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1 INT. ST. MARY’S MENTAL HOSPITAL- DAY 1
ROSE walks down the white, winding corridors of St. Mary’s
Mental Hospital. She turns a corner and comes to a stop at a
large, metal door in the middle of a the hallway. She
knocks, hears nothing, then pulls a key out of her right
pocket and unlocks the door and walks inside.
2 INT. MARSHALL’S ROOM-DAY 2
The room is completely dark, and the only light is the light
spilling through the cracks of the closed shutters. MARSHALL
sits in the adjacent corner from the door with his legs
pulled up in front of him.
ROSE
Good morning MARSHALL.
(Crosses the room to the
window)
How are you doing today?
Marshall stares blankly at the opposite wall, unflinching.
ROSE CONT’D.
Did you sleep well?
(She opens the blinds)
Marshall shifts uncomfortably in his position, and continues
to ignore ROSE’s conversation.
ROSE CONT’D.
Well, you know we have a lot of fun
things planned for you today.
(she turns to him and smiles)
You like Bingo, right?
Marshall turns his head farther away to the opposite wall.
Rose leaves the room and comes back with a tray of food. She
starts to sit it in front of Marshall and he SPEAKS.
MARSHALL
You can sit it on the table.
(gives her a hesitant smile)
Rose jumps at the sound of his voice. Smiling, she sets his
breakfast tray on the table. MARSHALL looks away and glances
at the blinds.
2.
3 INT. LAPSEY CHILDHOOD HOME (FLASHBACK) 3
MARSHALL is sitting back on a burnt orange couch watching
The Brady Bunch on a small television set. A faint ray of
the setting sun beams through a crack in the curtains and
glows on a section of the dull brown carpet. He hears a door
OPEN and SHUT in the kitchen and RUSS LAPSEY’s stumbling
footsteps come down the hallway and he stops in the doorway
of the front room. MARSHALL turns and looks at him in
disgust, and then RUSS LAPSEY SPEAKS to MARSHALL.
RUSS
Whatchu lookin’ at boy?
(edges closer to him)
Do you want to hit me?
Russ Lapsey steps backward two steps, uncoordinated. He
straightens out his back and smiles mockingly.
RUSS CONT’D.
Well come on!
(beckoning his hands)
I’ll show you how big you really
are!
4 INT. WELLINGTON INDUSTRIES (FLASHBACK) 4
MARSHALL sits at a white L-shaped desk surrounded by the
four walls of his cubicle. Paperwork and blueprints litter
his desk and fall down to the gray carpet. Blueprints are
taped haphazardly on the wall next to his desktop computer
along with Polaroids of his most valued projects. MARSHALL
is hunched over a blueprint, sketching furiously. ABE
WELLINGTON waddles furiously to MARSHALL’s cubicle and slams
a first draft of a blueprint over the work MARSHALL was
working on.
ABE WELLINGTON
Marshall, you still don’t have my
final draft and its ten days past
due!
MARSHALL
I’m working on it-- it’s almost
finished.
(picks up the blueprint and
offers it to him)
Here.
ABE WELLINGTON holds the blueprint away from him at arm’s
length and squints at its contents, his face crumpling up in
disgust. He he stops looking at it to glare at MARSHALL at
holds the blueprint in one hand.
(CONTINUED)
CONTINUED: 3.
ABE WELLINGTON
What is this?
(pointing with his free hand)
This looks nothing like the first
draft!
(begins crumpling up the
blueprint)
This is the biggest client we have
ever had in the history of this
company, and this is the shitty
work you hand in to me?
MARSHALL
(looks down at his lap)
Its just I’ve had a lot on my
plate--
(ABE WELLINGTON cuts him off)
ABE WELLINGTON draws near MARSHALL’s face, about an inch
away from his nose. He lowers his voice to a menacing growl.
ABE WELLINGTON
Always excuses.
(drops the crumpled paper in
MARSHALL’s lap)
ABE WELLINGTON waddles out of the cubicle. MARSHALL runs his
fingers through his hair and flinches.
5 INT. MARSHALL’S ROOM-DAY 5
MARSHALL turns his head back from the blinds and looks at
ROSE, shaking his head. He smiles at her nervously and
stands up.He walks to a sink in the shower room. ROSE
follows after him. MARSHALL turns on the faucet and splashes
water in his face, looking himself in the mirror.
MARSHALL
(talking to himself)
What is happening to me? What
happened last night?
ROSE
(speaking outside the door)
Hey Marshall, let me know when you
are done with your tray so I can
clean your room.
She begins to walk away and stops. She ducks her head in the
doorway and looks at Marshall.
(CONTINUED)
CONTINUED: 4.
ROSE CONT’D.
They are playing Bingo at noon in
the reception hall. Are you still
wanting to go?
Marshall sighs and shrugs his shoulders, continuing to look
himself in the mirror. He turns his head to her.
MARSHALL
Yeah, I’ll go.
ROSE
(smiles)
Good.
(walks away)
MARSHALL.
Yeah, Bingo. I need to get my mind
clear. Maybe that’ll do the trick.
(walks out of the shower room
to his room)
6 INT. RECEPTION HALL-DAY 6
MARSHALL walks into the brightly-lit room. There are handful
of round tables positioned around the room with patients at
every one but one. Elevator music plays in the back ground
and orderlies mill about the room checking on the patients.
MARSHALL sits at the one empty table at the end of the room.
BINGO ANNOUNCER stands at the podium on the small stage
turning the lottery wheel and calling out numbers.
BINGO ANNOUNCER
G14. The next number is G14. It’s
going to be a long game folks and
these prizes are waiting for you!
MARSHALL
Let’s see G14...
(scans card with his eyes and
holds a marker in his hand)
G...14. Nope.
MARSHALL puts the marker down and sits his chin in his palm.
MARSHALL CONT’D.
I wonder when they’re going to
release me from this place?
BINGO ANNOUNCER
Next number is I7. I7.
(CONTINUED)
CONTINUED: 5.
BINGO WINNER
BINGO! I WON! YEAA! BINGO!
MARSHALL
I’m out. What a waste of time. This
is not my day.
7 INT. COMMON ROOM-DAY 7
MARSHALL walks into the common through the doorway of the
common room. He scans the spacious room as he walks and
looks at the cushy couches and squeaks his slippers across
the freshly-waxed wood-paneled floor. Sun rays stream
through big bay windows and illuminate the backs of the
couches. Some patients sit in the couches and chairs and
stare out of the window, while others are seated at round
tables on the right side of the room playing board games.
FRED waves MARSHALL over to come and sit with him at a
drawing-board table with a chess board in front of him.
FRED
Hey buddy. I’m Fred. But my friends
call me Chess Fred. What’s your
name?
(moves a pawn a space forward)
MARSHALL
I’m Marshall. Marshall Lapsey.
(looks around for another open
seat, sees none then sits
down)
From Rhode Island.
FRED
So, Marshall, how long you in for?
MARSHALL
(shifts his pawn)
I’m not sure.
FRED
Whatcha in for, son?
MARSHALL
(clears his throat)
To be honest, I’m not sure. A lot
of things have happened, and I’m
still trying to figure it out. Its
like someone is setting me up.
MARSHALL nervously chuckles and makes a move. ROSE walks to
their table with a tray of medicine.
(CONTINUED)
CONTINUED: 6.
ROSE
Look who’s up and at ’em!
(smiles at the two)
I have your medication for you
Marshall.
MARSHALL
Oh.
(takes the medication and
bottle of water,swallows it
and sips water)
Thanks.
ROSE walks away to another table and Fred watches her. He
leans over the table to MARSHALL as if he is telling a
secret.
FRED
Yeah well me too. I’m not supposed
to be here-- I’ve got grandkids!
(looks both ways suspiciously)
Look, I don’t know why I’m telling
you this, but you seem like a
stand-up guy.
FRED pauses, looking at MARSHALL. MARSHALL looks confused,
then leans forward, nodding his head in agreement.
FRED CONT’D.
Lately, I’ve been hearing things at
night. And this ain’t none of that
psycho bullshit these doctors want
you to admit to. Its someone up
past lights out. My room is by the
the stairs-- you know the ones
leading down to the basement? Yeah
I don’t sleep at night, ya know, so
I hear it all the time.
FRED abruptly stops the story and advances his piece.
FRED
Checkmate!
MARSHALL
Have you told any of the orderlies
about it?
FRED
Nah. Can’t trust ’em. They’ll
prolly try to put me on more meds
or stick me in more therapy. And
I’m not crazy.
(CONTINUED)
CONTINUED: 7.
MARSHALL
Well maybe not-- what are you in
for?
FRED sits still and bores his eyes into MARSHALL’s. He folds
his arms over each other and speaks slowly.
FRED
Some people were following me
around-- stalking me. Tryin’ to get
in my head. Saying all kinds of
cruel-- sadistic things.
(pauses and grins)
But I took care of ’em.
MARSHALL
(widens his eyes)
Ohhkay. Well, maybe its just the
janitor or something.
FRED
Now I dunno who it is or what
they’ve been doing, but every night
for the past--
(looks up in the air and
counts to himself)
--two weeks or so there’s been some
busybody walking around through the
halls and going down the stairs.
MARSHALL
Well I’ll keep an eye out, thanks.
I’m gonna go ahead and get out of
here.
(stands up)
Nice meeting you.
Marshall walks away from the table and leaves the room. He
passes by ROSE and CAROLINE who stand behind the front desk
watching over the patients.
8 INT. COMMON ROOM-DAY 8
Another orderly named CAROLINE stands by a printer. ROSE
comes back from passing out medicine and CAROLINE stands
with her arms crossed over her belly. CAROLINE watches
MARSHALL as he plays chess with FRED in disgust. As ROSE
returns to being behind the front desk CAROLINE begins to
speak to her.
(CONTINUED)
CONTINUED: 8.
CAROLINE
You know you don’t have to be that
nice to them. They’re just
patients.
ROSE
Oh, its no biggie.
CAROLINE
(leans into ROSE’s shoulder)
Especially that one.
ROSE
Which one?
CAROLINE
The one from Rhode Island. I don’t
know his name.
ROSE
(looks up)
Oh-- Marshall? He’s a sweetheart!
CAROLINE
(steps back)
Sweetheart? You know what he did,
right?
Marshall stands up from the drawing board table and walks
towards the door. CAROLINE drops her voice and watches him
come their way.
ROSE
Yeah I do. But by being in that
type of environment, you don’t know
what you’re capable of.
CAROLINE
Well I’m just saying. I’m watching
him-- and you should too. I can
tell, he’s no good.
Marshall is walking past the desk and overhears CAROLINE’s
comments. He gives her a sideways glance and keeps on
walking. When he reaches the corridor he twitches in his
right shoulder slightly.
9.
9 INT. CAFETERIA-EVENING 9
MARSHALL stands up for a table in the cafeteria and walks to
a trash can. The room is lit brightly from the fluorescent
panels on the ceiling, which is in sharp contrast to the the
darkening sky outside the windows. Rafters hang up high.
Rows and rows of tables are lined up in the room and full of
patients chattering and laughing. MARSHALL throws away the
trash from his tray and walks from his door.
10 INT. HALLWAY OUTSIDE MARSHALL’S ROOM-EVENING 10
MARSHALL shuffles down the thick ornate carpet that lines
the hallway to his room. He pushes the door open and walks
in, letting it swing and shut behind him.
11 INT. MARSHALL’S ROOM-NIGHT 11
MARSHALL lays on his bed, cradling his head in his arms and
looking up at the ceiling. Thunder and lightning strikes
outside in the storm and the reflection of raindrops on
MARSHALL’s window streaks across his face. MARSHALL blinks
his eyes furiously in his drowsiness and falls asleep.
12 INT. WELLINGTON INDUSTRIES, MARSHALL’S OFFICE (FLASHBACK) 12
MARSHALL’s office is organized and blueprints are stacked in
a neat pile. He is eating a sandwich and playing solitare on
his desktop. On the left side of desk he has a small
television with the channel set on the local news. The news
says that the CEO of Wellington Industries is in a coma
after his car exploded while he was in it.
13 INT. WELLINGTON INDUSTRIES (FLASHBACK) 13
TWO OFFICERS come in the front door and stop at the
receptionist MRS. WALLACE’S desk. MARSHALL swivels around in
his chair to see what is going on. MRS. WALLACE guides the
officers down the aisle to MARSHALL’S cubicle.
OFFICER #1
Are you Marshall Lapsley?
MARSHALL
Yes I am. How can I help you?
(CONTINUED)
CONTINUED: 10.
OFFICER #2
(TWO OFFICERS look at each
other and then back at him)
Marshall Lapsley, you are under
arrest for the attempted murder of
Abe Wellington. Anything you say
can and will be used in the court
of law...
Two officers apprehend MARSHALL. They stand him up and put
his hands behind his back and cuff him. Marshall looks back
and forth at each officer.
MARSHALL
I--I don’t understand whats going
on!
(struggling)
What is this?!
OFFICER #2
...you have the right to speak to
an attorney. If you cannot afford
an attorney, one will be appointed
to you.
(locks the cuffs)
MARSHALL
But I didn’t do anything!
The two officers hold onto MARSHALL’S arms and walk him out
of the cubicle. Workers stare at them as they leave through
the front doors.
14 INT. RHODE ISLAND STATE PRISON-DAY (FLASHBACK) 14
MARSHALL walks along a lengthy jail hallway. Cells line each
side and there are noisy prisoners scream, yell, and taunt
him. MARSHALL has his feet and hands shackled together as he
holds his bedsheets and toiletries. A CORRECTIONS OFFICER
follows closely behind him. He uses his key to unlock the
cell and MARSHALL walks inside. After entering it shuts he
turns around and sees his cellmate BOBBY GRIFFIN sitting on
the bottom bunk.
MARSHALL
Hello.
BOBBY GRIFFIN stares at MARSHALL in silence. MARSHALL moves
to the bunk and places his belongings on the top.
(CONTINUED)
CONTINUED: 11.
BOBBY GRIFFIN
Where you from, boy?
MARSHALL
I’m from here, Rhode Island.
BOBBY GRIFFIN
Same here.
(props his fist on his hip)
I’ve been here in this place for
some time now. All because some
punk didn’t want to keep his mouth
shut. We jacked a couple cars, ya
know tryna make some quick cash.
Gave me my third strike.
BOBBY GRIFFIN stands up and rests his arm on MARSHALL’s
bunk. MARSHALL tenses.
BOBBY GRIFFIN CONT’D.
Imma tell you like this, boy. The
only way you’re gonna make it in
here is to not take any shit from
no one.
MARSHALL
Well I plan to out soon as I get
this thing sorted out. I don’t need
to know any survival tactics.
(straightens his bedsheets)
BOBBY GRIFFIN
Yeah, thats what they all say.
(sits back down on his bunk)
MARSHALL
Don’t know.
BOBBY GRIFFIN
Sure you do. Look, no one likes to
be lied to--
(cracks his knuckles)
--and I’m the last one you wanna
make mad, you understand? So what
are you in for? Murder?
(chuckles, then quickly
straightens his face)
Did you rape a little girl or
something?
MARSHALL
(stops fiddling with his
things)
(MORE)
(CONTINUED)
CONTINUED: 12.
MARSHALL (cont’d)No. Just drop it, okay? It’s none
of your concern.
BOBBY GRIFFIN
Let’s get one thing straight. Okay.
This cell was mine before you even
got here-- so I’ll ask whatever I
want. Ya hear me?
BOBBY GRIFFIN stands up again gets in MARSHALL’s face. He
grabs his bottom jaw and chin in his tight grasp.
BOBBY GRIFFIN CONT’D.
Now. Just stop making this hard on
yourself, boy. What ya in for, man?
Did you kill someone. Yeah-- prolly
did, you look like one of those
funny, calculating types--
(releases MARSHALL’s jaw)
CORRECTIONS OFFICER #1 comes to their cell and bangs his
nightstick on the bars.
CORRECTIONS OFFICER #1
Hey, Bobby! Knock it off or you’re
gonna find yourself in the box.
BOBBY GRIFFIN turns to the officer and tries to convince him
that he wasn’t doing anything. MARSHALL slowly backs away to
the window, twitching.
15 INT. RHODE ISLAND STATE PRISON, MARSHALL AND BOBBY’S
CELL-EVENING (FLASHBACK) 15
MARSHALL is in his cell laying on his bunk after dinner. His
arms are behind his head and he is staring at the ceiling.
WARDEN and CORRECTIONS OFFICER #1 comes to MARSHALL’s cell
and prys the bars to the side.
WARDEN
Get up, Lapsey. You’re coming with
us.
MARSHALL
Um ok...
(jumps off his bed)
Do you mind me asking what’s going
on?
(CONTINUED)
CONTINUED: 13.
WARDEN
We have reason to suspect that you
murdered your cellmate, BOBBY
GRIFFIN.
MARSHALL
Wh-what do you mean?
CORRECTIONS OFFICER #1
We found Bobby in the shower, dead.
You know anything about that
Marshall? You were the last person
seen with him.
(moves behind Marshall and
locks cuffs around his wrists)
MARSHALL
I’ve been here the entire time! I’m
telling you it’s not me! I didn’t
do it!
CORRECTIONS OFFICER #1 drags MARSHALL out of the cell, and
WARDEN follows behind.
16 INT. MARSHALL’S ROOM-NIGHT 16
MARSHALL is back on his bed in St.Mary’s Mental Hospital.
Lightning strikes, displaying the freckle of raindrops on
the window across his head.
17 INT. LAPSEY CHILDHOOD HOME (FLASHBACK) 17
MARSHALL is a young boy, running down to the hallway
closet.He scuttles in the room, panting and crying and
presses his body against the closet door in an attempt to
shut it before RUSS LAPSEY can get in. RUSS LAPSEY towers
over MARSHALL and shrouds him in his bulky shadow.
RUSS LAPSEY
Get out here you little bitch!
(pointing to the hallway
behind him)
On second thought, stay.Maybe after
a couple hours in there you’ll come
out and be a son I can be proud of.
Marshall doesn’t make eye contact and scoots to the back of
the small room. He pulls his legs up under his chin and
twitches in fear. RUSS LAPSEY shuts the door, leaving
MARSHALL in total darkness. The sounds of his cries can be
heard outside the door.
14.
18 INT. MARSHALL’S ROOM- MORNING 18
MARSHALL is woken by ROSE coming in to make her daily
wake-up call rounds. Sunlight streams in through the open
blinds, brightening up the plain furniture in his doldrum
room. MARSHALL finds himself in the same corner of the room,
in an upright fetal position like he was the day before.
ROSE straightens out the curtains that line the windows.
ROSE
Morning Marshall! Did you sleep
well?
(brushes the curtains, and
sighs when MARSHALL doesn’t
reply)
Well to remind you, Dr. Baker will
be waiting for you this afternoon
for your weekly therapy session.
ROSE stops fiddling with the curtains and turns towards
Marshall, clasping her arms in front of her.
ROSE CONT’D.
He speaks very highly of you, you know?
ROSE walks slowly to the door, and stops at the sound of
MARSHALL’s voice.
MARSHALL
Thank you Rose, for being so nice
to me.
ROSE
(places her hand on the
doorframe)
No problem at all Marshall. You
make it easy. See you later.
19 INT. COMMON ROOM-DAY 19
MARSHALL gets dressed and heads to the common room, which is
bustling with activity during social hour. The ORDERLIES
seem to be moving around warily, darting their eyes back and
forth at the patients. MARSHALL sees FRED at his chess table
and takes a seat across from him. After sitting FRED leans
in over his chess pieces and SPEAKS.
FRED
(whispering)
Hey there, buddy. You hear about
what happened last night?
(CONTINUED)
CONTINUED: 15.
MARSHALL
No, no I haven’t.
(gazes around the room)
But something about today just
seems-- off.
FRED
Well you know that bitch orderly,
Caroline
(picks up his chess piece and
brandishes it around)
She was assaulted last night!
Marshall now leans in a little closer to the table, face
gone white.
MARSHALL
(in shock)
Really? Well, you know, she wasn’t
the most kind person. But I
wouldn’t think someone would take
it upon themselves to hurt her at
the same time...
FRED
Yeah! Anywho, someone tried to
strangle her with a towel, a sheet,
or something. Thank God she isn’t
dead-- but she don’t have no
recollection what happened, from
what I’ve been told.
FRED takes a quick swig of water. ROSE comes over to the
drawing board table with a tray of medicine.
ROSE
Here is your medication, Marshall.
ROSE hands MARSHALL a dixie cup with pills in it, and he
down the medication with a quick swig from his water bottle.
FRED turns his head to the right, avoiding eye contact with
ROSE.
ROSE CONT’D.
You can go ahead and make your way
over to Dr.Baker’s office-- he is
expecting you.
MARSHALL stands up from his chair and walks towards the
doorway. FRED begins fiddling with his playing pieces and
talking to himself.
16.
20 INT. OUTSIDE DR.BAKER’S OFFICE/DR.BAKER’S OFFICE-DAY 20
MARSHALL walks up to DR.BAKER’s office and knocks on the
door softly before coming in. DR.BAKER waves at MARSHALL as
he leans over his desk, talking on the phone, and beckons
him to come in. The office is expansive, with hues of brown
decorating it. A one chandelier hung over the therapist’s
cushy armchair and a couch sitting catacorner from it.
MARSHALL moves to the chairs and DR.BAKER hangs up the
telephone.
DR. BAKER
Hello Marshall, how are we doing
today?
MARSHALL
(talks him hands between his
legs)
Everything is fine, I suppose.
DR.BAKER straightens the lapels on his suit jacket and looks
for him pad and paper on his desk. He finds them and strolls
over to his chair
DR.BAKER
Good, good!
(sits down)
And how are you sleeping
MARSHALL
I’ve been sleeping okay, I guess.
Today, though, I woke up feeling a
little outside myself. Maybe it’s
just me trying to adapt to this
environment still.
DR.BAKER
(nods)
(Yes, it will take a while to
adjust to all these recent
changes in your life. But I am
positive that it will get
better.)
MARSHALL smiles slightly. DR. BAKER scribbles something on
his pad.
DR. BAKER
Ah!
(snaps fingers)
I’m sorry Marshall. I have to step
out briefly and grab something from
the mailroom Do you mind?
(CONTINUED)
CONTINUED: 17.
MARSHALL
No, not at all.
DR.BAKER
All right, then I’ll be right back.
Dr.Baker stands up and heads to the door
DR.BAKER CONT’D.
(cranes his neck around)
Again, I am sorry for interrupting
our session.
DR.BAKER leaves the office and MARSHALL remains seated. He
rocks back and forth slightly and looks around the room,
waiting. He begins to twiddle his thumbs. Dr.Baker’s phone
rings loudly three times.
MARSHALL
Aw, shoot. He’s not in here.
Marshall walks to the doorway and peers down both ends of
the hall, seeing Dr.Baker nowhere in sight.
MARSHALL
(voice echoing)
Dr.Baker? Dr.Baker, your phone is
ringing!
(shrugs his shoulders)
Marshall walks over to the phone on the desk and answers the
phone.
MARSHALL
Dr.Baker’s office, can I help you?
There is static on the line, and a long silence.
MARSHALL
Hello?
BOMBER
(breathing heavily)
There’s a bomb in the building.
MARSHALL
What? Pardon me?
BOMBER
It’s in the basement. I’ve set it
to detonate at nine p.m. Better
warn somebody.
(cackles)
(CONTINUED)
CONTINUED: 18.
Marshall’s eyes widen and he clasps the phone with both
hands.
MARSHALL
Who is this? Your voice sounds
familiar. Is this some kind of sick
joke???
The line goes dead, and MARSHALL sets the reciever back on
the hook, shaking.
21 INT. COMMON ROOM-DAY 21
PATIENTS are sitting in the room, playing games as they
would any other day. ROSE and the other ORDERLIES are behind
the desk conversating. MARSHALL bursts into the room,
huffing and puffing, which startles the everyone in the
room.ROSE comes to MARSHALL and puts her arm around
MARSHALL’s shoulders.
ROSE
What’s wrong Marshall?
MARSHALL
(taking a moment to catch his
breath)
There’s a bomb in the basement.
ROSE
Wh-what? What would make you say
something like that Marshall?
MARSHALL
It is! The guy-- he called-- and he
said he set a bomb in the building!
The room has gotten very quiet. The other ORDERLIES who were
behind the common room desk surround the pair.
ROSE
Ok, just calm down and tell us
everything that happened Marshall.
Where’s Dr.Baker?
MARSHALL
He left the room in the middle of
our session. The phone rang and
rang, and he wasn’t back so I just
picked it up.
(frantic)
A guy on the other end of the line
said he was going to blow the
building!
(CONTINUED)
CONTINUED: 19.
ROSE takes her arm off Marshall and looks at the other
orderlies, then they look back at Marshall. Marshall stands
there looking helpless.
ORDERLY #1
Ok sir, I’m sure this is just some
misunderstanding.
(inches toward Marshall)
Maybe you should just go and take a
nap.
MARSHALL
(grabbing Rose)
No! You gotta believe me!
The orderlies react very negatively to Marshall’s actions
and grab him. Marshall twists in against their attempt to
restrain him.
ROSE
I’m so sorry Marshall!
An orderly whips out a syringe and sedates Marshall. He
slowly slips to the ground.
22 EXT. ST.MARY’S MENTAL HOSPITAL COURTYARD-EVENING 22
MARSHALL is pushed on a gurney across the courtyard. It is
twilight, and the sky is bright pink and orange. The
orderlies push Marshall to an outhouse that resembles a
mausoleum. ORDERLY #1 unlocks the thick doors and holds one
open to help the other ORDERLIES push the gurney in. He
comes in after them and the door slams shut.
23 INT. THE BOX-EVENING 23
The light switch is flipped and a light hanging from the
ceiling in the middle of the room swings back and forth over
MARSHALL’s gurney. The ORDERLIES finish strapping MARSHALL
down and wheel the gurney the brought him in out of the
room. A door shuts in the distance. MARSHALL wakes up from
his medicated state, fading in and out for some time.
24 INT. THE BOX-NIGHT 24
MARSHALL fully wakes up and restrains against his straps.
Perspiration is etched across his forehead and his skin
turns redder the more he struggles. He gives up and stares
at the ceiling. A bomb goes off in the distance with a
thunderous BOOM. The room shakes and the light above
(CONTINUED)
CONTINUED: 20.
MARSHALL SWINGS back and forth violently. Cries of anguish
and for help are heard in the distance. MARSHALL’s face
twists in fear, then calms.
25 EXT.WELLINGTON INDUSTRIES PARKING LOT 25
The sky is dark and ABE WELLINGTON walks out of the front
doors of his company. He walks to his Porsche parked in the
front and gets inside. ABE WELLINGTON quickly backs out of
his parking spot and speeds out of the lot. After coming to
a stoplight he turns the corner. MARSHALL is parked across
the street. He pulls out the wrong way and intentionally
rams into ABE WELLINGTON’s car head on.
26 INT. LAPSEY CHILDHOOD HOME (FLASHBACK) 26
RUSS LAPSEY stumbles into the house and stares down
MARSHALL. MARSHALL tries to get away but his father grabs
him and throws him down to the floor. A struggle ensues.
27 INT. LAPSEY CHILDHOOD HOME, MARSHALL’S ROOM (FLASHBACK) 27
MARSHALL stares intently at his computer screen. He loads up
a computer game called "Bombers". Through his icon he
furiously throws bombs at buildings, getting a very angry
look on his face and angrily tapping the keys. After
defeating one level he rest his hands in his lap, breathing
heavily.
28 INT. DR.BAKER’S OFFICE-DAY 28
MARSHALL walks from the door and picks the phone. There is
no one on the other end of the line, save static. MARSHALL
sets the phone down slowly on the hook and twitches.
29 INT. ST.MARY’S MENTAL HOSPITAL BASEMENT-NIGHT 29
MARSHALL is in the dark basement with light hanging above
his head. blue prints are littered in front of him and he
tweaks a gadget with a screwdriver. MARSHALL hears a noise
above his head and freezes. After waiting a few seconds more
he continues with his work.
21.
30 INT. THE BOX-NIGHT 30
MARSHALL is in the dark room with the overhead light swaying
above his head. The sound of fire crackling breaks through
the walls in the room all St.Mary’s Mental Hospital burns.
MARSHALL slowly breaks into a smile, and he twitches.
