dollhouse ep13 epitaph one

TWENTIETH CENTURY FOX

INTERNATIONAL TELEVISION

DOLLHOUSE

“EPITAPH ONE”

SEASON 1 - EPISODE #1APK13

As Broadcast Script

“DOLLHOUSE - EPITAPH ONE” #1APK13 (1)

DOLLHOUSE

“EPITAPH ONE”

ACT ONE

EXT. ALLEY-NIGHT

(A WOMAN NAMED MEG IS IN A DARK ALLEY WITH A GUN AND WEARING

A BACKPACK; THERE ARE FIRES IN THE ALLEY)

MEG: (sigh)

VOICES: (os) (unintelligible shouting all around)

MEG: (sighs)

(SHE PUTS A RADIO TO HER MOUTH)

MEG (CONT’D): (into radio) Exaltation, this is Meg.

GRIFF: (vo) This is Griff. Go, Meg.

MEG: (into radio) Northeast of Spring and

Fifth. Green Room is open but the party

is crashed.

GRIFF: (vo) Roger that. Any wielders?

MEG: (into radio) Negative. Just butchers and

dumb shows. But it’s pretty thick. Come

in as soft as you can.

VOICE: (vo) Will do. Ditch the tech.


MEG: (into radio) Ditch the tech.

(MEG THROWS THE RADIO AS FAR AS SHE CAN AND SITS DOWN)

MEG (CONT’D): (sighs) (starts crying)

(THE CAMERA PANS UP OVER THE BUILDING; THERE ARE MORE FIRES

AND PEOPLE ARE FIGHTING)

MAIN TITLE

TITLE: Dollhouse

EXT. ALLEY-LATER

(A GROUP OF PEOPLE, GRIFF, LYNN, ZONE, IRIS, AND MR. MILLER,

APPROACH MEG)

CHYRON: Los Angeles 2019

VOICES: (os) (screams/unintelligible shouts

throughout)

GRIFF: Okay. How far to the new hole?

MEG: Where’s Laura?

GRIFF: Butcher.

MEG: She got torn?

LYNN: She got printed. Almost (os) took a bit

out of Iris before we noticed.

ZONE: I put her down.


GRIFF: She’s at peace.

(ZONE LOOKS CLOSER AT MEG’S FACE)

ZONE: What’s wrong with your face?

MEG: It’s my face. Get out of it.

(THERE’S AN EXPLOSION SOMEWHERE)

ZONE: Were you crying?

GRIFF: (os) Hey, (on camera) let’s focus,

people. We need to get underground.

ZONE: (os) We need to get out of the city.

GRIFF: We wouldn’t make it three miles.

ZONE: (os) Yeah? So we live in the (on camera)

sewer? Come on. We need to get into the

desert. No tech, no printing.

LYNN: Unless China puts down another blanket

(os) signal.

(MEG MOVES NEXT TO GRIFF)

GRIFF: (os) Look, we decided. (on camera) We go

underground, deep as we can. (os) How’s

the crossing?

MEG: (os) Doable. (on camera) We’ll need a

barker though. It’s crowded out there.


ZONE: Let’s draw straws.

(ZONE STEPS FORWARD)

ZONE (CONT’D): Oh, mine’s shorter. Damn it. Tell Trudy

I loved her best.

(ZONE COCKS HIS WEAPON)

GRIFF: Zone’s barker. Meg, you’re on point.

Lynn is the (os) mother. (on camera) We

good?

(ZONE NODS)

MEG: Let’s go.

(ZONE RUNS TOWARD THE FIGHTING PEOPLE AND STARTS SHOOTING AS

THE GROUP HEADS ANOTHER DIRECTION)

ZONE: (loud cries)

(ZONE JUMPS UP ON A CAR AND CONTINUES SHOOTING PEOPLE)

ZONE (CONT’D): I’m insane!

(THE GROUP COMES AROUND NEAR HIM)

ZONE (CONT’D): (os) And none of you (on camera) gonna be

spared!

(HE CONTINUES SHOOTING AS THE GROUP REACHES THEIR

DESTINATION)

GRIFF: Zone? Now’s (os) now!


(ZONE JUMPS DOWN AND HEADS TOWARD THEM)

INT. UNDERGROUND-LATER

(THE GROUP GETS TO THE BOTTOM OF A LADDER; ZONE WATCHES

MILLER AND IRIS AS HE TALKS TO MEG)

ZONE: Look, the kid is one thing. But dragging

that dumb show around...

MEG: The kid won’t leave his side yet.

ZONE: We don’t go near those freaks of

nature... ever. (os) We only roll with

actuals. Those... we put out of their

misery.

MEG: You want to be the one to tell the little

girl we gotta plug her dad?

ZONE: Sure. (louder) Hey, kid. Guess what...?

GRIFF: (interrupting) Stop it.

(GRIFF, MEG, AND ZONE STOP TO TALK)

GRIFF (CONT’D): Look. We let her get used to us for a

few days. And then we’ll ditch the old

man.

ZONE: (sigh)

(THEY CONTINUE ON; THEY HEAR A RADIO MAKING NOISES; ZONE

SHOOTS IT)

ZONE (CONT’D): (os) Fine.


(THEY MOVE ON AND MEG COVERS HER FACE WHEN SHE SMELLS

SOMETHING)

MEG: (sniff)

(THEY PASS BY A DEAD MAN AND HIS DEAD DOG)

GRIFF: (breathes in) Smells like home.

(THE GROUP CONTINUES FORWARD)

LYNN: (os) Guys, check this out!

(THEY SEE A HOLE IN THE FLOOR; GRIFF TOSSES DOWN A FLARE;

IT DROPS INTO A ROOM BELOW)

MEG: Who said “the deeper the better?”

(GRIFF HOOKS A ROPE TO A RAILING AND DROPS THE ROPE THROUGH

THE HOLE; THEY HEAR A NOISE)

ZONE: (os) Butchers coming. If they smell us,

they will come down.

(ZONE PUTS IRIS ON HIS BACK)

ZONE (CONT’D): Cover our tracks with a tripper. (os) At

least now we’ll know if they crash the

party.

MONTAGE OF CLIPS

(MEG LOWERS INTO THE ROOM BELOW AS GRIFF SETS A CHARGE WITH

A TRIPWIRE ABOVE; CUT TO MEG AND THE OTHERS LOOKING AROUND

AS GRIFF JOINS THEM)


GRIFF: God. That was long. There was supposed

to be a subway service tunnel there.

(GRIFF LOOKS AROUND WITH HIS FLASHLIGHT AND WE KNOW FOR SURE

THAT THEY ARE IN THE DOLLHOUSE’S MAIN ROOM)

GRIFF (CONT’D): It’s something else.

MEG: (os) So I guess we’re (on camera) not in

a sewer.

ZONE: Any ideas?

LYNN: It looks like a spa.

MEG: Eight stories underground?

LYNN: It’s got air.

GRIFF: Yeah.

LYNN: Air for who?

GRIFF: Some kind of power’s (os) on.

LYNN: This place is empty.

GRIFF: Let’s make sure of that. Let’s split.

Lynn and I will check the perimeter.

Look for a generator. And hey. There’s

no signal can get through down here. (os)

No sewage. (on camera) Which means we

just walked into paradise. Keep your

eyes open and your weapons (os) cocked.


(on camera) Paradise wasn’t built to take

in strays.

(GRIFF AND LYNN WALK AWAY AS THE OTHERS LOOK AROUND)

ZONE: That guy sure loves the sound of his own

voice.

MEG: We all love the sound of our own voices.

(os) That’s why we’re here. To keep our

own voices.

(CUT TO THE TREATMENT ROOM)

ZONE: (os) With no signal down here, how’s

anyone gonna take it?

(A PLASTIC IS PULLED OFF THE TREATMENT CHAIR BY SOMEONE)

END ACT ONE


ACT TWO

INT. TOPHER’S OFFICE/TREATMENT ROOM-NIGHT

(ZONE AND MEG LEAD THE WAY IN)

ZONE/MEG: (ragged breathing)

ZONE: What was this? Some kind of Romper Room?

MEG: Must’ve been a daycare. Had the kids

play where everyone could see ‘em.

ZONE: Lot of tech for a playroom.

(IRIS AND MILLER LOOK AROUND BEHIND THEM)

MEG: You see who printed Laura?

ZONE: Mm-mm. Could’ve gotten too close to a

boom box.

MEG: She say anything?

ZONE: Yeah. She read her last will and

testament. (os) Then...

(IRIS PICKS UP A TOY AND PLAYS WITH IT)

ZONE (CONT’D): (os) ...she recited the Gettysburg

Address. She was (on camera) walking and

she was wiped. I put her down and moved

the hell on. Don’t get all... womanly.


MEG: I just wish...

ZONE: (os) What? That you could’ve (on camera)

said goodbye?

MEG: I wish it’d been you.

ZONE: (laugh)

(SUDDENLY THERE IS A NOISE AND SOME LIGHTS COME IN THE MAIN

ROOM; THEY LOOK OUT THE WINDOWS AS IRIS RUNS DOWN TO THE

LOWER LEVEL)

MILLER: (os) Wow. They got the genny running.

(ZONE AND MEG TAKE OFF THEIR GEAR AS IRIS SITS IN A CHAIR

BELOW WITH ANOTHER TOY)

MEG: (os) Zone.

ZONE: (os) (grunt)

(MEG AND ZONE HEAD TOWARD A DOOR)

MEG: Over here.

(THEY ENTER THE TREATMENT ROOM AND SEE THE CHAIR AS GRIFF

AND LYNN JOIN THEM)

LYNN: We found some breakers. That was easier

than I thought...

(THEY STARE AT THE CHAIR WITH MEG, ZONE, AND MILLER)

GRIFF: What the hell is this?


MEG: It looks familiar.

ZONE: Yeah. Grandpa used to kick back in one

of these, watch the Dodger game.

LYNN: (os) No, no. She’s right. (on camera)

Was it on the news?

GRIFF: Not this place.

ZONE: I more and more feel we should’ve gone to

the desert.

(GRIFF PRESSES A MONITOR SCREEN BEHIND THE CHAIR AND THE

SCREEN COMES ON; ZONE QUICKLY AIMS HIS RIFLE)

ZONE (CONT’D): Tech!

GRIFF: (os) Easy. (on camera) There’s no signal

down here.

ZONE: No bars. What about a hard line?

LYNN: (os) No. I don’t think so. (on camera) I

saw some fiber optics cut over by the

power box. I think this place is closed

off.

ZONE: Well, I’ll just wait over here.

(ZONE MOVES TOWARD THE DOOR)

GRIFF: This is for printing.

MEG: Crap.


(MEG STEPS BACK AS GRIFF PLAYS WITH THE MONITOR)

GRIFF: (os) No, no. This is (on camera)

different. You can control everything.

Ultra simple interface, memory banks...

LYNN: What kind of memories?

(GRIFF LOOKS AT MILLER)

GRIFF: Well, there’s one way to find out.

(ZONE STEPS FORWARD)

ZONE: (os) Whoa, (on camera) whoa, whoa. Are

you nuts?

GRIFF: We heard rumors about a cure, right?

ZONE: Rumors, man.

GRIFF: Well, maybe this will tell us something.

(os) I say we load some memories (on

camera) into Mr. Miller. We’ll ask him

some questions.

(MILLER DOESN’T REACT AT ALL AND IT’S CLEAR THAT HE HAS BEEN

WIPED)

LYNN: Well, a memory in Mr. Miller wouldn’t be

hard to (os) spot.

ZONE: Uh, objection. Insanely stupid idea. No

tech ever, right? That’s our theme song?


GRIFF: (os) How (on camera) long can we just

run? (os) This place (on camera) is here

for a reason.

ZONE: And it’s empty for a reason.

MEG: I’m in.

LYNN: Me, too.

ZONE: I’m downstairs.

(ZONE HEADS AWAY AND THEY SET UP)

INT. TREATMENT ROOM-LATER

(VIEW OF ZONE STANDING GUARD IN THE MAIN ROOM; GRIFF IS

WORKING THE MONITOR AS LYNN TIES MILLER’S ARMS TO THE CHAIR)

GRIFF: There’s so many bits (os) in here. (on

camera) I mean there’s whole personas.

But there is this. One file open with a

list of memories.

MEG: What are you gonna give him?

GRIFF: No persona.

(GRIFF LOWERS THE CHAIR)

GRIFF (CONT’D): I’m just gonna give him one single

memory. (os) And we’ll go from there.

(THE CHAIR TURNS ON)

MILLER: (gasps)


(MEG AND LYNN DRAW THEIR GUNS AS THE CHAIR SITS UP)

MILLER (CONT’D): Did I fall asleep?

GRIFF: Yeah.

(MILLER LOOKS AT GRIFF)

GRIFF (CONT’D): Mr. Miller, can you remember anything?

MILLER: Yes. I was talking with someone. A man.

GRIFF: Who?

MILLER: I’m not sure.

GRIFF: (os) Do you remember what he was saying?

MILLER: It all...

INT. ADELLE’S OFFICE-IN THE PAST

(ADELLE IS TALKING TO A CLIENT)

CLIENT: ...seems pretty clear to me.

ADELLE: Does it?

CLIENT: (os) Whatever I want, right?

ADELLE: (os) Within reason, yes.

CLIENT: It doesn’t seem possible.

ADELLE: Would you be here if it did?


(HE LEANS FORWARD)

CLIENT: Suppose I just want somebody to pretend

that they’re in love with me?

ADELLE: Then you are out of luck. (os) If you

engage an active, then (on camera) he or

she...

CLIENT: (interrupting) She. She.

ADELLE: Then she will see you and totally,

romantically, chemically fall in utter

and unexpected love with you.

(SHE STANDS UP)

ADELLE (CONT’D): You are a man who can have everything he

wants.

(ADELLE POURS HIM SOME TEA)

ADELLE (CONT’D): This isn’t just about what you want.

This is about what you need.

(SHE SITS BACK DOWN)

ADELLE (CONT’D): (os) An active doesn’t judge, (on camera)

doesn’t pretend. This will be the

purest, most genuine human encounter of

your life... (os) and hers. It is a

treasure. (on camera) One I guarantee you

will never, never forget.

ZONE: (vo) (laugh)


INT. TREATMENT ROOM/TOPHER’S OFFICE-PRESENT

(CLOSE ON MILLER)

ZONE: (os) (laugh)

(ZONE IS SPRAWLED OUT ON TOPHER’S COUCH)

ZONE (CONT’D): (continues laughing) A brothel? (os) You

mean to tell me that the tech that punt

kicked the (on camera) ass of mankind was

(os) originally designed to create (on

camera) more believable hookers? (os)

(laugh)

GRIFF: They called them actives. I think they

were used for a variety of things.

ZONE: (os) Yeah, for millionaires. Money (on

camera) men is like the main ingredient

in crazy.

(MEG LOOKS DOWN AT IRIS)

MEG: Iris, honey. (os) Do you have to pee?

IRIS: No.

LYNN: I saw where the bathrooms are. I’ll take

her. Come on. You don’t want to miss

the “Mr. Miller Comedy Hour.”

ZONE: (os) Oh, wait. (on camera) Kid, if you

find any food...


LYNN: Eat it.

GRIFF: Take that .45 (os) with you.

(LYNN HOLDS UP THE GUN AS SHE AND IRIS LEAVE; MEG JOINS

GRIFF AND MILLER AT THE CHAIR)

MEG: What’s next?

GRIFF: I guess we’ll jump ahead a bit.

MEG: Are the memories stored in order?

(GRIFF GETS READY TO ADD MORE MEMORIES TO MILLER)

GRIFF: Some kind of order. I mean, whoever set

this thing up was unorthodox, to say the

least.

(MILLER IS LOWERED BACK DOWN)

MILLER: (gasp)

INT. TOPHER’S OFFICE-IN THE PAST

(ADELLE BRINGS TOPHER INTO HIS OFFICE FOR THE FIRST TIME)

ADELLE: Is it as you’d imagined, Mr. Brink?

TOPHER: It’s actually weirder. (laugh) Which may

be a first.

ADELLE: This obviously...

(LAWRENCE ENTERS)


ADELLE (CONT’D): ...is the programming center.

TOPHER: It’s great. I love what you haven’t done

with the place. (laugh) I get up in this,

I’m gonna need a couple throw pillows and

a fridge.

LAWRENCE: (os) Shall we order you a (on camera)

poster with a cat, maybe hanging off a

tree?

TOPHER: (laugh) I like this guy (os) already.

LAWRENCE: It’s not a dorm room.

ADELLE: Mr. Dominic is our head of security.

LAWRENCE: (os) I’m here to make sure the house (on

camera) runs smoothly. No unstable

elements.

TOPHER: So do you get me the fridge? Or do I

talk to someone higher up?

(LAWRENCE STARES AT HIM)

ADELLE: Perhaps you’d like to see the imprinting

process.

(TOPHER AND LAWRENCE FOLLOW ADELLE INTO THE TREATMENT ROOM

WHERE AN ACTIVE IS ALREADY IN AN OLDER VERSION OF THE CHAIR

AS TWO SCIENTISTS WORK)

TOPHER: You build it there. It comes out here.


ADELLE: (os) We have access to over a hundred

thousand brain (on camera) models. Every

scan that Rossum makes sends a full 3-D

map to our mainframe. In three years,

we’ll have a million.

TOPHER: It’s beautiful. (to Lawrence) I’m also

gonna need a trampoline. Just...

LAWRENCE: We have at least 10 actives sent out per

day. It takes two hours to upload an

imprint. So I don’t see you having the

time...

TOPHER: (interrupting) Whoa. Two hours? What?

Are they memorizing their personalities?

(ADELLE WALKS OVER)

ADELLE: Two hours is the standing record for any

house. Do you think you can beat it?

TOPHER: Uhhh... to a pulp, yeah. (laugh) First of

all...

(TOPHER HOLDS UP THE CABLE ATTACHED TO THE ACTIVE’S HEAD)

TOPHER (CONT’D): ...the analog cables have got to go.

You’re uploading the personal history

(os) chronologically, right?

(ADELLE AND LAWRENCE NOD)

TOPHER (CONT’D): Endless. The information bottlenecks.


ADELLE: To preserve the integrity of the memory

structure.

TOPHER: No, no, no, no. You don’t have to. They

can experience it teleologically. And

the imprinted memory can sort it out (os)

for you.

ADELLE: Dump it all at once.

TOPHER: Come at him from all sides. It’s basic

micro-pulse. In and out, five minutes,

tops.

LAWRENCE: What if their brains turn to jelly?

TOPHER: (os) Well, (on camera) (clears his

throat) with the obvious exception of

yours, the human brain is a massively

powerful creature. Underestimating it is

usually the last (os) mistake any culture

makes.

LAWRENCE: Cities don’t burn because everyone got

smarter. They burn because someone lost

control of them.

TOPHER: I’m sorry. But whence this clown? Did

Idi Amin turn down (os) the job?

(ADELLE WALKS CLOSE TO TOPHER)

ADELLE: Mr. Dominic is my eyes and ears.

TOPHER: Can I be nose and throat?


ADELLE: In matters of security, my assent is a

formality, including the termination of

unstable employees.

(TOPHER NODS AND SHUTS UP)

ADELLE (CONT’D): Mr. Dominic?

LAWRENCE: Ma’am?

ADELLE: Get this man a refrigerator.

INT. DOLLHOUSE SHOWER ROOM-PRESENT

(LYNN CARRIES A FLASHLIGHT AS SHE AND IRIS ENTER THE DARK

ROOM)

IRIS: What’s a brothel?

LYNN: I’ll explain it when you’re older.

(THEY STEP INTO THE SHOWER AREA AND ONE OF THE SHOWERS COMES

ON)

LYNN/IRIS: (gasps)

(THEY STEP BACK AND IT SHUTS OFF)

LYNN/IRIS (CONT’D): (laughter)

LYNN: Did I have a stupid look on my face?

IRIS: (laugh)

LYNN: Yeah? Well, you, too.


IRIS: (laugh)

(LYNN STEPS UP AND WHEN THE WATER COMES ON, SHE PUTS HER

HAND UNDER IT)

LYNN: (longingly) Hot water. No way.

(LYNN STARTS DISROBING)

LYNN (CONT’D): Okay, sweetie. The toilet’s around that

corner. You do your thing. I’m gonna

take a quick shower.

IRIS: (scared) I don’t want to do it alone.

LYNN: But I haven’t had a shower this year...!

(LYNN SEES HOW AFRAID IRIS IS)

LYNN (CONT’D): Okay. Don’t worry. I’ll be right here.

(os) Okay?

IRIS: Okay.

LYNN: Okay.

(IRIS HEADS AWAY AS LYN FINISHES TAKING OFF HER CLOTHES;

LYNN TURNS THE WATER BACK ON AND TAKES A SHOWER)

LYNN (CONT’D): (happy sigh)

(SHE REACTS WHEN SHE SEES A SHADOW PASS; SHE CHECKS TO MAKE

SURE HER GUN AND FLASHLIGHT ARE STILL THERE; SHE THINKS

SHE’S SEEING THINGS AND GOES BACK TO ENJOYING HER SHOWER)

LYNN (CONT’D): (sigh)


(HER EYES GO WIDE WHEN SHE SEES SOMEONE PICK UP HER

FLASHLIGHT; SOMEONE KNOCKS HER OUT WITH THE FLASHLIGHT)

LYNN (CONT’D): (gasp)

END ACT TWO


ACT THREE

INT. TREATMENT ROOM-NIGHT

(MILLER IS BEING GIVEN ANOTHER TREATMENT)

MILLER: (gasps)

INT. TREATMENT ROOM-IN THE PAST

(ECHO IS IN THE CHAIR AS TOPHER JOINS HER)

TOPHER: Hello, Echo. Does a treatment sound

nice?

ECHO: It does.

TOPHER: Good. Lie back, please. This girl (os)

is gonna be fresh out of...

ECHO: (gasps throughout)

TOPHER: (over Echo) ...the shipping container

from a little town called Dolinsk.

(BALLARD IS ACROSS THE ROOM WATCHING THE PROCEDURE)

TOPHER (CONT’D): (os) No skills. No English. (on camera)

You know what you’re doing?

BALLARD: What’s better to infiltrate the herd? A

wolf in sheep’s clothing or a sheep?


TOPHER: (laugh) (os) I haven’t taken on the

Russian mob lately. So I don’t know.

BALLARD: They start trusting her, and then we can

give her the skills.

(THE TREATMENT ENDS)

ECHO: (speaks Russian)

SUBTITLES: Thank you. That felt great. May I come

back again?

(TOPHER GIVES HER TWO THUMBS UP)

TOPHER: I don’t know what you’re saying!

ECHO: Mm.

INT. ELEVATOR-MOMENTS LATER

(BALLARD AND ECHO ENTER THE ELEVATOR AND SHE WAVES AT

TOPHER)

ECHO: (speaks Russian)

SUBTITLES: See you soon.

(THE DOOR SHUTS AND BALLARD LOOKS AT HER)

BALLARD: How are you feeling?

ECHO: Not exactly good as new. You’ve gotta

pick up the pace. I don’t know if I can

hold out much longer.


BALLARD: Hang in there. And the Russian girl?

ECHO: (on camera and os) (speaks Russian)

SUBTITLES: Don’t worry, Paul. The little Russian

girl with the big American dream is still

intact.

ECHO (CONT’D): But as for me...

(SHE PUTS HER HANDS TO HER HEAD)

ECHO (CONT’D): ...the headaches are getting worse.

(painful) Oh! Ohh...!


(IRIS IS SCREAMING AS THE OTHERS COME RUNNING)

IRIS: (piercing screams)

(ZONE RUSHES UP AND COVERS IRIS’ MOUTH)

IRIS (CONT’D): (muffled screams)

ZONE: (over Irish) Shhh...

(MEG PUTS A HAND TO HER MOUTH WHEN SHE SEES THE BLOODY HOLE

IN LYNN’S FOREHEAD)

IRIS: (muffled gasps throughout)

(GRIFF QUICKLY COLLECTS THE FLASHLIGHT AND GUN)

ZONE: (loud whisper) Meg! Now go, go, go.


(THEY LEAVE THE SHOWER ROOM)

ZONE (CONT’D): Shh...

INT. DOLLHOUSE HALLWAY/MAIN ROOM-CONTINUOUS

(THEY SEARCH WITH THEIR FLASHLIGHTS WITH GUNS READY)

MEG: (weepy breathing) I can’t believe it.

Lynn.

GRIFF: At least she went as herself. We’re

gonna hunker down (os) in the Romper

Room. We’ll set up some (on camera)

trippers. There’s good visibility up

there.

ZONE: Yeah. So the whole world can see us?

Nice little display case for our

potential corpses.

MEG: The answer’s up there.

ZONE: No. The big creepy slabs of tech are up

there. There’s no answers, Meg. Just

history.

MEG: So it seems like this is the place where

the tech originated. Maybe there’s a way

to stop it.

ZONE: Fine. But since we agreed to keep her

around, I think it’s time to birthmark

the girl.

GRIFF: Agreed.


MEG: Agreed.

(THEY HEAD UP THE STAIRS)

ZONE: Good. Don’t worry, sweetie. Everybody’s

gotta grow up sometime.

INT. DOLLHOUSE MAIN ROOM/CLAIRE’S OFFICE-IN THE PAST

(BOYD IS WITH CLAIRE)

CLAIRE: I’m not ready for this. Where will you

go?

(BOYD IS PACKING SOME CLOTHES)

BOYD: I don’t know yet. I’ll have to figure

that out on the move. Somewhere they

can’t pinpoint me.

CLAIRE: Where is that?

BOYD: I don’t know! And I wouldn’t tell you if

I did. Echo’s already in danger. I

don’t want you to be. It’s an

understatement to say they have ways of

making you talk. Maybe I’ll just keep

moving. I’ll be okay...

(BOYD NEARLY DOUBLES OVER IN PAIN AND CLAIRE GETS HIM

SOMETHING TO HELP)

CLAIRE: You won’t be able to go to the hospital

if you need to. Here. Some extra

bandages if you need to re-wrap it.


BOYD: I’m healing fine, Claire.

CLAIRE: You’ll need these to fight off infection.

Fever is the first sign...

(HE TAKES HER ARMS AS HE INTERRUPTS)

BOYD: Claire... I’ll be okay.

CLAIRE: (crying) I wish we had more time.

(SHE PUTS HER HEAD ON HIS SHOULDER AND HE HOLDS HER)

BOYD: I know.

(HE TAKES HER HEAD SO THEY CAN SEE EACH OTHER)

BOYD (CONT’D): I’ll come back for you.

CLAIRE: (sigh)

BOYD: You understand?

CLAIRE: (sniffs/ragged breaths)

BOYD: I will come back for you.

(BOYD GRABS THE BAG AND LEAVES)

INT. TREATMENT ROOM-PRESENT

(MILLER SITS UP IN THE TREATMENT CHAIR)

INT. DOLLHOUSE MAIN ROOM-CONTINUOUS


(ZONE GIVES IRIS A TATTOO READING, “I AM IRIS MILLER”)

MEG: (os) We call it a birthmark. It’s the

only way we (on camera) can tell a person

really is who they say. (os) If you...

IRIS: Iris Miller.

MEG: (os) Yeah. So if (on camera) you start

acting strange, we can ask you your full

name and know that you’re okay. The word

has been spreading for awhile among

actuals. So if we meet any new actuals,

we can check to verify. And this makes

you one of us.

IRIS: I want to be like Zone.

(ZONE LOOKS UP)

MEG: (os) (snort) (on camera) Why on earth?

IRIS: Because he’s funny and mean.

(ZONE PATS HER HEAD AS HE KEEPS WORKING)

IRIS (CONT’D): (os) (amused grunt)

(MEG GETS UP AND STARTS UPSTAIRS)

IRIS (CONT’D): (os) You don’t (on camera) have to tattoo

my dad. He doesn’t know who he is

anymore.

(THEY ALL LOOK SERIOUS FOR A MOMENT)


INT. TREATMENT ROOM/TOPHER’S OFFICE-MOMENTS LATER

(MEG JOINS GRIFF)

GRIFF: (sigh) How’s she doing?

MEG: The tattoo is the least painful thing the

girl has ever gone through.

GRIFF: (sigh)

MEG: We need real food.

GRIFF: I’ll think on it. This place has running

water though.

MEG: (os) And power. (on camera) And... and

heat. And no signal. Griff, if we

fortify and find whatever’s down here

with us, blast it to pieces, we could set

up in this place.

(GRIFF SEES SOMETHING)

MEG (CONT’D): Griff?

(THEY STAND)

GRIFF: I think it found us.

(THEY LOOK DOWN AT A GHOSTLY LOOKING WOMAN IN A GOWN WITH

HER ARMS OUTSTRETCHED)

MEG: (os) (gasp)

(CLOSE ON THE WOMAN AS SHE LOOKS UP AT THEM; IT’S CLAIRE


WITH HER SCARS HEALED)

CLAIRE: I found your friend.

END ACT THREE


ACT FOUR

INT. DOLLHOUSE MAIN ROOM-NIGHT

(THE TEAM SURROUNDS CLAIRE)

MEG: (os) Move and you die!

GRIFF: (os) You’re surrounded!

ZONE: I will shoot you very hard!

MEG: Who are you?!

CLAIRE: My name is Whiskey.

GRIFF: What’s your last name?

CLAIRE: I don’t know.

ZONE: She’s a dumb show. A dumb show that

bashed Lynn in the head!

GRIFF: Where were you born?

CLAIRE: I don’t know.

ZONE: (os) Let’s blow this (on camera) bitch

back to the Bush years.

GRIFF: Did you kill our friend?

CLAIRE: I found her. She was sleeping.


ZONE: You wouldn’t even know it (os) if you

did...

MEG: (interrupting) Hold on a second, guys.

Hold on. How did you get down here?

CLAIRE: I’ve always been here.

ZONE: I’m... I’m gonna blast her!

MEG: Power it down a second, Zone!

ZONE: Since when do we mull this over?!

CLAIRE: Are you looking for Safe Haven?

(ZONE STEPS AROUND HER TO STARE AT CLAIRE WITH THE OTHERS)

ZONE: What?

MEG: What do you know about Safe Haven?

GRIFF: It’s a myth.

ZONE: She’s empty.

CLAIRE: Where no one can be changed. You die as

you were born. Heart in concert with the

mind.

(CLAIRE RAISES HER HANDS)

ZONE: She’s empty, man.

CLAIRE: I know the way to Safe Haven.


GRIFF: You do?

CLAIRE: I can show you the way.

INT. TOPHER’S OFFICE-SHORT TIME LATER

(THE GROUP JOINS IRIS)

GRIFF: There must be a secret tunnel (os) or

something.

MEG: I wonder how many actuals are there?

CLAIRE: Here.

(GRIFF AND ZONE POINT AT THE ELEVATOR DOOR)

GRIFF: Here?

ZONE: This? Meg, grab a heavy thing.

(MEG FINDS SOMETHING AS THEY TRY TO OPEN THE DOOR; CLAIRE IS

ACTUALLY POINTING AT MILLER IN THE CHAIR)

CLAIRE: This is the way to Safe Haven.

ZONE: Oh, you gotta be kidding me!

(ZONE RAISES HIS WEAPON AND MEG PUSHES IT DOWN)

MEG: Wait! The chair? The memories will tell

us how to get there?

(CLAIRE NODS)


MEG (CONT’D): So we (os) are on the right track.

ZONE: Because the windup doll says so?

MEG: I told you there were answers!

GRIFF: She’s right. (os) Keep going.

ZONE: (over Griff) Are you guys printed?! This

girl probably killed Lynn! We should

waste her, not take her advice! Now

instead of finding food, y’all want to

hang with dumb shows and play with tech

all day!

CLAIRE: Food?

GRIFF: I think we’re close. There was this one

girl, Echo. She seemed like she could

withstand the prints.

CLAIRE: I know where to find food.

GRIFF/MEG: Where?

ZONE: If you point at the frickin’ chair, I

will end you!

CLAIRE: In the kitchen.

ZONE: In the kitchen.

INT. DOLLHOUSE KITCHEN-IN THE PAST

(VICTOR IS WEARING A SUIT AND EATING CRAB LEGS AS ADELLE

APPROACHES)


VICTOR: Mm!

(TOPHER IS STARING AT VICTOR)

VICTOR (CONT’D): (laugh) Mm! Mm! Sorry to make you come

down. I’m allergic to shellfish. So

this is a real treat.

ADELLE: Topher, I’m looking for Mr. Ambrose.

VICTOR: You don’t recognize me? Well, of course

not. I don’t recognize me.

ADELLE: (realizing) Mr. Ambrose? (to Topher)

What’s going on?

VICTOR: I’ve come here.

ADELLE: How?

TOPHER: Delivered on a hard drive.

VICTOR: I’m here to inform you that this...

(VICTOR TOUCHES HIMSELF)

VICTOR (CONT’D): ...is a service we now provide.

ADELLE: I’m sorry. I can...

VICTOR: Upgrades. We at Rossum now provide

select clients with complete anatomy

upgrades.

ADELLE: You’re giving away our actives?


VICTOR: No. We’re not giving them away. We’re

charging them a lump nine figure sum.

ADELLE: This is wrong. You can’t do this.

(VICTOR TURNS BACK TO HIS FOOD)

VICTOR: I think you’ll find in the coming months,

we can do whatever we want.

ADELLE: What about the laws?

VICTOR: We’ve always been above the law, Adelle.

Only now, we’re also writing it. This

will all be legal within a year.

Everybody who matters is either a client

or one of ours.

ADELLE: (os) I was talking (on camera) about the

laws of humanity.

VICTOR: Laws of evolution, Adelle. Imagine what

one man can achieve if he has no fear and

will live forever.

ADELLE: This is not what we set out to do.

VICTOR: It’s not what you set out to do, Adelle.

ADELLE: (os) You cannot have that body, Mr.

Ambrose. (on camera) It belongs to

another soul. And I will not sell these

people off at any price!

(VICTOR PUTS HIS FORK DOWN WITH A CLATTER AND TURNS TO HER)


VICTOR: Listen carefully. This is the time to

choose, Adelle, Mr. Brink, whether you

want to be someone who lives on with the

endless epoch ark of history, or a

quickly discarded, decomposing vessel,

enriching the soil. You’ve both earned a

place on the ark. Mr. Brink, you

practically built it. (os) So you can

take this body if you want. I won’t

fight. (on camera) Right now, I’m in 10

others. Having this conversation in 10

other houses.

(ADELLE REACTS)

VICTOR (CONT’D): If you do reclaim this body though, we’ll

know. And you’ll have made a choice. A

defining choice. So... (takes a bite of

crab)

INT. TREATMENT ROOM-PRESENT

(CLOSE ON MILLER)

MILLER: ...what do you say?

(GRIFF IS WITH MILLER)

GRIFF: This is sick. I thought knowing how it

happened would somehow...

(IRIS HAS JOINED THEM)

GRIFF (CONT’D): ...make it not as bad.


IRIS: Does it hurt? It looks like it hurts?

GRIFF: He doesn’t remember it hurting when it’s

over though, kiddo.

IRIS: So can that machine take people out of

people and put them in other (os) people?

GRIFF: Yeah. I think so.

(IRIS RAISES A GUN SHE’S BEEN CONCEALING AND SHOOTS GRIFF)

GRIFF (CONT’D): (painful cries)

(IRIS UNTIES MILLER’S HAND AND PUTS THE GUN IN IT; SHE GOES

TO A CORNER AND GETS DOWN)

IRIS: (piercing scream)

END ACT FOUR


ACT FIVE

INT. TREATMENT ROOM-NIGHT

(ZONE AND MEG RUN INTO THE ROOM AND FIND MILLER STILL

HOLDING THE GUN AND GRIFF DEAD)

IRIS: (os) (continues screaming)

MEG: (under Iris) Oh, my God.

(CLAIRE APPROACHES)

MEG (CONT’D): What? What? (gasps)

IRIS: (os) Daddy’s angry! (on camera) Daddy’s

angry!

(ZONE GOES OVER TO MILLER AND PUTS THE GUN TO HIS HEAD)

ZONE: Hey, son of a bitch.

MILLER: Did I fall asleep?

MEG: No! Not in front of Iris.

(ZONE PULLS MILLER OUT OF THE CHAIR BY HIS TIE AND TAKES HIM

OUT OF THE ROOM)

MEG (CONT’D): (os) What do we do now?

(CLAIRE WORKS THE CHAIR CONTROLS)


CLAIRE: I will help you find Safe Haven.

(CLAIRE SITS IN THE CHAIR)

MEG: (weepy) There is no Safe Haven!

CLAIRE: Not for everyone.

(THE CHAIR GOES DOWN)

INT. ADELLE’S OFFICE-IN THE PAST

(LAWRENCE PUSHES ADELLE DOWN ON THE COUCH AND POINTS HIS

GUN AT HER FACE)

LAWRENCE: I regret to inform you, ma’am, but we’ve

had a security breach.

ADELLE: I sent for you, Mr. Dominic.

LAWRENCE: After everything we’ve been through, you

think I’m still your faithful lapdog?

(AN AIR SIREN SOUNDS OUTSIDE)

LAWRENCE (CONT’D): After the attic? After what you did with

my body?

ADELLE: You were a spy. You were caught. What

did you think would happen?

LAWRENCE: Exactly what happened... everywhere.

(HE LETS HER UP)

ADELLE: So you’ve been briefed.


LAWRENCE: I saw Topher’s face. Almost worth the

price of the ticket. And I took a little

walk outside.

ADELLE: That wasn’t a good idea.

LAWRENCE: I ran into a guy. Business guy, very

nice suit. It’s three buttons again.

Who saw that coming? (os) Guy asked me to

help find his mommy. And (on camera) did

I want to play Pretty Princess with him.

Said he’s not gonna like kindergarten

because there’s boys.

(LAWRENCE SITS DOWN AND THERE ARE EXPLOSIONS OUTSIDE)

LAWRENCE (CONT’D): (os) So I’m thinking, “God. Some twisted

freak’s imprinted this poor guy.” (on

camera) But naw, but maybe I’m wrong.

Maybe this sick sap saw what was coming

and just decided, “I can be whoever I

want.”

ADELLE: (sighs under Lawrence)

LAWRENCE: (os) That’s what this whole operation was

about, right? (on camera) Giving people

what they want? (laugh) No, no, no, no.

What they need. (os) Everybody needs to

get away.

(ADELLE GETS UP)

LAWRENCE (CONT’D): (os) Just slip out of (on camera) their

lives.


(LAWRENCE GETS UP)

LAWRENCE (CONT’D): The thing they couldn’t do. The girl

they couldn’t (os) have. The pretty

princess they (on camera) never got to

be.

(LAWRENCE SHOOTS THE BOTTLE ADELLE IS OPENING)

LAWRENCE (CONT’D): (sniff) I miss anything?

(ADELLE POURS FROM ANOTHER BOTTLE)

ADELLE: Just the vodka, thank God.

LAWRENCE: How does it feel to end the world, Ms.

DeWitt?

ADELLE: There may be a way to stop it.

LAWRENCE: (sigh) Tech’s out there. You can’t make

it go away.

ADELLE: There’s a block. A defense against being

imprinted.

LAWRENCE: (os) Topher has a cure?

ADELLE: (sighs after drinking) Caroline (os) has

it.

LAWRENCE: Which one’s Caroline?



(MILLER WALKS AHEAD OF ZONE INTO THE ROOM)

MILLER: (os) This way?

ZONE: (os) Yup. (on camera) Straight ahead.

Big ol’ plate of chicken.

(ZONE SHOOTS MILLER AND HE FALLS NEAR LYNN’S BODY)

MILLER: (os) (grunt)

INT. TREATMENT ROOM-CONTINUOUS

(MEG IS SEARCHING THE CHAIR’S COMPUTER AS CLAIRE TALKS TO

HER AND IRIS WATCHES THEM)

MEG: But there’s no Caroline in here. It’s

like she didn’t exist.

CLAIRE: She exists.

MEG: But how do we find her?

(CLAIRE POINTS TO THE DISK OPENING BEHIND HER ON THE CHAIR)

MEG: Something goes in there?

CLAIRE: (os) Yes.

MEG: What?! What, ma’am? What goes in there?

CLAIRE: I don’t remember... yet.

(ZONE RETURNS AS CLAIRE SINKS BACK DOWN IN THE CHAIR)

IRIS: Where’s my dad?


ZONE: Dead.

INT. DOLLHOUSE LOCKER ROOM-IN THE PAST

(SIERRA IS SITTING AND STARING AT NOTHING AND SURROUNDED BY

WEAPONS AS VICTOR ENTERS WITH A BAG)

VICTOR: You should be in the bed chambers with

the others.

SIERRA: I don’t want to be with them. Too much

talk makes the headaches worse.

VICTOR: Just take the damn meds.

SIERRA: No! (beat) No. If this is what it means

to be me, I’d rather (os) deal with the

pain.

(VICTOR UNPACKS THE WEAPONS FROM HIS BAG)

SIERRA (CONT’D): Juliette had another one of her dreams

last night. (os) We were all in a boat

this time. (on camera) A giant boat.

Even her dreams are hacky. Should’ve

seen them all cooing about at her feet.

VICTOR: So what? That offends you?

SIERRA: Hope seems almost cruel at this point.

Just these people, they make me crazy.

Maybe I should just go above ground.

VICTOR: Don’t talk like that. (os) You know how

dangerous it is. (on camera) Tech’s gone


wild. Those people are stealing bodies

left and right. You don’t want to end up

like November.

SIERRA: Which one?

VICTOR: Safest thing we can do is just cut our

lines and go on lockdown.

SIERRA: Lockdown.

(SIERRA EMBRACES VICTOR)

SIERRA (CONT’D): Have we ever known anything else?

VICTOR/SIERRA: (sighs)

VICTOR: Don’t.

(SHE MOVES AWAY)

SIERRA: Right. That’s over with now.

(VICTOR HAS BLOOD ON HIS HAND)

VICTOR: You’re bleeding?

SIERRA: Yeah.

(THERE’S BLOOD ON THE BACK OF HER SHIRT AND VICTOR LIFTS IT

UP TO SEE)

SIERRA (CONT’D): Uh, my new birthmark. I made Charlie do

it for me. So that...

TATTOO: I am Priya Tsetsang


SIERRA (CONT’D): ...I always know who I am.

VICTOR: (laugh)

SIERRA: If I think I’m someone else, I’ll have to

face up to that hideous lie.

VICTOR: I want to show you something.

(VICTOR SHOWS HER A SECRET STASH OF MEMORY TAPES)

VICTOR (CONT’D): (sigh) From the lab. (os) So no matter

what happens, we have a backup here. (on

camera) All of us, even Caroline.

(HE COVERS THEM UP AGAIN)

VICTOR (CONT’D): So now you can always be your self again.

SIERRA: As long as there’s someone...

INT. DOLLHOUSE LOCKER ROOM-PRESENT

(MEG IS SEARCHING)

SIERRA: (vo) ...to lead us back.

(IRIS AND ZONE WATCH HER; ZONE GETS DOWN BY IRIS)

ZONE: Kid, listen. There’s only three of us

now. So I think it’s time to give you a

gun.

IRIS: I’m scared of guns.


ZONE: I know. Small gun.

(MEG BREAKS THROUGH A LOCKED SECTION AS ZONE SHOWS IRIS HOW

TO USE A SMALL GUN)

MEG: (grunts)

ZONE: (over Meg) All you gotta do is point...

and pull the trigger.

(HE GIVES IRIS THE GUN)

ZONE (CONT’D): Just be careful, okay?

(MEG FINDS THE TAPES)

INT. TREATMENT ROOM-LATER

(THEY ENTER THE ROOM AND ZONE HAS THE TAPES)

ZONE: Old school. So each one of these holds

an entire personality, huh? How do we

know which one is Caroline?

MEG: One by one. (looking at Claire) We load

up Whiskey and introduce ourselves.

ZONE: God that’s gotta (os) suck. Waking up

one day (on camera) in a different body.

(IRIS AIMS HER GUN AT THEM)

IRIS: You have no idea.

MEG: (os) (confused) Iris? Oh, God. (on

camera) You?


ZONE: You murdered (os) them all.

IRIS: I really didn’t want to. But you guys

kill everyone that’s printed. Bigots.

MEG: We saved your life. Griff saved your

life! This whole time...

IRIS: (interrupting) Easy part to play. A (os)

stupid kid. (on camera) I don’t know how

I got dumped into this little bitch’s

body. But that chair is my chance to get

out.

ZONE: (sniff) You want Meg or you want me?

IRIS: Meg, thank you. And I need Caroline, or

Whiskey, or whoever, to lead the way. So

sorry, Zone. Been really nice. A little

patronizing, but...

(SHE SHOOTS BUT THE GUN IS EMPTY; ZONE GRABS HER AND PUTS

HER IN THE CHAIR)

IRIS (CONT’D): (screams/frantic cries)

(THE LIGHT COMES ON AND IRIS SETTLES DOWN)

MEG: How did you know?

ZONE: I saw Mr. Miller’s birthmark after his

body hit the ground. His name wasn’t

Miller.

INT. DOLLHOUSE MAIN ROOM-IN THE PAST


(ADELLE WATCHES AS A FEMALE TALKS TO OTHERS GATHERED AROUND

SOME CANDLES)

FEMALE: (os) I am humble in (on camera) prayer,

and hopeful that we’ll be able to go

outside. Even if not tomorrow, (os) Then

someday.

GROUP: (unintelligible murmurs) Yeah...

(THE FEMALE GETS UP HOLDING HER PREGNANT BELLY AND SOMEONE

ELSE TAKES HER PLACE)

MALE: (sigh) I am humble...

(CLAIRE WALKS UP TO ADELLE)

MALE (CONT’D): (os) ...in prayer. I am grateful for my

memories.

GROUP: (os) (unintelligible murmurs) Amen...

CLAIRE: I tried to give him haloperidol, but he

won’t take anything without you.

ADELLE: All right.

(ADELLE TAKES A PILL BOTTLE FROM CLAIRE)

ADELLE (CONT’D): Thank you, Dr. Saunders.

CLAIRE: (sigh)

ADELLE: It’s one of his bad days.


(ADELLE WALKS AWAY)

CLAIRE: (sigh)

INT. DOLLHOUSE SLEEP CHAMBER-MOMENTS LATER

(ADELLE WALKS IN AND HEARS TAPPING; THERE ARE BOOKS AND

KNICKKNACKS LAYING AROUND A POD WHERE TOPHER IS SITTING

INSIDE WRITING ON THE SIDES; HE IS HAPPY TO SEE ADELLE)

TOPHER: There you are!

ADELLE: I’m sorry. I was at circle.

(HE SITS OUTSIDE THE POD)

TOPHER: Come here.

(ADELLE GETS DOWN BY HIM AND HE TAKES HER HANDS)

TOPHER (CONT’D): I need to... I need to tell you. (sigh)

Ultra enprisonic emitters. You don’t

need a translator when speaking directly

to the brain.

ADELLE: Have you had anything to eat today?

TOPHER: No. No, no, no. No. Nana was just one

phone call. (sigh) One robo-call to a

city. That’s all it takes. An entire

army in a single instant in the hands of

any government, and boom. We went... we

went boom. Millions programmed to kill

anyone who’s not programmed to kill

anyone. And then the war has two sides.

Those who answered the phone, and those


who didn’t. You know what? Don’t answer

the phone. (anguished) Promise me you

won’t answer the phone!

ADELLE: I... I promise, sweetheart. I...

TOPHER: (sniff)

ADELLE: I could read to you. Do you like that?

(ADELLE GETS UP AND GETS A BOOK)

TOPHER: So which is worse? (os) Pick up the phone

or don’t pick up the phone? (on camera) I

can’t tell. It’s an interesting

question. An entire army (os) in a

single instant. (on camera) That’s all it

takes. That’s brilliant! That’s so

brilliant! Why didn’t I think of that?

(beat) Did I think of that?

ADELLE: (sigh)

TOPHER: Did I? (crying) Oh, God. Oh, my God.

Oh, my God. Oh, my God.

(HE GETS BACK INTO THE POD AND GRABS A PILLOW)

TOPHER (CONT’D): If I think I can figure things out, is

that curiosity or arrogance? (os) Oh, my

God.

ADELLE: (quiet sobs)

TOPHER: I know what I know. I know what I know.

I know what I know.


(ADELLE GETS DOWN IN THE POD WITH HIM)

TOPHER (CONT’D): I know what I know.

ADELLE: Shhh...

TOPHER: I know what I know.

ADELLE: Darling, it’s all right. (kisses his

forehead)

TOPHER: I know what I know.

(SHE HOLDS TOPHER CLOSE)

ADELLE: I’m here. It’s okay. It’s okay.

TOPHER: (over Adelle) I know what I know. I know

what I know.

ADELLE: It’s okay. It’s okay. It’s okay.

TOPHER: (sob) I know what I know.

(ADELLE LOOKS UP WHEN SHE HEARS BANGING)

ADELLE: (gasp)

INT. DOLLHOUSE MAIN ROOM-CONTINUOUS

(EVERYONE IS STARING UP AT A BRICKED UP WALL THAT’S BEING

BANGED AT FROM THE OTHER SIDE)

CROWD: (unintelligible frightened chatter)


(VICTOR AND OTHER ARMED MEN HEAD UP AND AIM THEIR RIFLES

AT THE WALL; ADELLE RUSHES UP)

ADELLE: Wait!

(THEY LET HER THROUGH AND VICTOR HANDS HER A RIFLE; WHEN

THE HOLE IS OPENED, ECHO AND BALLARD COME THROUGH)

ECHO: Home sweet home.

END ACT FIVE


ACT SIX

INT. CLAIRE’S OFFICE/MAIN ROOM - IN THE PAST

(CLAIRE IS STITCHING UP A NASTY CUT ON ECHO’S LEG)

ECHO: Glad to see the doctor back in the house.

(os) Didn’t expect to after they fixed

your face. (on camera) How did that

happen?

CLAIRE: Long story.

ECHO: It’s gonna be tough getting everyone to

the compound. (gasp) The tech they need

doesn’t travel.

CLAIRE: It works then?

ECHO: No one’s been printed there. We have

Alpha to thank for that.

(ECHO LOOKS OUT AT BALLARD EATING AS HE TALKS TO VICTOR)

CLAIRE: I’m surprised to see you and Paul

together.

ECHO: Jury’s out on together. (os) But he’s got

my back. (on camera) Listen. I need

Topher to put me in the chair. Back me

up on a drive. A hard copy.


CLAIRE: Uh, Topher doesn’t go up there anymore.

I can do it for you. You’re copying

yourself?

ECHO: In case (os) something happens to me. I

know (on camera) exactly where we’re

going. Gotta keep that close for now.

But someday someone may need to know.

CLAIRE: How will they know where to look?

ECHO: I’m working on that.

BALLARD: (os) Once we hit the ground...

(BALLARD IS TALKING TO THE GROUP OF PEOPLE AS VICTOR HANDS

OUT WEAPONS)

BALLARD (CONT’D): ...there’s no time to cry about how

different it is up there. It’s

different. You stay...

(CLOSE ON A GUY WALKING WITH A WEAPON)

BALLARD (CONT’D): ...close to the person in front of you

(os) and you keep your weapon ready.

Someone from outside of this group comes

up, then...

(ECHO PASSES BY ADELLE CARRYING A WEAPON)

ADELLE: You’ve come to save the innocent (os)

lambs?

ECHO: They’re not lambs, DeWitt. (os) I think

I’ve mentioned that (on camera) before.


ADELLE: What about the rest of us, Caroline? Are

you going to save us, too? Or have you

come to kill us?

ECHO: Can you give me a reason not to?

ADELLE: I’m not going to plead with you. Your

mind’s made up.

(ECHO PULLS OUT A PISTOL AND COCKS IT)

ECHO: Yes, it is.

INT. TREATMENT ROOM/MAIN ROOM-PRESENT

(IRIS SITS UP IN THE CHAIR)

MEG: Caroline?

(IRIS LOOKS DOWN AT HERSELF)

IRIS: Yeah. Great. Puberty all over again.

How many we got?

ZONE: You’re looking at ‘em.

IRIS: What year is this?

MEG: 2019.

IRIS: 19. Dr. Saunders!

(IRIS RUNS OVER TO CLAIRE)

IRIS (CONT’D): I can’t believe you held out!


CLAIRE: My name is Whiskey.

(IRIS STARES AT HER A MOMENT)

IRIS: Oh. Well, thank you, Whiskey, for

helping them find me.

CLAIRE: Was I my best?

IRIS: Better. (sniff)

MEG: You knew her before?

IRIS: I told her if she stayed, she’d lose her

mind. I guess she decided that was

better.

ZONE: But you discovered a cure?

IRIS: Yeah.

ZONE: Where is Safe Haven?

IRIS: (laugh) That’s what they’re calling it?

Far.

MONTAGE OF CLIPS

(THEY HEAR AN EXPLOSION; THEY SEE SOMETHING ON FIRE FALL TO

THE MAIN ROOM FLOOR)

ZONE: That’s our tripper. Party’s crashed.

(os) Let’s move.

(PEOPLE CALLED BUTCHERS START SLIDING DOWN ROPES INTO THE


MAIN ROOM)

BUTCHERS: (grunts)

IRIS: Come with me, Whiskey.

CLAIRE: (os) I need to (on camera) wait.

MEG: Come with us. Butchers are coming.

CLAIRE: I have to wait here.

BUTCHERS: (os) (unintelligible shouts throughout)

MEG: They’ll waste you.

CLAIRE: I need to wait.

(IRIS AND ZONE HEAD OUT ONTO THE WALKWAY FOLLOWED BY MEG;

THEY START SHOOTING THE PEOPLE DOWN BELOW)

BUTCHERS: (os) (painful cries)

(CLAIRE HEADS DOWN ANOTHER WALKWAY)

IRIS: This way. (os) The elevator shaft.

(CLAIRE ENTERS A ROOM AS THEY RUN THROUGH THE HOLE ECHO

MADE YEARS EARLIER)

MEG: (grunts)

(CUT TO CLAIRE APPROACHING AN ELECTRICAL PANEL; BACK TO ZONE

AS HE GETS THE ELEVATOR DOOR OPEN)

ZONE: Meg, you go first. I’ll hold them off.


(MEG STARTS CLIMBING THE SHAFT STAIRS AND IRIS FOLLOWS HER)

ZONE (CONT’D): I’m (os) right behind you.

(ZONE SHOOTS A BUTCHER AND THEN FOLLOWS THEM INTO THE SHAFT;

HE SHUTS THE DOOR AND JAMS IT WITH A KNIFE BEFORE CLIMBING)

BUTCHERS: (os) (angry cries)

(CUT TO CLAIRE AS SHE PRESSES BUTTONS; CUT TO GAS BEING

SHOT INTO THE MAIN ROOM; THE BUTCHERS BEGIN COLLAPSING; CUT

TO THE THREE CLIMBING THE SHAFT; BACK TO THE MAIN ROOM AS

THEY GO DOWN; CLAIRE SITS DOWN ON THE WALKWAY ABOVE AND

WATCHES THEM)

SINGER: (vo) (singing) “Burn down my home. My

memory’s hardened and the bread is

chrome. Good times escape.”

(CUT TO THE THREE STILL CLIMBING)

SINGER (CONT’D): (vo) (singing) “While every mistake seems

to be caught on tape.”

(THEY EXIT ON AN UPPER FLOOR)

SINGER (CONT’D): (vo) (singing) “I will go rolling fast,

arms out in the rain. Feel momentum

building to lift off ground like an

airplane. Baptizing down to the pains.”

(THEY’RE IN ADELLE’S OFFICE AND STARING OUT THE BROKEN

WINDOWS AT THE DESTROYED CITY OF LOS ANGELES)


SINGER (CONT’D): (vo) (singing) “A billion eyes are

watching (unintelligible). They see what

remains... remains.”

MEG: They really thought they were helping,

huh? Giving people what they needed. Is

this what we needed?

IRIS: No. Kids playing with matches. And they

burned the house down.

(THEY LOOK AROUND THE ROOM AND FIND A WALL FILLED WITH

PHOTOS LABELED “TO REMEMBER”)

SINGER: (vo) (singing) “Gave up this town. What

a waste are we left with when it’s boiled

down. Shine light on me. Your image

reflected is all you’ll ever see.”

(IRIS LOOKS AT PHOTOS OF THE OTHER ACTIVES)

SINGER (CONT’D): (vo) (singing) “I will go rolling fast,

arms out in the rain. Feel momentum

building to lift off ground like an

airplane.”

(IRIS TAKES DOWN A PHOTO OF HERSELF AS ECHO)

SINGER (CONT’D): (vo) (singing) “Baptizing down to the

pains.”

IRIS: I hope we find me alive.

SINGER: (vo) (singing over Iris) “A billion eyes

are watching (unintelligible). They see

what remains... remains.”


(SHE PUTS THE PHOTO BACK; THEY GO TO THE WINDOW AND FIND A

LADDER; THEY STEP OUT THE WINDOW AND KEEP CLIMBING; CUT BACK

TO THE PHOTO OF ECHO)

LOGO

MONSTER: Grr. Argh.

THE END


MAIN TITLES

ELIZA DUSHKU

HARRY LENNIX

FRAN KRANZ

TAHMOH PENIKETT

ENVER GJOKAJ

DICHEN LACHMAN

and

OLIVIA WILLIAMS

Guest Starring

AMY ACKER

FELICIA DAY

REED DIAMOND

JANINA GAVANKAR

CHRIS WILLIAM MARTIN

ADAIR TISHLER

ZACK WARD

CLAYTON ROHNER

Producer

ELIZA DUSHKU

Consulting Producer

TIM MINEAR

Co-Executive Producer

DAVID SOLOMON

Co-Executive Producers

ELIZABETH CRAFTS

SARAH FAIN


Produced by

KELLY A. MANNERS

Executive Producer

JOSS WHEDON

Executive Producer

JOSS WHEDON

Created by

JOSS WHEDON

Teleplay by

MAURISSA TANCHAROEN &

JED WHEDON

Story by

JOSS WHEDON

Directed by

DAVID SOLOMON


END TITLES

Associate Producer

CHRIS CHERAMIE

Staff Writers

TRACY BELLOMO

ANDREW CHAMBLISS

MAURISSA TANCHARDEN

JED WHEDON

Guest Starring

JOSH KELLY

Male

SHELLEY MACK

Female

WARREN SWEENEY

Mr. Miller

Casting by

AMY MCINTYRE BRITT

&

ANYA COLLIFF

MICHAEL NOCOLO

Director of Photography

RODNEY CHARTERS, A.S.C., A.C.S.

Production Designer

STUART BLATT


Edited by

PETER BASINSKI, A.C.E.

Unit Production Manager

ROBERT D. NELLANS

First Assistant Director

W. SCOTT WOLF

Second Assistant Director

PAUL C. DOMICK

Score by

MYCHAEL DANNA

and

ROB SIMONSEN

Theme Song Written by

JONATHA BROOKE

and

ERIC BAZILIAN

Performed by

JONATHA BROOKE

Costume Designer

SHAWNA TRPCIC

Art Director

LEONARD HARMAN

Set Decorator

DAVID KONEFF

Construction Coordinator

TED WILSON


Location Manager

CHRIS CAMPBELL

Transportation Coordinator

LEROY REED

Production Coordinator

LYNNET PRICE

Script Supervisor

RHONDA HYDE

Production Accountant

TONY LINDO

“A” Camera Operator

GUY SKINNER

Production Sound Mixer

STEVE WEISS, C.A.S.

Gaffer

DAVID ST. ONGE

Key Grip

ANTHONY VIETRO

Department Heads Make-Up

JAMES MACKINNON

Department Head Hair

VITO TROTTA

Property Master

MIKE BLAZE


Special Effects Coordinator

CHRIS NELSON

Stunt Coordinator

MIKE MASSA

Post Production Supervisor

JESSICA BUPP

Assistant Editor

ROBERT HUDSON

Music Supervisor

ANDREA VON FOERSTER

Script Coordinator

LISA RANDOLPH

Assistants to Executive Producer

NATALIE FARRELL

TONY DODDS

JOHN J. GRAY

Sound Supervisor

WILLIAM DOTSON

Music Editor

JENNIFER MONNAR

Re-Recording Mixers

KEN TEANEY, C.A.S.

TODD ORR

Sound Post Production Services

WILSHIRE EDITORIAL


TODD AO

Video Post Production Services

LEVEL 3 POST

Visual Effects by

ZOIC

Camera Systems by

PANAVISION

Presented in

DOLBY DIGITAL

Where Available

Copyright © 2009

Twentieth Century Fox Film Corporation

All Rights Reserved

#1APK13

Processing by

DELUXE

LOGO

AMPTP

The events and characters depicted in this photoplay

are fictitious. Any similarity to actual persons,

living or dead, or to actual events, is purely coincidental.

Ownership of this motion picture is protected by copyright

and other applicable laws, and any unauthorized duplication

or exhibition of this motion picture could result in

criminal prosecution as well as civil liability.

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