I wrote and submitted this Dead Zone script back in 2003. It's set after season 2. Since I managed to write the whole darn thing, I thought I should do something with it. This is the only fanfic or script I've ever written - so I know some of the directions are weird. Thanks for any honest criticism.
TEASER
FADE IN: INT. JOHNNY'S HOUSE - DAY
Johnny's starting to work out on the treadmill that Bruce has just programmed.
BRUCE
You need to challenge yourself more.
JOHNNY
I'm challenge-impaired. Isn't that in my file?
Bruce sits nearby, sorting through his mail. There's a lot of it. He checks out a postcard. He holds it up for Johnny to see.
BRUCE
Hey, Mom's in Auckland!
Then he makes a slight sound – a pfft. He's holding a large, ornate invitation.
JOHNNY
What? Not sweating enough for you?
BRUCE
Nah, man. It's my cousin.
Beat, while Johnny waits for more. The pace of the treadmill is getting faster. Bruce is lost in thought.
JOHNNY
She's not sweating enough for you?
BRUCE
Claire? She came out of the womb perfect. No, she's getting
married.
JOHNNY
It's an institution.
BRUCE
Yeah. Hey, do you want to go to this thing with me?
Johnny stops the treadmill. His hip is bothering him, anyway.
JOHNNY
Like, on a date?
Bruce just glares at him.
BRUCE
You know that this is going to be the biggest wedding of the
year? My cousin is marrying an Italian count. Every relative
I've ever had or heard of will be there. I can't take a woman
with me!
It's rare to see Bruce so flustered. Johnny's kinda enjoying it. Bruce throws the invitation at him in exasperation. Johnny makes a half-hearted grab at it.
Gunshots. Blood spattering on a wedding dress. A stained glass window shattering.
He comes out of it, and looks at Bruce.
Bruce stares back at him.
BRUCE
Don't. Just don't!
INTERIOR APARTMENT
This is a feminine, tastefully decorated apartment. Close up on the organizer, calendar, laptop. Perfect organization. Everything planned out. Lists of lists. We see a beautiful young woman, perfectly groomed, outfitted and accessorized and alone in her apartment. She's perfect, a real princess type that makes Dana and Sarah look like schoolgirls. A wedding dress is on a dressmaker's dummy. Claire McHenry's on her phone, checking on the flowers. She hangs up, checks off her list, and looks at her watch. Everything's going according to plan. The phone rings.
CLAIRE
Bruce! I haven't seen your RSVP, you know. Did you send it to
Mama's...
(frowns as she listens to what Bruce has to say)
Postpone my wedding?
She's not mad. She's just humoring a crazy man. She straightens the lists and books in front of her on the coffee table.
Do you realize that church is booked for months? There's not
another opening until October. Who gets married in October?
(beat as she listens again)
Six hundred invitations have been mailed. Six. Hundred.
She's checking lists and items as she talks to him.
Johnny Smith? Who? I'll meet him at the wedding?
She finally puts her complete attention to the conversation.
Bruce, are you coming out at my wedding?
Bruce is exasperated once again and hangs up. Claire looks at the receiver, and shrugs. She finds Bruce's name on the guest list, and checks off his name and guest.
END OF TEASER
ACT ONE
FADE IN:
EXT. CHURCH – AN HISTORIC BUILDING IN BANGOR, WITH SEVERAL LARGE STAINED GLASS WINDOWS – DAY - ESTABLISHING
INT. CHURCH - DAY
Johnny's scouting it out, trying to pick up more on what's going to happen. Nothing so far. Just as he tentatively touches a pew and gets nothing again, someone behind him clears his throat. It's Purdy.
PURDY
Hi Johnny – looking for God? Salvation is that way.
(points up)
Bruce pops up from behind the lectern at the front of the church.
BRUCE
Nothing here.
Purdy's radar goes off.
PURDY
Do you mind telling me what's going on?
Johnny, still touching the pew, goes into vision mode...
VISION – INT CHURCH - PURDY
Purdy, at the lectern, crumples over the lectern as a bullet rips through his shoulder. A woman rushes to his side – it's DANA – and she falls forward as she's shot in the back.
JOHNNY
You're bringing Dana to the wedding as your...date?
Purdy's a little nervous, a little flustered.
PURDY
Yes, that is, she's accompanying me.
(He regains his composure)
I'm also officiating. I've known the groom's family for years.
Now, what's going on?
Johnny's still a little thrown about the Dana thing.
JOHNNY
I'm still trying to figure that out myself. Maybe nothing.
Bruce walks down the aisle over to them.
BRUCE
He had a vision about the wedding. People wounded, maybe even
killed.
Purdy reacts to that and sees that Bruce is upset, more upset than he would be normally. At his questioning look, Bruce explains the situation further.
BRUCE
Most, well, all of my family will be here. Claire's my cousin.
Purdy touches lightly Bruce on the shoulder.
PURDY
Ah. I'm sure your father would have done a wonderful job with
the ceremony, then, had he not passed. Again, my condolences. I
wish I had met him.
(switches gears)
Johnny, are you sure that...
He cuts himself off as PAOLO walks up to him. In the background, other people are coming into the church, greeting each other, looking at the stained glass, etc.
PURDY
Oh, here's the groom now. Paolo Randazzo, this is John Smith and
– Do you know Bruce Lewis? Bruce is Claire's cousin. Excuse me,
I must speak to the pianist.
PAOLO
Another cousin! How wonderful! Claire has not told me about you,
but I am sure we will get along famously.
(to Johnny)
You remind me of a Belgian I beat in the Olympics in '92. Hah!
JOHNNY
Hah.
BRUCE
So, Paolo. What is it you do again?
PAOLO
Do again? Oh. My family has factories in northern Italy. The
Veneto region, yes? We make jewelry and like that, you know.
(he points to Johnny's cane, with the silver handle)
May I?
(he inspects the handle for hallmarks, at the general
workmanship)
Yes. It is an antique.
(hands it back to Johnny)
Very nice work.
Johnny has a brief vision as he takes his cane:
VISION FLASH - Paolo and another woman, obviously not Claire, in bed.
Bruce is hailed by other relatives and goes off to talk to them. This covers Johnny's momentary distraction.
JOHNNY
The jewelry business brings you to Maine?
PAOLO
No, no. I train the Americans at the camp in
(very carefully pronounces)
Aroostook County. I am a consultant for the Olympic team,
because you know you Americans do not do well in the winter
sports. Hah! But I will change all that.
JOHNNY
(noticing he still hasn't gone over to greet Claire, or even
looked for her)
How did you and Claire get together?
PAOLO
We met at a political event that she coordinated. That is the
right word? Coordinated. She is so organized and such a good
business woman.
At the edge of this scene, we sense a shadowy figure eavesdropping.
JOHNNY
It must be wonderful – to have found true love so far from home.
PAOLO
True love?
(finally looks for Claire. Then looks away.)
Yes. It is.
At the lectern, Purdy is assisting the wedding co-ordinator in organizing the wedding party.
PURDY
Everyone? Everyone! Let's begin the rehearsal.
Paolo nods at Johnny and joins the rest of the party at the front of the church. As the rehearsal goes on, Johnny touches the pew again and
VISION – INT CHURCH
Now there's no wedding, just an empty but decorated church. The light through the stained glass is at the same angle as in the vision of the shootings, so this must mean the shooting does not happen now.
Johnny comes out of the vision confused. Why has the vision changed? Who or what did it?
EXT HOTEL – DAY – ESTABLISHING
Johnny and Bruce entering the hotel, which has a huge banner – "Welcome Canada-USA Law Enforcement" and CUT TO:
THE HOTEL BAR/RECEPTION ROOM FOR THE REHEARSAL DINNER/FAMILY REUNION
There's a smaller sign next to the ballroom that says Randazzo/McHenry Reception and McHenry Family Reunion.
BRUCE
Well, but what did he say?
JOHNNY
There wasn't anything specific. It was in his tone of voice. And
now, there's not only no shooting, there's no wedding.
FEMALE RELATIVE
Bruce! Where is your mother? What's this I hear about New
Zealand?
BRUCE
Mom's in Auckland. She always wanted to take a world cruise. Dad
hated the water, though.
FEMALE RELATIVE
Well, as if the United States isn't just as good as foreign
parts for the rest of us! And when are you getting married?
BRUCE
(coolly, but not defensively)
Mom deserves a little happiness in her life right now.
(switches gears)
Have you met my friend, John Smith?
She opens her mouth to pursue the marriage question because she could care less about some stranger and Bruce deflects her.
BRUCE
The psychic?
Johnny shoots Bruce a go to hell look – this isn't the first time today Bruce has diverted a relative prying into his personal life and sicced him on Johnny. Bruce returns the look with a totally innocent, What? face.
FEMALE RELATIVE
(forgets Bruce has ever been alive)
Say, I'm about to invest in this restaurant and...
JOHNNY
Deep-fried bagels? Not a good idea. Hey, isn't that your ex-
husband?
Bruce and Johnny quickly walk away, pick a table and sit down. The tables are decorated with personalized centerpieces. Bruce sees another cousin - Bryan approaching and calls him over to join them at the table.
BRUCE
Hey dawg! Long time, long time!
(whispers to Johnny)
He used to be in love with Claire.
(louder)
This is my cousin Bryan, Johnny.
JOHNNY
(dryly, more about Bryan's being in love with Claire)
Have we redefined family ties here?
Bryan picks up on that question, but didn't hear what Bruce said. He thinks that it's an odd thing to say, but there is a lot of family present. Bryan joins them, setting down a pitcher of beer and some mugs.
BRYAN
Good thing I got extra glasses. Hi. I'm a cousin on his dad's
side. Claire's his mama's side.
He picks up the pitcher and starts for pouring for everyone, and handing out the glasses.
BRUCE
This is John Smith...
BRYAN AND JOHNNY TOGETHER
The famous psychic.
Bruce is amused – he totally hung Johnny out to dry.
JOHNNY
(mock dangerously)
One more psychic comment and I'm going to...
Aunt Ellie, more than a little drunk, swings by the table. Aunt Ellie is an older woman who hasn't let go of the past – her clothes are just a little too tight, makeup a little too much. If she dressed her age, she'd be nice looking.
AUNT ELLIE
Johnneee! Where are my keys? I lost them again.
JOHNNY
(patiently)
They're in the same place and no, I am not getting them for you.
Bryan sends Bruce a questioning look, and Bruce mimes that the keys are tucked in her bra. Both men nod, as if to say, oh, yeah those lost keys. Ellie totters on off and Johnny closes his eyes and gently shakes his head.
BRUCE
Bryan – it's good to see you. How long has it been?
Bryan looks critically at the centerpiece. There's a small heart, calligraphed with the name of the bride and groom. He removes it, and shreds it.
Bruce and Johnny notice this and wonder if Bryan might be on the verge of losing it.
BRYAN
I don't know. Since, since '98? When I got my doctorate at Rice
University and you were passing through Texas on your way here?
(beat)
I didn't make the funeral – and ...
BRUCE
It's ok. Really. Daddy and I...found peace.
(changes the subject – this is still hard for him)
Johnny. Bryan has a doctorate in biology. Didn't you use to
teach that?
JOHNNY
I taught high school biology, so it was really more like a self-
discovery course for teenagers. What's your field?
BRYAN
Molecular biology. I'm in a project that's mapping the cow
genome. It's not as sexy as mapping the human genome, but hey,
we can't all be stars.
YOUNG MAN
Bruce! This the guy we've heard so much about?
BRUCE
Yeah. This is my friend, John Smith. This is...
YOUNG MAN
(obnoxiously)
You mean he doesn't already know who I am?
BRYAN
Lighten up, Kwame.
KWAME
(to Bryan)
That's good coming from you. And why are you here, anyway? You
think that you still have a shot at Claire and she's getting
married tomorrow?
(flashing a shit eating grin at Johnny)
Come on, Johnny – gimme something I can use. Lottery numbers,
point spread – it's all in your head, right?
JOHNNY
It doesn't work that...yeah. OK. Give me your car keys or
something.
(Kwame dangles his keys and lets them fall in front of Johnny's
drink – nearly in his drink. Johnny closes his eyes, partially
from annoyance and picks up the keys.)
Girl you picked up in the bar? What's her name...Sharryce?
KWAME
Yeah...What about her?
JOHNNY
She's a he.
(he drops the keys back on the table)
I'd get my hotel keycard back, if I were you.
KWAME
Oh, sh...
(grabs his keys and leaves quickly)
BRUCE
(laughing)
Man. I've been waiting for years to see someone smack him down.
JOHNNY
Yeah. On that note, I'm making a beer run, OK?
Johnny excuses himself from the table and brushes by another person. The visions come back with a vengeance.
VISION - Johnny sees Bryan has been shot, Claire crying hysterically over him. That was his blood on the skirt of her dress, not hers. Then Purdy, and Dana are shot. Claire stands up to run, only to fall back, blood blossoming on her dress.
This is much worse. He gropes back, trying to capture the arm he brushed against and see who it is, but misses. He turns and is blocked by tipsy Aunt Ellie, looking for her keys again. He's exasperated, grabs a handful, brings up the keys and gets by her. He scans the room and sees a number of people: among them Claire, Paolo, Bryan and a few others. The vision is back. What is causing this? He shakes his head and goes on to wash his face, clear some cobwebs.
END OF ACT ONE
ACT TWO
INT HOTEL LOBBY - CUT TO INT BAR Johnny goes in to order another pitcher. He sees Walt. Walt is with some other big, burly policemen and they are talking shop. He clearly doesn't want to talk to Johnny, but one of the guys recognize him and slaps him on the back.
POLICE GUY 1
Hey look! It's the psychic guy.
(Johnny nods politely and the guy slaps him on the back)
Hey Psychic Guy, have a drink with us.
Johnny's had it with the psychic guy crap but along with the slap on the back, he gets a vision: a dead woman who's been strangled. She's standing next to the cop who just slapped him on the back. Gah. He's on overload and just wants to hand it off to Walt.
JOHNNY
Walt, can I talk to you?
WALT
I'm kinda busy here.
Walt really doesn't want to talk to him. Johnny looks around at the bar where there's a lot of officers. He picks off three others who also have dead women standing near them.
WALT
(noticing that Johnny's looking around the bar)
Sarah and JJ aren't here.
POLICE GUY 1
Hey, did you hear? That Sylvia woman was going to be on a panel,
but she cancelled. Something about a plane going down. Are you
her replacement?
JOHNNY
Uh. Airplanes. No, this is a coincidence. I'm here for a
wedding.
(to Walt)
Just two seconds, ok?
Johnny and Walt move over to a quieter spot in the bar.
WALT
What.
JOHNNY
I'm seeing these dead women. And they are like, around that
officer, that one, that one, and this guy, here.
WALT
These are people who investigate murders all the time. So what?
They're probably active cases.
JOHNNY
There's got to be a reason that I'm seeing them now, at this
time, right? Maybe, I don't know, they're connected somehow. The
women all have the same build, coloring. They all have this
weird mark around the neck. That's so what.
WALT
I really don't have time for this now.
JOHNNY
And I do? Whatever, man. Whatever.
(He leaves.)
PG1 walks over to Walt with a drink for him.
POLICE GUY 1
What was that all about?
WALT
It's always something out of nothing with him. Still.
Walt frowns and then goes over to the female sheriff that Johnny pointed out and begins to talk.
RECEPTION ROOM Back at the table with Bruce and Bryan
JOHNNY
(whispers to Bruce)
The vision is back.
BRUCE
(pissy)
Could you just quit killing off my relatives? And what? No beer?
The groom stands up and starts speechifying with a glass of champagne in his hand.
PAOLO
Thank you all so much. Claire and I are so pleased that you
could be here, as we begin our life together...
The wedding's on. Bryan excuses himself abruptly. The party is over. Bruce and Johnny try to get to Claire, but some women hustle her away, not even letting her put down her champagne glass from the toast.
JOHNNY
What is all that about?
BRUCE
Oh. Damn. It's the lockup.
(Johnny's wondering about that and Bruce shrugs.)
It's a tradition in my family. The women get together the night
before, and I don't know - do women stuff.
Johnny sits in Paolo's recently vacated chair and then...
VISION - The groom runs like a sissy man away from the shooting. Then, outside the church, he's giving an interview in a crowd of reporters about how he "saved" others by leading them to the exits.
INT. HALLWAY OF A LUXURY HOTEL
Bruce and Johnny persist in seeing Claire. However at Claire's room, they are confronted by an army of glaring women and they back slowly off. They're down the hotel hallway, by the ice machine trying to figure out how they can get to her. They need to stop the wedding.
Bryan joins them. His room's on this floor.
BRYAN
You can't break into the seraglio. Those are tough old women in
there.
BRUCE
What happened to you? Why did you leave?
Bryan flashes him a "piss off" look. Bruce realizes what Kwame said was true. He is still in love with Claire.
JOHNNY
Hi.
Since he's one of the victims, Johnny tries to read him by shaking his hand / touching his arm? and now there's no vision at all. This is psychic whiplash.
Bruce looks at Johnny, who shakes his head. Bryan knows he's missed something, but what?
A pretty girl comes out of the virgin vault and saunters to the ice machine. Nikki's curious about this guy Johnny Smith. She makes a big production about getting some ice.
BRUCE
Nikki, we need to talk to Claire. It's really important. Can
Renee get us in?
(to Johnny)
Claire's best friend since grade school. Maybe we can talk to
her.
She rolls her eyes as if to say what's in it for her? Bruce and Bryan pull out the wallets. Past experience with this one means presidents.
NIKKI
No. I need to know...well, you know. This girl's been making her
move on my guy and you know I'm not about to stand for that.
It's well, I don't know if it's all her, or if...you know, it's
him trying to hook up with her.
Johnny has to make this girl believe and he can't do it with a parlor trick or fake something. It needs to be real. He lightly touches her hand.
JOHNNY
You're in Venice. It's spring. The count has this nephew. He
noticed you, but you haven't noticed him because of...Kwame.
She reacts slightly to that. Names were not mentioned.
JOHNNY
You're a sophomore now, but – you're thinking about the student
exchange program, next fall. You and Marco will meet up again,
you fall in love, but you break his heart because you come home.
(beat)
But none of this will happen if you're still dating Kwame
because you won't go to Italy. Oh, by the way, he has been
cheating on you. So, you have to choose...
That just clicks with all three guys. It's someone else making choices that affect them all. Oblivious to the guys and lost in thought, she gets her ice and goes back into the room. They're still trying to figure it out. This is the first time Johnny's gotten alternative visions that both could be true.
BRUCE JOHNNY
You've never... I know...
BRYAN
That was strange, Johnny. I know you told me about your visions,
but I thought the thing at the reception was just a trick.
Bruce gives him a look, like welcome to my world.
BRUCE
Maybe it's because she was right there and changing her mind
back and forth? So someone's trying to decide if he's gonna
shoot up the wedding?
JOHNNY
I don't know, but it's all there. Someone will start shooting,
but only if things don't go his way. Or her way. If Claire and
Paolo get married, shots will be fired and people will die.
They've got to call off the wedding.
Bryan looks at the two of them. Now he realizes what's going on. That's not going to happen, or he'll literally die trying to prevent this wedding.
BRYAN
I'll find a way to talk to her.
JOHNNY
OK. We'll go see an old family friend and find out more about
Paolo.
As Bruce and Johnny walk off to talk to Purdy...
BRUCE
What the hell is a seraglio?
Just as Bryan's about to knock on the door again, Claire comes out. Nikki came through and you kind of see her peep out the door before Claire shuts it firmly behind her. She smiles at him.
CLAIRE
I'm getting eight kinds of grief in there for coming out here to
talk to you.
BRYAN
(He's totally in the moment of just seeing her again)
Claire. You look...wonderful.
CLAIRE
(gently reminding him that their relationship isn't on the level
that it used to be)
Well, they say brides have this glow...
BRYAN
(awkwardly blurting it out)
You can't marry Paolo. If it didn't work for us, it won't work
out with him. We tried so hard. And even if it did, he's not
nearly good enough for you.
CLAIRE
(Straightens a picture on the wall in the hallway)
I've changed. People can change, you know. And I made a
commitment to Paolo. I know what I'm doing.
BRYAN
Do you love this guy, or just the idea of him? I know he's like
a prince or something, but in real life you aren't going to turn
into Cinderella and all your problems will still be here.
CLAIRE
(still trying for the light touch)
Haven't we had this conversation before?
BRYAN
(almost desperately)
You're still looking for perfection, trying so hard to be
perfect. Have the perfect fairy-tale romance. Why can't you be
satisfied with real life?
She turns away, back to her hotel door.
CLAIRE
We have had this conversation before. The life that I want is
something Paolo can give me.
BRYAN
(roughly)
You make the kind of life that you want, you aren't given it.
You are so smart and so successful already – can't you see that?
She opens the door and shuts it softly behind her.
BRYAN
(at the door, realizing he just blew it again)
Oh, Claire. I still love you.
As he walks off, the door opens and Claire totally heard him. She looks like she's going to call him back, but doesn't.
INT. PURDY'S HOTEL ROOM
Purdy, Johnny and Bruce confer in Purdy's hotel room. You can't help get the feeling that Johnny's kind of scouting out the place for signs of Dana. Just a little.
Bruce pulls out either a tiny digital camera or one of those cell phones that have picture taking abilities and hooks it up to Purdy's laptop. Yes, he is gadget guy. They start reviewing photos that Bruce took at the rehearsal and the rehearsal dinner.
BRUCE
So, paisano.
(Johnny and Purdy look at Bruce)
What? I watch the Sopranos. Who's this guy Paolo, who's he with?
PURDY
That's his brother Giancarlo, his sister in law Cara, nephew
(Johnny and Bruce together)
Marco. Um, personal assistant Sam, and ah, his protégé, Jenna.
(puzzles over the last two)
Sam. Jenna – yes. That's right.
JOHNNY
Protégé? You get to have protégés in what?
PURDY
In the ah, ah, biathlon. He got the bronze in 1998 and she's
favored for the silver, at least. Maybe the gold.
JOHNNY
Biathlon? What's that? Two kinds of races?
PURDY
No, actually, it's a very interesting sport that takes as its
archetype the soldier- athlete, as opposed to the scholar-
athlete...
Both Johnny and Bruce look at Purdy, who's slipped into full lecture mode. He recovers.
PURDY
It's a combination of cross country skiing and target shooting.
They all realize Jenna could be the shooter, and Johnny and Bruce are kind of irritated with Purdy for not telling them sooner...
PURDY
I think of it more as a skill and not as shooting people. I
mean, if she'd been a police officer, or something like that, I
would certainly have let you know...
BRUCE
Do you know what room Jenna's in.
PURDY
No, but Giancarlo will and that number I have.
Another HOTEL DOOR and no one answers. Bryan's caught up with them.
BRUCE
How did it go?
BRYAN
I'm not sure. Well. No. Lousy. I am sure that it went lousy.
The door's locked, and they don't have the key card. Tipsy Aunt Ellie comes along the hallway. She's going to her room for a little pick me up.
ELLIE
Johnny! It's my good friend, Johnny. What are you doing? That's
not my room.
Johnny sighs a little sigh. Why is this woman attracted to him? And how can she be related to beautiful Claire? Bruce and Bryan kind of fade from view, the way you always do when a relative you don't like is around.
ELLIE
You won't get anywhere with that one. You need someone who can
keep you warm at night. Besides, she isn't there. I heard her
leave with that guy.
JOHNNY
(guessing)
You mean the groom?
ELLIE
Yeah, ain't that something. But Claire won't hear it from me, no
sir. Men do sow their oats. Now, after tomorrow...
JOHNNY
Thanks.
(tries to leave)
ELLIE
Hey! I thought we were going to have a drink!
JOHNNY
Uh. I need to go downstairs and order something special from
the bar. Why don't you wait in your room?
ELLIE
Don't take too long now!
Johnny gets on an elevator and hits the button for the penthouse. The elevator stops at another floor and one of the cops that he pointed out earlier to Walt comes in. The Canadian cop is an attractive ethnic woman, maybe a bit older than Johnny. She's in uniform, which isn't really flattering but she manages to still be a bit feminine. Sure enough, one of the dead women appear in the elevator.
WOMAN SHERIFF
Darn. I thought this elevator was going down.
JOHNNY
Officer? Sheriff?
WOMAN SHERIFF
Sheriff.
(smiles)
Sheriff Rebecca Jayne.
He'd like to flirt back, but not with a dead woman standing there. Dead people kill sex drives. Well, Johnny's at least.
JOHNNY
I'm curious about something. Do you have a system or something
that shares information from other states and uh, Canada?
SHERIFF REBECCA JAYNE
Are you talking about a multi-jurisdictional database? That's
what this conference is all about. The need for jurisdictions to
be able to share information, no matter where they are.
JOHNNY
Yeah. OK.
'Cause that would be really useful in one of your unsolved
crimes right now? The one with the young woman, with ah, dark
hair? And the marks on the neck?
(at her look of intense interest)
My name's John Smith. Ask Walt Bannerman, Sheriff of Penobscot
County about me. This is my floor. Bye now.
EXT. LOBBY OF THE PENTHOUSE SUITE
Bruce and Bryan go off to find Paolo. He answers the door, dressed in a hotel robe. He is good looking and athletic. He's a bit surprised to see them at his door.
BRUCE
Is Jenna here with you?
PAOLO
Scusi? This is none of your business. Even if she was, so what?
Claire understands these things. She is very...come si dice?...
sophisticated.
BRUCE
Paolo, let me tell you a little story. My friend John Smith had
a head injury. When he came out of his coma, he could see future
events. One of these events has to do with you and this wedding.
Someone will shoot at your guests and people will get hurt. Now,
you don't want that to happen, do you?
We see a short way down the hall that there's a little balcony and a shadowy someone is listening in.
Paolo is genuinely shocked.
PAOLO
Jenna is American, but she has such a European sensibility. I do
not see how she could misunderstand our...relationship.
BRUCE
Did you bring your guns with you? Did she?
PAOLO
It is a wedding, not a competition! My rifle is custom-made for
me and no, I did not bring it. Your government is touchy about
foreigners with weapons right now.
JOHNNY
(just joining the group)
Paolo, who are you in love with?
PAOLO
Love? Naturally, with Claire. She is so beautiful, so American,
and such a good businesswoman. She can do so much for the
family, for the business.
(pauses)
But, you know, I also love Jenna. We have so much in common. She
is Italian American, and knows the language, the customs. Plus
we have the sport, the competition. She knows what that feels
like.
(shrugs)
Claire will not even try to ski.
BRUCE
Those sound like reasons not to get married tomorrow.
PAOLO
No, no. You must understand. Claire said that there must not be
anything – come si dice - going on with Jenna once we are
married. It is a condition. And I am a man of my word. But I do
not turn off my emotions and I am not married yet...
A woman's voice calls faintly –
Paolo, come back to bed...
BRYAN
You are such a sleaze!
JOHNNY
Is that Jenna now? Did she ask you not to get married?
PAOLO
No, we never discuss the wedding, or Claire. And I do not know
where Jenna is. Goodnight, now.
END OF ACT TWO
ACT THREE
HOTEL CORRIDOR
Johnny, Bruce and Bryan are looking for Jenna. Two officers see Johnny, stop him in the hallway. Bruce signals that they're going on ahead.
SHERIFF REBECCA JAYNE
Mr. Smith? Can we speak to you for a minute? We've compared some
notes, and there are some similarities in our cases.
POLICE GUY2
Let's get this straight. I don't believe in psychics. I want to
know how you know about these Jane Doe murders.
JOHNNY
Similarities...like the marks on the neck and the rings?
POLICE GUY2
Yeeaaahh. OK. You're shaping up to be my number one suspect.
Keep going.
SHERIFF REBECCA JAYNE
(slowly, trying to figure it out)
The rings aren't something we... OK. I was going with the idea
that you read a lot of newspapers, maybe go on the internet and
collect unsolved murders and you just put something together.
After all, you're friends with that reporter, right? But I know
the information about the rings was not in the paper. So how do
you know that?
JOHNNY
I'm in the middle of something kind of important, here. Did you
talk to the other officers already?
POLICE GUY 2
Hey buddy. I'm the most important thing in your life right now.
How many other bodies are there?
SHERIFF REBECCA JAYNE
He told Walt Bannerman that there were at least four.
(to Johnny)
Look. I know you aren't my guy because my Jane Doe was found
five years ago. And you were still in a coma five years ago.
But, you know, crazy people write to...
JOHNNY
Other crazy people? I am not a serial killer's pen-pal, or
father confessor. I'm just a guy, trying to have a normal life,
do the right thing. I don't know who killed those women.
(pause)
All I can do is point you in a direction that you may not have
seen. Please, talk to the other officers. I've told you all I
know and they have information that you need.
INT. HOTEL BAR - NIGHT
Walt's going over some notes at a small corner table – he's a speaker tomorrow and he's kind of watching a sports event. It's still somewhat crowded with police officers, but he's learned to ignore chaos over the years, and is kind of even comfortable there.
POLICE GUY2
So Walt, holding out on us?
SHERRIF REBECCA JAYNE
That's not fair. You don't know if he knows anything at all.
WALT
What are you talking about?
PG2
We might have another serial killer roaming the counties. You
know all about serial killers, don't you?
WALT
No, I don't.
(stands up)
Why don't you just say what's on your mind?
PG2
Your personal psychic tells us that there's a guy out there
that's murdered at least four women. Kind of remind you of
anyone?
WALT
Four women? I haven't seen anything on the news about that.
SHERRIF REBECCA JAYNE
No. These are the Jane Does that he's talking about. Remember
you asked me about any Jane Doe cases? Ted and I started talking
about it after you left. John Smith says that these are related
cases. He's helped you before, right? He's on the level?
WALT
I wouldn't say he's a lot of help. But, yeah. When he hits, it
usually comes back right.
TED
He some kind of freak, right?
SHERRIF REBECCA JAYNE
Knock it off. That doesn't help.
(to Walt)
Look. I've called my department already and asked them to send
me the case files. Ted here has done the same. Who are the other
cops he mentioned?
WALT
You think that this will help?
SHERRIF REBECCA JAYNE
If nothing else, we can use it to springboard the seminar in raw
data collection and analysis.
WALT
Well, let's find the event coordinator and get some room
numbers, then.
They leave and pass Jenna, who walks into the bar like she owns the place and she attracts a lot of attention. Her look is athletic, yet exotic at the same time. She takes a seat at the bar, orders and it's not long before a couple of cops come over to buy her another drink.
JENNA
Thanks for the drink.
SPECIAL RESPONSE TEAM GUY
(real macho, not too bright)
Hey, you're not from around here, are you?
JENNA
(smiles, shakes her head)
All the guys in here cops like you?
SRT GUY
Well, there are cops and then there are cops. I'm special
response. You know, take out snipers?
JENNA
Really? You're, like, an expert marksman? That's so cool.
(kind of shyly)
I've done a little shooting. Maybe you could give me some
pointers. After all, a girl can't be too careful these days.
BARTENDER
(winking at Jenna)
Hey. You could give her a lesson right now. You could set up in
the indoor tennis court. The mob once took out some bootleggers
in there during Prohibition. Unless you're afraid of ghosts...
SRT GUY
Thanks for the history lesson. Like I'm afraid of ghosts or the
mob.
(thinks about it – the hamster wheel is turning and decides)
I'll get my rifle and meet you outside.
These guys could use the opportunity to see greatness in action.
(he leaves)
JENNA
(leans in, and whispers to the bartender)
That was perfect. 60/40 split, ok?
INT. INDOOR TENNIS COURT - NIGHT A bunch of guys, including the bartender have followed Jenna and SRT Guy into the court.
BARTENDER
Hey, wouldn't it be cool if she shot better'n him?
SRT GUY 2
No way. This guy not the smartest, but he's the best shooter
I've ever seen.
BARTENDER
Humor me. I got 20 bucks that she does.
(other guys start pulling out money)
SRT GUY
So, this is the sight and you look at the target through here...
JENNA
(takes rifle away and sights it, checks the breach for ammo and
does other efficient gun handling stuff)
I'm used to .22 caliber. What kind of recoil does this have?
SRT GUY
Uh...
JENNA
Never mind. I'll figure it out. Let's start at 5 rounds apiece,
ok?
Bruce, Johnny and Bryan show up just as Jenna aims and hits several bulls eyes in a row.
JENNA
(frowns)
The sight's off.
JOHNNY
Talk to you a minute? About the wedding?
JENNA
Yeah. Here. It's your turn.
(she hands the rifle to SRT Guy, who's standing there, freaked
out about her shooting prowess)
(to JOHNNY)
What a circus.
BRUCE
You got a problem with the wedding?
JENNA
Now, if I had a problem with the wedding, why would I even be
here?
BRUCE
I don't know. To make some kind of point?
JENNA
Let's cut to the chase. It's over between me and Paolo. I'm not
going to stand up in church and stop the wedding. My ma would
rise from her grave and slap me twice.
JOHNNY
So you aren't in love with Paolo?
JENNA
You don't know him that well, do you? The only person he loves
is himself.
BARTENDER
Hey Jenna! It's your turn again.
JENNA
(to BRUCE and JOHNNY)
You mind? You're messing up my deal.
INT. JOHNNY'S HOTEL ROOM - NIGHT Johnny's exhausted. It's been a long day. He's just flopped on the bed when there's a knock at the door.
WALT
Come on. I know you're in there.
JOHNNY
(answers door)
Walt. What? I just got to sleep.
WALT
What have you been telling the other sheriffs?
JOHNNY
That I see dead people?
WALT
I'm not in the mood for games, here.
JOHNNY
What game are we playing? OK, I spoke to Sheriff Jayne. And you
know? She has a good idea about a multi-jurisdictional database.
I'm not sure what that exactly is, but it sounds like it might
solve what happened to those women.
WALT
Do you know how much something like that would cost? How can I
go to the voters and tell them we should spend millions of
dollars for solving crimes that happened in other countries!
JOHNNY
You never used to care about voters. You used to care about
victims. I think you've been hanging around the wrong crowd.
Good-night, Walt.
END OF ACT THREE
ACT FOUR
INT. HOTEL DINING ROOM - DAY Morning. The room is kind of crowded as several members of the wedding party and several police officers are serving themselves from the breakfast buffet. Bruce and Bryan are already eating breakfast. Johnny shakes off a brief
VISION FLASH of a 1960's era family having a fight
as he makes his way through the dining room and sits down at the table with Bruce and Bryan.
JOHNNY
Have I mentioned that I don't really enjoy public places so
much? How's the breakfast buffet?
BRUCE
Well, those cops are acting like they've never seen food before,
so if you actually want anything to eat, I'd order from the
menu. Bryan almost lost his arm.
BRYAN
(smiles, but is clearly worried about Claire)
What's going to happen today, Johnny?
JOHNNY
If only I knew. The wedding's not until 3, right? So that gives
us time to set up and make sure that nothing will happen.
BRUCE
I talked to Walt last night during your quality time with Ellie.
(Johnny looks at him like 'shut up')
He said he'd help go over the church later, check things out.
JOHNNY
Wow. Did you pay all those parking tickets of yours too? That
must have put him in a good mood.
WALT
(walking up behind Bruce and then sitting down)
What parking tickets?
BRUCE
(innocently)
How's the buffet?
WALT
This is a high profile wedding, right? Is there security?
(Bruce just looks blank and shakes his head)
Who's getting the threats?
JOHNNY
It's not that exactly. I...had a vision that some people would get
shot.
WALT
(to Bruce)
Who's the target? The bride or the groom?
BRUCE
The target is my cousin Claire.
WALT
OK. So I had this FBI agent tell me once, cherchez la femme. The
groom have a past? He's got a title and he's rich, right? So
he's loved them and left them a lot, right?
(kind of pointedly to Johnny)
JOHNNY
We've talked to the so-called other woman. She seems cool with
the marriage.
WALT
How do you know she's the only one Paolo's got on the side?
INT. HOTEL ROOM - DAY
We see two people in bed together. We travel up from the foot of the bed and it's revealed that it's JENNA and SRT GUY. He's a good sport and truly admires her skill with the rifle. Plus, she slept with him so that's all that really matters.
SRT GUY
You never said how you got to be so good a shot.
JENNA
Did you ask?
SRT GUY
Aw. Don't be like that.
JENNA
Sorry. It's reflex, you know? Most people don't think I can be
good at anything.
SRT GUY
Well, I'm a believer.
(tries reaching for her for some more smoochies)
JENNA
(She evades him, gets out of bed, puts on a robe)
It's just something I learned. At the training camp, we're
taught to visualize the ski run. Every bend, every curve of the
trail. Once we know the snow conditions, we visualize the type
of snow – if it's slick, soft whatever.
(picks up the rifle)
It's the same with targets. We visualize loading the chamber,
sighting the target, pulling the trigger. Sometimes it's so
clear in my mind that I think I can reach out and touch the
bullet.
Throughout her explanation, she's handling the rifle, testing it, dry- firing it, with a very focused look on her face.
INT. HOTEL LOBBY, NEAR CONFERENCE ROOMS
Johnny's on his way out of the hotel, and Sheriff Jayne hurriedly tries to catch him.
SHERIFF REBECCA JAYNE
John! Mr. Smith!
JOHNNY
Hi. You can call me...
SHERIFF REBECCA JAYNE
(interrupts excitedly)
We think we have a viable suspect!
JOHNNY
It's not me.
SHERIFF REBECCA JAYNE
(not really listening)
Yeah. It's a guy that popped up on the fringes of all our
investigations. Keeps a real low profile, you know. I can't tell
you anymore, but I have a really good feeling about this.
JOHNNY
(meaningfully)
So do I.
SHERIFF REBECCA JAYNE
(slightly puzzled, but still excited)
And it's going a long way to prove to these old dinosaurs that
we need better and more efficient database sharing, even at the
county level. Thank you.
JOHNNY
That's great!
SHERIFF REBECCA JAYNE
Yeah. Um. Do you think that if I called you, you could, um...
JOHNNY
What, consult with you on other cases? I don't really...
SHERIFF REBECCA JAYNE
No. I was thinking more about dinner some time. But you don't
have to, uh...
JOHNNY
No. I'd like that. Really.
SHERIFF REBECCA JAYNE
OK, then.
(smiles in relief, hands him her business card)
And thanks – about the case, I mean.
INT. CHURCH - DAY
Johnny, Bruce and Bryan are in the church looking for signs that anyone has been in there. Johnny's at the front of the church, where he's seen Purdy go down. He's not getting a vision anymore.
BRUCE
Well, what now?
JOHNNY
Nothing, I got nothing.
BRUCE
What is going on with this?
JOHNNY
Don't you think that I would love an answer to that question?
DANA
I love answers to questions. What's going on, guys?
JOHNNY
A big bunch of nothing.
DANA
That's not what I hear from Gene. Come on. He gets shot and so
do I? How do I file my copy if I get shot?
JOHNNY
You know that's not how it works. And won't you mind getting
shot?
DANA
Naw. I got faith in you.
PURDY
Your faith is misplaced, then.
DANA
You know what I meant, Gene. So, who's the shooter, and what's
the point? Calling off the wedding would be press worthy. Purdy
getting shot would get me the front page.
BRUCE
You do know I'm related to over half the people at the wedding?
That you're being incredibly tasteless?
DANA
I could say it's the job, but that wouldn't be true, would it?
I'm scheduled to interview the groom soon. Why would I get shot,
anyway? I've never met the bride or groom.
BRUCE
The power of the press?
Dana's about to answer, but she's interrupted by Walt's entrance.
WALT
Still looking? Maybe we should try something else.
BRYAN
What do you suggest?
WALT
Johnny, can you tell where the shots are coming from?
JOHNNY
I would have told you that already. These visions are different.
WALT
Well, maybe we can triangulate back from where the victims are
when they're shot.
PURDY
Since Dana is so anxious to get the front page, I'll start the
re-enactment, shall I?
(Crosses to the lectern)
Is this the right spot?
JOHNNY
Yes. But Bryan's the first one shot, and that's about here.
(indicates about the middle of the aisle)
Then you.
(motions to Gene)
Then Dana, you get up and you're about even with the lectern.
There. OK, then, Bruce, you pretend you're Claire and you go
next to Bryan. OK. That's it. More or less. I got to tell you,
it does change. Sometimes...
WALT
Wait. This doesn't make sense. In order for the shooter to start
with Bryan, then do Purdy and Dana, he'd have to jump over about
6 pews full of people 'cause there's no aisle on the side here.
And then get back to shoot Claire? Giving her time to get way
back here? Are there multiple shooters?
JOHNNY
(Frustrated)
I don't know! All I can tell you is that something is going to
happen.
WALT
Is this one of those for sure visions or the maybe kind? You've
had both.
BRUCE
But the visions can change based on action or reaction. There's
no way for him to say 100% that this will happen.
BRYAN
Then what are we doing here? Am I going to be shot, or is this
all just wishful thinking?
JOHNNY
That's it! I've got to talk to Claire.
He exits, leaving everyone else kind of confused.
INT. CLAIRE'S HOTEL ROOM - DAY
Claire looks at herself sadly in the mirror and then picks up her wedding dress to take to the church. She leaves. Johnny comes in – just missing her - and stands in the same spot that Claire has stood in, and looked at her reflection moments before. He gets the vision flash. Claire's reflection slowly morphs into Claire falling backward with blood on her dress. Now he gets it. Claire is 'killing' the wedding, metaphorically. Claire comes back in the room for her shoes that are in a box on the bed and is surprised to see him there.
CLAIRE
What are you doing in here?
JOHNNY
I came to talk to you.
CLAIRE
(getting the shoes)
I don't want to have one more conversation about this wedding.
JOHNNY
This isn't about the wedding. It's about you. I know that you
aren't really happy.
CLAIRE
Are you guys the happiness police? Just tell Bryan that I have
it all under control, ok? I am so tired of people second-
guessing me.
JOHNNY
Look – it's not just me. Some of your best friends and family
are seeing right through you. And even I can see the loneliness
you feel.
CLAIRE
I'm getting married in an hour. That means to most people that I
won't be alone anymore. You know, the two shall become one?
JOHNNY
Claire, this wedding isn't going to make it all better. I know
you're fantasizing on ways to get out of this wedding without
actually having to say anything. But there's no hidden sniper.
No one's going to get shot.
CLAIRE
(shocked – she hasn't mentioned her daydreams to anyone)
What...what are you talking about?
JOHNNY
What's the bloodbath all about? You know that instead of
creating the life that you want, this marriage will kill your
real hopes and dreams instead. That you'll still be hiding from
life, not creating a new life with someone who cares for you.
You can't let that happen.
CLAIRE
Why do you care so much about all this?
JOHNNY
Why don't you care more? It's your life, your future. I know
that you have to guard what's inside, because no one really
understands what's going on with you. It's...lonely. You can't let
anyone get really close to you because you have these secrets.
People look at you and then they judge you. They think you can't
have any problems because you look perfect. Or that you have
money. Or because you're psychic.
(gestures to himself)
Whatever. They think that they know who and what you are just by
what's on the outside. And they can't know. They don't know. So
you hide within yourself and you don't let anyone else in. I'm
there. I know.
INT CHURCH - DAY
The music cues the bride and it's a tight shot focusing on the bride as she walks down the aisle. But then the camera pans away and up the aisle to the altar and it's revealed that there is no groom waiting for her. She reaches the altar, and slowly turns to face the congregation, and her maid of honor (Renee) helps her with the train and the veil.
CLAIRE
Thank you all for being here. Do you like the dress? You would
not believe how much it cost. I had to wear it for at least a
little while.
POV CHANGES TO CONGREGATION, AND SOME PEOPLE REACT WITH LAUGHTER, SOME ARE STILL PUZZLED, LOOKING FOR THE GROOM. THEN CUT BACK TO CLAIRE.
(She smoothes the skirt)
I was supposed to get married today. But a funny thing happened
on the way to the altar...I decided that it wasn't right. I had a
handsome prince, but then someone helped me remember that I'm
not a princess, and that life isn't a fairytale. Life just is.
(she pauses, takes off her veil)
So, there isn't going to be a wedding today. I hope though, that
there is still going to be a celebration. Because you are all my
family, and my friends – and that's worth celebrating, isn't it?
PAN BACK DOWN AISLE, THEN OVERHEAD AS PEOPLE COME UP TO HUG HER.