FRACTURE
“the mind is a labyrinth ladies & gentleman, a puzzle, its destination unknown, its secrets still secret”
INT. CORRIDOR NOW
(Steadicam follow shot)
DOCTOR LUMINAL & DETECTIVE KANE walk down a long desolate corridor of a seemingly abandoned mental health medical hospital
DOCTOR LUMINAL
I keep trying to explain his current prognosis, we are trying re-integration therapy. He’s in a far too delicate state for you to mentally manhandle him, and cause him to regress further
DET. KANE
I appreciate you have a job to do doctor, but so do I.
That twisted bastard shouldn’t of been let out his cell for a day, and it was one of your arsehole staff who cleared him for re-entry into society after what he did. Now a girls missing and he’s the best lead we have
DR. LUMINAL
We favour progressive consumer/survivor methods detective and I'll have you know, said arsehole staff member is my partner Dr. Sonia Paige!
(a Beat)
Detective Kane looks mildly embarrassed
DOCTOR LUMINAL
Listen detective, I know you need to find the girl, but if you go in there and cause a regression, you will never know. He would be useless to himself, to your investigation & especially to the girl Can you live with that on your conscience ?
DOCTOR LUMINAL walks into a nearby room and locks the door behind him, leaving DETECTIVE KANE in the corridor. Inside the room, KAL WAYNE is sat at the opposite side of a large, metal table. He's clutching his head, as if hung over.
DOCTOR LUMINAL (CONT'D)
KAL, hello, I'm DOCTOR LUMINAL
KAL
I remember who you are. Why do you do that?
You reintroduce yourself every time you come into the room.
DOCTOR LUMINAL
I apologize, it must just be an awful habit of mine. So, you remember what we were talking about?
KAL
Yes, is Mr policeman here? I still don't know where she is.
Detective Kane walks into the room
DET. KANE
Hmm. Well, perhaps this will refresh your memory.
DET. KANE pulls out of a pack of tarot cards and place them in front of KAL.
KAL
What I--?
DET. KANE
These are the only thing that were found on you. No phone, no wallet, no identification. Nothing.
KAL shakes his head then picks up the pack and opens it, holding the cards in his hand. KAL picks out the moon card and places it on the table.
DOCTOR LUMINAL
Okay. Well maybe you can tell me this much, how did you meet JESSICA?
KAL places the fool card down on the table, and then proceeds to lay down the lover, the devil, the chariot, the hermit and the justice cards.
INT. INVESTIGATION ROOM NOW - JESSICA’S TALE
DOCTOR LUMINAL
I'm sorry, but I have to ask; to your recollection, have we met?
JESSICA
I think you'd remember me, honey. But I don't recall you at all, and I have a thing for faces.
DOCTOR LUMINAL
Ok, From what we can piece together
JESSICA
You can piece together a broken vase with missing pieces and you know what you have? A broken vase with missing pieces.
DOCTOR LUMINAL
Excuse me?
JESSICA
It seems to me you have nothing to go on. You're just clutching at straws.
DET. KANE
No, we aren't -
JESSICA
Forgive me for saying this, but don't you think someone else could get further than you with this investigation?
DET. KANE
Why someone else?
JESSICA
Well, I didn't realize they'd put such a novice in charge of a case like this.
DET KANE (through gritted teeth)
I'm not a novice.
INT. INVESTIGATION ROOM NOW - REV. HORNES TALE
REVEREND HORNE is sat opposite DOCTOR LUMINAL & DET. KANE, holding his rosary beads tightly.
DOCTOR LUMINAL
What was it you were doing at the house?
REVEREND
The house was condemned for good reason.
DET KANE
What reason was this?
CUT TO: INT. CHURCH CONFESSION BOOTH. NIGHT.
REVEREND HORNE and ALICE are sat in their respective booths.
REVEREND (V.O.)
For being a house of ill repute and satanism.
DET KANE (V.O.)
So why were YOU there?
ALICE
Father, please help me for I have sinned.
REVEREND
What is it, my child?
ALICE
It has been two weeks since my last confession, and my last hit.
REVEREND
Hit?
ALICE
Of drugs, father.
REVEREND
Oh, child.
ALICE
I feel myself weakening. There's a party tonight, and I just know -
REVEREND
- You will keep in perfect peace him whose mind is steadfast, because he trusts in you. Isaiah 26:3.
ALICE
(sighing) Father, this party. It'll be more than I can handle, but I have to go. It's at the old Morrison place.
DOCTOR LUMINAL (V.O.)
The place on top of the hill where those children's murders took place?
REVEREND (V.O.)
Yes.
REVEREND (CONT'D)
Child, that place must'nt be used for a party. It should be torn down! I will burn the place down to the ground myself if I have to!
ALICE runs out of the church.
REVEREND (V.O.) (CONT'D)
She left before I was even finished my sentence.
DET. KANE (V.O.)
Did she leave anything behind?
REVEREND (V.O.)
No, why?
DET KANE (V.O.)
Then why did we find her phone on one of your pews.
CUT TO: INT. CHURCH. NIGHT.
REVEREND HORNE is on his knees, praying.
REVEREND (V.O.)
I couldn't idly sit by when she came.
The church's door bangs open and REVEREND HORNE's eyes snap open as he sees ALICE run into the church, soaked to the bone.
ALICE
Father, you have to help me!
REVEREND
Child, you're soaking! Get that jacket off, quickly!
REVEREND HORNE gets off his knees and brings a blanket to ALICE.
REVEREND (CONT'D)
Sit down, tell me what's happened.
ALICE throws her jacket on the pew before she sits down. Her phone falls out of her pocket and slides pretty far down the pew.
ALICE
The party -- something happened.
REVEREND
You can tell me anything, child.
A loud bang is heard. The church door closed in the wind.
ALICE
I can't, I just need your help.
REVEREND
How can I help?
A loud bang is heard on the closed door.
ALICE (panicking)
Please tell me there is another door out of here! Another loud bang is heard.
REVEREND
Through the back!
ALICE picks up her jacket and runs, leaving the phone behind.
REVEREND (CONT'D) (shouting to ALICE)
Be strong and courageous! Do not be afraid or terrified because of them, for the Lord your God goes with you; he will never leave you nor forsake you!
REVEREND (V.O.)
I fear I was too late to help her.
DOCTOR LUMINAL (whispers to detective)
I really think we're making some progress here.
DETECTIVE KANE (whispers back sharply)
We couldn't be making less progress if we damn well tried!
INT. INVESTIGATION ROOM NOW - HERMITS TALE
THE HERMIT is now sitting in the hot seat.
HERMIT
I don't quite understand how it all went down.
DOCTOR LUMINAL
What do you mean?
HERMIT
She seemed like such a quiet, nice girl.
CUT TO: EXT. MORRISON THEME PARK. NIGHT
KAL is sat on the bank of a hill outside Morrison theme park with a bottle of vodka. THE HERMIT is sat nearby but far enough away to go unnoticed, having drinks with the bearded lady and the boy-shark on the back of a cart. ALICE and HAT walk on the path above KAL. Their chatter has caught his attention and her looks his eye.
HERMIT (V.O.)
She walked by. Loud enough to be heard through the music. Beautiful enough to be seen through the bright lights.
ALICE and HAT continue to walk by. KAL ditches the vodka and follows them, slyly.
HERMIT (V.O.) (CONT'D)
I watched him get up and almost got caught following them.
DOCTOR LUMINAL (V.O.)
Who?
HERMIT (V.O.)
The boy. He'd had something to drink, but no more than I'd consider breakfast, so he was a little stumbley.
DET. KANE (V.O.)
How long did he follow them for?
HERMIT (V.O.)
I don't know, I didn't watch the whole time. Shark-boy was doing the best seal impression I'd ever seen so my attention went elsewheres.
ALICE and HAT walk into a house of horrors.
DET. KANE (V.O.)
How long were they in the house of horrors for?
HERMIT (V.O.)
Not too long, but that wasn't the thing that I would say was odd.
ALICE runs out of the house covered in blood. KAL's not too far behind her.
DET. KANE (V.O.)
Why didn't you help them?
HERMIT (V.O.)
It's a house of horrors. Who would need help? I s'pose it was a little queer that the kid she was with never came out though...
DETECTIVE walks up to the table.
DETECTIVE KANE (whispers to DOCTOR)
Look, I've had enough of this.
Outside, now.
CUT TO: INT. HALLWAY. NOW
DOCTOR LUMINAL
I don't see why you can't get on board with this.
It needs to be done this way.
DETECTIVE KANE
Why, why should I?
DOCTOR LUMINAL
Look at him; he's clearly not stable. We need to resolve this.
DETECTIVE looks through the door window.
DETECTIVE KANE
But how did this happen?
DOCTOR LUMINAL
Something. Something must have happened, but I don't know what yet.
We'll move him in here permanently in the morning. I think you’ve pushed him far enough detective. He needs therapy not punishment.
DETECTIVE KANE
(Smirks) Ha, of course. MORRISON
DET. KANE quickly strides away down the corridor towards the exit, car keys in hand as he waves his finger.
DOCTOR LUMINAL
Detective?
DR. LUMINAL looks distressingly through the interview room window
A shot through the window reveals KAL.
He turns to look at the camera and his face goes in and out of shadow changing into JESSICA, REV. HORNE, & THE HERMIT
CREDITS ROLL
…..
EXT. WAREHOUSE DAY
A car drives up to a warehouse and sharply reaches a halt.
(Camera Jib shot)
Detective Kane exit’s the car & quickly walks up to a warehouse door with MORRISON INDUSTRIES written above it, caution and alertness written across his face.
He is looking for Alice.
(Int. shot of doorway)
Detective Kane barges open warehouse door. Framed in the doorway backlit by the light coming behind him from outside.
(C.U. Det. Kanes face)
A look of shock and confusion on his face
DET KANE
Oh my God…Alice???
END
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