Untraceable Page #14

MARSH:

I think you’re right. It’s not

just about the victims. It’s also

about the people who watch. All of

us. He grabs Miller at a baseball

game...dumps his body in a

Congressman’s car...kills Carver on

the Fourth, wrapped in red, white,

and blue. The next guy he’ll

probably choke to death with apple

pie.

BOX:

If it is a guy.

70.

This stops Marsh. He steps close and whispers-

BOX (cont’d)

If you ever feel like you need some

extra security, don’t hesitate to

call.

He smiles, touches her beneath the chin, and walks off.

She’s left a little breathless.

EXT. CYBER DIVISION HEADQUARTERS -- LATER -- AFTERNOON.

LONG SHOT, as Box walks alone across the parking lot to his

car.

INT. BOX’S CAR -- MOMENTS LATER -- AFTERNOON.

Box gets in and starts the engine. Rock music blares from

his stereo. He looks over his shoulder, backs up, turns the

wheel, shifts gears, and drives off.

INT. CYBER DIVISION HEADQUARTERS -- EVENING.

A printer spits out the last of a big document. Griffin

hurriedly grabs it, adds it to a huge stack of papers, and

carries it away.

FOLLOW GRIFFIN, carrying the load over to his desk and

dropping it there next to two other huge stacks.

GRIFFIN:

Every post Kinross left in the last

year.

MARSH:

Jesus.

GRIFFIN:

And this.

He holds up two disks.

GRIFFIN (cont’d)

One for you and one for me. Every

video clip he ever uploaded. That

was his real hobby. Pulling sick

sh*t off the net and posting it on

shock-video sites.

Griffin slips in his disc and types into his keyboard.

GRIFFIN (cont’d)

This is last thing he posted before

he died.

(MORE)

71.

GRIFFIN(cont'd)

Sort of a personal greatest hits.

He called it the “My Best of the

Worst.”

Griffin clicks. Marsh settles on the corner of his desk.

Menacing rock accompanies a fast, grisly, one-minute montage

of car accidents, police shootings, street fights,

convenience store murder, athlete’s broken limbs, traffic

helicopter footage of a suicidal man lifting a rifle to his

mouth....

Before the man pulls the trigger, Marsh grabs Griffin’s mouse

and stops the movie.

MARSH:

I get the idea.

GRIFFIN:

(sarcastic)

Poor Andy. He had so much to offer

the world.

Marsh sighs and eyes the huge stacks of posts.

MARSH:

Guess we’d better get digging.

Marsh starts to divide the heaps into two even stacks.

INT. MARSH’S HOME/GRIFFIN’S HOME -- ALL NIGHT.

A SEQUENCE OF MARSH and GRIFFIN, working at their respective

desks, wading through the reams of paper. Both of them are

bleary-eyed with exhaustion, but then, near dawn, something

startles Griffin. It’s one of the posts and he isn’t sure

what to make of it. He walks over and inserts his copy of

the Kinross disc into his computer.

.

INT. CAR -- SAME -- LATE NIGHT.

DRIVER’S POV, as a car pulls up and parks.

THE CAMERA TURNS and we see Marsh’s house across the street,

dark, bathed in moonlight. The driver shuts off the engine.

INT. ANNIE'S BEDROOM -- MORNING

Annie lies asleep in early morning light.

INT. MARSH HALLWAY -- LATER -- MORNING.

Annie, still half-asleep, rubbing a knuckle in her eye, pads

down the hall and stops at her mother’s half-open door.

72.

ANNIE:

Mommy?

INT. MARSH'S BEDROOM -- MOMENTS LATER -- MORNING.

Annie enters and sees Marsh, asleep in a pool of papers.

ANNIE:

Mommy?!

Marsh doesn’t wake. Annie blows her whistle. Marsh jumps

out of her skin.

MARSH:

Oh, bug! Don’t do that! You

scared me!

ANNIE:

You work too much.

MARSH:

I know, baby. I’m sorry. But it’s

so important.

ANNIE:

I’m hungry and it’s too early to

wake up Grandma.

MARSH:

I think you just did.

Marsh hoists herself up.

MARSH (cont’d)

I’ll tell you what, watch cartoons

for five minutes, and I’ll be right

down to make us some French toast.

Annie grins and runs away.

INT. MARSH’S STAIRWELL -- MOMENTS LATER -- MORNING.

Annie rushes down the stairs and slides in her stocking feet

toward the living room.

INT. MARSH'S LIVING ROOM -- CONTINUOUS -- MORNING.

Annie jumps up on the couch and points the TiVo remote at the

TV. Nothing. She does it over and over again and it still

doesn’t work. Confused, she opens the battery compartment

and looks inside.

.

73.

INT. MARSH'S BEDROOM -- LATER -- MORNING.

The shower is running behind the half-open bathroom door.

Annie enters, carrying the TiVo remote. As she passes the

desk, a chime from her mom's computer. Annie stops and looks

at the screen.

It’s killwithme.com. And it shows a video image of Marsh’s

house. Annie walks closer. The family cat is clearly

visible in one of the upper windows.

Annie turns her head and looks. Sure enough, six feet away,

the cat is in the window.

Annie, not sure how this could be, climbs up on the chair and

turns the monitor toward the window.

Then she walks over to the window, pushes aside the cat, and

waves her hand. She looks over at the monitor and sees

herself waving on the screen.

Delighted, she walks to the open bathroom door. Over her

shoulder, we see the outline in the plastic curtain of Marsh

showering.

ANNIE:

There’s a movie of our house on the

computer!

MARSH:

(over the water)

Watch whatever you want, honey!

I’ll be right down!

Annie isn’t sure what to make of that.

.

INT. MARSH’S STAIRWELL -- MOMENTS LATER -- MORNING.

Annie pads back down the stairs. She is about to walk back

to the TV, but, curious, she walks into the foyer instead,

and looks out one of the little windows at the side of the

front door.

INT. MARSH’S BEDROOM -- CONTINUOUS -- MORNING.

The phone rings. Marsh enters the frame, wearing jeans and a

T-shirt, drying her hair. She checks her Caller ID before

she answers.

MARSH:

Detective, isn’t it a little early

for--

74.

We hear Box screaming something through the phone. Marsh

looks over at the computer and her heart leaps into her

throat. Over the image of her house flash the words in red:

“Coming Soon!”

MARSH (cont’d)

Oh, God!

She throws down the phone and races out the door-

MARSH (cont’d)

Annie!

INT. MARSH’S HALLWAY -- CONTINUOUS -- MORNING.

Marsh runs toward the stairs-

MARSH:

Annie!

Stella bursts out of a bedroom-STELLA

What on earth-MARSH

Check her bedroom!

Marsh makes for the stairs.

INT. MARSH’S STAIRWELL -- CONTINUOUS -- MORNING.

Marsh comes bounding down the stairs and sees the living room

empty.

MARSH:

ANNIE! ANNIE!

She races through the house, looks in the kitchen. At the

dining room hutch, she pulls out of a hidden key, unlocks the

drawer, removes her Glock, and slams in the clip.

.

Suddenly, a noise from behind her. The front door knob being

jiggled. Marsh, gun aimed, moves toward the noise.

As she gets closer, the knob continues to jiggle. Stella

walks down the stairs, terrified. Marsh frantically gestures

for her to get back and be silent.

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