THE DEAD ZONE "ONE DOOR CLOSES" TEASER FADE IN: INT. HOTEL BALLROOM - EVENING We are in a typical Radisson-type chintzy ballroom where political fundraisers are often held. "Stillson for Congress" banners adorn the archways. A crowd of people mills around on the green and beige patterned carpet. Some people sit at circular tables. We meander through this schmoozefest, past the buffet tables with steaming platters of food, past waiters balancing trays of champagne glasses... Until we settle on Sarah Bannerman. She's laughing, chatting it up with Greg Stillson, and another woman, CHELSEA MCEVOY- dark-haired, tough and beautiful in a way that says, "Hands off." STILLSON It's good to see you here, Sarah. I like having the support of a woman like you. He winks and heads off, giving a nod to Chelsea. CHELSEA So who's this Johnny Smith character everyone's talking about. I hear you're tight with him. Sarah raises an eyebrow. SARAH We're old friends. CHELSEA Tell me about him. Sarah glances around the room. SARAH Why don't I let Johnny speak for himself. Here he is. In fact, Johnny is zooming in on Sarah as if he wants to tell her something important. But, then, that's the way it always is... SARAH (cont'd) Johnny. JOHNNY Sarah, I-- SARAH I want you to meet someone--Chelsea McEvoy. She's a political analyst. Chelsea, this is Johnny Smith. Chelsea holds out her hand. And Johnny doesn't want to appear rude. He extends his hand to shake Chelsea's and we RAMP to Johnny's face as his VISION flares onto the screen. A DOOR SLAMS into Johnny's face, and then there's nothing but STATIC. BACK TO SCENE Johnny stumbles back a step, but covers as best he can. What's going on with this woman? Chelsea pretends not to notice Johnny's reaction. JOHNNY Nice to meet you, Chelsea. He is loath to let go of her hand. Finally, she pulls out of his grasp. Sarah leans in. SARAH (whispering) You okay? Johnny nods. From across the room, Stillson watches Chelsea talking to Johnny. JOHNNY What did you say you were doing here? CHELSEA I didn't say. She gazes at Johnny through her lashes and smiles. Sarah's sensors go up. SARAH (brightly) Chelsea is doing a profile of Stillson for the Wall Street Journal. JOHNNY You're not from around here. CHELSEA Philadelphia. But if this race gets any more interesting, I might have to take up residence here. Could you hold this a second? She smiles again and hands Johnny her glass. She deliberately, it seems, touches his fingers. And we once again enter JOHNNY'S VISION It's the same as before: a door SLAMS in his face, and then there's nothing but static. BACK TO SCENE Johnny continues to hold the glass, genuinely puzzled now. He searches Chelsea's face for an explanation. Chelsea digs through her purse for something. Finally, she extracts a card. CHELSEA (cont'd) Here's my card. She takes her glass back. Johnny stares at the card. Flips it over. As if it could give him answers. CHELSEA (cont'd) May I ask you a personal question? This catches Johnny off guard. A feeling he should be getting used to tonight... JOHNNY I might not answer. Chelsea smiles. CHELSEA I've never met a psychic before. It seems like it might be...difficult to have your abilities. I mean, it must be as much a blessing as a curse. She studies Johnny. He isn't quite sure what to say to her query. JOHNNY I guess I'm lucky to be alive. CHELSEA But is it the life you want? SARAH (interjecting) Johnny kind of likes to keep his private life private. Chelsea looks to Johnny for confirmation. JOHNNY I'd change it if I could. CHELSEA (pressing) Would you give up the visions to have a normal life? JOHNNY I thought you were writing about Stillson, not me. CHELSEA (laughing) Sorry, I get in analyst mode sometimes. Sarah watches Chelsea through narrowed eyes as we CUT TO: INT. MOTEL ROOM - NIGHT The room is dark and we can't see much detail. The door to the room opens, letting in some light from the parking lot. Chelsea steps in, turns on the light and shuts the door. Sitting on the mauve bedspread, she takes out her cell phone and dials. CHELSEA It's Chelsea. (short pause) It worked--he didn't get any visions when he touched me. I just shut him out. (beat) Yes, I'm sure. I'm good at it. Trust me. (pause) Shall I begin phase two? Chelsea stands and peers out of the curtains into the night. CHELSEA (cont'd) I'll start tomorrow. FADE OUT. END TEASER ACT ONE FADE IN: INT. JOHNNY'S LIVING ROOM - DAY Bruce sits on the couch watching Johnny pace around the room. JOHNNY I'm telling you, it was strange. BRUCE I believe you. JOHNNY It was like... I was having the vision... I was receiving... Johnny is getting kind of worked up about this. He tries to find the right words. JOHNNY (cont'd) She was blocking me. That's what it was. BRUCE You don't know that. Her future could be a slamming door and a bunch of static. JOHNNY It felt like she was shoving me out of her mind. BRUCE (shrugging) Some people have boring lives. Nothing to see. Ever thought of that? JOHNNY Then I wouldn't have had a vision at all. Anyway, she's not boring. BRUCE I got you. You're interested in her. JOHNNY I want to know what's going on. BRUCE You know what your problem is? JOHNNY (dry) My knees ain't what they used to be? BRUCE Your problem is your visions. You gotta go back to doing things the old-fashioned way. If you want to know something about someone, find out like everyone else. JOHNNY (making fun of Bruce's pedantic tone) Lying and spying? BRUCE How about talking over a cup of coffee. Johnny sits on the couch. JOHNNY You're right. BRUCE Yeah I am. JOHNNY Okay. BRUCE Just call her. CUT TO: INT. JOHNNY'S KITCHEN - LATER Johnny is having a face-off with his telephone. They regard each other, neither willing to give way. Johnny falters, finger-flips Chelsea's business card like it's a quarter. When the phone RINGS, it actually startles him. He lays his hand on the phone and A FLASH OF VISION: A door SLAMS in his face. He picks up the phone. JOHNNY How did you get my number? INTERCUT WITH INT. CHELSEA'S MOTEL - SAME Chelsea sits on her bed in the forgettable motel room. She's a little suprised by Johnny's phone manner. JOHNNY Sorry. This is Chelsea, isn't it? CHELSEA (bothered) How did you know it was me? JOHNNY I asked first. How did you get my number? CHELSEA Sarah gave it to me. JOHNNY I asked her not to give it out. CHELSEA I can be pretty persuasive. (beat) So how did you know it was me? JOHNNY (lying, deliberately light) Recognized your number on my caller I.D. CHELSEA Really? Because I have my number blocked. JOHNNY My phone is psychic too. CHELSEA Does it know why I called you? JOHNNY No, it's not that good. CHELSEA (laughing) I was thinking...would you like to have a cup of coffee sometime. JOHNNY (surprised) Yeah. I would. CHELSEA Okay, then. I guess it's a date. CUT TO: INT. COFFEE SHOP - DAY Johnny and Chelsea sit across from one another at a small metal table. Like two people who have nothing really to say to one another. JOHNNY So, why exactly did you call me? CHELSEA Do I need a reason? Johnny waits for an answer. CHELSEA (cont'd) I'm in town for a while, don't know anyone. I figured, why not ask the town's most infamous citizen out on a date. JOHNNY I don't get asked out on many dates. CHELSEA Except by psychotic fans. JOHNNY Right. (beat, awkward) I'm not so good at this getting-to-know someone-over-coffee thing. CHELSEA Would you prefer if I kidnapped you? JOHNNY I'll pass. (studying her) Where did you say you were from again? CHELSEA Philadelphia. JOHNNY That's right. Are you a Flyers fan? CHELSEA Went to all last season's home games. JOHNNY (relaxing) No kidding. CHELSEA I love hockey. JOHNNY Me too. And this feels so normal. CHELSEA I guess you don't get on the ice much anymore. She nods toward Johnny's cane. JOHNNY No. Coached for a while, though. CHELSEA (leaning in) So what does Johnny Smith do for fun these days? JOHNNY What do you do? It's a game of cat and mouse. They both want answers. CHELSEA I'm totally boring. Don't do anything but work. JOHNNY What made you decide to write about Stillson? CHELSEA I was assigned to the task. I'm actually not a fan. JOHNNY Really? That puts you in the minority. CHELSEA Yes, I know. (in confidence) Don't you think there's something a little "off" about him? JOHNNY I'm reserving my judgment. Ask me again in a few months. CHELSEA Sarah says you show up at all of his local events. Why so interested? Before Johnny can answer, a cell phone RINGS, muffled. CHELSEA (cont'd) Oh, I think that's me. She pulls her phone out of her purse. It RINGS more loudly now. CHELSEA (cont'd) This is so rude, I know, but I have to take it. I'll be right back. JOHNNY Sure. Chelsea gets up and walks toward the exit of the cafe. The minute she's gone, Johnny purposefully touches Chelsea's coffee cup, concentrating. Nothing. JOHNNY'S POV Chelsea still stands outside talking on her cell. BACK TO SCENE Johnny sidles over to Chelsea's chair. We can see he's gathering himself. Focussing. Very deliberately, he places his hands on the chair and we are BARRAGED BY VISIONS, intense and concentrated, but none of them of Chelsea. 1) A teenaged girl crying as her boyfriend yells at her, calling her a slut 2) A driver slamming on the brakes as his car hits something with a tremendous amount of force 3) A scared little boy stares at himself in the mirror 4) An elderly woman throws a handful of dirt into a grave Johnny pulls out of the vision just as Chelsea arrives back at the table. CHELSEA Johnny? Are you okay? You look a little... JOHNNY (recovering) I'm fine. He pulls the chair out for her. Nice save. CHELSEA Thank you. She sits and Johnny scoots the chair in. CHELSEA (cont'd) Where were we? JOHNNY (still dazed) You were telling me your life story. CHELSEA That's right. All two paragraphs. Johnny raises an eyebrow. JOHNNY There's something to be said for an uneventful life. CHELSEA (with candor) You're right. Exciting lives are over rated. They gaze intently at one another. CUT TO: INT. BANNERMAN KITCHEN - LATER Sarah prepares a tuna casserole. Johnny leans against the counter watching her. JOHNNY You didn't give her my number? SARAH (indignant) Why on earth would I do that? I know how you feel about your privacy. JOHNNY Why would she lie about where she got it? SARAH That's probably not all she's lying about. JOHNNY (it dawns on him) Are you jealous? SARAH Johnny, you don't know anything about her. She just shows up in town-- JOHNNY You are. SARAH I have a bad feeling about her, that's all. Call it woman's intuition. JOHNNY (pointedly) I'm not interested in her. (beat) She is hiding something, though. And I want to know what it is. SARAH That's reason enough not to trust her. Why would anyone want to hide anything from you? CUT TO: INT. SHERIFF'S OFFICE - DAY Johnny barges into Walt's office. Walt sits at his desk, seemingly unsurprised by the intrusion. JOHNNY Walt, I need you to do something for me. WALT (cautious) What is it? JOHNNY I need you to check on someone. A woman named Chelsea McEvoy. Walt waits. JOHNNY (cont'd) Just--get a little information. WALT Is she about to commit a crime? JOHNNY I don't know. WALT Did you have a vision of her? JOHNNY No. I mean yes. (beat) Well, no. Walt leans back in his chair. JOHNNY (cont'd) She's blocking my visions. I think she's hiding something. I need you to tell me if you find anything. WALT What do you think I'll find? JOHNNY (shrugging) Here's her license plate. He hands Walt a slip of paper. WALT I worry about you sometimes. JOHNNY Just sometimes? CUT TO: INT. STILLSON'S CAMPAIGN HEADQUARTERS - LATE AFTERNOON Chelsea and Stillson are alone in the office. STILLSON Tell me what you've found. CHELSEA Honestly, he doesn't seem all that concerned with your campaign. I tried to bring it up a few times... STILLSON He supported my rival... CHELSEA Everyone has their political beliefs. That doesn't mean he's out to get you. STILLSON He comes to all my events, yet he doesn't want me elected. That's a stalker. (beat) I hired you to do a job. Get to know him. Find out what's on his mind. CHELSEA That's his specialty, remember. STILLSON It's yours too. Make him trust you. CHELSEA (nodding) I can do that. She gives Stillson a sweet smile. STILLSON I know you can. CUT TO: INT. JOHNNY'S LIVING ROOM - LATER Johnny is on the phone. INTERCUT WITH INT. PATROL CAR - SAME Walt talks on his cell as he's driving. WALT I checked her plates. The car isn't registered to her. It's under the name Roger Halstead of Hanover. Couldn't find much on him. Couldn't find anything on Chelsea. JOHNNY An alias? WALT I'm looking into it. JOHNNY Any idea where she's staying? CUT TO: EXT. CHELSEA'S MOTEL - EVENING In the darkness, Johnny stands in the parking lot of a motor style motel. He moves to a nondescript car parked in front of one of the rooms. Latches onto the handle of the driver's side door. And we SMASH CUT TO: EXT. DRIVEWAY - NIGHT - JOHNNY'S VISION ROGER HALSTEAD, a middle-aged man whose every year has been etched onto his face, opens the trunk of the car and loads several cases. We might recognize them as gun cases, but they could be anything, really. Halstead slams the trunk and gets into the passenger side of the car. INT. CAR - CONTINUOUS - JOHNNY'S VISION Halstead turns to Chelsea, who sits in the driver's seat. HALSTEAD You sure you can handle this one by yourself? CHELSEA I'm fine. Halstead SIGHS. CHELSEA (cont'd) (getting testy) I'll be fine. HALSTEAD It'll be coming at you from all sides this time. Make sure you're ready. The vision fades. EXT. CHELSEA'S MOTEL - CONTINUOUS Johnny emerges from his vision to see Chelsea bursting out of the nearby room. CHELSEA What are you doing? Johnny glances down at his hand on the car door. JOHNNY (recovering) I came to see you. CHELSEA I'm not used to people showing up at my motel with a unexplainable interest in my car. JOHNNY Sorry. (beat) You should really get your alternator checked. Otherwise your car's not going to start... (closes his eyes, concentrating) Next week, I think. Chelsea relaxes a little, realizes she over-reacted. CHELSEA You're a car psychic now? They regard each other for a moment in the darkness. JOHNNY (awkward) Would you like to go out for dinner? Chelsea hesitates. JOHNNY (cont'd) I'm not stalking you, I promise. CHELSEA How did you know where I was staying? JOHNNY Sarah told me. Chelsea knows he's lying, but gets the reference. CHELSEA (genuinely puzzled) She's in love with you, isn't she? So why is she married to the sheriff and not you? JOHNNY (dry) That coma, ruins the relationship every time. CHELSEA Sorry. I'm the world's biggest idiot. JOHNNY Can I take the world's biggest idiot out to dinner? Chelsea smiles, looks down at her sweatpants. CHELSEA I have to get dressed. I'll be fast. Wait for me? JOHNNY Sure. After Chelsea disappears inside, Johnny can't help himself. He touches the car again. And we move into INT. CAR - NIGHT - JOHNNY'S VISION Halstead and Chelsea sit in the car. HALSTEAD This isn't like your other jobs--it's high profile--he's practically a celebrity. We can't afford any slips. You've been getting careless. And there's no room for that now. CHELSEA (not really listening) Yeah. I got it. She gets out of the car and SLAMS the door. RETURN TO SCENE Johnny wonders about what he just saw. FADE OUT: END ACT ONE ACT TWO FADE IN: INT. RESTAURANT - LATER Chelsea and Johnny sit at an intimate table. CHELSEA You were born here? JOHNNY Born and raised. CHELSEA Must be nice to live in the same town where you grew up. JOHNNY It has its plusses and minusses. Chelsea examines her drink. CHELSEA I kind of like it here. JOHNNY You'll change your mind in winter. We don't see the sun for five months. Chelsea laughs. Neither of them knows what to say next. CHELSEA I guess it's not the most exciting place to live, is it? JOHNNY You'd be surprised. CHELSEA Of course, you must have an interesting life. I'd like to spend a day in your brain. JOHNNY Trust me. You wouldn't want that. CHELSEA You could just tell me about it and it would be like experiencing it. JOHNNY Is that how life is for you? CHELSEA What? JOHNNY You let other people tell you things instead of experiencing them for yourself? CHELSEA Do you normally go into psychoanalyst mode on dates? JOHNNY Sorry. Been out of the game for a while. CHELSEA You didn't just wake up, Johnny. JOHNNY I know. But it's still like a big hole in my life. I feel it all the time. CHELSEA (with gravity) I know what you mean. It's like someone took away your choices in life. Their eyes meet. CHELSEA (cont'd) My parents died when I was a little girl. It makes me mad that I can't change that whole part of my life. JOHNNY I'm sorry. A cell phone RINGS, shattering the fragile moment. CHELSEA That's you. JOHNNY These things are so annoying. He reaches into his pocket, checks the caller, and then puts the phone back into his pocket. CUT TO: INT. DANA'S OFFICE - SAME Dana paces the room while leaving a message for Johnny. DANA Johnny, I checked up on Chelsea McEvoy for you. She doesn't work for the Wall Street Journal. She's never published a credited article that I could find. So, basically, she's lying. (beat) Just thought you should know. She hangs up. CUT TO: EXT. CHELSEA'S MOTEL - LATER Chelsea and Johnny stop awkwardly outside her door. CHELSEA Sorry I'm not the greatest conversationalist. JOHNNY You're more interesting than you think you are. Johnny leans in quite suddenly, catching Chelsea off guard, and kisses her. And in that split second of unanticipated connection, we SPEED into JOHNNY'S VISION Two BLASTS from a gun and we crystallize to find a man and a woman bleeding in their bed, their mangled bodies splayed haphazardly. Roger Halstead stands at the foot of the bed. He hesitates for a second, touches the woman's bloody shoulder. But then the moment is over--he holsters his gun and exits the room. CUT TO: INT. YOUNG CHELSEA'S BEDROOM - A MINUTE LATER - STILL IN JOHNNY'S VISION Halstead enters the room and goes to the bed. YOUNG CHELSEA, 4, is awake and terrified. YOUNG CHELSEA Daddy? HALSTEAD (calling her by a different name) Come on, Mandy, we have to get out of here. There's a bad man in the house. YOUNG CHELSEA Where's Daddy? Halstead gathers Chelsea in his arms. HALSTEAD He can't come with us. We have to hurry. YOUNG CHELSEA Mommy. HALSTEAD Sh. Everything's going to be okay. He soothes a hand along her back and runs down the stairs. YOUNG CHELSEA I want Mommy. And with that, we RETURN TO SCENE Chelsea jerks away from Johnny. CHELSEA What are you doing? Johnny's in slight shock. JOHNNY Kissing you. CHELSEA (panicky) You were in my head! Get out! JOHNNY I'm out. I'm not there anymore. It's okay. CHELSEA What did you see? Tell me what you saw, dammit! JOHNNY (gently) Your parents...what happened? Chelsea shakes her head, distressed. CHELSEA No. I don't want to-- Johnny backs off. JOHNNY You don't make things easy, do you? CHELSEA Did you see them? JOHNNY Yes. Chelsea reins herself in, breathing hard. CHELSEA Tell me what you saw. JOHNNY I don't think you want to know. CHELSEA Did you see who killed them? JOHNNY (hesitating just barely) No. I didn't see. Chelsea nods. Maybe she knows he's lying. CHELSEA If you want to get to know me, you'll have to do it the way everyone else does it. JOHNNY How does everyone else do it? CHELSEA I'm sorry. I can't-- JOHNNY You don't have to be sorry. You don't have anything to be sorry for. CHELSEA Sure I do. Everyone does. (beat) Don't you? JOHNNY Lots of things. CHELSEA (with resolve) Goodnight, Johnny. JOHNNY Goodnight. She turns and slides her keycard. The door opens. Chelsea steps inside. The door closes softly, and Johnny stares at it as if it's a puzzle he can solve if he just tries hard enough. CUT TO: INT. BRUCE'S PT CRUISER - NIGHT The car is parked on the street near Chelsea's motel. Bruce sips a cup of tea in the dark. Johnny sits beside him, intent on the view out the window. BRUCE This has gotta be illegal, right? JOHNNY It's not illegal. She could be in trouble. BRUCE You don't know anything about her and it's killing you. JOHNNY I know her parents died a horrible death. I saw the man who killed them. Silence reigns for a moment. JOHNNY (cont'd) She's leaving. CUT TO: EXT. CHELSEA'S MOTEL - SAME Chelsea gets into her car and starts the engine. CUT TO: INT. PT CRUISER - SAME Both Bruce and Johnny watch out the window. JOHNNY Give her a headstart. BRUCE You're enjoying this way too much. They wait a moment. JOHNNY Okay, go. Bruce turns the key in the ignition. CUT TO: INT. CHELSEA'S CAR - LATER Chelsea speeds down a lonely highway. No other cars around. It's foggy. Chelsea sees the lights of Bruce's car in her rearview. Distant, but nonetheless there. CHELSEA You don't give up, do you, Johnny? CUT TO: INT. BRUCE'S PT CRUISER - SAME Bruce and Johnny drive in silence. Johnny stares out the window into the night. BRUCE Why are you so obsessed? So you can't read her--I'm sure there are other people you can't read. You just haven't run into them yet. It might not even be her. Maybe it's YOUR block. Johnny doesn't answer right away. JOHNNY She knows where I'm coming from. BRUCE What do you mean? Bruce looks to Johnny for an answer, but Johnny is contemplative and silent. After a moment, Bruce focusses his attention back on the road. BRUCE (cont'd) Where'd she go? Panicked, he scans. Johnny is suddenly alert. JOHNNY You lost her? BRUCE She was there just a second ago. CUT TO: INT. CHELSEA'S CAR - SAME Chelsea sits in her dark car--no dashboard lights. No headlights. Darkness hovers all around her windshield as she blindly pulls off the road, hitting vegetation and uneven ground. She keeps driving for a second, then stops. In the near distance, Bruce's car whizzes past. CUT TO: INT. BRUCE'S PT CRUISER - SAME Johnny peers desperately into the blackness. BRUCE She must've shut her lights off. There weren't any turnoffs. JOHNNY (nodding) Keep driving. BRUCE Maybe we did miss a turn. We could double back... JOHNNY (commanding) No. Drive for a minute. Then pull over. CUT TO: INT. CHELSEA'S CAR - A FEW MINUTES LATER Tense, Chelsea stares out toward the road. Without turning her lights on, she starts the car. For a moment, her wheels spin in the mud and gravel, but then the car gains purchase and rolls out to the asphalt. CUT TO: INT. BRUCE'S PT CRUISER - PULLED OVER - A MINUTE LATER In the darkened car, Bruce stakes out the road. After a moment, Chelsea's car--lights off--passes. BRUCE There. JOHNNY Follow her. Bruce pulls onto the highway. BRUCE I can't see a thing. JOHNNY Just do it. Stay closer this time. BRUCE This is crazy. CUT TO: EXT. CHELSEA'S CAR - REMOTE DIRT ROAD - LATER Chelsea parks her car near an abandoned lumber mill, which we can just see looming in the darkness. Another car is parked nearby and Halstead leans against the hood. Chelsea emerges from her car and shuts the door quietly. HALSTEAD Did anyone see you leaving? CHELSEA No. HALSTEAD You can't be too careful. They walk toward a decrepit loading platform. HALSTEAD (cont'd) The time and place have been set. Here's the schematic. He unfolds a map and spreads it on the dock. HALSTEAD (cont'd) We need to go over the set-up and where you'll park your getaway car. I'll meet you about ten miles away and you'll ditch the vehicle. He shines a flashlight over the map. Chelsea is distracted, like she'd rather be somewhere else. She gazes listlessly at the map. Halstead senses her lack of interest. HALSTEAD (cont'd) What's going on, Mandy? Chelsea searches Halstead's face in the bare light of the flashlight. CHELSEA (sadly, remembering) Do you remember that apartment we had in Somerville? The upstairs/downstairs one with the garden in back? HALSTEAD What about it? CHELSEA I miss it. HALSTEAD That was ten years ago. CHELSEA I've been thinking about it. HALSTEAD We were only there a few months. How can you miss it? CHELSEA That was a nice neighborhood. Lots of families. That park down the street. HALSTEAD (conceding) It was nice. CHELSEA Most women my age are getting married and having kids, aren't they? HALSTEAD (as if he knows from experience) Marriage isn't all it's cracked up to be. CHELSEA What made you so cynical? HALSTEAD That's another story for another day. CHELSEA (irritated) You always say that. And you never tell me the stories. Don't you think I can handle them? HALSTEAD Some things we just shouldn't ever know. CHELSEA You've never told me who killed my parents. You can't protect me forever. HALSTEAD It was a hit man. You don't know him. And he got his due. CHELSEA I want to know his name. HALSTEAD It doesn't matter. CHELSEA It does to me. Tell me his name. HALSTEAD I'll tell you after this assignment's over. Right now, you need to focus. Can you do that for me? CHELSEA Do I have a choice? CUT TO: INT. BRUCE'S PT CRUISER - LATER Johnny and Bruce watch as two cars enter the highway and then head in opposite directions. CUT TO: EXT. LUMBER MILL - LATER Johnny paces the area around the mill, passing the beam of a flashlight over the ground. Bruce watches, letting Johnny do his obsessive thing. JOHNNY Tire tracks. They were right here. He scans the area. Crouches. Touches the ground. And we BURST into INT. BEDROOM - NIGHT - JOHNNY'S VISION Halstead stands beside the dead bodies of Chelsea's parents. Touches the woman's bloody shoulder. Stares at the blood on his hand. BACK TO SCENE Johnny recoils from the vision, breathing hard. Wildly, Johnny searches, and connects with the loading platform. He reaches out and we SMASH to EXT. CITY ROOFTOP - NIGHT - JOHNNY'S VISION Halstead and Chelsea crouch at the edge of the roof. Chelsea sights through a sniper rifle. HALSTEAD He'll be exiting his office after meeting with his lawyers. The meeting starts at 4:30. You'll be waiting here by then. You need to catch him before he gets into the car. You have one shot. No second chances. Chelsea nods. She's younger here, greener, eager to please. CHELSEA Got it. HALSTEAD I'll be waiting in the alley behind the social services building. You remember your route? CHELSEA (impatient) Yeah, yeah. HALSTEAD Okay. I'll stay there until six. If you don't show, I'll go to plan B. CHELSEA There's no plan B. Nothing's going to go wrong. This is a tough moment for Halstead. HALSTEAD It's your first assignment. I wish I could be there with you. Chelsea smiles fondly at him. CHELSEA Don't you think you trained me well? HALSTEAD Of course. (beat) It's hard to see my baby all grown up. And with that we RETURN TO SCENE Bruce watches Johnny closely as Johnny emerges from his vision. Johnny doesn't say anything. BRUCE Anything? JOHNNY She's an assassin. FADE OUT. END ACT TWO
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