STAY

EXT. BROOKLYN BRIDGE -- NIGHT

A wrecked Ford Mustang burns in the middle of the empty

bridge. Empty. No other cars, no people in sight..

.

There is a gaping hole in the windshield on the driver's

side. Flames consume the backseat. Smoke spills out the

windows. The radio still plays, however: The Band's "I Shall

be Released." .

.

One of the Mustang's front tires has blown out. Scraps of

black rubber litter the accident scene.

As the camera pulls in, we see HENRY LETHAM, twenty, sitting

in front of the ruined car. His eyes are closed.

.

He looks sick-- pale, skinny, disheveled-- but he has a

presence, a magnetism that compels you to look at him.

Finally Henry opens his eyes. After a moment he stands and

walks away from the burning car, never turning around, .

heading for the illuminated towers of Manhattan.

Somewhere nearby a BABY is HOWLING, though no one is in

.

sight.

INT. MORNINGSIDE HEIGHTS APARTMENT -- MORNING

.

Tuesday

The baby's HOWL continues, faintly, in the background.

.

DR. SAM FOSTER, a psychiatrist in his early forties, wakes up

in bed, disoriented, sunlight shining on the disheveled

sheets. .

For several seconds Sam looks about the apartment, confused,

as if he's never seen the place before. .

EXT. OLLIE'S NOODLE SHOP -- 116TH AND BROADWAY -- MORNING

.

Sam parks his old, battered Volvo in front of the Chinese

.

noodle shop. He checks his watch and curses under his breath.

Sam's hair is beginning to gray, but he's still built like a

college tennis player. He smiles readily but there is a

brooding quality about him, in his dark eyes, that suggests

he has seen things most of us have not.

2.

EXT. COLUMBIA UNIVERSITY -- MORNING

The bells are tolling. Sam dashes through the campus gates.

Under his tweed blazer he wears a frayed navy-blue cable-knit

sweater.

As he rounds a corner he checks his watch, and before he

looks up collides with LILA CULPEPPER, knocking her styrofoam

cup of coffee to the sidewalk.

With her stylish haircut and clothing, Lila looks more like a

young editor of a fashion magazine than a graduate student.

Only the thick philosophy textbooks she carries and her red-

ink stained fingers give her away.

She shoves him.

LILA:

Watch where you're going, old man.

SAM:

Jesus, kids these days...

He kisses her on the lips.

LILA:

I don't have time to stand here

flirting with you. I've got to give

a test to Grunbaum's undergrads.

Sam stoops to pick up the empty cup, stands straight,

crumples the cup, tosses it into a nearby garbage can.

SAM:

Thank God none of the TAs looked

like you when I was a student. I

would've flunked every test.

LILA:

(unimpressed)

Oh, that's sweet. Can I tell you

something?

She sidles up next to him and fixes the collar of his jacket.

SAM:

What?

LILA:

You owe me a cup of coffee.

3.

EXT. TURNER HALL -- MORNING

Sam hurries inside the sleek, angular, glass-and-steel

building.

INT. TURNER HALL -- MORNING

Sam gets out of the elevator and waves to a RECEPTIONIST

sitting behind a desk. A sign on the wall behind her reads

COLUMBIA UNIVERSITY COUNSELING AND PSYCHOLOGICAL SERVICES.

SAM:

Hey, Toni.

TONI:

Hey, Sam. Henry Letham's waiting in

Beth's office.

SAM:

Thanks.

He walks down the hallway and opens the last door on the

left.

.

INT. BETH LEVY'S OFFICE -- CONTINUOUS

Henry, wearing paint-spattered army pants and a black long-

sleeve tee-shirt, stands at the window of the bookshelf-lined

office, looking out at the sky. He stares at Sam when Sam

enters the room. Sam smiles and nods.

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