"Poltergeist" Script (Continued)
(Page 2 of 3)
FADE IN: (3 DAYS LATER)
65 INT. DR. LESH�S OFFICE - U.C. IRVINE
Three banks of cold flourescents purr down from the ceiling.
CAMERA PANS DOWN, past rows of metal bookshelves from which reams of notes, files and textbooks hang in no organized manner. Finally, the view STOPS on DR. MARTHA LESH, Professor of Psychology at the University of California at Irvine. Wearing a purple aftan to hide the urge for jelly beans and souffles, Norm looks up from her questionnaire and takes off her reading glasses. She is sixty-one and full of pep. Next to her are two long-haired graduate students, TAK & RYAN.
DR. LESH
Who are the members of the household involved? What are their ages?
STEVE (O.C.)
(monotone)
Diane, my wife, she�s 31. Uh..32. My oldest daughter, Dana, 15. Robert, my son, he�s 9. And Carol Anne...
(trails off)
DR. LESH
Yes.. .Carol Anne. Five.
Dr. Lesh writes five years old on the form.
DR. LESH
Has there been any publicity about the events?
STEVE (O.C.)
Absolutely no. Uh uh.
DR. LESH
Can you be reasonably sure of not letting any get started?
STEVE (O.C.)
It�s the last thing in the world we want.
DR. LESH
Would your family welcome a serious investigation of the disturbances, by someone who could make first-hand observations?
ANGLE - STEVE FREELING
His eyes are dark shadows and the unflattering light features the patches of stubble and parched lips. He speaks in hoarse whispers, viewing these surroundings with great suspicion.
STEVE
Dr. Lesh. We don�t care about the disturbances...the pounding ...the flashes or the music. We want you to find our little girl.
FADE OUT.
FADE IN:
66 INT. FREELING HOME - STAIRWAY - UPPER HALLWAY - DAY
Dr. Lesh is mounting the stairs, followed by her two associates, TAK and RYAN. Steve is in the lead while Robbie keeps his distance in the rear.
STEVE
I should warn you we�ve had to lock off the room from the rest of the house. Robbie sleeps with us now. Dana, our oldest, spends a lot of time with.. .with friends.
DR. LESH
How many disturbances have you recorded in this room?
STEVE
We don�t go in there any more.
RYAN
We�ll record any psychotronic energy or event.
DR. LESH
Ryan filmed an extraordinary episode during a case in Redlands.
RYAN
A child�s toy, small matchbox vehicle, rolled seven feet across a linoleum surface. The duration of the event was seven hours.
STEVE
Seven hours for what?
RYAN
For the vehicle to complete the distance. This would never register on the naked eye, but I have the event on the time-lapse camera.
ANGLE - CHILDREN�S BEDROOM DOOR
Steve takes out a key and feels for the lock. Dr. Lesh and her assistants are looking around, checking out the hallway as Steve swings the door open.
CLOSE - DR. LESH
She casually looks in.
INT. CHILDREN�S BEDROOM - DAY
HER POV - INSIDE THE ROOM
Inside is a junk pile of shattered furniture and toys. The window is boarded up. Objects are in motion throughout the room...the bed is hopping about, records are flying, a lamp sails through. The clown is seated upside down on the boxspring as it spins y. Childrens picture books flapping their covers like wings, cruise the upper reaches. A horse rides by. Finally, a spinning compass plays a record while flying towards the roar of the room, creating an eerie melody.
CLOSE PANNING - DR. LESH, TAK, AND RYAN
All semblance of clinical cool is gone. They are blown away.
67 INT. DINING ROOM - DAY
Diane's VOICE is heard over two shaking hands trying not to spill a pot of coffee as it fills a cup.
DIANE�S VOICE
None of us have been much fun to be around. I guess you can tell I haven�t slept very much. Steve�s stayed home from work so much. He�s been really wonderful. Really. PAN UP from the shaking hands to Dr. Martha Lesh She must now use both hands, steady the coffee she�s just poured. Her assistants are in no better condition.
ANGLE - DIANE
She looks terrific. Her eyes are alert, hair combed back and held with a bright yellow clip. She sips her coffee with rock steady hands and softly inquires.
DIANE
How long have you been investigating haunted houses?
DR. LESH
(embarrassed, backtracking)
Well, Mrs. Freeling...
DIANE
Diane.
DR. LESH
The determination as to whether your home is haunted is not a very easy one.
At that moment the coffee pot moves by itself to the table�s edge but doesn�t spi1l. Dr. Lesh tries to overlook this, for appearances sake.
DR. LESH
What I meant. to say was this could very well be a poltergeist intrusion instead of the classic haunting.
STEVE
There�s a difference?
Two bright flashes of light in the room distract Lesh and her associates.
RYAN
Anybody see that?
DIANE
There�ll be two more in a few seconds. They always travel in pairs.
Tak sits holding a camera with his mouth hung open. Lesh nudges him.
DR. LESH
Dr. Casey!
Tak snaps out of it and looks down to adjust the lens setting just as two more flashes go off in the air.
DIANE
Gotta be quicker than that around here.
RYAN
It�s electrical...you can smell the charge.
DIANE
You were saying poltergeists...
DR. LESH
(rattled)
I was saying they are generally associated with an individual. In the general vernacular, hauntings seems to be connected with an area...a house usually.
TAK
Poltergeist disturbances are of fairly short duration. Perhaps a couple of months. Hauntings can go on for years.
Diane takes Steve�s hand, suddenly frightened.
DIANE
Are you telling me all this could just end at any time?
DR. LESH
Unless it�s a haunting. But as a rule, there seems to be no living person around whom haunting incidents revolve.
DIANE
Then we don�t have much time, Dr. Lesh. Because my daughter is alive somewhere In this house.
69 INT. LIVING ROOM - DUSK
THE FAMILY AND INVESTIGATORS
Everyone is assembled around the console TV. Ryan has a Nakamichi cassette recorder on the coffee table and a pencil microphone taped to the television speaker. Tak has erected his Nikon on a small aluminum tripod aimed at the screen, plus two infrared heat seeking cameras and monitors which scan the entire living room. An electrostatic locator to measure ionization and a magnometer that me asures magnetic changes. Diane is holding Steve�s hand.
Dana comes into the room with an overnight bag strapped around her shoulders.
DIANE
Dana, I�d like you to meet doctor...
DANA
(clipped)
It�s getting dark, Mom. I gotta go. I�ll call you from Trudie's.
STEVE
She won�t stay in the house after dusk.
ROBBIE
(disgusted)
She�s got brains!
Diane flips on the set. A loca1 news station is finishing the report when Diane turns to channel 27.
DIANE
We receive better on this channel but don�t ask me why.
Dr. Lesh is thoroughly perplexed. She puts on her glasses as Steve turns out the lamp and lights a cigarette. Diane squeezes her husband�s hand. The CAMERA PUSHES IN to the TV screen and millions of particles of white air.
Diane turns the volume up and Ryan, wearing headsets, flinches, adjusting down the volume on his recorder.
DIANE
I�ll call her.
She says this so matter-of-factly that Dr. Lesh gasps. Diane walks to the center of the living room, folds her hands in front of her, collecting her thoughts, takes a very deep breath and calls to the ceiling.
DIANE
It�s mommy, sweetheart. We want to talk to you. Baby, please answer. Please talk to me, Carol Anne.
Dr. Lesh looks quickly to Tak and Ryan for their human responses to this. Tak shrugs unnoticed. Ryan adjusts in his chair and looks up at the ceiling.
E. Buzz prances into the room, looking up as if following on the heels of someone with a treat.
DR. LESH
(to Tak breathlessly)
Look at the dog.
He sits up on his hind legs and begs to no one we see.
DIANE
Are you with us now? Can you say hello to Daddy? Say hello to Daddy, baby.
CLOSE - RYAN
He tries hard not to smile. No matter. The surpressed laugh is slapped away by what he now hears. Ryan grabs his headsets in two hands, pressing them hard to his ears.
TAK
(tight whisper)
Good Lord...
Everybody turns away from Diane and back to the TV. They strain their hearing, leaning forward, watching...
VOICE
(softly, sweetly, far away)
hello, Daddy.
---------------page 50 is missing----------------- Please email me if you have this page
69 CONTINUED: (3)
DIANE
Carol Anne. Where is this light?
DR. LESH
Tell her to stay away from it!
STEVE
Tell her, Diane!!
DIANE
Sweetheart, the light is dangerous. Don�t go near it. Don�t look at the light.
Tak speaks into Dr. Lesh's ear.
TAK
I can�t believe it. It�s just a Zenith. But the voice could be C.B. broadcasting from somewhere in the house. I�m taking a look.
DR. LESH
It�s not a hoax.
TAK
We�ll see.
Tak takes off.
E. Buzz barks into the air twice and catches something in his mouth. No sooner does Dr. Lesh catch this out of the corner of her eye when several midair electrical discharges illuminate the room.
STEVE
What�s that?!
70 INT. THE LIVING ROOM FLOOR - DUSK
From one of the flashes a number of tiny objects fall to the carpeting. Jewelry, cameos, broaches, coins, watches, both modern and pocket, along with many thin, wiry clips, sprinkle the f1oor.
71 INT. THE LIVING ROOM - DUSK
E. Buzz immediately starts to sniff whatever it is.
DR. LESH
(to Ryan)
Anything?
RYAN!
(checking readouts)
Nothing�s registering.
TV VOICE
Mommy...there's somebody here.
STEVE
(holding his head in his hands)
Oh Jesus, this isn�t happening.
TV VOICE
Mommy...is it you?
DIANE
(fear enveloping her)
Who is with you?
TV VOICE
(the voice is afraid)
Somebody�s coming!!
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.
73 INT. LIVING ROOM - DUSK
TV VOICE
Help! No, no, no, no...
The little voice hidden behind all the static SCREAMS.
DIANE
(screaming back)
Run Carol Anne! Run away!!
CLOSE - RYAN
His eyes light up.
CLOSE - MONITORS AND READBACKS
Come to life arid start registering wildly.
Diane can�t stand the screams. She holds her ears, in tears now, imploring Dr.. Lesh with her eyes.
DIANE
Carol Anne! Oh God!!
Steve holds Diane to him, she pushes away and SCREAMS at the ceiling.
DIANE
You fucking bastard, she�s just a baby!
TV VOICE
Mommy! Mommy!
DIANE
(screaming through tears to Dr. Lesh)
Help her! Can't you hear what's happening?!
We HEAR soft FOOTSTEPS running across the ceiling and down the wall. Two lamps are turned over and smash to pieces on the library table.
We next HEAR colossal FOOTFALLS BOOMING in pursuit. A gust of interior wind races through Diane�s clothes and hair. She SCREAMS in combined joy and horror.
DIANE
She just moved through me. My God, I felt her. I can smell her! She went through my soul!!
Diane runs back to Steve and grabs his shirt, pulling him to her.
DIANE
Smell my clothes. It�s her. It�s her all over me.
Steve smells and can�t believe it.
STEVE
It is her!!
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.
Lesh practically rolls up her sleeves and heads for the stairway, the rest following.
74 INT. BOTTOM OF THE STAIRCASE - DUSK
As they come around the corner they run smack into Tak, just coming down the last step, rubbing his side.
DR. LESH
What happened to you?
TAK
I was just about to check out the locked bedroom when ...I don�t know...something took a bite out of me.
Robbie gets very scared.
ROBBIE
You got bit?
TAK
That or the worst muscle spasm in the world.
DR. LESH
Roll up your shirt. Let�s have a look.
Tak turns to face the hall light and untucks his shirt, rolling it up. Then rolling up his T-
shirt. Everyone crowds in to see.
ANGLE - TAK�S SIDE AND STOMACH
Teeth marks bear out Tak�s story. The unusual thing is, the bite wraps all the way around his side from kidneys to navel. A pink and partially bruised eleven-inch crescent impression.
CLOSE - ROBBIE
Eye level with it, his little mouth hanging open.
ROBBIE
Wow!
Dr. Lesh takes a tentative step up the stairs then turns back demonstratively.
DR. LESH
Let�s everybody spend the night down here.
STEVE
Honey, I want you and Robbie to come with me. We�ll sleep in town and tomorrow...
DIANE
(firm and quick)
I�m not leaving Carol Anne.
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.
DISSOLVE TO:
75 INT. LIVING ROOM - NIGHT
LATER THAT NIGHT
Robbie and Diane are curled up together in the convertible bed. Steve has put two chairs together and sleeps fitfully. Dr. Lesh 1ooks over Tak's shoulder at the oscilloscope and electro hygrometer that is used for measuring changes in the humidity.
75-A HALLWAY - RYAN
Ryan sits in a chair facing the staircase and the upper level of rooms.
His spectroscopic camera equipment is aiming directly up the stairs. Lesh pats Ryan on the shoulders, he nearly jumps out of his skin. They speak in whispers so as not to disturb the others.
RYAN
Jesus, my heart.
DR. LESH
(whispering)
Shhh. More thrills than grading papers, wouldn�t you say?
RYAN
(whispering)
I can leave here any time, you know. This isn�t the Army and you�re not my mother.
DR. LESH
(whispering)
If push comes to shove, I bet I�ll beat you to the door.
DR. LESH (CONT)
(indicating monitors)
Any movement out of those things?
RYAN
(whispering)
There�s been some ionization fluct. I�d like to make sure they�re not caused by humidity coming from structure leakage, but I�m not going up there to find out.
76 INT. LIVING ROOM - NIGHT
Lesh goes to the console TV and, assuming everyone is asleep, she turns it off. In a very small voice Diane leans on her elbow.
DIANE
Please. Leave it on.
Dr. Lesh smiles, it�s the first time we�ve seen her do this and it reminds Diane at once of her favorite story-book grandma who bakes cookies and knits cornforters.
CLOSE - DIANE
She smiles back and motions for Dr. Lesh come over.
DIANE
When things get. quiet like now I can imagine how all this must look from your end. I�m really embarrassed.
DR. LESH
Oh, nonsense. I�ll tell you what is embarrassing. My being here with you nice people. Parapsychology isn�t something you master in. There arc no certificates of graduation, no license to practice. I�m a professional psychologist who spends most of her time engaged in this ghostly hobby, which makes me, I suppose, the most irresponsible sixty-one-year old woman I know.
DIANE
You were so funny. Your hands were shaking a mile a minute.
Diane starts to giggle. It�s a release and Dr. Lesh joins her.
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?
DIANE
Your sister isn�t dead, Robbie.
ROBBIE
If I got killed could I visit her and show her how to get back here if you tied a rope around me and held it tight? Then somebody could come get me and we could move somewhere else?
DR. LESH
Some people believe that when you die your soul goes to heaven.
ROBBIE
When Grampa was dead I looked at him on the hospital bed and I was watchin� , hut nothing went out of him.
DIANE
His soul was invisible. You couldn�t see it going to the sky.
ROBBIE
How come then Grandpa isn�t on television with Carol Anne?
DR. LESH
Some people believe that when you die there is a wonderful light. As bright as the sun but it doesn�t hurt to look into it. All the answers to all the questions you want to know are inside that light. And when you walk to it...you become a part of it forever. Now, some people die, but they don�t know they�re gone.
ROBBIE
They think they�re still alive?
DR. LESH
That�s right. Maybe they didn�t; went to die. Maybe they weren�t ready. Maybe they hadn�t begun to live yet or lived a long, long time anyway, but wanted more life. They resist going into the light no matter how hard the light wants them. They hang around, watch TV, watch their friends grow up, feeling all unhappy or jealous and those feelings are bad, they hurt. And then some people just get lost on the way to the light. They need someone to lead them there.
ROBBIE
So some people get angry end throw things around like in my bedroom?
DR. LESH
Yes. Just like in school. There are people who are nice to you. And people who are mean.
ROBBIE
I got beat up once by three kids. They took my lunch money. Maybe they got hit by a truck and are upstairs right now.
DIANE
Let�s get some shuteye, whad�ya say, partner?
ROBBIE
Goodnight, Mom. �Nite, lady. �Nite, Dad. �Nite, E. Buzz.
Robbie puts his head down on the pillow and Diane and Dr. Lesh share a warm look over him. Robbie sits back up suddenly and looks at the TV set.
ROBBIE
�Nite, Carol Anne.
77 INT. ON TAK BOTTOM OF STAIRCASE - NIGHT
Flanked by four banks of monitors and oscilloscopes, Tak's stomach growls. He turns back looking over his shoulder at the kitchen.
ANGLE - TAK
He leans his chair back on its hind legs until his head reaches around the corner. Tak �pfffts� to Ryan. Ryan looks up from a Penthouse Magazine that he is studying by penlight. Tak gestures for Ryan to relieve him for a few minutes.
FULL SHOT - BOTTOM OF STAIRCASE
Tak gets up and Ryan sits down, getting right back into his Penthouse after a cursory look at the monitors and readouts. Ryan puts a Walkman over his ears and pops a Herbie Hancock tape in the cassette.
78 INT. KITCHEN - TAK - NIGHT
The refrigerator is the perfect target for Tak�s housebreaking skills. He turns once, looking over his shoulder before opening the Amana.. The light inside bathes everything in white. Tak takes out a salad bowl and noshes from that, but his chewing is too loud so he opts for a beautiful New York steak wrapped in cellophane.
Placing the steak on the dark counter, Tak stuffs a chicken leg into his mouth and searches the kitchen for a steak knife. He pulls his flashlight from his hip pocket and begins pulling out drawers...
A new sound is added to his search. A CRAWLING GUSHY SOUND that bubbles and softly hisses. Tak turns and sees a shape moving along the counter where he put the steak. Approaching, Tak tilts his flashlight so the beam hits the object moving on the counter.
78-A INT. CLOSE ON KITCHEN COUNTER - NIGHT
Tak's P.O.V.
The New York Steak is alive with CANCER! It actually crawls over and over its own rampant cell growth.
78-B INT. KITCHEN
He starts to gag looking at it and realizes the chicken is still in his mouth. He spits it onto the floor and shines his flashlight on top.
78-C CLOSE - CHICKEN LEG
A thousand maggots crawl away from it into the dark corners of the kitchen. Tak starts to retch and flails into a small powder room.
79 INT. UTILITY ROOM - NIGHT
Tak turns the light on and retches into the sink.
80 INT. BOTTOM OF THE STAIRS - NIGHT
Ryan is reading the letters to Forum and hasn�t noticed the activity on the first readout. Slowly, the equipment comes alive, purring softly, images vibrating. Ryan is too involved in Penthouse to notice the change. Herbie Hancock leaks from his headphones.
81 INT. THE UTILITY ROOM - NIGHT
Tak is catching his breath, his head lowered in frame. He stands up suddenly checking his complexion in the mirror.
SMASH CUT TO:
HIS MIRRORED REFLECTION
His reflection is a ROTTING CORPSE, hair wild and streaming, his mouth open in a crazy way, teeth hanging by leathery threads, a funeral suit from the neck down.
The bulb over the mirror CHANGES HUE from white to yellow to orange to pink. In a burst of electricity it EXPLODES over the sink as Tak wheels around showing us his LIVE IMAGE, BACK TO NORMAL.
82 INT. HALLWAY - NIGHT
CLOSE - RYAN
Aware of nothing, reading, tapping his foot.
83 INT. VIEW UP THE STAIRS - NIGHT
ANGLE - BEHIND RYAN
Something is aglow at the top of the stairs.
Something is starting to descend.
Something ectoplasrnic and blue-green.
84 INT. ON THE EQUIPMENT NIGHT
The oscilloscopes are sine-waving like crazy. The remote cameras are triggered and click on. Tape machines roll automatically.
85 INT. TOP OF STAIRS - PAST RYAN - NIGHT
The substance is heading down.
86 INT. BOTTOM OF THE STAIRS - NIGHT
Tak walks forward, his eyes riveted to the staircase. He feels in the dark until his hand touches Ryan's head. Ryan turns around to see who�s behind him and shines his flashlight up into Tak�s face.
CLOSE - TAK
Lit from below adds a demented aspect to Tak�s already terrified expression. Ryan looks immediately in the direction Tak is fixating...THE TOP OF THE STAIRS.
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.
89 INT. STAIRS - NIGHT
The fingers are almost to the bottom. The smoking fingertips suddenly rise straight up into the air like sky-writing. Rising right up to the ceiling. Another tentacle of ectoplasm seems to come forward. Larger and thicker than the rest and still growing, it studies the VTR and Panasonic camera, waltzing above it, hovering curiously close, then retracting suddenly like a King Cobra.
90 INT. BOTTOM OF THE STAIRS - ON TAK - NIGHT
Dares to look at the monitor. His mouth drops open. He sees something we don�t. His eyes shift back and forth between the manifestation and the monitor. He bears his teeth to scream and...
TAK
DOCTOR LEEEEEEEEEEESH!!!
91 INT. LIVING ROOM - NIGHT
EXTREME - CLOSE SHOTS
DR. LESH
Her eyes open and she immediately pulls out her glasses.
STEVE
Falls between two chairs trying to stand.
DIANE
Rising to her knees she looks out into the hall and hugs Robbie protectively.
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!
Tak hits the rewind switch on both VTRs.
Diane, Steve and Robbie all run to the display panel.
RYAN
(like a kid)
I think it recorded. 1 think we got one on tape. Yes. Yes.. .we got it recorded!!!
WE MOVE from the faces of the Freelings and Lesh to:
93 THEIR POV OF VIDEO MONITORS - NIGHT
We SEE the empty hallway and staircase in black and white on one screen. On the other a spectroscopic breakdown of color patterns in infrared.
The picture on the screen becomes grainy, smoky. A bright glowly substance begins to form into tendrils that move down the stairs and very close to the cameras. The black and white monitor shows what the human eye witnessed. The color infrared showed what the technology captured.
94 CLOSE ON DIANE - NIGHT
MOVE IN TO HER as she watches the color monitor.
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 g1ances at the CAMERAS disinterested1y--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 of f.
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 about 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.
98 INT. LIVING ROOM - DAY
ANGLE - FRONT DOOR
Steve opens it arid is immediately uncomfortable. An older MAN, with gray hair and a pleasant smile, is standing there, briefcase in hand.
MR. TEAGUE
We�ve missed you at the office, Steve. The fellows were worried so I took it upon myself to...
(closely scrutinizes Steve�s appearance)
Jesus Steve, you look like shit. Aren't you feeling any better?
Steve just stands there like a schoolboy caught playing hooky.
STEVE
Still a little weak... this particular strain of flu is not easy to get rid of. The minute you�re back on your feet... it, uh... it�s back with you.
99 INT. LIVING ROOM - DAY
TEAGUE�S POV
Teague can see past Steve and into the living room and staircase. Al I sorts of scient ific equipment is strung around. The big console TV is tuned to a static channel, so is the kitchen portable, also visible from Mr. Teague's vantage.
Teague looks over Steve�s shoulder and Steve tries subtly to block his view.
TEAGUE
Looks like your cable is out there.
STEVE
Cable? Yes, the cable. Yes. We�ve had no TV for several days.
TEAGUE
Well, we should look into that. Is the entire block dark?
STEVE
Uh, no, no.. .just us. Just us.
Behind Steve the couch moves across the room gently bumping up against the baby grand piano which produces a musical vibration.
100 EXT. FRONT PORCH - DAY
Steve immediately steps outside with Mr. Teague and closes the door behind him. The porch light comes on and even in the bright daylight it glows to amazing intensity.
MR. TEAGUE
I see you have some electrical problems as well. What�s screwed in there, a three hundred watt bulb? You afraid of prowlers or trying to attract every insect in Cuesta Verde?
(he laughs)
100-A
STEVE
My wife�s not feeling well either. She got a little of my bug.
MR. TEAGUE
Tell me something, are you happy here? I hope you don�t resent my leaping out to ask these things. We wouldn�t want to lose our best rep to either the flu or..other �opportunities� All that software set up in your living room made me wonder whether you've got a little something going on the side.
STEVE
Just hobbles. Popular Mechanics.
MR. TEAGUE
Are you up to a little ride? I want to show you something.
101 INT. UPPER HALLWAY TO BEDROOMS - DAY
Diane hangs desperately onto any tangible reality. She moves carefully through the house, cleaning up. When she she passes Carol Anne and Robbie�s room Diane 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 bui1t 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.
TEAGUE
I understand she�s missed a lot of school lately. Trask�s daughter�s in the same nursery class. She have the flu as well?
STEVE
Yeah, we�ve all got the same thing.
TEAGUE
I�m sorry. I didn�t see her.
STEVE
Oh, she�s around.
TEAGUE
Are you?
STEVE
(his mind in the valley, snaps out of it)
Am I what?
TEAGUE
Are you thinking of leaving Cuesta Verde?
STEVE
(dazed)
I can�t believe how a day can be so beautiful. You wonder how anyone can have a problem in the the world on a day like this.
TEAGUE
(kicking up some sod with his heel)
Nice spot for a bay window, wouldn�t you agree?
STEVE
If you�re living up here, great. Wouldn�t be so terrific from the valley, looking up at a lotta houses cutting into these hills.
TEAGUE
You don�t have to live in the valley any more.
STEVE
What are you getting at?
TEAGUE
Phase five is going up right where we�re standing. This could be your master bedroom suite. That could be your view. You interested?
STEVE
Mr. Teague, that�s a very generous offer but I�m not a developer.
TEAGUE
You�re responsible for 42% of sales, almost half of what we�re looking at down there. Almost seventy million dollars of dwellings & property. Maybe a generation of security that no one can put a price tag on. We should have made you a full partner three years ago. .I don�t want to lose you now.
Steve doesn�t know what to think. So much is piling up so suddenly. It�s a golden opportunity that two weeks ago would have meant a Hawaiian vacation and days of happiness and celebration. Steve turns around to take in the View.
104 EXT. THE VIEW - DAY
CAMERA PANS AROUND 180 DEGREES
This whole conversation has taken place just inches outside a quiet little cemetery with white picket fences and both ancient and recent headstones.
Steve scratches and gestures to the three-acre memorial park.
STEVE
Not much room for a pool.
TEAGUE
We own the land. We�ve already made arrangements to relocate the cemetery.
STEVE
Can you do that? I mean, isn�t it rather...I don�t know. . sacrilegious?
TEAGUE
Don�t worry about it. It�s not an ancient tribal buria1 ground. It�s Just...people. besides, we�ve done it before.
STEVE
When?
TEAGUE
In �76. Right down there.
STEVE
(struck)
Cuesta Verde?
TEAGUE
All three hundred acres. It was quite a job, let me tell you.
STEVE
(to himself, his mind racing)
I never heard anything about it.
TEAGUE
Well, it�s not something you go around advertising on billboards and the sides of buses.
Steve is speechless. He looks back and forth between the existing cemetary and Cuesta Verde Estates below.
What are you worried about? Relatives and friends can visit their loved ones at Broxton Memorial Park. It�s only five minutes further out for Christ sake.
STEVE
(quietly, to himself)
Five minutes. I guess that�s no great hardship. I suppose that would be okay.
TEAGUE
Okay with whom?
STEVE
Whomever might complain.
TEAGUE
Nobody�s complained up till now.
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!
LES
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, 1 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.
107 EXT. CUESTA VERDE ESTATES - PHASE ONE - NIGHT
This time we are framing the first row of headstones, PUSHING PAST them to the warm suburban glow that reaches for miles into the hills, joined by a sprinkling of stars on this moonlit night.
108 INT. LIVING ROOM - NIGHT
MOVING SHOT
We are following Steve and Diane. They seem to be gazing down as they walk through their horne. CAMERA WIDENS to reveal Ryan and Lesh ahead of the Freelings. They appear to be following something, also Iooking down at their feet. CAMERA PANS DOWN, expecting to find E. Buzz at the head of this train. Instead...
We meet TANGINA BARRONS, astrologist, clairvoyant, midget.
She is dressed in a California Hawaiian print dress, wears her hair in a beehive, dons aviator sunglasses and casually sips coffee from a mug as she explores the Freeling home.
Tangina stops and looks at her followers. She speaks with a very polite Southern accent.
TANGINA
Would you all mind hangin' back. You�re jamming my frequencies.
They oblige and Tangina waddles her way down the hail and up the stairs unaccompanied.
DR. LESH
I know what you�re thinking. You�ll have to take my word on this. She�s cleaned many houses. Her gifts are well documented at the parapsychology laboratory at Duke University, University of Virginia, the...
Diane is becoming more and more distraught over something.
DIANE
We haven�t heard a word from Carol Anne since last night.
TANGINA (O.C.)
Why is this door locked, Mr. Freeling?
Steve looks up the stairs, he�s about to answer but instead decides to concentrate. A pause.
DIANE
Answer her.
STEVE
(softly)
I am.
ANGLE - TANGINA
Tangian no appears at the upper rail and looks down between the banister posts.
TANGINA
I am addressing the 1iving?
STEVE
(giving up)
I�m sorry. That�s the room my son and daughter occupy.
LESH
We believe it�s the heart of the house.
TANGINA
This house has many hearts.
Tangina turns away and continues her search.
ANGLE - LIVING ROOM
Steve turns to Diane and Lesh and Ryan, pulling them into a circle of whispers.
STEVE
(whispering)
I was trying to answer with my mind. She couldn't hear me. I thought you said Tangina Barrons was an extraordinary clairvoyant.
From far away and well out of earshot Tangina answers.
TANGINA (O.C.)
(upstairs)
I am. I just don�t like trick answers.
DISSOLVE TO:
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.
Diane hesitates and looks over at Dr. Lesh.
TANGINA
I�m not gonna bite�cha.
Diane slowly walks to Tangina and reaches down with her hand.
TANGINA
C�mon down here. You�re gonna give me whiplash lookin� up at you.
Diane smiles and kneels. She is eye level with Tangina.
TANGINA
(softly, just for Diane to hear)
Your daughter is alive and in this house.
The tears come immediately. Diane breaks down, sobbing, the first confirmation of her own belief from the outside.
Tangina hugs her, patting the back of Diane�s head reassuringly. Steve starts to come over to comfort but Tangina waves him off and mouths..
TANGINA
... a glass of water.
ANGLE - LESH
She sits down and smiles. Relieved, looks to Ryan. Ryan is filming it.
TANGINA
(to Lesh)
Where was the last incident of �bilocation�?
Dr. Lesh points to the air just above Tangina�s head.
TANGINA
I have my strongest feeling, the point of origin is inside the child�s closet. Upstairs.
DIANE
(through tears)
Yes. I feel that too.
TANGINA
(to Diane)
Now, honey. Are you gonna be real strong for me? For your daughter? I can do absolutely nothing without your faith in this world and your love for the children.
DIANE
I will. Believe me, I will.
TANGI NA
Will you do anything I say? Even if it comes contrary to your beliefs as a human bein� and a Christian?
DIANE
Oh yes. Please.
TANGINA
(cupping Diane�s face and bringing their eyes together)
Then let's get on our feet and go get your daughter.
Diane laugh-cries and rises. Tangina starts to rise but then realizes...
TANGINA
(brightly)
Oh...I am standin�.
110 INT. LIVING ROOM - LATER - NIGHT
CLOSE - TELEVISION CONSOLE
Static snow grates again on our nerves.
ANGLE - FULL
Diane is in her self-appointed position, the center of the room awaiting notice from Tangina Barrons who checks through a lot of items laid out on a tablecloth on the living room floor.
TANG1NA
(checklisting)
Towels, red ribbon, handkerchiefs.. .How're the tennis balls coming?
Ryan and Dr. Lesh are painting numbers on each of six tennis balls and then carefully signing their names. String hangs across the ceiling and to each wall coming together in the air six feet above the floor to form a square.
Steve runs in with several pounds of rope slung around his shoulder.
STEVE
It�s all I could find.
TANGINA
It�ll do. How�s the bath water doin'?
STEVE
I shut it oft. It�s ready.
TANGINA
Then I don�t see any reason why we shouldn�t get started.
(to Diane)
All right, honey. Call out to her.
In the low light of the living room, Diane stands in the center like a frightened contestant about to audition a song. She says a prayer under her breath and looks skyward.
DIANE
Carol Anne.. .Carol Anne... It�s Mommy. Can you hear me tonight?
TV CONSOLE - STATIC
Nothing.
DIANE
Carol Anne. Can you tell Mommy hello?
TV CONSOLE - STATIC
Nothing.
CLOSE - TANGINA
Her eyes are closed and her breathing becomes irregular. She licks at her dry lips and motions to Diane.
TANGINA
Try again.
DIANE
Can you say hello to Daddy? Daddy and I miss you so much. So much. We love you so much. Can you say hello?
CLOSE - TANGINA
Shaking her head.
TANGINA
She's under restraint!
This news hits like a shock wave. Steve and Diane almost answer as one.
STEVE AND DIANE
(overlapping)
She�s what?! What do you mean?! Who�s restraining her?!
TANGINA
Quickly. Who is she more afraid of? You or your husband?
DIANE
She�s afraid of neither.
TANGINA
Which of you does she answer to first?
STEVE
She�s always gone to Diane.
TANGINA
When she�s naughty, whom does she hide from?
STEVE
She�s a well-behaved child. We�ve raised her with manners and...
TANGINA
(losing her patience)
Look folks, I�m not the child abuse squad. I need a quick answer.
DIANE
Steve decides the punishment. The children have always known that.
STEVE
(protesting)
Now wait a minute, Diane. 1 don�t call that fair. I�ve never laid a hand...
Tangina still has her eyes closed. She motions Steve to come over.
TANGINA
Fight about. it later, meantime get your ass over here.
Steve obeys. Diane is lost. Dr. Lesh has never experienced anything like this before. Ryan has his eye to the video tape camera.
TANGINA
Tell Carol Anne to answer!
Steve is uncomfortable ie speaking to thin air. He clears his voice.
TANGINA
Tell her!
STEVE
(very politely)
Honey, it�s Daddy. Can you hear me...Sweetpea?...
TANG1NA
Cut the crap and call her. Loud.
STEVE
(a little louder)
Carol Anne. It�s Daddy.
TANGINA
Again.
STEVE
(a little louder)
It�s Daddy, sweetheart.
TANGINA
Be cross with her.
STEVE
Why...?
TANGINA
Be angry with her or you�ll never see her again!
STEVE
(quickly, more aroused, harsh)
Carol Anne, this is your father speaking.
TANGINA
Tell her it she does�t answer she�s in big trouble.
STEVE
Answer me right now or you�re in real hot water!
TANGINA
Tell her she'll get spanked.
STEVE
(aside to Tangina)
We never spank the children.
DIANE
(intervening)
Goddammit, Steven, tell her!
STEVE
If you don�t answer your parents you�re going to get a real spanking. From both of us.
TANGINA
Swear. Swear.
STEVE
(really getting into it)
Damrnit! Dammit! You hear me?!
CAROL ANNE'S VOICE
(far away from the TV speaker)
Mommy, help me!
TANGINA
(really breathing hard, sweating)
She�s away from him!
DIANE
Away from who...that thing we saw? Is she all right?
TANGINA
(huffing like she�s running)
Diane. Is there a light?
DIANE
Carol Anne, do you see the light?
CAROL ANNE�S VOICE
He�s chasing me, Mommy...
(screams)
TANGINA
Tell her to run to the light.
DIANE
(looking at Dr. Lesh)
No!
TANGINA
They will follow her to it. They have been following her for weeks. You must tell her what I say!
DR. LESH
Tell her. Go ahead, Diane.
DIANE
Run for the lights Run as fast as you can!
CAROL ANNE'S VOICE
Mommy!! Are you in the light?
DIANE
No, honey, I'm...
TANGINA
Tell her you are!!
DIANE
It�s a lie!!
TANGINA
You can't choose between life and death when we're dealing with what is in between. Tell her before it's too late!
DIANE
Run to the light, Carol Anne. Mommy is in the light.
TANGINA
Tell her you're waiting for her.
Diane is now crying out of angry frustration and deceit.
DIANE
Mommy is in the light waiting for you!
(she wheels on Tangina)
I hate you for this!!
TANGINA
Quick, upstairs everyone! Bring everything.
111 INT. STAIRCASE - UPSTAIRS - NIGHT
Lesh, Ryan, Steven, and Diane. Tangina Barrons is in the lead, outdistancing everyone.
112 INT. HALLWAY OUTSIDE CHILDREN�S BEDROOM DOOR - NIGHT
Everybody crowds around. Tangina turns to Steve, her breathing coarse with phlegm and wheezing.
TANGINA
Open it
This time Steve doesn�t hesitate. He has the key already in the lock and swings open the door.
113 INT. CHILDREN'S BEDROOM - NIGHT
It is like a storm at sea inside. So much destroyed minutia speeds through the air it is not unlike a blizzard at night. The SOUND is a CHORUS of MOANING; and RAVING.
A VOCAL ASYLUM FROM A BLACK PLACE WHERE ALL SOULS WAIT FOR TRANSIT.
A CACOPHONY OF MUSIC REVERBERATES THROUGHOUT. Nothing specific, only madness and nonsense.
INTO THIS WALL OF NOISE AND TORMENT TANGINA BARRONS APPEARS.
She looks around the room, squinting in the low in blowing dust and particles. Things, objects, plasma globules fly at her. She sees...
THE CLOSET. THE LIGHT IS THERE! It is so bright there is no looking into it without retinal damage. Great blue-yellow shards of light spill into the room, defined by the thick atmosphere.
TANGINA
(screaming to be heard)
RYAN! GET DOWNSTAIRS AND WAIT BY THE TARGET!
A heavy section of lamp hurls from the other side of the, room right for Tangina's head. Just as it reaches her it slows down to a winsome �hover� arid falls to the floor her feet.
TANGINA
(top of her lungs to be heard)
STEVEN! GIVE ME THE TENNIS MARKED NUMBER ONE.
114 INT. LIVING ROOM - NIGHT
Ryan runs in and stands under the circle of string.
115 INT. CHILDREN�S BEDROOM - NIGHT
Tangina takes the tennis ball and ducking other object are coming at her more aggressively...THROWS IT INTO THE FURNACE LIGHT OF THE CLOSET!
116 INT. LIVING ROOM - NIGHT
Ryan looks up. There is a flash and immediately a tennis ball falls from mid-space and lands on the floor at his feet. He picks it up and looks at the inscriptions.
RYAN
(calling upstairs)
It�s my handwriting. It came right out of the fucking air!
117 INT. CHILDREN�S BEDROOM - NIGHT
Diane cannot believe what is going on. She looks back Into the blizzard.
DIANE
The ball came back! It�s his handwriting.
Tangina tosses balls #2 and #3 together into the closet light.
118 INT. LIVING ROOM - NIGHT
There is a mid air flash as ball number two materializes from thin air and RyanJ catches it. As he inspects the signatures, there is another light flash and ball number three follows and hits him on the head.
119 INT. UPSTAIRS BY THE BEDROOM DOOR - NIGHT
Diane relays Ryan�s shouts...
DIANE
TWO AND THREE CAME BACK! THEY CAME BACK!