THE TRANSFER

by Jared Battaglia

EXT. FERN HILL ACADEMY - QUADRANGLE - DAY

Shafts of sunlight fall from pale clouds onto campus. Under a GREAT TENT throngs of newly accepted students and prospective parents mingle with alumni, faculty and current students for the school’s annual REVISIT DAY.

Outside the tent a YOUNG WOMAN lies motionless on the main lawn. Chestnut tresses scattered across the grass. Oddly serene, eyes fixated at the sky. Heart pounding in her ears. Thump. Thump. Thump.

This is LEONA VAN TIL, 17.

VARIOUS VOICES (O.S.) Something’s wrong with that girl. What happened?! -- I don’t know.

All of a sudden, Leona’s body twitches violently on the ground, legs arched in a crooked pose. CLOSE ON -- her eyes roll back into her head so only the white shows.

VARIOUS VOICES (O.S.) (CONT'D) Find the nurse! Call 911!

FADE TO WHITE.

EXT. FERN HILL ACADEMY - ANOTHER DAY

OPEN ON a firecracker red JEEP CHEROKEE CHIEF slipping by a STONE POST inscribed: FERN HILL ACADEMY.

Welcoming us onto the grounds of this exclusive boarding school. Isolated by fields and sweeping views of the woods beyond. Far removed from the outlying rural communities in the distance.

EXT. FERN HILL ACADEMY - SOUTH GATE - ESTABLISHING

Under a radiant blue sky, the Jeep glides past a security station through wrought iron gates opening to a collection of elegant grey stone buildings set on five-hundred beautiful green acres.

INT. JEEP CHEROKEE CHIEF - DAY

At the wheel, HOWARD VAN TIL (40) steers up the driveway. Clean-shaven, youthful-looking suit and tie type. Eyes filled with nostalgia as he digests the scenery.

HOWARD The Hill’s a cut above the rest.

Next to him, his daughter LEONA, a classically trained violinist, stares out the passenger side window. Wears a collared shirt and knee-length skirt. No make-up. She clutches a hard shell violin case against her lap.

HOWARD (CONT'D) Made a lot of great memories here and you will too. Give it a shot, Leona. That’s all I’m asking.

LEONA ...I’ll still be the freak who had a seizure on Revisit Day.

HOWARD Honey, no one’s gonna remember.

Leona smiles thinly.

LEONA Debateable.

HOWARD This post-grad year is a fresh start for you to get back on your feet and ready for Eastman next Fall.

Leona stares out at the empty campus.

LEONA There’s hardly anyone around.

HOWARD Only a couple hundred kids at the Hill. Bit of an adjustment but you’ll get used to it.

EXT. CAMPUS ROADWAY - CONTINUOUS

The Jeep drives down a grand thoroughfare connecting the upper and lower levels of campus.

INT. JEEP CHEROKEE CHIEF - TRAVELING

Howard steers across an overpass bridge shadowed by brilliant autumn color leaves spilling from the edge of the woods.

LEONA I’ll be fine. You don’t need to worry about me.

Howard looks over.

HOWARD I do worry, Leona. You’re my daughter.

Simultaneously, a FEMALE STUDENT steps onto a crosswalk ahead, cast in shadows by the cold sun. She glances up, terrified as the car barrels towards her. Leona’s eyes widen at the road.

LEONA Dad, look out!

Howard grabs the wheel, swerves across lanes onto a curb. STRIKES the guard rail. Headlights CRACK! Howard jolts and SMACKS his head. Smoke chimneys from the engine.

HOWARD Damn it!

Leona panics, breathing heavily. The Girl in the Road disappears from view. Howard winces, puts his fingers to his forehead, feels blood seep from a shallow cut.

LEONA You’re bleeding.

HOWARD I’m fine. Grab me the first aid kit out of the glove compartment.

EXT. CAMPUS ROADWAY - CONTINUOUS

PULL OUT to REVEAL: ELLIE CHILDS, 17, standing back against an opening through a patch of rhododendrons bordering the road. Pretty features, shy and cautious. Watches perplexed as the Jeep backs onto the road and takes off.

EXT. FIELD HOUSE - ESTABLISHING

The LACROSSE TEAM jogs in single file along the school’s perimeter. Sticks and gloves, helmets off. Keeping pace. One behind another in Indian Run formation.

GEORGE WARD (17) dashes to the head of the line. Head full of sandy-brown hair. Instantly likeable and parent pleasing on all cylinders. George is this school’s unanimous Golden Boy.

Within seconds, ALDEN MARTEL, also 17, charges in front of him. A tall and broad, cocky blue-blood Brahmin.

ALDEN Goin’ nuts here, man.

George keeps pace behind him.

GEORGE Martha’s making ya sweat it out?

ALDEN Labor Day at her house in Bar Harbor then crickets. You don’t understand, her vagina is like putting your dick into a purse of diamonds.

George makes an odd face.

GEORGE Some endorsement.

Alden bites his lower lip.

ALDEN I should be hitting that carte blanche the way I was meant to. She says I’m too big and it hurts.

GEORGE Feel free to leave those details out with me, Alden.

ALDEN Don’t hate!

Just then a JV PLAYER runs in front of Alden. Immediately, Alden sticks his long stick out and gooses the JV Player, putting a hop in his step.

ALDEN (CONT'D) Faster, bitch!

The team passes a century-old GIRLS’ DORM known simply as BIDDLE HALL, right as the JEEP pulls into an empty spot.

George watches Leona step out from the passenger side door, standing there like a picture. She meets his gaze. George gives her a familiar smile as the squad carries on.

INT. BIDDLE HALL - GIRLS’ DORM - CORRIDOR

Leona and Howard are lead down the hallway by a warm and friendly DORM PARENT. Howard transports a rusty lockable tuck box in his arms as they follow their guide.

DORM PARENT The Hill is a special, self- contained community. The music program is a big part of it.

HOWARD That’s why we’re here.

They share a smile. She regards Leona’s violin.

DORM PARENT Night visitation hours are from six to eight. All doors must remain open at a forty-five degree angle with visitors of the opposite sex. Lights on and three feet on the ground at all times.

HOWARD I appreciate that one.

Leona rolls her eyes.

DORM PARENT Check ins are nine. I’m on the first floor, if you ever need anything or want to plan a dorm deck and make fun snacks together.

The Dorm Parent lights up with an eyebrow flash. They arrive at a door at the end of the hallway.

DORM PARENT (CONT'D) And here we are.

INT. DORM ROOM - DAY

A small room within a turret overlooking the piney woods beyond campus. An empty built-in bed is pushed against the wall, a grey pinboard desk sits by the window.

Leona steps into the room, shimmies her duffel bag off her shoulder onto the hardwood floor and places her violin case on the empty bed.

HOWARD Lot smaller than I remember.

LEONA You’ve filled out since.

HOWARD Hey cut that out, young lady.

Both grin. Leona searches her eyes around the stark room.

LEONA No roommate I guess.

HOWARD Enrollment must be down.

Leona curiously regards the door knob.

LEONA Or locks on the door?

HOWARD It’s a trust system. You’ll get used to. Think of it as one big sleep over on your floor every night.

LEONA Sure you don’t wanna stay the semester yourself?

HOWARD (playful sigh) My Hill days are over.

Leona pushes the curtains aside, peers out over campus as sunlight comes into the room.

LEONA Just saying.

Howard checks his watch.

HOWARD Sweetie, you should head to chapel or you’ll miss morning meeting.

Leona gives him a look.

LEONA Chapel? Really?

HOWARD More tradition than anything else. Don’t worry they won’t make you pray.

LEONA I might need to.

HOWARD I’ll be in Reykjavik next few weeks but I’m always one phone call away. (beat) Come on, bring it in.

Howard steps forward and embraces her with open arms. Leona goes with it.

EXT. GIRLS’ DORMITORY- GROUND FLOOR - SOON AFTER

Leona exits the building and catches a glimpse of ELLIE, the girl from the road, a few feet away at a bench. Ellie stands and approaches her, almost as if she’s been waiting.

ELLIE I feel terrible about what happened.

LEONA I’m sorry?

Leona doesn’t make an immediate connection. A shy smile crosses over Ellie’s face as they begin walking side by side.

ELLIE Your car. I crossed before looking. I just panicked. That’s why I ran off like that.

LEONA (remembers) Oh, we were fine. Good you’re okay.

Leona reaches her hand over.

LEONA (CONT'D) I’m Leona.

Ellie takes her hand.

ELLIE Ellie. You’re a transfer?

Leona gives her a conspiratorial smile.

LEONA Do I wear it on my sleeve?

ELLIE It’s not that. The Hill’s just really small. Easy to tell when there’s a new face around. Didn’t like your old school?

LEONA Was fine. I play the violin. My counselor suggested a PG year at a new school, help my chances of getting into a conservatory. I had surgery, missed class last year.

ELLIE I used to play. Not anymore. But the Hill really is a lot different than most schools.

Leona nods, taking in her surroundings.

LEONA Felt that way when we drove in. My Dad went here. Always wanted me to. Never thought I’d actually be here. (beat) Guess there’s a morning meeting?

Ellie rolls her eyes.

ELLIE Mandatory. Every morning. I’ll show you a short cut.

Leona smiles.

LEONA Thanks.

EXT. CHAPEL - ESTABLISHING

The chimes toll from a Norman-style chapel. Ivy creeps up the stone walls surrounding a large circular window.

INT. CHAPEL - CONTINUOUS

The LADY SILVERTONES perform on an erected stage for a packed house of high-performing students, many from old line families.

Front and center is MADELINE NELSON, 17, leading the A CAPELLA chorus. Dark lustrous hair, rosebud red lips and porcelain skin.

A saintly-looking getaway with anything beauty in a fresh pressed white blouse & grey pleated skirt, socks pulled to her knees and a pair of white oxfords on her feet.

MADELINE We’re way too beautiful girls. That’s why it’ll never work. We’ll have you suicidal, suicidal. When we say it’s over...

She spins her fingers and points back at herself. The other girls on stage follow her gestures with a back up of ba ba bum ba bums.

Next up, MARTHA VENTURINI, 17, comes forward with a big pageant queen smile. A willowy blonde saddled by long clumsy legs. Martha belts out her lyrics pitch perfectly.

MARTHA Damn, all these beautiful girls. They only wanna do you dirt. We’ll have you suicidal, suicidal. When we say it’s over.

Martha makes a flirty frown then holds out her wrists and pantomimes slashing them. In the front row, CECILIA SHIPLEY, 38, watches among a group of faculty members.

MS. SHIPLEY is a dedicated music teacher with honey-red hair and an off-kilter cool cultivated from years of living her twenties in whichever New York borough was hip at the time.

MS. SHIPLEY (in a hushed tone) Is it just me or is this song wildly inappropriate?

Ms. Shipley turns her head towards MS. PENDLETON, 50s, a tightly-wound voice teacher with shocks of white-grey hair, draped in a dramatic black poncho. She watches the performance with pride.

MS. PENDLETON It’s just you Cecilia. Did you miss 2007? It was a hit.

At this time, Leona and Ellie sneak into the pews among a flood of rousing applause. Leona’s entrance has Ms. Shipley’s curiosity piqued.

On stage, Madeline and Martha now share a microphone, addressing the entire student body.

MADELINE For us Six Forms, this is our final year at the Hill. It’s bittersweet but “in my end is my beginning.”

MARTHA T.S. Elliot.

Madeline and Martha smile. Everyone claps. Leona and Ellie find vacant seats among other Six Forms, the top of the upper school pyramid. They sit down, then --

ELLIE (quietly, to Leona) Madeline Nelson and Martha Venturini have this place wrapped around their fingers...

MADELINE But you guys, we still have so many memories left to make. Social Committee is holding a silent auction at the Six Form Dance for students on financial aid to go on the Mozambique service trip with us in the spring. (then) This trip was not included in their financial aid packages so let’s help everyone at the Hill come with us to Africa then we can all help Africans together.

Martha nods.

MARTHA They really need it you guys. We’re building a fresh water pump at a village where bottled water is unheard of. They don’t even have a word for it.

Alden cracks a laugh in the audience. Ellie subtly motions a few rows up to where George and Alden are seated.

ELLIE The asshat is Martha’s boyfriend Alden. Runs the Hill’s underground contraband. George next to him dates Madeline. The Unholy Four.

Leona raises an eyebrow.

LEONA Unholy Four?

Ellie nods slowly.

ELLIE I try to stay out of their way.

For a moment, George glances back and sees Leona looking in his direction. He gives her a casual smile. She averts her eyes. Alden catches their exchange.

ALDEN (covertly) Better not let Madeline catch you checking out that transfer or she will strap it on and fuck you.

George rolls his eyes.

GEORGE Madeline can suck it.

He throws up two middle fingers at his knees.

EXT. CHAPEL - A SHORT TIME LATER

Gobs of prepsters trickle out from two large wooden doors as Ellie and Leona navigate through the morning exodus.

ELLIE Have you boarded before?

LEONA No, this is my first time. I went to public school.

ELLIE Boarding school’s a sex den, a drug den, it’s a binge drinking den. Majority of the kids that go here are so rich they’re born to retire...

In that moment, the Unholy Four exit the Chapel together in an effortlessly cool slow-motion walk. This enviable and perennial power source at the Hill.

Madeline clings to George’s waist, hand in his jacket pocket. Alden slings his arm over Martha, signals the girls.

ALDEN What are you droogs up to tonight?

Madeline considers.

MADELINE I want to have a debauch in the woods.

ALDEN Then let’s make it happen.

Madeline hones in hawk-like on Leona passing their sight lines. Her eyes perk. Predator senses kicking in.

MADELINE Who was that?

Martha spots her.

MARTHA Don’t know. Don’t care.

George notices.

GEORGE She’s a transfer.

ALDEN Wait, is that the one that --

Alden convulses his body in place.

ALDEN (CONT'D) On Revisit Day?

Madeline nods, coolly.

MADELINE That’s right.

GEORGE (to Madeline) Why not just introduce yourself? Make a new friend.

Madeline gives him a weird look.

MADELINE ‘Cause I don’t want new friends, George. Sandbox full.

Madeline and Martha chuckle, leaving the guys behind. Alden flips his wrist at George like a bullwhip -- CRAAACK! George rolls his eyes and shakes his head.

INT. MUSIC WING - HALLWAY - DAY

We hear a hauntingly beautiful and melancholy nocturne masterfully played from down a long twisty corridor.

INT. FACULTY OFFICE - MUSIC WING - DAY

With hellish grace, a hand draws a bow sharply across the strings of a violin. WIDEN to Leona commanding the stage on a streaming video. Intensely focused, eyes shut tight.

Ms. Shipley watches from a laptop on her desk. After the video ends, she minimizes the window and shifts her attention to Leona seated in front of her desk.

MS. SHIPLEY Your Eastman audition tape is excellent, Leona. I’m very impressed.

Leona smiles graciously, uneasy with praise.

LEONA Thank you, Ms. Shipley.

MS. SHIPLEY You know, they say the violin is the closest instrument to the human voice and yours really does come through. (beat) It’s been a year since you played?

Leona folds her hands together.

LEONA Just about.

MS. SHIPLEY Your Dad explained the situation to me on the phone. You had major surgery. Recovery takes time.

LEONA Violin has always been a huge part of my life. I just want to get back to the level I was before.

MS. SHIPLEY You will. As your faculty advisor we’ll work on it together. Frankly you’re one of the best violinists I’ve seen at the Hill. (MORE)

MS. SHIPLEY (CONT'D) Which doesn’t surprise me, given you had an extraordinarily talented teacher.

This makes Leona smile.

LEONA She was.

MS. SHIPLEY Madeline Nelson is our current first chair but I could see that changing.

Ms. Shipley’s voice fades as Leona’s vision begins to blur, coming out of focus. An unsettling feeling creeps in.

BLACK.

Now, we’re TIGHT on Leona -- her eyes shift from left to right. Mind spinning. PULL OUT TO REVEAL --

INT. THE REC - LATER THAT DAY

A large circular two-story room with vaulted ceilings. Handfuls of students congregate around study tables under hanging light fixtures.

With no memory of how she got here, Leona faces Ellie on the other side of the table, scanning the pages of an open text book with a high lighter. Ellie senses something is off and removes her headphones.

ELLIE Everything okay?

Leona takes a breath.

LEONA Uh-huh.

Ellie smiles, puts her headphones back on.

ELLIE Just checking.

Leona looks down, notices an étude composition pulled up on a tablet with a pair of earbuds set up as if she was just using them. Leona pulls back her hair, places the earbuds back in.

Right when George enters the room, eyes instantly finding Leona at the table. Unguarded, he shifts course and heads over, finding an empty seat next to her.

GEORGE Hey, how was your first day?

Ellie lifts her eyes from her book, tries to go unnoticed. Leona sees him and removes her earbuds.

LEONA Sorry, I didn’t hear you.

GEORGE I said, how’d the first day go?

Leona makes a polite smile.

LEONA Good, thanks.

GEORGE Leona, right? We met on Revisit Day. Sort of...

EXT. FERN HILL ACADEMY, MAIN LAWN - (FLASHBACK)

Leona’s body is frozen, picturesque on the grass. Sweating, disoriented. Breathing heavily. Body flushed with adrenaline as people gather around to help.

Her eyes study the faces standing over her, struck with confusion. One instantly puts her at ease --

GEORGE You’re gonna be fine.

George on his knees with a hand on her shoulder, helps keep her body still. He smiles.

GEORGE (CONT'D) I’m George.

SNAP BACK to PRESENT.

INT. THE REC - CONTINUOUS

Leona is still looking back at George but in present time, now able to recall the memory.

LEONA George.

GEORGE Right. You were supposed to shadow me that day.

LEONA I don’t really remember much from that day. But nice to re-meet you.

GEORGE Likewise.

With a quick easy rapport, George drifts his eyes to the music composition pulled up on her tablet screen.

GEORGE (CONT'D) You a musician?

LEONA I play the violin. That’s why I enrolled here. It’s a good program.

George nods.

GEORGE Really good. Used to play guitar. But my extracurriculars have pretty much dried up this year.

LEONA Something tells me your applications are still like flypaper to college admission offices.

George sighs.

GEORGE Not exactly. Got in early to Williams. Just need to stay the course ‘til the year’s over.

LEONA Must be nice not having the uncertainty of the next four years looming over your head.

GEORGE Nothing’s a guarantee, ya know?

Leona nods.

LEONA This is a truth.

On that, Madeline stalks into the Rec, flips her eyes at George and calss out across the room.

MADELINE (annoyed) George. Let’s go --

George puts his hand up.

GEORGE (on the sly, to Leona) Group of us are hanging out in the woods behind the Field House. Should come.

Leona pretends to mull it over.

LEONA Hanging out in the woods behind the Field House? Must be a boarding school thing...

They trade smiles.

GEORGE Probably.

LEONA Wouldn’t be a good idea. Need to keep myself under the radar this year.

GEORGE Well, after awhile you get to know by heart and instinct when campus security makes rounds. Never get caught. If you change your mind, come find me.

Leona nods.

LEONA Sure.

GEORGE And by the way, I think you should change your mind.

George gets up and leaves the table. Leona watches him follow after Madeline. Once he’s out of sight, Ellie glances up from her homework at Leona in disbelief.

ELLIE Are you gonna go?

LEONA Don’t think so. Why, you want to?

Leona reads longing in her face.

ELLIE We shouldn’t.

Leona shrugs.

LEONA We could...

EXT. THE RUINS – ESTABLISHING

Six Formers gather between the skeletal remains of a crumbled old mill buried deep beneath a mash of knotted trees.

The Unholy Four hold court on the edges of an emptied out fountain. Alden watches his classmates clandestinely drink, smoke and snort nearby.

ALDEN Can’t wait to be done with this place.

Alden takes a sip from a Nalgene bottle in his hand, concealing a fifth of vodka. In a short skirt, Martha seductively stretches her long leg over his lap.

MARTHA You’d miss this.

Alden grins.

ALDEN Damn, you bitches don’t play fair.

He reaches out and pulls Martha into his lap. They hungrily make out. George glances over.

GEORGE Get a room.

Madeline leans upon George. She removes a tightly wrapped joint from his lips.

MADELINE This pot is evil good.

Madeline takes a drag, blows a cloud of smoke in the night.

ALDEN You know I always get choice tree. ‘Cause I’m the mad Buddha abuser.

Madeline’s expression instantly changes. She stares ahead at the treeline with a withering gaze.

Upon Leona and Ellie moving along a sunken path carved through a thicket of trees.

MADELINE Who told general population?

ALDEN Wasn’t me. Knew you two would shit the bed.

Madeline turns accusatorily at George, waits for an answer.

GEORGE I might have mentioned something to Leona. Who cares? She’s new. Doesn’t know anyone.

Madeline snarls.

MADELINE Oh, well, well, well. He’s on a first name basis with the transfer.

GEORGE So?

Madeline puts out the joint on the edge of the fountain.

MADELINE You’re risking our spot, George.

GEORGE What do you care? This school always turns a blind eye to you.

Madeline raises an eyebrow.

MADELINE And what’s that supposed to mean?

GEORGE You know exactly what it means.

As they talk, Leona and Ellie move deeper into the mix. Ellie darts her eyes around at the unwelcoming crowd.

ELLIE This was a bad idea.

Leona gives her a look, gazes ahead at the Unholy Four.

LEONA Ellie, why are you afraid of them? They’re really not even that cool.

ELLIE You don’t know what they’re like.

LEONA I can handle it.

With cold feet, Ellie steps back onto the footpath.

ELLIE No, Madeline hates me. She can’t see me. I have to go.

Leona flips her eyes at Ellie.

LEONA Ellie?

ELLIE Stay. Talk to George.

Ellie changes course and takes flight towards the Field House. Leona is about to go after her but not before --

GEORGE (calls out) You came. I’m glad.

George catches up to her. Leona meets his eyes.

LEONA Think I made a mistake.

GEORGE What? No, you’re fine. I’ll introduce you around. Come on.

Madeline glares from her throne.

LEONA Isn’t Madeline your girlfriend? She clearly doesn’t want me here.

GEORGE Some people take a little time to warm up.

Leona raises an eyebrow.

LEONA Seems like they’d take years.

This makes George smile.

GEORGE They’re not for everyone.

LEONA You might be onto something...

Madeline quickly heads over like a heat seeking missile, appears at George’s side, linking their arms. Her eyes snap on Leona.

MADELINE (to Leona) I’m sorry. Why are you here?

An icy smile lingers on her face. Leona remains silent. Waits for George to take the bait.

GEORGE I invited her.

Madeline’s smile evaporates.

MADELINE George knows we can’t have people knowing about this place. Sorry but you need to leave.

GEORGE You don’t get to decide that.

LEONA It’s fine, I’m going anyway.

MADELINE (mouths) Thank you.

Leona starts to go.

GEORGE Then I’ll walk you back.

LEONA No, I’ve got it.

Leona keeps on.

MADELINE George stop, come be with your friends.

Madeline reaches for his arm. He stops, exhales.

GEORGE You know this is getting old, Madeline.

Madeline lowers her voice purposefully.

MADELINE George, whether you like it or not we’ve had experiences that bond us for life.

GEORGE Yeah? Don’t remind me.

George walks away. Madeline calls after him.

MADELINE This is our last year together, George. Don’t rock the boat.

EXT. THE WOODS - UNDER THE TRESTLE

Hot and heavy, Alden and Martha peel off each other’s clothes in a foliaged pocket hidden behind the trees. Alden presses his forehead into hers, staring eye to eye.

ALDEN See what you do to me, baby?

The winds rile around them, stirring dead leaves on the ground. Martha unclasps her bra and slides it off. She laces her arms around his neck. Martha whispers.

MARTHA We have to be fast.

Alden takes her face in his hands and kisses her lips.

ALDEN Relax.

He picks Martha up, lowers her down onto a patch of ragweeds and rolls on top of her body. Alden feels between her legs.

After a moment, he checks his fingers. Notices blood on his finger tips in the moonlight. Martha realizes this, bites her lower lip and looks away.

MARTHA I didn’t know.

He shrugs.

ALDEN Doesn’t bother me. I have a condom.

Alden reaches into his pocket. Martha stares back, places her hand on his chest.

MARTHA We shouldn’t.

Alden turns on his back, frustrated. He takes a breath.

ALDEN What about --

Alden tilts his head at his crotch.

MARTHA Next time, I promise.

Martha grazes her hand against his face and kisses his cheek. Alden stares up at the night sky, hot and bothered.

INT. FACULTY OFFICE - MUSIC WING

A single light from a desk lamp illuminates the room. Ms. Pendleton surfs a Silver Singles personals web site on her computer. She clicks her mouse and sends a wink to a potential match. The screen blips. Then cuts out.

MS. PENDLETON Oh, for Christ’s sake...

Ms. Pendleton hits the monitor. No dice. She glances over her desk, notices a shadow flash under the door.

INT. MUSIC WING - HALLWAY - SIMULTANEOUS

Leona walks steadily down a corridor lined with modular practice rooms encased in glass. She reaches the end of the hallway and tries the knob on the last door. It’s unlocked.

INT. PRACTICE ROOM - CONTINUOUS

Opens to a soundproof capsule-sized room. A violin case is propped against a chair next to a music stand. Leona walks over, sits down and places the case in her lap.

She removes a violin from inside, runs her fingers over the strings. Tightens each screw one by one like second nature.

INT. MUSIC WING - CONTINUOUS

Ms. Pendleton moves down the empty corridor. Light emanates from a glass pod at the end of the hall.

INT. PRACTICE ROOM - CONTINUOUS

Leona sits straight back against the chair in a trance-like state. The violin rests on her shoulder. Leona guides the bow and brings the instrument to life. She has a gift.

After a few moments, the door swings wide open. Leona snaps awake. Her playing makes an abrupt halt. Ms. Pendleton is standing in the doorway.

MS. PENDLETON What are you doing in here? It’s lights out.

LEONA Sorry, I didn’t know. I’m new.

With a dismissive look --

MS. PENDLETON You need to be checked into your dorm. You were told the rules.

Leona stands, hands smooth the creases on her skirt.

LEONA Must’ve lost track of time.

MS. PENDLETON Well, I have to write you up now.

She puts her hand on her hip.

MS. PENDLETON (CONT'D) Name?

LEONA (reluctant) Leona. Leona Van Til.

MS. PENDLETON Let’s not make a habit of this Ms. Van Til.

INT. HALLWAY - SOON AFTER

Ms. Pendleton switches off the lights in her office and steps back into the hallway. Hears movement coming from the auditorium engulfed in darkness across the way.

INT. AUDITORIUM - CONTINUOUS

Ms. Pendleton glances up at a fixed catwalk hanging thirty feet in the air above rows of multi-tiered seating. Hurried footsteps clatter from the catwalk.

MS. PENDLETON Who’s up there?

No response. Ms. Pendleton moves forward towards a set of metal steps fixed against the wall. We follow her up through a trapped door leading into the catwalk.

INT. CATWALK - SAME TIME

Dusty rafters overflow with forgotten stage props. Ahead, shadows disclose Alden standing head back against a metal truss. He glances down at someone we do not see.

ALDEN (hushed panic) Ms. Pendleton.

Alden yanks up his pants.

INT. CATAWALK STRUCTURE - CONTINUOUS

A rat scurries across an unsteady grate. From the ladder steps, Ms. Pendleton scans her eyes down the catwalk at eye level, calls out into the darkness.

MS. PENDLETON This is grounds for dismissal.

The catwalk is now dead silent. Unsatisfied, Ms. Pendleton pulls herself onto the elevated gallery, moving her hands across the railing.

On sudden, a MANNEQUIN HEAD drops down from the overhead storage space. Clang! Clang!

The head rolls several feet along the catwalk, coming to a stop at the toes of Ms. Pendleton’s shoes. Startled, she catches her breath. Wasn’t expecting that.

Ms. Pendleton calmly steps over the MANNEQUIN HEAD as its empty eyes stare out into nothingness. A FIRE ALARM sounds! Without warning, sprinkler pipes running across the ceiling BURST overhead.

Water GUSHES down, slicking the catwalk and drenching Ms. Pendleton’s black cape. She SCREAMS, eyes flared.

Immediately, Ms. Pendleton back pedals, trips over the MANNEQUIN HEAD, slips and loses her footing. She falls back, SMACKS the back of her head on a metal bar...

Dripping wet, dizzy -- Ms. Pendleton slowly lifts herself up but her legs twist and kick out from under her. In a split second, Ms. Pendleton is sent sliding off the catwalk --

INT. AUDITORIUM - CONTINUOUS

The black cape snags on a truss as Ms. Pendleton struggles to pull herself back up as her grip loosens.

MS. PENDLETON No, no...

All of a sudden, the fabric on her cape shreds, effectively forcing Ms. Pendleton to surrender to gravity.

We hear a piercing scream as Ms. Pendleton free falls from almost thirty feet in the air -- the LIGHTS go up...

Ms. Pendleton STRIKES an auditorium chair below. Neck snaps on impact. Body stills as blood halos from her broken skull.

INT. DORM ROOM - LATER

The wind blows hard outside. Curtains sway at an open window in the dead of night. A chill fills the air. Leona is curled up in bed under covers. Restlessly in and out of sleep.

A moment passes. Then her eyes pop open, feels as if someone is watching her. Waiting for her. Leona turns over, stares out from bed into the hallway. The door now stands open.

TWO SILHOUETTES lurk in the shadows. Beat.

All of a sudden, the FIGURES rush forward. Each swiveling a pillow case stuffed with tennis balls in their hands. Lace masks and black hoodies conceal their identities.

SPLASH! ... a pitcher of cold water dumps over Leona.

The PILLOW cases twist into powerful knots, raised above the Intruders’ heads. Then start coming down hard, one after another in quick succession, brutally smacking Leona’s body.

She covers her head, tumbles out of bed and hits the floor. Within seconds, the attack comes to an abrupt halt. Then the Intruders flee from the room with stealth-like precision, evacuating as quickly as they came.

After the dust settles, Leona turns on her side reeling from the beating and catches her breath. Shocked. Her eyes notice a piece of white stationary folded over on the floor. She reaches out for the note and unfolds it in her hands.

A message is written in black marker:

Your Prefects welcome you to the Hill.

Leona turns on her back, grunts with disgust, crumples the paper in a ball and tosses it aside, rubs her bruised arms.

INT. DORMITORY - HALLWAY

First bell. GIRLS file in and out of the communal bathroom wrapped in linen towels. Chattering, laughing, etc.

INT. GIRL’S BATHROOM - MORNING

Leona brushes her teeth at the sink. Dark circles linger under her eyes. She checks her hand, which tremors slightly as she digs into a toiletry bag. Nerves.

Leona watches in the mirror as her toothbrush wobbles in her grip. She ignores it, starts brushing her teeth. More girls exit from the SHOWER STALLS behind her. As Madeline and Martha step up to two open mirrors on each side of Leona.

MARTHA Do I look thinner?

Leona spits foam into the sink, scoops up water under the faucet and rinses her mouth out with water.

MADELINE You’re gonna die, Martha. It’s unhealthy.

Leona offers a polite smile but Madeline ignores her, focuses on fixing her hair in the mirror.

MARTHA Like being fat is a healthy body image?

Martha puts lipstick on. Madeline deflects and snaps her eyes on Leona, finally acknowledging her presence.

MADELINE Leona, was it?

Leona nods, matches her gaze in the mirror.

LEONA Madeline, right?

MADELINE Mm hmm. (smug) I hope you feel welcomed.

The look in Madeline’s eyes is the only admission Leona needs to implicate her in last night’s attack. Unnerved, Leona rinses her toothbrush bristles off, plunks it back into her toiletry bag and steps away from the sink.

INT. DINING HALL - LATER

In the main hall, Leona is joined by Ellie at the end of a long banqueting table, sequestered like pariahs from the rest of the student body dining family-style at round tables.

ELLIE Prefects always haze new students.

LEONA It was Madeline and Martha. I’m sure of it.

Ellie nods.

ELLIE Wouldn’t surprise me.

LEONA They’re monsters.

ELLIE I know just how you feel. They used to make fun of me for everything. The way I looked. The clothes I wore. The air I breathed.

LEONA What did you do?

ELLIE Eventually it just stopped.

Leona leans back and shakes her head.

LEONA I can’t let it get to me, I need to focus on making first chair.

ELLIE That’ll kill Madeline. First chair means everything to her.

LEONA Then there’s more motivation.

They trade conspiratorial smiles. At this time, Madeline and Martha enter through a pair of large double doors heralding the dining hall.

In unison, the girls retrieve trays from a stack on a cart and join a procession of students in the food line. Martha surveys her breakfast options behind the glass.

MARTHA What do I want?

MADELINE A brain that can process thoughts?

MARTHA (mock aghast) Bitch.

Alden hustles over to them, face drained white. Madeline and Martha draw their eyes upon him.

ALDEN You’re never gonna believe this.

MARTHA Alden, what happened?

ALDEN Ms. Pendleton had a bad accident last night.

Madeline’s eyebrow raises.

MADELINE How bad?

ALDEN Like dead bad. Fell off the catwalk in the auditorium.

Their mouths collectively gape.

MADELINE MARTHA What? Seriously?

Alden nods gravely.

ALDEN Janitor found her this morning. Blood everywhere.

MADELINE Holy shit.

Martha takes a moment to process the news. Then --

MARTHA (genuine concern) Who’s gonna lead Lady Silvertones now?

Alden shrugs.

ALDEN Hell if I know.

INT. MAIN SCHOOL BUILDING, STUDENT MAIL ROOM - DAY

Leona squeezes through a bottleneck of grieving students, over to a wall of mail boxes, checks her box number on a slip of paper and unlocks the corresponding match with a code.

Inside is a single manila envelope rolled up in the back of her assigned mail box. She slides the envelope out and unclasps the top. Leona tears the envelope open as a dozens of DOG BISCUITS fall out at her feet.

Students around her take notice, including George who appears through the crowd and heads over.

LEONA Guess I have Madeline and Martha to thank for this?

GEORGE Don’t rise to the bait, Leona.

LEONA It’s pathetic.

Leona takes off. George follows after her.

GEORGE I’ll talk to Madeline.

LEONA No, I’ll handle it.

GEORGE Let’s go somewhere. I have a free period. We can talk.

Leona turns her head towards him.

LEONA George you’re a nice guy. But I know where this is going. And I don’t want to go there.

Leona moves past him, leaving George at a crossroads.

INT. MUSIC ROOM - SHORT TIME LATER

Madeline and Martha share a music stand. Leona slips into the room, walks over and stands directly in front of them.

LEONA Why would you do that?

Madeline gives her a blank stare then a cool glance at Martha and feigns ignorance.

MADELINE I don’t know what you’re talking about.

LEONA Sure you do. You put dog biscuits in my mailbox.

Martha covers her mouth, contains a spurt of laughter. Leona awaits a reply. Madeline steadies her eyes.

MADELINE Maybe, whoever did it thought it would be funny?

Leona holds back anger.

LEONA You thought it would be funny?

MADELINE Listen, I can see that you’re upset but don’t take it out on us.

LEONA You don’t even know me.

Madeline smiles coldly.

MADELINE I don’t want to. I don’t like you. Your outré of clothes. Your desperation. Wish I had a better answer for you.

Madeline crosses her legs, places her hands on her knee. Leona backs off, shoots them a vexed look.

LEONA Don’t come near me again.

Ms. Shipley enters the room amid a scuffling of chairs as more students file into their seats forming the string ensemble. All of a sudden, Madeline raises her voice.

MADELINE (to Leona) Please, stop bothering me. You didn’t even know Ms. Pendleton. She wasn’t a bitch, she was our teacher.

The classroom gasps. Leona can’t believe it. Madeline pretends to choke back tears. Ms. Shipley settles at her desk, looks towards Leona, now red-faced and flushed.

MS. SHIPLEY Leona, everything okay?

Leona nods, an unspoken code.

LEONA I’m fine, Ms. Shipley.

Madeline’s head cocks at Leona, raptor-like. Smiles. Leona finds an open seat nearby next to a cellist, CASEY BUTLER (17) a quiet mannered, small-framed underformer.

Leona puts her case on her lap and removes a hand-crafted Stradivari violin from inside. Breathes. Casey notices her hand tremble at the side of her chair. He seems to know exactly what’s going on.

CASEY Don’t let em’ bother you. The Hill can be tough. Kids are competitive. You’ll get used to it. (beat) I’m Casey.

Leona manages a smile.

LEONA Leona.

Casey admires her violin.

CASEY Nice Strad by the way.

Before they can continue, Ms. Shipley stands at the front of the room with her hands behind her back and solemnly addresses the ensemble.

MS. SHIPLEY I’m sure you’ve all heard about Ms. Pendleton’s shocking death. Grief counselors will be on hand in the Rec to help everyone cope. There will be no rehearsals today. Everyone is expected to attend the vigil in the Chapel after dinner. (then) That’s all for now.

INT. CHAPEL - NIGHTFALL

Teary-eyed students wedge together in pews, holding liturgical candles in their hands. Among them are Leona and Ellie watching the stage silently. There, Madeline stands at the lectern overcome with emotion.

MADELINE Ms. Pendleton was an important part of this community and we’ll miss her dearly. She loved teaching at the Hill and we will forever be grateful for the times we spent with her.

Madeline wipes her eyes. Martha is at her side, reads from some scribbling on a piece of paper.

MARTHA Ms. Pendleton cared and when it comes to teachers that’s really the only thing we could ever ask for...

During this, Ellie notices the candle in Leona’s hands flicker unusually. Unaware, Leona gives her a side glance. Concerned, Ellie focuses ahead at the lectern.

EXT. CHAPEL - SOON AFTER

George emerges from the crowd, takes Madeline by the arm and guides her aside, lowers his voice.

GEORGE I know what you did, Madeline. You promised this year would be different.

MADELINE Right now? Seriously George? We’re at a vigil.

GEORGE You hated Ms. Pendleton. You called her gauche. Whatever that means.

MADELINE Don’t tell me how to feel, George.

George puts his hands up.

GEORGE I don’t want to go through this again, Madeline. Not this year.

Madeline looks at him curiously.

MADELINE Why would I be nice to her? Tell me? It’s pretty transparent what’s she’s after.

GEORGE Leona’s not doing anything.

MADELINE Then why do you even care?! She’s a transfer from some public school in some shit town who dresses like a new money wannabe.

GEORGE Stop, just stop. Doesn’t it get exhausting? Why are you so mean?

Madeline stares at him blankly.

MADELINE Because deep down inside I’m insecure and harboring a hidden pain of self hate.

George pauses.

GEORGE Are you being serious, right now?

Beat. Madeline laughs a little.

MADELINE No, George! I say what I want. I do what I want. You know what you signed up for.

George absorbs this. Then, finally:

GEORGE Madeline too much has happened, I need a break.

MADELINE A break?

GEORGE I mean, I need some time and space.

Madeline lowers her voice, speaks very deliberately.

MADELINE George, you don’t want to go down this road with me. It’s really not in your best interest.

GEORGE Don’t threaten me, Madeline.

MADELINE I had my dad write you a recommendation letter. Did you forget he’s on the Board of Trustees at Williams?

George hesitates a moment.

GEORGE You’re not gonna do anything completely unnecessary are you?

MADELINE George, after graduation you do what you want but we’re finishing this year together.

Madeline storms off. George watches stirred as she blends back into the swell of mourners gathered outside the Chapel.

INT. DORM ROOM - NIGHT

Leona places her violin case into the opened TUCK BOX, positioned against the wall on the other side of her bed. She closes the lid and locks it.

Leona sits on the edge of her bed, scrolls through a list of contacts on her phone. Hits -- DAD, puts on speaker. Lets it ring. The call goes directly to voice mail.

HOWARD (on phone) This is Howard Van Til. I’m working remotely from Reykjavik this week, unavailable to take your call at the moment. Please leave your name, phone number and a message. I will get back to you as soon as I can.

Beep. Leona takes a breath.

LEONA Dad, it’s Leona. Call me when you can.

Leona hangs up her phone, places it down on a night stand, turns off the lamp light and lays back in bed.

Exhales. Utter silence. Then hears a tapping sound, like a branch riled by the winds.

Tap. Tap. Leona turns on her side, covering her face with a pillow. Tap. Tap as a branch scrapes at the window.

INT. DORM ROOM - NEXT MORNING

Leona gets out of bed and touches her feet to the floor. Her eyes move across the room, towards the door. She turns back, looks at the wall. Thinks. As if her mind is playing tricks.

Leona cocks her head back at the door to now see the TUCK BOX pressed firmly against it. She stands up.

With no recollection of moving the tuck box there, Leona is left searching for answers.

TIME CUT:

A SERIES OF DISSOLVES

1) Leona practices violin for hours in an empty glass enclosed music room, beautifully executing several classical pieces. One after the next.

2) In a quiet listening room, Leona wears headphones and devours volumes of reading materials detailing the Suzuki method from the Hill’s music archives.

3) Fully-focused, Ms. Shipley takes Leona through a number of training techniques (posture, bowing, finger motions, etc).

4) Leona rehearses with the STRING QUARTET which includes Madeline as first chair violinist, Martha on viola and Casey on cello. Ms. Shipley conducts amidst an undercurrent of rising friction.

5) Alone, Leona plays the violin with laser-sharp focus. Her bow hand fighting against increasing tension as sharp pains shoot through her fingers.

INT. CAMPUS HEALTH CENTER - DAY

Leona sits up against an exam table, appears physically burnt out. Bags linger under her eyes, hair pulled back in a tie. The Nurse studies inflammation scarring formed along her collar bone, an alarming case of fiddler's neck.

NURSE You need to take it easy, Leona. You’re training too hard.

Leona feels her finger at her neck.

LEONA I’ll be fine.

The Nurse swabs alcohol on a cotton ball over the left side of Leona’s neck. Stings.

NURSE Are you experiencing anything else unusual?

Leona takes a breath and stretches out her right hand.

LEONA My hands aren’t responding the way they used to.

The Nurse takes Leona hand, searching for signs of strain.

NURSE I’ll give you antibiotics for the fiddler’s neck but weakness in the muscles is a common side effect for the amount of training you’ve been devoting to violin.

LEONA I can’t stop rehearsing. Violin is the reason I’m here.

NURSE No one’s asking you to. But you should give your body the rest it needs. Something to think about.

Leona glances back. Knows she’s right.

INT. MUSIC ROOM - NEXT DAY

Ms. Shipley is seated in a semi-circle of chairs facing the String Quartet. She holds a tablet in her hand and runs a stylus pen over an agenda.

MS. SHIPLEY Fall recital performances will be taped and sent to perspective conservatories, if you elect to.

Ms. Shipley takes pause.

MS. SHIPLEY (CONT'D) With that said, this was not an easy choice but I’ve decided to select Leona as our new first chair for the remainder of the semester.

Martha gasps. Madeline is immediately stung. Casey smiles at Leona from his chair. With an air of reserve, Madeline raises her hand in objection.

MADELINE Ms. Shipley?

MS. SHIPLEY Yes, Madeline?

MADELINE I don’t see why this change is necessary.

MS. SHIPLEY Madeline, the ensemble is always being reevaluated. You’re a tremendous asset to the program, things could change back in spring.

Madeline slowly nods her head.

MADELINE Okay. I’ll just have to discuss the matter with the Rector. He should be helpful since my family are large donors to this school’s endowment which pays for your salary and living expenses.

Ms. Shipley keeps cool.

MS. SHIPLEY Do what you need to do, Madeline. Everyone else, let’s take out our instruments and begin.

She checks her watch.

MS. SHIPLEY (CONT'D) We’re already running late.

Madeline unlatches her violin case, smarting.

INT. MUSIC WING - HALLWAY

After rehearsals, Leona and Ms. Shipley walk side by side down a winding corridor.

LEONA Madeline’s going to retaliate. I know she is.

MS. SHIPLEY Madeline’s not a nice girl, Leona. I wouldn’t be doing my job if I didn’t pick you as first chair.

LEONA Thanks for the vote of confidence.

MS. SHIPLEY You don’t need it. You’re well on your way to Eastman next Fall. And I brought this from home for you.

Ms. Shipley removes a photograph from a file folder and hands the picture to Leona.

LEONA It’s you and my mother.

Leona studies the photo. Ms. Shipley and LEONA’S MOTHER stand back stage at a concert hall.

MS. SHIPLEY That was a great night. She was a mentor to me when I started out in the symphony.

LEONA I don’t have many pictures of her.

MS. SHIPLEY Keep it. I made a copy.

LEONA Thanks.

Leona smiles, goes to tuck the photograph into her satchel.

INT. THE REC - NIGHT

Madeline and Martha perch at a computer work station reviewing a physics class flow chart. Madeline is distracted, the first chair bombshell weighs on her mind.

MADELINE This isn’t right. I was first chair. Hillness is comprised of three ingredients. Hard work, discipline and tradition. I hit them all.

She bites down on her pen.

MARTHA It doesn’t make sense. Why would Ms. Shipley make Leona first chair?

MADELINE Because she’s jealous of me. Leona’s her new pet. I need to set this girl straight...

Madeline focuses her attention across the room on three FIELD HOCKEY PLAYERS gathered around a circular table, engaged in friendly conversation. The wheels turn in her head.

MARTHA What are you gonna do?

Madeline thinks for a moment. Her eyes narrow on an upper named PICARA RIVERS, 17. An athletic girl with long braids tied behind her head. Picara diligently jots down notes from an Archive Video on her tablet screen.

MADELINE I want Picara to help us welcome Leona to the Hill.

Martha is unsure.

MARTHA Do we really wanna go there?

MADELINE Martha, it’s a preventative measure. What if Leona sets her sights on Alden next?

Martha shrugs.

MARTHA Go with your gut. I guess.

Madeline reaches for the mouse.

MADELINE I always do.

Madeline searches her browser and pulls up a web page for an ANONYMOUS E-MAIL site. Begins typing in the recipient box:

Picara.Rivers@fernhillschool.edu

At this moment, the Field Hockey Players collect their belongings off the table, all except for Picara.

Among them is a REDHEAD GIRL with thick fleshy shoulders soaked in freckles exposed under a loose tank. A green bandana is wrapped tight around her forehead, surrounding a sprout of fire-red curls.

REDHEAD GIRL We should get back. Coach is wakin’ us up early to run hills.

Picara regards her tablet.

PICARA Need to get this done before the game.

REDHEAD GIRL Look at you, girl. Alright, finish up. We’ll do a toast run later.

They trade smiles.

PICARA See ya back at the room.

Picara’s friends ad-lib good byes and push their chairs in, leaving the Rec in a pack. Madeline continues typing on the keyboard. The words pop up on screen, reciting under her breath so only Martha can hear.

MADELINE Dear Picara, it has come to my attention that a new student named Leona Van Til has referred to you on several occasions as “Ghetto.”

Martha’s mouth opens.

MARTHA Oh my god. You can’t.

Madeline ignores her.

MADELINE These words are hurtful and cruel. We as a school community cannot tolerate any form of hate on campus. Someone needs to tell her that it’s never okay to say such things. From, a Concerned Friend.

Madeline hits send. Martha raises her eyes.

MADELINE (CONT'D) Boomkat.

Martha tries to contain her nervous laughter. A look of thrill fills Madeline’s eyes, riveted upon Picara with anticipation. In seconds, Picara’s tablet pings with a new mail message.

MADELINE (CONT'D) (quietly) Wait for it.

Madeline and Martha watch Picara check the message. Her eyes fix on screen. Picara glances around the room. Right as the Redhead Girl returns to their table.

REDHEAD GIRL I left my phone on my chair like an idiot.

She grabs her phone, then reads hurt in Picara’s face.

REDHEAD GIRL (CONT'D) What’s the matter?

PICARA Do you know who Leona Van Til is?

REDHEAD GIRL Heard the name. Think she’s a transfer student. Why?

Picara adjusts the tablet and shows her friend an anonymous e- mail message on screen. The Redhead Girl takes a moment to read it over. Her eyes flare.

REDHEAD GIRL (CONT'D) That is wrong.

Madeline and Martha take in the exchange from across the room in their chairs, exhilarated by her reaction. At a loss --

PICARA I can’t believe this...

REDHEAD GIRL Stop. We’ll handle it. No one disrespects my friends.

EXT. THE POND - NEXT DAY

With fierce controlled strokes, Alden rows in a single-scull across the murky waters of a spring-fed pond.

Once he reaches close to shore, he gets out onto his feet and drags the scull behind him.

INT. BOATHOUSE - CONTINUOUS

Stacks of sculls and oars are neatly secured on the walls. Alden hefts his dripping shell back onto the storage rack. Then, grabs a towel and dries his hair off. Gets a feeling --

CASEY I saw you in the water.

Alden cocks his head, sees Casey standing alone in the corner behind him. His face darkens.

ALDEN What the hell are you doing here?

CASEY Alden, don’t you think we should talk about what happened?

Alden snarls.

ALDEN Uh, no.

CASEY That was Ms. Pendleton the other night. She heard us on the catwalk.

Alden’s eyes flare.

ALDEN Think I don’t know that? Just keep your mouth shut. Get out of here.

CASEY She’s dead because of us.

Alden snaps.

ALDEN No, she’s dead because she was old! Ms. Pendleton should’ve been behind glass in a museum. I swear to God if you say anything...

Casey shakes his head dutifully.

CASEY I wouldn’t, Alden. I never would. It’s all between you and me.

Alden pounces, grabs Casey by the neck and smashes him into a boat shell racked against the wall.

ALDEN There is no you and me. Got it? Don’t come near me again.

Alden releases his hold and takes off.

EXT. FERN HILL - THE LOWER LEVEL - MOMENTS LATER

On her way to class, Leona notices Alden leaving the boathouse from the campus’ western boundary.

Casey appears from the rhododendrons stretching along the perimeter seconds later, visibly shaken. Leona waits for Casey as he moves towards her. She looks at him.

LEONA Casey, did something happen?

Casey sees her, caught off guard.

LEONA (CONT'D) Did Alden say something to you?

Leona gestures at Alden, disappearing into the main building.

CASEY It’s nothing. Needed samples for lab. Crew guys get territorial about the pond. But congrats on making first chair. Gonna work out for you at the Hill, Leona. I know it is.

Casey smiles jittery and moves off, readjusting the shoulder strap on his messenger bag. Unnoticed, a moleskin journal slips from an unzipped compartment in his bag and drops into the uncut grass.

Ellie enters into view, holds a gaze on Casey as he heads back to the upper level of campus. Leona regards Ellie.

LEONA That was strange.

ELLIE Casey isn’t who he seems, Leona. He’s protecting Alden.

LEONA Protecting him from what?

Leona stops herself.

LEONA (CONT'D) You know what, I don’t wanna know.

Leona’s demeanor shifts.

LEONA (CONT'D) Don’t take this the wrong way but I don’t like people telling me who I can and can’t be friends with.

ELLIE Fine. Then you can figure it out for yourself.

Her eyes fix on Leona.

LEONA Maybe that’s for the best.

Leona leaves her side. Alone now, Ellie’s eyes rapt on Casey’s journal, discarded in the grass. She bends down and picks it up, turning the pages one by one.

INT. INDOOR POOL - LATE DAY

GIRLS swim freestyle laps and make wake in an Olympic-sized pool. Leona flip turns off the wall with ease, arms shooting over her head.

She rises from under water, charges hard to the other end and stops at the wall. A whistle blows. Leona takes a breath. Everywhere she looks, people seem to stare. Whisper.

For a moment, Leona’s paranoia overcomes her. She closes her eyes and sinks below the surface, down to the bottom of the pool. Waits a moment -- then pushes off the floor and resurfaces. She scans her eyes across the now empty pool.

INT. GIRLS’ LOCKER ROOM - LATER

After swim practice, Leona blow dries her hair at the mirror. Feels someone close. A shadow hits the wall. Leona glances sideways. Nothing. Leona looks back at the mirror, switches the blow drier off.

In the mirror’s reflection, Leona sees: Picara now standing against the wall behind her. Arms crossed, staring coldly at her. TWO TEAMMATES step into the room, including the Redhead Girl we saw in the Rec.

LEONA Didn’t see you there.

She smiles, an attempt to break the tension. Picara raises an eyebrow, matches Leona’s eyes.

PICARA Leona?

Leona turns around.

LEONA I don’t think we’ve met.

PICARA We haven’t. But I hear you like to run your mouth.

Leona studies her face, instantly uneasy.

LEONA I don’t know what you’re talking about.

PICARA I’m talking about you being a racist. Know exactly what you said about me.

Picara and her friends draw closer, effectively cornering Leona. The Field Hockey Players follow suit.

PICARA (CONT'D) Why don’t you say it to my face?

Leona looks at them strangely.

LEONA I don’t even know you. Whoever said that is lying.

Picara is unconvinced.

PICARA SAID, say it to my face?!

LEONA I never said anything --

All of a sudden, the Redhead Girl rushes forward and SLAMS Leona’s head back into a paper towel dispenser. She grabs her shirt collar and pushes Leona into the corner, rips a tear along her blouse.

REDHEAD GIRL Like to call people ghetto, huh?! Say it to her face!

The Redhead Girl then grabs a fistful of Leona’s hair and turns her head to face Picara.

Reflexively, Leona elbows her chest and breaks free. Leona pushes the Redhead Girl off and locks eyes on all three.

LEONA I don’t use that word.

The Redhead Girl doesn’t flinch. She spits directly in Leona’s face.

REDHEAD GIRL Coward.

Leona wipes her face off, keeps poised.

LEONA (defiant) I said, I don’t use that word.

Picara looks at her in disgust. Raises her hand.

PICARA Stop. She’s not even worth it. I work my ass off at this school. Not gonna let this trash mess it up.

They start to leave. Leona calls after Picara.

LEONA I never said that. They’re lying. I don’t even know you...

Picara glances back, locks eyes with Leona. For a moment Picara realizes Leona might be telling the truth. But says nothing more. The Redhead Girl tugs on Picara’s arm.

REDHEAD GIRL Come on, let’s go.

The Field Hockey Players walk off, leaving Leona very much alone in the darkened bathroom. She chokes back tears.

INT. DORM ROOM - LATER

Leona sits, knees to her chest on a window bench overlooking campus. She stares out at campus, detached and shaken. Ellie hovers by her side, feels for her.

ELLIE It had to be Madeline.

LEONA What kind of person does something like that?

ELLIE That’s just who she is. She gets away with everything. You should go to the Rector.

LEONA No, it’ll only make things worse.

Beat.

ELLIE Leona, do you really think someone like Madeline should be released into the world after graduation?

OFF LEONA -- contemplating her next move.

INT. DINING HALL - NEXT DAY

George and Leona settle at a table.

GEORGE Did something else happen?

LEONA (reluctant) This girl Picara and her friends cornered me in the bathroom. Someone told her I said something about her. Something completely made up. (beat) Madeline and Martha most likely.

GEORGE Leona, I will back you if you go to the Rector.

LEONA I don’t want to. I didn’t even want to come here. I never did.

GEORGE Why did you leave your other school?

LEONA My surgery set me back. It was supposed to reduce the number of seizures I was having but all it did was take me a step back with violin. (beat) (MORE)

LEONA (CONT'D) I’ve had so many seizures I’ve lost count. The doctors don’t know what’s wrong with me...

George reaches across the table and takes her hand.

GEORGE There’s nothing wrong with you, Leona. You’re one of the coolest girls I’ve met at this school.

This makes Leona smile. She then turns her head, indicating Madeline, Martha and Alden scrunched together at a table.

LEONA Do you ever question why you’re friends with them?

George thinks about it.

GEORGE I don’t know. We kind of came together when school started at the same time. Birds of a feather I suppose.

LEONA You’re not like them, George. You’re nothing like them. You’re one of the good guys.

George smiles back, a shadow of doubt draws over him.

INT. MAIN SCHOOL BUILDING, STUDENT MAIL ROOM - DAY

Martha unlocks her mailbox. There is an envelope waiting inside. She removes it. Martha Venturini is written on the outside in black marker.

Martha opens the envelope. Casey’s journal is tucked inside, folded in half. She slips the journal out and begins to thumb through the marked pages. As she reads, a disturbed look crosses over her face. Music throbs O.S.

INT. GREAT HALL - NIGHT

Strobe lights bounce off a CLASS FLAG hung across the wall, emblazoned with the school’s crest. Students break it down next to a makeshift DJ booth. Madeline and Martha sing along to lyrics of a pop song with other girls.

Neon-lit ping pong tables are set on the floor. Guys in button-downs and khakis stand cliqued up against the wall next to a table of hors d’oeuvres. Stealthily, Alden pours a miniature bottle of vodka into a red cup of punch.

ALDEN What is it with you and this girl, George?

Alden looks over at George standing next to him. They watch as Leona enters the room in a simple black dress. Ellie sticks closely behind her.

GEORGE We’re friends.

As Leona enters, we hear whispers (”oh, the racist is here”, “there goes that bigot”, etc).

ALDEN I mean, I get it. That’s your thing, you find these lost girls and try to play hero.

GEORGE Give it a rest, man.

George is about to go but Madeline moves through the crowd and stops him in his tracks.

MADELINE George, why are you icing me?

GEORGE I know what you did to Leona. And I’m done with this.

Madeline grabs his arm, coming undone.

MADELINE You can’t do this. She stole first chair from me and now you?

GEORGE Madeline. It’s over. I want a clean break.

George turns and heads towards Leona, settling into the mix. Madeline’s eyes burn on them as George moves aside with her.

LEONA Hey.

GEORGE Hey, I was thinking we both could use a little fun tonight.

LEONA What about Madeline?

GEORGE What about her?

He slips his hands on Leona’s waist, swaying with her as a slow song comes up on the speakers.

GEORGE (CONT'D) Relax. I’m not gonna let anything happen to you...

Unsure, Leona drapes her arms over George’s shoulders as their bodies move to the song. Madeline turns to Martha and Alden at her side.

MADELINE I can’t believe him.

Alden takes a swig from his red cup.

ALDEN He’ll come around. We’ll get him back in the fold.

Madeline stalks off.

MADELINE No, I’m over this.

Momentarily, Alden takes Martha by the hand, guiding her towards the dance floor.

ALDEN Come on, this song got me feeling some type of way.

But before he can go further, Martha stops him, digs into her purse and hands Casey’s journal over.

MARTHA Is what Casey wrote true?

Alden takes the journal from her hand, stares oddly.

ALDEN What is this?

MARTHA (heartbroken) Someone put in my mailbox. Read it. It’s very well-documented.

Alden sweats as he flips through the marked pages.

ALDEN This is all made up. He’s lying.

MARTHA There’s even hentai-like illustrations.

ALDEN I’ll kill him.

Alden glares at Casey dancing with a group of heavy-set girls on the dance floor. Martha takes his arm.

MARTHA If he made it up, he made it up. We’ll just forget it...

ALDEN I’ll deal with him later. Let’s go somewhere, I wanna touch.

INT. EMPTY CLASSROOM - NIGHT

Moonlight creeps across the hardwood floor. Martha leans against a HARKNESS TABLE, pulling Alden closer with her legs. Alden lifts his wrist to his nose, inhales a bump of coke off his watch face.

MARTHA Why would Casey make it up?

ALDEN Because he’s obsessed with me.

MARTHA (searches) Maybe, it’s like fan fiction and he ships you?

Alden makes a face.

ALDEN What do you mean he ships me?

MARTHA I’m not quite sure, I overhead some girls from Manga club talking about it at the Rubik’s Cube relays.

Alden rubs coke on his gums.

ALDEN Can we just shut up about Casey?

Alden unbuttons her blouse, moves the sleeves down off her arms. He lifts his shirt up and takes it off. She runs her hand along his arm but Alden recoils at her touch.

ALDEN (CONT'D) Jesus Christ, Martha...

Martha stops, looks at him strangely.

MARTHA What’s wrong?

ALDEN Your hands are like ice cold.

Martha smiles, moves her foot up his crotch.

MARTHA Then warm me up.

Alden moves her leg to the side, presses himself between her. They kiss rapturously. Martha arches her back, tilts towards his neck and tongues his ear. He grins wide.

ALDEN Always go for the ear, little minx.

Martha wraps her legs around his waist, pulls him closer. Her tongue contracts and protrudes into a cylindrical twist, probing his eardrum deeply. She digs her nails, clawing deeper and deeper into his bare back.

ALDEN (CONT'D) Show me you want it, show me you want my white male privilege.

But Martha doesn’t relent. Her eyes roll back in her head flashing white. Tongue stiffens. Nails sharpen, digging at his flesh like broken glass. The Harkness table makes a sudden, violent shake.

ALDEN (CONT'D) God damn it, Martha!

Alden rips his body off.

MARTHA (perplexed) What did I do?!

Alden turns his head, glances over at the classroom window’s reflection to discover his back is covered in deep red scratches. She looks confused.

MARTHA (CONT'D) Baby, your back...

ALDEN What the hell?

Martha covers her mouth in shock and tears up.

MARTHA I’m sorry! I don’t know what came over me...

With disbelief, Alden studies the marks on his gnarled back. Martha rises to her feet, runs her hand across his back.

MARTHA (CONT'D) It’s okay, baby. Everything’s gonna be fine.

ALDEN No that was weird. I gotta go...

Alden takes a step back and heads for the door. Martha calls after him.

MARTHA Alden, wait!

INT. DORM ROOM - LATER THAT NIGHT

Casey has fallen asleep with a pair of headphones on. Suddenly, there’s a LOUD pounding on the door. BANG BANG.

Casey jolts awake, peers up from his bed. A note slips under the door. Casey gets out of bed, walks over to the door, picks up the note on the floor and unfolds it.

-- MEET AT POND is written in black sharpie.

EXT. THE POND - SOON AFTER

Empty and dark. In the moonlight, mist rise off the surface -- slowly floating across the water. The camera stalks behind Casey, making his way out from a crooked path.

CASEY Alden, you out here?

An eerie quietness settles over the pond. Casey casts a sidelong glance at the empty BOATHOUSE. Then shifts his eyes at a FIGURE IN THE SHADOWS standing at the end of the dock in idle stillness.

CASEY (CONT'D) Alden?

Casey moves towards the floating dock and steps onto the wooden plank. The thick fog seems to shape the FIGURE to appear like a DARK MISTY FORM at the edge of the dock.

A chill run downs Casey’s spine. Suddenly, he has a shortness of breath, like an invisible hand choking his neck. With a cold flash of terror, Casey watches enraptured ahead as the DARK MISTY FORM seemingly dematerializes before his eyes in the fog. CRACK!

...on his right, several feet away, a rotten branch SPLASHES into the water from a tree hanging over the pond. Startled, Casey twists his neck in its direct. Just when...

An UNSEEN FORCE pushes him back.

Casey loses his footing, SMACKS his head on the side of the floating dock. The impact splits his skull open as Casey’s body sinks face down into the water.

CUT TO:

UNDERWATER

A plume of blood flushes from a gash in the back of Casey’s head as he slowly sinks to the bottom of the pond...

EXT. THE POND - SOON AFTER

The opaque water is still. Within moments, Alden steps into view through the same opening in the rhododendrons Casey stepped out of, only moments ago.

ALDEN (fired up) Where are you? This is what you want. Here I am!

Alden shoots a glance across the floating dock. No response. He takes a breath.

ALDEN (CONT'D) I know you’re here, Casey. I saw you heading down from the dorms...

Silence.

ALDEN (CONT'D) I don’t care about the journal. I was actually kind of flattered. (beat) Casey?

Alden’s eyes shift from left to right. Still nothing. Everything is quiet. Casey never resurfaces.

INT. DORM ROOM - DAYBREAK

From a HIGH ANGLE, the room slowly adjusts into FOCUS as Leona’s body lies curled in a ball on her bed sheets. Black dress clung to her body, soaking wet.

Leona suddenly awakens, shivering from the cold. She sits up in bed unable to recall the events following the dance...

EXT. FERN HILL ACADEMY, CAMPUS ROADWAY - LAST NIGHT

Exiting the Great Hall, students fan out onto the main drag petering from the lower level of campus towards the dorms.

Where we find Leona and George making the trek back to campus, past the Colonial-era burial grounds that linger on the hills in the b.g.

GEORGE That was the most fun I’ve had at a school dance, in well, ever.

LEONA Except for the death glares from half the people in the room, I actually wound up having a pretty good time thanks to you.

George shrugs, smiles.

GEORGE I try.

Leona points.

LEONA Don’t let it go to your head. Anyway, this is me. I’m in Biddle.

She indicates the GIRLS’ DORM on their right hand side.

GEORGE But one more thing before you go...

George moves in and kisses her lips, taking them both by surprise. They smile eye to eye, seemingly alone on the campus road as the last students return to their dorms.

INT. GIRLS’ DORM - DORM PARENT APARTMENT - CONTINUOUS

The Dorm Parent watches Leona leave George’s side and head towards the entrance. She turns away from the window, as if something is troubling her.

INT. DORM ROOM - TIME CUT

Drip, drop. Leona slides off her wet black dress and lets it seep down to the floor, forming puddle of water. She stares at her reflection in the mirror. Focused.

EXT. FERN HILL ACADEMY - NEXT DAY

Fog blankets the main lawn on a gloomy late-afternoon.

EXT. STABLE YARD - DAY

GROUPS OF STUDENTS emerge from the stables on Andalusian horses, guiding them into the yard set back on the outskirts of campus.

INT. STABLES - CONTINUOUS

Rows of stables line the wall. Martha gives Madeline a leg up as she mounts a well-groomed horse.

MARTHA Alden has been so hot and cold lately. I need to find out who put that journal in my mail box.

MADELINE Well, good luck confronting Casey, apparently he ran away from school. They called his parents.

MARTHA Good I’m glad. One less interloper.

They stare purposely ahead as Leona guides a horse from out of a stall at the end of the row.

MADELINE She rides?

Madeline throws Leona a thorny look as she moves past them.

MARTHA This should be interesting...

EXT. STABLE YARD - CONTINUOUS

An INSTRUCTOR leads the students onward in a trot as the horses step into line formation. The horses flatten the ground with their feet.

INSTRUCTOR Everyone, let’s begin with a cantor.

The students follow the Instructor through the course at a leisurely pace, honing their riding skills. Leona keeps up at the very end. Madeline glances back.

MADELINE Let’s see what she’s got.

Martha leads her horse onward and jumps the first post. The others follow. One after the next, clearing each post. Leona goes after them, holding her own but lacking the others’ confidence and grace.

After jumping the first post, Leona’s horse trips without warning and falls forward. Leona quickly lurches back, regains her balance and takes control of the reins.

LEONA Easy, girl. Easy.

Leona squeezes the horse with her legs and pulls the reins. She feels up the side of the horse’s neck to calm it down. Madeline smiles satisfied.

TIME CUT:

Afterwards, the riders lead their horses back towards the stables. Martha pauses, takes off her riding helmet on her horse, shakes out her hair and throws Leona a look.

MARTHA You should be ashamed of riding like that.

Leona ignores her, leading her horse away. Her face darkens, eyes fixed ahead. She straightens her posture and moves purposefully back towards the stables.

In that instant, we SNAP ZOOM on a BLACK MOTH fluttering in the sky, descending towards Martha where it lands on the head of her horse. There the black moth moves ever so slowly along the horse’s snout and into its right nostril.

That’s when the horse rears, refusing to go forward. Martha notices and isn’t having it.

MARTHA (CONT'D) What the frick? Come on, let’s go.

Martha taps his stomach but her horse freezes. Spooked, the horse suddenly bucks, catching Martha off guard.

MARTHA (CONT'D) Whoa!

Without warning, the horse gallops ahead towards the dense woods. Martha pulls hard on the reins, desperately trying to regain control.

MARTHA (CONT'D) Stop --

But the horse takes off. Eyes widened in a brilliant green hue. Madeline flips her head at the entrance of the stables, to witness Martha bouncing up and down, riding helpless on the runaway horse.

MADELINE Marf!

Martha pulls back hard as the horse gallops away.

MARTHA Whoa! Whoa!

Her foot slips from the stirrup. Martha hangs off the side as the horse pounds the ground towards a sea of trees.

MARTHA (CONT'D) Stop! Stop!

Screaming, Martha tries with all her strength to pull her body back up onto the saddle. But it’s no use. Her eyes widen with fear at the fast approaching woods...

Suddenly, the horse bucks and throws Martha off head first -- she flies forward -- and STRIKES a tree! Martha’s body flips and tumbles onto the ground.

The horse gallops away riderless, disappearing into the woods beyond campus. The Instructor shoots her eyes at the students in shocked silence.

THE INSTRUCTOR Girls, call 911!

Madeline SHRIEKS, running towards Martha motionless in the grass. The Instructor rushes behind her.

MADELINE Martha!

Madeline drops to her knees hysterical.

MADELINE (CONT'D) Marf?!

The Instructor perches down on the ground next to Martha, feels for a pulse. No dice.

MADELINE (CONT'D) Is she?

The Instructor nods grimly.

THE INSTRUCTOR I’m so sorry...

MADELINE No!

Madeline shakes her head. Bursts into tears.

EXT. FERN HILL, QUADRANGLE - A SHORT TIME LATER

The sun sets in the distance. Madeline is surrounded by a group of SIX FORMS comforting her on a stone bench. Red eyed and weary.

Behind them, Leona watches nearby with other despondent students. As a BLACK CORONER VAN pulls away from campus towards the gates.

Alden and George jog over from the Field House.

Alden rips through the growing crowd of students and faculty. Instantly gets a bad feeling when he sees Madeline alone without Martha.

ALDEN What happened?!

A look of dread comes over Alden. He scans his eyes around, barely keeping it together.

ALDEN (CONT'D) Where’s Martha? Madeline, where is she?!

Stunned, Alden snaps his eyes on Madeline. She lifts her head and wipes her eyes.

MADELINE Martha... (barely able to speak) Alden, she’s dead.

Alden looks at her like she’s crazy.

ALDEN What do you mean she’s dead?!

Madeline’s voice falters.

MADELINE (through sniffles) The horse threw her off. She hit a tree...

Alden stands there stunned. Madeline’s eyes search the crowd and lock on Leona, now joined by George. Raises her voice.

MADELINE (CONT'D) It’s Leona’s fault.

A hush passes over the crowd. Everyone turns their attention to Madeline as she rises to her feet like a prosecutor.

MADELINE (CONT'D) She spooked Martha’s horse. I saw her.

Leona is taken aback as all eyes draw upon her.

LEONA No, all you do is make up lies.

Madeline shakes her eyes, points out Leona.

MADELINE She’s the liar.

George shoots Madeline a defiant look.

GEORGE Stop. It was an accident, Madeline. This is a new low even for you.

MADELINE Wrong, George.

Unhinged by grief, Madeline stares around at the crowd.

MADELINE (CONT'D) That transfer made the horse take off. I was there. There’s something wrong with her. I knew it from the moment she got here.

GEORGE You need to shut your mouth. You’re taking things too far.

Madeline ignores him, makes a beeline for Alden, takes his face in her hands and looks into his eyes.

MADELINE Leona did this, Alden. You have to believe me. I was there.

Even Alden is thrown by the accusation.

ALDEN Madeline, where are you going with this?

MADELINE Martha is dead because of her. My best friend. Your girlfriend. Leona is responsible. Trust me.

Alden glances over as George protectively escorts Leona away from the scene. Skeptical but allowing the theory to sink in.

INT. CHAPEL - NEXT DAY

The distinguished RECTOR stands at the lectern and solemnly addresses rows of students and faculty packed into the pews. There is a large framed SENIOR PORTRAIT of Martha on a stand.

THE RECTOR This is the saddest possible news for any school. Fern Hill students, faculty and staff members have all been deeply affected by the tragic loss of Martha Venturini.

The Rector takes a moment. With an air of respectability --

THE RECTOR (CONT'D) We’ll be designating today as a day to honor Martha's memory with an on- campus memorial service. All games will effectively be postponed.

Leona and Madeline lock eyes from across the row. George takes Leona’s hand, lowers his voice.

GEORGE We’re gonna forget about Madeline and finish this year together, Leona. You’ll go off to Eastman and put this behind you.

Leona’s eyes fall upon Ellie across the way.

LEONA I’m not afraid of her, George. Not like everyone else at this school.

Off Leona, with a hint of malice.

INT. MS. SHIPLEY’S COTTAGE, FACULTY VILLAGE - NIGHT

The fireplace glows. Ms. Shipley sits on her couch with a glass of wine as she reviews her sessions with Leona. A moment passes before a KNOCK at the door is heard.

Ms. Shipley places her wine glass on the coffee table, rises to her feet and walks over to the door. She checks the peephole then opens it. Standing on her door step is the Dorm Parent from Biddle Hall.

DORM PARENT Cecilia, I don’t want to trouble you but I have a bit of a concern...

MS. SHIPLEY Sure, come in. What’s this about?

Ms. Shipley guides her inside.

DORM PARENT It’s about Leona Van Til. I know you’re her faculty advisor. There’s something I wanted to show you.

CUT TO:

LAPTOP SCREEN POV: late-night security footage shows a series of TIME LAPSES from outside the GIRLS’ DORM. We ZOOM IN on a PIXELATED FIGURE coming into focus. Reveal, LEONA exiting the building with a blank look on her face.

INT. CAMPUS SECURITY OFFICE - DAY

The footage is shown to Leona as Ms. Shipley and the Dorm Parent confer with her at a desk.

MS. SHIPLEY Were you aware of your sleepwalking, Leona?

Leona swallows.

LEONA I used to when I was younger. But I can’t let this be a set-back.

DORM PARENT We just want to help you Leona. Find a way to keep you safe on campus. As you can see, this is far from an isolated incident. (beat) It’s become a pattern.

Leona tenses.

LEONA Please, it’s close to the recital. I don’t want my father to know.

Her eyes plead with them.

INT. HOTEL ROOM - NIGHTFALL

Howard stands at a window on his phone, drawing the velvet curtains closed.

HOWARD Leona I’m sorry, I’m not gonna be able to make it to your debut recital. (MORE)

HOWARD (CONT'D) The client asked to extend my contract another week. (then) I know that’s not what I promised...

EXT. FERN HILL CAMPUS - INTERCUT WITH

Leona navigates through campus on her phone, visibly disappointed but keeps up a smile.

LEONA Dad, it’s fine. Ms. Shipley is having the recital taped.

HOWARD Good. I’ve been meaning to reach out to Cecilia. Looking forward to seeing you at break. Everything else ok? Making new friends?

Leona holds back.

LEONA Everything’s fine. I’m just focusing on devoting all my energies into my solo.

HOWARD Good, that’s what I wanted to hear. This recital is your big comeback. I know you’ll put all your heart into it.

Leona half-smiles.

LEONA Thanks, Dad.

Preoccupied, Leona sees PICARA appearing ahead, coming in her direction along the tree-lined promenade.

LEONA (CONT'D) Can I actually call you back?

HOWARD I’ll let you go. Break a leg.

LEONA ‘Night.

Leona ends the call, right as Picara passes her, avoiding eye contact with an uneasy look on her face. Leona stops.

LEONA (CONT'D) Picara.

Picara turns to face her, stoic.

PICARA Yes?

LEONA I never said anything about you. I’m sorry someone at this school made that up and pulled you into it. But I want you to know the truth.

Picara nods.

PICARA I believe you.

LEONA Thank you.

Leona turns to leave.

PICARA Leona.

They lock eyes.

PICARA (CONT'D) Be careful. One thing I’ve realized since being at this school is that it changes people and it’s not always for the better....

Leona nods, a kindred spirit.

INT. MUSIC ROOM - ANOTHER DAY

A frenzied energy builds among the orchestra. Ms. Shipley conducts at the forefront, drawing out the final rehearsal before the recital.

MS. SHIPLEY That blew me away.

Ms. Shipley claps her hands together.

MS. SHIPLEY (CONT'D) Tomorrow’s the big dance, ladies and gentleman. (MORE)

MS. SHIPLEY (CONT'D) I don’t doubt for a second that you won’t give it your all.

Leona keeps her eyes trained ahead, listening intently as she applies a cake of rosin across her violin bow.

MS. SHIPLEY (CONT'D) Let’s show everyone what this ensemble can do. Give yourselves a good night’s rest and get ready to make magic tomorrow.

Everyone whoops it up. All except for Madeline who remains in her chair expressionless, staring at Leona with scorn.

DISSOLVE TO:

INT. MUSIC WING, PRACTICE ROOM - LATER

Leona practices the violin with uncompromising ferocity. Striking her bow against the violin’s strings, while building more pressure.

Her hand begins shaking uncontrollably. The hair on her bow unravels as the steel strings come undone. One -- Snaps. Hits her eye. Leona makes a terrible sound, covers her hand over her eye in horror, then falls out of her chair and drops to her knees.

With lingering fear, Leona removes her hand from her wounded eye, a yoke of blood spills into her palm. Eye reddened in dark crimson.

LEONA No...

Leona’s fingers blindly move across the floor, reaches out and takes hold of the violin’s neck as she slowly rises back to her feet.

Leona composes herself, undeterred. Then opens the music room door. The violin still in her grip. Blood seeping down its neck onto the broken steel strings.

INT. MUSIC WING - HALLWAY

Leona steps into the corridor with the violin at her side. Defying the last moment’s events, her violin now appears with its strings in tact.

She continues down the corridor as more members of the orchestra file into the hall on their way to the recital.

EXT. AUDITORIUM - NIGHT

Parents, students and faculty flood the seats for the FALL RECITAL. The newly restructured STRING QUARTET lineup graces the stage, dressed in formal black which includes Leona as first chair.

Leona appears composed, eyes unblemished and at ease in her chair. Beside her on the aisle side, Madeline places a round, circular cake of rosin on her music stand.

Ms. Shipley stands in front and faces the quartet with a calm, reassuring smile. The audience settles and the auditorium becomes completely quiet.

Ms. Shipley closes her eyes, takes a breath and begins to conduct the repertoire, keeping beat on the opening movement.

TIME CUT:

The String Quartet performs a series of classical pieces. Tonight’s soloist Leona rises from her chair and moves to the front of the stage before the audience.

She looks out at a video camera set-up directly ahead. The camera’s red light flashes in the dimly lit auditorium.

A long pause. Leona stabilizes the violin on her collarbone, tilts her head, lifts her bow to begin her solo. Weeks of training and dedication shining through her performance.

After Leona completes the piece, the auditorium erupts in applause. At this time, Madeline reaches her hand forward and picks up the cake of rosin from her music stand.

ON Leona -- receives a standing ovation and takes a bow, touched by the audience’s response. Among the student section is Picara. She claps for her. Their eyes meet.

Leona packs up her violin in her case, takes a step back, turns and heads towards her chair. On her way, Madeline clandestinely holds a closed fist at her side.

With perfectly calculated timing, Madeline opens her hand then gently rolls the cake of rosin onto the floor and into Leona’s path.

In one harrowing moment, Leona slips over the rosin and falls forward. Her violin case drops from her grasp. Leona’s eyes widen with dread as her body lands on her instrument.

LEONA No!

A collective gasp falls over the audience. Leona turns on her side, reaches out for the violin case. She opens it to discover an inexplicable crack along the violin’s side.

From the floor, Leona glares back at Madeline, who remains in place, stone cold like a statue. George rushes up on stage to Leona’s side as Ms. Shipley joins them. Ellie stands in the audience and watches, horrified.

INT. GIRLS’ DORM - HALLWAY

Leona walks wearily down the corridor alone. Disheveled, hair tangled. She rounds a corner, leading to the bathroom door.

INT. GIRLS’ BATHROOM - LATER

Leona retreats into the shower stall fully-clothed. Body shivering. She pulls the lever as warm water pours over her and slides down to the floor. Eyes closed. Rocking back and forth, sinking into delirium.

OVER BLACK.

INT. GIRLS’ BATHROOM, SHOWER STALL - TIME CUT

Steam envelops the stall. Leona remains still, knees drawn up to her chin. A hand reaches out and turns off the shower.

ELLIE Leona?

Ellie appears above her, looks down at Leona in despair.

ELLIE (CONT'D) Leona. Don’t worry. It’s just me, everyone’s asleep.

Ashamed, Leona lifts her eyes. Ellie steps into the shower stall, squats down next to her.

ELLIE (CONT'D) You’ll get through this. You don’t have control over what happened, Leona. It’s not your fault. The truth will come out...

LEONA Please Ellie, just go away.

INT. FACULTY OFFICE, MUSIC WING - ANOTHER DAY

Much like their first meeting, Ms. Shipley sits across from Leona at her desk.

MS. SHIPLEY I’m so sorry for what happened at the recital. The incident is being investigated. The department will give you another violin.

Leona sits back in her chair.

LEONA That Strad belonged to my mother.

MS. SHIPLEY I know. But I got off the phone with the Provost at Eastman. She saw the video of your solo at the recital and was floored.

Leona brightens.

LEONA Really?

Ms. Shipley nods, smiles warmly

MS. SHIPLEY Really.

LEONA I can’t believe it.

MS. SHIPLEY You’re in. They want you as early as spring.

Leona smiles.

LEONA I don’t know what to say, Ms. Shipley.

MS. SHIPLEY Don’t say anything. Give it up.

Ms. Shipley raises her hand.

MS. SHIPLEY (CONT'D) You did it.

They high-five.

MS. SHIPLEY (CONT'D) All this stuff with Madeline is going to be long gone in the past.

Leona leans back in the chair on cloud nine.

EXT. HALLWAY - DAY

George appears in the crowd as Leona heads towards him, pressing an admissions packet from Eastman against her chest.

GEORGE You look happy. What’s up?

A long pause. Then a smile --

LEONA I’ve been accepted to Eastman.

George makes a fist.

GEORGE Nice!

He lifts Leona up in his arms.

GEORGE (CONT'D) I’m so happy for you. That’s great.

George places her back down.

LEONA I was starting to think this day would never come.

GEORGE Well, it’s here and Williams isn’t that far from Rochester. We could do a road trip next Fall.

With mixed emotions --

LEONA I’d like that. Actually won’t be a PG much longer. The Provost at Eastman said I could start in the spring and I have enough credits.

George gives her a reluctant smile.

GEORGE Gotta do what’s best for you, Leona. We’ll just have to make your last few weeks at the Hill count...

He drapes his arm over her, they head in the opposite direction. Madeline appears at the end of the hallway, watches as they turn the corner. A look of concern.

EXT. FERN HILL PREPARATORY SCHOOL - DAY

A drizzly afternoon. The Jeep Cherokee Chief pulls up to the driveway, driving ahead towards the dorms.

EXT. BIDDLE HALL, GIRLS’ DORM - MOMENTS LATER

Howard pulls into the roundabout and gets out to meet Leona, waiting for him by the curb.

LEONA I can’t believe you’re here.

He greets her with a big smile. They hug.

HOWARD I wanted to surprise you and celebrate the big news. Let’s go grab a bite.

INT. WHATELY INN - LATER

A cozy, New England-y style farm-to-table. Leona sits across from Howard in a booth as they cap off the meal sharing molten chocolate cake served with ice cream and berries.

HOWARD Why didn’t you tell me that you were having a problem? I don’t like you keeping things from me, Leona. (beat) Especially when it relates to your health.

LEONA I didn’t want it to hold me back.

HOWARD I shouldn’t have pushed you.

LEONA Well, it worked out for the best. I mean, the plan came together.

Howard smiles at her.

HOWARD You’re resilient. I don’t want you to ever lose that fight in you.

He signs the check.

HOWARD (CONT'D) I got a room near the museum homes. But wanted to touch base with Cecilia tonight, should we head over there together?

LEONA I kind of promised someone I would study for fall finals with them.

Howard raises his hand.

HOWARD Say no more, I’ll see you tomorrow and drop in on Cecilia myself.

LEONA I really feel like I’m in a good place right now.

HOWARD I’m glad, I only want what’s best for you.

INT. INDOOR ROWING TANK - NIGHT

Alden sits in a fixed rowing shell. Water rushes towards him on both sides. Making fast and furious power strokes, he pushes his legs forward forcefully, brings his arms tight to his chest as the oars drive into the water. Over and over.

Soon enough, Madeline steps into the facility and stalks towards him. She gives him a salty look.

MADELINE Don’t you ever go to class?

Alden focuses ahead.

ALDEN It’s called training. Maybe, if you did it more you wouldn’t have lost first chair to that transfer.

She rolls her eyes, squats beside the tank and dips her hand in the water.

MADELINE That was a political move. One not based on merit.

ALDEN Whatever makes you feel better. Now what do you want?

MADELINE To talk about Leona.

Alden groans.

ALDEN The girl is a cancelled stamp. Get over it already.

MADELINE Just listen. I’ve been thinking it over. Remember when Martha was really upset about Casey’s journal. Leona had to be the one that put it in her mail box. (beat) Martha was off that day of the accident, it really got to her.

Alden considers.

ALDEN What difference does it make now?

MADELINE It makes a huge difference. We can’t let Leona get away with what she did, Alden. I want you to find her and get her to confess.

Alden shakes his head.

ALDEN We’ve got a doubleheader coming. I don’t want to be involved.

MADELINE But you are, Alden. She should be punished for what she did.

Madeline produces a VOICE RECORDER from her pocket.

MADELINE (CONT'D) Get her to confess to putting Casey’s mash notes in Martha’s mail box. That’s all I want. Just a confession on tape.

INT. MS. SHIPLEY’S COTTAGE, FACULTY VILLAGE - LATER

Ms. Shipley guides Howard inside. They smile at each other.

HOWARD It’s really good to see you, Cecilia.

MS. SHIPLEY Good to see you too Howard.

She gives him a hung. They sit down on the couch together.

HOWARD I wanted to thank you for everything you’ve done for Leona. You’re a big influence on her.

MS. SHIPLEY She’s a smart, talented young woman, Howard. You should be proud.

HOWARD I am. After the incident at the recital, I was worried. About the stress. She doesn’t always handle it well.

MS. SHIPLEY I’m glad you came. There’s something you should know. Leona’s dorm parent came to me with a concern she had.

HOWARD What kind of concern?

Ms. Shipley opens her laptop on the coffee table.

MS. SHIPLEY Security footage caught her sleep walking on several nights.

Howard takes an exhausted breath.

HOWARD She did when she was little. Her surgery was supposed to rectify the condition, along with her seizures. It all stems from the accident.

A touchy subject. Ms. Shipley knows all too well.

MS. SHIPLEY These occurrences went beyond sleep walking. Did she ever actually get up and leave the house?

Howard is struck cold.

EXT. THE POND - NIGHT

Leona and George appear in the moonlight, sneaking onto the floating dock. Leona is hesitant but goes with it.

LEONA I can’t get caught, George. I already feel like I have a target on my back.

GEORGE We won’t. I told you. I’ve got a sixth sense about these things.

LEONA Alright, I guess I can let go a little. This once.

They smile at each other, move out onto the very edge, sit down on the dock and dip their feet into the murky water, gazing out at a full moon coming up over the horizon.

GEORGE You were incredible at the recital. No wonder they’re rolling out the red carpet for you at Eastman.

LEONA Thanks. Despite what Madeline did, it feels like I’ve been given a second shot here. I just don’t want to screw it up.

GEORGE You won’t. Don’t doubt yourself, Leona. You’re right where you need to be.

LEONA Just feels sometimes like my mother gave me this gift, taught me everything she knew and everyday feels as though she could take it away at any moment.

George studies her face, unsure how to process that.

GEORGE Why would you say that Leona?

Leona relents, baring the inner workings of her soul to him.

LEONA Because she caused this. I was involved in a car accident when I was younger. My parents had a fight one night...

INT. VAN TIL HOME - KITCHEN - YEARS AGO

An ugly late-night shouting match. LEONA’S PARENTS rage at each other from across an island kitchen table in the middle of the room.

HOWARD This was not what I wanted. I made a mistake.

LEONA’S MOTHER Well, you have to live with it now!

HOWARD Keep your voice down. Leona will hear you.

LEONA’S MOTHER I should take her and get the hell out of this house.

HOWARD Do not do something you’ll regret.

She composes herself.

LEONA’S MOTHER Of course not, Howard. I’ll leave that all to you.

EXT. ROADWAY - LATER THAT NIGHT

A vintage midnight black SAAB HATCHBACK races down a curvy back-road, plowing through pounding rains.

LEONA (V.O.) My mom left the house. Put me in the back seat of her car and took off down the road...

INT. SAAB HATCHBACK - CONTINUOUS

Behind the wheel, LEONA’S MOTHER glances up in the rearview mirror, sees YOUNG LEONA strapped in the backseat. Seat belt dangling over her small shoulders but no car seat. She speeds ahead with a distant look in her eyes.

EXT. ROADWAY - CONTINUOUS

Suddenly, another CAR crosses into an INTERSECTION. Leona’s Mother does not slow the breaks. She keeps going as the other car swerves to avoid her. Horns BLAST in every direction!

INT. SAAB HATCHBACK - CONTINUOUS

Leona’s Mother snaps out of this daze of anger -- we hear a piercing scream, she cuts the wheel to avoid a crash and flies off road down a bumpy tree-lined hill.

The car shakes, rattles and rolls --- then collides head-on into a tree in an explosion of hailing glass.

BLACK.

EXT. THE POND - AS BEFORE

George stares over at Leona regretfully as moonlight runs along her face.

GEORGE I’m so sorry, Leona.

A long pause.

LEONA They said my condition after the accident wasn’t compatible with life. But looks like I’m still here, I guess.

She makes a forlorn smile.

GEORGE Can’t revisit the past. Only end up robbing yourself of the moment.

LEONA I know. You’re right.

Leona’s eyes hold still on the pond.

LEONA (CONT'D) How much time do we have left ‘til campus security makes a round?

George tilts his head, squints to think.

GEORGE Say about fifteen.

Leona considers.

LEONA I can work with that.

Leona smiles, stands up and strips down to her underwear then jumps off the edge. She squeals as her body breaks the surface of the cold water. George looks on impressed.

GEORGE One way to live in the moment.

Leona splashes him with water.

LEONA Live by your words!

With that, George gets to his feet, removes his shirt and pants to his boxers, then takes a running leap in. SPLASH!

DISSOLVE TO:

Their BODIES go under the water, sinking to the bottom of the pond floor. George takes her hand as they hold their breath underwater.

REVERSE TO REVEAL: a submerged CORPSE floats face down in the water. Its lifeless hand reaches out and grazes Leona’s hair.

All of a sudden, she turns towards the corpse, sees the face of CASEY BUTLER appear through the murky water. She SCREAMS underwater, releases George’s hand, panicked and starts making her ascent back to the surface.

EXT. THE POND - CONTINUOUS

Leona raises her head up from the water and cries out. Tears rush down her cheeks.

LEONA George!

Frightened, Leona spins around in the darkness. No George.

BEAT.

Finally, George resurfaces a few feet away and starts swimming over.

GEORGE (hushed) Shh, shh. Someone will hear you. What happened?

He wipes a tear from the corner of her eye. Leona takes a breath, flushed in fear.

LEONA I saw Casey.

GEORGE What?

Leona nods her head gravely, about to break.

LEONA I saw him. I’m not making it up.

GEORGE I’ll go down to the bottom. Wait for me at the dock.

With that George goes under as Leona swims to the dock and pulls herself out from the water. She waits at the edge. A long, nerve-wracking moment -- until George resurfaces alone. Her face grows worried.

LEONA George, I swear I saw him. He’s down there.

GEORGE I believe you.

George duck dives back beneath the water. Seconds pass. Then George breaks from the water, lifting lifeless Casey’s body in his arms.

LEONA Oh, my god.

GEORGE Leona, don’t look. Go find help.

Leona can barely speak as George swims over towards the dock with Casey’s black and blue bloated corpse.

INT. MS. SHIPLEY’S COTTAGE, FACULTY VILLAGE - NIGHT

Howard and Ms. Shipley sit on a sofa, with a glass of wine in their hands. Howard sits back on the couch at a loss after reviewing image captures from the security footage.

HOWARD When Leona was young she always had this smile that could light up the world. But after the accident she withdrew. I would often find her in different places around the house. See, this isn’t somnambulism.

MS. SHIPLEY Then what is it, Howard?

HOWARD They’re psychomotor attacks. These are psychic-equivalent seizures. Her consciousness is lost, activity maintained, not subject to voluntary control. (beat) Leona has complete amnesia for a period of the seizures.

He stands.

HOWARD (CONT'D) I need to find her.

MS. SHIPLEY Howard, she’s in a safe place at the Hill.

HOWARD No, this was a mistake. She wasn’t fully recovered. I shouldn’t have had her come here.

Ms. Shipley rises, tries to calm his nerves.

MS. SHIPLEY Let’s think this through. She’s already come so far.

A lingering moment. They look at each other, bitter sweetly. Howard tilts his head, leans in and kisses her on the lips.

EXT. WOODS - NIGHT

In fog and darkness, Leona dashes through a thicket of trees onto a path leading back towards campus. She searches her eyes ahead, becoming disoriented by her surroundings as it all unfolds like a living dream.

Right as she’s about to hit an opening in the foliage towards the MAIN LAWN -- Leona rushes into Alden’s chest, who suddenly appears in front of her and blocks her path.

ALDEN What are you doing out here?

Leona takes a step back.

LEONA Could ask you the same thing.

He stares back at her.

ALDEN You’re not as innocent as you want everyone to believe. Are you?

LEONA Get out of my way.

Leona sidesteps him but Alden grabs her arm.

ALDEN Not so fast.

Leona looks down at her arm.

LEONA Let go.

ALDEN I want you to admit to giving Casey’s journal to Martha.

LEONA I didn’t do it. Alden, you don’t understand.

ALDEN What is there to understand?

LEONA Casey’s dead. He drowned in the pond. I need to get help.

Alden goes numb.

ALDEN You’re lying.

LEONA George was with me. He sent me to go look for help.

ALDEN And you found me.

Alden gives her a look, gets an uneasy feeling.

ALDEN (CONT'D) There’s something really wrong with you. Isn’t there? All of this is you. Isn’t it?

LEONA Please, just leave me alone.

ALDEN Not until you admit to what you did.

Leona breaks free. Alden runs after her, pursuing in rapid strides, striking through a maze of tall trees.

She switches course onto a footpath washed out by the elements, ebbing deeper into the woods along the school’s perimeter. Then suddenly her foot gives way to muddy rocks.

Leona’s body slides down a tree-lined hill onto the edges of a quiet RAILWAY IN THE WOODS tucked far back from campus. Dead leaves pick up off the ground, tossing in the air around them. She flips back around to face Alden.

LEONA Please, stop!

Alden reaches into his pocket, pulls out the Voice Recorder and raises it above his head.

ALDEN Admit to what you did.

Overhead a BLACK CLOUD of swarming MOTHS gather in the sky. Alarmed, Alden swats his hand as the Black Cloud consumes his field of vision.

ALDEN (CONT'D) What the hell?!

He throws up his arms and covers his face. The voice recorder flies out of his hands.

Alden staggers backwards as a TRAIN sounds its horn and shoots across the tracks with FLASHING RED LIGHTS whizzing behind him ---

In the blink of an eye, Alden is knocked back and his right arm catches the wheel. Alden tumbles, body twists and turns as his shoulder is pinned under the train’s wheel. Sparks fly from the wheels.

Alden CRIES OUT in agony, faces Leona, looks down at his missing arm, now a bloody stump. Leona covers her mouth.

INT. LIBRARY - SOON AFTER

SIRENS blast in the distance. A modern research facility set on nine striking levels. Sleek circular clerestory windows stand on each floor above a GLASS ATRIUM over the lobby.

The levels are filled with rows of book shelves, microform stations and bound periodicals.

We RISE to the highest parapet where we find MADELINE walking along a glassed-railed galley on the outer edge of the ninth floor. Grim-faced, George appears ahead and starts coming towards her.

GEORGE I saw you checked in here. Madeline, we need to talk.

Madeline stops in place, crosses her arms and stands with her back against the glass railing overlooking the library.

MADELINE Reputation is hard to regain. And you’ve created a really undesirable profile for yourself, George.

GEORGE Madeline, I’m here to cut the bull shit. I found Casey. He didn’t run away, he drowned in the pond.

The revelation hits Madeline hard.

MADELINE Well, that’s unfortunate...

GEORGE Can we just think about this for a second? Ms. Pendleton is dead. Martha. Now, Casey. What do all these people have in common?

A scowl takes over her face.

MADELINE George, you promised. You swore up and down...

GEORGE Think about it.

INTERCUT WITH:

REVERSE POV: wheels of a metal LIBRARY TROLLEY stacked with books trundles down an aisle, rolling steadily between the shelves. Squeaky wheels clink-clank across the marble floor.

GEORGE (CONT'D) We can’t pretend nothing is wrong. We can’t keep trying to block out the past.

MADELINE We made a pact to never talk about this. So, you need to just let sleeping dogs lie.

PULL OUT TO REVEAL -- the metal trolley turning on its own, in a new direction. Wheels go round and round.

Unmanned but moving fast in flight ever so determinedly, directly en route towards the glass-railed bridge right next to where MADELINE is standing. She unravels.

MADELINE (CONT'D) We were fine George! Everything was great! I was first chair, I had you! Leona disrupted everything!

GEORGE Madeline, this isn’t about Leona and we both know that. I’m trying to tell you something seriously wrong is going on at this school.

Madeline objects.

MADELINE She’s gotten into your head. Don’t you get it?! She changed you.

Madeline throws her hands up in declaration.

MADELINE (CONT'D) This is what these people do. They want to come to the Hill because they know it’s a great school and then they try to change it. (snaps) Change! Change! They want us to change everything so it becomes like the shitty school they left to come here! It makes no sense!

GEORGE Madeline, you’re not listening to me. I think someone knows...

With that an UNKNOWN FORCE pushes the LIBRARY TROLLEY from the aisle, lightning fast into frame and hits the glass railing like a bat out of hell.

George instinctively turns his back as books fly in every direction! CRACK... the GLASS breaks and slowly spiderwebs across the railing.

In a flash, the GLASS PANEL along the ledge COLLAPSES before our eyes, caving in like a crashing wave. Madeline falls back, wide-eyed and terrified.

MADELINE George!

George flips around. Before he can reach out for her hand, George watches in horror as MADELINE’S BODY PLUNGES from the ninth floor like a wingless angel dropping from the sky --

Below she goes -- And STRIKES the glass-roof atrium. GLASS SHARDS rain down from above... as MADELINE crashes through the shattered atrium.

Madeline plummets and SMACKS the tiled floor in a bed of glass-- SLAAAM! Blood seeps from her mangled body. A moment of silence. From O.S. We hear people start screaming.

EXT. AMPHITHEATER - LATER THAT NIGHT

The trees are dark and silent. Overwhelmed by emotion, Leona searches her eyes in every direction as she lays on her back in the dirt unaware of how she got here.

LEONA Ellie?