"Poltergeist" Script (First Draft)
Many thanks goes to "poltergeistguru," who originally posted this script on his now defunct site, www.poltergeistsaga.com. You can find the archived version of the site here:
POLTERGEIST
by Steven Spielberg, Michael Grais, and Mark Victor
FADE IN:
1 INT. LIVING ROOM - NIGHT
EXTREME CLOSE-UP - TELEVISION SCREEN
The National Anthem resounds over the precision maneuvers of the Navy�s Blue Angels. When Old Glory fills the frame the local announcer identifies the station, signifies the megahurts and signs off for the morning. Transmission ends and a BLAST of disturbing static rules the airwaves. It is 2:30 a.m. on a Sunday morning.
CAMERA SLOWLY WITHDRAWS
The TV set appears. A fireplace is off to the right, trophies of outstanding achievement in annual home sales on the mantel; STEVEN FREELING asleep in his convertible chair, an open briefcase on his lap, real estate maps and lease contracts spread out on the floor by his stocking feet.
CAMERA CONTINUES TO WITHDRAW until we are moving out of the living room of this suburban two-story home and up the stairs.
2 INT. UPSTAIRS HALLWAY - MASTER BEDROOM - NIGHT
CAMERA MOVES along the hallway, past the guest bath and over to a partially open door. We explore this room, if only for an instant, to catch DIANE FREELING, 32, tossing in her sleep, a tangle of hair covering her face.
3 INT. DANA�S BEDROOM - NIGHT
CAMERA moves away and slithers into another bedroom. DANA FREELING is sixteen, very beautiful, and snoring unevenly. She is surrounded by potato chips and homework.
4 INT. CHILDREN�S BEDROOM - NIGHT
The SOUND OF TELEVISION STATIC leaks as the moves into the last bedroom. ROBBIE FREEL1NG is just a seven-year-old lump under the covers. With the sheets tucked around him, he looks like a ghost and where his head should be there is a Dodgers baseball cap. The closet light is on and the closet opened only a crack to let in the safe night light as we pass beyond Robbie to CAROL ANNE FREELING. The STATIC SOUNDS from the 0.S. TV seem to arouse this pert six--year-old from a sound and regular sleep. Her eyes snap open. She listens, flicks some sleep from her eyes, and rises out of bed.
CAMERA TRACKS AHEAD OF HER as if drawing her OUTSIDE the safety of her bedroom and roommate brother.
5. INT. LIVING ROOM - NIGHT
The STATIC crackles louder and a BLUE GLOW dawns across Carol Anne. She could be sleepwalking. Her eyes are riveted and her breathing quickens. The STATIC BOOMS now and Carol Anne stops at the TV set in front of her sleeping Dad. She stares into the white snow, trying to see beyond the color dots. Carol Anne opens her mouth until we are certain she is going to SCREAM. Then
CAROL ANNE
Hello! Hell-ooo! What do you want! Hello! Who are you! Hell-ooooo!
ANGLE - STEVE FREELING
His eyes open.
6 INT. MASTER BEDROOM - NIGHT
Diane starts and sits up quickly.
CAROL ANNE (O.S.)
Who are you!! Hey!
7 INT. DANA�S BEDROOM - NIGHT
She is already swinging her legs out of bed and moving into the hallway.
CAROL ANNE (O.S.)
I can�t hear you!!
8 INT. CHILDREN'S BEDROOM - NIGHT
Robbie looks over to see Carol Anne�s bed empty.
9 INT. LIVING ROOM - HIGH ANGLE - NIGHT
The entire family gathers and watches their youngest child yelling through the static at 2:35 in the morning.
CAROL ANNE
What do you look like! Hello! Can I see you?
10 EXT. CUESTA VERDE ESTATES OVERLOOK - DAY
Anyone outside of Manhattan is familiar with this setting. Sunday in suburbia. A neighbor mows his lawn, another washes his car, and a group of kids play soccer in the street. The middle America World War II bought and paid for.
10-A EXT. FREELING FRONT YARD
Then; an irregular glitch to this setting. A man, JEFF SHAW, is running as furiously as his jelly-bowl paunch will allow. In his arms, a large brown shopping bag. Barely avoiding a collision with the paper boy, he cuts across the lawn, jiggling the lettering. He crashes into the front door, finding it locked. He turns and runs around back, just as Steve opens the front door.
11 INT. FREELING KITCHEN - DAY
Shaw blasts past Dana, dressed in a terrycloth robe. She is eating potato salad right out of the bowl in front of the open refrigerator.
DANA
Jesus H. Christ!
12. INT. LIVING ROOM - DAY
Shaw almost loses his footing turning into this room. His breath exploding in wheezing puffs. He falls into a chair next to Steve Freeling and FIVE OTHER MALE NIEGHBORS who tear into the brown shopping bag, surfacing with Michelob Lites.
SHAW
What'd I miss!?
STEVE
Haden fumbled!
ARNIE
Sacked!!
SAM
Oakland�s bringing out Bahr.
SHAW
Three more! Jesus! I was ahead on points, now I�m pushing.
STEVE
Shhhhhhhh!!
13 INT. CHILDREN�S BEDROOM - DAY
Diane is straightening things in here when she notices something that causes her to sadly catch her breath. She walks forward to the bird cage slowly letting it out. Carol Anne�s yellow canary is feet up on the bottom of the cage.
DIANE
Oh Tweety, couldn�t you wait for a school day?
14 EXT. FREELING�S BACK YARD - DAY
Robbie is next to a tall, misshapen oak tree that has grown bent forward, a little too close to the house. Robbie is marching in circles around the tree, acting brave. He starts to climb.
15 INT. LIVING ROOM - DAY
The Sunday FOOTBALL CROWD is on its feet. Haden has the ball again and the pass is a �bomb.�
STEVE
Look at that fuckin' Dennard run.
SHAW
Lester Hayes. Fuckin' Hayes is there!! He's there! He's...
The channel changes all by itself to Mister Rodgers.
STEVE
(yelling at wall)
Tuthill--! You asshole!
ARNIE
Turn it back ! Christ!
STEVE
Sorry guys. Wen my neighbor uses his remote...he�s on my same frequency.
Steve turns it back to football. A second later, �Mister Rodgers" is singing. Steve walks over to the wall, and points his remote control and fires!
From the other side of the wall comes a muffled ROAR.. The voice of BEN TUTHILL.
TUTHILL (O.S.)
Don�t start, Freeling!
16 EXT. SLIDING DOOR/FREELING HOUSE - DAY
Steve opens the sliding glass door and yells over the fence. Tuthill, a robust man in a tank top and sunglasses, yells out his window, the remote control brandished in Steve�s direction.
STEVE
We got a game going on over here!
TUTHILL
The kids wanna watch Mr. Rodgers!
STEVE
I don�t care what you�re watching, as long as you show a little mercy with that thing!
TUTHILL
(closing his window hard)
Move your set!
STEVE
Move yours!
Tuthill clicks at Steve through his window.
17 INT. LIVING ROOM - DAY
Steve�s channels change and the gathering SCREAMS again.
18 EXT. SLIDING DOOR - DAY
Steve fires his remote at the Tuthills and a muffled �goddammit!� is heard.
19 INT. HALLWAY TO BATHROOM - DAY
Diane has Tweety by his little claw feet at arms length. With a sour grimace she moves into the bathroom and raises the toilet seat, aims Tweety and...Carol Anne steps into the doorway catching her Mom red-handed.
CAROL ANNE
Tweety--!!
DIANE
(barely audible)
Oh shit.
20 EXT. FREELING'S BACK YARD - DAY
With his own bedroom window facing him, Robbie climbs among the twisted branches, then looks at the neighborhood and the sky beyond.
20-A EXT. - P.O.V. OF� SKY - DAY
Storm clouds are gathering in the distance.
21 INT. KITCHEN - DAY
CLOSE SHOT - CIGAR BOX
Diane places little Tweety into the cigar box. She starts to close the lid.
CAROL ANNE
Tweety doesn�t like that smell.
DIANE
Sweetheart, Tweety can�t smell a thing.
CAROL ANNE
(giving orders)
Put a flower with him.
Diane smiles at this thought and takes a red rose from the vase on the windowsill. Carol Anne pulls into her pocket and takes out some red licorice. She bites off the end, spits it out into her hand and places the wet piece inside the cigar box.
CAROL ANNE
For when he�s hungry.
She places a polaroid snapshot of herself and Robbie.
CAROL ANNE
For when he�s lonely.
She covers him with a napkin.
CAROL ANNE
For when it�s nighttime.
Carol Anne starts to cry as she closes the lid. Diane looks on. She really loves this kid.
22 EXT. FREELING�S BACK YARD - DAY
Diane has dug a hole in the dirt. Robbie and Dana watch as Carol Anne places the cigar box into the earth. Dana is eating celery and Diane throws her a �you�re chewing too loud� look. Robbie, from up in the tree, watches fascinated as Diane and Carol Anne refill the hole. In the background the football game is winding up with loud interludes between the time-outs of the final quarter.
CAROL ANNE
Now I lay me down to sleep, I pray the Lord my soul to keep...
DANA
(rolls her eyes)
Brother...
DIANE
(to Dana)
Stifle it!
CAROL ANNE
If I should die before I wake...
DANA
(a defiant whisper) It did.
CAROL ANNE
I pray the Lord my soul to take.
DIANE
That was lovely, honey.
ROBBIE
(staring at the freshly dug earth calls down from the tree)
Mom, when it rots can we dig it up and see the bones.
DIANE
Robbie!!
CAROL ANNE
(brightening--a new topic)
Can I get goldfish now?!
23 INT. CHILDREN'S BEDROOM - NIGHT
CLOSE UP - GOLDFISH BOWL
Carol Anne stares wonderously as two brand new goldfish nibble Hertz Mountain from the surface. Robbie sits on his bed in his P.J.�s reading a Popeye comic. Distant THUNDER can be heard as Robbie looks over at his window.
ROBBIE�S POV
A weak flash of lightning outlines the tree he was playing in earlier. It is not merely the overactive imagination of a nine-year-old that makes this tree scary to us. The twisted branches that seem to suggest arms and the split trunk that appears to suggest horns is all too real even at first glance.
CLOSE - ROBBIE
He doesn�t want to look. He doesn�t want to scare himself. But he does.
23-A DIANE ENTERS O.S.
DIANE (O.S.)
Honey, you �re overfeeding them.
CAROL ANNE
Tweety-two and Tweety-three wants seconds.
ROBBIE
Mom, there�s a big storm headed this way.
DIANE
You�ll be asleep by the time it gets here...if you hurry. Lights out!
The kids dive for the covers. Diane turns out the light. The room is overwhelmed by darkness. Carol Anne speaks up first.
CAROL ANNE
(rapidly)
Closet light! Closet light!
DIANE
My fault. My fault.
Diane turns on the light in their closet and cracks open the door. Carol Anne relaxes and waves good-night to her fish. Robbie looks over at the rocking chair by the bureau. Sitting straight up is a clown doll. It is almost the size of Robbie. Its stare is devilish and its smile is jst a little too broad for comedy.
Robbie gets up and without looking at the doll, throws a plaid shirt over its head. He climbs back into bed, outlined by a blue flash from the window.
24 INT. MASTER BEDROOM - NIGHT
CLOSE ON DUTCH MASTER CIGAR BOX
Two hands lift it from the shadows and into the light. The lid starts to open and just as we expect to see Twenty-one we see the "stash" instead. Steve removes a lid of grass and some zig-zag papers and starts to roll a joint. On the TV is an old MGM movie.
Diane is reading Carl Jung�s MAN AND HIS SYMBOLS. Steve picks up a brochure on pool equipment and diving boards.
DIANE
(taking a hit)
Sleepwalking. Sleepwalking. Nocturnal Somnambulism. * I�ll betcha it�s genetic. Carol Anne all last week and then last night. Me when I was ten. I once walked four blocks and fell asleep in the back seat of this man�s car. He went all the way to work before discovering me. God. I started screaming... people ran over. The police came. They took the guy downtown. My father had me examined for bruises, hickies, I don�t know. Oh shit, Steven! If we dig the pool and Carol Anne falls in before there's any water...Steven...you listening?....
Steven takes the joint back from Diane and pulls it down halfway in one breath--holding the hit.
STEVEN
(he talks like Dennis Hopper)
Ever go off a three meter board?
DIANE
What�s three meters?
STEVEN
About ten feet.
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.
STEVEN
I�m the wind and you�re the feather!
25 INT. CHILDREN�S BEDROOM - NIGHT
Steven flops Robbie onto his pillow just as a flash lights the room and the tree outside the window. Carol Anne lies awake, watching.
ROBBIE
I don�t like the tree, Dad.
STEVEN
It�s an old tree. It was here for a long time. Long before my company built this neighborhood.
ROBBIE
I don't like its arms. It knows I live here, doesn�t it?
STEVEN
(not aware this scares Robbie)
It knows everything about us. That�s why I built our home next to it. So it could protect you and Carol Anne, Dana, your Mom and me. It�s a wise old tree.
ROBBIE
It looks at me. It knows I live here.
Robbie is visibly frightened now and Steven realizes he�s scared him. Just then a tremor of thunder rolls through the bedroom and Robbie snuggles up to his Dad.
STEVEN
Storm�s gonna miss us.
ROBBIE
How do you know?
STEVEN
Because I can count.
Then more thunder. Robbie flinches, but tries to be brave.
STEVEN
After you see lightning, count until you hear the thunder. If you can count higher each time, that means the storm is moving away from you.
A flash of lightning is seen.
STEVEN
Now count with me.
ROBBIE/STEVEN/CAROL
ANNE
One, two, three...
Thunder is HEARD.
STEVEN
Next time you�ll be able to count to four or more. You try it, okay?
ROBBIE
Okay.
Steven exits leaving the door open. Lightning occurs. Steven waits by the partially open door and listens as Robbie counts.
ROBBIE
(very worried)
One.. .two.. .three...four...five...
Distant thunder is HEARD. Robbie is more relieved.
26 INT. HALLWAY OUTSIDE DANA�S BEDROOM - NIGHT
He feels real good about himself. He KNOCKS on Dana�s door. Music is HEARD. The door opens.
STEVEN
Goodnight, Dana.
DANA
Uh, goodnight, Dad. A beat, then...
STEVEN
Get off the phone, Dana.
DANA
(caught)
Okay, Dad.
27 INT. CHILDREN�S BEDROOM - NIGHT
Robbie looks out the window. The tree just stands there in the wind. Another flash of lightning. Robbie controls his fear and concentrates.
ROBBIE
One, two...
CRACK! BOOM! An explosive jolt of thunder rocks the house. The closet light goes out as the tree outside the window suddenly bends forward as if looking in. Robbie sits bolt upright. Carol Anne wakes up SCREAMING.
28 INT. MASTER BEDROOM - MUCH LATER - NIGHT
Carol Anne and Robbie are asleep next to Diane and Steve. The TV been left on and the National Anthem starts to play...
CLOSE - FAMILY
Various positions, asleep.
28-A SLOWLY MOVE IN CLOSER TO THE TELEVISION
The pre-recorded voice of the station manager signs off. A beat...Transmission ceases and the soft roar of dead air fills the room as the static white snow colors the walls, making shadows flicker and warp.
It is only now that we first hear it. A SOUND Intermingling with the TV hiss, like a bad connection from far, far away. A whisper. Not one, but hundreds of them. They say nothing. It�s a chorus, tonal and inviting.
28-B CLOSE - CAROL ANNE
She turns on her side. And her eyes open surreally. Ever so slowly, she turns her head until fully facing the TV. Carol Anne smiles. A smile much too sophisticated for a five year old child.
28-C CLOSE - TV SCREEN
The snow mixes with new imagery. Forms. Vague but luminous. Always mingling. Impressionistic. Never hard-lined.
CAROL ANNE
(whispering)
Come out...come out...
The picture tube starts to SNAP! Little flashes momentarily blind Carol Anne. She blinks and tries to see deeper. SNAP! CRACK! It's as if flashbulbs were being emitted. Steven and Diane turn fitfully but remain asleep. FLASH! POP! Robbie is close to waking.
28-D CLOSE - CAROL ANNE
Smiling, on her knees now...she reaches out toward the TV screen when... SOMETHING REACHES BACK. A Substance. A form, like a wispy, smoky tentacle twists forward, EXTENDING FROM THE PICTURE TUBE and snaking into the Freeling bedroom. Transparent and cold, it gives birth to itself, builds upon its own energy, growing brighter as it seems to hover above Carol Anne, then tower over the family asleep in the king-size bed.
28-E CLOSE - CAROL ANNE
She must bend her neck to look all the way up at the ceiling where this cyclonic shape waltzes.. .studying...a the room, then Carol Anne...
AN EXPLOSION from the TV set. The brightest flash yet experienced. A force that expells the intruder from the set and into the room. Catapulting it past the family and into the wall RIGHT OVER THE BED, where it leaves a dark pencil dot stain. The entire room shakes and the family is awake and panicked.
The window cracks, the curtain rod slips. Books and mementos fall from the open hutch. The medicine cabinet opens and prescription medicine splatters on the tiled floor. The room lights flare then die. Every picture topples from the walls.
28-F
Just as quickly as it began, the episode ceases. A HUSH descends. Everyone looks at Carol Anne. Carol Anne looks at everyone...then intones, almost matter-of-factly.
CAROL ANNE
They're here.
29 EXT. FREELING�S BACK YARD - DAY
CLOSE STUDY - FOUR GEARSHIFTS
A work glove shifts.
CLOSE STUDY - CLUTCH
A steel-toed workboot slowly withdraws.
CLOSE STUDY - STEEL-BELTED TREADS
Lurch forward, dripping sod and wet grass.
The shovel of the bulldozer touches the earth and scrapes a deep swathe.
CAMERA MOVES CLOSER as the cigarbox coffin is cruelly exhumed in the ever-growing tidal wave of back yard turf.
30 INT. KITCHEN - DAY
Steve is on the phone, nervously smoking a cigarette as the bulldozer can be seen out the window, digging the new pool. Diane is serving waffles around the breakfast table. E. Buzz sits at Robbie's feet, watching the waffles hopefully. Only Carol Anne seems to have an appetite.
STEVEN
(on the phone)
I�m not kidding, Jeff. How could anyone sleep through a six-point-five. Yes, damage. Stuff�s in pieces all over our bedroom.
DIANE
(quietly to Carol Anne)
Chew each bite ten times.
Carol Anne exaggerates her chewing; smiling with her mouth full.
STEVEN
I know that...we�ve had the radio on and there�s nothing about it. (after a beat) After the Sylmar quake it was two years before real estate was on the rise.
Diane is gently coaxing some information out of Carol Anne who mostly has her mouth full of waffles and blueberries.
DIANE
When you said, �They�re here" last night.
CAROL ANNE
Can I take my goldfish to school?
DANA
Maybe the fault line runs just under our house. Wouldn�t that be a scream?
ROBBIE
The ceiling got crumbs all over my bed.
DIANE
(to Carol Anne)
Sweetheart. Do you remember last night? Do you remember when you woke up and said, �They�re here?�
CAROL ANNE
Uh huh.
DIANE
Who did you mean? Who�s here?
CAROL ANNE
(mouth full)
The TV people.
ROBBIE
She�s stoned.
DANA
What do you know about it?
ROBBIE
More�n you. Ask Dad.
Robbie picks up his milk to take a sip when the bottom of the glass drops out, the milk splashing back onto Robbie's cereal bowl, overflowing cereal all over the table and onto Dana�s blouse in a burst, perhaps slightly strong for the small amount of spilled milk.
DANA
Hey--!
ROBBIE
(throwing up his hands)
It�s not my mess.
DANA
(jumps up from the table)
Thanks a lot, jerko-I�ve got class in twenty minutes.
ROBBIE
Mom.
DIANE
Gimme that thing before you cut yourself.
Carol Anne has a big dripping splash of milk running down her forehead. Oblivious to this she just keeps eating, goes over to the kitchen TV...turns it on to the �Today Show�, then switches to an �in between� channel and watches the snow.
STEVEN
I�m outta here! See ya early.
ROBBIE
(imitating Dad)
I�m outta here!
DIANE
(pushing him back)
You I can handle.
ROBBIE
I got school!!
DIANE
Breakfast first.
ROBBIE
(casually)
All right, I'll just f1unk.
Robbie shrugs, reaches for his spoon to resume eating and notices something unusual. The spoon is bent. He looks around the table. Every spoon is bent. Shrugging it off, Robbie lifts his cereal bowl and drinks right out of it, two tiny trails dripping off his chin, spotting his school shirt.
31 EXT. FREELING�S BACK YARD - DAY
A big man, PUGSLEY, thirites, bald, steps out of his pool install ation truck wearing combat boots, a Teamster T-shirt, mirrored sunglasses and a baseball cap turned around backward on his head. He motions to the bulldozer driver to �take a gander�. Dana grabs her bike and rides off. The workmen pause to stare at her. Pugsley and the dozer driver share a salacious grin and the dozer driver pops his clutch rapidly, the
dozer lurching suggestively several times.
32 INT. KITCHEN - DAY
Diane has witnessed this sloppy display through the open back door. Choosing to pass over it, she turns toward the kitchen table to clean up. E. BUZZ, the dog, is sitting on a pulled-out chair eating from everyone�s plates. Diane sighs and shoos E. Buzz away.
DIANE
When you leave the table, Carol Anne...Robbie you push your chairs in.
Carol Anne is trying to fine-tune the snow on television.
DIANE
Aw, honey you�re going to ruin your eyes. This is not good for you.
She turns the set to another channel where a WAR MOVIE is showing. Soldiers blowing up and screaming.
33 INT. MASTER BEDROOM - DAY
Diane is cleaning up. Broken glass surrounds her. She cups her left hand and picks narrow shards out of the shag when the GROWLING begins. Diane turns and sees...
DIANE�S POV
E. BUZZ is growling at the wall. Looking up at something we don�t see. Diane sidesteps the broken vases to follow B. Buzz�s eyeline right up the wall and onto the stain.
CLOSE - DIANE
She cocks her head curiously.
MOVE IN - THE STAIN
It has grown since this morning. Like a Rorscharch pattern. Diane tries to rub it out with a pillowcase. She slips into the bathroom and wets one corner, then returns when...
Diane stops. Carefully she watches E. Buzz, who has ceased growling.
FULL SHOT - DIANE AND E. BUZZ
Never removing his spaniel eyes from the wall, E. Buzz� tail starts wagging. He backs a scoot away from the wall and executes an obedient "roll-over.� Diane herself retreats.
DIANE
(gently)
C �mere, E. Buzz.
E.Buzz turns, but his mind is not on Diane. He runs out of the room between Diane�s legs immediately returning with his chew-ball. E. Buzz siddles up to the wall and sets his chew-ball down, �speaks� and executes a double roll-over.
34 INT. KITCHEN - DAY
Diane enters, sees Pugsley drinking a cup of coffee from one of her China cups.
DIANE
(at doorway, to Pugsley)
Okay, Bluto! Gimme my cup.
PUGSLEY
Gee, Mrs. Freeling you make great coffee. Good for a second cup.
Pugsley breaks out laughing. Diane grabs the cup out of his hands and drops the blinds in his face.
34-A ANGLE - KITCHEN TABLE
Diane turns to find all the chairs are withdrawn from their intended places. She looks for Carol Anne then jumps halfway out of her skin.
Carol Anne is right behind her, tapping her on the side.
DIANE
Jesus, don�t do that. You wanna see your mommy lying in a cigar box covered in licorice?
Carol Anne shakes her head.. .slowly.
DIANE
(pointing to chairs)
Did you do that?
Carol Anne shakes her head slowly.
Diane replaces the chairs in their proper places and returns to the sink. She opens the cupboard under the sink, and brings out a bottle of 409. She stands and turns around...
34-B FACING HER IS THE KITCHEN TABLE
The chairs are stacked one atop the other, reaching all the way up to the ceiling. Diane jams her fist into her mouth to press back the natura1 reaction. Carol Anne stands below her smiling up at the pyramid.
DIANE
(a whisper to Carol Anne)
The TV people?
CAROL ANNE
Up there.
DIANE
(barely audible)
Do you see them?
CAROL ANNE
No...do you?
DIANE
Uh uh.
35 INT. KITCHEN/NEW, VACANT HOME - DAY
WIDE ANGLE - IDENTICAL KITCHEN
In a disconcerting jump, all of the furniture, Carol Anne and Diane disappear. The basic structure of the kitchen remains exactly the same for this is a model home somewhere in Cuesta Verde Estates.
Steve Freeling walks into the empty setting with a family of prospective buyers. Only the wallpaper
is different from the Freeling residence.
STEVEN
This, then, is our latest development. We call it phase four.
WOMAN BUYER
Where is your home, Mr. Freeling?
STEVEN
We were the first family to set up housekeeping in Cuesta Verde Estates.
HUSBAND
(helping)
Phase one!
STEVEN
That�s right. Actually you passed through my neighborhood to get here.
WOMAN BUYER
The area with that �lived in" look.
STEVEN
In a month you won�t be able to distinguish phase four from phase one from phase... well, around here grass grows greener on every side.
HUSBAND
Yeah,, I can't tell one house from the other.
STEVEN
Our construction standards are very liberal. Matter of fact, a neighbor of mine put a jacuzzi in his bedroom, with a running aquaduct connecting it to the wading pool outside which he built half in, half out of his living room. That home was featured in last month�s issue of Town and Country.
DIALOGUE FADE WITH DISSOLVE
36 EXT. CUESTA VERDE ESTATES, PHASE ONE - DUSK
ESTABLISHING SHOT
Sparse lightning over the mountains as the storm c1ouds begin to roll in. The neighborhood is quiet. Warm window light spill is out across the well manicured lawns. You can almost smell two hundred dinners in all of the ovens of Cuesta Verde.
37 EXT. STREET/FREELING�S HOUSE - DUSK
Steve Freeling�s Oldsmobile station wagon turns down the block heading home.
ANGLE - FREELING DRIVEWAY
Three empty trashcans block the drive...Steve groans as he parks half on, half off the curb, climbs out, and starts removing obstacles when from nowhere is there, literally pulling toward the house.
STEVEN
Hey babe. Guess who just bought L-J 237...
DIANE
Just c�mere! Hurry!
STEVEN
Wait a sec, I�m parked in the street.
DIANE
Leave it. Quick, before it stops again.
38 INT. KITCHEN - DUSK
We have never seen Diane focused and again so frazzled. Her words are coming in spurts. She must constantly catch her breath. The thrill in her voice is backed up against an oppressive fear.
DIANE
Okay, okay...look. Okay. Listen. I�ve kept Dana and Robbie out of this, but Carol Anne was with me when it started so I cut her in, but Dana would blab and Robbie�d be up for three weeks sleeping on your side of the bed.
STEVEN
Diane, put the breaks on will ya. Just sit down a sec.
DIANE
No, goddammit, you sit down! I mean ...stand right there. And just...just have an open mind. Reach back into our past when I used to know you with one and use it for the next coupla minutes.
Carol Anne suddenly appears from around the corner looking exhausted and cranky. In her hand is an San Diego Charger football helmet.
CAROL ANNE
Mommy didn�t cook any dinner.
DIANE
(loud)
We�ll go to Pizza Hut, all right?
ANGLE - STEVE
Looking around he sees chalk marks all over the kitchen floor. Arrows and squares and numbers in two colors.
Diane�s breathing quickens as she steadies herself. Skipping to the kitchen table she takes one of the colonial country chairs from the breakfast table and scrapes it along the floor to the center of the room where four circles have been described in chalk. Diane places each leg in one of the proscribed circles and looks up at Steve.
DIANE
(last words)
Okay...okay now, watch!! Watch!!
She removes her hands from the back of the chair and steps aside. Steve watches Diane as much as the chair. He starts to step forward when Diane throws both of her hands out to stop him.
DIANE
Look!
The chair begins to tremble. It virtually jitterbugs in place...then begins to move forward picking up speed until it traverses the entire length of the kitchen ending up right in front of Steve�s bullfrog eyes.
ANGLE - CAROL ANNE
Yawning
CLOSE - DIANE
With hysterical victory in her eyes.
CLOSE - STEVE
Looking for the wires. He kneels and feels the chair legs, then immediately looks to Diane for the answer.
DIANE
It�s okay. It�s okay. Look!
(to Carol Anne)
Sweetheart, show Daddy.
CAROL ANNE
(angry now)
I�m hungry.
DIANE
Don�t argue!!
Carol Anne shrugs and puts on the football helmet. Diane runs over to Steve�s side and pushes the chair out of the way. Carol Anne sits on the floor in a circle with her name on it in yellow chalk.
ANGLE - STEVE
Starts to run for her protectively. Diane restrains him.
LOW ANGLE - CAROL ANNE
She starts to tremble as if on a funhouse ride. Her little body begins to move forward, faster, and all the way across the kitchen floor right into Diane�s arms.
CAROL ANNE
(rubbing her fanny)
That burned!
DIANE
Sorry, baby, floor needed more wax.
STEVE
What the fuck!!
DIANE
You try!
STEVE
What???
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...
STEVE
(laughing nervously)
No, no, uh-uh. Nothing like that. We were wondering...although this is going to sound strange coming from me.
TUTHILL
1 doubt it.
STEVE
(swatting the mosquitos)
These mosquitos.. .Jesus.
TUTHILL
(so nonchalantly) They never bothered me. I never been bitten by one. Far as I know, no member of my family�s effected by �em.
(grabs his fourteen-year-old kid)
Mosquito ever suck on you, son?
KID
Heck, I don't know, Dad.
Meanwhile Diane and Steve are being massacred.
TUTHILL
He don�t know.
Suddenly, there is a crash from somewhere inside the Tuthill home. Tuthill glances casually over his shoulder, turns back to Diane and removes wet piece of cigar tobacco from the tip of his tongue.
DIANE
Mr. Tuthill, what my husband was wondering....
STEVE
(breaking in)
Yes. You see, Ben, something funny in our house...next door. Something..
DIANE
You been having any disturbances lately?
TUTHILL
(suspiciously)
What sort of disturbances?
DIANE
(trying to be casual)
Oh, dishes or furniture moving -- around by themselves?
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�d 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.
44 INT. CHILDREN�S BEDROOM - NIGHT
Robbie is wide awake. He is staring out the window from under the covers. There is a flash of lightning. Robbie begins nervously counting.
ROBBIE
One.. .two...three. . .four...five...
The SOUND of rolling thunder. Robbie tenses and watches the tree.
ANGLE - WINDOW
A wind rustles the gnarled branches. The sky is a rolling mass of gray and black.
A second flash of lightning and Robbie whispers to himself.
ROBBIE
One... two...three...
CRACKLE! RUMBLE! The window pane vibrates as the shock wave from the thunder bears down and the wind begins to dance with the tree.
45 INT. MASTER BEDROOM - NIGHT
DIANE
(getting her back up)
I�m the one who lived with this freaky thing all day.
And nothing bad happened. It�s like another side of nature. A side you and I are not qualified to comprehend. When you overreact like this it makes what happened much too important.
STEVE
Nobody goes into the kitchen until we know what�s happening.
DIANE
(looking through the stash box)
We�re out of papers.
46 INT. CHILDREN�S BEDROOM - NIGHT
Robbie is watching the tree. Carol Anne is asleep but she�s tossing and moaning like the wind outside the window.
Another FLASH OF LIGHTNING. Robbie pulls the covers up over his nose and mouth. His little breath pushing the fabric up and down as he counts.
ROBBIE
One...two..
KA-BOOM! The room vibrates and Robbie takes his eyes off the window for just a moment, looking at the open bedroom door and the light down the hall from his parent�s room. He could be out of bed and there in six seconds if he hurried.
A SAVAGE CRACK OF LIGHTNING. THE EXPLOSION OF THUNDER RIGHT ON TOP OF IT.
Robbie snaps a look at the window just in time to see it happen.
46-A ROBBIE'S POV
A hurricane BLAST of wind hits the monster oak. The two branches resembling arms fold forward aiming at the window. The disfigured crown with the horns and knotty eyes bends back before tipping forward.
The finger-twigs at the end of the arms reach out hungrily.
46-B ANGLE - THE WINDOW
THE ENTIRE TREE CRASHES THROUGH ROBBIE�S WINDOW.
A FURNACE OF LIGHTNING accents the assault. Robbie starts SCREAMING. The finger-twigs wrap around him like skeleton hands and lift him right out of bed.
Carol Anne sits up and SCREAMS for Diane.
The tree seems to be exhaling. Its breath enveloping Robbie in a phantom haze. The arms begin to retract pulling Robbie toward the mouth and eyes.
46-C ANGLE - ON THE DOOR
Just then, Steve and Diane appear in the doorway. Diane SCREAMS as...
The tree pulls Robbie right out the window and into an eighty-mile-per-hour night. The ROAR of wind is almost unbearable...drowning Robbie�s SCREAMS and those of his parents and Dana who suddenly appears in the doorway.
46-D INT. DOWNSTAIRS
Carol Anne is suddenly forgotten as Dana, Diane and Steve hurl themselves downstairs and through kitchen, only to find the door blocked by several large branches. They scramble back through the kitchen, out the sliding glass door and into the raging storm.
46-E INT. CHILDREN�S BEDROOM - ANGLE - CAROL ANNE
The force from the shattered window shoves Carol Anne against the headboard of her bed where she hugs her clown doll with all her might, its broad smile suddenly disconcerting as it appears to be looking toward the closet in her room.
46-F ANGLE - THE CLOSET
The closet door opens revealing the most feared and dreaded space in this five-year-old�s tiny, tiny world. Carol Anne looks where her doll is looking and SCREAMS horribly.
47 EXT. BACK OF HOUSE- SECOND - STORY WINDOW - NIGHT
The storm lashes the tree. The tree lashes Robbie. RAIN and WIND and CONDENSATION make it difficult to see everything.
Sixty branches form briar prison that starts to tear and strangle. Steve races outside. A WALL of WIND makes his run SLOW MOTION.
48 INT. CHILDREN�S BEDROOM
ANGLE - THE CLOSET
The light inside grows to a supernatural intensity and a SOUND unlike anything anyone would ever want to hear blasts through the velocity of the storm. It is the closet, sucking the bedroom into its murderous glare. Anything not tied down is swallowed. Carol Anne grabs her covers, and SCREAMS. NO SOUND comes out.
She is lifted completely off the bed by the suction. Only her death-grip on the sheets keeps her away. Unbelievably, her clown doll is not affected by the vacuum pull. It just sits on the floor where Carol Anne dropped it and stares up at her, smiling.
49 EXT. SECOND - STORY WINDOW - NIGHT
ANGLE - TREE
Steve reaches the twisting trunk and starts to climb. Diane's SCREAMING from the patio is lost in the storm.
Steve reaches Robbie and the fight is defined only by the flare of stroboscopic lightning. Every time it appears as though Robbie will be freed, branches envelop him and wind him tighter.
50 INT. CHILDREN�S BEDROOM - NIGHT
CLOSE - CAROL ANNE'S TINY HANDS
The sheets start to peel back. The closet swallows toys and posters of Darth Vader and R2D2, then sucks harder, the NOISE something like a colossal straw pulling at the last drop from a deep, deep well. Only now does the bed give way, flipping into the air and flying across the room, slamming Carol Anne inside and blocking the opening with its frame and springs.
51 EXT. SECOND-STORY WINDOW - NIGHT
ANGLE - TREE
Steve tears at the branches, trying to free Robbie. A crimson fluid pumps thick from the branches that Steve destroys. As suddenly as it began, the final burst of wind passes the tree like the caboose at the end of a runaway train. He frees his son and they topple out of the tree. Robbie throws his arms around his Dad and the two hold on for their lives, gasping, hugging, choking on the rain and sap. The tree is uprooted before them and disappears into the storm.
52 OMIT
53 EXT. FREELING'S BACK YARD - NIGHT
Steve and Robbie lie on the ground. Both are numb and buzzing. Diane runs over and hugs them. Then Dana looks in the sky and points to the horizon.
DANA
Look, Mom...Dad!!!
Diane and Steve look off into the sky miles away.
54 EXT. BACK YARD - NIGHT
A funnel cloud is moving away from Cuesta Verde Estates, breaking up as it hits the outlying hills.
55 EXT. FREELING�S BACK YARD - NIGHT
.DANA
A night twister!
DIANE
It must of just skimmed us. There wouldn�t be a house standing if...
STEVE + ROBBIE
Carol Anne!!
DANA
Upstairs?
DIANE
(looking at the shattered upstairs window)
My God!
Everyone runs to the house.
56 INT. UPSTAIRS HALL TO CHILDREN�S BEDROOM - NIGHT
Steve and Diane are first into the room. Their expressions say it all.
57 INT. CHILDREN�S BEDROOM - NIGHT
FULL SHOT
With the exception of the two beds blocking the closet, Robbie and Carol Anne�s room is stripped clean. Diane lets out a muffled shriek and throws herself against the barricade, pulling back mattresses, boxsprings and blankets.
Steve joins her and together they work side by side, panting, crying and calling for Carol Anne.
ANGLE - ROBBIE
Still in a state of complete dislocation, Robbie walks back into his bedroom and looks at the window. The tree is there no longer. E. Buzz , the dog, joins Robbie, whimpering at his feet.
ANGLE - THE CLOSET
Over Diane, SCREAMING out Carol Anne� s name, Steve does the muscle work, pulling off end tables, Lone Ranger lamps, chest of drawers, toys and stuffed animals, working his way to the bottom of this innocent debris.
CAMERA STARTS TO MOVE IN. Going beyond Steve to his hands at work as he lifts the last layer of mayhem off Carol Anne�s favorite pink blanket.
There is a folded lump beneath it. The lump doesn�t stir. Diane covers her mouth and hyperventilates as Steve gently removes the fuzzy blanket and...
IT IS THE CLOWN DOLL, SMILING UP AT THEM OUTRAGEOUSLY.
STEVE
She's not here!
DIANE
(turning and calling)
Carol Anne!
Diane goes to the shattered window and calls out.
DANA
I�ll check the kitchen!
STEVE
Don�t go in there! I�ll check it. You look in our room.
DIANE
I�ll go!! Look in the bathrooms!
CLOSE - ROBBIE
Robbie�s expression never changes as everyone pushes past him on the run. He slowly walks to the closet and looks in.
ROBBIE�S POV
The clown.
58 INT. KITCHEN - NIGHT
Steve swings into the room. The television set is on but the local transmitter must be out. There is only static snow.
STEVE
Carol Anne!!
No answer.
59 INT. DOWNSTAIRS BATHROOM - NIGHT
Dana opens the door.
DANA
Carol Anne! Carol!
She walks over to the shower stall and suddenly parts the curtains. There is nothing inside.
60 INT. MASTER BEDROOM - NIGHT
Diane passes the TV. Snow, but no transmission. She checks her bed, the closet, the bathroom, becoming more frantic with every dashed hope.
DIANE
Oh Jesus Christ Almighty. Carol Anne!
STEVE
This is crazy. I�ve looked everywhere.
DIANE
(suddenly realizing)
Oh my God. Tthe swimming pool!
Everyone breaks running. Again passing Robbie in the hall. Robbie turns into his mother�s room. The SOUND of TV STATIC and blue video glow growing stronger with every step.
61 EXT. BACK YARD POOL EXCAVATION - NIGHT
Dana, Steve, and Diane race to the edge. The rain has softened the edges and Dana�s feet slide out from under her. She starts to fall when Diane grabs her wrist, Dana simply dangles above the deep end, filled with two feet of rainwater and mud. Steve slides down the steep muddy shoot from three to nine feet and plunges his hands into the guagmire.
He finds nothing.
62 INT. MASTER BEDROOM - NIGHT
CLOSE ON ROBBIE
The blue TV light flattens Robbie's features, accentuating his lingering catatonia. The TV HISS is growing steadily and Robbie starts to register something. From the back of his eyes, awareness regains awareness that shifts to terror. Robbie opens his little mouth and produces a low MOAN that slides relentlessly to the upper registers of primal release.
ROBBIE
MOOOOOOOOOOOOOOOOOOOO
MOMMY! MOMMY!!!
63 EXT. POOL EXCAVATION - NIGHT
CLOSE ON DIANE
She almost has Dana pulled out when the SOUND reaches her. A preferential instinct forces Diane to let go. Dana falls four feet into her father�s arms.
63-A INT - STAIRS/UPPER HALLWAY - NIGHT
Diane is already inside the house and heading down the hall.
64 INT. MASTER BEDROOM - NIGHT
Robbie is stationed not six inches from the nineteen-inch screen, hysterical, holding his hair in his fists. Diane grabs him up and locks her eyes to his.
DIANE
What is it?! Oh my Christ, what is it?!!!
The STATIC HISS is almost unbearable. Through it all we can still make out "the voice".
VOICE
Mommy...
Diane frantically searches the room.
DIANE
Carol Anne! Where are you?!
Diane puts Robbie down and runs in a wide circle looking. The HISS is everywhere. E. Buzz growls at the TV.
VOICE
Mommy...
Diane is hysterical now. The first time we've seen her lose control.
DIANE
I�m here, baby! Oh God, baby, I�m here!
CLOSE - ROBBIE
Walking to the TV screen again.
ROBBIE
Mommy. Here! Here!!
64 CONTINUED:
Diane turns to look. She freezes, and only the rivulets of perspiration move across her. Diane doesn�t even breathe.
TV SET - SLOW PUSH IN
Carol Anne�s voice is heard again, buried deeply behind the horizontal blurring, the electron bombardment, the swirls of snow and noise.
VOICE
I can�t see you. Mommy. Where are you?!
EXTREME CLOSE SHOT - DIANE
Her eyes roll white, her head lulls and we
FADE OUT.