Producer: Sharon Brooks

Two hand baskets rest against each other in the grocery store. One is filled with practical products, oatmeal, bread, cheese, tins of soup, the other with brightly coloured fruit like pomegranate, juicy apples and lush vegetables. The baskets separate. Mary Lightstone scans the produce, oatmeal protruding from her basket. Mary is 29 years old and dressed for casual winter comfort - jeans, warm boots, down-jacket with a bright funky scarf. She's attractive, her eyes are bright, she looks spunky and smart.

She glances up and notices a young man staring at her. He smiles, she smiles back but unable to maintain his gaze, she looks away. The young man makes his way around the bins and comes and stands beside her. He picks up an herb bunch and examines it. He asks her if it's coriander, Mary's voice croaks - I don't know. He nibbles at a leaf and says parsley and tosses it back. Mary stands staring at the herbs, silently chastising herself for not sparking up the conversation. She turns slowly and notices that he is fondling the peaches. She rallies courage and goes over to him. She says - peaches - he walks off. Mary squeezes one, it's hard as a rock but she puts it in her basket anyway.

He is there again at the checkout counter. She stands behind him and stares at the way his hair curls over the collar of his jacket.

Mary bursts into the front door of her little house. Her house is two story, unrenovated, messy and not much more than a place to crash. Garbage picked furniture; the place has utility but not much comfort or style.

In a hurry she drops her jacket on the floor in the hall and makes her way to the kitchen. Rummaging through the grocery bag she finds the soup and throws it onto the stove.

Mary is in the shower while the soup bubbles away on the stove. Producer: Sharon Brooks

Hair wrapped wet in a towel, Mary attends to the soup that is burning away. She pours it into a bowl and continues to do three things at the same time, putting on socks, eating soup that is too hot, rushing to get out of the door.

Mary runs up the stairs and at the top she hears the front door open. She bends down so she can see the front door and greet her friend... "I'll be right..." She stops mid sentence. "Oh my god." Mary looks like she's seen a ghost.

A woman and a man stand in the hallway with suitcases and knapsacks. The woman drops the suitcase and holds out her arms and yells... "It's my baby sister."

Sarah comes running up the stairs and gives her sister a big warm hug. Sarah, 35, is a few years older than Mary, she is colourful, dressed in a combination of rich Indian silk and trendy British fashion.

Sarah points to the handsome boyish rogue downstairs. Sean is Sarah's boyfriend/husband. He has a thick Glaswegian accent.

Sarah: My husband Sean. We met in India. He's a sexy Scot! Come give my baby sister a hug. This is Mary!

They hug.

Later that night, Sarah is sitting cross-legged on the bed in the guestroom. It feels cozy.

Sarah: You have all our old furniture.
Mary: Mom and Dad moved to a condo so...
Sarah: I love it. It's so nice to... I just need to come down...
Sarah throws herself back onto the bed and releases pent up anxiety.

Fade up to the quiet solemnity of the morgue. A bright empty room with two massive steel tables, lined with sinks and a large window for external observation. The "easy listening" radio station is as constant as the bodies that arrive in and out of this tiled room. One wall is lined with approximately 50 identical drawers, each large enough to contain a body.

Mary Lightstone, dirty running shoes squeaking as she walks across the floor, puts a cassette into the boombox that livens the old morgue up. Mary is a young pathologist in training; her feisty pint-sized frame, pigtails and dirty running shoes make her look younger than her 29 years. But she is every bit the sensible scientist as she lays her sterilized instruments out on the table, precisely placing them for her morning work.

Mary picks up a clipboard and leafs through the papers. Squeaky shoes on the floor, Mary wheels a large steel gurney over to drawer #22 and pulls it open. Inside is a white deflated bag. Mary roles the bag onto the gurney then pushes into the centre of the room. She carefully unzips the bag. Her soft features shift from soft to hard - neutral to determined.

Mary looks down on the small frail body of a young boy who lies on the steel table. She touches his face, then moves the blood-matted hair on the side of his head and examines a wound. She picks up his tiny hand observing dirty bitten fingernails. She reads the band on his wrist, Eric Stevens, age 9. Mary is alerted to the bruises on his arm, which seem to indicate that he was grabbed by strong hands.

Dr. James Lively, the officious Head Coroner comes in and immediately turns down the music. He comes and looks over Mary's shoulder. She shows him the bruises.

Mary: He was grabbed, possibly shook.
James: The bruises are four or five days old.

Mary begins to shave the boy's head. She gets a better view of the wound.

Mary: Why would someone kill a little boy?

James gives Mary a wary look.

James: How - Remember, How did he die. Mary turns and begins to work on Eric's tiny body.

Mary is sitting in a car in a parking lot outside of a liquor store. In the car beside her a boy leans out of the window talking into a make-believe walkie-talkie. It's Eric the same boy who was in the morgue. He has a stick that he waves around, poking at the ground below the window. His earnest observations on human behaviour are strangely dark, funny and accurate.

ERIC: Earth to Mars. Earth to Mars. Do you hear me Mars? There seems to be some strange things going on here. Do you hear me Mars, come in. I've spotted something shiny down here. It appears to be an ancient Egyptian scarab. No it's a..., it's a bottom of a... light bulb. Yes. There's something else though something really interesting. It looks like, it's too dangerous to pick up, yes it looks like it might be a snake egg. A poisonous snake egg. Do you read me Mars? Do you have poisonous snakes on your planet? Come in Mars.

Mary can see a large bruise on his cheek. She watches as Eric's father gets into the car. He yanks Eric away from the window, making him sit down on the seat. Mary wonders how... should she dismiss this, she can't be seeing ghosts. Sean and Sarah jump into the car bubbling with energy. They head off.

The car pulls up in a quiet downtown neighbourhood and parks across the street from Mary's small Victorian home. It's early March; dirty snow and gray monochromatic light make the neighbourhood appear dingy and lifeless. Scan asks about the city as they walk toward the house.

Sarah looks out the kitchen window. The backyard is tiny and muddy. Sean cracks open the champagne that explodes in the kitchen. They squeal with delight as Mary holds up her glass and says. Welcome! Sarah says: What'cha got growin in your backyard. Mary says she hasn't had time.

Mary asks if Sarah is going to phone their parents and tell them she's back. She makes a face and says later. This scene will establish that Sarah radiates light; she is passionate about everything she conveys in contrast to Mary's reserve. Sarah recounts her travels, how she and Sean met. Sean is quiet but attentive and considerate, a gentlemen with rough edges, earthy - sanguine.

Sarah is horsing around in the living room; she breaks something of Mary's. Mary gets up and cleans it. How come you get all this stuff from the family? Cause you've been away, not living anywhere, Mom didn't want to throw it out.

Morning- Mary is moving quietly around the kitchen. She leaves two keys on the table and a note.

Mary sits in her plain unadorned office, a cubicle really, and plays back the little tape recorder that summarizes the analysis of Eric's autopsy. It was a schoolyard fight, Eric caught a rock in the side of his head. He died of a brain hemorrhage. However, there were signs on the body that indicated that the boy had been physically abused prior to death and probably at the hands of an adult. We hear her personalized comments/observations that break away from the normal scientific observation.

An assistant comes in and says the boy's father is here and would like to know if the body is being released.

Mary enters the visitor's waiting room. The father stands waiting. They stand in front of a sign, Coroner's motto: We speak for the dead to protect the living. Mary scrutinizes the father with a steely gaze. He looks down at the ground, unable to look her in the eye.
Mary's office as she finishes typing. She stares at her computer screen. The line CAUSE OF DEATH: stares back at her. Mary looks down at her scribbled notes. She slowly types in NEGLECT. 9 years old.

Mary is having a shower, trying to relax, trying to wash the day out of her hair.

Mary walks down the hall with a towel wrapped around her naked body. Her brother in law Scan is in the hall. They start to talk, giggle, share some innocent flirtation; she there half dressed. Scan: I'll make you dinner... Get dressed and we'll go shopping.

Eric is spinning on one of the playground merry-go-rounds. He is in his stream of consciousness babble. Mary and Scan cut through a park. Mary stops and watches Eric. Then she looks at Sean to see if he sees him. See that little boy. Yeah. Mary walks over really close to Eric and says hi. He smiles at her, a knowing smile and says hi back. She becomes afraid for him. He shouldn't be off by himself, isn't anyone looking out for him.

Sean and Mary stand in the meat section of the grocery store. Sean asks discretely "Do you eat meat?" Yeah. Chicken? Breast? Breast it is.

Back in Mary's kitchen Sean struggles with the skin of the chicken breast. Mary says here, I'll do that. She deftly skins the chicken. They stand very close to each other. There is an electric energy. They talk about life at the Morgue or the sadness of people dying. Mary brings up the woman who died in the woods. Sean brings up the murder
mystery that he has always wondered about. Sarah comes home drunk and staggering. She is a mess but funny. She jumps into the conversation - now India, there's a country that understands death.

They all have dinner together. Mary talks about death and how afraid we are of it. How death occurs - natural, accidental, suicide, homicide. She explains her job. A lot of it happens under the microscope now. I mean it's more precise DNA analysis and all... Sarah recounts a story of how, as children, she and Mary almost died. Sarah tells how she pushed Mary off a ramp - to save herself and how badly that made her feel. Survival of the fittest, law of the jungle. Sean takes control of his drunken wife and takes her up stairs to bed. He looks over his shoulder and smiles apologetically to Mary.

Mary closely examines a dead man with a bullet hole in the middle of his forehead. She looks at the dead man's body. She describes it in detail into a mini-cassette. The body belongs to a man who led a violent hard life. It shows in the scars that line his body. The wounds tell a story. Mary interprets his life through the scars that outline his tragic life. His skin is tattooed and you can see that he was a biker. You can see the main loves of his life through his tattoos. Mary comments on this in the tape recorder.
Sean surprises Mary, waiting for her outside the morgue on her way for lunch. He has brought her lunch. They sit in the park. He wants to apologize for Sarah. She's my sister, don't worry - I know what to expect from her.

They stand outside the morgue. Sean holds out his arms to give Mary a hug. She smiles, and lets him encircle her in warmth. They linger in the hug that is slightly more than familiar friendship. They pull apart and Mary pulls one of her hairs off his coat. She laughs and says... Evidence. First law of forensic science... Two things that meet always exchange traces... I'll see you at home tonight. Unwillingly they part hands.
Mary sits wondering about what just happened between her and Sean then without too much lost time Mary goes to work on the bullet hole in the centre of the biker's forehead. Obviously a close range wound. Bent over him, his face inches away from hers, Mary sings as she picks away the wound scraping skin tissue onto a little petrie dish. Her supervisor Dr. Lively comes and looks over her shoulder. He pulls up a chair. He tells her she is embellishing the facts. Live by the sword. Die by the sword. Mary is examining tissue under the microscope. The cells are beautiful; they look like rose petals. She speaks to Dr. Lively. Do you suppose he knew he was going to die? He had cancer, quite advanced, he had enough cocaine in him to kill a moose, he's pickled in bourbon... Dr. Lively says... 38 caliber bullet wound. Projectile trajectory entering the frontal lobe and lodging in the tentorium cerebelli. He comments on how nice her hands are.

Mary is walking along a downtown street she passes a schoolyard and notices the same young boy again playing by himself in a schoolyard. Eric is a funny little boy who speaks to Mars on a walkie-talkie. He has extra special perception and is able to comment on what he sees with sharp insight. There is a detached loneliness that surrounds the boy. His father comes along and yells at him, screams at him to get over here, you stupid asshole. The father grabs the young boy and yanks him along the street.

Mary yells over to them, but neither of them hears her. She takes off after them but her pursuit is stopped by a gang of boys on bikes. As the father and boy take off across and up the street Mary stands unable to cross because a huge gang of boys on bikes are blocking her path. A fat boy on a bike pulls up the rear. By the time Mary can cross the boy and his father are out of sight.

Sarah, Sean and Mary are driving up to their parent's home. Sarah is full of apprehension. Prodigal daughter returning home. They pull up to a new building in a stony mid-town neighbourhood. Mom and Dad welcome them and meet Sean for the first time. It is slightly apparent that Mary is the favourite daughter. Mary has stayed put and has been building her professional life. The father is proud of her accomplishments.

Sarah's travelling counts for nothing but squandered opportunities. This is all underneath the conversations of course. On the surface they are glad to see Sarah.

Mary's mother talks to her about her aches and pains they all ask Mary medical advice on symptoms.

The young adults become kids back in the parent's house. They play scrabble. Mary asks Sean if he believes in ghosts. The mom is puttering in the kitchen. Sarah is critical of Sean. In as many words she calls him stupid. Sarah can't help but stage a bit of an outburst. She accuses her parents of being uptight and waspy, it's so bloody clean and sterile, she can't stand it. The mom burst into tears when the cake is served. There is a growing interest, subtle between Mary and Sean.

In Mary's living room, Mary, Sean and Sarah sit on the couch watching t.v. Sean lets his hand slip from his lap and lie beside Mary's hand. Mary inhales deeply. Sarah is engrossed in the t.v. programme. Sean presses his hand into Mary's. Mary shuts her eyes. Sarah jumps up - Who wants a beer. She heads for the kitchen. Sean and Mary turn and look at each other. Sean says: I'll have one. He takes Mary's hand and kisses it, staring into her eyes. Mary yells: No thanks. She pulls her hand away but continues to look at him.

James is standing in front of Mary's desk waving a piece of paper at her...

James: I can't sign this. That little boy died from a brain hemorrhage caused by a severe blow to the head.

Mary looks down at her hands clasped together on her desk.

Mary: Sir, it's clear that he came from an abusive family and that he sought out his predators.

James bellows: Neglect is not a cause of death.
He slams the piece of paper down on her desk. James paces in her tiny office. It's like they're in a cage. There is a silence that neither of them can answer to.
Producer: Sharon Brooks

James softens: That's a job for the police.
Mary: I'd like to make a contribution here. I think we suffer from specialization, compartmentalization. I know it's not my job but... I've been thinking that there should be a place for our observations... you know, observations that can...
James: We don't offer conjecture.
James places the autopsy report in front of Mary. Mary calls the file up on her computer.

Mary looks up at him, then starts to type.

Mary: Severe shock to the anterior... causing fatal hemorrhage. When he was hit the kids all ran didn't they?
James: I don't know. They've just brought in a suicide.
Mary: Right - o.
Mary gives him a little salute. And they smile.

James: I like having you in the lab Mary.

It's late in the afternoon. Mary and her squeaky shoes cross the lab floor. She wheels the gurney over to #33 and opens the drawer. It's a hefty package and Mary struggles to roll the body onto the steel table. She's strong and she manages. She wheels the gurney into the middle of the room and goes over to refer to the notes.

Mary unzips the bag and looks at the body of a 45-year-old woman. She is naked. Mary finds abrasions on her knees. She bends over and smells the woman's breath. She picks up her hands and looks at her fingernails. She does a scraping and places it in a culture to look under the microscope. She finds a skin sample and talks into the cassette recorder. Alcohol consumption, skin sample under nails. Send for DNA analysis. She writes DNA on the slide and places the slide in the outgoing tray.

Mary looks at the cadaver on the steel table. She reads her wristband... Joyce Beliveau, She looks at the woman's peaceful face. Joyce smiles at her, Mary drops her scalpel. Joyce whispers. Ecstasy. Do you know what that means? To stand... naked. Mary is stunned.

James enters and Mary quickly pulls a sheet over Joyce's head. Tries to cover up her conversation.

James goes over to the out-tray.

James: Why DNA analysis?
Mary: I found skin samples under her fingernails.
James: Did you read the police report.
Mary: Yes.
James: We can't afford to send every little thing that comes in here for DNA!
Mary: But it's a homicide.
James: She froze to death. Do a toxicology and wrap it up.
Mary: But...
James: Here are the facts. There are approximately 470 suicides a year. Many die because they do not take very good care of themselves. This woman was known to the police for getting drunk, they didn't say she was a prostitute but she was known for going on benders with guys she didn't know that well. The circumstantial evidence is such, she went for a ride with three guys down to Cherry Beach she climbed out of the car and wandered off. She was found, a day later, frozen. There are no signs of foul play.

James comes over and pulls the sheet off Joyce's body. He examines her.

James: There are no signs of assault, the abrasions on her knees and chin are most likely from the slide she took when she fell on the ice.
Mary: You don't consider that the guys who abandoned her left her there to die.
James: If the police find them, they'll question them but I doubt this will be anything but an open file.
Mary: I have DNA that can nail those guys.
James: It's not worth it. Now wrap it up.

Mary is left alone with Joyce. She tries to dance up her courage. She pulls the sheet off and Joyce opens her eyes.

Joyce: For a moment of blind passion. Passion, she laughs and shrugs, well... not any more.

Joyce looks over and sees a heart sitting in a bottle of formaldehyde,
Joyce: Is that heart over there broken?
Joyce lets off a big gassy fart. Mary waves the air and grimaces at the smell.
Joyce: You look sad.

Mary ignores that comment.

Joyce: Death is very peaceful. I like you...
Mary: Okay, Joyce tell me what happened.
Joyce: I died from exposure, you know that. The tragedy is I never found what I was looking for. Either you want too much or you just bounce from thing to thing. That was my problem. I think if I had defined what I wanted I would have been okay. I would have gone for it, instead of pissing my life away.

They talk about sex and passion and desire and control, and the postponement of pleasure.

Joyce: I didn't know how to ask for the kind of love I wanted...

10 o'clock James walks by the glass doors, knocks on the window and shows Mary that he's carrying take-out. He has bought Mary dinner. He invites her into his office for a bite. They have a heart to heart. She talks about Eric and how his need for love got twisted.

James talks about what has happened to him over the years, it's not a hardening... but there is a practicality to dealing with so much misfortune, the loss of life is a misfortune. James talks about his wife and how she won't touch him. She thinks his hands are dirty...

He helps put on her coat and (accidentally?) touches her breast. She jumps. He says... I'm sorry, I didn't mean to... May I drive you home? No thanks.
Mary comes home at midnight. Sean is in the kitchen making dinner. She likes his spirit, his unpredictability, Mary finds him refreshing. Sean lets her taste the sauce he's making with his finger. Suddenly things cave in. They kiss passionately and Mary is shocked... really shocked by this new development. Sarah comes in wearing underwear. Mary excuses herself and goes up to her room.

Mary lies in her bed thinking. She can hear Sean and Sarah fighting downstairs.
The cops are in the morgue; they want to take Joyce's body away for burial. I'm not finished with her. Mary asks for Joyce's clothes. She wants to dress her.

James comes in and tells her to wrap it up. He asks for the autopsy report on Joyce. I haven't written it. She wants to talk to her some more. Find out more answers. She must have another talk with Joyce. Talk about the mystery surrounding her death. She gets a few words in with her but people keep coming in and interrupting. Finally she puts her back in the fridge and leaves for the night.

Mary sits in a seedy tavern having a beer. She looks at the patrons. Mostly middle - old men in various states of inebriation. Mary waits and watches... She has a conversation with the waiter. Asks him about Joyce.

Waiter: Kinda like the town bike, if ya know what I mean.

Sean arrives. He orders a beer from the waiter, who excuses himself: Just keepin your girlfriend here company. The guy pays Sean a certain deference. Sean seems nervous, attentive, affectionate. He tells Mary that he and Sarah are splitting. He's moving out. It's not working out with Sarah, she's too untogether. Things are shifting between them. Sean takes Mary's hand and she lets him hold it, but she's not sure if it is for comfort or closeness. Sean is really paying attention to her in a way that she hasn't had for a long time. The idea of passion, echoes of Joyce, ring in her mind. She's missing something in life, she knows that. All kinds of sensations are flooding her body. She feels alive in a way that she hasn't for a long time. They drink lots of beer.

Mary looks around the room and notices Joyce. She sits alone, a half-drunk glass of beer stands beside an empty one. Laughter sweetens her sloppy logic of drunken talk as Joyce sits talking to herself. Her head lolls around as she tries to focus on the room.
Joyce squints her eyes into focus across the room, her target - a blurry table of three men, not quite as drunk as Joyce, on the other side of the room. Joyce stands and concentrates on steadying herself. She makes her way across the room.
From Joyce's shaky point of view the men appear closer.

Mary watches Joyce talk to the men. Sean continues to talk but Mary's attention is on the other side of the room. He notices and says let's go somewhere. Mary's attention is snapped back to Sean. She knows what she sees must be a figment of her imagination or a projection onto other people who remind her of Joyce. Joyce's tragedy repeating itself. Okay, she lets Sean lead her out.

They sit in the car. They kiss, passion again, oh yes... It reminds Mary that her life is missing this component. Let's just drive somewhere. Sean pulls the car out of the parking lot. Mary notices Joyce climbing into an old car with three men.
Sean and Mary sit in the car. They are parked a Cherry beach.

Sean confesses -1 don't know what to do. We've come back from this trip and I don't know how to jump back in. They start to kiss and stuff but Mary is beginning to cool down. But when Sean says: We’ve come back from this trip. Mary is reminded of her sister Sarah.

Another car approaches. The wheels of the car ride slowly down a pot-holed road.
They pull up not far from where Sean and Mary are parked. The abandoned road offers privacy to anyone seeking intimacy. The three guys and Joyce are in the old car.
Mary begins to explain her position to Sean, she couldn't possibly become involved with him, it would hurt her sister. Or she doesn't know what to do, in any event, she is very much wrapped up in this thing with Sean. Too wrapped up to notice that Joyce is parked quite close to her. We see a shot of both the cars. The windows of the other car are steamed over. Laughter and drunken babble emanate.

Mary tells Sean that she must think it over. She asks him to drive her home. (He's driving her car.)

As Sean and Mary pull out the camera pans to the other car. The car door opens and Joyce emerges naked. She screams at them get outta here go on... Leeeve me alone.
From Joyce's point of view Mary and Sean drive down the desolate road, their taillights receding in the night. Joyce begins to walk away from the car. The guys hurl Joyce's
clothes out of the car. The car pulls out, winding its way down the dirt road till finally it vanishes and Joyce is completely alone. The stillness of the night surrounds her. The alcohol makes Joyce oblivious to the cold, cruel March night.

Joyce lurches towards her clothes. She thinks she is in her bedroom. She picks up her skirt, folds it and neatly places it on the ground. She picks up her blouse, folds it, then her cardigan, forming a little pile of neatly folded clothes. She looks around and begins to sing. She kneels in the snow, and then slumps forward; her body slides on the ice.
Mary and Scan arrive home. Sarah is waiting for them. She glares at them as they arrive. Sean immediately goes upstairs. Sarah follows him. He begins to pack his suitcase. Mary stands alone downstairs; she can hear them fighting.

Sarah runs down stairs and lunges at Mary, taking her off balance. She's out of control, but Mary is much stronger and when she pushes Sarah, Sarah falls back and smashes her head. She holds her head in pain, tears well up in her eyes and hatred shines through.

Sarah: I don't know you.
Sarah turns and staggers out the door, grabbing her coat before she leaves. Sean runs down the stairs suitcase in tow, then drops his suitcase in the hall. Sarah is gone. Sean and Mary look at each other.

It's morning. Mary is on the phone. She has located Sarah, who is staying at a friends. She knows she's okay. Sean comes in. He wants to talk but Mary has to go to work.
Mary is in the morgue. She pulls out #33 and Joyce is gone. Mary storms into James' office demanding to know where Joyce is.

James: Do your job. Let the police do theirs. And no DNA, there's no finding the guy... she froze to death. Look at the big picture Mary...

Mary goes for a walk to clear her head. It's pouring rain that matches her mood. No one is around except Eric. He is holding his hands up to the sky and spinning.

ERIC: The weather is fantastic here. There are little bullets of water jetting down from the sky. It feels like nobody lives here. Everybody is hidden away. They don't seem to like it when the sky goes like this. Something about shrinking or feeling cold. I like the coldness. They've got this moisture, which encircles the planet, sometimes furry bits of crystallized water swirls around the ground. Other times there's hazy mist, I've got a friend of mine here. Do you want to talk to her? Mars can you here me. I found those cookies I mentioned the other day. We'll make sure we bring some back. I think you'll really like them. They only give you a few at a time cause they say they're not very good for you but I think I should be able to get the whole bag. I think tomorrow we should plan on getting me back to Mars. Over and out.

Mary goes home. Sean is waiting for her. He hugs her when she comes in. A passionate hug, a sexual embrace. Mary caves in and falls into Sean. She's exhausted. She feels like she can't fight anything any more. She wants to feel something, rather than just dead. She wants... He is so excited and she floats away... half way there she thinks, what on earth am I doing. This is wrong. She stops him. He looks at her.

Sean: You teased me.
Mary: You can leave now.
Mary scribbles Sarah's phone # down and hands it to Sean.
Mary walks upstairs.

Sean calls out: Oh yes, you think you are so morally superior.
Mary slams her bedroom door.

Mary has a stomach on the scale. She writes down the weight on a chart then takes it to the counter and cuts into it. She smells it. She looks at the chart again. She takes a little sample and puts it under the microscope. She decides to test the substance chemically. She makes up a solution. James looks over her work. He gets excited by chemical reactions. So does Mary. They share this love of chemistry.

Mary declares that the woman on the table was poisoned. When the cops come in she says... You know who it was right. The cop says you bet.

Mary goes to roll the corpse back into the fridge. The woman smiles at her and gives her a wink!

Mary and James go out for a drink. They flirt just a little.

Mary goes home and finds her sister sitting at the kitchen table. Her suitcase is beside her. She's heading on but wanted to say goodbye. Mary calls her a fool for leaving. They have a big fight. Sarah says she is a total loser buried in her job.
Mary: Quit running away.
Sarah: I'm not running... It's an adventure. Look at you. You're stuck.
Mary: I'm not, there's an entire universe under a microscope. You can look at little things and understand the whole world. It's all there.
Sarah: You have to do what's right for you.
Mary: You should stay here and plant my garden. I'll never do it.
Sarah: I'll come back next year.
Mary cries as she watches her sister go...

The End