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ALL SCRIPTS




                          CHRONICLE



                          Written by

                          Max Landis



                      Based on a story by

                   Josh Trank and Max Landis



   FROM ANDREW'S FIRST CAMERA.

   CUT - to indicate time lapses within a scene


   INT. DETMER RESIDENCE - ANDREW'S ROOM

   The room is dingy. Unkempt. The camera sits on the bed, on
   its side, facing the door. We can hear someone moving around
   off screen.

   The door handle clicks; someone's trying it.    Then nothing.
   Then, suddenly, loud pounding on the door.

   Andrew's voice is scratchy and prone to cracking.   He speaks
   with a rushed mix of fear and anxiety.

                    ANDREW (O.S.)
          What do you want, I'm getting ready
          for school-

                    MR. DETMER (O.S.)
          Why is the door locked, unlock this
          fucking door right now.

   The bed stirs as Andrew sits down.

                    MR. DETMER (O.S.) (CONT'D)
          I said unlock this door. UNLOCK
          THE DOOR. OPEN THE DOOR, NOW.

                    ANDREW (O.S.)
          You're drunk-

                     MR. DETMER (O.S.)
          Listen, you don't tell me- IF I'M
          DRUNK, OR-

                    ANDREW (O.S.)
          It's seven thirty. In the AM.
          You're drunk, dad, that's crazy-

                    MR. DETMER (O.S.)
          What're you doing in there.

                    ANDREW (O.S.)
          I'm filming this.

                    MR. DETMER (O.S.)
          What?

                    ANDREW (O.S.)
          I bought a camera. I'm filming all
          your shit from now on.
                                                         2.


   There's a beat, and then we can hear Mr. Detmer moving away
   from the door.


   INT. DETMER RESIDENCE - SANDRA DETMER'S ROOM

   Equally dingy. SANDRA DETMER, gaunt and sickly, is sat up in
   bed. Andrew's filming her. She's clearly very ill, speaking
   in a weak rasp. Andrew now holds the camera.

                   ANDREW (O.S.)
          Mom? Will you say hi to the
          camera?

                    SANDRA DETMER
          Who's the audience?

                    ANDREW (O.S.)
          The millions of people watching at
          home.

                    SANDRA DETMER
          Hello world. Do I look awful?

                    ANDREW (O.S.)
          No, you look great.

                    SANDRA DETMER
          I've been looking a little better,
          yeah?

                    ANDREW (O.S.)
          Oh yeah, definitely.

                    SANDRA DETMER
          It's a nice camera.

   EXT. CLARK STREET - MORNING

   Clark Street is a slummy mess; dead lawns, potholes in the
   street in a downtrodden suburb of Portland Oregon. Andrew
   carries the camera loosely at his side before getting into
   the passenger side of a car.

   In the driver's seat is MATT Garrety, 17, with messy hair.
   He's disaffected, and more than a little cynical; the
   reasoned demeanor of an unpretentious high-school
   intellectual.

                    MATT
          I got you egg salad.
                                                    3.


                    ANDREW (O.S.)
          Oh, yeah, thanks.

                                                 CUT.

  They're driving.

                    MATT
          So...Should I ask about the camera,
          or-

                    ANDREW (O.S.)
          I'm filming things now. I'm
          filming everything.

                    MATT
          You're filming everything.

                    ANDREW (O.S.)
          For my mom. I'm trying to get
          custody of her from my dad. She's
          getting worse, and he's
          not...helping, and this way, in
          case something goes down-

                    MATT
          He gets violent or whatever-

                    ANDREW (O.S.)
          Right, it'd be evidence.

                    MATT
          Evidence. But you're not with him
          right now, but you're filming this.

                    ANDREW (O.S.)
          Well, yeah, to add context.

                     MATT
          Context.   Andrew, you are...a weird
          dude.

                                                 CUT.

                    MATT (CONT'D)
          Did you ever read any Auguste
          Comte?

                    ANDREW (O.S.)
          What is that?

                    MATT
          He's this philosopher I'm reading.
                                                            4.


                    ANDREW (O.S.)
          For school?

                    MATT
          He's just like- his whole thing is
          about being positive and like,
          taking up for yourself. You should
          read him, maybe, it might make you
          feel- you know, improve your
          outlook.

                    ANDREW (O.S.)
          Yeah, right.


EXT. BENJAMIN FRANKLIN HIGH - PARKING LOT

Andrew's getting out of the car, but then ducks back in to
see Matt lighting a pipe.

                    ANDREW (O.S.)
          Are you not coming in?

                    MATT
          I'm gonna blaze a little first,
          yeah?

                    ANDREW (O.S.)
          You're going to miss first period-

Matt turns on the radio, loud.

                    ANDREW (O.S.) (CONT'D)
          Okay, okay.

INT. BENJAMIN FRANKLIN HIGH - HALLWAY

Andrew's filming himself putting stuff in his locker, and
does a quick sweep of the crowded school hallway.

                    ANDREW (O.S.)
          This is my school, I guess.   This
          is the hallway-

                    GIRL
          Vote "Kaz!"

A girl suddenly approaches, awkwardly handing Andrew a flyer.

                    GIRL (CONT'D)
          Vote Steve Kazinsky for Senior
          class president!
                                                            5.


                     ANDREW (O.S.)
          ...yeah-

                    GIRL
          Every vote counts.

Andrew films the flyer for a moment, brightly colored and
featuring a picture of a smiling Steve Kazinsky, before
something yanks the camera away.

For the first time we see ANDREW Detmer, 17, pale, awkward
and gangly, with long, stringy hair and thin, scraggly beard.
He looks anxious, if not afraid.

                    BRYCE (O.S.)
          Yo this camera is a piece of shit.
          It's like from 2004 or some shit.

WAYNE, 17, big and hateable in his Ed Hardy T-shirt, appears
wrapping his arm roughly around Andrew.

                    WAYNE
          Hey, how do I look?
              (starts muscle posing)
          Like this? Ooh, that's good.   Like
          this? That's sexy, right?

                    ANDREW
          Bryce, gimme my camera back-

                    BRYCE (O.S.)
          Fuck you Andrew, shut up.   This
          camera's a piece of shit.

                    WAYNE
          You got me, let's go.
Wayne turns and knocks everything out of Andrew's locker.
Bryce starts to walk away with the camera.

                    ANDREW (O.S.)
          Hey, Bryce, come on, give it back-

The camera is set down on the ground, and then abruptly
kicked back to Andrew. He picks it up, checking on it.

                    ANDREW (CONT'D)
              (quietly, sad)
          Oh come on...
                                                            6.


EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD

A view from the bleachers as the soccer team practices. The
cheerleaders are practicing too. We cut: a different view,
lower.

                    ANDREW (O.S.)
          This is where I eat lunch, out here
          on the bleachers.

                                                CUT.   LATER.

The camera's next to Andrew as he's eating, down on the
bench. A CHEERLEADER approaches.

                     CHEERLEADER
          Hi.

                     ANDREW
          Hey-

                    CHEERLEADER
          Could you not videotape us, please?
          It's really fucking creepy.

                    ANDREW
          I wasn't, videotaping you, so much
          as I was just-

         CHEERLEADER                           ANDREW
Just don't videotape-              -you know, filming what I do
                                   during the-

                    CHEERLEADER
          Don't videotape us, okay, or we'll
          call security. We see you watching
          us, we're not stupid, and it's
          sketchy, so back off.

                     ANDREW
          ...okay.

                    CHEERLEADER
          Is it on right now?

                     ANDREW
          Yes.

                    CHEERLEADER
          Turn it off.

Andrew turns off the camera.
                                                          7.


INT. MATT'S CAR

Matt's driving.   Andrew's filming from the passenger seat.

                    MATT
          There's a party tonight.    A barn
          party at Haven Hills.

                    ANDREW (O.S.)
          I thought Haven Hills was closed.

                    MATT
          It's abandoned, yeah. That's why
          it's a good place for a party. Two
          kegs.

                    ANDREW (O.S.)
          Why are you telling me?

                    MATT
          You wanna go? I don't wanna go
          alone.

                      ANDREW (O.S.)
          ...Nah...

                    MATT
          When was the last time you went to
          a party?

                    ANDREW (O.S.)
          I don't like parties.

                    MATT
          You're a senior.     Just come, you'll
          have fun.
                    ANDREW (O.S.)
          I'll think about it.

                    MATT
          Okay, right. Andrew, can I give
          you like, a pro tip?

                      ANDREW
          Yeah?

                    MATT
          Keep the camera at home.    It's
          weird.

                    ANDREW
          It has a purpose-
                                                           8.


                    MATT
          I'm trying to be a good cousin,
          here. This is me being your
          friend, yeah? Okay?


EXT. DETMER RESIDENCE

Andrew is filming as he walks along towards his house.

                    HOWARD (O.S.)
          Hey, what you doing?

                    COSTLY (O.S.)
          Hey nice camera bitch, gimme your
          fuckin camera!

The camera pans up to reveal HOWARD and COSTLY, moron
hoodlums, along with several friends, over by a car on the
other side of the road, drinking forties.

                    HOWARD
          Hey don't film me nigga, don't film
          me.

                    COSTLY
          Hey fuck off, you better run to
          your house, bitch. Run to your
          house and lock the door.

Andrew just stands there filming them. Howard hurls his
forty at Andrew, who doesn't move; it shatters very near to
him.

                    HOWARD
          The fuck, fuck you faggot-
Howard quickly starts crossing the street, and Andrew turns
and runs back towards his house.


INT. DETMER RESIDENCE - ANDREW'S ROOM

The camera lays on Andrew's bed again, filming the room.
Andrew is on his laptop at a desk, working.

                    ANDREW
          I'm uploading what I shot
          today...you have to keep a back-up,
          you know.

The door suddenly opens, revealing MR. Adrian DETMER, 40s,
Andrew's father. He doesn't look as white trash as you'd
expect.
                                                          9.


Andrew looks up at him, and then goes back to working.
Detmer goes over to Andrew and slaps him out of his chair.

                    MR. DETMER
          When I say open this door, you open
          this fucking door.

Mr. Detmer leaves, slamming the door on his way out.   Andrew
sits on the floor in silence.


EXT. HAVEN HILLS FARM - NIGHT

We're in Matt's car, driving on a dark dirt road, past an old
fence and rusted out farm equipment.

                     ANDREW (O.S.)
          Are you sure it's here?
              (beat)
          Are you sure it's here, this all
          looks closed-

                    MATT
          It's here, calm down.    Listen.

We can faintly hear party music.

                     ANDREW (O.S.)
          Oh yeah.


EXT. HAVEN HILLS FARM - BARN

Cars are parked outside a big abandoned barn as Matt and
Andrew approach. We see Christmas lights strung up, and
there's clearly a party going on inside the barn. Kids are
milling about outside, too, drinking, fucking around.

                     MATT
          Hey dude, don't follow me around
          all night.

                     ANDREW (O.S.)
          What?

                    MATT
          Don't follow me around all night,
          okay?

                    ANDREW (O.S.)
          What am I supposed to do? I
          thought you said you didn't want to
          go alone-
                                                          10.


                    MATT
          Talk to people?   Have a beer, I
          don't know.

                                                 MONTAGED
                                               FOOTAGE...

Andrew skulks around the party, which is clearly in full
swing. Lots of bad footage of people talking, drinking,
girls dancing sexy, guys joking around. Andrew is silent and
detached, just filming. He sees a girl, CASEY Letter, 16,
filming as well. They shout over the music.

                    CASEY
          Hey, what are you filming for?

                    ANDREW (O.S.)
          Oh, I don't- just filming.

                     CASEY
          What?   I'm filming for my blog!

                     ANDREW (O.S.)
          What?

                    CASEY
          I have a video blog!   Why are you
          filming?

Andrew simply backs away. More footage of the party.
AUSTIN, 18, in an Ed Hardy shirt, comes out of nowhere.   He's
clearly a little drunk.

                    AUSTIN
          Hey, were you filming my
          girlfriend? Yes or no, were you
          filming my girlfriend?

                    ANDREW (O.S.)
          No, I wasn't filming anyone
          specific, just filming the party.

                     AUSTIN
              (beat)
          Okay, good, because I don't wanna
          have to beat your ass.

                     ANDREW (O.S.)
          Okay.

                    AUSTIN
          Don't talk back to me. Don't get
          smart, okay, I'm being nice here.
          I'm being nice to you.
                    (MORE)
                                                          11.
                       AUSTIN (CONT'D)
              (beat)
          Say okay.

                       ANDREW (O.S.)
          Okay-

                    AUSTIN
          Cause I know you were filming my
          girlfriend dancing. I should break
          your fucking nose, you know that?
          You know that, I should beat your
          ass right now, but I'm trying to be
          nice. Fuck you.

Austin abruptly throws his beer on Andrew, getting some on
the camera, and then spits on him. Andrew backs up, shocked,
lowering the camera.


EXT. HAVEN HILLS FARM - EDGE OF THE WOODS

Andrew's out alone in a field now, furiously cleaning the
lens of the camera, obstructing our view. Cut to a few
moments later; the camera now resting in his lap or on the
ground. We can see the barn, the party still going on.

After a few moments, we can faintly hear Andrew crying.

                    STEVE (O.S.)
              (loud, sudden)
          Are you Andrew?

                    ANDREW (O.S.)
              (startled)
          What-
                     STEVE
          Are you Andrew-with-the-camera?
              (beat)
          Matt's cousin, Matt said you had a
          camera?

The camera is picked up to reveal STEVE "Kaz" Kazinksy, 17,
approachably handsome and in great shape, with an easygoing,
instantly likeable charisma.

He's a little drunk and giddy.

                    STEVE (CONT'D)
          Dude, are you okay?

                    ANDREW (O.S.)
          I'm Andrew.
                                                        12.


                    STEVE
          I'm Steve Kazinsky-

                    ANDREW (O.S.)
          No, I know.

                     STEVE
          ...yeah?

                    ANDREW (O.S.)
          Everybody knows who you are.

                    STEVE
          Haha, yes, that is true. Listen,
          come on, bring the camera.

                     ANDREW (O.S.)
          What?   I don't-

                     STEVE
          Come on.

Steve starts off, but Andrew hesitates.

                     ANDREW (O.S.)
          I don't-

                    STEVE
          Dude, come on, we found something.


EXT. HAVEN HILLS FARM - FIELD

Steve is walking ahead in the field of tall grass, toward
woods. It's rather dark.
                    ANDREW (O.S.)
          Look, I don't think we're supposed
          to-

                    STEVE
          Is there a light on that?   On your
          camera?

                    ANDREW (O.S.)
          Oh, I don't- Hm, I don't know-

The camera goes down for a moment while Andrew futzes with
it. The light clicks on, illuminating Steve.

                     STEVE
          Awesome.

                                                     CUT.
                                                        13.


They've reached the woods, and Steve is climbing over the
remains of a fence. The light bounces around wildly.

                    ANDREW (O.S.)
          What were you guys doing out here?
          This is way out-

                    STEVE
          Me and your cousin were blazing a
          little.

                    ANDREW (O.S.)
          Matt's out here?

                    STEVE
          A bunch of people were out here,
          but I think they've all gone back,
          now, cause we're like, obsessed
          with the thing.

                      ANDREW (O.S.)
          The what?

                                                     CUT.

They're in the woods now, thick and dizzying. It's near
silent but their feet crushing the Fall leaves on the ground.
Steve walks out ahead.

                    STEVE
          Andrew Detmer, that's right.   I
          remember you from homeroom,
          Freshman year.

                    ANDREW (O.S.)
          You remember that?
                    STEVE
          Yeah, I have a memory for faces.
          I'm gonna go into politics, which
          is ironic because I'm soooo fucking
          high right now- probably shouldn't
          be letting you videotape this-

                    ANDREW (O.S.)
          I'm gonna be so rich when you're
          president, you have no idea-

                    STEVE
          Yeah, video footage of me luring
          you into the woods for gay sex-
          wait, hey- HEY, MATT, IS THIS IT?
                                                        14.


                       MATT (O.S.)
          Down here!

                       ANDREW (O.S.)
          Matt?

The camera turns to reveal Matt, standing next to some kind
of craggy hole in the ground, at the base of a hill in the
woods. It's big, but the darkness beyond is impenetrable to
the camera. It looks like a big black spot.

                    STEVE
          There we go. There it is.

                                                     CUT.

Andrew and Steve are now down with Matt by the hole. Andrew
is keeping the camera fixed squarely on the murky blackness,
nervous.

                    STEVE (V.O.)
          Where is everybody?

                    MATT
          They all left.

                    ANDREW (O.S.)
          We're not supposed to be out here.

                    STEVE
          Is it still making the sound?

                     MATT
          Yeah.   Did you tell Andrew?

                    STEVE
          Oh, Andrew, it's making a sound-

                    MATT
          Here, listen.

                       ANDREW (O.S.)
          Guys-

                    STEVE
          You've got to get really close to
          hear it.

Andrew takes a tentative step towards the hole.

                    ANDREW (O.S.)
          Guys, just don't like- don't push
          me, or do anything like that-
                                                         15.


                    STEVE (O.S.)
          You've got to go closer.     Like
          almost inside it.

There's a beat.

                    MATT
          We're not going to push you, we
          just wanna get it on tape.

Another pause. Andrew moves towards the hole. Even with
Nightvision, it's completely dark in there. A beat.

                    STEVE (O.S.)
          Do you hear it?

                    ANDREW (O.S.)
          ...It's like, whispering?

                       STEVE (O.S.)
          Listen.

                       ANDREW (O.S.)
          Singing?

         MATT (O.S.)                       STEVE (O.S.)
Ooooh shiiiiit-                   That is so fucking creepy!

Andrew turns the camera back to Matt and Steve.

                    ANDREW (O.S.) (CONT'D)
          What is that?

                    STEVE
          We didn't dig the hole, man.
                    MATT
          Is the sound on the camera?

                    ANDREW (O.S.)
          I don't know, probably...I mean,
          it's- it's kinda loud, right?

Matt looks to Steve.

                    STEVE
          Do you guys wanna go in and have a
          look, or what-

                    ANDREW (O.S.)
          No, I don't- I mean, I won't do th-

                    STEVE
          Hold your nose.
                                                          16.


Steve suddenly goes right into the hole, vanishing into the
darkness.

                       ANDREW (O.S.)
          Hey, wait-

                    STEVE (FROM THE DARK)
              (faintly)
          Come on!

                    MATT
          Steve, come on, we don't know if
          it's stable in there- It's probably
          just the wind, we should-

Andrew abruptly goes into the cave.

                    MATT (O.S.) (CONT'D)
          Andrew, hey, come on!
          Don't...shit.


INT. THE HOLE

It's almost pitch black, but we can hear Andrew breathing.
It's claustrophobic in here. Eerily quiet. The camera
searches around, but the walls are tight in here, and low.

                       ANDREW (O.S.)
          Hello-

             STEVE                        ANDREW (O.S.)
   (suddenly appearing)           Aah!
I'm right here.

                    ANDREW (O.S.) (CONT'D)
          Does it go down much deeper, or-

                    STEVE
          Yeah, really far. It's not a cave,
          it's like a tunnel- do you hear how
          loud that's getting?

                    ANDREW (O.S.)
          Do you think it could be like wind,
          or-

                    STEVE
          Come on, man. Come on.

                    ANDREW (O.S.)
          Then what do you think it is?
                                                         17.


                   STEVE
          Huh. I dunno. I don't believe in
          ghosts.

                    ANDREW (O.S.)
          Who said anything about ghosts.

Steve laughs, and turns, going back into the darkness.
Andrew follows.

                                                     CUT.

Matt's face is suddenly in front of the camera.

                    MATT
          -shouldn't have come in here.

                    ANDREW (O.S.)
          Steve's up ahead-

                     MATT
          At first I thought this was a
          solutional cave, but now...I dunno,
          it's like a lava tube, or
          something.

                    ANDREW (O.S.)
          I don't know what you're talking
          about.

                    MATT
          Look at the walls. Look at how
          smooth they are. It's just
          straight shot down, I mean, we
          must've already gone forty or fifty
          feet-
                    ANDREW (O.S.)
          Don't talk about it, you're making
          me nervous.

                    MATT
          You ever hear of Plato's allegory
          of the cave?

                       ANDREW (O.S.)
          No.

                       MATT
          Nevermind.

                                                     CUT.
                                                           18.


Walking. Darkness. The cave is even tighter now. The light
flickers, some kind of electrical disturbance, then goes out
completely We hear Andrew curse, fumbling with it, and the
nightvision mode comes on.

                                                      CUT.

The nightvision is scrambling badly.   All the forms are
distorted and then-

                    STEVE (O.S.)
          Can you believe this, this is NUTS-

The nightvision is turned off, revealing Matt. They've come
into a larger chamber in the cave, one somehow lit from
within; the boys are bathed in a softly pulsing turquoise
glow.

They speak loudly, clearly talking over something we can't
hear.

                    MATT
          Is that, is that showing up on the
          camera?

                    ANDREW (O.S.)
          I don't wanna film it, it's messing
          with the camera-

Matt forcibly turns the camera, to reveal Steve standing next
to some kind of massive crystalline rock structure growing
from, or maybe embedded in, the wall. Around it, and him,
float wispy little clouds of light, turquoise and beautiful.

Steve is clearly entranced, sweeping his hands through the
light.
                       STEVE
          Touch one!

We see Matt, now also surrounded by the little aurora
borealis like clouds, touch one; it comes apart in a silent
little explosion of light, beautiful.

                    ANDREW (O.S.)
          Guys maybe...maybe we shouldn't...

A light cloud passes in front of Andrew, and we sees his hand
to extend to touch it. The subsequent little light burst
badly warps the camera, clearly permanent damage.

                                                      CUT.
                                                           19.


Andrew is now very near to the crystalline structure; viewed
up close, it's almost arachnid, organic somehow. The light
clouds have turned yellow. Matt is practically inside the
structure, pressing it with his palms.

                    MATT
          -changes color, see? It must be
          reacting to the heat, some kind of
          exothermic reaction-

                    ANDREW (O.S.)
          WHAT? I can't hear you over the-
          you know-

                    STEVE
          Make it change again!    This is
          awesome!

Matt presses with his palms. There's a low sustained hiss as
the light clouds turn an angry shade of red. A stream of
them is released from beneath the structure. The camera
jerks suddenly, revealing Steve, who's clutching his ears.

                     STEVE (CONT'D)
          AGHHHHH!

Blood has begun to rapidly pour out of his eyes, ears, mouth
and nose, and he buckles forwards; the camera spins wildly
and we see Matt seemingly FLUNG out of the crystalline
structure.

It pulses, and seems to rapidly blossom and spread apart,
revealing a blinding light within which EXPLODES OUTWARD; we
can suddenly hear an OVERWHELMING CHOIR OF VOICES, and the
camera sent rocketing backwards, flipping backwards up the
tunnel-
                                             CRACK.   DIGITAL
                                                        CODE.

                                              BLACK SCREEN.
                                             HOLD ON BLACK.


FROM ANDREW'S SECOND CAMERA.


EXT. MATT'S BACKYARD - AFTERNOON

The camera turns on; from the quality of the picture, it's
immediately evident that this is a newer, better camera.
It's on a tripod, and Matt stands across a well manicured
backyard; his hair is a little different, time has passed.
                                                        20.


                     MATT
          Ready?

                    ANDREW (O.S.)
          Rolling, yeah.

                    MATT
          Okay, ball test.   Take one.

A baseball comes flying in from behind the camera, nailing
Matt in the face; he drops like a rock.

                     MATT (CONT'D)
          OW FUCK! WHAT THE FUCK STEVE!
          UNDERHAND!

Steve comes in from off camera to help Matt, laughing; we can
hear Andrew laughing behind the camera, too.

                    STEVE
          I'm sorry, oh shit, I'm sorry-

                                                     CUT.

Now it's Steve who stands on the yard.

                     STEVE (CONT'D)
          Go.

A baseball comes in from off camera, slower. It comes down
towards Steve, but at the last second makes a bizarre,
impossible course correction, FLIES UP AND HITS STEVE IN THE
FACE.
                     STEVE (CONT'D)
          AGH!   HEY, MATT, NOT COOL!
Matt rushes on, doing a victory lap, one hand holding an ice-
pack to his face. Again, we hear Andrew laughing.

                    MATT
          WE ARRREEE THE CHAAAMPIONS-

                                                     CUT.

Andrew's out across the yard. He looks a little better; he's
gotten rid of the ridiculous nerd beard, and his hair is a
little better kept. He nods.

In flies the baseball. It abruptly stops in the air, a foot
and a half from Andrew's face. Steve and Matt let out a
cheer, and the camera is yanked off the tripod, taken to show
a closer view of the impossibly suspended baseball and
Andrew.
                                                         21.


Andrew smiles, and points to the suspended ball.   A trickle
of blood comes out of his nose.

                      ANDREW
          Ah, shit.

                                                      CUT.

The camera's on a tripod up on the back porch, filming
Andrew, Steve and Matt standing a triangle. They are playing
catch...no hands. The ball simply flies from guy to guy.
They drop it a few times in some cuts, but shout
encouragement, and are clearly having a good time.

Finally, they get the ball going EXTREMELY fast.   Matt looks
up.

                      MATT
          Is-

Matt gets nailed in the balls, and drops as Steve and Andrew
rush to him, laughing.

                    STEVE
          `In the- penis- the penis-

                    MATT
          I thought I heard my dad...UGHHH
          WHY ME AGAAAAIN!?


INT. MATT'S KITCHEN

Steve is very intently using his newfound powers to make a
peanut butter and jelly sandwich, knife shakily moving over
bread. The camera is set down on the counter, Matt and
Andrew watching.

                    ANDREW
          The trick is to pretend like it's
          on a plate. You get it on the
          plate and then you wrap the plate
          around it, and you can move it
          however you want.

                      STEVE
          Mhm.

                    MATT
          I've been pretending I was like,
          holding it in a fist, like a
          floating hand.
                                                          22.


                     ANDREW
          Yeah?   Plate's easier for me.

                    STEVE
          Guys, check it out.

Steve has a glob of jelly and a glob of peanut butter
floating freely. They slap together and then down onto the
bread, which slaps closed.

                     STEVE (CONT'D)
          Ha!
              (notices his bloody nose)
          Shit, shit-


INT. MATT'S ROOM - LATER

Matt's room is covered in band posters, kind of a mess.
Matt's sitting on the floor by a desk, slowly assembling a
LEGO set with his telekinetic abilities. Andrew's filming
from the bed, where he's laying down.

                    ANDREW (O.S.)
          Try to imagine that your squeezing
          the entire piece in your hand.

                    MATT
          That's what I'm doing, it's just,
          it's hard. You're better at this
          than me, you do it.

                    ANDREW
              (mocking)
          Really?
Andrew points at the lego set, and it flies together.

                    MATT
              (wowed, laughing)
          Dude, holy shit!

                                                        CUT.

Andrew and Matt are laughing as Steve enters, holding out his
cell phone.

                    STEVE
          Guys, listen, listen.   Samantha.

Steve puts his voice-mail on speaker.   SAMANTHA Pezon, 16,
sounds a bit frustrated.
                                                  23.


                    SAMANTHA (ON PHONE)
          I know you're over at that guy
          Matt's house right now, okay, cause
          they said you didn't show up for
          soccer practice, but you said the
          only reason you couldn't come see
          Bound By Love with me was because
          of soccer practice, so...You know,
          I just, I don't know what to think.
          I feel like we never hang out
          anymore, you've just been hanging
          out with those two guys for the
          last like three weeks, and I...ugh,
          call me back.

                    STEVE
          What would you suggest, as like, a
          course of action for me, here?

                    MATT
          Why are you asking US for advice on
          girls?

                    ANDREW (O.S.)
          Because we're his mistress.

Steve laughs.


INT. STEVE'S CAR - NIGHT

Steve is driving Andrew home.

                    STEVE
          -new camera's working out for you,
          that's good.
                                                CUT.

                    STEVE (CONT'D)
          I have to admit, though, I don't
          understand the filming thing.

                     ANDREW (O.S.)
          I told you, it's just my thing for
          right now.

                    STEVE
          You don't feel like it's a little
          weird? Like it puts a barrier
          between you and everything?

                    ANDREW (O.S.)
          Maybe I want a barrier.
                                                     24.


                     STEVE
          Okay.   I respect that.

                                                   CUT.

                    ANDREW (O.S.)
          My dad is actually a fireman, or
          was, I don't know. He got injured
          like two years ago, and now they
          just pay him out of, like,
          insurance. He doesn't do anything,
          I mean he goes out during the day,
          but I don't know where. He drinks
          a lot.

                    STEVE
          So how do you pay for your shit?

                    ANDREW (O.S.)
          I do computer repair, and stuff.     I
          actually make a lot of money...

                    STEVE
          What about your mom.

                     ANDREW (O.S.)
          My mom has spinal meningitis, she's-
          she can't work or anything, and the
          insurance doesn't cover all of her
          medicine, so a lot of my money has
          to go into that. I figure if I get
          enough on camera, maybe I can, I
          dunno, get custody of her or
          something.

Steve mulls this over.
                                                   CUT.

                    STEVE
          I've actually been having some
          problems with my parents, too.

                       ANDREW (V.O.)
          Yeah?

                    STEVE
          Nothing like yours, though.   Not-
          Never mind.

There's a long beat.
                                                           25.


                    STEVE (CONT'D)
          They've just been fighting a lot.
          I think my mom is cheating on my
          dad.

                    ANDREW (O.S.)
          ...That's intense.

                    STEVE
          Yeah. I know. I'm actually, yeah,
          I'm sure my mom is cheating on my
          dad.

                    ANDREW (O.S.)
          How-

                    STEVE
          I just, you know, I saw some stuff.
          It's weird, you don't think about
          your parents as like...people, or
          whatever. I don't know.

The two guys drive in silence.

                    STEVE (CONT'D)
          Don't tell anybody about that-

                    ANDREW (O.S.)
          Haha no of course, no way.

                    STEVE
          Good.


INT. DETMER RESIDENCE - ANDREW'S ROOM
It's dark. We can hear shouting from elsewhere in the house;
"useless bitch," "carry your ass long enough," etc. Andrew
reaches over and turns off the camera.


EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD - BLEACHERS

Matt, Andrew and Steve are eating lunch on the bleachers.

                     MATT
          See last night, alone, I got my
          whole bed off the ground. No
          nosebleed.

                    STEVE
          Yeah, I was doing weights, too.
                                                        26.


                    MATT
          Weights, like-

                    STEVE
          Free-weights, a barbell. I got up
          to two hundred pounds before I
          bled.

                    MATT
          So it's, yeah, this is my theory-
          it's like a vagina. Like it's
          elastic, but if you stretch it too
          far too quick it'll tear-

                    ANDREW (O.S.)
          Ew-

                    MATT
          And that's why we're getting
          better. We're loosening up.

                    ANDREW (O.S.)
          Couldn't that metaphor just be for
          any muscle in the human body, like
          working out or-

                    STEVE
          No, I like braingina.   Braingina is
          the shiiiiit.

Steve floats up a bunch of chips from his bag, and then rapid
fires them into his mouth.

                    ANDREW (O.S.)
          I think it's time we took this out
          of the backyard.
Matt and Steve look confused.


INT. STEVE'S CAR


Steve is driving, Matt's shotgun, Andrew's filming from the
back.

                    STEVE
          If anyone criticizes you, just call
          them a hater. It's like calling
          someone a racist, they'll just drop
          whatever they're complaining about
          and be like "I'M NOT A HATER."
          Nobody wants to be a hater.
                                                        27.



EXT. WAL-MART


Matt and Steve are walking in, Andrew lagging behind filming.

                    STEVE (CONT'D)
          Just stay back a little ways, yeah-

                      ANDREW (O.S.)
          I got it.


INT. WAL-MART

The guys are trying to stay out of sight, looking down an
aisle where shoppers stand.

                    STEVE (O.S.)
          That girl, with the cart.

A frumpy woman with a shopping cart suddenly starts pulling
on the cart. It suddenly breaks away from her, and goes
careening down the aisle by itself, her chasing after it. We
can hear the guys cracking up, trying to stay quiet.

                    MATT (O.S.)
          She's chasing- she's chasing it-

                                                     CUT.

Toy aisle. A toddler is looking at teddy bears.

                    ANDREW (O.S.)
          I got this.
One of the teddy bears suddenly comes to life, waving at the
little boy. The little boy is wowed. The teddy bear suddenly
takes off and flies through the air. Again the stifled
laughter.

                    STEVE (O.S.)
          Oh my god Andrew, look-


Andrew pans up to reveal a woman at the end of the aisle; she
saw everything, and is looking around, wide eyed.

                                                     CUT.

They're by the check out.
                                                         28.


                    MATT (O.S.)
          See that guy chewing gum?


                    ANDREW (O.S.)
          Umm...
              (camera finds the guy)
          Got him.

                    MATT
          I'm gonna get the gum right out of
          his mouth- watch this.

There's suddenly a little air ripple in front of the man's
mouth, and he's yanked face first into the gum and candy
rack, which all crashes apart. The guys all crack up and
start running.

                     STEVE
               (laughing)
          GUYS, WHY ARE WE RUNNING!? We
          don't need to run, we don't need to
          run!


EXT. FIELD - SUNSET

Matt sits on the hood of a car.   He and Andrew are flinging
rocks with their powers.

                    MATT
          That was a good one, you got that
          one far.

                     ANDREW (O.S.)
          Hey Matt.
              (beat)
          Do you like me?

                     MATT
          What?
              (beat)
          Sure, yeah. I mean, I didn't,
          always-

                      ANDREW (O.S.)
          Why not?

                    MATT
          Don't get mad, I mean, I like you
          now, I like you a lot. You're
          just, you're not super easy to talk
          to. You've got a lot of-
                                                         29.


                    ANDREW (O.S.)
          You're an asshole.

                    MATT
          See, that's what I'm saying.
          You're hostile, man.

                     ANDREW (O.S.)
              (beat)
          You know, you...If you hadn't
          invited me to that party, none of
          this would've happened.

                     MATT
          Yeah.

                     ANDREW (O.S.)
          Thanks.

Matt laughs.


INT. MATT'S CAR - AFTERNOON - WAL-MART PARKING LOT

None of the guys are visible.   They're filming a woman park
her car.

                    STEVE (O.S.)
          I just always feel like I miss
          stuff.

                    MATT (O.S.)
          We were just sitting around
          throwing rocks, it was nothing.

                    ANDREW (O.S.)
          Yeah, until all those chicks showed
          up.

                     STEVE (O.S.)
          What?   Shut up.

                    MATT (O.S.)
          Okay, here we go, here we go.

                    ANDREW (O.S.)
          Are you sure there's no one around-

                     MATT (O.S.)
          There's no one, I just looked, just
          go, ready?
              (beat)
          Ready?
                     (MORE)
                                                        30.
                    MATT (O.S.) (CONT'D)
          Okay, Andrew, remember, get under
          it, you're the strongest, Steve get
          the sides, I'll get the front and
          back, we gotta do this quick.
          Countdown. Three. Two. One. GO.

The car the woman parked shakily lifts off, and immediately
dips right.

                    MATT (O.S.) (CONT'D)
          Steve Steve Steve-

                    STEVE (O.S.)
          Got it, got it.

Silence, and we watch as the car gets to about twelve feet in
the air, makes a full 180 degree rotation, and then wobbles
through the air over to a spot several spaces away, and then
sets down, neatly in place.

        STEVE (CONT'D)                  MATT (O.S.)
FUCK YEAH! BOOYAH!              YES! FUCK YES! OH SHIT,
                                blood-


EXT. WAL-MART - PARKING LOT - SHORTLY THEREAFTER

Matt is sitting against the car with a wad of kleenex on his
nose, soaked with blood. Steve is leaning nearby, with a
brown paper napkin.

                     MATT
              (beat)
          My braingina is having like
          a...face period.
                    STEVE
          Yeah, you got some from your ears,
          too. You've gotta start working it
          out more, Matt.

                    MATT
          Yeah man, in between my yoga.

                    ANDREW (O.S.)
          You just need focus, Matt.

                    MATT
          Ha.

                    ANDREW (O.S.)
          You're lucky you got the kleenex,
          I'm stuck with the taco bell
          wrapper.
                                                           31.


Andrew holds out said wrapper in front of the camera.

                    MATT
          That's like, at least twice as much
          blood as I usually see on a taco
          bell wrapper.

                    STEVE
          Guys, guys. Look.

The camera moves around to show the woman returning to the
space where her car was parked. She stops, baffled, and
looks around. We hear the guys stifle laughter.

She notices her car parked up ahead and walks over to it,
looking around. Andrew tries to get a better angle, and she
notices him, and stares.

                       STEVE (O.S.) (CONT'D)
          Ignore us!

                       MATT (O.S.)
          We're
              (beat)
          Mormons!

The woman stares a moment longer, and goes to her car.


INT. MATT'S CAR - MOMENTS LATER

Matt's driving, Steve's shotgun, Andrew filming from the
back. It's raining.

                    MATT
          -sfucking insane, we just changed
          her life. We did-

                    ANDREW (O.S.)
          Her face, I can't get her face out
          of my head.

                    STEVE
          That was fucking great. I mean,
          this just gives me so many ideas,
          already, stuff we could do-

There's honking from outside.

                    MATT
          Oh come on, what is this?
                                                           32.


                    STEVE
          He's like right on your bumper,
          too.

Matt rolls down the window and gives the signal to pass.
More honking.

                    MATT
          Can you fucking believe this guy?

                    STEVE
          He's just some asshole redneck,
          look at him. He's fucking with us.

They are driving out over a bridge in the woods.

                    MATT
          I don't know what to do, what
          should I-

                    ANDREW (O.S.)
              (laughing)
          Here, take the camera, take the
          camera.

He hands off the camera to Steve; now we see Andrew sitting
in the back seat. Behind him, through the back window, we
can see a pick-up truck, honking, way too close.

                    ANDREW (CONT'D)
          Abracadabra.

Andrew flicks his hand at the truck. The effect is
instantaneous: THE FRONT OF THE TRUCK CAVES IN LIKE IT JUST
HIT A BRICK WALL, WHAM, AND SENDING IT CRASHING OFF THE
BRIDGE, OUT AND DOWN AND INTO THE WATER.
                    STEVE (O.S.)
          ...I...what...


EXT. THE BRIDGE

The camera is being held loosely at Steve's side;
everything's upside-down, and we can't see anything, but can
hear the guys are clearly freaked out.

                    MATT (O.S.)
          What the fuck did you do, man, what
          the fuck-

                    ANDREW (O.S.)
          I didn't mean to, I didn't-
                                                           33.


                    MATT (O.S.)
          Fuck! SHIT! What's wrong with
          you, look at this, fuck!

                    STEVE (O.S.)
          Is he still in there? If he's in
          there we have to get him out-

                    ANDREW (O.S.)
          Guys, just calm down, I'm sorry,
          okay-

                    STEVE (O.S.)
          Fuck that, take your fucking
          camera.

The camera is shoved to Andrew's chest, and lingers there a
moment before he brings it up to show a view off the bridge;
the truck is already sinking in the water fifteen or so feet
below. We tilt up to see Steve taking off his jacket.

                    ANDREW (O.S.)
          You don't have to- I mean I can-

Andrew raises out a hand, trying to telekinetically lift the
car. It rattles, and then Andrew groans in pain.

                    MATT
          Andrew, just stop, just stop doing
          things.

Steve dives off the side of the bridge.   Andrew films him for
a moment, swimming to the car.


INT. MATT'S CAR - MOMENTS LATER
Andrew's filming Matt, who looks angry as he drives very
quickly.

                    ANDREW (O.S.)
          Are you mad?

                    MATT
          Stop, just stop.


EXT. RIVER SIDE ROAD

Matt and Andrew pull up to see Steve dragging the REDNECK
ASSHOLE out of the water. They hurry out of the car.

                                                      CUT.
                                                          34.


Steve has the guy on the shore.    He's dazed and bleeding.

                    REDNECK ASSHOLE
          -what happened, cause...I don't
          know....my truck, my truck...

                    ANDREW (O.S.)
          Is he okay?

Steve just stares directly at Andrew.   Andrew pans to reveal
Matt, on a cell phone.

                    MATT
          Yes, just past White Crescent
          bridge. Down by the- yes-

                    ANDREW (O.S.)
          Is that the cops, are you calling
          the cops?

                    MATT
              (ignoring him)
          Yeah, just come- no, I don't know.
          I don't know, maybe internal
          bleeding, or-

                                                       CUT.

Later. The cops and an ambulance have arrived. An officer
is talking to Matt, Steve and Andrew; the camera is held low.

                    LOCAL OFFICER
          -looks like he'll be okay. Lucky
          you guys were here. Is that on?
          You can go ahead and turn that off.
The camera shuts off.


EXT. STADIUM PARKING LOT - NIGHT

Matt looks FURIOUS, while Steve just looks uncomfortable and
freaked out. Matt's car is parked nearby.

                    ANDREW (O.S.)
          I don't see how you guys can be so
          angry-

                    MATT
          You don't see how we can be angry?
          You put a man in the hospital for
          fucksakes. You put a man in the
          hospital, you hurt somebody-
                                                           35.


                    ANDREW (O.S.)
          He was being an asshole- he- I
          didn't mean to-

                    MATT
          Which part of that do you mean, do
          you mean he was being an asshole,
          or was it an accident? Was it an
          accident, Andrew, cause you're the
          strongest. Listen, with this, we
          can't fuck around, ever.

                    ANDREW (O.S.)
          Then what've we been doing, we've
          been fucking around-

                    MATT
          NOT LIKE THAT, ANDREW. That's- you
          can't use it on people, or hurt
          people like- Steve, help me out.

Steve seems lost for words.

                    ANDREW (O.S.)
          I-

                    MATT
          We need rules, okay. Rule #1, you
          can't use it on living things.
          Rule #2, you can't use it when
          you're angry-

                    ANDREW (O.S.)
          You can't just declare rules,
          you're not-
                     MATT
          I will fucking declare rules, okay?
          If we keep going, and getting
          stronger, we need rules. We need
          rules.
              (beat)
          Damn it Andrew turn off the cam-

                                              SNAP TO BLACK.


INT. DETMER RESIDENCE - ANDREW'S ROOM

It's morning. The camera lays on the bed.     Andrew can be
heard breathing.

                                                CUT.   LATER.
                                                          36.


The camera moves, and is picked up, following a spider as it
moves across the floor. It crawls up onto the side of the
bed, then onto the sheets. Andrew's finger points at it.

The spider is telekinetically lifted into the air.    It hangs
struggling there for a moment, then becomes rigid.

He spreads his fingers, and the spider abruptly separates
into all of its component parts. They stop moving, hanging
lifeless.

Andrew's home phone rings, and he drops the spider.    Rings
again.

                    MR. DETMER (O.S.)
              (from downstairs)
          Andrew! Answer the fucking phone!


INT. MATT'S CAR - STEVE'S STREET

Andrew's filming Matt from shotgun.

                    ANDREW (O.S.)
          Did he say what it was about?   When
          he called, what did he say?

Matt's quiet.

                    ANDREW (O.S.) (CONT'D)
          Are you still mad at me?

                    MATT
          I'm not mad.

                     ANDREW (O.S.)
              (beat)
          You seem mad.

                    MATT
          ...Power corrupts, is all I'm
          saying, man.

                    ANDREW
          What does that even mean?

                    MATT
          I just mean that we have to think
          about things more now, okay? We
          can't just DO things, we have to
          think first.

                    ANDREW
          ...I understand.
                                                           37.


                    MATT
          It's just- nah, nevermind, we're
          here.


EXT. STEVE'S HOUSE - MORNING

The house is big and nice, somewhat isolated.    Matt is
walking up ahead of Andrew to the door.

                      STEVE (O.S.)
          Hey kids.

Matt stops, and both Matt and Andrew look around.

                     MATT
          Steve?   Where are you?

                                                       CUT.

Steve is atop a power line pole, thirty feet in the air.
Andrew and Matt look up at him from the ground.

                    STEVE
          Just try it, it's easy.

                    ANDREW (O.S.)
          That doesn't look easy.

                    STEVE
          You throw yourself at the ground.
          You just fall, and catch yourself,
          and then it's easy, I swear. Don't
          try to jump or you'll flip
          yourself.
                                                       CUT.

Matt hurls himself at the ground, WHAM. Cut, and again,
WHAM. Cut, and this time he flips himself BAM WHAM.

                    ANDREW (O.S.)
          Let me try-

                      MATT
          Yeah.    I'm done for now.

                                                       CUT.

Matt's now holding the camera, showing Andrew.    He checks the
street for cars.

                    MATT (O.S.) (CONT'D)
          No cars, no cars, go.
                                                         38.


Andrew throws himself forward.   And stops, hanging in mid
air.

                     ANDREW
           Whoaaaamygod...whoaaa...

Matt moves in for a closer look at floating Andrew, and gives
a glance up at Steve, who's cheering on the telephone pole.

                     MATT
           HOLY SHIT DUDE! HOLY SHIT, DUDE,
           HOLY SHIT! HOLY...SHIT DUDE, HOLY
           SH-

                                                      CUT.


EXT. SKY

At first it's not clear what we're looking at, just blue sky.
Wind is very loud. The camera pans down to reveal we're FIVE
THOUSAND FEET IN THE AIR, in a clearing between two larger
cloudbanks.

The camera pans all the way down to show Andrew's dangling
feet, and below them, the impossibly far drop. We can hear
Andrew laugh.

                                                      CUT.

We can see Steve and Matt, nearby, now wearing winter-coats
and hats to keep warm. They're playing catch with a
football. Steve tosses it to Andrew, who actually goes into
a short dive to catch it. He looks up to see Steve and Matt
distantly cheering and waving their approval.
                                                      CUT.

Steve's holding the camera, filming Andrew attempting a few
fancy moves, but he's a clumsy flier. Matt does a few neater
tricks in some clips.

                      STEVE (O.S.)
           Hey Matt, you're finally good at
           something!

                      MATT
               (loud)
           What? The wind!

                     STEVE (O.S.)
           I said you're an idiot!

Matt gives the thumbs up, and Steve laughs.
                                                          39.


                    MATT
          It's about aerodynamics! If I put
          a barrier just in front of me, I
          can go way faster, cause it cuts
          wind resistance!

                    STEVE (O.S.)
          I can't hear a damn thing you're
          saying!

                     MATT
          Yeah!   Definitely!

                                                        CUT.

Steve and Matt are seen flying around, Steve further away,
near a large cloud bank. Matt is using his abilities to
shape cloud fluff into an M. There is a humming, rattling
sound, slightly audible even over the deafening wind.

                    ANDREW (O.S.)
          Guys, do you hear that?

Neither of the guys can hear him. Steve however stops in the
distance, looking around. He shouts something, inaudible.

                     ANDREW (O.S.) (CONT'D)
          What?   I can't hear you!

Steve pantomimes, pointing at his ear and shrugging.

A BOEING 737 BLOWS OUT OF THE CLOUDBANK BEHIND STEVE.    He's
spun like a top in its wake, and drops like a rock.
Suddenly we're launched downwards, and after a moment, the
camera disconnects from Andrew, and we see him zooming ahead.
The camera, in free-fall, spins wildly, then suddenly it
swims through the air dizzily and lands relatively gently in
some tall grass. Less than a second later, Andrew and Steve
come falling down into the grass and roll roughly, splitting
apart.

They lay there, breathing hard. Andrew sits up, coughing;
his eyes, nose and mouth bleeding. Steve suddenly leaps up.

                    STEVE
          WOO! HOLY FUCKING FUCK! I COULDA
          DIED, MAN! I ALMOST FUCKING DIED!

Steve grabs Andrew, shaking and hugging him.
                                                        40.


                      STEVE (CONT'D)
          You saved   my life, dude! Andrew,
          you saved   my fucking life! Is that-
          Holy shit   is that the camera?! You
                      AND THE CAMERA!?
          caught me

                    ANDREW
              (exhausted)
          Y- yeah-

                    STEVE
          FUCKIN' AMAZING!

Matt touches down behind them, frantic.

                    MATT
          What happened, are you-

                      STEVE
          Ahhhhh!

Steve joy-tackles Matt to the ground.

                    MATT
              (laughing)
          What the hell, what the hell-

Andrew, laughing tiredly, rolls over and grabs the camera.

                                                     CUT.

They're all standing in the field; Steve is still wigging
out.

                    STEVE
          This is what people have wanted
          forever, since like caveman times!
          Do you understand, I mean do you-
          jesus christ, I can't even-
          Everything is fucking great! I CAN
          FLY! Matt, listen, just say it!

                    MATT
          ...I can fly.

                    STEVE
          Shout it out man!

                     MATT
          I CAN FLY.
              (realizes it feels good)
          I CAN FLY!

Matt stands, shouting out at the field.
                                                          41.


                    MATT (CONT'D)
          I CAN FUCKING FLY!

Andrew cheers from behind the camera, and Steve laughs.

                       ANDREW (O.S.)
          I CAN FLY!

                     STEVE
          FUCK.   YES.

                                              HOLD ON BLACK
                                              FOR A MOMENT.


EXT. STEVE'S HOUSE - POOL - NIGHT

Steve, Matt and Andrew are sitting around the pool outside of
Steve's house; empty beers are all around. All three are at
least tipsy.

Matt is up.

                    MATT
          Yo Andrew, Andrew, gimme a beat.

                      ANDREW (O.S.)
                (flatly)
          No.

All three crack up.

                    MATT
          That's cold, you're so cold! MY
          OWN COUSIN! DJ Steve, dial me up-
Steve immediately starts beatboxing.

                    MATT (CONT'D)
          Okay, yo, yeah, yo, you say you
          wanna get high you ain't high as
          me, you chillin' at yo mom's house
          I'm at four thousand feet, cauuuse
          I got those tight muscles, in my,
          braingina, and you better believe
          I'm a, frequent flyer, and you know
          I don't need no turbines, ladies
          fly first class on Garrety
          airlines, my DJ is senior class,
          president, straight outta Oregon,
          gotta, represent, Matt Garrety
          bitches, I'm the young Clark Kent.
                                                        42.


Steve and Andrew cheer and Matt takes a bow.

                                                     CUT.

The guys have broken open glowsticks, and Steve is filming as
Andrew and Matt manipulate snakes of the glowing fluid at
each other; it's beautiful.

                                                     CUT.

We cut between three sing alongs; "Shake That" by Nate Dogg
and Eminem (which Andrew protests too, as he doesn't know the
lyrics), "How You Remind Me" by Nickelback, and "Macho Man"
by The Village People.


INT. STEVE'S HOUSE - LIVING ROOM - LATER

The guys are in that sleepy mode, now. Andrew's filming, but
not really focusing on anything. Matt's sprawled out on a
couch opposite him. Steve's in a chair nearby.

                    MATT
          But how does she not notice?

                    STEVE
          Well, I mean, she notices that it's
          gotten better, definitely. You
          just have to be subtle.

                    ANDREW (O.S.)
          That's so cool. Doesn't that count
          as breaking rule #1 though?

                    STEVE
          Pfff, technicalities.
                    MATT
          Man, I haven't had sex since
          like...a year.

                    ANDREW (O.S.)
          I haven't had sex since ever.

                    STEVE
          Ugh, man, you guys...how are you so
          cool?

                    MATT
          Liquid nitrogen.

                                                     CUT.
                                                      43.


Later. Drowsier. Light's coming from the TV. The camera is
laying haphazardly on Andrew. They're all nearly asleep,
drowsy drunk.

                     MATT (CONT'D)
           Hey guys, are you up?

                        STEVE
           Yeah.

                        ANDREW (O.S.)
           YO.

                     MATT
           Today was like...the best day of my
           life. Like I was thinking and I
           can't think of any day I liked
           better than today.

There's a silence.

                        ANDREW (O.S.)
           Yeah.

                        STEVE
           Unanimous.     Yes.

                     MATT
           Okay...good.

Beat.   Silence.


EXT. HAVEN HILLS FARM - THE CLEARING - MORNING

Time has passed; maybe two weeks. It's early. The hole is
clearly caved in; the entire area is slumped downwards.

                     STEVE
           Well that answers that.

                     ANDREW (O.S.)
           I feel stupid now that I was scared
           to come back.

                     MATT
           Nah man, we were all- I mean, I
           was, definitely, yeah.

A POLICE OFFICER appears.

                     POLICE OFFICER
           Hey, you kids can't be here, okay?
           You gotta move on out.
                                                         44.


                       MATT
          What?

                    POLICE OFFICER
          The ground is unstable, we're
          cordoning the whole place off.


INT. DINER - MORNING

Steve is filming Andrew and Matt across the table.

                    STEVE (O.S.)
          I'm live on scene here with Matt
          and Andrew, boys, can you tell us
          what's happening?

                    ANDREW
          Well, uh, it would appear that a
          Virgin Mary has appeared in the
          maple syrup on a young local man's
          pancake.

                    MATT
          In a second it will, wait...

Matt focuses, and we see his syrup form a Virgin Mary.

                    STEVE (O.S.)
          That is, that is some very uh,
          definitely supernatural shit, going
          on there.

                                                     CUT.

                    MATT
          Well, when I was really little, I
          wanted to be police officer.

                    STEVE (O.S.)
          Oh, no shit?

                    ANDREW
          Fuck you, pig.

                    MATT
          No, I just really got into on the
          idea of altruism, you know?

                    ANDREW
          What's that mean?
                                                           45.


                    MATT
          Like making things better for
          everyone.

                    ANDREW
          So what, you wanna do like, a
          charity? That's lame.

                    STEVE (O.S.)
          Why is that lame?

                     ANDREW
          I dunno.

                    MATT
          I mean, I'm not gonna- it doesn't
          matter, you know. I'm never gonna
          get out of this piece of shit town.
          You know, we're all just little
          pieces. One person can't really
          make a difference. I used to think-
          I don't know. I don't know.

Matt telekinetically lifts a spoon and rockets it at the
camera; it plinks off.

                     STEVE
          AAH!   DOUCHEBAG!

                                                     CUT.

Now Matt has the camera, filming Steve.

                    MATT (O.S.)
          So what's it feel like to be good
          at everything?
                    STEVE
          I'm not good at everything-

                    ANDREW (O.S.)
          Name something you're bad at.

                    STEVE
          I'm not GOOD at everything, I just
          do my best at everything. That's
          what it's about. I mean you talk
          about philosophy and shit all the
          time, but you never really do
          anything. Have you even applied to
          colleges yet?

                    MATT
          I'll get to it-
                                                        46.


                    STEVE
          You could use some of that, man,
          I'm just saying.

                    MATT (O.S.)
          Oh yeah? Well you could use some
          shut the fuck up.

                    STEVE
          You lack initiative.

                    MATT
          You lack...a dick.


EXT. ROAD - LATER

The guys are walking along. Andrew's holding the camera
loosely, not really caring, they're chatting, it's chill.
Matt gets a text.

                    MATT
          Shit man, I got my mom's birthday,
          I gotta go.

                    ANDREW
          Say hi for me.

                    STEVE
          Later dude.

Matt turns and casually rockets off into the sky.

                     STEVE (CONT'D)
          What're you doing, where are you
          going now?
                    ANDREW
          Well I don't wanna go home yet.
          You wanna go into the city?

                    STEVE
          Ah, dude, it's rush hour.

                    ANDREW
          So?

There's a beat, and then Steve laughs.

                    STEVE
          Hell yeah, dude.
                                                          47.


EXT. PORTLAND - THE ROOF OF THE KOIN CENTER - SUNSET

They're 46 stories up, chillin' with milkshakes.   It's
fucking awesome. The city is beautiful.

                    STEVE
          I wish I could bring Samantha up
          here. She'd love this.

                    ANDREW (O.S.)
          You still haven't told her?

                    STEVE
          Nah, no way. She'd freak out.

                                                       CUT.

                    STEVE (CONT'D)
          Mom's like, never home anymore. I
          mean, you saw how my dad is, he's
          just quiet. Sits around. I don't
          know. And talking to him about it
          is just pointless. He's got
          nothing to say.

                                                       CUT.

                    ANDREW (O.S.)
          And it's bad, because her pain gets
          real bad, you know, and we can't
          afford the good meds anymore. When
          I was little it wasn't as bad, but
          even then dad was still, you know,
          the way he is. I don't know. I
          don't know anymore. I don't know
          how to feel.
                                                       CUT.

                    STEVE
          It'll be fine, dude.    You'll figure
          it out.

                       ANDREW (O.S.)
          I hope so.

                    STEVE
          Hey, I wanted to ask you, winter
          break's coming up...You wanna do
          the talent show with me? Get you
          out there, you know, meet some new
          people.
                                                  48.


                    ANDREW (O.S.)
          No, I- I mean, no, that's not- I'm
          really shy, and I don't have any
          talents, or-

                    STEVE
          Yes you do, you have a talent, you
          have a talent.

                    ANDREW (O.S.)
              (getting it)
          ...Oh, no way. No way-


INT. DETMER RESIDENCE - SANDRA DETMER'S ROOM

Sandra's in bed, sicker than ever.

                    SANDRA DETMER
          You look handsome.

                    ANDREW (O.S.)
          Yeah, Steve chose my clothes, he's
          gonna do my hair.

                    SANDRA DETMER
          I'm glad you are spending so much
          time with your friends.

                    ANDREW (O.S.)
          Oh yeah, me too.

                                                CUT.

Andrew's camera is down at his side.
                    MR. DETMER (O.S.)
          -getting to school?

                    ANDREW
          I don't know what you mean-

                    MR. DETMER (O.S.)
          Don't bullshit me idiot. Matt
          doesn't come, he don't drive up.
          You leave the house, and who the
          fuck is giving you rides to school?

                    ANDREW
          Matt.
                                                        49.


                    MR. DETMER
          No, wrong. Something's fucking
          going on with you, you can't hide
          it. Think you can slink around,
          sneaking- sneaking around the
          house, smiling, I know your shit.
          And we ain't got no more fucking
          money for your mother's pain
          medication, either.

                    ANDREW
          ...I'm sorry, I'll try to-

                    MR. DETMER
          Sorry isn't good enough, fuck up!
          You're a fuck up. You fuck
          everything up. Put that fucking
          camera away-


INT. BENJAMIN FRANKLIN HIGH - AUDITORIUM

At first, it's just a shot off Matt's feet, the camera
pointing down, and we can hear hub-bub all around. It goes
to nightvision for a moment, then over-exposes, then back to
normal.

                    MATT (O.S.)
              (grumbling)
          Fuck...the stupid...

The camera is levelled, showing a high-school auditorium's
stage. A group of kids are playing screamo music. Cut, a
little later. A girl is singing. Cut. Casey, the girl with
the videoblog from the barn party, is doing hip-hop booty
dancing. She's good. The camera lingers on her.
                    MATT (O.S.) (CONT'D)
          ...s'fuckin awesome...

                                                     CUT.

It's a few minutes later. "Techno-Syndrome" (MORTAL KOMBAT!)
begins to play. There's a beat, and then Steve, in a tuxedo,
rushes out onto stage. The applause is DEAFENING, girls
screaming, etc.

He raises his hands for silence, and then "presents" Andrew,
also in a tuxedo. Mixed reaction from the crowd. Andrew's
carrying a deck of cards; he fumbles them, they spill onto
the floor. Audience laughter; Steve throws up his arms in
exasperation.
                                                          50.


Andrew shrugs, and all the cards leap back up into his hands.
There's a beat, and then the audience goes APESHIT.

                     MATT (O.S.) (CONT'D)
          Yes!   Fuck yes!

                                                     CUT.

Andrew is juggling, six balls at once. Steve is drinking a
soda, and offers Andrew the soda. Andrew is annoyed. Steve
pantomimes joy at not having to give up his soda. Andrew
stops juggling, leaving all the balls hanging in the air, and
snatches away Steve's soda.

Steve lunges after him and gets back his soda, only to have
all the balls drop out of the air and hit him. The audience
is LOSING THEIR FREAKING MINDS.

                                                     CUT.

People around Matt are buzzing about how awesome it is.

Andrew is transporting buckets of water across the stage,
spilling water everywhere. Steve is pantomiming anger at the
shoddy job he's doing. Andrew pantomimes "Well, you try."
Steve tries, but trips and falls, sending the contents of the
bucket flying out over the audience-

-only for it to seemingly REWIND back into the bucket!    The
place GOES BERZERK.

                                                     CUT.

Steve and Andrew take their bows to overwhelming cheers,
separately. Andrew bows again, and people freak out. We
hear Matt cheering behind the camera.

INT. MATT'S CAR - NIGHT

Andrew's filming from shotgun.

                    MATT
          Just amazing dude-

                    ANDREW (O.S.)
          You really think so-

                    MATT
          Are you fucking kidding, I've never
          seen a reaction like that in the
          auditorium, you guys- it was
          fucking like- it shook the
          building. You guys are rockstars.
                                                        51.


                    ANDREW (O.S.)
          Yeah, it did- it did feel like
          that. All the girls screaming-

                    MATT
          Ah, see, here's the first stage of
          your downfall, hubris.

                    ANDREW (O.S.)
          What's that?

                       MATT
          What?

                    ANDREW (O.S.)
          What's "hubris?"

                       MATT
          Seriously?

                     ANDREW (O.S.)
          What "seriously," fuck you
          seriously!

                    MATT
              (laughing)
          I'm sorry, I'm sorry-

                     ANDREW (O.S.)
          Hey Matt.
              (beat)
          What's "seriously" mean?


EXT. HOUSE PARTY
It's a house party, raging. Steve's out on the porch with
his girlfriend SAMANTHA, 16, super hot, of course.

                    SAMANTHA
          AAAH ANDREW!

Samantha runs down and embraces Andrew, knocking around the
camera.

                       SAMANTHA (CONT'D)
          Hi Matt!

                    MATT
          Hi Samantha!
                                                        52.


                    SAMANTHA
          Everybody's freaking out, you've
          gotta come in here-

                                                     CUT.

We see shots of the house party, which is rocking. People
keep coming up to Andrew and telling him "That was awesome!"
Or "You fucking rock!" Andrew sheepishly acknowledges this.
Finally, a very hot girl with pink hair and a monroe piercing
is talking. This is MONICA, 16. She's a little drunk.

                    MONICA
          Just fucking amazing. Magic is so
          hot. Do you know, me and my mom,
          in Vegas, went to a magic show, but
          they didn't have anything like
          that.

                    ANDREW (O.S.)
          Yeah, well, we spend a lot of time
          practicing-

                    MONICA
          Do you not remember me, at all?

                     ANDREW (O.S.)
          What?

                    MONICA
          We took American History together.

                    ANDREW (O.S.)
          Oooh, oh yeah, your hair was
          different; it was blue, right?
                     MONICA
          Yeah!

                    ANDREW (O.S.)
          Monica, yeah-

                     MONICA
          Yeah!   Hiiii!

                                                     CUT.

More shots of the party, of Monica talking. She entreats
Andrew to join her on a beer-pong team. A little tipsy,
Andrew agrees, setting down the camera on a couch. It lays
there. SOME GUY picks it up.
                                                        53.


                    SOME GUY
          And now, you get a special treat,
          I'm gonna film myself taking a
          piss.

Matt snatches away the camera from him.

                                                     CUT.

Matt's walking around with the camera now he films people
dancing, talking, a people taking shots. Casey passes,
filming for her video blog. Matt's camera follows her, but
then goes back to Steve, who's cheering on Andrew and Monica,
who are of course dominating at beer-pong. But they take
shots anyway.

                                                     CUT.

                    STEVE
              (drunk)
          Matt, you have the camera yeah?
          You have the camera, cause, don't
          let him forget the camera, okay?
          That's Andrew's camera.

                      MATT (O.S.)
          Right on.

                                                     CUT.

Matt wanders the party; a stoner comes up.

                    STONER
          Hey Matt, wanna blaze?

                     MATT (O.S.)
              (beat)
          No, I'm good. I'm just filming for
          Andrew.

                    STONER
          Andrew? He's upstairs in the
          bedroom hooking up with that,
          whatshername, hair girl.

                    MATT (O.S.)
          Yeah, I'm a little drunk though.
          Movies! Makin movies.

The stoner wanders off.

                    MATT (O.S.) (CONT'D)
          I'm making an experimental film.
                                                        54.


EXT. HOUSE PARTY - PORCH

Matt turns the camera around to film himself.

                     MATT
          Hey Andrew, hope you're seeing
          this. Congratulations, sir. I'm
          drunk, sorry. I was really worried
          about you, like, before everything,
          but I do feel like...
              (beat)
          I feel like this will get better
          for you, man. I'm sorry I haven't
          been there for you as much, you
          know, when we were growing up,
          because, I know you could be an
          angry...be an angry dude. But I
          love you, you know. Detmer-Garrety
          extended family for liffffeeeeee.
              (beat)
          But listen when did I become the
          one who's...who's out alone filming
          myself, with the camera-

                      CASEY
          Hey Matt.

The camera spins to reveal her, and then immediately drops to
Matt's side.

                    CASEY (O.S.) (CONT'D)
          What were you filming?

                    MATT (O.S.)
          Just a thing, it's nothing like-
          you know, Eye Of The Storm or
          anything-

                    CASEY (O.S.)
          You watch my blog?

                    MATT (O.S.)
          I- yeah, a lot of people do. I've
          actually been stalking you since
          like, sophomore year- sorry, use of
          the word stalking-

                    CASEY
          Stockings are why I love Christmas.
          You wanna get outta here? This
          place is too loud for me.
                                                          55.


                    MATT
          Yeah, I- YES- yeah, just gotta drop
          off the cam-

Matt fumbles with the camera, turning it off.

                                               BLACK SCREEN.
                                              HOLD ON BLACK.


INT. DETMER RESIDENCE - ANDREW'S ROOM - MORNING

We can hear it raining hard outside.

The camera is laying on its side on the floor, and turns on
when Andrew fumbles with it. There's screaming from
downstairs; long and low, real pain sounds.

Andrew drops the camera and rushes out the door.    The camera
lays on the floor. Time passes.

                    ANDREW (O.S.)
              (faintly)
          Mom, it's going to be okay, okay?
          Just try to get through, it's going
          to be okay.

Mr. Detmer enters, and notices the camera.    He reaches down
and picks it up.


INT. DETMER RESIDENCE - LIVING ROOM

In the squalid living room of the Detmer residence. The
camera is being held off at an angle by Mr. Detmer, as Andrew
tries to get it back. It moves around a bit, so Andrew and
his father are both on/off screen.

                    MR. DETMER
          -think you can fucking use me,
          you're abusive, you're a fucking
          user little piece of shit. I went
          through your camera.

                    ANDREW
          What'd you...You- what'd you see?

                    MR. DETMER
          Just you fucking being a drunk
          mess, spending my money, drinking
          with your fucking friends-
                                                           56.


                    ANDREW
          I didn't spend any of your money,
          RICHARD-

                    MR. DETMER
          Cause I don't have any fucking
          money to spend, it all goes to
          school for you, for medication for
          your mother-

                    ANDREW
          School doesn't cost any money, I go
          to public school you idiot-

                    MR. DETMER
          -now we can't afford your mother's
          pain meds anymore, up there
          screaming- did you just- what THE
          FUCK DID YOU JUST CALL ME? CALL ME
          A FUCKING IDIOT?
Mr. Detmer hurls the camera directly into Andrew's face.    It
knocks him down and clatters to the floor.

                    ANDREW
              (clutching his face)
          You asshole, you fucking crazy
          asshole-

                    MR. DETMER
          GET OUT OF MY HOUSE! YOU'RE DONE
          LIVING HERE, GET OUT!

Detmer rushes up to Andrew and slaps him, and again, and
again, and again, and WHAM! Andrew backhands Detmer HARD,
flooring him. Andrew turns and picks up the camera, leveling
it coolly on his father as he tries to stand.

Andrew's arm snakes out and grabs Detmer by his throat,
lifting him easily and slamming him against the wall.

                    MR. DETMER (CONT'D)
          I can't- can't move-

            ANDREW                        MR. DETMER
I COULD CRUSH YOU. YOU KNOW     Get- off- let me go- you're
THAT, I CAN FUCKING CRUSH       hurting me-
YOU. I CAN KILL YOU WITHOUT                                      *
EVEN FUCKING TOUCHING YOU.

Andrew turns and flings Mr. Detmer into the sofa, which flips
on the impact. We can hear Andrew's gasping sobs, panicked,
as he turns, runs out of the house, and LAUNCHES INTO THE
AIR.
                                                        57.


EXT. THE THUNDERSTORM

Andrew's just below the clouds, massive dark and ominous
above him. It's clearly not safe, rain and wind whipping his
body, lightning crackling inside the clouds. We can hear him
breathing hard.

He touches the bottom of a cloud, and gets a powerful
electric shock, forcing him to back off a tiny bit.

                     STEVE (O.S.)
          HEY!   HEY ASSHOLE!

The camera turns, showing Steve, in a rainslicker, flying up
to meet Andrew.

                    ANDREW (O.S.)
          Where's Matt?

                    STEVE
          We have to get down from here right
          now, Andrew! This isn't safe!

                    ANDREW (O.S.)
          Where's Matt?

                    STEVE
          Hung over, dude! You should be
          too! Let's just-

                       ANDREW (O.S.)
          No!

                    STEVE
          What the fuck are you doing?
                     ANDREW (O.S.)
          I'm filming the storm, no one's
          ever filmed a storm like this up
          close bef-

                    STEVE
          No, we're getting the fuck down,
          now. This is fucking crazy, Andrew-
          what- what happened to your face?

                       ANDREW (O.S.)
          ...My dad-

                    STEVE
          Your dad fucking beat the shit out
          you! Come on, we'll go to the
          cops, let's get out of here. He
          can't do that Andrew.
                    (MORE)
                                                           58.
                    STEVE (CONT'D)
          This is not the way you handle it,
          we'll go together, let's go, he
          can't do that-

                    ANDREW (O.S.)
          You don't give a shit, stop acting
          like you care!

                    STEVE
          I don't fucking care!?    You're my
          best friend, idiot!

                      ANDREW
          ...What?

                    STEVE
          I hang out with you and Matt
          practically every fucking day! You
          think I talk to anyone else about
          my parents, or my feelings on shit,
          are you that fucking insecure?

                    ANDREW
              (long beat)
          I'm an idiot. I'm sorry Steve, oh
          god, I'm sorry-

                    STEVE
          Dude, it's okay.     You just need
          help, okay?

                    ANDREW
          Yeah, yes, I don't know what I'm
          doing-

                    STEVE
          It'll be fine. But we've- ...Do
          you hear that? I hear...singing.

A BLINDING FLASH OF LIGHTNING STRIKES STEVE, BLASTING HIM OUT
OF THE SKY. The boom of thunder is deafening.
For a moment, all we can see is the stormscape, and then we
hear Andrew's rushed, panicked breathing.

                                                      DIGITAL
                                                DISTORTION TO
                                                       BLACK.


EXT. CEMETARY - DAY

It's a gray, dark day. A funeral is in progress; we're
filming from within the mourning party.
                                                             59.


A large picture of Steve is on a stand as the priest reads a
eulogy. Andrew's camera movements are rigid again, tight and
confined, back to how they were when we first started.

We see Steve's mother and father. His mother is sobbing.
His father simply looks shellshocked, staring at the casket.
Steve's mother leans on his father, and he pushes her away.
There's Samantha, crying uncontrollably. The camera passes
Matt...

Who's staring directly at us.

                                                       CUT.

Andrew walks along in the cemetary, filming tombstones.

                     MATT (O.S.)
           What are you doing? Filming
           graves, I don't get it.

The camera looks up at Matt.    He's keeping his distance.

                     MATT (CONT'D)
           You're not returning my calls, why
           aren't you returning my calls.

                     ANDREW (O.S.)
           I've been busy.

                     MATT
           No you haven't. Why aren't you
           returning my calls. Turn off the
           camera.

                     ANDREW (O.S.)
           ...No.
                     MATT
           Turn off the camera.

Silence.

                     MATT (CONT'D)
           I had a missed call from you, that
           morning. And from Steve. I
           listened to your voicemail. No
           voicemail from Steve.

                     ANDREW (O.S.)
           I was upset.
                                                60.


                    MATT
              (long beat)
          How do you get struck by lightning
          during a storm with no recorded
          lightning strikes?
              (waits, nothing)
          You can look that up online, you
          know, they keep track of it. I
          looked it up. Zero. And they find
          him out in a field, why would Steve
          go out in the middle of a field
          during a lightning storm?

The camera shifts a little.

                    ANDREW (O.S.)
          I don't know-

                     MATT
          What?

                    ANDREW (O.S.)
          I don't know-

                    MATT
          No, no, you do know, you do know, I
          think you do know.

                     ANDREW (O.S.)
          I don't.

                    MATT
          What happened, Andrew. Just stop,
          stop lying to me, and tell me-

                    ANDREW (O.S.)
          I'm not lying, I don't know what
          happened-

                    MATT
          I don't believe you, okay! I don't
          believe you, I want you to- put the
          fucking camera down.

                     ANDREW (O.S.)
          No, why-

                    MATT
          Because I want to talk to you. Put
          it down- put it down, Andrew,
          please- put it down, turn it off,
          put the fucking-
                                                         61.


Matt, very upset, suddenly advances on Andrew, trying to pull
the camera away. He's suddenly shoved backwards; Matt
recovers himself before he falls, staring at Andrew. The
camera hangs limply for a moment.

                    MATT (CONT'D)
              (breaking down a little)
          What did you do, Andrew? What am I
          supposed to do? Who am I supposed
          to tell, about this, man? Who do I
          tell? I mean- I don't, I don't
          know how I'm supposed to- Why won't
          you just tell me what happened?

The camera and Andrew suddenly launch into the air, rocketing
away from Matt.


INT. DETMER RESIDENCE - ANDREW'S ROOM

The camera is on Andrew's dresser, near his mirror.   Andrew
suddenly appears, holding a kitchen knife.

                    ANDREW
              (addressing the camera)
          -wanted to show you what I was
          talking about.

Andrew takes the camera, and angles it down at his arm. He
takes the kitchen knife, and presses the tip into the flesh
of his wrist. He drags the blade down hard, all the way to
his elbow...but no cut appears. He then violently jabs
himself several times...but no penetration.

                    ANDREW (CONT'D)
          See, it's- I put a little sheet
          between myself and the knife, and
          the barrier, the sheet, is too
          strong. The knife can't cut it. I
          mean like, what I'm saying is if I
          concentrate, I can't be hurt. I
          can't be injured. Because of the
          little sheet.


EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD

Andrew sits alone on the bleachers. The cheerleaders are
practicing. The camera zooms in on Samantha. She sits alone
on the sidelines, watching numbly.
                                                        62.


INT. BENJAMIN FRANKLIN HIGH - HALLWAY

Andrew is putting his stuff away in his locker. He's
suddenly shoved into the locker roughly. The camera turns,
revealing Wayne walking away.

The camera scans the mostly empty hallway quickly, then goes
back to Wayne, now almost twenty feet away.

                       ANDREW (O.S.)
          Hey Wayne!

                    WAYNE
          What, you got a probl-

One of Andrew's hands flicks out, and Wayne's mouth suddenly
gushes blood. Wayne screams, falling, and is immediately
tended to by other students.


INT. BENJAMIN FRANKLIN HIGH - BATHROOM STALL

Andrew has laid out three small bloody objects on the back of
the toilet, and presents each one to the camera one by one.

They're Wayne's bloody teeth.

                    ANDREW (O.S.)
          See, this one, I got clean, cause I
          did a little lasso around the root,
          but these two, they're broken cause
          I think I pulled them from the
          middle. Matt was always better at
          the little, the intricate stuff, he
          got good at that. See how broken
          it is, ugh, sloppy.

INT. BENJAMIN FRANKLIN HIGH - GUIDANCE COUNSELOR'S OFFICE

Mike FERNANDEZ, 30s, serious but warm, sits across the desk
from Andrew. The concern in his voice is very real.

                    FERNANDEZ
          Could you put the camera away?

                    ANDREW (O.S.)
          No, I'm filming this. I film
          everything.
                                                       63.


                    FERNANDEZ
          I understand that things have been
          very hard for you recently, Andrew,
          but the camera kind of- it
          alienates a little, you know?

                    ANDREW (O.S.)
          What did you want to talk about?

                     FERNANDEZ
              (beat)
          There's concern for your grades,
          Andrew. And as far as I know
          you've yet to apply to any
          colleges, so-

                    ANDREW (O.S.)
          It's not doable. Financially,
          they're not- I mean, my dad didn't
          go to college either.

                    FERNANDEZ
          Well, yes, but I still think it's
          worth thinking about. There are
          three different community colleges
          locally that offer great programs
          for-

                     ANDREW (O.S.)
          I don't need college, Mr.
          Fernandez.

                     FERNANDEZ
              (beat)
          I think that's a very close-minded
          attitude, Andrew. I know that you
          come from a difficult background,
          and I know how horrible the pain
          can be when you lose a friend. But
          I don't think you should let this
          make you lose hope. I mean, this
          is your future. You don't want to
          compromise your future.
              (long beat)
          Andrew?


INT. DETMER RESIDENCE - ANDREW'S ROOM

The camera is sitting on the floor. We can hear screaming
from downstairs. Andrew picks up the camera, and goes to the
mirror, filming himself filming. After a beat, he steps out
from behind the camera, leaving it hanging in the air.
                                                         64.


He stands looking at himself, and then the camera. The
camera turns to face Andrew. He doesn't look good, but gives
a weak smile.


INT. DETMER RESIDENCE - MS. DETMER'S ROOM

We're peeking in through the door. We can see Sandra Detmer
writhing around in agony in the bed, moaning in pain. She
lets out a long scream, and then seems to notice us watching.

                    SANDRA DETMER
          Richard is that you? Richard, you
          have to let me have my medicine, I
          can't...Andrew? Who is that?
          Look, please come in here, I need
          help to turn over. It hurts,
          please, Andrew, you have to tell
          your father...tell your father to
          get my medicine...

Sandra, her eyes closed in pain, is lifted and rolled onto
her side.

                    SANDRA DETMER (CONT'D)
          Andrew...thank you Andrew...was
          that you? Did you-

The door closes.


EXT. JUNKYARD - NIGHT

The junkyard is filled with junked cars, metal garbage, old
equipment. The camera sits awkwardly on the hood of a
wrecked car as Andrew fidgets to get it mounted. The area is
lit by lights from the main building, not too far away, but
you can tell he's not supposed to be in here.

                                                      CUT.

Andrew moves out in front of the camera. He telekinetically
pulls an old car forward, and lifts it easily. He moves it
left, moves it right, rolls it, sets it back down.

                                                      CUT.

Andrew is sitting, resting, tired.   He speaks directly to the
camera.
                                                          65.


                     ANDREW
          I've been doing a lot of reading,
          like you know, online, about
          evolution, and the way it works,
          and you know, natural selection.
          The uh...
               (cut)
          The strongest animals will always
          survive, and they're the ones that
          you know, will prosper, or grow,
          and survive, by feeding on the
          smaller animals. And as humans we-
          see, there's...uh-
               (cut)
          There's this thing called an Apex
          Predator, and basically what that
          is the most powerful predator in an
          ecosystem. And humans, you know,
          we're the apex predator, because
          there's nothing that preys on us,
          cause of weapons and stuff. But if
          something could, I bet it would.
          I...
               (cut)
          I mean, what I'm trying to say is,
          a lion doesn't feel guilty when it
          kills a gazelle. You don't feel
          guilty when you squash a fly, you
          know- I think that means
          something. I think it really means
          something.

                                                      CUT.

Andrew's back out with the car. He lifts it again, then
makes a quick "squeezing" motion. As he does this, the car
violently compresses down to the size of a basketball.
Andrew flings the ball of metal into a scrap pile, which
collapses loudly.

Andrew falls down onto his butt, a little exhausted, but as
he gets up he is abruptly attacked by a guard dog, which
bites him twice before he's able to fling it off.

The dog recovers, and rushes Andrew, who raises a hand,
blasting the dog across the yard, killing it instantly.

Andrew turns and looks at the camera, and it turns off.


FROM CASEY'S CAMERA.

Everything is crisper, cleaner, brighter.   Higher resolution.
                                                           66.


INT. CASEY'S HOUSE - BATHROOM

We're looking at the door to a bathroom, only a crack open.
It's pushed open, revealing Matt, shirtless, brushing his
teeth.

                      CASEY (O.S.)
            AHHHH!

Casey runs up and hugs Matt from behind, startling him.


INT. CASEY'S HOUSE - KITCHEN - MORNING

Matt is cooking; he's got four different things on the stove.

                      CASEY (O.S.)
            How'd the interviews go?

                      MATT
            I told you how the interviews went.

                      CASEY (O.S.)
            But now we do it for the camera.

               MATT                         CASEY (O.S.)
UGHHHHHH-                        Come on.

                      MATT
            UCONN not so good, Columbia was
            good, University of Miami was
            really good, Arizona State was
            okay.

                      CASEY (O.S.)
            Who ended up paying for all of the
            airfare? Did your parents-

                      MATT
            Haha, no, I told you they wouldn't.

                      CASEY (O.S.)
            Did you pay?

                      MATT
            Nope. Nobody. I flew myself.      I
            needed the exercise.

                       CASEY (O.S.)
                (beat)
            You are a man of mystery.

Matt smiles.
                                                        67.


                    CASEY (O.S.) (CONT'D)
          God, how do you always cook so many
          things-

Matt snatches the camera away from her, turning it to reveal
that she's topless; Casey has already covered up with her
arms.

                    CASEY (CONT'D)
              (running away)
          AAH! AHH OH MY GOD MATT AAAHHH!

                                                     CUT.

They're at the breakfast table. Matt's eating, and Casey,
filming, is talking between bites.

                    CASEY (O.S.) (CONT'D)
          You have to do at least one of your
          tricks for the camera, though.

                    MATT
          I am so sick of being filmed, you
          have no idea, Casey-

                    CASEY (O.S.)
          No I know, but I'm not going to use
          any of this. I just want you to do
          a trick, one of your good ones.

                    MATT
          When do your parents get back from
          Spain?

                       CASEY
          A week.
                     MATT
              (beat)
          Okay, if you don't film me for one
          week-

                       CASEY (O.S.)
          Ahhhh-

                    MATT
          One week, I'll show you my new
          trick. I guarantee you will shit
          bricks. Yeah?

                       CASEY
          ...Ughhhh.
                                                         68.


INT. CASEY'S HOUSE - CASEY'S BEDROOM

Matt's asleep in bed on a different day.   Casey's filming
from next to him.

                    CASEY (O.S.)
              (whispering)
          I'm filming you and you don't know.
          I'm terrible. I'm gonna show you
          this later and you're gonna be like
          "whaaaaaaaaaat!"


EXT. CASEY'S HOUSE - BACKYARD

Matt runs out ahead of the camera, and does a little shuck-
and-jive boxer dance.

                       CASEY (O.S.)
          You ready?

                       MATT
          I'm ready!

                    CASEY (O.S.)
          Are you sure-

                    MATT
          Let's do it! Woo!

Casey raises a paintball gun out ahead of the camera. She
fires. Matt's arm whips out, impossible fast. He holds up
the caught paintball.

                     CASEY (O.S.)
              (awed)
          Holy shit, Matt.

                     MATT
          COME ON!   BRING IT ON!

Casey fires several more shots, Matt catches them
effortlessly, then hurls them all into the air. Mid-air,
they all pop, some of the paint landing on the camera and
Casey.

                    CASEY (O.S.)
              (laughing, awed)
          Matt, oh my god, oh my god!
                                                        69.


INT. CASEY'S HOUSE - CASEY'S BEDROOM - NIGHT

It's dark; the camera turns on, then the light, revealing
Matt, groggy, half awake.

                    CASEY (O.S.)
          What happened?

                    MATT
          Ughhhh camera...I had that dream
          again.

                     CASEY (O.S.)
          Tell me.

                    MATT
          It's like I'm...I'm not me, I'm
          something else. And I'm out in
          this...out in space. And stars are
          all around me, and I'm zooming past
          them; everything is really like
          three-D, I can see the shape of the
          stars. I'm looking for somewhere
          to sleep, or something, and I see
          earth, and I go down to earth. And
          then...I don't know, just the main
          part is that I'm out and there are
          the stars and they just look like
          millions of little points of
          light...And Steve is there.

                    CASEY (O.S.)
          Steve is there?

                    MATT
          Yeah but he feels like he's not
          part of it. Like he's there
          separately, inside my head. Andrew
          is there too. I don't know. I'm
          worried about Andrew.
              (beat, slyly)
          Why don't you put the camera away?

                    CASEY (O.S.)
          Oh yeah? What's gonna happen to me
          if I put the camera away-

                    MATT
          Oh I think you know. I think you
          know what's going down.

                    CASEY (O.S.)
          We could leave the camera on.
                                                          70.


                    MATT
          You arrrrreeee...C'mere.

Matt advances on Casey, and the camera falls off to the side
of the bed. We can hear her giggling, which is abruptly
muffled by kissing.

                                                     DIGITAL
                                               DISTORTION TO
                                                      BLACK.


EXT. CEMETARY - DAY

The camera is aimed at Steve's tombstone. There are still
flowers and memorials spread around. Some are rotting. The
camera moves around a little, then back to Steve's tombstone.


INT. DETMER RESIDENCE - ANDREW'S ROOM - NIGHT

Screaming from Sandra's bedroom. The heater rattling. The
TV from downstairs. There's a knock on the window. The
camera is picked up, to reveal Matt floating outside, looking
around nervously.

After a moment, Andrew opens the window.

                                                       CUT.

Matt stands fidgeting, clearly uncomfortable, as Andrew films
him.

                    MATT
          You haven't been returning my
          calls, so I thought I'd just...you
          know, ambush.

                    ANDREW (O.S.)
          That's rude.

                    MATT
          I just- I've been getting, you
          know, bad vibes or whatever.

Andrew is silent.

                    MATT (CONT'D)
          I know you stopped coming to
          school, and my mom said you guys
          are having a lot of problems with
          money. I'm worried about you.
                                      71.


           ANDREW (O.S.)
Why?   Your life's great-

          MATT
Dude, don't be like that, okay-

          ANDREW (O.S.)
You don't need to worry about me.
I'm stronger than ever now. I can
lift a whole car by myself. I
could fucking crush this entire
house, I'm fine.

          MATT
That doesn't- that actually sounds
like the opposite of fine. Andrew,
come on, let's get out of here,
your room's a mess, it smells like
a Denny's bathroom in here.

             ANDREW (O.S.)
So what?

          MATT
You're my cousin. You're my friend-
it's my responsibility to take care
of you.

          ANDREW (O.S.)
I think you should go. I have to
pick up my mom's medication.

           MATT
...Are you going to break the
rules?
    (beat)
We're too strong now, Andrew.
We're too strong for that. If you
did that, you know I'd have to-

          ANDREW (O.S.)
You'd have to what. You were
always the weakest. You couldn't
do shit to me.

             MATT
...Andrew-

          ANDREW (O.S.)
I'm not gonna break your stupid
fucking rules, just fuck off and
stay out of my life.
                                                        72.


Matt stands staring at Andrew. The camera fidgets
uncomfortably. Matt shakes his head, and the camera follows
him as he goes to the window, gives Andrew one last look, and
then rockets off into the sky.

The camera sits in silence, pointed at the window.


INT. PHARMACY

The camera approaches the counter.

                     PHARMACIST
           Hello, how can I help you.

                     ANDREW (O.S.)
           I'm here to pick up a prescription
           for Sandra Detmer.

                     PHARMACIST
           Um, yes, hold on. That's Imuran,
           Baclofen, Glatiramer and Vicodin.

                     ANDREW (O.S.)
           That's right.

                     PHARMACIST
           Okay, and the copay on that
           is...Seven hundred and fifteen
           dollars, eighty three cents.

Silence.

                     ANDREW (O.S.)
           I have to come back.
                     PHARMACIST
           Okay, we'll hold it for you.


INT. DETMER RESIDENCE - ANDREW'S ROOM - LATER

Andrew is filming out his window, watching his father leave.
His stereo plays David Bowie. Once his dad's car is gone,
Andrew sets down the camera on the dresser opposite the
mirror, and leaves the room.

Time passes, and Andrew reappears, now dragging a crate. He
opens it, and pulls out his father's fireman's uniform. We
do short-space time cuts as he takes out the jacket, looks at
it, and turns it inside out, so that the metallic fireproof
inner lining is exposed.

"Ziggy Stardust" comes on Andrew's stereo.
                                                        73.


Andrew, wearing the jacket, looks at himself in the mirror,
his back to the camera. He reaches down, and picks something
up, looking at it, then pulls it over his head.

It's a gas mask.

He stands there staring at the surreal, hard edged, faceless
figure in the mirror. Looks right. Looks left. Adjusts the
mask.

Then turns and whips out his hand; the camera is abruptly
yanked across the room.

EXT. RUN-DOWN HOUSE - SUNSET

It's a run-down house in Andrew's neighborhood. The
streetlights and the setting sun give everything light in
yellow orange haze.

Howard, Costly, and some other thugs are chilling on the
porch, laughing loudly, smoking a blunt. They clearly
haven't noticed Andrew, who's filming from out by the street.

He reaches down, and picks up a rock, then hurls it at the
house. It flies up and breaks a window. Costly, Howard and
the thugs immediately mobilize, swearing and posturing as
they rapidly surround Andrew.

He doesn't react.

                    HOWARD
          You are about to get fucking
          stomped, you know that right? You
          hear me son? Come to my house,
          it's late, I don't see any fucking
          police officers or some shit, I
          don't know what you you think
          you're doing throwing shit at my
          house-

                    COSTLY
          No, wait, what the fuck. What the
          fuck are you dressed up like that
          for. Are you high?

                    HOWARD
          Lil' Andrew's straight up tripping
          right now, I don't even know, I'ma
          give your ass a wake up call-

Howard starts towards Andrew, who raises a hand out in front
of the camera. He makes the "gun sign."
                                                           74.


                    HOWARD (CONT'D)
          Oh you got a gat? I got a gat too
          bitch-

Howard starts to pull a gun from the back of his pants.

                    ANDREW (O.S.)
              (firing the finger gun)
          Bang.

Howard's body abruptly FOLDS BACKWARDS with a sickly loud
chorus of cracks, and then is FLUNG ASIDE. The thugs,
shocked, don't have a second to react before Andrew
telekinetically BLOWS ONE OF THEM BACKWARDS, sending him
smashing headfirst through the windshield of his car.

Costly and the remaining thug start running, and the
remaining thugs legs suddenly flip up out from under him,
breaking, bending and twisting like a rag doll, before he's
propelled face first into the ground, WHAM.

Andrew launches into the air, coming down just in front of
Costly, who skids to a halt.

                     COSTLY
          -no, no-

Costly is shoved to the street and ground back and forth as
though under the weight of a giant thumb, leaving a
glistening smear of clothes, blood and skin, before he falls
across the curb.

We can hear the men screaming and groaning in agony, but
other than that, the night is silent.

Andrew raises a hand, and all of their wallets and loose
money lift away from them, flying to him. There's a beat,
and then Andrew launches into the air.


EXT. RADIOTOWER - 80 FEET UP - TWILIGHT

Andrew sits under one of the red airplane spotter lights on
one of the strut supports. The camera sits nearby, watching
the expressionless figure as it counts the money.

There's a beat and he hangs his head. We can hear muffled
noises of frustration from under the mask. Something that
sounds like a low, angry scream.

Very suddenly, he dives off the tower. A second later, the
camera is yanked after him, zooming out into freefall.
                                                          75.


EXT. GAS STATION

Andrew, holding the camera, touches down just outside the gas
station. He waits a beat, and then starts to walk towards
it. We transition to...


FROM GAS STATION SECURITY CAMERAS.

Black and white, a slightly grainy feed, with no audio.

We watch from the camera by the pumps as the bizarre figure
in the coat and the gas mask, holding the camera out in front
of it, strides past people pumping gas, into the station
store.


INT. GAS STATION

The wall mounted security camera shows us the whole store.
Andrew enters, turning to the clerk behind the register, who
says something, looking concerned. He's suddenly blown out
of frame.
After a beat, the register rips itself free from the counter,
and floats over to Andrew.

Andrew turns and walks out, the register floating with him;
as he does, a second clerk rushes out, panicked, yelling. He
goes behind the counter, and grabs a shotgun.


EXT. GAS STATION

Andrew exits the gas station, as does the clerk, who yells,
raising the shotgun.
Andrew whips an arm out towards him, and the clerk fires as
he's hit by a wave of energy. The shotgun blast goes wild,
striking the stacked tanks of propane next to the garage.

The effect is instantaneous; a blinding white flash of fire
envelopes the clerk and floors Andrew, the camera we look
through jerking awkwardly, the feed breaking down.


FROM ANDREW'S SECOND CAMERA.

The camera lays awkwardly on its side, the distorted audio
from its damaged microphone SUDDEN AND PIERCING.

It's been flung a good deal away from Andrew, who lays
motionless, burning.
                                                       76.


The clerk is dead, and a nearby gas station customer is
horribly injured and screaming. His gas pump lays on the
ground, pumping out gas onto the asphalt.

Andrew slowly shifts, unable to move properly, and forces
himself to roll over. The fire on his body touches the fire
on the asphalt, and spreads lightning fast to the gas pump.

The resulting explosion engulfs the entire station.

The camera is spun violently out into the street-

                                                  VIOLENT
                                           DISTORTION AND
                                          CRASH TO BLACK.


FROM SECURE ROOM VIDEO FEED


INT. HOSPITAL ROOM

The camera is color, with crackly, strange, somewhat
distorted audio. The image is a little blown out.

Andrew on a bed. His entire right side is absolutely
scorched; the flesh looks like bloody, cracked paper,
blackened and red. The parts of him that are bandaged are
already soaked through with blood.

He is barely breathing, hooked up to various machines.
Andrew is not going anywhere anytime soon. This is ensured
by the handcuff on his left wrist.

The machines beep. Andrew doesn't move. The door opens, and
Mr. Detmer enters, speaking to a POLICE DETECTIVE on the
other side of the door.

                    MR. DETMER
          -come down to the city, cause his
          mother's all alone right now.
          She's got MS, I had to leave her at
          the house all a fucking alone.

                    POLICE DETECTIVE
          I understand, Mr. Detmer.

                    MR. DETMER
          Shit. Jesus, look at this.   Can I
          have a moment with my son.

                    POLICE DETECTIVE
          Yeah I- I'll be outside the door,
          yeah?
                                                        77.


                      MR. DETMER
          Okay.

The officer closes the door, and Mr. Detmer goes and sits
down in a chair next to the bed. He sits there staring at
Andrew, clearly horrified and upset, and buries his head in
his hands. We SPEED UP THE RECORDING, and Detmer just sits
like that. After five minutes of speed up, we slow down.

                    MR. DETMER (CONT'D)
          I want you to apologize to me.

Andrew is comatose.

                    MR. DETMER (CONT'D)
          I said I want you to apologize to
          me. I know you can hear me. So I
          want you to sit up and apologize to
          me. I want you to stop this
          bullshit right now.

Andrew is comatose.

                     MR. DETMER (CONT'D)
          Do you know how much this shit is
          going to cost me? Do you know what
          you've done to your family?
              (beat)
          You don't even care, do you? You
          just don't give a fuck, you've got
          your fucking morphine, don't you.

There's a beat, and then Detmer suddenly slaps Andrew's burnt
shoulder. Andrew flinches badly, and his pulse speeds up on
the monitor.
                     MR. DETMER (CONT'D)
          Stop it. I'm not buying this shit,
          you can't just play this off like a
          fucking
              (slap)
          Game, this is real. You really
          fucked me, me and your mother you
          know that, you little
              (slap)
          Shit.
Andrew no longer flinches, but the slaps leave red, bleeding
molten welts. Detmer stands up, clearly upset, and takes a
quick pace forward and back.

                    MR. DETMER (CONT'D)
          Goddamn it, goddamn it!-
                                                           78.


Detmer goes to slap Andrew again, and Andrew's arm jerks up.
Mr. Detmer floats is telekinetically lifted into the air.

He hangs screaming and struggling for a moment, then becomes
rigid.

Andrew spreads his fingers, and his father abruptly separates
into all of his component parts.
They stop moving, hanging lifeless, then drop to the ground
in a bloody mess.

Andrew's eyes open, revealing black-red eightball
hemorrhages, and he seizes badly, letting out a scream of
agony, and then another, tearing at his IV.

The police detectives rush the room, reacting with horror to
the gore that was Andrew's father. They barely have time to
scream out when Andrew snaps his cuff free of the bed, and
lets out AN ENORMOUS CONCUSSIVE BLAST, blowing apart
everything in the room including the camera.
                                              SMASH CUT TO:


FROM CASEY'S CAMERA.


INT. CASEY'S HOUSE - LIVING ROOM

All of Casey's family is present, along with lots of little
kids. Everyone's gathered around Casey's little brother,
who's being presented with a birthday cake. Matt looks
happy.

                    EVERYONE
          -appy birthday to you!

Everyone let's out a cheer, including Casey, but then she
notices Matt abruptly duck out. She follows him to the
bathroom...

                                                      CUT.

...where he's holding his nose, which is bleeding badly.

                       CASEY
          Matt-

                     MATT
          Do you hear that, how can you not
          hear that?
                                                          79.


In the background, we can hear the house phone ring.    Then
cell phones.

                    CASEY
          Matt, what hap-

                    MATT
          The singing, how can you not hear
          that!? Something's wrong, okay,
          something's wrong with Andrew, or-

                    CASEY
          Matt, please, okay, you're scaring
          me, are you okay-

                    MATT
          No, something's wrong, something's
          wrong.

Matt pushes past her, running upstairs. Casey starts to
follow, but then stops, lowering the camera.

                    CASEY'S MOM (O.S.)
          Casey, you have to come in here.

                    CASEY
          Mom, Matt is-

                    CASEY'S MOM
          Come in here right now.   Come in
          here right now.

                                                        CUT.

Casey's filming the big screen TV, which is showing the news.
                     REPORTER
          -going to have a feed live on the
          scene in the second, we apologize
          for the delay but as of right now
          every news helicopter in the
          greater Multnomah County is headed
          to Portland- again, right now we
          have very little information, but
          the word is that the bombings
          started just over nine minutes ago,
          and haven't subsided yet, with-
          okay, here's the feed from NBC
          Chopper 5.

We get a helicopter view from over downtown Portland,
everything seems okay, and then something streaks by,
crashing headlong into the side of a building.
                                                        80.


The impact is like a wrecking ball, office furniture blowing
out into the air along with glass, steel and concrete, WHAM.

                    FIELD REPORTER (O.S.)
          Wait, that was- that was not a bomb-
          I repeat, not bombings, it's
          something else-

The camera turns as Matt rushes down the stairs, now in his
winter parka, his nose plugged with kleenex. We hear another
of those jarring, shattering impacts, and the camera goes
back to the TV, revealing the big MADE IN OREGON sign in Old
Town toppling down into the street.

                    MATT (O.S.)
          I need your car.

                    CASEY (O.S.)
          What? Matt, look, what's
          happening, look at what's happening-

                    MATT
          I see, I know, I have to go, okay-

                    CASEY (V.O.)
          Don't leave, don't leave me-

                    MATT
          Give me your keys.

                     CASEY (O.S.)
          I- Matt-


EXT. CASEY'S HOUSE - MOMENTS LATER
Casey is chasing Matt across the lawn to her car, her voice
filling with panic, the camera being held offhanded now,
unimportant.

                    CASEY (O.S.)
          Please don't leave, don't go-

We hear helicopters pass low overhead.

                    MATT
          I have to go to the city.

                    CASEY (O.S.)
          NO MATT PLEASE, PLEASE-
                                                         81.


                    MATT
          I can't fly if there are all these
          helicopters in the air, I just have
          to drive there, or, listen, I have
          to figure this out, Andrew's in
          trouble. This is my fault.

                     CASEY (O.S.)
          Andrew?   What are you talking ab-

Matt gets in the car and starts it.   Casey's breaking down,
openly crying now.

                    CASEY (O.S.) (CONT'D)
          Matt please! MATT PLEASE, PLEASE
          DON'T GO, I'M AFRAID! MATT I'M
          SCARED, PLEASE!


INT. CASEY'S CAR - MOMENTS LATER

Casey's sitting shotgun as Matt drives. His face is
unreadable. They're driving on the I-5. More helicopters.
Downtown Portland is visible now, as are some fires.

Casey is quietly crying, the camera held loosely in her lap.

                    MATT
          This is all my fault.

                   CASEY
          No! No it isn't!   It isn't your
          fault!

We hear and see the lights of ambulances and police cars as
they zoom past, but Casey keeps the camera on Matt.
                    CASEY (CONT'D)
          Matt, it's not safe. It's not
          safe. What's going on. What's
          happening. Why are we doing this,
          Matt, please. Please take me home.
          You don't have your license, you
          can't drive without your license.

                                                      CUT.

They're getting into downtown now. We can hear sirens.
Casey is filming out the window, everything looks normal,
until there's a loud crash; then Casey swishes the camera to
reveal that a police car, its siren still moaning, has landed
on top of a newstand, apparently dropped from the sky.
                                                         82.


                    CASEY (CONT'D)
          How- how is that possible, that's
          not possible-

There's an explosion from nearby and shattered glass rains
down onto the car. Matt slams on the brakes, looking up
through the windshield, searching the sky.

                    MATT
          Where are you, man?

There's a beat, and then a police officer abruptly appears on
the passenger's side, next to Casey.

                    POLICE OFFICER
          Listen, you can't be here, I need
          you to turn this car around right
          now and-

The police officer is yanked upwards, disappearing from sight
for a moment before coming crashing down thirty feet away.
Casey screams.

                    CASEY
          What's...What is...What's...Matt
          please, please-

The car SUDDENLY ROCKETS INTO THE AIR, straight up, flipping
end over end, past the tops of the buildings, and then comes
to a stop, hanging at about two hundred feet. Casey's
breathing is painfully short and sharp. Matt stares out into
the night sky.

He flicks on the brights. There's Andrew, in his hospital
gown, floating a dozen feet out, his flesh charred and
twisted, his body clearly wracked with agonizing pain.
A news helicopter circles past out of sight, and for a
moment, Andrew is framed in the chopper's spotlight.

His eyes flash to the car.

                    ANDREW
              (screaming)
          WHAT ARE YOU DOING HERE!?
The windshield is TORN OUT, and seconds later MATT IS RIPPED
OUT OF THE CAR AS THOUGH YANKED BY A GIANT HOOK, taking his
seatbelt with him.
                     CASEY
          No NO NO
                                                         83.


The car goes into freefall, no longer important to Andrew,
plummeting down, down, down. Casey's screams are barely
audible over the rushing of the wind as the buildings rush
past outside, her camera frozen in place as she plummets to
her death.

And then suddenly, so suddenly it's completely disorienting,
the side of the car bursts apart and we're flying, blurred
views of buildings, the sky, the side of some jeans...

Stillness. Casey's camera is pointed down, showing her
adidas...and Matt's high-tops.

                    MATT (O.S.)
          Stay here, okay? You have to stay
          here.

                    CASEY (O.S.)
              (barely coherent)
          You can fly?

                       MATT (O.S.)
          Stay here.     I have to talk to
          Andrew.

                    CASEY (O.S.)
          Matt..what...

                    MATT (O.S.)
          Casey, I'm sorry, I'm so sorry.

Matt's feet suddenly go out of frame.

                       CASEY (O.S.)
          Matt wait!     WAIT PLEASE!   MATT!
NOTE: In the following sequence, everything is seen in
glimpses and glances, never lingering too long on one thing.
Much of what happens should be seen through implication,
rather than direct effect.

Everything happens very fast, and none of the cameras can
fully keep track.


FROM SEVERAL HELICAMS.

The feed is crisp and clear, but without the satellite audio,
meaning no narration from the reporter. There are several
chopper's flying at different distances from the action, and
we intercut as necessary.
                                                        84.


EXT. DOWNTOWN PORTLAND

The news chopper at first shows Casey's destroyed car laying
in the street, then pans back up to show Andrew, who's
floating hunched over, vomiting.

Matt flies up behind him, and tries to help him, but Andrew
shoves him away. We're too far away to hear anything that's
said.

Matt tries again, and Andrew yells something. Matt, clearly
upset, replies. Andrew, talking fast and jerky, gestures
towards his burns. Matt tries to reply several times, but
Andrew isn't hearing it. Matt smiles nervously at the
destruction, and says something gently.

Andrew replies, and whatever is said here, it causes a
radical shift in Matt's demeanor. He's no longer concerned;
he seems repulsed. Andrew says more, clearly SCREAMING at
Matt.

Matt seems to beg Andrew for something and Andrew relents.
Matt continues, more forcefully, and then notices something
to his right. A BUS SMASHES HIM OUT OF THE AIR, SWATTING HIM
LIKE A BUG INTO THE SIDE OF AN APARTMENT COMPLEX.
Andrew suddenly turns, flailing an arm at us in the chopper;
a mailbox comes CRASHING UP INTO THE CAMERA.


FROM MICHAEL ERNESTO'S CAMERA.

MICHAEL ERNESTO is, along with several other people from his
building, out on his roof. He watches in horror as the
helicopter Andrew hit goes out of control, falling out of
frame.
Moments later, we hear the explosion as it crashes.

                    MICHAEL ERNESTO (O.S.)
          Oh, oh no, those people, man, those
          people, oh god-

                    ERNESTO'S NEIGHBOR (O.S.)
          Where's the other guy?

                    MICHAEL ERNESTO (O.S.)
          He's fucking dead man, you saw- oh
          shit oh shit-

Andrew comes toppling down out of the sky like a wounded
bird, crashing into the roof. He vomits again, mostly bile;
everyone around him is in shock, frozen, as he screams in
pain and rolls over.
                                                        85.


He's bleeding badly from the nose and ears.

                    ANDREW
              (agonized, crying)
          No one's gonna help me...No one's
          gonna help me now...

We get some shots from other people's cameras, video phones,
etc on the roof. Some people scream and try to run past
Andrew, and he blasts them off the roof like bowling pins,
which leads to more screaming.

Andrew stands shakily, looking directly at Michael Ernesto.

                    MICHAEL ERNESTO (O.S.)
          Please man, please, I don't know
          you man-

                    ANDREW
              (mumbled)
          What type of camera is that?

                    MICHAEL ERNESTO (O.S.)
              (breaking down)
          What? I don't know, I don't know
          you man, I didn't- please okay,
          please-

Andrew starts to raise an arm, when he's suddenly NAILED BY
MATT, blasting by at well over eighty miles an hour.

FROM BANK SECURITY CAMERA.

The inside of the bank is quiet and peaceful, when MATT AND
ANDREW COME CRASHING THROUGH THE ROOF.

FROM POLICE CAR DASHBOARD CAM.

The police car rockets up the street, but has to screech to a
halt when MATT AND ANDREW COME EXPLODING OUT OF THE FRONT OF
THE BANK.
The two of them brawl in the street for a moment; it's not
impressive martial arts, or even super powered, just two guys
fighting for their lives. Matt gets the upperhand, decking
Andrew and driving him to the ground, and suddenly the cop
car (our POV), lifts off.

WE GO FLYING INTO MATT, crashing out the camera as he turns
and creates a telekinetic wall.
                                                        86.


FROM CALA PRENTI'S CAMERA.

CALA, filming from her apartment window, watches in shock and
horror as the police car, carried by its momentum, is sent
FLIPPING INTO THE AIR, and we glimpse it as it passes her
window, lights still flaring.

Her sister rushes up, looking out the window.

                    CALA (O.S.)
          Sissy stay away from the window!

                    SISSY
          What's happening what's happening-

                    CALA (O.S.)
          They're right out there fighting!
          They're-

Andrew and Matt come BLASTING UP THROUGH THE FLOOR IN THE
KITCHEN OFF TO THE RIGHT, AND THEN OUT THROUGH THE CEILING.

FROM KPR-PORTLAND'S HELICAM.

The two boys come smashing up through the roof of the
apartment building. Andrew flies low, and Matt gives chase.
Andrew turns, beginning to telekinetically lob everything at
street level at Matt; traffic lights, parking meters, trees,
etc...
...But Matt's too good a flyer. What he doesn't block he
simply dips and weaves around. Andrew, clearly still woozy,
is distracted and smashes into a street-light, wiping out on
the asphalt.
                    CAMERA-MAN
          They're down. One of them just
          went down. Jesus christ.

Matt slowly lands nearby. The camera zooms in and hits them
both with a spotlight, causing Matt to shield his eyes and
look up, scared, as Andrew struggles to stand.

We get a good look at the toll this is taking on him; Matt's
face is a crimson mask of blood from his nose, eyes, mouth
and ears. He's limping badly, his clothes torn, visibly
covered with injuries. He looks like he's been in a car
wreck.

                    CAMERA-MAN (CONT'D)
          Oh shit, look at him.
                                                         87.


He approaches Andrew, talking again, more fervently. Andrew
just shakes his head, falling repeatedly as he tries to
stand, like a wounded dog.

Two cop cars skid to a halt nearby, the officers unloading
and taking cover. One of them advances on Matt and Andrew,
gun raised. Matt goes out in front of Andrew, protective,
pleading, raising his hands.

The cop is clearly panicked. He fires a shot.    Matt's arm
whips out, impossible fast; he buckles and screams in pain,
holding his hand, which is gushing blood.

                                            Andrew blasts the
Matt falls, screaming, and Andrew stands.
officers backwards.
                     CAMERA-MAN (CONT'D)
          OH SHIT!   Oh jesus christ!

Andrew approaches Matt, screaming and looking absolutely
terrifying. Matt turns and ROCKETS OFF INTO THE SKY, Andrew
following a second later, tackling Matt out of the air.


FROM KPR-PORTLAND'S LIVE-ON-THE-SCENE.

We're at street level in downtown, people are absolutely
everywhere, wandering out into the street, baffled, scared
and looking for answers. A FIELD REPORTER fixes herself,
preparing to speak.

                    FIELD REPORTER
          Are we...Okay, yeah, gimme- two,
          one- We're live on the scene on
          Parson Boulevard just south of the
          center of downtown, and-
There's a rushing, screeching sound from around the corner.
The camera jerks, and moves towards the corner, the cameraman
man running to see what the sound is.

                    FIELD REPORTER (CONT'D)
          Shawn, wait, you're unplugged.
          Shawn-

Something around the corner explodes, and Matt comes flying
past overhead, slightly on fire, before Andrew comes lunging
at Matt, catching him, twisting out and over the camera man,
SLAMMING HIM INTO THE SIDE OF A SKYSCRAPER ON THE STREET.
Andrew lifts Matt up high into the air, scraping him against
buildings on either side of the street, bouncing like a
pinball until-
                                                           88.


FROM ABC 5'S HELICAM.

-Matt struggles, and there's a visible ripple in the air; a
massive concussive burst, sending both of them rocketing
downwards as though shot out of a cannon.
They strike the massive bronze statue of "Portlandia," a
trident wielding demigoddess, in front of the Michael Graves
building, uprooting it from its pedestal before crashing to
the ground.

Matt's body accordions brutally when he lands, and he flops
down at a broken, dead angle. Andrew lands nearly as badly,
lays still for a moment, and then begins twitching and
screaming when the chopper's spotlight hits him.


FROM MICHAEL GRAVES' BUILDING EXTERIOR SECURITY CAMERA

The statue of Portlandia lays awkwardly in the street.
Andrew writhes. Matt is motionless, blood pooling around
him, his back broken.


FROM POLICE DASHBOARD CAMS, HELICOPTER CAMERAS, HANDHELDS
FROM WINDOWS, EVERYTHING.

A bunch of squad cars and emergency units converge around the
front of the Michael Graves building and downed statue. Matt
and Andrew's bodies are painted by spotlights as police and
news helicopters hang overhead.

Police unload en-mass, guns out, immediately forming a
perimeter and pushing in. We're with them as they approach;
the mood is of barely controlled panic, officers shouting
back and forth to each other.
Andrew and Matt are polka-dotted by red-laser sight dots.

Andrew suddenly stands up, and several officers fire; the
bullets spark off an invisible barrier in front of him, and
he shakily raises both hands.

The all of the police officers, firemen and paramedics are
telekinetically lifted into the air.

They hang struggling for a moment, and then all of their
limbs go rigid. We've seen this before.

Andrew screams, and then...It all happens in under two
seconds:
                                                         89.


Matt swings an arm, blinding fast; the triton wielding arm of
Portlandia bends jaggedly, bringing down the pitchfork hard,
first through Andrew, then into the pavement.

Andrew stands impaled, a look of shock on his face, and then
Matt flails up his hand; the bullet lodged inside fires out,
striking Andrew in the head, killing him instantly.

All of the floating people drop, dazed.

Matt collapses.   After a moment, the police advance.

                                              CUT TO BLACK.


FROM CLEAN ROOM CAMS.

The clean room cams are incredibly hi-def, crisp and clear,
with all manner of data and time codes scrolling all over the
top and bottom of the screens.

Matt lays on the floor of a perfectly white room. At the far
end is a blackened out two way mirror. There's a camera on
the inside of this too, and we can see resolute men in suits
reflected on the inner glass, watching with unreadable
expressions.

There is a chair and a table, but he's clearly fallen out of
the chair. It's maybe an hour after the scene in front of
the Michael Graves building, and he's received no medical
attention.

To this end, Matt is suffering from, among other things,
massive blood-loss, multiple broken bones, dozens of gashes
and cuts, presumed internal bleeding, and a broken back.
He can barely move, sliding around on the floor in his own
blood as he dies, watched by the compassionless eyes of the
cameras.

He is barely coherent, screeching in agony.

                    MATT
          Please...Help me. Help me, HELP ME,
          please...I'm sorry! I'm so sorry,
          I tried- help me, help me, I'm
          dying, I'm dying. Stars- I see
          stars, somebody- It hurts, please.
          I'm- the blood...I tried...

Two men in contamination suits enter the room, wielding some
kind of radiation sensors. They go over to Matt, scanning
him.
                                                          90.


                    MATT (CONT'D)
          Listen, help me, help me. I'm
          dying, you have to help me, don't
          just let me- PLEASE I'M SORRY! I'm
          SORRY! HELP ME! I-

The men ignore him as Matt makes some gasping sounds, his
eyes going wide.

                    MATT (CONT'D)
          I can...I can hear the singing.

Matt entirely stops moving.   He lays there, not breathing,
completely still.

And then suddenly the two men are flung backwards, as is the
table and the chair. There are a series of grotesque popping
and snapping sounds from Matt's body, and he jerks, and
writhes, pushing himself up onto his hands and knees.

The security cams track and zoom, and as Matt stands, we
realize a startling truth: his cuts are closing themselves.
His broken bones have already molded back into place. His
bruises are shrinking away to nothing.

The blacked out glass suddenly shatters, and falls out of its
frame, revealing a shocked, frightened room of high ranking
military personnel, along with several men in civilian
clothes.

Matt stares at them.   They stare back at him.

                    4-STAR GENERAL
              (terrified)
          Listen...Son, you don't- I mean...
Matt raises a finger to his lips, and the general trails off.
Matt smile weakly for a moment, then stops.

                    MATT
          Would you please...turn off the
          fucking cameras.
                                               CUT TO BLACK.

                                               HOLD ON BLACK
                                               FOR A MOMENT.

                                            SMALL TITLE: (2
                                               YEARS LATER)
                                                        91.


FROM INTERNATIONAL NEWS BROADCASTS.

We see a variety of international reporters covering a
breaking story, but only see little clips of each, in
multiple languages. Behind them are various shots of a huge
hydroelectric dam in South Korea.

                    REPORTERS
          -expected to burst at any moment-
          City officials blame the
          malfunctions on the terrorist
          bombing that occurred at the dam's
          control center last March.-
          Botched evacuation has left
          thousands of the Kyo-lee Valley's
          residents trapped, with only one
          major roadway leading in or out. A
          roadway that has not been repaired
          in over ten years- Again, the scale
          here is just unprecedented. Our
          hearts are with people of Kyo-Lee
          tonight.


FROM KIM HAI-SU'S CAMERA.


INT. KIM HAI-SU'S HOUSE

Kim Hai-Su, 17, is behind the camera filming his father, 40s,
as his father hurries to gather his things into a duffle.
Kim Hai-Su's younger brother, 8, wanders into the room,
crying loudly, and Kim's father screams at him to put down
the camera.

                                                     CUT.
They're in the car, driving fast through town. All around we
can see people panicking, and we see two cars collide on the
road up ahead.

                                                     CUT.

They pull up onto an on-ramp, and are immediately trapped
into gridlocked, dead-end traffic. Kim Hai-Su's father
begins shrieking, and banging on the dashboard, which
triggers his younger brother crying again. Kim shouts to
calm down.

                                                     CUT.

Kim is climbing out of the car; people all around are getting
out of their cars, hopelessly trapped. Someone screams, and
Kim turns to reveal an enormous dam several miles away.
                                                        92.


Rubble is falling off the side of an gigantic crack, which
splits further. Kim yells in fear. The crack widens, an
enormous tidal gush of water bursts through, gushing down the
side of the hills into the valley.
Kim's father embraces him, and they have a brief exchange,
when suddenly there's the sound of a sonic boom overhead.

All around them people EXPLODE into cheers. It's not fear,
but rather a kind of frantic ovation. The camera sweeps up,
panning the empty blue sky excitedly, finally coming to rest
on

Matt Garrety.

Looking fucking great as he floats above the freeway. He
pantomimes "yeah, bring it on, cheer louder!" This gets the
intended response, and he pumps a fist shouting "FUCK YEAH
KOREA!"

He turns, pretending to notice the oncoming flood for the
first time, mouths "Oh shit!" Points at the flood casually
as it closes in: "I should deal with this." Another huge
ovation, and Matt smiles widely nods his head "yeahhhhhh!"
and turns.

There's a sonic boom as he goes from zero to mach 4 in less
than a second, rattling the cars on the freeway, disappearing
into the distance over the flood.

After a moment, the impossibly huge onrush of water seems to
stop, slowing and freezing in place, and then...SLOWLY BEGINS
TO REWIND TOWARDS THE DAM.
The camera jerks around wildly as the crowd goes insane,
embracing, kissing, screaming, jumping on their cars. Kim's
father has collapsed into tears of joy next to the car, and
Kim himself is hooting and hollering from the bottom of his
lungs.

The camera comes up to show his little brother, who is going
positively ape-shit on the hood of their car, jumping up and
down, screaming, smiling...

An unearthly, angelic, vibrating chorus of voices starts to
rise, rise, singing and we-

                                         SLAM TO TITLE ON
                                                   BLACK:
                                               CHRONICLE.

Chronicle



Writers :   Max Landis  Josh Trank
Genres :   Drama  Sci-Fi  Thriller


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