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#219 : L' Apocalypse

Titre VO : Visions

Johnny est interpelé par un sans abri qui l'accuse d'être à l'origine de la fin du monde. Johnny se rend à New York sur sa demande et rencontre Chris, qui ressemble étrangement au sans abri mais qui ne semble pas le reconnaître. Johnny a une vision de la femme et la fille de Chris mortes chez elles. Le sans abri est en réalité Chris, mais le Chris du futur : Chris va être blessé lors du cambriolage où sa famille trouvera la mort, tombera dans un coma et se réveillera des années plus tard avec le même don que Johnny. C'est sous les traits d'un sans abri qu'il apparaît à Johnny car dans son monde, l'apocalypse a eu lieu...

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[OMITTED]

[EXT. STADIUM TRACK – DAY]

(It's one of those days that make you understand why people spend their summers in Maine. The stadium seats are empty, but the field is buzzing with activity, as this is the finish line/reception area for a town-wide marathon. crowds mill around booths selling juice, snacks, balloons, etc. A van from a local radio station broadcasts live from the summer event. Most people are cheering the runners as they come into the home stretch. Johnny, Sarah, and J.J. are in the crowd. J.J. is holding a paper water cup, craning his head to look down the line. Johnny is barely watching the race, mind elsewhere.)

 

SARAH: Johnny. Johnny.

 

(He snaps out of his funk, looks at her.)

 

JOHNNY: Sorry, what?

 

SARAH: You feeling okay?

 

JOHNNY: Huh? Yeah. I'm having a great time…

 

SARAH: Staring at your shoes?

 

JOHNNY: They're really cool.

 

(Sarah shakes her head, then considers something else.)

 

SARAH: You weren't having a vision, were you?

 

JOHNNY: Actually, I was. I saw myself, at home, watching ESPN.

 

SARAH: If you didn't want to come, you should've said something. You used to love this marathon.

 

JOHNNY: That's 'cause I was running in it. (Beat) And way before it was called the "Faith Heritage Alliance Race for Peace." (There may be a banner somewhere declaring just that.)

 

SARAH: Who cares who sponsors it, it's still a fun event for a good cause.

 

(Johnny watches the runners come in. Most wear white, some have peace slogans on their shirts or headbands.)

 

JOHNNY: (muttering to himself) A cause with no effect.

 

(Johnny looks back to the marathon, and we drift into slow motion… sound becomes hollow as we watch people running, crossing the finish line, totally in the moment, unaware of the fate that he's seen for all of them.)

 

J.J. (O.S.): Dad!

 

(Johnny turns to see Walt, running in shorts and a muscle shirt proclaiming "Penobscot County Sheriff Dept.," waving to cheering neighbors as he crosses the finish line. J.J. runs up to Walt with his cup of water, and Sarah follows him, clapping. Johnny smiles as Walt scoops J.J. up into his arms. Walt doesn't look that winded as he hams it up for J.J.)

 

WALT: Did I win? Did I win?

 

(J.J. laughs, pouring the water cup over Walt's head. Walt pulls Sarah into his embrace. Johnny watches from a distance, a smile still on his face, however distant.)

 

HOMELESS MAN (O.S.): You have no meaning! You mean nothing!

 

(Johnny turns to see a homeless man (he guesses) ranting and raving over by some recycling and trash bins. The Man is wearing a dark, torn overcoat, boots, and a hood in the summer heat. He is muttering loudly to spectators. They are all pointedly ignoring him, but he continues.)

 

HOMELESS MAN: You're all dead. Why bother? What? What do you want me to say, the end is coming? The sky is falling?

 

(Johnny stares harder, and then realizes… he recognizes this man. Gripping his cane in hand, he begins to walk over. As he nears, Johnny sees how ripped up the clothes are. The look is Grim Reaper by way of Salvation Army. The Man's left hand is jammed into his left pocket. His other hand gestures wildly. The Man suddenly stops and points directly at Johnny, spitting rage.)

 

HOMELESS MAN: Don't come any closer! Shame on you, Johnny Smith! Shame on you for what you've done to these people!

 

(Johnny tenses. This guy knows him.)

 

JOHNNY: Excuse me?

 

(Johnny can see the Man's face; a face half scarred, maybe burned. A face he's seen before. A face that freezes him in his tracks. The face twists into a pained smile. The Man jams his free hand into its pocket and walks around the corner into the tunnels under the stadium. Johnny hurries after him in the same shot. He rounds the corner only to find the tunnel empty. Johnny can see way down the tunnel before it begins to turn. There are no doors, nothing to hide behind. Whoever the Man was, he just vanished into thin air. Johnny, freaked out, turns to see if anyone else saw this. No one did. He is alone in the tunnel.)

 

 

END OF TEASER

 

 

ACT ONE

 

 

[INT. SMITH HOME – DAY]

(Johnny mixes a drink at the wet bar. Bruce watches him, a little worried.)

 

BRUCE: A homeless guy?

 

JOHNNY: Maybe he's not homeless, who knows. The point is, this wasn't the first time I've seen him.

 

(Johnny takes a drink. He needs it.)

 

BRUCE: Seen him seen him, or… (Points to head) Seen him.

 

JOHNNY: He's not a vision, Bruce. The people in my visions usually don't turn to look and talk to me…

 

(His voice trails off, uncertain.)

 

BRUCE: When was the first time you saw him?

 

(Johnny thinks about it, draws a deep breath.)

 

JOHNNY: The first time was during the storm…

 

 

[CLIP FROM "STORM" - MYSTERY MAN LOOKS AT JOHNNY.]

(Wind whips everywhere, the Man stares at Johnny.)

 

JOHNNY (V.O.): When we ran into that carnival.

 

JOHNNY (V.O.) (CONT'D): After the lightning hit, everyone was running everywhere… except for this one guy.

 

HOMELESS MAN: Johnny Smith.

 

(Lightning whites out the frame.)

 

 

[BACK TO SCENE]

 

JOHNNY: He said my name…

 

BRUCE: Maybe he was part of the circus. A roadie.

 

JOHNNY: Yeah, but that doesn't explain the second time I saw him.

 

 

[CLIP FROM "THE MOUNTAIN"]

(The Mystery Man stares at Johnny from the dark woods.)

 

 

[BACK TO SCENE]

(Now Bruce is hooked.)

 

BRUCE: Why didn't you say anything about this before?

 

(Johnny mimes holding a phone to his ear.)

 

JOHNNY: Hey, Bruce, what's goin' on? Me? Oh, I just keep seeing this mountain man circus freak everywhere…

 

BRUCE: …Who's not a vision.

 

(Johnny suddenly becomes serious, showing signs of the strain these cumulative sightings have had on him.)

 

JOHNNY: I get visions off of touch, and I wasn't touching anything. If you've got another theory, I'd love to hear it.

 

BRUCE: How about you've got someone stalking you?

 

(Johnny shakes his head, he doesn't think so.)

 

BRUCE: There's something you're not telling me. You said he yelled at you. What'd he say?

 

JOHNNY: (covering) It… was just rambling. About the end of the world. Typical crazy man at the fair stuff. Didn't make any sense.

 

(Bruce studies him, not convinced.)

 

 

[EXT. SMITH HOME – NIGHT]

(From the right angle it looks like a haunted mansion.)

 

 

[INT. SMITH HOME - VARIOUS – NIGHT]

(Shooting down empty hallways, stairwells. Anyone, anything could be lurking in the deep recesses of shadow. In the kitchen, we move in on the security monitor, now displaying a view of the darkened driveway. Maybe we think we see something move, maybe not.)

 

 

[INT. SMITH HOME - BASEMENT – NIGHT]

(Johnny pulls the cover off of the bulletin board with his articles, diagrams, and notes concerning the most important vision he's had… the vision of Armageddon. Johnny pulls up a chair and sits in front of the board, resting both of his hands on his cane. He scans the board. Pictures of Stillson, Purdy, the Washington Monument. Johnny's eyes rove past post-it notes like "Shady Pines - Need Witness", "Sonny Elliman," and "Satellite?" A patchwork of questions and media hieroglyphics, all leading to the very declarative photo of a mushroom cloud.)

 

HOMELESS MAN (O.S.): That's a sick hobby you've got there.

 

(The is voice right behind his ear. Johnny's chair KNOCKS OVER as he SPRINGS UP, whirling around and holding his cane like a bat, ready to swing… The Homeless Man is standing on the upper landing of the basement stairs.)

 

JOHNNY: Get the hell out of my house!

 

HOMELESS MAN: So this is where you study the end of the world.

 

(Johnny tenses as he sees the man's hand in his coat pocket, possibly concealing a gun or a knife.)

 

JOHNNY: What do you want?

 

(Johnny has backed to his tool bench. He scoops up a wicked looking Black and Decker power drill with 12 inch bit, pointing it at the Homeless Man.)

 

HOMELESS MAN: I want you to get in your car. I want you to drive to New York. White Plains. Thirteen-fifty-six Primrose Lane. Blue House. Before it's too late.

 

(The Man nods to the Armageddon board, and Johnny's eyes flick over to it. Then, the Man turns and begins to walk up the stairs. Johnny hurries up the stairs after him, drill in hand.)

 

 

[INT. SMITH HOME – CONTINUOUS]

(Johnny stalks through his house, fear having released adrenaline and anger. He's done with crackpots breaking into his home. He moves deliberately, power drill leveled like a Magnum. He reaches the front door. Not only is it locked, it's chained and dead-bolted.)

 

 

[KITCHEN - MOMENTS LATER]

(He checks the security system. All lights are green. Triggers a system check. No reported breaches. Johnny stands there, baffled.)

 

 

[INT. SMITH HOME – BASEMENT]

(Johnny descends the last few steps. Crosses to the board. He stands in silence for a beat, mind spinning. Then, he takes a marker, and writes something on the board, right across the photo of the mushroom cloud. He stands back to stare at what he's done. We see a sort of confusion creep into his eyes, followed by a dawning realization. Per-lap sound of a ringing phone… Close on color photo of mushroom cloud written across it in black marker: 1356 Primrose Lane Blue House White Plains, New York fade to:)

 

 

[OMITTED]

[EXT. WESTCHESTER, NEW YORK - DAY (STOCK)]

 

BRUCE (V.O.): Hey, it's Bruce, I'm not home, leave a message.

 

(Stock Shot flying over the hilly terrain surrounding the wealthy town of White Plains, NY.)

 

JOHNNY (V.O.): Hey, it's me. Listen, I'm heading out of town, tonight. Bruce, I saw him again.

 

 

[EXT. PRIMROSE LANE – DAY]

 

JOHNNY (V.O.): He came to my house. I think he knows what I've seen, about Armageddon. He told me to drive to New York… and I don't know why, but I feel I've got to be there. Call you from the road…

 

(Johnny's jeep pulls up next to the street sign. Nice, upper middle class homes line the street, and it looks like nothing bad could happen here. Johnny gets out. As it keeps pace with him. He approaches… The old-fashioned kind with a red flag. This one has a white cursive "1356" on it. The name "Wey" is on the door. The door opens as a little girl runs up and pulls it down, taking out a big handful of mail. She smiles at Johnny and runs back to her house. It's a blue House - white and light blue, that is. Classy, inviting, not obnoxious. A woman (Madeleine)is walking across the lawn toward the girl. Mid-thirties, beautiful but not overdone.)

 

MADELEINE: Let's see. (The mail)

 

LITTLE GIRL: I want to bring it in!

 

(The girl runs past her Mom, up to the porch steps. She slips on the second step, not seriously, and the mail flutters to the ground. Madeleine shakes her head, and starts to pick it up. She catches Johnny watching from the street, and gives him a polite smile. Johnny returns the smile, but is disturbed by the scene: why was he told to come here? Just then, he hears, then sees a black Mercedes sports car humming down the street toward him. He steps closer to the curb to let it pass. It slows as it approaches, pulling into the driveway, driver looking at Johnny through the side window. It is the homeless man. Except he has no burns on his face, and is wearing a clean, short sleeved polo shirt! Johnny tenses up as the car parks in front of the garage, and the Man gets out, looking back at Johnny. The girl stops helping Mom pick up mail, and runs to…)

 

LITTLE GIRL: Daddy!

 

(She jumps into the Man's arms. He kisses her, and moves on, glancing at Johnny as he carries her down the walk. He passes his Wife, as he heads up the steps, saying something to her as he heads in. She follows up the steps, glancing back at Johnny before she closes the door. Johnny hesitates, not sure what to do. He tentatively takes a step toward the house, and soon finds himself at the front door. Rings the doorbell. A beat later, Madeleine answers the door. Johnny misses the beat to introduce himself; this is just too strange.)

 

MADELEINE: Hi. Can I help you?

 

JOHNNY: Um, yeah. I was looking for your husband. I think.

 

(He winces at himself. She looks suspicious.)

 

MADELEINE: Can I ask what this is regarding?

 

(The little girl, Julia, precociously pokes her head between her Mom's legs, and looks up at Johnny.)

 

JULIA: Bonjour.

 

MADELEINE: Julia…

 

JOHNNY: Bonjour. Comment allez vous?

 

JULIA: Va Bien, Merci.

 

(This gets a smile out of Madeleine, relaxing her.)

 

JOHNNY: I'm sorry, I've been on the road for over ten hours, and I'm a little out of it. My name's Johnny Smith, I just drove down here from Maine.

 

MADELEINE: Maine?

 

(The Man, who's name is Christopher, shows up.)

 

CHRISTOPHER (O.S.): Maddy?

 

(He looks out the door, gives Johnny the once-over. Johnny stares into his eyes. It's definitely the same guy. Without the burns he's actually handsome.)

 

CHRISTOPHER: What's going on?

 

(She looks back and forth between Johnny and Christopher.)

 

MADELEINE: You don't recognize him?

 

CHRISTOPHER: No. Listen, we're not interested.

 

(He moves to close the door.)

 

JOHNNY: Wait a minute, you have nothing to say to me?

 

CHRISTOPHER: Excuse me?

 

JOHNNY: What is all this? (Beat) What's your name?

 

(Christopher bristles at Johnny's tone.)

 

CHRISTOPHER: What's my name? Get the hell off my porch, that's my name.

 

(Madeleine tries to keep the peace.)

 

MADELEINE: Mr. Smith, I think maybe you've got the wrong address. This is 1356 Primrose Lane, we're the Weys. W-E-Y. I'm Madeleine, this is Christopher, you've met Julia…

 

(Johnny does not know what to make of this. Chris does.)

 

CHRISTOPHER: Like she said, you have the wrong address.

 

(His forceful tone draws a curious glance from Madeleine.)

 

JOHNNY: Something's wrong, I'll give you that.

 

(Christopher gives Maddy a "get inside" look. She does so with reluctance, taking Julia with her. Christopher stares Johnny down, speaking in a lower, more intimate tone.)

 

CHRISTOPHER: Who're you with? Frank's guys? The 309? Alright, I get the message. Now, you listen to me. My daughter lives here, you understand? Maybe that's the point; you can get to me. Just know that I can get to you. I'm not talking about your boss, I'm talking about you. Okay, "John Smith?"

 

(He punctuates this with an aggressive pat on the shoulder.)

 

 

[OMITTED]

[VISION FLASH – NIGHT]

(9 year old Julia crumpled on the front porch steps, dead.)

 

 

[VISION FLASH – NIGHT]

(Madeleine Wey sitting against her living room wall, dead. One eye closed, the other open and staring nowhere…)

 

 

[BACK TO SCENE]

 

CHRISTOPHER: I said, are we okay?

 

(Johnny is frozen where he stands. Christopher slams the door. Johnny turns to look at the street, even more confused and disturbed than he was before he came here…)

 

JOHNNY: Not even close…

 

 

END OF ACT ONE

 

 

ACT TWO

 

 

[EXT. CONSTRUCTION SITE – DAY]

(The site for a future shopping center. The exoskeleton of what will be a supermarket has just started to appear, but basically this is still a big pit in the earth with a few construction trailers and machines around. Parked nearby we see Christopher's black mercedes sports car. Johnny is parked in his Jeep near the perimeter, watching Christopher Wey at work. While he spies, he's on the cell phone with Bruce.)

 

BRUCE (V.O.): Listen, I'm glad to hear you're alive, but I'm at work here…

 

JOHNNY: C'mon, Bruce, this is serious. I need your help.

 

 

[INT. PHYSICAL THERAPY ROOM - HOSPITAL MAYBE - SAME TIME]

(Bruce is with a client/patient, a young woman who is doing provocative stretches, all in the name of nursing her Achilles tendon (which is in a support bandage) back to health. He grimaces, on the phone with Johnny.)

 

BRUCE: You need more than my help, man.

 

JOHNNY (V.O.): I'm serious. Bruce, I met a woman, and a little girl, and saw them murdered in a vision.

 

(Bruce's mood shifts, he whispers into the phone.)

 

BRUCE: By your stalker guy?

 

 

[EXT. CONSTRUCTION SITE - CONTINUOUS (INTERCUT PHONE CALL)]

(Johnny leans forward in his car seat, staring at… Christopher, hard-hat on, talking to a construction Foreman, going over blueprints.)

 

JOHNNY: That's where it gets weird. If it's the same guy, then he's not exactly a stalker.

 

JOHNNY (CONT'D): Unless it's not the same guy, but I'm pretty sure it is.

 

BRUCE: You're actually making negative sense.

 

JOHNNY: Told you I need your help. Can you get off work? Please?

 

(In his room, Bruce turns back to the young woman, who manages a smile, even though she's vaguely in pain.)

 

YOUNG WOMAN: Think that's as far as I can go without a massage.

 

(Now it's Bruce's turn to feel pain. He grips the phone.)

 

BRUCE: I'll head out after lunch.

 

JOHNNY: Thanks, Man. Call me when you get here. I've gotta check something out…

 

(Johnny hangs up and gets out of his Jeep. He slips through the fence, into the site. Johnny passes by Christopher's sports car. As he touches it.)

 

 

[INT. BLACK MERCEDES SPORTS CAR - NIGHT (VISION)]

(Parked. Christopher is in the driver's seat, which is reclined all the way back. A hot woman, not his wife, is on top of him, her blouse undone. They're going at it and JOHNNY watches from the back seat, a trapped voyeur.)

 

 

[OUT OF VISION AND BACK TO SCENE]

(Johnny pulls his hand away from the car, surprised. He crouches down behind the Mercedes, and watches as Chris moves away from the Foreman. A woman approaches Christopher. The same woman from his vision, probably his secretary. Chris grins and pats her on the tush. She reports something to him, and his smile disappears. He asks her a question, and her answer makes him swear. He moves off toward the market site.)

 

 

[EXT. CONSTRUCTION SITE - SUPERMARKET - MOMENTS LATER]

(Johnny enters and looks up. Several beams and girders are already in place, with plywood ceilings that cut the sun off and make things a bit darker in here. Johnny follows the sound of voices, proceeding as quietly as he can. He peeks around a beam and sees Christopher arguing with three men from the local construction union.

 

CHRISTOPHER: Frank, I'm not ignoring you, and you know I would never disrespect you, but I need you to trust me, okay? What I don't need, is for you to send guys to my house. That won't solve anything.

 

FRANK: What're you talking about?

 

CHRISTOPHER: You know who I'm talking about. "John Smith."

 

FRANK: I don't know any John Smith.

 

CHRISTOPHER: Alright, whatever his real name is. Blonde guy with a cane.

 

(Suddenly Johnny feels something, like the hairs rising on the back of his neck. He turns to see a familiar silhouette watching him, standing at the end of a double row of steel beams. The figure steps behind one of them. Instead of heading directly there, Johnny moves a different way, toward an area where he hopes to cut the man off. Johnny gets there, and finds no one here. Then…)

 

HOMELESS MAN (O.S.): What are you doing here?

 

(Johnny looks UP, and sees the burnt man balanced on top of one of the second story support beams, looking down.)

 

JOHNNY: I could ask you the same question.

 

HOMELESS MAN: You shouldn't be here.

 

JOHNNY: You told me to come here. Remember?

 

HOMELESS MAN: I remember I said 1356 Primrose Lane…

 

JOHNNY: I've been there. Nice house. Belongs to a guy named Christopher Wey. Heard of him? You two sort of look alike.

 

HOMELESS MAN: He's not important.

 

JOHNNY: But his wife and daughter… they are important to you, aren't they?

 

(The Man glares down at Johnny, starts to pace up there.)

 

HOMELESS MAN: I… I need to see them…

 

JOHNNY: "Before it's too late?" It's already too late.

 

HOMELESS MAN: (stops) What?

 

JOHNNY: I'm not going to let you hurt them.

 

(The Man starts to pace again, holding his head.)

 

HOMELESS MAN: Hurt them? You… you saw that?

 

(It looks like he's going to fall.)

 

JOHNNY: I've seen what you're going to do.

 

(The Man stares down at Johnny, looking confused and vulnerable.)

 

JOHNNY: Why do you want to hurt them? Who are you?

 

HOMELESS MAN: Hurt them? (grips his head) I can't remember…

 

FOREMAN (O.S.): Hey! What are you doing?

 

(Johnny turns to see the construction Foreman heading toward him. He looks back up to the beams… No one is there. A heavy hand lands on his shoulder.)

 

 

[OMITTED]

[EXT. CONSTRUCTION SITE - MOMENTS LATER]

(Christopher, Frank, and the two union goons turn to see Johnny and the Foreman approaching. Chris's eyes go wide.)

 

FOREMAN: Chris, I found this guy over by the drainage buffer. Says he knows you.

 

CHRISTOPHER: That's him! This is the guy I was telling you about. He's trespassing, Carl. Call the police.

 

FRANK: This the guy who threatened you at your house?

 

JOHNNY: (to Chris) I'm not the one you should be afraid of.

 

CHRISTOPHER: No? Who should I be afraid of?

 

JOHNNY: Ask your brother.

 

(Christopher misses a beat, then looks disgusted.)

 

CHRISTOPHER: My brother? What's that got to do with anything?

 

(Frank approaches Johnny, towering over him.)

 

FRANK: You're interrupting a meeting here.

 

CHRISTOPHER: Frank…

 

FRANK: You know, it's dangerous to not wear protective gear around a site. Could be an accident…

 

CHRISTOPHER: Frank, Frank, don't.

 

(Frank gets in Johnny's face… Johnny shakes off the distraction. Christopher steps up next to Frank, trying to head off any violence.)

 

CHRISTOPHER: I'll make you a deal. You stay away from me, and stay away from my family, and you can just leave.

 

FRANK: Don't make deals. Get him out of here.

 

(One of the other union guys moves toward Johnny, who backs away, shouting to Chris.)

 

JOHNNY: If you care about your family so much, maybe you should stay away from your secretary.

 

CHRISTOPHER: What?

 

JOHNNY: Those S-Class seats go back pretty far, don't they?

 

(Chris runs up to Johnny, waving the union guy away.)

 

CHRISTOPHER: Wait, wait, wait. Excuse us for a second.

 

(The union guy steps away, and Chris closes in on Johnny, who has now got his attention. Chris talks low.)

 

CHRISTOPHER: What the hell do you want from me?

 

JOHNNY: I want to know about your brother. You're a twin, right?

 

CHRISTOPHER: Twin? No. Ronnie was four years younger than me.

 

(Now it's Johnny's turn to be confused.)

 

JOHNNY: Was?

 

CHRISTOPHER: He died when he was eight years old. From Lupus.

 

(Johnny, at a loss for words, just stares at Christopher.)

 

CHRISTOPHER: Look, what do you want? Money?

 

(Christopher is nervous now, thinking Johnny is trying to blackmail him. Johnny looks away, toward the market site, where he just talked with the mysterious rag man. Chris follows Johnny's look, curious.)

 

JOHNNY: I'm sorry. You're right. (Looks back at Chris) I've made a mistake…

 

(Christopher looks anxious as Johnny turns to walk away.)

 

 

[OMITTED]

[LONG LENS POV - JOHNNY AND CHRIS]

(A view through a camera as still photos are taken. Click. Click. Click. Mid-forties, watching from his car. He lowers the telephoto lens on his pro camera with a satisfied smile.)

 

 

[OMITTED]

[INT. WESTCHESTER POLICE STATION – DAY]

(Bruce enters the station, which is quiet but rather busy at the same time. He looks around, apprehensive, then spots Johnny, sitting in front of a desk in the bullpen. Johnny sees Bruce, waves him over. Bruce shakes his head, and goes. He's about to say something when a COP with a slight paunch returns to his desk, LT. SANDOWSKI. He moves with a purposeful absence of haste. He eyes Bruce as he sits.)

 

LT. SANDOWSKI: Who's this?

 

JOHNNY: This is my friend, Bruce. Bruce, this is Lieutenant Sandowski.

 

BRUCE: Hi.

 

(Sandowski nods, writes something down on a pad.)

 

LT. SANDOWSKI: Mind if I get your last name?

 

BRUCE: Lewis.

 

(Sandowski nods, writes that down. Bruce looks uncomfortably at Johnny.)

 

LT. SANDOWSKI: Okay, I'll just go over this again, stop me if I miss a detail. You claim to have had a psychic premonition that Madeleine Wey and Julia Wey are going to become victims of an assault resulting in murder sometime in the near future, you don't know when, and the perpetrator is most likely a Caucasian male between the ages of 35 and 45, who, with the exception of burn marks on his face, is the spitting image of Christopher Wey.

 

(Bruce does a slow, what-the-fuck-have-you-been-up-to take toward Johnny.)

 

JOHNNY: Look, I know you can't investigate a crime that hasn't happened, but I feel it's important you know what I've seen.

 

(Sandowski taps a pencil against his lips.)

 

LT. SANDOWSKI: You did the right thing coming in here. If you have any more premonitions, such as the name of the suspect, let us know. Until then, I suggest you let us handle this.

 

(Johnny realizes he's getting the send off. Sandowski looks down at his slip of paper.)

 

LT. SANDOWSKI: Mr. Lewis, would you mind if I got your contact information as well?

 

(Off Bruce's reaction…)

 

 

[OMITTED]

[EXT. 1356 PRIMROSE LANE – DAY]

 

BRUCE: How do you always manage to find the most insane situation possible, and then get me stuck in the middle of it?

 

JOHNNY: 'Cause I need someone to believe the most insane situation is something that could really happen.

 

(Johnny rings the doorbell. Waits. No answer. He turns to Bruce, who shrugs.)

 

BRUCE: Maybe no one's home.

 

(Johnny turns back to the door, and knocks. On his third knock, we shoot into the door, through the peep-hole… To reveal Madeleine on the other side, watching. Johnny realizes she's watching. He looks directly into the peep-hole, nods to her, and turns to leave. He's down the porch steps when the door opens.)

 

MADELEINE: Wait.

 

(Johnny turns around.)

 

JOHNNY: I probably should've called first.

 

MADELEINE: That's okay, I think I know why you're here.

 

 

[INT. 1356 PRIMROSE LANE - MOMENTS LATER]

(Johnny and Bruce sit on the couch, a little awkward. Madeleine calls out from the kitchen.)

 

MADELEINE (O.S.): Do you take ice, Bruce?

 

BRUCE: Uh, no thanks.

 

(She comes out with two glasses of water.)

 

MADELEINE: Okay, let's talk.

 

(She hands a glass to Bruce first, then to Johnny. As he touches it…)

 

 

[VISION]

(Camera 360's around the glass of water, and Madeleine's wardrobe changes to another day. Now she is handing the glass to another man… The ugly man we saw taking photos of Johnny at the construction site. His name is Lance Foster. As Madeleine hands him an envelop of cash…)

 

MADELEINE: I hope this covers your retainer.

 

FOSTER: Son of a bitch doesn't deserve you.

 

(Madeleine is made visibly uncomfortable by his tone.)

 

MADELEINE: I just need to know who she is. I need evidence.

 

FOSTER: I'll get the evidence. You have more ice?

 

(He shakes his glass, the ice cubes clink, and the glass magically re-fills with water as we swing out of the vision.)

 

 

[JOHNNY]

(He absorbs this while trying not to show it.)

 

MADELEINE: I've been thinking a lot about your visit here the other day.

 

JOHNNY: Yeah?

 

MADELEINE: Let me take a guess, and tell me how close I am. My husband is cheating on me, and he's having an affair with someone close to you. Maybe your wife, or girlfriend.

 

BRUCE: Wow.

 

(Bruce and Johnny are momentarily caught off guard. Madeleine mistakenly believes that she's hit home.)

 

MADELEINE: The last time this happened, I thought it was my fault. I was working full-time, and so was Chris, and with Julia starting school, I didn't have time to take care of him…

 

JOHNNY: Mrs. Wey…

 

MADELEINE: Madeleine.

 

JOHNNY: Madeleine. I do have something to tell you, but, first, I have to explain something about myself, about who I am. It may be… hard to believe, but I hope you'll hear me out.

 

(Madeleine looks back and forth between them, now unsure.)

 

MADELEINE: Alright…

 

JOHNNY: About seven years ago, I was involved in a car accident.

 

(Madeleine's demeanor shifts. She tightens, visibly.)

 

MADELEINE: Wait, I'm sorry, does this have anything to do with Christopher?

 

JOHNNY: It has a great deal to do with both of you.

 

(Madeleine's eyes dart left. Johnny traces them to the phone on the wall. Bruce notices, too.)

 

JOHNNY: Look, I don't mean to frighten you.

 

(But he already has. And she's wondering, why did I let these strangers into my house?)

 

MADELEINE: What do you want?

 

JOHNNY: What I have to tell you, is for your own safety.

 

MADELEINE: Are you saying that I'm not safe now?

 

JULIA (O.S.): Hello.

 

(They all turn to see Julia in the room. Johnny smiles.)

 

JOHNNY: Hi.

 

MADELEINE: Julia, go to your room.

 

JULIA: Okay. (To Johnny) What's your name?

 

JOHNNY: Johnny.

 

(Madeleine stands up.)

 

MADELEINE: Okay, let's go.

 

(Julia smiles at Johnny as her Mom heads for her.)

 

JULIA: Au revoir, Johnny.

 

(As Johnny is about to reply, as Madeleine takes Julia's hand, Johnny looks past her and sees the homeless man staring through the back window. Johnny drops his glass. The Man, who we now see has tears in his eyes, moves out of sight. Bruce follows Johnny's look to the window.)

 

BRUCE: What is it?

 

JOHNNY: He's on the porch. He's there, he's right there!

 

(Bruce jumps into action, running for the French doors that lead to the back porch. Johnny moves to follow.)

 

 

[EXT. PORCH AND BACKYARD – CONTINUOUS]

(Bruce bursts out onto the porch. No one here. He scans the backyard, which butts up next to a heavily wooded ravine area. Johnny comes onto the porch beside him.)

 

BRUCE: The woods.

 

JOHNNY: Told you he's fast.

 

(Bruce jumps off the porch, powers across the backyard and into the woods. Johnny turns back to a stunned Madeleine.)

 

JOHNNY: Stay inside, lock your doors!

 

(He runs off after Bruce. Madeleine shuts the doors and locks them, as afraid of Johnny as anyone else, now.)

 

 

[EXT. WOODS – CONTINUOUS]

(Bruce tears through the trees, stops and listens. Hears a faint rustling in the distance. Runs off that way. Johnny enters the woods, moving slower than Bruce.           

 

HOMELESS MAN (O.S.): Shouldn't have done that.

 

(Johnny stops in his tracks, turns to see the Man standing there. Left hand in his pocket. Right hand at his side.)

 

HOMELESS MAN: You scared her.

 

JOHNNY: At least she's still alive.

 

HOMELESS MAN: You're making a mistake. All I wanted to do was to see my family.

 

JOHNNY: Your family?

 

HOMELESS MAN: Yes. And I can only look at them, when you look at them.

 

JOHNNY: Who the hell are you?

 

HOMELESS MAN: My name is Christopher Wey. Or at least, it used to be. It doesn't matter anymore.

 

JOHNNY: I don't understand…

 

WEY: What if I told you I wasn't really standing here? That you were having a vision of me standing here. And that I am really standing somewhere else, several years into the future…

 

JOHNNY: I'd say that you don't know how my visions work. I need to be touching something.

 

(Wey takes his hand out of his pocket. Fingers open to reveal a small silver knob. Johnny's heart catches as he recognizes it. It is the head piece of his cane.)

 

HOMELESS MAN: So do I.

 

(Johnny brings up his cane, and stares in shock at the identical twin handle. He drops his cane and Wey suddenly vanishes into thin air! Johnny is alone in the woods.)

 

 

END OF ACT TWO

 

 

ACT THREE

 

 

[EXT. WOODS - JOHNNY'S POV OF WEY – DAY]

(It is quiet now in the woods. Johnny calls out…)

 

JOHNNY: Bruce!

 

(No answer back. After a beat, Johnny kneels down, and tentatively touches his cane. Nothing happens. He reaches up and carefully picks it up by the shaft. Nothing happens. He grips the silver head… and we hear the crackle of a DZ sound effect. Our angle adjusts to show Wey, standing in the same exact spot as before. He looks agitated.)

 

WEY: You see? I knew the truth would scare you. That's why I couldn't approach you directly. I knew you wouldn't understand.

 

JOHNNY: Let me try. I'm seeing the future, while you're seeing the past. We're sharing a vision.

 

(Wey looks surprised. Johnny rises to his full height.)

 

JOHNNY: Believe it or not, this has happened to me before. Once. (re: cane top) Where did you get that?

 

(Wey regards the iron sphere in his hand.)

 

WEY: It's a long story… though it's missing a big piece.

 

JOHNNY: What do you mean?

 

(Wey holds out his hands, one with the cane head in it.)

 

WEY: See for yourself.

 

(Johnny is wary, but Wey remains still. Waiting. Johnny steps forward. He reaches out, slowly, and takes hold of the cane head in Wey's hand. He can feel it. Suddenly, Wey's other hand shoots out and grips the top of Johnny's cane, forming a circuit between them and shooting us into a major vision sequence:

 

 

[EXT. 1356 PRIMROSE LANE – NIGHT (VISION)]

(Wey morphs into Christopher (losing the burns, etc.) as he walks up his porch steps, unlocks his front door.)

 

WEY (V.O.): The last thing I remember, was walking into my house. It was August, I don't remember the day…

 

(He disarms the security code inside. Flips the keys in his palm. Takes a step inside… A black shape moves behind him, and a blunt object smashes into the back of his head.)

 

 

[INT. HOSPITAL ROOM – DAY (VISION)]

(Johnny is in the brain trauma ward. Utter silence except for the intermittent beep of life support equipment. Johnny approaches a bed, and an eerily familiar sight: Christopher Wey, eyes closed, trapped within a coma.)

 

JOHNNY: You were in a coma.

 

(Suddenly, the lighting in the room changes dramatically. Johnny looks out the window, sees the sun setting at a time-lapse rate. He walks toward the window. VFX SHOT – Johnny framed by the window, slowly approaching it as the sun continues to rise and set, ever faster. Days ticking by and accelerating into months. Faster… On Johnny’s face – As the breathtaking acceleration of time strobes across his eyes, faster than he can process…)

 

 

[JOHNNY’S POV OUT THE WINDOW – VFX EXTRAVAGANZA]

(Months flying by. Years. The cityscape changing under the blurring cycle of day and night, and then all of a sudden Boom! It only lasts a few frames but we know what it is. Fire. Then, blackness. Fade In…)

 

 

[CLOSE ON WEY]

(Sleeping outside, face covered by Grey soot. He looks like a hibernating gargoyle. His eyes blink open. Then immediately shut as light stabs them.)

 

WEY (V.O.): Like I said, the last thing I remember, was walking into my house. The next thing, was that I couldn't see…

 

(It is so bright he can't even squint. Wey tries to lift himself out of the rubble he's lying in, and fails. He tries again… and falls again. He tries again…)

 

 

[EXT. NOWHERE – MORNING]

(Wey is upright now, stumbling against a bright, overexposed background. Still in hospital gown, IV tubes and eeg wires dangle from his arms and head like exposed nerves.)

 

WEY (V.O.): There was nothing to see…

 

(He trips on something, and falls down. He pats the surface of what he tripped on. Corpses caked with ash, choked to death. Wey, completely dazed and out of it, feels their faces and clothes.)

 

WEY (V.O.): I thought I was in a nightmare…

 

(He liberates a pair of sunglasses from the flannel shirt of one of the corpses.)

 

 

[ANGLE – HAZY WHITENESS]

(Wey, out of the field of focus, stumbles closer and closer toward us.)

 

WEY (V.O.): I would come to know that I was, in fact, in Baltimore, Maryland…

 

(He walks into close up, squinting. He puts on the dark sunglasses. His mouth slacks open as his eyes adjust, seeing what we can see in their reflection…)

 

WEY (V.O.): Or, what was left of it.

 

 

[ANGLE – TOTAL DEVASTATION]

(A leveled city, covered by snow-white ash the same color as the sky above.)

 

 

[EXT. WOODS - PULL OUT FROM JOHNNY’S EYE]

 

JOHNNY: Armageddon. You survived…

 

(Pivot 180 to look at Wey’s face, still sharing the vision.)

 

WEY: Yes. I survived.

 

 

[EXT. BASKETBALL COURT – DAY]

 

WEY (V.O.); There were other survivors, but… no one I could trust.

 

(Wey, now dressed in his signature rag-tag outfit, hobbles away from a makeshift hovel, sucking water out of a fruit can.)

 

WEY (V.O.): I don't know how I made it, but whatever happened… it changed me. I wasn't prepared for it…

 

 

[WEY]

(Leans on the pole of a backboard for support, and we suddenly do a 360 around him, and everything turns back to the way it was. Green trees, blue sky, a shattered building re-built. Kids playing basketball. Wey sticks out like a sore thumb, bewildered and frightened. A KID passes a basketball to him. Wey reacts, but…)

 

 

[SUDDENLY]

(Melts back to the ruined court.)

 

WEY (V.O.): At first, I didn't know I was causing visions. I thought they were ghosts.

 

 

[OMITTED]

[ON WEY]

(Terrified.)

 

WEY (V.O.): I thought I was losing my mind.

 

 

[MAKESHIFT HOVEL – LATER]

(Wey sleeps fitfully on the ground.)

 

WEY (V.O.): And then the dreams came.

 

 

[THE MONOLITH VISION]

(The same one from "Destiny," roaring at us, blacking out frame.)

 

 

[WEY]

(Sleeping, struggling with a nightmare.)

 

WEY (V.O.): Every night, I had the same dream. The same nightmare. And I knew it wouldn't stop, until I went to the place it kept showing me.

 

(Wey wakes with a start. Sweating.)

 

 

[OMITTED]

[THE MONOLITH VISION]

(We pull back to the fiery shot of Washington D.C. from “Destiny”… A dissolve then turns it into a post-fire, ash-covered tomb of a city.)

 

WEY (V.O.): My visions were leading me.

 

(Reverse the pull-back, flying down the wall of the monument to the base, where we find…)

 

WEY (V.O.): They were leading me to you.

 

 

[WEY]

(Digging through ash at the base of the Monument. It is there that he finds the head of Johnny's cane. As he takes it, we…)

 

 

[CLIP FROM “THE STORM”]

(Wey appears, looking at Johnny. We quickly cycle through the other instances in which the "Future Man" appeared to Johnny.)

 

WEY (V.O.): At first, I didn't know you. But when I learned who you were, I knew what I had become.

 

 

[EXT. WOODS - PULL OUT FROM WEY'S EYE]

(Johnny pulls away from him, breaking the circuit, but still holding his cane.)

 

WEY: Now, every time that I hold this, and you hold that…

 

(The potential of all this begins to dawn on Johnny.)

 

JOHNNY: We can see each other.

 

(Trudging back through the woods after not finding anyone. He spots Johnny and calls out to him.)

 

BRUCE: Johnny! There's…

 

(He sees Johnny is busy talking to no one. Open air.

 

BRUCE: No one out here…

 

(Johnny hasn't noticed Bruce yet.)

 

JOHNNY: Listen. I need to know. The war. Is it a war? When exactly does it… How? How does it start?

 

WEY: You don't know? (Beat) Of course… not yet…

 

JOHNNY: Is it Greg Stillson? I know he's connected.

 

(Wey holds up a hand to silence him.)

 

WEY: You've got questions, and I've got answers. But first I need you to tell me what happens to my family.

 

JOHNNY: What?

 

WEY: You said I hurt them. I don't remember that.

 

JOHNNY: How can you not remember…?

 

WEY: I told you, I'm missing a big piece. The last thing I remember was walking into my house. The next thing was that I couldn't see. I risked talking to you because I want to see my wife and my daughter again. And I need to know what happened that night.

 

(Johnny is reluctant to tell Wey his gruesome vision.)

 

JOHNNY: If you're like me, why haven't you already seen it? In a vision?

 

WEY: Where I'm from, there's nothing left to touch.

 

(Wey holds up the cane head like the Greek Witches held out their one eye.)

 

WEY: This is all I've got. You are all I've got. And I can only see as far as you can.

 

JOHNNY: When I touched you, the old you, yesterday… I saw Madeleine and Julia dead. They were murdered.

 

(Wey is hit hard by this. Bruce has gotten closer, realizes Johnny is in a vision.)

 

BRUCE: Johnny?

 

WEY: I'll make you a deal. You change that… you save them… and I'll tell you everything you want to know.

 

(Wey, overcome with despair, lets the cane head drop…)

 

JOHNNY: Wait, you have to tell me…

 

(Wey disappears. Johnny, upset, throws his cane down. He now becomes aware of Bruce next to him. Bruce picks up Johnny's cane, offers it back to him.)

 

BRUCE: No. You better tell me. After we get out of here. C'mon.

 

 

[EXT. 1356 PRIMROSE LANE – DAY]

(Johnny and Bruce are halfway across the front lawn (coming from around the side of the house) toward the street, when Madeleine steps out onto her porch, calling out.)

 

MADELEINE: I called the police! They're on their way.

 

(She means it as a warning, as well. Johnny turns back.)

 

JOHNNY: Good! Stay inside till they get here!

 

(Madeleine is not sure what to make of Johnny; is he dangerous, or is he really trying to help her? Did he really see someone in back of her house?)

 

MADELEINE: What do you want?

 

(Johnny turns back again, and sees Wey, standing halfway across the lawn, in between him and Madeleine. Although he's fifty feet away, it sounds like he's whispering in Johnny's ear.)

 

WEY: Remember, Johnny. Either you save her, or I'll see us both in hell.

 

(Johnny looks from Wey to Madeleine. She looks confused; what is Johnny staring at? Wey turns around, and sees his wife. He moves toward her, almost as if on reflex. Walking across the lawn… Johnny lets his cane drop out of his hand, and Wey disappears. We can hear police sirens in the distance.)

 

JOHNNY: I'm sorry, I can't tell you right now. Just stay close to Julia. I'll be back, I promise.

 

BRUCE: Um, Johnny? Time to go…

 

(Johnny picks up his cane by the wood, and heads out.)

 

 

[OMITTED]

[INT. MOTEL DINER – NIGHT]

(Johnny has drawn a diagram for Bruce on some motel stationery. It's a timeline, with ticks for dates.)

 

JOHNNY: Alright, we're here… (Makes tick) The end of the world is here.

 

(He makes another tick, a little ways down the timeline.)

 

BRUCE: I'm not liking this so far.

 

(Johnny makes another tick right after his first one.)

 

JOHNNY: Very soon, something's going to happen. Wey's gonna get knocked out, and fall into a coma. (Draws a bracket past end-of-world tick) He stays in the coma, and wakes up after… (Best word he can find) Armageddon…

 

BRUCE: And realizes he can use his Dead Zone.

 

JOHNNY: That's where he finds the cane head… my cane head.

 

(They both look at the cane, resting against the desk.)

 

BRUCE: (sighs) Okay.

 

JOHNNY: You don't believe me.

 

BRUCE: It's not that I don't believe you, it's just… this one's pretty far out, John.

 

JOHNNY: Well, you better get ready 'cause this is just the start. Think of this; if I save Wey, if I prevent him from getting knocked out… (Points to timeline) Here, he's not going into a coma, or coming out of one, and he's not going to have visions of me.

 

BRUCE: That's a bad thing?

 

JOHNNY: Bruce, this is the one person who can tell us what starts Armageddon. What causes it. He's the one person who can help us stop it.

 

BRUCE: So… you're not gonna help him? What about his Madeleine, and Julia?

 

(Johnny, frustrated, picks up the cane next to him. Wey appears in the room, pacing, holding the cane head in his hand. It's obvious that he's been waiting for it to "work." Meaning he's been waiting for Johnny to pick up his end. He assesses his surroundings, glares at Johnny.)

 

WEY: Where were you?

 

(Johnny stands. Bruce cannot, of course, see Wey.)

 

JOHNNY: I need to know exactly what happens to your family. And when.

 

WEY: I can only see what you see.

 

JOHNNY: It happens in your house. I need to get in there.

 

WEY: Then take me with you.

 

(Johnny nods.)

 

 

[EXT. 1356 PRIMROSE LANE – DAY]

(Johnny and Bruce approach the front door. Johnny turns back to Wey, who is standing at the bottom of the porch steps, hands in his pockets.)

 

JOHNNY: Where's the key?

 

WEY: Flower pot.

 

(Johnny kneels down, lifts the flower pot; there's the key. Bruce looks back toward Wey. Through him, actually, since he sees no one there. It weirds him out.)

 

BRUCE: I don't know if this is such a good idea. Maybe we should wait 'till she gets home.

 

JOHNNY: And say what? Mind if we come in, and try to figure out how you get killed?

 

(He unlocks the door, opens it. The security alarm panel starts to beep a warning. Johnny looks to Wey, who is now suddenly beside him.)

 

JOHNNY: Do you remember the code?

 

WEY: One, three… one… seven.

 

(Johnny punches it in. The panel beeps acceptance. Wey smiles to himself, sadly.)

 

WEY: I remember.

 

(We see a familiar car edge into frame. Lance Foster watches from behind his wheel as Johnny and Bruce enter the house.)

 

 

[INT. 1356 PRIMROSE LANE – CONTINUOUS]

(Wey reacts, overcome with being inside his old house. Johnny recognizes the doorway now from his visions.)

 

JOHNNY: This is where you get hit.

 

BRUCE: Me?

 

JOHNNY: No, him.

 

(Johnny gestures to Wey, who is staring at the threshold. Bruce nods in that general direction.)

 

BRUCE: Oh. Hey. By the way, name's Bruce. Nice… to meet…

 

(Bruce realizes what he's doing and stops himself. Wey barely notices Bruce's attempt to address him. Johnny spots the wall where he saw Madeleine slumped dead in his vision. He kneels beside it, touching and tapping, trying for a vision.)

 

JOHNNY: I saw her here…

 

(Wey's attention is focused on Johnny. Johnny's not getting anything. He moves along the living room wall, reaches the fireplace. Feels the mantle, the glass cover, and as soon as he touches the fire poker, we swing around…)

 

 

[INT. 1356 PRIMROSE LANE - NIGHT (VISION)]

(Suddenly a man wearing black duds and a black ski mask is taking the fire poker and walking over to the front door. The phone is ringing. The Man hides behind the front door, fire poker held down. We do a jump-cutty dead zone push in to him as time passes. He reaches over and resets (re-arms) the security alarm.)

 

 

[BACK TO SCENE]

(Johnny looks toward the door. Bruce follows his gaze.)

 

BRUCE: What do you see?

 

JOHNNY: Someone. Maybe a burglar.

 

(Johnny walks to the door. Holding the fire poker in one hand, he concentrates as he feels around the door hinges. Suddenly…)

 

 

[INT. 1356 PRIMROSE LANE – NIGHT (VISION)]

(The door opens, and Christopher walks in, disarms the security code. He flips the key in his palm… Suddenly, the burglar steps from behind the door and strikes with the fire poker, bashing Christopher. Johnny and Wey are third person observers to this vision, and Wey is horrified as he watches Christopher hit the floor. The burglar brings down the iron rod again. Wey flinches, watching himself get bludgeoned. The burglar removes his ski-mask. Lance Foster. Johnny turns to Wey, who is bewildered.)

 

WEY: Who is he?

 

(Foster stares down at Christopher, vindicated.)

 

FOSTER: How's that feel, you son of a bitch? Bet not as good as this. (Clubs him again) You don't know what you had. You had something great.

 

(He drops the fire poker. Bends down, and starts to drag Christopher's body into the house.)

 

FOSTER: But guys like you, got the whole world eatin' out of your hand, you never seem to care…

 

(Suddenly the front door opens, and outside on the porch stands Julia. She sees her Dad being dragged by another man, and her jaw drops. Wey reacts, screaming out.)

 

WEY: Julia, RUN!

 

FOSTER: Julia, wait…

 

(Of course, Julia can't hear Wey, but she barely hears Foster. She backpedals and TRIPS on the porch steps. FALLS out of sight.)

 

WEY: No!

 

(Foster runs onto the porch. Johnny follows him, knowing what he will see: Julia crumpled at the bottom of the porch steps, dead.)

 

MADELEINE (O.S.): Julia!

 

(Madeleine runs up the walk, having seen her daughter fall.)

 

FOSTER: She's okay. She's okay.

 

(He scoops Julia up into his arms and tries to carry her back inside. Madeleine panics, reaching for Julia.)

 

MADELEINE: What are you doing? Get away from her! Get away!

 

FOSTER: She's okay…

 

(He stumbles back into the house. Madeleine stops clawing at him when she sees Chistopher on the floor. Her hand flies to her mouth, stifling a shriek. Frozen. Foster sets Julia down, and slams the door. Desperate.)

 

FOSTER: Maddy, it's okay…

 

MADELEINE: No!

 

(She moves to her daughter. Foster intercepts her, grabbing both of her arms. She struggles. He pushes her back, against the living room wall. Johnny watches, heart pounding but trying to keep calm. Wey is panicked, reaching out, spectral hands passing through Lance Foster in vain. Unable to protect his wife. Foster has a hand over her mouth, his other arm pressed against her chest, pinning her to the wall.)

 

FOSTER: Shhhh, it's okay. It's okay. I didn't know you were here…

 

(She tries to scream. He presses harder, her scream becomes muffled through his gloves. Foster babbles, desperate.)

 

FOSTER: Madeleine. Listen to me. Listen to me. Stop. I took care of him. I took care of that son of a bitch, he's never going to hurt you again. Listen. Listen. We can work this out, we can make this work…

 

(She struggles, he presses against her even harder, restricting all movement. Wey falls to his knees.)

 

FOSTER: Listen to me. You deserve better. You deserve better than him. You just have to open your eyes. (she stops struggling) Madeleine. Do you hear me? Madeleine? Maddy…

 

(He realizes he's pressing too hard, and slacks off. She sinks to the ground, heavy. He follows her, realizes he's gone too far, has strangled her. Her eyes are open, dull and lifeless. Foster reaches out to touch one, and the lid closes. He shrinks back, stares at the three bodies around him, then gets up and makes his way to the door. He gives one more horrified look behind him, and then slams the door, which…)

 

 

[ENDS THE VISION]

(With the door closed as it is now. Johnny falters, dazed.)

 

BRUCE: John, are you alright?

 

(Bruce helps him to a chair.)

 

JOHNNY: He kill… he killed them.

 

BRUCE: Who? Who is it?

 

(Johnny leans forward on his cane, both hands on the grip. Sitting against the wall where Madeleine will die.)

 

JOHNNY: Someone she knows.

 

(Wey slowly looks up with bloodshot eyes.)

 

WEY: She was having an affair…

 

JOHNNY: No, you were. And that man was who she paid to prove it.

 

WEY: How do you know that?

 

JOHNNY: First you tell me what you know. Wey, miserable, shakes his head no.

 

JOHNNY: We had a deal. If we save her, it won't matter. Everyone is going to die, and you know it.

 

WEY: If you had the chance to go back to June 5th, 1995, and stay with Sarah Bracknell, and not have to see what's coming… you'd know why I don't care…

 

(He lets the cane head drop from his hand. Wey is gone. Suddenly, the sound of a key hitting the lock. Bruce and Johnny turn to see the door open, revealing LT. Sandowski and a uniformed cop, both leveling police pistols.)

 

LT. SANDOWSKI: Hands in the air! Now!

 

BRUCE: I knew I should've stayed in Maine.

 

(They slowly raise their hands.)

 

 

[OMITTED]

[EXT. 1356 PRIMROSE LANE – LATER]

(Neighbors watch as Johnny and Bruce are ushered into the back of a police car, cuffed. Reveal Madeleine pulling into her driveway, Julia in the backseat. Lance Foster greets her as she gets out.)

 

MADELEINE: What's going on?

 

FOSTER: I called the cops as soon as I saw them breaking in.

 

(She looks over to the cop car, sees Johnny turning to look at her through the back window. He freaks out when he sees her standing next to Foster.)

 

JOHNNY: Madeleine! That's him! That's him! He's gonna kill you!

 

(Johnny's voice is muffled by the cop car. He thrashes in the backseat as the car pulls away. Madeleine shudders.)

 

FOSTER: You recognize him?

 

MADELEINE: He's been by the house before.

 

FOSTER: He's also been to see your husband. (Off her look) I was coming over to show you these.

 

(He hands her an envelope, photos inside.)

 

FOSTER: He's in a few. But the ones you can use in court are…

 

(She's found them. Photos of Christopher and his Secretary, making love in his Mercedes. Foster watches as Maddy nods to herself, tears welling in her eyes. He reaches out slowly for her, almost touching her hair. His touch snaps her back to the moment. She shakes off being creeped out.)

 

MADELEINE: I, I'm sorry, it's just now people are breaking into my house…

 

(Foster fidgets, nervously, his eyes never leaving her.)

 

FOSTER: If you don't want to stay here, you're free to bring Julia, and… I have a spare room.

 

MADELEINE: That's kind, thank you. You're right, I can't stay here. I think I'm gonna take Julia to my Mother's house. Tonight.

 

FOSTER: Yeah, that's a good idea. Tonight.

 

(Off Foster, we…)

 

 

END OF ACT THREE

 

 

ACT FOUR

 

 

[INT. WESTCHESTER POLICE STATION – DAY]

(Bruce cradles a phone in his cuffed hands as the Uniformed Cop breathes down his neck.)

 

BRUCE: Hi, I need to speak to Sheriff Bannerman, please. Yeah, it's urgent. (Beat) Yeah, I'll hold…

 

(Move off him to find Johnny seated at Lt. Sandowski's desk, one hand cuffed to the steel chair he's in.)

 

LT. SANDOWSKI: Well, that's an extremely detailed statement, Mr. Smith. Makes about as much sense as your last one.

 

(The phone on his desk rings. He picks it up. Listens. Then looks at Johnny while giving his answer.)

 

LT. SANDOWSKI: Good. Bring him over.

 

(His glance moves over Johnny's shoulder. Johnny turns to see Christopher Wey being led over by another cop. He doesn't look happy as Sandowski stands to shake his hand.)

 

LT. SANDOWSKI: Hi, I'm Lieutenant Sandowski. Sorry to meet you under such circumstances.

 

CHRISTOPHER: It's been quite a day. I come home to find a squad car parked in my driveway, and the officer searching my house tells me there's been a break-in, and that my wife's taken our daughter to her Mother's house, who, when I called, said she didn't want to talk to me.

 

(Johnny grunts in the key of "that doesn't surprise me.")

 

LT. SANDOWSKI: Pipe down.

 

(Christopher walks around to look Johnny in the eyes.)

 

CHRISTOPHER: Who the hell are you?

 

(His earnest inflection echoes Johnny's question to Wey. Johnny holds his gaze, speaking deliberately.)

 

JOHNNY: I'm the guy who could've had the life you take for granted. (Leans forward) Difference between us is I lost it all in one night, where you… you're just pissing yours away.

 

(Christopher looks like he's about to hit Johnny, and Sandowski looks like he's about to let him. Christopher opens his mouth, but Johnny cuts him off.)

 

JOHNNY: Shut up. Just shut up and listen, for once. Your wife's hired a private investigator to prove you're cheating on her. He's…

 

LT. SANDOWSKI: Here we go again with the P.I. His name is Lance Foster, he's the one who reported the breakin. (To Johnny) I think we've heard about enough out of you.

 

CHRISTOPHER: This is true, about my wife… hiring this guy?

 

LT. SANDOWSKI: (evasive) That would be her business.

 

JOHNNY: Whatever you do, do not go home tonight. Go to your family and stay with them. Understand?

 

(Chris turns to Sandowski.)

 

CHRISTOPHER: If you need me to testify, press additional charges, whatever's necessary…?

 

LT. SANDOWSKI: I'll let you know.

 

JOHNNY: Dammit, listen to me.

 

CHRISTOPHER: I warned you to stay away.

 

(Christopher walks off. Johnny yells after him.)

 

JOHNNY: Don't go home!

 

LT. SANDOWSKI: Keep your voice down.

 

(The Captain opens the door to his office.)

 

CAPTAIN: Sandowski, could I see you for a second?

 

(Sandowski grudgingly heads over to the Captain's office, passing Bruce, who is being sat down at another desk. Bruce gives a confident nod to Johnny.)

 

 

[EXT. MOTHER-IN-LAW'S HOUSE – NIGHT]

(Christopher knocks on the door. It's opened by a 65 year old woman, his mother-in-law. He looks down, wordless, withering under her gaze for a beat. She closes the door. He waits outside. We hear muffled voices from inside the house. The voices escalate sharply. The door opens suddenly, Madeleine standing there. They stare at each other for a long beat.)

 

MADELEINE: I said not to come here.

 

CHRISTOPHER: You said not to call. (Beat) I just came from the police station. They say we've got nothing to worry about.

 

MADELEINE: They're wrong.

 

CHRISTOPHER: I know that everything that's going on… is my fault.

 

MADELEINE: Christopher. I'm not going to forgive you.

 

CHRISTOPHER: I know. I don't want that. I just want to talk.

 

JULIA (O.S.): Daddy!

 

(Julia comes running down the hall, followed by her Grandmother, who fails to stop her as she runs past Madeleine and into Christopher's arms, where she buries her head and begins to cry.)

 

CHRISTOPHER: Hey, hey what's wrong?

 

JULIA: I was scared for you.

 

(He holds her close, mouthing softly to Madeleine:)

 

CHRISTOPHER: I just want to talk.

 

MOTHER-IN-LAW: He's not stepping foot inside this house.

 

MADELEINE: Mom, stay out of it.

 

MOTHER-IN-LAW: This is my house.

 

(Maddy and Chris lock eyes, Julia between them. She closes her eyes, and nods.)

 

 

[INT. WESTCHESTER POLICE STATION – NIGHT]

(Sandowski begins to remove Johnny's handcuffs, and walks him to the booking desk.)

 

LT. SANDOWSKI: You got friends in all the right places, don't you? Sheriffs, Religious Leaders, Politicians. What're you, Psychic to the Stars?

 

JOHNNY: I'm sure in your argument to keep me here, you left out the fact that there was no breaking and entering to support your breaking and entering charge.

 

LT. SANDOWSKI: No forced entry doesn't mean you were invited. I'll encourage the family to press whatever charges they feel appropriate. I'll even suggest a few.

 

(Johnny turns to the other Cop, who has just released Bruce.)

 

JOHNNY: I need my cane.

 

(The Cop leads him to the front desk, pulls out the cane and hands it to Johnny. As he takes hold, our angle adjusts to see Wey, who takes in the police station, and then stares at Johnny, confused.)

 

WEY: Where is this? What happened?

 

(Johnny closes his eyes. Bruce sees he's disturbed.)

 

BRUCE: What's wrong?

 

JOHNNY: Nothing's changed.

 

 

[INT. 1356 PRIMROSE LANE – NIGHT]

(On the kitchen counter phone as it begins to ring. We hold on it, ringing, as no one answers. We then reveal Foster, dressed in black. He ignores the phone, putting on his black ski mask. It continues to ring as he heads to the fireplace, grabs the iron poker, and walks over to take his place behind the front door.)

 

 

[INT. JOHNNY'S JEEP - TRAVELING – NIGHT]

(Bruce driving. Johnny slams down his cell phone.)

 

JOHNNY: We're already too late. Go!

 

(Bruce downshifts and guns it.)

 

 

[EXT. 1356 PRIMROSE LANE – NIGHT]

(Christopher's car pulls into the driveway. He gets out as Madeleine's car pulls off the street behind him. Christopher looks at his house, thinking. He heads to Madeleine's window before she opens the door.)

 

CHRISTOPHER: Let me check something out first.

 

(He walks up the walk. Just like in the vision. He ascends the porch steps. Unlocks the front door.)

 

 

[INT. 1356 PRIMROSE LANE – CONTINUOUS]

(Christopher steps in. Disarms the security panel. Flips his keys in his palm. Foster stirs behind him… Christopher’s POV. The front hall leading into his house. His last sight before BAM! The screen goes white.)

 

 

[EXT. 1356 PRIMROSE LANE – CONTINUOUS]

(Julia gets out of her Mom's car, happy to be home. Madeleine also gets out as Julia runs past, up the walk.)

 

MADELEINE: Honey, wait a minute.

 

(Suddenly, Madeleine reacts to a sound behind her. She turns in slow motion as a bright light blinds her eyes.)

 

 

[INT. 1356 PRIMROSE LANE – CONTINUOUS]

(Foster has begun to drag Christopher's body when the front door opens, revealing Julia, who stops short, stunned.)

 

FOSTER: Julia wait…

 

(Julia backpedals and trips on the porch steps. She falls backwards in slow motion… And is caught in Johnny Smith's arms before she hits the stairs. Foster runs to the door, looks down to see Johnny holding Julia, and Bruce jogging up the stairs toward him.)

 

BRUCE: Hi.

 

(Bruce decks Foster across the face. He stumbles back in the house, trips over Christopher, and hits the floor on his back. Bruce continues his forward motion, kneeling on Foster's chest and punching him again. Johnny sets Julia down. She runs into her Mother's arms.)

 

JOHNNY: Get her out of here!

 

JULIA: (holding Maddy tight) Daddy's hurt…

 

(Madeleine looks into Johnny's eyes, and moves up the stairs, passing him.)

 

JOHNNY: Madeleine, don't…

 

(She keeps going, setting Julia down at the threshold. She is speechless as she sets eyes on Christopher. Johnny walks up the porch steps, and moves through the door. He looks to Bruce who moves out of the way to show Foster. Out cold. Madeleine falls to Christopher, cradles him in her arms. Julia crawls forward, shaking her Dad's arm, and then just holding on to it. Madeleine looks up at Johnny.)

 

MADELEINE: Call 911. Help… get help.

 

(Johnny looks at Bruce, who runs into the living room and picks up the phone. Madeleine begins to cry.)

 

MADELEINE: Help him…

 

(Johnny stands where he is, staring at Christopher, unconscious, in the arms of his Wife and Daughter.)

 

 

[OMITTED]

[INT. SMITH HOME - BASEMENT – NIGHT]

(Johnny sits, both hands on the cane top, waiting, slowly scanning his giant cork board. We pan across it, settling on the latest addition: a newspaper clipping from the "Westchester Post." Column titled "Local Man in Coma Following Assault." Underneath is a family photo of the Weys: Christopher, Madeleine, and Julia in happier times. Johnny's expression shifts.)

 

JOHNNY: I was wondering when you'd show.

 

(Angle adjusts to reveal Wey, on the landing of the basement stairs. He is dressed as always, hands in pockets.)

 

WEY: So was I.

 

(Johnny stands as Wey descends the stairs to stand face to face with Johnny. A tense beat passes between them.)

 

JOHNNY: I tried to stop…

 

(Wey cuts him off with a gesture.)

 

WEY: This is what's happened. It's what was meant to happen.

 

JOHNNY: I don't know if that's true.

 

WEY: And now we'll never know.

 

JOHNNY: Why are you here?

 

WEY: Why else? I'm here to make you a deal.

 

JOHNNY: How did I know you were going to say that?

 

(Wey begins to circle Johnny, studying him, like he's trying to figure something out, like Johnny is a puzzle to him.)

 

WEY: All I'm asking is that you look after my family. So I can know they're safe. And so I can look in on them, until…

 

(Johnny cuts him off. He's had enough.)

 

JOHNNY: Until what? The nukes hit? They're still not safe, Christopher. And you haven't kept up your part of the deal.

 

(Wey looks toward the Armageddon board.)

 

WEY: I can help you stop it.

 

JOHNNY: You keep promising that, but I don't see any proof. You know why? I think you're lying. I don't think you know anything.

 

WEY: Maybe I don't trust you!

 

JOHNNY: Trust me? You don't trust me? I saved your daughter's life. I did everything you asked. Now tell me what you know!

 

(Wey looks down, ashamed.)

 

WEY: I… I lied. I don't know what happened. I was asleep, remember?

 

JOHNNY: If you don't know, you can find out.

 

WEY: You don't know what it's like out there. You can't trust anyone.

 

JOHNNY: You can trust me.

 

(Wey reaches into his coat, and pulls out a crumpled, singed paper of faded black and red. He holds it out for Johnny to see. His hand is shaking slightly.)

 

WEY: I'm not sure…

 

(Close on the paper. The cover of Newsweek magazine dated September 2010. On the cover is a headshot of Johnny Smith, staring into the camera with intense eyes. The headline is bold and clear: "Will this man destroy the world?" Johnny is unable to do anything but stare at the future artifact, experiencing a sinking feeling of doom. Johnny blinks, and the magazine, and Wey, are gone.)

 

 

END OF ACT FOUR

 

 

THE END

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Au total, 17 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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