2114ee4681976de8a9d75d0e411ccc47bfa1caa3
movie
http://www.imsdb.com/scripts/Disturbia.html
DISTURBIA Written by
TO BLACK .
 Kale Brecht (Shia LaBeouf) and his father Daniel (Matt Craven) are enjoying a fishing trip. On their return home, their vehicle evades another and ends up in a multi-car accident. Kale is injured in the crash but Daniel is killed. One year later, near the end of the school year, Kale is still traumatized by his father's death. He is reprimanded about his school work by his Spanish teacher, Se単or Gutierrez (Rene Rivera); and when Gutierrez mentions Kale's father, Kale attacks him. For the assault, he is sentenced by a sympathetic judge to three months under house arrest with an ankle monitor and a proximity sensor. Detective Parker (Viola Davis) explains the do's and don'ts of the system to Kale and his mother Julie (Carrie-Ann Moss). The officer (Jose Pablo Cantillo) joyfully monitoring him follows suit by informing him that he is his teacher's cousin. Initially, he satiates his boredom by playing video games but, shortly thereafter, Julie logs out his subscriptions to the iTunes Music Store and Xbox Live and cuts the power cord of his television to get him to learn a lesson.
Kale's boredom leads him to watch the neighborhood, including the two neighbor boys who play pranks on him, his next-door neighbor Robert Turner (David Morse), and Ashley Carlson (Sarah Roemer), the new girl in town. One night, Kale becomes suspicious of Robert Turner, who returns home in a 1967 Ford Mustang with a dented fender that matches the description given on a news report of an errant serial killer. Kale's best friend Ronnie (Aaron Yoo) visits to spy on Ashley and, when they accidentally alert her to their hijinks, she joins them in spying on Turner. Kale observes a young woman Turner had picked up from a nightclub as she escapes the house in a panic, but later appears to leave the home in her car. Ashley throws a party and teases Kale, knowing he is watching. He plays music loudly, and when Ashley comes over, Kale admits that he has not only watched but has learned fine details about her by doing so. The two make out, distracting each other, while blood is shown splattering on Turner's windows.
Later, as Kale and Ashley watch, Turner is seen dragging a heavy bag to his garage, which Ashley claims to have noticed blood. Kale insists that Ronnie assist him in spying on Turner, eventually leading to Ronnie's breaking into Turner's garage with a camera. Though he confirms the bag has blood and hair in it, the garage door closes; and Ronnie flees into the house. Kale leaves to rescue him but alerts the police when he leaves his property; the police search the garage and show Kale the bag contains a roadkilled deer. Julie then goes across the street to talk to Turner, while Ronnie is in her kitchen, and Kale is watching the tape of Ronnie's running through Turner's house. Kale notices a dead body in plastic in a vent on the tape, as Turner knocks out Julie next door and then enters Kale's house, attacking Ronnie and Kale, binding and gagging Kale with duct tape. Turner reveals his plan to frame Kale for the murders before committing suicide.
As Turner has Kale writing a suicide letter to Ashley, she enters the home, and the two fight off Turner and flee the house. Kale trips the bracelet to alert the police, then enters Turner's home; Ashley goes to the police in person. In a hidden room, Kale finds evidence of Turner's previous murders, including their credentials, and a room with surgical tools and freezers of ice. Officer Gutierrez arrives at the scene, but he is killed when Turner breaks his neck. Proceeding to the basement of the house, Kale falls through the floor and finds his mother bound and gagged underneath the foundation. Turner suddenly appears from behind Julie and, in the ensuing confrontation, Kale fatally stabs Turner with a pair of gardening shears.
In the aftermath, Kale is shown having his ankle bracelet removed by the authorities for good behavior, getting back at the two boys from earlier pranks and making out with Ashley on his sofa, unaware that Ronnie is video taping them.
Kale Brecht ( Shia LaBeouf ) and his father Daniel ( Matt Craven ) are enjoying a fishing trip . On their return home , their vehicle evades another and ends up in a multi-car accident . Kale is injured in the crash but Daniel is killed . One year later , near the end of the school year , Kale is still traumatized by his father s death . He is reprimanded about his school work by his Spanish teacher , Se単or Gutierrez ( Rene Rivera ) ; and when Gutierrez mentions Kale s father , Kale attacks him . For the assault , he is sentenced by a sympathetic judge to three months under house arrest with an ankle monitor and a proximity sensor . Detective Parker ( Viola Davis ) explains the do s and don'ts of the system to Kale and his mother Julie ( Carrie-Ann Moss ) . The officer ( Jose Pablo Cantillo ) joyfully monitoring him follows suit by informing him that he is his teacher s cousin . Initially , he satiates his boredom by playing video games but , shortly thereafter , Julie logs out his subscriptions to the iTunes Music Store and Xbox Live and cuts the power cord of his television to get him to learn a lesson . Kale s boredom leads him to watch the neighborhood , including the two neighbor boys who play pranks on him , his next-door neighbor Robert Turner ( David Morse ) , and Ashley Carlson ( Sarah Roemer ) , the new girl in town . One night , Kale becomes suspicious of Robert Turner , who returns home in a 1967 Ford Mustang with a dented fender that matches the description given on a news report of an errant serial killer . Kale s best friend Ronnie ( Aaron Yoo ) visits to spy on Ashley and , when they accidentally alert her to their hijinks , she joins them in spying on Turner . Kale observes a young woman Turner had picked up from a nightclub as she escapes the house in a panic , but later appears to leave the home in her car . Ashley throws a party and teases Kale , knowing he is watching . He plays music loudly , and when Ashley comes over , Kale admits that he has not only watched but has learned fine details about her by doing so . The two make out , distracting each other , while blood is shown splattering on Turner s windows . Later , as Kale and Ashley watch , Turner is seen dragging a heavy bag to his garage , which Ashley claims to have noticed blood . Kale insists that Ronnie assist him in spying on Turner , eventually leading to Ronnie s breaking into Turner s garage with a camera . Though he confirms the bag has blood and hair in it , the garage door closes ; and Ronnie flees into the house . Kale leaves to rescue him but alerts the police when he leaves his property ; the police search the garage and show Kale the bag contains a roadkilled deer . Julie then goes across the street to talk to Turner , while Ronnie is in her kitchen , and Kale is watching the tape of Ronnie s running through Turner s house . Kale notices a dead body in plastic in a vent on the tape , as Turner knocks out Julie next door and then enters Kale s house , attacking Ronnie and Kale , binding and gagging Kale with duct tape . Turner reveals his plan to frame Kale for the murders before committing suicide . As Turner has Kale writing a suicide letter to Ashley , she enters the home , and the two fight off Turner and flee the house . Kale trips the bracelet to alert the police , then enters Turner s home ; Ashley goes to the police in person . In a hidden room , Kale finds evidence of Turner s previous murders , including their credentials , and a room with surgical tools and freezers of ice . Officer Gutierrez arrives at the scene , but he is killed when Turner breaks his neck . Proceeding to the basement of the house , Kale falls through the floor and finds his mother bound and gagged underneath the foundation . Turner suddenly appears from behind Julie and , in the ensuing confrontation , Kale fatally stabs Turner with a pair of gardening shears . In the aftermath , Kale is shown having his ankle bracelet removed by the authorities for good behavior , getting back at the two boys from earlier pranks and making out with Ashley on his sofa , unaware that Ronnie is video taping them .
http://en.wikipedia.org/wiki/Disturbia_(film)
Disturbia (film)
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<b>                            DISTURBIA
</b>

                           Written by

                       Christopher Landon


                           Revised by

                         Carl Ellsworth




                                              March 2006
<b>
</b><b>    OVER BLACK:
</b>
<b>                           KALE (V.O.)
</b>                   (tense)
               Do you think he sees us?

<b>                            JEFF (V.O.)
</b>               No, he can't see us. But he feels
               us watching.

<b>    FADE IN:
</b>
<b>    DEEP BLUE WATER FILLS THE FRAME.
</b>
    And there... a few feet beneath the surface... something
    SHIMMERS in the sunlight. As ripples dissipate, we make out
    the shape of a bright yellow CRANKBAIT waiting patiently for
    its prey on the end of a 10-pound line.

    We hold on this for another silent beat... then -- a huge
    BLACK BASS suddenly swoops into frame, circling the bait!

<b>    ON KALE BRECHT (17) AND HIS DAD, JEFF BRECHT (45)
</b>
    Both startle at the sight. Kale, a clean-cut all-American
    kid, reflexively yanks back on his rod and reel.

<b>                           KALE
</b>               Whoa, did you see that thing?

    Kale anxiously winds the spool --

<b>                           JEFF
</b>               Settle down, slow it down...

    Jeff lightly puts his hand on Kale's, slowing the cranking
    to a slight, steady pull as we WIDEN TO REVEAL them standing
    near the stern of their 16-foot BASSMASTER. We are...

<b>1   EXT. BISHOP LAKE - DAY                                           1
</b>
    The undisturbed beauty of nature serves as our backdrop as
    we MOVE CLOSER to Kale and Jeff, taking note of their t-
    shirts: Jeff's has a silkscreened cartoon rendition of a
    Bass wearing aviator goggles with mounted missiles on its
    fins. Beneath it, the slogan: "Weapons of Bass Destruction."
    The fish on Kale's shirt wears a stock car uniform, a single
    word across the bottom: BASSCAR.

    As Jeff steadies Kale's hand and pulls away:

<b>                           JEFF
</b>               You don't want to scare him off.
               You've got his attention, now just
               play with him. Tease him a little.

                                               (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   2.
</b>
<b>1   CONTINUED:                                                          1
</b>
    Kale and Jeff watch the water in anxious silence... Kale
    inching the line back toward the boat. One more crank, then --

    The BLACK BASS suddenly ATTACKS THE LURE with a tremendous
<b>    SLOSH OF HIS TAIL!
</b>
<b>                              KALE
</b>                 Holy shit!

<b>                             JEFF
</b>                 It's all you, Kale, keep cranking!

    Kale cranks fast and furious.    But this is one fish that's
    going down fighting.

<b>                             KALE
</b>                 I need reinforcements!

    Jeff moves in, grabs the rod and reel from behind Kale.

<b>                             JEFF
</b>                 Heave, laddie!

    They PULL.    The rod curls under the weight.

<b>                             JEFF (CONT'D)
</b>                     (pirate accent)
                 Give it all ya got, mate, or you're
                 gonna lose him!

<b>                             KALE
</b>                     (laughing; pulling;
                      struggling)
                 Dad, your pirate -- impersonation --
                 sucks!!

<b>                             JEFF
</b>                 How would ya know, have ya ever met
                 one? I doubt it --

    The BASS SLOSHES FURIOUSLY around the bait, now just a few
    feet from the boat!

<b>                             KALE
</b>                 He's freakin' pulling us in!

<b>                             JEFF
</b>                     (laughing)
                 Never! No Brecht has ever -- lost a
                 fight -- to a fish!

    The BASS suddenly snaps free. The line goes limp. Jeff and
    Kale lose their balance, nearly falling backward. Then --



                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     3.
</b>
<b>1   CONTINUED:    (2)                                                     1
</b>
    All becomes silent save for Jeff and Kale's heavy breathing.
    Kale winds the empty line back to the boat, shoots a glance
    to Jeff, then throws the rod aside in mock disgust. Jeff
    takes a seat in the captain's chair.

<b>                             JEFF (CONT'D)
</b>                 Throw me a --

    Kale is already in the cooler. He throws Jeff a Coke.        Both
    sit in silence for a beat. Then --

<b>                             JEFF (CONT'D)
</b>                 Hey, at least the weather's great...
                 we're spending quality time together.

<b>                             KALE
</b>                     (grabbing pole)
                 That fish is going down.

<b>                             JEFF
</b>                     (not missing a beat)
                 Let's nab the bastard.

    They both cast their lines --

<b>2   EXT. HIGHWAY 395 - NORTHERN SIERRA MOUNTAINS - EVENING                2
</b>
    An amber glow sets the mountainside ablaze as Jeff's SUV
    winds through the serpentine pass.

<b>3   INT. SUV - EVENING - CONTINUOUS - MOVING                              3
</b>
    Jeff drives.    Kale's on his cell:

                              KALE (cont'd)
                     (into phone as needed)
                 Hey mom, it's us. Listen, fire up
                 the grill 'cause the Bassmasters are
                 headed home!

    Jeff slaps Kale five as he veers the SUV into the left lane,
    passing a slow-moving PATHFINDER...

<b>                                                         INTERCUT WITH:
</b>
<b>4   INT. KALE'S HOUSE - KITCHEN - DAY - CONTINUOUS                        4
</b>
    Kale's attractive mom, JULIE, 40, on cordless, preps dinner.

<b>                             JULIE
</b>                 You're kidding. So I can actually
                 put the burgers away this time?

<b>                             KALE
</b>                 Yes, be gone with the red meat!

                                               (CONTINUED)      D.J. Caruso
<b>
</b><b>                                                                   4.
</b>
<b>4   CONTINUED:                                                          4
</b>
    Julie smiles.    Jeff grabs the phone from Kale.

<b>                             JEFF
</b>                     (into phone as needed)
                 We're having fish for a week.

    Kale smiles as a LINCOLN NAVIGATOR PICK-UP zooms past in the
    right lane, swerves back in the left lane in front of them.

<b>                             JEFF (CONT'D)
</b>                     (over the above)
                 I'd say an hour. Love you, too.

    Jeff flips the phone shut, tosses it to Kale. They exchange
    smiles. A silent moment passes. They both turn to face the
    road as --

<b>    THE NAVIGATOR PICK-UP
</b>
    suddenly SWERVES back into the right lane, revealing a

<b>    STALLED MINI-VAN
</b>
    directly in front of them!

<b>                             KALE
</b><b>                 DAD --
</b>
    Jeff instinctively reaches his arm in front of Kale as he
    SWINGS the wheel hard right and SLAMS ON THE BRAKES. But
    it's not in time. The

<b>    SUV
</b>
    clips the mini-van's right rear bumper, SMASHING it into the
    left lane concrete barricade. The SUV spins into the right
    lane where that

<b>    SLOW-MOVING PATHFINDER
</b>
    suddenly BROADSIDES IT with such FORCE that it FLIPS the SUV
    up and over. It TUMBLES off the highway, barreling into...

<b>5   EXT. VACANT CLIFFSIDE PULLOFF/VIEWING AREA - EVENING - CONT         5
</b>
    A couple of final, METAL-CRUNCHING FLIPS send the SUV's
    undercarriage CRASHING to a violent stop on top of a rickety
    wood beam-mounted GUARDRAIL.

    A silent beat.    Then -- steam billows from the hood...

<b>6   INSIDE THE SUV                                                      6
</b>
    Airbags deflate. Dust settles. Blood streams from Jeff's
    hairline. His eyes flutter open.

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                       5.
</b>
<b>6   CONTINUED:                                                              6
</b>
    He looks up to Kale, strapped in the passenger seat,
    unconscious. A small gash on his forehead. We only see
    blue sky through Kale's shattered passenger window.

<b>                              JEFF
</b>                 Kale?   -- Kale, are you okay?

    Kale opens his eyes.       Jeff reaches up, touches Kale's face.

<b>                               KALE
</b>                 I think so.

    Kale looks down at his dad -- his eyes widen in horror, not
    only at the sight of Jeff, but of the ravine beneath them --

    For this brief moment, we may have thought the SUV was stable.
    But we CRANE BACK UP AND OUT KALE'S PASSENGER WINDOW to REVEAL
    A MUCH GRIMMER REALITY: the SUV is PERCHED LENGTHWISE ON TOP
<b>    OF THE GUARDRAIL AT A 45-DEGREE DOWNWARD ANGLE.
</b>
    The SUV's right front and rear tires precariously grip the
    rail, keeping it from plunging 500 feet to the RAVINE below.

<b>7   BACK INSIDE THE SUV                                                     7
</b>
<b>                             KALE
</b>                 Oh my God, dad --

    -- Jeff's leg is trapped beneath the crumpled dashboard.

<b>                             JEFF
</b>                 I'm fine. But you're gonna have to
                 climb out, Kale. Can you do that?

    Kale's hands shake from the SHOCK as his fingers search for
    the seatbelt buckle. But the shoulder strap is LOCKED IN
    PLACE, preventing Kale from turning. He tugs it furiously.

<b>                             KALE
</b>                 I can't -- It won't give --

<b>                             JEFF
</b>                 That's okay, I've got it -- grab the
                 door, I don't need your ass falling
                 on my face --

    Kale reaches up, grips the outside of the door as

<b>    JEFF'S HAND
</b>
    shakily reaches to Kale's seatbelt buckle and presses. Kale's
    belt SNAPS LOOSE. Kale's body DROPS, but he hangs on to the
    window -- just as a

<b>    GUARDRAIL BEAM SNAPS LOOSE FROM ITS FOUNDATION!
</b>
                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                        6.
</b>
<b>7   CONTINUED:                                                               7
</b>
    The SUV ROCKS VIOLENTLY as the guardrail starts to bend and
    peel away from the cliffside under the SUV's weight.

<b>8   INSIDE THE SUV - JEFF                                                    8
</b>
    reaches up, grabs Kale's legs and pushes, helping Kale climb
    out the window.

<b>9   OUTSIDE THE SUV - KALE                                                   9
</b>
    slowly slides down the outside of the door, then turns around
    on his chest, reaches his hand back down to Jeff --

<b>                                KALE
</b>                 Dad, here --

    Jeff reaches up as a

<b>    SECTION OF GUARDRAIL RIVETS
</b>
    a few inches behind the SUV's rear bumper suddenly POP LOOSE.
<b>    THE GUARDRAIL SNAPS IN TWO!
</b>
    KALE SCREAMS, hangs on for dear life as the GUARDRAIL and
<b>    SUV SWING OUT AND OVER THE RAVINE.
</b>
    The guardrail is buckling fast. Another beam RIPS FREE of
    its foundation -- Kale slides a few more inches down the
    door and right front fender allowing

<b>    HIS FEET
</b>
    to find the edge of the foundering rail underneath.        Having
    at least some footing, Kale reaches back inside --

<b>                             KALE (CONT'D)
</b>                 Dad, please, you can do it --

    Jeff unbuckles his belt and reaches up. Kale summons his
    strength, grabs Jeff's wrist, pulls him up and through the
    passenger window just as the

<b>    SUV FALLS AWAY!
</b>
    Jeff's weight pulls Kale down. Kale's feet SLIP off the
    rail. Kale SLAMS chest down, his TORSO wrapping around the
    top of the rail, feet dangling... But he's still clutching
    Jeff's wrist as the SUV CRASHES INTO THE RAVINE IN A MUSHROOM
<b>    CLOUD OF DUST AND DEBRIS.
</b>
<b>    JEFF'S WRIST
</b>
    slips from Kale's grasp. Kale struggles to hang on, but
    he's losing the battle and the balancing act. And he knows
    it. Tears well in Kale's eyes.

                                                 (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                     7.
</b>
<b>9    CONTINUED:                                                           9
</b>
<b>                              JEFF
</b>                  Kale, you have to climb up --

<b>                              KALE
</b>                  No -- I'm not leaving --

<b>                              JEFF
</b>                  Kale --

     Another GUARDRAIL BEAM UPROOTS --

<b>                              KALE
</b>                  NO -- Dad, please, I've got you --

<b>                              JEFF
</b>                      (with a slight smile)
                  I know --

     CU - Jeff's left hand enters frame, clasps Kale's. Another
     beat of eyes on eyes. The guardrail continues to BUCKLE.
     Then -- Jeff starts to PRY KALE'S HAND AWAY --

     Jeff's arm RELEASES FROM KALE'S GRIP.    Kale opens his mouth
     to scream as a shrill bell RINGS!

<b>10   INT. MORROW HIGH SCHOOL - HALLWAY - DAY                              10
</b>
     ON THE RINGING BELL. STUDENTS disappear into their respective
     classrooms. As the corridor quiets down...

<b>     SUPER: ONE YEAR LATER
</b>
<b>               RONNIE (V.O.)                    RONNIE (CONT'D)
</b>         (prelap)                         (subtitles as needed)
       Este verano, después             This summer, after visiting
       de visitar Hawaii,               Hawaii, I will perhaps
       quizás visitaré a mis            visit my grandparents in
       abuelos en Corea.                Korea.

<b>11   INT. CLASSROOM - DAY - CONTINUOUS                                    11
</b>
     ON RONNIE YUN, 16, a scrawny Korean kid with a knack for
     perfect Spanish, stands at the front giving his speech.

     Note: every time Ronnie says "quizás" ("perhaps") the class
     giggles because it sounds a lot like "kiss-ass."

     The teacher, SENOR GUTIERREZ, a rotund 50, bad comb-over and
     khakis up to his naval, stands off to the side, quickly
     picking up on Ronnie's excessive and increasingly dramatic
     use of the word.




                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                        8.
</b>
<b>11   CONTINUED:                                                              11
</b>
<b>               RONNIE                           RONNIE (CONT'D)
</b>       Quizás no. Quizás                Perhaps I won't. Perhaps
       apenas permaneceré en            I'll just stay at home.
       el país. Pero quizás             But perhaps my parents
       mis padres tomarán la            will take pity on me.
       compasión en mi.                   (more dramatic)
         (more dramatic)                Perhaps they will make my
       Quizás harán mi sueño            dream a reality! Perhaps
       una realidad! Quizás             they will take me to a
       me llevarán a una playa          beach on the French Riviera
       en la riviera francesa           so that I may gaze upon
       de modo que pueda mirar          the natural beauty of its
       sobre la belleza natural         female inhabitants.
       de sus habitantes
       femeninos...

     Over this, only one GIRL, MINNIE TYCO, a rail-thin BLONDE,
     picks up on this:

<b>                              MINNIE TYCO
</b>                      (under her breath)
                  Keep dreaming, perv.

<b>               RONNIE                           RONNIE (CONT'D)
</b>         (longingly)                    Perhaps... Thank you.
       Quizás... Gracias.

     The class laughs, claps.    Ronnie bows, heads to his seat.

<b>               SR GUTIERREZ                     SR GUTIERREZ (CONT'D)
</b>       Gracias, Ronnie. Quizás          Thank you, Ronnie. Perhaps
       le daré una "F."                 I'll give you an "F."

     The class laughs again. Gutierrez shakes his head, zeros in
     on the student behind Ronnie. Sleeping with his arms folded
     on his desk, a grey hoodie pulled over his head.

<b>                              SENOR GUTIERREZ
</b>                  Senor Brecht...

     Senor Gutierrez takes some chalk, flicks it at the kid.       He
     still doesn't budge. Ronnie nudges him.

<b>                              RONNIE
</b>                  Dude --

     The kid stirs, raises his head. The hoodie falls away to
     reveal KALE. Longer, disheveled hair. The spark in his
     eye's been replaced with an empty haze.

<b>                              SENOR GUTIERREZ
</b>                  So Kale, think you can stay conscious
                  long enough to tell us your plans
                  for the three wondrous summer months
                  ahead?

                                                (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                     9.
</b>
<b>11   CONTINUED:    (2)                                                     11
</b>
     Kale glances around. All eyes on him. He looks at Ronnie
     who nods in support. Kale gets up, heads to the front of
     the class. He pauses. Trying to focus. Then --

<b>                              KALE
</b>                  Este invierno --

     The class chuckles.

<b>                              SENOR GUTIERREZ
</b>                      (correcting)
                  Verano...

<b>                              KALE
</b>                  Este verano -- voy a --

<b>                              SENOR GUTIERREZ
</b>                  ¿Qué?

     Kale shuts his eyes, frustrated at the interruption. Senor
     Gutierrez, also losing patience, steps closer to Kale.

<b>               SR GUTIERREZ                        SR GUTIERREZ (CONT'D)
</b>       ¿Qué usted va a hacer?                (subtitled)
                                           What are you going to do?

<b>                              KALE
</b>                  I don't know, alright?    I haven't
                  gotten that far.

<b>                              SENOR GUTIERREZ
</b>                  Did you do the homework or not?

<b>                              KALE
</b>                      (no eye contact)
                  Guess not.

<b>                              SENOR GUTIERREZ
</b>                      (in Kale's face)
                  You "guess" not. I don't know who
                  you think you are or who you think
                  you're dealing with. You can't give
                  me a straight answer, fine, give me
                  one good reason why I shouldn't fail
                  you right now?

     Kale CLOCKS Gutierrez.

<b>12   INT. JUVENILE COURTROOM - DAY                                         12
</b>
     ON SENOR GUTIERREZ - displaying a black eye, sitting next to
     the school's PRINCIPAL and COUNSELOR in a single row of seats
     behind the attorneys' tables.



                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    10.
</b>
<b>12   CONTINUED:                                                            12
</b>
     Kale, a little more cleaned up, wearing a suit, sits between
     Julie and his DEFENSE ATTORNEY.

     Julie, noticeably tired, glances at her son, her expression
     a fusion of anger and sympathy. Kale's eyes shift her way,
     but his head never turns. The JUDGE mulls over his notes...

<b>                              JUDGE
</b>                  Okay, Mr. Brecht...

     Kale's lawyer prompts him to stand.

<b>                              JUDGE (CONT'D)
</b>                  You're six months shy of eighteen,
                  that means the assault-two charge
                  you've pled guilty to carries a max
                  of one year in juvey. With these
                  priors, you're up to three.

     The judge lets that sink in.       Kale remains silent.

<b>                              JUDGE (CONT'D)
</b>                  But losing a parent isn't easy.
                  Which is why I'm sentencing you to
                  three months house arrest.

     Julie closes her eyes in relief.

<b>                              JUDGE (CONT'D)
</b>                  You can thank your counselors and
                  lawyer later. Mr. Brecht, I just
                  cut you a break. Don't test me.

     The judge taps his gavel.

<b>13   INT. KALE'S HOUSE - KITCHEN - DAY                                     13
</b>
     A pair of hands wrap an ELECTRONIC MONITORING      BRACELET around
     Kale's left ankle. WIDER TO REVEAL the hands       belong to Kale's
     case officer, JANET PARKER, 35, no-nonsense.       Kale's perched
     on the center island. Julie watches from the       b.g.

     As Parker clicks the bracelet's buckle into place, a GREEN
     LED light illuminates. It's ON THE TOP EDGE OF THE BRACELET'S
     BAND so Kale can easily see it if he looks down. Next to
     this light is an additional RED LIGHT that isn't on.

<b>                              PARKER
</b>                      (making final checks)
                  Okay, you... are all set... to go
                  nowhere.
                      (re: the LED lights)
                  Now, green means you're good, you're
                  in the safe zone which covers about
<b>                              (MORE)
</b>
                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                               11.
</b>
<b>13   CONTINUED:                                                      13
</b>
<b>                              PARKER (CONT'D)
</b>                  a sixty-foot radius from this guy
                  here.

     Parker points to a big black box (the CENTRAL TRACKING UNIT)
     on the kitchen counter.

<b>                              PARKER (CONT'D)
</b>                  He's like a modem. He gets a constant
                  signal from Mr. Bracelet that he
                  sends through your phone line to the
                  monitoring station downtown. So
                  they know where you are, where you've
                  been and what you're thinkin' 25/7.

<b>                              JULIE
</b>                  What if he accidentally goes beyond --

<b>                              PARKER
</b>                      (anticipating; re:
                       red light on bracelet)
                  Red light flashes. Means you've got
                  about ten seconds to get your butt
                  back to green, or else --

<b>                              KALE
</b>                  The execution squad shows up?

<b>                              PARKER
</b>                  And they don't bring blindfolds.
                  It's also tamper proof and waterproof.
                  So don't try sticking your foot in a
                  bucket of water and hopping across
                  the line. It won't work, and you'll
                  look stupid. Now, I'll be checking
                  up on you a lot. Here's my card --
                  You're set up to pay his incarceration
                  fee, Ms. Brecht?

<b>                              JULIE
</b>                  Automatic withdrawal.
                      (to Kale)
                  Twelve bucks every day.

<b>                              PARKER
</b>                      (re: a booklet)
                  Everything else is in the manual.
                      (making her way out)
                  Oh, except this -- House arrest might
                  sound like a breeze, but trust me,
                  I've seen all kinds of folks get a
                  bit loopy before too long, some after
                  just a day or two. So make sure you
                  find lots of constructive things to
                  keep yourself busy.

                                                            D.J. Caruso
<b>
</b><b>                                                                  12.
</b>


<b>14   INT. KALE'S BEDROOM - NIGHT - LATER                                14
</b>
     Kales sits in his video game chair, wearing his X-box live
     headset, playing HALO 2 -- he's on the final "boss level."
     GUNFIRE and EXPLOSIONS BLARE over his stereo speakers.

<b>                           KALE
</b>                   (into headset as needed)
               Hobby, you read me? I said come
               around my left flank and draw his
               fire -- damn straight I'm trying to
               get you smoked, you've been hiding
               behind my ass the whole game --

     The TV SCREEN suddenly GLITCHES.

<b>                           KALE (CONT'D)
</b>               Hobby, Jet, you guys still there?

     The screen goes black. The XBOX LIVE LOGO APPEARS along
     with the words: SERVER ERROR. Kale throws the headset aside,
     makes sure all the wires are connected. Checks the TV screen.
     Same thing.

     Kale glares at the screen another beat, then gets up, wanders
     out of his room...

<b>15   INT. ENTRY HALL - NIGHT - CONTINUOUS                               15
</b>
     Kale slowly heads down the stairs, rounds the corner into...

<b>16   INT. KALE'S HOUSE - KITCHEN - NIGHT - CONTINUOUS                   16
</b>
     Kale runs into Julie who wears a black blouse and slacks,
     the required uniform of the steakhouse she works at. She's
     just thrown a couple of microwave dinners on the kitchen
     table. She's scrambling around, eating a couple bites,
     gathering her things...

<b>                           JULIE
</b>               Dinner's on the table. I'm closing
               at the restaurant the next few nights.
               Could be some late ones, but hey...
               the extra tips couldn't hurt.

     Kale sits at the table, picks through his food.

<b>                           JULIE (CONT'D)
</b>                   (glancing around)
               Where's my apron... apron...

     She heads O.S. for a beat, comes back in with her apron and
     purse, sets them on the counter. Eyes her watch, sits at
     the table, takes a couple more quick bites. Then --


                                              (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                      13.
</b>
<b>16   CONTINUED:                                                             16
</b>
<b>                              JULIE (CONT'D)
</b>                  You wanna talk about anything?

<b>                              KALE
</b>                  I got nothin'.

<b>                              JULIE
</b>                  Y'know, when we're finally free of
                  all this legal stuff with the
                  accident, the other families'
                  lawyers... there might be a little
                  insurance money left... maybe you
                  should go back and see Dr. Phillips?

<b>                              KALE
</b>                  What, so he can tell me I'm ADD,
                  have PTSD, and severe IAD?

<b>                              JULIE
</b><b>                  IAD?
</b>
<b>                              KALE
</b>                      (messing with bracelet)
                  Freakin' irritated ankle disorder.

     Julie can't help but crack a little smile:

<b>                              JULIE
</b>                  Well, that one could've been avoided.

     Kale looks back up. He's not smiling. Whatever chance we
     had of a lighter conversation panning out here quickly
     fizzles. Another beat, then -- Julie pushes her chair back,
     heads to the counter, grabs her apron and purse.

<b>                              JULIE (CONT'D)
</b>                      (heading out)
                  Do the dishes.
                      (pleading)
                  Please?

     Julie leaves. Kale glances around the kitchen.       A mess of
     dirty dishes, stacks of paper... screw that.

<b>17   INT. KALE'S BEDROOM - NIGHT - LATER                                    17
</b>
     Kale, looking disheveled and very perplexed, now has his TV
     pulled out from the wall. He's behind it, meticulously
     checking and re-connecting all the wires and ethernet cable.
     Carefully studying the manual as he goes.

     He blows on the Halo 2 CD, wipes it down with his sweatshirt,
     gently puts it in the tray, giving us the idea this might
     not be his first attempt at this.


                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    14.
</b>
<b>17   CONTINUED:                                                           17
</b>
     He powers up the Xbox, grabs a controller... so far, so
     good... he scrolls through the screens, a little hope
     returning... SERVER ERROR.

     Kale throws a mini-fit, slams the controller to the floor.
     Rips the controller cord out of the XBOX --

<b>18   INT. KALE'S BEDROOM - THE NEXT MORNING                               18
</b>
     A few stray beams of sunlight pierce the blinds. Otherwise,
     it's a tomb. Clothes strewn everywhere. We TRACK ACROSS
     the floor and a virtual DEBRIS FIELD of junk food bags,
     wrappers, Mountain Dew cans... find Kale in bed, ankle and
     bracelet stick out from the sheets, arm hangs over the side --

<b>19   INT. KITCHEN - MORNING                                               19
</b>
     Still a mess as we find Kale, hair disheveled, rummaging
     through the cabinets. Lots of Costco-size boxes: crackers,
     Pringles... a HUGE BOX OF TWINKIES. Kale spots a jar of
     peanut butter. He grabs the nearest bowl, pulls a bottle of
     Hershey's syrup from the fridge, pours it all into the bowl.

     He's about to throw the syrup bottle in the trash when
     something in the bottom of the can catches his eye. He
     reaches in, pulls out a bill for XBOX LIVE: SUBSCRIPTION
<b>     CANCELED.
</b>
<b>20   INT. LIVING ROOM - MORNING - MOMENTS LATER                           20
</b>
     Kale lounges in on the couch watching "The Price is Right"
     as he spoons the peanut butter from the jar, dips it in the
     bowl of chocolate syrup, devours it. Brings up a two-liter
     of Mountain Dew, takes a big swig to wash it down.

<b>                              KALE
</b>                      (to contestant on TV)
                  C'mon, bid a dollar, one dollar --

<b>                              CONTESTANT (ON TV)
</b>                  I'll bid one dollar, Bob.

     Kale belches as he raises his spoon, saluting the screen.
     Then, after a beat, a look of grave concern crosses his face --

<b>21   INT. 2ND FL HALL OUTSIDE BATHROOM - DAY                              21
</b>
     The toilet flushes O.S. Kale opens the door, leans against
     the frame, spent. He stands there a beat, absorbing the
     silence of the house. He eyes a door at the end of the hall.

<b>22   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - SECONDS LATER          22
</b>
     CU - the doorknob. Kale's hand enters frame, slowly turns
     it. Click. Kale pushes. The door CREAKS open to reveal

                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                      15.
</b>
<b>22   CONTINUED:                                                             22
</b>
<b>     DAD'S OFFICE
</b>
     Hardwood floor.    Ornate, cherry wood desk.     Plush leather
     chairs. Quiet.

     ON THE DESK -- dad's reading glasses sit on a stack of papers
     next to an antique typewriter.

     THE WALLS -- adorned with framed, poster-size covers of Dad's
     books - non-fiction, true account titles: WHISTLEBLOWER -
     The Inside Story of a Real Corporate Insider; THE SENATOR'S
     SHADOWS: How Eight Men Conspired to Control One.

     ON ANOTHER WALL -- a family portrait of Jeff, Julie, and
     Kale - age six; Jeff at a book signing, smiling wide...

     Kale takes it all in from the doorway. His feet never once
     cross into the room. His eyes say everything. Loss, anger,
     regret. He gently pulls the door shut.

<b>23   INT. KALE'S BEDROOM - THAT NIGHT                                       23
</b>
     Kale samples some rap clips on I-tunes.    Likes what he's
     hearing.

     ON THE SCREEN - Kale moves the cursor to "buy song." The
     account screen pops up. Kale types his password.

     After a beat, bold red letters pop up: "THE APPLE ID OR
     PASSWORD YOU ENTERED WAS INVALID OR INCORRECT..." Kale types
     it again. Same thing. Then -- like we all do to be sure,
     Kale types his password at a rate of ONE KEY PER SECOND.
     Same thing. Kale fumes, smelling a rat.

<b>24   INT. KALE'S BEDROOM - DAYS LATER                                       24
</b>
     The shades are drawn. Kale's door is closed. Find Kale
     looking utterly miserable, lounging in bed watching "Bikini
     Destinations" on HD NET. Julie enters wearing a business
     suit and name badge emblazoned with the RE/MAX LOGO. Kale
     quickly changes the channel to the local news.

<b>                              JULIE
</b>                      (heading to the window)
                  More trash TV?

<b>                              NEWS ANCHOR (ON TV)
</b>                  ...Thirty-three year old Patricia
                  Walsh was last seen three nights
                  ago...

<b>                              KALE
</b>                      (innocently)
                  News.


                                                (CONTINUED)      D.J. Caruso
<b>
</b><b>                                                                   16.
</b>
<b>24   CONTINUED:                                                          24
</b>
     Kale points to the TV showing a photo of a smiling PATRICIA
     WALSH, VIBRANT, FLOWING RED HAIR - "MISSING" keyed in
     underneath.

     Julie shoots him a look, then rips open the blinds.      Sunlight
     pours in. She gathers trash off the floor.

<b>                              JULIE
</b>                  The lawyer's sending some papers
                  over.

<b>                              KALE
</b>                  And your point is?

<b>                              JULIE
</b>                      (heading O.S.)
                  I've got two open houses, you've
                  gotta sign for them. That's the
                  point.

<b>                              KALE
</b>                  You canceled my Xbox subscription.

<b>                              JULIE (O.S.)
</b>                  I-tunes, too.
                      (then)
                  You know what else I'm canceling?

     Kale turns to Julie who suddenly drops a pile of Kale's
     clothes on the floor in front of him.

<b>                              JULIE (CONT'D)
</b>                  Maid service.
                      (off Kale)
                  Sorry, you're a felon. And we're
                  broke. I can't do it all, anymore,
                  Kale. This isn't gonna be vacation
                  as usual. I want these washed and
                  the kitchen cleaned by the time I
                  get home.

<b>                              KALE
</b>                  That might be difficult.

<b>                              JULIE
</b>                  Well let me make it easier.

     Julie goes to the TV, UNPLUGS IT.

<b>                              KALE
</b>                  That's a little dramatic, isn't it?
                  I'm just gonna plug it back --

     Julie suddenly yanks a pair of scissors off Kale's desk and
<b>     SNIPS THE POWER CORD IN HALF.
</b>
                                                (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                  17.
</b>
<b>24   CONTINUED:    (2)                                                  24
</b>
<b>                              KALE (CONT'D)
</b>                  What are you, mental?

<b>                              JULIE
</b>                      (a very stern tone)
                  One more look at that kitchen and I
                  will be.

     Julie picks up her keys and briefcase, pecks Kale on the
     forehead, leaves.

<b>                              JULIE (O.S.) (CONT'D)
</b>                  You heard what I said about the
                  lawyer?

<b>                              KALE
</b>                  Yes!

<b>25   INT. LAUNDRY ROOM - DAY - LATER                                    25
</b>
     Kale furiously stuffs clothes in the washer, blindly cranks
     the knob, presses start.

<b>26   INT. KITCHEN - DAY - LATER                                         26
</b>
     Kale SHOVELS dishes and glasses into the dishwasher, breaking
     a couple as he goes. He pours half the box of Cascade in
     the dispenser, kicks the door up and closed, cranks the knob.

<b>27   INT. KALE'S BEDROOM - DAY - LATER                                  27
</b>
     Kale sits on his bed, staring into space. He eyes the clock.
     Tick tick tick... We hear KIDS PLAYING IN THE STREET O.S.

     Kale glances out the window.

     HIS POV - Kids on bikes, NEIGHBORS out on walks... ahh...
     the sights and sounds of summer... And Kale's not invited.
     He glares down at his ankle bracelet. It glares back.

<b>28   INT. KALE'S BEDROOM - DAY - LATER                                  28
</b>
     Kale sits on the floor as he spreads a line of Elmer's glue
     across the bottom of a Twinkie. He's just completed the
     first couple of floors of what will be... TWINKIE TOWER.

<b>29   INT. KALE'S BEDROOM - DAY                                          29
</b>
     Kale, on cell, sits in his video game chair painting his toe
     nails.

<b>                              KALE
</b>                      (into phone as needed)
                  Dammit, Ronnie, I'm losing my mind.
<b>                              (MORE)
</b>
                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    18.
</b>
<b>29   CONTINUED:                                                           29
</b>
<b>                              KALE (CONT'D)
</b>                  Give me some details, what's happening
                  out there?

<b>                              RONNIE (V.O.)
</b>                      (phone filter; party
                       sounds in the b.g.)
                  Dude, the chicks here in Oahu rock
                  the houusse! Oh my god, this one is
                  totally showing me her kite board.
                  Belay that, she wasn't pointing at
                  me. Look, Kale, I've gotta hop --

<b>                              KALE
</b>                  Wait, Ronnie -- Hello?

     Kale tosses the phone and the nail polish aside. Sits there
     in silence for a beat. Then eyes a racketball on the floor.
     Picks it up. Starts mindlessly bouncing it against the
     wall... and keeps bouncing it... and keeps bouncing it...

<b>                                                           HARD CUT TO:
</b>
<b>30   INT. KALE'S BEDROOM - DAY - LATER                                    30
</b>
     Kale reclines in his chair, now FURIOUSLY SWATTING the
     racketball against the wall -- with a racket. We PULL BACK
     to reveal SCUFF MARKS on the walls and CEILING where Kale
     has figured out the exact points to hit it allowing him to
     bounce the ball off multiple walls and return it perfectly
     to his hand. He SWATS it... and SWATS it...

<b>31   INT. KALE'S BEDROOM - DAY - STILL LATER                              31
</b>
     Kale's passed out in his chair, the racket still in his hand.
     He's about to fall out of the chair when a loud BANG O.S.
     JOLTS him awake.

<b>32   INT. 2ND FLOOR HALLWAY/WINDOW - DAY - SECONDS LATER                  32
</b>
     Kale goes to the window, tilts his head, trying to see where
     the noise is coming from.

     KALE'S POV - He's able to make out some bits of movement
     next door, but his VIEW is OBSTRUCTED by the architecture of
     his house.

     Kale steps back from the window, studies it a beat -- then
     opens it, slowly sticks his head out.

     HIS   POV - A U-HAUL TRUCK comes into view. It's backed into
     the   driveway next door. ALAN NORRIS, 43, appears from inside
     the   truck's cab, carrying a moving box. He hands it down to
     his   wife, BONNIE, 42, who walks back in the house.


                                                (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                      19.
</b>
<b>32   CONTINUED:                                                             32
</b>
     Kale's about to pull his head in when another PERSON comes
     out of the moving truck. She's carrying a box that's
     obscuring her face as she carefully negotiates the incline
     of the moving truck's ramp.

     But her blonde hair and perfect legs look to be about 17.
     We'll soon know her as ASHLEY, the Norris' daughter.

     She reaches the end of the ramp. Bends over to retrieve
     another smaller box, her back and ass to Kale who stares in
     utter disbelief. Ashley stacks the boxes, picks them up and
     heads into the house, her face still a mystery.

     Kale watches her go.   Mesmerized. Suddenly, the DOORBELL
     RINGS O.S. Kale snaps to, yanks his head back in -- and
     KERBONGS it on the underside of the window. He drops to the
     floor.

<b>                                 KALE
</b><b>                  GODDAMMIT!
</b>
     Kale staggers to his feet...

<b>33   INT. ENTRY HALL - DAY - SECONDS LATER                                  33
</b>
     More doorbell RINGING.       Kale heads down the stairs to the
     front door.

<b>                                 KALE
</b>                  I'm coming!!

     Kale swings the door open to see -- A BURNING PAPER BAG on
     the welcome mat.

<b>34   EXT. KALE'S HOUSE - FRONT PORCH - DAY - CONTINUOUS                     34
</b>
     Kale instinctively STOMPS ON IT with his SOCKED FEET!

<b>                               KALE
</b>                  Oh shit!   Shit water shit!

     Kale frantically hops around, looking for a hose, bucket,
     anything wet -- but the flames are already out. Kale looks
     down, finally realizes this -- but there's another problem --
     his socks are smothered in SLIMY DOG SHIT.

     We hear GIGGLING O.S. Kale glances up as two neighborhood
     BRATS on bikes emerge from their hiding place behind a shrub
     across the street. They high five each other.

<b>                              BRAT #1
</b>                  What a retard!

     Kale glares -- then heads down the steps into...


                                                                 D.J. Caruso
<b>
</b><b>                                                                  20.
</b>


<b>35   EXT. KALE'S YARD - DAY - CONTINUOUS                                35
</b>
     Kale walks briskly, menacingly toward them --

<b>                           KALE
</b>               You think that's funny?

     The Brats grow more concerned, back away as Kale draws closer--

<b>                           BRAT #2
</b>               What are you gonna do, kill us like
               your teacher?

<b>     KALE CHARGES THEM!
</b>
<b>                           KALE
</b>               Not before I shove this shit up your
               ass!

     The brats pedal away. Kale races through the sprinkler,
     crossing his yard into the far corner of Ashley's, trying to
     cut the Brats off as they race down...

<b>36   EXT. STREET - DAY - CONTINUOUS                                     36
</b>
     The chase is on.   Kale increases his speed.   Almost catching
     up to them --

<b>                           BRAT #2
</b>                   (terrified to Brat #1)
               Dude, you said he couldn't leave his
               house!!

     Kale overhears, stops cold.   He glances to the ANKLE BRACELET:
<b>     FLASHING RED LIGHT.
</b>
<b>                            KALE
</b>               Shit!

     Kale races back down the street, his shit-stained feet leaving
     tracks as he goes. He cuts through Ashley's yard again,
     yelling at the bracelet all the way--

<b>                           KALE (CONT'D)
</b>               Turn green turn green turn green...

     Kale races by ASHLEY'S PARENTS, leaps back into...

<b>     EXT. KALE'S FRONT YARD - DAY - CONTINUOUS
</b>
     He looks at the bracelet. Still FLASHING RED. He hops up
     and down as the SPRINKLER STREAMS approach him from behind.

<b>                           KALE (CONT'D)
</b>               No, c'mon, I'm way inside, turn green --

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  21.
</b>
<b>36   CONTINUED:                                                         36
</b>
     He spins back toward the house, runs SMACK into the STREAMS,
     trips on the sprinkler, falls on his face. Now his foot's
     tangled in the sprinkler. Spraying water all over him.
     Kale's foot jiggles the sprinkler free. He then sees the
     ankle bracelet: GREEN LIGHT.

<b>                               KALE (CONT'D)
</b>                  Yes!   That's what I'm talking about!

     He gazes over: ASHLEY'S PARENTS, EACH WITH A MOVING BOX,
<b>     STAND THERE, JAWS DROPPED. BOTH TAKE A NERVOUS STEP BACKWARD
</b>     as ASHLEY steps out the front door. Freezes at the sight of
     the sopping wet, shit-and-grass-stained Kale. Kale locks
     eyes with her. Then smiles and waves.

<b>                              KALE (CONT'D)
</b>                  It's cool, I'm all green.

     Then -- SIRENS WAIL. Kale turns to the street: TWO POLICE
     CARS SCREECH TO A STOP. Kale loses the smile.

<b>                              PARKER (V.O.)
</b>                      (phone filter prelap)
                  Kale, calm down, the officers were
                  probably in the neighborhood already.

<b>37   INT. KALE'S BEDROOM - EVENING                                      37
</b>
     ON KALE - pacing, on cell phone, pressing an ice-filled
     Ziplock back to his head.

<b>                              KALE
</b>                      (into phone as needed)
                  Okay, fine, but if I'd known --

<b>                              PARKER (V.O.)
</b>                  Kale, first times happen. The
                  officers knew that. But next time
                  they will take you to jail.

     Kale flips the phone shut, collapses to the bed --

     PRELAP - The doorbell RINGS.

<b>38   INT. KALE'S HOUSE - ENTRY HALL - THAT NIGHT                        38
</b>
     Kale, his Louisville Slugger firmly in hand, groggily heads
     to the door, swings it open. COURIER. With papers.

<b>                              COURIER
</b>                  Hi, I'm from McNeill-Stewart law
                  firm, dropping off for Ms. Julie --

     Over this, Kale yanks the envelope away, SLAMS the door in
     the guy's face. Kale heads away. The doorbell RINGS.

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  22.
</b>
<b>38   CONTINUED:                                                         38
</b>
     Kale opens the door, grabs the courier's clipboard, signs
     his name, SLAMS THE DOOR EVEN HARDER.

<b>39   EXT. KALE'S BACK YARD - THE NEXT DAY                               39
</b>
     ON KALE'S FEET - entering frame, inching their way through
     the yard...

     ON THE BRACELET - The green light suddenly goes out, red
     light FLASHES. Kale's foot quickly steps back. GREEN LIGHT.
     A beat, then --

<b>     A SMILING GARDEN GNOME SLAMS DOWN INTO FRAME.
</b>
     WIDER - Kale ties kite string around the gnome's hat, then
     unspools it across the yard to a waiting croquet mallet
     already hammered into the ground. He pulls the string taut
     and ties it off.

     We PULL BACK to REVEAL Kale's emerging KITE STRING PERIMETER --
     a crude SEMI-CIRCULAR ARC around the yard tied off at
     different points using makeshift "stakes" -- gnomes, mallets,
     shovels, screwdrivers...

<b>40   EXT. KALE'S FRONT YARD - DAY - SHORT TIME LATER                    40
</b>
     Same "BOUNDARY CONSTRUCTION" here. Kale shoves a screwdriver
     into the ground a few feet shy of his mailbox. He ties some
     string to it as he glances over to the other neighbors' (the
     PILCH's) yard, sees their black Labra-doodle watching him.

<b>                              KALE
</b>                  Hey doggie, come here...

     The dog trots toward Kale. It almost reaches his outstretched
     hand when it suddenly gets ZAPPED by the underground electric
     fence. It YELPS away. Spins back around, sits and stares.

<b>                              KALE (CONT'D)
</b>                      (re: his ankle bracelet)
                  Hey, you and me both.

<b>     OVER KALE'S SHOULDER IN THE B.G. - ASHLEY
</b>
     lifts more boxes from the back of their station wagon. She
     sets them on the drive, SLAMS the liftgate. Kale turns
     around. Ashley throws him a quick glance, then heads around
     the back of her house. Kale stares after her.

<b>41   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY                        41
</b>
     CU - The doorknob. Kale's hand enters frame, slowly turns
     it. Click. Kale pushes.



                                                            D.J. Caruso
<b>
</b><b>                                                                23.
</b>


<b>42   INT. DAD'S OFFICE - DAY - CONTINUOUS                             42
</b>
     Kale stands in the doorway. He takes a moment, considering
     what he's about to do. Then -- HIS FOOT steps inside. He
     goes to the window, gently pulls the blind up to reveal the

<b>     BACK OF ASHLEY'S HOUSE
</b>
     He peers down, sees Ashley and her mom standing by the
     swimming pool. Ashley disappears through the back door.

     Kale tilts his head up, curiously gazing through the pair of
     OPEN WINDOWS on the SECOND FLOOR of Ashley's house.

<b>     HIS POV - ASHLEY'S BEDROOM
</b>
     Unmade bed, stacks of open moving boxes, poster frames waiting
     to be hung... Kale squints, steps closer.

<b>     ASHLEY
</b>
     enters the room. Digging clothes from boxes, stuffing them
     in her dresser, then -- she pulls her hair back, yanks off
     her t-shirt, revealing a black bra.

     ON KALE - he continues to watch as Ashley digs a towel out
     of a moving box, and, with her back to us, pulls off the bra
     and disappears into the bathroom. Off Kale --

<b>                                                            CUT TO:
</b>
<b>43   INT. KALE'S HOUSE - ENTRY HALL - DAY                             43
</b>
     The front door swings open to reveal Ronnie, DV camera in
     hand. He's wearing aviator shades, half a dozen leis and a
     hawaiian shirt.

<b>                           RONNIE
</b>                   (hula dancing)
               Aloooha Senor Ka-- Dude, you look
               like hell.

     REVERSE ANGLE TO REVEAL KALE - now with a patchy stubble,
     wearing a bathrobe and a SHRUNKEN t-shirt that used to be
     white but is now LIGHT PINK. He holds his bat in one hand,
     quart of Haagen Dazs in the other. He smiles, hugs Ronnie.
     Tight -- and not letting go --

<b>44   INT. 2ND FL HALLWAY/WINDOW - DAY - MOMENTS LATER                 44
</b>
     Kale leads Ronnie up the stairs and to the window...

<b>                           RONNIE
</b>               Seriously man, you need some sun.
<b>                           (MORE)
</b>
                                              (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    24.
</b>
<b>44   CONTINUED:                                                           44
</b>
<b>                               RONNIE (CONT'D)
</b>                      (re: DV cam)
                  Hey, I've gotta show you this.    Maui
                  chicks rule.

<b>                              KALE
</b>                      (anxious)
                  I've got something to show you, too.
                      (then; slightly crazed)
                  I mean... there's such structure to
                  it, so many layers, but it's invisible
                  if you're not looking close enough...

<b>                              RONNIE
</b>                  What are you talking about?

<b>                              KALE
</b>                  The world right outside the window.

     Kale gestures out the window.       Ronnie looks out. They peer
     down to the Pilch's backyard.       A Ford Escort is in the drive.
     Besides that, all's quiet.

<b>                              RONNIE
</b>                  -- Fascinating.

<b>                              KALE
</b>                      (eyeing his watch)
                  Just wait... and...
                      (then)
                  Three... two... one... dog...

     The Pilch's dog darts out the back door -- then --

<b>                              KALE (CONT'D)
</b>                  ...Mrs. Pilch... saying goodbye to
                  Lonnie...

<b>                              RONNIE
</b>                  Husband?

<b>                              KALE
</b>                      (shaking a "no")
                  Maid.

     Over the above, Mrs. Pilch, wearing an unflattering tennis
     skirt, exits the house. The dog hops around her as she waves
     back to her heavy set, male maid, LONNIE, 35.

<b>                              KALE (CONT'D)
</b>                  Four o'clock every Thursday, she
                  goes to the country club to play
                  tennis with Betty Big-Bangs there.



                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 25.
</b>
<b>44   CONTINUED:    (2)                                                 44
</b>
     Kale and Ronnie watch as Mrs. Pilch heads down the walkway,
     meets her rail-thin 50-ish female tennis PARTNER at the curb.
     As they walk away, the dog tries to follow but gets ZAPPED
     by the electric fence and YELPS back into the house.

<b>                              KALE (CONT'D)
</b>                  And... ladies disappear... cue white
                  Mercedes... Mr. Pilch... arriving
                  from the office...

     A white mercedes pulls in the driveway.    MR. PILCH, 63, gets
     out, carrying briefcase and flowers.

<b>                              RONNIE
</b>                  Great, that still doesn't explain
                  why you're in a bathrobe at four in
                  the afternoon.

<b>                              KALE
</b>                      (pulls Ronnie closer)
                  Will you just look --

<b>                              RONNIE
</b>                  Dude, he's gonna see --

<b>                              KALE
</b>                  He can't. We don't have any lights
                  on. Plus the angle's sharper from
                  ground level, it only seems like he
                  could see us. I did the math.

<b>                              RONNIE
</b>                  Oh, you did the math.

<b>                              KALE
</b>                  Optical illusion, line-of-sight
                  doesn't apply to the subject.

<b>                              RONNIE
</b>                  Kale --

<b>                              KALE
</b>                  Now tilt your gaze up...

<b>     RONNIE AND KALE'S POV - TILTING UP TO THE PILCH'S BEDROOM
</b>     WINDOW - Lonnie vacuums as Mr. Pilch enters the room behind
     him. Mr. Pilch flips off the light switch, cutting the
     power to the vacuum. Lonnie startles, turns around, sees
     Pilch standing there with the flowers and a big smile.

     A beat, then -- Lonnie jumps in Pilch's arms, kissing him
     passionately.

<b>                              RONNIE
</b><b>                  DAMN!!
</b>
                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  26.
</b>
<b>44   CONTINUED:    (3)                                                  44
</b>
     Kale slaps his hand over Ronnie's mouth. Ronnie pulls away,
     reaches in his pocket, yanks out his ASTHMA INHALER and takes
     a hit. Then --

<b>                              RONNIE (CONT'D)
</b>                      (re: hallway and window)
                  Seal this area off, Kale.

<b>                              KALE
</b>                  C'mon, there's more.

<b>                              RONNIE
</b>                  What, I go to Maui, you become a
                  stalker?

<b>                              KALE
</b>                  No, stalking's for psychos. These
                  are just simple observations...
                  natural side effects of chronic
                  boredom.

     As Kale heads away:

<b>                              RONNIE
</b>                      (pleading)
                  Find your passion, Kale.

<b>45   INT. KALE'S BEDROOM - DAY                                          45
</b>
     Kale leads Ronnie to the window. Ronnie takes in the mess
     in Kale's room -- the scuff marks on the walls, the completed
     TWINKIE TOWER. He glances to the desk, sees a penciled
     GEOMETRIC DIAGRAM of Kale's line-of-sight spying theory --
     shit, Kale wasn't lying -- he did do the math.

<b>                              KALE
</b>                      (pointing out)
                  So... Robert Giles...

     KALE AND RONNIE'S POV - In the yard across from Kale's back
     yard, find ROBERT GILES, gassing up his lawnmower in the
     driveway. He's early 40's, clean-cut, fit, decent looking.
     He closes the garage door via remote, then fires up the mower,
     pushes it around the side of his house toward the front yard.

<b>                              KALE (CONT'D)
</b>                  He's lived there a couple of years,
                  but I've never noticed he mows his
                  lawn every two days.

<b>                              RONNIE
</b>                  Huh, I guess he likes his grass short.




                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 27.
</b>
<b>45   CONTINUED:                                                        45
</b>
<b>                              KALE
</b>                  Next to him is Judy Thorp. Dude,
                  she freakin' sneaks over to her
                  neighbors' every morning, steals
                  their newspaper, I guess reads it or
                  swipes the coupons, then puts it
                  back before they even wake up.

<b>                               RONNIE
</b>                      (sarcastic)
                  No shit?
                      (weirdly eyeing Kale
                        who heads out)
                  People. You never can tell these
                  days.

<b>46   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - MOMENTS LATER       46
</b>
     Kale slowly pushes on the door. It creaks open. Kale tilts
     his head, listening. Then -- SPLASH!! Kale smiles.

<b>                              RONNIE
</b>                  What was that?

<b>47   INT. DAD'S OFFICE - DAY - CONTINUOUS                              47
</b>
     Kale leads Ronnie to the window.

<b>                              KALE
</b>                  Last stop on the tour.

     KALE AND RONNIE'S POV - ASHLEY swims underwater the length
     of the pool. She finally surfaces in all her two-piece glory.

<b>                              RONNIE
</b>                  Oh-- my-- God. Who be she?

     They watch as Ashley steps out of the pool, towels off. She
     pulls her bikini from her butt, lies in the lounge chair.

<b>                                KALE
</b>                  Don't know.

<b>                              RONNIE
</b>                  What's stopping you?!

     Off Kale, considering --

<b>48   EXT. KALE'S FRONT YARD - THE NEXT DAY                             48
</b>
     ON KALE - now clean-shaven, sitting on the front steps. He
     eyes his watch, then stretches his neck. Yawns. Then he
     sees something O.S.



                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   28.
</b>
<b>48   CONTINUED:                                                          48
</b>
     KALE'S POV - peering down the street, Ashley's stationwagon
     rounds the corner --

     Kale hops to his feet, quickly fixes his hair as the
     stationwagon draws closer.

     Kale casually strides into the yard, approaching the kite
     string boundary and mailbox. Then -- keeping his feet planted
     in what looks to be a very practiced maneuver, he suddenly
     falls forward against the mailbox. Reaches around with his
     free hand, opens the door, going to grab the mail inside
     just as

<b>     ASHLEY
</b>
     pulls the car into and up the drive.    She glances at Kale
     who nods and smiles back.

     As the stationwagon heads up the driveway, Kale tries to
     push himself upright -- but his feet SLIP. He pitches forward
     more. He glances back over his shoulder, sees Ashley getting
     out of the car and looking his way. Kale struggles under
     his own weight, trying to keep his feet from crossing the
     line -- he looks back to Ashley who's now heading toward
     him. A slight smile crosses Kale's face as --

<b>                              ASHLEY
</b>                  Can I help you?

<b>                              KALE
</b>                  Nope, no I'm fine.

<b>                              ASHLEY
</b>                      (helping him up)
                  Too late.

<b>                              KALE
</b>                  Thanks, that was really humiliating.

     Ashley reaches in the box, grabs the mail, hands it over.

<b>                              ASHLEY
</b>                  Please. I think any pride you had
                  left was gone a while ago.

<b>                              KALE
</b>                  Oh, you mean that thing with the
                  cops? They had the wrong guy, total
                  foul up. I'm Kale by the way.

     Ashley nods with a semi-polite smile, starts to head away --

<b>                              KALE (CONT'D)
</b>                  Hey, so -- how'd the move go?


                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 29.
</b>
<b>48   CONTINUED:    (2)                                                 48
</b>
<b>                                 ASHLEY
</b>                  Still going.

<b>                              KALE
</b>                  I'd help, but...
                      (re: ankle bracelet)
                  I'm a little spatially challenged at
                  the moment.

     Ashley walks closer to Kale, checks out his ankle bracelet.

<b>                              ASHLEY
</b>                  Yeah, you've kinda got the whole
                  Martha Stewart thing going on --

<b>                              KALE
</b>                      (nodding)
                  But minus the 48-hour allowance for
                  office visits. And no lame
                  "Apprentice" spin-off.
                      (off her laugh)
                  So where'd you move from?

<b>                              ASHLEY
</b>                  I'm a city girl. Born, raised, and
                  now...
                      (glances around; sighs)
                  Forcefully relocated.

<b>                              KALE
</b>                  That doesn't sound good.

<b>                              ASHLEY
</b>                  I'm telling you, if I have another
                  clueless jock hit on me or one more
                  soccer mom cuts me off in her oversize
                  SUV, I'm gonna go postal.

<b>                              KALE
</b>                  Oh, sorry, I was just gonna see if
                  you wanted to hop in my Hummer and
                  cruise to a kegger.
                      (turning away)
                  Nice talking to you.

<b>                              ASHLEY
</b>                      (cracking a smile)
                  Wait, I --

<b>                              BONNIE (O.S.)
</b>                      (from inside house)
                  Ashley? Can you come in here, please?




                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  30.
</b>
<b>48   CONTINUED:    (3)                                                  48
</b>
<b>                              ASHLEY
</b>                      (quietly to Kale)
                  My mom -- she's very polite, always
                  says "please" but she's got that
                  tone, did you notice?

<b>                              KALE
</b>                  I know the tone.

<b>                              ASHLEY
</b>                      (heading away)
                  Oh, I'm Ashley --

<b>                              KALE
</b>                  Noticed that, too.

     Ashley smiles, disappears inside.    Kale's in love.

<b>49   INT. LIVING ROOM - NIGHT                                           49
</b>
     The wind HOWLS outside. Kale sits on the couch flipping
     channels. Julie's in the chair, nodding off.

     ON THE TV - Kale lands on that same photo of PATRICIA WALSH,
     the MISSING REDHEAD we saw earlier.

<b>                              NEWS ANCHOR (ON TV)
</b>                  ...attended a friend's birthday party
                  at a local nightclub before she was
                  last seen alone at a diner outside
                  Madison, 50 miles east of here. A
                  waitress said Ms. Walsh was picked
                  up around 10:30 P.M. by an
                  unidentified person driving a black
                  1960's era Mustang that was dented
                  on the left side and may have --

     Kale CLICKS the TV off -- looks over to Julie who's now sound
     asleep. Kale's watch ALARM suddenly BEEPS. He quickly shuts
     it off, eyes Julie. She stirs but doesn't wake up.

     Kale quietly gets up, grabs the blanket off the sofa, covers
     Julie up. He then picks up his soda and bowl of popcorn
     from the coffee table, heads away...

<b>50   INT. DAD'S OFFICE - NIGHT - SECONDS LATER                          50
</b>
     Kale, immersed in shadow, enters. He quietly pulls Dad's
     leather chair toward the window, positions it just right,
     and sits.

     KALE'S POV - Ashley's working out to a YOGA DVD.




                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   31.
</b>
<b>50   CONTINUED:                                                          50
</b>
<b>                              KALE
</b>                      (to Ashley)
                  You started without me?

     As if eerily on cue, Ashley suddenly stops.

<b>                              KALE (CONT'D)
</b>                  What are you stopping for?

     She goes to her window and peers out -- Kale ducks -- He
     looks back up, sees Ashley gazing in his direction -- Kale's
     breathing intensifies -- could she actually be seeing him?

<b>                              KALE (CONT'D)
</b>                      (convincing himself)
                  No --

     ASHLEY turns around, goes back to her yoga mat. She takes a
     breath, getting back in "the zone," then -- she slowly raises
     her arms and bends into a ridiculously sexy pose.

<b>                              KALE (CONT'D)
</b>                   Whoa.

     Kale watches Ashley another couple of beats. Then her dad
     appears in the doorway. Looking pissed. Kale leans closer --

     Ashley stops the DVD. From her body language, she's clearly
     annoyed at the interruption. The scene quickly devolves
     into a heated argument. But Ashley's dad gets the last word
     in and leaves. Ashley SLAMS the door behind him, flips off
     the TV, storms in the bathroom and SLAMS that door, too.

     Kale watches the vacant room... waiting... another beat,
     then -- Ashley emerges from the bathroom with a box of
     tissues. She sits on her bed, pulls THREE TISSUES from the
     box, staring off... From this angle, it almost looks as if
     her eyes could meet Kale's at any moment. Kale instinctively
     lowers himself in the chair, his eyes never leaving her...

     Then -- with a huge gust of HOWLING WIND we

<b>                                                             SMASH TO:
</b>
<b>51   INT. DAD'S OFFICE - NIGHT - LATER                                   51
</b>
     Kale SNAPS AWAKE. Breathing hard. Bad dream. He sits up,
     peers across to Ashley's windows. Dark, shades pulled.
     Kale pulls himself out of the chair...

<b>52   INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER                      52
</b>
     Kale enters, grabs his PSP and falls back to the bed. As he
     starts playing, HEADLIGHT BEAMS appear from O.S. He glances
     out the window:

                                               (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                  32.
</b>
<b>52   CONTINUED:                                                         52
</b>
     KALE'S POV - A BLACK 1965 MUSTANG CONVERTIBLE pulls in Giles'
     driveway.

     Kale goes back to playing the PSP, then suddenly stops --

<b>                              KALE
</b>                      (realizing)
                   -- Mustang --

     Kale hops up, heads to the window --

     KALE'S POV - Kale watches as Giles hops out, leaves the car
     running as he heads inside the house.

     After a beat, the MAIN GARAGE DOOR raises up. Giles appears,
     ducking underneath, heads back to the Mustang, gets in.
     Giles maneuvers the car around the driveway. The front end
     of the car swings around, revealing a bashed-in right front
     fender.

<b>                               KALE (CONT'D)
</b>                  Holy shit.   A dent --

     Kale races to his closet, pulls down a pair of binoculars,
     heads back to the window.

     BINOCULAR POV - In the garage, Giles is already out of the
     car, rounding the back as the garage door lowers... Kale
     crouches, trying to see under the CLOSING DOOR... catching a
     glimpse of Giles popping the trunk --

<b>     A HAND
</b>
     suddenly enters frame, lands on Kale's shoulder! Kale
     SCREAMS, whips around -- Julie. She SCREAMS, too.

<b>               KALE (CONT'D)                     JULIE
</b>       Jesus, mom!                       Christ, Kale!

<b>                               JULIE (CONT'D)
</b>                  I'm sorry.   I thought you heard me...

<b>                               KALE
</b>                  What?   No, I --

<b>                              JULIE
</b>                  What's going on?

<b>                              KALE
</b>                  Nothing, just watching the wind blow.

<b>                              JULIE
</b>                      (re: binoculars)
                  Anything else?


                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  33.
</b>
<b>52   CONTINUED:    (2)                                                  52
</b>
     Kale turns back.

     HIS POV -    Giles' garage door is now closed.

<b>                              KALE
</b>                  No, see for yourself.

<b>                              JULIE
</b>                      (beat; then)
                  That's okay, I just... wanted to say
                  good night.

     Julie leaves.    Kale turns back to the window, stares out at
     Giles' house.    The lights go out.

<b>53   INT. DAD'S OFFICE - THE NEXT DAY                                   53
</b>
     ON KALE - sitting in the leather chair, binoculars raised.

     On the floor next to the chair is a 7-11 bag, a slurpee cup,
     a bag of beef jerky and an AUTOMOTIVE MAGAZINE with a MUSTANG
     on the cover.

     BINOCULAR POV - Ashley sits on the roof leaning against her
     closed window. She's reading Lolita.

<b>                              RONNIE (O.S.)
</b>                  So you don't know what year the
                  Mustang is?

     REVEAL RONNIE - sitting at dad's computer looking at the
<b>     FBI'S OFFICIAL WEBSITE.
</b>
<b>                              KALE
</b>                      (now flipping through
                       magazine)
                  '65 or '66, couldn't tell.

<b>                              RONNIE
</b>                  Check this out. The feds think your
                  missing girl might be related to
                  three murders in Austin. All
                  redheads.

     Kale processes that as we suddenly hear a car door SLAM O.S.

     BINOCULAR POV - Kale TILTS DOWN to see Ashley's mom backing
     out the driveway. Kale TILTS UP to Ashley's window -- Ashley
     ducks back inside her room, disappears.

<b>                              KALE
</b>                  Movement.




                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 34.
</b>
<b>53   CONTINUED:                                                        53
</b>
     BINOCULAR POV - Kale TILTS DOWN to the pool, sees Ashley
     emerging from the house with a towel that she throws on the
     lounge chair.

<b>                              KALE (CONT'D)
</b>                  Better late than never.

     Ronnie joins Kale at the window.

     THEIR POV - Ashley flips her sandals off one at a time, pulls
     her tank off revealing her bronzed back and bikini top.

<b>                              RONNIE
</b>                  Dude...

     Ashley slinks out of her shorts revealing a "near-thong"
     bikini this time.

<b>                              RONNIE (CONT'D)
</b><b>                  DUDE!!
</b>
<b>                              KALE
</b>                      (re: bikini)
                  That's definitely new.

     Ashley crouches down, runs her fingers through the water.

<b>                              RONNIE
</b>                  Oh, it's so warm, baby...

     Ashley cups her hands, scoops a handful of water from the
     pool, splashes her face... runs her hands through her hair...
     She stands, takes a deep breath, holds it -- then exhales...

<b>                              RONNIE (CONT'D)
</b>                  Cleansing breath...

     Ashley stretches her arms high above her head.

<b>                              RONNIE (CONT'D)
</b>                  Concentrate now. This is for the
                  gold.

     Ronnie grabs the binoculars from Kale, puts them to his eyes,
     moves closer to the window -- but his zoomed-in vision causes
     him to underestimate the distance -- THWUMP. The end of the
     binoculars HIT THE WINDOW just as Ashley dives into the pool --
     Ronnie and Kale hit the deck as we hear the splash O.S.

<b>                              KALE
</b>                  Jackass!

<b>                              RONNIE
</b>                  Dude, there's no way she heard that.


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                      35.
</b>
<b>53   CONTINUED:    (2)                                                      53
</b>
<b>                              KALE
</b>                  Dick, my deaf aunt in Omaha heard
                  that.

     Kale grabs the binoculars from Ronnie.

     BINOCULAR POV - Ashley's underwater at the far end of the
     pool. She tucks and pushes off the wall, swims back...

<b>                              RONNIE
</b>                      (peering out)
                  She's got great lung capacity.

     ON ASHLEY - She suddenly surfaces, hoists herself from the
     water. She spins and sits on the ledge, rings the water
     from her hair. But she suddenly stops -- and shifts her
     GAZE UP toward Kale and Ronnie!

<b>                              KALE
</b>                      (pulling Ronnie down)
                  I think she saw me --

<b>                              RONNIE
</b>                  There's no way --

     Ronnie grabs the binoculars back.

<b>                              RONNIE (CONT'D)
</b>                      (re: Ashley O.S.)
                  Okay, maybe she did.

<b>                                KALE
</b>                  Seriously?

     Kale peeks out --

     THEIR POV - Ashley's slipping back into her shorts and tank
     top. She heads to the back door, tries the knob. Locked.
     Over this, Ronnie turns to Kale:

<b>                              RONNIE
</b>                  Her swims always that short?

<b>                              KALE
</b>                      (growing concern)
                  No, she usually takes her time --

     They turn back.     Ashley's gone.

<b>                              RONNIE
</b>                  Now where is she?

     The DOORBELL RINGS.       Kale and Ronnie freeze.   Then --



                                                   (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                      36.
</b>
<b>53   CONTINUED:    (3)                                                      53
</b>
<b>                  KALE                               RONNIE
</b>       No.                                  No.

<b>54   INT. ENTRY HALL - LATE AFTERNOON - MOMENTS LATER                       54
</b>
     Kale and Ronnie quietly approach the door.         Ronnie suddenly
     pulls Kale back.

<b>                              RONNIE
</b>                  Don't, it could be her!

<b>                              KALE
</b>                  It's not gonna be her.

<b>                                RONNIE
</b>                  Then stop!    Just -- let 'em go away.

     The DOORBELL RINGS AGAIN.         Kale heads to the door.

<b>                                KALE
</b>                  I have to.

     Kale peeps through the peephole --

     DISTORTED PEEPHOLE POV - Ashley.

     Kale calmly turns to Ronnie.

<b>                               RONNIE
</b>                  What?!   What?! Speak.

<b>                                KALE
</b>                  It's her.

<b>                              RONNIE
</b>                  You're full of --

     Ronnie tip-toes to the door. One look at Ashley and he covers
     his mouth, grabs Kale and pulls him back.

<b>                                RONNIE (CONT'D)
</b>                  Shit shit!!    Oh my shit!

     Both laugh, giggle, acting "girlie," practically spinning in
     circles as they speak in hushed, panicked whispers:

<b>                              KALE
</b>                  She totally saw us --

     The DOORBELL RINGS again.         Kale heads to the door.

<b>                              RONNIE
</b>                  We are so busted. Don't answer it!



                                                     (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     37.
</b>
<b>54   CONTINUED:                                                            54
</b>
<b>                              KALE
</b>                      (re: his bracelet)
                  Dude, she knows I'm here.

     Kale swings the door open.     Ashley stands there a beat.    Her
     arms folded. Then --

<b>                              ASHLEY
</b>                  What took you so long?
                      (eyeing Ronnie in
                       b.g.)
                  The house isn't that big.

<b>                              KALE
</b>                  Yeah, no, we were playing upstairs --

     Ronnie cringes at how that sounded.

<b>                              RONNIE
</b>                      (covering)
                  Video games...?

<b>                              KALE
</b>                      (awkward beat; then)
                  So... what brings you here.

<b>                               ASHLEY
</b>                  Oh.   -- Locked out.

<b>                              KALE
</b>                  Do you need to call anyone?

<b>                              ASHLEY
</b>                  Thanks, but I'd rather stay stranded
                  if you don't mind.

     Kale and Ronnie trade glances.

<b>                               ASHLEY (CONT'D)
</b>                  May I?

<b>                              KALE
</b>                  Uh, sure, come on in --

     Ashley steps inside, glances around, checking out the place.

<b>                              KALE (CONT'D)
</b>                  That's Ronnie.

<b>                              ASHLEY
</b>                  Nice to meet you. Video games, huh?
                      (then suggestively to
                       Kale)
                  I like to play.


                                                 (CONTINUED)      D.J. Caruso
<b>
</b><b>                                                                  38.
</b>
<b>54   CONTINUED:    (2)                                                  54
</b>
     Kale trades a look with Ronnie as Ashley nonchalantly heads
     up the stairs.

<b>                                 KALE
</b>                  Excuse me...

<b>55   INT. KALE'S BEDROOM - LATE AFTERNOON - MOMENTS LATER               55
</b>
     Ashley barges in, instantly struck by the mess. Kale pushes
     past her, starts grabbing underwear and garbage off the floor.

<b>                              KALE
</b>                  It's a little messy.

<b>                                 ASHLEY
</b>                  A little?

     Kale keeps gathering clothes, tossing them to Ronnie who
     tosses them in the closet.

     Ashley picks up the binoculars from the window sill, peers
     outside.

<b>                              ASHLEY (CONT'D)
</b>                  Anything interesting out there?

     Kale and Ronnie trade looks. Ashley turns around, binoculars
     still raised, aiming them like a gun at Kale.

<b>                              ASHLEY (CONT'D)
</b>                  Are you spying on the neighbors,
                  Kale?

     Kale freezes.

<b>                              RONNIE
</b>                      (stepping in)
                  Actually, he is.

     Kale's eyes widen in panic.

<b>                              RONNIE (CONT'D)
</b>                  See, he has this neighbor -- who I
                  guess by definition would also be
                  your neighbor -- who may, in point
                  of fact, be a cold-blooded killer.

<b>                                 ASHLEY
</b>                  Is that so.

     Ronnie points out the window to Giles' house.

<b>                              RONNIE
</b>                  Exhibit A, Robert Giles.


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    39.
</b>
<b>55   CONTINUED:                                                           55
</b>
<b>                              ASHLEY
</b>                  Yeah, I've seen him.   So?

<b>                              KALE
</b>                  So you hear about that missing girl
                  from Madison?

<b>                              ASHLEY
</b>                      (realizing; then
                       pointing out to Giles')
                  What, you think he --

<b>                              KALE
</b>                  He drives a car like the one she was
                  seen in.

<b>                              RONNIE
</b>                  Black Mustang.

<b>                              KALE
</b>                  60's era Mustang.

<b>                              ASHLEY
</b>                  Gee, that really narrows it down.

<b>                              KALE
</b>                  They said it was dented.     His has a
                  bashed-in fender.

<b>                              ASHLEY
</b>                      (re: binoculars)
                  So this is why -- you're --

     Suddenly seeing something O.S., Kale RIPS the binoculars out
     of Ashley's hand, goes to the window.

<b>                              RONNIE
</b>                  What?

     BINOCULAR POV - Giles pulls the Silver Toyota out of the
     garage and out the driveway.

     Ashley suddenly grabs the binoculars from Kale, peers out.

<b>                              KALE
</b>                  Hey --

<b>                              ASHLEY
</b>                  So that's the infamous black mustang,
                  huh?

<b>                              KALE
</b>                  Yeah --



                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   40.
</b>
<b>55   CONTINUED:    (2)                                                   55
</b>
<b>                              ASHLEY
</b>                  The one with no dent?

<b>                              KALE
</b>                      (grabbing the binocs)
                  What?

     BINOCULAR POV - Sure enough, the Mustang NO LONGER HAS A
     BASHED-IN FENDER. The garage door starts to close --

<b>                              KALE (CONT'D)
</b>                  How'd he fix it so fast --

<b>                               ASHLEY
</b>                  Because it was never there in the
                  first place?

     Kale eyes Ashley. Shit, could he have imagined it?       Ashley
     playfully grabs the binoculars back from Kale.

     BINOCULAR POV - Ashley catches a glimpse of a faded TEXAS
<b>     LONGHORNS BUMPER STICKER.
</b>
<b>                              ASHLEY (CONT'D)
</b>                  Sorry guys, no bashed-in fender,
                  just a Longhorns bumper sticker.

<b>                               KALE
</b>                      (grabbing the binocs)
                  You serious?
                      (then to Ronnie)
                  She's right.

     THEIR POV - Giles' garage door finally SLAMS CLOSED.

<b>                              KALE (CONT'D)
</b>                      (off Ashley's
                       questioning look)
                  They think it might be linked to
                  some murders in Texas two years ago.

<b>                              RONNIE
</b>                  Austin, Texas. Texas Longhorns.

     Kale and Ronnie eye Ashley as if to say "see?"      Ashley eyes
     them another beat -- then:

<b>                              ASHLEY
</b>                  Okay, fine, stakeout.
                      (grabs binoculars)
                  Who's on my shift?

     Off Kale and Ronnie, their dreams realized --



                                                                D.J. Caruso
<b>
</b><b>                                                                41.
</b>


<b>56   INT. KALE'S BEDROOM - EVENING - LATER                            56
</b>
     A BOX OF SPYING CRAP is dumped onto Kale's bed. Another DV
     Camera, an old, bulky VHS camera, a black and white portable
     TV, couple of tri-pods, walkie talkies, wires... a real mess.
<b>     WIDER TO REVEAL RONNIE:
</b>
<b>                           RONNIE
</b>               This is all the stuff I could find --

     Ashley sits at Kale's computer as Kale anxiously sifts through
     Ronnie's stuff.

<b>                           ASHLEY
</b>               Do you know how long Giles has lived
               there?

<b>                           KALE
</b>               About two or three years.

<b>                           ASHLEY
</b>               So he could've lived in Texas...
                   (re: computer screen)
               Hey, check this out.

     Ronnie goes to Ashley, reads the Amazon web page for the
     book:

<b>                           RONNIE
</b>               "Murderer: Tell Tale Signs of a Serial
               Killer." Qualifies for free shipping
               if you pair it with "The Shrine of
               Jeffrey Dahmer."

<b>                           ASHLEY
</b>               The summary lists four main criteria.
               Our guy meets at least three. White
               male between the age of twenty-five
               and fifty. He doesn't have any pets,
               right?

<b>                           KALE
</b>               Not that I've seen --

<b>                           ASHLEY
</b>               You said he lives alone --

<b>                           RONNIE
</b>               What's the fourth?

<b>                           ASHLEY
</b>                   (nonchalant)
               Sexual dysfunction.



                                              (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    42.
</b>
<b>56   CONTINUED:                                                           56
</b>
     Silence. Kale and Ronnie trade awkward glances, shaking
     their heads to each other as if reassuring themselves they
     don't suffer from such a condition.

<b>                              ASHLEY (CONT'D)
</b>                      (changing the subject)
                  I'm hungry, let's order pizza.

<b>57   INT. KALE'S BEDROOM - NIGHT - LATER                                  57
</b>
     TRACKING ACROSS KALE'S ROOM - The two tri-pod-mounted DV
     Cams stand watch over Giles' house. One camera feeds a grainy
     close-up shot of Giles' garage door to Ronnie's portable TV
     on the floor. The other feeds a WIDE SHOT of Giles' entire
     house to Kale's color TV. Both images appear on Kale's
     computer monitor.

     WIDER TO REVEAL - Kale and Ashley sit on the floor near the
     window. Kale peers over to Giles with the binoculars as
     Ashley messes with Kale's cell phone. In the b.g. Ronnie's
     passed out on Kale's bed, his hand resting inside the pizza
     box just inches from the last slice.

<b>                              KALE
</b>                      (re: Giles)
                  He's been gone awhile.

     ON ASHLEY - she's messing with Kale's cell phone.

<b>                              ASHLEY
</b>                      (handing him his cell)
                  Here.

<b>                              KALE
</b>                  How'd you get my phone?

<b>                              ASHLEY
</b>                  I'm crafty like that.

<b>                              KALE
</b>                  What'd you do?

     Ashley carefully unclips Ronnie's cell from his hip, flips
     it open, dials. After a beat, Kale's cell RINGS with
     Madonna's "LIKE A VIRGIN." Kale laughs.

<b>                               ASHLEY
</b>                  Every time he calls, that's what
                  you'll hear.

     Kale laughs as Ashley delicately re-clips the phone to
     Ronnie's belt.

     KALE'S POV - the Pilch's dog, wearing a pink sweater, suddenly
     darts into Kale's yard.

                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                       43.
</b>
<b>57   CONTINUED:                                                              57
</b>
<b>                              KALE
</b>                  What the hell?

     THEIR POV - Pilch's dog stops, spins around and takes a dump.

<b>                               KALE (CONT'D)
</b>                  Where's --

     Mr. Pilch, in his robe, suddenly appears from the shadows,
     watches the dog do its business.

<b>                              ASHLEY
</b>                      (re: Mr. Pilch)
                  Three to one he doesn't pick it up.

     Nope. The dog finishes.      Pilch calls it over, scoops up the
     dog and heads O.S.

<b>                              KALE
</b>                  So that's why the grass is greener...

<b>                              ASHLEY
</b>                  Only in disturbia...

<b>                              KALE
</b>                  So why the move?

<b>                              ASHLEY
</b>                  What do you mean? The greener grass,
                  the safer pastures...

<b>                              KALE
</b>                  No, seriously.

     There's a beat as Ashley locks eyes with Kale.       Then --

<b>                              ASHLEY
</b>                  Well, I guess my mom thought it'd
                  help keep dad on a shorter leash.
                  City life... had its temptations...
                      (beat; then matter of
                       fact)
                  But my mom pretty much cries just as
                  much as she always did, and dad
                  doesn't care -- more than ever.

<b>                              KALE
</b>                  What did they think, an extra bathroom
                  and two-car garage would actually
                  change things... somehow protect
                  them and you from all that crap you
                  can never escape?

     Ashley holds Kale's gaze for a beat.      Then, she nods, with:


                                                  (CONTINUED)       D.J. Caruso
<b>
</b><b>                                                                    44.
</b>
<b>57   CONTINUED:    (2)                                                    57
</b>
<b>                              ASHLEY
</b>                  Something like that.
                      (eyeing the bracelet)
                  So... what're your issues, Kale?

     Kale hesitates. We see in his eyes that he's flashing to
     the past... "going there..." There's an uneasy beat as Ashley
     picks up on it:

     Then -- HEADLIGHTS APPEAR OUTSIDE. Kale quickly turns away
     from Ashley, pulls one of the DV Cams off its tri-pod, flips
     out the three-inch LCD SCREEN.

<b>                                KALE
</b>                  That's him.

     DV CAM POV - Giles' silver Toyota pulls in the driveway.
     Stops. Engine and headlights turn off.

<b>                              ASHLEY
</b>                  Another car --

     DV CAM POV - Kale ZOOMS IN. The GRAINY IMAGE finally steadies
     to reveal a SECOND CAR pulling in behind Giles. A thirty-
     something attractive WOMAN -- a REDHEAD -- is at the wheel.
     She pulls in next to Giles' car.

<b>                              ASHLEY (CONT'D)
</b>                  You seen her before?

<b>                                KALE
</b>                  No.

     DV CAM POV - Giles gets out.      Wearing a suit, no tie.

<b>                              ASHLEY
</b>                      (re: Giles)
                  Cute for a killer.

     Giles goes to the woman's car, opens her door.

<b>                              ASHLEY (CONT'D)
</b>                  Who said chivalry's dead?

     The woman gets out, wearing a black cocktail dress.

<b>                              ASHLEY (CONT'D)
</b>                  There's a club girl for you.

<b>                              KALE
</b>                  How do you know?




                                                  (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                 45.
</b>
<b>57   CONTINUED:    (3)                                                 57
</b>
<b>                              ASHLEY
</b>                  Bright green bracelet's "The
                  Pyramids," purple's "Club 360," the
                  big black stamp's from "Flavor."

     DV CAM POV - Kale ZOOMS in on the woman's wrist and hand.
     Sure enough, she's wearing both a green and a purple bracelet,
     and has a black stamp blotch on her hand.

<b>                              KALE
</b>                      (over the above)
                  Missing girl was seen at a club.
                  Didn't say which one though...
                      (then aside to Ashley)
                  Your I.D. must be pretty good.

<b>                              ASHLEY
</b>                      (with a smile)
                  I don't need one.

     They turn back to the window, watch as Giles escorts the
     woman to the house, shows her in. A light comes on inside.

     DV CAM POV - Kale ZOOMS IN on one of the living room windows,
     spots the woman moving around inside, looking at artwork...
     she sits on the sofa as Giles enters with two glasses and a
     bottle of wine. He sits down, pours the wine. They toast,
     take sips. Giles moves in for a kiss --

<b>                              KALE
</b>                  He's going in.

     DV CAM POV - The woman shies away from Giles, stands from
     the sofa.

<b>                              ASHLEY
</b>                  Denied...

     They watch as the woman gets up, moves to the center of the
     room, and starts to get a little groove on...

<b>                              ASHLEY (CONT'D)
</b>                      (been there, done
                       that)
                  Oh no, he put on music...

     DV CAM POV - Giles watches the woman as she seductively moves
     her body to the music we're not hearing.

<b>                               ASHLEY (CONT'D)
</b>                  Oh, c'mon, Giles, all she wants to
                  do is dance.




                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    46.
</b>
<b>57   CONTINUED:    (4)                                                    57
</b>
<b>                              KALE
</b>                  What do you think they're listening
                  to?

<b>                               ASHLEY
</b>                  Could be radio. See if you can find
                  the station.

     Kale sets the camera down, turns on his receiver. As he
     toggles through radio stations -- Rock, Alternative...

<b>                              ASHLEY (CONT'D)
</b>                      (watching the woman &
                       Giles)
                  No... no...

     Kale flips to an easy listening R & B station playing Lou
     Rawls "You'll Never Find Another Love Like Mine."

<b>                              ASHLEY (CONT'D)
</b>                  Stop.

     BINOCULAR POV - Ashley watches as Giles takes the woman's
     hand and dances with her. Their rhythm fits the music
     perfectly.

     ON RONNIE - he stirs on the bed, still asleep.

<b>                              RONNIE
</b>                      (eyes closed; grinning
                       re: music)
                  Hmmm...

     Ashley and Kale eye Ronnie for a beat.     Then turn back to
     the window.

     DV CAM POV - Kale pans back to the woman and Giles. They're
     really dancing close now. Kale's and Ashley's eyes shift to
     each other, then quickly flick away. A beat. Then -- Ashley
     raises the binoculars, faces back toward Giles' with:

<b>                              ASHLEY
</b>                  Now's the time to bust your move.

     Ashley glances to Kale. Kale turns, holds her gaze. A
     palpable tension between these two. They ever so slowly
     lean toward each other when --

     RONNIE - suddenly interrupts, pushing himself between them.

<b>                              RONNIE
</b>                      (yawning; re: woman
                       with Giles)
                  Who's that?


                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    47.
</b>
<b>57   CONTINUED:    (5)                                                    57
</b>
     Ronnie looks to Kale and Ashley who glare back.

<b>                              RONNIE (CONT'D)
</b>                      (realizing)
                  Ookay, just fill me in later.
                      (taking Ashley's hand)
                  A pleasure.
                      (then; aside to Kale,
                       mouths; re: Ashley)
                  Duude!
                      (slaps Kale's hand)
                  Later.

     Ronnie stands, leaves. Kale shakes his head, turns back to
     Ashley. They lean in again when -- Ashley's CELL PHONE
     ominously RINGS with the first measures of BEETHOVEN'S 5TH --
     "BUM BUM BUM BUMMMMM." She pulls the cell from her pocket.

<b>                               ASHLEY
</b>                      (re: cell)
                  It's my mom.
                      (into cell)
                  Hi. No, I'm fine.
                      (with a smile)
                  I'm at Barnes and Noble.    Okay, I'm
                  leaving. No, I'll walk.

     Ashley flips the phone shut, joins Kale who's watching the
     LCD screen:

     DV CAM POV - Giles and the woman are back on the couch. The
     woman is leaning her head on Giles' shoulder. As Giles leans
     forward to take her wine glass, the woman falls over behind
     him. Out cold. Kale and Ashley cringe.

<b>                              KALE
</b>                  And she's down for the count.

<b>58   EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER                        58
</b>
     Kale and Ashley cross the yard to Kale's kite string boundary.

<b>                              ASHLEY
</b>                  Looks like this is as far as you go.

<b>                                KALE
</b>                  Looks like.

     They peer into each other's eyes.       Then --

<b>                              ASHLEY
</b>                  Y'know, I have to admit, you're
                  different than I expected.



                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    48.
</b>
<b>58   CONTINUED:                                                           58
</b>
<b>                              KALE
</b>                  What were you expecting?

<b>                              ASHLEY
</b>                  I thought you'd be more messed up.

<b>                              KALE
</b>                  Does that disappoint you? 'Cause I
                  can be more messed up if you want me
                  to.

<b>                              ASHLEY
</b>                  No, you're fine.

<b>                              KALE
</b>                  "Fine?"

<b>                              ASHLEY
</b>                  Yeah.

<b>                              KALE
</b>                  "Fine" like your first cousin "fine"
                  or "fine" in kind of a Brad Pitt
                  sorta way?

     Ashley smiles. They suddenly hear VOICES O.S.       Kale and
     Ashley glance over to Giles' house.

     THEIR POV - The woman is heading briskly to her car.     Giles
     is right behind her.

     Ashley grabs Kale's arm and pulls him behind a shrub on his
     side of the boundary.

     They peek back over to Giles'.

     THEIR POV - We're crouched low now, so we only hear the barely
     audible voices of Giles and the WOMAN. Talking SERIOUSLY
     about something --

<b>                              GILES
</b>                      (voice raising)
                  Just come back in the house, you
                  shouldn't drive --

<b>                              ASHLEY
</b>                  He wants her to come back in --

<b>                              KALE
</b>                  I can't hear --

<b>                              ASHLEY
</b>                  Let's get closer --



                                                (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                    49.
</b>
<b>58   CONTINUED:    (2)                                                    58
</b>
     Ashley suddenly darts from behind the shrub and bolts toward
     the fence --

<b>                              KALE
</b>                      (re: his bracelet)
                  I can't --

     But Ashley keeps going.

     WE FOLLOW BEHIND ASHLEY - She creeps over to the fence,
     presses up against it, peering through the cracks --

     ASHLEY'S POV - We see the dark silhouettes of Giles and the
     woman -- Ashley shifts her head, straining to listen --

<b>                              GILES
</b>                  You really should stay.

<b>                              WOMAN
</b>                  I just don't think it's a good idea --
                      (still searching;
                       more frustrated)
                  Where the hell are they?

     The woman suddenly drops her purse.       The CONTENTS spill onto
     the driveway.

     ASHLEY'S POV - Giles bends down, picks up her car keys.

<b>                              WOMAN (CONT'D)
</b>                  Here --

<b>                              GILES
</b>                  You're in no condition --

<b>                              WOMAN
</b>                  Give me my keys.

<b>                              GILES
</b>                  Sorry.

     ASHLEY'S POV - She sees Giles make a motion toward the fence.
     Suddenly, the woman's CAR KEYS WHACK the other side of the
     fence, then PLOP DOWN underneath it just a couple of feet
     from Ashley's position!

     ON ASHLEY - she startles, looks over, sees the keys.

     ASHLEY'S POV - She looks back toward Giles and the woman.
     Hears the woman start to LAUGH. Giles, not laughing,
     purposefully steps toward the woman, takes her arm.

<b>                              GILES (CONT'D)
</b>                  C'mon...


                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  50.
</b>
<b>58   CONTINUED:    (3)                                                  58
</b>
     ASHLEY'S POV - The woman relents.   Giles helps her back toward
     the house.

     WITH KALE - He's seeing it all.

<b>                              KALE
</b>                      (whispering)
                  Ashley, come on...

     WITH ASHLEY - she glances down, eyes the car keys sparkling
     in the moonlight. She scoots toward them as --

     WE CRANE UP TO REVEAL - Giles - heading back toward the fence!

     ON KALE - seeing this.

     Kale tries to get Ashley's attention, but she's not looking --

     CU - ASHLEY'S HAND - she reaches for the car keys --

     CLOSER - ASHLEY'S FINGERTIPS barely TOUCH them when --

     GILES' HAND - suddenly SWOOPS IN from O.S., BRUSHES ASHLEY'S
     FINGERS just before grabbing the keys and swiping them back
     to his side!

     Somehow Ashley keeps herself from screaming as she YANKS HER
     HAND BACK, PRESSES HERSELF AGAINST THE FENCE. She puts her
     hand over her mouth to silence her own breathing --

     KALE'S POV - Giles stands frozen in the shadows behind Ashley.

     WITH ASHLEY - She slowly turns her head, sees Giles through
     one of the cracks -- STANDING RIGHT THERE.

     Ashley starts to slowly SLIIIDE away... when suddenly -- a
     TWIG SNAPS under her foot! Ashley FREEZES. She peers back
     through the nearest crack.

     ASHLEY'S POV - searching for Giles -- doesn't see him --

     Ashley presses herself even harder against the fence as we...

     TILT UP AND PAN OVER TO REVEAL GILES - peering over the fence.
     We can only hope it's tall enough to keep him from looking
     down and seeing Ashley.

     WITH KALE - He's seeing it all.

     ON GILES - He raises up, standing on his tip toes to get a
     better look down. Shifting his head back and forth.

     WITH KALE - He ducks behind the shrub, contemplating his
     next move. He glances down, picks up a large pebble. He
     pops out and tosses it over into Giles' yard.

                                               (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                  51.
</b>
<b>58   CONTINUED:    (4)                                                  58
</b>
     We HEAR IT DROPPING through branches, SCATTERING to the ground
     as Kale ducks back behind the shrub, breathing hard. He
     then peers back out --

     HIS POV - Giles lowers back down, turns and heads back toward
     the house.

     Kale sighs in relief. Waves Ashley the "all clear." Ashley
     heads back over to Kale, breathless.

<b>                              ASHLEY
</b>                      (oddly exhilarated)
                  That was intense.

<b>                              KALE
</b>                  Are you nuts?!

     Ashley silences Kale with a finger to his lips. She then
     leans in, gives him a peck on the cheek and bolts away --
     Off Kale, utterly stupefied --

<b>59   INT. DAD'S OFFICE - NIGHT - MOMENTS LATER                          59
</b>
     Exhilarated, Kale SLAMS through the office door, binoculars
     in hand. He goes to his chair, sits, taking position...

     BINOCULAR POV - Ashley walks in, heads straight for the window
     and draws the blinds.

     Kale slumps.    Damn.

<b>                                                      TIME CUT TO:
</b>
<b>60   INT. DAD'S OFFICE - NIGHT - LATER                                  60
</b>
     ON ASHLEY'S WINDOW - shades still drawn. Lights are out
     now. The wind picks up outside as we PAN TO REVEAL Kale
     asleep in the leather chair.

     We suddenly hear GLASS SHATTER O.S.

     Kale's eyes POP OPEN. He looks around. Did he hear something
     or did he dream it -- he pulls himself out of the chair,
     makes his way to the door, slowly swings it open...

<b>61   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - NIGHT - CONTINUOUS         61
</b>
     Kale cautiously steps into the hall...

<b>                              KALE
</b>                  Mom?

     No answer.    He heads to...



                                                            D.J. Caruso
<b>
</b><b>                                                                  52.
</b>


<b>62   INT. KALE'S BEDROOM - NIGHT - CONTINUOUS                           62
</b>
     Kale enters, tosses the binoculars on the desk, throws a
     glance out the window to Giles' house. Dark. Kale turns to
     the bed, pulls back the sheets. As Kale unties his shoes,
     takes off his socks, we notice over his shoulder --

<b>     IN THE B.G. - A LIGHT COMES ON IN GILES' LIVING ROOM.
</b>
     ON KALE - not noticing as he strips down to his boxers --

<b>     IN THE B.G. - GILES' LIVING ROOM - THE WOMAN HEADS INTO THE
</b><b>     ROOM FOLLOWED CLOSELY BY GILES. SHE SPINS AND SLAPS HIM IN
</b><b>     THE FACE. SHE WALKS AWAY AS GILES STANDS THERE FROZEN.
</b>
     ON KALE - he throws his clothes in the closet, finally turns
     back and sees --

     KALE'S POV - Giles standing in the living room, glaring at
     the woman.

<b>                           KALE
</b>               Dammit.

     Kale darts to his desk, turns off the light, grabs the
     binoculars.

     BINOCULAR POV - Giles and the woman are arguing. The woman
     paces around the room as Giles stands there. The woman's
     arms flail about. As she paces back by Giles, he suddenly
<b>     GRABS HER ARMS.
</b>
<b>                           KALE (CONT'D)
</b>               Shit!

     Kale watches as the woman yanks herself from his grasp and
     knocks over the lamp. The BULB shatters on the floor,
     throwing the living room into total darkness.

     Kale drops the binoculars and grabs the DV CAM. He fumbles
     with it, flips open the LCD SCREEN. But as he presses the
     power button, the camera's LAMP suddenly IGNITES, MOMENTARILY
<b>     LIGHTING UP KALE'S ROOM!
</b>
     Kale spins and hits the floor.   He frantically finds the
     switch, turns off the lamp.

<b>                           KALE (CONT'D)
</b>               Dumbass dumbass --

     Kale stays on the floor, slouched under the window sill for
     a couple of beats. Then -- he slowly raises up, peers out.

     DV CAM POV - Giles, now alone, has turned on another light
     and is simultaneously picking up pieces of shattered light

                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    53.
</b>
<b>62   CONTINUED:                                                           62
</b>
     bulb and wiping some RED LIQUID OFF THE FLOOR...    Could be
     wine... or blood even...

     Giles wads the towel up, picks up one of the woman's HIGH
     HEELS lying near the couch. Giles then moves to the stereo,
     turns it off, leans down, picks up the woman's OTHER SHOE.
     He flips off the lights, heads out of the room.

     Kale trades the grainy DV CAM for the binoculars.

     BINOCULAR POV - Kale PANS ACROSS the lower floor windows of
     Giles' house that's now become eerily still. He TILTS UP to
     the second floor, SLOWLY PANS ACROSS those windows -- Again,
     nothing.

<b>                              KALE (CONT'D)
</b>                  Okay, so where is she --

     BINOCULAR POV - Over the above, Kale SLOWLY PANS BACK ACROSS
     THE SAME WINDOWS, comes to the last one and see GILES STARING
<b>     RIGHT BACK AT HIM.
</b>
     Kale spins and dives to the floor, knocking the other camera
     and tri-pod over.

<b>                              KALE (CONT'D)
</b>                  Oh shit oh shit...

     Kale shoves himself against the wall, frozen in terror. He
     doesn't dare get up. He spots his CELL PHONE -- on the floor
     a few feet away. He extends his leg out, uses his foot to
     slowly SLIIIDE the phone toward him.

     KALE'S TREMBLING HAND reaches for the phone, picks it up --

     Kale's about to flip it open when the PHONE'S LCD SCREEN
<b>     SUDDENLY LIGHTS UP, BLARING MADONNA'S "LIKE A VIRGIN."
</b>
     Kale startles, fumbles the phone -- realizes it's Ronnie,
     flips the phone open --

<b>                              KALE (CONT'D)
</b>                      (into phone as needed)
                  Ronnie --

<b>                              RONNIE (V.O.)
</b>                      (phone filter as needed)
                  Dude, Ashley is ho-ho-hotttt --

<b>                              KALE
</b>                  Giles totally busted me.

<b>                              RONNIE (V.O.)
</b>                  What do you mean, are you sure?


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 54.
</b>
<b>62   CONTINUED:    (2)                                                 62
</b>
     Kale finally musters the courage to peek over the sill --

     KALE'S POV - Gile's BACK DOOR is OPEN.

<b>                              KALE
</b>                  They were arguing --

<b>                              RONNIE (V.O.)
</b>                  Who?

<b>                              KALE
</b>                  Giles and the girl he brought home.
                  They had an argument, he grabbed her --

<b>                              RONNIE (V.O.)
</b>                  And then what?

<b>                              KALE
</b>                  And then -- nothing.

<b>                              RONNIE (V.O.)
</b>                  Uh-huh.

<b>                              KALE
</b>                  Dude, something is going on over
                  there. What if he killed her, too?

<b>                               RONNIE (V.O.)
</b>                  Then call your friends at the police
                  department.

     A DOOR suddenly SLAMS O.S.

<b>                              KALE
</b>                  Wait --

<b>                              RONNIE (V.O.)
</b>                  What?

<b>                              KALE
</b>                  A door just slammed.

<b>                              RONNIE (V.O.)
</b>                      (in his best sinister
                       "Scream" voice)
                  That's right, Kale, and now I'm coming
                  up to slash your guts out, you little
                  bastard!

<b>                              KALE
</b>                  Asshole, I'm serious.

<b>                              RONNIE (V.O.)
</b>                  I'm not and I'm hanging up.


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   55.
</b>
<b>62   CONTINUED:    (3)                                                   62
</b>
<b>                              KALE
</b>                  Just -- wait -- wait till I check
                  the hall --

     This as Kale grabs his bat, slowly approaches his door.
     Ronnie yawns, starts snoring. Kale's hand is about to grab
     the knob --

<b>                                  RONNIE (V.O.)
</b><b>                  BOO!
</b>
<b>                              KALE
</b>                  Goddamn you!!

     Kale flips the phone closed, throws it to the bed. He turns
     back to the door just as IT SUDDENLY PUSHES OPEN, SMACKING
     KALE IN THE FOREHEAD! Kale STUMBLES BACK, screams, raises
     the bat.

<b>                              JULIE
</b>                  Kale, Kale, it's me!!

     Kale doesn't immediately drop the bat as he focuses on Julie,
     dressed in her serving uniform, barely visible in the
     darkness. She flips the light on.

<b>                                  KALE
</b>                  No, don't!

<b>                              JULIE
</b>                  What's going on, who were you talking
                  to?!

<b>                              KALE
</b>                  Ronnie -- just Ronnie.

     Kale falls back to the bed.

<b>                              KALE (CONT'D)
</b>                  I heard the door --

<b>                              JULIE
</b>                  I'm sorry, the wind caught it --

<b>                                  KALE
</b>                  Fine.   Good.     Okay --

<b>                              JULIE
</b>                  Okay then, so...
                      (catching her breath;
                       then)
                  You want anything from the grocery?
                  I'm going in the morning.



                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  56.
</b>
<b>62   CONTINUED:    (4)                                                  62
</b>
<b>                              KALE
</b>                  Anything caffeinated.

     Kale turns back on his side. Julie eyes him a long beat.
     What to say... she flips off the light, then -- pulls the
     door closed.

     ON KALE - eyes wide open, heart racing.    He's gonna need
     that caffeine in the morning.

<b>63   INT. KALE'S BEDROOM - THE NEXT MORNING                             63
</b>
     A groggy Kale tugs on the blind, cautiously raises it --

     KALE'S POV - GILES' DRIVEWAY - The silver Toyota's gone.
     The woman's car is still there.

<b>64   INT. ENTRY HALL - LATE THE NEXT MORNING                            64
</b>
     Kale saunters down the stairs....

<b>65   INT. KITCHEN - DAY - CONTINUOUS                                    65
</b>
     Kale enters, notices a few full grocery bags on the counter
     and the coffee maker brewing. He opens the fridge, sees a
     new Mountain Dew twelve-pack. He cracks open the carton,
     pulls out a can, closes the fridge door revealing

<b>     GILES - IN THE FLESH, IN KALE'S KITCHEN.
</b>
     Kale JUMPS, drops the can.    It rolls to Giles' feet.

<b>                              GILES
</b>                      (picking up the can)
                  Whoa, whoa, settle down, slow down.
                  Robert Giles, your neighbor --
                      (gesturing outside)
                  Behind you?

     Kale glares, breathing hard. Giles taps on the top of the
     dented soda can, hands it to Kale. Kale doesn't take it.
     Note: Giles' shirt should have BURNT ORANGE somewhere in it,
     either in the pattern, stripes, etc...

<b>                              KALE
</b>                  I know, how did you --

     Giles puts the soda on the counter as Julie comes through
     the kitchen door carrying groceries.

<b>                              GILES
</b>                      (to Julie)
                  Think I startled him.



                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 57.
</b>
<b>65   CONTINUED:                                                        65
</b>
<b>                               JULIE
</b>                      (laughs)
                  Oh. Kale, I ran into Mr. Giles at --

<b>                                GILES
</b>                  Robert...

<b>                               JULIE
</b>                      (smiles)
                  ...At the grocery. I had a flat
                  tire when I came out. We tried to
                  change it, but --

<b>                              KALE
</b>                  Dad put those security bolts on --

<b>                              JULIE
</b>                  And that adapter thingy that unscrews
                  it ended up stripping it instead --

<b>                                GILES
</b>                  My fault.

<b>                              JULIE
</b>                  No, it wasn't. You saved my life.
                      (then to Kale)
                  We had it towed to Frank's.

<b>                              KALE
</b>                      (with attitude)
                  Gee, really lucky you were there.

<b>                              GILES
</b>                  Just glad I could help.
                      (then; favors Julie)
                  Must be a little difficult when the
                  man of the house is stuck in the
                  house.

     Kale reacts to that. There's an awkward silence as Kale's
     eyes instinctively glance down to the ankle bracelet.

<b>                              JULIE
</b>                  Oh... no, it's okay, we're managing.

     Giles steps closer to Kale, bends down to get a closer look
     at the ankle bracelet.

<b>                              GILES
</b>                  I've always been curious about those
                  things, do you mind?

<b>                                KALE
</b>                  Yeah, I do.


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     58.
</b>
<b>65   CONTINUED:    (2)                                                     65
</b>
<b>                              JULIE
</b>                  Oh c'mon, Kale.
                      (to Giles)
                  I'm sorry.

<b>                               GILES
</b>                  No, no.   It's none of my business.

<b>                              KALE
</b>                  That's right.

<b>                              GILES
</b>                  Whoa, hey, dude... you seem like a
                  straight hitter. You ask me, whoever
                  they are deserved it.

     Kale reacts, surprised at how genuine that sounded.

<b>                               JULIE
</b>                      (stepping in)
                  Okay... I don't think that's the
                  case, and --

<b>                              KALE
</b>                  I think I'd like to hear his opinion.

<b>                               GILES
</b>                  And I think I opened my big mouth
                  again. You're absolutely right.
                      (then; heading for
                       the door)
                  I should go.

<b>                              JULIE
</b>                  Wait, what about your coffee?

<b>                              KALE
</b>                  I popped my Spanish teacher.

     Awkward beat.    Giles turns back to Julie:

<b>                              GILES
</b>                  In that case, cafe con leche, por
                  favor?

<b>                              JULIE
</b>                      (searching bags)
                  Shoot, milk's... still in the car.

     Julie heads out the door.       Giles turns to Kale.   An awkward,
     silent beat. Then --

<b>                              KALE
</b>                  I like your shirt, by the way.    I
                  mean, the color.

                                                   (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                  59.
</b>
<b>65   CONTINUED:    (3)                                                  65
</b>
<b>                               GILES
</b>                  Which one?

<b>                              KALE
</b>                  Oh, the... that dark orange.   Always
                  reminds me of Texas.

<b>                               GILES
</b>                  Yeah?   You a Longhorns fan, too?

<b>                              KALE
</b>                  Sure, absolutely. Even though I've
                  never stepped foot in Texas --

<b>                              GILES
</b>                  Me neither. Had a lot of friends
                  who went there. I stayed in Minnesota
                  till I moved here.

<b>                               KALE
</b>                  Huh.

<b>                              GILES
</b>                  So when you say you "popped" your
                  teacher --

<b>                              KALE
</b>                  Just a black eye.

<b>                              GILES
</b>                  Phew, just making sure I wasn't living
                  next to some psycho killer. Listen,
                  I get it though. I had plenty of
                  teachers I wanted to just... kill.

     Giles quickly adjusts his tone as Julie comes back with a
     last bag of groceries:

<b>                              GILES (CONT'D)
</b>                  But no matter how hard it is to hold
                  back, the high road's always the
                  better choice.

     As Giles says this, he casually sits at the kitchen table.
     Kale eyes him, about to turn and leave, but:

<b>                              JULIE
</b>                  Kale, could you grab the sugar?
                      (to Giles)
                  Sugar?

<b>                              GILES
</b>                      (favors Kale)
                  Why not.


                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    60.
</b>
<b>65   CONTINUED:    (4)                                                    65
</b>
     Kale quickly grabs the jar of sugar from the counter and
     even thinks to grab a spoon from the drawer. He delivers it
     to Giles as Julie brings the coffee, sits at the table.

<b>                                 GILES (CONT'D)
</b>                  Thanks, man.

     Kale turns to leave again.

<b>                              GILES (CONT'D)
</b>                  Oh, hey, Kale...
                      (as Kale turns back)
                  Nice to finally meet you.

     Off Kale --

<b>                               ASHLEY (V.O.)
</b>                      (prelap)
                  Oooh. That's creepy.

<b>66   INT. KALE'S BEDROOM - DAY - LATER                                    66
</b>
     Ashley sits on the bed. She looks damned good, too.        Dolled
     up, lipstick. She's just heard the story from Kale.

<b>                              KALE
</b>                  I know, he's a total freak, right?

<b>                              ASHLEY
</b>                  And very vague... did he genuinely
                  mean it was nice meeting you or was
                  he sending you a "sinister message?"

<b>                              KALE
</b>                  Are you messing with me?

<b>                              ASHLEY
</b>                  Maybe a little. Did you even notice
                  my hair?

<b>                              KALE
</b>                  So you think it's all a coincidence.
                  We've got the car --

<b>                              ASHLEY
</b>                  With the non dent dent --

<b>                              KALE
</b>                  The bumper sticker, the argument,
                  the staring contest -- And now he's
                  showing up in my kitchen --

<b>                              ASHLEY
</b>                  Why, because he slashed your mom's
                  tire?

                                                  (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                 61.
</b>
<b>66   CONTINUED:                                                        66
</b>
<b>                                KALE
</b>                  Maybe.

     Ashley rolls her eyes.

<b>                              KALE (CONT'D)
</b>                      (pointing out window)
                  Her car hasn't moved.

<b>                              ASHLEY
</b>                  It's called "the day after," Kale.
                  Nobody moves after a night like that.

<b>                              KALE
</b>                  Well what if she's really "not
                  moving?" What if she's tied in the
                  dungeon with the other girl, starving
                  to death --

<b>                              ASHLEY
</b>                      (getting up)
                  Then come up with a rescue plan and
                  get back to me.

<b>                              KALE
</b>                  You're leaving?

<b>                                ASHLEY
</b>                  Have to.    Party.

<b>                                KALE
</b>                  Whose?

<b>                                ASHLEY
</b>                  Uh, mine?

<b>                              KALE
</b>                  How is that possible?

<b>                                ASHLEY
</b>                  Excuse me?

<b>                              KALE
</b>                  Well, I mean... Sorry, I just didn't
                  think you knew anybody --

<b>                              ASHLEY
</b>                  I don't, I didn't --
                      (off Kale's confusion)
                  I met this girl earlier, Minnie Tyco?

<b>                              KALE
</b>                  Oh my god, "Skinny Psycho?!" I sat
                  next to that bitch in Spanish --


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   62.
</b>
<b>66   CONTINUED:    (2)                                                   66
</b>
<b>                              ASHLEY
</b>                      (skipping that one)
                  I told her my parents were outta
                  town --

<b>                              KALE
</b>                  And now the whole neighborhood's
                  coming.

<b>                              ASHLEY
</b>                  Look, I'm stuck here. So I figured
                  I can either shut myself in and keep
                  hating it or... try to make the most
                  of it.

<b>                              KALE
</b>                  Hey, I get it. You don't have to
                  explain.

<b>                              ASHLEY
</b>                  Kale, you're welcome to come, but --

     Kale looks at Ashley, realizes what she's referring to as he
     glances down to the ankle bracelet.

<b>                              KALE
</b>                      (with attitude)
                  Well, I appreciate the thought.
                  Really.

<b>                              ASHLEY
</b>                      (returning the tude)
                  Glad to hear it.

     Ashley turns to leave.

<b>                              KALE
</b>                  It's funny, though.

<b>                              ASHLEY
</b>                      (turning back)
                  What?

<b>                              KALE
</b>                  I didn't peg you as a conformist.

     Ashley glares, furious. She picks up the DV cam and
     binoculars, approaches Kale, hands them over with:

<b>                              ASHLEY
</b>                  Try to keep these in your drawers
                  tonight, will ya?

     Ashley leaves.      A sullen Kale stares after her --


                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    63.
</b>
<b>66   CONTINUED:    (3)                                                    66
</b>
     PRELAP - CROWD WALLA and THWUMPING MUSIC.

<b>67   INT. DAD'S OFFICE - EARLY EVENING                                    67
</b>
     Kale sits in the darkness at dad's desk. He's on the phone,
     pressing his other finger to his ear, trying to drown out
     the NOISE emanating from Ashley's party next door.

     Kale, on phone, gets Ronnie's VOICE MAIL.

<b>                              RONNIE
</b>                      (phone filter)
                  This is Ronnie, leave a message.

     Kale slams the phone down, sits there a beat.     JUMP CUT:

     - The white pages THWUMP onto the desk.     JUMP CUT:

     - Kale on the phone:

<b>                              KALE
</b>                      (into phone)
                  Yeah, I'm calling about the Jeep
                  Cherokee that was brought in with
                  the flat and the stripped lug --
                  it's ready? Listen, did they have
                  to replace the whole tire -- they
                  patched it? Is there any way to
                  tell if it was slashed or -- But a
                  nail usually acts like its own plug
                  for awhile, doesn't it? I mean it's
                  a really slow leak, it can't flatten
                  a tire in twenty minutes.
                      (beat as Kale listens)
                  -- Yeah, I guess anything's possible.

     A ROAR of LAUGHTER O.S. makes Kale jump from his chair.       He
     grabs the binoculars, heads to the window.

     BINOCULAR POV - Kale scans the crowd until he finds Ashley,
     talking with a group of PARTYGOERS. She pretends to listen
     to one of the guy's stories as she furtively glances toward
     Kale's window. But it's quick. We can't be a hundred percent
     sure if it was on purpose.

<b>                              KALE (CONT'D)
</b>                  Wait, what was that? You think I'm
                  watching? Well, I'm not... Nope, I
                  am minding my own business...

     BINOCULAR POV - Ashley excuses herself from the group and
     approaches the drink and food table where MINNIE TYCO (a.k.a.
     "Skinny Psycho") is standing, nitpicking over her snack
     choices. Ashley hugs her then taps the cute GUY next to her
     on the shoulder. The guy turns around.

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   64.
</b>
<b>67   CONTINUED:                                                          67
</b>
     Ashley mouths "Oh my God" like he's some long lost lover.
     Ashley hugs the surprised guy who wastes no time in hugging
     her back.

<b>                              KALE (CONT'D)
</b>                  You think I'm buying that?

     Kale keeps watching.

<b>                              KALE (CONT'D)
</b>                  I'm not biting --

     BINOCULAR POV - Ashley glances up in Kale's direction again --
     it's more obvious this time as she keeps HUGGING THE GUY.

<b>                               KALE (CONT'D)
</b>                  That's it.

     Kale tosses the binoculars, heads out.

<b>68   EXT. 2ND FL PORCH - EVENING - SHORT TIME LATER                      68
</b>
     Kale SLAMS a ladder up against the roof.

<b>69   EXT. ROOF - EVENING - SECONDS LATER                                 69
</b>
     Kale SLAMS a speaker down on the edge of the roof facing
     Ashley's. Makes sure the speaker wires are securely clamped
     in place, then unwinds the roll of wire back across the roof
     toward the ladder... JUMP CUT:

<b>70   INT. 2ND FL PORCH - EVENING - SECONDS LATER                         70
</b>
     Kale runs the wire down the hall...

<b>71   INT. DAD'S OFFICE - EVENING - MOMENTS LATER                         71
</b>
<b>     SERIES OF QUICK SHOTS:
</b>
     CU - Kale's hand flips on dad's bookshelf amplifier, CRANKS
<b>     THE VOLUME CONTROL KNOB.
</b>
     CU - Kale's I-POD LCD SCREEN lights up.    His thumb hovers
     over the PLAY button.

     BINOCULAR POV - Ashley's party comes into focus.

     Kale presses play. The speaker EXPLODES with the ROAR OF
     BARRY MANILOW (or AIR SUPPLY).

     BINOCULAR POV - Ashley's party comes to a grinding halt.

     Kale PANS AROUND, picks up Ashley again. Glaring. Fire in
     her eyes as she storms O.S. Kale smiles with perverse


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  65.
</b>
<b>71   CONTINUED:                                                         71
</b>
     satisfaction as he tilts his head, anticipating the doorbell
     to ring. Another beat, then -- DING DONG.

<b>72   INT. ENTRY HALL - EVENING - SECONDS LATER                          72
</b>
     Kale descends the stairs, maintaining his wicked grin. He
     opens the door for Ashley, but instead -- gets PELTED WITH A
<b>     BARRAGE OF WATER BALLOONS.
</b>
     Kale stands there, frozen as the two BRATS jump from the
     bushes, AD LIB MOCKING Kale as they laugh and race away into
     the shadows. Kale's about to pursue when the sound of a
     DOOR OPENING O.S. stops him cold. He spins around to see

<b>     ASHLEY
</b>
     storming in from the kitchen and marching up the stairs!

<b>                              KALE
</b>                  Hey!

     Kale races back to the stairs.    Ashley increases her speed...

<b>73   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS       73
</b>
     Ashley storms down the hall, sees the speaker wires running
     into dad's office...

<b>74   INT. DAD'S OFFICE - EVENING - CONTINUOUS                           74
</b>
     Ashley SLAMS through the door, spots Kale's I-pod, rips it
     out of its dock. The music stops. She spins around, runs
     smack into Kale who SWIPES the I-pod out of her hand and
     SLAMS it back in the dock. The music BLARES. Ashley moves
     in, but Kale blocks her path. She tries to get around him.
     He stands in her way.

<b>                               ASHLEY
</b>                      (peering out the window
                       as if shocked by
                       something)
                  Oh my God --

     Kale falls for it. He looks. Ashley shoves him out of the
     way, grabs the I-pod. Kale chases her out into...

<b>75   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS       75
</b>
     Ashley bolts into...

<b>76   INT. KALE'S BEDROOM - EVENING - CONTINUOUS                         76
</b>
     Where she holds the I-pod out the window, stopping Kale in
     his tracks.


                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  66.
</b>
<b>76   CONTINUED:                                                         76
</b>
<b>                              ASHLEY
</b>                  Back off or I'll throw it where you
                  can't follow.

<b>                              KALE
</b>                  Take it easy, that's sixty gigs of
                  my life.

<b>                                 ASHLEY
</b>                  Even better.

<b>                              KALE
</b>                  Okay -- okay --

<b>                              ASHLEY
</b>                  What are you doing?

<b>                              KALE
</b>                  What are you doing?

<b>                              ASHLEY
</b>                  I'm trying to enjoy my party. Wait,
                  that's wrong. According to you,
                  I'm trying to conform --

<b>                              KALE
</b>                  Coulda fooled me.

<b>                              ASHLEY
</b>                  What does that mean?

<b>                                 KALE
</b>                  Forget --

<b>                              ASHLEY
</b>                  No, I'm not gonna forget it.

<b>                              KALE
</b>                  You wanna blend in with that crowd,
                  fine, then stop looking up and trying
                  to get a rise outta me.

<b>                              ASHLEY
</b>                      (realizing)
                  So you were watching me. Question
                  is for how long? Just tonight?    Or
                  maybe a week? Two weeks? Since I
                  moved in?

     Kale tries to respond, but Ashley keeps pressing:

<b>                              ASHLEY (CONT'D)
</b>                  And the whole "my-neighbor's-the-
                  killer" thing. Great cover --


                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   67.
</b>
<b>76   CONTINUED:    (2)                                                   76
</b>
<b>                              KALE
</b>                  It's not a cover --

     Over the above Ashley glances around

<b>                              ASHLEY
</b>                  So what is it, Kale?   Huh?   What
                  else have you seen?

<b>                              KALE
</b>                  What else have I seen?

<b>                               ASHLEY
</b>                  Yeah.   What else?

<b>                              KALE
</b>                  Okay -- I've seen how you always
                  pull your kleenex from the box in
                  groups of three. Not two, not four,
                  always three. I've seen you're the
                  only one in the world who eats pizza-
                  flavored Pringles. And you never
                  stuff the chips in, you savor each
                  one by dividing it into four precise
                  bites. I didn't know that was even
                  possible. You're also the first
                  girl I've ever seen who spends more
                  time on her roof than in her own
                  house. And what do you do out there?
                  You don't talk on the phone, you
                  don't paint your nails, you read
                  books. Now one would think with the
                  whole numbers thing you've got going
                  on that you'd put them on your shelf
                  alphabetically, but you don't. Your
                  system's much more perfect. The
                  ones you like go on the bottom, the
                  ones you love go in the middle, and
                  the ones you need, the ones you keep
                  going back to... well they go straight
                  to the top next to the dream
                  encyclopedia. You know what all
                  this tells me? You know how things
                  should be. The world according to
                  Ashley. And guess what? It's a
                  very entertaining and beautiful
                  thing. Even when it takes a hit.
                  When you end up in a place like
                  this... when your parents dump their
                  baggage on you, or just... when it
                  seems like those curveballs are never
                  gonna stop -- It sucks, but just so
                  you know -- I get it.
<b>                              (MORE)
</b>

                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     68.
</b>
<b>76   CONTINUED:    (3)                                                     76
</b>
<b>                              KALE (CONT'D)
</b>                  But I've also seen those designer
                  window shades of yours, and guess
                  what? They always go up the next
                  day -- no matter what. And even if
                  no one else has, I've noticed that.
                  And I ain't sorry. The only thing
                  I'll even consider apologizing for
                  is... not dropping the binoculars
                  and telling you this a lot sooner.

     A long beat as Ashley peers into Kale's eyes.      She slowly
     steps closer to him:

<b>                              ASHLEY
</b>                  That was either the creepiest... or
                  the sweetest thing I've ever heard.

     Kale leans in and kisses her. They pull away, lock eyes.
     Then -- Ashley pulls Kale by his soaking wet t-shirt, kisses
     him back even harder. Heavy make-out. Then -- they stumble
     back toward the bed out of frame as we hold on Kale's window --
     and Giles' house beyond...

<b>77   INT. DAD'S OFFICE - NIGHT                                             77
</b>
     OUR POV - peering down into Ashley's back yard. There's a
     couple of guys passed out on rafts floating in the pool. WE
     SLOWLY PAN to reveal --

     KALE - looking tired, his eyes glazed, sitting at dad's
     computer surfing a website: "BRUTAL KILLINGS IN AUSTIN."

     ON THE SCREEN - As Kale clicks pages, we see FLASHES of CRIME
     SCENE PHOTOS from the three murders -- the bodies of the
     three redheads -- BLOODIED, BRUISED...

     ON KALE - he doesn't blink as he clicks on ONE PHOTO after
     the OTHER. We see a FLASHES of the victims' eyes -- WIDE
<b>     OPEN, LIFELESS...
</b>
     We suddenly hear laughter O.S. Kale SNAPS TO. He runs a
     hand through his hair, gets up, moves to the window.

     HIS POV - ASHLEY'S POOL - a couple of girls GIGGLE as they
     stand at the edge of the pool pouring beer onto the passed-
     out guys' chests.

<b>78   INT. KALE'S BEDROOM - NIGHT - MOMENTS LATER                           78
</b>
     Kale quietly enters and shuts the door. He's hiding something
     behind his back as he sits on the bed next to a sleeping
     Ashley. She stirs, opens her eyes, peers up at him, smiles.



                                                (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                     69.
</b>
<b>78   CONTINUED:                                                            78
</b>
<b>                              KALE
</b>                  Hey.

<b>                              ASHLEY
</b>                  Hey... where have you been?

     Kale holds up a folded piece of paper, hands it to Ashley.
     She curiously eyes Kale, then takes it, opens it to reveal a
     printed-out picture of a long-stem red rose. Ashley smiles.

<b>                               KALE
</b>                  If would have gone to the flower
                  shop, but --

<b>                              ASHLEY
</b>                  I know.

     Ashley pulls Kale in for a kiss. She pulls away, falls back
     to the bed. Her eyes glance down at Kale's ankle bracelet.

<b>                              ASHLEY (CONT'D)
</b>                  So how much longer?

<b>                              KALE
</b>                  Oh, two months, twelve days, nineteen
                  hours give or take.

     A beat as the two peer into each other's eyes.       Then:

<b>                              KALE (CONT'D)
</b>                  You know the other night... when you
                  said you thought I'd be more messed
                  up...

<b>                              ASHLEY
</b>                  ...For a guy who killed his teacher.

<b>                              KALE
</b>                  I didn't kill my --

<b>                              ASHLEY
</b>                  Shhh.
                      (kisses him again)
                  I know. -- I know.

     We get the impression she knows a lot. Kale leans in for
     another kiss. But this time, as they lock lips, Ashley's
     eyes shoot open.

     HER POV - the first hints of daylight out the window.

<b>                              ASHLEY (CONT'D)
</b>                  Oh my God, what time is it?



                                                (CONTINUED)       D.J. Caruso
<b>
</b><b>                                                                      70.
</b>
<b>78   CONTINUED:    (2)                                                      78
</b>
<b>                              KALE
</b>                  Three-thirty.

<b>                              ASHLEY
</b>                  I've gotta go.

     Ashley scrambles out of bed for her clothes, getting dressed,
     searching for her shirt. Kale spots it behind the bed. As
     he gets up to retrieve it, he hears a NOISE O.S. Kale peers
     out the window --

     HIS POV - Giles is dragging a HEAVY BLUE PLASTIC BAG down
     the stairs leading to the garage.

<b>                              KALE
</b>                  You better see this.

     Ashley throws on her shoes, joins Kale at the window.

     THEIR POV - Giles pulls the bag into the garage next to what
     we presume is the Mustang that's now been covered with a
     TARP. (Note: The woman's car is still in the driveway.)

     Kale grabs the binoculars.

     BINOCULAR POV - We catch a glimpse of a few CRIMSON RED SMEARS
     on the blue bag as Giles heaves it behind the Mustang.

<b>                              KALE (CONT'D)
</b>                  Look, quick --

<b>                              ASHLEY
</b>                  What?

     Kale gives her the binoculars.      Ashley looks over.

<b>                              ASHLEY (CONT'D)
</b>                      (sarcastic)
                  That's normal.

     Giles' GARAGE DOOR CLOSES.

<b>                              KALE
</b>                      (re: woman's car)
                  Her car... still hasn't moved...

     Ashley pauses, peers out the window again.      She can't help
     but be a little concerned. Then --

<b>                              ASHLEY
</b>                  So what do you wanna do?

     Off Kale --



                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  71.
</b>
<b>78   CONTINUED:    (3)                                                  78
</b>
<b>                               RONNIE
</b>                      (prelap)
                  You want me to do what?

<b>79   INT. KALE'S BEDROOM - DAY - LATER                                  79
</b>
     ON KALE - holding up a UNIVERSAL GARAGE DOOR REMOTE still in
     the package.

     Ashley and Ronnie are on the bed. Note: Kale is wearing the
     same clothes he was yesterday, the stubble coming back.
     Hair more disheveled, eyes a little puffier...

<b>                              KALE
</b>                  Phase one, steal his code from his
                  opener.

<b>                              RONNIE
</b>                  There's more than one phase?

<b>                              KALE
</b>                  There's only two. Now look, his
                  remote's in the glove compartment of
                  his Toyota. All you have to do is
                  pop it open and read me the switch
                  settings. "On" or "off."

<b>                              RONNIE
</b>                  For the later purpose of doing what?
                  Breaking in to his house?

<b>                              KALE
</b>                  No, not breaking in. We're just
                  talking about having access to his
                  garage so we can go in on our own
                  time - when he's not there - to
                  just... to get a closer look at the
                  car, the bag --

<b>                              RONNIE
</b>                      (to Ashley)
                  All this sounds reasonable to you?

<b>                              ASHLEY
</b>                  I don't know about that, but --

<b>                              KALE
</b>                      (re: universal remote)
                  This is good up to thirteen digits --

<b>                              RONNIE
</b>                      (realizing)
                  How long have you been planning this?

     Ronnie eyes Kale with concern.    Kale doesn't answer.

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  72.
</b>
<b>79   CONTINUED:                                                         79
</b>
     GILES suddenly FIRES UP HIS LAWNMOWER O.S.

     KALE'S POV - Giles pushes the mower around the side of the
     house to the front yard.

<b>                              KALE
</b>                  Look, if we're gonna do this, it's
                  gotta be now. He takes twenty-one
                  minutes average to mow his front
                  yard... you'll be hearing him the
                  whole time...

     Ashley grabs the remote.

<b>                                ASHLEY
</b>                  I'll do it.

<b>                                RONNIE
</b>                  No.
                      (beat; then grabbing
                       the remote)
                  It isn't safe.
                      (getting up; macho)
                  Let's do it.

<b>80   INT. KALE'S BEDROOM - DAY - LATER                                  80
</b>
     CU - KALE'S CELL PHONE - "LIKE A VIRGIN" suddenly blares.

     WIDER - Kale flips his cell open, holds it in one hand, binocs
     in the other.

<b>                               KALE
</b>                      (into headset as needed)
                  Yo, you set?

<b>                              RONNIE (V.O.)
</b>                      (phone filter as
                       needed; suddenly
                       sounding not so macho)
                  I can't believe I'm doing this.

<b>                              KALE
</b>                  Let me conference Ashley in.
                      (punches buttons;
                       then)
                  Ashley, you there?

<b>                                ASHLEY (V.O.)
</b>                  Ten-four.

<b>                                KALE
</b>                  Nice.



                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                       73.
</b>
<b>80   CONTINUED:                                                              80
</b>
     Kale presses "RECORD" on the tri-pod-mounted DV CAM. He
     peers back out the window. We hear Giles' lawnmower O.S.
     Both sides of his house are clear.

<b>                              KALE (CONT'D)
</b>                  Okay, Ron -- Green light.

     KALE'S POV - OUT HIS WINDOW - RONNIE - suddenly appears from
     the bottom of frame, keeping low as he darts to the fence.
     Ronnie turns, peers back up to Kale, gives him the thumbs up
     or down.

<b>                              KALE (CONT'D)
</b>                  You're all good.

     BINOCULAR POV - Ronnie draws a breath, then very ungracefully
     hops the fence and falls into Giles' yard out of sight.

<b>                                 RONNIE (V.O.)
</b>                  Oww, shit --

<b>                                 KALE
</b>                  You okay --

<b>                              RONNIE (V.O.)
</b>                  What do you think?

     BINOCULAR POV - Ronnie scrambles to his feet from behind the
     fence, darts to the driver's side door of Giles' Toyota.

<b>                              KALE
</b>                  Dude, glove compartment, other side.

<b>                              RONNIE (V.O.)
</b>                  Excuse me if I'm used to my mom's
                  import. Can I just try this one
                  while I'm here?

     BINOCULAR POV - Ronnie lifts up on the latch.        Locked.

<b>                                 RONNIE (V.O.) (CONT'D)
</b>                  Shit.

     Ronnie tries the back door.        Locked.

<b>                              RONNIE (CONT'D)
</b>                      (in Korean)
                  Shit.

     BINOCULAR POV - Kale PANS ACROSS to the other side of Giles'
     house. Nothing. He PANS BACK to Ronnie.

     OUR POV - Over Kale's shoulder, we see Kale is clearly aiming
     his binocs at Ronnie.


                                                   (CONTINUED)      D.J. Caruso
<b>
</b><b>                                                                  74.
</b>
<b>80   CONTINUED:    (2)                                                  80
</b>
     But we also see ON THE FAR SIDE OF FRAME GILES' NEIGHBOR
<b>     PULLS HER LAWNMOWER OUT OF HER GARAGE AND ROLLS IT O.S --
</b>     But Kale isn't seeing this!

<b>                              RONNIE (V.O.) (CONT'D)
</b>                  They're all gonna be locked --

<b>                              KALE
</b>                  Well, while you're there, will you
                  just check?

     Ronnie goes around the back of the Toyota to the other side.
     He lifts up on the passenger door latch. Bingo.

<b>                                 RONNIE (V.O.)
</b>                  I'm in.

<b>                              KALE
</b>                  You see the package?

     We see and hear Ronnie, his ass to us, rummaging around the
     inside of Giles' car.

<b>                                 RONNIE (V.O.)
</b>                  Oh my God --

<b>                              ASHLEY (V.O.)
</b>                  What's wrong?

<b>                              RONNIE (V.O.)
</b>                  There's like a month-old order of
                  Nachos Bell Grande under the seat.
                      (then)
                  Okay, I found it.

     Kale grabs the pencil and notebook.

<b>                              KALE
</b>                  Whenever you're ready.

<b>                              RONNIE (V.O.)
</b>                  Looks like "on, on, on, off, off,
                  on..." No wait, that one was "off."

<b>                              KALE
</b>                  Just start over.

<b>                              RONNIE (V.O.)
</b>                  "On, on, on, off, off, off, on -- "

     Ronnie pauses. Kale glances up. Just happens to shift his
     gaze to the side of Giles' house to see --

     KALE'S POV - GILES IS WALKING BACK AROUND with no lawnmower!
     But for some reason we still HEAR A LAWNMOWER.

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   75.
</b>
<b>80   CONTINUED:    (3)                                                   80
</b>
<b>                               KALE
</b>                  No, no --

     Kale grabs the binoculars.

<b>                              RONNIE (V.O.)
</b>                  I'll get it right this time.

<b>                              KALE
</b>                  Ronnie, he's coming around.

<b>                              RONNIE (V.O.)
</b>                  Dude, stop dicking with me, I still
                  hear his --

     BINOCULAR POV - Kale WHIP PANS to Giles' neighbor, JUDY THORP -
<b>     CUTTING HER GRASS, TOO.
</b>
<b>                              KALE
</b>                      (trying to remain
                       calm and succinct)
                  Ronnie, I am not dicking with you.
                  The neighbor is also mowing her lawn
                  and he's going to see you --

<b>                              RONNIE (V.O.)
</b>                      (full-on panic)
                  Kale, what do I do?! Where --

<b>                              KALE
</b><b>                  GET IN THE CAR!!
</b>
     KALE'S POV - Ronnie dives in the car just as Giles rounds
     the corner of the house.

<b>                              KALE (CONT'D)
</b>                  Put the remote back --

<b>                              RONNIE (V.O.)
</b>                  I did, I did --

<b>                              KALE
</b>                  Easy on the door.

     Ronnie gently pulls the door shut.

<b>                              KALE (CONT'D)
</b>                  Don't panic, he's coming straight
                  for you --

<b>                               RONNIE (V.O.)
</b>                  What?!   Kale, you've gotta get me --

<b>                              KALE
</b>                  Back seat, NOW!

                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  76.
</b>
<b>80   CONTINUED:    (4)                                                  80
</b>
     BINOCULAR POV - Ronnie TUMBLES into the back seat and out of
     sight just as GILES heads for the car.

<b>                               KALE (V.O.) (CONT'D)
</b>                  Ashley --

<b>                               ASHLEY (V.O.)
</b>                  I'm on it.

<b>                              RONNIE
</b>                      (practically crying)
                  Kale, tell my mom --

<b>                              KALE
</b>                  Shut up, stay down and don't move.

     KALE'S POV - Giles opens the passenger door. About to reach
     in when something distracts him -- Giles pulls himself out,
     looks over to see

<b>     ASHLEY
</b>
     Heading up the driveway. We barely hear her introduce herself
     to Giles. Giles steps around to the front of the car,
     uneasily shakes her hand.

<b>                              KALE (CONT'D)
</b>                  Ronnie, you're good --

     No answer.

<b>                               KALE (CONT'D)
</b>                  Ronnie?

     BINOCULAR POV - Kale TILTS BACK TO THE TOYOTA, sees Ronnie
     sneaking out the back seat door on the driver's side as Ashley
     distracts Giles, pointing up to the trees on the opposite
     side of the yard. Who knows what they're talking about.
     Bird-watching perhaps. Whatever it is, it's working.

<b>                              KALE (CONT'D)
</b>                  Ronnie, was that the whole code?
                  Ronnie?

     BINOCULAR POV - Kale PANS BACK to Ronnie as he hops the fence
     back into Kale's yard.

     Kale TILTS BACK UP to Ashley and Giles in the driveway.

<b>                              KALE (CONT'D)
</b>                      (talking to Ashley
                       even though she can't
                       hear)
                  Okay, Ashley, you're good, come on...


                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   77.
</b>
<b>80   CONTINUED:    (5)                                                   80
</b>
     Over this, a breathless Ronnie stumbles into the bedroom,
     joins Kale at the window.

<b>                              KALE (CONT'D)
</b>                  Was that the whole code?

<b>                                 RONNIE
</b>                      (pissed)
                  Excuse me?

<b>                              KALE
</b>                      (serious)
                  The code, did you get it?

<b>                              RONNIE
</b>                  You've gotta be kidding.

     Ronnie and Kale lock eyes for a tense beat.     Then:

<b>                              KALE
</b>                      (re: something O.S.)
                  No way.

     KALE'S POV - THE CLUB GIRL Giles brought home the other night
     exits the back door and walks up to Ashley and Giles!

<b>                              RONNIE
</b>                      (stepping closer)
                  Great, Kale. She lives.

     Kale and Ronnie watch as Ashley shakes hands with the club
     girl, then throws a quick surprised glance up to Kale and
     Ronnie. Giles' body language tells us he's ready for Ashley
     to leave. Ashley gets the hint, shakes his hand, heads back
     down the driveway and out of sight.

     Kale raises the binoculars again, then furiously grabs for
     his pad and pencil.

     BINOCULAR POV - The club girl gets in her car. Giles closes
     her door, watches as she backs out. Kale TILTS DOWN to her
     license plate, starts jotting down the number.

<b>                              RONNIE (CONT'D)
</b>                  What are you doing?

<b>                              KALE
</b>                  Getting her license number --

<b>                                 RONNIE
</b>                  Why?

     Kale doesn't answer, still trying to get the rest of the
     number as Ashley enters, eyes Ronnie who gestures to Kale.


                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                 78.
</b>
<b>80   CONTINUED:    (6)                                                 80
</b>
<b>                              ASHLEY
</b>                  Okay, case closed.

<b>                              RONNIE
</b>                  Try telling Inspector Clouseau that.
                  Now he thinks he needs her license
                  number.

<b>                               ASHLEY
</b>                  Why, Kale?   It's over.

     Kale's starting to get manic:

<b>                              KALE
</b>                  "Yeah, he seemed like such a normal
                  guy. Sure he kept to himself, but
                  he was always nice to me." That's
                  what they all say. That's what all
                  the neighbors always say -- after
                  the fact. Only after they've caught
                  the guy, after he's killed thirty
                  people --

     Ashley and Ronnie trade concerned looks.

<b>                              ASHLEY
</b>                  Okay, I think we all just need to
                  take a breath.

<b>                              KALE
</b>                      (heading out)
                  Fine, but what about the bumper
                  sticker, there's still a girl missing,
                  just... what's in the bag?
                      (then from O.S.)
                  Can anyone tell me that?

     Off Ronnie and Ashley --

<b>81   INT. DAD'S OFFICE - DAY - CONTINUOUS                              81
</b>
     Kale enters, goes to the desk, sits at dad's computer,
     clicking keys as Ashley and Ronnie enter --

<b>                              ASHLEY
</b>                  Kale, why are you so --

     Ashley and Ronnie stop in their tracks at the MESS.

     Note: Up till now, the office has been in reasonably good
     order. But now, it's noticeably different.

     WIDER - The shades are drawn. Soda cans everywhere... papers
     are spread on the floor: PRINTED OUT FULL COLOR GRUESOME
     CRIME SCENE PHOTOS, BLACK & WHITE AUTOPSY PHOTOS of the

                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     79.
</b>
<b>81   CONTINUED:                                                            81
</b>
     murdered redheads... more pictures of the girl who
     disappeared, PATRICIA WALSH. "MISSING" FLYERS...

     Over the above, Ronnie leans down, lifts a couple of books
     out of an Amazon.com box: "Murderer: Tell Tale Signs of a
     Serial Killer" and "The Shrine of Jeffrey Dahmer" -- the
     titles Ashley was referencing earlier. Ronnie shows them to
     Ashley who takes a RECEIPT out of a nearby Home Depot box --
     on the page -- SMITH'S UNIVERSAL GARAGE DOOR REMOTE QTY (1)
<b>     $29.99.
</b>
     Ashley and Ronnie turn to Kale. They notice on the wall
     behind him, hanging next to his Dad's book cover posters, a
     BLACK AND WHITE POSTER-SIZE SATELLITE PHOTO of THE
     NEIGHBORHOOD. Giles' house is circled and labeled in
     flourescent ink. Kale finally looks up, notices them looking --

<b>                              KALE
</b>                      (re: satellite poster)
                  Ronnie, you've seen this satellite
                  website, right? You can find any
                  location on earth and take a picture --

<b>                              RONNIE
</b>                  Yeah, for a small fee --

<b>                              ASHLEY
</b>                  Kale, what are you doing?

<b>                              KALE
</b>                  Trying to get to the bottom of this.

<b>                              ASHLEY
</b>                      (delicately)
                  Kale, right now, it doesn't look
                  that way.

<b>                              KALE
</b>                  What's it look like?

<b>                              ASHLEY
</b>                  Like you're determined to turn Giles
                  in to who you think he is.

<b>                              KALE
</b>                  Not who I think.

<b>                              ASHLEY
</b>                      (beat; then)
                  I just didn't realize -- you were
                  this --

<b>                                 KALE
</b>                  What, crazy?     Maybe I am.   But maybe
                  I'm right.

                                                    (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    80.
</b>
<b>81   CONTINUED:    (2)                                                    81
</b>
<b>                               ASHLEY
</b>                  It's not about that, it's about --
                      (beat; then quietly)
                  -- What I see. What Ronnie and I
                  are seeing right now. I see a guy
                  who looks like he hasn't slept in
                  days.
                      (peers at dad's book
                        cover posters)
                  I'm seeing you sitting at your dad's
                  desk --

     That gets Kale's attention.

<b>                              ASHLEY (CONT'D)
</b>                  -- Because you lost him before
                  maybe... you ever really knew him.
                  Before the world according to Kale
                  took a hit from that same stuff you
                  were telling me about, remember?
                  All those curveballs? But it's like --
                  it's like you're still trying to
                  dodge them by forcing pieces together
                  that are never gonna fit... by getting
                  all wrapped up in...
                      (re: mess)
                  This.
                      (beat; then)
                  Obsessing's not gonna "protect you,"
                  Kale. It's not gonna make the hurt
                  go away.

     Kale locks eyes with Ashley.       A long beat, then --

<b>                              KALE
</b>                  Are you two gonna help me or not?

     Ashley pauses, shocked she hasn't gotten through to Kale.
     Then --

<b>                               ASHLEY
</b>                  I want to.

<b>                              KALE
</b>                      (picks up a stack)
                  Then start looking through these --

<b>                              ASHLEY
</b>                  That's not what I meant.

<b>                              KALE
</b>                      (beat; then)
                  Well, this is all I need, so -- I
                  guess I'll see you later.


                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                      81.
</b>
<b>81   CONTINUED:    (3)                                                      81
</b>
     Ashley and Ronnie trade looks.       Then -- Ashley leaves.   Ronnie
     turns back to Kale.

<b>                              KALE (CONT'D)
</b>                  So what's your deal? You hanging
                  out or not?

<b>                              RONNIE
</b>                  I would, dude, but -- I've gotta
                  pull it together and -- change my
                  underwear. Catch you later?

<b>                                KALE
</b>                  Sure.

     Ronnie leaves.       Kale sits in silence, his thoughts unreadable --
<b>     JUMP CUT:
</b>
     Kale falls back in the leather chair, fighting his emotions,
     trying to keep them in check. He glances out to Ashley's.
     Dark. He peers around the office -- the articles, the books,
     his DAD'S PHOTOS... the family portrait of Dad, Mom, and
     Kale, smiling wide... their lives ahead of them...

<b>82   INT. KALE'S BEDROOM - NIGHT                                            82
</b>
     In the darkness, find Kale sitting in his video game chair
     staring out at Giles' house.

     HIS POV - Giles' garage door is open. Giles' silver Toyota
     is parked inside next to the Mustang. There's a light or
     two on inside Giles' house but no signs of movement.

     Kale throws intermittent glances out the window as he starts
     to UNSCREW the back of the DV CAM. He lifts the back off,
     then reaches in a nearby BOX and pulls out a BLUE TOOTH
     WIRELESS CIRCUIT BOARD. He starts connecting it inside the
     camera... JUMP CUT:

     Kale screws the back of the camera on, takes a swig of a
     soda. There's suddenly fierce KNOCKING at Kale's front door.
     Kale just sits there. Staring ahead. More knocking and
     DOORBELL RINGING. Kale jumps from his chair, grabs the bat.

<b>83   INT. ENTRY HALL - NIGHT - SECONDS LATER                                83
</b>
     Kale swings the door open -- nobody's there -- then -- Ronnie
     suddenly STEPS INTO FRAME, grabs Kale --

<b>                              KALE
</b>                  Get off me, man.

<b>                              RONNIE
</b>                  Dude -- my cell phone's -- still in
                  his car.

                                                   (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                      82.
</b>
<b>83   CONTINUED:                                                             83
</b>
     Kale eyes Ronnie a beat.

<b>                              RONNIE (CONT'D)
</b>                  Kale, did you hear me?

<b>                              KALE
</b>                      (beat; then)
                  Ronnie, I know you think I'm losing
                  my mind, but... listen, I'll help
                  you get it, I just need you to do
                  one thing.

<b>                              RONNIE
</b>                      (shaking his head)
                  Phase two. I knew it.

<b>                                                                SMASH TO:
</b>
<b>84   INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER                         84
</b>
     A SHAKY and grainy VIDEO IMAGE appears on Kale's computer
     screen. Kale picks up one of Ronnie's old walkie-talkies.

<b>                              KALE
</b>                      (into walkie talkie
                       as needed)
                  You read?

<b>                              RONNIE (V.O.)
</b>                      (walkie talkie filter
                       as needed)
                  Yeah, you got a signal?

     ON KALE'S COMPUTER SCREEN - Ronnie suddenly aims THE VIDEO
<b>     CAMERA AT HIS FACE.
</b>
<b>                              KALE
</b>                  Got video, no audio.

<b>                              RONNIE (V.O.)
</b>                  Yeah, mic's on the fritz.    How am I
                  looking?

     Kale picks up the binoculars.

     BINOCULAR POV - Giles' garage door is still open.     There's a
     light on at the opposite end of the house.

<b>                              KALE
</b>                  Light on, far end.

<b>                              RONNIE (V.O.)
</b>                  I guess it's now or never.    Moving
                  out.


                                                  (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                    83.
</b>
<b>84   CONTINUED:                                                           84
</b>
     Kale turns back to the computer screen --

     RONNIE'S DV CAM POV - His feet dart across the yard -- he
     TILTS UP -- approaching the fence.

<b>                               KALE
</b>                      (re: Giles)
                  No movement.

     RONNIE'S DV CAM POV - Ronnie hops the fence.

<b>                              RONNIE (V.O.)
</b>                  First hurdle --

     RONNIE'S DV CAM POV - The image goes to SNOW for a split
     second -- the signal weakening...

     Kale peers out the window --

     BINOCULAR POV - We barely make out Ronnie's silhouette as he
     makes his way toward the garage --

<b>                                 RONNIE (V.O.) (CONT'D)
</b>                  Twenty feet.     Ten feet --

     RONNIE'S DV CAM POV - Rapidly approaching the back of Giles'
     Toyota.

<b>                                 RONNIE (V.O.) (CONT'D)
</b>                  Garage --

     RONNIE'S   DV CAM POV - Very shaky as Ronnie makes his way to
     the back   seat door -- he takes out a pen light, aims it at
     the door   as his hand enters frame, lifts up on the latch.
     The door   pops open.

<b>                                 RONNIE (V.O.) (CONT'D)
</b>                  Bingo.

     RONNIE'S DV CAM POV - We see Ronnie's hand feeling around
     the back seat floor of Giles' car.

     Kale's CALL WAITING suddenly BEEPS. He looks at the CALLER
     I.D: ASHLEY. Shit. He has to let it go.

<b>                              RONNIE (V.O.) (CONT'D)
</b>                  I'm not seeing it --

<b>                              KALE
</b>                  Stay calm, it's there.

     RONNIE'S DV CAM POV - Ronnie's hand finally pulls out the
     cell phone.



                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                      84.
</b>
<b>84   CONTINUED:    (2)                                                      84
</b>
<b>                                 RONNIE (V.O.)
</b>                  I've got it.

     BINOCULAR POV - Giles' house.       Still no sign of movement.

<b>                              KALE
</b>                  You're still clear, check the bag.

<b>                                 RONNIE (V.O.)
</b>                  Hang on --

     RONNIE'S DV CAM POV - We see Ronnie's hand gently push the
     door of Giles' Toyota closed. The angle TILTS DOWN -- we're
     now watching Ronnie's feet as they stride deeper into the
     garage, walking in between the Toyota and Mustang.

<b>                              RONNIE (V.O.) (CONT'D)
</b>                  I'm setting the camera on the trunk.

<b>                              KALE
</b>                  Try to get the plate number of the
                  Mustang and check for dents --

<b>                              RONNIE (V.O.)
</b>                  I'm checking the bag first.

     RONNIE'S DV CAM POV - Ronnie sets the camera on the trunk of
     the Mustang, aims it perfectly at the BLUE BAG sitting in
     the corner. We watch with Kale as Ronnie enters frame,
     crouched low, heading toward the bag. He raises the walkie
     talkie --

<b>                              RONNIE (V.O.) (CONT'D)
</b>                  It does look like blood -- and hair --

     RONNIE'S DV CAM POV - We watch as Ronnie kneels down, starts
     to open the bag. But suddenly, the still POV suddenly STARTS
     TO SLOWLY, STEADILY TRACK TO THE LEFT -- And Kale realizes --

<b>                              KALE
</b>                  The camera's sliding --

     RONNIE'S DV CAM POV - We watch as Ronnie spins and grabs the
     camera.

<b>                              RONNIE (V.O.)
</b>                  That was close.

     We hear another NOISE O.S.

<b>                                 RONNIE (V.O.) (CONT'D)
</b>                  Oh shit --

     Kale looks out --


                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                       85.
</b>
<b>84   CONTINUED:    (3)                                                       84
</b>
     KALE'S POV - Giles' GARAGE DOOR STARTS TO CLOSE.

<b>                                KALE
</b>                  Ronnie?

<b>                              RONNIE
</b>                      (staticky)
                  -- make it -- interference --
                  somebody's here --

<b>                                KALE
</b>                  Ronnie?!

     Dead air.    Giles' GARAGE DOOR SLAMS SHUT.

     RONNIE'S DV CAM POV - We watch as Ronnie picks up the camera,
     aims it at his face. Looking terrified. The camera swings
     away as we see Ronnie's feet scrambling along the concrete
     floor and then -- they appear to RACE THROUGH A DOORWAY ONTO
     DIMLY LIT HARDWOOD FLOOR -- making us and Kale realize --

<b>                              KALE (CONT'D)
</b>                  He's in the house --
                      (into walkie)
                  Ronnie?

     Still nothing.

     RONNIE'S DV CAM POV - Shaky. We catch GLIMPSES OF RONNIE'S
     FEET -- hauling ass down a HALLWAY, ROUNDING A CORNER ONTO
<b>     CARPET, THEN BACK ONTO HARDWOOD --
</b>
<b>                              KALE (CONT'D)
</b>                  What the hell --

     ON THE SCREEN - Ronnie suddenly PANS THE CAMERA up to his
     face as he runs, clearly mouthing "HELP ME!!"

<b>                                KALE (CONT'D)
</b>                  RONNIE!    Shit --

     Then -- the camera seems to fall, SLIDING ON THE HARDWOOD
<b>     FLOOR TOWARD AN OLD BOOKCASE...
</b>
<b>     THE IMAGE CUTS OUT -- GOES TO ALL SNOW --
</b>
     Kale jumps up, pacing. Peers out the window to Giles'. No
     telling what the hell's happening -- or happened -- in there.

     Kale eyes his ankle bracelet.      Green light.   Kale eyes his
     bat. Grabs it. Fuck it.




                                                                 D.J. Caruso
<b>
</b><b>                                                                  86.
</b>


<b>85   EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER                      85
</b>
     Kale SLAMS out the back door, races across the yard, skips
     over his kite string boundary --

     ON HIS ANKLE BRACELET - Red light FLASHES.

     WITH KALE - he hops the fence, racing to...

<b>86   EXT. GILES' BACK YARD/HOUSE - NIGHT - CONTINUOUS                   86
</b>
<b>                             KALE
</b>               Ronnie?!

     Kale darts to Giles' back door, tries the knob -- locked.

<b>                           KALE (CONT'D)
</b>               Ronnie, can you hear me?! Giles,
               open the door!!

     The house is still. Kale bolts around the side, uneasily
     feeling his way through shadows and low-hanging branches.

<b>87   EXT. GILES' FRONT YARD - NIGHT - CONTINUOUS                        87
</b>
     It's even darker on this side. No lights on in Giles' house.
     Kale cautiously rounds the side, approaches the front door --
     it's open a few inches -- darkness beyond.

     Kale eyes it a beat. Then -- steps up onto the porch, about
     to push it open when -- SIRENS BLARE O.S.

     Kale SPINS AROUND to see A POLICE CRUISER ROLLING TO A STOP.
     Kale races toward it as two uniformed officers step out --

<b>                             KALE
</b>               Hey!

     The officer pulls his sidearm, aims it at Kale --

<b>                             UNIFORM #1
</b>               Freeze.    Hands above your head, now!!

<b>                           KALE
</b>               Please, my friend's been kidnapped,
               he's in this house -- he's inside, I
               think the owner's trying to kill him --

<b>                           UNIFORM #1
</b>               Stay right there.

<b>                           UNIFORM #2
</b>               I've got it --

     Uniform #2 heads briskly to Giles' front door.

                                               (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    87.
</b>
<b>87   CONTINUED:                                                           87
</b>
<b>                              UNIFORM #1
</b>                      (into radio mic)
                  Dispatch, 13A74, we're 10-26 with
                  the kid, he's claiming a 10-31 at...
                      (eying numbers above
                       Giles' door)
                  4710 Fairway Court. House behind
                  his residence, request 10-78.

<b>                              DISPATCHER (V.O.)
</b>                      (over mic)
                  13A74, ten-four, units already in
                  the area, will advise --

     Kale watches as Uniform #2 approaches the Giles' door.

<b>                               UNIFORM #2
</b>                  It's open.

<b>                              KALE
</b>                  It was already open.

     Uniform #2 knocks on the door. Rings the bell. No answer.
     Uniform #2's about to knock again when a light comes on
     inside. After a beat -- Giles opens the door. Looking
     disheveled, in his bathrobe.

<b>                              GILES
</b>                  Uh, yes, can I help you, officer?

<b>                              UNIFORM #2
</b>                  Sorry to wake you, sir, we have a
                  young man here claiming a friend of
                  his is in your house. Would you
                  know anything about that?

<b>                               GILES
</b>                      (laughs)
                  No, I certainly wouldn't.

<b>                              KALE
</b>                  You're a lying son of a bitch!

     Uniform #1 retrains Kale as another CRUISER rolls to a stop.
     Uniforms #3 & 4 hop out, head to Uniform #1 to assist.

<b>                              UNIFORM #1
</b>                  Take it easy --

<b>                              KALE
</b>                  He's in there, goddammit!   He's
                  inside! He's lying!

     Uniform #1 pulls Kale back to the cruiser, opens the back
     door and pushes him down on the seat --

                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     88.
</b>
<b>87   CONTINUED:    (2)                                                     87
</b>
<b>                              UNIFORM #1
</b>                  Sir, calm down --

<b>                              KALE
</b>                  Okay, but he's lying -- he has my
                  friend, and he kidnapped that girl
                  last week, he killed maybe three
                  others, all redheads, they could be
                  in a bag -- a big blue plastic bag --
                  in his garage -- my friend knew this --
                      (re: Giles)
                  That's why he's covering -- he didn't
                  just wake up five minutes ago --

     Uniform #1 looks concerned as he steps away from Kale.

<b>                              UNIFORM #1
</b>                      (to Uniform #3; re:
                       Kale)
                  Can you --

     Uniform #3 nods as Uniform #1 heads back up to Giles and
     Uniform #2.

     KALE'S POV - Uniform #1 whispers something to Uniform #2.
     They turn back to Giles.

<b>                              UNIFORM #2
</b>                  Sir, do you mind if we take a look
                  inside?

     A beat. A couple more police cruisers roll to a stop.
     Curious NEIGHBORS are now gathering across the street.

<b>                              GILES
</b>                  Absolutely, be my guest.

     Giles ushers them through the door and follows them into the
     house. Giles turns, shoots a quick glance to Kale before
     closing the door.

     ON KALE - all he can do is wait. He shifts his gaze to the
     gathering neighbors. A few lock eyes with him, shake their
     heads. Kale turns back toward the house...

<b>                                                            TIME CUT TO:
</b>
<b>88   EXT. GILES' BACK YARD - GARAGE - NIGHT - SHORT TIME LATER             88
</b>
     ON THE GARAGE DOOR - as it slowly raises up.

     WIDER - The uniforms, standing with Kale, wait as the door
     opens all the way.



                                                (CONTINUED)      D.J. Caruso
<b>
</b><b>                                                                       89.
</b>
<b>88   CONTINUED:                                                              88
</b>
     A light comes on inside. Giles and Uniform #1 come out the
     inner garage door as Uniform #2 Giles drags the BLUE BAG out
     from the garage.

     Sure enough, there's blood smears and visible strands of
     matted hair near the top. Uniform #2 unties the bag, pulls
     the sides away. Everyone gathers around, peers inside, then
     suddenly yank themselves back at the horrible STENCH emanating
     from within.

     Kale eyes Uniform #1 who gestures him to look.       Kale steps
     toward the bag.

     KALE'S POV - We peer into the bag to reveal the WIDE OPEN
     eyes of a dead -- DEER.

<b>                              GILES
</b>                      (to the cops)
                  I hit it the other night. Thought
                  I'd save a few steps and get it off
                  the road myself. I was gonna bury
                  it sooner, but it's been a helluva
                  week --

<b>                              KALE
</b>                  So why'd you have to have the car
                  fixed in record time, huh? Because
                  it was covered in her blood --

<b>                              GILES
</b>                      (talking over him;
                       re: Mustang)
                  Because it's a classic, I got it out
                  of storage for the auto show, I needed
                  it in pristine condition.

<b>                              UNIFORM #2
</b>                  It's one of the biggest in the world.
                      (off Uniform #1)
                  The auto show.

     All eyes on Kale.    He slumps.   Giles has an answer for
     everything.

<b>                              UNIFORM #1
</b>                  I think we're done here.   Sorry for
                  the intrusion, sir.

<b>                              GILES
</b>                  Please, I understand.

     As the Uniforms lead Kale back down the driveway...




                                                 (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                   90.
</b>
<b>88   CONTINUED:    (2)                                                   88
</b>
<b>                               KALE
</b>                      (quietly; drained)
                  So where's my friend, then? Can
                  anyone tell me that? Does anyone
                  believe me?!

     Kale looks over, sees PARKER, standing with JULIE whose eyes
     are filled with it all: anger, concern, sadness...

<b>                              JULIE
</b>                  Kale, come on --

     Kale turns back to Giles' house. Sees lights being turned
     out inside. As Kale shifts his gaze forward, he locks eyes
     with ASHLEY standing in the crowd of neighbors. She watches
     him with concern. Kale turns away, drops his head as the
     cops, Parker and Julie lead him away... a FLASH OF LIGHTNING
     in the distance...

<b>89   INT. LIVING ROOM - NIGHT - LATER                                    89
</b>
     Kale sits on the sofa, staring off. He looks to the stairs
     as Julie and Parker head down. Parker nods to Uniform #3
     who's standing next to Kale. Uniform #3 meets Parker and
     Julie at the front door. Julie quietly nods to them, opens
     the door. A few more inaudible words are exchanged before
     Julie gently closes the door behind them.

     Julie heads back into the living room, sits across from Kale.

<b>                              JULIE
</b>                      (a beat; then)
                  I'm sorry, Kale.

     Not the words Kale expected.      He looks up --

<b>                              JULIE (CONT'D)
</b>                  I really am. You know, one thing I
                  always told myself was that no matter
                  what, I would always know what was
                  going on with my kid --

<b>                              KALE
</b>                  Mom --

<b>                               JULIE
</b>                  Let me finish -- because I have to
                  tell you something...
                      (then)
                  I feel like I let you down. I was
                  too caught up in my own grief to see
                  straight. I thought time would heal
                  this and taking a second job was...
                  the answer to keeping a roof over
                  our heads --

                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    91.
</b>
<b>89   CONTINUED:                                                            89
</b>
<b>                                 KALE
</b>                  It was --

<b>                              JULIE
</b>                      (points to ceiling)
                  That's just wood. Do you hear me?
                  We're still not through this --
                  obviously -- it's gonna take more
                  time -- maybe a lot more time -- and
                  that's just gotta be okay, because I
                  know -- it'll get better.
                      (beat)
                  I want us to be us again. I want us
                  to be honest with each other like we
                  used to be. Is that possible?

<b>                              KALE
</b>                  Yeah. I just -- didn't think you'd
                  believe me --

<b>                              JULIE
</b>                  Listen to me. I am always on your
                  side. No matter what. It may not
                  look like it sometimes, but it's the
                  truth. And we'll get through this.
                  Okay?

     Kale nods.    He stands, goes to Julie and hugs her -- tight.

<b>90   INT. KALE'S BEDROOM - NIGHT - LATER                                   90
</b>
     Kale enters amidst a few more LIGHTNING FLASHES and distant
     ROLLS OF THUNDER. He heads to his window, glances out at
     Giles' house. Dark. The wind's picking up. Kale closes
     his window, draws the shade, sticks his cell in the charger.

     He collapses to the bed,      stares at the roof over his head
     for a beat -- then "LIKE      A VIRGIN" suddenly BLARES ON HIS
     CELL PHONE. Kale stares       at it... then jumps from his bed,
     races to the phone, rips      it from the charger, flips it open --

     ON THE PHONE'S LCD SCREEN - A text message: LOOK AT YOUR
     SCREEN. The LCD SCREEN suddenly BLACKS OUT. The battery's
     dead.

     A wide eyed Kale puts the cell phone on his desk, slowly
     shifts his gaze to his computer monitor -- a grainy image
     suddenly pops on -- shaky at first -- then it finally
     steadies, and clears up. A torso and face come into focus:
     RONNIE, lying in the corner of a very enclosed space. Eyes
     open, head tilted against the wall. Dead.

<b>                                 KALE
</b><b>                  OH MY GOD --
</b>

                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  92.
</b>
<b>90   CONTINUED:                                                         90
</b>
     Nearly hyperventilating, Kale leans closer to the screen,
     sees a pile of clothes and a stray racketball trophy lying
     next to Ronnie.

<b>                              KALE (CONT'D)
</b>                  Shit --

     Kale realizes -- Ronnie's IN HIS CLOSET. Kale slowly turns,
     eyes his closet door. He then steps toward it, reaches out --
     and SLIDES THE CLOSET DOOR OPEN TO REVEAL --

     RONNIE - lying dead in the corner.

<b>                              KALE (CONT'D)
</b>                  Ronnie --

     Kale kneels down to Ronnie who suddenly POPS BACK TO LIFE!

<b>                              RONNIE
</b><b>                  BOO!
</b>
     Kale screams, falls back to the floor as Ronnie cracks up.

     MORE LIGHTNING FLASHES and THUNDER.

     Kale staggers to his feet. Stunned. Not knowing whether to
     hug Ronnie or beat the shit out of him.

<b>                              RONNIE (CONT'D)
</b>                  Dude, don't kill me, don't kill me --
                  I can explain --

<b>                              KALE
</b>                  How -- How long have you been here?

<b>                              RONNIE
</b>                  You should have seen your face --
                      (off Kale's glare)
                  I got out his front door. I got
                  lucky. I heard you yelling, but
                  dude, cops were everywhere --

<b>                              KALE
</b>                  Still, you could have --

<b>                              RONNIE
</b>                  What, popped out and said, "oh yeah,
                  officers, my friend's right, I was
                  just in that house, I'd gone to get
                  my cell phone out of the guy's car I
                  broke into earlier..." Are you
                  kidding me?




                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  93.
</b>
<b>90   CONTINUED:    (2)                                                  90
</b>
<b>                              KALE
</b>                      (beat; then)
                  I get it.

     Kale paces around, runs a hand through his hair as Ronnie
     steps out of the closet, DV CAM in hand.

<b>                              RONNIE
</b>                  Dude, I am sorry. Can we just...
                  hug it out?

<b>                              KALE
</b>                  Why didn't Giles tell the cops someone
                  broke in? I mean, he did see you,
                  right?

<b>                              RONNIE
</b>                  You know, let's be positive for a
                  change. I thought he did, but maybe
                  he didn't. Or maybe he's a nice guy
                  afterall, and he didn't wanna make a
                  big deal of it, you know? I mean,
                  he's a guy, he was a kid once...

     Kale eyes Ronnie.

<b>                              KALE
</b>                  What if he wasn't always a guy?

     Ronnie eyes Kale for a beat, wondering if he's serious.
     Then Kale cracks a smile. Ronnie cracks up.

<b>                              RONNIE
</b>                  But I do have to ask... what was in
                  the bag?

<b>                              KALE
</b>                      (as if it were obvious)
                  Dead deer.

     Kale and Ronnie lock eyes a beat. Then crack up again.
     Both laugh hysterically, slap happy as hell.

<b>                               RONNIE
</b>                  Naturally...
                      (re: DV CAM)
                  Hey, you want more evidence,
                  detective?

<b>                              KALE
</b>                  I was watching, remember?

     Kale grabs the DV CAM from Ronnie -- Ronnie pulls it away.



                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    94.
</b>
<b>90   CONTINUED:    (3)                                                    90
</b>
<b>                              RONNIE
</b>                  No, no, this is comedy, it deserves
                  big screen treatment.

     Ronnie grabs some wires, starts hooking the camera up to
     Kale's TV.

<b>                                                           TIME CUT TO:
</b>
<b>91   INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER                       91
</b>
     Kale and Ronnie watch the video of Ronnie's break-in.      They're
     cracking themselves up as we see --

     ON THE TV - Ronnie's feet stumbling through the garage, the
     camera sliding away off the trunk of the Mustang, Ronnie
     diving for it.

<b>                              RONNIE
</b>                  Hey, I caught that.

<b>                              KALE
</b>                  So that's when the garage door started
                  closing.

<b>                              RONNIE
</b>                  Yeah, he must have heard me. He
                  came through the inside door --
                      (re: TV screen)
                  This is where I ducked low and
                  started...

     ON THE TV - Ronnie's feet start motoring across the concrete
     floor, racing through the doorway onto the hardwood floor...

<b>                              RONNIE (CONT'D)
</b>                  ...hauling aaaass...

<b>                              KALE
</b>                  That's great.

     ON THE TV - As before, we're mostly watching Ronnie's feet
     as they scamper around Giles' house. Then -- the camera
     falls away, slides across the floor toward that bookcase,
     its POV -- FOR A SPLIT SECOND - aiming UNDER THE BOOKCASE.

<b>                                RONNIE
</b>                  Dropped it.

<b>                              KALE
</b>                  Yeah, I lost signal --

     ON THE TV - This we didn't see earlier -- The camera is
     quickly scooped up by Ronnie whose feet dart across Giles'
     entry hall floor toward the front door.

                                                (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                 95.
</b>
<b>91   CONTINUED:                                                        91
</b>
     We see Ronnie's hand reach for the knob.

<b>                              RONNIE
</b>                  But I never leave evidence behind.

     ON THE TV - Ronnie's feet dart out Giles' front door and
     into the darkness of the yard...

<b>                               RONNIE (CONT'D)
</b>                  And that's about when you started
                  yelling bloody murder and the shit
                  hit the fan.

     The TV SCREEN goes black.

<b>                              RONNIE (CONT'D)
</b>                      (getting up)
                  I'm starving. All that running
                  around...

     Ronnie heads from the room.

<b>                              KALE
</b>                      (re: video)
                  I'm gonna burn this.

     Kale gets up, heads to the camera. About to eject the tape,
     when a thought stops him. He pulls the camera off the TV,
     sits on the floor, presses "PLAY", scans back through the
     tape.

     ON THE TV - The same footage. Nothing glaring stands out.
     The camera falls from Ronnie's hand, slides to the bookcase.
     Ronnie quickly scoops the camera up, keeps running...

<b>                              KALE (CONT'D)
</b>                  You're not fooling me, Giles...

     Kale scans the tape back again, this time just to the point
     where Ronnie drops the camera.

     ON KALE - his eyes suddenly narrow -- did he see something?

     Kale scans back again.

<b>92   INT. KITCHEN - NIGHT - CONTINUOUS                                 92
</b>
     Ronnie enters, starts rummaging through the fridge, pulls a
     soda out, then goes for the cabinets.

<b>93   INT. KALE'S BEDROOM - NIGHT - CONTINUOUS                          93
</b>
     ON THE TV - just as the camera slides to a stop at the
     bookcase and aims underneath it, Kale FREEZES THE IMAGE.
     Dark, grainy.

                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     96.
</b>
<b>93   CONTINUED:                                                            93
</b>
     Kale grabs his remote, cranks the brightness all the way up
     on his TV.

     Kale scoots closer to the TV amidst another FLASH OF LIGHTNING
<b>     & MUCH LOUDER CLAP OF THUNDER.
</b>
     ON HIS FINGER - pressing the FRAME BY FRAME ADVANCE button --

     ON THE TV -- we start to see SOMETHING UNDER THE BOOKCASE...

     Kale presses the button a couple more times.

     ON THE TV - The next frames are blurred -- this is the point
     where Ronnie grabs the camera back -- but --

     KALE'S FINGER - presses the advance button one more time.

     ON THE TV - The next frame POPS INTO FOCUS.

<b>     THERE, UNDER THE BOOKCASE, WE SEE A FADED BLACK STAMP ON THE
</b><b>     BACK OF A WOMAN'S HAND!
</b>
     Kale's eyes widen as he keeps pressing the ADVANCE BUTTON...

     CU - Kale's eyes are transfixed on the screen, his face just
     inches away as a few more blurry frames FLIP BY then -- BAM --

<b>     THE FACE OF THE MISSING GIRL -- PATRICIA WALSH -- POPS ON
</b><b>     THE SCREEN IN SHARP FOCUS, HER LONG RED HAIR PARTIALLY
</b><b>     COVERING HER GHOSTLY, WIDE OPEN EYES THAT STARE RIGHT INTO
</b><b>     CAMERA!
</b>
     Kale recoils in horror as LIGHTNING IGNITES his room.

<b>                              KALE
</b>                      (calling O.S.)
                  Ronnie, get your ass up here!

     But a ROLL OF THUNDER drowns our Kale's voice --

<b>94   INT. KITCHEN - NIGHT - CONTINUOUS                                     94
</b>
     Ronnie throws a bag of popcorn in the microwave, punches the
     clock. Presses start. As he reaches behind him for his
     soda can on the island, a BASEBALL BAT suddenly enters frame
     and SLAMS DOWN on RONNIE'S ARM -- FWACK! Ronnie WHIRLS AROUND
     in excruciating pain to come face to face with

<b>     GILES
</b>
     who swings the bat across Ronnie's face.     Ronnie drops out
     of frame behind the island.




                                                               D.J. Caruso
<b>
</b><b>                                                                  97.
</b>


<b>95   INT. KALE'S BEDROOM - NIGHT - CONTINUOUS                           95
</b>
<b>                            KALE
</b>               Ronnie?!

     No answer. Shit. Kale grabs the cordless off his bed, clicks
     it on: DEAD. Another lightning FLASH. He grabs the tape
     out of the camera, buries it in his closet, pulls out his
     racketball trophy then creeps to the door, peers out --

     KALE'S POV - The hallway's empty.   Clear shot to the stairs.

<b>96   INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS                           96
</b>
     Kale steps out, raises the trophy, ready for anything as he
     approaches the stairs, glancing in every direction. He
     reaches the railing, peers down. No movement.

<b>97   INT. ENTRY HALL - NIGHT - CONTINUOUS                               97
</b>
     Kale heads down, slowly makes his way toward the kitchen,
     peeks around the corner --

     KALE'S POV - IN THE KITCHEN - The popcorn's POPPING in the
     microwave.

<b>98   INT. KITCHEN - NIGHT - CONTINUOUS                                  98
</b>
     Kale rounds the island to the microwave, presses "STOP" then
     glances down, sees Ronnie's body --

<b>                           KALE
</b>               Ronnie -- MOM!!

     Kale spins around as

<b>     GILES SUDDENLY APPEARS FROM THE SHADOWS.
</b>
     More THUNDER. Kale whirls around, HURLS the trophy at Giles.
     Giles knocks it away as Kale BOLTS for the back door, throws
     it open. Giles pursues.

<b>99   EXT. KALE'S BACK YARD - NIGHT - CONTINUOUS                         99
</b>
     Kale bolts out the door, but trips on a well-placed garden
     gnome on the steps. Giles or the brats must have put it
     there. Regardless, it slows Kale down. He staggers into
     the yard, SCREAMING for anyone to hear. But the WIND and
     THUNDER drown him out as

<b>     GILES
</b>
     -- Now right behind him -- swings the bat and trips Kale up.
     Kale falls just short of his kite string boundary line.


                                                (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   98.
</b>
<b>99    CONTINUED:                                                         99
</b>
      Like a quarterback pressing to the goal line, Kale lunges
      forward, but --

      GILES' HAND suddenly grab's KALE'S ANKLE just as the ANKLE
      BRACELET is about to cross the line.

      Kale screams, digs his hands into the earth, trying to pull
      himself forward, but Giles is too strong. He DRAGS Kale
      backward, then PINS him to the ground, pulls out a roll of
      duct tape, quickly and efficiently wraps some around Kale's
      mouth, hands and ankles.

      Giles yanks Kale up, throws him over his shoulder and heads
      back toward Kale's house.

<b>100   INT. KITCHEN - NIGHT - CONTINUOUS                                  100
</b>
      Giles quickly opens and shuts the door as Kale struggles
      against him.

<b>                               GILES
</b>                       (hard in Kale's ear)
                   You finally wanna be an orphan?

      Giles drags Kale into...

<b>101   INT. LIVING ROOM - NIGHT - CONTINUOUS                              101
</b>
      ... To reveal a bruised but conscious JULIE tied to the chair,
      her arms wrapped behind it! Kale's eyes widen with rage as
      he pulls free of Giles, drops to the floor, tries to roll
      away. But Giles grabs him back up, gets in his face --

<b>                               GILES
</b>                   If you don't stop fighting me, I
                   will gut her like a fish.

      Kale glares as Giles drags him into the...

<b>102   ENTRY HALL - NIGHT - CONTINUOUS                                    102
</b>
      ...And pulls him up the stairs...

<b>103   INT. KALE'S BEDROOM - NIGHT - SECONDS LATER                        103
</b>
      Giles SLAMS Kale down in his desk chair. Giles eyes the DV
      CAM sitting on the TV. The tape slot's open.

<b>                               GILES
</b>                   So where's the tape?

      Kale mumbles a muffled "FUCK YOU" under the duct tape.

<b>                               GILES (CONT'D)
</b>                   You're right, I'll find it later.

                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                     99.
</b>
<b>103   CONTINUED:                                                           103
</b>
      Giles sits on Kale's bed. Eyes the book on serial killers.
      He picks it up, flips through it.

<b>                                GILES (CONT'D)
</b>                   It's funny, I hear a lot of authors
                   say their first books were easy,
                   it's the second one that's really
                   hard. Wonder if your dad thought
                   that.
                       (off Kale's glare)
                   See with me, it's the opposite. The
                   very first one was...
                       (sickly reminiscing)
                   ...Very difficult... she was very
                   beautiful... fragile... a lot of
                   promise... the others in Texas were
                   flings, low class... Patty Walsh had
                   potential, but so did Amy. You saw
                   her, right? When you were watching
                   me? You should feel good, Kale, you
                   guys saved her life. I was headed
                   in to kill her when your girlfriend
                   showed up. So, you're a hero, Kale.
                   Savor the moment.
                       (tosses the book)
                   You have Microsoft Word?
                       (off Kale's questioning
                         look; re: computer)
                   Turn it on.

      Kale doesn't move.    Giles raises the bat:

<b>                               GILES (CONT'D)
</b>                   I can type, you know.

      Kale turns to the computer, lifts his taped wrists to the
      keyboard.

<b>                                GILES (CONT'D)
</b>                   "Dear Ashley... I killed Ronnie and
                   my mom because...
                        (re: Kale not typing)
                   What's wrong? Hey, you're the one
                   who couldn't leave me alone.
                   Truthfully, I'm sick of covering my
                   tracks. You think I like spending
                   my spare time looking over my shoulder
                   for people like you? Word of advice,
                   if you ever need to hurt someone,
                   think everything through. Because
                   you do get a taste for it, don't
                   you?
<b>                                (MORE)
</b>


                                                    (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   100.
</b>
<b>103   CONTINUED:    (2)                                                   103
</b>
<b>                               GILES (CONT'D)
</b>                   But damned if people aren't just
                   waiting to stand in your way... cops,
                   reporters, determined relatives,
                   nosy fucking neighbors... next thing
                   you know, you're on tilt, you can't
                   think straight, you're clocking your
                   teacher in front of the whole class,
                   me... I'm hitting a damned deer...
                   Man, that was some shitty luck.
                       (then)
                   Anyway, it's pretty clear how we've
                   gotta clean this up. The irony is,
                   you've done all the hard stuff.
                   Whaddaya think: "Troubled youth
                   finally snapped." Maybe because he
                   was jealous of his girlfriend, or
                   maybe he just couldn't deal with the
                   guilt from not saving daddy.
                       (off Kale)
                   Hey, you Googled me.

      Giles steps away, turns back to the bed as Kale suddenly
      does SNAP. He leans forward, grabs the LCD computer monitor
      with his taped wrists, stands, whirls around, and HURLS it
      at GILES, SMACKING HIM on the side of his head -- a one in a
      hundred shot! Giles goes down.

      But the forward momentum of Kale's throw combined with his
      taped ankles causes him to lose his balance. Kale falls to
      the floor, scrambles for the BASEBALL BAT just inches away --

<b>      GILES
</b>
      staggers to his feet and charges Kale. Kale grabs the bat,
      rolls around and swings up at Giles, WHACKING HIM IN THE
      CHEST. Giles doubles over as Kale frantically plants the
      bat on the floor, using it as a "cane" to pull himself back
      to his feet. He HOPS toward Giles, raises the bat, swings
      it, but Giles anticipates, grabs the bat, pulls it forward,
      and REVERSE JABS KALE in the face! Kale staggers back, but
      somehow keeps his balance and the bat. He spins around,
      hops to the door into...

<b>104   INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS                            104
</b>
      Kale rounds the corner and runs smack into ASHLEY.   The
      collision sends Kale back to the floor.

<b>                               ASHLEY
</b><b>                   KALE --
</b>
      Ashley leans down to Kale. Kale gestures with his eyes and
      head: BEHIND YOU! Ashley gets the message, whirls around
      just as Giles GRABS HER. Ashley SCREAMS and knees Giles.

                                                 (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                 101.
</b>
<b>104   CONTINUED:                                                        104
</b>
      He drops her to the floor. Ashley scrambles for Kale, helps
      him to his feet, pulls Kale back down the hall to...

<b>105   INT. DAD'S OFFICE - NIGHT - CONTINUOUS                            105
</b>
      Ashley shoves Kale inside as she spins back, SLAMS the office
      door in Giles' face, locks it. Giles BANGS on the door.

      Ashley goes to Kale, RIPS the duct tape off his mouth.   Kale
      SCREAMS in PAIN as Ashley heads for the desk phone.

<b>                                KALE
</b>                   It's dead.

      Ashley grabs a pair of scissors off dad's desk, cuts Kale's
      ankles and hands free. Kale reaches down to the ankle
      bracelet, furiously tugs at it.

<b>                               ASHLEY
</b>                   Let me try --

      Ashley moves in, tries to cut it loose with the scissors as
      Giles suddenly SLAMS SOMETHING against the door, trying to
      break it down!

<b>                               ASHLEY (CONT'D)
</b>                   Where's your mom --

<b>                               KALE
</b>                       (tugging on bracelet)
                   Living room -- tied up -- he got
                   Ronnie -- in the kitchen --
                       (then; re: bracelet)
<b>                   GODDAMN YOU!!
</b>
<b>                               ASHLEY
</b>                       (giving up with
                        scissors)
                   Okay, just -- I'll get your mom, you
                   figure out a way to call the cops --

<b>                               KALE
</b>                   No, I've gotta get her --

<b>                               ASHLEY
</b>                   Kale, you've gotta get outside, get
                   over the boundary -- do you hear me?

<b>                               KALE
</b>                       (beat; then; an idea
                        sparking)
                   Okay, but -- just follow my lead --
                   we're gonna need stuff --



                                                 (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  102.
</b>
<b>105   CONTINUED:                                                         105
</b>
      Ashley and Kale glance around for weapons. Ashley pockets
      the scissors, grabs a letter opener off dad's desk. Kale
      finds his racketball racket and the ball. Pockets the ball,
      slips the racket in the back of his shorts, then grabs the
      baseball bat as he heads for the bookshelves near the door
      that leads to the outside porch. He reaches up, runs his
      fingers to the third book on the middle shelf, pulls it out,
      flips it open to reveal a KEY that drops in his hand.

<b>                               KALE (CONT'D)
</b>                   Once I have his attention, you go
                   get her.

      Ashley nods. Kale takes the key, heads to the porch door,
      unlocks it with a quiet CLICK. He swings the door open,
      steps out onto...

<b>106   EXT. 2ND FL PORCH - NIGHT - CONTINUOUS                             106
</b>
      Kale raises the bat, swings it at the 2nd floor hallway window
      that separates the interior of the house from the porch.
      The window SHATTERS. Kale tosses the bat back to Ashley.

<b>                               KALE
</b>                       (to Giles O.S.)
                   We're out here, asshole!

      There's a lull in the thunder. All becomes eerily quiet for
      a beat as Kale waits for Giles to appear at the window. He
      glances back at Ashley who ducks behind the wall inside dad's
      office -- she glances to the office door. No more BANGING.
      She shrugs to Kale: "where is he?"

      Another beat, then suddenly -- a FLASH OF LIGHTNING reveals

<b>      GILES
</b>
      Standing in the other porch doorway BEHIND KALE!

<b>                                ASHLEY
</b>                   Kale!

      Kale whirls around just as Giles reaches out, grabs him by
      the throat, pulls him off his feet and HURLS KALE through
      the shattered window into the hallway!

<b>                                ASHLEY (CONT'D)
</b>                   NO!   You son of a --

      Ashley charges out onto the porch with the bat. Swings it
      at Giles who promptly RIPS it from her hand and hurls it off
      the porch. Ashley whips out the letter opener, spins around,
      about to stab Giles, but he backhands her. Ashley falls,
      SMACKS her head on the porch railing.


                                                  (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                   103.
</b>
<b>106   CONTINUED:                                                          106
</b>
      She drops to the floor, half conscious as Giles picks up the
      letter opener, turns his attention back to the 2nd floor
      hallway window --

<b>      HIS POV - THE HALLWAY - KALE'S GONE.
</b>
      WHIP PAN to behind Giles -- REVEAL KALE - CHARGING OUT the
      same porch door Giles just came out! Kale uses his FULL
      BODY WEIGHT to SHOVE Giles back through the SAME BROKEN WINDOW
      and into the hallway!

<b>                                KALE
</b>                   Ashley!   Are you okay?

<b>                               ASHLEY
</b>                   I wanna kill him --

<b>                               KALE
</b>                   Stick to the plan --

      Over this, Kale pulls Ashley to her feet. They share a smile
      as Ashley ducks into the porch door leading to Kale's room.
      Kale turns back --

<b>      KALE'S POV - A BLOODY GILES
</b>
      Gets to his feet and heads toward the window.   Kale turns
      for the ladder, starts climbing up.

      Giles pursues, steps out the window as we see Ashley, in the
      b.g., appear from Kale's bedroom and race for the stairs!

<b>107   EXT. ROOF - NIGHT - CONTINUOUS                                      107
</b>
      Kale reaches the top of the ladder, steps onto the roof, but
      Giles, from below, HEAVES THE LADDER UPWARD, tripping Kale.
      Kale SLAMS down on the roof, smacks the back of his head.

      KALE'S BLURRY POV - against a fury of lightning flashes,
      Giles races up the ladder and steps onto the roof. Stalks
      toward Kale.

      Kale gets to his feet, draws the racketball racket from his
      shorts, takes out the ball, assumes a professional looking
      serving position and WHAM! Kale beams the ball at Giles --
      and misses completely.

<b>                               KALE
</b>                   That was a warning!

      Giles rushes Kale who wails on him with the racket. Giles
      ducks, spins around, brings his fist up and punches Kale in
      the chest.



                                               (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                     104.
</b>
<b>107   CONTINUED:                                                            107
</b>
      Kale drops the racket. It slides away down the roof as Kale
      doubles over. But Giles grabs Kale before he can fall. He
      pulls Kale up off his feet, pulls him closer, gets in his
      face. Kale summons some strength, tilts his head up and
<b>      HEADBUTTS GILES.
</b>
      Giles stumbles back, pulling Kale with him. Giles SLAMS
      down on the roof. He and Kale roll down the incline and
      stop just short of the edge --

      Kale looks over, spots his STEREO SPEAKER a few feet away.

<b>108   INT. LIVING ROOM - NIGHT - CONTINUOUS                                 108
</b>
      Ashley rounds the corner, heads to Julie.

<b>                               ASHLEY
</b>                   Hi, Mrs. Brecht, I'm Ashley --
                       (re: duct tape)
                   It's gonna hurt.

      Julie nods as Ashley RIPS the tape off Julie's mouth.

<b>                               JULIE
</b>                       (not flinching)
                   Where's Kale?

<b>109   EXT. ROOF - NIGHT - CONTINUOUS                                        109
</b>
      Kale HURLS the speaker at Giles', SMACKING him hard.        Giles
      shakes it off, grabs the speaker wire --

      WITH KALE - he gets to his feet, heads back up the roof as
      Giles suddenly whips out the letter opener and hurls it like
      a THROWING KNIFE at Kale.

      The letter opener embeds itself in the back of Kale's thigh.
      Kale screams, falls to his knees.

      CU - Kale cringes from the pain as Giles, now right behind
      him, wraps the SPEAKER WIRE around Kale's NECK and pulls.
      Kale grabs for it as Giles chokes the life out of him. Kale
      only has one chance. He reaches behind his leg, grabs the
      embedded letter opener, RIPS it away, twirls it in his hand
      and shoves it back into Giles' stomach!

      Giles recoils as Kale flings himself away from the choke-
      hold, falls back to the roof, rolls down and PLUMMETS to --

<b>110   EXT. GARAGE ROOF - NIGHT - CONTINUOUS                                 110
</b>
      Kale hits HARD, the wind knocked out of him. He looks over,
      sees his racketball racket lying there. He grabs it, looks
      back up.


                                                    (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                    105.
</b>
<b>110   CONTINUED:                                                           110
</b>
      KALE'S POV - Giles stands on the upper roof, smiles as he
      brings up the letter opener.

      Kale's eyes widen. He pulls himself to his feet, and sidearms
      the racket up at Giles. The racket spins through the air
      like a boomerang and miraculously smacks Giles in the hand,
      knocking the letter opener away!

      WITH KALE - he whirls around, races toward the edge of the
      roof... and JUMPS.

<b>      ANGLE: FOLLOWING BEHIND KALE IN MID AIR, WE CRANE UP AND
</b><b>      OVER HIM PEERING DOWN TO REVEAL ASHLEY'S POOL!
</b>
      ON THE ANKLE BRACELET - it FLASHES RED.

<b>      EXT. ASHLEY'S BACK YARD/SWIMMING POOL - NIGHT - CONTINUOUS
</b>
      Kale drops into the pool with a tremendous SPLASH!    He pulls
      himself to the surface, peers up --

      KALE'S POV - the roof -- Giles is gone.

      Kale frantically swims to the edge, pulls himself out --

<b>111   INT. KITCHEN - NIGHT - MOMENTS LATER                                 111
</b>
      The kitchen door slowly pushes open. After a beat, Kale
      quietly steps in, heavily armed with a swimming pool LEAF-
<b>      SKIMMING NET.
</b>
      Another FLASH OF LIGHTNING illuminates the kitchen. Kale
      cautiously rounds the island, glances down: Ronnie's gone.
      He glances to the block of butcher knives -- empty.

      Kale grabs a couple of table knives from the kitchen drawer,
      opts to keep the leaf-skimming net as he makes his way out
      of the kitchen and into...

<b>112   INT. ENTRY HALL - NIGHT - CONTINUOUS                                 112
</b>
      Breathing hard, Kale glances around, up the stairs --    No
      sign of Giles. He rounds the corner into...

<b>113   INT. LIVING ROOM - NIGHT - CONTINUOUS                                113
</b>
      Julie's GONE. Kale's eyes widen. He turns around     as ASHLEY
      suddenly jumps up from behind the sofa brandishing   a BUTCHER
      KNIFE! She exhales in relief at the sight of Kale    who rounds
      the back of the couch, sees Ronnie's body lying on   the floor
      next to the entire set of butcher knives.

<b>                               KALE
</b>                   Where's my mom?


                                                (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                   106.
</b>
<b>113   CONTINUED:                                                          113
</b>
<b>                               ASHLEY
</b>                   She went upstairs for you -- where's
                   Giles?

<b>                               KALE
</b>                   I don't know -- the cops should be
                   here any sec --

      The doorbell RINGS. Kale and Ashley whip their heads to the
      door. Kale throws a troubled glance out the window --

<b>                               ASHLEY
</b>                   What's wrong?

<b>                               KALE
</b>                   No flashing lights -- stay here --

      Kale trades Ashley the net for the butcher knife.     We then
      FOLLOW KALE into...

<b>114   INT. ENTRY HALL - NIGHT - CONTINUOUS                                114
</b>
      Still no sign of Giles -- Kale turns back to Ashley, then
      heads to the front door --

      PEEPHOLE POV - Parker.

      Kale swings the door open.

<b>                               PARKER
</b>                   Kale, what's going on now?

<b>                               KALE
</b>                   Parker, where's the cavalry?!

<b>                               PARKER
</b>                   I told 'em don't bother, you were my
                   responsibility --

<b>                               KALE
</b>                   Parker, you need to get them here
                   right now -- Giles is --

<b>                               GILES (O.S.)
</b>                   Evening.

      Parker turns to see Giles casually walking up the front steps.

<b>                               KALE
</b><b>                   PARKER LOOK OUT, HE'S THE --
</b>
      As Parker turns, Giles suddenly GRABS HER, spins her around
      and TWISTS HER NECK. Parker drops forward into the entry
      hall.


                                                   (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                  107.
</b>
<b>114   CONTINUED:                                                         114
</b>
      Kale stumbles back inside the door, tries to SLAM it closed,
      but Giles overpowers Kale, shoves the door open, knocking
      Kale to the floor. The butcher knife slides away under a
      table.

      Giles enters, kicks Parker's body out of the way and closes
      the door. He steps toward Kale as Ashley, from O.S. suddenly
      drops the LEAF-SKIMMING NET OVER HIS HEAD and furiously YANKS
      Giles back to the floor!

      Kale gets to his feet, grabs a vase off the entry hall table
      and SMASHES it over Giles' head. Giles rolls away, only to
      be KICKED HARD in the face by Ashley.

      Kale and Ashley TAG TEAM Giles. But Giles finds an opening
      and elbows both Ashley and Kale back to the floor. Kale
      scrambles for the butcher knife back down the entry hall.

      Giles gets to his feet, pounds after Kale who slides the
      butcher knife out from under the table. But Giles suddenly
      STOMPS down on Kale's hand.

      Giles lifts his foot up. Kale pulls his hand away. Giles
      kicks the knife away, grabs Kale up, SLAMS him against the
      staircase banister, splintering it.

      Kale drops back to the floor. Giles leans down to pick him
      up when the BUTT OF A SHOTGUN suddenly SLAMS into the back
      of Giles' head! Giles tumbles forward, spins around to see

<b>      JULIE
</b>
      standing on the staircase with a 12-GAUGE SHOTGUN -- KABOOM!

      Julie BLOWS GILES BACK INTO THE WALL!   -- And THAT'S WHERE
<b>      HE STAYS.
</b>
      Julie races down to Kale, hugs him tight. Ashley comes to,
      slowly makes her way over and joins the huddle...

<b>                                                        DISSOLVE TO:
</b>
<b>      MONTAGE
</b>
<b>115   EXT. NEIGHBORHOOD - DAWN                                           115
</b>
      - Police, squad cars, ambulances surround Kale's and Giles'
      houses...

      - CRIME SCENE TECHS tape off Giles' entire back yard...

<b>116   INT. LIVING ROOM - DAWN                                            116
</b>
      - SUITED detectives jot notes as they question Kale, Ashley,
      Julie...

                                                (CONTINUED)     D.J. Caruso
<b>
</b><b>                                                                   108.
</b>
<b>116   CONTINUED:                                                          116
</b>
      - Kale hands the detective the VIDEO TAPE...

<b>117   INT. GILES' HOUSE                                                   117
</b>
      - DETECTIVES and CRIME SCENE TECHS slide the bookcase away
      to reveal the body of the dead club girl... CAMERAS FLASH...

<b>118   INT. KITCHEN - DAY                                                  118
</b>
      - Kale sits on the island as CASE OFFICER #2 removes the
      ankle bracelet. Julie and Ashley watch in the b.g...

<b>119   EXT. GILES' BACK YARD - DAY                                         119
</b>
      - Crime scene techs excavate portions of Giles' back yard...

      - A crime scene tech waves his colleagues over, points down...

      - GLOVED HANDS of techs gently clear the damp earth away to
      reveal an ARM and HAND... and matted strands of RED HAIR...

<b>120   EXT. GILES' FRONT YARD - DAY                                        120
</b>
      - A REPORTER stands at the end of Giles' driveway as CRIME
      TECHS carry body bags to the coroner's van in the b.g...

<b>                               REPORTER
</b>                   ...the body of Partricia Walsh,
                   missing since last week, has been
                   recovered along with the remains of
                   at least three other women.
                   Authorities say Giles meticulously
                   maintained his yard, mowing the lawn
                   routinely in order to avoid the
                   formation of sinkholes which could
                   have exposed his terrible secret...

<b>                                                           HARD CUT TO:
</b>
<b>121   INT. COUNSELOR'S OFFICE - DAY                                       121
</b>
      A cleaner-cut Kale sits across from a COUNSELOR.

<b>                               KALE
</b>                       (beat)
                   He was my best friend. We always
                   talked about what guys talk about...
                   sports, women... food... We were
                   talking about the freakin' fish --
                   this huge, amazing black bass we'd
                   just caught -- and how we'd be eating
                   it for a week... the next thing I
                   know -- I can't hold on... and he's
                   letting go... I was so pissed at
<b>                               (MORE)
</b>
                                                 (CONTINUED)    D.J. Caruso
<b>
</b><b>                                                                        109.
</b>
<b>121   CONTINUED:                                                               121
</b>
<b>                               KALE (CONT'D)
</b>                   him, I was so -- he's the one who
                   left, he's the one who gave up, you
                   know? -- But that's b.s. See, the
                   truth is, my dad -- He saved me.

<b>122   INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY                              122
</b>
      CU - The doorknob.       A hand slowly enters frame.

      WIDER TO REVEAL Kale and Julie stand outside the door that's
      now been fixed.

<b>                                 JULIE
</b>                   You ready?

<b>123   INT. DAD'S OFFICE - DAY - CONTINUOUS                                     123
</b>
      Kale and Julie enter with two large boxes, set them on the
      floor. They both take breaths, then -- start sifting through
      dad's things, deciding which items to keep and which to box
      up... As they carefully consider each one we slowly PULL
      BACK and

<b>                                                             HARD CUT TO:
</b>
      BINOCULAR POV - Giles' house.        The yard's been completely
      put back together. We are...

<b>124   INT. KALE'S BEDROOM - WEEKS LATER                                        124
</b>
      CU - KALE intently watches.        Then:

<b>                                 KALE
</b>                   Movement.

      Ashley joins him at the window.

      THEIR POV - Julie, wearing her realtor business suit, walks
      a YOUNG COUPLE up Giles' driveway and into the back yard...

<b>                               ASHLEY
</b>                   Why's your mom doing this again?

<b>                               KALE
</b>                   She's whacked. Plain and simple. I
                   think she thought it'd be some sick
                   challenge or something -- hey,
                   commission's the same I guess...

      They watch as Julie points out the yard to the couple. The
      couple turns back to the house. Julie suddenly spins around
      and gives a quick sotto "thumbs up" to Kale and Ashley!



                                                     (CONTINUED)   D.J. Caruso
<b>
</b><b>                                                                    110.
</b>
<b>124   CONTINUED:                                                           124
</b>
<b>                                KALE (CONT'D)
</b>                   No way.   She can't be serious.

<b>                               ASHLEY
</b>                   Hey, if anyone can spin a psycho
                   house into the opportunity of a
                   lifetime, I'd bet on your mom any
                   day of the week.

<b>                               KALE
</b>                       (re: the couple)
                   Fine, but we still have to seriously
                   question the yayhoos buying the place.

<b>                               ASHLEY
</b>                   Whaddaya think, another stakeout?

<b>                               KALE
</b>                       (tossing the binoculars)
                   Screw that. My mom has another half
                   hour over there at least.

      Kale pulls Ashley back to the bed. They kiss, but then
      suddenly stop -- sensing something O.S. They both slowly
      shift their heads to see --

      THEIR POV - Ronnie, with a head bandage, stands in the
      doorway, aiming his DV camera straight at them.

<b>                               RONNIE
</b>                       (don't mind me)
                   I'm not even here.

      Off this we --

<b>                                                         SMASH TO BLACK.
</b>
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	<td><h1>Disturbia</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Christopher Landon" title="Scripts by Christopher Landon">Christopher Landon</a>&nbsp;&nbsp;<a href="/writer.php?w=Carl Ellsworth" title="Scripts by Carl Ellsworth">Carl Ellsworth</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Thriller" title="Thriller Scripts">Thriller</a><br><br><br>
		
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How does Kale alert the police?
How does Kale alert the police ?
By leaving his house to try and save Ronnie.
By leaving his house to try and save Ronnie .
Tripping ankle bracelet
Tripping ankle bracelet