Actor Point >> Movie Scripts >> After.Life Film Script

After.Life Movie Script

Writer(s) : Agnieszka Wojtowicz-Vosloo

Genres : Drama, Horror, Thriller

Search IMDb : After Life



 
                                 AFTER.LIFE

                         

                         

                                 Written by

                         Agnieska Wojtowicz-Vosloo
                         

                         

                         

                         

                         REVISED 10/07/08

          INT. PAUL'S APARTMENT. BEDROOM - DAY


                         BLINDING WHITENESS
          We hear a MAN GASPING softly.     Rhythmically.
          A LUMINOUS PALE SHAPE slowly forms out of the searing
          whiteness. Gradually we realize we're moving across the
          ALABASTER BODY of a WOMAN. Her skin translucent.

          ON THE WOMAN'S FACE
          Ethereal.   Her eyes closed.     Her face lifeless.   Then...
          ...her eyes open. She looks straight at us with unseeing
          pale blue eyes. This is ANNA (late 20s).
          We pull back. PAUL (30s) makes love to Anna. Their
          movements perfunctory. Passionless. He turns to look at
          her. Realizes she's not there. He suddenly stops.
          Rolls off her. Sits on the edge of the bed.

                                                  PAUL
                      What's wrong?

                                                  ANNA
                      Nothing.
          Anna leans down and picks up her RED SLIP from the floor.

                                                  PAUL

                                            (SIGHS WEARILY)
                      You used to enjoy it. Now it's...
          He shakes his head.    Frustrated.   Lights a cigarette.

                                                  PAUL
                      ...it's like fucking a corpse.
          Paul immediately realizes he's gone too far.      Turns to Anna.

                                                   PAUL
                      Shit.   I'm sorry.   That was--
          Anna gets out of bed. Walks towards the bathroom.       Paul
          puts his head in his hands.

                         

          INT. PAUL'S APARTMENT. BATHROOM - MOMENTS LATER

          Through the fogged shower partition we see the blurred
          ghostly figure of Anna. Paul walks in.

                                                  PAUL
                      Anna. I'm sorry. That was a stupid
                      thing to say.   But you know sometimes...
                      sometimes it's like you're not here
                      anymore. Like you're somewhere else.

                                                                      2.

                         

                         
          Anna doesn't reply.

                                                PAUL
                    Is this about us?

                         ON ANNA
          her head bowed as she lets the water wash over her.

                                                ANNA
                    It's not about us.

                                 PAUL (O.C.)
                    Then what is it?

                                                ANNA
                    I don't know.

                                 PAUL (O.C.)
                    I just want us to be happy.
          Anna doesn't move.    We sense the emptiness inside her.

                                 PAUL (O.C.)
                    Are you happy?
          She closes her eyes.    Forces herself to reply.

                                                   ANNA
                    I'm happy.

          A DROP OF BLOOD
          falls into the water.   Then another drop.

                         ON ANNA
          her nose is bleeding. She touches her lips. Looks
          impassively at the blood on her fingertips. The SOUND OF
          WATER carries into the next scene...

                                                       FADE TO WHITE.

                         

          A STREAM OF CRYSTAL BLUE WATER
          A MAN'S HANDS penetrate the water. Thin and elegant.
          Perfectly manicured. Turning slowly as he washes them
          meticulously. He picks up a crisply folded white towel.
          Dries his hands carefully. Snaps on white latex gloves.

                         

          EXT. CEMETERY - MORNING

          A beautiful morning. We move through a tranquil cemetery.
          Pastoral and idyllic. Dappled light falls through old
          trees onto statues of grieving angels.

                                                                   3.

                         

                         

                         

          EXT. FUNERAL HOME - CONTINUOUS

          A path leads to an old well-kept house. Amongst a blaze of
          violet tulips we see a sign: Eliot Deane. Funeral Home.

                         

          INT. FUNERAL HOME. CASKET DISPLAY ROOM - MORNING

          Sun streams into an elegant wood-panelled room. The
          Funeral Director, ELIOT DEANE (40s) guides MRS. AYRES
          (70s) past caskets tastefully arranged on faux-marble
          pedestals. He's a serene man. Quiet and professional.

                                                ELIOT
                    The Antique Carlisle. Solid cherry.
                           (strokes the wood lovingly)
                    Hand rubbed satin finish. Tufted
                    sovereign interior. Eternal-Rest
                    adjustable mattress with matching pillow.
          He gestures to a metal casket.

                                                ELIOT
                    Or perhaps the Aegean? Solid bronze
                    exterior. Hand brushed finish with
                    Grecian bronze highlights.

                                 MRS. AYRES
                    The Antique Carlisle. Definitely the
                    Antique Carlisle.

                                                ELIOT
                           (writes in his notebook)
                    Excellent choice.
          Mrs. Ayres caresses the soft velvet trimming.

                                 MRS. AYRES
                    An antique coffin for an antique lady.
                    We suit each other.

                                                 ELIOT

                                          (SMILES)
                    You'll look beautiful.

                                          (BEAT)
                    Now about the service.   Would you like a
                    private visitation?
          Mrs. Ayres is miles away.

                                                 ELIOT
                    Mrs. Ayres?

                                 MRS. AYRES
                    I'm sorry. Yes. A private visitation.

                                          (HESITATES)
                    Mr. Deane? What happens when we die?

                                                                    4.

                         

                         
          Eliot chooses his words carefully.

                                                ELIOT
                    It's different every time.   Each person
                    dies in their own way.

                         

          INT/EXT. ANNA'S CAR - MORNING

          Anna drives past the strip malls of a small suburban town
          in a GREEN TOYOTA. On the dashboard a KITSCHY BOBBLEHEAD
          DOLL nods its head from side to side. Anna pulls up to a
          red light. Glances across at the other cars. We see the
          vacant faces of COMMUTERS staring blankly into space.
          The light changes. Anna hasn't noticed. The car behind
          her HONKS in frustration. She quickly pulls out...
          ... just as a SUV turns in front of her. She slams on
          her brakes. Hard. Missing the SUV by inches. The
          DRIVER screams at her. His face contorted in ugly rage.

                         

          EXT. ELEMENTARY SCHOOL. PARKING LOT - MORNING

          Anna locks her car.   Heads towards the main building.

                         

          INT. ELEMENTARY SCHOOL. CORRIDOR - MORNING

          Classes have started. JACK (11), a serious looking boy,
          walks through a silent corridor. Up ahead two OLDER
          BOYS, a TALL KID and a KID with ACNE, push a GEEKY BOY
          against a locker. Jack tries to pass by unnoticed.

                                                 TALL KID
                    Hey.   Jack-off!
          Jack walks faster. The two Older Boys set off after him.
          He darts into a corridor. Ducks into an empty classroom.

                         

          INT. ELEMENTARY SCHOOL. BIOLOGY CLASSROOM - MOMENTS LATER

          Jack waits anxiously by the door. It looks like he's
          lost the bullies. Then a sudden rustling noise makes him
          jump. He turns. TINY CHICKS huddle in a plastic
          incubator on a table. Jack moves over to them.

                                 TALL KID (O.C.)
                    Didn't you hear me Jack-off?
          Jack swivels round. The Tall Kid walks towards him as
          the Acne Kid guards the door. Jack doesn't reply.

                                                ACNE KID
                    He must be deaf.

                                                                     5.

                         

                         

                                                TALL KID
                    You deaf Jack-off?
          Jack ignores them.   Irritating the Tall Kid even more.

                                                TALL KID
                    Can't fucking speak either.
          He pushes Jack against the table, toppling the incubator.
          Panicked, the CHICKS scatter across the surface. Just
          then the door opens. Anna walks in.

                                                ANNA
                    What's going on?
          She glances at the Older Boys then at Jack.

                                                 ANNA
                    Jack?

                                                JACK
                    Nothing Miss Bryant.

                                                ANNA
                    Nothing? The incubator didn't just
                    fall by itself.
          The Older Boys stare at Jack.    Waiting for his reaction.

                                                 JACK
                    I tripped.   It was an accident.
          Anna looks at Jack carefully.    She knows he's lying.

                                                ANNA
                           (to the Older Boys)
                    Show's over. Get to your classes.

                                          (TO JACK)
                    Jack. Help me clear up.
          Jack doesn't hear her. He's mesmerized by a SOLITARY
          CHICK standing motionless in the corner of the incubator.

                                                JACK
                    I think it's dead.
          Anna reaches in.   Tenderly picks up the chick.

                                                 ANNA
                    No.   The poor thing's just scared.

                         

          INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - DAY

          School's over. Anna listlessly corrects a stack of
          exercise books. She can't focus. Pulls out a BOTTLE OF
          PILLS. Shakes a pill into her hand. Swallows it dry.

                                                                     6.

                         

                         

                         

          INT. LAW OFFICE. CONFERENCE ROOM - DAY

          Paul works with half a dozen COLLEAGUES around a large
          conference table covered with documents and thick files.
          He reaches across to a pizza box. It's empty.

                                                 PAUL
                    OK.   Who took the last pepperoni?
          A PREPPY GUY slides across another pizza box.

                                                PAUL
                    Great.  Broccoli.
                           (lifts out a slice)
                    Who the fuck ordered broccoli?
          NEAL, a thin pallid guy, looks up.

                                                NEAL
                    Oh that's just disgusting.

                                                PREPPY GUY
                    What's wrong with vegetarian pizza?   It's
                    healthy.

                                                NEAL
                    Pizza isn't supposed to be healthy.
          Paul glances at his watch. Suddenly realizes the time.
          He quickly picks up his cell phone. Heads for the door.

                                                NEAL
                    You ordering in another pizza?

                                                  PAUL
                    Yeah.    With wheatgrass and alfalfa sprouts.
          Everyone laughs.

                                               PREPPY GUY

                                         (MUTTERS)
                    Yeah. Yeah. Smart asses.

                         

          INT. LAW OFFICE. CORRIDOR - MOMENTS LATER

          Paul walks into the corridor dialling his cell phone.

                         

          INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - SAME TIME

          Anna's cell phone rings as she closes her locker. She
          fishes it out from her bag as she heads to the door.
          Checks the ID. Hesitates. Then takes the call.

                                                                   7.

                         

                         

                         

          INT. LAW OFFICE. CORRIDOR - SAME TIME

          Paul cups his cell.    Worried he'll be overheard.

                                                  PAUL
                    Hi baby.    I'm really sorry about this
                    morning.    I fucked up. I know.

                         

          INT. ELEMENTARY SCHOOL. CORRIDOR - SAME TIME

          Anna steps into an empty corridor.

                                  PAUL (O.S.)

                                          (FILTERED)
                    We still on for tonight?

                                          (BEAT)
                    Anna?

                                                ANNA
                    I don't know Paul.

                         

          INT. LAW OFFICE. CORRIDOR - SAME TIME

          Paul's anxious.    We sense he's hiding something.

                                                  PAUL
                    Please Anna.    It took me weeks to get the
                    table.

                                 ANNA (O.S.)

                                          (FILTERED)
                    Maybe we can change it to Thursday--

                                                   PAUL
                    No.     It has to be tonight.

                                ANNA (O.S.)

                                         (FILTERED)
                    Paul? What's the matter?
          Paul tries hard to cover his nervousness.   Forces a smile.

                                                PAUL
                    Nothing. Don't worry. I just need... I
                    just want us to have dinner tonight.

                         

          INT. ELEMENTARY SCHOOL. CORRIDOR - SAME TIME

          Despite Paul's reassurances Anna is clearly worried now.

                                                  ANNA

                                            (HESITATES)

                    OK.

                                                                        8.

                         

                         

                                   PAUL (O.S.)

                                            (FILTERED)
                    Great.

                         

          INT. LAW OFFICE. CORRIDOR - SAME TIME

          Paul hesitates.    Lowers his voice.

                                                  PAUL
                    And Anna.    Everything's going to be fine.

                                 ANNA (O.S.)

                                          (FILTERED)
                    Promise?

                                                  PAUL
                    I promise.

                         

          INT. ELEMENTARY SCHOOL. CORRIDOR - MOMENTS LATER

          Anna slips her phone back into her bag as she walks
          through the deserted corridor. Her high heels echo
          loudly in the eerie quietness.
          Suddenly one of the fluorescent ceiling lights behind her
          blows out with a loud WHUMPH. Anna starts. Turns.
          WHUMPH. The next light dies. Anna quickens her step.
          The lights go off one by one. The darkness quickly
          creeping up behind her. There's only one light still on
          as she reaches the exit. She looks up. The light
          flickers. But then strangely stays on. Bathing her in a
          cold pool of light.
          Anna's unsettled. She turns and frantically pushes the
          door. It doesn't open. She pushes hard with both hands.
          Nothing. It's locked. She turns back slowly. The
          darkness around her impenetrable. Almost viscous. She
          reaches out...
          ... her hand DISAPPEARS into the thick blackness.     Anna
          snatches her hand back. Stares at it.
          Then we hear the sound of SLOW FOOTSTEPS.    Moving
          deliberately towards her.

                                                  ANNA

                                            (NERVOUSLY)
                    Hello?
          Her voice echoes down the silent corridor.   She glimpses
          something move in the blackness.

                                                ANNA
                    Is someone there?

                                                                       9.

                         

                         
          A BLACK SHAPE materializes inside the darkness. Silent.
          Brooding. Anna can't move. Terrified. Suddenly the
          corridor's flooded with a BLINDING WHITE LIGHT.
          Anna's dazzled. Shades her eyes with her hand.     As she
          tentatively pulls her hand away...
          ...it's only Jack.   His hand on the light switch.

                                                  ANNA
                    Jack!

                                                JACK
                    Did I scare you Miss Bryant?
          Jack moves over to the door.

                                                  ANNA
                    It's locked.
          He gently pushes against the door.    The door slowly opens.

                         

          EXT. ELEMENTARY SCHOOL - MOMENTS LATER

          Anna, still shaken, walks with Jack towards the parking lot.

                                                ANNA
                    Shouldn't you be home?

                                                 JACK
                    My mom's picking me up.

                                          (BEAT)
                    It's my birthday. We're going to
                    MacDonald's. Then on Saturday my mom's
                    taking me to Busch Gardens. We're
                    going to ride the Alpengeist.

                                          (EARNESTLY)
                    Continually voted one of the top ten roller
                    coaster rides in America, the Alpengeist is
                    a breathtaking avalanche of adventure.

                                                ANNA
                           (tries to keep a straight-face)
                    I didn't know the park was open yet.

                                                JACK
                    My mom's friends with the manager.
                    They're opening it specially for me.
          She knows he's lying again.     Smiles sadly.

                                                ANNA
                    Sounds like fun.

                                                  JACK
                    Yes.    It will be fun.

                                                                      10.

                         

                         
          They reach Anna's car.    Stand in silence for a moment.

                                                ANNA
                     Jack. Those boys.    Do they bother you
                     a lot?
          Jack hesitates.    Then slowly nods his head.

                                                 ANNA
                     You know you can always talk to me about
                     it if you want to.
          He nods.   Anna's clearly worried about him.

                                                 ANNA
                     You sure you don't need a ride?
          Jack shakes his head.    Anna glances at her watch.

                                                  ANNA
                     Well.   I better run.

                                                 JACK
                     Where are you going?

                                                 ANNA

                                           (HESITATES)
                     I have to go to a funeral.   My old piano
                     teacher.

                                                 JACK
                            (with sudden interest)
                     Can I come?

                                                  ANNA
                     No Jack.   Funerals are very private
                     affairs.

                                                 JACK
                     I've never been to a funeral.

                                                 ANNA
                     It wouldn't be appropriate Jack. Anyway
                     wouldn't your mom worry about you?

                                                 JACK

                                           (SHRUGS)
                     Not really.

                                                 ANNA
                     I'm sure she would. I'll see you
                     tomorrow in class. Have a wonderful
                     birthday.
          Jack nods disappointed.   Anna watches him walk away then
          gets in her car.

                                                                   11.

                         

                         

                         

          INT. ANNA'S CAR - MOMENTS LATER

          Anna slips her key into the ignition. Loud music suddenly
          blares from the car radio. She switches it off. Squeezes
          the bridge of her nose. She pulls out a bottle of pills
          from her bag. It's empty. She rummages in the glove
          compartment. Finds another bottle. Empty. She sighs.

                         

          EXT. ELEMENTARY SCHOOL - MOMENTS LATER

          Jack sits on the bench. Watches Anna drive away. Then
          unzips his backpack. Something moves inside. A strange
          jerky movement. Jack closes the backpack. Glances up
          and down the empty street. Then walks away on his own.

                         

          EXT. STRIP MALL. PHARMACY - DAY

          Anna steps out of the Pharmacy. As she washes down a pill
          with a bottle of water she notices a small Hair Salon.
          Looks critically at herself in the Pharmacy window.
          Anna moves over to the Salon. Reaches for the door
          handle... then hesitates. She's about to walk away when
          the Salon door suddenly opens. Anna smiles shyly as a
          freshly COIFFURED WOMAN politely holds the door for her.

                         

          INT. HAIR SALON - DAY

          Anna leans back against a washbasin.    Her neck tightly
          cradled against the white porcelain.    The light's harsh
          and not particularly flattering. She    closes her eyes.
          Behind her the HANDS of a HAIRDRESSER   in latex gloves
          begin to rinse dye from Anna's hair.

                         ON SINK
          Startling white. A stream of water flows into the sink.
          Then after a moment the spiralling clear water gradually
          turns a deep crimson red.

                         

          INT. MOTHER'S HOUSE. HALLWAY - DAY

          Anna closes the front door behind her. She smiles as
          she catches her reflection in the hallway mirror. Her
          hair a dark vibrant red. Just then, from another room,
          we hear an OLD WOMAN'S hacking cough.

                                  OLD WOMAN (O.S.)
                    Anna?   Is that you?

                                                 ANNA
                    Yes Mother.

                                                                   12.

                         

                         

                         

          INT. MOTHER'S HOUSE. BEDROOM - MOMENTS LATER

          Anna's mother, BEATRICE (50s), sits in bed, knitting with
          swift, violent precision. The bedside table's stacked
          with medication. She's clearly been bed-ridden for some
          time. An electric wheelchair in the corner of the room.
          Anna appears at the door. Beatrice scrutinizes her for a
          second. Then returns to her knitting.

                                                BEATRICE
                    Terrible color.
          Anna moves to the beside table.   Picks up a dirty plate.

                                                ANNA
                    Can I get you something to eat?

                                                BEATRICE
                    I'm not hungry.

                                                ANNA
                    You have to eat.

                                                BEATRICE
                    I don't have to do anything.

                                                ANNA
                    The doctor said--

                                                BEATRICE
                    The doctor's an idiot. He doesn't know
                    what he's talking about.
          Anna sighs. Trying hard not to let her Mother provoke
          her. Beatrice glances up. Anna avoids her look.

                                                BEATRICE
                    Why did you do it? Today of all days.

                                                ANNA
                    What have I done wrong this time?
          Anna goes to the window.   Draws back the curtains.

                                                BEATRICE
                    You've forgotten haven't you?

                                                ANNA
                    No I haven't forgotten.   The service
                    isn't till six.

                                                BEATRICE
                    Then you've got plenty of time to wash it
                    out.

                                                                   13.

                         

                         

                                                ANNA
                    It's permanent. You can't wash it out.

                                                BEATRICE
                    Then dye it back. You can't show up at
                    the funeral looking like that. Like some
                    prostitute.

                                                ANNA
                    I don't look--

                                                BEATRICE
                    Don't argue with me. Why are you
                    constantly arguing with me?
          Anna bites her tongue.    Heads to the door.

                                                BEATRICE
                    Where are you going?

                                                ANNA
                    To do the washing up.

                                                BEATRICE
                    The sheets need changing.    They haven't
                    been changed in months.

                                                ANNA
                    I changed them Monday.
          Anna goes to the cupboard.    Takes out clean sheets.

                                                BEATRICE
                    You weren't here Monday. You never sleep
                    at home anymore. What if something
                    happened to me in the middle of the night?

                                                ANNA
                    Nothing is going to happen to you.

                                   ANYWAY DIANE--

                                                BEATRICE

                                          (SNORTS)
                    Fat lot of good she is. I wouldn't have
                    to pay for a Nurse if my only daughter
                    wasn't living in sin with that lawyer of
                    hers. Doing God knows what. They always
                    leave you in the end. You'll see. Just
                    like your father--

                                                ANNA
                    That's enough Mother!
          Anna dumps the sheets on the bed. As she turns to leave
          Beatrice's hand darts out and grabs Anna's wrist.

                                                   BEATRICE
                    That's it.     Go and cry to Paul.

                                                                     14.

                         

                         
          Anna pulls herself free.   Moves to the door.

                                                BEATRICE
                    Go and bitch to Paul about your mean old
                    mother.

                         

          INT. FUNERAL HOME. VIEWING ROOM - DAY

          A warm intimate room. Peaceful. Rows of chairs filled
          with ELDERLY MOURNERS. Eliot stands respectfully beside
          a casket. FATHER GRAHAM (50s) reads at a lectern.

                                                FATHER GRAHAM
                    We have entrusted our brother James
                    Hutton to God's mercy in sure and...

                         

          EXT. FUNERAL HOME. DRIVEWAY - CONTINUOUS

          Anna, in a black dress, walks quickly along the gravel
          driveway. She stops. Stares out over the cemetery.

                                 FATHER GRAHAM (O.S.)
                    ...certain hope of the resurrection to
                    eternal life through our Lord Jesus
                    Christ, who died and rose again for us.

                         

          INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER

          Anna slips into the back of the room. Eliot leads MRS.
          HUTTON (60s) to the body of her husband, JAMES HUTTON
          (70S), lying in the casket. Mrs. Hutton touches a
          bouquet of white roses by the casket.

                                 MRS. HUTTON
                    White roses. They were his favorite.
                    How did you know?

                                                ELIOT
                    They just seemed appropriate somehow.

                                 MRS. HUTTON
                    He looks so peaceful. As if he's only
                    sleeping.
          Anna approaches Mrs. Hutton.   She doesn't notice Eliot
          watching her carefully.

                                                  ANNA
                    Mrs. Hutton.    I'm so sorry.

                                 MRS. HUTTON
                    Thank you Anna. You were always his
                    favorite student.

                                                                    15.

                         

                         
          Anna smiles awkwardly.     Uncomfortable.

                                    MRS. HUTTON
                       How's your mother?

                                                    ANNA
                       Fine.   She sends her condolences.

                                    MRS. HUTTON
                       You look tired dear.

                                                    ANNA
                       No.   I'm fine. Everything's fine.
          But we can see in her eyes that everything's not fine.
          Mrs. Hutton nods, then turns to greet another MOURNER.
          Anna steps nervously up to the coffin.

                         ANNA'S POV
          James Hutton lies peacefully amongst the velvet trimming.
          Suddenly his LIPS PART... as he GASPS SOFTLY.

                         VIEWING ROOM
          Anna steps back terrified. Stares at Hutton. His face
          serene again. It must have been her imagination. She
          glances up quickly. Embarrassed.
          Eliot's still observing her.     He nods to her cordially.

                         

          INT. FUNERAL HOME. ELIOT'S ROOM - DAY

          A spartan room at the top of the house. Eliot carefully
          pins a POLAROID of Hutton lying in a coffin to the wall.
          Next to Hutton's photograph, we briefly glimpse the edge
          of ANOTHER POLAROID.
          Eliot stares intently at Hutton's image for a moment,
          then takes off his jacket and moves to the window.

                         ELIOT'S POV
          Anna's by her car rummaging in a bag for her keys.
          Getting increasingly frustrated.

                         

          EXT. FUNERAL HOME. DRIVEWAY - DAY

          Anna suddenly looses it. Angrily dumps the contents of
          her bag onto the driveway. She kneels down. Grabs the
          keys. Throws the rest of her things back into the bag.
          She stands. Leans against the car. She looks weary.
          She glances up at the sky desperately trying to hold back
          her tears. Black storm clouds gather on the horizon.

                                                                    16.

                         
          Anna brusquely wipes away her eyes with the back of her
          hand. Pulls herself together. Angry with herself.

                         

          INT. FUNERAL HOME. ELIOT'S ROOM - DAY

          Eliot watches intently as Anna drives away.

                         

          INT. RESTAURANT - EVENING

          Paul sits at a window table. It's raining hard outside.
          He glances at his watch then nervously checks his
          pockets. Pulls out a RING BOX. He looks at it for a
          moment then slips it back into his pocket.
          As he refills his glass, Anna appears outside holding her
          raincoat above her head. She stares at Paul for a moment
          through the window marbled with rain.
          Paul suddenly notices Anna at the window.   He starts.
          Spills some of his red wine on his shirt.
          CLOSE on the red stain. It unfurls like a flower.
          Spreading out over the white material.

                                 ANNA (O.C.)
                    Sorry about that.
          Paul dabs the stain with a napkin.

                                                PAUL
                    You scared the life out of me.
          Anna laughs as she sits down.   Paul looks up at her.

                                                 PAUL
                    Your hair.

                                                ANNA
                    You don't like it.

                                                PAUL
                    I didn't say that. It's just very...
                    red. I mean it's not really you is it?
          A WAITER appears at the table before Anna can reply.

                                                WAITER
                    Are you ready to order?

                                                  PAUL
                    Yes.    We'll have the duck.

                                                 ANNA
                    Paul.

                                                                  17.

                         

                         

                                                  PAUL
                    What?    You always have the duck here.

                                                ANNA
                           (picks up the menu)
                    I don't always have the duck.
          Paul shrugs. Pours Anna some wine as she looks through
          the menu. The Waiter taps his pen on his pad
          impatiently. Anna sighs. Puts the menu aside.

                                                ANNA
                    I'll have the duck.
          Paul smiles as the Waiter leaves. Anna tries to ignore
          him. But after a second she can't help smiling back.

                                                PAUL
                    The duck is very good.
          Anna's smile broadens. The tension between them broken
          for the moment. Paul reaches across. Touches her hand.

                                                PAUL
                    Let's not argue tonight.    OK?

                                                 ANNA

                    OK.
          Anna takes a sip of wine.

                                                ANNA
                    This is good.
          She picks up the bottle.    Checks the label.

                                                ANNA
                    And looks very expensive...

                                          (SMILES QUESTIONINGLY)
                    What's the special occasion?
          Paul's momentarily thrown. He tries to cover it by
          rearranging his napkin. Anna notices.

                                                PAUL
                           (suddenly very serious)
                    Actually there is something I need to
                    talk to you about.
          Now Anna's nervous.

                                                PAUL
                    I've been offered a transfer to head
                    office in Chicago.
          Anna looks down.   Stares at her hands on the table.

                                                                   18.

                         

                         

                                                PAUL
                    It'll mean more work of course. More
                    responsibility. A lot of changes. But
                    it's an incredible opportunity. I'd be
                    crazy to turn it down. And...

                                          (NERVOUS)
                    ...well I've been thinking. Maybe it's
                    time for us to...
          Paul pauses as he reaches inside his jacket.

                                                ANNA
                           (without looking up)
                    You're going to leave me.
          Paul's stunned.   Speechless.   Before he can say anything--

                                                ANNA
                    You could've just told me this morning.
                    You didn't need to buy me off with an
                    expensive meal.
          Paul reaches for her hand.     Anna gets up to leave.

                                                 PAUL
                    Anna wait.

                                                ANNA
                    Why did you lie to me? You promised
                    everything was going to be OK.

                                                PAUL

                                          (INCREASINGLY FRUSTRATED)
                    Don't be ridiculous. Anna. You've got
                    it all wrong.

                                                ANNA
                    I'm not being ridiculous. Why do you
                    always talk to me like I'm a small child?

                                                 PAUL
                            (as if talking to a small child)
                    Anna.

                                                ANNA
                    See? There you go again.      Do you know
                    how irritating that is?

                                                PAUL

                                          (LOSES IT)
                    Jesus. Can't we just have one fucking
                    meal without arguing--

                                                 ANNA
                    Fuck you!
          The other DINERS turn and stare at them. Paul glances at
          them embarrassed. Anna doesn't notice. Upset.

                                                                   19.

                         

                         

                                                PAUL
                    Keep your voice down, everyone's watching.

                                                 ANNA

                    FUCK YOU!

                                                PAUL
                    You're crazy. You know that?      Just like
                    your mother.

                                                ANNA
                    I'm nothing like my mother!
          Anna grabs her coat.   Pushes her way through the restaurant.

                                                PAUL

                                          (STANDS)
                    I'm not running after you this time Anna.

                                                 ANNA
                    Good.
          Paul's suddenly aware that everyone's looking at him. He
          quickly sits down. Drains his glass of wine. Furious.

                         

          INT/EXT. ANNA'S CAR - NIGHT

          Anna closes the car door.   It's still raining hard outside.
          Her hair, perfect minutes ago, is now bedraggled. Her make-
          up's running. She places her hands on the steering wheel.
          Trying desperately to pull herself together.
          Suddenly. THUMP. Anna jumps. Turns. Paul's at the car
          window. He thumps the glass again. Anna hits the locks.

                         

          EXT. RESTAURANT. PARKING LOT - CONTINUOUS

          Paul grabs the door handle.

                                                PAUL
                    Anna. Open the door. Please. I want
                    you to come with me. I want to...

                         

          INT/EXT. ANNA'S CAR - CONTINUOUS

          Anna can't hear him above the sound of the RAIN HAMMERING
          onto the car. She shakes her head. Puts the car in drive.

                         

          EXT. RESTAURANT. PARKING LOT - CONTINUOUS

          Paul stumbles aside as Anna's car pulls away. She stops
          at the parking lot exit a short distance away.

                                                                       20.

                         

                         

                         

          INT/EXT. ANNA'S CAR - CONTINUOUS

          Anna looks up into the rearview mirror.

          ON REARVIEW MIRROR
          Paul stands forlornly in the rain.      Their eyes meet.

                         ANNA'S CAR
          She hesitates.       For a moment we think she might go back
          to him...

                         

          EXT. RESTAURANT. PARKING LOT - CONTINUOUS

          ... but then Anna pulls out and drives away. Leaving Paul
          alone in the parking lot. The rain pounding the asphalt.

                         

          INT/EXT. ANNA'S CAR. HIGHWAY - NIGHT

          Anna peers through the blurred windshield as the wipers
          battle with the TORRENTIAL DOWNPOUR. A LARGE TRUCK plows
          past menacingly on the rain-slicked highway.
          Anna's still upset. She wipes away her tears. On the
          dashboard the kitschy doll bobs its head from side to
          side. Anna picks up her cell phone. Glances down as she
          dials a number. She looks up...
          a WHITE VAN with black tinted windows cuts in front of her.

                                                     ANNA
                       Shit!
          Anna swerves into the next lane.      We hear the blaring
          horn from the car behind her.

                                                  ANNA
                             (into rear-view mirror)
                       OK. OK. I saw you.

                                            (MUTTERING)
                       Jerk.
          The cell phone connects.      We hear Paul's answering machine.

                                                   ANNA
                       Paul? You home yet? Can you pick up?      I
                       just don't want it to end like this.
          Anna drops the phone into her bag on the passenger seat.
          Wipes away the mist on the inside of the glass.
          A TRACTOR TRAILER shudders past loaded with metal pipes.

                                                                        21.

                         

                         

          ON METAL PIPES
          The badly loaded pipes BANG OMINOUSLY against each other.

                                                         CUT TO BLACK.

                         

          INT. FUNERAL HOME. ELIOT'S ROOM - EARLY MORNING

          Darkness.   A bright light comes on.
          CLOSE ON a MAN'S HANDS. Turning slowly under a stream of
          crystal blue water. We pull back. Eliot dries his hands.
          Opens a cabinet. Takes out a pair of latex gloves.

                         

          INT. FUNERAL HOME. PREP ROOM - EARLY MORNING

          A large room. Tall vaulted ceilings. White tiles. Soft
          morning light seeps in from a small round window set high
          on one wall. The room is silent. Still. Like a chapel.
          In the semi-darkness we see a BODY on a porcelain slab
          covered with a white sheet.
          We hear a key turn in a lock. Then another lock.       The
          room's suddenly flooded with a harsh white light.
          Eliot steps inside the room. He takes off his jacket.
          Carefully places it on a coat-hanger. Puts on a pale
          blue smock then snaps on the latex gloves. His every
          move meticulous. Measured. Like a ritual.
          Eliot walks over to the slab, his surgery clogs softly
          clacking against the tiled floor. He looks at the slab
          for a moment then slowly pulls the sheet away
          revealing...
          ANNA'S BODY. Pale and lifeless. An ugly gash above her
          eyebrow. Cracked violet lips. A rip in her black dress
          soaked with a dark stain. She's only wearing one shoe.
          Eliot gently takes off the watch from her stiff wrist.
          Places it inside a brown paper bag. Eases off the shoe.
          Picks up a scalpel from a tray of instruments on a steel
          trolley. Delicately slices open her dress. Peels it off.
          He's about to cut the straps of her RED SLIP when...
          Anna OPENS HER EYES.
          She looks straight at us with unseeing pale blue eyes.
          Strangely Eliot's not surprised.   He calmly steps back.
          Watches her carefully.
          Anna's eyes slowly focus on Eliot.     She's groggy.   Confused.

                                                                   22.

                         

                         

                                                   ANNA
                      Where am I?
          She talks with difficulty.       Her breathe labored.

                                                   ELIOT
                      You're in a funeral home.

                                            (BEAT)
                      You're dead.
          Anna's vacant eyes widen in shock. She struggles to sit
          up but she can't even raise her head. Her body stiff.
          Rigid. Eliot speaks to her calmly. Soothingly.

                                                  ELIOT
                      You had a car accident. It was raining.
                      You hit a truck loaded with metal pipes.
          She looks fearfully at the bloodied dress in Eliot's hand.

                                                  ANNA
                      I'm not dead.

                                                  ELIOT
                      You were pronounced dead eight hours ago.
                      Your blood no longer circulates through
                      your body. Your brain cells are slowly
                      dying. Your body's already decomposing.

                                                  ANNA
                      I'm not dead.
          Eliot looks at her sadly for a moment. He places the
          bloodied dress on the trolley. Then picks up a document.
          Holds it up for her.

                         ON DOCUMENT
          It's Anna's death certificate.

                                   ELIOT (O.C.)
                      This is your death certificate. Cause of
                      death. Massive internal trauma. Time of
                      death. 8.23PM.

                         PREP ROOM

                                                  ELIOT
                      You were dead on arrival. The attending
                      physician signed here...
                             (points to document)
                      ...at 9.45 last night. I picked up your
                      body from the hospital morgue at 12.10
                      this morning.
          Anna stares with horror at her death certificate, then at
          Eliot. He looks away. It pains him to see her so
          distressed.

                                                                     23.

                         

                         

                                                  ELIOT
                    I'm sorry.
          Eliot picks up a sponge from the trolley.   Wets it.

                                                  ANNA
                    Who are you?
          Eliot delicately washes Anna's face. She doesn't flinch
          as he dabs the wound above her eye brow.

                                                ANNA
                    Don't touch me! Why are you touching me?

                                                ELIOT
                    I'm preparing your body. You have to
                    look beautiful for your funeral.

                                                ANNA
                    I'm not dead.
          Eliot sighs wearily.   As if he'd had this conversation
          many times before.

                                                 ELIOT
                    You all say the same thing.

                                          (BEAT)
                    I'm sorry. Maybe you should rest now.
          Eliot peels off his latex gloves and heads for the door.
          As he hangs his pale blue smock on the peg he turns and
          looks at Anna for a moment.

                         ON ANNA
          The lights go off. O.S. the door clicks shut as it locks
          automatically behind Eliot.

                                                ANNA

                                          (SOFTLY)
                    I can't be dead. It's just a nightmare.
                    I'll wake up soon. Wake up.

                         

          INT. PAUL'S APARTMENT. BEDROOM - MORNING

          Paul wakes up. Badly hung-over. Still in his clothes.
          Sunlight streams into the room. Blinding him. He
          reaches across. The bed's empty. He's surprised for a
          moment then remembers the argument the night before.
          He gets up. Sits on the edge of the bed. Lights a
          cigarette. He notices his jacket on the floor. Leans
          down. As he pulls out the BlackBerry from his jacket, the
          RING BOX falls onto the floor. Paul doesn't notice.

                                                                    24.

                         

                         

                         

          INT. PAUL'S APARTMENT. KITCHEN - LATER

          Paul steps into the kitchen. Nervously checking his
          BlackBerry. Nothing. Just then he sees the red light
          blinking on his answer machine. He presses play.

                                                ANNA
                    Paul? You home yet? Can you pick up?       I
                    just don't want it to end like this.
          Paul's relieved. He picks up the phone.   Dials.   We hear
          the ringing on the other end.

                         

          INT. HOSPITAL MORGUE - SAME TIME

          Two technicians, an OLD GUY and his YOUNG PALE ASSISTANT,
          push a NAKED BODY wrapped in plastic through the morgue.
          They jump as they hear the MUFFLED sound of a cell phone.
          The ringing comes from a bag speckled with blood lying on
          a table (we recognize it as Anna's bag). The Assistant
          walks over. Takes out the cell phone.

                                                ASSISTANT
                    It's the schoolteacher's. From the car
                    crash. Should I answer it?
          The ringing stops abruptly.   It's suddenly very silent.

                                                ASSISTANT
                    Someone's in for a surprise.

                                                OLD GUY
                    How many times do I have to tell you? You
                    can't leave their stuff laying around. It
                    should've been returned to the family.

                                                ASSISTANT
                    I've been busy, OK.

                                          (MUTTERING)
                    Like she's really going to need her
                    rollover minutes now.
          As the Assistant reaches for the bag, he notices a
          solitary shoe on the table. He picks it up.

                                                ASSISTANT
                    What shall I do with this?

                                                OLD GUY
                    Where's the other one?
          The Assistant looks round. He can't see the other shoe
          anywhere. He turns to the Old Guy and shrugs.

                                                                      25.

                         

                         

                                                OLD GUY
                    Just burn it. You can't send them back
                    one shoe. It's not respectful.

                         

          INT. PAUL'S APARTMENT. KITCHEN - SAME TIME

          We hear a BEEP.

                                                PAUL

                                          (ON PHONE)
                    You got it all wrong baby. I want you to
                    come to Chicago with me. Look. I'll
                    swing by your place on my way to the
                    office. You know I love you.

                         

          EXT. MOTHER'S HOUSE - DAY

          Paul pulls up to a suburban house. Walks quickly to the
          door, a supermarket bouquet of flowers wrapped in
          cellophane in his hand. He rings the bell. No-one
          answers. He rings again. Knocks hard on the door.

                                                PAUL
                    Anna!
          Still no answer. Paul looks around. Notices the
          driveway's empty. He heads back to his car.

                         

          INT/EXT. PAUL'S CAR - MOMENTS LATER

          Paul's on his cell phone as he drives.    He gets Anna's
          voice mail again.

                                                PAUL

                                          (INTO PHONE)
                    It's me again. I must have just missed you
                    at home. Call me when you get this. OK?

                         

          INT. ELEMENTARY SCHOOL. CORRIDOR - DAY

          Paul strides down an empty corridor. The flowers in his
          hand. Searching for Anna's classroom.

                         

          INT. ELEMENTARY SCHOOL. BIOLOGY CLASSROOM - MOMENTS LATER

          A TEACHER stands in front of the class holding a shell.

                                                TEACHER
                    ... the shell grows slowly...
          The door opens. Paul steps into the classroom.    His
          smile fades as he realizes it's not Anna.

                                                                    26.

                         

                         

                                                 PAUL
                    Oh hi.   I'm looking for Anna Bryant.
          The Teacher quickly moves over.    Hustles Paul to the door.

                                                TEACHER

                                          (INDIGNANT)
                    I'm sorry but you just can't--

                                                PAUL
                    I'm Anna's... fianc�e. Paul Conran.     I
                    thought this was her class.
          The Teacher glances suspiciously at the flowers in his hand.

                                                PAUL
                    We had a little misunderstanding last
                    night.

                                                TEACHER

                                          (HESITATES)
                    She didn't come in today.
          Jack's in the front row.   Following the conversation.

                                                PAUL
                    Did she call in sick?

                                                TEACHER
                    She hasn't called in at all. It's not
                    like her. She always calls in.
          Paul's worried now.   Something's wrong.

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          Anna lies rigidly on the slab. Her head turned to one
          side. Staring blankly at the wall. Her eyes glazed.
          Suddenly classical music fills the room. Anna frowns.
          Disoriented. She moves her head with difficulty.
          Nervously looks around.
          For a moment she doesn't know where she is. Then she
          sees Eliot by a CD player. She watches with trepidation
          as he approaches her.

                                                ANNA
                    Please don't hurt me.

                                                ELIOT

                                          (SMILES)
                    How can I hurt you?     You're already dead.

                                                ANNA
                    But I'm not dead.

                                                                   27.

                         

                         

                                                ELIOT
                    Then why are you here?
          Anna doesn't know what to say.   She turns her head away.
          A tear falls down her cheek.

                                               ANNA
                    Please. Just let me go. I won't go to
                    the police. I won't tell anyone.
          Eliot moves her head back.   Gently wipes away her tear.

                                                ELIOT
                    You're still in denial. You have to
                    trust me. I'm only here to help you.
          Eliot slides a wooden head-rest under her neck and studies
          her wounds, touching them delicately. Thinking about how
          to conceal them. He turns to a tray of instruments.
          Picks up a needle. Leans over Anna.
          The needle pierces her brow. Sliding cleanly through her
          skin. She doesn't feel any pain as Eliot carefully sews
          the wound. He's meticulous. Clearly very good at his job.
          Eliot glances at his watch. Picks up a SYRINGE and an
          AMPOULE OF AMBER LIQUID. Draws up the amber liquid.
          Anna's alarmed. She tries to pull back.

                                                ELIOT
                    Don't be scared.

                                                ANNA
                    What are you doing?

                                                ELIOT
                    This will relax your muscles. Stop the
                    rigor mortis setting in so I can work on
                    your body.
          He INJECTS Anna in the neck. Just then we hear a car
          pull up on the gravel driveway outside.

                                                ELIOT

                                          (TO HIMSELF)
                    Your mother's early.
          Anna's eyelids feel very heavy. Slowly her eyes close.
          Eliot pulls the white sheet over her body.

                         

          INT. FUNERAL HOME. HALLWAY - MOMENTS LATER

          A Nurse, DIANE (30s) follows Beatrice in her wheelchair
          as Eliot leads them through the hallway.

                                                                   28.

                         

                         

                                                ELIOT
                    I'm so very sorry Mrs. Bryant. It's
                    always so tragic when you lose a child.

                                                BEATRICE
                    I lost her years ago.
          He glances at her curiously.    Then gestures to his office.

                                                ELIOT
                    If you'd care to come to my office we can
                    discuss the arrangements.

                                                BEATRICE
                    I want to see her.

                                                ELIOT
                    But she hasn't been--

                                                BEATRICE
                    I don't care. I want to see her.
          It takes him a second to respond.

                                                ELIOT
                    Of course.

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          Beatrice leans against the slab staring at Anna's covered
          body. Eliot stands respectfully to one side. In the b.g.
          Diane shivers. The room's cold. Beatrice touches Anna's
          hand through the white sheet. Then uncovers Anna's face.
          The needle's still embedded in her eyebrow.

                                                 ELIOT
                    Ah.   Forgive me.
          Eliot quickly steps forward. Pulls out the needle.    Cuts
          the thread with a pair of large scissors.

                                                ELIOT
                    As I said. I've only just started
                    preparing her.

                                                BEATRICE
                    What's the point of preserving the body
                    if the soul's already left?

                                                 ELIOT
                            (quietly to himself)
                    No.   The soul never leaves.
          Beatrice stares at Anna.

                                                                          29.

                         

                         

                                                   BEATRICE
                       It's us who are left behind. It's us who
                       suffer.

                                             (TO ANNA)
                       Who's going to look after me now? Did
                       you think about that?
          She nods to Diane.    Diane helps her into the wheelchair.

                                                   ELIOT
                       I'll confirm the date with Father Graham
                       this afternoon. Friday as you requested.

                                                   BEATRICE
                       Just do what you think's best.   It's just
                       details.
          Beatrice whirs towards the door.      She suddenly stops.
          Turns to Eliot.

                                                   BEATRICE
                       Oh there is one thing.

                                                   ELIOT
                       Yes?

                                                   BEATRICE
                       Her hair. She was a brunette.    I'd like
                       it back to that color.

                         

          EXT. FUNERAL HOME. DRIVEWAY - DAY

          Eliot watches Beatrice's car drive away.

                         

          INT/EXT. PAUL'S CAR - DAY

          Paul waits in his car outside the Mother's house.        The
          wilting flowers on the passenger seat beside him.

                         PAUL'S POV
          Beatrice's car pulls up. Diane gets out.      Pulls the
          wheelchair out of the car.

                         PAUL'S CAR
          Paul grabs the flowers.

                         

          EXT. MOTHER'S HOUSE - MOMENTS LATER

          Paul strides over as Diane helps Beatrice into her
          wheelchair.

                                                                   30.

                         

                         

                                                   PAUL
                    Mrs. Bryant.
          Beatrice doesn't acknowledge him.   Paul turns to Diane.

                                                 PAUL
                    Hi Diane.   I need to talk to Anna.
          Diane can't look him in the eye.

                                                PAUL
                    What's wrong?

                                                DIANE
                    I think you better come in.

                         

          INT. MOTHER'S HOUSE. BEDROOM - MOMENTS LATER

          Beatrice sits in her wheelchair with her back to the
          door. Paul stops a short distance away.

                                                PAUL
                    What happened? Where's Anna?

                                                BEATRICE

                                          (WITHOUT TURNING)
                    Anna was in a car accident last night.
                    My daughter's dead. That's what
                    happened.
          Paul stares at Beatrice's back in disbelief.

                                                   PAUL
                    A car crash?     When?
          Beatrice turns her wheelchair round to face Paul.

                                                BEATRICE

                                          (IRRITABLY)
                    I don't know.

                                                DIANE
                    They said it happened just before 8.30.

                                                PAUL
                    But... we were at the restaurant...
          Beatrice glares at him.    She clearly blames him for
          Anna's death.

                                                BEATRICE
                    You shouldn't have let her drive in that
                    weather.
          Paul looks down guiltily at the flowers in his hand.

                                                                    31.

                         

                         

                                                PAUL
                    No. She can't be dead.    There must be
                    some mistake.

                                                BEATRICE
                    There's no mistake. We just got back
                    from the funeral home.
          Beatrice pushes a joystick on her wheelchair.   As she
          whirs past Paul she notices the flowers.

                                                BEATRICE

                                          (DRYLY)
                    Flowers? How appropriate.
          Paul's not listening anymore.   Stunned.

                                                PAUL
                    Why didn't you call me?

                                                BEATRICE
                    You took her away from me.   I don't want
                    you anywhere near her.

                         

          INT. FUNERAL HOME. KITCHEN - DAY

          Eliot turns on the taps.   Fills a copper kettle.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Silence. O.S. a shuddering pipe bangs ominously. Anna
          opens her eyes abruptly as if waking from a deep sleep.
          She stares at us. Numb.

                         

          INT. FUNERAL HOME. KITCHEN - MOMENTS LATER

          CLOSE ON an exploding BLUE FLAME from a gas ring.
          We pull back. Eliot places a kettle on the ring. Then
          measures out exactly two spoons of tea from an ornate tin
          into a teapot. Meticulous in everything he does.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          CLOSE ON Anna's hand. Her fingers FLEX slightly. She
          pushes herself up awkwardly. Suddenly realizes
          something. She touches her wrist. Desperately searching
          for her pulse. Then frantically checks her neck.
          Panicking. She can't find her heartbeat.
          She stares at her hand. Then abruptly SLAMS it against
          the slab. Hard. She feels no pain. She does it again.
          Harder. Still nothing.

                                                                    32.

                         

                         

                                                ANNA
                    I must be in shock.     That's all.   It's
                    just shock.
          She struggles to her feet. Stumbles groggily to the door.
          Tries the door handle. It's locked. She bangs on the
          door feebly. Then she hears something. She cocks her
          head. Follows the sound of Eliot's footsteps upstairs.

                                                ANNA

                                          (HOARSE)
                    Let me out!

                         

          INT. FUNERAL HOME. ELIOT'S OFFICE - DAY

          Eliot's by his desk. Checking his appointment book.
          Whistling softly to himself. We can't hear Anna's cries.
          He pours a cup of tea. Adds a drop of milk. As he stirs
          his tea, he hears the sound of feet CRUNCHING on the
          gravel outside. He glances out the window.

                         ELIOT'S POV
          Paul stands in the middle of the driveway staring blankly
          at the Funeral Home.

                         

          EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER

          Eliot steps out of the Funeral Home.     Heads towards Paul.

                                                ELIOT
                    Can I help you?
          Paul turns to him.   Pulled away from his thoughts.

                                                  PAUL
                    Mr. Deane?

                                                  ELIOT
                    Yes.

                                                PAUL
                    My name's Conran.      Paul Conran.
          Eliot smiles.    Holds out his hand.

                                                ELIOT
                    Of course. The lawyer.
                           (off Paul's surprised look)
                    It's a small town. In my line of work
                    you get to know everyone eventually.
          As they shake, Eliot looks at Paul's hand strangely.    As
          if he senses something.

                                                                    33.

                         

                         

                                                PAUL
                    I'm Anna Bryant's fianc�e.

                                                ELIOT
                    That's strange. She wasn't wearing an
                    engagement ring.

                                                PAUL
                    Well not quite fianc�e...

                                                ELIOT
                    I'm very sorry for your loss Mr. Conran.

                                                PAUL
                    I'd like to see her.

                                                ELIOT
                    I'm afraid the viewing isn't until--

                                                PAUL
                    I'd need to see her now.    If that's
                    possible.

                                                ELIOT
                    I'm sorry. It's not possible.     You're
                    not family and--

                                                 PAUL
                    Please.   It'd only take a minute.

                                                ELIOT
                    I understand. But--

                                                 PAUL

                    NO.   YOU DON'T UNDERSTAND!

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna suddenly hears Paul's loud voice outside.

                                               ANNA

                                         (WEAKLY)
                    Paul! I'm here! Paul!
          She frantically beats her fists against the door.

                         

          EXT. FUNERAL HOME. DRIVEWAY - SAME TIME

          Paul quickly controls his anger.    His eyes smart with tears.

                                                PAUL
                    I tried to stop her.     She didn't hear me.
          Paul's voice breaks with emotion. He can't go on. Eliot
          gently takes him by the elbow. Leads him back to his car.

                                                                     34.

                         

                         

                                               ELIOT
                    Mr. Conran.  There really is nothing I
                    can do. I'm so sorry.
          Paul looks defeated. He simply nods his head.     Eliot
          watches him get into his car and drive away.

                         

          INT. FUNERAL HOME. PREP ROOM - LATER

          Anna sits by the door in the darkness. Suddenly the
          room's flooded with light. Eliot walks in. Looks at
          Anna for a moment. She just stares back at him coldly.
          He heads over to the sink.

                                                ANNA
                    Who was that?

                                                  ELIOT
                    No one.

                                                  ANNA
                    No one?
          A long beat.

                                                  ELIOT
                    It was Paul.

                                                ANNA

                                          (CALMLY)
                    I know. I heard you talking to him.
                    Why didn't you let him see me?
          Eliot smiles. Amused she caught him out.   He continues
          washing his hands.

                                                ELIOT
                    Did you love him?
          Anna looks up sharply.   Eliot's clearly hit a nerve.

                                                ANNA
                    That's none of your business.
          Eliot shrugs.   Dries his hands on a white towel.

                                                ANNA
                    You weren't going to tell me Paul was
                    here, were you?

                                                  ELIOT
                    No.

                                                  ANNA
                    Why not?

                                                                   35.

                         

                         

                                                ELIOT
                    Because it would only hurt you. You have
                    to let go of the living. Just like they
                    have to let go of you.

                                                ANNA
                    I don't believe you.   Why are you doing
                    this to me?
          He shakes his head as he drops the towel into a small bin.

                                                ELIOT
                    You're all the same. You all blame me
                    for your death. As if it were my fault.

                                               ANNA
                    No. You drugged me.    So my mother

                                   WOULDN'T--

                                                ELIOT
                    The others. They just see you as a dead
                    body on a slab. Only I can see you as
                    you really are.

                                                ANNA
                    You're crazy!
          Eliot's taken aback.    Hurt.

                                                ELIOT
                    I'm a busy man. I don't have time for this.
          He heads to the door. Pulls out his keys and unlocks it.
          Just then he remembers something. Turns to her.

                                                ELIOT
                    Oh I nearly forgot.    How tall are you?

                                                  ANNA
                    What!?
          He looks her up and down.   Gauging her height.

                                                  ELIOT
                    Five seven.

                                                  ANNA
                    Why..?

                                                ELIOT
                    I need to know how tall you are.   For
                    your coffin.
          Anna's stunned. Eliot looks at her for a moment.     Then
          switches off the main lights.

                                                                  36.

                         

                         

                                                 ANNA
                    Wait!
          He ignores her.   The door CLICKS shut behind him.

                         

          INT. FUNERAL HOME. HALLWAY - MOMENTS LATER

          Eliot steps into the hallway. Stops by a vase of
          flowers. He plucks a dead petal. Crushes it. Curiously
          sniffs his fingers. Then heads to the casket room.

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          CLOSE ON Anna's face. She looks empty. Dispirited.
          Just then something catches her attention...
          The light from the window glints off a pair of LARGE
          SCISSORS on the steel trolley. Anna stumbles to the
          trolley. Feeling her way through the semi-darkness.
          Grabs the scissors.
          Just then she notices a BODY, covered with a white sheet,
          lying on a gurney in the corner. She turns away.
          Scared. But then, almost against her will, she
          approaches the gurney. As if drawn to the body. She
          slowly pulls the sheet away...
          The dead body of an OLD WOMAN. Staring blindly at Anna
          with cloudy opaque eyes. Long greasy gray hair. Shaken,
          Anna pushes herself against the wall.

                                                 ANNA
                    Oh God.   Please. I don't want to die.

                         

          INT. JACK'S HOUSE. KITCHEN - DAY

          Jack carefully cuts something out of a local newspaper.
          The loud sounds of a TV blare from another room.

                         ON NEWSPAPER
          Schoolteacher Dies in Tragic Car Crash.

                         

          INT. JACK'S HOUSE. LIVING ROOM - MOMENTS LATER

          The curtains are drawn. JACK'S MOTHER sits in an
          armchair with her back to us watching TV. Jack walks in.

                                                JACK
                    You were supposed to pick me up from
                    school yesterday.
          His mother doesn't reply.   Jack moves in front of the TV.

                                                                    37.

                         

                         

                                                   JACK
                       I waited.
          His mother doesn't respond.

                         

          EXT. STREETS - DAY

          Jack furiously cycles through empty streets. Past
          identical suburban houses with identical prim lawns. He
          stops suddenly. Considering something. Then turns and
          cycles away purposely.

                         

          EXT. FUNERAL HOME - DAY

          Eliot walks out of the funeral home. We pull back. Jack
          stands by his bicycle in the bushes watching him. Eliot
          looks up. As if sensing someone was spying on him. Jack
          steps back quickly behind a tree.

                         

          INT. POLICE STATION - DAY

          A POLICE OFFICER talks on the phone as Paul walks in.

                                                   POLICE OFFICER

                                             (INTO PHONE)
                       Hang on a sec.

                                             (TO PAUL)
                       Mr. Conran. Heard about your girlfriend.
                       I'm sorry.
          Paul nods.    Clearly doesn't want to talk about it.

                                                   PAUL
                       Is Tom in?

                                                   POLICE OFFICER
                       The captain just stepped out. He won't
                       be long. You can wait in his office if
                       you want.

                                                    PAUL
                       Thanks.   I'll just go and grab a coffee.
          As Paul walks away, the Officer returns to the phone.

                                                   POLICE OFFICER

                                             (INTO PHONE)
                       A buddy of the captain's. Poor guy...

                         

          INT. POLICE STATION. CORRIDOR - MOMENTS LATER

          Paul slides a dollar bill into a coffee machine. Presses
          his selection. Nothing.

                                                                    38.

                         

                         

                                                  PAUL
                       Come on.
          He pushes the button repeatedly.   Then angrily slams the
          side of the machine. Nothing.

                                                   PAUL
                       You piece of shit.
          As Paul turns away, he notices a door with a sign on it:
          AUTHORIZED PERSONNEL ONLY. Paul glances around. Then
          quickly walks over to the door.

                         

          INT. POLICE STATION. GARAGE - MOMENTS LATER

          A dozen wrecked cars. Twisted metal. Paul's footsteps
          echo through the empty garage. It's dark. Out the
          corner of his eye Paul glimpses a SHAPE move quickly
          around a pillar. He stops. Unsettled.
          Just then we hear a WOMAN'S FOOTSTEPS. Her high-heels
          clicking on the concrete floor. There's something
          strange about the sound. UNNATURAL. Paul listens
          nervously. The footsteps grow fainter. Then fade away.
          The garage is silent again. Too quiet.
          Paul moves apprehensively over to Anna's GREEN TOYOTA.
          The car's a mess. One side's completely caved in. He
          touches the car.   Pulls open the door. Squeezes into
          the driver's seat.

                         ANNA'S CAR
          Glass everywhere. Paul glances at the KITSCHY BOBBLEHEAD
          DOLL on the dashboard flecked with blood. He places his
          hands on the steering wheel. Suddenly he hears a strange
          noise. He looks up...
          The KITSCHY DOLL. Its head NODDING SLOWLY. Its smiling
          face now unnaturally sinister. Turning towards us until
          it abruptly stops. Staring straight at us.
          Paul looks at the doll transfixed. Just then a PALE
          WOMAN'S HAND slowly reaches through the window... and
          touches Paul's shoulder. He jumps. Turns.
          ANNA stands by the car. Staring blankly at him.   The
          color drains from Paul's face.

                                   MAN'S VOICE (O.C.)
                       Paul?
          The Police Captain, Tom Peterson, stands by the car where
          Anna was a second ago. He pulls his hand away from
          Paul's shoulder. Looks at him with concern.

                                                                     39.

                         

                         
          Paul gathers his composure. He must have just imagined
          Anna was there. He shoves the door open. He's about to
          step out when he turns back and grabs the Kitschy Doll.

                         GARAGE
          Paul gets out awkwardly.    He can't look Tom in the eye.

                                                  TOM
                    You OK?

                                                PAUL

                                          (UNCONVINCING)
                    I'm fine.

                                                TOM
                    I just found out. I'm so sorry Paul.       If
                    you need anything--

                                                PAUL
                    I need to see Anna.

                                                TOM

                                          (PUZZLED)
                    What do you mean?

                                                PAUL
                    The funeral director won't let me see her
                    Tom. He says I'm not family. Can you
                    talk to him? Put some pressure on him.

                                                TOM
                    I can't do that.

                                                  PAUL
                    Tom.    You're my friend.

                                                   TOM
                    Paul.     I can't do it.
          Paul nods slowly.    Tom notices the Kitschy Doll.

                                                TOM
                    You sure you're OK?

                                                  PAUL
                    I fucked up.

                                                TOM
                    Paul. It was an accident. You should
                    get some rest. Let me drive you home.

                                                PAUL
                    I always fuck everything up.

                                                                    40.

                         

                         

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - DAY

          Eliot stops by a thermostat. Studies it for a moment.
          Turns it lower. He glances at his watch. Takes out his
          keys from his jacket and moves over to the Prep Room door.

                         

          INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER

          Anna sits on the slab. Her hands behind her back.    She
          carefully watches Eliot as he pulls on his pale blue
          smock then walks over to a cabinet.

          BEHIND ANNA'S BACK
          her hands clutch the large scissors.

                         PREP ROOM
          Eliot opens a cabinet full of boxes of hair dye with
          photographs of smiling women. As he prepares the dye he
          looks across at Anna. She's staring at something behind
          him. Eliot turns. Sees the uncovered body of the Old
          Woman on the gurney. He quickly walks over. Carefully
          pulls the white sheet over the Old Woman.

                                                   ANNA
                      Who is she?

                                                  ELIOT
                      Mrs. Whitehall.
          He mixes the dye in a bowl as he moves over to Anna.

                                                  ELIOT
                      You shouldn't be afraid of her.   The dead
                      can't harm the dead.

                                                  ANNA

                                            (FORCEFULLY)
                      But I'm not dead!
          Anna's hand suddenly FLIES UP...   she slashes at Eliot's
          face with the SCISSORS.
          The sharp edge misses his cheek by inches. Eliot drops
          the bowl. Stumbles back against the steel trolley.
          Instruments crash to the floor.
          Anna staggers to the door. Her legs weak. Her long lank
          hair falling over her eyes. She frantically wrenches at
          the door handle but it's locked. Eliot gets up. Slowly
          moves towards Anna. She turns. Raises the scissors.

                                                  ANNA
                      Stay where you are.

                                                                     41.

                         

                         

                                                  ELIOT
                             (holds out his hand)
                      Give me the scissors. I only want to
                      help you.

                                                  ANNA
                      Don't come any closer.     I swear to God
                      I'll kill you.
          Eliot walks right up to her.     His face now inches from hers.

                                                  ELIOT

                                            (CALMLY)
                      Go ahead.
          Anna doesn't move. Eliot looks her steadily in the eye.
          He reaches for her hand. Slowly. Deliberately. He brings
          the scissors to his cheek. Then lets go of Anna's hand.

          CLOSE ON ELIOT'S FACE
          The sharp tip pushes into his skin.

                                                  ELIOT
                      Go on.

                         PREP ROOM
          For a moment we think she might do it.      But then she wavers.

                                                  ELIOT
                      What are you waiting for?
          Anna's confidence falters. She slowly lowers her hand.
          The scissors fall onto the floor. Anna looks down
          defeated. Her breath labored. Suddenly she realizes...

                                                  ANNA
                      I'm breathing!
                             (raises her head)
                      Look. I'm still alive!

                                                  ELIOT
                      You think you're still alive because
                      you're still attached to life. It's
                      normal. You're just imagining you still
                      have symptoms of life.
          She's not listening. Eliot takes a roll of paper towels.
          Kneels down, picks up the bowl of dye and mops up the mess.

                                                  ANNA
                      Maybe I was in some kind of coma. The
                      doctors made a mistake. They're always
                      making mistakes.

                                                   ELIOT
                      You died.   Everyone dies.

                                                                     42.

                         

                         

                                                ANNA
                    How can I be dead if we're talking?
          He stands up.    Sighs wearily.

                                                 ELIOT
                    We're talking not because you're alive.
                    But because I have a gift.

                                          (BEAT)
                    I can talk to those between life and death.

                                                  ANNA
                    Why?

                                                ELIOT
                    To help them make the transition.
          Anna's stunned. For the first time we sense a seed of
          doubt in her mind.

                                                ANNA
                    Is this what happens when you die?

                                                ELIOT
                    It depends on how you lived your life.

                                                ANNA
                    What do you mean?

                                                ELIOT
                    Not everyone needs my help. Some let
                    go as soon as their body dies. Others
                    don't let go until long after they're
                    in the grave.

                                                ANNA
                    Am I a ghost? Is that why I'm here?

                                                ELIOT
                    You're here so I can bury you.
          Anna's silent. Trying to make sense of what she's just
          heard. Eliot takes her arm. Leads her to the slab.

                                                  ELIOT
                    Come.    We've wasted enough time already.
          She lies down submissively. Suddenly very tired.       Eliot
          leans over her to apply what's left of the dye.

                                                  ANNA

                                            (WHISPERS)
                    No.    Please. I don't want--

                                                ELIOT
                    You're a corpse. Your opinion doesn't
                    count anymore.

                                                                   43.

                         

                         

                                                ANNA
                    But I can breathe.     I must be alive.
          She weakly pushes him away. Anger flashes across Eliot's
          face, but just as quickly he controls it.

                                                ELIOT
                    You people. You all think that if you
                    breathe, shit, piss you're alive.
          Anna doesn't know what to say.

                                                ELIOT
                    You clutch onto life as if your life was
                    worth clutching onto. Was your life
                    worth clutching onto Anna?
          Anna turns her head away.   Clearly he's struck a chord.

                                                 ELIOT
                    Was it?   Maybe you died a long time ago.
          Eliot rips off his latex gloves.    Tosses them into a bin.

                                                ELIOT
                    I have to tell you I'm surprised you're
                    still arguing with me. You don't have
                    much time left.
                           (gestures to the Old Women)
                    Look. She's accepted her death. Her
                    life has been examined. She has no more
                    regrets. And now she's at peace. She
                    used her time well. You still have so
                    much to learn.

                                                ANNA
                    I have nothing to learn!

                                                ELIOT
                    Are you sure?
          Eliot stands in the doorway. He switches off the light.
          His body silhouetted by the light from the hallway.

                                                ELIOT
                    Your funeral's in three days. Soon
                    you'll be enclosed in a coffin. Then
                    buried in the ground. No-one will hear
                    you then. No-one will talk to you there.
          The door clicks shut behind him. Anna doesn't move.
          Clearly unsettled by Eliot's words. After a moment she
          looks at the Old Woman. She moves over. Hesitantly
          pulls away the white sheet. Stares at the Old Woman
          curiously. Then tentatively touches her cheek.

                                                ANNA
                    Are you cold?

                                                                        44.

                         

                         
          She takes the Old Woman's hand.      Strokes her paper-thin skin.

                                                    ANNA
                      I'm so cold.
          Anna notices the Old Woman's plastic ankle tag.

          ON PLASTIC ANKLE TAG
          Name: Carol Whitehall.     Sex: F.   DOB: 11.02.30.

                         PREP ROOM

                                                  ANNA
                      You had a long life.
          Anna turns back.   Studies the Old Woman's serene face.

                                                   ANNA
                      You look so peaceful.

                                            (BEAT)
                      Aren't you scared?
          Anna's eyes fill with tears.

                                                    ANNA
                      I'm scared.    I'm so scared.

                         

          INT. JACK'S HOUSE. BEDROOM - NIGHT

          Jack lies in bed staring at the ceiling. On his bedside
          table an alarm clock reads 2.38AM. He looks across at an
          Anglepoise lamp in the corner of the room bent over an open
          shoebox. He gets up. Walks towards the muted light.
          The SMALL CHICK huddles in the shoebox. It looks dead even
          though it's eyes are open. Jack's about to reach into the
          box. Then changes his mind. He looks at the lamp. Switches
          it off. After a moment he switches it back on again.

                         

          INT. PAUL'S APARTMENT. LIVING ROOM - NIGHT

          Paul stands motionless in the middle of the room. Staring
          blankly into space. The room feels empty and depressing.
          He suddenly looks around. Not quite sure why he came into
          the room in the first place. He moves over to a CD player.
          Mechanically switches it on. Music fills the room. He
          turns the volume higher. Then all the way up. The music's
          unbearably loud but Paul just stands there. Numb.

                         ON PAUL
          The music's strangely distorted now.        Almost silent.   As
          if we were inside Paul's head.

                                                                    45.

                         

                         

                         

          INT. FUNERAL HOME. PREP ROOM - NIGHT

          Anna lies on the slab. Curled in a fetal position. O.S.
          we hear the UNNATURALLY LOUD metallic drip of a faulty
          faucet. Slow. Rhythmical. Anna opens her eyes. Stares
          at us. Terrified. Then she turns her head.
          The Old Woman sits on the other slab. Slowly brushing
          her tangled gray hair with a silver backed brush.
          Anna looks around anxiously. The room is strangely
          larger. The perspective not quite right. Certain
          objects look absurdly small or abnormally large. She
          notices a TINY DOOR. Half hidden by a steel trolley.
          The door's slightly ajar. Anna's surprised.
          The Old Woman shakes her head. Staring blindly at Anna
          with opaque eyes. Anna ignores her. Moves quickly to
          the tiny door. As she approaches, the door seems to grow
          to normal size.
          Then we realize it's Anna who has shrunk. The steel
          trolley now towers high above her. The massive
          instruments on the trolley look like menacing insects
          cast in surgical steel. She opens the door. Revealing a
          solid wall of DARKNESS.

          FROM INSIDE THE DARKNESS
          the small shape of Anna in the doorway. The huge dark
          space engulfs her. The only light comes from the Prep
          Room behind her.

                         PREP ROOM
          Anna reaches forward. Her hand disappears into the thick
          blackness. She snatches her hand back. Scared. Then...
          ...a CHILD'S HAND darts out of the darkness. Grabs Anna's
          wrist. Pulling her in with surprising strength. Anna
          struggles to free herself. But the hand drags her deeper
          into the darkness. The door slams shut behind her.

                         

          INT. DARKNESS

          Anna stands in the black empty space.

                                   GIRL'S VOICE (O.S.)
                      I'm disappointed with you.
          An innocent looking YOUNG GIRL (6) materializes out of
          the blackness. She looks like a young Anna.

                                                    ANNA
                      Who are you?

                                                                   46.

                         

                         
          The Young Girl walks slowly towards Anna.

                                                  GIRL
                      You promised me so many things.

                                            (AMUSED)
                      You don't recognize me?
          Anna shakes her head.

                                                  GIRL
                      I am you. I've been waiting for you.
                      You shouldn't have disappointed me.
          The Girl now looks strangely malevolent. Anna steps back
          terrified. Turns. But there's no door anymore.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          The Old Woman stands alone in the middle of the room.
          Braiding her long hair.

                                                  OLD WOMAN
                      You're not ready.

                                          CUT TO A SEARING WHITENESS.

                         

          INT. FUNERAL HOME. VIEWING ROOM - DAY

          A small congregation of MOURNERS sit in the white chairs.
          "AVE MARIA" plays quietly in the b.g. A MAN leans over
          the casket paying his respects.

                         ON CASKET
          The Old Woman.   Her long hair braided.   She looks serene.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          "AVE MARIA" filters into the room. Anna opens her eyes.
          She's confused. She gets up awkwardly. Looks around the
          room. The other slab's empty. The Old Woman's gone.
          Anna stumbles over to the trolley. Pushes it aside.
          Desperately searching for the tiny door. She touches the
          wall. There's nothing there. Frustrated she turns to a
          counter crowded with instruments. She sweeps her arm
          across the counter top in rage. Sending everything
          crashing to the floor.

                         

          INT. FUNERAL HOME. VIEWING ROOM - DAY

          The funeral's over. Eliot takes out a wilted bouquet of
          flowers from a vase.

                                                                      47.

                         

                         
          In the b.g. Jack stands half-hidden in the doorway.
          Glancing around in fascination. A flower in his hand.

                                                ELIOT
                           (to Jack without looking up)
                    Can I help you?
          Jack steps back timidly.   Eliot looks up.   Smiles.

                                                ELIOT
                    Then perhaps you can help me.
                           (holds up the withered flowers)
                    Could you throw these away for me?
          Jack nods hesitantly.   Moves over and takes the flowers.

                                                 ELIOT
                    Thank-you.
          Eliot turns and arranges fresh flowers in the vase.

                         ON JACK
          as he looks at the wilted flowers.    He crushes a petal
          then sniffs his fingers.

                                 ELIOT (O.C.)
                    There's no life left in them.

                         VIEWING ROOM
          Jack looks up.   Eliot's watching him carefully.

                                                ELIOT
                    They belong in the garbage.
          Jack turns to leave.

                                                ELIOT
                    I've seen you round here before.
          Jack's suddenly nervous.

                                                ELIOT
                    Did you know Mrs. Whitehall?

                                                JACK
                    I thought it was Miss Bryant's funeral.

                                                ELIOT
                    Ah. Miss Bryant. No.       Her funeral's not
                    until Friday.

                                                JACK
                    Where is she now?
          Eliot considers the question for a moment.

                                                                    48.

                         

                         

                                                ELIOT
                    She's downstairs.

                                                   JACK
                    Why?

                                                 ELIOT
                    Why?  Because she's not ready.

                                          (BEAT)
                    Is the flower for her?

                                                 JACK

                                          (NODS)
                    She was my teacher.

                                                   ELIOT
                    And you are?

                                                   JACK
                    Jack.
          Jack holds out his hand. A serious look on his face.
          Eliot's amused. He shakes Jack's hand.

                                                    ELIOT
                    Well Jack.      What did you think?

                                                   JACK
                    About what?

                                                ELIOT
                    Mrs. Whitehall's funeral.     Did you find
                    it interesting?

                                                JACK

                                          (SHRUGS)
                    It was OK I guess.

                                                   ELIOT
                    Oh.    I see.

                                                JACK
                    Are all funerals the same?

                                                ELIOT
                    No Jack. They're never the same. Each
                    one is special. The dead always speak to
                    us in different ways.

                                                JACK

                                          (CURIOUS NOW)
                    What do you mean?
          Eliot finished arranging the flowers.     He glances at his
          watch. Smiles at Jack.

                                                ELIOT
                    It was a pleasure talking to you Jack.

                                                                   49.

                         

                         
          Jack's intrigued.   He watches Eliot walk out of the room.

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - MOMENTS LATER

          As Eliot heads to the Prep Room, we hear a MUFFLED CRASH
          from inside. Eliot quickly pulls out his keys. Moves to
          the door. Just then Eliot hears a creaking sound behind
          him. He turns. Jack's at the top of the stairs.
          Staring down curiously at the Prep Room door.
          Eliot observes him cautiously. Did Jack hear the sound
          as well? Jack looks back at Eliot. Smiles. Then
          without a word, turns and heads back up the stairs.

                         

          INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER

          Anna sits on the floor in the middle of the room.
          Hugging her legs to her chest. Rocking to and fro.
          Surrounded by broken glass, torn papers and instruments.
          Eliot enters the room. Coldly surveys the destruction.

                                                ELIOT

                                          (ANGRY)
                    Why did you do this?
          Anna ignores him.   Eliot strides over to her.

                                                ELIOT

                    WHY DID YOU DO THIS?
          Anna stares at him blankly.

                                                ANNA
                    Is this the afterlife?    Am I in heaven?
                    Or am I in hell?
          Strangely Eliot's not surprised.   He nods his head.   His
          anger gone now.

                                                ANNA
                    The door...

                                          (POINTS DISTRACTEDLY)
                    There was a door. Just there.

                                                ELIOT

                                          (GENTLY)
                    It won't be long now.

                                                ANNA
                    I used to believe in God. I thought I'd
                    see him when I died. Instead I saw you.
          Eliot softly strokes her hair.    Comforting her.

                                                                     50.

                         

                         

                                                ANNA

                                          (WHISPERS)
                    Maybe you are God.

                                                ELIOT
                    You'll be at peace soon.     I promise.
          For a moment we see a deep sadness in Eliot's eyes. He's
          conflicted. But then abruptly he pulls himself together.
          Moves away and starts clearing up. Anna closes her eyes.
          Hugs her legs closer to her chest.

                                                 ANNA
                    Paul.
          She lets out a DESPONDENT SIGH.   The SIGH carries into
          the next scene...

                         

          EXT. CEMETERY - DAY

          The tall trees stand motionless amongst the graves. A
          sudden GUST OF WIND bends the dense foliage. Their
          leaves ripple. Languid and fluid like a wave. RUSTLING
          EERILY. The sound almost malevolent.

                         

          INT. PAUL'S APARTMENT. BEDROOM - DAY

          Paul's red-rimmed eyes snap open. He lies on his bed
          fully clothed. An empty bottle of bourbon on the bedside
          table. Behind him the curtains stir.
          The KITSCHY DOLL'S head begins to slowly nod. Turning
          towards us. We hear the eerie rustling sound again.
          Like a MURMURING WHISPER...

                                  ANNA (O.S.)

                                           (WHISPERS)
                    Paul.
          Paul turns quickly. Sees the open window. It's only the
          wind. He shivers. It suddenly got very cold. He gets
          up and closes the window. The WHISPERING starts again.
          This time from the bathroom.
          Paul walks over to the bathroom door. As he touches the
          door handle... the whispering STOPS. Paul hesitates.
          The room's strangely silent. He slowly opens the door...

                         

          INT. PAUL'S APARTMENT. BATHROOM - CONTINUOUS

          Nothing. The bathroom's empty. Paul looks around
          nervously. He catches the reflection of his pallid face
          in the mirror. Leans wearily against the washbasin.

                                                                    51.

                         

                         
          Water DRIPS from a leaky pipe. The fluorescent bulb over
          the mirror CRACKLES softly. Paul turns on the taps.
          Splashes cold water on his face. He's about to reach for
          a towel when he senses something. He cocks his head
          slightly. A feeling.
          He turns and checks out the bathroom. Nothing. Paul
          dries his face. As he replaces the towel... the sound of
          dripping water ABRUPTLY STOPS. Silence.
          Suddenly the SHOWER STARTS RUNNING.
          Paul's paralyzed with fear. Steam wreathes the room in a
          cloud of vapor. He turns slowly towards the shower.

                         PAUL'S POV
          Anna stands in front of the shower with her back to him.
          She slips off her bathrobe and hangs it on a hook. Then
          her hand moves to her chest. There's a STRANGE WET
          SUCKING sound...
          ...as Anna rips out her heart and hangs it casually on
          the hook next to her bathrobe.

          ON THE STILL BEATING HEART
          dripping crimson blood onto the bone white tiles.

                         BATHROOM

                                                    PAUL

                                              (WHISPERS)
                       Anna.
          Anna turns slowly. Her skin's like alabaster. Unnaturally
          translucent. A bloody gash where her heart used to be.
          The steam from the shower curls around her like a mist.
          She looks hauntingly beautiful. Mesmerizing. A line of
          thick black fluid trickles from her nose. Paul turns
          away. Horrified. When he turns back a second later
          Anna's not there. The bathroom's empty. The shower's
          not even running.

                         

          INT. JACK'S HOUSE. KITCHEN - EVENING

          Jack opens the fridge. It's almost empty. He takes out
          a carton of milk. Sniffs it. Recoils from the smell.
          From the living room we hear the LOUD sound of a TV.

                                                     JACK

                                               (SHOUTS)
                       Mom!    We're out of milk.
          There's no reply.      Jack grabs his jacket.

                                                                   52.

                         

                         

                         

          INT. FUNERAL HOME. PREP ROOM - EVENING

          Anna's still sitting on the floor. The place is clean
          and ordered again. She watches Eliot unzip a garment
          bag. He lifts out a plain black dress.

                                                    ANNA
                      What's that?

                                                  ELIOT
                      It's your dress. For your funeral. Your
                      mother brought it round this morning.
          As Eliot takes out a pair of shiny black shoes from a
          plastic bag, Anna moves haltingly over to the dress. She
          touches the material puzzled.

                                                  ANNA
                      This isn't my dress.
                             (realizes with shock)
                      This is my mother's dress! It was
                      supposed to be for her funeral. Why has
                      she given it to me?
          Eliot starts folding the plastic bag. He notices
          something else inside. He opens the bag. Hesitates then
          takes something out.

          ON ELIOT'S HAND
          An old-fashioned wooden rosary.

                         PREP ROOM
          Eliot looks at it for a moment. Then glances over at
          Anna. She's still staring at the dress. He opens a
          drawer beneath the counter. It's full of rosaries and
          printed Holy cards. He quickly drops the rosary into the
          drawer. Closes it. Then turns back to Anna.

                                                  ANNA
                      It should have been her not me.
                             (turns to Eliot)
                      She was the one dying. Not me.
          Eliot unlocks the door. Jams it open with a door stop.
          Slips his keys back into his jacket pocket. Takes off
          his jacket and hangs it up. He moves over to a
          collapsible gurney folded on the floor. Bends down and
          snaps open the side-rails. Anna looks at the open door.

                                                  ANNA
                      I'm not ready to die.
          Eliot looks up at Anna sadly.

                                                                   53.

                         

                         

                                                  ELIOT
                      Why are you still struggling?

                                                  ANNA

                                            (PLAINTIVELY)
                      I'm not ready to die.   Not yet.
          She glances at the open door again.    Eliot follows her look.

                                                  ELIOT
                      There's nothing out there for you
                      anymore.
          As Eliot turns back to the gurney, Anna notices Eliot's
          jacket hanging beside her. Realizes the KEYS are in the
          pocket. She quickly glances back at Eliot. He's still
          busy adjusting the gurney. She leans over to his jacket.

                         ON ELIOT
          as he gets up and turns to Anna.

                         PREP ROOM
          Anna looks at him calmly. We can't tell if she managed to
          get his keys or not. Eliot pulls on his jacket and wheels
          the gurney through the door. He steps back into the room.
          Nudges the door stop away with his foot.

                                                  ELIOT
                      I'll be back soon.
          The door locks behind him with a CLICK.

                         

          EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER

          Eliot pushes the gurney to a WHITE VAN with black tinted
          windows (Note: The same kind of van that cut in front of
          Anna just before the accident).

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna listens anxiously to the CRUNCH of Eliot's feet on
          the gravel outside. After a moment she hears the van
          drive away. She unfurls her fist revealing Eliot's keys.

                         

          INT/EXT. ELIOT'S VAN. STREETS - MOMENTS LATER

          As Eliot slides in a CD he notices the fuel gauge. He's
          low on gas. He glances into his rear-view mirror and
          makes a left turn.

                                                                  54.

                         

                         

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna staggers to the door. There's at least a dozen keys.
          She frantically chooses one and shoves it into the lock.

                                                ANNA
                           (begging the door to open)
                    Please.
          It doesn't fit. She's panicking. She fumbles for
          another key. It almost fits. She forces it. The key
          SNAPS OFF LOUDLY in the lock.

                                                ANNA
                    No!
          Anna looks around desperately. Sees a tray of instruments
          on the steel trolley. She scrambles over. Finds a pair of
          surgical pliers. She moves back to the door.

                         

          EXT. GAS STATION - LATER

          Eliot replaces the pump nozzle.   Walks over to the cashier.

                                                CASHIER
                    Thirty-four fifty.
          In the b.g. Jack, a carton of milk in his hand, steps out
          of the gas station. Eliot doesn't notice him as he pulls
          out a roll of notes. Hands over two twenties. Then he
          frowns. Something's wrong. He checks his pockets again.
          He can't find his keys. He walks quickly away.

                                                 CASHIER
                    Sir.   Your change.
          Eliot ignores him. Scrambles into his van. Intrigued,
          Jack watches Eliot drive away. Then unlocks his bicycle.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna's still trying to pry out the broken key.

                                                ANNA

                                          (DESPERATELY)
                    Come on. Come on.

                         

          INT/EXT. ELIOT'S VAN. STREETS - SAME TIME

          Eliot's at a red light. Drumming his fingers in
          frustration as he waits for the light to change.

                                                                    55.

                         

                         

                         

          INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER

          Finally Anna pulls out the broken key. Quickly chooses
          another. Turns it gently. Again it doesn't fit. Anna's
          hysterical now. She tries the next key. It fits! She's
          stunned for a second. Then pulls open the door.

                         

          INT/EXT. ELIOT'S VAN. STREETS - SAME TIME

          Eliot turns sharply into a small road by the cemetery.

                         

          INT. FUNERAL HOME. ENTRANCE HALL - NIGHT

          Anna staggers to the front door. She pulls at the door.
          It won't open. Frantically she finds the key. Unlocks the
          door, leaving the keys in the lock. As she opens the door,
          HEADLIGHTS sweep across the hallway.

                         ANNA'S POV
          Eliot's van pulls up in front of the house.

                         ENTRANCE HALL
          Anna's trapped. We hear the CRUNCH of Eliot's footsteps
          on the gravel outside. Anna looks round desperately.

                         

          EXT. FUNERAL HOME. DRIVEWAY - NIGHT

          Eliot reaches the front door. It's slightly ajar.   He
          pushes it open. Steps warily inside.

                         

          INT. FUNERAL HOME. ENTRANCE HALL - CONTINUOUS

          Eliot looks around. The entrance hall's empty.   Then he
          notices the keys in the lock.

                         

          INT. FUNERAL HOME. KITCHEN - MOMENTS LATER

          It's dark. Anna pulls at the back door. It won't budge.
          She panics. Sees a kitchen knife on the counter.
          Quickly grabs it. As she steps back, she knocks over a
          metal bucket. The sound's DEAFENING in the silent house.

                         

          INT. FUNERAL HOME. ENTRANCE HALL - CONTINUOUS

          Eliot hears the NOISE. Smiles. He calmly locks the door
          and puts the keys into his pocket. Moves down the
          hallway towards the kitchen.

                                                                       56.

                         

                         

                         

          INT. FUNERAL HOME. KITCHEN - MOMENTS LATER

          Eliot switches on the light.   The kitchen's empty.    He
          steps back into the hallway.

                         

          INT. FUNERAL HOME. HALLWAY - CONTINUOUS

          He stands very still.    Watching.   Waiting.   We pull back.

          JUST AROUND THE CORNER
          Anna pushes herself against the wall clutching the knife.

                         HALLWAY
          Eliot turns towards her... then at the last moment
          changes his mind. Heads in the opposite direction
          towards the viewing room.

                         

          INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER

          Eliot steps carefully into the viewing room. Looks
          around. Just then we hear the sound of bare feet
          STAMPING along the hallway behind him.

                         

          INT. FUNERAL HOME. ENTRANCE HALL - SAME TIME

          Anna runs to the front door. It's locked. She glances
          around anxiously. Sees a staircase leading upstairs.
          She weakly stumbles up the stairs.

                         

          INT. FUNERAL HOME. UPSTAIRS CORRIDOR - MOMENTS LATER

          Anna walks along the corridor. She peers into a room.
          Notices a TELEPHONE on a table. She moves over to the
          telephone. The door CREAKS closed behind her.

                         

          INT. FUNERAL HOME. ENTRANCE HALL - SAME TIME

          Eliot hears the CREAKING DOOR upstairs.    He cocks his
          head upwards. Straining to listen.

                         

          INT. FUNERAL HOME. UPSTAIRS ROOM - MOMENTS LATER

          Anna frantically punches the buttons on the phone.

                         

          INT. PAUL'S APARTMENT. KITCHEN - SAME TIME

          A telephone RINGS in the empty kitchen.

                                                                 57.

                         

                         

                         

          INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME

          Anna rocks back and forth as she anxiously listens to the
          RINGING on the other end.

                                                ANNA

                                          (DESPERATELY)
                    Please pick up. Please pick up.

                         

          INT. FUNERAL HOME. STAIRS - SAME TIME

          Eliot slowly climbs the stairs.

                         

          INT. PAUL'S APARTMENT. KITCHEN - SAME TIME

          The phone continues to RING. We pull back. Paul stares
          at the phone blankly. A drink in his hand. He looks
          worse than before. Dark circles under his eyes.

                         

          INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME

          Anna glances back to the door in panic.

                                                 ANNA
                    Paul.   Please pick up.

                         

          INT. PAUL'S APARTMENT. KITCHEN - SAME TIME

          Finally Paul reaches across and picks up the phone.

                         

          INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME

          Anna cups her hand around the mouthpiece.

                                               ANNA

                                         (FRENZIED WHISPER)
                    Paul. I'm here.

                         

          INT. PAUL'S APARTMENT. KITCHEN - SAME TIME


                                 ANNA (O.S.)

                                          (FILTERED)
                    Help me Paul.
          Anna's HOARSE DISTORTED VOICE sounds almost malevolent.
          Paul's stunned. He stares at the phone as if it was
          possessed. Then slowly puts it down.

                                                PAUL
                    Leave me alone.

                                                                    58.

                         

                         

                         

          INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME

          Anna looks at the phone in disbelief. The MONOTONOUS
          TONE DRONES in the ear piece. She doesn't notice Eliot
          appear in the doorway.

                                                   ANNA
                      Paul.
          Suddenly the light comes on.

                                                  ELIOT
                      I'm the only one who can hear you now.
          Anna drops the phone. Backs away towards a window.      Eliot
          walks over and calmly replaces the phone.

                                                  ELIOT
                      I'd be very careful if I were you. The
                      dead have such a hold over the living.

                                                  ANNA
                      What do you mean?

                                                  ELIOT
                             (nods to the phone)
                      He still feels your presence. You're
                      only causing him more pain. If you
                      really loved him, you'd accept your death
                      and let him go.

                                                  ANNA
                      Then prove to me I'm really dead.

                                                   ELIOT
                      You people.   You always need proof.
          Eliot places his hands on her shoulders.    Turns her
          towards a tall mirror.

                         ON MIRROR
          A PALE CADAVEROUS WOMAN. Sunken eyes.      A blood-stained
          tear in the side of her RED SLIP.

                         UPSTAIRS ROOM
          Anna's stunned. She moves closer to the mirror.      Touches
          her reflection through a thin layer of dust.

                                                  ANNA
                      Why do I look like a corpse?

                                                  ELIOT
                      Because you are a corpse.

                                                                    59.

                         

                         

                         ON MIRROR
          Anna stares blankly at her image in the mirror.

                                    ELIOT (O.C.)
                       It's time you finally accepted the truth.
                       You are dead. You will never live again.

                                                   ANNA
                       I am dead.

                         UPSTAIRS ROOM
          Eliot smiles. Like a father proud of his child's first
          step. Just then he notices something outside. We see a
          brief flicker of unease in Eliot's eyes.

                         ELIOT'S POV
          Jack stands in the driveway holding his bicycle.    Looking
          up at the Funeral Home. Transfixed.

                         

          EXT. FUNERAL HOME. DRIVEWAY


                         JACK'S POV
          Anna in her RED SLIP by the mirror. She looks frightening
          in the harsh light. Deathly pale. Like a ghost.

                         DRIVEWAY
          Strangely Jack isn't scared. He continues staring up at
          the window. Calmly. Curiously.

                         

          INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME

          Eliot coolly turns back to Anna. She hasn't noticed
          Jack. Still staring at her reflection in the mirror.

                         

          INT. PAUL'S APARTMENT. KITCHEN - MOMENTS LATER

          Paul stares at the telephone. After a moment he slowly
          pulls the telephone plug out of the wall. Mechanically
          grabs a plastic bin liner from underneath the sink.

                         

          INT. PAUL'S APARTMENT. BEDROOM - MOMENTS LATER

          Paul opens the wardrobe. Pulls out Anna's clothes. Stuffs
          them into the bin liner. He notices the Kitschy Doll.
          Shoves it in with Anna's clothes.

                                                                    60.

                         

                         

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          Anna lies on the slab. She stares at us blankly. Her
          face emotionless. Resigned. Eliot rinses her hair now
          dyed back to brown. She slowly closes her eyes.
          CLOSE ON RED DYE draining into the sink.
          Eliot picks up the scissors. Carefully slices open
          Anna's red slip. Delicately peels the slip off her body.
          Anna doesn't react.
          CLOSE ON Anna. She opens her eyes. Confused.     She turns
          her head... she's in PAUL'S BEDROOM.

                         

          INT. PAUL'S APARTMENT. BEDROOM - CONTINUOUS

          Paul lies in bed next to her watching her intently.     He
          looks different. Clean shaven. Sober.

                                                ANNA

                                          (RELIEVED)
                    Oh God.

                                                  PAUL
                    Bad dream?

                                                ANNA
                    I was dead. I had a car accident.     Did
                    you ever dream you were dead?
          Paul doesn't reply.    She turns... the bed's empty.

                                                  ANNA
                    Paul?

                                   PAUL (O.C.)
                    Yes?
          Anna looks up. Paul's in the doorway.    She gets up.
          Suddenly the light goes off.

                                                  ANNA
                    Paul.
          The light comes back on.   Paul stands by the light switch.

                                                ANNA
                    What are you doing?

                                                PAUL
                           (puts his finger to his lips)
                    Ssh. Don't talk so loud. You'll wake
                    the neighbors.

                                                                 61.

                         

                         
          Anna's getting nervous.    Something's not right.

                                                ANNA
                    What neighbors? You don't have any
                    neighbors.
          Suddenly he looks at her reproachfully.

                                                PAUL
                    Did you ever love me Anna?
          CLOSE ON Anna's face.    She looks away guiltily.

                                    PAUL (O.C.)
                    Did you?
          Anna closes her eyes.    Unable to answer.

                                    PAUL (O.C.)
                    Say it.     Say you love me.
          Suddenly we hear the strident ringing of a phone.

                                                ANNA
                    Aren't you going to pick it up?

                                    PAUL (O.C.)
                    Me?   No.    It's probably for Eliot.
          Anna's eyes snap open in shock...

                         

          INT. FUNERAL HOME. PREP ROOM - CONTINUOUS

          Eliot stands over her. We're back in the PREP ROOM.   We
          hear the faint ringing of a phone from upstairs.

                                                ANNA
                    Is it always like this?

                                                ELIOT
                    What do you mean?

                                                 ANNA
                    I thought when you died you wouldn't
                    feel anything. You wouldn't feel any
                    more pain. You wouldn't have to
                    struggle anymore.

                                          (BEAT)
                    But it just doesn't stop does it?
          Upstairs the phone keeps on ringing.

                                                                 62.

                         

                         

                         

          INT. FUNERAL HOME. ELIOT'S OFFICE - MOMENTS LATER

          Eliot takes notes as he talks on the phone. He looks at
          a day calendar on his desk. Idly flips over the page
          from Tuesday to Wednesday.

                                                 ELIOT
                    No.   It's no problem at all.
          He glances at his watch.

                                                ELIOT
                    I'll pick up the deceased from the
                    hospital. Yes. This afternoon? That'll
                    be fine. It's my pleasure Mr. Merano.

                         

          INT. HOSPITAL MORGUE - DAY

          GRAY BODIES lie on steel tables. Eliot moves over to one
          of the CORPSES. Examines it with professional interest.
          Just then the Old Guy walks in with the Pale Assistant
          pushing a gurney with a BODY wrapped in plastic sheeting.

                                                OLD GUY
                    Well here he is. Frank Merano.
          The Old Guy hands Eliot a clipboard. The Assistant
          unties the rope. Pulls the plastic sheeting away.

                         ON BODY
          FRANK (40s), the top half of his head has been flattened.
          His head split open. Grotesquely distorting his face.

                                  ASSISTANT (O.C.)
                    Ouch.   That had to hurt.

                         MORGUE
          Eliot glances at the Assistant with disdain. Signs the
          release form and hands the clipboard back to the Old Guy.

                         

          INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - DAY

          Paul stands by a PRINCIPAL as they watch a JANITOR snap
          off the padlock on Anna's locker.

                                                PRINCIPAL

                                          (TO PAUL)
                    I'll leave you to sort out her things.

                                                PAUL
                    Thank you.

                                                                   63.

                         

                         
          The Principal and Janitor walk away. Paul reaches inside
          the locker. Pulls out a stack of exercise books. An
          empty pills bottle. Then he notices something in the
          back of the locker. He pulls it out.
          It's a PHOTOGRAPH of Paul and Anna together on vacation.
          Smiling. Happy. Paul looks at it for a moment. Trying
          hard to hold back his emotions.

                         

          INT. ELEMENTARY SCHOOL. CORRIDOR - LATER

          The DEAFENING NOISE of schoolchildren.    Paul weaves his
          way through the crowded corridor.

                                  JACK (O.C.)
                    Mr. Conran?

                                                PAUL

                                          (TURNS)
                    Yes?

                                                 JACK
                    My name's Jack. Miss Bryant was my
                    teacher.

                                          (BEAT)
                    I saw her last night.
          Paul looks at Jack coldly for a second.    Then walks away.
          Jack follows him.

                                                JACK
                    I was going past the funeral home. Miss
                    Bryant stood there. In the window. In a
                    red dress.

                                                PAUL

                                          (IRRITATED)
                    Anna doesn't have a red dress.

                                                JACK
                    You think I'm lying.   I'm not lying.
          Paul stops.   Turns to Jack angrily.

                                                PAUL
                    Look...
                           (trying to remember his name)
                    Jack. I'm in no mood--

                                                JACK
                    She needs your help.

                                               PAUL

                                         (SHOUTS)
                    Jack. Anna's dead.
          Paul's words ECHO loudly.   The bustling corridor goes silent.

                                                                    64.

                         

                         

                                                PAUL
                           (almost to himself)
                    I can't help her anymore.
          Paul turns and walks away.    Jack grabs his arm.

                                                JACK
                    Maybe you just don't love her anymore?
          Paul turns and hits Jack with the back of his hand.     Jack
          falls to the ground. Paul stands over him enraged.

                                                PAUL
                    You little fuck. You think this is funny?
          He's about to hit Jack again when a STOCKY TEACHER grabs
          him. Paul tries to struggle loose.

                                                STOCKY TEACHER
                    Hey!
          The CHILDREN stare at Paul. A SECURITY GUARD runs across
          talking into a walkie-talkie. Another TEACHER bends down.

                                                TEACHER
                    Are you alright sweetie?
          Jack nods numbly. Looking up all the time at Paul.      The
          Security Guard grabs Paul's arm.

                                                SECURITY GUARD
                    The police are on their way.
          Paul watches Jack stand shakily.   Realizes what he's
          done. He reaches out to Jack.

                                                PAUL
                    Jack... I'm sorry...

                                                SECURITY GUARD
                    Step back sir.

                         

          INT. ELEMENTARY SCHOOL. SECURITY ROOM - DAY

          Paul sits at a table. Staring blankly at a row of CCTV
          monitors. The door opens. Tom walks in.

                                                TOM
                    You're lucky.

                                                PAUL
                    Am I?

                                                TOM
                    They're not pressing charges.

                                                                         65.

                         

                         
          Paul doesn't look up.     He's miles away.

                                                   TOM
                       What the hell's wrong with you?
                              (holds his fingers close together)
                       You're this close to fucking up your
                       career.

                                                   PAUL
                              (suddenly looks up)
                       You know what he told me? He told me
                       Anna's alive.

                                                   TOM
                       You didn't believe him did you?

                                                    PAUL
                       No.   Of course not.
          Tom's relieved. Paul turns back to the monitors.     The
          ghostly figure of a YOUNG FEMALE TEACHER drifts
          hypnotically across the screen.

                                                   PAUL
                       It's just... I'm having these...

                                                   TOM
                       What?

                                                    PAUL
                       Nothing.   Forget it.

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          Eliot leans over Frank's body on the slab. Rolling a
          ball of wax in his hands to warm it up. He gently moves
          Frank's head to one side. In the b.g. Anna lies on her
          slab watching Eliot work.

                         ANNA'S POV
          Frank stares back at her with open dull eyes. His face
          partially reconstructed with plaster of Paris.

                         PREP ROOM
          Eliot smooths the wax over the plaster to give Frank's
          face a more natural texture. Then picks up a piece of
          wire with a fishhook-like barb at each end.

                                    ANNA (O.C.)
                       What's that for?
          Eliot looks up surprised. Anna stands beside him.        He
          leans down. Peels back Frank's upper lip.

                                                                     66.

                         

                         

                                                 ELIOT
                    His mouth.   To keep it closed.
          Eliot imbeds one barb into the upper gum then pries back
          Frank's lower lip. He attaches the other barb into the
          lower gum, then twists the wires tightly together. He
          picks up two plastic caps covered in small knobs.

                                                ELIOT
                    Now his eyes.
          He inserts the caps into Frank's eyes. Pulls his eyelids
          over them. Glues the eyelids together.

                                                ANNA
                    Is this how you'll prepare my body?
          Eliot looks at her for a moment.   Smiles reassuringly.

                                               ELIOT
                    No. There's no need. I had to rebuild
                    his face. You're still beautiful.

                                                ANNA
                    Does he have family?

                                                  ELIOT
                    Yes.    A brother. He's coming in later.
          Anna touches the white sheet covering Frank's body.

                                                ANNA
                    My mother... She didn't cry did she?
                    When she came to see me?

                                                ELIOT
                           (shakes his head)
                    I'm sorry.

                                                 ANNA
                    And Paul?

                                                ELIOT
                    It's not important anymore.

                                                ANNA
                    I need to know.

                                                  ELIOT

                                            (HESITATES)
                    No.    He didn't cry.
          We see a brief flicker of pain in Anna's eyes.

                                                                      67.

                         

                         

                                                ANNA
                    I knew he wouldn't.     He always got
                    upset when I cried.     He said crying
                    never helped.
          Anna suddenly looks very weary. She leans heavily
          against the slab. As if she's about to fall.

                                                ELIOT
                    You should rest.
          He guides her back to the slab.    Helps her lie down.

                                                ELIOT
                    You're getting weaker.    It's almost time.
          Eliot strokes her hair tenderly.    She looks up at him.

                                                ANNA
                    Can I ask you something?

                                                 ELIOT
                    Yes.   Of course.

                                                ANNA
                    Why do we die?
          A long beat.

                                                ELIOT
                    To make life important.
          Anna's fingers curl around his hand. Like a vulnerable
          child. Totally trusting in him. Eliot looks down at Anna
          sadly. We sense he's conflicted. Confused. Wavering.
          But then reluctantly he reaches for a SYRINGE filled with
          AMBER LIQUID on the steel trolley. He injects her gently
          in the neck. Watches over her for a moment. Then moves
          to the window. He picks up a window pole. Pulls the
          shutter across the window plunging the room into darkness.

                         

          INT. FUNERAL HOME - DAY

          Eliot moves through the Funeral Home pulling heavy drapes
          over the windows and closing doors. It feels like a
          ritual. The once airy sunlit rooms are darker now. More
          ominous. Claustrophobic.

                         

          INT. FUNERAL HOME. ELIOT'S ROOM - DAY

          CLOSE ON a stream of crystal blue water.    We pull back.
          Eliot picks up a white towel. Dries his hands. Deep in
          thought. He moves to his desk. Picks up a Polaroid.

                                                                     68.

                         

                         

                         ON POLAROID
          The Old Woman, Mrs. Whitehall, lying in her casket.

                                 ELIOT (O.C.)
                    Mrs. Whitehall. Susan. I hope you found
                    what you were looking for.

                         ROOM
          Suddenly Eliot looks up sharply.   As if someone had spoken
          to him.

                                                ELIOT
                    Think nothing of it Mr. Houseman.    No
                    need to apologize.
          Eliot moves over to the wall.

                                                ELIOT
                    I really enjoyed our time together.
          We pull back slowly. Eliot's talking to a POLAROID of an
          OLD MAN. We pull back further... the wall's covered in
          HUNDREDS OF POLAROIDS of BODIES in open coffins.
          Most of them have closed eyes but we glimpse some with
          their eyes wide open. Eerily staring at us. Eliot
          touches the Polaroid of a YOUNG MAN. We see the fear in
          the Young Man's eyes.

                                   ELIOT (O.C.)
                    Anthony.    Anthony. Always confused.
          Just then we hear the doorbell ringing downstairs.    Eliot
          moves to the window.

                         ELIOT'S POV
          A POLICE OFFICER stands at the front door.    A SQUAD CAR
          parked on the driveway.

                         ELIOT'S ROOM
          Eliot steps back.    Calmly continues to dry his hands.

                         

          INT. FUNERAL HOME. HALLWAY - DAY

          Eliot leads the Police Officer through the hallway.

                                                ELIOT
                    How can I help you Officer?

                                                OFFICER
                    I'd like to see the body.

                                                                   69.

                         

                         
          Eliot stops.   We see a brief flicker of unease in his eyes.

                                                OFFICER
                    Frank Merano. I'm his brother.    Vincent
                    Merano? I called this morning.

                                                 ELIOT
                    Mr. Merano.   Yes. Of course.

                                                VINCENT (OFFICER)
                    I hope it's no trouble. I'd just like to
                    see him before the funeral.
          Eliot glances at his watch.   Smiles at Vincent.

                                                ELIOT
                    It's no trouble at all.

                         

          INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER

          Eliot leads Vincent to Frank's covered body. Vincent
          looks over at Anna. The white sheet only comes to her
          shoulders, her head facing straight upwards.

                                                ELIOT
                    Your brother's here.
          Vincent turns back to Eliot. We're not sure if Eliot was
          speaking to Frank or to Vincent. Eliot pulls the sheet
          away. Frank's face is flawless. No sign of any damage.

                                                VINCENT
                    He looks so peaceful. You've done a
                    beautiful job. Thank-you.

                                                ELIOT
                    You should remember him as he used to be.
          Suddenly we hear a FAINT RUSTLING sound. Vincent glances
          again at Anna's body. Her head is now turned to one side.
          Wasn't she facing upwards a moment ago? Vincent's puzzled
          for a second then shrugs. Must have been his imagination.

                                                VINCENT
                    That's the schoolteacher isn't it?
          Eliot pulls the sheet over Anna's face.

                                                ELIOT

                                          (QUICKLY)
                    Yes. Very tragic. Now is there anything
                    else I can help you with?
          Vincent frowns.   Turns back to Eliot.

                                                                   70.

                         

                         

                                                  VINCENT
                      Something's not right here.

                                                  ELIOT
                             (looks up sharply)
                      Not right?
          Vincent nods towards Frank's body.

                                                    VINCENT
                      His smile.    It was a bit more...
          Vincent raises his fingers to his mouth, trying to find
          the right word.

                                                    VINCENT
                      ...smiley.

                                                    ELIOT
                      Smiley.

          ON FRANK'S MOUTH
          Eliot manipulates Frank's lips.

                                   VINCENT (O.C.)
                      A touch more.

                         PREP ROOM

                                                  VINCENT
                      That's much better. Thank-you.

                                                  ELIOT
                      I'm glad I could help.

                                                  VINCENT
                      Do you mind if I have a couple of minutes
                      alone with him?
          Eliot hesitates.      Then smiles.

                                                   ELIOT
                      No.   Not at all. I'll wait outside.
          As Eliot leaves, Vincent looks at Frank's body. After a
          moment he glances at Anna again. Then at the door. He
          quickly moves over to Anna. Looks at her curiously then
          pulls down the sheet. He reaches over... and CARESSES
          HER BREAST. Mesmerized by her naked body.
          As Vincent's hand moves down her body, he bumps against
          the trolley. Instruments CRASH to the floor. He pulls
          back the sheet just as Eliot enters the room.

                                                    VINCENT
                      I'm sorry.    I didn't see...

                                                                    71.

                         

                         
          Eliot notices the sheet covering Anna's body is slightly
          askew. He reaches over and straightens it. Then looks
          coldly at Vincent. There's an uncomfortable silence.

                                                  VINCENT
                      Well. I guess I should be off then. I'll
                      see you at the service. Thanks again.
          Vincent glances one last time at Anna then leaves. The
          door locking shut behind him. Eliot stares at the door.

                                                  ELIOT
                      I just told you. That was your brother.
                             (turns to Frank)
                      You had an accident. You're dead. Why
                      do you people never listen to me?
          Frank doesn't move.    His mouth still wired shut.

                                                   ELIOT
                      No.   It's not a gift.   It's a curse.
          Eliot picks up a compact. Roughly layers Frank's cheeks
          with thick rouge. With every word he gets more agitated.

                                                  ELIOT
                      I take care of each of you as if you were
                      my children. I wash the shit from your
                      bodies. I dress you. I do everything to
                      make you look more beautiful than when
                      you were alive. And what do you do?
          Eliot's extremely irritated now.     He grabs a garish red
          lipstick. Smears Frank's lips.

                                                  ELIOT
                      You argue with me. As if it were my fault
                      you're dead. As if I was to blame.
                             (slams down the lipstick.)
                      What? You're not talking to me now? You
                      don't want to?

          ON FRANK'S FACE
          The crudely drawn bright red lips.     Clown-like circles of
          rouge. Gaudy and macabre.

                                   ELIOT (O.S.)
                      You don't talk because you have nothing
                      to say. And you have nothing to say
                      because you're a corpse.

                         PREP ROOM
          From Eliot's reaction it seems as if Frank has started to
          talk again.

                                                                      72.

                         

                         

                                                  ELIOT
                       No. Now I don't want to talk to you
                       anymore.

                         

          INT. JACK'S HOUSE. LIVING ROOM - DAY

          The curtains are drawn. Jack's Mother, still motionless,
          in front of the blaring TV. Jack stops in the doorway.

                                                   JACK
                       I'm off to school now.
          His mother doesn't reply. Jack leaves. After a moment
          she slowly turns her head. Stares at the empty doorway.

                         

          EXT. CEMETERY - LATER

          Jack cycles through the cemetery. He pulls up by a bush.
          Stares at the Funeral Home in the distance.

                         

          INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER

          The service hasn't started yet. Jack walks nervously
          through the empty room to an open casket. He glances
          back, then leans over the coffin.

                         JACK'S POV
          Frank Merano lies nestled in the velvet interior.    His
          face placid. No sign of the gaudy make-up.

                         VIEWING ROOM
          Jack stares in fascination at Frank's body. He reaches
          into the casket. Touches Frank's cold hand.
          In the b.g. Eliot walks into the viewing room.     He stops
          surprised. Watches Jack intently.

                         ON JACK

                                                   JACK

                                             (TO FRANK)
                       What's it like? Are you afraid?

                                   ELIOT (O.C.)
                       Jack.

                         VIEWING ROOM
          Jack turns quickly.    Eliot stands over him.

                                                                  73.

                         

                         

                                                ELIOT
                    You have empathy with the dead. You're
                    drawn to them. Just as they're drawn to
                    you. It's a rare gift.
          Jack can't look Eliot in the eye.

                                                ELIOT
                    I know you saw Anna.
          Jack hesitates.   Then nods his head.

                                                ELIOT
                    You're frightened by it. I was scared
                    too the first time. But you shouldn't
                    be. Christ had the same gift. He raised
                    Lazarus and spoke to the dead.

                                                JACK

                                          (INTRIGUED)
                    You spoke to Miss Bryant?

                                                  ELIOT
                    Yes.

                                                JACK
                    You've spoken to others?

                                                  ELIOT
                    Yes.    Many others.

                                                JACK
                    Who was the first one you spoke to?
          A long beat.

                                                  ELIOT
                    My mother.
          Jack looks up sharply.   Eliot's words have clearly struck a
          chord.

                                                 ELIOT
                    You shouldn't be afraid.

                                          (BEAT)
                    The others. They won't understand.    They
                    don't see what we see.

                                          (BEAT)
                    I can help you. I can teach you.

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          Anna stares vacantly at the ceiling. Eliot places a bunch
          of tulips on the trolley. Turns on a CD. CLASSICAL MUSIC
          fills the room as before. He moves over to Anna. Gently
          Pulls away the sheet.

                                                                    74.

                         

                         

                                                ANNA
                    Your fingernails are dirty.
          Eliot smiles.    Examines his nails.

                                                ANNA
                    Your hands are normally so clean.

                                                ELIOT
                    I've been gardening.
          He walks over to the sink.      Scrubs his nails.

                                                ANNA
                    Is it sunny outside?
          Eliot fills a bowl with water.     Carries it to the slab.

                                                  ELIOT
                    Yes.    The tulips love the sun.

                                                ANNA
                    I miss the sun.
          Anna glances up at the shuttered window. Eliot snaps on
          his latex gloves. Picks up a sponge and wets it in the
          bowl of water. Anna turns to the tulips.

                                                ANNA
                    Are they your favorite flower?

                                                  ELIOT
                    Tulips?    Yes. I think so.
          Eliot raises Anna's arm. Delicately washes her armpit.
          Along the length of her arm. Her skin pale.

                                                ANNA
                    I thought it'd be lilies. White lilies.
                    Don't they symbolize death?

                                                  ELIOT
                    No.    They symbolize purity.
          He moves to her breasts, following the contours of her
          body. Pausing every now and then to rinse the sponge.

                                                  ANNA
                    And tulips?
          Eliot hesitates for a second before replying.

                                                 ELIOT
                    Unrequited love.

                                          (BEAT)
                    What's your favorite flower?

                                                                         75.

                         

                         

                                                  ANNA
                    Violets.
          Eliot softly washes her legs.

                                                ELIOT
                    A beautiful flower.       They need shade and
                    lots of water.

                                                ANNA
                    What do they symbolize?

                                                ELIOT
                    Faithfulness.

                                                ANNA

                                          (DISTRACTEDLY)
                    Do they?
          Eliot puts down the sponge.      Dries her body with a towel.

                                                ANNA
                    Roses are red, violets are blue...
          He reaches over to the CD player to switch it off.

                                                   ANNA
                    No.     Leave it on.    It's so peaceful.
          Eliot smiles.   Leaves the music on.

                         

          INT/EXT. PAUL'S CAR. STREETS - DAY

          Paul drives aimlessly past strip malls. He stops at a
          red light. Lights a cigarette. Just then he notices
          something across the street. He looks puzzled.

                         

          EXT. STREET/STORE WINDOW - CONTINUOUS

          Paul gets out of his car.    Quickly walks over to the
          store window.

          ON STORE WINDOW
          A RED-SLIP on a mannequin.       Just like ANNA'S RED SLIP.

                         STREET
          The light's turned green. The DRIVERS HONK angrily.
          Paul doesn't hear them. He places his hand against the
          plate glass. Stunned.

                                                                  76.

                         

                         

                         

          EXT. FUNERAL HOME. DRIVEWAY - DAY

          Eliot prunes a low hedge by the front door.

                                  PAUL (O.C.)
                    Deane.
          Eliot turns.   Paul's clearly agitated.

                                                 ELIOT
                    Mr. Conran.   A pleasure.
          Eliot stands stiffly.   Rubs his back.

                                                ELIOT
                    I love gardening, but I'm not sure
                    gardening loves me anymore.

                                                PAUL
                    She's not dead is she?

                                                ELIOT

                                          (AMUSED)
                    Mr. Conran.

                                                PAUL
                    Someone saw her.

                                                 ELIOT
                    I'm sorry?

                                                PAUL
                    One of Anna's students.
                           (nods towards the funeral home)
                    In the window.

                                                ELIOT
                    Do you mean Jack?
          Paul's momentarily taken aback.

                                                PAUL
                    You know him?

                                                ELIOT
                    Of course I know him. He's often round
                    here. He seems to have a strange
                    fascination with death. He's eleven
                    years old Mr. Conran. And like all young
                    boys has a vivid imagination. Now if
                    you'll excuse me--

                                                PAUL
                    I don't think he imagined it.   I think he
                    really saw her.

                                                                    77.

                         

                         

                                                ELIOT
                    Maybe you just want to believe he saw her.

                                                  PAUL
                    Fuck you.
          Paul pushes past Eliot and strides into the Funeral Home.

                                                  ELIOT
                    Mr. Conran!

                         

          INT. FUNERAL HOME. HALLWAY - MOMENTS LATER

          Paul moves quickly through the hallway.

                                                  PAUL

                                            (SHOUTS)
                    Anna!
          Eliot calmly heads towards Paul.

                                                ELIOT
                    Mr. Conran. I think you should leave
                    before I call the police.
          Paul notices the stairs leading down to the Prep Room.

                                                PAUL
                    What's down there?

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - MOMENTS LATER

          Paul runs over to the Prep Room door. He grabs the handle.
          It's locked. Eliot appears behind him. Paul turns.

                                                PAUL
                    She's in here isn't she?     Give me the
                    key.
          Eliot stares at Paul with pity.

                                                PAUL
                    Give me the fucking key.
          Paul turns back.   POUNDS the door in rage.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          The POUNDING echoes through the room. Anna awkwardly
          sits up. Struggling with her emotions. She wants to
          call out but knows she has to let Paul go.

                                   PAUL (O.S.)
                    Anna!

                                                                      78.

                         

                         
          Anna gets up.   Hesitates.   Weakly stumbles to the door.

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME


                                                PAUL
                    I'm here Anna.

                                          (DESPERATE)
                    I'm sorry. Please Anna.
          He places the palm of his hand against the door.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna places her palm against the door. As if touching
          Paul's hand. A tear falls down her cheek.

                                 PAUL (O.S.)
                    We'll be happy again. I promise.

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME


                                                PAUL
                    I can't live without you.
          Eliot looks up at Paul with sudden interest.

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna shakes her head. Takes her hand away from the door.
          Walks back to her slab.

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME


                                                 PAUL
                    Anna!
          Eliot gently puts his hand on Paul's shoulder.

                                                 ELIOT
                    Mr. Conran.   She's dead.
          Paul pushes him away.

                                                ELIOT
                    I know what you're going through.
                    Denial's a natural part of grieving...

                         

          INT. FUNERAL HOME. PREP ROOM - SAME TIME

          Anna lies down on the slab. Closes her eyes.     ELIOT'S
          VOICE seems far away now. Receding.

                                                                      79.

                         

                         

                                    ELIOT (O.S.)
                       ...but you've got to accept she's gone.

                         

          INT. FUNERAL HOME. BASEMENT CORRIDOR - CONTINUOUS


                                                   PAUL
                       She needs my help.
          Eliot looks at him for a moment.

                                                   ELIOT
                       You can't help her anymore.    Believe me.

                         

          INT. POLICE STATION - DAY

          An open plan office. Paul weaves quickly through the
          rows of desks. He seems unbalanced. Manic. DETECTIVES
          cautiously watch Paul approach Tom sitting at his desk,
          his head bent over paperwork.

                                                   PAUL
                       I need you to issue a search warrant.
          Tom looks up.       He's shocked by Paul's appearance.

                                                   PAUL

                                             (LOUDLY)
                       I need a fucking search warrant.    Now are
                       you going to help me or what?
          JEFF (20s) a Young Detective at a nearby desk stands.
          Tom nods to him. It's under control.

                                                     TOM
                       Paul.    Sit down.
          Paul hesitates for a second.

                                                     TOM

                                               (FIRMLY)
                       Sit.    Down.
          Paul sits.    Tom leans forward.    He's not amused.

                                                   TOM
                       Just what the hell do you think you're
                       doing? I got a call from Eliot Deane.
                       Are you out of your fucking mind?

                                                   PAUL
                       Anna's not dead Tom. He won't let me see
                       her. He's keeping her there--

                                                                    80.

                         

                         

                                                TOM
                    Anna was in a car accident. Her car was
                    wrecked Paul. Remember? It's downstairs.

                                                PAUL
                    She's not dead.
          Tom calmly gets up. Moves to a filing cabinet.   Takes
          out a file. Hands it to Paul.

                                                TOM
                    Here's the Coroner's report.
          Paul manically rifles through the file.

                                                   PAUL
                    Look.
                           (shows file to Tom)
                    The paramedics phoned it in. They only
                    checked for eye dilation and pulse. The
                    doctor signed the death certificate
                    without even seeing her body.

                                                 TOM

                                           (IRRITATED)
                    So?   That's standard procedure.

                                                PAUL
                    There was no EEG. Nothing. He could
                    have drugged her to make it look like she
                    was dead.

                                                   TOM
                    Drugged her?     Are you serious?
          Jeff looks up eagerly from his desk.

                                                JEFF
                    There are drugs like that chief.
                    Hydronium Bromide. Total paralysis
                    within seconds. The heartbeat slows to
                    almost nothing.
          Tom shoots Jeff a look.

                                                PAUL
                    See? I'm telling you. She's not dead.
                    The boy at school. Jack. He saw her.

                                    VINCENT (O.C.)
                    I saw her.
          Paul turns hopefully. Finally someone believes him.
          Vincent Merano stands by Jeff's desk.

                                                VINCENT
                    She was on the slab.     Dead.

                                                                    81.

                         

                         

                                                   PAUL
                    No!

                                                VINCENT
                    I've seen dead bodies.       Believe me, she
                    was definitely dead.

                                               PAUL
                    Tom. Just go down there and check the
                    place out.

                                                TOM
                    On what grounds Paul?       Do you have any
                    evidence?

                                                   PAUL
                    No.     But--

                                                TOM
                    Do you have anything?
          Paul hesitates.    We sense his uncertainty.

                                                PAUL
                    I think she called me.

                                                   TOM
                    Called you?

                                                PAUL

                                          (WEAKLY)
                    On the telephone.
          Jeff snickers. Paul's beginning to realize how absurd
          this all sounds.

                                                VINCENT
                    Collect or long distance?
          Jeff snorts with laughter.

                                                TOM
                    First you hit a fucking kid. Then you
                    attack Deane. And now you're telling me
                    your dead girlfriend called you? What the
                    fuck's going on? You're loosing it Paul.
          Merano and Jeff shake their heads, looking at Paul as if
          he were crazy. Tom's voice softens.

                                                TOM
                    I know you feel guilty but you've got to
                    pull yourself together.
          Paul slumps in the chair.       Rubs his face.

                                                                   82.

                         

                         

                                                PAUL
                    Maybe you're right.    But why won't he let
                    me see her?
          Tom signals to Merano and Jeff. Merano walks back to his
          desk. Jeff turns back to his work.

                                                TOM
                    Look Paul. The funeral's tomorrow.
                    You'll see her then. It'll help. It
                    will give you closure. Trust me.

                         

          EXT. CEMETERY - LATE AFTERNOON

          The sun's low on the horizon. Eliot whistles softly to
          himself as he digs a grave. Working meticulously. Like
          everything else he does. Suddenly a SHADOW falls over
          Eliot. He calmly looks up. The sun's behind the figure.
          For a moment Eliot can't tell who it is.

                                                JACK
                    You said you could teach me.
          Eliot smiles. Gestures to Jack to come inside the grave.
          Jack steps back. The grave terrifies him.

                                                ELIOT
                    It's only a hole in the ground.   I'm
                    digging it for--

                                                  JACK
                    Miss Bryant.

                                                 ELIOT
                    Exactly.   For Anna.   She belongs here.

                                                JACK
                    Because she's dead.

                                                 ELIOT
                    No.   Because there's no life left in her.
          Jack carefully considers Eliot's words.

                                                 ELIOT
                    Don't you see? I have no choice. I'm
                    the only one who can see all these
                    corpses. Wandering the earth
                    aimlessly. All they do is piss and
                    shit. Suffocating us with their
                    stench. Doing nothing with their
                    lives. Taking the air away from those
                    who actually want to live. I have to
                    bury them all. I have no choice.

                                          (BEAT)
                    Now there's two of us.

                                                                    83.

                         

                         
          Eliot holds up the shovel. Jack looks at him for a
          moment then reaches for the shovel.

                         

          INT. FUNERAL HOME. PREP ROOM - EVENING

          Anna watches Eliot brush an invisible speck off her
          mother's black dress.

                                                ELIOT
                    You did well this morning.

                                                ANNA
                    This morning?
          She talks with difficulty now. Her voice SLURRED and
          HOARSE. Her words muddled and rambling. Her eyes even
          more sunken. Her skin even more pale.

                                                ELIOT
                    When Paul came. You did the right thing.
                    You let him go.

                                                ANNA
                    He'll be all right now?    Won't he?
          Eliot looks away. Doesn't reply. He drapes the dress
          over his arm, picks up a pair of shiny black shoes and
          moves over to her.

                                                ANNA

                                          (CONFUSED)
                    Why do I have to get dressed?

                                                ELIOT
                    Tomorrow's your funeral.
          Eliot lifts Anna's arms and puts them through the sleeves
          of the dress. Her body's stiff and unyielding.

                                                 ANNA
                    Already?

                                                 ELIOT
                    I told you.   You only had three days.
          He delicately turns her onto her side.    Buttons up the dress.

                                                ELIOT
                    I told you to use your time well.
          Anna frowns. As if trying to remember something. Eliot
          gently lifts her legs. Pulls on a pair of black tights.

                                                ANNA
                    I need to... I have so many regrets.     I
                    have nothing but regrets.

                                                                     84.

                         

                         
          She looks up at him.   Suddenly realizing.

                                                ANNA
                    That's why I'm here isn't it?      To be
                    judged.
          Eliot picks up Anna's shoes.   Slips them onto her stiff feet.

                                                ELIOT
                    You're here to understand your life.       So
                    you can finally be at peace.

                                                ANNA
                    I wanted a different life.
          Eliot picks up a nail-clipper. Gently holds Anna's hand
          as he carefully cuts her long nails.

                                                ELIOT
                    Then why didn't you do anything about it?

                                                ANNA
                    No matter what I did everything just
                    stayed the same. I'd wake up. I'd
                    shower. Sit in the same traffic
                    everyday on my way to work. Go home.
                    Go to sleep. Then wake again.
          Eliot stops clipping her nails.   Irritated.

                                                ELIOT
                    What did you really want from life?

                                                ANNA
                    I just wanted to be happy.

                                                ELIOT

                                          (DERISIVELY)
                    Happy? You all say you wanted to be happy.
                    What does it mean Anna? To be happy?

                                                ANNA
                    I don't know. Don't you understand?
                    That's the whole point. I don't know.

                                                ELIOT
                    Yes you do! You're just too scared to
                    admit it to yourself.
          Anna turns away ashamed.   She knows he's right.

                                                ANNA
                    I don't want to talk about it anymore.      I
                    just want this to be over.

                                                ELIOT
                    What did you want from life?

                                                                      85.

                         

                         

                                                ANNA
                    I don't fucking know!

                                                ELIOT

                    WHAT DID YOU WANT ANNA?

                                                ANNA

                                          (SCREAMS BACK)

                    I WANTED LOVE! OK!
          Anna's stunned.   She's finally admitted it.

                                                ANNA

                                          (QUIETLY)
                    I wanted love.

                                                ELIOT
                    You had love. Paul loved you.

                                                 ANNA
                    No. You don't understand. I was scared.
                    I wanted to love but I didn't know how.
                    I was...

                                          (BEAT)
                    When I was a child... my mother.
          Anna struggles to pull together her thoughts.

                                                ANNA
                    When I was a child. I learnt that love.
                    That when you love someone. You get
                    hurt. So I learned not to love. That
                    way no one could ever hurt me again.
          She looks down at the slab.     Touches the cold marble.

                                                ANNA
                    I was always pushing Paul away.      He
                    thought I didn't love him.

                                                 ELIOT
                    Did you?

                                                ANNA
                    He was the only one I ever loved. But I
                    never told him that. And then he stopped
                    loving me.
          Eliot stares at her intently.    Comes to a decision.

                                                ELIOT
                    What would you do if you had another
                    chance?
          Anna's puzzled. Eliot goes to the door and unlocks it.
          Moonlight floods in from upstairs. Washing it with a cold
          light. Anna doesn't move.

                                                                     86.

                         

                         

                                                 ELIOT
                    Well?   Isn't this what you wanted?
          Eliot holds out his hand.   Anna takes it hesitantly and
          rises from the slab.

                         

          EXT. FUNERAL HOME - NIGHT

          Mist drifts through the cemetery. Anna stands in the
          driveway. Pale and ghoulish in her black funeral dress
          and shiny black shoes. She starts walking.

                         

          EXT. MOTHER'S HOUSE - NIGHT

          Anna approaches her mother's house.    Paul opens the door.
          He's not surprised to see her.
          Beatrice stands just behind him.     A black shawl over her
          head and arms.

                         

          INT. MOTHER'S HOUSE. HALLWAY - NIGHT

          In the candlelight we can see the house is full of OLD
          WOMEN. Their faces deeply lined. Wearing identical
          black shawls. They stare at Anna, whispering in
          different rhythms. Unintelligible words undulating like
          an ANCIENT PRAYER.

                         

          INT. MOTHER'S HOUSE. BEDROOM - NIGHT

          Paul and Beatrice lead Anna to the bed. As she lies down
          we realize the bed is full of BLACK SOIL. Clouds of ugly
          flies hang in the air. BUZZING noisily.
          The Old Women surround Anna in a tight circle. Leaning
          over her. Making her feel claustrophobic. She can smell
          their rotting breath as their prayers grow LOUDER.
          Through the chaos of words we begin to make out...

                                                  OLD WOMEN
                    Spit it out.
          Anna doesn't understand. Then she feels something in her
          mouth. Growing. Gagging her. The Women are SCREAMING.

                                                  OLD WOMEN
                    Spit it out.
          Anna spits out... white maggots.     She gags again.   Closes
          her eyes. Shakes her head.

                                                  ANNA
                    No.

                                                                   87.

                         

                         

                         

          INT. FUNERAL HOME. PREP ROOM - NIGHT

          Anna's eyes snap open. She's still in the Prep Room.
          She steps back from the doorway. Terrified.

                                                ELIOT
                    I thought you were different. You all
                    say you're scared of death. But the
                    truth is you're more scared of life.
          Eliot switches off the lights.

                                 ANNA (O.C.)
                    I'm glad I'm dead. I'm glad it's over.

                         

          EXT. ROAD BY FUNERAL HOME - NIGHT

          Paul sits in his car. Staring out at the Funeral Home as
          he nervously smokes a cigarette. The light in Eliot's
          room goes off. Paul waits for a moment. Then gets out
          of his car. Stubs out his cigarette.

                         

          EXT. FUNERAL HOME - MOMENTS LATER

          Paul treads carefully along the side of the Funeral Home.
          It's a full moon. The trees rustle ominously in the
          wind. Casting eerie shadows against the dark house.
          He finds a window. Tries to open it. It won't budge.
          Just then he hears a noise in the bushes. He crouches
          down quickly. Listens hard. Nothing.

          FROM THE BUSHES
          Someone watches Paul tentatively move to another window.

                         FUNERAL HOME
          Paul strains to open the window when suddenly... he's
          caught in a circle of bright light. Paul turns quickly.
          A DARK FIGURE stands over him. Menacing.

                                                MAN'S VOICE
                    What the fuck are you doing here?
          The Figure lowers the flashlight.   It's Tom.

                                                TOM
                    I'm taking you home.

                         

          EXT. JACK'S HOUSE. GARDEN - NIGHT

          CLOSE ON black earth.   A trowel digs into the soil.

                                                                   88.

                         

                         
          We pull back. Jack's just finished digging a hole in the
          flower bed. A shoebox beside him. He takes off the lid.
          The Chick trembles in the corner of the box. Jack slowly
          replaces the lid. Puts the box into the grave. He
          pushes the earth over it. The box jerks. We hear the
          faint RUSTLING of the Chick inside.

                                                 JACK
                     Don't be scared. It's better this way.

                         

          INT. FUNERAL HOME. ELIOT'S ROOM - DAWN

          Eliot lies on his bed. Dressed in a dark suit. He hasn't
          slept at all. His eyes rimmed red. He checks the clock on
          the bedside table. It's 4.30am. He glances to the
          window. Dawn light seeps into the room.

                         

          EXT. FUNERAL HOME - DAWN

          Eliot walks through the garden. A pair of small secaters
          in his hand. He stops by a bed of violets. Still
          covered in morning dew. He kneels and starts cutting the
          delicate flowers.

                         

          INT. FUNERAL HOME. PREP ROOM - DAWN

          Anna lies on the slab in her burial dress.   Her eyes closed.
          Eliot enters the room. He doesn't lock the door behind
          him. Doesn't turn the lights on. Doesn't change into
          his mortician smock.
          He approaches the slab. The violets in his hand. Pulls
          over a chair and sits next to Anna. Places the violets
          on the steel trolley beside her.
          He looks at her intently. For the first time he seems
          uncertain. Vulnerable. As if questioning himself.
          After a while he suddenly gets up and heads towards the
          door. He's about to close the door behind him...

                                  ANNA (O.C.)
                     I don't even know your name.

                         ON ANNA
          Her eyes still closed.

                         ON ELIOT
          Eliot pauses.   Too confused to look back at her.

                                                                    89.

                         

                         

                                                    ELIOT
                       It's...

                                             (BEAT)
                       It's not important.
          He closes the door.

                         

          INT. BEATRICE'S HOUSE. BEDROOM - DAY

          CLOSE ON Beatrice's face.    Her eyes closed.
          A HAND delicately powders her forehead. As if she's
          being prepared for her own funeral. We pull back.
          Beatrice, dressed in black, sits in front of a mirror.
          Diane applies her make-up. Beatrice opens her eyes.

                         

          INT. PAUL'S APARTMENT. BATHROOM - DAY

          Paul, badly shaven, leans against the washbasin. Wearing
          a crumpled black suit. Staring vacantly in the mirror.

                         

          INT. FUNERAL HOME. PREP ROOM - DAY

          Anna lies in a casket as Eliot arranges her hair.

                                                   ELIOT

                                             (GENTLY)
                       It's time now.
          She looks up smiling. Eliot positions her hands,
          entwining her fingers.

                                                   ELIOT
                       You have to look beautiful for your
                       funeral.
          He picks up a SYRINGE and an ampoule of AMBER LIQUID.
          Fills the syringe.

                         ON AMPOULE
          We glimpse the label: HYDRONIUM BROMIDE.

                                    ELIOT (O.C.)
                       This will relax your muscles. Make your
                       skin radiant. As if you were still
                       alive. Just sleeping.

                         PREP ROOM

                                                   ELIOT
                       This is how they'll all remember you.

                                                                      90.

                         

                         

                                                   ANNA
                       Can I see myself for the last time?
          Eliot smiles.    Picks up a mirror.    Hands it to Anna.

                         ON MIRROR
          Anna looks peaceful.    Beautiful.    Serene.

                                                   ANNA
                       Is this the end?

                                    ELIOT (O.C.)
                       The last part is the most difficult.
                       You'll have to face it alone. But you'll
                       be at peace soon.
          Anna nods.    SIGHS deeply... her BREATH FOGS the mirror.
          She frowns. Touches the SMALL CIRCLE OF CONDENSATION on
          the glass. Looks up at Eliot in shock.

                         PREP ROOM
          Eliot glances anxiously at the fogged mirror, then at Anna.

                                                   ANNA
                       You lied to me.

                                                   ELIOT
                       Anna. We've been through this before.
                       You're just imagining--

                                                   ANNA
                       You lied to me.
          Eliot injects her in the side of the neck. Anna tries to
          raise her hand to push him away but she's too weak.

                                    ELIOT (O.C.)
                       You're still clutching onto life. Don't
                       give in to your fears. You're so close.
          Anna's fading away.    Her hand drops limply to her side.

                                                   ANNA

                                             (WHISPERS)
                       Why did you lie to me?
          She stops struggling.    Stares blankly at us.
          Eliot looks at her for   a moment. Sadly. Regretfully.
          He picks up a Polaroid   camera. The flash explodes in a
          blinding white light.    He pulls out the Polaroid. Peels
          off the front and fans   it in the air. Then...

                                                                     91.

                         

                         

                         ON ANNA
          ...delicately closes Anna's eyelids.

                                   ELIOT (O.C.)
                      Good bye Anna.

                         

          INT. FUNERAL HOME. VIEWING ROOM - LATE AFTERNOON

          Anna's funeral is in progress.   Eliot stands by her
          casket. Surrounded by wreathes of tulips and lilies.
          Beatrice, in her wheelchair, in the front row. Diane
          beside her. A SCHOOLTEACHER sits behind them with Jack
          and other CHILDREN.

                                   FATHER GRAHAM (O.C.)
                      I am the resurrection and the life.
                      Those who believe in me, even though they
                      die, will live.
          Tom and Paul appear at the door.   Tom guides Paul to a
          seat near the back.

                                   FATHER GRAHAM (O.C.)
                      They that sleep in the earth will awake
                      and shout for joy; and the earth will
                      bring those long dead to birth again.

                         ON CASKET
          Anna lies in an open casket. Her eyes closed.     She can
          hear the DISTORTED VOICE of the Priest.

                                   FATHER GRAHAM (O.C.)
                      We have come here today to remember
                      before God our sister Anna. To give
                      thanks for her life.

          ON ANNA'S FACE
          We see an almost imperceptible frown.

                         VIEWING ROOM
          Eliot gestures to Beatrice. Diane wheels her to the casket.
          Beatrice looks at Anna for a moment, then touches the
          violets in Anna's hands.

                                                  DIANE
                      Violets. They were her favorite flowers.
                             (turns to Eliot)
                      How did you know?

                                                  ELIOT
                      Violets just seemed appropriate somehow.

                                                                      92.

                         

                         
          Next we see Mrs. Hutton at the casket. Then Jack. He
          stares at Anna's body before being moved on by the
          Schoolteacher. Finally Paul and Tom approach the coffin.

                         PAUL'S POV
          Anna looks serene.

                         VIEWING ROOM
          Paul takes out the ring box from his pocket. Gently
          slides the engagement ring onto Anna's stiff finger.
          Suddenly he looks alarmed. Turns quickly to Tom.

                                                   TOM

                                             (WHISPERS)
                       What is it?

                                                   PAUL
                       She's so cold.
          Paul turns back to Anna.    Tears prick his eyes. He
          touches her cheek again.    Finally accepting her death.

                                                   PAUL
                       I'm sorry Anna.
          He kisses her lips. Eliot watches him carefully. It's
          almost as if he's jealous. Jack notices Eliot's look
          then turns and stares at Paul.
          As Paul and Tom walk away Eliot closes the casket.
          Begins to screw down the lid.

                         

          INT. INSIDE THE CASKET - SAME TIME

          It's dark. We hear the screws TIGHTENING.      Anna's eyes
          FLICKER OPEN then close again.

                         

          INT. FUNERAL HOME. VIEWING ROOM - SAME TIME

          Just then Paul turns back sharply.      As if he sensed
          Anna's reaction inside the casket.      Tom gently stops him.

                                                   TOM
                              (shakes his head)
                       She's at peace now.
          Paul glances at the casket again, then reluctantly allows
          Tom to lead him away.
          Eliot tightens the last screw. His back to the room.
          Suddenly the screwdriver slips. Gashes his finger.

                                                                    93.

                         

                         

                         ON COFFIN
          A drop of blood falls onto the polished wood.

                         VIEWING ROOM
          Eliot stares at the blood for a moment. Takes out a
          pristine white handkerchief. Carefully wipes off the
          blood. Then places his hand on the coffin.

                                                  ELIOT

                                            (SOFTLY)
                      Don't be scared. It's better this way.
          Eliot turns.   Signals to the PALLBEARERS standing nearby.

                         

          EXT. CEMETERY. ANNA'S GRAVE - LATE AFTERNOON

          The Pallbearers slowly lower Anna's casket into the open
          grave. The casket lurches as it settles in the grave.

                         

          INT. INSIDE THE CASKET - SAME TIME

          Anna's eyes SNAP OPEN in terror. She tries to scream out.
          But only a SOFT RATTLING WHISPER escapes from her throat.

                         

          EXT. CEMETERY. ANNA'S GRAVE - SAME TIME

          The TEACHER throws a handful of earth onto the coffin.
          Jack steps up. Looks down curiously. As if he could
          sense Anna. Then slowly pours the soil from his hand.

                                   FATHER GRAHAM (O.C.)
                      We have but a short time to live. Like a
                      flower we blossom and then wither. In
                      the midst of life we are in death.

                         

          INT. INSIDE THE CASKET - SAME TIME

          Blackness. Earth CLATTERS HEAVILY onto the wooden lid.
          Anna GASPS softly. Hyperventilating. The earth keeps
          falling. The sound becoming SOFTER with each shovelful.
          She struggles. Bangs her fists against the wood.

                         

          EXT. CEMETERY. ANNA'S GRAVE - LATER

          The grave's covered with a stone slab now. Votive candles
          flicker on top. In the b.g. MOURNERS head to their cars.
          Paul and Tom stand by the grave.

                                                  TOM
                      You sure you're going to be OK?

                                                                   94.

                         

                         

                                                 PAUL
                    Yeah.   Thanks Tom.
          Tom squeezes Paul's shoulder then walks away.

                         

          INT. FUNERAL HOME. ELIOT'S ROOM - SAME TIME

          Eliot carefully pins Anna's Polaroid to the wall.

                         ON POLAROIDS
          We pan slowly across the other photographs we saw before.
          But now we look at them differently. In some faces there
          is the glimmer of life. In some a despairing pleading
          look. In others passive resignation.

                         ELIOT'S ROOM
          Eliot moves towards the window.

                         ELIOT'S POV
          The dark cemetery. In the distance flickering candles
          illuminate Anna's grave.

                                 ELIOT (O.C.)
                    Imagine Anna. The whole world, your
                    mother, your fianc�e, your friends.
                    Everyone has buried you. They've placed
                    a stone above your body.

                         ELIOT'S ROOM

                                                ELIOT
                    They've said their good byes and gone
                    back to their TV dinners and shopping
                    malls. Thinking that this is never going
                    to happen to them. Until it's their turn
                    to be buried. Think about it Anna...
          Eliot glances at his watch.

                                                ELIOT
                    ...think about it while you still can.

                         

          EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER

          Paul unlocks his car. He's about to open the car door
          when he feels someone watching him. He turns. Jack's
          observing him carefully.

                                                PAUL
                    You said she was alive.

                                                                       95.

                         

                         

                                                   JACK
                       I never said she was alive.     I just said
                       I saw her.
          Paul simply nods his head.        Too drained of emotion to react.

                                                   PAUL
                       You need a ride?
          Jack shakes his head.

                                                    PAUL
                       OK.   See you.
          Paul opens the car door.

                                                   JACK
                       Mr. Conran?

                                             (PAUL TURNS)
                       Don't forget to fasten your seat belt.
          Paul nods. Gets in his car.        Jack looks up at the
          Funeral Home.

                         JACK'S POV
          Eliot stands in the window smiling at him.

                         

          INT. MOTHER'S HOUSE. DINING ROOM - NIGHT

          We're at Anna's wake.      PEOPLE talk quietly in small groups.
          Paul fills a glass with whiskey. Knocks it back in one.
          PEOPLE stare disapprovingly. WHISPERING to each other.

                                    ELIOT (O.C.)
                       Don't you think you've had enough to
                       drink?
          Paul turns. Eliot stands beside him.        Paul pours himself
          another drink.

                                                    PAUL
                       Go to hell.
          An ELDERLY COUPLE shake their heads and walk away.

                                                   ELIOT

                                             (AMUSED)
                       Mr. Conran. We're at a wake.      You should
                       show more respect.

                                                   PAUL
                       I know she wasn't dead.

                                                                    96.

                         

                         

                                                   ELIOT
                    Wasn't she?
          Eliot's suddenly tired of Paul's allegations.

                                                ELIOT
                    Mr. Conran. You come to my Funeral
                    Home, making wild accusations. You have
                    no idea what happens when someone dies.
                    What happens to their body. What
                    happens to their soul.

                                          (TAUNTING)
                    You think Anna was alive after the
                    accident? Maybe you're right.
          Paul's stunned.

                                                ELIOT
                    Maybe she's still alive. You obviously
                    don't believe a word I say. So why don't
                    you go and find out for yourself Mr. Conran.
                    Find out whether she's alive or dead.
          Paul grabs Eliot by his lapels.   Shoves him against the wall.

                                                PAUL

                                          (LOUDLY)
                    You twisted fuck.
          The room's SILENT. Everyone turns towards Paul.   Eliot
          whispers in Paul's ear.

                                                ELIOT
                    You don't have much time left.
          Father Graham puts his hand on Paul's arm.

                                                 FATHER GRAHAM
                    Please.   Paul. You're not well.
          Paul pushes his hand away. Eliot shakes his head sadly.
          Everyone looks at Paul with pity as he runs out.

                         

          EXT. MOTHER'S HOUSE - NIGHT

          Paul sprints across the lawn to his car.

                         

          INT. PAUL'S CAR - NIGHT

          Paul slips his key into the ignition.   His hand's shaking.

                         

          EXT. MOTHER'S HOUSE - NIGHT

          Eliot watches Paul's car ROAR OFF.

                                                                        97.

                         

                         

                         

          INT. INSIDE THE CASKET - SAME TIME

          We can't see a thing. But we can hear Anna's SHORT
          SHALLOW GASPS. And the sound of her nails desperately
          SCRATCHING at the coffin lid.

                         

          INT/EXT. PAUL'S CAR. ROAD - NIGHT

          Paul drives fast. Accelerating then quickly braking as
          he weaves through heavy traffic. He comes up behind a
          slow Tractor-Trailer. Hits the HORN.

                                                  PAUL
                     Come on.   Come on.
          He swerves into the middle of the road. There's a blind
          curve ahead... suddenly an SUV comes out of the corner.
          A bright white light sweeps through his car.     Paul's
          momentarily blinded.

                                           THE SCREEN FLASHES TO WHITE.
          Paul opens his eyes. The ROAD'S EMPTY. No sign of any
          traffic. He's confused. The road was busy a moment ago.
          Just then flashing red and orange lights illuminate the
          car. Paul looks in his rear-view mirror.

          ON REARVIEW MIRROR
          An AMBULANCE moves quickly towards him.     Blasts past.

                         CAR
          Paul looks through the front windshield.     Nothing.   He
          frowns. Where did the ambulance go?

                         UP AHEAD
          We see the Funeral Home.   Bone white in the moonlight.
          The cemetery next to it.

                         

          EXT. ROAD - NIGHT

          Eliot's White Van sits by the side of the road.

                         

          EXT. CEMETERY. PARKING LOT - NIGHT

          Paul's car slams to a halt. He jumps out. In the
          distance the candles still burn on Anna's grave.

                                                                     98.

                         

                         

                         

          EXT. CEMETERY. ANNA'S GRAVE - MOMENTS LATER

          Paul grabs a shovel by the grave. Starts digging. Then
          the shovel clunks against wood. He kneels down. Scrapes
          away the earth from the coffin. Then pulls open the lid.
          Anna's eyes are WIDE OPEN.     Her fingernails torn and bloody.
          Paul grabs her shoulders. Pulls her out of the grave.      Her
          body slumps limply like a rag doll.

                                                 PAUL
                    Anna.   I'm here. Please God.     Anna.
          He desperately tries to revive her. But there's no life
          left in her. He's about to give up when...
          Anna's hand TWITCHES. Then after a moment she GASPS.
          Her eyes slowly focus on Paul.

                                                ANNA
                    Paul?

                                                 PAUL
                    Baby.   Thank God.
          Paul gently helps Anna to her feet.    She looks round.
          Dazed. Turns back to Paul.

                                                ANNA
                    You came back for me.

                                                PAUL
                    I came back for you.     You're safe now.

                                                ANNA
                    Promise?

                                                PAUL

                                          (SMILES)
                    Promise.
          Just then Paul hears a rustling sound behind him. He
          turns. Nothing. He cocks his head slightly. There's
          something unnerving about the silence.
          Suddenly a CROW rises noisily into the air. Paul starts.
          Then watches, relieved, as the crow disappears into the
          dark sky. He turns back to Anna... she's not there.

                                                PAUL
                    Anna?
          Paul looks round desperately. Runs between the stone
          crosses and statues of grieving angels searching for her.

                                                                       99.

                         

                         

                                                  PAUL
                    Anna!
          Just then he glimpses SOMETHING MOVE among the trees.
          Runs over. Nothing. The cemetery is empty. The trees
          appear to SHIMMER for a moment. Paul shivers. Pulls his
          jacket around him. He doesn't notice the candles on
          Anna's grave behind him suddenly BLOW OUT.

                         

          INT/EXT. ELIOT'S VAN. ROAD - NIGHT

          We hear the sound of a SIREN. The AMBULANCE blasts past.
          Eliot slides a disc into the player. CLASSICAL MUSIC
          fills the van. He strums the wheel. Enjoying the music.

                         

          EXT. CEMETERY. PARKING LOT - NIGHT

          Paul frantically runs into the parking lot.    Still
          calling out for Anna.

                                                  PAUL
                    Anna!
          Suddenly the interior light in his car comes on.    Paul
          looks at the car nervously.
          He heads over to it.   Apprehensive.   Then... the car door
          slowly CLICKS open.
          Paul stops.   Stares into the car.   There's no one there.

                         

          INT. PAUL'S CAR - MOMENTS LATER

          Through the windshield we see Paul approach the car.
          He peers in nervously. Then cautiously gets in. As he
          switches the interior light off, the camera moves slowly
          around him revealing...
          ... ANNA sitting in the passenger seat.

                                                ANNA
                    Are we going home?
          Paul turns sharply.    Stunned.   Anna moves towards him.

                                                ANNA
                    Or do you want to make love here?

                                                PAUL
                    Where did you go?
          Anna puts her fingers on Paul's lips. Clearly turned on.
          We hear the sound of something being UNZIPPED.

                                                                  100.

                         

                         

                                                ANNA

                                          (WHISPERS)
                    I've been waiting for you.    I missed you
                    so much.
          A line of BLOOD trickles from his nose. He touches his
          lips. Looks blankly at the blood on his fingertips. A
          drop of blood falls on Paul's white shirt. It unfurls
          like a flower. Spreading out over the material.

                                                 ANNA
                    I love you.   I always did.
          Anna hungrily kisses him. He responds passionately.
          Suddenly we hear a SHARP METALLIC SOUND.

                                                PAUL

                                          (ALARMED)
                    What was that?
          Anna responds as if it was nothing strange.

                                                ANNA
                    It's only the scissors...
          We see the growing anxiety in Paul's eyes.    Anna's just
          interested in his lips.

                                                 PAUL
                    Scissors?   What scissors?

                                                ANNA
                    Scissors. For your clothes.    Eliot just
                    put them on the table.
          Paul pulls back.   Terrified.

                                                ANNA
                    You're safe now. We're finally together.
          A strong bright light sweeps across Paul's face. Like
          the headlights of the car on the blind curve earlier.

                                          FADE TO SEARING WHITENESS.
          Paul blinks as he gradually gets used to the harsh light.
          Slowly the room comes into focus...

                         

          INT. FUNERAL HOME. PREP ROOM - NIGHT

          Eliot stands over Paul holding a pair of BLOODY SCISSORS.
          Paul looks down. His white shirt soaked with blood, the
          material sliced open.

                                                 PAUL
                    Where am I?

                                                                     101.

                         

                         
          He talks with difficulty.   His breath labored.

                                                 ELIOT
                    You're in a funeral home.

                                          (BEAT)
                    You're dead.

                                                PAUL
                    I'm not dead.
          Jack appears at Eliot's side.

                                                ELIOT
                    You had a car accident. You swerved off
                    the road. On the way to the cemetery.
                    Hit a tree.

                                                  PAUL
                    I saw Anna.    You buried her alive.

                                                ELIOT
                    I'm sorry Mr. Conran. You never made it
                    to the cemetery. You never saw Anna.
                    You're dead.
          Paul's glazed eyes widen in shock.

                                                PAUL
                    I'm not dead.
          Eliot speaks calmly.    Soothingly.

                                                ELIOT
                    Your skull was crushed. Your spinal cord
                    pulverized. Your brain cells are slowly
                    dying. Your body's already decomposing.

                                                PAUL
                    I'm not dead.
          Eliot sighs wearily.    He's had this conversation many
          times before.

                                                  ELIOT
                    You people.    You all say the same thing.
          Eliot's voice, with each word, fades further and further
          away. Paul closes his eyes.

                                           FADE TO SEARING WHITENESS.

                                 PAUL (O.S.)
                    I'm not dead.

                                                            FADE OUT.