Frankenstein 1x01 Pilot

FRANKENSTEIN
Pilot Episode
“a suitable donor”
By Rand Ravich
JANUARY 16, 2015

FRANKENSTEIN PILOT 1
TEASER/ACT ONE
SUPER TITLE THESE NAMES MARY AND OTTO
INT. PALO ALTO HOME - GARAGE - 1988 - DAY
A young DAD at a workbench builds a computer. One more

budding Steve Jobs. But we are not interested in him. WE’RE
INTERESTED in the twin THREE YEAR OLDS playing on the floor.
MARY AND OTTO GOODWIN are building themselves a complicated

computer motherboard out of Legos. Piece after piece goes on
as Mary and Otto select Legos from the pile on the floor.
But now Otto cannot find a piece he needs in the pile so he

speaks to Mary in what SOUNDS LIKE GIBBERISH. Mary toddles
over to her dad and interprets Otto’s twinspeak request.
3 YEAR OLD MARY GOODWIN

Otto needs a 3x3 T-beam, two 1x1
round plates and a 1x2 flat tile.
DAD
Did you put the request in reverse
alphabetical order or did he?

He did.
DAD
Mary, how can you understand what
your brother is saying?
Otto hears this question and speaks in twinspeak to Mary.

Otto wants to know why you can’t.
INT. PALO ALTO HOME - OTTO’S BEDROOM - 1992 - NIGHT
The room a complex warren of Legos. Buildings, roads, cities,

seas. Up walls, across the ceiling. Interconnected creatures,
vehicles, figures. 7 year old Otto sits on his Lego encaved
bed. He hears whispers from below, and POLICE RADIOS. 7 year
old Mary enters the room and as bravely as she can says--

There’s been a car accident, Otto.
Mom and Dad... both gone.
Otto looks at his sister and speaks to her in twinspeak.
(CONTINUED)
CONTINUED:
7 YEAR OLD OTTO GOODWIN

What’s the code to bring them back?

There isn’t one.
7 YEAR OLD OTTO GOODWIN

Will you go too?
LOOK AT LITTLE MARY’S FACE THEN MATCH CUT TO:
INT. LOOKINGLASS OFFICES - LOS ANGELES - PRESENT DAY
MARY GOODWIN (30) beautiful and at ease in the world, moves

through the busy open space. Open plan. The design employs
both a playful and thoughtful use of money. The workstations
filled with the best and the brightest under 30’s.
INT. LOOKINGLASS OFFICES - OTTO’S PRIVATE OFFICE - DAY
Only one person here. 30 year old Otto. He stands before a

large fish tank. ALL THE FISH IN THE TANK ARE DEAD.
MARY (O.S.)
Did the filter break?
Otto turns. 30 year old Mary is here, she steps up to him.

Grown now Otto speaks in English to his twin sister.
OTTO
No. I turned it off.
MARY
Why’d you turn it off, Otto?
OTTO
I watched them go.
MARY
Let’s clean this up.
OTTO
It’s all code, Mary. What makes
them go. What brings them back.
Mary looks at Otto as Otto looks at the DEAD FISH.
MATCH CUT FROM-- MARY AND OTTO AT LOOKINGLASS TO: L.A. TIMES
BUSINESS SECTION. A photo of Mary and Otto. The headline is:
MARY AND OTTO GOODWIN. LOOKINGLASS’ BILLIONAIRE BINARY TWINS.
PULL BACK TO SEE THE NEWSPAPER IS IN A PILE with yesterday’s

paper and the day’s before that and the day’s before that.
(CONTINUED)
CONTINUED:
NOW WE HEAR BLASTING MUSIC, CCR’s BAD MOON RISING. CAMERA

PULLS BACK FROM THE STACK OF PAPERS TO SEE WE ARE IN...
INT. MESSY LOS ANGELES APARTMENT - PRESENT TIME - DAY
SUPERTITLE THIS NAME NOW PRITCHARD
That pile of newspapers, stacks of mail, empty cans of beer,

full ashtrays, dirty plates, splayed open half read books,
prescription medication bottles. On a shelf is a turntable
upon which that CCR record spins. And in a barcalounger sits-
A 75 YEAR OLD MAN. PRITCHARD wears a bathrobe and smokes a

cigarette. He pours himself a bourbon as he listens to the
blasting music and IGNORES the pounding outside his door.
INT. APARTMENT HALLWAY - SAME MOMENT - DAY
A MAN IN A SUIT (40) stands outside Pritchard’s apartment,

banging on the door. Down the hall a MIDDLE AGED WOMAN steps
from her apartment, Iphone in hand. She says to the Man.
MIDDLE AGED WOMAN

I am going to call the police.
MAN IN SUIT
No need for that.
MIDDLE AGED WOMAN

That same song, over and over. I
will get the cops up in here.
The Man pulls back his coat to reveal a GUN and BADGE.
MAN IN SUIT
FBI. Will that do?
MIDDLE AGED WOMAN

It will if you shut that music up.
INT. PRITCHARD’S APARTMENT - SAME MOMENT
Drinking, smoking, ignoring the pounding, rail-thin Pritchard

hears a key in his front door lock. The knob turns--
The door opens and the Fed steps in from the hall. Pritchard
takes a drag off his cigarette as the Fed moves to the shelf
and picks the needle off the vinyl. Silence. Then--
MAN IN SUIT
Neighbors are complaining about the
noise again Dad.
(CONTINUED)
CONTINUED:
Oh, the Fed is Pritchard’s son. His name is DUVAL PRITCHARD.

He moves from the turntable to stand in front of his dad.
DUVAL PRITCHARD
Why don’t you go ahead and let me
have the smoke too.
Pritchard takes one more hit off the cigarette and then
grudgingly gives it to his son. Duval puts it out.
PRITCHARD
You know, I was having a lot more
fun before you showed up.
DUVAL PRITCHARD
It’s three in the afternoon, you
planning on getting dressed today?
PRITCHARD
I’ll take it under advisement.
Pritchard Sr. is not senile nor suffering from age related

dementia. He is sharp as a tack. Just a pain in the ass.
As Duval clears the empties he sees the newspapers, sections

are marked (not the one with Goodwins, they mean nothing to
these people). These articles concern VIOLENT BANK ROBBERIES.
DUVAL PRITCHARD
What’s all this? Is this my case?
(off his dad’s shrug)
You working my case now, Dad?
PRITCHARD
Just reading the papers but... Four
bank jobs in twelve months. You got
a dead security guard and no one
locked up for it. In my day--
DUVAL PRITCHARD
I think we both know what you would
have done in your day, Dad.
DUVAL PRITCHARD (CONT’D) PRITCHARD

What needed to get done. What needed to get done.
Duval has been here before. Now Duval hears FOOTSTEPS and--
DUVAL PRITCHARD (CONT’D)

Dad, is someone else here?
As an answer to that a 35 year old professional woman

(BETTINA) steps out of the bedroom. She sees the two men.
(CONTINUED)
CONTINUED:
BETTINA
I was just on my way out.
PRITCHARD
Duval, this is Bettina. Bettina is
in my music appreciation club. We
meet once a week.
Bettina passes close to Duval as she heads out the door.

Bettina knows Duval knows why she was here. She whispers-
BETTINA
Don’t worry. He’s too old to really
do much of anything.
DUVAL PRITCHARD
And how much does not really doing
much of anything cost him?
Though they whisper, Pritchard manages to catch it and--
PRITCHARD
Don’t answer that. It’s impolite to
talk money. My son should know
that. Don’t be rude Duval.
Bettina opens the door. There is a pretty 16 year old girl

standing there. She is GRACIE PRITCHARD.
BETTINA
Hello.
GRACIE
Hello.
BETTINA
You here for the “music
appreciation club”?
GRACIE
The music... the what club?
DUVAL PRITCHARD
Gracie, I thought I told you to
stay in the car.
GRACIE
I wanted to say hi to grampa.
Gracie is still fixed on Bettina who says to Pritchard...
BETTINA
See you next week.
(CONTINUED)
CONTINUED:
And Bettina leaves the three generations of Pritchards.
GRACIE
Who was that?
DUVAL PRITCHARD
No one. Gracie, as long as you’re
here, go on and empty the rest of
that bourbon in the kitchen sink.
PRITCHARD
Gracie, be a good teen and rebel
against your father’s wishes.
GRACIE
Grampa, what did the doctor say
about mixing meds and bourbon?
PRITCHARD
That I have to give up one of them
but I can’t remember which.
(as she takes the bottle)
Ah don’t do it...
Pritchard’s plea is half-hearted. He loves his granddaughter.

As she goes to the kitchen Duval gets to why he stopped by.
DUVAL PRITCHARD
Dad, Lori and I are taking Gracie
back east for a college tour. We’ll
be out of town for a few days.
PRITCHARD
You can take the time?
DUVAL PRITCHARD
It’s three days with my daughter.
I’ve been on that case for a year.
Work vs. Family is a bone of contention between these two.

Pritchard does not want to engage. He looks at his turntable.
PRITCHARD
I used to have a lot more records.
You know what happened to them?
DUVAL PRITCHARD
They’re with the boxes from when we
closed down your house, after mom
died... Up in our attic.
PRITCHARD
I think I’d like those albums.
(CONTINUED)
CONTINUED:
DUVAL PRITCHARD
I can go up there when we get back.
(calling to kitchen)
Gracie, come on, we gotta go.
Gracie comes back from the kitchen. She goes to Pritchard and
gives him a kiss good-bye. As she does she whispers...
GRACIE
I poured a little of the bourbon
into a glass by the sink.
PRITCHARD
Thank you, Gracie.
GRACIE
You’ll always be the Sheriff,
Grampa.
PRITCHARD
Don’t let your father hear you say
that. He doesn’t like it.
AND AS PRITCHARD SAYS THIS WE FLASH BACK TO:
EXT. STREET - NIGHT - TWO YEARS AGO
Flashing lights. A LOS ANGELES COUNTRY SHERIFF’S CAR is

parked. Pritchard stands against it. In handcuffs. TWO LA
DEPUTIES are having a quiet conference with Duval.
L.A. COUNTY DEPUTY

He tried to take the car for a
little joyride. When we ran his
name, saw who he was, we figured
it’d be easier just to call you.
DUVAL PRITCHARD
I appreciate that, Deputy.
L.A. COUNTY DEPUTY

There’s still some love in the
department for your old man.
DUVAL PRITCHARD
I can’t imagine why.
Pritchard hears his son say that. AND WE COME BACK TO
INT. PRITCHARD’S APARTMENT - PRESENT DAY
Pritchard watches the door close. His son and granddaughter

leave. Then Pritchard shuffles into the kitchen.
INT. PRITCHARD’S APARTMENT - KITCHEN - DAY
There by the sink is the glass with the bourbon that Gracie
left for him. He drinks it. Then rubs his stomach. Not good.
INT. CVS - DAY
Pritchard stands in the aisle that for some reason has both
Pepto-Bismol and condoms. He compares the Peptos. As he does
A TEEN BOY AND GIRL slam in right next to him, hormonally
making out AS IF HE WERE NOT THERE. AS IF HE WERE INVISIBLE.
Pritchard stands, bottle of Pepto in hand, staring at the two

then he says of the muzak playing on the CVS speakers--
PRITCHARD
Know where I first heard this song?
Pritchard speaking scares the shit out of the teens. They

look at him as if he just appeared there.--
PRITCHARD (CONT’D)
Don’t look at me like that. I was
here first.
TEEN GIRL
I didn’t see you.
PRITCHARD
That’s my point.... First time I
heard this song was on the Mekong.
You know where the Mekong is?
TEEN BOY
Up by Santa Barbara. I surf it.
PRITCHARD
That’s Rincon. The Mekong is...
Forget it. I’m getting my albums.
Pritchard hands him the Pepto and storms off. WE HEAR the
muzak now... a smooth version of Hendrix’s VOODOO CHILD.
EXT. DUVAL PRITCHARD’S HOME - LOS ANGELES - NIGHT
The muzak becomes actual Hendrix as Pritchard approaches the

quiet suburban home. He takes a key from his pocket.
INT. DUVAL PRITCHARD’S HOME - NIGHT
Pritchard enters his son’s home and locks the door. Nice and
respectable here. He moves past photos of Duval and his wife
and Gracie. He grabs a bottle of scotch from the home bar.
INT. DUVAL PRITCHARD’S HOME - ATTIC - NIGHT
Pritchard is up here now. There is a stack of moving boxes

all marked “DAD”. He opens one, photo albums. CHOP UP THIS
EDIT as Pritchard pulls objects from the boxes. Sure he is
old and drunk now but he wasn’t always. WE SEE HIS LIFE--
Photos of him as a high school athlete, as a young marine in

Viet Nam, newly married, kids on his knee, as a fresh faced
LA COUNTY SHERIFF’S DEPUTY. Here’s his old marine uniform.
Here’s his deputy sheriff hat. Newspapers here too; one reads
“SHERIFF PRITCHARD RESIGNS IN DISGRACE”. The headline is
dated 2000. The photo is a 60 year old Pritchard.
Pritchard finds his box of record albums. He tries to lift

it. Too heavy. NOW he hears footsteps from below. Pritchard
freezes. Listens. There are people down there. Pritchard
grabs a COMBAT KNIFE that lays with his marine uniform...
INT. DUVAL PRITCHARD’S HOME - UPSTAIRS HALLWAY - NIGHT
Pritchard, blade in trembling hand, moves down the hall. HE

IS AFRAID BUT KEEPS GOING. He sees his son’s home office and
in it A BURGLAR (a big man, stout) searches Duval Pritchard’s
desk. Pritchard moves closer, quietly. Close enough TO SEE--
The Stout Burglar is SEARCHING A BINDER on Duval’s desk.

Finding what he is looking for, he rips out a page then puts
it in his pocket as... the trembling knife in Pritchard’s
aged hand accidentally taps the wall and--
The Stout Burglar looks up and SEES Pritchard. A moment as

the two men look at each other. Pritchard sucks up his fear.
PRITCHARD
What the hell are you doing in my
son’s house?
STOUT BURGLAR
Let’s just take it easy...
PRITCHARD
I asked you a question. You answer
it or we’re both going to see if I
can still throw this knife.
MALE VOICE (OFF SCREEN)

I’d like to see that but... I’m a
little short on time...
The muzzle of a gun is placed against Pritchard’s head from

behind. A well armed JITTERY BURGLAR has snuck up behind him.
The Stout Burglar does not want violence so he pleads--
(CONTINUED)
CONTINUED:
STOUT BURGLAR
No... Don’t do it...
JITTERY BURLGAR
(in command)
He’s seen our faces.
BAM, Pritchard is PISTOL WHIPPED, as he goes down he hears--
JITTERY BURLGAR (CONT’D)

You get what we needed?
STOUT BURGLAR
...yeah...
JITTERY BURLGAR
Then clean this place up like it
never happened.
AS PRITCHARD BLACK OUTS the Jittery Burglar reaches for him.

Wrong place wrong time Pops, but
hell, what are you going to do?
PRITCHARD
...Go to hell...
JITTERY BURLGAR
I have a better idea, Sheriff.
EXT. ROADSIDE - NIGHT
A bright light comes on in Pritchard’s face. Stout holds a

flashlight as Jittery holds Pritchard by his shirtfront.
Pritchard sways on his feet. In Jittery’s other hand is a
bottle of scotch. He pours it on Pritchard, soaking him.
JITTERY BURLGAR
You were depressed, drinking too
much. I mean who could blame you,
after what happened. I’m surprised
you waited so long to do it.
PRITCHARD
...to do what?
CAMERA REVEALS the road they stand on is a bridge over a

ravine far below. Jittery turns to Stout and orders--
JITTERY BURLGAR
Push him over... Do it...
(CONTINUED)
CONTINUED:
A look passes between the Burglars that makes it clear Stout

has no choice. He grabs Pritchard and lifts him off his feet.
STOUT BURGLAR
(genuine)
...I’m sorry...
Pritchard struggles but he is old and beaten. Stout moves him

closer toward the rail... Pritchard is going over.
PRITCHARD
My son will get you.
BURGLAR 3
(sadly)
No, Mr. Pritchard... he won’t.
Stout pushes and Pritchard goes back and over the guard
rail... into the air. PRITCHARD hangs in the air for a
second. He looks past Stout, LOOKS INTO THE FACE OF JITTERY
who... smiles. Then Pritchard falls. And as he does...
His life flashes before his eyes... like those photos and
clippings in the attic but now they are moving images. A film
going backwards in time, an old man, a Sheriff, a deputy, a
marine in Viet Nam... the sound track is LAUGHTER and CRYING
and YELLS and WHISPERS and GUNSHOTS and with a--
A HISS and FLASH of LIGHT he hits the ground and... DIES.
EXT. RAVINE - MORNING
Pritchard’s lifeless body lays broken on the rocks. A PARK

RANGER stands over it...
NEWS RADIO VOICE (V.O.)

In what is being ruled a suicide ex-
LA county Sheriff Raymond Pritchard
took his own life nearly 15 years
after stepping down from his office
in the wake of a widespread
corruption scandal.
INT. MORGUE - NIGHT
Pritchard’s broken body is slid into the cabinet.

Pritchard is survived by three
children and 5 grandchildren.
The MORGUE TECH goes to his computer and logs in Pritchard’s

info then clicks enter.
INT. GOODWIN HOME - NIGHT
Commensurate with the digs of any IT billionaire. Isolated

Otto at a work desk, playing ON LINE GO, as a CIVILIZED
COMPUTER VOICE floats out from the rooms hidden speakers.
COMPUTERIZED VOICE
Otto?
OTTO
Yes, I know Arthur, never peep at a
cutting point.
COMPUTERIZED VOICE
I have information not about this
game. I have identified a suitable
donor currently at the morgue.
(as Otto takes this in)
Otto, shall I switch the serial
numbers and procure the body?
OTTO
Where’s Mary?
A BIG FLAT SCREEN COMES ON and there is Mary, currently on

the Charlie Rose show. A vision of perfectly pretty
professional poise with her hair swept up and glasses on.
CHARLIE ROSE (ON TV)

When Otto wrote the code for
Lookinglass ten years ago did you
think you’d see a billion users?
MARY (ON TV)

We just wanted to connect people.
And that number, one billion, just
shows how many people out there are
desperate to connect with others...
INT. TV STUDIO - CHARLIE ROSE SET - SAME TIME
Charlie interviews Mary. She is so light, at ease as he asks--
CHARLIE ROSE
You’re not just social media
anymore. You’re into bio-tech--
GO CLOSE ON MARY; camera SWEEPS around so WE SEE WHAT SHE

SEES through her stylish glasses. She sees Charlie Rose but
the glasses are also a HEADS UP DISPLAY. She sees these
words appear in her vision: DONOR FOUND. SHOULD WE PROCEED?
Charlie, unaware of this, continues the interview saying...
(CONTINUED)
CONTINUED:
CHARLIE ROSE (CONT’D)

And the investment in life sciences
has only fueled the rumor your
reclusive brother is ill. That you
were seen taking him to a clinic in-
INT. GOODWIN HOME - NIGHT
Otto sees Mary on TV, sees her look directly into camera as
if she is looking at him. He sees her NOD YES. Seeing this
Otto gives the in-house computer its marching orders.
OTTO
Yes, Arthur. Procure the body.
As on TV Mary turns back to Charlie, smiles and says--
MARY (ON TV)

Charlie, I can assure you and the
stockholders my brother is well.
He’s just a very private person.
CHARLIE ROSE (ON TV)

Very. In fact you spoke for him
until he was 9. Is that correct?
INT. TV STUDIO - CHARLIE ROSE SET - NIGHT
Mary looks at Charlie and now this message appears on her

heads up display so only she can see: PROCURING DONOR
INT. MORGUE - NIGHT
The Tech does not notice as the serial numbers on Pritchard’s

computer file suddenly change.

Pritchard will be buried without
departmental honors. A family
spokesman has asked that their
privacy be respected.
INT. DUVAL PRITCHARD’S HOME - DAY
The post funeral reception. Even in disgrace there are enough

family and friends to fill the house with sound. In the hall
Duval talks with his wealthy younger brother PETER (34).
PETER PRITCHARD
Dad was in the department for 30
years, you think they could have
spared a couple lousy motorcycles.
(CONTINUED)
CONTINUED:
DUVAL PRITCHARD
I don’t think he was expecting them
to even send a card.
PETER PRITCHARD
That’s not the point.
LORI (37), Duval’s wife, hurries up to them.
LORI PRITCHARD
Duval, Peter, I think you two need
to check on your little sister.
DUVAL PRITCHARD
Drinking?
LORI PRITCHARD
And giving a speech.
Duval and his brother head into the living room.
INT. DUVAL PRITCHARD HOME - LIVING ROOM - DAY
The youngest child HELEN (30) artsy, funky and hammered,

stands on a coffee table and addresses the crowd.
HELEN PRITCHARD
Friends and family... you’ve all
been so very polite but there is
something no one has mentioned
about our father Ray Pritchard. He
was gone even when he was here. So
I’m afraid this little shindig is a
little too little too late.
Duval and Peter are there now. They “help” Helen down.
DUVAL PRITCHARD
That’s enough now, Helen.
HELEN PRITCHARD
Ah, the responsible kids. Did the
FBI and Wall Street fill the hole
because I have my own method.
She struggles and slips. Her brothers catch her.
PETER PRITCHARD
You’ve had too much to drink.
HELEN PRITCHARD
That’s my method. It’s the only
thing he taught me.
(CONTINUED)
CONTINUED:
As the brothers help Helen to the couch, mourners look on,

friends and family. Amongst them is someone we know; Stout
Burglar. In suit and tie he is just one more mourner. Duval
looks him in the eyes then Duval mouths “meet me upstairs”.
INT. DUVAL PRITCHARD’S HOME OFFICE - DAY
This is where Pritchard caught Stout. Now Duval and Stout

enter. Duval closes the door then Duval takes a binder from
his desk (that binder). Now WE SEE the cover has the FBI
insignia on it. A moment then Duval says-
DUVAL PRITCHARD
You remember that security guard
they killed on the first job?
STOUT BURGLAR
You gotta be kidding me, partner,
we’re not working today.
DUVAL PRITCHARD
My dad would have wanted me to
work, believe me.
And we understand that Stout is Duval’s FBI partner. His name

is AGENT STRAYBURN. Of course Duval doesn’t know he is dirty.

I got to thinking maybe the guard
was in on it and they were just
cleaning up when they killed him...
(re: binder)
So I pulled his phone records...
STRAYBURN
And...
DUVAL PRITCHARD
Nothing that connects him to it.
But we’re missing something...
The door opens and Duval’s wife Lori pokes her head in.
LORI PRITCHARD
You seen Gracie? I can’t find her.
EXT. CEMETERY - DAY
Pritchard’s grave. Only one person by the tombstone. His

granddaughter Gracie. She sobs and sobs.
GRACIE
Why didn’t you say good-bye?
CUT TO - AN UNKNOWN POV
WE ARE IN liquid. OUR VIEW is blurry, like in a fish tank. WE

DRIFT CLOSER to the glass wall of the tank. NOW WE SEE--
OUR OWN REFLECTION. Exposed bone and tissue. A partial body

suspended by tubes and wires. Just recognizable as Pritchard.
As if WE ARE IN A NIGHTMARE. But now WE SEE--
A face on the other side of the glass. A BEAUTIFUL WOMAN. She

leans so close to the glass that she is just an inch from us.
LIKE WE ARE IN A DREAM. She stares at us then... CAMERA
TRAVELS through the glass out into--
INT. CLEAN ROOM - DAY
White. Sparse. That woman is Mary Goodwin. She turns from the
tank in which the thing that was once Pritchard floats. There
is no intelligence in the eyes. They stare blankly.
Monitors on the wall display various metrics, vital

statistics. Mary looks at the monitors then speaks into a
microphone. She is making notes.
MARY
Regeneration of bone and tissue has
begun but there is no detection of
higher brain function.
Otto is in the room. He looks at the thing in the tank as

Mary continues to take readings and make notes
MARY (CONT’D)
The subject was seventy-five years
old at time of death but the values
on his current biometrics are for a
man half that age.
(pause then)
His cells, re-coded for optimum
growth and capacity, are dividing
more rapidly than predicted.
Now Otto leans closer to the tank and whispers...
OTTO
It’s all just code, isn’t it?...
But the thing floating in the tank cannot answer.
END OF ACT ONE

ACT TWO
INT. LOOKINGLASS OFFICES - LOS ANGELES - DAY
CLOSE ON the fish tank. Watch the bright colorful fish flit
and flutter. Vibrant because they are once again so alive.
CLOSE ON the human tank. Pritchard floats fully regrown. The

BODY YOUNG and STRONG, the face has the appearance of a 30
year old athlete WITH NO RESEMBLANCE (A DIFFERENT ACTOR TO
PLAY THIS PART) to the boozey 75 year old pre-death
Pritchard. The eyes, open, still stare blankly.
INT. DUVAL PRITCHARD’S FBI - SEDAN
Duval, alone, drives fast. Lights and sirens. Though he is on

the job the phone pressed to his ear is a very personal call.
DUVAL PRITCHARD (INTO PHONE)

Gracie, we’ve talked about this.
INT. DUVAL PRITCHARD’S HOME - ATTIC - DAY
Gracie is up here, on the phone, standing in front of those

boxes of record albums that belonged to her grandfather.
GRACIE PRITCHARD (INTO PHONE)

I was up here getting stuff for
college and I found his old albums.
INTERCUT GRACIE IN ATTIC/DUVAL IN FBI SEDAN
GRACIE PRITCHARD (INTO PHONE) (CONT’D)

He said he wanted to get them. Why
would he say he was going to come
get them then... do what he did?
For Gracie, Pritchard’s death is still so raw.

Because he was unhappy, kiddo.
Because he’d done some bad things
and because he drank too much.

Didn’t you love him?
This question gut punches Special Agent Duval Pritchard.

...Of course I loved him.
(CONTINUED)
CONTINUED:

Then why don’t you talk about him?

I... have to go to work now.
Duval hangs up and WE SEE NOW that he is not alone in the

car. His partner, Strayburn, rides shotgun.
STRAYBURN
That Gracie?
DUVAL PRITCHARD
Yeah... I think she’s taking it
harder than anyone... She can’t
believe he just ended it like that.
But he didn’t. And Strayburn knows that. But not Duval.
STRAYBURN
You know, Duval, you need time to
be with your family, you got it.
DUVAL PRITCHARD
No... let’s just get these guys.
Duval parks his sedan and they step out into--
EXT. BANK - DAY
A crime scene. Yellow tape and uninformed cops keep the on-
lookers from another recently robbed bank. Duval and
Strayburn head into work the scene as we CUT TO:
Beautiful Pritchard floats in the tank. Blank eyes open.

Mary, making verbal notes, and Otto stand before the tank.
MARY
We are at day 84 since death. Bone,
tissue and organs are fully
reformed. We will now attempt to
reignite neural activity.
Arthur, the voice of the in-house computer, speaks.
COMPUTERIZED VOICE
Otto? Mary? May I ask a question?
MARY
What is it, Arthur?
(CONTINUED)
CONTINUED:
COMPUTERIZED VOICE
If the specimen in the tank regains
consciousness what should I refer
to him as? Ray Pritchard is dead.
Mary and Otto look at each other, they think about this then--
OTTO
Refer to him as proprietary Goodwin
technology.
COMPUTERIZED VOICE
Of course.
From his pocket Otto takes a little man made of Legos. He

puts it on the desk, aligns it symmetrically and asks--
OTTO
What’s the tank’s saline level?
COMPUTERIZED VOICE
178 parts per million.
OTTO
Bring the electrical value of the
water up by 50%.
MARY
There’s no going back after this.
OTTO
Why would we want to?
COMPUTERIZED VOICE
Electrical value increasing by 50%.
IN THE TANK thin ribbons of electricity begin to snake

through the water. Mary checks her monitors and says...
MARY
Brain waves flat. Neural
functioning still at zero.
OTTO
Increase the electrical value
another 25% Arthur.
COMPUTERIZED VOICE
Increasing electrical value.
More electricity in the water and the body in there twitches.
(CONTINUED)
CONTINUED:
MARY
Those are just reflexes, brain
waves still flat. No consciousness.
OTTO
Another 50% percent Arthur.
COMPUTERIZED VOICE
That is 18% over the protocols you
and Mary have designed Otto.
OTTO
Override previous protocol.
COMPUTERIZED VOICE
Increasing electrical value--
WICKED ARCS of electricity cut through the water. Mary and

Otto SEE Pritchard’s eyes... have they begun to focus?
Mary looks at her monitors, waveforms show brain activity.

She nods yes to Otto. They look at Pritchard as-- CAMERA
PUSHES THROUGH THE GLASS NOW. INTO THE TANK.
INT. PRITCHARD’S TANK - SAME MOMENT
CAMERA PUSHES THROUGH THE WATER ALIVE WITH ELECTRICITY,

TOWARD PRITCHARD, TOWARD HIS EYES THAT HAVE BEGUN TO FOCUS,
BEGUN TO BECOME AWARE. CAMERA PUSHES INTO HIS EYES AND--
INT. PRITCHARD’S POV - SAME MOMENT
BRIGHT LIGHT and a tunnel but headed the other way this time.
Roaring ahead in forward motion. A young man, a high school
athlete, fresh Marine in Nam, a newlywed, kids, a deputy
sheriff, a trial. Screams, shouts, laughter, gunshots. Music;
Hendrix’s Voodoo child as Pritchard’s rushing POV sees
Duval’s attic, those boxes of albums and--
CAMERA PUSHES BACK THROUGH THE WATER, OUT OF THE TANK INTO--
INT. CLEAN ROOM - SAME MOMENT
Mary and Otto SEE Pritchard’s EYES FULLY FOCUS. What happens
next starts quietly but ratchets up into frenzy and chaos.
OTTO
(in twinspeak)
We brought him back...
COMPUTERIZED VOICE
I am not programmed to recognize
twinspeak, Otto. Please restate.
(CONTINUED)
CONTINUED:
Mary too stunned to speak. She stares at Pritchard as, newly

conscious, he BEGINS TO THRASH. In twinspeak Otto says to her-
OTTO
He’s alive, Mary.
COMPUTERIZED VOICE
Otto, please restate.
As PRITCHARD THRASHES MORE VIOLENTLY in the tank. Alarms

blare off the monitors. In the bedlam, Mary finds a whisper.
MARY
...Initiate phase 2 Arthur.
(so loud in here so)
INITIATE PHASE 2 ARTHUR.
COMPUTERIZED VOICE
Phase 2 initiated...
Mary looks at Pritchard in the tank. THEY LOCK EYES AND THEN--
EVERYTHING GOES BLACK. ALL SOUND IS GONE TOO. JUST THIS-
OTTO (IN THE BLACKNESS)

He’s alive...
BRIGHT LIGHT. No one is in the room. The tank... is empty.

DRAINED. Pritchard is gone. Mary and Otto gone too. Just this-
COMPUTERIZED VOICE
Phase 2 complete.
AND WE HARD CUT TO:
INT. PRITCHARD’S APARTMENT - BEDROOM - DAY
That same shit hole where we first met Pritchard. Now the
REMADE version of him comes wide awake in the bed, sits up
and sharply draws breath as if awakening from a nightmare.
He looks around, coughs, rubs his eyes. The motions of a man

waking up after a bender. It is clear he is not aware of this
journey he is on, the changes that have been made. Groggily,
he roots around the night stand looking for something.
MARY (O.S.)
Your cigarettes have been removed.
Pritchard’s head snaps toward that voice. What the fuck? He

sees Mary sits in a chair in the corner. Skirt and white
oxford shirt, Ipad on her lap. Pritchard squints at her.
(CONTINUED)
CONTINUED:
PRITCHARD
Who are you?
MARY
You don’t remember?
PRITCHARD
If I remembered I wouldn’t have
asked. What the hell are you doing
in my apartment? Did we, um...
MARY
You know this as your apartment?
PRITCHARD
Yeah I “know this as my apartment”.
I want to know what you’re doing in
it and why’d you take my smokes?
Mary makes a note on her Ipad as she says--
MARY
Because they cause cancer. You are
probably very thirsty though. I’ve
put a glass of water for you there.
You should drink it now, OK?
Pritchard sees the glass of water on his night stand. He

takes it and drinks. He is thirsty. He drains the glass.
PRITCHARD
I was thirsty...
MARY
Do you know your name?
PRITCHARD
Yeah, I’ve had it for seventy-five
years. It’s Ray Pritchard.
Mary makes another note on her Ipad. Pritchard gets out of

bed and heads for the living room. Mary follows him.
So what are you, some kind of
visiting nurse or social worker?
INT. PRITCHARD’S APARTMENT - LIVING ROOM - DAY
Pretty much that same level of mess. Pritchard begins to look

through the cabinets as Mary, Ipad in hand, watches.
(CONTINUED)
CONTINUED:
PRITCHARD
My kids send you over?
MARY
The alcohol is gone too.
PRITCHARD
Was it Peter sent you to check on
me? He likes to throw money after a
problem and you look expensive.
Mary makes another note on her Ipad.
MARY
Peter didn’t send me. Do you know
the names of your other children?
PRITCHARD
I know it wasn’t Helen so it must
have been Duval. Put in your report
to my special agent son that I know
who I am and I don’t need anyone to
take care of me. I feel just fine.
MARY
Is that the word you’d use? “Fine”?
PRITCHARD
What are you writing on that thing?
MARY
Take a moment. How do you feel?
PRITCHARD
How do I...? Well, to be honest I
feel better than I have in a long
time. Even got my appetite back...
MARY
I’ve made a sandwich for you.
A nice fat sandwich sits plated upon the table. Pritchard

takes a BIG BITE, swallows, then another big bite and says--
PRITCHARD
God that’s good. Usually my teeth
bother me on something like this--
You got two kinds of meat in here?
MARY
(makes note on Ipad)
You can taste both... good.
(CONTINUED)
CONTINUED:
Pritchard about to take another bite and as he does he gets a

good look at his hand. Young and strong. His arm too. CUT TO:
INT. GOODWIN HOME - TECH ROOM - DAY
Otto sits before a massive array of monitors. Several show

live views of Pritchard’s apartment. Otto sees Pritchard
looking at his hands, at his arms. Otto says to himself--
OTTO
Here we go.
COMPUTERIZED VOICE
His respiration rate is rising.
INT. PRITCHARD’S APARTMENT - LIVING ROOM - DAY
Pritchard flexes and unflexes his fist. IT IS SINKING IN.
MARY
Mr. Pritchard. Can you tell me what
is the last thing you remember?
PRITCHARD
(a bit scared)
Why is my hand like this?
(a bit more scared)
Who... who exactly are you?
MARY
(making note on Ipad)
My name is Mary Goodwin. What’s the
last thing you remember?
PRITCHARD
Why is my hand not my hand? My
voice sounds funny too... Was there
an accident?
MARY
What do you remember?
PRITCHARD
My son’s house then... a bridge...
(looks around the room)
There used to be a mirror right
there. Why’d you take it down?
MARY
Because we need to do this slowly.
PRITCHARD
Do what slowly?
(CONTINUED)
CONTINUED:
MARY
You were on a bridge. Then what?
PRITCHARD
I was on a bridge. Then I... fell.
INT. GOODWIN HOME - TECH ROOM
Otto continues to watch.
COMPUTERIZED VOICE
Blood pressure 170 over 120.
INT. PRITCHARD’S APARTMENT - LIVING ROOM
Pritchard and Mary. Pritchard needs an answer... now.
PRITCHARD
I... I know you. You’re one of
those rich computer twins. What the
hell are you doing in my apartment?
MARY
Mr. Pritchard. That is enough for
today. There is a capsule under
your skin. I am going to have it
release a sedative. You will
assimilate this information and
when you awaken we can start again.
ON HER IPAD Mary pushes a button that reads SEDATIVE but-- it

seems to have no effect on Pritchard. He stalks toward Mary.
Mary hits the button again. WE CAN SEE it stuns Pritchard but
just barely. He moves toward Mary and GRABS HER.
PRITCHARD
I fell... I hit the ground...
She hits the button again and again. Pritchard picks her OFF
HER FEET, PRESSES HER TO THE WALL. They are very close.
Kissing close. He looks deep into her eyes and says...
I hit the ground and I... died?
Pritchard succumbs to the narcotic and slumps to the floor.

His eyes close. Mary, freaked by his reaction and the sudden
violence, calms herself then goes to check on Pritchard. She
touches the pulse at his neck...
INT. GOODWIN HOME - TECH ROOM - DAY
Otto watches Mary, sees her fingers on Pritchard’s skin.
(CONTINUED)
CONTINUED:
OTTO
Why didn’t the sedative release?
COMPUTERIZED VOICE
It did release. His body needed
twelve times the prescribed amount.
Otto SEES Mary leave the apartment. HE ZOOMS IN ON Pritchard--
COMPUTERIZED VOICE (CONT’D)

Mary referred to him as Mr.
Pritchard. Is that his name?
INT. PRITCHARD’S APARTMENT - LIVING ROOM - SAME MOMENT
Pritchard on the floor. PUSH IN AND ZAP: he has a flash. His

POV in that murky tank. He sees Mary looking in at him then
HE SEES his own reflection in the tank, ONLY HALF FORMED.
Exposed bone and sinew. Dead eyes. AND NOW BACK TO SCENE:
IN THE APARTMENT Pritchard gets to his feet. He goes to the

window and SEES his own reflection in the glass. He is young,
strong and healthy. But it freaks him out. His breathing
deepens, he flexes and unflexes as STRENGTH AND ANGER mix.
He heads for the front door, puts his hand on the doorknob
and pulls. Locked. He pulls harder. The doorknob comes off in
his hand but still the door is sealed. He turns and...
Picks up the phone. NO DIAL TONE. What is happening?
He turns back to the door and punches it so hard his hand

goes right through. Using the hole as purchase he pulls and
RIPS THE DOOR RIGHT OFF THE HINGES. But it is not his shitty
apartment building hallway he sees. HE SEES...
A STEEL SECURITY DOOR. Like a bank vault or a lab that deals

with dangerous contagions. CAMERA TRAVELS THROUGH DOOR INTO--
EXT. GOODWIN HOME - HALLWAY
Mary stands on the other side of the door. That is not

Pritchard’s apartment but an observational replica built in
the Goodwin mansion. MARY LISTENS IN FEAR as Pritchard pounds
on the other side of the door.
Down the hall Otto steps from the tech room. The twins look
at each other and listen to that monster pound on the door.
Pritchard hits it so hard it seems like it too will unhinge.
END OF ACT TWO

ACT THREE
Mary and Otto SEE Pritchard on the surveillance monitors.

They SEE him stalk the room. Then they SEE Pritchard DISABLE
the surveillance cams. Now they can SEE only STATIC. Quiet
for a long moment and then ALARMS BEGIN TO WAIL and--
COMPUTERIZED VOICE
He’s broken through the back wall
of the room. He’s in the house.
INT. “PRITCHARD’S APARTMENT” - LIVING ROOM - DAY
Pritchard is gone. The trashed room proof of his rage. Camera

moves past the broken furniture to a HOLE in the rear wall.
Camera pushes through the hole emerging into...
INT. GOODWIN HOME - REAR HALLWAY - DAY
Pritchard moves down the rear hall. The BLARING ALARMS and
FLASHING LIGHTS assault his senses as he goes.
The security door opens. Mary and Otto see the trashed room,
the hole in the wall. Real violence was unleashed here.
COMPUTERIZED VOICE
You should go to your safe room.
MARY
He’s scared. And he’s alone.
COMPUTERIZED VOICE
And he’s not responding to the
sedative. You have no control.
OTTO
...We can’t let him out, Mary.
Otto is spinning into anxiety. Mary tries to calm him.
MARY
I know, Otto. We won’t.
OTTO
If we lose him he can’t save us.
That’s right. They need Pritchard to save them. An emotional

beat as needy Otto looks at this sister. Mary takes charge.
(CONTINUED)
CONTINUED:
MARY
Arthur, lock down the house.
COMPUTERIZED VOICE
Yes, Mary. Locking the house down.
But you should go to the safe room.
INT. GOODWIN HOME - UPPER LOFT - DAY
Sunlight pours through the floor to ceiling windows as

Pritchard steps into the massive living space of the tech
billionaires. On the other side of all that glass the real
world beckons to him. He moves toward it. DRAWN TO THE LIGHT.
He SEES the SPARKLING water in the pool, the LUSH lawn and
the world beyond. HE SEES HIS OWN REFLECTION. Young. Strong.
LET HIM BE AMAZED BY HIS NEW SELF FOR A MOMENT and then--
The glass changes. The world goes away. No longer transparent

an image is projected on it. A newspaper article, LA TIMES,
the headline reads DISGRACED EX-SHERIFF DEAD AT 75 and there
is a photo of Pritchard as he was in act one. Old and broken.
MARY (O.S.)
We’re offering you another chance.
Pritchard turns. Mary and Otto are behind him. Mary controls
the images on the window (it is electrostatic, capable of
display) from the Ipad in her hand.
PRITCHARD
Why... why did you do this to me?
Mary steps toward Pritchard. Otto takes his sister’s hand,

tries to hold her back, but she gently pulls away from her
brother. As she steps to Pritchard she speaks so tenderly.
MARY
You have a very rare genetic
precursor which allowed us to
recode and regenerate your cells.
PRITCHARD
Why do I look... feel... like this?
MARY
This is the best version of you...
(beat... then)
It’s a lot to take in. We didn’t
want it to go this way. But that’s
air in your lungs, Mr. Pritchard.
Pritchard looks to the glass. It still displays his obits.
(CONTINUED)
CONTINUED:
MARY (CONT’D)
You’re the first to journey all the
way back... to get another chance.
She steps closer to Pritchard. She is so beautiful, sincere.

HER WORDS PENETRATE. Pritchard’s anger and fear do abate...
MARY (CONT’D)
(so close, she whispers)
Don’t you want it?
Pritchard looks to the electrostatic window displaying obits

of his wasted life. The sunlit world just beyond that. But
now the window displays this headline; DEATH RULED SUICIDE.
MARY (CONT’D)
...With another chance maybe you
don’t have to end it that way...
And any lightness in Pritchard’s soul goes dark at that news.
PRITCHARD
Is that what people think? That I
jumped off that bridge?
MARY
Your memory has been through a
shock. That might be something you
have not fully recalled yet.
PRITCHARD
There was a break-in, at my son’s
house. I caught them and they...
they threw me off... that bridge...
(remembering more)
No, not a break-in... they were
looking for something... But I was
just an old man so they tossed me
like a bag of dirt... I was just an
old man, wasn’t I?...
(softly, of his new self)
This is the best version of me?
(off Mary’s nod “yes”)
Well... We’ll just see about that.
Without hesitating he turns and runs right for the window.

Full blast he blows through the glass that displays his obit.
SUNLIGHT floods into the room as Pritchard goes out.
EXT. GOODWIN HOME - DAY
In a shower of glass Pritchard falls to the lawn. He regains

his stance, about to run but... is OVERWHELMED BY NATURE.
(CONTINUED)
CONTINUED:
PRITCHARD’S POV - the DIAMOND SPARKLE of the pool water, the

DEEP GREEN of the grass, the SUNLIGHT that refracts upon it
all. And looking out of the broken window... Mary and Otto.
Now Pritchard runs. Down the massive lawn. He moves onto the
drive, TAKES THE GATE AT A LEAP and pulls himself up over the
top. He lands, free, and as he takes in where he is HE HEARS--
COMPUTERIZED VOICE
May I ask where you are going?
What? Pritchard sees a security box at the gate. Arthur’s

voice has come from that. A camera stares at Pritchard.
COMPUTERIZED VOICE (CONT’D)

Mr. Pritchard is dead Mr.
Pritchard.
This is too much for Pritchard. Fuck it. He turns and runs
down the drive, away from the house. Faster and then he turns
from the paved road, sprints into the woods and... is gone.
INT. GOODWIN HOME - UPPER LOFT - DAY
Mary and Otto look out the window. Otto begins to spin.
OTTO
There is no protocol for this.
There is no protocol for this.
Mary, as always, calms him. She eases the Ipad into his hand.
MARY
Then write one, Otto. Make a plan.
Write the protocol. You can do it.
Otto begins to type. Lines of computer code on the screen.
EXT. WOODS - DAY
Pritchard runs. Fast. Through the trees. He hears his own

BREATH, the BUZZ of insects, the WIND but now he hears...
DOGS, straining at leashes, TRACKING HIM. Dogs and the fast
footfalls of whoever is TRACKING HIM WITH THOSE DOGS.
Pritchard runs faster. The SOUNDS of the straining dogs and

fast running trackers close in. Hard to tell from where. He
RUNS and crests a hill to SEE... he has come out at the top
of Mulholland. Spread out below him is the city of L.A.
Back from the dead, escaped from the Goodwins, Pritchard’s

head spins as he looks down at his city. Now he hears those
DOGS just behind him and turns to see they belong to--
(CONTINUED)
CONTINUED:
Two LULULEMON WAITRESS/ACTRESSES who emerge from the trail,

each with a labradoodle on a leash. Not trackers and killer
canines. Just L.A. fit women out for a hike with their
hypoallergenic dogs. They head toward him. They smile then--
LULULEMON #1
Nice day for a hike...
PRITCHARD
Uh... yeah... it is...
LULULEMON #1
Trainer right? Gym or private?
And because Pritchard is not prepared for this world he finds

himself in he simply utters the last thing she said...
PRITCHARD
Um... Private?
LULULEMON #1
What do you do? TRX? PX90?
Kettlebells? SLT? Because--
And now she takes his hand and lays it upon her near perfect
exposed midriff. Pritchard looks at his hand on her flesh.
LULULEMON #1 (CONT’D)
Feel this? No matter what I do
there’s still like two percent I
can’t get rid of. Feel that.
PRITCHARD
Yeah... I can feel that...
LULULEMON #1
You taking new clients?
PRITCHARD
...no... not right now...
LULULEMON #1
Hmmm... OK... too bad...
(and off she goes.)
See ya then...
Pritchard watches the women and dogs head off. This being
back from the dead might have serious perks. He smiles and
then he turns from them and looks out at Los Angeles.
INT. “PRITCHARD’S APARTMENT” - LIVING ROOM
Mary stands in the room by herself. She looks at the mess.
(CONTINUED)
CONTINUED:
MARY
He was in the Sheriff’s department
for thirty years. He’ll try to find
out who broke into his son’s house
and what they were looking for,
he’ll try to solve the crime.
Is she talking to herself? No. You never are in this house--
COMPUTERIZED VOICE
Mary, I don’t mean to disagree with
you about Mr. Pritchard’s current
intentions, but my list of his
priorities ranks law enforcement
below women, alcohol and music.
Mary picks up a photo. Pritchard (75) at a family event.

Gracie and Duval pose with him. Mary looks at old Pritchard.
OTTO (O.S.)
I figured out how to find him.
Mary looks up. Otto is at the door.
MARY
Good. Arthur, how long does he have
before he becomes unstable?
COMPUTERIZED VOICE
Let me calculate that for you.
As Arthur does Mary looks back to the photo. Pritchard, 75,

weak and feeble... he scowls at the camera. MATCH CUT TO:
INT. THE HIJINKS CLUB - NIGHT
Pritchard. Young and healthy. Smiling nice and wide. He is in-
One of those places that BRISTLES youth, drips sex as bodies

dance. Women, alcohol, music. Was Arthur right? No. He is
looking for someone. There. At the bar is pretty Bettina (the
pro from act one). Pritchard takes the stool next to her.
PRITCHARD
Hi...
BETTINA
Hi...
(of his smile she asks)
What?
PRITCHARD
It’s loud in here.
(CONTINUED)
CONTINUED:
BETTINA
Yes. It is. Dance music.
PRITCHARD
(why he smiles)
But I can hear what you’re saying.
...No hearing aids needed...
She looks at him closer. Is he joking. He must be. She asks--
BETTINA
Do I... do I know you?
PRITCHARD
No but... I know a friend of yours.
Ray Pritchard?
BETTINA
Sheriff Pritchard killed himself.
PRITCHARD
I read that. But he said if I ever
want anything... I should see you.
BETTINA
And what do you want?
PRITCHARD
I... I want to go to your place.
BETTINA
(considers this then--)
You were a friend of Ray’s? I
didn’t see you at the funeral.
PRITCHARD
You went to my... to the funeral?
BETTINA
Course I did. I hung back,
respectful, but I was there.
His funeral topic is of singular interest to our Pritchard.
PRITCHARD
And how was it? The funeral? Real
sad I’d guess.
BETTINA
No... hardly any weeping.
PRITCHARD
Big turn out?
(CONTINUED)
CONTINUED:
BETTINA
The word I’d use is... sparse. Why
don’t you buy me a drink?
PRITCHARD
Thing is... I’m kinda tapped out.
BETTINA
And so concludes our time together.
PRITCHARD
But I’m a friend of Ray’s.
(but she is done with him)
Stay here. I’ll be back.
EXT. HOLLYWOOD - LOS ANGELES - NIGHT
Pritchard heads down the street, turns down an alley. Halfway

down the alley he enters the kitchen door of a restaurant.
INT. HOLLYWOOD RESTAURANT - KITCHEN - NIGHT
Pritchard moves through the kitchen. He finds a stairway to

the basement. As he goes down the stairs the SOUNDS of the
kitchen are replaced by the recognizable sound of men trading
punches while a crowd cheers them on. Pritchard emerges into--
INT. RESTAURANT BASEMENT - NIGHT
Underground fight club. Two men in a ring beat the shit out
of each other while a small crowd bets and cheers. Pritchard
finds SMOKEY (75, scar on his face) the FIGHT BOOKER.
PRITCHARD
I’m looking for a fight. Taking all
comers. You gotta slot for me?
Smokey looks at pretty faced Pritchard, then grabs his hands.
SMOKEY
These hands ever been in a fight?
Pritchard looks at scar faced Smokey then HE FLASHES BACK TO:
INT. LOS ANGELES SHERIFF’S DEPARTMENT - NIGHT - 1998
58 YEAR OLD PRITCHARD stands with a scar faced 58 YEAR OLD

SMOKEY. BOTH WEAR upper level Sheriff’s department uniforms.
On the desk are crime scene photos. A DEAD WOMAN. BLOOD.
58 YEAR OLD SMOKEY

Look, Ray, the Mayor wants this to
go away so it goes away.
(CONTINUED)
CONTINUED:
58 YEAR OLD PRITCHARD

We’re Sheriff’s Department. We
don’t work for the mayor, Smokey.
58 YEAR OLD SMOKEY

But we both have families in his
town. Pluswhich our hands ain’t
exactly clean to begin with.
58 year old Pritchard looks at his hands AND WE JUMP BACK TO:
INT. RESTAURANT BASEMENT - NIGHT - PRESENT DAY
Pritchard PULLS HIS HANDS from Smokey’s grip and says--
PRITCHARD
Just put me in the ring, Smokey.
INT. BOXING RING - NIGHT
Pritchard stripped to the waist in one corner. Across the

ring is a man twice his size. The bell rings. The HUGE MAN
heads right for him. For a big man the guy is fast and tags
Pritchard right in the face, bloodying Pritchard’s lip.
Pritchard WIPES THE BLOOD FROM HIS LIP and the Huge Opponent
takes the opportunity to hit Pritchard again, even harder. He
hits Pritchard again and again... the crowd screams louder--
HUGE OPPONENT
How’s that feel?
PRITCHARD
It feels... like I’m alive...
And Pritchard SMILES, moves in and, with one punch, PUTS THE
HUGE MAN DOWN AND OUT. The crowd goes utterly silent.
Pritchard heads back toward a stunned ring side Smokey.
SMOKEY
Where’d you learn to fight?
PRITCHARD
United States Marines.
SMOKEY
Afghanistan?
PRITCHARD
Viet Nam. Who’s up next?
Smokey looks at him then WAVES THE NEXT MAN INTO THE RING.
INT. BETTINA’S APT - NIGHT
Pritchard and Bettina here. Pritchard puts some cash on the

table with plenty left over to go into his own pocket.
BETTINA
You just want to use my computer?
PRITCHARD
It has the internet, right?
BETTINA
Yes. It “has” the internet. That’s
all you want to do? My computer?
(off his nod yes)
Then I am going to take a shower.
You go and get your cyber freak on.
She leaves the room. Pritchard turns to the laptop and begins
a computer search. But the computer makes the universal sound
which means he has done something wrong. He types again. Hits
enter and again that sound. Pritchard calls out to Bettina...
PRITCHARD
Actually I need a little help. Not
really used to... Is this a google?
MARY (O.S.)
What are you doing, Mr. Pritchard?
Pritchard looks around. Where the fuck did Mary come from?
MARY (O.S.) (CONT’D)

Here, Mr. Pritchard. On the screen.
Pritchard looks back to the computer. In a little box in the

corner of the screen Mary’s face has appeared. She explains--
MARY (CONT’D)
Your friend Bettina is on
Lookinglass. We’ve been listening
for your voice pattern.
PRITCHARD
On her computer?
MARY
On 2 billion computers and devices.
You are 75, Mr. Pritchard, I don’t
think you understand how integrated
Lookinglass is. Is it your plan to
have sex with that woman?
(CONTINUED)
CONTINUED:
PRITCHARD
My plan to have what?
MARY
If you do you are most likely super
potent. Do you have protection?
PRITCHARD
Super-Po-- I’m just trying to find
out about the break-in at my son’s.
MARY
There’s no record of a break-in at
his house. I searched all public
and private databases. FBI. LAPD.
PRITCHARD
If I’m the only one who knows they
were in his house... then my son is
in trouble and doesn’t know it.
MARY
I understand how this is troubling.
Let me bring you back. Lookinglass
has tremendous resources here...
PRITCHARD
You understand the circumstances of
my death are troubling me, do you?
You and your twin want to help?
MARY
...Mr. Pritchard...
Pritchard closes the laptop. As he does she desperately says--
MARY (CONT’D)
Mr. Pritchard, The process is like
a transplant. You need to be aware--
Pritchard closes the lid. Shutting her off. He lets out a

long slow breath after his session with the laptop. And--
BETTINA (O.S.)
You done?
Pritchard turns. Bettina in the doorway, wet in a towel.
BETTINA (CONT’D)
Maybe it’s a generational thing but
baby it’s messed up when you’d
rather do it online like that then
with someone here in the flesh.
(MORE)
(CONTINUED)
CONTINUED:
BETTINA (CONT’D)
(drops her towel)
This does nothing for you?
Pritchard looks at Bettina, naked and moist from the shower.

Yes, it does something for him. He stands and moves to her.
She unbuttons his shirt. He lets his fingers touch her skin.
She puts her lips on his neck... his hands go lower on her.
They are both beautiful. She can sense his appetite. He says-
PRITCHARD
...Pritchard told me he was too old
to really do much of anything...
BETTINA
I don’t talk about other clients.
(kisses him then says)
...But you feel to me like you can
do pretty much everything...
PRITCHARD
(picks her up)
Well, that’s just how I feel...
(carries her into bedroom)
You have protection? There’s a
chance I might be super potent.
She gives a throaty laugh as Pritchard kicks the door closed.
EXT. PUBLIC PARK - DAY
Pritchard in new clothes. On the field a girl’s soccer game.

He sees his granddaughter with the ball. TAKE A MOMENT WITH
THIS. He shifts his attention to the side of the field. With
the team parents are Duval and Helen Pritchard. His FBI agent
son and heavy drinking daughter. TAKE A MOMENT WITH THIS TOO.
For Pritchard the world is so alive. The grass, the soccer

ball, the birds, a dog. As he walks toward his grown children
he sees that they are quietly arguing. He hears them say--
HELEN PRITCHARD
I’m just here to cheer on my niece.
DUVAL PRITCHARD
And you need four beers to do that?
(sees Pritchard staring)
Can I help you with something?
PRITCHARD’S POV - MORE VIBRANT. TOO VIBRANT. The world begins

to pulse. But now Pritchard sees another man approach. It is
Strayburn, his killer. Strayburn smiles at Duval and says--
(CONTINUED)
CONTINUED:
STRAYBURN
Sorry I’m late. How’s Gracie doing?
PRITCHARD’S POV - THE WORLD THROBS AND PULSES. SOMETHING IS

VERY WRONG. Duval notices him as a man in distress and says--
DUVAL PRITCHARD
Hey... you ok there, buddy?
And Pritchard GOES DOWN. Looking up he sees Duval and

Strayburn rush to his aid. His son and his killer. And now--
Mary Goodwin is there. She leans down. HE HEARS HER SAY--
MARY
My friend is... Diabetic... help me
get him to my car... please...
Pritchard lifted to his feet. Duval under one arm. Strayburn

under the other. Pritchard too weak to speak. He is losing
consciousness. HE LOOKS INTO THE FACE OF HIS KILLER AS--
INT. MARY’S CAR - DAY
Mary drives. Pritchard in the passenger seat, head against

the window, barely conscious. He sees they are pulling away
from the park, Duval and Strayburn watching them go.
PRITCHARD
Him... he threw me off that bridge.
But now Pritchard’s VISION BENDS INSIDE OUT. He says to Mary--
...What’s happening to me?
HER VOICE COMES FROM SO FAR AWAY. It sounds like she says--
MARY
...The process... works like a
transplant... rejection...
One more look out the window at Strayburn as they drive off.
PRITCHARD
That’s him... go back... go back...
BUT SHE DOESN’T GO BACK AND EVERYTHING GOES BLACK--
END OF ACT THREE

ACT FOUR
Pritchard back in that tank. Eyes open. Staring vacantly.
The fish tank. The colorful fish flit and flutter. Only now
one fish is separate from the group. ALL BY ITSELF. CUT TO:
INT. GOODWIN HOME - ULTRA MODERN BEDROOM - DAY
Pritchard, alone in the room, wakes in the bed and takes a

deep breath. Alive. He hears voices arguing. He moves to...
INT. GOODWIN HOME - HALLWAY - DAY
Pritchard moves toward those voices. They are Mary and Otto.
OTTO (O.S.)
Other people? There are no other
people. There is just you and me.
MARY (O.S.)
We had incomplete information,
Otto. We didn’t know someone took
his life. He didn’t throw it away.
Pritchard walks out onto the interior balcony. Mary and Otto
in the room below, arguing. He lets them continue...
OTTO
What difference does that make? We
did this to save us...
MARY
He’s a person, Otto.
OTTO
He’s our person, Mary. We made him.
You and me. We made him to save us.
PRITCHARD
Hey, you want to say that again?
They look up to see Pritchard looking down at them--
Because the way I heard it you were
just saying I am “your person”.
(moves toward Otto as--)
Is that what you were saying?
(CONTINUED)
CONTINUED:
Pritchard is toe to toe with Otto now. Otto looks down--
Hey, I asked you a question. You
look me in the eye and answer it.
MARY
Otto has an issue with eye contact.
PRITCHARD
I’m just back from the dead and
Otto’s the one with the issue?
This brings a quick smile to Mary. Otto sees it and storms

out. A 7 year old in a man’s body. Pritchard says to Mary--
Maybe it’s time you tell me why you
really did this to me.
INT. GOODWIN HOME - ALL WHITE ROOM - DAY
No furniture. Nothing but white walls, floor and ceiling.

Otto storms in, slams the door and says...
OTTO
My room... 1988...
COMPUTERIZED VOICE
You know you’re not supposed to.
OTTO
Just. Do. It. NOW!!!
A 3D projection of Otto’s childhood bedroom holographically

transforms the room. Intertwined Legos cover everything.
Humming to himself, Otto curls up in a ball on the floor.
EXT. GOODWIN HOME - POOL SIDE - DAY
Pritchard and Mary stand in the dazzling sunlight.
MARY
Cancer... in my blood. No cure.
I’ll be dead within the year.
Because of your rare genetic make-
up the process works on you. We
just need to figure out how to make
it work on someone else.
PRITCHARD
So I’m a guinea pig. But if you’re
dying why did he say “save us”.
(CONTINUED)
CONTINUED:
MARY
Otto can’t... be without me.
PRITCHARD
Maybe he can find himself a woman,
you know, who’s not his sister.
MARY
It’s more complicated than that.
PRITCHARD
Not in my experience.
MARY
Yes. Lookinglass studied you. Lots
of women... in and out of marriage.
PRITCHARD
I like to think of that as living.
MARY
And your family thought of it as?
PRITCHARD
Look Missy, I don’t care what you
studied, you don’t know me. Now I
need to see a man about a bridge.
MARY
The man with your son. Then I have
something you’ll want to see first.
Pritchard and Mary stand before the array of screens.
MARY
Arthur, show Mr. Pritchard...
COMPUTERIZED VOICE
Yes. Mary... of course...
And Agent Strayburn’s picture appears on a screen.
MARY
This is your son’s FBI partner.
(more info displays)
These are texts from the security
guard killed at the first job to
your son’s partner. Your son’s
partner was also texting this man.
(Jittery’s photo displays)
Just prior to each bank robbery.
(CONTINUED)
CONTINUED:
PRITCHARD
He was at my son’s house. He was
the one in charge.
MARY
He has a record of armed robbery.
(displays more info)
These accounts here trace to Agent
Strayburn. All have deposits within
days of each bank robbery.
PRITCHARD
And... my son? Is he dirty too?
MARY
No... your son is clean.
PRITCHARD
It’s just that his partner works
with the men he’s chasing... How
did you get all this information?
MARY
The world isn’t objects. It’s
information. And there’s no
information anywhere that Otto’s
Lookinglass algorithm can’t touch.
PRITCHARD
So I’m not the first monster you
two built.
MARY
(hands Pritchard a file)
All the information your son needs
to put his partner away is in here.
PRITCHARD
You just letting me walk out?
MARY
How do you suggest I stop you?
PRITCHARD
I’m going to need a car.
MARY
I think we have one you’ll like.
INT. GOODWIN HOME - GARAGE - DAY
A LINE OF HIGH END AUTOS. They stand before a 1971 Bullet

Back Riviera. Mary hands him the keys and a phone.
(CONTINUED)
CONTINUED:
PRITCHARD
I love this car. But you knew that.
MARY
(she nods yes then...)
According to our diagnostics your
strength and speed are five times
what they should be for a man your
size. Have you noticed any other
changes? Increased vision, hearing?
Pritchard reaches out his hand, comes close to but does not
touch Mary... his fingers JUST AN INCH OR TWO FROM HER SKIN.
PRITCHARD
I can feel your pulse from here...
Her breath catches. She looks at the handsome man she brought
back to life. A moment that trembles then Mary shuts it down.
MARY
You have one day before you need to
be back in that tank. I’ve set a
timer on the phone I gave you.
PRITCHARD
I guess I should thank you for
bringing me back from the dead. No
one’s ever done that for me before.
This makes her smile a bit. He can be charming.
INT. GOODWIN HOME - ALL WHITE ROOM - DAY
Otto still surrounded by the holograph of his childhood

bedroom. He lays on the floor WATCHING something on the
ceiling. A LIVE FEED of Mary and Pritchard in the garage.
OTTO
Arthur, zoom in on Mary.
The image zooms in on Mary. She stands so close to Pritchard.
COMPUTERIZED VOICE
Is something troubling you, Otto?
OTTO
...It will be bad for us if
something happens to him. So I
don’t understand why she’s smiling.
(CONTINUED)
CONTINUED:
COMPUTERIZED VOICE
Yes. Smiling is the facial
expression that denotes pleasure.
Now Otto sees Pritchard leave her and get in the car.
INT. 1971 BUICK RIVIERA BULLET BACK COUPE - DAY
Pritchard drives. As he does he speaks into his phone...
PRITCHARD (INTO PHONE)

Special Agent Pritchard please...
EXT. PUBLIC PARK - DAY
Pritchard and Duval. Duval now holds the file. It is clear to

see that the info about Strayburn hits Duval real hard. (So
weird, right? Pritchard with his son who doesn’t know him.)
DUVAL PRITCHARD
This is what you wanted to talk to
me about in the park the other day?
PRITCHARD
That’s right.
DUVAL PRITCHARD
And you came by this how?
PRITCHARD
Your father. He didn’t trust your
partner.
DUVAL PRITCHARD
I didn’t think my father knew my
partner.
PRITCHARD
He did. And he never trusted him.
DUVAL PRITCHARD
My father never trusted anyone, so
I guess I believe that.
Duval studies the file as Pritchard watches him... then...

I looked through these records...
but I didn’t see this...
(CONTINUED)
CONTINUED:
PRITCHARD
(so it occurs to him that)
...That’s what they took when they
broke into your house...
DUVAL PRITCHARD
When who broke into my house?
PRITCHARD
(getting away from that)
Use that file. Close the case.
It’ll make your career.
DUVAL PRITCHARD
And how did you know my father?
PRITCHARD
I did some work for him. He talked
about you a lot. Used to say it’s
amazing how well you turned out
seeing what a crappy dad he was.
(off Duval’s non-reaction)
Not going to dispute that?
DUVAL PRITCHARD
(back to case)
Why don’t you come in with me?
PRITCHARD
I’d rather not. Let’s put this
under anonymous tip.
DUVAL PRITCHARD
Then what about a name?
PRITCHARD
Let’s leave that anonymous too.
Duval thinks then looks real hard at Pritchard. Does Duval

see it? Does he see who Pritchard really is. And then--
DUVAL PRITCHARD
It’s funny... my partner was more
family to me then my dad ever was.
That hurt. Duval turns and walks away. Pritchard says--
PRITCHARD
Your father did what he had to do
to keep this county and his family
safe.
(CONTINUED)
CONTINUED:
DUVAL PRITCHARD
He sold you that line too, huh?
That he did what he had to do? My
father did what he wanted to do.
...Selfish to the end, walking
himself off that bridge...
Pritchard, HEART BREAKING, watches his son leave then... he

looks at the timer on his phone; 18 hours before he needs to
be back in that tank. WE HEAR MUSIC...
PRITCHARD (V.O.)
Where it began, I can’t begin to
knowin’ But then I know it’s
growing strong...
Neil Diamond but a good drinking Karaoke version as CUT TO:
INT. FBI LOS ANGELES FIELD OFFICE - DAY
Duval at his computer. On the screen is info about those bank

jobs. The file Pritchard gave him open on his desk. Duval
compares the two. Across the office is Agent Strayburn.
PRITCHARD (V.O.)
Was in the spring, And spring
became the summer, Who’d have
believed you’d come along...
Duval looks from the info scrolling across his screen to his
dirty partner across the room. Duval closes the file...
INT. THE HIJINKS BAR - DAY
Pritchard, a drink in one hand and a microphone in the other,

lays into the song. A decent crowd watches him...
PRITCHARD
Hands, touching hands, Reachin’
out, touchin’ me, touchin’ you--
INT. FBI LOS ANGELES FIELD OFFICE - DAY
Duval walks that incriminating file down the hall.
PRITCHARD (V.O.)
Sweet Caroline. Good times never
felt so good. I’ve been inclined...
INT. FBI LOS ANGELES FIELD OFFICE - AGENT BECH’S OFFICE - DAY
Duval lays the file on the desk of his Superior, BECH.
(CONTINUED)
CONTINUED:
PRITCHARD (V.O.)
To believe they never would...
Agent Bech picks up the file. Looks at Duval who SAYS SADLY--
DUVAL PRITCHARD
It all checks out. He’s dirty--
Pritchard keeps rolling along. The crowd loving it.
PRITCHARD
But now I look at the night.
INT. DUVAL PRITCHARD’S FBI SEDAN - DAY
Duval puts his key in the ignition and starts his car.
PRITCHARD (V.O.)
And it don’t seem so lonely--
Pritchard has a pretty waitress under his arm now as he sings-
PRITCHARD
Warm, touching warm, reaching out,
touchin’ me, touchin’ you...
(spoken to Waitress)
Not bad for a dead guy, huh?
Pritchard now holds the mic to the crowd. They sing along...
CROWD
Sweet Caroline. Good times never
seemed so good...
Duval on the phone with his sister Helen.

Remember that guy at the park the
other day? At the soccer game?
CROWD (V.O.)
I’ve been inclined to believe they--
INT. HELEN PRITCHARD’S BACK GARDEN - DAY
Helen weeds as she talks on the phone with her brother Duval.
(CONTINUED)
CONTINUED:
HELEN PRITCHARD (INTO PHONE)

I sure do. What about him?
CROWD (V.O.)
Never would. Oh, no, no..
INT. FBI LOS ANGELES FIELD OFFICE - AGENT BECH’S OFFICE - DAY
Two men in the office now. Bech and Strayburn. Bech hands the
file to Strayburn. Bech and Strayburn ARE IN IT TOGETHER.
BECH
You and me made a deal with these
guys so this...
(re: the file)
This needs to go away. Right now.
CROWD (V.O.)
Sweet Caroline, Good times never--
Duval on the phone with Helen.
CROWD (V.O.)
Seemed so good. Sweet Caroline. I-

I saw him today. It was like I knew
him but I’d never met him. He was
close with dad. You know Dad wasn’t
always exactly faithful to Mom.
HELEN PRITCHARD
What are you saying? That we have
a brother we didn’t know about...
And WHAM... Duval’s car is plowed into by an SUV. We get a

glimpse at the driver and passenger. Jittery and Strayburn.
Pritchard leads the crowd in the sing along. He does not see
his phone. He does not see Mary Goodwin has skyped in. Her
lips move but we cannot hear her words. She is desperate to
talk to him but he is having too much fun to notice.
CROWD
Believe they never would. No no no.
END OF ACT FOUR

ACT FIVE
INT. 1971 BUICK RIVIERA BULLET BACK COUPE - NIGHT
Pritchard drives, fast. On the seat next to him is his phone,

Mary’s face on the screen. She is skyping in. The timer is
also displayed. Running down the time Pritchard has left
until he needs to be back in that tank... 1:36:43. 1:36:42
MARY (ON PHONE)

We’ve located your son’s phone. At
your current speed you’ll reach him
in just over twenty minutes. From
there it’s an hour back to the
tank. That leaves you just fifteen
minutes to do what you need to do.

And if I go into rejection. You can
just bring me back again, right?
INT. GOODWIN HOME - TECH ROOM - NIGHT
Mary and Otto. Pritchard on one of the screens.
MARY (INTO MICROPHONE)

We don’t know. But it seems a full
rejection would leave us nothing to
work with. We don’t think we could
bring you back if that happens...
MARY (ON PHONE)

Death would be permanent.
The implication of course is permanent for both of them.

Then I guess I’ll see you on the
other side.
Pritchard hangs up on Mary and jams down on the gas.
Otto storms out of the room leaving Mary by herself.
EXT. LOS ANGELES - NIGHT
HIGH UP somewhere, the city a distant blur. CLOSE on a BADLY

BRUISED DUVAL who is held up right by Strayburn. Jittery aims
a gun at Duval. But Duval looks at his partner and says--
(CONTINUED)
CONTINUED:
DUVAL PRITCHARD
...You’re my partner...
INT. 1971 BUICK RIVIERA BULLET BACK COUPE
Pritchard skids to a halt in front of a four story warehouse.

He looks up, it is the ROOFTOP that has his interest.
EXT. LOS ANGELES - NIGHT
Jittery watches as Strayburn sadly asks Duval--
STRAYBURN
Where’d you get the information?
Who are you working with, Duval?
INT. WAREHOUSE STAIRWELL - NIGHT
Pritchard takes the stairs four, five then six at a time. He

moves fast to the rooftop. Here’s the locked door, he doesn’t
even slow down, just kicks it down and emerges onto...
EXT. WAREHOUSE ROOFTOP - NIGHT
Pritchard, UNLEASHED, moves through the door onto... an empty

rooftop. 360 degrees of nothing. The only thing here is a
phone. Duval’s phone. Pritchard picks it up then he hears...
MARY (O.S.)
What do you see?
Pritchard looks at his own phone. Mary on Skype.
PRITCHARD
My son’s not here. Just his phone.
MARY (ON SKYPE)

And his partner has pulled the
battery on his phone. They’re being
more careful. I... can’t find him.
(sadly)
Your time is up, Mr. Pritchard...
BUT Pritchard isn’t listening to her. He is looking at

Duval’s phone. A long list of missed calls and texts. All
from Gracie. They read: DAD, WHERE ARE YOU?: THOUGHT WE WERE
HAVING DINNER?: DAD?: HEY, CALL ME: DAD? YOU OK? WORRIED?:
As he holds it rings. GRACIE CALLING. Pritchard answers-
GRACIE PRITCHARD (ON PHONE)

Dad?
A BEAT as Pritchard takes in the voice of his granddaughter.
(CONTINUED)
CONTINUED:
GRACIE PRITCHARD (ON PHONE) (CONT’D)

Dad? That you?

No. It’s... I work with your dad.

Why are you on his phone? Why
hasn’t he called? What’s happened?

(lying to her)
Nothing happened. He just left his
phone here. I’m going to bring it
to him and then he’ll call you, OK?

You tell him he better call Gracie
right away...

OK, Gracie... I will... I promise.
She hangs up. Pritchard reels a bit. That was a gut punch.
But now he hears Mary’s sad voice coming from his phone.
MARY (ON PHONE)

...He could be anywhere...
Pritchard looks out over the vast city... where is Duval? Now
in the distance, Pritchard SEES... a bridge. He smiles.

No... not anywhere...
Pritchard moves toward the roof edge as does he talks to Mary

on skype. He begins to run toward the edge as he says to her--
You spent all your life taking care
of your brother? Let me give you
some advice, Missy. Get out there
and live a little before you die.
He shoves the phone in his pocket and JUMPS OFF THE ROOF.
Mary, alone, with Pritchard’s last words in her head..
MARY
(to herself)
...live a little...
(CONTINUED)
CONTINUED:
COMPUTERIZED VOICE
You should have asked him to come
back here to show you how.
(she does not answer so)
His psychological profile suggests
he would be susceptible to that.
MARY
Please just shut up, Arthur.
EXT. BRIDGE - NIGHT
This is where Duval, Strayburn and Jittery actually are. We

know this bridge. It is where Strayburn killed Pritchard.
Jittery has just punched Duval in the face. Strayburn asks--
STRAYBURN
Where’d you get the information?
DUVAL PRITCHARD
Go to hell.
JITTERY BURLGAR
Funny, that’s what your dad said.
Duval lunges for Jittery who just pushes the muzzle of his
gun against Duval’s forehead and says to Strayburn...

Drag him to the rail...
DUVAL PRITCHARD
You don’t have to do this...
STRAYBURN
(dragging Duval)
Can’t get out now, Duval. I took a
little, then a little more... then--
DUVAL PRITCHARD
You think anyone is going to
believe I did this?
JITTERY BURLGAR
Your partner will tell them you
were depressed, like your father.
It runs in the family. And your
inability to close this case was
just too much. Last thing your dad
said before he went over was that
you’d get me. You almost did.
Duval struggles as Strayburn drags him to the rail. Closer--
(CONTINUED)
CONTINUED:
Strayburn has his partner backed up against the rail. Jittery

has his gun aimed at the two of them.

Finish this...
Strayburn about to push as they hear... a voice, from above--
PRITCHARD (V.O.)
Hands... touching hands...
They look up into the bridge cabling. Is someone up there?
PRITCHARD (V.O.)
Touching me...
JITTERY BURLGAR
...What the hell is that?
UP IN THE CABLES WE SEE PRITCHARD looking down at the

threesome. His senses enhanced. He SEES the blood drip from
Duval’s mouth. He HEARS his son’s blood hit the pavement.
On Pritchard; anger surfaces and darkness takes hold of him.
ON THE BRIDGE -- it is so quiet... and then an evil whisper-
PRITCHARD (V.O.)
...touching you...
Pritchard drops out of the dark behind Jittery. One hand on

the man’s neck, one hand on his gun arm which Pritchard
QUICKLY AND EASILY SNAPS. Pritchard grabs the falling gun and
tosses it to Duval who aims it as Strayburn. As--
Pritchard runs Jittery right to the rail and--.
JITTERY BURLGAR
Whoa whoa whoa... Don’t do it...
DUVAL PRITCHARD
DON’T YOU DO IT.
Pritchard leans close to the terrified Jittery and whispers--
PRITCHARD
...We never found out if I could
still throw that knife, did we?
As a look of surreal recognition takes hold of Jittery...

Pritchard pushes the man over the rail. DOWN HE GOES.
Pritchard turns to Duval who aims the gun at him and says--
(CONTINUED)
CONTINUED:
DUVAL PRITCHARD
On your knees, now.
PRITCHARD
Your boss is dirty too...
(points at Strayburn)
You use your partner to get him.
DUVAL PRITCHARD
You get down on your knees...
PRITCHARD
Not going to do that.
DUVAL PRITCHARD
Who... Who the hell are you?
PRITCHARD
You need to get tougher, Duval.
DUVAL PRITCHARD
I need to get tougher? He used to
tell me that. What’s your
connection to my father?
PRITCHARD
Like I said, did some work for him.
DUVAL PRITCHARD
And if we got a bloodtest, me and
you, what would that show?
PRITCHARD’S POV - Duval so close. In this moment he and his

son have never been closer. Now the world flicks VIBRANT.
Just for a moment but it’s a start... time to go...

You’re coming in with me...
PRITCHARD
Not now... now I have to go...
(returns Duval’s phone)
And call Gracie... she’s worried...
One more look at his son then Pritchard turns and runs down
toward the dark end of the bridge...
Pritchard drives. Fast. The timer running down but now--
PRITCHARD’S POV - the world lit by headlights grows VIBRANT.

The trees, the night sky, the moon, all begin to THROB. And--
(CONTINUED)
CONTINUED:
Pritchard cannot focus, he swerves, off the road as his

vision and hearing explode. The car stops... the timer runs.
EXT. 1971 BUICK RIVIERA BULLET BACK COUPE - NIGHT
The door opens and Pritchard stumbles out. He takes a few

steps then goes down, on his back. The phone falls to the
ground.. The timer goes 00:03. 00:02. 00:01... 00:00.
Pritchard looks at the night sky full of stars. So vibrant.

So beautiful. He smiles as, dying, he holds up his hand to
them. As he watches one of the stars begins to descend. Lower
as it’s light grows brighter. Not a star but a 6 foot by 6
foot quadcopter drone. The LOOKINGLASS logo on its side.
As it comes lower Pritchard sees Otto’s face on a tablet

attached to the drone’s belly.
PRITCHARD
What... what is that...?
OTTO (ON TABLET)

Prototype Lookinglass rescue UAV.
PRITCHARD
Don’t know what any of that means.
OTTO
Just roll into the harness.
The drone just over him now. Pritchard sees the harness
dangle beneath it. He rolls into the straps and the
quadcopter begins to ascend...
PRITCHARD’S POV - up, up... he is flying... then BLACK.
Pritchard in the tank. His eyes open and blank. Now he blinks
once as CAMERA PUSHES THROUGH THE GLASS into the tank...
PRITCHARD’S POV - Mary looking in at him. She smiles.
MARY
There you are.
INT. ALL WHITE ROOM - DAY
No projections on the walls. Otto stands alone in the room.
INT. GOODWIN HOME - HALLWAY - DAY
Pritchard, hair still wet, heads down the hall. Mary follows.
(CONTINUED)
CONTINUED:
MARY
You had a few minutes more than we
thought. We’ll adjust the clock.
There’s so much we don’t know. We
should run some tests at once. I’d
like blood and brain wave levels...
Pritchard doesn’t turn, just holds up his hand; “not now”.
MARY (CONT’D)
Mr. Pritchard. Mr. Pritchard.
He is done with her for now. He passes his high tech bedroom
and goes right to the door that leads into...
Still a mess. Pritchard enters. Mary behind him.
MARY
We have a better room for you.
But he just goes to that stack of newspapers and picks out

four different articles. He gives them to her and says--
PRITCHARD
These four killings... I think
they’re related. I need you to do
that Lookinglass mumbo jumbo jazz
on them. Chop Chop.
MARY
(looks at articles)
Is it your intention to keep
working with your son, Sheriff?
PRITCHARD
(smiles at that..)
You want to come along next time...
Mary doesn’t answer so HE FEELS HER PULSE from an inch out.
I’ll take that as a yes.
Now he picks up his broken door and lays it over the doorway,
blocking Mary out. From the hall he hears-
MARY (O.S.)
Mr. Pritchard? Mr. Pritchard?
He goes to the albums on the shelf. He selects one. Puts it

on the turntable. CCR’s Bad Moon Rising. Pritchard cranks it--
(CONTINUED)
CONTINUED:
MARY (O.S.) (CONT’D)

...You would need a name and...
Pritchard cranks it up louder, drowning her out. Then he goes

to sit in his barcalounger. Don’t go round tonight, Well
it’s bound to take your life...
Push in on Pritchard as the music blasts. Look at him sitting

in his lounge chair. Closer to him we go and CUT TO:
The fish tank.
All the fish clustered against one wall except for that one
by itself. Now the lone fish turns and heads for the others.
In a controlled frenzy it attacks them, whipping up the

water, faster and faster, until the others are dead and the
water is murky with blood through which the lone fish swims.
INT. ALL WHITE ROOM - DAY
Otto. The only thing projected on the wall is a LIVE FEED of

that fish tank and the carnage in its water. Arthur says--
COMPUTERIZED VOICE
Should I let Mary know about this
development?
OTTO
No. Let’s keep it between us.
COMPUTERIZED VOICE
Of course, Otto. As you wish. May I
ask, would this be a lie?
OTTO
No... Resume previous scenario.
Once more the walls, floor and ceiling digitally transform

into the Lego web of Otto’s childhood room. But this time a
digital 7 year old Mary enters. In twinspeak Otto asks her--
OTTO (CONT’D)
Will you go too?
Digital 7 year old Mary looks at present day Otto and...
There’s a bad moon on the rise.
END OF PILOT

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FRANKENSTEIN

JANUARY 16, 2015

SUPER TITLE THESE NAMES MARY AND OTTO

INT. PALO ALTO HOME - GARAGE - 1988 - DAY

A young DAD at a workbench builds a computer. One more

MARY AND OTTO GOODWIN are building themselves a complicated

But now Otto cannot find a piece he needs in the pile so he

3 YEAR OLD MARY GOODWIN

3 YEAR OLD MARY GOODWIN

Otto hears this question and speaks in twinspeak to Mary.

3 YEAR OLD MARY GOODWIN

INT. PALO ALTO HOME - OTTO’S BEDROOM - 1992 - NIGHT

The room a complex warren of Legos. Buildings, roads, cities,

7 YEAR OLD MARY GOODWIN

Otto looks at his sister and speaks to her in twinspeak.

7 YEAR OLD OTTO GOODWIN

7 YEAR OLD MARY GOODWIN

7 YEAR OLD OTTO GOODWIN

LOOK AT LITTLE MARY’S FACE THEN MATCH CUT TO:

INT. LOOKINGLASS OFFICES - LOS ANGELES - PRESENT DAY

MARY GOODWIN (30) beautiful and at ease in the world, moves

INT. LOOKINGLASS OFFICES - OTTO’S PRIVATE OFFICE - DAY

Only one person here. 30 year old Otto. He stands before a

Otto turns. 30 year old Mary is here, she steps up to him.

Mary looks at Otto as Otto looks at the DEAD FISH.

PULL BACK TO SEE THE NEWSPAPER IS IN A PILE with yesterday’s

NOW WE HEAR BLASTING MUSIC, CCR’s BAD MOON RISING. CAMERA

INT. MESSY LOS ANGELES APARTMENT - PRESENT TIME - DAY

SUPERTITLE THIS NAME NOW PRITCHARD

That pile of newspapers, stacks of mail, empty cans of beer,

A 75 YEAR OLD MAN. PRITCHARD wears a bathrobe and smokes a

INT. APARTMENT HALLWAY - SAME MOMENT - DAY

A MAN IN A SUIT (40) stands outside Pritchard’s apartment,

MIDDLE AGED WOMAN

MIDDLE AGED WOMAN

MIDDLE AGED WOMAN

INT. PRITCHARD’S APARTMENT - SAME MOMENT

Drinking, smoking, ignoring the pounding, rail-thin Pritchard

Oh, the Fed is Pritchard’s son. His name is DUVAL PRITCHARD.

Pritchard Sr. is not senile nor suffering from age related

As Duval clears the empties he sees the newspapers, sections

DUVAL PRITCHARD (CONT’D) PRITCHARD

DUVAL PRITCHARD (CONT’D)

As an answer to that a 35 year old professional woman

Bettina passes close to Duval as she heads out the door.

Though they whisper, Pritchard manages to catch it and--

Bettina opens the door. There is a pretty 16 year old girl

Gracie is still fixed on Bettina who says to Pritchard...

And Bettina leaves the three generations of Pritchards.

Pritchard’s plea is half-hearted. He loves his granddaughter.

Work vs. Family is a bone of contention between these two.

AND AS PRITCHARD SAYS THIS WE FLASH BACK TO:

EXT. STREET - NIGHT - TWO YEARS AGO

Flashing lights. A LOS ANGELES COUNTRY SHERIFF’S CAR is

L.A. COUNTY DEPUTY

L.A. COUNTY DEPUTY

Pritchard hears his son say that. AND WE COME BACK TO

INT. PRITCHARD’S APARTMENT - PRESENT DAY

Pritchard watches the door close. His son and granddaughter