TELL ME YOUR SECRETS Episode 101 “Once I Had A Love" Written by Harriet Warner Directed by Houda Benyamina PRODUCTION DRAFT White - 8/11/17 FULL BLUE - 8/23/17 FULL PINK - 8/28/17 FULL YELLOW - 9/1/17 FULL GREEN - 9/11/17 GOLDENROD - 9/11/17 2ND WHITE - 9/13/17 2ND BLUE - 9/17/17 2ND PINK - 9/20/17 2ND YELLOW - 9/22/17 FULL 2ND GREEN (REISSUE) - 4/17/18 FULL 2ND GOLDENROD - 5/5/18 COPYRIGHT © 2018 TURNER PAGES, INC. ALL RIGHTS RESERVED. NO PORTION OF THIS SCRIPT MAY BE PERFORMED, PUBLISHED, REPRODUCED, SOLD, OR DISTRIBUTED BY ANY MEANS OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ON ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT OF TURNER PAGES, INC. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE.

TELL ME YOUR SECRETS “Once I Had A Love” #101 EMMA HALL/KAREN MILLER MARY BARLOW PETE GUILLORY * JOHN TYLER MIKE BARLOW ROSE LORD LISA GUILLORY * GEORGIA DUBREAUX * JAY ABELLARD SAUL BARLOW THERESA BARLOW JESS CAIRNS TOM JOHNSTON CHRISTOPHER PARKER CLAIRE LAWS AUDREY ASHLEY JUDGE LUKE MARNIE MICHELLE OFFICIAL ROB YOUNG THERESA * STYLIST #1 STYLIST #2 TANYA BLACK STYLIST * WHITE STYLIST i i CUT: CLIENT * DEFENSE ATTORNEY *

TELL ME YOUR SECRETS “Once I Had A Love” #101 LOCATION/SET LIST INTERIORS CUT: BARLOW HOUSE CABIN BEDROOM BATHROOM HALLWAY INDOOR POOL * KITCHEN BARLOW HOUSE LIVING ROOM WORKSHOP * SITTING ROOM THE BARLOW TRUST EXTERIORS BOARDROOM APPROACH TO CABIN ! RECEPTION BLACKROOT SHACK BEDROOM (THE PAST) BLACKROOT SWAMP BLACKROOT SHACK BLACKROOT WOODS i CABIN CABIN BEDROOM DECK | KITCHEN AREA JETTY LIVING AREA MINNESOTAN SALON | GUILLORY HOUSE * MINNESOTAN WOODS JOHN TYLER’S APARTMENT SAINT JAMES HAIR PLACE MAXIMUM SECURITY PRISON CELL CuUT: i CORRIDOR INDOOR POOL * INTERVIEW ROOM MINNESOTAN SALON OLD SALLY BAR LADIES’ ROOM MEN’S ROOM PETE’S CAR SAINT JAMES CHICKEN DINER LADIES’ ROOM SAINT JAMES HAIR PLACE ST. JEROME HOUSE SUPERMARKET WOMEN’S PRISON INTERVIEW ROOM RECEPTION AREA

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 TELL ME YOUR SECRETS “Once I Had A Love” #101 TEASER EXT. MINNESOTAN SALON -~ NIGHT (THE PAST) RESHOOT The soft tap of snow falling against a window. The flakes coming down, slow. Through the glass we go into... INT. MINNESOTAN SALON - NIGHT (THE PAST) RESHOOT A homely salon, decorated for Christmas. Phil Spector’s Christmas album playing. Hair falls, slow motion like the snow outside, as stylists in floral aproms cut. Their small town pretty faces preserved in similar tones and styles of make-up and all sporting the same flashing LED antlers. We catch snatches of their conversations with familiar clients as we move through the salon. STYLISTS It’s gonna be a cold winter.../Did you want to try the pomade?/How long now til Sheryl’s due? And now the salon owner, MARNIE, identifiable by the angel wings she’s supplemented her antlers with, and the maternal eye she casts over her staff, watches KAREN, the young woman sweeping, her blonde hair falling over one eye. KAREN Marnie, is it okay if I come in a little later tomorrow? I think Kit has kind of a surprise for me. (pointing it up...) It’s my birthday -- I figure he has plans. (again) Por my birthday. MARNIE It’s your birthday? You should have said. I can’t refuse young love, I can’t held it back. KAREN So I can come in A nod from Marnie and Karen does a happy dance. KAREN (CONT’'D) I love you guys, so much, even if you forgot my birthday.

2A TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 Marnie nods to someone and the lights go down and the music stops. And now from the dark a glow as a cake with candles is brought forward. STYLISTS Make a wish. Make a wish/S8he’s got that look. And in the glow of the candles Karen's smiling face as Happy Birthday is sung. STYLISTS (CONT'D) Oh I know she’s wishing for a ring/ She hasn’t stopped smiling since she met him/We’'re so happy for you. And the women around her all thrilled for their friend and some clasp their hands to their chests, moved. One points to her antlers on crazy flashing mood -~ and squeals with happiness. And a breath and the candles are extinguished and the scene freezes and fades a little, just the trace of lights from the candles and antlers and Christmas lights remains on the screen as if they’ve left an imprint. And over this a voice comes through... PETE (V.O.) (compassionate) You’re doing it again. Changing the story. INT. WOMEN'S PRISON - MEETING ROOM - DAY (THE PAST) RESHOOT Close on Karen, in the light from a light well in a room we cannot see the details of. PETE in front of her. Close. Too close perhaps. He’s clean shaven, glasses. The light reflects off the lenses, makes him harder to read. KAREN You’re saying I'm lying? PETE I'm saying it’s a different version of a story you've told me before. KAREN They were happy for me. PETE You said Marnie was worried -- she thought Kit was cutting you off from people who cared about you. EMMA They were happy for me. 2A% * X * * %

2B TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 * PETE No, you want to believe that because to believe otherwise makes you feel you can’t trust yourself. You know what I think? You've suppressed the memories you find traumatic, the things you don't * * % % want to remember. * INT. MINNESOTAN SALON - NIGHT (THE PAST) RESHOOT 2B* PETE (V.O.) * Your friends were trying to warn * you. * And now the light coming back to the scene and no music and no birthday cake. Just Karen sweeping up hair, pulling on her jacket and getting ready to leave. And now a hand on hexr arm -- Marnie, concerned. MARNIE Don‘t go with him tonight. Come out with us. We never see you outside of work anymore. And back to blackness and the sound of a heartbeat, slow at first but getting faster... EXT. MINNESOTAN WOODS - NIGHT (THE PAST) RESHOOT 3 Snow falls on a white woodland landscape. sound of the heartbeat, faster... We are on the back of a figure running through the trees. * Stumbling, trying to run. Footprints clear in this fresh snow. The sound of breathing, hard and heavy. Running to * * something or someone or running FROM someone. We can’t yet tell. * And now this figure collapsing to the ground. The same woman from the salon (Karen/Emma). And she lets out a guttural gasp and now we see her hands are covered in blood and it stains the pristine snow. * %k X * END OF TEASER . } | |

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 ACT ONE EXT. APPROACH TO CABIN (JORDAN PARISH, LOUISIANA) - DAY 4 We follow a car moving along a road, a sense of tension as we pull back and watch from high up as we see an endless bayou —- dense green and dark water. A sense of isolation. A sense of foreboding in this eerie landscape of bald cypress trees in deep dark water. INT. PETE’S CAR - APPROACH TO CABIN - DAY 5 We follow a track, fringed with overgrown vegetation. PETE GUILLORY drives, he glances at the woman in the passenger * seat: EMMA HALL. She tugs at a hair from her head, lays it on her leg, tugs another one. She thinks he doesn’t see. He reaches out a hand, restrains hers. She startles. Pushes her hands into her pockets, breathes deeply to calm herself. And now ahead of them an isolated, elevated cabin on the edge of water. i ! i | i INT. CABIN - DAY RESHOOT PETE ADR 6 Pete puts down paper bags of groceries -- dust over the work surfaces. Emma taking in this unfamiliar cabin, its wooden open plan interior dark, utilitarian, masculine. Taxidermy heads of deer stare down from a wall. For now she doesn’t move from where she stands, her back against the wall. He studies her. A vulnerability about her. PETE It’s a lot to take in. I know. It's as if she’s only half listening. She begins to tentatively explore. She brushes her hand across a surface covered in dust. PETE (CONT’D) Okay -- refrigerator is stocked. Pasta, sauces, milk. Dry goods in the cupboards. You could be here a month without needing to go anywhere. And he’s moving round the cabin. PETE (CONT'D) Main switches are here -- if the lights go, or the electrics, you flick this one. There’s a lot of weather out here. (MORE)

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 PETE (CONT’D) Cabin’s elevated so it can handle rising water but if you get a storm —— there’s a shelter out front. EMMA Do people come here? Emma looking from the window out over the bayou. Her voice brings new presence to the cabin: as if a Gregory Crewdson photograph just came to life. i PETE § It used to be a weekend cabin. EMMA It looks like someone’'s stuff is still here. Am I on my own? PETE The guy that was here before -- he just took off. And she takes that in, processes it. | EMMA He could come back? PETE No. Pete takes a breath -- in his own way he’s as tense as she is. And we’re on her as she takes in this new world. PETE (ADR) (CONT’D) (tender) No one’s coming back, no one’s coming here. No one. Okay? PETE (CONT'D) I should get going. And this is a shock to her. EMMA Wait, what? PETE I have to get back... EMMA But I...I just got here. Apology in his expression. tries to breathe through it, some anxiety pushing up, feeling untethered. PETE You’re going to be fine.

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 EMMA You can’t just... PETE It’s a long drive... EMMA So you just leave, you just leave me here? PETE I have my work. EMMA Work. You have patients? Or clients? What do you, what do you call them? PETE Whatever they’re comfortable with. EMMA What am I? PETE What are you comfortable with? EMMA You never asked. PETE Well now I am. She studies him. And we -see her answer in her eyes. And taking out a cellphone. He places it on the table. PETE (CONT'D) My number’s in here. Keep the phone with you. He places an envelope beside it. Something very significant about it -- the way she takes a breath, shakes her head. Makes no move to open it. PETE (CONT'D) (tender) Everything you’ll need is in here. she reaches for his hand, awkward. He takes in that need, that vulnerability: he’d never admit it but he enjoys it. EMMA I don’t think I can... (do this) PETE (ADR) This isn't going to be easy. I know what you’ve been through, but I know you can do this. (MORE) | i | i

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 PETE (ADR) (CONT'D) In three years I’ve watched you flourish. I'm proud of you. You're the one who got away from him. He can't hurt you anymore, and he’ll never find you. You're safe now, Emma. And now she draws her hand away, that moment of connection, disconnected by this reminder. INT. CABIN - BEDROOM - DAY RESHOOT A bed. On it a backpack. Emma begins to unpack it. She takes great care with the few things she has as she puts them neatly in the drawer beside the bed. Toothbrush, toothpaste, tampons, headphones, an mp3 player. A roll of hairdressing tools, a small key, a polished flat stone. A small plush kitten, its fur bedraggled, it’s been a comforter. She’s about to put it in the drawer, changes her mind, puts it under the pillow. INT. CABIN - KITCHEN AREA - DAY RESHOOT Emma at the kitchen table, trying to tune in an old radio, sound of static as she does. Finally a station and BLONDIE'S “Heart Of Glass” plays. Emma turns it up and eats the sandwich of peanut butter and jelly, the open jars still before her, she takes hungry bites from it til it’s gone in a few seconds. And the music plays and Emma loves it. She turns it up louder, some sense of release about her. She turns to the beside her on the table. A memory of Pete in the cabin from earlier. He hands her the Jjournal. PETE Open it. Go on. It's a gratitude journal. And Emma gives him a look: seriously? PETE (CONT'D) I want you to write something in every day. One good thing that happened, something you want, something you tried. she’s taken with the idea, despite herself. EMMA (can’t resist) Did you get a t-shirt says “strangers are just friends I haven’'t met yet?” * ok

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 He taps at the book. * PETE One thing that made you smile. * And the memory is gone and Emma runs her hand over the book, despite herself it means something to her. She opens it. And after a moment, a slight smile about her, she begins to write: Peanut butter. Blondie. INT. CABIN - BEDROOM - DAY RESHOOT 9 She lifts a blouse from the bag, it’s new, the tags still in it, holds it to her. PETE (V.0.) Interview blouse. Pants in the bag too. And shoes. The price stickers still on the soles of the shoes. PETE (V.0.) (playful) I'd give you the job. * Emma dressed in the sensible, modest clothes. Turns this way and that, studies herself in the mirror. Tweaks her hair, neater now. Holds out her hand in greeting, rehearsing this. EMMA Hi, I'm... Hello, it’s nice to meet you, I'm... (perhaps we notice she can’t say her name) Oh, sorry, what? “I haven't worked in * three years?” Yeah, I hit a rough patch. But though she tries to smile, there’s a nervousness about her, like she’s in the wrong clothes or can’t get her words out. EMMA (CONT’D) (whispers) Cuz I got terrible taste in men. And then any wry playfulness is gone and she’s staring at her reflection. Taking slow, deep breaths, like she’s trying to contain some strong emotion pushing out of her. And she starts to pull at her clothes, like she can’t bear the feel of them, can’t bear this version of herself. And she tears them off, one by one, awkward, messy, her arms caught in the blouse, throwing the shoes off and she’'s sitting on the bed, stripped down to her underwear, staring at her reflection. * ok X F And Daft Punk’s “Doin’ It Right” begins to play as she stares a moment longer at herself and then she’s going to the drawers and raking through her few clothes and taking out a top. ok ok

10 11 12 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 A flash of something darker about her as she feels this * garment from the past. INT. OLD SALLY BAR - LADIES’ ROOM (SAINT JAMES) - NIGHT 10 Music continues as Emma at the mirror, pulls a strand of hair * from her head and then moves hair to cover the “habit patch” of raw pale skin. She takes a lipstick from her pocket and * applies it with grim effortlessness. And with one fluid movement, adjusts her top to be more revealing. INT. OLD SALLY BAR - NIGHT 11 MUSIC CONTINUES Emma messier, darker, sexier, dancing, sensual and seemingly for herself yet provocative in this place of trawler men and refinery workers. At the bar, LUKE, mid 30s, weathered and worn and hard from this place, glances at the cleavage of the barmaid as he drinks his whiskey. Emma lets her gaze rest on him. He senses it. And she holds his gaze and keeps dancing. And he’s watching her, transfixed by how she dances. And her look is powerful, challenging, seductive. Now he drains his drink, orders another, on his feet but she’s moving, collecting her Coke from a table and draining it and just one look back as she pushes through the door to the room. INT. OLD SALLY BAR - ROOM - NIGHT RESHOOT 12 MUSIC CONTINUES as Emma shuts the stall door. Turns to Luke: judgment now mixed with desire in his expression. LUKE You do this a lot? EMMA (ADR) (deadpan) I'm a virgin. just irresistible. When you don’t talk. She takes his hand, puts it on her breast, unzips his jeans, reaches into his pants and starts to push him back against the stall wall, pushing herself against him. And he tries to kiss her but she pulls back and now she pushes him down onto the lavatory and she climbs astride him, not thinking of anything except what she needs to feed this hunger, and she’s powerful, aggressive, Luke doing his best to keep hold of her, exhausted, sweating at the effort. In the mirror on the door he sees himself beneath her, he looks dominated, he tries to move her, wants to be dominant with her, she pushes him back, from this angle she is stronger. | |

13 14 15 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 Then the scene is slowing and the light fading out and she’'s into a memory... OMITTED 13 INT. BEDROOM (THE PAST) RESHOOT 14 Emma slow dancing with a MAN who has her in his arms, his cheek against hers, she trying to look at him, but he holds her close, like he’s playful with her but also doesn’t want to be seen. EMMA (whispers) I want to look at you. KIT (whispers) I'm shy. And close on their mouths, smiling, whispering. EMMA (whispers) You smell different. What is that? KIT (whispers) I just took a bath, that’s all. And he kisses her hair. And she closes her eyes and rests her head against his chest as they dance. INT. OLD SALLY BAR - MEN’S ROOM - STALL - NIGHT 15 Luke weak with the effort and his imminent climax and now Emma can’t be here. She pulls away from him and exits the stall. The door swings shut. Numb, she turns on the faucet, splashes water on her hand and wipes between her legs. END OF ACT ONE

16 17 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 ACT TWO INT. BARLOW HOUSE - HALLWAY (SAN ANTONIO) - DAY RESHOOT 16* sound of a doorbell. A moment before MARY BARLOW can open the door. The shadows of three people through the opaque glass. Low murmur of voices from outside. Finally Mary opens the door. Sunlight behind the couple * (TANYA and ROB) who stand with their daughter ASHLEY (early 20s), and her hair is golden. And then a searing image from Mary’s POV: heightened colors and summer light, a perfect day. THERESA, as a young child, hair golden in the sunshine, posing in silly ways and running towards us, laughing and so full of life. * ok And Mary standing by the door, overcome with emotion for a moment as she takes in the young woman before her -- whose parents look at Mary with tearful gratitude. And Mary pulling herself out of her memory. TANYA Ashley -~ this is Mary Barlow, the woman who helped us find you and bring you home. The incredible woman . * %k * And Ashley comes towards Mary and hugs her. ASHLEY (whisper) Thank you, thank you. * And the moment merges into a memory where young Theresa reaches up and Mary hugs her daughter close. * MARY (as if to the memory) I'm so glad you’re home. * % INT. BARLOW HOUSE - KITCHEN - DAY RESHOOT 17* A shabby warmth to this family home. Mary, at the head of * the table, beside her son MIKE, (early 20s) Tanya and Rob either side of their daughter and opposite Mary, is her estranged husband SAUL, the sexy side of disheveled. An * empty chair beside Mike -~ a place set before it. Theresa's holding place. *

Mary opens the envelope. Barlow Trust. TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 TANYA (of Mary to Ashley) Mary was our strength, day in day out, while we prayed and hoped we’d find you. Rob pushes an envelope across the table to Mary but she’s watching Ashley, transfixed. ROB For your foundation. To help you keep doing what you do: campaigning and searching for other people’s kids. TANYA (to Ashley) You know Mary holds a vigil every week for missing people. Your picture was in there every time and she kept saying: people keep looking, look at your neighbors, ask yourself if something isn’t right -- are they buying extra food or milk, or things that don’t add up. Mary still watches Ashley -~ Mike tries to bring her back. MIKE Which in any other circumstance would be vaguely disturbing. MARY (of Mike) My son the comedian. MARY (CONT’D) This ie really very kind, Rob. It makes a big difference to us -- what the Trust can do. (bright, strong) So, Ashley you going back to college? ASHLEY I'm gonna take some time out ~- spend it with Mom and Dad. Ashley’s voice growing fainter with Mary’s Flashback: for a moment in Mary's head: Young Theresa at the table in the seat left empty for her, drawing monsters on a sketch pad. In it a cashier’s check for the * * * % % ok % % ok ok Ok Ok F F * * * * o * % kK ok * F * % ¥ *

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 ASHLEY (CONT'D) Just be together as a family then get back to our church and put my trust in God again. * %k O * SAUL I don’t know he deserves it. Your trust. * % * saul refills his glass and drinks from it. ROB I know you don’t mean that, Saul. You can’t give up. Your daughter’s out there -~ and we believe and we trust that you’ll find her too. * TANYA of course you will -- you got Mary. * MARY We don’t give up. And seeing you together: it’s hope. It keeps us going. * ok % ok * SAUL After seven years I'm good with closure. * ok MARY Then come with me to see Parker -- our closure. (to Tanya) We finally got a visiting order. * Ok * TANYA I'm so glad for you, Mary. You will know when you talk to him. You will know. * ok ok ok * MARY nods, fighting emotion at the enormity of this event. SAUL I can’t visit that man, Mary. You know that. My daughter’s dead. We need to move on. * ok X % MIKE (of the food) So the cheese is a sheep cheese. It's got that real tangy hit to it. I get it from a deli on First. And I think just more distinct. I don’t know, I guess I'm a cheese fan. And Mike willing the family on to eat and not talk. * * ok % X

18 19 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 LATER and the guests are gone and Mary clears up and Saul smokes a cilgarette discreetly at the open window, careful not to get smo back is to her, and now she puts her arms around him and they stay like He flicks his cigarette from the window, turns to her, wipes ke in the house. She studies him a moment, his that a moment. his hand across his eyes, like he’s rubbing them, but they were tears in his eyes. MARY How did they not fall apart? SAUL Maybe they just stayed honest with each other. And from the doorway Mike watches them, unobserved and then slips away. INT. BARLOW HOUSE ~ SITTING ROOM - NIGHT RESHOOT The tinny sound of a gentle voice, could be a young philosophy student coming from the earphones Mary wears. Lost in the dark place, this voice takes her to. And we go inside her head and hear the voice she hears in all its clarity -- INT. CABIN DEFENSE ATTORNEY (V.0.) My client, Christopher Parker, wishes to make his allocution to the court prior to sentencing. KIT (V.0.) (ADR) I won’t say yes to things I haven’t done. Not “yes” to the Watkins or the Barbola girl or, I forget her name, but I know it began with a T.... (appears to try and recall) Toni, that was it, Toni Caulkin. I won’t say I did these girls and I‘d like that reflected in my sentence. DEFENSE ATTORNEY (V.0.) (ADR) Mr. Parker, I believe you also wish to express your regret... KIT (V.0.) (ADR) No, I don’t. ~ KITCHEN AREA - NIGHT RESHOOT Sound of the clock ticking. * ok 18 19%

20 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 Moving through the kitchen area. PETE (V.O.) If you get so you can’t settle, can’t feel centered, then you just keep it real simple... Coffee grounds spilled on the side. PETE (V.0.) You make a coffee, some food, focus on the egg you crack... A box of eggs full of empty shells. An attempt at an omelette discarded in a pan. Not good. PETE (V.O.) The cream you pour. Pick a recipe and work through it. A recipe book open and spattered with egg and milk. PETE (V.O.) Ground yourself, Emma. Find your center. INT. SAINT JAMES CHICKEN DINER - NIGHT 20 Melamine and tiles reflect harsh lights. Kids pallid and sheeny in humidity and unflattering light -- an unforgiving club. Emma watching from her table, shielded a little in a booth, she hangs back, tries to see without being seen. Returns to her burger. Emma gulps down Coke, like it’s the first and last drink she’s ever had. She moves her hand to her hair, pulls a hair, pulls another one, stops herself, increasingly tense. She senses JESS CAIRNS (14), across from her, in short dress and push-up bra pushing up nothing watching her. Self- conscious at her savagery, Emma, dabs a napkin at her mouth. JESS self-conscious too, checks her phone, charms hang from it, kitten stickers adorn it. Emma sees new movement: ROSE and AUDREY (around 14) coming in —— checking their phones. Something inhuman about them, CGI girls escaping a screen, Emma drawn to their delicate waists, the skinny legs, sharp heels, their small town pretty faces. Some abstract dissection of them. Jess uncomfortable but tries to hide it as the two girls arrange themselves at her table: a subtle threat about them. Their whispered voices drowned by the sound of air conditioning and the kitchen. Then Jess pushing away from the table. JESS Just leave me be.

21 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 And Jess hurrying to the restroom. And a look between Rose and Audrey and they go after her. Emma wipes her hands and mouth, looks at her tray with the wrappers of burgers and fries, all gone. Organizes her savage remains, folds the wrappers, puts them in her empty beaker. INT. SAINT JAMES CHICKEN DINER - LADIES’ ROOM - NIGHT Jess in the corner of the restroom. Rose predatory before her, blocking her escape. Rose has Jess’ phone. Audrey watching from where she stands, her back against the wall. A triangle of fear. JESS I ain't done nothing to you. ROSE You need to stop telling lies, Jess Cairns. Bad things happen to little girl liars. JESS I lie. And then all are aware of Emma in the doorway. Rose and Audrey startle, flash cheap smiles that would win over parents. And Emma walks on to the stalls. Audrey takes out the gum she chews and she rubs it in Jess’ hair. JESS (CONT'D) Oh don’t, oh don’t you do that, don’t you do that to my hair. And Audrey pushes more in and Jess tearful now as she tries to pull the gum out but Audrey sticks more in. AUDREY Cuz your hair is so pretty. Rose pulls up a profile picture of Jess on her phone and Rose now scribbles: I suck all dick. She shows it to Jess. JESS Don’t you post that. No. Rose, please, don’t you post that. And Jess tries to snatch the phone but Audrey keeps her back and Rose taunts with the phone just out of reach. 21

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 ROSE You’re a dirty little liar. A dirty, filthy girl who lives in a house full of slutty trash who no one wants, who are so dirty and disgusting their own mamas and daddies even want them. And Jess fighting tears. JESS My mama did want me. And Rose just shakes her head. ROSE No one wants you. Except the trashy boys. She is about to post the photo but now they see Emma in the mirror. Emma doesn’t move. She continues to stare. Rose and Audrey swap measured looks of intrigue. They turn to face Emma. ROSE (CONT'D) I'm sorry, is there something you need help with? (to Audrey) This freak just gonna stare me out? And Rose's head cracks back against the mirror. Emma's hand smashing back her nose, blood spilling down over Rose's chin, over her white teeth, bared in shock. Emma in her face. EMMA She said leave her be. Rose tries to take it in, head still back, throat exposed, whimpers, drops the phone. Audrey gasps. Emma grips the cheeks tighter, pushes her again against the mirror. The pressure starts a crack in the glass. She releases her. Rose sobbing now falls into the arms of Audrey. Both in shock. AUDREY Oh my God -- she’s crazy. And Emma hurls the bag one of the girls has left, it hits the wall beside them, scattering teenage junk. Rose scrambles to collect her stuff. EMMA Get out. Get out of here, you little bitches.

22 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 And she goes after them: savage, animal -- they gasp at the sense of violence and stumble out of the door. Emma turns back to the mirror, the crack cuts straight through her reflection. She takes a breath, picks up Jess’ phone and hands it to Jess who trembles with shock. EMMA (ADR) (CONT’D) You’re afraid. People see it in you. I was afraid once and someone saw it in me too. It’s dangerous to be afraid. Don’t show it. Perhaps a moment of connection. Emma releases Jess. Jess exits and Emma leans against the mirror, shocked at her own easy violence. INT. GUILLORY HOUSE - BEDROOM (UPSTATE LOUISIANA)- NIGHT 22% RESHOOT INSERT A text from Emma on Pete’s phone: I'm having a difficult night. Tension about him. He quickly deletes it as his wife LISA talks. LISA So I was thinking about my Dad today and I remember this thing he would do. Another text from Emma: think I fit here. Pete in bed, deletes the text and hides his phone. LISA (CONT’D) It’s like he always thought I had a motive, you know. There was this time, I was probably six. And a sinking feeling about Pete: This story. Again. She begins to undress, putting away her clothes. He reaches for his phone. LISA (CONT’D) He went out to buy candy for Mom. I don’'t know, maybe he was trying to get her into bed. Anyway, I went with him and he literally bought a stack of candy bars, like there was everything, Hershey's and Reese’s Cups and Snickers. I mean this was heaven. Heaven. Right? Pete, are you even listening? He hides his phone.

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 PETE Totally. Your dad and the candy. You already told me. LISA I can’t tell you something twice? PETE of course -- I'm just saying: I remember. (wry) . And it’s more than twice. And now she playfully slaps him. He catches her hand. PETE (CONT’D) I know about your dad and the journey back -- how you were so good, you were the best kid because you wanted the candy but he made you feel unnatural about it, like it was a bad thing. And he always made you feel as if you had an ulterior motive, that you genuine. LISA (a little crestfallen) Yup. PETE But you did want the candy? LISA Because I was a kid. What kid doesn’t want candy? But now even she laughs. And she climbs on top of him. LISA (CONT'D) You used to want to listen to me. PETE (ADR) It used to be my job. LISA leave the money on the bedside, you mercenary shit. And she leans down and kisses him. And starts to move against him, kissing his neck, his chest. Lisa working harder, wanting him. A grunting snuffle on the baby monitor beside her -- then silence. She closes her eyes, waits. Here is the cry. He’s about to get out of bed. she tries to stop him.

23 24 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 LISA (CONT'D) We have to leave her, we have to let her cry it out. She’s ruining things. PETE She’s a baby, Lisa. She just needs love. LISA I need love too. And he climbs from the bed, glad of the distraction. Lisa sinks back trapped in her own exhaustion and neglect. INT. CABIN - LIVING AREA - NIGHT RESHOOT INSERT 23 A close up of Emma's cellphone. A text from Pete: it will take time. Stay calm. Yr doing great. And then we are on Emma. Slowly, with precision, she tugs out hair after hair. Some sense of feeling eventually and she moves her hand away, her finger tips bloody. She stares at the envelope from Pete unopened on the table before her -- almost reaches for it, doesn’t. And then a faint cry from outside -- something young and vulnerable and Emma tries to place it, alert to it. She gets to her feet, goes to the deck. EXT. CABIN - DECK - NIGHT 24 Emma moving to where the cry grows louder and there before her, is a little kitten. A fishing line caught on its collar and trapping it. And Emma immediately drops to her knees and begins to untangle it, trying to make sense of it. Some emotion she can’t process pushing up: delight. She finds she’s smiling. EMMA Come on, come on, little one. She reaches for the kitten and slowly holds it to her. EMMA (CONT’'D) You’re okay, you’'re okay. I got you. I got you. And we see such tenderness about her as she strokes the kitten, even though her hand is stained with Rose's blood. | | | ! |

25 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 INT. CABIN - LIVING AREA - NIGHT 25 Emma, the kitten cradled to her as she sits with her back against the cabin wall, looks at the envelope still unopened beside her. She kisses the kitten and keeps it with her as she finally opens the envelope. Takes out one of several copies of her resume. Emma Hall typed neatly at the top and a phone number. She studies it. Also in the envelope: passport, social security card, license, bank card, 100 dollars. Now almost a smile about her. Just a hint of possibility about her. END OF ACT TWO

26 27 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 ACT THREE INT. THE BARLOW TRUST - RECEPTION (SAN ANTONIO) - DAY RESHOOT 26 A triptych image of Theresa Barlow: A smiling infant on her first day at school. A high school graduation image, formal, demure. An enhanced CCTV image of her paying for goods at a gas station counter. Printed beneath are the words: Searching. Praying. Hoping. The images and text dominate the simple reception area hung with messages of safety such as: safer together, never truly alone, working for safety. Under each is the symbol of The Barlow Trust: a rose protected by briar thorns. JOHN TYLER, late 30s, tall and lean, hair closely cropped, sits next to MICHELLE, 40s, in a dark suit, continually checking her phone. A quick nervous energy to John, alert, takes in everything: the RECEPTIONIST busy at her desk. Now his focus is his suit, slightly too short, the cuffs on the sleeves and the trouser legs are turned down and the crease is clear. It bothers him. JOHN (of the cuffs) I feel like I had a growth spurt. MICHELLE Just pull your socks up, no one’ll notice. And John hoists up his dark socks so they cover the gap from shoe to trouser leg. And now something else catches his attention. A security camera on the wall. John’s energy slows and he sits very still. INT. THE BARLOW TRUST - BOARDROOM - DAY RESHOOT 27 John, yet to take his seat: self-conscious at his trousers * obviously too short now, but styles it out, opens his briefcase with efficient purpose, takes out the notepad and pen from this otherwise empty case. Into the room comes Mary, phone and can of Diet Coke unopened in hand.

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 MICHELLE We appreciate you taking this meeting, Mrs. Barlow -- we're hoping John can be a real help to your Trust. On a voluntary basis, of course. Mary takes in John, his quick neat movements, his polite nod to her and somber smile, a studied performance. JOHN Thank you, Mrs. Barlow, for seeing me. I want to say I’'m sorry there’s still no news of your daughter. Discomfort in him at her silence and he takes his seat. MARY (to Michelle) I'm still trying to work out what it is you’'re offering me. MICHELLE John, why don’t you just jump right in. And now Michelle’s gaze on John too. And Mike’'s. And the room very silent now, so much that John can hear the ice cracking in his glass. JOHN (discreetly from notes) Prison was a real epiphany for me. When you're away from everything you know and there’s nowhere else to go, no one else to blame, you got to look to yourself. I was able to do that, to think about what I'd done and the lives I’'d impacted. John Tyler is unsettled by Mary's impassive gaze: a heavy conscience in the room. MICHELLE John has reached out, by letter, to the women involved. MARY The women you raped? Now the only sound in the room is the Diet Coke she opens like a pin from a hand grenade. John looks down at his cuffs. * %k X

TMYS #101 Production Draft (Full 2nd Goldenrod) MICHELLE (recovery) At New Start we support ex- offenders in their post- penitentiary lives but I’'ve met few men who genuinely want to change. John does. He was a model prisoner, recommended for early release. He's in full time employment at Allfoods super market and recently received a commendation. John Tyler touched, appreciative of her confidence. JOHN My display work. (off the silence) I can tell you things: how the world thinks it is and how it really is. Safety’s a dream. MARY Because of men like you? John takes a breath. JOHN I was every woman’s nightmare. I was the boogeyman. I stalked my victims. I was a predator. MARY And you’re not now? JOHN No. No. I was sick but I'm well again. I can tell you everything, tell you about the gaps where ladies think they’re safe, I drove a cab, worked as a cleaner cut keys of women who lived alone, I was all over social media -~ watching the check-ins, looking at photos, seeing who was tagged. MARY And your colleagues -- they know about your past? JOHN I prefer to be judged on my present. A “no,” then. Mike looks to Mary but she continues to study John, uncomfortable under her gaze, reaches for his water. 5/04/18 who's * %k X F ¥ * ok * % * %

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 MIKE (whisper) I don’t get what this is. Why did you let him come in here? * % % X * But John’s heard, despite the whisper. JOHN I can see this is peculiar. But I truly believe I can help women stay safe. % % ok 3k MIKE our foundation’s about victims. We counsel, offer support. We raise awareness of sexual violence. * %k ok JOHN What offering falls within that: awareness raising is how I would describe what I can do. * % * o * MIKE We’re not a fit for you. * MARY (to John) There’s one thing you can share with me: why you did the things you did? Tell me why you chose the women you chose? What was it about them? Why one and not another? * X * JOHN I don’t like to talk about myself, not in that personal way. I want to talk about the gaps in safety. * %k X % MARY I don’t want to talk in a general sense. What makes a woman your victim, Mr Tyler? * % ¥ % John in discomfort at the question, looks to MICHELLE: help. * MICHELLE John’s not on trial here -- he f wants to offer a view on safety. * g [ MARY You can’t tell me that? Then why * are you here? * And now Mary nodding, almost compassion at his turmoil. * MARY You know why I set up this Trust?

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 JOHN Because your daughter went missing. MARY (correcting) * She was taken. Seven years ago. I know who but I can’t prove it. The Trust is for her. And for other people’s daughters and sons who are gone or missing. We keep searching, going on the talk shows, telling anyone who’1ll listen: “nobody found them yet, keep locking.” We work so hard to help families who’ve been destroyed by men like you. I'm glad changed. I hope people can change. But I wanted you to tell me what it was about my daughter that made a man take her -- take her out of my life. * * %k F F JOHN I don’t know your daughter. I wish I did. (quick) Not in a strange way, of course. * * X MARY I know you don’t. But I'm looking for insight and I’'11l take any meeting that gives me the possibility of that. But I can’t have you with us - you see that, don’t you, John. So you go on now and you stay well. * ok * * John slowly nodding though everything inside is breaking. And Mary walks from the room. * INT. SUPERMARKET (SAINT JAMES) - DAY 28 A basket of chocolate, chips, candy, shower gel. And Emma utterly absorbed at the shelves of baby products. She trails her fingers over pacifiers, bottles, baby oils and creams. Finally she selects a tin of infant formula. And suddenly two hands over her eyes from behind. JESS Boo! And Emma nearly drops her basket in shock. Jess Cairns beside her now, amused at how jumpy Emma is.

TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 JESS (CONT’'D) You sure scare easy. (sees the infant formula) Oh, wow, you got a baby? And that seems to take the wind from Emma. A moment before she shakes her head, not comfortable with this enthusiastic girl in her space. EMMA A kitten. JESS I always wanted a kitten. not allowed pets. And CLAIRE LAWS, 30s, turns down the aisle, her shopping cart contains sanitary napkins and mattress protectors. She’s on her phone, she beckons impatiently to Jess. CLAIRE (covers phone) Jess, I been looking for you, come on now. (into phone) St. Jerome House is taking for the whole State now. JESS (whisper to Emma) Can I come see it? The kitten. EMMA I'm in a rental. There’s a lot of rules -- what I can, what I can’t do. JESS (deflated) I get it. We got a lot of rules where I am too. CLAIRE Jessica? I'm not going to ask you again. Come on now. And Jess glances once more at Emma but turns away at the impassive expression and discretely slips a bottle of painkillers into her pocket as she moves towards Claire. Seeing her go, Emma relents. EMMA I'm up on the Long Bank. If you want to come see my kitten. And Jess turns back, her face lights up.

29 30 31 32 33 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 CLAIRE Jessica. Claire hurries Jess along. Emma glances once after them before continuing to browse. OMITTED OMITTED OMITTED OMITTED INT. BARLOW HOUSE - BEDROOM - NIGHT RESHOOT ADR Mary sits before her mirror and puts on a shade of lipstick. A moment before she wipes it off. She puts on another. Wipes it off. KIT (V.0.) (ADR) (softly spoken, low key) see the things I did as acts of compassion: young women trapped in ideals put upon them. Perfect girls from perfect homes. When we all know nobody’s perfect. The sound of some commotion on this recording, a muffled voice, growing clearer as the voice is picked up by the microphones in this court. MARY (V.0.) (ADR) What did you do with my daughter? JUDGE (V.O.) (ADR) Sit down, please. MARY (V.0.) (ADR) I just want to know. Please. Did you take my daughter too? JUDGE (V.0.) (ADR) 8it down, madam, or you will be removed from this court. RIT (V.0.) (ADR) See me whichever way you want to see me. If you need a monster, I'1ll be your monster. But the truth is those girls were begging for their freedom and I gave it to them. 29 30 31 32 33 * % ok ok * ¥ X * * * X X ¥

34 35 TMYS #101 Production Draft (Full 2nd Goldenrod) 5/04/18 Another lipstick for Mary. She wipes it off. No shade right to meet a murderer. EXT. CABIN - DAY Emma scrubs down the front deck. Someone climbing the timber steps, Emma shields her eyes from the sun. Jess is there. EXT. CABIN - DECK - DAY RESHOOT JESS ADR EMMA Don’t you have school, someplace else to be? JESS I don’t care so much for school. You working at the refinery? EMMA I don’t have a job right now. JESS What d’you do in Seattle? EMMA (stays patient) I cut hair. JESS No. That is so cool. Emma studies Jess, taking in how impressed she is. JESS (ADR) (CONT'D) There’s a halr place in town -- they got a vacancy. You be looking for a job you should try there. EMMA I'm not looking to go back to it. JESS They try and cut mine at St Jerome House -- but they don’t know how to do it right. EMMA Your hair’s nice, pretty. JESS I don’t want it pretty. (shame about her) They got gum in it. The other night. 34 35 * *