Screenplay

Daughter of Mine

FeatureDrama86 pages

After his wife's death, a renowned psychologist (protagonist) secretly seeds his honors students with subliminal experiments to cure mental illness, but when his grief-fueled hubris unleashes phobias, a student’s investigation ignites betrayal, violence, and the collapse of his family and career.

After the sudden death of his wife and the later suicide of his daughter, celebrated psychology professor Arthur Keller retreats into an obsession: a clandestine campus experiment of subliminal multimedia meant to cure mental illness — and to redeem his family. When a perceptive honors student, Dawne, uncovers Keller’s manipulations and confronts the ethics and danger of his methods, classroom paranoia erupts into real-world fear and violence, fracturing relationships and exposing how grief and ambition can warp even the most brilliant minds. Daughter of Mine is a tense psychological thriller set against a small university town, blending academic intrigue and gothic family tragedy into a moral study of responsibility, obsession, and the cost of playing god.

EXT. NIGHT

The black screen stays uninterrupted for a few seconds in silence and then a woman's tortured scream pierces the darkness.

CUT TO

EXT. KELLER'S PORCH NIGHT

The front porch of a large secluded house lit only by cold blue moonlight. A middleaged woman KATHY storms out the screen door fumbling through her purse for her car keys and a 46 year old man KELLER follows her. Both are entirely in silhouette the woman is shaking.

CUT TO

INT. KELLER'S HOUSE DAY

Sepia flashback. The vague music of chimes in the distance plays as if we have water in our ears. The father walks down the stairs in the hallway we can see him calling out a name and searching for something. He moves to the door placing his hand on the knob. We see something out of focus through the windows.

CUT TO

EXT. KELLER'S PORCH NIGHT

The man again. He has fumbled his way down the porch and is now just standing in front of the car he doesn't seem to know what to do with his hands.

KATHY

(Trying to open car door failing shrieking at him)

Arthur how could you? I can't believe ...

(but the flashback has overcome her)

CUT TO

IE. keller's porch day

Sepia flashback the man is now moving out onto the porch he stands and gapes in horror. A figure dangles in front of him almost completely blurred.

CUT TO

EXT. KELLER'S PORCH NIGHT

KATHY

…KaTHY

And you just...

She emits another inarticulate scream finally pulls out her car keys and jumps into her car.

KeLLER

Kathy please!

She guns the engine and peels out of the driveway. The screeching of tires echoes into the darkness.

DISSOLVE TO

EXT. THE CEMETERY

No music only ambient our view moves slowly down from the sky onto a cemetery on a late spring day. A funeral service is concluding and the priest's final words are heard as if from far away.

Priest

The Lord bless you and keep you the Lord make His face to shine upon you and be gracious unto you. The Lord lift up the light of His countenance upon you and give you peace. Amen.

The funerary throng breaks up we focus on Keller gazing at the casket with an immobile face. Our focus shifts out from him as he turns his head away from the camera we see what he is looking at focusing but not entirely on a young woman leaning against a tree not far away crying silently. Our focus shifts back to him. A middleaged woman stares at him before turning and walking away.

Main title and credits.

Fade in.

INT. KELLER'S HOUSE DAY

Superimpose 3 months later. Keller is puttering around the living room. A frame with a picture of Andrea in it is on his desk with a sympathy card next to it. Keller picks up the card and adds it to several he already has in his hand. He walks slowly through the doorway into the kitchen where he deposits the cards in a drawer on top of some divorce papers. He turns to see Andrea in the kitchen eating some pancakes in flannel pajamas. We recognize her from the funeral as the crying girl.

Andrea

Morning Dad. Did you sleep all right?

KeLLER

I slept okay Andrea and apparently you did too! (Pointing to the clock) AnDREA (Smiling halfheartedly sitting) Alright I guess... It doesn't seem like it's been three months since Mom... left

KeLLER

Honey I'm sorry. For all of it. You don't

AnDREA

Blame you? (She reaches across the table for his hand) Dad of course not. We're all born with free will. Mom chose to drive away.

KeLLER

I know. But I can't help feeling responsible for it.

AnDREA

You're not Daddy. You're responsible for me now and I'll be responsible for you (changing the subject) Classes start Monday are you excited? Last semester before retirement..

KeLLER

I've taught a lot of different people these past three decades. The good the bad and the insane. As it were!

AndREA (In a more serious tone) Are you thinking about the research project at all dad?

KeLLER

Sorry honey I've been so bust getting ready for the term to start and all.. I mean I really want to go out with a bang.

AnDREA (joking through her disappointment) Really dad there are only so many ways to teach this stuff. You can't keep reorganizing it forever!

Keller (mischievously) Unless you're a case study for

Both

Obsessive compulsive disorder! (they laugh) KeLLER (affectionately) You're going to make a great psychologist Drea.

AndrEA

Well I learn from the best. (gets up from the table to put away her dishes) KeLLER

Alright I'm going to head up to the office and finish my coursepack. Do you want to come along and help?

ANDREA

No thanks. I'm going to change and go for a run.

CUT TO

INT. KELLER'S OFFICE

Earthy in nature and sparse in features. There is a desk calendar and a picture in a wooden frame of his daughter's graduation on the corner of his desk. Keller is sitting and writing away at something. There is a knock at the door.

KeLLER

Come in. (not even looking) Belmont

Hey art still hard at work on that Honors class of yours?

Keller (he shifts his attention to Belmont takes off glasses) Still jealous John?

BelMONT

Of course Art you only have the smallest class in the history of the university!

KeLLER (chuckles) Heh John I think it's the department's way of wishing me well before I leave for the life of fishing and writing memoirs...

Besides you'll get your chance with your charisma... Freud isn't all there is to psychology. You need to find your own Nietzsche in life (hold up the book he has been working out of. It's Nietzsche) Belmont

Which brings up why I'm here Could I borrow your copy of Freud's sexual subconscious papers?

Keller

Sure thing John you didn't even have to ask.

BelMONT

Thanks Art. I got to get going I think my subconscious has lesson plans to write. I'll see you.

Keller

Okay John keep up the good work. (returning to the plans)

CUT TO

INT. KELLER'S HOUSE NIGHT

We can see that he is typing something up at his computer for his classes no doubt. He sips some coffee and takes off his glasses sighing Keller picks up a photo of his late wife. We see flashes of past events as he perceives them flickering in and out like candle light.

KELLER (V.O.)

Why did you have to do this to us Kathy? Why did you get in the car that night?

CUT TO

EXT. KELLER'S HOUSE NIGHT

squealing tires flash of her in car.

KELLER (V.O.)

Why did we fight that night?

CUT TO

INT. KELLER'S HOUSE NIGHT

Her savage screaming at him by the front door her pointing at the door through the door. Wind chimes are heard.

KELLER (V.O.)

I wish I could take back what I said spend that night differently savor the moments we had together live them again and again. Maybe just live again...

CUT TO

EXT. THE CEMETARY DAY OF BURIAL

Keller standing in a suit at her grave.

KELLER (V.O.)

And they blamed me the way they stared the whispers...I knew what they were saying and I was saying it too. I know what they thought because of what was happening.

CUT TO

EXT. THE CEMETARY SOME OTHER DAY

Keller visiting the grave on a rainy day.

KELLER (V.O.)

It all spiraled out of control. It turned into a heap of molten metal and broken glass that night and there was nothing I could do to change it...

We focus closer on Keller leaning and touching the headstone.

KeLLER At least I still have Drea she's getting better every day now and I wish you were here to see it. I tried to tell you that everything would turn out okay that all we had to do was give her time and it did only… you aren't here to see it. She made herself some pancakes this morning just the way you used to. I wanted to sit with her and tell her how you used to wake up early on Sunday mornings and make the chocolate chip ones just for her. So that she would wake up knowing how much we cared…(No one leaves) You're all supposed to be here? Good! You really are Honors students! (laughter he leans on the front of the desk) I'm going to start out just telling you a little about myself. I received my B.A. From Kenyon College and my Masters' from the Ohio State University I worked for many years as a forensic psychologist in Queens New York. I've been at this university for twelve years and this is my last semester before retirement. I'm not planning on slacking off though so feel free to come and talk to me if you encounter a problem in your psychological studies. This class is the first one of its type to ever be taught at this campus and we will be doing more difficult and interesting course work than the rest of the Honors College. It may seem strange to you at times but get used to it this is psychology. Any questions?

Brett (swarthily) Yeah I got one when does it get difficult?

KeLLER

That would be at 1 PM this coming Wednesday which incidentally would be the time of our next class. Now if there are no other remarks on this I would like to get started on today's subject matter. Who can tell me how to start off with a new patient... Anyone?

Dawne (raising a hand he points at her)

YOU FIND OUT THEIR PRIOR INFORMATION HOW MANY COMPLEXES THAT THEY HAVE THAT HAVE BEEN IDENTIFIED. MEDICAL HISTORY. FAMILY BACKGROUND…DAWNE

My name is Dawne Woods my major is political science I'm from Ohio and I like to read in my spare time. I also love to write.

KeLLER

And you Miss? (points to LYNDI) Lyndi (knocked out of her spaced state) Huh? Oh I'm Lyndi musical theatre major I'm from Tampa and I'm a thespian.

BrETT

Excuse me?

LyNDI (annoyed) An actress.

BrETT (grinning) Oh..sorry.. Right on to me then.. I'm Brett my major is prophylactics

wave of laughter

BRETT

I'm from south Carolina and I still have all my teeth

LYNDI

(crisply)

Apparently not your adult teeth.

Group laugh

BRETT

No I have all my big teeth. And you know what they say about big teeth..?

LYNDI

Big mouth.

KeLLER (amused) All right all right save some for later. Next student?

Zack

Well I'm ZACK business major I'm a lifeguard and that's about it.

Cammy

I'm CAMMY I'm a hospitality management major and I'm pledging delta lambda sigma this semester it runs in my family.

Rebecca

My name is Rebecca and I'm majoring in art.

James

My name is James I'm a filmmaker and I'm working on a project with LYNDI there I'm looking for more talent though so if you're interested come see me later.

BRETT

Oh really? What kind of project?

JAMES

It's a short film for a festival I'll talk to you about it after class.

BRETT

Okay.

Jen (caught in the middle of applying lip gloss) Oh I'm sorry! I'm JEN major is ad PR and I'm also pledging DLS this fall.

Miguel

My name is Miguel and I'm majoring in international business and I teach dance lessons.

Dawne

Do you like salsa music?

MiGUEL

Yea I do!

Sara (pulling a lollipop out of her mouth antisocially) Um. I'm Sara I'm a psych major and I don't like talking. (sticks lollipop back in her mouth)

BRETT

(miming a tape recorder)

Oral fixation is noted in subject.

Laughs.

SaRA

You want an oral fixation? Bite me!

KeLLER (rushing to get past them) And that leaves..?

Kevin

That leaves me Kevin. I'm a forensic science major and I'm currently involved with campus crusade for Christ.

KeLLER

Nice to meet you all. Well then I believe that is all I have planned for the day. So now that we are all acquainted with each other and you have your syllabi you may leave if you wish.

General commotion as everyone leaves.

KeLLER (calling after) And read pages three through twentyseven for Thursday.

CUT TO

INT. THE HALL DAY

All the students are funneling though the doorway. Lyndi rushes up to the back of Dawne with small planner drawn.

LYNDI

Excuse me but I was wondering if you heard what the reading was for next class?

DAWNE

Pages three through twentyseven.

LYNDI

Thanks!

(Puts the pad and pen to one side as to shake hands)

I'm Lyndi.

DAWNE

Yes I remember you're the one who's doing the film project with James right?

LYNDI

Wow yeah that's exactly right. Good memory.

DAWNE

I'm good with names I guess. Anyway what kind of film project are you doing?

BRETT

(walking along with a friend of his JERSEY MIKE)

Hey! Wait up!

LYNDI

(grimacing)

Oh boy it's jaws again.

LYNDI stops BRETT and JERSEY MIKE catch up in the hall

BRETT

I was wondering if you could tell me about the project that you were working on?

DAWNE

(With a quick look at LYNDI)

Oh jeez you just missed it LYNDI just explained the whole thing to me.

LYNDI

(with a grateful glance at DAWNE)

Yeah so I guess you'll have to ask James sometime...

BRETT

You explained the whole thing in under a minute? Must not be a very good idea then let's go Mike.

They walk away

DAWNE

(laughing)

Oh I'm heading over to the Student Union for a snack. You hungry? You can tell me the real plot this time.

LYNDI

Let's go.

CUT TO

INT. KELLER'S HOUSE THAT NIGHT

Keller is sitting in his recliner with reading glasses perusing the paper. Andrea walks in and plops down on the couch.

ANDREA

How was the first day dad?

KeLLER (Setting down the paper and removing his reading glasses) Oh you know how the first day is dear all I do really is hand out the syllabus and send them on their way. (With a wry smile) It's the only real break they usually get all semester!

ANDREA

Want to see my syllabus?

KeLLER

Sure sweetheart although I think I already know what it looks like. You have Belmont right?

ANDREA

How did you know? Dad you haven't been doing me any favors have you?

KELLER

I'm glad you got Belmont you'll learn a lot with him.

(a paternal look)

YOU BETTER NOT SLACK OFF THOUGH…ANDREA

Dad you're the only psychology professor I've ever met who can't stand Freud.

KELLER

He never proved anything! He generalized and generalized until the psychosexual development theories for the entire human race were based around a few case studies! He never experimented he just

ANDREA

(teasingly)

All right Dr. Keller get down off your soapbox now.

KELLER

(smiling)

Sorry. I'm just scientific minded. Unless there are facts and tests backing it up I don't trust the human imagination for extrapolations of this magnitude.

ANDREA

So you've given more thought to the experiment then?

KELLER

I have but I'm still unsure about it.

ANDREA

What's there not to be sure about? You have your background research done your hypothesis made and all of the university's resources at your disposal. If you don't do it soon you won't be able to do it at all.

KELLER

Andrea the experiment will take eight weeks maximum and the semester's sixteen weeks long. Why don't you let me have the first few weeks to get settled in?

ANDREA

(with a smile)

Daddy you've been settling into psychology for the last thirty years.

(Pleading)

Think about it Dad. You could help other people the way you helped me after...everything...If the experiment is a success you could even treat mental illness before it gets out of hand. Depression schizophrenia suicide attempts maybe even physiological things like anorexia and psychosomatic illnesses!

KELLER

Drea I know this is important to you that makes it important to me too. Just give me a little more time.

ANDREA

(sigh)

All right dad but that doesn't mean that I'm any less anxious to get going.

(getting up)

Good night dad.

KELLER

Good night sweetie.

CUT TO

INT. THE CLASSROOM THE NEXT WEEK

The class is in full effect as the doctor walks in the door. Lyndi and James are discussing the movie over in one corner with Jersey Mike Dawne and Brett. Zack studies a book while Cammy and Rebecca talk with Jen about sorority recruitment. Miguel is sitting away from the mess at the other side of the desks. He's fascinated with the lollipop he is currently eating. Somewhere towards the back Sara has her feet propped up on a desk scribbling something on her skin.

Keller reaches the front of the class and begins to put his briefcase down and sets his coat aside. (Think teaching scene from Indiana Jones) The class quiets down and returns to their seats from the first day except for Sara who continues to mark herself in the back of the room.

KELLER

Is anyone missing from last class? Do we have any new students?

(no response)

I didn't think so. Excuse me Sara? Right?

Sara droops her head in his direction shooting him a sour look.

KELLER

I can appreciate the Misanthropy before or after class but when the lesson begins I'd prefer that you sit in the front of the room with everyone else.

She shuffles down the row to sit next to Miguel at the last spot taking out a crumpled piece of paper.

KELLER

Well then last class we established what the first step in a psychoanalytic session is To obtain the prior information of the subject. What naturally comes next is that you see the subject for some observation. You hear what they have to say and then you ask questions...Now the good Lord gave us all two ears and one mouth so you should listen twice as much as you talk.

Ripple of laughs.

KELLER

Which means that you have to come up with openended questions.

CUT TO

INT. THE CAFETERIA THAT DAY

Dr. Keller and Dr. Belmont having lunch together.

BelMONT

So how about that new movie that came out. It's great to see if you want to understand how a schizophrenic feels. I'm telling you Art it gave me a new perspective of my profession.

KELLER

Oh come on John. You and I both know that it was written by a chain smoking guy somewhere in LA who's not even remotely schizophrenic. The movie was just his thoughts about what it would be like. You find a good movie that was written by a schizoid about a schizoid and I'll go see it with you but until then I won't taint my professional values for Hollywood.

BELMONT

So you liked it?

KELLER

Of course I did.

Both laugh.

KELLER

(changing the subject)

You know John I've been giving more thought to that experiment I had in mind a while ago.

BELMONT

Well I can't say that it wouldn't be beneficial to society. I'm just worried that you won't be able to find volunteer subjects for it.

KELLER

Yeah me too.

BELMONT

What brought this on anyway?

KELLER

Andrea did.

BELMONT

(wanting to avoid the subject)

Oh.

CUT TO

INT. JAMES'S DORM NIGHT

James Lyndi and Jersey Mike sit on his bed while DAWNE is on her computer at his desk. Brett walks in.

LYNDI

I didn't actually think he'd show.

BRETT

(sarcastically)

Nice to see you too sweetheart.

LYNDI

Didn't you have a date with Dracula or something?

BRETT

(faking a tear)

No He found someone with bigger fangs.

JAMES

Whoa guys remember we are trying to make a movie here not kill each other.

DAWNE

And on that note which sounds better for a name? Chris or Adam?

LYNDI

Why?

DAWNE

We need a name for the boyfriend

BRETT

How about Brett? I know a Brett he's quite handsome and funny boyfriend material if I ever heard of it.

LYNDI

I dunno Brett the guy here is a player and I'd be surprised if you could play a game of cards.

BRETT

Even better.

Jersey mike

Yeah but he has to be cheating on LYNDI's character.

BRETT

In that case Adam sounds good to me.

LYNDI sneers

DAWNE

Adam it is then.

CUT TO

INT. THE CLASSROOM THE NEXT DAY

Keller is writing the name of William James down on the chalkboard.

KELLER

William James the author of the 1890 text Principles of Psychology was a pioneer in the field of the cognitive consciousness and was a catalyst for the study of the subconscious influence. I want a 2page essay on the importance or unimportance of his work depending on your stance on the subconscious. I assume that we all have a stance on the subconscious now?

Silence.

KELLER

Good. I expect it next class. If anyone has any trouble with this please let me know during my office hours.

The Class exits. Keller gathers together his various elements and puts them into his briefcase. Andrea walks into the classroom and goes and sits in one of the desks.

KELLER

Oh Andrea you startled me. I didn't even hear you walk in.

ANDREA

Sorry Daddy I just wanted to see how your day was going. Dr. Belmont was giving some lecture on Freud again today and I was so bored that all I could think about was how Freud with all his theorizing could never really help the mentally sickened. He could only make excuses for them.

KELLER

(not a question)

This is about the experiment isn't it Andrea.

ANDREA

I'm sorry Daddy I just thought that I should ask you about it again. It was on my mind all day today. That someone in the school might be going through what I was going through just a little while ago.

KELLER

(sternly)

But you have to understand Andrea I need to teach these kids what they have paid to learn. I can't just change the course work because of my own personal desires.

ANDREA

But daddy!

KELLER

No buts! I know what is right to do. I just have to do what I have been assigned to do first. They haven't learned enough yet for me to even begin!

ANDREA

(shouting)

And how will you know when they have learned enough!? When someone dies from their depression? Their anorexia? When someone goes nuts?

There is a knock at the door. Keller flings it open to find DAWNE.

KELLER

What?!

DAWNE

(sheepishly)

Sorry sir.

KELLER

(Steps close to the door)

Oh my I'm sorry I was just trying to tell Andrea

DAWNE

Andrea?

KELLER

My daughter...

(motioning to her chair)

She's quite the psychologist herself which is frustrating sometimes when we have... differing ideas.

DAWNE

Oh right well I think I accidentally picked this up on my way out. I thought it was one of the outlines for the essay that you handed out I'm sorry.

(she hands it through)

KELLER

Thank you I'll... I'll see you next class.

(looking intensely at it closes the door)

He moves over to his desk leans over it while reading the paper. We catch a glimpse of the paper over his shoulder. It's a seating chart with names and phobias under the names.

KELLER

And what is this? A copy of my seating chart?

ANDREA

(coy)

I don't know. But it looks important. I think that you should keep it for a while in case anyone comes to claim it.

KELLER

(putting the paper in his case looking at his watch)

Oh my Andrea I have to get to my next class.

(moves around his desk hugs her)

I'll see you tonight honey.

ANDREA

(disappointed)

Okay dad.

Keller walks out briskly while Andrea slowly gathers her things where she left them at the desk.

CUT TO

EXT. THE CEMETARY DUSK

Keller is visiting Kathy's grave again. Thinking touching the headstone talking to it.

KELLER

Andrea's right. What am I waiting for a sign from God? If I don't start this thing soon more people will be hurt… I must find the cures for these problems… I am the only one who can stop these things from happening the only one who can help others like Andrea.....I will do it. Just a small one to start with. That should be enough to prove my theory…

(motioning)

and then take a CD and go sit down.

All do so.

KELLER

All right everyone I hope that you have done a good job on your paper because there will be a test on the work of William James next class. I have prepared some slides from one of his many experiments. They are supposed to enhance the shortterm to longterm memory transfer receptors in the brain. In other words all the stuff you learned and tried to forget will need to be remembered tomorrow. So pay attention if you want to make a good grade. At the end of the presentation you may go. You also have a CD full of the same sounds he used during this presentation. I suggest you just pop the CD in tonight while you study or read or sleep... And before you know it you'll be ready for the test the next afternoon. All right everyone ready?

The doctor turns out the lights and plays the reel. It's the beach with seagulls. We see Sara rolling her eyes and inserting headphones in her ears. Dawne takes notes on the presentation. Otherwise everyone is more or less paying attention to the video. Before it can really get going it's over.

BRETT

That one is definitely Emmy material.

Laugh.

KELLER

Now everyone go and study for the quiz.

Everyone leaves in a commotion.

CUT TO

INT. THE CAFETERIA THAT EVENING

James Brett Dawne Lyndi and Jersey Mike sit at a table together thinking about the day's events.

JAMES

Well guys how about that weird video we had today in psych? I've never seen anything as pointless as that before… The cinematography wasn't even that good. What do you think?

BRETT

Like I said definitely film festival material. That thing must have been some sort of symbolism like the beach is American bureaucracy in the 20th century and the birds represent the consumer. Or something like that.

LYNDI

I don't know about that but I didn't like it at all. I felt almost like he was…MiGUEL

Alright one last hand. Ladies I'm all in.

JeN

I'll go all in.

CAMMY

No way…All leave except for Dawne. Keller takes out 3 large sized black boxes each with a hole in it.

DAWNE

What is all this Dr. Keller?

KELLER

This is the practical exam of course. Now I want you to go down this row of boxes and tell me what is inside of each box without looking.

DAWNE

Umm okay

(sticks hand in the first one)

It's a cube

There is a rustle from the farthest box Dawne stops in her tracks with her jaw slightly ajar.

DAWNE

(sharply)

What was that?

KELLER

What? I didn't hear anything.

DAWNE

In the box at the end.

KELLER

Continue.

She hesitantly moves over and puts her hand in the next box.

DAWNE

I think that this one is a sphere.

There is a rustle and a coo from the last box like a pigeon.

DAWNE

What is in that box Dr. Keller?

KELLER

It is nothing that can harm you I assure you of that.

DAWNE

Um...

Dawne is standing in front of the last box. It coos again and she is visibly more upset.

KELLER

Well?

DAWNE

I'm sorry professor I cannot put my hand into that box.

KELLER

(matter of fact)

But you have to Dawne it's a part of the examination.

DAWNE

(tries but pulls back apprehensive)

I can't Dr. Keller.

KELLER

(sternly)

DAWNE put your hand in the box.

DAWNE

No!

KELLER

Then I'll just have to do this!

(moves to open the back of the box)

Dawne shrieks and jumps away. Keller smiles sets down the box.

KELLER

Very well Ms. Woods. Two out of three. You listened to the disc yes?

DAWNE

(still shaken)

While I went to sleep...

KELLER

Then you may go.

Dawne exits.

CUT TO

INT. KELLER'S HOUSE THAT NIGHT

He is at his computer again. Andrea comes in and flops on the couch as usual. She is in her pajamas.

ANDREA

(cheerful)

So how was the test daddy?

KELLER

Oh it was fine almost everyone did well on the written portion.

ANDREA

Oh that's great dad!...How Did the experiment turn out?

KELLER

Ah well...

(hesitation)

We had one or two extreme reactions otherwise it was inconclusive. With this lack of results I have no choice but to be done with the tests. I'm typing up the report on it right now.

ANDREA

(sitting up quickly)

Daddy!

KELLER

I'm sorry Andrea I have no other choice but to close the book on this one. Anything further would be foolish. Plus I don't feel comfortable testing my students any further.

ANDREA

No! You cant! You promised!

KELLER

What do you mean I can't? I am your father Andrea and I have to do what I think is best.

ANDREA

But what about all the people you promised to help. People like me! People who NEED this research?!

KELLER

(more pleadingly)

Drea you know I can't...

ANDREA

(stands up)

CANT WHAT?... ... ..

(less explosively)

Are you going to give up like Mom did when she walked out of that door and out of our lives? Am I going to have to bury you too?

KELLER

(stung)

How dare you Andrea this is nothing like that!

ANDREA

It is like that Dad! You are either with me and this project or you're ignoring everyone who ever ruined their life because of the things in their head. You're not comfortable with making their lives better? This experiment is not your project. It's your responsibility for the human race... .. I'm going to bed. Sleep on it and decide if you can turn your back on your wife and your child just so you can be comfortable.

Focus on

The doctor who pulls the paper out that Dawne handed through the door. We read it over his shoulder again.

CUT TO

INT. SARA'S DORM THE NEXT DAY

She is sitting on her bed with a comatose stare on her face she is reading some odd book with only the florescent light on her. Her curtains are shutting out as much daylight as possible.

CUT TO

INT. A CHURCH DAY

Kevin is in church with Rebecca they are hearing a sermon.

CUT TO

INT. THE ELEVATOR SHOOT

Lyndi Brett and Dawne in the elevator. James is standing outside of it pointing the camera at Jersey Mike. Instructing him.

JAMES

Okay now I want you to walk onto the elevator like you're walking into the rest of your life.

JeRSEY MIKE

What?

BRETT

Just walk into the elevator Mike.

LYNDI

This is absurd I'm taking a break.

JAMES

(defeated)

Alright everyone take 10.

BRETT

Finally I've had to pee since scene 4.

JAMES

(sigh to mike)

Let's grab something to drink.

Dawne sits in the corner where Lyndi has already crashed with her hands over her head.

DAWNE

I thought that he'd never give us a break.

LYNDI

And to think that I volunteered for this. He's turned into Hitler Spielberg.

DAWNE

(chuckles changes subject)

How do you think you did on the psycho exam today?

LYNDI

I did fine on the first part of course but the second part was really weird. Oh wait we're not supposed to talk about it.

DAWNE

I swear I won't tell anyone else about your if you keep quiet about mine.

LYNDI

Deal.

(they pinkie promise)

Wow I haven't done that since my crush on Will in the 4th grade.

DAWNE

Heh me either.

LYNDI

(lolling her head towards Dawne)

Anyways he had me put my hand in some boxes it was the strangest thing ever. I couldn't even bring myself to put my hand in all the boxes the first 2 were easy but he had some birds or something in the last box and it was like an out of body experience for me. For the first time I was so afraid of what was in that box and I didn't even have to see what it was. I just knew. It was like I was watching a bad Hitchcock movie only I was living it.

BRETT

(walking in)

Hey what you talking about?

DAWNE

Can't say it's girl talk.

BRETT

Oh I can do girl talk watch.

(imitates a blonde cali girl)

Hey guys you want to like go to like the like mall? teeheehee!

LYNDI

(plainly)

I think I liked him better when he was in the bathroom.

BRETT

You guys just don't appreciate a good joke when you hear one.

LYNDI

I'm sure we'll appreciate it when we hear it.

(sarcastic smile)

Brett smirks back.

CUT TO

INT. THE CLASSROOM THE NEXT DAY

Keller is handing back the tests

KELLER

Well we all have done so well on the written section of the test but seem to have all failed the practical portion. I am therefore obligated by my superiors to implement a new system of learning. This system has been before the board for quite sometime now and they wasted no time in handing it down to me once the proposal for this class was established. It may seem unconventional to many of you but it should excite you to be a part of such a groundbreaking new system. For the others of you who may be more hesitant in participating...

(stops in front of Sara)

We have methods of determining who has participated and who has failed to comply...

(looks at whole class)

Is everyone clear?

Silence.

KELLER

Good from your silence I am assured that everyone is clear. Now please put your notes away for the day we will be watching a film about Nietzsche and his ideas of the superhuman after the film everyone should come up to the front of the room and claim their CD with their name on it.

CUT TO

INT. THE CAFETERIA THAT DAY

Brett is eating by himself. LYNDI walks by and Brett peeks up thinking she might join him.

BRETT

Oh hey Lyndi.

Instead she ignores him and sits at a table directly behind him. Making them back to back. Brett turns around to look at her our view changes to the side of them both. Giving us a view of their actions and reactions.

BRETT

Oh come on you. Would you rather eat with me or by yourself?

LYNDI

(not even turning around)

No conversation would be better than contending with you over lunch.

BRETT

Ouch.. You just don't want to try and contend with the wit. I know I know I'll let you sit and eat in peace.

LYNDI

(tartly)

Thank you.

Wait for it.

BRETT

Can I eat with you then?

LYNDI

I thought we had discussed this. I eat here.. You eat there... no one gets annoyed

BRETT

Judging from your ton of voice it's not working.

LYNDI

Whatever.

Brett stands up and walks over to her table. We see him stand in front of her. She looks up and smirks at him. Brett slams down his tray. And loudly proclaims to the whole cafeteria

BRETT

NO I WILL NOT GO OUT WITH YOU!

CUT TO

INT. THE CAFETERIA THE SAME TIME

Lyndi's stunned face.

CUT TO

INT. THE CAFETERIA THE OTHER SIDE THE SAME TIME

Dr. Keller is eating by himself at a booth for four he is joined by Dr. Belmont.

BELMONT

Hey Art is this seat taken?

KELLER

(jokingly)

Oh yes this seat is for Napoleon and Jesus is sitting there and that one is saved for Joan of Arc.

BELMONT

(laughs sits)

How have you been doing Art?

KELLER

Oh the usual papers teaching Nietzsche to the masses curing mental illness one sorority girl at a time.

BELMONT

Nothing out of the normal then?

KELLER

What are you getting at John?

BELMONT

You never have been one for small talk have you?

KELLER

I've known you for about 10 years now ever since I taught you psych 2011.

BELMONT

It's just that well I'm worried about you You seem more distant that usual.

KELLER

I'm just more involved in my classes this year I guess in the psychological realm it's how I'm dealing with what's happened to my family.

BELMONT

Yeah...Candice wanted to know if you could come over to dinner not this Friday but the next Friday night we could have a nice meal together and maybe even steal off into the living room and catch the rest of the game afterwards.

KELLER

I think that I'd like that John.

BELMONT

Good I'll tell her.

CUT TO

INT. JAMES'S DORM THAT NIGHT

He and the others involved in the script are standing around in various states rehearsing lines.

LYNDI

But I have a callback in 1

(looks at watch)

EIGHT Minutes!!

BRETT

Well there goes your chance of playing Lyndi the badtempered overly dramatic actress. Oh wait nope you're playing that right here in the elevator encore!

LYNDI

Alright I've had just about enough of you you… you…FoCUS ON

INT. THE HALLWAY

LYNDI

Hey Dawne

(nothing)

HEY!

DAWNE

(waits for her they stop and talk in the hallway)

Yes.

LYNDI

Don't you yes me you wrote this scene didn't you!?

DAWNE

You know that James and I sat down and wrote the whole script together right?

LYNDI

So you didn't write it in.

DAWNE

Of course I wrote it in.

(she starts off and is grabbed by the arm of Lyndi)

LYNDI

(insistently)

Why?

DAWNE

I thought that you had seen enough plays and movies that I wouldn't have to explain this to you.

(sigh)

Well um for example Beauty and the Beast Star Wars Indiana Jones The Breakfast Club When Harry Met Sally.

LYNDI

(calmed down a bit)

I'm still not following

DAWNE

In most movies the girl ends up with the guy that annoyed her most during the beginning of the film. It's some sort of tradition.

LYNDI

But this is Brett we're talking about he not exactly Harrison Ford.

DAWNE

(walking away under her breath)

You'll thank me later.

LYNDI

What?

DAWNE

I said what did you think about that unusual psych. lesson today?

LYNDI

Like the professor said it's an unusual type of class so we should expect unusual homework.

DAWNE

Well I for one am not doing the homework.

LYNDI

What? Why? Didn't he say that he could tell whether or not you played the CD?

DAWNE

I think there's something more to those discs than he's telling us. I'm just not sure what yet.

LYNDI

Seriously?

DAWNE

(nods)

Yeah.

CUT TO

INT. KELLER'S HOUSE THAT NIGHT

The doctor is sitting on his couch at home all the lights off just sitting and contemplating. Andrea walks in from the kitchen and turns on the light in the Den where the doctor is sitting. She has no shadow.

ANDREA

(leaning on the wall)

Hi daddy I've been thinking.

KELLER

Me too sweetie about last night...

ANDREA

I didn't mean to yell at you. I..

KELLER

Me first. I stayed up most of the night thinking about it and I realized that you were right it is my responsibility to perform this experiment while I can still do it within the confines of the university.

ANDREA

(breaking out and hugging him)

Oh daddy!

KELLER

We'll make things right.

The view moves out of the open window to the outside of the house which has Kathy's car in the driveway on the porch we hear the wind chimes. We again see inside and Andrea and Keller are Talking.

CUT TO

INT. BELMONT'S HOUSE THAT NIGHT

Doctor Belmont is tucking in his little boy Nathan 9. He turns to see his wife at the door. They embrace and speak.

Candice belmont (whispering) Is he going to come next week or did you forget to ask him again?

BELMONT

(whispering also)

I finally got around to it today at lunch he seems to be okay with the idea but I'm still worried about him.

CANDICE BELMONT

I'm just glad that you two are friends after all of this...

BELMONT

(looking towards Nathan as he shuts the door)

I know honey I know.

CUT TO

EXT. A PATHWAY THE NEXT DAY

Lyndi is walking towards a store on campus. She walks into The store.

CUT TO

INT. THE STORE SAME TIME

She starts looking around the store searching for what she needs. Looking through a shelf she sees arms putting boxes on the other side of the row.

LYNDI

Um excuse me.

The man accidentally drops the boxes he was picking up. Laughs and then props his head between the shelves with his elbow. It's Brett.

BRETT

Well then miss. What'll it be?

LYNDI

(stuttering)

Wha? Brett?

BRETT

Oh I'm sorry miss. We don't have anything for speech impediments.

LYNDI

(snickers)

Okay.. I'll hand it to you that one was a lot better than that stunt you pulled in the cafeteria yesterday.

BRETT

Can I help you with something then?

LYNDI

Yea I'm looking for floppy discs

BRETT

Oh no problem

He moves around to the side of the isle where Lyndi meets him.

LYNDI

Thanks...

BRETT

Is that all then?

LYNDI

(disappointed)

Yea.

They move over to the counter where he checks her out.

BRETT

50 cents please.

Lyndi hands it to him.

LYNDI

Why do you work here Brett? I mean. I thought you had the scholarships and everything.

BRETT

(chuckles shakes his head)

It's a long story Lyndi. And I don't really think you're ready to hear it. You won't like it and plus don't you have to get to class?

We see her exit and Brett rests his head on the counter. Pained.

CUT TO

INT. THE CLASSROOM THE NEXT DAY

KELLER

I trust that everyone is listening to their CD's? Yes?

Silence.

KELLER

Good this Next Movie is About Schopenhauer A philosopher famous for his The world as will and idea which gives readers the impression that.. oh I'm lecturing again aren't I? Never mind. Just watch the film.

The lights go out and everyone is seen to be attentive to the film except for Dawne who tries to go to sleep. Lyndi is seen reading the script from The Elevator. We see two dark figures in the back where the professor is sitting. Presumably himself and Andrea both of whom are covered in shadow making it impossible for the viewer to discern them.

CUT TO

INT. THE CLASSROOM LATER

The professor is standing in the front of the class handing out DVD's as each individual in the class receives his or hers they then exit.

KELLER

Now remember watch your individual DVD at least once a day to get a gist of your individual philosopher. You will watch a new chapter between each class. I expect a full report by Monday the 23rd that's not this coming Monday but the next Monday. Watch only your DVD I will be able to tell who is cheating and who is not by the report that you give. Understood? Then get going already.

Everyone leaves except for Dawne who goes to get her DVD last.

KELLER

Miss Dawne why did I expect you to be last?

DAWNE

Dr. Keller I was wondering why you graded me so harshly on the practical portion of the exam I mean I did all but one out of the Three tasks. In my mind that constitutes about a 65 percent.

KELLER

Well miss Dawne what you fail to grasp is how this applies to real world psychology one cannot determine a patients problems if they refuse to take 13 of the test that is presented to them. And if we have trouble being a patient how much more trouble will we have being the doctor? Do you understand my logic?

DAWNE

(politely)

I see well then till next Monday.

KELLER

Right then. Goodbye.

(follows her to the door closes it behind her)

CUT TO

INT. THE CLASSROOM MOMENTS LATER

The doctor has just finished closing the door. Our focus shifts from him in the foreground to Andrea sitting in the Back row in the background.

ANDREA

Do you think that she knows?

KELLER

No of course she doesn't Andrea she was just concerned about her test grade and it's a typical honors student worry.

ANDREA

Well okay.

KELLER

How was John's class today?

ANDREA

Oh the usual subconscious sexual desires and such.

KELLER

What a load of wind.

CUT TO

INT. THE HALLWAY MOMENTS AGO

Dawne is on her knees leering into the crack at the bottom of the door trying to get a look at who Keller is speaking to. When Lyndi walks up behind her.

LYNDI

Hey you.

DAWNE

(sits up abruptly)

Geez you startled me.

LYNDI

I was looking all around for you Figures that I'd find you right where I left you but still. Hey what were you doing anyway?

DAWNE

Just a little snooping.

LYNDI

On the psych. teacher. Look we all know he's a little loopy but that's nothing to be curious about I mean there's practically a whole department of them here.

DAWNE

Yea I know what you mean I just have a hunch about this one. I thought I told you last night.

LYNDI

I was so mad about the Brett thing that I totally forgot about it. Did I tell you that he works in the campus computer store? I saw him there yesterday.

DAWNE

Really?

LYNDI

Yea. I asked him why he worked there and he was really mysterious about the whole thing.

DAWNE

Weird. Hey lets go get some coffee we have to be awake for the shoot tonight.

LYNDI

Okay.

CUT TO

INT. THE CAFE THAT DAY

Dawne and Lyndi are sitting together in one corner just starting their lattes when Rebecca and Kevin walk up.

ReBECCA

Hey guys mind if we sit with you?

DAWNE

No I don't mind. LYNDI?

LYNDI

(to Rebecca)

Go ahead.

Kevin and Rebecca sit. We can see Sara sitting by herself.

KevIN (motioning to Sara) Why do you think she's sitting alone like that?

REBECCA

I don't really know for sure but I come in here for lunch everyday and she's always sitting at the same table over there.

LYNDI

That's strange I mean why doesn't she just come and sit with us like you two did.

REBECCA

Maybe she's just a loner like she said.

DAWNE

I'd hate to be like that it's got to be lonely

KevIN

You know there's this really interesting passage in Ecclesiastes that I read the other day (He wipes his hands on his shorts and pulls a bible out of his backpack flips to the passage) Ecclesiastes 49 Two are better than one because they have a good reward for their labor. For if they fall one will lift up his companion. But woe to him who is alone when he falls for he has no one to help him up. Again if two lie down together they will keep warm But how can one be warm alone? Though one may be overpowered by another two can withstand him and a threefold cord is not quickly broken.

DAWNE

Wow Kevin I'm impressed. I didn't know.

REBECCA

Yea definitely scholarly of you.

LYNDI

Makes you think.

CUT TO

INT. BRETT'S HOUSE THAT NIGHT

Everyone is at Brett's house. James is Shooting a phone scene with jersey mike. The rest of the cast is hanging out around the table. The door opens and in walks Brett's father mR. jANSON a grocer's smock draped around his arm.

BRETT

(getting up)

Hey dad.

(they hug)

Mr. Janson

Who are all these people?

BRETT

Oh just some friends from school. We needed a place to film something so I volunteered our house. I hope you don't mind.

MR. JANSON

As long as dinner is on you.

(laughs)

DAWNE

Speaking of which let's get something to eat.

LYNDI

Yea I'm starving.

BRETT

There's only one solution then. I have to cook. Dad can I borrow the car to go back to the store?

MR. JANSON

Sure.

(tosses the keys)

BRETT

(to LYNDI)

You coming?

LYNDI

Umm. yea.

CUT TO

INT. THE JANSON VEHICLE LATER THAT NIGHT

The light dances off of the windshield onto the faces of our unlikely pair. Beautifying everything it touches.

BRETT

So what do you feel like having tonight your majesty?

LYNDI

Answers.

BRETT

Would you like them boiled or stewed? I hear that they are quite exquisite with a dash of cinnamon and a pinch of sugar.

LYNDI

(snicker silence a little more somber)

Do you always have to do that?

BRETT

What?

LYNDI

Skirting around the question.

BRETT

No. I don't always.

LYNDI

Then promise me you'll only give me straight answers from now on.

BRETT

And deprive you of my profound wit? I dare say no.

LYNDI

What do I have to do for you to let me in?

BRETT

I don't know. Do you have your member's card? I'd have to hear the secret password too.

Lyndi snickers tries to stop.

CUT TO

INT. THE GROCERY STORE LATER

Brett is walking around grabbing things off the shelf. Lyndi trails behind with the cart.

BRETT

Stir fry sound good? Good.

(he lobs it haphazardly through the air towards the cart Lyndi catches like a NFL receiver. Dunks into the cart like the NBA)

LYNDI

(almost yelling)

So why do you have to work and do school at the same time?

BRETT

Because college wont pay for itself.

LYNDI

Yes but what about the scholarships and don't your parents support you a little too.

BRETT

(suddenly very serious)

Look if you must know. Dad can't support me. Didn't you see his apron. You didn't think it was his hobby did you?

LYNDI

But what about your...

BRETT

Mom?

(sigh)

I didn't want to have to tell you or anyone this. But she's dead.

LYNDI

(snickers)

Why do you keep doing that Brett.

Brett snickers a little and shakes his head

CUT TO

INT. THE JANSON VEHICLE LATER

Driving back. The silence is unbearable. One catches the eye of the other they take turns awkwardly looking toward each other. Brett cant stand it anymore. He pulls over. Cuts the engine.

LYNDI

What's the problem Brett?

BRETT

(fumbles with the keys)

Look. Lyndi. When I told you back there that my mom died. I wasn't kidding.

LYNDI

Oh.

BRETT

(emotionless)

2 years ago she was diagnosed with lung and throat cancer. She was a smoker. By the time her medical bills ate through my college fund she was in the late stages of it. All we could do was watch her face rot off and make her as comfortable as we could until it was time. That was my senior year in high school. She died. We all died. But I promised that I wouldn't let it show. Just keep going. It made my life somewhat normal. I still got invited to parties. Not that it mattered. I thought that my college hopes died with mom. But I got scholarships and I have student loans. It wasn't enough so I got the job and it helps enough to make ends meet.

LYNDI

Brett.. I'm .. I'm sorry.

BRETT

(matter of fact)

Don't be.

He starts the car back up and drives.

CUT TO

EXT. DREA'S FOUNTAIN THE NEXT DAY

Brett is sitting next to Dawne and Jersey Mike on a bench while James paces back and forth in front of them.

JAMES

Where is she? She knows that each day we don't shoot is one day closer to the film festival. Which is one day that we don't have to waste.

BRETT

Calm down Rain Man you'll blow a gasket at this rate.

DAWNE

(laugh)

See I told you that I'd laugh if you said something funny.

BRETT

And it was about time too.

JerSEY MIKE

Tell me about it.

BRETT

Who's side are you on anyway mike?

Lyndi walks into the shot hurriedly.

JAMES

Where have you been?

LYNDI

Just got done watching Keller's latest video and boy is it strange.

JAMES

We aren't supposed to talk about it remember? Come on let's get shooting it's practically dark out now.

CUT TO

INT. THE ELEVATOR SHOOT LATER

We see is Brett and Lyndi standing in the elevator the doors are open which is why we see them. Brett is standing in the doorway holding the door open talking to LYNDI who is poised on the wall opposite the doorjamb.

LYNDI

You know Brett I'm glad that it's all over Now I can tell you how I really feel about you I was afraid to before now but since we're all alone here together in this elevator.

BRETT

You mean?

LYNDI

Yes.

Brett look aside.

LYNDI

I know that this may come as some surprise to you but spending the past hours together with you I cannot help it.

BRETT

Then stop fighting it.

They lean together as if to kiss and then suddenly Lyndi's arm comes up to slap him. Brett ducks in and kisses her and for almost and instant we think we see her respond. Lyndi's face quickly jumps she regains herself and slaps Brett with quite some force right across the face.

JAMES

Cut Lyndi come on. Just fake it if you have to imagine kissing someone else.

LYNDI

(almost feigning it)

I...I think that someone else might have the decency to brush their teeth before coming to rehearse a scene like this.

JerSEY MIKE (under breath) Oh god not another round of tooth jokes.

BRETT

James maybe you should just shoot around this scene or maybe reschedule this one for later or something.

James sighs.

CUT TO

INT. THE CLASSROOM THE NEXT DAY

The students are all watching the tape that we hear playing in the background. We see James eyeing Sara's lollipop avidly almost disgustingly. Our view moves to the back of the room where we see Keller talking to Andrea who is sitting beside him. Switch to DAWNE's perspective she is staring at the doctor wondering who he is talking to.

CUT TO

INT. THE HALLWAY LATER

Dawne is walking with Lyndi.

LYNDI

At this rate I'll be spewing psychology in my sleep I swear this is the strangest class on campus. I've been having nightmares about it.

DAWNE

Nightmares? Lyndi you haven't been listening to those DVDs he's made? Have you?

LYNDI

Of course I have it's required coursework Dawne. I'm not going to not do it because of your hunch.

DAWNE

(sigh changes subject)

Are you going to meet us for the carnival tonight?

LYNDI

By Drea's fountain right?

DAWNE

Huh?

(her face says it all)

hey Lyndi I'm going to the library to do some research I'll catch you later.

LYNDI

(weirded out)

Mm. Okay Dawne I'll see you later.

CUT TO

EXT. DREA'S FOUNTAIN THAT NIGHT

It's getting dark early for some reason an omen perhaps? Everyone is in warm clothes prepared for a rainy night sitting outside of the library on a bench watching the fountain. There is a plaque beside the fountain. Brett is sitting on the bench next to James and JAMES'S GIRLFRIEND and Jersey Mike is leaning on the wall somewhere. Dawne and Lyndi walk up.

JAMES

Everybody ready?

BRETT

Yea I think everybody is here.

DAWNE

Not exactly.

JAMES

Then who are we waiting for?

DAWNE

I invited Miguel to come.

LYNDI

(childishly)

Oooooh.

BRETT

I thought I was supposed to be the annoying one.

LYNDI

Ain't that the tooth.

BRETT

Ohh. And a shot right to the jaw.

LYNDI snickers. DAWNE's phone rings

DAWNE

(on the phone)

Oh hey Miguel. Whats up? .. Yea.. Umm.. Okay.. I can do that.

(to James)

Do you know where the Ferris wheel is?

BRETT

It's only a mile high. How can we miss it?

DAWNE

Yea we know how to find it. Okay.. That's fine. I'll see you there.

BRETT

I suppose we're going to meet him there?

DAWNE

Yea.. That's it.

JAMES

Then let's go. Who's with who?

LYNDI

I'm driving Dawne.

JAMES

I can only take two in my car.

LYNDI

Then it looks like I'm taking you two.

JerSEY MIKE

Oh joy.

CUT TO

EXT. THE CARNIVAL NIGHT LATER

The group meets back up on the grassy knoll in front of the electric lights of the carnival. Which dwarf them in comparison. Everyone is thrown into sharp contrast as they move towards the entrance.

They meet up with Miguel and immediately pair up to get on the Farris wheel. As usual Jersey mike does his own thing and flies solo.

CUT TO

EXT. THE CARNIVAL NIGHT LATER

The group gets on the Farris wheel two at a time and As fate would have it Lyndi gets paired with Brett. He helps her into the car like a gentleman.

LYNDI

Well that's odd.

BRETT

What?

LYNDI

I thought after the slap on the face...

BRETT

I'm a slow learner.

LYNDI

(snicker)

Maybe you learn by repetition.

BRETT

(smiles)

So.. What is up with Dawne and Miguel.

LYNDI

I don't know. She's been going to these dance lessons with him.

BRETT

Oh.

LYNDI

(looks at him)

I'm sorry for slapping you Brett.

BRETT

(snickers)

Then why did you do it in the first place.

LYNDI

I.. I don't know why.. I suppose it was...irrational for me to do.

BRETT

That's okay.

LYNDI

I guess I just don't have that much experience with guys you know.

BRETT

Wait a second. You mean?

LYNDI

Yep still a virgin.

BRETT

No.. That wasn't what I was thinking.

LYNDI

Then what were you thinking?

BRETT

I was wondering how many boyfriends you've had. Personally I thought it was at least as many as the tooth jokes you've made on me since that first day in class.

LYNDI

I hate to disappoint but it's only been about 2. Nothing very serious though.

BRETT

Really? I was thinking that someone like you would have had at least 8 or 9 by now.

LYNDI

(Snickers shakes head)

Nope. Not I.

BRETT

Personally I haven't had that much experience either.

LYNDI

Then how many?

BRETT

Only one.

LYNDI

What?!?

(Brett snickers)

I meant. Why only one?

BRETT

I dunno. I think it had something to do with mom.

Silence

LYNDI

Anyway I'm sorry I slapped you. It was.. Stupid.

BRETT

It's not that dumb. I wouldn't want to kiss me either.

LYNDI

It's not that

(Brett looks over at her)

I mean. I've kissed people on stage. So why should this be any different

BRETT

(disappointed)

Right

LYNDI

And I'm sorry that I was so mean to you. Before I knew about ...

BRETT

No. Don't be sorry. I don't want to be treated different than anyone else just because of what happened to my family.

LYNDI

Right I'm not sorry then. Because you're not..

The car jerks to a stop atop the Farris wheel. Lyndi jumps and unknowingly grabs Brett's hand. Lightning flashes in the distance.

LYNDI

... Different

CUT TO

INT. THE CHINESE RESTAURANT THAT NIGHT

We see Keller walking into the restaurant soaked from the rain outside he walks to the counter. Throws a glance over his shoulder to a woman sitting in a booth. We focus on the woman and see that it's his wife he snaps his head back onto the counter quickly gets his food pays for it and leaves with out looking at her.

CUT TO

INT. KELLER'S HOUSE THAT NIGHT

The doctor walks in with a bag full of Chinese food under his arms. He staggers in clearly disturbed.

KELLER

(absently)

Here's the beef and broccoli Andrea.

ANDREA

What's wrong dad?

KELLER

(nervous laugh)

Oh nothing dear. Just a little loopy.

ANDREA

Dad you're shaking from head to toe. Tell me what's wrong

KELLER

(slowly)

I saw your mother tonight

ANDREA

What?

KELLER

I was walking into the Chinese place and there she was sitting at the corner table like we used to. She was staring at me I could feel it. I got out of there as fast as I could but I think I'm starting to lose it.

ANDREA

(hugs him)

It's okay dad. It's okay you're fine here. Nothing to be afraid of.

KELLER

I need to get some help Andrea. Maybe John would hear me out. I'm obviously not well.

ANDREA

No dad. You can't. They'll kick you out of the department if you said anything. Think about it. A mental case teaching the students? You'd be fired for sure.

KELLER

Then what will I do?

ANDREA

Umm I know. When you finish the experiment I could use the subliminal methods we're developing. I could help cure your delusions with the methodology we've created.

KELLER

But what about until then?

(insistently)

What if it gets out of hand before then?

ANDREA

Don't worry dad. I'll take care of you until then you said that I was practically a certified shrink.

KELLER

(silently laughing)

I did? Didn't I?

ANDREA

Want to hear about my day?

KELLER

Sure honey tell me about it.

Our view zooms out to them together eating take out and laughing with each other a touching moment.

CUT TO

EXT. THE FRONT OF THE DORMS THE NEXT DAY

It's still raining Dawne scampers into the building from the rain she is clasping her books in front of her in a vain attempt to keep them dry.

CUT TO

INT. THE LOBBY OF THE DORMS A LITTLE LATER

She walks in. James Lyndi and jersey mike are there.

JAMES

Okay now that we're all here I'd like to discuss today's shoot schedule.

LYNDI

Hang on James you hear that?

JAMES

Hear what?

LYNDI

Precisely Brett isn't here.

JAMES

Well where is he? Does anyone know?

JerSEY MIKE

Last I saw he was in his room.

JAMES

(sigh)

Well everyone I guess we'll shoot around him today.

CUT TO

MonTAGE

Kevin watching his DVD to Zack watching his to Dawne on her laptop to Jersey Mike with his DVD to Brett watching his to Jen sorority shirt on watching her DVD.

End OF MONTAGE

CUT TO

INT. THE CLASSROOM THE NEXT DAY

KELLER

(muttering to himself as he checks off names on the roll)

Ms. Dawne Ms. Lyndi Mr. Brett?

(aside)

Has anyone seen Mr. Brett?

Silence.

KELLER

(slightly sinister)

Good.

CUT TO

INT. THE CLASSROOM LATER

That day's video we see everyone is paying attention to the video except for Dawne. She is putting earplugs in her ears staring right to the back of the class which in shadow again can not be discerned from the front.

CUT TO

INT. THE CLASSROOM THE BACK

ANDREA

So when will the affects be apparent in the subjects?

KELLER

I don't know honey remember that the first one was inconclusive...We may never see any results from them.

ANDREA

But we're still going ahead with the experiment right?

KELLER

Of course! I wouldn't end the experiment early for anyone or anything for that matter. It would be unprofessional apart from being a complete and total shame.

ANDREA

(glancing aside does a little double take stares at Dawne. To Keller)

Daddy do you see her staring at us?

KELLER

(notices)

I do sweetheart. What's the problem? She's just a little nosier than the rest. It's to be expected in this honors crowd.

ANDREA

Do you see the earplugs she is wearing?

KELLER

What?

ANDREA

She has earplugs in her ears

(turning back to the doctor)

She's on to us daddy I'm telling you. She knows.

KELLER

Impossible she couldn't know. She'd have no reason to know.

ANDREA

Then how come she's been staying after class and asking you absurd questions? How come she did so well on the William James essays? She knows daddy she knows.

CUT TO

INT. THE CLASSROOM LATER

After class everyone has left and we see Dawne go down to the front where the doctor is standing. She silently places the earplugs on his desk and then she walks out the door.

CUT TO

INT. THE CAFETERIA

Belmont is sitting and eating his lunch. Art walks in hastily with a tray full of food. He sits.

BELMONT

Where's the fire Art?

KELLER

John I've got to tell you something.

BELMONT

(suddenly serious)

Okay go ahead.

KELLER

You've known me for how long now?

BELMONT

About 17 years if I remember correctly.

KELLER

And I've never harmed anyone right? Not even a bit?

BELMONT

What are you getting at?

KELLER

I think I'm going bonkers John I think that I've lost it.

BELMONT

Why do you say that?

KELLER

I thought I saw Kathy yesterday she was at the old Chinese place we used to go to together.

BELMONT

Oh wow okay Art that's not very shocking.

KELLER

What?

BELMONT

Well it's obvious that you miss her. It's normal to think you see people you miss.

KELLER

Yea I guess it is.

CUT TO

INT. LYNDI'S DORM MOMENTS LATER

She's lying on her bed talking on the phone to Brett.

LYNDI

Hey Brett what's been bothering you lately? You haven't been around that much lately...wanna talk about it over lunch? I could meet you in the student union.

Our view goes through the telephone through the wires and out from Brett's phone. We see him sitting awkwardly on the edge of his bed. His eyes widen suddenly shatteringly and we zoom into his eyes and into his brain seeing what he is thinking. It is him standing in the middle of the crowd them moving blindingly fast around him while he is walking in slow motion toward a seat with a tray he falters falls the tray flies up in the air and the walking around him stops faces leering at him from all directions arms folded he is splayed out on the ground on his back his arms over his face.

BRETT

No.

(slams phone)

CUT TO

Montage

Guitar music

CUT TO

INT. SARA'S DORM DAY

She is on her bed reading her books as usual. Tossing and turning trying to get comfortable with her position. Gets up and throws open her blinds pouring sunlight in the room. We see her look out the window for a second

CUT TO

INT. SARA'S DORM A LITTLE LATER

Sara putting on her shoes silently.

CUT TO

EXT. A TREE A LITTLE LATER

Sara sitting outside under a tree reading her book.

CUT TO

INT. THE ELEVATOR SHOOT THAT DAY

Lyndi Jersey Mike and Dawne on the Elevator. James is seen filming them and the doors start to close. Lyndi who had been sitting is seen scrambling to get to the door to keep it open. She fails.

CUT TO

INT. THE ELEVATOR SHOOT INSIDE

Where Lyndi is seen falling into a crying shaking heap. Clawing at the door.

CUT TO

INT. THE CAFETERIA THAT DAY

Where Rebecca and Kevin are eating together Rebecca constantly is rearranging her silverware and Kevin gets up to take his tray to the return table.

CUT TO

INT. THE CAFETERIA

(slowmotion) Zack picks up a knife at a table behind him and starts following him with it in his hands Kevin stops to put down his tray Zack lifts the knife to strike.

CUT TO

INT. THE CAFETERIA

A side view of Kevin he looks back frightened. ZACK is still behind him without the knife but holding his food tray. He is wierded out by Kevin's reaction and looks behind him to see if something is wrong.

CUT TO

INT. THE CAFETERIA

James sitting with Zack eating James is watching Zack eat disgustingly we see his mouth bob up and down

CUT TO

SubMontage

Multiple views of Zack's food being prepared. Quick disgusting views of the dark side of the food industry. (think Requiem for a Dream's drug preparation shots)

End of submontage

CUT TO

INT. THE CAFETERIA THAT DAY

Zack chewing mouth open and talking at the same time. Then Real time kicks back in from slowmo we see James sneeze and immediately Zack's eyes open wide. As a shark in a frenzy would. We see him take his tray and walk behind Kevin to return it as in the scene above Kevin reacts oddly to him he looks behind him and then returns to his business at hand. As he puts His tray down he sneezes.

CUT TO

INT. THE LIBRARY

Dawne on her computer typing away finding research on the doctor we can see her pulling up article after article one is a picture of the fountain the article's title reads Student Depression Awareness Fountain Opened.

CUT TO

INT. MIGUEL'S DORM

He is in his bed under the covers the curtains reveal that he has done everything in his power to shut out the daylight he turns on his TV and puts in the DVD the professor gave to him plays it. The phone rings and he stares at it frighteningly.

End of music.

End of montage

CUT TO

INT. THE CLASSROOM THE NEXT DAY

The movie is playing again. And again Keller is sitting in the back of his class talking to Andrea about something.

CUT TO

INT. THE CLASSROOM THAT DAY DAWNE'S ANGLE

she peeks out from her book that she is reading to look back. She has the earplugs in again.

CUT TO

INT. THE CLASSROOM THAT DAY KELLER'S ANGLE

ANDREA

Look dad she's doing it again.

KELLER

Oh my you're right Andrea what should we do?

ANDREA

You have to make sure she follows the rules you need to make sure she is watching her material.

The movie ends he starts going to the front of the class.

KELLER

And what if she won't?

CUT TO

INT. THE CLASSROOM THAT DAY WALKING DOWN THE STAIRS

Keller walks to the front of the class.

KELLER

Alright well I hope everyone enjoyed that dissertation now I will see you all on Friday you may all leave.

(everyone gets up and leaves.)

Except you Ms. Dawne I'd like to speak to you personally.

Sara tries to keep up with Lyndi while attempting to start a conversation she looks brighter than before and Miguel lags behind trying to avoid the crowd of people. They are all gone. Dawne steps up the doctor's table.

DAWNE

Yes professor?

KELLER

Dawne. I've noticed that you do not pay attention in class. And you remember that I said that I'd be check on your progress with the DVD's?

DAWNE

I remember.

KELLER

Then it comes as no surprise to you that I will be assigning you a failing grade this semester.

DAWNE

Listen doctor. I know what you are doing to this class. I know all about your messaging system and I refuse to be one of your subjects.

ANDREA

(shouting from the back of the classroom)

Shut up! You're ruining my experiment.

DAWNE

(raising her voice to the doctor)

You're just angry that I'm smart enough to see through your cheap tricks and you wait until everyone finds out.

ANDREA

She'll ruin everything! We have to stop her!

KELLER

(looking at Andrea in the back)

No! It's not right. We started this to help people remember! To cure them!

ANDREA

She's getting in the way we cannot allow the outlier to sway the data!

Dawne makes a break for the door but the doctor reaches it first closing it and staring her in the face savagely.

DAWNE

What are you doing?

ANDREA

You can't let this happen daddy.

KELLER

What do I do?

DAWNE

(looks over his shoulder to Andrea who is pointing angrily at her. Dawne understands something)

Listen to me doctor.

Keller looks at Dawne scared uncertain

DAWNE

I'll tell you what I'll make you a deal.

KELLER

What?

DAWNE

You let me go and come see me sometime without Andrea to work out our problems and I'll let you do the experiment as long as I don't have to be a part of it... is it a deal?

She stretches out her hand to shake. The doctor looks at it in amazement thinking about it. There is a knock on the door. The doctor almost instinctively opens it and peers out. Lyndi is outside standing with Sara.

LYNDI

Um excuse me Dr. Keller but is Dawne about finished?

KELLER

Yes yes we were about finished.

(opening the door wider)

Miss Dawne. You have a deal.

They shake.

DAWNE

I will get back to you on the place and time to meet then.

KELLER

Of course.

DAWNE

(plutonic)

Have a good day doctor.

She walks out and he closes the door behind her. In the back we can see Andrea laying on the desk sobbing.

CUT TO

INT. THE CAFETERIA LATER

Dr. Keller is seated with Dr. Belmont.

BELMONT

Are we still on for this Friday?

KELLER

Of course we are John. How's the Family?

BELMONT

Never been better we all took a trip to the park the other day. It was really nice.

KELLER

Glad to hear it.

CUT TO

INT. THE CAFETERIA THE OTHER SIDE MOMENTS LATER

the table across the way where Sara Dawne and Lyndi are eating. James is sitting with them although he is not eating he has a glass of water.

LYNDI

So why aren't you eating again James?

JAMES

I'm just not hungry. Must be the course load I have finally taking its toll on me.

DAWNE

(under breath)

I hope that's it.

SaRA

So what did Keller have to talk to you about?

DAWNE

Oh it's just some project he needs my help on I told him we'd meet sometime. That's all.

JAMES

You know Sara I'm glad you're with us today. It seems like every other day you just sit by yourself.

SaRA

I don't know what happened I think I just woke up today and decided that it was about time I meet some people.

LYNDI

Just be glad that Brett isn't here he'd make you want to sit by yourself again.

They all laugh and we focus in on Lyndi she laughs a little and then her face becomes thoughtful she really does miss him.

CUT TO

INT. LYNDI'S DORM A LITTLE LATER

She is talking on her phone to Brett.

LYNDI

Hey is Brett there?

BRETT

Speaking.

LYNDI

Hey how have you been doing?

BRETT

I've been alright? You?

LYNDI

I've been okay.. Are you okay?

BRETT

Yea why wouldn't I be?

LYNDI

You haven't shown up to class for the past week. You haven't come to and rehearsals or shoots you hung up on me and you haven't told one joke since you picked up the phone. What's going on? Is your dad okay?

BRETT

I don't know what it is Lyndi. I don't...I think I'm afraid of people or something. Please don't laugh.

LYNDI

Oh I wouldn't. It's nothing to laugh about. What happened? Why the change. I mean you weren't like this before.

BRETT

I dunno maybe it's something i ate at that horrible cafeteria.

LYNDI

(soft laugh)

There you are Brett.

BRETT

Heh I guess I haven't been myself lately have I?

LYNDI

Yea everyone misses you especially James he's having a cow about how many shoot days he's losing.

BRETT

Sorry...

LYNDI

I guess it's okay... ...

BRETT

Well I have to go.

LYNDI

Okay I'll see you later?

BRETT

Sure.

LYNDI

(disappointed)

Bye.

BRETT

Bye.

(hangs up)

Lyndi lingers in putting the phone back down. She has an idea she picks up the phone again and calls Dawne.

CUT TO

INT. THE CLASSROOM THE NEXT DAY

Dawne reading again with her headphones on. Keller and Andrea talking together.

CUT TO

INT. THE CLASSROOM LATER

The end of class. Dawne goes up to the front of the class. She hands the doctor a note and leaves along with everyone else. We see a closeup of the note. It reads

DAWNE (V.O.)

Doctor Keller we need to have a talk meet me on the second story of the library tonight at midnight I'll have the backdoor left unlocked by a friend of mine. Let no one follow you or come with you not even Andrea.

DAWNE.

CUT TO

INT. THE CAFETERIA LATER THAT DAY

Keller is just now sitting down across from Belmont at their usual table.

BELMONT

Oh man Art I was just about to go. I have a faculty meeting today for new teachers. I guess I forgot to tell you.

KELLER

Oh okay I'll be fine.

BELMONT

Are you still coming to dinner tonight?

KELLER

Wouldn't miss it especially the way Candice cooks.

BELMONT

Well see you later.

KELLER

Bye John.

CUT TO

INT. THE CAFETERIA ACROSS THE WAY MOMENTS LATER

Dawne sitting and eating with Lyndi James and Sara. Rebecca and Kevin walk up and sit. Dawne sees Belmont get up and make to leave.

DAWNE

Hang on to my seat guys. I'll be back in a second.

She moves towards where Belmont exited and catches up with him just as he is about to leave.

DAWNE

Excuse me Dr. Belmont?

BELMONT

Yes may I help you?

DAWNE

Doctor Belmont My name is Dawne Woods. One of your fellow professors is performing an experiment on his class and I have proof that he is doing so.

BELMONT

(unbelievable)

Oh Really?

DAWNE

Yes sir right here.

(pulls her DVD out of her purse)

BELMONT

This is preposterous. A professor experimenting on his class? How is he doing it without the permission of the university? And furthermore how would he go about it so that no one not even in his class has not known until now? I have to go thank you for your concern miss.

DAWNE

Wait I know it sounds absurd but you have to believe me this is the disc that he gave to me to watch. Take it analyze it see if I'm lying.

Belmont snatches it out of her hand and walks briskly off.

FoCUS ON

INT. THE CAFETERIA KELLER'S SIDE THE SAME TIME

The doctor is looking over at Dawne standing in the doorway A figure crosses in front of us blurry. ANDREA sits down across from Art.

ANDREA

Aren't you going to say hi to me daddy?

KELLER

One second sweetheart. I think that she may have just betrayed us.

ANDREA

What?

KELLER

I just saw her hand her DVD over to Belmont.

ANDREA

She didn't!

KELLER

I think so...

ANDREA

What are we going to do?

KELLER

I wouldn't worry about it. I'm going over to John's house tonight for dinner. I'm sure he won't be able to figure out the messages in it till then. I could take the disc back from him then. It'll be no problem.

ANDREA

Why didn't you tell me that you we're going to Doctor Belmont's tonight? I would have come too but I have to study for my psych. midterm.

KELLER

I'm sorry dear it must have slipped my mind.

ANDREA

That's okay daddy. Just make sure to get that disc back from Dr. Belmont and everything will be all right. We may be able to get you that Nobel Prize you've been saving a spot over the TV for.

Keller laughs.

CUT TO

INT. BRETT'S DORM LATER THAT DAY

He is sitting in a chair in his dark room. There is a ring on his phone he looks at it for a second then picks it up.

BRETT

Hello?

LYNDI

Hey Brett? It's Lyndi.

BRETT

Hi.

LYNDI

Why weren't you in class today?

BRETT

I didn't want to go.

LYNDI

Brett don't lie to me.

BRETT

Okay I was afraid to go. You happy?

LYNDI

No. I'm not Brett. You have to snap out of this.

BRETT

I don't think it's that easy.

LYNDI

Have you even tried to go out?

BRETT

No. I haven't I don't want to either.

LYNDI

Brett Dawne told me we would be pulling an all nighter tonight in the library to study for Keller's midterm Monday. We will be the only ones in the library that late at night. We've arranged it with the librarian I could let you in the back door and you could study some with us. What do you think?

BRETT

I guess I'll come. Are you sure nobody else is going to be there?

LYNDI

I promise it'll just be the three of us.

BRETT

Okay I'll call you when I get there tonight it'll probably be like at midnight or something. Okay.

LYNDI

Alright Brett as long as you come.

BRETT

Okay goodbye.

LYNDI

Bye.

They both hang up at about the same time.

CUT TO

INT. BELMONT'S HOUSE THAT NIGHT

Around dinnertime. Belmont Candice Keller and Nathan are gathered around the table. Candice is serving Pasta. They all hold hands to pray.

BELMONT

Dear Lord thank you for this day and time that we are gathered here to fellowship thank you for good food and good friends and thank you especially for family Lord. In Jesus name we pray amen.

The family breaks from their statuelike poses and begin to pass food around and serve each other. Conversation breaking out over the clang of plates and spoons.

BELMONT

Well the meeting today was quite a bust a bunch of policy presentations. Nothing on teaching method.

KELLER

That's something you'll just have to start picking up John. You can't be taught your individual teaching style.

BELMONT

How true.

CANDICE BELMONT

Would you pass the Parmesan please?

He does so.

BELMONT

So anyways. After I talked to you I was approached by one of the college students she had a DVD with what she claimed as subliminal material.

KELLER

(feigning interest)

Oh really?

BELMONT

Yea I'll show you after dinner.

CUT TO

INT. BELMONT'S HOUSE AFTER DINNER

Art and John are sitting on a couch watching the TV.

BELMONT

As you can see art the maker of this DVD was a master of material disguise the audio track played backwards the impregnated texts the integrated pictures this is subliminal influence at it's best I almost didn't catch it the first time I saw it.

KELLER

Can I have the DVD? I want to take it back to the house to further break it down.

BELMONT

Sure you can have it. I've already sent off a copy to the head of the department he'll be launching a full inquiry into this.

KELLER

(tensed)

Oh really?

BELMONT

Yea the student who gave it to me was convinced that it was a teacher on campus doing this.

KELLER

(hastily)

I have to go.. John..

Grabs his coat and makes for the door John follows slowly after.

BELMONT

Why so soon? Candice was working on dessert.

KELLER

I have to.. I have to help Andrea study for your midterm.

He opens the door and bolts to his car. John is on the porch. We hear the chimes in the background seemingly from nowhere.

BELMONT

But. But. Andrea isn't in my class! What are you talking about!!?

Art is too busy starting the SUV and peeling out to notice what John is saying. We see him in the car. He pulls out Dawne's note.

CUT TO

EXT. DREA'S FOUNTAIN THAT NIGHT

A figure is seen running towards the back of the library silhouetted against the night sky.

CUT TO

INT. THE LIBRARY THE STUDY

Lyndi is sitting with Dawne. They are looking in their textbooks various notes strewn around the table. Lyndi and Dawne are no longer interested in them though they are having an important conversation.

LYNDI

So you still think that you can help Brett out of this?

DAWNE

I think that I can help you him and the rest of the class when I get Keller to change around the messages. You remember when you were afraid of the birds on his exam?

LYNDI

How could I forget?

DAWNE

That was caused by the CD he gave us. It was subliminally seeded to affect our minds like that. He made you afraid of that bird.

LYNDI

Are you serious?

DAWNE

You remember that day that I found the list of our names next to those phobia names? Right?

LYNDI

Yea I remember it. But that was a project he was going to assign us. Right?

DAWNE

(pulling out the list)

I made a copy of it before i returned it to him look.

(dictates)

Lyndi Reynolds Claustrophobia Brett Janson Agoraphobia Zack Miller Hypochondria. Read it yourself.

(throws it on the table)

Think about it LYNDI. Those weren't assigned as projects. He gave us those fears. He made Brett the way he is. He caused you to break down in that elevator. And I think he's done more than that to some of the others.

LYNDI

Wow...

(there is a ring on her cell phone)

BRETT (V.O.)

Hey Lyndi I'm at the front entrance will you come and let me in ?

LYNDI

Sure Brett I'll be there soon.

CUT TO

EXT. THE LIBRARY NIGHT MOMENTS LATER

BRETT

Hey what was that?

LYNDI (V.O.)

What?

CUT TO

INT. THE LIBRARY THE STUDY MOMENTS LATER

BRETT (V.O.)

I think I just saw someone.

LYNDI

Don't worry about it Brett I'll be there as fast as I can you're letting your fears get the best of you.

(hangs up)

DAWNE

(to Lyndi)

I'll be fine here.

CUT TO

INT. THE LIBRARY THE FRONT LATER

Lyndi is letting in Brett. He walks in like a pacing tiger checking both sides of the hall for people.

LYNDI

What's wrong Brett?

BRETT

Nothing just checking.

CUT TO

INT. THE LIBRARY THE STUDY SECONDS LATER

Dawne is studying. Our view pans around her to her back where we see Keller step in from the shadows in front of her hair raging like a madman tie half undone.

DAWNE

(unscathed)

Please sit down professor.

KELLER

I thought we had a deal.

DAWNE

(coquettishly)

The deal was that I wouldn't stop your experiment not that I wouldn't tell someone about it.

Andrea walks in behind Dawne.

ANDREA

Why you sneaky little devil. You lied.

CUT TO

INT. THE LIBRARY THE FRONT SECONDS LATER

LYNDI

Brett what are you so afraid of? There's no one here.

BRETT

There could be someone hiding.

LYNDI

Brett! Snap out of it!

He turns to face her they are a short distance away from a security desk.

LYNDI

You've been watching Keller's video haven't you?

BRETT

I have haven't you?

LYNDI

I did and that's why I've been afraid of being inside the elevator.

BRETT

Wha?

LYNDI

You know those videos he handed out to us they were subliminally seeding our minds and the videos in class? They were catalyst videos they made us more susceptible to the fears and disorders he was trying to give us. Keller made you sick like this Brett now snap out of it.

BRETT

I can't just stop Lyndi believe me I've tried.

CUT TO

INT. THE LIBRARY THE STUDY SECONDS LATER

KELLER

(to Andrea)

What are you here for Andrea? I thought you had to study for your midterm.

ANDREA

You know why I'm here. You've failed me she told them about the experiment.

DAWNE

Sit down Dr. Keller!

(looking between Keller and Andrea)

ANDREA

You didn't do what I said to do when she found out. I told you that you had to take care of her! You never listened to me. NEVER!

KELLER

(almost beside Andrea)

Quit being childish Andrea this experiment is not worth what you are willing to pay.

CUT TO

INT. THE LIBRARY THE FRONT SECONDS LATER

LYNDI

You have to get control of yourself Brett. You can beat this. Don't be afraid.

She moves closer to him he moves back a little he nervously clasps his hands.

BRETT

You don't understand. It's too hard. I can't

LYNDI

Brett I know you can. Look at yourself you're shaking.

Steps closer.

BRETT

I am not.

LYNDI

You are.

(she steps forward and takes his hand)

Brett's hands slowly stop shaking. He is stronger

LYNDI

(softly)

I missed you Brett. What happened?

She leans into him and kisses him on the lips he does not react at first but finally finds himself and begins to kiss her back.

CUT TO

INT. THE LIBRARY THE STUDY SECONDS LATER

Keller is situated beside Dawne and in back of the table and Andrea is behind Dawne.

DAWNE

(gets up and points)

What are you doing doctor?! I told you not to bring Andrea! You can't trust anything she tells you! She's...

ANDREA

(interrupting)

If you won't protect this experiment then I'll have to do it myself!

Andrea pulls the knife that she has hidden In her left pocket Dawne shrieks but Andrea is quick as a flash. Keller sees the blade and moves equally quickly diverting it from it's intended course of Dawne's heart and instead it hits her left shoulder burying itself in wickedly with a meaty thud. Dawne Screams in horror as her white blouse suddenly becomes stained and tacked to her shoulder. She slumps back into her chair.

CUT TO

INT. THE LIBRARY THE FRONT SECONDS LATER

Brett takes his hands away from her instead situating one to cup her cheek in his hand. They are lost in the moment. Lyndi looks over Brett's shoulder to the security camera and shrieks in horror as we see the shot of Dawne's injury and Keller standing over her partially obstructing our view.

CUT TO

INT. THE LIBRARY THE STUDY SECONDS LATER

Andrea is gone. We see over the shoulder of the doctor he looks back into the camera where the scream came from he realizes that he is not alone.

FocUS ON

The knife bloody and then to the face of the body which it is stuck in. She is gaping in horror looking at her wound her mouth is like a fish that has been tossed on land. She faints.

KELLER

What have you done?!

The sound of sirens is faintly heard in the background

KELLER

(screaming)

WHAT HAVE I DONE!

He runs from the building looking at his hands. Brett and Lyndi run into the study and immediately attend to Dawne Lyndi is on her phone.

CUT TO

EXT. KELLER'S HOUSE THAT NIGHT

The car comes to a screeching halt in the driveway. Chimes. He runs inside. As he rounds the bend into the dinning room he stops in his tracks at the sight of Andrea sitting and eating pancakes in her Pajamas. She gets up.

CUT TO

Keller's perspective

We see Andrea against the bare wall.

KELLER

Andrea? What are you..? how did you..?

CUT TO

Andrea's perspective

We see Keller and Andrea in a vanity mirror behind Keller.

ANDREA

I live here of course. But that's not the point. The point is that you've failed.

KELLER

Failed? What are you talking about? The experiment was a success.

(nervous laugh)

Didn't you see the way they were acting?

CUT TO

KeLLER'S PERSPECTIVE

We see Andrea against the bare wall.

ANDREA

The experiment required you cure them after they were established as sick… you may have gotten there eventually but now you ruined it. That girl is injured and the others saw. They know about it. The experiment is over and you failed Dr. Keller.

KELLER

What are you talking about 'Drea? YOU STABBED HER!

Andrea pulls a gun on Keller.

ANDREA

If you hadn't come to meet with her we wouldn't have had to do anything.

KELLER

WE?!? What are you talking about?

ANDREA

Are you THAT dense professor…?

KELLER

(insisting)

I didn't do anything it was you!

CUT TO

AnDREA'S PERSPECTIVE

The way it would look like normally If Andrea were real instead we see Keller in the same position from the shot above only with the gun to his own head.

We hear her voice.

ANDREA (V.O.)

…and that's why you couldn't see the warning signs of your own daughter's depression.

KELLER

What?!?

CUT TO

KeLLER'S PERSPECTIVE

We see Andrea.

ANDREA

YOU FAILED ME DADDY! And others have done the same thing without anyone noticing. That's why there's a fountain at school named after me so that people will remember me and how YOU FAILED ME! ALL YOU EVER DID WAS FAIL ME THAT'S WHY I KILLED MYSELF…End OF MONTAGE

CUT TO

KeLLER'S PERSPECTIVE

ANDREA

Dead like you!

A shot rings out.

CUT TO

EXT. THE CEMETERY A FEW DAYS LATER

We see all black as we are now looking at Dawne's sling and as our view zooms out further we notice that she is all in black as well as the rest of the psych class. They along with the Belmont's and some other anonymous faces are gathered around a grave a service is being held.

DAWNE (V.O.)

It was foolish of me to think that I could fix this all on my own to put myself in danger like that that night to put Lyndi and Brett in the same kind of danger. At least I can feel relieved in the fact that Dr. Belmont was able to reverse most of the effects of the subliminal messaging.

BELMONT (V.O.)

I wish that I'd seen the warning signs of Art's illness. After losing his wife and his daughter in the same year I should have considered this… I should have listened more to him when he talked about his idea for that experiment. Maybe I would have figured it out.

Mrs. Belmont puts her hand on his shoulder.

LYNDI (V.O.)

Thank God for Dawne and Dr. Belmont without them the class wouldn't be back to normal.

(she looks at Brett)

well as normal as they were before.

SARA (V.O.)

Thank you Dr. Keller maybe I'll be better from all this but at what price?

Dirt is being sprinkled on the coffin.

CUT TO

EXT. THE CEMETERY LATER

the funeral is over and the crowd is dispersing we see Lyndi and Brett walking towards us. Brett looks over his shoulder to the fuzzy outline of a woman at the fresh grave.

LYNDI

What are you looking at?

BRETT

Nothing...

He grabs her hand and they walk off.

CUT TO

EXT. THE CEMETERY CLOSER

We see over the woman's shoulder two graves one marked Arthur Bradley Keller and the other labeled Andrea Leigh Keller. Our view pans around the woman's face revealing her to be the wife and focuses on the rose that she is holding. As she places the rose on the grave we follow the rose down to the earth and then our view looks back up again to the wife.

CUT TO

EXT. THE CEMETERY ROSE POV

Andrea is standing next to Kathy and Andrea puts her arm around Kathy.