Sidekicks #2-See No Evil

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

Sidekick #1-Time and Time Again

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...