THE DEAD ZONEdedee.org/dd/filmog/deadzone/thecollector script.pdf · This was Erica's work station. Johnny sets his jacket down and starts moving around the station, gently using

THE DEAD ZONE

"THE COLLECTOR"

Production #01-4002

Written by

James Morris & Shintaro Shimosawa

Directed by

Michael Robison

Rev. Production Draft - Full Yellow (repaginated) Jan 04/05 Green Pgs: 3,10-11,16,19,22,25-27,31,35,38-42,54-54A Jan 11/05 Gold Pgs: i,ii,6,8,15-17,19,23-24,26-30,32-33,38-39,

43-46,49-50A,52-55 Jan 11/05 2nd White Pgs: 2,4,6,13,17-19,21,24-24A,

27-28,31,40,41,42-47,49,53-54 Jan 13/05 *

Copyright © 2005 Lions Gate Television. All rights reserved. No portion of thisscript may be performed, published, sold or distributed by any means, or quotedor published in any medium, including on any web site, without prior writtenconsent. Disposal of this script copy does not alter any of the restrictionsset forth above.

Production Company:Dead Zone Production Corp.

DEAD ZONE: "THE COLLECTOR" - TEASER - 1/4/05 - YELLOW 1.

THE DEAD ZONE

"THE COLLECTOR"

TEASER

FADE IN:

1 1INT. JOHNNY'S KITCHEN - DAY

A grilled-cheese sandwich begins to smoke in a fry pan onthe stove, REVEALING JOHNNY, who has his back to thisimpending culinary disaster. At the moment, he's caughtup in one of those mind-numbing, home shopping INFOMERCIALSon television.

A way too happy MAN and WOMAN demonstrate their new miracleproduct.

MAN (ON TV)Folks, this truly is a miracleproduct. It cooks, grills, fries,steams and smokes any meat, fish,poultry and vegetable product youcan imagine.

Johnny has a pen and pad in hand.

JOHNNY(impatiently waits)

Just give me the damn phone number.

MAN (ON TV)We're going to give you that phonenumber in just a few minutes.

JOHNNYAw, come on!

MAN (ON TV)Right now, Rhonda, my lovelyassistant is going to demonstratethe patented self-cleaningmechanism. Rhonda...

Johnny suddenly smells smoke and turns to SEE THE SANDWICHBURNING.

JOHNNYAw, geez!

He hurries back to the stove and reaches for the handleof the pan -- OUCH! -- too hot. The SMOKE BUILDS in thekitchen.

The DOORBELL RINGS!

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - TEASER - 1/13/05 - WHITE-2 2.

1 CONTINUED: 1

Johnny shuts off the burner then grabs a dish towel anddumps the smoking pan into the sink.

The DOORBELL RINGS again!

JOHNNYTerrific. It's probably the firedepartment.

He tosses the dish towel in the sink and MOVES throughthe thick smoke towards the front door.

2 2INT. FOYER - CONTINUOUS

Johnny OPENS the door to find SARAH.

JOHNNYSarah? This is a surprise.

SARAHI was in the area. Is everythingokay?

JOHNNYTerrific. I was just fixing lunch.

3 3INT. KITCHEN - MOMENTS LATER

Johnny opens a window, fanning the smoke out with thedish towel. Sarah checks the damage in the sink.

SARAHWhat was it supposed to be?

JOHNNYGrilled cheese.

SARAHYou seem to have the 'grilled'part figured out. Ever thinkabout getting a housekeeper?

JOHNNYEvery time I get hungry.

They share a smile.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - TEASER - 1/11/05 - GREEN 3.

3 CONTINUED: 3

JOHNNYSo, what's up?

SARAHJJ mentioned something about anold baseball glove you said hecould use.

JOHNNYMy father gave it to me before hedied. You didn't have to comeall the way over here. I couldhave dropped it by your place.

Johnny can see there's something else on her mind.

JOHNNYUnless, there's something else onyour mind?

SARAH(caught)

Tough to fool a psychic.

JOHNNYOr a friend.

4 4INT. JOHNNY'S LIVING ROOM - MOMENTS LATER

They step out from the kitchen...

SARAHI've been doing some volunteercounseling down at the woman'soutreach center. They have aprogram for homeless women.

JOHNNYSounds terrific.

SARAHIt is. Truth is, I think I getmore out of it than the women inthe program do.

JOHNNYHow do you mean?

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - TEASER - 1/13/05 - WHITE-2 4.

4 CONTINUED: 4

SARAH(begins to getemotional)

With Walt working late hours andJJ becoming more and moreindependent... I have so muchmore free time. It feels good togive back.

JOHNNYBut there's something else, right?

SARAH(beat)

There's a girl, her name is Erica. I've been helping her through thejob training program. A few daysago she just stopped showing up. I have this terrible feeling.

JOHNNYA feeling?

SARAHThat she's out there somewhere...in trouble.

Off this moment of decision, we're...

5 5INT. COMMUNITY OUTREACH CENTER - DAY

A local under-funded social work operation. Flat lighting. Donated furniture, mismatched chairs, broken copy machine.

YOUNG WOMEN being trained to do secretarial jobs. Somehave BABIES with them. Sarah shows Johnny around.

SARAHThe center operates almostexclusively on private funding.

It's both sad and encouraging. She guides him to a cubiclewith a COMPUTER.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - TEASER - 1/4/05 - YELLOW 5.

5 CONTINUED: 5

SARAHThis was Erica's work station.

Johnny sets his jacket down and starts moving around thestation, gently using his hands to touch things, the chair,the desk and then the keyboard as WHOOSH --

6 6INT. A PRINCESS BEDROOM - DAY/NIGHT - VISION

Johnny stands in a perfectly decorated room. With a silkfloral bedspread and matching pillows trimmed in delicatelace. The matching curtains are also trimmed in lace. It's like something built for a storybook princess.

There's a small vanity table against one wall. Johnnysteps around to find a terrified young woman, ERICA (19). She's on the floor against the door.

ERICA(crying)

Let me out of here! You hear me!

She gives up and sinks against the door.

7 7RESUME INT. COMMUNITY OUTREACH CENTER - DAY

Johnny snaps out of the vision. Sarah reads the botheredexpression on his face.

SARAHDid you see something?

JOHNNYWe need to talk to Walt.

Off this disturbing moment...

FADE OUT.

END OF TEASER

DEAD ZONE: "THE COLLECTOR" - ACT ONE - 1/13/05 - WHITE-2 6.

ACT ONE

FADE IN:

8 8INT. SHERIFF'S STATION - NIGHT

We open on Sarah handing Walt a photograph of her and themissing girl, Erica.

SARAHThis picture was taken a few weeksago at the community center.

Walt passes it to Johnny.

JOHNNYThat's the girl I saw in my vision.

WALTYou have no idea where she wasbeing held?

JOHNNYIt looked like a little girl'sbedroom. Could be anywhere.

WALTI checked the emergency callcenter. No one named Erica Carlsonhas been reported missing. Ifthat's even her real name.

SARAHWhy would she lie?

WALTMost of these women come fromabusive relationships. Some ofthem don't want to be found. Sarah, do you remember anythingthis girl might have said? Somebody bothering her. An oldboyfriend maybe.

SARAHShe didn't really talk about herpersonal life. I should havetried to get closer.

She's clearly upset.

WALTI'll take the picture out on thestreets, see if anybody recognizesher.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT ONE - 1/4/05 - YELLOW 7.

8 CONTINUED: 8

JOHNNYI'll go with you.

Walt puts his hand on Sarah's shoulder.

WALTWe'll do everything we can tofind her.

9 9INT. PRINCESS BEDROOM - NIGHT

Erica's on the floor, hair askew. Suddenly, the lightingin the room shifts, as several powerful wall mounted floodlights kick on, blasting a powerful white light directlyinto her face. She HEARS the lock opening outside. Asthe door swings slowly open we see the silhouette of aMAN. Erica lifts her head, still unable to see muchbecause of the lighting.

MAN'S VOICEDon't look at me.

Erica does as she's told, looking down at the floor.

ERICAI want to go home. I won't tellanyone, I promise.

A pair of SNAKE SKIN COWBOY BOOTS step silently into theroom (of course, we don't see the person wearing them). The boots step forward, passing just inches away from heras they move to a closet against the far wall.

ERICAI'm hungry.

A MAN'S HAND wearing a coiled snake ring reaches for thecloset door and opens it.

ERICA(she begins to cry)

Please, I just want to go home.

The ringed hand traces across a row of neatly hung partydresses, finally selecting a yellow one with green flowers. He pulls it off the hanger.

ERICAI'll do whatever you ask. Justdon't...

The man tosses the dress down on the floor in front ofher.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT ONE - 1/11/05 - GOLD 8.

9 CONTINUED: 9

The unseen kidnapper steps back across to the open doorand turns to face her.

ERICA'S POV - SLOWLY FOCUSING

Erica steals a look at her unseen abductor, the brightlights making it nearly impossible to see him clearly.

MAN'S VOICEGet dressed and fix your face. There's make-up on the table.

He closes the door as the lighting shifts back to thewarmer overhead configuration. Erica looks at the dress,then rises to find a box full of expensive make-up on thevanity table.

10 10EXT. LOW RENT NEIGHBORHOOD - ESTABLISHING - NIGHT

The outskirts of Bangor. A few prostitutes, johns andpanhandlers linger along the sidewalk. Walt and Johnnyshow Erica's picture around. Walt stops a prostitute -TAMI, 25ish with long dark hair, a micro-mini skirt andboots. She turns to walk away...

WALTHold on! I want to ask you somequestions.

TAMISorry, officer, I was just waitingfor my mother to pick me up.

WALTYour mother?

Walt and Johnny share an amused look, then...

TAMIFor cheerleading practice.

She lights up as she recognizes Johnny.

TAMIHey, I know you!

WALTYou do?

JOHNNYI don't think so.

(CONTINUED)


10 CONTINUED: 10

TAMII never forget a face. You'rethat mind-reading guy. I sawyour picture in the newspaper. Wow, you're way hotter in person.

JOHNNYThank you.

TAMIHey, y'wanna touch me and guessyour future?

She playfully opens her fake fur jacket to REVEAL a lacypush-up bra. Walt quietly enjoys Johnny's awkwardness --

JOHNNYSheriff, you wanna help me outhere?

WALTDo you recognize this girl?

He shows her the picture of Erica.

TAMI(reacts instantly)

My God --

JOHNNYYou know her?

Tami isn't sure she wants to get involved.

TAMII can't remember. No, I don'tthink so.

Walt needs to put a little pressure on her.

WALTNormally, it's too damn cold outhere to have my people roust youand your friends on a nightlybasis. You withhold informationin a criminal investigation andI'll make it my top priority.

TAMI(beat)

Her name is Erica...

WALTLast name?

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT ONE - 1/11/05 - GREEN 10.

10 CONTINUED: (2) 10

TAMII don't know. I swear! She usedto crash at my place when theweather got bad.

JOHNNYShe's a colleague?

TAMIShe's a sweet kid. End of story.

WALTWhen was the last time you sawher?

TAMII dunno, maybe a week ago. Shestashed some stuff at my place.

JOHNNYOkay if I take a look?

TAMII normally do appointments.

Walt gives her a hard look ...

TAMIAnything for our boys in uniform.

11 11EXT. RAINTREE MOTEL - NIGHT - (STOCK)

Establishing. It's the dive you'd expect.

TAMI'S VOICELet me get this straight.

12 12INT. RAINTREE MOTEL - NIGHT

Tami leads Johnny and Walt into the small, slightlydisheveled room. A few odd posters on the wall and abattered boom box on the dresser.

TAMI (CONT'D)You can predict the winning Lottonumbers, but you don't?

JOHNNYIt's complicated.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT ONE - 1/11/05 - GREEN 11.

12 CONTINUED: 12

TAMIIt's crazy. What's the point ofhaving super-powers unless there'ssome cash in it?

WALTStep back and let the man do hisjob.

Johnny moves around the room, trying to pick up something.

JOHNNYHow long have you lived here?

TAMISix months.

WALTThis place has been a transientmotel for nearly ten years.

TAMICan you at least tell me if Ihave a shot at The Publisher'sClearing House jackpot?

Johnny is zeroing in on the dresser.

WALTOne more question and I'll predictthe next thirty days of your life. And trust me, Ed McMahon will notbe involved.

Johnny touches the top dresser drawer, as WHOOSH --

13 13INT. RAINTREE MOTEL - DAY/NIGHT - VISION

He's THROWN into a sensual FAST REWIND VISION...

Tami is all around Johnny in various states of (un)dresswith other "clients" in this one little room. It's anabsolute BLUR. But the vision slows down at just theright moment...

Erica, the missing girl, walks into the room, pulls outthe top dresser drawer and lifts the false bottom to findsome cash.

14 14RESUME INT. RAINTREE MOTEL - CONTINUOUS

Johnny comes out of the vision.

(CONTINUED)


14 CONTINUED: 14

He finds the false bottom in the top drawer. It's empty.

JOHNNYYou keep money hidden in here.

TAMII used to leave Erica a few dollarsfor pizza.

He touches the false drawer and gets another quick HIT -

15 15EXT. YARD - DAY - VISION

Johnny stands in front of a suburban house. A perfectlymanicured lawn. Clouds FLASH QUICKLY across the blue skyabove him.

He notices a FLASH SERIES OF SCHOOL BUSES dropping andpicking up students. A bus stop. He notices the numberon the bus -- 226.

16 16RESUME INT. RAINTREE MOTEL - NIGHT - CONTINUOUS

Johnny comes out of the vision.

JOHNNYWe should go.

(to Tami)Thank you for your time.

He and Walt move to the door.

TAMITell me one thing, will ya?

Johnny turns.

JOHNNYIf I can.

TAMIIs Erica ever coming back?

The big question hangs in the air between them...

17 17EXT. STREET - BUS STOP - DAY

A school bus waits for the kids to climb aboard. AS THECAMERA PANS the bus we see the number 226 printed on theback end.

(CONTINUED)


17 CONTINUED: 17

WALT'S VOICESo we follow the bus until wefind the house from your vision?

The CAMERA CONTINUES OFF the back of the bus and FINDSWalt and Johnny trailing it in Walt's cruiser.

18 18INT. WALT'S CRUISER - DAY

JOHNNYAssuming it has any connection toErica's disappearance.

Walt can see that Johnny's getting pulled emotionallydeeper into the case.

WALTI appreciate you getting involvedwith this, John. I know it meansa lot to Sarah.

They start off again as the bus DRIVES towards it's nextstop. Johnny thinks back on his conversation with Sarah.

JOHNNY(fishing)

So, how are things at home thesedays?

WALT(taken aback)

Things are good. Things are verygood.

(beat)Why do you ask?

JOHNNYNo reason. No reason at all.

(beat, then)Sarah did mention how you've beenworking late. How JJ's growingup.

WALTYeah?

JOHNNYNothing. Just making conversation,that's all.

(CONTINUED)


18 CONTINUED: 18

WALT(beat, then)

Seems kind'a strange she'd bringup something like that and thenjust drop it.

JOHNNYWell, she did say...

(beat, then)Forget it. It's not important.

WALTWhat?

JOHNNYNothing. It's not even worthmentioning.

(beat)I think maybe she feels a little... neglected.

WALT(jumps on it)

Neglected? She said that? Sheused the word, 'neglected'?

JOHNNYIt's only natural at this pointin her life --

WALT'Neglected'? That's a littleharsh, don't you think?

JOHNNYWalt, stop.

WALTI mean, sure, I've been a littlepreoccupied lately. Hell, it'snot like I work in a damn carwash.

JOHNNYWalt, I'm serious, you need tostop.

WALTYou try listening to everybody'sproblems all day long.

JOHNNYWalt --

(CONTINUED)



WALTSometimes I just want to get on aplane and fly to Las Vegas, orAustralia --

JOHNNYWALT, STOP THE DAMN CAR!

Walt slams on the brakes.

WALTWHAT?!

Johnny nods out the front windshield. Walt turns to see --

19 19THEIR POV - SMALL SUBURBAN HOUSE - DAY

The very same house from Johnny's Vision.

WALT'S VOICEThe house from your vision?

JOHNNY'S VOICEThat's it.

20 20INT. WALT'S CRUISER - CONTINUOUS

Walt feels a little stupid, as he picks up the mic.

WALTI'll call it in. Get an ID onthe owner.

(beat, then)Listen, that stuff about workin'in a car wash and flyin' toVegas...

JOHNNYIt's okay, I get it. Trust me.

21 21EXT. STREET - SHORT TIME LATER

Walt and Johnny sit across the street from the Visionhouse.

WALTThe house is owned by a selfemployed C.P.A. named RichardFinney. Thirty-three, Caucasian,no priors.

(CONTINUED)


21 CONTINUED: 21

JOHNNYThere's something wrong here. Ican feel it.

They get out of the car, as --

22 22INT. PRINCESS BEDROOM - DAY

Erica sits at a vanity wearing the yellow party dress. She applies some eyeliner and stares at herself in thesmall round mirror. It's as if she's preparing herselffor something she can't or doesn't want to imagine.

ERICA(to herself)

Nobody's comin' and you know it. You wanna get outta here? You'regonna have to do it yourself.

23 23EXT. SMALL SUBURBAN HOUSE - LATER

Walt approaches, Johnny slightly behind him. ROSCOE anda few SUPPORTING OFFICERS flank them both.

WALTCover the back. Stay alert. I'mnot sure what we're dealing withhere.

Roscoe nods as he breaks off with the others.

Walt and Johnny walk up the porch steps. Walt unhooksthe strap on his holster and presses the DOORBELL.

24 24OMITTEDAND AND25 25

26 26INT. UNKNOWN LOCATION (INT. SMALL APARTMENT) - CONTINUOUS

A pair of now familiar snake skin cowboy boots step inframe as we HEAR a BELL RING.

27 27OMITTED

28 28EXT. SMALL SUBURBAN HOME - CONTINUOUS

Walt RINGS THE DOORBELL AGAIN.


29 29INT. PRINCESS BEDROOM - CONTINUOUS

The door slowly opens, as those familiar cowboy bootsstep into the open doorway. But Erica's gone. SHOT PANSup to REVEAL a MAN WEARING A CLEAR PLASTIC MASK. It'sterrifying in it's simplicity. His eyes widen as herealizes the room is empty.

ERICA'S VOICELookin' for somebody?

The MASKED MAN turns to his left and gets kicked hard inthe crotch. He doubles over, grabbing for Erica as shefights her way past him. Even in pain, he's right behindher.

30 30INT. HALLWAY - CONTINUOUS

Erica stumbles up the darkened hallway towards anotherclosed door, as the Masked Man chases right behind her. She can HEAR the DOORBELL RINGING as she starts to scream,but the man quickly grabs her from behind, his large handover her mouth. He drags her back up the hallway, as theBELL RINGS AGAIN.

MASKED MANYou look nice in that dress.


Walt turns to Johnny.

WALTDid you hear something?

JOHNNYI'm not sure.

Walt presses the DOORBELL AGAIN.


The Unmasked Man pulls back the curtains and looks out awindow...

32A 32AINT. SMALL APARTMENT - DAY - CONTINUOUS

Those snake skin boots calmly stride towards the door aswe hear the BELL RINGING. He reaches for the doorknob,his other hand moving behind his back holding the plasticmask. As he OPENS the door --


33 33EXT. THE SUBURBAN HOME - CONTINUOUS

The front door opens to REVEAL a slightly bewildered plain-Jane looking HOUSEWIFE.


The door opens to REVEAL a TEENAGE BOY holding a pizzabox outside. A small delivery truck sits parked behindhim.

TEENAGE BOYDouble pepperoni with extramushrooms?


Her oafish looking boyfriend, RICH appears next to her.

RICHCan I help you, officer?

Off Johnny's look. How could he be so wrong?

36 36OMITTEDTHRU THRU39 39

FADE OUT.

END OF ACT ONE

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/13/05 - WHITE-2 19.

ACT TWO

FADE IN:

40 40INT. SMALL SUBURBAN HOME - KITCHEN - NIGHT

A swarm of police activity has now come to a close. Waltsteps up to where Johnny is standing. Linda and Richnearby.

WALTChecked the house top to bottom. There's nobody here.

(to the other officers)Alright, let's pack it up. Everybody out.

JOHNNYYou can't just walk away.

WALTThere's nobody here, John.

JOHNNYWe're missing something.

LINDAIs there anything else we can do?

WALTNo, Ma'am. You've been verycooperative. Thank you.

Walt shakes their hands. He looks at Johnny, whoreluctantly shakes her hand too.

41 41INT. PRINCESS BEDROOM - NIGHT - VISION

It's the same room from Johnny's previous Vision. Hesees the girl on the floor, but when she looks up it'snot Erica's face, it's Linda's. A familiar, but affordablesong can be heard in the background...

42 42RESUME INT. SMALL SUBURBAN HOME - NIGHT - CONTINUOUS

WHOOSH. We're out of the vision. Johnny stares at Linda.

JOHNNYHe took you, too.

Linda pulls her hand away.

LINDAI beg your pardon?

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/4/05 - YELLOW 20.

42 CONTINUED: 42

JOHNNYYou were abducted, weren't you?

RICHWhat are you talking about? Whoare you?

Walt looks at Johnny, then back at Linda...

WALTWe're searching for a missinggirl, a possible kidnapping. Ifyou have any information...

LINDAI don't know what you're talkingabout.

JOHNNYThat's not true.

RICHI'm going to ask you to leavenow. Both of you.

Walt has no choice but to comply.

WALTHe's right. Let's go.

JOHNNYI saw her. I was there in theroom...

Johnny stops as he realizes he can't force the issue anyfurther. He reluctantly walks away.

43 43INT. SUBURBAN HOME - FOYER/LIVING ROOM - MOMENTS LATER

Linda shuts the front door behind Walt and Johnny. Richsits down on his recliner in front of the TV. Lindastands, her back slightly to him, her eyes transfixed outthe front window. She's been affected by the encounterin a silent, but profound way.

RICHThat was strange.

LINDAVery.

RICHWhat do you think it was all about?

(CONTINUED)


43 CONTINUED: 43

LINDAI'm not sure. Mistaken identity,I'd imagine.

RICHRight. That's probably what itwas.

Rich zones in on the television, using the remote to channel surf. Linda stands near him, but thousands ofmiles away. Her eyes begin to scan a group of framedphotographs sitting on a table.

RICHYou okay?

INSERT - FRAMED PHOTOGRAPHS

Photographs of her life with Rich. There's one constantimage in every picture, the expression of numb discontentin Linda's eyes. It's like looking at the ghost ofherself. Behind her Rich continues watching television.

RICH"Jeopardy's" comin' on.

LINDAI'll be right there.

The SHOT PUSHES TIGHTER on her as we see something shift.

44 44EXT. STREET / INT. WALT'S CRUISER - NIGHT

Walt and Johnny approach the cruiser. Johnny seemsdeflated and frustrated.

WALTDon't beat yourself up. Nobody'sright all the time.

JOHNNYI'm not wrong. She's lying.

WALTWhat do you want me to do? Arresther for denying a vision.

Walt looks over at Roscoe, who's heading for his car.

WALTI want you to go back over toHarrison Street.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/11/05 - GREEN 22.

44 CONTINUED: 44

ROSCOEThe Raintree motel?

WALTRoom 16. Bring the print guys. I want everything that room knowson my desk in two hours.

ROSCOEI'm on it.

Walt starts the car.

WALTSomething'll turn up.

JOHNNYWhat if it doesn't?

Walt considers that possibility, puts the car in DRIVEand hits the gas --

JOHNNYWalt!

Walt sees it too and jams the brakes, REVEALING - Lindastanding directly in front of the car, her eyes seem tobe filled with a new resolve.

LINDAI can help you find the girl.

Off this bizarre, unexpected moment --

45 45INT. SHERIFF'S STATION - WALT'S OFFICE - SHORT TIME LATER

Linda sits with her hands folded neatly in front of her. Walt and Johnny sit opposite her. She gazes out at Richin the adjoining room. He sits quiet, seemingly obliviousto the situation as he reads a thick, sci-fi paperbacknovel.

JOHNNYHe doesn't know what happened,does he?

A single tear rolls down her cheek, otherwise she appearsremarkably unaffected.

LINDAHe's a good man. Decent. Hewon't understand this.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/11/05 - GOLD 23.

45 CONTINUED: 45

JOHNNYThis?

She looks at him, then resumes her stoic pose.

WALTHave you been to the RaintreeMotel?

LINDAI have.

JOHNNYRoom 16.

Linda seems quietly impressed and surprised by hisknowledge as it concerns her past life.

JOHNNYIt's what I do.

WALTTell me about your abduction.

LINDA(beat)

It was three years ago December. It was a cold night. The kind ofcold you feel deep down in yourbones. It was late. I'd beenworking all night and I was tired. I crossed between two buildingswhen he grabbed me. He put his...

She hesitates --

JOHNNYIt's okay. You're safe here.

COLD AIR exhales from her lips.

LINDAHe put his hand across my mouth. I smelled chemicals, then I blackedout. When I woke up, I was inthe dark...

The camera SPINS around Linda --


46 46INTERCUT: VISION (INT. PRINCESS BEDROOM - NIGHT)

She wears the same clothes, in the same chair, but theroom is DARK behind her. We are in a lucid VISION. Thesong "Chances Are" FADES UP in the background. Her breathis visible. Johnny is also in the room with her, touchingher hands.

JOHNNYDid he hurt you?

LINDANot at first. I was so frightened.

Linda breaks down into tears.

JOHNNYYou're doing great. Just relax.

Linda's whole appearance suddenly and magically CHANGES. Perfectly placed makeup on her eyes, her hair no longerpulled back - but flows down to her shoulders (a wig). She wears a powder blue dress with long sleeves.

LINDAHe brought me pretty dresses andexpensive make-up. He had a wayabout him, gentle, but dangerous. There were times when I thought Iwas the only woman left in theworld. He punished me when Imade mistakes.

JOHNNYMistakes? What kind of mistakes?

The faint sound of a TRAIN WHISTLE approaches. Johnnyscans the room. Just a closed door.

LINDA"The dress must never be wrinkled. A neatly pressed dress makes fora clean and presentable woman."

There is a discomforting ease in the way she speaks. Thetrain whistle is coming closer...

LINDA"The makeup should be subtle. Too much makes a woman look cheap. Hair should be neatly combed andabove the shoulders..."

The SCENE SPEEDS UP, FLASHING IMAGES, and then --

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/13/05 - WHITE-2 24A.

46A 46AINT. SMALL APARTMENT - VISION - CONTINUOUS

The room is dark as a man's hand slides firmly around herthroat. She drops to her knees and stares up at him. The train whistle CRESCENDOS!

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/11/05 - GREEN 25.

46A CONTINUED: 46A

LINDAPlease?! Give me another chance. I'll be whatever you want me tobe. I can be exactly what youneed...

Camera SPINS to REVEAL that it's Johnny's hand. Hereleases his grip on her throat, his face tells us howbothered he is by the moment.

WHOOSH.

47 47RESUME SCENE - ROOM IN SHERIFF'S STATION - CONTINUOUS

Linda. Walt. All back to normal...

JOHNNYThere was a train whistle.

LINDA(under her breath)

In the distance. I'd nearlyforgotten.

WALTFreight trains still run routesout of Bangor.

(to Linda)Why didn't you report this to thepolice?

LINDAI was faceless. Nameless. Livingon the streets. Who would havebelieved me?

She looks up at Walt, who glances back at Johnny.

JOHNNYWe appreciate your help.

LINDAThere's just one thing I ask inreturn.

WALTWhat's that?

LINDAI want to come with you. I wantto be there when you find him.

As they consider this unusual request, a Deputy ENTERS

(CONTINUED)


47 CONTINUED: 47

with a piece of paper in his hand.

DEPUTYWe just got a hit off thephotograph. A positive ID on themissing girl.

Walt takes the slip of paper.

WALTI better go call Sarah, tell hernot to hold dinner -- again.

48 48INT. BANNERMAN HOUSE - NIGHT

Sarah is sitting alone, playing her cello. The PHONERINGS. She keeps playing. More RINGS. Finally, sheanswers it.

SARAHHello.

49 49INTERCUT: INT. WALT'S OFFICE - NIGHT

WALTHow's my beautiful wife?

SARAHAny news about Erica?

WALTThat's why I'm calling. BangorP.D. got a positive match off thephoto. Her real name is EricaCarter. There's a mother livingup near Glacier Lake. They haven'tbeen able to make contact yet.

SARAHGlacier Lake? That's less thanan hour from here.

(beat)I should have paid more attention.

WALTSarah, it's not your fault.

(CONTINUED)


49 CONTINUED: 49

SARAHWe're so understaffed down at thecenter, the phones don't evenwork half the time... It's amazinganybody ever gets helped.

WALTListen, as soon as this is over,we're gonna take some time. Justyou and me.

Johnny steps into the room --

WALTI gotta go. -- Me too. Bye.

(hangs up)Let's go find this girl.

Walt sets the picture of Erica down on the desk, as theCAMERA PUSHES TIGHT on it.

MATCH CUT TO:

50 50INT. BANNERMAN HOUSE - CONTINUOUS

Sarah looks at the photo, then begins to play again. Werealize she has a plan.

51 51INT. SHERIFF'S STATION - WALT'S OFFICE - NIGHT

A Deputy walks in carrying a box of stuff.

WALTIs that from the Raintree?

DEPUTYDusted the room for prints.

WALTAnything interesting?

DEPUTYNot unless you count two membersof the Cleaves Mills city council,the Mayor's brother and the townlibrarian.

Johnny reaches into the box. Picks up a few items, thena small TEDDY BEAR. We CLOSE in on the teddy bear's buttoneyes...


52 52INT. SMALL APARTMENT - NIGHT - VISION

There's a small table in the center of the room and twowooden dining chairs. The song "Chances Are..." by JohnnyMathis plays on a small record player.

POV through the clear mask's eyes - think the opening ofthe film 'Halloween'. We hear heavy BREATHS.

Erica sits wearing the yellow dress. Two candles are liton the table.

Continue POV: The Masked Man uncovers a tray revealingplates of steak, potatoes, vegetables.

Erica reaches for the food, but the Man slams his handdown on the table.

MASKED MANNapkin.

RRRIP!

Johnny is now in the room with them. Observing. The Mancarefully cuts his meat, his eyes continually watchingher through the mask.

MASKED MANEat.

Erica awkwardly picks up her fork. There's a BEAT as shenotices the steak the knife across the table from her. Could she use it as a weapon? Could she attack him fromhere and get away? She contemplates her move, then decidesto eat. The Man suddenly FIXATES on the corner of hermouth. Her lipstick seems to be a little off.

MASKED MANWhat is that?

ERICAWhat?

His tone suddenly dark and angry as he sets down his knifeand fork.

MASKED MANWhy is it so hard for you tounderstand? Why can't you seewhat I'm trying to do?

ERICAWhat is it? I'll fix it.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT TWO - 1/13/05 - WHITE-2 28A.

52 CONTINUED: 52

MASKED MANWhy does it have to be fixed?! Why can't you just do it rightthe first time?

(CONTINUED)



He picks up her plate and SMASHES it against the wall. She cowers from the debris coming off the wall.

She notices the steak knife clatter down on to the floora few feet away. She isn't sure if, in his rage, hermasked captor is aware of just how close she is to it.

MASKED MANLook at yourself!

He forces her to look into a small hand-held mirror. She's crying and trembling as she stares back at herselfin the reflection.

MASKED MANDoes that look pretty? Do youthink that's what I want? Doyou?! Answer me!

She's trying not to lose it completely, as she eyeballsthe knife beneath her.

MASKED MANYou're just like the others. Imperfect. Flawed. Disgusting.

But she still has an eye on that knife.

MASKED MANStop your blubbering.

She seizes the opportunity and grabs the knife off thefloor, spins and LASHES out at him, ripping the mask off!

But to our surprise it's JOHNNY SMITH underneath the mask.

There's a DESPERATE STRUGGLE as he fights the knife outof her hand and forces her back into the seat.

ERICAI'm sorry. I didn't mean it.

JOHNNY/MASKED MANI show you kindness and this ishow you repay me.

ERICAI didn't see anything... I wouldnever say anything to anybody. Ever.

He considers her for a moment.

(CONTINUED)



JOHNNY/MASKED MANI believe you.

He steps around behind her, out of her sight.

When he is REVEALED again, he's wearing the mask and Johnnyappears again as an OBSERVER.

ERICAWe can try again. I'll be betterthis time. I promise.

He picks up the plastic bag filled with cosmetics anddumps the contents on the table in front of her.

MASKED MANI'm afraid our lessons are over.

He gently touched her face from behind, the suddenly,he slips the PLASTIC BAG quickly over her head. TheCAMERA MOVES QUICKLY OFF HER as we HEAR her MUFFLEDSTRUGGLE and Johnny watches in horror.

53 53RESUME INT. SHERIFF'S STATION - NIGHT - CONTINUOUS

Back with Johnny. His face says everything.

WALTWhat's wrong?

JOHNNYErica, she tries to escape. Shesees his face and he kills her.

And off this terrifying moment of realization...

FADE OUT.

END OF ACT TWO

DEAD ZONE: "THE COLLECTOR" - ACT THREE - 1/13/05 - WHITE-2 31.

ACT THREE

FADE IN:

54 54INT. SHERIFF'S STATION - MOMENTS LATER

Walt and Johnny talk just outside of Walt's office.

WALTAnd you have no idea if what yousaw is Erica's future or her past?

JOHNNYNo, but either way we can't stoplooking.

WALTThere's nothing about this guythat feels remotely familiar. Hetakes his victims and then letsthem go. He dresses them up andtears them down. It's crazy.

JOHNNYPsychotic actually.

WALTAnd now you tell me he's crossedthe line. That he's killed thisgirl. Or he's going to, if wedon't stop him. Hell, I'm noteven sure where to begin.

Johnny stares through the window into Walt's office atLinda and gets an idea.

JOHNNYMaybe we begin at the end.

Off Linda sitting quietly --

WALT'S VOICEAre you sure this is where youwere picked up?

55 55EXT. ESTABLISHING - LONE HIGHWAY - NIGHT

A massive WIDE SHOT: a thin RIVER splits miles of openfarmland. A CAR drives alongside it.

56 56INT. WALT'S CRUISER - CONTINUOUS

Walt drives with Linda beside him and Johnny in the back.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT THREE - 1/11/05 - GOLD 32.

56 CONTINUED: 56

Linda stares out the window, a bleak sadness in her eyes.

LINDAI flagged down a passing truck.

WALTThis road runs thirty miles alongthe river. Another twenty minutesand it's going to be dark.

Johnny gets a frustrated look from Walt in the rear-viewmirror.

JOHNNYLinda, if you could just --

She suddenly notices a bullet riddled street sign --

LINDA(suddenly)

Here! It was right here!

The car skids to an abrupt STOP.

57 57EXT. MILLINOCKET RIVER - NIGHT

A river bank off a dirt road. Linda leads Walt and Johnnyto an embankment near the river. Next to an old, abandonedrefrigerator and some other discarded debris.

LINDAThis is where he let me go. Itwas dark and I sat here untilmorning. I remember the warmthon my face as the sun broke overthat ridge.

There's a weird melancholy to her voice. Johnny issuddenly SPUN in a Vision --

58 58EXT. MILLINOCKET RIVER BANK - DAWN - VISION

Time spins back.

Johnny notices Linda, bound and blindfolded.

And then ANOTHER GIRL stands behind him. Hands bound infront. Dirty. Emaciated. A girl we've never seen before. She CRIES uncontrollably.

Johnny watches her wander off down the river embankment.

Then, from behind her, another GIRL (18), causes Johnny

(CONTINUED)


58 CONTINUED: 58

to fall back in shock as still another blindfolded WOMANappears behind him.

JOHNNYThere were other victims...

Soon, additional WOMEN surround him and the tree. Allterrified and lost.

59 59RESUME EXT. MILLINOCKET RIVER - NIGHT - CONTINUOUS

WHOOSH. Johnny comes out of this disturbing vision. It's peaceful and still, a calm in stark contrast to thestrikingly horrific images he's just experienced.

JOHNNYSix, maybe seven. This guy, hedoesn't abduct women - he collectsthem.

Walt's cell phone RINGS.

WALTBannerman -- Yeah, I got it.

He shuts off the phone.

WALTThat was Roscoe. Turns out there'sa two-lane service road thatcrisscrosses a freight line about80 miles north of here. It's noton the map.

60 60EXT. A RUNDOWN TRACT HOME - NIGHT

Sarah stands on the front steps, apprehensive. The mailboxreads "CARTER". Behind her a broken down cab pulls upand a woman gets out carrying a few grocery bags.

DENISE CARTER. Life has beaten her down. As sheapproaches Sarah at the front steps --

DENISEI don't need whatever it is yoursellin'.

She starts to unlock her door.

SARAHMrs. Carter?

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT THREE - 1/4/05 - YELLOW 34.

60 CONTINUED: 60

DENISEThat's right. Who are you?

SARAHMy name is Sarah Bannerman. Igot your address from the Sheriff'sdepartment -

The woman's cold detachment suddenly becomes apprehensiveconcern.

DENISESheriff?

SARAHYou haven't been contacted yet?

DENISEPhone's out of order and I'vebeen gone since mornin'.

(beat, warmer)I know what this is. I told theman my car's been in the shop.

SARAHYour car?

DENISEIt's hard to hunt for a job withoutone. I only need another fewdays to make things right.

SARAHI'm sorry, are we talking aboutthe same thing?

DENISEYou came here to collect the rentmoney. Like I said, my car...

SARAHI'm here about Erica.

The woman's demeanor shifts again -- hard and cold.

SARAHI'm sorry to be the one to tellyou this, but your daughter ismissing.

DENISEYou didn't come to evict me?

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT THREE - 1/11/05 - GREEN 35.


SARAHNo.

The woman moves to close the front door. Sarah puts herhand up to stop it.

SARAHDid you hear what I said? Yourdaughter is in trouble.

The woman holds herself still for a moment, then lookingSarah straight in the eyes...

DENISEI got no daughter. Not for nearlythree years.

She shuts the door, leaving Sarah quietly stunned andconfused.

61 61EXT. "GAS CITY" TRUCK STOP - NIGHT

A gas/food/lodging/weigh station. Walt, Johnny and Lindastep out of the car and smell something bad.

WALTWhat's that smell?

JOHNNYNot the blue plate special, Ihope.

Linda has a specific, but subtle reaction to it.

WALTTake my coat inside. I'm gonnashow the picture around... see ifanybody recognizes her.

Linda watches intensely as Walt drops his car keys intohis jacket pocket and hands it to Johnny.

62 62INT. RUSTIC DINER - NIGHT

Johnny and Linda sit at a booth drinking coffee. Lindahas a sandwich she hasn't touched. The diner is filledwith late-night truckers and night owls.

JOHNNYYou're not eating.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT THREE - 1/11/05 - GREEN 36.

62 CONTINUED: 62

LINDAI'm not hungry.

JOHNNYMind if I ask you a personalquestion?

LINDAMore personal than wanderingthrough my memories?

Johnny takes the shot and continues --

JOHNNYWhy did you change your mind anddecide to help us?

LINDA(beat)

Do you have any idea what it'slike to have your life torn inhalf? To measure every second ofyour existence through the centerline of one unimaginable event?

JOHNNYSurprisingly, I do. Why takeyourself back there again?

She considers the question...

LINDAI want to see the look in hiseyes. The expression on his facewhen he sees me.

JOHNNYRedemption.

LINDAThat's just a word.

(beat)You go through something and itchanges you. It holds a mirrorup against everything that's ever,or ever will happen to you fromthat point forward. In some waysyou could say that my life beganand ended while I was with him.

JOHNNYYou survived. That must countfor something?

LINDALife should be about more thansurvival, shouldn't it?

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT THREE - 1/4/05 - YELLOW 37.


A WAITRESS interrupts, holding two pots of coffee.

WAITRESSHow 'bout some dessert?

JOHNNYNo, thank you. Just the check.

LINDAThat smell outside?

WAITRESSThe lye.

JOHNNYExcuse me?

WAITRESSLye. To make the soap. Thefactory is 'bout 10 miles up themountain. It's been closed fornearly three years, but you canstill smell the lye when the windkicks up.

Linda suddenly spills her coffee breaking the moment.

LINDAI'm such a klutz. Is there abathroom?

WAITRESSBack corner, underneath the gianthub cap.

Linda gets up as Johnny uses napkins to clean up the spill. She hesitates and looks him in the eyes.

LINDAI'm very sorry.

JOHNNYIt was just an accident.

She considers him a beat, then moves away. Johnny has astrange feeling about the moment, but shakes it off andcontinues to help wipe up the spilled coffee.



65 65INT. DINER - MOMENTS LATER

Johnny walks up to the cash register. Sees a BELL with anote: "Ring for service." As Johnny touches the bell:

66 66INT. DINER - NIGHT - VISION

WHIPS into...

A mysterious MAN - a trucker cap pulled down low over hiseyes. He pays for some take-out.

WAITRESSTwo steak dinners, rare, with allthe trimmings. Looks like yougot company?

MAN'S VOICEJust a friend.

As he hands her the money, we see that familiar coiledsnake ring. Hold on, 'cause this is gonna move FAST. RRRip! We MORPH into --


Dinner table. Erica. It's exactly the way Johnny saw itbefore. Mascara runs down her cheeks.

QUICK FLASHES that take us through the DINNER SPILLING,the PLATE FLUNG AGAINST THE WALL, the ATTACK WITH THEKNIFE and to the end, where he DUMPS OUT THE CONTENTS OFTHE PLASTIC BAG, the items FROZEN IN MID AIR. These arethe very moments leading up to her murder.

MASKED MANThere won't be anymore lessons.

RRRip! The Masked Man reaches for the PLASTIC BAG.

Only this time the vision FREEZES. Johnny zeroes in onthe man's wrist watch.

It reads 11:55PM, 22nd day of the month.

68 68RESUME INT. DINER - NIGHT - CONTINUOUS

Johnny comes out of the vision, checks his watch:

(CONTINUED)


68 CONTINUED: 68

JOHNNYIt's today. We've got less thanhour.

He SCRAMBLES to the Women's Room, bangs on the door.

JOHNNYLinda? We have to go!

(beat)Linda?

He slowly opens the bathroom door. It's empty. SHIT!

69 69EXT. DINER - MOMENTS LATER

Johnny runs outside to find Walt talking to a few truckers.

JOHNNYDid you see her?

WALTWho?

JOHNNYLinda. Did she come by here?

WALTNot that I saw. John?

Johnny RUSHES towards the parking lot, Walt quicklyFOLLOWS.

70 70EXT. PARKING LOT - CONTINUOUS

An empty parking spot. Walt's cruiser is gone. There itis. The cold hard reality of it. Off Johnny...

FADE OUT.

END OF ACT THREE

DEAD ZONE: "THE COLLECTOR" - ACT FOUR - 1/13/05 - WHITE-2 40.

ACT FOUR

FADE IN:

71 71EXT. "GAS CITY" TRUCK STOP - NIGHT - MOMENTS LATER

Johnny and Walt stand in the parking lot.

WALTHow the hell did she get my keys?

Johnny thinks BACK...

71A 71AFLASHBACK - INT. DINER - NIGHT

Linda gets out of the booth after spilling her coffee.

LINDAI'm very sorry.

JOHNNYIt was an accident.

Johnny resumes wiping up, as we SEE Linda slip her handinto the pocket of Walt's jacket (it's draped across theback of the seat) and walk off towards the back of thediner.

71B 71BRESUME - JOHNNY AND WALT - EXT. TRUCK STOP - NIGHT

WALTShe must have realized we wereclose to finding him.

JOHNNYThere was something she remembered,a sound, a taste, a... smell.

Johnny glances back into the diner.

72 72INT. DINER - MOMENTS LATER

Johnny and Walt follow the waitress up the aisle.

JOHNNYYou mentioned a soap factory?

WAITRESSOnly thing left is the productionplant. Nobody goes up thereanymore... except Mister Sudz.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT FOUR - 1/13/05 - WHITE-2 40A.

72 CONTINUED: 72

JOHNNYMister Sudz?

WAITRESSThat's what everybody calls him. Don't know his real name. He'scaretaker. Personally, I don'tknow why anybody'd want to liveup there cut off from civilization.

JOHNNYMister Sudz, was he in here earliertonight?

WAITRESSCome to remember he was here. Ordered --

JOHNNY(finishes her sentence)

Two steak dinners to go.

She gives Johnny a curious look and walks away.

(CONTINUED)



JOHNNY(to Walt)

I saw this guy, this Mister Sudz. He was here picking up food. Thesame food I saw on the table whenErica was killed.

WALTWe have to get to that soapfactory.

JOHNNYTough without a car.

The SOUND of a heavy CLUTCH draws Walt's attention to an18-wheeler about to pull out of the parking lot.

72A 72AEXT. TRUCK STOP - NIGHT - CONTINUOUS

Walt rushes out of the diner and blocks the path of thebig truck --

WALTCounty Sheriff! Stop your vehicle!

Walt climbs up into the passenger side of the cab andturns to look though the front window at Johnny.

WALT(SHOUTS to Johnny)

You comin' or not?!

73 73EXT. SOAP FACTORY - ESTABLISHING - NIGHT

Metal gates closed, but not locked. KEEP OUT -- NOTRESPASSING signs all around. Across a weed strewn parkinglot stands the silent behemoth, the massive soap factory. 250,000 plus square feet of production, packaging, businessoffices and assorted rooms and chambers. The ideal placeto keep another human being captive.

Walt and Johnny jump down out of the cab of the big rig,as the truck powers away up the dark mountain road.

WALTSomebody forgot to leave the lightson.

JOHNNYNot a bad place if your hobby iskidnapping.

(CONTINUED)


73 CONTINUED: 73

WALTOr murder.

They open the gate and make their way towards the shadowyfactory.

74 74FAR SIDE OF THE STRUCTURE

They come around the corner to FIND Walt's cruiser, thedriver side door is open. Walt quickly checks the car.

JOHNNYAt least we know she's here.

WALTAnd why she took off.

JOHNNYWhat do you mean?

WALTShotgun's missing. I think shecame here to kill him.

Walt grabs the hand mic. Off the dash.

WALT(into the mic)

Unit 1, requesting back-up onRural Route 6, ten miles north ofthe Gas City Truck Stop. Over.

DISPATCHERRoger, Unit 1. Back-up units are10:13 to your location. Over.

WALTRoger. Unit 1 out.

Johnny looks at his watch. It reads: 11:35PM.

JOHNNYWe can't wait for them.

WALTTwenty minutes.

JOHNNYWhich might be one minute longerthan Erica has to live.

WALTJohnny, look at this place. It'lltake a half dozen officers tosweep and secure a building thissize.

(CONTINUED)


74 CONTINUED: 74

JOHNNYHe's going to kill her, Walt. IfLinda doesn't get to him first. We can't sit here while it happens.

WALTYou ever see what a 12-gaugeshotgun can do to a human being?

Walt pops the trunk, pulls out a bullet-proof vest andhands it to Johnny.

WALTPut it on.

75 75INT. SOAP FACTORY - MOMENTS LATER

Johnny and Walt ease into the darkness of the building. There's just enough moonlight filtering in through a setof giant skylights to allow them to see, but not enoughto allow them to see everything. They both carryflashlights.

WALTI'll check the other side. Youstay here.

JOHNNYNo. Walt, she's here because ofme. I'm not going to stand hereand do nothing.

Walt can tell he's serious.

WALTAlright, but I want you to takethis.

Walt pulls his gun out of his holster.

JOHNNYI don't do guns. Besides, I mightshoot you by mistake. How wouldI explain that to Sarah and JJ?

WALTI don't like the idea of leavingyou unarmed.

JOHNNYI'm a psychic, remember?

Walt checks the strap on Johnny's vest and MOVES QUICKLY

(CONTINUED)


75 CONTINUED: 75

into the darkness. Johnny checks the weight of the metalflashlight in his hand.

(CONTINUED)



JOHNNY(to himself)

I'm a psychic remember? You'regonna be a dead psychic.

He eases forward letting the flashlight guide his way.

76 76OMITTED

77 77INT. SOAP FACTORY - CONTINUOUS

Walt makes his way through a series of vacated offices. On one of the glass doors it reads, BOOK KEEPING DEPT. It's spooky, creepy stuff.

78 78INT. SOAP FACOTORY - WITH JOHNNY

He CONTINUES forward, suddenly noticing a door that'sbeen left slightly open. He crosses to it, touching thedoor knob. WHOOSH

79 79JOHNNY IS IN A VISION

Linda, shotgun in hand, moves to the door and opens it,vanishing into the darkness of the adjoining space. WHOOSH

80 80RESUME SCENE

Johnny's quickly out of the vision. He carefully movesthrough the doorway into the darkness.

80A 80AWITH JOHNNY - CONTINUOUS (FORMERLY SC. 76)

It's dark. Creepy. Johnny sweeps on the flashlight beamacross some old, rusted machinery. There're numerousvats and canisters marked FLAMMABLE and EXPLOSIVE. Hesteps up to a large metal vat and shines the light downinto it. It's an old lye filter used to manufacture soap. It's now crusty and stinks badly. A fire hazard.

He notices another door with light coming from underneathit. He shuts off the flashlight, instead holding it likea weapon and reaches for the door knob.

81 81INT. SMALL APARTMENT - NIGHT - CONTINUOUS

The door eases open as Johnny steps cautiously into another

(CONTINUED)


81 CONTINUED: 81

room, but this one feels different, as if someone mightbe living here. There's a small kitchenette. Johnnynotices a coffee maker and touches it to see if it's warm.

(CONTINUED)



He realizes he's not alone, but where is everybody? Henotices something lying on the bed. He crosses and picksit up. LINDA'S BLOUSE. Off the blouse...


WHOOSH. We're in the same recurring vision of Lindawearing the powder blue dress. Her breath, visible. "Chances Are" heard in the background. The train whistleBLOWS.

The Masked Man stands over her, his hand on her throat.

LINDAPlease! Give me another chance. I'll be what you want. I can beexactly what you want...

LINDA'S VOICE(overlapping fromSc.85)

Don't look so dejected Johnny.

Johnny SPINS around...


85 85RESUME INT. SMALL APARTMENT - NIGHT - CONTINUOUS

Johnny WHOOSHES out of the vision to find Linda standingbehind him - holding Walt's shotgun and wearing the nowfamiliar powder blue dress.

Before he can react, Linda introduces the butt of theshotgun to Johnny's face -- knocking him OUT COLD. Shestands over him, holding the 12-gauge.

LINDAYou showed me exactly where Ineeded to be.

She seems different, as if we're meeting her for the firsttime.

86 86INT. SOAP FACTORY - CORRIDOR - NIGHT

Gun drawn, Walt MOVES cautiously along a dark corridor. He STOPS as he HEARS THE FAINT SOUND OF A WOMAN'S VOICECALLING FOR HELP.

(CONTINUED)


86 CONTINUED: 86

He MOVES towards an old service elevator.

87 87INT. SMALL APARTMENT - NIGHT

Johnny wakes up as a cup of cold water is splashed in hisface. He's lying on the floor, his nose bloodied and hisbrain cells slightly scrambled.

JOHNNY'S HAZY POV - LINDA

She stands watching him, the shotgun in her hands.

JOHNNYLinda?

LINDAI don't expect you to understandthis. I don't completelyunderstand it myself.

She steps forward into the light, as Johnny's senses clear. She looks different. Her hair down (she's wearing thewig). Her face made up. She looks surprisingly glamorous. Just like in his previous visions (Scene 46).

LINDAWhen this is over, I want you totell them it was you who came tome.

There's a weird look in her eyes, like she's found somestrange sense of inner peace.

JOHNNYKilling this man isn't going tofill up what's missing in yourlife.

LINDA(amused)

You really can't see it, can you?(beat)

I have no intention of killinghim. I never did.

It's in this very moment that Johnny sees the unbelievable,unimaginable truth of the situation.

JOHNNYYou've come back to be with him.

(CONTINUED)


87 CONTINUED: 87

LINDAYou opened the door to feelingsI'd forgotten. Emotions I'd pushedout of my memory.

She turns on a portable cassette player.

JOHNNYLinda, listen to me. What you'regoing through, it's not your fault. It's called Stockholm Syndrome.

She begins to become agitated.

LINDAYou don't understand...

JOHNNYIt happens to people who've beenkidnapped. They begin tosympathize with their abductor.

LINDAThat's not how it is...

JOHNNYIt happened to Patty Hearst. Toprisoners of war.

LINDA(flares)

I DON'T WANT TO HEAR ANYMORE!

She MOVES QUICKLY towards him with the shotgun leveled athim, her hands trembling and her eyes burning.

JOHNNYHe's going to hurt you. Maybeworse.

MAN'S VOICENot if she can be everything.

Linda turns as we see the Man in the Mask standing behindher.

MASKED MANNot if she can be -- perfect.

88 88INT. SOAP FACTORY - CORRIDOR - ELEVATOR SHAFT - NIGHT

Walt can't get the heavy metal doors open.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT FOUR - 1/4/05 - YELLOW 48.

88 CONTINUED: 88

He finds a metal bar and uses it to pry open the elevatordoors. He leans in --

WALTHELLO! IS SOMEBODY THERE?!

THE FOLLOWING EXCHANGE IS BETWEEN WALT AND ERICA IS --

89 89INTERCUT: INT. PRINCESS ROOM - NIGHT - CONTINUOUS

ERICAYES, I HEAR YOU! PLEASE, HELPME!

Erica climbs up on the bed and calls out into an AIR VENTat the top of the wall.

WALTErica, you need to listen to me!

ERICA(starts crying)

He knows my name? I'M HERE! I'MLOCKED IN A ROOM!!

WALTMy name is Walt! I'm the CountySheriff!

ERICAYOU HAVE TO GET ME OUT OF HERE! HE'LL BE BACK ANY SECOND!

There's no way for him to get down the darkened shaft.

WALTI can't get to you this way! I'mgoing to find another way down!

ERICA(panics)

NO! DON'T LEAVE ME ALONE!

WALTI'll be back! I promise!

And he's gone. Erica tries to keep a brave face.

ERICA(to herself)

Stay strong. Walt's coming.


90 90INT. SMALL APARTMENT - NIGHT

Linda steps towards the Masked Man, dropping to her kneesas he reaches down and slips his hand around her throat.

MASKED MANWhy did you come here?

She looks up at him, her breath visible in the cold air.

LINDAFor you. I came for you.

It's exactly like the vision Johnny had replaying itselfin the present - with a whole new meaning. Linda handshim the shotgun.

LINDAPlease. Give me another chance. I'll be what you want. I can beexactly what you want.

A TRAIN WHISTLE is heard blasting in the b.g.

MASKED MANYou're full of surprises.

JOHNNY(to Linda)

This can't be what you want.

She looks away, as the Masked Man begins to get moreaggressive.

MASKED MANYou have no idea what she wants.

Johnny notices dinner on the table - a tray of food, twolit candles. He realizes that Erica's last meal hasn'tbeen served yet, meaning she's still alive.

JOHNNYWhat about Erica? Is this whatshe wants? To be killed by somelunatic so afraid of the worldthat he lives his life hidingbehind a cheap plastic mask.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT FOUR - 1/11/05 - GOLD 50.

90 CONTINUED: 90

The Masked Man jams the gun barrel into Johnny's chest,and Johnny is thrown in to another vision --

MASKED MANYou know nothing.


93 93INT. SMALL APARTMENT - NIGHT - CONTINUOUS

The audience HEARS a WHOOSH. Johnny comes quickly out ofthe Vision.

JOHNNYI know you. I know your motherwas never good enough. I knowyour father demanded perfection. Something she could never givehim. Neither could his littleboy.

The eyes behind the mask widen slightly...

MASKED MANHow could you know...

JOHNNYNow you search for that perfectionin the faces of these women youtake.

(eyeing Linda)Then you throw them away likegarbage.

The Masked Man cocks the shotgun.

MASKED MANGet down on your knees.

Johnny hesitates. Linda seems suddenly concerned. Johnnyeyes the tray full of food, the candles burning.

MASKED MANI won't tell you again!

Johnny knows it's now or never, as he suddenly grabs aglass of wine and flings it into the guy's face. He rusheshim, driving him back against the wall. They fight asthey smash into the propane tank, knocking it off thecounter onto the floor.

(CONTINUED)


93 CONTINUED: 93

The valve breaks as gas begins to spew out.

The gun clatters away, as the burning candles roll away,lighting a towel hanging from a small propane stove.

(CONTINUED)

DEAD ZONE: "THE COLLECTOR" - ACT FOUR - 1/4/05 - YELLOW 51.


Johnny and the Masked Man struggle, as the mask is rippedoff REVEALING a man that oddly resembles a seventh gradeshop teacher. Johnny gets the upper hand, then suddenlyfeels the cold metal of the shotgun pressed against hisback.

Unbeknownst to our viewers, the scene now continues forwardas a vision...

94 94INT. SMALL APARTMENT - NIGHT - CONTINUOUS - VISION

LINDAI don't want to hurt you, but Iwill.

The now UNMASKED MAN pushes Johnny away, as he takes thegun from her. Behind them, the kitchenette burns.

Linda places her hand on the Unmasked Man's shoulder.

LINDAWe can go. Together.

WALT (O.S.)Nobody's going anywhere.

REVEAL WALT

Standing in the doorway. His revolver AIMED at theUnmasked Man. The Unmasked Man AIMS the 12-gauge atJohnny.

WALTThere's a half dozen patrol carsheading up this mountain as wespeak.

The fire has inched it's way towards the propane stove.

UNMASKED MANYou choose, Sheriff. Arrest me,and watch your friend die. Orstep aside. It's your choice.

Tension builds. Suddenly, the flames hit the propanetank, which Linda just notices and...

LINDAThe tank!

She pushes the Unmasked Man aside, just as the tankEXPLODES, SHOOTING A FIREBALL across the room just missing

(CONTINUED)


94 CONTINUED: 94

the guy by inches.

Walt FIRES his revolver. A bullet RIPS through the guy'sshoulder!

The Unmasked Man SPINS with the 12-gauge and FIRES BACK! BLASTING Walt in the chest. Blowing him backwards...Walt falls to the floor and he lays there - dead.

JOHNNY(screams out)

NO!

WHOOOOSH! It was only a VISION.

95 95RESUME INT. SMALL APARTMENT - NIGHT - CONTINUOUS

Johnny feels the barrel of the gun jammed into his back. Linda holds the weapon...

We've rewound to the moment just before Walt appears.

LINDAI don't want to hurt you, but Iwill.

The Unmasked Man takes the shotgun. Linda sets her handon his shoulder.

LINDAWe can just go. Together.

WALT (O.S.)Nobody's going anywhere.

Walt appears in the doorway, exactly like we just sawhim. Except this time, Johnny has a new plan.

JOHNNYWalt. Don't! Just put the gundown!

WALTThere's a half dozen police carsheading up this mountain as wespeak.

The flames CRACKLE across the wall towards the propanetank...

UNMASKED MANYou choose, Sheriff. Arrest meand watch your friend die. Orstep aside. It's your choice.

(CONTINUED)


95 CONTINUED: 95

JOHNNYWalt, listen to me. You need tolet this one go. I've seen itbefore...

Walt looks at Johnny and knows that he's up to something.

WALTAlright, everybody just relax.

Walt slowly lowers his gun down. Johnny sees the flamesreach the propane tank. Linda is about to notice it likeshe did before, then...

JOHNNYIs it worth it, Linda?

And instead of seeing the impending explosion, she looksover at Johnny.

LINDAYou don't understand.

In that instant, she notices the broken propane tankEXPLODE. Only this time, she can't push the guy away andhe takes a full frontal blast from the tank.

He SCREAMS as he reaches up and covers his face. Walttries to get to them, but the FLAMES ARE TOO INTENSE.Linda and the Unmasked Man quickly vanish through theflames into the darkness of the factory. Walt tries again,but Johnny grabs him by the arm --

The fire now consumes most of the apartment.

JOHNNYLet them go. The factory is fullof chemicals. We have to get toErica before the whole place comesdown.

WALTI spoke to her. She's locked upsomewhere underneath us.

And they quickly exit the burning room.

96 96INT. SOAP FACTORY - CONTINUOUS - QUICK CUTS

(ACTION RESCUE SEQUENCE) Johnny and Walt fight their waythrough the fiery structure -- old vats of lye andexplosive chemicals everywhere...


96A 96AINT. SOAP FACTORY - CORRIDOR - CONTINUOUS

Johnny and Walt round a corner, running from a FIREBALLand exploding windows behind them...

96B 96BINT. SOAP FACTORY - STAIRWELL - CONTINUOUS

Johnny and Walt descend a stairwell to the basement asanother FIREBALL EXPLODES behind them...

96C 96CINT. SOAP FACTORY - BASEMENT CORRIDOR - CONTINUOUS

Johnny and Walt reach the door to the Princess Bedroom...Walt kicks in the door... they pull Erica out and startto make their escape...

97 97EXT. SOAP FACTORY - NIGHT - MOMENTS LATER

OUTSIDE. Walt, Johnny and Eric duck behind Walt's cruiserjust as there's a HUGE EXPLOSION and the structure beginsto implode.

Johnny looks around, but Linda and the Unmasked Man arenowhere to be found.

The SHOT PUSHES TIGHT on Johnny's silent anguish, hiseyes lit by the burning factory.

98 98INT. SHERIFF'S OFFICE - NIGHT - CLOSE ON COMPUTER SCREEN

The photograph of Erica. The SHOT PANS OFF the screen asthe real Erica sits in the Sheriff's office with a blanketaround her shoulders. Sarah is with her. She gets upand walks out to join Walt and Johnny.

WALTShe alright?

SARAHShe doesn't want to go to thehospital and she can't go home.

Sarah is clearly upset by the situation. Johnny shootshim a look, as --

(CONTINUED)


98 CONTINUED: 98

WALTYa know, we've got that spareroom. I could drag that day bedin from the garage. The mattressis practically new.

SARAHWe could do that. She'll needsomebody to take care of her forawhile.

WALTJust for awhile, right?

(CONTINUED)



SARAHA week -- ten days tops. I stillthink she can turn her life around,I really do.

JOHNNYHow could she miss with somebodylike you?

WALTI just hope there's enough of youto go around.

Sarah can't help but smile as she moves back in to whereErica is sitting.

WALTWhat about Linda? What coulddrive somebody to want to go backto something like that?

JOHNNYMaybe for her the alternative wasworse. We all need to feel likewe matter. Even if it's just thepain.

WALTI've got people up there siftingthrough the debris.

JOHNNYWhat's the chance of anybodysurviving that kind of explosion.

WALTNot very likely.

Walt walks away as Johnny turns to look in at Sarah asshe comforts Erica.

99 99EXT. ROAD - NIGHT

An old truck is the only vehicle on a dark, lonely highway.

100 100INT. TRUCK - NIGHT - CONTINUOUS

Linda drives, the Unmasked Man sits in the passenger seat. His face bandaged and bloodied. She reaches across totouch his hand, as the taillights vanish out of sight.

FADE OUT.

END ACT FOUR

THE END

Documents

THE DEAD ZONEdedee.org/dd/filmog/deadzone/thecollector script.pdf · This was Erica's work station. Johnny sets his jacket down and starts moving around the station, gently using