The Skull Ring (38 page)

EXTREME CLOSE-UP of JULIA STONE'S face. Her eyes are closed, she is mid-20's and pretty.

PULL BACK to show all of Julia's face and art on the wall. The paintings are abstract red, yellow, and white, the colors from the opening images.

JULIA

Scared.

DR. FORREST (O.S.)

Scared of what?

JULIA

(eyes twitching a little)

I don't know.

DR. FORREST (O.S.)

I think you do.

JULIA

Him. It.

DR. FORREST (O.S.)

It?

Julia's eyes open.

JULIA

The creep.

In the ensuing silence, DR. FORREST, mid-40's, has a face almost like a mask. Both women are in comfortable chairs, facing each other, Julia leaning back.

The office is dark, window shades drawn, all the art and sculptures are disquieting.

DR. FORREST

So you thought the creep had unlocked the door and was waiting inside.

JULIA

Yes.

DR. FORREST

Was there a creep inside?

JULIA

No. But there could have been.

DR. FORREST

And what would the creep have done?

JULIA

I don't know.

DR. FORREST

Yes, you do. It's not very hard to imagine.

SMASH CUT:

INT. DARK BARN.

On the word "imagine," scene from Julia's memory: flickering firelight, people in robes, a quick bit of many voices chanting, but it's over too soon.

CUT TO:

INT. DR. FORREST’S OFFICE.

JULIA

He has a knife.

DR. FORREST

Let it out, live it. Bring out the fear and face it.

JULIA

(voice childlike, four years old again)

They're scaring me.

DR. FORREST

Can you see his face? The man with the knife?

Julia would rather not remember.

DR. FORREST (CONT'D)

Try.

JULIA

I'm trying.

DR. FORREST

Try harder. If you can see him, that will be a victory. Then you can begin to heal.

SMASH CUT:

INT. DARK BARN.

Another glimpse of Julia's memory, chanting, darkness, fire, people in robes.

CUT TO:

INT. DR. FORREST’S OFFICE.

DR. FORREST (CONT'D)

Who is it, Julia? You have to tell me.

CUT TO:

INT. DARK BARN.

Another memory: a MAN IN A HOOD. No face, only eyes reflecting firelight.

CUT TO:

INT. DR. FORREST’S OFFICE.

Julia explodes from her chair, dashes to the window, yanks open the shades. The sun pours in, she blinks. Dr. Forrest goes to Julia and puts a hand on her shoulder. Outside, the Appalachian Mountains blaze in October splendor.

DR. FORREST

It's okay, Julia. I know how much it hurts to face it. If I thought there was another way to beat it, I'd try it. But you've refused Klonopin and Prozac and—

JULIA

No drugs. I want to beat it with my own head.

DR. FORREST

We all need help from time to time. And I can help you, but you have to trust me.

Julia looks at the clock. The hour is up.

JULIA

I've got to go.

DR. FORREST

We've done well today, Julia. You're starting to trust me. And trust—

JULIA

I know. Trust leads to healing.

DR. FORREST

And you do want to be better. You're the new and improved Julia Stone.

JULIA

(softly)

Better by the minute.

CUT TO:

EXT. CAR ON APPALACHIAN MOUNTAIN HIGHWAY- FALL AFTERNOON.

Julia drives home, surrounded by glorious mountains. She turns off the highway onto a side road. She passes several houses, then waves to MABEL COVINGTON, 70's, sitting on a porch. A man, WALTER TRIPLETT, 30-ish, is repairing the porch railing.

Julia passes an apartment building on the opposite side of the road. Briefly, POV from one of the apartment windows. Someone is watching Julia.

Her small house is last on the dead-end road, surrounded by woods. Julia parks and goes up the sidewalk, fumbling for keys, a satchel under one arm.

She reaches for the door knob and stops. The door is slightly ajar. She steps back, looks up the road at Mabel's house. Julia pushes open the door and peeks inside.

JULIA

Hello?

She flips on the light. A cat jumps at her and scrambles out the door. Julia shrieks, drops her satchel, leans against the door jamb.

JULIA (CONT’D)

(to cat)

Jupiter!

She stoops to gather the papers that have spilled.

CUT TO:

INT. JULIA'S LIVING ROOM.

The room is small but not cramped, with a fireplace, a coffee table covered with magazines, a computer on a cluttered desk. Julia boots up the computer, pushes the button on her answering machine, and heads for the kitchen.

MITCHELL AUSTIN'S VOICE comes from the answering machine.

MITCHELL (V.O.)

Hi, Julia, this is Mitchell. You were supposed to call me yesterday. What's the deal?

(changing tone, Mr. Charm)

I mean, I hope you're doing okay. I get worried when you don't call me.

CUT TO:

INT. JULIA'S KITCHEN.

Julia opens the fridge, pulls out milk and a pastry.

MITCHELL (V.O., CONT'D)

Is that doctor any good? You said you like her, but you know how these shrinks can flake out on you. I mean, we've been there, done that, right?

JULIA

(to the machine, over Mitchell’s voice)

No, Mitchell, we've not been anywhere. It's my problem, remember?

MITCHELL (V.O.)

—in a few weeks, Mom and Dad are in Martha's Vineyard, said we could use the beach house. Bet you'd love to see some flat land for a change, huh? Bet you'd love to see me for a change. Anyway, call me, love you, bye.

The message ends with a beep. Another message comes on.

MITCHELL (V.O., CONT'D)

Julia? How's it going? Must have missed your call. When you going to let me come up?

(a little whiny)

It's been months. You know you can't live without me. Call me, love you, bye.

JULIA

(milk to her lips)

Love you, too. Bye.

CUT TO:

INT. LIVING ROOM.

Julia carries her milk and pastry to the computer. She clicks the mouse, pauses, looks at the fireplace.

On the floor beneath the hearth are some WOODEN ALPHABET BLOCKS. They spell out "J-O-O-O-L-I-A."

Julia bends and picks up the 'J'. She looks at the front door, then down the hall. She runs to the door.

A MAN stands just outside the door, his arm raised. Julia screams.

CUT TO:

INT. DARK BARN.

Memory: For a beat, the MAN wears a dark robe and hood, and his upraised hand holds a KNIFE. The knife reflects firelight.

CUT TO:

INT. LIVING ROOM.

The man holds a screwdriver in his hand, about to knock. It is the handyman, Walter Triplett.

Julia pulls a can of mace from her pocket. Walter steps back from the doorway and holds up his hands.

WALTER

(rural accent)

Jesus, lady. I didn't mean to scare you.

Julia's finger is poised, ready to spray Walter.

WALTER (CONT'D)

The landlord sent me. To check your windows.

JULIA

Windows?

WALTER

He said you asked for it. With winter coming and all.

(pounding his chest)

Whew. You scared the fool out of me.

JULIA

(still suspicious)

Did George Wellman send you?

WALTER

Webster. George Webster of Silver Key Properties. I do a lot of work for him.

Julia, satisfied, lowers the can of mace.

WALTER (CONT'D)

Guess I should have hollered when I saw the door open. Maybe I should come back later.

JULIA

Don't be silly. Come on in.

Walter enters, checks the window in the living room. Julia returns to the wooden blocks.

WALTER

These are good windows. Double-paned. What you going to be using for heat?

JULIA

I'll be burning wood.

Julia puts blocks in the fireplace, picks up a newspaper. The banner reads “Elkwood Courier” and headline: "Body Found In River." Julia twists paper and lights fire.

Walter continues to kitchen, sound of window sliding open.

WALTER (O.S.)

This your first winter here?

JULIA

Yeah. I'm from Memphis.

WALTER (O.S.)

Can't hardly stand the big city myself. Too many people.

JULIA

(watching blocks burn)

Depends on the people.

WALTER (O.S.)

Mind if I check the bedroom?

JULIA

I don't have any secrets.

The blocks are now charred.

CUT TO:

EXT. OUTSIDE JULIA'S BEDROOM WINDOW.

From woods, POV of someone watching Walter enter the room. The window is open, curtains blowing.

CUT TO:

INT. JULIA'S BEDROOM.

Walter checks window locks. Teddy bear, lamp, and alarm clock are on the night stand. The clock flashes "4:06" over and over. Walter glances at his wristwatch.

CUT TO:

EXT. JULIA'S BACKYARD.

POV from woods watches Walter close window and curtains.

CUT TO:

INT. LIVING ROOM.

Julia at the computer as Walter enters.

WALTER

Your windows are in good shape. Might want to keep them locked, though. Wheatley used to live here.

JULIA

Wheatley?