Frameshift: Good Enough

Frameshift: Good Enough
TEASER

INT. HALLWAY (FLASHBACK)

A dim, dank hall. YOUNG JOSH stumbles along, barely on his feet, a large patch of blood
around one shoulder. He looks back, face screwed in terror.

GRRRRR! ARF! TWO GERMAN SHEPHERDS on leashes lunge and bark at Young Josh. A GUARD
holds them barely in check.

At the end of the hall, an open door. Young Josh stumbles through into...

INT. CELL-CONTINUOUS (FLASHBACK)

One dog leaps and gets hold of Young Josh's ragged clothes.

Young Josh struggles, whimpers a minute before the clothes tear. He falls to the
ground, and the Guard drags both dogs from the room, pulling the door shut after him.

Young Josh lies on the ground, shaking a minute, sits up slowly. He looks around the
room: windowless, moist, a bucket in the corner, a thin mat in another. Josh sobs.

INT. THERAPIST'S OFFICE-DAY

JOSH SHEPHERD, 17, sits in an armchair across from DR. JACKSON in an identical chair.
Josh smiles at him and shakes his head.

JOSH
No, sleep's been fine.

Dr. Jackson writes something on a notepad.

DR. JACKSON
You know, Josh, this is your second visit. And you haven't
told me anything.

Josh shrugs.

JOSH
Sorry, I guess I don't have any deep seated emotional issues.

DR. JACKSON
I think we both know that's not true.

JOSH
We do?

Dr. Jackson leans forward.

DR. JACKSON
It's been all of a couple of months since you came back from
a ten year disappearance with no memory of where you were.
Your father's dead, your mother's dating a new man, and
you've been launched back into school and life with no
answers. You're telling me everything's fine?

JOSH
No, Dr. Jackson. What I'm telling you is, I don't have
anything I'd like to talk about.

DR. JACKSON
With me?

JOSH
With anybody. It's not personal.

DR. JACKSON
You know, you're very well spoken considering your memories
make you all of seven years old. That's a bit odd.

Josh nods.

JOSH
It is, isn't it? Also, it's seven and three-quarters.

Josh stares at Dr. Jackson, who stares back. Dr. Jackson looks away first.

DR. JACKSON
When you want to talk, Josh, I am here.

Josh eyes darken.

JOSH
You know, the last guy who said that to me turned out to be a
psychotic serial killer. Might want to avoid hookers and
postal routes.

Josh glances at his watch.

JOSH (CONT'D)
Oh. Guess that's time, isn't it?

INT. MALL-DAY

Josh and Sara walk through the mall, past shops and people, staring in at windows. They
pass a cotton candy stand.

JOSH
Spun sugar? Everybody loves a root canal for their birthday.

SARA
No, I want something nice. Mom deserves it. She's been
through a lot lately.

JOSH
What do you mean?

Sara finds an interesting thread on her sleeve.

SARA
Nothing, really. It's not a big deal. She should just have a
happy birthday.

JOSH
As opposed to an apocalyptic, Antichrist brings the cake sort
of birthday?

Sara laughs.

SARA
Sure. You know, you should really stop hanging around Noah so
much. Slipping the Antichrist into conversation's his thing.

JOSH
What's mine?

SARA
Gee, I don't know. Actually seeing the Antichrist?

JOSH
Ah, right. Forgot. Next time he's in town we'll do something.
Bocce or something.

SARA
Bocce?

JOSH
Or croquet. He's a fan of lawn games. No grass in the eternal
fires of damnation. And, Hitler's butt makes a crap wicket.

SARA
Noah's turf again.

Josh puts his hands up.

JOSH
Sorry. I'll stick to pointing out psychos in the crowd and--

They pass a toy store. The sound washes out and the mall blurs around Josh.

INT. MALL-DAY (VISION)

A boy of six approaches the cotton candy stand and stares at the multi-colored sweets.

A group of people with shopping bags pass. The boy is gone. The scene swirls away.

INT. MALL-DAY

Sara nudges Josh. He turns to look at her, suddenly pale, eyes wide. Sara nods at the
toy shop's display.

SARA
And what? Are Furbies really that interesting?

Josh glances at the display.

JOSH
No, I was just-- Nevermind.

SARA
Are you okay?

Josh glances back at the cotton candy stand. No kid, no shoppers. All's well. He shakes
his head slightly.

JOSH
Yeah, fine.

Josh turns away, they begin walking again.

They pass a jewelry store. Sara stops, stares in the window at a very nice necklace.
Josh stares at it, too.

JOSH (CONT'D)
A necklace?

Sara shakes her head.

SARA
Not a necklace. The necklace. Mom wanted it at Christmas, but
my dad didn't get it... For her, anyway. Come on.

At "For her, anyway", Josh glances at her. No time to ask--

Sara grabs his hand and leads him into--

INT. JEWELRY STORE-DAY

Sara and Josh approach the counter. A CLERK fawns at them.

CLERK
Good afternoon. May I help you?

Sara turns and points at the necklace in the window.

SARA
Yes. How much is that necklace?

The clerk goes to the window and removes the necklace. A WOMAN in her 30's enters with
a boy of about six. The boy from Josh's vision.

Josh glances at the woman and boy, does a double take. He watches as the woman
approaches a display case, then turns back.

CLERK
Very good taste, Miss. 131 round-cut diamonds in a three
prong setting of 14 karat white gold. And you're in luck.
It's on sale. Only 4.

Sara's eyebrow raise at the price. She smiles.

SARA
There's, like, no chance you mean hundred, is there?

The clerk smiles smugly, shakes his head.

CLERK
None, Miss.

Sara stares at the necklace longingly.

SARA
I can't afford that.

The clerk slides the necklace off and beneath the counter.

CLERK
Yes. Well, then. Let's see what you can afford, we have very
nice collection of things under a 100....

INT. MALL-DAY

A MAN stands at the store window, peering in at Ms. Davis and Eric. He's unkempt with a
three day beard, second hand clothes.

The woman peers closer at something under glass, and the boy wanders away from her,
towards the exit.

Eric walks out of the store, towards the cotton candy stand.

The man follows.

INT. JEWELRY STORE-DAY

Sara sighs and finally points at another necklace, noticeably plainer than the first.

SARA
That one, I guess.

The clerk nods and takes it from the case.

Josh glances back over his shoulder again, towards the woman and her boy. No boy.

CLERK
And would you like it gift wrapped?

Josh looks back at Sara.

JOSH
Sara, did you see a kid? A boy, about six?

SARA
In here? No. Why?

The woman, panicked.

WOMAN
Eric? Eric?!

The woman rushes up to the counter and the clerk.

WOMAN (CONT'D)
Did you see a little boy? He was just here.

The clerk looks around, shakes his head.

CLERK
No, ma'am.

Ms. Davis stares about the store.

WOMAN
Eric!

Josh steps toward her. He puts his hands on her shoulders and looks her in the eye.
Definitely not a seven year old.

JOSH
Ma'am, just calm down, okay? Just a second. I-- I think I saw
him wander out. He's probably in the toy store next door,
right? Let's just go have a look, okay?

INT. MALL-DAY

Sara and the woman turn away from the MANAGER running the cotton candy stand.

Josh is staring at where Eric was in his vision.

The woman looks around once again. Her eyes land on the back of the man, slipping along
the walls and edges of other groups, leading the boy towards the exit. She squints.

WOMAN
Richard?

The man/RICHARD freezes, looks over his shoulder. The boy turns around and sees his
mom. He waves and smiles.

BOY
Hi, Mommy!

The woman runs after--

MS. DAVIS
Richard!

Richard turns around and lifts Eric up, pushes through the crowd and out the exit.

Sara and Josh take off after the woman and Richard. They push through the crowd and out
the exit to--

EXT. MALL-CONTINUOS

A rusted old car roars and peels out.

Richard and the boy are nowhere to be seen. The woman looks at Josh and Sara, as though
for the first time. She cocks her head at--

WOMAN
Sara?

INT. KINNIT'S OFFICE-DAY

A soft knock on the door frame. DETECTIVE TOM KINNIT closes a file and looks up. A man
in a dark suit (AGENT DONAHUE) at the door.

DONAHUE
Detective Kinnit?

Kinnit stands.

KINNIT
Yes. What can I do for you, Mr...

Kinnit extends his hand. Donahue ignores it.

DONAHUE
I'm Special Agent Donahue, FBI.

KINNIT
Oh, right. Sorry. We don't need the help anymore we caught
him on our own. That was a month ago. Kinda took your time.

Donahue smiles back, but it's cold.

DONAHUE
That's not what I'm here for, Detective.

KINNIT
No?

Donahue shakes his head.

DONAHUE
No.

Donahue reaches inside his coat, pulls out a piece of paper. He passes it to Kinnit.

DONAHUE (CONT'D)
What I've got here is a 215 order, telling you to hand over
all notes, data, and evidence relating to an unidentified
fingerprint recovered from Keene High School on the fifth.

Kinnit stares at the form. He looks up.

KINNIT
This a joke?

Donahue smiles and moves closer.

DONAHUE
No, Mr. Kinnit. I can assure you it's nothing of the sort.

Donahue snatches the paper back. He flashes a quick smile.

DONAHUE (CONT'D)
Now, if you'll just show me to the evidence room, my team and
I can take it from there.

INT. POLICE STATION, EVIDENCE ROOM-DAY

Kinnit holds the door as THREE FEDS walks past him carrying boxes of files. With the
last, Kinnit slips a foot our and trips him. The box and the Fed tumble to the floor.

KINNIT
Oh, sorry. Let me help you.

Kinnit quickly takes files from the floor and shoves them back into the box. He picks
up a bag holding a knife with dried blood on it. Kinnit slips it inside his coat.

The Fed picks up the box, glares at Kinnit, and continues on. Kinnit gives a wave.

KINNIT (CONT'D)
Sorry about that.



END OF TEASER
ACT ONE

EXT. CAFE-DAY

Kinnit sits at an outdoor table. He takes a sip of coffee, looks up. ELLA FISHER stands
in front of him, holding a piece of paper.

FISHER
"Meet me at noon. Come alone?" When did you become James
Bond?

Fisher sits down.

KINNIT
About the same time that third print came up classified on a
search and the FBI confiscated it.

Fisher frowns, leans forward.

FISHER
What? They just took a print? The entire record?

Kinnit nods.

KINNIT
Like it never existed. My notes, the evidence the print was
on. Everything. Except this.

Kinnit reaches inside his coat, comes out with the knife.

KINNIT (CONT'D)
It hasn't been processed yet. No one was in much hurry to
catch a serial killer's assailant.

Fisher takes the knife, stares at it.

KINNIT (CONT'D)
If this third guy did attack Keegan, there might be a usable
print. Can you lift it?

Fisher looks up. She slides the knife back across the table.

FISHER
I could. But I won't.

Kinnit stares at Fisher, puzzled.

KINNIT
What? You won't? This could be important.

Fisher sighs.

FISHER
Look, Tom, I've got a daughter. And I don't think poking
around in federal matters is the best way for me to keep a
roof over her head. I'm not going to risk it.

KINNIT
This isn't federal. Feds don't just take evidence. They ask
for copies, they borrow it. There are forms. These guys came
with a 215. A terror warrant. I'm not even allowed to tell
you this happened.

FISHER
Did you stop to think that maybe this is terror related?

Kinnit scoffs.

KINNIT
Yeah, because we all know Osama bin Laden's the Green
Lantern, and when he's not plotting bombings or on dialysis
he's catching serial killers in small towns in the Pacific
northwest. Silly me.

FISHER
Why do you care? 3 weeks ago, you didn't want to think a
serial killer was on the loose. Now you want what? A
government cover-up? A conspiracy?

KINNIT
I don't know what I want. All I know is something was wrong.
Those guys weren't FBI.

Fisher shakes her head.

FISHER
I'm sorry, Tom. I can't help.

KINNIT
Ella, wait--

But Fisher's up and walking away.

EXT. ROOFTOP-DAY

Through binoculars. Track Fisher as she walks away, swing back to Kinnit, who slips the
knife back into his coat.

INT. MALL, BACK HALL/SECURITY OFFICE-DAY

Josh and Sara stand outside a room with a window. Ms. Davis talks to a POLICE OFFICER.

JOSH
What's going on? Who was that guy? Who's she?

Sara shrugs.

SARA
Her husband, I think. Or ex-husband. She's Ms. Davis. I
forget her first name. Beth or Barbara, something with a "B".
They were family friends for awhile. She divorced and they
just kind of stopped coming round. It's been a few years.

JOSH
He kidnapped his own kid?

SARA
It looks like it.

The police officer stands and exits the room, leaving Ms. Davis sitting there in tears.

Josh stops the police officer.

JOSH
What's going on? Will you be able to find him?

The police officer shrugs.

POLICE OFFICER
Nothing we can do. He's got custody over the weekend. He
hasn't broken any law. If he's planning to run, he'll have a
hell of a headstart.

The police officer continues past Josh, leaves.

Sara scoffs.

SARA
That's a load of bull. He kidnapped Eric. You were there.
Grungy clothes, squealing tires. Duh.

Sara looks in at Ms. Davis.

SARA (CONT'D)
I'm going to check on her.

JOSH
Do you need anything? Water or...?

Sara shrugs.

SARA
I think she just needs a shoulder.

She turns to enter the room. She turns back and grabs Josh's elbow.

SARA (CONT'D)
Wait! I left my mom's present at the jewelry store. Can you
pick it up for me?

JOSH
Yeah, of course.

EXT. B&B PARKING LOT-DAY

A car rolls to a stop in a gravel lot. ADRIENNE SHEPHERD and DAN KENDALL get out.
Adrienne stares up at the bed and breakfast. It's a beautiful old house, surrounded by
trees.

Dan puts his arm around Adrienne.

ADRIENNE
Oh, Dan. This is beautiful.

Dan shrugs.

DAN
Two year anniversary. Cotton. They've got cotton sheets.

Adrienne kisses Dan.

ADRIENNE
Thank you. Everything with Josh, a weekend away will be good.

DAN
Go check in, I'll get the bags.

Adrienne heads inside while Dan opens the trunk of the car.

He pulls out one bag, then leans into the trunk.

He opens a side pocket on the other, takes out a ring box.

Dan slips it into a pocket, pulls the last bag out, and closes the trunk.

INT. JEWELRY STORE-DAY

Josh enters and approaches the counter. The clerk is speaking to a RICH WOMAN in
expensive clothes and jewelry.

The clerk ignores Josh completely. Josh clears his throat.

The clerk smiles apologetically.

CLERK
Excuse me, ma'am. Just a moment.

The clerk goes to Josh. He takes a wrapped box from under the counter.

CLERK (CONT'D)
Here. Now, I'm going to get back to real business.

Josh reaches into a pocket.

JOSH
Actually...

Josh's wallet is out. He takes out the black Amex.

JOSH (CONT'D)
I am real business.

He slides the card across the counter to the dumbfounded clerk.

JOSH (CONT'D)
I'd like that necklace in the window. The one my friend was
looking at earlier.

The clerk snaps on his best simper-smile and takes the card.

CLERK
Of course, sir.

INT. JOSH'S ROOM-DAY

Josh enters his room and closes the door.

He goes to his dresser, opens a drawer. He takes a DRAWING PAD from on top of clothes
and sits down at his desk.

He flips through the pages. The drawings are of PAGET'S OFFICE, the CELL, WENDY McKEE,
LILY CONLEY. They are all good. He turns to a fresh page.

Josh begins drawing.

Vague lines at first, then slowly, taking shape. A hall.

The mall. The cotton candy cart. Eric Davis and the blur of shoppers.

INT. CELL (FLASHBACK)

Young Josh lies on the mat. Flies buzz around the bucket.

Heavy FOOTSTEPS. Young Josh stares at the door. A slot in the middle opens up. A tray
is shoved through, spatters mushy food on the floor. A chuckle, then--

GUARD
No one's coming. No one cares. Get used to it.

The slot slams shut.

INT. JOSH'S ROOM-NIGHT

Josh's head snaps up from the desk. He stares down at the sheet of paper.

A pencil drawing of the mall. Eric Davis looking over his shoulder, back out of the
picture. At Josh.

GUARD (V.O.)
(echoes)
No one's coming.

Josh continues to stare.

GUARD (V.O.) (CONT'D)
(echoes)
No one cares.

Josh flips the drawing pad closed.

EXT. MS. DAVIS' HOUSE-NIGHT

Josh walks up the path to the house. Lights are on inside. Josh gets to the door, stops
dead a few feet away. It's half open. Just inside, a shattered lamp.

Josh approaches the door carefully. He toes the door open while still outside. Gazes
down the hall at pictures askew, furniture knocked over.

INT. MS. DAVIS' HOUSE, FRONT HALL-NIGHT

Josh steps inside, careful not to step on anything. He picks his way to the first
doorway he finds. He peers around the corner, into...

INT. MS. DAVIS' HOUSE, LIVING ROOM-CONTINUOS

More disarray. Couches overturned, lamps and decoration knocked over.

MS. DAVIS
Ughhh....

Josh abandons caution and dashes into the room. He looks over the couch, finds Ms.
Davis lying on the floor behind, bruised and bloodied.

INT. APARTMENT BUILDING, 2ND FLOOR-NIGHT

Kinnit comes up the staircase with a bad of groceries, into a small hallway, a few
doors line it. One is open, light spills out. He stops dead and listens.

CLATTER. Soft, barely audible, but there. Kinnit tenses up and slowly sets the
groceries on the ground. He draws his gun from a shoulder holster, approaches his door.

He peeks round the doorway inside. A table by the door is turned over, drawer yanked
out and tossed, papers strewn. A lamp lies on its side, casting long shadows. Kinnit
steps inside--

INT. KINNIT'S APARTMENT, HALLWAY/LIVING ROOM-CONTINUOUS

He steps quietly down the hall, avoiding the tossed papers, silent. He reaches the end
of the short hall, the living room. He peers round the corner, across the room at
another doorway into the kitchen.

A man, all in black, steps quickly by and Kinnit shoots back out of sight. He takes a
deep breath, then peers back around.

The man is going through a cabinet, knocking plates and cups about. Kinnit steps into
full view, aims his gun right at his chest.

KINNIT
Freeze!

The man looks quickly over his shoulder and darts out of the doorway. Kinnit sprints to
the doorway, pauses a second, then enters the kitchen, gun up.

BANG! Kinnit backs out quickly as the sidejamb is turned to splinters.

Kinnit ducks behind the couch, gets his gun up. He aims at the doorway, lowers his gun
an inch. Then he switches, aiming along the wall, about chest high. He fires fives
shots along it. A cry of pain.

Kinnit pops up and runs to the doorway, moving in, covering the area with his gun. He
freezes, lowers it.

Nothing. An open window, blood along the tile floor, no guy. Kinnit goes to the window
and looks out. No fire escape, no pipes, just a two story drop (gotta be some sort of
building violation).

And a man, all in black, limping fast away.

INT. HOSPITAL ROOM-NIGHT

BEEP... BEEP... BEEP....

Josh sits next to the bed, staring at Ms. Davis, bandaged and out cold. He's tense,
barely contained anger, whether at himself or who did this doesn't matter.

The door opens. Sara inches inside. She notices Josh and her eyebrows arch.

SARA
What are you doing here?

JOSH
Feeling useless, mostly. You?

SARA
It's big news. One of my mom's friends called about it. I
thought it might be something to do with-- Hang on, why ARE
you here? You don't know my mom's friends.

Josh is quiet a second, then...

JOSH
I thought I could help find Eric. Before his dad took him, I
had a... Vision.

Sara sighs, and takes a chair next to Josh.

SARA
A vision? I thought it was just real-time.

JOSH
So did I.

Sara gets a little louder.

SARA
But what makes you think you could find him?

JOSH
Do you not recall the serial killer a few weeks ago?

SARA
That was different. That was--

Ms. Davis groans and shifts in bed. Josh gets up and--

JOSH
Come on, not in here.

Leads Sara out to...

INT. HOSPITAL HALLWAY-CONTINUOUS

He stops right outside and leans in close to Sara, whispering frantically.

JOSH
That was what? Really, tell me. What was it? 'Cause I've been
thinking about it all the time since, and I still don't know.
So enlighten me. What was it?

Sara recoils at the barrage, bites her lower lip.

SARA
Josh... You don't know what it is, what it means. What if
these visions aren't good? You could get hurt. Maybe that's
the point.

JOSH
To hurt me? Whoever's responsible for this already shot me
three times. This seems a little subtle for them, doesn't it?

SARA
I just don't think you should be rushing into all this. Calm
down. Think first.

Josh finally explodes.

JOSH
That's all I've been doing. Thinking about who shot me, who
put these things in my head. Why they did it. Why my dad has
to be dead, why I lost ten years. All I can do is think, and
it's driving me crazy. I need to--

Josh stares past Sara fixedly.

SARA
You need to what? Josh?

Josh continues staring. Sara looks round.

Richard Davis has stepped off the elevator. He has flowers. He stares down the hall at
Josh, past bustling nurses and nervous families.

Davis spins and sprints down the hall, knocking over a janitor's cart on the way.

Josh is right behind him.

INT. HOSPITAL STAIRWELL-NIGHT

Davis rushes down the stairs, hopping two, three at a time.

Josh bursts through the door and stares over the railing. Davis is already a few
flights down. Josh sprints down the stairs, vaults over railings.

Davis reaches the ground floor and crashes through the exit double doors.

Josh arrives seconds later and throws himself at the doors. They hold fast, knock Josh
back. Josh stares at them.

VISION-THROUGH DOORS ON THE OTHER SIDE, AN EXTENDABLE BATON JAMMED THROUGH THE HANDLES.

Josh looks up, eyes the doors, then lashes out, slams his foot against the door dead
center. It crashes open.

EXT. HOSPITAL, REAR-NIGHT

Josh runs along the back of the building, past a Dumpster. He comes to the corner.

WHAM!

Davis pops out from behind the Dumpster, slams his fist into Josh's stomach.

Josh coughs hard and drops like a sack.

INT. HOSPITAL HALLWAY-NIGHT

Sara approaches a bouquet of flowers lying on the floor. She picks it up, removes a
folded sheet of paper. She reads it, and her eyes widen.

EXT. HOSPITAL, REAR-NIGHT

Davis circles Josh. Josh groans on the ground, lies in a fetal position

DAVIS
Who are you? Why are you following me?

Josh groans and sits up. He stares up at Davis, whose eyes are wild, scared.

JOSH
You kidnapped your son. Beat up your wife.

Davis stops pacing. He gazes at Josh.

DAVIS
I didn't hurt Beth.

JOSH
Oh, so coincidence that burglars hit the same day you kidnap
your kid. That's some bad karma.

DAVIS
You don't understand.

Josh gets slowly to his feet. He stares into Davis' eyes.

JOSH
You kidnapped your child. You beat the hell out of your wife.
I think I understand fine.

Davis shakes his head.

DAVIS
No. You don't understand what's going on. I have to do this.
I don't have a choice.

POLICE SIRENS. Josh shrugs, pulls his cell phone from his pocket, shows it to Davis.
The screen reads: 911.

JOSH
Neither do I.

Davis stares at Josh a second, murder in his eyes. He turns and runs instead.

Josh stares after Davis. He's already gone. Josh turns to head back, stops.

On the ground, discarded by the open Dumpster: a wallet. Josh picks it up.

Inside, a driver's license: RICHARD DAVIS, 174 POTTER AVE., APT. 2E.



END OF ACT ONE

ACT TWO

INT. B&B, DINING ROOM-NIGHT

Adrienne sets down her silverware. Dan sits across from her.

DAN
I knew you'd like the salmon.

An ELDERLY WOMAN approaches the table.

ELDERLY WOMAN
Is everything okay here? Would you like some coffee?

Dan looks to Adrienne. She shakes her head.

DAN
No, thanks.

Dan smiles at Adrienne.

DAN (CONT'D)
We're fine.

The woman leaves. They're quiet a moment. Dan fidgets a bit.

ADRIENNE
Something wrong?

Dan smiles.

DAN
I don't know how to say this.

Adrienne smiles nervously.

ADRIENNE
What do you want to say? I might be able to help. I was an
English major.

Dan shakes his head.

DAN
Not likely.

Adrienne's smile fades.

ADRIENNE
You're not breaking up with me? During a getaway? That's just
bad planning.

Dan sighs.

DAN
I'm not-- I'm not breaking up with you. I'm... Oh hell-- I'm
proposing.

ADRIENNE
Proposing what?

Adrienne takes a second before her eyes widen, and...

ADRIENNE (CONT'D)
Oh... Really?

Dan reaches into his coat and takes out the box. He reaches across the table and opens
it.

DAN
Really. Adrienne, will you marry me?

Adrienne lifts the box and stares at the ring. She looks up at Dan, smiling.

ADRIENNE
Well, of course. But...

DAN
But what?

Adrienne smiles.

ADRIENNE
What took so long?

INT./EXT. NOAH'S CAR/BRECKENRIDGE APARTMENTS-NIGHT

Noah pulls to a stop near the entrance to the building; it's dingy and rundown. Noah's
is driving in plaid pajamas.

JOSH
You know, you could have just given me the keys.

NOAH
Last time I did that, I ended up emptying bedpans at the
hospital to pay for a new transmission. They're not just for
puke, you know.

JOSH
I said I was sorry.

Noah's eyes go far away.

NOAH
Tell that to Agnes Wilson's bedpan. I'm not even sure what
was in that.

JOSH
When I get out, drive away, park a block down. If I'm not out
in fifteen minutes, go to the police.

NOAH
That's not a little paranoid?

Josh shrugs.

JOSH
Doesn't make me wrong.

Josh gets out of the car leaving Noah looking worried.

INT. BRECKENRIDGE APARTMENTS, HALLWAY-NIGHT

Josh walks down the hall. Dirty tiled floors, water-stained walls. Music blares through
paper-thin walls.

Josh stops outside apartment 2E. There's just a dirty outline where the "E" used to be.

Josh knocks. The door swings open. Josh steps inside...

INT. RICHARD'S APARTMENT-CONTINUOUS

Josh steps into an open room. The floor is rotting wood, more dirty walls, thin
curtains on dirty windows.

A cheap futon sits against one wall, a battered television on a milk crate against
another. Another door leads from the room. Josh goes through, into...

INT. RICHARD'S APARTMENT, ERIC'S ROOM-CONTINUOUS

This room is completely different. Thick carpet, a bed, freshly painted walls, toys all
around. Josh goes to the bed.

On it, a folder. Josh opens it. Brochures for British Columbia, Vancouver, Anchorage.
Josh flips through them, past ones on kid's activities there. He pages past those,
freezes.

Josh pulls a single sheet of paper from the folder. A receipt from KEENE HARBOR MARINA
for a 56 foot boat slip.

INT. NOAH'S CAR-NIGHT

Noah stares down at his phone. 911 is already entered. Noah's thumb hovers over SEND.

Noah glances at the clock.

NOAH
Come on, Josh.

KNOCK, KNOCK!

Noah jumps and lets out a yell. A HOMELESS MAN in ragged clothes grins through the
window. He's got a squeegee and a squirt bottle.

Noah sighs, shakes his head.

NOAH (CONT'D)
No, thanks. I'm good. Not a fan of the spit shine.

The Homeless Man nods his head. He squirts. The water's a little... sticky.

NOAH (CONT'D)
Oh, no...

The passenger door opens. Josh climbs in.

Noah glances at the Homeless Man squeegeeing the windshield.

NOAH (CONT'D)
You couldn't have been, like, two seconds quicker?

EXT. FISHER'S HOUSE-NIGHT

The alarm on Fisher's car BEEPS. Fisher and her daughter, eight year old JAMIE, walk
toward the front door of a nice, cozy home. They have ice cream cones.

JAMIE
Mommy?

They reach the front door. Fisher searches for her keys.

FISHER
Yeah, honey?

JAMIE
Can we go to the park tomorrow?

Fisher finds the key, slips it in the lock.

FISHER
Sure, honey, as long as Mommy doesn't have to work.

JAMIE
And feed the ducks?

FISHER
If I don't have to work, absolutely.

Fisher unlocks the door, opens it. She looks up and drops her ice cream cone.

JAMIE
Mommy?

The hall is ransacked. Shelves are knocked over, holes are punched in walls, papers and
other knick knacks are strewn all over. Fisher stares at the mess a moment, then turns,
pulls Jamie after her towards the car.

She puts Jamie in the car.

FISHER
Now, Jamie, I want you to stay right there, okay?

Jamie nods.

FISHER (CONT'D)
Good girl.

Fisher closes the door and walks back to her front door. She takes out her cell phone
and dials a number, and stares inside at the mess.

FISHER (CONT'D)
Tom? You busy?

INT./EXT. NOAH'S CAR/MARINA LOT-NIGHT

Noah pulls to a stop outside the Marina. Josh and Noah stare at the locked gate, a
guard booth next to it.

NOAH
What're you going to do?

Josh shakes his head.

JOSH
I don't know. Stop him.

NOAH
How? I mean, shouldn't we call the cops?

Josh, too quickly:

JOSH
No.

NOAH
But we know where he is, what he's going to do. Why risk it?

Josh stares at his lap.

JOSH
Noah, I've got to do this. I don't have a choice.

Josh climbs out of the car. Noah watches him approach the guard's booth.

NOAH
There's always a choice. And I'm talking to myself. And I
sound like a fortune cookie. In my pajamas. Buddha in a Benz.
People would pay for that service. Okay, stop.

Josh arrives at the guard's booth, knocks on the window.

JOSH
Excuse me, can I get some help?

Josh looks inside the guard's booth.

A SECURITY GUARD, his back to Josh, head down on a keyboard. Josh looks closer.

Two red bullet holes in his back. Josh's eyes go wide.

JOSH (CONT'D)
Oh, hell.

But let's not be smart. Josh takes a deep breath, and climbs through the half open
window, into...

INT. MARINA, SECURITY BOOTH-CONTINUOUS

He inches toward the guard.

Josh closes his eyes and grabs the guard's shoulders on either side, pulls him back to
a seated position. The guard topples off the chair. Josh stares at the man.

JOSH
Uh, sorry.

The keyboard is covered with blood. Josh takes tissues from a nearby box and searches
for "RICHARD DAVIS". It returns a slip, "F-20".

Josh tosses the tissues in the trash, and takes a last, pained look at the guard.

JOSH (CONT'D)
Sorry again.

EXT. DOCK-NIGHT

Josh walks along the dock, counting the slips. Boats creak in their slips, birds caw,
the wind whistles, water slaps. Josh is tense, watching everything.

The boat in F-20 barely fits. It's closer to 60 feet and christened "Seaweed Paste".
It's a yacht, modern, gleaming, exuding the paragon of luxury.

Josh stops, stares at the boat.

JOSH
Pretty good for a deadbeat dad.

Josh approaches the yacht slowly, grabs onto the side and pulls himself aboard...

EXT. SEAWEED PASTE-NIGHT

Off the port bow. He crouches, creeps along the deck to the cabin, finds a porthole,
and peers in the window.

Nothing.

DEEDLY-DEE, DEEDLY-DEE! Josh's phone rings. He snatches it from a pocket and answers it
quickly.

JOSH
Really bad time, Sara.

SARA (V.O.)
Josh, hang on, it's about Ms. Davis.

JOSH
Yeah, I'm on that.

CRASH! BANG! A door slams open, a shaft of light cuts the room's darkness. A man
stumbles in, falls to the floor, bound and gagged. He rolls, struggles against the
bindings.

JOSH (CONT'D)
And it just got worse.

SARA (V.O.)
No, but you don't understand Josh. He's not kidnapping Eric.

The man rolls to face Josh. Even with the gag, it's obvious: Richard Davis.

JOSH
He's protecting him?

The line is silent a second.

SARA
How'd you know?

JOSH
Horse's mouth. I have to go.

SARA
Josh, wait, there's--

Josh closes the phone and puts it away. He stares into the window again. Davis bound
and gagged. What the hell?

Josh frowns and pulls back from the window. A shadow slips across him. Josh turns--

And a GUARD, done up in full urban assault gear, smashes his rifle butt in Josh's face.

Black.



END OF ACT TWO
ACT THREE

INT. CELL (FLASHBACK)

Young Josh lies in a fetal position on the mat, eyes barely open. The slot slams open
again. A tray of food crashes in, spills on top of older slop.

Young Josh stares at it. He makes to move toward it, but collapses. Young Josh lies,
half on the mat, staring at the food. His eyes slide shut.

INT. FISHER'S HOUSE, KITCHEN-NIGHT

Kinnit stands at the counter, stares at the emptied cabinets, torn out drawers,
appliances, broken dishes.

Fisher enters the kitchen.

FISHER
Jamie's at a neighbor's for the night. What's going on?

Kinnit shrugs.

KINNIT
I don't have a clue. I got home tonight, my apartment was
wrecked, too. Nearly identical to this. They must have been
looking for the knife.

FISHER
The FBI doesn't ransack homes.

Kinnit shakes his head.

KINNIT
Not usually.

FISHER
Then who are these people?

KINNIT
I thought you didn't want any part of this?

Fisher gazes at a picture of Jamie in face paint on the fridge, smiling wide.

FISHER
They come into my house and they tear up my daughter's room,
they don't leave me much of a choice.

Kinnit takes the knife from inside his coat. He lays it on the counter.

KINNIT
Whoever they are, this knife is what they want. Or the print
on it, anyway. You can lift it, right?

FISHER
Yeah. But that doesn't help us. So we have the print. We
can't run it, or it just gets snagged like last time.

KINNIT
Let me worry about that. You just lift it.

Fisher shrugs.

FISHER
Okay.

MONTAGE

Fisher opens a bathroom cabinet, gets a jar of talcum powder.

Fisher is in her daughter's room. She removes several brushes from a toy paint set.

Fisher rummages through a box of Christmas wrapping supplies, gets tape and a gift tag
with a dark background.

Fisher dusts the knife handle using the talc and paint brush.

The print, outlined in white on the dark handle, takes shape.

The print's fully formed. Fisher takes the tape, and places it over the print.

Fisher pulls the tape away, places it smoothly on the dark gift tag. The print is white
against the tag.

END MONTAGE

Fisher hands the finished print to Kinnit.

KINNIT
We couldn't have gone to the morgue to do this?

FISHER
If we want to assume they tore up our homes then decided,
"eh, wasn't that important anyway." Otherwise, they're
probably watching right now. Do you really want to run around
with that print only on the knife?

KINNIT
I guess not. So, is that it?

Fisher nods.

FISHER
It's not perfect, and it wouldn't hold up in court, but it's
usable.

Kinnit pouts.

KINNIT
Well, I could've done that.

Fisher flashes a smile.

FISHER
Probably. But why risk it?

INT. SEAWEED PASTE, CABIN-NIGHT

Black. The drone of marine engines, soft sound of water.

JOSH
Ugh....

Josh opens his eyes, lifts his head up. He slowly focuses on a closed door.

Josh tries to move, nothing. He's tied to a chair. Josh jerks and struggles at the
bonds, but to no avail.

The door opens. Two men enter. One is in his fifties, greying hair, frozen eyes
(COLONEL JENSEN), fit. Harrison Ford as mercenary. The other is younger, thirties,
average (GRAHAM). He carries a black case and has a very flat affect.

Graham stands just inside. Jensen grabs a chair and pulls it in front of Josh. He sits,
smiles. It never manages to hit his eyes.

JENSEN
Hello, young man.

Josh stares, assesses Jensen. After a second.

JOSH
Hey.

JENSEN
Would you mind telling me why you're on my boat?

Josh shrugs, an action hampered by the ropes. His stature slumps a bit. When he speaks,
it's more mumbly. Street kid.

JOSH
Didn't look like anyone was here. Figured, boat this nice,
gotta be something to take.

Jensen smiles even wider, shakes his head fondly.

JENSEN
Isn't that just--

Jensen's smile vanishes, his fist slams into Josh's face.

JENSEN (CONT'D)
Precious. You're a very bad liar, my boy. Which is definitely
bad news for you. Now, I'll give you one last chance. Why're
you here?

Josh turns back to face Jensen. His lip is split, a bruise is already on the way. He
smiles. Red teeth. Josh spits blood in Jensen's face.

JOSH
You look good in red.

Jensen's unfazed. He calmly removes a handkerchief and wipes his face clean. Then he
shoves it into Josh's mouth.

JENSEN
If that's the way you want it, young man. I'm going to leave
Mr. Graham here to dig the truth out of you. He's very
skilled. You'll be amazed what you'll tell me when he's done.

Jensen leaves. Graham opens his case on the chair. Inside, several syringes, and
bottles of various chemicals.

Josh mumbles through the handkerchief. Graham glances at him, smiles slightly.

Josh struggles at the ropes again. Graham removes a syringe and picks out a bottle.

Josh freezes. His eyes widen. Graham sticks the needle in the top of the bottle, fills
the syringe.

Graham taps the syringe, squirts a small bit out.

Josh flips out. He rocks in the chair, yells around the gag. Graham sighs, lies the
syringe down and, with great disdain, pulls the hanky from Josh's mouth.

GRAHAM
What is it?

Josh takes a few deep breaths, looks up at Graham.

JOSH
I was trying to say...

GRAHAM
Yes?

Josh pants harder, rougher, a faux asthma attack. Josh's head drops and he mumbles.
Graham leans in, impatient.

GRAHAM (CONT'D)
What?

Josh snaps up and headbutts Graham. Graham stumbles back onto the floor. Josh is
already off the chair and on Graham.

He grabs the syringe from the chair and jabs it into the dazed Graham's neck, injecting
it all.

JOSH
I was trying to tell you that your knots suck.

INT. SEAWEED PASTE HALLWAY-NIGHT

The cabin door opens and Josh edges out in the hallway. Graham's just inside, bound and
drooling on the floor.

JOSH
That amytal packs a punch, huh buddy?

Graham groans and lolls his head. Josh chuckles.

JOSH (CONT'D)
I know. Penguins. Who knew?

Josh closes the door.

The hall is empty and dimly lit. The boat rocks gently, the drone of the engines
constant.

Josh walks down the hall. He nears the end and another door. A commotion behind.
Another side door opens and Richard Davis staggers out into the hall, knocked by a
THUG's kick.

The guard and Davis fight. Josh stands by unnoticed. The guard gets Davis pinned
against a wall, strangles Davis.

Josh realizes Davis is in trouble. Josh gets behind the thug and pulls him into a
sleeper hold. The thug collapses.

Josh turns to Davis, who's rubbing his neck. He croaks--

DAVIS
Thanks.

Josh shrugs.

JOSH
No worries. So what's up? Or do you and your friends
regularly battle to the death on yachts? I mean, softball's
lower impact.

Davis shakes his head.

DAVIS
Not my friends. Not even close.

JOSH
The definition of obvious. But what is going on?

Davis checks the hall. No one coming. He starts in the opposite direction Josh headed.

Josh follows.

JOSH (CONT'D)
The silent thing's not working anymore. I almost got
tortured. I don't know about you, but testicle electrodes and
truth serum cocktails are not my idea of a fun weekend.

Davis opens a door onto a narrow stair. He heads down.

DAVIS
It's a long story.

JOSH
The short version then.

INT. BOTTOM DECK-CONTINUOUS

The engine noise is louder here. Davis opens a smooth wood panel in the wall and begins
flipping circuit breakers. The lights go out before the engines abruptly shut off.

DAVIS
Okay, we've got some time. What do you want to know?

EXT. FLYBRIDGE-NIGHT

Jensen and two others (THUGS 2 and 3) stare around as the ship's console goes dark and
they begin to slow. Jensen nods to the thugs. They take off below.

EXT. IRAQI DESERT-NIGHT

A group of eight SOLDIERS in desert camouflage lay on a dune overlooking a highway. A
convoy of trucks approaches.

DAVIS (V.O.)
I was in the Army for a few years. Fluent in Arabic, Farsi, a
good fighter, I was never in trouble. I suppose I was
something of a no-brainer.

The soldiers open fire, the trucks stop, FOREIGN SOLDIERS fire back, fall one by one.

DAVIS (V.O.) (CONT'D)
I was recruited into a black-ops military unit. The guys you
use when you can't admit you used anyone.

The squad searches the trucks, opens the back of one, revealing several large crates.

They open them. Gold, money, bearer bonds. Millions of dollars.

DAVIS (V.O.) (CONT'D)
Everything was fine for a few months, at least as fine as war
gets. But during a raid on a former Iraqi general turned
insurgent, we uncovered a... War chest. Millions of dollars
in gold, cash, bonds.

INT. CAVE-NIGHT

The soldiers are in a cave counting the money. Davis, in the corner, watches with
disdain as Jensen supervises the count.

DAVIS (V.O.)
Our commander, Colonel Roger Jensen, decided we weren't paid
enough to turn over nearly 300 million dollars to our
superiors. So he decided we were going to steal it, which
seemed to sit well with everyone but me.

EXT. CAYMAN ISLANDS-AIRSTRIP-DAY

Davis and others unload the crates of money under the watchful eye of Jensen.

DAVIS (V.O.)
My cut was a little under 37 million. Jensen was... Kind
enough to deposit it in a numbered account in the Cayman
Islands for me. Then we went our separate ways. I didn't
touch a penny. Till now.

INT. BOTTOM DECK-NIGHT

Josh and Davis are at the bottom of the stair. Davis has just finished. Josh looks
around at the yacht.

JOSH
Why now?

Davis shrugs.

DAVIS
Because I'm a nice guy. I felt guilty, told a friend in the
Justice department. Ratted out Jensen and the rest of the
group. When indictments came down for everyone but Lieutenant
Davis, Jensen had his rat. I had to run. I figured I'd do it
with some degree of style.

JOSH
So what? He's trying to kill--

Davis' eyes flick to focus up the stairs.

DAVIS
Shh.

Davis pushes past Josh, looks up the stair. Running steps.

Davis drops on his hands and knees and feels under the staircase. He yanks something
and panel comes loose. He reaches inside pulls something free, rips the remains of duct
tape from a gun.

The door above bursts open. Thug 2 steps through.

BANG! Thug 2 collapses backwards. Thug 3 comes forward to catch him. BANG!

Thug 3 falls on top of 2.

Josh stares at Davis' aim on the dead men, question answered.

Davis starts up the stairs.

DAVIS (CONT'D)
Come on, I've got to save my son.

EXT. FLYBRIDGE-NIGHT

Distant BANG! BANG! Jensen slams the console with an angry fist. He goes to a seat and
opens it up, revealing a storage bin underneath--

And Eric Davis, bound and gagged.

Jensen yanks the child out, drops him to the ground, grabs Eric by his bound arms and
drags him aft.

BANG!

A bullet whizzes past Jensen. Davis is behind him, gun aimed, Josh beside him.

Jensen spins, a gun coming from his belt. In one smooth motion--

BANG! Davis drops to the ground, his right leg shot and flowing blood. Josh scrambles
to keep Davis on his feet.

Eric sees his father, on the ground, bleeding. He flips out, bucks hard. His bound legs
slam into Jensen's knees. Jensen staggers, stumbles.

It's enough. Josh charges Jensen tackles him, knocking him over Eric's bound body and
down a short flight of stairs onto--

EXT. AFT DECK-CONTINUOUS

Jensen rolls through, throws Josh off him. Josh is right back to his feet, running at
Jensen. CLICK.

Josh stops dead, Jensen's gun inches from his chest. Jensen clucks, shakes his head.

JENSEN
You're fast, boy, but nobody's that fast.

Josh stares at Jensen's face. The man grins and laughs.

Jensen's finger slowly tightens on the trigger....

JOSH
Colonel?

JENSEN
Yes?

JOSH
I'm not a boy.

Jensen glances down. Josh has Davis' gun pressed up under his rib cage. Josh shrugs.

JOSH (CONT'D)
Sorry. Now, you said I was a bad liar. Let's try that out,
see how confident you are. Ready? I have no problem killing
you, absolutely none. Tell me, am I lying?



END OF ACT THREE
ACT FOUR

EXT. DOCK-NIGHT

Josh and Richard Davis walk away from a freshly docked Seaweed Paste (or, Josh does;
Davis hobbles). Richard has Eric in his arms, who's half asleep. Davis looks at Josh.

DAVIS
You know, I don't think I ever caught your name. What with
beating you up and stopping a band of rogue soldiers.

JOSH
It happens. To Seagal. Josh Shepherd.

DAVIS
Good to meet you, Josh Shepherd. One day, you'll have to tell
me where you learned how to take on a special forces
commander at 16.

JOSH
17. Important year, I guess. What happens now?

Richard sighs.

DAVIS
Back to normal, I suppose. Life, minus Middle East treasures
and psychotic generals attacking my family.

JOSH
That's it? You just go back to being a deadbeat dad?

Davis smiles to himself.

DAVIS
Not so deadbeat.

Josh raises his eyebrows.

JOSH
I thought you didn't touch the money.

DAVIS
I didn't. But I did touch the interest. One thing Jensen was
good about, he got us great interest rates. I invested it.
Got Google while the getting was good, a few other great
gambles. I won't be hurting for money. And, I've still got a
good 48 hours before I'm wanted for kidnapping.

JOSH
So... Good day?

Davis takes a deep breath and smiles.

DAVIS
Good enough.

Eric fidgets in Davis' arms and kicks the wound on his leg. Davis winces.

DAVIS (CONT'D)
Well, all right, anyway.

INT./EXT. NOAH'S CAR/MARINA LOT-NIGHT

Noah's rocking in his car. A pop song, female singer (ideally Kelly Clarkson).

TAP.

Noah screams like a girl and flinches away from the window.

Josh knocks on the window. Noah puts the window down-- sheepishly, oddly enough.

NOAH
Hi. So, uh, how'd it go?

Josh shrugs, turns out of the way. Richard Davis stands behind, mostly on one leg, Eric
in his arms, wrapped in a blanket.

Noah leans close to Josh.

NOAH (CONT'D)
I thought he was, you know, the bad guy?

Josh shakes his head.

JOSH
No.

NOAH
Oh. Then where're the bad guys?

Josh smiles.

CLANG!

EXT. PACIFIC OCEAN-NIGHT

CLANG!

Jensen, huge bruise on his face, Thugs 1-3, and Graham, sit shivering on a buoy, bound
by several lengths of rope.

A spotlight clicks on. Jensen looks up hopefully. A Coast Guard cutter floats nearby,
several COAST GUARDSMEN's gun on them.

Graham leans over to Jensen, muttering.

GRAHAM
Don't worry, sir, the penguins'll be here in a jif.

INT./EXT. NOAH'S CAR/MARINA LOT-NIGHT

JOSH
Yeah, they're taken care of. Crank up the heat, the northern
Pacific's kind of chilly this time of year.

Josh opens the back door and ushers Eric and his dad inside. Josh shuts the door, and
Eric tightens his hold around his father's neck.

Josh stares in at them. He smiles.

INT. CELL (FLASHBACK)

Black.

Soft, ragged breathing. In, out. In, out.

The cell, dim, the food pile dried, crusty, flies swarming around it. The bucket,
knocked over, the outline of a dried stain on the concrete.

Young Josh, on the mat, immobile. His lips are dried and chapped, his eyes open, but
barely, clothes soiled. It's all he can do to breath.

Footsteps sound swiftly through the door. Young Josh's eyes slowly focus on the door.
The light of the food slot vanishes. Keys jingle. A handle clanks open.

The door swings inward.

The light's too much, too bright. Young Josh shuts his eyes to the fluorescent glare
pouring in.

Someone rushes into the room in a white coat. He hefts Young Josh up, leans him back to
look at him.

DR. PAGET brushes hair from Young Josh's forehead and feels it. He forces an eye open,
stares at Young Josh's blank gaze. Then he holds him to his chest and carries him out
of the cell.

DR. PAGET
You'll be okay, Josh. Just fine. I'm so sorry....

Paget walks with Young Josh out of the cell. The Guard pulls the door shut after them.

EXT. B&B PARKING LOT-DAY

Dan tosses the last of the luggage in the trunk, then slams it shut. He turns to
Adrienne, beside him, and kisses her.

DAN
I just kissed my fiancee. I can say that now, you know.

Adrienne half-smiles, then gives up entirely.

DAN (CONT'D)
What's wrong? I thought we were being happy.

Adrienne pulls away from Dan.

ADRIENNE
We are, it's... Nothing. It's just....

DAN
What? You can tell me.

Adrienne sighs.

ADRIENNE
Josh.

DAN
What about him?

ADRIENNE
He's just barely got back. I mean, it's got to be a big
enough adjustment living with my boyfriend. But now suddenly
you're going to be his stepfather? I just-- I don't think we
should tell him.

DAN
So we're supposed to hide it?

ADRIENNE
Not hide it. Just... Not tell him, or anyone, until Josh has
had some time to adjust.

DAN
That's hiding it.

Adrienne gazes at Dan, apologetic.

ADRIENNE
Are you mad?

Dan stares down at the ground, quiet a second. He looks up and shrugs.

DAN
No, I'm not mad. You're right. Bad timing on my part, but I'd
already planned it, and-- Nevermind. You're right, we should
wait to say anything. But six months. That's it. In six
months, we tell him, even if he goes crazy and starts wearing
your dresses.

Adrienne laughs.

ADRIENNE
Okay.

INT. SARA'S HOUSE, FOYER-NIGHT

DING-DONG!

The party's on. A banner declares "HAPPY BIRTHDAY", music plays, and guests mingle.
Sara weaves through the morass to the door and opens it to Josh.

SARA
Josh-- Hey. I didn't know you were--

JOSH
I wasn't. But I forgot to give you this, all the... Stuff.

Josh holds up the necklace case, wrapped and ribboned. Sara snatches it from his hand.

SARA
Oh, God. I completely forgot. With Ms. Davis--

JOSH
You don't need to worry about that. It was all a big mix-up.
Mr. Davis had gotten into--

SARA
I know. He brought flowers at the hospital. And a note. It
explained everything. It was what I was trying to tell you on
the phone.

JOSH
If I hadn't gone running off like a loon, we might've avoided
a big mess.

SARA
More like caused it. Josh, if you hadn't been on that boat--
From what Mr. Davis said at the hospital, if it hadn't been
for you he wouldn't have gotten off that boat.

JOSH
He visited the hospital? Everything's okay?

Sara looks into the house. Richard, on crutches, and Ms. Davis are together, Eric at
his mother's side, her arm around him. They talk and laugh with a woman in her mid
thirties, seated behind a table. It's MELISSA CARSON, Sara's mom.

SARA
Yeah, I think they're working things out. Thanks to you.

Josh shrugs and grins.

JOSH
What can I say? I have a knack for hallucinating the wrong
place at the wrong time. It's a gift.

Sara turns back to Josh.

SARA
So, do you wanna come in, or...?

Josh backs up, shakes his head.

JOSH
No, I better not. I mean, I don't know anyone, and...

Sara stares at Josh a second. Then she steps--

EXT. SARA'S HOUSE, PORCH-CONTINUOS

Outside. She takes Josh's arm and sits down on a step.

SARA
Josh, this antisocial thing's not gonna work.

JOSH
What are you talking about?

Sara sighs.

SARA
I'm talking about silent lunches, never talking in class,
avoiding every school function. You're not an outsider
because you lost a little time-- you're doing it by choice.

Josh turns away.

JOSH
Are you my shrink? 'Cause I've already got one, thanks.

SARA
If he's not telling you this, he's not very good. But
tonight's simple. You don't get a choice. You're coming
inside to wish my mom a happy birthday.

The front door opens. ROB sticks his head out.

ROB
Sara, come on, your mom's about to-- Oh. Hey, Josh.

Rob eyes Sara, her arm linked through Josh's. Huh.

SARA
We'll be right in.

Rob reluctantly ducks back inside, closes the door.

SARA (CONT'D)
So what's it going to be? Nice guy who hangs out with his
friends, or crazy potential hobo with possible schizophrenia?

JOSH
I don't know. On the one hand, you've got the birthday cake,
but on the other, there's the riding in box cars and demonic
Easter Bunnies. It's a toss-up.

Sara slaps Josh and they both laugh.

SARA
Come on. Try the cake, then make the decision.

JOSH
Sounds like a plan.

INT. SARA'S HOUSE-NIGHT

SERIES OF SHOTS

Josh puts on a party hat.

Josh dances with Sara.

Josh dances with Sara's mom.

Sara glares at her father, JOEL, as he flirts with a girl way too close to Sara's age.

END SERIES OF SHOTS

Several presents have been opened. Various things: clothes, kitchen appliances, some
jewelry. Joel hands a gift to Melissa.

JOEL
This is from me.

It's an envelope. Melissa opens it, pulls out a card, opens it. A gift card to a
department store falls out. The card isn't signed "HAPPY BIRTHDAY" or even "LOVE," just
"JOEL". Melissa stares, bemused, forces a smile.

MELISSA
Thanks, Joel.

JOEL
Don't mention it.

Joel takes a gulp of wine and wanders off. Sara pushes forward and places the wrapped
box in front of her mom.

SARA
This is from me, Mom.

Melissa opens the wrap, then the box. She stares at the four thousand dollar necklace
in awe. So does Sara.

MELISSA
Sara, this is-- This is beautiful. How could you afford it?

Sara snaps out of it.

SARA
Oh. Um, overtime at the bookstore. Stocking "Da Vinci Code"s
and Stephen King pays.

Melissa pulls Sara close and hugs her.

MELISSA
Thank you, honey.

SARA
Happy birthday, Mom.

Sara stares at Josh. Josh shrugs, half smiles.

EXT. JOSH'S HOUSE, FRONT-NIGHT

Josh and Sara walk along the sidewalk in front of Josh's house. Sara glances across at
Josh a few times, finally stops dead.

SARA
Where'd you get the money, Josh?

Josh stops, turns.

JOSH
What?

SARA
For the necklace. Where'd you get four thousand dollars?

Josh looks at his feet.

JOSH
Oh. That. It's a bit complicated.

SARA
Simplify it, then.

JOSH
Remember Andrew Porter? The guy I may or may not have been
for the last decade?

SARA
Not really. You didn't go into it. What about him?

Josh shrugs.

JOSH
I didn't tell you the whole story. I found his American
Express Centurion card in my wallet. The black card?

Sara stares at Josh, stunned.

SARA
You used it?

JOSH
Where else would I get the money?

SARA
Are you a complete idiot?

JOSH
What? No.

SARA
You used a credit card belonging to a guy someone apparently
hated enough to kill? That seemed like a good move to you?

Josh is speechless.

JOSH
I... I didn't think about that.

SARA
You should've, Josh. You could've been in real trouble. Do
you want to be shot again?

Josh hesitates.

SARA (CONT'D)
Well?

JOSH
If it would help me remember, yeah, maybe!

Sara flinches.

JOSH (CONT'D)
Look, you don't know what it's like. Flashes of this and
that, none of it makes any sense. I'd do anything to
remember. I just want to know who I am.

Sara sighs, and moves close to Josh. She touches his cheek.

SARA
You're Josh Shepherd, the boy who just made the birthday of a
woman he never met before. I think that's a bigger clue than
a credit card and some bullet wounds can give you.

Josh sighs. He's uncomfortable this close.

JOSH
I guess that's something.

Sara catches his eyes, stares into them, and moves even closer.

SARA
It's everything, Josh.

Josh leans in. Sara moves to kiss him.

BEEP-BEEP! Headlights flash and Dan and Adrienne's car pull into the driveway. Josh and
Sara jump apart, avoid each other's eyes.

Adrienne and Dan get out of the car. Adrienne waves.

ADRIENNE
Josh, come help with this stuff. Hi, Sara!

Sara waves.

SARA
Hi, Mrs. Shepherd!

Josh turns to Sara.

JOSH
I've got to go.

Sara once again finds a sleeve fascinating. She glances up at Josh.

SARA
Yeah, me too. Homework and....

JOSH
Just now--

Sara looks up.

SARA
Yeah?

JOSH
Were you going to...? Um, nevermind.

There's a moment of awkward silence. Sara starts to walk away, but turns back and
kisses Josh on the cheek, then takes off down the street.

Josh puts his hand to his cheek and smiles.

ADRIENNE
Josh! Come help!

Josh spins around and runs up the driveway and helps Dan unload the car.

Across the street, lights off, sitting quiet and still, is an exterminator's van.

INT. VAN-NIGHT

A monitor displays several views of the Shepherd house. One shows Josh, Dan, and
Adrienne entering the front door. Another, the kitchen, bedroom, bathroom.

DONAHUE
Yes, ma'am. Just a homeless person. Must've washed up
somewhere. False alarm.

Donahue's on a cell phone. He's nervous, slightly shaky, sweating in the dim van.

DONAHUE (CONT'D)
Yes, ma'am, right away. First flight in the morning.
Absolutely.

Donahue lowers the phone slowly. He shuts it.

The back of his head. The barrel of a handgun, silencer screwed on.

Dr. Paget holds the gun, steady against Donahue's head. Donahue turns to address him.

DONAHUE (CONT'D)
It's done.

Dr. Paget nods a centimeter. Then he closes his eyes.

BANG!

Black.



END OF SHOW