FOR EDUCATIONAL PURPOSES ONLY
t h e s i x t h s e n s e
written by
M. Night Shyamalan
INT. BASEMENT - EVENING
A NAKED LIGHTBULB SPARKS TO LIFE. It dangles from the ceiling of
a basement.
LIGHT, QUICK FOOTSTEPS AS ANNA CROWE moves down the stairs.
Anna is the rare combination of beauty and innocence. She stands
in the chilly basement in an elegant summer dress that outlines
her slender body. Her gentle eyes move across the empty room and
come to rest on a rack of wine bottles covering one entire wall.
She walks to the bottles. Her fingertips slide over the labels.
She stops when she finds just the right one. A tiny smile as she
slides it out.
Anna turns to leave. Stops. She stares at the shadowy basement.
It's an unsettling place. She stands very still and watches her
breath form a TINY CLOUD IN THE COLD AIR. She's visibly
uncomfortable.
Anna Crowe moves for the staircase in a hurry. Each step faster
than the next. She climbs out of the basement in another burst
of LIGHT, QUICK FOOTSTEPS.
WE HEAR HER HIT THE LIGHT SWITCH.
THE LIGHTBULB DIES. DRIPPING BLACK DEVOURS THE ROOM.
CUT TO:
INT. DINING ROOM - EVENING
...Christ break the freaking glass oh no God no what the hell is
going on Quiet the damn baby I'll cut you I swear it someone stop
the burning I'll kill you I'll kill all you bastard...
The words go on and on.
Lynn removes her hands from the paper. She pulls her headphones
off slowly.
THE MUFFLED TECHNO DANCE BEAT FILLS THE DEAD SILENCE OF THE EERIE
ROOM.
CUT TO:
INT. DEN - AFTERNOON
Malcolm stares as the rain pelts the windows of the den.
MALCOLM
...So your dad lives in Pittsburgh
with a lady who works in a toll
booth.
COLE (o.s.)
What if she has to pee when she's
working? You think she just holds
it?
MALCOLM
I don't know. I was just thinking
the same thing.
Beat.
COLE (o.s.)
You ask a lot of questions about my
dad today. How come?
Cole is playing behind the couch. All we see is the top of his
head.
MALCOLM
Sometimes, we don't even know it,
but we do things to draw attention.
Do things so we can express how we
feel about issues... Divorce or
whatever.
Every now and then we get glimpses of things Cole is playing with
peeking over the back of the couch, but we can't quite make out
what he's doing.
MALCOLM
One night, as an example... leave
something on a desk for someone to
find.
The top of Cole's head stops moving.
MALCOLM
Cole, have you ever heard of
something called free-writing? Or
free-association writing?
Cole shakes his head, "No."
MALCOLM
It's when you put a pencil in your
hand and put the pencil to a paper
and you just start writing... You
don't think about what you're
writing... You don't read over
what you're writing... You just
keep your hand moving.
Cole has become very still. He looks right at Malcolm.
MALCOLM
After awhile if you keep your hand
moving long enough, words and
thoughts start coming out you
didn't even know you had in you...
Sometimes they're things you heard
from somewhere... Sometimes
they're feelings deep inside...
(beat)
Have you ever done any free-
association writing, Cole?
Beat. Cole nods, "Yes."
MALCOLM
What'd you write?
COLE
Words.
MALCOLM
What kind of words?
COLE
Upset words.
Beat.
MALCOLM
Did you ever write any upset words
before your father left?
Beat.
COLE
I don't remember.
Malcolm watches him carefully. Beat. Malcolm waves the question
off casually.
MALCOLM
Can you do something for me?
Malcolm smiles. He rises and grabs his coat.
MALCOLM
Think about what you want from our
time together. What our goal
should be?
COLE
Something I want?
MALCOLM
If we could change something in
your life, anything at all, what
would you like that to be?
Cole's brow furrows as he thinks about it carefully.
MALCOLM
You don't have to answer now.
Malcolm heads for the door, stops when Cole emerges from behind
the couch. Cole is wearing his father's jacket, it hangs to the
ground like a dress.
COLE
Instead of something I want, can I
have something I don't want?
Malcolm turns back to Cole. Malcolm nods "Yes." Beat.
COLE
I don't want to be scared anymore.
Cole's sad eyes stare up at Malcolm.
CUT TO:
INT. BASEMENT OFFICE - NIGHT
The surface of Malcolm's desk is covered with open texts.
Malcolm pours over a thick reference book.
He circles a phrase...
"...resulting bruises and abrasions on arms and legs may, in
fact, be self-inflicted."
Malcolm appears disturbed by the thoughts running through his
head.
ANNA'S MUFFLED VOICE CARRIES DOWN THE STAIRS.
His face turns up to the ceiling.
MALCOLM
(loud)
Are you calling me?
WE HEAR ANNA'S FOOTSTEPS MOVE ACROSS THE BASEMENT CEILING. WE
HEAR THE FRONT DOOR OPEN.
ANNA (o.s.)
What? You don't see enough of me
at the store?
Malcolm gets up and moves closer to their voices as he stretches
his legs.
MAN'S VOICE (o.s.)
On my way to the flea market in
Amish country. Thought maybe you
want to come. Show me how to buy
at these things.
ANNA (o.s.)
I trust you... Besides, I don't
know if I'm up for the Amish today.
You can't curse or spit or anything
around them.
Malcolm smiles at Anna.
MAN'S VOICE (o.s.)
I thought you'd want to get out.
You've been kind of down.
Malcolm slowly stops smiling.
ANNA (o.s.)
That's very sweet. I'm okay.
MAN'S VOICE (o.s.)
Do you think I should stop by on my
way back? Show you what I got?
It's not a problem.
Malcolm shakes his head in disbelief.
ANNA (o.s.)
You know that's probably not the
best idea. I'll just wait to see
them in the store.
MAN'S VOICE (o.s.)
Okay. Fine. Understood.
(beat)
I'm off then.
ANNA (o.s.)
Don't step in the horse manure.
MAN'S VOICE (o.s.)
Thanks.
WE HEAR THE FRONT DOOR SHUT.
Malcolm moves to the narrow basement window.
INT./EXT. MALCOLM'S HOUSE - DAY
We see SEAN, an attractive young man in his late twenties.
He gets into his car across the street. He just sits there for a
moment before putting his forehead to the steering wheel.
MALCOLM
(under his breath)
Give it up, kid.
Malcolm turns away from the window as Sean's car starts up and
pulls away from Malcolm's house.
CUT TO:
INT. CLASSROOM - DAY
STANLEY CUNNINGHAM is a teacher in his late forties. He writes a
question on the board.
MR. CUNNINGHAM
Can anyone guess what city was the
capital of the United States of
America from 1790 to 1800?
Mr. Cunningham turns and stares at his class of eight and nine
year old private school students. They stare back at him blankly.
Cole rests his chin on his desk and watches the class with big
eyes.
MR. CUNNINGHAM
...I'll give you a hint, it's the
city you live in.
The class says the answer in unison.
CLASS
Philadelphia.
MR. CUNNINGHAM
Right... Philadelphia is one of
the oldest cities in the country.
A lot of generations have lived and
died in this city... Almost every
place you visit has a history and a
story behind it.
(beat)
Even this school and the grounds
they sit on... Can anyone guess
what this building was used for a
hundred years ago, before you went
here, before I went to this school
even?
Stanley Cunningham looks over the class of blank faces. He's
just about to answer his own question when he sees a hand go up.
Mr. Cunningham looks surprised to see who it is.
MR. CUNNINGHAM
Yes, Cole?
COLE
They used to hang people here.
Mr. Cunningham furrows his brow. Beat.
MR. CUNNINGHAM
That's not correct. Where'd you
hear that?
COLE
They'd pull the people in crying
and kissing their families bye...
People watching would spit at them.
Beat.
MR. CUNNINGHAM
Cole, this was a legal courthouse.
Laws were passed here. Some of the
first laws of this country. This
building was full of lawyers.
Lawmakers.
COLE
They were the ones who hanged
everybody.
Mr. Cunningham chuckles. Cole's face turns cement grey.
MR. CUNNINGHAM
I don't know which one of these
guys told you that, but they were
just trying to scare you, I think.
Tommy Tammisimo leads the class in a wave of snickering.
Cole glances up. Sees all the eyes on him. He glances at the
teacher who is still staring.
COLE
I don't like people looking at me
like that.
MR. CUNNINGHAM
Like what?
COLE
Stop it!
Mr. Cunningham sees the traumatized expression on Cole's face and
instantly stops smiling.
MR. CUNNINGHAM
I don't know how else to look--
COLE
You're a stuttering Stanley!
Mr. Cunningham's face becomes still. So does the classroom.
MR. CUNNINGHAM
Excuse me?
COLE
You talked funny when you went to
school here. You talked funny all
the way to high school!
The class falls into stunned silence. Mr. Cunningham takes an
involuntary step towards Cole's desk.
MR. CUNNINGHAM
What--
COLE
You shouldn't laugh at people. It
makes them feel bad.
Mr. Cunningham moves closer to Cole.
MR. CUNNINGHAM
How did you--?
COLE
Stop looking at me.
Cole covers his eyes with his hands.
MR. CUNNINGHAM
Who have you been s-speaking to?
We see Cole's mouth under his covered eyes.
COLE
Stuttering Stanley! Stuttering
Stanley!
MR. CUNNINGHAM
Who!
Mr. Cunningham is standing right over Cole's desk now.
COLE
Stuttering Stanley!
MR. CUNNINGHAM
S-ssstop that!
COLE
Stuttering Stanley! Stuttering
Stanley!
MR. CUNNINGHAM
S-ssssstop it!
COLE
Stuttering--
MR. CUNNINGHAM
--Shhhhhhut upppp you fffffffreak!
MR. CUNNINGHAM SLAMS HIS HAND ON COLE'S DESK. Cole's hands drop
from his eyes. The teacher's face is burning red.
The children in the room are frozen. Completely startled.
Cole's eyes are filled with tears.
Mr. Cunningham's expression drains of anger as Cole Sear begins
to cry.
CUT TO:
INT. ANTHONY'S LIBRARY - SAME AFTERNOON
Cole is seated in the school library by himself. He sits at a
long center table near the windows. His head is laying on his
folded arms on the table.
Malcolm peeks his head in the door -- unsure if he's in the right
place. He spots Cole and enters the room. He silently takes a
seat across from Cole. The eight-year-old looks up. Cole's eyes
are hard -- filled with anger.
MALCOLM
Hey, big guy.
Cole stares for a second.
COLE
I don't want to talk about anything.
Cole lowers his head. Malcolm just sits and thinks.
THE SOUND OF BOYS PLAYING SPORTS ON THE FIELD OUTSIDE FILTER IN
THROUGH THE LIBRARY WINDOWS.
Cole turns his head and stares at the windows. Malcolm takes in
the sad vision of this boy. It affects him. Beat.
MALCOLM
Do you like magic?
Cole's face softens a bit. He turns from the windows and looks
to Malcolm. Beat. Cole nods, "Yes."
Malcolm pulls out a penny from his pocket. He places it in his
right hand.
MALCOLM
Watch the penny closely.
Malcolm closes his hand around the penny.
MALCOLM
I do the magic shake...
Malcolm shakes his hand in circles. Cole watches his hand
carefully.
MALCOLM
And suddenly the penny has
magically traveled to my left hand...
Cole looks to Malcolm's closed left hand. Malcolm doesn't open
it.
MALCOLM
But that's not the end of the trick.
With another magic shake, the penny
travels into my shirt pocket...
Cole's eyes lock on Malcolm's shirt. Malcolm taps the pocket but
doesn't open it.
MALCOLM
But that's still not the end!... I
do a final magic shake... and
suddenly... The penny returns to
the hand where it started from.
Malcolm opens his right hand. The penny sits quietly in the
center of his palm.
Cole looks at the penny and then up to Malcolm's face. Beat.
Cole cracks a smile.
COLE
That isn't magic.
MALCOLM
What?
COLE
You just kept the penny in that
hand the whole time...
MALCOLM
Who me?
Malcolm smiles a mischievous smile. He places the penny on the
table. Cole stares at it and then looks to Malcolm.
COLE
I didn't know you were funny.
MALCOLM
I forgot myself.
Malcolm and Cole share a warm look.
THE SOUNDS OF KIDS LAUGHING AND PLAYING OUT ON THE FIELD COME
POURING INTO THE ROOM AGAIN.
Cole's expression changes back to sadness as he looks to the
windows. Malcolm leans across the table and whispers.
MALCOLM
Cole...
Cole looks at Malcolm.
MALCOLM
One day...
(beat)
You're going to sound just like
them.
Beat. Cole's chin starts to tremble. His voice cracks.
COLE
(whispers)
Promise?
Beat.
MALCOLM
(whispers)
Promise.
Malcolm and Cole sit in silence and listen to THE SOUND OF
CHILDREN PLAYING.
CUT TO:
INT. HALLWAY - EVENING
Malcolm sorts through the many bills on the mail table.
WOMAN (o.s.)
Malcolm, sit your cute butt down
and listen up.
(beat)
Are you listening?
Malcolm turns AT THE SOUND OF THE WOMAN, and moves into the empty
living room where the T.V. is on. A blanket lays crumpled on the
sofa.
THE WOMAN'S VOICE IS COMING FROM A VIDEO PLAYING ON THE VCR.
IT'S A WEDDING VIDEO. A LARGE WOMAN IN A BRIDESMAID DRESS STANDS
HOLDING THE MICROPHONE. IN THE BACKGROUND, WE CAN SEE THE DANCE
FLOOR.
BRIDESMAID
(T.V.)
No doubt about it. Anna's like my
sister. You better make her happy...
And I'm not talking about -- mmm
this tastes like real butter --
kind of happy... I'm talking about
Julie Andrews twirling around like
a mental patient on a mountain top
-- kind of happy.
THE LARGE BRIDESMAID BECOMES VERY EMOTIONAL.
BRIDESMAID
(T.V.)
You're really lucky. She's got so
much love for you. Don't tell her
I told you, but she said she loved
you from the first time she met you
on the street. She'd do anything
for you.
(crying)
I love you guys.
(more crying)
My nose is running. Why isn't
someone getting me a tissue?
THE WOMAN HANDS THE MICROPHONE TO SOMEONE OFF SCREEN. THE CAMERA
PANS AWAY FROM HER AND ZOOMS IN ON THE DANCE FLOOR. MALCOLM AND
ANNA ARE SLOW DANCING. THEY'RE WHISPERING AND LAUGHING WITH EACH
OTHER. THE HAPPINESS FROM THEM IS TANGIBLE.
Malcolm can't help smiling as he stares at the flickering images.
He turns and looks down the hall to their bedroom.
CUT TO:
INT. BEDROOM - EVENING
Malcolm moves into their bedroom.
THE SOUND OF A SHOWER CAN BE HEARD FROM THE BATHROOM.
Malcolm moves to the bathroom door and opens it slowly.
CUT TO:
INT. BATHROOM - EVENING
Malcolm steps into the bathroom quietly. He stares at the
silhouette of Anna's body through the smoked glass of the shower.
Anna stands still, her head tilted back.
Malcolm watches quietly. By his experience, it's clear he's
taken by his wife's beauty.
Malcolm starts towards the shower when his eyes glance to the
sink. Malcolm locks on a tiny bottle resting on the marble
surface.
He reaches out and picks it up. The label on the plastic bottle
reads,
"Zoloft Anti-depressant"
"To be taken twice daily"
Malcolm gently puts down the plastic bottle. He gazes at the
still figure of his wife as the water covers her.
Malcolm leaves the bathroom. He makes sure not to make a noise
with the door as he closes it shut.
DISSOLVE TO:
EXT. DARREN'S HOUSE - DAY
Colorful balloons flutter in the wind in front of an old grey
stone home.
INT. DINING ROOM - DAY
Cole and an overweight boy named BOBBY are seated at a dining
table covered in colorful paper. A stack of birthday presents
are sitting on the table next to a cake.
The house is filled with the SOUND OF CHILDREN PLAYING AND
LAUGHING.
Cole and the overweight boy are the only ones in the dining room.
Bobby watches with a dull expression as Cole moves his hand in
circles in the air.
COLE
...Then you do the magic shake.
And now the penny moves from my
pocket all the way to the hand it
started in.
Cole smiles and holds out his hand. His fingers open to reveal
the penny.
Bobby stares.
BOBBY
That's stupid.
Cole loses his smile.
COLE
It's supposed to be funny.
BOBBY
It's stupid.
Cole and the overweight boy stare at each other.
BOBBY
Give me my penny back.
Cole gives the boy his penny. Beat. Cole gazes at Bobby.
COLE
(almost inaudible)
...Don't be sad.
Bobby looks up sharply.
BOBBY
(hard)
What'd you say?
COLE
(shaken)
...Nothing.
Bobby stares down at him before returning his attention to his
tattered napkin.
The two boys sit in silence.
CUT TO:
INT. KITCHEN - AFTERNOON
Cole sits alone in the corner of the living room. The open
kitchen doorway is next to him. Inside the kitchen are Lynn and
DARREN'S MOM speaking. It's clear they're from different worlds.
Lynn is wearing tight clothes with hair teased to dramatic
heights. Darren's mom is in a designer suit.
LYNN
...He doesn't get invited places.
DARREN'S MOM
It's our pleasure.
LYNN
The last time was a Chuck E. Cheese
party a year ago. He hid in one of
those purple plastic tunnels and
didn't come out.
DARREN'S MOM
Chuck E. who?
LYNN
Cheese. It's a kid's place.
Darren's mom smiles formally and turns to give the catering
people instructions on how to lay out the food on her sterling
silver trays.
LYNN
He's my whole life.
Darren's mom turns back to Lynn, the forced smile on her face.
LYNN
I work at an insurance place and at
Penny's, so Cole can go to that
good school.
DARREN'S MOM
J. C. Jenny's?
Lynn nods "Yes."
DARREN'S MOM
(bullshit)
Good for you.
LYNN
I wish I could be like my momma
though. She always knew what was
wrong. Knew just what to say.
Darren's mom glances at her expensive watch.
LYNN
Cole's going through something bad.
He won't talk to me.
(beat)
I'm his momma.
(emotional)
And I don't know what's wrong and
I don't know what to say.
Lynn drowns in her thoughts. Cole moves away from the kitchen
with sad eyes.
CUT TO:
INT. HALL - AFTERNOON
Cole walks past two expensively-dressed mothers eating hors
d'oeuvres as they move down the hallway.
MRS. WESTON
Did you have the Brie?
MRS. SAUNDERS
It tasted like cheese whiz.
They pass when Cole moves down the shiny mahogany wood hallway.
The women's conversation FADES AWAY behind him.
Cole turns a corner and comes to a dead stop. He turns white as
he stares at an open CRAWL SPACE CLOSET a few feet away. Cole's
eyes are riveted in the darkness of the closet. Beat.
THE HALLWAY ERUPTS WITH NOISE AS THE CHILDREN RUN IN FROM THE
BACKYARD.
Tommy Tammisimo is one of the children. He talks with the
birthday boy, DARREN, a skinny kid in a party hat.
TOMMY
I even got a trailer.
DARREN
For what? You only had one line.
TOMMY
You're slow, you know that. The
star of the commercial always has
his own trailer. You need to think
about your character alone.
Tommy glances down the hall and sees Cole standing frozen staring
at the crawl space closet.
Tommy grabs Darren.
TOMMY
Darren, check it out.
DARREN looks down the hall to Cole.
DARREN
My dad made me invite him.
Tommy nudges Darren to move down the hall. Cole breaks from his
trance as Tommy and Darren walk up.
COLE
Happy birthday, Darren.
TOMMY
Something you want to see in there?
Tommy points to the crawl space.
COLE
(too quick)
--No.
Beat. Tommy looks to Darren and then back to Cole.
TOMMY
We're going to put on a pretend
play. You want to be in it?
Beat.
COLE
...Okay.
TOMMY
It's called, "Locked in the Dungeon."
Tommy stares at Darren. Darren finally gets it.
DARREN
Yeah, Cole... you get to be the
one locked in the dungeon.
It happens too quick for Cole to react. Darren and Tommy shove
Cole backwards. He stumbles into the darkness of the crawl space.
COLE
Don't!
Tommy slams the door closed. Darren turns the lock. They crack
smiles at each other as Cole bangs on the door.
The BANGING GOES ON FOR A FEW SECONDS AND THEN IT JUST STOPS.
SILENCE.
Darren and Tommy look at each other and then back at the crawl
space door.
Then THE SCREAMING BEGINS.
Darren and Tommy back away from the door as COLE SCREAMS IN
TERROR at the top of his lungs. He CRASHES OVER AND OVER against
the door. HIS BODY SLAMMING AGAINST THE WOOD. The DOOR RATTLES
like it's going to break off its hinges.
The two boys are statues as Cole's BLOOD-CHILLING YELLS FILL THE
HALLWAY.
FOOTSTEPS SPIKE THE AIR AS children and mothers come running down
the hall. Lynn is one of them.
Darren's mother turns the corner.
DARREN'S MOTHER
Who's making that noise?
She looks to the closet. THE HIGH-PITCHED SCREAMS CUT THROUGH
THE HALL.
LYNN
Cole!
Lynn and Darren's mom rush to the door and turn the knob... The
door flies open. Lynn reaches in and pulls out Cole. He's
UNCONSCIOUS.
Darren's mom looks into the crawl space -- there's nothing inside
except a couple packing boxes in the back. She looks to Lynn.
She turns around with Cole in her arms.
LYNN
(desperate whispers)
Help me get him in the car.
CUT TO:
INT. HOSPITAL RECEPTION AREA - AFTERNOON
Colorful murals don the curved walls of the pediatric reception
area.
A spattering of children accompanied by adults sit and wait.
Lynn and Malcolm are seated at a children's play table. A game
made of a maze of wires sit on the table in front of them.
A young resident DR. HILL takes a seat at the table with them.
He opens up his notes.
LYNN
What's wrong with Cole?
Beat.
DR. HILL
The tests indicate he did not have
a seizure. In fact he's doing fine.
After some rest, he could go home
tonight.
Lynn closes her eyes. Lets out a tense breath. Beat. Malcolm
eyes the doctor as he glances back to an academic-looking woman
standing at the reception room door.
MALCOLM
There's something else going on,
Lynn.
Lynn opens her eyes and catches the doctor's expression.
LYNN
What is it?
DR. HILL
There are some scratches and
bruises on your son that concern me.
MALCOLM
Oh, man.
LYNN
Those are from sports, from playing.
He's not the most coordinated kid,
but I don't want him to stop trying,
you know what I mean?
Doctor Hill gestures to the woman standing near the doorway.
DR. HILL
Mrs. Sloan over there is our social
worker at the hospital. She's
going to ask you some procedural
questions.
LYNN
You think I hurt my child?
(emotional)
You think I'm a bad mother?
DR. HILL
At this point it's just procedure.
And you should probably calm down.
MALCOLM
How do you expect her to react?
LYNN
You want me to answer your
questions?
DR. HILL
(sarcastic)
I'm sorry if I was being vague --
yes, I do.
LYNN
Who's going to answer mine, you
dick.
Dr. Hill stares at her before closing up his files.
LYNN
(raising voice)
What happened to my child today?
Dr. Hill gets up.
LYNN
Something was happening to him --
physically happening. Something
was very wrong.
Dr. Hill hands his files to MRS. SLOAN and exits the reception
room without looking back.
Everyone in the reception room stares at Lynn. Mrs. Sloan walks
up to the table and waits.
Lynn takes a second. Wipes her eyes. Gathers her considerable
strength. Beat.
LYNN
How long will these questions take?
CUT TO:
INT. HOSPITAL ROOM - NIGHT
Cole lays rigid in the hospital bed. Blankets bundled around him
as if to shield him. Cole's eyes fixed out the window.
Malcolm quietly enters through the half-opened door to the room.
Cole spots him. Visibly relaxes.
MALCOLM
I've decided we shouldn't schedule
sessions anymore. I'll just follow
you around.
Cole smiles weakly as Malcolm takes a seat on a rolling metal
chair.
Malcolm notices Cole's legs emerging from under the hospital
gown. Cole is wearing A MAN'S DRESS SOCK. The baggy folds ride
up all the way to his knees.
MALCOLM
Your father ever tell you bedtime
stories?
COLE
Yes.
Malcolm looks at Cole. Malcolm makes a decision. He rolls in
the chair across the room as he thinks. Beat.
MALCOLM
Once upon a time there was a prince,
who was being driven around... He
drove around for a long, long time...
Driving and driving... It was a
long trip... He fell asleep...
(beat)
When he woke up, they were still
driving... The long drive went on--
COLE
Dr. Crowe.
MALCOLM
Yes.
COLE
You haven't told bedtime stories
before?
MALCOLM
No.
COLE
You have to add some twists and
stuff. Maybe they run out of gas.
MALCOLM
No gas... Hey, that's good.
They sit in silence. Malcolm works on a new plot in his head.
COLE
Tell me a story about why you're
sad.
Beat.
MALCOLM
Do you think I'm sad?
Cole nods, "Yes."
MALCOLM
What makes you think that?
COLE
Your eyes told me.
Beat. Malcolm's affected by his client.
MALCOLM
(rote)
I'm not supposed to talk about
stuff like that.
Cole smiles softly.
Malcolm stares at the tired child sitting before him in the
hospital bed.
Malcolm rolls his stool away from his client as he thinks.
Beat. He slowly moves the rolling chair closer to Cole's bed.
MALCOLM
...Once upon a time there was this
person named Malcolm. He worked
with children. Loved it more than
anything.
(smiles)
Then one night, he finds out he
made a mistake with one of them.
Didn't help that one at all. He
thinks about that one a lot. Can't
forget.
(beat)
Ever since then, things have been
different. He's become messed up.
Confused. Angry. Not the same
person he used to be.
(beat)
His wife doesn't like the person
he's become. They don't speak
anymore. They're like strangers.
Malcolm breaks from his thoughts and looks at Cole who watches
him with unwavering attention. Malcolm smiles.
MALCOLM
And then one day this person
Malcolm meets a wonderful boy who
reminds him of that one. Reminds
him a lot of that one. Malcolm
decides to try to help this new boy.
He thinks maybe if he can help this
boy, it would be like helping that
one too.
Malcolm leans forward, whispers with emotional eyes.
MALCOLM
I don't know how the story ends.
I hope it's a happy ending.
COLE
Me too.
Cole looks at Malcolm's caring eyes. Cole stares at Malcolm a
long time.
EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.
COLE
I want to tell you my secret now.
Malcolm blinks very slowly.
MALCOLM
Okay.
Cole takes an eternal pause. A silent tension engulfs them both.
COLE
...I see people.
Malcolm just gazes quietly.
COLE
I see dead people... Some of them
scare me.
Beat.
MALCOLM
In your dreams?
Cole shakes his head, "No."
MALCOLM
When you're awake?
Cole nods, "Yes."
MALCOLM
Dead people, like in graves and
coffins?
COLE
No, walking around, like regular
people... They can't see each
other. Some of them don't know
they're dead.
MALCOLM
They don't know they're dead?
Beat.
COLE
I see ghosts.
Malcolm becomes completely motionless. Works to hide his shock.
He and Cole stare at each other a long time.
COLE
They tell me stories... Things
that happened to them... Things
that happened to people they know.
Beat. Malcolm's words are extra-controlled. Revealing nothing.
MALCOLM
How often do you see them?
COLE
All the time. They're everywhere.
(beat)
You won't tell anyone my secret,
right?
Beat.
MALCOLM
...No.
COLE
Will you stay here till I fall
asleep?
Malcolm nods, "Yes." Cole pulls the covers up to his chin and
turns to the window in the room. Malcolm is very still and
stares at Cole.
MALCOLM'S EYES -- slowly turn and survey the room. They find
nothing. Malcolm returns to watching Cole.
COLE'S EYES LOOK AROUND THE ROOM WARILY... WE MOVE IN ON THEM --
TILL HIS EYES FILL THE FRAME.
Beat.
And then we see what he's staring at. Through Cole's hospital
room window we see the adjacent wing of the hospital building.
Rows of hospital room windows are visible. In the windows are
patients... SOME OLD, SOME YOUNG... SOME ARE DRESSED IN MODERN
HOSPITAL GOWNS... SOME FROM DECADES PAST.
THEY STAND UNNATURALLY STILL IN THEIR WINDOWS... WATCHING,
WAITING.
CUT TO:
EXT. STREET CORNER - NIGHT
Malcolm hails a cab. He steps off the sidewalk lost in his
thoughts. Steam rises from a street vent. HEADLIGHTS. A CAR
SUDDENLY EMERGES FROM THE STEAM, NARROWLY MISSING MALCOLM.
Malcolm jerks out of the way. His briefcase falls to the ground.
His tape recorder falls to the sidewalk. Beat. Malcolm reaches
down and picks it up.
MALCOLM
Cole...
(beat)
His pathology is more severe than
initially assessed.
(beat)
He's suffering from visual
hallucinations, paranoia --
Symptoms of some kind of school age
Schizophrenia.
(beat)
Medication and hospitalization may
be required.
CLICK. Malcolm's hand with the tape recorder drops to his side.
MALCOLM
(whispers)
I'm not helping him.
Malcolm stares into the night. He stands alone as thoughts crash
like thunder in his head.
CUT TO:
INT. CAR - NIGHT
The STREETS TURN RED as Lynn drives home from the hospital in
silence. She glances down to her right.
Cole is curled up asleep on the passenger seat, back in his
regular clothes, a tiny party hat clutched in his hand. He looks
like a four-year-old.
The sight of him exhausted and still, hits Lynn hard.
Lynn's face drowns in deep concern. She lays a hand on Cole's
head as she drives.
CUT TO:
INT. COLE'S HOUSE - NIGHT
The front door opens, Lynn carries Cole in. He's asleep on her
shoulder. She carries him down the hall to his BEDROOM.
Lynn lays Cole gently on his bed next to his German Shepherd
Puppy. Cole curls up with Sebastian.
Lynn watches the two youngsters sleep for a moment. Cole is
curled up asleep with a tiny party hat clutched in his hands. He
looks like a four-year-old. Lynn has been carrying Cole's
sweater from over her shoulder. She pulls it off and begins to
fold it. Her attention is drawn to the sweater. She fingers the
fabric of the back. IT'S RIPPED. Her eyes move to Cole. In the
middle of the back of his T-shirt are THREE SMALL TEARS. Lynn
pushes the fabric open with her fingers and sees DEEP FINGERNAIL
LIKE SCRATCHES on his skin.
Lynn looks around helplessly, fear creeping into her eyes.
CUT TO:
INT. HALL - NIGHT
Lynn emerges from Cole's room. She turns OFF THE HALL LIGHTS as
she moves into her room and closes the door.
WE HEAR LYNN PICK UP A PHONE AND DIAL. Beat.
LYNN
Hi, this is Lynn Sear, Cole's
mother. I wonder if we could
talk about your son and his
friends keeping their goddamn
hands off my boy?
The thermostat on the wall reads seventy-eight degrees.
DISSOLVE TO:
INT. HALL - NIGHT
A few hours later. The house seems threateningly still. Too
still.
CUT TO:
INT. COLE'S HOUSE - NIGHT
An unnatural silence fills each room of the house.
The thermostat on the wall now reads, fifty-two degrees.
A LIGHT TURNS ON FROM UNDER COLE'S DOOR.
The door opens a crack. Cole's tiny face peeks out. Eyes scan
the darkness.
The door opens a little bit more. Cole's knees are pressed
together. His body dances a little. Cole has to pee. He moves
cautiously into the hall.
Cole moves briskly to a door halfway down the corridor. Opens
it. Cole turns on the LIGHT IN THE BATHROOM.
He checks behind the shower curtain, before he turns his back and
pees into the toilet.
A LARGE FIGURE MOVES PAST THE DOORWAY.
Cole instantly stops peeing. His body becomes very still. He
slowly reaches for the toilet handle and flushes. He closes his
pants and turns. He doesn't come out of the bathroom at first.
He just stands there and stares into the darkness of the hall.
HIS BREATH FORMS TINY CLOUDS IN THE COLD AIR.
Beat. Cole finally steps out into the hallway. His eyes catch a
SLANT OF LIGHT now coming from the kitchen.
Cole hesitates before being drawn to the kitchen. He moves down
the hall and turns the corner -- coming to a stop in the doorway
of the kitchen.
CUT TO:
INT. KITCHEN - NIGHT
Cole stares at the back of a person cooking food on the stove.
Cole's fear slowly fades away. Beat.
COLE
Momma?
(beat)
Dream about daddy again?
The person turns. It's not Lynn. It's a strange woman. The
woman's face is demented. A purple gash cuts across her
forehead. ALL THE CABINETS AND DRAWERS ARE OPEN BEHIND HER.
WOMAN
DINNER'S -- NOT -- READY!
Cole's face turns the color of ash.
WOMAN
What are you going to do?
Cole backs up to the doorway.
WOMAN
You can't hurt me anymore!
The woman smiles menacingly as she thrusts her wrists forward...
They've been savagely cut.
CUT TO:
INT. HALLWAY - NIGHT
Cole turns and runs down the hall.
CUT TO:
INT. BEDROOM - NIGHT
Cole runs across his room.
He heads right for the homemade tent seated in the corner with
the "DO NOT TOUCH" sign on it. He scurries in. His legs
disappear as the bedsheets flap closed behind him.
The crazed woman stands at the end of the hall. Doesn't come any
closer.
CUT TO:
INT. TENT - NIGHT
Cole is curled up in the tent. He lays still for a moment
reaching over and FLICKING ON A FLASHLIGHT.
The red interior of the tent gets LIP UP.
It's a striking sight. The bedsheet walls of the tent are lined
with religious pictures taped to the walls. Tiny statues of
saints surround the interior perimeter. We see the statue Cole
stole from the church is in here... This tent is a sanctuary
made by an eight-year-old to hide in.
DISSOLVE TO:
INT. AUDITORIUM STAGE - AFTERNOON
THE LIGHTS IN THE GYM GO DOWN. THE SPOT LIGHT OPENS ON THE STAGE
AS THE CURTAINS MOVE TO THE SIDES...
A sign to the side of the stage reads, "The third and fourth
grade presents -- Rudyard Kipling's "The Jungle Book."
The parents APPLAUD AS TOMMY TAMMISIMO WALKS OUT ON STAGE in a
villager's outfit.
TOMMY
(Decent British accent)
There once was a boy, very
different than other boys. He
lived in the jungle, and he could
talk with the animals.
BACKSTAGE, Mr. Cunningham cues the rest of the children.
THE AUDIENCE APPLAUDS AS THE FULL CAST OF THE ACTORS COME OUT.
Some are villagers, others are dressed as trees and animals.
Cole comes on stage holding a painted cardboard monkey.
MALCOLM APPLAUDS FROM THE BACK OF THE AUDITORIUM.
CUT TO:
INT. SCHOOL CORRIDOR - AFTERNOON
The arched halls of the private school are lined with posted
drawings and test papers.
Cole and Malcolm walk down an empty hall.
COLE
Did you think the play sucked big
time?
MALCOLM
What?
COLE
Tommy Tammisimo acted in a cough
syrup commercial. He thought
everybody was self-conscious and
unrealistic. He said the play
sucked big time.
MALCOLM
I know every child is special in
their own way, but Tommy sounds
like a punk.
(Cole smiles)
I thought the play was excellent.
Better than Cats.
COLE
Cats?
MALCOLM
Never mind.
Beat. They continue down the hall in silence. Malcolm takes his
time.
MALCOLM
Cole, I was really interested in
what you told me in the hospital,
I'd like to hear more about it.
Malcolm stops at a set of doors at the end of the hall --
realizes Cole is no longer next to him. Malcolm turns to find
Cole frozen about ten feet back.
Malcolm walks to him. He notices Cole's expression as he gets
closer.
MALCOLM
What's wrong?
Cole points to the doors.
MALCOLM
Is something in there?
Cole doesn't say anything. Beat.
CUT TO:
INT. GYMNASIUM - AFTERNOON
It's a large shadowy GYM. Climbing ropes hang from the wood
beamed ceiling.
Cole is trembling slightly as he stands next to Malcolm.
MALCOLM
What is it?
Malcolm follows the child's gaze to the ceiling of the gym.
MALCOLM
I don't see.
Beat.
COLE
Be real still.
Malcolm looks to Cole and then turns back to the ceiling.
Malcolm's body becomes very still. Beat.
COLE
Sometimes you feel it inside.
Like you're falling down real fast,
but you're really just standing
still.
Malcolm looks at the wood beams and climbing ropes.
COLE
You ever feel prickly things on the
back of your neck?
Beat.
MALCOLM
Yes?
COLE
And the tiny hairs on your arm.
Are they all standing up?
Malcolm glances at Cole. Surprise on his face.
MALCOLM
-- Yes.
Beat.
COLE
(whispers)
When they get mad, it gets cold.
MALCOLM
Them?
Malcolm looks at the empty stairwell and then back to Cole.
Nothing is said for a few moments.
MALCOLM
I don't see anything.
(beat)
Are you sure they're there?
(beat)
Cole?
Malcolm turns back to Cole, he finds the child with tears in his
eyes. Cole looks at Malcolm desperately.
COLE
Please make them leave.
Malcolm stares helplessly.
MALCOLM
(whispers)
I'm working on it.
Malcolm gently leads Cole away from the stairs.
COLE GLANCES BACK AS HE MOVES OUT OF THE STAIRWELL.
COLE'S P.O.V. -- The ropes and school banners dangling at the top
of the stairs sways a little... But so do THE THREE BODIES
HANGING BY THEIR NECKS FROM A WOODEN BEAM.
It's a truly horrific sight. A BLACK MAN in britches and no
shirt, face beaten to a pulp, hangs in the center. A WHITE WOMAN
in a torn white frilly dress -- tears soaking her face, hangs to
the right. A small MIXED RACE CHILD in half pants, hangs to
their left. The family stares at Cole. They follow Cole with
their tortured eyes as he exits the stairwell.
CUT TO:
EXT. HISTORIC PHILADELPHIA - NIGHT
Malcolm walks from the bus stop over the cobblestone streets in
front of Head House Square. The streets are quiet and dark.
Night time has fallen over the city.
He slowly comes to a stop in front of an old building. He holds
his arm up. Uses his other hand to gently touch his hairs on his
arm's surface.
Malcolm looks up slowly. Looks around. The dark shadows fill
the corners of the historic building...
Malcolm stares into the darkness... Beat.
MALCOLM
(whispers)
...Is anyone there?
A long moment as he waits. The shadows seem to move, then
becomes still.
Malcolm shakes off the moment. He returns his hands to his
pockets as he moves through the dark streets of Philadelphia to
his home.
CUT TO:
INT. HALL - NIGHT
The doorway to Malcolm and Anna's bedroom is open. STRAINED
VOICES SPILL OUT INTO THE HALLWAY.
MALCOLM (o.s.)
Look, he's an eight-year-old child.
He's my only client. If he invites
me to his play, I'm not thinking
about how late I get back... I go.
I have to go. You know that.
That's the only way I know how to
work.
(beat)
Vincent said I failed him.
(raising his voice)
I WON'T GIVE COLE A CHANCE TO SAY
THOSE WORDS TO ME! I WON'T!
Beat. THE PORTABLE PHONE RINGS OUT IN THE HALL.
MALCOLM (o.s.)
Please let it ring.
WE HEAR MOVEMENT. Anna emerges from the bedroom. Eyes raw. She
wipes her tears.
She picks up the phone and moves down the stairs.
Malcolm walks out into the hall. Stops at the top of the stairs.
ANNA'S VOICE CAN BE HEARD SPEAKING ON THE PHONE from downstairs.
ANNA
I can't talk now.
Malcolm doesn't hear anything as Anna listens to the person on
the phone. She smiles as she wipes her tears. He starts for the
basement door again.
ANNA
(whispers)
I thought about you too.
Malcolm turns. He stands frozen at the top of the stairs.
Anna's HUSHED WORDS RISING IN THE AIR LIKE A GUN BLAST.
CUT TO:
INT. KITCHEN - NIGHT
Lynn adjusts the thermostat as she tries to keep herself warm.
LYNN
I don't care what they say, this
thing is definitely broken.
Lynn fiddles with the dials. Cole is standing before the beat-up
twelve inch kitchen T.V.
ON THE TELEVISION SCREEN is Tommy Tammisimo. He stands in his
pajamas in a doorway. He coughs.
TOMMY
(on T.V.)
Mommy, my throat hurts.
Cole watches as Tommy's T.V. mother and father give him a
spoonful of medicine.
NARRATOR
(on T.V.)
Pediaease Cough Suppressant...
gentle, fast, effective.
Cole watches Tommy running around in his T.V. background, the
very next T.V. morning. He's not sick anymore. Tommy waves to
the camera smiling and healthy. The T.V. goes BLACK as Cole
throws his shoe at the power button.
He moves to the dinner table where Lynn is seated. Cole sits.
His hands go on the table. He's wearing a pair of his father's
extra large LEATHER GLOVES. Cole's small hands don't even fill
the palm area. Cole has difficulty trying to pick up his milk
glass with the gloves.
LYNN
Take 'em off.
Cole removes the gloves from his hand and places them next to his
plate.
LYNN
I don't want them on my table.
Cole moves them to the floor.
Lynn is irritated, this is a sore point between them.
Lynn and Cole eat quietly. Beat.
LYNN
I saw what was in your bureau
drawer when I was cleaning.
Cole looks up. An anxious expression on his face. Beat.
LYNN
You got something you want to
confess?
Cole just stares.
LYNN
The bumble bee pendant. Why do you
keep taking it?
Cole looks down at his lap.
LYNN
It was Grandma's. It's not for
playing.
(beat)
What if it broke? You know how sad
I'd be.
COLE
You'd cry. Cause you miss grandma
so much.
LYNN
(soft)
That's right. So why do you take
it, sweetheart?
COLE
Sometimes people think they lose
things and they didn't really lose
them. It just gets moved.
LYNN
Did you move the bumble bee pendant?
Cole shakes his head, "No." Lynn just stares.
LYNN
You didn't take it before. You
didn't take it the time after that.
And now, you didn't take it again?
COLE
Don't get mad.
LYNN
So who moved it?
Cole doesn't answer.
LYNN
There's only two of us.
(beat)
Maybe someone came in our house --
took the bumble bee pendant out of
my closet, and then laid it nicely
in your drawer?
(beat)
Is that what happened?
COLE
(soft)
Maybe.
Lynn just stares at Cole.
LYNN
I'm so tired, Cole. I'm tired in
my body. I'm tired in my mind.
I'm tired in my heart. I need a
little help here.
(beat)
I don't know if you noticed -- but
our little family isn't doing so
good.
Lynn folds her napkin quietly.
LYNN
I'm praying for us, but I must not
be praying right.
(beat)
It looks like we're just going to
have to answer each other's prayers.
If we can't talk to each other --
we're not going to make it.
(beat)
Now baby, tell me... I won't be
mad, honey... Did you take the
bumble bee pendant?
Beat. Cole's eyes start to water up.
COLE
No.
Lynn goes cold.
LYNN
You've had enough roast beef. You
need to leave the table.
Cole just stares at his mother's expression.
LYNN
(yells)
Go!
Cole gets up -- never taking his eyes off his mother -- and
leaves the room.
CUT TO:
INT. HALL - NIGHT
Cole enters the DARK HALLWAY. He gets startled by the SOUND OF
HIS PUPPY GROWLING.
Sebastian comes racing down the hall and scurries past Cole.
Cole watches his puppy dart into the living room and under a
couch.
Cole slowly turns back and looks down the hall.
THE DOOR TO COLE'S ROOM SITS AT THE END OF THE CORRIDOR. IT'S
ALMOST SHUT. COLE WATCHES AS THE DOOR BEGINS TO OPEN VERY
SLOWLY. IT OPENS WIDE. COLE DOESN'T MOVE AN INCH.
SUDDENLY IN THE STILLNESS AND THE DARKNESS, A SMALL FIGURE
SCURRIES FROM ANOTHER BEDROOM INTO THE BLACKNESS OF COLE'S ROOM.
IT HAPPENS LIKE A FLASH.
Cole stops breathing.
THE FIGURE SLOWLY STEPS OUT FROM COLE'S DOORWAY.
IT'S A BOY. A FEW YEARS OLDER THAN COLE.
THE BOY WHISPERS IN A LOW, HOARSE VOICE.
BOY
Come on... I'll show you where my
dad keeps his gun... Come on.
THE BOY TURNS. WE SEE THAT THE BACK OF HIS HEAD IS MISSING AS HE
DISAPPEARS INTO THE DARKNESS OF COLE'S ROOM.
Cole is too terrified to move.
CUT TO:
INT. KITCHEN - NIGHT
Lynn is kneeling on the kitchen floor trying to coax the puppy
out of the broom closet.
COLE (o.s.)
Momma.
Lynn turns -- surprised to hear her son's voice. Lynn's eyes are
red from crying. She wipes them quickly with the back of her
hand.
Mother and son look at each other. Beat.
COLE
If you're not very mad... Can I
sleep in your room tonight?
Lynn fights back some tears.
LYNN
Look at my face, Cole.
Cole does. Lynn smiles at her son.
LYNN
I'm not very mad.
Lynn hugs him. Beat.
LYNN
Baby... Why are you shaking?
Cole doesn't answer.
LYNN
Cole, what's wrong?
Cole just closes his eyes and holds his mom tight.
LYNN
(desperate)
...Please tell me.
Cole doesn't say a word.
LYNN
(crying)
Please.
CUT TO:
INT. ANTIQUE STORE - DAY
We are in an antique store. Filled floor to ceiling with
furniture and knickknacks.
Anna stands with a YOUNG COUPLE. All three lean over and peer
into a glass cabinet.
An antique engagement ring sits on a velvet stand.
ANNA
It's Edwardian. Beautifully worked.
Entirely platinum with a mine cut
diamond and an actual color Burmese
Sapphire... It's timeless.
YOUNG MAN
You got anything a little plainer?
The young woman looks at her beau.
YOUNG WOMAN
Plainer? You want a plain ring to
go with your plain fiance. Is that
how it is?
YOUNG MAN
No, baby. Don't get in a tizzy.
It's just... you're so beautiful...
you're like a Burmese Sapphire all
by yourself. You don't need all
that.
YOUNG WOMAN
(disbelief)
Uh-huh.
Anna smiles as she takes the ring out of the cabinet.
ANNA
Why don't you two hold it?
She places it in their hands.
ANNA
Do you feel longing?
YOUNG WOMAN
Excuse me?
ANNA
When I touch this piece I feel a
longing. I imagine the woman who
owned this, loved a man deeply she
couldn't be with.
The young woman looks at Anna with great intrigue.
YOUNG WOMAN
Did he have wavy hair and broad
shoulders?
The young man throws an odd glance at his fiance.
ANNA
I don't know... But maybe...
(beat)
A lot of the pieces in this store
give me feelings. I think maybe
when people own things and then
they pass away -- a part of
themselves gets printed on those
things -- like fingerprints.
Beat. The young man and the young woman gaze at Anna silently.
They look down at the ring. They place their hands on it
reverently, delicately -- like checking for a pulse.
Anna can't hold back her sweet smile.
CUT TO:
INT. ANTIQUE STORE - DAY
Anna moves to the back desk where SEAN comes out. He's carrying
an antique bench in his arms. He places it down and takes a much
needed seat.
SEAN
You don't need someone with a
masters. You need a wrestler guy
whose neck is larger than his head.
ANNA
I need a wrestler with a masters.
Anna fills out the paperwork for the ring.
SEAN
What's this?
Anna looks over to find Sean standing at his desk where a
BIRTHDAY PRESENT sits on his tabletop. Sean looks at her.
SEAN
From you?
Anna nods, "yes."
SEAN
Is it wrestling tights?
Anna smiles as she moves to his desk. Sean begins to tear off
the wrapping paper like a kid at Christmas.
Anna laughs. Sean holds up a weathered hardback copy of "THE
GREAT GATSBY." Beat.
ANNA
It's a first edition.
SEAN
Wow, this is too much. It's
perfect, Anna.
Sean puts down the book and hugs her. He pulls back a little,
still holding her. They smile at each other.
Beat. The moment goes on just that crucial fraction of a second
too long. Their smiles slowly melt away as they continue to hold
each other. Nothing happens for the longest time.
CRASH! A SHATTERING DOOR SLAM ECHOES THROUGH THE STORE. Anna
and Jeffery pull apart. They rush past the young man and the
young woman to the front of the store. They find the glass front
door cracked in a spider web pattern.
They carefully push open the door and step out onto the sidewalk.
Look around. No one in sight.
Anna stares down the empty street. A concerned expression on her
face.
CUT TO:
EXT. STREET - DAY
Malcolm walks angrily down the sidewalk. He stops as his hand
goes to his side. He winces with pain as he keeps walking.
CUT TO:
EXT. SUPERMARKET - DAY
Lynn and Cole emerge from the supermarket.
Cole rides inside the shopping cart tucked between bags of food.
Mother and son are quiet as they move towards their car.
Beat.
Lynn leans over, looks at the side of her son's pensive face.
She starts pushing the cart faster. Cole wakes from his thoughts
as his hair flutters in the wind. He looks back. Lynn is
smiling as she pushes. Cole turns and raises his hands in the
air like he's on a roller coaster.
Beat.
They slow and come to a rest at the bumper of their car. Lynn
leans over -- sees the side of Cole's face smiling.
Lynn's face shows a little happiness for the first time. A
little hope enters her eyes as she starts to load the groceries
into the car.
CUT TO:
INT. CAR - DAY
Cole and Lynn ride home with a back seat full of groceries.
Cole finishes off a cherry popsicle as he watches out the window.
Lynn looks over.
LYNN
Let's rent a movie.
Cole bites off the last of the popsicle and glances at his mom.
LYNN
Your pick.
Cole stares at his mom quietly.
LYNN
It can even have Jean Claude Van
Damme in it if you want.
Cole smiles at that. He nods, "Yes" joyfully.
His smile fades away as he notices his mother fiddling with the
HEATER controls.
Cole gazes out the front windshield as the car moves towards home.
Suddenly a piece of paper sticks to the windshield. It's a page
from a Playbill. A 1941 Playbill. It flies away revealing a
woman in a flowing flowery dress from the 40's suddenly walks
into the middle of the street as the pages of her Playbill swirl
in the air.
COLE
(yells)
Momma, look out!
The woman in the flowery dress turns. Her hand rests on her
stomach. WE SEE SHE IS PREGNANT.
Playbills stick to the windshield obstructing the view.
Lynn slams the brakes... Too late.
THE WOMAN SMASHES INTO THE FRONT GRILL OF THE CAR... HER TERROR-
STRICKEN FACE COMES OVER THE HOOD AND CRASHES RIGHT THROUGH THE
WINDSHIELD IN A SHOWER OF BLOOD AND GLASS...
COLE SCREAMS. LYNN SCREAMS... THE CAR SCREECHES TO A STOP IN
THE MIDDLE OF A CONGESTED INTERSECTION.
The line of cars behind them suddenly hit their brakes and swerve
to one side avoiding a mass collision. After a few seconds, the
entire intersection has come to a halt.
Cole who has shut his eyes... slowly opens them.
He looks around fearfully. His eyes move to the windshield. No
broken glass. No blood. And no woman. Cole looks out through
the pristine windshield onto the street where cars are stopped
and staring all around them.
Cole slowly looks over to his mother. He finds her staring at
him in complete and utter disbelief. Her hands clutch the wheel.
The whites of her knuckles showing her fear. She has no idea why
he screamed.
CUT TO:
INT. DEN - AFTERNOON
The den is very quiet. Cole and Malcolm sit around the multi-
colored table. Malcolm leans back in his small plastic chair --
arms folded over his chest. Cole sits slumped over the table --
eyes peering out over his arms.
They both look like shit.
COLE
You don't wanna ask me questions
today?
Malcolm nods, "No." Beat.
COLE
Can I ask you then?
MALCOLM
Yes.
COLE
What do you want more than anything?
MALCOLM
I don't know.
COLE
I told you what I want.
MALCOLM
I don't know, Cole.
COLE
Why don't you think about it for a
while?
Malcolm doesn't respond. Cole watches him. Beat.
MALCOLM
I know what I want.
(beat)
My goal is to speak to my wife.
The way she and I used to speak.
Like there was no one in the world
but us.
Beat.
COLE
(soft)
How are you going to do that?
Beat.
MALCOLM
(whispers)
I can't be your doctor anymore.
(beat)
I haven't given my family enough
attention. Bad things happen when
you do that. Do you understand?
The room falls into silence again. Cole speaks extra soft.
COLE
You want to go home?
Malcolm stares across at Cole.
MALCOLM
I have to.
COLE
When?
MALCOLM
Soon. One week.
Malcolm looks down at his eyes full with emotion.
MALCOLM
I'm going to transfer you. I know
two psychologists that are
exceptional--
COLE
(whispers)
Don't fail me.
Malcolm looks up sharply.
MALCOLM
--What?
COLE
Don't give up. You're the only one
who can help me. I know it.
Beat. Malcolm tries to stay composed. It doesn't work.
MALCOLM
You want to know a secret?... I
was a paper champion.
(beat)
Do you know what that means?
Cole shake his head, "No." Tears fall down Malcolm's cheeks.
COLE
Don't cry.
MALCOLM
I means I wasn't what everyone
thought I was...
(beat)
I was a fake.
COLE
You weren't a paper champion.
MALCOLM
Someone else can help you. Someone
else can make you happy.
Cole is crying now.
Cole wipes his eyes with his sleeve. They sit quietly and stare
at each other. Beat.
Cole whispers.
COLE
Dr. Crowe?
MALCOLM
Yes.
COLE
You believe me, right?
A long pause.
COLE
Dr. Crowe, you believe my secret,
right?
They both just stare.
MALCOLM
I don't know how to answer that.
Cole searches for the answer in Malcolm's eyes... He finds it.
It's not the one he wanted. Malcolm looks down.
COLE
How can you help me if you don't
believe me?
Cole reaches into his pocket. Pulls out a PENNY.
Cole pushes it across the table.
Malcolm gazes at it, then looks up at Cole's pained eyes.
Beat.
COLE
(whispers)
Some magic's real.
CUT TO:
INT. BASEMENT - AFTERNOON
Malcolm sits stoically at his desk in his basement. His eyes
gaze at the dusty FRAMED CERTIFICATE FROM THE CITY OF
PHILADELPHIA shoved between two packing boxes.
Malcolm leans his head back against the chair. Stares into the
shadows. Drowns in his thoughts.
Beat. THE CHAIR CREAKS as he slowly sits up again. Malcolm's
eyes scan the room and come to a stop on a box marked with the
label...
"SESSION TAPES -- VINCENT GRAY"
CUT TO:
INT. BASEMENT - AFTERNOON
A tape slides into the tape player seated on Malcolm's desk.
Malcolm hits play.
THE SOUND OF A DOOR OPENING AND CLOSING IS HEARD.
MALCOLM
(on tape)
Sorry about that. Hope I didn't
leave you alone too long... Wow,
it's cold in here.
WE HEAR A CHAIR MOVE AS MALCOLM SITS DOWN. And then SILENCE.
Beat.
MALCOLM
(on tape)
Vincent... Why are you crying?
(beat)
Vincent?
A TEN-YEAR-OLD'S VOICE ANSWERS.
VINCENT
(on tape crying)
Yes?
MALCOLM
(on tape)
What happened?
(beat)
Did something upset you?
Beat. VINCENT SNIFFLES.
VINCENT
(on tape)
You won't believe.
MALCOLM
(on tape)
I won't believe what?
Beat.
VINCENT
(on tape)
I don't want to talk anymore. I
want to go home, okay? I want to
go home.
Beat.
MALCOLM
(on tape)
Okay, Vincent, you can go home.
CLICK. THE TAPE GOES TO SILENCE.
Malcolm just sits in the shadowy basement. He doesn't move for a
while.
Then he hits the rewind button. Stops it. Presses play.
MALCOLM
(on tape)
--about that. Hope I didn't leave
you too long... Wow, it's cold in
here--
Malcolm hits the rewind button again. Lets it rewind for a
while. Presses play.
MALCOLM
(on tape)
--like needles either. When I was
a kid, I had this blood test down --
threw up chill cheese fries all
over this male nurse.
WE HEAR VINCENT CHUCKLE SOFTLY.
THE SOUND OF A DOOR OPENING IS HEARD.
SECRETARY
(on tape)
Excuse me, Doctor Reed is on line
two.
MALCOLM
(on tape)
Vincent, I have to take this. Give
me a minute.
VINCENT
(on tape)
Okay.
FOOTSTEPS AS MALCOLM AND THE SECRETARY LEAVE THE ROOM. THE DOOR
CLOSES. AND THE SILENCE.
Nothing happens for a long time. AND THEN WE HEAR A SUDDEN CHAIR
SCREECH ACROSS THE FLOOR. VINCENT'S BREATHING QUICKENS.
A SLIGHT STATIC STARTS TO FILTER IN ON THE TAPE.
Malcolm's eyes are locked on the spool of audio tape as it spins
in the player.
Malcolm's fingers move to the volume dial. He turns it way up.
THE STATIC NOISE FROM THE TAPE FILLS THE BASEMENT.
Malcolm leans closer to the tape player. Closes his eyes and
listens... Beat.
DEEP IN THE STATIC... ANOTHER SOUND EMERGES, WHISPERING.
A MAN'S VOICE IS HEARD IN THE ROOM WITH VINCENT
MAN'S WHISPERING
(on tape)
Familia... No dejen que esto me
pase... Mi familia... Yo no
quiero morir... Familia...
Malcolm's mouth opens in disbelief.
MALCOLM
...Jesus Christ.
CUT TO:
EXT. STREET - AFTERNOON
Malcolm stands on a familiar sidewalk. He stares into the bay
window of Mr. Marschal's brownstone.
Inside the window we see Mr. Marschal seated with a group of
older gentlemen his age. They sit around a table eating
sandwiches and talking. Malcolm watches as Mr. Marschal tells a
story to his friends. WE CAN'T HEAR WHAT HE'S SAYING, but when
he finishes everyone at the table laughs. Mr. Marschal smiles.
Malcolm can't help smiling as well. This is not the same man he
saw before. Life has returned to this house. Beat.
Malcolm turns and moves down the street. Each step faster than
the next.
CUT TO:
INT. CHURCH - LATE AFTERNOON
Malcolm moves to the front of the church down the center aisle.
His eyes scan the empty seats. No one in sight in any direction.
Malcolm stands in the aisle a little out of breath. He holds his
hand to his side as he winces a bit.
Malcolm's eyes float up to the balcony where toy soldiers sit on
the bannister. Cole's head pops up.
MALCOLM
Hello again.
He looks down and studies Malcolm.
COLE
You been running around?
Malcolm nods, "Yes."
COLE
It makes you feel better?
Malcolm nods, "Yes" again.
COLE
I like to run around. It's good
exercise.
(beat)
You want to ask me questions now?
Malcolm shakes his head, "No."
COLE
You want to be a lance corporal in
Company M, 3rd Battalion, 7th
Marines? We're being dispatched to
the Quang Nam province.
Cole holds up his plastic rifleman. Malcolm's eyes show he
understands now.
MALCOLM
Maybe later.
Beat.
COLE
Something happened, didn't it?
MALCOLM
Yes, it did.
COLE
Are you wigging out?
MALCOLM
Yes, I am.
COLE
We're not gonna start crying again,
are we?
MALCOLM
No, we're not.
COLE
What happened?
Beat.
Malcolm glances around the empty church before looking back up to
Cole.
MALCOLM
These people... People that died
and are still hanging around.
Maybe they weren't ready to go.
Cole studies Malcolm's passionate face. A new face.
COLE
You really look better.
MALCOLM
Maybe they wake up that morning
thinking they have a thousand
things to do and a thousand days
left to do them in... And then
all of a sudden, it's all taken
away. No one asked them. It's
just gone...
COLE
You have nice red in your cheeks now.
MALCOLM
Do you know what 'Yo no quiero
morir' is?
Cole shakes his head, "No."
MALCOLM
It's Spanish. It means... 'I
don't want to die.'
(beat)
Not all the ghosts are scary, are
they? Like Mrs. Marschal?
COLE
No.
MALCOLM
What do those ghosts want when they
talk to you? Think real careful
now, Cole...
Cole stops moving. He looks over the balcony railing at Malcolm.
COLE
Just help.
MALCOLM
Yes! I think that's right!... I
think they all want that. Even the
scary ones...
COLE
You believe now?
Malcolm's stare is unwavering.
MALCOLM
I believe both of you now.
(beat)
And I think I might know how to
make them go away.
COLE
You do?
Malcolm nods "Yes."
MALCOLM
I think they know you're one of
those guys rare people can see them.
(beat)
You need to help them. Each one of
them.
(beat)
Everyone wants to be heard.
Everyone.
Cole takes a big sigh. Fiddles with his riflemen.
COLE
What if they don't want help? What
if they're just angry and they want
to hurt somebody?
MALCOLM
I don't think that's the way it
works, Cole.
Cole looks nervous.
COLE
How do you know for sure?
Malcolm's eyes are drawn to Cole's arm. Peeking out from under
his shirt sleeve are a set of cuts. Malcolm gazes at them.
MALCOLM
I don't.
Cole and Malcolm stand silently in the center aisle of the back
of the church.
CUT TO:
EXT. HOUSE - NIGHT
Malcolm moves around the corner on his street. His mind surges
with thoughts. And then he glances up. His steps slow to a
complete stop.
Further down the sidewalk, coming out of the front door of his
house is SEAN.
Malcolm's face turns to stone. He watches as Sean comes down the
front stairs and starts across the street.
A sudden rage surges up. Malcolm moves towards Sean fast.
Sean reaches his car and enters it. He doesn't notice the figure
closing in on him.
THE ENGINE STARTS. Malcolm reaches the car a second late. Sean
pulls away into traffic almost hitting another car as he does.
Malcolm watches the car disappear down the next street. Beat.
Malcolm turns and looks up at his home with unchecked anger and
overwhelming pain erupting his eyes.
CUT TO:
INT. HOUSE - NIGHT
Malcolm stands in his foyer.
Anna is sitting on the stairs, phone in her hand. She faces away
from the front.
Malcolm's a ball of tension as he listens to Anna talk into the
phone.
ANNA
...You just walked out. You're
probably on your way home. I'm
leaving this message... I just
didn't get to say what I meant...
(beat)
I know you're confused. It's just...
I'm not prepared to do this, Sean.
(beat)
I don't want to be ashamed of that.
I don't want to have to make
excuses for that.
(beat)
And I wanted to tell you... I
bought your present wholesale from
a friend. I didn't even pay tax on
it. You don't need someone cheap
like that.
(beat)
By the way, it's a non-refundable
item, it's scratched on the bottom.
(beat)
Are you smiling?... I hope you're
smiling.
(beat)
I'll see you at the store.
Beat. A long silence. Then WE HEAR ANNA GENTLY HANG UP.
Malcolm leans back against an old radiator. Beat.
His eyes close as the SOUND OF HIS WIFE'S FOOTSTEPS RISES UP THE
STAIRS.
CUT TO:
INT. BROWNSTONE - NIGHT
The house is silent. No movement.
Cole is in his pajamas asleep on the floor of the TENT.
Curled up next to him is Sebastian. They sleep surrounded by
statues and pictures.
Cole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.
LYNN
Cole...
(beat)
Cole, what's happening...
Cole quickly gets up and rushes out of the tent. His foot
catches one of the chairs the tent is fastened to. He stumbles
out. He doesn't realize one of the bedsheets comes loose. It
folds to the ground.
CUT TO:
INT. HALL - NIGHT
He doesn't stop as he moves through the shadowy hall and pushes
open his mother's bedroom door.
CUT TO:
INT. LYNN'S BEDROOM - NIGHT
Cole stands in the doorway to his mother's bedroom. He looks
over the room carefully. Everything is still.
Lynn's room is sparse. No paintings, no accessaries. A bed
without a frame sits in the corner. A table with a sewing
machine fills the other side of the room.
HIS MOTHER'S VOICE turns his attention back to the bed.
LYNN
Cole, what's happening to you?
Cole looks down and finds his mother laying in her bed. Her face
contorted in deep sadness as she speaks in her sleep.
LYNN
Is someone hurting you?... I'll
beat their asses.
Cole smiles at his mother as he moves to her side. Touches her
face with his tiny fingers.
COLE
(whispers)
Momma, you sleep now.
His touch seems to have an effect. Lynn becomes still in her
sleep. Cole watches her carefully.
COT TO:
INT. HALL - NIGHT
Cole closes the door to his mother's bedroom shut. He stands
still in the hallway. Lets out a heavy sigh...
HIS BREATH ROLLS IN A TINY CLOUD IN FRONT OF HIM.
Cole's brow furrows. He breathes again. This time
intentionally. Watches as his breath materializes in the
suddenly ice cold air.
Every muscle in Cole's eight-year-old body becomes rigid. He
takes a second before moving through the inky darkness of the
hall.
CUT TO:
INT. BEDROOM - NIGHT
Cole hurries to fix his tent. He ties the collapsed bedsheet in
a knot on the edge of the chair. He checks it carefully before
entering the tent.
CUT TO:
INT. TENT - NIGHT
When Cole turns around, he stops breathing.
AN EIGHT-YEAR-OLD GIRL VOMITS ON HERSELF IN HIS TENT. She
finishes and looks up at Cole with drawn eyes.
GIRL
I'm feeling much better now.
The girl reaches out with her withered and emaciated hands --
tiny tubes hang from her wrists. She scratches Cole as he
tumbles back terrified out of the tent. The whole tent collapses --
CUT TO:
INT. LIVING ROOM - NIGHT
Cole runs hard out of his bedroom and down the hall to the living
room. He gets down to the ground and slides under the wooden-
legged couch.
Sebastian is already huddled in fear under the couch. Cole
presses as far back as he can and waits.
COLE'S P.O.V. -- is of the living room floor. Chair legs.
Coffee table base. Rugs... Everything is still.
Cole holds his breath. He waits. Beat. Nothing happens. He
takes his first short breaths and watches the room for any sign
of movement.
CUT TO:
INT. COLE'S BEDROOM - NIGHT
A few minutes later. Cole is now standing in his doorway. He
stares at the hunched figure covered by the collapsed tent.
BEAT. Cole makes a decision. He looks like he is going to cry --
fights it back.
He walks towards it. Reaches down and slowly pulls the sheet off
the figure. The girl vomits one more time before looking up at
Cole.
GIRL
I'm feeling much better.
Cole and the little girl stare silently at each other. Cole
holds her stare with trembling eyes.
He opens his mouth -- it takes a while before the words come out.
COLE
Do you want to tell me something?
CUT TO:
INT. PUBLIC BUS - DAY
A downtown Septa public bus. Malcolm and Cole are among the
spattering of passengers.
They're both wearing suits.
Cole leans his head against the glass of the scratched window.
Cole's large eyes drink in the passing scenery.
COLE'S P.O.V. -- A dark, abandoned building stretches for an
entire block on one side. A MAN IN A GREY, FULL-BODIED UNIFORM
WITH NUMBERS PRINTED ACROSS HIS CHEST... RISES OUT OF THE TALL
WEEDS IN FRONT OF THE BUILDING. HE HOBBLES HIS WAY DESPERATELY
TOWARDS THE BUS. HIS HANDS AND LEGS ARE SHACKLED... HE LUNGES
OUT FOR COLE IN THE PASSING WINDOW.
SHACKLED MAN
My name's not Sullivan!
A GUNSHOT ECHOES IN THE AIR. THE MAN'S CHEST EXPLODES IN RED AS
HE FALLS TO HIS KNEES SCREAMING.
Cole jerks back from the window.
The bus quietly drives past THE OLD PRISON BUILDING.
Cole stares down at his lap and tries not to look up anymore.
Beat.
COLE
She came a long way to visit me,
didn't she?
MALCOLM
I guess she did.
Cole falls into deep thoughts as he stares down at his dress
shoes. Malcolm slips back into silence.
The city bus slithers through the old Philadelphia streets
working its way downtown.
CUT TO:
EXT. HOME - AFTERNOON
A modest home sits on a corner. Its small lawn, groomed
carefully. Rows of parked cars spill out from the driveway onto
the streets.
People in suits and dark dresses move somberly in and out of the
front door of the home.
Cole and Malcolm join the visitors as they walk slowly towards
the doors.
A frail, little girl about four years of age sits in a dark dress
on the swings in front of the house. Visitors say hello to her
as they pass. She doesn't say anything back.
MALCOLM
Her little sister?
Cole nods, "Yes."
Malcolm and Cole watch her for a moment before following others
into the modest corner home.
CUT TO:
INT. HOME - AFTERNOON
The home is packed with people. The gathering of mourners is
standing room only. The AIR IS FILLED WITH DOZENS OF HUSHED
CONVERSATIONS.
VISITOR #1
...can you imagine being a child in
a bed for two years?
We move to.
VISITOR #2
...I think it was six.
We move to.
VISITOR #3
...Six separate doctors?
We move to.
VISITOR #4
(whispers)
...the little one's falling ill now...
We move to.
VISITOR #5
...God help them...
A FAMILY PORTRAIT HANGS NEAR THE FRONT DOOR. Two girls, one
bigger, one smaller sit on the ground in front of their mother
and father. Their smiling faces welcome the mourners.
Malcolm and Cole are standing at the bottom of a staircase.
Waiting.
The front door opens as another group arrives. Malcolm nods to
Cole as the foyer fills up. The two of them quietly disappear
upstairs.
CUT TO:
INT. HALLWAY - AFTERNOON
The narrow hall is lined with boxes of medical supplies. I.V.
stands, sterile needles and pads are in the process of being
taken away. The boxes are piled outside a closed bedroom door.
Cole stares at the shut door like he doesn't want to go in. His
eyes move to the large, colorful map of the world that dons the
hallway wall. He gazes at the many countries and continents.
Beat.
COLE
I wish I were somewhere else.
MALCOLM
(soft)
Where will you go, where no one has
died?
Cole stares at the map and then turns to Malcolm.
COLE
Don't go home, okay?
MALCOLM
I definitely won't.
Cole turns and stares quietly at the door. He waits a long time
before reaching for the doorknob.
CUT TO:
INT. GIRL'S BEDROOM - AFTERNOON
Cole closes the door behind him. He turns and gazes at the
girl's bedroom. There's a hospital bed near the window. The
walls are covered with get-well cards and drawings from family,
friends, and school children.
Her shelves are filled with puppets. All shapes and sizes of
puppets. Next to the shelf is a puppet stage and a camcorder on
a mini tripod sitting next to it.
Cole walks to the shelf and picks up a FINGER PUPPET DANCER. He
places it in his pocket.
On the girl's desk, is a large collection of video cassettes.
The labels read, "Puppet Show Christmas 96," "Puppet Show
Birthday party," "Puppet Show class trip"...
Cole reads the labels carefully before moving towards the
closets. He passes the bed.
AN EMACIATED HAND REACHES OUT FROM BENEATH THE BED AND GRABS
COLE'S ANKLE.
Cole jerks back startled. He watches as the girl's hand slips
back under the bed. Cole stays very still. Waits. Nothing
happens.
He slowly bends down. His hands touch the floor. He tilts his
head and looks under the bed.
The emaciated little girl who came to his tent lays curled on the
floor. Her bulging eyes glare at Cole. She moves suddenly.
Thrusts a jewelry box forward. It slides across the wooden floor
and stops just before Cole. Cole and the sickly girl stare at
each other. Neither of them say a word.
CUT TO:
INT. LIVING ROOM - AFTERNOON
The room is thick with mourners. Most are gathered around the
GIRL'S MOTHER, a young woman in her late twenties. As she moves
through the room to the kitchen, she receives the many cards,
hugs, and flowers that are offered as condolence. Mrs. Collins
leaves the living room.
Malcolm watches breathlessly from the doorway as Cole moves
through the many adults across the room.
The girl's father, MR. COLLINS, a thin man in his late twenties,
is seated on the reading chair next to a T.V. His face is
granite. No one in the room dares to talk to him. He stares
statue-like at an abstract point in the room.
COLE
Mister?
The man doesn't react. Some of the guests look oddly at the
little boy standing before the man.
COLE
Excuse me, Mister.
Beat. The man slowly turns and looks down at the boy standing
next to him. Cole is very shaky.
Malcolm watches everything anxiously.
Cole stares at Mr. Collins.
COLE
Are you Kyra's daddy?
The man's face begins to crumble. Beat. He nods, "yes" softly.
Cole holds out the jewelry box. It trembles with his hands.
The father just stares at it. Beat.
COLE
It's for you...
(beat)
She wanted to tell you something.
The father becomes very still. His eyes fill with a storm of
confusion and pain. After the longest time, the father reaches
and gently takes the box out of Cole's small hands.
Cole begins to back away...
The father gazes at Cole as he melts into the crowd. Cole
reaches Malcolm and the two then slip out of the house.
The father looks down in a daze. He goes to open the jewelry
box. His movements are slow and strained. He lifts the latch
and open the box.
Mr. Collins stares at an unlabeled video cassette.
CUT TO:
INT. LIVING ROOM - AFTERNOON
People in the room start to turn as the T.V. comes on. Mr.
Co
