DISTURBIA
Written by
Christopher Landon
Revised by
Carl Ellsworth
March 2006
OVER BLACK:
KALE (V.O.)
(tense)
Do you think he sees us?
JEFF (V.O.)
No, he can't see us. But he feels
us watching.
FADE IN:
DEEP BLUE WATER FILLS THE FRAME.
And there... a few feet beneath the surface... something
SHIMMERS in the sunlight. As ripples dissipate, we make out
the shape of a bright yellow CRANKBAIT waiting patiently for
its prey on the end of a 10-pound line.
We hold on this for another silent beat... then -- a huge
BLACK BASS suddenly swoops into frame, circling the bait!
ON KALE BRECHT (17) AND HIS DAD, JEFF BRECHT (45)
Both startle at the sight. Kale, a clean-cut all-American
kid, reflexively yanks back on his rod and reel.
KALE
Whoa, did you see that thing?
Kale anxiously winds the spool --
JEFF
Settle down, slow it down...
Jeff lightly puts his hand on Kale's, slowing the cranking
to a slight, steady pull as we WIDEN TO REVEAL them standing
near the stern of their 16-foot BASSMASTER. We are...
1 EXT. BISHOP LAKE - DAY 1
The undisturbed beauty of nature serves as our backdrop as
we MOVE CLOSER to Kale and Jeff, taking note of their t-
shirts: Jeff's has a silkscreened cartoon rendition of a
Bass wearing aviator goggles with mounted missiles on its
fins. Beneath it, the slogan: "Weapons of Bass Destruction."
The fish on Kale's shirt wears a stock car uniform, a single
word across the bottom: BASSCAR.
As Jeff steadies Kale's hand and pulls away:
JEFF
You don't want to scare him off.
You've got his attention, now just
play with him. Tease him a little.
(CONTINUED) D.J. Caruso
2.
1 CONTINUED: 1
Kale and Jeff watch the water in anxious silence... Kale
inching the line back toward the boat. One more crank, then --
The BLACK BASS suddenly ATTACKS THE LURE with a tremendous
SLOSH OF HIS TAIL!
KALE
Holy shit!
JEFF
It's all you, Kale, keep cranking!
Kale cranks fast and furious. But this is one fish that's
going down fighting.
KALE
I need reinforcements!
Jeff moves in, grabs the rod and reel from behind Kale.
JEFF
Heave, laddie!
They PULL. The rod curls under the weight.
JEFF (CONT'D)
(pirate accent)
Give it all ya got, mate, or you're
gonna lose him!
KALE
(laughing; pulling;
struggling)
Dad, your pirate -- impersonation --
sucks!!
JEFF
How would ya know, have ya ever met
one? I doubt it --
The BASS SLOSHES FURIOUSLY around the bait, now just a few
feet from the boat!
KALE
He's freakin' pulling us in!
JEFF
(laughing)
Never! No Brecht has ever -- lost a
fight -- to a fish!
The BASS suddenly snaps free. The line goes limp. Jeff and
Kale lose their balance, nearly falling backward. Then --
(CONTINUED) D.J. Caruso
3.
1 CONTINUED: (2) 1
All becomes silent save for Jeff and Kale's heavy breathing.
Kale winds the empty line back to the boat, shoots a glance
to Jeff, then throws the rod aside in mock disgust. Jeff
takes a seat in the captain's chair.
JEFF (CONT'D)
Throw me a --
Kale is already in the cooler. He throws Jeff a Coke. Both
sit in silence for a beat. Then --
JEFF (CONT'D)
Hey, at least the weather's great...
we're spending quality time together.
KALE
(grabbing pole)
That fish is going down.
JEFF
(not missing a beat)
Let's nab the bastard.
They both cast their lines --
2 EXT. HIGHWAY 395 - NORTHERN SIERRA MOUNTAINS - EVENING 2
An amber glow sets the mountainside ablaze as Jeff's SUV
winds through the serpentine pass.
3 INT. SUV - EVENING - CONTINUOUS - MOVING 3
Jeff drives. Kale's on his cell:
KALE (cont'd)
(into phone as needed)
Hey mom, it's us. Listen, fire up
the grill 'cause the Bassmasters are
headed home!
Jeff slaps Kale five as he veers the SUV into the left lane,
passing a slow-moving PATHFINDER...
INTERCUT WITH:
4 INT. KALE'S HOUSE - KITCHEN - DAY - CONTINUOUS 4
Kale's attractive mom, JULIE, 40, on cordless, preps dinner.
JULIE
You're kidding. So I can actually
put the burgers away this time?
KALE
Yes, be gone with the red meat!
(CONTINUED) D.J. Caruso
4.
4 CONTINUED: 4
Julie smiles. Jeff grabs the phone from Kale.
JEFF
(into phone as needed)
We're having fish for a week.
Kale smiles as a LINCOLN NAVIGATOR PICK-UP zooms past in the
right lane, swerves back in the left lane in front of them.
JEFF (CONT'D)
(over the above)
I'd say an hour. Love you, too.
Jeff flips the phone shut, tosses it to Kale. They exchange
smiles. A silent moment passes. They both turn to face the
road as --
THE NAVIGATOR PICK-UP
suddenly SWERVES back into the right lane, revealing a
STALLED MINI-VAN
directly in front of them!
KALE
DAD --
Jeff instinctively reaches his arm in front of Kale as he
SWINGS the wheel hard right and SLAMS ON THE BRAKES. But
it's not in time. The
SUV
clips the mini-van's right rear bumper, SMASHING it into the
left lane concrete barricade. The SUV spins into the right
lane where that
SLOW-MOVING PATHFINDER
suddenly BROADSIDES IT with such FORCE that it FLIPS the SUV
up and over. It TUMBLES off the highway, barreling into...
5 EXT. VACANT CLIFFSIDE PULLOFF/VIEWING AREA - EVENING - CONT 5
A couple of final, METAL-CRUNCHING FLIPS send the SUV's
undercarriage CRASHING to a violent stop on top of a rickety
wood beam-mounted GUARDRAIL.
A silent beat. Then -- steam billows from the hood...
6 INSIDE THE SUV 6
Airbags deflate. Dust settles. Blood streams from Jeff's
hairline. His eyes flutter open.
(CONTINUED) D.J. Caruso
5.
6 CONTINUED: 6
He looks up to Kale, strapped in the passenger seat,
unconscious. A small gash on his forehead. We only see
blue sky through Kale's shattered passenger window.
JEFF
Kale? -- Kale, are you okay?
Kale opens his eyes. Jeff reaches up, touches Kale's face.
KALE
I think so.
Kale looks down at his dad -- his eyes widen in horror, not
only at the sight of Jeff, but of the ravine beneath them --
For this brief moment, we may have thought the SUV was stable.
But we CRANE BACK UP AND OUT KALE'S PASSENGER WINDOW to REVEAL
A MUCH GRIMMER REALITY: the SUV is PERCHED LENGTHWISE ON TOP
OF THE GUARDRAIL AT A 45-DEGREE DOWNWARD ANGLE.
The SUV's right front and rear tires precariously grip the
rail, keeping it from plunging 500 feet to the RAVINE below.
7 BACK INSIDE THE SUV 7
KALE
Oh my God, dad --
-- Jeff's leg is trapped beneath the crumpled dashboard.
JEFF
I'm fine. But you're gonna have to
climb out, Kale. Can you do that?
Kale's hands shake from the SHOCK as his fingers search for
the seatbelt buckle. But the shoulder strap is LOCKED IN
PLACE, preventing Kale from turning. He tugs it furiously.
KALE
I can't -- It won't give --
JEFF
That's okay, I've got it -- grab the
door, I don't need your ass falling
on my face --
Kale reaches up, grips the outside of the door as
JEFF'S HAND
shakily reaches to Kale's seatbelt buckle and presses. Kale's
belt SNAPS LOOSE. Kale's body DROPS, but he hangs on to the
window -- just as a
GUARDRAIL BEAM SNAPS LOOSE FROM ITS FOUNDATION!
(CONTINUED) D.J. Caruso
6.
7 CONTINUED: 7
The SUV ROCKS VIOLENTLY as the guardrail starts to bend and
peel away from the cliffside under the SUV's weight.
8 INSIDE THE SUV - JEFF 8
reaches up, grabs Kale's legs and pushes, helping Kale climb
out the window.
9 OUTSIDE THE SUV - KALE 9
slowly slides down the outside of the door, then turns around
on his chest, reaches his hand back down to Jeff --
KALE
Dad, here --
Jeff reaches up as a
SECTION OF GUARDRAIL RIVETS
a few inches behind the SUV's rear bumper suddenly POP LOOSE.
THE GUARDRAIL SNAPS IN TWO!
KALE SCREAMS, hangs on for dear life as the GUARDRAIL and
SUV SWING OUT AND OVER THE RAVINE.
The guardrail is buckling fast. Another beam RIPS FREE of
its foundation -- Kale slides a few more inches down the
door and right front fender allowing
HIS FEET
to find the edge of the foundering rail underneath. Having
at least some footing, Kale reaches back inside --
KALE (CONT'D)
Dad, please, you can do it --
Jeff unbuckles his belt and reaches up. Kale summons his
strength, grabs Jeff's wrist, pulls him up and through the
passenger window just as the
SUV FALLS AWAY!
Jeff's weight pulls Kale down. Kale's feet SLIP off the
rail. Kale SLAMS chest down, his TORSO wrapping around the
top of the rail, feet dangling... But he's still clutching
Jeff's wrist as the SUV CRASHES INTO THE RAVINE IN A MUSHROOM
CLOUD OF DUST AND DEBRIS.
JEFF'S WRIST
slips from Kale's grasp. Kale struggles to hang on, but
he's losing the battle and the balancing act. And he knows
it. Tears well in Kale's eyes.
(CONTINUED) D.J. Caruso
7.
9 CONTINUED: 9
JEFF
Kale, you have to climb up --
KALE
No -- I'm not leaving --
JEFF
Kale --
Another GUARDRAIL BEAM UPROOTS --
KALE
NO -- Dad, please, I've got you --
JEFF
(with a slight smile)
I know --
CU - Jeff's left hand enters frame, clasps Kale's. Another
beat of eyes on eyes. The guardrail continues to BUCKLE.
Then -- Jeff starts to PRY KALE'S HAND AWAY --
Jeff's arm RELEASES FROM KALE'S GRIP. Kale opens his mouth
to scream as a shrill bell RINGS!
10 INT. MORROW HIGH SCHOOL - HALLWAY - DAY 10
ON THE RINGING BELL. STUDENTS disappear into their respective
classrooms. As the corridor quiets down...
SUPER: ONE YEAR LATER
RONNIE (V.O.) RONNIE (CONT'D)
(prelap) (subtitles as needed)
Este verano, después This summer, after visiting
de visitar Hawaii, Hawaii, I will perhaps
quizás visitaré a mis visit my grandparents in
abuelos en Corea. Korea.
11 INT. CLASSROOM - DAY - CONTINUOUS 11
ON RONNIE YUN, 16, a scrawny Korean kid with a knack for
perfect Spanish, stands at the front giving his speech.
Note: every time Ronnie says "quizás" ("perhaps") the class
giggles because it sounds a lot like "kiss-ass."
The teacher, SENOR GUTIERREZ, a rotund 50, bad comb-over and
khakis up to his naval, stands off to the side, quickly
picking up on Ronnie's excessive and increasingly dramatic
use of the word.
(CONTINUED) D.J. Caruso
8.
11 CONTINUED: 11
RONNIE RONNIE (CONT'D)
Quizás no. Quizás Perhaps I won't. Perhaps
apenas permaneceré en I'll just stay at home.
el país. Pero quizás But perhaps my parents
mis padres tomarán la will take pity on me.
compasión en mi. (more dramatic)
(more dramatic) Perhaps they will make my
Quizás harán mi sueño dream a reality! Perhaps
una realidad! Quizás they will take me to a
me llevarán a una playa beach on the French Riviera
en la riviera francesa so that I may gaze upon
de modo que pueda mirar the natural beauty of its
sobre la belleza natural female inhabitants.
de sus habitantes
femeninos...
Over this, only one GIRL, MINNIE TYCO, a rail-thin BLONDE,
picks up on this:
MINNIE TYCO
(under her breath)
Keep dreaming, perv.
RONNIE RONNIE (CONT'D)
(longingly) Perhaps... Thank you.
Quizás... Gracias.
The class laughs, claps. Ronnie bows, heads to his seat.
SR GUTIERREZ SR GUTIERREZ (CONT'D)
Gracias, Ronnie. Quizás Thank you, Ronnie. Perhaps
le daré una "F." I'll give you an "F."
The class laughs again. Gutierrez shakes his head, zeros in
on the student behind Ronnie. Sleeping with his arms folded
on his desk, a grey hoodie pulled over his head.
SENOR GUTIERREZ
Senor Brecht...
Senor Gutierrez takes some chalk, flicks it at the kid. He
still doesn't budge. Ronnie nudges him.
RONNIE
Dude --
The kid stirs, raises his head. The hoodie falls away to
reveal KALE. Longer, disheveled hair. The spark in his
eye's been replaced with an empty haze.
SENOR GUTIERREZ
So Kale, think you can stay conscious
long enough to tell us your plans
for the three wondrous summer months
ahead?
(CONTINUED) D.J. Caruso
9.
11 CONTINUED: (2) 11
Kale glances around. All eyes on him. He looks at Ronnie
who nods in support. Kale gets up, heads to the front of
the class. He pauses. Trying to focus. Then --
KALE
Este invierno --
The class chuckles.
SENOR GUTIERREZ
(correcting)
Verano...
KALE
Este verano -- voy a --
SENOR GUTIERREZ
¿Qué?
Kale shuts his eyes, frustrated at the interruption. Senor
Gutierrez, also losing patience, steps closer to Kale.
SR GUTIERREZ SR GUTIERREZ (CONT'D)
¿Qué usted va a hacer? (subtitled)
What are you going to do?
KALE
I don't know, alright? I haven't
gotten that far.
SENOR GUTIERREZ
Did you do the homework or not?
KALE
(no eye contact)
Guess not.
SENOR GUTIERREZ
(in Kale's face)
You "guess" not. I don't know who
you think you are or who you think
you're dealing with. You can't give
me a straight answer, fine, give me
one good reason why I shouldn't fail
you right now?
Kale CLOCKS Gutierrez.
12 INT. JUVENILE COURTROOM - DAY 12
ON SENOR GUTIERREZ - displaying a black eye, sitting next to
the school's PRINCIPAL and COUNSELOR in a single row of seats
behind the attorneys' tables.
(CONTINUED) D.J. Caruso
10.
12 CONTINUED: 12
Kale, a little more cleaned up, wearing a suit, sits between
Julie and his DEFENSE ATTORNEY.
Julie, noticeably tired, glances at her son, her expression
a fusion of anger and sympathy. Kale's eyes shift her way,
but his head never turns. The JUDGE mulls over his notes...
JUDGE
Okay, Mr. Brecht...
Kale's lawyer prompts him to stand.
JUDGE (CONT'D)
You're six months shy of eighteen,
that means the assault-two charge
you've pled guilty to carries a max
of one year in juvey. With these
priors, you're up to three.
The judge lets that sink in. Kale remains silent.
JUDGE (CONT'D)
But losing a parent isn't easy.
Which is why I'm sentencing you to
three months house arrest.
Julie closes her eyes in relief.
JUDGE (CONT'D)
You can thank your counselors and
lawyer later. Mr. Brecht, I just
cut you a break. Don't test me.
The judge taps his gavel.
13 INT. KALE'S HOUSE - KITCHEN - DAY 13
A pair of hands wrap an ELECTRONIC MONITORING BRACELET around
Kale's left ankle. WIDER TO REVEAL the hands belong to Kale's
case officer, JANET PARKER, 35, no-nonsense. Kale's perched
on the center island. Julie watches from the b.g.
As Parker clicks the bracelet's buckle into place, a GREEN
LED light illuminates. It's ON THE TOP EDGE OF THE BRACELET'S
BAND so Kale can easily see it if he looks down. Next to
this light is an additional RED LIGHT that isn't on.
PARKER
(making final checks)
Okay, you... are all set... to go
nowhere.
(re: the LED lights)
Now, green means you're good, you're
in the safe zone which covers about
(MORE)
(CONTINUED) D.J. Caruso
11.
13 CONTINUED: 13
PARKER (CONT'D)
a sixty-foot radius from this guy
here.
Parker points to a big black box (the CENTRAL TRACKING UNIT)
on the kitchen counter.
PARKER (CONT'D)
He's like a modem. He gets a constant
signal from Mr. Bracelet that he
sends through your phone line to the
monitoring station downtown. So
they know where you are, where you've
been and what you're thinkin' 25/7.
JULIE
What if he accidentally goes beyond --
PARKER
(anticipating; re:
red light on bracelet)
Red light flashes. Means you've got
about ten seconds to get your butt
back to green, or else --
KALE
The execution squad shows up?
PARKER
And they don't bring blindfolds.
It's also tamper proof and waterproof.
So don't try sticking your foot in a
bucket of water and hopping across
the line. It won't work, and you'll
look stupid. Now, I'll be checking
up on you a lot. Here's my card --
You're set up to pay his incarceration
fee, Ms. Brecht?
JULIE
Automatic withdrawal.
(to Kale)
Twelve bucks every day.
PARKER
(re: a booklet)
Everything else is in the manual.
(making her way out)
Oh, except this -- House arrest might
sound like a breeze, but trust me,
I've seen all kinds of folks get a
bit loopy before too long, some after
just a day or two. So make sure you
find lots of constructive things to
keep yourself busy.
D.J. Caruso
12.
14 INT. KALE'S BEDROOM - NIGHT - LATER 14
Kales sits in his video game chair, wearing his X-box live
headset, playing HALO 2 -- he's on the final "boss level."
GUNFIRE and EXPLOSIONS BLARE over his stereo speakers.
KALE
(into headset as needed)
Hobby, you read me? I said come
around my left flank and draw his
fire -- damn straight I'm trying to
get you smoked, you've been hiding
behind my ass the whole game --
The TV SCREEN suddenly GLITCHES.
KALE (CONT'D)
Hobby, Jet, you guys still there?
The screen goes black. The XBOX LIVE LOGO APPEARS along
with the words: SERVER ERROR. Kale throws the headset aside,
makes sure all the wires are connected. Checks the TV screen.
Same thing.
Kale glares at the screen another beat, then gets up, wanders
out of his room...
15 INT. ENTRY HALL - NIGHT - CONTINUOUS 15
Kale slowly heads down the stairs, rounds the corner into...
16 INT. KALE'S HOUSE - KITCHEN - NIGHT - CONTINUOUS 16
Kale runs into Julie who wears a black blouse and slacks,
the required uniform of the steakhouse she works at. She's
just thrown a couple of microwave dinners on the kitchen
table. She's scrambling around, eating a couple bites,
gathering her things...
JULIE
Dinner's on the table. I'm closing
at the restaurant the next few nights.
Could be some late ones, but hey...
the extra tips couldn't hurt.
Kale sits at the table, picks through his food.
JULIE (CONT'D)
(glancing around)
Where's my apron... apron...
She heads O.S. for a beat, comes back in with her apron and
purse, sets them on the counter. Eyes her watch, sits at
the table, takes a couple more quick bites. Then --
(CONTINUED) D.J. Caruso
13.
16 CONTINUED: 16
JULIE (CONT'D)
You wanna talk about anything?
KALE
I got nothin'.
JULIE
Y'know, when we're finally free of
all this legal stuff with the
accident, the other families'
lawyers... there might be a little
insurance money left... maybe you
should go back and see Dr. Phillips?
KALE
What, so he can tell me I'm ADD,
have PTSD, and severe IAD?
JULIE
IAD?
KALE
(messing with bracelet)
Freakin' irritated ankle disorder.
Julie can't help but crack a little smile:
JULIE
Well, that one could've been avoided.
Kale looks back up. He's not smiling. Whatever chance we
had of a lighter conversation panning out here quickly
fizzles. Another beat, then -- Julie pushes her chair back,
heads to the counter, grabs her apron and purse.
JULIE (CONT'D)
(heading out)
Do the dishes.
(pleading)
Please?
Julie leaves. Kale glances around the kitchen. A mess of
dirty dishes, stacks of paper... screw that.
17 INT. KALE'S BEDROOM - NIGHT - LATER 17
Kale, looking disheveled and very perplexed, now has his TV
pulled out from the wall. He's behind it, meticulously
checking and re-connecting all the wires and ethernet cable.
Carefully studying the manual as he goes.
He blows on the Halo 2 CD, wipes it down with his sweatshirt,
gently puts it in the tray, giving us the idea this might
not be his first attempt at this.
(CONTINUED) D.J. Caruso
14.
17 CONTINUED: 17
He powers up the Xbox, grabs a controller... so far, so
good... he scrolls through the screens, a little hope
returning... SERVER ERROR.
Kale throws a mini-fit, slams the controller to the floor.
Rips the controller cord out of the XBOX --
18 INT. KALE'S BEDROOM - THE NEXT MORNING 18
A few stray beams of sunlight pierce the blinds. Otherwise,
it's a tomb. Clothes strewn everywhere. We TRACK ACROSS
the floor and a virtual DEBRIS FIELD of junk food bags,
wrappers, Mountain Dew cans... find Kale in bed, ankle and
bracelet stick out from the sheets, arm hangs over the side --
19 INT. KITCHEN - MORNING 19
Still a mess as we find Kale, hair disheveled, rummaging
through the cabinets. Lots of Costco-size boxes: crackers,
Pringles... a HUGE BOX OF TWINKIES. Kale spots a jar of
peanut butter. He grabs the nearest bowl, pulls a bottle of
Hershey's syrup from the fridge, pours it all into the bowl.
He's about to throw the syrup bottle in the trash when
something in the bottom of the can catches his eye. He
reaches in, pulls out a bill for XBOX LIVE: SUBSCRIPTION
CANCELED.
20 INT. LIVING ROOM - MORNING - MOMENTS LATER 20
Kale lounges in on the couch watching "The Price is Right"
as he spoons the peanut butter from the jar, dips it in the
bowl of chocolate syrup, devours it. Brings up a two-liter
of Mountain Dew, takes a big swig to wash it down.
KALE
(to contestant on TV)
C'mon, bid a dollar, one dollar --
CONTESTANT (ON TV)
I'll bid one dollar, Bob.
Kale belches as he raises his spoon, saluting the screen.
Then, after a beat, a look of grave concern crosses his face --
21 INT. 2ND FL HALL OUTSIDE BATHROOM - DAY 21
The toilet flushes O.S. Kale opens the door, leans against
the frame, spent. He stands there a beat, absorbing the
silence of the house. He eyes a door at the end of the hall.
22 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - SECONDS LATER 22
CU - the doorknob. Kale's hand enters frame, slowly turns
it. Click. Kale pushes. The door CREAKS open to reveal
(CONTINUED) D.J. Caruso
15.
22 CONTINUED: 22
DAD'S OFFICE
Hardwood floor. Ornate, cherry wood desk. Plush leather
chairs. Quiet.
ON THE DESK -- dad's reading glasses sit on a stack of papers
next to an antique typewriter.
THE WALLS -- adorned with framed, poster-size covers of Dad's
books - non-fiction, true account titles: WHISTLEBLOWER -
The Inside Story of a Real Corporate Insider; THE SENATOR'S
SHADOWS: How Eight Men Conspired to Control One.
ON ANOTHER WALL -- a family portrait of Jeff, Julie, and
Kale - age six; Jeff at a book signing, smiling wide...
Kale takes it all in from the doorway. His feet never once
cross into the room. His eyes say everything. Loss, anger,
regret. He gently pulls the door shut.
23 INT. KALE'S BEDROOM - THAT NIGHT 23
Kale samples some rap clips on I-tunes. Likes what he's
hearing.
ON THE SCREEN - Kale moves the cursor to "buy song." The
account screen pops up. Kale types his password.
After a beat, bold red letters pop up: "THE APPLE ID OR
PASSWORD YOU ENTERED WAS INVALID OR INCORRECT..." Kale types
it again. Same thing. Then -- like we all do to be sure,
Kale types his password at a rate of ONE KEY PER SECOND.
Same thing. Kale fumes, smelling a rat.
24 INT. KALE'S BEDROOM - DAYS LATER 24
The shades are drawn. Kale's door is closed. Find Kale
looking utterly miserable, lounging in bed watching "Bikini
Destinations" on HD NET. Julie enters wearing a business
suit and name badge emblazoned with the RE/MAX LOGO. Kale
quickly changes the channel to the local news.
JULIE
(heading to the window)
More trash TV?
NEWS ANCHOR (ON TV)
...Thirty-three year old Patricia
Walsh was last seen three nights
ago...
KALE
(innocently)
News.
(CONTINUED) D.J. Caruso
16.
24 CONTINUED: 24
Kale points to the TV showing a photo of a smiling PATRICIA
WALSH, VIBRANT, FLOWING RED HAIR - "MISSING" keyed in
underneath.
Julie shoots him a look, then rips open the blinds. Sunlight
pours in. She gathers trash off the floor.
JULIE
The lawyer's sending some papers
over.
KALE
And your point is?
JULIE
(heading O.S.)
I've got two open houses, you've
gotta sign for them. That's the
point.
KALE
You canceled my Xbox subscription.
JULIE (O.S.)
I-tunes, too.
(then)
You know what else I'm canceling?
Kale turns to Julie who suddenly drops a pile of Kale's
clothes on the floor in front of him.
JULIE (CONT'D)
Maid service.
(off Kale)
Sorry, you're a felon. And we're
broke. I can't do it all, anymore,
Kale. This isn't gonna be vacation
as usual. I want these washed and
the kitchen cleaned by the time I
get home.
KALE
That might be difficult.
JULIE
Well let me make it easier.
Julie goes to the TV, UNPLUGS IT.
KALE
That's a little dramatic, isn't it?
I'm just gonna plug it back --
Julie suddenly yanks a pair of scissors off Kale's desk and
SNIPS THE POWER CORD IN HALF.
(CONTINUED) D.J. Caruso
17.
24 CONTINUED: (2) 24
KALE (CONT'D)
What are you, mental?
JULIE
(a very stern tone)
One more look at that kitchen and I
will be.
Julie picks up her keys and briefcase, pecks Kale on the
forehead, leaves.
JULIE (O.S.) (CONT'D)
You heard what I said about the
lawyer?
KALE
Yes!
25 INT. LAUNDRY ROOM - DAY - LATER 25
Kale furiously stuffs clothes in the washer, blindly cranks
the knob, presses start.
26 INT. KITCHEN - DAY - LATER 26
Kale SHOVELS dishes and glasses into the dishwasher, breaking
a couple as he goes. He pours half the box of Cascade in
the dispenser, kicks the door up and closed, cranks the knob.
27 INT. KALE'S BEDROOM - DAY - LATER 27
Kale sits on his bed, staring into space. He eyes the clock.
Tick tick tick... We hear KIDS PLAYING IN THE STREET O.S.
Kale glances out the window.
HIS POV - Kids on bikes, NEIGHBORS out on walks... ahh...
the sights and sounds of summer... And Kale's not invited.
He glares down at his ankle bracelet. It glares back.
28 INT. KALE'S BEDROOM - DAY - LATER 28
Kale sits on the floor as he spreads a line of Elmer's glue
across the bottom of a Twinkie. He's just completed the
first couple of floors of what will be... TWINKIE TOWER.
29 INT. KALE'S BEDROOM - DAY 29
Kale, on cell, sits in his video game chair painting his toe
nails.
KALE
(into phone as needed)
Dammit, Ronnie, I'm losing my mind.
(MORE)
(CONTINUED) D.J. Caruso
18.
29 CONTINUED: 29
KALE (CONT'D)
Give me some details, what's happening
out there?
RONNIE (V.O.)
(phone filter; party
sounds in the b.g.)
Dude, the chicks here in Oahu rock
the houusse! Oh my god, this one is
totally showing me her kite board.
Belay that, she wasn't pointing at
me. Look, Kale, I've gotta hop --
KALE
Wait, Ronnie -- Hello?
Kale tosses the phone and the nail polish aside. Sits there
in silence for a beat. Then eyes a racketball on the floor.
Picks it up. Starts mindlessly bouncing it against the
wall... and keeps bouncing it... and keeps bouncing it...
HARD CUT TO:
30 INT. KALE'S BEDROOM - DAY - LATER 30
Kale reclines in his chair, now FURIOUSLY SWATTING the
racketball against the wall -- with a racket. We PULL BACK
to reveal SCUFF MARKS on the walls and CEILING where Kale
has figured out the exact points to hit it allowing him to
bounce the ball off multiple walls and return it perfectly
to his hand. He SWATS it... and SWATS it...
31 INT. KALE'S BEDROOM - DAY - STILL LATER 31
Kale's passed out in his chair, the racket still in his hand.
He's about to fall out of the chair when a loud BANG O.S.
JOLTS him awake.
32 INT. 2ND FLOOR HALLWAY/WINDOW - DAY - SECONDS LATER 32
Kale goes to the window, tilts his head, trying to see where
the noise is coming from.
KALE'S POV - He's able to make out some bits of movement
next door, but his VIEW is OBSTRUCTED by the architecture of
his house.
Kale steps back from the window, studies it a beat -- then
opens it, slowly sticks his head out.
HIS POV - A U-HAUL TRUCK comes into view. It's backed into
the driveway next door. ALAN NORRIS, 43, appears from inside
the truck's cab, carrying a moving box. He hands it down to
his wife, BONNIE, 42, who walks back in the house.
(CONTINUED) D.J. Caruso
19.
32 CONTINUED: 32
Kale's about to pull his head in when another PERSON comes
out of the moving truck. She's carrying a box that's
obscuring her face as she carefully negotiates the incline
of the moving truck's ramp.
But her blonde hair and perfect legs look to be about 17.
We'll soon know her as ASHLEY, the Norris' daughter.
She reaches the end of the ramp. Bends over to retrieve
another smaller box, her back and ass to Kale who stares in
utter disbelief. Ashley stacks the boxes, picks them up and
heads into the house, her face still a mystery.
Kale watches her go. Mesmerized. Suddenly, the DOORBELL
RINGS O.S. Kale snaps to, yanks his head back in -- and
KERBONGS it on the underside of the window. He drops to the
floor.
KALE
GODDAMMIT!
Kale staggers to his feet...
33 INT. ENTRY HALL - DAY - SECONDS LATER 33
More doorbell RINGING. Kale heads down the stairs to the
front door.
KALE
I'm coming!!
Kale swings the door open to see -- A BURNING PAPER BAG on
the welcome mat.
34 EXT. KALE'S HOUSE - FRONT PORCH - DAY - CONTINUOUS 34
Kale instinctively STOMPS ON IT with his SOCKED FEET!
KALE
Oh shit! Shit water shit!
Kale frantically hops around, looking for a hose, bucket,
anything wet -- but the flames are already out. Kale looks
down, finally realizes this -- but there's another problem --
his socks are smothered in SLIMY DOG SHIT.
We hear GIGGLING O.S. Kale glances up as two neighborhood
BRATS on bikes emerge from their hiding place behind a shrub
across the street. They high five each other.
BRAT #1
What a retard!
Kale glares -- then heads down the steps into...
D.J. Caruso
20.
35 EXT. KALE'S YARD - DAY - CONTINUOUS 35
Kale walks briskly, menacingly toward them --
KALE
You think that's funny?
The Brats grow more concerned, back away as Kale draws closer--
BRAT #2
What are you gonna do, kill us like
your teacher?
KALE CHARGES THEM!
KALE
Not before I shove this shit up your
ass!
The brats pedal away. Kale races through the sprinkler,
crossing his yard into the far corner of Ashley's, trying to
cut the Brats off as they race down...
36 EXT. STREET - DAY - CONTINUOUS 36
The chase is on. Kale increases his speed. Almost catching
up to them --
BRAT #2
(terrified to Brat #1)
Dude, you said he couldn't leave his
house!!
Kale overhears, stops cold. He glances to the ANKLE BRACELET:
FLASHING RED LIGHT.
KALE
Shit!
Kale races back down the street, his shit-stained feet leaving
tracks as he goes. He cuts through Ashley's yard again,
yelling at the bracelet all the way--
KALE (CONT'D)
Turn green turn green turn green...
Kale races by ASHLEY'S PARENTS, leaps back into...
EXT. KALE'S FRONT YARD - DAY - CONTINUOUS
He looks at the bracelet. Still FLASHING RED. He hops up
and down as the SPRINKLER STREAMS approach him from behind.
KALE (CONT'D)
No, c'mon, I'm way inside, turn green --
(CONTINUED) D.J. Caruso
21.
36 CONTINUED: 36
He spins back toward the house, runs SMACK into the STREAMS,
trips on the sprinkler, falls on his face. Now his foot's
tangled in the sprinkler. Spraying water all over him.
Kale's foot jiggles the sprinkler free. He then sees the
ankle bracelet: GREEN LIGHT.
KALE (CONT'D)
Yes! That's what I'm talking about!
He gazes over: ASHLEY'S PARENTS, EACH WITH A MOVING BOX,
STAND THERE, JAWS DROPPED. BOTH TAKE A NERVOUS STEP BACKWARD
as ASHLEY steps out the front door. Freezes at the sight of
the sopping wet, shit-and-grass-stained Kale. Kale locks
eyes with her. Then smiles and waves.
KALE (CONT'D)
It's cool, I'm all green.
Then -- SIRENS WAIL. Kale turns to the street: TWO POLICE
CARS SCREECH TO A STOP. Kale loses the smile.
PARKER (V.O.)
(phone filter prelap)
Kale, calm down, the officers were
probably in the neighborhood already.
37 INT. KALE'S BEDROOM - EVENING 37
ON KALE - pacing, on cell phone, pressing an ice-filled
Ziplock back to his head.
KALE
(into phone as needed)
Okay, fine, but if I'd known --
PARKER (V.O.)
Kale, first times happen. The
officers knew that. But next time
they will take you to jail.
Kale flips the phone shut, collapses to the bed --
PRELAP - The doorbell RINGS.
38 INT. KALE'S HOUSE - ENTRY HALL - THAT NIGHT 38
Kale, his Louisville Slugger firmly in hand, groggily heads
to the door, swings it open. COURIER. With papers.
COURIER
Hi, I'm from McNeill-Stewart law
firm, dropping off for Ms. Julie --
Over this, Kale yanks the envelope away, SLAMS the door in
the guy's face. Kale heads away. The doorbell RINGS.
(CONTINUED) D.J. Caruso
22.
38 CONTINUED: 38
Kale opens the door, grabs the courier's clipboard, signs
his name, SLAMS THE DOOR EVEN HARDER.
39 EXT. KALE'S BACK YARD - THE NEXT DAY 39
ON KALE'S FEET - entering frame, inching their way through
the yard...
ON THE BRACELET - The green light suddenly goes out, red
light FLASHES. Kale's foot quickly steps back. GREEN LIGHT.
A beat, then --
A SMILING GARDEN GNOME SLAMS DOWN INTO FRAME.
WIDER - Kale ties kite string around the gnome's hat, then
unspools it across the yard to a waiting croquet mallet
already hammered into the ground. He pulls the string taut
and ties it off.
We PULL BACK to REVEAL Kale's emerging KITE STRING PERIMETER --
a crude SEMI-CIRCULAR ARC around the yard tied off at
different points using makeshift "stakes" -- gnomes, mallets,
shovels, screwdrivers...
40 EXT. KALE'S FRONT YARD - DAY - SHORT TIME LATER 40
Same "BOUNDARY CONSTRUCTION" here. Kale shoves a screwdriver
into the ground a few feet shy of his mailbox. He ties some
string to it as he glances over to the other neighbors' (the
PILCH's) yard, sees their black Labra-doodle watching him.
KALE
Hey doggie, come here...
The dog trots toward Kale. It almost reaches his outstretched
hand when it suddenly gets ZAPPED by the underground electric
fence. It YELPS away. Spins back around, sits and stares.
KALE (CONT'D)
(re: his ankle bracelet)
Hey, you and me both.
OVER KALE'S SHOULDER IN THE B.G. - ASHLEY
lifts more boxes from the back of their station wagon. She
sets them on the drive, SLAMS the liftgate. Kale turns
around. Ashley throws him a quick glance, then heads around
the back of her house. Kale stares after her.
41 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY 41
CU - The doorknob. Kale's hand enters frame, slowly turns
it. Click. Kale pushes.
D.J. Caruso
23.
42 INT. DAD'S OFFICE - DAY - CONTINUOUS 42
Kale stands in the doorway. He takes a moment, considering
what he's about to do. Then -- HIS FOOT steps inside. He
goes to the window, gently pulls the blind up to reveal the
BACK OF ASHLEY'S HOUSE
He peers down, sees Ashley and her mom standing by the
swimming pool. Ashley disappears through the back door.
Kale tilts his head up, curiously gazing through the pair of
OPEN WINDOWS on the SECOND FLOOR of Ashley's house.
HIS POV - ASHLEY'S BEDROOM
Unmade bed, stacks of open moving boxes, poster frames waiting
to be hung... Kale squints, steps closer.
ASHLEY
enters the room. Digging clothes from boxes, stuffing them
in her dresser, then -- she pulls her hair back, yanks off
her t-shirt, revealing a black bra.
ON KALE - he continues to watch as Ashley digs a towel out
of a moving box, and, with her back to us, pulls off the bra
and disappears into the bathroom. Off Kale --
CUT TO:
43 INT. KALE'S HOUSE - ENTRY HALL - DAY 43
The front door swings open to reveal Ronnie, DV camera in
hand. He's wearing aviator shades, half a dozen leis and a
hawaiian shirt.
RONNIE
(hula dancing)
Aloooha Senor Ka-- Dude, you look
like hell.
REVERSE ANGLE TO REVEAL KALE - now with a patchy stubble,
wearing a bathrobe and a SHRUNKEN t-shirt that used to be
white but is now LIGHT PINK. He holds his bat in one hand,
quart of Haagen Dazs in the other. He smiles, hugs Ronnie.
Tight -- and not letting go --
44 INT. 2ND FL HALLWAY/WINDOW - DAY - MOMENTS LATER 44
Kale leads Ronnie up the stairs and to the window...
RONNIE
Seriously man, you need some sun.
(MORE)
(CONTINUED) D.J. Caruso
24.
44 CONTINUED: 44
RONNIE (CONT'D)
(re: DV cam)
Hey, I've gotta show you this. Maui
chicks rule.
KALE
(anxious)
I've got something to show you, too.
(then; slightly crazed)
I mean... there's such structure to
it, so many layers, but it's invisible
if you're not looking close enough...
RONNIE
What are you talking about?
KALE
The world right outside the window.
Kale gestures out the window. Ronnie looks out. They peer
down to the Pilch's backyard. A Ford Escort is in the drive.
Besides that, all's quiet.
RONNIE
-- Fascinating.
KALE
(eyeing his watch)
Just wait... and...
(then)
Three... two... one... dog...
The Pilch's dog darts out the back door -- then --
KALE (CONT'D)
...Mrs. Pilch... saying goodbye to
Lonnie...
RONNIE
Husband?
KALE
(shaking a "no")
Maid.
Over the above, Mrs. Pilch, wearing an unflattering tennis
skirt, exits the house. The dog hops around her as she waves
back to her heavy set, male maid, LONNIE, 35.
KALE (CONT'D)
Four o'clock every Thursday, she
goes to the country club to play
tennis with Betty Big-Bangs there.
(CONTINUED) D.J. Caruso
25.
44 CONTINUED: (2) 44
Kale and Ronnie watch as Mrs. Pilch heads down the walkway,
meets her rail-thin 50-ish female tennis PARTNER at the curb.
As they walk away, the dog tries to follow but gets ZAPPED
by the electric fence and YELPS back into the house.
KALE (CONT'D)
And... ladies disappear... cue white
Mercedes... Mr. Pilch... arriving
from the office...
A white mercedes pulls in the driveway. MR. PILCH, 63, gets
out, carrying briefcase and flowers.
RONNIE
Great, that still doesn't explain
why you're in a bathrobe at four in
the afternoon.
KALE
(pulls Ronnie closer)
Will you just look --
RONNIE
Dude, he's gonna see --
KALE
He can't. We don't have any lights
on. Plus the angle's sharper from
ground level, it only seems like he
could see us. I did the math.
RONNIE
Oh, you did the math.
KALE
Optical illusion, line-of-sight
doesn't apply to the subject.
RONNIE
Kale --
KALE
Now tilt your gaze up...
RONNIE AND KALE'S POV - TILTING UP TO THE PILCH'S BEDROOM
WINDOW - Lonnie vacuums as Mr. Pilch enters the room behind
him. Mr. Pilch flips off the light switch, cutting the
power to the vacuum. Lonnie startles, turns around, sees
Pilch standing there with the flowers and a big smile.
A beat, then -- Lonnie jumps in Pilch's arms, kissing him
passionately.
RONNIE
DAMN!!
(CONTINUED) D.J. Caruso
26.
44 CONTINUED: (3) 44
Kale slaps his hand over Ronnie's mouth. Ronnie pulls away,
reaches in his pocket, yanks out his ASTHMA INHALER and takes
a hit. Then --
RONNIE (CONT'D)
(re: hallway and window)
Seal this area off, Kale.
KALE
C'mon, there's more.
RONNIE
What, I go to Maui, you become a
stalker?
KALE
No, stalking's for psychos. These
are just simple observations...
natural side effects of chronic
boredom.
As Kale heads away:
RONNIE
(pleading)
Find your passion, Kale.
45 INT. KALE'S BEDROOM - DAY 45
Kale leads Ronnie to the window. Ronnie takes in the mess
in Kale's room -- the scuff marks on the walls, the completed
TWINKIE TOWER. He glances to the desk, sees a penciled
GEOMETRIC DIAGRAM of Kale's line-of-sight spying theory --
shit, Kale wasn't lying -- he did do the math.
KALE
(pointing out)
So... Robert Giles...
KALE AND RONNIE'S POV - In the yard across from Kale's back
yard, find ROBERT GILES, gassing up his lawnmower in the
driveway. He's early 40's, clean-cut, fit, decent looking.
He closes the garage door via remote, then fires up the mower,
pushes it around the side of his house toward the front yard.
KALE (CONT'D)
He's lived there a couple of years,
but I've never noticed he mows his
lawn every two days.
RONNIE
Huh, I guess he likes his grass short.
(CONTINUED) D.J. Caruso
27.
45 CONTINUED: 45
KALE
Next to him is Judy Thorp. Dude,
she freakin' sneaks over to her
neighbors' every morning, steals
their newspaper, I guess reads it or
swipes the coupons, then puts it
back before they even wake up.
RONNIE
(sarcastic)
No shit?
(weirdly eyeing Kale
who heads out)
People. You never can tell these
days.
46 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - MOMENTS LATER 46
Kale slowly pushes on the door. It creaks open. Kale tilts
his head, listening. Then -- SPLASH!! Kale smiles.
RONNIE
What was that?
47 INT. DAD'S OFFICE - DAY - CONTINUOUS 47
Kale leads Ronnie to the window.
KALE
Last stop on the tour.
KALE AND RONNIE'S POV - ASHLEY swims underwater the length
of the pool. She finally surfaces in all her two-piece glory.
RONNIE
Oh-- my-- God. Who be she?
They watch as Ashley steps out of the pool, towels off. She
pulls her bikini from her butt, lies in the lounge chair.
KALE
Don't know.
RONNIE
What's stopping you?!
Off Kale, considering --
48 EXT. KALE'S FRONT YARD - THE NEXT DAY 48
ON KALE - now clean-shaven, sitting on the front steps. He
eyes his watch, then stretches his neck. Yawns. Then he
sees something O.S.
(CONTINUED) D.J. Caruso
28.
48 CONTINUED: 48
KALE'S POV - peering down the street, Ashley's stationwagon
rounds the corner --
Kale hops to his feet, quickly fixes his hair as the
stationwagon draws closer.
Kale casually strides into the yard, approaching the kite
string boundary and mailbox. Then -- keeping his feet planted
in what looks to be a very practiced maneuver, he suddenly
falls forward against the mailbox. Reaches around with his
free hand, opens the door, going to grab the mail inside
just as
ASHLEY
pulls the car into and up the drive. She glances at Kale
who nods and smiles back.
As the stationwagon heads up the driveway, Kale tries to
push himself upright -- but his feet SLIP. He pitches forward
more. He glances back over his shoulder, sees Ashley getting
out of the car and looking his way. Kale struggles under
his own weight, trying to keep his feet from crossing the
line -- he looks back to Ashley who's now heading toward
him. A slight smile crosses Kale's face as --
ASHLEY
Can I help you?
KALE
Nope, no I'm fine.
ASHLEY
(helping him up)
Too late.
KALE
Thanks, that was really humiliating.
Ashley reaches in the box, grabs the mail, hands it over.
ASHLEY
Please. I think any pride you had
left was gone a while ago.
KALE
Oh, you mean that thing with the
cops? They had the wrong guy, total
foul up. I'm Kale by the way.
Ashley nods with a semi-polite smile, starts to head away --
KALE (CONT'D)
Hey, so -- how'd the move go?
(CONTINUED) D.J. Caruso
29.
48 CONTINUED: (2) 48
ASHLEY
Still going.
KALE
I'd help, but...
(re: ankle bracelet)
I'm a little spatially challenged at
the moment.
Ashley walks closer to Kale, checks out his ankle bracelet.
ASHLEY
Yeah, you've kinda got the whole
Martha Stewart thing going on --
KALE
(nodding)
But minus the 48-hour allowance for
office visits. And no lame
"Apprentice" spin-off.
(off her laugh)
So where'd you move from?
ASHLEY
I'm a city girl. Born, raised, and
now...
(glances around; sighs)
Forcefully relocated.
KALE
That doesn't sound good.
ASHLEY
I'm telling you, if I have another
clueless jock hit on me or one more
soccer mom cuts me off in her oversize
SUV, I'm gonna go postal.
KALE
Oh, sorry, I was just gonna see if
you wanted to hop in my Hummer and
cruise to a kegger.
(turning away)
Nice talking to you.
ASHLEY
(cracking a smile)
Wait, I --
BONNIE (O.S.)
(from inside house)
Ashley? Can you come in here, please?
(CONTINUED) D.J. Caruso
30.
48 CONTINUED: (3) 48
ASHLEY
(quietly to Kale)
My mom -- she's very polite, always
says "please" but she's got that
tone, did you notice?
KALE
I know the tone.
ASHLEY
(heading away)
Oh, I'm Ashley --
KALE
Noticed that, too.
Ashley smiles, disappears inside. Kale's in love.
49 INT. LIVING ROOM - NIGHT 49
The wind HOWLS outside. Kale sits on the couch flipping
channels. Julie's in the chair, nodding off.
ON THE TV - Kale lands on that same photo of PATRICIA WALSH,
the MISSING REDHEAD we saw earlier.
NEWS ANCHOR (ON TV)
...attended a friend's birthday party
at a local nightclub before she was
last seen alone at a diner outside
Madison, 50 miles east of here. A
waitress said Ms. Walsh was picked
up around 10:30 P.M. by an
unidentified person driving a black
1960's era Mustang that was dented
on the left side and may have --
Kale CLICKS the TV off -- looks over to Julie who's now sound
asleep. Kale's watch ALARM suddenly BEEPS. He quickly shuts
it off, eyes Julie. She stirs but doesn't wake up.
Kale quietly gets up, grabs the blanket off the sofa, covers
Julie up. He then picks up his soda and bowl of popcorn
from the coffee table, heads away...
50 INT. DAD'S OFFICE - NIGHT - SECONDS LATER 50
Kale, immersed in shadow, enters. He quietly pulls Dad's
leather chair toward the window, positions it just right,
and sits.
KALE'S POV - Ashley's working out to a YOGA DVD.
(CONTINUED) D.J. Caruso
31.
50 CONTINUED: 50
KALE
(to Ashley)
You started without me?
As if eerily on cue, Ashley suddenly stops.
KALE (CONT'D)
What are you stopping for?
She goes to her window and peers out -- Kale ducks -- He
looks back up, sees Ashley gazing in his direction -- Kale's
breathing intensifies -- could she actually be seeing him?
KALE (CONT'D)
(convincing himself)
No --
ASHLEY turns around, goes back to her yoga mat. She takes a
breath, getting back in "the zone," then -- she slowly raises
her arms and bends into a ridiculously sexy pose.
KALE (CONT'D)
Whoa.
Kale watches Ashley another couple of beats. Then her dad
appears in the doorway. Looking pissed. Kale leans closer --
Ashley stops the DVD. From her body language, she's clearly
annoyed at the interruption. The scene quickly devolves
into a heated argument. But Ashley's dad gets the last word
in and leaves. Ashley SLAMS the door behind him, flips off
the TV, storms in the bathroom and SLAMS that door, too.
Kale watches the vacant room... waiting... another beat,
then -- Ashley emerges from the bathroom with a box of
tissues. She sits on her bed, pulls THREE TISSUES from the
box, staring off... From this angle, it almost looks as if
her eyes could meet Kale's at any moment. Kale instinctively
lowers himself in the chair, his eyes never leaving her...
Then -- with a huge gust of HOWLING WIND we
SMASH TO:
51 INT. DAD'S OFFICE - NIGHT - LATER 51
Kale SNAPS AWAKE. Breathing hard. Bad dream. He sits up,
peers across to Ashley's windows. Dark, shades pulled.
Kale pulls himself out of the chair...
52 INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER 52
Kale enters, grabs his PSP and falls back to the bed. As he
starts playing, HEADLIGHT BEAMS appear from O.S. He glances
out the window:
(CONTINUED) D.J. Caruso
32.
52 CONTINUED: 52
KALE'S POV - A BLACK 1965 MUSTANG CONVERTIBLE pulls in Giles'
driveway.
Kale goes back to playing the PSP, then suddenly stops --
KALE
(realizing)
-- Mustang --
Kale hops up, heads to the window --
KALE'S POV - Kale watches as Giles hops out, leaves the car
running as he heads inside the house.
After a beat, the MAIN GARAGE DOOR raises up. Giles appears,
ducking underneath, heads back to the Mustang, gets in.
Giles maneuvers the car around the driveway. The front end
of the car swings around, revealing a bashed-in right front
fender.
KALE (CONT'D)
Holy shit. A dent --
Kale races to his closet, pulls down a pair of binoculars,
heads back to the window.
BINOCULAR POV - In the garage, Giles is already out of the
car, rounding the back as the garage door lowers... Kale
crouches, trying to see under the CLOSING DOOR... catching a
glimpse of Giles popping the trunk --
A HAND
suddenly enters frame, lands on Kale's shoulder! Kale
SCREAMS, whips around -- Julie. She SCREAMS, too.
KALE (CONT'D) JULIE
Jesus, mom! Christ, Kale!
JULIE (CONT'D)
I'm sorry. I thought you heard me...
KALE
What? No, I --
JULIE
What's going on?
KALE
Nothing, just watching the wind blow.
JULIE
(re: binoculars)
Anything else?
(CONTINUED) D.J. Caruso
33.
52 CONTINUED: (2) 52
Kale turns back.
HIS POV - Giles' garage door is now closed.
KALE
No, see for yourself.
JULIE
(beat; then)
That's okay, I just... wanted to say
good night.
Julie leaves. Kale turns back to the window, stares out at
Giles' house. The lights go out.
53 INT. DAD'S OFFICE - THE NEXT DAY 53
ON KALE - sitting in the leather chair, binoculars raised.
On the floor next to the chair is a 7-11 bag, a slurpee cup,
a bag of beef jerky and an AUTOMOTIVE MAGAZINE with a MUSTANG
on the cover.
BINOCULAR POV - Ashley sits on the roof leaning against her
closed window. She's reading Lolita.
RONNIE (O.S.)
So you don't know what year the
Mustang is?
REVEAL RONNIE - sitting at dad's computer looking at the
FBI'S OFFICIAL WEBSITE.
KALE
(now flipping through
magazine)
'65 or '66, couldn't tell.
RONNIE
Check this out. The feds think your
missing girl might be related to
three murders in Austin. All
redheads.
Kale processes that as we suddenly hear a car door SLAM O.S.
BINOCULAR POV - Kale TILTS DOWN to see Ashley's mom backing
out the driveway. Kale TILTS UP to Ashley's window -- Ashley
ducks back inside her room, disappears.
KALE
Movement.
(CONTINUED) D.J. Caruso
34.
53 CONTINUED: 53
BINOCULAR POV - Kale TILTS DOWN to the pool, sees Ashley
emerging from the house with a towel that she throws on the
lounge chair.
KALE (CONT'D)
Better late than never.
Ronnie joins Kale at the window.
THEIR POV - Ashley flips her sandals off one at a time, pulls
her tank off revealing her bronzed back and bikini top.
RONNIE
Dude...
Ashley slinks out of her shorts revealing a "near-thong"
bikini this time.
RONNIE (CONT'D)
DUDE!!
KALE
(re: bikini)
That's definitely new.
Ashley crouches down, runs her fingers through the water.
RONNIE
Oh, it's so warm, baby...
Ashley cups her hands, scoops a handful of water from the
pool, splashes her face... runs her hands through her hair...
She stands, takes a deep breath, holds it -- then exhales...
RONNIE (CONT'D)
Cleansing breath...
Ashley stretches her arms high above her head.
RONNIE (CONT'D)
Concentrate now. This is for the
gold.
Ronnie grabs the binoculars from Kale, puts them to his eyes,
moves closer to the window -- but his zoomed-in vision causes
him to underestimate the distance -- THWUMP. The end of the
binoculars HIT THE WINDOW just as Ashley dives into the pool --
Ronnie and Kale hit the deck as we hear the splash O.S.
KALE
Jackass!
RONNIE
Dude, there's no way she heard that.
(CONTINUED) D.J. Caruso
35.
53 CONTINUED: (2) 53
KALE
Dick, my deaf aunt in Omaha heard
that.
Kale grabs the binoculars from Ronnie.
BINOCULAR POV - Ashley's underwater at the far end of the
pool. She tucks and pushes off the wall, swims back...
RONNIE
(peering out)
She's got great lung capacity.
ON ASHLEY - She suddenly surfaces, hoists herself from the
water. She spins and sits on the ledge, rings the water
from her hair. But she suddenly stops -- and shifts her
GAZE UP toward Kale and Ronnie!
KALE
(pulling Ronnie down)
I think she saw me --
RONNIE
There's no way --
Ronnie grabs the binoculars back.
RONNIE (CONT'D)
(re: Ashley O.S.)
Okay, maybe she did.
KALE
Seriously?
Kale peeks out --
THEIR POV - Ashley's slipping back into her shorts and tank
top. She heads to the back door, tries the knob. Locked.
Over this, Ronnie turns to Kale:
RONNIE
Her swims always that short?
KALE
(growing concern)
No, she usually takes her time --
They turn back. Ashley's gone.
RONNIE
Now where is she?
The DOORBELL RINGS. Kale and Ronnie freeze. Then --
(CONTINUED) D.J. Caruso
36.
53 CONTINUED: (3) 53
KALE RONNIE
No. No.
54 INT. ENTRY HALL - LATE AFTERNOON - MOMENTS LATER 54
Kale and Ronnie quietly approach the door. Ronnie suddenly
pulls Kale back.
RONNIE
Don't, it could be her!
KALE
It's not gonna be her.
RONNIE
Then stop! Just -- let 'em go away.
The DOORBELL RINGS AGAIN. Kale heads to the door.
KALE
I have to.
Kale peeps through the peephole --
DISTORTED PEEPHOLE POV - Ashley.
Kale calmly turns to Ronnie.
RONNIE
What?! What?! Speak.
KALE
It's her.
RONNIE
You're full of --
Ronnie tip-toes to the door. One look at Ashley and he covers
his mouth, grabs Kale and pulls him back.
RONNIE (CONT'D)
Shit shit!! Oh my shit!
Both laugh, giggle, acting "girlie," practically spinning in
circles as they speak in hushed, panicked whispers:
KALE
She totally saw us --
The DOORBELL RINGS again. Kale heads to the door.
RONNIE
We are so busted. Don't answer it!
(CONTINUED) D.J. Caruso
37.
54 CONTINUED: 54
KALE
(re: his bracelet)
Dude, she knows I'm here.
Kale swings the door open. Ashley stands there a beat. Her
arms folded. Then --
ASHLEY
What took you so long?
(eyeing Ronnie in
b.g.)
The house isn't that big.
KALE
Yeah, no, we were playing upstairs --
Ronnie cringes at how that sounded.
RONNIE
(covering)
Video games...?
KALE
(awkward beat; then)
So... what brings you here.
ASHLEY
Oh. -- Locked out.
KALE
Do you need to call anyone?
ASHLEY
Thanks, but I'd rather stay stranded
if you don't mind.
Kale and Ronnie trade glances.
ASHLEY (CONT'D)
May I?
KALE
Uh, sure, come on in --
Ashley steps inside, glances around, checking out the place.
KALE (CONT'D)
That's Ronnie.
ASHLEY
Nice to meet you. Video games, huh?
(then suggestively to
Kale)
I like to play.
(CONTINUED) D.J. Caruso
38.
54 CONTINUED: (2) 54
Kale trades a look with Ronnie as Ashley nonchalantly heads
up the stairs.
KALE
Excuse me...
55 INT. KALE'S BEDROOM - LATE AFTERNOON - MOMENTS LATER 55
Ashley barges in, instantly struck by the mess. Kale pushes
past her, starts grabbing underwear and garbage off the floor.
KALE
It's a little messy.
ASHLEY
A little?
Kale keeps gathering clothes, tossing them to Ronnie who
tosses them in the closet.
Ashley picks up the binoculars from the window sill, peers
outside.
ASHLEY (CONT'D)
Anything interesting out there?
Kale and Ronnie trade looks. Ashley turns around, binoculars
still raised, aiming them like a gun at Kale.
ASHLEY (CONT'D)
Are you spying on the neighbors,
Kale?
Kale freezes.
RONNIE
(stepping in)
Actually, he is.
Kale's eyes widen in panic.
RONNIE (CONT'D)
See, he has this neighbor -- who I
guess by definition would also be
your neighbor -- who may, in point
of fact, be a cold-blooded killer.
ASHLEY
Is that so.
Ronnie points out the window to Giles' house.
RONNIE
Exhibit A, Robert Giles.
(CONTINUED) D.J. Caruso
39.
55 CONTINUED: 55
ASHLEY
Yeah, I've seen him. So?
KALE
So you hear about that missing girl
from Madison?
ASHLEY
(realizing; then
pointing out to Giles')
What, you think he --
KALE
He drives a car like the one she was
seen in.
RONNIE
Black Mustang.
KALE
60's era Mustang.
ASHLEY
Gee, that really narrows it down.
KALE
They said it was dented. His has a
bashed-in fender.
ASHLEY
(re: binoculars)
So this is why -- you're --
Suddenly seeing something O.S., Kale RIPS the binoculars out
of Ashley's hand, goes to the window.
RONNIE
What?
BINOCULAR POV - Giles pulls the Silver Toyota out of the
garage and out the driveway.
Ashley suddenly grabs the binoculars from Kale, peers out.
KALE
Hey --
ASHLEY
So that's the infamous black mustang,
huh?
KALE
Yeah --
(CONTINUED) D.J. Caruso
40.
55 CONTINUED: (2) 55
ASHLEY
The one with no dent?
KALE
(grabbing the binocs)
What?
BINOCULAR POV - Sure enough, the Mustang NO LONGER HAS A
BASHED-IN FENDER. The garage door starts to close --
KALE (CONT'D)
How'd he fix it so fast --
ASHLEY
Because it was never there in the
first place?
Kale eyes Ashley. Shit, could he have imagined it? Ashley
playfully grabs the binoculars back from Kale.
BINOCULAR POV - Ashley catches a glimpse of a faded TEXAS
LONGHORNS BUMPER STICKER.
ASHLEY (CONT'D)
Sorry guys, no bashed-in fender,
just a Longhorns bumper sticker.
KALE
(grabbing the binocs)
You serious?
(then to Ronnie)
She's right.
THEIR POV - Giles' garage door finally SLAMS CLOSED.
KALE (CONT'D)
(off Ashley's
questioning look)
They think it might be linked to
some murders in Texas two years ago.
RONNIE
Austin, Texas. Texas Longhorns.
Kale and Ronnie eye Ashley as if to say "see?" Ashley eyes
them another beat -- then:
ASHLEY
Okay, fine, stakeout.
(grabs binoculars)
Who's on my shift?
Off Kale and Ronnie, their dreams realized --
D.J. Caruso
41.
56 INT. KALE'S BEDROOM - EVENING - LATER 56
A BOX OF SPYING CRAP is dumped onto Kale's bed. Another DV
Camera, an old, bulky VHS camera, a black and white portable
TV, couple of tri-pods, walkie talkies, wires... a real mess.
WIDER TO REVEAL RONNIE:
RONNIE
This is all the stuff I could find --
Ashley sits at Kale's computer as Kale anxiously sifts through
Ronnie's stuff.
ASHLEY
Do you know how long Giles has lived
there?
KALE
About two or three years.
ASHLEY
So he could've lived in Texas...
(re: computer screen)
Hey, check this out.
Ronnie goes to Ashley, reads the Amazon web page for the
book:
RONNIE
"Murderer: Tell Tale Signs of a Serial
Killer." Qualifies for free shipping
if you pair it with "The Shrine of
Jeffrey Dahmer."
ASHLEY
The summary lists four main criteria.
Our guy meets at least three. White
male between the age of twenty-five
and fifty. He doesn't have any pets,
right?
KALE
Not that I've seen --
ASHLEY
You said he lives alone --
RONNIE
What's the fourth?
ASHLEY
(nonchalant)
Sexual dysfunction.
(CONTINUED) D.J. Caruso
42.
56 CONTINUED: 56
Silence. Kale and Ronnie trade awkward glances, shaking
their heads to each other as if reassuring themselves they
don't suffer from such a condition.
ASHLEY (CONT'D)
(changing the subject)
I'm hungry, let's order pizza.
57 INT. KALE'S BEDROOM - NIGHT - LATER 57
TRACKING ACROSS KALE'S ROOM - The two tri-pod-mounted DV
Cams stand watch over Giles' house. One camera feeds a grainy
close-up shot of Giles' garage door to Ronnie's portable TV
on the floor. The other feeds a WIDE SHOT of Giles' entire
house to Kale's color TV. Both images appear on Kale's
computer monitor.
WIDER TO REVEAL - Kale and Ashley sit on the floor near the
window. Kale peers over to Giles with the binoculars as
Ashley messes with Kale's cell phone. In the b.g. Ronnie's
passed out on Kale's bed, his hand resting inside the pizza
box just inches from the last slice.
KALE
(re: Giles)
He's been gone awhile.
ON ASHLEY - she's messing with Kale's cell phone.
ASHLEY
(handing him his cell)
Here.
KALE
How'd you get my phone?
ASHLEY
I'm crafty like that.
KALE
What'd you do?
Ashley carefully unclips Ronnie's cell from his hip, flips
it open, dials. After a beat, Kale's cell RINGS with
Madonna's "LIKE A VIRGIN." Kale laughs.
ASHLEY
Every time he calls, that's what
you'll hear.
Kale laughs as Ashley delicately re-clips the phone to
Ronnie's belt.
KALE'S POV - the Pilch's dog, wearing a pink sweater, suddenly
darts into Kale's yard.
(CONTINUED) D.J. Caruso
43.
57 CONTINUED: 57
KALE
What the hell?
THEIR POV - Pilch's dog stops, spins around and takes a dump.
KALE (CONT'D)
Where's --
Mr. Pilch, in his robe, suddenly appears from the shadows,
watches the dog do its business.
ASHLEY
(re: Mr. Pilch)
Three to one he doesn't pick it up.
Nope. The dog finishes. Pilch calls it over, scoops up the
dog and heads O.S.
KALE
So that's why the grass is greener...
ASHLEY
Only in disturbia...
KALE
So why the move?
ASHLEY
What do you mean? The greener grass,
the safer pastures...
KALE
No, seriously.
There's a beat as Ashley locks eyes with Kale. Then --
ASHLEY
Well, I guess my mom thought it'd
help keep dad on a shorter leash.
City life... had its temptations...
(beat; then matter of
fact)
But my mom pretty much cries just as
much as she always did, and dad
doesn't care -- more than ever.
KALE
What did they think, an extra bathroom
and two-car garage would actually
change things... somehow protect
them and you from all that crap you
can never escape?
Ashley holds Kale's gaze for a beat. Then, she nods, with:
(CONTINUED) D.J. Caruso
44.
57 CONTINUED: (2) 57
ASHLEY
Something like that.
(eyeing the bracelet)
So... what're your issues, Kale?
Kale hesitates. We see in his eyes that he's flashing to
the past... "going there..." There's an uneasy beat as Ashley
picks up on it:
Then -- HEADLIGHTS APPEAR OUTSIDE. Kale quickly turns away
from Ashley, pulls one of the DV Cams off its tri-pod, flips
out the three-inch LCD SCREEN.
KALE
That's him.
DV CAM POV - Giles' silver Toyota pulls in the driveway.
Stops. Engine and headlights turn off.
ASHLEY
Another car --
DV CAM POV - Kale ZOOMS IN. The GRAINY IMAGE finally steadies
to reveal a SECOND CAR pulling in behind Giles. A thirty-
something attractive WOMAN -- a REDHEAD -- is at the wheel.
She pulls in next to Giles' car.
ASHLEY (CONT'D)
You seen her before?
KALE
No.
DV CAM POV - Giles gets out. Wearing a suit, no tie.
ASHLEY
(re: Giles)
Cute for a killer.
Giles goes to the woman's car, opens her door.
ASHLEY (CONT'D)
Who said chivalry's dead?
The woman gets out, wearing a black cocktail dress.
ASHLEY (CONT'D)
There's a club girl for you.
KALE
How do you know?
(CONTINUED) D.J. Caruso
45.
57 CONTINUED: (3) 57
ASHLEY
Bright green bracelet's "The
Pyramids," purple's "Club 360," the
big black stamp's from "Flavor."
DV CAM POV - Kale ZOOMS in on the woman's wrist and hand.
Sure enough, she's wearing both a green and a purple bracelet,
and has a black stamp blotch on her hand.
KALE
(over the above)
Missing girl was seen at a club.
Didn't say which one though...
(then aside to Ashley)
Your I.D. must be pretty good.
ASHLEY
(with a smile)
I don't need one.
They turn back to the window, watch as Giles escorts the
woman to the house, shows her in. A light comes on inside.
DV CAM POV - Kale ZOOMS IN on one of the living room windows,
spots the woman moving around inside, looking at artwork...
she sits on the sofa as Giles enters with two glasses and a
bottle of wine. He sits down, pours the wine. They toast,
take sips. Giles moves in for a kiss --
KALE
He's going in.
DV CAM POV - The woman shies away from Giles, stands from
the sofa.
ASHLEY
Denied...
They watch as the woman gets up, moves to the center of the
room, and starts to get a little groove on...
ASHLEY (CONT'D)
(been there, done
that)
Oh no, he put on music...
DV CAM POV - Giles watches the woman as she seductively moves
her body to the music we're not hearing.
ASHLEY (CONT'D)
Oh, c'mon, Giles, all she wants to
do is dance.
(CONTINUED) D.J. Caruso
46.
57 CONTINUED: (4) 57
KALE
What do you think they're listening
to?
ASHLEY
Could be radio. See if you can find
the station.
Kale sets the camera down, turns on his receiver. As he
toggles through radio stations -- Rock, Alternative...
ASHLEY (CONT'D)
(watching the woman &
Giles)
No... no...
Kale flips to an easy listening R & B station playing Lou
Rawls "You'll Never Find Another Love Like Mine."
ASHLEY (CONT'D)
Stop.
BINOCULAR POV - Ashley watches as Giles takes the woman's
hand and dances with her. Their rhythm fits the music
perfectly.
ON RONNIE - he stirs on the bed, still asleep.
RONNIE
(eyes closed; grinning
re: music)
Hmmm...
Ashley and Kale eye Ronnie for a beat. Then turn back to
the window.
DV CAM POV - Kale pans back to the woman and Giles. They're
really dancing close now. Kale's and Ashley's eyes shift to
each other, then quickly flick away. A beat. Then -- Ashley
raises the binoculars, faces back toward Giles' with:
ASHLEY
Now's the time to bust your move.
Ashley glances to Kale. Kale turns, holds her gaze. A
palpable tension between these two. They ever so slowly
lean toward each other when --
RONNIE - suddenly interrupts, pushing himself between them.
RONNIE
(yawning; re: woman
with Giles)
Who's that?
(CONTINUED) D.J. Caruso
47.
57 CONTINUED: (5) 57
Ronnie looks to Kale and Ashley who glare back.
RONNIE (CONT'D)
(realizing)
Ookay, just fill me in later.
(taking Ashley's hand)
A pleasure.
(then; aside to Kale,
mouths; re: Ashley)
Duude!
(slaps Kale's hand)
Later.
Ronnie stands, leaves. Kale shakes his head, turns back to
Ashley. They lean in again when -- Ashley's CELL PHONE
ominously RINGS with the first measures of BEETHOVEN'S 5TH --
"BUM BUM BUM BUMMMMM." She pulls the cell from her pocket.
ASHLEY
(re: cell)
It's my mom.
(into cell)
Hi. No, I'm fine.
(with a smile)
I'm at Barnes and Noble. Okay, I'm
leaving. No, I'll walk.
Ashley flips the phone shut, joins Kale who's watching the
LCD screen:
DV CAM POV - Giles and the woman are back on the couch. The
woman is leaning her head on Giles' shoulder. As Giles leans
forward to take her wine glass, the woman falls over behind
him. Out cold. Kale and Ashley cringe.
KALE
And she's down for the count.
58 EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER 58
Kale and Ashley cross the yard to Kale's kite string boundary.
ASHLEY
Looks like this is as far as you go.
KALE
Looks like.
They peer into each other's eyes. Then --
ASHLEY
Y'know, I have to admit, you're
different than I expected.
(CONTINUED) D.J. Caruso
48.
58 CONTINUED: 58
KALE
What were you expecting?
ASHLEY
I thought you'd be more messed up.
KALE
Does that disappoint you? 'Cause I
can be more messed up if you want me
to.
ASHLEY
No, you're fine.
KALE
"Fine?"
ASHLEY
Yeah.
KALE
"Fine" like your first cousin "fine"
or "fine" in kind of a Brad Pitt
sorta way?
Ashley smiles. They suddenly hear VOICES O.S. Kale and
Ashley glance over to Giles' house.
THEIR POV - The woman is heading briskly to her car. Giles
is right behind her.
Ashley grabs Kale's arm and pulls him behind a shrub on his
side of the boundary.
They peek back over to Giles'.
THEIR POV - We're crouched low now, so we only hear the barely
audible voices of Giles and the WOMAN. Talking SERIOUSLY
about something --
GILES
(voice raising)
Just come back in the house, you
shouldn't drive --
ASHLEY
He wants her to come back in --
KALE
I can't hear --
ASHLEY
Let's get closer --
(CONTINUED) D.J. Caruso
49.
58 CONTINUED: (2) 58
Ashley suddenly darts from behind the shrub and bolts toward
the fence --
KALE
(re: his bracelet)
I can't --
But Ashley keeps going.
WE FOLLOW BEHIND ASHLEY - She creeps over to the fence,
presses up against it, peering through the cracks --
ASHLEY'S POV - We see the dark silhouettes of Giles and the
woman -- Ashley shifts her head, straining to listen --
GILES
You really should stay.
WOMAN
I just don't think it's a good idea --
(still searching;
more frustrated)
Where the hell are they?
The woman suddenly drops her purse. The CONTENTS spill onto
the driveway.
ASHLEY'S POV - Giles bends down, picks up her car keys.
WOMAN (CONT'D)
Here --
GILES
You're in no condition --
WOMAN
Give me my keys.
GILES
Sorry.
ASHLEY'S POV - She sees Giles make a motion toward the fence.
Suddenly, the woman's CAR KEYS WHACK the other side of the
fence, then PLOP DOWN underneath it just a couple of feet
from Ashley's position!
ON ASHLEY - she startles, looks over, sees the keys.
ASHLEY'S POV - She looks back toward Giles and the woman.
Hears the woman start to LAUGH. Giles, not laughing,
purposefully steps toward the woman, takes her arm.
GILES (CONT'D)
C'mon...
(CONTINUED) D.J. Caruso
50.
58 CONTINUED: (3) 58
ASHLEY'S POV - The woman relents. Giles helps her back toward
the house.
WITH KALE - He's seeing it all.
KALE
(whispering)
Ashley, come on...
WITH ASHLEY - she glances down, eyes the car keys sparkling
in the moonlight. She scoots toward them as --
WE CRANE UP TO REVEAL - Giles - heading back toward the fence!
ON KALE - seeing this.
Kale tries to get Ashley's attention, but she's not looking --
CU - ASHLEY'S HAND - she reaches for the car keys --
CLOSER - ASHLEY'S FINGERTIPS barely TOUCH them when --
GILES' HAND - suddenly SWOOPS IN from O.S., BRUSHES ASHLEY'S
FINGERS just before grabbing the keys and swiping them back
to his side!
Somehow Ashley keeps herself from screaming as she YANKS HER
HAND BACK, PRESSES HERSELF AGAINST THE FENCE. She puts her
hand over her mouth to silence her own breathing --
KALE'S POV - Giles stands frozen in the shadows behind Ashley.
WITH ASHLEY - She slowly turns her head, sees Giles through
one of the cracks -- STANDING RIGHT THERE.
Ashley starts to slowly SLIIIDE away... when suddenly -- a
TWIG SNAPS under her foot! Ashley FREEZES. She peers back
through the nearest crack.
ASHLEY'S POV - searching for Giles -- doesn't see him --
Ashley presses herself even harder against the fence as we...
TILT UP AND PAN OVER TO REVEAL GILES - peering over the fence.
We can only hope it's tall enough to keep him from looking
down and seeing Ashley.
WITH KALE - He's seeing it all.
ON GILES - He raises up, standing on his tip toes to get a
better look down. Shifting his head back and forth.
WITH KALE - He ducks behind the shrub, contemplating his
next move. He glances down, picks up a large pebble. He
pops out and tosses it over into Giles' yard.
(CONTINUED) D.J. Caruso
51.
58 CONTINUED: (4) 58
We HEAR IT DROPPING through branches, SCATTERING to the ground
as Kale ducks back behind the shrub, breathing hard. He
then peers back out --
HIS POV - Giles lowers back down, turns and heads back toward
the house.
Kale sighs in relief. Waves Ashley the "all clear." Ashley
heads back over to Kale, breathless.
ASHLEY
(oddly exhilarated)
That was intense.
KALE
Are you nuts?!
Ashley silences Kale with a finger to his lips. She then
leans in, gives him a peck on the cheek and bolts away --
Off Kale, utterly stupefied --
59 INT. DAD'S OFFICE - NIGHT - MOMENTS LATER 59
Exhilarated, Kale SLAMS through the office door, binoculars
in hand. He goes to his chair, sits, taking position...
BINOCULAR POV - Ashley walks in, heads straight for the window
and draws the blinds.
Kale slumps. Damn.
TIME CUT TO:
60 INT. DAD'S OFFICE - NIGHT - LATER 60
ON ASHLEY'S WINDOW - shades still drawn. Lights are out
now. The wind picks up outside as we PAN TO REVEAL Kale
asleep in the leather chair.
We suddenly hear GLASS SHATTER O.S.
Kale's eyes POP OPEN. He looks around. Did he hear something
or did he dream it -- he pulls himself out of the chair,
makes his way to the door, slowly swings it open...
61 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - NIGHT - CONTINUOUS 61
Kale cautiously steps into the hall...
KALE
Mom?
No answer. He heads to...
D.J. Caruso
52.
62 INT. KALE'S BEDROOM - NIGHT - CONTINUOUS 62
Kale enters, tosses the binoculars on the desk, throws a
glance out the window to Giles' house. Dark. Kale turns to
the bed, pulls back the sheets. As Kale unties his shoes,
takes off his socks, we notice over his shoulder --
IN THE B.G. - A LIGHT COMES ON IN GILES' LIVING ROOM.
ON KALE - not noticing as he strips down to his boxers --
IN THE B.G. - GILES' LIVING ROOM - THE WOMAN HEADS INTO THE
ROOM FOLLOWED CLOSELY BY GILES. SHE SPINS AND SLAPS HIM IN
THE FACE. SHE WALKS AWAY AS GILES STANDS THERE FROZEN.
ON KALE - he throws his clothes in the closet, finally turns
back and sees --
KALE'S POV - Giles standing in the living room, glaring at
the woman.
KALE
Dammit.
Kale darts to his desk, turns off the light, grabs the
binoculars.
BINOCULAR POV - Giles and the woman are arguing. The woman
paces around the room as Giles stands there. The woman's
arms flail about. As she paces back by Giles, he suddenly
GRABS HER ARMS.
KALE (CONT'D)
Shit!
Kale watches as the woman yanks herself from his grasp and
knocks over the lamp. The BULB shatters on the floor,
throwing the living room into total darkness.
Kale drops the binoculars and grabs the DV CAM. He fumbles
with it, flips open the LCD SCREEN. But as he presses the
power button, the camera's LAMP suddenly IGNITES, MOMENTARILY
LIGHTING UP KALE'S ROOM!
Kale spins and hits the floor. He frantically finds the
switch, turns off the lamp.
KALE (CONT'D)
Dumbass dumbass --
Kale stays on the floor, slouched under the window sill for
a couple of beats. Then -- he slowly raises up, peers out.
DV CAM POV - Giles, now alone, has turned on another light
and is simultaneously picking up pieces of shattered light
(CONTINUED) D.J. Caruso
53.
62 CONTINUED: 62
bulb and wiping some RED LIQUID OFF THE FLOOR... Could be
wine... or blood even...
Giles wads the towel up, picks up one of the woman's HIGH
HEELS lying near the couch. Giles then moves to the stereo,
turns it off, leans down, picks up the woman's OTHER SHOE.
He flips off the lights, heads out of the room.
Kale trades the grainy DV CAM for the binoculars.
BINOCULAR POV - Kale PANS ACROSS the lower floor windows of
Giles' house that's now become eerily still. He TILTS UP to
the second floor, SLOWLY PANS ACROSS those windows -- Again,
nothing.
KALE (CONT'D)
Okay, so where is she --
BINOCULAR POV - Over the above, Kale SLOWLY PANS BACK ACROSS
THE SAME WINDOWS, comes to the last one and see GILES STARING
RIGHT BACK AT HIM.
Kale spins and dives to the floor, knocking the other camera
and tri-pod over.
KALE (CONT'D)
Oh shit oh shit...
Kale shoves himself against the wall, frozen in terror. He
doesn't dare get up. He spots his CELL PHONE -- on the floor
a few feet away. He extends his leg out, uses his foot to
slowly SLIIIDE the phone toward him.
KALE'S TREMBLING HAND reaches for the phone, picks it up --
Kale's about to flip it open when the PHONE'S LCD SCREEN
SUDDENLY LIGHTS UP, BLARING MADONNA'S "LIKE A VIRGIN."
Kale startles, fumbles the phone -- realizes it's Ronnie,
flips the phone open --
KALE (CONT'D)
(into phone as needed)
Ronnie --
RONNIE (V.O.)
(phone filter as needed)
Dude, Ashley is ho-ho-hotttt --
KALE
Giles totally busted me.
RONNIE (V.O.)
What do you mean, are you sure?
(CONTINUED) D.J. Caruso
54.
62 CONTINUED: (2) 62
Kale finally musters the courage to peek over the sill --
KALE'S POV - Gile's BACK DOOR is OPEN.
KALE
They were arguing --
RONNIE (V.O.)
Who?
KALE
Giles and the girl he brought home.
They had an argument, he grabbed her --
RONNIE (V.O.)
And then what?
KALE
And then -- nothing.
RONNIE (V.O.)
Uh-huh.
KALE
Dude, something is going on over
there. What if he killed her, too?
RONNIE (V.O.)
Then call your friends at the police
department.
A DOOR suddenly SLAMS O.S.
KALE
Wait --
RONNIE (V.O.)
What?
KALE
A door just slammed.
RONNIE (V.O.)
(in his best sinister
"Scream" voice)
That's right, Kale, and now I'm coming
up to slash your guts out, you little
bastard!
KALE
Asshole, I'm serious.
RONNIE (V.O.)
I'm not and I'm hanging up.
(CONTINUED) D.J. Caruso
55.
62 CONTINUED: (3) 62
KALE
Just -- wait -- wait till I check
the hall --
This as Kale grabs his bat, slowly approaches his door.
Ronnie yawns, starts snoring. Kale's hand is about to grab
the knob --
RONNIE (V.O.)
BOO!
KALE
Goddamn you!!
Kale flips the phone closed, throws it to the bed. He turns
back to the door just as IT SUDDENLY PUSHES OPEN, SMACKING
KALE IN THE FOREHEAD! Kale STUMBLES BACK, screams, raises
the bat.
JULIE
Kale, Kale, it's me!!
Kale doesn't immediately drop the bat as he focuses on Julie,
dressed in her serving uniform, barely visible in the
darkness. She flips the light on.
KALE
No, don't!
JULIE
What's going on, who were you talking
to?!
KALE
Ronnie -- just Ronnie.
Kale falls back to the bed.
KALE (CONT'D)
I heard the door --
JULIE
I'm sorry, the wind caught it --
KALE
Fine. Good. Okay --
JULIE
Okay then, so...
(catching her breath;
then)
You want anything from the grocery?
I'm going in the morning.
(CONTINUED) D.J. Caruso
56.
62 CONTINUED: (4) 62
KALE
Anything caffeinated.
Kale turns back on his side. Julie eyes him a long beat.
What to say... she flips off the light, then -- pulls the
door closed.
ON KALE - eyes wide open, heart racing. He's gonna need
that caffeine in the morning.
63 INT. KALE'S BEDROOM - THE NEXT MORNING 63
A groggy Kale tugs on the blind, cautiously raises it --
KALE'S POV - GILES' DRIVEWAY - The silver Toyota's gone.
The woman's car is still there.
64 INT. ENTRY HALL - LATE THE NEXT MORNING 64
Kale saunters down the stairs....
65 INT. KITCHEN - DAY - CONTINUOUS 65
Kale enters, notices a few full grocery bags on the counter
and the coffee maker brewing. He opens the fridge, sees a
new Mountain Dew twelve-pack. He cracks open the carton,
pulls out a can, closes the fridge door revealing
GILES - IN THE FLESH, IN KALE'S KITCHEN.
Kale JUMPS, drops the can. It rolls to Giles' feet.
GILES
(picking up the can)
Whoa, whoa, settle down, slow down.
Robert Giles, your neighbor --
(gesturing outside)
Behind you?
Kale glares, breathing hard. Giles taps on the top of the
dented soda can, hands it to Kale. Kale doesn't take it.
Note: Giles' shirt should have BURNT ORANGE somewhere in it,
either in the pattern, stripes, etc...
KALE
I know, how did you --
Giles puts the soda on the counter as Julie comes through
the kitchen door carrying groceries.
GILES
(to Julie)
Think I startled him.
(CONTINUED) D.J. Caruso
57.
65 CONTINUED: 65
JULIE
(laughs)
Oh. Kale, I ran into Mr. Giles at --
GILES
Robert...
JULIE
(smiles)
...At the grocery. I had a flat
tire when I came out. We tried to
change it, but --
KALE
Dad put those security bolts on --
JULIE
And that adapter thingy that unscrews
it ended up stripping it instead --
GILES
My fault.
JULIE
No, it wasn't. You saved my life.
(then to Kale)
We had it towed to Frank's.
KALE
(with attitude)
Gee, really lucky you were there.
GILES
Just glad I could help.
(then; favors Julie)
Must be a little difficult when the
man of the house is stuck in the
house.
Kale reacts to that. There's an awkward silence as Kale's
eyes instinctively glance down to the ankle bracelet.
JULIE
Oh... no, it's okay, we're managing.
Giles steps closer to Kale, bends down to get a closer look
at the ankle bracelet.
GILES
I've always been curious about those
things, do you mind?
KALE
Yeah, I do.
(CONTINUED) D.J. Caruso
58.
65 CONTINUED: (2) 65
JULIE
Oh c'mon, Kale.
(to Giles)
I'm sorry.
GILES
No, no. It's none of my business.
KALE
That's right.
GILES
Whoa, hey, dude... you seem like a
straight hitter. You ask me, whoever
they are deserved it.
Kale reacts, surprised at how genuine that sounded.
JULIE
(stepping in)
Okay... I don't think that's the
case, and --
KALE
I think I'd like to hear his opinion.
GILES
And I think I opened my big mouth
again. You're absolutely right.
(then; heading for
the door)
I should go.
JULIE
Wait, what about your coffee?
KALE
I popped my Spanish teacher.
Awkward beat. Giles turns back to Julie:
GILES
In that case, cafe con leche, por
favor?
JULIE
(searching bags)
Shoot, milk's... still in the car.
Julie heads out the door. Giles turns to Kale. An awkward,
silent beat. Then --
KALE
I like your shirt, by the way. I
mean, the color.
(CONTINUED) D.J. Caruso
59.
65 CONTINUED: (3) 65
GILES
Which one?
KALE
Oh, the... that dark orange. Always
reminds me of Texas.
GILES
Yeah? You a Longhorns fan, too?
KALE
Sure, absolutely. Even though I've
never stepped foot in Texas --
GILES
Me neither. Had a lot of friends
who went there. I stayed in Minnesota
till I moved here.
KALE
Huh.
GILES
So when you say you "popped" your
teacher --
KALE
Just a black eye.
GILES
Phew, just making sure I wasn't living
next to some psycho killer. Listen,
I get it though. I had plenty of
teachers I wanted to just... kill.
Giles quickly adjusts his tone as Julie comes back with a
last bag of groceries:
GILES (CONT'D)
But no matter how hard it is to hold
back, the high road's always the
better choice.
As Giles says this, he casually sits at the kitchen table.
Kale eyes him, about to turn and leave, but:
JULIE
Kale, could you grab the sugar?
(to Giles)
Sugar?
GILES
(favors Kale)
Why not.
(CONTINUED) D.J. Caruso
60.
65 CONTINUED: (4) 65
Kale quickly grabs the jar of sugar from the counter and
even thinks to grab a spoon from the drawer. He delivers it
to Giles as Julie brings the coffee, sits at the table.
GILES (CONT'D)
Thanks, man.
Kale turns to leave again.
GILES (CONT'D)
Oh, hey, Kale...
(as Kale turns back)
Nice to finally meet you.
Off Kale --
ASHLEY (V.O.)
(prelap)
Oooh. That's creepy.
66 INT. KALE'S BEDROOM - DAY - LATER 66
Ashley sits on the bed. She looks damned good, too. Dolled
up, lipstick. She's just heard the story from Kale.
KALE
I know, he's a total freak, right?
ASHLEY
And very vague... did he genuinely
mean it was nice meeting you or was
he sending you a "sinister message?"
KALE
Are you messing with me?
ASHLEY
Maybe a little. Did you even notice
my hair?
KALE
So you think it's all a coincidence.
We've got the car --
ASHLEY
With the non dent dent --
KALE
The bumper sticker, the argument,
the staring contest -- And now he's
showing up in my kitchen --
ASHLEY
Why, because he slashed your mom's
tire?
(CONTINUED) D.J. Caruso
61.
66 CONTINUED: 66
KALE
Maybe.
Ashley rolls her eyes.
KALE (CONT'D)
(pointing out window)
Her car hasn't moved.
ASHLEY
It's called "the day after," Kale.
Nobody moves after a night like that.
KALE
Well what if she's really "not
moving?" What if she's tied in the
dungeon with the other girl, starving
to death --
ASHLEY
(getting up)
Then come up with a rescue plan and
get back to me.
KALE
You're leaving?
ASHLEY
Have to. Party.
KALE
Whose?
ASHLEY
Uh, mine?
KALE
How is that possible?
ASHLEY
Excuse me?
KALE
Well, I mean... Sorry, I just didn't
think you knew anybody --
ASHLEY
I don't, I didn't --
(off Kale's confusion)
I met this girl earlier, Minnie Tyco?
KALE
Oh my god, "Skinny Psycho?!" I sat
next to that bitch in Spanish --
(CONTINUED) D.J. Caruso
62.
66 CONTINUED: (2) 66
ASHLEY
(skipping that one)
I told her my parents were outta
town --
KALE
And now the whole neighborhood's
coming.
ASHLEY
Look, I'm stuck here. So I figured
I can either shut myself in and keep
hating it or... try to make the most
of it.
KALE
Hey, I get it. You don't have to
explain.
ASHLEY
Kale, you're welcome to come, but --
Kale looks at Ashley, realizes what she's referring to as he
glances down to the ankle bracelet.
KALE
(with attitude)
Well, I appreciate the thought.
Really.
ASHLEY
(returning the tude)
Glad to hear it.
Ashley turns to leave.
KALE
It's funny, though.
ASHLEY
(turning back)
What?
KALE
I didn't peg you as a conformist.
Ashley glares, furious. She picks up the DV cam and
binoculars, approaches Kale, hands them over with:
ASHLEY
Try to keep these in your drawers
tonight, will ya?
Ashley leaves. A sullen Kale stares after her --
(CONTINUED) D.J. Caruso
63.
66 CONTINUED: (3) 66
PRELAP - CROWD WALLA and THWUMPING MUSIC.
67 INT. DAD'S OFFICE - EARLY EVENING 67
Kale sits in the darkness at dad's desk. He's on the phone,
pressing his other finger to his ear, trying to drown out
the NOISE emanating from Ashley's party next door.
Kale, on phone, gets Ronnie's VOICE MAIL.
RONNIE
(phone filter)
This is Ronnie, leave a message.
Kale slams the phone down, sits there a beat. JUMP CUT:
- The white pages THWUMP onto the desk. JUMP CUT:
- Kale on the phone:
KALE
(into phone)
Yeah, I'm calling about the Jeep
Cherokee that was brought in with
the flat and the stripped lug --
it's ready? Listen, did they have
to replace the whole tire -- they
patched it? Is there any way to
tell if it was slashed or -- But a
nail usually acts like its own plug
for awhile, doesn't it? I mean it's
a really slow leak, it can't flatten
a tire in twenty minutes.
(beat as Kale listens)
-- Yeah, I guess anything's possible.
A ROAR of LAUGHTER O.S. makes Kale jump from his chair. He
grabs the binoculars, heads to the window.
BINOCULAR POV - Kale scans the crowd until he finds Ashley,
talking with a group of PARTYGOERS. She pretends to listen
to one of the guy's stories as she furtively glances toward
Kale's window. But it's quick. We can't be a hundred percent
sure if it was on purpose.
KALE (CONT'D)
Wait, what was that? You think I'm
watching? Well, I'm not... Nope, I
am minding my own business...
BINOCULAR POV - Ashley excuses herself from the group and
approaches the drink and food table where MINNIE TYCO (a.k.a.
"Skinny Psycho") is standing, nitpicking over her snack
choices. Ashley hugs her then taps the cute GUY next to her
on the shoulder. The guy turns around.
(CONTINUED) D.J. Caruso
64.
67 CONTINUED: 67
Ashley mouths "Oh my God" like he's some long lost lover.
Ashley hugs the surprised guy who wastes no time in hugging
her back.
KALE (CONT'D)
You think I'm buying that?
Kale keeps watching.
KALE (CONT'D)
I'm not biting --
BINOCULAR POV - Ashley glances up in Kale's direction again --
it's more obvious this time as she keeps HUGGING THE GUY.
KALE (CONT'D)
That's it.
Kale tosses the binoculars, heads out.
68 EXT. 2ND FL PORCH - EVENING - SHORT TIME LATER 68
Kale SLAMS a ladder up against the roof.
69 EXT. ROOF - EVENING - SECONDS LATER 69
Kale SLAMS a speaker down on the edge of the roof facing
Ashley's. Makes sure the speaker wires are securely clamped
in place, then unwinds the roll of wire back across the roof
toward the ladder... JUMP CUT:
70 INT. 2ND FL PORCH - EVENING - SECONDS LATER 70
Kale runs the wire down the hall...
71 INT. DAD'S OFFICE - EVENING - MOMENTS LATER 71
SERIES OF QUICK SHOTS:
CU - Kale's hand flips on dad's bookshelf amplifier, CRANKS
THE VOLUME CONTROL KNOB.
CU - Kale's I-POD LCD SCREEN lights up. His thumb hovers
over the PLAY button.
BINOCULAR POV - Ashley's party comes into focus.
Kale presses play. The speaker EXPLODES with the ROAR OF
BARRY MANILOW (or AIR SUPPLY).
BINOCULAR POV - Ashley's party comes to a grinding halt.
Kale PANS AROUND, picks up Ashley again. Glaring. Fire in
her eyes as she storms O.S. Kale smiles with perverse
(CONTINUED) D.J. Caruso
65.
71 CONTINUED: 71
satisfaction as he tilts his head, anticipating the doorbell
to ring. Another beat, then -- DING DONG.
72 INT. ENTRY HALL - EVENING - SECONDS LATER 72
Kale descends the stairs, maintaining his wicked grin. He
opens the door for Ashley, but instead -- gets PELTED WITH A
BARRAGE OF WATER BALLOONS.
Kale stands there, frozen as the two BRATS jump from the
bushes, AD LIB MOCKING Kale as they laugh and race away into
the shadows. Kale's about to pursue when the sound of a
DOOR OPENING O.S. stops him cold. He spins around to see
ASHLEY
storming in from the kitchen and marching up the stairs!
KALE
Hey!
Kale races back to the stairs. Ashley increases her speed...
73 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS 73
Ashley storms down the hall, sees the speaker wires running
into dad's office...
74 INT. DAD'S OFFICE - EVENING - CONTINUOUS 74
Ashley SLAMS through the door, spots Kale's I-pod, rips it
out of its dock. The music stops. She spins around, runs
smack into Kale who SWIPES the I-pod out of her hand and
SLAMS it back in the dock. The music BLARES. Ashley moves
in, but Kale blocks her path. She tries to get around him.
He stands in her way.
ASHLEY
(peering out the window
as if shocked by
something)
Oh my God --
Kale falls for it. He looks. Ashley shoves him out of the
way, grabs the I-pod. Kale chases her out into...
75 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS 75
Ashley bolts into...
76 INT. KALE'S BEDROOM - EVENING - CONTINUOUS 76
Where she holds the I-pod out the window, stopping Kale in
his tracks.
(CONTINUED) D.J. Caruso
66.
76 CONTINUED: 76
ASHLEY
Back off or I'll throw it where you
can't follow.
KALE
Take it easy, that's sixty gigs of
my life.
ASHLEY
Even better.
KALE
Okay -- okay --
ASHLEY
What are you doing?
KALE
What are you doing?
ASHLEY
I'm trying to enjoy my party. Wait,
that's wrong. According to you,
I'm trying to conform --
KALE
Coulda fooled me.
ASHLEY
What does that mean?
KALE
Forget --
ASHLEY
No, I'm not gonna forget it.
KALE
You wanna blend in with that crowd,
fine, then stop looking up and trying
to get a rise outta me.
ASHLEY
(realizing)
So you were watching me. Question
is for how long? Just tonight? Or
maybe a week? Two weeks? Since I
moved in?
Kale tries to respond, but Ashley keeps pressing:
ASHLEY (CONT'D)
And the whole "my-neighbor's-the-
killer" thing. Great cover --
(CONTINUED) D.J. Caruso
67.
76 CONTINUED: (2) 76
KALE
It's not a cover --
Over the above Ashley glances around
ASHLEY
So what is it, Kale? Huh? What
else have you seen?
KALE
What else have I seen?
ASHLEY
Yeah. What else?
KALE
Okay -- I've seen how you always
pull your kleenex from the box in
groups of three. Not two, not four,
always three. I've seen you're the
only one in the world who eats pizza-
flavored Pringles. And you never
stuff the chips in, you savor each
one by dividing it into four precise
bites. I didn't know that was even
possible. You're also the first
girl I've ever seen who spends more
time on her roof than in her own
house. And what do you do out there?
You don't talk on the phone, you
don't paint your nails, you read
books. Now one would think with the
whole numbers thing you've got going
on that you'd put them on your shelf
alphabetically, but you don't. Your
system's much more perfect. The
ones you like go on the bottom, the
ones you love go in the middle, and
the ones you need, the ones you keep
going back to... well they go straight
to the top next to the dream
encyclopedia. You know what all
this tells me? You know how things
should be. The world according to
Ashley. And guess what? It's a
very entertaining and beautiful
thing. Even when it takes a hit.
When you end up in a place like
this... when your parents dump their
baggage on you, or just... when it
seems like those curveballs are never
gonna stop -- It sucks, but just so
you know -- I get it.
(MORE)
(CONTINUED) D.J. Caruso
68.
76 CONTINUED: (3) 76
KALE (CONT'D)
But I've also seen those designer
window shades of yours, and guess
what? They always go up the next
day -- no matter what. And even if
no one else has, I've noticed that.
And I ain't sorry. The only thing
I'll even consider apologizing for
is... not dropping the binoculars
and telling you this a lot sooner.
A long beat as Ashley peers into Kale's eyes. She slowly
steps closer to him:
ASHLEY
That was either the creepiest... or
the sweetest thing I've ever heard.
Kale leans in and kisses her. They pull away, lock eyes.
Then -- Ashley pulls Kale by his soaking wet t-shirt, kisses
him back even harder. Heavy make-out. Then -- they stumble
back toward the bed out of frame as we hold on Kale's window --
and Giles' house beyond...
77 INT. DAD'S OFFICE - NIGHT 77
OUR POV - peering down into Ashley's back yard. There's a
couple of guys passed out on rafts floating in the pool. WE
SLOWLY PAN to reveal --
KALE - looking tired, his eyes glazed, sitting at dad's
computer surfing a website: "BRUTAL KILLINGS IN AUSTIN."
ON THE SCREEN - As Kale clicks pages, we see FLASHES of CRIME
SCENE PHOTOS from the three murders -- the bodies of the
three redheads -- BLOODIED, BRUISED...
ON KALE - he doesn't blink as he clicks on ONE PHOTO after
the OTHER. We see a FLASHES of the victims' eyes -- WIDE
OPEN, LIFELESS...
We suddenly hear laughter O.S. Kale SNAPS TO. He runs a
hand through his hair, gets up, moves to the window.
HIS POV - ASHLEY'S POOL - a couple of girls GIGGLE as they
stand at the edge of the pool pouring beer onto the passed-
out guys' chests.
78 INT. KALE'S BEDROOM - NIGHT - MOMENTS LATER 78
Kale quietly enters and shuts the door. He's hiding something
behind his back as he sits on the bed next to a sleeping
Ashley. She stirs, opens her eyes, peers up at him, smiles.
(CONTINUED) D.J. Caruso
69.
78 CONTINUED: 78
KALE
Hey.
ASHLEY
Hey... where have you been?
Kale holds up a folded piece of paper, hands it to Ashley.
She curiously eyes Kale, then takes it, opens it to reveal a
printed-out picture of a long-stem red rose. Ashley smiles.
KALE
If would have gone to the flower
shop, but --
ASHLEY
I know.
Ashley pulls Kale in for a kiss. She pulls away, falls back
to the bed. Her eyes glance down at Kale's ankle bracelet.
ASHLEY (CONT'D)
So how much longer?
KALE
Oh, two months, twelve days, nineteen
hours give or take.
A beat as the two peer into each other's eyes. Then:
KALE (CONT'D)
You know the other night... when you
said you thought I'd be more messed
up...
ASHLEY
...For a guy who killed his teacher.
KALE
I didn't kill my --
ASHLEY
Shhh.
(kisses him again)
I know. -- I know.
We get the impression she knows a lot. Kale leans in for
another kiss. But this time, as they lock lips, Ashley's
eyes shoot open.
HER POV - the first hints of daylight out the window.
ASHLEY (CONT'D)
Oh my God, what time is it?
(CONTINUED) D.J. Caruso
70.
78 CONTINUED: (2) 78
KALE
Three-thirty.
ASHLEY
I've gotta go.
Ashley scrambles out of bed for her clothes, getting dressed,
searching for her shirt. Kale spots it behind the bed. As
he gets up to retrieve it, he hears a NOISE O.S. Kale peers
out the window --
HIS POV - Giles is dragging a HEAVY BLUE PLASTIC BAG down
the stairs leading to the garage.
KALE
You better see this.
Ashley throws on her shoes, joins Kale at the window.
THEIR POV - Giles pulls the bag into the garage next to what
we presume is the Mustang that's now been covered with a
TARP. (Note: The woman's car is still in the driveway.)
Kale grabs the binoculars.
BINOCULAR POV - We catch a glimpse of a few CRIMSON RED SMEARS
on the blue bag as Giles heaves it behind the Mustang.
KALE (CONT'D)
Look, quick --
ASHLEY
What?
Kale gives her the binoculars. Ashley looks over.
ASHLEY (CONT'D)
(sarcastic)
That's normal.
Giles' GARAGE DOOR CLOSES.
KALE
(re: woman's car)
Her car... still hasn't moved...
Ashley pauses, peers out the window again. She can't help
but be a little concerned. Then --
ASHLEY
So what do you wanna do?
Off Kale --
(CONTINUED) D.J. Caruso
71.
78 CONTINUED: (3) 78
RONNIE
(prelap)
You want me to do what?
79 INT. KALE'S BEDROOM - DAY - LATER 79
ON KALE - holding up a UNIVERSAL GARAGE DOOR REMOTE still in
the package.
Ashley and Ronnie are on the bed. Note: Kale is wearing the
same clothes he was yesterday, the stubble coming back.
Hair more disheveled, eyes a little puffier...
KALE
Phase one, steal his code from his
opener.
RONNIE
There's more than one phase?
KALE
There's only two. Now look, his
remote's in the glove compartment of
his Toyota. All you have to do is
pop it open and read me the switch
settings. "On" or "off."
RONNIE
For the later purpose of doing what?
Breaking in to his house?
KALE
No, not breaking in. We're just
talking about having access to his
garage so we can go in on our own
time - when he's not there - to
just... to get a closer look at the
car, the bag --
RONNIE
(to Ashley)
All this sounds reasonable to you?
ASHLEY
I don't know about that, but --
KALE
(re: universal remote)
This is good up to thirteen digits --
RONNIE
(realizing)
How long have you been planning this?
Ronnie eyes Kale with concern. Kale doesn't answer.
(CONTINUED) D.J. Caruso
72.
79 CONTINUED: 79
GILES suddenly FIRES UP HIS LAWNMOWER O.S.
KALE'S POV - Giles pushes the mower around the side of the
house to the front yard.
KALE
Look, if we're gonna do this, it's
gotta be now. He takes twenty-one
minutes average to mow his front
yard... you'll be hearing him the
whole time...
Ashley grabs the remote.
ASHLEY
I'll do it.
RONNIE
No.
(beat; then grabbing
the remote)
It isn't safe.
(getting up; macho)
Let's do it.
80 INT. KALE'S BEDROOM - DAY - LATER 80
CU - KALE'S CELL PHONE - "LIKE A VIRGIN" suddenly blares.
WIDER - Kale flips his cell open, holds it in one hand, binocs
in the other.
KALE
(into headset as needed)
Yo, you set?
RONNIE (V.O.)
(phone filter as
needed; suddenly
sounding not so macho)
I can't believe I'm doing this.
KALE
Let me conference Ashley in.
(punches buttons;
then)
Ashley, you there?
ASHLEY (V.O.)
Ten-four.
KALE
Nice.
(CONTINUED) D.J. Caruso
73.
80 CONTINUED: 80
Kale presses "RECORD" on the tri-pod-mounted DV CAM. He
peers back out the window. We hear Giles' lawnmower O.S.
Both sides of his house are clear.
KALE (CONT'D)
Okay, Ron -- Green light.
KALE'S POV - OUT HIS WINDOW - RONNIE - suddenly appears from
the bottom of frame, keeping low as he darts to the fence.
Ronnie turns, peers back up to Kale, gives him the thumbs up
or down.
KALE (CONT'D)
You're all good.
BINOCULAR POV - Ronnie draws a breath, then very ungracefully
hops the fence and falls into Giles' yard out of sight.
RONNIE (V.O.)
Oww, shit --
KALE
You okay --
RONNIE (V.O.)
What do you think?
BINOCULAR POV - Ronnie scrambles to his feet from behind the
fence, darts to the driver's side door of Giles' Toyota.
KALE
Dude, glove compartment, other side.
RONNIE (V.O.)
Excuse me if I'm used to my mom's
import. Can I just try this one
while I'm here?
BINOCULAR POV - Ronnie lifts up on the latch. Locked.
RONNIE (V.O.) (CONT'D)
Shit.
Ronnie tries the back door. Locked.
RONNIE (CONT'D)
(in Korean)
Shit.
BINOCULAR POV - Kale PANS ACROSS to the other side of Giles'
house. Nothing. He PANS BACK to Ronnie.
OUR POV - Over Kale's shoulder, we see Kale is clearly aiming
his binocs at Ronnie.
(CONTINUED) D.J. Caruso
74.
80 CONTINUED: (2) 80
But we also see ON THE FAR SIDE OF FRAME GILES' NEIGHBOR
PULLS HER LAWNMOWER OUT OF HER GARAGE AND ROLLS IT O.S --
But Kale isn't seeing this!
RONNIE (V.O.) (CONT'D)
They're all gonna be locked --
KALE
Well, while you're there, will you
just check?
Ronnie goes around the back of the Toyota to the other side.
He lifts up on the passenger door latch. Bingo.
RONNIE (V.O.)
I'm in.
KALE
You see the package?
We see and hear Ronnie, his ass to us, rummaging around the
inside of Giles' car.
RONNIE (V.O.)
Oh my God --
ASHLEY (V.O.)
What's wrong?
RONNIE (V.O.)
There's like a month-old order of
Nachos Bell Grande under the seat.
(then)
Okay, I found it.
Kale grabs the pencil and notebook.
KALE
Whenever you're ready.
RONNIE (V.O.)
Looks like "on, on, on, off, off,
on..." No wait, that one was "off."
KALE
Just start over.
RONNIE (V.O.)
"On, on, on, off, off, off, on -- "
Ronnie pauses. Kale glances up. Just happens to shift his
gaze to the side of Giles' house to see --
KALE'S POV - GILES IS WALKING BACK AROUND with no lawnmower!
But for some reason we still HEAR A LAWNMOWER.
(CONTINUED) D.J. Caruso
75.
80 CONTINUED: (3) 80
KALE
No, no --
Kale grabs the binoculars.
RONNIE (V.O.)
I'll get it right this time.
KALE
Ronnie, he's coming around.
RONNIE (V.O.)
Dude, stop dicking with me, I still
hear his --
BINOCULAR POV - Kale WHIP PANS to Giles' neighbor, JUDY THORP -
CUTTING HER GRASS, TOO.
KALE
(trying to remain
calm and succinct)
Ronnie, I am not dicking with you.
The neighbor is also mowing her lawn
and he's going to see you --
RONNIE (V.O.)
(full-on panic)
Kale, what do I do?! Where --
KALE
GET IN THE CAR!!
KALE'S POV - Ronnie dives in the car just as Giles rounds
the corner of the house.
KALE (CONT'D)
Put the remote back --
RONNIE (V.O.)
I did, I did --
KALE
Easy on the door.
Ronnie gently pulls the door shut.
KALE (CONT'D)
Don't panic, he's coming straight
for you --
RONNIE (V.O.)
What?! Kale, you've gotta get me --
KALE
Back seat, NOW!
(CONTINUED) D.J. Caruso
76.
80 CONTINUED: (4) 80
BINOCULAR POV - Ronnie TUMBLES into the back seat and out of
sight just as GILES heads for the car.
KALE (V.O.) (CONT'D)
Ashley --
ASHLEY (V.O.)
I'm on it.
RONNIE
(practically crying)
Kale, tell my mom --
KALE
Shut up, stay down and don't move.
KALE'S POV - Giles opens the passenger door. About to reach
in when something distracts him -- Giles pulls himself out,
looks over to see
ASHLEY
Heading up the driveway. We barely hear her introduce herself
to Giles. Giles steps around to the front of the car,
uneasily shakes her hand.
KALE (CONT'D)
Ronnie, you're good --
No answer.
KALE (CONT'D)
Ronnie?
BINOCULAR POV - Kale TILTS BACK TO THE TOYOTA, sees Ronnie
sneaking out the back seat door on the driver's side as Ashley
distracts Giles, pointing up to the trees on the opposite
side of the yard. Who knows what they're talking about.
Bird-watching perhaps. Whatever it is, it's working.
KALE (CONT'D)
Ronnie, was that the whole code?
Ronnie?
BINOCULAR POV - Kale PANS BACK to Ronnie as he hops the fence
back into Kale's yard.
Kale TILTS BACK UP to Ashley and Giles in the driveway.
KALE (CONT'D)
(talking to Ashley
even though she can't
hear)
Okay, Ashley, you're good, come on...
(CONTINUED) D.J. Caruso
77.
80 CONTINUED: (5) 80
Over this, a breathless Ronnie stumbles into the bedroom,
joins Kale at the window.
KALE (CONT'D)
Was that the whole code?
RONNIE
(pissed)
Excuse me?
KALE
(serious)
The code, did you get it?
RONNIE
You've gotta be kidding.
Ronnie and Kale lock eyes for a tense beat. Then:
KALE
(re: something O.S.)
No way.
KALE'S POV - THE CLUB GIRL Giles brought home the other night
exits the back door and walks up to Ashley and Giles!
RONNIE
(stepping closer)
Great, Kale. She lives.
Kale and Ronnie watch as Ashley shakes hands with the club
girl, then throws a quick surprised glance up to Kale and
Ronnie. Giles' body language tells us he's ready for Ashley
to leave. Ashley gets the hint, shakes his hand, heads back
down the driveway and out of sight.
Kale raises the binoculars again, then furiously grabs for
his pad and pencil.
BINOCULAR POV - The club girl gets in her car. Giles closes
her door, watches as she backs out. Kale TILTS DOWN to her
license plate, starts jotting down the number.
RONNIE (CONT'D)
What are you doing?
KALE
Getting her license number --
RONNIE
Why?
Kale doesn't answer, still trying to get the rest of the
number as Ashley enters, eyes Ronnie who gestures to Kale.
(CONTINUED) D.J. Caruso
78.
80 CONTINUED: (6) 80
ASHLEY
Okay, case closed.
RONNIE
Try telling Inspector Clouseau that.
Now he thinks he needs her license
number.
ASHLEY
Why, Kale? It's over.
Kale's starting to get manic:
KALE
"Yeah, he seemed like such a normal
guy. Sure he kept to himself, but
he was always nice to me." That's
what they all say. That's what all
the neighbors always say -- after
the fact. Only after they've caught
the guy, after he's killed thirty
people --
Ashley and Ronnie trade concerned looks.
ASHLEY
Okay, I think we all just need to
take a breath.
KALE
(heading out)
Fine, but what about the bumper
sticker, there's still a girl missing,
just... what's in the bag?
(then from O.S.)
Can anyone tell me that?
Off Ronnie and Ashley --
81 INT. DAD'S OFFICE - DAY - CONTINUOUS 81
Kale enters, goes to the desk, sits at dad's computer,
clicking keys as Ashley and Ronnie enter --
ASHLEY
Kale, why are you so --
Ashley and Ronnie stop in their tracks at the MESS.
Note: Up till now, the office has been in reasonably good
order. But now, it's noticeably different.
WIDER - The shades are drawn. Soda cans everywhere... papers
are spread on the floor: PRINTED OUT FULL COLOR GRUESOME
CRIME SCENE PHOTOS, BLACK & WHITE AUTOPSY PHOTOS of the
(CONTINUED) D.J. Caruso
79.
81 CONTINUED: 81
murdered redheads... more pictures of the girl who
disappeared, PATRICIA WALSH. "MISSING" FLYERS...
Over the above, Ronnie leans down, lifts a couple of books
out of an Amazon.com box: "Murderer: Tell Tale Signs of a
Serial Killer" and "The Shrine of Jeffrey Dahmer" -- the
titles Ashley was referencing earlier. Ronnie shows them to
Ashley who takes a RECEIPT out of a nearby Home Depot box --
on the page -- SMITH'S UNIVERSAL GARAGE DOOR REMOTE QTY (1)
$29.99.
Ashley and Ronnie turn to Kale. They notice on the wall
behind him, hanging next to his Dad's book cover posters, a
BLACK AND WHITE POSTER-SIZE SATELLITE PHOTO of THE
NEIGHBORHOOD. Giles' house is circled and labeled in
flourescent ink. Kale finally looks up, notices them looking --
KALE
(re: satellite poster)
Ronnie, you've seen this satellite
website, right? You can find any
location on earth and take a picture --
RONNIE
Yeah, for a small fee --
ASHLEY
Kale, what are you doing?
KALE
Trying to get to the bottom of this.
ASHLEY
(delicately)
Kale, right now, it doesn't look
that way.
KALE
What's it look like?
ASHLEY
Like you're determined to turn Giles
in to who you think he is.
KALE
Not who I think.
ASHLEY
(beat; then)
I just didn't realize -- you were
this --
KALE
What, crazy? Maybe I am. But maybe
I'm right.
(CONTINUED) D.J. Caruso
80.
81 CONTINUED: (2) 81
ASHLEY
It's not about that, it's about --
(beat; then quietly)
-- What I see. What Ronnie and I
are seeing right now. I see a guy
who looks like he hasn't slept in
days.
(peers at dad's book
cover posters)
I'm seeing you sitting at your dad's
desk --
That gets Kale's attention.
ASHLEY (CONT'D)
-- Because you lost him before
maybe... you ever really knew him.
Before the world according to Kale
took a hit from that same stuff you
were telling me about, remember?
All those curveballs? But it's like --
it's like you're still trying to
dodge them by forcing pieces together
that are never gonna fit... by getting
all wrapped up in...
(re: mess)
This.
(beat; then)
Obsessing's not gonna "protect you,"
Kale. It's not gonna make the hurt
go away.
Kale locks eyes with Ashley. A long beat, then --
KALE
Are you two gonna help me or not?
Ashley pauses, shocked she hasn't gotten through to Kale.
Then --
ASHLEY
I want to.
KALE
(picks up a stack)
Then start looking through these --
ASHLEY
That's not what I meant.
KALE
(beat; then)
Well, this is all I need, so -- I
guess I'll see you later.
(CONTINUED) D.J. Caruso
81.
81 CONTINUED: (3) 81
Ashley and Ronnie trade looks. Then -- Ashley leaves. Ronnie
turns back to Kale.
KALE (CONT'D)
So what's your deal? You hanging
out or not?
RONNIE
I would, dude, but -- I've gotta
pull it together and -- change my
underwear. Catch you later?
KALE
Sure.
Ronnie leaves. Kale sits in silence, his thoughts unreadable --
JUMP CUT:
Kale falls back in the leather chair, fighting his emotions,
trying to keep them in check. He glances out to Ashley's.
Dark. He peers around the office -- the articles, the books,
his DAD'S PHOTOS... the family portrait of Dad, Mom, and
Kale, smiling wide... their lives ahead of them...
82 INT. KALE'S BEDROOM - NIGHT 82
In the darkness, find Kale sitting in his video game chair
staring out at Giles' house.
HIS POV - Giles' garage door is open. Giles' silver Toyota
is parked inside next to the Mustang. There's a light or
two on inside Giles' house but no signs of movement.
Kale throws intermittent glances out the window as he starts
to UNSCREW the back of the DV CAM. He lifts the back off,
then reaches in a nearby BOX and pulls out a BLUE TOOTH
WIRELESS CIRCUIT BOARD. He starts connecting it inside the
camera... JUMP CUT:
Kale screws the back of the camera on, takes a swig of a
soda. There's suddenly fierce KNOCKING at Kale's front door.
Kale just sits there. Staring ahead. More knocking and
DOORBELL RINGING. Kale jumps from his chair, grabs the bat.
83 INT. ENTRY HALL - NIGHT - SECONDS LATER 83
Kale swings the door open -- nobody's there -- then -- Ronnie
suddenly STEPS INTO FRAME, grabs Kale --
KALE
Get off me, man.
RONNIE
Dude -- my cell phone's -- still in
his car.
(CONTINUED) D.J. Caruso
82.
83 CONTINUED: 83
Kale eyes Ronnie a beat.
RONNIE (CONT'D)
Kale, did you hear me?
KALE
(beat; then)
Ronnie, I know you think I'm losing
my mind, but... listen, I'll help
you get it, I just need you to do
one thing.
RONNIE
(shaking his head)
Phase two. I knew it.
SMASH TO:
84 INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER 84
A SHAKY and grainy VIDEO IMAGE appears on Kale's computer
screen. Kale picks up one of Ronnie's old walkie-talkies.
KALE
(into walkie talkie
as needed)
You read?
RONNIE (V.O.)
(walkie talkie filter
as needed)
Yeah, you got a signal?
ON KALE'S COMPUTER SCREEN - Ronnie suddenly aims THE VIDEO
CAMERA AT HIS FACE.
KALE
Got video, no audio.
RONNIE (V.O.)
Yeah, mic's on the fritz. How am I
looking?
Kale picks up the binoculars.
BINOCULAR POV - Giles' garage door is still open. There's a
light on at the opposite end of the house.
KALE
Light on, far end.
RONNIE (V.O.)
I guess it's now or never. Moving
out.
(CONTINUED) D.J. Caruso
83.
84 CONTINUED: 84
Kale turns back to the computer screen --
RONNIE'S DV CAM POV - His feet dart across the yard -- he
TILTS UP -- approaching the fence.
KALE
(re: Giles)
No movement.
RONNIE'S DV CAM POV - Ronnie hops the fence.
RONNIE (V.O.)
First hurdle --
RONNIE'S DV CAM POV - The image goes to SNOW for a split
second -- the signal weakening...
Kale peers out the window --
BINOCULAR POV - We barely make out Ronnie's silhouette as he
makes his way toward the garage --
RONNIE (V.O.) (CONT'D)
Twenty feet. Ten feet --
RONNIE'S DV CAM POV - Rapidly approaching the back of Giles'
Toyota.
RONNIE (V.O.) (CONT'D)
Garage --
RONNIE'S DV CAM POV - Very shaky as Ronnie makes his way to
the back seat door -- he takes out a pen light, aims it at
the door as his hand enters frame, lifts up on the latch.
The door pops open.
RONNIE (V.O.) (CONT'D)
Bingo.
RONNIE'S DV CAM POV - We see Ronnie's hand feeling around
the back seat floor of Giles' car.
Kale's CALL WAITING suddenly BEEPS. He looks at the CALLER
I.D: ASHLEY. Shit. He has to let it go.
RONNIE (V.O.) (CONT'D)
I'm not seeing it --
KALE
Stay calm, it's there.
RONNIE'S DV CAM POV - Ronnie's hand finally pulls out the
cell phone.
(CONTINUED) D.J. Caruso
84.
84 CONTINUED: (2) 84
RONNIE (V.O.)
I've got it.
BINOCULAR POV - Giles' house. Still no sign of movement.
KALE
You're still clear, check the bag.
RONNIE (V.O.)
Hang on --
RONNIE'S DV CAM POV - We see Ronnie's hand gently push the
door of Giles' Toyota closed. The angle TILTS DOWN -- we're
now watching Ronnie's feet as they stride deeper into the
garage, walking in between the Toyota and Mustang.
RONNIE (V.O.) (CONT'D)
I'm setting the camera on the trunk.
KALE
Try to get the plate number of the
Mustang and check for dents --
RONNIE (V.O.)
I'm checking the bag first.
RONNIE'S DV CAM POV - Ronnie sets the camera on the trunk of
the Mustang, aims it perfectly at the BLUE BAG sitting in
the corner. We watch with Kale as Ronnie enters frame,
crouched low, heading toward the bag. He raises the walkie
talkie --
RONNIE (V.O.) (CONT'D)
It does look like blood -- and hair --
RONNIE'S DV CAM POV - We watch as Ronnie kneels down, starts
to open the bag. But suddenly, the still POV suddenly STARTS
TO SLOWLY, STEADILY TRACK TO THE LEFT -- And Kale realizes --
KALE
The camera's sliding --
RONNIE'S DV CAM POV - We watch as Ronnie spins and grabs the
camera.
RONNIE (V.O.)
That was close.
We hear another NOISE O.S.
RONNIE (V.O.) (CONT'D)
Oh shit --
Kale looks out --
(CONTINUED) D.J. Caruso
85.
84 CONTINUED: (3) 84
KALE'S POV - Giles' GARAGE DOOR STARTS TO CLOSE.
KALE
Ronnie?
RONNIE
(staticky)
-- make it -- interference --
somebody's here --
KALE
Ronnie?!
Dead air. Giles' GARAGE DOOR SLAMS SHUT.
RONNIE'S DV CAM POV - We watch as Ronnie picks up the camera,
aims it at his face. Looking terrified. The camera swings
away as we see Ronnie's feet scrambling along the concrete
floor and then -- they appear to RACE THROUGH A DOORWAY ONTO
DIMLY LIT HARDWOOD FLOOR -- making us and Kale realize --
KALE (CONT'D)
He's in the house --
(into walkie)
Ronnie?
Still nothing.
RONNIE'S DV CAM POV - Shaky. We catch GLIMPSES OF RONNIE'S
FEET -- hauling ass down a HALLWAY, ROUNDING A CORNER ONTO
CARPET, THEN BACK ONTO HARDWOOD --
KALE (CONT'D)
What the hell --
ON THE SCREEN - Ronnie suddenly PANS THE CAMERA up to his
face as he runs, clearly mouthing "HELP ME!!"
KALE (CONT'D)
RONNIE! Shit --
Then -- the camera seems to fall, SLIDING ON THE HARDWOOD
FLOOR TOWARD AN OLD BOOKCASE...
THE IMAGE CUTS OUT -- GOES TO ALL SNOW --
Kale jumps up, pacing. Peers out the window to Giles'. No
telling what the hell's happening -- or happened -- in there.
Kale eyes his ankle bracelet. Green light. Kale eyes his
bat. Grabs it. Fuck it.
D.J. Caruso
86.
85 EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER 85
Kale SLAMS out the back door, races across the yard, skips
over his kite string boundary --
ON HIS ANKLE BRACELET - Red light FLASHES.
WITH KALE - he hops the fence, racing to...
86 EXT. GILES' BACK YARD/HOUSE - NIGHT - CONTINUOUS 86
KALE
Ronnie?!
Kale darts to Giles' back door, tries the knob -- locked.
KALE (CONT'D)
Ronnie, can you hear me?! Giles,
open the door!!
The house is still. Kale bolts around the side, uneasily
feeling his way through shadows and low-hanging branches.
87 EXT. GILES' FRONT YARD - NIGHT - CONTINUOUS 87
It's even darker on this side. No lights on in Giles' house.
Kale cautiously rounds the side, approaches the front door --
it's open a few inches -- darkness beyond.
Kale eyes it a beat. Then -- steps up onto the porch, about
to push it open when -- SIRENS BLARE O.S.
Kale SPINS AROUND to see A POLICE CRUISER ROLLING TO A STOP.
Kale races toward it as two uniformed officers step out --
KALE
Hey!
The officer pulls his sidearm, aims it at Kale --
UNIFORM #1
Freeze. Hands above your head, now!!
KALE
Please, my friend's been kidnapped,
he's in this house -- he's inside, I
think the owner's trying to kill him --
UNIFORM #1
Stay right there.
UNIFORM #2
I've got it --
Uniform #2 heads briskly to Giles' front door.
(CONTINUED) D.J. Caruso
87.
87 CONTINUED: 87
UNIFORM #1
(into radio mic)
Dispatch, 13A74, we're 10-26 with
the kid, he's claiming a 10-31 at...
(eying numbers above
Giles' door)
4710 Fairway Court. House behind
his residence, request 10-78.
DISPATCHER (V.O.)
(over mic)
13A74, ten-four, units already in
the area, will advise --
Kale watches as Uniform #2 approaches the Giles' door.
UNIFORM #2
It's open.
KALE
It was already open.
Uniform #2 knocks on the door. Rings the bell. No answer.
Uniform #2's about to knock again when a light comes on
inside. After a beat -- Giles opens the door. Looking
disheveled, in his bathrobe.
GILES
Uh, yes, can I help you, officer?
UNIFORM #2
Sorry to wake you, sir, we have a
young man here claiming a friend of
his is in your house. Would you
know anything about that?
GILES
(laughs)
No, I certainly wouldn't.
KALE
You're a lying son of a bitch!
Uniform #1 retrains Kale as another CRUISER rolls to a stop.
Uniforms #3 & 4 hop out, head to Uniform #1 to assist.
UNIFORM #1
Take it easy --
KALE
He's in there, goddammit! He's
inside! He's lying!
Uniform #1 pulls Kale back to the cruiser, opens the back
door and pushes him down on the seat --
(CONTINUED) D.J. Caruso
88.
87 CONTINUED: (2) 87
UNIFORM #1
Sir, calm down --
KALE
Okay, but he's lying -- he has my
friend, and he kidnapped that girl
last week, he killed maybe three
others, all redheads, they could be
in a bag -- a big blue plastic bag --
in his garage -- my friend knew this --
(re: Giles)
That's why he's covering -- he didn't
just wake up five minutes ago --
Uniform #1 looks concerned as he steps away from Kale.
UNIFORM #1
(to Uniform #3; re:
Kale)
Can you --
Uniform #3 nods as Uniform #1 heads back up to Giles and
Uniform #2.
KALE'S POV - Uniform #1 whispers something to Uniform #2.
They turn back to Giles.
UNIFORM #2
Sir, do you mind if we take a look
inside?
A beat. A couple more police cruisers roll to a stop.
Curious NEIGHBORS are now gathering across the street.
GILES
Absolutely, be my guest.
Giles ushers them through the door and follows them into the
house. Giles turns, shoots a quick glance to Kale before
closing the door.
ON KALE - all he can do is wait. He shifts his gaze to the
gathering neighbors. A few lock eyes with him, shake their
heads. Kale turns back toward the house...
TIME CUT TO:
88 EXT. GILES' BACK YARD - GARAGE - NIGHT - SHORT TIME LATER 88
ON THE GARAGE DOOR - as it slowly raises up.
WIDER - The uniforms, standing with Kale, wait as the door
opens all the way.
(CONTINUED) D.J. Caruso
89.
88 CONTINUED: 88
A light comes on inside. Giles and Uniform #1 come out the
inner garage door as Uniform #2 Giles drags the BLUE BAG out
from the garage.
Sure enough, there's blood smears and visible strands of
matted hair near the top. Uniform #2 unties the bag, pulls
the sides away. Everyone gathers around, peers inside, then
suddenly yank themselves back at the horrible STENCH emanating
from within.
Kale eyes Uniform #1 who gestures him to look. Kale steps
toward the bag.
KALE'S POV - We peer into the bag to reveal the WIDE OPEN
eyes of a dead -- DEER.
GILES
(to the cops)
I hit it the other night. Thought
I'd save a few steps and get it off
the road myself. I was gonna bury
it sooner, but it's been a helluva
week --
KALE
So why'd you have to have the car
fixed in record time, huh? Because
it was covered in her blood --
GILES
(talking over him;
re: Mustang)
Because it's a classic, I got it out
of storage for the auto show, I needed
it in pristine condition.
UNIFORM #2
It's one of the biggest in the world.
(off Uniform #1)
The auto show.
All eyes on Kale. He slumps. Giles has an answer for
everything.
UNIFORM #1
I think we're done here. Sorry for
the intrusion, sir.
GILES
Please, I understand.
As the Uniforms lead Kale back down the driveway...
(CONTINUED) D.J. Caruso
90.
88 CONTINUED: (2) 88
KALE
(quietly; drained)
So where's my friend, then? Can
anyone tell me that? Does anyone
believe me?!
Kale looks over, sees PARKER, standing with JULIE whose eyes
are filled with it all: anger, concern, sadness...
JULIE
Kale, come on --
Kale turns back to Giles' house. Sees lights being turned
out inside. As Kale shifts his gaze forward, he locks eyes
with ASHLEY standing in the crowd of neighbors. She watches
him with concern. Kale turns away, drops his head as the
cops, Parker and Julie lead him away... a FLASH OF LIGHTNING
in the distance...
89 INT. LIVING ROOM - NIGHT - LATER 89
Kale sits on the sofa, staring off. He looks to the stairs
as Julie and Parker head down. Parker nods to Uniform #3
who's standing next to Kale. Uniform #3 meets Parker and
Julie at the front door. Julie quietly nods to them, opens
the door. A few more inaudible words are exchanged before
Julie gently closes the door behind them.
Julie heads back into the living room, sits across from Kale.
JULIE
(a beat; then)
I'm sorry, Kale.
Not the words Kale expected. He looks up --
JULIE (CONT'D)
I really am. You know, one thing I
always told myself was that no matter
what, I would always know what was
going on with my kid --
KALE
Mom --
JULIE
Let me finish -- because I have to
tell you something...
(then)
I feel like I let you down. I was
too caught up in my own grief to see
straight. I thought time would heal
this and taking a second job was...
the answer to keeping a roof over
our heads --
(CONTINUED) D.J. Caruso
91.
89 CONTINUED: 89
KALE
It was --
JULIE
(points to ceiling)
That's just wood. Do you hear me?
We're still not through this --
obviously -- it's gonna take more
time -- maybe a lot more time -- and
that's just gotta be okay, because I
know -- it'll get better.
(beat)
I want us to be us again. I want us
to be honest with each other like we
used to be. Is that possible?
KALE
Yeah. I just -- didn't think you'd
believe me --
JULIE
Listen to me. I am always on your
side. No matter what. It may not
look like it sometimes, but it's the
truth. And we'll get through this.
Okay?
Kale nods. He stands, goes to Julie and hugs her -- tight.
90 INT. KALE'S BEDROOM - NIGHT - LATER 90
Kale enters amidst a few more LIGHTNING FLASHES and distant
ROLLS OF THUNDER. He heads to his window, glances out at
Giles' house. Dark. The wind's picking up. Kale closes
his window, draws the shade, sticks his cell in the charger.
He collapses to the bed, stares at the roof over his head
for a beat -- then "LIKE A VIRGIN" suddenly BLARES ON HIS
CELL PHONE. Kale stares at it... then jumps from his bed,
races to the phone, rips it from the charger, flips it open --
ON THE PHONE'S LCD SCREEN - A text message: LOOK AT YOUR
SCREEN. The LCD SCREEN suddenly BLACKS OUT. The battery's
dead.
A wide eyed Kale puts the cell phone on his desk, slowly
shifts his gaze to his computer monitor -- a grainy image
suddenly pops on -- shaky at first -- then it finally
steadies, and clears up. A torso and face come into focus:
RONNIE, lying in the corner of a very enclosed space. Eyes
open, head tilted against the wall. Dead.
KALE
OH MY GOD --
(CONTINUED) D.J. Caruso
92.
90 CONTINUED: 90
Nearly hyperventilating, Kale leans closer to the screen,
sees a pile of clothes and a stray racketball trophy lying
next to Ronnie.
KALE (CONT'D)
Shit --
Kale realizes -- Ronnie's IN HIS CLOSET. Kale slowly turns,
eyes his closet door. He then steps toward it, reaches out --
and SLIDES THE CLOSET DOOR OPEN TO REVEAL --
RONNIE - lying dead in the corner.
KALE (CONT'D)
Ronnie --
Kale kneels down to Ronnie who suddenly POPS BACK TO LIFE!
RONNIE
BOO!
Kale screams, falls back to the floor as Ronnie cracks up.
MORE LIGHTNING FLASHES and THUNDER.
Kale staggers to his feet. Stunned. Not knowing whether to
hug Ronnie or beat the shit out of him.
RONNIE (CONT'D)
Dude, don't kill me, don't kill me --
I can explain --
KALE
How -- How long have you been here?
RONNIE
You should have seen your face --
(off Kale's glare)
I got out his front door. I got
lucky. I heard you yelling, but
dude, cops were everywhere --
KALE
Still, you could have --
RONNIE
What, popped out and said, "oh yeah,
officers, my friend's right, I was
just in that house, I'd gone to get
my cell phone out of the guy's car I
broke into earlier..." Are you
kidding me?
(CONTINUED) D.J. Caruso
93.
90 CONTINUED: (2) 90
KALE
(beat; then)
I get it.
Kale paces around, runs a hand through his hair as Ronnie
steps out of the closet, DV CAM in hand.
RONNIE
Dude, I am sorry. Can we just...
hug it out?
KALE
Why didn't Giles tell the cops someone
broke in? I mean, he did see you,
right?
RONNIE
You know, let's be positive for a
change. I thought he did, but maybe
he didn't. Or maybe he's a nice guy
afterall, and he didn't wanna make a
big deal of it, you know? I mean,
he's a guy, he was a kid once...
Kale eyes Ronnie.
KALE
What if he wasn't always a guy?
Ronnie eyes Kale for a beat, wondering if he's serious.
Then Kale cracks a smile. Ronnie cracks up.
RONNIE
But I do have to ask... what was in
the bag?
KALE
(as if it were obvious)
Dead deer.
Kale and Ronnie lock eyes a beat. Then crack up again.
Both laugh hysterically, slap happy as hell.
RONNIE
Naturally...
(re: DV CAM)
Hey, you want more evidence,
detective?
KALE
I was watching, remember?
Kale grabs the DV CAM from Ronnie -- Ronnie pulls it away.
(CONTINUED) D.J. Caruso
94.
90 CONTINUED: (3) 90
RONNIE
No, no, this is comedy, it deserves
big screen treatment.
Ronnie grabs some wires, starts hooking the camera up to
Kale's TV.
TIME CUT TO:
91 INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER 91
Kale and Ronnie watch the video of Ronnie's break-in. They're
cracking themselves up as we see --
ON THE TV - Ronnie's feet stumbling through the garage, the
camera sliding away off the trunk of the Mustang, Ronnie
diving for it.
RONNIE
Hey, I caught that.
KALE
So that's when the garage door started
closing.
RONNIE
Yeah, he must have heard me. He
came through the inside door --
(re: TV screen)
This is where I ducked low and
started...
ON THE TV - Ronnie's feet start motoring across the concrete
floor, racing through the doorway onto the hardwood floor...
RONNIE (CONT'D)
...hauling aaaass...
KALE
That's great.
ON THE TV - As before, we're mostly watching Ronnie's feet
as they scamper around Giles' house. Then -- the camera
falls away, slides across the floor toward that bookcase,
its POV -- FOR A SPLIT SECOND - aiming UNDER THE BOOKCASE.
RONNIE
Dropped it.
KALE
Yeah, I lost signal --
ON THE TV - This we didn't see earlier -- The camera is
quickly scooped up by Ronnie whose feet dart across Giles'
entry hall floor toward the front door.
(CONTINUED) D.J. Caruso
95.
91 CONTINUED: 91
We see Ronnie's hand reach for the knob.
RONNIE
But I never leave evidence behind.
ON THE TV - Ronnie's feet dart out Giles' front door and
into the darkness of the yard...
RONNIE (CONT'D)
And that's about when you started
yelling bloody murder and the shit
hit the fan.
The TV SCREEN goes black.
RONNIE (CONT'D)
(getting up)
I'm starving. All that running
around...
Ronnie heads from the room.
KALE
(re: video)
I'm gonna burn this.
Kale gets up, heads to the camera. About to eject the tape,
when a thought stops him. He pulls the camera off the TV,
sits on the floor, presses "PLAY", scans back through the
tape.
ON THE TV - The same footage. Nothing glaring stands out.
The camera falls from Ronnie's hand, slides to the bookcase.
Ronnie quickly scoops the camera up, keeps running...
KALE (CONT'D)
You're not fooling me, Giles...
Kale scans the tape back again, this time just to the point
where Ronnie drops the camera.
ON KALE - his eyes suddenly narrow -- did he see something?
Kale scans back again.
92 INT. KITCHEN - NIGHT - CONTINUOUS 92
Ronnie enters, starts rummaging through the fridge, pulls a
soda out, then goes for the cabinets.
93 INT. KALE'S BEDROOM - NIGHT - CONTINUOUS 93
ON THE TV - just as the camera slides to a stop at the
bookcase and aims underneath it, Kale FREEZES THE IMAGE.
Dark, grainy.
(CONTINUED) D.J. Caruso
96.
93 CONTINUED: 93
Kale grabs his remote, cranks the brightness all the way up
on his TV.
Kale scoots closer to the TV amidst another FLASH OF LIGHTNING
& MUCH LOUDER CLAP OF THUNDER.
ON HIS FINGER - pressing the FRAME BY FRAME ADVANCE button --
ON THE TV -- we start to see SOMETHING UNDER THE BOOKCASE...
Kale presses the button a couple more times.
ON THE TV - The next frames are blurred -- this is the point
where Ronnie grabs the camera back -- but --
KALE'S FINGER - presses the advance button one more time.
ON THE TV - The next frame POPS INTO FOCUS.
THERE, UNDER THE BOOKCASE, WE SEE A FADED BLACK STAMP ON THE
BACK OF A WOMAN'S HAND!
Kale's eyes widen as he keeps pressing the ADVANCE BUTTON...
CU - Kale's eyes are transfixed on the screen, his face just
inches away as a few more blurry frames FLIP BY then -- BAM --
THE FACE OF THE MISSING GIRL -- PATRICIA WALSH -- POPS ON
THE SCREEN IN SHARP FOCUS, HER LONG RED HAIR PARTIALLY
COVERING HER GHOSTLY, WIDE OPEN EYES THAT STARE RIGHT INTO
CAMERA!
Kale recoils in horror as LIGHTNING IGNITES his room.
KALE
(calling O.S.)
Ronnie, get your ass up here!
But a ROLL OF THUNDER drowns our Kale's voice --
94 INT. KITCHEN - NIGHT - CONTINUOUS 94
Ronnie throws a bag of popcorn in the microwave, punches the
clock. Presses start. As he reaches behind him for his
soda can on the island, a BASEBALL BAT suddenly enters frame
and SLAMS DOWN on RONNIE'S ARM -- FWACK! Ronnie WHIRLS AROUND
in excruciating pain to come face to face with
GILES
who swings the bat across Ronnie's face. Ronnie drops out
of frame behind the island.
D.J. Caruso
97.
95 INT. KALE'S BEDROOM - NIGHT - CONTINUOUS 95
KALE
Ronnie?!
No answer. Shit. Kale grabs the cordless off his bed, clicks
it on: DEAD. Another lightning FLASH. He grabs the tape
out of the camera, buries it in his closet, pulls out his
racketball trophy then creeps to the door, peers out --
KALE'S POV - The hallway's empty. Clear shot to the stairs.
96 INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS 96
Kale steps out, raises the trophy, ready for anything as he
approaches the stairs, glancing in every direction. He
reaches the railing, peers down. No movement.
97 INT. ENTRY HALL - NIGHT - CONTINUOUS 97
Kale heads down, slowly makes his way toward the kitchen,
peeks around the corner --
KALE'S POV - IN THE KITCHEN - The popcorn's POPPING in the
microwave.
98 INT. KITCHEN - NIGHT - CONTINUOUS 98
Kale rounds the island to the microwave, presses "STOP" then
glances down, sees Ronnie's body --
KALE
Ronnie -- MOM!!
Kale spins around as
GILES SUDDENLY APPEARS FROM THE SHADOWS.
More THUNDER. Kale whirls around, HURLS the trophy at Giles.
Giles knocks it away as Kale BOLTS for the back door, throws
it open. Giles pursues.
99 EXT. KALE'S BACK YARD - NIGHT - CONTINUOUS 99
Kale bolts out the door, but trips on a well-placed garden
gnome on the steps. Giles or the brats must have put it
there. Regardless, it slows Kale down. He staggers into
the yard, SCREAMING for anyone to hear. But the WIND and
THUNDER drown him out as
GILES
-- Now right behind him -- swings the bat and trips Kale up.
Kale falls just short of his kite string boundary line.
(CONTINUED) D.J. Caruso
98.
99 CONTINUED: 99
Like a quarterback pressing to the goal line, Kale lunges
forward, but --
GILES' HAND suddenly grab's KALE'S ANKLE just as the ANKLE
BRACELET is about to cross the line.
Kale screams, digs his hands into the earth, trying to pull
himself forward, but Giles is too strong. He DRAGS Kale
backward, then PINS him to the ground, pulls out a roll of
duct tape, quickly and efficiently wraps some around Kale's
mouth, hands and ankles.
Giles yanks Kale up, throws him over his shoulder and heads
back toward Kale's house.
100 INT. KITCHEN - NIGHT - CONTINUOUS 100
Giles quickly opens and shuts the door as Kale struggles
against him.
GILES
(hard in Kale's ear)
You finally wanna be an orphan?
Giles drags Kale into...
101 INT. LIVING ROOM - NIGHT - CONTINUOUS 101
... To reveal a bruised but conscious JULIE tied to the chair,
her arms wrapped behind it! Kale's eyes widen with rage as
he pulls free of Giles, drops to the floor, tries to roll
away. But Giles grabs him back up, gets in his face --
GILES
If you don't stop fighting me, I
will gut her like a fish.
Kale glares as Giles drags him into the...
102 ENTRY HALL - NIGHT - CONTINUOUS 102
...And pulls him up the stairs...
103 INT. KALE'S BEDROOM - NIGHT - SECONDS LATER 103
Giles SLAMS Kale down in his desk chair. Giles eyes the DV
CAM sitting on the TV. The tape slot's open.
GILES
So where's the tape?
Kale mumbles a muffled "FUCK YOU" under the duct tape.
GILES (CONT'D)
You're right, I'll find it later.
(CONTINUED) D.J. Caruso
99.
103 CONTINUED: 103
Giles sits on Kale's bed. Eyes the book on serial killers.
He picks it up, flips through it.
GILES (CONT'D)
It's funny, I hear a lot of authors
say their first books were easy,
it's the second one that's really
hard. Wonder if your dad thought
that.
(off Kale's glare)
See with me, it's the opposite. The
very first one was...
(sickly reminiscing)
...Very difficult... she was very
beautiful... fragile... a lot of
promise... the others in Texas were
flings, low class... Patty Walsh had
potential, but so did Amy. You saw
her, right? When you were watching
me? You should feel good, Kale, you
guys saved her life. I was headed
in to kill her when your girlfriend
showed up. So, you're a hero, Kale.
Savor the moment.
(tosses the book)
You have Microsoft Word?
(off Kale's questioning
look; re: computer)
Turn it on.
Kale doesn't move. Giles raises the bat:
GILES (CONT'D)
I can type, you know.
Kale turns to the computer, lifts his taped wrists to the
keyboard.
GILES (CONT'D)
"Dear Ashley... I killed Ronnie and
my mom because...
(re: Kale not typing)
What's wrong? Hey, you're the one
who couldn't leave me alone.
Truthfully, I'm sick of covering my
tracks. You think I like spending
my spare time looking over my shoulder
for people like you? Word of advice,
if you ever need to hurt someone,
think everything through. Because
you do get a taste for it, don't
you?
(MORE)
(CONTINUED) D.J. Caruso
100.
103 CONTINUED: (2) 103
GILES (CONT'D)
But damned if people aren't just
waiting to stand in your way... cops,
reporters, determined relatives,
nosy fucking neighbors... next thing
you know, you're on tilt, you can't
think straight, you're clocking your
teacher in front of the whole class,
me... I'm hitting a damned deer...
Man, that was some shitty luck.
(then)
Anyway, it's pretty clear how we've
gotta clean this up. The irony is,
you've done all the hard stuff.
Whaddaya think: "Troubled youth
finally snapped." Maybe because he
was jealous of his girlfriend, or
maybe he just couldn't deal with the
guilt from not saving daddy.
(off Kale)
Hey, you Googled me.
Giles steps away, turns back to the bed as Kale suddenly
does SNAP. He leans forward, grabs the LCD computer monitor
with his taped wrists, stands, whirls around, and HURLS it
at GILES, SMACKING HIM on the side of his head -- a one in a
hundred shot! Giles goes down.
But the forward momentum of Kale's throw combined with his
taped ankles causes him to lose his balance. Kale falls to
the floor, scrambles for the BASEBALL BAT just inches away --
GILES
staggers to his feet and charges Kale. Kale grabs the bat,
rolls around and swings up at Giles, WHACKING HIM IN THE
CHEST. Giles doubles over as Kale frantically plants the
bat on the floor, using it as a "cane" to pull himself back
to his feet. He HOPS toward Giles, raises the bat, swings
it, but Giles anticipates, grabs the bat, pulls it forward,
and REVERSE JABS KALE in the face! Kale staggers back, but
somehow keeps his balance and the bat. He spins around,
hops to the door into...
104 INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS 104
Kale rounds the corner and runs smack into ASHLEY. The
collision sends Kale back to the floor.
ASHLEY
KALE --
Ashley leans down to Kale. Kale gestures with his eyes and
head: BEHIND YOU! Ashley gets the message, whirls around
just as Giles GRABS HER. Ashley SCREAMS and knees Giles.
(CONTINUED) D.J. Caruso
101.
104 CONTINUED: 104
He drops her to the floor. Ashley scrambles for Kale, helps
him to his feet, pulls Kale back down the hall to...
105 INT. DAD'S OFFICE - NIGHT - CONTINUOUS 105
Ashley shoves Kale inside as she spins back, SLAMS the office
door in Giles' face, locks it. Giles BANGS on the door.
Ashley goes to Kale, RIPS the duct tape off his mouth. Kale
SCREAMS in PAIN as Ashley heads for the desk phone.
KALE
It's dead.
Ashley grabs a pair of scissors off dad's desk, cuts Kale's
ankles and hands free. Kale reaches down to the ankle
bracelet, furiously tugs at it.
ASHLEY
Let me try --
Ashley moves in, tries to cut it loose with the scissors as
Giles suddenly SLAMS SOMETHING against the door, trying to
break it down!
ASHLEY (CONT'D)
Where's your mom --
KALE
(tugging on bracelet)
Living room -- tied up -- he got
Ronnie -- in the kitchen --
(then; re: bracelet)
GODDAMN YOU!!
ASHLEY
(giving up with
scissors)
Okay, just -- I'll get your mom, you
figure out a way to call the cops --
KALE
No, I've gotta get her --
ASHLEY
Kale, you've gotta get outside, get
over the boundary -- do you hear me?
KALE
(beat; then; an idea
sparking)
Okay, but -- just follow my lead --
we're gonna need stuff --
(CONTINUED) D.J. Caruso
102.
105 CONTINUED: 105
Ashley and Kale glance around for weapons. Ashley pockets
the scissors, grabs a letter opener off dad's desk. Kale
finds his racketball racket and the ball. Pockets the ball,
slips the racket in the back of his shorts, then grabs the
baseball bat as he heads for the bookshelves near the door
that leads to the outside porch. He reaches up, runs his
fingers to the third book on the middle shelf, pulls it out,
flips it open to reveal a KEY that drops in his hand.
KALE (CONT'D)
Once I have his attention, you go
get her.
Ashley nods. Kale takes the key, heads to the porch door,
unlocks it with a quiet CLICK. He swings the door open,
steps out onto...
106 EXT. 2ND FL PORCH - NIGHT - CONTINUOUS 106
Kale raises the bat, swings it at the 2nd floor hallway window
that separates the interior of the house from the porch.
The window SHATTERS. Kale tosses the bat back to Ashley.
KALE
(to Giles O.S.)
We're out here, asshole!
There's a lull in the thunder. All becomes eerily quiet for
a beat as Kale waits for Giles to appear at the window. He
glances back at Ashley who ducks behind the wall inside dad's
office -- she glances to the office door. No more BANGING.
She shrugs to Kale: "where is he?"
Another beat, then suddenly -- a FLASH OF LIGHTNING reveals
GILES
Standing in the other porch doorway BEHIND KALE!
ASHLEY
Kale!
Kale whirls around just as Giles reaches out, grabs him by
the throat, pulls him off his feet and HURLS KALE through
the shattered window into the hallway!
ASHLEY (CONT'D)
NO! You son of a --
Ashley charges out onto the porch with the bat. Swings it
at Giles who promptly RIPS it from her hand and hurls it off
the porch. Ashley whips out the letter opener, spins around,
about to stab Giles, but he backhands her. Ashley falls,
SMACKS her head on the porch railing.
(CONTINUED) D.J. Caruso
103.
106 CONTINUED: 106
She drops to the floor, half conscious as Giles picks up the
letter opener, turns his attention back to the 2nd floor
hallway window --
HIS POV - THE HALLWAY - KALE'S GONE.
WHIP PAN to behind Giles -- REVEAL KALE - CHARGING OUT the
same porch door Giles just came out! Kale uses his FULL
BODY WEIGHT to SHOVE Giles back through the SAME BROKEN WINDOW
and into the hallway!
KALE
Ashley! Are you okay?
ASHLEY
I wanna kill him --
KALE
Stick to the plan --
Over this, Kale pulls Ashley to her feet. They share a smile
as Ashley ducks into the porch door leading to Kale's room.
Kale turns back --
KALE'S POV - A BLOODY GILES
Gets to his feet and heads toward the window. Kale turns
for the ladder, starts climbing up.
Giles pursues, steps out the window as we see Ashley, in the
b.g., appear from Kale's bedroom and race for the stairs!
107 EXT. ROOF - NIGHT - CONTINUOUS 107
Kale reaches the top of the ladder, steps onto the roof, but
Giles, from below, HEAVES THE LADDER UPWARD, tripping Kale.
Kale SLAMS down on the roof, smacks the back of his head.
KALE'S BLURRY POV - against a fury of lightning flashes,
Giles races up the ladder and steps onto the roof. Stalks
toward Kale.
Kale gets to his feet, draws the racketball racket from his
shorts, takes out the ball, assumes a professional looking
serving position and WHAM! Kale beams the ball at Giles --
and misses completely.
KALE
That was a warning!
Giles rushes Kale who wails on him with the racket. Giles
ducks, spins around, brings his fist up and punches Kale in
the chest.
(CONTINUED) D.J. Caruso
104.
107 CONTINUED: 107
Kale drops the racket. It slides away down the roof as Kale
doubles over. But Giles grabs Kale before he can fall. He
pulls Kale up off his feet, pulls him closer, gets in his
face. Kale summons some strength, tilts his head up and
HEADBUTTS GILES.
Giles stumbles back, pulling Kale with him. Giles SLAMS
down on the roof. He and Kale roll down the incline and
stop just short of the edge --
Kale looks over, spots his STEREO SPEAKER a few feet away.
108 INT. LIVING ROOM - NIGHT - CONTINUOUS 108
Ashley rounds the corner, heads to Julie.
ASHLEY
Hi, Mrs. Brecht, I'm Ashley --
(re: duct tape)
It's gonna hurt.
Julie nods as Ashley RIPS the tape off Julie's mouth.
JULIE
(not flinching)
Where's Kale?
109 EXT. ROOF - NIGHT - CONTINUOUS 109
Kale HURLS the speaker at Giles', SMACKING him hard. Giles
shakes it off, grabs the speaker wire --
WITH KALE - he gets to his feet, heads back up the roof as
Giles suddenly whips out the letter opener and hurls it like
a THROWING KNIFE at Kale.
The letter opener embeds itself in the back of Kale's thigh.
Kale screams, falls to his knees.
CU - Kale cringes from the pain as Giles, now right behind
him, wraps the SPEAKER WIRE around Kale's NECK and pulls.
Kale grabs for it as Giles chokes the life out of him. Kale
only has one chance. He reaches behind his leg, grabs the
embedded letter opener, RIPS it away, twirls it in his hand
and shoves it back into Giles' stomach!
Giles recoils as Kale flings himself away from the choke-
hold, falls back to the roof, rolls down and PLUMMETS to --
110 EXT. GARAGE ROOF - NIGHT - CONTINUOUS 110
Kale hits HARD, the wind knocked out of him. He looks over,
sees his racketball racket lying there. He grabs it, looks
back up.
(CONTINUED) D.J. Caruso
105.
110 CONTINUED: 110
KALE'S POV - Giles stands on the upper roof, smiles as he
brings up the letter opener.
Kale's eyes widen. He pulls himself to his feet, and sidearms
the racket up at Giles. The racket spins through the air
like a boomerang and miraculously smacks Giles in the hand,
knocking the letter opener away!
WITH KALE - he whirls around, races toward the edge of the
roof... and JUMPS.
ANGLE: FOLLOWING BEHIND KALE IN MID AIR, WE CRANE UP AND
OVER HIM PEERING DOWN TO REVEAL ASHLEY'S POOL!
ON THE ANKLE BRACELET - it FLASHES RED.
EXT. ASHLEY'S BACK YARD/SWIMMING POOL - NIGHT - CONTINUOUS
Kale drops into the pool with a tremendous SPLASH! He pulls
himself to the surface, peers up --
KALE'S POV - the roof -- Giles is gone.
Kale frantically swims to the edge, pulls himself out --
111 INT. KITCHEN - NIGHT - MOMENTS LATER 111
The kitchen door slowly pushes open. After a beat, Kale
quietly steps in, heavily armed with a swimming pool LEAF-
SKIMMING NET.
Another FLASH OF LIGHTNING illuminates the kitchen. Kale
cautiously rounds the island, glances down: Ronnie's gone.
He glances to the block of butcher knives -- empty.
Kale grabs a couple of table knives from the kitchen drawer,
opts to keep the leaf-skimming net as he makes his way out
of the kitchen and into...
112 INT. ENTRY HALL - NIGHT - CONTINUOUS 112
Breathing hard, Kale glances around, up the stairs -- No
sign of Giles. He rounds the corner into...
113 INT. LIVING ROOM - NIGHT - CONTINUOUS 113
Julie's GONE. Kale's eyes widen. He turns around as ASHLEY
suddenly jumps up from behind the sofa brandishing a BUTCHER
KNIFE! She exhales in relief at the sight of Kale who rounds
the back of the couch, sees Ronnie's body lying on the floor
next to the entire set of butcher knives.
KALE
Where's my mom?
(CONTINUED) D.J. Caruso
106.
113 CONTINUED: 113
ASHLEY
She went upstairs for you -- where's
Giles?
KALE
I don't know -- the cops should be
here any sec --
The doorbell RINGS. Kale and Ashley whip their heads to the
door. Kale throws a troubled glance out the window --
ASHLEY
What's wrong?
KALE
No flashing lights -- stay here --
Kale trades Ashley the net for the butcher knife. We then
FOLLOW KALE into...
114 INT. ENTRY HALL - NIGHT - CONTINUOUS 114
Still no sign of Giles -- Kale turns back to Ashley, then
heads to the front door --
PEEPHOLE POV - Parker.
Kale swings the door open.
PARKER
Kale, what's going on now?
KALE
Parker, where's the cavalry?!
PARKER
I told 'em don't bother, you were my
responsibility --
KALE
Parker, you need to get them here
right now -- Giles is --
GILES (O.S.)
Evening.
Parker turns to see Giles casually walking up the front steps.
KALE
PARKER LOOK OUT, HE'S THE --
As Parker turns, Giles suddenly GRABS HER, spins her around
and TWISTS HER NECK. Parker drops forward into the entry
hall.
(CONTINUED) D.J. Caruso
107.
114 CONTINUED: 114
Kale stumbles back inside the door, tries to SLAM it closed,
but Giles overpowers Kale, shoves the door open, knocking
Kale to the floor. The butcher knife slides away under a
table.
Giles enters, kicks Parker's body out of the way and closes
the door. He steps toward Kale as Ashley, from O.S. suddenly
drops the LEAF-SKIMMING NET OVER HIS HEAD and furiously YANKS
Giles back to the floor!
Kale gets to his feet, grabs a vase off the entry hall table
and SMASHES it over Giles' head. Giles rolls away, only to
be KICKED HARD in the face by Ashley.
Kale and Ashley TAG TEAM Giles. But Giles finds an opening
and elbows both Ashley and Kale back to the floor. Kale
scrambles for the butcher knife back down the entry hall.
Giles gets to his feet, pounds after Kale who slides the
butcher knife out from under the table. But Giles suddenly
STOMPS down on Kale's hand.
Giles lifts his foot up. Kale pulls his hand away. Giles
kicks the knife away, grabs Kale up, SLAMS him against the
staircase banister, splintering it.
Kale drops back to the floor. Giles leans down to pick him
up when the BUTT OF A SHOTGUN suddenly SLAMS into the back
of Giles' head! Giles tumbles forward, spins around to see
JULIE
standing on the staircase with a 12-GAUGE SHOTGUN -- KABOOM!
Julie BLOWS GILES BACK INTO THE WALL! -- And THAT'S WHERE
HE STAYS.
Julie races down to Kale, hugs him tight. Ashley comes to,
slowly makes her way over and joins the huddle...
DISSOLVE TO:
MONTAGE
115 EXT. NEIGHBORHOOD - DAWN 115
- Police, squad cars, ambulances surround Kale's and Giles'
houses...
- CRIME SCENE TECHS tape off Giles' entire back yard...
116 INT. LIVING ROOM - DAWN 116
- SUITED detectives jot notes as they question Kale, Ashley,
Julie...
(CONTINUED) D.J. Caruso
108.
116 CONTINUED: 116
- Kale hands the detective the VIDEO TAPE...
117 INT. GILES' HOUSE 117
- DETECTIVES and CRIME SCENE TECHS slide the bookcase away
to reveal the body of the dead club girl... CAMERAS FLASH...
118 INT. KITCHEN - DAY 118
- Kale sits on the island as CASE OFFICER #2 removes the
ankle bracelet. Julie and Ashley watch in the b.g...
119 EXT. GILES' BACK YARD - DAY 119
- Crime scene techs excavate portions of Giles' back yard...
- A crime scene tech waves his colleagues over, points down...
- GLOVED HANDS of techs gently clear the damp earth away to
reveal an ARM and HAND... and matted strands of RED HAIR...
120 EXT. GILES' FRONT YARD - DAY 120
- A REPORTER stands at the end of Giles' driveway as CRIME
TECHS carry body bags to the coroner's van in the b.g...
REPORTER
...the body of Partricia Walsh,
missing since last week, has been
recovered along with the remains of
at least three other women.
Authorities say Giles meticulously
maintained his yard, mowing the lawn
routinely in order to avoid the
formation of sinkholes which could
have exposed his terrible secret...
HARD CUT TO:
121 INT. COUNSELOR'S OFFICE - DAY 121
A cleaner-cut Kale sits across from a COUNSELOR.
KALE
(beat)
He was my best friend. We always
talked about what guys talk about...
sports, women... food... We were
talking about the freakin' fish --
this huge, amazing black bass we'd
just caught -- and how we'd be eating
it for a week... the next thing I
know -- I can't hold on... and he's
letting go... I was so pissed at
(MORE)
(CONTINUED) D.J. Caruso
109.
121 CONTINUED: 121
KALE (CONT'D)
him, I was so -- he's the one who
left, he's the one who gave up, you
know? -- But that's b.s. See, the
truth is, my dad -- He saved me.
122 INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY 122
CU - The doorknob. A hand slowly enters frame.
WIDER TO REVEAL Kale and Julie stand outside the door that's
now been fixed.
JULIE
You ready?
123 INT. DAD'S OFFICE - DAY - CONTINUOUS 123
Kale and Julie enter with two large boxes, set them on the
floor. They both take breaths, then -- start sifting through
dad's things, deciding which items to keep and which to box
up... As they carefully consider each one we slowly PULL
BACK and
HARD CUT TO:
BINOCULAR POV - Giles' house. The yard's been completely
put back together. We are...
124 INT. KALE'S BEDROOM - WEEKS LATER 124
CU - KALE intently watches. Then:
KALE
Movement.
Ashley joins him at the window.
THEIR POV - Julie, wearing her realtor business suit, walks
a YOUNG COUPLE up Giles' driveway and into the back yard...
ASHLEY
Why's your mom doing this again?
KALE
She's whacked. Plain and simple. I
think she thought it'd be some sick
challenge or something -- hey,
commission's the same I guess...
They watch as Julie points out the yard to the couple. The
couple turns back to the house. Julie suddenly spins around
and gives a quick sotto "thumbs up" to Kale and Ashley!
(CONTINUED) D.J. Caruso
110.
124 CONTINUED: 124
KALE (CONT'D)
No way. She can't be serious.
ASHLEY
Hey, if anyone can spin a psycho
house into the opportunity of a
lifetime, I'd bet on your mom any
day of the week.
KALE
(re: the couple)
Fine, but we still have to seriously
question the yayhoos buying the place.
ASHLEY
Whaddaya think, another stakeout?
KALE
(tossing the binoculars)
Screw that. My mom has another half
hour over there at least.
Kale pulls Ashley back to the bed. They kiss, but then
suddenly stop -- sensing something O.S. They both slowly
shift their heads to see --
THEIR POV - Ronnie, with a head bandage, stands in the
doorway, aiming his DV camera straight at them.
RONNIE
(don't mind me)
I'm not even here.
Off this we --
SMASH TO BLACK.
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