Transcription
THE GIRL ON THE TRAINbyErin Cressida WilsonAdapted from the novel byPaula HawkinsDreamWorks
1.INT./EXT. TRAIN, ARDSLEY-ON-HUDSON, NEW YORK - MORNINGWe hear a train’s mournful clatter as trees flash by and thenthe train itself passes in a silvery streak.A woman draws an “x” on her foggy window-- looking outthrough it directly at us:This is RACHEL and she is THE GIRL ON THE TRAIN.RACHEL (SOFT V.O.).My husband used to tell me Ihave an overactive imagination. Ican’t help it. I mean, haven’t youever been on a train and wonderedabout the lives of the people wholive near the tracks? The livesyou’ve never lived.RACHEL’S POV: Out the window: A series of backyards slowlypasses:A MAN walks towards his front yard.An OLDER MAN works on a vintage car in his yard.CHILDREN slide down playground equipment.A LONE BOY throws a ball. His dog chases after it.CUT TO:TITLE: RACHELRACHEL (V.O.)These are things I want to know.Rachel sits alone, sketching in a small notebook.CLOSE ON: Rachel’s expectant eyes as the train begins toslow.RACHEL (V.O.). Twice a day I sit in the thirdcar from the front where I have theperfect view into my favoritehouse: Number 15 Beckett Road.RACHEL’S POV: Standing on the upstairs deck of a house, agorgeous blonde, MEGAN, wears a light opened robe with onlywhite underwear and bra underneath. She stretches her backlike a cat. Her curved silhouette is intoxicating.The train comes to a brief stop at the station and, outsidethe other window, Rachel can see work crews fixing thetracks. And beyond them, the Hudson River.(CONTINUED)
2.CONTINUED:RACHEL (V.O.).I don’t know when exactly. Isuppose I started noticing herabout a year ago and, gradually, asthe months went past, she becameimportant to me.As the train creeps forward RACHEL SPOTS-A BLUE HOUSE WITH A WHITE PICKET FENCE.She quickly averts her eyes from the view of the house-repressing an inner pain. Focusing on her sketch book.Rachel’s eyes land on a MAN IN A SUIT, red hair, 50, pastyand plain-- typing on a laptop. He looks up at Rachel. Thereis something disconcerting about the exchange.RACHEL (V.O.)I’m not the girl I used to be. Ithink people can see it on my face.INT. TRAIN - NIGHTRachel’s profile has flipped: she now rides in the oppositedirection, on the EVENING TRAIN.She watches the familiar houses glide past.RACHEL’S POV: This evening, Megan sits with her equallybeautiful husband, SCOTT next to a backyard fire pit.Each holds a glass of wine. The roaring fire glows on theirfaces as they watch the passing train.SCOTT spins Megan around and begins to kiss her.RACHEL (V.O.)She’s what I lost. She’s everythingI want to be.Rachel returns to her sketchbook.INT. TRAIN - NEXT MORNINGHeaded back to New York, Rachel POV: Rachel stares at theburnt out fire pit behind 15 Beckett Road.Megan is on the balcony in her robe while Scott rakes leaves.CLOSE ON: Scott as he looks up from raking and seems to lookdirectly at Rachel.
3.INT. GRAND CENTRAL TERMINAL - MORNINGRachel’s train arrives and she wades through a sea ofcommuters in the Grand Hall. She wears a plain dress andcarries a work satchel.STATION ANNOUNCER (O.S.).now departing track nineteen,upper level.INT. GRAND CENTRAL TERMINAL - MOMENTS LATERRachel sits in a row of chairs getting her shoes shined.She’s the only woman among eight male customers.Rachel sketches in her sketch book and sips from a squirtbottle.RACHEL (V.O.).I imagine she’s a painter.She’s creative.CLOSE ON SKETCH PAD: We see Rachel’s hand at work as sheproduces a beautiful images of Megan and Scott.RACHEL (V.O.)He’s a doctor or an architect.INT. GRAND CENTRAL - OYSTER BAR - LATER THAT DAY - HAPPY HOURRachel sits at the counter continuing to draw in her sketchbook. The restaurant is bustling with tourists and locals.RACHEL (V.O.)He has a good laugh. She can’tcook.WAITRESS(to customer)Do you need anything else rightnow?CUSTOMERNo. I think we’re pretty good,thanks.Rachel is lost in her imagination. All sounds of the bustlingbar fade away.Rachel eats an olive from her martini.RACHEL (V.O.)I wonder what they say to eachother before they go to sleep.
4.EXT. CITY - NIGHTThe cityscape slowly spins below us as we find the train onthe tracks.INT. TRAIN - NIGHTRachel’s profile has flipped again: she rides the EVENINGTRAIN and watches as she passes the urban landscape ofHarlem.RACHEL (V.O.)Today her name is “Jess,” tomorrowit could be “Lisa” or “Amber.” Itall depends on the day, it dependson my mood.Later that night, as the train slows, Rachel nears the bluehouse (23 Beckett Road). She looks to her lap, letting itpass.She raises her head and looks at Number 15 Beckett Road.NOW, Megan and Scott can be seen kissing through thewindow of their house.RACHELThe truth is, I don’t know hername. I don’t know if she paints orwhether he has a good laugh. I justknow they know love.RACHEL’S POV: Megan and Scott begin to make love.RACHEL (V.O.)Sometimes I catch myself trying toremember the last time I hadmeaningful contact with anotherperson.Rachel stays on the couple then an irresistible urge pullsher gaze back to the blue house two doors down.This time, when the Blue House (23 Beckett Road) appears,Rachel refuses to turn her gaze away.RACHEL’S POV: The upstairs window of the Blue House. In it,Rachel sees herself! Standing in the window in the light ofday.RACHEL (V.O.)I used to live two doors down.number 13 Beckett Road. It was myfirst home. We bought it together.It was ours.
5.RACHEL’S MEMORY: Rachel, in the Blue House, turns from thewindow to come face to face with a handsome man, TOM. Theysmile and laugh as Rachel grabs him. He kisses herpassionately as they enjoy their empty, NEWLY-PURCHASED HOME.BACK ON THE TRAIN: Rachel blinks: she is still looking at theblue house.RACHEL (V.O.)Every day, I tell myself not tolook.RACHEL’S POV: NOW, in reality, a woman, ANNA, stands in thewindow holding a BABY, EVIE.RACHEL (V.O.)But then I look.Rachel watches as Anna becomes a tiny dot that vanishes inthe distance.WOMAN (O.S.)Are you alone?Rachel looks up to see a Woman holding a one-year-old littleboy.And now the moment of truth for Rachel:RACHEL(polite)Yeah.She pats the seat next to her and takes her bag from it.RACHELNo, come. It’s all yours.Rachel smiles at the child.RACHELYour baby’s so cute.(to boy)Hi, baby.WOMANThank you.RACHELIs it. Is it a boy?WOMANYeah.(CONTINUED)
6.CONTINUED:RACHELSo sweet. How.how old is he?WOMANSix months.RACHELSix months.Rachel softly squeezes the boy’s hand and giggles. The Womanbegins to pick up on Rachel’s slurred speech and notices twolittle empty vodka bottles at the mouth of Rachel’s purse.RACHELSo sweet.Rachel realizes the Woman knows she is drunk. The Womanrepositions her child away from Rachel.CLOSE ON: Rachel’s eyes, bleary, blink in slow motion.Rachel, now seated alone, drinks from her squirt bottle.CUT TO:Title: MEGANINT. PILATES STUDIO - MORNINGA Living Portrait: MEGAN, the woman Rachel watches from thetrain-- up close and drop-dead gorgeous.OVERHEAD SHOT: Megan lies face up on a Pilates machine.She grips the hand straps, and with precision and grace, shebegins a series of exercises, stretching her body like aballerina’s.MEGAN(pre-lap)A teacher once told me I was amistress of self-reinvention.We widen to see she is lined up with ten other suburbanwomen. With both admiration and defeat, a FRUSTRATED WOMANobserves Megan’s flexibility and strength.MEGAN(pre-lap).I wasn’t really sure what itmeant at the time. But since movinghere I’ve come to understand it.CUT TO:(CONTINUED)
7.CONTINUED:Title: 6 MONTHS AGOEXT. PILATES STUDIO - MORNINGOn the sidewalk, the women from class have congregated, allchatting happily, occasionally cutting looks towards Megan,who takes no notice as she starts to jog away. We see herrunning down our quaint Ardsley Village street.MEGAN(pre-lap)Ardsley-on-Hudson is boring androutine. It’s a fucking babyfactory.EXT. UNDERPASS/BECKETT ROAD - LATERMegan jogs into a long dark underpass linking the outsideworld to Beckett.MEGAN (V.O.)(pre-lap)I want to start my life over again.So far, I’ve been: rebelliousteenager, lover, waitress.EXT. BECKETT ROAD - MORNINGMegan continues down Beckett Road and jogs up her driveway.INT. MEGAN’S HOUSE - LATER THAT MORNINGMegan stands in front of an open closet. Her ivory hand dartsbetween silk blouses and skirts.MEGAN (V.O.).gallery director, nanny, and.a whore.(a moment)And not necessarily in that order.Scott approaches, slides his hands down Megan’s side, then upher skirt to remove her panties. They begin to have sexagainst the open closet.MEGAN(pre-lap)I can’t just be a wife anymore.She is disconnected, disinterested. Scott doesn’t notice.MEGAN(pre-lap)That’s why I stay awake at night,staring at the ceiling.
8.INT. DR. ABDIC’S OFFICE - DAYCLOSE ON: MEGAN’S FACE AS SHE TALKS TO SOMEONE:MEGAN.In fact, the only time I feellike myself is when I’m running.DR. ABDIC (O.S.)You always felt that way?MEGANMaybe since I was about seventeen.With Mac.DR. ABDIC (O.S.)Mac? Who’s Mac?MEGANMy brother’s best friend. Mybrother who died.We finally see the extremely handsome, dark-haired man whosits across from Megan. This is DR. KAMAL ABDIC. He’s foreignwith a quiet command. She has been speaking to him the wholetime.She smiles. She covers her mouth with her hand.MEGANI tend to smile when I’m nervous.Sometimes, I laugh.She moves from her chair to a couch across the room.A moment passes. Finally, the Doctor’s inviting silenceelicits Megan’s confession:MEGANFor a year, Mac and I lived in thishunting cabin. We started fucking.We were the saddest people we knew.But in a way, that cabin made ushappy. No one could find us.(a moment)Everyone thought we were dead.DR. ABDICAnd if you were to run away today,right now, where would you go?Megan glances outside, where she can see the train passing.The Doctor notices. Megan moves again, to sit much closer tohim.(CONTINUED)
9.CONTINUED:MEGANI read once that when a train hits,it can rip the clothes right off ofyou.After a moment:MEGANI’m pretty sure Scott thinks thenanny job is gonna make me lessrestless-- make me wanna getpregnant.DR. ABDICAnd that’s not the case?MEGANWhen I finish work every night, Irun home, and I get in the showerand wash the smell of that baby offme as fast as I can.Megan stares at Abdic. He waits for her to continue, but shejust looks at him with great intensity.PRE-LAP: A gentle lullaby, and the sound of splashing water.A baby’s giggle.CUT TO:Title: ANNACUT TO:Title: TODAYINT. TOM AND ANNA’S HOUSE - BATHROOM - DUSKA living portrait: ANNA, pure and sweet, with dimples fordays, looks down into the camera with absolute love.ANNA.When you woke up this morning Iwent and I brought you back to bedwith me.Anna kneels on the tiled floor, leaning over the bathtub,gently washing her baby, EVIE.ANNA.And when I was feeding you. Weheard daddy singing from thekitchen, didn’t we?(sung to her baby)“Happy Birthday to you, HappyBirthday to you, Happy Birthdaydear Anna, Happy Birthday to you!”(CONTINUED)
10.CONTINUED:Megan, her nanny, steps out of the dark shadow, holding atowel for Anna to place her baby into.ANNADaddy came upstairs with abeautiful breakfast that he madefor Mommy, didn’t he? Yes he did.(noticing Megan)Thank you, Megan.Anna places her baby into Megan’s arms.ANNAThere you go.INT. TOM AND ANNA’S BEDROOM - MOMENTS LATERMegan hands the swaddled baby to Anna who now lays in herbed. Anna sits Evie on her stomach.ANNA(to Evie)Oh, hello.Anna laughs as she tickles Evie and turns to Megan.ANNAI swear I sometimes feel like myheart is gonna explode. I mean,look at her.(laughing)Look at her!The phone rings. Megan goes to answer it.ANNA(to Evie, playful)You’re not sleeping! You’re notsleeping.MEGAN (O.S.)(on phone)Hello? Hello?Anita’s interest is piqued. She takes Evie into the-INT. HALLWAY - CONTINUOUSShe finds Megan on the hallway phone.MEGANHello.?Megan pushes the END button on the phone. Anna steps into thehall.(CONTINUED)
11.CONTINUED:ANNAIs that another hang-up?MEGAN.Mm-hmm.Anna, visibly shaken, tries not to get upset.INT. FAMILY ROOM - MOMENTS LATERAnna has Megan help her fold a fitted sheet.ANNA.and grab the corners. Andstraighten.MEGANI got another job.Anna is blindsided.ANNA.You what?MEGANI’m really sorry, Anna.ANNA(confused)I thought you were happy here. Imean, you seemed happy here.MEGANI am. It’s just this isn’t what I“do.”ANNA.Take care of children.?Megan drops the folded sheet onto a pile.MEGANOr laundry.(beat)Another gallery head-hunted me.ANNA(trying to be positive).That's great.MEGANThe thing is, it starts tomorrow.(CONTINUED)
12.CONTINUED:ANNAI’m out all day tomorrow. That isso uncool.MEGANI hate to leave you like this,without childcare, but.you don’thave a job.Anna turns away, insulted.MEGANOk, that sounded wrong. I know thatyou’re busy volunteering.ANNAIt’s not the volunteering. It’s allthe shopping, it’s spending hoursin the farmer’s market, it’sfinding the right foods for her,it’s pureeing sweet potatoes. And Ido all of this at the same time asI’m nursing.Megan looks at Anna carefully. Anna is exhausted.MEGANMaybe you should go back to work,too. Mothers need to work, it’sactually better for the kid.ANNAHow would you know?That was a low blow. Megan absorbs it, hurt, then gently putsher set of keys down on the counter.MEGANYour key.ANNAThere is no job more important thanraising a child.Megan heads out of the kitchen towards the front door.ANNA(defeated)Megan, please.Megan exits without turning.
13.INT. FAMILY ROOM - LATERAnna stirs from a nap on the couch to the sound of Eviecrying.coming from outside.She races to the open front door in a panic.EXT. TOM AND ANNA’S HOUSE - MOMENTS LATERAnna emerges from the house, frightened, and rushes forward.ANNARachel? What are you doing? Give memy baby.We see Rachel standing in the middle of the yard, cradlingEvie.ANNARachel, what are you doing?!INT. TOM AND ANNA’S HOUSE - MOMENTS LATERClose on Anna, reliving what we realize was a memory.TOM (O.S.)Hello?Tom enters. We recognize him as the Man from Rachel’s memoryon the train.He hands Anna some flowers and groceries and kisses hersweetly on the lips.ANNA(re: flowers)Thank you. Beautiful.She notices that he’s on his phone.ANNAHow many times has she texted youtoday?TOM(frustrated)I don’t know.ANNA(unable to relax)She called the landline threetimes.TOMWow.(CONTINUED)
14.CONTINUED:ANNAYou have to have a talk with her.TOMI know.ANNAIt’s getting crazy.TOMI will. I know I know I know.ANNAOkay.Tom cups Anna’s face gently in his hands.TOMIt’s going to be fine. Isn’t italways fine? Don’t I always makeeverything fine?.Anna won’t smile. He playfully pokes at her lips until shelaughs. They kiss.TOMWho gives a shit? It’s yourbirthday. You sure you don’t wantme to take you out tonight?ANNANo, I like it at home.He opens a beer and sets the magnetic corkscrew/bottle openeron the fridge door before hopping onto the counter.TOMCall Megan. Ask her to come back.ANNAShe just quit.TOMShe what?ANNA.She just told me she got anotherjob.TOM.Shame. I thought you guys werekind of a good team together.ANNASo did I.
15.EXT. TRAIN - SAME NIGHTThe cars of the train slowly pass-- the glow of the windowslighting up the commuters in their seats. And here is Rachel-looking out.INT. ANNA’S FAMILY ROOM - SAME NIGHTThe camera hovers outside the window, looking in at Anna whoeats a candlelit takeout birthday dinner with Tom and Evie.Tom pulls out his phone and snaps a picture.INT. MEGAN’S BATHROOM - SAME NIGHTMegan stands at the plate glass window that lines her showerstall. She looks out at the moonlight that casts itselfacross the Hudson River. Water beats down on her.EXT. RACHEL’S STREET - SAME NIGHTExiting the train station, Rachel walks towards her home,wide eyes sighing as they take in the bleak Croton landscape.INT. ANNA’S BEDROOM - SAME NIGHTOVERHEAD WIDE SHOT: Anna and Tom are in bed. Tom is soundasleep, but Anna is wide-awake.INT. MEGAN’S BATHROOM - SAME NIGHTThe camera floats behind Megan as a naked Scott steps intothe stall and kisses her.EXT. RACHEL’S STREET - SAME NIGHTRachel enters a liquor store.INT. MEGAN’S BATHROOM - SAME NIGHTScott has Megan pressed against the glass shower door as hehas sex with her from behind.INT. RACHEL’S BEDROOM - SAME NIGHTRachel sits in bed. She finds TOM’S FACEBOOK PAGE on herlaptop. She stares at the photo Tom took earlier that nightof he and Anna laying next to Evie.The caption reads: I’VE NEVER KNOWN LOVE LIKE THIS! ME AND MYGIRLS! HAPPY BIRTHDAY, MOMMA!
16.INT. ANNA’S BEDROOM - SAME NIGHTTom’s phone buzzes. Anna sits up in bed and can see thecaller ID reads: “RACHEL”. She angrily shoves the phone offthe dresser and slumps back into bed.INT. RACHEL’S APARTMENT - SAME NIGHTCLOSE ON: A cellphone sits on the counter, dialing onspeaker.Rachel pours a glass of white wine. VERY DRUNK. Tom’svoicemail picks up:TOM(outgoing message)Hey, it’s Tom. Sorry I missed you.I’ll get right back to ya!RACHEL(into phone)Hey, Tom, it's me. I just wanted towish Momma a happy birthday. "Happybirthday, Momma--”CATHY, Rachel’s roommate, appears, grabs Rachel’s phone andpresses END.CATHYRachel! Jesus.Cathy pours the wine down the sink. Rachel grabs at thebottle.RACHELNo no no. No, don’t, Cathy. Pleasestop it! Cathy, come on!But Cathy easily fends her off.CATHYRelax, relax.Unsteady, Rachel nods and softens.RACHELI just need something to go tosleep. I just need a little bit togo to sleep.Cathy gently guides Rachel towards her room.CATHYWhat brought this on?(CONTINUED)
17.CONTINUED:RACHELHe posted another picture of thebaby. It was a cute picture.CATHYYeah? Facebook and drunk ex-wivesdo not make good friends.Offended by the implication, Rachel pulls away from Cathy.RACHELI got it. I got it.CATHYAlright. I’ll just get you to yourroom.They’ve arrived at Rachel’s room.INT. RACHEL’S BEDROOM - CONTINUOUSRachel crawls into the bed looking around her small room.CATHYRachel, you have to stop callingthem. Okay?Rachel nods. She reaches up to pull Cathy to sit beside her.RACHELI really appreciate this room. Ido. I thought that I would just behere for a couple of weeks or amonth.CATHY(abrupt)Yeah. That was two years ago.But she shakes her head and smiles.CATHYGet some sleep.Cathy switches off the light and leaves. Rachel looks at herphone.INSERT: Rachel’s outgoing call log screen reads: TOM (11).Rachel looks over the times: 11:02, 11:12, 11:54, 12:09. Shelets out a sigh.INT. DOCTOR’S OFFICE - DAY - RACHEL’S MEMORYRachel and Tom sit in a DOCTOR’s office, distraught.(CONTINUED)
18.CONTINUED:DOCTORIVF rarely works the first time.Would you like a moment?Tom takes Rachel’s hand.TOMIt’s okay, sweetie. We’re gonna tryagain.RACHELWe can’t afford to do it again.TOMWell, when we can, we will.She rests her head on his shoulder. He kisses it.INT. RACHEL’S BEDROOM - CONTINUOUSRachel stirs in her bad and a new memory intrudes.EXT. SCOTT AND MEGAN’S HOUSE - NIGHTRachel remembers Scott and Megan snuggling outside by theirfire pit, kissing.INT. RACHEL’S BEDROOM - CONTINUOUSRachel finally sleeps.EXT. TRAIN TRACKS - MORNINGThe train surges by along the tracks.INT. TRAIN - NEXT MORNINGRachel rides the train as it barrels past homes andbuildings.Rachel reaches into her purse and pulls out a tube oflipstick.She brings it to her lips, but quickly realizes that shecan’t steady her hands enough to put it on. So, almost byrote, she puts it away.Rachel catches eyes with the MAN IN THE SUIT. The Man shakeshis head in judgement and raises a magazine to his face.EXT. TRAIN TRACKS - CONTINUOUSFrom high above, the train crawls along the riverside.
19.INT. TRAIN - CONTINUOUSRACHEL’S POV OUT THE WINDOW: Rachel sees Megan alone on herporch, looking out at the train.RACHEL (V.O.)I wonder what she’s looking at.Or if she even sees this train atall.Rachel gives a little smile. A moment of reprieve from hertroubled mind.NOW, SOMETHING PECULIAR HAPPENS.a DARK-HAIRED MAN steps onto the porch, and embracesMegan.CLOSE ON: Rachel blinks.The train stops at the station, allowing Rachel a closerlook.The Dark-Haired Man’s face is obscured in the shadows, BUT ITIS NOT SCOTT.RACHEL (V.O.)Who is that man?AND THEN THEY KISS.The train begins moving again and Rachel quickly jumps to herfeet.CONDUCTOR (O.S.)The next station is: Ardsley-onHudson.Rachel pushes her way up the aisle, blocked by a fewpeople who have just boarded the train.With every few steps Rachel takes, she manages to see anothersliver of the view of Megan and the Dark-Haired Man.Rachel enters the next car, running to keep her view as thetrain departs.BOOM! Another train barrels by in the opposite direction,totally obscuring Rachel’s view.A familiar ache fills Rachel’s chest. She bends over, feelingsick.RACHEL (V.O.)What is she doing?
20.INT. GRAND CENTRAL TERMINAL - MOMENTS LATERRachel exits her train with scores of other commuters,looking numb. She’s bombarded by images, fast cuts of:- Megan and the man kissing. We recognizes him as Dr. Abdic.- Glimpses of a laptop, displaying an email with the subject:XXXXXXXXBACK IN GRAND CENTRAL TERMINAL:Devastated, Rachel walks toward the Grand Hall. She passesthe window of a liquor store.She slows.RACHEL (V.O.)She’s throwing it all away.CUT TO:INT. GRAND CENTRAL TERMINAL - SAME DAYRachel pours a bottle of vodka into her empty squirt bottleand throws the vodka bottle into the garbage. It shatters.EXT. CENTRAL PARK, UNTERMYER FOUNTAIN - SAME DAYRachel sits before a beautiful bronze sculpture of threedancing maidens holding hands and joyfully dancing in acircle.Nearby, a BOY drums on a plastic bucket.Rachel sips from her squirt bottle.She flashes to Megan and Abdic kissing. then to her restingher head on Tom’s shoulder at the clinic.And then to the email. We get a cleaner view. It’s a chainbetween Tom and Anna.INT. TOM AND ANNA’S HOUSE - DAYRACHEL’S MEMORY: Rachel sits in front of an open laptopstaring at the email as Tom’s voice reads it.TOM (V.O.)Anna, I fell asleep last nightthinking of you. I dreamed aboutkissing the inside of your thighs.Holding your breasts. God, I wish Iwas fucking you right now.(CONTINUED)
21.CONTINUED:Rachel slams the laptop closed and hurls it against thebedroom wall.EXT. CENTRAL PARK, UNTERMYER FOUNTAIN - SAME DAYAnna walks alone, overcome by tears, trying to banish thememories.TOM (V.O.)Anna, I love you. I love you somuch.RACHEL(pre-lap)When it happened to me, I founddozens of emails. Tom told her thathe’d never felt like this before.He said it wouldn’t be that muchlonger until they were together.INT. OYSTER BAR - GRAND CENTRAL - LATER THAT DAYRachel sits at the lunch counter drinking a martini. Shespeaks to another patron. A WOMAN, 70, who is drinking aloneas well.RACHELI know what they say: “Youshouldn’t check his email.” I wasstupid. But when I saw it was fromthe realtor I thought that it wasjust spam. And then I realized thatthey were kisses not Xs and myhusband was fucking a Century 21Agent.She laughs at the absurdity.WOMANThat sucks.RACHELIt does. Her name was Anna Boyd andhe was in love with her.SLAM CUT TO:INT. OYSTER BAR - BATHROOMCLOSE-ON: Rachel runs lipstick over a mirror, creating a bigX X X X X.She turns from the mirror where the woman is standing andwatching her. Rachel raises her phone in front of them.(CONTINUED)
22.CONTINUED:RACHEL(drunk whisper to woman)Come here for one second. Say "fuckyou, Anna Boyd", but just yell it.The woman nods. Rachel turns on the phone's video. Togetherthey shout into the camera.RACHEL/WOMANFuck you, Anna Boyd!Rachel sets the phone down on the edge of the sink. The phonestill recording video as she continues her rant.RACHELThat bitch is living in my house. Ipicked everything in that house. Ipicked everything. I picked thedining table, the kitchen table. Iwonder if she knows that I fuckedTom on the same table that her babyeats at. I just want to tell her. Iwish I could tell her. I pickedeverything in that house. I fuckingpicked everything in that house!Rachel turns back to the mirror. Her energy has shifted,there's an anger rising within her.RACHEL.I could never find the words todescribe how I felt when I readthat e-mail, but this morning, Idid. I did. When I saw that womankissing someone else, betraying herhusband, I felt it. I felt. Pure.Rage.Slowly the Camera pushes into Rachel’s naked face as thesound of the bar vanish.RACHEL.Like something has been takenfrom ME again. If I could. If Icould, I’d just go to her house.And I’d go in and find her sittingat the kitchen table. I’d wrap myhand in her long blonde hair andjerk her head back. Just jerk itback! And then I’d pull her down tothe ground and I would just smashher head all over the floor!Rachel smears the lipstick Xs into oblivion in her rage.(CONTINUED)
23.CONTINUED:Hold. Rachel stands alone in the middle of the bathroom,nobody listening, in total SILENCE.SLAM CUT TO:INT. TRAIN - LATER THAT DAYRachel, her eyes alive with a drunken mission, stands on apacked train, her body sways with the train’s rhythms. Shesucks down vodka from her squirt bottle.SIXTY SCHOOL CHILDREN DRESSED IN UNIFORM fill the car.Rambunctious and loud, their noise consumes the train.One YOUNG GIRL catches Rachel’s eye, regarding her frankly.Rachel looks around and it seems like everyone is staring ather.Rachel’s gaze careens out the window trying to see intoMegan’s house.The image of Megan kissing Abdic flashes in her vision overand over.The train slows to a stop. Rachel suddenly pushes her waythrough the crowd to get off the train, pushing through thekids and other commuters who block her way.RACHELMove! Get out of my way! Move!Rachel runs down the aisle and gets off the train.EXT. ARDSLEY-ON-HUDSON TRAIN STATION - CONTINUOUSRachel’s feet HIT the platform and she stumbles forward,oblivious to conversations going on around her. She quicklypicks herself up and runs down the side of the train as theengine screams past her.CLOSE ON: Rachel’s face is pale.THE MAN IN THE SUIT stares at Rachel from across theplatform. She opens her mouth to say something to him, butthe words keep evaporating off her tongue.EXT. UNDERPASS - MOMENTS LATERRachel leaves the station and looks ahead through the ARCH OFTHE UNDERPASS-- the dark tunnel. She is driven onward by theMan, who seems to be following her.She drunkenly cuts off the road into the woods, but continuestowards the underpass. Something inexplicable pulls herforward.(CONTINUED)
24.CONTINUED:In a mad trance, Rachel hears the click-click-click of highheels, and sees a BLONDE WOMAN striding purposefully into theunderpass. Is it Anna?RACHELHey! Hey!!!She chases the woman into the dark underpass, sees thewoman’s red jacket moving further away, and bellows out:RACHELYou whore!She is suddenly swallowed by the SCREAM OF BLACKNESS.INT. RACHEL’S BEDROOM - SAME MOMENTRACHEL’S POV: Details come slowly into focus. An empty vodkabottle. The overturned squirt bottle. Rachel’s hand, withdirt under the fingernails. Her sweater, matted with blood atthe shoulder. Her phone, also flecked with blood.Rachel stirs painfully and we see her hair matted with bloodas well. She reaches for the phone. A voicemail from Tomplays over the speaker.TOM(on speaker phone)Jesus Christ, Rachel! What the hellis wrong with you? I’ve spent thepast hour driving around lookingfor you! You scared the shit out ofAnna, do you know that?CLOSE ON: Rachel’s fingers run across her scalp. She tries toseparate some of the bloody strands.TOM(on speaker phone)She thought you were going to.shewanted to call the police. So justleave us alone!Rachel sits up in bed. She looks to the floor and sees heropen purse with its contents strewn on the shag rug.Blood droplets stain the rug next to her jeans and panties.TOM(on speaker phone)You can ruin your own life if youwant to, but you’re not gonnadestroy ours. I’m not gonna protectyou any more.(CONTINUED)
25.CONTINUED:She catches a horrific sight in the mirror across the room.It’s a woman with large streaks of dried blood smeared downher face-- staring back at her!Rachel realizes that she is looking at HERSELF.SMASH CUT TO:INT. RACHEL’S BATHROOM - SECONDS LATERRachel frantically washes the blood from her face.RACHELOh my god.CLOSE ON: Rachel digs the dirt out from her fingernails.She looks at herself in the mirror. With the blood gone, shecan see the bruises that mottle her arms and legs.KNOCK. KNOCK. KNOCK!CATHY (O.S.)Rachel, open the door.RACHELCathy, I just need a sec.CATHYAre you ok? Rachel, open the door.Rachel abruptly opens the door.RACHELI have a stomach flu, okay?CATHYYou don’t have a flu. What thefuck, Rachel? I’m not stupid-Cathy slams the door and returns to the mirror. Cathy KNOCKS.CATHYRachel!RACHELCathy, just go away!INT. RACHEL’S BATHROOM - SAME DAYThe camera hovers behind Rachel’s back as she sits naked onthe edge of the bathtub, holding herself and watching thevideo of her drunken rant.(CONTINUED)
26.CONTINUED:RACHEL(on phone).Fuck you, Anna Boyd!RACHEL TRIES TO REMEMBER FLASH - The Man in the Suit races towards us.FLASH - Rachel screams out to the woman.RACHELYou whore!FLASH - A blonde woman falls to a kitchen floor.FLASH - Rachel runs through the underpass.FLASH - TEENS blow smoke into Rachel’s face.FLASH - Rachel lies halfway in a drainage ditch flowing bythe underpass.BACK IN BATHROOM:Rachel slowly lowers herself into the tub.INT. TRAIN - DAYClose on Rachel during her morning commute, eyes closed,trying to remember.INT. KITCHEN - NIGHTMEMORY: Rachel steals up behind a Blonde Woman sitting at akitchen island. Suddenly, Rachel grabs her hair and throwsher to the floor.FLASH - A silhouette runs through the underpass.INT. TRAIN - DAYRachel’s eyes snap open, startled.She tries to focus on her sketch book. She’s been drawing theunderpass.EXT. CITY - DAYThe train disappears into a tunnel under the city streets.INT. CHURCH OF ST. LUKE’S, NYC - MONDAY MORNI
The cityscape slowly spins below us as we find the train on the tracks. INT. TRAIN - NIGHT Rachel's profile has flipped again: she rides the EVENING TRAIN and watches as she passes the urban landscape of Harlem. RACHEL (V.O.) Today her name is "Jess," tomorrow it could be "Lisa" or "Amber." It all depends on the day, it depends on .
