FADE IN:
EXT. STREET - DAY
The street is in a middle-class neighbourhood. There is the
sound of children playing. In the alley that shoots off to
the side there are some boys playing a game of street hockey.
A few cars are parked on either side of the street, some new
while others are older but obviously cared for.
CHRISSY (mid 20s), an active and cheerful young woman, is
jogging down the sidewalk. Her hair is tied up in a ponytail,
and she is wearing running shorts, running shoes, and a tank
top. She has an MP3 player strapped to her arm, and the ear
buds jammed into her ears. Chrissy gets to the corner and
turns to cross the street but turns back when SARAH (mid
20s), a happy and focused young woman, calls out for her.
SARAH
Chrissy!
Chrissy turns to look at Sarah, and touches her lips with her
fingertips before lifting her hand to wave at Sarah. Sarah
begins to return the gesture when her face turns frightened
and panicked.
SARAH (CONT'D)
Chrissy!
Chrissy looks over her shoulder as a silver sedan blows
through the stop sign. The sedan hits Chrissy full on,
sending her flying several feet forward.
Sarah runs towards Chrissy, pushing children out of her way
as they come out of yards and from the alley to see what has
happened.
WOMAN
Has anyone called 911, yet?
BOY
I did.
Chrissy is laying on her back in the middle of the street.
Blood pools around her and covers her body. There are obvious
cuts and broken bones.
CHRISSY
Sarah? Baby?
Sarah kneels in the blood beside Chrissy and carefully
touches the few places that are not covered in blood.
SARAH
I'm here. Right here. I'm not going
to leave you.
CHRISSY
'M sorry. You said ... you said to
be careful.
SARAH
It's not your fault. It's okay.
Everything is going to be okay. I
promise. Remember? We're going to
grow old together. Forever, right?
CHRISSY
Forever.
Sarah's fingers catch on Chrissy's garnet necklace, the only
jewelry that Chrissy is wearing. Sarah chokes out a laugh.
SARAH
You never take this thing off.
CHRISSY
You couldn't give me a ring.
Sarah is fascinated by the blood stained pendant. There is
the sound of an approaching ambulance.
INT. OFFICE - DAY
Sarah steps into her modern-looking office. She closes the
glass door behind her and flicks the blinds down. She leans
against the door.
MR. AMBROSE (O.S.)
This is the last time, Sarah. I
expect you to be on time tomorrow.
SARAH
Of course.
She is visibly upset as she presses a shaking hand to her
head before standing up straight and walking around her glass
desk. There is a frame lying face-down on her desk and Sarah
touches the black frame with her fingertips but does not lift
the photo up.
SARAH (CONT'D)
Just my luck, right?
(Bitter laugh)
Sarah takes a seat at the desk and begins typing at the
small, compact notebook.
The phone on Sarah's desk rings.
SARAH (CONT'D)
Good Morning, Ambrose Publishing
Incorporated.
(beat)
Of course. Mr. Ambrose is available
to meet with you tomorrow at two
o'clock. Does that work for you?
(beat)
I look forward to seeing you then.
Sarah writes down a note in a day planner as the phone rings
again.
SARAH (CONT'D)
Good morning, Ambrose Publishing
Incorporated.
(beat)
Dinner for eight o'clock on
Thursday?
(She checks the day
planner)
That sounds wonderful. We will get
back to you tomorrow afternoon to
confirm.
The clock on the wall changes from 12:34 to 8:17
SARAH (CONT'D)
Look, I understand that you have
had your manuscript in our office
for six weeks already, but you have
to understand that
(Sarah transfers the call
to her cell phone)
The guidelines on our web page
stated six to eight weeks as a
minimum time. If you would like to
request your manuscript back we
would be more than happy to...
She picks up a small black purse, and jots down some notes in
her day planner as she exits the office.
INT. SARAH'S CAR - NIGHT
Sarah drives carelessly, the car slightly swerving as she
shifts hands to jot down some more information. Her cell
phone is cradled between her ear and her shoulder.
SARAH
Mom, I'm not going to come to this
dinner.
SARAH'S MOTHER (V.O.)
Why not?
SARAH
I'm not ready.
SARAH'S MOTHER (V.O.)
Hogwash. It's been over a year
since you were last with anyone,
and how long did that last anyway?
SARAH
A week. And it doesn't matter that
it's been so long. I just can't.
I'll be there for breakfast on
Sunday, okay?
SARAH'S MOTHER (V.O.)
I love you, baby.
SARAH
You too.
Sarah drops her phone and bends over to pick it up. She looks
up and the car fishtails as she slams her foot down. The
brakes SQUEAL.
She SCREAMS.
EXT. UNIVERSITY AREA STREET - NIGHT
Sarah gets out of her car. She dashes to check the damage to
the front bumper. She is only a couple inches away from the
light post.
SARAH
Fuck! Well, isn't this just turning
out to be a great night?
Someone COUGHS behind her. Sarah turns and is faced with a
noticeably younger Chrissy (early 20s). Sarah looks stunned.
CHRISSY
You really weren't watching where
you were going, were you?
SARAH
Neither were you, obviously. What
kind of person just steps out into
the middle of the street without
checking to see if anyone was, oh,
I don't know, driving towards them?
CHRISSY
Whatever. Are you okay?
SARAH
I'm alive, aren't I? What about
you?
CHRISSY
I'm fine.
(beat)
Look. I should head home.
SARAH
Wait. I'm Sarah.
CHRISSY
Chrissy.
SARAH
So, Chrissy, did you want to go get
something to eat? My treat. It's
the least I can do considering I
almost ran you over.
CHRISSY
I'm not... I can't. I really need
to finish this homework.
SARAH
Another time then. Give me your
phone number and we can work out a
different time.
CHRISSY
I guess that would be fine.
Sarah pulls out her cell phone and waits.
CHRISSY (CONT'D)
Seven. Eight. Oh. Two. Four. Oh.
One. Five. Eight. Five.
SARAH
Thanks. So, I'll give you a call
later.
Sarah picks up Chrissy's bag and hands it to her. Chrissy
walks down the street and around the corner.
Sarah dials a number on her cell phone.
CHRISSY (V.O.)
Hi, I can't come to the phone right
now. Chances are I'm busy or
ignoring the phone. But you can
leave a message and I'll call you
back later.
SARAH
Hi, this is Sarah. We just met when
I almost ran you over. I doubt
you've forgotten who I am yet. I
was just calling to see if you
wanted to go out tomorrow night.
Call me.
Sarah closes her phone and gets back into the car. She
ignores the mess of papers on the seat beside her as she adds
another sheet of paper to the pile.
INT. COFFEE SHOP - DAY
Sarah sits in a trendy coffee shop. The walls are cream, and
there are some high stools and benches, as well as small
groups of overstuffed chairs with shorter tables. There is a
fireplace on the far wall across from the counter. Sarah has
a paper cup full of steaming coffee, with another two empty
cups across from her. The table is covered in paper, and her
day planner. Sarah is tapping a silver pen against her lips
as she watches the entrance.
SARAH
I'm sick of this. You can't keep
calling and nagging me all the time
about it. I am moving on. I even
met someone, okay, so leave me
alone.
FEMALE (V.O.)
That's not good enough.
SARAH
Well, it has to be. I can't change
the past, you know.
FEMALE (V.O.)
Maybe not, but you could make
amends. You could show that you
give a damn about what happened.
SARAH
You think I don't give a damn? I
lost everything! Every-fucking
thing that mattered to me. Gone
just like that.
Sarah snaps her fingers.
SARAH (CONT'D)
I can't make amends for something
that wasn't my fault.
FEMALE (V.O.)
Stop lying to yourself.
The phone goes dead. Sarah swallows and presses her lips
together.
SARAH
It's not a lie.
Sarah is making a note in her day planner when Chrissy walks
in with a group of smiling people around her age.
Sarah looks up as Chrissy is about to walk past her.
SARAH (CONT'D)
Chrissy!
Chrissy continues to walk by. Sarah stands up, knocking over
the full cup on the table as she catches Chrissy by the
shoulder. Chrissy turns to look at Sarah with a startled, but
pleased expression as her friends continue on towards the
counter.
SARAH (CONT'D)
Hey. Did you get my message?
CHRISSY
I haven't checked my messages for a
few days. Sorry.
SARAH
No, don't worry, it's okay.
CHRISSY
So how have you been?
SARAH
Well, I haven't been running down
anymore college students lately.
Probably for the best, since it
seems like a terrible way to meet
people.
CHRISSY
Yeah, most people don't appreciate
almost dying.
SARAH
About that. I still have to make it
up to you, right? I was just
wondering if you'd like to go out
for dinner tonight.
CHRISSY
Tonight? I had some plans already.
SARAH
Oh, I see.
CHRISSY
Hey, maybe another night? Would
that be okay with you?
SARAH
Yeah, another night would be
fantastic. You have my number, so
give me a call. And I'll see you
again sometime soon, right?
Chrissy's friends wave at her from the till,
CHRISSY
I gotta go. Bye, Sarah.
SARAH
I'll see you.
Sarah watches Chrissy leave as she cleans up the mess made by
the spilled coffee.
CHRISSY
So, tomorrow night you guys'll
spring me and we can head to the
party at Mark's? We'll have to be
quiet. You know what my mom's like.
GIRL
Yeah, I thought she was going to
kill you the last time you came
home late!
When the door swings shut behind the group, Sarah adds some
notes to her day planner.
INT. SARAH'S BEDROOM - NIGHT
The room is full of what was once bright colours, brilliant
pinks against a lighter shade of grey. On the long dresser
there is a photograph of Sarah with her arms around an older
Chrissy, both of them smiling. Chrissy is wearing the garnet
necklace she was wearing when she died. The bed opposite the
dresser is unmade, a pair of sleeping pants and tank top
tossed across the pillow on one side of the bed as though the
owner would return later on to wear them once more. Sarah
lays on the other side of the bed, staring blankly at the
clothes.
SARAH
Mr. Ambrose is still as much of a
jerk as always. I've been late a
couple times since, well, since
you. I've been late a few times,
but I just... I can't get force
myself to get going. Not without
you here.
Sarah's voice is cracking and solemn.
SARAH (CONT'D)
Forever, baby. We'll be together
again soon.
On the bedside table there is a small, jewelry box with a
silver chain hanging between the lid and the side.
INT. CHRISSY'S BEDROOM - NIGHT
The bedroom is a prison, white walls with grey carpeting, and
bars on the windows. A worn desk sits flush against one wall,
with a full bookcase beside it, towering up towards the
ceiling and full of textbooks, covers and spines tattered.
Binders are stacked neatly, and one is open upon the desk
with small, neat writing covering the pages with notes on
medicine and surgeries. A small bed is neatly made underneath
the window, the only splash of colour being pale shades of
blue in the comforter.
The door slams shut behind Chrissy as she hurls herself into
the room.
CHRISSY'S MOTHER (O.S.)
You thought I wouldn't notice?
The door rattles as someone bangs on it. Chrissy leans
against the door and wraps her arms around her knees.
CHRISSY'S MOTHER (CONT'D)
I know just how much booze I have,
and if you kids have wasted a
single drop I'll make this look
like fun and games, do you
understand me, you ungrateful
whore?
CHRISSY
Yes, mother.
She turns her head to the side and her hair moves, revealing
small purple bruises on her throat. In the background there
is the sound of glass shattering and Chrissy flinches.
CHRISSY'S MOTHER (O.S.)
And you! I can't believe you didn't
notice your daughter trying to
sneak out of the house. Just
because you're a worthless piece of
trash doesn't mean we need to raise
her to be the same.
There is the sound of someone being hit. Chrissy closes her
eyes and her shoulders shake.
She calls her calm and quiet best friend MARY (early 20s).
MARY (V.O.)
Hello?
CHRISSY
I can't do this anymore.
MARY
Do what?
CHRISSY
Live here. Be around her.
MARY
You know we've got a spare bedroom
here.
CHRISSY
Yeah, but I never wanted...
MARY
You're family. It's not taking
advantage.
CHRISSY
I know.
MARY
When did you want to move in?
CHRISSY
Soon. Tomorrow.
MARY
Start packing, girl. I'll be there
tomorrow with my brother's truck.
Chrissy hangs up and relaxes against the door, tipping her
head back to look up at the bare lightbulb.
INT. CAMPUS BOOKSTORE - DAY
The bookstore is busy, with small groups of people shuffling
up and down aisles and snatching textbooks to compare the
titles against scraps of paper. There is a low hum of
conversation, students gossiping about teachers and
coursework. Some are excited, while others are complaining.
FEMALE STUDENT #1
I can't believe I got her this
semester. I swear, if she says one
bad thing to me...
FEMALE STUDENT #2
(laughing)
Yeah, right. You wouldn't do
anything about it.
FEMALE STUDENT #1
Take that back!
Sarah looks out of place in her business suit and high heels,
her briefcase resting on the floor beside her. She browses
through some of the medical textbooks on the shelf. She picks
one text book up and compares it to the list of worn, folded
and refolded paper, a name scratched out on the top. Chrissy
comes around the corner and nearly bumps into Sarah.
CHRISSY
Sarah, hey.
SARAH
Hi.
(looks Chrissy over)
You look great today.
CHRISSY
Thanks.
(She tugs at her shirt)
You're not stalking me are you?
They laugh.
SARAH
As if I'd want to stalk you. No.
I'm here to pick up some textbooks
for research. One of the writers I
work with needs it, and the joys of
being the assistant means I get to
rush out and go looking.
CHRISSY
Lucky you. Looks like you've got
the last copy of Taber's.
SARAH
It's not on my list. Did you need
it?
CHRISSY
Yeah. If you're sure you don't need
it.
SARAH
You can have it. For a kiss.
CHRISSY
(laughs)
All right.
Sarah leans in towards Chrissy and KISSES her on the cheek.
SARAH
Wasn't so scary, was it?
CHRISSY
No.
SARAH
See. Maybe now you'll agree to go
out with me one of these nights.
CHRISSY
Actually, did you want to go for
coffee?
SARAH
Let me check if I'm free.
Sarah checks her day planner and sighs.
SARAH (CONT'D)
I'm busy today. What about next
week?
CHRISSY
That sounds great.
SARAH
Good. I'll call you and we can try
to work something out then.
Chrissy looks down at the text book. Sarah picks up her
briefcase and steps closer to Chrissy. Sarah presses her
fingertips against Chrissy's chin and lowers her head,
kissing Chrissy softly.
SARAH (CONT'D)
One more for the road.
Chrissy looks surprised.
CHRISSY
Bye.
SARAH
I'll see you later, baby.
Chrissy pulls out her cell phone as Sarah leaves.
CHRISSY
I'm going out with Sarah next week.
(beat)
I'm not really sure what I'm doing.
MARY
Everything will be fine.
CHRISSY
If you say so.
INT. OFFICE - DAY
Sarah leans back in her chair. The phone rings and is
ignored.
MR. AMBROSE
Sarah, you used to be so
meticulous, but lately you've been
forgetting to update the calendar
with my appointments, you've
forgotten about business dinners
you were supposed to arrange, and
you have neglected to keep me
updated on the status of several
projects.
SARAH
I'm sorry, Mr. Ambrose. I've been
having a rough time--
MR. AMBROSE
I know things have been hard since
you partner passed away, but you
have to know that things can't go
on like this.
SARAH
Of course. I'll make things right
again.
MR. AMBROSE
See that you do.
Mr. Anderson leaves the room and Sarah turns her chair to
look out the window behind her. The photo on her desk is of
the older Chrissy, and the glass is fractured and cracking.
It looks as though the picture has been thrown against the
wall. Sarah SOBS, and touches her lips with her fingertips.
SARAH
Things will be better soon.
INT. CHRISSY AND MARY'S APARTMENT - NIGHT
The walls are covered by bright splashes of colour, and every
available surface is cluttered with knick knacks and small
cow figurines. The couch in the living room is obviously
threadbare, but a yellow knit blanket covers the majority of
its surface. There is a small television in the corner,
supported on a rickety looking side table. On the coffee
table there is a plate of sugar cookies.
The large glass doors are opened wide, and there are some
plants placed on the balcony to get some light. Chrissy sits
on the couch beside Mary and sips at a cup of tea. Mary runs
her fingers through Chrissy's hair, ignoring the faded
bruises.
MARY
How long have you known Sarah?
Chrissy looks away and says nothing. Mary sighs.
MARY (CONT'D)
I worry about you. After everything
with your mom... Are you sure this
is okay?
CHRISSY
I'll be fine.
The doorbell rings with a flower delivery for Chrissy. She
accepts the flowers.
CHRISSY (CONT'D)
I'm going to study. I'll be in my
room.
The plate of cookies on the coffee table is still full.
INT. SARAH'S CAR - DAY
Sarah drives carefully, both hands on the wheel as she
smoothly moves from lane to lane. The front passenger seat is
clean, but for her purse, and the volume on the radio is
turned low. She looks at the time, 5:15, and smiles.
SARAH
Dial Chrissy.
Sarah pauses, waiting for her call to connect.
SARAH (CONT'D)
Hey. I'm just calling to make sure
you got the flowers I sent.
CHRISSY (V.O.)
They're beautiful.
SARAH
Pink roses always were your
favourite. I'm glad you like them.
CHRISSY (V.O.)
They--
SARAH
I'm hoping they can persuade you to
agree to join me for dinner
tonight.
CHRISSY (V.O.)
Sorry. Mary and I had plans to meet
up with some friends later on. Rain
check?
SARAH
Sure. Who knows, maybe I'll run
into your all later tonight. Keep
an eye out for me, baby. Love you.
CHRISSY (V.O.)
Yeah. You too.
Sarah turns the music up and sings along. Her phone rings.
SARAH
Can't talk now, mom, I've got a
date to get ready for.
FEMALE
I'm not your mother, Sarah.
SARAH
You again?
FEMALE
Someone has to watch out for you.
Do you even know what you're doing?
SARAH
I'm doing what I have to do.
Forever, remember?
FEMALE
Not like that.
SARAH
I've got a date. Don't bother me
again.
Sarah hangs up the phone and the car accelerates as she
pushes down on the gas.
EXT. RAVING FLAMINGO NIGHTCLUB - NIGHT
The line of women in glittering shirts that show more than
they hide and men in tight jeans and tighter shirts extends
halfway down the block. The women are either rubbing their
arms briskly or leaning against someone to share body heat.
Sarah looks out of place in her black dress, the hemline
brushing the tops of her knees and the collar resting just
below her collar bone. The line moves slowly. Sarah glares at
her cell phone before making a phone call. She waits and then
hangs up, frowning. When she looks up again, Chrissy is
inside the doors, and Sarah waves. Chrissy does not seem to
have seen. Mary and Chrissy's other friends crowd around
Chrissy. The bouncer checks the ID of the couple in front of
her, and waves Sarah in without checking her ID. He checks
the ID of the young women behind Sarah.
INT. RAVING FLAMINGO NIGHTCLUB - NIGHT
There is very little room to move around. Music is playing a
fast house beat loudly, and the dance floor is crowded. Sarah
presses through the crowd to get to the bar.
BARTENDER
What can I get you?
SARAH
A bottle of water, thanks!
Sarah hands the bartender a five dollar bill when he hands
her the bottle and she waves off the change. She looks around
the crowd, and then stops. She presses her fingertips to her
lips and waves at Chrissy. Chrissy smiles and turns back to
Mary. Sarah pushes towards Chrissy. A YOUNG MAN (early 20s)
steps backwards and Sarah teeters on her high heels.
He catches her arm to steady her but spills his drink on her.
YOUNG MAN
Sorry 'bout that.
SARAH
It's all right.
When she turns back towards Chrissy, Sarah is unable to see
her.
INTERCUT
Chrissy is sitting down at a dirty table with Mary, empty
bottles in front of them. Chrissy sways, unsteady even while
sitting, and obviously drunk. Chrissy speaks into Mary's ear.
CHRISSY
Didya see? God, I told her I was
going out with you guys and she
followed me or something.
(beat)
I need another drink. You want
somethin'?
Mary looks behind towards where Sarah was and then nods.
MARY
Sure. Another one of these gummy
bears would be great.
Chrissy gets up and weaves through the crowd, towards the
bar, then stumbles twice, and takes a side turn into the
washroom.
INT. RAVING FLAMINGO NIGHTCLUB WASHROOM - NIGHT
The walls are tiled, painted black with bright pink to
contrast. Ten stalls are empty, one occupied. A couch sits in
a corner, bracketed by large mirrors. Sarah stands at one of
the smaller mirrors, blotting her dress with balled up paper
towels. She watches herself in the mirror, glancing down
occasionally to check her progress. Chrissy walks into the
washroom. Their eyes meet in the mirror. Chrissy comments on
the odds of running into each other there.
CHRISSY
What are the odds that I would run
into you here?
SARAH
I'm not sure, but I am definitely
glad that you did.
Chrissy takes a couple more steps into the bathroom, then
leans against the wall and smiles at Sarah. Sarah tosses the
paper towel into the garbage and leans against Chrissy.
CHRISSY
Don't stop now.
Chrissy pouts as Sarah pauses and then lowers her head to
kiss Chrissy slowly.
SARAH
Why don't we get out of here; go
back to mine.
Sarah brushes her thumb against Chrissy's neck.
CHRISSY
I... yeah. Let's go.
INT. SARAH'S APARTMENT - NIGHT
Sarah and Chrissy stumble through the door, touching and
kissing each other. Sarah pulls away and reaches into her
purse, pulling out a small jewelry box, the same one that had
been on her bedside table before, and holds it out to
Chrissy.
SARAH
It's for you. A birthday present.
Chrissy opens the box, and Sarah lifts out a silver necklace
with a garnet pendant.
CHRISSY
I can't accept this, it's--
SARAH
It's yours.
Chrissy turns and Sarah helps her put on the necklace.
Chrissy tries to pull away, and Sarah pulls her back.
CHRISSY
I should go.
SARAH
You can't. I love you, baby, I
always will. I just want you to be
here with me. That's all.
Chrissy turns to look at Sarah. Sarah's face twists into a
fierce scowl and she twists the chain in her hands,
tightening it around Chrissy's neck.
INSERT
The car screeches around the corner, headlights blinding as
MICHELLE (early 20s), a quiet and fragile looking young
woman, stands at the crosswalk, one foot raised. The car
barely manages to swerve in time. Sarah climbs out of the
car.
SARAH
You moron! You could have died, or
did that thought even cross your
mind? Oh no, of course not. It's
all about me, me, me with you kids
these days isn't it?
Sarah stops and touches Michelle's hair.
MICHELLE
I'm sorry. I wasn't watching, and--
SARAH
Whatever. I'm Sarah.
MICHELLE
Michelle.
SARAH
You look just like... Hey. You want
to go out for supper? It's the
least you could do for me.
MICHELLE
I... I probably shouldn't.
SARAH
Fine. Then give me your phone
number. I want to make sure you're
still okay later.
When Michelle turns the corner she notices that some of her
papers are missing.
BACK TO SCENE
Michelle presses her hands against Sarah's shoulders,
grunting as she tries to force Sarah away.
MICHELLE
Please...
INTERCUT
Michelle walks into the coffee shop. Sarah grabs her by the
shoulder and forces her to turn around. Michelle flinches,
her shirt pulling away from her neck to reveal bruises.
MARY
Hey, Michelle, we're almost done
here. You coming?
MICHELLE
Yeah. I'm leaving.
BACK TO SCENE
Sarah kisses Michelle, ignoring how she struggles.
SARAH
I love you so much, Chrissy.
Forever.
INTERCUT
Michelle turns the corner in the bookstore as Sarah steps
back into her.
MICHELLE
Are you stalking me?
Sarah laughs.
SARAH
Let me take you out for supper. It
won't kill you. Or should I make a
huge scene here?
MICHELLE
No, I'll go.
Sarah pulls Michelle against her and kisses her roughly
before letting her stumble back into the shelves before she
leaves.
MICHELLE (CONT'D)
Mary, I'm scared. She was here.
BACK TO SCENE
Michelle seems to be growing weaker. Sarah continues to kiss
her, still tightening the necklace around Chrissy's neck.
Blood drips down.
INTERCUT
In the nightclub, Michelle sees Sarah wave and ignores it.
Michelle pulls Mary away.
MICHELLE
She's here!
MARY
I don't see her anywhere.
(laughs)
You so owe me another drink for
that one. You know there's no way
she could have found us here.
INTERCUT
Michelle stumbles to the bathroom to cry and is cornered by
Sarah.
SARAH
Well, well. Look who I've found.
Sarah pulls Michelle against her, winding her hands in
Michelle's hair.
MICHELLE
Please don't. Stop.
SARAH
I promise I won't hurt you. I just
want you to come home with me.
MICHELLE
I... my friends are waiting for me.
SARAH
And your friends will keep waiting
for you. Unless you'd rather I go
out there and tell them I'm taking
you home myself.
MICHELLE
No! I'll... I'll come with you.
SARAH
I'll make this so good for you. You
deserve the best, Chrissy, and
you're going to get it.
MICHELLE
That's not my name. Please.
SARAH
Let's go.
INTERCUT
Michelle looks at the necklace covered in blood.
MICHELLE
It's covered in blood.
Sarah slaps Michelle and forces her against the wall,
pressing the necklace against her throat and pressing it in
deep.
SARAH
It's yours, Chrissy. You have to
wear it. You have to stay here with
me.
BACK TO SCENE
Michelle struggles against Sarah before she sags. Sarah drags
Michelle to the bedroom. She carefully changes Michelle into
the night clothes on the bed, before tucking her in. She then
climbs onto the bed beside Michelle and kisses her.
SARAH
I love you, baby.
Michelle stares sightlessly at the ceiling.
SARAH (CONT'D)
I'm quitting my job. Mr. Ambrose
hasn't been thrilled with me
lately, and I want to spend more
time with you. I can't lose you
again.
Sarah trails kisses over Michelle's body, lingering on the
curve of her abdomen.
SARAH (CONT'D)
Forever.
EXT. STREET - DAY
There are two police cars parked on the side of the street as
Sarah is getting out of her car. She ignores the officers as
she pulls a cardboard box of books and photographs out of the
car. She nudges the door closed with the toe of her runners.
Sarah turns and notices the yellow police tape for the first
time. She sets the box on the roof of her car and crosses the
street.
POLICE OFFICER
I'm sorry, miss, but you can't go
in there.
SARAH
Why? What happened?
POLICE OFFICER
There's been a homicide. Do you
live in this building?
SARAH
No. I was just dropping some stuff
off for my friend.
POLICE OFFICER
I'm afraid you'll have to do that
later. For now, all tenants and
anyone who may have information are
being asked to report to the police
station downtown.
SARAH
I'll make sure Chrissy knows. And
if I can think of anything I'll go
down there myself. It's just awful
that someone was killed.
This has always been such a nice
neighbourhood.
POLICE OFFICER
You have a good day, miss.
SARAH
Thank you.
Sarah turns to leave, placing her box of personal items back
inside her car. She fingers the garnet necklace around her
neck as she picks up her cell phone.
FEMALE (V.O.)
You aren't remorseful in the
slightest, are you?
SARAH
I was wondering if you'd call
again, Chrissy.
CHRISSY (V.O.)
That isn't forever, you know.
SARAH
Maybe not. Next time will be.
CHRISSY (V.O.)
You have to let me go.
SARAH
I can't. I'll find you again.
CHRISSY (V.O.)
The only person who can stop this
is you.
SARAH
Maybe I don't want it to stop.
(beat)
See you soon.
When Sarah lets the phone fall to the ground the screen is
blank. No one is on the other end. Sarah gets inside her car.
She drives away.
FADE OUT:
