PAGE 1
1/1 EXT-CITY ALLEYWAY-NIGHT-CLOSE UP
Focus on a pair of eyes (Twitch’s), bloody and swollen.
TWITCH (CAPTION)
“A military operation involves deception. Even though you are competent, appear to be incompetent. Though effective, appear to be ineffective.”
1/2 CU
Pull back slightly to reveal more of twitch’s face, still focused on the eyes; the right eye, however, has twitched a bit.
TWITCH (CAPTION) (CONT’D)
Sun Tzu wrote that in “The Art of War,” the timeless text of wartime strategy. Well, except it was in Chinese. Whatever.
1/3 CU
Pulled back only slightly more.
TWITCH (CAPTION) (CONT’D)
I read it once in eighth grade I think.
PAGE 2/3
FULL SPLASH
TWITCH lays half (maybe even three-quarters) dead in an alley, sprawled across trash and trash cans. He is a feeble bodied boy, about age 16; even if he weren’t beat up, his hair would be messy. His body is scrawny, almost mousy. He might even be thrown in a dumpster. Regardless, he is bruised and bleeding and probably has some visibly broken bones.
TWITCH (CAPTION)
I probably should have paid better attention to that one.
TWITCH (CAPTION) (CONT’D)
Still, this is an improvement. It could be worse than just a broken shoulder.
TWITCH (CAPTION) (CONT’D)
And a broken rib.
TWITCH (CAPTION) (CONT’D)
Two ribs. Ow.
Credits
“Time and Time Again”
Created by Paul Cantillon, Thom Dunn, and Dmitry Milkin
PAGE 4
Four rows of wide panels; 3 and 4 should be adjacent on one line, each one taking up half the page in that row.
4/1 INT.-HIGH SCHOOL HALLWAY-DAY-WIDE SHOT
Twitch is at his locker at school; he is poorly dressed, clearly communicating his social standing. CHRIS, in his letterman’s jacket, knocks Twitch’s books and lunch to the floor while JOSIE, his girlfriend-a cheerleader-looks disgustedly at Twitch. An apple rolls away
CAPTION
Six Weeks Ago...
CHRIS
Watch where you’re going, Twitch!
JOSIE
Ugh! Creep!
4/2 WIDE
Chris and Josie walk away from Twitch, rejoining their posse across the hall. Chris flips Twitch the bird behind his back. Amongst their posse of athletes, we get our first glimpse of WALKER, an attractive senior, who looks back towards Twitch with subtle sympathy.
CHRIS
C’mon, babe. You don’t look at him too long.
CHRIS (CONT’D)
You might break out in hives or somethin’.
4/3 MEDIUM
Twitch, defeated, looks towards his book, splattered across the ground. His eye twitches.
4/4 MEDIUM
Twitch bends down and gathers up his belongings. He scoops the apple back into the bag.
4/5 WIDE
From behind, we see Twitch holding his books to chest and looking on longingly down the hall towards Chris.
TWITCH (CAPTION)
Things could be much, much worse.
PAGE 5
5/1 MEDIUM
We see Twitch from the front this time, his right eye twitching.
SFX-LATE BELL
BRRRRRIIING
5/2 MEDIUM
Twitch drops his head.
5/3 WIDE
MS. ELIOT teaching in front of the class, writing “Slaughterhouse Five” on the board.
MS. ELIOT
I hope that everyone read last night. This one’s one of my favorites.
MS. ELIOT (CONT’D)
Plus its going on the midterm.
CHRIS (SMALL)
Ah, shit.
5/4 WIDE
Twitch opens the classroom door slowly and nervously sticks his head in, disrupting the entire class and averting their attention towards him. Students are seated at desks, and the teacher, MS. ELIOT, stands in front of them.
TWITCH
S-s-sorry, I just--um, I dropped my, um-I had-
MS. ELIOT
It’s fine, Twitch. Just take a seat. We’re discussing Chapter 2.
5/5 MEDIUM
Twitch takes his seat. Walker sits to his right.
TWITCH (CAPTION)
Even the teachers call me ‘Twitch.’
MS. ELIOT
Now, when Billy Pilgrim says that, “when a person dies he only appears to die,” that, “All moments, past, present and future, always have existed, always will exist,” what idea is he trying to express?
MS. ELIOT (CONT’D)
Walker?
PAGE 6
6/1 MEDIUM
Walker answers the question; his desk is clear. Twitch’s focus is trained on him and his desk is covered in books and notebooks and pens. He is eating his bagged lunch.
TWITCH (CAPTION)
“Twitchie Ritchie.” Get it?
WALKER
He’s referring to the idea that time is actually the fourth spatial dimension, beyond the three dimensional plane that we’re used to seeing. He makes a comment later on about seeing people like millipedes and viewing time like the Rocky Mountains.
MS. ELIOT (O.S.)
Very good, Walker.
6/2 WIDE
We see the backs of students heads, focused on Ms. Eliot. Walker and Twitch can be seen in the bottom corner of the panel; Walker looks at Twitch and smirks. Twitch turns his head slightly towards Walker.
TWITCH (CAPTION)
‘Cause, ya know, my eye...
CHRIS
That doesn’t even make sense. How can there be more than three dimensions?
MS. ELIOT
Well, clearly you’re not a Tralfamadorian. Just suspend your disbelief, okay?
CHRIS (SMALL)
Trafalma-what?
TWITCH (CAPTION)
...twitches. It’s funny, right?
PAGE 7
7/1 INSET
Twitch’s eye twitches.
The bulk of this page is framed by a giant eye, and the panels take place within the frame.
7/2 EXT-CROSSWALK IN FRONT OF HIGH SCHOOL-DAY-WIDE
Walker starts to cross the street, despite the fact the sign says Do Not Cross.
7/3 INT-DRIVER’S SIDE OF CAR-DAY-WIDE
From behind the driver and through the windshield, we see Walker turning his head around frightened, noticing the car...
7/4 EXT-CROSSWALK IN FRONT OF HIGH SCHOOL-DAY-WIDE
...too late. The car runs into Walker, and we see him roll across the hood and windshield.
7/5 INT-DRIVER’S SIDE OF CAR-DAY-WIDE
Walker rolls across the windshield, shattering it and bloodying it up.
7/6 EXT-CROSSWALK IN FRONT OF HIGH SCHOOL-DAY-WIDE
Walker lays sprawled on the road in a puddle of his own blood.
7/7 WIDE-INT-HIGH SCHOOL CLASSROOM-DAY-CLOSE UP
Separate from and below the large eye spread above, we see Twitch’s eyes, wide in fright.
TWITCH (CAPTION)
Yeah. Effin’ hilarious.
PAGE 8
8/1-WIDE
Twitch looks nervously at Walker beside him, who is listening intently to Ms. Eliot. INSET of Twitch’s eye twitching?
MS. ELIOT
...and this conceit, of course, explores the notion of free will versus pre-destination. If everything that will happen has already happened, or is currently happening, do we have any control over our decisions?
8/2-MEDIUM
Walker feels Twitch looking at him and turns; Twitch quickly and awkwardly looks down and writes in his notebook.
MS. ELIOT (O.S.)
Can we change what has happened, or what will?
8/3-INT-HIGH SCHOOL CAFETERIA-DAY-WIDE
Walker sits alone at a table, eating his lunch and reading a comic book or book.
8/4-5-CLOSE UP
Twitch looks up abruptly, startled; reflected in his right eye, we see Josie laying on the ground, with food spilled all over her and strewn across the floor.
TWITCH (CAPTION)
Most days, I was barely noticed.
PAGE 9
9/1-MEDIUM
Josie, carrying her tray of food, walking confidently.
9/2-MEDIUM
Viewing the scene from behind Twitch, he notices Josie walking and he starts to stand up.
TWITCH (CAPTION)
Ignored.
9/3-MEDIUM
Twitch sets himself up behind Josie, right as she begins to slip and lose her balance.
9/4-MEDIUM
Twitch catches Josie in his arms before she falls.
TWITCH (CAPTION)
Unacknowledged.
9/5-WIDE-OVER THE SHOULDER-TWITCH’S POV
Chris is helping Josie, taking her tray from her; she looks at Twitch in disgust.
9/6-CLOSE UP
Walker looks suspiciously at Twitch after this encounter.
PAGE 10
10/1-INT-TWITCH’S HOME-EVENING-WIDE
Twitch,morose as ever, sits at the dinner table, poking at his food. JOHN, Twitch’s Foster Father, sits next to him, eating. CATE, his Foster Mother, brings the last dish of food to the table. There are extra seats and places at the table left vacant.
TWITCH (CAPTION)
Invisible.
10/2-WIDE-TWITCH’S POV
Cate, John, and Twitch eating dinner; there are religious art and symbols clearly visible on the walls. Over the next few panels, dinner progresses, silently.
TWITCH (CAPTION)
John and Cate are my foster parents. I guess that’s the best thing to call them.
CATE
Bless us, O Lord for these, thy gifts...
10/3-WIDE-DIFFERENT ANGLE
CATE
...which we are about to receive.
TWITCH (CAPTION)
They bring in orphaned children and give them a temporary home, until someone else adopts them.
10/4-WIDE-DIFFERENT ANGLE
TWITCH (CAPTION)
It’s more like a halfway house than an orphanage. Most of the kids get picked up within six months, maybe a year.
CATE
...from Thy bounty. Through Christ our Lord, we pray.
PAGE 11
11/1-CLOSE UP
Religious icons/imagery on the wall.
TWITCH (CAPTION)
Me? I’ve been here my whole life. At least as far back as I can remember.
CATE
Amen.
JOHN
Amen.
TWITCH (CAPTION)
It’s the only home I know.
TWITCH (CONT’D)
Amen.
11/2 WIDE
Dinner; Cate looks up, smiling.
CATE
Well? Should we share the good news?
JOHN
I thought we were going to wait until after dinner, dear.
TWITCH
What good news?
11/3 WIDE-JOHN AND CATE’S POV-OVER-THE-SHOULDER
This should be an isolating shot of Twitch, sitting alone on his side or end of the table.
TWITCH
What good news?
CATE
I’m just too excited, John. I can’t wait.
JOHN
Well, alright.
TWITCH (CAPTION)
As far as they’re concerned, it’s only temporary.
11/4 MEDIUM
More religious iconography.
11/5 MEDIUM
Cate and John look to Twitch.
CATE
Marissa was picked up by a family in Pennsylvania today. They’re a part of the Church network.
JOHN
It was rather sudden, but the family is perfect for her. It’s the kind of home environment she needs right now.
TWITCH (CAPTION)
Sixteen temporary years.
11/6 MEDIUM CLOSE
More religious iconography.
PAGE 12
Twitch’s eye is lightly superimposed on each panel. Initially, it should go almost unnoticed until the final, all-white panel, but after looking up at the previous panels again, readers should be able to identify it in the same position.
12/1-INT-MARISSA’S FOSTER HOME-NIGHT-WIDE
The only source of light comes from a door that opens into an otherwise dark room. Two female figures stand in the doorway-MARISSA, young and attractive with short hair, dressed in ripped jeans, and a black t-shirt adorned with a rainbow, mid-riff cut, and her new FOSTER MOTHER. They should be obscured in silhouettes, or Marissa’s face should be cut off.
FOSTER MOTHER
And this will be your room. I know it isn’t much, but it’s your own little space.
FOSTER MOTHER (CONT’D)
Feel free to decorate or paint the walls or whatever else you do. They told us you were, ah, “artsy” and “self expressive.”
MARISSA
Right...
12/2 SPLASH
A smoking gun, pointed directly at the reader.
TWITCH (CAPTION)
Real parents don’t pity you.
12/3 BLACK
A white panel.
SFX
BANG!
PAGE 13
13/1-MEDIUM
John, with a concerned look on his face, addressing Twitch. He and Cate join hands on top of the table in plain sight. She, too, is frightened.
JOHN
Is everything alright?
TWITCH (CAPTION)
Make that three ribs.
13/2-MEDIUM
Recovering from the shock of the gunshot vision, Twitch tries in vain to act calm and casual and pretend like nothing is wrong; he’s clearly still a bit shaken up.
TWITCH
What? Yeah, I’m-I’m fine. Just-I had a-I was going to sneeze, but-I’m fine.
TWITCH (CAPTION) (CONT’D)
Cough.
13/3-MEDIUM
John and Cate exchange a knowing look.
13/4-MEDIUM
John and Cate look back at Twitch.
JOHN
Just making sure.
CATE
We don’t want you to be lonely, dear. We just want you to be happy.
TWITCH (CAPTION)
One broken shoulder, three broken ribs, and what feels like a punctured lung.
13/5-ABOVE
Looking down on the dinner table as the meal continues.
TWITCH
Everything’s fine. Really.
TWITCH (CONT’D)
I think it just went down the wrong pipe.
TWITCH (CAPTION) (CONT’D)
Like I said, things could be a whole lot worse.
13/6-INSET-CLOSE UP
A relief painting of the crucifixion hanging on the wall in the kitchen.
PAGE 14
14/1-EXT-HIGH SCHOOL-DAY
Establishing shot.
14/2-INT-HIGH SCHOOL BASKETBALL COURT-DAY-MEDIUM
Twitch, Chris, Walker, and the other boys play basketball at school.
14/3-MEDIUM
Josie sits on the bleachers, doing her nails.
14/4-MEDIUM
Twitch, decked out in full protective gym gear and short shorts, stares dumbfounded in Josie’s direction.
14/5-MEDIUM
The basketball hits Twitch in the face, hard enough to knock him over. Motion lines show Twitch falling.
SFX
WHOOOMPH
SFX (CONT’D)
THUD
PAGE 15
SPLASH
Twitch is sprawled out on the ground, bottom of the page, and Chris stands menacingly above him face, looking down and pointing.
CHRIS
Don’t look at my girlfriend ever again, you fucking faggot. You got that?
TWITCH
Unghh...
PAGE 16
16/1-CLOSE UP-WIDE
Black Panel, with words:
WALKER
Are you alright?
16/2-CLOSE UP
Twitch struggles to open his eyes. The right one twitches again.
16/3-MEDIUM
Twitch sits up, and Walker squats beside him.
WALKER
That ball hit you pretty hard.
TWITCH
Good to know. Is that why I can’t feel my face?
16/4-CLOSE UP
Walker grabs Twitch’s arm and helps him to his feet.
WALKER
C’mon. On your feet. We’re down 4 points now, and I’m not losing this one.
TWITCH
I’m not really sure if I can help you with that.
16/5-MEDIUM-TWITCH’S POV
Walker smirks charismatically at Twitch.
WALKER
Don’t worry so much. Just try to see the ball before it comes to you.
PAGE 17
17/1-WIDE
The boys exit the locker room. Most are changed back into normal clothes and have nothing more but a towel around their necks and maybe a few books; Twitch has a huge backpack on. Walker is on the ground tying his shoe.
TWITCH
Hey! Walker!
17/2-MEDIUM-OVER-THE-SHOULDER-TWITCH’S POV
Walker turns to respond to Twitch.
TWITCH
Thanks. You know, for helping me up and whatever.
WALKER
No problem. Good sportsmanship’s a key part of the game. Chris has yet to fully grasp the concept of teamwork.
TWITCH (SMALL)
He’s got a heck of a right arm, though.
17/3-MEDIUM
Walker puts his hand on Twitch’s shoulder affectionately.
WALKER
Don’t let him get to you. Everyone knows the kid’s a prick.
TWITCH (SMALL)
Well, Josie...
17/4-WIDE
Different Angle
WALKER
Oh, she knows he’s a prick. She doesn’t care.
WALKER (CONT’D)
You finish reading for Ms. Eliot’s class?
TWITCH
Yeah.
17/5-WIDE
Walker starts heading to class, smirking suspiciously. Twitch stands behind him.
WALKER
Good.
17/6-MEDIUM-TWITCH’S POV-OVER-THE-SHOULDER
Twitch looks after Walker, perplexed.
TWITCH (CAPTION)
...
TWITCH (CAPTION) (CONT’D)
And then suddenly, it hits me.
PAGE 18
The left half of the page shows us the right side of Twitch’s face, which, in turn, bleeds into the four panels detailed below.
18/1 WIDE
DETECTIVE DUGGAN reading his denial letter from the state licensure private investigator’s board.
TWITCH (CAPTION)
More of those...visions...
18/2 CLOSE UP
Ms. Eliot conversing in private with Walker in a dark room; it is a bar, but unrecognizable as one. Walker looks remarkably older and different, possibly even unrecognizable.
TWITCH (CAPTION)
I guess that’s what you’d call them. They’re really more of a distraction than anything else.
18/3 WIDE
Marissa and LAUREN, her girlfriend, fight; Marissa in tears, looking over her shoulder as she screams.
TWITCH (CAPTION)
...Usually.
18/4 WIDE
UNCLE, Walker’s Uncle, bleeding on the street; his body is littered with bullet holes as four gang members run away.
TWITCH (CAPTION)
Why can't I see movies before they come out, or tropical islands, or something like that?
18/5 CLOSE UP
Twitch drops to his knees in pain, and spits up blood/vomits.
TWITCH (CAPTION)
Instead, I see things that haven’t happened yet. Or maybe they have. I don’t know.
TWITCH (CAPTION) (CONT’D)
I can’t really describe it. Or, for that matter, control it...
PAGE 19
19/1 CLOSE UP
An analog clock; it has just struck 2:05pm
SFX
BBRRRRRIIIIIIIIING!
19/2 CLOSE UP-INT-HIGH SCHOOL CLASSROOM-DAY
Twitch sits up in his desk, startled, his right eye twitching.
TWITCH (CAPTION)
That is, if it’s something that can be controlled.
MS. ELIOT (O.S.)
Alright, class. Have a nice weekend. We’ll start with chapter five on Monday.
19/3 WIDE
The entire class leap out of their seats and dart for the door, except for Twitch, still recovering from his startling daydreams. Ms. Eliot sits on her desk. Chris affectionately punches Walker on the way out.
MS. ELIOT
Twitch? Is everything alright?
TWITCH
What? Yeah, I’m fine. Drifting off I guess.
MS. ELIOT
I’ve noticed that’s been happening a lot lately.
19/4 MEDIUM
Twitch gets up of his seat and collects his belongings, getting ready to leave.
MS. ELIOT
Are you sure there’s nothing you want to talk about?
TWITCH
Nope. Nothing. Nothing at all.
19/5 MEDIUM
Ms. Eliot looks at Twitch as he leaves the room, clearly concerned. Twitch looks at the ground, his back to her.
TWITCH
I just, you know, I drift. Sometimes.
19/6 MEDIUM
Ms. Eliot, alone in the classroom, still leaning on her desk. She stares curiously and suspiciously after Twitch.
PAGE 20
20/1 WIDE-EXT-HIGH SCHOOL FRONT STEPS-DAY
Students, en masse, run down the steps of the high school.
20/2 WIDE-SAME SHOT
Twitch is the last to leave the school.
20/3 MEDIUM
Students, including Chris, Josie, and Walker, heading towards the cross walk previously seen in Twitch’s flashback.
CHRIS
See you at practice tomorrow?
WALKER
Yeah I’ll be there. You goin’ to Al’s party?
CHRIS
Hell yeah, bro. You?
20/4 CLOSE UP-PULLED SLIGHTLY AWAY
Same perspective as before, looking at Walker’s back, as he walks away towards the crosswalk. He turns his head over his shoulder as he talks back to Chris. We see Walker’s face straight on, and can barely make out a car in the background.
WALKER
Eh, I’m not sure.
20/5 CLOSE UP
Eyes wide with fright, Twitch perks up, and we see the gears turning in his head as he realizes that this is the scene he saw in his vision.
20/6 CLOSE UP
Twitch runs down the rest of the steps to catch Walker
PAGE 21
21/1 MEDIUM
Walker standing in the crosswalk, still looking back to Chris.
WALKER
That scene’s totally dead.
21/2 WIDE-OVER THE SHOULDER-CAR’S POV
A car comes careening towards Walker; the driver is clearly not paying attention, perhaps speaking to the person in the passenger seat.
21/3 MEDIUM-CLOSE
Twitch’s jaw drops and his eyes go wide as he notices the car heading towards Walker off-panel.
TWITCH
Walker!
21/4 MEDIUM-TWO SHOT
The passenger notices Walker, and tries to warn the driver.
PASSENGER
Dude! Look out!
SFX
BEEEEEEEEEEEEP
21/5 CLOSE UP
Walker stares at the car in panic.
WALKER (SMALL)
Aw, sh-
21/6 CLOSE UP-INSET
Twitch’s hand grabs Walker’s shoulder.
WALKER (SMALL)
-it.
PAGE 22
22/1 MEDIUM-WIDE-2/3 PAGE
Twitch and Walker watch from the curb as the car flies by; the passenger yells out the window.
PASSENGER
Watch where you’re goin’, asshole!
22/2 MEDIUM
Twitch, in a flurry of panic-an adrenaline rush-checks with Walker, who looks like he is more riding the excitement and rush of a near-death encounter, though his ass probably hurts a bit.
TWITCH
Are you okay? That guy nearly killed you!
22/3 CLOSE UP
Close up on Walker’s face, smiling victoriously as he rubs the sore spot where he sat down, with Twitch visible over his shoulder.
TWITCH
Walker...? Are you-are you smiling? You’re in shock, you must be in shock, you-
WALKER
How’d you know that was going to happen, huh?
TWITCH
What?
PAGE 23
23/1 WIDE
Walker turns around and faces Twitch.
WALKER
How’d you know that car was going to hit me?
WALKER (CONT’D)
That thing must have been going 50 miles an hour, there’s no way you could have seen it coming and still reached me in time.
WALKER (CONT’D)
So how’d you know it was coming?
TWITCH
It was-you were standing there, and I-I just, I thought that-
23/2 MEDIUM-WALKER’S POV-OVER-THE-SHOULDER
Focus on Twitch.
TWITCH
I...I...
TWITCH (CAPTION) (CONT’D)
Um, well, you see, apparently I have this ability-clairvoyance or something, I don’t know-and I actually saw this whole thing happen in a vision of some sort yesterday. I can’t quite explain it.
23/3 MEDIUM-WALKER’S POV-OVER-THE-SHOULDER
Same shot as the previous panel, Twitch drops his head and looks to the ground.
TWITCH (CAPTION)
Oh. Well. I guess that does. Kind of explain it, I mean. Although it’s really more like-
23/4 MEDIUM-WALKER’S POV-OVER-THE-SHOULDER
Same shot as the previous two, Twitch looks up at Walker again.
TWITCH
Well...I-See, I just-I-
TWITCH (CAPTION) (CONT’D)
No, that sounds about right.
23/5 MEDIUM-PROFILE
Walker puts his hand on Twitch’s shoulder again.
WALKER
We should talk.
CAPTION
To be continued...
1/1 EXT-CITY ALLEYWAY-NIGHT-CLOSE UP
Focus on a pair of eyes (Twitch’s), bloody and swollen.
TWITCH (CAPTION)
“A military operation involves deception. Even though you are competent, appear to be incompetent. Though effective, appear to be ineffective.”
1/2 CU
Pull back slightly to reveal more of twitch’s face, still focused on the eyes; the right eye, however, has twitched a bit.
TWITCH (CAPTION) (CONT’D)
Sun Tzu wrote that in “The Art of War,” the timeless text of wartime strategy. Well, except it was in Chinese. Whatever.
1/3 CU
Pulled back only slightly more.
TWITCH (CAPTION) (CONT’D)
I read it once in eighth grade I think.
PAGE 2/3
FULL SPLASH
TWITCH lays half (maybe even three-quarters) dead in an alley, sprawled across trash and trash cans. He is a feeble bodied boy, about age 16; even if he weren’t beat up, his hair would be messy. His body is scrawny, almost mousy. He might even be thrown in a dumpster. Regardless, he is bruised and bleeding and probably has some visibly broken bones.
TWITCH (CAPTION)
I probably should have paid better attention to that one.
TWITCH (CAPTION) (CONT’D)
Still, this is an improvement. It could be worse than just a broken shoulder.
TWITCH (CAPTION) (CONT’D)
And a broken rib.
TWITCH (CAPTION) (CONT’D)
Two ribs. Ow.
Credits
“Time and Time Again”
Created by Paul Cantillon, Thom Dunn, and Dmitry Milkin
PAGE 4
Four rows of wide panels; 3 and 4 should be adjacent on one line, each one taking up half the page in that row.
4/1 INT.-HIGH SCHOOL HALLWAY-DAY-WIDE SHOT
Twitch is at his locker at school; he is poorly dressed, clearly communicating his social standing. CHRIS, in his letterman’s jacket, knocks Twitch’s books and lunch to the floor while JOSIE, his girlfriend-a cheerleader-looks disgustedly at Twitch. An apple rolls away
CAPTION
Six Weeks Ago...
CHRIS
Watch where you’re going, Twitch!
JOSIE
Ugh! Creep!
4/2 WIDE
Chris and Josie walk away from Twitch, rejoining their posse across the hall. Chris flips Twitch the bird behind his back. Amongst their posse of athletes, we get our first glimpse of WALKER, an attractive senior, who looks back towards Twitch with subtle sympathy.
CHRIS
C’mon, babe. You don’t look at him too long.
CHRIS (CONT’D)
You might break out in hives or somethin’.
4/3 MEDIUM
Twitch, defeated, looks towards his book, splattered across the ground. His eye twitches.
4/4 MEDIUM
Twitch bends down and gathers up his belongings. He scoops the apple back into the bag.
4/5 WIDE
From behind, we see Twitch holding his books to chest and looking on longingly down the hall towards Chris.
TWITCH (CAPTION)
Things could be much, much worse.
PAGE 5
5/1 MEDIUM
We see Twitch from the front this time, his right eye twitching.
SFX-LATE BELL
BRRRRRIIING
5/2 MEDIUM
Twitch drops his head.
5/3 WIDE
MS. ELIOT teaching in front of the class, writing “Slaughterhouse Five” on the board.
MS. ELIOT
I hope that everyone read last night. This one’s one of my favorites.
MS. ELIOT (CONT’D)
Plus its going on the midterm.
CHRIS (SMALL)
Ah, shit.
5/4 WIDE
Twitch opens the classroom door slowly and nervously sticks his head in, disrupting the entire class and averting their attention towards him. Students are seated at desks, and the teacher, MS. ELIOT, stands in front of them.
TWITCH
S-s-sorry, I just--um, I dropped my, um-I had-
MS. ELIOT
It’s fine, Twitch. Just take a seat. We’re discussing Chapter 2.
5/5 MEDIUM
Twitch takes his seat. Walker sits to his right.
TWITCH (CAPTION)
Even the teachers call me ‘Twitch.’
MS. ELIOT
Now, when Billy Pilgrim says that, “when a person dies he only appears to die,” that, “All moments, past, present and future, always have existed, always will exist,” what idea is he trying to express?
MS. ELIOT (CONT’D)
Walker?
PAGE 6
6/1 MEDIUM
Walker answers the question; his desk is clear. Twitch’s focus is trained on him and his desk is covered in books and notebooks and pens. He is eating his bagged lunch.
TWITCH (CAPTION)
“Twitchie Ritchie.” Get it?
WALKER
He’s referring to the idea that time is actually the fourth spatial dimension, beyond the three dimensional plane that we’re used to seeing. He makes a comment later on about seeing people like millipedes and viewing time like the Rocky Mountains.
MS. ELIOT (O.S.)
Very good, Walker.
6/2 WIDE
We see the backs of students heads, focused on Ms. Eliot. Walker and Twitch can be seen in the bottom corner of the panel; Walker looks at Twitch and smirks. Twitch turns his head slightly towards Walker.
TWITCH (CAPTION)
‘Cause, ya know, my eye...
CHRIS
That doesn’t even make sense. How can there be more than three dimensions?
MS. ELIOT
Well, clearly you’re not a Tralfamadorian. Just suspend your disbelief, okay?
CHRIS (SMALL)
Trafalma-what?
TWITCH (CAPTION)
...twitches. It’s funny, right?
PAGE 7
7/1 INSET
Twitch’s eye twitches.
The bulk of this page is framed by a giant eye, and the panels take place within the frame.
7/2 EXT-CROSSWALK IN FRONT OF HIGH SCHOOL-DAY-WIDE
Walker starts to cross the street, despite the fact the sign says Do Not Cross.
7/3 INT-DRIVER’S SIDE OF CAR-DAY-WIDE
From behind the driver and through the windshield, we see Walker turning his head around frightened, noticing the car...
7/4 EXT-CROSSWALK IN FRONT OF HIGH SCHOOL-DAY-WIDE
...too late. The car runs into Walker, and we see him roll across the hood and windshield.
7/5 INT-DRIVER’S SIDE OF CAR-DAY-WIDE
Walker rolls across the windshield, shattering it and bloodying it up.
7/6 EXT-CROSSWALK IN FRONT OF HIGH SCHOOL-DAY-WIDE
Walker lays sprawled on the road in a puddle of his own blood.
7/7 WIDE-INT-HIGH SCHOOL CLASSROOM-DAY-CLOSE UP
Separate from and below the large eye spread above, we see Twitch’s eyes, wide in fright.
TWITCH (CAPTION)
Yeah. Effin’ hilarious.
PAGE 8
8/1-WIDE
Twitch looks nervously at Walker beside him, who is listening intently to Ms. Eliot. INSET of Twitch’s eye twitching?
MS. ELIOT
...and this conceit, of course, explores the notion of free will versus pre-destination. If everything that will happen has already happened, or is currently happening, do we have any control over our decisions?
8/2-MEDIUM
Walker feels Twitch looking at him and turns; Twitch quickly and awkwardly looks down and writes in his notebook.
MS. ELIOT (O.S.)
Can we change what has happened, or what will?
8/3-INT-HIGH SCHOOL CAFETERIA-DAY-WIDE
Walker sits alone at a table, eating his lunch and reading a comic book or book.
8/4-5-CLOSE UP
Twitch looks up abruptly, startled; reflected in his right eye, we see Josie laying on the ground, with food spilled all over her and strewn across the floor.
TWITCH (CAPTION)
Most days, I was barely noticed.
PAGE 9
9/1-MEDIUM
Josie, carrying her tray of food, walking confidently.
9/2-MEDIUM
Viewing the scene from behind Twitch, he notices Josie walking and he starts to stand up.
TWITCH (CAPTION)
Ignored.
9/3-MEDIUM
Twitch sets himself up behind Josie, right as she begins to slip and lose her balance.
9/4-MEDIUM
Twitch catches Josie in his arms before she falls.
TWITCH (CAPTION)
Unacknowledged.
9/5-WIDE-OVER THE SHOULDER-TWITCH’S POV
Chris is helping Josie, taking her tray from her; she looks at Twitch in disgust.
9/6-CLOSE UP
Walker looks suspiciously at Twitch after this encounter.
PAGE 10
10/1-INT-TWITCH’S HOME-EVENING-WIDE
Twitch,morose as ever, sits at the dinner table, poking at his food. JOHN, Twitch’s Foster Father, sits next to him, eating. CATE, his Foster Mother, brings the last dish of food to the table. There are extra seats and places at the table left vacant.
TWITCH (CAPTION)
Invisible.
10/2-WIDE-TWITCH’S POV
Cate, John, and Twitch eating dinner; there are religious art and symbols clearly visible on the walls. Over the next few panels, dinner progresses, silently.
TWITCH (CAPTION)
John and Cate are my foster parents. I guess that’s the best thing to call them.
CATE
Bless us, O Lord for these, thy gifts...
10/3-WIDE-DIFFERENT ANGLE
CATE
...which we are about to receive.
TWITCH (CAPTION)
They bring in orphaned children and give them a temporary home, until someone else adopts them.
10/4-WIDE-DIFFERENT ANGLE
TWITCH (CAPTION)
It’s more like a halfway house than an orphanage. Most of the kids get picked up within six months, maybe a year.
CATE
...from Thy bounty. Through Christ our Lord, we pray.
PAGE 11
11/1-CLOSE UP
Religious icons/imagery on the wall.
TWITCH (CAPTION)
Me? I’ve been here my whole life. At least as far back as I can remember.
CATE
Amen.
JOHN
Amen.
TWITCH (CAPTION)
It’s the only home I know.
TWITCH (CONT’D)
Amen.
11/2 WIDE
Dinner; Cate looks up, smiling.
CATE
Well? Should we share the good news?
JOHN
I thought we were going to wait until after dinner, dear.
TWITCH
What good news?
11/3 WIDE-JOHN AND CATE’S POV-OVER-THE-SHOULDER
This should be an isolating shot of Twitch, sitting alone on his side or end of the table.
TWITCH
What good news?
CATE
I’m just too excited, John. I can’t wait.
JOHN
Well, alright.
TWITCH (CAPTION)
As far as they’re concerned, it’s only temporary.
11/4 MEDIUM
More religious iconography.
11/5 MEDIUM
Cate and John look to Twitch.
CATE
Marissa was picked up by a family in Pennsylvania today. They’re a part of the Church network.
JOHN
It was rather sudden, but the family is perfect for her. It’s the kind of home environment she needs right now.
TWITCH (CAPTION)
Sixteen temporary years.
11/6 MEDIUM CLOSE
More religious iconography.
PAGE 12
Twitch’s eye is lightly superimposed on each panel. Initially, it should go almost unnoticed until the final, all-white panel, but after looking up at the previous panels again, readers should be able to identify it in the same position.
12/1-INT-MARISSA’S FOSTER HOME-NIGHT-WIDE
The only source of light comes from a door that opens into an otherwise dark room. Two female figures stand in the doorway-MARISSA, young and attractive with short hair, dressed in ripped jeans, and a black t-shirt adorned with a rainbow, mid-riff cut, and her new FOSTER MOTHER. They should be obscured in silhouettes, or Marissa’s face should be cut off.
FOSTER MOTHER
And this will be your room. I know it isn’t much, but it’s your own little space.
FOSTER MOTHER (CONT’D)
Feel free to decorate or paint the walls or whatever else you do. They told us you were, ah, “artsy” and “self expressive.”
MARISSA
Right...
12/2 SPLASH
A smoking gun, pointed directly at the reader.
TWITCH (CAPTION)
Real parents don’t pity you.
12/3 BLACK
A white panel.
SFX
BANG!
PAGE 13
13/1-MEDIUM
John, with a concerned look on his face, addressing Twitch. He and Cate join hands on top of the table in plain sight. She, too, is frightened.
JOHN
Is everything alright?
TWITCH (CAPTION)
Make that three ribs.
13/2-MEDIUM
Recovering from the shock of the gunshot vision, Twitch tries in vain to act calm and casual and pretend like nothing is wrong; he’s clearly still a bit shaken up.
TWITCH
What? Yeah, I’m-I’m fine. Just-I had a-I was going to sneeze, but-I’m fine.
TWITCH (CAPTION) (CONT’D)
Cough.
13/3-MEDIUM
John and Cate exchange a knowing look.
13/4-MEDIUM
John and Cate look back at Twitch.
JOHN
Just making sure.
CATE
We don’t want you to be lonely, dear. We just want you to be happy.
TWITCH (CAPTION)
One broken shoulder, three broken ribs, and what feels like a punctured lung.
13/5-ABOVE
Looking down on the dinner table as the meal continues.
TWITCH
Everything’s fine. Really.
TWITCH (CONT’D)
I think it just went down the wrong pipe.
TWITCH (CAPTION) (CONT’D)
Like I said, things could be a whole lot worse.
13/6-INSET-CLOSE UP
A relief painting of the crucifixion hanging on the wall in the kitchen.
PAGE 14
14/1-EXT-HIGH SCHOOL-DAY
Establishing shot.
14/2-INT-HIGH SCHOOL BASKETBALL COURT-DAY-MEDIUM
Twitch, Chris, Walker, and the other boys play basketball at school.
14/3-MEDIUM
Josie sits on the bleachers, doing her nails.
14/4-MEDIUM
Twitch, decked out in full protective gym gear and short shorts, stares dumbfounded in Josie’s direction.
14/5-MEDIUM
The basketball hits Twitch in the face, hard enough to knock him over. Motion lines show Twitch falling.
SFX
WHOOOMPH
SFX (CONT’D)
THUD
PAGE 15
SPLASH
Twitch is sprawled out on the ground, bottom of the page, and Chris stands menacingly above him face, looking down and pointing.
CHRIS
Don’t look at my girlfriend ever again, you fucking faggot. You got that?
TWITCH
Unghh...
PAGE 16
16/1-CLOSE UP-WIDE
Black Panel, with words:
WALKER
Are you alright?
16/2-CLOSE UP
Twitch struggles to open his eyes. The right one twitches again.
16/3-MEDIUM
Twitch sits up, and Walker squats beside him.
WALKER
That ball hit you pretty hard.
TWITCH
Good to know. Is that why I can’t feel my face?
16/4-CLOSE UP
Walker grabs Twitch’s arm and helps him to his feet.
WALKER
C’mon. On your feet. We’re down 4 points now, and I’m not losing this one.
TWITCH
I’m not really sure if I can help you with that.
16/5-MEDIUM-TWITCH’S POV
Walker smirks charismatically at Twitch.
WALKER
Don’t worry so much. Just try to see the ball before it comes to you.
PAGE 17
17/1-WIDE
The boys exit the locker room. Most are changed back into normal clothes and have nothing more but a towel around their necks and maybe a few books; Twitch has a huge backpack on. Walker is on the ground tying his shoe.
TWITCH
Hey! Walker!
17/2-MEDIUM-OVER-THE-SHOULDER-TWITCH’S POV
Walker turns to respond to Twitch.
TWITCH
Thanks. You know, for helping me up and whatever.
WALKER
No problem. Good sportsmanship’s a key part of the game. Chris has yet to fully grasp the concept of teamwork.
TWITCH (SMALL)
He’s got a heck of a right arm, though.
17/3-MEDIUM
Walker puts his hand on Twitch’s shoulder affectionately.
WALKER
Don’t let him get to you. Everyone knows the kid’s a prick.
TWITCH (SMALL)
Well, Josie...
17/4-WIDE
Different Angle
WALKER
Oh, she knows he’s a prick. She doesn’t care.
WALKER (CONT’D)
You finish reading for Ms. Eliot’s class?
TWITCH
Yeah.
17/5-WIDE
Walker starts heading to class, smirking suspiciously. Twitch stands behind him.
WALKER
Good.
17/6-MEDIUM-TWITCH’S POV-OVER-THE-SHOULDER
Twitch looks after Walker, perplexed.
TWITCH (CAPTION)
...
TWITCH (CAPTION) (CONT’D)
And then suddenly, it hits me.
PAGE 18
The left half of the page shows us the right side of Twitch’s face, which, in turn, bleeds into the four panels detailed below.
18/1 WIDE
DETECTIVE DUGGAN reading his denial letter from the state licensure private investigator’s board.
TWITCH (CAPTION)
More of those...visions...
18/2 CLOSE UP
Ms. Eliot conversing in private with Walker in a dark room; it is a bar, but unrecognizable as one. Walker looks remarkably older and different, possibly even unrecognizable.
TWITCH (CAPTION)
I guess that’s what you’d call them. They’re really more of a distraction than anything else.
18/3 WIDE
Marissa and LAUREN, her girlfriend, fight; Marissa in tears, looking over her shoulder as she screams.
TWITCH (CAPTION)
...Usually.
18/4 WIDE
UNCLE, Walker’s Uncle, bleeding on the street; his body is littered with bullet holes as four gang members run away.
TWITCH (CAPTION)
Why can't I see movies before they come out, or tropical islands, or something like that?
18/5 CLOSE UP
Twitch drops to his knees in pain, and spits up blood/vomits.
TWITCH (CAPTION)
Instead, I see things that haven’t happened yet. Or maybe they have. I don’t know.
TWITCH (CAPTION) (CONT’D)
I can’t really describe it. Or, for that matter, control it...
PAGE 19
19/1 CLOSE UP
An analog clock; it has just struck 2:05pm
SFX
BBRRRRRIIIIIIIIING!
19/2 CLOSE UP-INT-HIGH SCHOOL CLASSROOM-DAY
Twitch sits up in his desk, startled, his right eye twitching.
TWITCH (CAPTION)
That is, if it’s something that can be controlled.
MS. ELIOT (O.S.)
Alright, class. Have a nice weekend. We’ll start with chapter five on Monday.
19/3 WIDE
The entire class leap out of their seats and dart for the door, except for Twitch, still recovering from his startling daydreams. Ms. Eliot sits on her desk. Chris affectionately punches Walker on the way out.
MS. ELIOT
Twitch? Is everything alright?
TWITCH
What? Yeah, I’m fine. Drifting off I guess.
MS. ELIOT
I’ve noticed that’s been happening a lot lately.
19/4 MEDIUM
Twitch gets up of his seat and collects his belongings, getting ready to leave.
MS. ELIOT
Are you sure there’s nothing you want to talk about?
TWITCH
Nope. Nothing. Nothing at all.
19/5 MEDIUM
Ms. Eliot looks at Twitch as he leaves the room, clearly concerned. Twitch looks at the ground, his back to her.
TWITCH
I just, you know, I drift. Sometimes.
19/6 MEDIUM
Ms. Eliot, alone in the classroom, still leaning on her desk. She stares curiously and suspiciously after Twitch.
PAGE 20
20/1 WIDE-EXT-HIGH SCHOOL FRONT STEPS-DAY
Students, en masse, run down the steps of the high school.
20/2 WIDE-SAME SHOT
Twitch is the last to leave the school.
20/3 MEDIUM
Students, including Chris, Josie, and Walker, heading towards the cross walk previously seen in Twitch’s flashback.
CHRIS
See you at practice tomorrow?
WALKER
Yeah I’ll be there. You goin’ to Al’s party?
CHRIS
Hell yeah, bro. You?
20/4 CLOSE UP-PULLED SLIGHTLY AWAY
Same perspective as before, looking at Walker’s back, as he walks away towards the crosswalk. He turns his head over his shoulder as he talks back to Chris. We see Walker’s face straight on, and can barely make out a car in the background.
WALKER
Eh, I’m not sure.
20/5 CLOSE UP
Eyes wide with fright, Twitch perks up, and we see the gears turning in his head as he realizes that this is the scene he saw in his vision.
20/6 CLOSE UP
Twitch runs down the rest of the steps to catch Walker
PAGE 21
21/1 MEDIUM
Walker standing in the crosswalk, still looking back to Chris.
WALKER
That scene’s totally dead.
21/2 WIDE-OVER THE SHOULDER-CAR’S POV
A car comes careening towards Walker; the driver is clearly not paying attention, perhaps speaking to the person in the passenger seat.
21/3 MEDIUM-CLOSE
Twitch’s jaw drops and his eyes go wide as he notices the car heading towards Walker off-panel.
TWITCH
Walker!
21/4 MEDIUM-TWO SHOT
The passenger notices Walker, and tries to warn the driver.
PASSENGER
Dude! Look out!
SFX
BEEEEEEEEEEEEP
21/5 CLOSE UP
Walker stares at the car in panic.
WALKER (SMALL)
Aw, sh-
21/6 CLOSE UP-INSET
Twitch’s hand grabs Walker’s shoulder.
WALKER (SMALL)
-it.
PAGE 22
22/1 MEDIUM-WIDE-2/3 PAGE
Twitch and Walker watch from the curb as the car flies by; the passenger yells out the window.
PASSENGER
Watch where you’re goin’, asshole!
22/2 MEDIUM
Twitch, in a flurry of panic-an adrenaline rush-checks with Walker, who looks like he is more riding the excitement and rush of a near-death encounter, though his ass probably hurts a bit.
TWITCH
Are you okay? That guy nearly killed you!
22/3 CLOSE UP
Close up on Walker’s face, smiling victoriously as he rubs the sore spot where he sat down, with Twitch visible over his shoulder.
TWITCH
Walker...? Are you-are you smiling? You’re in shock, you must be in shock, you-
WALKER
How’d you know that was going to happen, huh?
TWITCH
What?
PAGE 23
23/1 WIDE
Walker turns around and faces Twitch.
WALKER
How’d you know that car was going to hit me?
WALKER (CONT’D)
That thing must have been going 50 miles an hour, there’s no way you could have seen it coming and still reached me in time.
WALKER (CONT’D)
So how’d you know it was coming?
TWITCH
It was-you were standing there, and I-I just, I thought that-
23/2 MEDIUM-WALKER’S POV-OVER-THE-SHOULDER
Focus on Twitch.
TWITCH
I...I...
TWITCH (CAPTION) (CONT’D)
Um, well, you see, apparently I have this ability-clairvoyance or something, I don’t know-and I actually saw this whole thing happen in a vision of some sort yesterday. I can’t quite explain it.
23/3 MEDIUM-WALKER’S POV-OVER-THE-SHOULDER
Same shot as the previous panel, Twitch drops his head and looks to the ground.
TWITCH (CAPTION)
Oh. Well. I guess that does. Kind of explain it, I mean. Although it’s really more like-
23/4 MEDIUM-WALKER’S POV-OVER-THE-SHOULDER
Same shot as the previous two, Twitch looks up at Walker again.
TWITCH
Well...I-See, I just-I-
TWITCH (CAPTION) (CONT’D)
No, that sounds about right.
23/5 MEDIUM-PROFILE
Walker puts his hand on Twitch’s shoulder again.
WALKER
We should talk.
CAPTION
To be continued...
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