Harper's Island by Ari Schlossberg CBS/Paramount Junction Entertainment Network Draft February 28, 2008

EXT. SEATTLE HARBOR - PARKING LOT - DAY A picturesque sleepy Seattle harbour with lush green hills cascading into the water on either side. A LIVE STRING QUARTET plays classical music on a small ferry docked in the distance. People are on board celebrating. In the foreground, a sign welcoming guests to the wedding of Trish Wellington and Henry Dunn. A sudden gust of wind tips over the sign. . . At the entrance of the crowded parking lot, a taxi pulls forward. The reflection of the harbor is cast on its windows. As the back window opens, the reflection disappears and we reveal the taxi’s lone passenger, ABBY MAY (25), simple, natural, pretty. Abby is looking outside her opened window, focused on the celebration in the distance. . . The taxi stops. She continues to look out the window. . . INT. TAXI - DAY The CAB DRIVER moves his finger towards the meter. He presses stop. . . The driver looks back at Abby. . . Abby looks down at the wedding invite she holds in her hand, staring at the elegantly printed location, “Harper’'s Island.” EXT. ISLAND FERRY - DAY The sound of classical music grows louder as we follow closely behind a beer cooler being carried up the boat’s ramp. . . As the cooler reaches deck-level, we reveal WAITERS in white jackets serving hors d’oeuvres and champagne. The dress of the crowd is casual; however, it is clear this is an upscale event. The cooler is dropped on the deck of the boat. FOUR GROOMSMEN, in their mid-twenties, stand proudly by its side.

SULLY, the stud, wearing an old University of Washington hat backwards, flips open the 1lid of the cooler as SHEP, the smallest of the group, looks down at the beer packed in ice through his thick-framed glasses. Shep hands a beer to Sully as Sully passes it along to DANNY, a Brooklyn native. SULLY I need six more of these and two valium before I can even deal with these girls. SHEP Which girls? SULLY The bridesmaids. See Laurie. . . over there. They quickly focus on a group of beautiful girls in the crowd. SULLY Bathroom stall. Craig’s wedding. Real classy. . . Stacey, two days later at your graduation party. SHEP I remember that. DANNY Don’'t forget Beth at the Space Needle. SULLY Oh, yeah. SHEP Wait. . . My Beth. SULLY It was before you were dating her. SHEP How much before? SULLY It was like. . . You know. . . Like a lot. Long time. . . (beat) I think.

Off Shep’s look, Sully reaches down into the cooler and tosses a beer to HENRY DUNN (24), the groom. Henry catches it, smiles. . . HENRY Where have you guys been? I could’ve used this beer an hour ago. He takes a sip, stops. . . HENRY I think my father-in-law hates me. MALCOLM, the fourth groomsmen, cracks a smile. . . MALCOLM You’'re just realizing this now? SULLY Henry, we all hate you. HENRY Guys, save the love for the speeches. TRISH WELLINGTON (24), barbie-doll blond and radiant, approaches the group, greeting party guests on her way. She is dignified, intelligent, and well-put together. It is evident she is aware that all eyes are upon her and she wants everyone to know that she is in complete control of this moment, her moment. SULLY Trish. Sully reaches down into the cooler, pulls out a Heineken, and tosses it to Trish. Trish watches the beer fly by her and roll down the deck. . . TRISH Nice, Sully. . . Henry, can I talk to you for a moment. . . Henry approaches Trish. Trish leans over to him as she motions to the far side of the ferry. J.D. DUNN (21), rail- thin, rocker-type, is tossing sushi to seagulls on the dock. TRISH Look at your brother. He’'s feeding hundred dollar plates of seared ahi tuna to the seagulls.

Trish smiles and waves to a passing guest. HENRY (calming) Honey, I'll take care of it. .« . TRISH I just want everything to be. . . HENRY Perfect. Trish pauses, looks at Henry, and nods. HENRY Me too. TRISH I love you so much. Henry leans in and gives her a long kiss. MR. WELLINGTON (O.S.) Sweetheart. . . Trish and Henry instantly stop kissing as MR. WELLINGTON approaches. He is stiff, conservative. Shoes and watch alone, tell us this man’s got money. MR. WELLINGTON The captain says we should be on our way in five minutes. TRISH Thanks, Dad. Trish’s cell phone RINGS. She steps aside from Henry and her father to answer it. . . MR. WELLINGTON (to Trish) If that’s your cousin, Ben, tell him the ferry is leaving with or without him. Trish smiles, looks at the caller I.D. Her eyes instantly widen. The color draining from her face as she focuses on the name, “Hunter Jennings.” She will not dare answer this call. She turns away from Henry and quickly tucks the phone back in her purse. . .

EXT. DOCK - PARKING LOT Abby is now standing outside her taxi. The driver brings her bags to her side. . . DRIVER Who's getting married? ABBY My best friend from growing up. The driver looks at the words, “Harper’s Island” printed on the ferry. DRIVER Harper’s Island. . . Isn’t that the place where that maniac murdered all those people? The driver turns to Abby. Abby doesn’t answer as she stares in the direction of the ferry. EXT. HARPER’'S ISLAND FERRY - DAY Mr. Wellington and Henry continue to stand next to one another. Mr. Wellington focuses on Henry’s friends hanging out by the cooler, chugging brews, ogling girls, and then, he focuses back on Henry. MR. WELLINGTON Are these your groomsmen, Henry? HENRY Yes, sir. MR. WELLINGTON You must be so proud. Mr. Wellington steps away just as the soothing classical music is suddenly drowned-out by a different brand of music. . « It's. . . THE MEXICAN HAT DANCE. Everyone turns their attention to the entrance as a MARIACHI BAND walks on board, playing loudly. Mr. Wellington is barely able to contain his distaste as he watches his guests react to the noise with confusion and revelry. Following right behind the band, is UNCLE MARTY, (late 40's), dressed in a white linen suit, making his grand entrance.

He grabs a glass of champagne from a waiter’s tray as he approaches Henry. HENRY Uncle Marty! Uncle Marty hugs Henry tightly as Trish joins them. . . TRISH Hi, Marty. Uncle Marty kisses Trish’s hand. UNCLE MARTY It’s Uncle Marty to you. You're part of the family now. In fact, for this entire week, it’s Uncle Marty to everyone! The band continues. People surrounding Uncle Marty are amused by his antics. UNCLE MARTY Do you know how hard it is to find a Mariachi band in Seattle. In the midst of the laughter and good cheer, Uncle Marty is distracted by a beautiful girl wearing a very revealing, and rather loud, bright pink sundress. Her name is CHLOE CARTER, (23). Uncle Marty tunes out just a bit as he watches her from across the boat. . . Uncle Marty raises his champagne glass up to her. She smiles, right before her boyfriend, CAL VANDEUSON, comes to her side, toasts back to Uncle Marty, and kisses her on the cheek. Chloe keeps her focus on the party. HENRY (0.S.) Uncle Marty, you’ve outdone yourself. . . Uncle Marty casually sips his champagne and looks back at Henry and Trish. HENRY But heading out soon, so try to get the Tijuana Brass back on dry land before Mr. Wellington kills you. . . and me.

TRISH (teasing) If that band comes to the wedding, I'11l kill you both myself. Uncle Marty grabs Trish and begins to spin her to the music. UNCLE MARTY Have no fear, sweet thing. I only paid for two songs. Trish laughs as she gets into the dance with Uncle Marty. Henry smiles, watching them have fun. . . Henry is suddenly distracted as he looks to. . . THE ENTRANCE OF THE FERRY . « . where ABBY, walks up the ramp searching for a familiar face. She locks eyes with Henry, and instantly, she lights up. Henry hurries over to her. In the middle of her dance, Trish sees where he’s going. OVER BY ABBY Henry hugs her tightly. He lets her go, and takes a look at her. HENRY I almost sent Sully down there to pull you out of that cab. ABBY I needed a moment. He looks at her a little more closely. HENRY Second thoughts? ABBY Many. . . Abby smiles. ABBY But I couldn’t miss this. HENRY You couldn’t resist seeing me marry a Wellington, could you?

Abby notices Trish approaching. ABBY Trish. You look great. TRISH Thanks, Abby. You look great too. They half-hug hello as the groomsmen walk over pounding their beers, turning down a passing waiter with a tray of champagne. SULLY What’s with this crowd. Who wants a beer? Sully holds out an open bottle to Henry. From behind, a hand grabs it. Everyone turns to Abby as she DOWNS it, looks at the guys, and smiles. ABBY Now I feel better. The guys cheer. Everyone surrounds her. Sully gives her a big hug, hello. . . Trish casually grabs Henry away from Abby. TRISH Make your speech. CUT TO: AT THE CENTER OF THE BOAT Henry and Trish stand together, addressing the crowd. HENRY I know some have you have travelled from far away and others have come under difficult circumstances. . . Henry looks at Abby. HENRY I just want to say thank you. It means a lot to us. . . Abby smiles. HENRY We are about to ship off. . .

AT THE BOW OF THE FERRY The groomsman continue to drink as Shep starts to sway. SHEP I think I drank too much. I'm already seasick. MALCOLM The boat isn’t moving yet. SHEP I don’'t think I'm going to make it, guys. I'm going to die on this boat. He looks over the side. SULLY You’re not going to die on the boat. You’re going to die on the island. Shep looks curiously at Sully. . . SULLY He doesn’t know. DANNY Stop freaking him out. SHEP What the hell are you talking about? The guys all laugh at Shep. AT THE CENTER OF THE BOAT HENRY . .« . Harper’'s Island, the place where Trish and I first met. . . Cheers from the crowd. At the side of the boat, Abby turns away from the group and stands alone. HENRY I'm sure you’'re all going to fall in love with this island just as Trish and I have. . .

10. Abby turns toward the ocean. In the distance, Harper’s Island- -a mere speck on a horizon of choppy seas. A subtle look of growing concern on her face as Henry's voice fades into the background. Abby continues to focus on the island. The sound of applause as the guests continue to celebrate. OVER BY HENRY AND TRISH Locked in an embrace. HENRY Are you ready to get married? TRISH .« « « We're still missing someone. HENRY TRISH Cousin Ben. HENRY He’s probably hung over. Call him again. Trish takes out her cell phone and dials the number. As she holds the phone to her ear we move off of her. . . TO THE BOW OF THE BOAT Where the groomsmen celebrate. Sully holds his beer high. SULLY To us all making it back alive. They all laugh except for Shep. Sully gulps his beer and tosses the bottle overboard. . . We follow the bottle as it hits the water and sinks BELOW THE SURFACE As we continue to follow it downward, deeper into the water, something else is revealed. . . There, under the boat, dressed in street clothes, tied-up next to the propeller, kept alive by a regulator taped to his mouth, is COUSIN BEN.

11. The cell phone on his waist lights up. Trish’s calling him but he can’t answer. He can’t break free. All he can do is stare at the motionless blades of the boat’s propeller and hope they don’t start. BACK ON BOARD Trish turns to Henry. TRISH No answer. HENRY I don’'t want to hold this up any longer. Let’s go. He’ll make the next ferry, alright? Trish hesitates, nods. Henry kisses her. We stay with Trish as she watches Henry go talk with the CAPTAIN. As the captain moves into action, and the deckhands begin scurrying about on the docks, Trish finds herself swept away with the moment. It’s really happening. A smile comes across her face. Classical music getting louder. Her heart, beating faster. There is no question. The wedding, her wedding, is beginning right now. BACK UNDER THE FERRY The blades of the propeller slowly begin to rotate. Ben struggles. It’s no use. The ropes suspend his body in such a way that as the blades move faster, he is being sucked forward into them. He kicks at the blades but all that does is shred his shoes, and then, his bare feet. He is being sliced away into fish- bait as his cries bubble to the surface. BACK ON THE FERRY Guests sample another round of champagne, complemented with a delicate, red, meaty, ahi hors d’oeuvre. Abby smiles at the groomsmen as she bites into it. As the boat leaves the dock, everyone is caught up in the celebration, not noticing the rather large trail of blood left in the boat’s wake. END TEASER

12. ACT ONE EXT. HARPER’'S ISLAND FERRY - DAY Out at sea. Chloe stands alone watching the waves slap against the side of the boat. Her loud, pink dress, sways in the wind, wrapping around her perfectly shaped body. . . UNCLE MARTY (0.S.) Beautiful, isn’t it? Uncle Marty moves next to her, looking out at the vast sea dotted with tiny specks of land in the far distance. . . UNCLE MARTY Reminds me of the Mediterranean. So blue. The sea. They have ferries that take you anywhere you want to go. Corsica. Sardinia. Tunis. . . Chloe swirls her glass of champagne and turns toward Uncle Marty. CHLOE Wow. You’ve been to all those places? amazing. . . UNCLE MARTY I think it’s important to get out and see the world. Every summer I would try to take Henry to a new exotic land, but he never wanted to leave Harper’s Island. CHLOE Typical Henry. Uncle Marty watches as Chloe sips the last of her champagne. UNCLE MARTY I have a feeling that you have an appreciation for the exotic. Chloe smiles, moves closer. . . CHLOE I'm Chloe. UNCLE MARTY I'm Marty.

13. Uncle Marty focuses in on her eyes. So blue, so alluring. He can’t help but move closer, looking into them as they begin to slant slightly to the right. . . UNCLE MARTY Pleasure to meet you. . . Chloe giggles, extends her hand toward Uncle Marty, and then quickly uses it to grab the railing and brace herself as she leans overboard and THROWS UP into the sea. Taken off guard, Uncle Marty remains still, not sure what to do. . . He hesitantly reaches out and pats her on the back. Cal quickly comes to her side and takes hold of her. CAL Honey, you okay? Uncle Marty casually backs away, Jjust missing MADISON ALLEN (8), as she walks by. Madison is a little lady, carefully holding on to a plate of cheese and crackers as she makes her way through the crowd. We follow her on her journey, winding in between large adults who all smile at her in a “Look how cute she is” way. Madison stops and gently pulls the hand of a WOMAN. MADISON Here you go, Mommy. The woman i1s SHEA ALLEN. This is Trish’s sister, who stands next to Trish and Shea’s husband, RICHARD ALLEN. SHEA Thank you, sweetheart. Madison, show ‘em what I taught you. Madison does a curtsey. Everyone claps. Trish leans down to her. TRISH You’'re going to make the best flower girl in the whole world. Madison smiles. Trish and her sister go back into conversation as Madison is distracted. The boat is approaching a fog bank. Suddenly, no more voices can be heard. It’s just Madison and the fog.

14. She walks to the side of the boat, keeping her focus out at sea. The fog engulfs the crowd. . . A smirk creeps over little Madison’s face as we reveal what she is looking at--a vision from a postcard, an island surrounded by rough seas slamming into jagged cliffs-- beautiful, yet dangerous. The crowd approaches Madison’s side of the boat. Everyone, amazed with the first glimpse of Harper'’s Island. ON THE OTHER SIDE OF THE BOAT Abby isn’t as taken with the view. Henry sneaks up on her. HENRY A lot has changed in seven years. Abby continues to look out at the island as they approach the waterfront town by the dock. This is the main town of the island. It is quaint, filled with little shops, eateries, and the local pub called THE TAVERN. HENRY It means a lot to me that you came. Abby smiles. ABBY It’s time I came back anyway. HENRY You going to see your dad? She looks hesitant. HENRY Have you even talked to him? ABBY No. The ferry pulls into the dock as its HORN ROARS. EXT. THE TOWN OF SHELTON BAY - HARPER'S ISLAND - AFTERNOON A decorated wedding TROLLEY rings its bells as the wedding guests board.

15. GUIDE (0.S.) Welcome all of you to Harper'’'s Island and for some of you welcome back. A GUIDE stands in the front, addressing the crowd. Chloe staggers toward Trish, who stands at the entrance of the trolley. CHLOE I'm so embarrassed. I feel like I've already ruined your wedding. TRISH Don’t worry about it. (playful) I'll get you back at yours. Chloe looks back at Cal approaching, struggling to carry all the luggage. CHLOE I don’'t think Cal and I are there yet. ON BOARD THE TROLLEY Madison focuses on a LITTLE BOY (7), sitting across the way with his mother. The boy notices her. He suddenly looks spooked, quickly reaching for his mother’s hand. Madison smiles wickedly to herself. Abby is one of the last to board, taking her seat in the back. GUIDE I'd like to extend a special congratulations to the soon-to-be Mr. and Mrs. Dunn. Applause. Mr. Wellington sits next to his WIFE. They both applaud. She smiles at him. He smiles back. The trolley starts its journey through town. . . GUIDE Harper’s Island was founded in eighteen-sixty-seven. The Native Americans came here to escape the western colonization of the white man. (MORE)

16. GUIDE (cont'd) Eventually there was a great battle on the northern shores of the island and the Native Americans were defeated. Today there are still many relics being discovered from the time. Our islanders believe it’s a sign that the spirits of the Native American people continue to live on . . Abby turns her attention to the town, the people watching the trolley pass. GUIDE The island’s population is one thousand and five. Most of the islanders live here in Shelton’s Bay. Summer is our peak tourist season and the people of Harper's Island always welcome them with open arms. The trolley approaches The Tavern just as an old PICK-UP TRUCK, with the logo “MANCE’S FISHING” on its doors, comes to a break-squeeking stop. Abby focuses on the truck’s TWO PASSENGERS. . . GUIDE We are pleased to have you as our guests and hope you enjoy your time here with us. Thank you. Applause again as Abby watches the driver of the truck step out from the vehicle. . . It’s her old boyfriend, JIMMY MANCE, (27). Jimmy is equipped with a devilish charm, a handsome smile, and that same outfit he’s been wearing for years: thick, rubber galoshes, bright yellow overall’s, two over-sized black gloves, and a red bandana fastened to his forehead. Jimmy and his buddy walk to the back of the truck and pull out a large container filled with freshly caught fish lying over ice. As they maneuver the heavy container toward The Tavern, Jimmy stops, and focuses on the passing trolley and on Abby. It is her. Jimmy mentions something to his friend. They drop the container, Jimmy waves his big black gloves in the air, and starts making his way over. . .

17. JIMMY Abby? Abby smiles. ABBY Hi, Jimmy. The trolley doesn’t wait. Jimmy follows it on foot, struggling to keep up with his heavy galoshes. JIMMY You should’ve let me know you were coming. Jimmy is falling behind. . . With a burst of speed he manages to leap on board the trolley and stand over Abby. JIMMY It’s good to see you. You look great. Abby can’t help but laugh. JIMMY What’s so funny? ABBY You still smell like fish. JIMMY Got a new boat. It’'s bigger. Faster. I'm reelin’ ‘em in like nobody’s business. That’s the name of it. ABBY Nobody’s business? JIMMY Reelin’ ‘em in. ABBY Catchy. JIMMY That’s what I said. Maybe you’ll come down, I’'ll take you out. ABBY Maybe.

18. Jimmy looks at the front of the trolley, at Henry and Trish. JIMMY Henry finally did it, huh. He's marrying the princess. ABBY You heard? JIMMY Everyone heard. He’s got the Candlewood for the week. . . You coming here, that’s the surprise. Jimmy leans into Abby. JIMMY Things have changed, Abby. For the better. Abby smiles at Jimmy. ABBY see. Jimmy leans backwards and jumps off. Abby and Jimmy continue to look at another for a moment as the trolley moves on. WE STAY WITH JIMMY Watching the trolley go. He turns back toward The Tavern. He didn’t realize how far he’s traveled. He raises his arms in the air and calls out to his buddy in the distance. JIMMY Hey! His buddy gets in the truck and starts making his way over to him. . . EXT. HARPER’'S ISLAND - A LONG WINDING HILL - AFTERNOON The trolley has left the town below, making its way up a long winding hill. People are silent, looking out at trees bordering the road. No one can see past them, keeping the dimensions of the island a mystery. AT THE FRONT OF THE TROLLEY Trish snuggles next to Henry, not noticing her cell phone, with the ringer now turned off, is lighting up once again.

19. On the caller ID, “Hunter Jennings.” EXT. FRONT OF THE CANDLEWOOD HOTEL - AFTERNOON At the very top of the hill, the trolley is approaching a hotel. This is the Candlewood: old-fashioned, quaint, vines and flowers spiraling around old wood. From the front it doesn’t appear very large, a few stories tall, not so wide, but as the trolley pulls up, through a glass doorway, we get a glimpse of the grounds behind the hotel, sprawling and intricate. At the front door, BELLMEN stand ready to remove luggage. Everyone gets off the trolley and heads to the hotel’s steps where they are greeted by the manager, MAGGIE KRELL (45). Maggie is a rather large lady who takes great pride in her hotel and right now she is trying her best to seem appropriate for this all important moment. . . MAGGIE Welcome to the Candlewood. As Trish and Henry exit the front of the trolley, a smile comes across Maggie’s face. She can’t contain herself any longer. . . She hurries over to Trish and gives her a big hug. Maggie looks her up and down. She is becoming very emotional. MAGGIE I'm so happy for the both of you. The big day has finally arrived. HENRY Thank you, Ms. Krell. Maggie pinches Henry’s cheek. MAGGIE How long have we known each other? It’s Maggie, Henry. It’s Maggie. INT. CANDLEWOOD HOTEL - LOBBY - AFTERNOON The crowd is gathering. Maggie walks in front of the check-in counter, preparing to address everyone. . .

20. MAGGIE My name is Maggie Krell. I am the manager of the Candlewood. You are our only guests for the week so you will have the full attention of our entire staff. Please feel free to knock on my door, which is right down this hallway, if there’s anything you need. Anything at all. I never sleep and I'm always here. The guests start making their way to the counter. MAGGIE Oh. I almost forgot. The opening dinner celebration will be held at seven o’clock this evening in our main banguet hall which is right over there. As Maggie points down a hallway, her eyes lock on Abby. Maggie approaches her. MAGGIE My oh my. Abby. That is you. ABBY How are you, Ms. Krell? MAGGIE I'm good. Very good. Your father was wondering if you were going to show up. I'm so glad you decided to. A WOMAN from her staff whispers something in her ear. Abby nods. Abby looks and in the Abby walks MAGGIE (to Abby) Give me a second, will you, dear. Maggie walks toward the check-in counter. out the back. Windows reveal the hotel’s grounds distance, a cliff which drops into the ocean. outside.

21. EXT. BACK OF CANDLEWOOD HOTEL - AFTERNOON Bordering a vast lawn, hedges, fifteen feet tall, are placed together forming hidden, tucked-away passageways to different cottages on the hotel’s property. Abby approaches the hedges. She looks down a long row. Everything is still. No wind. No sound. Then, there is a sound. A faint sound. It’s the sound of a hedge trimmer. She walks down the long row of hedges and looks around the corner. In the distance, with the sun to his back, A MAN looks directly at Abby, his hedge trimmer turned on, held tightly in his grip. Abby focuses. His features, shadowed by the light. He stands still, watching her. She takes a step forward as he walks into a passageway of hedges and disappears from sight. The hedge trimmer stops. Silence once again. Abby takes another step forward. FROM OUT OF AN OPENING Between the hedges, right in front of her path, the hedge trimmer suddenly shoots forward, turned on, sound deafening. Abby jumps back. Screams. The man steps out from the hedges. The shadow on his face is gone. She can now see his features clearly. And it is not who she thought. He turns off his hedge trimmer. GARDENER Sorry. I didn’t mean to scare you. Are you alright? Abby catches her breath, nods, and smiles. He turns his hedge trimmer back on and walks away, down the row of hedges. Abby turns back toward the hotel. Henry has been watching her. He approaches. A look of concern on his face. ABBY He looked like.

22. HENRY Abby. ABBY Just for a moment. Henry takes her chin in his hand, draws her face near, and looks her in the eyes. HENRY He’s dead. Abby remains still, wanting to believe, knowing it’s true, but at the same time, hesitating. . . ABBY I know. END OF ACT ONE

23. ACT TWO EXT. HARPER'S ISLAND - SUNSET The sun is lowering in the sky, turning a deep burgundy red as it bleeds into the water. . . Trees surrounding the bluff by the Candlewood are casting long shadows over the hotel. . . EXT. HENRY AND TRISH'S COTTAGE - AFTERNOON Henry has his hands over Trish’s eyes as he pushes the door of their cottage open. INT. HENRY AND TRISH’'S COTTAGE - AFTERNOON He positions her in front of the bed and gently removes his hands from her eyes. She loves what she sees. Rose petals strewn around the bed and the surrounding floor. TRISH It’s perfect. . . Everything is perfect. EXT. SHEA'S COTTAGE - AFTERNOON Shea accepts a wedding gift bag from a BELLMAN and tips him. He smiles and walks away. From the window of the cottage, her husband Richard leans out. RICHARD Honey, can you grab Madison. It’'s time to get ready. Shea looks off in the garden. Madison is kneeling down in the flowers. SHEA (calling out) Madison. Time to get ready for dinner. OVER BY MADISON Remaining where she is. With the sunlight fading she is finding it very difficult to burn this one particular ant with her magnifying glass. . .

24. SHEA (0.S.) Madison. Madison looks frustrated. She hides the magnifying glass in her pocket, picks a rose, and steps on the ant. She walks to her mother and gives her the rose. SHEA For me? Thank you, sweetheart. INT. J.D.’S HOTEL ROOM - BATHROOM - AFTERNOON J.D., Henry’s brother, is looking at himself in the mirror. He begins to unbutton his shirt, revealing his body is covered in tattoos. The themes, life and death, skulls, the reaper. . . Reaching into his gift bag, a SCAR is revealed on the inside of his wrist. . . INT. UNCLE MARTY'S HOTEL ROOM - BEDROOM - SUNSET CU on a STRAIGHT RAZOR moving down the neck of Uncle Marty. He nick’s himself. A drop of blood. . . He reaches into his gift bag and pulls out a small packet of tissues. . . He dabs the cut. Checks himself in the mirror. It’s all good. Uncle Marty opens the drawer of the bathroom counter. He places the razor inside the drawer, next to a 9-MILLIMETER BERETTA. He closes the drawer. INT. CHLOE AND CAL'S HOTEL ROOM - BALCONY - SUNSET Cal looks out as the sun is setting over the ocean. The moment, the beauty, taking him over. . . He reaches into his pants pocket and pulls out a tiny black jewelry box. He opens it, revealing a large diamond ring. He stares at it. Its brilliance giving him confidence. . .

25, CAL (calling out) Chloe. . . No response. Cal turns around and looks. . . INTO THE ROOM Chloe is lying in bed. Her eyes, closed. She’s not feeling well. She MOANS. . . CHLOE I still feel it rocking. Cal pauses, this is not the moment. He puts the ring back in his pocket. CAL I'll get you something. Cal looks around, stopping by the wedding gift bag. He peers inside. It’s filled with lotions and trinkets. Chloe opens her eyes, looks over at him. . . CHLOE They don’t put alka seltzer in a wedding gift bag. INT. MR. AND MRS. WELLINGTON'S HOTEL SUITE - EVENING Mr. Wellington looks at his gift bag and throws it in the trash. . . He receives an email on his laptop just as Mrs. Wellington steps out of the bathroom wearing an elegant dress. MRS. WELLINGTON What do you think? Too much? Mr. Wellington glances at the email reading the words, “Just arrived.” MR. WELLINGTON No. It’s just right.

26. INT. ABBY'S HOTEL ROOM - BEDROOM - EVENING Abby puts the finishing touches on her lipstick. All of the lotions and make-up from the gift bag are on the counter in front of her. She places her lipstick next to them and pauses. . . In the waste-basket, the gift bag is turned upside down. Falling out of the bag, a tiny white envelope. She reaches into the waste-basket and removes the envelope. She opens it, takes out a note and reads it. . . “Would love to see you. Dad.” Abby stops. . . crumples the note in her fist. EXT. CANDLEWOOD HOTEL - BANQUET HALL - NIGHT We track along the windows of the banquet hall. Music can be heard from within, people dancing. INT. CANDLEWOOD HOTEL - BANQUET HALL - NIGHT Tables are placed around the room. Half of the guests sit and nibble on the remaining portions of their dinner. The other half is on the dance floor swaying to the music of the live band. The slow song comes to an end. Chloe and Cal are over by the bar. Chloe is freshened-up and ready to go. A bartender brings over two martinis. Cal hands one to Chloe. She drops an alka seltzer tablet in her martini and slowly takes a sip. Chloe smiles as a new song begins playing. A sexy, sultry, Spanish flavored song. Chloe can’t help herself. She begins grooving away from Cal, heading out on the dance floor. Cal remains where he is, watching her move. ON THE DANCE FLOOR More and more people are coming. Cal loses sight of Chloe. . Abby is shaking it up with some of the bridesmaids as the groomsmen move in. Uncle Marty is also moving in. . . on Chloe.

27. He does his best to keep pace with her even though his movements are dated to say the least. As the music picks up, their bodies move closer. UNCLE MARTY You know, I used to have a summer place here. CHLOE What? UNCLE MARTY I said I used to have a summer place on the island. CHLOE So you can show me around. UNCLE MARTY Exactly. Back into the music. No conversation necessary. They are feeling the groove. . . And then, a third body joins them -- it’s Cal. Uncle Marty becomes cautious with his moves, keeping a respectful distance. . . Cal dances closer to Chloe. He looks at Uncle Marty. He's still around. eyes are closed. She has no idea what’s going on. Cal shoots Uncle Marty a look. He’s getting somewhat annoyed. Uncle Marty smiles and sways away. . . WE FOLLOW UNCLE MARTY As he dances past Henry and Trish. TRISH (to Henry) Concentrate. Like I showed you. They continue dancing. Trish is taking it very seriously. She’s obviously had many lessons. TRISH Better. . . A CAMERAMAN positions his camera next to them.

28. TRISH Smile. Henry smiles. The cameraman takes a picture and walks away as Trish’s eyes focus on an empty seat, and an empty placemat with the name “BEN WELLINGTON” in front of it. HENRY Any word from Ben? TRISH No. I can only imagine where he is. CUT TO: EXT. THE DOCK - HARPER'S ISLAND - NIGHT The captain of the ferry which brought the wedding to the island stands on the dock next to WALTER, a deckhand. Walter is dressed in scuba gear. WALTER See The captain and Walter look at a mysterious rope, dangling from under the boat. CAPTAIN Yeah. I see it. WALTER Give me five minutes. I’'1ll get it out. Walter puts his regulator in his mouth and jumps into the ocean. UNDERWATER A light from the dock keeps the area dimly lit. Walter takes a moment to gather himself. He spots the rope. He grabs hold of it and pulls. . . It’s stuck on something under the boat. Walter follows the rope, all the way under, all the way toward the propeller.

29. He pulls again. It’s stuck on the blades. He reaches his hand inside, past the blades. He can’t see what it is but this rope is tangled on something. . . ON THE OTHER SIDE OF THE BLADES Walter’s gloved hand reaches in. It moves around something fuzzy. As he dislodges the rope, BEN’S FACE TURNS TOWARD US. QUTSIDE THE PROPELLER Walter has removed the rope. He turns toward the dock. Behind him, Ben's head is now visible, in between the blades, floating. It rests for a moment and then falls out heading down to the dark sea below. Sensing something, Walter spins back around toward the propeller. But sees nothing. . . CUT BACK TO: INT. CANDLEWOOD HOTEL - BANQUET HALL - NIGHT The band finishes their song. Trish walks up to the microphone. TRISH Can I have everyone’s attention, please. Thank you. We have a lot of fun activities planned for this week. But before we have too much fun, I wanted to thank a very special person in my life for making this all possible. Thank you, Dad. Thank you for caring. Thank you for everything you’ve ever given to me. I love you so much. People look over at Mr. Wellington, sitting next to his wife. Henry joins Trish on stage. HENRY And I didn’t know when the right time to say this was, but as I'm sure my own father would understand, I need to say it. . . Henry looks at Mr. Wellington.

30. HENRY Thank you, Dad. There’s SILENCE as everyone looks to Mr. Wellington for a response. Mr. Wellington slowly raises his glass of champagne to the couple. The crowd applauds. His wife leans over to him. MRS. WELLINGTON I'm very proud of you. Mr. Wellington smiles at his wife and then looks off at the entrance. . . EXT. CANDLEWOOD HOTEL - BANQUET HALL - NIGHT Abby steps outside to a patio. She breathes in the moonlight and then stops, staring at a particular area of the bluff, at the very edge of the cliff. For a moment, she is transfixed. . . MADISON (0.S.) He’s been waiting for you, Abby. Abby spins around. Madison stands in the doorway of the banquet hall. ABBY Who? Madison smiles. . . MADISON Henry. Abby looks through the window. Henry is sitting next to Trish at a table with some groomsmen and bridesmaids. He waves to Abby. MADISON Who did you think I was talking about? Abby looks back at little Madison. Shea comes over. SHEA Madison, don’t walk away from me like that again, okay. MADISON I'm sorry, Mommy.

31. Shea leads Madison away. Abby heads inside. INT. CANDLEWOOD HOTEL - BANQUET HALL - NIGHT AT TRISH AND HENRY'S TABLE Trish is talking to the group of friends. TRISH Henry always made sure he was first in line to help with my dad’s boat. HENRY Believe me, it had nothing to do with his tip. It was the little bikinis she used to wear. TRISH They weren’t that little. HENRY They were little. Trish smiles, kisses him. Alison, a bridesmaid, turns to Henry. ALISON That’s how you guys met? Henry nods. HENRY Me and my brother worked the docks every summer. Best pay on the island. Henry glances at J.D. off by the bar. Malcolm, the groomsman, chimes in. MALCOLM So that’s when your dad first started hating Henry. . . TRISH My dad does not hate, Henry. Everyone looks at Trish. TRISH What?

32. HENRY I'll give you this. He has been in a good mood lately. TRISH He loves you. And he’s going to love you for a very long time. Abby walks over. ABBY We all love you, Henry. Cheers around. Trish’s cell phone vibrates. As the group continues with their conversation, she sneaks a look at the caller ID. “Hunter Jennings.” And this time he has sent her a text. . . Trish looks at Henry. He’s having a good time. No watching her. She opens it. . . “Do you love him?” Trish’s heart skips a beat. She closes her phone and smiles at Henry. Her phone vibrates again. She can’t resist. She opens it. Another text. . . “You look lovely tonight.” She looks around. She’s getting nervous. She quickly texts back. “Where are you?” A pause. And then. . . “Right behind you.” Trish drops the phone. Henry notices. She picks it up, hides it in her purse. HENRY You okay? TRISH (playing it off) Uh huh.

33. Henry goes back to his conversation. Trish’s heart is beating faster, faster. She doesn’t want to, but she knows she must. . . turn around. AND THERE HE IS. HUNTER JENNINGS. Standing by the entrance. Stunning, dressed impeccably, just how she remembered him, only sexier. She turns back to the table. Everyone is talking amongst themselves. She casually slips away. . . Trish heads to the entrance, takes Hunter by the arm, and pulls him around the door. . . JUST OUTSIDE THE BANQUET HALL TRISH What are you doing here? Hunter has no response. All he does is stare into those eyes of hers. . . TRISH You can’t be here! And with that, Hunter leans forward, and KISSES HER. Trish reels back. She’s about to smack him, but she can’'t. She can’t do anything except look into his eyes and feel utterly conflicted. END OF ACT TWO

34. ACT THREE INT. CANDLEWOOD HOTEL - BANQUET HALL - NIGHT Trish composes herself as she walks back to the table, alone, passing Cal and Chloe on their way out. . . EXT. CANDLEWOOD HOTEL - NIGHT Chloe and Cal walk out into the night. Cal looks around, and stops, focusing on the perfect place. . . CAL Why don’t we take a walk out to the bluff, there’s something I want to show you. . . FROM THE FRINGE OF THE TREES A POV is watching Chloe and Cal approach the bluff in the distance. END POV BY THE BLUFF They reach the edge. Cal looks at Chloe. Chloe looks down at the waves crashing on the beach forty-feet below. . . Cal reaches into his back pocket. Chloe’s focus remains on the beach. CHLOE Oh, my God, it’s beautiful. Suddenly, Chloe takes off running. She heads to a wooden staircase which leads to the beach. . . A look of frustration on Cal as he puts his black jewelry box back in his pants pocket, and hurries after her. EXT. BEACH - NIGHT Chloe reaches the sand and flips off her shoes. Cal comes down the steps and looks at her walking towards the water’s edge. . . He takes off his shoes and follows. . . She turns back to Cal who is still walking towards her.

35. A smirk comes across her face as her mind twists around something fiendish. She begins moving side to side, ducking, dodging, playful. Cal looks on curiously, as he continues his approach. From out of nowhere, Chloe charges. Like a linebacker she dives into his mid-section and takes him off his feet. She climbs on top of him. She looks down at him. Sand covering their faces. She lunges, kissing him passionately. CHLOE Is this what you want? She kisses him again. And then quickly leaps off him. CHLOE You got to catch me first. Cal gets back to his feet. She looks at him, smiling seductively. She removes her dress and tosses it on the sand. She is now standing in her underwear. A sexy sight. She moves her fingers, beckoning him to come closer. He takes a step, and another step. He is real close now. CAL Okay, I got you. CHLOE Not yet. Cal smiles, playing along. He reaches his hands out for her shoulders. She inches backward. He reaches out for her again. She ducks out from his grasp and laughs. . . Cal pauses, then quickly runs at her. . . She smiles, turns, runs, and in a moment of utter surprise, DIVES head-first INTO THE BLACK OCEAN. Cal stops. What the hell? Cal watches helplessly as she swims past the surf into darkness. . . CAL Chloe!

36. No response. Silence. He can barely see her. Within the sound of breaking waves a single faint word can be heard. . . CHLOE (from the darkness) Help! Cal paces frantically. After a moment of hesitation, he takes off his shirt and his pants, stripping down to his boxers. Cal takes the plunge. . . INTO THE OCEAN Cal is swimming, ducking under the huge surf crashing over his head. CAL Chloe! He can’t see her anymore. Then, in the darkness, past the crashing surf, he spots something. . . A bobbing head. He swims deeper into the ocean as fast as he can, and STOPS. She’s gone. He looks around frantically, spinning wildly. A look of pure terror. . . CAL Chloe!! From underneath the surface, he is PULLED DOWN. The ocean, now still, dark, quiet. . . Cal LUNGES UPWARD Gasping for air. . . As he catches his breath, he hears the sound of LAUGHTER. . . Chloe is floating by his side. CHLOE You should’ve seen yourself. You were so scared. . . Cal’'s face contorts as his anger brews inside. In one swift motion, he reaches out for her and DUNKS HER BACK UNDER THE SURFACE. . . ON HIS FACE As his anger slowly subsides and he begins to realize what he’s doing. He let’s go. . .

37. Chloe rises to the surface, catching her breath. She looks at Cal. CHLOE What the hell is wrong with you? CAL Me? You’ve been a train wreck all night, puking all over the place, flirting with viagra man. . . CHLOE You tried to kill me! Chloe splashes water in his face and swims back to the shore. Cal looks around. Spooked by the dark ocean, he swims after her. . . P.0.V. FROM ON TOP OF THE BLUFF The POV continues to watch them. As Chloe reaches the shore, she picks up Cal’s pants and tosses them into the ocean. . . END P.O.V. EXT. BEACH - NIGHT Chloe begins walking up the steps as Cal steps out from the water, his wet pants in hand. He feels in the back pocket. The jewelry box is gone. In frustration he YELLS, slapping his pants hard against the sand over and over again. CUT TO: EXT. THE TAVERN - NIGHT Abby opens the door of The Tavern and walks inside. INT. THE TAVERN - NIGHT It’s a crowded local bar. Photos of the islanders and beer labels taped to its walls. Abby walks to the bar and stares down the BARTENDER who is pouring draft beer into two glasses.

38. ABBY Hey, sexy momma. The bartender turns around. She has jet black hair, multiple tats, and a sexy, young-rebel smile. This is NIKKI. NIKKI Abby?! She hurries over to Abby and gives her a huge hug over the bar. The girls stop, look at one another. ABBY Look at you with that nose ring. Nikki sticks out her tongue showing her other ring. ABBY And. . . Wow. NIKKI Yeah, got bored one day. SHANE (28), sits at the other end of the bar with two friends. He calls out to Nikki. . . SHANE Nikki, two more for the boys. NIKKI Alright, I'm coming, I'm coming. Nikki walks to the other side of the bar with the beers, still talking to Abby. NIKKI . « « So, tell me, what’s going on in L.A.? Dating any actors? ABBY It’s not like that. NIKKI What’s it like? ABBY Just focused on writing. . . I got put on staff recently. L.A. Times. NIKKI The Times. No way. What kind of articles?