, TV role, theatre part, the critics say the same things.
DANIEL
(to Roger)
Why do you think it is that everyone says you suck at acting?
They sit quietly and think about the question. Daniel is amused, maybe unaware of his own harsh, insensitive attitude to Roger.
DANIEL
Is it true though? Did the reviews cause you to have a nervous breakdown?
Larry and Reginald are still silent. When Daniel realizes there will be no answer, he dismisses the subject.
DANIEL
Suit yourself. Don't answer it at this time if you're not comfortable with it.
Daniel puts down the magazine, stands up and walks over to the group. He stands in front of them.
DANIEL
My name's Daniel. I'm not crazy.
They don't know what to do or say, don't know if Daniel is mocking them still or not.
LARRY
Neither are we.
DANIEL
Sure.
Roger is silent, looking at his shoes.
DANIEL
Cheer up Roger. I didn't mean to attack you. I didn't write the article.
REGINALD
(to Daniel)
It was a bit insensitive, you have to admit.
Roger looks up.
ROGER
It's alright. I'm used to it. It comes with the job.
LARRY
(to Daniel)
My name's Larry. Larry Brian.
ROGER
Roger Ryan. Actor.
Daniel looks at Reginald.
DANIEL
What about you?
REGINALD
Reginald Arbut.
DANIEL
(to the three)
Now that we're all acquainted, you can tell me what you're really here for.
REGINALD
We . . .
(he looks Larry and Roger for support)
We all have certain problems which don't allow us to live in the 'real' world.
DANIEL
Define 'real'.
REGINALD
The world out 'there'. The world people live in. We found we have trouble living in that world, with other people.
DANIEL
How long have you been here?
REGINALD
I've been here a year. Roger has only been here for three months. And Larry has been here for four.
DANIEL
Years?
LARRY
Months.
DANIEL
What's it like in here?
LARRY
It's not so bad. You'll get used to it. Most people get used to it.
DANIEL
There can't be much to do.
NURSE GRAND sticks her head in.
NURSE GRAND
Daniel, there's a phone call for you.
DANIEL
(to the other patients)
Excuse me. We'll talk again soon.
INT. NURSE'S STATION - DAY
Daniel has the wall phone to his ear.

DANIEL
(into phone)
Yes, Mom. Yes, I'm fine. Jesus, it's only been a few hours. Not even that.
Nurse French and Nurse Crown are standing nearby, sorting some medicinal pills. Nurse French looks at Daniel, and makes eye contact.
DANIEL
(into phone)
I've already made some friends. They're a bit odd, but they seem nice enough. Yes, isn't it wonderful? Yes, just as you said. Yes, I will adjust.
Nurse French is still looking at him.
DANIEL
(to Nurse French; slightly aggressively)
Could I have some privacy please?
Nurse French looks away.
DANIEL
(to Nurse French; contemptuously)
Thank-you.
(into phone)
No. It was just a nurse eavesdropping. How are Dad and Amy? Good. Glad to hear it. Just tell them I'm doing fine.
INT. DANIEL'S ROOM - NIGHT
Daniel is in his room. He is lying in bed. It is around 7 p.m., on the first night of his stay.
FRED
(V.O.; angry shout)
Go away! Leave me alone! No! Leave me alone!
Daniel sits up. The voice of Fred, a paranoid man, is reverberating through the wall.
Daniel gets up and walks to the wall. He bangs on it.
DANIEL
Hey! Keep it down!
FRED
(V.O.)
Go away! Get lost! Go away!
Daniel walks out into the corridor outside his room.
EXT. DANIEL'S ROOM - NIGHT
Daniel sees Nurse Hisbeck and Nurse Nollstich standing outside the room next door. Nurse Grand is inside Fred's room.
DANIEL
(to the nurses)
What's going on?
NURSE HISBECK
Nothing. Just a minor disagreement. It's okay. You can go back to your room.
DANIEL
Disagreement over what?
NURSE NOLLSTICH
Have you met your neighbour Fred?
DANIEL
No.
NURSE NOLLSTICH
Fred is refusing to take his medication.
DANIEL
I'm finding it hard to concentrate with all his shouting.
NURSE HISBECK
You'll get used to it. This is a daily event with Fred.
DANIEL
Well I won't be able to sleep with all that going on during the night. Can I move rooms?
FRED
(V.O.; to the nurse inside his room)
Go away! No! Take it away! I don't want it!
There is a sound of something crashing against the wall.
DANIEL
(putting a frustrated hand to his head)
Shit.
(pause)
How frequent is frequent?
Nurse Grand emerges from Fred's room. She shakes her head.
NURSE GRAND
It's no good. He won't take it.
NURSE HISBECK
I'll call Dr. Drow.
NURSE NOLLSTICH
(call to Fred)
Fred, we'll have to call Dr. Drow if you won't take your medication.
FRED
(O.C.; shout)
Fuck Dr. Drow! Get lost!
Daniel sighs, walks back into his room and closes the door.
INT. DANIEL'S ROOM - MORNING
It is early the next morning. Daniel is asleep. He opens his eyes, and rolls over. He closes them again and suddenly opens them. Sitting in a chair next to him is a WHITE HAIRED MAN he has not seen before. The man is quite old, with long scraggly white hair and a white goatee. He is wearing only a dressing gown which is partly open and reveals too much. He has pipe in his hands, but it is not lit.
DANIEL
Can I help you?

WHITE HAIRED MAN
Got a light?
Daniel looks at the pipe in the man's hands and then back at the man's face.
DANIEL
I don't smoke.
WHITE HAIRED MAN
You don't know what you're missing out on.
DANIEL
Are you allowed to smoke in here?
WHITE HAIRED MAN
No.
DANIEL
Then why are you asking for a light?
WHITE HAIRED MAN
Hmm.
(the white haired man thinks)
Don't know the answer to that one.
DANIEL
What are you doing in my room?
WHITE HAIRED MAN
I came to offer my greetings to you.
DANIEL
Are you . . . the guy from the next room?
WHITE HAIRED MAN
Fred? No. I'm not Fred. He can cause quite a scene, can't he? Was he at it again last night?
DANIEL
Yes.
WHITE HAIRED MAN
They gave me the room next to Fred for six months. I hardly slept for most of those six months.
DANIEL
That bad, huh?
WHITE HAIRED MAN
Can be. He thinks the medicine they give him is a mind control drug administered by the government. He also thinks there's a worldwide plot against him. Fred believes all sorts of things. The doctors are trying to make him see things the right way. But it takes time.
DANIEL
Would you mind if . . .
Daniel gestures to the unintentionally half-open dressing gown.
WHITE HAIRED MAN
(sees the dressing gown is open)
Whoops! Sorry.
The White-Haired man closes his dressing gown.
The White-Haired Man stands.
WHITE HAIRED MAN
Breakfast will be served in a few minutes, if you're hungry.
DANIEL
I'll be there.
WHITE HAIRED MAN
Good. Welcome to Hallford Psychiatric Hospital.
The White-Haired Man shuffles from the room. Daniel can't help but laugh.
INT. BREAKFAST ROOM - MORNING
Some of the patients are still having breakfast.
Another patient, CLARENCE BOZER, is standing in the room, practising his boxing moves in the air. He is throwing quick punches, ducking and weaving and breathing in and out as he does so.
The White-Haired Man is sitting reading the morning paper at a table, the unlit pipe in his mouth.
SAMANTHA and JANE BLUEBERRY, identical twins, are seated at another table. They aren't speaking.
All these patients are in various stages of eating their breakfast.
The White-Haired Man, reading the paper, finds something funny and cackles with laughter. He receives little attention, even though his laugh is loud and long. He never looks up from his newspaper.
Roger, Larry and Reginald are at another table. They are sitting quietly.
Reginald has a pile of bacon on his plate, next to a stack of eggs.
LARRY
(looking at Reginald's plate)
Don't you worry about what that's doing to you?
REGINALD
Breakfast is the most important meal of the day.
LARRY
Yeah, but look at it! You got a whole pig on your plate!
REGINALD
So?
ROGER
Larry's right, Reggie. You have to eat better. You want to live longer, you got to do right by your body.
Daniel walks into the room, showered and dressed. He immediately sees Clarence, still throwing air punches. Daniel walks past him, and sits down with Larry, Roger and Reginald.

DANIEL
(to the group)
What's he doing?
ROGER
The Boxer? Practising for his next fight?
DANIEL
When's that?
ROGER
Never, probably.
LARRY
He used to be something special. Turned professional at eighteen. 17-5 win/loss record. You might have heard of him. Clarence Bozer.
DANIEL
I never followed boxing. I always found it too brutal to watch. All those hits to the head can't be doing anyone any good.
LARRY
If you think you've seen brutal already wait until you see Clarence in the ring. He's brutal, but in a beautiful, graceful sort of way.
ROGER
He was fast, powerful and impossible to knock down. Of his 17 wins fifteen were victory by knock-outs. His five losses were points decisions. No one, ever, has knocked out Clarence Bozer.
DANIEL
Sounds like a champion.
REGINALD
Clarence has all his old fight tapes. If you ask nicely he'll let you have a look at them.
DANIEL
Why did he stop fighting?
LARRY
Clarence lost it when his mind went. He didn't only lose it in the ring, he lost it everywhere. Poor guy. His wife left him, took his two little kids and moved across the country. He's been here for five months.
REGINALD
Yeah. And he practises every day, for about eight hours a day. He just punches the air. Never stops.
LARRY
(to Clarence)
Hey! Clarence! Come over here a minute.
Clarence turns his head, but doesn't stop punching the air. He walks over, still dodging imaginary punches. As he stands in front of the group and Daniel he doesn't stop moving his feet.
LARRY
Clarence, this is Daniel. He wants to see you box.
CLARENCE BOZER
Too late, kid, I'm retired.
LARRY
No. He wants to see your tapes.
CLARENCE BOZER
They're upstairs, in my room.
Clarence lets loose two quick jabs.
CLARENCE BOZER
(to Daniel)
Room 12. Just go and take them.
Clarence moves away, the conversation finished. He continues to box.
ROGER
(to Daniel)
The TV is in the TV room, downstairs.

DANIEL
After breakfast. I'm starving.
INT. TV ROOM - MORNING
Daniel, Larry, Roger and Reginald are sitting on the lounge chairs in the TV room, in front of a big television. Reginald puts the tape into the video machine and presses play. He switches on the TV. He then sits down with the others.
LARRY
We're showing you the best of the best here. March 15, 2001. Clarence is in the prime of his career and is in the best physical condition of his life. He's taking on one of the big guys, Spike Pritten, a bruising hitter who's left most of his opponents with permanently shaky legs. The punters backed the big guy Spike, and everyone though Clarence had little chance of upsetting the champ.
The tape recording of the fight starts. The big guy is an enormous, physically perfect black man, with tattoos on his arms and back. He looks brutal and ready to kill or maim his opponent. He is flanked by trainers and assistants as he steps into the ring. Clarence is waiting quietly, throwing a couple of air-punches and moving his quick feet.
LARRY
Look at Clarence. Look at his feet. The man was a dancer. Beautiful!
We see highlights of the fight, cutting to different moments. The two fighters trade punches for ten rounds. Clarence takes a lot of punches, but delivers more than he receives. The crowd goes wild in the background as each punch is landed, and goes berserk when one punch leaves Spike Pritten wobbling on his feet.
Finally, in the tenth round, Clarence lands one on the jaw of Spike and Spike hits the deck. Clarence stands over the unconscious body of Spike Pritten, raises his arms, turns to the crowd with arms raised and a smile on his face, and then retreats to his corner, where his ecstatic trainer wipes the sweat from his face and tries to hug him.
REGINALD
We've seen this tape a hundred times and it gets better every time.
LARRY
What a punch. One of the best I've ever seen. Yep. Clarence was a hell of a boxer in his time. Still is I reckon. He just needs another shot.
INT. HOSPITAL CORRIDOR - DAY
Daniel is walking down the corridor. A door opens and Fred, the paranoid man, emerges from his room. Fred looks at Daniel, who has stopped walking with Fred's appearance, eyes him suspiciously, then, in a panic, runs in the opposite direction. He runs down the corridor, turns a corner and is gone. Daniel can't help but laugh.
INT. RECREATIONAL ROOM - DAY
Daniel is in the recreational room by himself. He is playing pool at the pool table. He lines up two shots and hits them. He hears a door creak open and looks up.
The two identical twins, Jane and Samantha Blueberry - the girls he first saw in the breakfast room - are standing there, watching him. There is something eerie about their identical appearance.
DANIEL
Hey, how's it going?
The twins are silent.
DANIEL
My name's Daniel.
JANE BLUEBERRY
Do you have any cigarettes?
DANIEL
Sorry. I don't smoke.
SAMANTHA BLUEBERRY
What about whiskey?
DANIEL
Whiskey?
The twins don't reply. They just keep watching Daniel.
DANIEL
I don't think that's allowed. I like a drink myself but I was told . . .
JANE BLUEBERRY
(to Samantha)
I told you he wouldn't help us.
They turn and exit the room. Daniel calls out as they leave.
DANIEL
Wait!
The twins are gone.
INT. PAINTING ROOM - DAY
Daniel is sitting in front of a painting board. He is sitting on a stool. A blank page is in front of him.
Larry, Roger and Reginald are also there, with their own painting boards.
The PAINTING INSTRUCTOR, a middle-aged woman with a soft voice, is walking around the room, speaking with a hushed but encouraging voice.
PAINTING INSTRUCTOR
Think of something that is important to your life. You might imagine something that has meant a lot to you, something that has perhaps changed your life. Use that as inspiration. Or, maybe, you could paint a scene that has brought you peace and calm. A forest. Or a beautiful beach. Or the moon in the sky. Just remember, you're free to paint whatever you like. Painting is a form of expression. Use it to try to express yourself, maybe some feeling you have or like.
ROGER
(to Painting Instructor)
Excuse me, Janet, couldn't we do live drawings this time? Perhaps, a naked woman?
LARRY
What if nothing in our lives has ever inspired us, or changed us, or brought us peace and happiness?
REGINALD
(nods at and agrees with Larry's statement)
Yes.
PAINTING INSTRUCTOR
Surely, you can think of something that has made a difference in your life.
LARRY
I took a few beatings as a kid. That changed me. Can I paint myself getting beaten by my father?
PAINTING INSTRUCTOR
I think you're thinking the wrong way, Larry. You have to put these bad memories and negative feelings away somewhere and lock them up. Don't let them come back.
LARRY
Easier said than done.
PAINTING INSTRUCTOR
Instead, you must think positive thoughts. Happy thoughts. Think of nice things - like beautiful flowers and little kittens and sunsets.
REGINALD
No offence, but I'm a bit tired of painting sunsets at the beach, or the stars in the sky, or an animal running through a forest. We seem to do the same thing every week.
PAINTING INSTRUCTOR
My answer would be . . . be inspired!
The group shrugs and picks up their paint brushes. They dip their brushes in their paint and begin painting.
INT. PAINTING ROOM - MORNING

A short time later. The group of patients are all busy painting. The Painting Instructor is slowly walking around the room, inspecting the paintings.
Roger, Larry and Reginald have all painted flowers and kittens and sunsets. As the Painting Instructor passes each of them she admires their paintings and makes a positive comment about each paintings.
PAINTING INSTRUCTOR
(to Roger)
Wonderful! You've managed to capture the beauty of nature.
(to Larry)
Good. Very nice!
(to Reginald)
Beautiful Reginald. You really do have a gift.
REGINALD
Maybe one day I can sell these and retire. I'd like a big boat.
The Painting Instructor walks to Daniel and looks at his painting. She gasps and clutches her chest with one hand.
Daniel is painting something disturbing - a picture of hell, with many tortured souls awaiting judgement and eternal punishment.
PAINTING INSTRUCTOR
Daniel?
DANIEL
I call it the Judgement of the Damned.

PAINTING INSTRUCTOR
It's . . . It's not . . . It's quite unusual. What's that?
The painting instructor points to a tortured soul in the picture.
DANIEL
That's one of the damned. What? Isn't it clear?
PAINTING INSTRUCTOR
What I try to encourage here is the painting of things that are the result or the cause of happy thoughts. I encourage people to put happy feelings onto the blank canvas. Remember, we're trying to be as happy as we can.
DANIEL
Oh. I thought we were free to paint whatever came into our minds.
PAINTING INSTRUCTOR
Well, you are. But next time, try something a little . . . try and portray something a little less distressing.
The Painting Instructor, still shocked, walks away. Daniel smiles. His joke worked.
EXT. KEITH DROW'S OFFICE - AFTERNOON
It is the afternoon. Daniel walks up to a door in the hospital unit. On the door is the name - Keith Drow. Daniel knocks.
KEITH DROW
(O.C.)
Come in.
Daniel opens the door and enters.
INT. KEITH DROW'S OFFICE - AFTERNOON
Daniel closes the door quietly and stands at the door. KEITH DROW is sitting at his desk, writing. He puts down his pen and stands up. He walks over and extends a hand. Daniel shakes Keith's hand.
KEITH DROW
Daniel?
DANIEL
That's me.
KEITH DROW
Welcome. Please, sit down.
Daniel takes a seat in a chair opposite Keith.
KEITH DROW
First things first. Some people find it difficult to open up to a stranger. You needn't feel that way. Whatever you wish to tell me you can. This conversation and all the conversations we have will be between us and us only. No one else is listening, and no one else is watching. You have my assurance of complete confidentiality in this room.
DANIEL
Okay. That's good to know.
KEITH DROW
That means you can tell me whatever you want. You will only be telling me.
DANIEL
Okay.
KEITH DROW
Daniel, why do you think you are here?
DANIEL
Misdiagnosis.
Keith is silent, waiting for more from Daniel.
DANIEL
The truth is - there's nothing wrong with me. A bunch of doctors convinced my family that I needed help. So they brought me here, against my will.
KEITH DROW
Your file says you've demonstrated some alarming and somewhat disturbing behaviour in recent times. Your once amiable attitude has become hostile and you've shown significant mood swings. Your file indicates that you've slipped mentally. You've fallen into a hole somewhere and you're struggling to get out.
DANIEL
It says that? That I've 'fallen into a hole'?
KEITH DROW
No. I'm just putting it in my own words.
DANIEL
What does it really say?
Keith looks at the file.
KEITH DROW
(reading the file)
Your doctor has written, "Daniel's behaviour over the last several months shows serious signs of mental deterioration. He is hostile, angry, highly stressed and shows signs of being deeply depressed. These worrying signs would justify Daniel's admission to a psychiatric hospital and I would unequivocally support this type of treatment for Daniel. In addition, Daniel's parents have expressed deep concern that Daniel is perhaps under the influence of people, whom Daniel considers friends, that he should avoid. They are having a negative effect upon his behaviour and state of mind. Importantly, Daniel recently lost one of his oldest and closest friends to suicide and this has placed another load upon Daniel's already stressed and fragile state of mind."
Daniel is silent.
KEITH DROW
You see, Daniel, people, particularly your family, care about you. They're worried about you.
DANIEL
They don't like me having a good time. That's all it is.
KEITH DROW
It doesn't sound like you have been having a good time. Several months of alcohol and substance abuse. The death of your closest friend.
DANIEL
(saddened thinking of Marcus)
Yes.
KEITH DROW
Did you feel unable to cope with the loss of your friend?
Daniel doesn't reply.
KEITH DROW
It's alright. We have time to talk about that.
DANIEL
Do you know how my friends are doing? The ones that were in the car with me.
KEITH DROW
Daniel, are those people really your 'friends'.
DANIEL
What do you mean?
KEITH DROW
Your family has told me they're the ones who have been exerting a bad influence upon you for several months.
DANIEL
I can handle myself. I don't need a baby-sitter to tell me what to do.
KEITH DROW
Daniel, there have been threats.
DANIEL
What?
KEITH DROW
Against you. And your family.
DANIEL
From who?
KEITH DROW
Your 'friends', and their friends, and their families. I didn't want to alarm you. We don't think they know where you are, and they can't find out. You're safe here.
There is a knock at the door.
DANIEL
Expecting someone?
KEITH DROW
Please, stay where you are. There's someone here who needs to have a talk with you.
DANIEL
Oh, Jesus, it's not my sister is it?
KEITH DROW
No.
Keith walks to the door and opens it. OFFICER MELLPOW is standing there. He enters, walks past Keith and stands near Daniel. Keith closes the door.
KEITH DROW
Daniel, this is Officer Mellpow.

DANIEL
What have I done now?
OFFICER MELLPOW
(to Daniel)
Daniel, I take it Keith has told you about the threats.
Daniel looks at Keith and back at Officer Mellpow.
DANIEL
What threats?
OFFICER MELLPOW
Daniel, the three men who were injured in the accident have family and friends who are, obviously, and understandably, angry at what has happened. They blame you. You were driving the car, you were drunk.
Daniel sits in silence.
OFFICER MELLPOW
They want your blood Daniel.
DANIEL
Oh, shit.
OFFICER MELLPOW
They're a disreputable bunch of characters. It seems your friends have had some experience in criminal matters. As have their friends and families. Did you know that?
DANIEL
No. I thought they were clean.
OFFICER MELLPOW
Now, we might be wrong and maybe nothing will happen to you. But we want you to know that there is the possibility that they'll come after you. For revenge. To get even.
DANIEL
Thank you for telling me. Can they get to me here?
OFFICER MELLPOW
No. They can't get in. We're more concerned about what will happen when you're released.
KEITH DROW
Daniel, we don't want to alarm unnecessarily. But there is the chance that they'll try to hurt you.
INT. RELAXATION ROOM - NIGHT
The room is dark. There are only a few candles spread around the room. The group, including everyone that Daniel has met, except Roger, is there. They all have their eyes closed, and a few are holding hands.
RELAXATION INSTRUCTOR
Now, keeping your eyes closed, just think happy thoughts. Relax. Relax your whole body. Each part one at a time. Let everything go. First, your head. Let the weight of the world fall away. Now your arms. That's it. Now your legs. Let your legs go. Relax your whole body. Now, breathe in deeply. That's it. Breathe in deeply. The whole time, breathe in deeply. And out.
Daniel opens his eyes during this boring instruction, deeply amused at the pathetic nature of the whole process. He isn't taking it seriously at all. A wide grin spreads across his face. He looks at everyone with their closed eyes. He is looking at Larry, when Larry opens his eyes. They make eye contact and Larry bursts out laughing, seeing Daniel's grin and sharing the same thoughts as Daniel. The instructor ignores it, her eyes still closed. Others open their eyes too and frown at Larry and close their eyes again.
DANIEL
(mouthing only to Larry)
Where's Roger?
Larry, unable to answer the question at that moment, assumes a ridiculous meditative position and Daniel starts laughing, again disrupting the group. Daniel laughs and cannot stop.
RELAXATION INSTRUCTOR
Daniel, Larry, is something funny?
Daniel's laughter finally stops.
DANIEL
Yes. This.
The rest of the relaxation group opens their eyes.
RELAXATION INSTRUCTOR
If you don't want to relax with us, you can leave at any time.
DANIEL
You know what, I think I will.
Daniel stands up.
LARRY
I'm going too.
Larry gets up and Daniel and Larry walk from the room. Reginald stays seated where he is. The rest of the group in relaxation watch Daniel and Larry as they leave the room. A couple shake their heads in disgust.
EXT. HOSPITAL CORRIDOR - NIGHT
Larry and Daniel walk out of the relaxation room.
DANIEL
(still laughing)
What the hell was that?
LARRY
Once a week, every week, we do that. Everyone else swears by it.
DANIEL
I don't see it could do much. It's not like it's going to cure you. Is it?
LARRY
They swear by it. It helps. It's never done a lot for me, but it does give some patients here a sense of peace and understanding.
DANIEL
Where was Roger?
LARRY
Roger wouldn't be seen dead in a relaxation session. He thinks the whole thing is dumb.
DANIEL
What about Fred? If anyone needs relaxing, it's Fred.
LARRY
Fred's so highly-strung I always think he's on the verge of flipping out.
DANIEL
He's already flipped out. That's why he's here.
Roger appears through a doorway, holding a newspaper in his face.
LARRY
Roger!
Roger lowers the paper and looks up.
ROGER
Hah! Listen to this. Remember that film I made about five years ago - Hell Comes to Venus?
LARRY
Hell Comes to Venus. The sci-fi flick? Oh yeah, that was a real piece of shit. Not you, of course. You were great. Best thing in it.
ROGER
Thanks for the compliment. Anyway, they're making a sequel. Hell Comes Back to Venus.
LARRY
Are you going to be in it?
ROGER
Hey, it's already in production according to this [the newspaper]. I guess they passed on me. But that's no surprise.
LARRY
Wait. Didn't your character die at the end of Hell Comes to Venus  I?
ROGER
Yeah, so? Haven't you ever heard of cryogenic freezing?
LARRY
How many of the original cast are appearing in the sequel?
Roger hesitates before answering.
ROGER
All of them. Except me.
Roger walks off before Larry or Daniel can say any more.
LARRY
Roger ranks that performance as his worst ever. He wasn't surprised by what the critics said about that one. Everyone in that film sucked.
DANIEL
Then why are they making a sequel?
LARRY
Beats me.
Suddenly, Fred appears down the corridor.
DANIEL
Hey Fred!
Fred looks startled, sees Daniel, and he runs off.
INT. HOSPITAL COURTYARD - MORNING
The next day.
Daniel and the others are sitting in the courtyard.

ROGER
Daniel, when someone new comes here, we like to know a bit about them. Tell us something about yourself.
DANIEL
Really, it's not that interesting.
ROGER
What else are we going to do?
Roger lights up a cigar.
DANIEL
I guess you're right. Okay, the reason the doctors put me in here, is because they think I lost the plot.
REGINALD
You're a slow learner Daniel. We all lost the plot. At least according to the doctors.
DANIEL
The truth is, my friend died. Everyone seems content to blame me for his death. That's enough reason for them to put me in here. I did wrong, I should be punished.
REGINALD
How did he die?
DANIEL
Suicide. Pills.
LARRY
I took pills once.
REGINALD
Me too.
They look at Roger.


ROGER
Hey, don't look at me. I may be crazy but I still have the will to live. Always have.
REGINALD
Daniel, I'm sorry people look to blame you for something they shouldn't.
DANIEL
Forget it. It's not your fault.
LARRY
(to Daniel)
Hey! You know why Reginald's here?
Daniel looks at Reginald.
REGINALD
I used to be a magician. Now, I'm an ex-magician.
DANIEL
And that made you crazy?
REGINALD
No. The magic made me crazy. I realized . . . I'd spent all my life engaging in deception and deceit. I fool people for a living. That's my job. How could I live with that any longer?
LARRY
You couldn't. That's why you're here.
REGINALD
(to Daniel)
Plus, every day I had to get up, think about my magic tricks . . . and how they might all go wrong. What if I pulled a rabbit out of my hat and I hurt the rabbit? What if I killed the rabbit? What if . . . what if I really sawed my assistant in half?

DANIEL
But you couldn't. It's just a trick, right?
Reginald scratches his head, smiles and looks away, at nothing.
ROGER
(to Larry)
Larry, tell him about you.
REGINALD
(to Larry)
Tell him about the money.
DANIEL
What money?
A momentary pause and there is a sense of Daniel's sudden interest.
ROGER
Larry claims he stashed away close to a hundred thousand someplace. Money he stole.
DANIEL
(to Larry)
You stole a hundred grand?
ROGER
Larry's a kleptomaniac. He's been stealing all his life. The fact that he stole money is nothing new. It's how much he stole that makes it interesting.
REGINALD
Stealing is an obsession with Larry. He sees something he wants, he takes it. He doesn't think of any consequences.
DANIEL
But a hundred grand! That sounds like something a professional thief would do.
LARRY
That was a one-off. Normally, I just stick to department stores and shopping centres, and corner shops and that sort of thing. The doctors here are helping me though that. I just have to see that stealing is wrong. I don't need to steal to feel good. That's what the doctors say I don't understand.
They sit in silence, thinking all this over. Roger speaks first.
ROGER
Good. Now we know each other a bit better. It helps to get this stuff off one's chest.
The door to the hospital suddenly bangs open and two police officers drag in a kicking and screaming young man, named TRISTAN. Tristan is acting very violently and doing everything he can to resist. Doctor Blume is with the police.
POLICEMAN
Where do you want him?
DOCTOR BLUME
This way.
TRISTAN
(angrily)
Let go of me, you fucking pigs.
The police drag Tristan to a padded room, the only one in the facility. Another nurse opens the door, and the police throw Tristan inside and the door is shut and locked. There is violent banging and irate shouting from inside.
This is all witnessed by the other patients, including Daniel. Clarence Bozer also sees it and stops his air-punching in astonishment. When the door is locked, Clarence Bozer resumes his air-punching as if nothing has happened.
ROGER
A padded cell. It must be serious.
DANIEL
(to all)
You . . . Any of you ever been in there?

ROGER
No. I was never the violent type.
REGINALD
Me neither.
LARRY
I have had violent thoughts once in a while, you know, normal stuff, but I never take it out on anyone.
DANIEL
What do you think he did?
LARRY
He's demonstrated violent behaviour. No question about it. He probably assaulted someone. Maybe the police. If they can't be controlled, it's straight to the padded room. And that's where they stay until they cool off.
REGINALD
He probably has a long history of mental problems.
DANIEL
I hope I never get put inside that room.
LARRY
No one wants to end up in there. They say you go even crazier. It's just you and the walls.
The two twins, Samantha and Jane, suddenly appear nearby. Daniel sees them and stands quickly and walks towards them.
DANIEL
Hey!
The twins try to disappear through a door and down a corridor. Daniel chases after them. Daniel runs through the door and into the corridor. He sees them turn a corner at the end of the corridor.
DANIEL
Hey! Wait!
The twins vanish. Daniel runs down the corridor and after them. He turns the corner and sees a door close. He runs to it and pushes it open and enters.

INT. ROOM IN HOSPITAL - DAY
Daniel is in an empty room. He sees an open window, the curtain is flapping in the breeze. He hurries to the window and looks out. He sees the two twins sitting on the roof outside.
EXT. ROOF OF HOSPITAL - DAY
Daniel climbs through the window out onto the roof. The twins watch him.
JANE BLUEBERRY
What do you want?
Daniel sits down next to the twins. The view is spectacular.
DANIEL
Hey, why did you run?
The twins don't reply.
They take out a packet of cigarettes and light up. Jane holds the packet out to Daniel.
DANIEL
No thanks. But thanks.
Jane puts the cigarettes in her pocket.
DANIEL
Some view you've got here.
JANE BLUEBERRY
We like it.
DANIEL
How old are you?
JANE BLUEBERRY
Eighteen.
Samantha pulls out a small flask filled with alcohol. They both drink from it.
SAMANTHA BLUEBERRY
Want some?
Daniel looks at the flask, and decides he could use a drink. He takes the flask and takes a gulp from it.
JANE BLUEBERRY
Better now?
DANIEL
How long have you been in here?
JANE BLUEBERRY
Just a few weeks. Before that they had us in a rehab clinic. They said we drank too much.
DANIEL
They said I have problems with my attitude. Keith Drow told me I have a 'fragile' mind.
SAMANTHA BLUEBERRY
Everyone in here has a fragile mind. We wouldn't be here if we didn't. And everyone has attitude problems.
DANIEL
That makes me feel better. So, why did they move you from a rehab centre to here?
The twins hold up their wrists, pull up their sleeves, and Daniel sees the cuts and bandages which he didn't notice before.
JANE BLUEBERRY
That's why.
SAMANTHA BLUEBERRY
We weren't happy where we were. But we like it here more.
DANIEL
So you won't . . . You won't try anything like that again?
SAMANTHA BLUEBERRY
No.
DANIEL
That's a relief.
INT. HALLFORD PSYCHIATRIC HOSPITAL - AFTERNOON
Clarence Bozer is boxing. Larry, Roger, Reginald, the White-Haired Man and two nurses are watching him intently, all very impressed. One of the Nurses is NURSE DREESE, a man who Daniel hasn't seen before.
ROGER
Clarence, you're still young. You could still get back what you once had.
REGINALD
Yeah, Clarence, you still got it. When you get better, you should line up a few fights. I bet you'll put them on the floor in the first round.
NURSE DREESE
You kidding me?
They all look at Nurse Dreese and a silence settles. It is clear for a split-second that Clarence has heard this. He reacts almost imperceptibly but keeps boxing, saying nothing.
REGINALD
(to Nurse Dreese)
Clarence was the best there was.
LARRY
(to Nurse Dreese)
Yeah, don't you forget that.
NURSE DREESE
You're kidding me, right?
LARRY
No, we aren't.
NURSE DREESE
(to Clarence)
Clarence, you can't actually be hoping for a comeback once we let you go, are you?
Clarence keeps boxing, apparently not listening.
NURSE DREESE
Come one, Clarence, why don't you call it quits? You're over the hill now Clarence. You're past it. I wouldn't call you washed up, but you're certainly close to it.
The others look at each other in shock and horror.
Clarence's punching slows down slightly as he reacts to the Nurse Dreese's cajoling.
NURSE DREESE
Come on Clarence, put down the gloves for good. It's over.
Clarence finally stops boxing the air. He lets his arms drop to his sides. He looks at Nurse Dreese, looking despondent.
NURSE DREESE
That's it Clarence. Give it up. There's no point any more.
ROGER
Don't listen to him, Clarence. Keep it up buddy. Knock them senseless. Left, right, left, right.
Clarence looks at the group near him.
CLARENCE BOZER
Maybe . . . Maybe I was meant to stop when I did. Maybe I had my go. Some things just end.
LARRY
And a good go it was Clarence. You were the best.
NURSE DREESE
(to Clarence)
Well, you weren't the best. But you did have a special gift in that ring.
REGINALD
You had something that no one else had Clarence. You know it. We know it.
NURSE DREESE
But your time is up now Clarence. It's time to see that. I bet, that if you got in the ring now Clarence, you wouldn't last two rounds.

REGINALD
(to the other patients; quietly)
Jesus Christ, he's [the nurse] really asking for it.
Clarence turns and walks away, looking despondent. When he is gone and out of earshot,
LARRY
(to Nurse Dreese)
What the hell were you thinking?
NURSE DREESE
Clarence needs to wake up. He can't box the rest of his life.
LARRY
Yeah, but Jesus, couldn't you wait for a better time to break this news to him? He's in a hospital. The man's on the edge.
ROGER
Yeah, if your intention was to shatter someone's dreams and hopes, I think you've succeeded.
NURSE DREESE
He'll be okay.
Nurse Dreese stands and walks away. He shakes his head as he leaves, a smile on his face. When the nurse is gone,
ROGER
Bastard.
LARRY
So cruel. So very cruel.
ROGER
Now, if I was a boxer, I'd knock that fucking nurse on his ass. No two ways about it. I'd fucking nail his ass.
LARRY
Me too.
REGINALD
He's not right though, is he? Clarence isn't washed up.
(pause)
Right?
INT. RECREATIONAL ROOM - AFTERNOON
Daniel is shooting pool with the twins.
DANIEL
If you don't mind my asking, why did you . . .
(he looks at their wrists)
You know . . . do that to yourself?
JANE BLUEBERRY
You must be new here. You spend enough time in this place, you see plenty of . . . this.
(she holds up her wrists)
DANIEL
Yeah, but you personally. Why did you do it?
JANE BLUEBERRY
We do everything together.
This morbid statement momentarily stuns Daniel.
DANIEL
What, one of you wants to die, so the other agrees to sacrifice her life?
JANE BLUEBERRY
Basically.
DANIEL
And you're cool with that?

JANE BLUEBERRY
Yes.
SAMANTHA BLUEBERRY
Yes.
DANIEL
So which one of you wanted to die?
Jane and Samantha exchange cautious looks.
SAMANTHA BLUEBERRY
We don't feel comfortable answering these questions.
JANE BLUEBERRY
To us, you're a stranger, prying into our personal lives. We don't have to tell you everything.
DANIEL
Fine. That's fine.
JANE BLUEBERRY
So, why are you here? If you don't mind our asking.
DANIEL
I shouldn't be here.
JANE BLUEBERRY
No. Of course not. None of us should.
DANIEL
No. I'm serious. I shouldn't. A few bad things happened. People, particularly my family, thought I was out of control. Drink, 'illegal substances' as Keith Drow likes to say, mood swings, attitude problems, lack of sensitivity, or empathy or something, regarding my closest friend's death and his family.
JANE BLUEBERRY
I'm sorry to hear about your friend. What's empathy?

SAMANTHA BLUEBERRY
Yeah, what is empathy?
DANIEL
It basically means that because I didn't show enough sympathy and compassion and all that emotional, feeling stuff, when Marcus died, then I'm effectively faulty up here.
(he taps his head)
I didn't try hard enough to understand how his family was feeling.
SAMANTHA BLUEBERRY
Oh.
DANIEL
Something has to be wrong with me because I simply displayed an uncaring attitude.
JANE BLUEBERRY
Did you care?
DANIEL
What? That Marcus died? Of course. But that doesn't mean I have to show it, but because I didn't show it, that does not make me crazy!
JANE BLUEBERRY
If that happened to me, if a close friend died, I'd cry. I'd be very sad.
SAMANTHA BLUEBERRY
(to Daniel)
Did you cry?
DANIEL
Honestly?
They nod.
DANIEL
No. And I never came close. I just didn't feel that sad that I was losing my oldest friend, someone I'd grown up with and shared so many things with.
JANE BLUEBERRY
I feel sorry for you Daniel. Maybe you can't show your emotions well at all.
DANIEL
But does that make me nuts?
Daniel sinks the last ball and wins the game.
DANIEL
Another game?
INT. HOSPITAL COURTYARD - AFTERNOON
The group of patients - the White-Haired Man and Larry and Roger and Reginald - are sitting in a courtyard. The White-Haired Man has his pipe in his mouth, unlit. They are playing a game of cards. A nurse sits nearby, watching them.
LARRY
(to the Nurse)
You want to play?
The Nurse shakes his head.
LARRY
Why not?
NURSE
You go ahead. I'm just here to watch.
Fred, the paranoid man, appears at the door to the courtyard. He stands there, nervously, and moves to a seat across the courtyard and sits down and starts to fidget. The group watches him.
ROGER
Fred! How goes it?
NURSE
Hi Fred.
FRED
The walls are talking again.
ROGER
Ah, shit, that's too bad Fred. What are they saying this time?
FRED
(nervously, obviously lying)
I can't remember.
ROGER
(to Fred)
Care for a game of cards?

FRED
No.
LARRY
Whose deal is it?
REGINALD
(to Larry)
Yours, I think.
Larry starts to shuffle the cards.
LARRY
(to Reginald)
And don't think I don't know you have two cards up your sleeve, Mr. Magician.
REGINALD
What the hell are you talking about? Check if you want.
LARRY
Maybe I will. Come on, show me what's up there.
REGINALD
You look, you won't find anything. So, deal.
Roger pulls out a cigar and lights it and puffs on it.
ROGER
Care to make this one interesting lads?
REGINALD
You want to bet money?
Reginald and Larry look at each other. Reginald looks then to the nurse. They shrug and think - why not?
REGINALD
(to Nurse)
Can you lend me twenty for the game?
NURSE
(to Reginald)
Sorry, Reginald.
LARRY
I got money.
Larry produces money from his pocket.
REGINALD
Where did you get that Larry?
LARRY
(suspiciously)
Nowhere. Why?
REGINALD
Did you steal it?
LARRY
I also got this watch.
Larry takes out a nice gold watch.
REGINALD
Larry, you're here for rehabilitation. Not to steal.
LARRY
Who said I stole it?
ROGER
Alright, forget it. I don't think I could take your money anyhow. It would seem unethical. Shuffle and deal Larry.
As the cards are being shuffled cards they see Clarence Bozer walk past. He is not boxing the air, but walks determinedly towards the nurse's station.
REGINALD
Hey! Clarence! Care for a game of cards?
Clarence walks past, and doesn't respond.
INT. NURSE'S STATION - AFTERNOON
Three nurses are in the station, Nurse French and Nurse Grand and Nurse Dreese, the nurse who earlier ridiculed Clarence. They are sipping tea and coffee from coffee mugs.
Clarence appears at the door.
NURSE DREESE
Hey! Clarence. Good to see you man!
Clarence stands there, not speaking.
NURSE FRENCH
Everything okay, Clarence?
Clarence points to Nurse Dreese.
NURSE DREESE
Me?
Nurse Dreese laughs, almost contemptuously.
NURSE DREESE
What did I do Clarence?
Clarence points again.
NURSE GRAND
(to Nurse Dreese)
Did you say something to him?
NURSE DREESE
No. Nothing.
CLARENCE BOZER
He said my boxing is over. He said I can't box any more.
NURSE DREESE
That's right Clarence. It is over. Why don't you realize that? Boxing the air all day won't get you back in the ring.
Nurse Dreese approaches Clarence and stands in front of him. Nurse Dreese has a friendly, reassuring smile on his face, which is, of course, fake.

NURSE DREESE
It's alright Clarence. You'll find something else besides boxing. Maybe a new job. There is life after boxing. Okay, Clarence?
CLARENCE BOZER
I can still box. I can still win.
NURSE DREESE
I'm sorry Clarence. It's over for you. Now go and play cards, or have a rest. Do something! Just quit boxing at nothing!
Clarence stands and waits for a few seconds. Then he turns and takes two steps away. Nurse Dreese smirks and turns back to the other two nurses.
NURSE DREESE
(to the other two nurses)
You can't box forever, can you?
Suddenly Clarence turns and launches the hardest punch he has directly at the head of Nurse Dreese. It connects with a loud whack and Nurse Dreese drops to the ground, his eyes open but moving wildly, half unconscious. Just as Clarence swings at Nurse Dreese, the other two nurses scream and try to stop him.
NURSE FRENCH AND NURSE GRAND
No Clarence!
Clarence looks down at the twitching body of Nurse Dreese.
NURSE FRENCH
Jesus Christ. I think he's killed him.
Nurse French and Nurse Grand kneel down at Nurse Dreese's side. The Nurse from the courtyard comes running, as do two others.
NURSE FRENCH
Call the doctor.
The group of patients in the courtyard watches on.

REGINALD
That was some punch.
LARRY
I knew Clarence still had it.
ROGER
I don't like to see anyone hurt, under any circumstances, but I can't say it wasn't deserved.
Clarence is calm and does not resist as the other nurses hold him.

OTHER NURSE
(to Clarence; reassuringly)
Clarence, let's go and sit down.
Clarence nods. The Other Nurse leads Clarence away to a side room.
OTHER NURSE
Good Clarence. We'll just sit down and have a talk. Okay?
Clarence nods.
Other patients in the area approach the nurse’s station out of curiosity, but one of the nurses talks to them and asks them to stay back.
OTHER NURSE #2
Please, everyone, just go into the other room.
The patients reluctantly move off to other rooms.
OTHER NURSE #2
Thank you. That's it. Thank-you.
Nurse Dreese is conscious now. He is so groggy and dazed he can barely move. He is lying on his back.
NURSE DREESE
What happened?
NURSE FRENCH
How many fingers am I holding up?
NURSE DREESE
Three.
Nurse French is holding up one.
Doctor Blume arrives.
DOCTOR BLUME
What happened?
Doctor Blume kneels down next to Nurse Dreese.
OTHER NURSE
Clarence king-hit him.
DOCTOR BLUME
Why?
The Nurses look guilty, knowing the truth. No one speaks.
DOCTOR BLUME
(angrily and impatiently)
Why?
OTHER NURSE
We're not sure.
Doctor Blume starts doing his tests on Nurse Dreese.
DOCTOR
Someone, give me a hand. We'll take him into the other room and lie him down.
They lift up Nurse Dreese. They carry him to another room and lay him down on the couch.
NURSE DREESE
(dazed; as he is carried away)
What day is it? Can someone feed my cat? He's all alone. I think someone should go and make sure . . .
DOCTOR BLUME
It's alright. You've got concussion. You'll be okay. Just relax.

EXT. COURTYARD IN PSYCHIATRIC UNIT - AFTERNOON
In the courtyard, the three patients are still playing cards, as though nothing has happened. Fred is sitting on the other side of the courtyard, still nervous. Roger sees how nervous and fidgety Fred is.
ROGER
(to Fred)
Relax, Fred. It'll all be over soon.
Fred looks nervously at the nurses and doctors surrounding the Nurses' station.

REGINALD
(to Larry and the Roger)
What do you think they'll do to Clarence?
Fred suddenly stands up and runs off, the drama too much to take. He disappears down a corridor.
ROGER
They'll move him out. He can't stay here now.
REGINALD
Poor Clarence. He just snapped.
LARRY
Wouldn't you? I mean, that fucking nurse was brutal.
REGINALD
Yeah, I guess I would.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
A van is waiting outside the hospital. Clarence is led out by two muscled security guards. He's put into the van, accompanied by Nurse Grand as well as the two guards. A small group of other patients is at the door, watching Clarence being led away. The Nurses are there too.
LARRY
Bye Clarence!
ROGER
Good luck Clarence. Let's hope we see you again soon. Don't forget us. We'll always be here for you.
REGINALD
You'll make it Clarence. Just hold on! You'll be back in the ring in no time!
Once Clarence is in the van, the doors are closed, the engine starts and the van drives away.
NURSE GRAND
(to the patients)
Alright everyone. Back inside.
The patients all turn and walk back inside, accompanied by Nurse Grand. Larry stands and breathes in the beautiful air and takes in the scenery before him (nice green trees in the distance).
LARRY
Gee, it's nice to be outside. I feel like a free man again.
NURSE GRAND
It's time to go back inside Larry.
Larry doesn't move. He continues to breathe in the fresh air. He closes his eyes, lifts his head, and savors the moment.
NURSE GRAND
(gently)
Larry?
Larry opens his eyes. He turns to the nurse and smiles.
LARRY
I was having the most beautiful visions in my mind. Visions I haven't experienced in a long time.
NURSE GRAND
Good, Larry. You can tell Dr. Drow all about it in your next session.
Larry nods and walks back to the entrance doors. He enters, followed by Nurse Grand.
EXT. ROOF IN HOSPITAL - DAY
The twins and Daniel are back on the roof. The twins are sitting next to each other. They are both smoking cigarettes. Daniel is standing near the edge of the roof.
JANE BLUEBERRY
Some view, isn't it?
DANIEL
It's pretty spectacular.
In the foreground are the green trees and a nearby park. Further in the distance are tall buildings that stand out in the clear blue sky and glimmer in the sun.
SAMANTHA BLUEBERRY
Our mother works in one of those buildings.
DANIEL
Which one?
SAMANTHA BLUEBERRY
I don't know. One of them. One of the tall ones. She works for a television station. She's a journalist.
JANE BLUEBERRY
She's a reporter on the evening news.
Daniel thinks about this and then changes the subject.
DANIEL
What do you plan to do when you get out of here?
JANE BLUEBERRY
We're moving to France. Somewhere in the countryside.
DANIEL
Why France?
JANE BLUEBERRY
We just like the idea. The peace and quiet.
SAMANTHA BLUEBERRY
Plus no one will know us there.
DANIEL
What will you do?
SAMANTHA BLUEBERRY
Get a job in a bakery.
DANIEL
Both of you?
SAMANTHA BLUEBERRY
Yes.
Jane Blueberry nods.

SAMANTHA BLUEBERRY
Maybe you could come live with us.
DANIEL
I don't know any French.
SAMANTHA BLUEBERRY
You don't have to.
DANIEL
I'll think about it.
JANE BLUEBERRY
Really?
DANIEL
Really. It's getting cold. We should go in.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
It is the middle of the night. Daniel can't sleep. He is in bed, but is tossing and turning.
FRED
(V.O.; screams from the next room)
Shut up! Shut up!
DANIEL
(to himself miserably)
Not again.
(to Fred, loud shout)
Shut up Fred! We're trying to sleep.
FRED
(V.O.)
Go away! I don't want to hear you anymore!
Daniel stands up and switches on a bedside light. He stands up and walks to the door. He opens it and steps into the darkened corridor. He walks to Fred's door and knocks. There is silence.
DANIEL
Fred, it's me. Daniel.
FRED
(V.O.)
There's no one in this room. Go away.
DANIEL
Fred, I know you're in there. I can hear your voice.
FRED
(V.O.)
No. You're imagining my voice.
Daniel pushes open the door.
INT. FRED'S ROOM - NIGHT
Daniel enters but stands by the door. Fred is sitting up in bed, looking thoroughly agitated and distressed.
DANIEL
Hi Fred.
No reply.
DANIEL
They're at it again, huh?
FRED
The walls talk to me.
DANIEL
Fred, why do you think that is?

FRED
I . . . I don't know.
DANIEL
I don't hear the walls talking.
FRED
So?
DANIEL
So, maybe . . .
FRED
You think I'm imagining it?
DANIEL
It's a possibility.
FRED
That's what Keith Drow says. He tells me I'm mixing up the real with the imagined. But they talk.
DANIEL
You know, I used to think there was a bogeyman under my bed when I was four. It took me two years to realize there was nothing there.
FRED
Stupid. There's no such thing as any bogeyman.
DANIEL
Fred, is there anything you want to talk about while I'm here? Anything you want to get off your chest. Sometimes it helps.
FRED
I can't think of anything.
DANIEL
I just have one request then. Just keep it down if you could. I'd like to get at least two hours sleep tonight.
FRED
You make the walls stop talking and then they'll be no problem.
Daniel nods.
DANIEL
I'll do my best.
Daniel walks from the room, quietly closing the door behind him.
INT. CORRIDOR IN HOSPITAL - NIGHT
Daniel walks slowly down the corridor, too awake to go back to sleep for the moment. He sees the nurses light on downstairs and then he sees the kitchen, in darkness. He feels like a snack.
EXT. NURSE'S STATION - NIGHT
Daniel is downstairs, walking slowly towards the nurse's station. He hears a faint moaning coming from the station. He is bewildered by it and walks slowly towards it. As he gets a glimpse inside, he sees two nurses having sex on a table. He watches for a second and then retreats silently, and tries not to laugh.
EXT. BREAKFAST ROOM IN HOSPITAL - MORNING

The next morning. Daniel walks down the corridor near the breakfast room. Larry is walking by his side.
DANIEL
Larry, can I ask you a question.
LARRY
Sure. Anything.
DANIEL
How long do you need to spend in here before you start to go a little crazy?
LARRY
You mean crazier?
DANIEL
I mean, doesn't it bother you and Roger and Reginald, that you can't ever leave?

LARRY
Why? You want to make a break for it?
Daniel stops walking. Larry sees this and stops to. Larry faces Daniel.
DANIEL
No. I'm just wondering how much a person can take of this.
LARRY
Some people do well. Their improvement once they're 'inside' is nothing short of miraculous. Others don't do so well.
DANIEL
Which are you?
LARRY
Me?
DANIEL
Yeah, how long do you think you'll be here?
LARRY
What you're feeling is normal, Daniel. Just remember, this place might seem like a prison sometimes, but it isn't. We're not convicts. We're not criminals. We're just unstable in our minds.
DANIEL
Yeah, okay. If you want to evade the question.
LARRY
Okay, fine. Outside, before I came in here, I used to think about the bad things that have happened to me. And I thought about it all the time. Once I was in here, my mind shifted a little. Then more. I started to listen to the doctors, and the nurses. I started to see that what they were telling me was quite possibly true. I did have serious problems. But there was a way to deal with it.
DANIEL
Are you talking about getting hit when you were a child?
LARRY
That and other things.
Sally, the nurse from the night before comes walking down the corridor.
DANIEL
Watch out. It's Sally.
Sally walks up to them and stops, a smile beaming across her face.
SALLY
Hello, Larry. Daniel.
They both nod but don't speak.
SALLY
Beautiful day.
LARRY
If only we could be outside enjoying it.
Sally smiles again.
SALLY
Well, be good. I'll see you later.
Sally walks off.
DANIEL
(to Larry)
Hey, by the way, have you ever noticed anything going on between Sally and that other night nurse?
Larry smiles.
REGINALD
Only every night.
They look at Sally down the corridor. They laugh and walk on.
INT. BREAKFAST ROOM - DAY
Larry and Daniel are sitting having their breakfast. Daniel is reading a newspaper. Larry sits quietly next to him, looking at Daniel.
LARRY
What's happening in the world today?
Daniel looks up.
DANIEL
What?
LARRY
What's the news?
DANIEL
Nothing much.
Suddenly, there is shouting from somewhere near the nurse's station. It is Tristan, screaming at the top of his voice.
TRISTAN
(O.C.)
Back up!! Back up!! I'll cut the bitch! I'll cut her fucking throat!!
Daniel and Larry look up and look at each other.
DANIEL
What the hell is that?
Larry stands, followed by Daniel. They hurry to the entry to the breakfast room and look across at the nurse's station. Four nurses are standing in a group. Across from them in the station is Tristan. He is holding a knife to Nurse French's throat. He has his other arm gripped around her body.
TRISTAN
What are you deaf? I said back the fuck up!!
The four nurses look calm, trying to control the situation.


NURSE GRAND
(to Tristan)
Tristan. Why don't you just put the knife down? Please.
TRISTAN
(scream)
What? You think I won't cut her?
NURSE GRAND
Please, put the knife down and let her go. We'll talk. Just put the knife down and let her go.
TRISTAN
I'm getting out of here. Now. This minute. Open the fucking door or I'll cut her!
Tristan presses the knife to Nurse French's throat.
NURSE GRAND
We can't do that. It's that simple. We can't let you go.
Two security guards and Keith Drow appear. Tristan spins around and shouts at them. They halt where they are, about ten metres away.
TRISTAN
Stop! Stay where you are!
KEITH DROW
Tristan! This isn't the way to . . .
TRISTAN
(to Keith)
Shut up! Shut the fuck up!
KEITH DROW
The police are on their way.
Daniel and Larry are watching this. Other patients have gathered and are watching too.
LARRY
Jesus, I hope this doesn't turn out bad.


TRISTAN
(to the nurses)
Hey! I'll give you one more chance. Open the door or she dies.
Nurse French screams suddenly.
NURSE FRENCH
For god's sake, do as he says!
There are police sirens outside.
KEITH DROW
You see, Tristan. You hear that? The police are here.
The door opens a few seconds later and the police run in, followed by Doctor Blume. The police have their guns pulled.
TRISTAN
Shit! Shit! Shit!
KEITH DROW
There's no way out Tristan. Please, let her go.
The police approach, their guns aimed at Tristan.
POLICE OFFICER
(shout)
Drop the knife.
TRISTAN
(to the police)
Fuck you!
POLICE OFFICER
(shout)
Drop it and let her go.
Tristan looks at all the watching faces.
Tristan suddenly raises the knife and is about to plunge it into Nurse French when a gun is fired and Tristan is hit in the face. He drops to the ground, dead. Nurse French, covered in blood, hurries to the other Nurses.
KEITH DROW
(to the nurses)
Get the patients out of here.
The nurses move to the watching patients.
NURSE #1
(to the patients watching)
Come on. Let's go. There's nothing more to see.
The patients all amble away, accompanied by the Nurses.
Tristan's body is sprawled on the ground where he fell. Blood is spreading out on the floor around his head.
INT. DANIEL'S ROOM - NIGHT
Daniel is sitting up in his bed. Roger and Reginald are standing in the room. Larry is sitting on a chair near the bed. They are sombre and still shell-shocked.
LARRY
So. What do you think about today's events?
DANIEL
I've never seen anyone shot in the face before.
LARRY
Me neither.
DANIEL
It's fucked up. That's what it is. He didn't have to do that.
LARRY
No. He didn't.
DANIEL
What if he hurt Nurse French? What if he stuck that god damn knife right in her heart?
LARRY
They'd have shot him either way. The way it happened, at least no one else was hurt. The police did what they had to do.
REGINALD
What do you think was wrong with him?
ROGER
We'll probably never know. Whatever it was, I feel sorry for him.
They sit in silence and think about Tristan.
REGINALD
Well, I don't know about you guys, but I'm hitting the sack. There's been too much action today for me. I'm beat.
ROGER
Me too. I need some shut-eye. I'll see you guys in the morning.
Roger and Reginald go to the door. They open it and walk out.
Larry waits a few moments.

LARRY
My guess is, Tristan didn't care if he did die.
Larry stands and slowly walks to the door.
LARRY
Good night, Daniel.
Daniel nods. Larry exits. Daniel is left sitting alone in his room.
FADE TO BLACK.
         
            END OF PART ONE




                  

                     HALFWAY
                   
                     PART TWO
                    Written by
                  Anthony Kirkwood


FADE IN:
INT. KEITH DROW'S OFFICE - DAY
Daniel is sitting in Keith's office. It is early morning.
KEITH DROW
So, Daniel.
DANIEL
So, Keith.
KEITH DROW
How are you doing?
DANIEL
That was some show Tristan put on the other day.
KEITH DROW
How do you feel about that?
DANIEL
How do I feel? I guess . . . I guess I'm wondering what would have happened if the police had misfired.
Keith sits in silence, looking at Daniel, and waits for more.
DANIEL
We've talked it through. Me, Roger, Larry, and Reggie.

KEITH DROW
Good. Talking helps. If you need any form of counselling, it's always available. I've said the same to everyone in the facility.
DANIEL
What - like if it causes me some sort of psychological trauma? No. I think I can cope.
KEITH DROW
I want to talk to you about Marcus.
DANIEL
Shit.
Daniel puts a hand to his head and rubs it around in his hair. Then his hand drops back to his side.
KEITH DROW
Is that a bad topic for you?
DANIEL
No. I don't mind. What is it you want to know?
KEITH DROW
I want to know how you really feel about it.
DANIEL
I'm sorry Marcus died.
KEITH DROW
You didn't seem sorry at the funeral. Not according to your parents and sister.
DANIEL
Yes, I had an altercation with Marcus' family and some regrettable things were said. Yes, I swore in God's house. Not that I'm particularly religious. Yes, I stormed out of that miserable fucking place. It's not fun to watch people cry that much. Jesus, you should have seen them. I've never seen such a display.
(pause)
But, Marcus wouldn't have minded what I did at his funeral. That's what no one else gets. Marcus would have laughed. He would have said, 'fuck that's just like Daniel.'
KEITH DROW
Is that person really you?
DANIEL
Which person?
KEITH DROW
The person who can't properly come to terms with his best friend's death.
DANIEL
I'm sorry he's dead. Okay. But what more can I do?
KEITH DROW
I don't know how sincere you are when you say that. I don't know if you're really telling the truth.
DANIEL
You'll have to take my word for it.
KEITH DROW
Let's move on.
Daniel waits for Keith to ask his next question.
KEITH DROW
Do you feel that somewhere, somehow, your own life has gone wrong?
DANIEL
Wait a minute. My life is just fine. Aren't I in here because my 'mind' is messed up somehow?
KEITH DROW
You family thinks you've made some terrible mistakes in the last year. Associating with the wrong people, people you mistakenly call friends, for one. And then there's drinking too much, and your taking of illegal substances.
DANIEL
What's you point?
KEITH DROW
My point is, perhaps some of these mistakes you've made have changed you in ways you might not yet perceive. They may be at the very core of your mental problems. Your attitude to people has changed, particularly your own family. Your approach to life is not what it was. From what I've been told, you used to be a kind, caring, compassionate, generous, funny, loving person. It sounds like that person just isn't around anymore and people want him back.
Daniel waits for more, but Keith is silent again, looking at Daniel.
DANIEL
Am I sick?
KEITH DROW
Not necessarily sick.
DANIEL
What's wrong with me? I mean, I know some people in here are very depressed, others are perhaps a little psychotic, some are clearly insane. Which am I?
KEITH DROW
I think you just need to come to terms with a few things. Sort those things out in your mind, affect change in your life, your relationships with people, including your family, and things might just start to get better for you.

DANIEL
I'll try.
KEITH DROW
Good.
Keith smiles.
INT. BREAKFAST ROOM IN HOSPITAL - MORNING
Daniel takes his plate of food from the kitchen, comprising bacon and eggs, and joins Larry and Reginald at a table. The White-Haired Man, pipe in his mouth, nods his greeting to Daniel. Roger is absent.
DANIEL
Where's Roger?
LARRY
He got a call from his manager this morning. Things just got a lot worse for him.
REGINALD
Turns out photos of him with a girl over twenty years his junior have surfaced in a few magazines.
LARRY
He just can't seem to keep his hands to himself.
REGINALD
Anyway, he can't deny he was with the young lady, because the photos reveal quite intimate moments.
DANIEL
That's no big deal. How old was the woman?
REGINALD
Sixteen.
DANIEL
So Roger's in some serious trouble you think?
REGINALD
Serious is an understatement.
INT. PRIVATE ROOM IN HOSPITAL - MORNING
Roger is in a private room in the facility, on his mobile phone with his MANAGER. He paces the room as he talks into the phone.
ROGER
(into the phone)
What do I pay you for, you useless son of a bitch! I pay you to keep these private stories away from the public.
MANAGER
(V.O.; on the other end of the line)
What could I do? I didn't even know about the affair until I read about it in a magazine.
ROGER
What do I do? No, what do I say?
MANAGER
(V.O.)
Say nothing. Let is pass. People won't see you as being any different because of this. They won't see you as an evil person. They won't see you as a deviant.
ROGER
(shout)
This could ruin my career! You stupid, useless, son of a bitch! God damn it. You're fired!
MANAGER
(V.O.)
What career? You've barely worked in a year anyway!
ROGER
I'm waiting for the right part.
MANAGER
(V.O.)
You're waiting for any part. And I've got news for you. It ain't coming. Not now or ever. Have you even read the reviews of all your work for the last twenty years? You're a laughing stock, Roger. The joke of the acting community.
ROGER
What reviews?
MANAGER
(V.O.)
The ones that say you're a terrible actor, who should have thought about another career choice after his first attempt at acting. I can quote a hundred of them.
ROGER
Which one said that? Which fuck said I should get another career?
MANAGER
(V.O.)
They all say that. The critics, they hate you! The only awards you've ever picked up are for the shittest performance in any genre. And you're nominated every year.
ROGER
(frustrated but subdued now)
Jesus. This is terrible. Look, you're not fired. I take that back. Come here, to the facility. But quietly. Don't let the media see you.
MANAGER
(V.O.)
I'll be there this afternoon. And try and keep your hands off any sixteen year old girls in the meantime.
ROGER
That's a low shot. Just get here when you can.

INT. BREAKFAST ROOM - MORNING
Roger enters the breakfast room. The room goes silent as he enters and the other patients try not to look at him. Roger picks up on this but doesn't show his anger.
ROGER
(to everyone in the room)
What? Now you can't look me in the eye?
Roger takes his seat with the others. He sits, in a grumpy mood. When Roger doesn't speak,
REGINALD
So?
ROGER
So what?
REGINALD
So, is there going to be a problem?
ROGER
My manager is going to deal with it.
LARRY
How?
ROGER
We haven't figured it out yet. He's coming here today.
DANIEL
A sixteen year old girl. You're what, in your forties?
ROGER
This business with the girl, that's not what bothers me the most. What bothers me the most is that everyone thinks I'm a crummy actor. And I guess . . . I guess I am.
REGINALD
No. You're a fine actor.

LARRY
That's right. One of the best of your generation.
DANIEL
I wouldn't know. I've never seen you in anything. Maybe when I get out of here, I can find something you did in the local video store.
ROGER
Who am I kidding? No one is ever going to want to work with me again. Especially after this. They didn't want me before, they sure won't want me now.
DANIEL
I wouldn't be so pessimistic. You never know. I'm sure a lot of perverts get work in showbiz.
ROGER
Daniel, what I said before, when you arrived here, about being critically acclaimed and all that, it's not exactly . . . true. I've received more bad reviews than probably any other actor in the business, dead or alive. Everything I do stinks. On top of that, I'm a certified looney. I'm in a mental institution because I'm crazy.
They sit quietly, thinking about this and feeling for Roger.
DANIEL
If you don't mind my asking, Roger, how did you get here?
ROGER
How did I go crazy?
DANIEL
And tell me the truth this time. I don't want any glowing self-praise. No lies. No fabrications of any sort. Just the truth.

LARRY
You think you can do that Roger? Tell the truth. No fabrications?
REGINALD
Yeah, he pretends for a living, remember. His business is make-believe.
ROGER
Hey, I could be in some serious shit here. Stop busting my balls for a bit.
EXT. HOSPITAL COURTYARD - DAY
Fred is sitting in the courtyard by himself. Daniel, Larry, Reginald and Roger open the door to the courtyard and enter. Fred jumps up and runs out the other door and disappears quickly down a corridor.
Daniel, Larry, Reginald sit down. Roger stands. He takes out a cigarette, lights it, and starts to smoke. The others sit and wait expectantly for Roger to speak. He puffs a couple of times, slowly. Then, finally, he speaks.
ACTOR
I never wanted to be famous.
Snorts of disbelief from Larry and Reginald. Roger ignores them and speaks to Daniel.
ROGER
I never wanted notoriety, accolades, or admiration from millions. I never wanted any of that.
DANIEL
I just want to know how you went so downhill.
REGINALD
Isn't it obvious already?
LARRY
Yeah, he never made it the way he thought he'd make it. That bummed him out too much. His impression, the impression in his mind, was that he was going to be a great actor. And it didn't turn out that way. That would devastate anyone. Really.
DANIEL
How about we let Roger tell it?
LARRY
Fine.
ROGER
I sort of just turned to acting. It wasn't what I had planned at the start. When I was young, I had this notion, you could call it a yearning, that I might be able to change the way people saw the world. More than that, I had a real desire to change the world itself. I wanted to make a difference in some way. I wanted to do something big, significant, something great. I thought of every way I might be able do that. Maybe become president or something like that. But I realized soon enough that I couldn't. It was beyond my grasp. Few people in this world are great enough to do what I thought I could do. I mean, how many people have actually been able to alter the course of human history? You see, Daniel, I had noble intentions when I was young.
More snorts of disbelief from Larry and Reginald. They have heard this story before.
ROGER
(to Larry and Reginald)
Do you want me to tell it or not?
(to Daniel)
Anyway, I realized that all the time I was searching for a way to change the world, I wasn't actually doing anything. I was sitting idle, and wasting my time. I wasn't accomplishing anything. After all that thinking about what I could do, I had gone nowhere. So, I decided that I needed to get off my backside and do something and do it quick. I enrolled in college, finally, and started studying to be a doctor.
LARRY
When I see the form that says you were studying to be a doctor then I'll believe it.
ROGER
I left medicine not long after I started it. I decided it wasn't for me. The same day I quit medicine, I was walking home when I saw an advertisement in the local newspaper for a small theatre group that put on performances at a small local theatre once a week. I was interested and went to check it out. I found myself reading for a part in their next production, I forget now what it was, maybe it was Shakespeare, but I can't be sure. From that time on, I knew what I was going to do. And I really believed I could do it well. Which, as I've discovered, I can't. For so long, I believed I was good. When I started to realize I wasn't, then I started to question myself. That's never good. But I couldn't give it up. I had to keep going. Something kept pushing me on.
LARRY
(to Daniel)
You should've asked for the shorter version.
ROGER
I got married after a couple of years, that marriage ended after six months. I remarried a year later. That lasted a year. I had a kid from that marriage, a kid I never see. The kid doesn't even know me. She doesn't want anything to do with me. Her mother made up terrible stories about me. She said I was a sick criminal locked away in jail. She said I was a cannibal or something. I forget. Anyway, through it all, I kept acting. It was the only thing that held my fragile life together through that tumultuous time. I scored some parts on TV and then on film. The first review I ever received slammed me as hopeless. But I kept going. I put it right out of my mind. Who cares what some stupid critic thinks? But the reviews kept getting worse and worse. I started to appear in every tabloid paper. Daniel, are you sure you've never read about me? I'm hard to miss.
DANIEL
I managed to miss it.
LARRY
If you were really so bad from the start, how did you get all the parts?
REGINALD
Yeah, why did they keep hiring you?
ROGER
Beats me. Maybe it was my good looks.
LARRY
Yeah, maybe.
ROGER
Two years ago, I knew I was in trouble. I felt awful all the time. My personal life was a shambles, my ego was shattered, my self-esteem was at its lowest point ever. Then I started to take my anger and despair out on others, particularly my friends, and I drove them all away. I ended up friendless. Lucky for me, I have good friends in here.
Roger looks at Larry and Reginald.
ROGER
Even if those friends are 1) an insane thief and 2) a useless ex-magician who can't get his life in order. But they're my friends. And they mean the world to me. A long chain of events led to my being in this hell-hole. I regret many of the things I've done. Most of the things. I'm bitter with all my critics. I feel an overpowering sense of failure as a professional actor. The list goes on.
Roger puffs on his cigarette, his story finished. Daniel sits and absorbs it. Roger raises an eyebrow to Daniel.
ROGER
(to Daniel)
Well?
DANIEL
I don't know what to say.
(pause)
Thank you for sharing that with us. It sounds like you've had a very hard time.
LARRY
He tells everyone he meets that story. The details seem to change each time. One day it's law he studied, the next day medicine.
ROGER
Anyway, now I'm just in another jam. I'll talk my way out of it if I need to. I have before. But it is bad. A liquored up sixteen year old. Christ, what was I thinking?
INT. TV ROOM - AFTERNOON
Roger puts a video tape in the video player. Daniel, Larry and Reginald are sitting on the lounge chairs. Roger turns to them.
ROGER
I regard this as one of my best performances. The critics didn't agree, but, hey, they never do. Enjoy.
Roger pushes play.
The group watches an abominably bad piece of soap drama starring Roger.
Time passes. The TV show ends. Roger stands. Daniel, Larry and Reginald are dead silent, in shock at the hopeless acting.
ROGER
What do you think? Impressive, huh?
DANIEL
It's a . . . an interesting take on a difficult piece. Any actor would have struggled through that. You did brilliantly. That says something about your acting abilities.
ROGER
Thanks for the flattery Daniel. But it's not necessary. I know it's bad. Very bad. That's why I wanted you to see it. To see that the critics were right all along. I am a hopeless actor.
DANIEL
I wouldn't use the word 'hopeless'.
ROGER
It's alright Daniel. I know what I can do and what I can't do. I know my abilities and my limitations. It's alright. You can tell me the truth.
LARRY
Good. Because that was the worst fucking piece of acting I've ever seen.

REGINALD
Yeah, Roger, what were you thinking? Larry could give a more commanding performance than that.
They all chuckle, including Roger.
DANIEL
Have you ever taken lessons?
ROGER
Lessons? No. Why would I need lessons?
EXT. HALLFORD PSYCHIATRIC HOSPITAL - AFTERNOON
Roger's manager pulls up in a slick sports car outside the facility. He gets out. He is wearing a black suit and dark sunglasses. He casts cautious glances around him and then walks towards the psychiatric hospital.
EXT. ACROSS THE ROAD FROM THE HOSPITAL - AFTERNOON
Across the road from the hospital a small van pulls up. It is a media van. It has followed Roger's manager. Inside the van is a reporter and a cameraman. They watch Roger's manager walk up to the psychiatric hospital and push a buzzer next to the entrance doors.
CAMERAMAN
You think Roger Ryan is in there?
REPORTER
Has to be. Why else would his manager come here?
CAMERAMAN
So he cracked up. All the attention and criticism finally got to him.
They laugh.
REPORTER
There's got to be a great frigging story in this.

INT. PRIVATE ROOM - AFTERNOON
Roger is meeting his manager in the private room. Daniel, Larry and Reginald are waiting there.
MANAGER
Should they be in here?
ROGER
You can trust them. They're on my side.
The others nod their affirmation.
MANAGER
Fine. Listen, I've received a hundred calls since this story broke. Everyone wants to know what really happened between you and the sixteen year old girl.
ROGER
What did you tell them?
MANAGER
I didn't tell them anything.
ROGER
Don't say anything.
MANAGER
We can't deny it. Everyone's seen the photos of you and her.
ROGER
Any offers?
MANAGER
What?
ROGER
Any offers. TV, film, theatre?
MANAGER
You serious? What if the girl cries rape all of a sudden and wants money from you? You could go to jail.
DANIEL
(to Roger)
It sounds to me like you really need some good press. You've been getting bad press all your life. It's time for a change.
MANAGER
You got any ideas, kid?
DANIEL
No. But if we all put our minds together, we should be able to come up with something.
They all now concentrate and think hard. No one speaks while they think. Roger and his Manager watch them. A long silence ensues. The Manager looks at Roger and looks amused.
ROGER
Anything?
They all shake their heads.
LARRY
Sorry, Roge, I've got nothing.
REGINALD
Me neither.
DANIEL
Sorry Roger. I just don't know how you can turn it all around.
REGINALD
(to the Manager)
No offence, but isn't this your job anyway? You know, getting Roger good publicity?
MANAGER
Hey, trust me, I've tried. I've tried to send Roger to kid's hospitals, I've tried to have him donate money to charities, I've tried to have him participate in community events.
ROGER
(to Manager)
My schedule at the time didn't allow it. You know that.
MANAGER
Oh, bullshit Roger. You're a self-centred asshole who won't do shit for anyone else. No wonder everyone hates you.
Roger sits silently, not angry, just a bit shocked at this attack. The others watch, but are silent.
MANAGER
Shit. Roger, I'm sorry. I didn't mean that. This is just a tough time for both of us. You know I'll stick with you through this, and everything else.
ROGER
Yeah, I know.
(to the others)
Let me tell you, he's the best manager anyone could want. The best.
MANAGER
Alright. Now, what the fuck are we going to do about this Dotman girl?
EXT. HALLFORD PSYCHIATRIC HOSPITAL - AFTERNOON
The reporter and cameraman have set up the camera outside the hospital. It is pointed at the door.
REPORTER
I doubt we can get inside, but if you catch a glimpse of Roger Ryan get a close up. I want everyone to know this silly actor really is nuts.
The door opens and the manager steps out, accompanied by Roger, Daniel, Larry, Reginald and two nurses.
REPORTER
There they are! Go.
The Camera Man starts to film. The reporter steps forward.
REPORTER
Roger! Any comments on the Belinda Dotman case?
ROGER
Shit.
Roger tries to hide his face and turns his back from the camera.
MANAGER
Get that fucking camera out of here.
REPORTER
Roger, are you really crazy?
The Manager approaches the reporter and cameraman.
MANAGER
I said, get that god damn camera out of here!
REPORTER
Is your client a sexual deviant?
MANAGER
My client denies any inappropriate conduct, now or ever. Satisfied?
REPORTER
Really? Does getting a sixteen year old girl drunk and having his way with her not constitute 'inappropriate behaviour'?
Roger has disappeared back inside. Daniel, and Larry and Reginald walk up to the reporter and the cameraman.
DANIEL
You heard him! Get that fucking camera out of our faces.
REPORTER
And who would you be? Another nutcase institutionalized because he's a danger to himself and society?
Daniel launches himself at the reporter but is held back by the two nurses, who jump into action.
REGINALD
(to reporter)
Hey, fuck-face!
The reporter looks at Reginald just as Reginald throws a mug he is holding at the reporter, who ducks. The mug hits the cameraman square in the head.
CAMERAMAN
Fuck!
The cameraman grabs his head and leaves the camera unattended.
REGINALD
Now, get lost. Go and get in your van and get out of here!
Larry, unnoticed, has sidled up to the camera and takes it off the tripod. He starts to walk off with it.
CAMERAMAN
(to Larry)
Hey, where do you think you're going?
Larry starts to run back to the hospital. The Cameraman pursues him. Larry turns and holds up the camera as though he is about to smash it on the ground. The Cameraman stops.
CAMERAMAN
Wait! Stop! That camera is a valuable piece of equipment.
LARRY
I'll smash it unless you get out of here.
CAMERAMAN
I'm not leaving without the camera.
LARRY
I said, get out of here or I smash it.
CAMERAMAN
Fuck you, you lunatic.
LARRY
What did you call me?
CAMERAMAN
You heard me. You fucking nutcase.
The Nurse tries to calm the situation.

NURSE
(calmly to Larry)
Larry, we've talked about this.
Larry looks sideways at the nurse.
NURSE
Larry, you can't take what's not yours.
Larry stares at the nurse for a few seconds. He finally relents and puts the camera down. The Cameraman runs to it, picks it up and joins the reporter. The retreat back towards the media van. As they head back to the van,
REPORTER
(shout)
Make sure you catch the six o'clock special tonight, because you'll all be on it.
They hurry to their van, get in and drive away.
NURSE
(to the patients)
Come on, let's go back inside. Come on. Everyone. Let's go.
The group of patients retreats slowly back inside.
LARRY
(as he goes back inside)
I should have smashed it.
NURSE
No. Larry. You did the right thing.
INT. TV ROOM - NIGHT
It is six o'clock. All the patients fill the room, eagerly watching the TV. The Manager is lying on a couch, an ice-pack cooling his overworked head.
DANIEL
Here. It's starting.
The Entertainment Program starts. The first piece is about Roger Ryan.

MANAGER
(over the TV)
This isn't the sort of publicity I was hoping for. We're doomed. It's over. My career is probably finished because of this.
They listen to the host introduce the piece and there is footage of Roger alongside the sixteen year old girl, Belinda Dotman.
ENTERTAINMENT REPORTER
Tonight's top story - Roger Ryan, the well-known actor - has been accused of sexual harassment of a girl just sixteen years old. Is this the final act in Ryan's faltering career? Tonight we speak exclusively with Belinda Dotman, the girl at the centre of this outrage.
WHITE HAIRED MAN
That her, Roger?
ROGER
(gloomily)
Yes. That's her.
ENTERTAINMENT REPORTER
It's no secret that Roger Ryan has problems. Ryan is currently doing a stint at a psychiatric hospital.
Then they see the footage of the incident outside the hospital. Daniel is there, seen shouting at the reporter. Reginald is seen throwing the mug, followed by the expletive from the Cameraman (beeped out).
A short time later.
Next is a short interview with Belinda Dotman. She appears on-screen.
ROGER
How did they get her on TV so fast?


REPORTER
(on TV)
What exactly did this man do to you?
BELINDA DOTMAN
(on TV)
All I remember is that he offered to buy me a drink. I was in a bar. He approached me and said he was a famous actor or something. He bought me a couple more drinks and then he took me back to his house. After that I had more to drink and then I remember he touched me and then we engaged in sexual activities for the rest of the night.
REPORTER
(on TV)
Do you believe this actor took advantage of you?
BELINDA DOTMAN
(on TV)
I guess.
REPORTER
(on TV)
Do you feel as though what he did to you was a bad thing?
BELINDA DOTMAN
(on TV)
I guess. He's older than me and all that.
The Manager removes the ice pack for a second and raises his head and looks at Roger.
MANAGER
(to Roger)
Exactly how many drinks did you give the girl?
ROGER
I forget. That's not how I remember it.


MANAGER
(with the ice pack back on his head)
Dear God.
REPORTER
(on TV)
What must be going through Roger Ryan's head? Failed marriages, an outcast child, a disastrous career, and now, sexual perversion and exploitation of a minor. Whatever it is, all I can say, is that no treatment could possibly be enough.
The report ends.
Daniel switches off the TV. The room is silent.
MANAGER
(despairingly from his place on the couch)
Oh, fuck.
REGINALD
Maybe no one will watch it.
ROGER
I think it's safe to say my career really is over this time.
LARRY
Come on Roger. You have to try and be positive. You've got through worse things before. You've faced your fair share of hurdles in your career. You'll get through this.
ROGER
I think this is one hurdle I can't get over.
INT. THUGS' HOUSE - NIGHT
THUG #1 is sitting watching the TV with another thug. They are the family and friends of the shady characters who were injured in the car crash.
The entertainment program is on TV and Daniel appears on the screen, shouting at the reporter.
THUG #1
Hey, isn't that the guy?
Thug #2 puts down the gun he is cleaning and looks at the screen. He too recognizes Daniel.
THUG #2
Yeah, that's him. What's he doing on TV?
THUG #1
This is Entertainment Daily. I taped it. I always tape it. Lucky I did, eh?
THUG #2 watches the footage of Daniel on the TV. He sees the sign of Hallford Psychiatric Unit in the background.
THUG #2
So, he's staying at the nut-house. No wonder we couldn't find him.
THUG #1
I think it's time we paid him a visit.
INT. THUGS' HOUSE - NIGHT
Another room in the thug's house. Thug #2 is on the phone.
THUG #2
(into phone)
It's him. Daniel Leftman. Yeah, we're sure. No. It's him. One hundred percent. He's in the nut-house. That's right. So, what do you want to do?
Thug #2 waits while he listens to his instructions.
THUG #2
Consider it done. The sooner the better. This kid ain't walking out of that hospital alive.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
It is early evening. The hospital is quiet.
A dark car pulls up across the road from the hospital. Inside the car are the two thugs who saw Daniel on TV, plus two other thugs.
INT. THUG'S CAR - NIGHT
The driver of the car switches off the engine. They all look to the psychiatric facility.
THUG #3
That it?
THUG #1
That's it. The same as on the TV.
THUG #3
How do we get in?
THUG #1
We can't. At least, it'll be difficult. That nut-house is designed to keep people in. I'm sure it's designed to keep people out too.
THUG #3
There has to be a way in.
THUG #2
Even if we get in, there'll be doctors and nurses and probably security guards inside.
THUG #3
So what do we do? How do we get to Daniel?
At this point, the doors open and Keith Drow walks out.
THUG #3
Wait. Who's that?
THUG #2
He doesn't look like a patient. More like a doctor.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
Keith is walking across the road. One of the thugs gets out of the car. He walks towards Keith.
THUG #1
(to Keith)
Hey!
Keith looks to the thug coming towards him, and stops. The thug walks up to Keith.
THUG #1
Is that the psych ward?
KEITH DROW
That's a facility for psychiatric patients, yes.
THUG #1
I've got a friend inside. I want to visit him.
KEITH DROW
Visiting hours are over for today. Come back tomorrow.
THUG #1
Can't do it. I'm going on holiday tomorrow. Are you a doctor?
KEITH DROW
Yes.
THUG #1
Any chance I could see my friend? Just for a few minutes.
KEITH DROW
I'm sorry. There's nothing I can do.
THUG #1
Please. Just a quick visit.
Keith hesitates.
KEITH DROW
Who is it?
THUG #1
Daniel Leftman.
KEITH DROW
You're a friend of Daniel?

THUG #1
Yes. A good friend. We go back a long way. When I heard he was in there, I came straight away.
Keith thinks again.
KEITH DROW
There are visitor rules, you know. This really isn't the way to. .
THUG #1
Hey, doc, come on, please. Let me see my old buddy Daniel.
Keith thinks about it.
KEITH DROW
Okay, follow me.
Keith turns and walks to the facility. The thug turns, gives the thumbs up, and signals to the other thugs that he's going inside.
Keith takes out his keys. He unlocks the doors. The thug follows him in.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
No patients are around. A couple of nurses are in the nurse’s station.
KEITH DROW
Daniel's upstairs. Follow me.
THUG #1
No need for you to come. If you just tell me the room number.
KEITH DROW
I'll accompany you up there.
THUG #1
No. It's fine. There's no need.
Suddenly, there is a call from the nurse’s station.
NURSE #1
Keith! Keith!
Keith turns quickly. A patient on suicide watch in the other section is causing a disturbance. He is shouting and threatening a nurse, who is trying to calm him down.
SUICIDAL PATIENT
(in the background)
Get back! All of you, get back now! I'll fucking hurt you if you don't back away!
KEITH DROW
(to thug)
I have to attend to this. Please, wait right here.
The thug is watching the patient causing the disturbance. Keith hurries over.
At that point, with the thug waiting and looking around the facility, Daniel appears down a corridor, and disappears. The thug sees him, glances at Keith who is now trying to calm down the patient too, and hurries after Daniel.
INT. HOSPITAL CORRIDOR - NIGHT
Daniel is walking down a corridor. The thug is close behind him. Daniel hasn't seen him.
THUG #1
(to Daniel)
Hey! Daniel!
Daniel turns. The thug cracks him in the face with his fist and Daniel stumbles backwards.
THUG #1
We're going to make you pay.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
The thug passes the nurses station and stops, just as Keith rejoins him.
KEITH DROW
Sorry about that.
THUG #1
Listen, I've got to go. I'll come back tomorrow morning early if I can. Sorry to take up your time.
Keith is confused.
KEITH DROW
Daniel's upstairs.
THUG #1
Tomorrow. He's probably asleep.
EXT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
The thug exits through the doors to the facility. He hurries to the car.
INT. THUG'S CAR - NIGHT
THUG #3
Well?
THUG #1
Job done. Let's get out of here.
They start the car and drive away.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
Daniel is lying on the ground, bleeding, dazed and groggy. He is on his back, unable to move properly. He tries to sit up but cannot. He slumps back onto his back.
EXT. HOSPITAL - NIGHT
Daniel is lying in a hospital bed. He is asleep. Keith Drow enters, followed by Daniel's parents and his sister.
KEITH DROW
He's in here.
Daniel's family looks at Daniel, horrified and distressed by his injuries.
AMY
He looks so peaceful lying there.

KEITH DROW
He's only sleeping. I can't tell you how sorry I am that I let this happen. I accept full responsibility.
DANIEL'S MOTHER
Will he be okay?
KEITH DROW
The doctors say he'll be fine. He's got a cracked rib, and some cuts and bruises. No major damage though.
DANIEL'S MOTHER
Thank God.
KEITH DROW
We think the people who did this to Daniel are the same people who were in the car that Daniel crashed. We think it's a revenge attack.
AMY
It's lucky they didn't kill him.
KEITH DROW
They could have. He was lucky.
They step up to Daniel. Daniel stirs and opens his eyes.
KEITH DROW
Daniel, your family is here.
AMY
Hi Daniel.
DANIEL'S MOTHER
Daniel, are you feeling okay?
DANIEL
Yeah, I'm fine. Just a few bruises. I'll live.
DANIEL'S FATHER
Daniel, who did this to you?
DANIEL
I don't know. I'd never seen him before. Ask Keith. He said he got a good look at him.
KEITH DROW
Daniel, I'm sorry this happened. I should never have let him into the facility.
DANIEL
Don't worry about it. We all make mistakes. You couldn't know.
DANIEL'S FATHER
(to Keith)
Can we find them?
DANIEL
No. Forget it. I got what I deserved. I hurt them, they hurt me. It's life.
AMY
Daniel, they could have killed you.
DANIEL
But they didn't. I don't want any police or an investigation.
DANIEL'S FATHER
But they might try it again.
AMY
Yes, they might come back to finish the job.
DANIEL
I'll be ready for them next time. So, Keith, do I have to go back [to the facility]?
KEITH DROW
Sorry Daniel. You're not quite ready to leave just yet. You'll need to rest up in here for a couple of days. Just until you're feeling better.
INT. HALLFORD PSYCHIATRIC HOSPITAL - MORNING

A few days later. The group of patients is sitting around in the courtyard. They are bored and uninterested in doing anything. A nurse is sitting near them, monitoring them as usual. The White Haired Man and Fred are there too.
LARRY
We can't just leave Daniel to suffer like this.
REGINALD
Then ask. They might say yes.
LARRY
(to Nurse)
Nurse, we have a request.
NURSE
I'm listening.
LARRY
We want to be allowed to go and visit Daniel in the hospital.
NURSE
You're not permitted to leave the facility without Dr. Drow's permission. You know that.
INT. KEITH DROW'S OFFICE - MORNING

The group of patients is standing in Keith Drow's office. Larry, Reginald, Roger, Fred, the White-Haired Man are there. Keith Drow is seated.
KEITH DROW
That's an interesting request. You do know the rules about leaving the hospital?
REGINALD
Keith, Daniel is badly hurt. We feel bad that he has to suffer alone, without the support of his friends. We're only asking to be allowed to go and visit him.
KEITH DROW
It would have to be under strict supervision, of course.
WHITE HAIRED MAN
Of course.
KEITH DROW
How many of you want to go?
REGINALD
Just us. Five.
Keith Drow looks at Fred.
KEITH DROW
You want to go too, Fred?
Fred looks with panic at all the faces in the room. He goes pale with fear.
KEITH DROW
Fred?
FRED
I want to visit Daniel because he's my friend.
Keith thinks about it for a while.
KEITH DROW
Very well. How's tomorrow for you?
ALL
Good. Fine. We're not doing anything. No plans.
INT. LARRY'S ROOM - NIGHT
Larry and Roger are both reclined in bed. Roger has a set of headphones on and is listening to classical music. Larry is sitting reading a book GREAT CRIMES OF THE TWENTIETH CENTURY.
He sighs and puts down the book. Larry looks across at Roger. Roger has his eyes closed.
LARRY
Roger. You asleep?
Roger doesn't open his eyes.
LARRY
What are you listening to?
No reply.

LARRY
Hey, Roger, you know that sister of yours you talk about, well, I fucked her, twice.
No reply from Roger. He keeps his eyes closed, relaxing to the music. Larry shakes his head. He stands from the bed and walks to Roger's bed. He sits down on it, next to Roger, who is reclined. Roger still doesn't see or hear Larry. Larry taps him on the leg. One of Roger's eyes opens. He looks at Larry. He takes off the headphones.
ROGER
(disappointed)
Shit.
LARRY
What?
LARRY
I thought you were on of the female nurses, come to kiss me good-night.
LARRY
In your dreams. You may be a star but people have their self-respect.
ROGER
What does that mean?
LARRY
Isn't it obvious?
ROGER
No. Not to me.
Larry sighs.
LARRY
You may have your fair share of women, but what sort of women are they? Any decent women, any woman with a sense of values, would steer well clear of you.
ROGER
Is this why you disturbed me? So you can hit me some more right where it hurts?

LARRY
Oh, come on. You need to accept criticism better. You've been married twice. They didn't last. Doesn't that tell you something?
ROGER
What about you?
LARRY
What about me?
ROGER
How many women 'throw' themselves at you?
LARRY
Not many.
ROGER
So? That must tell you something.
LARRY
I'm waiting for the right person.
ROGER
Sure.
(pause)
Larry, what's on your mind? Why'd you wake me up?
Larry looks at the ground, then back at Roger.
LARRY
It's about tomorrow.
Roger doesn't say anything, waiting for Larry to say what he has to say.
LARRY
I don't want anyone to get into trouble. I couldn't live with that. I couldn't go on if I thought I'd cause everyone to come to harm.
ROGER
We're just going to visit Daniel.

LARRY
And the rest? After that?
ROGER
Que sera, sera.
LARRY
I was thinking of calling Loretta.
ROGER
Oh.
LARRY
I think it's time that I called her. There's a big hole in my life and it's been there for too long.
ROGER
She's your sister. She'll understand. I bet she hopes every second of the day that you'll call her.
LARRY
Maybe. Maybe not. We parted on very bad terms.
ROGER
You've got nothing to lose.
Larry nods.
LARRY
Well, good night.
ROGER
Night, Larry.
Larry stands and walks from the room. Roger watches him, thinks about things for a moment, and then relaxes again, and puts his headphones back on.
INT. NURSE'S STATION - NIGHT
Larry walks up to the nurse’s station. Nurse Grand and Nurse Crown are sitting, watching a small colour TV. They both have cups of coffee in their hands. They see Larry walk up.

NURSE CROWN
Hi, Larry!
LARRY
I was wondering if I could use the phone. It's important.
NURSE CROWN
Who are you calling?
LARRY
Loretta.
The two nurses know who Loretta is, having heard about Larry and her many times.
NURSE CROWN
(with a comforting smile)
Go ahead.
INT. HOSPITAL - NIGHT
Larry is dialing Loretta's number. He waits for an answer. But doesn't get one. He hears Loretta's voice, but it is on the answering machine.
LORETTA
(V.O.; answering machine message)
Hi. You've reached Loretta. I'm not in at the moment, but if you want to leave a message, feel free. I'll give you a call as soon as I can. Thanks. Bye.
There is a beep. Larry hesitates.
LARRY
(after a long silence)
Loretta? It's me. Larry. I just wanted to call you and say . . . it's been a long time since we caught up. I'd like to see you. I know we've had our problems. But I think we can work through them. I'm not . . . in the business any more. I'm on the road to being a good citizen. That's about it. I'll call you again when I can.
(pause)
Actually, there's more. I want you to know that things are going to get better for me. And for you. There's a lot of money I put away in the half-way house in Gomon Street. Hopefully, by tomorrow night, I'll have it all. I know you know how I got it. I just wanted you to know I'll do my best to take care of you. Well, bye.
Larry hangs up the phone.
EXT. NURSE'S STATION - NIGHT
Larry walks up.
LARRY
(to Nurse Crown and Nurse Grand)
Okay. I'm done.
NURSE GRAND
Larry? Is everything okay?
LARRY
Fine. Thank-you.
NURSE GRAND
Are you sure?
LARRY
Yes.
Larry smiles, nods and walks off.
EXT. HOSPITAL - MORNING
It is the next day. The group of five patients, Larry, Reginald, Roger, Fred and the White-Haired Man, accompanied by a nurse and Keith Drow, walk to the entrance of the hospital.
INT. DANIEL'S HOSPITAL ROOM - MORNING
Daniel is sitting up in bed. His face is still bruised and cut and there are a couple of bandages on his face.
There is a knock at the door.
DANIEL
Come in.
Keith Drow enters the room.
KEITH DROW
Hello Daniel. How are you feeling this morning?
DANIEL
Much better, thank you.
KEITH DROW
What did the doctor's say?
DANIEL
I'll live. They hurt me pretty bad, but I'll live.
KEITH DROW
I've got a surprise for you.
DANIEL
I'm cured and you're letting me go?
Keith laughs. He turns to the door.
KEITH DROW
(to the five patients waiting outside)
You can come in now.
The group of five patients enters. Daniel, happy to see them all, smiles as they enter. They all stand by the bed. Fred looks typically agitated.
KEITH DROW
I'll leave you guys to talk. I'll be back in ten minutes.
Keith exits the room.
DANIEL
How the hell did you get Drow to let you out?
REGINALD
We told him the truth. We couldn't let you suffer alone.
Roger steps forward.
ROGER
So, you're feeling okay?
DANIEL
Yeah, good.
Roger looks cautiously back at the door and when he speaks, it is in a quiet voice.
ROGER
(quietly)
We've had an idea.
Daniel sees they have something important to say. He looks at the others and back at Roger.
DANIEL
What is it?
ROGER
You know Larry's story about the hundred grand he stole?
DANIEL
(with a smile)
Oh yeah.
ROGER
We decided he might be telling the truth.
REGINALD
Larry's a kleptomaniac, but he's not a liar.
LARRY
Thank you.
DANIEL
So he's telling the truth. What about it?
ROGER
We want to go get it.
DANIEL
How?
ROGER
We just go. Now. We make our escape right now. If, of course, you're feeling up to it.
DANIEL
You're serious.
ROGER
Yes. We've had enough of this hospital. All of us. Including Fred.
FRED
(quickly and nervously)
That's right. I've had enough.
DANIEL
What will you do with the money?
ROGER
If we help Larry recover the money, he'll split it with us. All of us. We all get an equal share.
DANIEL
Keith Drow is right outside the room. How do you plan to get past him?
ROGER
We tie him up. By the time it's discovered that we've escaped we'll be long gone.
DANIEL
This is risky. If they catch us . . . they'll bring us back and they'll never let us out.
LARRY
They won't catch us. Once we have the money we can use it to get away. For good.
REGINALD
We can go somewhere they'll never find us.
LARRY
One more thing. It's actually five hundred thousand, not one hundred. And I stole it from a bunch of gangsters.
The room is silent.
LARRY
We still split it the same. It's just more each. That's all.
EXT. DANIEL'S HOSPITAL ROOM - MORNING
Keith is standing a little way down from Daniel's hospital room door. He is waiting patiently, giving the visitors their ten minutes with Daniel. He glances at his watch. He walks back to the room and opens the door and enters.
INT. DANIEL'S HOSPITAL ROOM - MORNING
Daniel is lying in his bed. The others, minus Reginald and Larry, are standing around the bed. Keith notices the two missing patients.
KEITH DROW
Where are Larry and Reginald?
No one answers. Suddenly, Larry and Reginald burst from the bathroom with a cord and bind it around Keith's body. Keith tries to call out, but they put a hand over his mouth. Daniel jumps out of bed and is already fully dressed.
LARRY
(while he ties the cord around Keith)
Quiet now, Keith. We're making our escape and you're not going to stop us.
They tie a cloth around Keith's mouth as he tries to cry out. They finish tying him up and push him to the bed. They force him to lie down on the bed and they tie his feet to the bed. There is alarm in Keith's eyes.
ROGER
I'm sorry Keith. I know you were just trying to help us. You're a good man and we all know it. But we have to get out now.
Keith shakes his head urgently.
LARRY
(to Keith)
You just rest up here. You'll be okay.
REGINALD
(to Keith)
Please forgive us for this.
Daniel grabs his bag, which is already packed with some of his belongings.
DANIEL
Okay, let's go.
INT. CORRIDOR OUTSIDE DANIEL'S HOSPITAL BEDROOM - MORNING
A head peeps out of the room and scans the corridor. It is Larry. He looks and sees only one nurse sitting alone at the nurse's station, reading a file. The head disappears for a second, and then Larry tiptoes out of the room. Behind him comes the line of others - Fred, then the White-Haired Man (still holding his pipe), Reginald, Daniel and lastly, Roger. They turn and walk away from the nurse at the nurse's station, and down the corridor. They move quietly in a line. The nurse doesn't look up.
INT. CORRIDOR IN HOSPITAL - MORNING
The line of patients moves quietly down the corridor and turns a corner. They see a doctor, DOCTOR FOOT, walking towards them, looking down at his chart as he walks. They have no choice but to pass by him. They straighten up and look as normal and unsuspicious as possible. As they pass the doctor, the doctor looks up, nods and smiles his greetings but he keeps walking, thinking nothing of the group. He looks back at his file as he walks on. Then, further down the corridor, the doctor stops, turns, contemplates the group, thinks nothing of it again, and walks on.
INT. LIFT IN HOSPITAL - MORNING
The group arrives at the lifts. Daniel presses the DOWN button. They wait nervously.
DANIEL
That wasn't so hard.
INT. NURSE'S STATION IN HOSPITAL - MORNING
Dr. Foot, who passed the patients in the corridor, stops at the nurse’s station.
DOCTOR FOOT
(to nurse)
Excuse me, Nurse Brudan.
NURSE BRUDAN
Yes, doctor?
DOCTOR FOOT
Did you see that group of visitors?
NURSE BRUDAN
The patients from the psychiatric unit. They're with Keith Drow, in Daniel Leftman's room.
DOCTOR FOOT
No other visitors?
NURSE BRUDAN
None.
INT. DANIEL'S HOSPITAL ROOM - MORNING
Doctor Foot and Nurse Bruden burst into Daniels' room. Keith Drow is tied up in the bed, struggling and uttering cries which are muffled by the cloth around his mouth.
DOCTOR FOOT
Oh, Jesus.
Doctor Foot and Nurse Bruden run to the bed and untie Keith. Once his arms are free, Keith helps pull the cloth gag from his mouth.
DOCTOR FOOT
Who did this?
KEITH DROW
They're gone! All of them! They tied me up. Daniel was with them.
NURSE BRUDAN
They can't have gone far. Doctor, where did you see them?
DOCTOR FOOT
Just down the corridor.
EXT. LIFT IN HOSPITAL - MORNING
The lift opens and the group of patients hurries inside. They hit the ground floor button and the lift doors close.
INT. LIFT IN HOSPITAL - MORNING
The lift is going down eight floors to the ground floor. They stand in silence. They are all still nervous. Only the White-Haired Man has a wide grin on his face.
EXT. NURSE'S STATION IN HOSPITAL - MORNING
Doctor Foot, Keith Drow and Nurse Bruden are back at the nurse's station. Doctor Foot picks up the phone, punches in a number, and calls hospital security. He waits for an answer.
DOCTOR FOOT
(urgently into phone)
Security, this is Doctor Foot, on the eighth floor. We've got a group of patients . . .
(to Keith)
How many?
KEITH DROW
Six.
DOCTOR FOOT
(urgently into phone)
Six patients from the psychiatric hospital who have escaped. They're on their way down from the eighth floor.
(he listens)
I don't know.
(to Keith)
Are they dangerous?
KEITH DROW
Not dangerous. Unpredictable perhaps.
DOCTOR FOOT
(into phone)
They're an unpredictable bunch.
(he listens)
When they get there make sure you stop them. Seal off the exits if you need to! Don't let them out! We'll be right down.
Doctor Foot hangs up the phone.
DOCTOR FOOT
Doctor Drow, how did this happen?
KEITH DROW
I don't know. It all happened so fast. They must have planned it all along. It's my fault. They were my patients, under my care. I'm responsible.
DOCTOR FOOT
Don't worry about that. We'll catch them before they get far.
EXT. GROUND FLOOR OF HOSPITAL - MORNING
The elevator opens and the six patients walk out. They walk past a group of people waiting to enter the elevator. They walk casually through the crowded ground floor of the hospital, looking around for any sign of danger. They walk towards the entrance doors. Suddenly, they see two burly security guards step in front of the exit, about twenty metres away. The patients all turn and walk in the opposite direction.
REGINALD
(under his breath)
Which way?
Daniel sees a sign which reads - Outpatients.
DANIEL
That way. There has to be another way out.
They walk across the room to the door. They walk through it and down a long corridor.
EXT. LIFT ON GROUND FLOOR OF HOSPITAL - MORNING
Doctor Foot and Keith Drow and Nurse Bruden walk out of the elevator. They walk to the centre of the ground floor room and look in all directions. They scan the faces of all the people. Then they see security guards blocking the exit doors, letting no one out. They hurry to the security guards, who are restraining a group of arguing people who are trying to exit the hospital.
HOSPITAL VISITOR
(to the security guards)
What do you mean you won't let us out?
SECURITY GUARD
(to the visitor; reaching the end of his tether)
Look, you'll have to wait! Okay? No one leaves until we say so.
HOSPITAL VISITOR #2
You can't keep us here!
A large group of other hospital visitors are also angrily voicing their discontent with the security guards. Doctor Foot, Keith Drow and Nurse Bruden reach the security guards.
DOCTOR FOOT
(to the security guards)
Have you seen them?
SECURITY GUARD
We don't know what they look like. But we're not letting anyone out.
Doctor Foot, Keith Drow and Nurse Bruden turn and look all around the room.
INT. CORRIDOR IN HOSPITAL - MORNING
The group of patients hurry down a corridor, make a turn and go down another corridor. They go down this second one. They eventually arrive at another exit to the hospital. They hurry out.
EXT. HOSPITAL - MORNING
They come out of the hospital.
LARRY
Where now?
ROGER
We'd better think of something fast.
Daniel looks around desperately. He sees an ambulance parked down the road. An idea enters his mind.
EXT. HOSPITAL - MORNING
The ambulance starts up, and slowly pulls out. It drives off. An ambulance officer appears, shouts at the ambulance and goes running after it.
AMBULANCE OFFICER
Hey! Hey! Where the hell do you think you're going!
INT. AMBULANCE - MORNING
Daniel is driving the ambulance. Roger is sitting next to him in the front. In the back are the White-Haired Man, Fred, Larry and Reginald.
DANIEL
I can't believe we made it out of there.
ROGER
I'm starting to think we're getting into more trouble than we can handle.
DANIEL
What do you mean?
ROGER
I mean, we're crazy people. We just escaped from a psychiatric hospital by tying up a doctor, and we've stolen an ambulance. The police will be called, they'll probably catch up to us anyway, and they'll bring us back. The doctors won't listen to or understand our reasons. They'll just put it down to us being crazy.
DANIEL
I'm not crazy.
ROGER
(frustrated and upset)
How did things get so messed up for us all?
DANIEL
Relax. Things are going to get a hell of a lot better for all of us. We just need to stick together. If we're smart and careful, we'll get out of this.
In the back of the ambulance the others are sitting quietly, pondering their situation.
REGINALD
(to Larry)
What about the gangsters?
LARRY
I figure they've spent the last five years trying to find me, and they haven't managed to. That means they probably never will. I'm sure they'll forget about me, if they haven't already.
REGINALD
You took five hundred thousand dollars of their money. Why would they ever stop chasing you? They're gangsters. They don't forget someone who took five hundred thousand dollars from them.
LARRY
I don't want to put anyone else in danger.
WHITE HAIRED MAN
(to Fred)
You got a light? [for his pipe]
FRED
I don't smoke.
Up front of the ambulance,
DANIEL
We've got to ditch this ambulance soon.
EXT. LANEWAY - MORNING
The ambulance turns into a deserted back laneway, filled with rubbish bins. The ambulance comes to a stop. Daniel and Roger climb out. They open the back doors of the ambulance to let the others out.
WHITE HAIRED MAN
Are we here?
DANIEL
We're ditching the ambulance. Everyone out.
They all climb out and Daniel shuts the ambulance doors.
REGINALD
What now?
DANIEL
Larry, where exactly is the half-way house?
LARRY
It's on the other side of the city. Gomon Street.
DANIEL
Can you guide us there?
LARRY
I think so.
DANIEL
We can't take the ambulance.
Fred has disappeared and is busy breaking into a car. No one has noticed until now.
DANIEL
(to Fred)
Fred, what are you doing?
Fred doesn't reply or stop.
DANIEL
Fred. We have to keep moving.
Fred succeeds in his efforts and the car door opens. He climbs in and starts to hot-wire the car. The others watch him. The engine starts and Fred gets out. He looks at the others.
FRED
Anyone need a ride?
EXT. CITY STREET - DAY
The stolen car is driving through the city.
INT. STOLEN CAR - DAY
All six are squeezed inside. They are more relaxed now. Daniel is driving. No one speaks.
EXT. HALF-WAY HOUSE - NIGHT
The Half-Way House is in a seedy and relatively dangerous part of the city.
The area is dirty and littered with rubbish. The nearby houses are dirty and most have bars on the windows.
The stolen car stops thirty metres down from the half-way house on the other side of the road.
INT. STOLEN CAR - NIGHT
LARRY
That's it.
Larry points to the half-way house. It is a run-down looking building.
REGINALD
God. It looks . . . old.
DANIEL
So where's the money? How do we get it?
LARRY
It's probably a little more difficult than you think.
DANIEL
It's hidden, obviously. We guessed that much.


LARRY
I buried it. Under the floorboards in one the rooms, the room I used to live in.
ROGER
So, we tear up the floorboards.
DANIEL
Yeah, we take up the boards and take the money. Simple.
Larry is quiet.
DANIEL
Larry? We take up the floorboards and the money is there. Right?
LARRY
Right. But if I remember the . . . types of individuals who used to live here . . . They're a dangerous bunch. I think they'd notice six guys ripping up the floor and walking out with two suitcases full of money.
DANIEL
We wait until everyone's asleep and then go in. It can't be that hard.
LARRY
Most of the residents are ex-cons, and ex-crazy people. Throw in a few desperate recovering drug addicts. They're all people trying to get back on their feet.
ROGER
And five hundred grand is going be tempting to them.
DANIEL
Yeah, but only if they know what we're doing.
ROGER
We can't all go in, clearly. It'll be too obvious. They wouldn't let us in anyway.
LARRY
I have to go. Who else?
DANIEL
I'll go.
WHITE HAIRED MAN
Count me in.
DANIEL
(to White Haired Man)
No. You have to sit it out.
FRED
I can do it.
DANIEL
Good. Three's enough.
LARRY
Does anyone have a weapon?
DANIEL
A what?
LARRY
A weapon. Like a gun.
DANIEL
Anyone got a gun?
They all say 'no' and shake their heads.
DANIEL
Okay, no guns. We don't want trouble anyway. You pull a gun in front of ex-cons and you're in for it. So, no guns. If anyone asks us, we're visiting an old friend. We know he's in a half-way house somewhere and we think it's this one. Everyone got it?
They all nod and say 'yes'.
Daniel looks at the half-way house.
DANIEL
See that?
They look and see an open window.
DANIEL
That's our way in. We'll wait until everyone's asleep and then we'll go in.
INT. HALF-WAY HOUSE - NIGHT
Later.
Daniel climbs quietly through a window of the half-way house, followed by Larry and then Fred. The room they are in is dark. Two beds are in the dark room, and two people are sleeping in them. Daniel turns to the other two and signals for them to be silent by putting his finger to his lips. Daniel leads the way. He crosses the room, the floorboard creaking at times, to a door. He quietly opens it and goes through. Larry and Fred follow.
INT. HALF-WAY HOUSE - NIGHT
They are in a corridor. Daniel turns to Larry.
DANIEL
(a whisper)
Which way?
LARRY
Down there. That room.
Larry points to a closed door in the corridor. Suddenly, a door opens at the end of the corridor and a dishevelled black man in a dressing gown walks down the corridor. He passes the group, who are frozen in place, but he does no more than glance at them as he passes. The black man opens a door and goes into a room, closing the door behind him. They breathe a sigh of relief.
They walk to the door.
Larry sees a utility closet.
LARRY
Wait.
He opens the closet, searches through it and takes out a shovel.
LARRY
We'll need this to pry up the floorboards.
INT. ROOM WITH THE HIDDEN MONEY - NIGHT
The door creaks open. Larry enters first, followed by Daniel and then Fred. Larry looks around the room. There are four beds in this room. People are sleeping in them. Larry looks at the floor and points to the centre of the room. Daniel nods. Larry walks to the centre of the room and uses the shovel to pry up the floorboards. Someone stirs in their bed. They all look up and hold their breath. Larry continues with the job of getting the floorboards up. One comes loose and he removes it. He works on the second. Then there is a voice from one of the beds.
HALF WAY HOUSE RESIDENT
(gruff and slurred)
Hey. What the hell?
They freeze again and look at each other, now worried. The man sits up in bed. He reaches for a lamp next to the bed and switches it on. A worn-out looking man, with messy hair, sees the three intruders frozen where they are. He examines them through blood-shot eyes. He looks at the missing floorboard.
HALF WAY HOUSE RESIDENT
You'd better put that back when you done.
LARRY
We will.
HALF WAY HOUSE RESIDENT
Say, what you looking for down there?
LARRY
Personal stuff. My old belongings. I hid it all here.
HALF WAY HOUSE RESIDENT
Why?
LARRY
Didn't trust anyone in here.
The man nods, not really understanding.
HALF WAY HOUSE RESIDENT
It's tough in here.
LARRY
Yes it is.
The man nods.
HALF WAY HOUSE RESIDENT
Can I come with you where you going?
LARRY
Sorry friend. Now, you just lie back down and go to sleep. Have happy dreams.
The man nods again, and relaxes and lies back down. He closes his eyes. Larry quickens his work. He removes the second floorboard, sticks a hand down into the darkness beneath the floor and fishes around with his hand. He grabs hold of something and pulls it out. It is a dusty suitcase. He reaches down again and pulls out a second case.
DANIEL
That it?
Larry nods.
DANIEL
Let's go.
Larry opens one of the cases and it is filled with money.
DANIEL
Holy shit.
FRED
That's a lot of money.
Larry takes out a small roll of money and goes and places it under the pillow of the man in the bed who talked to them. He closes the case and nods to the others to go. They leave the room.
INT. STOLEN CAR - NIGHT
Roger, Reginald and the White-Haired Man are sitting in the car. Roger has his head back, his eyes closed. The White-Haired Man has his unlit pipe in his mouth. Reginald is looking at the house.
They see the flashing lights of a police car pull up behind them. Roger opens his eyes when Reginald nudges him. The White-Haired Man turns his head and looks through the rear window.
ROGER
Damn. Everyone just play it cool. We're . . . what are we doing?
The policeman walks up to the car. They watch him in the car mirrors. He leans in the window.
POLICEMAN
Evening.
ROGER
Evening, officer.
POLICEMAN
What are you doing?
ROGER
We're waiting for our friends. They're just visiting a friend in the house up the street.
The Policeman looks where Roger is pointing.
POLICEMAN
Really.
ROGER
Yes.
The Policeman looks at the three men.
POLICEMAN
(to Roger)
Hey, don't I know you?
ROGER
I don't think so.
POLICEMAN
Yeah, you're really familiar.
ROGER
I've got a familiar face. I get it all the time.
POLICEMAN
No. No. You're . . . Where did I see you? On TV, that's it. You're an actor, right?
ROGER
I used to be.
POLICEMAN
That's where I know you from.
Roger nods.
POLICEMAN
A word of advice. This isn't the best neighbourhood. I wouldn't hang around here too long if I were you.
ROGER
Thank you.
POLICEMAN
Take it easy gentlemen.
The Policeman nods and smiles and walks back to his car. He gets in his car, and drives past. They watch the police car until it has gone.
Suddenly, the door to the half-way house opens and Daniel, Larry and Fred exit quickly. They are carrying two suitcases. They walk across the road and towards the car. Suddenly, a slick black car with tinted windows skids up to them and blocks their path.
EXT. CITY STREET - NIGHT
Daniel, Larry and Fred stop dead in their tracks. Two men in dark suits, wearing sunglasses (at night), looking intimidating, step from the car, holding guns in their hands.
GANGSTER
Going somewhere Larry?
Daniel and Fred look at Larry and then at the suitcases.
GANGSTER
So we finally meet again. The boss really wants to have a talk with you Larry. The three of you, hand over the cases, and get in the car. Or we'll use these [they pat their guns].
DANIEL
Just try is asshole.
The Gangsters point their guns at Daniel.
GANGSTER
I think we got a smartass tough guy on our hands.
GANGSTER #2
Yeah, I think we do.
GANGSTER
What will it be kid?
DANIEL
What are my choices?
GANGSTER
Shut your god damn mouth and hand over the cases, or a bullet in your head.
LARRY
It's alright Daniel. Do as they say.
DANIEL
What? You're going to let these assholes take the cases?
LARRY
Just do it.
Larry lowers the case and puts it on the ground. Daniel follows Larry and reluctantly lowers his case to the ground.
GANGSTER
(to Daniel and Larry)
You've made the right choice.
Gangster #2 walks over and picks up the two cases. He walks to the car, opens the boot and puts the two cases inside. He closes the boot.
GANGSTER
(to Daniel and the others)
Now. Get in.
DANIEL
I'm not getting in nobody's car. Especially not a car belonging to some gangster.

GANGSTER
I ain't going to warn you again, you little bastard.
(threateningly)
Get in the fucking car.
LARRY
(to Daniel)
Daniel. Just do what they say.
DANIEL
(to Larry)
Larry, they'll kill us if we get in the car.
GANGSTER
We'll kill you if you don't.
DANIEL
My mother told me never to get into cars with strangers.
GANGSTER
Who gives a shit about what your mother said to you? Get in the car.
The Gangster is angry. He points his gun at Daniel again.
GANGSTER
(with gun pointed)
Or you get it now. Right in your fucking head.
Larry, Daniel and Fred go the car, after a nod from Larry.
DANIEL
Alright. Just lower then gun, will you. I wouldn't want it to go off accidentally.
Gangster #2 opens the back door and they climb in. Gangster #2 closes the door. The two Gangsters get into car, Gangster #1 in the back, Gangster #2 in the driver's seat. They drive off.
INT. STOLEN CAR - NIGHT
Roger, Reginald and the White-Haired Man have watched the gangster incident from their car.

REGINALD
Who the hell was that?
ROGER
I don't know. But I can guess.
REGINALD
Why did they get in the car?
ROGER
Didn't you see the guns?
Roger starts the car quickly.
ROGER
We're going after them.
REGINALD
Are you crazy? They had guns. They could kill us.
ROGER
We've got to do what we can.
Roger pulls the car out and drives after the gangster's car, which is just up ahead.
REGINALD
Roger, we don't have to do this.
ROGER
Yes. We do.
INT. GANGSTER'S CAR - NIGHT
Daniel, Larry and Fred are sitting in the back seat of the spacious gangster's car. Next to them is Gangster #1, holding his gun. Gangster #2 is driving. They are both still wearing their sunglasses.
DANIEL
Where are you taking us?
GANGSTER
(to Daniel)
The less talking you do the more chance you have of living.
(to Larry)
Thought you'd get away, did you Larry?
Larry is silent.
GANGSTER
Thought you'd get away with five hundred thousand dollars that doesn't belong to you? And what were you going to do with it - split it with your friends here?
Larry is silent.
DANIEL
Who are you?
GANGSTER
Oh, how rude of me. Sometimes I forget my manners. Let me introduce myself. You ever heard of Big Benny?
DANIEL
No. Should I have?
GANGSTER
Wise guy, huh?
DANIEL
It's a simple question.
GANGSTER
Did Larry tell you he used to work for Big Benny? Light-Fingered Larry we used to call him.
(pause, he looks at Larry)
Larry used to be a professional thief.
DANIEL
(to Larry)
Is that true, Larry?
Larry is still silent.
GANGSTER
Come on, Larry. Silence won't get you anywhere.
DANIEL
Larry?


LARRY
(to Daniel)
Yes. It's true. The story I told you about robbing from supermarkets and department stores, that was a lie. I was more than a petty shop-lifter. I was more than a simple kleptomaniac. The truth is, I used to be a professional thief. In my time, I stole more than two million dollars, all of which was meant for Big Benny.
DANIEL
You worked for mobsters?
LARRY
Yes.
GANGSTER
And Larry decided to keep some of the money he stole for Big Benny.
DANIEL
Let me guess - Fat Benny wants it back.
GANGSTER
'Big' Benny.
DANIEL
Whatever.
GANGSTER
Yes. He wants it back, plus interest.
FRED
Go to hell.
DANIEL
Easy, Fred.
(to Gangster)
What guarantee does Larry have that if he pays back Big Benny he'll walk free?
GANGSTER
None. You'll have to take it up with Big Benny. And considering you two are now accomplices to this theft from Big Benny, you'd better pray he's in the listening mood.
DANIEL
Look, the money's all there, in the two cases. Just pull over and let us go here. Big Benny has his money back, he's happy. You know Larry can't pay any 'interest'.
GANGSTER #2
(from the front seat)
You'd better hope that Big Benny doesn't kill the three of you on the spot.
GANGSTER
It ain't my call. It's up to Big Benny himself. Him and no one else.
INT. STOLEN CAR - NIGHT
Roger is driving.
REGINALD
Don't lose them. Keep up close. Get right on their tail.
ROGER
I get any closer they'll know they're being followed.
REGINALD
Just don't lose them.
ROGER
I'm not going to lose them.
REGINALD
Who do you think it is? You think Larry's in some kind of trouble?
ROGER
I think it's safe to say he is. Those guys looked like mobsters.

REGINALD
Great. So now we're getting involved in organized crime. Maybe Larry and Daniel and Fred can take care of themselves.
ROGER
You want to abandon them, I'll stop the car right now and you can get out and go home. But I'm going after them.
REGINALD
(to White Haired Man)
What do you think?
WHITE HAIRED MAN
I'm staying.
Reginald sits and thinks.
REGINALD
Alright. I'm in this too. We go all the way with this one.
(pause)
Do we have a plan?
EXT. BIG BENNY'S PLACE - NIGHT
Big Benny's Place is a large bar. Outside the bar is illuminated by large neon lights reading 'Big Benny's Place'.
The gangster's car drives past the front of the bar, and goes around to the back. It pulls into a deserted loading dock and stops. There is a single door in the wall.
INT. GANGSTER'S CAR - NIGHT
GANGSTER
All three of you, get out.
DANIEL
We're not going.
LARRY
Daniel, we have to.

DANIEL
I don't think so. These criminals won't let us walk out of that place alive. You know that us much as I do.
GANGSTER
Get the fuck out. Now.
LARRY
(to Daniel)
It might be okay.
Daniel hesitates and then gets out of the car, with Larry and Fred behind him. The two gangsters get out of the car too.
EXT. GANGSTER'S CAR - NIGHT
The five men are standing by the black car in the loading dock of Big Benny's Bar. The gangster still has his gun out, pointed low at the ground.
GANGSTER
(to Larry, Daniel and Fred)
See that door. Go through that door and up the stairs. Big Benny will be waiting. I'll be following, so don't try anything.
Larry, Daniel and Fred obey. Gangster #2 opens the door to the building, and Larry, Daniel and Fred enter.  The two Gangsters follow, closing the door behind them.
EXT. BIG BENNY'S PLACE - NIGHT
The stolen car, with Roger at the wheel, pulls up near the loading dock of Big Benny's bar. They have seen Larry, Daniel and Fred enter through the door.
REGINALD
(to Roger)
You know this place?
ROGER
Yes. I've been here once or twice.

REGINALD
Who the hell is Big Benny?
ROGER
He's the boss. He runs this bar and the illegal gambling den hidden in the basement. The cops know about it but Big Benny pays them off so they keep quiet and don't hassle him.
REGINALD
Is he dangerous?
ROGER
Big Benny's a criminal. Nothing else. He's a thug and he gets thugs to do his business.
REGINALD
So what do we do?
ROGER
I don't know.
INT. BIG BENNY'S PLACE - NIGHT
Daniel, Larry and Fred climb a dark staircase in Big Benny's Place. Music is booming from somewhere in the bar and it reverberates through the walls. They reach the top of the staircase. There is a door ahead to Big Benny's office. A 'NO ENTRY' sign is on the door. Larry, Daniel and Fred walk to the door.
GANGSTER
Stop there.
They stop outside the door. The Gangster walks to the door and knocks. The door is opened by a large black man, one of Big Benny's guards. The black guard, seeing who it is, steps aside.
GANGSTER
(to Daniel, Larry and Fred)
Okay, go in.
They enter Big Benny's room.

INT. BIG BENNY'S OFFICE - NIGHT
Big Benny is sitting at his desk, filling out some forms. He is a massive man, hugely overweight.
Larry, Daniel and Fred stand quietly in the room. Big Benny doesn't look up until he has finished writing. When he does look up, he smiles and stands.
BIG BENNY
Larry!
Big Benny walks around the desk and up to Larry. He puts his arms affectionately on Larry's shoulders and gives him a squeeze.
BIG BENNY
Long time since we caught up, Larry! Where you been!
Larry doesn't reply.
BIG BENNY
I hope my assistants weren't too rough.
DANIEL
They were very gentle and accommodating.
Big Benny looks to Daniel, surprised by this.
BIG BENNY
(to Daniel)
Good. Good.
(he extends a hand)
I don't think we've met before. Benny.
Daniel doesn't raise his hand to shake Benny's hand.
DANIEL
Is that B. Benny? B for Big. Or do you just go by the name Benny?
Benny laughs uproariously.
BIG BENNY
I already like this guy!
Benny looks to Fred.
BIG BENNY
And who is this?
Fred is silent.
BIG BENNY
What? Cat got your tongue?
LARRY
Benny, leave them out of this. It would be better if you let them go. Please, as a favour to me.
BIG BENNY
Favour? That's a big thing to ask me Larry. You want me to do favours now?
LARRY
They have nothing to do with any of this. Nothing. They didn't even know about the money until today.
BIG BENNY
So why did you take them to the half-way house?
Larry doesn't reply.
BIG BENNY
I know why. It's so they could take a piece of my hard earned money. You promised them a cut if they helped you get it. Right?
LARRY
Hard earned! You stole the money. I helped you steal it.
BIG BENNY
That's true. That's true.
LARRY
Maybe you've forgotten something Benny.
BIG BENNY
Really? What have I forgotten? I fed the dog, I took out the garbage, I ripped off a few people last week. What have I forgotten?
LARRY
You've forgotten that I could call the real owners of that money. They'd be interested to know that you were behind the theft of their money.
BIG BENNY
A threat?
LARRY
Yes. A threat. They'd come after you like you could never imagine.
Big Benny sits and ponders this. Then,
BIG BENNY
We'll think about that later. First things first. A few questions. Did you honestly think you'd get away with my money?
LARRY
I was optimistic.
BIG BENNY
And what did you plan to do with five hundred thousand dollars?
LARRY
Buy a house on the beach and retire.
Big Benny thinks about this.
BIG BENNY
Really.
(to Daniel and Fred)
And what about you? What were you going to do with your cut?
DANIEL
I hadn't decided.
FRED
I was going to spend it all on nice things.
Big Benny looks briefly at Fred, then back to Larry and Daniel.
BIG BENNY
I see. A house on the beach, opulence and luxurious living, all courtesy of Big Benny. What a generous guy I am!
He looks at his two assistants when he says the last sentence. They grin and laugh with Benny.
LARRY
I have a question of my own.
BIG BENNY
Shoot.
LARRY
How did you know that I was going to get the money tonight?
BIG BENNY
Simple really.
Big Benny nods to one of the Gangster. The Gangster walks to a door in the room and opens it. Larry's sister, LORETTA, is standing there, her hands tied behind her back and a gag over her mouth.
BIG BENNY
(to Larry's sister)
Step in here, darling.
The Gangster gives her a shove, which she angrily reacts to, but she steps into the room.
BIG BENNY
You remember your sister, don't you Larry? From what I hear, it's been some time since you two have been in touch. In fact, today, when you called her, it was the first time you'd spoken in three years.
LARRY
Loretta doesn't know anything.
BIG BENNY
As you probably know, Larry, there are other people, other individuals, who have a stake in my success. The police, for example. Certain cops, certain police chiefs. If I get rich, they benefit. It's in their interest for me to make as much money as possible. So, when I asked the police chief if I could put a bug in your sister's house, and tap her phone, hoping that one day you would call her, or drop by for a chat, they obliged immediately. No one else knows this of course. This morning when you called Loretta, we were listening. In fact, we'd been listening for three years. I knew though. I knew one day you'd call her. Your disappearing three years ago had me worried, but I knew you'd never abandon Loretta. You called her today, told her exactly what your plans were - to go to the half-way house and retrieve five hundred thousand dollars. I never knew where you hid the money. I just knew you hid it. And
(he looks at the two cases)
Here it is. Back where it belongs.
Satisfied he has covered everything, Big Benny walks back to his desk and sits down in his chair. The Gangster picks up the suitcases and puts them on Big Benny's desk and opens them up. They are filled with bunches of bank notes.
BIG BENNY
It really made me sad Larry, to see you betray me this way. I mean, I thought we were business partners. No. More than business partners. Friends. Good friends.
LARRY
You thought wrong Benny. We were never friends. These are my real friends.
Benny looks to Daniel and Fred.


BIG BENNY
(to Daniel and Fred)
So, what do you do? Are you thieves like Larry?
LARRY
(to Big Benny)
No. They're square.
DANIEL
Actually, Benny, it came as a shock to me to hear that Larry was a thief with organized crime connections. Someone like you I can understand. You're a lowlife, a hustler, a cheat, a fraud and a criminal. Larry I thought was above all that.
Big Benny is clearly angered by this statement by Daniel but smiles and chuckles.
BIG BENNY
So he told you the lies too. That's Larry for you. What did he tell you? That he was a small time thief?
Daniel doesn't reply.
BIG BENNY
Larry's an accomplished liar. He needs to be I suppose in his line of work. The truth of it is - Larry has worked for me for years. He was one of the best jewelry thieves around. The best. My wife loves him! She wears the spoils of his work. She's covered with jewels, all thanks to Larry. And Larry's a great thief. Not a good thief, a great thief. Larry's problem is that he could never help himself. He sees something he wants, he takes it. Isn't that right, Larry?

LARRY
What happens to us Benny?

BIG BENNY
That's what I have to decide. What do you think ought to happen to you?
LARRY
You have your money. Just let us go.
DANIEL
Mr. Benny?
Big Benny looks at Daniel.
DANIEL
We won't tell anyone anything about this. You can trust us.
BIG BENNY
(scoffing)
Trust! Trust!
(he laughs)
Trust!!
DANIEL
We'll keep it quiet. No one will ever know about you, or the money.
Big Benny is silent and looks at Daniel.
DANIEL
Benny, you don't want three deaths on your hands. Do you?
Big Benny once again sits and ponders Daniel's question. Then,
BIG BENNY
(to the two Gangsters)
Take them outside . . . and kill them.
GANGSTER
My pleasure.
The two Gangsters, with their guns out again, direct Daniel, Larry and Fred and Loretta to the door. The group, seeing the guns, has no choice.
BIG BENNY
(to the Gangsters)
And get rid of the bodies so no one will ever find them.
DANIEL
(as he is led out of the office)
Benny! Please, reconsider!
Benny isn't listening.
DANIEL
Benny! Come on! Please!
GANGSTER
Shut up and move it. All of you. Go.
The four are pushed out the door by the two Gangsters.
EXT. BIG BENNY'S PLACE - NIGHT
Roger, Reginald and the White Haired Man are outside the door in the loading dock. Roger tries the back door to Big Benny's Place. It doesn't open. He turns to Reginald and the White Haired Man.
ROGER
It's locked.
REGINALD
Now what?
WHITE HAIRED MAN
Give me a try. I've always been good with locks.
Roger and Reginald exchange glances.
ROGER
(to White Haired Man)
Go.
The White Haired Man removes a small piece of wire from his cardigan.

REGINALD
(to White Haired Man)
Where did you get that?

WHITE HAIRED MAN
I carry it around with me. Thought it might come in useful sometime. I guess I was right.
Roger and Reginald step aside. The White Haired Man steps up to the door and inserts the wire into the lock and starts to turn it around.
REGINALD
Look.
He points to a pile of crates and with the crates and pile of wooden planks.
ROGER
They'll do.
Roger and Reginald each grab a plank and then return to either side of the door.
WHITE HAIRED MAN
(fiddling with the lock)
It isn't working.
As he says this, the door opens and the two Gangsters are standing there. Daniel, Larry, Fred and Loretta are with them. They see only the White Haired Man. Roger and Reginald are standing to either side of the door.
GANGSTER
What the hell?
The White Hair Man smiles, gulps and steps backwards.
The Gangster takes out his gun, as does Gangster #2. They step outside and towards the retreating White Haired Man. They still can't see Roger and Reginald.
GANGSTER
Who the hell are you?
WHITE HAIRED MAN
Is this the supermarket?

GANGSTER
The what?
Suddenly, two planks crack into the heads of the two Gangsters and they fall to the ground, severely dazed. Roger and Reginald step forward from either side of the door. Daniel, Larry and Fred breathe a sigh of relief.
LARRY
I knew I could count on you guys.
ROGER
We don't have a lot of time. Let's get out of here now.
They all run off to the stolen car, parked nearby. They all climb into the car, Loretta included. Daniel starts the engine and drives quickly away and out of the back lot of Big Benny's Place.
INT. STOLEN CAR - NIGHT
They are back on a main road.
DANIEL
So, where to now?
LARRY
Take me to the coach terminal. I'm jumping on the first coach out of here.
DANIEL
What about money?
REGINALD
Yeah, we don't have the five hundred thousand now.
LARRY
I don't care. I just need to get away.
(to Loretta)
Loretta? Are you coming with me?
LORETTA
No, Larry. I'm going to stay.
LARRY
What about Big Benny? He'll find you. He'll find all of us.
DANIEL
We need a plan. We've got to put our minds together and come up with something.
(to Roger)
Roger, will your manager help us?
ROGER
I don't think so.
Suddenly, the flashing lights of a police car appear behind them, followed by the sound of a siren.
DANIEL
I'm pulling over.
LARRY
You pull over you know what will happen. They'll take us back.
DANIEL
I'm still pulling over.
EXT. MAIN ROAD IN CITY - NIGHT
Daniel pulls the stolen car over to the side of the road. The police car stops behind and a police officer steps out, his gun aimed at the stolen car. He walks towards it slowly.
POLICEMAN
Everyone out! Now! Move slow! Hands on the car!
They all get out reluctantly and obey the police officer's order. When they are all out,
POLICEMAN
You know this is a stolen car?
DANIEL
Yeah, we know.
INT. BIG BENNY'S OFFICE - NIGHT
The two Gangsters have returned guiltily to Big Benny's office. They are standing in front of Big Benny, who is sitting at his desk. Big Benny is in rage.

BIG BENNY
(angrily)
What are you telling me? They're gone? You let them escape?
(angry shout)
You useless, incompetent fucks. What do I pay you for?
GANGSTER
What can we say? They got away.
BIG BENNY
(scream)
You go find them then.
GANGSTER
They could be anywhere. We don't know where to look.
BIG BENNY
You look everywhere until they turn up.
GANGSTER
Benny, what if they've already left town? The search would be pointless. Why don't you just let it go? You've got your money back. Isn't that the important thing?
Benny sits and for a moment the Gangsters think he is going to erupt with rage. But he doesn't.
BIG BENNY
You know what? You're right. For a change, you're right.
GANGSTER
We are?
BIG BENNY
Yes. They're gone. They wouldn't hang around a second longer than they need to. Not knowing that Big Benny is going to hunt them down and make them pay. Forget it. Go home. I want to be alone.
(when the gangsters don't move)
Go! Get out of here! Before I change my mind.
(pause)
Go do something useful.
EXT. POLICE STATION HOLDING CELL - NIGHT
The group of patients and Loretta are all sitting in a police holding cell. Everyone is silent and looks gloomy.
Keith appears at the cell. They all look up. Larry leaps up to the cell bars.
LARRY
Keith! Thank God you're here. Get us the hell out of here. Tell them we're not criminals.
KEITH DROW
That's going to be hard to do, Larry.
LARRY
All we did was steal a car.
ROGER
Larry, have you forgotten what we did to Keith?
LARRY
Oh, yeah. I forgot.
KEITH DROW
The good news is, they're letting you back into my care. If you come back to the hospital quietly, the police will forget about the stolen car.
REGINALD
What about the . . . the assault on you?
KEITH DROW
I'll forget about it.
REGINALD
Jesus, you're a real pal, Keith.
INT. HALLFORD PSYCHIATRIC HOSPITAL - NIGHT
The group has returned to the hospital. Keith is waiting inside the front door and watches them all enter. They all look at Keith but none speak. They seem quiet and gloomy. They all file past him. Daniel stops.
DANIEL
Is this episode going to affect my chance of an early release?
KEITH DROW
We'll see how your treatment progresses.
Daniel nods and walks into the building.
INT. KEITH DROW'S OFFICE - DAY
A day later.
Keith is sitting in his chair behind his desk, a serious look on his face. He is tapping a pencil against the desk. Daniel is sitting in the chair opposite, and is looking sullenly at the floor. When Keith doesn't speak, Daniel looks up and talks.
DANIEL
Look, Keith. We're sorry. Really sorry. We had an idea, which, at the time, seemed like a good one.
KEITH DROW
It was a dangerous idea, Daniel. You could all have been killed.
DANIEL
But we weren't.
KEITH DROW
Yes. Thank heavens.
DANIEL
Is Larry going to be in trouble?
KEITH DROW
I've spoken to all of you. I've made myself as clear as I can. Nothing - I repeat, nothing - like this can ever happen again. Not while you're staying under our care.

DANIEL
Understood. But it won't affect our chances of getting out of here, will it? It doesn't show that we're . . . well, it doesn't show that we're unwell. Does it? In fact, I think it shows the opposite. We're capable of handling ourselves in difficult situations 'outside', in the 'real' world.
Keith sits back in his chair and thinks about this.
KEITH DROW
I don't know what to do about this. Do you have any suggestions?
DANIEL
Suggestions? Give us a chance at re-entering the world we used to live in. I know from speaking to Larry, and Roger and Reginald, even Fred, that we know what we're about. We know what we're doing. I'm not saying we're one hundred percent of what we once were. Not yet. But we're getting there.
(pause)
I think we can cope.
SUPERIMPOSE: ONE MONTH LATER
INT. DANIEL'S ROOM IN PSYCHIATRIC HOSPITAL - DAY
It is the day of Daniel's release. One month has passed.
Daniel is in his bedroom. He puts the final items of clothing in his suitcase, closes and locks the case and picks it up off the bed. He sighs, takes the small suitcase and walks from the room.
INT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
A short time later. Daniel is walking towards the exit door. Keith is waiting there, with a proud smile on his face.

KEITH DROW
Well, Daniel, you made it. You're free to go.
DANIEL
Am I cured?
KEITH DROW
I feel confident you'll do brilliantly once you walk through that door. The world needs you Daniel. Your family needs you. Your friends need you.
DANIEL
I have to say, I do feel a lot better today than the day I was sent here. I know a lot of that is thanks to you. Our talks mean a lot to me.
KEITH DROW
It was my pleasure.
DANIEL
Oh, and Keith, we're all sorry about what we did to you. We had no choice. I hope you understand.
KEITH DROW
I do. Now, go.
ROGER
(O.C.)
Daniel! Wait!
A group of patients comes hurrying up to him, with Roger, Larry and Reginald at the front. Fred and the White-Haired Man are behind them.
ROGER
(to Daniel)
What's the big idea?
DANIEL
I'm free now. I'm leaving.
ROGER
I mean, what's the big idea walking out of here without saying goodbye?
DANIEL
I thought I could just slip out without you guys knowing. I hate good-byes. I promise, I was going to visit first, and then write.
They all laugh, including Daniel.
They all step forward and each of them gives Daniel a hug and offers a parting good wish.
DANIEL
(to Roger)
The first thing I'm going to do is rent all your movies. I hope things turn out well for you.
ROGER
Thank you.
DANIEL
Tell your manager not to worry. Things will improve soon.
Roger nods.
DANIEL
(to Larry)
Larry, when they let you out of here, think about what you've learnt. Okay? No more stealing.
LARRY
Got it.
DANIEL
(to Reginald)
Reginald, you don't need to be afraid of your own tricks. They are only tricks, after all, aren't they?
REGINALD
Yes. They are.
DANIEL
People need to be entertained. So, entertain them.
They all nod their appreciation.

DANIEL
(to everyone)
I'll be seeing you. When you're all released, come and see me.
Daniel smiles. Keith opens the door and Daniel walks out. When Daniel is gone, Keith closes the door.
REGINALD
So, what do you say Keith? You going to let us all go now?
KEITH DROW
We'll talk about it in your next session.
Keith smiles and walks back towards his office.
ROGER
Cards anyone?
EXT. HALLFORD PSYCHIATRIC HOSPITAL - DAY
Daniel walks outs of the hospital. The first thing he sees is his family waiting by their car. They are standing by the car, happy and proud of Daniel. Daniel walks up to them. They all hug.
INT. HOSPITAL COURTYARD - DAY
In this scene, we see the group of patients - Larry, Roger, Reginald, the White-Haired Man, Fred - being released one by one. The group of patients are all sitting in the courtyard. In each shot, which fades into the next shot, there is one less patient in the scene, until the courtyard is empty and all the patients have been sent home. A peaceful ballad is playing during this scene.
Finally, FADE TO BLACK.
INT. PARK - DAY
Daniel is sitting in the park with Samantha and Jane Blueberry. They are sitting on a grassy hill overlooking a beautiful landscape filled with tall trees. The sun is out and shining.
DANIEL
So, we made it.
JANE BLUEBERRY
Yes.
DANIEL
You're not going to . . .

JANE BLUEBERRY
What?
DANIEL
You're not going to try to hurt yourselves again, are you?
JANE BLUEBERRY
I already have a thousand things I want to do. Nothing's going to stop me. Suicide is in the past.
SAMANTHA BLUEBERRY
Me too. Life is just starting to be enjoyable again.
DANIEL
I . . . have something I want to ask you.
SAMANTHA BLUEBERRY
What is it?
DANIEL
The thing is, Larry, me, Fred, Roger, Reginald and . . . god, what was that white-haired guy's name anyway? . . . we're not completely out of our bind yet. Big Benny's still alive. It's just a matter of time before he comes after us again.
SAMANTHA BLUEBERRY
What can we do?
DANIEL
I was thinking of your mother. You said she was a journalist. A well-known journalist. Someone that people hear and listen to. I sort of have a plan which might work. It could put Benny off our case forever.
INT. DANIEL'S HOUSE - DAY
A few weeks later. Daniel is sitting in his lounge room. Larry, Roger, Reginald and Fred are with him. They are all watching TV. An advertisement is playing.
DANIEL
Here, it's starting.
The news begins.
NEWSREADER
We begin tonight's news with the tragic story surrounding the untimely deaths of two men in a horror triple-murder. Anne Blueberry reports.
As the journalist (Jane and Samantha's mother) delivers her report, photographs of Daniel Leftman and Larry Brian appear on the screen.
JOURNALIST
Last night, two innocent lives were taken in what may be one of the most brutal crimes committed in recent years. Twenty six year old Daniel Leftman and forty one year old Larry Brian were murdered last night while they slept. It is understood by this reporter that evidence left at both crime scenes indicate that the killings are almost certainly related. It is not known for sure if Daniel and Larry knew each other, or indeed were friends, but it is certain that their losses will be felt by all that knew them. Police have released what little information there is available in the hope it will lead to the capture of their killer. They are searching for a man with dark brown hair, about one hundred a sixty centimetres tall, with a scar on his left cheek and a tattoo on his left shoulder. Should you see this man, do not approach him, but contact police instead.
As the report is finishing, the group sits in relief. It has worked. Their deaths have been faked.
LARRY
We're now officially dead.
ROGER
How does it feel?
LARRY
Strange.
REGINALD
What about the police? Won't they know what's going on?
DANIEL
Don't worry. We've explained it to them. They understand. The case is closed.
ROGER
They understood. Just like that?
DANIEL
We told the bad ones that we know they're in cahoots with Big Benny. We won't talk if they don't.
End of the journalist's report. Cut back on news-reader on screen.
NEWSREADER
In other news, one of the city's most notorious organized crime figures has been maimed and left for dead in what appears to be a revenge attack by a rival faction. Big Benny, owner of the illegal gambling den, Big Benny's Place, was found stabbed and shot outside his shady establishment. Police are yet to reveal if they have any leads on the crime.
The group is dumbstruck by this announcement on the news. They all look to Larry. Larry looks uncomfortable as he receives the amazed stares of the group around him.
LARRY
I had to do it.
DANIEL
No, Larry. Tell me you didn't. Tell me you didn't go back there.
REGINALD
You tried to kill Big Benny?
LARRY
Of course not. I tipped off the people Big Benny stole the money from. As you can see, they took the matter seriously.
They all breathe a sigh of relief.
ROGER
But Big Benny isn't dead. They only maimed him. It sounds bad, I admit, but he'll live to see another day.
DANIEL
If he recovers, he'll hear about us. His thugs will tell him we're all dead, they'd have seen us on the news, and there's no need to try to chase us down anymore.
REGINALD
You think it'll work?
DANIEL
Of course it'll work. We're dead now. Big Benny has no one left to chase.
Reginald looks at his watch.
REGINALD
We'd better get a move on.
The others all look at their watches.
DANIEL
You're right. It's past six.


EXT. HOLLANT BRANT BOXING ARENA - NIGHT
An exterior shot of the massive boxing arena. There are neon lights and a big sign which reads: TONIGHT'S FIGHT - CLARENCE BOZER vs. WORLD CHAMP TIPTON LEWIS.
INT. FRONT ROW SEATS IN ARENA - NIGHT
The massive boxing arena is filled to capacity. A boxing ring, lit up by lights, is in the centre of the ring. Clarence Bozer and Tipton Lewis are going at it.
In near front row seats, the whole group sits - Daniel, Roger, Reginald, Larry, Fred and the White-Haired Man. They are absorbed in the fight.
LARRY
(shout)
Come on Clarence! Give Tipton one he won't forget!
ROGER
(shout)
That's it Clarence. Move those feet! Swing like you've never swung before!
Suddenly, Clarence swings and connects with Tipton Lewis' head. Tipton hits the floor in a second and doesn't get up. Clarence walks gently to his corner of the ring. His trainer, ecstatic and beaming from ear to ear, jumps into the ring, and starts to mop Clarence's brow. Clarence manages a smile too.
In the near front row seats, the group are on their feet, clapping and cheering.
LARRY
You did it Clarence! You're the champ!!
DANIEL
(amid whistling)
Ladies and gentleman, we're looking at the new champ - CLARENCE BOZER!!
They all continue to clap their hands and whistle.


ROGER
(quietly)
Well done Clarence. You're back, old boy.
INT. MAGIC SHOW THEATRE - NIGHT
A small theatre with about thirty seats in front of a small stage. On the stage is Reginald. He has returned to magic, his confidence now back.
We see Reginald perform two or three tricks for the audience. Music is playing and Reginald acts like a true showman. He makes a handkerchief disappear up his sleeve and then he pulls a rabbit from a hat. The small crowd applauds.
After the rabbit is gently set aside, Reginald leads into his big trick - sawing his assistant in two, one of the tricks that led to his breakdown.
Reginald's assistant is wheeled out in a long box. Reginald takes the saw, hesitates a moment, and for a split-second it appears he cannot do it. His hand shakes for a moment, but no one really sees it. His assistant in the box senses the hesitation and looks alarmed. The audience is silent, slightly puzzled by the pause in the show.
Then Reginald regains his confidence and realizes that he can do it. He raises the saw showman-like and then lowers it and saws the box in two. The box is separated, his assistant in two. Reginald stands triumphant as the audience claps in rapturous applause. In the audience are his friends - Daniel, Roger, Reginald, Fred, the White-Haired Man and Clarence. They applaud wildly.
EXT. THEATRE - NIGHT
Roger is back on stage in front of a packed house. He is performing in Shakespeare's King Lear, playing the lead role of King Lear.
Somewhere near the front of the audience, in centre seats are Roger's friends - Daniel, Larry, Reginald, Fred, the White Haired Man and Clarence. Roger's manager is sitting with them, a proud smile on his face. Larry and Reginald are clearly proud too and cannot conceal it.

EXT. JEWELRY SHOP - DAY
Larry is now working in a jewelry shop. He stands behind the counter, arranging jewels in a glass display cabinet. The jewelry shop owner enters from a back room.

JEWELLER
Everything okay, Larry?
LARRY
Everything's perfect.
Larry smiles.
A customer walks in. She starts to peruse the cabinets, peering inside. Larry walks from the counter and up to the female customer.
LARRY
Hi. My name's Larry. Can I help you with anything?
CUSTOMER
I'm looking for something special, for my friend. It's her birthday. Nothing too fancy though.
LARRY
Nothing too fancy.
CUSTOMER
Yes. I mean, nothing too dear.
LARRY
Let's see what we can find. Maybe over here, we have some very nice and very affordable pieces.
Daniel leads the customer to one of the cabinets. Larry points to some jewels.
LARRY
Something like that?
The customer looks into the cabinet.
CUSTOMER
Yes. Those look nice. Very beautiful.
EXT. DANIEL'S HOUSE - DAY
Daniel comes riding down the street on his bicycle. He pulls up outside his house. He ties up his bike and takes out his house key, unlocks the door and enters.
INT. DANIEL'S HOUSE - DAY
Daniel walks into the lounge room. His parents and Amy are sitting there, talking to Keith Drow. Daniel is surprised and almost shocked to see Keith. They all stand as Daniel enters.
FATHER
Hello, Daniel. You remember Keith?
KEITH DROW
Hello, Daniel. How are you doing?
DANIEL
Fine, thanks. Have I . . . have I done something wrong?
Daniel looks to Keith, looking a bit uncomfortable.
KEITH DROW
I was worried when I saw you on the television. I had come to pay my condolences to your family.
DANIEL
Oh, that. It's a long story. The point of it is - we had no choice.
Daniel flops down in a chair.
DANIEL
If we wanted to keep living, we had to do it. But you can't tell anyone.
KEITH DROW
I've discussed it with your family, and we've decided that, whatever your reasons were for faking your own death, they must be good reasons. We'll keep your secret.
DANIEL
Appreciated.
KEITH DROW
Your parents tell me you're doing well.
DANIEL
Yes. I am. I feel great. A hundred per cent. Better than I've ever felt before. That hospital, somehow, I don't really know how, it gave me a new perspective on life.
KEITH DROW
I'm glad we could help.
AMY
It's good to have you back Daniel.
KEITH DROW
Well, I need to be going. I doubt you'll have any more trouble, but, if something does happen, my door is always open. And pay us a visit soon too. We all love to catch up with old patients.
DANIEL
Maybe I will.
Keith nods and smiles, picks up his coat and hat, and walks to the door.
KEITH DROW
I'll let myself out.
DANIEL
Bye Keith.
Keith exits the house.
DANIEL
(to his family)
You have to understand, I really didn't have any choice.
SISTER
Forget about it Daniel. We're just happy you're home.
DANIEL
I was thinking maybe I ought to go visit Marcus.
MOTHER
I think Marcus would have appreciated that.
DANIEL
Yes. I think so too.
EXT. CEMETERY - DAY
Daniel is walking through a large cemetery. He walks past numerous gravestones until he arrives at Marcus' grave. He puts some flowers that he is holding by the gravestone. We see the engraving on the gravestone - MARCUS MILTON, BORN 1982. DIED 2008. DEAR FRIEND OF ALL.
DANIEL
Hi Marcus. It's me, Daniel. You know, Daniel, your old friend. Your oldest friend you could say. I've just come by to say hello. I hope things are good for you up there. I want to say that I'm sorry I didn't do more to help you when you were struggling. I wish you hadn't done what you did. I guess in a way I'm like everyone else. I didn't act soon enough. I think a lot now that if I had lent a helping hand you might still be with us. I know I should have done more to help you. We miss you.
(pause)
Well, that's it. Stay happy and stay well. And put in a good word with the big guy for me. Hopefully I won't be up there with you for a while yet, but put in a good word anyway. Thanks.
A wide shot of Daniel at Marcus' grave. He lingers there a few more seconds and then slowly walks away.
THE END

ANTHONY KIRKWOOD, OCTOBER 2008
These scripts are registered with the Writers Guild of America, West.

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