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I Am Number Four Movie Script

Writer(s) : Alfred Gough, Miles Millar

Genres : Action, Sci-Fi, Thriller

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                               I AM NUMBER 4



                                Written by

                       Alfred Gough & Miles Millar



                                                               1/08/10
                         

                         

                         
          The events in this film are real.
          Names and places have been changed to protect the Lorien Six,
          who remain in hiding.

          Take this as your first warning. Other civilizations do exist.
          Some of them seek to destroy you.

                         

                         

                         

                         

                         FADE IN:

          A BILLION STARS
          pinprick the velvet-black sky that stretches over a vast
          sleeping jungle. A fingernail moon silvers the whispering
          canopy while gentle tendrils of steam rise.

          TITLE ON SCREEN: REPUBLIC OF CONGO, AFRICA.

          EXT. JUNGLE - NIGHT

          CAMERA DRIFTS ACROSS the eternity of treetops until it FINDS

          A BUNGALOW.
          It's 20x20 square, with a wraparound porch and simple wooden
          shutters. The structure is hidden in a clearing that's been
          crudely hacked out of the sweaty wilderness.

          INT. HUT - NIGHT

          Two beds draped in mosquito nets sit on opposite sides of the
          space. A TEEN BOY sleeps in one and a MIDDLE-AGED MAN lies
          in the other. Their ebony skin glistens in the swampy heat.
          The numbing THROB OF INSECTS fills the silence until

          THE DOOR SOFTLY RATTLES.
          The Teen's eyes fly open. Fear grips his face as he looks
          over at the Man, who is now upright and awake. They hold
          their breath, listening over the DRUMMING CHORUS.

          ANOTHER RATTLE.
          It's louder this time. Unmistakable. The Teen watches as
          the Man pulls a crystal-handled dagger from under his pillow
          and stealthily creeps to the door. The Man cautiously leans
          in and peers through the bamboo slats.
          WHAT HE SEES: The empty porch. No sign of life.
          Relieved, he turns back, opens his mouth to speak when his
          face contorts. He looks down and sees the tip of

          A SERRATED METAL BLADE
          protruding from his chest. As the sword is viciously
          protracted through the door, the Man meets the Teen's haunted
          eyes and whispers his last, desperate word...

                         MIDDLE-AGED MAN
          Run!

          SMASH CUT TO:

                         

                         

                         

                         

          2.

          EXT. JUNGLE - NIGHT

          The Teen's naked feet pound the hot, wet earth as he sprints
          through the maze of trees. Flecks of moonlight ricochet off
          the crystal pendant that dangles around his neck. He moves
          impossibly fast. Faster than any human could.

          A MONSTROUS HOWL
          ECHOES as something otherworldly catches his scent and begins
          thrashing in pursuit. The Teen's face tightens with dread
          and the SHOUTS of his pursuers hammer his ears.
          He doesn't look back, willing himself to survive. He races
          up a verge and fearlessly launches himself off the edge of

          A 100-FOOT-WIDE RAVINE!
          GOD SHOT LOOKING DOWN as the Teen leaps across the abyss. He
          kicks air as he arcs and finally touches down on the opposite
          lip. Chest heaving, he sees the hideous silhouette of

          A HULKING BEAST.
          It's called a Piken and skitters to a stop on the other side.
          It utters a chilling BANSHEE WAIL of frustration. Relieved,
          the Teen turns to make his escape when

                         A HAND
          wraps around his throat. He is effortlessly hoisted by a
          TOWERING MAN with skin as cold and pale as alabaster.

          THIS IS A MOGADORIAN.
          He wears the long red coat of a Commander. We catch the
          briefest glimpse of his cruel magenta eyes as they scan the
          geometric symbol engraved on the Teen's pendant. Silhouetted
          against the giant jungle moon, he triumphantly raises

          A SWORD.
          Its serrated blade ignites with silver flame as it sweeps
          towards the Teen. The boy's DEATH CRY echoes as the CAMERA
          ZEROES IN ON the pendant that glows brilliant-bright.

          FORM CUT TO:

          THE SAME SYMBOL.
          It glimmers to life on the ankle of another TEEN 10,000 miles
          away. His name's DANIEL and he's in the middle of a wild jet-
          ski race with TWO BUDDIES.

          TITLE ON SCREEN: BIG PINE KEY, FLORIDA, USA.

                         

                         

                         

                         

          3.
          The trio crisscrosses the turquoise sea while a party rages
          on the beach.
          Daniel makes a kamikaze move, whips his jet ski past his
          opponents and victoriously pumps his fist. But his moment of
          triumph is cut short. His face contorts in agony as he feels

                         THE SYMBOL
          searing into his skin. As he leans forward to grip his
          ankle, he cartwheels off the jet ski and viciously body-slams
          across the water.

          EXT. UNDERWATER - DAY

          LOOKING UP as Daniel crashes into view. Needles of light
          flicker from the symbol. It's cauterizing into his flesh
          like a brand.

          EXT. BEACH - DAY

          Daniel stumbles through the surf and collapses onto the sand,
          clutching his ankle. He rolls onto his side as a CROWD OF
          PARTYING TEENS gathers. A BLONDE GIRL leans down to help.

                         BLONDE GIRL
          Daniel, what's wrong? Did you
          break your ankle?
          But as she turns him over, she sees the light leaking from
          between his fingers and reels back.

                         BLONDE GIRL
          Oh my God.
          He stares up into the crowd's fearful faces, then staggers to
          his feet and takes off running.

          EXT. INTERSTATE - DAY

          The busy road runs parallel to an expanse of ancient pines.
          Through the trees, we CATCH THE SHUTTER IMAGE of a figure
          outrunning the hurtling vehicles.

          EXT. COASTAL FOREST - DAY

          Trees whip past as Daniel sprints down a sandy track. The
          pendant that knocks against his chest was carved by the same
          hand as the African Teen's, but the symbol is unique. He
          peels off to the right and bursts out onto a long drive.

          A STILT HOUSE
          sits at the end. It's cake-frosting pink and is built right
          on the edge of a coral-white beach.

                         

                         

                         

                         

          4.

          EXT. STILT HOUSE - DAY

          The door flies open and Daniel stands on the threshold.
          HENRI looks up from his bank of laptops that scroll with news
          feeds. He is decades older than his suntanned face betrays
          and you'd be way off if you guessed his accent was French.

                         DANIEL
          Number 3 is dead.
          Henri's eyes narrow with urgency. He is immediately on his
          feet, he kneels at Daniel's side and studies the symbol on
          the teen's ankle. It has stopped glowing but is painfully
          raw. Directly below this fresh wound are

          TWO OTHER GEOMETRIC BRANDS.
          They are the same size, but each symbol is subtly different.
          Time has transformed them into raised, snake-smooth scars.
          Henri's penetrating eyes look up at the shell-shocked teen.

                         HENRI
          Did anybody else see this?
          OFF Daniel's panicked nod...

                         CUT TO:

          INT. BEDROOM - STILT HOUSE - DAY


                         A GECKO
          skitters across the ceiling, its glossy black eyes watch as
          Daniel frantically stuffs his clothes into a duffel bag. The
          walls are bare. No photos, no posters, no personality.
          Henri enters, holding a crate of computer cables.

                         HENRI
          Taillights in five minutes. What
          we can't carry --

                         DANIEL
          -- we burn. I know the drill.

          EXT. STILT HOUSE - DAY

          TIGHT ON A BOX. It's exquisitely carved and inlaid with an
          intricate geometric design.
          Henri carefully hides it under the driver's seat of an old
          Jeep Wagoneer. It's the kind with wooden trim. He looks at
          Daniel who feeds homework assignments into a roaring FIRE.

                         HENRI
          Time to go.

                         

                         

                         

                         

          5.
          Daniel clicks the SIM card from his cell phone, snaps it in
          two and drops it into the fire. Bitter, he takes one last
          look at the glittering azure sea, then climbs into the Jeep.
          As the engine HUMS to life, CAMERA FOLLOWS

          THE GECKO.
          It darts up the fender, squeezes into the jamb of the trunk,
          and Houdinis into the vehicle with a flick of its tail.

                         CUT TO:

          EXT. CAUSEWAY - DUSK

          The Jeep powers across the long elevated bridge. The dying
          sun tints the clouds and the sky in violent apocalyptic hues.

          DANIEL (V.O.)
          This is the part I hate the most.
          The running. But it's the only
          thing in my life that's real. The
          rest is a lie. My name. My
          birthday. Even Henri. People
          think he's my father. He's not.
          His job is to keep me alive.

          INT. JEEP - NIGHT - MOVING

          Henri's eyes scan the rear view, on constant vigil. The
          speedometer never brushes past 60. Daniel has his head
          against the window, brooding, listening to an iPod.

          DANIEL (V.O.)
          We are hiding from the Mogadorians.
          A brutal race that wiped out our
          entire planet, Lorien.

          EXT. USED-CAR LOT - DAY

          Plastic flags whip overhead. Daniel leans against a silver
          SUV and watches Henri negotiate with the DEALER.

          DANIEL (V.O.)
          Only nine children escaped the
          genocide. We were each given a
          number and sent here to hide. I
          don't know where the others are. I
          only know when one of them is
          murdered.

          INT. BATHROOM - MOTEL - NIGHT

          Daniel sits on the edge of a bathtub. He gently unwraps the
          bandage that covers his ankle and fearfully inspects the neat
          scab that has formed over the wound.

                         

                         

                         

                         

          6.

          DANIEL (V.O.)
          I got the first scar when I was
          eight. I woke up screaming. We
          lived in Vermont. The second was
          on a Tilt-a-Whirl at a fair in
          Michigan. I was 12. Yesterday was
          the third.
          His finger traces the lines of the other two scars.

          EXT. INTERSTATE - DAY

          The lush tropical landscape has browned into flat, dormant
          farmland. The silver SUV charges through the bleak monotony.

          DANIEL (V.O.)
          Because of the spell our Elders
          cast, the Mogs can only kill us in
          order. That's the reason I've
          survived this long. But our enemy
          is relentless.

          INT. SUV - NIGHT - MOVING

          Daniel is asleep with his earphones on. Henri glances over,
          his mask of certainty momentarily slips. He looks like a
          soldier heading into a battle he knows cannot be won.

          DANIEL (V.O.)
          Now their hunt has turned to me. I
          am number 4.

                         CUT TO:

          EXT. REST-STOP DINER - NIGHT

          A tired neon sign illuminates the big rigs that RUMBLE past,
          headed to destinations unknown.

          INT. REST-STOP DINER - NIGHT

          Daniel sullenly stares at a stack of untouched pancakes.
          Henri slides into the booth, all business.

                         HENRI
          Florida's clear. I sent a letter
          to the school and there's nothing
          in the papers.

                         DANIEL
          I didn't even get a chance to say
          goodbye.
          Henri keeps going, passes an envelope across the table.

                         

                         

                         

                         

          7.

                         HENRI
          New IDs.
          Daniel pulls out his birth certificate, reads the name.

                         DANIEL
          Just when I think you can't get any
          less original, you lower the bar.

                         HENRI
          I'm not interested in originality.
          I'm interested in untraceable.
          There are 335,321 John Smiths in
          the United States.
          (Note: from this point on, Daniel will be called John.)
          John looks at him, then abruptly gets up and storms away.
          Henri drops $20 on the table and calmly heads after him.

          INT. ARCADE - REST STOP - NIGHT

          A row of ancient arcade games blinks. John angrily stabs the
          buttons of a Space Invaders machine as Henri approaches.
          They are alone. John's eyes never leave the video screen.

                         JOHN
          It's been so long since the last
          scar.

                         HENRI
          You got lulled into a false sense
          of security. That's my fault.
          John struggles to keep his temper in check.

                         JOHN
          I liked Florida. I liked having
          friends. I liked feeling normal.
          Henri's face softens with paternal compassion.

                         HENRI
          I wish that you could have a normal
          life -- but you can't.
          Only now does John turn and face him. His eyes blaze with
          frustration.

                         JOHN
          Then why fake it? Why not just go
          hole up in the wilderness.

                         HENRI
          That's exactly what Number 3 did.

                         

                         

                         

                         

          8.
          John looks at him, confused. Henri pulls up an article on
          his iPhone and hands it to John.

                         HENRI
          It's from an African news site. A
          man and his son went missing two
          nights ago. The locals think they
          were taken by strange beasts.
          John understands the implication.

                         JOHN
          Piken.

                         HENRI
          The Mogadorians are natural-born
          hunters. Blending in is our best
          protection.

                         JOHN
          So we just keep moving from town to
          town?

                         HENRI
          Until I say otherwise -- yes.
          John waits as a TRUCKER passes through the room. His voice
          softens but never loses its intensity.

                         JOHN
          I want to be from someplace, Henri.

                         HENRI
          You are.

                         JOHN
          Lorien's your home, I don't even
          remember it.
          John's tone rubs Henri the wrong way.

                         HENRI
          Like it or not, it's your home too.
          You have a responsibility to those
          who died.

          INT. SUV - NIGHT

          Henri and John climb in.

                         JOHN
          I want a say in where we live.
          (off Henri's face)
          You already picked it, didn't you?

                         

                         

                         

                         

          9.
          Henri REVS the ENGINE to life.

                         HENRI
          Cheer up, you're going to be living
          in Paradise.

                         CUT TO:
          A frigid sheet of RAIN POUNDS the sign that's planted on the
          side of this narrow stretch of rural blacktop:

          “WELCOME TO PARADISE, OHIO. POP. 5,243”
          The silver SUV streaks past, its wipers working overtime. It
          kicks up a spray as it speeds down Main Street. The dinky
          storefronts are garishly decorated for Halloween.

          EXT. WOODS - DAY

          The leaves are washed in a thousand shades of gold. The SUV
          barrels along the drive that twists through the woods.

          INT. SUV - DAY - DRIVING

          Henri pulls up in front of a small house. It sits by itself,
          surrounded by trees. Water sluices off the weather-worn
          garage in the yard behind it. A WOMAN steps out of a minivan
          to greet them.

                         JOHN
          She looks even perkier than the
          realtor in Florida.
          A warm smile graces her round face and she's clutching a
          fruit basket. For the record, she is called ANNIE.

                         HENRI
          What's your name?

                         JOHN
          John Smith.

                         HENRI
          Where are you from, John?

                         JOHN
          Arizona.

                         HENRI
          Why did you move to Paradise?

                         JOHN
          Because you're an asshole.
          John waits for a reaction but doesn't get one...

                         

                         

                         

                         

          10.

                         JOHN
          Because my dad needs peace and
          quiet to research his book.
          Henri nods and smiles wryly.

                         HENRI
          This was a lot easier when you were

          12.

          INT. HOUSE - DAY

          The front door swings open and Annie proudly escorts Henri
          and John inside.

                         ANNIE
          Here we are. Home sweet home.
          They scan the faded interior. The place is in desperate need
          of a makeover. A grandfather clock pensively TICKS at the
          end of the hall. Annie remains relentlessly optimistic.

                         ANNIE
          First impressions?

                         HENRI
          It's perfect.
          Annie places the fruit basket on the dining table and begins
          turning on the lights.

                         JOHN
          That's one word for it.
          Stewing, John exits into the hall with his duffel bag. Annie
          reads the strained dynamic.

                         ANNIE
          I feel your pain. I have a
          daughter his age. Apparently, I
          ruin her life on a daily basis.
          John steps back in, holding a sun-faded poster featuring NFL
          great Bernie Kosar.

                         JOHN
          This guy was covering a hole in my
          wall.
          Annie's cheeks blush with annoyance.

                         ANNIE
          I told the handyman to patch that
          before you arrived. I'm so sorry.

                         

                         

                         

                         

          11.
          Henri is all charm, gently leads her to the front door.

                         HENRI
          Don't you worry about it.
          She nods, grateful.

                         ANNIE
          We'll knock it off the rent. Keep
          the poster, Bernie Kosar brings
          good luck here in the Buckeye
          State.

                         CUT TO:

          EXT. HOUSE - NIGHT

          The rain has stopped. The wind RUSTLES the trees. John
          lifts out the last box. As he closes the trunk, he doesn't
          notice the hitchhiking gecko hotfoot it out.

          INT. LIVING ROOM - HOUSE - NIGHT

          Henri is busy setting up his computer station. John dumps
          the box on the floor.

                         JOHN
          That's the last of them. I'm
          hitting the sack.

                         HENRI
          I need a new photo first.
          John crosses and stands against the wall.

                         HENRI
          Say Paradise.
          John gives him a withering look. Henri flashes off a shot.
          The camera is cabled to one of the laptops.
          TIGHT ON LAPTOP: The image of John pixelates onto a digital
          grid and a face-recognition program begins to map his facial
          structure.
          Henri turns to another laptop.

                         HENRI
          I've imputed the new search words:
          Daniel Jones. Big Pine Key.
          Sunset High School. You think of
          any others?

                         JOHN
          Yeah, this place sucks.

                         

                         

                         

                         

          12.
          Henri swivels to face him.

                         HENRI
          If there's a story or picture of
          you on the internet, this program
          will find it. Our enemy doesn't
          know who you are -- I want to keep
          it that way.
          John nods, knows he's being a jerk.

                         JOHN
          Sand Dollar Beach, that's where we
          were jet skiing.
          Henri types it in when something SCRATCHES at the door.
          Their heads instantly turn towards the sound. Tense SILENCE.
          SLOW PUSH IN ON THE DOOR as another SCRATCH echoes.
          Henri is on his feet. He flicks off the lights and silently
          signals John to retreat down the hall. With the cool air of
          an assassin, Henri unzips a duffel bag and pulls out a sleek
          crystal-handled dagger. As he steps to the door...

          INT. CLOSET - JOHN'S BEDROOM - NIGHT

          ... John crouches in the dark, clutching a baseball bat.
          Suddenly, the light in the bedroom buzzes back on. He holds
          his breath as the door swings open. He looks up and is
          relieved to see Henri.

                         HENRI
          I found our intruder -- he's a
          little small for a Mogadorian.
          At that moment,

                         A BEAGLE
          slips between Henri's legs. It cocks its head, studies
          John's face, then pads forward and licks his cheek.

          INT. KITCHEN - HOUSE - NIGHT

          The dog greedily laps a bowl of milk.

                         JOHN
          He's starving, doesn't have any
          collar or tags.

                         HENRI
          Must have been dumped.

                         

                         

                         

                         

          13.

                         JOHN
          You know, another pair of eyes and
          ears watching the house wouldn't be
          a bad thing.
          Henri considers the request, nods. John playfully ruffles
          the dog's head.

                         HENRI
          What are you going to call him?

                         JOHN
          Since I need all the luck I can get
          -- how about Bernie Kosar?

                         CUT TO:

          INT. LIVING ROOM - HOUSE - MORNING

          John enters, dressed in black, ready for his first day of
          school. He dumps his backpack on a chair. Henri places a
          plate with an omelette and perfectly browned hash browns in
          front of him.

                         JOHN
          Wow. You outdid yourself. What's
          up?
          Henri lifts a red backpack into view. John stares at it.

                         JOHN
          I already have a backpack.

                         HENRI
          This one has five days of rations,
          spare clothes, cash and a handheld
          GPS. Keep it with you at all
          times.

                         JOHN
          Henri, come on.

                         HENRI
          Game's changed. You're in the
          crosshairs now. You have to be
          ready to leave at a moment's
          notice. With or without me.
          John stares at the backpack, takes in this new reality. He
          pushes the plate away, snatches the backpack and heads out
          the door. Henri stares at the omelette, tastes a pinch of
          hash browns, then puts the plate on the floor on his way out.
          It takes Bernie 2.5 seconds to race over and start to eat.

                         

                         

                         

                         

          14.

          EXT. PARADISE HIGH SCHOOL - DAY

          Jack-o'-lanterns stare out from the “HALLOWEEN BLOCK PARTY”
          banner strung across the red brick facade. Henri drives
          away. John slides the red backpack onto his shoulder when he
          hears a FAMILIAR BARK. He turns and is surprised to find

          BERNIE KOSAR.
          The little dog is sitting by the flagpole wagging his white-
          tipped tail. John crosses to him, baffled.

                         JOHN
          Bernie, what the hell... were you
          hiding in the car?
          He scoops the dog into his arms.

          FEMALE VOICE (O.S.)
          Hey, I was about to take a picture
          of the little guy.
          John turns and finds

          SARAH HARTE.
          She's his age and is holding an old 35mm Nikon. There is
          something about her unforced beauty that is instantly
          enchanting. John shuffles, uncharacteristically nervous.

                         JOHN
          He's not supposed to be here.

                         (TO BERNIE)
          Go home. Now.
          Bernie hops out of his arms and obediently runs towards home.

                         SARAH
          He's really well-trained. How long
          have you had him?
          John turns away.

                         JOHN
          Sorry about your shot.

                         SARAH
          No worries.
          He begins walking towards the entrance.

                         SARAH
          You just moved into the house on
          Old Mill Road. It's John, right?

                         

                         

                         

                         

          15.
          John swings back, concerned.

                         SARAH
          Don't worry, I'm not stalking you.
          My mom said she rented it to a guy
          with a son my age. Since I know
          every other face on this quad, that
          had to be you.

                         (BEAT)
          I'm Sarah.
          He nods.

                         SARAH
          Where are you from?

                         JOHN
          Someplace warmer.

                         SARAH
          I don't think that qualifies as an
          actual answer.

                         JOHN
          I need to register.
          She raises her camera to snap a shot of him.

                         JOHN
          Whoa. What are you doing?

                         SARAH
          Capturing your first day, even
          though you're technically six weeks
          late.

                         JOHN
          Please don't point that at me.

                         SARAH
          Afraid the camera's going to steal
          your soul?
          She lifts the viewfinder to her eye, adjusts focus. Annoyed,
          he covers the lens with his hand.

                         JOHN
          What's your problem? I said no.

                         SARAH
          It's only for the yearbook.
          John regains his composure.

                         

                         

                         

                         

          16.

                         JOHN
          I'm not big into having my picture
          taken. Sorry.
          As he heads away, Sarah watches, intrigued. CAMERA TRACKS TO
          REVEAL MARK JAYNE monitoring the encounter. He's the star
          quarterback and his chiselled jaw tenses with jealousy.

          INT. HALL - PARADISE HIGH SCHOOL - DAY

          Loaded with textbooks, John instinctively bows his head as he
          passes the black eye of a hall security camera and steps to a
          locker. He reaches for the combination lock when

                         A BACKPACK
          viciously sideswipes him. The textbooks scatter across the
          checkerboard linoleum. John sees the culprit is Mark Jayne,
          who offers him a taunting grin. John fights his urge to
          react and watches as Mark struts over to his POSSE OF JOCKS.

          VOICE (O.S.)
          Welcome to Paradise, irony not
          included.
          John looks at the teen standing two lockers down. He's got a
          battered skateboard tucked into his backpack and wears an
          Army surplus jacket. This is SAM GOODE -- genius by birth,
          slacker by choice. He nods after Mark.

                         SAM
          His name's Mark Jayne.
          Quarterback, sheriff's son, he's
          three years into the best four
          years of his life.
          John begins retrieving the fallen books. Sam helps.

                         SAM
          Do yourself a favor -- stay off his
          radar.

                         JOHN
          Didn't know I was on it.

                         SAM
          You were talking to Sarah Harte.

                         JOHN
          She was talking to me.

                         SAM
          Mark and Sarah have been exclusive
          since Freshmen year.

                         

                         

                         

                         

          17.
          John looks down the hall and sees Mark wrap his arm around
          Sarah's shoulder.

                         SAM
          If there's another guy in her
          airspace, he shoots them down. You
          got a warning shot.
          John piles the books into his locker.

                         JOHN
          Maybe I'll fire back next time.

                         SAM
          Look, you're new, so let me tell
          you how things work in this
          misnamed backwater. Football
          players are gods -- the rest of us
          are mere mortals. If you want to
          survive, keep your head down and
          don't make waves.

                         JOHN
          You sound like my dad.

                         SAM
          Obviously a wise man.

                         (BEAT)
          I'm Sam by the way.
          Sam extends his hand. John doesn't take it.

                         JOHN
          Thanks for the download.
          As he SLAMS his locker shut...

                         CUT TO:

          EXT. FOOTBALL STADIUM - PARADISE HIGH - DAY

          It's an impressive structure with wraparound bleachers. The
          Junior gym class jogs around the track. John hangs in the
          middle of the pack, with his hoodie up, blending in.
          They pass the GIRLS who are stretching on the pristine field.
          Sarah's eyes drift towards John. The COACH blows a whistle.

                         COACH
          Alright, people. Let's hit the
          gym.
          The assembled teens GROAN and fan off towards the mouth of a
          tunnel that stares out from the base of the bleachers.

                         

                         

                         

                         

          18.

          INT. GYM - PARADISE HIGH - DAY

          John emerges from the tunnel via a door by the stage. Some
          of his classmates are on the court, passing and dribbling.

                         COACH
          Okay, half court, three on three.
          Girls have this basket, boys have
          that one.

                         CUT TO:
          Two simultaneous games are in progress. John sits on the
          sidelines waiting his turn. He avoids eye contact with Sarah
          who is sitting in the shadow of the basket. However, he does
          notice Mark Jayne enter and approach her.

                         COACH
          New kid, you're up. Show me what
          you've got.
          John steps onto the court and waits for the ball to come his
          way. He steals a glance and sees Sarah and Mark arguing. A
          blur of orange. John swings back and catches the ball.
          Just as he shoots, he's distracted by Sarah's upset voice.

                         THE SHOT
          goes wild, misses the basket but hits the glass backboard
          with such force that it

          SHATTERS.
          Mark and Sarah are inadvertently forced to separate as shards
          rain down. All eyes turn to John, who's annoyed at his
          momentary lapse. TEENS HOOT. The Coach BLOWS his whistle.

                         COACH
          Enough! Hit the showers.

                         (TO JOHN)
          LeBron, grab a broom.
          As the gym empties, John looks over and catches Sarah
          watching him. OFF this silent exchange...

                         CUT TO:

          INT. HOUSE - DAY


          THE INTRICATELY CARVED BOX
          is clutched in Henri's hands. He heads down the hall and
          stops in front of the grandfather clock. Its tarnished
          pendulum sways. He unlocks the glass panel and slots the Box
          out of sight behind the clock's brass face.

                         

                         

                         

                         

          19.
          Satisfied with the hiding place, he locks the front and takes
          the key. When he turns back, he finds

          BERNIE KOSAR.
          The dog is studying him with his head cocked.

                         HENRI
          Let's keep this our little secret.
          OFF Bernie's inquisitive eyes...

                         CUT TO:

          INT. CAFETERIA - PARADISE HIGH - DAY

          John joins the line. He sees Sarah sitting by herself,
          inspecting a photographic contact sheet. His view is blocked
          by Sam. John rubs his hands which are oddly sweaty.

                         SAM
          First day here and you're already
          destroying school property. So
          much for not making waves.
          John moves past him and grabs a tray. He's flushed and his
          face is now hot and red.

                         JOHN
          It was an accident.

                         SAM
          I hear the real spectator sport was
          Mark and Sarah's blowout.
          John wipes his brow, distracted.

                         SAM
          Dude, you okay?

                         JOHN
          Fine.
          At that moment, Mark Jayne and his buddy, KEVIN, cut in front
          of them. Annoyed, John taps Mark on the shoulder.

                         MARK
          You got a problem?

                         JOHN
          Line starts back there.

                         MARK
          Football players get priority.

                         

                         

                         

                         

          20.

                         JOHN
          Where's that posted?

                         MARK
          Unwritten rule.

                         (RE: SAM)
          I'm surprised your boyfriend didn't
          tell you.
          Sam puts his hands up and backs away. Mark smirks at John.

                         MARK
          If you don't know your place around
          here, things can get rough.
          John holds his ground.

                         JOHN
          In that case, I guess I better ask
          you where I should sit. I was
          thinking about grabbing that chair
          next to your girlfriend.
          In a flash of anger, Mark whips up his tray, hammers it into
          John's chest, knocking him to the floor.

                         MARK
          You want to talk trash? Let's see
          you back it up.
          John tries to stand, but is suddenly overcome with a wave of
          pain. He looks down at his hands and is alarmed to see

                         LIGHT
          blooming from his palms! He quickly balls them into fists,
          extinguishing the light from view.

                         MARK
          Get up!
          SILENCE has fallen. Still clenching his fists, John rises
          and stumbles out into the hall. OFF Sarah's concern as she
          watches him exit...

                         CUT TO:

          EXT. PORCH - HOUSE - DAY

          Henri is on a ladder, adjusting a hidden surveillance camera
          above the front door, when Bernie starts BARKING. It's an
          anxious, urgent BARK.

                         

                         

                         

                         

          21.

          INT. HOUSE - DAY

          Henri steps inside and sees the dog is BARKING at --

          THE GRANDFATHER CLOCK.
          A shaft of white light blooms from within. The shadow of the
          swaying pendulum cuts across Henri's face. As he sprints for
          the door...

                         CUT TO:

          INT. HALL - PARADISE HIGH - DAY

          Disoriented, John staggers down the hall. Sam catches up.

                         SAM
          Dude, hold up!
          John leans against the wall, keeping his hands out of sight.

                         SAM
          You look like crap. I'll get the
          nurse.
          But as Sam runs off, John heads in the other direction.

                         CUT TO:

          EXT. ROAD - DAY

          Henri's SUV roars into view, whipping up a tornado of leaves.

                         CUT TO:

          INT. DARKROOM - PARADISE HIGH - DAY

          Strips of negatives hang on drying lines. John bursts in and
          SLAMS the door. He slips off his backpack, opens his hands.
          TIGHT ON HIS EYES -- the brilliant light from his palms
          shrinks his irises to pinpricks.
          The luminescence is crisp, mercury-glass bright and grows
          stronger every second. Suddenly, the door opens. John spins
          in shock. A figure strides through the blinding glare,
          gently takes his hands and folds them into fists.

          IT'S HENRI.
          John looks at him, confusion and fear etched on his face.

                         JOHN
          Henri, what's happening to me?

                         

                         

                         

                         

          22.

                         HENRI
          Calm down. You're going to be
          okay.
          John angrily holds up one of his luminescent hands.

                         JOHN
          On what planet is this okay?

                         HENRI
          Yours.

                         (BEAT)
          I need to get you out of here.

          INT. HALL - PARADISE HIGH - DAY

          John steps out of the darkroom wearing Henri's heavy coat.
          His hands are balled and stuffed into the pockets. Henri
          leads him quickly down the hall.

                         CUT TO:

          INT. SUV - DAY - MOVING

          John fearfully studies his hands which have returned to
          normal, then looks over at Henri who seems oddly calm.

                         JOHN
          Okay, start talking. What the
          hell's going on?

                         HENRI
          Your first Legacy is starting to
          manifest.

                         JOHN
          Legacy?

                         HENRI
          An extraordinary ability. Yours is
          called Lumen. They start a lot
          sooner on Lorien. I was beginning
          to fear yours would never emerge.

                         JOHN
          You knew this was going to happen?
          Why didn't you say anything?

                         HENRI
          I didn't want to worry you. You
          were already under enough pressure.

                         (SINCERE)
          I'm sorry.
          John acknowledges the apology, but looks at him, suspicious.

                         

                         

                         

                         

          23.

                         JOHN
          What else have you been hiding from
          me?

                         CUT TO:

          INT. LIVING ROOM - HOUSE - NIGHT

          The curtains are drawn. Bernie Kosar dozes on the couch
          while John and Henri sit at the table, staring at the Box.

                         HENRI
          This couldn't be opened until your
          first Legacy appeared. Ready?
          John nods nervously. Henri places the fingertips of his
          right hand onto five petal-shaped discs inlaid onto the lid.
          John cautiously follows suit and places his fingers on the
          “petals” fanned across the opposite side.

                         THE DISCS
          momentarily glow and a SHARP CLICK echoes from within. John
          and Henri pull their hands away and watch as the Box
          miraculously comes to life. Fissures of light sweep across
          the lines of inlaid stone, dividing the lid into sections
          that begin to twist and reform like high-tech origami.

                         JOHN
          Whoa.
          PUSH IN ON Bernie as he sits up and watches the Box unfold.
          Like an intricate jigsaw, the sections finally regroup,
          creating a new pattern on the lid. It's a familiar geometric
          symbol. John touches the crystal pendant that hangs from his
          neck -- the symbols are an exact match.

                         HENRI
          Open it.
          John nods, cautiously lifts the lid, revealing a neat
          assortment of velvet pouches and an array of colored rocks.
          They range in size and color but all share a serene beauty.

                         JOHN
          What are they?

                         HENRI
          Crystals from Lorien's core.
          They'll guide us in your training.
          John tries to reach for one, but Henri slaps his hand away.

                         

                         

                         

                         

          24.

                         HENRI
          Place your hand over them.
          John follows the instruction and is amazed when a walnut-
          sized crystal floats up from the Box. It slowly begins to
          spin and project

          A SWIRLING HOLOGRAPHIC GALAXY.

                         HENRI
          Our solar system.
          Henri points to a planet. Its oceans are dark with pollution
          and its sprawling continents are barren and treeless.

                         HENRI
          That's what Lorien looked like
          thousands of years ago. We had all
          the problems that Earth has today.
          The planet was dying until our
          people made a collective decision
          to change and slowly Lorien began
          to heal itself -- that's when the
          Legacies started.
          John watches as the spinning planet transforms before his
          eyes. Its oceans turn a vibrant chroma-key blue and the land
          masses become a lush emerald green.

                         HENRI
          Only a select few developed these
          abilities. They became known as
          the Garde.

                         JOHN
          That's what I am?

                         HENRI
          Like your parents and grandparents.
          John considers this new information.

                         JOHN
          The other children in the ship...
          Henri finishes John's thought.

                         HENRI
          They're Garde as well. Once you've
          mastered your Legacies, we'll find
          them and face the Mogadorians
          together.
          John looks at Henri, curious.

                         

                         

                         

                         

          25.

                         JOHN
          What Legacy do you have?

                         HENRI
          I don't have any and never will.
          I'm your Cepan -- a teacher. My
          job is not just to protect you but
          to train you.

                         (BEAT)
          Give me your hand.
          Henri takes one of John's hands and pulls a cigarette lighter
          from his pocket. John flinches, unsure.

                         HENRI
          Trust me.
          Henri flicks a flame to life and sweeps it under John's
          outstretched palm.

                         HENRI
          You feel that?
          Amazingly, the flame harmlessly licks the skin. But when
          Henri moves the lighter further up John's arm --

                         JOHN
          Ouch.
          John jerks his hand away. Henri kills the flame, shrugs.

                         HENRI
          When we're done, your entire body
          will be shielded against fire.
          John rubs his singed wrist.

                         HENRI
          You'll get other Legacies too.

                         JOHN
          Flying would be cool.

                         HENRI
          You don't get to pick them off a
          menu.
          KNOCK. KNOCK. KNOCK. As John spins to the door, the
          shimmering galaxy fades and the crystal drops to the floor.

                         HENRI
          Mogs don't knock.

                         

                         

                         

                         

          26.
          Henri steps to his computer bank and examines a laptop
          featuring live feeds from a dozen surveillance cameras he's
          installed around the property.

                         HENRI
          It's a girl.
          John looks over his shoulder and reacts with surprise.

          EXT. PORCH - HOUSE - NIGHT

          John opens the door and finds Sarah amped.

                         SARAH
          How'd you do it?
          Her accusation startles him.

                         JOHN
          Do what?

                         SARAH
          Eviscerate the entire senior class?
          She pulls a strip of overexposed 35mm film from her coat.

                         SARAH
          I was in the darkroom before lunch
          and they were hanging on the line
          smiling and looking forward to the
          future. When I got back, I found
          15 rolls of negatives wiped clean.
          John shrugs innocently.

                         JOHN
          I don't know what you're talking
          about.

                         SARAH
          So you weren't in the darkroom
          today?

                         JOHN
          No.

                         SARAH
          Here's a tip. If you're going to
          lie, don't leave a big red backpack
          at the scene of the crime.
          She swings his backpack into view. John is mortified. He
          struggles to find a plausible answer and silently tries to
          quell the feeling welling in his chest.

                         

                         

                         

                         

          27.

                         JOHN
          I don't know what happened. Maybe
          it's a sign that you should invest
          in a digital camera.

                         SARAH
          Digital sucks. Film tells the
          truth. Clearly, I'm not going to
          get that from you.
          He watches as she angrily heads down the steps and climbs
          into her car. John glances at his palms and is surprised to
          find they are dimly luminescent.

          EXT. ROAD - NIGHT

          Sarah's car sweeps out of the drive and powers towards town,
          unaware of the truck parked in the shadows.

                         MARK JAYNE
          is behind the wheel and watches as her headlights fade into
          the night. OFF his simmering jealousy...

          INT. HOUSE - NIGHT

          Bernie Kosar waits expectantly as Henri pours “Doggie Chow”
          into a bowl. John steps in.

                         HENRI
          Everything okay?

                         JOHN
          She was returning my backpack.
          He dumps it by the door.

                         HENRI
          I think you should stay home from
          school for a couple of days.

                         JOHN
          I'm fine.

                         HENRI
          Just to be safe.

                         CUT TO:

          INT. JOHN'S BEDROOM - NIGHT

          John lies on his bed, staring at his luminescent palms,
          conflicted by his emotions.

                         

                         

                         

                         

          28.

          INT. JOHN'S BEDROOM - NIGHT - LATER

          Moonlight cuts across Bernie Kosar who is SNORING peacefully
          at the end of the bed. John tosses and turns. He finally
          sits up, unable to sleep.

          INT. LIVING ROOM - HOUSE - DAWN

          Nursing a mug of black coffee, Henri diligently scans the
          laptop screens. He's clearly never gone to bed. He looks up
          as John enters wearing track gear.

                         JOHN
          I'm going for a run.
          Bernie trots out and wags his tail pleadingly.

                         JOHN
          Sorry, buddy, you couldn't keep up.

                         CUT TO:

                         START MONTAGE:

          EXT. WOODS - DAWN

          EPIC AERIAL SHOT LOOKING DOWN AT AN EAGLE as it soars above
          the rich kaleidoscope of trees. It almost seems to be
          following John, who is powering along a narrow track below.

                         CUT TO:
          John moves at superhuman speed, leaving a blurring wake of
          leaves. His foot splits a log as he bounds over it.

                         CUT TO:
          John charges towards a secluded stream. It's 30 feet wide.
          He doesn't slow, leaps off the bank and effortlessly
          hopscotches from boulder to boulder to the other side.

                         CUT TO:

          EXT. HILL - DAWN

          It offers a high-def view of Paradise. John reaches the top
          and is exhilarated by the sense of temporary liberation. He

                         WATCHES AS

                         THE EAGLE
          alights in a nearby oak tree. John bends to tighten his
          laces, his eyes fall on the trio of scars branded on his
          ankle. His happiness dims.

                         

                         

                         

                         

          29.
          He grits his teeth and takes off for home. As he passes the
          oak, the CAMERA TRACKS TO REVEAL the gecko scampering down
          the gnarled trunk.

                         CUT TO:

          INT. HALL - PARADISE HIGH SCHOOL - DAY

          Sam is at his locker. He glances over at John's, hoping
          he'll show. Disappointed, he joins the crisscrossing throng.

                         CUT TO:

          INT. HOUSE - DAY

          John “practices” turning his Lumen Legacy “off” and “on”.
          Henri watches as John's palms glow.   John focuses intently,
          causing them to flare with sudden brilliance. Momentarily
          blinded, John jerks back and topples off his chair.

                         CUT TO:

          EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT

          Sarah sits in the stands, doing homework, watching Mark and
          the football team practice in the cold metallic floodlight.
          ON THE FIELD the ball is hiked to Mark. He looks for an
          opening and fires a perfect spiral to the RECEIVER in the end
          zone. Mark thumps chests with Kevin and looks up at the
          stands, only to discover that Sarah is gone.

                         CUT TO:

          EXT. BACK PORCH - HOUSE - DAY

          John's playing “supercatch” with Bernie. He watches as the
          little guy races back from the woods, clutching a ball.
          Panting with exertion, the dog lays it at John's feet. John
          smiles, swings back his arm and hauls the ball again.
          ANGLE ON BALL: It arcs up, sails right over the garage and
          drops earthwards in the heart of the woods.
          Unperturbed by the superhuman throw, Bernie hightails after
          the ball. Henri steps out and watches, amused, then tosses
          John a pair of black driving gloves. OFF John's eye roll...

                         CUT TO:

          INT. HALL - PARADISE HIGH - DAY

          TIGHT ON ONE OF THE GLOVES. It's now fingerless and on
          John's hand. He weaves through the preclass crowd and is
          about to head into the chemistry lab when he sees

                         

                         

                         

                         

          30.

                         SARAH
          disappearing into a room at the end. He's torn, then makes a
          decision and does something he shouldn't -- he strides down
          the hall after her.

          END MONTAGE.

          INT. YEARBOOK ROOM - PARADISE HIGH - DAY

          Sarah is alone, tacking photographs to a large board that's
          lying flat on the carpet. She hears the door CLICK, turns
          and coolly regards John.

                         SARAH
          I think you have the wrong room.
          She rises, walks past him and begins searching the photos
          scattered on the layout table in the middle of the space.

                         JOHN
          Wanted to apologize.

                         SARAH
          Does the apology come with an
          explanation?
          He turns to go, has his hand on the door when --

                         SARAH
          Wait.
          He looks back. Her face softens.

                         SARAH
          How about we delete Monday and
          start over?
          She steps forward and extends her hand.

                         SARAH
          I'm Sarah.

                         JOHN
          John.
          TIGHT ON THEIR HANDS as they shake. She checks out his
          fingerless gloves, amused.

                         SARAH
          Nice gloves.
          She crosses to the board, reaches down to lift it when John
          steps behind her.

                         

                         

                         

                         

          31.
          He effortlessly picks it up and hooks it onto the wall. They
          stand back. John stares at the collage of high school images
          that captures a life he'll never know.

                         JOHN
          You know all these people?
          She nods.

                         SARAH
          Curse of a small town. I've been
          around them my whole life.
          (pointing to photo)
          Kim Thomas. She peed in her bed at
          a sleepover when we were seven.

                         (POINTING)
          Neil Bailey. President of the
          Debate Club. Plays five
          instruments. Doesn't know he's gay
          yet.

                         (POINTING)
          Mrs. Ross. AP English. She's been
          here so long, she taught my mom and
          my four brothers. I'm the baby of
          the family in case you were
          wondering.
          Her curious eyes scour his face.

                         SARAH
          So what's your story?

                         JOHN
          Not very interesting.

                         SARAH
          Determined to keep the mystery
          alive, aren't you?
          His finger arrows in on a photograph of Sarah. It's a candid
          and she's taking a shot with her trademark Nikon.

                         JOHN
          You first.

                         SARAH
          Okay. Recovering cheerleader.
          Wannabe vegetarian but I still love
          burgers. Dreams of being a
          photojournalist.

                         (BEAT)
          I've never actually admitted that
          last one to anybody before.

                         

                         

                         

                         

          32.

                         JOHN
          Your secret's safe with me.
          She studies him, sensing a kindred spirit.

                         SARAH
          You ever feel you don't belong in
          your own life?

                         JOHN
          Every single day.

                         SARAH
          Wow. That almost sounded like a
          straight answer.
          They look at each other. There's a charged silence. The
          moment is broken when --

          MARK (O.S.)
          What's he doing in here?
          John and Sarah spin to find Mark. Sarah is flustered.

                         SARAH
          I thought you were on two-a-days.

                         MARK
          Coach wants me to rest my arm
          before the scouts come. You didn't
          answer my question?

                         SARAH
          John was helping me move some
          boards.
          John turns to Sarah.

                         JOHN
          I'm going to take off.
          Mark doesn't take his eyes off John and blocks his way.

                         MARK
          Seriously, Sarah, what's up with
          this guy?

                         SARAH
          I don't have time for this, Mark.

                         MARK
          But you had time to go to his house
          the other night.
          Sarah looks at him, stunned by the admission.

                         

                         

                         

                         

          33.

                         SARAH
          You were following me?

                         MARK
          Just trying to figure out what's
          going on with you.
          Sarah's shock turns to anger.

                         SARAH
          You've crossed so many lines I
          can't even speak to you right now.
          She hustles out of the room. Mark glares at John.

                         MARK
          This isn't over.
          OFF John, unmoved by the threat...

                         CUT TO:

          EXT. STILT HOUSE - FLORIDA - DUSK

          The sky is even pinker than the house.

          INT. STILT HOUSE - FLORIDA - DUSK

          A drawer flies across THE FRAME. The place has been totally
          trashed. Floorboards have been ripped up. Sofas shredded.
          Nothing has been spared. CAMERA DRIFTS OVER the debris to...

          INT. JOHN'S BEDROOM - STILT HOUSE - DUSK

          The mattress has been dissected and its guts lie scattered.

          A TEEN GIRL.
          kneels in front of John's old desk searching the drawers.
          She wears a biker jacket, combat boots and has a striking
          “don't-fuck-with-me” face. Frustrated in her search, she
          flings the desk against the wall. It splinters on impact.

          INT. KITCHEN - STILT HOUSE - FLORIDA - DUSK

          TIGHT ON THE STOVE -- a hand twists on the burners. Raw gas
          HISSES. The Teen Girl makes one final scan, then heads for
          the door.

          EXT. STILT HOUSE - FLORIDA - DUSK

          The Teen Girl strides down the steps and crosses to a sleek
          Ducatti. She slips on a helmet. PUSH IN on her Arctic-blue
          eyes as they focus on the house with a strange intensity.

                         

                         

                         

                         

          34.

          KABBBOOOOOOM!
          The house detonates. The concussive force of the blast rips
          the structure right off its stilts. Tornadoes of flame BLAST
          through the windows as the house catapults into the air.
          Orange reflections flicker on the Girl's visor as she flips
          it down, REVS the motorcycle and SCREAM-PEELS down the drive
          backlit by the glittering inferno...

                         CUT TO:

          INT. HALL - PARADISE HIGH - DAY

          Sam catches John at the lockers.

                         SAM
          Nice freakout the other day.

                         JOHN
          Wasn't feeling well.
          They twist their combination locks. Sam swings open his
          door, there's a HISSING POP and

          A RED INK PACK EXPLODES.
          It's the kind banks use to foil heists. In a shocking
          instant, Sam and the contents of his locker are splattered.
          It bears a gruesome resemblance to arterial spray.

                         JOHN
          has his door halfway open and ducks back a second before the
          ink pack planted in his locker ERUPTS. The spray misses his
          face but violently spits across his chest and arms. LAUGHTER
          echoes behind them. John spins and finds Mark and his posse.
          TIGHT ON John's hands as he balls them and an angry glow
          flickers through his gloves.

                         MARK
          (to John, taunting)
          Told you it wasn't over.
          Behind them, Sam's laid-back persona cracks. He frantically
          clears his locker, looking for something. He finally pulls
          out a photo which drips with ink, reels at the jocks.

                         SAM
          Assholes.
          John looks back at Sam. Mark seizes his chance and launches
          a sucker-punch at John. But John sees it out of the corner
          of his eye and in a blur of motion whips up his hand and

                         

                         

                         

                         

          35.

          CATCHES MARK'S FIST.
          John squeezes it vice-tight. Mark grimaces in agony. His
          buddies back into the CROWD OF TEENS that has gathered. John
          leans in close.

                         JOHN
          That sensation you're feeling --
          remember it.
          With a quick push, John shoves Mark back against the lockers.
          Mark DENTS a door and slides to the floor, his eyes flaring
          with lacerated pride.

                         JOHN
          Show's over.
          The crowd disperses. Mark gets to his feet and exits with
          his friends, but shoots John one final wounded glare...

                         CUT TO:

          INT. LOCKER ROOM - PARADISE HIGH - DAY

          Red, ink-stained water Hitchcocks down the drain. John
          wrings out his black T-shirt. He sees Sam's reflection in
          the mirror. Sam puts some clothes on the bench.

                         SAM
          I raided lost and found.
          He holds up a puke-green sweater decorated with red snowmen.
          John turns back to the sink.

                         SAM
          I know. Nobody loses anything
          cool.
          He sits and begins to change.

                         SAM
          Dude, the way you thrashed Mark
          back there. Awesome move.
          John acknowledges that with a nod. Whip-dries his shirt.
          Sam plucks up the photo. The ink is now dried and cracked.

                         JOHN
          Who's in the picture?
          Sam stares at it, nostalgic.

                         SAM
          My dad. My real dad. I took it
          the summer before he split.

                         (MORE)

                         

                         

                         

                         

          36.

                         SAM (CONT'D)
          He dragged me and my mom all over
          the Yucatan. He was looking for
          evidence of ancient astronauts.
          All I got was Montezuma's Revenge.

                         JOHN

                         (DEADPAN)
          Sounds like a fun vacation.

                         SAM
          I know. Insane. He called himself
          an anthropologist even though he
          only made it through one semester
          of college.
          He rises and tosses the ruined picture into the trash.

                         SAM
          Always thought he'd come back one
          day -- who was I kidding. The
          guy's a joke.
          As the BELL RINGS...

                         CUT TO:

          EXT. PARADISE HIGH SCHOOL - DAY

          The football stadium rises like a monolith in the background.
          John strides towards the tree line, headed home.

          SARAH (O.S.)
          John.
          He turns in surprise as Sarah approaches.

                         SARAH
          I heard about the lockers. I'm
          sorry.

                         JOHN
          I'll live.
          He starts off again.

                         SARAH
          I broke up with Mark.
          He stops, slowly turns back.

                         SARAH
          I've been thinking about doing it
          for a while... today just finally
          pushed me over the edge.

                         

                         

                         

                         

          37.
          He studies her face.

                         JOHN
          Why are you telling me?
          She bows her head, suddenly embarrassed.

                         SARAH
          I don't know.

                         JOHN
          You made the right call.
          The certainty of his voice soothes her. She looks up and
          holds his gaze. Their attraction is undeniable.

                         SARAH
          Halloween Block Party's tonight.

                         JOHN
          I saw the banners.

                         SARAH
          I'll be on Main Street hiding
          behind my camera if you want to
          swing by.
          He says nothing.

                         SARAH
          I wasn't expecting an actual
          response. I could text you later.
          Do they have cell phones on Planet
          John?
          She holds out her phone. John looks at it tentatively, then
          takes it. As he inputs his number, he hears the BLARE of a
          car horn, looks up and sees Henri waiting in his SUV.

          INT. SUV - DAY

          John climbs in.

                         HENRI
          Wasn't that your friend from the
          other night?

                         JOHN
          Her name's Sarah.

                         (ANNOYED)
          I didn't ask for a ride home.

                         HENRI
          Principal called. Said there was
          an incident.

                         

                         

                         

                         

          38.
          John stares out the window, guilty.

                         JOHN
          A guy was messing with me. I took
          care of it. Problem solved.

                         HENRI
          You're stronger and faster because
          of Earth's gravity -- you shouldn't
          use that advantage to settle petty
          scores.

                         JOHN
          It was no big deal. Don't blow it
          out of proportion.

                         HENRI
          You can't risk everything over
          wounded pride.

                         JOHN
          I wasn't looking for a fight. It
          just happened. Get off my back.
          Henri pulls a printout from his coat. John unfolds it.
          ANGLE ON PRINTOUT: It's from the Florida Keynoter website
          and features a photo of the charred stilt house.
          John's gut churns as he stares at the image.

                         HENRI
          Article says it was arson.

                         JOHN
          We were clean. There's no way the
          Mogs can track us here.
          Henri shakes his head, shifts into gear and starts off.

                         HENRI
          They can track us anywhere. I
          think it's time you saw what you're
          really up against.

                         CUT TO:

          INT. GARAGE - DAY

          Sunlight razors across workbenches cluttered with rusty
          tools. Henri and John stand in the middle of the space.

                         THE BOX

                         

                         

                         

                         

          39.
          is open on the floor between them. John lifts his hand and
          holds it over the crystals.

          ONE RISES.
          It's white and as thick as two fingers. It floats in front
          of John's face. He tentatively reaches out. When he grips
          it, a shock wave of light blasts out, totally WIPING OUT THE
          FRAME and transporting him into

          A VISCERAL MEMORY.

          EXT. LORIEN - NIGHT

          EXPLOSIONS rock and the SCREAMS of the dying echo. AN OLD
          MAN hustles A TERRIFIED BOY through the murderous
          bombardment. The air is choked with ash and smoke.
          The boy is 7-year-old John. The man is his grandfather.
          Young John glances up and sees

          AN ARMADA OF BATTLESHIPS
          eclipsing Lorien's two moons. The angular hulls of the craft
          are scarred from galactic battles new and ancient and unleash
          an endless crisscrossing FRENZY OF MISSILES.

                         GRANDFATHER
          (in Loric with subtitles)
          Keep moving.

          EXT. TEMPLE - NIGHT

          It wouldn't look out of place in ancient Rome. Young John
          and his grandfather race up the steps.

          INT. SANCTUARY - TEMPLE - NIGHT

          A statue of Lorien's most famous warrior, Pittacus Lore,
          towers in the middle of the chamber. His noble face is
          illuminated in a shaft of flame-tainted moonlight.

          FOOTSTEPS ECHO!
          Young John and his grandfather scramble across the space and
          straight into the path of

          TWO MOGADORIAN SOLDIERS.
          The Soldiers' pallid faces flash with smiles. Swords drawn,
          they move in for the kill when one is skewered in the throat
          by a crystal-handled dagger.

                         MAGENTA LIGHT

                         

                         

                         

                         

          40.
          spurts from the wound. The Soldier's body fractures like
          glass and DISINTEGRATES in a shower of embers as he drops to
          the floor. The other Mogadorian spins and trades SPARKING
          sword strokes with

          A CLOAKED FIGURE.
          It's a violent battle of wills which ends when the Cloaked
          Figure kicks up the dead Soldier's sword and impales it into
          the Mogadorian's chest. The Soldier EVISCERATES in a cloud
          of HISSING cinders.
          Young John watches in awed terror as the Cloaked Figure steps
          towards him and pulls back his hood.

          IT'S HENRI.
          He looks younger, the years of hiding have aged him. John's
          grandfather lifts a familiar crystal pendant from his neck
          and places it over Young John's head.

                         GRANDFATHER
          This is your Cepan. Go with him.

                         YOUNG JOHN
          No!

                         HENRI
          Your life is my life now. I will
          always protect you.

                         GRANDFATHER

                         (TO HENRI)
          He must survive.
          A BLAST scorches across the space. Henri spots

          A MOGADORIAN COMMANDER
          hunkered behind a column, his red coat billows behind him
          like a curse.

                         GRANDFATHER
          They are already hunting you! Go!
          Henri plucks a crystal ankle-dagger from his boot, grabs
          young John and charges up. As the Commander breaks cover,
          Henri hurls the dagger.

                         THE COMMANDER
          dives out of its path but ROARS as the blade SPARK-RIPS
          across his right cheek like a hot poker.

                         

                         

                         

                         

          41.

          EXT. TEMPLE - NIGHT

          Henri yanks Young John by the hand. They take off in one
          direction while John's grandfather heads off in the other.

          A MOGADORIAN TRANSPORT CRAFT
          suddenly swoops between them. The HOWLS of its occupants
          ricochet through the night. The heat from its engines washes
          the ground, warping the destruction like a ghastly mirage as
          two bay doors open. Young John looks back through the heat-
          haze and catches a impressionistic view as

                         TWO PIKEN
          leap out. Their reptilian bodies ripple with muscle and
          their oversize heads glint with raptor-like jaws. The Piken
          mercilessly rip into John's grandfather. Young John races to
          help, but Henri wrenches him back. CAMERA PUSHES IN TIGHT ON
          YOUNG JOHN'S FACE as he screams...

                         YOUNG JOHN
          Nooooooooooo!
          THE MEMORY ENDS and we...

          MATCH CUT TO:

          INT. GARAGE - DAY

          TIGHT ON JOHN screaming...

                         JOHN
          Nooooooooooo!
          He drops the crystal and stumbles back. The experience has
          left him traumatized. Henri steps towards him, but John is
          too overwhelmed and runs out.

          EXT. STREAM - WOODS - DAY

          A stone angrily SKIPS across the water. John is about to
          toss another when Bernie Kosar trots into view. He ruffles
          the dog's fur but doesn't turn when Henri steps out of the
          woods and crosses to his side.

                         JOHN
          I saw my grandfather. I saw what
          you did to the Mogadorians -- you
          saved my life.

                         HENRI
          A lot of Lorics sacrificed their
          lives so that you could live.

                         

                         

                         

                         

          42.
          John is still trying to process the memory.

                         JOHN
          He said I must survive.

                         HENRI
          The Elders had a plan. You weren't
          on that ship by chance. The nine
          of you were chosen for a reason.
          Even if only two of you live,
          together you'll pose a grave threat
          to our enemy.
          Consumed by bitterness, John hurls another stone.

                         JOHN
          You saw what they did to Lorien.
          How can nine or six or two of us
          take on that army? It's hopeless.
          Henri knows he has to pull him out of this mournful funk.

                         HENRI
          I never thought we'd get off Lorien
          alive -- but we did. I didn't know
          how we could survive on a strange
          planet -- but we have. I gave us
          six months before the Mogs found us
          -- it's been 10 years. Don't give
          up now.
          Henri grips John's shoulders.

                         HENRI
          You have the potential to do great
          things. Even if you don't see it --
          I do.

                         JOHN
          How can you put so much faith in
          me?

                         HENRI
          Because your life is my life. If
          you quit, then everything I've
          worked for and sacrificed is
          meaningless.

                         (BEAT)
          Remember -- nothing is inevitable.
          The fragile SILENCE is broken when John's cell phone BLEATS.
          He scans a text.

                         

                         

                         

                         

          43.

                         JOHN
          It's Sarah. The Block Party's
          tonight. I'll say I can't make it.
          Henri sees John is wracked with doubt and confusion.

                         HENRI
          No... go.
          John looks at him, surprised by this paternal gesture.

                         HENRI
          You've had enough for one day.

                         CUT TO:

          EXT. MAIN STREET - PARADISE - NIGHT

          A Halloween parade drifts past the CROWDS packing the
          sidewalks. Icicle lights twinkle in the trees. EXCITED KIDS
          in costume zigzag past John. It's small-town Americana at
          its best. ET waddles by holding a JEDI's hand.

          A SLAP ON GLASS.
          John turns and is amused to find Sam standing among the
          mannequins in the display window of a sporting goods store.

          INT. ED'S SPORTING GOODS STORE - NIGHT

          An annoying CHIME plays as the door opens and John enters.
          The store is deserted. The stock needs to be updated and the
          shelves could use a dust. Sam approaches wearing an apron.

                         JOHN
          You work here?

                         SAM
          Not by choice.
          (pointing to sign)
          Ed's my stepdad. He's under the
          delusion that if people eat enough
          candy apples and kettle corn,
          they'll suddenly have the urge to
          buy sporting goods.
          John plucks a hockey mask from the basket on the counter.

                         SAM
          I put those on special tonight for
          any wannabe Jason Voorhees.
          Sam pulls off his apron, revealing a T-shirt emblazoned with
          the words “Future Supervillain”.

                         

                         

                         

                         

          44.

                         SAM
          Screw this. Let me lock up. I'll
          hang with you.
          He steps to the door and twists the closed sign into view.

                         JOHN
          What about your stepdad?

                         SAM
          He hit the tavern at 6:00. He's
          already hammered by now. I'll
          probably find him passed out on the
          doorstep. Every night is trick ‘r
          treat at my house.

          EXT. STREET - NIGHT

          John and Sam wander past the parade floats lined up along the
          road bordering the woods. Stalls sell hot dogs and cotton
          candy. John subtly scans the crowd.

                         SAM
          She's over there.
          John follows Sam's gaze and finds Sarah taking shots of some
          KIDS dunking for apples. She pulls the camera from her eye,
          sees John and smiles as he approaches.

                         SARAH
          You made it.
          (re: Sam's shirt)
          Like the T-shirt, Sam.

                         SAM
          Guidance Counsellor said I need to
          set goals for myself. Figured I'd
          aim high.
          She looks back at John.

                         SARAH
          What do you think of Halloween in
          Paradise?
          John regards a particularly over-the-top float.

                         JOHN
          They should pull out all the stops
          next year.

                         SARAH
          Well, you haven't had the full
          experience until you've been on the
          Haunted Hayride.

                         

                         

                         

                         

          45.
          She motions to the picnic area where TEENS are lining up to
          get on tractor-pulled hay wagons. The wagons lurch through
          the mouth of a giant cutout devil and into the woods.

                         SARAH
          Give me a sec.
          She steps to the face-painting booth. It's sponsored by the
          local realtor who is Sarah's mom, Annie. Sarah hands Annie
          her camera. Sam whispers to John.

                         SAM
          I'm impressed.
          Before John can respond, Sarah steps back.

                         SARAH
          You guys ready?

                         SAM
          Three on a wagon might get a little
          crowded. I'll meet you two on the
          other side.
          He gives John a not-so-subtle wink of encouragement. John
          and Sarah join the end of the line and watch Sam head away.

                         SARAH
          Sam's cool.

                         JOHN
          Definitely unique.

                         SARAH
          I haven't really talked to him
          since 8th grade. Mark had a tight
          circle. If you weren't a jock or
          cheerleader, you didn't exist.

                         JOHN
          I'm glad you broke free.

                         SARAH
          Me too.
          OFF their growing connection...

                         CUT TO:

          EXT. WOODS - NIGHT

          The path is lined with human heads piked to wooden stakes.
          SCREAMS, WAILS and GHOULISH HOWLS boom from hidden speakers.

                         

                         

                         

                         

          46.
          OMINOUS POV: WATCHES from the trees as a wagon with John and
          Sarah RATTLES into view. It's driven by the GRIM REAPER.

          FIVE GIANT RUBBER SPIDERS
          drop from the trees. Sarah freaks as the arachnids dangle
          over their heads on wires. She rubs her hair, flustered,
          looks over at John, who is coolly amused by the cheap scares.

                         SARAH
          Not even a flinch. None of this
          scares you, does it?

                         JOHN
          I'm trembling on the inside.
          He smiles.

                         SARAH
          You can smile. I was starting to
          have my doubts.
          She takes his hand. They CLATTER past a series of grisly

                         TABLEAUX:
          A TEEN jerks and SCREAMS in mock agony as he is fried in an
          antiquated electric chair.
          A BLOOD-SPLATTERED DOCTOR CACKLES as he hacksaws the legs off
          a CHEERLEADER chained to a gurney.
          A squad of blood-hungry VAMPIRIC FOOTBALL PLAYERS attacks a
          rival team of WEREWOLVES.

          EXT. CLEARING - WOODS - NIGHT

          Ghosts float in the branches as the wagon LURCHES to a stop.

                         GRIM REAPER
          Hell's Gate, everybody off.
          The duo reluctantly clambers off the back and watches as the
          hay wagon circles back the way it came.

                         SARAH
          Once we make it through, we're home
          free.

                         A SKELETON
          pendulums in front of them. Sarah SCREAMS and clenches
          John's hand harder. A pathway of lights floods on,
          illuminating a skull-capped gate. The words

          “YOUR NUMBER'S UP!”

                         

                         

                         

                         

          47.
          are scrawled across it in fake blood.

          EXT. TUNNEL - WOODS - NIGHT

          John and Sarah step through the gate and enter a natural
          tunnel of dense, overhanging branches. A fog machine gently
          COUGHS, and spiderwebs stretch across the sides.
          They are about 20 feet into the tunnel when the lights go
          out. Somewhere a CHAINSAW sputters to life. White strobe
          lights suddenly flare on and

          TWO CHAINSAW-WIELDING ZOMBIES
          burst through the gates behind them. The teens take off.
          It's like a flickering scene from a demented silent movie.
          The Zombies have almost caught up when the strobe abruptly
          ends. The SOUND of the chainsaws FADES and John and Sarah
          stop, panting and LAUGHING with relief.

                         SARAH
          That was insane.

          IT'S PITCH BLACK.
          A werewolf HOWLS somewhere in the darkness. Something
          brushes past John's leg. He spins, suddenly unsure.

                         JOHN
          What was that?

                         SARAH
          Just part of the ride.
          He turns, sees a flash of purple light and hears the rustle
          of HEAVY FOOTSTEPS on all sides.

                         JOHN
          Are you sure?
          As he steps forward,

          A THICK BRANCH
          cuts through the dark and viciously SMACKS John on the back.
          He drops to the ground like a sack. Figures emerge from the
          shadows and he hears a DESPERATE STRUGGLE behind him.

                         SARAH
          Let go! Stop it!
          John tries to stand, but a boot CRACKS him in the ribs.
          Another strikes the side of his face. He is surrounded. His
          attackers are brutal and unrelenting. Over the LOOPING
          SOUNDTRACK OF B-MOVIE NOISES, Sarah's muffled SCREAMS DIM.

                         

                         

                         

                         

          48.

                         JOHN
          Sarah! Sa-
          His voice is cut off as a fist SMASHES into his jaw and the
          steel cap of a combat boot SLAMS his groin. John staggers up
          but is viciously kicked back to the ground.
          PUSH IN ON JOHN'S FACE as it hardens with blind rage. In a
          blur of motion he reaches up, grabs two of his attackers by
          their coats and hammers their skulls together. As they drop,
          John spins to meet his other two foes with

          BLINDING PALMS OF LIGHT.
          The assailants are illuminated in the phosphorescent glare.
          They're not Mogadorians but rather

          FOOTBALL JOCKS.
          One is Mark Jayne's buddy Kevin. They're wearing zombie
          makeup and military fatigues and have night-vision goggles
          strapped to their faces.
          John angrily strides forward, palm outstretched.
          NIGHT-VISION POV: Everything is an overexposed blur until --

          WHAAAAM!!!
          John brutally clotheslines one, then pummel-rams Kevin in the
          chest, sending him flying back 10 feet into a tree. Kevin
          slumps, out for the count. John arcs a glowing hand through
          the darkness.

          SARAH IS GONE.
          He plucks up the Jocks' fallen goggles and heads off with
          Terminator-like determination.

          EXT. WOODS - NIGHT

          Sarah is carried through the woods by TWO ZOMBIE JOCKS in
          camouflage fatigues and night-vision goggles. She SCREAMS.

                         SARAH
          Let go of me!
          She futilely tries to wrestle free.

          EXT. PICNIC AREA - WOODS - NIGHT

          Sam is waiting by the exit to the hayride when he hears --

                         

                         

                         

                         

          49.

          SARAH (O.S.)
          (in the woods)
          Help! Somebody!
          Something about her terrified tone alerts Sam.

                         SAM
          Sarah?
          She doesn't answer. He hesitates a moment, then charges into
          the woods.

          INT. WOODS - NIGHT

          Freaky shadows crisscross as John uses his luminescent palms
          to navigate his way through the labyrinth of trees.

          INT. CLEARING - WOODS - NIGHT

          Sam scrambles blindly through the darkness.

          JOHN (O.S.)

          SARAH!
          Sam turns in the direction of JOHN'S VOICE. He's about to
          head towards it when

          TWO ZOMBIE JOCKS
          trudge into view. Sam darts behind a tree. Suddenly, the
          area is flooded with preternatural white light. He can hear
          the sounds of a SCUFFLE and one of the Jocks flies past and
          CRASHES in a heap while the other SCREAMS.

          JOCK (O.S.)
          You're blinding me! Stop!
          Sam cautiously sneaks a peek, shields his eyes with a hand.
          WHAT HE SEES: John pins the Jock to a tree and holds a
          luminous palm up to the lenses of the teen's goggles.

                         JOHN
          Where's Sarah? Tell me!!

                         JOCK
          Shepherd Falls. Now turn off that
          damn flashlight!
          John rips off the Jock's goggles, then pile-slides him 15
          feet into a rotten stump and takes off in a blur of speed.
          CAMERA STAYS ON SAM. OFF his stunned reaction...

                         CUT TO:

                         

                         

                         

                         

          50.

          EXT. SHEPHERD FALLS - WOODS - NIGHT

          A rocky promontory overlooks a crescent-shaped waterfall
          which drops into a swimming hole below. The Zombie Jocks
          carry Sarah into view and dump her in front of Mark. She's
          wild-cat angry when she sees him.

                         SARAH
          Are you crazy! Where's John?
          Mark nods the Zombie Jocks away.

                         MARK
          Relax. It's a practical joke.

                         SARAH
          I swear if you hurt him --

                         MARK
          Why do you give a shit?

                         SARAH
          Get out of my face, Mark, you're
          pathetic.

                         MARK
          I'm the best thing that ever
          happened to you and I'm giving you
          one more chance.
          Appalled by his hubris, Sarah turns to leave.

                         MARK
          Don't walk away from me!
          Mark grabs her. Sarah wrenches free, but loses her balance
          and falls back on the ground. Mark's rage is transplanted by
          concern. He steps towards her to help when --

          JOHN (O.S.)
          Back off!
          Mark watches John step out. Blood trickles from a cut above
          John's right eye.

                         SARAH
          John! Are you okay?
          He nods. Mark looks past him, confused.

                         MARK
          Where the hell are Kevin and Joe?
          John holds up a clutch of night-vision goggles.

                         

                         

                         

                         

          51.

                         JOHN
          They got spooked.

                         MARK
          Hey, those are police property!
          John flings them over Mark's head into the water.

                         MARK
          I'm going to kill you!
          With lightning speed, John grabs Mark's arm, spins him,
          pinning him to a tree. Blinded by rage, John jerks Mark's
          arm up behind his back.

                         SARAH
          John! Stop!
          Mark is in real pain. Transfixed with anger, John keeps
          twisting. Sarah looks at him, pleading.

                         SARAH
          That's his throwing arm!
          But he doesn't stop until she finally steps forward and slaps
          him across the face. Startled, John lets go.

                         SARAH
          Football's all he's got.
          John stumbles back, ashamed, and heads into the woods. Sarah
          offers Mark a look of disgust and follows after John.

          EXT. TREE LINE - NIGHT

          John charges into view.

                         SARAH
          John! Wait.
          Sarah catches up.

                         SARAH
          I'm sorry, I didn't want you to
          break his arm.

                         JOHN
          I'm not mad at you. I'm mad at
          myself.
          She stops, faces him.

                         

                         

                         

                         

          52.

                         SARAH
          I had no idea Mark would pull
          something like that. He has
          seriously gone off the deep end.

                         JOHN
          The guy's in love with you. Wants
          you back.

                         SARAH
          That's not love.
          Their eyes meet in the moonlight.

                         SARAH
          Walk me home?

                         CUT TO:

          EXT. STREET - NIGHT

          It's a picture-book perfect neighborhood. Most of the houses
          are festively decorated with front-yard graveyards and cobweb-
          festooned trees. John walks with Sarah. They come to the
          prettiest house on the block.

                         SARAH
          This is me.
          John stares at the dozen jack-o'-lanterns arranged on the
          porch. They glare back with flickering bucktooth grins.

                         SARAH
          I know. Wait until the Christmas
          decorations go up. My mom decks
          the halls with so many lights, you
          can see our house from space.
          Stray TRICK-OR-TREATERS race past. She motions to the cut
          above his eye, concerned.

                         SARAH
          You should see a doctor.

                         JOHN
          For this? Wouldn't waste their
          time.
          She looks at him, curious.

                         SARAH
          You're not going to tell me how you
          took out those football players,
          are you?

                         

                         

                         

                         

          53.
          He says nothing. She smiles.

                         SARAH
          I really don't get you.
          She steps closer.

                         SARAH
          But I feel like I can trust you.

                         JOHN
          You can.
          The air is charged.

                         SARAH
          Good night.
          Sarah swings open the white picket gate.

                         JOHN
          Wait.
          As she turns back, John steps forward and kisses her.
          Although taken by surprise, Sarah quickly succumbs to his
          passion. However, as their kiss intensifies,

          THE JACK-O'-LANTERNS
          rise and hover in midair. Sarah has her back to them, but
          when John's eyes momentarily flicker open, he sees the orbs
          grinning back. Startled, he pulls away from her.

                         THE PUMPKINS
          instantly drop and SMASH onto the porch, their candles
          blowing out on impact. Sarah spins and stares at the jack-o'-
          lanterns, pulp oozes through their cracked shells.
          Suspicious, she slowly turns, looks at John for an
          explanation. He does his best to cover his stunned reaction.
          Fat drops of RAIN begin to fall. John puts up his hood.

                         JOHN
          I better go.
          OFF Sarah, watching him melt into the downpour...

                         CUT TO:

          INT. LIVING ROOM - HOUSE - NIGHT

          Rain HAMMERS. Bernie is asleep on a blanket. John creeps
          into the darkness, soaked to the bone, when --

                         

                         

                         

                         

          54.

                         HENRI
          I heard on the police scanner that
          eight boys were beaten up in the
          woods tonight.
          Henri turns on a light, nursing a mug of coffee. Bernie
          wakes. John pulls off his hood. Henri looks at the cuts and
          bruises on John's face.

                         JOHN
          They won't talk.

                         HENRI
          That was a stupid thing to do.
          What were you thinking?

                         JOHN
          They attacked me. If I hadn't
          defended myself, I'd be in the ER
          right now. Would that have been
          the better choice?

                         (STEPPING FORWARD)
          You've got to start trusting me!
          Emotionally charged, John points his finger at Henri,
          accidentally causing the mug to telekinetically

          EXPLODE.
          Coffee and shards splatter across the floor. Henri looks at
          John, stunned. John shrugs sheepishly.

                         JOHN
          I was getting to that. I got a new
          Legacy.
          Henri absorbs that revelation.

                         HENRI
          Telekinesis. That's a big step.
          Must have been triggered by the
          fight.
          John doesn't correct him, averts his gaze.

                         HENRI
          I need to teach you how to control
          these abilities. We'll start
          working on that tomorrow.
          The conversation is suddenly interrupted by the repetitive
          WHINE OF AN ALARM. They cross to the bank of computers.
          Henri urgently stabs commands into a keyboard.

                         

                         

                         

                         

          55.

                         JOHN
          What is it?
          Henri pulls up a website.

                         HENRI
          We got a hit on one of the search
          words.

                         (SCANNING)
          It's a paranormal blog. “They Walk
          Among Us!”
          ANGLE ON COMPUTER: A video buffers into motion. It's
          handheld and jerky. It WHIP-PANS over some sand and joins a
          group of Teens huddled over a figure lying in the surf. He's
          holding his ankle and light seeps between his fingers.
          John's chest pounds with fear as he realizes...

                         JOHN
          That's Sand Dollar Beach.

                         HENRI
          Looks like a cell phone camera.
          There's enough for the Mogs to ID
          your face.

                         JOHN
          Can you take it down?
          Henri remains ice calm and starts typing commands.

                         HENRI
          Working on it.

                         JOHN
          I'm sorry, Henri.

                         HENRI
          This isn't your fault. There's
          still nothing to trace us here.
          Henri glances up from his screen.

                         HENRI
          This could take all night. Get
          some sleep.

                         CUT TO:

          INT. BEDROOM - HOUSE - NIGHT

          John dumps his hoodie on the floor and slumps on his bed. He
          pulls his phone out of his jeans and sees a new text message
          from Sam. He CLICKS it open.

                         

                         

                         

                         

          56.
          PUSH IN ON JOHN'S FACE as he scans the message with alarm.
          He sits bolt-upright, gripped with dread. He checks the
          message again.

          TIGHT ON PHONE: “I SAW WHAT U DID IN THE WOODS. NEED 2 TALK.

          2NITE. MY GARAGE.”
          JOHN hits delete and clenches the phone in his palm. A bad
          night just got worse.

          INT. LIVING ROOM - HOUSE - NIGHT

          Henri is illuminated by the dirty glow on the computers.
          His fingers work the keys with expert precision. He's so
          focused on the task that he doesn't notice

                         JOHN
          blur ACROSS THE FRAME of one of the surveillance camera
          screens and disappear into the woods.

                         CUT TO:

          EXT. SAM'S HOUSE - NIGHT

          John cautiously approaches. It's a ‘50s ranch style. The
          garage adjoins the house. The lights are out. RAIN bullets
          off the garage door which is partially concertinaed open.

          INT. GARAGE - SAM'S HOUSE - NIGHT

          John slides into view. It takes a second for his eyes to
          adjust. A pickup sits under a white tarp. There's no sign
          of Sam until he Boo Radley's out of the shadows behind him.

                         SAM
          I've narrowed it down to three
          possibilities: you're a genetic
          experiment, you're a freak of
          nature, or you're an
          extraterrestrial.

                         JOHN
          I don't know what you think
          happened tonight...
          Sam steps closer, watery reflections ripple down his face.

                         SAM
          Your hands lit up like a firefly on
          crack, you tossed those football
          players around like crash test
          dummies, and you took off faster
          than an Olympic runner.

                         (MORE)

                         

                         

                         

                         

          57.

                         SAM (CONT'D)

                         (BEAT)
          Did I leave anything out?
          John silently reels.

                         JOHN
          What do you want from me?

                         SAM
          I just want to know who you are.
          John looks at Sam, realizes he's not going to give up. He
          hesitates, then finally surrenders...

                         JOHN
          I'm a survivor from a planet called
          Lorien.
          Sam absorbs this confession with awe.

                         SAM
          Your dad... he's from there too?

                         JOHN
          Henri's not my dad. He's my
          Guardian. If he found out you knew
          about us, we'd be gone by morning.

                         (PLEADING)
          I don't want to leave Paradise.

                         SAM
          I won't tell anyone.
          John nods, grateful.

                         SAM
          There's something I want to show
          you.

                         CUT TO:
          The tarp is whipped off the pickup truck. It's an old Ford.
          Sam and John stand before it.

                         SAM
          The cops found it abandoned in the
          middle of Route 20, just south of
          White Sands, New Mexico. It was my
          dad's. He went missing six years
          ago. He was on one of his crazy
          fact-finding trips. He believed we
          weren't alone in the universe.
          Sam rubs his hand across the hood, wondering.

                         

                         

                         

                         

          58.

                         SAM
          Mom figured he was having an affair
          and took off. All these years I
          thought she was right. Now you're
          here.

                         JOHN
          That doesn't prove anything.

                         SAM
          It proves he wasn't crazy. I'm
          starting to think that he didn't
          bail on us... that maybe something
          else happened out there -- that he
          was taken.
          The moment is broken by the SLAM of the front door and the
          sound of ANGRY FOOTSTEPS. Sam instantly tenses.

                         SAM
          Guess the bar closed.

          ED (O.S.)
          Sam! Where are you?
          His speech is slurred and aggressive.

          ED (O.S.)
          You think I wouldn't hear you
          locked up early!
          John looks at Sam, shocked and concerned.

                         JOHN
          You going to be okay?

                         SAM
          If he finds you here, it'll be
          worse.

                         (BEAT)
          Go.
          Sam crosses to the door leading into the main house and heads
          inside. SHOUTS erupt almost immediately. John flinches,
          wanting to intervene, but finally turns, hustles under the
          garage door and slips into the night...

                         CUT TO:

          INT. LIVING ROOM - HOUSE - DAY

          Henri is hammering at the keyboard of one of his computers.
          John enters with two mugs of coffee.

                         

                         

                         

                         

          59.

                         JOHN
          You look wiped.
          Henri turns and smiles playfully.

                         HENRI
          I wasn't the only who was up last
          night.
          John nervously hands Henri one of the cups and lies...

                         JOHN
          Sarah texted me. I went over to
          her house.
          Henri buys the explanation and swings back to his computers.

                         HENRI
          I've tried every trick I know, but
          I can't crack that blog's firewall.

                         JOHN
          There must be a way.

                         HENRI
          We need to find where the site's
          located and take it offline
          manually. The URL source has been
          run through a labyrinth of servers,
          it could take weeks to track down.

                         JOHN
          I want to help.
          Henri takes a gulp of coffee and stands.

                         HENRI
          You can. Get changed.

                         CUT TO:

                         START MONTAGE:

          EXT. BACK YARD - HOUSE - DAY

          TIGHT ON A WELDING TORCH as it's sparked to life.
          Its flame HISSES as Henri sweeps it towards John, who is
          standing shirtless. Bernie watches, curious, as Henri washes
          the flame harmlessly up John's naked arm and torso.

                         

                         

                         

                         

          60.

          INT. HALL - PARADISE HIGH - DAY

          The walls are now adorned with Thanksgiving banners. John
          and Sam head past the lockers. Mark and the Jocks move out
          of their way, acknowledging the new high school dynamic.

          INT. KITCHEN - HOUSE - NIGHT

          Using his telekinesis, John strains to lift a tennis ball.
          It momentarily RATTLES, then stops. Henri is not impressed.

          EXT. WOODS - DAY

          Bernie darts ahead as John and Sarah walk through a crimson
          cascade of falling leaves. As they kiss, the leaves around
          them freeze midair and slowly begin to drift upwards.

          INT. GARAGE - SAM'S HOUSE - NIGHT

          John helps Sam with a dusty box. It's stuffed with Sam's
          dad's old papers and books. We CATCH tantalizing glimpses of
          images: Stonehenge, Machu Picchu, the Rings of Saturn...

          INT. INTERNET CAFE - NASHVILLE - DAY

          It's a Vandy student hangout. CAMERA DRIFTS over a row of
          computer terminals and FINDS the Teen Girl who torched the
          stilt house. She's studying her computer screen intently.
          REVERSE TO REVEAL: She is watching the cell phone footage of
          John on the “They Walk Among Us” blog.

          INT. KITCHEN - HOUSE - DAY

          Under Henri's watchful gaze, John focuses on a tennis ball.
          It RISES. John grins in triumph, causing the ball to drop
          and bounce on the floor. Strike two.

          INT. CAFETERIA - PARADISE HIGH - DAY

          Mark silently stews when he sees Sarah and John sitting
          together at a table.

          EXT. BACK YARD - HOUSE - DAY

          Bernie pogos on his back legs, trying to bite the tennis ball
          that John telekinetically hovers just out of the dog's reach.

          INT. LIVING ROOM - HOUSE - NIGHT

          CLOSE ON A LAPTOP scrolling with endless lines of URL
          addresses. REVERSE TO REVEAL Henri studying the screen.
          Waiting. Watching.

                         

                         

                         

                         

          61.

          EXT. BACK YARD - HOUSE - DAY

          John is fully submerged in an old claw-foot tub.
          GO TO JOHN'S DISTORTED VIEW LOOKING UP at Henri as he drops a
          match into the tub. The liquid instantly IGNITES and we
          realize John's lying in gasoline. He sits up, rests his
          hands behind his head as the FLAMES harmlessly lick his face.

          INT. BACK YARD - HOUSE - DAY

          The trees are now bare. John stands 20 feet from Henri and
          nods. Henri flicks the switch of an automated tennis ball
          server. John's face is a mask of concentration as the yellow
          balls fly towards him. He holds up his hand and the balls

          STOP IN MIDAIR.
          It's like they've hit an invisible wall two feet from his
          hand. They hang there. John sees a smile sneak onto Henri's
          face and momentarily loses focus, causing the wall to
          collapse and the balls to drop into the mud.

          END MONTAGE.

                         CUT TO:

          INT. BATHROOM - DAY

          Bernie looks like a drowned rat. He's sitting in the tub
          being scrubbed by John and Sarah.

                         SARAH
          I don't see any family pictures
          around. I guess the photo aversion
          is hereditary.
          He greets the observation with a shrug. She carries on.

                         SARAH
          Your mom... grandparents. Is there
          anyone else in your life?

                         JOHN
          They died.

                         SARAH
          I'm sorry.

                         JOHN
          It was a long time ago. It's just
          me and my dad now.
          John uses a nail brush to clean the beagle's ears.

                         

                         

                         

                         

          62.

                         SARAH
          I get the feeling he doesn't like
          me very much.

                         JOHN
          It takes him a while to warm up to
          people.
          Sarah considers this.

                         SARAH
          Thanksgiving's tomorrow. Why don't
          you bring your dad and celebrate
          with us?

                         JOHN
          I don't know. Are there going to
          be a lot of people?

                         SARAH
          A tsunami of relatives. But don't
          worry, I'll shield you from the
          wave. Besides, I want everyone to
          meet you.
          She playfully splashes him. Their faces inch closer. They
          begin making out hot and heavy until Henri suddenly walks in.

                         HENRI
          I've found the --
          Caught in the act, the teens lurch away from each other.

                         JOHN
          Just giving Bernie a quick bath.

                         HENRI
          You're clearly putting a lot of
          effort into it.

                         SARAH
          I better hit the road.

                         (TO JOHN)
          See you tomorrow. Twoish.

                         (GRABBING BACKPACK)
          Bye, Mr. Smith.
          OFF John as she hustles out...

          INT. LIVING ROOM - HOUSE - DAY

          Henri sits in front of his computers. John enters with
          Bernie, who is wrapped in a beach towel. He begins drying
          the dog in front of the fire. Henri breaks the silence.

                         

                         

                         

                         

          63.

                         HENRI
          I finally tracked the location of
          that blog. It's a house in Warsaw,
          Indiana. About four hours from
          here. I'm heading up there
          tomorrow.

                         JOHN
          Sarah invited us to Thanksgiving.
          I told her we'd be there.

                         HENRI
          Send my regrets.

                         JOHN
          You shouldn't go alone. It could
          be dangerous.

                         HENRI
          I won't risk taking you. I'll
          leave early and be back by five.
          John looks up and sees Henri sitting in solitude.

                         JOHN
          Don't you ever get lonely?
          Surprised by the question, Henri swivels to face him.

                         HENRI
          How could I? I have you.

                         JOHN
          You know what I mean. All these
          years, there's never been anyone.

                         HENRI
          We aren't like humans. Once we
          fall in love, it's for life. The
          pain of separation is unbearable.
          Henri's face clouds with melancholy and he abruptly gets up.
          As he heads into the kitchen John studies him with new eyes.

          INT. KITCHEN - HOUSE - DAY

          Steam billows as Henri washes up. He keeps his back to John
          when he enters. John waits then softly asks...

                         JOHN
          What was her name?
          Henri slots a plate onto the draining board.

                         

                         

                         

                         

          64.

                         HENRI
          Anastasia.

                         JOHN
          You left her to save me.

                         HENRI
          You're not responsible for what
          happened to her -- they are.
          He slowly turns and regards John with deep paternal concern.

                         HENRI
          I looked at her the way you look at
          Sarah.

                         (BEAT)
          She can't come with us when we
          leave -- and we always have to
          leave, you know that.
          John nods, not wanting to deal with that reality.

                         HENRI
          I was hoping to protect you from
          that pain.

                         JOHN
          You can't protect me from
          everything.
          OFF Henri's sad smile of acknowledgement...

                         CUT TO:

          EXT. SARAH'S HOUSE - DAY

          The Halloween decorations have been replaced by a
          Thanksgiving display.
          Wearing khakis and a pale blue Oxford, John tentatively walks
          up the front path. The warm sound of LAUGHTER drifts from
          inside. He takes a breath and rings the doorbell.

          INT. KITCHEN - SARAH'S HOUSE - DAY

          It's like a Norman Rockwell cover come to life. Every inch
          of counter space is filled with platters of food.
          John watches Sarah, Annie, and a boisterous ASSORTMENT OF
          RELATIVES put the finishing touches to the Thanksgiving
          feast. KIDS rush in and out in a manic game of tag.
          John is captivated by the sense of family and celebration --
          things he's never known in his own life. Sarah steps over.
          She's wearing a funky-cool vintage dress.

                         

                         

                         

                         

          65.

                         SARAH
          Come on, we're on gravy-boat duty.

          INT. DINING ROOM - SARAH'S HOUSE - DAY

          The table is decorated with garlands of autumn leaves and an
          elaborate pine cone centerpiece. Sarah places the last
          turkey-shaped gravy boat onto the table. She smiles at John.

                         SARAH
          You look dazed.

                         JOHN
          Just taking it all in.
          She crosses.

                         SARAH
          I'm glad you came.
          They tenderly kiss until Annie bustles in carrying a steaming
          bowl of mashed potatoes.

                         ANNIE
          Don't mind me.
          She puts the bowl on the table and grabs Sarah's camera.

                         ANNIE
          Let's get a picture of you two
          lovebirds.
          Sarah cringes as Annie lifts the camera to her eye.

                         SARAH
          Mom. No. John really doesn't like
          having his --

                         JOHN
          It's okay. Let her take it.
          The gesture means the world to Sarah. He puts his arm around
          her. Sarah nestles her face against his. As the flash WIPES

          OUT THE FRAME...

                         CUT TO:

          INT. DINING ROOM - SARAH'S HOUSE - NIGHT

          Red candles flicker. Sarah's DAD is expertly carving the
          turkey. Everybody is at the table. John sits next to Sarah.
          She holds his hand under the table. It's Hallmark worthy
          until the carriage clock on the mantel CHIMES.

          IT'S SIX O'CLOCK.

                         

                         

                         

                         

          66.
          John looks at his phone. No messages. His brow creases with
          concern. He turns to Sarah, whispers.

                         JOHN
          I need to check in with Henri.
          He exits.

          EXT. FRONT PORCH - SARAH'S HOUSE - NIGHT

          John speed dials as he steps out into the cold. He holds the
          phone to his ear. It rings three times and then is answered.

                         JOHN

                         (INTO PHONE)
          Henri?
          CLICK. The call is hung up. Suddenly on edge, John redials.
          This time it's picked up immediately.

                         JOHN

                         (INTO PHONE)
          Henri?

          MAN (V.O.)

                         (OVER PHONE)
          Are you one of them too?
          John reacts to the chilling menace of the Man's tone.

                         JOHN

                         (INTO PHONE)
          Who are you? Where's Henri?
          CLICK. John jerks the phone from his ear and stares at it,
          panicked. He paces, desperate and unsure, then gets an idea
          and punches another number.

                         JOHN

                         (INTO PHONE)
          I need your help.

          INT. DINING ROOM - SARAH'S HOUSE - NIGHT

          The food is getting cold. Everybody is waiting for John.
          Sarah catches her mother's disapproving look.

                         SARAH
          I'll see what's taking him so long.

          EXT. PORCH - SARAH'S HOUSE - NIGHT

          Sarah steps out just in time to see John climb into a pickup
          truck. It's the one from Sam's garage.

                         

                         

                         

                         

          67.

                         SARAH
          John!
          He looks back.

                         JOHN
          It's Henri. I have to go. Sorry.
          OFF her confused disappointment as the truck SQUEALS away...

          INT. PICKUP - NIGHT - MOVING

          Sam is behind the wheel.

                         JOHN
          Thanks. I owe you.

                         SAM
          Anything to get out of Thanksgiving
          at my house.
          He offers John a weary smile.

                         SAM
          I checked out that blog on the way
          over. Saw the video. What was the
          deal with your ankle?
          John pulls up his khakis, shows Sam the trio of scars.

                         JOHN
          Death scars.

                         SAM
          They kind of look like the symbols
          in my dad's research.

                         (THINKING)
          You guys don't --

                         JOHN
          Abduct people? No.
          Irritated, he covers them back up.

                         SAM
          How about the ones you said were
          hunting you?

                         JOHN
          They're capable of anything.

                         (URGENT)
          We need to get to Warsaw -- now.

                         

                         

                         

                         

          68.
          Suddenly, John's cell phone RINGS. He snatches it up, but is
          disappointed to see the name “SARAH” flashing on the LCD. He
          hits ignore and the truck hurtles into the dark.

                         CUT TO:

          EXT. WARSAW HOUSE - NIGHT

          It's a dilapidated Victorian. Mist shrouds the yard which is
          littered with junked cars and trash. The pickup crawls to a
          stop in the shadows across the street.

          INT. PICKUP TRUCK - NIGHT

          The teens sit in silence.

                         JOHN
          Number 417. Henri tracked the URL
          to that house.
          Sam scans the street.

                         SAM
          I don't see his SUV anywhere.

                         JOHN
          He would have parked it across
          town.
          Sam opens the glove compartment and pulls out a revolver.

                         SAM
          Stole it from Ed.

                         (BEAT)
          Let's move.
          John yanks Sam's arm away from the door handle.

                         JOHN
          I called you because I needed a
          ride, not a sidekick. If I could
          have run here, I would have.

                         (BEAT)
          Go home. I'll call you when I get
          back.
          OFF Sam as John climbs out alone...

          EXT. WARSAW HOUSE - NIGHT

          It's graveyard quiet. John nervously sneaks down the side of
          the house. His breath fogs as he inch-CREAKS up the wooden

                         STEPS TO

          THE KITCHEN PORCH.

                         

                         

                         

                         

          69.
          He squats in front of the door. He holds up a luminescent
          palm and uses it like a flashlight to sweep the interior.
          WHAT HE SEES: Take-out boxes litter the filthy counter. The
          sink is swamped with dirty dishes. The light washes across a
          semiautomatic sitting by a packet of Lucky Strikes.

          SAM (O.S.)
          See anything?
          Annoyed, John spins and finds Sam creeping towards him.

                         JOHN
          I told you to go!

                         SAM
          They might know where my dad is!
          John realizes Sam is determined. He sweeps his hand back
          over the kitchen door. His palm illuminates a familiar

          CRYSTAL-HANDLED DAGGER.
          It's lying on the counter by the fridge.

                         JOHN
          Henri's here.
          John “turns off” his palm and reaches for the door handle.
          Sam anxiously swats his arm away.

                         SAM
          Wait! Other than strength, speed
          and night-light, what powers have
          you got?

                         JOHN
          Telekinesis -- but that's a work in
          progress.

                         SAM
          No invisibility, X-ray vision,
          flight?

                         JOHN
          Sam, we drove here.
          Sam takes a deep breath, psyching himself up.

                         SAM
          Okay. I'm ready. Let's do it.
          But as John reaches for the door handle, the kitchen light
          suddenly turns on and a MAN enters. He's built like a
          wrestler and goes by the name of FRANK.

                         

                         

                         

                         

          70.

          INT. KITCHEN - WARSAW HOUSE - NIGHT

          With a Lucky Strike clenched between his lips, Frank picks up
          the packet on the table and is pissed to discover it's empty.
          He crushes it in his fist and crosses to the door.

          EXT. BACK PORCH - WARSAW HOUSE - NIGHT

          John and Sam are gone. Frank steps out and locks the door.
          He flicks away his cigarette as he heads down the stairs.
          CAMERA FOLLOWS the butt as it cartwheels into

          SAM'S LAP.
          He's crouched next to John at the side of the porch. He
          frantically begins trying to extinguish the stub. John
          clamps his hand over Sam's mouth and snuffs the cigarette
          between his fingers. Once Frank's safely around the corner,
          John releases his hand.
          The duo silently climbs onto the porch. John squats in front
          of the door. His hand shakes as he holds it out towards the
          lock and concentrates.

                         SAM
          Hurry up. Hurry up. Hurry up.
          There's a LOUD CLICK.

                         SAM
          You just dead bolted it! Way to
          go!

                         JOHN
          New plan -- follow Lucky Strike.
          Text me if he comes back.
          Sam sneaks off after Frank.

          INT. KITCHEN - WARSAW HOUSE - NIGHT

          TIGHT ON LOCK as the dead bolt turns by itself and the door
          swings open. John cautiously crosses the threshold. He
          holds up his right hand, dims his palm to a dull-blue glow.
          He retrieves Henri's dagger and tentatively heads into...

          INT. HALL - WARSAW HOUSE - NIGHT

          Everything is filmed with dust. It's freezing and John's
          BREATH FOGS in the hazy aura his palm casts. The naked
          floorboards CREAK. Fear bites as John scans the lifeless
          gloom, not sure where to start.
          TIGHT ON HIS SHOE as it brushes a mousetrap. SNAP!

                         

                         

                         

                         

          71.
          His breath catches in his throat. He “turns off” his hand.
          His heart thumps as he waits for something to react to the
          noise. But nothing does. As his eyes adjust to the dark, he
          notices a rectangle of light faintly leaking from the door
          that leads down into...

          INT. BASEMENT - WARSAW HOUSE - NIGHT

          The ancient stairs sag as John slowly descends. The space is
          illuminated by a single naked bulb. The sound of DRIPPING
          WATER hammers the silence. John scans the rabbit warren of
          rooms and sees a figure chained to a chair in the corner.

                         JOHN
          Henri!
          He races over. But as he reaches for Henri's gag, a YOUNG
          MAN steps out of the shadows holding a baseball bat. John
          turns too late and the bat strikes his left side. He drops
          the dagger as he falls to the floor, his ribs searing. The
          man, BRET, raises the bat again. John focuses his mind.

                         THE BAT
          whips out of Bret's grip and torpedoes towards John -- who
          ducks out of the way as the bat flies past. Confused, Bret
          lurches forward. John scrambles for the bat, clenches it in
          his hand, and swings it into the young man's legs.

                         BRET
          knocks the light as he topples into a column and CRASHES onto
          the cement, out cold. It's over in a violent blur. John
          sits stunned for a moment. The swinging bulb casts surreal
          shadows as he spins back to Henri, telekinetically “unlocks”
          the padlock securing the chains, and rips off the gag.
          Henri is groggy and his face is swollen from brutal beatings.

                         HENRI
          You shouldn't be here.

                         JOHN
          Your life is my life, remember?
          Henri tries to shake his drug-induced haze.

                         HENRI
          I talked my way in. Thought the
          big guy was buying it.
          He rubs a wound on his neck.

                         

                         

                         

                         

          72.

                         HENRI
          I was asking him about the video
          when the other one shot me from
          behind... some sort of animal
          tranq.

                         (DISPIRITED)
          I'm getting rusty.
          Suddenly, John's phone VIBRATES. It's a message from Sam --

          “GET OUT NOW!”

                         JOHN
          We have to leave!
          John helps Henri up, they race for the stairs when Bret's
          hand grabs John's ankle, tripping him to the floor.

                         JOHN
          Henri!
          Henri smashes his boot into Bret's face, knocking him out for
          good. John staggers up, they spin for the stairs just as

          SAM AND FRANK
          head down them into view. Frank holds the revolver against
          Sam's neck. Their shadows crisscross under the swaying bulb.

                         FRANK
          Stay planted or I'll blow your
          friend's head off.
          Henri looks at John in shock.

                         JOHN

                         (RE: SAM)
          He came to help.
          John and Henri put up their hands. John focuses on the gun,
          but as the light bulb sweeps past, he causes it to EXPLODE.

          THE ROOM PLUNGES INTO DARKNESS.
          Henri body-slams Frank, sending the revolver skittering. But
          as he wrenches Sam to safety,

                         THE KEYS
          to the pickup fly out of Sam's pocket and slide under the
          stairs. John flashes on his palm, casting everything in
          eerie blue light.
          On all fours, Frank scrambles for the fallen weapon. It's
          almost within reach when he is lifted right off the ground by
          an invisible force.

                         

                         

                         

                         

          73.
          Sam looks over at John, impressed.

                         FRANK

                         (FREAKING OUT)
          You're the one from the video!
          You're the one they're after.
          With tremendous telekinetic effort, John slams Frank against
          the ceiling.

                         JOHN
          Tell me what you know!
          Franks says nothing. John trains his palm light on the big
          man's face. It's like a blinding interrogation lamp.

                         JOHN
          Start talking!

                         FRANK
          I don't know what they're called.
          The one in the red coat said he'd
          kill me if I didn't do what he
          wanted.
          This revelation stuns Henri.

                         HENRI
          The Mogadorians... they've been
          here?
          Frank nods in terror.

                         FRANK
          He told me to call if anyone came
          asking about the video.
          Sweat beads John's face from the mental exertion.

                         JOHN
          Did you?

                         FRANK

                         (RE: HENRI)
          They wanted me to hold your friend
          until they got here.
          Henri urgently retrieves Sam's gun and his dagger.

                         HENRI
          We need to go! Now!
          John “releases” Frank, who drops onto the floor like a whale
          and is knocked out. At that moment, a razor-thin line of
          dust drops from the floorboards above.

                         

                         

                         

                         

          74.

          SOMEONE IS UPSTAIRS.
          John immediately extinguishes his palm. The trio stands
          frozen, necks craned up, ears pricked as the floorboards
          CREAK above them. They are definitely not alone.

          INT. HALL - WARSAW HOUSE - NIGHT

          FOUR MOGADORIAN SOLDIERS stalk through the house. Their long
          black coats SILENTLY sweep. One sniffs the air like a
          bloodhound and motions towards the basement door...

          INT. BASEMENT - WARSAW HOUSE - NIGHT

          BLAAAAM! -- the door is shredded off its hinges and flies
          down the stairs. The Mogadorian patrol storms through the
          cloud of splinters. Frank and Bret lie where they fell, but
          there's no sign of John, Henri or Sam.
          Pissed, one of the Mogadorians strides towards a small
          blacked-out window. He punches out the glass with his fist
          and catches sight of Sam clambering over the back fence!

          INT. PICKUP - NIGHT

          John, Henri and Sam pile in.

                         JOHN
          Sam, get us out of here!
          Sam reaches into his jeans, then frantically checks his
          pockets.

                         SAM
          I must have dropped the keys!
          Henri keeps his cool, looks at John.

                         HENRI
          Start the engine.

                         JOHN
          I can't.
          Henri's calm eyes never leave him.

                         HENRI
          Yes, you can.
          John nods, puts his hand on the dash and closes his eyes.
          The engine TURNS OVER but doesn't start. Sam looks up the
          street, panicked, as

                         A MOGADORIAN

                         

                         

                         

                         

          75.
          climbs out of a black SUV and storms towards them.

                         SAM
          Hurry up!
          John's brow is furrowed with concentration. The Mog
          unsheathes his sword as he runs. With a superhuman leap, he
          lands on the hood -- TWAAAAACK! John and Henri spin out of
          the way as the sword SHATTERS the windshield and impales in
          the back of the seat, missing them by a mouse hair.
          As the Mogadorian withdraws the sword to strike again, Henri
          sweeps up his dagger and stakes it into the Mog's neck.

          VRRRROOMMM!
          The engine ROARS to life. The Mogadorian tumbles off the
          hood, magenta light spurting from his wound. John turns to
          Sam, who is petrified, and SCREAMS...

                         JOHN

          DRIVE!
          Sam wrenches the shaft into gear and floors the gas. The
          Mogadorian EVISCERATES in a frenzy of embers. The truck
          bursts through the blizzard of sparks and STREAK-PEELS away.

                         CUT TO:

          INT. BASEMENT - WARSAW HOUSE - NIGHT

          CAMERA TRACKS the swish of a familiar red coat as its owner
          slowly descends the stairs, PANS UP PAST his right hand,
          which methodically twists two meditation balls, TO REVEAL

          THE MOGADORIAN COMMANDER.
          He's the one who slaughtered Number 3 in Africa. His men
          part as he steps into view and crosses to Frank and Bret who
          are chained to chairs. A Soldier stands behind each one.
          Frank looks at the Commander in terror.

                         FRANK
          I called you like I said. It's not
          my fault they got away!
          The Commander steps into the moonlight that seeps through the
          window. We get our first good look at his face. A gnarled
          scar runs down his right cheek, identifying him as the same
          Mogadorian Henri wounded in the escape from Lorien. His skin
          is deathly pale and his eyes have a cold purple tint.

                         MOGADORIAN COMMANDER
          Where did they go?

                         

                         

                         

                         

          76.
          His accent is thick and his voice is unnerving.

                         FRANK
          How should I know? The kid had me
          pinned to the ceiling.
          The Commander turns to Bret.

                         MOGADORIAN COMMANDER
          Where did they go?
          Bret is too freaked to even speak. The Commander nods to the
          Soldiers. They grab Frank and Bret by the heads and yank
          open their mouths. Frank watches in confused terror as the
          Commander holds one of the meditation balls.

          DOZENS OF TINY RAZOR-BLADES
          suddenly flower open across its surface and viciously spin.
          With cold-blooded calm, the Commander drops the ball into
          Frank's mouth. OFF its terrible DRILL-LIKE WHIR...

                         CUT TO:

          EXT. STRIP MALL - DAWN

          Vermillion clouds streak the heavens. Sam's truck pulls up
          next to Henri's SUV, which is inconspicuously parked in front
          of a 24-hour pharmacy.

          INT. PICKUP TRUCK - DAWN

          John turns to Sam.

                         JOHN
          We'll meet you back at the house.

                         HENRI
          We're not going back to Paradise.

                         (TO SAM)
          Thank you for your help, but you'll
          never see us again.
          Henri climbs out. Sam looks at John, confused.

                         SAM
          Is he serious?
          John nods, numb.

                         SAM
          What am I supposed to tell people?

                         

                         

                         

                         

          77.

                         JOHN
          Nothing. Forget about us. We
          never existed.

                         (BEAT)
          Goodbye, Sam.
          OFF Sam as John climbs out...

                         CUT TO:

          EXT. MOTEL - DAY

          It's a rundown dump on the bleak edge of a no-name town.

          INT. SUV - DAY

          John silently stews. BIKERS smoke at the edge of the grimy
          pool which is drained for the winter and rattles with frozen
          leaves. Henri steps out of the motel office with a key.

          INT. MOTEL ROOM - DAY

          Henri lets John inside, chains the door and draws the sun-
          bleached curtains.

                         HENRI
          We leave at nightfall.

                         JOHN
          Henri, this is insane. They still
          don't know where we live.
          Henri seethes.

                         HENRI
          It's only a matter of time. They
          know our faces. They saw Sam. How
          long has he known?

                         JOHN
          Since Halloween.
          Henri is floored and hurt by the admission.

                         HENRI
          I trusted you and you lied to me!
          John bows his head, can't meet Henri's gaze.

                         JOHN
          Only because I knew how you'd react
          and I didn't want to leave
          Paradise.
          Henri paces, tries to quell his emotions.

                         

                         

                         

                         

          78.

                         HENRI
          Now we don't have a choice. The
          Mogs are using humans to trap us.
          From this point on -- no more
          towns. No more schools. We're
          going off the grid until we find
          the others.

                         JOHN
          No.
          His tone is defiant.

                         HENRI
          This isn't a discussion.
          In a flash of pent-up anger, John holds up his hand and
          telekinetically sweeps Henri off his feet and pins him
          against the wall. Henri looks at him, stunned.

                         JOHN
          I'm not leaving without saying
          goodbye to Sarah.
          Henri fixes him with a steel-edged stare.

                         HENRI
          Let. Me. Down.
          Spent, John releases Henri who slides to the floor, shaken.
          The dynamics of their relationship forever changed. Henri
          finally stands.

                         HENRI
          Give me your phone and IDs.
          John hands him his cell phone and wallet. Henri opens the
          back of the phone and pulls out the SIM card. SNAP!

                         HENRI
          John Smith dies today.

                         CUT TO:

          EXT. WARSAW HOUSE - DAY

          REPORTERS and LOOKIE-LOOS watch from behind the crime scene
          tape that crisscrosses the street. CAMERA ZEROES IN on

          THE TEEN GIRL.
          She's the one we saw in Nashville and who torched the stilt
          house. Her eyes study the STREAM OF POLICE that hustles in
          and out of the house carrying evidence Baggies and equipment.

                         

                         

                         

                         

          79.

          INT. BASEMENT - WARSAW HOUSE - DAY

          A CRIME SCENE PHOTOGRAPHER methodically catalogs the grim,
          blood-soaked nightmare. He's in a full body suit and
          booties. The flashgun mounted to his camera whitewashes the
          space as a UNIFORM COP appears on the stairs.

                         UNIFORM COP
          The Chief wants to send the morgue
          boys in and seal this tomb.

                         PHOTOGRAPHER
          Hope they haven't had lunch yet.
          These guys were gutted from the
          inside out.
          He steps over to Frank's body which has been splayed open.
          As he flashes off some shots, the

                         TEEN GIRL
          appears in the corner of his viewfinder. She's kneeling by
          Frank's severed head which has rolled a short distance from
          the body. The Photographer pulls the camera away from his
          eye and looks at the Teen Girl, confused.

                         PHOTOGRAPHER
          Who the hell are you?
          She ignores him. He glances at the only window which is 20
          feet away on the other side of the room.

                         PHOTOGRAPHER
          How'd you get in?
          The Girl continues examining Frank's wounds. Totally
          unnerved, the Photographer shouts up the stairs.

                         PHOTOGRAPHER
          Hey, we've got a live one down
          here.
          When he spins back, the Girl is gone, vanished into thin air.

                         CUT TO:

          INT. SAM'S TRUCK - DAY

          TIGHT ON A DIRT DEVIL as it snorts up beads of broken glass.
          REVEAL SAM cleaning the evidence of the previous night's
          adventure. Cardboard covers the missing passenger window.

          EXT. DRIVE - SAM'S HOUSE - DAY

          Sam climbs out of the truck and is startled by Sarah.

                         

                         

                         

                         

          80.

                         SARAH
          Where is he, Sam?

                         SAM
          I don't know.
          He tries to avoid eye contact, but she is determined.

                         SARAH
          What happened last night? I've
          tried calling him all day. But his
          number's no longer in service.

                         SAM
          Forget about him, Sarah.
          Incredulous, she grabs his arm.

                         SARAH
          I'm not going anywhere until you
          tell me what's going on.

                         SAM
          He left with Henri and he isn't
          coming back. Ever.

                         (PULLING FREE)
          I'm sorry.
          OFF Sarah, shattered...

                         CUT TO:

          INT. SHOWER - MOTEL ROOM - LATE AFTERNOON

          John stands under the steaming spray. Eyes screwed shut.
          Naked and lost. TWO LOUD KNOCKS at the door.

          HENRI (O.S.)

                         (THROUGH DOOR)
          Taillights in five.

          EXT. MOTEL - LATE AFTERNOON

          The GROUP OF BIKERS by the pool has grown four fold. They're
          partying hard. Henri keeps his head down as he passes.

          INT. MOTEL OFFICE - LATE AFTERNOON

          The FEMALE CLERK stares at the TV mounted on the wall. She's
          watching a local news report about the Warsaw house murders.
          Henri enters. The window RATTLES as a motorcycle speeds past
          and he slides his key onto the counter.

                         CUT TO:

                         

                         

                         

                         

          81.

          INT. MOTEL ROOM - LATE AFTERNOON

          Henri steps in and is annoyed to hear the SHOWER still
          running. He strides to the bathroom door.

                         HENRI
          John?
          No answer. He KNOCKS. Still nothing.

          INT. BATHROOM - MOTEL ROOM - LATE AFTERNOON

          Henri shoulder-rams the door open. He whips back the shower
          curtain and stares at the empty tub.

          JOHN IS GONE.
          OFF Henri's grim concern...

          EXT. HIGHWAY - DUSK

          The sky is twilight blue. A gleaming Harley ROARS around the
          bend, going full throttle. John is on its back. The wind
          whips his hair. Eyes set forward. Headed back to Paradise.

                         CUT TO:

          EXT. SARAH'S HOUSE - NIGHT

          Annie opens the front door and is surprised to find John.

                         ANNIE
          Little late for dessert.

                         JOHN
          I need to talk to Sarah.

                         ANNIE
          She's not here. Some friends
          dragged her to a party at Mark
          Jayne's.
          John absorbs this news, turns. Annie steps out after him.

                         ANNIE
          I don't usually pry into my
          daughter's love life, I certainly
          didn't want my mother in mine --
          but Sarah's my youngest and she's
          special to me.

                         JOHN
          She's special to me too.

                         CUT TO:

                         

                         

                         

                         

          82.

          EXT. MARK'S HOUSE - NIGHT

          The big, two-story property dominates the end of a cul-de-
          sac. TEENS stream up the drive. Cars are parked end to end
          down the street. CAMERA CRANES TO MEET John as he charges
          into view on the stolen motorcycle.

          INT. DOWNSTAIRS HALL - MARK'S HOUSE - NIGHT

          MUSIC THROBS. John works his way through the throng of
          partying TEENS. He passes a RED-HAIRED TEEN BOY recording
          the event on a FlipVideo camera. A hand grips John's
          shoulder. John turns to find Mark Jayne.

                         MARK
          You weren't invited.

                         JOHN
          Where's Sarah?

                         MARK
          She doesn't want to see you.
          John shoves him aside and heads for the sweeping stairs...

          INT. BASEMENT - MARK'S HOUSE - NIGHT

          It's been transformed into a major makeout den. Candles line
          the windowsills and ring the edge of the pool table. TEENAGE
          COUPLES grope in the flickering half-light.

                         JOCK
          Everybody upstairs! Kevin's going
          for the beer bong record!
          The Teens immediately bolt for the stairs. In the giddy
          exodus, one of them accidentally brushes

                         A CANDLE
          onto the white shag rug.

          INT. UPSTAIRS HALL - MARK'S HOUSE - NIGHT

          John heads down the burgundy hall which is lined with family
          portraits. He glances in the rooms as he passes.

          INT. GUEST ROOM - MARK'S HOUSE - NIGHT

          Sarah and her friend, EMILY, sit on the bed with Mark's two
          dogs, Abby and Dozer. A wedge of light cuts across them as
          the door opens and John steps in.

                         SARAH
          John!

                         

                         

                         

                         

          83.
          She leaps up and hugs him. John waits as Emily exits.

                         JOHN
          I'm sorry about last night.
          She pulls away, her relief turning to anger.

                         SARAH
          No. Not good enough. Sam said you
          were never coming back. What are
          you doing here?

                         JOHN
          I couldn't leave without seeing you
          one last time.
          She looks at him, crushed.

                         SARAH
          So it's true. What's going on?
          What kind of trouble are you and
          your dad in?

                         JOHN
          We're going to be fine.

                         SARAH
          Damnit! Whatever it is, I'll
          understand -- just tell me the
          truth.

                         JOHN
          The truth is I'm not who you think
          I am. You need to forget about me.
          Okay?

                         SARAH
          Why are you acting like this?

                         JOHN
          Because it's the only way to keep
          you safe.

                         SARAH
          Safe from what?
          He turns away, shields her from his torment.

                         JOHN
          Goodbye, Sarah.
          He doesn't look back as he walks out the door. CAMERA STAYS
          ON SARAH as she sinks onto the bed and the dogs comfort her.

                         

                         

                         

                         

          84.

          INT. DOWNSTAIRS - MARK'S HOUSE - NIGHT

          Party-goers pack the hall and kitchen watching Kevin consume
          an impossible amount of beer through a funnel and hose.

                         TEENS
          Drink! Drink! Drink!
          Drained and numb, John heads the other way and fails to
          notice the smoke seeping from under the basement door.

          EXT. MARK'S HOUSE - NIGHT

          John strides down the driveway, bleak-faced. He's about to
          straddle the motorcycle when he hears a muffled EXPLOSION.
          He looks back and sees

                         SMOKE
          billowing from the side of the house. He bolts towards the
          front door, SCREAMS at a JOCK as he passes.

                         JOHN
          Call 911!
          As he races inside...

          INT. MARK'S HOUSE - NIGHT

          It's total chaos. Smoke and FLAMES plume up from the
          basement. Terrified Teens scramble. John thrashes through
          the crowd, SHOUTING --

                         JOHN
          Sarah!

          EXT. BACK YARD - MARK'S HOUSE - NIGHT

          The panicked evacuation spills out. A window EXPLODES and
          orange flames lick the cold night air. John sees Emily
          stumble out clutching one of Mark's dogs, Abby.

                         JOHN
          Where's Sarah?

                         EMILY
          Went back for Dozer.
          Another EXPLOSION rocks. A COUPLE of drunk Jocks CHEER.
          John looks back at the house. The fire has taken hold with
          incredible speed. The living room curtains are ABLAZE.

          A DOG'S HAUNTING HOWL

                         

                         

                         

                         

          85.
          cuts over the sound of the HISSING FLAMES. It's coming from
          the second floor. John charges past Mark, towards the house.

                         MARK
          It's too late. You can't get
          through!
          John ignores him and runs into the inferno.

          INT. LIVING ROOM - MARK'S HOUSE - NIGHT

          FLAMES sprint up the walls and clouds of black smoke spew
          from the sectional sofa. Immune to the heat, John heads into
          the front hall and finds

                         THE STAIRCASE
          is fully engulfed. Fearless, he clambers up the flaming
          steps. His jeans and shirt catch fire. He's almost reached
          the top when the staircase BREAKS AWAY behind him and
          DISINTEGRATES in a cloud of embers.

          INT. UPSTAIRS HALL - MARK'S HOUSE - NIGHT

          It's a raging conflagration. The family portraits blister on
          the walls. John beelines towards Dozer's PLAINTIVE WAIL
          which reverberates over the UGLY ROAR of the fire.

          INT. GUEST ROOM - MARK'S HOUSE - NIGHT

          Sarah is crouched by the heavy oak bed that dominates the
          corner of the room, COUGHING, eyes burning from the smoke and
          heat. Dozer is cowered underneath, HOWLING. Sarah
          desperately tries to move the bed but it won't budge.

          CRAAAACK!
          The door rips off its hinges. Through the smoky half-light,
          Sarah watches as John strides into the room, heroically
          backlit by flame.

                         SARAH
          John!

                         (FRANTIC)
          Dozer's under the bed. He's too
          scared to come out!
          John strides forward, grips the bed with one hand and
          effortlessly hoists it. Sarah looks at him, amazed, then
          scrambles forward and gently scoops Dozer into her arms.
          John puts the bed back down.

                         JOHN
          Don't let go of him. I promise I
          won't let go of you.

                         

                         

                         

                         

          86.
          As he lifts them...

          INT. UPSTAIRS HALL - MARK'S HOUSE - NIGHT

          The trio heads into the hall just as an 8-foot section of the
          floor collapses in front of them. Unfazed, John sprints
          forward and bridges the hole.
          ANGLE ON SARAH as she stares at the burning chasm in terror
          and grips Dozer tighter.
          John touches down on the other side and doesn't slow as he
          powers down the hall, which is a SHRIEKING tunnel of fire.

          A BURNING BEAM
          breaks free and swings down in front of them. Sarah SCREAMS,
          but watches in stunned amazement as John sweeps it out of the
          way with a telekinetic flick of his hand.

          EXT. SIDE - MARK'S HOUSE - NIGHT

          The second-floor window SHATTERS as John leaps out holding
          Sarah and Dozer. A ROARING tongue of fire whips his back as
          he drops to the ground and touches down with Sarah and Dozer.
          COUGHING and shell-shocked, Sarah puts the dog down.

                         JOHN
          You okay?
          She stares at him, unsure.

                         SARAH
          You walked through that fire
          without getting burned. I saw you
          stop that beam.
          SIRENS wail in the distance.

                         JOHN
          I'll explain everything... but not
          here...
          (offering his hand)
          Sarah... please?
          As they take off into the woods, the IMAGE FREEZES, then
          REWINDS. John and Sarah kneel in the shadows, then FLY
          BACKWARDS up through the window and INTO the burning house.
          REVERSE TO REVEAL the Red-Haired Teen watching playback on
          his FlipVideo camera, amazed. He runs to the back of the
          house and finds Mark.

                         

                         

                         

                         

          87.

                         RED-HAIRED TEEN

                         (RE: VIDEO)
          Check this out, man!
          PUSH IN as Mark stares at the footage, stunned.

                         CUT TO:

          INT. WOODS - NIGHT

          John and Sarah walk in SILENCE, dappled in moonlight. He
          catches her staring at him.

                         JOHN
          Please don't look at me like that.

                         SARAH
          I'm sorry. I'm still trying to
          process everything I saw and I keep
          coming to the same conclusion --
          what you did isn't possible.

                         JOHN
          It is for me.

                         SARAH
          Who are you?
          (off his hesitation)
          For once please tell me the truth.
          It's the hardest thing he's ever had to do.

                         JOHN
          My name isn't John. I don't have a
          name, just a number. 4. In fact,
          my whole life can be reduced to
          numbers: like 15 million -- that's
          how many light years it takes to
          get from my planet to Earth. 38 --
          that's how many towns I've lived
          in. Or 3,671 -- that's how many
          days I've been running from an
          enemy that wants me dead. I lied
          to you, Sarah, because I lie to
          everyone. That's how I stay alive.
          Tears of relief brim as he finally reveals his soul.

                         JOHN
          I shouldn't be telling you any of
          this. It's dangerous.
          Emotionally spent, John leans against a tree. She steps
          towards him and brushes her hand down his cheek.

                         

                         

                         

                         

          88.

                         SARAH
          I don't care. I just want to be
          with you.

                         JOHN
          I want that too. But if I stay you
          could get hurt. I have to leave to
          keep you safe.
          Sarah absorbs the bitter reality, reaches for his hand.

                         SARAH
          There's something I want to give
          you first.

                         CUT TO:

          INT. DARKROOM - PARADISE HIGH - NIGHT


          A PHOTOGRAPH OF SARAH AND JOHN
          sharpens INTO FOCUS. It's the one Annie took of them at
          Thanksgiving. John and Sarah stand in the eerie red glow.
          She gently tongs the image into a bath of fixing solution.

                         SARAH
          So you'll always remember me.
          With exquisite tenderness they kiss. John's palms shimmer.
          The intensity of the luminescence builds with their rising
          passion. They sink to the floor and the light crescendos in
          an ethereal flash that BLEACHES OUT THE FRAME.

                         CUT TO:

          EXT. MARK'S HOUSE - NIGHT

          The spinning lights of a trio of fire trucks FLARE THE LENS.
          CREWS hose down the last smoking embers. A DEPUTY approaches
          Mark, who is standing by a police cruiser.

                         DEPUTY
          The FBI showed up flashing their
          badges. Wanna talk to you.
          As he points to a black SUV that's parked down the street.

          INT. SUV - NIGHT

          Mark climbs in the back. He looks around nervously as the
          vehicle starts off.

                         MARK
          Where are we going? Is this about
          the fire? It was an accident.

                         

                         

                         

                         

          89.
          Only now do we REVERSE TO REVEAL

          THE MOGADORIAN COMMANDER
          sitting in the back. His face is masked in shadow.

                         MOGADORIAN COMMANDER
          We're hunting for one of the guests
          at your party.
          He holds up a netbook which flashes with the FlipVideo
          footage of John's rescue of Sarah. It's posted on YouTube.

                         MOGADORIAN COMMANDER
          Do you know this boy?

                         MARK
          Yeah, John Smith. But I didn't
          invite him.

                         MOGADORIAN COMMANDER
          He's a fugitive. We've been
          tracking him for some time.
          Mark smirks, vindicated.

                         MARK
          I'll help you find him.
          He points to Sarah's image on the screen.

                         MARK
          He's not at Sarah's, I already
          checked. And one of my dad's
          deputies drove by his house --
          nada.

                         MOGADORIAN COMMANDER
          He poses a great threat to us.
          Where else could he be?
          Mark pulls out his cell phone.

                         MARK
          I've got Sarah's cell number, maybe
          you guys can trace it?
          The Commander takes the phone and passes it to one of his men
          in the front. He looks back at Mark.

                         MOGADORIAN COMMANDER
          Tell me everything you know about
          John Smith.

                         CUT TO:

                         

                         

                         

                         

          90.

          INT. SAM'S HOUSE - NIGHT

          Sam is at the kitchen counter, watching the YouTube video on
          his laptop, when headlights bleed through the blinds.

          EXT. SAM'S HOUSE - NIGHT

          Sam steps out and reacts in surprise as Henri emerges through
          the headlight glare.

                         HENRI
          John's not at the house. Is he
          here?

                         SAM
          No, but he's all over the internet.

                         HENRI
          I know.
          He turns back to his SUV. Sam follows.

                         SAM
          Those things from Warsaw -- they're
          coming, aren't they?

                         HENRI
          Go back inside. This isn't your
          fight.

                         SAM
          The hell it isn't. I'm coming with
          you.
          OFF this declaration...

                         CUT TO:

          INT. SCHOOL OFFICE - PARADISE HIGH - NIGHT

          The crystal pendant glints against John's chest as he grabs a
          “Paradise High” sweatshirt from a supply closet and yanks it
          on. Sarah's phone suddenly RINGS, startling them.

                         SARAH

                         (INTO PHONE)
          Hello.
          She listens, then hands John the phone.

                         SARAH
          It's Henri.

                         INTERCUT WITH:

                         

                         

                         

                         

          91.

          INT. SUV - NIGHT - MOVING

          Henri careens through the night with Bernie and Sam.

                         HENRI

                         (INTO PHONE)
          Where are you?

                         JOHN
          High school.

                         HENRI
          Get out now!
          At that moment, all the POWER in the school DIES and the
          headlights of an SUV flash across the window. Fear registers
          in John's eyes as he realizes...

                         JOHN
          Too late... they're here.

          EXT. SUV - NIGHT

          The Commander climbs out. Mark follows but is distracted as
          a trio of black SUVs speeds into the lot followed by a
          tractor trailer from which inhuman GROWLS echo.

                         MARK
          What the hell's in there?
          He looks back at the Commander who is arming up from the
          trunk of the SUV. Mark glimpses the arsenal of future-tech
          machine pistols, double-bladed swords and heavy-duty daggers.
          He backs away in fearful realization.

                         MARK
          You guys aren't FBI.
          Before he can run, a Mogadorian Soldier grabs him by the neck
          and constrains him. The Commander pulls

                         TWO BANDOLIERS
          over his broad shoulders. The cartridges are made of crystal
          and swirl with purple light. Finally, he slips on his
          trademark red coat and spins towards the school.

          INT. HALL - PARADISE HIGH - NIGHT

          One of John's hands holds Sarah's while the other lights
          their way as they hurtle down the passage. They've almost
          reached the doors when they suddenly fly open and

                         A FIGURE

                         

                         

                         

                         

          92.
          struts into view. We RECOGNIZE her as the mysterious Teen
          Girl. She swings up an awesome hand-cannon and FIRES right
          at them. THE BLAST scorches the air between John and Sarah
          but takes out the

                         MOGADORIAN SOLDIER
          who was stalking up the hall behind them! John watches in
          shock as the Mogadorian keels over and SHATTERS into embers.
          John swings back to the Teen Girl as she strides forward.

          SHE IS NUMBER 6.

                         SIX
          You oughta keep your heroics off
          the internet.

                         JOHN
          Who the hell are you?

                         SIX
          Number 6. Where's your Cepan?

                         JOHN
          On his way. Where's yours?

                         SIX
          Dead. The Mogs got her four months
          ago. We had been tracking them.
          She heads past. John and Sarah follow after her.

                         JOHN
          Tracking them?

                         SIX
          We discovered they plan to attack
          Earth. The only thing standing in
          their way is the six of us.
          The revelation hits John like a wrecking ball.

                         SIX
          You know what that means?
          John nods with new purpose.

                         JOHN
          The war starts tonight.

                         SIX
          First we have to get out of here
          alive and find the others.
          Six leads them past the impressive trophy case.

                         

                         

                         

                         

          93.

                         JOHN
          What are we up against?

                         SIX
          There's a commander, a bunch of
          soldiers and two Piken. They'll
          have all the main entrances
          covered.

                         SARAH
          The gym, there's a tunnel under the
          stage.

                         JOHN
          It'll take us out to the stadium.
          Six acknowledges that info with a curt nod. FOOTSTEPS. Six
          grabs John and Sarah by their arms and yanks them back
          against the wall.
          They hold their breath as one of the Mogadorian Soldiers
          prowls straight past. He stops for a moment, then turns the
          corner. Sarah looks across at the mirrored trophy case and
          sees there's no reflection.

                         SARAH
          We're invisible.
          John realizes, turns to Six.

                         JOHN
          You got any other Legacies?

                         SIX
          I can control the elements. You?

                         JOHN
          Lumen and telekinesis.
          More FOOTSTEPS. John turns and watches in horror as the
          Mogadorian Commander and a trio of Mogadorian Soldiers sweeps
          into view. The Commander is holding

          MARK.
          He is ashen with fear. Sarah has to catch herself from
          screaming. John makes a move, but Six holds him in place.

                         SIX
          Stay put. They want to draw you
          out.

                         JOHN
          He's not dying because of me!

                         

                         

                         

                         

          94.
          ANGLE ON THE SOLDIERS AND MARK. They're heading past the
          trophy case when JOHN'S VOICE booms out of nowhere.

          JOHN (O.S.)
          Mark! Linoleum! Now!
          Mark rips free and hits the deck a second before the trophy
          case EXPLODES. Shards of glass rip into the Mogadorians and
          trophies torpedo off the shelves and impale the aliens
          against the far wall. The Mogadorians SCREAM as they flail.
          John, Sarah and Six break cover. John wrenches Mark to his
          feet and they take off running. They dash around the next
          corner and find

          HENRI, SAM AND BERNIE
          sprinting towards them, followed by two Mogadorians! Six
          raises her hand-cannon, BLOWS one of the Mogs away, while
          John safely leads everybody into...

          INT. LIBRARY - PARADISE HIGH - NIGHT


                         SIX

                         (TO JOHN)
          Barricade the doors!
          John telekinetically uproots a trio of bookcases that fly
          across the space and block the door. Sarah turns to Mark who
          is totally shell-shocked.

                         SARAH
          What are you doing with them?

                         MARK
          They said they were FBI. That John
          was a fugitive. What the hell's
          going on?

                         SIX
          You've stumbled into a war. So
          shut up and keep your head down.

                         HENRI
          I see age hasn't mellowed your
          attitude, 6.
          Mark turns to John, guilt-wracked.

                         MARK
          I didn't know they were trying to
          kill you.
          (genuine, to John)
          I'm sorry.

                         

                         

                         

                         

          95.

                         JOHN
          This isn't your fault -- it's mine.
          He offers Mark his hand. Mark shakes it. Suddenly, Bernie
          begins to GROWL.

                         SAM
          What is it, boy?
          Henri sees where Bernie is staring and realizes...

                         HENRI
          He's telling us to run!
          They take off a second before

                         A PIKEN
          PUMMEL-RAMS through the wall in a shower of bricks, books and
          paper. It utters a glass-shattering ROAR. John looks back
          and sees Bernie bravely holding his ground.

                         JOHN
          Bernie!
          He watches as the beagle sprints forward and launches himself
          at the monster. Bernie clamps onto the Piken's neck. He's
          hopelessly outmatched and holds on for dear life as the Piken
          tries to buck him off. Then something amazing happens --

          BERNIE BEGINS TO MORPH.
          He doubles, triples in size and keeps growing. His features
          become reptilian, gecko-like, his fur turns to spines and in
          a matter of moments Bernie has transformed into a hulking

          ALIEN CREATURE.
          John looks to Henri as the truth of Bernie's origin dawns.

                         HENRI
          Bernie's a Chimera. He came with
          us from Lorien.

                         JOHN
          Guess I wasn't the only one keeping
          secrets.

                         HENRI
          Somebody had to watch you when I
          wasn't around.
          They exit while Bernie and the Piken continue to battle.

                         

                         

                         

                         

          96.

          INT. HALL - PARADISE HIGH - NIGHT

          John and Henri catch up to the others.

                         SARAH
          The gym's this way.
          A projectile HISSES past John's ear and DETONATES a row of
          lockers -- BOOOOOM! -- it's like an incendiary grenade. The
          paint blisters off the lockers as they are consumed by FIRE.

                         JOHN
          sees two Mogadorian Soldiers hauling heavy-duty weapons that
          use the glass cartridges that glow on their ammo belts. One
          FIRES another round. John telekinetically RIPS a door off
          its hinges. It flies forward, blocks the charge and IGNITES.
          John spins back and SCREAMS --

                         JOHN
          Go! Go! Go!
          They take off. John follows and uses his telekinesis to
          fling cabinets, doors, benches anything he can to block the
          fiery onslaught. But the rounds are coming too fast and a
          projectile SMACKS him in the back. It's like being hit by
          napalm. As FLAMES wash across him, he looks up and snaps on

          THE SPRINKLER HEADS
          that run the length of the hall. A deluge sprays, dousing
          the fire. With his clothes smoking, John tears around the
          corner. The Mogadorians charge after him, but find

          SIX IS WAITING.
          BOOOOMM! BOOOOMM! She blasts them at point-blank range.
          Magenta light gushes from their wounds. Like rain hitting
          hot coals, their bodies HISS as they crack and cinder.

                         SIX
          Keep moving!
          Henri, Mark, Sarah and Sam race out of view. Then John sees
          something emerge through the smoky, water-choked haze.

          IT'S THE SECOND PIKEN!
          It utters a low, predatory GROWL and launches itself forward.
          Oddly, Six doesn't move. She closes her eyes and lays one
          hand on the flooded floor, turning the water to

          ICE!

                         

                         

                         

                         

          97.
          In a matter of moments, the hall has been transformed into an
          icy tunnel. The sprinklers spray snow. The Piken struggles
          to find purchase in this new frozen environment and slip-
          slides after John and Six, who disappear into...

          INT. CAFETERIA - PARADISE HIGH - NIGHT

          CRAAAAACK! The doors are DEMOLISHED as the Piken flails off
          the ice. It takes out a row of tables and chairs and skids
          to a stop. It ROARS in humiliated FURY, and its red eyes
          scan for John and Six who are nowhere to be seen.
          The Piken prowls behind the serving counter. Snow beads off
          its back. Its monstrous nostrils suddenly flare, sensing
          something. It hunches lower and peers at the trays and pans
          that are stored below.
          REVEAL JOHN AND SIX. They're invisible. John clutches Six's
          arm. They're lying between a stack of roasting dishes.
          Threads of foamy drool drip onto their faces as the Piken
          pokes its head further. Its ghoulish red eyes seem to stare
          right at them. With a final frustrated SNORT, it carries on.

          INT. HALL - PARADISE HIGH - NIGHT

          Henri, Sarah, Sam and Mark race into view. Sarah stops,
          panicked and afraid.

                         SARAH
          Where's John?

                         HENRI
          Right behind us.
          He offers her his hand. She's about to take it when

          A MOGADORIAN SOLDIER
          steps out of the shadows. There is nowhere and no time for
          Henri and the others to run. But as the Mogadorian squeezes
          the trigger of his hand-cannon, the wall on his right

          ERUPTS!
          Bernie and the first Piken crash into the hall. They are
          still at each other's throats and don't even notice as they
          steam-roller over the Mogadorian, squashing him like a bug.
          The creatures SMASH through the opposite wall and out of
          sight. It's over in a violent blink.

          INT. KITCHEN - PARADISE HIGH - NIGHT

          John and Six sneak through the shadows. She steps to the
          door, but it won't budge.

                         

                         

                         

                         

          98.

                         SIX
          They've blocked it. Use your
          telekinesis.

                         JOHN
          We're not leaving without my
          friends.

                         SIX
          Don't you mean the girl?
          John ignores the jibe and turns back. Six grabs his arm.

                         SIX
          I broke the Elders' spell to find
          you. The Mogs can kill me now. We
          have to go.

                         JOHN
          We stay and fight.
          OFF his determination...

          INT. HOME ECONOMICS ROOM - PARADISE HIGH - NIGHT

          Henri and Sam crouch behind one station while Sarah and Mark
          hide in the one opposite. Henri pulls a selection of weapons
          from the backpack. He hands one to Sam, looks over at Mark.

                         HENRI
          You know how to use one of these?

                         MARK
          My dad's the sheriff.
          He slides two across the floor. The door opens. They swing
          up to fire but find -- John and Six.

                         JOHN
          Save it for the Mogs. Let's go!

          INT. LOCKER ROOM - PARADISE HIGH - NIGHT

          Bernie and the Piken pummel the rows of lockers which
          COLLAPSE like dominos. Gashed and exhausted, the battling
          duo SHATTER-SMASHES into

          THE SHOWER STALLS.
          Water SPURTS from a broken pipe. The Piken slips on the
          slick tiles. As it struggles to right itself, Bernie seizes
          the moment and sinks his fangs into the monster's neck.

                         THE PIKEN

                         

                         

                         

                         

          99.
          desperately thrashes. Its talons viciously rip into Bernie's
          side. Ignoring the pain, Bernie doesn't let go until his foe
          finally jerks to stillness. As Bernie sinks to the floor, he
          MORPHS back into a beagle and lies spent and bleeding...

          INT. GYM - PARADISE HIGH - NIGHT

          John leads the group past the bleachers and points to the
          side of the stage.

                         JOHN
          The door's over here. The tunnel
          leads out to the stadium.
          Sarah sweeps back the curtain, revealing a padlocked set of
          metal doors. John holds up his hand, snaps the lock and
          whips the chain free. The doors fly open,

                         TWO MOGADORIANS
          spring out of the dark. One tackles Henri while the other
          blindsides John. Henri struggles until

          BOOOOOM!
          The BLAST cinders the Mog's head clean off. Henri looks over
          and sees Mark holding a smoking shotgun and nods his thanks.
          The second has John pinned when it suddenly ROARS in agony
          and disintegrates into a shower of sparks, revealing

          SIX.
          She sheathes her dagger and helps John up.

                         SIX
          Saving your life. My new hobby.
          Sarah notices a smile of respect flicker between John and
          Six. PHHHHHHT! PHHHHHHT! PHHHHHHT! -- three Mogadorian
          knives razor the air. One impales Six in the shoulder. She
          slumps at John's feet. Henri opens FIRE on the

          THE COMMANDER AND TWO MOGADORIAN SOLDIERS
          who storm towards them. John SCREAMS to Sam and Mark.

                         JOHN

                         (RE: SIX)
          Get her down the tunnel!
          They grab Six by the arms and drag her into the tunnel.
          Sarah glances back at John and follows after them. Henri
          takes out a Soldier. John sweeps up his hand and

                         

                         

                         

                         

          100.

          THE WOODEN FLOOR OPENS LIKE A ZIPPER!
          The Commander and the other Soldier are sent flying as the
          planks rip free of their nails. John and Henri charge into
          the tunnel. The doors fly shut behind them and the bleacher
          stand rolls forward to seal the entrance.

          INT. TUNNEL - PARADISE HIGH - NIGHT

          Sarah is in the lead. Sam and Mark follow, holding the
          wounded Six. They've almost reached the end when

                         A MOGADORIAN
          lurches into the mouth of the tunnel. Without a second's
          hesitation, Sam swings up his gun and BLASTS it. Mark looks
          at him in shock as they race through the embers. Sam shrugs.

                         SAM
          I play a lot of Xbox.

          EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT

          Sam, Mark, Six and Sarah hurtle across the field. When they
          reach the track, Sarah looks back and smiles with relief when
          John and Henri burst out of the tunnel.

                         JOHN
          Don't stop! Get to the woods!
          She nods and exits with the others.
          John and Henri head onto the field after them when

          THE SECOND PIKEN
          leaps out of the mouth of the tunnel behind them. It's
          seriously pissed. It bounds straight towards John. Its
          fangs glint like barbed wire as it launches itself towards
          him. At the last second,

                         HENRI
          nobly shoves John out of the way and is plucked into the
          Piken's jaws. The creature shakes him like a rag doll and
          flings him 50 feet down the field. John watches, anguished,
          as Henri lands in a heap.

                         JOHN
          Nooooooooooooooooooooooooo!
          The Piken pivots, turns its crimson eyes on John. It almost
          seems to smirk. Its fangs are stained with Henri's blood.
          John's face hardens into a mask of rage.

                         

                         

                         

                         

          101.
          He makes no attempt to flee as the Piken charges. As it
          springboards into the air...
          ANGLE ON JOHN'S HANDS -- as they suddenly clench.
          ANGLE ON THE GOALPOSTS -- as they're SNAPPED clean off their
          bases and fly skyward.
          ANGLE ON JOHN -- as the Piken's shadow washes across him.
          ANGLE ON THE PIKEN -- as it arcs towards John with its mouth
          open and teeth bared. Suddenly, the goalposts spear its
          flanks, impaling it like supersize BBQ forks.
          The three-ton killing machine drops out of the sky and smacks
          onto the 20-yard line. John watches impassively as the red
          life-fire dies in its eyes and its head lolls to one side.

          EXT. WOODS - NIGHT

          The stadium looms in the distance. Sam wrenches the dagger
          from Six's shoulder while Sarah and Mark anxiously watch.

          EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT

          John sinks by Henri's side.

                         JOHN
          Henri.
          Henri GROANS as John cradles his head. His coat is soaked
          with blood and his torso is horribly mauled. John tries to
          drag him to his feet.

                         JOHN
          Come on, taillights in five.

                         HENRI
          I won't be coming with you this
          time. Save yourself.

                         JOHN
          We go together!
          Henri smiles, grateful, but at that moment

          THE COMMANDER'S SWORD
          flies past John and impales Henri in the chest. Henri utters
          a GROAN and his dying eyes meet John's.

                         HENRI
          Find the others.
          His voice is a GRAVELLED WHISPER.

                         

                         

                         

                         

          102.

                         HENRI
          Your life is my life... always.
          His eyes flutter closed and he slips from John's grip.
          Anguished, John doesn't notice his pendant momentarily
          flicker with a radiant blue light. He angrily spins to face

          THE MOGADORIAN COMMANDER.
          But in a blur of speed, the Commander steps forward, wraps
          his hand around John's throat and plucks him into the air.
          He's flanked by the remaining Soldiers. John's feet kick
          uselessly as he's lifted face to face.

                         MOGADORIAN COMMANDER
          Number 4.
          Three Loric pendants dangle from the Commander's belt like
          mocking trophies.

                         MOGADORIAN COMMANDER
          Your Cepan saved you on Lorien.
          The Commander's voice hisses with cruel certainty. He
          wrenches his sword from Henri's corpse.

                         MOGADORIAN COMMANDER
          But this moment was inevitable.
          The blade shimmers with silver flame as he raises it.
          John's eyes narrow as the sword sweeps towards him. This is
          the moment his adolescence officially ends. This is the
          moment when a warrior is born.
          ANGLE ON BLADE as it SHATTERS into a million pieces, which
          flutter to the ground like glittering confetti.
          John stares at the alien with calm confidence.

                         JOHN
          Nothing is inevitable.

          ANGLE ON JOHN'S HAND AS IT IGNITES.
          The flame is hotter and brighter than 10,000 acetylene
          torches. He grips one of the Commander's bandoliers.
          TIGHT ON THE MOGADORIAN'S FACE as he realizes it's over.
          The glass cartridges detonate in a deadly chain reaction.

          IT'S LIKE A NUCLEAR IMPLOSION!

                         

                         

                         

                         

          103.
          John, the Commander, the Mogadorian Soldiers, in fact every
          goddamn thing in the stadium is obliterated in the

          SUPERNOVA OF FIRE
          that radiates across the field like a blinding ring of hell.

          EXT. WOODS - NIGHT

          Sarah looks back as the blistering vortex of flame lights the
          night sky. Her breath catches in her throat.

                         SARAH
          Oh my God... John.
          Before anyone can stop her, she takes off running, sprinting
          for the stadium.

          EXT. FOOTBALL STADIUM - PARADISE HIGH - NIGHT

          It's a smoking ruin. The seats have melted into puddles.
          Sarah bursts into view. She looks across the devastated
          field. The grass has been reduced to a charred black carpet
          of stubble. Nothing remains of Henri or the Mogadorians.

                         SARAH
          John!
          She charges across the broiled expanse, hoping against hope.
          Then she sees John, lying motionless and naked, his clothes
          completely burned away. She stops, puts her hand to her
          mouth to stifle a sob, when he COUGHS and stirs.

                         SARAH
          John!
          Ash swirls like snow as she races to his side. They wrap
          each other in their arms. Neither wanting to ever let go.

                         CUT TO:

          EXT. PICNIC AREA - WOODS - DAWN

          The sky is cracked with the first light of day. Sarah is
          dressing Six's wound at a table. Six winces.

                         SARAH
          Sorry, Girl Scout first aid didn't
          cover extraterrestrial dagger
          wounds.
          Six smiles, grateful.

                         SIX
          Thanks.

                         

                         

                         

                         

          104.
          As the two teens size each other up, CAMERA FINDS Mark. He
          hangs up his cell and crosses to John and Sam, who are
          talking intently by the motorcycles. John is now wearing a
          pair of old jeans and a faded denim jacket.

                         MARK
          The Sheriff's Department is
          starting to put up roadblocks. You
          guys better get moving.
          Six and Sarah join them.

                         JOHN
          You good to go?

                         SIX
          Don't worry about me.
          John nods to Sam.

                         JOHN
          Sam, ride with Six.

                         SIX
          We don't need baggage.
          Sam steps in front of her, determined.

                         SAM
          I have to find out if the Mogs took
          my dad.
          Six turns to John, who is not bending, then glares at Sam.

                         SIX
          You slow us down, I'll shoot you
          myself.
          Sarah looks at John, tries to rein in her emotions.

                         SARAH
          I want to come too.

                         JOHN
          You need to stay here.

                         SARAH
          Why?

                         JOHN
          You could have died last night.
          I'm not putting you in danger
          again. Mark's promised to look
          after you.

                         

                         

                         

                         

          105.
          Tears tumble down her cheeks.

                         SARAH
          I don't want to say goodbye.

                         JOHN
          I'll come back for you.

                         SARAH
          When?

                         JOHN
          When it's safe.
          She bows her head, anguished. He gently lifts her chin.

                         JOHN
          Where I'm from, we only give our
          heart to one person. I've given
          mine to you.

                         (BEAT)
          I love you, Sarah.
          Their lips meet and they kiss. It only ends when John hears
          an URGENT RUSTLE in the woods. They turn and watch as

                         BERNIE KOSAR
          limps into view. Blood mats his fur and his face is
          scratched but he's alive. OFF John's relief...

                         CUT TO:

          EXT. PICNIC AREA - DAY

          Sam sits behind Six on her motorcycle. John holds Bernie as
          he straddles his Harley. Bernie morphs into a gecko and
          darts into his pocket. Sarah studies John and Six, unsure.
          John THROTTLES the bike to life, then looks back at Sarah.
          He fights a pang of jealousy when he sees her standing at
          Mark's side. RAIN spits as the motorcycles start off.

          JOHN (V.O.)
          This is the first town I've left
          without Henri. The first one I
          have a reason to come back to.
          John and Sarah hold each other's gaze, desperately trying to
          brand the image of their faces onto their memories.

          EXT. ROAD - DAY

          The bikes blur past the “Welcome to Paradise” sign.

                         

                         

                         

                         

          106.

          JOHN (V.O.)
          He warned me the pain would be
          unbearable if I left her. He was
          right.

          EXT. TEXAS PLAINS - DAY

          A straight stretch of blacktop bisects the sunbaked flatness.

          JOHN (V.O.)
          But I don't regret it. The pain
          reminds me what's at stake.
          A dust trail plumes as the bikes power into view.

          JOHN (V.O.)
          We must find the others and face
          our enemy together. I'm not sure
          how we can stop them. But nothing
          is inevitable. I know that now.
          Thunderheads darken the horizon.

          JOHN (V.O.)
          I am Number 4.
          His eyes are fearless and his face is undaunted by the
          battles yet to be fought. He's ready to face a future
          unmapped and uncharted. Ready.

          FADE OUT.

                         THE END