i know you're there

7/27/2019 I Know You're There

1/28

"I Know You're There"

Written by

Ethan R. Friend

PRELIMINARY DRAFTOCTOBER 2013


2/28

ACT ONE

INT. CONFERENCE ROOM, STATLER-NOBEL TECHNOLOGIES-- DAY

A group of EXECUTIVES in suits sit around the table.

EXECUTIVE #1As such, Im recommending a seriousoverhaul of research anddevelopment, combined with aperformance audit of all otherdepartments.

EXECUTIVE #2Thats a bit draconian, dont youthink? I mean, sure, the currenteconomic situations a bit shaky,

maybe. But times like these call

for a hard sprint, not caution.Innovation, drive.

The conversation continues. DAVID ZYDLER, mid-thirties,obviously bored, leans back in his chair. His eyes slidetoward the second-story window and

EXT. HIGHLAND AVENUE--DAY

Traffic crawls with much blaring of horns and whining brakes.Pedestrians jostle on the sidewalk. A MAN wearing a fedoraleans against a postal drop-box, reading a paper. A SCAR cutsacross his left cheek. The man glances up at the window. His

eyes meet Davids.

INT. CONFERENCE ROOM, METROPOLITAN OFFICE BUILDING

David jerks his gaze away with a gasp. He rubs at histemples.

EXECUTIVE #1David? Your thoughts?

DAVID(turning)

Hmm? Oh. It seems to me that anydepartment, or person, not livingup to their full potential here isdead weight, dragging us down. Itsa question of come to life, or getcut down.

Executive #2 looks sourly across the able at him. Davidshrugs at him-- what was he supposed to say?


3/28

EXECUTIVE #1Quite right. As Ive said, Irecommend a thorough look intoresearch and development.

INT. HALLWAY

The other suits wander toward he elevator. David staggers alittle, wiping his face with one hand. He steps away from thegroup, toward the stairs.

EXECUTIVE #2Hey, Zydler! I want a word withyou.

He quickens his pace, catching hold of Davids briefcase.

DAVIDNot now, Trasker. I dont feel very

well.

He breaks free and pushes through the door to the stairs.

EXT. PARK STREET ENTRANCE--DAY

David walks quickly out the glass doors of the side entrance.He glances toward

EXT. HIGHLAND AVENUE

where the scarred man continues to fake reading the paper.

EXT. PARK STREET

David walks quickly away.

EXT. HIGHLAND AVENUE

The scarred man glances over. He folds his paper and startswalking toward the intersection.

SCARRED MANHey. Hey, you!

He hustles across the intersection, ignoring the blaringHORNS and angry shouts.

EXT. PARK STREET

David breaks into a run. The scarred man follows suit.

SCARRED MANHey!

2.


4/28

David pushes past a knot of ELDERLY LADIES, who call outdisapprovingly. He dodges an angry food-cart vendor. Thescarred man follows close behind.

Davids gaze falls on the cement steps leading to theunderground Park Street subway station. He hurries down the

steps, weaving between commuters and shoppers on their wayhome.

INT. SUBWAY STATION

David slips on the last step and falls to one knee. Heglances back. The scarred man struggles through the crowd,halfway down the steps. David regains his footing.

COMPUTER VOICEGreen Line train to Redville Centeris now leaving. Green line train...

David lunges for the train. The doors are sliding closed. Heforces his way through them.

INT. SUBWAY TRAIN

The doors click shut just as the scarred man arrives. Thetrain begins to pull away from the platform. The scarred mancries out in frustration, but his words are muffled by thedoors and the rising WHINE of the train as it picks up speed.

David leans against the wall of he train, panting.

INT. TRAINING ROOM-- A MEMORY

A small boy resembling David rises from a squat. A manruffles his hair-- the man with the SCAR on his left cheek.

SCARRED MANThats wonderful, Boo. I think

were making real progress.

The boy smiles.

INT. SUBWAY STATION

The scarred man stares after the departing train.

EXT. GALLEY STREET, REDVILLE HEIGHTS--DAY

David walks through his suburban neighborhood. He reaches hisown driveway and turns in. A GOLDEN RETRIEVER bounds off theporch and comes to meet him. David reaches down to pet thedog.

3.


5/28

DAVIDGood boy, Russ.

David climbs the porch and enters the house.

INT. KITCHEN

MOLLY ZYDLER stands by the stove, tasting pasta sauce from awooden spoon. She shimmies side to side with the music fromthe RADIO on the counter. David walks up behind her and wrapsan arm around her. She leans back against him.

MOLLYWork called. Not feeling well, huh?

David drops his briefcase to the floor and holds her,nuzzling her neck.

DAVID

Convenient excuse. Wheres Seth?

MOLLYMmm. Out back. Fighting enemyagents in the jungle or some such.Here. Taste. Whats it need?

She crams the spoon into his mouth.

DAVIDHmm. A little less garlic, onion,and spices, and a little more ofthat tin can flavor.

She bops him on the nose, leaving a smear of red. He grimacesand wipes it off.

MOLLYCretin. Ill break you of yourbachelor ways yet.

DAVIDNine years of trying andcounting...

He heads toward the back door.

SETH (O.S.)Youre home early today.

DAVID (O.S.)Vitch means you and your pateticsol-jahs are goink down, ja.

Molly tastes the sauce again, humming.

4.


6/28

INT. KITCHEN--EVENING

The Zydlers are seated around the dinner table. SETH, eleven,prods at his peas with his fork.

DAVIDHowd Mrs. Reynolds like the bookreport?

SETHOK. Brian Hartwell called me a fart-eating dork after.

DAVIDBrian Hartwell cant even spellfart-eating dork.

MOLLY

Why do you two always have todiscuss bodily functions at thetable?

The PHONE rings.

DAVIDIll get it.

He walks to the other end of the kitchen and picks up.

DAVID (CONTD)Hello?

Rhythmic bursts of STATIC sound in his ear. David hangs up.

MOLLYWho was it?

DAVIDNobody. Just noise.

Seth burps. He giggles.

SETHHows that for a noise?

MOLLYReal impressed.

INT. HALLWAY--NIGHT

David peeks in on Seth, asleep in his room. He pulls the doorpartway closed, then creeps toward the

5.


7/28

INT. LIVING ROOM

Molly sits on the couch, correcting term papers. A game showchatters on the TV. David clicks it off.

DAVIDWhat was Eli Whitneys CottonGin?

MOLLYHar har. Were doing the CivilRights Movement. Freedom Riders.Heavy stuff.

DAVIDAny chance the rest of them can

wait til tomorrow?

She sets the stack of papers to one side and looks at him,eyebrow raised.

MOLLYWhatd you have in mind?

INT. BEDROOM

David and Molly make love on the bed as the ceiling spinslazily overhead.

EXT. STREET CORNER--DAY

David stands in a crowd of PEDESTRIANS, waiting for thecrossing signal. He glances at his watch. He stares acrossthe street at the unchanging SIGNAL.

A GAUNT MAN standing a ways back stares at the back ofDavids head. He wears a black fedora. A small tattoo, almosta brand, shows on his temple below the brim: a letter Q.

GAUNT MANHey, Boo.

David shuffles his briefcase from one hand to the other.

GAUNT MAN (CONTD)Sure. Id know you anywhere. Howlongs it been, Boo? Twenty years.Same old Boo.

Other people steal glances toward the man. David staresfixedly across the street.

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8/28

GAUNT MAN (CONTD)You think if youre quiet Ill goaway? Second-guess myself?

(inhaling deeply)Id know you anywhere.

The light changes. David surges forward with the crowd. TheGaunt Man lingers behind.

GAUNT MAN (CONTD)Wont be long now, Boo. Itll belike old times!

David hurries down the street.

INT. CLASSROOM-- DAVIDS MEMORY

A line of CHILDREN in matching white outfits, standing inmilitary precision, reciting in unison.

CHILDRENTo preserve these traditions, obeythe commands of my betters, andsacrifice unblinking all that isasked of me.

The last child in line is the boy from previous-- a youngDavid Zydler.

YOUNG DAVID(backed by the others)

I am the cog in the machine.

EXT. HIGHLAND AVENUE--DAY

David enters the front door of Statler-Nobel.

INT. STATLER-NOBEL, SECURITY SOLUTIONS OFFICE--DAY

David and the other TEAM LEADERS sit at their desks aroundthe room, eating lunch, an argument in progress. TIM shakeshis head, running his fingers through his receding hair.

TIMYoure kidding me, Joe. You heard

what David said. The grindingwheels turning. We cant go inthere with updates and repackages.

Joe adjusts his glasses.

7.


9/28

JOEWe need more time. Another week ortwo, to work the bugs out of thenew program.

TIM

More time?

The others chime in as the fight continues. David stares outthe window.

MONTAGE-- A SERIES OF MEMORIES

A BURNING TEST DUMMY hangs from a wire attached to theceiling of a featureless room.

The troop of children seen previously stands in a classroom,hands clasped behind their backs. A uniformed instructorpaces at the front of the room, lecturing.

A circle of children jostles in a field, watching a fight inthe grass. Young David holds his opponent in a headlock. Theother boys glasses are cracked, his forehead bloody. The boySQUEALS. David shoves him away. The boy falls to his knees,gasping. David steps back and raises his hands.

INT. STATLER-NOBEL, SECURITY SOLUTIONS OFFICE--DAY

David turns from the window.

TIMDavid, help me out here, would you?

DAVIDWhat? Im sorry.

EXT. BALCONY--DAY

David leans against the railing. Traffic HUMS by on thestreet below. Tim joins him.

TIMThought you might be out heresneaking a smoke.

DAVIDReally quit this time.

TIMGood thing. Mollyll kill you ifyou slip up. You all right? Youseem distracted in there.

8.


10/28

DAVIDI dont know if its all this talkabout downsizing or what. I haventbeen sleeping. Weird dreams. Stufffrom when I was a kid. What was itlike for you, growing up?

TIMMe? My father was a drunk who beatthe hell out of my mother everytime supper burned. These things,you cant dwell on them. Got tokeep your mind on the road in frontof you, on the future. Learn to letgo. They dont mean anything.

DAVIDMaybe youre right.

EXT. PARK STREET

David makes his way along the crowded sidewalk toward thesubway station. As he nears the stairs, he sees the GAUNT MANleaning against the handrail. The GAUNT MAN looks up. Davidturns around. The SCARRED MAN is quickly approaching fromthat way.

David dives into the street. A yellow taxis brakes SCREAM asDavid jumps in front of it. He drops his briefcase in thestreet, bouncing off the fender of an on-coming sedan. HORNSblare. The DRIVER of the sedan sticks his head out the

window.

DRIVERWatch it, you moron!

David reaches the opposite side of the street, limping. Hetries the door of a cigarette store, but its locked. A SIGNin the window reads CLOSED FOR REPAIRS. He looks back. Thetwo men are in hot pursuit. David pushes off the wall andrushes into

EXT. TRASH-LITTERED ALLEY--DAY

He picks his way over empty fast food cartons, rottenvegetables, old newspapers. Halfway down the alley, a jumbleof wooden PALLETS squats near a rusted DUMPSTER. Davidsqueezes between them.

The scarred man appears at the Park Street ends of the alleyand walks toward the pallets.

9.


11/28

SCARRED MANCome on out, Boo. I know youre inthere. I can smell it.

The Gaunt Man enters the alley from the far end and movestoward his partner, his eyes searching.

SCARRED MAN (CONTD)Have they started? The flashbacks?Things you forgot, tried to forget?Do you remember what you did toTurner? My proudest moment. Thepinnacle of forty years work.

Another man appears in the alley behind him, scruffy, wearingrimless spectacles and a duffel coat-- CHRIS PIETTE.

CHRISYou must have one hell of a plastic

surgeon.

The scarred man turns. Chris pulls his hand from his coatpocket and holds something out:a golden ROCK a little smallerthan his palm. A THROBBING SOUND seems to emanate from it.

The scarred man reels, clutching his temples. At the far endof the alley, the Gaunt Man drops to his knees. Behind thepallets, Davids face screws into a grimace of agony. Bloodpours from his nose.

A single drop of blood trickles from Chriss nostril. Hesmiles.

CHRIS (CONTD)You boys run on home, now. I thinkyour mamas calling you.

The Gaunt Man vomits behind a trash can and staggers out ofthe alley. The Scarred Man follows him on hands and knees.Chris strides to Davids hiding place. He pulls him to hisfeet and half-drags him toward the opposite end of the alley.Davids head lolls on Chriss shoulder: hes unconscious.

CUT TO BLACK.

EXT. CIGARETTE STORE

David sits on the steps on the closed store, dabbing his nosewith a handkerchief. Chris looks around, one hand in his coatpocket.

CHRISThey wont be back. Not soon,anyway.

10.


12/28

David hands his the handkerchief.

CHRIS (CONTD)Sorry I had to do that. Its theonly way. The only thing theyreafraid of.

He eases his hand just far enough out of his pocket that therock winks. David inhales sharply. Chris lets the rock fallback into his pocket.

CHRIS (CONTD)Nasty thing. Not really supposed totake it out of its box. Dangerous.

DAVIDWho are you?

CHRIS

A friend. Maybe the truest friendyou ever had.

DAVIDWhat do they want?

CHRISStill fuzzy, huh? Not surprised.You really did a number on yourselfthat night.

DAVIDWhat night? I dont remember

anything. Just dreams. Images.

Chris looks around.

CHRISNot here. Its too hot. Go home.Lay low for a couple days. Whenyoure ready, Ill be around.

He tosses David a POKER CHIP. David looks at it. A bluecartoon duck grins up at him.

DAVIDBlue duck?

David looks up as Chris walks away.

DAVID (CONTD)Hey, wait a minute! Who are you?

Chris looks back over his shoulder.

11.


13/28

CHRISCall me Chris.

He disappears into the crowd. David looks down at the pokerchip.

INT. SUBWAY STATION

David boards the train for home. Chris watches from behind arusted steel pillar. As the train pulls away, Chris rubs athis left wrist. SCAR TISSUE slashes across what was once aTATTOO: The Greek letter Lambda.

END OF ACT ONE

12.


14/28

ACT TWO

INT. LIVING ROOM--NIGHT

Molly settles back onto the couch beside Seth, carrying a

bowl of popcorn. On TV, a commercial plays, then the screengoes black.

MOLLYHurry up, youre going to miss it.

INT. BATHROOM

David splashes water on his face. He looks at himself in themirror.

MOLLY (O.S.)Want me to pause it?

EXT. THE GRASSY FIELD

The boy with the cracked glasses writhes in the grass,screaming.

INT. BATHROOM

DAVIDNo. Be right out.

INT. LIVING ROOM

David squishes on the couch with his family. On the TV, aYOUNG WOMAN with an eye patch sits in a restaurant, talkingto the young man seated across from her.

YOUNG WOMAN ON TVA lot can happen in three years.

INT. CLASSROOM

The INSTRUCTOR stands beside a man in a black suit, who sitson an empty desk with his feet on the chair. Its ChrisPiette, better groomed, trimmer, but looking no younger thanhe did in Act One.

INSTRUCTORThis is Christopher. A Lambda.

The children murmur appreciatively.

INT. CLASSROOM-- LATER

Chris leans toward the seated students, mid-lecture.

13.


15/28

CHRISMerely a routine inspection. Seeinghow the program is coming along.You there.

He turns toward Young David, seated to the far end.

CHRIS (CONTD)What do they call you?

YOUNG DAVIDBoo.

INT. LIVING ROOM

Molly and Seth laugh at something on TV. David joins them,but his laughter is forced-- he isnt really there.

INT. OFFICE-- ANOTHER MEMORY

Young David sits on the edge of a chair, uneasy. CHRIS sitsbehind the desk, hands clasped.

CHRISHave you given any thought to whatyoud like to be called? You cantgo around being Boo, forever, youknow.

The boy only stares at him.

CHRIS (CONTD)

Maybe something mythic, orbiblical, something suggestingpower. Ares, maybe, or David. Kingof kings.

INT. LIVING ROOM--NIGHT

Seth has fallen asleep. On TV, the young woman with the eyepatch stands before a mirror, doctoring a cut lip. The PHONErings. David walks into the kitchen to answer it. Mollypauses the DVR. David walks back in, visibly shaken.

MOLLYWho was it? David?

DAVIDNobody. Wrong number.

MOLLYLike hell. Youre upset. Talk to

me.

14.


16/28

David sinks into an armchair in the corner. Molly goes tohim.

MOLLY (CONTD)Tell me.

DAVIDMolly, please, not now.

MOLLYYouve been acting so strangelately. At first I thought it wasthe smoking, or pressure at work,but-- is there someone else?

DAVIDGod, no. I swear.

The PHONE again.

MOLLYIm answering that.

DAVIDMolly!

He follows her into the

INT. KITCHEN

She grabs the phone, which rings on. He puts a hand on hers,holding her still.

DAVIDPlease.

They looks at each other a long moment. The phone fallssilent.

MOLLYAll right. Put Seth to bed, andthen were going to talk.

INT. LIVING ROOM

Molly paces. David sits on the couch. She watches him. Hestares at his hands. The cordless PHONE sits on the coffeetable.

DAVIDI dont know how old I was whenthey took me. I dont remember muchfrom before.

15.


17/28

MOLLYJesus, David. You told me yourparents died in a car crash.

DAVIDThey might have for all I know. I

think I told myself that storyenough times before I met you, itstarted to become real.

MOLLYWhat did they do to you? What dothey want?

DAVIDHard to explain. It was likeschool, only the things they taughtus were twisted, unreal things. Thestuff paranoid schizophrenics rant

about. They said we were special.Different. Elite.

MOLLYHow long were you there?

DAVIDI dont know. A long time.

MOLLYAnd then they just let you go?

DAVID

I escaped. I was twelve, maybethirteen.

MOLLYHow?

DAVIDI dont know.

MOLLYYou dont know?

DAVIDCant remember. Honest. It comes infits and starts. Until yesterday, Idont think I remembered anything.

She stops pacing. He looks at her.

DAVID (CONTD)What?

16.


18/28

MOLLYI dont know, honey.

DAVIDWhat do you mean, you dont know?

MOLLYI know you well enough to see whenyoure rattled. But this... you

were the one who mentioned paranoidschizophrenia.

DAVIDI dont believe this.

MOLLYDiane was telling me about thisdoctor she used to go see, Dr.Rickland--

DAVIDYou think Im crazy.

MOLLYYouve been under so much stresslately.

DAVIDYou think I imagined being chasedyesterday? There are probably ahundred people who saw it happen.You think these phone calls--

As if on cue, the phone RINGS again. Mollys eyes go wide.

DAVID (CONTD)You think Im imagining that?

Molly snatches the phone off the coffee table. STATIC pulseson the other end of the line.

MOLLY(screaming)

Leave us alone!

She hurls the phone across the room. She collapses onto thecouch beside him. He takes her hands in his, looking into hereyes.

DAVIDReal.

MOLLYDavid, I dont know.

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19/28

DAVIDEvery word. Real.

She suddenly hugs him, tight. The phone RINGS. Molly squeezesher eyes shut in terror.

END OF ACT TWO

18.


20/28

ACT THREE

EXT. BLUE DUCK BAR AND GRILL--DAY

Afternoon. David checks the NEON SIGNs logo against his

poker chip, then walks quickly toward the rear of thebuilding. A rickety flight of stairs takes him up to a screendoor. He knocks.

DAVIDChris? Its me, David.

A familiar THROBBING sound comes from behind the door. Davidgasps and falls to his knees. The door opens. Chris peers outat him. He holds the ROCK.

CHRISSorry. Cant be too careful these

days. Come on in.

He walks back inside the dim apartment.

INT. ZYDLER LIVING ROOM--DAY

The doorbell rings. Molly goes to answer it. She pulls thedoor open, revealing Tim.

MOLLYTim, hi. Davids not home yet, andIm actually expecting--

Tim gestures behind him to the SMALL MAN in glasses behindhim-- a man in a dark fedora.

TIMDr. Rickland. Thats why Im here,Molly. He asked me to come along.

DR. RICKLANDPlease, may we come in?

Molly opens the door. The men enter.

MOLLYCan I get you anything to drink?

DR. RICKLANDCoffee, perhaps.

MOLLYSure.

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21/28

She disappears into the kitchen. Dr. Richland removes hisglasses, polishing them with a handkerchief. Tim searches theroom with his eyes.

MOLLY (CONTD)(from the kitchen)

Tim? Anything for you?

TIMCoffees fine. Thanks.

He runs one hand through his hair. His shirt sleeve slides upan inch, revealing a hint of a TATTOO.

INT. CHRISS APARTMENT--DAY

David sits on the stained couch, a drink in his hands. Chrissits in the chair across from him, drinking a glass of neat

whisky.

CHRISWe started the program back inSixty-five or -six. Im a lot olderthan I look. The idea was toisolate those abilities that madeyou all different, to hone them. Tocreate an elite special forcesunit, the ultimate weapon, loyal

without question to the highestlevels of our organization.

DAVID

The Lambda.

CHRIS(smiling sadly)

Youve regained an impressiveamount of memories in a short time,David, but youre still recalling achilds understanding of things.Lambda might not be the bottomdogs, but they arent the alphas,either. Hell, I never got beyondclearance level four.

He swallows whisky and stares down at his scarred wrist.

DAVIDWhyd you leave?

Chris looks him dead in the eyes.

CHRISIt was you, David.

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DAVIDMe?

INT. HALLWAY OF THE ORGANIZATION BUILDING-- A MEMORY

Young David runs through the hallway, sobbing.

CHRIS (V.O.)After the incident with that Turnerkid.

He enters a deserted classroom and hides under the teachersdesk. He buries his face in his arms, rocking back and forth.

The DOOR opens and closes softly. FOOTSTEPS approach-- blackpants, expensive shoes. The man crouches down to look at thecrying boy-- its Chris.

David looks up at him. They regard each other a moment, then

the boy throws his arms around Chris. After a second, he hugshim back.

INT. CHRISS APARTMENT

As before.

CHRISOnce I realized what the program

was doing to you, to all of you. Iknew I had to get you out.

DAVID

How?

CHRISI got in touch with some people, asort of underground resistance. Not

many people know about theorganization, but most of the ones

who do... they tend not to beinterested in getting ourautographs.

INT. DAVIDS DORM ROOM--NIGHT

Another memory. Young David walks sleepily across his room tothe open window. Chris hangs from a rope outside the window.Young David climbs onto the ledge and crawls through the

window.

CHRIS (V.O.)We gave you drugs to erase most ofyour memories.

21.

(MORE)


23/28

Entered you into the foster caresystem. Made you disappear.

DAVID (V.O.)And you?

INT. CHRISS APARTMENT

Chris stands at the window, looking out at the lengtheningshadows in the street. He turns.

DAVIDWhen did you disappear?

CHRISNot long after. I didnt have achoice. If they learned Id helpedyour escape, and Im sure they did,things would have gotten...

unpleasant.

He walks to a dresser and opens the top drawer. He pulls outa BUNDLE, tied in dirty handkerchiefs--the ROCK.

CHRIS (CONTD)The same people got me out. Theytaught me how to evade detection,how to blend into a society Idbeen isolated from. And they gave

me this.

He sits in the chair again, still eying the bundle.

CHRIS (CONTD)Almost harmless now, when itdoesnt touch skin. But unwrap it,and-- well, youve seen. Here.

He holds it out to David, who takes it. David looks down atthe weapon in his hands, somewhat dubious Then he looks up atChris.

DAVIDHow did they find us? The children,I mean?

CHRISOh, David. You poor boy. Theydidnt find you. They made you. Allof you. You werent kidnapped bythe Goblin King, son. Youre theCrown Prince.

22.

CHRIS (V.O.) (CONT'D)


24/28

EXT. GALLEY STREET--EVENING

The sun is setting as David walks wearily up his street. Hestops at the foot of his driveway, freezes.

A small FORM lies stretched across the gravel. David runstoward it, bends down: its Rusty, the dog. His eyes aremissing. Blood and gore matt his fur. His abdomen yawns open,a mess of guts and more blood. David stares down at hiscrimson-soaked hands. Then he looks to the house.

Bloody smears on the door, which stands ajar. David gets tohis feet, terror all over his face.

DAVIDMolly! Seth!

He takes a stumbling step toward the porch. His CELL PHONE

rings. He pulls it from his pocket, and answers.

DAVID (CONTD)Who is this?

FEMALE VOICE(filtered)

I never wanted it to come to this,Boo. You made me.

INT. SOMEWHERE UNDER ORGANIZATION CONTROL

A feminine mouth, lips colored BRIGHT RED. She lifts an ivory

CIGARETTE HOLDER and takes a drag, exhaling into the phonesmouthpiece.

FEMALE VOICEDo we have your attention now?

EXT. GALLEY STREET--EVENING

David hangs up, his hands trembling. He takes another steptoward the house. Inside, the PHONE rings. His eyes widen.And then, incredibly--

EVERY phone on Galley Street starts to RING, all at once.David reels, staggers away from the dead dog and the ominous,empty house. He begins to run.

END OF ACT THREE

23.


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ACT FOUR

EXT. HIGHWAY BRIDGE--NIGHT

Traffic zips by on the highway, headlights smears of light

against the night sky.

EXT. UNDER THE BRIDGE

David sits slumped against a concrete pillar, his clothesdisheveled. A short distance away, a TRIO of homeless guyshuddle, passing a brown bottle back and forth.

INT. CHRISS APARTMENT -- BATHROOM -- NIGHT

Chris urinates, then flushes, zipping up his pants. Hecrosses to the sink, washes his hands, and splashes more

water over his face.

He reaches for the towel, freezes. Listens. Silence.

Chris dries off his face and hands, tosses the towel aside,and opens the bathroom door. Scarface smiles at him.

SCARRED MAN(in mock disapproval)

Christopher. You of all peopleshould know, when you go, staygone.

He steps forward. Chris stumbles back a step.

SCARRED MAN (CONTD)Im gonna enjoy this.

EXT. ABANDONED STREET--NIGHT

David stands at a PAYPHONE at the corner of a trash-filledstreet. Dark, burned-out warehouses loom on both sides of thecracked blacktop.

David dials and puts the phone to his ear.

DAVIDIts me. I understand. Whatever itis you want, you can have it. Allright. Im at 47 Heidegger. The

warehouses. Right. Be there.

He hangs up. He stands a moment, surveying the street.Nothing moves.

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26/28

David hurries across the street to the entrance of theabandoned warehouse marked 47.

INT. WAREHOUSE 47--NIGHT

Its dark, dusty. Sounds ECHO off the corrugated metal walls

and roof, the concrete floors. David pulls an ENVELOPE fromhis coat pocket. He opens it and begins sprinkling a fineYELLOW POWDER onto the floor.

CHRIS (V.O.)Its quite soft. Break it intopieces, pulverize it, it stillretains its power.

David strips off his coat, setting it on a pile of oldCRATES. He rolls up his shirt sleeves, paces.

CHRIS (V.O.)

Still, the whole form is best.

David pulls the wrapped BUNDLE out and looks at it.

INT. WAREHOUSE 47--LATER

David sits on the CRATES, smoking. Soft FOOTSTEPS approach.David looks up. Tim stands about ten feet away, regardinghim.

TIMThere you are.

DAVID(startled)

Tim?

TIMWeve been looking everywhere foryou.

(walking forward)I dont think I have to tell you,it doesnt look good. The wayyouve been acting at the office,now they find your dog hacked topieces, and your wife and kidinside, all--

DAVIDTim, youve got to help me.

TIMThats why were here, Boo. We wantto help.

25.


27/28

The Gaunt Man and Dr. Rickland step out of the shadows.

DR. RICKLANDIts time to go, Mr. Zydler.

All three advance. David stands up.

DAVIDYeah. I guess it is.

Tim and the Gaunt Man freeze. Rickland takes two more stepshimself before stopping, looking down.

All four men stand on a great yellow-colored CIRCLE, like achilds drawing of the sun on the floor. David raises thehandkerchief- wrapped BUNDLE. He opens it, revealing theGOLDEN ROCK. The THROBBING sounds begin, louder than ever.

Tim cries out. He and the Gaunt Man stagger back a step.

Rickland falls to his hands and knees, gasping.

David raises his free hand. Tim turns to flee. David gesturescuriously.

BLACK TENDRILS burst from his fingertips, looking likeenormous strands of spiderweb, or electricity, or somehowboth. They shoot across the room, piecing all three men--theGAUNT MAN through the chest, Tim through the back, Ricklandstraight through his face.

All four men go rigid as stone. Blood bursts from Davidsnose. His eyes become a glowing GOLD.

Ricklands face begins to bubble, bleeding from a thousandbursting sores. He burbles from what used to be a mouth.

The golden rock THUNDERS like a dinosaurs heartbeat.

Suddenly, in time to the sound, the black strands binding thefour men together begin to PULSE, changing color, first red,then orange, then gold. David glows like a polished goldenstatue. The colors move along the strands, reaching firstRickland, then the Gaunt Man, then Tim.

Tims back arches, his mouth stretched into a silent scream,as all four men erupt into a great shining whiteness--

--and then EXPLODE in a great BALL OF FIRE.

EXT. ABANDONED STREET--NIGHT

The wreckage of the exploding warehouse rains down on thestreet, burning.

26.


28/28

A chunk of twisted wood and metal lands on a rusted parkedCAR, crushing its roof and setting off its ALARM.

The FLAMES climb into the night.

INT. AN OFFICE BUILDING CONTROLLED BY THE ORGANIZATION--DAY

A REPORT falls on an ORGANIZATION MEMBERs desk. She flipsthrough it, lips pursed. Then she reaches for the PHONE.

ORGANIZATION MEMBERGet me Lamar.

(beat)Yes, Ive just read it. It wasntentirely unexpected. The dog mighthave been too much. Well beshorthanded a week or more, butnothing too serious. Yes, sir.

She hangs up. Then she turns back to the report, goingthrough it more carefully this time.

INT. PRACTICE ROOM--SAME BUILDING

A row of CHILDREN in white robes practice combat against aseries of DUMMIES hanging from the ceiling. The dummy at theend of the room is ON FIRE.

The Scarred Man kneels on the floor beside a small boy,perhaps ten. The resemblance to Young David in the flashbacksequences is startling. The Scarred Man smiles.

SCARRED MANExcellent, Boo. I think were

making real progress.

CUT TO BLACK.

END OF EPISODE.

27.

i know you're there

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