Cornel1801.com  

The Sixth Sense (1999) screenplay

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

Two place settings are arranged on the living room coffee table.
Take-out Chinese food sits half eaten on good china.  An empty
bottle of red wine sits between boxes of Chinese food.

Anna arrives with the backup bottle and is now wearing a sweater.
She hands a collegiate rowing team sweatshirt to Malcolm.

		ANNA
	It's getting cold.

MALCOLM CROWE sits on the floor at the coffee table, his vest and
tie on the sofa behind him.  A jacket and an overcoat lay on a
brirfcase next to him.

Malcolm is in his thirties with thick, wavy hair and striking,
intelligent eyes that squint from years of intense study.  His
charming, easy-going smile spreads across his face.  He points.

		MALCOLM
	That's one fine frame.  A fine
	frame it is.

Malcolm points to the HUGE FRAMED CERTIFICATE propped up on a
dining room chair.  It's printed on aged parchment-type paper.
The frame is a polished mahogany.

He slips on the sweatshirt.

		MALCOLM
	How much does a fine frame like
	that cost, you think?

Anna hands the backup bottle over to Malcolm.

		ANNA
		(smiling)
	I've never told you...  but you
	sound a little like Dr. Seuss when
	you're drunk.

Malcolm uncorks the wine and starts pouring in the empty glass.

		MALCOLM
	Anna, I'm serious.  Serious I am,
	Anna.

Anna giggles.  She's clearly buzzed herself.  Malcolm doesn't get
it.  Anna takes a few calming sips of her wine.  Her attention
slowly moves to the framed certificate.

		ANNA
	Mahogany.  I'd say that cost at
	least a couple hundred.  Maybe
	three.

		MALCOLM
	Three?  We should hock it.  Buy a
	C.D. rack for the bedroom.

		ANNA
	Do you know how important this is?
	This is big time.
		(beat)
	I'm going to read it for you,
	doctor.

		MALCOLM
	Do I really sound like Dr. Seuss?

Anna ignores Malcolm and clears her throat.  She leans forward
her seat and reads the certificate out loud as Malcolm tries to
tickle her.

		ANNA
	In recognition for his outstanding
	achievement in the field of child
	psychology, his dedication to his
	work, and his continuing efforts to
	improve the quality of life for
	countless children and their
	families, the City of Philadelphia
	proudly bestows upon its son Dr.
	Malcolm Crowe...  That's you...
	the Mayor's Citation for
	Professional Excellence.

Beat.  The power of the words sobers the two of them.

		ANNA
	Wow.  They called you their son.

		MALCOLM
	We can keep it in the bathroom.

Anna turns to Malcolm.  He smiles.

		MALCOLM
	It's not real, Anna.  Some
	secretary wrote that up.  Don't
	tell me you thought it was real?

Anna's expression becomes serious.


		MALCOLM
	What?

She just keeps staring.  Beat.

		MALCOLM
	Don't do the quiet thing.  You know
	I hate it.

Beat.

		ANNA
	This is an important night for us.
	Finally someone is recognizing the
	sacrifices you made.  That you have
	put everything second, including me,
	for those families they're talking
	about.

Malcolm plays softly with her face.  Anna takes his hands and
holds them steady.

		ANNA
	They're also saying that my husband
	has a gift.  Not an ordinary gift
	that allows him to hit a ball over a
	fence.  Or a gift that lets him
	produce beautiful images on a
	canvas...  Your gift teaches
	children how to be strong in
	situations where most adults would
	piss on themselves.
		(beat)
	Yes, I believe what they wrote
	about you.

Anna lets go of his hands.  Anna's eyes are emotional.  Malcolm
smiles softly.

		MALCOLM
	Thank you.

Anna leans towards him.  They hold each other tight.  Beat.

		MALCOLM
	What are we hugging about again?

Anna laughs as she wipes her eyes.

		ANNA
	Nothing.  There wasn't supposed to
	be any crying at this celebration.
	Just a lot of drinking and sex.

Malcolm's charming, easy-going smile returns.

		MALCOLM
	I would like some red wine in a
	glass.

Anna hands him his glass.  He stares at it.

		MALCOLM
	I would not like it in a mug.  I
	would not like it in a jug.

Malcolm looks at Anna surprised at what he said.  They crack up
laughing.  THEIR SWEET LAUGHTER FILLS THE HOUSE.

						CUT TO:

INT. BEDROOM - NIGHT

TWO GIGGLING SHADOWS APPEAR IN THE BEDROOM DOORWAY.  They try to
turn on the light.  It doesn't come on.

		MALCOLM
	Bulb's out.

Anna giggles some more as Malcolm's shadow stumbles across the
bedroom.

MALCOLM TURNS ON THE BATHROOM LIGHT.

A SHAFT OF LIGHT falls on Anna as she stands in the corner of the
room.

Anna smiles playfully and pulls off her sweater.  She sways to a
pretend striptease song.

Malcolm can't hold back his grin.  He joins in -- slowly peeling
off the sweat-shirt.  He looks back to Anna.  She's stopped her
playful dance.  She's facing away from him.

He walks towards her.  HIS GRIN QUIETLY DISAPPEARS.  Malcolm's
face turns to rock as his attention is drawn to the SHATTERED
WINDOW in their bedroom.  The wind moves through the room.  A
lamp lays broken on the ground by the window.

Malcolm kneels down.  Beat.  Anna's eyes fill with a quiet
awareness.

		ANNA
	He's still in the house.

A SHADOW FROM THE BATHROOM FLATS OVER BOTH OF THEM.

ANNA SCREAMS.

Malcolm spins around.  His heart stops.

Malcolm and Anna stare at the bathroom doorwary.  They know
someone is inside.  Beat.

Malcolm slowly starts towards the door.  The first thing that
comes into view are the clothes on the bathroom floor.  Then the
figure of a man comes into view.  A STRANGER stands bare chested
in the back of the bathroom.

NO ONE MAKES A SOUND.

The STRANGER is about nineteen.  Drugged out.  Pitch black eyes
bulging.  His body is covered in scars and bruises.  His hands
are folded in front of him.  He shakes ever so slightly.  He has a
patch of white in his hair.

Malcolm speaks in a very calm voice.  Never takes his eyes off
the stranger.

		MALCOLM
	Anna, don't move.  Don't say a word.

Anna barely nods her understanding.

		MALCOLM
		(to the stranger)
	This is forty-seven Locust Street.
	You have broken a window and
	entered a private residence.  Do
	you understand what I'm saying?

The stranger slowly looks up for the first time.  His eyes lock
on Malcolm.

		STRANGER
	You don't know so many things.

Beat.

		MALCOLM
	There are no needles or
	prescription drugs of any kind in
	this house.

The stranger suddenly comes forward into the doorway.  Malcolm
stumbles back onto the edge of the bed.

Anna sees the stranger for the first time.  Her face drains of
color.

The stranger looks at Malcolm.  He half grins.

		STRANGER
	Are you drunk?

The stranger's stare slides to Anna.

		STRANGER
	Did you get him drunk?

The stranger gazes at Anna.  Gazes directly into her eyes.  A
penetrating, unwavering stare.


		STRANGER
	Do you know why you're scared when
	you're alone?

Anna's expression instanly changes.

		STRANGER
	I know.

BEAT.  THE ROOM GOES SILENT.

		MALCOLM
	What do you want?  I don't
	understand what you want.

The stranger turns and glares at Malcolm.

		STRANGER
	What you promised.

Malcolm stops all movement.

		ANNA
	--My God.

		MALCOLM
	--Do I know you?

		STRANGER
	Let's all celebrate, Dr. Malcolm
	Crowe. Recipient of awards from the
	Mayor on the news.  Dr. Malcolm
	Crowe, he's helped so many children...
	And he doesn't even remember my
	name?

Malcolm can't speak.  Beat.  The stranger's face starts to
tremble.

		STRANGER
	I was ten when you worked with me.

Beat.  Malcolm's intelligent eyes race for answers.

		STRANGER
	Downtown clinic?  Single parent
	family?
		(beat)
	I had a possible mood disorder...
		(beat)
	I had no friends... you said I was
	socially isolated.
		(beat)
	I was afraid -- you called it acute
	anxiety...
		(beat)
	You were wrong.
		(beat)
	Come on, clear your head...  Male,
	nine...  Single parent...  Mood
	discorder... Acute anxiety.

Malcolm looks like someone hit him with a sledgehammer.

		STRANGER
	I'm nineteen.  I have drugs in my
	system twenty-four hours a day...
	I still have no friends.  I still
	have no peace.  I'm still afraid.

Tears jump into the stranger's eyes.

		STRANGER
	...I'm still afraid.

Malcolm stands.

		MALCOLM
	Please give me a second to think.

Malcolm's shaking hands touch his mouth as he stares at the
stranger.  Beat.

		MALCOLM
	Bed Freidken?

		STRANGER
	Some people call me freak.

		MALCOLM
	...Ronald...  Ronald Sumner?

Tears fall down the stranger's face.

		STRANGER
	I am a freak.

Malcolm looks up at the sound of those words.  Something clicks
in his head.

		MALCOLM
	--Vincent?

THE ROOM GOES SILENT AGAIN.

		MALCOLM
	Vincent Gray?

VINCENT GRAY stares with surprise through his tears.

Malcolm lets out a deep breath like he just emerged from deep
waters.

		MALCOLM
	I do remember you, Vincent.  You
	were a good kid.  Very smart...
	Quiet...  Compassionate...
	Unusually compassionate...

Vincent's eyes burn at Malcolm.

		VINCENT
	You forgot cursed.

VINCENT is fully crying now.

		VINCENT
	You failed me.

		MALCOLM
		(whispers)
	Vincent...  I'm sorry I didn't help
	you...  I can try to help you now.

Vincent turns to the sink.  His hand goes in.  He turns arund and
raises a gun at Malcolm.  He FIRES.  A VIOLENT, EAR-SHATTERING
ECHO.  Malcolm clutches his stomach and folds like a rag doll
onto the bed.

Vincent instantly moves the gun to his own head.  ANOTHER
HORRIFIC BLAST SPIKES THE AIR.  Vincent crumples onto the
bathroom floor.

ANNA'S CHILLING SCREAMS FILL THEIR HOME.

						DISSOLVE TO:

EXT. BENCH - AFTERNOON

The legend, "Two Years Later" appears.

A man flips open a worn file folder on his lap.  Handwritten
notes fill every line.  At the top of the first page reads,
"Vincent Gray, age 10, Referred January 19, 1989."

The man's hand touches the name almost reverently.

He glances through the page.  Words and phrases are circled
throughout the file.

"...Acute anxiety"
"...Socially isolated"
"...Possible mood disorder"
"...Parent status -- Divorced"
"...Communication difficulty between mother-child dyad"

The man's hands flip the page.  At the top of this new page
reads, "Cole Sear, age 8, Referred September 1999."

As the man's fingers move through the notes we again see words
and phrases circled throughout this new case history.

"...Acute anxiety"
"...Socially isolated"
"...Possible mood disorder"
"...Parent status -- Divorced"
"...Communication difficulty between mother-child dyad"

The hands close the notepad.  The hands are slightly shaking now.

WE PULL BACK to reveal the shaking hands belong to Dr. Malcolm
Crowe.

Malcolm sits on a sidewalk bench facing a row of brownstone homes
across the street.  He gazes blankly at the brownstones.  Beat.

A door opens.  Malcolm is brought out of his trance.

COLE SEAR steps out his front door.  Cole is a munchkin of a boy
with large, black eyes that seem to take in everything around
him.

His hair is dark, with a small patch of jet white on the side.
Cole carefully locks the door behind him.

He moves to the bottom of the stairs and looks around nervously.
Anxiously.

The eight-year-old child reaches into his pocket and slips on a
pair of VERY LARGE GLASSES.  They look comical on him.

Malcolm rises to his feet.  He smooths out his shirt.  Looks down
and buttons his jacket.

When he looks up, Cole is gone.

Malcolm barely catches a glimpse of the boy.  Cole runs at full
speed down the street and turns the corner.  TINY SNEAKERS
SCREECHING ON THE SIDEWALK.

For a second, Malcolm doesn't react.  The second passes.  He
stuffs the file in his bag and starts running too.

						CUT TO:

EXT. STREET - DAY

Malcolm hauls down the sidewalk.  He comes to a hard stop at a
street intersection.  Searches.  Spots Cole running into a
parking lot.

COLE sprints across the empty lot and reaches the doors of a
building.  He has to use all his strength to push open the highly
ornate doors.  He slips inside.

Malcolm jogs into the parking area.  His pace slows to a walk and
then to stillness as he gazes up at the building.  Its old stone
and huge towers make it stand out from the modern buildings all
around it.  Malcolm stares up at the historic Philadelphia church
quietly.

A SHOOTING PAIN PIERCES HIS SIDE.  Malcolm's hand goes to it
quickly.  He waits for it to pass before starting for the ornate
doors.

						CUT TO:

INT. CHURCH - DAY

Only a few people sit and pray in the sea of oak pews.

Malcolm scans the majestic room and finds what he's looking for
in the last row of the church.

He moves down the center aisle towards the back.

Malcolm finds Cole playing in his pew with a set of green and
beige plastic soldiers.  Cole makes the soldiers talk to each
other.

		COLE
		(soft)
	Pro... Fun... Add...

The words are unintelligible.

Cole senses someone.  He looks up and sees Malcolm staring at
him.  The boy immediately goes white.  Every cell of his body
still with fear.

		MALCOLM
	It's okay, Cole.  Don't be
	frightened.

Cole stays rigid.  Hands clutching a handful of plastic riflemen.

		MALCOLM
	My name is Dr. Malcolm Crowe.  I
	was supposed to meet you today.
	Sorry I missed our appointment.

Malcolm waits for a response.  None comes.

		MALCOLM
	Do you mind if I sit down?  I have
	this injury from a couple of years
	ago and it flares up every once in
	a while just so I won't forget it.

Beat.  Cole slowly slides down the pew, giving Malcolm most of
the seat.  Malcolm sits.

Cole fidgets with his soldiers.  Beat.  Malcolm looks over and
stares at Cole's glasses.  He leans forward to inspect them more
carefully.

		MALCOLM
	Your eye frames.  They don't seem to
	have any lenses in them.

		COLE
		(soft)
	They're my dad's.  The lenses hurt
	my eyes.

		MALCOLM
	I knew there was a sound explanation.

Malcolm returns to staring at his lap.  Beat.

		MALCOLM
	What was that you were saying
	before with your soldiers?  Day pro
	fun.

		COLE
	...De profundis clamo ad te domine.

Malcolm stares surprised.

		COLE
	It's called Latin.  It's a
	language.

Malcolm nods at the information.

		MALCOLM
	All your soldiers speak Latin?

		COLE
	No, just one.

Malcolm smiles at Cole.  His eyes drift down to Cole's arms.
Malcolm's smile slowly disappears.

Cole's arms are covered in TINY CUTS AND BRUISES.  Some almost
healed.  Some fresh.  Malcolm looks around to gather himself.
Beat.

		MALCOLM
	I like churches, too.
		(beat)
	In olden times, in Europe, people
	used to hide in churches.  Claim
	sanctuary.

Cole looks up.

		COLE
	What were they hiding from?

		MALCOLM
	Oh, lots of things, I suppose.  Bad
	people for one.  People who wanted
	to imprison them.  Hurt them.

		COLE
	Nothing bad can happen in a church,
	right?

Malcolm studies Cole's anxious face.

		MALCOLM
	Right.

Malcolm and Cole just stare at each other.

		COLE
	I forgot your name.

		MALCOLM
	Dr. Crowe.

		COLE
	You're a doctor.  What kind?

		MALCOLM
	I work with young people who might
	be sad or upset or just want to
	talk.  I try to help them figure
	things out.

Beat.

		COLE
	Are you a good doctor?

Malcolm smiles.

		MALCOLM
	I got an award once.  From the
	Mayor.

		COLE
	Congratulations.

		MALCOLM
	Thank you.  It was a long time ago.
	I've kind of been retired for a
	while.
		(beat)
	You're my very first client back.

		COLE
	You use needles?

		MALCOLM
	No.

		COLE
	Not even little ones that aren't
	supposed to hurt?

		MALCOLM
	No.

		COLE
	That's good.

Cole pockets his soldiers and rises from his pew.

		COLE
	I'm going to see you again, right?

		MALCOLM
	If it's okay with you?

Cole thinks it over carefully.

		COLE
	It's okay with me.

Cole and Malcolm just stare at each other.

		MALCOLM
	And Cole, next time I won't be late
	for you.

		COLE
	Next time I won't be scared of you.

Cole turns and starts to the rear of the church.  Malcolm loses
himself in his thoughts.

When Malcolm looks back, he sees Cole stop by the exit doors and
take a tiny STATUE OF JESUS off the back table.  Cole pockets the
statue and quietly leaves the church.

Malcolm just sits and stares.

						CUT TO:

INT. MALCOLM'S HOME - EVENING

The house is dimly lit.  Malcolm has to turn on the HALLWAY LIGHT.

		MALCOLM
	It's me.

He stops before a pile of mail collecting on a thin table.  He
stares at it blankly.  Almost every envelope has "Over Due" or
"Final Notice" stamped on it.

						CUT TO:

INT. DINING TABLE - EVENING

Malcolm stares down at the remains of a meal on the only place
setting on the table.

						CUT TO:

INT. BEDROOM - EVENING

Malcolm quietly walks into his bedroom.  Only A READING LIGHT IS
ON.  THE SOFT LIGHT FALLS ON ANNA AS SHE SLEEPS.

Malcolm moves to her side.  The sight of her stops him.

He stares at his wife...

She huddles under a blanket, a wad of tissues in her hand.  He
takes it in silently.

His eyes move to her face...  One wisp of hair falls over her
soft lips.  OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly
looks like an angel.

Malcolm forms a tiny smile.

						CUT TO:

INT. HALL - NIGHT

Malcolm turns and moves for a narrow door in the hallway.

THE DOOR KNOB.  He tries to open it.  IT'S LOCKED.  Malcolm
reaches into his pockets.  Searches for his keys.

						CUT TO:

INT. BASEMENT - NIGHT

The empty basement is no longer empty.  It's piled with file
cabinets and boxes of psychology and medical books.  A desk sits
in the corner next to the wine racks.

The room still feels unsettling.

Malcolm hunches over one of the books.  Rifles through a stack of
dusty books.  Pulls out a thick text.

The spine of the text reads, "The Meridian Latin Dictionary."

Malcolm sits back at his desk and opens Cole's file.  Handwritten
on the first page are the words,

	"De profundis calms ad te, domine"

Malcolm starts working through the Latin text.  As he comes to
each word, he jots it down underneath the Latin.

Malcolm translates the last word.

He stares quietly at the paper.  The new words reads...

	"Out of the depths, I cry to you Lord."

Beat.

		MALCOLM
		(whispers)
	...The mass for the dead.

The words seem to hang in the air forever.

						CUT TO:

EXT. PHILADELPHIA - DAWN

Old Philadelphia awakens...  For a moment, it's like we're back
in time.

A golden sun dances on the waters of Penns Landing.  Historical
old ships sit docked in its harbor...  The dark bronze surface of
the Liberty Bell reflects the dawn...  A majestic Independence
Hall stands watch as its city begins to stir...  A thirty foot
statue of Ben Franklin makes a proud silhouette against the
morning sky...

AND THEN 1997 COMES CRASHING IN.

FLUORESCENT HOUSE LIGHTS COME ON IN WINDOWS...  Jeeps and
hatchbacks start roaming the cobblestone streets...  Neon
restaurants signs flicker to life...  Traffic helicopters make
their rounds...  CAR ALARMS PIERCE THE AIR.

						CUT TO:

INT. LAUNDRY ROOM - MORNING

A hand turns off a radio, shutting off the morning news.

A small dog with two different colored eyes sticks his head out
of the dryer, where he plays with the newly-dried clothes.

LYNN SEAR reaches in and pulls out a blouse.

She shakes it in the air and slips it on as she dresses hurriedly
for work.

Lynn is a woman in her late twenties.  One hundred percent South
Philly.  Hair teased.  She chews on an early morning piece of
Trident.  Under all of it, Lynn Sear is an attractive and
sweet-looking young woman.

Lynn enters THE KITCHEN through a swinging door.

A bowl of cereal and milk sit on a table in an empty kitchen.

Lynn stares at a handful of kitchen CABINETS and DRAWERS that are
open.

Lynn shakes her head.

		LYNN
	Cole.

She closes them one at a time before moving to the coffee machine.

Lynn shivers a little.  She leans over the thermostat and raises
the heat.  She returns to her post at the coffee machine.

TINY FOOTSTEPS.

Lynn turns to see Cole standing in his private school uniform.

		LYNN
	Your Cocoa Puffs are getting soggy.

Lynn walks over to Cole.  Checks his tie.

		LYNN
	You got a spot.

Lynn unclips the tie.  Cole takes a seat at the kitchen table as
Lynn walks back into the laundry room.

The dog is gone now.  Lynn reaches into the dryer, digging for a
new tie.  She finds one, then turns and steps back into the
kitchen and SCREAMS AT THE TOP OF HER LUNGS.

Every cabinet and every drawer is wide open.

Cole sits at the kitchen table.  His hands are pressed flat on
the tabletop.

He looks shaken.

Neither says anything for a beat.

		LYNN
		(shaken)
	Something you were looking for,
	baby?

Beat.

		COLE
		(shaken)
	Pop Tarts.

Lynn looks over to the open cabinet near the sink.  The pop tarts
are clearly visible.

		LYNN
	They're right here.

		COLE
	Oh.

Cole gets up from the table.  Takes his pop tarts.  Doesn't make
eye contact.

		COLE
	What are you thinking, Momma?

		LYNN
	Lots of things.

		COLE
	Anything bad about me?

Lynn leans down.

		LYNN
	Look at my face.

Cole does.

		LYNN
	I wasn't thinking anything bad
	about you, got it?

He looks at her eyes.  Beat.

		COLE
	Got it.

THE DOOR BELL RINGS.

		COLE
		(soft)
	That's Tommy, Momma.

Cole quietly kisses his mother on the cheek and starts out.

		LYNN
	Don't you want this?

Cole turns to see Lynn holding the pop tarts.  He walks back and
takes them from her before leaving.

Beat.  Lynn glances to the kitchen table.  Her gaze stops on the
TWO TINY HAND PRINTS OF SWEAT formed on the table's surface.

Lynn stands motionless in the kitchen.  She looks up and wraps
her arms around her shivering shoulders.

						CUT TO:

EXT. BROWNSTONE STREET - MORNING

TOMMY TAMMISIMO is a tough-looking, eight-year-old Italian kid
who waits at the bottom of Cole's brownstone stairs in his school
uniform.

Cole emerges from the brownstone and moves down the steps.
Lynn's face appears in the kitchen window.

The two boys begin their walk down the street to school.  Tommy
puts his arm around Cole.  Lynn waves.  Cole waves back.

When the two boys turn the corner and are out of Lynn's sight,
Tommy rips his arm away.

		TOMMY
	Hey freak, how'd you like the "arm
	around your shoulder" bit.  I just
	made it up.  Went with it.  That's
	what great actors do.  It's called
	improv.

Tommy starts to run ahead, he turns and back pedals.

		TOMMY
		(taunting)
	Be careful...  I hope no one jumps
	out and gets you.

Tommy runs away.

Beat.  Cole looks around nervously.

						CUT TO:

EXT. ST. ANTHONY'S ACADEMY - MORNING

The last uniformed boys and girls rush into the front doors of
St. Anthony's Academy as the FINAL BELL SOUNDS.

Cole is the last one to go in.  He stands alone on the sidewalk.
He looks like he'd rather be anywhere but there.

Beat.

He buries his hands in his pockets and begins a quiet walk by
himself into the school.

						DISSOLVE TO:

INT. COLE'S HOME - AFTERNOON

The front door CREAKS open as Cole walks in after school.  He
looks around before closing the door.  His eyes stop on Lynn
seated in the open doorway of the den.  Malcolm is seated with
her.  They both look up.

Lynn comes out.  She reaches Cole -- kneels down in front of him.

		LYNN
		(whispers)
	How was school, baby?

Cole shrugs.

		LYNN
		(whispers)
	You know, you can tell me things if
	you need to.

Cole doesn't respond.  Beat.

		LYNN
		(whispers)
	Well, you know what I did today?

Cole shakes his head "No."

		LYNN
		(whispers)
	I won the Pennsylvania Lottery in
	the morning.  I quit my jobs.  Ate
	a big picnic in the park with lots
	of chocolate mouses pie and then
	swam in the fountain all afternoon...
		(smiling)
	What did you do?

Cole starts to smile too.  He thinks.

		COLE
		(whispers)
	I was picked first for kickball
	teams at recess.  I hit a grand
	slam to win the game and everyone
	lifted me up on their shoulders and
	carried me around cheering.

Cole and Lynn smile at each other.  Beat.

Lynn tries to hide the utter sadness behind her smile.

		LYNN
	I'll make triangle pancakes.  You
	got an hour.

Lynn takes Cole's school bag and jacket before moving to the
kitchen.

						CUT TO:

INT. DEN - AFTERNOON

The den doubles as a playroom.  Boxes of old toys sit in the
corner.  A small, plastic, multi-colored table sits on the rug.

Cole appears in the doorway.  Malcolm sits up and smiles.

He points to the chair on the other side of the coffee table.

		MALCOLM
	You want to sit?

Cole nods very softly, "No."

		MALCOLM
	Don't feel like talking right now?

Cole nods again very softly, "No."

		MALCOLM
	How about we play a game first?

Cole looks a little more interested.

		MALCOLM
	It's a mind-reading game...  Did I
	mention I could read minds?

Cole nods, "No."

		MALCOLM
	Here's the game.  I'll read your
	mind.  If what I say is right, you
	take a step forwards the chair.  If
	I'm wrong, you take a step
	backwards the doorway.  If you
	reach the chair, you sit.  If you
	reach the door, you can go.  Deal?

Cole tilts his head, then nods, "Yes."

Malcolm presses his fingers to his temples like a vaudeville
magician.  He closes his eyes tight.

		MALCOLM
	Just after your mom and dad were
	divorced, your mom went to a doctor
	like me and it didn't help her.
	And so you think I'm not going to
	help you.

Beat.  Cole, surprised, takes a small step forward.

		MALCOLM
	You're worried because she said she
	told him things.  Things she
	couldn't tell anybody else.
		(beat)
	Secrets.

Cole takes a step.  Malcolm opens his eyes.  He looks right at
Cole.

		MALCOLM
	You have a secret.  But you don't
	want to tell me.

Beat.  Cole takes another step.  The next step will put him at
the chair.  Malcolm lowers his fingers from his temple.

		MALCOLM
		(whispers)
	You don't have to tell me your
	secret if you don't want to.

Malcolm smiles.  Returns his fingers to the mind-reading
position.  Malcolm looks to Cole's arm.  Cole is wearing A LARGE
SILVER WATCH.  It swims on his thin wrist.  It could probably
slide up to his shoulder.  Malcolm closes his eyes.

		MALCOLM
	Your father gave you that watch as
	a present before he left.

Cole takes a step BACK.  Beat.  Malcolm lowers his hands
surprised.

		COLE
	He forgot it in a drawer.  It
	doesn't work.

Beat.  Malcolm puts his fingers to his temple.  This time a
little bit slower.  He gazes at Cole's school uniform.

		MALCOLM
	You don't like to say much at
	school.  You're an excellent
	student however.  You've never been
	in any kind of serious trouble.

Beat.  Cole takes a slow step back.  Beat.

		COLE
	We were supposed to draw a picture.
	Anything we wanted...  I drew a man.
	He got hurt in the neck by another
	man with a screwdriver.

AN UNCOMFORTABLE SILENCE OVERTAKES THE DEN.

		MALCOLM
	You saw that on T.V., Cole?

Cole answers by taking a small step back.  Beat.

		COLE
	Everybody got upset.  They had a
	meeting.  Momma started crying.
		(beat)
	I don't draw like that anymore.

		MALCOLM
	How do you draw now?

		COLE
	I draw people with smiles, dogs
	running, and rainbows.
		(beat)
	They don't have meetings about
	rainbows.

		MALCOLM
		(soft)
	I guess they don't.

Malcolm looks down at Cole's feet.  They're almost at the
doorway.  One more step and he's there.  Cole is very still.  He
doesn't move at all.

		COLE
		(whispers)
	What am I thinking now?

Malcolm takes his time before speaking.  He just stares.  No
fingers to the temple.  No games.  He just stares.  Beat.

		MALCOLM
	You're thinking...
		(beat)
	I don't know what you're thinking,
	Cole.

Cole quietly takes a step back into the doorway of the other room.

		COLE
		(whispers)
	I was thinking...  you're nice.
		(beat)
	But you can't help me.

Cole's tiny figure steps away.  Malcolm stares helplessly at the
empty doorway where his client used to stand.

THE DEN IS SUFFOCATED WITH SILENCE.

						CUT TO:

INT. RESTAURANT - EVENING

Malcolm hurriedly enters a spacious, dimly-lit Italian
restaurant.  He stops in the dining room and searches the many
candle-lit tables.  He finds Anna.

Anna sits alone at a corner table.  The remains of her half-eaten
dinner lay on the only place setting on the table.  A small PIECE
OF CAKE WITH A CANDLE in it sits untouched.

Anna stirs sugar in her coffee as Malcolm sits in the seat across
from her.  She gently stops stirring, but doesn't look up.  Beat.

		MALCOLM
	I thought you meant the other
	Italian restaurant I asked you to
	marry me in.

Anna isn't laughing.  Not even close.

		MALCOLM
	I'm so sorry.
		(beat)
	I can't seem to keep track of time.

Anna quietly takes a sip from her coffee.

		MALCOLM
	It didn't go well today.  Spent
	some time after trying to get my
	head together.

Anna looks around for the waiter.

		MALCOLM
	They're so similar, Anna.  They
	have the same mannerisms.  The same
	expressions.  The same thing
	hanging over them.
		(beat)
	It might be some kind of abuse.

That makes Anna turn back.  She glances across the table, then
looks down.

		MALCOLM
	There are cuts on Cole's arms.
	Fingernail marks, I think.  Looks
	like defensive cuts.

Malcolm demonstrates by holding up his arm to shield his face.

		MALCOLM
		(beat)
	Possibly a teacher, neighbor.
		(beat)
	I don't think it's the mother.
	Just a gut thing.  The way she
	deals with him.  It doesn't fit.
		(beat)
	Hard to say this early.  Could
	just be a child climbing a lot of
	trees.

Malcolm loses himself in his thoughts.  The waiter drops off the
check on the table.  Anna grabs it before Malcolm and quickly
signs it.

		MALCOLM
	I know I've been kind of out of it
	for a long while and you resent it.
	You do.  I know you're mad.  I know
	it's put some distance between us.

Beat.

		MALCOLM
	But I'm getting a second chance
	here.  I can't let it slip away.

Anna waits till he's done and rises from the table.  She pushes
her chair in hard and walks away without a word.  Malcolm sits
alone and stares at the piece of cake with a candle on it.

		MALCOLM
		(soft)
	...Happy Anniversary.

						CUT TO:

EXT. FRONT STEPS - AFTERNOON

Cole is seated on the front stoop of his brownstone.  On the
steps and on the landing are his plastic soldiers in the grips of
a war.

Malcolm sits with his bag and overcoat on the step next to him.
Malcolm just observes quietly.  Beat.

Cole glances up as he plays.  Sees Malcolm's expression.

		COLE
	You want to ask me a question?

		MALCOLM
	See, this is why I lose at poker.
	Yes, I do have a question.

On the step are two rows of soldiers facing each other.  To one
side are a couple soldiers covered by a tissue.  Malcolm points
to them.

		MALCOLM
	What happened to those two?  Being
	under tissue paper can't be a good
	thing.

Cole removes the tissue.

		COLE
	That's Private Jenkins and Private
	Kinney.  They got killed.  Private
	Jenkins has a baby girl that was
	born seven pounds, six ounces.
	He's never seen her.  He wanted to
	get back to Blue Bell, Pennsylvania
	and hold her...

Cole points to the other soldier.

		COLE
	Private Kinney's wife is really
	sick -- she has something called a
	brain anism.

		MALCOLM
		(soft)
	You mean aneurysm.

		COLE
	Yeah, Private Kinney needed to get
	back safe to take care of her.

Beat.  Cole's face becomes emotional.  Tears fill his eyes.

		COLE
	It's sad they died, isn't it?

Malcolm falls into silence and stares at his client.  Beat.  Cole
wipes his eyes quickly.

		COLE
	Don't look at me.
		(beat)
	I don't like people looking at me
	like that.

Malcolm takes in Cole's gesture and expression.

		COLE
	Stop looking at me.

Malcolm looks down.

		MALCOLM
	Where should I look then, Cole?

		COLE
	Look over there.

Cole points to the corner of the street.  Malcolm slowly turns.
He sits in profile to Cole.  Beat.

		MALCOLM
	It's very unusual for someone your
	age to understand the kind of
	problems that Private Jenkins and
	Private Kinney have or even to be
	thinking about them at all...

Malcolm continues to stare at the street.  Beat.

		MALCOLM
	It is okay if I look back now?

Cole doesn't answer.

		MALCOLM
	Tap the foot once for "No" and
	twice for "Yes."

Cole taps his foot once.

Malcolm sits patiently.  Beat.  They don't say anything for a
while.

		MALCOLM
	You wouldn't want to take a walk,
	would you?

Cole looks up from his soldiers.  Malcolm stares at the far side
of the street.

Cole taps his foot twice.

						CUT TO:

EXT. STREET - AFTERNOON

The two of them walk down a row of brownstones across from a park
where children Cole's age are playing.

		COLE
	I walk this way to school with
	Tommy Tammisimo.

		MALCOLM
	He your best buddy?

Cole almost smiles.

		COLE
	He hates me.

		MALCOLM
	You hate him?

Cole shakes his head, "No.!

Malcolm thinks for a bit.

		MALCOLM
	Your mom set that up?

Cole nods "Yes."

		MALCOLM
	You ever tell her about how it is
	with Tommy?

		COLE
	I don't tell her a thing.

		MALCOLM
	Why?

		COLE
	Cause she doesn't look at me like
	everybody and I don't want her to.
	I don't want her to know.

		MALCOLM
	Know what?

		COLE
	That I'm a freak.

Malcolm stops walking.  The words hit him hard.  He stares at
Cole.

		MALCOLM
	Listen to me.  You are not a freak.
	Don't you believe anybody that
	tells you that.  It's bullshit and
	you don't have to grow up believing
	that.

Beat.  Cole is surprised.

		COLE
	You said the "s" word.

		MALCOLM
	Yeah.  Sorry.

Malcolm's face is filled with emotion.  Cole is suddenly hit by
Malcolm's passion.  Beat.  Cole nods slowly as he looks at
Malcolm with different eyes.

They start walking again in silence.  They turn a corner and move
down another street.  Cole spots an old man with a cane standing
at the gate of a brownstone.

		COLE
	Is it okay if I do something?  I
	have to do something.

Malcolm nods "yes" as they continue walking.  Cole slows as they
approach the old man.  As we get closer, we make out the man can
barely see.

		COLE
	Hi, Mr. Marschal.

MR. MARSCHAL leans over his gate and stares at Cole for a few
seconds.

		MR. MARSCHAL
	Guten Tag, Cole.

Mr. Marschal has a thick German accent.  The old man squints down
the block with a concerned expression.

		COLE
	What's wrong?

		MR. MARSCHAL
	Mrs. Marschal.  She went food
	shopping.  She's running late.

Beat.

		COLE
	Ich Habe Durst.

Malcolm's eyes dart to Cole.

		MR. MARSCHAL
	Wunderbar!  Where did you learn to
	speak German?

		COLE
	I just know a couple lines.

		MR. MARSCHAL
	Yes, you may have a drink.  What
	would you like?

		COLE
	Lemonade, please.

Mr. Marschal smiles at Cole before walking back inside his house.
Cole turns back to Malcolm.

		COLE
		(sad)
	Mr. Marschal gets real lonely.

		MALCOLM
	What about Mrs. Marschal?

		COLE
		(whispers)
	She died a long time ago.

						CUT TO:

INT. MR. MARSCHAL'S LIVING ROOM - MORNING

This brownstone has been home to the Marschal's for many, many
years.  It's filled with a lifetime of memories.  Memories shared
by two people.

Two rocking chairs sit side by side near the windows that
overlook the street...  A corner table displays fancy wooden
chess set.  The game half-finished, frozen in a layer of dust...
An easel stands before a piano.  The incomplete water color
painting of a smiling elderly woman sitting on the piano bench
sits sadly on the faded yellow paper.

Malcolm takes in the living room silently.  He stands near the
open door.

Cole walks through the room.  Tiny eyes searching carefully.  He
leans behind the sofa looking for something.  Malcolm watches
Cole with a crinkled brow.

Cole peeks behind the old piano crammed against the wall.

		MR. MARSCHAL
	Maybe Jill will play for us when
	she gets back.

Cole turns to find Mr. Marschal standing with a glass of
lemonade.  Cole takes it from his shaking hands.

		COLE
	Thank you.

Mr. Marschal shuffles over to the sofa.  Takes a seat.

Cole begins surveying the room again.  Beat.  His eyes finally
come to rest on a plant seated in the corner.  He stares at it...
THE LEAVES OF THE PLANT SHAKE SLIGHTLY FROM A BREEZE.

Cole puts down his glass on a table and walks over to the plant.
Cole kneels down and starts to push the potted plant aside.  THE
POT SCREECHES ON THE WOODEN FLOOR.

Malcolm calls to Cole under his breath.

		MALCOLM
	Cole--

		MR. MARSCHAL
	What's going on there?

Mr. Marschal strains to see across the room.

Cole doesn't answer either of them.  Instead, he continues to
push the plant aside revealing AN AIR VENT.  Cole gently reaches
over and takes off the metal face.  It slips right off.

Cole's hands disappear into the darkness of the vent.  They
reemerge holding a STACK OF NOTEBOOKS.

Malcolm becomes very still.

Cole rises to his feet and carries the notebooks over to Mr.
Marschal.  Cole carefully places them on his lap.

		MR. MARSCHAL
	Is this for me?

Mr. Marschal fingers the notebooks then reaches for his thick
glasses hanging from his neck.  He places them on the tip of his
nose and inspects the notebooks six inches from his face.

		MR. MASCHAL
	What's this?  Jill's keeping a
	diary.

Malcolm takes an involuntary step forward.

Mr. Marschal starts flipping through the notebooks.

		MR. MARSCHAL
	She's full of surprises...

He gets to the last book.  His hands become still as he stares at
the final page of writing.

		MR. MARSCHAL
		(whispers)
	She hasn't written anything for
	some time.

Beat.  Mr. Marschal slowly looks up from the notebooks.  Looks up
to Cole.  Cole just stands quietly.

Mr. Marschal's eyes slowly fill with tears of realization.  They
gently spill down his weathered face.

		MR. MARSCHAL
	Oh no...

Cole takes a deep breath.  Trying hard not to cry himself.  The
sight of Mr. Marschal weeping shakes Cole.

Cole softly lays his hand on Mr. Marschal's silver hair.  Mr.
Marschal reaches up and clutches his small hand.

They stay like that for a while.  Beat.  Mr. Marschal lets go and
brings the notebooks tighter to his body.

Cole quietly walks to Malcolm who stands motionless.  He stares
down at Cole in a daze.

Cole turns his head, crying.

		COLE
		(softly)
	Stop looking at me.

						CUT TO:

INT. BASEMENT OFFICE - NIGHT

Malcolm sits still in his office chair.  His eyes are fixed at a
point in space.  He brings a slim, black tape recorder to his
mouth.

CLICK.

		MALCOLM
	April or March of Eighty-seven.
	Two weeks into sessions with
	Vincent Gray.  I was treating a
	couple, Donald and Robin Wagner,
	who had lost their child to
	Leukemia.  They were waiting with
	Vincent in the reception room of
	the downtown clinic.  They were
	alone together maybe fifteen
	minutes.  When I entered the room,
	all three were crying.  The
	Wagner's progress from that
	afternoon was dramatic and sudden
	....  As if some door had been
	opened for them.
		(beat)
	I'm not at all clear what happened
	in those fifteen minutes.  But I
	now believe Vincent tried to tell
	me something, show me something and
	I didn't listen.
		(beat)
	Cole Sear allowed me to witness
	something today.
		(beat)
	This time I'm going to listen.

A long silence.  CLICK.  The tape recorder turns off.

						DISSOLVE TO:

INT. BROWNSTONE - NIGHT

Lynn holds a laundry basket on her hip as she fiddles with the
thermostat in the hall.  The house is cold.  Lynn wears a winter
jacket in the house.

Lynn turns and moves into the shadowy hallway.  No lights.  The
house seems somewhat ominous.  Beat.

Lynn's eyes dart to an open guest room like she just saw
something.  She stares in the doorway until a SOUND TURNS HER IN
THE DIRECTION OF THE FAMILY ROOM.

She picks up balled-up boy's sweat socks and dirty T-shirts
laying on the carpet.  When she reaches the end of the hall, she
HITS A LIGHT SWITCH.  The hall LIGHTS UP REVEALING A WALL OF
PHOTOS.  Lynn forms a tiny smile.

Snapshots of Cole and Lynn's life hang before her eyes.

Cole's birthday parties...  Lynn and Cole at an amusement park...
Cole under the Christmas tree...  Cole on Lynn's shoulders in a
pool...  Cole with a group of neighbors at a barbecue...

Lynn takes a step forward.  Lynn's face betrays the fact that she
notices something she never noticed before.  She touches a photo
of three-year-old Cole.

WE MOVE INTO THE PHOTO -- COLE'S FACE SMILES AT US.  LYNN'S
FINGER GENTLY BRUSHES A THIN STREAKS OF LIGHT THAT CURVES IN THE
BACKGROUND BEHIND COLE.  THE STREAK OF LIGHT IS BLURRED, LIKE
SOMETHING CAUGHT IN MOTION.

Lynn looks to the adjacent photo -- the barbecue photo --
Everyone stands with hot dogs and sodas.  Lynn searches the
picture.  Her eyes suddenly stop at the TINIEST BLUR OF WHITE
LIGHT STREAKING AROUND COLE.

WE MOVE FROM FRAMED PHOTO TO FRAMED PHOTO -- EACH THE SAME --
SOMEWHERE HIDDEN IN THE FRAME, SOMEWHERE NOT EASILY SEEN, LYNN
FINDS A BLUR.

Lynn takes it all in curiously.

						CUT TO:

INT. COLE'S BEDROOM - AFTERNOON

Lynn moves into Cole's room with the laundry basket balanced on
her hip.  The Walkman headphones on her head blares A MUFFLED
TECHNO DANCE BEAT.  Lynn starts picking clothes up around Cole's
room.

This bedroom is an eerie place.  The shadows seem to make shapes
and figures.  All the furniture is wood -- old fashioned.  The
lamps, the paintings on the wall -- antiques as well.

The most striking feature of the room, however, is the homemade
tent created from bedsheets and blankets tied to chairs and
bureaus.  It takes up a large corner of the room.

A sign hangs over the bedsheets.

	"DO NOT ENTER"

Lynn grabs the spiderman P.J.s that drape over the tent.

A German Shepherd Puppy sleeps on the pillow.  SEBASTIAN lifts
his head sleepily and peers at Lynn before returning to his
slumber.

Lynn slowly reaches for a picture frame that peeks out from under
Cole's pillow.  Slides it out...  It's a VACATION PHOTO of a
couple.  Lynn and Cole and a man.  The man looks in every way a
larger version of Cole.

The picture has a visible effect on Lynn.  She lets out a shaky
breath before returning the photo to its hiding place.

Lynn pulls a pair of school uniform pants off the wooden roll
cover desk next to the bed.

The desk is covered with loose leaf papers filled with writings.
Lynn's eyes are drawn to the papers.

Her curious gaze turns serious.  Her mouth opens a tiny bit
involuntarily.

THE PAPERS are strewn with lines of handwriting.  Countless
lines.  Thousands of words...  Some horizontal, some vertical...
The writing moves in arcs and flows in various size -- written at
great speed -- every word connected by a single pen stroke --
everything written in one continuous motion.

Lynn slowly spins the papers, taking in some of the phrases...

...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.
Collins is seated now.

THE STATIC SNOW ON THE SCREEN IS QUICKLY REPLACED BY AN IMAGE.
TWO PUPPETS DANCE ON STAGE.  WE HEAR KYRA'S VOICE SING FOR THE
PUPPETS AS THEY DANCE AROUND.

Her father's face forms the most heartbreaking of smiles as he
watches the performance.

The entire room has stopped what they were doing.

T.V. SCREEN

WE HEAR FOOTSTEPS COMING UP THE STAIRS.  The puppets go limp.
The entire stage gets lifted up.  We see it carried away by Kyra.
We can view the whole bedroom now.  The camera is seated on her
desk in the corner.

Kyra climbs in bed and pretends to be sleeping when the door
opens.  It's Mrs. Collins.  She carries in a tray of soup and a
sandwich.

LIVING ROOM

The crowd watches in riveted silence.  The father never takes his
eyes off of the screen.

The image of the mother prepares the meal.  She uncovers the
fruit and the soup.  Places a straw into the drink.

And then it happens.

The image of the mother walks to a closet.  Opens it.  An
assortment of household cleaners and sponges are kept inside.
She pulls out a bottle of floor cleaner.  Reads the label for the
ingredients.  Walks back to the food tray, where she unscrews the
cap on the floor cleaner.  The mother pours some into the cap.
Checks it.

		MRS. COLLINS
		(video tape)
	That's too much.

The mother pours some into the bottle.  The remainder goes into
the child's soup.  She replaces the cap and puts the bottle back
in the closet.

The image of the mother turns to the bed carrying the tray.  She
places the food on a metallic rolling table and swings it over
the bed.

		MRS. COLLINS
		(video tape)
	Kyra, time for lunch.

Kyra pretends to wake from a deep sleep.

		KYRA
		(video tape)
	I'm feeling much better now.

The image of the mother smiles.

		MRS. COLLINGS
		(video tape)
	I'm glad, honey.
		(beat)
	Time for your food.

		KYRA
		(video tape)
	Can I go outside, if I eat this?

		MRS. COLLINS
		(video tape)
	We'll see.  You know how you get
	sick in the afternoon.

Kyra picks up the spoon and takes a sip.  Her face crinkles at
the taste.  She looks up at her mother.

		MRS. COLLINS
		(video tape)
	Don't say it tastes funny.  You
	know I don't like to hear that.

Kyra slowly brings the spoon to her mouth and swallows another
spoonful.

The father SHUTS OFF THE TELEVISION with his trembling hands.  He
presses his hands to his eyes like they're burning.

The ROOM IS UTTERLY SILENT.

						CUT TO:

INT. DINING ROOM - AFTERNOON

Mrs. Collins is seated at the dining room surrounded by friends
and family.  She fixes one of the many bouquets of flowers on the
table.  It takes her a beat before she feels the stare.

She looks up.

Standing in the doorway to the dining room is Mr. Collins.  A
group of ashen faced guests stand in the distance behind him.

Husband and wife's eyes meet.  Mrs. Collins smiles softly.

Mr. Collins' eyes tremble with tears.

		MR. COLLINS
		(soft)
	You were keeping her sick...

The whole world stops.

The mother's face registers confusion at first.  Then slow
realization.  Her eyes glace at the many faces around her.

She looks back at her husband.  His glare is painful.  Rage
filling every cell of his body.  Tears falling faster down his
cheeks.

Mrs. Collins turns her attention back to the flowers.  She
concentrates with all her strength.  Beat.  Her hands begin to
shake.


		MRS. COLLINS
		(to no one)
	I took care of her...

Her words are met with ice cold stares.  The first tears stream
down her face.  The pretty flowers of consolation in her hand
tumble to the floor.

						CUT TO:

EXT. HOUSE - AFTERNOON

Cole sits on the swings next to Kyra's four-year-old sister.  She
doesn't look up.

Malcolm waits in the driveway.  Watches them from a distance.

Cole reaches into his pocket and pulls out the little FINGER
PUPPET.  He holds it out.

		COLE
	You liked it, she said.

The four-year-old stares at the finger puppet, then quietly takes
it in her small hands.

The two children don't say anything for a while.  Malcolm glances
to the house, where all movements in and out of the home has
ceased.

Cole turns to the four-year-old.

		COLE
	She watched out for you.

The little girl finally looks up.  She has the saddest eyes.

		FOUR YEAR OLD
	Kyra's not coming back.

Beat.

		COLE
	Not anymore.

The little girl stares down at the finger puppet.  Cole lightly
places a hand on her shoulder.

Nothing else is said.  Nothing else is done.

Malcolm looks across the two children on the swings.  One
mourning.  One consoling.

Malcolm takes it in, overwhelmed.

						DISSOLVE TO:

INT. PROP ROOM - AFTERNOON

Stanley Cunningham moves between two curtains and comes to a prop
room door in the back.  He puts an ear to the door, listens and
then knocks.  After a second, he enters.

Mr. Cunningham finds Cole sitting in a poor villager costume as a
FEMALE TEACHER kneels next to him and makes final adjustments.
Cole and the woman glance at Mr. Cunningham.

		MR. CUNNINGHAM
	They're calling for the stable boy.

Mr. Cunningham looks around the room and then directly at Cole.

		MR. CUNNINGHAM
	Who were you talking to?

The Female Teacher looks to Cole and nods.

		FEMALE TEACHER
	Poor Stanley.

She stands up.  The entire left side of her face has been burnt
horribly.  Grotesquely disfigured.

		FEMALE TEACHER
	My favorite student.

THE FIGURE OF THE WOMAN MOVES PAST MR. CUNNINGHAM IN THE DOORWAY.
SHE DISAPPEARS INTO THE DARKNESS.

Cole puts on his tattered hat.

		COLE
	Thanks for giving me this part, Mr.
	Cunningham.

Mr. Cunningham smiles.

		MR. CUNNINGHAM
	You're welcome, Cole.

They share a look before walking out of the prop room and
entering the hall.

We see them walking away.

		MR. CUNNINGHAM
	You know when I was in school,
	there was a terrible fire in this
	section of the theater.  They
	rebuilt the whole thing.

Beat.

		COLE
	I know.

						CUT TO:

EXT. SCHOOL - AFTERNOON

It begins to rain.  Malcolm pulls his jacket over his head as he
scurries up the stairs of the school.

						CUT TO:

INT. HALL - AFTERNOON

Malcolm stands and catches his breath in the corridor of St.
Anthony's Academy.

A teacher rushes in the hall with an armload of costumes.

		MALCOLM
	Has the play started yet?

The teacher hurries past Malcolm and down the hall without saying
a word.

		MALCOLM
	Is that a yes?

The teacher scurries around a corner.  Malcolm watches her
curiously.

						CUT TO:

INT. AUDITORIUM - AFTERNOON

Malcolm moves quickly to a set of double doors and opens them.
He steps into the DARKNESS OF THE AUDITORIUM.

The play is in full swing...  Cole and a large group of costumed
children are on stage.  Cole holds a broom and wears a worn-down
costume.  He stands to the side -- hidden by others.

A boy in a shiny-armored costume walks to the center of the stage
where a large cardboard stone is seated.  A sparkling HANDLE
sticks out of the top.

The armored boy tries to lift it.  It won't budge.

Bobby, the chubby boy from the party, is dressed in a magician's
costume.  He is Merlin.  He steps forward.

		MERLIN
	Only he who is pure of heart can
	take the sword from the stone.

Merlin looks to the group on stage.  Looks right at Cole.

		MERLIN
	Let the boy try.

The group of villagers on the stage LAUGH AND MOCK THE SUGGESTION.

Tommy Tammisimo is dressed in a mismatched costume -- he hops
around, clearly embarrassed.

		TOMMY
		(half-heartedly)
	But he's the stable boy.  He cleans
	after the horses.

		MERLIN
	Silence village idiot!  Let the boy
	step forward.

Tommy turns a deep shade of red and hobbles off the stage.

Merlin looks to Cole.  He smiles a true friend's smile.

		MERLIN
	Arthur...

Cole hesitates.  Not because he's acting.  He really hesitates.
It takes him a moment before he steps forward.

Cole steps up to the stone.  He places his hand around the
handle.  Begins to pull.  The sword starts to come out.

The villagers GASP.

Cole raises the shiny sword out of the stone and high above his
head.

Merlin and everyone on stage bows.  A SILENCE FILLS THE
AUDITORIUM.

Malcolm watches his client, standing unafraid in the spot light
for the first time.

The villagers rise and rush to Cole.  They scoop him up and carry
him around the stage in celebration.  Cole chuckles and then
starts laughing as the group of eight-year-olds try
unsuccessfully to keep him up.  They slowly sag and then
collapse.  All the students are laughing as they try to untangle
themselves.

Malcolm watches with utter joy as Cole becomes indistinguishable
among of a group of twenty children giggling and enjoying
themselves on stage.

						CUT TO:

INT. SCHOOL LOBBY - LATE AFTERNOON

The rain comes down a little stronger now on the stained glass
window.

Malcolm sits on the stairs in the lobby.  Cole walks back and
forth in front of him.  Cole still holds the sword from the play.

		COLE
	How come we're so quiet?

Malcolm shrugs his shoulders.

		MALCOLM
	I think we said everything we
	needed to say.
		(beat)
	Maybe it's time to say things to
	someone else?  Someone close to you?

		COLE
	Maybe.

Cole keeps moving.  Beat.

		COLE
	I'm not going to see you anymore,
	am I?

Malcolm doesn't respond for a while.  He shakes his head, "No."
Beat.

		MALCOLM
	You were great in the play, Cole.

		COLE
	Really?

		MALCOLM
	And you know what else?

		COLE
	What?

		MALCOLM
	Tommy Tammisimo sucked big time.

Cole smiles huge.  Beat.  Cole's sword drags on the tile as he
continues to circle around the hall.  We get the idea he doesn't
want to be still.

		COLE
	...Maybe we can pretend we're going
	to see each other tomorrow?

Cole glances at Malcolm.

		COLE
	Just for pretend.

Beat.  Malcolm exhales very slowly as he gets up.

		MALCOLM
	Okay, Cole, I'm going to go now...
	I'll see you tomorrow.

Cole watches as Malcolm walks down the stairs to the entrance.
Cole stops moving.

		COLE
		(soft)
	See you tomorrow.

Malcolm's face shows his losing battle against his emotions.  He
doesn't turn to look back.

						CUT TO:

EXT. CAR - LATE AFTERNOON

A rain-soaked bridge.  A two-lane road merges to one lane around
a severe car accident.  A rear-ended car has jumped the sidewalk
and hit the guard rail of the bridge.  The driver is helped out
by police.  He's shaken but okay.  Police flares guide the cars
as they crawl by.

Lynn and Cole are standing still in bumper-to-bumper traffic.

Lynn leans her chin on the steering wheel.  She tries to stare
through the layer of water on the glass.  She hits the windshield
wipers.

		LYNN
	I hope nobody got hurt.

Beat.  Lynn glances over to Cole who sits in his seat silently.

		LYNN
	You're very quiet.
		(beat)
	You're mad I missed the play,
	aren't you?

Cole shakes his head, "No."

		LYNN
	I have two jobs, baby.  You know
	how important they are for us.

Beat.

		LYNN
	I'd give anything to have been
	there.

		COLE
	I'm ready to communicate with you
	now.

Beat.

		LYNN
	Communicate?

		COLE
	Tell you my secrets.

The way he says the words gives Lynn a chill.

		LYNN
	What is it?

Cole takes a long time.

		COLE
	You know that accident up there?

		LYNN
		(confused)
	Yeah.

		COLE
	Someone got hurt.

		LYNN
	They did?

		COLE
	A lady.  She died.

		LYNN
	Oh my God.

Lynn leans over the steering wheel.  She wipes the windshield
with her palm to see better.

		LYNN
	You can see her?

		COLE
	Yes.

Lynn gazes out the windshield at the line of red tail lights.
Beat.

		LYNN
	Where is she?

		COLE
	Standing next to my window.

A WOMAN IN HER LATE FORTIES, HELMET CRACKED, HAIR MATTED WITH
RAIN AND BLOOD, STANDS STARING THROUGH COLE'S PASSENGER WINDOW.

Lynn looks over slowly.  She doesn't see anything outside his
window.  She eyes Cole.

		LYNN
	Cole, you're scaring me.

		COLE
	They scare me too sometimes.

		LYNN
	They?

		COLE
	Dead people.

		LYNN
	Dead people?

		COLE
	Ghosts.

Beat.

		LYNN
	You see ghosts, Cole?

		COLE
	They want me to do things for them.

		LYNN
	They talk to you?

Cole nods, "Yes."

		LYNN
	They tell you to do things?

Cole nods "Yes" again.  Lynn becomes upset.  She nods with grave
understanding.  Cole watches her.

		COLE
	What are you thinking, Momma?

		LYNN
	...I don't know.

		COLE
	You think I'm a freak?

Lynn's eyes moves to Cole.

		LYNN
	Look at my face.

Cole gazes at her intense expression.

		LYNN
	I would never think that about you
	...  ever... Got it?

		COLE
	Got it.

BEAT.  Cole smiles a tiny smile.  Lynn glances down.

		LYNN
	Just let me think for a second.

She drowns in her thoughts.  Beat.

		COLE
	Grandma says hi.

Lynn looks up sharply.

		COLE
	She says she's sorry for taking the
	bumble bee pendant.  She just likes
	it a lot.

		LYNN
	What?

		COLE
	Grandma comes to visit me sometimes.

Lynn becomes still.  Her face is unreadable.  When she speaks,
her words are extremely controlled.

		LYNN
	Cole, that's very wrong.  Grandma's
	gone.  You know that.

		COLE
	I know.

Beat.

		COLE
	She wanted me to tell you--

		LYNN
		(soft)
	Cole, please stop.

		COLE
	She wanted me to tell you, she saw
	you dance.

Lynn's eyes lock on Cole's.

		COLE
	She said when you were little, you
	and her had a fight right before
	your dance recital.  You thought
	she didn't come to see you dance.
	She did.

Lynn brings her hands to her mouth.

		COLE
	She hid in the back so you wouldn't
	see...  She said you were like an
	angel.

Lynn begins to cry.

		COLE
	She said, you came to her where
	they buried her.  Asked her a
	question...  She said the answer is
	"Everyday."

Lynn covers her face with her hands.  The tears roll out through
her fingers.

		COLE
		(whispers)
	What did you ask?

Beat.  Lynn looks at her son.  She barely gets the words out.

		LYNN
		(crying)
	Do I make her proud?

Cole moves closer to Lynn.  She cradles him in her arms.  Mother
and son hold each other tight.

WE PULL BACK FROM THE WINDSHIELD, BACK PAST THE FRONT BUMPER
WHERE THE FIGURE OF THE BLOODED WOMAN STANDS STARING AT COLE AND
HIS MOTHER.

WE SEE A MANGLED BIKE PULLED OUT FROM THE REAR-ENDED CAR ON THE
SIDEWALK.  WE MOVE UP AND AWAY FROM THE RAIN-SOAKED BRIDGE.

						CUT TO:

EXT. MALCOLM'S HOUSE - NIGHT

Malcolm walks quietly down the sidewalk towards his home.

						CUT TO:

INT. LIVING ROOM - NIGHT

Malcolm enters the living room and smiles at what he sees.

Anna is asleep in a chair.  She's curled up in a ball.  In a way,
she looks like a little girl.

Their WEDDING VIDEO PLAYS SOFTLY ON THE TELEVISION.

Malcolm watches himself and Anna cutting their wedding cake.  THE
CROWD APPLAUDS AS THEY FEED EACH OTHER PIECES.

Malcolm turns from the television and takes a seat next to Anna.
He gazes upon his wife softly.

		MALCOLM
		(whispers)
	Anna, I've been so lost.
		(beat)
	I need my best friend.

Silence.  Malcolm gazes for a beat before looking down.

		ANNA
	I miss you.

Malcolm's eyes move back up.  He looks at his sleeping wife.
ANNA'S TALKING IN HER SLEEP.

Malcolm can't believe it.

		MALCOLM
	I miss you.

Beat.  Her lips move again.  Eyes never open.

		ANNA
	Why, Malcolm?

		MALCOLM
	What, Anna?  What did I do?  What's
	made you so sad?

Beat.

		ANNA
	Why did you leave me?

		MALCOLM
	I didn't leave you.

Beat.  She becomes silent.  Anna falls back into deep sleep, her
arm slides down.  SOMETHING SHINY FALLS OUT AND ROLLS ON THE
GROUND.

Malcolm's eyes watch as it comes to a stop...  Beat.  He gazes
curiously at a GOLD WEDDING BAND laying on the wood floor.

Confusion washes over his face.  He looks to Anna's hand...  An
identical gold wedding ring sits on her finger.

Beat.  Malcolm looks down at his own hand...  HIS WEDDING RING IS
GONE.

Malcolm is completely lost.  He takes a couple steps back.  Looks
around in confusion...

His eyes come to rest on the door to his basement office.  He
looks in disbelief at the set of DEAD BOLT LOCKS on the door.

Malcolm doesn't know what the hell's going on...  His eyes are
drawn to the dining table...  Only ONE PLACE SETTING is out on
the tabletop.

His eyes search again -- they finally lock on the WEDDING VIDEO
PLAYING.  Malcolm watches images of himself on the screen...  His
eyes fill with a storm of emotions...

Malcolm looks to Anna's face and becomes very still.  Beat.

CLOSE ON ANNA...  TILL HER SLEEPING FACE FILLS THE FRAME...  IT'S
NOW WE NOTICE FOR THE FIRST TIME, THAT ANNA'S BREATHS ARE FORMING
TINY CLOUDS IN THE COLD AIR.

		MALCOLM
		(like he's falling
		 down a deep hole)
	No...

						SLAM CUT:

FLASHBACK:  INT. BEDROOM - NIGHT

VIOLENT GUN SHOTS RING THROUGH THE BEDROOM.

Anna rushes across the room to a crumpled Malcolm laying on the
floor.  Malcolm's hands are clutched at his side.

Anna pries his hands away to reveal the tiniest tear in his
shirt.  Anna's eyes catch something dark -- moving...  A POOL OF
BLOOD IS FORMING UNDER MALCOLM.  She slowly turns him over on his
side...  A horrific sight...  An enormous exit wound on his lower
back pours out blood uncontrollably.

Malcolm's jaw is locked open.  His breaths are long and strained.

ANNA IS SCREAMING, BUT HER VOICE SOUNDS FAR AWAY.

Malcolm's open jaw releases a long strained breath and then
becomes silent.  Anna tries to cover the wound with her hands
desperately.

						SLAM CUT:

PRESENT:  INT. LIVING ROOM - NIGHT

		MALCOLM
		(screaming)
	     ANNA!

MALCOLM'S VOICE SHAKES THE ROOM.

Anna just sleeps.

Malcolm staggers back.  His breathing erratic.

He takes a seat across from her.  He looks at his wife and
suddenly becomes very still.

Anna's still curled up asleep, but tears are falling from her
shut eyes.

Beat.

		MALCOLM
	Don't cry.

Anna doesn't move, but her tears seem to fall a little faster.

		MALCOLM
	I think I have to go.

Malcolm's mind is racing.

		MALCOLM
		(realizing)
	I just needed to do a couple of
	things.
		(beat)
	And I needed to tell you something.

		ANNA
	Tell me.

Beat.
		MALCOLM
	You were never second...  Ever.

Malcolm gazes at his wife.  Tears fall from both their eyes.

		MALCOLM
	You sleep now, Anna.  Everything
	will be different in the morning.

Anna lays still.

		ANNA
	Goodnight, Malcolm.

		MALCOLM
	Goodnight, sweetheart.

The room falls into silence.  Malcolm sits still across from his
wife.  He drinks her in with his eyes.

Malcolm leans back in the chair.  Slowly closes his eyes.  They
close shut.

WE ARE TIGHT ON ANNA...  WE SEE HER SOFT BREATHS FORMING A TINY
CLOUD IN THE COLD AIR...

WITH EACH BREATH, THEY BECOME LESS AND LESS VISIBLE...  THE ROOM
BECOMING LESS AND LESS COLD.

SOON HER BREATHS AREN'T VISIBLE AT ALL.  SHE BREATHES GENTLY,
FALLING BACK INTO A PEACEFUL SLEEP.

WE PULL BACK to reveal Anna alone in the living room.

THE WEDDING VIDEO PLAYS ITS LAST SCENES...  MALCOLM IS AT THE
MICROPHONE ON THE DANCE FLOOR IN FRONT OF ALL THE GUESTS.  HE'S
HOLDING A GLASS OF WINE.

		MALCOLM
		(on tape)
	...I think I've had too much to
	drink.

Malcolm smiles as he takes a sip.  The guests chuckle as they
watch.  Beat.

		MALCOLM
		(on tape)
	I just have to say, this day today
	has been one very special day...
	I wish we all could stay and play.

The crowd erupts in LAUGHTER.

		MALCOLM
		(on tape)
	What?

Malcolm looks around at everyone's smiling faces.

Beat.  Malcolm takes his time.  He looks just past the camera.

		MALCOLM
	Anna, I never thought I'd feel the
	things I'm feeling.  I never
	thought I'd be able to stand up in
	front of my friends and family and
	tell them what's inside me...
	Today I can...

Malcolm's eyes fill with water.

		MALCOLM
		(softly)
	Anna Crowe...  I am in love.  In
	love I am.

  FADE TO BLACK:
  THE END

 
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