8d34e0da546a23ce02b96f88aaba16054764807f
movie
http://www.imsdb.com/scripts/S.-Darko.html
S. DARKO Written
. THE END
 In 1995, Samantha Darko (Chase) follows her best friend Corey (Evigan) on a road trip from Virginia to California, in an attempt to become professional dancers. Their dreams are cut short when their car breaks down in a tiny Utah town. They are saved by the town bad boy, Randy (Westwick), who takes them to the local motel where they meet the conspiracy-loving owner. He tells them of Billy Moorcroft, a boy who went missing.
Samantha starts sleepwalking. A future version of her meets Justin (James Lafferty) at the windmill and tells him that the world will end; however, Justin knows this already. The next morning Samantha wakes up on a bus stop bench, where a policeman finds her and warns her about a pervert. He offers to drive her back to the motel but the two end up stopping at the site where a meteorite crashed. Samantha tells Corey that she doesn't remember what happened the night before.
While at a cafe, a science-loving geek, Jeremy (Jackson Rathbone), tries to talk about the meteorite with Samantha. Randy invites the two girls to a party, where he tells her of his brother who went missing and how hard it has been on his family. Future Samantha stands in the middle of a road and is nearly hit by a car; Justin sees her and is entranced. Her ghost takes him to the local nondenominational church and commands him to burn it down.
The next day they find Justin's dog tags in the ashes of the church. Samantha runs into Jeremy, who is beginning to show signs of radiation exposure. Subsequently, Justin has begun working on forging a bunny-skull mask out of metal, saying he needs to help "his princess." Samantha wanders the town and soon encounters Randy and Corey. Samantha tells Corey how she wants to get out of town but the two get into a fight. Samantha runs away, and Randy's car is unexpectedly run into by another car, pushing his car into Samantha and killing her.
Corey is full of anguish about her best friend's death. She finds a book about time travel as well as a story Samantha wrote as a child, entitled The Last Unicorn, about a princess and a boy named Justin. A boy appears, and commands Corey to come with him in order to save Samantha. She follows him to a cave where she goes through a portal that takes her back in time. Everything moves backwards to when Samantha is walking down the road. Corey and Randy drive up to Samantha again and when they stop, Corey is nicer to her. As Randy drives off, the other car still runs into him, and this time Corey is killed instead.
Samantha is devastated by Corey's death. After another sleepwalking incident, she sees a dress in the window of the vintage shop Jeremy's parents own. It is the same dress she wears as Future Samantha. Jeremy sees her admiring it and begins talking more about the meteorite he bought. Samantha notices tissue damage on Jeremy's arm and when told about it, he quickly covers it up and calls it a rash.
The next morning Samantha wakes up on the hill where Justin is. He takes the book about time travel from her and explains that it was written by his grandmother. He asks her to "show him how to do it" but she doesn't understand. He tells her that he made his mask from a drawing by Donnie, Samantha's deceased brother, that she showed him. She asks how he knew her brother's name and he responds by saying she told him "when she was dead". Samantha walks away and finds the bodies of two dead boys, Randy's little brother and the boy that appeared to Corey, Billy Moorcroft.
After telling the police about what she saw, everyone assumes that Justin is responsible. He soon asks Samantha to "show him how" again. The police then take him into custody. That night, Samantha returns to her motel where she finds the dress she saw at the shop, a gift from Jeremy. He asks her to wear it to see the fireworks with him. They go to a remote location and Jeremy sees what he calls tesseracts falling from the sky. He becomes manic and Samantha notes that his rash has gotten much worse. He tries to kiss Samantha but she resists and he eventually pushes her back roughly, killing her.
Future Samantha, now identical to regular Samantha, visits Justin in jail. Randy tries to find her as fiery tesseracts fall from the sky and eventually finds her where Jeremy left her. Justin approaches and sees his mask, putting it on. Justin then goes back in time. He climbs the windmill that was destroyed at the beginning. Justin believes that his death will prevent the series of events that will lead to the end of the world so he stays on the windmill this time and is killed by the meteorite.
It is now the morning after the meteorite landing again. Samantha and Corey visit the site and find the locals are saddened as they take away Justin's body. Samantha, never having experienced the events after the meteorite crash, decides to go back home while Corey stays with Randy.
In 1995 , Samantha Darko ( Chase ) follows her best friend Corey ( Evigan ) on a road trip from Virginia to California , in an attempt to become professional dancers . Their dreams are cut short when their car breaks down in a tiny Utah town . They are saved by the town bad boy , Randy ( Westwick ) , who takes them to the local motel where they meet the conspiracy-loving owner . He tells them of Billy Moorcroft , a boy who went missing . Samantha starts sleepwalking . A future version of her meets Justin ( James Lafferty ) at the windmill and tells him that the world will end ; however , Justin knows this already . The next morning Samantha wakes up on a bus stop bench , where a policeman finds her and warns her about a pervert . He offers to drive her back to the motel but the two end up stopping at the site where a meteorite crashed . Samantha tells Corey that she does n't remember what happened the night before . While at a cafe , a science-loving geek , Jeremy ( Jackson Rathbone ) , tries to talk about the meteorite with Samantha . Randy invites the two girls to a party , where he tells her of his brother who went missing and how hard it has been on his family . Future Samantha stands in the middle of a road and is nearly hit by a car ; Justin sees her and is entranced . Her ghost takes him to the local nondenominational church and commands him to burn it down . The next day they find Justin s dog tags in the ashes of the church . Samantha runs into Jeremy , who is beginning to show signs of radiation exposure . Subsequently , Justin has begun working on forging a bunny-skull mask out of metal , saying he needs to help his princess . Samantha wanders the town and soon encounters Randy and Corey . Samantha tells Corey how she wants to get out of town but the two get into a fight . Samantha runs away , and Randy s car is unexpectedly run into by another car , pushing his car into Samantha and killing her . Corey is full of anguish about her best friend s death . She finds a book about time travel as well as a story Samantha wrote as a child , entitled The Last Unicorn , about a princess and a boy named Justin . A boy appears , and commands Corey to come with him in order to save Samantha . She follows him to a cave where she goes through a portal that takes her back in time . Everything moves backwards to when Samantha is walking down the road . Corey and Randy drive up to Samantha again and when they stop , Corey is nicer to her . As Randy drives off , the other car still runs into him , and this time Corey is killed instead . Samantha is devastated by Corey s death . After another sleepwalking incident , she sees a dress in the window of the vintage shop Jeremy s parents own . It is the same dress she wears as Future Samantha . Jeremy sees her admiring it and begins talking more about the meteorite he bought . Samantha notices tissue damage on Jeremy s arm and when told about it , he quickly covers it up and calls it a rash . The next morning Samantha wakes up on the hill where Justin is . He takes the book about time travel from her and explains that it was written by his grandmother . He asks her to show him how to do it but she does n't understand . He tells her that he made his mask from a drawing by Donnie , Samantha s deceased brother , that she showed him . She asks how he knew her brother s name and he responds by saying she told him when she was dead . Samantha walks away and finds the bodies of two dead boys , Randy s little brother and the boy that appeared to Corey , Billy Moorcroft . After telling the police about what she saw , everyone assumes that Justin is responsible . He soon asks Samantha to show him how again . The police then take him into custody . That night , Samantha returns to her motel where she finds the dress she saw at the shop , a gift from Jeremy . He asks her to wear it to see the fireworks with him . They go to a remote location and Jeremy sees what he calls tesseracts falling from the sky . He becomes manic and Samantha notes that his rash has gotten much worse . He tries to kiss Samantha but she resists and he eventually pushes her back roughly , killing her . Future Samantha , now identical to regular Samantha , visits Justin in jail . Randy tries to find her as fiery tesseracts fall from the sky and eventually finds her where Jeremy left her . Justin approaches and sees his mask , putting it on . Justin then goes back in time . He climbs the windmill that was destroyed at the beginning . Justin believes that his death will prevent the series of events that will lead to the end of the world so he stays on the windmill this time and is killed by the meteorite . It is now the morning after the meteorite landing again . Samantha and Corey visit the site and find the locals are saddened as they take away Justin s body . Samantha , never having experienced the events after the meteorite crash , decides to go back home while Corey stays with Randy .
http://en.wikipedia.org/wiki/S._Darko
S. Darko
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<b>           
</b><b>          
</b><b>          
</b><b>                                     S. DARKO
</b><b>          
</b><b>          
</b>                                     Written by
<b>          
</b>                                   Nathan Atkins
<b>          
</b><b>          
</b><b>          
</b><b>          
</b>                                                         Second draft
<b>          
</b><b>          
</b><b>          
</b><b>          EXT. WHEAT FIELD - MORNING
</b><b>          
</b>          SAMANTHA DARKO (18) opens her eyes. She squints as the summer
          sun shrinks her pupils to pinhole size. She sits up slowly,
          looks around... and finds herself in midst of an endless
          wheat field.
<b>          
</b>          Sam is pretty and demure. Her coppery hair flows past her
          shoulders. Disoriented, she stands and gazes at the infinite
          golden shimmer. Amber waves of grain. Patches of forest in
          the distance. It's quiet. Serene. Beautiful...
<b>          
</b>          She smiles, and starts walking.
<b>          
</b><b>          
</b><b>          EXT. ARKANSAS HIGHWAY 40 - MORNING
</b><b>          
</b>          She emerges at the shoulder of a rural stretch of highway in
          Arkansas. Adjacent to her position, on the other side of the
          deserted lanes, is a TRUCK STOP.
<b>          
</b><b>          
</b><b>          EXT. TRUCK STOP - MORNING
</b><b>          
</b>          Amongst the TRACTOR-TRAILERS parked in the back lot is a
          white, late-80s model CHEVROLET CELEBRITY. Sam makes her way
          across the asphalt toward the vehicle...
<b>          
</b><b>          
</b><b>          INT. COREY'S CHEVROLET - MORNING
</b><b>          
</b>          COREY RICHARDSON (18) is asleep, curled up in the reclined
          driver's seat of the car. She awakens when Sam gets in on the
          passenger side and slams the door shut.
<b>          
</b>          Corey has the look of a typical rebellious teen: dyed hair,
          piercings, a little grungy. She rubs the sleep from her eyes,
          greeting the new day with something less than enthusiasm. She
          finds a soft pack of CIGARETTES and lights one.
<b>          
</b><b>                              COREY
</b>                    What time is it?
<b>          
</b><b>                               SAM
</b>                    Early...
<b>          
</b>          Corey adjusts her seat. She takes a long drag and chokes,
          then spits out the window. She starts the car...
<b>          
</b><b>                                                                      2.
</b><b>          
</b><b>          
</b><b>          I/E. COREY'S CHEVROLET/HIGHWAY 40, VARIOUS - DAY
</b><b>          
</b>          Corey's car cruises along the flat, open road. She cranks up
          the VOLUME on the car's CASSETTE DECK, nodding her head to
          early-90s ALT. ROCK (suggestion: Into Dust, by Mazzy Star)...
<b>          
</b>          Sam looks out the window at the passing scenery: FARMERS at
          work in the fields; a BILLBOARD advertising a local
          restaurant; ROADSIDE DITCHES filled with trash...
<b>          
</b>          She fixates on a MINIVAN travelling in the slow lane. It
          contains the all-American NUCLEAR FAMILY: MOTHER, FATHER and
          three SIBLINGS, one of them being a YOUNGSTER. The Youngster
          makes a face at Sam as they pass by...
<b>          
</b><b>          
</b><b>          INT. COREY'S CHEVROLET - LATER - DAY
</b><b>          
</b>          Corey glances at the CONTROL PANEL when she HEARS the engine
          start to RATTLE. She sees that the TEMPERATURE GAUGE has hit
          the red and her CHECK ENGINE LIGHT is on.
<b>          
</b><b>                              COREY
</b>                    Shit...
<b>          
</b><b>          
</b><b>          EXT. OKLAHOMA HIGHWAY 40/COREY'S CHEVROLET - DAY
</b><b>          
</b>          By the time they pull over on the side of the empty highway,
          steam billows out from under the hood. Sam gets out of the
          car to check on it while Corey remains behind the wheel.
<b>          
</b>          Sam peeks under the hood, trying to clear the air of the
          steam. It sounds like someone is rhythmically TAPPING the
          inside of the engine with a hammer.
<b>          
</b><b>                              SAM
</b>                    Turn it off.
<b>          
</b><b>                               COREY
</b>                        (poking her head out the
<b>                          WINDOW)
</b>                    What?
<b>          
</b><b>                              SAM
</b>                    Turn off the car.
<b>          
</b>          Corey does so.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Doesn't look too good...
<b>          
</b><b>                              COREY
</b>                    How do you know?
<b>          
</b><b>                                                                      3.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    It smells funny.
<b>          
</b>          Sam looks up when she HEARS a PICK-UP TRUCK coming toward
          them. Corey watches as she steps out to wave it down...
<b>          
</b>          The pick-up pulls over ahead of them. CHRIS HOLT (24), a
          brawny, attractive young man, gets out. When Corey sees him
          she gets out too.
<b>          
</b><b>                               SAM (CONT'D)
</b>                    Thanks for stopping. Our car's
                    messed up.
<b>          
</b><b>                              CHRIS
</b>                    What happened?
<b>          
</b><b>                              COREY
</b>                    My check engine light came on, then
                    it just started smoking, and
                    ticking and shit.
<b>          
</b>          As Chris pokes around under the hood, Sam and Corey exchange
          looks. Chris pops opens the COOLANT CAP and burns his hand on
          the steam explosion.
<b>          
</b><b>                              CHRIS
</b>                        (shaking it off)
                    Blew your water pump. Can't drive
                    it.
<b>          
</b><b>                                 COREY
</b>                    Fuck me...
<b>          
</b><b>                              CHRIS
</b>                    El Reno's just a couple miles up
                    ahead. Can call for a tow there.
                    C'mon, I'll give you a lift.
<b>          
</b><b>          
</b><b>          I/E. CHRIS' TRUCK/EL RENO, VARIOUS - DAY
</b><b>          
</b>          All three crammed into the cab of the pick-up, they drive
          through the center of El Reno, Oklahoma (population 16,000)
          and see some of the locals out and about [MUSIC MONTAGE
          fueled by early- to mid-90s era GRUNGE ROCK (suggestion: Come
          As You Are, by Nirvana) -- reminiscent of the `Middlesex
          Middle School Montage' in DONNIE DARKO]:
<b>          
</b>          AGATHA DOWDY (54), an employee of the local DINER, sits on a
          bench in front of the establishment smoking a cigarette. The
          manager, TED MONCTON (50), calls her back inside...
<b>          
</b><b>                                                                   4.
</b><b>          
</b><b>          
</b>          RANDY EVANS (21), RUTH GIBBENS (18) and JEFF (21) and MIKE
          JIMENEZ (20) loiter in the parking lot of a LIQUOR STORE...
<b>          
</b>          TRUDY POTTER (39) flirts with FATHER HOMEIJER (54), a
          Catholic priest, outside the BANK. A BANK SIGN shows the TIME
          -- 12:00 PM -- then flashes to the DATE -- JUNE 18, 1995...
<b>          
</b>          OFFICER RYAN O'DELL (31) has pulled over a PRETTY LADY and
          uses his uniform to impress more than intimidate...
<b>          
</b>          They come up on VIETNAM TOM (48), who ambles along the side
          of the road against traffic, and he waves to them as they
          pass. He wears old, weather beaten clothes and a multi-
          colored SKI MASK over his head and face...
<b>          
</b><b>          [END MONTAGE]
</b><b>          
</b>          Sam swivels her head to watch Tom. ANOTHER CAR passes and he
          waves to it as well. Chris picks up on her curiosity.
<b>          
</b><b>                              CHRIS
</b>                    He waves to everybody... Just kinda
                    walks up and down.
<b>          
</b><b>                              COREY
</b>                    Resident nutcase?
<b>          
</b><b>                              CHRIS
</b>                    People call him Vietnam Tom.
<b>          
</b><b>                              SAM
</b>                    He was in the war?
<b>          
</b><b>                              CHRIS
</b>                    He thinks he was... kind of a joke,
                    ya know?
<b>          
</b>          Sam continues to stare until he disappears out of sight...
          PAN DOWN to a PUDDLE by the side of the road. As a CAR TIRE
          splashes through it, PAN UP TO FIND:
<b>          
</b><b>          
</b><b>          I/E. DUSTY'S GARAGE/HOUSE - AFTERNOON
</b><b>          
</b>          Dusty's auto repair shop, which is nothing more than a big
          garage attached to his old two-story house. Corey's car has
          been towed there, and DUSTY GIBBENS (37; father of Ruth
          Gibbens), the lone mechanic, tinkers around under the hood.
<b>          
</b>          Sam and Corey sit on the front steps of the house waiting,
          bored as hell. A PIT BULL laps at a nameless treat wedged
          into a crack in the walkway. The girls are forced to get up
          when Ruth (from outside the liquor store) comes to the door.
<b>          
</b><b>                                                                   5.
</b><b>          
</b><b>          
</b><b>                              RUTH
</b>                    Can I get out?
<b>          
</b>          Sam and Corey move so that she can exit the house. Ruth's
          look is hardened, rough around the edges -- she appears older
          than her 18 years.
<b>          
</b>          The girls watch as she enters the garage to see her father.
          She whispers something in his ear, and Dusty hands her some
          CASH, which she pockets then kisses him on the cheek. After
          this, Dusty wipes his hands on his greasy jeans and comes
          outside to address Corey and Sam.
<b>          
</b><b>                              DUSTY
</b>                    Yeah... it's the water pump.
<b>          
</b><b>                              COREY
</b>                    So what do we do?
<b>          
</b><b>                              DUSTY
</b>                    I can order you up a new one.
                    Probably be a couple days.
<b>          
</b><b>                              COREY
</b>                    Great. This the only show in town?
<b>          
</b><b>                              DUSTY
</b>                    Cheapest and the best. But you want
                    me to call the tow guy back here,
                    no problem. Probably charge you
                    another hundred bucks, but he'll
                    get ya wherever you wanna go.
<b>          
</b><b>                              COREY
</b>                    Just go ahead and fix it.
<b>          
</b><b>          
</b><b>          INT. MOTEL LOBBY - AFTERNOON
</b><b>          
</b>          Phil Coulter (48), the proprietor of a dingy little roadside
          motel, looks up from a hardcover copy of Stephen King's
          GERALD'S GAME when the girls enter. They each have a SMALL
          SUITCASE and a BACKPACK in tow.
<b>          
</b><b>                              PHIL
</b>                    What can I do for you?
<b>          
</b><b>                              COREY
</b>                    We need a room.
<b>          
</b>          He gets out a notebook and lays it out on the counter. Corey
          finds a pen and starts to fill out a registration form... A
          NEWS BULLETIN about the O.J. SIMPSON TRIAL plays at a LOW
          VOLUME on a TELEVISION in the b.g.
<b>          
</b><b>                                                                    6.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    How much is it?
<b>          
</b><b>                              PHIL
</b>                    $39 a night. How many you stayin'?
<b>          
</b><b>                              COREY
</b>                    Just a couple, we hope.
<b>          
</b>          He takes the KEY to ROOM 15 off the rack.
<b>          
</b><b>                              PHIL
</b>                    Well... welcome to El Reno.
<b>          
</b><b>          
</b><b>          EXT. LIQUOR STORE - NIGHT
</b><b>          
</b>          Sam and Corey arrive at the liquor store, which is down the
          street from the motel. Ruth, Randy Evans, and Jeff and Mike
          Jimenez are loitering in the parking lot in a similar fashion
          to how they were earlier in the day.
<b>          
</b><b>                              RUTH
</b>                    You get checked into the motel
                    alright?
<b>          
</b><b>                              COREY
</b>                    Yep.
<b>          
</b>          Randy seems surprised that Ruth has already made their
          acquaintance. He wastes no time in introducing himself.
<b>          
</b><b>                              RANDY
</b>                    My name's Randy. This is Mike and
                    Jeff. Guess you already know Ruth.
<b>          
</b><b>                              COREY
</b>                    Corey.
<b>          
</b><b>                              SAM
</b>                    I'm Samantha.
<b>          
</b>          They shake, and Corey seems at ease mingling with the
          strangers. Sam hangs back a little.
<b>          
</b><b>                              COREY
</b>                    One of you guys mind pickin' us up
                    a bottle of something?
<b>          
</b><b>                              RANDY
</b>                    I think I can manage that. What do
                    you want?
<b>          
</b><b>                                                                      7.
</b><b>          
</b><b>          
</b><b>                              COREY
</b>                    I don't know. Vodka, whiskey,
                    whatever.
<b>          
</b>          Corey looks to Sam, who produces some cash. Randy takes the
          money and heads for the store.
<b>          
</b><b>                              RANDY
</b>                    Be right back...
<b>          
</b>          After he's gone, there's an uncomfortable moment of silence
          in which Mike and Jeff ogle the girls mischievously. Ruth
          stares at them in a different way. She seems somewhat
          resentful of their presence.
<b>          
</b><b>                              RUTH
</b>                    From Virginia, huh?
<b>          
</b><b>                                COREY
</b>                    Yep.
<b>          
</b><b>                              RUTH
</b>                    I saw your plates...
<b>          
</b>          Corey and Sam both nod in mundane acknowledgment. Another
          beat of uncomfortable silence.
<b>          
</b><b>                                RUTH (CONT'D)
</b>                    Where to?
<b>          
</b><b>                                COREY
</b>                    What?
<b>          
</b><b>                              RUTH
</b>                    Your obviously just passin' through
                    here.
<b>          
</b><b>                              SAM
</b>                    We're on the way to Vegas.
<b>          
</b>          Ruth snickers.
<b>          
</b><b>                              RUTH
</b>                    Well... you need anything besides
                    booze, you just lemme know.
<b>          
</b>          Randy comes out of the store with a bottle in a brown bag. He
          passes it off to Corey, along with some change.
<b>          
</b><b>                              COREY
</b>                    Thanks a lot, man.
<b>          
</b><b>                                                                      8.
</b><b>          
</b><b>          
</b><b>                              RANDY
</b>                    No problem. You guys wanna come
                    back to my place for bit? Bring
                    your bottle, we got some weed...
<b>          
</b>          Corey looks like she's considering it, but --
<b>          
</b><b>                              SAM
</b>                    I'm really tired.
<b>          
</b>          She takes Sam's signal.
<b>          
</b><b>                              COREY
</b>                    Yeah, I think we'll just head back.
                    Been a long day, ya know?
<b>          
</b><b>                              RANDY
</b>                    That's cool.
<b>          
</b><b>          
</b><b>          EXT. BANK - LATER - NIGHT
</b><b>          
</b>          The clock on the BANK SIGN shows 3:30 AM -- then flashes to --
          JUNE 19, 1995... It changes again, this time to a countdown
          to the JULY 4TH FIREWORKS CELEBRATION: 15 DAYS, 17 HOURS, 29
<b>          MINUTES, 57 SECONDS... 56 SECONDS... 55 SECONDS...
</b><b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - NIGHT
</b><b>          
</b>          Sam awakens suddenly from a nightmare. She lies atop the
          blankets wearing a T-SHIRT and BOXER SHORTS. She looks over
          and sees Corey passed out on the other full-size bed.
<b>          
</b>          TWO PLASTIC CUPS, EMPTY SODA CANS, and the BOTTLE are on the
          nightstand between them, the liquor partially consumed.
          There's a digital CLOCK/RADIO that reads 3:30 AM.
<b>          
</b>          The TV is on, and a late night INFOMERCIAL for the GEORGE
          FOREMAN GRILL plays. Sam stares at the screen as the images
          WARP and RIPPLE in a way that coincides with an increasingly
          loud, rumbling TREMOR from outside...
<b>          
</b>          In a daze, she gets up and slowly walks closer to the
          television. She reaches out with her RIGHT HAND, about to
          touch it... A strange, abrupt HARD CUT TO:
<b>          
</b><b>          
</b><b>          EXT. GRASSY FIELD BEHIND MOTEL - NIGHT
</b><b>          
</b>          Sam is in a grassy field behind the motel, moving away from
          the building. She wears a HOODED SWEATSHIRT, JEANS, and her
          RIGHT HAND is wrapped in some sort of MAKESHIFT BANDAGE.
<b>          
</b><b>                                                                      9.
</b><b>          
</b><b>          
</b>          There's a GASH in the side of her forehead by her temple,
          with what looks to be a SHARD OF METAL partially embedded
          under the skin and protruding from the wound.
<b>          
</b>          She is without expression, and her movements are rhythmic and
          fluid. A tall AERMOTOR WINDMILL towers in the distance...
<b>          
</b><b>          
</b><b>          SAM'S LUMINOUS POV - THE GRASSY FIELD
</b><b>          
</b>          A glimpse of the field through Sam's eyes shows a
          phosphorescent PLANE OF DESTINY -- an intricate grid in which
          objects organic and inorganic dwell in assigned positions,
          and move according to a framework of set paths.
<b>          
</b>          A JACKRABBIT follows a silvery VECTOR SPEAR like prophetic
          life-gel to its burrow... COSMIC ENERGY burns around a
          CLUSTER OF STONES... Miniature VECTOR SPEARS lead a SWARM OF
          INSECTS around in a circle and then BUZZING right past Sam's
          field of vision...
<b>          
</b>          It's infinitely complex, but Sam sees through it clearly. She
          has no vector spear of her own to guide her, but she is
          cognizant of her path... She moves toward the WINDMILL.
<b>          
</b><b>          
</b><b>          EXT. WINDMILL - NIGHT
</b><b>          
</b>          Sam appears at the foot of the windmill tower. A giant WATER
          TANK squats beside it. Remaining stoic, she looks up and sees
          Vietnam Tom sitting atop the windmill platform, more than 30
          feet up, staring back down at her through the eyes holes of
          his ski mask...
<b>          
</b><b>          
</b><b>          ANGLE: WINDMILL PLATFORM
</b><b>          
</b>          Tom peers over the edge of the small platform, the surface of
          which is littered with TATTERED CLOTHING, a WATER BOTTLE,
          CANS OF FOOD and SCRAPS OF A TARP. He cradles a RIFLE in his
          arms...
<b>          
</b>          His focus shifts from what is at the foot of the windmill to
          what is sitting right beside him --
<b>          
</b>          REVEAL Sam. Her legs dangle over the side of the platform,
          and she stares off into distance.
<b>          
</b><b>                              SAM
</b>                    The sky's so beautiful here...
<b>          
</b>          Tom looks in the direction that she stares and then back at
          her. Sam turns to meet his gaze...
<b>          
</b><b>                                                                     10.
</b><b>          
</b><b>          
</b><b>                              SAM (CONT'D)
</b>                    But we can't stay.
<b>          
</b><b>          
</b><b>          SAM'S LUMINOUS POV - VIETNAM TOM
</b><b>          
</b>          Sam sees through to the core of his physical being, the
          DYNAMIC CENTER of which lingers pulsating in a translucent
          circle around his chest.
<b>          
</b>          Magnified NEURONS in TOM'S BRAIN send ELECTRIC IMPULSES that
          release NEUROTRANSMITTERS, which excite OTHER NEURONS...
<b>          
</b>          Tom slowly reaches out to touch Sam, but an invisible FORCE
          FIELD makes contact impossible. RIPPLES swell throughout the
          clear plasma-like barrier from where he touched it, and his
          hand remains glued to the spot.
<b>          
</b>          Sam extends her bandaged right hand, and presses it to
          Vietnam Tom's as if she were touching a mirrored image of
          herself.
<b>          
</b>          The contact generates more RIPPLES, and as TREMORS begin to
          shake the windmill a DISTORTED VOICE echoes throughout the
<b>          COSMOS:
</b><b>          
</b><b>                              DISTORTED VOICE (V.O.)
</b>                    15 days... 18 hours... 45
                    minutes... 6 seconds. That is when
                    the world will end.
<b>          
</b>          A CYLINDRICAL PORTAL opens up below them, gaping and swirling
          like God's eye on the mouth of a liquid tornado. As Sam and
          Tom stand in unison to peer into it, a HEXAGONAL PLATE OF
          WHITE LIGHT emanates from within --
<b>          
</b><b>          
</b><b>          EXT. BELOW WINDMILL - NIGHT
</b><b>          
</b>          They appear near the foot of the windmill, sprinting away
          from it together. Tom has his rifle, and he looks up to the
          sky as he runs...
<b>          
</b>          ...there's a brilliant flash of GREEN LIGHT -- deafening
          THUNDER -- a blinding EXPLOSION --
<b>          
</b><b>          
</b><b>          EXT. BUS STOP - MORNING
</b><b>          
</b>          Sam awakens to the morning sun blinding her. She struggles to
          peer through the harsh whiteness at a looming figure that
          stands over her. Her eyes adjust to discover that it's a
          policeman -- Officer O'Dell.
<b>          
</b><b>                                                                     11.
</b><b>          
</b><b>          
</b><b>                              OFFICER O'DELL
</b>                    `Fraid you can't sleep here, miss.
<b>          
</b>          Sam sits up and realizes she's on a bench at a bus stop near
          the side of the road. O'Dell's tone is innocuous, and when
          she looks up at him again she sees that he's grinning.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Got anyplace to be?
<b>          
</b>          Sam manages to find her voice.
<b>          
</b><b>                                 SAM
</b>                    The motel.
<b>          
</b>          She takes his hand and rises.
<b>          
</b><b>          
</b><b>          I/E. O'DELL'S CRUISER/MOTEL - MORNING
</b><b>          
</b>          O'Dell's cruiser pulls into the motel parking lot, which is
          uncharacteristically full. A FIRE TRUCK is parked by the side
          of the road. Just then, a call comes in on the POLICE RADIO:
<b>          
</b><b>                              DISPATCH (V.O.)
</b>                    We got some kinda situation at
                    Frank Haley's farm...
<b>          
</b><b>                              OFFICER O'DELL
</b>                    Copy that. I'm here now...
<b>          
</b><b>          
</b><b>          EXT. GRASSY FIELD BEHIND MOTEL - MORNING
</b><b>          
</b>          Where the towering windmill once stood is now only a CRATER
          about 5 feet deep and 10 feet in diameter, with charred bits
          of wood and metal strewn everywhere. GROUND WATER spurts from
          the broken WELL SEAL...
<b>          
</b>          And a cantaloupe-sized METEORITE sits in the center of the
          crater.
<b>          
</b>          Two FIREMEN haul out the meteorite with gloved hands as Sam
          and O'Dell arrive on the scene. Corey is already there
          looking on, as well as Chris Holt, who gave them a ride into
          town, Phil Coulter from the motel, and other local CITIZENS.
          FRANK HALEY (54), the farmer who owns the land, is fuming.
<b>          
</b><b>                              FRANK
</b>                    Un-fuckin'-believable...
<b>          
</b>          The Firemen drop the porous, misshapen clod by his feet.
<b>          
</b><b>                                                                  12.
</b><b>          
</b><b>          
</b><b>                              FIREMAN #1
</b>                    It's still warm.
<b>          
</b><b>                              FRANK
</b>                    You know how much it's gonna cost
                    me to replace this goddamn
                    windmill?
<b>          
</b>          Officer O'Dell steps up beside him and kicks the meteorite
          with his boot.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    Sell this thing off to some
                    meteorologist nerd club, I bet you
                    could do okay.
<b>          
</b><b>                                FRANK
</b>                    Ya think?
<b>          
</b>          Sam looks down at a CAN OF FOOD on the ground amidst some
          scorched CLOTHING. O'Dell takes note of some other CANNED
          GOODS and SCRAPS OF TARP.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    What's all that stuff, Frank?
<b>          
</b><b>                               FRANK
</b>                    That whack job Tom's been squattin'
                    up there the last couple a' months.
                    Thinks he's the goddamn town
                    watchman...
<b>                        (BEAT)
</b>                    You think he got blown up?
<b>          
</b>          Everyone scans the ground for signs of human remains until
          Phil pipes up:
<b>          
</b><b>                              PHIL
</b>                    I saw him out in front of the motel
                    early this morning, alive and well.
<b>          
</b><b>                              FRANK
</b><b>                        (SARCASTIC)
</b>                    Oh, well, thank heavens...
<b>          
</b>          Sam turns and peers up at the WATER TANK. It's marred by BURN
          MARKS and DENTS from the explosion. As she tilts her head and
          looks closer, she can almost pick out a shape created by the
          damage -- a negative image like the Shroud of Turin...
<b>          
</b>          ...in the form of a bizarre, toothy-grinned FACE OF A GIANT
<b>          MONSTER BUNNY.
</b><b>          
</b><b>                                                                  13.
</b><b>          
</b><b>          
</b><b>          EXT. MOTEL - MORNING
</b><b>          
</b>          Sam and Corey are on their way back to the motel room when
          they turn and see that Chris has followed them.
<b>          
</b><b>                                 CHRIS
</b>                    Hey...
<b>          
</b><b>                                 SAM
</b>                    Hey.
<b>          
</b><b>                              CHRIS
</b>                    So you guys stayed here last night?
<b>          
</b><b>                              COREY
</b>                    One of us did.
<b>          
</b>          Sam gives Corey a look. Chris decides to ignore the comment.
<b>          
</b><b>                              CHRIS
</b>                    What's up with your car?
<b>          
</b><b>                              COREY
</b>                    It's gonna take a couple days.
<b>          
</b><b>                              CHRIS
</b>                    For a water pump?
<b>          
</b>          Sam and Corey shrug.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    None of my business, but...
<b>          
</b>          He's distracted when a brand new `95 BMW pulls up and parks
          nearby. JEREMY FRAME (25), a thin, pale young man hops out
          and hustles into the field toward the crash site.
<b>          
</b><b>                                 SAM
</b>                    What?
<b>          
</b>          Chris regains his train of thought:
<b>          
</b><b>                              CHRIS
</b>                    I was just gonna say, if you
                    wanted, I could give you a ride
                    back.
<b>          
</b>          He looks right at Sam when he says this. He then glances over
          at Corey, as if just remembering she was there.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    You too. I mean, I could give you
                    both a ride.
<b>          
</b><b>                                                                    14.
</b><b>          
</b><b>          
</b><b>                              COREY
</b>                    To Middlesex, Virginia? Do you have
                    any clue how far that is?
<b>          
</b><b>                              CHRIS
</b><b>                        (SHEEPISH)
</b>                    I got some time...
<b>          
</b>          Sam looks as though she's about to say something but Corey
          overpowers her.
<b>          
</b><b>                              COREY
</b>                    We're not goin' back. Even El
                    Reno's better than there.
<b>          
</b>          Chris makes eye contact with Sam again. She maintains it for
          a moment and then looks away.
<b>          
</b><b>          
</b><b>          EXT. JUNKYARD - DAY
</b><b>          
</b>          Vietnam Tom explores a cluttered junkyard, gathering
          materials. He scours amongst the PILES OF REFUSE, RUSTY
          MACHINES and crumbling STORAGE SHACKS.
<b>          
</b>          He bends to pick up a SCRAP OF METAL and adds it to a
          collection he's making in a worn SATCHEL...
<b>          
</b><b>          
</b><b>          EXT. DINER - DAY
</b><b>          
</b>          As Sam and Corey are about to enter the diner, Trudy Potter,
          a bank teller, is on her way out.
<b>          
</b>          The girls move to the side so she can exit, and take notice
          of a MISSING PERSONS SIGN posted next to the door -- BILLY
          MOORCROFT'S (10) dark, empty eyes stare at them from the
<b>          BLACK & WHITE PHOTOGRAPH.
</b><b>          
</b><b>                              TRUDY (O.S.)
</b>                    Isn't that just awful?
<b>          
</b>          Trudy has stopped and is looking over their shoulders.
<b>          
</b><b>                              TRUDY (CONT'D)
</b>                    His poor mother...
<b>          
</b><b>          
</b><b>          INT. DINER - DAY
</b><b>          
</b>          The girls sit at a booth, sipping Cokes.
<b>          
</b><b>                              COREY
</b>                    How much money do we have left?
<b>          
</b><b>                                                                  15.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    Not a whole lot.
<b>          
</b><b>                              COREY
</b>                    I can't believe your fucking
                    parents wouldn't give you anything.
<b>          
</b><b>                              SAM
</b>                    They totally flipped out that I was
                    even going. They weren't about to
                    give me money for the big trip.
<b>          
</b><b>                              COREY
</b>                    We should've waited till the end of
                    the month when my mom gets her
                    check.
<b>          
</b><b>                              SAM
</b>                    She wouldn't have given you
                    anything.
<b>          
</b><b>                              COREY
</b>                    I know where she keeps her cash.
                    What's she gonna do, send her
                    boyfriend after me?
<b>          
</b>          Corey pokes at the crushed ice in her glass with her straw.
<b>          
</b><b>                               COREY (CONT'D)
</b>                    Doesn't matter. As soon as we get
                    to Vegas, we'll be set. My cousin
                    said sometimes she makes two grand
                    in a week.
<b>          
</b><b>                                SAM
</b>                    Jesus.
<b>          
</b>          Sam is impressed, but something about her subdued reaction
          exhibits reservations... Just then, Agatha Dowdy arrives with
          plates of BURGERS AND FRIES.
<b>          
</b><b>                              AGATHA
</b>                    Here you go. Where'd you two say
                    you were from again?
<b>          
</b><b>                                SAM
</b>                    Virginia.
<b>          
</b><b>                              AGATHA
</b>                    You hear that, Ted?
<b>          
</b>          She calls to Ted Moncton, who is busy behind the counter.
<b>          
</b><b>                                                                  16.
</b><b>          
</b><b>          
</b><b>                               TED
</b>                    What?
<b>          
</b><b>                              AGATHA
</b>                    These girls are from Virginia.
<b>          
</b><b>                              TED
</b>                    I'll be damned. I'm from Reedville,
                    if you know where abouts that is...
<b>          
</b>          Neither Sam nor Corey give much of a hint as to a yes or no.
<b>          
</b><b>                              TED (CONT'D)
</b>                    Well, have yourself some ice cream
                    when you're done, on the house.
<b>          
</b><b>                      COREY                               SAM
</b>          Okay.                           Thank you.
<b>          
</b><b>                              AGATHA
</b>                    Anything else you need, give a
                    holler.
<b>          
</b>          Agatha moves off, and Sam and Corey start to dig into their
          food...
<b>          
</b>          Momentarily, someone else enters and takes a seat at the
          counter by their booth. It's Jeremy Frame, the driver of the
          BMW. He raises a finger to alert Ted of his presence.
<b>          
</b><b>                              JEREMY
</b>                    Just a coffee, please.
<b>          
</b>          Ted nods and pours him a cup... After he receives his coffee,
          Jeremy turns and stares at the girls. They both notice him
          doing it, but Corey is the first to speak.
<b>          
</b><b>                              COREY
</b>                    Can we help you?
<b>          
</b><b>                              JEREMY
</b>                    No, no... it's just that I
                    recognize you. I saw you by the
                    motel. Pretty amazing, huh?
<b>          
</b><b>                               COREY
</b>                    I guess.
<b>          
</b><b>                              JEREMY
</b>                    I just made a deal with Frank Haley
                    to buy it for seven-hundred fifty
                    dollars.
<b>          
</b><b>                                                                  17.
</b><b>          
</b><b>          
</b><b>                              COREY
</b>                    Whoop-dee-doo. What the hell are
                    you gonna do with a friggin'
                    meteor?
<b>          
</b><b>                              JEREMY
</b>                    Meteorite, actually...
<b>          
</b>          Corey rolls her eyes at being corrected. Sam smirks and
          munches on a french fry -- she's enjoying their conversation.
<b>          
</b><b>                               JEREMY (CONT'D)
</b>                    I'm gonna study it. I'm a grad
                    student at Redlands... we've
                    actually got a pretty cool geology
                    lab there.
<b>          
</b>          Corey focuses on her lunch, ignoring him, but Jeremy goes on.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I've gotta do some tests, but if I
                    had to guess, I'd say it's a
                    siderite. They're composed
                    primarily of iron and nickel.
<b>          
</b><b>                                COREY
</b>                    Have fun.
<b>          
</b><b>                              JEREMY
</b>                    My name's Jeremy.
<b>          
</b><b>                              COREY
</b>                    That's nice.
<b>          
</b>          Sam glances up at Jeremy, expecting him to be hurt or
          embarrassed by Corey's snub. But he's not. He's smiling at
          her, and she can't help but smile back.
<b>          
</b><b>          
</b><b>          EXT. FATHER HOMEIJER'S HOUSE/CHURCH - AFTERNOON
</b><b>          
</b>          Each licking an ICE CREAM CONE, Corey and Sam walk past the
          home of Father Homeijer. The priest is outside working in his
          flower garden, wearing his CLERICAL COLLAR. An old CATHOLIC
          CHURCH rests on the same lot as his house, looming behind it.
<b>          
</b>          When Father Homeijer sees the girls walking by, he rises from
          his work, takes off his gloves and wipes sweat from his
          forehead. Sam and Corey both notice him eyeballing them.
<b>          
</b><b>                              COREY
</b>                    What's his problem?
<b>          
</b><b>                                                                   18.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    Just keep walking.
<b>          
</b>          Corey waves to him in a sarcastic, exaggerated manner... The
          priest doesn't wave back, but continues to gawk at them until
          they go around the corner.
<b>          
</b><b>                               COREY
</b>                    Freak...
<b>          
</b><b>          
</b><b>          EXT. JUNKYARD, STORAGE SHACK - AFTERNOON
</b><b>          
</b>          Vietnam Tom crouches in a decrepit SHACK covered by a piece
          of CORRUGATED ROOFING. He works with great focus, arranging
          VARIOUS BITS OF METAL into some sort of small SCULPTURE...
<b>          
</b><b>          
</b><b>          EXT. LIQUOR STORE - LATER - AFTERNOON
</b><b>          
</b>          Having finished their ice creams, the girls pass the liquor
          store on the way back to the motel. They find Randy, Ruth,
          Jeff and Mike at their usual post.
<b>          
</b><b>                              RANDY
</b>                    Hey, what's up?
<b>          
</b><b>                              COREY
</b>                    Not much... just getting stared
                    down by creepy priest boy back
                    there.
<b>          
</b><b>                              JEFF
</b>                    Father Homeijer?
<b>          
</b><b>                              MIKE
</b>                    Don't worry, you're a little old
                    for his taste.
<b>          
</b><b>                              JEFF
</b>                    Yeah, he's a fuckin' perv.
<b>          
</b><b>                              COREY
</b>                        (to Randy)
                    You got an extra cigarette?
<b>          
</b>          Randy takes a pack from his pocket and offers her one.
<b>          
</b><b>                              RANDY
</b>                    I'm throwin' a big party at my
                    house tonight, you guys should come
                    by. No excuses this time...
<b>          
</b>          Sam and Corey look at each other, considering.
<b>          
</b><b>                                                                   19.
</b><b>          
</b><b>          
</b><b>                              RANDY (CONT'D)
</b>                    You're gonna be stuck in El Reno,
                    you might as well have some fun,
                    right?
<b>          
</b><b>          
</b><b>          EXT. RANDY'S HOUSE, BACKYARD - NIGHT
</b><b>          
</b>          The party at Randy's teems with LOCALS, ages ranging from
          early teens to late-20s. On the back deck is a KEG OF BEER
          and a BOOMBOX blasting MUSIC. There's a slimy-looking POOL,
          and a few people swim in the greenish water.
<b>          
</b>          Randy and Ruth make their rounds as a pair. They stop off so
          Ruth can sell a BAG OF WEED to some eager KIDS. Corey and Sam
          hang with Mike and Jeff, drinking beer.
<b>          
</b><b>                              COREY
</b>                    You guys gotta come visit the club
                    when we get all set up. We'll give
                    you the VIP treatment, man...
<b>          
</b>          Mike and Jeff are both excited about this proposition.
<b>          
</b><b>                              MIKE
</b>                    Sounds good to me.
<b>          
</b><b>                              COREY
</b>                    Give us a little time, me and
                    Sam'll be runnin' that place, no
                    doubt... right?
<b>          
</b><b>                              SAM
</b>                    Yeah. Definitely.
<b>          
</b>          Corey is relaxed, enjoying their newfound friends, while Sam
          appears more out of place. She drains the better part of her
          cup for some liquid courage.
<b>          
</b>          Randy and Ruth converge back on the group just as Officer
          O'Dell creeps into the backyard wearing plainclothes. Ruth
          notices him first.
<b>          
</b><b>                              RUTH
</b>                    Fuck.
<b>          
</b><b>                              RANDY
</b>                    What?
<b>          
</b><b>                              RUTH
</b>                    That pig, O'Dell.
<b>          
</b><b>                                                                     20.
</b><b>          
</b><b>          
</b><b>                              RANDY
</b>                    Don't worry about Ryan. He might be
                    a cop, but he still likes to party.
<b>          
</b>          Randy's theory is proven when O'Dell takes a FLASK from his
          pocket and has a snort before approaching a pair of TEENAGE
          GIRLS... But Ruth is still not satisfied.
<b>          
</b><b>                              RUTH
</b>                    I think that asshole knows I deal.
                    You know how fucked that is?
<b>          
</b><b>                              RANDY
</b>                    From what I hear he's got a little
                    somethin' goin' on the side
                    himself.
<b>          
</b><b>                              RUTH
</b>                    Fucking pig's a pig.
<b>          
</b>          They're all distracted when somebody does a cannonball into
          the pool and splashes them.
<b>          
</b><b>                      MIKE                               JEFF
</b>          Fuck!                            Bastard!
<b>          
</b><b>                              SAM
</b>                    What the hell...
<b>          
</b>          Sam bends to wipe some of the water from her pants. Ruth
          watches her, smirking.
<b>          
</b><b>                              RANDY
</b>                    We might as well all go in now,
                    we're already wet.
<b>          
</b><b>                              RUTH
</b>                    Good idea...
<b>          
</b>          Without warning, Ruth shoves Sam backwards into the pool --
<b>          
</b><b>          
</b><b>          ANGLE: BENEATH THE WATER
</b><b>          
</b>          She sinks into the murky water in SLOW-MOTION. All SOUNDS are
          DROWNED OUT and everything is tranquil, completely detached.
<b>          
</b>          Through her blurred vision, Sam can see Randy's PORCH LIGHTS
          glimmering beyond the surface of the water... TRANSITION TO:
<b>          
</b><b>                                                                  21.
</b><b>          
</b><b>          
</b><b>          INT. AUDITORIUM - NIGHT
</b><b>          
</b>          The SPOT LIGHTS are blinding from the perspective of the
          STAGE. Through the WHITE BLUR an auditorium full of PEOPLE
          can been seen...
<b>          
</b>          In SLOW-MOTION and perfect synchronicity, YOUNG SAMANTHA (11)
          and the "SPARKLE MOTION" GIRLS are in the midst of their
          dance performance... BACK TO:
<b>          
</b><b>          
</b><b>          EXT. RANDY'S HOUSE, BACKYARD - NIGHT
</b><b>          
</b>          A HAND reaches into the pool, grabs onto Sam's arm and pulls
          her up --
<b>          
</b>          She breaches the surface of the water, gasping for breath --
          back to reality. She sees that Randy is the one responsible
          for pulling her out.
<b>          
</b><b>                              RANDY
</b>                    You fall asleep down there?
<b>          
</b>          He, Ruth and the others are looking down at her, laughing.
          Sam is lost in thought, struck by her vision...
<b>          
</b>          She snaps out of it when she sees Corey tear off her top and
          jump into the pool beside her. Many of the PARTYGOERS hoot in
          approval, and Randy, Mike and Jeff strip down and leap in
          right behind her.
<b>          
</b>          Sam swims toward the far side of the pool where the steps
          are, and fewer people. When she arrives there, she's
          surprised to find Chris Holt waiting for her with a towel.
<b>          
</b><b>                              CHRIS
</b>                    Thought you could maybe use this.
<b>          
</b>          As Chris hands her the towel, he notices a wide SCAR on the
          inside of Sam's RIGHT WRIST... but doesn't mention it. Sam
          wraps the towel around her sopping wet body.
<b>          
</b>          Corey looks over and sees her getting out...
<b>          
</b><b>          
</b><b>          EXT. RANDY'S HOUSE, PORCH - MOMENTS LATER - NIGHT
</b><b>          
</b>          Chris and Sam stand by the keg with fresh beers.
<b>          
</b><b>                              CHRIS
</b>                    So what's so wrong at home that you
                    had to take off?
<b>          
</b>          The question takes Sam by surprise.
<b>          
</b><b>                                                                  22.
</b><b>          
</b><b>          
</b><b>                              CHRIS (CONT'D)
</b>                    I'd love to get outta here someday
                    too... just don't know quite where
                    I'd go.
<b>          
</b>          Sam decides to open up a little.
<b>          
</b><b>                              SAM
</b>                    I hate it there. It's like everyone
                    knows everything about me, but I'm
                    invisible at the same time. It's
                    like the worst of both worlds.
<b>          
</b><b>                              CHRIS
</b>                    Small towns. How `bout your family?
<b>          
</b><b>                              SAM
</b>                    They didn't want me to leave...
                    well, they did, but they wanted me
                    to go away to Harvard or something
                    like that, like my sister.
<b>          
</b>          Sam takes a big sip of her beer, showing signs of tipsiness.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Sometimes I think it would've been
                    easier if... I just, after my
<b>                    BROTHER-
</b><b>          
</b>          Sam stops herself.
<b>          
</b><b>                               CHRIS
</b>                    What?
<b>          
</b><b>                              SAM
</b>                        (changing gears)
                    That's why I love Corey, she just
                    doesn't give a shit. She does what
                    she wants and she doesn't care what
                    people think.
<b>          
</b><b>                              CHRIS
</b>                    You just gotta be yourself, that's
                    all. What is it you wanna do
                    exactly?
<b>          
</b><b>                              SAM
</b>                    I always thought I'd be a dancer,
                    like in a troupe or something...
<b>          
</b>          Sam is self-conscious after admitting this.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    That sounds kinda stupid probably.
<b>          
</b><b>                                                                   23.
</b><b>          
</b><b>          
</b><b>                               CHRIS
</b>                    No...
<b>          
</b><b>                              SAM
</b>                    When I was younger, my dance team
                    was on Star Search.
<b>          
</b><b>                               CHRIS
</b>                    Really?
<b>          
</b><b>                              SAM
</b>                    Yeah... but I didn't go.
<b>          
</b><b>                               CHRIS
</b>                    Why not?
<b>          
</b><b>                              SAM
</b>                    I didn't end up dancing in the
                    talent show where they got
                    discovered... I didn't really feel
                    like it at the time anyway.
<b>          
</b><b>                               CHRIS
</b>                    Huh...
<b>          
</b><b>                              SAM
</b>                    But that's why we're going to
                    Vegas. There's lots of
                    opportunities there.
<b>          
</b>          Chris glances over to the pool where Corey is topless,
          splashing and goofing around with some BOYS.
<b>          
</b><b>                              CHRIS
</b><b>                        (SMIRKING)
</b>                    Yeah, good place for it. Gettin'
                    some practice on the way, too.
<b>          
</b>          Sam takes offense, getting drunk and sensitive.
<b>          
</b><b>                              SAM
</b>                    Is that supposed to be like some
                    kind of judgement or something?
<b>          
</b><b>                              CHRIS
</b>                    No, I was just-
<b>          
</b>          She takes her beer and storms away from him.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    Sam, wait... hey, come on...
<b>          
</b><b>                                                                  24.
</b><b>          
</b><b>          
</b><b>          EXT. RANDY'S HOUSE, SIDE ENTRANCE - NIGHT
</b><b>          
</b>          Sam finds a STOOP at the side of the house where she can be
          alone. She can HEAR the PARTY going on in the backyard, but
          no one else is in sight.
<b>          
</b>          Still soaking wet, she plants herself on the stoop and starts
          to pound the rest of her drink...
<b>          
</b>          A strange, abrupt HARD CUT TO:
<b>          
</b><b>          
</b><b>          EXT. STREET IN FRONT OF RANDY'S HOUSE - NIGHT
</b><b>          
</b>          Sam lies in the middle of the street in front of Randy's. A
          lone, flickering STREET LIGHT intermittently bathes her in an
          orange glow.
<b>          
</b>          She is completely dry, wearing her HOODED SWEATSHIRT and
          JEANS, with the MAKESHIFT BANDAGE wrapped around her right
          hand. The SHARD OF METAL protrudes from the GASH in her
          forehead...
<b>          
</b>          A CAR suddenly screams right past her prostrate form, missing
          her by inches. She sits up slowly and looks toward the front
          of Randy's house, which is about 20 yards away.
<b>          
</b><b>          
</b><b>          SAM'S LUMINOUS POV - DRUNK GUYS
</b><b>          
</b>          Two DRUNK GUYS exit the house and enter the complex,
          phosphorescent grid that is Sam's field of vision. VECTOR
          SPEARS jut from their chests and precede all their movements
          as they open the gas tank of a PARKED CAR, insert a SIPHON,
          and begin to drain the gas into ANOTHER VEHICLE.
<b>          
</b><b>                              DRUNK GUY #1
</b>                    Hurry up...
<b>          
</b>          Although she is close by, they take no notice of Sam
          whatsoever. ANOTHER CAR speeds by, again nearly crushing her,
          but she doesn't flinch...
<b>          
</b>          She stands, and turns deliberately to face the opposite side
          of the road where, unlike the Drunk Guys, there is someone
          who is completely focused on her -- Vietnam Tom crouches in a
          DITCH near a CULVERT --
<b>          
</b><b>          
</b><b>          ANGLE: CULVERT
</b><b>          
</b>          Sam appears with him in the tenebrous ditch. Tom stares at
          her wide-eyed through the eyeholes of his ski mask.
<b>          
</b><b>                                                                    25.
</b><b>          
</b><b>          
</b>          From one end of the broad, open culvert they can see straight
          through to the other side...
<b>          
</b>          A PORTAL starts to take shape within, swirling around the
          circumference. Soft, BLUE LIGHT touches their faces from the
          phosphorescent glow, and a gust of WIND is nearly strong
          enough to make them falter.
<b>          
</b>          On the opposite end of the culvert, a PLATE OF WHITE LIGHT
          flashes for an instant then transforms into an image of
<b>          FATHER HOMEIJER'S CHURCH --
</b><b>          
</b><b>          
</b><b>          EXT. CHURCH - NIGHT
</b><b>          
</b>          Tom and Sam stand outside the church. The STEEPLE reigns over
          them. Sam is stoic as she watches Tom climb the STONE STEPS
          and approach the great WOOD DOORS...
<b>          
</b><b>          
</b><b>          INT. CHURCH - NIGHT
</b><b>          
</b>          Sam sits like a statue in one of the PEWS. Tom strides past
          her in a daze, moving toward the PULPIT...
<b>          
</b>          Beside the ALTAR stand THREE BARE CROSSES in imitation of
          Calvary, each standing over 4 feet tall.
<b>          
</b>          Sam looks up to a HIGH CORNER, above the pulpit to the right,
          where two walls and the ceiling meet...
<b>          
</b><b>          
</b><b>          SAM'S LUMINOUS POV - CONVERGENCE POINT
</b><b>          
</b>          The three planes come together at an irregular angle, with
          the WALL ON THE RIGHT SIDE SLANTING INWARD, and the CEILING
<b>          SLOPING SLIGHTLY DOWNWARD.
</b><b>          
</b>          PHOSPHORESCENCE burns in the three queerly pitches lines,
          with a concentration of heightened energy at the juncture.
<b>          
</b>          A VECTOR SPEAR bulges from Vietnam Tom's chest where he
          stands below it, reaching higher and higher...
<b>          
</b>          As Tom's SPEAR gets closer to the convergence point, the
          BIZARRE ANGLING becomes more exaggerated because the planes
          start to DIP and SWELL with impossible elasticity --
<b>          
</b><b>          
</b><b>          ANGLE: BETWEEN THE WALLS
</b><b>          
</b>          Sam and Tom find themselves squeezed between the inner and
          outer walls. Claustrophobic, dusty and obscure.
<b>          
</b><b>                                                                  26.
</b><b>          
</b><b>          
</b>          Dilapidated WIRING snakes around them, and Tom barely has
          enough space to reach forth and touch it with his finger...
<b>          
</b>          COSMIC ENERGY jolts through the WIRE. A SPARK. A BLUE
<b>          FLAME...
</b><b>          
</b>          Heat and pressure build. The old dry wood begins to CREAK and
<b>          SNAP -- FADE TO WHITE.
</b><b>          
</b><b>          
</b><b>          OVER WHITE...
</b><b>          
</b>          The SHARP SOUNDS echo and fade away... then become present
          again. Louder now, and different. A BANGING...
<b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - THE NEXT DAY
</b><b>          
</b>          Sam pulls back the CURTAIN OF WHITE -- a SHEET over her face.
          She's lying on the floor of the motel room in between the
          beds.
<b>          
</b>          She's alone, and naked except for the sheet. Her WET CLOTHES
          are in a heap beside her. Her head is throbbing...
<b>          
</b><b>          BANG! BANG! BANG! BANG! BANG!
</b><b>          
</b>          She scrambles to put something on so she can get the DOOR...
<b>          
</b><b>          
</b><b>          I/E. MOTEL ROOM 15 - MOMENTS LATER - DAY
</b><b>          
</b>          Having thrown on some wrinkled clothes, Sam opens the door to
          find Phil, the motel owner. He does not look pleased.
<b>          
</b><b>                              PHIL
</b>                    You plannin' on checkin' out today?
<b>          
</b><b>                              SAM
</b><b>                        (GROGGY)
</b>                    Uh... I, I don't know yet.
<b>          
</b><b>                              PHIL
</b>                    Well, it's already way past
                    checkout time, so you'd better
                    figure it out quick.
<b>          
</b><b>                              SAM
</b>                    I've just gotta find Corey... and
                    check on the car.
<b>          
</b><b>                                                                     27.
</b><b>          
</b><b>          
</b><b>                              PHIL
</b>                    You do whatever you have to, but if
                    you're stayin' another night I
                    wanna see some money up front.
<b>          
</b><b>          
</b><b>          EXT. BANK - DAY
</b><b>          
</b>          Sam approaches the bank, and when she sees the tall SIGN with
          the digital clock, she stops and stares up at it. It strikes
          a chord but she doesn't know why...
<b>          
</b>          The sign reads 12:48 PM -- and then -- JUNE 20, 1995. It
          changes to the FIREWORKS COUNTDOWN: 14 DAYS, 8 HOURS, 11
<b>          MINUTES, 22 SECONDS... 21 SECONDS...
</b><b>          
</b><b>          
</b><b>          INT. BANK - DAY
</b><b>          
</b>          Sam enters the small bank, and as she approaches the counter
          she sees that Trudy Potter is in tears. Some of her FEMALE CO-
          WORKERS are consoling her.
<b>          
</b><b>                              TRUDY
</b>                    I don't believe it... I still just
                    don't believe it.
<b>          
</b><b>                              FEMALE CO-WORKER
</b>                    It's gonna be alright. You'll see.
<b>          
</b>          Trudy looks up and sees Sam waiting uncomfortably.
<b>          
</b><b>                              TRUDY
</b>                        (dabbing at her eyes with
                         a tissue)
                    Can I help you?
<b>          
</b><b>                              SAM
</b>                    Is everything okay?
<b>          
</b><b>                              TRUDY
</b>                    No, it's not... Mount Calvary
                    burned to the ground last night.
<b>          
</b><b>                              SAM
</b>                    Mount Calvary?
<b>          
</b><b>                              TRUDY
</b>                    Father Homeijer's church.
<b>          
</b><b>                              SAM
</b>                    Oh... How did it happen?
<b>          
</b><b>                                                          28.
</b><b>          
</b><b>          
</b><b>                              TRUDY
</b>                    The police are looking into it,
                    but... I know it was arson.
<b>          
</b>          Trudy leans in to talk quietly to Sam.
<b>          
</b><b>                               TRUDY (CONT'D)
</b>                    It's no secret to me how people in
                    this town feel about Father
                    Homeijer. The horrible accusations
                    that have been made against him...
                    But it's just a lot of nonsense. El
                    Reno's changed so much since I was
                    a kid growing up here. The young
                    people nowadays...
<b>                        (BEAT)
</b>                    No offense.
<b>          
</b>          She places her hand on top of Sam's.
<b>          
</b><b>                              TRUDY (CONT'D)
</b>                    But with all the drugs and the
                    crime... I just don't know what
                    this world's coming to anymore.
<b>          
</b>          Sam tries to redirect her focus.
<b>          
</b><b>                              SAM
</b>                    Are you able to get money wired
                    here from my bank back home?
<b>          
</b><b>                              TRUDY
</b>                    We don't usually work with other
                    banks like that.
<b>          
</b><b>                              SAM
</b>                    I need to check my balance and get
                    my money out. How do I do that?
<b>          
</b><b>                              TRUDY
</b>                    You'll have to call and arrange it.
                    You could always use Western Union.
                    Where's your bank?
<b>          
</b><b>                                SAM
</b>                    Virginia.
<b>          
</b><b>                              TRUDY
</b>                    Oh... `cause they're gonna need to
                    have a signature.
<b>          
</b>          Disappointed, Sam turns to leave...
<b>          
</b><b>                                                                  29.
</b><b>          
</b><b>          
</b><b>          ANGLE: NEAR EXIT
</b><b>          
</b>          As she's on her way out, she notices a BULLETIN BOARD with
          another MISSING PERSONS SIGN for BILLY MOORCROFT.
<b>          
</b>          She stands before the picture, staring into the young boy's
          dark, empty eyes. Though it's just a low quality black &
          white photo, Billy's face emotes profound hopelessness and
          despair.
<b>          
</b><b>          
</b><b>          EXT. BANK - DAY
</b><b>          
</b>          As Sam comes out of the bank Jeremy rolls up in his BMW and
          parks in the lot. He gets out and approaches her.
<b>          
</b><b>                                 JEREMY
</b>                    Hi there.
<b>          
</b><b>                                 SAM
</b>                    Hey.
<b>          
</b><b>                              JEREMY
</b>                    I didn't get your name at the
                    diner.
<b>          
</b><b>                                 SAM
</b>                    I'm Sam.
<b>          
</b><b>                                 JEREMY
</b>                    Jeremy.
<b>          
</b>          They shake, and Jeremy holds her hand for a little longer
          than what is generally comfortable.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    So what are you up to?
<b>          
</b><b>                              SAM
</b>                    Trying to get money... not very
                    successfully.
<b>          
</b><b>                              JEREMY
</b>                    I've gotta pick up some cash too.
                    Need some supplies for the lab. I
                    don't think I've even slept since I
                    got my hands on that meteorite. You
                    should come by the lab with me and
                    check it out.
<b>          
</b><b>                                 SAM
</b>                    I can't...
<b>          
</b>          Sam starts to walk away from him.
<b>          
</b><b>                                                                  30.
</b><b>          
</b><b>          
</b><b>                              JEREMY
</b>                    I could let you borrow some
                    money... if you need some.
<b>          
</b><b>                              SAM
</b>                    I don't even know you.
<b>          
</b><b>                              JEREMY
</b>                    That's okay. I trust you.
<b>          
</b><b>                              SAM
</b>                    Thanks anyway.
<b>          
</b><b>                              JEREMY
</b>                    You're sure you don't want to check
                    out the lab?
<b>          
</b><b>                              SAM
</b>                    Sorry... I've gotta find Corey.
<b>          
</b>          Sam turns to leave.
<b>          
</b><b>                              JEREMY
</b>                    Maybe some other time.
<b>          
</b><b>          
</b><b>          I/E. RANDY'S CAR - AFTERNOON
</b><b>          
</b>          Corey rides shotgun in Randy's car, chewing on some greasy
          FAST FOOD, looking quite content. Randy is behind the wheel
          with a BEER in his hand, and Mike, Jeff and Ruth are packed
          into the back, passing around a JOINT.
<b>          
</b><b>                              MIKE
</b>                    How many cheeseburgers did we get?
<b>          
</b><b>                              RUTH
</b>                    Like eight.
<b>          
</b>          Mike passes the joint up to Corey and she takes a big hit,
          chases it with some beer...
<b>          
</b><b>                              JEFF
</b>                    Wait, did we get smokes?
<b>          
</b>          Everyone in the car is stunned into momentary silence when
          they turn a corner and see what's left of the church.
<b>          
</b><b>                      MIKE                            RANDY
</b>          Whoa!                           Jesus Christ...
<b>          
</b><b>                                                                    31.
</b><b>          
</b><b>          
</b><b>          POV FROM THE CAR - THE CHURCH RUINS
</b><b>          
</b>          POLICE and FIREMEN swarm. Father Homeijer stands with Officer
          O'Dell, gazing at the soggy ruins. The only things standing
          amid the charred mess are the THREE BARE CROSSES of Mount
          Calvary. But they aren't completely intact --
<b>          
</b><b>          
</b><b>          EXT. CHURCH RUINS - CONTINUOUS - ANGLE ON - DEFORMED CROSSES
</b><b>          
</b>          All three are bent drastically forward, sagging down toward
          the murky ground...
<b>          
</b><b>                              OFFICER O'DELL (O.S.)
</b>                    Musta' melted from the heat.
<b>          
</b>          Father Homeijer looks down at the metamorphosis, beside
          himself with bitterness and sorrow.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    They're made of silver-plated
                    steel. A simple fire couldn't do
                    that.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    What are you sayin'?
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    This is an extension of Satan's own
                    hand... I've seen it coming.
<b>          
</b>          Rolling his eyes, O'Dell walks away, leaving the priest to
          grieve for his church in private.
<b>          
</b><b>          
</b><b>          EXT. JUNKYARD, STORAGE SHACK - AFTERNOON
</b><b>          
</b>          Vietnam Tom continues to toil over his SCULPTURE, but
          progress has been made...
<b>          
</b>          It has begun to take on a recognizable form: a GROTESQUE
          COUNTENANCE with TWO LONG EARS, BULGING EYES and a devilish,
<b>          TOOTHY GRIN...
</b><b>          
</b><b>          
</b><b>          EXT. RANDY'S CAR/STREET IN FRONT OF DEPARTMENT STORE -
</b><b>          AFTERNOON
</b><b>          
</b>          Sam is walking in front of a DEPARTMENT STORE when Randy's
          car pulls up beside her. Corey sticks her head out the
          passenger side window.
<b>          
</b><b>                              COREY
</b>                    What happened to you?
<b>          
</b><b>                                                                   32.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    What happened to me...? Where the
                    hell've you been?
<b>          
</b><b>                              COREY
</b>                    I crashed at Randy's. We just got
                    food. Want a burger?
<b>          
</b><b>                              SAM
</b>                    My stomach's fucked up.
<b>          
</b><b>                      JEFF                             MIKE
</b>          Awww...                         Poor tummy...
<b>          
</b>          Jeff and Mike taunt her from the back. Ruth leers.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    We gotta talk about what we're
                    gonna do.
<b>          
</b><b>                              COREY
</b>                    Don't worry about it so much.
<b>          
</b><b>                              SAM
</b>                    The motel guy came to the room this
                    morning all pissed off. We're
                    probably not even gonna have enough
                    money to pay for the car.
<b>          
</b>          Corey sighs, debating weather or not to get out. Before she
          can reach a decision, something in the department store's
          parking lot catches her eye: a LITTLE BOY with dark hair,
          wearing a BIRTHDAY HAT...
<b>          
</b>          But she blinks and he's gone, having disappeared between two
          parked vehicles.
<b>          
</b>          Confused, Corey rubs her eyes and gets out of the car.
<b>          
</b><b>                              RANDY
</b>                    Should I wait a minute?
<b>          
</b><b>                              JEFF
</b>                    We gotta get some smokes...
<b>          
</b><b>                              COREY
</b>                    Just go ahead. I'll catch up with
                    you later on.
<b>          
</b><b>                              RANDY
</b>                    Alright. Later.
<b>          
</b>          Corey gets out and shuts the door. Randy speeds off toward an
          intersection about 20 yards ahead...
<b>          
</b><b>                                                                     33.
</b><b>          
</b><b>          
</b><b>          INT. DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Chris is at work, stocking shelves inside the department
          store...
<b>          
</b>          He checks his watch, stops what he's doing and grabs a PACK
          OF CIGARETTES from his breast pocket -- time for a smoke
          break.
<b>          
</b><b>          
</b><b>          EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Sam and Corey meander toward the intersection where Randy's
          car is stopped at a red light.
<b>          
</b><b>                              SAM
</b>                    We just gotta figure out what we're
                    gonna do. I don't think-
<b>          
</b><b>                              COREY
</b><b>                        (ABRUPT)
</b>                    Lemme guess, you wanna go home.
<b>          
</b><b>                              SAM
</b>                    What?
<b>          
</b><b>                              COREY
</b>                    You wanna run back to mommy and
                    daddy and say sorry so they can put
                    you through college. Well that's
                    real big of you, Sam, but I don't
                    have that option.
<b>          
</b><b>                              SAM
</b>                        (taken aback)
                    What are you talking about?
<b>          
</b><b>                              COREY
</b>                    I'll go home and get the shit
                    kicked out of me, and get my ass
                    grabbed by my mom's boyfriend...
<b>          
</b>          They're almost to the light, which is still red, and coming
          up on Randy's car. Jeff, Mike and Ruth stare out at them from
          the backseat, smelling the drama.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    I knew you'd bail on me eventually,
                    but not this quick.
<b>          
</b><b>                              SAM
</b>                    I'm not bailing on you. Would you
<b>                    JUST-
</b><b>          
</b><b>                                                                     34.
</b><b>          
</b><b>          
</b><b>                               COREY
</b>                     You can fucking sleepwalk back to
                     Middlesex for all I care. I'm not
                     driving you... you're a fucking
                     drag.
<b>          
</b>          The light turns green, and Randy's car peels across the
          intersection, making a left...
<b>          
</b><b>                               SAM
</b>                     Fuck you, Corey.
<b>          
</b>          Sam wheels on her and steps out into the street, storming
          straight across. Corey starts to follow... but something
          stops her in her tracks: BILLY MOORCROFT.
<b>          
</b>          He stands on the opposite side of the intersection, in the
          trajectory that Sam is walking -- but Sam doesn't see him.
<b>          
</b>          Billy wears a BIRTHDAY HAT, SLACKS and COLLARED SHIRT. He
          looks pale and weak, and is covered with BRUISES. He stares
          right back at Corey, as transfixed as she is... TIME SLOWS
          DOWN. [Note: Sam's position is in the middle of the road.
          Randy's car has made the left but is still in the vicinity of
          the intersection.]
<b>          
</b>          Bewildered, Corey tries to step out into the street but
          something blocks her -- an invisible FORCE FIELD makes
          forward progress impossible.
<b>          
</b>          RIPPLES swell like waves throughout the barrier where she hit
          it. She looks up, following the ripples with her eyes, and
          watches as they disappear beyond her realm of vision, into
          infinite space.
<b>          
</b>          She reaches forth with her hand, wanting to feel the barrier
          once again... Just as she touches it... REAL TIME RESUMES --
<b>          
</b><b>          KA-BOOM!
</b><b>          
</b><b>          FROM OUT OF NOWHERE AN OLD JALOPY SAILS RIGHT IN FRONT
</b>          RANDY'S CAR! He jerks the wheel -- and the JALOPY hits on the
          front passenger side -- completely smashing it in --
<b>          
</b>          Sam spins when she HEARS the deafening CRUNCH...
<b>          
</b>          Randy careens into the opposite lane, and an ONCOMING CAR
          smacks him dead on. The inertia from the oncoming vehicle
          plows his car into a FIRE HYDRANT by the side of the road.
<b>          
</b>          The hydrant goes flying through the air like a bullet --
<b>          
</b><b>          -- AND STRIKES SAM RIGHT IN THE HEAD!
</b><b>          
</b><b>                                                                     35.
</b><b>          
</b><b>          
</b>          The world goes SILENT.
<b>          
</b><b>          CHRIS RUNS TOWARD THE DESTRUCTION, DROPPING HIS CIGARETTE...
</b><b>          
</b><b>          WATER ERUPTS LIKE A GEYSER FROM THE PIPE WHERE THE HYDRANT
</b><b>          USED TO BE...
</b><b>          
</b><b>          SAM'S BODY IS CRUMPLED IN THE STREET, MOTIONLESS...
</b><b>          
</b><b>          BILLY MOORCROFT IS GONE. THE FORCE FIELD IS GONE. COREY
</b><b>          STANDS FROZEN, HORRIFIED... IN UTTER SHOCK.
</b><b>          
</b><b>          
</b><b>          INT. POLICE STATION - AFTERNOON
</b><b>          
</b>          Corey signs her STATEMENT on Officer O'Dell's desk, the
          expression of shock still glued to her face. O'Dell sits
          facing her.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    You're sure you didn't see a
                    driver?
<b>          
</b><b>                              COREY
</b>                    No...
<b>          
</b>          He takes the statement from her.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    Well, you're one lucky girl to have
                    gotten outta the car when you did.
                    Front passenger side was wiped
                    right out. Coulda' been two dead
                    girls today instead of one.
<b>          
</b>          Corey nods, taking this in.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    I talked to Randy and sent him home
                    a little while ago. He's pretty
                    shook up.
<b>          
</b>          Corey doesn't respond. O'Dell leans in to speak to her in
          confidence.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Both of us know he'd been doin'
                    some drinkin' today. But we also
                    know he's not at fault here. That
                    old beater cut right in front him.
<b>          
</b><b>                              COREY
</b>                    Can't you just look up the license
                    plates?
<b>          
</b><b>                                                                  36.
</b><b>          
</b><b>          
</b><b>                              OFFICER O'DELL
</b>                    No plates on the vehicle. We're
                    investigating the VIN, but that
                    could take a little more time,
                    depending on the history of
                    ownership. We'll find him.
<b>          
</b>          Corey seems somewhat hesitant to bring up the next subject:
<b>          
</b><b>                              COREY
</b>                    What about the missing boy?
<b>          
</b>          O'Dell shifts in his chair.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    You really think it was him, huh?
<b>          
</b><b>                              COREY
</b>                    He was on the side of the road
                    right before the accident.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    I'm no psychiatrist, but I do know
                    sometimes shock does funny
                    things...
<b>          
</b><b>                              COREY
</b>                    You think I was hallucinating?
<b>          
</b><b>                              OFFICER O'DELL
</b>                    We were on the scene five minutes
                    after the accident. I think
                    somebody woulda noticed a little
                    boy wandering around.
<b>          
</b>          He sees how troubled Corey is.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Why don't you stop in and see Dr.
                    Peters on your way out... right
                    down the hall there. She'll give
                    you somethin' to make you feel
                    better.
<b>          
</b>          Corey nods and gets up to leave. As she's on her way out,
          O'Dell's voice stops her.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Oh, uh... is there anything you
                    wanted to say to Samantha's
                    parents?
<b>          
</b>          Corey's expression is blank.
<b>          
</b><b>                                                                  37.
</b><b>          
</b><b>          
</b><b>                                 COREY
</b>                    Like what?
<b>          
</b><b>          
</b><b>          EXT. POLICE STATION, BACK PARKING LOT - AFTERNOON
</b><b>          
</b>          Corey walks out of the police station and finds herself in a
          secluded back parking lot. She holds a PRESCRIPTION for anti-
          depressants.
<b>          
</b>          She is frightened when she notices a PAIR OF EYES staring at
          her from the bushes close by -- it's Vietnam Tom. He's
          wearing his ski mask and he's got his rifle.
<b>          
</b>          Corey backs away as Tom slowly creeps toward her... She's
          about to scream for help when Chris Holt comes out of the
          police station behind her.
<b>          
</b><b>                              CHRIS
</b>                    Get the hell outta here.
<b>          
</b>          Grateful for his presence, Corey moves to stand behind Chris.
          Tom shuffles away.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    Should know better than to be
                    carrying his rifle around town like
                    that...
<b>          
</b>          Corey takes a breath, recovering from her scare.
<b>          
</b><b>                                 CHRIS (CONT'D)
</b>                    You okay?
<b>          
</b><b>                              COREY
</b>                    What're you doing here?
<b>          
</b><b>                              CHRIS
</b>                    I had to put in a statement too.
                    Can I give you a lift?
<b>          
</b><b>          
</b><b>          I/E. CHRIS' TRUCK/MOTEL - EVENING
</b><b>          
</b>          Chris and Corey pull up to the motel in his pick-up. They've
          gotten Corey's prescription filled, and she has the BOTTLE OF
          PILLS in her hand.
<b>          
</b><b>                              CHRIS
</b>                    I'm real sorry about Sam.
<b>          
</b>          Corey nods.
<b>          
</b><b>                                                                  38.
</b><b>          
</b><b>          
</b><b>                              CHRIS (CONT'D)
</b>                    It's such a waste. Just a horrible,
                    freak thing.
<b>          
</b><b>                              COREY
</b>                    I said some pretty shitty things to
                    her right before it happened.
<b>          
</b><b>                              CHRIS
</b>                    I'm sure she knew you didn't mean
                    it.
<b>          
</b>          Corey gets out of the car and walks toward the motel room.
<b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - EVENING
</b><b>          
</b>          Corey swallows two of her PILLS with some liquor from a
          plastic cup. She sits down on one of the full-size beds where
          Sam's belongings are spread out.
<b>          
</b>          She opens Sam's backpack and discovers THE PHILOSOPHY OF TIME
          TRAVEL book, by Roberta Sparrow...
<b>          
</b>          As Corey studies the cover, her image is reflected by the
          CLOSET DOOR MIRRORS. The angle of the mirrors creates double
          image reflections for other objects in the room. Strangely,
          Corey's reflection is only present in one of the panes.
<b>          
</b>          The digital CLOCK/RADIO shows 6:30 PM...
<b>          
</b>          There are PICTURES of Sam's family tucked away inside the
          book, between the pages: Sam with her mother and father, ROSE
          and EDDIE DARKO; YOUNG SAM with ELIZABETH and DONNIE; an old
          photo of the whole Darko family together -- Young Sam holds
          ARIEL, a STUFFED TOY UNICORN.
<b>          
</b>          Corey removes the pictures and sets them on the nightstand...
          She then looks down and notices that the book is open to:
<b>          CHAPTER THREE - THE FRAGMENTARY UNIVERSE.
</b><b>          
</b><b>                              COREY
</b>                    Fragmentary Universe...
<b>          
</b>          She pours over the text, some of which reads: When the fabric
          of the fourth dimension within a Tangent Universe becomes
          corrupted, a highly unstable and volatile Fragmentary
          Universe can occur, sustaining itself for no longer than
          several days... FADE TO BLACK.
<b>          
</b><b>                                                                    39.
</b><b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - LATER - NIGHT
</b><b>          
</b>          Corey awakens to the sound of a little boy CRYING. She sits
          up in bed. The clock/radio reads 3:30 AM. The CRYING is faint
          but steady and sorrowful, and sounds as though it's coming
          from outside...
<b>          
</b><b>          
</b><b>          EXT. MOTEL - NIGHT
</b><b>          
</b>          Corey follows the distinctive CRYING toward the VENDING
          MACHINES on the side of the building...
<b>          
</b>          ...until Billy Moorcroft emerges from behind them. Corey
          freezes a few feet away from the boy, who wears the BIRTHDAY
          HAT, SLACKS and COLLARED SHIRT. He is pale and bruised.
<b>          
</b>          Corey sees that he is not crying -- it's coming from
          elsewhere in the cosmos, far away. The WAILS taper off to a
          faint, DISTORTED WHISPER as Billy speaks:
<b>          
</b><b>                              BILLY MOORCROFT
</b>                    You need to save me, Corey.
<b>          
</b>          Corey stares at him in disbelief.
<b>          
</b><b>                              BILLY MOORCROFT (CONT'D)
</b>                    You need to save me... and save the
                    world.
<b>          
</b><b>                              COREY
</b>                    Why can't anyone see you?
<b>          
</b><b>                              BILLY MOORCROFT
</b>                    If you tell them about me they'll
                    think you're a dummy.
<b>          
</b><b>                               COREY
</b>                    Why me?
<b>          
</b><b>                              BILLY MOORCROFT
</b>                    I didn't pick you. Just like you
                    didn't pick me either.
<b>          
</b>          Corey stands before him in awe, transfixed.
<b>          
</b><b>                              BILLY MOORCROFT (CONT'D)
</b>                    We shouldn't even be here. Nobody
                    should...
<b>          
</b>          Corey takes notice of the vending machines behind him. Where
          the prices should be, NUMBERS flash in a rhythm that seems to
          coincide with the ululations of the distant CRYING: 2...
          10... 16... 44... -end-... 2... 10... 16... 44... -end-...
<b>          
</b><b>                                                                     40.
</b><b>          
</b><b>          
</b><b>                              BILLY MOORCROFT (CONT'D)
</b>                    You don't have much time.
<b>          
</b>          Corey is about to respond when the sound of a DOOR OPENING
          stops her. The FLASHING NUMBERS on the vending machines go
          back to normal PRICES, the CRYING SOUND CEASES, and Billy
          disappears.
<b>          
</b><b>                              PHIL (O.S.)
</b>                    What's goin' on out here?
<b>          
</b>          Corey looks over and sees Phil dressed in nightclothes,
          having come out of a room near the lobby. She's dumbstruck.
<b>          
</b><b>                              COREY
</b>                    Nothing... I-I don't know.
<b>          
</b><b>                              PHIL
</b>                    Go back to your room and get some
                    sleep. You've had a tough day.
<b>          
</b>          Phil goes back inside, leaving her alone.
<b>          
</b><b>          
</b><b>          INT. DEPARTMENT STORE - DAY
</b><b>          
</b>          Corey wanders through the aisles of the department store,
          looking peaked and jittery. She comes upon Chris stocking
          some shelves near the back of the store.
<b>          
</b><b>                              CHRIS
</b>                    Hey... how ya feelin'?
<b>          
</b><b>                              COREY
</b>                    Not so good.
<b>          
</b><b>                              CHRIS
</b>                    Is there anything I can do?
<b>          
</b><b>                              COREY
</b>                    I need some cigarettes... and maybe
                    some food. But I don't really have
                    any money right now.
<b>          
</b><b>                               CHRIS
</b>                    I'm off at 3:30. Meet me out behind
                    the store.
<b>          
</b><b>          
</b><b>          EXT. BEHIND THE DEPARTMENT STORE - LATER - AFTERNOON
</b><b>          
</b>          Corey waits on the cement steps by the loading dock. She
          shoots up when Chris comes out the back entrance with a
<b>          PLASTIC BAG...
</b><b>          
</b><b>                                                                  41.
</b><b>          
</b><b>          
</b>          Corey takes it from him and looks inside: CANDY BARS, a BAG
          OF CHIPS, some PEANUTS, a pack of CIGARETTES.
<b>          
</b><b>                              COREY
</b>                    Thanks.
<b>          
</b>          She tears open the cigarettes and lights one. Chris lights up
          one of his own, and notices Corey's hands are shaking.
<b>          
</b><b>                              CHRIS
</b>                    Shouldn't you go back home?
<b>          
</b><b>                              COREY
</b>                    There's nothing for me to go home
                    to. Trust me.
<b>          
</b><b>                              CHRIS
</b>                    What about Sam's funeral?
<b>          
</b>          Corey looks conflicted, but she takes a harsh stance:
<b>          
</b><b>                              COREY
</b>                    What's the point? She's gone,
                    that's it. Nothing's gonna change
                    that...
<b>          
</b>          Chris lets it go.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    Is there a library around here?
<b>          
</b><b>                              CHRIS
</b><b>                        (PUZZLED)
</b>                    Yeah... you need a book?
<b>          
</b><b>                              COREY
</b>                    Is it walking distance?
<b>          
</b><b>                              CHRIS
</b>                    I can take you.
<b>          
</b><b>                              COREY
</b>                    I think I'd rather walk.
<b>          
</b><b>          
</b><b>          EXT. STREET - AFTERNOON
</b><b>          
</b>          Corey and Chris stroll together along a quiet street.
<b>          
</b><b>                              CHRIS
</b>                    So you guys were real close, huh.
<b>          
</b><b>                                                                  42.
</b><b>          
</b><b>          
</b><b>                              COREY
</b>                    When I moved to Virginia Sam was
                    like the only person I could even
                    stand to talk to.
<b>          
</b><b>                              CHRIS
</b>                    How long had you been plannin' your
                    trip together?
<b>          
</b><b>                              COREY
</b>                    Not too long... kind of a last
                    minute thing. It was good timing,
                    `cause I don't like to stay in one
                    place for too long, ya know?
<b>          
</b><b>                              CHRIS
</b>                    Huh...
<b>          
</b><b>                              COREY
</b>                    I was really surprised when Sam
                    wanted to come, actually. I just
                    kinda brought it up one day, and
                    she was down...
<b>          
</b>          Corey reflects for a beat.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    If it wasn't for me, she'd still be
                    alive right now.
<b>          
</b><b>                              CHRIS
</b>                    You can't think like that.
<b>          
</b><b>                              COREY
</b>                    It's true, isn't it?
<b>          
</b>          Chris doesn't respond.
<b>          
</b><b>          
</b><b>          INT. LIBRARY, MICROFICHE RESEARCH BOOTH - AFTERNOON
</b><b>          
</b>          Corey and Chris sit before a screen in a cramped, dim booth
          near the back of the library. They stare at a MICROFILM
          ARTICLE from 1988 about DONNIE DARKO'S DEATH.
<b>          
</b><b>                              CHRIS
</b>                    That was Sam's brother?
<b>          
</b><b>                              COREY
</b>                    Yeah.
<b>          
</b>          On the screen is a PHOTOGRAPH of the DARKO HOUSE with many
          PEOPLE gathered in front of it. A JET ENGINE is being lifted
          away by a CRANE.
<b>          
</b><b>                                                                  43.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    Her parents must be going through
                    hell.
<b>          
</b><b>                              COREY
</b>                    Sam said once she wished it landed
                    on her room instead of Donnie's.
<b>          
</b>          Chris thinks on this.
<b>          
</b><b>                              CHRIS
</b>                    I saw something on Sam's wrist the
                    other night... it looked like a
                    scar.
<b>          
</b><b>                              COREY
</b>                    She told me it was from some
                    accident. Put her hand through a
                    window or something.
<b>          
</b><b>                              CHRIS
</b>                    Did you believe her?
<b>          
</b>          Corey doesn't answer. She pulls up ANOTHER ARTICLE, one that
          chronicles a MAN who was IMPALED BY A METAL PIPE with no
          known origin...
<b>          
</b>          A THIRD ARTICLE is about a LITTLE GIRL who was DECAPITATED BY
          A MANHOLE COVER that was inexplicably flying through the
          air...
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    God...
<b>          
</b>          Chris is horrified. Corey is totally engrossed.
<b>          
</b>          She brings up a FINAL ARTICLE that tells the story of a BOY
          who was CRUSHED BY A DUMPSTER that fell from the sky. A
          PICTURE shows his legs sticking out from under it like the
          Wicked Witch of the East when Dorothy's house fell on her in
          Munchkinland.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    I don't understand why we're
                    lookin' at this stuff.
<b>          
</b><b>                              COREY
</b>                    They still never found a driver to
                    that car that hit Randy... I was
                    standing right there. I didn't see
                    anyone.
<b>          
</b><b>                                                                  44.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    I was pretty close too, but
                    everything was all crazy. Whoever
                    it was must've jumped out and took
                    off.
<b>          
</b><b>                              COREY
</b>                    I found this book in Sam's backpack
                    last night. There's a chapter where
                    it talks about stuff like this
                    happening. Like a guy being killed
                    by an arrow that nobody shot, and a
                    swordsmith getting killed by a
                    sword he hadn't made yet.
                    Unexplainable things, but it says
                    there's a reason why they happen.
<b>          
</b><b>                              CHRIS
</b>                    A book...? I don't get what your
                    talkin' about. What was the reason?
<b>          
</b><b>                              COREY
</b>                    It didn't say.
<b>          
</b>          Corey thinks, trying to figure out the right way to express
          something...
<b>          
</b><b>                              COREY (CONT'D)
</b>                    Last night, and right before the
                    accident, I saw...
<b>          
</b><b>                               CHRIS
</b>                    What?
<b>          
</b><b>                               COREY
</b>                    Nothing.
<b>          
</b>          Corey sighs and turns back to the screen.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    You already think I'm a freak show.
<b>          
</b><b>          
</b><b>          INT. LIBRARY, FRONT DESK - AFTERNOON
</b><b>          
</b>          As Chris and Corey are on the way out, they notice Jeremy
          Frame at the counter checking out a STACK OF BOOKS.
<b>          
</b>          In putting them down, he accidentally drops half of them onto
          the floor. He looks frazzled as he begins to pick them up,
          and he scratches compulsively at his LEFT FOREARM...
<b>          
</b><b>                                                                  45.
</b><b>          
</b><b>          
</b><b>          I/E. DUSTY'S GARAGE/HOUSE - AFTERNOON
</b><b>          
</b>          Chris and Corey pull up to Dusty's auto repair shop in Chris'
          truck.
<b>          
</b>          They get out and start to walk up to the garage, but they're
          cut off by the unchained PIT BULL -- it's growling and
          barking in a frenzy --
<b>          
</b><b>                                RUTH (O.S.)
</b>                    Darielle!
<b>          
</b>          The dog heels at the sound of the voice, and Ruth bolts out
          of the house and takes her by the collar. She's got a bandage
          over a cut on her forehead.
<b>          
</b><b>                              RUTH (CONT'D)
</b>                    Come to check on your car?
<b>          
</b><b>                                COREY
</b>                    Yeah...
<b>          
</b>          Hearts still thumping in their chests, they follow Ruth into
          the garage... COREY'S CHEVROLET is parked in the same spot it
          was when she left it the other day. The hood is propped open.
<b>          
</b><b>                              RUTH
</b>                    Randy's been a wreck since the
                    accident.
<b>          
</b><b>                              CHRIS
</b>                    He should be. He was driving around
                    shit-faced and somebody got killed.
<b>          
</b><b>                              RUTH
</b>                    You can just fuck off...
<b>          
</b>          She gets right up in his face with such intensity that Chris
          retreats a step or two.
<b>          
</b><b>                              RUTH (CONT'D)
</b>                    Prima donna motherfucker think your
                    shit don't stink?
<b>          
</b>          Corey steps in:
<b>          
</b><b>                              COREY
</b>                    She's right...
<b>          
</b>          Chris gives her a look.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    I mean, there's nothing Randy
                    could've done.
<b>          
</b><b>                                                                  46.
</b><b>          
</b><b>          
</b>          Ruth turns and goes into the house through a GARAGE ENTRANCE.
<b>          
</b><b>                              RUTH
</b>                    I'll get my dad.
<b>          
</b>          The door slams shut behind her, and Corey and Chris glance at
          each other...
<b>          
</b>          Momentarily, Dusty comes out, a partially eaten SANDWICH in
          hand.
<b>          
</b><b>                              DUSTY
</b>                    Got some bad news for you...
<b>          
</b>          He walks them over to the car, finishing off his sandwich and
          wiping his hands on his greasy jeans.
<b>          
</b><b>                              DUSTY (CONT'D)
</b>                    Your engine seized up when your
                    water pump blew.
<b>          
</b><b>                              COREY
</b>                    I need a new engine now?
<b>          
</b><b>                              DUSTY
</b>                    I can get one in there for you.
                    Cost you about fifteen hundred.
<b>          
</b>          Corey's face drops.
<b>          
</b><b>                              COREY
</b>                    I don't have anywhere near that
                    much money.
<b>          
</b><b>                              CHRIS
</b>                    That's probably as much as the
                    car's worth.
<b>          
</b><b>                              DUSTY
</b>                    I understand. But, I already
                    ordered the water pump, and I'll
                    have to get paid for my time. That
                    comes to about three-hundred total.
<b>          
</b><b>                              COREY
</b>                    I don't have that much either.
<b>          
</b>          Dusty is perturbed.
<b>          
</b><b>                              DUSTY
</b>                    You think I do this for charity?
<b>          
</b><b>                                                                   47.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    You didn't do anything. What's she
                    want a water pump for if she
                    doesn't have an engine?
<b>          
</b><b>                              DUSTY
</b>                    I see how it is... couple a' punks.
                    You don't plan to pay what you owe,
                    you can get the hell off my
                    property right now.
<b>          
</b>          Corey glares at him, furious, but Chris takes her by the arm.
<b>          
</b><b>                              COREY
</b>                        (under her breath)
                    Asshole.
<b>          
</b><b>                              CHRIS
</b>                    Let's go...
<b>          
</b><b>          
</b><b>          I/E. CHRIS' TRUCK/MOTEL - AFTERNOON
</b><b>          
</b>          Chris' truck pulls up in front of the motel and parks. At the
          same time, Father Homeijer and Trudy come out of the FRONT
          OFFICE carrying a COLLECTIONS JAR.
<b>          
</b>          As they approach the truck Chris slowly rolls down the
          window.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    Good afternoon.
<b>          
</b><b>                              TRUDY
</b>                    We're taking collections to help
                    rebuild Mount Calvary after the
                    tragic fire.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    Any small amount you could manage
                    would really help.
<b>          
</b><b>                              CHRIS
</b>                    Sorry.
<b>          
</b>          Father Homeijer and Trudy look over to Corey in the passenger
          seat but she just stares back at them.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    God bless you.
<b>          
</b>          They turn and walk away, and Chris rolls his window back up.
<b>          
</b><b>                                                                    48.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    Everybody wants somethin'...
<b>          
</b><b>                              COREY
</b>                    What about you?
<b>          
</b><b>                              CHRIS
</b>                    What do you mean?
<b>          
</b><b>                              COREY
</b>                    You wouldn't give me stuff and
                    drive me around if you didn't want
                    something in return.
<b>          
</b><b>                               CHRIS
</b>                    Why not?
<b>          
</b><b>                              COREY
</b>                    `Cause that's just not how it
                    works.
<b>          
</b><b>                              CHRIS
</b>                    Maybe you're wrong about that.
<b>          
</b>          Corey nods, but still doesn't believe him.
<b>          
</b><b>                               COREY
</b>                    See ya.
<b>          
</b>          She gets out, and Chris eyes her as she walks to her room.
<b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - NIGHT
</b><b>          
</b>          Corey lays on her stomach in bed, her head buried in The
          Philosophy of Time Travel book. The TELEVISION is on in the
          b.g. (out of focus), playing a repeat of the FOREMAN GRILL
<b>          INFOMERCIAL...
</b><b>          
</b>          Suddenly, there is a slight TREMOR from outside and RIPPLE
          runs over the TV screen.
<b>          
</b>          Corey looks around, taking no notice of the odd change on the
          television -- instead of GEORGE FOREMAN'S VOICE, HULK HOGAN
          is HEARD promoting the brand new HULKSTER GRILL...
<b>          
</b>          Just then, there is a KNOCK at the door. She gets up to
          answer it and finds Randy -- he looks distraught.
<b>          
</b><b>                              RANDY
</b>                    Do you hate me?
<b>          
</b><b>                               COREY
</b>                    Huh?
<b>          
</b><b>                                                                     49.
</b><b>          
</b><b>          
</b><b>                              RANDY
</b>                    You think it's my fault she's dead.
<b>          
</b><b>                              COREY
</b>                    No...
<b>          
</b><b>                              RANDY
</b>                    You mean it?
<b>          
</b><b>                              COREY
</b>                    Yeah... it wasn't your fault.
<b>          
</b>          Randy sighs as if a big weight has been lifted.
<b>          
</b><b>                              RANDY
</b>                    What's that?
<b>          
</b>          Corey looks down and realizes that she's still holding The
          Philosophy of Time Travel book in her hand.
<b>          
</b><b>                              COREY
</b>                    Oh, it's just... something of
                    Sam's.
<b>          
</b>          Randy nods. Corey tosses the book onto the bed.
<b>          
</b><b>                              RANDY
</b>                    You wanna get outta here for a
                    while? I got my dad's car.
<b>          
</b><b>          
</b><b>          I/E. RANDY'S DAD'S CAR/LOOKOUT - NIGHT
</b><b>          
</b>          RANDY'S DAD'S CAR navigates a DIRT ROAD up a WOODED HILL to a
          VANTAGE POINT where the whole of El Reno can be seen. SPARSE
          LIGHTS flicker over about 80 square miles of civilization.
<b>          
</b>          There are a few OTHER VEHICLES parked at the lookout, most
          containing COUPLES with MUSIC playing low.
<b>          
</b>          Randy pulls into a more SECLUDED CLEARING, away from the
          other cars but still with a nice view.
<b>          
</b><b>                              RANDY
</b>                    I've been comin' up here since I
                    was a kid. Good place when you
                    wanna just get away from
                    everything.
<b>          
</b>          Randy pushes in a TAPE (suggestion: River of Deceit, by Mad
          Season), then takes a JOINT from his pocket and sparks it up.
<b>          
</b><b>                              COREY
</b>                    Is Ruth your girlfriend?
<b>          
</b><b>                                                             50.
</b><b>          
</b><b>          
</b>          Randy passes the joint to Corey and she hits it.
<b>          
</b><b>                              RANDY
</b>                    Naw, we're just friends. She's
                    pretty weird sometimes. Too like...
                    intense, or something.
<b>          
</b><b>                              COREY
</b>                    Seems like you guys are pretty
                    close.
<b>          
</b><b>                              RANDY
</b>                    Yeah... don't worry about Ruth.
<b>          
</b>          Randy takes another hit and holds it in.
<b>          
</b><b>                              COREY
</b>                    Do you ever have a hard time
                    telling what's real and what's not
                    real?
<b>          
</b>          Randy exhales and looks over at her, perplexed.
<b>          
</b><b>                              RANDY
</b>                    Sometimes... sometimes something
                    can feel really real, but it's just
                    your mind playing tricks on you.
<b>          
</b><b>                              COREY
</b>                    I've got so much shit in my head
                    right now... I've never felt so
                    outta control. I think I'm really
                    goin' psycho.
<b>          
</b>          He passes her the joint.
<b>          
</b><b>                              RANDY
</b>                    I got some acid from my buddy one
                    time... this like flying eagle
                    pyramid shit. I took two hits, and
                    man... next thing I knew I was on
                    the floor, curled up in ball, and
                    Mike and Jeff were just standing
                    there lookin' down at me. I could
                    see this like glowing grid cutting
                    through my brain, and I knew when
                    it got all the way through I'd be
                    this sketched out vegetable. I
                    could picture my dad staring down
                    at me in the hospital in my
                    straightjacket, crying and shit...
<b>          
</b>          Corey blows out a hit, captivated...
<b>          
</b><b>                                                                   51.
</b><b>          
</b><b>          
</b><b>                              RANDY (CONT'D)
</b>                    The whole time my esophagus was
                    like twisting and turning in my
                    throat and cutting off my air
                    supply... it was terrible.
<b>          
</b><b>                              COREY
</b>                    Jesus.
<b>          
</b><b>                              RANDY
</b>                    I can still slip back into it
                    sometimes, but I know now that my
                    brain is what's making it real...
                    and that's like a blessing and a
                    curse, man, `cause that means you
                    have to decide what's real and
                    what's not.
<b>          
</b><b>                              COREY
</b>                    The things that feel the most real
                    right now are... impossible. More
                    like a dream.
<b>          
</b>          Corey passes him the joint and he stamps out the roach in the
          car's ashtray.
<b>          
</b><b>                              RANDY
</b>                    I know what you mean. The scariest
                    part is thinking you're not the
                    same person anymore. Something's
                    changed... like your identity.
<b>          
</b><b>                              COREY
</b>                    What if the change is for the
                    better?
<b>          
</b>          Randy finds an INHALER in his pocket and takes a puff.
<b>          
</b><b>                              RANDY
</b>                    That's fucked up.
<b>          
</b><b>                              COREY
</b>                    I don't think I even care if I'm
                    crazy.
<b>          
</b>          Corey turns and looks into his eyes. Randy leans forward...
          They're about to kiss, when --
<b>          
</b><b>                              COREY (CONT'D)
</b>                    What the fuck?
<b>          
</b>          A DARK SHAPE scurries to an enclosed area at the edge of the
          forest where there's a TARP, some WATER BOTTLES, CANS OF FOOD
          and a RIFLE...
<b>          
</b><b>                                                                    52.
</b><b>          
</b><b>          
</b>          It's Vietnam Tom, and he's brought some supplies to his NEW
<b>          SQUATTING GROUND.
</b><b>          
</b><b>                              COREY (CONT'D)
</b>                    That fucking guy again...
<b>          
</b>          Randy and Corey both laugh, relieving the tension. But Tom's
          proximity has spoiled the mood.
<b>          
</b><b>                              RANDY
</b>                    Let's get outta here.
<b>          
</b><b>          
</b><b>          INT. RANDY'S HOUSE, LIVING ROOM - NIGHT
</b><b>          
</b>          Mike, Jeff and Ruth sit on a ratty couch in Randy's living
          room, watching BEAVIS AND BUTT-HEAD on MTV. Some EMPTY BEER
          CANS and a HOMEADE BONG litter a coffee table. When the FRONT
          DOOR OPENS and Corey and Randy enter, none of them budge.
<b>          
</b>          As Corey and Randy walk to Randy's bedroom, Ruth follows them
          with her eyes...
<b>          
</b><b>          
</b><b>          INT. RANDY'S HOUSE, BEDROOM - CONTINUOUS
</b><b>          
</b>          Randy shuts the door to his messy room. A TAPESTRY hangs from
          the ceiling. Corey is drawn to a DESK next to the bed. Above
          it is a DEATH SHRINE to KURT COBAIN -- MAGAZINE CUTOUTS,
          POSTERS and TICKET STUBS arranged decoratively.
<b>          
</b>          A large BLACK & WHITE POSTER showing a CLOSE   UP of COBAIN'S
          FACE is the centerpiece, and a sloppy BULLET   HOLE drawn in
          RED MARKER marks the center of his forehead.   The words `I'M
          NOT AFRAID OF DYING' are scrawled across the   bottom of the
          poster in the same BRIGHT RED.
<b>          
</b><b>                              COREY
</b>                    This is cool.
<b>          
</b><b>                              RANDY
</b>                    Thanks.
<b>          
</b>          Randy puts his hands on her hips, running them up her torso.
          Corey turns to face him...
<b>          
</b>          They kiss...
<b>          
</b>          ...and fall back onto the bed...
<b>          
</b><b>                                                                     53.
</b><b>          
</b><b>          
</b><b>          INT. RANDY'S HOUSE, BEDROOM - LATER - NIGHT
</b><b>          
</b>          A DIGITAL CLOCK on Randy's DESK shows 3:30 AM. There's a
          SLIGHT TREMOR and the numbers shift, changing briefly to
          01:10:23:08, then back again to 3:30.
<b>          
</b>          Corey wakes suddenly from a nightmare. She sits up and looks
          around, remembering where she is. She discovers Randy asleep
          by her side. She finds a pile of clothes on the floor beside
          the bed and grabs her shirt...
<b>          
</b>          ...after she pulls it on over her head, she freezes --
          because Billy Moorcroft is standing right there in his
          BIRTHDAY HAT, staring at her.
<b>          
</b><b>                              BILLY MOORCROFT
</b>                    Only one day left.
<b>          
</b>          Corey turns and looks down to Randy. He's still fast asleep.
<b>          
</b><b>                              COREY
</b>                    What am I supposed to do?
<b>          
</b>          As soon as she utters her question she notices a silvery,
          liquid VECTOR SPEAR protruding from the center of her chest.
<b>          
</b>          Billy is now gone, but her SPEAR beckons her out of the room,
          elongating to illustrate her path. Corey is in awe...
<b>          
</b><b>          
</b><b>          INT. RANDY'S HOUSE, LIVING ROOM - NIGHT
</b><b>          
</b>          Her SPEAR leads her through the living room, and past the
          sleeping bodies of Mike, Jeff and Ruth. Following her path
          leads her to step on RUTH'S FOOT as she goes by...
<b>          
</b>          Corey doesn't even notice, but one of Ruth's eyes pop open as
          she treads out the door...
<b>          
</b><b>          
</b><b>          EXT. STREET - NIGHT
</b><b>          
</b>          Corey follows Billy, who walks in the middle of the road
          about 15 yards ahead of her. The residential street is
          guarded by great, OLD TREES on either side.
<b>          
</b>          The dark sky above starts to BEND and WARP, and a BUCKLE in
          space-time materializes.
<b>          
</b>          There's a simultaneous flash of LIGHTING and sharp CRACK OF
          THUNDER, and Corey looks up to the VORTEX -- a massive,
          swirling MAELSTROM gapes open like a tunnel to the inter-
          dimensional realm of darkest night.
<b>          
</b><b>                                                                     54.
</b><b>          
</b><b>          
</b>          The VOID brightens, and ominous STORM CLOUDS and TORRENTIAL
          RAINS are visible within...
<b>          
</b>          Corey peers up into the MOUTH of it and sees DUSTY'S HOUSE
          AND AUTO REPAIR SHOP being doused and beaten by the STORM --
<b>          
</b><b>          
</b><b>          INT. DUSTY'S GARAGE - NIGHT
</b><b>          
</b>          In contrast to the street, all is nearly SILENT in Dusty's
          garage. Corey watches as Billy moves along the perimeter
          WITHOUT SOUND, ghostly... JUMP CUTS and TIME CUTS.
<b>          
</b>          Her CHEVROLET sits in the bay. Some of the PARTS have already
          been harvested -- the CATALYTIC CONVERTER sits next to it on
          the floor.
<b>          
</b>          Corey approaches a UTILITY SINK next to a SHOWER in the
          corner...
<b>          
</b><b>                              BILLY MOORCROFT
</b>                    You can do it.
<b>          
</b><b>                                 COREY
</b>                    How?
<b>          
</b><b>                                 BILLY MOORCROFT
</b>                    It's easy.
<b>          
</b>          Corey focuses on the sink, and it begins to tremble. The
          pipes beneath it CREAK and MOAN. WATER starts to bubble up
          from the sink drain, also in the shower...
<b>          
</b>          Billy stands atop her car, watching her. His perpetually
          morose expression transforms into a smile.
<b>          
</b>          The SINK BASIN suddenly cracks from pressure. As Corey stares
          into the drain... WE PLUNGE DOWN INTO THE PIPE --
<b>          
</b><b>          
</b><b>          POV OF TELEKINETIC ENERGY - INSIDE THE PIPE
</b><b>          
</b>          We travel through meters and meters of DANK PIPING until we
          hit the WATER MAIN. There's a sound like a TIDAL WAVE
<b>          CRASHING --
</b><b>          
</b><b>          
</b><b>          EXT. STREET/DUSTY'S GARAGE/HOUSE - LATER - DAWN
</b><b>          
</b>          -- WATER POURS out from under the garage door down to the
          street. PULL BACK TO REVEAL --
<b>          
</b><b>                                                                   55.
</b><b>          
</b><b>          
</b>          The entire driveway and the street in front of the house are
          covered with water. FIRE TRUCKS, POLICE CARS and an AMBULANCE
          are gathered in front of the property.
<b>          
</b><b>          
</b><b>          ANGLE: DOWN THE STREET
</b><b>          
</b>          Ruth runs toward her house. When she turns a corner and it
          comes into view, she stops dead in her tracks. Her face shows
          sheer terror --
<b>          
</b>          Because her father Dusty is handcuffed and being loaded into
          the back of a cruiser by Officer O'Dell and another
          policeman, OFFICER HINES...
<b>          
</b>          ...the PIT BULL struggles against it's CHAIN, growling and
          barking frantically.
<b>          
</b>          ...and Billy Moorcroft, half-naked, soaking wet and
          shivering, is wrapped in a blanket and being tended to by
<b>          PARAMEDICS.
</b><b>          
</b><b>                              FIREMAN #2
</b>                    Lucky I heard him screamin', else
                    he woulda drowned down there.
<b>          
</b>          Ruth keeps to the shadows and slinks toward a BACK DOOR...
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, FOOT OF THE STAIRS - DAWN
</b><b>          
</b>          She sloshes through four inches of water and skips up the
          stairs...
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, RUTH'S BEDROOM - DAWN
</b><b>          
</b>          Without turning on the lights, Ruth desperately rifles
          through her closet until she finds a SHOEBOX.
<b>          
</b>          Inside it are several PLASTIC BAGS -- some filled with
          MARIJUANA, others with COCAINE...
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, UPSTAIRS BATHROOM - DAWN
</b><b>          
</b>          Hands shaking, Ruth dumps a bag of coke into the toilet and
          flushes it. The WHITE POWDER disappears down the swirling
<b>          SPIRAL OF CLOUDY LIQUID...
</b><b>          
</b>          But the bowl doesn't refill.
<b>          
</b><b>                              RUTH
</b>                    Shit!
<b>          
</b><b>                                                                    56.
</b><b>          
</b><b>          
</b>          She begins to stuff the other bags down her pants...
<b>          
</b><b>          
</b><b>          EXT. DUSTY'S GARAGE/HOUSE - DAWN
</b><b>          
</b>          Having deposited Dusty in the back of the cruiser and shut
          the door, O'Dell's attention turns to an upstairs window of
          the house when he sees MOVEMENT.
<b>          
</b><b>          
</b><b>          INT. RANDY'S HOUSE, BEDROOM - MORNING
</b><b>          
</b>          Randy rolls over in bed, opening his eyes to the new day. He
          looks around for Corey, disappointed to find her gone.
<b>          
</b><b>          
</b><b>          INT. DEPARTMENT STORE - DAY
</b><b>          
</b>          Corey walks down an aisle of the department store. She finds
          Chris assisting a CUSTOMER.
<b>          
</b><b>                              CUSTOMER
</b>                    I just checked aisle three.
<b>          
</b><b>                              CHRIS
</b>                    They're there. At the front, by the
                    Trapper Keepers.
<b>          
</b>          The Customer moves off and Chris turns to find Corey standing
          beside him.
<b>          
</b><b>                              COREY
</b>                    I'm outta cigarettes.
<b>          
</b><b>          
</b><b>          EXT. BEHIND THE DEPARTMENT STORE - DAY
</b><b>          
</b>          Corey waits behind the store until Chris comes out. She
          eagerly accepts TWO PACKS.
<b>          
</b><b>                              CHRIS
</b>                    D'ya hear the news?
<b>          
</b><b>                              COREY
</b>                    What?
<b>          
</b><b>                              CHRIS
</b>                    They found that Billy Moorcroft
                    kid. He was at Dusty's house...
<b>          
</b>          Corey is floored.
<b>          
</b><b>                                                                   57.
</b><b>          
</b><b>          
</b><b>                              CHRIS (CONT'D)
</b>                    Sick bastard had him locked up in
                    the basement. I can't believe we
                    were just over there yesterday.
<b>          
</b>          Corey can't help it... A grin spreads across her face.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    I guess he's gonna be okay-
<b>          
</b><b>                              COREY
</b>                    Everything's gonna be okay.
<b>          
</b>          Corey cuts him off, and Chris looks at her strangely.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    I'm not crazy. I think everything's
                    gonna be okay.
<b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - NIGHT
</b><b>          
</b>          Corey lays on her stomach in bed, studying The Philosophy of
          Time Travel. The book is open to: CHAPTER SIX - THE LIVING
          RECEIVER... The Living Receiver is chosen to guide the
          Artifact into position for its journey back to the Primary
          Universe. No one knows how or why a Receiver will be
          chosen...
<b>          
</b>          She flips through the onion skin pages to: CHAPTER TEN - THE
          MANIPULATED DEAD... The Manipulated Dead are more powerful
          than the Living Receiver. If a person dies within the Tangent
          Dimension, they are able to contact the Living Receiver
          through the Fourth Dimensional Construct...
<b>          
</b>          Corey glances over at the CLOSET MIRROR and sees Billy's
          image reflected. She flips over and finds him standing at the
          foot of the bed, clad in the same garb as all her visions.
<b>          
</b><b>                              COREY
</b>                    I already saved you.
<b>          
</b><b>                              BILLY MOORCROFT
</b>                    It's not over.
<b>          
</b>          He points to the CLOSET MIRROR... She stares into her own
          reflection as BILLY'S DISAPPEARS.
<b>          
</b>          HER IMAGE starts to FADE as well, and then the SURFACE OF THE
          MIRROR TRANSFORMS into a three-dimensional vision of a PARK.
          The focus is a SWING SET... and one of the SWINGS in
          particular, which rocks slowly back and forth. Empty. Void of
          life.
<b>          
</b><b>                                                                     58.
</b><b>          
</b><b>          
</b><b>                                 COREY
</b><b>                           (CONFUSED)
</b>                    Why?
<b>          
</b><b>          
</b><b>          INT. BILLY MOORCROFT'S HOUSE, DINING ROOM/DEN - DAY
</b><b>          
</b>          Inside Billy Moorcroft's quaint, sanitary-looking home is a
          small gathering to celebrate his return. STREAMERS hang over
          a table supporting a partially eaten CAKE. A BANNER that
          reads `WELCOME HOME BILLY!' is draped across the archway
          connecting the DINING ROOM to the DEN.
<b>          
</b>          BILLY'S MOTHER (32), with her fair complexion and dark hair,
          is an older female version of Billy himself.
<b>          
</b>          As she brings a POT OF COFFEE and a STACK OF CUPS into
          BILLY'S FATHER (35), BILLY'S AUNT and UNCLE, and a CHILD
          PSYCHOLOGIST who is moderating (50s; male) in the den, she
          looks as though she's barely keeping it together.
<b>          
</b><b>                              CHILD PSYCHOLOGIST
</b>                        (between bites of cake)
                    The place for Billy to be right now
                    is at home with his family...
<b>          
</b>          Billy's Mother interrupts as she sets the coffee down.
<b>          
</b><b>                                 BILLY'S MOTHER
</b>                    Excuse me.
<b>          
</b><b>                              CHILD PSYCHOLOGIST
</b>                    Oh, thank you.
<b>          
</b>          The Psychologist accepts a cup.
<b>          
</b><b>                              CHILD PSYCHOLOGIST (CONT'D)
</b>                    It'll take years for him to work
                    through what happened, but the best
                    way to open those doors is to
                    surround him with things that are
                    familiar...
<b>          
</b>          Billy's Mother passes her husband a cup, and they hold a
          long, painful moment of eye contact.
<b>          
</b><b>          
</b><b>          INT. BILLY MOORCROFT'S HOUSE, BREAKFAST NOOK - MOMENTS LATER -
</b><b>          DAY
</b><b>          
</b>          Billy sits at a table in the sunny, HEXAGONAL ROOM. He wears
          the BIRTHDAY HAT, SLACKS and COLLARED SHIRT.
<b>          
</b><b>                                                                     59.
</b><b>          
</b><b>          
</b>          He appears clean and groomed, but his face and neck are
          marred by BRUISES and other ABRASIONS. Before him is a packet
          of COLORED PENCILS and some sheets of PAPER.
<b>          
</b>          His Mother walks up behind him, and peeks over his shoulder
          at the DRAWING that he's working on.
<b>          
</b><b>                               BILLY'S MOTHER
</b>                    Are you sure you don't want some
                    more cake?
<b>          
</b>          Billy nods. His mother caresses his head as she watches him
          color. After a moment she sits down in a chair beside him and
          tries to get his attention.
<b>          
</b><b>                              BILLY'S MOTHER (CONT'D)
</b>                    Billy... I-
<b>          
</b>          Before she can go on, she's interrupted by the DOORBELL.
          Billy never looks up.
<b>          
</b><b>          
</b><b>          I/E. BILLY MOORCROFT'S HOUSE, FRONT DOOR - DAY
</b><b>          
</b>          Billy's Father answers the door and finds Corey.
<b>          
</b><b>                              BILLY'S FATHER
</b>                    Only family and close friends are
                    welcome here today.
<b>          
</b>          Billy's Mother hovers behind her husband, curious about and
          wary of the stranger.
<b>          
</b><b>                              COREY
</b>                    I understand... I just wanted to
                    say that I'm sorry about everything
                    that happened to Billy. And I know
                    it doesn't seem like it, but
                    everything happens for a reason...
                    and it'll all work out in the end.
<b>          
</b>          Billy's Father stares her down until she turns to leave
          uncomfortably. Billy's Mother starts to cry... CUT BACK TO:
<b>          
</b><b>          
</b><b>          INT. BILLY MOORCROFT'S HOUSE, BREAKFAST NOOK - DAY
</b><b>          
</b>          ...the breakfast nook. Billy is gone.
<b>          
</b>          Left on the table is his completed DRAWING. It's a neatly
          executed rendition of a SWING SET -- identical to the one
          from Corey's vision in the closet door mirror.
<b>          
</b><b>                                                                     60.
</b><b>          
</b><b>          
</b><b>          EXT. PARK - DAY
</b><b>          
</b>          Billy walks through the empty park, still wearing his
          birthday hat. He makes his way past a SAND PIT with a JUNGLE
<b>          GYM.
</b><b>          
</b>          Balanced on one of the jungle gym's bars is a PRESCRIPTION
<b>          BOTTLE...
</b><b>          
</b>          Billy picks it up. The name on the prescription is COREY
<b>          RICHARDSON. JUMP CUT TO:
</b><b>          
</b>          The SWING SET. Billy leans back as far as he can as momentum
          propels his body forward and back through space. He looks up
          to the sky where SUPERNATURAL BLACK CLOUDS are forming...
<b>          
</b>          He swings back and forth... back and forth...
<b>          
</b><b>          
</b><b>          ANGLE: PARK BENCH
</b><b>          
</b>          Corey sits nearby on a park bench, watching Billy. He looks
          back at her, showing no signs of recognition... JUMP CUT TO:
<b>          
</b>          The SWING. No longer a little boy sitting in it. It dangles
          erratically from the ropes, still gripped by inertia...
<b>          
</b>          PAN DOWN to the sandy ground below -- FIND the bottle of
          pills, now empty. Billy's unmoving, OPEN HAND...
<b>          
</b><b>          
</b><b>          EXT. OKLAHOMA HIGHWAY 40/EL RENO EXIT - AFTERNOON
</b><b>          
</b>          A TRACTOR-TRAILER TRUCK gets off the highway and heads into
          El Reno. It's load is a batch of beat up, OLD CARS.
<b>          
</b>          The JALOPY is on the TOP RACK, CLOSEST TO THE END...
<b>          
</b><b>          
</b><b>          EXT. MOTEL ROOM 15 - AFTERNOON
</b><b>          
</b>          Randy peeks in the window of Corey's motel room but sees
          nothing. He pounds on the door and calls for her:
<b>          
</b><b>                               RANDY
</b>                    Corey...
<b>          
</b><b>          
</b><b>          EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Corey arrives near the intersection where the accident took
          place. The BLACK CLOUDS overhead have become more vast and
          oppressive. A cold WIND blows...
<b>          
</b><b>                                                                     61.
</b><b>          
</b><b>          
</b>          The TRACTOR-TRAILER TRUCK breaches the crest of a hill and
          comes into view, descending on the intersection.
<b>          
</b>          Above it the CLOUDS begin to transform and take the shape of
          an ASTRONOMICAL WORMHOLE that reaches down toward the
          earth...
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Chris comes outside and gazes up at the foreboding sky...
<b>          
</b><b>          
</b><b>          EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          As the TRACTOR-TRAILER TRUCK approaches the intersection,
          Corey fixates on the JALOPY on the back...
<b>          
</b><b>          
</b><b>          CLOSE ANGLE: JALOPY
</b><b>          
</b>          The CHAINS that hold the junker in place SHAKE and RATTLE...
<b>          
</b><b>          
</b><b>          EXT. THE ETHER - AFTERNOON - POV INSIDE PORTAL
</b><b>          
</b>          We plunge through the PORTAL as it twists through the
          ether...
<b>          
</b><b>          
</b><b>          EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          The WORMHOLE extends down to the JALOPY. Gracefully. Like an
          eel moving through water, confidently pursuing it's prey...
          mouth widening to swallow...
<b>          
</b>          Corey is riveted.
<b>          
</b>          As it passes through the intersection, the TRACTOR-TRAILER
          hits a POTHOLE -- CUT TO:
<b>          
</b><b>          
</b><b>          KEY SCENES IN REVERSE
</b><b>          
</b><b>          PILLS COME OUT OF BILLY'S MOUTH AND INTO HIS HAND --
</b><b>          
</b><b>          HIS DRAWING OF THE SWING SET STARTS TO DECONSTRUCT --
</b><b>          
</b><b>          RUTH'S COCAINE FLIES OUT OF THE SWIRLING TOILET WATER --
</b><b>          
</b><b>          DUSTY STEPS BACKWARDS OUT OF THE POLICE CRUISER --
</b><b>          
</b><b>          RUTH'S EYE CLOSES BEFORE COREY'S FOOT STEPS OFF OF HERS --
</b><b>          
</b><b>                                                                   62.
</b><b>          
</b><b>          
</b><b>          COREY STEPS AWAY FROM THE KURT COBAIN POSTER WITH `I'M NOT
</b><b>          AFRAID OF DYING' SCRAWLED ON IT --
</b><b>          
</b><b>          MICROFILM PAGES FLIP BACKWARDS --
</b><b>          
</b><b>          PICTURES OF THE DARKO FAMILY ARE PUT BACK INTO THE PHILOSOPHY
</b><b>          OF TIME TRAVEL BOOK -- TRANSITION TO:
</b><b>          
</b><b>          
</b><b>          EXT. RANDY'S CAR/STREET IN FRONT OF DEPARTMENT STORE -
</b><b>          AFTERNOON
</b><b>          
</b>          Sam is walking in front of the department store when Randy's
          car pulls up beside her. Corey sticks her head out the
          passenger side window.
<b>          
</b><b>                              COREY
</b>                    What happened to you?
<b>          
</b><b>                              SAM
</b>                    What happened to me...? Where the
                    hell've you been?
<b>          
</b><b>                              COREY
</b>                    I crashed at Randy's. We just got
                    food. Want a burger?
<b>          
</b><b>                              SAM
</b>                    My stomach's fucked up.
<b>          
</b><b>                      JEFF                               MIKE
</b>          Awww...                           Poor tummy...
<b>          
</b>          Jeff and Mike taunt her from the back. Ruth leers.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    We gotta talk about what we're
                    gonna do.
<b>          
</b><b>                              COREY
</b>                    Don't worry about it so much.
<b>          
</b><b>                              SAM
</b>                    The motel guy came to the room this
<b>                    MORNING-
</b><b>          
</b><b>                              COREY
</b><b>                        (INTERRUPTING)
</b>                    I don't give a fuck.
<b>          
</b><b>                                 SAM
</b>                    Excuse me?
<b>          
</b><b>                                                                     63.
</b><b>          
</b><b>          
</b><b>                              COREY
</b>                    I said, I. Don't. Give. A. Fuck...
<b>          
</b>          She annunciates every word like a true bitch.
<b>          
</b><b>                              COREY (CONT'D)
</b>                    I'm tired of listening to you whine
                    about everything.
<b>          
</b>          Giggles from the peanut gallery in the car.
<b>          
</b><b>                              SAM
</b>                    Corey, you're still drunk. Don't be
                    a fuck-ass.
<b>          
</b><b>                              JEFF
</b>                    Did she just call her a fuck-ass?
<b>          
</b><b>                              MIKE
</b>                    What's a fuck-ass?
<b>          
</b>          Everyone cracks up, including Corey. Sam is humiliated. She
          backs away from the car, anger burning in her eyes. Randy
          revs the engine, expressing his will to take off.
<b>          
</b><b>                              COREY
</b>                    See ya later, Sam.
<b>          
</b>          Sam says nothing, but watches as Randy's car peels off toward
          the intersection. She's confused and hurt, frozen to the spot
          where she's standing.
<b>          
</b>          As Corey stares back at Sam from the car, her smile fades...
<b>          
</b><b>          
</b><b>          INT. RANDY'S CAR - CONTINUOUS
</b><b>          
</b>          Corey turns to face the approaching intersection. Resolute.
<b>          
</b><b>          
</b><b>          INT. DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Chris is at work, stocking shelves inside the department
          store...
<b>          
</b>          He checks his watch, stops what he's doing and grabs a PACK
          OF CIGARETTES from his breast pocket -- time for a smoke
          break.
<b>          
</b><b>                                                                  64.
</b><b>          
</b><b>          
</b><b>          EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Randy's car is stopped at the red light. Sam strolls toward
          it ever so slowly. Jeff, Mike and Ruth gawk at her from the
          backseat.
<b>          
</b>          She slows down even more, having no interest in subjecting
          herself to any more of their mockery...
<b>          
</b>          The light turns green, and Randy's car peels across the
          intersection, making a left. Sam's still 10 or 15 feet away
          from stepping into the street...
<b>          
</b>          She quickens her pace, almost there when --
<b>          
</b><b>          KA-BOOM!
</b><b>          
</b><b>          FROM OUT OF NOWHERE AN OLD JALOPY SAILS RIGHT IN FRONT
</b>          RANDY'S CAR! He jerks the wheel -- and the jalopy hits on the
          front passenger side -- completely smashing it in --
<b>          
</b>          Sam spins when she HEARS the deafening CRUNCH...
<b>          
</b>          Randy careens into the opposite lane, and an ONCOMING CAR
          smacks him dead on. The inertia from the oncoming vehicle
          plows his car into a FIRE HYDRANT by the side of the road.
<b>          
</b>          The hydrant goes flying through the air like a bullet and
          skitters harmlessly across the intersection --
<b>          
</b>          The world goes SILENT.
<b>          
</b><b>          CHRIS RUNS TOWARD THE DESTRUCTION, DROPPING HIS CIGARETTE...
</b><b>          
</b><b>          WATER ERUPTS LIKE A GEYSER FROM THE PIPE WHERE THE HYDRANT
</b><b>          USED TO BE...
</b><b>          
</b><b>          THE JALOPY IS FLIPPED OVER ONTO ITS SIDE...
</b><b>          
</b><b>          SAM STANDS PEERING AT THE WRECKAGE... THE AREA OF THE CAR
</b><b>          WHERE COREY WAS SITTING IS VIRTUALLY NONEXISTENT. SHE DROPS
</b><b>          TO HER KNEES.
</b><b>          
</b><b>          
</b><b>          INT. POLICE STATION - AFTERNOON
</b><b>          
</b>          Sam signs her STATEMENT on Officer O'Dell's desk, her eyes
          red and puffy from crying. O'Dell sits facing her.
<b>          
</b><b>                               OFFICER O'DELL
</b>                     I just gotta ask you one more
                     time... you're sure you didn't see
                     a driver?
<b>          
</b><b>                                                                    65.
</b><b>          
</b><b>          
</b>          Sam shakes her head no, and he takes the statement from her.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Well, we'll find him, one way or
                    another.
<b>          
</b>          Sam nods in acknowledgement. O'Dell sees how much this has
          traumatized her.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Why don't you stop in and see Dr.
                    Peters on your way out... right
                    down the hall there. She'll give
                    you somethin' to make you feel
                    better.
<b>          
</b><b>          
</b><b>          EXT. POLICE STATION, BACK PARKING LOT - AFTERNOON
</b><b>          
</b>          Sam walks out of the police station and finds herself in the
          secluded back parking lot. She holds a PRESCRIPTION for anti-
          depressants...
<b>          
</b>          A pair of eyes peek out of the bushes close by -- it's
          Vietnam Tom. He's wearing his ski mask and he's got his
          rifle. He sees Sam, but she doesn't see him.
<b>          
</b>          Sam wells up with emotion, about to breakdown, and Tom
          watches her with empathy. It looks as though he's about to go
          to her when something stops him -- Chris comes out the door.
<b>          
</b><b>                                CHRIS
</b>                    You okay?
<b>          
</b>          Sam is still too choked up to speak. Tom sneaks away
          unnoticed...
<b>          
</b><b>          
</b><b>          INT. CHRIS' TRUCK - AFTERNOON
</b><b>          
</b>          Sam sits in the passenger side of Chris' truck and cries and
          cries. Major emotional release.
<b>          
</b>          Chris looks like he wants to say something, but doesn't have
          the words.
<b>          
</b><b>          
</b><b>          I/E. CHRIS' TRUCK/MOTEL - EVENING
</b><b>          
</b>          Chris and Sam pull up to the motel in his pick-up. They've
          gone to get her prescription filled, and Sam has the BOTTLE
          OF PILLS in her hand.
<b>          
</b><b>                                                                  66.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    I'm really sorry, Sam.
<b>          
</b>          She doesn't respond.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    It's horrible... but sometimes
                    these things can happen for a
                    reason. Sometimes good can come of
                    it... growth, ya know?
<b>          
</b><b>                              SAM
</b>                    What the fuck are you talking
                    about?
<b>          
</b>          Sam's benumbed expression doesn't change, but her tone is
          caustic.
<b>          
</b><b>                              CHRIS
</b>                    All I meant was, sometimes-
<b>          
</b><b>                              SAM
</b>                    I know what you meant, and it's
                    bullshit. When someone dies for no
                    reason you can't just make one up
                    to fill the void and make yourself
                    feel better. It sucks, and it fucks
                    everything up, but it doesn't mean
                    shit beyond that.
<b>          
</b><b>                              CHRIS
</b>                    I'm sorry, I-
<b>          
</b><b>                              SAM
</b>                    You've obviously never lost anybody
                    like I have, `cause if you did
                    you'd already know that.
<b>          
</b>          Chris doesn't try anymore. Sam immediately feels bad.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Thanks for the ride.
<b>          
</b>          She gets out of the car and slogs toward her room.
<b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - EVENING
</b><b>          
</b>          Sam swallows her PILLS with some water, and sits down on one
          of the full-size beds by her BACKPACK...
<b>          
</b>          She reaches inside and pulls out THE PHILOSOPHY OF TIME
          TRAVEL book, by Roberta Sparrow. As she studies the cover,
          her image is reflected by the CLOSET DOOR MIRRORS.
<b>          
</b><b>                                                                  67.
</b><b>          
</b><b>          
</b>          The angle of the mirrors creates double image reflections for
          other objects in the room... and Sam's reflection is present
          in both of the panes.
<b>          
</b>          The digital CLOCK/RADIO shows 6:30 PM...
<b>          
</b>          She looks at the PICTURES OF HER FAMILY tucked away inside
          the book: Sam with her mother and father; Sam as a child with
          her sister and brother; an old photo of the whole Darko
          family together...
<b>          
</b>          Tears come to her eyes as she focuses on an image of Donnie,
          and she puts them all down. She touches the SCAR on the inner
          part of her right wrist...
<b>          
</b>          She then glances down and notices that the book is open to:
<b>          CHAPTER NINE - REMNANTS.
</b><b>          
</b><b>                              SAM
</b>                    Remnants...
<b>          
</b>          A portion of the text includes: Like Dreams that the
          Manipulated can have after journeys into Tangent or
          Fragmentary Universes, sounds and images may be transferred
          from one Tangent or Fragmentary Universe to another, as all
          corruptions exist on relative cosmic planes...
<b>          
</b><b>          
</b><b>          EXT. JUNKYARD - NIGHT
</b><b>          
</b>          Sam wanders through the junkyard clad in her HOODED
          SWEATSHIRT and JEANS, with the MAKESHIFT BANDAGE wrapped
          around her right hand. The SHARD OF METAL protrudes from the
          GASH by her temple.
<b>          
</b><b>          
</b><b>          SAM'S LUMINOUS POV - THE JUNKYARD
</b><b>          
</b>          She sees the junkyard as the phosphorescent DESTINY PLANE.
          DEAD CARS, MACHINERY and piles of SCRAP METAL glow as
          stationary objects within the complex grid. A PAIR OF RATS
          follow their VECTOR SPEARS as they shimmy up the side of a
<b>          RUSTY TRACTOR...
</b><b>          
</b>          Sam treads effortlessly through the darkness, past the heaps
          of junk toward the decrepit STORAGE SHACK marked by the
<b>          CORRUGATED ROOFING...
</b><b>          
</b><b>          
</b><b>          ANGLE: STORAGE SHACK
</b><b>          
</b>          She stands before the shack, having discovered Vietnam Tom.
          He squats in the darkened corner of the scrappy shelter, and
          looks back at her through the eyeholes of a new mask --
<b>          
</b><b>                                                                    68.
</b><b>          
</b><b>          
</b>          He wears on his face the SCULPTURE made of SCRAP METAL, which
          has been formed into the COUNTENANCE OF THE MONSTER BUNNY.
<b>          
</b><b>                              SAM
</b>                    Hi, Tom. I like your new mask.
<b>          
</b>          Tom trembles like the frightened animal he personifies as Sam
          runs her fingers down one of the LONG, METALLIC EARS, down to
          one of the SHARPENED INCISORS of the EVIL-LOOKING GRIN...
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Are you scared?
<b>          
</b>          As this contact is made the tarnished metal becomes
          transparent, and the NEURONS in TOM'S BRAIN can be seen
          sending ELECTRIC IMPULSES, in turn RELEASING
          NEUROTRANSMITTERS and exciting OTHER NEURONS...
<b>          
</b><b>                              SAM (CONT'D)
</b>                    I know you can hear me...
<b>          
</b>          A PORTAL forms around the shelter like a giant cylinder,
          enclosing them. Tom rises, afraid... Sam takes his hand...
<b>          
</b>          The PORTAL shrinks and squeezes the walls until they bend
          inward, then begin to CREAK and RUMBLE --
<b>          
</b><b>          
</b><b>          EXT. BENEATH OVERPASS - THE NEXT MORNING
</b><b>          
</b>          Sam awakens to a fierce RUMBLING overhead.
<b>          
</b>          It happens again, and when she looks around she realizes that
          she's underneath a highway overpass in BOXER SHORTS and a T-
          SHIRT, barefoot, lying on a FLAT AREA atop the CEMENT SLOPE
          that leads down to the road below.
<b>          
</b>          Alarmed by both the height and sanitation of her current
          position, she shifts her body and starts to slide down the
<b>          SLOPE...
</b><b>          
</b>          Once on even ground, she notices a brand new `95 BMW coming
          toward her.
<b>          
</b><b>                                 SAM
</b>                    Perfect...
<b>          
</b>          Jeremy pulls up next to her and rolls down his window.
<b>          
</b><b>                              JEREMY
</b>                    Sam? Are you okay? What are doing?
<b>          
</b><b>                              SAM
</b>                    I'm... yeah, I'm okay.
<b>          
</b><b>                                                                    69.
</b><b>          
</b><b>          
</b>          Jeremy gets out of the car and puts his hand on her shoulder.
<b>          
</b><b>                              JEREMY
</b>                    You shouldn't be out here like
                    this. C'mon, get in.
<b>          
</b>          She allows herself to be led to the passenger side...
<b>          
</b><b>          
</b><b>          INT. JEREMY'S BMW - MORNING
</b><b>          
</b>          Sam leans her head back against the headrest as Jeremy
          drives.
<b>          
</b><b>                              JEREMY
</b>                    You do that a lot?
<b>          
</b><b>                              SAM
</b>                    I think it's genetic or something.
<b>          
</b><b>                              JEREMY
</b>                    That's interesting... I've never
                    heard of a specific genetic marker
                    for sleepwalking.
<b>          
</b><b>                               SAM
</b>                    It's just that my brother used to
                    do it too.
<b>          
</b><b>                              JEREMY
</b>                    He doesn't anymore?
<b>          
</b><b>                              SAM
</b>                    No.
<b>          
</b><b>                              JEREMY
</b>                    I think it's more common in
                    children. When did your brother
                    stop?
<b>          
</b><b>                              SAM
</b>                    When he died.
<b>          
</b><b>          
</b><b>          EXT. FIELD BEHIND MOTEL - MORNING
</b><b>          
</b>          Some WORKERS are in the process of   rebuilding the WINDMILL. A
          MAN WITH A HOSE sprays the side of   the WATER TANK in an
          attempt to wash off the burn marks   resembling the nearly
          imperceptible image of the MONSTER   BUNNY'S FACE...
<b>          
</b><b>                                                                   70.
</b><b>          
</b><b>          
</b><b>          I/E. JEREMY'S BMW/MOTEL - MORNING
</b><b>          
</b>          Jeremy pulls into the motel parking lot. Sam hesitates for a
          moment before getting out.
<b>          
</b><b>                              JEREMY
</b>                    I heard about your friend...
<b>          
</b>          Sam doesn't say anything, so he goes on.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I wasn't gonna say anything... but
                    then I thought I probably should,
                    because if I didn't, it might be
                    inconsiderate.
<b>          
</b><b>                              SAM
</b>                    Well... okay. Thanks.
<b>          
</b>          A beat.
<b>          
</b><b>                              JEREMY
</b>                    So... what are you gonna do?
<b>          
</b><b>                              SAM
</b>                    I don't know yet.
<b>          
</b>          Sam brushes her mussed hair out of her face, still not
          wanting to go inside the motel room.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Do you believe that everything
                    happens for a reason?
<b>          
</b><b>                              JEREMY
</b>                    I know that for every action
                    there's an equal and opposite
                    reaction.
<b>          
</b><b>                              SAM
</b>                    Yeah... I learned that in science.
<b>          
</b><b>                              JEREMY
</b>                    And everything in the universe is
                    in constant motion, as the universe
                    is constantly expanding...
<b>          
</b><b>                              SAM
</b>                    Yeah, but do you believe that
                    everything happens for a reason,
                    like in life?
<b>          
</b><b>                              JEREMY
</b>                    You mean like destiny?
<b>          
</b><b>                                                                  71.
</b><b>          
</b><b>          
</b>          Jeremy thinks on this for a moment.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I think everyone has a purpose.
                    Something they're meant to do. Like
                    potential, but more clear-cut. For
                    instance, I was destined to get my
                    hands on the meteorite.
<b>          
</b><b>                                 SAM
</b>                    Really.
<b>          
</b><b>                               JEREMY
</b>                    I'm making amazing discoveries
                    every day, practically sleeping at
                    the lab...
<b>          
</b>          While he talks and becomes more excited he scratches
          nervously at his left forearm. It draws Sam's attention away
          from what he's saying.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I'm still doing some tests, but
                    there's a metallic substance that's
                    not showing up on the elemental
<b>                    CHARTS-
</b><b>          
</b><b>                              SAM
</b>                    What happened to your arm?
<b>          
</b>          Jeremy stops scratching. A small area on the inner part of
          his wrist is RAW and RED, partially SCABBED OVER.
<b>          
</b><b>                              JEREMY
</b>                    It's just a rash.
<b>          
</b>          Sam starts to get out of the car.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    Sam, wait. Here...
<b>          
</b>          He offers her a wad of cash. Sam hesitates.
<b>          
</b><b>                                 SAM
</b><b>                    BUT-
</b><b>          
</b><b>                              JEREMY
</b>                    I know you need it. It's no big
                    deal.
<b>          
</b>          She accepts the money.
<b>          
</b><b>                                 SAM
</b>                    Thank you.
<b>          
</b><b>                                                                    72.
</b><b>          
</b><b>          
</b><b>          INT. LAUNDROMAT - DAY
</b><b>          
</b>          Sam shoves a load of her wet clothes into an industrial
          DRYER. She plugs in some quarters, presses the button, and
          sits back in a chair in front of the machine.
<b>          
</b>          As she stares into the whirling cylinder, her eyes defocus
          and she goes into a daze... TRANSITION TO:
<b>          
</b><b>          
</b><b>          INT. BEDROOM - NIGHT - CLOSE UP - TOY UNICORN
</b><b>          
</b>          ARIEL, the STUFFED TOY UNICORN spins on a ROTATING CHAIR...
<b>          
</b><b>                              YOUNG SAMANTHA (V.O.)
</b>                    Donnie!
<b>          
</b><b>                              DONNIE DARKO (V.O.)
</b><b>                        (MOCKING)
</b>                    The Last Unicorn, by Samantha
                    Darko!
<b>          
</b><b>                              YOUNG SAMANTHA (V.O.)
</b>                    Give it back!
<b>          
</b><b>                              DONNIE DARKO (V.O.)
</b>                    There was once a unicorn named
                    Ariel...
<b>          
</b>          The SOUND of CRINKLING PAPER.
<b>          
</b><b>                              YOUNG SAMANTHA (V.O.)
</b>                    Donnie! You wrinkled it.
<b>          
</b><b>                              DONNIE DARKO (V.O.)
</b>                    It's not wrinkled Sam. Just, ya
                    know, flatten it in a book or
                    something...
<b>          
</b>          The chair is re-spun by an O.S. hand... and the UNICORN
          topples off onto the floor. BACK TO:
<b>          
</b><b>          
</b><b>          INT. LAUNDROMAT - DAY
</b><b>          
</b>          Sam snaps out of her vision when she hears Trudy and Father
          Homeijer going around, asking for change.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    Any small amount you could manage
                    would really help.
<b>          
</b>          They hover over a FAT MAN, holding out the COLLECTIONS JAR.
<b>          
</b><b>                                                                     73.
</b><b>          
</b><b>          
</b><b>                              FAT MAN
</b>                    Piss off...
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    God bless you.
<b>          
</b>          As they move down the line and approach Sam, she tenses up.
          Trudy is about to go into her spiel when she recognizes her.
<b>          
</b><b>                              TRUDY
</b>                    Oh... hello.
<b>          
</b>          She smiles at Sam politely, trying not to be too awkward. It
          doesn't work.
<b>          
</b>          Aware of Sam's financial situation, she gives Father Homeijer
          the hint to move on. He follows her lead.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                        (to Sam)
                    God bless you.
<b>          
</b>          Sam watches as they move on to the next person, suddenly
          filled with sadness...
<b>          
</b><b>          
</b><b>          EXT. PAYPHONE OUTSIDE BUILDING - AFTERNOON
</b><b>          
</b>          Sam stands outside at a payphone, listening to it RING...
          Someone on the other end finally picks up:
<b>          
</b><b>                                ROSE DARKO (V.O.)
</b>                    Hello?
<b>          
</b>          When Sam HEARS her MOTHER'S VOICE, it brings tears to her
          eyes. As if feeling her emotion over the phone line, Rose can
          be HEARD starting to WHIMPER.
<b>          
</b><b>                                ROSE DARKO (V.O.) (CONT'D)
</b>                    Samantha?
<b>          
</b><b>                              EDDIE DARKO (V.O.)
</b>                        (in the background)
                    Who is it, Rose?
<b>          
</b><b>                               ROSE DARKO (V.O.)
</b><b>                        (CRYING)
</b>                    Is that you?... if it's you, please
                    come home.
<b>          
</b><b>                                EDDIE DARKO (V.O.)
</b>                    Rose?
<b>          
</b>          Although it looks like she wants to, Sam doesn't speak.
<b>          
</b><b>                                                                  74.
</b><b>          
</b><b>          
</b><b>          EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - NIGHT
</b><b>          
</b>          Vietnam Tom sits at his new squatting ground, looking out
          over all of El Reno. He peers at the twinkling lights through
          his scrap metal BUNNY MASK, and cradles his RIFLE in his arms
          like a soldier at rest.
<b>          
</b>          He slowly turns and sees that Sam is sitting right next to
          him, facing the landscape. She wears her HOODED SWEATSHIRT,
          JEANS and the BANDAGE. The SHARD OF METAL is lodged in her
          forehead.
<b>          
</b><b>                              SAM
</b>                    You wanna know what happens when
                    you die?
<b>          
</b>          Tom shakes his head no.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    I wish it was me.
<b>          
</b>          She looks at Tom.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    I really want... to die.
<b>          
</b>          Tom aims his gun at her face...
<b>          
</b>          He realizes that a FORCE FIELD has formed in between them,
          because when the barrel of the gun touches it, the barrier
          bends and becomes slightly opaque.
<b>          
</b>          Sam is expressionless. Tom's finger trembles as he places it
          on the trigger.
<b>          
</b>          He aims down the gun's sights, directly at Sam's RIGHT EYE,
          and sees a PHOSPHORESCENT GRID take shape like a coordinate
          system on the force field. Sam's eye is in the CENTRAL
<b>          QUADRANT...
</b><b>          
</b>          Tom pulls the trigger. TIME SLOWS DOWN.
<b>          
</b>          A liquid VECTOR SPEAR shoots out of the gun barrel.
          Immediately after, a BULLET is discharged and follows it...
<b>          
</b>          The VECTOR SPEAR passes cleanly through the grid, but when
          the BULLET reaches it, the entire force field curves to
          accommodate the penetrating force...
<b>          
</b>          The spear juts out until it nearly touches Sam's eye... but
          then it stops. The bullet catches up and freezes at the same
          spot, centimeters from her face --
<b>          
</b><b>                                                                  75.
</b><b>          
</b><b>          
</b><b>                               SAM (CONT'D)
</b><b>                        (DISAPPOINTED)
</b>                    Not today.
<b>          
</b><b>          
</b><b>          I/E. MOTEL ROOM 15 - DAY
</b><b>          
</b>          A HAND bangs on the door to room 15...
<b>          
</b>          After a beat, Sam opens it. She's got some makeup on, and has
          spent more time on her hair than usual.
<b>          
</b><b>                                SAM
</b><b>                          (SURPRISED)
</b>                    Hi.
<b>          
</b>          Chris lingers in front of the door, looking slightly
          uncomfortable.
<b>          
</b><b>                              CHRIS
</b>                    I just stopped by to see how you
                    were holdin' up.
<b>          
</b><b>                                SAM
</b>                    I'm okay.
<b>          
</b><b>                              CHRIS
</b>                    Sorry about the other night... I
<b>                    DIDN'T-
</b><b>          
</b><b>                              SAM
</b>                    I was just upset. I shouldn't have
                    snapped at you like that.
<b>          
</b>          Chris nods, grateful for her forgiveness.
<b>          
</b><b>                              CHRIS
</b>                    So what are you still doin' here? I
                    figured you woulda hopped on a bus
                    by now.
<b>          
</b><b>                              SAM
</b>                    I'm gonna be taking off soon, I
                    think. I just gotta figure some
                    stuff out. It's quiet here.
<b>          
</b><b>                              CHRIS
</b>                    I don't know if you're doin'
                    anything later on, but...
<b>          
</b>          He trails off when he HEARS a CAR pull up and park by his
          truck. He turns and sees that it's Jeremy in his BMW.
<b>          
</b><b>                                                                  76.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    I was just on my way out. What were
                    you gonna say?
<b>          
</b><b>                                 CHRIS
</b>                    Nothin'.
<b>          
</b><b>                              SAM
</b>                    Okay, well... I'll see you later?
<b>          
</b><b>                              CHRIS
</b>                    Yeah, sure.
<b>          
</b>          He steps out of the way so Sam can shut and lock the door.
<b>          
</b><b>                                 SAM
</b>                    Bye.
<b>          
</b><b>                                 CHRIS
</b>                    Bye.
<b>          
</b>          Chris stares down Jeremy as Sam gets into his car and they
          drive off together.
<b>          
</b><b>          
</b><b>          INT. LAB - DAY
</b><b>          
</b>          Jeremy turns on the overhead florescent lights in the lab.
          There are ROWS OF DESKS with MICROSCOPES and some PRECISION
<b>          ROCK SLICING EQUIPMENT.
</b><b>          
</b>          As he walks to a desk near the back, he can barely contain
          his excitement. Sam follows, taking note of a LARGE RABBIT in
          an extremely SMALL CAGE...
<b>          
</b><b>                              JEREMY
</b>                    Here's my station.
<b>          
</b>          He unlocks a drawer in the lower portion of the desk and
          retrieves a BOX containing a tiny SLICE OF ROCK with a grid-
          like PATTERN OF METALLIC CRYSTALS embedded in it.
<b>          
</b><b>                                 SAM
</b>                    That's it?
<b>          
</b><b>                              JEREMY
</b>                    The rest is locked away somewhere
                    else... somewhere safe. Everyone's
                    gonna want a piece of this thing
                    pretty soon.
<b>          
</b>          He takes it over to an SCANNING ELECTRON MICROSCOPE and turns
          it on. He places the meteorite slice in the microscope's
          VACUUM COLUMN through an AIRTIGHT DOOR.
<b>          
</b><b>                                                                  77.
</b><b>          
</b><b>          
</b><b>                              JEREMY (CONT'D)
</b>                    You ever seen one of these?
<b>          
</b><b>                               SAM
</b>                    No.
<b>          
</b><b>                              JEREMY
</b>                    It's a scanning electron
                    microscope. It uses electrons
                    instead of light to scan the image.
<b>          
</b>          A BLACK & WHITE IMAGE appears on the microscope's MONITOR --
          it's a geometric collage of all shapes and shades.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    At first I thought it was a
                    siderite, but then I saw it was
                    more than that. Much more. It does
                    have a percentage of nickel and
                    iron in it as I first suspected.
                    But it also has something else.
<b>          
</b>          He waits for Sam to take the bait.
<b>          
</b><b>                              SAM
</b>                    And what's that?
<b>          
</b>          He points to cluster of BRIGHT WHITES on the monitor. Their
          shapes are strangely different than the others surrounding
          them.
<b>          
</b><b>                              JEREMY
</b>                    An unrecognizable element. I've
                    done all the tests. It doesn't
                    exist on the periodic table.
<b>          
</b>          Jeremy is practically beaming.
<b>          
</b><b>                              SAM
</b>                    So this is pretty major.
<b>          
</b><b>                              JEREMY
</b>                    This is history. I'm thinking of
                    calling it framium.
<b>          
</b><b>                               SAM
</b>                    Framium?
<b>          
</b><b>                              JEREMY
</b>                    For my last name... Frame.
<b>          
</b><b>                                                                    78.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    What if it's like... proof of some
                    alien life-form from another galaxy
                    or something.
<b>          
</b>          Jeremy's tone becomes serious, and he starts to scratch at
          his left forearm as he talks.
<b>          
</b><b>                              JEREMY
</b>                    It's very important you promise me
                    you won't tell anyone else what
                    I've showed you. I have to wait
                    till just the right moment. NASA,
                    or some secret government
                    organization could come in here and
                    take it away from me...
<b>          
</b>          As Jeremy gets more worked up, he scratches harder...
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    And then later on, years from now,
                    take credit for the discovery
                    themselves.
<b>          
</b><b>                              SAM
</b>                    I won't say anything.
<b>          
</b><b>                              JEREMY
</b>                    Good.
<b>          
</b>          Sam stares at him for a long beat, as if examining him.
<b>          
</b><b>                              SAM
</b>                    There's this book I think you'd
                    like... I got it from my physics
                    teacher in high school.
<b>          
</b><b>                              JEREMY
</b>                    The study of physics has unraveled
                    some of the most profound mysteries
                    of the universe.
<b>          
</b><b>                              SAM
</b>                    It's called The Philosophy of Time
                    Travel.
<b>          
</b><b>                              JEREMY
</b>                    Time travel?
<b>          
</b><b>                              SAM
</b>                    Yeah, but it's not really that.
                    It's more like one scenario, or one
                    type of scenario. I don't
                    completely understand it...
<b>          
</b><b>                                                                     79.
</b><b>          
</b><b>          
</b>          Sam gazes at the cluster of white shapes on the monitor.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Another mystery.
<b>          
</b><b>                              JEREMY
</b>                    What do you mean?
<b>          
</b><b>                              SAM
</b>                    My life seems to be full of them.
<b>          
</b><b>                              JEREMY
</b>                    Mysteries are what make life
                    interesting...
<b>          
</b>          Sam doesn't agree or disagree. She's become tense, because
          Jeremy's face is now in close proximity to hers.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    You're a mystery to me, Samantha.
<b>          
</b>          He goes in for a kiss, but Sam gently pushes him away.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    Ow...
<b>          
</b>          Jeremy retreats, shielding his left arm. Sam looks down and
          sees that the red, raw area has turned into a much bigger
          RASH, covering a large part of his wrist and extending onto
          his forearm.
<b>          
</b><b>                              SAM
</b>                    That doesn't look good.
<b>          
</b><b>                              JEREMY
</b>                    I should get some Hydrocortisone.
<b>          
</b>          He looks pathetic, and Sam feels sorry for him.
<b>          
</b><b>                               SAM
</b>                        (regarding the attempted
<b>                         KISS)
</b>                    Sorry about that.
<b>          
</b><b>                              JEREMY
</b>                    I'm sorry. I should've know better.
                    You barely know me, right?
<b>          
</b><b>                              SAM
</b>                    And nobody really calls my
                    Samantha. Just my mom and dad.
<b>          
</b>          Jeremy manages a smile, and Sam smiles back.
<b>          
</b><b>                                                                     80.
</b><b>          
</b><b>          
</b><b>          INT. DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          Chris is at work, stocking shelves inside the department
          store...
<b>          
</b>          He checks his watch, stops what he's doing and grabs a PACK
          OF CIGARETTES from his breast pocket -- time for a smoke
          break.
<b>          
</b><b>          
</b><b>          EXT. INTERSECTION NEAR DEPARTMENT STORE - AFTERNOON
</b><b>          
</b>          The TRACTOR-TRAILER TRUCK carrying the JALOPY breaches the
          crest of the hill, descending on the intersection...
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - CONTINUOUS
</b><b>          
</b>          Chris lights up a cigarette...
<b>          
</b><b>          
</b><b>          CHRIS' POV - TRACTOR-TRAILER TRUCK
</b><b>          
</b>          He watches as the TRACTOR-TRAILER hits the pothole, but
          passes safely through the intersection, making a right.
<b>          
</b>          Something about the sight of this strikes Chris so much that
          his cigarette falls out of his mouth.
<b>          
</b><b>          
</b><b>          EXT. NEIGHBORHOOD - DAY
</b><b>          
</b>          Father Homeijer and Trudy stroll down a quiet street with
          their COLLECTIONS JAR, and arrive at a fork in the road.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    You take this street, I'll take
                    that one?
<b>          
</b>          Without warning, Trudy kisses him on the cheek.
<b>          
</b><b>                                 TRUDY
</b>                    Good luck.
<b>          
</b>          Father Homeijer blushes, but Trudy smiles at him in a
          friendly manner. They move off in separate directions...
<b>          
</b><b>          
</b><b>          EXT. DUSTY'S GARAGE/HOUSE - DAY
</b><b>          
</b>          Father Homeijer raps on the door of Dusty's house. No answer.
<b>          
</b><b>                                                                  81.
</b><b>          
</b><b>          
</b><b>          INT. DUSTY'S GARAGE - MOMENTS LATER - DAY
</b><b>          
</b>          The priest lets himself into the garage, which is open but
          deserted. He notices COREY'S CHEVROLET. He steps up to the
          GARAGE ENTRANCE and knocks...
<b>          
</b>          No one comes to the door, but he notices that it's slightly
          ajar.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    Dusty?
<b>          
</b>          He can hear COUNTRY MUSIC playing low within.
<b>          
</b><b>                              FATHER HOMEIJER (CONT'D)
</b>                    Are you home, son?
<b>          
</b>          He lets himself inside...
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, KITCHEN - DAY
</b><b>          
</b>          Father Homeijer walks into the dingy kitchen. The SINK is
          full of DIRTY DISHES. A coating of GRIME over everything.
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, LIVING - CONTINUOUS - ANGLE ON - PIT BULL
</b><b>          
</b>          The sleeping PIT BULL stirs...
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, KITCHEN - CONTINUOUS
</b><b>          
</b>          The priest sees that the COUNTRY SONG is coming from a STEREO
          that sits on the kitchen counter.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                        (calling out)
                    Dusty? I'd like to trouble you for
                    a small donation...
<b>          
</b>          The COUNTRY SONG comes to a close, and the tape runs out.
          With the music gone, the priest cocks his head to a new sound
          -- soft, distant CRYING.
<b>          
</b>          He looks curiously toward the CELLAR DOOR... [Note: The
          CRYING SOUND should be identical to the one that drew Corey
          out of the motel room.]
<b>          
</b><b>                                                                     82.
</b><b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, BASEMENT - DAY
</b><b>          
</b>          Father Homeijer slowly descends the rickety BASEMENT STEPS.
          At the bottom, he finds a STRING that connects to a bare
          overhead BULB...
<b>          
</b>          He creeps along the dusty cement floor, past an old
          WASHER/DRYER, continuing toward the source of the CRYING,
          which has become more pronounced. He wrinkles his nose at a
          foul smell...
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    Who's there?
<b>          
</b>          He rounds a corner, and when he sees Billy Moorcroft he's
          nearly frozen in shock --
<b>          
</b>          The boy is locked inside a large, METAL DOG'S CAGE. He sits
          on the floor of the cage, rocking back and forth.
<b>          
</b>          He is pale, bruised and slick with sweat, clothed only in a
          pair of SOILED BRIEFS. Beside him is an aluminum WATER BOWL
          and some scraps of WHITE BREAD. The floor beneath him is
          soaked with URINE and scattered FECES.
<b>          
</b>          Father Homeijer makes the sign of the cross.
<b>          
</b><b>          
</b><b>          EXT. DUSTY'S GARAGE/HOUSE - LATER - DAY
</b><b>          
</b>          Dusty's place is surrounded by FIRE TRUCKS, POLICE CARS and
          an AMBULANCE. Billy Moorcroft is wrapped in a blanket and
          being tended to by PARAMEDICS.
<b>          
</b>          Father Homeijer stands near the boy, being interviewed by a
<b>          DETECTIVE.
</b><b>          
</b>          Dusty is handcuffed and being loaded into the back of a
          cruiser by Officer O'Dell and another policeman, OFFICER
<b>          HINES (28).
</b><b>          
</b><b>                              OFFICER O'DELL
</b>                    Get in there, you sick fuck...
<b>          
</b>          Dusty says nothing as O'Dell shoves him in and slams the
          door...
<b>          
</b>          The two officers turn when they see RANDY'S DAD'S CAR pull up
          next to the property. Randy is in the driver's seat, looking
          confused. Ruth hops out of the passenger seat and darts
          toward the house --
<b>          
</b>          -- but she is cut off and grabbed by a POLICEMAN. ANOTHER
          OFFICER goes to talk to Randy in the car.
<b>          
</b><b>                                                                   83.
</b><b>          
</b><b>          
</b>          Wheels turning, O'Dell addresses Hines:
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                        (regarding Dusty)
                    Let him rot in there for a few
                    minutes, maybe till the news guys
                    show up... I'm gonna go finish
                    checkin' upstairs.
<b>          
</b><b>          
</b><b>          INT. DUSTY'S HOUSE, RUTH'S BEDROOM - DAY
</b><b>          
</b>          O'Dell lets himself into Ruth's bedroom. It's a mess -- her
          CLOTHES are all over the floor, and crinkled ROCK POSTERS
          litter the walls.
<b>          
</b>          Next to her bed is a FRAMED PICTURE of she and Randy. O'Dell
          starts to rifle through her desk drawers, one after another --
<b>          
</b>          He tosses the closet, throwing out clothes and shoes... until
          he finds the SHOEBOX. He opens it up, satisfied...
<b>          
</b><b>          
</b><b>          ANGLE: OUTSIDE THE BEDROOM DOOR
</b><b>          
</b>          Officer Hines stands by the door, looking in at O'Dell
          covertly.
<b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - MORNING
</b><b>          
</b>          Sam lies in bed in front of the television. A NEWS BULLETIN
          comes on about Billy's Moorcroft's rescue:
<b>          
</b><b>                              TELEVISION ANCHOR
</b>                    We have an update this morning on
                    our breaking news of Billy
                    Moorcroft, the El Reno youth who
                    was kidnapped over 15 months ago,
                    and rescued yesterday afternoon by
                    Father Homeijer of Mount Calvary
                    Church. Billy's condition at this
                    time is considered stable...
<b>          
</b>          Sam stares at the television, dumbfounded. The news cuts to
          the scene of the rescue, where Father Homeijer is being
<b>          INTERVIEWED:
</b><b>          
</b><b>                              FIELD REPORTER
</b>                    Father, what led you to this
                    particular house on this particular
                    day?
<b>          
</b><b>                                                                  84.
</b><b>          
</b><b>          
</b><b>                              FATHER HOMEIJER
</b>                    I was out collecting donations in
                    order to help rebuild my church,
                    Mount Calvary, which recently
                    burned down. Clearly the Lord works
                    in mysterious ways. This is nothing
                    less than divine intervention...
<b>          
</b><b>          
</b><b>          EXT. MOTEL - MORNING
</b><b>          
</b>          As Sam's walking away from the motel, she looks up to the sky
          at a PASSING JET...
<b>          
</b><b>                              AGATHA (V.O.)
</b>                    No matter how well you think you
                    know somebody, you just never
                    really know...
<b>          
</b><b>          
</b><b>          INT. DINER - MORNING
</b><b>          
</b>          Sam sits at the booth where she and Corey sat before, and
          Agatha sets down a glass of ORANGE JUICE.
<b>          
</b><b>                              AGATHA
</b>                    Dusty Gibbens has been comin' in
                    here for coffee ever since I can
                    remember... gives me the shivers.
<b>          
</b>          Ted pipes up from behind the counter:
<b>          
</b><b>                              TED
</b>                    They should hang guys like that.
                    Only thing bothers me is how many
                    of `em are still out there...
<b>          
</b>          Chris enters the diner and catches the end of Ted's rant.
<b>          
</b><b>                              TED (CONT'D)
</b>                    Hang `em all.
<b>          
</b><b>                               AGATHA
</b>                        (to Sam)
                    I'll be right back with your
                    breakfast.
<b>          
</b>          As Agatha moves off, Chris sees Sam and approaches her table.
<b>          
</b><b>                                 CHRIS
</b>                    May I?
<b>          
</b><b>                                 SAM
</b>                    Sure.
<b>          
</b><b>                                                                  85.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    I guess you heard.
<b>          
</b><b>                              SAM
</b>                    Yeah.
<b>          
</b><b>                              CHRIS
</b>                    It's so messed up... I feel bad
                    that I recommended him now.
<b>          
</b>          Agatha notices that Chris has sat down with Sam.
<b>          
</b><b>                              AGATHA
</b>                    What can I get you, honey?
<b>          
</b><b>                              CHRIS
</b>                    Uh... sausage, eggs, coffee,
                    please.
<b>          
</b><b>                              AGATHA
</b>                    White or wheat?
<b>          
</b><b>                              CHRIS
</b>                    Wheat toast, please...
<b>          
</b>          He refocuses his attention back on Sam.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    If I had kids, I'd be worried sick
                    about `em in a world like this. I'm
                    sure your parents must be.
<b>          
</b><b>                              SAM
</b>                    Hey, you could've been some crazy
                    rapist serial killer.
<b>          
</b>          Agatha is there with his coffee just in time to hear this
          last part. She gives Chris and Sam each an odd look before
          setting the coffee down and leaving.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    You turned out okay.
<b>          
</b><b>                              CHRIS
</b>                    Yeah, but everybody doesn't.
<b>          
</b><b>                              SAM
</b>                    I can take care of myself.
<b>          
</b><b>                              CHRIS
</b>                    I'm sure you can... but I wouldn't
                    feel right if I didn't tell you
                    about Jeremy.
<b>          
</b><b>                                                          86.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    What about him?
<b>          
</b><b>                              CHRIS
</b>                    I don't know what you have goin'
                    with him... but you shouldn't be
                    hangin' around him. Let's just
                    leave it at that.
<b>          
</b><b>                              SAM
</b>                    What makes you think you can tell
                    me who I can and can't hang around
                    with?
<b>          
</b><b>                              CHRIS
</b>                    It's just that I know him better
                    than you do. He lived in my
                    neighborhood when we were kids.
<b>          
</b><b>                              SAM
</b>                    So?
<b>          
</b><b>                              CHRIS
</b>                    So he used to do weird stuff... to
                    animals.
<b>          
</b>          Sam waits for him to go on.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    My sister lost her pet rabbit once,
                    and we went all over the
                    neighborhood lookin' for it. We
                    were just about to call it quits
                    when we heard something comin' from
                    Jeremy's garage. He'd stuck it in a
                    trash can and put the lid on.
<b>          
</b>          Sam looks shocked and a little disgusted.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    It was half starved by the time we
                    got it home. Died just a few days
                    later.
<b>          
</b><b>                              SAM
</b>                    How old was he?
<b>          
</b><b>                              CHRIS
</b>                    I don't know, just a couple years.
                    Cute little black and white-
<b>          
</b><b>                              SAM
</b>                    No. Jeremy.
<b>          
</b><b>                                                                  87.
</b><b>          
</b><b>          
</b><b>                              CHRIS
</b>                    He was like nine, probably.
<b>          
</b><b>                              SAM
</b>                    He was just a kid, he didn't know
                    what he was doing.
<b>          
</b><b>                              CHRIS
</b>                    When you were nine years old did
                    you know it was wrong to put a
                    living creature in the trash can
                    and leave it there?
<b>          
</b>          Sam's had enough.
<b>          
</b><b>                              SAM
</b>                    Chris... you're a nice guy, but you
                    don't have to be looking out for
                    me. You're not my dad, you're not
                    my big brother...
<b>          
</b>          Chris hangs his head, frustrated.
<b>          
</b><b>          
</b><b>          INT. JAIL CELL - AFTERNOON
</b><b>          
</b>          O'Dell stands at the bars of Dusty's jail cell. Dusty lies on
          his cot and stares up at the ceiling.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    You know what they do to faggot-ass
                    perverts like you in maximum
                    security, dontcha?
<b>          
</b>          O'Dell chuckles, enjoying this immensely.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Disgusting fuckin' piece a' shit
                    like you...
<b>          
</b><b>          
</b><b>          EXT. POLICE STATION, BACK PARKING LOT - EVENING
</b><b>          
</b>          O'Dell, now dressed in plainclothes, is on the way to his CAR
          in the far corner of the back lot. He HEARS someone come out
          the door behind him, but doesn't turn until he HEARS his
<b>          VOICE.
</b><b>          
</b><b>                              OFFICER HINES
</b>                    Hey, O'Dell...
<b>          
</b><b>                              OFFICER O'DELL
</b>                    I'm on my way out... what do you
                    need?
<b>          
</b><b>                                                                   88.
</b><b>          
</b><b>          
</b>          Hines catches up with him and they walk and talk.
<b>          
</b><b>                              OFFICER HINES
</b>                    I'm not gonna bullshit ya.
<b>          
</b><b>                               OFFICER O'DELL
</b>                    Okay...
<b>          
</b><b>                              OFFICER HINES
</b>                    I saw you snatch the drugs outta
                    that house.
<b>          
</b>          O'Dell's face grows cold but he doesn't slow his pace.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    I don't think I know what the hell
                    you're talkin' about.
<b>          
</b><b>                              OFFICER HINES
</b>                    Don't bullshit me either...
<b>          
</b>          Hines grabs his shoulder to stop him. O'Dell eyes his hand.
<b>          
</b><b>                              OFFICER HINES (CONT'D)
</b>                    I don't wanna turn you in.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    Then what do you want?
<b>          
</b><b>                              OFFICER HINES
</b>                    How much you think you'll get when
                    you unload it?
<b>          
</b>          O'Dell keeps cool, but resents being muscled.
<b>          
</b><b>                               OFFICER O'DELL
</b>                    Depends.
<b>          
</b><b>                              OFFICER HINES
</b>                    I'll take forty percent this time,
                    but from now on it's fifty-fifty.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    What do you mean from now on?
<b>          
</b><b>                              OFFICER HINES
</b>                    I got a pretty good idea this ain't
                    the first time you done this. Won't
                    be the last, will it?
<b>          
</b>          Hines extends his hand and smiles. O'Dell shakes it.
          Grudgingly...
<b>          
</b><b>                                                                  89.
</b><b>          
</b><b>          
</b>          After Hines turns on him and jogs back to the station house,
          O'Dell kicks the ground angrily.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    Shit!
<b>          
</b>          When he looks up, he's startled by a pair of eyes that peer
          from the bushes nearby. Upon closer inspection, he sees that
          it's Vietnam Tom in his SKI MASK.
<b>          
</b>          Nervous about how much he's heard, O'Dell takes an aggressive
          stance.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Come on outta there. Now!
<b>          
</b>          He becomes tense when Tom emerges, because he sees that he's
          got his RIFLE.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    What the fuck you doin' carryin'
                    that around in the town proper?
<b>          
</b>          O'Dell realizes that he's not holding it in a threatening
          manner, but cradling it in his arms.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Hand it over. Right now!
<b>          
</b>          Tom steps toward him ever so slowly. O'Dell reaches out and
          Tom hands him the gun, stock first.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    I should arrest you and throw you
                    in jail, you know that? Crazy
                    sonofabitch...
<b>          
</b>          Tom looks at the ground, hunched over meekly.
<b>          
</b><b>                              OFFICER O'DELL (CONT'D)
</b>                    Get the fuck outta my sight.
<b>          
</b>          O'Dell looks around as Tom shuffles off, making sure no one
          witnessed the transaction.
<b>          
</b><b>          
</b><b>          EXT. LOOKOUT - SUNSET
</b><b>          
</b>          Sam trudges up the wooded hill to the vantage point, carrying
          The Philosophy of Time Travel book. It's quiet and peaceful,
          and everything's bathed in golden light.
<b>          
</b><b>                                                                  90.
</b><b>          
</b><b>          
</b><b>          EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - SUNSET
</b><b>          
</b>          She comes upon Tom's new squatting ground in a secluded area
          near the lookout, and looks around before approaching.
<b>          
</b>          When she sees the handmade BUNNY MASK lying among his things,
          she puts the book under her arm and reaches down to pick it
          up.
<b>          
</b>          She runs her fingers down the long, shiny ears, nose, and
          jagged teeth...
<b>          
</b>          She doesn't realize that Tom is standing close behind her.
          When she senses his presence she's startled.
<b>          
</b><b>                               SAM
</b>                    Sorry...
<b>          
</b>          She sets the BUNNY MASK down where she found it. Tom says
          nothing. He seems neither surprised nor irritated to find her
          there. He walks up beside her and sits, facing the view.
<b>          
</b>          After a long beat, Sam sits down beside him. To her surprise,
          Tom begins to speak:
<b>          
</b><b>                               VIETNAM TOM
</b>                    My mom told me someday everybody
                    would understand. She said it was
                    my job to look out for the town...
                    so that's what I do. That's what I
                    always do.
<b>          
</b>          Sam listens to him intently.
<b>          
</b><b>                              VIETNAM TOM (CONT'D)
</b>                    They don't know why. They don't
                    even want me here, but I still have
                    to protect them.
<b>          
</b><b>                              SAM
</b>                    They're lucky to have someone to
                    protect them.
<b>          
</b><b>                              VIETNAM TOM
</b>                    I'm used to it... I'm lucky to have
                    a job to do. Some people don't have
                    any reason to be here at all.
<b>          
</b><b>                              SAM
</b>                    I know what you mean...
<b>          
</b>          Tom turns and looks at her strangely.
<b>          
</b><b>                                                                  91.
</b><b>          
</b><b>          
</b><b>                              VIETNAM TOM
</b>                    You're more important than all of
                    us.
<b>          
</b>          Sam peers into Tom's pale blue eyes through his ski mask.
          Without knowing why, she reaches out and touches the mask...
<b>          
</b>          When she starts to pull it off Tom grabs her hand, stopping
          her -- not too rough, but forceful.
<b>          
</b>          Sam's scared for a moment, but Tom lets her go. His eyes
          drift down to The Philosophy of Time Travel book by her side.
          Sam sees him staring, so she picks it up and hands it to him.
<b>          
</b>          When Tom sees the cover, his cold eyes are filled with
          emotion. Sam sees how struck he is, but doesn't understand.
<b>          
</b><b>                              SAM
</b>                    Do you like to read?
<b>          
</b>          Tom says nothing.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    You can borrow it...
<b>          
</b>          Again, Tom does not speak. After a beat, Sam gets up slowly
          and walks away, leaving Tom with the book.
<b>          
</b><b>          
</b><b>          INT. DEPARTMENT STORE - DAY
</b><b>          
</b>          Jeremy is at the department store in the FIRST AID SECTION,
          picking out some GAUZE and DISINFECTANT. When he looks down
          the aisle and sees Sam, he moves toward her quickly...
<b>          
</b>          He disturbs her while she's looking at some FEMININE HYGIENE
<b>          PRODUCTS.
</b><b>          
</b><b>                              JEREMY
</b>                    Sam...
<b>          
</b>          When he sees the items that she's shopping for, he seems much
          more embarrassed than she does.
<b>          
</b><b>                              SAM
</b>                    Oh, hi Jeremy.
<b>          
</b><b>                              JEREMY
</b>                    Hi... sorry.
<b>          
</b><b>                              SAM
</b>                    That's okay, what's up?
<b>          
</b><b>                                                           92.
</b><b>          
</b><b>          
</b><b>                               JEREMY
</b>                    Nothing... just that I haven't see
                    you around for the past few days. I
                    was worried. I thought you might've
                    taken off.
<b>          
</b><b>                              SAM
</b>                    No... I've been around. Going for
                    lots of walks.
<b>          
</b><b>                              JEREMY
</b>                    I stopped by the motel.
<b>          
</b>          Sam finds his manner a bit odd.
<b>          
</b><b>                              SAM
</b>                    Like I said, I've been in and out.
<b>          
</b><b>                               JEREMY
</b>                    Well, there's something I wanted to
                    ask you. You know that book you
                    mentioned?
<b>          
</b><b>                              SAM
</b>                    Yeah...
<b>          
</b><b>                              JEREMY
</b>                    I'd really love to check it out.
<b>          
</b><b>                              SAM
</b>                    Oh...
<b>          
</b>          Sam's face darkens, and Jeremy picks up on it.
<b>          
</b><b>                              JEREMY
</b>                    You said you'd show it to me
                    sometime, and I've got a hunch it
                    could really help me in some of my
                    studies related to-
<b>          
</b><b>                              SAM
</b>                    I don't have it anymore.
<b>          
</b><b>                              JEREMY
</b>                    What?
<b>          
</b><b>                              SAM
</b>                    I kind of... gave it to someone.
<b>          
</b><b>                              JEREMY
</b>                    To who? Why?
<b>          
</b><b>                                                                    93.
</b><b>          
</b><b>          
</b><b>                              SAM
</b>                    I'm sorry. I just... forgot that I
                    said you could borrow it, and this
<b>                    GUY-
</b><b>          
</b><b>                                JEREMY
</b>                    What guy?
<b>          
</b><b>                              SAM
</b>                    Well... that Vietnam Tom guy.
<b>          
</b>          Jeremy is furious.
<b>          
</b><b>                              JEREMY
</b>                    Vietnam Tom!? You gave away the
                    book to Vietnam Tom!?
<b>          
</b>          Sam backs away from him. He's getting louder and out of
          control.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I don't fucking believe what you're
                    telling me!
<b>          
</b><b>                              SAM
</b>                    It's just a book...
<b>          
</b><b>                              JEREMY
</b>                    He's a fucking bum! And you chose
                    him over me!?
<b>          
</b><b>                              SAM
</b>                    No... I just-
<b>          
</b>          Suddenly, a hand comes down on Jeremy's shoulder. He turns
          and finds Chris standing behind him.
<b>          
</b><b>                              CHRIS
</b>                    That's enough.
<b>          
</b>          Sam is relieved. Jeremy glares at Chris.
<b>          
</b><b>                              JEREMY
</b>                    This is none of your business.
<b>          
</b><b>                              CHRIS
</b>                    It is, actually. You're disturbing
                    my customers. Get out.
<b>          
</b>          Jeremy brushes past Sam as he leaves, and she and Chris are
          left alone. There's a definite "I told you so" aura.
<b>          
</b><b>                                                                  94.
</b><b>          
</b><b>          
</b><b>                              SAM
</b><b>                        (MUTTERING)
</b>                    You didn't have to do that.
<b>          
</b><b>                              CHRIS
</b>                    Just doin' my job.
<b>          
</b>          Sam starts to walk away, at first forgetting the products she
          needed. She comes back to get them, slightly flustered. Chris
          turns and leaves her in peace.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                        (as he's walking away)
                    You're welcome.
<b>          
</b><b>          
</b><b>          INT. FATHER HOMEIJER'S HOUSE, LIVING ROOM - AFTERNOON
</b><b>          
</b>          Father Homeijer and Trudy are sitting on the couch in the
          living room of his quaint house, sharing a BOTTLE OF
<b>          CHAMPAGNE.
</b><b>          
</b><b>                              TRUDY
</b>                    I never had any doubts in you, or
                    in the Lord.
<b>          
</b><b>                              FATHER HOMEIJER
</b>                    I know that. And we both truly
                    appreciate all your faith and hard
                    work...
<b>          
</b>          They sip their champagne. Trudy glows.
<b>          
</b><b>                              FATHER HOMEIJER (CONT'D)
</b>                    We needed a miracle, but we got two
                    instead.
<b>          
</b>          Trudy grabs the bottle and tries to refill his glass, but the
          priest puts his hand over it.
<b>          
</b><b>                              FATHER HOMEIJER (CONT'D)
</b>                    I think I've had enough.
<b>          
</b><b>                              TRUDY
</b>                    One more glass won't hurt you. You
                    deserve it, Father...
<b>          
</b><b>          
</b><b>          I/E. O'DELL'S CAR/ABANDONED WAREHOUSE - NIGHT
</b><b>          
</b>          O'DELL'S CAR pulls up to an old warehouse and parks.
<b>          
</b><b>                              OFFICER HINES
</b>                    Where the hell are they?
<b>          
</b><b>                                                                  95.
</b><b>          
</b><b>          
</b>          Hines is nervous. He lights a cigarette.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    They'll be here. Just take it easy.
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - LATE NIGHT
</b><b>          
</b>          Tom wears his metal BUNNY MASK. Sam wears her HOODED
          SWEATSHIRT and JEANS, and her right hand is BANDAGED. The
          METAL SHARD is embedded under the skin of her forehead...
<b>          
</b>          They move slowly and methodically until they reach the center
          of the empty lot. There are lights on in the closed
          department store, but the parking lot is mostly dark.
<b>          
</b><b>                              VIETNAM TOM
</b>                    Why do you talk to me?
<b>          
</b>          TOM'S VOICE is MUFFLED behind his mask.
<b>          
</b><b>                              SAM
</b>                    Same reason you talk to me...
<b>          
</b>          Tom cocks his head, unsure of the answer.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Because I can see how special you
                    are.
<b>          
</b><b>                              VIETNAM TOM
</b>                    Why can't other people?
<b>          
</b><b>                              SAM
</b>                    They will. Only one day left.
<b>          
</b>          They both turn toward an area in the lot where the SHOPPING
          CARTS are stored. The METAL STORAGE RACK starts to tremble
          and burn with COSMIC ENERGY...
<b>          
</b><b>          
</b><b>          INT. FATHER HOMEIJER'S HOUSE, LIVING ROOM - AFTERNOON
</b><b>          
</b>          Father Homeijer finishes his glass of champagne. Trudy is
          already done with hers, and she takes his glass and sets it
          on the coffee table. She moves closer to him on the couch...
<b>          
</b><b>                               FATHER HOMEIJER
</b>                    Trudy...
<b>          
</b>          She puts her hand on his leg.
<b>          
</b><b>                                                                    96.
</b><b>          
</b><b>          
</b><b>                              TRUDY
</b>                    I see the way you look at me,
                    Father...
<b>          
</b>          She moves in closer... He looks uncomfortable.
<b>          
</b><b>                              TRUDY (CONT'D)
</b>                    I want you too.
<b>          
</b>          She's about to kiss him, but Father Homeijer stops her.
<b>          
</b><b>                              TRUDY (CONT'D)
</b>                    I can't do this. I'm a man of the
                    cloth... and you'd regret it.
<b>          
</b>          He takes her by the hand, reminding her of the WEDDING BAND
          on her finger.
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - LATE NIGHT
</b><b>          
</b>          SHOPPING CARTS start to roll out of the RACK by themselves,
          following their own liquid VECTOR SPEARS.
<b>          
</b>          Tom stands staring at them. He is flanked by Sam...
<b>          
</b><b>          
</b><b>          EXT. ABANDONED WAREHOUSE - NIGHT
</b><b>          
</b>          Officer Hines walks to the edge of the woods beside the
          warehouse and unzips his pants...
<b>          
</b><b>          
</b><b>          ANGLE: O'DELL'S CAR
</b><b>          
</b>          With GLOVED HANDS, O'Dell grabs VIETNAM TOM'S RIFLE out of
          the trunk...
<b>          
</b><b>          
</b><b>          INT. FATHER HOMEIJER'S HOUSE, LIVING ROOM - AFTERNOON
</b><b>          
</b>          Trudy's head is buried in her hands and she bawls.
<b>          
</b><b>                              TRUDY
</b>                    I feel like such an idiot...
<b>          
</b>          Father Homeijer doesn't know what to say.
<b>          
</b><b>          
</b><b>          EXT. ABANDONED WAREHOUSE - NIGHT
</b><b>          
</b>          Hines finishes relieving himself and comes out into the open
          from the side of the building. O'Dell is waiting for him.
<b>          
</b><b>                                                                    97.
</b><b>          
</b><b>          
</b><b>                              OFFICER HINES
</b>                    What the fuck-
<b>          
</b><b>          BOOM!
</b><b>          
</b>          O'Dell shoots him in the chest. He is cool and calm. He
          throws the rifle down on the ground...
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - LATE NIGHT
</b><b>          
</b>          The SHOPPING CARTS whirl in an circle of ever-increasing
          speed around Vietnam Tom and Sam. The RUBBER WHEELS squeal on
          the cement until they start to melt...
<b>          
</b>          The VECTOR SPEARS lead the carts in a spiral that hones in
          closer and closer to the two of them. Sam is stoic. Tom is in
          awe...
<b>          
</b><b>          
</b><b>          EXT. THE ETHER - NIGHT - POV INSIDE PORTAL
</b><b>          
</b>          We travel at breath-taking speed through a PORTAL as it
          weaves through millions of STARS, then an ATMOSPHERIC
<b>          BARRIER...
</b><b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - LATE NIGHT
</b><b>          
</b>          When it looks like they'll be crushed by the scudding metal,
          or combusted by the cosmic energy, the WORM-LIKE PORTAL from
          the sky reaches down and encloses Tom and Sam like a vacuum.
<b>          
</b>          There's a brilliant FLASH OF LIGHT -- TRANSITION TO:
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - THE NEXT MORNING
</b><b>          
</b>          CHRIS' TRUCK pulls into the lot early in the morning, and he
          gets out wearing his work uniform. Still groggy, he's about
          to walk into the store when something catches his eye...
<b>          
</b>          CRANE UP to FIND a STRUCTURE made of all the SHOPPING CARTS,
          as chilling and impressive as a crop circle, in the shape of
          an immense FIBONACCI SPIRAL. The metal of the carts has been
          fused together, and they're stacked in an ascending manner
          that reaches an apex in the center, like a cone.
<b>          
</b>          Chris is mystified... CUT TO:
<b>          
</b><b>          
</b><b>          EXT. STREET - DAY
</b><b>          
</b>          Two POLICE CRUISERS speed down a street in town...
<b>          
</b><b>                                                                  98.
</b><b>          
</b><b>          
</b><b>          EXT. PARK - AFTERNOON
</b><b>          
</b>          COPS, including Officer O'Dell, converge on Vietnam Tom in
          the park, where he sits on the SWING in his ski mask...
<b>          
</b><b>                              COP #1
</b>                    Get down on the ground!
<b>          
</b>          Tom looks up at them calmly, without fear.
<b>          
</b><b>                              COP #1 (CONT'D)
</b>                    Get down on the ground, now!
<b>          
</b>          He obeys them and two Cops jump on him and put him in cuffs.
          One of them pulls up his head and rips off his ski mask --
<b>          
</b>          Tom's face is a mass of SCARS. Both his cheeks, forehead and
          chin are marred by scar tissue born from long, deep gashes.
<b>          
</b>          O'Dell looks into his sad, blue eyes...
<b>          
</b><b>          
</b><b>          INT. POLICE STATION, VARIOUS - AFTERNOON
</b><b>          
</b>          Tom is slammed against a table. An OFFICER takes his hand
          roughly and sticks his fingers into some ink to take his
          prints -- JUMP CUT TO:
<b>          
</b><b>                                 POLICEMAN (V.O.)
</b>                    Name?
<b>          
</b>          Tom stands for his booking photos -- JUMP CUT TO:
<b>          
</b><b>                              POLICEMAN (CONT'D)
</b>                        (getting angry)
                    What's your name?
<b>          
</b>          The POLICEMAN stands over Vietnam Tom, who sits defeated in a
          chair. A YOUNG OFFICER approaches.
<b>          
</b><b>                              YOUNG OFFICER
</b>                    We found this on him...
<b>          
</b>          He passes the Policeman a set of DOG TAGS on a CHAIN. The
          name on the tags is: THOMAS WARD SPARROW.
<b>          
</b><b>          
</b><b>          EXT. MOTEL - EVENING
</b><b>          
</b>          Sam walks toward the motel, wearing JEANS and a T-SHIRT...
<b>          
</b>          When she sees JEREMY'S BMW parked in the lot she stops short.
          But it's too late -- he's already seen her and is getting out
          of the car. He's got a bouquet of FLOWERS.
<b>          
</b><b>                                                          99.
</b><b>          
</b><b>          
</b><b>                                 JEREMY
</b>                    Hi, Sam...
<b>          
</b>          He passes her the flowers.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I hope you can forgive the way I
                    acted.
<b>          
</b><b>                              SAM
</b>                    That was pretty weird.
<b>          
</b><b>                              JEREMY
</b>                    I know. I just...
<b>          
</b>          Jeremy is awkward and shy.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I've been so wrapped up with the
                    meteorite. I haven't been eating or
                    sleeping much. I think I'm just
                    drained... but that's no excuse.
<b>          
</b><b>                              SAM
</b>                    It's alright.
<b>          
</b><b>                              JEREMY
</b>                    I was wondering if you'd let me
                    make it up to you.
<b>          
</b><b>                              SAM
</b>                    You don't need to-
<b>          
</b><b>                              JEREMY
</b>                    Please... let me take you to watch
                    the fireworks tonight.
<b>          
</b><b>                              SAM
</b>                    I don't think so.
<b>          
</b><b>                              JEREMY
</b>                    It's gonna be spectacular. There's
                    gonna be a meteor shower that
                    coincides with the show... I mean,
                    how often does that happen?
<b>          
</b>          Sam still isn't sure.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    I just wanna be your friend.
<b>          
</b><b>                              SAM
</b>                    I was supposed to see `em with
                    Chris, but... he's stuck at work.
<b>          
</b><b>                                                                   100.
</b><b>          
</b><b>          
</b><b>                              JEREMY
</b>                    So, what do you say? Will you go
                    with me?
<b>          
</b><b>                              SAM
</b>                    Gimme a sec. Lemme grab my
                    sweatshirt...
<b>          
</b>          Jeremy beams.
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - EVENING
</b><b>          
</b>          Chris is in the department store parking lot with a crew of
          EMPLOYEES. They work together to pry apart the numerous
          SHOPPING CARTS with CROWBARS. They've made some progress, but
          still a long way to go.
<b>          
</b>          Chris is distracted by JEREMY'S BMW as it cruises through the
          nearby intersection...
<b>          
</b>          After it passes, Chris looks up at some OMINOUS CLOUDS
          congregating in the darkening sky.
<b>          
</b>          From the CLOUDS above the store -- PAN DOWN TO FIND:
<b>          
</b><b>          
</b><b>          EXT. LOOKOUT - EVENING
</b><b>          
</b>          The lookout, and Jeremy's car riding up the hill. There are
          OTHER CARS parked to watch the upcoming display, but Jeremy
          drives to a more SECLUDED AREA... (Music suggestion: 4th of
          July, by Soundgarden.)
<b>          
</b><b>          
</b><b>          EXT. WOODED GROVE NEARBY - EVENING
</b><b>          
</b>          Jeremy spreads a blanket on the ground of a private grove. He
          wears a LIGHT JACKET, and sets down a GROCERY BAG. Sam has
          her HOODED SWEATSHIRT tied around her waist.
<b>          
</b><b>                              SAM
</b>                    Shouldn't we go back out there
                    where we can see?
<b>          
</b><b>                              JEREMY
</b>                    No, this'll be perfect. See right
                    there?
<b>          
</b>          He points to an area near the tops of the trees.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    That's right where the fireworks'll
                    come up.
<b>                              (MORE)
</b><b>          
</b><b>                                                                 101.
</b><b>          
</b><b>                              JEREMY (CONT'D)
</b>                    And we can see the meteors better
                    without all the lights from the
                    town.
<b>          
</b>          Sam sits down on the blanket and checks her watch. Jeremy
          pokes around in the grocery bag.
<b>          
</b><b>                              SAM
</b>                    So what's in the bag?
<b>          
</b><b>                              JEREMY
</b>                    You'll see...
<b>          
</b>          Sam takes her HOODED SWEATSHIRT from around her waist and
          puts it on to fight the cold...
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    There's one!
<b>          
</b>          Sam spots a METEOR as it streaks across the sky --
<b>          
</b><b>          
</b><b>          EXT. WOODED GROVE NEARBY - LATER - NIGHT
</b><b>          
</b>          JEREMY'S HAND holds a flaring ROMAN CANDLE --
<b>          
</b><b>                              JEREMY (O.S.)
</b>                    Here it goes!
<b>          
</b>          A SPARKLING GREEN BALL shoots out of the stick into the air.
          Sam looks up at it and smiles. Jeremy shoots off colorful
          ball after ball, aiming in different directions.
<b>          
</b><b>                              SAM
</b>                    They're pretty.
<b>          
</b>          After his stick fizzles out:
<b>          
</b><b>                              JEREMY
</b>                    You wanna try one?
<b>          
</b>          Sam shrugs... He grabs another out of the grocery bag, and
          Sam gets up slowly. He passes her the ROMAN CANDLE, and she
          accepts it with her RIGHT HAND...
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    Just hold it straight up.
<b>          
</b>          Sam holds it and Jeremy flicks his LIGHTER. The WICK
          catches...
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    It's goin'!
<b>          
</b><b>                                                                   102.
</b><b>          
</b><b>          
</b>          Sam smiles and holds the stick as far away from her face as
          possible. She closes her eyes...
<b>          
</b>          But the wick burns down extremely fast. The FIRST BALL gets
          stuck at the top and implodes, causing the whole thing to
          catch fire.
<b>          
</b><b>                               SAM
</b>                    Ow!
<b>          
</b><b>                               JEREMY
</b>                    Drop it!
<b>          
</b>          He runs over and stamps it out as quickly as he can...
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    Fucking faulty one...
<b>          
</b>          Sam nurses her burned hand.
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    Are you okay?
<b>          
</b><b>                              SAM
</b>                    I think so...
<b>          
</b>          Jeremy inspects her hand -- there's a large BLISTER.
<b>          
</b><b>                              JEREMY
</b>                    You need to get that covered...
<b>          
</b>          Jeremy takes off his jacket. He then removes his T-shirt and
          starts to tear off a piece.
<b>          
</b><b>                              SAM
</b>                    What are you doing?
<b>          
</b><b>                              JEREMY
</b>                    It's okay...
<b>          
</b><b>          
</b><b>          EXT. BANK - NIGHT
</b><b>          
</b>          The bank sign shows 8:59 PM. The display flashes to: JULY 4,
          1995... It changes to the countdown: 00 DAYS, 00 HOURS, 00
<b>          MINUTES, 03 SECONDS... 02 SECONDS... 01 SECONDS...
</b><b>          
</b><b>          
</b><b>          EXT. WOODED GROVE NEARBY - NIGHT
</b><b>          
</b>          Jeremy finishes wrapping the piece of his T-shirt around
          Sam's hand, creating the MAKESHIFT BANDAGE.
<b>          
</b><b>                                                                 103.
</b><b>          
</b><b>          
</b><b>                              JEREMY
</b>                    How's it feel?
<b>          
</b><b>                              SAM
</b>                    A little better...
<b>          
</b>          The FIREWORKS suddenly begin, and fill the sky above the
          grove with bursts of bright, multi-colored lights. Sporadic
          METEORS rain down at the same time. It's magnificent.
<b>          
</b>          After a beat, Sam looks over at Jeremy...
<b>          
</b>          The fireworks illuminate his torso, and she is appalled to
          see that the raw, reddish RASH has spread to cover the
          greater part of it.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    Good God...
<b>          
</b>          Jeremy looks down as if he'd forgotten, then quickly picks up
          his jacket and puts it back on.
<b>          
</b><b>                              SAM (CONT'D)
</b><b>                        (ALARMED)
</b>                    Is that from the meteorite?
<b>          
</b><b>                              JEREMY
</b>                    I barely even notice it anymore.
                    I'm sure it'll go away soon.
<b>          
</b>          He zips up his jacket tight.
<b>          
</b><b>                              SAM
</b>                    Are you fucking kidding me?
<b>          
</b><b>                              JEREMY
</b>                    Do you think I'm disgusting?
<b>          
</b>          The question takes Sam by surprise.
<b>          
</b><b>                              SAM
</b>                    No... I just think you should get
                    it looked at-
<b>          
</b>          Before Sam can finish, Jeremy crams his mouth into hers for a
          forceful kiss...
<b>          
</b>          Sam shoves him away sharply.
<b>          
</b><b>                              SAM (CONT'D)
</b>                    What the hell are you doing?
<b>          
</b><b>                                                                   104.
</b><b>          
</b><b>          
</b><b>                              JEREMY
</b>                    So you do find me disgusting. Which
                    is it, Sam, I can't take much more
                    of this shit!
<b>          
</b><b>                              SAM
</b>                    Jesus Christ...
<b>          
</b>          He tries to grab her, but Sam turns and runs --
<b>          
</b><b>                                 JEREMY
</b>                    Come here!
<b>          
</b><b>          
</b><b>          EXT. WOODS - NIGHT
</b><b>          
</b>          Sam tears through the woods, Jeremy close behind her. The
          FIREWORKS CRACK and POP in the sky above...
<b>          
</b><b>                                 JEREMY
</b>                    Sam! Stop!
<b>          
</b>          Sam jumps over a fallen log in the dark... Jeremy hits it
          dead on with his shins and goes head over heels --
<b>          
</b><b>                                 JEREMY (CONT'D)
</b><b>                    FUCK!
</b><b>          
</b>          He picks himself up and charges even faster --
<b>          
</b><b>          
</b><b>          INT. JAIL CELL - NIGHT
</b><b>          
</b>          Tom sits alone in his jail cell, morose, staring at the
          floor. He looks up when he senses someone approaching...
<b>          
</b><b>          
</b><b>          EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - NIGHT
</b><b>          
</b>          Sam sprints by the area of Vietnam Tom's squatting ground.
          FIREWORKS continue to EXPLODE and shower overhead, and some
          PEOPLE can be HEARD LAUGHING and SHOUTING from the main
          parking area, not far away...
<b>          
</b>          Sam runs toward the VOICES --
<b>          
</b>          But Jeremy grabs her from behind and spins her around!
<b>          
</b><b>                              SAM
</b>                    Why are you doing this?
<b>          
</b><b>                              JEREMY
</b>                    I just wanna talk to you!
<b>          
</b><b>                                                                 105.
</b><b>          
</b><b>          
</b>          She struggles against his grip. The EXPLOSIONS and the RUCKUS
          from CROWD mask their noise.
<b>          
</b><b>                               JEREMY (CONT'D)
</b>                    Stop it!
<b>          
</b>          Sam raises her knee and connects hard with his groin. He
          starts to double over, but recovers quickly and smacks her
          across the face --
<b>          
</b><b>                              JEREMY (CONT'D)
</b>                    Fucking bitch!
<b>          
</b>          Sam is stunned, and Jeremy takes her by the shoulders and
          shoves her hard --
<b>          
</b>          Sam stumbles backwards and falls, cracking her head on the
          metal BUNNY MASK. She rolls over onto her back, REVEALING the
          SHARD OF METAL that protrudes from the GASH by her temple...
<b>          
</b>          She struggles no more.
<b>          
</b><b>          
</b><b>          INT. JAIL CELL - NIGHT
</b><b>          
</b>          Tom stands in his cell to meet the entity that approaches...
<b>          
</b><b>          
</b><b>          EXT. DEPARTMENT STORE - NIGHT
</b><b>          
</b>          Chris and the other Employees stop working and look up at the
          sky, now roiling with sinister, SUPERNATURAL CLOUDS...
<b>          
</b><b>          
</b><b>          EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - NIGHT
</b><b>          
</b>          Jeremy slowly creeps to where Sam lies... Her eyes are open
          and she is completely still.
<b>          
</b><b>                               JEREMY
</b>                    Sam?...
<b>          
</b>          Jeremy crouches beside her, and when he puts two fingers to
          her neck to feel for a pulse, he starts to tremble...
<b>          
</b>          The raining METEORS and FIREWORKS illuminate the SMOKE and
          the BLACK CLOUDS overhead...
<b>          
</b><b>          
</b><b>          INT. JAIL CELL - NIGHT
</b><b>          
</b>          Vietnam Tom walks up to the CELL BARS...
<b>          
</b>          He comes face to face with Sam.
<b>          
</b><b>                                                                  106.
</b><b>          
</b><b>          
</b>          She stares back at him through the bars from the other side.
          She wears her HOODED SWEATSHIRT and the BANDAGE. Light glints
          off the METAL lodged in her HEAD WOUND.
<b>          
</b><b>          
</b><b>          I/E. JEREMY'S BMW/LOOKOUT - NIGHT
</b><b>          
</b>          Jeremy speeds frantically down the hill, away from the
          parking area and the continuing fireworks display. Tears
          stream down his cheeks...
<b>          
</b>          He cuts the wheel when a pair of HEADLIGHTS blind him and a
          vehicle cuts him off. His car skids out, and he sees it's
          CHRIS' TRUCK that has almost hit him.
<b>          
</b>          Chris jumps out, yanks open Jeremy's door and grabs him by
          the shirt collar. He yells over the FIREWORKS:
<b>          
</b><b>                              CHRIS
</b>                    Where the hell is Sam?
<b>          
</b><b>                              JEREMY
</b><b>                        (FRANTIC)
</b>                    I don't know... I don't know...
<b>          
</b>          Jeremy stomps on the gas pedal, and Chris is forced to unhand
          him as his BMW navigates around the truck and barrels down
          the hill...
<b>          
</b><b>          
</b><b>          EXT. LOOKOUT, VIETNAM TOM'S SQUATTING GROUND - LATER - NIGHT
</b><b>          
</b>          As Chris approaches Vietnam Tom's squatting ground, the
          FIREWORKS DISPLAY is in the midst of the GRANDE FINALE.
          Showers of light BURST and CRACKLE in steady succession.
          PEOPLE SCREAM in approval from the parking area nearby...
<b>          
</b>          Chris comes upon Sam's lifeless form.
<b>          
</b><b>                              CHRIS
</b>                    No...
<b>          
</b>          He stoops by her, picks her up and hugs her limp body
          close...
<b>          
</b>          As he does this, Vietnam Tom approaches from behind him.
          Chris turns to face him but says nothing, still holding Sam.
          The WIND picks up and blows in gusts around them...
<b>          
</b>          Tom looks down at the two of them for a moment, then reaches
          down and picks up his BUNNY MASK. The EVIL GRIN is red with
          SAM'S BLOOD, and one of the teeth is missing...
<b>          
</b><b>                                                                    107.
</b><b>          
</b><b>          
</b>          The last of the fireworks display occurs, leaving the night
          full of SMOKE, HELLISH CLOUDS and an increasing number of
          bright-tailed METEORS -- the APOCALYPSE.
<b>          
</b>          Amongst the churning clouds, a tornado-like PORTAL cuts
          through the sky and touches down somewhere in the town. It's
          swirling and vast, stretching down from limitless space...
<b>          
</b><b>                              SAM (V.O.)
</b>                    15 days... 18 hours...
<b>          
</b>          Tom puts on the BUNNY MASK...
<b>          
</b><b>               SAM (V.O.) (CONT'D)                 VIETNAM TOM
</b>          45 minutes... 6 seconds...      45 minutes... 6 seconds...
<b>          
</b>          And focuses on a single METEOR that plummets toward the
          yawning VORTEX, using telekinetic power to guide it...
<b>          
</b><b>          
</b><b>          EXT. THE ETHER - NIGHT - POV INSIDE PORTAL
</b><b>          
</b>          The METEOR blazes through the WORMHOLE --
<b>          
</b><b>          
</b><b>          KEY SCENES IN REVERSE
</b><b>          
</b><b>          THE BARS TO THE JAIL CELL STRAIGHTEN --
</b><b>          
</b><b>          THE WORDS `THOMAS WARD SPARROW' ARE LIFTED FROM THE BOOKING
</b><b>          SLIP --
</b><b>          
</b><b>          SHOPPING CARTS SWIRL IN A DECONSTRUCTING SPIRAL --
</b><b>          
</b><b>          O'DELL GIVES TOM BACK HIS RIFLE --
</b><b>          
</b><b>          FATHER HOMEIJER PLACES BILLY MOORCROFT BACK IN HIS CAGE --
</b><b>          
</b><b>          SAM PICKS UP THE PAYPHONE --
</b><b>          
</b><b>          THE CHURCH REBUILDS ITSELF OUT OF FLAMES --
</b><b>          
</b><b>          THE THREE CROSSES IN IMITATION OF CALVARY RIGHT THEMSELVES --
</b><b>          
</b><b>          SAM'S FACE DIPS BENEATH THE SURFACE OF RANDY'S POOL --
</b><b>          TRANSITION TO:
</b><b>          
</b><b>          
</b><b>          EXT. BANK - NIGHT
</b><b>          
</b>          The clock on the BANK SIGN shows 3:30 AM -- then flashes to --
          JUNE 19, 1995... It changes again, this time to a countdown
          to the JULY 4TH FIREWORKS CELEBRATION: 15 DAYS, 17 HOURS, 29
<b>          MINUTES, 57 SECONDS... 56 SECONDS... 55 SECONDS...
</b><b>          
</b><b>                                                                   108.
</b><b>          
</b><b>          
</b><b>          INT. MOTEL ROOM 15 - NIGHT
</b><b>          
</b>          Sam awakens suddenly from a nightmare. She lies atop the
          blankets wearing a T-SHIRT and BOXER SHORTS. She looks over
          and sees Corey passed out on the other full-size bed.
<b>          
</b>          TWO PLASTIC CUPS, EMPTY SODA CANS, and the BOTTLE are on the
          nightstand between them, the liquor partially consumed. The
          CLOCK/RADIO reads 3:30 AM.
<b>          
</b><b>          
</b><b>          EXT. WINDMILL PLATFORM - NIGHT
</b><b>          
</b>          Vietnam Tom sits atop the platform, more than 30 feet up,
          wearing his ski mask and holding his rifle. The surface of
          the platform is littered with TATTERED CLOTHING, a WATER
          BOTTLE, CANS OF FOOD and SCRAPS OF A TARP.
<b>          
</b>          Relaxed and at peace, Tom looks up to the clear night sky. As
          a TREMOR starts to build, he takes off his ski mask and gazes
          out over his town...
<b>          
</b>          He smiles.
<b>          
</b>          Suddenly, there's a brilliant flash of GREEN LIGHT --
          deafening THUNDER -- a blinding EXPLOSION -- CUT TO:
<b>          
</b><b>          
</b><b>          CHARACTER MONTAGE
</b><b>          
</b>          Dusty sits and stares at his CELLAR DOOR... Trudy holds a
          PICTURE OF FATHER HOMEIJER and cries... Ruth snorts some COKE
          in her room... Jeremy scratches his LEFT FOREARM in his
          sleep... Billy Moorcroft shivers from the chill in his
          CAGE... Officer O'Dell sits alone in his patrol car,
          fingering the trigger of his PISTOL... TRANSITION TO:
<b>          
</b><b>          
</b><b>          EXT. FIELD BEHIND MOTEL - THE NEXT MORNING
</b><b>          
</b>          Where the towering windmill once stood is now only a CRATER
          about 5 feet deep and 10 feet in diameter, with charred bits
          of wood and metal strewn everywhere. Ground water spurts from
          the broken well seal.
<b>          
</b>          A cantaloupe-sized METEORITE sits in the center of the
          crater...
<b>          
</b>          Two FIREMEN haul out the meteorite as Sam and O'Dell arrive
          on the scene. There are PARAMEDICS, a CORONER and other
          POLICEMEN there as well, and a large area has been cordoned
          off with POLICE TAPE.
<b>          
</b><b>                                                                 109.
</b><b>          
</b><b>          
</b>          Corey is there looking on, as well as Chris Holt, Phil
          Coulter, and other local CITIZENS. TOM'S REMAINS are carried
          off in a BLACK BAG...
<b>          
</b><b>                              SAM
</b>                    Oh my God...
<b>          
</b>          Sam moves to stand by Corey. The overall mood is grim, and
          Frank stands peering at the wreckage with a long face.
<b>          
</b><b>                              FRANK
</b>                    I don't believe it...
<b>          
</b>          The Firemen drop the porous, misshapen clod by his feet.
<b>          
</b><b>                              FRANK (CONT'D)
</b>                    This is just a tragedy.
<b>          
</b>          Officer O'Dell steps up beside him and kicks the meteorite
          with his boot.
<b>          
</b><b>                              OFFICER O'DELL
</b>                    Sell that thing off to some
                    meteorologist nerd club, I bet you
                    could do okay.
<b>          
</b><b>                              FRANK
</b>                    Do I look like the type of guy
                    that's gonna try and profit off
                    another man's death? You should be
                    ashamed of yourself.
<b>          
</b><b>                              OFFICER O'DELL
</b><b>                        (EMBARRASSED)
</b>                    I was just sayin'...
<b>          
</b>          Sam looks down on the ground and sees Tom's multi-colored SKI
<b>          MASK...
</b><b>          
</b>          She picks it up.
<b>          
</b><b>                              COREY
</b>                    What are you doing?
<b>          
</b>          As she caresses the fibers with her fingers, she is filled
          with unwarranted emotion...
<b>          
</b><b>          
</b><b>          EXT. MOTEL - MORNING
</b><b>          
</b>          Sam and Corey are on their way back to the motel room when
          they turn and see that Chris has followed them.
<b>          
</b><b>                                                                 110.
</b><b>          
</b><b>          
</b><b>                                 CHRIS
</b>                    Hey...
<b>          
</b><b>                                 SAM
</b>                    Hey.
<b>          
</b><b>                              CHRIS
</b>                    So you guys stayed here last night?
<b>          
</b><b>                              COREY
</b>                    One of us did.
<b>          
</b>          Sam gives Corey a look. Chris decides to ignore the comment.
<b>          
</b><b>                              CHRIS
</b>                    What's up with your car?
<b>          
</b><b>                              COREY
</b>                    It's gonna take a couple days.
<b>          
</b><b>                              CHRIS
</b>                    For a water pump?
<b>          
</b>          Sam and Corey shrug.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    It's none of my business, but...
<b>          
</b>          He's distracted when JEREMY'S BMW pulls up and parks. He hops
          out and hustles across the field toward the crash site...
<b>          
</b><b>                                 SAM
</b>                    What?
<b>          
</b>          Chris regains his train of thought:
<b>          
</b><b>                              CHRIS
</b>                    I was just gonna say, if you
                    wanted, I could give you a ride
                    back.
<b>          
</b>          He looks right at Sam when he says this. He then glances over
          at Corey, as if just remembering that she were there.
<b>          
</b><b>                              CHRIS (CONT'D)
</b>                    You too. I mean, I could give you
                    both a ride.
<b>          
</b><b>                              COREY
</b>                    To Middlesex, Virginia? Do you-
<b>          
</b><b>                              SAM
</b><b>                        (INTERRUPTING)
</b>                    I'll go.
<b>          
</b><b>                                                                 111.
</b><b>          
</b><b>          
</b><b>                              COREY
</b><b>                        (PISSED)
</b>                    What?
<b>          
</b><b>                              SAM
</b>                    I think I wanna go.
<b>          
</b><b>                              COREY
</b>                    Things get a little tough, you're
                    just gonna give up?
<b>          
</b><b>                              SAM
</b>                    It's not like that... You should
                    come too.
<b>          
</b><b>                              COREY
</b>                    Fuck that. I'll wait for my car and
                    stick to the plan. Do whatever the
                    fuck you want.
<b>          
</b>          Corey turns and goes inside the room.
<b>          
</b><b>                               SAM
</b>                    Corey...
<b>          
</b>          Sam looks back to Chris, who is uncomfortable for causing the
          conflict.
<b>          
</b><b>                              CHRIS
</b>                    Sorry to screw you guys up.
<b>          
</b><b>                              SAM
</b>                    It's alright. She can take care of
                    herself... she's good at it. I've
                    gotta go home.
<b>          
</b><b>          
</b><b>          INT. FRANK'S BARN - DAY
</b><b>          
</b>          The METEORITE sits in a dark corner of the barn, collecting
          dust...
<b>          
</b><b>          
</b><b>          INT. CHRIS' TRUCK - DAY
</b><b>          
</b>          Sam leans her head against the window of Chris' truck as they
          cruise along the highway...
<b>          
</b>          She gazes up at the bright, open sky.
<b>          
</b><b>          
</b><b>          
</b><b>          THE END
</b>

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	<td><h1>S. Darko</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Nathan Atkins" title="Scripts by Nathan Atkins">Nathan Atkins</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Crime" title="Crime Scripts">Crime</a>&nbsp;&nbsp;<a href="/genre/Mystery" title="Mystery Scripts">Mystery</a>&nbsp;&nbsp;<a href="/genre/Sci-Fi" title="Sci-Fi Scripts">Sci-Fi</a>&nbsp;&nbsp;<a href="/genre/Thriller" title="Thriller Scripts">Thriller</a><br><br><br>
		
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Who stays at the end and with whom and who decides to go back?
Who stays at the end and with whom and who decides to go back ?
corey stays with randy at the end and samantha decides to go back.
corey stays with randy at the end and samantha decides to go back .
Corey stays with Randy and Samantha leaves 
Corey stays with Randy and Samantha leaves