I See You

I SEE YOU
by Devon Graye
WHITE Production Draft April 26,2018

OFFICIAL WHITE Shooting Draft May 2, 2018
ZODIAC FEATURES
Adam Randall, Director
May 2nd, 2018
DARKNESS
An eerie Ice Cream Truck JINGLE brings us to --
1 EXT. CHAGRIN FALLS - DAY 1
A street ripe with nostalgia, shimmering in the twilight of a

low hanging sun. A group of young BOYS (10-12) gather outside
an ice cream truck. Klondike bars, chocolate dip cones, grape
popsicles.
One of the boys peels away from the others on his bicycle,
his friends waving and hollering as he goes. This is JUSTIN
WHITTIER (10), at ease in his ever-predictable community.
2 EXT. NEIGHBORHOOD STREETS/PARK - DAY 2
MONTAGE SHOTS of Justin as he pedals through the

neighborhood: his small hands on the handle bars. Red tennis
shoes on the pedals. Matching red backpack over blue soccer
jersey. He speeds past homes, waving at NEIGHBORS. He rides
alongside the river, saluting passing JOGGERS. He speeds
across a bridge; roaring, dirty water beneath him. He rounds
a corner into a densely wooded park.
3 EXT. WOODS - DAY 3
Branches sway, slightly obstructing the view of Justin as he

winds along the wooded road.
He speeds up, bumping and bouncing over the rough terrain,

loving every moment.
Above, dozens of birds suddenly swoop into the air - a loud

cacophnoy of wings flapping, strained branches and rustling
leaves. Justin glances up.
His body is suddenly knocked backwards by an invisible force,

sending him flying. His bike continues for a few feet before
toppling over with a thud.
The bike lies abandoned in the leaves.
4 EXT. HARPER RESIDENCE - NIGHT 4
The Harper house stands tall at the center of a row of other

upscale homes.
OFFICIAL WHITE SHOOTING DRAFT 5/2/18 2.
5 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY - NIGHT 5
It’s chillingly still.
6 INT. HARPER RESIDENCE, MASTER BEDROOM - NIGHT 6
A soft-featured WOMAN sleeps alone in the bed, a handful of

prescription bottles cluttering the nightstand.
7 INT. HARPER RESIDENCE, CONNER’S ROOM - NIGHT 7
A hamster runs laps on a wheel in his cage. A popsicle stick

horse stands freshly built on the desk beside it. The
sleeping form of a TEENAGE BOY in bed.
8 INT. HARPER RESIDENCE, FRONT STAIRWAY - NIGHT 8
Framed photographs line the wall, memories frozen in time of

a quintessential, all-American family.
9 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - NIGHT 9
The large living room, quiet and eerie. The TV is on, volume
muted, its light flickering across the room. Fire embers
slowly die in the fire place.
In the blink of an eye, a SHADOWY FORM moves.
10 EXT. EDGEWATER DRIVE / HARPER RESIDENCE - MORNING 10
The Harper Residence, large and intimidating, on the quiet *

suburban street. *
11 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - MORNING 11
JACKIE HARPER (late 40’s, dressed in casual business attire)

stands over the stove. Her eyes dart to the empty living room
in front. She seems lost, dazed...
CONNER
Something’s burning.
She snaps out of it, notices the pancake burning in the pan
in front. She quickly turns down the heat.
JACKIE
Damnit.
CONNER HARPER (15), sits down at the breakfast bar. He has a

horse made of popsicle sticks next to him. He’s sharp, head-
strong, but still very much pubescent. He takes in his mom
and the plate of pancakes beside her.
CONNER
My birthday isn’t for another two
months.
JACKIE
I know that. I can make you
pancakes.
Conner looks at her. She’s pathetic. He pulls a box of

Weetabix towards him.
CONNER
I’m good.
Jackie watches, dejected, as he sits at the table and grabs

handfuls of the cereal directly from the box.
JACKIE
Please, don’t do that.
He ignores her. Jackie grabs a bowl from the cupboard and

sets it in front of him. At the same time, her cell phone
buzzes on the table. Conner eyes it and Jackie snatches it
away, quickly, ignoring the call.
CONNER
Who’s that?
Jackie searches the top shelf of a cabinet. She looks in the

empty dishwasher. Conner watches her.
JACKIE
Have you seen my mug? The one with
the sunflowers?
He looks down, pretends to be lost on his cell phone. He

shakes his head. Jackie’s eyes flicker to the back of the
sofa. She looks back in the cabinet, then back to Conner.
JACKIE (CONT’D)
You need money for lunch?
He shakes his head again, not looking up.
JACKIE (CONT’D)
I’m going to be late.
She lingers for a moment longer, then exits into the garage.
On the couch, GREG HARPER (late 40s) stares vacantly up at

the ceiling. He’s a little disheveled, eyes heavy, stubble a
long way past a 5 O’Clock shadow. But beneath he’s handsome,
with piercing, cavernous eyes.
GREG
You should’ve gone for the
pancakes.
CONNER (O.S.)
And given her the satisfaction?
He pulls himself up with effort and looks at his son, his

mini-me at the table.
CONNER (CONT’D)
So when did you start sleeping on
the couch?
GREG
Oh, nah, I...I just keep passing
out in front of the TV.
CONNER
I mean, not that I blame you. It
was a pretty shitty thing, what she
did.
GREG
Hey, language.
Greg eyes Conner’s fresh shiner. *
GREG (CONT’D) *
So, you’re getting into fights now? *
CONNER *
They were being assholes. *
GREG *
That’s no excuse, Conner. You can’t *
just... life is full of assholes... *
He takes in his son. *
GREG (CONT’D) *
Look, I know things between your *
mom and me have been -- *
CONNER *
That has nothing to do with this. *
A heaviness hangs. *
GREG *
So whats the other kid look like? *
CONNER *
There were two kids. One of them *
cried. *
Greg studies Conner’s feigned toughness, cant help but smile. *
12 INT. HARPER RESIDENCE, STAIRWAY - MORNING 12
Greg meanders up the stairs. He stops at something on the

wall, mid-way up -- One of the hanging photographs lining the
stairway has been removed. The frame still hangs, but the
picture is no longer inside. Greg stares at it. Strange. He
looks to a neighboring photo: He and Jackie on a beach,
happier times. This hits him hard.
13 INT. HARPER RESIDENCE, MASTER BEDROOM - MORNING 13
The phone rings. Greg, half dressed for work, wearing a

holster, answers.
GREG
Yeah.
JACKIE (V.O.)
Hey, it’s me.
No response from Greg.
JACKIE (V.O.)
I didn’t want to wake you earlier.
But... there’s pancakes, if you
want, I made, so. And-
GREG
That’s why you’re calling?
JACKIE
I- Conner didn’t want-
GREG
I already ate. I’ll see you later.
He hangs up.
Holds a beat. Then in exasperated rage, hurls the phone at

the bedroom window. GLASS SHATTERS. He stops, stunned. He
stares at the broken window: Fuck my life.
He approaches it and looks out, the smashed phone on the

patio below. As he goes to turn, he spots something perched
on the edge of the roof - Jackie’s ceramic mug with
sunflowers.
14 EXT. HARPER RESIDENCE, ROOF LEDGE - MORNING 14
Open window behind him, Greg walks to the mug on the edge of
the roof. He picks it up. Cigarette butts float at the
bottom.
GREG
Jesus Christ, Conner.
15 INT/EXT. HARPER RESIDENCE, NEARBY WINDOW - MORNING 15
POV - we watch Greg on the roof from the window behind.
LYDIA (O.S.)
(PRELAP)
I feel bad. Obviously.
16 INT. PSYCHIATRIST OFFICE - DAY 16
LYDIA (35), a troubled patient, sits on the office sofa. She

has a notebook on her lap.
LYDIA
And this journal? It isn’t helping.
We reveal Jackie, sitting in a chair opposite Lydia. Her

psychiatrist.
LYDIA (CONT’D)
It didn’t stop me, anyway.
JACKIE
One step at a time.
LYDIA
Yeah, that’s what you said last
time. I broke someone’s arm, so...
JACKIE
Why do you think you relapsed?
LYDIA
I don’t know. Maybe I’m just
rotting, underneath.
A quiet beat.
LYDIA (CONT’D)
Our Pastor started a new sermon
this month on sin. He quoted a
verse. Proverbs 20:22 “Do not say,
‘I will repay evil,’ wait for the
Lord, evade the devil.”
JACKIE
What does that mean to you?
LYDIA
What does it mean? It means stop
doing stupid shit.
Jackie smiles.
LYDIA (CONT’D)
Doctor Harper... Do you believe in
evil?
Jackie thinks on this for a moment.
JACKIE
No.
17 INT. PSYCHIATRIST OFFICE - LATER 17
Jackie is at her desk, her back to us. The office otherwise

empty. She breaks a pill in half. She swallows it down. The
piercing sound begins to subside.
18 EXT. POLICE STATION - DAY 18
Greg pulls up in his SUV and gets out. He haphazardly juggles

a cake made of depends. It’s been decorated with “old man”
products: hemorrhoid cream, gas relief pills, etc.
SPITZKY (O.S.)
You gotta be shitting me.
Greg whirls around, caught. SPITZKY (64), a gruff-looking

detective with a heart of gold, stands just behind him.
GREG
Can you at least act surprised?
SPITZKY
You got five minutes.
Greg hurries past, arms full.

19 INT. POLICE STATION, BULLPEN - DAY 19
Several quiet beats as the room of eager-beaver cops HUSH

each other. Then, the door opens and Spitzky enters to --
POLICE FORCE
SURPRISE!!!
Various COPS hoot and holler. A banner hangs: “WE’LL MISS

YOU, OL’ FART”.
SPITZKY
What’s that? The beach is calling
in Tahiti. Enjoy my cake while
you’re all chained to your desks.
He eyes Greg, standing off to the side next to some balloons

and cake -- a real one, with frosting. He winks.
A young police woman, GRACE CALEB (27), freckled and

tomboyish, joins Greg at his side.
OFFICER CALEB
Someone almost ruined the surprise.
GREG
Long morning.
OFFICER CALEB
Well, I think it’s about to get
longer. Davis wants to see you in
her office.
Greg turns to her, furrowed brow.
OFFICER CALEB (CONT’D)

I’ll save you some frosting.
20 INT. POLICE STATION, DAVIS’ OFFICE - DAY 20
CLOSE ON the picture of a doe-eyed TEN-YEAR-OLD BOY in a case

file. Greg holds it in his hand. LIEUTENANT MORIA DAVIS (55),
black, tough as nails, stands on the other side of her desk.
LIEUTENANT DAVIS
Justin Whitter. Ten-years-old. Went
missing on a bike-ride last night
near Troubadour Park. Park ranger
found the bike, no boy.
Greg takes the picture, studying it.

GREG
Just like Michael King.
LIEUTENANT DAVIS
We’re not sure if the two are
connected. Michael King was
abducted cycling to a corner store
in the city. Justin Whitter is a
local boy. Good home, respected
family. He went missing on county
lines, but as of nine o’clock this
morning, the case was ruled ours.
GREG
Does Spitz know about this?
LIEUTENANT DAVIS
It’ll be up to him if he wants to
get involved.
GREG
He’ll want to get involved.
LIEUTENANT DAVIS
I’ll let you manage the situation
as you see fit.
(then)
You’re lead on this.
Greg looks up, surprised, then realizing.
GREG
Right.
Greg looks back to the smiling face of the cute little boy in
the case file. CLOSE ON the boy’s face as we transition to --
21 OMITTED 21 *
22 INT/EXT. JACKIE’S MINIVAN, CHURCH - DAY 22
Jackie drives, pulling to a stop at a red light.
Out her window she watches as a group of second grade school

CHILDREN run wild in an expanse of lawn outside a church. A
marquee reads: “STUDENTS OF ST. PETERS, CELEBRATE SPRING, HE
HAS RISEN.”
One of the TEACHERS exits the church and whispers into the
ear of another teacher, prompting sudden alarm. It’s eerie. *
A23 EXT. HARPER RESIDENCE, GARAGE - DAY A23
The garage door creaks to a close.
23 INT. HARPER RESIDENCE, HALLWAY/KITCHEN - DAY 23
Jackie enters from the garage.
As she enters the kitchen her phone BUZZES, a call coming in.
Jackie angrily ignores it, once again. Her eyes stop at
something in the kitchen -- the silverware rack is empty, all
of it missing from the open drawer.
A loud CRASH echoes from somewhere upstairs. Jackie jumps.
JACKIE
Conner? Gregg?
Nothing.
24 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY / MASTER BEDROOM - 24

DAY (CONTINUOUS)
Jackie stealthily makes her way along the hallway towards the
master bedroom.
JACKIE
Greg?
She enters the bedroom, creeping round the corner.
A wirey STRANGER is knelt down by her bed, his back to her.
She nearly screams, eyes wide with panic. She goes to step
backwards but the man suddenly turns towards her.
JACKIE (CONT’D)
Oh my god! Oh god!!
STRANGER
Whoa. Whoa, lady! Easy. I’m just
the window-repairman. Easy, easy.
I’m not gonna hurt ya.
He has headphones in, tinny music just about audible. He

stands. And now she can see that he is, indeed, wearing a
repairman’s uniform and holding a bag of tools. Jackie
exhales, rattled.
JACKIE
What are you doing here?
WINDOW-REPAIRMAN
Your husband called about a broken
window. Just finished putting in a
new one for ya.
25 INT. HARPER RESIDENCE, FRONT DOOR/ HALLWAY - DAY 25
The repairman stands at the bottom of the stairs squiggles on

his pad. He rips an invoice sheet off and hands it to Jackie.
WINDOW-REPAIRMAN
Okey-dokey. Give me a jingle if ya
have any problems with it.
His cell phone RINGS a cheery little diddy.
WINDOW-REPAIRMAN (CONT’D)
Ya have a good day now.
JACKIE
Oh... Thank you.
He’s half way out the door when it suddenly dawns on her-
JACKIE (CONT’D)
How did you... who let you in?
WINDOW-REPAIRMAN
Huh? Oh, that kid of yours- very
polite.
He answers the phone.
WINDOW-REPAIRMAN (CONT’D)
You’ve trained her well.
JACKIE
I’m sorry? Who?
But he’s already out the door, talking on his cell. Jackie
stares ahead, uneasy. She glances up the stairs. The landing
looms. Foreboding.
26 EXT. TROUBADOUR PARK - DAY 26
The small bicycle lies by the stream, haphazardly covered in

dirt and branches.
Officer Caleb addresses several dozen COPS and a small army

of local VOLUNTEERS. Greg and Spitzky stand off to the side.
A Media Van unpacks gear near the entrance to the park.
OFFICER CALEB
...and anything you find could be
important. Justin Whitter was last
seen wearing a blue soccer jersey,
jeans and red tennis shoes. His
bicycle...
Her voice trails off as Greg and Spitzky walk towards the car
park. Spitzky eyes the TV REPORTERS and CAMERA MEN.
SPITZKY
Media’s gonna make a circus out of
this thing. The whole town’s
already talking about it.
(pointedly to Greg)
They’re going to want answers, you
know? And fast.
Greg nods, trying not to let the pressure get to him. In the
background, the officers and civilians depart into the wooded
terrain.
Greg’s cell phone BUZZES. He looks: JACKIE’S CELL.
GREG
We need lab analysis from samples
of the mud in the parking lot. Had
to get the kid out of here somehow
right? Might have tracked something
in on his vehicle.
SPITZKY
Probably looking at a sedan or a
coupe of some kind. Would’ve taken
the bike otherwise.
Greg’s phone BUZZES again. He looks at it.
GREG
Unless he wanted us to find it.
Spitzky observes his pensive partner. After a beat --
SPITZKY
You know, Denise and I went through
that rough patch end of last year.
GREG
Spitz.
SPITZKY
I’m not saying I know anything,
just there was a counselor who --
GREG
Jackie is a counselor.
(beat)
We’re fine.
Spitzky is quiet for a beat. His eyes drift to the park.
SPITZKY
I know someone who’d like you not
to be.
Greg follows his gaze and sees Officer Caleb standing in the
tall grass. She smiles innocently, catching his eye. She
turns away and Spitzy elbows Greg playfully.
GREG
Stop.
COP ON RADIO (V.O.)

Sir, we found something.
27 INT. TROUBADOUR PARK, WOODS - DAY (MOMENTS LATER) 27
Several volunteers huddle around a dirt path in the thick

woods.
SPITZKY
Step aside, people. Nobody touch
anything.
Spitzky and Greg clear a path for themselves, followed

closely by Caleb and other Officers. They stop dead at the
object in the grass: a small, green Swiss Army knife. One of
it’s blades hangs out, exposed.
SPITZKY (CONT’D)
Jesus Christ.
There’s something Spitzky doesn’t like about this.
OFFICER CALEB
Sir, should we take it in?
SPITZKY GREG
Yes, you... Yeah, pho...
Spitzky stops, slightly embarrassed. He motions for Greg to

continue.
GREG (CONT’D)
Yeah. Photograph it. Then bag it.
Thanks, Caleb.
Greg smiles at her and she smiles back. Spitzky moves away,
looking like he’s about to be sick. Greg follows.
GREG (CONT’D)
You okay?
SPITZKY
You remember Cole Gordon? It was
before your time but you must have-
GREG
Yeah, of course, who doesn’t
remember - the green knives?
SPITZKY
Seven boys. All found buried with
those knives.
GREG
But he’s-
SPITZKY
I know. I helped put him there. He
ain’t getting out.
GREG
So what does that mean?
Spitzky shakes his head, deeply troubled.
28 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM/ FRONT HALL - DUSK

28 *
Jackie and Conner sit at the kitchen table. They eat in

silence, both wielding plastic utensils. Finally --
JACKIE
Could you pass me the dressing?
Without looking up, Conner slides the bottle of ranch across

the table.
JACKIE (CONT’D)
Thank you.
More silence. Jackie tries her best to feign normalcy.
JACKIE (CONT’D)
How was school?
CONNER
(sarcastic enthusiasm)
It was the best. I love school.
JACKIE
Conner.
(beat)
Conner?
CONNER
What?
She doesn’t speak. They eat on in silence. After a beat --
JACKIE
Did you let a repairman in today
when I wasn’t here?
CONNER
Jesus, mom, is that who it was? Did
you screw a repairman?
This stings. Jackie fights back the urge to retaliate. She

takes a breath.
JACKIE
I know your angry-
CONNER
How could you do that? How could
you do that to Dad?
Jackie rubs her temples, the ringing starting up again.
CONNER (CONT’D)
Who was it?
JACKIE
Just someone. An old...friend.
He looks away, tears forming. Jackie extends her hand to

sweep the hair away from Connor’s forehead. He pulls away.
CONNER
You don’t get to do that. You don’t
ever get to do that again!
The ringing grows. She tries to push it aside, to focus on

Conner.
CONNER (CONT’D)
You don’t get to act like nothing
happened. You think pancakes will
make it all okay?
JACKIE
Conner stop, please...
CONNER
You ruined our family and you
should fucking pay for it!
JACKIE
STOP IT!!
She slams the table, rattling the glasses. It’s startling.

Conner stares, astounded.
CONNER
Jesus Christ, mom.
He storms off, leaving her alone at the table.
He swings open the front door - *
CONNER (CONT’D) *
I’m going out! *
He slams it. Jackie finishes off a tall pour of white wine. *
29 OMITTED 29 *
Jackie cleans up the kitchen, lost in thought. Suddenly, the

TV turns on, scaring the hell out of Jackie. to A NEWS
BROADCAST:
REPORTER
(ON TV)
... Whitter is the second boy
reported missing in the last month.
Nine-year-old Michael King, went
missing two blocks from his...
It’s a split screen of Justin Whitter and MICHAEL KING,

giving toothy grins in their school photos. Jackie grabs the
remote off the kitchen island and turns it off. She looks at
the remote curiously, then returns to the dishes.
After a beat, the TV turns on again to the same NEWS

BROADCAST: (The volume increases LOUDER and LOUDER as the
Reporter speaks)
REPORTER (CONT’D)
(ON TV)
...are urging parents to keep young
children close and supervised at
all times. At a press conference
today...
Jackie whirls around. Dumbfounded. She scoops up the remote.

What the hell?
The door from the garage OPENS and Jackie jumps, spinning
around to face -- Greg. He stares at her, blankly.
GREG
What?
JACKIE
Hi. I didn’t hear you pull in.
(beat)
I tried calling you a bunch. How
was your day?
He shrugs. He opens the fridge and takes a beer.
JACKIE (CONT’D)
You broke a window?
He ignores this, sipping his beverage.
JACKIE (CONT’D)
I called and reported that
repairman they sent out. There was
something wrong with him. I think
he stole from us.
Greg turns to her, irked.
GREG
You what?
JACKIE
The silverware is completely gone.
Look in the drawer. And he made up
some story. About a girl helping
and --
GREG
Why would he take our shitty
silverware?
JACKIE
I don’t know, Greg, but it isn’t
there. His superiors are going to
look into it.
GREG
What is wrong with you?
Jackie isn’t sure how to answer. Greg has no patience for

this.
GREG (CONT’D)
Take some more of your pills. Get
it together.
He meanders up the stairs. Stung, Jackie looks back to the

NEWS BROADCAST. MRS. WHITTER (39) is addressing the camera at
a press conference. She weeps.
MRS. WHITTER
(ON TV)
...he’s very excited about starting
5th grade. He picked out red
sneakers just especially for...
31 INT. HARPER RESIDENCE, STAIRWAY - NIGHT 31
On his way up stairs, Greg stops at the wall of pictures --

Another photograph is missing from it’s frame: the photo of
he and Jackie smiling on a beach. Greg eyes it, confused.
32 OMITTED 32
33 OMITTED 33
34 INT. HARPER RESIDENCE, MASTER BATH - NIGHT 34
Greg stands over the sink, removing his watch and ring. He
notices Jackie’s prescription medications and picks it up. It
reads: HARPER, JACQUELINE. AMBIEN 10MG TABLETS
Something suddenly catches his eye in the doorway -- It’s

Pringles, Conner’s hamster, meandering in hallway.
GREG
Hey, how’d you get in here?
He pockets the pills and advances. The spooked animal

scurries out into the hall.
35 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY - NIGHT (CONTINUOUS)

35
Greg pursues the creature, following its beeline into --

36 INT. HARPER RESIDENCE, CONNER’S ROOM - NIGHT (CONTINUOUS) 36
Greg enters just in time to see the hamster scurry into the
ajar walk-in closet. He swings the door back and enters.
GREG
Come on, I’m not gonna hurt you.
Pringles is in the far back corner. Greg kneels down to pick

him up.
Suddenly, the closet door SLAMS shut behind him trapping him
in the darkness.
GREG (CONT’D)
Conner?
In the shadows, Greg feels along the door for the knob. It’s
locked.
GREG (CONT’D)
Come on, Conner.
He bangs on the door.
GREG (CONT’D)
Okay, you’re hilarious! Conner, let
me out now!
His gaze suddenly falls on the thin line of light in the

crack at the bottom of the door. Two feet-shaped silhouettes
stand in the center, blocking light from coming through.
GREG (CONT’D)
(timid)
Conner?
Greg pounds on the door again.
GREG (CONT’D)
Conner! Open up!!
Greg grows progressively more alarmed. He is just about to

body-slam the door, when it opens -- Jackie stands aghast on
the other side.
JACKIE
Greg?
Greg stumbles back into the room.
GREG
Jesus, Jackie. What were you doing?
JACKIE
Nothing. I heard you knocking and --
GREG
Where’s Conner?
JACKIE
He’s at the movies. Greg, what’s
going on?
Greg looks about the room, wildly.
Jackie returns Pringles to his cage. Greg appears in the

doorway, tense.
JACKIE
Anything?
Greg shakes his head.
JACKIE (CONT’D)
You wanna call the station?
He glares at her. She knows he won’t do that.
JACKIE (CONT’D)
I think you’re just really tried.
We both are.
(beat)
Why don’t you sleep upstairs
tonight?
GREG
Yeah. I’m gonna move some stuff
over to the guest room.
Jackie takes this in, stung.
JACKIE
Greg, I know you can’t just forgive
me. I don’t expect you to. I really
don’t. But I want you to know, I’m
committed to fixing this.
Greg is silent for a long beat.
GREG
Did you want to get married?
JACKIE
What? I -- what are you talking
about?
GREG
If it wasn’t for Conner would you
have married me?
JACKIE
Yes. I mean...yes.
GREG
You sure about that? A shitty cop
making shitty pay. An out of
towner? Your parents hated me...
JACKIE
My parents didn’t hate you.
GREG
Your dad hated me. He knew I wasn’t
going to provide for you like he
did. Like he did with this fucking
house.
JACKIE
I never needed you to provide for *
me. I never wanted that.
GREG
I wanted that.
She takes this in.
GREG (CONT’D)
You think we’d still be together if
you hadn’t gotten pregnant?
JACKIE
I’m glad things worked out the way
they did.
He doesn’t believe that.
JACKIE (CONT’D)
This is your issue. I’ve wanted to
make this marriage work.
Greg studies her a moment.
GREG
You know your blouse is ripped?
Jackie looks down at her blouse, notices a tear under her

arm.
JACKIE
I didn’t...
He watches her, concerned.
GREG
Get some sleep.
He leaves her alone in the room. She seems unaware of how

furiously she rubs her hands.
38 INT. HARPER RESIDENCE, GUEST ROOM - NIGHT 38
Greg sits in the bed; shattered, numb. He downs one of

Jackie’s sleeping pills with a glass of water. He stares at
the closed door; the thin line of light at the bottom. He
watches it for a long beat.
The trees sway, their branches MOANING in the SHRILL WIND.
40 EXT. HARPER RESIDENCE/ YARD / LAKE - NIGHT 40
Jackie stands looking out at the lake, a vast and seemingly

endless darkness. In the distance a tiny light, a spec
drawing nearer.
She squints as it moves closer towards her, trying to make it

out. She turns back to the house, the large windows spilling
warm light out into the darkness.
Back to the lake. The light’s color has changed to blue and
red -- police lights, bright, lighting up the distant lake.
Back at the house. A figure is at one of the windows. A woman

looking out at the light. Jackie?
The room darkens behind her, as if a shadow is swallowing the

room. Her throat splits openly suddenly, blood spraying the
window.
Jackie sits up alone in bed, drenched in sweat. She pants. It

was just a dream. She lies back, regaining her composure.
A bang. A shout. Voices. This is real. More voices, chatter.

Jackie slowly sits up again.
Jackie makes her way along the dimly lit corridor. The voices
trail from Conner’s room. Another shout and a gun shot.
43 INT. HARPER RESIDENCE, CONNER’S ROOM - NIGHT (MOMENTS LATER)

43
Jackie enters, tense and shaken. Conner’s laptop screen is

on, as is his bedside light, but no sign of her son. On the
monitor, an online shooter plays.
JACKIE
Conner?
More gun fire. Shouting. Chatter. Jackie approaches, closes

the laptop.
She notices a few old toys sticking out from under the bed.
She kneels down to tidy them.
But her attention shifts to something lying behind the toys,

deep under the bed --
A simple, smiling, human sized FROG FACE. Jackie leans in,

examining it closely. There is something off-putting about
it. A blurred figure emerges behind Jackie in the doorway.
VOICE (O.S.)
What are you doing?
Jackie spins around to find -- Conner, standing in the

doorway. He wears pajamas and holds a glass of water. Jackie
gasps.
JACKIE
Conner. Where were you?
CONNER
I was thirsty.
She studies him, suspicious. He shrugs it off.
JACKIE
Your computer was - isn’t it a
little late to be playing video
games?
He shrugs her off. After a beat --

JACKIE (CONT’D)
I’m taking you to school tomorrow.
CONNER
What? Why?
JACKIE
That’s the end of it.
CONNER
I’m not gonna get kidnapped, mom.
Jackie looks back to the toys, she picks one up, fondly.
JACKIE
God, I haven’t seen some of these
in forever. Moo Cow. Remember him?
CONNER
Not really.
Jackie’s eyes fall on the Frog Face again. Is it now facing

in another direction? She studies it, dizzy, disoriented.
CONNER (CONT’D)
Mom?
Dazed, Jackie stands, turns back to Conner.
JACKIE
Sweet dreams.
She kisses the top of his head and leaves the room.
We lurk along the passage, all lights off now, the Harper
family sound-asleep. We careen toward an open door at the end
of the hall. A hand-painted sign dangles in the center,
stating: GUEST SUITE.
Greg snores alone beneath the stale covers. One of Jackie’s

sleeping pill canisters sits on the nightstand. The WIND
HOWLS, vibrating against the room’s only window. In a slow
move, the bed sheets begin to pull down from the bottom,
gradually uncovering Greg. He snores on.
46 EXT. HARPER RESIDENCE - EARLY MORNING 46
The pavement glistens after a downpour.
47 INT. HARPER RESIDENCE, GUEST ROOM - EARLY MORNING 47
Greg’s cell BUZZES on the nightstand, waking him in the bed.
GREG
Hello?
(squinting at his watch)
Yeah, okay. I’ll be right there.
He hangs up and stops, sniffing the air. In a sudden rush, he

throws back the covers. His crotch, and the bed around it,
are entirely drenched. It would seem he pissed himself.
GREG (CONT’D)
You gotta be kidding me.
48 INT. HARPER RESIDENCE, LAUNDRY ROOM - EARLY MORNING 48
A disgruntled Greg enters in a fresh pair of boxers. He puts

the urine soaked sheets in the wash and starts it.
49 INT. POLICE STATION, CONFERENCE ROOM - MORNING 49
Greg enters the Conference Room. Spitzky, looking worn out,

faces Davis. There are photos and case files spread out
across the table.
GREG
What I miss?
Davis slides a mug shot of a stone-cold WHITE MAN in his 40’s

towards Greg.
GREG (CONT’D)
Cole Gordon?
SPITZKY
A closed case. I get pulled out of
bed for this...
LIEUTENANT DAVIS
You know why you’re here, Spitz.
It’s an exact match M.O. of a
serial child abductor you put away
fifteen years ago.
(MORE)
LIEUTENANT DAVIS (CONT'D)

I had your old department on the
phone when you were all tucked up.
They sent over what they still had
to hand...
Davis pulls out some of the crime scene photos: boys hog tied
in shallow graves.
SPITZKY
Jesus. Put that shit away.
LIEUTENANT DAVIS
Gordon’s defense attorney is trying
to use it to build a case for a
mistrial.
GREG
Sure didn’t waste any time.
SPITZKY
Well, I’m sorry to disappoint the
dickhead lawyer, but Gordon was a
convicted pedophile with a trunk
packed full of those knives. Not to
mention the clothing from half a
dozen of the victims we found at
his house.
LIEUTENANT DAVIS
So it’s probably a copycat. But we
need to get in front of this. I’m
having Larson track down the two
boys who escaped. Braun and
Travers.
QUICK INSERT: Two YOUNG BOYS, filthy and terrified, running

through the woods.
SPITZKY
Jesus Christ --
LIEUTENANT DAVIS
Fifteen years is a long time. They
may remember details now that could
help impede Gordon’s defense.
Spitzky studies her.
SPITZKY
I wasn’t wrong. I interviewed both
those boys extensively when it
happened and there was no doubt -
LIEUTENANT DAVIS
Then why did you end up with us,
Ray?
Greg looks to Spitzky. After a beat, he sighs.
GREG
Get us addresses.
50 EXT. LOCAL NEIGHBORHOOD - EARLY MORNING 50
Quiet, not a soul in sight.
Posters of Justin on lampposts and in windows.
A make shift gazebo with signage for a search party sign up.
A51 EXT. EDGE WATER DRIVE / HARPER RESIDENCE - EARLY MORNING A51
Still, silent, a stark difference to the bustling busy street

we first saw.
51 INT. HARPER RESIDENCE, MASTER BEDROOM - EARLY MORNING 51
Morning light spills into the room. Jackie sleeps soundly.

All is quiet, until -- CRASH!! Jackie startles awake, *
snapping to face it in alarm.
A52 INT. MASTER BATHROOM - EARLY MORNING A52 *
The wedding photo lies smashed on the floor. Jackie stares, *

alarmed. *
52 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - EARLY MORNING 52
Jackie removes the vacuum from the kitchen pantry. Her cell
BUZZES on the counter where it lies charging. She looks at
it: TODD: I’m outside.
She looks up. BAM! A face is at the kitchen window. Jackie

gasps, but quickly shifts to anger. The face belongs to TODD
ISAACSON (late 40s), handsome, retired bad-boy. He waves in
through the glass.
JACKIE
Jesus Christ, Todd!
Exasperated, Jackie heads for the front door. She slips her
cell in her pocket as she goes.
53 EXT. HARPER RESIDENCE, PATIO - EARLY MORNING 53
Jackie rounds the corner to where Todd waits in adolescent

desperation.
JACKIE
(angry whisper)
What are you doing here?!
TODD
I took the bus out this morning.
I’ve been staying with a college
buddy in Brecksville. God, I miss
you so much. Did you get any of my
messages?
He tries pulling her in for a kiss, but she pulls away.
JACKIE
Todd, you cannot be here! My son is
upstairs.
TODD
Well, let’s go somewhere then. Take
the day off work. You look crazy
sexy right now.
He goes in again and she averts him.
JACKIE
Oh my god, Todd, stop.
TODD
Did you get any of my texts? Did I
freak you out by what I said last
time? Because I didn’t --
JACKIE
Todd...
TODD
Jack, I’m just gonna say it.
(beat)
I’m in love with you.
She can only stare back, horrified.
JACKIE
I used you. We were using each
other.
TODD
I wasn’t.
JACKIE
Well, I was. I don’t want to be
with you.
He looks angry, then sad, then he smiles again. He leans in,

gently strokes her hair.
TODD
I know you’re scared. I’m scared
too, but what we have --
JACKIE
Todd, stop-
TODD
We have to try-
Suddenly, a blunt object falls from above, hitting Todd

square in the center of his head.
JACKIE
Oh my god! OH MY GOD!
Blood trails from his wound, he looks close to passing out.
JACKIE (CONT’D)
Todd?
TODD
(out of it)
What the hell?
Jackie turns her attention to the fallen object: the ceramic

coffee mug with sunflowers lies broken at her feet. She looks
up, the vacant roof ledge looking back.
JACKIE
(harsh whisper)
Conner?
(then)
Todd, are you okay? Can I see it?
He moves his hand away, his eyes struggling to focus.
TODD
I’m okay. I just gotta sit down for
a minute.
He moves for the front of the house. Jackie grabs him,

quickly.
JACKIE
No. This way.
She pulls him away from the kitchen door, to the other side
of the house.
54 OMITTED 54 *
55 INT. HARPER RESIDENCE, HALL BATH - MORNING 55
Conner sleepily puts toothpaste on his tooth brush.
56 INT. HARPER RESIDENCE, BASEMENT - MORNING 56
Jackie helps the disoriented Todd down the steps leading from
the storm doors.
TODD
This reminds me of high school.
Sneaking into your parents
basement.
Jackie doesn’t hear him as she slips further inside herself.
Conner brushes his teeth. He stops, hearing something.

WHISPERING in the hall. He looks to the ajar door.
58 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY - MORNING 58
Conner peers out from the bathroom, unnerved. The HUSHED

MURMURS continue, seeming to trail from the closed guest room
door at the end of the hall.
CONNER
Mom?
Immediate silence.
Jackie situates Todd in an old armchair, forcing him to sit

up. She wipes at this head with a rag.
JACKIE
There’s a lot of blood. We need to
get you to the ER.
TODD
You make a sexy nurse.
Jackie ignores him, stepping back, wheels spinning. She looks

up to the ceiling, weighing what to do next.
Conner approaches the closed guest room door at the end of

the hall. All the whispering has ceased.
CONNER
Hello?
His hand touches the knob. He flings the door open.
61 INT. HARPER RESIDENCE, GUEST ROOM - MORNING (CONTINUOUS) 61
It’s empty, save for the sheetless bed and cheap IKEA
nightstand.
Jackie stands over Todd.
JACKIE
Okay, as soon as Conner goes to
school, I’m taking you to the
hospital. Todd?
A new wave of pain hits him and he clutches at his head,

closing his eyes.
TODD
Yeah. Sounds good.
Jackie’s cell BUZZES in her pocket. She pulls it out and

stares at it in confusion. Caller ID: TODD.
JACKIE
Where’s your phone? You’re calling
me.
TODD
(out of it)
What?
JACKIE
You’re calling me.
It’s quiet for a beat. Then an eerie, folk song drifts in on

the other end.
JACKIE (CONT’D)
Hello? Hello? Todd, did you leave
your phone somewhere?
She hangs up.
TODD
(eyes closed, oblivious)
My phone.
The phone BUZZES again. It’s “TODD”. Jackie answers and MUSIC
trails...
Jackie suddenly goes numb. She lowers the phone as her neck
cranes up. The soothing MUSIC continues at same volume. It’s
coming from upstairs.
The record spins on a small-turn table in the living room.
Jackie enters from the basement stairwell. She walks slowly

to the source of the MUSIC. She pulls the needle back.
Immediate silence. She stares bewildered at the record

player. A HAND suddenly comes in from frame and grabs her.
She whirls around to see --
CONNER
Mom?
JACKIE
Conner. Jesus Christ. Did you turn
this on?
CONNER
No.
JACKIE
Were you just up on the roof?
CONNER
What? No. What are you doing?
She stares at him, trying to piece things together.
CONNER (CONT’D)
You said that you were taking me to
school.
JACKIE
I am.
CONNER
Is something wrong?
She studies him, as if for the first time.
JACKIE
Get in the car. I’ll be right
there.
Jackie forces Todd to hold some gauze tightly to his head.
JACKIE
Keep that there. I have to take
Connor to school, but I’ll be back
in less than twenty, okay? Just
keep applying pressure and don’t
stand up... Or lie down.
He nods, eyes still closed.
65 OMITTED 65 *
66 INT/EXT. JACKIE’S MINIVAN/HARPER HOUSE GARAGE - MORNING 66 *
Jackie, shell shocked and wary, starts the ignition. *
JACKIE *
Conner, if you did something...if *
you were upset and you... *
She eyes him, uneasy. He looks at her, getting scared *

himself. *
CONNER *
Mom, what are you talking about? *
Jackie puts the car into gear and backs out to the driveway. *
JACKIE *
Just...you can tell me. I won’t be *
mad. *
CONNER *
I’m gonna be late. *
Conner eyes Mrs. Whitter in the side mirror. *

CONNER (CONT’D) *
Mom! *
Jackie slams on the breaks. She eyes Mrs. Whitter in the *

rearview. The car idles. Mrs. Whitter approaches. A haunting *
look in her face. She holds a stack of missing posters. *
Jackie rolls down the window. *
MRS. WHITTER *
I’m sorry to bother you, Mrs. *
Harper. *
Jackie softens, recognizing her. *
JACKIE *
Mrs. Whitter. No, it’s alright. I’m *
so sorry for...your son...all that *
you’re going through. *
MRS. WHITTER *
Has he heard anything? Your *
husband? *
JACKIE *
I...I’m not sure. I know they’re *
doing everything they can. *
MRS. WHITTER *
There’s more happening here. I can *
feel it. Can’t you feel it? *
Something darker. *
She stares at Jackie, haunted. *
MRS. WHITTER (CONT’D) *

My son, he’s out there, somewhere. *
JACKIE *
They’re gonna find him. Greg will *
find him. *
A67 INT. HARPER RESIDENCE, VARIOUS - DAY A67 *
Rooms sit empty, silent. *
B67 From the guest bedroom window we see Mrs Whitter putting up
B67a *
poster outside the house. *
67 INT. HARPER RESIDENCE, BASEMENT - DAY 67
Todd groggily sits up in the armchair. The gauze is soaked

through with blood.
POV - the ominous presence watches from the shadows, moving

behind various objects for cover.
Todd looks in the first aid kit -- no more gauze. He heaves

himself up, holding his head. The wound is still bleeding. He
scans the room for something else to hold against the
bleeding.
POV - the figure moves in a little closer.
Todd looks in a drawer, opens a cabinet. He opens a tool

locker and spies a duffle bag stuffed at the top. A towel is
draped over it. He is just about to reach for it when --
CRACK! Something smacks down on his head with full-force. He

falls instantly to the floor.
BLACK OUT.
68 OMITTED 68
69 EXT. BRAUN RESIDENCE FRONT PORCH - DAY 69
It’s a dilapidated craftsman in a working-class neighborhood.

Spitzky and Gregg stand with MR BRAUN on the porch. MRS BRAUN
is in the front doorway behind. He’s slender, frail. His wife
is gruff, guarded, with closely cropped hair.
MR. BRAUN
But he went to prison. He’s locked
away.
SPITZKY
To the best of our knowledge, he
is, Mr. Braun. But --
MRS. BRAUN
Then why you here?
MR. BRAUN
Carol.
SPITZKY
Mr. Braun, we’d like to speak to
your son, if that’s possible.
MRS. BRAUN
Isn’t possible.
MR. BRAUN
Carol, please --
MRS. BRAUN
Tommy’s away at school. In college.
SPITZKY
That’s great. I’m glad to hear it.
Greg notices childish stickers on the inside of the window.
GREG
You got a little one, Mrs. Braun?
She hesitates, clocking Greg’s gaze.
MRS. BRAUN
My sister’s kid. Stays here
sometimes.
SPITZKY
Is there a number where we can
reach Tommy? At this point in the
investigation he could --
MRS. BRAUN
He won’t want to talk with you.
Tommy’s moved on with his life. We
all have.
Greg and Spitzky exchange glances, then stand.
SPITZKY
Well, that’s very understandable.
Thank you both for your time.
The detectives move away.
MR. BRAUN
(blurting)
He’s out back.
His wife glares daggers.
MR. BRAUN (CONT’D)

Tommy. He’s out back. *
Greg and Spitzky stare back.
70 OMITTED 70
71 EXT. BRAUN RESIDENCE, SIDE OF HOUSE/ BACKYARD - DAY 71
Mr Braun escorts Greg and Spitzky round the side of the

house.
At the back of the disheveled yard is a small shed. A figure

sits in it, his back to us. This is TOMMY (20). He wears an
green hockey jersey and is heavily preoccupied by something
in front of him.
MR. BRAUN
Tommy, there are some nice people
here to see you.
LABORED BREATHING. Mr Braun and Spitzky move towards him.

Greg hangs back.
MR. BRAUN (CONT’D)

Tommy, can you greet the nice men?
TOMMY
I’m busy, on my models.
Spitzky steps in closer, hand on his heart. He takes a

breath, mustering words.
SPITZKY
Tommy, do you remember me? Officer
Spitzky?
Tommy freezes. His breath GARGLES, building.
SPITZKY (CONT’D)
It’s been a long time, Tommy. I
still have that Brontosaurus you
gave me. Taking good care of him.
(beat)
Tommy?
Suddenly, Tommy spins around and we see his face for the
first time -- a grotesque mess of fried, twisted flesh. His
two beady eyes are the only distinguishable human qualities
to be found.
Spitzky tense. Greg backs further towards the house. Tommy

lurches forward. He GROWLS and HISSES, embodying some kind of
animal. Pure hatred emanates. As he gets closer, what is left
of the poor man’s face turns to fear. He sobs like a small
child. Mrs. Braun rushes in.
MRS. BRAUN
Step aside. Step aside.
(cradling Tommy)
(MORE)
MRS. BRAUN (CONT'D)

There, there. It’s okay, darling.
Don’t cry. Don’t you cry now.
She soothes him, whispers in his ear.
Greg and Spitzky look on in horror. Mrs. Braun glowers back

at the detectives. Her son shivers in her arms.
A72 EXT. BRAUN RESIDENCE/ STREET - DAY A72 *
Greg goes to get in the car. Spitzky talks over the car to *
him. *
SPITZKY *
Did that to himself. The kid. After *
it happened. Doused himself in *
kerosene. Lit a match. *
GREG *
Jesus. *
The silence hangs heavy. *
SPITZKY *
Sometimes... Hard to make sense of *
this world. *
Greg studies his partner. *
GREG *
Let’s have another look at *
Troubador Park. See if we missed *
something now the circus has left. *
SPITZKY *
It’s your show. *
72 INT/EXT. SPITZKY’S CAR, BRAUN NEIGHBORHOOD - DAY 72
Spitzky drives, pained. A heaviness hangs. Gregg sits in the

passenger's seat, staring out at the passing world.
DRIVE-BY SHOTS:
Gritty urban landscape. Empty warehouses. The distant

cityscape.
A73 INT/EXT. SPITZKY’S CAR, CHAGRIN FALLS - DAY A73
A park without people. Uniformed officers canvas the streets.

The church lawn is also empty, the marquee now reading: “OUR
PRAYER’S ARE WITH YOU, JUSTIN.” *
73 EXT. TROUBADOUR PARK - DAY 73
A hodgepodge of stuffed animals, candles, and pictures of

Justin Whittier surround the trunk of a large tree in a
makeshift vigil.
Spitzky and Greg pass, heading deeper into the woods where
the bike was found.
GREG
You think he knew him?
Spitzky stares at the yellow crime scene tape billowing in

the wind.
SPITZKY
What?
GREG
Justin Whittier, chances are he
knew the kidnapper.
SPITZKY
Maybe.
Greg looks around.
GREG
Kid’s on his bike, perp must have
gotten his attention somehow right?
Spitzky walks along the brush line up the road.
GREG (CONT’D)
Gets Whittier’s attention. Gets him
to stop for a moment. Lures him in
with something. Want some candy
type deal.
Spitzky continues walking along the brush line.
GREG (CONT’D)
Brings him in close and sweeps him
into his vehicle.
Spitzky squints at something. He leans in.
He kicks aside some rotting leaves and twigs. Coiled around

the base of a large tree is a thin, semi-translucent wire.
Greg spins. Spitzky holds up the wire and slowly draws it

across the width of the road and pulls it taught.
SPITZKY
Or he incapacitated him.
He plucks the wire.
GREG
Holy shit.
74 EXT. HARPER RESIDENCE - DAY 74
Jackie’s minivan pulls into the garage.
Jackie urgently descends the cellar steps.
JACKIE
Todd, I’m sorry that took so --
She freezes at the sudden sight of what lies before her.
JACKIE (CONT’D)
Oh my god. Oh my god. Oh. Oh.
Jesus.
Todd lies in the center of the room. A large pool of blood

crowns his head. Jackie stands paralyzed.
76 OMITTED 76 *
77 INT. POLICE STATION, CONFERENCE ROOM - DAY 77
CLOSE ON a tape recorder. The spinning wheels on a cassette.
Greg sits at the table, a scattering of crime photos in front

of him. They are labeled EVIDENCE and RETURN TO: METRO PD.
We focus on one: a close-up of a little boy tied up, a green
Swiss Army knife positioned between his palms. Dirt surrounds
him.
SPITZKY (V.O.) *
Can you start by telling me a *
little bit of what happened? *
YOUNG BOY (V.O.)

(on tape recorder)
There was a man.
QUICK INSERT SHOTS:
Two young boys walk along a disused rail track.
YOUNG BOY (V.O.)

(on tape recorder)
Tommy and I were at the tracks.
An ice cream truck meanders past playing an electronic

JINGLE.
Back to scene:
SPITZKY (V.O.)
(on tape recorder)
What were you doing there?
YOUNG BOY (V.O.)

(on tape recorder)
...playing. Messing about. Just,
you know?
Officer Grace Caleb enters the conference room and Greg

pauses the tape.
OFFICER CALEB
Detective Spitzky went home for the
day?
Greg nods, lost in thought. She joins him at the table.

Guess you’re stuck with me.
She smiles, testing. Greg remains oblivious and uninterested.

She sits down beside him, looking at one of the photos.

So, why knives?
GREG
Hmmm?
OFFICER CALEB
The pocket knives in the victim’s
hands. Did psych ever have a theory
on that?
Greg sits up, struggling to focus.
GREG
Um, yeah. They think, they thought,
that he’d get them to fight each
other.
Greg hands the sheet to officer Caleb. She pores over the
paper haphazardly.
OFFICER CALEB
My God. Pathological. You think
that’s right?
GREG
(shrugging)
Maybe. Maybe.
Greg studies the photo. She studies his troubled expression.

After a beat, she rummages in her pocket for something.
OFFICER CALEB
I wanted to give you this. It’s
super silly, but I thought you
could... I dunno. Here.
Greg looks up. Grace places a silver coin on the table in

front of him.

St. Anthony. He’s supposed to be
the recoverer of lost objects. And
people. I’m sure it’s not easy,
being the lead. A bit of good luck.
Greg takes it, studying the intricate engraving.
GREG
You’re religious, Caleb?
OFFICER CALEB
I dunno. Yeah, kind of. I guess I
like thinking there’s something
bigger out there. Something in
control. What about you?
Greg sets the coin down beside the gruesome crime photos. He
eyes the two beside each other.
GREG
(heavy, almost to himself)
Control.
(then)
I’d like to think that too.
He holds up the coin.
GREG (CONT’D)
(sincerely)
Thank you.
She nods, giving a shy smile. Greg pockets the coin. *
78 OMITTED 78 *
79 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - DUSK 79 *
Greg enters the house. In the kitchen, he grips the counter, *

centering himself. Deep breath. After a beat, he opens the
fridge and grabs himself a beer. He closes the door and *
suddenly jumps back. We do too. On the other side of the
freezer door stands --
Jackie. She quivers, fresh blood on her face and hands.
JACKIE
(petrified)
Help me.
80 INT. HARPER RESIDENCE, BASEMENT - DUSK 80 *
Jackie trembles at the base of the stairs in a state of

shock. Greg crouches over the lifeless body of Todd.
GREG
How...I mean, Jesus Christ, Jackie.
How did this happen?
JACKIE
He wasn’t like this when I left.
His head wasn’t... he was fine. He
wasn’t like this.
Greg just stares, floored.
JACKIE (CONT’D)
He’s dead, isn’t he?
Greg nods. Jackie breaks into hysterics.
JACKIE (CONT’D)
What do we do?! Oh my god. Oh god.
Is there someone you can call?
Greg is quiet, deeply contemplative for a beat.
GREG
Walk me through what happened.
Everything.
JACKIE
We were talking.
GREG
Just talking?
JACKIE
Yes. We were talking by the side of
the house. I explained we... that
it was over and then out of
nowhere, the mug just... fell...
GREG
Why didn’t you call an ambulance?
JACKIE
Because he seemed fine!
(beat)
Greg, it was Conner.
GREG
What?
JACKIE
He was upstairs and, I don’t know,
He’s just been so angry--
GREG
So he tried to kill someone?
JACKIE
No. He... Maybe it was an accident.
This hangs.
GREG
Shit, Jackie. Jesus Christ!
They stand silently for several seconds.
JACKIE
I don’t understand what’s
happening. I feel like I’m losing
it.
GREG
You don’t get to lose it right now.
He tries to calm himself.
GREG (CONT’D)
Do you know what will happen to our
son if he’s convicted?
Jackie starts to tremble.
JACKIE
Oh my god. Oh my god. Greg.
Greg’s eyes dart around the room. Adrenalin taking over.
GREG
I’ve got some tarp down here. We
need to get rid of the body.
JACKIE
What? No. We can’t-
GREG
Jackie. Connor, fuck, Connor will
be-
JACKIE
We can’t. Just throw him in a hole
somewhere-
GREG
Look, I understand you have
feelings for the man-
JACKIE
Stop!
Greg looks to her. Switches to go-mode.
GREG
Go change out of those clothes. *
Tell Conner we’ll be back soon. *
81 INT/EXT. JACKIE’S MINIVAN - NIGHT 81
Greg drives. Jackie sits in the passenger seat in fresh

clothes. She scrubs blood off her hands with a wipe. They
drive past flashlight beams flickering among a section of
tress; a SEARCH PARTY underway.
Greg is silent, unable to look at his wife. Jackie looks to

him as he drives. So much pent up aggression. So much loss.
They drive on in silence.
82 EXT. WOODS ENTRANCE - NIGHT 82
The minivan pulls into the secluded entrance and carries down
a narrow, dirt road.
Our house sits lonely in the darkness.
84 INT. HARPER RESIDENCE, CONNER’S ROOM - NIGHT 84 *
MUSIC streams. Conner sits at his computer, playing his *

online shooter. His back to the slightly ajar door. Pringles *
runs on his wheel in his cage. *
A shadow passes in the hallway outside the door. He isn’t *

alone. *
85 EXT. WOODS - NIGHT 85
Sweat-soaked and panting, Greg and Jackie labor away with

their shovels. They’ve been at this for a while. The hole is
sizeable, large mounds of dirt on either side. Todd’s body
lies in a tarp nearby.
Greg moves quickly, on a mission. Jackie lags, wiping sweat

from her brow and trying to contain her whimpers. She looks
to her husband, his face cold, focused. The ground is tough.
Her hands are raw from the splintery shovel. She grabs at her
back, aching.
Greg tosses the shovel onto the large mound of dirt.
GREG
Let’s go.
The couple each clutch an end of the heavy tarp.
GREG (CONT’D)
On three.
Grips tighten, bracing themselves.
GREG (CONT’D)
One, two, THREE.
They heave it up with a grunt. The body crashes sloppily into

the shallow grave. Jackie sobs, gasping for air. Greg glares
at her.
Conner is still glued to the computer screen. *
A loud EXPLOSION from the computer game. Conner grins. *

CONNER *
Hell yeah! You’re fuckin dead, *
noob! *
There is a sudden loud CLUNKING sound from somewhere else in *

the house. Conner spins around, alarmed. CLUNK! CLUNK! CLUNK! *
CLUNK! *
CONNER (CONT’D) *
Mom? *
87 INT. HARPER RESIDENCE, HALLWAY - NIGHT (CONTINUOUS) 87
Conner looks out from his bedroom. The corridor is dimly lit.
Threatening. The CLUNKING noise seems to be coming from --
88 INT. HARPER RESIDENCE, LAUNDRY ROOM - NIGHT (CONTINUOUS) 88
CLUNK! CLUNK! CLUNK! The dryer is running. Conner enters and

flips on the light. He opens the dryer door and the CLUNKING
immediately ceases. Inside are the sheets from the guest room
bed. He rifles through them for the source of the sound.
CONNER
What the hell?
Wrapped in the sheets is the missing silverware.
Greg shovels dirt back into the hole, lost in the repetition
of the task. Jackie sits nearby, quiet, stunned.
JACKIE
I’m sorry.
He pays no attention.
JACKIE (CONT’D)
I’m sorry. I’m sorry. I’m sorry...
He looks up, she’s talking to him. Repeating, over and over,

shattered but heartfelt.
He lowers the shovel. Walks towards her. Takes her face in

his hands and holds her close. The two finally connecting.
Conner re-enters. He sits back at the laptop and re-starts *

his game when an Instant Message BINGS on the computer *
screen: and looks quizzically at the screen. *
Unknown User: DO YOU KNOW WHAT PHROGGING IS? *
He quickly types. *
ConnorH02: WHO IS THIS? *
A long beat, then BING. *
Unknown User: DO YOU KNOW WHAT PHROGGING IS? *
Conner quickly looks around his room. Quiet emptiness. He *

looks back to the mysterious message: DO YOU KNOW WHAT *
PHROGGING IS? He rapidly does a google search. He clicks on a *
link to a YouTube video: *
The caption reads: PHROGS. THE ROOMMATES YOU DON’T KNOW YOU *
LIVE WITH. *
VIDEO FOOTAGE: We watch from an above landing, through the *

banisters, a FAMILY eating dinner from the perspective of a *
voyeur. The camera slinks slowly back into the darkness. *
Conner stares at the screen, spooked. Behind, a figure *

wearing the Smiley Face Frog Mask now stands in the doorway *
behind him. Conner types, oblivious. *
ON SCREEN -- TELL ME WHO THIS IS *
ON CONNER -- the Frog Figure is now directly behind him. *

Sensing his presence, Conner slowly turns around in his *
chair. He screams. *
The house sits quiet for several beats. The dirt caked
minivan returns, pulling into the garage.
92 INT/EXT. JACKIE’S MINIVAN/GARAGE - NIGHT 92
Greg and Jackie sit like ghosts in the front of the vehicle.
They are disheveled, dirt-smeared and damp.
JACKIE
Greg?
He turns to her.
JACKIE (CONT’D)
Do you believe in evil?
GREG
Jesus, Jackie.
He takes a beat.
GREG (CONT’D)
Yes.
Stillness. Greg and Jackie enter from the garage.
GREG
We need to clean up downstairs. Get
some towels to soak up the blood.
We’ll have to burn everything.
Jackie nods, numbly. She goes up the stairs. Greg goes

straight to the fridge and gets himself a cold beer. In the
darkness of the garage entry behind him, we see the faint
Frog Mask watching.
Suddenly, Jackie SCREAMS in horror from upstairs.
GREG (CONT’D)
Jackie?!
He runs up the stairs frantically.
Greg rushes into the room. Jackie is bending down over the
bathtub. Greg’s eyes go wide. Conner has been positioned in
the bathtub, tightly tied by a pair of shoelaces. His mouth
is bound with duct tape.
GREG
Jesus Christ, Conner.
Jackie frantically pulls at his confines, desperate to free

him.
JACKIE
Help me! Help me.
The boy’s eyes roll back and he blinks, fighting to remain

conscious. Greg surges in to help untie him. Jackie carefully
peels the tape from his mouth.
Greg’s eyes fall on the soap dish across from him in the
bathtub. Sticking out of the bar of soap is a blade attached
to a small, green Swiss Army knife. Greg goes white.
Greg carries an untied Conner into the room. He sets him on

the bed as Jackie follows. Conner lies limp and dazed.
GREG
He’s been drugged.
He snatches up one of Jackie’s medicine canisters by the bed.

Shakes it. Empty.
He pulls his service weapon and swiftly moves to the closet.

With caution, he throws the doors wide open. Nothing. He
looks out into the hall, gun trained.
Greg closes the bedroom door, locks it. He moves to the

window, surveying the home’s surroundings.
GREG (CONT’D)
I need to get you both out of here.
Now.
JACKIE
We need to call the police!
She lifts the phone from the nightstand. Greg snatches it

away.
GREG
What did we just talk about?
JACKIE
Our son was just attacked in our
own home!
GREG
I’ll handle this, okay. Take Conner
to the hospital, get him checked
out and I’ll meet you there.
JACKIE
Greg, you can’t....
GREG
Jackie, I’ve got this.
Conner stirs on the bed and groggily tries to speak. His

parents rush to his side.
JACKIE
Conner, honey, it’s okay. We’re
here.
GREG
Conner, who did this to you? Con,
can you tell me who did this to
you?
Conner fearfully looks into his father’s eyes.
CONNER
(dazed, shaking)
The...frog. It was the frog.
Greg and Jackie look at each other, unsettled confusion.
96 INT. HARPER RESIDENCE, GARAGE - NIGHT 96
High tension and fast paced. Greg situates Conner in the back
of the minivan. Jackie scrambles into the driver’s seat.
GREG
Drive straight to the hospital and
don’t stop for anything. I’ll call
you when I’m on my way.
Greg wildly slides the van door closed and pushes the button
to open the garage. Jackie looks to her husband, deeply
concerned.
JACKIE
Greg, come with us. Please.
GREG
I’m gonna find him, Jackie. I’m
gonna find the son of a bitch that
did this. Drive. Go!
Jackie studies him, realizing he isn’t going to budge.
JACKIE
Be careful. Promise me, you’ll be
careful.
Greg grips his sidearm.
GREG
I’ll be fine.
She pulls out, leaving Gregg alone in the garage. He stares

around the dark space, figuring out his next move.
97 EXT. HOSPITAL - NIGHT 97 *
Jackie paces, anxious, struggling with something. Finally,

she pulls out her cell. Looks at it for a beat. Then dials --
A98 INT. POLICE STATION, CONFERENCE ROOM - NIGHT A98
Spitzky sits at the table, rubbing his eyes, pouring over the
old case files. His CELL VIBRATES on the table and he looks
at it -- brow furrowing.
SPITZKY
Hello?
We INTERCUT between callers:
JACKIE
Ray? It’s Jackie. Harper.
SPITZKY
Jackie, hey. Everything okay?
JACKIE
Ray, someone was in our house and
they...they attacked Conner. I-
SPITZKY
What? Slow down.
JACKIE
Greg’s alone there now and... I
think you should go to him.
SPITZKY
Yeah, of course. I’m on my way.
JACKIE
Ray, he didn’t want anyone... You
know what he’s like.
SPITZKY
I’ll tread lightly.
98 INT. HARPER RESIDENCE, FRONT STAIRWELL - NIGHT 98
Greg storms up the stairs, weapon in hand. He passes the wall

of photographs -- now just a bunch of empty frames!! What the
fuck?
99 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY - NIGHT 99 *
Greg carefully makes his way across the hallway, glancing *

into rooms he passes, gun out. *
100 OMITTED 100 *
101 INT. HARPER RESIDENCE, UPSTAIRS HALL/ GUEST ROOM - NIGHT 101 *
Greg throws open the door to the guest room. He looks up at *

the narrow staircase. *
102 OMITTED 102
103 EXT. POLICE STATION - NIGHT 103
Spitzky rushes towards his car. Behind, Davis heads out of

the station and calls to him -
LIEUTENANT DAVIS
Spitz?
He turns to her.
LIEUTENANT DAVIS (CONT’D)

911 dispatch just got a call from
someone claiming to have seen our
kidnapper.
SPITZKY
No shit. Where?
LIEUTENANT DAVIS
Woods out by old Ranch Road, off
the 80. Harper isn’t answering his
cell.
SPITZKY
I can go pick him up. We’ll meet
you there.
Greg peers into the emptiness beneath the bed. He goes to the
window, looks out to the barren ledge. On the other side of
the room, is a little nook leading to a small window. He
stops dead -- taped to the walls on either side, are all the
missing photographs. A collage of cut up pictures, defaced
with markers depicting lewd acts. It’s deeply disturbing.
Suddenly, MUSIC trails from downstairs. Greg turns, slowly,

terrified.
A record spins on the record player. The eerie folk song

plays once again.
The TV suddenly switches on out of nowhere, the volume

rising.
Greg peers out into the hall, with trepidation.
107 OMITTED 107
108 INT. HARPER RESIDENCE, REAR STAIRWAY - NIGHT 108
The MUSIC and TV continue to make noise below. Greg

hesitantly makes his way downstairs.

(CONTINUOUS)
Greg steps into the room. The lights are all on. The fan is
whirling. He raises his gun.
GREG
Hello?!
He takes another step into the room and suddenly the power
goes out. Greg is plunged into darkness. Only moonlight
spills in through the windows.
GREG (CONT’D)
Who are you?! I will kill you, I
swear to god.
Greg inches into the kitchen, his arms outstretched, gun

trained.
GREG (CONT’D)
Come out and show yourself! Coward!
WE MOVE AROUND A FULL HUNDRED AND EIGHTY DEGREES -- Greg

stands in the foreground, his back to the living room. Rising
up in the shadows behind him, is the Frog Masked Figure.
In a steady, silent move, the figure approaches, an axe in

his hands.
An oblivious Greg scans his environment, no idea of the sharp

weapon rising above him, inches from his skull. And then we --
CUT TO BLACK.
MINDY (V.O.)
Are you recording?
CAMERA OPERATOR (V.O.)

Yeah, that’s what the red light
means. It means it’s recording.
POV - HANDHELD CAMERA
110 EXT. EDGEWATER DRIVE/ HARPER RESIDENCE - MORNING 110
CLOSE ON the face of MINDY BENNETT (22), sharp, precocious,

street.
MINDY
Sorry, Best Buy, not everybody gets
a hard-on over tech shit.
We are by a fence, opposite the Harper residence. She

addresses the camera in a hushed tone.
CAMERA OPERATOR (O.S.)

I don’t have to film this, you
know.
The FRONT DOOR OPENS.
MINDY
Shhh. Shh!
She looks behind her. Our camera catches a quick glimpse of

someone leaving the house. It’s Conner.
MINDY (CONT’D)
(low whisper)
It’s the son.

Chill out. He has headphones in.
CUT TO:
111 BACK ON MINDY’S FACE -- 111
MINDY
I don’t see the red light.

It’s cuz I’m covering it.
He cracks up.
MINDY
Dude, Alec, stop messing around.
(getting serious)
Okay.
(turning it on)
My name is Mindy Bennett and I’ve
been waiting in these bushes since
5:30am. Waiting for the inhabitants
of this house to leave for work.

(laughing)
Inhabitants?
MINDY
Today, this house becomes our home.
(then)
Now, the plan is to wait for the
garage door to open, wait for the
driver to pull out and then run and
stop it before it closes all the
way. We saw the husband leave
almost an hour ago and we just saw
the son take off for school. So now
we’re just waiting on the wife.

Women, right?
Mindy rolls her eyes.
A112 EXT. HARPER RESIDENCE, GARAGE - LATER A112
CLOSE ON GARAGE -- Jackie’s minivan pulls out. The door

begins to close as the van pulls away.
Mindy runs out at the last possible second and dives under
the closing door. This causes the motion sensors to reopen
it.
Our camera operator scurries out from the bushes and joins
Mindy in --
112 INT. HARPER RESIDENCE, GARAGE - MORNING (CONTINUOUS) 112
Mindy hits a button on the wall, triggering the door to re-

close. Her heart is racing, but she can’t help from smiling.
MINDY
Holy shit. That was so close. Did
you get that on camera? I thought
it wasn’t gonna happen.
She laughs and high fives the camera operator.
MINDY (CONT’D)
Hell, yeah. That’s how you do it
like a pro. Let’s check out our new
digs.
Mindy leaves frame and our camera holds on a shiny, silver

axe hanging on the garage wall.
113 INT. HARPER RESIDENCE, LIVING ROOM/KITCHEN - MORNING 113
Our camera explores the space. Mindy walks just in front. She
carries a medium sized rucksack, a duffle and a grocery bag
of snacks.
MINDY
Sweet entertainment system. Wonder
if they have any good movies.
The camera operator moves away from Mindy and into the
kitchen. Opens the fridge. Opens a few drawers. Looks in a
cookie jar -- it’s full of health bars.

Gross.
Opens the cabinets. The infamous mug with sunflowers sits

among others. The camera operator absentmindedly picks it up.
MINDY (O.S.)
Shut up, they have Battlestar!
Alec, what are you doing in there?
Don’t break anything!
He returns the mug to the shelf and the camera turns back to
Mindy. She sits beside an open DVD drawer holding up a box
set of her favorite show.
MINDY (CONT’D)
I know what I’ll be doing...
114 INT. HARPER RESIDENCE, STAIRWAY - MORNING 114
The camera pans the Harper family photos that line the
stairs. Mindy and the Operator ascend.
MINDY
Jesus, they take a lot of pictures.
(then)
Awe, look. So cute.
The camera ZOOMS on the picture she’s looking at -- little

Conner clasping a bat at his Little League game.
MINDY (O.S.) (CONT’D)

It’s like vomit inducing
preciousness.
She continues upward. The camera operator lingers on the

photo...
The camera travels down the hallway, Mindy explores ahead. We

catch a glimpse of -- THE LAUNDRY ROOM, THE HALL BATH,
CONNER’S ROOM where a hand painted sign on the door reads:
“DANGER! CONNER’S ROOM. ENTER AT OWN RISK”. We enter --
116 INT. HARPER RESIDENCE, CONNER’S ROOM - MORNING (CONTINUOUS)

116
We investigate, looking through the comic books on the shelf,

the messy closet, the unmade bed, an old pair of shoes with
long laces. Popsicle sticks and glue litter the desk in prep
for some kind of project.
We move over to the hamster cage. Pringles runs on his wheel.

Sweet.
A hand reaches in to lift off the lid.
MINDY (O.S.)
Alec, come check this out! I found
our room!
The hamster will have to wait.
117 INT. HARPER RESIDENCE, GUEST ROOM / CRAWL SPACE - MORNING 117
The camera enters to find Mindy sprawled out on the bed.

MINDY
Guest room, baby. This is the life. *
We pan to the door. Sure enough, there is a hand-painted sign

stating “GUEST SUITE”.
MINDY (CONT’D)
Eeew. These sheets are covered in
like a layer of dust.
She starts hitting the sheets. Mini dust clouds rise and she
coughs.
MINDY (CONT’D)
Nasty.

Didn’t you say we had to sleep
somewhere out of sight?
MINDY
Uh huh. Let me take you to our *
sleeping quarters. *
She springs off the bed.
MINDY (CONT’D)
And at night we’re gonna sleep in
here.
She slides open a door to a long crawl space along the side
of the room.

You gotta be fucking kidding me.
She gives him her most winning smile.
118 INT. HARPER RESIDENCE, GUEST ROOM - DAY 118
Mindy addresses the camera. It seems to be mounted steadily

on the nightstand. She eats cereal out of the mug with
sunflowers.
MINDY
Okay, so I should probably tell you
a little bit about what we’re doing
here since you’re probably sitting
at home all confused right now. Um,
okay, this is a documentary, I
guess. Yeah, it’s to give all you a
look at how a professional Phrog
goes about Phrogging.
(MORE)
MINDY (CONT'D)
They call us Phrogs, with a “P.H.”,
because we hop from pad to pad and
live undetected among the people
who actually live in the house.
Kind of like a roommate situation-
thingy, but, of course, they don’t
know we’re here. Usually we stay in
a place for no longer than four or
five days. Makes it harder to get
discovered. And it’s a good thing
these people have a guest room.
That’s what you want to look for, a
room you can make headquarters that
is rarely used by the family.
As she speaks, we see the Frog Masked figure appear in the

doorway. He holds up a finger for us to be quiet.
MINDY (CONT’D)
Hmmm. So, what else? Oh, okay. As
you can see, I am eating some of
their food. This is allowed since,
well, a girl’s gotta eat. We just
make sure not to take too much of
one thing. For the most part, we
try to disrupt their lives as
little as possible.
The Frog Man suddenly pounces on her, LAUGHING MANIACALLY.

Slightly startled, Mindy hauls off and hits him.
MINDY (CONT’D)
Jesus, Alec. Asshole.
The mask comes off, revealing ALEC TRAVERS (21). He’s a ball
of energy. Thin-framed, likeable, with a mop of messy hair
and a mischievous grin. He laughs.
MINDY (CONT’D)
And this disturbing creature is my
camera man, Alec.
ALEC
Is that all I am to you?
MINDY
(re: mask)
I can’t believe you brought that
grotesque thing with you.
ALEC
It’s fitting. It’s a frog. We are
phrogs.
MINDY
If you can believe it, Alec is also
my friend.
ALEC
Ahh...
MINDY
And I’m popping his Phrogging
cherry.
ALEC
You’re not popping anything of
mine.
MINDY
He’s never done this before, so I’m
showing him the ropes. While he
documents it all with his nifty
camera. I also let him pick out
this house.
ALEC
I sure know how to pick em’, huh?
MINDY
So far so good. These people have
exceptional taste in cereal.
ALEC
Woohoo! Point for me!
MINDY
(back to camera)
This is the best part of the day.
When we have the house to ourselves
and we can be loud and move about
freely. When they come home, we
have to stick to our hiding spots
and stay quiet.
ALEC
And that part’s gonna suck.
119 INT. HARPER RESIDENCE, CRAWL SPACE - NIGHT 119 *
Mindy flips the camera on from her hiding spot in the closet.
She speaks a little above a whisper.
MINDY
It’s ten minutes after 2am and all *
is quiet in the house.
(MORE)
MINDY (CONT'D)
Alec and I fell asleep and the
family must have come home while we
were passed out.
She lies there, silent for several beats.
MINDY (CONT’D)
Alec.
(nothing)
Alec, are you awake?
Mindy she looks over to Alec’s empty sleeping bag.
120 INT/EXT. HARPER RESIDENCE, GUEST ROOM/ROOF LEDGE - NIGHT 120

(CONTINUOUS)
The camera moves through the guest room. Mindy spots the
room’s open window. She quietly approaches, filming the
outdoors --
Alec sits smoking on the roof ledge that overlooks the side
yard. The sunflower mug sits beside him.
MINDY (O.S.)
Alec, dude, what the hell are you
doing?
Alec nonchalantly turns to face her.
ALEC
I was bored.
MINDY (O.S.)
You can’t just go outside whenever
you want.
ALEC
He just got home.
MINDY (O.S.)
Who?
ALEC
Greg. The husband.
MINDY (O.S.)
Did he see you?
ALEC
Yeah Mindy, he saw me. He waved.
MINDY (O.S.)
Alec, stop screwing around! Come
back inside. *
Relenting, Alec climbs to his feet and heads back inside the
house. He leaves the sunflower mug behind.
121 INT. HARPER RESIDENCE, CRAWL SPACE- NIGHT 121
NIGHT VISION
Alec has the camera and turns it onto himself.
ALEC
It’s show time...
He turns the camera back onto the room and ZOOMS in on Mindy
sleeping in the closet.
ALEC (O.S.) (CONT’D)

Sweet dreams.
Alec films his slow, steady walk down the corridor. We’ve
seen this before, only now through a new lens.
123 INT. HARPER RESIDENCE, MASTER BEDROOM - NIGHT (CONTINUOUS)123
Alec cautiously approaches the large king-sized bed. He picks

up one of the prescription bottles, giving us a good look at
the label: HARPER, JACQUELINE. AMBIEN 10MG TABLETS. He pans
over to the sound-asleep Jackie, alone in the bed. He ZOOMS
on her somewhat troublesome expression as she sleeps.
Alec approach another ajar door, peering into --
Pringles runs on his wheel. Conner sleeps. Alec moves in, *

hovering over the sleeping boy.
126 INT. HARPER RESIDENCE, STAIRWAY - NIGHT 126
Alec gradually descends the stairs. We notice the empty

frame.

(CONTINUOUS)
The TV is on, muted. We creep through the living but this

time we find Greg asleep on the couch. He slowly turns over,
facing Alec’s camera. Alec quickly jumps back before
realizing that Greg is out-like-a-light, just restless. Mid
nightmare.
Slow ZOOM on Greg’s sleeping face.
128 EXT. HARPER RESIDENCE - MORNING 128
BIRDS CHIRP. This is the day it all started.... *
129 EXT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - MORNING 129
Through the window we see Jackie cooking pancakes. Conner

enters the room and sits at the breakfast bar.
130 INT. HARPER RESIDENCE, GUEST ROOM - MORNING 130
Mindy crouches behind the side of the bed that faces away
from the door. Alec stands at the room’s open window, unlit *
cigarette dangling in his mouth, flicking his lighter on and *
off.
MINDY
Dude, are you insane? You want to *
set off a smoke alarm?
He tuts. Pockets it.
MINDY (CONT’D)
And sit down. We need to stay away
from the windows.
ALEC
(a little too loud)
Jesus, who knew this Phrogging
thing would give you such a stick
up your ass.
MINDY
Shhhh. Hushed voices.
He plops down beside her.
MINDY (CONT’D)
I don’t think you understand how
dangerous this is, Alec.
(MORE)
MINDY (CONT’D)
We could go to jail. We’re breaking
so many laws just by being here.
ALEC
I do understand. But isn’t that
part of the fun, almost getting
caught?
MINDY
No, the fun is to not come close to
getting caught.
131 INT. HARPER RESIDENCE, HALLWAY - MORNING 131
Greg makes his way up the stairs.
Alec and Mindy are still hiding behind the bed. They continue
to speak quietly.
ALEC
You never told me this would be so
thrilling. I’ve officially
memorized the wallpaper.
Alec takes out a Yoda Pez dispenser and pops one in his
mouth.
ALEC (CONT’D)
Wanna play the word game?
MINDY
What is it with you and that word
game?
He shrugs.
ALEC
What else we gonna do?
MINDY
Don’t get all like... You’re the
one who’s been on at me to come
along. I was perfectly happy doing
this alone.
ALEC
I know. I’m glad to. Just thought
it would be a bit more... less
shit.
She laughs.
MINDY
Must be better than subways and
park benches.
ALEC
Just about.
He pops another Pez.
ALEC (CONT’D)
When I was a kid, like 7, 8 years
old, my parents took me on a trip
to Buffalo. My mom taught me that
game on the way there. We must’ve
played it for like three hours
straight. My dad, he hated games,
but he got super into it. Like
nerding out on the word game. He
got so distracted that we ended up
in the middle of cow country. No
GPS, just the three of us trying to
figure our way out of there on the
map. For the next three days, all I
could smell was cow shit.
MINDY
That’s disgusting. That’s a
disgusting story.
ALEC
I know. It was a good trip though.
I remember being, like, happy the
whole time.
MINDY
Of course you were happy. You were
a kid, what wasn’t there to be
happy about?
Alec is quiet, reflective.
MINDY (CONT’D)
Okay, I’m thinking of a seven
letter word that starts with “B”.
Alec smiles, appreciative.
ALEC
B... b... bastard?
Suddenly, GLASS SHATTERS from somewhere close by. The two

freeze.
MINDY
Holy shit.
They slowly rise and go to the window. They stand deadly

still, listening. Footsteps stomp beneath them... towards the
Guest Room door.
Mindy grabs Alec, and the two dive behind a large just as
Greg enters the room. He makes a beeline for the open window
and pulls himself through. Alec crawls out and takes a peek,
before Mindy yanks him back down.
Moments later, Greg climbs back through. The two watch his
feet pass and him descend the steps.
Mindy notices the mug in his hand.
ALEC
Someone’s having a bad day.
She hits him.
MINDY
He found the mug. Jesus Alec...
ALEC
Relax. They have a teenage son.
MINDY
Yeah, who will probably get his ass
kicked now because of you. In case
you haven’t noticed, daddy has some
anger management issues to work
out.
133 OMITTED 133

Mindy takes in the space. She hides her duffle and grocery
bag among the clutter.
135 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - DAY 135

Alec stands in the stairwell. He’s removing the photo of Greg
and Jackie smiling. He tucks it under his shirt just as Mindy
emerges from the basement.
MINDY
Mission accomplished. There’s so
many places to hide shit down
there. If we need a quick escape... *
Alec pulls out his cell phone.
ALEC
Check it out.
He clicks a button and the TV in the living room turns on.
MINDY
How did you do that?
ALEC
I downloaded an app. They keep
their wifi password next to the
chore chart.
(to TV)
I own you, bitch.
MINDY
You are such a freak.
Alec idles into the kitchen, perusing cabinets.
ALEC
Wouldn’t it be kind of funny to
mess with them? Take some random
shit and make them think they’re
going crazy?
MINDY
No, it wouldn’t. Stop touching
stuff.
Alec opens the silverware drawer.
There is a sudden KNOCK at the front door.
MINDY (CONT’D)
Shit. Don’t move.
They stand, motionless.
WINDOW-REPAIR MAN
Umm... I see ya in there. Care to
let me in? Someone called about a
broken window.
She turns, he’s looking right at her through the front door
window.
MINDY
Shit, Alec. What do I do?
ALEC
Let him in, he doesn’t know you
don’t live here.
Mindy realizes he’s right.
WINDOW-REPAIR MAN
Miss? Should I come back later?
MINDY
(to repair man)
Just a second.
Mindy stands with a grave amount of uncertainty. She takes a

breath and opens the front door.
WINDOW-REPAIR MAN
Hi. Got a call about a broken
window?
MINDY
Yes, that was my dad. Right this
way.
She ushers the older man into the house, stealing a shrugging
glance at Alec. Alec watches them head upstairs and then
turns back to the open silverware drawer.
136 OMITTED 136
137 INT. HARPER RESIDENCE, MASTER BATHROOM - DAY 137
POV - HANDHELD CAMERA:
Filming as he goes, Alec prowls the bathroom. He rifles

through drawers and snoops around cabinets. Mindy and the
Repair-man can be heard CHATTING in the adjoining bedroom.
The camera notices one of Jackie’s Ambien bottles. Alec puts

the camera down.
A CAMERA:
Alec picks up one of Jackie’s Ambien bottles. He opens the

lid and takes out a pill. He crumbles it, letting the powder
fall into a Vitamin Water bottle.
He continues snooping. He pulls the wedding photo of Greg and

Jackie from the wall and looks behind it. The picture’s in
there good, the back can’t easily be opened. He hangs it back
on the wall, haphazardly.
Just then the GARAGE DOOR roars below. Alec grabs the camera.
POV - HANDHELD CAMERA:
Alec spins the camera around to find Mindy motioning for Alec *
to follow.
138 INT. HARPER RESIDENCE, CRAWL SPACE - DAY 138
Alec crouches behind the bed filming Mindy with his digital
camera. She stands in the closet doorway, listening.
JACKIE (O.S.)
(screaming)
Oh my god! Oh god, who are you??!
WINDOW-REPAIRMAN (O.S.)
Whoa. Whoa, lady! Easy. I’m just
the window-repairman. Easy, easy.
I’m not gonna hurt ya.
MINDY
(whispering)
Okay, that’s it. No more going
downstairs while they’re gone. *
139 INT. HARPER RESIDENCE, CRAWL SPACE - DUSK 139
Alec and Mindy sit in the closet, both on their smart phones.
They intently read/play games as Alec absentmindedly hums
aggressively at his video-game.
ALEC
Ha-ha! Level 59. Boo-ya, asshole.
MINDY
Oh, shit. This is so messed-up.
Another kid got swiped. Right here
in this town.
ALEC
(eyes still glued to his
game)
What?
MINDY
Justin Whitter. Do we know him? Ten-
years old.
Mindy takes another drink from the bottle.
ALEC
I kinda stopped hanging out with
ten year olds, you know, when I was
ten.
MINDY
He’s got brown hair, blue eyes.
Last seen wearing a blue soccer
jersey. Went missing in Troubadour
Park.
ALEC
Sucks for him.
Alec tosses Mindy the Vitamin Water. *
ALEC (CONT’D) *
Think fast. Gotta stay hydrated. *
140 INT. HARPER RESIDENCE, CRAWL SPACE - NIGHT 140 *
Mindy is fast asleep. Alec stands. He looks down at his *

quietly snoring friend and watches her for a long beat. He
pulls out his phone, taps the screen. We can hear the TV come *
alive downstairs. He smiles, and pulls the frog mask over his *
head.
141 OMITTED 141 *
142 OMITTED 142 *
143 OMITTED 143 *
A144 INT. HARPER RESIDENCE, CONNER’S ROOM/UPSTAIRS HALLWAY - A144
Greg lingers mid-way up the stairs and eyes the new missing *
photograph. Alec peers out of Conner’s room, watching him. *
A sly smiles escapes Alec’s lips. He reverts back into the

room, hiding behind the door, keeping a shrewd eye on the
hall as Greg passes.
JUMP CUTS:
Alec grabs Pringles up and out of the cage.
He scoops up the pet food.
He carefully pours some into one of Conner’s shoes.
Hamster clutched in one hand and sprinkling a sporadic trail

of food with the other, Alec moves quickly down the hall.
146 OMITTED 146
Alec is perched behind Conner’s bed.
GREG (O.S.)
Hey, how’d you get in here?
Alec ducks down as Greg enters Conner’s room.
When Greg enters the closet, Alec emerges, a lacrosse stick

in his hand --
GREG (O.S.) (CONT’D)

Come on, I’m not gonna hurt you.
Alec moves in fast, firmly slamming the closet door and using
the lacrosse stick to jam it. The handle shakes from within.
Greg bangs on the door. Alec waits, patient.

Come on, Conner.
He bangs on the door with more violence.

Okay, you’re hilarious! Let me out
now!
Alec moves in, stepping right up to the door, face less than
an inch away.

(timid)
Conner?
Alec grabs the lacrosse stick and moves away.

Conner! Open up!!
Jackie can be heard RUNNING UPSTAIRS. Alec hurriedly darts

under the bed. Jackie enters the room.
The trees sway, their branches MOANING with the SHRILL WIND.
The lights are now off. Conner is passed out in his bed.
Alec quietly emerges from under the bed and slips out into
the hall. He pulls the frog mask down over his face.
Greg snores alone beneath the stale covers. The WIND HOWLS,
vibrating against the room’s window. Alec enters the room. He
gently pulls back Greg’s covers, gets up on the bed and
stands over him, straddling his body.
Unbuttoning his jeans, Alec pees directly onto Greg’s crotch.
A151 INT. HARPER RESIDENCE, CRAWL SPACE - MORNING A151
Mindy is sound asleep.
Alec goes to climb out the window. The chair he uses for
footing topples over, slamming to the floor. Below, a loud
crash and glass shattering. Alec freezes... when it’s clear
that nothing is coming he continues onto the roof.
152 OMITTED 152
153 INT. HARPER RESIDENCE, CRAWL SPACE - MORNING 153

Mindy stirs, eyes opening. She notices she’s alone once
again.
MINDY
Alec?
154 INT/EXT. HARPER RESIDENCE, GUEST ROOM/ROOF LEDGE - MORNING154

(CONTINUOUS)
Alec sits in the same spot as before. He smokes, sunflower

mug in his hand as a makeshift ashtray. Mindy opens the
window, glaring out at him. They both whisper.
MINDY
Alec, get inside! Right now. What
if someone sees you?
He doesn’t turn or respond.
MINDY (CONT’D)
What happened to the bed?
He takes a drag and chuckles.
ALEC
Husband pissed himself.
(then)
Or at least so he thinks...
MINDY
What?! What are you talking about?
That’s it. We’re done. The minute
they leave the house today, we’re
gone.
Alec casually smokes, unmoving.
ALEC
Fine, you can go.
MINDY
No. No. We are both leaving! Stand
up.
He remains firmly planted.
MINDY (CONT’D)
Alec, you promised me. You said
you’d be cool.
ALEC
I’m not finished playing yet.
MINDY
Playing with what? No! That’s not
how this works.
(MORE)
MINDY (CONT'D)
We don’t mess with these people. We
don’t terrorize them. We co-exist.
That’s all.
ALEC
Then what’s the point? What’s the
point if you’re not gonna make them
second-guess their sanity a little.
He smirks. All she can do is stare at him.
MINDY
I mean it, Alec.
Alec considers.
ALEC
Okey dokey.
And he lets go of the mug, right over the edge of the roof.
JACKIE (O.S.)
Oh my god! OH MY GOD!
Alec jumps to his feet. He puts a finger to his lips.
JACKIE (O.S.) (CONT’D)

Are you okay? What was that?
TODD (O.S.)
(out of it)
What the hell?
Eventually, when enough time has passed, Alec looks down --

AREAL VIEW OF THE GROUND -- Jackie is helping a wounded Todd
round the back of the house. Todd’s cellphone lies abandoned
in the grass. Mindy gestures Alec back toward the window.
Alec hoists himself back inside the room. Angry whispers.
MINDY
What the fuck did you just do? What
is wrong with you?!
ALEC
He’s fine. Just a lil’ bump.
She goes for the door.
MINDY
We have to get out of here.
Alec moves in front of her, blocking passage.
ALEC
And how do you suggest we do that?
Conner brushes his teeth in the mirror. He stops, hearing

something. WHISPERING in the hall. He looks to the ajar door.
Mindy and Alec continue to argue in hushed tones.
MINDY
You’re off your meds again. I
checked the bags, you didn’t even
bring them. Why are you doing this
Alec?

(CONTINUOUS)
Conner peers out from the bathroom.
CONNER
Mom?
Alec lurches forward, clasping his hand firmly across Mindy’s

mouth. He pulls her swiftly into the crawl space, just
managing to elude Conner’s entrance.
A160 INT. HARPER RESIDENCE, CRAWL SPACE - MORNING (CONTINUOUS)A160
They wait, deadly still, listening to Connor on the other

side of the door. After a beat, he leaves. Alec and Mindy
gasp, exhaling their pent-up air.
MINDY
That’s it. Get your things. We’re
leaving right now.
ALEC
Most of our “things” are in the
basement where you hid them.
Remember?
MINDY
Shit! Shit, what do we do? They
can’t find our stuff.
ALEC
Basically, you’re a genius.
MINDY
We gotta find a way to get them out
of the house. Scare them or
something.
Alec suddenly remembers something.
ALEC
Wait. He dropped his phone. When he
fell. I saw it down there. I have
an idea.
The eerie folk song croons on the record player. Mindy peaks
out from a crack in the pantry door as Jackie makes her way
up from the basement. Mindy clutches tightly to Todd’s cell.
The room falls silent as the record switches off.
CONNER (O.S.)
Mom?
JACKIE (O.S.)
Jesus Christ, Conner. Did you turn
this on?
161 EXT. HARPER RESIDENCE - MORNING 161
Jackie’s minivan pulls out of the garage.
Mindy darts from the pantry as Alec comes downstairs.
ALEC
Looks like baby Harper took care of
the problem for us.
MINDY
Wait here.
She tip toes down the basement steps. KEYS suddenly jingle at
the front door. Alec freezes. A KEY TURNS in the lock. Alec
turns on his heels and runs back up stairs.
Todd lies in the armchair, his back to the staircase where

Mindy enters. She quietly moves behind him. In the chair,
Todd opens his eyes, noticing the soaked through gauze. He
pulls himself to his feet. Mindy quickly darts behind an old
sewing machine at the far side of the basement.
Mindy’s POV - Todd looks for a new cloth. He approaches the

towel draped over a duffle bag in the tool locker. He is just
about to reach for it when another, obscured, figure emerges
behind him.
CRACK! A baseball bat smacks down upon his head with full-
force. Todd falls out of FRAME, revealing -- GREG. Tightly
grasping the bloodied baseball bat. He turns Todd’s body over
and examines his face.
Mindy watches from the darkness, aghast.
Greg grabs the duffle bag from the tool locker. *
164 INT. HARPER RESIDENCE, GARAGE - DAY 164
Greg stuffs the duffle bag in the over-head rafters, safely

out of sight.
HONK. HONK. HONK.
165 INT/EXT. SPITZKY’S CAR/HARPER RESIDENCE - DAY 165
Spitzky waits in the car out front. Greg, back to his amiable
self, strides out of the house and into the passenger seat.
GREG
Knew it was in there somewhere.
Greg hands his partner the WHITTER file. *
SPITZKY
Good man.
They drive off.
An utterly shell-shocked Mindy emerges from her hiding place.

She timidly approaches Todd’s motionless body.
MINDY
Holy shit.
He is clearly dead. Mindy looks to where Greg made his exit.

She trembles, terrified to emerge.
167 INT. HARPER RESIDENCE, GUEST ROOM - DAY 167
Alec sits on the bed, the family photos strewn out around
him. With a Sharpie, he defaces Conner’s Little League photo.
He draws X’s over the eyes. He replaces the baseball bat with
a pocket knife. He smiles, cruelly.
168 EXT. HARPER RESIDENCE - DAY 168
Jackie’s mini-van pulls into the garage.
Enough time has passed. Mindy braves the first step leading
back into the house. The door at the top of the stairs
suddenly swings open and the frightened girl flees back into
hiding.
Jackie urgently descends the cellar steps.
JACKIE
Todd, I’m sorry that took so --
She freezes at the sudden sight of what lies before her.
JACKIE (CONT’D)
Oh my god. Oh my god. Oh. Oh.
Jesus.
Mindy watches from the shadows as the horrified woman loses

her shit.
170 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - DAY 170
Greg takes a beer out the fridge. He closes the door. On the *
other side of the freezer door stands Jackie. Fresh blood on
her face and hands.
JACKIE
Help me.
171 OMITTED 171 *

172 INT. HARPER RESIDENCE, BASEMENT - DUSK 172 *
Mindy remains in hiding, watching as Greg and Jackie decide

what to do with Todd’s body.
GREG
Look, I understand you have
feelings for the man...
JACKIE
Stop!
GREG
Go change out of those clothes. *
Tell Conner we’ll be back soon. *
The couple quickly switch into go-mode. Mindy holds her

breath, receding into the shadows as much as possible.
173 INT. HARPER RESIDENCE, GUEST ROOM - DUSK 173 *
Alec stands in the small nook in the guest room. He looks at

his finished masterpiece on the closet wall -- the collage of
defaced family photos. A giant fuck you to the Harpers.
Pale moonlight floods his stoic face. His eyes are glassy,
determined. He dons the frog mask.
A174 EXT. HARPER RESIDENCE - NIGHT A174 *
Our grim house. *
A shaken Mindy rises out of the cellar door. MUFFLED CRIES

echo down from above. She tenses, before timidly making her
way up the stairs.
175 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY - NIGHT (CONTINUOUS)

175
The CRIES emanate from Conner’s Room. Mindy approaches the

door, debating whether or not to enter. The WHIMPERING
becomes even more pained and alarming. In a sudden burst of
bravery, Mindy barges into --
Conner lies bound and struggling on the bed. He slips in and

out of consciousness. Alec sits on top of him wearing the
mask. He gags the boy’s mouth.
Mindy stands in the doorway, a look of sickened astonishment

on her face.
ALEC
Get out.
Mindy looks as if she might throw up.
ALEC (CONT’D)
I’m not gonna hurt him.
She can’t move or speak. She just stands there, jaw to the
floor. Alec leaps off his traumatized victim and rushes to
Mindy.
ALEC (CONT’D)
Stop looking at me like that!
She can’t stop. It only gets worse. The betrayal. The horror.
Alec grabs her arm, firmly.
ALEC (CONT’D)
Everything’s going to be okay.
MINDY
You’re insane.
She desperately yanks from his grip and hurries out the door.
177 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY / STAIRCASE - NIGHT

177
(CONTINUOUS)
Mindy marches to the stairs. Alec rips off the mask, close on
her heels.
He tries to grab her. She turns and pushes him away. He grabs
her again. She tries to push him but he refuses to let go.
MINDY
Alec, stop! Stop it!
ALEC
I’m not gonna let you ruin this for
me.
The two struggle as she attempts to move to the staircase.

MINDY
Get off of me!
She struggles with all her might to break free. In a sudden

move, Mindy trips and falls backwards, down the first flight
of stairs.
She lands with a thud, cracking her head on the window sill
on the landing.
Mindy lies in a crumpled heap. Alec steps down the stairs

towards her, stunned. hovers over her.
ALEC
Mindy? Mindy!
He strokes her hair. She is motionless, her head swollen and

bruised. Alec shakes her.
ALEC (CONT’D)
Wake up! Come on! Get up. No. No.
His eyes well. More WHIMPERS from above call his attention.
Alec looks to Mindy, making a difficult choice.
178 OMITTED 178
Alec carefully hoists up the weary Conner.
Alec’s silhouette carries the limp boy’s body down the

shadowy corridor.
JUMP CUTS:
Alec situates Conner in the tub.
He tightens the shoelace binds.
Conner fights to stay conscious.
The tape is placed across his mouth.
Alec pats the boy’s head and sticks the green army knife into
the bar of soap, the finishing touch.
182 INT. HARPER RESIDENCE, FRONT STAIRWAY / LANDING - NIGHT 182
Alec runs up from the basement with their things. He slips

his camera into Mindy’s bag and swings it over one shoulder.
He scoops up passed-out Mindy at the bottom of the stairs and
rushes to the garage.
Alec sets the knocked-out Mindy among the various CSI-type

equipment in the back of Greg’s SUV. He puts the bag
containing the camera beside her. He slams the back hatch
closed and gets into the driver’s seat.
Fuck. No keys. Suddenly, the loud GARAGE DOOR roars, opening

behind him. Alec ducks. Greg and Jackie pull up in the
minivan. After several tense beats, they wearily get out,
disappearing into the house.
Alec frantically turns his attention to finding the keys to

the SUV. He lifts the visor, opens the glove-box, the middle
compartment.
ALEC
Come on, come on.
But nothing. The keys must be somewhere inside.
ALEC (CONT’D)
Shit!
Alec jumps out and sneaks back inside the house.
Greg gets himself a beer from the fridge Alec pulls the mask
over his face and waits in the darkness, patiently.
Jackie’s SCREAM echoes from upstairs and Greg leaps to

attention.
GREG
Jackie?!
Greg runs up the stairs. As soon as he’s gone, Alec darts

into the kitchen. He searches the counter tops, table,
Jackie’s purse. No sign of the keys.
He moves to the bottom of the stairs, peering up. Greg

emerges out into the hall at the top of the stairs. Shit!
Alec makes haste back into the garage.
Alec watches from behind the XMAS/HOLIDAY boxes as Greg and

Jackie say goodbye.
JACKIE
Be careful. Promise me, you’ll be
careful.
GREG
I’ll be fine.
She pulls out leaving Greg alone in the empty garage.
He looks around the dark space. Makes a firm decision, he

grabs the duffle bag from the rafters and jumps into the
front seat of his SUV.
He tosses the bag into the back of the vehicle and it lands
beside Mindy. She stirs.
Alec watches in horror as Greg pulls out of the garage, Mindy

still unconscious in the back of his vehicle. The garage door
closes, leaving Alec completely alone.
186 INT/EXT. GREG’S SUV - NIGHT 186
Mindy’s groggily sits up in the back of the SUV. She blinks,

taking in her surroundings, perplexed.
It doesn’t take long for her to catch a glimpse of Greg’s

reflection in the rearview mirror. She ducks back down,
shaken to the core. She pulls out her cellphone. No bars. She
slowly slinks back up to peer out the back window -- Nothing
but darkness, maybe the outline of trees on either side. She
hunkers back down.
After several beats, Mindy’s eyes fall on Greg’s duffle bag

on the floor beside her. Pulling back one of the open flaps,
she reveals a few green Swiss Army knives in an evidence bag.
Beneath the knives, her hands fall on something else -- She
carefully pulls out a bigger evidence bag containing a blue
soccer jersey. The name WHITTER is stamped on the back. Holy
shit. She drops it in horror and clasps her hands over her
mouth.
The car begins OFF-ROADING. DIRT and ROCKS bouncing up,

hitting the side. Eventually, it comes to a FULL STOP. Mindy
waits, hushed in the back.
The DRIVER’S DOOR OPENS and CLOSES. FOOTSTEPS MOVING AWAY ON

DIRT. Mindy remains quiet, holding her breath. After several
tense beats, she emerges. The coast seems clear.
187 EXT. WOODS - NIGHT (CONTINUOUS) 187
Mindy cautiously exits the vehicle and surveys her

surroundings. Nothing but darkness and trees. No sign of
which way to run. She pulls out her cell phone: one bar of
service.
MINDY
Please work. Please work.
She quickly dials.
OPERATOR (O.S.)
911, what’s your emergency?
MINDY
I need help. I think I’m with the
kidnapper. Of that boy. I just woke
up in his car.
OPERATOR (O.S.)
Okay, ma’am, what’s your location?
MINDY
I don’t know. We’re in the woods
somewhere.
OPERATOR (O.S.)
(cutting in and out)
I’m sor -- didn’t -- that -- if
MINDY
No. No! Can you hear me? Hello?
Mindy becomes frantic.
MINDY (CONT’D)
HELLO?! Are you there?!
OPERATOR (O.S.)
Yes, ma’am, where are you?
MINDY
I don’t know...
OPERATOR
We’ll --- GPS --- ma’am--- are you--
BEEP. BEEP. BEEP. The call is dropped. Zero bars.
MINDY
Hello?! No! Shit!!
At a loss, Mindy takes off in a random direction through the

heavily wooded terrain. She holds up her phone as she moves,
desperate for a better signal.
MINDY (CONT’D)
Come on, come on.
She looks ahead. A faint light can be seen in the distance.

She runs toward it.
188 EXT. DEEPER IN WOODS - NIGHT 188
FROGS CROAK in the distance. Mindy arrives at the source of

the light -- a beat-up SILVER-BULLET TRAILER nestled beneath
a large tree. A lantern burns within. Music plays from a
portable radio.
Mindy cautiously approaches and squints into the dark trailer

window -- a small bed, a mini kitchen, a table and chairs,
all incredibly decrepit and unkempt.
She eyes two small pairs of tennis shoes near the kitchen
sink cabinet.
MINDY
Oh my god.
Mindy runs to the trailer door.
189 INT. SILVER-BULLET TRAILER - NIGHT (CONTINUOUS) 189
Mindy cautiously approaches the shoes. She peers out the

window above the kitchen sink. There’s little to see but the
slow moving shapes of the dark woods.
Mindy bends down to grab one of the tiny shoes when dirty
hands, ziptied at the wrists, BURST out from beneath the
kitchen sink. Mindy, knocked back, muffles her scream.
VOICE
(muffled)
Help us.
The voice is coming from the small cabinet beneath the sink.
Its handles are ziptied shut.
Mindy peers into the thin crack between the two cabinet
doors. Two sets of eyes look back at her, one belonging to
Justin Whitter and the other we recognize as MICHAEL KING.
MICHAEL KING *
Help us. Please.
MINDY
Okay... I’m gonna help you. I’m...
I promise. It’s okay.
Mindy quietly rifles through the drawers looking for a knife

to cut the ziptie with.
MINDY (CONT’D)
I’ll get you out of here...
Mindy bobbles control of a knife from one of the drawers.
MINDY (CONT’D)
It’s gonna be okay...
A look of utter dread crosses both of the boys faces as they

notice something just behind Mindy.
MICHAEL KING *
He’s back.
Mindy whirls around just as a clear plastic bag is pulled

over her face. She gasps, the plastic sucking into her mouth.
SMASH TO BLACK.
A determined Greg burns toward his parked SUV. He opens the

back hatch, rummaging among the various gear. His eyes fall
on Mindy’s bag where Alec’s video camera protrudes. He zeroes
in on it.
GREG
Son of a bitch.
191 FOOTAGE ON ALEC’S CAMERA -- 191
Mindy shows Alec the crawl space. *
Greg grits his teeth, shuts off the camera, panic-stricken.
A thin veil of light from the opening garage door slowly

reveals Alec. He waits, crouched behind the stack of boxes.
Greg’s car pulls in and comes to a stop.
The passengers door opens, obscuring Alec’s (and our) view

for a moment. It shuts again, revealing -- BAM! Mindy’s
unconscious face dangles right next to Alec’s.
Alec lurches back, covering his mouth to stifle a scream.
Greg carries Mindy’s limp body into the house, gun out in one
hand. He passes the axe hanging on the wall as he goes.
193 INT. HARPER RESIDENCE, HALLWAY/ STUDY - NIGHT 193
Greg looks around the room, strategically plotting. He props

Mindy up in a chair, then steps back, surveying the
surroundings. Mindy squirms, grumbles, unconscious.
After a beat, Greg hoists Mindy up out of the chair and moves
her to another place in the room. Her head falls, limply.
Greg takes his gun and holds it at a distance from her body.
Greg looks around the room. Plotting.
Alec turns to leave when - BANG!!! A GUN-SHOT echoes from *

inside the house. He stares ahead in horror.
195 INT. HARPER RESIDENCE, HALLWAY/STUDY - NIGHT 195 *
Mindy’s lifeless body lies on the floor. Blood is splattered

across one of the walls.
Wearing gloves, Greg pulls a small “Saturday night special”

from his ankle holster. He positions the weapon in Mindy’s
dead fingers. Using her own hand, he fires off two SHOTS into
a carefully selected section of wall.
Greg studies the scene he’s laid out. Satisfied, he cocks the
other gun and cautiously makes his way up the stairs.
196 OMITTED 196
197 OMITTED 197
198 OMITTED 198
199 INT. HARPER RESIDENCE, UPSTAIRS HALL - NIGHT 199 *
Greg carefully heads down the hallway. *

A200 INT. HARPER RESIDENCE, GARAGE - NIGHT A200 *
Alec cautiously leaves the garage, axe held firmly, terrified *

of what’s around the corner. *
Greg swings open the crawl space door. Sees the sleeping *
bag... *
201 INT. HARPER RESIDENCE, HALLWAY/STUDY - NIGHT 201 *
Alec walks down the hallway. He sees Mindy’s body... *
202 INT. HARPER RESIDENCE, GUEST ROOM - NIGHT 202 *
Greg looks at the collage. The TV and music turns on *

downstairs. *
Greg hesitantly makes his way downstairs. He passes Mindy. *

(CONTINUOUS)
Greg steps into the room. The lights are all on. The fan is
whirling. He raises his gun.
GREG
Hello?!
He takes another step into the room and suddenly the power
goes out. Greg is plunged into darkness. Only moonlight
spills in through the windows.
GREG (CONT’D)
Who are you?! I will kill you, I
swear to god.
Greg inches into the kitchen, his arms outstretched, gun

trained.
GREG (CONT’D)
Come out and show yourself! Coward!
WE MOVE AROUND A FULL HUNDRED AND EIGHTY DEGREES -- Greg

stands in the foreground, his back to the living room. Rising
up in the shadows behind him, is the Frog Masked Figure.
In a steady, silent move, the figure approaches and raises an

axe above Greg’s motionless head.
Just as the axe is about to make contact, a floorboard CREAKS

under Alec’s foot.
Greg WHIRLS around, narrowly missing the razor’s edge of

Alec’s weapon. He raises his firearm, but Alec heaves the axe
upward, knocking the gun from Greg’s hand.
Greg stumbles, retreating to the far side of the room,

cradling the wall. Alec stays on him, swinging again and
again. He misses. The axe is heavy, awkward in his hands, but
he’s determined.
Greg eyes the fireplace poker only a few feet away. Alec
swings for a fourth time and the axe makes contact with the
wall, inches from Greg’s terrified face. It’s lodged deep in
the plaster. Alec yanks at it, but the blade is stuck.
Greg seizes his opportunity. He bounds toward the mantel and

is about to snatch up the fireplace poker when --
Alec leaps on his back and the two spin into a few framed
family photos, both the frames and the men CRASHING to the
ground and colliding with the fireplace tools. Poker, shovel
and brush scatter.
It’s now hand to hand combat. The men scuffle on the floor,
fists flying, legs kicking, heads butting. Greg is strong,
but Alec is quick and scrappy.
Eventually, Greg’s muscle wins out, and he gains the upper

hand. Alec lays on his back, Greg sitting on top of him with
his hands clasped tightly around the boy’s neck. Greg’s
menace looks all consuming. Alec gasps for air, his breathing
already labored by the mask.
Greg snatches up the fireplace poker and give Alec a firm

knock to the head with it. Alec goes still, his body
motionless.
Greg rises, panting. He takes in the two bodies on the floor,

mind swirling. A SIREN screams out in the distance. Greg goes
into the kitchen and removes one of the knives from the
butcher block.
In a sudden, teeth clenched move, he stabs the knife just

above his right peck. He screams out in pain. He pulls the
blood covered knife free and looks to where Alec lay on the
floor --
Alec’s body is no longer in front of the fireplace.

Greg spins around suddenly to see Alec standing in front of

him with the small gun he put in Mindy’s hand. He’s removed
the frog mask, but his face remains obscure in the shadows.
Greg raises his hands.
GREG (CONT’D)
Easy. Easy.
Alec cocks his gun.
ALEC
I know what you are.
GREG
And what are you? Some kind of
vigilante?
ALEC
I know you took those boys.
Greg stares at Alec’s dark silhouette.
GREG
No. You took those boys. You and
your little friend kidnapped those
boys and then you came here to
terrorize the lead detective on the
case. You tied up my son. He was
next. I caught you sick bastards
just in time.
The source of the SIREN arrives outside. Blue and Red lights
flash through the window.
GREG (CONT’D)
You shoot me, and you better be
ready to eat that bullet because --
killing a cop -- you’ll get the
chair. Just like Gordon should
have.
Greg looks out the window. POV -- Spitzky parks and leaps
from his vehicle.
Alec steps into a shaft of light. It falls perfectly across

his face. Greg’s expression changes to panic. He looks at
him. Really looks at him.
GREG (CONT’D)
You don’t understand. I couldn’t
help myself. Please.
(then)
When I was a little boy, I --
BANG! Alec shoots Greg in the chest and he goes down.
ALEC
I don’t give a fuck.
Just then, Spitzky barges through the door. Alec turns with
his gun and Spitzky impulsively shoots. Alec falls to the
ground.
SPITZKY
Holy shit!
Spitzky leans down, grabbing Greg’s dead body. His eyes go to

Alec who is still alive, lying on his side, blood streaming
from his wound. Alec looks at Spitzky as he bleeds out onto
the ground.
ALEC
(wheezing through pain)
Officer Spitzky...
Spitzky stares. The two lock eyes.
More red and blue lights. RADIOS going off all around. The
entire POLICE FORCE is practically at the scene.
206 INT. SILVER-BULLET TRAILER - NIGHT 206
Officer Grace Caleb cuts the ziptie from the kitchen sink
cabinet and helps the two boys crawl out.
Yellow tape and a flurry of squad cars. The house bathes in

flashing blue and red lights. NEIGHBORS gather on the street.
208 INT. SILVER-BULLET TRAILER - NIGHT 208
Officer Caleb kneels on the floor of the trailer. Justin

Whitter clings tightly to her. Another OFFICER puts a blanket
around Michael King. Something catches Grace Caleb’s eye on
the floor, a few inches away from her. She leans in, brow
furrowed. She reaches for it --
It’s the St. Anthony coin she gave Greg, now muddied from
falling on the floor of the trailer. Grace stares at it,
aghast.
Spitzky pops the back of Greg’s SUV. He stops at the sight of

the evidence bags containing the pocket knives and Justin
Whitter’s jersey. *
210 OMITTED 210 *
211 EXT. HARPER RESIDENCE/ EDGEWATER DRIVE - NIGHT 211 *
Jackie pulls up in her car with a subdued Conner in the *

passenger seat. She unbuckles her seatbelt. *
JACKIE *
Stay right here baby. *
Jackie pushes past neighbors and police to get to the house. *

Spitzky spots her and rushes towards her. *
JACKIE (CONT’D) *
Where’s Greg? Where is he Ray? *
SPITZKY *
Jackie... *
He holds her *
, trying calm her. And we leave them, as Spitzky attempts to *

explain all that has happened. *
Her eyes glance over as a handcuffed Alec is brought out on a *

gurney by PARAMEDICS.
Conner, now pushing his way to get to his mum, sees this *
figure being wheeled out. They stare at one another for a *
long beat. *
As Alec is wheeled into the ambulance, we HOLD on his *
tranquil, satisfied face for a long beat.
A distant, electronic jingle of an Ice Cream Truck brings us -
212 EXT. TRAIN TRACKS - DAY (2004) 212

The MUSIC trails from the meandering ice cream truck.
The two small boys walk along the train tracks. The livelier -
YOUNG ALEC (10), jumps across large concrete blocks, making
this his own decaying assault course. YOUNG TOMMY (9) walks
alongside.
YOUNG TOMMY
Wanna go back to my house and play
with my dinosaurs?
YOUNG ALEC
Nah. They suck.
YOUNG TOMMY
So what you wanna do?
Alex shrugs. Pulls out his Yoda Pez Dispenser. Pops a Pez.
YOUNG ALEC
Wanna play the word game?
YOUNG TOMMY
Okay. I’m thinking of a five letter
word that starts with “S”.
YOUNG ALEC
Shit.
YOUNG TOMMY
No, stupid, that’s four letters.
YOUNG ALEC
Shits.
Tommy giggles.
VOICE (O.S.)
Shouldn’t you kids be in school?
They look over to see a MAN standing by the road, his car
parked behind him. Little Tommy looks alarmed.
YOUNG ALEC
It’s teacher’s day.
VOICE (O.S.)
That right?
It’s Greg, only 15 years younger. He holds out two green

Swiss Army knives.
GREG
You boys ever use one of these
before?
Alec approaches.
YOUNG ALEC
Cool.
GREG
It is cool.
Tommy is less impressed, nervous.
YOUNG TOMMY
Alec...
YOUNG ALEC
Can I have the knife?
Greg smiles.
GREG
In a minute. You gotta be patient,
Alec.
Alec smiles back.
213 OMITTEDL 213

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WHITE Production Draft April 26,2018

An eerie Ice Cream Truck JINGLE brings us to --

1 EXT. CHAGRIN FALLS - DAY 1

A street ripe with nostalgia, shimmering in the twilight of a

2 EXT. NEIGHBORHOOD STREETS/PARK - DAY 2

MONTAGE SHOTS of Justin as he pedals through the

3 EXT. WOODS - DAY 3

Branches sway, slightly obstructing the view of Justin as he

He speeds up, bumping and bouncing over the rough terrain,

Above, dozens of birds suddenly swoop into the air - a loud

His body is suddenly knocked backwards by an invisible force,

The bike lies abandoned in the leaves.

4 EXT. HARPER RESIDENCE - NIGHT 4

The Harper house stands tall at the center of a row of other

5 INT. HARPER RESIDENCE, UPSTAIRS HALLWAY - NIGHT 5

It’s chillingly still.

6 INT. HARPER RESIDENCE, MASTER BEDROOM - NIGHT 6

A soft-featured WOMAN sleeps alone in the bed, a handful of

7 INT. HARPER RESIDENCE, CONNER’S ROOM - NIGHT 7

A hamster runs laps on a wheel in his cage. A popsicle stick

8 INT. HARPER RESIDENCE, FRONT STAIRWAY - NIGHT 8

Framed photographs line the wall, memories frozen in time of

9 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - NIGHT 9

In the blink of an eye, a SHADOWY FORM moves.

10 EXT. EDGEWATER DRIVE / HARPER RESIDENCE - MORNING 10

The Harper Residence, large and intimidating, on the quiet *

11 INT. HARPER RESIDENCE, KITCHEN/LIVING ROOM - MORNING 11

JACKIE HARPER (late 40’s, dressed in casual business attire)

CONNER HARPER (15), sits down at the breakfast bar. He has a

Conner looks at her. She’s pathetic. He pulls a box of

Jackie watches, dejected, as he sits at the table and grabs

He ignores her. Jackie grabs a bowl from the cupboard and

Jackie searches the top shelf of a cabinet. She looks in the

He looks down, pretends to be lost on his cell phone. He

He shakes his head again, not looking up.

On the couch, GREG HARPER (late 40s) stares vacantly up at

He pulls himself up with effort and looks at his son, his

Greg eyes Conner’s fresh shiner. *

He takes in his son. *

Greg studies Conner’s feigned toughness, cant help but smile. *

12 INT. HARPER RESIDENCE, STAIRWAY - MORNING 12

Greg meanders up the stairs. He stops at something on the

13 INT. HARPER RESIDENCE, MASTER BEDROOM - MORNING 13

The phone rings. Greg, half dressed for work, wearing a

No response from Greg.

Holds a beat. Then in exasperated rage, hurls the phone at

He approaches it and looks out, the smashed phone on the

14 EXT. HARPER RESIDENCE, ROOF LEDGE - MORNING 14

15 INT/EXT. HARPER RESIDENCE, NEARBY WINDOW - MORNING 15

POV - we watch Greg on the roof from the window behind.

16 INT. PSYCHIATRIST OFFICE - DAY 16

LYDIA (35), a troubled patient, sits on the office sofa. She

We reveal Jackie, sitting in a chair opposite Lydia. Her

Jackie thinks on this for a moment.

17 INT. PSYCHIATRIST OFFICE - LATER 17

Jackie is at her desk, her back to us. The office otherwise

18 EXT. POLICE STATION - DAY 18

Greg pulls up in his SUV and gets out. He haphazardly juggles