PAGE 1
1/1 MEDIUM-TWITCH’S POV-OVER-THE-SHOULDER-INT-TWITCH’S LIVING ROOM, 10 YEARS AGO-NIGHT
Years ago, a young Twitch looks up at John, who sits in an easy chair reading. We do not see John’s face. Young Twitch is covering his right eye with his hand.
CAPTION
Years ago...
TWITCH
John?
TWITCH (CAPTION) (CONT’D)
Grown-ups lie.
1/2 MEDIUM-JOHN’S POV
Looking down on Twitch, we see him covering his right eye. He looks frightened.
TWITCH (CAPTION)
It’s in our best interest when we’re kids, of course.
JOHN
What is it?
TWITCH (CAPTION)
At least that’s what they tell themselves.
1/3 MEDIUM-CLOSE-JOHN’S POV
Twitch looks down at the ground; our angle is still looking down on him, and his eye is still covered with his hand.
TWITCH
It’s my eye. I think there’s something wrong with my eye.
1/4 MEDIUM-CLOSE-JOHN’S POV
Twitch uncovers his eye and looks up, pleading with John. In his eye we can faintly see something reflected in it.
TWITCH
It hurts.
PAGE 2
2/1-WIDE-EXT-SCHOOL CROSSWALK-PRESENT-DAY
Twitch looks away from Walker, trying in vain to find an exit or an excuse to leave or otherwise change the subject.
TWITCH
I don’t-I don’t know what you’re talking about. I should really go, I-
WALKER
Relax. I just want to talk. I’m not going to hurt you or anything.
2/2-MEDIUM-DIFFERENT ANGLE
Twitch turns to walk away from Walker. His right eye twitches. Visually, Twitch is in the foreground, and we see Walker over his shoulder.
TWITCH (CAPTION)
That’s what people who want to hurt you say.
TWITCH (CONT’D)
I really-I’ve got nothing to talk about. I’ll see you tomorrow...
WALKER
Twitch, please...
2/3 MEDIUM-DIFFERENT ANGLE
Twitch continues to walk away.
WALKER
I know what you can do.
2/4-MEDIUM-CLOSE
Twitch turns back around, excitedly but still paranoid. He looks as if he wants to trust Walker, but is just as frightened as he is intrigued by this.
TWITCH (CAPTION)
I don’t even know what I can do.
TWITCH (CONT’D)
Y-you do?
2/5-CLOSE-UP-WALKER’S FACE
A charismatic but scheming smile sneaks across Walker’s face.
WALKER
I want to help you.
PAGE 3
3/1-WIDE-INT-CHURCH-TEN YEARS AGO-NIGHT
A PRIEST squats down beside a young Twitch, who is once again covering his right eye. John and Cate stand behind him with their hands on his shoulders. The Priest gently reaches for Twitch’s hand.
TWITCH (CAPTION)
Well, I mean, I’ve got an idea of what I can do.
PRIEST
Let me see.
3/2-CLOSE-UP
Twitch takes his hand away from his eye while the Priest, barely on panel, examines it.
TWITCH (CAPTION)
An inkling maybe.
PRIEST
When did this start?
TWITCH
I-I don’t know. It just kind of happens.
PRIEST
What does it feel like?
3/3-CLOSE-UP
Zoom in on Twitch’s eye, which reflects a lightning storm in the pupil, with storm clouds spilling out onto the iris.
TWITCH (CAPTION)
“It feels like...like I’m getting hit by this big truck. Only...”
PRIEST (O.S.)(CAPTION)
And what do you see when this happens?
3/4-MEDIUM-INT-WALKER’S BEDROOM-TEN YEARS AGO-NIGHT
Walker holds onto his stuffed lion as he is being molested by his Uncle; this scene should be ambiguous, enough to think that perhaps it’s the Priest molesting a child, or beating a child, or that something else entirely is going on. The image is vague, obscured in shadows; it is difficult to tell what is happening, other than that is something that shouldn’t. This should be the kind of thing where, once the reader gets Walker’s back story, he’ll go back and re-read things and this will make sense then.
TWITCH (CAPTION)
(These things always start out innocently enough.)
UNCLE (SMALL)
Shh...
PAGE 4
4/1 MEDIUM-EXT-SCHOOL YARD-PRESENT-DAY
Walker and Twitch walking together around the football field or school parking lot.
TWITCH (CAPTION)
“...it’s not a truck.”
TWITCH (CONT’D)
It’s the future. I guess.
TWITCH (CAPTION) (CONT’D)
Yep. The future.
TWITCH (CONT’D)
It’s different every time.
TWITCH (CAPTION) (CONT’D)
The future truck.
TWITCH (CONT’D)
Sometimes it’s people I know, and it happens like a minute or two later. Sometimes it’s total strangers and it’s already happened. Most of the time, I can’t even tell.
WALKER
How can you not really tell what you see?
TWITCH (CAPTION)
Vroom vroom.
4/2 MEDIUM CLOSE
Focus on Twitch, with an image superimposed on his twitching right eye. He motions as if he is grasping for words, trying to explain something that he cannot articulate.
TWITCH (CAPTION)
How do you teach a blind man to see?
TWITCH (CONT’D)
It’s-it’s fragments of things. Flashes of scenes, and-It’s not all coherent. Just short clips or bursts.
4/3 MEDIUM CLOSE-TWITCH’S POV
Walker listening curiously and intently to Twitch’s explanation.
TWITCH (O.S.)
It’s kind of like a montage, I guess. Except it hurts a little more.
WALKER
I see...
TWITCH (CAPTION)
You really don’t.
4/4 SAME AS PREVIOUS PANEL
Walker looks down and to the side, hand on his chin, thinking hard.
4/5 MEDIUM CLOSE-TWITCH’S POV, NEW ANGLE
Walker raises his fist and throws it towards Twitch’s face.
PAGE 5
5/1 MEDIUM CLOSE-INT-TWITCH’S LIVING ROOM-TEN YEARS AGO-NIGHT
Recoiling, Twitch holds his face in pain, tears streaming down.
TWITCH
John? What are you...?
5/2 MEDIUM
John lifts his arm up, preparing to deliver another backhand to the young Twitch. He is holding Twitch off-panel with his other arm. It should be clear in John’s face that he is not enjoying this, but simply believes that it’s the only way.
JOHN
I’m sorry...
5/3 WIDE
In the foreground, Cate is on her knees, praying in front of a rosary. Behind her, we see John holding Twitch’s skinny arm in one of his hands, and Twitch falling back; John’s arm is holding him up and preventing him from actually falling over.
TWITCH (CAPTION)
Deliver us, Lord, from every evil, so that sins may be forgiven. We ask you this...
CATE
In the name of the Father, Son, and the Holy Spirit...
SFX
KRACK!
5/4 CLOSE UP
We see Cate’s face, flinching as she crosses herself.
TWITCH (O.S.)
Ah! Stop! Stop! It hurts! It hurts...
SFX
WHAM!
5/5 CLOSE UP
Twitch’s eye is superimposed with a present-day image of Walker winding up to punch him.
PAGE 6
6/1 CLOSE UP
In Twitch’s eye, we see John beating him.
TWITCH (O.S.)
Gah!
6/2 CLOSE UP
Twitch’s eye quickly closes.
6/3 WIDE-EXT-SCHOOL YARD-PRESENT-DAY
Twitch recoils, doubling over and covering his face in fear. Walker stands there, fist still pulled back, dumbfounded by Twitch’s extreme reaction.
TWITCH (CAPTION)
As we forgive those we trespass against us.
WALKER
Whoa.
WALKER (CONT’D)
You alright?
WALKER (CONT’D)
I was just kidding. I wasn’t-I wasn’t going to actually hit you...
6/4 MEDIUM CLOSE
Focus on Twitch, still doubled over, bringing his face out from behind his hand, still very frightened.
TWITCH
Y-you weren’t?
6/5 MEDIUM
Walker gives Twitch his arm and helps him stand back up. He shows genuine concern.
WALKER
No way, man. I just wanted to see how you reacted. If you could see it coming or not.
WALKER (CONT’D)
I wouldn’t just hit you like that.
WALKER (SMALL) (CONT’D)
Well, not unless you deserved it.
TWITCH (CAPTION)
And lead us not into temptation.
PAGE 7
7/1 MEDIUM-DIFFERENT ANGLE
Twitch is standing up by now, trying to collect himself. Walker makes sure he is okay.
WALKER
Which, you know, you don’t. I’m just saying.
WALKER (CONT’D)
You sure you’re alright?
TWITCH
Yeah. I just-I had a little scare, that’s all.
WALKER
So I take it that you didn’t see it coming, then?
7/2 MEDIUM CLOSE
With slitted, horizontal eyes, Twitch glares at Walker. His eye right eye twitches.
TWITCH
...
TWITCH (CONT’D)
No. I didn’t.
7/3 MEDIUM
Realizing that he just screwed up, Walker turns his face away from Twitch. His body retreats a bit.
WALKER
Sorry. Damn. Didn’t mean to freak you out that much.
7/4 MEDIUM-DIFFERENT ANGLE
WALKER
What do you see then?
WALKER (CONT’D)
Like lately, what has it been?
7/5 WIDE
Twitch turns to leave.
TWITCH
I really should get going. I don’t want to be late for dinner. Cate and John are probably worried...
PAGE 8
8/1 MEDIUM
Walker challenges Twitch’s reaction-still charismatic, of course.
WALKER
Dinner? It’s 3:00.
TWITCH (O.S.)
I’ve got a long walk home.
8/2 MEDIUM-WALKER’S POV
With his back turned to Walker, Twitch walks away.
8/3 MEDIUM-DIFFERENT ANGLE
Behind Twitch, Walker rolls his eyes and head in frustration, realizing that he just pushed Twitch away.
WALKER
Twitch, wait.
8/4 MEDIUM-SAME ANGLE
Walker jogs to catch up with Twitch.
WALKER
Twi-Richard. Rich. Hold on. Just-just give me a chance. Please. I’m really sorry about that. Honest.
8/5 MEDIUM
This time, Twitch is in the foreground of the panel, looking very visibly perturbed. Walker stands behind him, pleading.
TWITCH (SMALL)
My name’s not Richard.
WALKER
What?
TWITCH
I said, my name’s not Richard. It’s my last name. Ritchie is my last name.
WALKER
Then what’s your first name?
TWITCH
Lionel.
PAGE 9
9/1 MEDIUM CLOSE
Focus on Walker, who’s face is blank as Twitch’s revelation registers itself in his head.
9/2 MEDIUM CLOSE-SAME ANGLE
Walker is almost double over in laughter.
SFX
Ha Ha Ha Ha Ha!
9/3 MEDIUM
In the foreground, Twitch struggles to contain his anger. Walker is behind him, laughing.
WALKER
Your name is Lionel Ritchie? Haha!
9/4 MEDIUM-SAME ANGLE
Twitch is gone. Walker’s laughter ends abruptly as he notices and realizes what he’s done.
9/5 MEDIUM-SAME ANGLE
Walker stands up, hits himself in the head or otherwise acknowledges his own foolishness.
WALKER
You are such an asshole.
9/6 MEDIUM-SAME ANGLE
Once again, Walker hustles to catch up with Twitch.
WALKER
Twitch-Lionel-please. I didn’t meant it. Honest. I’m sorry.
WALKER (CONT’D)
Also, you know, for the punching fake out.
WALKER (SMALL) (CONT’D)
And for not knowing your name after all these years.
PAGE 10
10/1 MEDIUM-INT-TWITCH’S BEDROOM-TEN YEARS AGO-NIGHT
A door creaks open, letting the only light into the room. Cate, visible in silhouette, slips in.
CATE
Are you awake, dear?
10/2 MEDIUM-CATE’S POV
There is a lump of person--young Twitch--hidden beneath the covers of a child’s bed in the middle of the room; Cate reaches her hand towards the bed.
CATE
Lionel? Sweetie? Are you alright?
TWITCH (O.C.)
*Sniff*...leave me alone *sniff*
10/3 CLOSE-UP
Cate’s hand pulls the sheets away from Twitch.
TWITCH
Don’t touch me!
10/4 MEDIUM
Cate looks back at John, who has come in the door behind her.
10/5 MEDIUM CLOSE
John and Cate at the edge of the bed, showing affection through the covers; Twitch still refuses to come out.
JOHN
Lionel, listen. We did what we had to do to make things better for you.
JOHN (CONT’D)
It was the only way to get the Devil out.
CATE
But he’s gone now, darling. Everything’s going to be alright...
PAGE 11
11/1 WIDE-INT-WALKER’S LIVING ROOM--PRESENT-EVENING
Walker’s father, CARL, sits in a reclining chair, drinking a can of beer. At first glance he immediately calls to mind images of alcoholism and negligence, although he is dressed in khakis and a sweater and could easily just be a middle-class father after work. We see Walker in the background, coming through the kitchen, looking longingly at his father.
CATE (O.S.)
“...everything’s going to be fine.”
11/2 OVER-THE-SHOULDER-WALKER’S POV
From Walker’s Point-of-View, we see him looking at his father in the living room, watching the news.
NEWS REPORTER
...meanwhile, startling developments in the Hoffstein trial reveals new evidence. Police were unable to find fingerprints on what appears to be the murder weapon used by...
11/3 MEDIUM CLOSE
Walker turns away from the living room and hangs his head in shame.
11/4 MEDIUM CLOSE
Finally, something has caught Carl’s attention; though still looking at the TV, his eyes shift focus towards Walker behind.
CARL
Walker?
11/5 SAME AS 11/3
Walker looks up to the ceiling, leaning the door frame that divides the living room and the kitchen.
WALKER
Yeah, Dad.
CARL
Where the hell have you been? It’s nearly 5:30.
WALKER
I was at practice, Dad.
CARL
Practice? On a Wednesday?
TWITCH (CAPTION)
Who protects the parents when their lies have gone too far?
PAGE 12
12/1 WIDE
LISA, Walker’s mother, enters the room. She is dressed well in business attire. Walker is almost off-panel himself.
LISA
Walker, your report card came in today.
LISA (CONT’D)
Ms. Eliot seems to have taken a real liking to you.
WALKER
Yeah.
12/2 DIFFERENT ANGLE
Lisa watches silently as Walker ascends the stairs up to his room.
12/3 WIDE
Lisa stands hear Carl, addressing him with disappointment.
LISA
You know, you shouldn’t be so hard on him.
CARL
Hrm.
12/4 CLOSE UP-INSET
Carl takes a drink of beer.
CARL (SMALL)
It’s not him I’m being hard on.
PAGE 13
13/1 WIDE-INT-HIGH SCHOOL CAFETERIA-PRESENT-DAY
The next day, Twitch is eating lunch alone, reading a thick book. Like any other day.
13/2 WIDE
Walker comes up to the table with his tray of food, wearing his letterman’s jacket.
WALKER
Hey.
WALKER (CONT’D)
Mind if I take a seat?
TWITCH
Sure.
13/3 WIDE
Walker sits down next to Twitch, who is clearly not enthusiastic about it.
WALKER
I wanted to apologize again. For yesterday.
TWITCH
It’s alright.
TWITCH (SMALL) (CONT’D)
Most conversation I’ve had all year.
13/4 WIDE
Twitch continues eating, paying Walker no mind. This is awkward.
PAGE 14
14/1 WIDE
Walker man’s up and finally asks Twitch a question.
WALKER
Listen...
WALKER (CONT’D)
I’ve got a game after school today, but...
WALKER (CONT’D)
I was wondering what you were doing later.
WALKER (CONT’D)
You know, if maybe you wanted to hang out or whatever.
14/2 WIDE
Twitch looks up at Walker, trying to judge his sincerity.
14/3 WIDE
Twitch continues eating food casually, with a slight smile on his face.
TWITCH
Yeah. Okay.
WALKER
Okay.
WALKER (CONT’D)
Okay, cool.
14/4 WIDE
Twitch looks up, smiling; we see his right eye twitch and notice something in it, but it should be difficult for the reader to make out.
TWITCH
Hnh.
WALKER
What? What was it, what do you see?
TWITCH
Heh. Nothing.
PAGE 15
15/1 WIDE
Twitch and Walker eat lunch together in comfortable silence.
15/2 MEDIUM
Walker takes a break from eating and looks up at Twitch.
WALKER
So what kind of stuff are you into? You know, like do you play video games, or whatever. Maybe you’re into-
15/3 MEDIUM
Profile shot of Walker, freezing mid-sentence. His eyes look towards the reader, or to an invisible viewer; he’s been caught.
WALKER
...
WALKER (SMALL) (CONT’D)
Hey, Josie.
15/4 MEDIUM CLOSE-WALKER’S POV
We see Josie, hands her lips, looking down condescendingly, judging Walker and mostly ignoring Twitch beside him.
WALKER (SMALL) (O.S.)
Hey.
WALKER (SMALL) (O.S.) (CONT’D)
Cough.
15/5 MEDIUM CLOSE-WALKER’S POV
Josie turns profile and walks away.
JOSIE
Tt.
PAGE 16/17
16-17/1-SPLASH
Walker’s lacrosse game, in full glory. Across the bottom of the pages are a few panels.
16/1
Walker scores a goal
TWITCH (CAPTION)
“He had discovered a great law of human action, without knowing it--”
16/2
Walker’s teammates congratulate him
17/1
Walker looks up at the bleachers amidst the celebration
17/2
There is an obvious hole in the bleachers where Walker looks. However, Ms. Eliot is seated inconspicuously in the bleachers.
TWITCH (CAPTION)
“--namely, that in order to make a man or a boy covet a thing, it is only necessary to make the thing difficult to obtain.”-Mark Twain
PAGE 18
18/1 MEDIUM-INT-HIGH SCHOOL LOCKER ROOM-EVENING-PROFILE SHOT
Walker is at his locker after the game.
18/2 SAME AS ABOVE
Off-panel, a twisted wet towel smacks Walker in the butt. We see his body at his locker contort. Chris is barely visible past Walker.
SFX
WHACK!
WALKER
Ah!
18/3 MEDIUM WIDE
With the locker open beside him, Walker recovers from the hit, rubbing his backside, while Chris, still armed with the towel, cackles like a hyena. In the top compartment of Walker’s locker, there is a stuffed lion visible, but attention should not be drawn to it.
WALKER
What the hell, dude...
CHRIS
Aw, lighten up, hot shot. You’re the star of the game.
CHRIS (CONT’D)
Figure it’s the least I can do to you for totally showing me up.
18/4 MEDIUM CLOSE-CHRIS’S POV-OVER-THE-SHOULDER
Walker goes back to getting changed after the game while Chris talks to him.
CHRIS
The rest of the guys are headin’ over to the diner in a few. You in?
WALKER
Nah, sorry man. I got plans.
18/5 MEDIUM WIDE
Chris walks away, blowing Walker off.
CHRIS
Alright. Whatever. Later faggot.
TWITCH (CAPTION)(O.S.)
“How did you know?”
PAGE 19
19/1 MEDIUM WIDE-EXT-SCHOOL YARD-EVENING
Chris and Walker sit together, hanging out.
TWITCH
I mean, it’s not like I talk about it or anything.
TWITCH (SMALL) (CONT’D)
Or talk. Period.
WALKER
Yeah, but you’re kind of obvious about it when it happens.
TWITCH
So much for carefully calculated cultural irrelevance...
19/2 MEDIUM-DIFFERENT ANGLE
WALKER
...?
WALKER (CONT’D)
Well when you get all flustered and nervous and shift your chair, it’s hard not to notice.
WALKER (SMALL) (CONT’D)
All the bars on those desks make it hard to cross your legs.
WALKER (REGULAR) (CONT’D)
But most of us have figured out how to control it by now...
WALKER (SMALL) (CONT’D)
or at least how to do the tuck.
19/3 MEDIUM-DIFFERENT ANGLE
TWITCH
How’d you know about my visions then?
WALKER
Pretty much the same thing. You’re not very good at covering up your awkwardness, man.
TWITCH
Yeah...
19/4 MEDIUM-DIFFERENT ANGLE
WALKER
It’s kind of like when you’re falling asleep in class-not you personally, but like, you generally-and you suddenly shoot up in your seat, wide awake in a panic and everyone notices.
WALKER (CONT’D)
But then you’re always just...there. The you you, not the general you.
WALKER (CONT’D)
Like the other day, with Josie. It’s too...
19/5 WIDE-INT-TWITCH’S KITCHEN-EVENING-TEN YEARS AGO-TWITCH’S POV
Around the dinner table, Cate and John question young Twitch.
WALKER (CAPTION) (O.S.)
“...convenient.”
JOHN
Have the headaches stopped yet, Lionel?
TWITCH
...
TWITCH (CONT’D)
Yes. They have.
WALKER (O.S.)(CAPTION)
“But I guess what I’m still wondering is...”
PAGE 20
20/1 MEDIUM-INT-TWITCH’S KITCHEN-EVENING-TEN YEARS AGO
Dinner conversation continues
WALKER (CAPTION)(O.S.)
“...how do you make it happen?”
JOHN
Good.
JOHN (CONT’D)
You know we never meant to hurt you, right?
JOHN (CONT’D)
I want to make sure you understand that...
20/3 MEDIUM-EXT-SCHOOL YARD-EVENING-PRESENT
JOHN (CAPTION) (O.S.)
“...we would never deliberately hurt you.”
TWITCH
That’s the thing-I don’t. It just...it just kind of happens, you know? There’s no rhyme or reason to it. They just come, bam, when they’re least expected.
20/4 MEDIUM-DIFFERENT ANGLE
WALKER
There’s got to be some kind of pattern to it. Like, when you’re stressed, or hunger, or...horny, I don’t know.
TWITCH
No. It’s nothing like that.
TWITCH (CONT’D)
Trust me, I’ve tried to make some sense of it. It’s entirely random.
20/5 MEDIUM-INT-TWITCH’S KITCHEN-EVENING-TEN YEARS AGO-JOHN’S POV
Young Twitch’s right eye twitches, and Cate notices.
TWITCH (CAPTION) (O.S.)
“...The chaotic, twisted humor of the universe.”
CATE
Sweetie...? Are you sure you’re alright? Your eye, it’s-
TWITCH
Yeah. I’m fine.
TWITCH (CONT’D)
Really.
JOHN
Sometimes, after something terrible happens, God leaves a mark on us. A scar to remind us what we’ve been through.
JOHN (CONT’D)
That’s all it is.
20/6 CLOSE UP-INSET
John holds Cate’s hand tight.
PAGE 21
21/1-MEDIUM-EXT-SCHOOL YARD-DAY-PRESENT
WALKER
So you can’t control it, or predict it?
TWITCH
I’ve never really tried. I’ve tried to ignore it more than anything else.
WALKER
Well, then, why don’t you?
21/2 MEDIUM-DIFFERENT ANGLE
TWITCH
Why don’t I what?
WALKER
Try to control it. Learn to use it. Think of all the good you can do.
TWITCH
You’re crazy. I can’t change the future. I can barely get to school on time.
TWITCH (CAPTION) (CONT’D)
There it is again. The Future Truck.
21/3 MEDIUM
WALKER
Just give it a shot.
TWITCH
How?
TWITCH (CAPTION) (CONT’D)
Do you think it’s automatic, or a stick shift?
WALKER
I don’t know...you know more about than I do!
TWITCH
That’s what I’m trying to tell you, Walker. I don’t know anything about it! I can’t control it.
21/4 MEDIUM CLOSE-TWITCH’S POV
Walker contemplates this latest revelation and tries to strategize a new approach.
WALKER (SMALL)
Hrm.
21/5 WIDE
Twitch sits up straight, eyes wide, almost like he’s possessed, snapping Walker out of his thought. Twitch is having another vision.
WALKER
Twitch? Lionel?
TWITCH (CAPTION)
Guess we’ll find out sooner or later.
PAGE 22
SPLASH
Twitch’s face takes up half the page and bleeds into an image of MRS. HENDERSON, an elderly history teacher, sprawled on the floor behind her desk, clearly struggling and in pain and pleading desperately with the reader or an invisible viewer. An inconspicuous analog clock reads 1:47pm
WALKER (CAPTION) (O.S.)
“What is it?”
TWITCH (CAPTION)
Beep Beep. Future truck, coming through.
Credits:
SEE NO EVIL
Created by Paul Cantillon, Thom Dunn, and Dmitry Milkin
1/1 MEDIUM-TWITCH’S POV-OVER-THE-SHOULDER-INT-TWITCH’S LIVING ROOM, 10 YEARS AGO-NIGHT
Years ago, a young Twitch looks up at John, who sits in an easy chair reading. We do not see John’s face. Young Twitch is covering his right eye with his hand.
CAPTION
Years ago...
TWITCH
John?
TWITCH (CAPTION) (CONT’D)
Grown-ups lie.
1/2 MEDIUM-JOHN’S POV
Looking down on Twitch, we see him covering his right eye. He looks frightened.
TWITCH (CAPTION)
It’s in our best interest when we’re kids, of course.
JOHN
What is it?
TWITCH (CAPTION)
At least that’s what they tell themselves.
1/3 MEDIUM-CLOSE-JOHN’S POV
Twitch looks down at the ground; our angle is still looking down on him, and his eye is still covered with his hand.
TWITCH
It’s my eye. I think there’s something wrong with my eye.
1/4 MEDIUM-CLOSE-JOHN’S POV
Twitch uncovers his eye and looks up, pleading with John. In his eye we can faintly see something reflected in it.
TWITCH
It hurts.
PAGE 2
2/1-WIDE-EXT-SCHOOL CROSSWALK-PRESENT-DAY
Twitch looks away from Walker, trying in vain to find an exit or an excuse to leave or otherwise change the subject.
TWITCH
I don’t-I don’t know what you’re talking about. I should really go, I-
WALKER
Relax. I just want to talk. I’m not going to hurt you or anything.
2/2-MEDIUM-DIFFERENT ANGLE
Twitch turns to walk away from Walker. His right eye twitches. Visually, Twitch is in the foreground, and we see Walker over his shoulder.
TWITCH (CAPTION)
That’s what people who want to hurt you say.
TWITCH (CONT’D)
I really-I’ve got nothing to talk about. I’ll see you tomorrow...
WALKER
Twitch, please...
2/3 MEDIUM-DIFFERENT ANGLE
Twitch continues to walk away.
WALKER
I know what you can do.
2/4-MEDIUM-CLOSE
Twitch turns back around, excitedly but still paranoid. He looks as if he wants to trust Walker, but is just as frightened as he is intrigued by this.
TWITCH (CAPTION)
I don’t even know what I can do.
TWITCH (CONT’D)
Y-you do?
2/5-CLOSE-UP-WALKER’S FACE
A charismatic but scheming smile sneaks across Walker’s face.
WALKER
I want to help you.
PAGE 3
3/1-WIDE-INT-CHURCH-TEN YEARS AGO-NIGHT
A PRIEST squats down beside a young Twitch, who is once again covering his right eye. John and Cate stand behind him with their hands on his shoulders. The Priest gently reaches for Twitch’s hand.
TWITCH (CAPTION)
Well, I mean, I’ve got an idea of what I can do.
PRIEST
Let me see.
3/2-CLOSE-UP
Twitch takes his hand away from his eye while the Priest, barely on panel, examines it.
TWITCH (CAPTION)
An inkling maybe.
PRIEST
When did this start?
TWITCH
I-I don’t know. It just kind of happens.
PRIEST
What does it feel like?
3/3-CLOSE-UP
Zoom in on Twitch’s eye, which reflects a lightning storm in the pupil, with storm clouds spilling out onto the iris.
TWITCH (CAPTION)
“It feels like...like I’m getting hit by this big truck. Only...”
PRIEST (O.S.)(CAPTION)
And what do you see when this happens?
3/4-MEDIUM-INT-WALKER’S BEDROOM-TEN YEARS AGO-NIGHT
Walker holds onto his stuffed lion as he is being molested by his Uncle; this scene should be ambiguous, enough to think that perhaps it’s the Priest molesting a child, or beating a child, or that something else entirely is going on. The image is vague, obscured in shadows; it is difficult to tell what is happening, other than that is something that shouldn’t. This should be the kind of thing where, once the reader gets Walker’s back story, he’ll go back and re-read things and this will make sense then.
TWITCH (CAPTION)
(These things always start out innocently enough.)
UNCLE (SMALL)
Shh...
PAGE 4
4/1 MEDIUM-EXT-SCHOOL YARD-PRESENT-DAY
Walker and Twitch walking together around the football field or school parking lot.
TWITCH (CAPTION)
“...it’s not a truck.”
TWITCH (CONT’D)
It’s the future. I guess.
TWITCH (CAPTION) (CONT’D)
Yep. The future.
TWITCH (CONT’D)
It’s different every time.
TWITCH (CAPTION) (CONT’D)
The future truck.
TWITCH (CONT’D)
Sometimes it’s people I know, and it happens like a minute or two later. Sometimes it’s total strangers and it’s already happened. Most of the time, I can’t even tell.
WALKER
How can you not really tell what you see?
TWITCH (CAPTION)
Vroom vroom.
4/2 MEDIUM CLOSE
Focus on Twitch, with an image superimposed on his twitching right eye. He motions as if he is grasping for words, trying to explain something that he cannot articulate.
TWITCH (CAPTION)
How do you teach a blind man to see?
TWITCH (CONT’D)
It’s-it’s fragments of things. Flashes of scenes, and-It’s not all coherent. Just short clips or bursts.
4/3 MEDIUM CLOSE-TWITCH’S POV
Walker listening curiously and intently to Twitch’s explanation.
TWITCH (O.S.)
It’s kind of like a montage, I guess. Except it hurts a little more.
WALKER
I see...
TWITCH (CAPTION)
You really don’t.
4/4 SAME AS PREVIOUS PANEL
Walker looks down and to the side, hand on his chin, thinking hard.
4/5 MEDIUM CLOSE-TWITCH’S POV, NEW ANGLE
Walker raises his fist and throws it towards Twitch’s face.
PAGE 5
5/1 MEDIUM CLOSE-INT-TWITCH’S LIVING ROOM-TEN YEARS AGO-NIGHT
Recoiling, Twitch holds his face in pain, tears streaming down.
TWITCH
John? What are you...?
5/2 MEDIUM
John lifts his arm up, preparing to deliver another backhand to the young Twitch. He is holding Twitch off-panel with his other arm. It should be clear in John’s face that he is not enjoying this, but simply believes that it’s the only way.
JOHN
I’m sorry...
5/3 WIDE
In the foreground, Cate is on her knees, praying in front of a rosary. Behind her, we see John holding Twitch’s skinny arm in one of his hands, and Twitch falling back; John’s arm is holding him up and preventing him from actually falling over.
TWITCH (CAPTION)
Deliver us, Lord, from every evil, so that sins may be forgiven. We ask you this...
CATE
In the name of the Father, Son, and the Holy Spirit...
SFX
KRACK!
5/4 CLOSE UP
We see Cate’s face, flinching as she crosses herself.
TWITCH (O.S.)
Ah! Stop! Stop! It hurts! It hurts...
SFX
WHAM!
5/5 CLOSE UP
Twitch’s eye is superimposed with a present-day image of Walker winding up to punch him.
PAGE 6
6/1 CLOSE UP
In Twitch’s eye, we see John beating him.
TWITCH (O.S.)
Gah!
6/2 CLOSE UP
Twitch’s eye quickly closes.
6/3 WIDE-EXT-SCHOOL YARD-PRESENT-DAY
Twitch recoils, doubling over and covering his face in fear. Walker stands there, fist still pulled back, dumbfounded by Twitch’s extreme reaction.
TWITCH (CAPTION)
As we forgive those we trespass against us.
WALKER
Whoa.
WALKER (CONT’D)
You alright?
WALKER (CONT’D)
I was just kidding. I wasn’t-I wasn’t going to actually hit you...
6/4 MEDIUM CLOSE
Focus on Twitch, still doubled over, bringing his face out from behind his hand, still very frightened.
TWITCH
Y-you weren’t?
6/5 MEDIUM
Walker gives Twitch his arm and helps him stand back up. He shows genuine concern.
WALKER
No way, man. I just wanted to see how you reacted. If you could see it coming or not.
WALKER (CONT’D)
I wouldn’t just hit you like that.
WALKER (SMALL) (CONT’D)
Well, not unless you deserved it.
TWITCH (CAPTION)
And lead us not into temptation.
PAGE 7
7/1 MEDIUM-DIFFERENT ANGLE
Twitch is standing up by now, trying to collect himself. Walker makes sure he is okay.
WALKER
Which, you know, you don’t. I’m just saying.
WALKER (CONT’D)
You sure you’re alright?
TWITCH
Yeah. I just-I had a little scare, that’s all.
WALKER
So I take it that you didn’t see it coming, then?
7/2 MEDIUM CLOSE
With slitted, horizontal eyes, Twitch glares at Walker. His eye right eye twitches.
TWITCH
...
TWITCH (CONT’D)
No. I didn’t.
7/3 MEDIUM
Realizing that he just screwed up, Walker turns his face away from Twitch. His body retreats a bit.
WALKER
Sorry. Damn. Didn’t mean to freak you out that much.
7/4 MEDIUM-DIFFERENT ANGLE
WALKER
What do you see then?
WALKER (CONT’D)
Like lately, what has it been?
7/5 WIDE
Twitch turns to leave.
TWITCH
I really should get going. I don’t want to be late for dinner. Cate and John are probably worried...
PAGE 8
8/1 MEDIUM
Walker challenges Twitch’s reaction-still charismatic, of course.
WALKER
Dinner? It’s 3:00.
TWITCH (O.S.)
I’ve got a long walk home.
8/2 MEDIUM-WALKER’S POV
With his back turned to Walker, Twitch walks away.
8/3 MEDIUM-DIFFERENT ANGLE
Behind Twitch, Walker rolls his eyes and head in frustration, realizing that he just pushed Twitch away.
WALKER
Twitch, wait.
8/4 MEDIUM-SAME ANGLE
Walker jogs to catch up with Twitch.
WALKER
Twi-Richard. Rich. Hold on. Just-just give me a chance. Please. I’m really sorry about that. Honest.
8/5 MEDIUM
This time, Twitch is in the foreground of the panel, looking very visibly perturbed. Walker stands behind him, pleading.
TWITCH (SMALL)
My name’s not Richard.
WALKER
What?
TWITCH
I said, my name’s not Richard. It’s my last name. Ritchie is my last name.
WALKER
Then what’s your first name?
TWITCH
Lionel.
PAGE 9
9/1 MEDIUM CLOSE
Focus on Walker, who’s face is blank as Twitch’s revelation registers itself in his head.
9/2 MEDIUM CLOSE-SAME ANGLE
Walker is almost double over in laughter.
SFX
Ha Ha Ha Ha Ha!
9/3 MEDIUM
In the foreground, Twitch struggles to contain his anger. Walker is behind him, laughing.
WALKER
Your name is Lionel Ritchie? Haha!
9/4 MEDIUM-SAME ANGLE
Twitch is gone. Walker’s laughter ends abruptly as he notices and realizes what he’s done.
9/5 MEDIUM-SAME ANGLE
Walker stands up, hits himself in the head or otherwise acknowledges his own foolishness.
WALKER
You are such an asshole.
9/6 MEDIUM-SAME ANGLE
Once again, Walker hustles to catch up with Twitch.
WALKER
Twitch-Lionel-please. I didn’t meant it. Honest. I’m sorry.
WALKER (CONT’D)
Also, you know, for the punching fake out.
WALKER (SMALL) (CONT’D)
And for not knowing your name after all these years.
PAGE 10
10/1 MEDIUM-INT-TWITCH’S BEDROOM-TEN YEARS AGO-NIGHT
A door creaks open, letting the only light into the room. Cate, visible in silhouette, slips in.
CATE
Are you awake, dear?
10/2 MEDIUM-CATE’S POV
There is a lump of person--young Twitch--hidden beneath the covers of a child’s bed in the middle of the room; Cate reaches her hand towards the bed.
CATE
Lionel? Sweetie? Are you alright?
TWITCH (O.C.)
*Sniff*...leave me alone *sniff*
10/3 CLOSE-UP
Cate’s hand pulls the sheets away from Twitch.
TWITCH
Don’t touch me!
10/4 MEDIUM
Cate looks back at John, who has come in the door behind her.
10/5 MEDIUM CLOSE
John and Cate at the edge of the bed, showing affection through the covers; Twitch still refuses to come out.
JOHN
Lionel, listen. We did what we had to do to make things better for you.
JOHN (CONT’D)
It was the only way to get the Devil out.
CATE
But he’s gone now, darling. Everything’s going to be alright...
PAGE 11
11/1 WIDE-INT-WALKER’S LIVING ROOM--PRESENT-EVENING
Walker’s father, CARL, sits in a reclining chair, drinking a can of beer. At first glance he immediately calls to mind images of alcoholism and negligence, although he is dressed in khakis and a sweater and could easily just be a middle-class father after work. We see Walker in the background, coming through the kitchen, looking longingly at his father.
CATE (O.S.)
“...everything’s going to be fine.”
11/2 OVER-THE-SHOULDER-WALKER’S POV
From Walker’s Point-of-View, we see him looking at his father in the living room, watching the news.
NEWS REPORTER
...meanwhile, startling developments in the Hoffstein trial reveals new evidence. Police were unable to find fingerprints on what appears to be the murder weapon used by...
11/3 MEDIUM CLOSE
Walker turns away from the living room and hangs his head in shame.
11/4 MEDIUM CLOSE
Finally, something has caught Carl’s attention; though still looking at the TV, his eyes shift focus towards Walker behind.
CARL
Walker?
11/5 SAME AS 11/3
Walker looks up to the ceiling, leaning the door frame that divides the living room and the kitchen.
WALKER
Yeah, Dad.
CARL
Where the hell have you been? It’s nearly 5:30.
WALKER
I was at practice, Dad.
CARL
Practice? On a Wednesday?
TWITCH (CAPTION)
Who protects the parents when their lies have gone too far?
PAGE 12
12/1 WIDE
LISA, Walker’s mother, enters the room. She is dressed well in business attire. Walker is almost off-panel himself.
LISA
Walker, your report card came in today.
LISA (CONT’D)
Ms. Eliot seems to have taken a real liking to you.
WALKER
Yeah.
12/2 DIFFERENT ANGLE
Lisa watches silently as Walker ascends the stairs up to his room.
12/3 WIDE
Lisa stands hear Carl, addressing him with disappointment.
LISA
You know, you shouldn’t be so hard on him.
CARL
Hrm.
12/4 CLOSE UP-INSET
Carl takes a drink of beer.
CARL (SMALL)
It’s not him I’m being hard on.
PAGE 13
13/1 WIDE-INT-HIGH SCHOOL CAFETERIA-PRESENT-DAY
The next day, Twitch is eating lunch alone, reading a thick book. Like any other day.
13/2 WIDE
Walker comes up to the table with his tray of food, wearing his letterman’s jacket.
WALKER
Hey.
WALKER (CONT’D)
Mind if I take a seat?
TWITCH
Sure.
13/3 WIDE
Walker sits down next to Twitch, who is clearly not enthusiastic about it.
WALKER
I wanted to apologize again. For yesterday.
TWITCH
It’s alright.
TWITCH (SMALL) (CONT’D)
Most conversation I’ve had all year.
13/4 WIDE
Twitch continues eating, paying Walker no mind. This is awkward.
PAGE 14
14/1 WIDE
Walker man’s up and finally asks Twitch a question.
WALKER
Listen...
WALKER (CONT’D)
I’ve got a game after school today, but...
WALKER (CONT’D)
I was wondering what you were doing later.
WALKER (CONT’D)
You know, if maybe you wanted to hang out or whatever.
14/2 WIDE
Twitch looks up at Walker, trying to judge his sincerity.
14/3 WIDE
Twitch continues eating food casually, with a slight smile on his face.
TWITCH
Yeah. Okay.
WALKER
Okay.
WALKER (CONT’D)
Okay, cool.
14/4 WIDE
Twitch looks up, smiling; we see his right eye twitch and notice something in it, but it should be difficult for the reader to make out.
TWITCH
Hnh.
WALKER
What? What was it, what do you see?
TWITCH
Heh. Nothing.
PAGE 15
15/1 WIDE
Twitch and Walker eat lunch together in comfortable silence.
15/2 MEDIUM
Walker takes a break from eating and looks up at Twitch.
WALKER
So what kind of stuff are you into? You know, like do you play video games, or whatever. Maybe you’re into-
15/3 MEDIUM
Profile shot of Walker, freezing mid-sentence. His eyes look towards the reader, or to an invisible viewer; he’s been caught.
WALKER
...
WALKER (SMALL) (CONT’D)
Hey, Josie.
15/4 MEDIUM CLOSE-WALKER’S POV
We see Josie, hands her lips, looking down condescendingly, judging Walker and mostly ignoring Twitch beside him.
WALKER (SMALL) (O.S.)
Hey.
WALKER (SMALL) (O.S.) (CONT’D)
Cough.
15/5 MEDIUM CLOSE-WALKER’S POV
Josie turns profile and walks away.
JOSIE
Tt.
PAGE 16/17
16-17/1-SPLASH
Walker’s lacrosse game, in full glory. Across the bottom of the pages are a few panels.
16/1
Walker scores a goal
TWITCH (CAPTION)
“He had discovered a great law of human action, without knowing it--”
16/2
Walker’s teammates congratulate him
17/1
Walker looks up at the bleachers amidst the celebration
17/2
There is an obvious hole in the bleachers where Walker looks. However, Ms. Eliot is seated inconspicuously in the bleachers.
TWITCH (CAPTION)
“--namely, that in order to make a man or a boy covet a thing, it is only necessary to make the thing difficult to obtain.”-Mark Twain
PAGE 18
18/1 MEDIUM-INT-HIGH SCHOOL LOCKER ROOM-EVENING-PROFILE SHOT
Walker is at his locker after the game.
18/2 SAME AS ABOVE
Off-panel, a twisted wet towel smacks Walker in the butt. We see his body at his locker contort. Chris is barely visible past Walker.
SFX
WHACK!
WALKER
Ah!
18/3 MEDIUM WIDE
With the locker open beside him, Walker recovers from the hit, rubbing his backside, while Chris, still armed with the towel, cackles like a hyena. In the top compartment of Walker’s locker, there is a stuffed lion visible, but attention should not be drawn to it.
WALKER
What the hell, dude...
CHRIS
Aw, lighten up, hot shot. You’re the star of the game.
CHRIS (CONT’D)
Figure it’s the least I can do to you for totally showing me up.
18/4 MEDIUM CLOSE-CHRIS’S POV-OVER-THE-SHOULDER
Walker goes back to getting changed after the game while Chris talks to him.
CHRIS
The rest of the guys are headin’ over to the diner in a few. You in?
WALKER
Nah, sorry man. I got plans.
18/5 MEDIUM WIDE
Chris walks away, blowing Walker off.
CHRIS
Alright. Whatever. Later faggot.
TWITCH (CAPTION)(O.S.)
“How did you know?”
PAGE 19
19/1 MEDIUM WIDE-EXT-SCHOOL YARD-EVENING
Chris and Walker sit together, hanging out.
TWITCH
I mean, it’s not like I talk about it or anything.
TWITCH (SMALL) (CONT’D)
Or talk. Period.
WALKER
Yeah, but you’re kind of obvious about it when it happens.
TWITCH
So much for carefully calculated cultural irrelevance...
19/2 MEDIUM-DIFFERENT ANGLE
WALKER
...?
WALKER (CONT’D)
Well when you get all flustered and nervous and shift your chair, it’s hard not to notice.
WALKER (SMALL) (CONT’D)
All the bars on those desks make it hard to cross your legs.
WALKER (REGULAR) (CONT’D)
But most of us have figured out how to control it by now...
WALKER (SMALL) (CONT’D)
or at least how to do the tuck.
19/3 MEDIUM-DIFFERENT ANGLE
TWITCH
How’d you know about my visions then?
WALKER
Pretty much the same thing. You’re not very good at covering up your awkwardness, man.
TWITCH
Yeah...
19/4 MEDIUM-DIFFERENT ANGLE
WALKER
It’s kind of like when you’re falling asleep in class-not you personally, but like, you generally-and you suddenly shoot up in your seat, wide awake in a panic and everyone notices.
WALKER (CONT’D)
But then you’re always just...there. The you you, not the general you.
WALKER (CONT’D)
Like the other day, with Josie. It’s too...
19/5 WIDE-INT-TWITCH’S KITCHEN-EVENING-TEN YEARS AGO-TWITCH’S POV
Around the dinner table, Cate and John question young Twitch.
WALKER (CAPTION) (O.S.)
“...convenient.”
JOHN
Have the headaches stopped yet, Lionel?
TWITCH
...
TWITCH (CONT’D)
Yes. They have.
WALKER (O.S.)(CAPTION)
“But I guess what I’m still wondering is...”
PAGE 20
20/1 MEDIUM-INT-TWITCH’S KITCHEN-EVENING-TEN YEARS AGO
Dinner conversation continues
WALKER (CAPTION)(O.S.)
“...how do you make it happen?”
JOHN
Good.
JOHN (CONT’D)
You know we never meant to hurt you, right?
JOHN (CONT’D)
I want to make sure you understand that...
20/3 MEDIUM-EXT-SCHOOL YARD-EVENING-PRESENT
JOHN (CAPTION) (O.S.)
“...we would never deliberately hurt you.”
TWITCH
That’s the thing-I don’t. It just...it just kind of happens, you know? There’s no rhyme or reason to it. They just come, bam, when they’re least expected.
20/4 MEDIUM-DIFFERENT ANGLE
WALKER
There’s got to be some kind of pattern to it. Like, when you’re stressed, or hunger, or...horny, I don’t know.
TWITCH
No. It’s nothing like that.
TWITCH (CONT’D)
Trust me, I’ve tried to make some sense of it. It’s entirely random.
20/5 MEDIUM-INT-TWITCH’S KITCHEN-EVENING-TEN YEARS AGO-JOHN’S POV
Young Twitch’s right eye twitches, and Cate notices.
TWITCH (CAPTION) (O.S.)
“...The chaotic, twisted humor of the universe.”
CATE
Sweetie...? Are you sure you’re alright? Your eye, it’s-
TWITCH
Yeah. I’m fine.
TWITCH (CONT’D)
Really.
JOHN
Sometimes, after something terrible happens, God leaves a mark on us. A scar to remind us what we’ve been through.
JOHN (CONT’D)
That’s all it is.
20/6 CLOSE UP-INSET
John holds Cate’s hand tight.
PAGE 21
21/1-MEDIUM-EXT-SCHOOL YARD-DAY-PRESENT
WALKER
So you can’t control it, or predict it?
TWITCH
I’ve never really tried. I’ve tried to ignore it more than anything else.
WALKER
Well, then, why don’t you?
21/2 MEDIUM-DIFFERENT ANGLE
TWITCH
Why don’t I what?
WALKER
Try to control it. Learn to use it. Think of all the good you can do.
TWITCH
You’re crazy. I can’t change the future. I can barely get to school on time.
TWITCH (CAPTION) (CONT’D)
There it is again. The Future Truck.
21/3 MEDIUM
WALKER
Just give it a shot.
TWITCH
How?
TWITCH (CAPTION) (CONT’D)
Do you think it’s automatic, or a stick shift?
WALKER
I don’t know...you know more about than I do!
TWITCH
That’s what I’m trying to tell you, Walker. I don’t know anything about it! I can’t control it.
21/4 MEDIUM CLOSE-TWITCH’S POV
Walker contemplates this latest revelation and tries to strategize a new approach.
WALKER (SMALL)
Hrm.
21/5 WIDE
Twitch sits up straight, eyes wide, almost like he’s possessed, snapping Walker out of his thought. Twitch is having another vision.
WALKER
Twitch? Lionel?
TWITCH (CAPTION)
Guess we’ll find out sooner or later.
PAGE 22
SPLASH
Twitch’s face takes up half the page and bleeds into an image of MRS. HENDERSON, an elderly history teacher, sprawled on the floor behind her desk, clearly struggling and in pain and pleading desperately with the reader or an invisible viewer. An inconspicuous analog clock reads 1:47pm
WALKER (CAPTION) (O.S.)
“What is it?”
TWITCH (CAPTION)
Beep Beep. Future truck, coming through.
Credits:
SEE NO EVIL
Created by Paul Cantillon, Thom Dunn, and Dmitry Milkin
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