I AM NUMBER 4
Written by
Alfred Gough & Miles Millar
1/08/10
The events in this film are real.
Names and places have been changed to protect the Lorien Six,
who remain in hiding.
Take this as your first warning. Other civilizations do exist.
Some of them seek to destroy you.
FADE IN:
A BILLION STARS
pinprick the velvet-black sky that stretches over a vast
sleeping jungle. A fingernail moon silvers the whispering
canopy while gentle tendrils of steam rise.
TITLE ON SCREEN: REPUBLIC OF CONGO, AFRICA.
EXT. JUNGLE - NIGHT
CAMERA DRIFTS ACROSS the eternity of treetops until it FINDS
A BUNGALOW.
It's 20x20 square, with a wraparound porch and simple wooden
shutters. The structure is hidden in a clearing that's been
crudely hacked out of the sweaty wilderness.
INT. HUT - NIGHT
Two beds draped in mosquito nets sit on opposite sides of the
space. A TEEN BOY sleeps in one and a MIDDLE-AGED MAN lies
in the other. Their ebony skin glistens in the swampy heat.
The numbing THROB OF INSECTS fills the silence until
THE DOOR SOFTLY RATTLES.
The Teen's eyes fly open. Fear grips his face as he looks
over at the Man, who is now upright and awake. They hold
their breath, listening over the DRUMMING CHORUS.
ANOTHER RATTLE.
It's louder this time. Unmistakable. The Teen watches as
the Man pulls a crystal-handled dagger from under his pillow
and stealthily creeps to the door. The Man cautiously leans
in and peers through the bamboo slats.
WHAT HE SEES: The empty porch. No sign of life.
Relieved, he turns back, opens his mouth to speak when his
face contorts. He looks down and sees the tip of
A SERRATED METAL BLADE
protruding from his chest. As the sword is viciously
protracted through the door, the Man meets the Teen's haunted
eyes and whispers his last, desperate word...
MIDDLE-AGED MAN
Run!
SMASH CUT TO:
2.
EXT. JUNGLE - NIGHT
The Teen's naked feet pound the hot, wet earth as he sprints
through the maze of trees. Flecks of moonlight ricochet off
the crystal pendant that dangles around his neck. He moves
impossibly fast. Faster than any human could.
A MONSTROUS HOWL
ECHOES as something otherworldly catches his scent and begins
thrashing in pursuit. The Teen's face tightens with dread
and the SHOUTS of his pursuers hammer his ears.
He doesn't look back, willing himself to survive. He races
up a verge and fearlessly launches himself off the edge of
A 100-FOOT-WIDE RAVINE!
GOD SHOT LOOKING DOWN as the Teen leaps across the abyss. He
kicks air as he arcs and finally touches down on the opposite
lip. Chest heaving, he sees the hideous silhouette of
A HULKING BEAST.
It's called a Piken and skitters to a stop on the other side.
It utters a chilling BANSHEE WAIL of frustration. Relieved,
the Teen turns to make his escape when
A HAND
wraps around his throat. He is effortlessly hoisted by a
TOWERING MAN with skin as cold and pale as alabaster.
THIS IS A MOGADORIAN.
He wears the long red coat of a Commander. We catch the
briefest glimpse of his cruel magenta eyes as they scan the
geometric symbol engraved on the Teen's pendant. Silhouetted
against the giant jungle moon, he triumphantly raises
A SWORD.
Its serrated blade ignites with silver flame as it sweeps
towards the Teen. The boy's DEATH CRY echoes as the CAMERA
ZEROES IN ON the pendant that glows brilliant-bright.
FORM CUT TO:
THE SAME SYMBOL.
It glimmers to life on the ankle of another TEEN 10,000 miles
away. His name's DANIEL and he's in the middle of a wild jet-
ski race with TWO BUDDIES.
TITLE ON SCREEN: BIG PINE KEY, FLORIDA, USA.
3.
The trio crisscrosses the turquoise sea while a party rages
on the beach.
Daniel makes a kamikaze move, whips his jet ski past his
opponents and victoriously pumps his fist. But his moment of
triumph is cut short. His face contorts in agony as he feels
THE SYMBOL
searing into his skin. As he leans forward to grip his
ankle, he cartwheels off the jet ski and viciously body-slams
across the water.
EXT. UNDERWATER - DAY
LOOKING UP as Daniel crashes into view. Needles of light
flicker from the symbol. It's cauterizing into his flesh
like a brand.
EXT. BEACH - DAY
Daniel stumbles through the surf and collapses onto the sand,
clutching his ankle. He rolls onto his side as a CROWD OF
PARTYING TEENS gathers. A BLONDE GIRL leans down to help.
BLONDE GIRL
Daniel, what's wrong? Did you
break your ankle?
But as she turns him over, she sees the light leaking from
between his fingers and reels back.
BLONDE GIRL
Oh my God.
He stares up into the crowd's fearful faces, then staggers to
his feet and takes off running.
EXT. INTERSTATE - DAY
The busy road runs parallel to an expanse of ancient pines.
Through the trees, we CATCH THE SHUTTER IMAGE of a figure
outrunning the hurtling vehicles.
EXT. COASTAL FOREST - DAY
Trees whip past as Daniel sprints down a sandy track. The
pendant that knocks against his chest was carved by the same
hand as the African Teen's, but the symbol is unique. He
peels off to the right and bursts out onto a long drive.
A STILT HOUSE
sits at the end. It's cake-frosting pink and is built right
on the edge of a coral-white beach.
4.
EXT. STILT HOUSE - DAY
The door flies open and Daniel stands on the threshold.
HENRI looks up from his bank of laptops that scroll with news
feeds. He is decades older than his suntanned face betrays
and you'd be way off if you guessed his accent was French.
DANIEL
Number 3 is dead.
Henri's eyes narrow with urgency. He is immediately on his
feet, he kneels at Daniel's side and studies the symbol on
the teen's ankle. It has stopped glowing but is painfully
raw. Directly below this fresh wound are
TWO OTHER GEOMETRIC BRANDS.
They are the same size, but each symbol is subtly different.
Time has transformed them into raised, snake-smooth scars.
Henri's penetrating eyes look up at the shell-shocked teen.
HENRI
Did anybody else see this?
OFF Daniel's panicked nod...
CUT TO:
INT. BEDROOM - STILT HOUSE - DAY
A GECKO
skitters across the ceiling, its glossy black eyes watch as
Daniel frantically stuffs his clothes into a duffel bag. The
walls are bare. No photos, no posters, no personality.
Henri enters, holding a crate of computer cables.
HENRI
Taillights in five minutes. What
we can't carry --
DANIEL
-- we burn. I know the drill.
EXT. STILT HOUSE - DAY
TIGHT ON A BOX. It's exquisitely carved and inlaid with an
intricate geometric design.
Henri carefully hides it under the driver's seat of an old
Jeep Wagoneer. It's the kind with wooden trim. He looks at
Daniel who feeds homework assignments into a roaring FIRE.
HENRI
Time to go.
5.
Daniel clicks the SIM card from his cell phone, snaps it in
two and drops it into the fire. Bitter, he takes one last
look at the glittering azure sea, then climbs into the Jeep.
As the engine HUMS to life, CAMERA FOLLOWS
THE GECKO.
It darts up the fender, squeezes into the jamb of the trunk,
and Houdinis into the vehicle with a flick of its tail.
CUT TO:
EXT. CAUSEWAY - DUSK
The Jeep powers across the long elevated bridge. The dying
sun tints the clouds and the sky in violent apocalyptic hues.
DANIEL (V.O.)
This is the part I hate the most.
The running. But it's the only
thing in my life that's real. The
rest is a lie. My name. My
birthday. Even Henri. People
think he's my father. He's not.
His job is to keep me alive.
INT. JEEP - NIGHT - MOVING
Henri's eyes scan the rear view, on constant vigil. The
speedometer never brushes past 60. Daniel has his head
against the window, brooding, listening to an iPod.
DANIEL (V.O.)
We are hiding from the Mogadorians.
A brutal race that wiped out our
entire planet, Lorien.
EXT. USED-CAR LOT - DAY
Plastic flags whip overhead. Daniel leans against a silver
SUV and watches Henri negotiate with the DEALER.
DANIEL (V.O.)
Only nine children escaped the
genocide. We were each given a
number and sent here to hide. I
don't know where the others are. I
only know when one of them is
murdered.
INT. BATHROOM - MOTEL - NIGHT
Daniel sits on the edge of a bathtub. He gently unwraps the
bandage that covers his ankle and fearfully inspects the neat
scab that has formed over the wound.
6.
DANIEL (V.O.)
I got the first scar when I was
eight. I woke up screaming. We
lived in Vermont. The second was
on a Tilt-a-Whirl at a fair in
Michigan. I was 12. Yesterday was
the third.
His finger traces the lines of the other two scars.
EXT. INTERSTATE - DAY
The lush tropical landscape has browned into flat, dormant
farmland. The silver SUV charges through the bleak monotony.
DANIEL (V.O.)
Because of the spell our Elders
cast, the Mogs can only kill us in
order. That's the reason I've
survived this long. But our enemy
is relentless.
INT. SUV - NIGHT - MOVING
Daniel is asleep with his earphones on. Henri glances over,
his mask of certainty momentarily slips. He looks like a
soldier heading into a battle he knows cannot be won.
DANIEL (V.O.)
Now their hunt has turned to me. I
am number 4.
CUT TO:
EXT. REST-STOP DINER - NIGHT
A tired neon sign illuminates the big rigs that RUMBLE past,
headed to destinations unknown.
INT. REST-STOP DINER - NIGHT
Daniel sullenly stares at a stack of untouched pancakes.
Henri slides into the booth, all business.
HENRI
Florida's clear. I sent a letter
to the school and there's nothing
in the papers.
DANIEL
I didn't even get a chance to say
goodbye.
Henri keeps going, passes an envelope across the table.
7.
HENRI
New IDs.
Daniel pulls out his birth certificate, reads the name.
DANIEL
Just when I think you can't get any
less original, you lower the bar.
HENRI
I'm not interested in originality.
I'm interested in untraceable.
There are 335,321 John Smiths in
the United States.
(Note: from this point on, Daniel will be called John.)
John looks at him, then abruptly gets up and storms away.
Henri drops $20 on the table and calmly heads after him.
INT. ARCADE - REST STOP - NIGHT
A row of ancient arcade games blinks. John angrily stabs the
buttons of a Space Invaders machine as Henri approaches.
They are alone. John's eyes never leave the video screen.
JOHN
It's been so long since the last
scar.
HENRI
You got lulled into a false sense
of security. That's my fault.
John struggles to keep his temper in check.
JOHN
I liked Florida. I liked having
friends. I liked feeling normal.
Henri's face softens with paternal compassion.
HENRI
I wish that you could have a normal
life -- but you can't.
Only now does John turn and face him. His eyes blaze with
frustration.
JOHN
Then why fake it? Why not just go
hole up in the wilderness.
HENRI
That's exactly what Number 3 did.
8.
John looks at him, confused. Henri pulls up an article on
his iPhone and hands it to John.
HENRI
It's from an African news site. A
man and his son went missing two
nights ago. The locals think they
were taken by strange beasts.
John understands the implication.
JOHN
Piken.
HENRI
The Mogadorians are natural-born
hunters. Blending in is our best
protection.
JOHN
So we just keep moving from town to
town?
HENRI
Until I say otherwise -- yes.
John waits as a TRUCKER passes through the room. His voice
softens but never loses its intensity.
JOHN
I want to be from someplace, Henri.
HENRI
You are.
JOHN
Lorien's your home, I don't even
remember it.
John's tone rubs Henri the wrong way.
HENRI
Like it or not, it's your home too.
You have a responsibility to those
who died.
INT. SUV - NIGHT
Henri and John climb in.
JOHN
I want a say in where we live.
(off Henri's face)
You already picked it, didn't you?
9.
Henri REVS the ENGINE to life.
HENRI
Cheer up, you're going to be living
in Paradise.
CUT TO:
A frigid sheet of RAIN POUNDS the sign that's planted on the
side of this narrow stretch of rural blacktop:
“WELCOME TO PARADISE, OHIO. POP. 5,243”
The silver SUV streaks past, its wipers working overtime. It
kicks up a spray as it speeds down Main Street. The dinky
storefronts are garishly decorated for Halloween.
EXT. WOODS - DAY
The leaves are washed in a thousand shades of gold. The SUV
barrels along the drive that twists through the woods.
INT. SUV - DAY - DRIVING
Henri pulls up in front of a small house. It sits by itself,
surrounded by trees. Water sluices off the weather-worn
garage in the yard behind it. A WOMAN steps out of a minivan
to greet them.
JOHN
She looks even perkier than the
realtor in Florida.
A warm smile graces her round face and she's clutching a
fruit basket. For the record, she is called ANNIE.
HENRI
What's your name?
JOHN
John Smith.
HENRI
Where are you from, John?
JOHN
Arizona.
HENRI
Why did you move to Paradise?
JOHN
Because you're an asshole.
John waits for a reaction but doesn't get one...
10.
JOHN
Because my dad needs peace and
quiet to research his book.
Henri nods and smiles wryly.
HENRI
This was a lot easier when you were
12.
INT. HOUSE - DAY
The front door swings open and Annie proudly escorts Henri
and John inside.
ANNIE
Here we are. Home sweet home.
They scan the faded interior. The place is in desperate need
of a makeover. A grandfather clock pensively TICKS at the
end of the hall. Annie remains relentlessly optimistic.
ANNIE
First impressions?
HENRI
It's perfect.
Annie places the fruit basket on the dining table and begins
turning on the lights.
JOHN
That's one word for it.
Stewing, John exits into the hall with his duffel bag. Annie
reads the strained dynamic.
ANNIE
I feel your pain. I have a
daughter his age. Apparently, I
ruin her life on a daily basis.
John steps back in, holding a sun-faded poster featuring NFL
great Bernie Kosar.
JOHN
This guy was covering a hole in my
wall.
Annie's cheeks blush with annoyance.
ANNIE
I told the handyman to patch that
before you arrived. I'm so sorry.
11.
Henri is all charm, gently leads her to the front door.
HENRI
Don't you worry about it.
She nods, grateful.
ANNIE
We'll knock it off the rent. Keep
the poster, Bernie Kosar brings
good luck here in the Buckeye
State.
CUT TO:
EXT. HOUSE - NIGHT
The rain has stopped. The wind RUSTLES the trees. John
lifts out the last box. As he closes the trunk, he doesn't
notice the hitchhiking gecko hotfoot it out.
INT. LIVING ROOM - HOUSE - NIGHT
Henri is busy setting up his computer station. John dumps
the box on the floor.
JOHN
That's the last of them. I'm
hitting the sack.
HENRI
I need a new photo first.
John crosses and stands against the wall.
HENRI
Say Paradise.
John gives him a withering look. Henri flashes off a shot.
The camera is cabled to one of the laptops.
TIGHT ON LAPTOP: The image of John pixelates onto a digital
grid and a face-recognition program begins to map his facial
structure.
Henri turns to another laptop.
HENRI
I've imputed the new search words:
Daniel Jones. Big Pine Key.
Sunset High School. You think of
any others?
JOHN
Yeah, this place sucks.
12.
Henri swivels to face him.
HENRI
If there's a story or picture of
you on the internet, this program
will find it. Our enemy doesn't
know who you are -- I want to keep
it that way.
John nods, knows he's being a jerk.
JOHN
Sand Dollar Beach, that's where we
were jet skiing.
Henri types it in when something SCRATCHES at the door.
Their heads instantly turn towards the sound. Tense SILENCE.
SLOW PUSH IN ON THE DOOR as another SCRATCH echoes.
Henri is on his feet. He flicks off the lights and silently
signals John to retreat down the hall. With the cool air of
an assassin, Henri unzips a duffel bag and pulls out a sleek
crystal-handled dagger. As he steps to the door...
INT. CLOSET - JOHN'S BEDROOM - NIGHT
... John crouches in the dark, clutching a baseball bat.
Suddenly, the light in the bedroom buzzes back on. He holds
his breath as the door swings open. He looks up and is
relieved to see Henri.
HENRI
I found our intruder -- he's a
little small for a Mogadorian.
At that moment,
A BEAGLE
slips between Henri's legs. It cocks its head, studies
John's face, then pads forward and licks his cheek.
INT. KITCHEN - HOUSE - NIGHT
The dog greedily laps a bowl of milk.
JOHN
He's starving, doesn't have any
collar or tags.
HENRI
Must have been dumped.
13.
JOHN
You know, another pair of eyes and
ears watching the house wouldn't be
a bad thing.
Henri considers the request, nods. John playfully ruffles
the dog's head.
HENRI
What are you going to call him?
JOHN
Since I need all the luck I can get
-- how about Bernie Kosar?
CUT TO:
INT. LIVING ROOM - HOUSE - MORNING
John enters, dressed in black, ready for his first day of
school. He dumps his backpack on a chair. Henri places a
plate with an omelette and perfectly browned hash browns in
front of him.
JOHN
Wow. You outdid yourself. What's
up?
Henri lifts a red backpack into view. John stares at it.
JOHN
I already have a backpack.
HENRI
This one has five days of rations,
spare clothes, cash and a handheld
GPS. Keep it with you at all
times.
JOHN
Henri, come on.
HENRI
Game's changed. You're in the
crosshairs now. You have to be
ready to leave at a moment's
notice. With or without me.
John stares at the backpack, takes in this new reality. He
pushes the plate away, snatches the backpack and heads out
the door. Henri stares at the omelette, tastes a pinch of
hash browns, then puts the plate on the floor on his way out.
It takes Bernie 2.5 seconds to race over and start to eat.
14.
EXT. PARADISE HIGH SCHOOL - DAY
Jack-o'-lanterns stare out from the “HALLOWEEN BLOCK PARTY”
banner strung across the red brick facade. Henri drives
away. John slides the red backpack onto his shoulder when he
hears a FAMILIAR BARK. He turns and is surprised to find
BERNIE KOSAR.
The little dog is sitting by the flagpole wagging his white-
tipped tail. John crosses to him, baffled.
JOHN
Bernie, what the hell... were you
hiding in the car?
He scoops the dog into his arms.
FEMALE VOICE (O.S.)
Hey, I was about to take a picture
of the little guy.
John turns and finds
SARAH HARTE.
She's his age and is holding an old 35mm Nikon. There is
something about her unforced beauty that is instantly
enchanting. John shuffles, uncharacteristically nervous.
JOHN
He's not supposed to be here.
(TO BERNIE)
Go home. Now.
Bernie hops out of his arms and obediently runs towards home.
SARAH
He's really well-trained. How long
have you had him?
John turns away.
JOHN
Sorry about your shot.
SARAH
No worries.
He begins walking towards the entrance.
SARAH
You just moved into the house on
Old Mill Road. It's John, right?
15.
John swings back, concerned.
SARAH
Don't worry, I'm not stalking you.
My mom said she rented it to a guy
with a son my age. Since I know
every other face on this quad, that
had to be you.
(BEAT)
I'm Sarah.
He nods.
SARAH
Where are you from?
JOHN
Someplace warmer.
SARAH
I don't think that qualifies as an
actual answer.
JOHN
I need to register.
She raises her camera to snap a shot of him.
JOHN
Whoa. What are you doing?
SARAH
Capturing your first day, even
though you're technically six weeks
late.
JOHN
Please don't point that at me.
SARAH
Afraid the camera's going to steal
your soul?
She lifts the viewfinder to her eye, adjusts focus. Annoyed,
he covers the lens with his hand.
JOHN
What's your problem? I said no.
SARAH
It's only for the yearbook.
John regains his composure.
16.
JOHN
I'm not big into having my picture
taken. Sorry.
As he heads away, Sarah watches, intrigued. CAMERA TRACKS TO
REVEAL MARK JAYNE monitoring the encounter. He's the star
quarterback and his chiselled jaw tenses with jealousy.
INT. HALL - PARADISE HIGH SCHOOL - DAY
Loaded with textbooks, John instinctively bows his head as he
passes the black eye of a hall security camera and steps to a
locker. He reaches for the combination lock when
A BACKPACK
viciously sideswipes him. The textbooks scatter across the
checkerboard linoleum. John sees the culprit is Mark Jayne,
who offers him a taunting grin. John fights his urge to
react and watches as Mark struts over to his POSSE OF JOCKS.
VOICE (O.S.)
Welcome to Paradise, irony not
included.
John looks at the teen standing two lockers down. He's got a
battered skateboard tucked into his backpack and wears an
Army surplus jacket. This is SAM GOODE -- genius by birth,
slacker by choice. He nods after Mark.
SAM
His name's Mark Jayne.
Quarterback, sheriff's son, he's
three years into the best four
years of his life.
John begins retrieving the fallen books. Sam helps.
SAM
Do yourself a favor -- stay off his
radar.
JOHN
Didn't know I was on it.
SAM
You were talking to Sarah Harte.
JOHN
She was talking to me.
SAM
Mark and Sarah have been exclusive
since Freshmen year.
17.
John looks down the hall and sees Mark wrap his arm around
Sarah's shoulder.
SAM
If there's another guy in her
airspace, he shoots them down. You
got a warning shot.
John piles the books into his locker.
JOHN
Maybe I'll fire back next time.
SAM
Look, you're new, so let me tell
you how things work in this
misnamed backwater. Football
players are gods -- the rest of us
are mere mortals. If you want to
survive, keep your head down and
don't make waves.
JOHN
You sound like my dad.
SAM
Obviously a wise man.
(BEAT)
I'm Sam by the way.
Sam extends his hand. John doesn't take it.
JOHN
Thanks for the download.
As he SLAMS his locker shut...
CUT TO:
EXT. FOOTBALL STADIUM - PARADISE HIGH - DAY
It's an impressive structure with wraparound bleachers. The
Junior gym class jogs around the track. John hangs in the
middle of the pack, with his hoodie up, blending in.
They pass the GIRLS who are stretching on the pristine field.
Sarah's eyes drift towards John. The COACH blows a whistle.
COACH
Alright, people. Let's hit the
gym.
The assembled teens GROAN and fan off towards the mouth of a
tunnel that stares out from the base of the bleachers.
18.
INT. GYM - PARADISE HIGH - DAY
John emerges from the tunnel via a door by the stage. Some
of his classmates are on the court, passing and dribbling.
COACH
Okay, half court, three on three.
Girls have this basket, boys have
that one.
CUT TO:
Two simultaneous games are in progress. John sits on the
sidelines waiting his turn. He avoids eye contact with Sarah
who is sitting in the shadow of the basket. However, he does
notice Mark Jayne enter and approach her.
COACH
New kid, you're up. Show me what
you've got.
John steps onto the court and waits for the ball to come his
way. He steals a glance and sees Sarah and Mark arguing. A
blur of orange. John swings back and catches the ball.
Just as he shoots, he's distracted by Sarah's upset voice.
THE SHOT
goes wild, misses the basket but hits the glass backboard
with such force that it
SHATTERS.
Mark and Sarah are inadvertently forced to separate as shards
rain down. All eyes turn to John, who's annoyed at his
momentary lapse. TEENS HOOT. The Coach BLOWS his whistle.
COACH
Enough! Hit the showers.
(TO JOHN)
LeBron, grab a broom.
As the gym empties, John looks over and catches Sarah
watching him. OFF this silent exchange...
CUT TO:
INT. HOUSE - DAY
THE INTRICATELY CARVED BOX
is clutched in Henri's hands. He heads down the hall and
stops in front of the grandfather clock. Its tarnished
pendulum sways. He unlocks the glass panel and slots the Box
out of sight behind the clock's brass face.
19.
Satisfied with the hiding place, he locks the front and takes
the key. When he turns back, he finds
BERNIE KOSAR.
The dog is studying him with his head cocked.
HENRI
Let's keep this our little secret.
OFF Bernie's inquisitive eyes...
CUT TO:
INT. CAFETERIA - PARADISE HIGH - DAY
John joins the line. He sees Sarah sitting by herself,
inspecting a photographic contact sheet. His view is blocked
by Sam. John rubs his hands which are oddly sweaty.
SAM
First day here and you're already
destroying school property. So
much for not making waves.
John moves past him and grabs a tray. He's flushed and his
face is now hot and red.
JOHN
It was an accident.
SAM
I hear the real spectator sport was
Mark and Sarah's blowout.
John wipes his brow, distracted.
SAM
Dude, you okay?
JOHN
Fine.
At that moment, Mark Jayne and his buddy, KEVIN, cut in front
of them. Annoyed, John taps Mark on the shoulder.
MARK
You got a problem?
JOHN
Line starts back there.
MARK
Football players get priority.
20.
JOHN
Where's that posted?
MARK
Unwritten rule.
(RE: SAM)
I'm surprised your boyfriend didn't
tell you.
Sam puts his hands up and backs away. Mark smirks at John.
MARK
If you don't know your place around
here, things can get rough.
John holds his ground.
JOHN
In that case, I guess I better ask
you where I should sit. I was
thinking about grabbing that chair
next to your girlfriend.
In a flash of anger, Mark whips up his tray, hammers it into
John's chest, knocking him to the floor.
MARK
You want to talk trash? Let's see
you back it up.
John tries to stand, but is suddenly overcome with a wave of
pain. He looks down at his hands and is alarmed to see
LIGHT
blooming from his palms! He quickly balls them into fists,
extinguishing the light from view.
MARK
Get up!
SILENCE has fallen. Still clenching his fists, John rises
and stumbles out into the hall. OFF Sarah's concern as she
watches him exit...
CUT TO:
EXT. PORCH - HOUSE - DAY
Henri is on a ladder, adjusting a hidden surveillance camera
above the front door, when Bernie starts BARKING. It's an
anxious, urgent BARK.
21.
INT. HOUSE - DAY
Henri steps inside and sees the dog is BARKING at --
THE GRANDFATHER CLOCK.
A shaft of white light blooms from within. The shadow of the
swaying pendulum cuts across Henri's face. As he sprints for
the door...
CUT TO:
INT. HALL - PARADISE HIGH - DAY
Disoriented, John staggers down the hall. Sam catches up.
SAM
Dude, hold up!
John leans against the wall, keeping his hands out of sight.
SAM
You look like crap. I'll get the
nurse.
But as Sam runs off, John heads in the other direction.
CUT TO:
EXT. ROAD - DAY
Henri's SUV roars into view, whipping up a tornado of leaves.
CUT TO:
INT. DARKROOM - PARADISE HIGH - DAY
Strips of negatives hang on drying lines. John bursts in and
SLAMS the door. He slips off his backpack, opens his hands.
TIGHT ON HIS EYES -- the brilliant light from his palms
shrinks his irises to pinpricks.
The luminescence is crisp, mercury-glass bright and grows
stronger every second. Suddenly, the door opens. John spins
in shock. A figure strides through the blinding glare,
gently takes his hands and folds them into fists.
IT'S HENRI.
John looks at him, confusion and fear etched on his face.
JOHN
Henri, what's happening to me?
22.
HENRI
Calm down. You're going to be
okay.
John angrily holds up one of his luminescent hands.
JOHN
On what planet is this okay?
HENRI
Yours.
(BEAT)
I need to get you out of here.
INT. HALL - PARADISE HIGH - DAY
John steps out of the darkroom wearing Henri's heavy coat.
His hands are balled and stuffed into the pockets. Henri
leads him quickly down the hall.
CUT TO:
INT. SUV - DAY - MOVING
John fearfully studies his hands which have returned to
normal, then looks over at Henri who seems oddly calm.
JOHN
Okay, start talking. What the
hell's going on?
HENRI
Your first Legacy is starting to
manifest.
JOHN
Legacy?
HENRI
An extraordinary ability. Yours is
called Lumen. They start a lot
sooner on Lorien. I was beginning
to fear yours would never emerge.
JOHN
You knew this was going to happen?
Why didn't you say anything?
HENRI
I didn't want to worry you. You
were already under enough pressure.
(SINCERE)
I'm sorry.
John acknowledges the apology, but looks at him, suspicious.
23.
JOHN
What else have you been hiding from
me?
CUT TO:
INT. LIVING ROOM - HOUSE - NIGHT
The curtains are drawn. Bernie Kosar dozes on the couch
while John and Henri sit at the table, staring at the Box.
HENRI
This couldn't be opened until your
first Legacy appeared. Ready?
John nods nervously. Henri places the fingertips of his
right hand onto five petal-shaped discs inlaid onto the lid.
John cautiously follows suit and places his fingers on the
“petals” fanned across the opposite side.
THE DISCS
momentarily glow and a SHARP CLICK echoes from within. John
and Henri pull their hands away and watch as the Box
miraculously comes to life. Fissures of light sweep across
the lines of inlaid stone, dividing the lid into sections
that begin to twist and reform like high-tech origami.
JOHN
Whoa.
PUSH IN ON Bernie as he sits up and watches the Box unfold.
Like an intricate jigsaw, the sections finally regroup,
creating a new pattern on the lid. It's a familiar geometric
symbol. John touches the crystal pendant that hangs from his
neck -- the symbols are an exact match.
HENRI
Open it.
John nods, cautiously lifts the lid, revealing a neat
assortment of velvet pouches and an array of colored rocks.
They range in size and color but all share a serene beauty.
JOHN
What are they?
HENRI
Crystals from Lorien's core.
They'll guide us in your training.
John tries to reach for one, but Henri slaps his hand away.
24.
HENRI
Place your hand over them.
John follows the instruction and is amazed when a walnut-
sized crystal floats up from the Box. It slowly begins to
spin and project
A SWIRLING HOLOGRAPHIC GALAXY.
HENRI
Our solar system.
Henri points to a planet. Its oceans are dark with pollution
and its sprawling continents are barren and treeless.
HENRI
That's what Lorien looked like
thousands of years ago. We had all
the problems that Earth has today.
The planet was dying until our
people made a collective decision
to change and slowly Lorien began
to heal itself -- that's when the
Legacies started.
John watches as the spinning planet transforms before his
eyes. Its oceans turn a vibrant chroma-key blue and the land
masses become a lush emerald green.
HENRI
Only a select few developed these
abilities. They became known as
the Garde.
JOHN
That's what I am?
HENRI
Like your parents and grandparents.
John considers this new information.
JOHN
The other children in the ship...
Henri finishes John's thought.
HENRI
They're Garde as well. Once you've
mastered your Legacies, we'll find
them and face the Mogadorians
together.
John looks at Henri, curious.
25.
JOHN
What Legacy do you have?
HENRI
I don't have any and never will.
I'm your Cepan -- a teacher. My
job is not just to protect you but
to train you.
(BEAT)
Give me your hand.
Henri takes one of John's hands and pulls a cigarette lighter
from his pocket. John flinches, unsure.
HENRI
Trust me.
Henri flicks a flame to life and sweeps it under John's
outstretched palm.
HENRI
You feel that?
Amazingly, the flame harmlessly licks the skin. But when
Henri moves the lighter further up John's arm --
JOHN
Ouch.
John jerks his hand away. Henri kills the flame, shrugs.
HENRI
When we're done, your entire body
will be shielded against fire.
John rubs his singed wrist.
HENRI
You'll get other Legacies too.
JOHN
Flying would be cool.
HENRI
You don't get to pick them off a
menu.
KNOCK. KNOCK. KNOCK. As John spins to the door, the
shimmering galaxy fades and the crystal drops to the floor.
HENRI
Mogs don't knock.
26.
Henri steps to his computer bank and examines a laptop
featuring live feeds from a dozen surveillance cameras he's
installed around the property.
HENRI
It's a girl.
John looks over his shoulder and reacts with surprise.
EXT. PORCH - HOUSE - NIGHT
John opens the door and finds Sarah amped.
SARAH
How'd you do it?
Her accusation startles him.
JOHN
Do what?
SARAH
Eviscerate the entire senior class?
She pulls a strip of overexposed 35mm film from her coat.
SARAH
I was in the darkroom before lunch
and they were hanging on the line
smiling and looking forward to the
future. When I got back, I found
15 rolls of negatives wiped clean.
John shrugs innocently.
JOHN
I don't know what you're talking
about.
SARAH
So you weren't in the darkroom
today?
JOHN
No.
SARAH
Here's a tip. If you're going to
lie, don't leave a big red backpack
at the scene of the crime.
She swings his backpack into view. John is mortified. He
struggles to find a plausible answer and silently tries to
quell the feeling welling in his chest.
27.
JOHN
I don't know what happened. Maybe
it's a sign that you should invest
in a digital camera.
SARAH
Digital sucks. Film tells the
truth. Clearly, I'm not going to
get that from you.
He watches as she angrily heads down the steps and climbs
into her car. John glances at his palms and is surprised to
find they are dimly luminescent.
EXT. ROAD - NIGHT
Sarah's car sweeps out of the drive and powers towards town,
unaware of the truck parked in the shadows.
MARK JAYNE
is behind the wheel and watches as her headlights fade into
the night. OFF his simmering jealousy...
INT. HOUSE - NIGHT
Bernie Kosar waits expectantly as Henri pours “Doggie Chow”
into a bowl. John steps in.
HENRI
Everything okay?
JOHN
She was returning my backpack.
He dumps it by the door.
HENRI
I think you should stay home from
school for a couple of days.
JOHN
I'm fine.
HENRI
Just to be safe.
CUT TO:
INT. JOHN'S BEDROOM - NIGHT
John lies on his bed, staring at his luminescent palms,
conflicted by his emotions.
28.
INT. JOHN'S BEDROOM - NIGHT - LATER
Moonlight cuts across Bernie Kosar who is SNORING peacefully
at the end of the bed. John tosses and turns. He finally
sits up, unable to sleep.
INT. LIVING ROOM - HOUSE - DAWN
Nursing a mug of black coffee, Henri diligently scans the
laptop screens. He's clearly never gone to bed. He looks up
as John enters wearing track gear.
JOHN
I'm going for a run.
Bernie trots out and wags his tail pleadingly.
JOHN
Sorry, buddy, you couldn't keep up.
CUT TO:
START MONTAGE:
EXT. WOODS - DAWN
EPIC AERIAL SHOT LOOKING DOWN AT AN EAGLE as it soars above
the rich kaleidoscope of trees. It almost seems to be
following John, who is powering along a narrow track below.
CUT TO:
John moves at superhuman speed, leaving a blurring wake of
leaves. His foot splits a log as he bounds over it.
CUT TO:
John charges towards a secluded stream. It's 30 feet wide.
He doesn't slow, leaps off the bank and effortlessly
hopscotches from boulder to boulder to the other side.
CUT TO:
EXT. HILL - DAWN
It offers a high-def view of Paradise. John reaches the top
and is exhilarated by the sense of temporary liberation. He
WATCHES AS
THE EAGLE
alights in a nearby oak tree. John bends to tighten his
laces, his eyes fall on the trio of scars branded on his
ankle. His happiness dims.
29.
He grits his teeth and takes off for home. As he passes the
oak, the CAMERA TRACKS TO REVEAL the gecko scampering down
the gnarled trunk.
CUT TO:
INT. HALL - PARADISE HIGH SCHOOL - DAY
Sam is at his locker. He glances over at John's, hoping
he'll show. Disappointed, he joins the crisscrossing throng.
CUT TO:
INT. HOUSE - DAY
John “practices” turning his Lumen Legacy “off” and “on”.
Henri watches as John's palms glow. John focuses intently,
causing them to flare with sudden brilliance. Momentarily
blinded, John jerks back and topples off his chair.
CUT TO:
EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT
Sarah sits in the stands, doing homework, watching Mark and
the football team practice in the cold metallic floodlight.
ON THE FIELD the ball is hiked to Mark. He looks for an
opening and fires a perfect spiral to the RECEIVER in the end
zone. Mark thumps chests with Kevin and looks up at the
stands, only to discover that Sarah is gone.
CUT TO:
EXT. BACK PORCH - HOUSE - DAY
John's playing “supercatch” with Bernie. He watches as the
little guy races back from the woods, clutching a ball.
Panting with exertion, the dog lays it at John's feet. John
smiles, swings back his arm and hauls the ball again.
ANGLE ON BALL: It arcs up, sails right over the garage and
drops earthwards in the heart of the woods.
Unperturbed by the superhuman throw, Bernie hightails after
the ball. Henri steps out and watches, amused, then tosses
John a pair of black driving gloves. OFF John's eye roll...
CUT TO:
INT. HALL - PARADISE HIGH - DAY
TIGHT ON ONE OF THE GLOVES. It's now fingerless and on
John's hand. He weaves through the preclass crowd and is
about to head into the chemistry lab when he sees
30.
SARAH
disappearing into a room at the end. He's torn, then makes a
decision and does something he shouldn't -- he strides down
the hall after her.
END MONTAGE.
INT. YEARBOOK ROOM - PARADISE HIGH - DAY
Sarah is alone, tacking photographs to a large board that's
lying flat on the carpet. She hears the door CLICK, turns
and coolly regards John.
SARAH
I think you have the wrong room.
She rises, walks past him and begins searching the photos
scattered on the layout table in the middle of the space.
JOHN
Wanted to apologize.
SARAH
Does the apology come with an
explanation?
He turns to go, has his hand on the door when --
SARAH
Wait.
He looks back. Her face softens.
SARAH
How about we delete Monday and
start over?
She steps forward and extends her hand.
SARAH
I'm Sarah.
JOHN
John.
TIGHT ON THEIR HANDS as they shake. She checks out his
fingerless gloves, amused.
SARAH
Nice gloves.
She crosses to the board, reaches down to lift it when John
steps behind her.
31.
He effortlessly picks it up and hooks it onto the wall. They
stand back. John stares at the collage of high school images
that captures a life he'll never know.
JOHN
You know all these people?
She nods.
SARAH
Curse of a small town. I've been
around them my whole life.
(pointing to photo)
Kim Thomas. She peed in her bed at
a sleepover when we were seven.
(POINTING)
Neil Bailey. President of the
Debate Club. Plays five
instruments. Doesn't know he's gay
yet.
(POINTING)
Mrs. Ross. AP English. She's been
here so long, she taught my mom and
my four brothers. I'm the baby of
the family in case you were
wondering.
Her curious eyes scour his face.
SARAH
So what's your story?
JOHN
Not very interesting.
SARAH
Determined to keep the mystery
alive, aren't you?
His finger arrows in on a photograph of Sarah. It's a candid
and she's taking a shot with her trademark Nikon.
JOHN
You first.
SARAH
Okay. Recovering cheerleader.
Wannabe vegetarian but I still love
burgers. Dreams of being a
photojournalist.
(BEAT)
I've never actually admitted that
last one to anybody before.
32.
JOHN
Your secret's safe with me.
She studies him, sensing a kindred spirit.
SARAH
You ever feel you don't belong in
your own life?
JOHN
Every single day.
SARAH
Wow. That almost sounded like a
straight answer.
They look at each other. There's a charged silence. The
moment is broken when --
MARK (O.S.)
What's he doing in here?
John and Sarah spin to find Mark. Sarah is flustered.
SARAH
I thought you were on two-a-days.
MARK
Coach wants me to rest my arm
before the scouts come. You didn't
answer my question?
SARAH
John was helping me move some
boards.
John turns to Sarah.
JOHN
I'm going to take off.
Mark doesn't take his eyes off John and blocks his way.
MARK
Seriously, Sarah, what's up with
this guy?
SARAH
I don't have time for this, Mark.
MARK
But you had time to go to his house
the other night.
Sarah looks at him, stunned by the admission.
33.
SARAH
You were following me?
MARK
Just trying to figure out what's
going on with you.
Sarah's shock turns to anger.
SARAH
You've crossed so many lines I
can't even speak to you right now.
She hustles out of the room. Mark glares at John.
MARK
This isn't over.
OFF John, unmoved by the threat...
CUT TO:
EXT. STILT HOUSE - FLORIDA - DUSK
The sky is even pinker than the house.
INT. STILT HOUSE - FLORIDA - DUSK
A drawer flies across THE FRAME. The place has been totally
trashed. Floorboards have been ripped up. Sofas shredded.
Nothing has been spared. CAMERA DRIFTS OVER the debris to...
INT. JOHN'S BEDROOM - STILT HOUSE - DUSK
The mattress has been dissected and its guts lie scattered.
A TEEN GIRL.
kneels in front of John's old desk searching the drawers.
She wears a biker jacket, combat boots and has a striking
“don't-fuck-with-me” face. Frustrated in her search, she
flings the desk against the wall. It splinters on impact.
INT. KITCHEN - STILT HOUSE - FLORIDA - DUSK
TIGHT ON THE STOVE -- a hand twists on the burners. Raw gas
HISSES. The Teen Girl makes one final scan, then heads for
the door.
EXT. STILT HOUSE - FLORIDA - DUSK
The Teen Girl strides down the steps and crosses to a sleek
Ducatti. She slips on a helmet. PUSH IN on her Arctic-blue
eyes as they focus on the house with a strange intensity.
34.
KABBBOOOOOOM!
The house detonates. The concussive force of the blast rips
the structure right off its stilts. Tornadoes of flame BLAST
through the windows as the house catapults into the air.
Orange reflections flicker on the Girl's visor as she flips
it down, REVS the motorcycle and SCREAM-PEELS down the drive
backlit by the glittering inferno...
CUT TO:
INT. HALL - PARADISE HIGH - DAY
Sam catches John at the lockers.
SAM
Nice freakout the other day.
JOHN
Wasn't feeling well.
They twist their combination locks. Sam swings open his
door, there's a HISSING POP and
A RED INK PACK EXPLODES.
It's the kind banks use to foil heists. In a shocking
instant, Sam and the contents of his locker are splattered.
It bears a gruesome resemblance to arterial spray.
JOHN
has his door halfway open and ducks back a second before the
ink pack planted in his locker ERUPTS. The spray misses his
face but violently spits across his chest and arms. LAUGHTER
echoes behind them. John spins and finds Mark and his posse.
TIGHT ON John's hands as he balls them and an angry glow
flickers through his gloves.
MARK
(to John, taunting)
Told you it wasn't over.
Behind them, Sam's laid-back persona cracks. He frantically
clears his locker, looking for something. He finally pulls
out a photo which drips with ink, reels at the jocks.
SAM
Assholes.
John looks back at Sam. Mark seizes his chance and launches
a sucker-punch at John. But John sees it out of the corner
of his eye and in a blur of motion whips up his hand and
35.
CATCHES MARK'S FIST.
John squeezes it vice-tight. Mark grimaces in agony. His
buddies back into the CROWD OF TEENS that has gathered. John
leans in close.
JOHN
That sensation you're feeling --
remember it.
With a quick push, John shoves Mark back against the lockers.
Mark DENTS a door and slides to the floor, his eyes flaring
with lacerated pride.
JOHN
Show's over.
The crowd disperses. Mark gets to his feet and exits with
his friends, but shoots John one final wounded glare...
CUT TO:
INT. LOCKER ROOM - PARADISE HIGH - DAY
Red, ink-stained water Hitchcocks down the drain. John
wrings out his black T-shirt. He sees Sam's reflection in
the mirror. Sam puts some clothes on the bench.
SAM
I raided lost and found.
He holds up a puke-green sweater decorated with red snowmen.
John turns back to the sink.
SAM
I know. Nobody loses anything
cool.
He sits and begins to change.
SAM
Dude, the way you thrashed Mark
back there. Awesome move.
John acknowledges that with a nod. Whip-dries his shirt.
Sam plucks up the photo. The ink is now dried and cracked.
JOHN
Who's in the picture?
Sam stares at it, nostalgic.
SAM
My dad. My real dad. I took it
the summer before he split.
(MORE)
36.
SAM (CONT'D)
He dragged me and my mom all over
the Yucatan. He was looking for
evidence of ancient astronauts.
All I got was Montezuma's Revenge.
JOHN
(DEADPAN)
Sounds like a fun vacation.
SAM
I know. Insane. He called himself
an anthropologist even though he
only made it through one semester
of college.
He rises and tosses the ruined picture into the trash.
SAM
Always thought he'd come back one
day -- who was I kidding. The
guy's a joke.
As the BELL RINGS...
CUT TO:
EXT. PARADISE HIGH SCHOOL - DAY
The football stadium rises like a monolith in the background.
John strides towards the tree line, headed home.
SARAH (O.S.)
John.
He turns in surprise as Sarah approaches.
SARAH
I heard about the lockers. I'm
sorry.
JOHN
I'll live.
He starts off again.
SARAH
I broke up with Mark.
He stops, slowly turns back.
SARAH
I've been thinking about doing it
for a while... today just finally
pushed me over the edge.
37.
He studies her face.
JOHN
Why are you telling me?
She bows her head, suddenly embarrassed.
SARAH
I don't know.
JOHN
You made the right call.
The certainty of his voice soothes her. She looks up and
holds his gaze. Their attraction is undeniable.
SARAH
Halloween Block Party's tonight.
JOHN
I saw the banners.
SARAH
I'll be on Main Street hiding
behind my camera if you want to
swing by.
He says nothing.
SARAH
I wasn't expecting an actual
response. I could text you later.
Do they have cell phones on Planet
John?
She holds out her phone. John looks at it tentatively, then
takes it. As he inputs his number, he hears the BLARE of a
car horn, looks up and sees Henri waiting in his SUV.
INT. SUV - DAY
John climbs in.
HENRI
Wasn't that your friend from the
other night?
JOHN
Her name's Sarah.
(ANNOYED)
I didn't ask for a ride home.
HENRI
Principal called. Said there was
an incident.
38.
John stares out the window, guilty.
JOHN
A guy was messing with me. I took
care of it. Problem solved.
HENRI
You're stronger and faster because
of Earth's gravity -- you shouldn't
use that advantage to settle petty
scores.
JOHN
It was no big deal. Don't blow it
out of proportion.
HENRI
You can't risk everything over
wounded pride.
JOHN
I wasn't looking for a fight. It
just happened. Get off my back.
Henri pulls a printout from his coat. John unfolds it.
ANGLE ON PRINTOUT: It's from the Florida Keynoter website
and features a photo of the charred stilt house.
John's gut churns as he stares at the image.
HENRI
Article says it was arson.
JOHN
We were clean. There's no way the
Mogs can track us here.
Henri shakes his head, shifts into gear and starts off.
HENRI
They can track us anywhere. I
think it's time you saw what you're
really up against.
CUT TO:
INT. GARAGE - DAY
Sunlight razors across workbenches cluttered with rusty
tools. Henri and John stand in the middle of the space.
THE BOX
39.
is open on the floor between them. John lifts his hand and
holds it over the crystals.
ONE RISES.
It's white and as thick as two fingers. It floats in front
of John's face. He tentatively reaches out. When he grips
it, a shock wave of light blasts out, totally WIPING OUT THE
FRAME and transporting him into
A VISCERAL MEMORY.
EXT. LORIEN - NIGHT
EXPLOSIONS rock and the SCREAMS of the dying echo. AN OLD
MAN hustles A TERRIFIED BOY through the murderous
bombardment. The air is choked with ash and smoke.
The boy is 7-year-old John. The man is his grandfather.
Young John glances up and sees
AN ARMADA OF BATTLESHIPS
eclipsing Lorien's two moons. The angular hulls of the craft
are scarred from galactic battles new and ancient and unleash
an endless crisscrossing FRENZY OF MISSILES.
GRANDFATHER
(in Loric with subtitles)
Keep moving.
EXT. TEMPLE - NIGHT
It wouldn't look out of place in ancient Rome. Young John
and his grandfather race up the steps.
INT. SANCTUARY - TEMPLE - NIGHT
A statue of Lorien's most famous warrior, Pittacus Lore,
towers in the middle of the chamber. His noble face is
illuminated in a shaft of flame-tainted moonlight.
FOOTSTEPS ECHO!
Young John and his grandfather scramble across the space and
straight into the path of
TWO MOGADORIAN SOLDIERS.
The Soldiers' pallid faces flash with smiles. Swords drawn,
they move in for the kill when one is skewered in the throat
by a crystal-handled dagger.
MAGENTA LIGHT
40.
spurts from the wound. The Soldier's body fractures like
glass and DISINTEGRATES in a shower of embers as he drops to
the floor. The other Mogadorian spins and trades SPARKING
sword strokes with
A CLOAKED FIGURE.
It's a violent battle of wills which ends when the Cloaked
Figure kicks up the dead Soldier's sword and impales it into
the Mogadorian's chest. The Soldier EVISCERATES in a cloud
of HISSING cinders.
Young John watches in awed terror as the Cloaked Figure steps
towards him and pulls back his hood.
IT'S HENRI.
He looks younger, the years of hiding have aged him. John's
grandfather lifts a familiar crystal pendant from his neck
and places it over Young John's head.
GRANDFATHER
This is your Cepan. Go with him.
YOUNG JOHN
No!
HENRI
Your life is my life now. I will
always protect you.
GRANDFATHER
(TO HENRI)
He must survive.
A BLAST scorches across the space. Henri spots
A MOGADORIAN COMMANDER
hunkered behind a column, his red coat billows behind him
like a curse.
GRANDFATHER
They are already hunting you! Go!
Henri plucks a crystal ankle-dagger from his boot, grabs
young John and charges up. As the Commander breaks cover,
Henri hurls the dagger.
THE COMMANDER
dives out of its path but ROARS as the blade SPARK-RIPS
across his right cheek like a hot poker.
41.
EXT. TEMPLE - NIGHT
Henri yanks Young John by the hand. They take off in one
direction while John's grandfather heads off in the other.
A MOGADORIAN TRANSPORT CRAFT
suddenly swoops between them. The HOWLS of its occupants
ricochet through the night. The heat from its engines washes
the ground, warping the destruction like a ghastly mirage as
two bay doors open. Young John looks back through the heat-
haze and catches a impressionistic view as
TWO PIKEN
leap out. Their reptilian bodies ripple with muscle and
their oversize heads glint with raptor-like jaws. The Piken
mercilessly rip into John's grandfather. Young John races to
help, but Henri wrenches him back. CAMERA PUSHES IN TIGHT ON
YOUNG JOHN'S FACE as he screams...
YOUNG JOHN
Nooooooooooo!
THE MEMORY ENDS and we...
MATCH CUT TO:
INT. GARAGE - DAY
TIGHT ON JOHN screaming...
JOHN
Nooooooooooo!
He drops the crystal and stumbles back. The experience has
left him traumatized. Henri steps towards him, but John is
too overwhelmed and runs out.
EXT. STREAM - WOODS - DAY
A stone angrily SKIPS across the water. John is about to
toss another when Bernie Kosar trots into view. He ruffles
the dog's fur but doesn't turn when Henri steps out of the
woods and crosses to his side.
JOHN
I saw my grandfather. I saw what
you did to the Mogadorians -- you
saved my life.
HENRI
A lot of Lorics sacrificed their
lives so that you could live.
42.
John is still trying to process the memory.
JOHN
He said I must survive.
HENRI
The Elders had a plan. You weren't
on that ship by chance. The nine
of you were chosen for a reason.
Even if only two of you live,
together you'll pose a grave threat
to our enemy.
Consumed by bitterness, John hurls another stone.
JOHN
You saw what they did to Lorien.
How can nine or six or two of us
take on that army? It's hopeless.
Henri knows he has to pull him out of this mournful funk.
HENRI
I never thought we'd get off Lorien
alive -- but we did. I didn't know
how we could survive on a strange
planet -- but we have. I gave us
six months before the Mogs found us
-- it's been 10 years. Don't give
up now.
Henri grips John's shoulders.
HENRI
You have the potential to do great
things. Even if you don't see it --
I do.
JOHN
How can you put so much faith in
me?
HENRI
Because your life is my life. If
you quit, then everything I've
worked for and sacrificed is
meaningless.
(BEAT)
Remember -- nothing is inevitable.
The fragile SILENCE is broken when John's cell phone BLEATS.
He scans a text.
43.
JOHN
It's Sarah. The Block Party's
tonight. I'll say I can't make it.
Henri sees John is wracked with doubt and confusion.
HENRI
No... go.
John looks at him, surprised by this paternal gesture.
HENRI
You've had enough for one day.
CUT TO:
EXT. MAIN STREET - PARADISE - NIGHT
A Halloween parade drifts past the CROWDS packing the
sidewalks. Icicle lights twinkle in the trees. EXCITED KIDS
in costume zigzag past John. It's small-town Americana at
its best. ET waddles by holding a JEDI's hand.
A SLAP ON GLASS.
John turns and is amused to find Sam standing among the
mannequins in the display window of a sporting goods store.
INT. ED'S SPORTING GOODS STORE - NIGHT
An annoying CHIME plays as the door opens and John enters.
The store is deserted. The stock needs to be updated and the
shelves could use a dust. Sam approaches wearing an apron.
JOHN
You work here?
SAM
Not by choice.
(pointing to sign)
Ed's my stepdad. He's under the
delusion that if people eat enough
candy apples and kettle corn,
they'll suddenly have the urge to
buy sporting goods.
John plucks a hockey mask from the basket on the counter.
SAM
I put those on special tonight for
any wannabe Jason Voorhees.
Sam pulls off his apron, revealing a T-shirt emblazoned with
the words “Future Supervillain”.
44.
SAM
Screw this. Let me lock up. I'll
hang with you.
He steps to the door and twists the closed sign into view.
JOHN
What about your stepdad?
SAM
He hit the tavern at 6:00. He's
already hammered by now. I'll
probably find him passed out on the
doorstep. Every night is trick ‘r
treat at my house.
EXT. STREET - NIGHT
John and Sam wander past the parade floats lined up along the
road bordering the woods. Stalls sell hot dogs and cotton
candy. John subtly scans the crowd.
SAM
She's over there.
John follows Sam's gaze and finds Sarah taking shots of some
KIDS dunking for apples. She pulls the camera from her eye,
sees John and smiles as he approaches.
SARAH
You made it.
(re: Sam's shirt)
Like the T-shirt, Sam.
SAM
Guidance Counsellor said I need to
set goals for myself. Figured I'd
aim high.
She looks back at John.
SARAH
What do you think of Halloween in
Paradise?
John regards a particularly over-the-top float.
JOHN
They should pull out all the stops
next year.
SARAH
Well, you haven't had the full
experience until you've been on the
Haunted Hayride.
45.
She motions to the picnic area where TEENS are lining up to
get on tractor-pulled hay wagons. The wagons lurch through
the mouth of a giant cutout devil and into the woods.
SARAH
Give me a sec.
She steps to the face-painting booth. It's sponsored by the
local realtor who is Sarah's mom, Annie. Sarah hands Annie
her camera. Sam whispers to John.
SAM
I'm impressed.
Before John can respond, Sarah steps back.
SARAH
You guys ready?
SAM
Three on a wagon might get a little
crowded. I'll meet you two on the
other side.
He gives John a not-so-subtle wink of encouragement. John
and Sarah join the end of the line and watch Sam head away.
SARAH
Sam's cool.
JOHN
Definitely unique.
SARAH
I haven't really talked to him
since 8th grade. Mark had a tight
circle. If you weren't a jock or
cheerleader, you didn't exist.
JOHN
I'm glad you broke free.
SARAH
Me too.
OFF their growing connection...
CUT TO:
EXT. WOODS - NIGHT
The path is lined with human heads piked to wooden stakes.
SCREAMS, WAILS and GHOULISH HOWLS boom from hidden speakers.
46.
OMINOUS POV: WATCHES from the trees as a wagon with John and
Sarah RATTLES into view. It's driven by the GRIM REAPER.
FIVE GIANT RUBBER SPIDERS
drop from the trees. Sarah freaks as the arachnids dangle
over their heads on wires. She rubs her hair, flustered,
looks over at John, who is coolly amused by the cheap scares.
SARAH
Not even a flinch. None of this
scares you, does it?
JOHN
I'm trembling on the inside.
He smiles.
SARAH
You can smile. I was starting to
have my doubts.
She takes his hand. They CLATTER past a series of grisly
TABLEAUX:
A TEEN jerks and SCREAMS in mock agony as he is fried in an
antiquated electric chair.
A BLOOD-SPLATTERED DOCTOR CACKLES as he hacksaws the legs off
a CHEERLEADER chained to a gurney.
A squad of blood-hungry VAMPIRIC FOOTBALL PLAYERS attacks a
rival team of WEREWOLVES.
EXT. CLEARING - WOODS - NIGHT
Ghosts float in the branches as the wagon LURCHES to a stop.
GRIM REAPER
Hell's Gate, everybody off.
The duo reluctantly clambers off the back and watches as the
hay wagon circles back the way it came.
SARAH
Once we make it through, we're home
free.
A SKELETON
pendulums in front of them. Sarah SCREAMS and clenches
John's hand harder. A pathway of lights floods on,
illuminating a skull-capped gate. The words
“YOUR NUMBER'S UP!”
47.
are scrawled across it in fake blood.
EXT. TUNNEL - WOODS - NIGHT
John and Sarah step through the gate and enter a natural
tunnel of dense, overhanging branches. A fog machine gently
COUGHS, and spiderwebs stretch across the sides.
They are about 20 feet into the tunnel when the lights go
out. Somewhere a CHAINSAW sputters to life. White strobe
lights suddenly flare on and
TWO CHAINSAW-WIELDING ZOMBIES
burst through the gates behind them. The teens take off.
It's like a flickering scene from a demented silent movie.
The Zombies have almost caught up when the strobe abruptly
ends. The SOUND of the chainsaws FADES and John and Sarah
stop, panting and LAUGHING with relief.
SARAH
That was insane.
IT'S PITCH BLACK.
A werewolf HOWLS somewhere in the darkness. Something
brushes past John's leg. He spins, suddenly unsure.
JOHN
What was that?
SARAH
Just part of the ride.
He turns, sees a flash of purple light and hears the rustle
of HEAVY FOOTSTEPS on all sides.
JOHN
Are you sure?
As he steps forward,
A THICK BRANCH
cuts through the dark and viciously SMACKS John on the back.
He drops to the ground like a sack. Figures emerge from the
shadows and he hears a DESPERATE STRUGGLE behind him.
SARAH
Let go! Stop it!
John tries to stand, but a boot CRACKS him in the ribs.
Another strikes the side of his face. He is surrounded. His
attackers are brutal and unrelenting. Over the LOOPING
SOUNDTRACK OF B-MOVIE NOISES, Sarah's muffled SCREAMS DIM.
48.
JOHN
Sarah! Sa-
His voice is cut off as a fist SMASHES into his jaw and the
steel cap of a combat boot SLAMS his groin. John staggers up
but is viciously kicked back to the ground.
PUSH IN ON JOHN'S FACE as it hardens with blind rage. In a
blur of motion he reaches up, grabs two of his attackers by
their coats and hammers their skulls together. As they drop,
John spins to meet his other two foes with
BLINDING PALMS OF LIGHT.
The assailants are illuminated in the phosphorescent glare.
They're not Mogadorians but rather
FOOTBALL JOCKS.
One is Mark Jayne's buddy Kevin. They're wearing zombie
makeup and military fatigues and have night-vision goggles
strapped to their faces.
John angrily strides forward, palm outstretched.
NIGHT-VISION POV: Everything is an overexposed blur until --
WHAAAAM!!!
John brutally clotheslines one, then pummel-rams Kevin in the
chest, sending him flying back 10 feet into a tree. Kevin
slumps, out for the count. John arcs a glowing hand through
the darkness.
SARAH IS GONE.
He plucks up the Jocks' fallen goggles and heads off with
Terminator-like determination.
EXT. WOODS - NIGHT
Sarah is carried through the woods by TWO ZOMBIE JOCKS in
camouflage fatigues and night-vision goggles. She SCREAMS.
SARAH
Let go of me!
She futilely tries to wrestle free.
EXT. PICNIC AREA - WOODS - NIGHT
Sam is waiting by the exit to the hayride when he hears --
49.
SARAH (O.S.)
(in the woods)
Help! Somebody!
Something about her terrified tone alerts Sam.
SAM
Sarah?
She doesn't answer. He hesitates a moment, then charges into
the woods.
INT. WOODS - NIGHT
Freaky shadows crisscross as John uses his luminescent palms
to navigate his way through the labyrinth of trees.
INT. CLEARING - WOODS - NIGHT
Sam scrambles blindly through the darkness.
JOHN (O.S.)
SARAH!
Sam turns in the direction of JOHN'S VOICE. He's about to
head towards it when
TWO ZOMBIE JOCKS
trudge into view. Sam darts behind a tree. Suddenly, the
area is flooded with preternatural white light. He can hear
the sounds of a SCUFFLE and one of the Jocks flies past and
CRASHES in a heap while the other SCREAMS.
JOCK (O.S.)
You're blinding me! Stop!
Sam cautiously sneaks a peek, shields his eyes with a hand.
WHAT HE SEES: John pins the Jock to a tree and holds a
luminous palm up to the lenses of the teen's goggles.
JOHN
Where's Sarah? Tell me!!
JOCK
Shepherd Falls. Now turn off that
damn flashlight!
John rips off the Jock's goggles, then pile-slides him 15
feet into a rotten stump and takes off in a blur of speed.
CAMERA STAYS ON SAM. OFF his stunned reaction...
CUT TO:
50.
EXT. SHEPHERD FALLS - WOODS - NIGHT
A rocky promontory overlooks a crescent-shaped waterfall
which drops into a swimming hole below. The Zombie Jocks
carry Sarah into view and dump her in front of Mark. She's
wild-cat angry when she sees him.
SARAH
Are you crazy! Where's John?
Mark nods the Zombie Jocks away.
MARK
Relax. It's a practical joke.
SARAH
I swear if you hurt him --
MARK
Why do you give a shit?
SARAH
Get out of my face, Mark, you're
pathetic.
MARK
I'm the best thing that ever
happened to you and I'm giving you
one more chance.
Appalled by his hubris, Sarah turns to leave.
MARK
Don't walk away from me!
Mark grabs her. Sarah wrenches free, but loses her balance
and falls back on the ground. Mark's rage is transplanted by
concern. He steps towards her to help when --
JOHN (O.S.)
Back off!
Mark watches John step out. Blood trickles from a cut above
John's right eye.
SARAH
John! Are you okay?
He nods. Mark looks past him, confused.
MARK
Where the hell are Kevin and Joe?
John holds up a clutch of night-vision goggles.
51.
JOHN
They got spooked.
MARK
Hey, those are police property!
John flings them over Mark's head into the water.
MARK
I'm going to kill you!
With lightning speed, John grabs Mark's arm, spins him,
pinning him to a tree. Blinded by rage, John jerks Mark's
arm up behind his back.
SARAH
John! Stop!
Mark is in real pain. Transfixed with anger, John keeps
twisting. Sarah looks at him, pleading.
SARAH
That's his throwing arm!
But he doesn't stop until she finally steps forward and slaps
him across the face. Startled, John lets go.
SARAH
Football's all he's got.
John stumbles back, ashamed, and heads into the woods. Sarah
offers Mark a look of disgust and follows after John.
EXT. TREE LINE - NIGHT
John charges into view.
SARAH
John! Wait.
Sarah catches up.
SARAH
I'm sorry, I didn't want you to
break his arm.
JOHN
I'm not mad at you. I'm mad at
myself.
She stops, faces him.
52.
SARAH
I had no idea Mark would pull
something like that. He has
seriously gone off the deep end.
JOHN
The guy's in love with you. Wants
you back.
SARAH
That's not love.
Their eyes meet in the moonlight.
SARAH
Walk me home?
CUT TO:
EXT. STREET - NIGHT
It's a picture-book perfect neighborhood. Most of the houses
are festively decorated with front-yard graveyards and cobweb-
festooned trees. John walks with Sarah. They come to the
prettiest house on the block.
SARAH
This is me.
John stares at the dozen jack-o'-lanterns arranged on the
porch. They glare back with flickering bucktooth grins.
SARAH
I know. Wait until the Christmas
decorations go up. My mom decks
the halls with so many lights, you
can see our house from space.
Stray TRICK-OR-TREATERS race past. She motions to the cut
above his eye, concerned.
SARAH
You should see a doctor.
JOHN
For this? Wouldn't waste their
time.
She looks at him, curious.
SARAH
You're not going to tell me how you
took out those football players,
are you?
53.
He says nothing. She smiles.
SARAH
I really don't get you.
She steps closer.
SARAH
But I feel like I can trust you.
JOHN
You can.
The air is charged.
SARAH
Good night.
Sarah swings open the white picket gate.
JOHN
Wait.
As she turns back, John steps forward and kisses her.
Although taken by surprise, Sarah quickly succumbs to his
passion. However, as their kiss intensifies,
THE JACK-O'-LANTERNS
rise and hover in midair. Sarah has her back to them, but
when John's eyes momentarily flicker open, he sees the orbs
grinning back. Startled, he pulls away from her.
THE PUMPKINS
instantly drop and SMASH onto the porch, their candles
blowing out on impact. Sarah spins and stares at the jack-o'-
lanterns, pulp oozes through their cracked shells.
Suspicious, she slowly turns, looks at John for an
explanation. He does his best to cover his stunned reaction.
Fat drops of RAIN begin to fall. John puts up his hood.
JOHN
I better go.
OFF Sarah, watching him melt into the downpour...
CUT TO:
INT. LIVING ROOM - HOUSE - NIGHT
Rain HAMMERS. Bernie is asleep on a blanket. John creeps
into the darkness, soaked to the bone, when --
54.
HENRI
I heard on the police scanner that
eight boys were beaten up in the
woods tonight.
Henri turns on a light, nursing a mug of coffee. Bernie
wakes. John pulls off his hood. Henri looks at the cuts and
bruises on John's face.
JOHN
They won't talk.
HENRI
That was a stupid thing to do.
What were you thinking?
JOHN
They attacked me. If I hadn't
defended myself, I'd be in the ER
right now. Would that have been
the better choice?
(STEPPING FORWARD)
You've got to start trusting me!
Emotionally charged, John points his finger at Henri,
accidentally causing the mug to telekinetically
EXPLODE.
Coffee and shards splatter across the floor. Henri looks at
John, stunned. John shrugs sheepishly.
JOHN
I was getting to that. I got a new
Legacy.
Henri absorbs that revelation.
HENRI
Telekinesis. That's a big step.
Must have been triggered by the
fight.
John doesn't correct him, averts his gaze.
HENRI
I need to teach you how to control
these abilities. We'll start
working on that tomorrow.
The conversation is suddenly interrupted by the repetitive
WHINE OF AN ALARM. They cross to the bank of computers.
Henri urgently stabs commands into a keyboard.
55.
JOHN
What is it?
Henri pulls up a website.
HENRI
We got a hit on one of the search
words.
(SCANNING)
It's a paranormal blog. “They Walk
Among Us!”
ANGLE ON COMPUTER: A video buffers into motion. It's
handheld and jerky. It WHIP-PANS over some sand and joins a
group of Teens huddled over a figure lying in the surf. He's
holding his ankle and light seeps between his fingers.
John's chest pounds with fear as he realizes...
JOHN
That's Sand Dollar Beach.
HENRI
Looks like a cell phone camera.
There's enough for the Mogs to ID
your face.
JOHN
Can you take it down?
Henri remains ice calm and starts typing commands.
HENRI
Working on it.
JOHN
I'm sorry, Henri.
HENRI
This isn't your fault. There's
still nothing to trace us here.
Henri glances up from his screen.
HENRI
This could take all night. Get
some sleep.
CUT TO:
INT. BEDROOM - HOUSE - NIGHT
John dumps his hoodie on the floor and slumps on his bed. He
pulls his phone out of his jeans and sees a new text message
from Sam. He CLICKS it open.
56.
PUSH IN ON JOHN'S FACE as he scans the message with alarm.
He sits bolt-upright, gripped with dread. He checks the
message again.
TIGHT ON PHONE: “I SAW WHAT U DID IN THE WOODS. NEED 2 TALK.
2NITE. MY GARAGE.”
JOHN hits delete and clenches the phone in his palm. A bad
night just got worse.
INT. LIVING ROOM - HOUSE - NIGHT
Henri is illuminated by the dirty glow on the computers.
His fingers work the keys with expert precision. He's so
focused on the task that he doesn't notice
JOHN
blur ACROSS THE FRAME of one of the surveillance camera
screens and disappear into the woods.
CUT TO:
EXT. SAM'S HOUSE - NIGHT
John cautiously approaches. It's a ‘50s ranch style. The
garage adjoins the house. The lights are out. RAIN bullets
off the garage door which is partially concertinaed open.
INT. GARAGE - SAM'S HOUSE - NIGHT
John slides into view. It takes a second for his eyes to
adjust. A pickup sits under a white tarp. There's no sign
of Sam until he Boo Radley's out of the shadows behind him.
SAM
I've narrowed it down to three
possibilities: you're a genetic
experiment, you're a freak of
nature, or you're an
extraterrestrial.
JOHN
I don't know what you think
happened tonight...
Sam steps closer, watery reflections ripple down his face.
SAM
Your hands lit up like a firefly on
crack, you tossed those football
players around like crash test
dummies, and you took off faster
than an Olympic runner.
(MORE)
57.
SAM (CONT'D)
(BEAT)
Did I leave anything out?
John silently reels.
JOHN
What do you want from me?
SAM
I just want to know who you are.
John looks at Sam, realizes he's not going to give up. He
hesitates, then finally surrenders...
JOHN
I'm a survivor from a planet called
Lorien.
Sam absorbs this confession with awe.
SAM
Your dad... he's from there too?
JOHN
Henri's not my dad. He's my
Guardian. If he found out you knew
about us, we'd be gone by morning.
(PLEADING)
I don't want to leave Paradise.
SAM
I won't tell anyone.
John nods, grateful.
SAM
There's something I want to show
you.
CUT TO:
The tarp is whipped off the pickup truck. It's an old Ford.
Sam and John stand before it.
SAM
The cops found it abandoned in the
middle of Route 20, just south of
White Sands, New Mexico. It was my
dad's. He went missing six years
ago. He was on one of his crazy
fact-finding trips. He believed we
weren't alone in the universe.
Sam rubs his hand across the hood, wondering.
58.
SAM
Mom figured he was having an affair
and took off. All these years I
thought she was right. Now you're
here.
JOHN
That doesn't prove anything.
SAM
It proves he wasn't crazy. I'm
starting to think that he didn't
bail on us... that maybe something
else happened out there -- that he
was taken.
The moment is broken by the SLAM of the front door and the
sound of ANGRY FOOTSTEPS. Sam instantly tenses.
SAM
Guess the bar closed.
ED (O.S.)
Sam! Where are you?
His speech is slurred and aggressive.
ED (O.S.)
You think I wouldn't hear you
locked up early!
John looks at Sam, shocked and concerned.
JOHN
You going to be okay?
SAM
If he finds you here, it'll be
worse.
(BEAT)
Go.
Sam crosses to the door leading into the main house and heads
inside. SHOUTS erupt almost immediately. John flinches,
wanting to intervene, but finally turns, hustles under the
garage door and slips into the night...
CUT TO:
INT. LIVING ROOM - HOUSE - DAY
Henri is hammering at the keyboard of one of his computers.
John enters with two mugs of coffee.
59.
JOHN
You look wiped.
Henri turns and smiles playfully.
HENRI
I wasn't the only who was up last
night.
John nervously hands Henri one of the cups and lies...
JOHN
Sarah texted me. I went over to
her house.
Henri buys the explanation and swings back to his computers.
HENRI
I've tried every trick I know, but
I can't crack that blog's firewall.
JOHN
There must be a way.
HENRI
We need to find where the site's
located and take it offline
manually. The URL source has been
run through a labyrinth of servers,
it could take weeks to track down.
JOHN
I want to help.
Henri takes a gulp of coffee and stands.
HENRI
You can. Get changed.
CUT TO:
START MONTAGE:
EXT. BACK YARD - HOUSE - DAY
TIGHT ON A WELDING TORCH as it's sparked to life.
Its flame HISSES as Henri sweeps it towards John, who is
standing shirtless. Bernie watches, curious, as Henri washes
the flame harmlessly up John's naked arm and torso.
60.
INT. HALL - PARADISE HIGH - DAY
The walls are now adorned with Thanksgiving banners. John
and Sam head past the lockers. Mark and the Jocks move out
of their way, acknowledging the new high school dynamic.
INT. KITCHEN - HOUSE - NIGHT
Using his telekinesis, John strains to lift a tennis ball.
It momentarily RATTLES, then stops. Henri is not impressed.
EXT. WOODS - DAY
Bernie darts ahead as John and Sarah walk through a crimson
cascade of falling leaves. As they kiss, the leaves around
them freeze midair and slowly begin to drift upwards.
INT. GARAGE - SAM'S HOUSE - NIGHT
John helps Sam with a dusty box. It's stuffed with Sam's
dad's old papers and books. We CATCH tantalizing glimpses of
images: Stonehenge, Machu Picchu, the Rings of Saturn...
INT. INTERNET CAFE - NASHVILLE - DAY
It's a Vandy student hangout. CAMERA DRIFTS over a row of
computer terminals and FINDS the Teen Girl who torched the
stilt house. She's studying her computer screen intently.
REVERSE TO REVEAL: She is watching the cell phone footage of
John on the “They Walk Among Us” blog.
INT. KITCHEN - HOUSE - DAY
Under Henri's watchful gaze, John focuses on a tennis ball.
It RISES. John grins in triumph, causing the ball to drop
and bounce on the floor. Strike two.
INT. CAFETERIA - PARADISE HIGH - DAY
Mark silently stews when he sees Sarah and John sitting
together at a table.
EXT. BACK YARD - HOUSE - DAY
Bernie pogos on his back legs, trying to bite the tennis ball
that John telekinetically hovers just out of the dog's reach.
INT. LIVING ROOM - HOUSE - NIGHT
CLOSE ON A LAPTOP scrolling with endless lines of URL
addresses. REVERSE TO REVEAL Henri studying the screen.
Waiting. Watching.
61.
EXT. BACK YARD - HOUSE - DAY
John is fully submerged in an old claw-foot tub.
GO TO JOHN'S DISTORTED VIEW LOOKING UP at Henri as he drops a
match into the tub. The liquid instantly IGNITES and we
realize John's lying in gasoline. He sits up, rests his
hands behind his head as the FLAMES harmlessly lick his face.
INT. BACK YARD - HOUSE - DAY
The trees are now bare. John stands 20 feet from Henri and
nods. Henri flicks the switch of an automated tennis ball
server. John's face is a mask of concentration as the yellow
balls fly towards him. He holds up his hand and the balls
STOP IN MIDAIR.
It's like they've hit an invisible wall two feet from his
hand. They hang there. John sees a smile sneak onto Henri's
face and momentarily loses focus, causing the wall to
collapse and the balls to drop into the mud.
END MONTAGE.
CUT TO:
INT. BATHROOM - DAY
Bernie looks like a drowned rat. He's sitting in the tub
being scrubbed by John and Sarah.
SARAH
I don't see any family pictures
around. I guess the photo aversion
is hereditary.
He greets the observation with a shrug. She carries on.
SARAH
Your mom... grandparents. Is there
anyone else in your life?
JOHN
They died.
SARAH
I'm sorry.
JOHN
It was a long time ago. It's just
me and my dad now.
John uses a nail brush to clean the beagle's ears.
62.
SARAH
I get the feeling he doesn't like
me very much.
JOHN
It takes him a while to warm up to
people.
Sarah considers this.
SARAH
Thanksgiving's tomorrow. Why don't
you bring your dad and celebrate
with us?
JOHN
I don't know. Are there going to
be a lot of people?
SARAH
A tsunami of relatives. But don't
worry, I'll shield you from the
wave. Besides, I want everyone to
meet you.
She playfully splashes him. Their faces inch closer. They
begin making out hot and heavy until Henri suddenly walks in.
HENRI
I've found the --
Caught in the act, the teens lurch away from each other.
JOHN
Just giving Bernie a quick bath.
HENRI
You're clearly putting a lot of
effort into it.
SARAH
I better hit the road.
(TO JOHN)
See you tomorrow. Twoish.
(GRABBING BACKPACK)
Bye, Mr. Smith.
OFF John as she hustles out...
INT. LIVING ROOM - HOUSE - DAY
Henri sits in front of his computers. John enters with
Bernie, who is wrapped in a beach towel. He begins drying
the dog in front of the fire. Henri breaks the silence.
63.
HENRI
I finally tracked the location of
that blog. It's a house in Warsaw,
Indiana. About four hours from
here. I'm heading up there
tomorrow.
JOHN
Sarah invited us to Thanksgiving.
I told her we'd be there.
HENRI
Send my regrets.
JOHN
You shouldn't go alone. It could
be dangerous.
HENRI
I won't risk taking you. I'll
leave early and be back by five.
John looks up and sees Henri sitting in solitude.
JOHN
Don't you ever get lonely?
Surprised by the question, Henri swivels to face him.
HENRI
How could I? I have you.
JOHN
You know what I mean. All these
years, there's never been anyone.
HENRI
We aren't like humans. Once we
fall in love, it's for life. The
pain of separation is unbearable.
Henri's face clouds with melancholy and he abruptly gets up.
As he heads into the kitchen John studies him with new eyes.
INT. KITCHEN - HOUSE - DAY
Steam billows as Henri washes up. He keeps his back to John
when he enters. John waits then softly asks...
JOHN
What was her name?
Henri slots a plate onto the draining board.
64.
HENRI
Anastasia.
JOHN
You left her to save me.
HENRI
You're not responsible for what
happened to her -- they are.
He slowly turns and regards John with deep paternal concern.
HENRI
I looked at her the way you look at
Sarah.
(BEAT)
She can't come with us when we
leave -- and we always have to
leave, you know that.
John nods, not wanting to deal with that reality.
HENRI
I was hoping to protect you from
that pain.
JOHN
You can't protect me from
everything.
OFF Henri's sad smile of acknowledgement...
CUT TO:
EXT. SARAH'S HOUSE - DAY
The Halloween decorations have been replaced by a
Thanksgiving display.
Wearing khakis and a pale blue Oxford, John tentatively walks
up the front path. The warm sound of LAUGHTER drifts from
inside. He takes a breath and rings the doorbell.
INT. KITCHEN - SARAH'S HOUSE - DAY
It's like a Norman Rockwell cover come to life. Every inch
of counter space is filled with platters of food.
John watches Sarah, Annie, and a boisterous ASSORTMENT OF
RELATIVES put the finishing touches to the Thanksgiving
feast. KIDS rush in and out in a manic game of tag.
John is captivated by the sense of family and celebration --
things he's never known in his own life. Sarah steps over.
She's wearing a funky-cool vintage dress.
65.
SARAH
Come on, we're on gravy-boat duty.
INT. DINING ROOM - SARAH'S HOUSE - DAY
The table is decorated with garlands of autumn leaves and an
elaborate pine cone centerpiece. Sarah places the last
turkey-shaped gravy boat onto the table. She smiles at John.
SARAH
You look dazed.
JOHN
Just taking it all in.
She crosses.
SARAH
I'm glad you came.
They tenderly kiss until Annie bustles in carrying a steaming
bowl of mashed potatoes.
ANNIE
Don't mind me.
She puts the bowl on the table and grabs Sarah's camera.
ANNIE
Let's get a picture of you two
lovebirds.
Sarah cringes as Annie lifts the camera to her eye.
SARAH
Mom. No. John really doesn't like
having his --
JOHN
It's okay. Let her take it.
The gesture means the world to Sarah. He puts his arm around
her. Sarah nestles her face against his. As the flash WIPES
OUT THE FRAME...
CUT TO:
INT. DINING ROOM - SARAH'S HOUSE - NIGHT
Red candles flicker. Sarah's DAD is expertly carving the
turkey. Everybody is at the table. John sits next to Sarah.
She holds his hand under the table. It's Hallmark worthy
until the carriage clock on the mantel CHIMES.
IT'S SIX O'CLOCK.
66.
John looks at his phone. No messages. His brow creases with
concern. He turns to Sarah, whispers.
JOHN
I need to check in with Henri.
He exits.
EXT. FRONT PORCH - SARAH'S HOUSE - NIGHT
John speed dials as he steps out into the cold. He holds the
phone to his ear. It rings three times and then is answered.
JOHN
(INTO PHONE)
Henri?
CLICK. The call is hung up. Suddenly on edge, John redials.
This time it's picked up immediately.
JOHN
(INTO PHONE)
Henri?
MAN (V.O.)
(OVER PHONE)
Are you one of them too?
John reacts to the chilling menace of the Man's tone.
JOHN
(INTO PHONE)
Who are you? Where's Henri?
CLICK. John jerks the phone from his ear and stares at it,
panicked. He paces, desperate and unsure, then gets an idea
and punches another number.
JOHN
(INTO PHONE)
I need your help.
INT. DINING ROOM - SARAH'S HOUSE - NIGHT
The food is getting cold. Everybody is waiting for John.
Sarah catches her mother's disapproving look.
SARAH
I'll see what's taking him so long.
EXT. PORCH - SARAH'S HOUSE - NIGHT
Sarah steps out just in time to see John climb into a pickup
truck. It's the one from Sam's garage.
67.
SARAH
John!
He looks back.
JOHN
It's Henri. I have to go. Sorry.
OFF her confused disappointment as the truck SQUEALS away...
INT. PICKUP - NIGHT - MOVING
Sam is behind the wheel.
JOHN
Thanks. I owe you.
SAM
Anything to get out of Thanksgiving
at my house.
He offers John a weary smile.
SAM
I checked out that blog on the way
over. Saw the video. What was the
deal with your ankle?
John pulls up his khakis, shows Sam the trio of scars.
JOHN
Death scars.
SAM
They kind of look like the symbols
in my dad's research.
(THINKING)
You guys don't --
JOHN
Abduct people? No.
Irritated, he covers them back up.
SAM
How about the ones you said were
hunting you?
JOHN
They're capable of anything.
(URGENT)
We need to get to Warsaw -- now.
68.
Suddenly, John's cell phone RINGS. He snatches it up, but is
disappointed to see the name “SARAH” flashing on the LCD. He
hits ignore and the truck hurtles into the dark.
CUT TO:
EXT. WARSAW HOUSE - NIGHT
It's a dilapidated Victorian. Mist shrouds the yard which is
littered with junked cars and trash. The pickup crawls to a
stop in the shadows across the street.
INT. PICKUP TRUCK - NIGHT
The teens sit in silence.
JOHN
Number 417. Henri tracked the URL
to that house.
Sam scans the street.
SAM
I don't see his SUV anywhere.
JOHN
He would have parked it across
town.
Sam opens the glove compartment and pulls out a revolver.
SAM
Stole it from Ed.
(BEAT)
Let's move.
John yanks Sam's arm away from the door handle.
JOHN
I called you because I needed a
ride, not a sidekick. If I could
have run here, I would have.
(BEAT)
Go home. I'll call you when I get
back.
OFF Sam as John climbs out alone...
EXT. WARSAW HOUSE - NIGHT
It's graveyard quiet. John nervously sneaks down the side of
the house. His breath fogs as he inch-CREAKS up the wooden
STEPS TO
THE KITCHEN PORCH.
69.
He squats in front of the door. He holds up a luminescent
palm and uses it like a flashlight to sweep the interior.
WHAT HE SEES: Take-out boxes litter the filthy counter. The
sink is swamped with dirty dishes. The light washes across a
semiautomatic sitting by a packet of Lucky Strikes.
SAM (O.S.)
See anything?
Annoyed, John spins and finds Sam creeping towards him.
JOHN
I told you to go!
SAM
They might know where my dad is!
John realizes Sam is determined. He sweeps his hand back
over the kitchen door. His palm illuminates a familiar
CRYSTAL-HANDLED DAGGER.
It's lying on the counter by the fridge.
JOHN
Henri's here.
John “turns off” his palm and reaches for the door handle.
Sam anxiously swats his arm away.
SAM
Wait! Other than strength, speed
and night-light, what powers have
you got?
JOHN
Telekinesis -- but that's a work in
progress.
SAM
No invisibility, X-ray vision,
flight?
JOHN
Sam, we drove here.
Sam takes a deep breath, psyching himself up.
SAM
Okay. I'm ready. Let's do it.
But as John reaches for the door handle, the kitchen light
suddenly turns on and a MAN enters. He's built like a
wrestler and goes by the name of FRANK.
70.
INT. KITCHEN - WARSAW HOUSE - NIGHT
With a Lucky Strike clenched between his lips, Frank picks up
the packet on the table and is pissed to discover it's empty.
He crushes it in his fist and crosses to the door.
EXT. BACK PORCH - WARSAW HOUSE - NIGHT
John and Sam are gone. Frank steps out and locks the door.
He flicks away his cigarette as he heads down the stairs.
CAMERA FOLLOWS the butt as it cartwheels into
SAM'S LAP.
He's crouched next to John at the side of the porch. He
frantically begins trying to extinguish the stub. John
clamps his hand over Sam's mouth and snuffs the cigarette
between his fingers. Once Frank's safely around the corner,
John releases his hand.
The duo silently climbs onto the porch. John squats in front
of the door. His hand shakes as he holds it out towards the
lock and concentrates.
SAM
Hurry up. Hurry up. Hurry up.
There's a LOUD CLICK.
SAM
You just dead bolted it! Way to
go!
JOHN
New plan -- follow Lucky Strike.
Text me if he comes back.
Sam sneaks off after Frank.
INT. KITCHEN - WARSAW HOUSE - NIGHT
TIGHT ON LOCK as the dead bolt turns by itself and the door
swings open. John cautiously crosses the threshold. He
holds up his right hand, dims his palm to a dull-blue glow.
He retrieves Henri's dagger and tentatively heads into...
INT. HALL - WARSAW HOUSE - NIGHT
Everything is filmed with dust. It's freezing and John's
BREATH FOGS in the hazy aura his palm casts. The naked
floorboards CREAK. Fear bites as John scans the lifeless
gloom, not sure where to start.
TIGHT ON HIS SHOE as it brushes a mousetrap. SNAP!
71.
His breath catches in his throat. He “turns off” his hand.
His heart thumps as he waits for something to react to the
noise. But nothing does. As his eyes adjust to the dark, he
notices a rectangle of light faintly leaking from the door
that leads down into...
INT. BASEMENT - WARSAW HOUSE - NIGHT
The ancient stairs sag as John slowly descends. The space is
illuminated by a single naked bulb. The sound of DRIPPING
WATER hammers the silence. John scans the rabbit warren of
rooms and sees a figure chained to a chair in the corner.
JOHN
Henri!
He races over. But as he reaches for Henri's gag, a YOUNG
MAN steps out of the shadows holding a baseball bat. John
turns too late and the bat strikes his left side. He drops
the dagger as he falls to the floor, his ribs searing. The
man, BRET, raises the bat again. John focuses his mind.
THE BAT
whips out of Bret's grip and torpedoes towards John -- who
ducks out of the way as the bat flies past. Confused, Bret
lurches forward. John scrambles for the bat, clenches it in
his hand, and swings it into the young man's legs.
BRET
knocks the light as he topples into a column and CRASHES onto
the cement, out cold. It's over in a violent blur. John
sits stunned for a moment. The swinging bulb casts surreal
shadows as he spins back to Henri, telekinetically “unlocks”
the padlock securing the chains, and rips off the gag.
Henri is groggy and his face is swollen from brutal beatings.
HENRI
You shouldn't be here.
JOHN
Your life is my life, remember?
Henri tries to shake his drug-induced haze.
HENRI
I talked my way in. Thought the
big guy was buying it.
He rubs a wound on his neck.
72.
HENRI
I was asking him about the video
when the other one shot me from
behind... some sort of animal
tranq.
(DISPIRITED)
I'm getting rusty.
Suddenly, John's phone VIBRATES. It's a message from Sam --
“GET OUT NOW!”
JOHN
We have to leave!
John helps Henri up, they race for the stairs when Bret's
hand grabs John's ankle, tripping him to the floor.
JOHN
Henri!
Henri smashes his boot into Bret's face, knocking him out for
good. John staggers up, they spin for the stairs just as
SAM AND FRANK
head down them into view. Frank holds the revolver against
Sam's neck. Their shadows crisscross under the swaying bulb.
FRANK
Stay planted or I'll blow your
friend's head off.
Henri looks at John in shock.
JOHN
(RE: SAM)
He came to help.
John and Henri put up their hands. John focuses on the gun,
but as the light bulb sweeps past, he causes it to EXPLODE.
THE ROOM PLUNGES INTO DARKNESS.
Henri body-slams Frank, sending the revolver skittering. But
as he wrenches Sam to safety,
THE KEYS
to the pickup fly out of Sam's pocket and slide under the
stairs. John flashes on his palm, casting everything in
eerie blue light.
On all fours, Frank scrambles for the fallen weapon. It's
almost within reach when he is lifted right off the ground by
an invisible force.
73.
Sam looks over at John, impressed.
FRANK
(FREAKING OUT)
You're the one from the video!
You're the one they're after.
With tremendous telekinetic effort, John slams Frank against
the ceiling.
JOHN
Tell me what you know!
Franks says nothing. John trains his palm light on the big
man's face. It's like a blinding interrogation lamp.
JOHN
Start talking!
FRANK
I don't know what they're called.
The one in the red coat said he'd
kill me if I didn't do what he
wanted.
This revelation stuns Henri.
HENRI
The Mogadorians... they've been
here?
Frank nods in terror.
FRANK
He told me to call if anyone came
asking about the video.
Sweat beads John's face from the mental exertion.
JOHN
Did you?
FRANK
(RE: HENRI)
They wanted me to hold your friend
until they got here.
Henri urgently retrieves Sam's gun and his dagger.
HENRI
We need to go! Now!
John “releases” Frank, who drops onto the floor like a whale
and is knocked out. At that moment, a razor-thin line of
dust drops from the floorboards above.
74.
SOMEONE IS UPSTAIRS.
John immediately extinguishes his palm. The trio stands
frozen, necks craned up, ears pricked as the floorboards
CREAK above them. They are definitely not alone.
INT. HALL - WARSAW HOUSE - NIGHT
FOUR MOGADORIAN SOLDIERS stalk through the house. Their long
black coats SILENTLY sweep. One sniffs the air like a
bloodhound and motions towards the basement door...
INT. BASEMENT - WARSAW HOUSE - NIGHT
BLAAAAM! -- the door is shredded off its hinges and flies
down the stairs. The Mogadorian patrol storms through the
cloud of splinters. Frank and Bret lie where they fell, but
there's no sign of John, Henri or Sam.
Pissed, one of the Mogadorians strides towards a small
blacked-out window. He punches out the glass with his fist
and catches sight of Sam clambering over the back fence!
INT. PICKUP - NIGHT
John, Henri and Sam pile in.
JOHN
Sam, get us out of here!
Sam reaches into his jeans, then frantically checks his
pockets.
SAM
I must have dropped the keys!
Henri keeps his cool, looks at John.
HENRI
Start the engine.
JOHN
I can't.
Henri's calm eyes never leave him.
HENRI
Yes, you can.
John nods, puts his hand on the dash and closes his eyes.
The engine TURNS OVER but doesn't start. Sam looks up the
street, panicked, as
A MOGADORIAN
75.
climbs out of a black SUV and storms towards them.
SAM
Hurry up!
John's brow is furrowed with concentration. The Mog
unsheathes his sword as he runs. With a superhuman leap, he
lands on the hood -- TWAAAAACK! John and Henri spin out of
the way as the sword SHATTERS the windshield and impales in
the back of the seat, missing them by a mouse hair.
As the Mogadorian withdraws the sword to strike again, Henri
sweeps up his dagger and stakes it into the Mog's neck.
VRRRROOMMM!
The engine ROARS to life. The Mogadorian tumbles off the
hood, magenta light spurting from his wound. John turns to
Sam, who is petrified, and SCREAMS...
JOHN
DRIVE!
Sam wrenches the shaft into gear and floors the gas. The
Mogadorian EVISCERATES in a frenzy of embers. The truck
bursts through the blizzard of sparks and STREAK-PEELS away.
CUT TO:
INT. BASEMENT - WARSAW HOUSE - NIGHT
CAMERA TRACKS the swish of a familiar red coat as its owner
slowly descends the stairs, PANS UP PAST his right hand,
which methodically twists two meditation balls, TO REVEAL
THE MOGADORIAN COMMANDER.
He's the one who slaughtered Number 3 in Africa. His men
part as he steps into view and crosses to Frank and Bret who
are chained to chairs. A Soldier stands behind each one.
Frank looks at the Commander in terror.
FRANK
I called you like I said. It's not
my fault they got away!
The Commander steps into the moonlight that seeps through the
window. We get our first good look at his face. A gnarled
scar runs down his right cheek, identifying him as the same
Mogadorian Henri wounded in the escape from Lorien. His skin
is deathly pale and his eyes have a cold purple tint.
MOGADORIAN COMMANDER
Where did they go?
76.
His accent is thick and his voice is unnerving.
FRANK
How should I know? The kid had me
pinned to the ceiling.
The Commander turns to Bret.
MOGADORIAN COMMANDER
Where did they go?
Bret is too freaked to even speak. The Commander nods to the
Soldiers. They grab Frank and Bret by the heads and yank
open their mouths. Frank watches in confused terror as the
Commander holds one of the meditation balls.
DOZENS OF TINY RAZOR-BLADES
suddenly flower open across its surface and viciously spin.
With cold-blooded calm, the Commander drops the ball into
Frank's mouth. OFF its terrible DRILL-LIKE WHIR...
CUT TO:
EXT. STRIP MALL - DAWN
Vermillion clouds streak the heavens. Sam's truck pulls up
next to Henri's SUV, which is inconspicuously parked in front
of a 24-hour pharmacy.
INT. PICKUP TRUCK - DAWN
John turns to Sam.
JOHN
We'll meet you back at the house.
HENRI
We're not going back to Paradise.
(TO SAM)
Thank you for your help, but you'll
never see us again.
Henri climbs out. Sam looks at John, confused.
SAM
Is he serious?
John nods, numb.
SAM
What am I supposed to tell people?
77.
JOHN
Nothing. Forget about us. We
never existed.
(BEAT)
Goodbye, Sam.
OFF Sam as John climbs out...
CUT TO:
EXT. MOTEL - DAY
It's a rundown dump on the bleak edge of a no-name town.
INT. SUV - DAY
John silently stews. BIKERS smoke at the edge of the grimy
pool which is drained for the winter and rattles with frozen
leaves. Henri steps out of the motel office with a key.
INT. MOTEL ROOM - DAY
Henri lets John inside, chains the door and draws the sun-
bleached curtains.
HENRI
We leave at nightfall.
JOHN
Henri, this is insane. They still
don't know where we live.
Henri seethes.
HENRI
It's only a matter of time. They
know our faces. They saw Sam. How
long has he known?
JOHN
Since Halloween.
Henri is floored and hurt by the admission.
HENRI
I trusted you and you lied to me!
John bows his head, can't meet Henri's gaze.
JOHN
Only because I knew how you'd react
and I didn't want to leave
Paradise.
Henri paces, tries to quell his emotions.
78.
HENRI
Now we don't have a choice. The
Mogs are using humans to trap us.
From this point on -- no more
towns. No more schools. We're
going off the grid until we find
the others.
JOHN
No.
His tone is defiant.
HENRI
This isn't a discussion.
In a flash of pent-up anger, John holds up his hand and
telekinetically sweeps Henri off his feet and pins him
against the wall. Henri looks at him, stunned.
JOHN
I'm not leaving without saying
goodbye to Sarah.
Henri fixes him with a steel-edged stare.
HENRI
Let. Me. Down.
Spent, John releases Henri who slides to the floor, shaken.
The dynamics of their relationship forever changed. Henri
finally stands.
HENRI
Give me your phone and IDs.
John hands him his cell phone and wallet. Henri opens the
back of the phone and pulls out the SIM card. SNAP!
HENRI
John Smith dies today.
CUT TO:
EXT. WARSAW HOUSE - DAY
REPORTERS and LOOKIE-LOOS watch from behind the crime scene
tape that crisscrosses the street. CAMERA ZEROES IN on
THE TEEN GIRL.
She's the one we saw in Nashville and who torched the stilt
house. Her eyes study the STREAM OF POLICE that hustles in
and out of the house carrying evidence Baggies and equipment.
79.
INT. BASEMENT - WARSAW HOUSE - DAY
A CRIME SCENE PHOTOGRAPHER methodically catalogs the grim,
blood-soaked nightmare. He's in a full body suit and
booties. The flashgun mounted to his camera whitewashes the
space as a UNIFORM COP appears on the stairs.
UNIFORM COP
The Chief wants to send the morgue
boys in and seal this tomb.
PHOTOGRAPHER
Hope they haven't had lunch yet.
These guys were gutted from the
inside out.
He steps over to Frank's body which has been splayed open.
As he flashes off some shots, the
TEEN GIRL
appears in the corner of his viewfinder. She's kneeling by
Frank's severed head which has rolled a short distance from
the body. The Photographer pulls the camera away from his
eye and looks at the Teen Girl, confused.
PHOTOGRAPHER
Who the hell are you?
She ignores him. He glances at the only window which is 20
feet away on the other side of the room.
PHOTOGRAPHER
How'd you get in?
The Girl continues examining Frank's wounds. Totally
unnerved, the Photographer shouts up the stairs.
PHOTOGRAPHER
Hey, we've got a live one down
here.
When he spins back, the Girl is gone, vanished into thin air.
CUT TO:
INT. SAM'S TRUCK - DAY
TIGHT ON A DIRT DEVIL as it snorts up beads of broken glass.
REVEAL SAM cleaning the evidence of the previous night's
adventure. Cardboard covers the missing passenger window.
EXT. DRIVE - SAM'S HOUSE - DAY
Sam climbs out of the truck and is startled by Sarah.
80.
SARAH
Where is he, Sam?
SAM
I don't know.
He tries to avoid eye contact, but she is determined.
SARAH
What happened last night? I've
tried calling him all day. But his
number's no longer in service.
SAM
Forget about him, Sarah.
Incredulous, she grabs his arm.
SARAH
I'm not going anywhere until you
tell me what's going on.
SAM
He left with Henri and he isn't
coming back. Ever.
(PULLING FREE)
I'm sorry.
OFF Sarah, shattered...
CUT TO:
INT. SHOWER - MOTEL ROOM - LATE AFTERNOON
John stands under the steaming spray. Eyes screwed shut.
Naked and lost. TWO LOUD KNOCKS at the door.
HENRI (O.S.)
(THROUGH DOOR)
Taillights in five.
EXT. MOTEL - LATE AFTERNOON
The GROUP OF BIKERS by the pool has grown four fold. They're
partying hard. Henri keeps his head down as he passes.
INT. MOTEL OFFICE - LATE AFTERNOON
The FEMALE CLERK stares at the TV mounted on the wall. She's
watching a local news report about the Warsaw house murders.
Henri enters. The window RATTLES as a motorcycle speeds past
and he slides his key onto the counter.
CUT TO:
81.
INT. MOTEL ROOM - LATE AFTERNOON
Henri steps in and is annoyed to hear the SHOWER still
running. He strides to the bathroom door.
HENRI
John?
No answer. He KNOCKS. Still nothing.
INT. BATHROOM - MOTEL ROOM - LATE AFTERNOON
Henri shoulder-rams the door open. He whips back the shower
curtain and stares at the empty tub.
JOHN IS GONE.
OFF Henri's grim concern...
EXT. HIGHWAY - DUSK
The sky is twilight blue. A gleaming Harley ROARS around the
bend, going full throttle. John is on its back. The wind
whips his hair. Eyes set forward. Headed back to Paradise.
CUT TO:
EXT. SARAH'S HOUSE - NIGHT
Annie opens the front door and is surprised to find John.
ANNIE
Little late for dessert.
JOHN
I need to talk to Sarah.
ANNIE
She's not here. Some friends
dragged her to a party at Mark
Jayne's.
John absorbs this news, turns. Annie steps out after him.
ANNIE
I don't usually pry into my
daughter's love life, I certainly
didn't want my mother in mine --
but Sarah's my youngest and she's
special to me.
JOHN
She's special to me too.
CUT TO:
82.
EXT. MARK'S HOUSE - NIGHT
The big, two-story property dominates the end of a cul-de-
sac. TEENS stream up the drive. Cars are parked end to end
down the street. CAMERA CRANES TO MEET John as he charges
into view on the stolen motorcycle.
INT. DOWNSTAIRS HALL - MARK'S HOUSE - NIGHT
MUSIC THROBS. John works his way through the throng of
partying TEENS. He passes a RED-HAIRED TEEN BOY recording
the event on a FlipVideo camera. A hand grips John's
shoulder. John turns to find Mark Jayne.
MARK
You weren't invited.
JOHN
Where's Sarah?
MARK
She doesn't want to see you.
John shoves him aside and heads for the sweeping stairs...
INT. BASEMENT - MARK'S HOUSE - NIGHT
It's been transformed into a major makeout den. Candles line
the windowsills and ring the edge of the pool table. TEENAGE
COUPLES grope in the flickering half-light.
JOCK
Everybody upstairs! Kevin's going
for the beer bong record!
The Teens immediately bolt for the stairs. In the giddy
exodus, one of them accidentally brushes
A CANDLE
onto the white shag rug.
INT. UPSTAIRS HALL - MARK'S HOUSE - NIGHT
John heads down the burgundy hall which is lined with family
portraits. He glances in the rooms as he passes.
INT. GUEST ROOM - MARK'S HOUSE - NIGHT
Sarah and her friend, EMILY, sit on the bed with Mark's two
dogs, Abby and Dozer. A wedge of light cuts across them as
the door opens and John steps in.
SARAH
John!
83.
She leaps up and hugs him. John waits as Emily exits.
JOHN
I'm sorry about last night.
She pulls away, her relief turning to anger.
SARAH
No. Not good enough. Sam said you
were never coming back. What are
you doing here?
JOHN
I couldn't leave without seeing you
one last time.
She looks at him, crushed.
SARAH
So it's true. What's going on?
What kind of trouble are you and
your dad in?
JOHN
We're going to be fine.
SARAH
Damnit! Whatever it is, I'll
understand -- just tell me the
truth.
JOHN
The truth is I'm not who you think
I am. You need to forget about me.
Okay?
SARAH
Why are you acting like this?
JOHN
Because it's the only way to keep
you safe.
SARAH
Safe from what?
He turns away, shields her from his torment.
JOHN
Goodbye, Sarah.
He doesn't look back as he walks out the door. CAMERA STAYS
ON SARAH as she sinks onto the bed and the dogs comfort her.
84.
INT. DOWNSTAIRS - MARK'S HOUSE - NIGHT
Party-goers pack the hall and kitchen watching Kevin consume
an impossible amount of beer through a funnel and hose.
TEENS
Drink! Drink! Drink!
Drained and numb, John heads the other way and fails to
notice the smoke seeping from under the basement door.
EXT. MARK'S HOUSE - NIGHT
John strides down the driveway, bleak-faced. He's about to
straddle the motorcycle when he hears a muffled EXPLOSION.
He looks back and sees
SMOKE
billowing from the side of the house. He bolts towards the
front door, SCREAMS at a JOCK as he passes.
JOHN
Call 911!
As he races inside...
INT. MARK'S HOUSE - NIGHT
It's total chaos. Smoke and FLAMES plume up from the
basement. Terrified Teens scramble. John thrashes through
the crowd, SHOUTING --
JOHN
Sarah!
EXT. BACK YARD - MARK'S HOUSE - NIGHT
The panicked evacuation spills out. A window EXPLODES and
orange flames lick the cold night air. John sees Emily
stumble out clutching one of Mark's dogs, Abby.
JOHN
Where's Sarah?
EMILY
Went back for Dozer.
Another EXPLOSION rocks. A COUPLE of drunk Jocks CHEER.
John looks back at the house. The fire has taken hold with
incredible speed. The living room curtains are ABLAZE.
A DOG'S HAUNTING HOWL
85.
cuts over the sound of the HISSING FLAMES. It's coming from
the second floor. John charges past Mark, towards the house.
MARK
It's too late. You can't get
through!
John ignores him and runs into the inferno.
INT. LIVING ROOM - MARK'S HOUSE - NIGHT
FLAMES sprint up the walls and clouds of black smoke spew
from the sectional sofa. Immune to the heat, John heads into
the front hall and finds
THE STAIRCASE
is fully engulfed. Fearless, he clambers up the flaming
steps. His jeans and shirt catch fire. He's almost reached
the top when the staircase BREAKS AWAY behind him and
DISINTEGRATES in a cloud of embers.
INT. UPSTAIRS HALL - MARK'S HOUSE - NIGHT
It's a raging conflagration. The family portraits blister on
the walls. John beelines towards Dozer's PLAINTIVE WAIL
which reverberates over the UGLY ROAR of the fire.
INT. GUEST ROOM - MARK'S HOUSE - NIGHT
Sarah is crouched by the heavy oak bed that dominates the
corner of the room, COUGHING, eyes burning from the smoke and
heat. Dozer is cowered underneath, HOWLING. Sarah
desperately tries to move the bed but it won't budge.
CRAAAACK!
The door rips off its hinges. Through the smoky half-light,
Sarah watches as John strides into the room, heroically
backlit by flame.
SARAH
John!
(FRANTIC)
Dozer's under the bed. He's too
scared to come out!
John strides forward, grips the bed with one hand and
effortlessly hoists it. Sarah looks at him, amazed, then
scrambles forward and gently scoops Dozer into her arms.
John puts the bed back down.
JOHN
Don't let go of him. I promise I
won't let go of you.
86.
As he lifts them...
INT. UPSTAIRS HALL - MARK'S HOUSE - NIGHT
The trio heads into the hall just as an 8-foot section of the
floor collapses in front of them. Unfazed, John sprints
forward and bridges the hole.
ANGLE ON SARAH as she stares at the burning chasm in terror
and grips Dozer tighter.
John touches down on the other side and doesn't slow as he
powers down the hall, which is a SHRIEKING tunnel of fire.
A BURNING BEAM
breaks free and swings down in front of them. Sarah SCREAMS,
but watches in stunned amazement as John sweeps it out of the
way with a telekinetic flick of his hand.
EXT. SIDE - MARK'S HOUSE - NIGHT
The second-floor window SHATTERS as John leaps out holding
Sarah and Dozer. A ROARING tongue of fire whips his back as
he drops to the ground and touches down with Sarah and Dozer.
COUGHING and shell-shocked, Sarah puts the dog down.
JOHN
You okay?
She stares at him, unsure.
SARAH
You walked through that fire
without getting burned. I saw you
stop that beam.
SIRENS wail in the distance.
JOHN
I'll explain everything... but not
here...
(offering his hand)
Sarah... please?
As they take off into the woods, the IMAGE FREEZES, then
REWINDS. John and Sarah kneel in the shadows, then FLY
BACKWARDS up through the window and INTO the burning house.
REVERSE TO REVEAL the Red-Haired Teen watching playback on
his FlipVideo camera, amazed. He runs to the back of the
house and finds Mark.
87.
RED-HAIRED TEEN
(RE: VIDEO)
Check this out, man!
PUSH IN as Mark stares at the footage, stunned.
CUT TO:
INT. WOODS - NIGHT
John and Sarah walk in SILENCE, dappled in moonlight. He
catches her staring at him.
JOHN
Please don't look at me like that.
SARAH
I'm sorry. I'm still trying to
process everything I saw and I keep
coming to the same conclusion --
what you did isn't possible.
JOHN
It is for me.
SARAH
Who are you?
(off his hesitation)
For once please tell me the truth.
It's the hardest thing he's ever had to do.
JOHN
My name isn't John. I don't have a
name, just a number. 4. In fact,
my whole life can be reduced to
numbers: like 15 million -- that's
how many light years it takes to
get from my planet to Earth. 38 --
that's how many towns I've lived
in. Or 3,671 -- that's how many
days I've been running from an
enemy that wants me dead. I lied
to you, Sarah, because I lie to
everyone. That's how I stay alive.
Tears of relief brim as he finally reveals his soul.
JOHN
I shouldn't be telling you any of
this. It's dangerous.
Emotionally spent, John leans against a tree. She steps
towards him and brushes her hand down his cheek.
88.
SARAH
I don't care. I just want to be
with you.
JOHN
I want that too. But if I stay you
could get hurt. I have to leave to
keep you safe.
Sarah absorbs the bitter reality, reaches for his hand.
SARAH
There's something I want to give
you first.
CUT TO:
INT. DARKROOM - PARADISE HIGH - NIGHT
A PHOTOGRAPH OF SARAH AND JOHN
sharpens INTO FOCUS. It's the one Annie took of them at
Thanksgiving. John and Sarah stand in the eerie red glow.
She gently tongs the image into a bath of fixing solution.
SARAH
So you'll always remember me.
With exquisite tenderness they kiss. John's palms shimmer.
The intensity of the luminescence builds with their rising
passion. They sink to the floor and the light crescendos in
an ethereal flash that BLEACHES OUT THE FRAME.
CUT TO:
EXT. MARK'S HOUSE - NIGHT
The spinning lights of a trio of fire trucks FLARE THE LENS.
CREWS hose down the last smoking embers. A DEPUTY approaches
Mark, who is standing by a police cruiser.
DEPUTY
The FBI showed up flashing their
badges. Wanna talk to you.
As he points to a black SUV that's parked down the street.
INT. SUV - NIGHT
Mark climbs in the back. He looks around nervously as the
vehicle starts off.
MARK
Where are we going? Is this about
the fire? It was an accident.
89.
Only now do we REVERSE TO REVEAL
THE MOGADORIAN COMMANDER
sitting in the back. His face is masked in shadow.
MOGADORIAN COMMANDER
We're hunting for one of the guests
at your party.
He holds up a netbook which flashes with the FlipVideo
footage of John's rescue of Sarah. It's posted on YouTube.
MOGADORIAN COMMANDER
Do you know this boy?
MARK
Yeah, John Smith. But I didn't
invite him.
MOGADORIAN COMMANDER
He's a fugitive. We've been
tracking him for some time.
Mark smirks, vindicated.
MARK
I'll help you find him.
He points to Sarah's image on the screen.
MARK
He's not at Sarah's, I already
checked. And one of my dad's
deputies drove by his house --
nada.
MOGADORIAN COMMANDER
He poses a great threat to us.
Where else could he be?
Mark pulls out his cell phone.
MARK
I've got Sarah's cell number, maybe
you guys can trace it?
The Commander takes the phone and passes it to one of his men
in the front. He looks back at Mark.
MOGADORIAN COMMANDER
Tell me everything you know about
John Smith.
CUT TO:
90.
INT. SAM'S HOUSE - NIGHT
Sam is at the kitchen counter, watching the YouTube video on
his laptop, when headlights bleed through the blinds.
EXT. SAM'S HOUSE - NIGHT
Sam steps out and reacts in surprise as Henri emerges through
the headlight glare.
HENRI
John's not at the house. Is he
here?
SAM
No, but he's all over the internet.
HENRI
I know.
He turns back to his SUV. Sam follows.
SAM
Those things from Warsaw -- they're
coming, aren't they?
HENRI
Go back inside. This isn't your
fight.
SAM
The hell it isn't. I'm coming with
you.
OFF this declaration...
CUT TO:
INT. SCHOOL OFFICE - PARADISE HIGH - NIGHT
The crystal pendant glints against John's chest as he grabs a
“Paradise High” sweatshirt from a supply closet and yanks it
on. Sarah's phone suddenly RINGS, startling them.
SARAH
(INTO PHONE)
Hello.
She listens, then hands John the phone.
SARAH
It's Henri.
INTERCUT WITH:
91.
INT. SUV - NIGHT - MOVING
Henri careens through the night with Bernie and Sam.
HENRI
(INTO PHONE)
Where are you?
JOHN
High school.
HENRI
Get out now!
At that moment, all the POWER in the school DIES and the
headlights of an SUV flash across the window. Fear registers
in John's eyes as he realizes...
JOHN
Too late... they're here.
EXT. SUV - NIGHT
The Commander climbs out. Mark follows but is distracted as
a trio of black SUVs speeds into the lot followed by a
tractor trailer from which inhuman GROWLS echo.
MARK
What the hell's in there?
He looks back at the Commander who is arming up from the
trunk of the SUV. Mark glimpses the arsenal of future-tech
machine pistols, double-bladed swords and heavy-duty daggers.
He backs away in fearful realization.
MARK
You guys aren't FBI.
Before he can run, a Mogadorian Soldier grabs him by the neck
and constrains him. The Commander pulls
TWO BANDOLIERS
over his broad shoulders. The cartridges are made of crystal
and swirl with purple light. Finally, he slips on his
trademark red coat and spins towards the school.
INT. HALL - PARADISE HIGH - NIGHT
One of John's hands holds Sarah's while the other lights
their way as they hurtle down the passage. They've almost
reached the doors when they suddenly fly open and
A FIGURE
92.
struts into view. We RECOGNIZE her as the mysterious Teen
Girl. She swings up an awesome hand-cannon and FIRES right
at them. THE BLAST scorches the air between John and Sarah
but takes out the
MOGADORIAN SOLDIER
who was stalking up the hall behind them! John watches in
shock as the Mogadorian keels over and SHATTERS into embers.
John swings back to the Teen Girl as she strides forward.
SHE IS NUMBER 6.
SIX
You oughta keep your heroics off
the internet.
JOHN
Who the hell are you?
SIX
Number 6. Where's your Cepan?
JOHN
On his way. Where's yours?
SIX
Dead. The Mogs got her four months
ago. We had been tracking them.
She heads past. John and Sarah follow after her.
JOHN
Tracking them?
SIX
We discovered they plan to attack
Earth. The only thing standing in
their way is the six of us.
The revelation hits John like a wrecking ball.
SIX
You know what that means?
John nods with new purpose.
JOHN
The war starts tonight.
SIX
First we have to get out of here
alive and find the others.
Six leads them past the impressive trophy case.
93.
JOHN
What are we up against?
SIX
There's a commander, a bunch of
soldiers and two Piken. They'll
have all the main entrances
covered.
SARAH
The gym, there's a tunnel under the
stage.
JOHN
It'll take us out to the stadium.
Six acknowledges that info with a curt nod. FOOTSTEPS. Six
grabs John and Sarah by their arms and yanks them back
against the wall.
They hold their breath as one of the Mogadorian Soldiers
prowls straight past. He stops for a moment, then turns the
corner. Sarah looks across at the mirrored trophy case and
sees there's no reflection.
SARAH
We're invisible.
John realizes, turns to Six.
JOHN
You got any other Legacies?
SIX
I can control the elements. You?
JOHN
Lumen and telekinesis.
More FOOTSTEPS. John turns and watches in horror as the
Mogadorian Commander and a trio of Mogadorian Soldiers sweeps
into view. The Commander is holding
MARK.
He is ashen with fear. Sarah has to catch herself from
screaming. John makes a move, but Six holds him in place.
SIX
Stay put. They want to draw you
out.
JOHN
He's not dying because of me!
94.
ANGLE ON THE SOLDIERS AND MARK. They're heading past the
trophy case when JOHN'S VOICE booms out of nowhere.
JOHN (O.S.)
Mark! Linoleum! Now!
Mark rips free and hits the deck a second before the trophy
case EXPLODES. Shards of glass rip into the Mogadorians and
trophies torpedo off the shelves and impale the aliens
against the far wall. The Mogadorians SCREAM as they flail.
John, Sarah and Six break cover. John wrenches Mark to his
feet and they take off running. They dash around the next
corner and find
HENRI, SAM AND BERNIE
sprinting towards them, followed by two Mogadorians! Six
raises her hand-cannon, BLOWS one of the Mogs away, while
John safely leads everybody into...
INT. LIBRARY - PARADISE HIGH - NIGHT
SIX
(TO JOHN)
Barricade the doors!
John telekinetically uproots a trio of bookcases that fly
across the space and block the door. Sarah turns to Mark who
is totally shell-shocked.
SARAH
What are you doing with them?
MARK
They said they were FBI. That John
was a fugitive. What the hell's
going on?
SIX
You've stumbled into a war. So
shut up and keep your head down.
HENRI
I see age hasn't mellowed your
attitude, 6.
Mark turns to John, guilt-wracked.
MARK
I didn't know they were trying to
kill you.
(genuine, to John)
I'm sorry.
95.
JOHN
This isn't your fault -- it's mine.
He offers Mark his hand. Mark shakes it. Suddenly, Bernie
begins to GROWL.
SAM
What is it, boy?
Henri sees where Bernie is staring and realizes...
HENRI
He's telling us to run!
They take off a second before
A PIKEN
PUMMEL-RAMS through the wall in a shower of bricks, books and
paper. It utters a glass-shattering ROAR. John looks back
and sees Bernie bravely holding his ground.
JOHN
Bernie!
He watches as the beagle sprints forward and launches himself
at the monster. Bernie clamps onto the Piken's neck. He's
hopelessly outmatched and holds on for dear life as the Piken
tries to buck him off. Then something amazing happens --
BERNIE BEGINS TO MORPH.
He doubles, triples in size and keeps growing. His features
become reptilian, gecko-like, his fur turns to spines and in
a matter of moments Bernie has transformed into a hulking
ALIEN CREATURE.
John looks to Henri as the truth of Bernie's origin dawns.
HENRI
Bernie's a Chimera. He came with
us from Lorien.
JOHN
Guess I wasn't the only one keeping
secrets.
HENRI
Somebody had to watch you when I
wasn't around.
They exit while Bernie and the Piken continue to battle.
96.
INT. HALL - PARADISE HIGH - NIGHT
John and Henri catch up to the others.
SARAH
The gym's this way.
A projectile HISSES past John's ear and DETONATES a row of
lockers -- BOOOOOM! -- it's like an incendiary grenade. The
paint blisters off the lockers as they are consumed by FIRE.
JOHN
sees two Mogadorian Soldiers hauling heavy-duty weapons that
use the glass cartridges that glow on their ammo belts. One
FIRES another round. John telekinetically RIPS a door off
its hinges. It flies forward, blocks the charge and IGNITES.
John spins back and SCREAMS --
JOHN
Go! Go! Go!
They take off. John follows and uses his telekinesis to
fling cabinets, doors, benches anything he can to block the
fiery onslaught. But the rounds are coming too fast and a
projectile SMACKS him in the back. It's like being hit by
napalm. As FLAMES wash across him, he looks up and snaps on
THE SPRINKLER HEADS
that run the length of the hall. A deluge sprays, dousing
the fire. With his clothes smoking, John tears around the
corner. The Mogadorians charge after him, but find
SIX IS WAITING.
BOOOOMM! BOOOOMM! She blasts them at point-blank range.
Magenta light gushes from their wounds. Like rain hitting
hot coals, their bodies HISS as they crack and cinder.
SIX
Keep moving!
Henri, Mark, Sarah and Sam race out of view. Then John sees
something emerge through the smoky, water-choked haze.
IT'S THE SECOND PIKEN!
It utters a low, predatory GROWL and launches itself forward.
Oddly, Six doesn't move. She closes her eyes and lays one
hand on the flooded floor, turning the water to
ICE!
97.
In a matter of moments, the hall has been transformed into an
icy tunnel. The sprinklers spray snow. The Piken struggles
to find purchase in this new frozen environment and slip-
slides after John and Six, who disappear into...
INT. CAFETERIA - PARADISE HIGH - NIGHT
CRAAAAACK! The doors are DEMOLISHED as the Piken flails off
the ice. It takes out a row of tables and chairs and skids
to a stop. It ROARS in humiliated FURY, and its red eyes
scan for John and Six who are nowhere to be seen.
The Piken prowls behind the serving counter. Snow beads off
its back. Its monstrous nostrils suddenly flare, sensing
something. It hunches lower and peers at the trays and pans
that are stored below.
REVEAL JOHN AND SIX. They're invisible. John clutches Six's
arm. They're lying between a stack of roasting dishes.
Threads of foamy drool drip onto their faces as the Piken
pokes its head further. Its ghoulish red eyes seem to stare
right at them. With a final frustrated SNORT, it carries on.
INT. HALL - PARADISE HIGH - NIGHT
Henri, Sarah, Sam and Mark race into view. Sarah stops,
panicked and afraid.
SARAH
Where's John?
HENRI
Right behind us.
He offers her his hand. She's about to take it when
A MOGADORIAN SOLDIER
steps out of the shadows. There is nowhere and no time for
Henri and the others to run. But as the Mogadorian squeezes
the trigger of his hand-cannon, the wall on his right
ERUPTS!
Bernie and the first Piken crash into the hall. They are
still at each other's throats and don't even notice as they
steam-roller over the Mogadorian, squashing him like a bug.
The creatures SMASH through the opposite wall and out of
sight. It's over in a violent blink.
INT. KITCHEN - PARADISE HIGH - NIGHT
John and Six sneak through the shadows. She steps to the
door, but it won't budge.
98.
SIX
They've blocked it. Use your
telekinesis.
JOHN
We're not leaving without my
friends.
SIX
Don't you mean the girl?
John ignores the jibe and turns back. Six grabs his arm.
SIX
I broke the Elders' spell to find
you. The Mogs can kill me now. We
have to go.
JOHN
We stay and fight.
OFF his determination...
INT. HOME ECONOMICS ROOM - PARADISE HIGH - NIGHT
Henri and Sam crouch behind one station while Sarah and Mark
hide in the one opposite. Henri pulls a selection of weapons
from the backpack. He hands one to Sam, looks over at Mark.
HENRI
You know how to use one of these?
MARK
My dad's the sheriff.
He slides two across the floor. The door opens. They swing
up to fire but find -- John and Six.
JOHN
Save it for the Mogs. Let's go!
INT. LOCKER ROOM - PARADISE HIGH - NIGHT
Bernie and the Piken pummel the rows of lockers which
COLLAPSE like dominos. Gashed and exhausted, the battling
duo SHATTER-SMASHES into
THE SHOWER STALLS.
Water SPURTS from a broken pipe. The Piken slips on the
slick tiles. As it struggles to right itself, Bernie seizes
the moment and sinks his fangs into the monster's neck.
THE PIKEN
99.
desperately thrashes. Its talons viciously rip into Bernie's
side. Ignoring the pain, Bernie doesn't let go until his foe
finally jerks to stillness. As Bernie sinks to the floor, he
MORPHS back into a beagle and lies spent and bleeding...
INT. GYM - PARADISE HIGH - NIGHT
John leads the group past the bleachers and points to the
side of the stage.
JOHN
The door's over here. The tunnel
leads out to the stadium.
Sarah sweeps back the curtain, revealing a padlocked set of
metal doors. John holds up his hand, snaps the lock and
whips the chain free. The doors fly open,
TWO MOGADORIANS
spring out of the dark. One tackles Henri while the other
blindsides John. Henri struggles until
BOOOOOM!
The BLAST cinders the Mog's head clean off. Henri looks over
and sees Mark holding a smoking shotgun and nods his thanks.
The second has John pinned when it suddenly ROARS in agony
and disintegrates into a shower of sparks, revealing
SIX.
She sheathes her dagger and helps John up.
SIX
Saving your life. My new hobby.
Sarah notices a smile of respect flicker between John and
Six. PHHHHHHT! PHHHHHHT! PHHHHHHT! -- three Mogadorian
knives razor the air. One impales Six in the shoulder. She
slumps at John's feet. Henri opens FIRE on the
THE COMMANDER AND TWO MOGADORIAN SOLDIERS
who storm towards them. John SCREAMS to Sam and Mark.
JOHN
(RE: SIX)
Get her down the tunnel!
They grab Six by the arms and drag her into the tunnel.
Sarah glances back at John and follows after them. Henri
takes out a Soldier. John sweeps up his hand and
100.
THE WOODEN FLOOR OPENS LIKE A ZIPPER!
The Commander and the other Soldier are sent flying as the
planks rip free of their nails. John and Henri charge into
the tunnel. The doors fly shut behind them and the bleacher
stand rolls forward to seal the entrance.
INT. TUNNEL - PARADISE HIGH - NIGHT
Sarah is in the lead. Sam and Mark follow, holding the
wounded Six. They've almost reached the end when
A MOGADORIAN
lurches into the mouth of the tunnel. Without a second's
hesitation, Sam swings up his gun and BLASTS it. Mark looks
at him in shock as they race through the embers. Sam shrugs.
SAM
I play a lot of Xbox.
EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT
Sam, Mark, Six and Sarah hurtle across the field. When they
reach the track, Sarah looks back and smiles with relief when
John and Henri burst out of the tunnel.
JOHN
Don't stop! Get to the woods!
She nods and exits with the others.
John and Henri head onto the field after them when
THE SECOND PIKEN
leaps out of the mouth of the tunnel behind them. It's
seriously pissed. It bounds straight towards John. Its
fangs glint like barbed wire as it launches itself towards
him. At the last second,
HENRI
nobly shoves John out of the way and is plucked into the
Piken's jaws. The creature shakes him like a rag doll and
flings him 50 feet down the field. John watches, anguished,
as Henri lands in a heap.
JOHN
Nooooooooooooooooooooooooo!
The Piken pivots, turns its crimson eyes on John. It almost
seems to smirk. Its fangs are stained with Henri's blood.
John's face hardens into a mask of rage.
101.
He makes no attempt to flee as the Piken charges. As it
springboards into the air...
ANGLE ON JOHN'S HANDS -- as they suddenly clench.
ANGLE ON THE GOALPOSTS -- as they're SNAPPED clean off their
bases and fly skyward.
ANGLE ON JOHN -- as the Piken's shadow washes across him.
ANGLE ON THE PIKEN -- as it arcs towards John with its mouth
open and teeth bared. Suddenly, the goalposts spear its
flanks, impaling it like supersize BBQ forks.
The three-ton killing machine drops out of the sky and smacks
onto the 20-yard line. John watches impassively as the red
life-fire dies in its eyes and its head lolls to one side.
EXT. WOODS - NIGHT
The stadium looms in the distance. Sam wrenches the dagger
from Six's shoulder while Sarah and Mark anxiously watch.
EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT
John sinks by Henri's side.
JOHN
Henri.
Henri GROANS as John cradles his head. His coat is soaked
with blood and his torso is horribly mauled. John tries to
drag him to his feet.
JOHN
Come on, taillights in five.
HENRI
I won't be coming with you this
time. Save yourself.
JOHN
We go together!
Henri smiles, grateful, but at that moment
THE COMMANDER'S SWORD
flies past John and impales Henri in the chest. Henri utters
a GROAN and his dying eyes meet John's.
HENRI
Find the others.
His voice is a GRAVELLED WHISPER.
102.
HENRI
Your life is my life... always.
His eyes flutter closed and he slips from John's grip.
Anguished, John doesn't notice his pendant momentarily
flicker with a radiant blue light. He angrily spins to face
THE MOGADORIAN COMMANDER.
But in a blur of speed, the Commander steps forward, wraps
his hand around John's throat and plucks him into the air.
He's flanked by the remaining Soldiers. John's feet kick
uselessly as he's lifted face to face.
MOGADORIAN COMMANDER
Number 4.
Three Loric pendants dangle from the Commander's belt like
mocking trophies.
MOGADORIAN COMMANDER
Your Cepan saved you on Lorien.
The Commander's voice hisses with cruel certainty. He
wrenches his sword from Henri's corpse.
MOGADORIAN COMMANDER
But this moment was inevitable.
The blade shimmers with silver flame as he raises it.
John's eyes narrow as the sword sweeps towards him. This is
the moment his adolescence officially ends. This is the
moment when a warrior is born.
ANGLE ON BLADE as it SHATTERS into a million pieces, which
flutter to the ground like glittering confetti.
John stares at the alien with calm confidence.
JOHN
Nothing is inevitable.
ANGLE ON JOHN'S HAND AS IT IGNITES.
The flame is hotter and brighter than 10,000 acetylene
torches. He grips one of the Commander's bandoliers.
TIGHT ON THE MOGADORIAN'S FACE as he realizes it's over.
The glass cartridges detonate in a deadly chain reaction.
IT'S LIKE A NUCLEAR IMPLOSION!
103.
John, the Commander, the Mogadorian Soldiers, in fact every
goddamn thing in the stadium is obliterated in the
SUPERNOVA OF FIRE
that radiates across the field like a blinding ring of hell.
EXT. WOODS - NIGHT
Sarah looks back as the blistering vortex of flame lights the
night sky. Her breath catches in her throat.
SARAH
Oh my God... John.
Before anyone can stop her, she takes off running, sprinting
for the stadium.
EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT
It's a smoking ruin. The seats have melted into puddles.
Sarah bursts into view. She looks across the devastated
field. The grass has been reduced to a charred black carpet
of stubble. Nothing remains of Henri or the Mogadorians.
SARAH
John!
She charges across the broiled expanse, hoping against hope.
Then she sees John, lying motionless and naked, his clothes
completely burned away. She stops, puts her hand to her
mouth to stifle a sob, when he COUGHS and stirs.
SARAH
John!
Ash swirls like snow as she races to his side. They wrap
each other in their arms. Neither wanting to ever let go.
CUT TO:
EXT. PICNIC AREA - WOODS - DAWN
The sky is cracked with the first light of day. Sarah is
dressing Six's wound at a table. Six winces.
SARAH
Sorry, Girl Scout first aid didn't
cover extraterrestrial dagger
wounds.
Six smiles, grateful.
SIX
Thanks.
104.
As the two teens size each other up, CAMERA FINDS Mark. He
hangs up his cell and crosses to John and Sam, who are
talking intently by the motorcycles. John is now wearing a
pair of old jeans and a faded denim jacket.
MARK
The Sheriff's Department is
starting to put up roadblocks. You
guys better get moving.
Six and Sarah join them.
JOHN
You good to go?
SIX
Don't worry about me.
John nods to Sam.
JOHN
Sam, ride with Six.
SIX
We don't need baggage.
Sam steps in front of her, determined.
SAM
I have to find out if the Mogs took
my dad.
Six turns to John, who is not bending, then glares at Sam.
SIX
You slow us down, I'll shoot you
myself.
Sarah looks at John, tries to rein in her emotions.
SARAH
I want to come too.
JOHN
You need to stay here.
SARAH
Why?
JOHN
You could have died last night.
I'm not putting you in danger
again. Mark's promised to look
after you.
105.
Tears tumble down her cheeks.
SARAH
I don't want to say goodbye.
JOHN
I'll come back for you.
SARAH
When?
JOHN
When it's safe.
She bows her head, anguished. He gently lifts her chin.
JOHN
Where I'm from, we only give our
heart to one person. I've given
mine to you.
(BEAT)
I love you, Sarah.
Their lips meet and they kiss. It only ends when John hears
an URGENT RUSTLE in the woods. They turn and watch as
BERNIE KOSAR
limps into view. Blood mats his fur and his face is
scratched but he's alive. OFF John's relief...
CUT TO:
EXT. PICNIC AREA - DAY
Sam sits behind Six on her motorcycle. John holds Bernie as
he straddles his Harley. Bernie morphs into a gecko and
darts into his pocket. Sarah studies John and Six, unsure.
John THROTTLES the bike to life, then looks back at Sarah.
He fights a pang of jealousy when he sees her standing at
Mark's side. RAIN spits as the motorcycles start off.
JOHN (V.O.)
This is the first town I've left
without Henri. The first one I
have a reason to come back to.
John and Sarah hold each other's gaze, desperately trying to
brand the image of their faces onto their memories.
EXT. ROAD - DAY
The bikes blur past the “Welcome to Paradise” sign.
106.
JOHN (V.O.)
He warned me the pain would be
unbearable if I left her. He was
right.
EXT. TEXAS PLAINS - DAY
A straight stretch of blacktop bisects the sunbaked flatness.
JOHN (V.O.)
But I don't regret it. The pain
reminds me what's at stake.
A dust trail plumes as the bikes power into view.
JOHN (V.O.)
We must find the others and face
our enemy together. I'm not sure
how we can stop them. But nothing
is inevitable. I know that now.
Thunderheads darken the horizon.
JOHN (V.O.)
I am Number 4.
His eyes are fearless and his face is undaunted by the
battles yet to be fought. He's ready to face a future
unmapped and uncharted. Ready.
FADE OUT.
THE END
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