Sting

by
Dan Clune

• Dan Clune
[email protected]
 FADE IN:

EXT. HONEY POT STRIP CLUB-NIGHT.

The strip club is located in an industrial area. The front

sign reads, ’HONEY POT GENTLEMAN’S CLUB’, a neon bear dips a
paw in a honey jar.

There’s a smattering of cars in the car-park. The headlights

of a delivery van flare to life, shine through pouring rain.

The van reverses across the car-park and reveals a beat up

old car. It parks on the other side of the car-park and the
headlights shut down.

THE PAINTER steps from the van, he wears overalls and a Knit
Cap. He rushes towards the club's entrance through the
pouring rain.

INT. THE HONEY POT STRIP CLUB-NIGHT.

The interior of the strip club is hazy, country music plays.

The mirrored bar is lined with empty stools, shadowy
silhouettes sit in dark booths.

The Painter orders a drink. He turns and focuses on the

stage.

MARY(23) dances around a chrome pole in a nun's habit,

stockings and lingerie.

The song winds down and the DISK JOCKEY’S voice BOOMS from
speakers.

DISK JOCKEY(O/S)
Put your hands together for Susie
the Sexy Sister.

The Painter claps and woof whistles. Mary picks up her

uniform, walks wearily to the stage door exit.

DISK JOCKEY(O/S)(CONT’D)
Okay folks you would’ve noticed
there's a storm outside.
(beat)
Our next artist will bring the
storm inside. Why not put you’re
hands together for Whiplash.

A dancer dressed as a cow girl struts on stage, she cracks a

whip.

INT. DANCERS CHANGE ROOMS-NIGHT

The change-room has lockers on a back wall, a clothing rack

with costumes.
 2.

SHELLY, youngish and dressed in a policewoman costume. She

does her make up in a stage mirror.

SHELLY
Storm's really blown up.

Mary has changed into sweatpants and a comfortable top.

MARY
I know, and I need to drive to the
opposite side of town.

SHELLY
Had anything to drink?

Mary carries her nun's costume towards the clothing rack.

MARY
Why do you ask, getting into
character?

Shelly stares at her reflection for a moment. She smiles,

nods understanding.

SHELLY
Okay I get it.

MARY
I don’t accept drinks from
customers.

SHELLY
Who’s getting into character?

The seedy looking boss, JOE, slinks into the room, speaks to
Mary.

JOE
Where do you think you’re going?

MARY
Shift’s over, I’m leaving.

JOE
No you’re not, a customer’s
requested a private dance.

MARY
Yeah and I know who. I told you
before, never again with him.

JOE
Your paid to take your cloths off
in front of strangers, you don't
get to be choosy.

MARY
Then you don't pay enough.
 3.

JOE
Oh come on, so he has a few kinks,
he’s a good customer.

MARY
Look, I'm not the only one who
thinks he's creepy.

SHELLY
Which guy is this?

MARY
He's wearing overalls, the girls
call him The Painter because he
reeks of turpentine, I'd stay away
from him if I was you.

JOE
(to Shelly)
Don't you have something to do?

SHELLY
Okay, I’m out of here.

Shelly stands and struts towards the exit on high heels. Mary
picks up her bag and makes to follow.

MARY
I'm right behind you.

JOE
I asked you to stay.

MARY
And I said no.

Mary tries to side step around Joe. He grabs her by the arm.

JOE
Do the dance, accept his tip, then
leave.

MARY
I need to pick up my daughter. I’m
leaving now.

Mary shakes her arm free. She pushes past Joe walks towards
the exit. Joe calls after her.

JOE
Collect your wages and don’t come
back.

MARY (O.S.)
I won't, asshole.
 4.

JOE
Strippers.

INT/EXT. CARPARK-NIGHT

Thunder RUMBLES, lightening flashes across a dark leaden sky,

rain deluges down and puddles in the club's carpark.

The headlights of the old car flicker, the engine splutters,

the lights dim.

MARY
Come on you piece of shit!

Mary’s behind the wheel of the car. She turns the key, the
ignition clicks over metallic and feeble.

MARY (CONT’D)
No please, don't do this now.

Mary turns the key on and off, nothing. She pounds the
steering wheel.

MARY (CONT’D)
Damn it!

The white delivery van pulls in beside Mary. The passenger

door opens. A blurry figure steps into the rain, raps his
knuckle on Mary's window.

THE PAINTER
Need any help?

Mary peers through the rain wet glass of her side window.

MARY
Fuck...

THE PAINTER
Hey, you're Susie the Sexy Sister.

Mary turns the ignition key. She pumps the accelerator,

glances out the window.

MARY
Come on start you bitch.

The ignition clicks and coughs. The engine sputters to life.

MARY (CONT’D)
Come on, yes!

Mary rams the car into gear. She looks back to reverse and
her window EXPLODES in a shower of glass.

The Painter reaches into the car. Mary fights and screams as
she is dragged through the window.
 5.

MARY (CONT’D) MARY (CONT’D)

Your coming with me. Leave me alone.

The Painter jams a syringe into Mary’s neck. She slumps

lifeless as she is dragged from the car.

Outside: The van's headlights flare to life, it reverses to

reveal Mary’s car with a broken window. The van motors from
the car-park.

INT. OLD CHAPEL-NIGHT

Artist William Blake’s religious symbolism adorns the small

chapel's walls. Glorious gods and angels, divinities and
saints.

The Painter caresses a thin stream of paint along a pencil

line with his brush.

THE PAINTER
It's good your quiet, the artist
must never be disturbed while
painting, it disrupts their flow.

The Painter collects paint from his pestle. He dabs the eye
of a serpent rendered on the chapel wall.

THE PAINTER (CONT’D)

But that's not what call me is it?

The Painter looks over at Mary. She's propped up on a wooden

pew in a long plain black dress. Her eyes are frighted, her
wrists and mouth are bound with tape.

THE PAINTER (CONT’D)

You're right, I'm only restoring
the works.

The Painter examines his restoration work on Blake's painting

‘Satan Exulting Over Eve’.

Eve sleeps naked in a field with her hair splayed. A serpent

hovers across her breast, an angel floats above.

THE PAINTER (CONT’D)

My mother was the real talent.

The Painter places his pestle and brush beside a bottle of

turpentine on a small artists aluminum scaffold.

THE PAINTER (CONT’D)

I was never to allowed watch her
paint.

The Painter picks up a paint stained cloth. He wipes his

hands.
 6.

THE PAINTER (CONT’D)

For me it was the basement.

The Painter throws down the cloth. He moves to stand in front

of Mary.

THE PAINTER (CONT’D)

I'd like to say you'll get used to
it, but I never did.

EXT. COUNTRY FARM-DAY

The rolling farm hills are blanketed in wild flowers. Dew

glistens on the grass, it’s a beautiful spring morning.

MORGAN SEAR(7) wears a pretty summer dress. Her long hair is

held back with an Alice headband.

Morgan carries an egg basket towards a quaint farm house. She

sings a nursery rhyme.

MORGAN
Little chick waits in her egg of
white.

Morgan stops to pick flowers. She smells their scent, places

them on the eggs.

MORGAN (CONT’D)
Curled up and cozy oh so tight.

Morgan swings her hair, she skips happily through the grass.

MORGAN (CONT’D)
Little chick taps a hole with her
beak, beak, beak.

A bee collects nectar from a flower in the field. The insect

takes flight.

MORGAN (CONT’D)
Then she pops from her shell with a
cheep, cheep, cheep...

The bee lands on Morgans ankle, it drives it’s sting into her
soft flesh.

Morgan yelps, she swipes at the bee. Her basket of eggs

falls with an EXPLOSION of bright yolk and wild flowers.

Morgan collapses in the field. She slips into anaphylactic

shock, her body convulses.

Beat.

The front door of the farmhouse BANGS open. Morgan’s

distraught mother JILL SEAR (28) races across the field
towards her daughter.
 7.

JILL
Morgan!

EXT.STATE FORREST PARK-DAY

FAITH Connor(15) petite and attractive. She wears a training

outfit and head phones. She jogs through a deserted parkland
area.

Faith notices a parked white van and she stops a safe

distance away. SCRATCHY music comes from her headphones.

Faith toys with the gold pendant on her delicate necklace.

She shades her eye’s and peers at a bumper sticker.

Faith’s POV: There’s a silhouette of a pole dancer and the

words, ’I Support Single Moms’ on the van's back bumper.

Faith turns to go back the way she came. She gasps, stops
short.

THE PAINTER
Do I know you?

FAITH
I don't thinks so.

Faith stares up at The Painter. He wears paint spattered

overalls and a knit cap.

THE PAINTER
I'm certain I've seen you before,
you live around here right?

FAITH
I don't know you.

Faith takes a step backwards. The Painter takes a step

forward.

THE PAINTER
You're not someone I'd easily
forget.

FAITH
I have to go.

THE PAINTER
We should talk about this.

Faith turns to run. The Painter lunges, he wraps his arms

about her shoulders.

FAITH
Leave me alone.

THE PAINTER
And why would I do that?
 8.

Faith screams and struggles. The Painter pushes a syringe

into the base of Faiths neck. He forces down the plunger and
she slumps in his arms.

INT/EXT. FARM HOUSE-DAY

Jill washes dishes in her kitchen. Above the faucets, a foggy

window frames the rolling hills of her farm.

Jill watches Morgan appear over the crest of the hill though
the window.

Jill's daughter Morgan picks flowers, she breaths in their

scent. She places them in her basket.

Morgan swings her hair, skips happily through the grass. She
stops suddenly, drops her basket, swipes at her ankle.

JILL
What..?

Jill stops washing dishes. Her hands remain in the soapy

water.

JILL (CONT’D)
Playing..?

Jill watches Morgan collapse and sudden realization strikes

her.

JILL (CONT’D)
Bee sting!

Jill explodes into action. She takes her soapy hands from the
sink, yanks open a kitchen draw and rummages around.

JILL (CONT’D)
Shit, where is it?

Jill slams the draw shut. She pulls out the draw underneath
and empties it on the kitchen bench.

Miscellaneous items tumble out, among them is a yellow and

black emergency Epi-pen.

JILL (CONT’D)
Damn it, where?

Jill snatches up the emergency Epi-pen and her phone. She

hurries to help her daughter.

INT. BASEMENT PRISON-DAY

A naked light bulb hangs on a frayed cord. There’s a crucifix

on the wall, a tattered calendar.

Rusty paint tins are beneath a tarpaulin in the corner.

 9.

Rails resembling train tracks run down the center of the

room, end at a bathroom.

Metal beds are either side of the space, there’s a set of

draws beside one.

The room's heavy door bangs open and The Painter drags an
unconscious Faith towards the empty bed.

THE PAINTER
I found you some company.

Mary sits up in the other bed, her blanket falls to her

waist. She’s older and tired, she wears the long black dress.

MARY
What have you done to her?

THE PAINTER
Same as I done to you.

MARY
You’ve made a mistake. Why not take
her back before it’s too late?

THE PAINTER
I didn’t get her from the same
place I got you. It isn’t like
visiting your favorite fishing hole
you know.

MARY
I know you're too careful to return
to the Honey Pot?

The Painter dumps Faith on the bed. He picks up a manacle and

chain.

THE PAINTER
Damn right I am, you have to move
around a lot when you’re involved
in this type of pastime.

MARY
That doesn't excuse this, she’s too
young for you.

THE PAINTER
That’s not for you to decide.

The Painter attaches the manacle to Faith’s ankle. He locks

it tight.

MARY
She's a child, let her go or she'll
cause you trouble.

The Painter checks the chain is secured to the floor rail.

 10.

THE PAINTER
She's here to stay. You'll teach
her how to behave and that's all
she wrote.

MARY
The authorities will search for her
harder than they did for me.

THE PAINTER
I'm not stupid, a lot of planning
went into this. Now be quiet, your
giving me a headache!

Mary lowers her eyes, she pulls her blanket tighter.

PAINTER
Better, now she'll learn or she'll
be punished, so that will be on
your head.

The Painter focuses his attention on Faith. His eyes travel

her body, come to rest on her already red and swelling ankle.

THE PAINTER
You wont be needing those anymore.

The Painter slips off Faith's running shoes. He carries them

to the door.

THE PAINTER (CONT’D)

Enjoy the company, I’ll come back
to do the same later.

The Painter leaves through the heavy door. He slams it shut

with a prison-cell door CLANG.

EXT. JILL’S FARM-DAY

The door of the farmhouse BANGS open. JILL sprint’s across

the field towards Morgan. She screams at her phone as she
runs.

JILL
We live on Old Chapel Road, there’s
a long driveway!

The phone’s on speaker. The emergency dispatcher’s voice is

static.

EMERGENCY DISPATCHER(O.S.)
How old is your daughter?

JILL
Seven, please you need to hurry!

Jill falls to her knees. She dumps the phone in the flowers,
cradles Morgans head.
 11.

JILL (CONT’D)
Morgan baby, mommies here.

EMERGENCY DISPATCHER(O.S.)
We have an emergency vehicle close
by, please leave your phone
connected so we can continue our
trace.

Jill ignores the operator, she reads the Epi-Pen

instructions, her hands shake nervously.

JILL
Remove blue lid, hold the orange
tip against patients thigh, gently
apply pressure.

Jill fumbles the blue lid free. She places the Epi-pen onto
Morgan’s thigh.

JILL (CONT’D)
Come on baby...

Jill applies pressure to the pen. There's an audible CLICK,

the orange safety cover drops.

JILL (CONT’D)
Come on Morgan, come on baby...

Morgan jerks in Jill's arms. Her eye’s ping open, she gasps.

MORGAN
Mommy.

JILL
Yes Morgan, I’m here...

MORGAN
Why did he hurt me?

JILL
I don’t know baby.

Jill brushes away Morgan's tears, she hugs her tight. There's
the faint sound of a siren in the distance.

JILL (CONT’D)
You frightened me baby, but it’s
going to be okay.

An emergency vehicle with flashing lights turns down a long

gravel driveway and motors towards Jill’s farmhouse.

INT. JILL’S HOUSE-DAY

Jill’s bedroom is average and tidy, lamps sit on bedside

cabinets either side of a queen sized bed.
 12.

Morgan’s on the bed surrounded by pillows. She gazes at a

photo in a frame on one of the cabinets.

Morgan's POV: Jill holds Morgan as a baby, she stands beside

a Marine in full uniform.

Jill and a handsome doctor, DR. WEISS(30), stand at the foot

of the bed.

DR. WEISS
It’s a miracle you had the correct
treatment so readily available.

JILL
Her father was allergic, the Epi-
pen was in the draw in case of an
emergency.
(beat)
I guess I never bothered to take it
out after...

DR. WEISS
Of course, I understand, it must
have been difficult.

JILL
Yes it was.

Jill glances over at Morgan and sees she's listening. She

changes the subject.

JILL (CONT’D)
This will sound awful, I mean
I should know what I’m giving my
daughter, but I never thought to
ask John.

DR. WEISS
The Epi-pen contains a synthetic
version of adrenaline known as
epinephrine. And no, it doesn’t
sound awful.

JILL
Thank you doctor.

DR. WEISS
Please, call me Brian.

JILL
Okay Brian.

DR. Weiss smiles at Jill. He moves around the bed towards

Morgan.
 13.

DR. WEISS
I’d like to take one last look at
her ankle before I return to the
hospital.

JILL
Morgan, sit up for Doctor Wiess
baby.

Morgan rolls over, sits up. Dr. Weiss bends over the bed and
gently inspects her swollen ankle.

DR. WEISS
Does it hurt?

MORGAN
Not really.

DR. WEISS
You're a very brave young lady.
(to Jill)
The swelling should go down in the
next couple of days, you should try
to keep her off her feet.

JILL
That going to be harder than it
sounds.

EXT/INT. JILL’S HOUSE-DAY

A bright yellow Hyundai Hatchback parks next to a plain white

vehicle in front of Jill’s house.

Jill’s friend EMMA(28) is in the drivers seat, she is dressed

bright and cheerful.

There’s a cute teddy-bear on the passenger seat, art books,

box of paints, an unopened packet of paint brushes.

Emma exits the car and moves towards Jill's front door. She
carries the teddy-bear by the ankle, gives the white car a
cursory glance.

Emma fumbles with her keys, she lets herself inside, stands
in the lounge room and calls out.

EMMA
Jilly, Smudge, where are you?

JILL(O/S)
We’re in here!

Emma walks down a hallway, she moves towards the bedroom.

EMMA
I closed the studio as soon as I
received your message, how is she?
 14.

Emma steps inside the bedroom and comes face to face with DR.
Weiss.

DR. WEISS
Hello.

EMMA
Oh hi, I’m sorry, do I know you?

JILL
Em, this is Dr. Weiss.

Dr. Weiss holds out his hand, he glances at the teddy bear.

EMMA
This isn’t mine, it’s for, it's a
present.

Emma shakes hands awkwardly. Morgan cheerfully interrupts.

MORGAN
Luna-sky!

Emma moves past the doctor, she mouths the word, 'cute,' to
Jill. She passes the teddy-bear to Morgan.

EMMA
For you Smudge, but I’m no longer
called Luna-sky. I’ve changed my
name again.

Morgan giggles, it’s their running joke. She takes the teddy-
bear and gives it a hug.

MORGAN
What did you change your name to
this time?

EMMA
I now call myself, wait for it.
(beat)
Desert Wind Over Dry Mountains.

Morgan groans, she rolls her eye’s. Emma sits on the bed and
reaches out her arms for a hug.

EMMA (CONT’D)
What, is the name too much of a
mouthful?

Doctor Weiss smiles, he touches Jill gently on the elbow.

DR. WEISS
I should be going, may
I speak with you outside.
 15.

JILL
(to Emma)
Will you keep an eye on her?

EMMA
Of course, me and Smudge have a lot
of catching up to do.

DR. Weiss and Jill walk from the room, they move down the
hall.(O/S) Morgan giggles.

DR. WEISS
I would have preferred to keep her
under observation.
(beat)
But laughter's also a strong
medicine.

JILL
Why, unless she gets stung by
another bee, it’s over isn’t it?

DR. WEISS
Anaphylaxis symptoms sometimes
reoccur, but this usually happens
within hours of the initial attack.

JILL
I’d prefer her at home right now.

DR. WEISS
Of course, it’s your decision.

DR. Weiss and Jill arrive at the front door. Jill opens it
and leans on the handle.

JILL
I want to thank you for coming
Brian, and for the extra supply of
Epi-pens.

DR. WEISS
I was lucky enough to be close by.
The extra pens are just my way of
thanking you and Morgan for your
husband’s service.

INT. JILL’S HOUSE-NIGHT-LATER

The lounge room lights are dim, soft music plays, a low fire
burns.

There’s a pizza box, bottle of wine and tissue box on the

coffee table.

Morgan sleeps with the cute teddy-bear on the sofa. She’s

cocooned up in blankets.
 16.

Jill and Emma sit in front of the fire on a rug. They hold
stemmed glasses, drink wine.

EMMA
I would have panicked, how did you
know what had happened to her?

JILL
John shouted at me Em, and suddenly
I knew exactly what to do.

EMMA
When you say he shouted?

JILL
It was his voice, almost like a
verbal push. He forced me to act.

EMMA
That’s so crazy, what did he say?

JILL
He said bee.

EMMA
Be what?

Jill flaps her hands slightly annoyed, imitates a bee.

JILL
Bee, he said bee.

EMMA
Oh, like the insect, I thought,
okay don’t worry, ditsy.

Emma reaches for the wine bottle. She fills Jill’s glass then
her own.

JILL
I know John would have done
anything to protect Morgan, to
protect me.

EMMA
Of course he would have, he loved
you both so much.

JILL
But how Em? He’s been gone for...

Jill covers her mouth, her eyes well up with tears. Emma
shuffles closer and embraces her.

EMMA
Oh Jilly, you need to let it out.
 17.

JILL
I was just...
(beat)
I was so afraid I’d loose her as
well.

EMMA
I know, it’s all been so difficult.

JILL
I try to be strong, but
I miss him so much...

EMMA
Maybe John is watching over you and
her, you know, keeping you both
safe.

Jill takes a handful of tissues, she dabs at her eyes.

JILL
But how?

EMMA
Who really knows what happens after
we, you know?

JILL
I thought about it a lot after John
died.

Jill glances at Morgan and checks that she’s asleep.

JILL (CONT’D)
I don’t believe a benevolent god
would take away a little girl’s
father.

EMMA
I agree, but how do you explain
what happened today?

JILL
I don’t know, I can’t.

Emma passes Jill her wine glass. She picks up her own, takes
a sip.

EMMA
If the doors of perception were
cleansed, everything would appear
to man as it is, infinite.

JILL
What is that, what did you just
say?
 18.

EMMA
Just something I read in one of my
art books, I think it means there's
more to life, and death, than we
could ever know.

INT. BASEMENT PRISON-NIGHT.

The light in the basement prison is turned off, the room is

pitch black.

The exhaust fan in the bathroom spins out a soft WHIR. The
muffled sound of Mary crying comes from the darkness.

FAITH(O/S)
(whispers)
Oh my god, where am I?

Mary’s crying stops, she sniffs, her bed springs CREAK.

FAITH(O/S)(CONT’D)
Is somebody there, can you help me?

The soft METALLIC sound of a chain being dragged across an

iron bed rail rattles eerily from the jet black dark.

FAITH(O/S)(CONT’D)
What is this? Oh my god, oh my
god...

MARY(O/S)
Shhhhhh...

FAITH(O/S)
Who are you, where am I?

MARY(O/S)
I’ll explain everything, but you
need to, shhhhhhh...

FAITH(O/S)
Okay, but it’s so dark in here,
where am I.

MARY(O/S)
He prefers me to keep the lights
off at night.

FAITH(O/S)
I’m afraid.

MARY(O/S)
So was I, but I’ve grown used to
the darkness. You'll need to do the
same.

There’s shadowy movement, a rustling noise. The soft SCRAPE

of a chain being pulled along a metal rail.
 19.

MARY(O/S)(CONT’D)
I’ll turn the light on but not for
long, promise me you won’t scream.

FAITH(O/S)
I promise, please hurry, I’m
afraid.

MARY(O/S)
Look to your right, do you see the
glow?

There is a matchstick thin strip of green illumination in the

darkness.

FAITH (O/S)
I can see.

The bar disappears, comes back on. Off and on as a hand is

waved in front of the strip.

MARY(O/S)
This is how you know where the
light switch is located.
(beat)
Okay cover your eyes it’s going to
be bright.

A bald light-globe on a frayed cord flickers to life, BUZZES

like an electric insect. The room illuminates eye stinging
bright after the dark.

Faith sits on the edge of her bed with her hands covering her
eyes.

FAITH
Thank you, can I look now?

Mary’s thin and pale, she stands by the switch. She wears the
long black dress.

MARY
Lower your hands but don’t scream,
we don’t want him to hear us.

FAITH
Who is he?

MARY
The one who brought you here.

FAITH
(whispers)
Oh my god.

Faith keeps her hands raised. She looks between her fingers.
 20.

Faith’s POV: The crucifix nailed into cracked plaster, Mary’s

iron bed and beside cabinet. The manacle on her ankle, the
chain attached to the rail.

FAITH (CONT’D)
Who did this to me, what’s his
name?

MARY
I call him The Painter, but he
doesn’t really deserve a name.

Faith slowly lowers her hands and she turns to face Mary.

FAITH
You call him The Painter?

MARY
I saw his paintings once, they were
beautiful, disturbing.

Faith whimpers, covers her mouth, tears roll down her cheeks.

FAITH
I'm so afraid.

MARY
I’m coming honey, you try to be
strong.

Mary pulls her chain along the rail. Faith stands and Mary
embraces her in the center of the room.

MARY (CONT’D)
My name's Mary and I’m so sorry.

FAITH
Faith Connor.

INT. JILL’S HOUSE-NIGHT.

Jill and Morgan are in the main bedroom asleep in the queen
sized bed. Jill hugs her pillow, her backs to Morgan, she
murmurs in her sleep.

Morgan faces her father’s picture. Her eyes dart rapidly

under her eyelids in rem sleep.

Morgan's having a bad dream, there’s beads of sweat on her

forehead, she murmurs.

MORGAN
Afraid.

Morgan gasps suddenly. She jerks up, her eyes ping open and
she stares into the darkness.
 21.

MORGAN (CONT’D)
Mommy!

Jill sits up beside Morgan. She witches on a beside lamp then

turns to her daughter.

JILL
Are you alright Baby?

MORGAN
I'm hot mommy.

Jill reaches over and places her hand on Morgan's forehead.

JILL
Oh my god you're burning up, what
happened?

MORGAN
I had a bad dream.

JILL
It will be okay sweetheart, I'm
here.

MORGAN
It won't be okay Mommy.

Jill wraps her arms protectively about Morgan. She pulls her
close.

INT. JILL’S HOUSE-DAY

Jill stands in a corner of the kitchen, she prepares coffee.

Morgan sits at the kitchen bench in front of a box of 'HONEY

POPS'. She wears cute pyjamas with a high collar. She shovels
cereal into her mouth.

Emma enters the kitchen, she’s showered, she carries an

overnight bag.

EMMA
Thanks for letting me stay. Tell me
again, whose idea was it to open
the second bottle?

JILL
No one to blame but yourself, and
it was the third.

EMMA
I don’t want to know.

Emma places her bag down. She pulls out a stool and sits by
Morgan.
 22.

EMMA (CONT’D)
Morning Smudge.

MORGAN
Morning Desert Wind Over Dry
Mountains.

EMMA
You remembered, aren’t you clever?

Morgan takes a large spoonful of Honey Pops. She chews, nods

cheekily.

MORGAN
Mmmm, hmmm.

Jill places down a steaming cup of coffee in front of Emma.

JILL
How was the sofa?

EMMA
Thank you, and surprisingly
comfortable.

Jill returns to her coffee, she cradles her cup, faces Emma
and Morgan.

JILL
I know, I’ve fallen asleep there a
few times myself.

EMMA
What about you Smudge, how did you
sleep?

JILL
She had a bad dream.

MORGAN
I had a bad dream.

EMMA
Did you, what was the dream about?

Emma picks up her cup. She blows on the hot coffee, sips
carefully.

MORGAN
I dreamed a bad man was putting
girls in a box.
(beat)
I think he was a giant.

EMMA
A giant, and you're sure he wasn't
a friendly giant.
 23.

MORGAN
Uh uh, I don't think so.

Morgan shovels her last mouthful of Honey Pops. She holds out
the bowl to her mother.

EMMA
Well that sounds awful, so what
happened next?

MORGAN
I don’t know yet, I woke up before
it finished.

Jill retrieves the bowl from Morgan. She places it in the

sink.

JILL
I’m more worried about her ankle,
and I have a favor to ask.

Emma peers under the bench. She sees Morgan’s ankle is

swollen, wrapped in a red blotchy band.

EMMA
It does look sore, does it hurt
Smudge?

MORGAN
No, but I still got carried from
the bed.

JILL
Dr Weiss said it may swell, but I
want him to take another look. I’ve
made an appointment, I’m hoping
you’ll help...

EMMA
Help Smudge get ready while you
make yourself beautiful for the
handsome young doctor, of course
I will.

JILL
Not exactly, but thank you.

EMMA
No problem and I can go one better.
I’ve decided to take a day off from
the art studio. Why don’t I drive
you and Smudge?

Morgan looks from Emma to Jill, she nods excitedly.

JILL
Well I could do with the company.
 24.

INT. JILL’S HOUSE-DAY

The bathroom’s filled with steam, warm water streams from the
shower head.

Morgan’s exited the shower and wrapped herself in a fluffy

bath-towel. She wears it like a Muslim Burqa, her tiny face
is barley visible.

Morgan opens the slightly ajar bathroom door and calls down
the hall.

MORGAN
Desert Wind Over Dry Mountains, I’m
finished.

Emma steps from Morgan's bedroom down the hall. She holds a
cute outfit on a hanger.

EMMA
Coming.
(mumbles)
Have to change that stupid name.

Emma hangs the outfit on the door-handle, she makes her way
to the bathroom. She steps inside and sees Morgan in her
towel.

MORGAN
Someone doesn’t think I’m old
enough to turn off the taps.

EMMA
Your mother’s careful because she
loves you?

MORGAN
I’m know.

Emma pulls up a sleeve. She leans into the shower and turns
off the water.

EMMA
All done, now lets get you dressed.

MORGAN
Thank you Desert...

EMMA
No you don’t, names changed. From
now on I’m plain old Aunt Em.
(beat)
Wow, that makes me sound ancient.

Emma crouches, places her arms around Morgan's waist.

 25.

EMMA (CONT’D)
Okay, I’m going to carry you, wrap
your arms around my neck then hold
on tight.

Emma carries Morgan down the hall wrapped in the towel. She
collects the cute outfit, steps into Morgan’s pink bedroom.

MORGAN
Aunt Em, why do you call me Smudge?

Emma lays the outfit on the bed. She places Morgan on the
floor, sits on the bed.

EMMA
You know I’m an artist. But did you
know I sometimes paint by making
smudges with my finger?

MORGAN
Like finger painting?

EMMA
Exactly, like finger painting. Now
do you remember the day we first
met?

Morgan takes a moment to think, then she shakes her head no.

MORGAN
I’m not sure.

EMMA
It was on your first birthday.

MORGAN
July 2nd?

EMMA
That’s right, July 2nd. Well on
that day I noticed you had the
cutest little smudge on your face.

Emma kisses her thumb, then thumbs Morgan’s nose. Morgan

giggles.

MORGAN
That tickled.

Emma smiles, she twirls her finger above Morgans head.

EMMA
Okay turn around so that I can dry
you.

Morgan spins, she allows the towel to drop from her

shoulders. Emma lifts Morgan's wet hair from her neck.
 26.

EMMA (CONT’D)
Oh my god, what’s happened to you?

Emma’s POV: Morgan’s neck is marked by a red and swollen bar

shaped blemish.

EMMA (CONT’D)
Jilly you better get in here, you
need to see this!

INT/EXT. EMMA'S CAR-DAY-MOVING

Emma drives down Jill’s long driveway. Jill's in the

passenger seat.

Morgan sits in the back with her teddy bear, she drinks a
bottle of, ’Pop Top,’ orange juice.

JILL
Morgan I want you to take one of
these if you feel queasy.

Jill takes a packet of yellow lozenges from her bag. She

passes them to Morgan.

MORGAN
Yes mommy.

JILL
(to Emma)
Morgan sometimes becomes car sick
on long journeys.

EMMA
She’s not going to vomit is she?

JILL
No, normally she’ll say something.
Then it’s a case of pulling over so
she can take some air.

EMMA
And you’re sure you want to give
her medicine?

Jill checks Morgan, sees that she is holding a childish

conversation with her teddy-bear.

JILL
There a placebo, a honey lozenge
like the ones you take for a sore
throat, but they seem to help.

EMMA
You know I’m proud of how you’re
dealing with all of this, I'm sure
I'd be a mess.
 27.

JILL
I’m still concerned, but I don’t
want to frighten her, and she keeps
saying it doesn’t hurt.

Emma indicates, she turns onto the main country road. The car
picks up speed.

EMMA
And you think the swelling is all a
part of her allergic reaction?

JILL
Both DR. Weiss and Dr. Goggle said
it may happen. Would you mind if we
listened to music.

EMMA
Of course.

Emma swipes her phone in its holder and SOFT music plays.
Jill glances at Morgan, she continues.

JILL
What really punches me in the gut
is I feel like I'm a bad mother.

EMMA
You're too hard on yourself.
Children get stung by bee’s, it’s
like a right of passage.

JILL
I know, but I should've realized
she was allergic, at least had her
checked.

EMMA
You really are your biggest critic
you know.

JILL
It’s just hard finding a balance
between being protective and
allowing her the freedom to grow.

Jill checks on Morgan, see's she's playing with her teddy

bear.

JILL (CONT’D)
You feeling alright?

MORGAN
Alright mommy.
 28.

JILL
(to Emma)
See, what am I so worried about?
She’s says she's doing fine.

Emma smiles at Jill reassuringly. She gestures through the

windscreen.

EMMA
I’ve never come up this way, what’s
the building up ahead?

JILL
You know we live on Old Chapel Road
right? Well that’s the old chapel.

Jill and Emma’s POV: There's a small and quaint old chapel in
a field up ahead.

EMMA
Would make a good backdrop for a
painting, you ever stopped to look?

JILL
Can't say I've ever really thought
about it.

Morgan sits up and looks out her window, she sees a tall man
in overalls and knit cap standing on the steps of the chapel.

The Painter's eyes follow the car as it passes. Morgan pulls

back from her window and she sits stiffly in her seat. She
whispers to the teddy bear.

MORGAN
You feeling alright?

Morgan shakes the teddy-bears head no. She hugs the toy to
her chest, whispers.

MORGAN (CONT’D)
Me too John.

INT. OLD CHAPEL-DAY

The Painter carries a paintbrush and pestle. He moves along

the chapel wall, checks his restoration work.

The Painter stops at a rendition of William Blake's, 'The

Crucifixion.' Mother Mary mourns at the feet of Jesus on the
cross.

The Painter peels off a fleck of paint. He crumbles it in his

fingers, mutters.

THE PAINTER
The artist's work is never
finished.
 29.

The Painter dips his brush in a well on his pestle and

collects paint. He dabs at the damaged painting.

BEGIN FLASHBACK.

INT. THE OLD CHAPEL-NIGHT

The ARTIST dips her brush in a well on her pestle and

collects paint. She dabs at the half-finished painting of
'The Crucifixion'.

The Artist wears the same long black dress Mary wears. She
stands next to a flickering candle in a silver candelabra.

The Painter as a young boy, DAVID (7), walks down the center
aisle of the chapel.

David moves to stand behind his mother the Artist. He remains

silent, watches while she paints.

The Artist stops painting, she speaks with her back to David.

ARTIST
What is it, what do you want?

DAVID
Will you be finished soon?

THE ARTIST
The artist's work is never
finished.

DAVID
I'm sorry, I'll leave you to your
painting.

David starts to move away. His mother speaks and he freezes.

THE ARTIST
What did I tell you about
interrupting my work?

DAVID THE ARTIST

The artist must never be The artist must never be
disturbed... disturbed while painting, it
disrupts their flow.

The Artist places her pestle and brush down on a pew. She
wipes her hands with a paint stained cloth.

THE ARTIST (CONT’D)

What did you just do?

DAVID
I disturbed you.

ARTIST
You disturbed me.
 30.

The Artist picks up the candelabra. She moves to David and

slaps him hard across the face, SMACK.

ARTIST (CONT’D)
You'll learn or you'll be punished,
now get to the basement!

DAVID
But mother...

ARTIST
Do you really want to argue with
me?

DAVID
I'm sorry.

ARTIST
That's what I thought.

David shuffles to the centre aisle, he moves towards the back

of the church. The Artist follows with the candelabra.

ARTIST (CONT’D)
Move faster, I still have work to
do.

The Artist shoves David and he stumbles forward down the

aisle.

DAVID
Yes mother.

ARTIST
Silence, you're always talking,
always disturbing me!

The Artist and David step on the dais, they move past the
altar.

ARTIST (CONT’D)
Do you have any idea how hard it is
to raise a child alone?

DAVID
It's difficult because my father
abandoned us.

ARITIST
He left me all alone, I have no one
to help me.

The Artist opens the door leading to the basement. She drags
David inside.

ARTIST
And you're the thief of all my
happiness, now move.
 31.

The Artist follows David down the steps to the basement.

ARTIST (CONT’D)
Get to your corner.

David steps off the bottom step. The Artist holds up the
candelabra.

Blake's renditions of hellish monsters are painted on the

basement walls. 'The Number of the Beast is 666', 'The Ghost
of a Flea', 'Cerberbus',

ARTIST (CONT’D)
Put on your chain.

DAVID
Please, I'm frightened, I don't
want to...

ARTIST
Silence!

David shuffles to the corner, he snaps a manacle onto his

ankle.

ARTIST (CONT’D)
You'll stay down here until I come
for you.

David sits and buries his face in his hands. The Artist walks
up the stairs and candle light flickers eerily over the
nightmarish paintings.

ARTIST (CONT’D)
You'll learn or you'll be punished.

The Artist slams the door into the chapel and the room goes
dark.

END FLASHBACK.

INT. THE OLD CHAPEL-DAY

The Painter walks away from the painting of 'The

Crucifixion'. He moves towards the altar at the back of the
chapel, he mutters.

THE PAINTER
You're the thief of all my
happiness.

The Painter steps up to the dais. He places his pestle and

paintbrush next to a familiar candelabra on the altar.

THE PAINTER (CONT’D)

You'll learn or you'll be punished.
 32.

The Painter turns and looks around at the paintings adorning

the chapel walls.

THE PAINTER (CONT’D)

When they're finished, I will
destroy your legacy.

The Painter opens the door leading to the basement. He

descends the stairs.

INT/EXT. EMMA'S CAR-DAY-MOVING

The yellow hatchback passes a sign that reads, ’Welcome to

Brooktown’.

The landscape has changed from rural to urban, shops, traffic

lights, buildings, etc.

Jill points through the windscreen, she gives Emma directions

JILL
The hospital isn’t far, it’s on
this side of the city center.

EMMA
I remember visiting when Morgan was
born, but I came from a different
direction.

JILL
You'll need to take your next left.

Jill hears the RUSTLE of cellophane plastic. She peeks into

the back seat.

Morgan pops a lozenge in her mouth. She looks up guiltily

when she realizes she’s being watched.

JILL (CONT’D)
You okay?

Morgan smiles around the lozenge, nods cheekily. Jill returns

her smile, goes back to her seat.

JILL (CONT’D)
(to Emma)
She just hustled a sweet.

EMMA
Good on her.
(in mirror)
You go girl.

Emma turns onto a busy street and an Ambulance with FLASHING

lights and siren BLARING motors past.

EMMA (CONT’D)
We must be close.
 33.

JILL
The hospital’s at the end of this
street.

EMMA
That reminds me, last night you
said emergency services arrived
just after Morgan went into shock?

JILL
They traced the call, but your
right it was quick.
(beat)
Dr. Weiss mentioned there was an
incident close by, but Morgan’s
situation took priority.

Emma turns into a mid-sized hospital car park. A large arrow

shaped sign indicates the Emergency Area.

EMMA
Did he tell you what happened?

JILL
He wouldn’t elaborate, said the
family needed to be informed before
he could talk about it.

EMMA
Maybe there was some type of an
accident...

Jill lurches forward when Morgan forcefully kicks the back of

her seat. Jill spins around and undoes her seat belt in the
same movement.

Jill’s POV: Morgan lies on the back seat, her face is turning
blue. She claws at her throat, chokes for air, her legs kick
out.

JILL
Drive, get to the emergency area,
hurry!

Jill climbs between the car seats to go to Morgan's aid.

EMMA
Shit, is she alright..?

Emma slams her foot on the accelerator. She jams her hand on
the horn.

JILL
She's choking...

Jill cradles Morgan, her daughter convulses in her arms. Jill

tries to clear her airways.
 34.

JILL (CONT’D)
Come on breath baby, breath...

Outside: The horn BLARES as the yellow car dodges around

traffic, swerves through the car-park.

The car SKIDS to a halt at the doors of the emergency area,

the horn BLARES.

The back door of the car opens and Jill climbs out with
Morgan in her arms.

JILL (CONT’D)
Please, somebody help my daughter!

The hospital doors open and doctors and nurses rush to render
assistance.

INT. BASEMENT PRISON-DAY.

Faint light filters into the basement prison from a mesh

covered and smoke glazed bathroom strip window.

FAITH(O/S)
Will he hurt me?

The dead light bulb is suspended in front of the crucifix,

the ivory Jesus suffers.

MARY(O/S)
I hope not.

On the chest of draws next to Mary’s bed is a frame that once

held a small mirror. It now holds a wallet sized picture of a
girl aged (3).

FAITH(O/S)
Has he hurt you?

Next to the photo is a hair brush, tooth brush and eyeliner

pencil laid out neatly on a dish towel.

MARY(O/S)
He’s strapped me and he’s starved
me, but the most hateful thing he’s
done is take me away from my
daughter.

Mary and Faith sit on the end of their beds facing one
another. Chains run from their ankles to their respective
rails.

FAITH
How could he be so horrible?

MARY
I don’t know, but when he’s angry
he's malicious and petty.
 35.

Faith lifts her gold necklace, she toys with the pendant.

FAITH
I’m scared. I just want to wake up
and be at home with my family.

MARY
I know.
(beat)
I noticed your necklace, it’s
pretty, did your parents give it to
you?

Faith leans forward, holds out the pendant to Mary. The small
gold heart has a deep red ruby inlaid at it’s center.

FAITH
My mother, it belonged to my
grandmother. She passed a few years
ago.

MARY
I bet she loved you.

FAITH
We were close.

Faith places her palm over the pendant. She holds it against
her heart.

MARY
I’m also a mom and I’m guessing you
were named Faith for a reason.

FAITH
I was born premature, my mom told
me it was a difficult time for both
of us.

MARY
Faith suggests a strength of the
heart. You should try to be true to
the name your mother gave you.

FAITH
What’s your daughters name?

Mary glances at her daughters picture. She turns back to

Faith.

MARY
Joy, it’s how I felt when she was
born. For the first time in my life
I experienced pure happiness.

FAITH
How long have you been here?
 36.

MARY
There are some things I’d prefer
not to talk about.

FAITH
Please, I understand it’s
difficult, but I need to know.

Mary gestures at the calendar pinned to the wall. The date

squares are marked with crosses.

MARY
I've been around twice.

FAITH
Oh my god, I'm so sorry.
(beat)
Do you have any idea why he
kidnapped me?

MARY
I can’t answer that question honey.

FAITH
What I mean is, will he expect...
(beat)
Is it a sex thing?

Mary lifts her leg onto the bed and adjusts her manacle. She
avoids the question.

MARY
With me he became fixated at the
club, but I thought he was creepy.
He asked me to dance, told me I
reminded him of somebody close...

FAITH
(interrupts)
I realize the answer may frighten
me but I should be prepared.

Mary sighs, she returns her attention to Faith and her

question.

MARY
Do you have a boyfriend?

FAITH
You want to know if I’ve done it
before?
(beat)
I, no, I allowed a boy to put his
hand down there once but I told him
to stop.

MARY
It hurt?
 37.

FAITH
It hurt.

MARY
When I first came here he visited a
lot for, you know. He doesn't want
it so much anymore.

Faith lifts her legs onto the bed. She hugs her legs, places
her chin on her knees.

FAITH
You think I'm a replacement?

MARY
I don't know. He sometimes has
problems when he tries with me, he
can't function properly.

FAITH
Maybe it'll be the same with me.

MARY
I hope so, but there's something
else. It makes him angry, he beats
me when that happens.

FAITH
I'm so sorry he hurts you.

MARY
Don't be, you don't want to hear
this, but it's the better option.

FAITH
You're right, I don't think I want
to talk about this anymore.

Mary leans over to the set of draws. She takes out a pack of
sanitary napkins.

MARY
We have to find a way for you to
escape.

FAITH
For both of us to escape.

MARY
True, but for now you need to be on
your period.

Mary passes the package to Faith. They're interrupted by the

rattling of the door handle.

MARY(CONT’D)
Shhhhhh...
 38.

Mary and Faith’s POV: A metal flap squeaks open and a pizza
box is pushed through the door.

MARY (CONT’D)
(whispers)
It’s okay, it’s how he delivers our
food.

Mary slides her chain along the rail, she looks at the pizza
box.

The words, ’COMING SOON’ are written across a corner of the

oil stained cardboard.

MARY (CONT’D)
He eats a lot of takeaway, sends
his leftover’s. I hope you like
seafood?

Mary picks up the pizza box. She folds the lid underneath so
that Faith can't see the message.

FAITH,
I can’t, I’m allergic.

INT. DR. WEISS'S OFFICE-DAY

There's diploma's and yard-sale quality paintings on the

walls of the doctor's office.

DR. Weiss sits behind a desk and a cheap computer. Jill sits
across from him.

DR. WEISS
It was fortunate you were so close
to the emergency department.

JILL
Morgan definitely gave me a scare,
you're certain you know what's
happening with her?

DR. WEISS
Her symptoms, the blemishes on her
neck and ankle, they're common
allergic reactions.

JILL
And the fact that she nearly choked
on the back seat of my best
friend's car?

DR. WEISS
I've consulted with a colleague and
we believe the combination of
cereal, orange juice and lozenge
raised her blood sugar levels.
 39.

JILL
So it's my fault?

DR. WEISS
I doubt you could have known, but I
will have my secretary e-mail you a
list of common allergens.

DR. Weiss peers at the computer screen, he checks Morgan's

notes.

DR. WEISS (CONT’D)

We believe the insect sting
triggered a dormant allergic
condition. We'd like to keep her
under observation for the next
twelve hours.

JILL
You're expecting another episode?

DR. WEISS
Don't worry, its precautionary.
She'll also be electronically
monitored and a nurse will stay
with her at all times.

JILL
Worry is a mother's allergic
reaction to childbirth.

DR. WEISS
So I believe, but this is also why
I want Morgan to carry an Epi-pen
at all times, same goes for you.

JILL
The nurse gave me a script earlier.
My friend is picking them up for me
now.

DR. Weiss closes the computer screen and stands from behind
the desk.

DR. WEISS
Good, I also need to ask if Morgan
has a phone?

JILL
I was hoping to avoid buying her
one until she's at least twelve.

Jill picks up her handbag and she stands. Jill and Dr. Weiss
make their way to the door.
 40.

DR. WEISS
Generally I'd agree, but our
hospital has an efficient emergency
App. One swipe and first responders
appear from everywhere.

JILL
I came with a friend so I'll need
to go back for my car. I'll pick
Morgan up something then download
the App to my phone as well.

DR. WEISS
Good, she'll remain sedated for at
least two hours. Now would be the
perfect time to collect whatever
you need.

DR. Weiss opens the door to his office. Jill exits and he
follows.

INT. BASEMENT PRISON-NIGHT

There's a dusty model of the nativity, a chipped porcelain

statue of the Virgin Mary, a tacky 3-D picture of Jesus
stacked on a basement shelf.

The Painter stands in front of a heavy door. He unlocks a

large padlock, pulls back a rusty latch, opens the door.

The Painter steps into the basement prison and switches on

the light.

THE PAINTER
Time for us to get to know one
another.

FAITH
Oh my god.

Faith sits up and lifts her blankets. She shuffles up the bed
afraid. The Painter closes the door, there's no lock on the
inside.

THE PAINTER
Haven’t you been expecting me?

FAITH
No.

THE PAINTER
I left a message.

The Painter smirks at Faith. He makes a beeline towards her

bed.

FAITH
Please leave me alone.
 41.

THE PAINTER
You’ll learn or you'll be punished.

MARY
Stop it.

Mary sits up in her bed. She keeps her eyes on The Painter
but initially speaks to Faith.

MARY (CONT’D)
Don't worry honey, it will be
alright, I promise.
(to The Painter)
Leave her alone.

THE PAINTER
What’s this, you a mother-hen all
of a sudden?

MARY
She’s young, she needs someone to
look after her. I am a mother and
I...

THE PAINTER
You’re single mother white trash!
(beat)
You should've been at home with
your child, not dancing in some
strip club.

MARY
I danced in the club so I could
support my...

THE PAINTER
That’s a bullshit excuse, mothers
who abandon children need to be
taught a lesson.

The Painter steps towards Mary and raises his hand

threateningly. Mary flinches back, she lowers her eye's,
softens her tone.

MARY
I'm sorry, you're right, I'm a bad
mother.

THE PAINTER
That's better.
(beat)
Now if you can shut your trap for a
second I have more important things
to think about.

MARY
You know she's too young for you.
 42.

THE PAINTER
Well I ain't about to wait for her
to grow up now am I?

Mary pulls her blanket aside. She slips her dress up past her
knees, her thigh’s are heavily bruised.

MARY
Why would you want a child when you
could have a woman?

THE PAINTER
Oh, now I understand, you’re
jealous.
(chuckles)
Don’t worry, I’ll let you coach
from the sidelines.

The Painter sits on the end of Faith's bed, he tugs playfully

at her bed-covers. Faith grips her blankets, tears roll down
her cheeks.

THE PAINTER (CONT’D)

Have you ever done it with someone
watching?

FAITH
Please...

THE PAINTER
It wont hurt, well maybe a little.

MARY
I’m trying to help, she won’t be
able to please you, why not try
with me one more time?

THE PAINTER
Quiet, I'm bored with you, I want
something fresh.

MARY
She isn’t fresh, she can’t take off
her pants because of the manacle,
she’s been unable to wash.

The Painter takes his keys from his pocket. He dangles them
in front of Mary.

THE PAINTER
Then maybe I’ll take off the chain
and watch her wash while I wait.

MARY
Look beside the bed, it’s her time.
I know that sickens you.
 43.

The Painter looks over the edge of Faith's bed and sees a
small stack of sanitary napkins.

THE PAINTER
You should've told me about that,
it’s disgusting.

The Painter steps off the bed. He wipes his hands on his
overalls.

MARY
I tried to tell you but you
wouldn’t listen.

The Painter glares at Mary. He storms towards the basement

prison door.

THE PAINTER
I’ll be back when she’s finished
her bloods.

MARY
Then you'll need to bring her a
change of cloths so she can wash.

The Painter yanks the basement prison door open. He steps

through and SLAMS it with an echoing CLANG.

FAITH
Thank you.

MARY
You okay?

Faith covers her mouth, sobs. Mary goes to her and they meet
in the middle of the floor and hug.

MARY (CONT’D)
He won’t be back for a few days,
you’re safe for now.

FAITH
I saw the bruises. I’m so sorry he
hurt you.

MARY
I'm okay, I can push back
sometimes, but not always.

Mary pulls back, she gently brushes away Faith's tears.

FAITH
I hate him.

MARY
I know honey, but don’t worry. I
think I have a way to get you out
of here.
 44.

INT. JILL'S CAR-DAY

Jill drives Morgan home from the hospital, laid-back music

plays.

Morgan’s in the passenger seat with the teddy-bear. She plays

a game on her new phone.

JILL
What you doing sweetie?

Morgan doesn’t look up, her fingers move across the screen
like a pro-gamers.

MORGAN
Playing a game.

JILL
You seem pretty good at that.

MORGAN
Um-hmm.

JILL
Morgan, you know it’s rude to
ignore someone when their talking
to you?

Morgan swipes the screen, she looks up at her mother.

MORGAN
I'm sorry Mommy, I'm only playing a
learning game.

JILL
I brought the phone last night, who
taught you learning games?

MORGAN
Aunt Em showed me on her phone,
it’s a secret.

JILL
Did she now, well maybe it’s time I
have a word with Aunt Em.

Morgan quickly places the phone between the teddy-bear's

legs.

MORGAN
I think I’m finished playing now.

JILL
Thank you baby, but we'll need to
set some rules when we get home.

MORGAN
Okay mommy.
 45.

Morgan turns and peers out the passenger side window. There's
a large tree with a beehive in the trunk, bee's buzz around.

The car cruises past the tree and the old chapel comes into
view.

MORGAN (CONT’D)
Mommy, can I have some car
medicine.

JILL
Why, what’s wrong?

MORGAN
I think I'm starting to feel
queasy.

JILL
Do you need the Epi-pen?

MORGAN
No mommy.

JILL
Okay I'm going pull over, take a
deep breath and try to relax.

Morgan takes an exaggerated breath. Jill indicates to the

shoulder and allows the car to roll to a stop, she turns to
her daughter.

JILL (CONT’D)
Sorry baby, we don’t take car
medicine anymore.

MORGAN
Is it because of the llergic
reaction?

JILL
Allergic, but yes that's the
reason.
(beat)
But hey it’s nice outside, we could
go for a walk.

MORGAN
Alright mommy.

JILL
We could explore the old chapel,
it’ll be fun, wait for me on your
side.

Jill exits the car with her handbag, she moves around to
Morgan's side of the car. Morgan undoes her belt and she
picks up her teddy-bear.
 46.

The passenger door opens and Jill helps Morgan out. Morgan
leaves her phone behind on the seat.

EXT. CHAPEL GROUNDS-DAY

Jill and Morgan walk towards the old chapel. Morgan carries
her teddy-bear under her arm.

MORGAN
I don’t like this place.

JILL
Why, it’s just an old chapel?

MORGAN.
It’s too quiet, it makes me feel
scary.

Jill and Morgan mount the front steps, the door's slightly
ajar.

JILL
Chapels are quiet so people can be
alone with their thoughts.

MORGAN
Will it be dark inside?

JILL
I don’t think so, but the door's
open, so we could take a look.

MORGAN
I'm not sure...

JILL
I’d never put you in danger baby.

Jill reaches for Morgan's hand. They open the door and step
inside the chapel.

JILL (CONT’D)(O/S)
Wow, would you look at this place.

INT. CHAPEL-DAY

Jill and Morgan move down the chapel's center aisle under an
arched roof. Swords of sunlight from small high-set windows
slice through dust clouds.

Jill and Morgan stop to focus on the depiction of William

Blake's, Sepulchre.' 2 glorious angels rise up either side of
Jesus in his tomb.

JILL
They’re so lovely, do you see the
angels Morgan, don’t you think
they’re beautiful?
 47.

Morgan tugs on her mothers hand, Jill looks down at her

concerned.

JILL (CONT’D)
What’s wrong, are you okay?

MORGAN
I don't feel so good.

Jill takes down her handbag, crouches in front of Morgan.

JILL
Do you want me to take out an Epi-
pen?

MORGAN
Not like that mommy. I just feel
car sick.

Jill scoops up Morgan and sits her on the closest pew. She
places the back of her hand on her forehead.

JILL
You don’t feel feverish, maybe you
should just sit for a moment.

MORGAN
I'm okay mommy, you can look at the
paintings.

JILL
Alright, but let me know if you
feel any worse.

Jill kisses Morgan on the forehead. She stands and looks

around the chapel.

JILL (CONT’D)
I won’t be long baby.

Morgan waits for her mother to re-focus her attention on the

paintings. She changes position to the pew behind.

Morgan slides along her seat until she reaches the painting
of 'Sepulture' on the chapel wall.

JILL (O/S) (CONT’D)

Em has to see this, these paintings
are amazing.

Jill’s POV: William Blake’s, ’Satan in his Original Glory.’

The Archangel Lucifer offers up his globe and scepter before
he’s cast out of Heaven.

JILL (CONT’D)
It’s as though somebody painted
Heaven, or..?
 48.

Morgan sits on the pew holding her teddy bear. She looks
between her feet at the ground below, whispers.

MORGAN
Hell.

Morgan’s POV: There’s a hand print on the floor, the word,

’Hell’ is written in red paint. The last letter runs into a
gap between the wooden seat and the wall.

JILL(O/S)
This next painting's so sad.

Morgan gets to her knee’s on the floor. She puts her teddy-
bear under the pew. She reaches her fingers between the gap
and she searches around.

Jill moves down the centre aisle of the chapel. She stops to
look at the sad painting.

JILL (CONT’D)
I wish I knew the story behind this
one.

Jill’s POV: William Blake’s ’Naomi Entreating Ruth Orpah.’ A

young woman clings to a saintly older woman, another woman
walks away weeping.

THE PAINTER
Who are you?

The Painter enters through the door at the back of the

chapel.

THE PAINTER (CONT’D)

What are you doing here?

Morgan gasps, she slips something into the pocket of her

pants. She hurries to her mother's side without the teddy-
bear.

JILL
I’m sorry. I thought churches were
open to the public.

THE PAINTER
I can accept that people are
curious, but this is a private
chapel not a church.

JILL
We were just admiring the artworks.

The Painter moves up the center aisle towards Jill and

Morgan.
 49.

THE PAINTER
My mother painted them, I’m doing
my best to restore her works.

JILL
She was talented, this painting is
very emotive.

THE PAINTER
She suffered dark spells during her
life, painting helped her with the
depression.

JILL
I understand, still the art is
moving.

THE PAINTER
There are more in the basement, I
could show you.

Jill reaches down and she pushes Morgan behind her body
protectively.

JILL
Thank you, but I think we’ve seen
enough.

MORGAN
Mommy I want to go, I feel sick.

JILL
My daughter's unwell, we should be
going.

THE PAINTER
Did you and your daughter come here
alone?

JILL
No, there's somebody waiting for us
outside.
(to Morgan)
Okay baby, we’re leaving.

Jill turns and moves with Morgan towards the front door. She
quickens her pace.

THE PAINTER
Who's waiting for you, her father?

JILL
Yes, my husband.

THE PAINTER
Unusual, why would he remain
outside?
 50.

Jill takes her keys and the Epi-pen from her bag as she
walks.

The Painter follows a few meters behind, he rummages in his

pocket.

JILL
That's none of your business.
(to Morgan)
Keep moving baby.

THE PAINTER
I can't imagine your husband would
allow his wife and daughter to
enter a strange building alone.

Morgan and Jill step through the front door and Jill kicks it
closed. She unlocks her car and the alarm BEEPS, she looks
down at Morgan.

JILL
Run to the car, let yourself in,
then lock the doors. Do it now.

Morgan nods, she runs towards the car. Jill turns and faces
the door, she holds the Epi-pen out like a can of mace.

The Painter pushes through the door, he shades his eye’s

against the bright sunlight.

THE PAINTER
Tell me the truth, there is no
husband is there?

The Painter notices Jill’s defensive stance, the Epi-pen. He

steps back and holds up his hands.

JILL
My husband’s a marine so you'd
better back off.

THE PAINTER
I was only making small talk,
offering to show you more
paintings.

JILL
My husband would love to talk with
you, especially after I tell him
you scared his daughter.

THE PAINTER
There’s been a misunderstanding,
please leave now.

Jill cautiously backs down the steps, she keeps an eye on The
Painter.
 51.

JILL
Oh, I’m leaving, and you'd better
not follow.

Jill moves towards the road, she makes it a safe distance,

hurries to her car.

The Painter calls out from the front step of the chapel.

THE PAINTER
This is a place of worship not a
playground where single mothers
bring children to play.

Jill gets into her car. She slams down the lock, puts her key
in the ignition.

JILL
You alright baby?

MORGAN
I’m a little scared mommy.

JILL
You’re going to be okay.

Jill looks past Morgan and sees The Painter on the chapel
steps watching. She revs the engine, squeals the tires as she
pulls away.

INT. JILL’S HOUSE-NIGHT

Morgan sits at the kitchen bench in her pyjamas. She toys

with her phone. Jill stands at the kitchen sink, she rinses a
dish.

MORGAN
But why do I have to go to bed when
she gets here?

JILL
She’s my friend too baby, and
you’re going to spend the whole day
with her tomorrow.

MORGAN
I still think it's unfair.

JILL
When did my daughter learn to pout?

Jill places the dish in a rack. She moves to Morgan’s side of

the bench and attacks her with tickles.

JILL (CONT’D)
Guess what, I've got wet fingers.
 52.

MORGAN
(squirms and giggles)
Stop it mommy.

JILL
Okay, but I want to look at your
neck.

MORGAN
You can look.

JILL
Thank you, I just want to check the
swelling.

Jill rolls down the collar of Morgan's pyjama top. She

inspects the back of her neck.

JILL (CONT’D)
Does it hurt?

MORGAN
(squirms)
No it tickles.

JILL
Okay baby, stay still.

Jill’s POV: There's a red bar shaped discolouration on

Morgan’s neck.

JILL (CONT’D)
Your neck's still red.

MORGAN
I’m okay mommy.

Jill and Morgan are interrupted when the front door slams.
Morgan jumps off her stool and she rushes to meet Emma.

EMMA(O/S) MORGAN
It’s only me Jilly, I let Coming Aunt Em.
myself in. I could use some
help in here Smudge.

Jill notices Morgan has phone left on the kitchen bench. She
places on top of the refrigerator.

JILL
Another toy to put away.

Morgan meets up with Emma at the front door. Emma carries 3

art books and a bottle of wine.

MORGAN
Can I help you Aunt Em?
 53.

EMMA
Here take this, then again maybe
not, here take these.

Emma holds out the bottle of wine to Morgan then changes her
mind. She leans down with the books and Morgan collects them.

MORGAN
(whispers)
Mommies angry about the learning
games.

EMMA
I know, but don’t worry,
I can handle her.

Jill enters the room. She looks suspiciously from Morgan to

the Emma.

JILL
What's happening in here, what are
you two whispering about?

EMMA MORGAN
Nothing. Nothing.

Emma winks at Morgan and she giggles. Jill folds her arms,
taps her foot.

JILL (CONT’D)
There's something's going on, I
just know it.

INT. JILL'S HOUSE-NIGHT.

LATER:

Morgan is in her bed in her pink bedroom. Emma sits at the

end of the bed. Jill stands at the door.

JILL
Alright you two, you have one
minute. Good night baby, I love
you.

MORGAN
I love you too mommy.

Jill steps outside and closes the door. Morgan sits up in

bed.

MORGAN (CONT’D)
Did you bring it?

Emma glances at the door conspiratorially. She passes Morgan

her phone, whispers.
 54.

EMMA
I can’t believe I let you talk me
into this.

MORGAN
You’re too easy Aunt Em.

EMMA
Fifteen minutes, then I’ll be back
to check you’re asleep.

MORGAN
I promise, good night.

EMMA
Good night Smudge, see you in the
morning, love you.

MORGAN
Love you too Aunt Em.

Emma kisses Morgan cheek, makes her way to the door. She
turns back and taps her wrist.

EMMA
Your time starts now.

Emma switches off the light and closes the bedroom door. The
room is dimly lit by a night light.

Morgan shines her phone's light at cloths piled on a shelf on

the other side of the room. She gets out of bed and hurries
over to them.

Morgan rummages in the pocket of the pants she wore earlier.

She finds what she's looking for and rushes back to bed.

Morgan climbs under her blankets. She shines the phone's

light on her hand.

Morgan’s POV: Faith’s necklace, the heart shaped pendant with

ruby inlay, dangles from her fingers.

Morgan slips the necklace over her head. She lays down and
closes her eyes.

Morgan places her palm over the pendant, she holds it against
her heart.

INT. BASEMENT PRISON-NIGHT.

There's fast-food packaging on the floor of the basement

prison. The words, ’COMING SOON’ are written across the
corner of a burger bag.

Faith and Mary sit at the ends of their beds facing one
another.
 55.

FAITH
You want me to take off my clothes?

MARY
Not everything, enough to keep him
distracted. Take your time, capture
his attention.

FAITH
I don’t think I can.

MARY
It’ll happen whether you like it or
not, it's better you have the
control.

Faith lifts her legs on the bed, she hugs her legs, places
her chin on her knee’s.

FAITH
And you think I should try to be
sexy?

MARY
The opposite, be yourself, be shy,
cry if you can. It’ll come across
as real and he’ll enjoy having
power over you.

FAITH
What if it encourages him?

MARY
I promise, I'll do everything I can
to stop anything like that from
happening.

FAITH
It’s difficult, I feel embarrassed,
repulsed.

MARY
You should ask yourself what would
your mother and grandmother would
tell you to do?

Faith takes hold of her pendant. She holds over her heart
with her palm.

FAITH
I know they'd want me to escape if
I could, but you're sure we need to
do it now?

Mary rattles her chain. She gestures at the calendar on the

wall.
 56.

MARY
These chains come off maybe once or
twice a year. We need to take
advantage of any opportunity.

Mary steps off the bed, she moves to the paint tins in the
corner. She lifts and lowers a couple, hefts a third and
carries it back with her.

MARY (CONT’D)
The door locks from outside so
there shouldn't be a problem once
your free of the manacle.

Mary puts the paint can under her bed. She pushes it out of
sight.

FAITH
What about you?

MARY
Don’t worry about me, I’ll find his
keys, hit him again if he moves.

FAITH
I don't want to abandon you.

Mary adjusts her manacle, she grimaces. Her ankle is marked

by scars.

MARY
You’re not, if you escape you’ll
bring help, either way we win.

FAITH
But what if he hurts you for
helping me?

MARY
Then I’ll enjoy knowing I got him
back for some of the things he’s
done to me.

FAITH
I promise I’ll send someone to help
you.

MARY
I know you will, just get out of
here as soon as you can.

Mary and Faith are interrupted by the sound of the Painter

unlocking the padlock on the outside of the door.

MARY (CONT’D)
I’d hoped we’d have more time.
 57.

INT. JILL’S LOUNGE ROOM-NIGHT.

The lounge room lights are dim, soft music plays, a low fire
burns in the fireplace.

There’s art books on the coffee table, a wine bottle and a

tissue box.

Jill and Emma sit on the sofa, they hold glasses, drink wine.

JILL
You're sure you don’t mind? I need
to run some errands and I’ve
arranged a consultation with Doctor
Weiss.

EMMA
The handsome young doctor’s
involved, is it a meeting or a
date?

JILL
No you don’t. He called to say the
test results were in, asked me to
drop by if I was in town.

Emma smiles, she sips at her wine to cover her expression.

EMMA
He seems very interested in
Morgan’s case.

JILL
He’s just being professional.

EMMA
We'll see, anyway, I love spending
time with Morgan, and if you still
trust me after the phone incident,
I have a plan.

JILL
I trust you more than anyone,
especially with her.

EMMA
Thank you, so tomorrow I want to
teach her to paint.

Jill picks up the wine bottle, she fills her glass and then
Emma's.

JILL
Oh she’ll love it Em, and it will
take her mind off everything that’s
happened.
 58.

EMMA
I look forward to it as well, and
to sleeping on this comfortable
sofa again.

JILL
You’re a good friend, my best
friend.

EMMA
I want to say I’m your only friend
but that may change after tomorrow.

Emma reaches for one of her art books. She opens it to a page
marked with a post-it note and passes the book to Jill.

EMMA (CONT’D)
Speaking of friendship, I found the
painting you described.

JILL
That’s the same one, it’s so
beautiful, it affected me somehow,
I can’t explain.

EMMA
William Blake, English poet and
artist, it’s his interpretation of
a bible story titled 'Ruth and
Naomi'. Read the verse at the
bottom of the page.

Jill traces her finger along the verse, she reads the poem
aloud.

JILL
Entreat me not to leave thee, nor
to return from following after
thee. For wherever you go, I will
go, and wherever you lodge, I will
lodge. Your people shall be my
people and your God my God. And
where you die, I will die, and
there I will be buried. The lord do
to me and more, if anything but
death parts you from me.

EMMA
She’s speaking with her mother in-
law, her friend.

JILL
The saintly woman in the painting?
 59.

EMMA
Yes, when her sons die tragically
she tells their wives to return to
their families. But her daughter in-
law Naomi refuses to abandon her.

Jill wells up with tears, she plucks a tissue, wipes her

eyes.

JILL
Why is it that lately, whenever
we’re together I end up crying.

EMMA
I know right, I’d never read it
before and it set me off as well.

JILL
I’d better check on Morgan.

Emma puts her glass on the table and makes to stand. Emma
reaches over and stops her.

EMMA
You relax, I’ll do it.

INT. MORGAN’S BEDROOM-NIGHT

The night-light in Morgan’s bedroom emits a comfortable glow.

Her phone is on a chest of draws near the bed.

Morgan's eyes dart back and forth in rem-sleep, there's sweat

beads on her brow.

The bedroom door opens and the faint light from the hallway
further illuminates the room. Emma pokes her head through the
door, she asks softly.

EMMA
You asleep Smudge?

Emma listens for a moment but there's no reply, she whispers.

EMMA (CONT’D)
Sweet dreams honey.

Emma disappears and the bedroom door gently closes on the

light.

INT. BASEMENT PRISON-NIGHT

Mary and Faith sit on their beds. The Painter wrenches open
the latch on the outside of the door.

The basement prison door BANGS open and The Painter enters
with plastic shopping bag. He closes the door but it remains
unlocked.
 60.

THE PAINTER
(to Faith)
I got the change of outfit you
asked for.

Faith shuffles up to the head of her bed. She wraps herself

in her blanket.

THE PAINTER (CONT’D)

It might be a little big but I
couldn’t exactly go out for
teenager clothes.

The Painter moves to stand between the beds. He shows the

shopping bag to Faith.

THE PAINTER (CONT’D)

Still I brought you a gift so it’s
going to feel like Christmas down
here.

MARY
They don’t celebrate Christmas in
hell.

THE PAINTER
What is wrong with you, what kind
of talk is that?

MARY
Sorry, I didn't mean to sound
ungrateful.

THE PAINTER
Yeah that’s what I thought.
(beat)
I also got you something on account
of the jealousy, so you might want
to behave.

The Painter takes out a dress similar to the one Mary already
wears, he holds it out.

THE PAINTER (CONT’D)

Here put this on, go on, I know
you’re not shy.

Mary gets off her bed and turns her back on Faith. She pulls
her dress over her head and stands in her underwear.

Faith gasps when she sees Mary's back and legs are covered in
bruises.

The Painter smirks, he makes a show of looking Mary's body up

and down.
 61.

THE PAINTER (CONT’D)

When you stand like that it reminds
me of why I brought you here in the
first place.

MARY
You seen enough, can I get dressed
now?

THE PAINTER
If I’d seen enough you wouldn’t be
needed anymore. You may wanna think
on that before you say thank you.

MARY
Thank you.

The Painter gestures for Mary to dress. He watches her wiggle

into the new outfit.

THE PAINTER
That was my mothers dress. She was
a real artist not a striptease
artist, not a whoring single mother
on welfare.

MARY
I wasn’t...

THE PAINTER
Silence!
(beat)
Now sit, I swear I’m just about
finished with your attitude.

The Painter turns his attention to Faith. He stares at her

for too long.

THE PAINTER (CONT'D)

Don’t worry, she sometimes gets her
nose out of joint, but I don’t
allow no cat-fighting down here.

The Painter takes a cotton summer dress from the bag and he
lays it on Faith's bed.

THE PAINTER (CONT’D)

I picked this one out specially for
you because it’s pretty.

MARY
You’ll need to take off her
manacle.

THE PAINTER
Smart person here, I know that
already.
(to Faith)
(MORE)
 62.
THE PAINTER (CONT'D)
I need to take off your manacle,
hold out your ankle.

Faith stretches her leg from underneath the blanket. The

Painter unlocks the padlock on her manacle.

THE PAINTER (CONT’D)

Now we need to get you cleaned up
so that means you'll have to
undress.

The Painter pockets his key’s, sits on the edge of Faith's

bed.

THE PAINTER (CONT’D)

Why don’t you show me how you do
that?

Faith pulls her blanket tighter about herself. She shakes her
head no. Mary swings her legs off her bed.

THE PAINTER (CONT’D)

Don’t be shy, just take off your
clothes, the same as you do in your
bedroom at home.

FAITH
What do you mean..?

THE PAINTER
Stupid to make choose without
knowing what your getting. Ask her
how many times I visited the club
before I picked her.

MARY
Don’t listen to him, he’s lying.

THE PAINTER
Am I now?
(to Faith)
You have yellow hexagon shapes on
your curtains, there's a pink desk
in the corner of your room, you
prefer sport star posters to pop
star ones.

MARY
You’re disgusting.

THE PAINTER
There it is, that jealousy again.
(to Faith)
Now why not start by taking off
that training top?

FAITH
I don’t want to.
 63.

MARY
I promise you can do this honey.

Faith lowers the blanket. She edges from the bed, tears run
down her cheeks.

THE PAINTER
I’m shy, can we turn off the light?

THE PAINTER (CONT’D)

What would be the point in that,
how would I see?

Faith stands and she unzips her top. She peels it from her
shoulders and reveals a sports bra.

THE PAINTER (CONT’D)

Good, good, now take off the sweat-
pants. Why not give me a show, see
if you can do it sexy.

FAITH
Please stop making me do this.

THE PAINTER
You’ll learn or you’ll be punished,
now do it!

Faith tugs the string bow at her waist, allows her pants to
fall. She covers herself with her hands, she looks up at the
ceiling.

The Painter leans in closer. Mary stands quietly behind him,

she reaches under her bed.

FAITH
Help me...

THE PAINTER
Not exactly what I call sexy, still
you’re a pretty little thing.

Mary rises behind The Painter. She holds the paint tin by the
handle.

THE PAINTER (CONT’D)

Okay lets get back to the bra, how
about we set those puppies free?

FAITH
Oh no, oh my god.

THE PAINTER
Don’t be shy, you know they like to
bark and bounce.

Faith slowly lowers her shoulder strap. Mary nods a warning.

She winds back and swings with the paint tin.
 64.

MARY
I told you to leave her alone!

The paint tin SLAMS into The Painter’s head with a skull
splitting CRACK..!

MARY (CONT’D)
Asshole!

The Painter sprawls off the bed, he lands on his knees.

There's a gash on his temple, blood streams down his face.

THE PAINTER
What the fuck you whore?

Faith yanks up her pants. She explodes a kick into The

Painter’s face, WHAM.

FAITH
Shut up you dick!

The Painter vaults back, he slams his head on the floor. He

reaches to his nose, looks at his bloodied fingers.

THE PAINTER
Bitch!

The Painter lashes out, he dives forward and grabs Faith by

the ankle.

THE PAINTER (CONT’D)

Come here slut!

The Painter yanks Faith off her feet. She falls on her butt,
she screams and kicks.

FAITH
Get off me!

The Painter grins a bloody smile. He rolls over and wraps his
hand around Faith’s throat.

THE PAINTER
You're going to be punished.

Mary steps forward with the paint tin raised high above her
head.

MARY
No, you're going to be punished!

Mary drops, uses her momentum. She slams the tin onto The
Painter’s head with a bone crunching, KER-BASH!

The lid of the paint tin catapults off and red paint
fountains across Faith and The Painter.
 65.

The Painter crumples under the blow, he moans, collapses

unconscious.

Mary flings away the can, she climbs on The Painter’s back.

MARY (CONT’D)
You asshole...

Mary pulls The Painters head back and she SLAMS his face into
the ground.

MARY (CONT’D)
You fucking asshole..!

Faith kicks herself away from The Painter, she's wet with red
paint.

FAITH
Mary quick, you need to find his
keys!

Mary climbs off The Painter, she rummages in his pockets,

yells at Faith.

MARY
Run honey, you have to leave, go!

Faith and Mary make eye contact across The Painter’s prone
body.

FAITH
I’ll send someone.

MARY
I know you will, now run Honey, go,
go!

Faith runs for the door, she yanks it open, she rushes
outside.

Mary digs in The Painter’s pocket. She rummages around, she

drags free a set of keys.

Mary climbs on her bed and lifts her chained leg. She tries a
key in the padlock on her manacle.

INT. JILL’S LOUNGE ROOM-NIGHT.

The fire burns low, soft music plays. There's a handful of

used tissues beside the tissue box.

Jill sips at her wine. She looks up when Emma enters the
room.

JILL
Is she okay?
 66.

EMMA
I didn’t want to wake her so I
whispered, she didn't answer.
That’s how it's done right?

JILL
That’s how it’s done.

EMMA
Then she’s fine.

JILL
Thanks, I’ll check on her again
before I go to bed.

Emma glances at the used tissues. She reaches for the wine
bottle and fills their glasses.

EMMA
What about you, how you feeling?

JILL
Okay, but a change of subject would
be nice, nothing sad.

EMMA
Done, nothing but inconsequential
chit-chat from this moment forward.

JILL
Your strong point.

EMMA
My strong point.

Emma sits on the sofa. She picks up her wine and makes
herself comfortable.

EMMA (CONT’D)
Why not tell me more about the
chapel and the weird artist guy?

JILL
I wanted to take you there Em but
not anymore. He was creepy, he
really scared us.

EMMA
Creepy how, I’m an insecure artist
and I don’t want you to see my
paintings creepy?
(beat)
Or, I sneak around the neighborhood
stealing ladies underwear creepy?

JILL
Okay, so apparently there’s a
classification scale for creepy.
 67.

EMMA
Alright tell me this, was he as
creepy as the guy staring at us
through the window right now?

JILL
What, you’re kidding?

Jill nervously glances at the dark window, there’s nothing to

see. She slaps Emma softly on the leg.

JILL (CONT’D)
That wasn’t funny Em.

EMMA
Got you.

JILL
Thank you, and yes, he was exactly
that kind of creepy.

EMMA
(giggles)
I’m sorry, but what could be less
emotional than scaring you?

JILL
Alright, I'll admit it worked, but
you nearly gave me a heart attack
in the process.

INT. BASEMENT-NIGHT.

Faith's cloths are splattered in red paint. She steps out

from the prison and into the dimly lit basement. She looks
around for an escape route.

Faith’s POV: The walls are adorned in hellish paintings,

devils and demons, sinners and suffering.

FAITH
What is this place.

Faith focuses on the painting of Blake's Cerberus on the

basement wall. A huge three headed dog guards the gates of
Hell.

FAITH (CONT’D)
Oh my god...

Faith hurries across the room, she climbs the staircase to

the top.

Faith pushes the door open and she steps into the dimly lit
chapel. She moves behind the altar, looks for a way out.

Mary and The Painter's screams ECHO up from the basement.

There are the sounds of a fight.
 68.

MARY (O/S)
Let me go!

THE PAINTER (O/S)

I'll teach you a lesson you fucking
bitch!

Faith turns towards the door and staircase to the basement.

She takes a half a step forward, then shakes her head, she
whispers.

FAITH
I’m so sorry Mary.

Faith moves around the altar, she steps off the Dais. She
runs up the aisle towards the door of the chapel.

INT. BASEMENT PRISON-NIGHT

Mary sits on her bed, she SEARCHES through the set of keys,
tries to find the correct one for the padlock on her manacle.

The Painter moans, he shifts position on the floor below.

MARY
Shit, come on...

Mary inserts a key and the padlock on the manacle pops open.

MARY (CONT’D)
Get off me.

Mary gingerly peels the manacle away from her ankle. Her
flesh is swollen, there’s an open wound, old scars.

Mary checks on The Painter, he remain's unconscious and

unmoving.

Mary folds the dish-towel over her belongings. She steps off
the bed and reaches for her calendar.

The Painter suddenly rolls over. He shoots out a hand and

grabs Mary's injured ankle.

THE PAINTER
You ain't going anywhere you
fucking whore.

Mary yelps painfully, she tries to pull free from The

Painters grip. She, falls back onto the bed.

MARY
Let me go!

THE PAINTER
I'll teach you a lesson you bitch!
 69.

Mary raises her other foot, she kicks out at The Painter's
face, BOFF, BOFF!

MARY
Let me go!

THE PAINTER
Stop it whore!

The Painter yanks Mary’s ankle. She slips from the bed and on
to the floor, grunts painfully, OMFFP.

THE PAINTER (CONT’D)

Come here.

MARY
No, no!

Mary kicks, punches and fights. The Painter lunges up and

grasps Mary’s shoulders.

THE PAINTER MARY

How dare you. Leave me alone.

THE PAINTER
You'll pay for this.

The Painter arches his back. He raises his fist and rabbit
punches Mary hard in the jaw, BAMM!

Mary’s body jerks, her head lolls. She falls unconscious and
her eyes close.

INT. CHAPEL-NIGHT

Faith runs up the center aisle to the chapel’s front door.

She yanks the handle, RATTLES the door back and forth.

FAITH
Please...

The door's locked. Faith feels around, checks for some type
of latch.

FAITH (CONT’D)
Come on, please, come on.

Faith slams her palms on the door. She kicks out at the base
frustrated.

FAITH (CONT’D)
Damn it!

The Painter steps from the door at he back of the chapel. He

moves quietly behind the altar.

The Painter crouches out of sight, he pulls aside an ornate

cloth on the altar.
 70.

There's a syringe, medicine bottle and a plastic cigarette

lighter inside the altar.

The Painter picks up the medicine the bottle, he casually

fills the syringe with liquid.

Faith turns towards the altar, she moves down the centre
aisle, searches desperately for a way out of the chapel.

The Painter’s voice ECHOS up from behind the altar, he SINGS

softly.

THE PAINTER(O/S)
Little chick waits in her egg of
white.

Faith stops, glances around desperately. She drops to her

knees, crawls between the pews, whispers.

FAITH
Help me...

THE PAINTER(O/S)
Curled up and cozy oh so tight.

The Painter stands behind the altar. He lights the candle in

the candelabra.

THE PAINTER (CONT’D)

Little chick taps a hole with her
beak, beak, beak.

Faith makes it to the chapel wall. She stops beneath the

painting of, ’Sepulchre’.

THE PAINTER (CONT’D)

Then she pops from her shell with a
cheep, cheep, cheep.

The Painter carries the lit candle in the candelabra. He

steps down from the dais.

THE PAINTER (CONT’D)

You know I hardly ever lock the
chapel door.

The Painter makes his way down the centre aisle. He holds up
the candle, checks between the pews.

THE PAINTER (CONT’D)

But tonight I had a feeling, a
sixth sense.

Faith backs herself under the bench seat, she stares out
nervously.
 71.

THE PAINTER (CONT’D)

You’re locked in, there ain't no
doubt about that.

Faith lifts her hand to her pendant. She notices she has left
a hand-print on the floor.

THE PAINTER (CONT’D)

Shame really, it was a good plan.

Faith takes off her necklace. She hides the chain between the
seat and the wall.

THE PAINTER (CONT’D)

I bet that crafty, sneaky whore put
you up to it.

Faith rubs a finger in a blotch of paint on her pants. She

begins to write the word, HELP, on the floor.

THE PAINTER (CONT’D)

You have no idea how much she’ll
suffer over the coming months.

Faith starts on the last letter. She drags out the tail of
the (P) to indicate the gap between the wall and the pew.

THE PAINTER (CONT’D)

That leaves me with a decision to
make on how much I should punish
you.

The Painter arrives at the end of Faith's pew with the

candle, he turns towards Faith.

Faith doesn’t place a hoop on the (P). She stops painting,

looks up slowly.

Faith’s POV: The Painter smiles but his features are grim in
the flickering candle light.

THE PAINTER (CONT’D)

Mary sometimes makes mistakes, but
she’s been with me a longtime.
(beat)
You on the other hand.

Faith moves out from her hiding place. She stands and faces
The Painter.

FAITH
I’m not going back in there!

THE PAINTER
Well there's nowhere else for you
to go.
 72.

FAITH
Never!

THE PAINTER
Look, I can’t just allow you to
walk out of here, can I?

The Painter places down the candelabra. He holds up the

syringe, flicks up the air bubbles.

THE PAINTER (CONT’D)

This should make you a little more
compliant.

FAITH
No, don't you dare touch me!

Faith charges The Painter. He lunges for her but she changes
direction at the last moment.

THE PAINTER
Little bitch!

FAITH
Fuck you!

Faith leaps onto a bench seat, she hurdles over the pew. She
runs down the centre aisle towards the back of the chapel.

The Painter snatches up the candelabra. He leans back then

launches it at Faith.

The heavy metal candelabra spins through the air. The candle
flame snuffs out mid flight.

The base of the candle holder SLAM’S brutally into the back
of Faith's neck and she's catapulted forward.

Faith's head catches the corner of a wooden pew with a

vicious, WHACK.

The metal candelabra CLANGS to the ground, rolls across the

floor.

THE PAINTER
Foolish girl.

The Painter hurries down aisle to where Faith fell. He looks

down at her prone body, shakes his head.

THE PAINTER (CONT’D)

There's never been a way to escape
from here.

Faith lies still and unmoving between the bench seats. Her
neck is bent at an impossible angle. Her eye’s are open and
staring.
 73.

INT. MORGAN’S BEDROOM-NIGHT

The night-light in Morgan’s bedroom emits a comfortable glow.

Morgan's pillows are on the floor, her bed covers heaped at

the foot of her bed.

Morgan’s pyjamas and bed sheet are soaked with sweat. She
breaths frantically, writhes from side to side.

Morgan's back arches, she drags in a raspy breath, she sits

up. Her eyes flicker open, she stares across the room, moans
softly.

MORGAN
Help me...

Morgan clutches Faith's pendant to her chest, tears spill

from her eyes, they roll down her cheeks.

INT. JILL’S LOUNGE ROOM-NIGHT.

The lounge room lights are dim, soft music plays, a low fire
burns. There’s a tissue box, a wine bottle, empty glasses on
the table.

Jill and Emma relax on the comfortable sofa, they hold coffee
cups.

JILL
I don’t think he’s married.

EMMA
You Googled?

JILL
What kind of mother would I be if
didn’t Goggle Morgan's doctor?

EMMA
I agree, but I also sense an
interest.

JILL
Me or him?

EMMA
Both.

JILL
Maybe, I think so, I just want to
move slowly.

Emma reaches over and she reassuringly touches Jill on the

thigh.
 74.

EMMA
I understand, but it's what John
would have wanted for you and for
Morgan.

JILL
Thank you.
(beat)
I will tell you what else I
Googled, and this is kind of
creepy.

EMMA
Interesting, I’m listening.

Jill lifts her legs onto the sofa, she makes her self
comfortable.

JILL
You remember I mentioned an
emergency vehicle was in the area
when Morgan had the anaphylactic
attack?

EMMA
Doctor Weiss wouldn’t elaborate. We
thought it may have been an
accident?

JILL
Right, but it wasn’t an accident.
Apparently they found the body of a
teenage girl not far from here.

EMMA
And you didn’t think to tell me,
what happened to her?

JILL
There wasn’t a lot of detail in the
article, they still don’t know who
she is, or how she died, only that
it occurred some years ago.

EMMA
I guess they’ll find out soon
enough, but you’re right, that's
creepy.

Morgan enters the room behind Jill. Emma speaks to her over
Jill’s shoulder.

EMMA (CONT’D)
Smudge, are you okay?

Jill puts her cup on the table, she turns to look at Morgan.
 75.

Morgan stands in the doorway in her cute pyjamas. She wipes

her eyes, there are tear tracks on her cheeks.

MORGAN
Mommy!

JILL
Oh honey, what happened?

MORGAN
She died.

Jill rushes over, she picks up her daughter and gives her a
hug.

INT. JILL’S HOUSE-DAY

Jill nurses a cup of coffee. She’s dressed attractively, a

suggestion of sexy for her meeting with Dr. Weiss.

JILL
Morgan said she had another bad
dream, but she didn’t want to talk
about this one.

Emma sits at the kitchen bench with her hands wrapped around
a cup of coffee.

EMMA
I’m sure its nothing, I mean at
what age do children start having
nightmares?

JILL
Most internet sites list two years
of age, but I still intend to ask
Doctor Weiss.

EMMA
I'm sure it's just a normal part of
growing up.

JILL
I know, and before you say it, I
worry too much.

EMMA
That’s your job, it’s Aunty's who
have all the fun.

Jill finishes her coffee, she rinses the cup, places it in

the dish rack.

JILL
Don’t be so sure, I have another
favor to ask. Did you notice the
necklace she’s wearing?
 76.

EMMA
It’s pretty, I figured you brought
it for her after you left the
hospital.

JILL
She said she found it at the
chapel. When I told her we needed
to advertise for the owner she
became upset. Claimed it belonged
to her.

EMMA
I’d want to keep it too if I was
her age.

JILL
I know, I’m just hoping you can use
that Aunt Em magic to convince her
to give it up.

Morgan steps into the kitchen and interrupts. She takes

Emma’s hand, tugs for her to follow.

MORGAN
Aunt Em, I want to show you
something.

EMMA
Easy Smudge, we have all day.
(to Jill)
I’ll see what I can do.

Emma gets up from the bench, she lifts Morgan into her arms
carries her from the kitchen.

EMMA (CONT’D)
Now what could be so important that
I’d give up my morning coffee?

MORGAN
You’ll see.

EXT. JILL’S FARM-DAY

Emma and Morgan sit at a table under the back porch of jill's
house. They wear artists smocks, hold paint brushes.

There’s tubes of paint scattered about, a glass of water to

clean brushes. A canvas with a sketch of Morgan on an easel
sits close by.

Emma watches Morgan paint a childish painting, red barn, blue

sky, green field, fluffy clouds, big sun.

EMMA
What we really need Smudge is an
artists model.
 77.

MORGAN
Where can we find one of those?

EMMA
Good question, are there any
handsome young farmers living
around here?

Morgan shakes her head no. She collects paint, dabs at her
painting.

MORGAN
I don’t think so.

EMMA
Disappointing but expected. Then
what about the teddy-bear I gave
you.

MORGAN
We can’t, John is gone.

Emma lays her brush on the palette. She looks at Morgan

concerned.

EMMA
What do you mean when you say John
is gone?

MORGAN
My teddy-bear John, I lost him.

EMMA
You named the teddy-bear I gave you
John?

Morgan swirls her paintbrush around in a glass of dirty

water.

MORGAN
Yes, but I left him behind at the
chapel when I found my necklace.

EMMA
John’s a perfect name for your
teddy-bear, but why did you leave
him behind?

MORGAN
Because I was afraid.

EMMA
Why were you afraid?

Morgan collects paint from a well on the palette, continues

painting.
 78.

MORGAN
The paintings made me feel queasy.

EMMA
Art can be very powerful, but
mostly it’s just the artist's
imagination on display.

MORGAN
Mommy thought they were beautiful,
but I just thought they were sad.

Emma smiles, she gestures at Morgan’s bright painting.

EMMA
You’re right Smudge, paintings
should always be happy just like
yours.
(beat)
So do you remember where you left
John?

MORGAN
I left him under the seat, close to
the painting of the two angels.

EMMA
You know what? I think we could use
some inspiration, why don’t we go
and rescue John?

Morgan nods, she places her brush on the palette alongside

Emma’s.

MORGAN
Okay, but I don’t want to go inside
that chapel anymore.

EMMA
You don’t have to Smudge, it wont
take long, you can wait in the car.

EXT/INT. HYUNDAI-DAY

Emma and Morgan sit in the yellow Hyundai they're parked in

front of the old chapel. The artist smocks are folded on the
back seat.

EMMA
You sure you don't want to come for
a walk?

MORGAN
No thanks, but I promise I'll stay
in the car and wait for you.
 79.

EMMA
Okay the windows are down enough to
let in air and you can keep the
doors locked while I’m gone.

MORGAN
I’ll be okay Aunt Em, I’ll play a
learning game.

Morgan takes her phone from her pocket, she swipes the
screen.

MORGAN (CONT’D)
Just don't tell mommy, okay?

EMMA
Okay Smudge, it will be our secret.

Emma opens her door, she steps outside, looks back into the
car.

EMMA (CONT’D)
If you need me push on the horn and
hold it down as long as you like.

MORGAN
I’m okay Aunt Em, don’t worry about
me.

EMMA
I’ll find John, then I'll come
right back.

MORGAN
Thank you Aunt Em, be careful.

EMMA
I will Smudge, see you soon.

Emma winks at Morgan, she closes the door, walks towards the
chapel.

Morgan climbs between the seats to the backseat. She lays her
head on the artist smocks, concentrates on her phone.

INT. CHAPEL-DAY.

The inside of the chapel is oppressive and gloomy after the

bright sunshine outside. Emma stands at the top of the aisle
and looks around at the paintings.

EMMA
Definitely Blake, but why choose
him?

Emma moves a few paces down the centre isle. She stops to
look at a painting. Heavenly angels rise up either side of
Jesus in his tomb.
 80.

EMMA (CONT’D)
Sepulchre.

Emma moves towards the painting, she checks under the bench
seat, finds the teddy-bear.

EMMA (CONT’D)
That was easy, nice to see you
again John.

Emma moves to the aisle, continues towards the altar, she

stops to look at a rendition of William Blake’s, ’Sconfitta.’

Emma’s POV: A godlike creature bows over an altar in front of

the alien world he’s created.

THE PAINTER(O/S)
William Blake, just a rendition
unfortunately.

Emma turns towards the voice. The Painter stands behind the
altar. The candelabra is back in its place.

EMMA
I know, I’ve been researching his
work lately.

THE PAINTER
The wrath of the lion is the wisdom
of God. The nakedness of woman is
the work of God. Excess of sorrow
laughs. Excess of joy weeps.

EMMA
Like the art, his words are
beautiful.

The Painter moves past the altar. He steps off the dais,
stops at the first row of pews.

THE PAINTER
I'm no poet, but I refer to his
books when I need help with the
restoration.

EMMA
It's sad that Blake's talent wasn't
celebrated during his life.

THE PAINTER
My mother considered him a true
artist, she painted these.

EMMA
And your restoring them?
 81.

THE PAINTER
Doing my best, but I ain't no
artist either.

Emma gestures at painting she's was looking at earlier.

EMMA
The title of this painting is
Sconfitta, the word is Italian for
loss or defeat.

THE PAINTER
My mother had this chapel built
after my father died. She spent a
lot of time on the paintings.

EMMA
Can I ask why she chose to paint
William Blake?

THE PAINTER
My father was a poet, she was an
artist. He gave her the book of
poems, 'The Marriage of Heaven and
Hell,' on their wedding day.

The Painter creeps up the aisle. He edges closer to Emma.

EMMA
I think I understand, the book
contains both poetry and art.

THE PAINTER
Unfortunately, he committed suicide
not long after they were married.

EMMA
I'm sorry for your loss, that's a
sad story.

THE PAINTER
I never knew my father, but she
struggled with a deep sadness after
his death. She infused these
paintings with her pain.

EMMA
I’m also an artist, so I can tell
she had talent.

THE PAINTER
She had a talent for painting and
praying and not much else.

The Painter steps closer. He gestures at the teddy-bear in

Emma’s arms.
 82.

THE PAINTER (CONT’D)

What is that?

EMMA
This, oh it belongs to a friend,
it’s a long story.

THE PAINTER
Little unusual to be carrying a
child’s teddy-bear around.

EMMA
She's only seven, but I guess it
would seem strange.

THE PAINTER
Where is your friend?

Emma glances back towards the front door of the chapel.

EMMA
She lives not far from here. I was
on my way to see her when I noticed
this chapel and decided to stop.

THE PAINTER
And the bear followed you from the
car?

EMMA
He was sitting in my lap. I brought
him along for company.

The Painter edges nearer. He places his hand in the pocket of

his overalls.

THE PAINTER
There’s more paintings downstairs,
I could show you if you like.

EMMA
I don’t think so, I have to be
leaving.

THE PAINTER
Maybe I can change your mind. The
best work is in the basement.

EMMA
I should be going. Thank you for
allowing me to see the paintings.

The Painter creeps closer. He takes his hand from his pocket
and holds up the syringe.

THE PAINTER
I could use an artist's help around
here.
 83.

EMMA
Stay away from me!

Emma turns and flees down the aisle. The Painter rushes after
her. He lunges, wraps an arm about her neck.

THE PAINTER EMMA

You're going to stay with me Let me go..!
awhile.

Emma drops the teddy bear, grabs The Painters arm, struggles.
The Painter slides the syringe's needle into Emma's neck.

INT/EXT. JILL’S HOUSE-DAY.

Jill walks through the front door of her home and into her
lounge room.

JILL
Morgan, Em, I’m home.

Jill puts her keys in her bag, she waits for an answer,
there's no reply. She moves down the hallway and walks into
her kitchen.

JILL (CONT’D)
Morgan, Em, where are you guys?

Jill places her bag and phone on the kitchen bench. She moves
towards the hallway, opens the back door. She pokes her head
outside to check.

JILL (CONT’D)
Morgan, Em, are you two out here?

Jill notices the canvas on the easel, the paints strewn

around the table, she steps outside onto the back porch.

JILL (CONT’D)
Oh Em, it’s perfect.

Jill moves to stand in front of the easel. There’s a sketch

of Morgan. She holds a brush, concentrates on painting.

JILL (CONT’D)
I'll have it framed.

Jill notices Morgan’s painting on the table. She moves around

the easel, picks up the childish picture of a red barn, blue
sky, green field, fluffy clouds, big sun.

JILL (CONT’D)
Just as perfect.

Jill carries Morgan's painting with her. She moves back

inside and walks down the hall to her kitchen.
 84.

Jill slips Morgan's painting under a fridge magnet on the

refrigerator. She sees a post-it note, takes it down and
reads the scrawled writing aloud.

JILL (CONT’D)
Hi Jilly, Smudge lost her bear,
we’re on a rescue mission to get
him back, love you.

Jill places the note on the kitchen bench. She taps her
fingers, considers the message.

JILL (CONT’D)
What bear?
(beat)
Shit!

Jill snatch’s up her bag and phone and she hurries from the
kitchen.

INT/EXT. HYUNDAI-DAY

Morgan’s on the back seat of the car wrapped in an artist

smock. She plays a game on her phone, she murmurs.

MORGAN
One more...

Morgan’s fingers move around the screen like an experts. The

phone suddenly beeps and whistles, the device signals the
game is over.

MORGAN (CONT’D)
Oh no...

Morgan lowers her phone, she raises herself up and looks out
the window.

Morgan’s POV: The Painter steps through the chapel door

carrying her teddy-bear. He strides towards the car.

MORGAN (CONT’D)
Hide...

Morgan rolls to the floor, she pulls the smock over her head.
She hovers her thumb above a button on the phone's screen.

The Painter reaches the car, the lock release BEEPS. He

climbs inside and puts the bear on the passenger seat.

The Painter adjusts his seat back. The seat slides bumps
Morgan and she gasps.

The Painter turns and peers into the rear seat of the car. He
reaches back and tugs Morgan's smock aside.

THE PAINTER
What have we got here?
 85.

Morgan sits teary eyed. She grips her phone, her hands shake
nervously.

THE PAINTER (CONT’D)

Give me that.

The Painter puts his hand out for the phone. Morgan passes
the device over.

THE PAINTER (CONT’D)

Did you call anyone, tell me the
truth?

Morgan shakes her head no, tears roll down her cheeks. She
wraps herself tighter in the smock.

THE PAINTER (CONT’D)

Good, now tell me, where have I
seen you before?

MORGAN
I don't know...

THE PAINTER
Quiet, I think I know.

The Painter turns and SLAMS the phone on the dash until it
shatters. He drops the wreckage from the window.

THE PAINTER (CONT’D)

You won't be needing that anymore.

Morgan covers her mouth, she begins to sob. The Painter turns
to her and scowls.

THE PAINTER (CONT’D)

No you don't.

The Painter picks up the teddy-bear and he passes the toy

between the seats.

THE PAINTER (CONT’D)

Take this, see if you can keep
quiet.

Morgan takes the teddy bear and she hugs it tightly. She
shuffles behind The Painters seat and out of sight.

The Painter starts the engine, he drives slowly away from the
shoulder.

THE PAINTER (CONT'D)

I know someone who's going to be
happy to meet you.
 86.

INT. JILL'S CAR-DAY

Jill speeds along a country road towards pink and orange

clouds lit by an approaching sunset. The farmland outside
rushes by in a blur.

Jill’s phone RINGS in its dashboard holder. The caller ID

flashes the name DR. Weiss.

JILL
What now?

Jill swipes her phone. DR. Weiss’s worried face appears on

the screen.

DR. WEISS
Jill, I’m glad you answered.

JILL
DR. Weiss, Brian, I only just left
your office?

DR. WEISS
There might be a problem, is Morgan
with you?

JILL
No, what sort of problem, what's
happened?

Jill pushes down on the accelerator and the car picks up

speed.

DR. WEISS
Morgan activated the emergency App
on her phone, but it only lasted a
moment. I'm sorry Jill, but we
don’t have any idea where she is.

JILL
I think I know, I can give you a
location.

DR. Weiss’s face disappears, Jill's phone BEEPS. The doctor's

face comes back on the screen.

DR WEISS
Okay go ahead, I’m recording.

JILL
About ten kilometers north of my
home, there's a chapel. I think
Morgan's there and I want you to
send the police. I'm already on my
way.
 87.

DR. WEISS
Jill you don’t need to panic, the
alert may have been activated by
accident.

JILL
(interrupts)
There’s more to this but I don’t
have time to explain. Brian you
need to trust me.

Jill see's the old Chapel become visible through the

windscreen up ahead.

DR WEISS
Okay, I'll call the police right
away.

JILL
I’ve just arrived, tell them to
trace my phone, to search inside
the chapel.

DR WEISS
What should I tell them the problem
is?

JILL
I think Morgan’s in danger, I have
to go, please hurry.

DR. WIESS
Okay, I'll hang up and make the
call.

Jill pulls over to the shoulder and parks, she opens the
glove compartment, she put’s 2 Epi-pens in her bag.

Jill grabs her phone and exits the car. She glances up at the
orange sunset, hurries towards the old chapel.

Jill steps over Morgan’s smashed phone lying in the gravel,

she doesn't notice.

INT. CHAPEL BASEMENT-NIGHT

The Painter and Morgan stand in front of the entrance to the

basement prison. He inserts a key and opens the padlock on
the heavy door.

THE PAINTER
There’s someone inside I want you
to meet. You and her should get
along fine.

Morgan holds her teddy-bear in her arms, she nervously looks

around the gloomy room.
 88.

Morgan sees a rendition of William Blake's 'The Ghost of a

Flea'. A demonic creature walks through stage curtains into
stars.

Morgan gasps, she turns away, buries her face in the teddy-
bear.

The Painter opens the door to the basement prison and revels
a dark room. He switches on a light.

THE PAINTER (CONT’D)

This is your new home. Go on, don't
be shy, there’s nothing to be
afraid of.

The Painter gently guides Morgan inside and she cautiously

steps into the basement prison.

Morgan’s POV: Emma’s unconscious and chained on a bed. Mary

sits opposite, her face has visibly aged, her hair is
streaked with gray.

PAINTER
Found another one, it'll be crowded
down here until I can work
something out.

MARY
You can't be serious, no, you
can't.

THE PAINTER
She was part of the package, a
mistake, what am I supposed to do?

MARY
You’ve gone too far, you're going
straight to hell.

THE PAINTER
Already been, can't say I'd
recommend it.

Mary stands from her bed and she confronts The Painter.

MARY
If you touch her, I promise I'll
kill you.

THE PAINTER
Don’t excite her. I already had to
give her the teddy-bear to calm her
down.

MARY
Let her go at once you evil prick.
 89.

The Painter raises his hand. He steps towards Mary

menacingly.

THE PAINTER
Don’t make me hurt you in front of
the child!

Morgan sniffs, she start to cry. Mary notices, she slumps

onto the bed, holds out her arms to Morgan.

MARY
Come here honey, you move away from
that horrible man.

THE PAINTER
Go on, do as she says, you need to
get to know one another.

Morgan runs to Mary, climbs onto her bed and into her arms.
Mary hugs her tight.

MARY
Oh honey, I’m so sorry.

THE PAINTER
See, she likes you already, you're
going to get along fine.

The Painter turns and walks towards the door. He calls back
over his shoulder.

THE PAINTER (CONT’D)

See if you can do a better job of
raising her than you did your own
child.

The Painter steps through the prison door. He BANGS it

closed. The latch outside RAMS into place.

Mary wipes Morgan's tears from her cheeks with the corner of
her blanket, she gestures at Emma.

MARY
Is she your mommy?

MORGAN
My Aunt Em.

MARY
Your mother is probably out of her
mind with worry. What's your name?

MORGAN
Morgan.
 90.

MARY
Well Morgan, I’m going to look
after you until your Aunt Em wakes
up.

INT. CHAPEL-NIGHT

Jill stands in the aisle close to the first row of pews. The
interior of the chapel is shrouded in shadows as dusk settles
into night.

JILL
Hello, is anybody here?

Jill’s voice echo’s back empty and hollow, she walks slowly
towards the altar.

JILL (CONT’D)
Morgan can you hear me?

Jill checks between the bench seats. She moves down the
centre aisle.

JILL (CONT’D)
Emma are you here, Morgan baby?

Jill comes to the end of the aisle. She steps toward the
dais, stops.

JILL (CONT’D)
Who’s there?

The Painter rises up from behind the altar, he stares down at

Jill.

THE PAINTER
You again, why did you come back?

JILL
I’m looking for my daughter, my
friend.

THE PAINTER
I haven’t seen them.

JILL
You’re sure, my daughter's wearing
a pink top and jeans, and Emma,
well she’s hard to miss?

THE PAINTER
I just told you they haven't been
here. Now it's growing dark, it's
time for you to leave.

The Painter lights the candle on the altar, he picks up the

candelabra.
 91.

JILL
My daughter lost her teddy-bear
last time we were here. My friend
brought her back to find it.

THE PAINTER
Oh now I understand, there's a lost
teddy-bear involved, you must be
very concerned?

JILL
This isn't a joke.

THE PAINTER
Then why bother me, why not call
the police?

JILL
I've already called them, they’re
on the way, they should be here
soon.

The Painter glances nervously at the chapel door over Jill’s

shoulder.

THE PAINTER
I haven’t seen them but we could
search together, put your mind at
ease.

JILL
I think I’ll wait for the police to
arrive, I'd feel safer.

THE PAINTER
You seemed anxious moments ago.

Jill moves between the pews, sits a couple of rows back from
the dais.

MARY
My daughter’s seven, she’s sick and
she’s missing. I’m sure the police
will search every inch of this
place.

THE PAINTER
And your husband, is he with you
this time or are you still alone?

JILL
You're right, I lied before, but I
was dealing with a difficult
situation.

THE PAINTER
So why should I believe you this
time?
 92.

JILL
My daughter had just spent the
night in hospital. I was being a
mother, I was being protective.

THE PAINTER
Protective, is that what you call
it?

JILL
You wouldn’t understand, but it
doesn’t matter. The police will be
here soon.

The Painter steps off the Dais. He walks towards his artist's
scaffold.

THE PAINTER
Oh, I think I understand. Your
daughter was sick and you had time
to come in here and look at
paintings.

JILL THE PAINTER

There’s more to it than Your daughter had just spent
that... the night in hospital, and
you had so much going on, it
distracted you from being a
mother.

JILL
You don’t know me. I don’t need to
explain myself to you.

THE PAINTER
Then don’t. Now if you’ll excuse
me, I need to prepare for unwanted
guests.

The Painter places the candelabra on the scaffold. He picks

up the bottle of turpentine, removes the lid, splashes liquid
on a painting.

JILL
What are you doing, what’s in the
bottle?

THE PAINTER
Turpentine.

JILL
I don’t understand.

THE PAINTER
These are my mother’s paintings,
I’ve hated them since I was a
child.
 93.

Jill stands and moves into the centre aisle. She steps
cautiously towards The Painter.

THE PAINTER (CONT’D)

I had intended to make them perfect
before I destroyed them, but seems
I’m out of time.

JILL
Your lying, you’re trying to hide
something.

THE PAINTER
Am I? I feel like I have been very
open with you.

The Painter splashes the next painting with turpentine.

JILL
Please stop what you’re doing.

THE PAINTER
The paintings in this chapel cost
me my childhood.

The Painter wets down the pews with turpentine. He discards

the empty bottle.

THE PAINTER (CONT’D)

You and your friend just cost your
daughter hers.

JILL
You have seen them.

Jill rushes forward, she wrenches The Painter around to face

her.

JILL (CONT’D)
Where are they, what have you done
with them?

THE PAINTER
Don’t you dare play the worried
mother with me.

The Painter winds back his arm. He backhands Jill hard across
the face, WHAM!

Jill’s lifted off her feet and flung backwards. She lands
hard, exhales painfully, UMPF!

THE PAINTER (CONT’D)

You welfare whore!

The Painter takes a syringe from his pocket. He paces over to

Jill. He drops to his knees, wraps his fingers around her
throat.
 94.

THE PAINTER (CONT’D)

Don't worry, I promise I'll take
you to your daughter.

Jill claws at The Painters wrist, she struggles. The Painter

pins her down.

THE PAINTER (CONT’D)

She’s a child, she shouldn’t die
alone.

The Painter inserts the syringe into the base of Jill’s neck.
Her movement slows, her head lolls to the side.

THE PAINTER (CONT’D)

You've killed them all you stupid
bitch.

The Painter pockets the syringe. He empties Jill’s bag on the

floor.

Car keys, a phone, makeup items and the two Epi-pens spill
out of the bag.

The Painter takes the car keys, he CRUNCHES Jill’s phone

under his heel. He moves towards the flickering candle on the
scaffold.

INT. CHAPEL-NIGHT

MOMENTS LATER

The Painter stands with a candle before of a rendition of

William Blake’s, Jacobs Ladder.

Jacob sleeps at the foot of a staircase winding to heaven.

Angel's ascend and descend, some have wings, some do not.

The Painter lowers the flame to the base of the painting.

Fire blazes upwards, licks outwards, black toxic smoke rises.

The Painter watches as the flames spread along the wall,

engulf other paintings, leap across to the bench seats.

INT. CHAPEL-NIGHT

MOMENTS LATER

Sweat beads on Jill's bruised face glisten in the light of

the flames. She shudders, her eyes flicker, her fingers
stretch towards an Epi-Pen.

Jill fumbles the Epi-pen into her palm, forces off the blue
lid. She edges it to her leg, places the tip on her thigh,
applies pressure.

The Epi-pen's orange safety cover SNAPS down and synthetic

adrenaline floods Jill's body.
 95.

Jill sputters softly, her eye’s open, she sucks in a RASPY

breath, whispers.

JILL
Oh my god.

Jill rolls over and snatches up the remaining Epi-pen. She

clambers to her feet, screams at The Painter.

JILL (CONT’D)
Where's my daughter?

THE PAINTER
What the hell?

The Painter turns to Jill. He strides towards her with the

candelabra.

THE PAINTER (CONT’D)

You should be unconscious bitch.

JILL
Where is she? I want her back right
now!

THE PAINTER
There’s another way to put you to
sleep.

The Painter snaps the candle out of the candelabra. He

carries the heavy metal holder like a club. Jill raises the
Epi-pen like a can of mace.

JILL
Stay the hell away from me you
mother fucker!

THE PAINTER
Think I’m going to fall for that
again?

JILL
This isn’t for you!

Jill places the Epi-pen against her chest. She ROARS as

adrenaline rushes into her heart.

JILL (CONT’D)
Give me my daughter back you
fucking asshole!

THE PAINTER
Why don't you go and find her
yourself whore!

Jill discards the pen, she charges towards The Painter.

The Painter swings the Candelabra wildly, misses, WHOOSH!

 96.

Jill body SLAMS into The Painter's chest and he stumbles

backwards.

JILL
Where is my daughter you asshole?

THE PAINTER
Ask your artist friend.

Jill storms forward and screams WILDLY at The Painter.

JILL
Where is she you fucker!

THE PAINTER
Finders keepers bitch! You wont be
seeing her again.

Jill leaps at The Painter, she rakes his face savagely with
her fingernails. The Painter stumbles back, tries to protect
himself.

JILL
I’ll kill you if you’ve hurt her, I
will fucking kill you!

Jill drives a vicious knee into The Painter's crutch, CRUNCH!

The Painter GRUNTS and drops the candelabra. He doubles over,

sucks in air.

Jill scoops up the candle holder, she holds it like a

baseball bat, waits.

JILL (CONT’D)
Where is she?

THE PAINTER
Fuck that little bitch, let her
burn.

The Painter charges Jill. She holds back, times her swing,
does not miss, WHAM!

The base of the candelabra smacks The Painter in the jaw with
a teeth shattering, CRACK!

The Painter reels sideways, his legs buckle, he falls to his

knee’s.

JILL
I want my daughter back!

THE PAINTER
She’s already dead.

Jill steps forward, winds back and swings the Candelabra at

The Painter.
 97.

The Candelabra SLAMS into the side of The Painters head with
a meaty, THUNK!

The Painter falls flat. He struggles to get up, slips in his

blood, collapses.

Jill moves forward, she readies the candelabra to hit The

Painter again.

JILL
Tell me where she is asshole!

The Painter GROANS, his head lolls to the side, his eyes
close.

Jill throws the candelabra and it clatters away. She looks

around the chapel, focuses on the door behind the altar.

Jill rummages through The Painters pockets, finds his keys,

runs towards the door.

INT. CHAPEL BASEMENT-NIGHT

Jill descends the steps into the gloomy basement, flickering

orange light and wafting smoke follow her down.

JILL
Emma, Morgan!

Jill see's William Blake's rendition of, 'The Number of the

Beast is 666.' A three headed beast raises up The Great Red
Dragon from Hell.

Jill shudders, turns away. She notice’s a door with a padlock

on a metal latch.

JILL (CONT’D)
Morgan are you in there?

Jill hurries over to the heavy door, she bangs her fist on
the frame, call’s out.

JILL (CONT’D)
Morgan, Emma!

MORGAN(O/S)
(muffled)
Mommy!

Jill lifts the padlock, she fumbles through the keys, tries
them in the lock.

JILL
I’m coming baby!

Jill undoes the lock, she pulls open the latch, shoulders
open the door. She steps inside the basement prison.
 98.

JILL (CONT’D)
Morgan?

MORGAN
Mommy.

Morgan runs and jumps into Jill’s arms. She buries her face
in Jill's chest.

JILL
It’s okay baby, I’ve got you.

INT. BASEMENT PRISON-NIGHT

MOMENTS LATER

The basement prison is filled with billowing smoke. Scorching

sparks drift like stinging insects in the haze.

Mary has her leg on her bed, she tries keys in the manacle on
her ankle.

Emma is unconscious on the other bed. Jill crouches in front

of Morgan.

JILL
I'm going to get you out of here,
but I need to help Aunt Em first.

MORGAN
I'll be okay mommy.

Mary pops the padlock on her manacle. She holds the key she
used and passes rest of the set to Jill.

MARY
For you friend, see if this key
opens both padlocks.

JILL
Thank you.

Mary get's off her bed. She wraps up her belongings, takes
down her calendar marked with crosses.

JILL (CONT’D)
Morgan baby give me your Epi-pen,
hurry.

MORGAN
Here Mommy.

Morgan takes the Epi-pen from her pocket and passes it over
to Jill. Jill moves to Emma, calls over to Mary.

JILL
Look after my daughter.
 99.

Mary takes a blanket off the bed and wraps it around Morgan.

MARY
Keep this around you, hold the
teddy-bear over your face honey.

Jill unlocks Emma's padlock. She flips off the Epi-pen's lid
and jams the tip onto Emma’s thigh, she applies pressure.

Emma shudders, she gasps and sits up. She stares at Jill
confused.

EMMA
Jilly, what's happening, where are
we?

JILL
There’s a fire, we need to get you
out of here.

MARY
I'll help her, look after your
daughter.

Mary moves past Jill and goes to Emma, helps her stand. Jill
crouches in front of Morgan, pulls the blanket tighter.

JILL
Wrap your arms about my neck. Hold
on tight, don’t let go.

MORGAN
Yes Mommy.

Jill stands with Morgan. Mary wraps her arm about Emma. The
group moves together, they hurry from the basement prison.

INT/EXT. CHAPEL-NIGHT

MOMENTS LATER

Jill, Morgan, Emma and Mary exit the door behind the altar
and move into the chapel.

Fire drips from the ceiling and flames climb the walls, the
painted gods wither and burn in a hellish inferno.

Jill and Morgan, Emma and Mary, hurry past the altar and down
the dais, they run down the centre aisle of the chapel.

The Painter crawls through the heat and flames. He reaches

for the group but they ignore his pleas.

The chapel roof crashes down and engulfs The Painter. He

combusts into flame, he WRITHES and SCREAMS.
 100.

The group race outside the chapel and into the night. They
make it a safe distance from the inferno, they fall coughing
in a field.

Jill, Morgan and Emma hug and comfort one another while
glowing embers swirl in billowing smoke against the night.

Mary stands to one side and she stares defiantly at the

flames and fire engulfing the chapel.

Emergency vehicles arrive, their LIGHTS flash, their sirens

SCREAM.

INT. HOSPITAL ROOM-DAY

Mary’s in a hospital ward, she is in bed with a drip in her

arm.

Mary's meagre possessions and her calendar are beside a box

of tissues on the bedside cabinet.

There's a plain clothes POLICEWOMAN in the room, she stands

by the bed and holds a electronic tablet.

POLICEWOMAN
The chapel was destroyed, we don’t
expect to find a great deal of
evidence.

MARY
I won’t be shedding a tear for him
or his prison.

POLICEWOMAN
I understand, what happened to you
was horrific, nine years is such a
long time.

MARY
I survived for my daughter, seeing
her again is what kept me going.

POLICEWOMAN
And you’ve made contact with her
and your mother?

MARY
We’ve spoken on the phone, they're
doing fine, they’ll be visiting
soon.

POLICEWOMAN
Then we should get this over and
done with.

The policewoman sits in a chair by the bed. She swipes her

tablet, checks her notes.
 101.

POLICEWOMAN (CONT’D)
We found a number of vehicles
hidden on the adjoining property,
some were licensed to missing
women. We believe he used the
chapel as some type of honey-trap.

MARY
I don't know about the others, but
I was stalked and hunted, he must
have become careful.

POLICEWOMEN
Careful or sophisticated.
(beat)
So you can confirm there were other
women kidnapped?

MARY
I'm not sure about before I
arrived, he hinted, never
elaborated, but yes after Faith
there were other women.

POLICEWOMAN
Faith Conner, the girl you helped
escape?

Mary’s eye’s well up and spill over. She pulls a tissue from
a box, dabs at her tears.

MARY
Yes Faith, but she didn't escape
did she?

POLICEWOMAN
No and I'm sorry. I can only tell
you that she's been recovered and
returned to her family, she's at
peace now.

MARY
He blamed me for her escape, he
taunted me, told me he did horrific
things to her, that she suffered.

POLICEWOMAN
I can’t go into too much detail,
but I can assure you that he was
lying.

The Policewoman looks up from her tablet, she smiles kindly

at Mary.

POLICEWOMAN (CONT'D)
You should also know Faith’s mother
wants to meet with you, to thank
you.
 102.

MARY
I’d love to let her know how brave
Faith was.

POLICEWOMAN
She’ll be very grateful, she’s
hoping for closure.

MARY
I can’t imagine how difficult it
would be for her, I’ll do anything
to help.

POLICEWOMAN
Thank you, I’ll let her know.
Can you tell me about the other
women?

MARY
I’d wake up and they’d be there,
then I’d wake up and they’d be
gone. I don’t understand why I
survived.

POLICEWOMAN
Kidnappers sometimes form an
attachment, the psychological term
is Lima Syndrome, it's probably
what kept you safe.

MARY
Safe isn't the word I would have
used, but I think I understand.

POLICEWOMAN
I’m sorry, but I need to ask about
the others, do you know any of
their names?

Mary reaches for her calendar and she folds it over. There’s
a list written in eyeliner on the back.

MARY
After Faith I didn’t become
attached to the other women, but I
wrote down their details. I kept
them hidden from him.

The Policewoman takes the calendar. She turns it over and

reads from the back.

POLICEWOMAN
Faith Conner escaped, July 2nd
Sarah Hall, kidnapped and kept from
March to August, Ann Freeman...
(beat)
Oh Mary, you have no idea what this
will mean to their families?
 103.

MARY
They’re all there, as much
information as I could write down.

The women are interrupted by a knock on the door. Emma and

Morgan stand in the doorway.

EMMA
We’re leaving, Morgan wanted to say
goodbye.

Morgan ignores the policewoman. She runs into the room,

climbs onto Mary’s bed and gives her a hug.

EMMA (CONT’D)
(to Policewoman)
Sorry, I didn’t realize Mary was
busy.

POLICEWOMAN
That’s fine, no problem.

MARY
(to Morgan)
That was just what I needed, thank
you so much honey.

EMMA
Jill’s receiving extra treatment,
but she wanted me to thank you for
looking after Morgan.

Mary pats Morgans hair, kisses her cheek. She looks up and
smiles at Emma.

MARY
Morgan can interrupt anytime she
wants.

EMMA
Okay Smudge we have to leave Mary
alone now.
(to Mary)
Jill and I want to stay in touch,
we’ve left our details with the
hospital.

Mary helps Morgan climb from the bed. Morgan smiles at Mary
then she goes back to Emma.

MARY
Of course, please do, I would love
to hear from you both, and Morgan
of course.

EMMA
We’ll visit again in the next few
days.
 104.

MORGAN
Goodbye Aunt Mary.

MARY
Bye honey, and I will see you again
soon.

Emma takes Morgan by the hand. She leads her out the ward
room door.

POLICEWOMAN
Looks like you’ve made some new
friends.

The policewoman places the calendar under her tablet. She

swipes the screen, checks her notes.

POLICEWOMAN (CONT’D)
I have a couple more things I need
to ask you about...

MARY
(softly)
Oh my god, where did she find this?

The Policewomen looks up from her tablet concerned.

POLICEWOMAN
What is it, are you okay?

Mary holds her hand over her mouth, tears roll down her
cheeks.

MARY
Morgan, she left this behind, this
necklace belonged Faith.

Mary lifts Faith’s necklace to show it to the policewoman.

The heart shaped pendent with ruby inlay glitters in the
light from the window.

FADE OUT: