113
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
INT. DAVIDSON HOUSE - KITCHEN
It's breakfast time. However, the whole room has been
enveloped by what is seemingly a bubble of silence.
MICHAEL and EMILY sit at opposite ends of table, while
BRENDAN, JANE and JOHNNY sit in silence, cringing at the
awkwardness currently in the air.
MICHAEL
Jane, could you please pass the
salt?
Jane gives her father a questioning look.
JANE
Can't mom just pass it to you?
MICHAEL
Well, could you please ask your
mother to pass it to me?
Jane rolls her eyes, and turns pointedly to Emily.
JANE
Come on Mom, you heard the man.
Salt!
With a steely glace, Emily gives the salt a push, as it
slides down to Michael, who picks it up.
Michael looks briefly towards Emily, and the two find
themselves exchanging a brief glance. However, this dispels
quickly.
Suddenly, the SCRAPING of a chair is heard, as Johnny
stands from the table agressively.
JOHNNY
Would you two just hurry the hell
up and get over whatever this
weeks issues is? Cause right now,
all this tension, all
these...awkward silences, they're
driving me insane.
EMILY
Johnny, whatever's going on
between your father and I is our
business, and we'll work it out
in our own time.
Brendan leans forward, talking to Johnny.
BRENDAN
I think "butt out" would be the
words they're looking for.
JANE
Dude, so not helping.
Brendan holds his arms out, in a gesture of innocence.
BRENDAN
Don't get angry at me! I'm just
trying to cut the kid a break
before he meets the wrath of Mom.
You know what they say. Hell hath
no fury-
Emily cuts him off sharply.
EMILY
Don't even think about finishing
that sentence.
Johnny shakes his head, angry.
JOHNNY
See, this is what I mean,
everyone is always fighting. All
the time! Seriously, I've had
enough!
With no further ado, he turns around and storms out of the
kitchen. Immediately, Brendan and Jane follow him out of
the room.
CUT TO:
INT. DAVIDSON HOUSE - FOYER - CONTINUOUS
Where Johnny storms towards the door. He flings it open and
swiftly moves outside, and, just as Brendan and Jane reach
it, Johnny slams it shut again, telekinetically.
EXT. OCEAN VIEW AVENUE - DAY
With his family out of sight, Johnny unlocks his bike from
the side fence, and rides down the driveway, and along the
street. He is forced to swerve when a car pulls up outside
the house next door to his own.
Emerging from it is a harried looking REALTOR. He pulls
something from the boot of the car, and crosses the lawn to
the FOR SALE sign that has been erected out the front.
Beaming, he firmly plants a SOLD sticker onto the front of
it, and crosses his arms, stepping back to admire his
handiwork.
CUT TO:
INT. DAVIDSON HOUSE - KITCHEN - AS BEFORE
Emily and Michael continue to eat, refusing to acknowledge
each other. Off the incredibly tense atmosphere:
END OF TEASER
ACT ONE
FADE IN:
EXT. NEWPORT BEACH - DAY
CUE MUSIC: Better Days - Pete Murray
A series of establishing shots carry us from one side of
the town to the other:
1) A surfer, board in hand, entering the water.
2) A very crowded Balboa Pier, teeming with people.
3) A WOMAN jogs past Newport Union, the sign out the front
reading "SEE YOU SEPTEMBER".
CUT TO:
EXT. WESTWARD ROAD - DAY
A stretch of road overlooking the ocean. On the footpath is
Johnny, riding his bike fast, as if trying to escape
everything.
He continues riding, cutting a lone figure against the
stream of cars speeding down the road beside him, barely a
care in the world.
CUT TO:
EXT. DAVIDSON HOUSE - DAY
Michael exits the house, wearing an agitated look, and gets
into his car, backing out of the driveway, and down the
street.
CUT TO:
INT. DAVIDSON HOUSE - KITCHEN
Where Jane and Emily stand side by side in front of the
sink, tag-teaming on the mornings dishes.
JANE
Mom, we really need to get that
dishwasher fixed.
EMILY
Aw, come on. Think of this as
some good mother/daughter bonding
JANE
Well, it's about the only bonding
going on in this house at the
moment.
EMILY
And what exactly do you mean with
that little remark?
JANE
I'm just saying! With everything
going on between you and dad at
the moment. I mean, it's not
exactly happy families around
here of late.
Emily puts the washcloth and dish down, turning to face
Jane. She's adopted a serious look.
EMILY
I know things have been tough
around here lately, but honestly,
I'm working on it. Your father
and I. We're working on it.
JANE
Mom, come on-
EMILY
No. Jane, just know that things
are complicated, alright? I'm
doing the best I can!
Jane opens her mouth again.
EMILY (CONT'D)
That's all I'm gonna say on it,
so you needn't bother!
Jane nods begrudging, and picks up a dish, scraping the
remains straight into the garbage disposal. She leans over
a flicks the switch.
Suddenly, a giant SHOCK of blue electricity erupts from it,
shooting onto the floor where it tumbles around, before it
begins rapidly piling on top of itself, building into the
shape of a haphazard MAN.
Jane backs away, freaked, as the thing advances on her. She
throws her arms into the air, but nothing happens.
JANE
(panicked)
Mom! It's not working! Why is it
not working?
Emily groans, and slinks behind the surge of electricity.
She reaches over and switches off the garbage disposal.
With a great GUSH, the thing retreats back into the power
outlet.
Jane whips around to face her mother, who's standing hands
on hips, looking extremely pissed off.
EMILY
I so do not have time for this
right now!
CUT TO:
EXT. CEMETERY - DAY
The music kicks back in again, as Johnny wheels his bike
through the rows of gravestones. Finally, he arrives at a
more secluded corner.
Standing his bike against a tree, he kneels down Indian
style to take in the grave before him.
It reads the following:
"FRANK THEODORE ROSWALD"
1934 - 2009
Beloved husband, father and grandfather.
May we walk hand in hand once again, somewhere down the line.
Johnny sighs, taking a deep breath.
JOHNNY
Hey gramps. How's things?
(beat, and then)
Right, I know. Stupid question. I
guess I've just been goin' a bit
crazy lately. This is the most
peace and quiet I've gotten since
we moved here!
He leans forward, absent-mindedly pulling a few weeds out
from next to the grave.
JOHNNY (CONT'D)
Mom and Dad are fighting. Again.
They won't even tell us what's
going on! They just leave that
part for us to figure out, and
I've gotta tell you, of all the
possible things going through my
head, none of them are good.
Johnny bites his slightly-trembling lip.
JOHNNY (CONT'D)
Everything's just so messed up.
It feels like...
He pauses, trying to gain some composure.
JOHNNY (CONT'D)
It feels like everything's
falling apart, and y'know what,
there's something telling me that
this is only the start. That
we're in for so much worse.
(beat, and then)
I don't know. I just don't know
what's gonna happen now.
Johnny sighs, stretching out.
Suddenly, the ground in front of him begins to rumble. He
LEAPS back, standing quickly, and keeping his eyes on the
ground, where he notices a strange etching appearing in the
grass.
His eyes follow it, and as the etching finally finishes it,
he looks down upon the words scribed on the ground.
"WINDY POINT".
Off Johnny's puzzled face:
CUT TO:
INT. DAVIDSON HOUSE - ATTIC - DAY
Where Jane and Emily sit side by side on the couch, the
Book of Shadows stretched across them both.
EMILY
Shocker demons.
JANE
Shocker what?
EMILY
They're called shocker demons. Of
course, I use the term "demon"
lightly. They're pests, really.
The underworlds answer to
termites.
JANE
Then why were you so annoyed
before?
EMILY
Because, once they get into your
house, they course through the
electrical currents. As in, no
more hair-straightener for you.
No computers. No toasters. No
nothing.
Switch anything electrical on,
and it'll come right out and zap
you into next September.
JANE
Well then, why can't we just get
rid of the thing?
EMILY
That's where we hit our snag -
there are only two ways to get
rid of them. The first is with a
Power of Three spell.
Jane looks around the room, shruggin.
JANE
Well, I don't see any of the
Haliwells around, so I'm guessing
that we're going with door number
two.
(Beat)
Which is?
EMILY
We've got to catch it, contain
it, trap it. Something along
those lines.
JANE
So, why can't we do that?
EMILY
It's not that we can't. It's just
a massive inconvenience at the
moment. One I don't exactly have
time for.
JANE
Relax mom, Brendan and I will
take care of it. You just
concentrate on...fixing things
with Dad.
Emily flashes her a warm smile. Suddenly, a loud THUMP can
be heard downstairs, followed by an audible expression of
pain.
EMILY
Okay, that's definitely not good.
The two stand swiftly, racing out of the room.
CUT TO:
INT. DAVIDSON HOUSE - LIVING ROOM - CONTINUOUS
Emily and Jane enter the room at a run to find Brendan,
flat on his back, with the shocker demon looming over his
shoulder.
Emily picks up a nearby vase and hurls it at the demon.
It's makeshift body briefly disperses, and she takes the
opportunity to retrieve the remote from the ground, and
switch the TV off.
The flying electricity retreats back, and the two girls
move to Brendan's side. He rolls over uncomfortably,
looking up at the two and groaning.
BRENDAN
(cringing)
Well, that certainly adds a whole
new dimension to reality TV.
Jane laughs sympathetically, as Emily helps him to his
feet.
CUT TO:
EXT. SMITH AND SMITHERS ADVERTISING - DAY
Establishing shot.
CUT TO:
INT. SMITH AND SMITHERS ADVERTISING - OFFICE
Seated in a very expansive office is the head of the
company, MR. SMITH (sixties, foreboding) himself. Michael
stands before him, dressed to kill in one of his finest
suits.
MR. SMITH
You requested this meeting, Mr.
Davidson?
MICHAEL
Yeah, I did.
MR. SMITH
And what, may I ask, is the
meaning?
MICHAEL
Sir, it's complicated, but I'm
really starting to get the sense
that my time with the company
has...come to an end, if you
catch my drift.
MR. SMITH
You're leaving us?
MICHAEL
In a nutshell, yes. I know it's
sudden, and I apologize for that.
I just feel like this job, it's
cost me to much. If I don't get
out of here soon, then the damage
it's done, well, it'll be to
late.
MR. SMITH
You're sure there's nothing I can
do to change your mind?
MICHAEL
Sorry sir, no can do.
(beat, and then)
I'll have my resignation to you
within the next week.
Mr. Smith looks directly at Michael, as if examining him.
However, he averts his gaze, and begins stacking a heap of
papers on his desk. Business as usual.
MR. SMITH
Well then, on behalf of the
company, I'd like to thank you
for nine months great service.
Smith shoots him a rare smile.
MR. SMITH (CONT'D)
There'll always be a spot here,
if ever you wish to return.
Michael nods, and walks toward the door. He turns
fleetingly, and opens his mouth to speak. However, he can't
find appropriate words. He just nods once again, and exits
the room.
CUT TO:
INT. SMITH AND SMITHERS ADVERSTING - HALLWAY
Michael exits the room, walking with a spring in his step.
This halts immediately when he runs straight into LAUREN,
causing the files shes carrying to scatter all over the
floor.
Michael apologizes out of reflex, until he actually
identifies the woman. He falls quiet.
LAUREN
(smiling)
Hey, handsome.
MICHAEL
Lauren, please. Did you not get
the message loud and clear enough
last time?
LAUREN
What message?
She pauses, tapping a finger against her skull.
LAUREN (CONT'D)
That your perfect for me? That
we're gonna be together?
Michael sighs, regretting the words he's forced to say.
MICHAEL
How can I put this?
Beat.
MICHAEL (CONT'D)
(rapid)
There is no me and you. There
never will be. You came into my
life at a time when things were
extremely confused. I turned to
you in my time of need, and I
shouldn't have. I shouldn't have
done that, and it's something I
deeply regret.
LAUREN
Regret?
MICHAEL
Exactly. Regret isn't a word that
someone who loves you would use,
don't ya think?
LAUREN
(confused)
How can you say that? We're meant
to be together! Stop denying it!
MICHAEL
(angry)
No, we aren't! You know why? We
were never together! It was one
kiss!
A few heads start poking out of doors along the corridoor,
bored workers listening intently.
Michael rolls his eyes, and strolls towards the elevator.
Lauren scampers along in his wake.
LAUREN
How can you say that? After
everything we went through!
MICHAEL
Listen to me! This is crazy talk!
What is it gonna take for you to
understand that?
He arrives at the elevator, hitting the button a few times,
impatiently.
Lauren shakes her head, incapable of taking any of this. A
new, angrier persona begins to surface.
LAUREN
(angry)
Just wait. Just you wait. You'll
come crawling back-
She's cut off, when the elevator doors slide open, with
Michael entering.
LAUREN (CONT'D)
Where do you think you're going?
MICHAEL
Home.
As the doors begin to close, he sticks his hand out,
holding them.
MICHAEL (CONT'D)
I've got a marriage to save.
With that, he lets go. The doors come to a CLOSE, leaving a
fuming Lauren outside. She turns, furious, and stomps off
down the hall.
CUT TO:
EXT. NEWPORT GENERAL LIBRARY - DAY
A modern looking building, set close to the beach. Johnny
approaches on his bike, and pulls into the sidewalk,
chaining it to a telegraph pole.
He jogs up the stairs and into the building.
CUT TO:
INT. NEWPORT GENERAL LIBRARY - FIRST FLOOR - CONTINUOUS
The natural quiet, exclusive to all libraries is in place.
An ELDERLY WOMAN mans the information counter, as a few
WORKERS do the rounds, with trolleys overflowing with
books.
Johnny makes a beeline for the computers up the back of the
room, an quickly sits himself down at one, inserting a few
coins into a slot, before turning to the screen.
It's open to the homepage of the GOOGLE search engine. The
cursor begins moving, as WINDY POINT is typed into the
search engine. Johnny hits enter.
His eyes scan the monitor briefly, until he hits one of the
results, named LOCATION MAP. As he's taken to the page, he
suddenly JOLTS out of his chair, as if an electric shock
has just coursed through him.
Rapidly, we ZOOM towards his face, until his eyes fill the
whole screen.
SMASH CUT TO:
EXT. WINDY POINT - NIGHT - PREMONITION
Everything appears in a blurry black & white. Random
flashes of each Davidson appear, all high atop the
lookout. Their faces are grim, and pained.
SWOOP over the cliff, to the crashing waves at the bottom.
A particularly strong one crashes into the rock-wall,
sending foamy spray in every direction.
BACK TO:
INT. NEWPORT GENERAL LIBRARY - AS BEFORE
Johnny blinks rapidly, trembling from the impact, as
several people look at him with strange looks. Johnny
shakes his head, confused. What did he just see?
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
EXT. DAVIDSON HOUSE - DAY
Establishing shot.
CUT TO:
INT. DAVIDSON HOUSE - FOYER
Emily is rifling through a cupboard, searching for
something when Michael enters. Emily turns to him.
EMILY
(cold)
Your home early.
MICHAEL
Well, ya better get used to it.
Your gonna be seeing a lot more
of me now.
EMILY
Oh, and what exactly do you mean
by that?
Michael approaches her cautiously.
MICHAEL
I quit my job. Emily. You're
looking at the newly unemployed
Michael Davidson.
Emily gasps.
EMILY
(shocked)
You quit?
MICHAEL
Uh-huh. As of thirty two minutes
ago, I'm jobless.
Emily takes a seat at the table. Putting her head in her
hands, she groans quite audibly.
EMILY
What the hell is wrong with you!
Michael looks genuinely taken aback.
MICHAEL
I did this for us! For the
family!
Emily shakes her head.
EMILY
Did you even stop and think this
through? Or was it just another
one of your quick fixes. Your all
about the band-aids, the quick
fixes, aren't you!
MICHAEL
I can't believe your even
doubting the choice I made. You
don't think I haven't seen how
much this job has cost us?
EMILY
It's a bit late for that isn't
it? Last time I checked, the
damage had well and truly been
done.
Michael sighs.
MICHAEL
I know, trust me, I fully
understand that. Work. It's just
messed everything up, y'know?
He sits at the table, taking her hand in his.
MICHAEL (CONT'D)
I've been putting money away for
awhile now, so I could do
precisely this. I need some time
to fix things. I'm not asking you
to forgive me. I'm just asking
that you at least give me another
chance.
Emily shakes her head.
EMILY
I don't know. I really just don't
know where to go from here! You
betrayed my trust. Our marriage!
Does 18 years mean nothing?
MICHAEL
Just let me take you out for
lunch. We can talk. Sort things
out, or at least try to.
EMILY
Whatever! Just give me a few
minutes to freshen up.
Michael beams, as Emily turns and stalks up the stairs,
still not exactly pleased. Michael makes his way out the
door.
EXT. DAVIDSON HOUSE - DAY - CONTINUOUS
Where he takes a seat on the front step, as a car pulls up
out the front. Craning his neck slightly to take a look, he
watches as Lauren gets out of the car, and makes her way up
the driveway. Michael stands.
MICHAEL
Lauren! Not the time!
Undeterred, she continues forward.
MICHAEL (CONT'D)
I'm not kidding. You have to go
right now! If Emily sees you...
Suddenly, Emily begins to sob, and not in a subtle way. She
cries out in a dramatic fashion. It would almost be
comical, if Michael wasn't so freaked out.
LAUREN
(hysterical)
It's all my fault!
Michael backs away, genuinely frightened.
LAUREN (CONT'D)
I didn't mean to-to cause all
this stuff with your family!
Michael goes to speak, but is cut off by her.
LAUREN (CONT'D)
You've gotta understand what's
been going on.
She shakes her head.
LAUREN (CONT'D)
I don't know why I haven't told
you yet.
MICHAEL
What the hell are you on about?
LAUREN
We're, like, the same! Y'know!
MICHAEL
Lauren. We're not the same. I've
got a family, who I love.
LAUREN
Really? A family you love? From
the way you've been talking the
last few months, I don't really
think love is an appropriate
word. That's all I've heard from
you!
Her tone changes quickly, as her lip begins to quiver.
LAUREN (CONT'D)
Not once did you stop to ask
about me. About my life. Why did
I come here? Why have I been
drawn to you so much?
Michael sighs.
MICHAEL
Alright, I'm listening now.
What's your story?
Lauren takes a deep breath, launching into things.
LAUREN
(dramatic)
6 months ago, my mom, she was
killed. It was a hit and run.
Michaels eyes widen.
LAUREN (CONT'D)
Five months ago, I couldn't bear
be in the same city. So, I came
here.
(beat, and then)
In case you haven't noticed, I'm
35, and I'm single. I was looking
for someone.
She pauses, eyeing Michael wistfully.
LAUREN (CONT'D)
I found you. At least I thought I
did.
With that, she breaks down. Michael moves forward,
embracing her. PAN IN to a CLOSE-UP of this embrace, before
rapidly SPINNING AROUND to find Emily behind the pair,
mouth agape at the sight before her. The two break apart
quickly.
MICHAEL
Emily! This isn't what it looks
like!
Emily stares daggers at him, as, unnoticed, Lauren smirks,
and sneaks away. Emily strides towards Michael.
MICHAEL (CONT'D)
Em, ple-
She SLAPS him. Hard.
As Michael reacts painfully, she turns and stalks back up
the stairs. Michael chases after her.
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Script created with Final Draft by Final Draft, Inc.