II-IV. BROKEN CLOCK
That third-floor master suite of a “stately manor” located in the expensive corner of a somehow even more expensive strip of Southern California coastline. Only this time it’s all rather messy. Furniture is tossed, flipped. The walls smothered in blood, gore, more blood, and bits of sick. Also, Sophia is dead in her bed. Harold, not dead, looks upon all this.
NARRATOR: (voice-over) What remained of Sophia slumped awkwardly in her bed. Swashes of blood, splatterings of brains, and bits of skull clung to everything. And as Harold looked on at this from the doorway, he couldn’t help but feel like he made a huge mistake by stopping for gas.
Now. To be perfectly fair to Harold, his grandmother’s near-mint wood panel Ford station wagon was one Hell of a gas guzzler. And the trip from their home in Buena Park to that manor by the sea was already a good hour-long trip down the 5, give or take. Between the forty-year old fuel efficiency standards and some inexplicable bumper-to-bumper gridlock that began and ended for seemingly no reason whatsoever, Harold had zero chance of arriving in time for some heroic save. In fact, Harold realized this back in Irvine. But he also realized that he was a failed photographer in his thirties, living in his elderly grandmother’s garage, and having a summer fling with a married woman. So when the congestion blinked out of existence somewhere around Lake Forest, Harold steered the Ford off the freeway, put several dollars worth of gas in the tank, double-backed a bit, and eventually made his way up to Sophia’s bedroom doorway where he continued standing about like he wasn’t at some grisly scene worth reporting immediately to the local authorities.
OLIVER: (off) Good thing you dropped your phone.
Oliver enters, freshly made up.
Otherwise, this could have gone–
Harold ignores this, breaks Oliver’s nose with a wild and wholly lucky punch.
Oliver brushes this off, pinches at his bleeding, crooked nose.
OLIVER: I suppose I owed you that.
Harold growls, looks for something large and heavy to beat Oliver with, repeatedly.
HAROLD: I’m only getting started.
OLIVER: You know, I completely agree.
HAROLD: (blinks) What?
BRENNIPHIA: (off) Harold.
Harold turns, sees…
BRENNIPHIA, a woman with a pink faux hawk in sweatpants and a tattered Bon Jovi tee. Fresh surgical incisions wrap around her head. She looks like Brennifer, but talks and moves like Sophia…
What the Hell did he do to you?
She glides her fingers over the incisions.
Do they bother you?
She steps closer.
BRENNIPHIA: It’s like I told you, Harold. Oliver’s a magnificent surgeon.
She embraces Harold.
HAROLD: I don’t understand…
She sticks a syringe into Harold’s neck.
BRENNIPHIA: Turns out…
She empties, removes the syringe from Harold.
…when the clock stops rolling back, you can just get yourself a new clock.
Harold collapses to the floor, stays there.
OLIVER: Did you see his face? I think we broke his little mind.
BRENNIPHIA: (gushes) Right? (gestures) But did you have to do that to my body?
Oliver looks upon his work, shrugs.
OLIVER: You’re not the only one who loves a little theatrics, Sweetie.
Brenniphia shakes head, sighs.
BRENNIPHIA: Shut up and help me move him.
OLIVER: Yes, Ma’am.