Gothika

FADE IN:

OPENING CREDITS OVER QUICK CUTS:

INT. MIRANDA AND DOUG'S BEDROOM - DAWN

PUSH in on a sleeping couple in the dark. The ALARM

CLOCK reads 5:
59 AM. The woman's eyes open a secondbefore the alarm beeps and turns it off. She grabs aglass of water on her bedside table and drinks it.

Climbs out of bed past typical bedside photographs(wedding, vacation, etc.). This is MIRANDA GREY: 30,

sharp and prettier than she knows.

INT. GYM SWIMMING POOL - MORNING

Miranda slides through the water. Swimming cap on,

goggles. Her STEADY BREATHING takes us in and out of the

water. Something unsettling about this sound. Somethingslightly unsettling too about her detached manner. A

person on autopilot, recognizing only the water and theperfectly aligned lap stripes leading her path. Like

graphic metaphors for her own conscience: flat. She

emerges from the pool and self-consciously wraps herselfin a towel.

INT. COFFEEHOUSE - MORNING

Miranda pays for a pair of coffees and a newspaper.

INT. KITCHEN - MORNING

Miranda's husband DOUGLAS GREY (older, a superficialanalysis would suggest a father figure) serves breakfast.

Miranda smiles thank you and goes back to studying a casefile. He sips from his takeout coffee and reads the

newspaper. A pleasant domestic scene. It's 8:00 AM.

EXT. ST. ANNE'S HIGH SCHOOL PARKING LOT - MORNING

Miranda's Volvo pulls in as students amble up the steps.

Doug kisses his wife and hops out. Exemplary carpoolers.

Students are already chatting him up as Miranda drivesoff.

EXT. WOODWARD INSTITUTE - ON A SURVEILLANCE MONITOR

Miranda's car at some sort of guard gate. A BUZZER lets

her in. As the car drives past we read the plate on thewall:

(CONTINUED)

2.

CONTINUED:

"WOODWARD FORENSIC INSTITUTE"

The gate shuts behind her with a certain finality as

we...

INT. WOODWARD INSTITUTE - MIRANDA'S OFFICE - EVENING

Stark walls. Simple decor. Bookshelves packed with theaccording psychiatric tomes and diplomas. Miranda faces

a troubled young mess of a woman, CHLOE: charismatic,

deranged and forever trying to provoke. Mid-session:

MIRANDA:

This is your stepfather who cameto visit you?

CHLOE:

My stepfather? No. He's dead.

(beat)

I killed him.

Miranda tries not to act surprised at this breakthrough.

Responds with the even keel of a trained psychiatrist.

MIRANDA:

That's the first time you admitit.

CHLOE:

So? There's a first time for

everything.

MIRANDA:

(jotting this down)

It means you're finally past thedenial stage. This is good,

Chloe.

CHLOE:

I never killed anyone who didn'tdeserve it.

MIRANDA:

You only killed your stepfather asfar as I know.

CHLOE:

I should've taken care of mymother. She knew all along. You

remind me of her.

(CONTINUED)

3.

CONTINUED:

MIRANDA:

I remind you of your mother?

CHLOE:

Always so put together. Like youiron your underwear. Like yourpussy is the apricot of thePromised Land and the bread of

the -

MIRANDA:

(getting her backon track)

Let's get back to your visitorlast night.

CHLOE:

The Devil.

MIRANDA:

Alright, the Devil. Why would theDevil visit you? It's alreadyhell in here, what would he have

to gain?

CHLOE:

He came to f*** an angel.

(giggles at that)

I'm his dirty angel.

Before Miranda can analyze that one, the room LIGHTS FLICKERAND DIE. Darkness. Miranda's breathing speeds up.

CHLOE:

He grabbed me by the hair while Isucked him and usually I lovethat, I just do -- maybe you cantell me why I love it so much -but

not this time, he was just toorough -

As suddenly as it went out, now the POWER RETURNS. A

visibly uncomfortable Miranda checks the clock.

MIRANDA:

That's it until Monday. Try andget some sleep tonight, okay?

CHLOE:

Sure, Doctor.

(leans in)

Crazy people hear messages fromGod. Not the Devil. You know

that, right?

(CONTINUED)

4.

CONTINUED:

MIRANDA:

I didn't say you were crazy.

CHLOE:

You don't have to say it.

She almost doesn't seem crazy when she says this.

Almost. TWO ORDERLIES appear at the door. Miranda nods

for them to escort Chloe. Chloe shakes their hands awayfrom her, strides off dramatically. The princess of theasylum.

INT. WOODWARD CORRIDOR - LATER

Miranda locks her office, armed with paperwork. The end

of another workweek. DR. PETE GRAHAM, a good ten yearsolder and Miranda's best friend on the job, approaches.

PETE:

Dr. Grey.

MIRANDA:

Dr. Graham.

They walk along with the easy confidence of colleagueswho not only respect each other, but enjoy each other. A

lot.

PETE:

Power went out again in our wing.

MIRANDA:

(knows what's coming)

Same here.

PETE:

It's not shrink-appropriate to beafraid of the dark, you know?

MIRANDA:

You're not shrink appropriate andyou're about to get promoted.

Everybody's afraid of something.

PETE:

What am I afraid of?

MIRANDA:

Yourself. At least you should be.

What are you up to this weekend?

(CONTINUED)

5.

CONTINUED:

PETE:

Write a little country music,

decline invites to grand socialevents, drink myself to sleep -the

usual. You?

MIRANDA:

Doug wants to look at some RealEstate up at Willow's Creek.

PETE:

Again?

MIRANDA:

He thinks it's fun.

PETE:

So is golfing, I'm told. Who was

your six o'clock?

MIRANDA:

Chloe McGrath -- talk about tryingto empty the ocean with a tea cup.

She's a mess.

PETE:

I hear Manhattan's full of them.

MIRANDA:

Don't start with that. I alreadyturned down the job. We're

staying.

PETE:

Good girl.

They have reached an office marked "DR. PHILLIP PARSONSDIRECTOR" and peer in to see Parsons (50's,

distinguished, commands respect from everyone) on thephone. He gestures for Pete to sit. Miranda is about to

exit when he covers the mouthpiece -

PARSONS:

Miranda, my wife keeps wanting toset that dinner with you and Doug.

Are you free tonight?

MIRANDA:

He's stuck at a school board

meeting.

Parsons looks through his appointment book.

(CONTINUED)

6.

CONTINUED:

PARSONS:

You've been here a year already,

Dorothy's starting to take thispersonal. How's next Wednesday?

MIRANDA:

Next Wednesday it is, Phil.

He nods at her with a smile and returns to his phonecall.

EXT. WOODWARD INSTITUTE - NIGHT

Miranda drives off, leaving the majestic grounds behind.

A GUARD waves her off.

END OPENING CREDITS.

EXT. ROAD - NIGHT

Miranda slows down at the sight of colored lights upahead. A knocked-down telephone post blocks the road.

EMERGENCY VEHICLES at the scene. A patrolman waves herdown.

INT. MIRANDA'S CAR - MOVING - NIGHT

SHERIFF RYAN, 40'S, recognizes her and ambles over.

MIRANDA:

Anybody hurt, Sheriff?

SHERIFF RYAN:

Nah, telephone post just decidedto fall. It'll take us a while to

clear this up so I'm afraid you'regonna have to take the long wayhome, Miranda.

MIRANDA:

If you say so.

SHERIFF RYAN:

And tell your husband he owes me aphone call.

MIRANDA:

Will do. Wouldn't want him in

trouble with the authorities.

(CONTINUED)

7.

CONTINUED:

SHERIFF RYAN:

That a girl. The law never sleepsand all that. You take care now.

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