TWENTIETH CENTURY FOX INTERNATIONAL TELEVISION

DOLLHOUSE EPITAPH ONE

SEASON 1 - EPISODE #1APK13
As Broadcast Script

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DOLLHOUSE EPITAPH ONE ACT ONE

EXT. ALLEY-NIGHT (A WOMAN NAMED MEG IS IN A DARK ALLEY WITH A GUN AND WEARING A BACKPACK; THERE ARE FIRES IN THE ALLEY) MEG: VOICES: MEG: (sigh) (os) (unintelligible shouting all around) (sighs)

(SHE PUTS A RADIO TO HER MOUTH) MEG (CONTD): GRIFF: MEG: (into radio) Exaltation, this is Meg. (vo) This is Griff. Go, Meg.

(into radio) Northeast of Spring and Fifth. Green Room is open but the party is crashed. (vo) Roger that. Any wielders?

GRIFF: MEG:

(into radio) Negative. Just butchers and dumb shows. But its pretty thick. Come in as soft as you can. (vo) Will do. Ditch the tech.

VOICE:

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MEG:

(into radio) Ditch the tech.

(MEG THROWS THE RADIO AS FAR AS SHE CAN AND SITS DOWN) MEG (CONTD): (sighs) (starts crying)

(THE CAMERA PANS UP OVER THE BUILDING; THERE ARE MORE FIRES AND PEOPLE ARE FIGHTING) MAIN TITLE TITLE: EXT. ALLEY-LATER (A GROUP OF PEOPLE, GRIFF, LYNN, ZONE, IRIS, AND MR. MILLER, APPROACH MEG) CHYRON: VOICES: Los Angeles 2019 (os) (screams/unintelligible shouts throughout) Okay. How far to the new hole? Dollhouse

GRIFF: MEG: GRIFF: MEG: LYNN:

Wheres Laura? Butcher. She got torn? She got printed. Almost (os) took a bit out of Iris before we noticed. I put her down.

ZONE:

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GRIFF:

Shes at peace.

(ZONE LOOKS CLOSER AT MEGS FACE) ZONE: MEG: Whats wrong with your face? Its my face. Get out of it.

(THERES AN EXPLOSION SOMEWHERE) ZONE: GRIFF: Were you crying? (os) Hey, (on camera) lets focus, people. We need to get underground. (os) We need to get out of the city. We wouldnt make it three miles. (os) Yeah? So we live in the (on camera) sewer? Come on. We need to get into the desert. No tech, no printing. Unless China puts down another blanket (os) signal.

ZONE: GRIFF: ZONE:

LYNN:

(MEG MOVES NEXT TO GRIFF) GRIFF: (os) Look, we decided. (on camera) We go underground, deep as we can. (os) Hows the crossing? (os) Doable. (on camera) Well need a barker though. Its crowded out there.

MEG:

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ZONE: (ZONE STEPS FORWARD) ZONE (CONTD):

Lets draw straws.

Oh, mines shorter. I loved her best.

Damn it.

Tell Trudy

(ZONE COCKS HIS WEAPON) GRIFF: Zones barker. Meg, youre on point. Lynn is the (os) mother. (on camera) We good?

(ZONE NODS) MEG: Lets go.

(ZONE RUNS TOWARD THE FIGHTING PEOPLE AND STARTS SHOOTING AS THE GROUP HEADS ANOTHER DIRECTION) ZONE: (loud cries)

(ZONE JUMPS UP ON A CAR AND CONTINUES SHOOTING PEOPLE) ZONE (CONTD): Im insane!

(THE GROUP COMES AROUND NEAR HIM) ZONE (CONTD): (os) And none of you (on camera) gonna be spared!

(HE CONTINUES SHOOTING AS THE GROUP REACHES THEIR DESTINATION) GRIFF: Zone? Nows (os) now!

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(ZONE JUMPS DOWN AND HEADS TOWARD THEM) INT. UNDERGROUND-LATER (THE GROUP GETS TO THE BOTTOM OF A LADDER; ZONE WATCHES MILLER AND IRIS AS HE TALKS TO MEG) ZONE: Look, the kid is one thing. that dumb show around... But dragging

MEG: ZONE:

The kid wont leave his side yet. We dont go near those freaks of nature... ever. (os) We only roll with actuals. Those... we put out of their misery. You want to be the one to tell the little girl we gotta plug her dad? Sure. (louder) Hey, kid. (interrupting) Stop it. Guess what...?

MEG:

ZONE: GRIFF:

(GRIFF, MEG, AND ZONE STOP TO TALK) GRIFF (CONTD): Look. We let her get used to us for a few days. And then well ditch the old man. (sigh)

ZONE:

(THEY CONTINUE ON; THEY HEAR A RADIO MAKING NOISES; ZONE SHOOTS IT) ZONE (CONTD): (os) Fine.

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(THEY MOVE ON AND MEG COVERS HER FACE WHEN SHE SMELLS SOMETHING) MEG: (sniff)

(THEY PASS BY A DEAD MAN AND HIS DEAD DOG) GRIFF: (breathes in) Smells like home.

(THE GROUP CONTINUES FORWARD) LYNN: (os) Guys, check this out!

(THEY SEE A HOLE IN THE FLOOR; GRIFF TOSSES DOWN A FLARE; IT DROPS INTO A ROOM BELOW) MEG: Who said the deeper the better?

(GRIFF HOOKS A ROPE TO A RAILING AND DROPS THE ROPE THROUGH THE HOLE; THEY HEAR A NOISE) ZONE: (os) Butchers coming. they will come down. If they smell us,

(ZONE PUTS IRIS ON HIS BACK) ZONE (CONTD): Cover our tracks with a tripper. (os) At least now well know if they crash the party.

MONTAGE OF CLIPS (MEG LOWERS INTO THE ROOM BELOW AS GRIFF SETS A CHARGE WITH A TRIPWIRE ABOVE; CUT TO MEG AND THE OTHERS LOOKING AROUND AS GRIFF JOINS THEM)

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GRIFF:

God. That was long. There was supposed to be a subway service tunnel there.

(GRIFF LOOKS AROUND WITH HIS FLASHLIGHT AND WE KNOW FOR SURE THAT THEY ARE IN THE DOLLHOUSES MAIN ROOM) GRIFF (CONTD): MEG: Its something else. (os) So I guess were (on camera) not in a sewer. Any ideas? It looks like a spa. Eight stories underground? Its got air. Yeah. Air for who? Some kind of powers (os) on. This place is empty. Lets make sure of that. Lets split. Lynn and I will check the perimeter. Look for a generator. And hey. Theres no signal can get through down here. (os) No sewage. (on camera) Which means we just walked into paradise. Keep your eyes open and your weapons (os) cocked.

ZONE: LYNN: MEG: LYNN: GRIFF: LYNN: GRIFF: LYNN: GRIFF:

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(on camera) Paradise wasnt built to take in strays. (GRIFF AND LYNN WALK AWAY AS THE OTHERS LOOK AROUND) ZONE: That guy sure loves the sound of his own voice. We all love the sound of our own voices. (os) Thats why were here. To keep our own voices.

MEG:

(CUT TO THE TREATMENT ROOM) ZONE: (os) With no signal down here, hows anyone gonna take it?

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

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ACT TWO

INT. TOPHERS OFFICE/TREATMENT ROOM-NIGHT (ZONE AND MEG LEAD THE WAY IN) ZONE/MEG: ZONE: MEG: (ragged breathing) What was this? Some kind of Romper Room?

Mustve been a daycare. Had the kids play where everyone could see em. Lot of tech for a playroom.

ZONE:

(IRIS AND MILLER LOOK AROUND BEHIND THEM) MEG: ZONE: You see who printed Laura? Mm-mm. Couldve gotten too close to a boom box. She say anything? Yeah. She read her last will and testament. (os) Then...

MEG: ZONE:

(IRIS PICKS UP A TOY AND PLAYS WITH IT) ZONE (CONTD): (os) ...she recited the Gettysburg Address. She was (on camera) walking and she was wiped. I put her down and moved the hell on. Dont get all... womanly.

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MEG: ZONE:

I just wish... (os) What? That you couldve (on camera) said goodbye? I wish itd been you. (laugh)

MEG: ZONE:

(SUDDENLY THERE IS A NOISE AND SOME LIGHTS COME IN THE MAIN ROOM; THEY LOOK OUT THE WINDOWS AS IRIS RUNS DOWN TO THE LOWER LEVEL) MILLER: (os) Wow. They got the genny running.

(ZONE AND MEG TAKE OFF THEIR GEAR AS IRIS SITS IN A CHAIR BELOW WITH ANOTHER TOY) MEG: ZONE: (os) Zone. (os) (grunt)

(MEG AND ZONE HEAD TOWARD A DOOR) MEG: Over here.

(THEY ENTER THE TREATMENT ROOM AND SEE THE CHAIR AS GRIFF AND LYNN JOIN THEM) LYNN: We found some breakers. than I thought... That was easier

(THEY STARE AT THE CHAIR WITH MEG, ZONE, AND MILLER) GRIFF: What the hell is this?

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MEG: ZONE:

It looks familiar. Yeah. Grandpa used to kick back in one of these, watch the Dodger game. (os) No, no. Shes right. (on camera) Was it on the news? Not this place. I more and more feel we shouldve gone to the desert.

LYNN:

GRIFF: ZONE:

(GRIFF PRESSES A MONITOR SCREEN BEHIND THE CHAIR AND THE SCREEN COMES ON; ZONE QUICKLY AIMS HIS RIFLE) ZONE (CONTD): GRIFF: Tech! (os) Easy. (on camera) Theres no signal down here. No bars. What about a hard line?

ZONE: LYNN:

(os) No. I dont think so. (on camera) I saw some fiber optics cut over by the power box. I think this place is closed off. Well, Ill just wait over here.

ZONE:

(ZONE MOVES TOWARD THE DOOR) GRIFF: MEG: This is for printing. Crap.

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(MEG STEPS BACK AS GRIFF PLAYS WITH THE MONITOR) GRIFF: (os) No, no. This is (on camera) different. You can control everything. Ultra simple interface, memory banks... What kind of memories?

LYNN: (GRIFF LOOKS AT MILLER) GRIFF: (ZONE STEPS FORWARD) ZONE:

Well, theres one way to find out.

(os) Whoa, (on camera) whoa, whoa. you nuts?

Are

GRIFF: ZONE: GRIFF:

We heard rumors about a cure, right? Rumors, man. Well, maybe this will tell us something. (os) I say we load some memories (on camera) into Mr. Miller. Well ask him some questions.

(MILLER DOESNT REACT AT ALL AND ITS CLEAR THAT HE HAS BEEN WIPED) LYNN: Well, a memory in Mr. Miller wouldnt be hard to (os) spot. Uh, objection. Insanely stupid idea. No tech ever, right? Thats our theme song?

ZONE:

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GRIFF:

(os) How (on camera) long can we just run? (os) This place (on camera) is here for a reason. And its empty for a reason. Im in. Me, too. Im downstairs.

ZONE: MEG: LYNN: ZONE:

(ZONE HEADS AWAY AND THEY SET UP) INT. TREATMENT ROOM-LATER (VIEW OF ZONE STANDING GUARD IN THE MAIN ROOM; GRIFF IS WORKING THE MONITOR AS LYNN TIES MILLERS ARMS TO THE CHAIR) GRIFF: Theres so many bits (os) in here. (on camera) I mean theres whole personas. But there is this. One file open with a list of memories. What are you gonna give him? No persona.

MEG: GRIFF: (GRIFF LOWERS THE CHAIR) GRIFF (CONTD):

Im just gonna give him one single memory. (os) And well go from there.

(THE CHAIR TURNS ON) MILLER: (gasps)

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(MEG AND LYNN DRAW THEIR GUNS AS THE CHAIR SITS UP) MILLER (CONTD): GRIFF: (MILLER LOOKS AT GRIFF) GRIFF (CONTD): MILLER: GRIFF: MILLER: GRIFF: MILLER: Mr. Miller, can you remember anything? Yes. Who? Im not sure. (os) Do you remember what he was saying? It all... I was talking with someone. A man. Did I fall asleep? Yeah.

INT. ADELLES OFFICE-IN THE PAST (ADELLE IS TALKING TO A CLIENT) CLIENT: ADELLE: CLIENT: ADELLE: CLIENT: ADELLE: ...seems pretty clear to me. Does it? (os) Whatever I want, right? (os) Within reason, yes. It doesnt seem possible. Would you be here if it did?

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(HE LEANS FORWARD) CLIENT: Suppose I just want somebody to pretend that theyre in love with me? Then you are out of luck. (os) If you engage an active, then (on camera) he or she... (interrupting) She. She.

ADELLE:

CLIENT: ADELLE:

Then she will see you and totally, romantically, chemically fall in utter and unexpected love with you.

(SHE STANDS UP) ADELLE (CONTD): You are a man who can have everything he wants.

(ADELLE POURS HIM SOME TEA) ADELLE (CONTD): This isnt just about what you want. This is about what you need.

(SHE SITS BACK DOWN) ADELLE (CONTD): (os) An active doesnt judge, (on camera) doesnt pretend. This will be the purest, most genuine human encounter of your life... (os) and hers. It is a treasure. (on camera) One I guarantee you will never, never forget. (vo) (laugh)

ZONE:

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INT. TREATMENT ROOM/TOPHERS OFFICE-PRESENT (CLOSE ON MILLER) ZONE: (os) (laugh)

(ZONE IS SPRAWLED OUT ON TOPHERS COUCH) ZONE (CONTD): (continues laughing) A brothel? (os) You mean to tell me that the tech that punt kicked the (on camera) ass of mankind was (os) originally designed to create (on camera) more believable hookers? (os) (laugh) They called them actives. I think they were used for a variety of things. (os) Yeah, for millionaires. Money (on camera) men is like the main ingredient in crazy.

GRIFF:

ZONE:

(MEG LOOKS DOWN AT IRIS) MEG: IRIS: LYNN: Iris, honey. (os) Do you have to pee? No. I saw where the bathrooms are. Ill take her. Come on. You dont want to miss the Mr. Miller Comedy Hour. (os) Oh, wait. (on camera) Kid, if you find any food...

ZONE:

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LYNN: GRIFF:

Eat it. Take that .45 (os) with you.

(LYNN HOLDS UP THE GUN AS SHE AND IRIS LEAVE; MEG JOINS GRIFF AND MILLER AT THE CHAIR) MEG: GRIFF: MEG: Whats next? I guess well jump ahead a bit. Are the memories stored in order?

(GRIFF GETS READY TO ADD MORE MEMORIES TO MILLER) GRIFF: Some kind of order. I mean, whoever set this thing up was unorthodox, to say the least.

(MILLER IS LOWERED BACK DOWN) MILLER: (gasp)

INT. TOPHERS OFFICE-IN THE PAST (ADELLE BRINGS TOPHER INTO HIS OFFICE FOR THE FIRST TIME) ADELLE: TOPHER: Is it as youd imagined, Mr. Brink? Its actually weirder. (laugh) Which may be a first. This obviously...

ADELLE: (LAWRENCE ENTERS)

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ADELLE (CONTD): TOPHER:

...is the programming center. Its great. I love what you havent done with the place. (laugh) I get up in this, Im gonna need a couple throw pillows and a fridge. (os) Shall we order you a (on camera) poster with a cat, maybe hanging off a tree? (laugh) I like this guy (os) already. Its not a dorm room. Mr. Dominic is our head of security. (os) Im here to make sure the house (on camera) runs smoothly. No unstable elements. So do you get me the fridge? talk to someone higher up? Or do I

LAWRENCE:

TOPHER: LAWRENCE: ADELLE: LAWRENCE:

TOPHER:

(LAWRENCE STARES AT HIM) ADELLE: Perhaps youd like to see the imprinting process.

(TOPHER AND LAWRENCE FOLLOW ADELLE INTO THE TREATMENT ROOM WHERE AN ACTIVE IS ALREADY IN AN OLDER VERSION OF THE CHAIR AS TWO SCIENTISTS WORK) TOPHER: You build it there. It comes out here.

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ADELLE:

(os) We have access to over a hundred thousand brain (on camera) models. Every scan that Rossum makes sends a full 3-D map to our mainframe. In three years, well have a million. Its beautiful. (to Lawrence) Im also gonna need a trampoline. Just... We have at least 10 actives sent out per day. It takes two hours to upload an imprint. So I dont see you having the time... (interrupting) Whoa. Two hours? What? Are they memorizing their personalities?

TOPHER:

LAWRENCE:

TOPHER:

(ADELLE WALKS OVER) ADELLE: Two hours is the standing record for any house. Do you think you can beat it? Uhhh... to a pulp, yeah. (laugh) First of all...

TOPHER:

(TOPHER HOLDS UP THE CABLE ATTACHED TO THE ACTIVES HEAD) TOPHER (CONTD): ...the analog cables have got to go. Youre uploading the personal history (os) chronologically, right?

(ADELLE AND LAWRENCE NOD) TOPHER (CONTD): Endless. The information bottlenecks.

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ADELLE:

To preserve the integrity of the memory structure. No, can the for no, no, no. You dont have to. They experience it teleologically. And imprinted memory can sort it out (os) you.

TOPHER:

ADELLE: TOPHER:

Dump it all at once. Come at him from all sides. Its basic micro-pulse. In and out, five minutes, tops. What if their brains turn to jelly? (os) Well, (on camera) (clears his throat) with the obvious exception of yours, the human brain is a massively powerful creature. Underestimating it is usually the last (os) mistake any culture makes. Cities dont burn because everyone got smarter. They burn because someone lost control of them. Im sorry. But whence this clown? Idi Amin turn down (os) the job? Did

LAWRENCE: TOPHER:

LAWRENCE:

TOPHER:

(ADELLE WALKS CLOSE TO TOPHER) ADELLE: TOPHER: Mr. Dominic is my eyes and ears. Can I be nose and throat?

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ADELLE:

In matters of security, my assent is a formality, including the termination of unstable employees.

(TOPHER NODS AND SHUTS UP) ADELLE (CONTD): LAWRENCE: ADELLE: Mr. Dominic? Maam? Get this man a refrigerator.

INT. DOLLHOUSE SHOWER ROOM-PRESENT (LYNN CARRIES A FLASHLIGHT AS SHE AND IRIS ENTER THE DARK ROOM) IRIS: LYNN: Whats a brothel? Ill explain it when youre older.

(THEY STEP INTO THE SHOWER AREA AND ONE OF THE SHOWERS COMES ON) LYNN/IRIS: (gasps)

(THEY STEP BACK AND IT SHUTS OFF) LYNN/IRIS (CONTD): LYNN: IRIS: LYNN: (laughter) Did I have a stupid look on my face? (laugh) Yeah? Well, you, too.

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IRIS:

(laugh)

(LYNN STEPS UP AND WHEN THE WATER COMES ON, SHE PUTS HER HAND UNDER IT) LYNN: (LYNN STARTS DISROBING) LYNN (CONTD): Okay, sweetie. The toilets around that corner. You do your thing. Im gonna take a quick shower. (scared) I dont want to do it alone. But I havent had a shower this year...! (longingly) Hot water. No way.

IRIS: LYNN:

(LYNN SEES HOW AFRAID IRIS IS) LYNN (CONTD): Okay. Dont worry. (os) Okay? Okay. Okay. Ill be right here.

IRIS: LYNN:

(IRIS HEADS AWAY AS LYN FINISHES TAKING OFF HER CLOTHES; LYNN TURNS THE WATER BACK ON AND TAKES A SHOWER) LYNN (CONTD): (happy sigh)

(SHE REACTS WHEN SHE SEES A SHADOW PASS; SHE CHECKS TO MAKE SURE HER GUN AND FLASHLIGHT ARE STILL THERE; SHE THINKS SHES SEEING THINGS AND GOES BACK TO ENJOYING HER SHOWER) LYNN (CONTD): (sigh)

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(HER EYES GO WIDE WHEN SHE SEES SOMEONE PICK UP HER FLASHLIGHT; SOMEONE KNOCKS HER OUT WITH THE FLASHLIGHT) LYNN (CONTD): (gasp) END ACT TWO

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ACT THREE

INT. TREATMENT ROOM-NIGHT (MILLER IS BEING GIVEN ANOTHER TREATMENT) MILLER: (gasps)

INT. TREATMENT ROOM-IN THE PAST (ECHO IS IN THE CHAIR AS TOPHER JOINS HER) TOPHER: Hello, Echo. nice? It does. Good. Lie back, please. This girl (os) is gonna be fresh out of... (gasps throughout) (over Echo) ...the shipping container from a little town called Dolinsk. Does a treatment sound

ECHO: TOPHER:

ECHO: TOPHER:

(BALLARD IS ACROSS THE ROOM WATCHING THE PROCEDURE) TOPHER (CONTD): (os) No skills. No English. (on camera) You know what youre doing? Whats better to infiltrate the herd? wolf in sheeps clothing or a sheep? A

BALLARD:

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TOPHER:

(laugh) (os) I havent taken on the Russian mob lately. So I dont know. They start trusting her, and then we can give her the skills.

BALLARD:

(THE TREATMENT ENDS) ECHO: SUBTITLES: (speaks Russian) Thank you. That felt great. back again? May I come

(TOPHER GIVES HER TWO THUMBS UP) TOPHER: ECHO: I dont know what youre saying! Mm.

INT. ELEVATOR-MOMENTS LATER (BALLARD AND ECHO ENTER THE ELEVATOR AND SHE WAVES AT TOPHER) ECHO: SUBTITLES: (speaks Russian) See you soon.

(THE DOOR SHUTS AND BALLARD LOOKS AT HER) BALLARD: ECHO: How are you feeling? Not exactly good as new. Youve gotta pick up the pace. I dont know if I can hold out much longer.

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BALLARD: ECHO: SUBTITLES:

Hang in there.

And the Russian girl?

(on camera and os) (speaks Russian) Dont worry, Paul. The little Russian girl with the big American dream is still intact. But as for me...

ECHO (CONTD):

(SHE PUTS HER HANDS TO HER HEAD) ECHO (CONTD): ...the headaches are getting worse. (painful) Oh! Ohh...!

INT. DOLLHOUSE SHOWER ROOM-PRESENT (IRIS IS SCREAMING AS THE OTHERS COME RUNNING) IRIS: (piercing screams)

(ZONE RUSHES UP AND COVERS IRIS MOUTH) IRIS (CONTD): ZONE: (muffled screams) (over Irish) Shhh...

(MEG PUTS A HAND TO HER MOUTH WHEN SHE SEES THE BLOODY HOLE IN LYNNS FOREHEAD) IRIS: (muffled gasps throughout)

(GRIFF QUICKLY COLLECTS THE FLASHLIGHT AND GUN) ZONE: (loud whisper) Meg! Now go, go, go.

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(THEY LEAVE THE SHOWER ROOM) ZONE (CONTD): Shh...

INT. DOLLHOUSE HALLWAY/MAIN ROOM-CONTINUOUS (THEY SEARCH WITH THEIR FLASHLIGHTS WITH GUNS READY) MEG: (weepy breathing) I cant believe it. Lynn. At least she went as herself. Were gonna hunker down (os) in the Romper Room. Well set up some (on camera) trippers. Theres good visibility up there. Yeah. So the whole world can see us? Nice little display case for our potential corpses. The answers up there. No. The big creepy slabs of tech are up there. Theres no answers, Meg. Just history. So it seems like this is the place where the tech originated. Maybe theres a way to stop it. Fine. But since we agreed to keep her around, I think its time to birthmark the girl. Agreed.

GRIFF:

ZONE:

MEG: ZONE:

MEG:

ZONE:

GRIFF:

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MEG: (THEY HEAD UP THE STAIRS) ZONE:

Agreed.

Good. Dont worry, sweetie. gotta grow up sometime.

Everybodys

INT. DOLLHOUSE MAIN ROOM/CLAIRES OFFICE-IN THE PAST (BOYD IS WITH CLAIRE) CLAIRE: Im not ready for this. go? Where will you

(BOYD IS PACKING SOME CLOTHES) BOYD: I dont know yet. Ill have to figure that out on the move. Somewhere they cant pinpoint me. Where is that? I dont know! And I wouldnt tell you if I did. Echos already in danger. I dont want you to be. Its an understatement to say they have ways of making you talk. Maybe Ill just keep moving. Ill be okay...

CLAIRE: BOYD:

(BOYD NEARLY DOUBLES OVER IN PAIN AND CLAIRE GETS HIM SOMETHING TO HELP) CLAIRE: You wont be able to go to the hospital if you need to. Here. Some extra bandages if you need to re-wrap it.

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BOYD: CLAIRE:

Im healing fine, Claire. Youll need these to fight off infection. Fever is the first sign...

(HE TAKES HER ARMS AS HE INTERRUPTS) BOYD: CLAIRE: Claire... Ill be okay. (crying) I wish we had more time.

(SHE PUTS HER HEAD ON HIS SHOULDER AND HE HOLDS HER) BOYD: I know.

(HE TAKES HER HEAD SO THEY CAN SEE EACH OTHER) BOYD (CONTD): CLAIRE: BOYD: CLAIRE: BOYD: Ill come back for you. (sigh) You understand? (sniffs/ragged breaths) I will come back for you.

(BOYD GRABS THE BAG AND LEAVES) INT. TREATMENT ROOM-PRESENT (MILLER SITS UP IN THE TREATMENT CHAIR) INT. DOLLHOUSE MAIN ROOM-CONTINUOUS

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(ZONE GIVES IRIS A TATTOO READING, I AM IRIS MILLER) MEG: (os) We call it a birthmark. Its the only way we (on camera) can tell a person really is who they say. (os) If you... Iris Miller. (os) Yeah. So if (on camera) you start acting strange, we can ask you your full name and know that youre okay. The word has been spreading for awhile among actuals. So if we meet any new actuals, we can check to verify. And this makes you one of us. I want to be like Zone.

IRIS: MEG:

IRIS: (ZONE LOOKS UP) MEG: IRIS:

(os) (snort) (on camera) Why on earth? Because hes funny and mean.

(ZONE PATS HER HEAD AS HE KEEPS WORKING) IRIS (CONTD): (os) (amused grunt)

(MEG GETS UP AND STARTS UPSTAIRS) IRIS (CONTD): (os) You dont (on camera) have to tattoo my dad. He doesnt know who he is anymore.

(THEY ALL LOOK SERIOUS FOR A MOMENT)

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INT. TREATMENT ROOM/TOPHERS OFFICE-MOMENTS LATER (MEG JOINS GRIFF) GRIFF: MEG: (sigh) Hows she doing? The tattoo is the least painful thing the girl has ever gone through. (sigh) We need real food. Ill think on it. water though. This place has running

GRIFF: MEG: GRIFF:

MEG:

(os) And power. (on camera) And... and heat. And no signal. Griff, if we fortify and find whatevers down here with us, blast it to pieces, we could set up in this place.

(GRIFF SEES SOMETHING) MEG (CONTD): (THEY STAND) GRIFF: I think it found us. Griff?

(THEY LOOK DOWN AT A GHOSTLY LOOKING WOMAN IN A GOWN WITH HER ARMS OUTSTRETCHED) MEG: (os) (gasp)

(CLOSE ON THE WOMAN AS SHE LOOKS UP AT THEM; ITS CLAIRE

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WITH HER SCARS HEALED) CLAIRE: I found your friend. END ACT THREE

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ACT FOUR

INT. DOLLHOUSE MAIN ROOM-NIGHT (THE TEAM SURROUNDS CLAIRE) MEG: GRIFF: ZONE: MEG: CLAIRE: GRIFF: CLAIRE: ZONE: (os) Move and you die! (os) Youre surrounded! I will shoot you very hard! Who are you?! My name is Whiskey. Whats your last name? I dont know. Shes a dumb show. A dumb show that bashed Lynn in the head! Where were you born? I dont know. (os) Lets blow this (on camera) bitch back to the Bush years. Did you kill our friend? I found her. She was sleeping.

GRIFF: CLAIRE: ZONE:

GRIFF: CLAIRE:

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ZONE:

You wouldnt even know it (os) if you did... (interrupting) Hold on a second, guys. Hold on. How did you get down here? Ive always been here. Im... Im gonna blast her! Power it down a second, Zone! Since when do we mull this over?! Are you looking for Safe Haven?

MEG:

CLAIRE: ZONE: MEG: ZONE: CLAIRE:

(ZONE STEPS AROUND HER TO STARE AT CLAIRE WITH THE OTHERS) ZONE: MEG: GRIFF: ZONE: CLAIRE: What? What do you know about Safe Haven? Its a myth. Shes empty. Where no one can be changed. You die as you were born. Heart in concert with the mind.

(CLAIRE RAISES HER HANDS) ZONE: CLAIRE: Shes empty, man. I know the way to Safe Haven.

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GRIFF: CLAIRE:

You do? I can show you the way.

INT. TOPHERS OFFICE-SHORT TIME LATER (THE GROUP JOINS IRIS) GRIFF: There must be a secret tunnel (os) or something. I wonder how many actuals are there? Here.

MEG: CLAIRE:

(GRIFF AND ZONE POINT AT THE ELEVATOR DOOR) GRIFF: ZONE: Here? This? Meg, grab a heavy thing.

(MEG FINDS SOMETHING AS THEY TRY TO OPEN THE DOOR; CLAIRE IS ACTUALLY POINTING AT MILLER IN THE CHAIR) CLAIRE: ZONE: This is the way to Safe Haven. Oh, you gotta be kidding me!

(ZONE RAISES HIS WEAPON AND MEG PUSHES IT DOWN) MEG: Wait! The chair? The memories will tell us how to get there?

(CLAIRE NODS)

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MEG (CONTD): ZONE: MEG: GRIFF: ZONE:

So we (os) are on the right track. Because the windup doll says so? I told you there were answers! Shes right. (os) Keep going. (over Griff) Are you guys printed?! This girl probably killed Lynn! We should waste her, not take her advice! Now instead of finding food, yall want to hang with dumb shows and play with tech all day! Food? I think were close. There was this one girl, Echo. She seemed like she could withstand the prints. I know where to find food. Where? If you point at the frickin chair, I will end you! In the kitchen. In the kitchen.

CLAIRE: GRIFF:

CLAIRE: GRIFF/MEG: ZONE:

CLAIRE: ZONE:

INT. DOLLHOUSE KITCHEN-IN THE PAST (VICTOR IS WEARING A SUIT AND EATING CRAB LEGS AS ADELLE APPROACHES)

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VICTOR:

Mm!

(TOPHER IS STARING AT VICTOR) VICTOR (CONTD): (laugh) Mm! Mm! Sorry to make you come down. Im allergic to shellfish. So this is a real treat. Topher, Im looking for Mr. Ambrose. You dont recognize me? Well, of course not. I dont recognize me. (realizing) Mr. Ambrose? (to Topher) Whats going on? Ive come here. How? Delivered on a hard drive. Im here to inform you that this...

ADELLE: VICTOR:

ADELLE:

VICTOR: ADELLE: TOPHER: VICTOR: (VICTOR TOUCHES HIMSELF) VICTOR (CONTD): ADELLE: VICTOR:

...is a service we now provide. Im sorry. I can...

Upgrades. We at Rossum now provide select clients with complete anatomy upgrades. Youre giving away our actives?

ADELLE:

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VICTOR:

No. Were not giving them away. Were charging them a lump nine figure sum. This is wrong. You cant do this.

ADELLE:

(VICTOR TURNS BACK TO HIS FOOD) VICTOR: I think youll find in the coming months, we can do whatever we want. What about the laws? Weve always been above the law, Adelle. Only now, were also writing it. This will all be legal within a year. Everybody who matters is either a client or one of ours. (os) I was talking (on camera) about the laws of humanity. Laws of evolution, Adelle. Imagine what one man can achieve if he has no fear and will live forever. This is not what we set out to do. Its not what you set out to do, Adelle. (os) You cannot have that body, Mr. Ambrose. (on camera) It belongs to another soul. And I will not sell these people off at any price!

ADELLE: VICTOR:

ADELLE:

VICTOR:

ADELLE: VICTOR: ADELLE:

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

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VICTOR:

Listen carefully. This is the time to choose, Adelle, Mr. Brink, whether you want to be someone who lives on with the endless epoch ark of history, or a quickly discarded, decomposing vessel, enriching the soil. Youve both earned a place on the ark. Mr. Brink, you practically built it. (os) So you can take this body if you want. I wont fight. (on camera) Right now, Im in 10 others. Having this conversation in 10 other houses.

(ADELLE REACTS) VICTOR (CONTD): If you do reclaim this body though, well know. And youll have made a choice. A defining choice. So... (takes a bite of crab)

INT. TREATMENT ROOM-PRESENT (CLOSE ON MILLER) MILLER: (GRIFF IS WITH MILLER) GRIFF: This is sick. I thought knowing how it happened would somehow... ...what do you say?

(IRIS HAS JOINED THEM) GRIFF (CONTD): ...make it not as bad.

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IRIS: GRIFF:

Does it hurt?

It looks like it hurts?

He doesnt remember it hurting when its over though, kiddo. So can that machine take people out of people and put them in other (os) people? Yeah. I think so.

IRIS:

GRIFF:

(IRIS RAISES A GUN SHES BEEN CONCEALING AND SHOOTS GRIFF) GRIFF (CONTD): (painful cries)

(IRIS UNTIES MILLERS HAND AND PUTS THE GUN IN IT; SHE GOES TO A CORNER AND GETS DOWN) IRIS: (piercing scream) END ACT FOUR

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ACT FIVE

INT. TREATMENT ROOM-NIGHT (ZONE AND MEG RUN INTO THE ROOM AND FIND MILLER STILL HOLDING THE GUN AND GRIFF DEAD) IRIS: MEG: (CLAIRE APPROACHES) MEG (CONTD): IRIS: What? What? (gasps) (os) (continues screaming) (under Iris) Oh, my God.

(os) Daddys angry! (on camera) Daddys angry!

(ZONE GOES OVER TO MILLER AND PUTS THE GUN TO HIS HEAD) ZONE: MILLER: MEG: Hey, son of a bitch. Did I fall asleep? No! Not in front of Iris.

(ZONE PULLS MILLER OUT OF THE CHAIR BY HIS TIE AND TAKES HIM OUT OF THE ROOM) MEG (CONTD): (os) What do we do now?

(CLAIRE WORKS THE CHAIR CONTROLS)

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CLAIRE:

I will help you find Safe Haven.

(CLAIRE SITS IN THE CHAIR) MEG: CLAIRE: (THE CHAIR GOES DOWN) INT. ADELLES OFFICE-IN THE PAST (LAWRENCE PUSHES ADELLE DOWN ON THE COUCH AND POINTS HIS GUN AT HER FACE) LAWRENCE: I regret to inform you, maam, but weve had a security breach. I sent for you, Mr. Dominic. After everything weve been through, you think Im still your faithful lapdog? (weepy) There is no Safe Haven! Not for everyone.

ADELLE: LAWRENCE:

(AN AIR SIREN SOUNDS OUTSIDE) LAWRENCE (CONTD): After the attic? my body? After what you did with

ADELLE:

You were a spy. You were caught. did you think would happen?

What

LAWRENCE: (HE LETS HER UP) ADELLE:

Exactly what happened... everywhere.

So youve been briefed.

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LAWRENCE:

I saw Tophers face. price of the ticket. walk outside.

Almost worth the And I took a little

ADELLE: LAWRENCE:

That wasnt a good idea. I ran into a guy. Business guy, very nice suit. Its three buttons again. Who saw that coming? (os) Guy asked me to help find his mommy. And (on camera) did I want to play Pretty Princess with him. Said hes not gonna like kindergarten because theres boys.

(LAWRENCE SITS DOWN AND THERE ARE EXPLOSIONS OUTSIDE) LAWRENCE (CONTD): (os) So Im thinking, God. Some twisted freaks imprinted this poor guy. (on camera) But naw, but maybe Im wrong. Maybe this sick sap saw what was coming and just decided, I can be whoever I want. (sighs under Lawrence) (os) Thats what this whole operation was about, right? (on camera) Giving people what they want? (laugh) No, no, no, no. What they need. (os) Everybody needs to get away.

ADELLE: LAWRENCE:

(ADELLE GETS UP) LAWRENCE (CONTD): (os) Just slip out of (on camera) their lives.

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(LAWRENCE GETS UP) LAWRENCE (CONTD): The thing they couldnt do. The girl they couldnt (os) have. The pretty princess they (on camera) never got to be.

(LAWRENCE SHOOTS THE BOTTLE ADELLE IS OPENING) LAWRENCE (CONTD): (sniff) I miss anything?

(ADELLE POURS FROM ANOTHER BOTTLE) ADELLE: LAWRENCE: Just the vodka, thank God. How does it feel to end the world, Ms. DeWitt? There may be a way to stop it. (sigh) Techs out there. it go away. Theres a block. imprinted. You cant make

ADELLE: LAWRENCE:

ADELLE:

A defense against being

LAWRENCE: ADELLE:

(os) Topher has a cure? (sighs after drinking) Caroline (os) has it. Which ones Caroline?

LAWRENCE:

INT. DOLLHOUSE SHOWER ROOM-PRESENT

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(MILLER WALKS AHEAD OF ZONE INTO THE ROOM) MILLER: ZONE: (os) This way? (os) Yup. (on camera) Straight ahead. Big ol plate of chicken.

(ZONE SHOOTS MILLER AND HE FALLS NEAR LYNNS BODY) MILLER: (os) (grunt)

INT. TREATMENT ROOM-CONTINUOUS (MEG IS SEARCHING THE CHAIRS COMPUTER AS CLAIRE TALKS TO HER AND IRIS WATCHES THEM) MEG: But theres no Caroline in here. like she didnt exist. She exists. But how do we find her? Its

CLAIRE: MEG:

(CLAIRE POINTS TO THE DISK OPENING BEHIND HER ON THE CHAIR) MEG: CLAIRE: MEG: CLAIRE: Something goes in there? (os) Yes. What?! What, maam? What goes in there?

I dont remember... yet.

(ZONE RETURNS AS CLAIRE SINKS BACK DOWN IN THE CHAIR) IRIS: Wheres my dad?

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ZONE:

Dead.

INT. DOLLHOUSE LOCKER ROOM-IN THE PAST (SIERRA IS SITTING AND STARING AT NOTHING AND SURROUNDED BY WEAPONS AS VICTOR ENTERS WITH A BAG) VICTOR: You should be in the bed chambers with the others. I dont want to be with them. Too much talk makes the headaches worse. Just take the damn meds. No! (beat) No. If this is what it means to be me, Id rather (os) deal with the pain.

SIERRA:

VICTOR: SIERRA:

(VICTOR UNPACKS THE WEAPONS FROM HIS BAG) SIERRA (CONTD): Juliette had another one of her dreams last night. (os) We were all in a boat this time. (on camera) A giant boat. Even her dreams are hacky. Shouldve seen them all cooing about at her feet. So what? That offends you?

VICTOR: SIERRA:

Hope seems almost cruel at this point. Just these people, they make me crazy. Maybe I should just go above ground. Dont talk like that. (os) You know how dangerous it is. (on camera) Techs gone

VICTOR:

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wild. Those people are stealing bodies left and right. You dont want to end up like November. SIERRA: VICTOR: Which one? Safest thing we can do is just cut our lines and go on lockdown. Lockdown.

SIERRA: (SIERRA EMBRACES VICTOR) SIERRA (CONTD): VICTOR/SIERRA: VICTOR: (SHE MOVES AWAY) SIERRA:

Have we ever known anything else? (sighs) Dont.

Right.

Thats over with now.

(VICTOR HAS BLOOD ON HIS HAND) VICTOR: SIERRA: Youre bleeding? Yeah.

(THERES BLOOD ON THE BACK OF HER SHIRT AND VICTOR LIFTS IT UP TO SEE) SIERRA (CONTD): Uh, my new birthmark. I made Charlie do it for me. So that... I am Priya Tsetsang

TATTOO:

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SIERRA (CONTD): VICTOR: SIERRA:

...I always know who I am. (laugh) If I think Im someone else, Ill have to face up to that hideous lie. I want to show you something.

VICTOR:

(VICTOR SHOWS HER A SECRET STASH OF MEMORY TAPES) VICTOR (CONTD): (sigh) From the lab. (os) So no matter what happens, we have a backup here. (on camera) All of us, even Caroline.

(HE COVERS THEM UP AGAIN) VICTOR (CONTD): SIERRA: So now you can always be your self again. As long as theres someone...

INT. DOLLHOUSE LOCKER ROOM-PRESENT (MEG IS SEARCHING) SIERRA: (vo) ...to lead us back.

(IRIS AND ZONE WATCH HER; ZONE GETS DOWN BY IRIS) ZONE: Kid, listen. Theres only three of us now. So I think its time to give you a gun. Im scared of guns.

IRIS:

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ZONE:

I know.

Small gun.

(MEG BREAKS THROUGH A LOCKED SECTION AS ZONE SHOWS IRIS HOW TO USE A SMALL GUN) MEG: ZONE: (grunts) (over Meg) All you gotta do is point... and pull the trigger.

(HE GIVES IRIS THE GUN) ZONE (CONTD): (MEG FINDS THE TAPES) INT. TREATMENT ROOM-LATER (THEY ENTER THE ROOM AND ZONE HAS THE TAPES) ZONE: Old school. So each one of these holds an entire personality, huh? How do we know which one is Caroline? One by one. (looking at Claire) We load up Whiskey and introduce ourselves. God thats gotta (os) suck. Waking up one day (on camera) in a different body. Just be careful, okay?

MEG:

ZONE:

(IRIS AIMS HER GUN AT THEM) IRIS: MEG: You have no idea. (os) (confused) Iris? camera) You? Oh, God. (on

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ZONE: IRIS:

You murdered (os) them all. I really didnt want to. But you guys kill everyone thats printed. Bigots. We saved your life. Griff saved your life! This whole time... (interrupting) Easy part to play. A (os) stupid kid. (on camera) I dont know how I got dumped into this little bitchs body. But that chair is my chance to get out. (sniff) You want Meg or you want me? Meg, thank you. And I need Caroline, or Whiskey, or whoever, to lead the way. So sorry, Zone. Been really nice. A little patronizing, but...

MEG:

IRIS:

ZONE: IRIS:

(SHE SHOOTS BUT THE GUN IS EMPTY; ZONE GRABS HER AND PUTS HER IN THE CHAIR) IRIS (CONTD): (screams/frantic cries)

(THE LIGHT COMES ON AND IRIS SETTLES DOWN) MEG: ZONE: How did you know? I saw Mr. Millers birthmark after his body hit the ground. His name wasnt Miller.

INT. DOLLHOUSE MAIN ROOM-IN THE PAST

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(ADELLE WATCHES AS A FEMALE TALKS TO OTHERS GATHERED AROUND SOME CANDLES) FEMALE: (os) I am humble in (on camera) prayer, and hopeful that well be able to go outside. Even if not tomorrow, (os) Then someday. (unintelligible murmurs) Yeah...

GROUP:

(THE FEMALE GETS UP HOLDING HER PREGNANT BELLY AND SOMEONE ELSE TAKES HER PLACE) MALE: (sigh) I am humble...

(CLAIRE WALKS UP TO ADELLE) MALE (CONTD): (os) ...in prayer. memories. I am grateful for my

GROUP: CLAIRE:

(os) (unintelligible murmurs) Amen... I tried to give him haloperidol, but he wont take anything without you. All right.

ADELLE:

(ADELLE TAKES A PILL BOTTLE FROM CLAIRE) ADELLE (CONTD): CLAIRE: ADELLE: Thank you, Dr. Saunders. (sigh) Its one of his bad days.

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(ADELLE WALKS AWAY) CLAIRE: (sigh)

INT. DOLLHOUSE SLEEP CHAMBER-MOMENTS LATER (ADELLE WALKS IN AND HEARS TAPPING; THERE ARE BOOKS AND KNICKKNACKS LAYING AROUND A POD WHERE TOPHER IS SITTING INSIDE WRITING ON THE SIDES; HE IS HAPPY TO SEE ADELLE) TOPHER: ADELLE: (HE SITS OUTSIDE THE POD) TOPHER: Come here. There you are! Im sorry. I was at circle.

(ADELLE GETS DOWN BY HIM AND HE TAKES HER HANDS) TOPHER (CONTD): I need to... I need to tell you. (sigh) Ultra enprisonic emitters. You dont need a translator when speaking directly to the brain. Have you had anything to eat today? No. No, no, no. No. Nana was just one phone call. (sigh) One robo-call to a city. Thats all it takes. An entire army in a single instant in the hands of any government, and boom. We went... we went boom. Millions programmed to kill anyone whos not programmed to kill anyone. And then the war has two sides. Those who answered the phone, and those

ADELLE: TOPHER:

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who didnt. You know what? Dont answer the phone. (anguished) Promise me you wont answer the phone! ADELLE: TOPHER: ADELLE: I... I promise, sweetheart. (sniff) I could read to you. Do you like that? I...

(ADELLE GETS UP AND GETS A BOOK) TOPHER: So which is worse? (os) Pick up the phone or dont pick up the phone? (on camera) I cant tell. Its an interesting question. An entire army (os) in a single instant. (on camera) Thats all it takes. Thats brilliant! Thats so brilliant! Why didnt I think of that? (beat) Did I think of that? (sigh) Did I? (crying) Oh, God. Oh, my God. Oh, my God. Oh, my God.

ADELLE: TOPHER:

(HE GETS BACK INTO THE POD AND GRABS A PILLOW) TOPHER (CONTD): If I think I can figure things out, is that curiosity or arrogance? (os) Oh, my God. (quiet sobs) I know what I know. I know what I know. I know what I know.

ADELLE: TOPHER:

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(ADELLE GETS DOWN IN THE POD WITH HIM) TOPHER (CONTD): ADELLE: TOPHER: ADELLE: I know what I know. Shhh... I know what I know. Darling, its all right. (kisses his forehead) I know what I know.

TOPHER: (SHE HOLDS TOPHER CLOSE) ADELLE: TOPHER:

Im here.

Its okay.

Its okay. I know

(over Adelle) I know what I know. what I know. Its okay. Its okay. Its okay.

ADELLE: TOPHER:

(sob) I know what I know.

(ADELLE LOOKS UP WHEN SHE HEARS BANGING) ADELLE: (gasp)

INT. DOLLHOUSE MAIN ROOM-CONTINUOUS (EVERYONE IS STARING UP AT A BRICKED UP WALL THATS BEING BANGED AT FROM THE OTHER SIDE) CROWD: (unintelligible frightened chatter)

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(VICTOR AND OTHER ARMED MEN HEAD UP AND AIM THEIR RIFLES AT THE WALL; ADELLE RUSHES UP) ADELLE: Wait!

(THEY LET HER THROUGH AND VICTOR HANDS HER A RIFLE; WHEN THE HOLE IS OPENED, ECHO AND BALLARD COME THROUGH) ECHO: Home sweet home. END ACT FIVE

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ACT SIX

INT. CLAIRES OFFICE/MAIN ROOM - IN THE PAST (CLAIRE IS STITCHING UP A NASTY CUT ON ECHOS LEG) ECHO: Glad to see the doctor back in the house. (os) Didnt expect to after they fixed your face. (on camera) How did that happen? Long story. Its gonna be tough getting everyone to the compound. (gasp) The tech they need doesnt travel. It works then? No ones been printed there. Alpha to thank for that. We have

CLAIRE: ECHO:

CLAIRE: ECHO:

(ECHO LOOKS OUT AT BALLARD EATING AS HE TALKS TO VICTOR) CLAIRE: Im surprised to see you and Paul together. Jurys out on together. (os) But hes got my back. (on camera) Listen. I need Topher to put me in the chair. Back me up on a drive. A hard copy.

ECHO:

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CLAIRE:

Uh, Topher doesnt go up there anymore. I can do it for you. Youre copying yourself? In case (os) something happens to me. I know (on camera) exactly where were going. Gotta keep that close for now. But someday someone may need to know. How will they know where to look? Im working on that. (os) Once we hit the ground...

ECHO:

CLAIRE: ECHO: BALLARD:

(BALLARD IS TALKING TO THE GROUP OF PEOPLE AS VICTOR HANDS OUT WEAPONS) BALLARD (CONTD): ...theres no time to cry about how different it is up there. Its different. You stay...

(CLOSE ON A GUY WALKING WITH A WEAPON) BALLARD (CONTD): ...close to the person in front of you (os) and you keep your weapon ready. Someone from outside of this group comes up, then...

(ECHO PASSES BY ADELLE CARRYING A WEAPON) ADELLE: Youve come to save the innocent (os) lambs? Theyre not lambs, DeWitt. (os) I think Ive mentioned that (on camera) before.

ECHO:

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ADELLE:

What about the rest of us, Caroline? Are you going to save us, too? Or have you come to kill us? Can you give me a reason not to? Im not going to plead with you. minds made up. Your

ECHO: ADELLE:

(ECHO PULLS OUT A PISTOL AND COCKS IT) ECHO: Yes, it is.

INT. TREATMENT ROOM/MAIN ROOM-PRESENT (IRIS SITS UP IN THE CHAIR) MEG: Caroline?

(IRIS LOOKS DOWN AT HERSELF) IRIS: Yeah. Great. Puberty all over again. How many we got? Youre looking at em. What year is this? 2019. 19. Dr. Saunders!

ZONE: IRIS: MEG: IRIS:

(IRIS RUNS OVER TO CLAIRE) IRIS (CONTD): I cant believe you held out!

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CLAIRE:

My name is Whiskey.

(IRIS STARES AT HER A MOMENT) IRIS: Oh. Well, thank you, Whiskey, for helping them find me. Was I my best? Better. (sniff) You knew her before? I told her if she stayed, shed lose her mind. I guess she decided that was better. But you discovered a cure? Yeah. Where is Safe Haven? (laugh) Thats what theyre calling it? Far.

CLAIRE: IRIS: MEG: IRIS:

ZONE: IRIS: ZONE: IRIS:

MONTAGE OF CLIPS (THEY HEAR AN EXPLOSION; THEY SEE SOMETHING ON FIRE FALL TO THE MAIN ROOM FLOOR) ZONE: Thats our tripper. (os) Lets move. Partys crashed.

(PEOPLE CALLED BUTCHERS START SLIDING DOWN ROPES INTO THE

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MAIN ROOM) BUTCHERS: IRIS: CLAIRE: MEG: CLAIRE: BUTCHERS: MEG: CLAIRE: (grunts) Come with me, Whiskey. (os) I need to (on camera) wait. Come with us. Butchers are coming.

I have to wait here. (os) (unintelligible shouts throughout) Theyll waste you. I need to wait.

(IRIS AND ZONE HEAD OUT ONTO THE WALKWAY FOLLOWED BY MEG; THEY START SHOOTING THE PEOPLE DOWN BELOW) BUTCHERS: (os) (painful cries)

(CLAIRE HEADS DOWN ANOTHER WALKWAY) IRIS: This way. (os) The elevator shaft.

(CLAIRE ENTERS A ROOM AS THEY RUN THROUGH THE HOLE ECHO MADE YEARS EARLIER) MEG: (grunts)

(CUT TO CLAIRE APPROACHING AN ELECTRICAL PANEL; BACK TO ZONE AS HE GETS THE ELEVATOR DOOR OPEN) ZONE: Meg, you go first. Ill hold them off.

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(MEG STARTS CLIMBING THE SHAFT STAIRS AND IRIS FOLLOWS HER) ZONE (CONTD): Im (os) right behind you.

(ZONE SHOOTS A BUTCHER AND THEN FOLLOWS THEM INTO THE SHAFT; HE SHUTS THE DOOR AND JAMS IT WITH A KNIFE BEFORE CLIMBING) BUTCHERS: (os) (angry cries)

(CUT TO CLAIRE AS SHE PRESSES BUTTONS; CUT TO GAS BEING SHOT INTO THE MAIN ROOM; THE BUTCHERS BEGIN COLLAPSING; CUT TO THE THREE CLIMBING THE SHAFT; BACK TO THE MAIN ROOM AS THEY GO DOWN; CLAIRE SITS DOWN ON THE WALKWAY ABOVE AND WATCHES THEM) SINGER: (vo) (singing) Burn down my home. memorys hardened and the bread is chrome. Good times escape. My

(CUT TO THE THREE STILL CLIMBING) SINGER (CONTD): (vo) (singing) While every mistake seems to be caught on tape.

(THEY EXIT ON AN UPPER FLOOR) SINGER (CONTD): (vo) (singing) I will go rolling fast, arms out in the rain. Feel momentum building to lift off ground like an airplane. Baptizing down to the pains.

(THEYRE IN ADELLES OFFICE AND STARING OUT THE BROKEN WINDOWS AT THE DESTROYED CITY OF LOS ANGELES)

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SINGER (CONTD):

(vo) (singing) A billion eyes are watching (unintelligible). They see what remains... remains. They really thought they were helping, huh? Giving people what they needed. Is this what we needed? No. Kids playing with matches. burned the house down. And they

MEG:

IRIS:

(THEY LOOK AROUND THE ROOM AND FIND A WALL FILLED WITH PHOTOS LABELED TO REMEMBER) SINGER: (vo) (singing) Gave up this town. What a waste are we left with when its boiled down. Shine light on me. Your image reflected is all youll ever see.

(IRIS LOOKS AT PHOTOS OF THE OTHER ACTIVES) SINGER (CONTD): (vo) (singing) I will go rolling fast, arms out in the rain. Feel momentum building to lift off ground like an airplane.

(IRIS TAKES DOWN A PHOTO OF HERSELF AS ECHO) SINGER (CONTD): (vo) (singing) Baptizing down to the pains. I hope we find me alive. (vo) (singing over Iris) A billion eyes are watching (unintelligible). They see what remains... remains.

IRIS: SINGER:

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(SHE PUTS THE PHOTO BACK; THEY GO TO THE WINDOW AND FIND A LADDER; THEY STEP OUT THE WINDOW AND KEEP CLIMBING; CUT BACK TO THE PHOTO OF ECHO) LOGO MONSTER: Grr. Argh. THE END

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MAIN TITLES

ELIZA DUSHKU HARRY LENNIX FRAN KRANZ TAHMOH PENIKETT ENVER GJOKAJ DICHEN LACHMAN and OLIVIA WILLIAMS Guest Starring AMY ACKER FELICIA DAY REED DIAMOND JANINA GAVANKAR CHRIS WILLIAM MARTIN ADAIR TISHLER ZACK WARD CLAYTON ROHNER Producer ELIZA DUSHKU Consulting Producer TIM MINEAR Co-Executive Producer DAVID SOLOMON Co-Executive Producers ELIZABETH CRAFTS SARAH FAIN

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Produced by KELLY A. MANNERS Executive Producer JOSS WHEDON Executive Producer JOSS WHEDON Created by JOSS WHEDON Teleplay by MAURISSA TANCHAROEN & JED WHEDON Story by JOSS WHEDON Directed by DAVID SOLOMON

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END TITLES

Associate Producer CHRIS CHERAMIE Staff Writers TRACY BELLOMO ANDREW CHAMBLISS MAURISSA TANCHARDEN JED WHEDON Guest Starring JOSH KELLY Male SHELLEY MACK Female WARREN SWEENEY Mr. Miller Casting by AMY MCINTYRE BRITT & ANYA COLLIFF MICHAEL NOCOLO Director of Photography RODNEY CHARTERS, A.S.C., A.C.S. Production Designer STUART BLATT

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Edited by PETER BASINSKI, A.C.E. Unit Production Manager ROBERT D. NELLANS First Assistant Director W. SCOTT WOLF Second Assistant Director PAUL C. DOMICK Score by MYCHAEL DANNA and ROB SIMONSEN Theme Song Written by JONATHA BROOKE and ERIC BAZILIAN Performed by JONATHA BROOKE Costume Designer SHAWNA TRPCIC Art Director LEONARD HARMAN Set Decorator DAVID KONEFF Construction Coordinator TED WILSON

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Location Manager CHRIS CAMPBELL Transportation Coordinator LEROY REED Production Coordinator LYNNET PRICE Script Supervisor RHONDA HYDE Production Accountant TONY LINDO A Camera Operator GUY SKINNER Production Sound Mixer STEVE WEISS, C.A.S. Gaffer DAVID ST. ONGE Key Grip ANTHONY VIETRO Department Heads Make-Up JAMES MACKINNON Department Head Hair VITO TROTTA Property Master MIKE BLAZE

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Special Effects Coordinator CHRIS NELSON Stunt Coordinator MIKE MASSA Post Production Supervisor JESSICA BUPP Assistant Editor ROBERT HUDSON Music Supervisor ANDREA VON FOERSTER Script Coordinator LISA RANDOLPH Assistants to Executive Producer NATALIE FARRELL TONY DODDS JOHN J. GRAY Sound Supervisor WILLIAM DOTSON Music Editor JENNIFER MONNAR Re-Recording Mixers KEN TEANEY, C.A.S. TODD ORR Sound Post Production Services WILSHIRE EDITORIAL

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TODD AO Video Post Production Services LEVEL 3 POST Visual Effects by ZOIC Camera Systems by PANAVISION Presented in DOLBY DIGITAL Where Available Copyright 2009 Twentieth Century Fox Film Corporation All Rights Reserved #1APK13 Processing by DELUXE LOGO AMPTP The events and characters depicted in this photoplay are fictitious. Any similarity to actual persons, living or dead, or to actual events, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any unauthorized duplication or exhibition of this motion picture could result in criminal prosecution as well as civil liability. Logo

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