Page 221 of Murder in the Family

So. Maura.

(gesturing again at the timeline)

Because, according to that, if she was home by ten, there was definitely enoughtime—

MITCHELL CLARKE

Youseriouslythink a 15-year-old girl could have done that – that –bloodbath? Not to mention the small matter of motive – why on earth would she do it?

ALAN CANNING

(giving him a heavy look)

I can’t believe you, of all people, need to ask that. ‘Luke’ was about to expose your little lovefest to her mother, wasn’t he? Which would have put paid to your shag shenanigans once and for all. Motive enough, if you ask me, for an impetuous teenager. And we already know she hated him.

BILL SERAFINI

(agreeing)

Speaking professionally, I never cease to be staggered at what teens are capable of – and especially girls.

ALAN CANNING

(looking round at the team, though not at Guy)

And the timeline works: Mitch drops her off and she realizes it’s about to rain so instead of waiting for Amelie she decides to go straight home.

As he speaks, cut to RECONSTRUCTION. ‘Maura’ gets out of a pale Ford car which immediately pulls away. We can see the man inside is black. Camera follows ‘Maura’ as she walks along the well-lit street to Dorney Place. There’s no one else about. At the gate, she taps in the entry code and starts down the drive. The girl playing the part looks very like the photos of Maura at that age.

ALAN CANNING

She goes round the side of the house towards her room, but doesn’t make any effort to stay out of sight because she assumes it’s Beatriz who’s babysitting and she won’t even notice.

Only it’s not Beatriz in the house, it’s Luke.

As ‘Maura’ reaches the terrace ‘Luke’ appears at the French windows. He throws open the door, clearly furious. ‘Maura’ turns and tries to get away but he follows her, grabbing her by the arm. There’s a tussle, and the camera zooms in to show her hair catching in his jacket zip. She pushes him away and he slips, falling heavily on the stone steps and then lies there unmoving.

Maybe she thinks she’s killed him; maybe she’s actually glad he’s dead.

And maybe – justmaybe– she doesn’t know either way and decides she’d better make sure.

The FOOTAGE starts to slow down as she’s standing over him, a rock in her hand, slowly lifting it above her head.

FREEZE FRAME.

CUT TO: Team. Alan sits back and looks around.

Either way, she beats his face to obliteration.

Silence. At the window, Guy has turned away.

MITCHELL CLARKE

(shaking his head)

I’m still not buying it. Even if her motherhadfound out, what’s the worst that would have happened? She’d have been grounded or had her allowance docked or some shit like that. Come on, that isnota reason to kill the guy—

BILL SERAFINI