TANGINA
NOW! THE RED RIBBON AT THE CENTER OF THE ROPE. HURRY!

Steve goes to work on this.

TANGINA
SHE�S JUST AT THE MOUTH OF THE CORRIDOR. TELL HER TO STOP! TELL HER NOT TO MOVE INTO THE LIGHT!

DIANE
(with all her heart)
CAROL ANNE, LISTEN TO ME. DO NOT GO INTO THE LIGHT STOP WHERE YOU ARE. TURN AWAY FROM IT. DON�T LOOK AT IT!

TANGINA
WHERE IS THE ROPE!?

Steve hands it to her. Tangina won�t wield it. It is too strung out and she is too small.

TANGINA
STEVE. HELP ME WITH THIS!

Steve enters the blast furnace of energy and wind and takes one end of the rope.

TANGINA
THROW IT INTO THE LIGHT!

She throws in the whip holding onto one end.

120 INT. LIVING ROOM - NIGHT

There is another mid air flash and the end of rope thrown bilocates out from between the string and falls in a pile on the living room rug. Ryan picks up his end and yells back...

RYAN
GOT IT--!

121 INT. CHILDREN�S BEDROOM - NIGHT

Tangina and Steve are holding the other end and the red ribbon is very close to the closet entrance.

TANGINA
Tell him to take up the slack gently. Yell when he sees the ribbon

Tangina is marking inches and feet onto the rope with her 1ipstick, just to their side of the red ribbon. She nods to Steve.

TANGINA
I�M LOSING MY VO1CE--SHOUT DOWN TO HIM!!

STEVE
TAKE UP THE SLACK.

The ROAD OF WIND inside grows stronger.

TANGINA
HE DIDN'T HEAR YOU.

STEVE
TAKE UP THE SLACK.

122 INT. LIVING ROOM - NIGHT

Ryan has heard and starts to gently take up the slack. When it is taut he is fed the rope one inch at a time.

123 INT. CHILDREN�S BEDROOM - NIGHT

The flag is disappearing into the VIBRANT LIGHT inside the closet. Tangina counts off inches as her lipstick calibrations click off into the void.

124 INT. LIVING ROOM - NIGHT

The flag appears from the air in the center of the string opening. The calibrations follow...

RYAN
(screarning)
IT�S THROUGH! IT�S THROUGH!

125 INT. CHILDREN'S BEDROOM - NIGHT

Diane transfers the information.

DIANE
STOP--IT'S THROUGH!

Tangina looks at the last calibration.

TANGINA
ONLY THIRTY-SIX INCHES WIDE. NOT MUCH ROOM. HERE. TIE THIS END AROUND MY WAIST.

A look of horror crosses Diane�s face.

DIANE
WHAT DO YOU THINK YOU'RE DOING?

TANGINA
I�M GOING IN AFTER HER!

DIANE
SHE WON'T COME TO YOU. LET ME GO.

TANGINA
YOU'VE NEVER DONE THIS BEFORE!

DIANE
NEITHER HAVE YOU!

TANGINA
I NEVER WANTED TO! I STILL DON'T!

Diane steps into the room, blasted back by two severa1 GUSTS OF WIND aimed specifically at her.

Steve has already started to tie the rope around his own waist. He�s decided to go.

TANGINA
YOU CAN�T. WHO�S GOING TO HOLD THIS END?!

Steve realizes it�s true. Diane pulls the rope from Steve and secures it around her waist. Steve ties two clove hitches and faces his wife.

DIANE
(above the wind)
I LOVE YOU!

STEVE
I LOVE YOU!

They kiss, part, and Steve and Tangina get a hold of the end of the rope.

Dr. Lesh runs into the storm and helps to hold.

TANGINA
NO, NO! GO DOWN AND HELP RYAN PULL, BUT ONLY WHEN I SAY SO! ONLY WHEN I SAY!

Lesh runs downstairs and Diane takes one look back at Steve.

DIANE
DON'T LET GO , YOU GUYS!

STEVE.
NEVER!

ANOTHER ANGLE - CLOSET AND DIANE

She moves into it. . . the light swallowing her. Tangina watches the calibrations and stops feeding when the indications are that Diane is in the center of the infinite void.

126 INT. LIVING ROOM - NIGHT

Lesh runs around in back of Ryan and takes hold of the taut rope. They wait without breathing.

127 INT. CHIDREN�S BEDROOM - NIGHT

Tangina is back in her trance. Sweat beads across her brow, only to be blown into horizontal rivu1et by the eighty mile an hour interior wind.

STEVE
HOW WILL WE KNOW IF SHE�S GOT HER?

Tangina doesn�t answer.. .she starts her irregular breathing.

STEVE
WHEN WILL WE KNOW?
(he looks back at. her)
HEY!

TANGINA
(starts to speak)
CROSS OVER, CHILDREN! YOU ARE ALL WELCOME. ALL WELCOME. GO INTO THE LIGHT. THERE IS PEACE AND SERENITY IN THE LIGHT.

STEVE
(wildly betrayed)
YOU SAID NO!! YOU SAID TO STAY OUT OF THE LIGHT!!

Tangina's trance doesn�t include Steve. She does not hear him. He thinks she is leading his family into the light and beyond.

Steve panics and starts to pull the rope back.

STEVE
DIANE!! CAROL ANNE!!

Tangina snaps out of her trance to find Steve withdrawing the rope with all his might. She lets out a SCREAM.

TANGINA
STEVEN, NOT YET!! RYAN. RYAN. RYAN, PULL!!

Steve gives one more tug and a flash of electrical energy explodes from the closet. A LOW GROWL is heard from the light. The GROWL HITS THE LOWER SOUND REGISTERS AND THE ENTIRE ROOM SHAKES FROM ITS VERY FOUNDATIONS.

INT. CLOSET

THE FACE OF THE BEAST EMERGES FROM THE CLOSET LIGHT. FACE IS THE ENTIRE LENGTH AND WIDTH OF THE OPENING.

THE HEAD EMERGES, SMASHING THE DOOR FRAME.

Steve freezes at the sight and SCREAMS for the first time. He drops the rope and...

130 INT. LIVING ROOM - NIGHT

Ryan takes his cue and pulls. Dozens of electrical. discharges blossom in midair and there is a primal CRY. A CRY OF BIRTH! RYAN AND LESH PULL THE ROPE.

DIANE, HOLDING CAROL ANNE IN HER ARMS, EXPLODES FROM THE AIR AND FALLS INTO THE CENTER OF THE LIVING ROOM.

131 INT. DOWNSTAIRS BATHROOM - NIGHT

Steve carries Diane who still holds Carol Anne. Both are crying and not aware of their surroundings. They are covered from head to toe in a jellied substance, pink and red, that oozes down Steve�s legs to the floor, leaving a trail behind.

Steve turns on the water and puts Diane and Carol Anne into the tub. Ryan follows his behind with his portable table video equipment. The water quickly turns a bright pink as the jelly substance dissolves and foments like bubblebath.

132 INT. BATHROOM - TUB - NIGHT

CLOSE - STEVE IS CRYING

CLOSE - DIANE�S EYES OPEN

CLOSE - CAROL ANNE�S EYES OPEN

CAROL ANNE
Hi, Daddy.

DIANE
Thank God. Oh, thank God.

ANGLE - BATHROOM DOOR

Tangina and Dr. Lesh lean against the door, exhausted.

TANGINA
This house is clean.

FADE OUT.

FADE IN:

133 EXT. CUESTA VERDE ESTATES PHASE ONE - DUSK

The title card �Two Weeks Later� FADES ON then OFF.

134 INT. DINING ROOM - THE FREELING FAMILY - DUSK

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

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

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

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

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

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

Diane passes a color polaroid around the table.

CAROL ANNE
Who�s that with Aunt Tangie?

135 INSERT - CLOSE ON SNAPSHOT

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

136 INT. DINING ROOM - FREELING FAMILY - DUSK

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

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

DIANE
It�s a school night.

DANA
It is not, it�s Friday.

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

STEVE
Just her hair.

DIANE
(mock protesting)
Well I like it.

STEVE
I can lend you some of my Grecian Formula.

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

Diane finishes the letter.

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

ROBBIE
Carol Anne gots more sweet potatoes on her plate.

STEVE
You can have seconds. Finish firsts first.

DIANE
...and thinks moving is a good idea even if the house is clean. You�re still seeing Teague tonight, aren�t you?

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

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

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

DISSOLVE ON A CHORUS OF HAPPY TEASING:

137 EXT. POV OF FREELING DRIVEWAY - NIGHT

LATER

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

137-A INT. LIVING ROOM - NIGHT

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

138 INT. UPPER HALLWAY - NIGHT

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

139 INT. MASTER BEDROOM - NIGHT

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

140 INT. MASTER BATHROOM - NIGHT

Diane reaches down into the bathtub.

CLOSE UP -DRAIN

Diane squeezes the rubber stopper into the drain.

CLOSE UP - HOT AND COLD HANDLES

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

WIDE ANGLE - BATHROOM

Diane unbuttons her shirt. She hangs it. up over the mirror. Kicking off her sneakers, Diane peel off her sweat socks and unzips her Levi jeans.

141 INT. UPSTAIRS HALLWAY - NIGHT

Diane comes into the hall in her robe. Her hair is pinned up for the tub. The bathwater can be heard inside. Tying off the robe, Diane returns to Carol Anne and Robbie�s room and puts her hand on the knob. This is hard for her and will always be. She turns it and the door slides open. Diane Sticks her head in tentatively.

142 INT. CHILDREN�S BEDROOM - NIGHT

DIANE�S POV

Robbie and Carol Anne are quietly playing SPACE INVADERS on their new Atari video game. They both turn to see what their mother wants.

DIANE
Just checkin' up. I�ll be in the tub for a few minutes if you�ll get the phone?

ROBBIE
Sure, Mom. Hey, I�m winning!

CAROL ANNE
I won the last two battles.

ROBBIE
Yeah and I won the first two.

DIANE
Play nice or Mommy wins the war.

She turns to go and sees that the closet light is off. Diane reaches into the closet with her hand... feeling for the switch. Her hand flails in the dark until it feels something. Diane f1inches and pulls. The closet light comes on and Diane lets go of the pull cord. She smiles again at her children and leaves.

143 INT. MASTER BATHROOM - NIGHT

ANGLE - DIANE�S BARE FEET

The robe falls in a bundle around her feet. She steps out of it and into the tub. Sucking in her breath several times as she inches her way into the hot water up to her neck. Diane sighs. She closes her eyes. The steam rises to the ceiling. The tub water gurgles into the overflow drain just under the spigot. Diane takes a washrag, throws it by her feet, and uses her big toe to clog the overflow drain to stop the annoying sound.

ANGLE - FLOOR

E. Buzz comes in and folds his legs up under him nestling into the soft area rug. He closes his eyes.

CLOSE - DIANE

She closes her eyes. Her breathing becomes steady and regular. We hold...and HOLD.

144 INT. CHILDREN'S BEDROOM - NIGHT

Robbie yawns and climbs into his new bed. Carol Anne imitates her older brother and climbs into her new bed.

The TV game is still on and the tiny white and blue rockets race silently through video space.

CAROL ANNE
�Nite, Robbie.

ROBBIE
�Nite, Carol Anne.

Robbie looks over at the new rocking chair. The old clown doll is sitting there quietly. Robbie takes the shirt by his bed and tries tossing it over the head of the clown doll but he misses. The shirt falls across the arm rest and starts the chair rocking. Robbie shrugs and turns out the light by his bed only the soft moonlight from the window and the warm light from the partially opened closet give any ambient illumination to the room. Outside the SOUND of a car passing. The TICKING of Carol Anne�s new �man in the moon" clock.

145 INT. BATHROOM

CLOSE ON E. BUZZ

He is sleeping. His eyes open. His ears perk up and he raises his head.

UP ANGLE - DIANE

She is drying herself outside the tub. She looks down at her dog and blow him a kiss.

145A INT. MASTER BEDROOM

E. Buzz's tail wags as he follows Diane into the bedroom where she sits in front of her vanity table and takes the clips from her hair.

146 INT. CHILDREN�S ROOM - NIGHT

CLOSE - ROBBIE

He turns over but can�t sleep. He yawns and sits up on one elbow look1ing toward Carol Anne. She is out like a light. Robbie casually looks over at the clown in the rocking chair. The rocking chair is empty.

147 INT. MASTER BEDROOM - NIGHT

Dressed in a nightgown and robe, .Diane combs out her long, silky hair. She throws her head forward so all the hair in back can cover her face. Stroking from the back of her neck, Diane gets out all of the tangles. Satisfied, Diane flips her head straight up so all her hair can fly back around her shoulders. The shiny gray-brown hair flies straight up into the air and upon reaching its full height...it freezes and doesn�t come down.

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

147-A

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

147 - B CLOSE - DIANE�S FACE

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

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

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

CLOSE-DIANE�S FACE

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

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

148 CHILDREN'S BEDROOM - NIGHT

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

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

148-A UNDER ROBBIE�S BED

The clown is there, face to face with him, smiling sardonically.

In the split second it takes for a child to draw a breath and let it out through the vocal chords, the clown doll wraps its five foot extension arms tour times around Robbie�s neck, cutting off half his air.

148-B WIDE - HIGH ANGLE

Struggling now for his life...Robbie is dragged inexorably under his own bed and out of sight.

148-C CLOSE - CAROL ANNE

Waking up suddenly. A light interior breeze ruffles her hair. Carol Anne sees the closet.

The closet grows brighter.

149 INT. MASTER BEDROOM - NIGHT

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

CLOSE - DIANE�S BREASTS

The nightgown is suddenly torn away revealing her breast. They are kneaded and flattened. Hulking finger impressions can be seen sinking deeply into her. Diane�s hysteria doesn�t make any difference. Now her legs are spread apart and a great pressure over her pelvic bones crushes her deeper and deeper into the mattress over and over again.

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

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

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

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

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

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

150 INT. UPPER HALLWAY - NIGHT

CLOSE - DOORJAMB TO MASTER BEDROOM

From beneath the door of Diane's room a rush of ECTOPLASMIC SMOKE snakes ahead of her, cutting her off from her children�s room. There, it forms an eerie blockade and begins to MANIFEST. Diane looks up into the face that forms and the hands that reach out to her and sees the beginning of the �great beast�. She retreats on her rear end backward down the hall, pursued by the phantom twister.

151 INT. STAIRCASE TO LIVING ROOM - NIGHT

Diane rolls down the carpeted staircase and grapples for her footing as she heads toward the back door.

152 EXT. BACK YARD - NIGHT

It is raining and Diane is instantly soaked as she backs up looking at
the house SCREAMING.

DIANE
STEVE! ANYONE!! HELP ME!!

Diane�s feet lose her footing in the mud and she falls into the shallow end of the unfinished swimming pool, sliding all the way down the wet mud to the puddle in the deep end.

THE POOL LIGHTS COME ON. Backlighting the rain and Diane�s flopping actions as she regains her balance is the quagmire.

Then, A GUSHING BUBBLE EXPLODES next to her in the mud. She stares at it as a second bubble bursts revealing within it, the leathery face of a corpse, in its burial clothes, rising like a weed straight out of the gushing mud. Diane SCREAMS and backs into ANOTHER FACE whose mouth stretches open revealing tiny wire jaw clamps that make popping SOUNDS like a jew�s harp. With a terrible SLURP, the top of a metal coffin pushes out of the mud its lid hinged open, tossing bones and dirt and burial jewelry all over Diane.

INT. CHILDREN�S ROOM - NIGHT

CLOSE - CAROL ANNE

She is SCREAMING WILDLY. A white hot light erasing her features as she once again fights the phantom wind that begins to suck the room toward the closet.

CLOSE - ROBBIE

Wrestling on the floor with the clown. He tears the stuffing from its middle, shredded bits of white cotton flying at terrifying speed toward the closet opening.

153-A CLOSE - THE CLOSET

The closet is becoming a living, terrifying organism as bits of flesh grow like moss along the squared off doer frame. Fatty tissues forms, veins escape into the soft pink skin until we are looking into a living mouth, all gums and blinding light and at the very back, a pale yellow esophagus that spirals to abysmal depths.

154 EXT. BACK YARD - NIGHT

Some sort of seismic upheaval is forcing dead things up from the ground in even greater numbers. Diane is climbing up the steep, slick incline toward the metal ladder at the shallow end. With every couple of steps to safety, she slips back in the rain, turning back to see the black tie crowd that awaits her. Diane turns back reaching out her hand to dig in deeper when...

ANOTHER HAND GRABS HERS.

Diane shrieks and looks into the face of Ben Tuthill from next door.

TUTHILL
Look at that! Look at that!! Look in your pool, my God!!

Mrs. Tuthill runs over in her night clothes.

MRS. TUTHILLY
Your children. Listen. What sort of sound is that?

Ethereally, the SCREAMS from Carol Anne and Robbie sound almost angelic in the rain.

DIANE
I HAVE TO GET THEM OUT!!

She pulls away from Tuthill and races back inside the house. Ben starts to follow but the Mrs. stops him.

Mrs. TUTHILL
Don�t go in there. Don�t ever go in there!

155 INT. STAIRCASE TO UPPER HALLWAY - NIGHT

Diane hits the staircase and races up. The door to the children�s room is shut and ultra-bright light., is streaming from under the jamb. Diane opens it and is immediately sucked in.

156 INT. CHILDREN�S BEDROOM - NIGHT

Robbie and Carol Anne hold onto their bedposts with all their might. Everything is loose and circulating the room a full revolution before surrendering to the closet and bottomless pit. Diane SCREAMS to her children.

DIANE
TAKE MY HAND, ROBBIE--!

Robbie reaches out with his one hand and Diane tries to work her way against the rip to get into position. She looks at the closet.

THE CLOSET

It sucks harder and Robbie and Carol Anne�s beds start to move toward the hot pink opening. Diane lurches the final inch and grabs Robbie's little wrist with both hands.

DIANE
TAKE YOUR SISTER�S HAND, ROBBIE. TAKE IT!

Robbie reaches for Carol Anne, who reaches out to Robbie. They are but inches apart.

ANGLE - CLOSET

One last powerful inhale and the two beds shoot out from under the children just as Robbie grabs his sister's hand and Diane pulls them both from the room.

157 INT. STAIRCASE - NIGHT

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

158 EXT. FREELING HOUSE - WIDE ANGLE - NIGHT

THE RAIN HAS STOPPED.

Teague�s Bronco pulls up to the driveway of the Freeling home. Steve gets out, sees the house in turmoil, and runs to the front door. Teague gets out of the car, his eyes afloat.

159 INT. ENTRYWAY - NIGHT

Diane finally reaches the front door. She throws it open and is about to step out when...

160 EXT. ANGLE ON FRONT STEPS - NIGHT

THE FRONT STEPS CRACK OPEN, AND SUDDENLY SOMETHING EXPLODES ONE ORNATE CASKET RISES UP OUT OF THE GROUND SENDING A GEYSER OF DIRT AND SPLINTERS INTO THE HOUSE, SHOWERING DIANE, THE KIDS, AND STEVE WHO HAS JUST ROUNDED THE FRONT OF THE HOUSE.

161 INT. ENTRYWAY - NIGHT

Diane picks up Carol Anne and she and Robbie run towards the kitchen.

162 EXT. FRONT YARD - NIGHT

Steve turns and is knocked off his feet by an exploding casket. Bones, mud, and decaying flesh spill over him.

163 INT. KITCHEN - NIGHT

As the fami1y runs for the side door, the kitchen tile bulges horrifically, splits open with a MOAN and two caskets shoot into the clean eating area, lids blowing off and rotten, rotting corpses reaching out at Diane as they pitch forward. As they reach the door, the kitchen wall explodes with the impact of the BEAST.

164 EXT. FRONT YARD - NIGHT

Steve claws his way up out of bones and flesh and runs to the front of the garage.

165 EXT. FREELING'S HOUSE - FRONT YARD

Dana stops out of a car with two young men and stands with her mouth agape.

166 EXT. FREELING DRIVEWAY

Steve looks back at the house then at Teague.

STEVE
You moved the cemetery! But you left the bodies didn�t you! I You son-of-a-bitch you left the bodies and only moved the headstones!!

167 EXT. POV FREELING HOUSE

Every window in the house blows outward with bright flashes in every room.

168 EXT. FREELING HOUSE - SIDE - NIGHT

Diane, carrying Carol Anne, and Robbie come running from the back yard. Two coffins pop up in their path. They dodge the cascading bodies and scramble towards the station wagon.

169 EXT. FREELING DRIVEWAY - NIGHT

Steve jumps behind the wheel as the rest of the family piles into the car. He throws the car in reverse just as a coffin blasts through the garage door in front of them.

170 EXT. PLATANO DRIVE - NIGHT

The station wagon roars back, crashing into Teague's Bronco shoving it into the street. Steve guns the car forward past Teague who stares after them.

171 EXT. FREELING SIDEWALK - NIGHT

ON TEAGUE

He turns as a coffin launches out of the lawn ripping up wires and cables and causing electrical shorts and flashes all around it. It flies open and a hideous corpse lurches across the sidewalk at Teague. He falls backward into a hole, the corpse landing on top of him.

Teague tries to scream but only night breath gushes out.

172 EXT. STREET IN FRONT OF TUTHILL�S HOUSE - NIGHT

As the Freeling car passes the house, a coffin explodes from under Tuthill's VW knocking it out into the street. Steve swerves but cannot avoid hitting the VW, causing it to spin on it's top. Steve fights for control of the car.

173 EXT. PLATANO DRIVE - FREELING CAR - NIGHT

The car continues past a fire hydrant. Another casket bursts out of the ground, sending mud and water 30 feet into the air. Steve slams on the brakes, stopping inches from the coffin and mud that block their path. Steve jumps out to clear the path. An incredible noise blasts forth from down the street. He turns...

174 EXT. FREELING HOME - WIDE ANGLE - NIGHT

STEVE�S POV

The children�s window is glowing with an almost radioactive intensity.

The entire house starts to suck inward, imploding at an angle that suggests that the closet is consuming everything in its lust and anger.

175 EXT. FREELING HOME - WIDE ANGLE -NIGHT

CLOSE - STEVE

He is stunned by what he sees.

176 EXT. HOUSE - NIGHT

A CONCUSSION OF SUCH AWESOME POWER BLOWS ALL SHINGLES OFF THE ROOF AND A CLOUD OF THIN BLUE ECTOPLASM, LIKE FINGERS AND ARMS REACHING UPWARD, ESCAPES LIKE A GREEN COMET TO THE HEAVENS.

177 EXT. FREELING SIDEWALK - NIGHT

CLOSE - TEAGUE

Dripping mud and putrifying flesh he looks up at the house. The imploding house creates a whirlwind around him. Teague stumbles backward, but cannot lock away power of the house.

178 EXT. HOUSE - WIDE ANGLE - NIGHT

STEVE'S POV

THE ENTIRE FREELING HOUSE IS TOTALLY CONSUMED BY AN AREA IN SPACE, FOURTEEN FEET FROM THE FOUNDATION THAT WAS ONCE THE CLOSET.

179 EXT. FREELING CAR - NIGHT

Water rains down on Steve from the broken hydrant. He jumps back in the car, backs up, and drives through the coffin and mud that were blocking their exit.

180 EXT. PLATANO DRIVE - HIGH ANGLE - NIGHT

The street is in chaos. Neighbors are streaming from their houses, cars careening out of driveways. A gas main is broken. Water shoots high in the air from the broken hydrant. Coffins and corpses lie everywhere. The Freeling car turns a distant corner and disappears.

181. INT. MOVING CAR - THE FAMILY NIGHT

Everything is hysteria in here. We can�t make out what is being said. The rain lashes at the windshield and Steve tries to see out.

182 EXT. STREET IN FRONT OF CAR - LOW ANGLE - NIGHT

The street cracks wide open and an old wooden coffin is launched upward. It comes crashing down onto the hood of the station wagon. A hideously deformed carcass stares crazily through the rain and wind at Steve.

SCREAMING WELLS UP inside. Steve throws the car into reverse.

183 EXT. STREET BEHIND CAR - LOW ANGLE - NIGHT

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

184 INT. BACK OF MOVING CAR - NIGHT

ON ROBBIE - CORPSE

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

185 EXT. ROAD SIGN IN THE RAIN - NIGHT

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

DISSOLVE TO:

186 EXT. HOLIDAY INN SIGN - NIGHT

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

ANGLE - ROOM 237 - NIGHT

CAMERA SLOWLY MOVES INTO the door and number.

187 INT. ROOM 237 - NIGHT

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

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

POP. IT COMES ON.

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

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

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

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

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

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

THE END