Deleted Scenes

Above, a publicity still for a scene already in the film. Below, an alternate version which was filmed but not used. The weird tentacles were what the stain on the wall above the bed grew into, as Diane was dragged across it. Below that is a scan from the CD soundtrack liner notes, which featured a different angle.

Thanks to "Charlie" from Canada for the above scan!

 

 

From a 1982 "Cinefex" article about the film's visual effects:

"At times we got overwhelmed by fun effects and audacious ideas," Mitch Suskin remarked, "possibly more than the film required. The one scene that sticks in my mind is where Diane is pulled up the wall, across the ceiling, and down the other side. During that, there was going to be a kind of 'stain' in her path-something foreshadowing the closet turning into a mouth. It was a pulsating, organic, ugly thing." The concept was eventually discarded, but not before the physical effects crew had gone ahead and built it and it went before the cameras. "We made a large latex bladder for the stain," Mike Wood related. "There were holes in the wall so we could actuate it manually from behind, and we had people strapped to the outside of the set, putting their hands through. During the scene, the stain was to have grown bigger and more amorphous, and the girl was supposed to roll through it from her bed." A more risque notion was to be the violation of Diane Freeling by unseen forces as she involuntarily defied gravity in her upturned room. Wood contrived a special harness to facilitate "rape" movements in that position, but when the idea endangered the picture's PG rating, it, too, was scrapped. An alternate scene of Jobeth Williams writhing in bed remains in the film, but its darker implications are less apparent.

**********************************

From that same Cinefex article, there were a few other items mentioned. For example, during the scene where Diane, Steve, and Dana rush outside to save Robbie from the tree, this item was cut after being filmed:

One deleted cut had the Freelings ensnared by enourmous moving branches blocking the passageways outside the house. Spielberg felt it reduced the intensity of the sequence.

For the sequence where the spirits come down the stairs and the Freelings later watch the recorded video footage, Visual Effects Supervisor Richard Edlund stated:

"We did twice as many ghost scenes as those that appeared in the final cut."  [A portion of this footage can be seen in the film's original theatrical trailer. As Dr. Lesh watches the videotape of the ghosts, she says "There are hundreds," and later Diane is shown screaming "That thing is in there with my baby!" after seeing the Beast amongst the other ghosts]

Apparently during filming, Spielberg couldn't make up his mind about the "ghosts coming down the stairs" sequence. Originally, you were supposed to see a truly evil spirit (the Beast) surrounded by smaller, "good" spirit lights. This was eventually changed to show a graceful female spirit coming down the steps, surrounded by the others. In the novelization of the film, both ideas are combined: the graceful female spirit transforms into the Beast. In the film, the shot where Diane sees the Beast amongst the other spirits on the videotape was cut.

There were alternate versions of scenes filmed as well. A different version of the "giant head" which lunges out of the closet door toward Steve Freeling was filmed at ILM, but was later discarded when Spielberg decided the face looked "too human" and not scary enough. The head was later redesigned, and the scene was re-shot. Likewise, a very expensive version showing stop-motion like glass hands emerging from the television screen was filmed. This sequence was apparently the most expensive single FX shot ILM had filmed up to that point. However, Spielberg felt an earlier, animated version of the scene was scarier, so that version was scrapped as well.

Supposedly, an earlier draft of the script featured a scene that was likely never filmed. Right before the Freelings are shown knocking on the door at the Tuthills' house, Steve Freeling would have gone into the crawl space under the house in an attempt to find some explanation for the chairs moving around on the kitchen floor above.

According to an issue of Cinefantastique magazine, this scene from the kitchen sequence was also cut:

Some of [Michael] Wood's kitchen effects ended up being cut. "At the end little Carol Anne made one trip that was real fast," said Wood. "We rigged it so she hit the wall wearing a breakaway helmet and stuck her head through a breakaway wall. That ended up on the cutting room floor, even though it was a good trick and looked good."

According to actor Martin Casella, a scene was filmed but deleted showing him being lifted up into the air and bitten by the Beast outside the children's bedroom door.

Below are excerpted scenes from the script which didn't end up in the finished film. It's likely that some are scenes which were never shot; others probably were filmed but didn't make the final cut.

*************************************************

DIANE
Honey, why don't we just build the pool closer to the house and
let the kids jump off the roof?

STEVEN
See, it's like an air pocket. From three meters you're freefalling. You can maybe squeeze in a half-gainer, jackknife into a swan, twist back, tuck, splash.

DIANE
Splat!!

STEVEN
Spashhh.

DIANE
Splurg.

STEVEN
Honey, we can afford it.

DIANE
We don't really need it.

STEVEN
It's great for business. We build the first house. We install the first pool. Look around us. By this summer (in bass baritone) "the hills are alive with the smell of chlorine."

DIANE
Yeah and, our pool will be alive with a thousand guests.

**************************************

DIANE
You can't believe the feeling.

STEVE
What's the gag? There a magnet back there? He looks behind the door in the dining room. Nothing. Steve just stands for a long moment in hapless silence, then...

STEVE
I hate Pizza Hut! Where's supper? I don' t understand, Diane. What the hell's going on around here?

Steve sidesteps the chalk marks, removing himself from the active area.

DIANE
I figured I'd never explain it to you. So I showed you instead, but don't ask me how or what. Just help me figure out what to do.

STEVE
You mean there's no gimmick?

DIANE
Not from inside the house. Maybe Tuthill got himself a super remote from the Radio Shack.

Carol Anne adjusts her helmet and sits inside her launch circle. Diane and Steve are having the discussion across the room and aren't aware of her.

STEVE
Maybe the shakeup and this thing...relate.

DIANE
No shit.

CAROL ANNE
Daddy, look at me!!

They turn but it's too late. Carol Anne shoots across the room faster than before, and with no one to catch her.

ANGLE-KITCHEN WALL

At a sickening speed her helmet smashes into the wall. Diane SCREAMS Steve runs over. An eight-inch hole in the wall and the cracked plastic on the helmet testify to the force of impact. Carol Anne is dazed but unhurt.

CAROL ANNE
You promised pizza.

39
THRU OMIT
41

42 EXT. BEN TUTHILL'S FRONT PORCH - LIGHT

The front door opens and Tuthill steps into the bug light. An obvious strain in this conversation.

The motives various, the feelings mutual. About a thousand rnosquitos chow down on the Freelings while they talk.

STEVE
Hi, Ben.

DIANE
Mr. Tuthill.

TUTHILL
TV's off in here. If your set's acting up again...

**********************************************

43 INT. FREELING MASTER BEDROOM - NIGHT

Diane is applying calamine lotion to Steve's neck and wrists.

DIANE
I had to say something. I was losing a pint of blood every few seconds.

STEVE
I think we should keep this thing in the family. In the morning I'll call someone in.

DIANE
Who for instance? I've already looked in the yellow pages. Furniture movers we got. Strange Phenomenon...there's no listing.

STEVE
Okay. I have a plan. I have a plan. Something's occurring here that we can't explain. If Carol Anne wasn't wearing that helmet...

DIANE
Okay, stop it.

STEVE
What if she wasn't? Jesus, Diane. We' be at County Emergency and not getting ready for bed.

DIANE
Okay already!

STEVE
Right. Okay. Let's wake the kids. No big deal! Let's  wake them, spend tonight at the Travel Lodge in Broxton. And come back tomorrow with experts! Experts who can tell us what it is that's happening and if it's safe to go home.

DIANE
Now you're scaring me. Don't try and scare me, Steve.

*******************************************************

72 INT. UPSTAIRS HALLWAY - TAK - DUSK

He goes room to room looking for pranksters. When he gets to the active bedroom he hesitates, listens through the door, pulls in his courage and turns the knob. Of course, the door is locked. Tak is never without a trick. He slips a file from his utility belt and starts to jimmy the door. The lock gives and Tak easily turns the knob, and lets out an agonizing SCREAM! He falls backward holding his side, rolling over and over until he is at the top of
the carpeted staircase.

***************************************************************8

The footsteps in pursuit grow louder, Diane turns to face the sound. Dr. Lesh turns. Steve and Ryan turn. A perfectly foul smell precedes an implosion of displaced air. Almost the sound of thunder, the impact is so great. Lesh, Diane and Steve blow backward, their clothes flapping in the gale as the force passes through each one of them and out the picture window that. cracks in a dozen places but does not, shatter.

DR. LESH
(picking herself up)
Have you ever heard of the term "teleportation"?

DIANE
Carol Anne!

ROBBIE
That's like when Mr. Spock beams up Captain Kirk on "Star Trek".

DR. LESH
Just about. In a recent case, objects which disappeared from a house would be seen much later falling to the ground outside.

DIANE
Carol Anne doesn't answer. Steve?

DR. LESH
(to Steve)
Where exactly do you suppose Carol Anne was playing before she vanished from sight?

DIANE
Her bedroom closet. And she wasn't playing.

DR. LESH
Let's go up there.

STEVE
It won't let you in.

DR. LESH
We'll just see about that.

********************************************************

ROBBIE
I don't want to stay here any more. This place's got jaws.

DIANE
You take Robbie into town.

STEVE
I'm not leaving you alone in this house.

74-A INT. LIVING ROOM - NIGHT

Dr. Lesh has returned to the living room. She bends over and grabs the apron off the couch and pulls. It folds out. A convertible bed.

DR. LESH
Blankets, pillows, sheets. Let's have a slumber party.

DR. LESH
It isn't over. I'm perfectly terrified. It's all these things we don't understand. I feel like the proto-human, stepping out of the forest primeval and seeing the moon for the first time. Throwing rocks at it.

DIANE
You mean someday we�ll understand these things?

DR. LESH
When it is recognized for what it is. As any science. Understanding and sponsorship seem always to be one hundred years behind ridicule and doubt. Out of this experience, should we capture a high resolution photograph of a genuine manifestation Time Magazine will still put President Reagan on its next cover.

ROBBIE
If I got killed would I come back as a ghost and get stuck in the house like my sister?

****************************************************************************

 

87 INT. ON THE STAIRCASE - NIGHT

BEHIND BOTH TAK AND RYAN

The crawling mass coming down the stairs resembles a giant hand
with long, searching fingers, flowing down the stairs and heading right
for the two technicians.

88 INT. ON RYAN AND TAK - NIGHT

Ryan stands and backs away two steps.

CLOSE -TAK

He wants to scream out but cannot find the breath. The air in the room is suddenly thin and electrostatically charged.

RYAN
It's manifesting! It's manifesting! Look at the scope!

TAK
Watch the trip wires! Temperature's dropping.

RYAN
Radical!!

TAK
Can you breathe?

RYAN
Can you run? I'm workin' on it.

 

92 INT. LIVING ROOM - FULL SHOT NIGHT

Ectoplasmic mist wanders aimlessly, passing under tables, chairs, circling lamps.

DR. LESH
(to Diane)
Have you experienced this before?

DIANE
First time!

DR. LESH
Me too.

At this moment every lightbulb in the room comes on. The brightness growing to blinding levels. Everyone covers their eyes.

STEVE
(yelling)
Smells like a short!

DIANE
(yelling)
It's going to explode!

The hum of electrostatic charge races up the scales to what sounds like feedback Overload, then...

FLASH FLASH - FLASH

Everything is dark again. The episode ended. The room is very quiet.

Dr. Lesh breaks the silence.

DR. LESH
Roll it back!

95 CLOSE ON MONITOR - NIGHT

The smoky substance twists and melts and forms what appears to be the shape of a man�s back. The shape moves in front of the CAMERA and we see what could be an OLD MAN looking over his shoulder with a suspicious expression, and then walking past a little girl, not Carol Anne, holding a ball. She wanders through the living room as if lost. Suddenly, the living room is filled with manifestations. FOUR MEN in burlap type coats, floppy hats, denim and boots face away from the CAMERAS, a WOMAN dressed in the style of the 1920�s moves through the room, tears on her face--people of all ages and descriptions wander aimlessly, lost and sad through the living room.

No manifestation makes contact with any other. They don�t even seem to be aware that others exist -- an OLD WOMAN glances at the CAMERAS disinterestedly --and a YOUNG BOY moves toward the CAMERA and evaporates.

The screen suddenly becomes BLACK, filled by two glowing beams -- the beams pull back and we realize that they are EYES of a scary old man. It is the face of pure chaotic horror. A vision of madness and murder.

96 ON DIANE AND ROBBIE - NIGHT

She covers Robbie's eyes and SCREAMS continuously, out of control, for this is the pit of her nightmare.

DIANE
That thing is in there with my baby! That thing! That thing!

DR. LESH (O.C.)
My God! There are hundreds.

ANGLE - FULL

Steve is holding Diane now, stroking her hair until her SCREAMS turn into SOBS. Lesh and the technicians look on silently. Steve leads Diane and Robbie back into the living room. Dr. Lesh takes out the two tapes and puts them into a briefcase and locks it with a key.

DISSOLVE TO:

97. INT. KITCHEN - DAY

CLOSE - DUST PAN

Crowded with a mixture of filled and decayed teeth from last evening's hailstorm. Steve closes the trashcan and wipes his hands against his shirt. The portable TV is on, turned, as usual, to a static channel.

FULL SHOT - ROBBIE

Dressed to travel with little suitcase in hand. At his side is E. BUZZ on leash.

DIANE
Tell Grandma to call the very second you walk in.

STEVE
Taxi's here.

DIANE
Don't  be scared of the taxi man, he's a friend of Daddy's and mine.

ROBBIE.
(agitated at all this fussing)
I'm seven years old, gimme a break.

STEVE
That's what I like to hear. Let's move out! ...You're about to have yourself a real adventure.

ROBBIE
(acting grown up)
I don't need no more adventure. I need to get some sleep.

97-A INT. ENTRYWAY/LIVING ROOM

Diane and Steve watch Robbie and E. Buzz go out the door. Steve starts to follow, reaching out to help with the bag. Robbie waves him off.  

ROBBIE
I can do it myself. Bye.

DIANE
(tearful, but holding back)
Bye, sweetheart. Call us.

97-B EXT. FREELING HOUSE - DAY

Robbie and E. Buzz climb into a taxi. It pulls away from the curb.

 

97-C INT. KITCHEN - DAY

Dr. Lesh sorting through the brooches, stickpins, hail combs and cameos. Brass buttons, pocket watches and cufflinks.

DR. LESH
This cameo. One hundred years old.

Diane returns from the door and cocks her head to examine the jewelry.

DIANE
Some haul, huh?
(gestures upstairs)
Maybe they fear a lawsuit and want an out of court settlement.

Dr. Lesh holds up a twist-o-flex digital wristwatch.

DR. LESH
And then this enigma...probably a couple years old and not your husband�s?

DIANE
He said it wasn't.

DR. LESH
I've heard bout jewelry or perfume disappearing from a vanity in one room later to reappear in another, but...but this doesn't fit into any construct I've ever experienced.

DIANE
Has anything lately?

DR. LESH
(smiles at this)
No, I suppose not. Well, I'm off. I'll take these back to the lab along with the tapes...
(disturbed)
...I'll have to display these, you know.

Steve enters the kitchen.

STEVE
Just please not on "Sixty Minutes."

DIANE
or... "That's Incredible?"

DR. LESH
I'm leaving Ryan with you. Tak won't be coming back you know?

STEVE
Yeah, he told me he wanted a day job.

DR. LESH
But he's promised not to talk about this for several weeks. After that we're all on our own.

The front doorbell RINGS.

STEVE
I'll get it.

*******************************************

101 INT. UPPER HALLWAY TO BEDROOMS - DAY

Diane hangs desperately onto any tangible reality. She moves carefully through the house, cleaning up. When she passes Carol Anne and Robbie's roomDiane hesitates. She listens through the door. She knocks softly and prays.

DIANE
(lightly)
Hello. Anyone home?
(she raps softly)
Carol Anne?

Diane slips her hand down to the doorknob. Knowing it is always locked she feels safe in trying it --- the knob turns in her hand. Tak never locked up after his episode. Diane GASPS and jumps back. As much as she wants to, Diane won't go in. She backs into her own bedroom and shuts the door.

102 INT. MASTER BEDROOM - DAY

She turns and sees the bed is not made. Diane pulls off the covers and the sheets, making them ready for the washing machine. Dust rises off the bed and Diane SNEEZES. As she tilts her head hack for a second sneeze she freezes looking at the wall over her bed. The sneeze never materializes.

ANGLE - THE WALL

The STAIN HAS GROWN. It is three feet in diameter and shaped like a black rose. Little black, wiggly lines, like veins, scribble away from the black pistil in all directions. Diane flinches and steps away from it. She sees a picture on her other wall and determines to hang it over the stain.

*****************************************************

 

103 EXT. THE TOP OF A HILL - DAY

STEVE AND TEAGUE

TEAGUE
I'm so very proud of this place.

Steve and Teague stand on a hill overlooking the entire Cuesta Verde Estates. Teague's Bronco sits off to one side.

STEVE
I've been up here once or twice. Diane calls it Vanity Point.

TEAGUE
So who's to say an artist shouldn't step back from his easel to admire the sum of his parts.

STEVE
(almost forgetting his ordeal for a few seconds of mental freedom)
When they built our model home, there was nothing down there. Just freshly turned earth and a lotta wooden stakes and miles and miles of string.

TEAGUE
One of your children was born in your house.

STEVE
(not smiling now)
Carol Anne.

*************************************************

NOTE: This scene I can confirm was shot with veteran actor Edward Ashley portraying the role of "Dr. Farrow."


 

105 EXT. UNIVERSITY OF CALIFORNIA AT IRVINE CAMPUS - ESTABLISHING - DAY

Students mill about between classes. It's a beautiful day in Irvine.

106 INT. PSYCHIC RESEARCH CENTER - LECTURE HALL - DAY

DR. LESH AND A SENIOR ADVISOR, ANTHONY FARROW





They are sitting in an empty lecture hall. Monitors are everywhere. Several people are filing out. Lesh is exhausted. Apparently she's been through quite an ordeal. Anthony Farrow is twenty years older than Dr. Lesh, which puts him into his early eighties.

He puts a comforting arm around her and sits on the desk, smiling like the wizened sage he is.

FARROW
In a word?

He hands her back her video tapes.

LESH
In a word.

FARROW
Too graphic!

LESH
It was the episode as it occurred.

FARROW
Perhaps.

LESH
Oh, Tony...you too?

FARROW
I so wish to accept what I saw. I'm only steps away from the old wooden bridge myself. To believe that something exists on the other side would be like a warm light in the window.

LESH
Perhaps if tendrils of ectoplasm were all that showed up?

FARROW
Better.

LESH
A smoky shape lasting merely an instant.

FARROW
Even better.

LESH
Nothing on tape at all... only sounds, rappings, a sigh.

FARROW
You'd still be answering questions. They'd all want to go back to the house tonight. You gave then too much, Martha. Too much too soon. Nothing was left to the imagination. This isn't a science yet. It's still a sideshow and your troubadours were not in their make-up.

LESH
And these? What do you make of these?

She gestures to the dozens of jewelry pieces on the desk. Farrow picks up a beautiful brooch. He holds it up to the light.

FARROW
It's the real McCoy, that's one thing for certain.

Farrow pins the brooch on Lesh's sweater and takes an antique ring, placing it on her finger.

FARROW
Dear Martha. May we cross that bridge together someday? May all we believe be true. May we picnic in the clouds.

Lesh starts to laugh and punches Farrow on his leg.

LESH
You old con artist. If only you were fifty years younger.

FARROW
Let me give you some advice. Secret a few of those gems. Come out of this with something in your pocket. The National Enquirer pays more for inventing what we must bust our rumps investigating and for what?

LESH
Okay, pops! I'm making you the accessory in this crime.

She picks out a set of earrings and stuffs then into her change purse. Farrow laughs as Dr. Lesh starts to fold up the napkin containing the stones and jewelry. Suddenly Farrow stops her, reaching for something in the pile.

FARROW
This is interesting.

He picks up a thin, wiry clip that looks like it could he a dog muzzle for a miniature poodle.

FARROW
Did this teleport with everything else?

LESH
Yes, I picked it up myself. Why?

He turns it over in his hand.

FARROW
It's a staple, a clamp for the jaw.

LESH
Not something you'd wear to the masquerade ball.

FARROW
No, but you would wear it to your own funeral. It's a mortician's trick. It prevents the mouth from suddenly dropping open when the body is in repose. It discourages a great deal of embarrassment and...fainting.

LESH
(with a shiver she looks at her watch)
Oh darn, I promised I'd be back before dark.

FARROW
Martha, my dear. Why don't you let Tangina have a go?

LESH
(sourly)
I was afraid you'd suggest that Tangina's so...melodramatic.

FARROW
Yes. But she's a house-cleaner and right now with what you tell me about that little girl, I think it's high time you brought out your big guns.

***************************************

109 INT. THE LIVING ROOM - NIGHT

The CAMERA are all set up. The Zenith console is now the centerpiece of this room. The rest of the furniture has been piled against the walls although we're not sure if this is Diane's work or early poltergeist disturbances. Tangina sees herself on the video monitor and smiles into the CAMERA. She waves and watches herself waving on the monitor. She makes a funny face and gets a huge thrill at seeing it in black and white. Diane and Steve stand divorced from this. They have become bit players as Tangina takes the center stage.

TANGINA
Can you make my face look bigger?

Thinking this is a scientific request, Ryan ZOOMS IN filling the monitors with Tangina.

TANGINA
Look at me for cryin' out loud! You'd never suspect I was just a teeny little thing, would ya?

LESH
Tangina, could we get on with this, please?

Tangina pulls out a lipstick and freshens her makeup, all the while watching herself in the monitor.

TANGINA
I've never been on TV before.

She steps back and looks into the CAMERA. She adds to her already thick Texas accent. The melodrama gushes out of her.

TANGINA
Yes, it was me all the time, not that fussy harlot from the office. I shot J.R. Ewing! I blew his little pecker right into the gulf of Mexico..I.
(embarrassed)
Oh, I swore on television.

No one is laughing. Especially Diane and Steve. They are rather appalled. Tangina immediately pulls back. She becomes an adult again and walks into the center of the room.

TANGINA
( to Diane)
Honey, c 'mere and give me your hand.

******************************************

FADE IN:

133 EXT. CUESTA VERDE ESTATES PHASE ONE - DUSK

The title card Two Weeks Later FADES ON then OFF.

134 INT. DINING ROOM - THE FREELING FAMILY - DUSK

The Freelings are moving. Bekins boxes are stacked all around, and packings lists lie on the kitchen counter. The entire family has gathered in front of a large roast. E. Buzz sits by Robbie. They are bowed in prayer, holding hands.

ALL
Bless us, oh Lord, for these thy gifts which we are about to receive.

STEVE
...and for bringing serenity back to our home.

ROBBIE
Rub-a-dub-dub. Thanks for the grub. Yeah God!

Everybody LAUGHS. Diane, with an enormous amount of gray in her hair, reaches into her purse, almost as an afterthought and takes out an envelope addressed to the Freeling family.

DIANE
This came in the mail this morning from Tangina. She's in Acapulco.

Diane passes a color polaroid around the table.

CAROL ANNE
Who's that with Aunt Tangie?

135 INSERT - CLOSE ON SNAPSHOT

Tangina is standing against the sun and surf in a muu muu. Beside her is a good-looking, normal-sized man in his early thirties. If you didn't know Tangina was a midget you'd think the man was nine feet tall. There is writing accompanying the photo which Diane reads.

136 INT. DINING ROOM - FREELING FAMILY - DUSK

DIANE
This photograph just goes on to prove that we grow things bigger in Texas than anywhere else in the world.

DANA
Mom, I'm going to the Roxy with Kirk and Franklin.

DIANE
It's a school night.

DANA
It is not, it's Friday.

DIANE
(laughing)
Right. Right. I guess your mother is getting old.

STEVE
Just her hair.

DIANE
(mock protesting)
Well I like it.

STEVE
I can lend you some of my Grecian Formula.

DIANE
I like my hair like this. It's very distinguished.

Diane finishes the letter.

DIANE
She wants to know how our therapy is coming and says there is no better road to a normal life than through the love we have shown for each other...

ROBBIE
Carol Anne gots more sweet potatoes on her plate.

STEVE
You can have seconds. Finish firsts first.

DIANE
...and thinks moving is a good idea even if the house is clean. You're still seeing Teague tonight, aren't you?

STEVE
Yea, he's coming by at 9. We'll probably go to the club.

CAROL ANNE
(teasing Robbie)
Looky-loo. Looky-loo. Looky, looky, looky-loo.

ROBBIE
Looky-loo to you too. Looky-loo are you-who. Looky, looky, looky-loo.

DISSOLVE ON A CHORUS OF HAPPY TEASING:

137 EXT. POV OF FREELING DRIVEWAY - NIGHT

LATER

Through the lace curtains, Steve climbs in to Teague's Bronco and they pull away.

137-A INT. LIVING ROOM - NIGHT

Diane watches him leave and walks up the stairs to the upper bedroom.

138 INT. UPPER HALLWAY - NIGHT

Taking the pins from her hair, Diane passes Carol Anne and Robbie's bedroom. The door is closed and warm light filters through at the bottom jamb. She listens in, hears nothing and starts to turn the knob, but thinks twice and continues into her bedroom.

139 INT. MASTER BEDROOM - NIGHT

Diane has done some redecorating in here. The first thing we notice is that the stain is gone and the curtains are lace yellow with white for borders. The bedspread is a happy sunlit color with smiling moons and planets.

140 INT. MASTER BATHROOM - NIGHT

Diane reaches down into the bathtub.

CLOSE UP -DRAIN

Diane squeezes the rubber stopper into the drain.

CLOSE UP - HOT AND COLD HANDLES

She mixes the temperatures until we see steam rising from the filling tub.

WIDE ANGLE - BATHROOM

****************************************************

 

147 INT. MASTER BEDROOM - NIGHT

Dressed in a nightgown and robe, .Diane combs out her long, silky hair. She throws her head forward so all the hair in back can cover her face. Stroking from the back of her neck, Diane gets out all of the tangles. Satisfied, Diane flips her head straight up so all her hair can fly back around her shoulders. The shiny gray-brown hair flies straight up into the air and upon reaching its full height...it freezes and doesn't come down.

E. Buzz turns and runs out of the room. DIANE IS LOOKING AT HERSELF IN THE MIRROR WHEN THIS HAPPENS.

147-A

In the b.g., just above the headboard to her bed, a BLACK SPOT starts to SPREAD. Like an ink blot it gathers speed in all directions sending wiggly black veins like a man-of-war over the ceiling and onto the floor.

147 - B CLOSE - DIANE'S FACE

DIANE IS GOING TO FAINT. HER EYES START TO ROLL INTO HER HEAD WHEN...

Four deep impressions collapse her cheek unevenly against her jaw. The left side of her mouth is pressed against her front teeth as if someone was attempting to twist her head halfway around the left shoulder.

The STAIN STOPS GROWING AND STARTS TO BREATHE, moving in and out like the hairy body of a mutant tarantula.

CLOSE-DIANE'S FACE

Diane's lips are pressed flat against her gums and mushed in counter-clockwise circles, how a kiss might appear if only the receiver were visible.

Her hair is allowed to fall around her shoulders and she struggles away from the force that has held her. She goes straight for the door. It CLOSES IN HER FACE. Diane turns insanely when her arm is nearly wrenched from its socket. She is flung onto her bed right under the spider stain.

148 CHILDREN'S BEDROOM - NIGHT

Robbie, sitting up in bed, looks all around for the clown doll. He dares even to look on the floor. It is nowhere in sight.

Robbie's breathing quickens. He knows where he now must look. After all no child can ever sleep until knowing the night is in order. Lying on his stomach, Robbie slowly lowers himself head first to the floor of his bed, in preparation to look under it. He very, very carefully lifts the dust ruffle and lets the top of his head touch the rug. Robbie is upside-down as he looks into the darkness under his bed.

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149 INT. MASTER BEDROOM - NIGHT

Diane lets out a chilling SCREAM. Her robe is torn away from her nightgown and hurled into the air. Diane tries to get up but a pressure upon her chest defeats her best effort.

CLOSE - DIANE'S BREASTS

The nightgown is suddenly torn away revealing her breast. They are kneaded and flattened. Hulking finger impressions can be seen sinking deeply into her. Diane's hysteria doesn't make any difference. Now her legs are spread apart and a great pressure over her pelvic bones crushes her deeper and deeper into the mattress over and over again.

Diane is fighting all this time when everything suddenly stops. She is left for dead, on the wet, sweat-stained sheets. Then...it begins again, but this time...

Diane is pulled to her feet. Standing tiptoes above the pillows she is DRAGGED UP THE WALL AND ONTO THE CEILING. IN DEFIANCE OF EVERY KNOWN LAW OF PHYSICS.

Diane is dragged across the mandibles of the spider stain and onto the ceiling. There she is slammed repeatedly, her rear end pounding the ceiling, her back arched, her head torn back from her shoulders, held invisibly by the hair.

Without a breather, she is then pulled across and down the opposite wall. Diane is just as quickly released. She drops onto the floor. Like jello are her legs. Diane struggles, crawling off the bed to the door, reaching, straining to open it.

Mercifully 'it" lets her get out. She BELLOWS her children's names.

DIANE
CAROL ANNE! ROBBIE! GET OUT OF HERE! RUN! RUN!!

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157 INT. STAIRCASE - NIGHT

Diane drags her children down the stairs and toward the front door. The staircase is rolling as in an earthquake, knocking them off balance and onto the landing face down. Diane sees the front door through a sudden cut over her left eye. She leads the children to it slow in motion as a phenomenally intense headwind tries to prevent their escape.

****************************************************

163 INT. KITCHEN - NIGHT

As the family runs for the side door, the kitchen tile bulges horrifically, splits open with a MOAN and two caskets shoot into the clean eating area, lids blowing off and rotten, rotting corpses reaching out at Diane as they pitch forward. As they reach the door, the kitchen wall explodes with the impact of the BEAST.

************************************************************

183 EXT. STREET BEHIND CAR - LOW ANGLE - NIGHT

The ground opens up trapping the car on a narrow island. Five coffins rise to block it.. .a body falls into the open rear tailgate window and among the family. Steve plows right into the coffin, flattening them and using them as a wooden bridge to cross the chasm.

184 INT. BACK OF MOVING CAR - NIGHT

ON ROBBIE - CORPSE

No longer is Robbie afraid. He's fighting mad and takes the dead remains, flinging them out the back window as the car heads out of town.

185 EXT. ROAD SIGN IN THE RAIN - NIGHT

"You Are Now Leaving Beautiful Cuesta Verde Estates". Steve's Oldsmobile station wagon shoots past this point, its tail-lights diminishing into the vanishing point.

DISSOLVE TO:

186 EXT. HOLIDAY INN SIGN - NIGHT

There is a mist in the air as CAMERA MOVES TO THE SIGN.

ANGLE - ROOM 237 - NIGHT

CAMERA SLOWLY MOVES INTO the door and number.

187 INT. ROOM 237 - NIGHT

The Freelings, Dana, Robbie, Steve, and Diane are asleep, on two beds still in the clothes we last saw then wearing. It is very quiet except for the snoring. The nightmare has ended. CAMERA PANS around the room to Carol Anne who is the only family member not sleeping.

Carol Anne is fiddling with the RCA Vistacolor television trying to get it to work.

POP. IT COMES ON.

The room is bathed in cold blue TV light and we HEAR the last few bars of The National Anthem.

CAMERA PUSHES PAST the sleeping Freelings to a view over Carol Anne's shoulder.

The Anthem ends and the station manager identifies the station, signifies the megahurts and signs off for the morning.

THE CAMERA PUSHES PAST CAROL ANNE'S HEAD UNTIL THE TV IS FULL SCREEN.

THERE IS A MOMENT OF VISUAL STATION I.D. -- BUT ONLY A MOMENT.

FLASH! EVERYTHING TURNS TO WHITE STATIC SNOW.
FADE OUT..

THE END