EXT.
BARTLET'l' HOUSE - HIGH'!'
old GOTHIC HOUSE nestled in Fairwater •••. wracked by a rainstorm.
An
the
hills above
A SHEET OF LIGHTNING illuminates an old monolithic Victorian hospital, spra.,linq up the hillside behind the house. INT.
BARTLETT HOUSE/BEDROOM - HIGHT
OLD LAl)Y BARTLETT lies awake in bed. She listens to the cries of her dauqhter, echoinq from the bedroom down the hallway. PATRICIA (0.5) (in anquisb) Ooohl Please! Don't hurt a.11 OLD LADY BARTLETT can tak. it no aore. She rises out of bed and pulls on an old v.lv.t ~~k)nq qown.
An overweiqht, scowlinq wo.an~n~.r late 70's, she would have looked like a younq S~'n.y winters some fifty y.ars .arlier.X ~ INT.
in her day -
BARTLE'l"r IlALLWAY - HIGH'l'
OLD LADY BARTLETT hurri •• into the wood pan.l.d hallway - heavily .1Ibo.sed qilt wallpapar, lush carpet. She approach •• PATRICIA'S bedrooa door.
.ilk
PATRICIA (0.5) (pl.acUnq) Ho •• , don't ••• stoplll Abhhl OLD LADY BARTLE'l"r (h.sitant) Patricia??? OLD LADY BARTLE'l"r pause. at the door. Sbe i. .car.d •• , her finqers touch the door bandle ••• OLD LADY BARTLE'l"r (_akly)
Patricia I I'_ co_inq inl She qra.pI! the bancUe, turns it
...
AT THAT MOMEJI'l' ••• !'lie wood paneled door stretches out into a qrote.que taaqe of • FACELESS HOODED MANI OLD LADY BAR'l'LE'l"l' .cr.... and sUqqer. beck.
OLD LADY BARTLE'l"l' ( screlllllinq) Leave my dauqhter alonel The HOODED FIGURE suckS back into the door and is qone. SILEHCE ••• then A DULL MOAN from PATRICIA. 01.0 LADY BARTLE'rI' It's alriqht dear ••• he's qone! She steps towards the door aqain ••• The WALLPAPER bubbles and bulqes out of the wall next to PATRICIA's door I The sbape beneath the paper becomes that of the HOODED HAN • • • a fiqure who see_ to be walkinq between the wall and the wallpaper. As the man advances, the paper flattens back on the wall behind him. OLD LADY BARTLE'l"l' screlUllS and flees towards her bedroom. The WALLPAPER HAN ripples after her. INT.
OLD LADY BARTLE'rI" S BEDROOM - NIGHT
OLD LADY BARTLE'l"l' races into ber rOQ!lt;,nd sllUllS the door. Her trembl1nq finqers twist the key"bI the lock. 'oJ
Sbe backs away towards ber
(--
~a.
~c:tt
THE WALLPAPER HAN emerqes door I
• ••
of her wallpaper by the
OLD LADY BARTLETT backs away from hi. aa be advances down the bedroom wall towards her ••• She qoss into the aiddle of the roo., snatches up her dressinq table "stool and burls it at the sbape in the wall. a~ stretch out and catcb the stool ••• CRUNCH! "He crushes it between his paper covered bands. OLD LADY BARTLE'rI' w_tes no time ••• sbe 's out of her
WALLP1I.PER HAN'S
door ••• !NT. • ••
BARTLETT HALLWAY -
and
entrance.
down
the
NIGHT
stairs,
runninq towards the front
WALLPAPER MAN runs after ber - • bizarre fiqure ripplinq alonq the _II, and down the stairs. He beata OLD LADY BARTLETT to the front door ••• sbe spina around - flees
into ••• INT.
f
BARTLE'l'"l' Ja~ -
••• the kitchen.
NIGHT
2.
WALLPAPER HAN a_118 out of the flwal It1tcben paper, riqht into the aidAUe of the rooa. Ttle wallpaper UI stretched way put break1nq point, yet staye intact ••• the t'1qur. walks towarcSll OLl) LADY II.\R'l'LE'1'T ••• We can _ke out very' f.v ~eatur.s on the a!tuU-IUte faoc beneath the paper ••• only a aad18tic qriD 111' clearly defined. oLD LADY BARTL!:'l"l' wbiapers
lID
.3
the paper-clad 1lanc1a reach
for her throat ••• Har finqera flDlble into a c1rawer ••• ahe qripe e hu;e carvinq knife, boldinq it ~ the blade ••• She winces aa abe cuta heraelf, blood tricklinq throuqh her tiqhten1nq finqer$ ••• She stabs wildly 1 Blow atter blow pierolnq WALLPAPER HANJ With each eveep of the ~ade WALLPAPER HAN ie ehredded ••• tinqars, handa, &rae, tace ••• For a briet _.ent ve ql1mpae what 18 undar the paper •• " HO'l'HIJIG I
The It1 tchen RA'l"l'I..ES . . WALLPAP~enlY aucka himself beck into the vall ••• paper danql. . troll the wall. i.~
\
XJ('1'.
BAR'1'LE'l"l' HALLWAY - JIlCH'l'
OLl) LADY JIARTLE'1'T ataqqera into the ballvay and collapeea et the foot ot tbe atatra, DObbin;. She nleaa.. the knite and clutch. . her cut band. SUDDEJILYI
The CAJUlB'1' surrouncUnq OLD LADY IIAR'1'LI'1"l' da.. up torain; the sbape ot qient fin9" ••• they wrap uoand her and aqu_lIe ••• ahe IICr..... PA.'l'RlCU (O.S)
t.ave bar alone I
" '-, ~
WHIP
0JI'1'C)
•
•••
PA'l'RlCn IWt'l'l.&'l"l' 1Jtan4in9 . t the top ot the stain. Sba ia druaecS in • 1dl1ta Diqbt 90Vft ••• • dtauvellod lookinq VOIUUI ill her early tUU... She UHd te by. a eoft. attractiv. face, but a 11teti. . ot aufferinq ba etcbed" liD. . ot aorrov around her eyea and _tho ~A'l'RlCIA
It's
lID
you vantl
With a CIU'l"l'CRAI. atlKBLB, tile oarpet a1Jllta - I ' troll OLD LADY aARTl.Z'1"r ••• ntorainq .lllte the tilJUZ'D of the IIOOJ)JI:D KAH. Aa quitllt anel sU.ntly . . a panther, c::ARPB'DWI raon up the statra, rippliDq beIleath the stair 1l'UIIJIar. •
•
-
lOTA.. P. EIB2
PA'l'lUCIA falls to the floor as the carpet billows beneath her feet. CARPETMAH rises out of the floor behind her. takes a qrip on her wrists and silently drags her into the bedroom.
4.
She lIIaltes no sound, her face expressionless as ••• The door of her bedrOOIll SLAMS SHUT. CUT TO: INT.
NEWSPAPER SUB-EDITOR'S ROOK - DAY
CREDITS -OVER:
•
A series of CLOSE UPS scrolling through a newspaper front page layout on a VDU screen ••• "DEATH STRIKES AGAIN- appears on screen ••• Fingers tap keyboard '" Closer still on screen - a photo of a sll1ling yuppie - can see the pixels - -Chuck Hughes, aged 30" •••
"Third Mysterious Death This Week, TWenty Three in Two Months - What ia Happening To the peo~e Of Fairwater?The Fairwater Gazette's editor ~ \.;(',.GDA RAVAHSlU, is leaning over her junior re~~r's shoulder, .crolling through the story on his ~~i)reen. MAGDA is an illllaculately attired career VOIIIBD in her early forties. She has a steely gaze and a heart of flint. The young reporter, STEVE BAYLISS fidgets anxiously. MAGDA starts reading the text aloud '-.
EXT.
...
MAGDA (reading) -The aystery heart condition that has killed twenty-three people in two IIOnths, has claimed another victia. Doctors are baffled as to vby .eemingly fit and healthy people are .uff.ring . . . . iv. beart attacU·. FAIRIfA'l'ER - DAY
LOOKING DOiIlI on FADOfATER froa the surroundill9 hills ••• It is a's. .ll, but pretty town, nestled in a wooded vall.y on the edge of a rocky N.w England coa.tlin•• Hous.. are perched on the steep slopes of the bills above the flat co.a.rcial districts and town centr.. A coastal fr ••_y skirts the edg. of town. •
MAGDA I S
v/0
CONTINUES •••
MAGDA (CONT'D O.S) _ (readine;) Many of Fairwater's residents are claiaine; that the shadow of Death has once ae;ai!' descended on the town(to STEVE) What's this -shadow of Deathstuff? I don't like it.
STEVE (O.S) (nervous) It ••• it's what they're sayine;, Miss Ravanski 1 People are startine; to freak out. TILT DOWN: to reveal FAIRWATER CEMETERY ••• positioned on a rolline; billside, hie;h above the town. A funeral service is in proc;ress ••• EXT.
CEKETERY -
DAY
A SERIES OF CO'S of the funer.lIo sarvica ••• the MOtT.RHERS ••• the PIUEST ••• the funenl director pressine; the button, the coffin lover~~<:nto the grave ••• We also see a shabbily s.sLt"iad 1IUU1 in his late-thirties loiterine; near the MOURNERS. 'l'bey seem irritated by bis presence. He approaches a WEEPING WOMAN and talks to her quietly. bandinq her a business card. Her HUSBAND pushes the man away ••• be approaches another MOURNER. but .eets an equally hostile reception. 'l'be 1IUU1 finally beats an undic;nified retreat across the graveyard towards his ba~tered-old Ford. We have just seen FRANK BANNISTER attemptinq to hustle up soae busines•• Throue;hout this continued:
sequence,
MAGQA
RAVANSJa' S V /0
MAGDA (COHT'D O.S) (readine;) -For decades the naae of Fairwater has been synonyaous with death, follovinq the inf_ous 1'54 ~adleYfBartlett .urder spree, When t _ l ve people died at the bands of hospi tal orderly John Charles Bradley and Patricia Anne Bartlett • • • Nov, forty years later, 'rile Gria aeaper i.a ODce .qain .talltinc; the quiet str_U of Fairwater _.
bas
IH'l'.
NEWSPAPER SUB-EDITOR'S ROOM - DAY
MAGDA sighs nervously.
•
deeply
•••
hangs
her
head •
STEVE
fidgets
MAGDA No, steve no, no, no. Have you learnt nothina during your ca tic ~blifl> with' us? This is tabloid trash • • • irresponsible scare .ongering. What are you trying to say here? That Death is the greatest serial killer of all ti.e? ••• This really sucks, Steve.
STEVE flinches. MAGDA ( COH'l" D) call the Coroner's office - get SOlRe usable quotes ••• I want facts: detailed . .dical background, quotes froa the Sheriff's office ••• and get rid of all referance to Death·.. a person! _\ "",
.'\ \
\
IH'l' /EXT •
... "
ctJ'1' TO:
FRANK'S CAR/CEME'l'ERY - DAY
CLOSE ON: Open news peper - headline -HUGHES '1'0 BE BURIED TODAY·, circled in pen. TILT UP off the newspaper, lying on the scruffy front seat of FRANK BANNISTER'S 10 year old Ford ••• PRANX gets into his car, pausing· slightly before gunning the ftgine .. EXT. FAIRWATER HILL ROAD -
DAY
FRANK'S Ford splutters away down the winding hill road. CREDITS EJfD. FRANK takes a bend too fast and slews across the center line ' •• IH'l'/EXT.
~'S
CAR/ROAD - DAY
A blmch of his business cards slide off the front .eat onto the floor. l"RAJOC glances down, cursing.
I.
• •• A HUGE TRUClt 100118 into view!
FRANK gasps and pulls on the wheel. In a blur of movement and a squeal _ of tires, his car does a one-eighty degree spin. A collision seems inevitable ••• FRANK shuts his eyesl Somehow FRANK'S CAR missel' the TRUCK by inches slews to a stop on a grassy lawn. EXT.
•••
it
LYNSKEY HOUSE - DAY
FRANK is still gripping th. wheel with white knuckles as
he slowly opens his eyes and focuses on the great lump of hedge lodged on the hood of his car. Be groans. FRANK
(Wlder breath) Jesus I
RAY (0.5)
Oh lIy God I II
.. ,.
ou1C.~~. ~us
RAY LYNSKEY coaes running • • ,. froll his deSigner sportswear and "ell~oned physique it's clear that this guy is into physical fitness in a big way. B. looks at Frank's car in disbelief. RAY (COH'l"D) I don't beli.ve thisl This is not happeninql
RAY stares at the two
deep grooves that bave been sliced into the lawn by FRANK'S tires.
~~
:
I
My lawn ...
i~':'"~" ::!!!r!?' .
FRANK clillba out of his
RAY.
car ••• he offers his card to PIWIJt
I ' . sorry ••• daaaqes •••
RAY shakes a fist at
I ' l l pay for
any
~.
RAY I _ear to God,
, .ssl
I'.
qonna sue your
PIWIJt Look ••• Just send _
the bill.
RAY qlanca& . t PRANk'S card and snorts with derision.
8·
RAY
"Frank Bannister. Communications With The Dearly Departed ••• Psychic Investigator"lll That's a good one I How come you didn't see the corner coming???
RAY rips the card in two. RAY (caNT'D)
Goddamn bullshitl FRANX ClUietly slides back reversing across the lawn.
into his car and starts
RAY (caNT'D)
(yelling) It's gonna cost. you, buddy 1 I _nt this lawn completely resurfaced 1 RAY waves hi. arm at the gaping hole torn in his hedge.
~,'). b
RAY (caNT'.D>I wanna fully f:.CJ!f~ hedge transplant I ••• I d0ntt"'ant balfassed little seedlings that are gonna take ten years to 9X'ow ••• ya hear _1
FRANX continues reversing onto the road. RAY snatches up a headless lawn dwarf from the reaains of the hedge. RAY (caNT'D) And I want lIlY lawn dwarf replacedl· This is a gpo . , , collectors piecel ~.
disappears down the road. COT TO:
EXT.
SAHA'l'OlUUM - DAY
POV THROUGH CAR WINDOW ••• Slowly driving along a narrow road approaching the dilapidated entrance _y into the old Pairwater TUberculoeis SanatoriUll ••• A rusty chain link fence ••• a gate banging off it's hinges ••• a sun blistered sign. INT.
,
LOCY' S CAR - DAY
LUCY. an attractive voaan in ber aid tventi_, peers out from behind her st.ering vbe.l, as sbe turns ber car into the old hospital entrance way.
9.
EXT. SAHATORIUK/BAR'I'LE'l"l' HOUSE - DAY CRANE UP ••• over the fence as LUCY'S car pulls up in front of the BARTLE'l"l' HOUSE - nestled into the steep hillside below the vast old hospitalcolllplex. Even in the light of day, this place has a dark, Gothic creepiness. LUCY gets out of her car and heads towards the BARTLETT'S front door. CLOSE ON ••• FROIIT DOOR, BARTLETT glares at LUCY.
as
it
flies
open.
OLD LADY
OLD LADY BARTLETT (aggressive) This is private property I LUCY keeps walking. LUCY Mrs Bartlett? I'. Dr Lynskey ••• I work at the .edical center.
ltallina physician I
Dr
OLD LADY bandages.
OLD LADY BARTLETT i. .y personal
BARTLETT'S right
~~~ '=is
o\.b
bound in makeshift
LUCY ltUIina is attending a seeing his funeral... I'. patients today •.
Dr
lIlT. BARTLETT LOUNGE - DAY ,.... ~ CLOSE ON '" BAHDAGE cOIling off OLD LADY BARTLET'l" Shand. revealing the cut across her fingers that has now turned septic. OLD LADY BARTLETT (O.S) vas cutting the vegetables and the knife slipped. I
LUCY is kn_linc; next to OLD LADY BARTLETT vi th a bowl of hot water and soae dressings. LUCY
A f_ stitches and you'll be fine ,.. I'll drive you to D.
x.possiblel
OLD LADY BARTLETT
,0.
LUCY It's a deep cut. OLD LADY BARTLET'l' Just clean it up and qive.e sOlie antibiotics.
PATRICIA (0.5) If the doctor says you should qo to the Emergency Roo. mother, you Jlust qo. LUCY turns to see PATRICIA standinq in the lounqa doorway. She is dowdily dressed, a sliqhtly vacant qlaze in her eyes. OLD LADY BARTLETT lurches to her feet. OLD LADY BARTLETT Patricial To your rooal
PATRICIA hesitates look of sadness.
...
she catches LUCY'S aye, a curious
This instant.
OLD LADY ~ (CONT'D)
~ C\
f~\ ~
PATRICIA turns.
LUCY Just a minute ••• LUCY approaches PATRICIA, who shrinks a_yo LUCY (CONT'D) I'. not 90inq to burt you. LUCY qently touches PATRICIA'S necJt ••• she flinches as LUCY eases her collar down revealinq the l&rge purple w'.l~ on PATRICIA'S neck. LUCY frowns. LUCY (softly) Who did this? PATRICIA averts ber eyes. OLD LADY BARTLE'1"l' (!ira)
I
think you'd better 90 now, Dr
Lynakey~
With surprisin9 stran9th, OLD LADY BARTLI!'l"l' takes hold of LUCY'S foreara and steers ber towards the front door.
EX'l' •
BARTLE'l"l' HOUSE - DAY
II.
OLD LADY BARTLETT thrusts LUCY out onto the tront porch, shoving her coat and bag at her. OLD LADY BARTLE'l'T You don't know who my daughter is do you? LUCY looks at OLD LADY BARTLETT with an air ot defiance. LUCY Yes ••• I do, Mrs Bartlett. OLD LADY BARTLETT It's not true what T~ey say about her. Patricia has been a lIIodel citizen since her release. LUCY nods curtly at OLD LADY BARTLETT '" leaves.
she turns and
OLD LADY BARTLETT watches LUCY walk to her car. EX'l'.
i\ '- b
LYNSKEY HOUSE - NIGHT
The Lynskey house • • • ~l\ \:hedge tracks ••• only the bedroolll llgh is on.
•••
deep
tire
RAY (O.S) She's a murderer I LUCY (O.S) I feel sorry for her. INT. '.. LYNSKEY BEDROOM - NIGIl'I RAY is working hi. rowing _chine on the bedrOOll floor, vearing nothing but his boxer shorts ••• LUCY i. sitting in bed reading a tacky looking book called ·Killer Couples·, the cover of which features Bonnie , Clyde, Parker.' Hul.e and Leopold' Loeb. RAY Lucy! She killed twelve people!
LUCY loop up frca the book.
,
LUCY It _. never Patricie Bartlett involvecl. She fell the wrong quy •••
proven that va. actively in love vith
CLOSE ON: A glossy photo of a grinning twenty-two year old 11M. He is attractive looking, but with a Satantic gle_ in Ilis eye. The caption below reads: -Johnny Bra~ley, on the day- of his execution. His last words: 'I got lie a score of 121 Top that!'-,
. ..
LUCY (CONT'D) it can happen to anyone •
RAY Sbe was there ••• They should've fried her when they fried Bradleyl LUCY turns the page ••• a photo of a young Patricia being lead out of court by her 1I0ther. WCI
(acidly) She was fifteen y~~rs old. RAY sighs ••• LUCY shuts the book. LOC'./' (CONT'D)
I don't think she s bean out of that boWIe in years. • • \>-. \ ~ RAY stands, sweat dribbling
dO~
all~d
\)fJlrty
his chest.
RAY can we talk about sOllething else? Like how a.azingly well I did at work today? Like ••• guess who's .asked . . to be their personal trainer? LUCY ignores RAY ••• He crawls onto the bed like a pantber - ••• He slaps the bed -:::over with the pal. of his hand. RAY (CONT'D) (lascivious) co.e on, Honey ••• I've got friend who wants to .e.t youl
a
LUCY allows RAY to pull her down into an embrace. RAY (CONT'D) (nuzzling her neck) I . .de reservations at "llisi.o&. our favorite table ••• r_lUlbar? TueSday?
RAY suddenly pause. ••• he plucka a card out of the folda of the bedclOthes.
12.
RAY (CON'l"'D)
(annoyed) What the hell is this doing here? CLOSE ON ••• Frank-Bannister's business card - now in one piece. LUCY glances up disinterestedly. She shrugs. RAY (CONT'D)
(puzzled) I tore it up ••• did he co.e back to the house? LUCY Who??? RAY
The .oron who took out the hedgel SUDDENLY! The BEDCLOTHES rise into the air, throwinq RAY onto the floor! They hover tour teet above LUCY, gently billowinq like a laid back tlying carpet. LUCY ~a.s .•. RAY
(paniCk~~\
Holy Shitl
--
~
\)
'{
LUCY (worried) What's happening, Ray??? The BEDCLO'l'HES starts to rotate ••• they suddenly shoot across the. rOOll, slamalng into the wall. RAY qrabs LUCY and pulls her to the tloor :.111 the BEIlCLOTHES ZOOIl over their heads, darting aro~d t~. rOOIl like a trapped tly. '!'bey suddenly los. powar and drop onto RAY and LUCY'S huddled tiqures. RAY
(troa below bedcloth.s) Tor • • • tornado I 50_ sorta localized air current ••• LUCY jwaps to h.r teet, throwing the bedclothes away. She backs away tro. th•• , rigid ",ith tear '" collapsing on the bed.
'our
LUCY (treabling) windows are shut •••
AT THAT MOKEMT •••
Th. BED lurch•• into the airl LUCY SCREAMS and clings onto it ••• it spins around slowly.
13.
Oh .y God
...
1.iJ •
RAY LUCY
Ray I Help lie I GET ME OFF! RAY hurls himselt onto th. bed, grabbing LUCY. They both crash onto the floor. CUT TO:
INT.
FRANK'S HOUSE - NIGHT
CLOSE ON: Phone ringing. up .•• FRANK BANKISTER LUCY'S panicked voice •••
HAJfD
looks
i_ediately snatches it gria as he listens to
FRANK
I'. on ay way, Or Lynskey I INT.
LYNSKEY KITCHEN - NIGHT
LUCY puts the phone down.
~~J~
b
() '\.
RAY Your JUking .e _d, Lucy I I don't want that con-aan in .y bousel AlfGLE: on RAY standing in the .iddle of the kitcben as CUPBOARDS open and shut wildly, CHAIRS tloat in the air, KNIVES and FORKS dance about on the bench. RAY (COIfT'D) There'. a rational explanation torthis ••• ve don't need a goddaan spoon bender talling us what to do!
..,
LUCY
Ray! We've got a poltergeist! It'. nothing handle.
RAY the
police
can't
vbirlinq SAUCEPAlf .pins througb the air, collectinq RAY on the back ot the b_d vi th a loud -DONG-! lie drops.
A crazily
, EXT.
COT TO:
LYNSDY BOUSE - NIGHT
KEADLIGH'l'S of a apeedinq car approach tba Lynskey's bouse. l"RANlt'S CAR 8Uddenly veers otf the road ••• leaps the curb and skids to a lUll t across the lawn ••• cuttinq tresb tuxrovs in the gra.sl
toW AJlGLE: car door opens and JI'RAJIJ( emerqes, bag in hand. nIT. . LYNSKEY JaTCHEN - HXGHT
LUCY is applying ice to the back ot RAY'S head •• , he winces, holding a wet fac~ cloth against his torehead .•• all is quiet. FRANK rushes into the kitchen ••• Dr Lynskey?
LUCY nods ••• LUCY
Xt went quiet about five ainutes a9'o •••
FRANK surveys the mess.
...
Unsystematic Is it over?
PRANK shakes his head. FRAJIlt
Persisting residues of the departed, always a problem at this ti.e o~ year ••• You appear to have a bad case of Recurrent Spontaneous Psychokinesis. LUCY
(worried) Is there anything ve can do? FRAJIlt
I can do • clearance ••• it's not cheap. but I do offer a six .onth guarantee. Bow INch?
RAY FRAJIlt
forty-nine, ninety-five ••• 'vi th a thirty percent penalty for • callout after aidnight ••• Ob, What the hell ••• Let's just call it quits over the hedge. TWo
IS,
RAY looks sour
... FRANX (CONT'D)
••• Plus a hundred bucks for materials I can't afford to be out of pocket. RAY is about to object, but LUCY shoots hi. a stern look. RAY (sullen) Just do it, Bannister I FRANX
qoes
to work •••
He pulls a BLACK BOX out of his beq ••• pluqs it into a -vall socket. An electrical art: fizzes between two electrodes. A saall fan in the side of the box spins around. LUCY
(nervously) . ..,.: ., Why us? Why are they in ,"bur . house? ,~.
FRIoR "
....
Emanations are confined to the qraveyard, Me' . . . . . But soaetimes they qet out. It's usually the younq ones - in search of soae banaless fun. I often see tho on the streets, in people's bouses, down at Granqer's Thrifty Mart ••• FRANK'S
B~CK
BOX qaina power. It rattles on the bench. LUCY
(shocked) Granqer's???
PRAN1t
Yeah ••• There's always a bunch of thea hanqinq around the pet food stand on a Saturday niqht. RAY Por Godssake, Bannister! CLOSE 011 PRIoIIlt ••• Be narrows his eyes in • the.trical _nner.
,
PRAN1t
(quietly) Ther.'s a whole other world there that you folks can't __
FRAHJt
pulls
•
WATER
PIS'l'OL
out
of
hi_ ba9
••• •
17.
PRAJIlC (COHT' D)
step aside. FRANK brandishes the vater pistol like Mel Gibson. starta squirting vater around.
He
FRANK ( CONT' D)
Holy vater! FRANK disappears into the lounge. RAY shakes his head,
still clutching the face cloth to
his forehead. RAY
This is bullshitl
bullshi t
total
•••
FRANK'S black box suddenly stops ••• a ._11 green light flashes.
~
IUllble. back into the kitche '\.. pulls a SILVER ot the aiddle ot ~~. He quickly seals the top and otfers it to LU~\ FRAHJ:
FOIL BAG out
These belong to you. • • six ectopla••ic Eaanations. LUCY looks bevilcSered. l'RAMlt (CONT' D)
soae people like a souvenir ••• (he grins) They can't escape. Where shall I put'_? LUCY
~.
(nervously) I don't think ve really vanna hang onto those ••• do - . Hon? ~
d· soJ and saunters over <: ~Si~ •• ~!opa the Wag, 'r ::;tAquick burat ot the actor
PRANK shrug. the baq into 7"u t end tb1IY're qone. LUCY qaspa.
l'RAMlt
Don't WOrry. they don't teel pain. At leut. that's what the books _y ••• but I ques. _'11 never know tor sure.
,
PRANK grins at RAY and LUCY. RAY
( irri tated) Alright ••• you can 90.
RAY takes the fIlce cloth off his forehead stares at his forehead •••
•••
FRAJrK
~'S POV •••. the number "37" is marked in raised welta of skin on RAY'S forehead.
What the at???
hell
RAY are
you
staring
FRAJrK What's with the number? RAY clearly doesn't know what he's talking about ••• LUCY looks at RAY'S forehead LUCY What nWllber? RAY ,..... ( mad) .... '" Are you trying to freak" 'abut? It won't work buddy I Y~.cf.0l! getting anymore aoney out of~. (yelling) ~ Get outts heret ~_ FRANK backs out of the house. CDT '1'0:
EXT.
FRANK'S HOUSE -
KIGHT
Looking down on FAIRWATER at 3_ ••• There's not a lot happening. CRANE DOWN ••• to reveal FRAJrK'S HOUSE perched high on a blat~.above the town. In the moonlight we can . .ke out little detail ••• but it is obvious that the house is only half built. HEADLIGHTS approach up the winding road, and FRANK pulls into his drive. He hops·- out of his car and goes to the back, opening the trunk.
SUDDENLYl ••• A GHOULISH EKAHATIOK rushes out of the truckl P'.RAJOt lea~ to one aide ••• ANOTHER EMANATION lurches outl , PRANlt
ala_ the trunk.
The first appari tlon - STUART HARPER, staggers over to a low vall and sita down clutching his .toaach.
I ~.
STUART
I think I'a qonna throw up! STUART was in his early twenties when he died. He has a sliqhtly rotten appearance and continually dribbles with ectoplasaic slilDe. We can see throuqh hilD, althouqh the deqree of translucenc'! is not always consistent ••• STUART had a double deqrep in art history and theoloqy. CYRUS is the other apparition.
He is a black dude frOID the seventies ••• White disco suit. built up heels and sideburns. CYRUS
Man.
I
hate
that
trunk!
FRANK I'. not havinq you spreadinq your ectoplasmic auck over my seats. - STUART
Well I ' II sorry Fraf\k. but we're not travelinq in~ '0 the trunk anymore. It's iapllnible to work under these co~tfbns! We wanna
<.. ~'CYRUS
c~ise
in style, man.
STUART reaches into his pockets and anqrily flinqs a pile of Frank's business cards onto the driveway.
•
STUART
I quit!
FRANK is not buyinq into any of this Shut up! FRANK qives STUART an anqry shove ••• He wobbles on his feet, losinq his tenuous center of qravity. EMANATIONS are _de up of loosely coapacted particles that can be distorted, scattered, stretched and squeezed always returninq to their oriqinal shape. FRANK (CONT'D) (anqry) You clowns left ae hiqh and dry toniqht! I arrive at the house and , there'. nothinq happeninq ••• You quys are just .ittinq around watchinq. I couldn't believe it!
STUAR'l'
We actually strained our lifting the bed, Frankl
baeks,
FRANK COllie on! You could've swung s01lle cupboards around ••• flashed a few lightsl How har~ is that? I've gotta have something to work withl FRANK fishes his keys out of his pocket and enters his house .•• CYRUS jives in behind FRANK. STUART staggers to his feet. STUART
Frankl I didn't go to college to spend the rest of BY life haunting peoplel closes the front door in STUART'S face Ellianation IIIOlIIentarily flattens against ~e door, passes straight through itl :-.'\. FRANK
'.,j
INT.
~" \t;.
FRAHX'S HALLWAY _ HIGNT
STUART elllerges into the
hallWay~' :rRAIIlt
Listen, quys ••• I gotta lot of creditors knocking on BY door. If I go under, you go under ••• six foot under, back in the c_etery I STUART looks horrified.
:rRAIIlt ( CONT' D)
We're only just scratching a living her., and you quys better pull your weight! FRANK wallts into the kitchen and slams the door. STUART
(worried) H.'s not serious c ...tary ••• is he? ~ it,icl 1SIllI. ____
about
the
CYRUS
I'.
gonna play ••
STUART
Ob, God I Not Isaac Rayes Anything but Isaac Hay. . .
...
The then
CYRUS disappears throuqh the vall, into the lounge. CUT '1'0:
EXT.
FRANK'S HOUSE - HIGHT
The Theme from Shaft
boom~
out over Fairwater. DISSOLVE TKRU '1'0:
EXT. FRANK'S HOUSE - NEXT KORNING Sun rises over FAIRWATER. We can see FRANK'S HOUSE more clearly now ••• It is only half finished: Larqe sections have not been clad. A whole winq of the house consista of nothinq but framework. Protective tarpaulins flap in the wind. Stacks of bricks and tilll.ber litter the section. An old concrete mixer is parked at the top of the drive. None of this would be unusual ••• if it wasn't for the fact that the construction clearly stopped some ten years earlier ••• Everything is badly weathered, rusty and weeds grow out of control adaist the ~f completed house. ~~ BANG! BANG! Loud gunshots echo out ~~e house. INT.
FRANK'S SHOWER - MORNING
~~
FRANK is humainq to hi. .elf in a hot shower - ste.. fills the shower stall as he lets the water cascade over his head and shoulders. The. water pressure &ujusts the nozzle •••
suddenly
dies.
P'RAJIl(
frowns and
The pipe bulges and CYRUS balloons out of the shower head! His head and shoulder. are terribly distorted. CYRUS
It·. the Judge, Prank • • • the eat's real upset manl He's got his six shooters out! BANG 1
BANG I More gunshots.
CYRUS disappears back into the pipe • •• before he can react, ~ geta a face full of scolding vater. Aqghl
IH'l' •
FRANK'S XITCHEN - MORNING
FRANK storms into the kitchen ••• He is confro'nted' wi ththe sight of, the JUDGE ••• a tall elderly Emanation - a lawman froID the last days of the nineteenth century. The JUDGE was embalmed, but it was a cheap job and hasn't stood the test of tillle. His dry IIIUl11111ified body is in an advanced state of decay .•• He looks even worse without his jaw bone! The JUDGE is swivelling around, blazing away wildly with two rusty ghost Colts. FRANK flinches as ghost bullets pass through his body and the wall behind without leaving a lIIark. CYRUS and STUART peer warily out of frallled paintings. JUDGE (gurgle) Damn rustler's took lIIe jaw bonel A lIIangy transparent GHOST DOG is racing around the room, circling the JUDGE at high speed ••• the JUDGE'S jaw bone clenChed between his teeth!!! ~
tor~ab \~
FRANK drops to his knees, attempting FRANK
..
-
Rustler! Here boyl
the dog.
RUSTLER. iqnores FRAHlt and keeps racinq around the room. BANG! BANG! The JUDGE takes potshots at RUSTLER. A ghost bullet ricochets past STUART'S ear, taking a nick out of it. Ectoplasm dribbles between his fingers. For Godsake, been killed!
STUART Frank!
I
could've
FRANK takes a flying leap at RUSTLER, bringing hilll down in a tackle. He tugs the ghostly jaw bone out of the DOG'S 1II0Uth. P'RAHIt Put your shooters away, Judge I THE JUDGE snatches his jaw bone out of P'RAHIt'S hand and rams it back into his face.
r
JUDGE (flexing jaw) Sneaky little sid_inderl bave tbe varmint stuffed I
I'll
RUSTLER playfully licks THE JUDGE'S band with • rotten tongue. CO'l' TO:
wet,
lIlT.
13.
FRANK'S LOUNGE - HIGHT
Like the exterior, the inside at FRANK'S house has also been· left unfinished tor many years. very few of the walls and ceilings have been lined - timber t'rlUling is visible throughout. No painting has been done and aakeshift furniture is s~ttered about. FRANK is quietly hunched over a newspaper in the glooay lounge. THE JUDGE sits in a large old arlllchair .,. He eaits a soft glow in the seai-darkness. JUDGE
Prank ••• When a _n's jaw drops off, it's tiae to reassess the situation. FRANK looks at THE JUDGE with concern. FRANK (reassuring) What are you talking about? You'~~ in great shape. ~ ~ ~
~~
JUDGE \ " (shakes head) I'a falling apart ••• My joints are getting powdery. Frightening's a young .an's gaae. I ain't got no aore hauntings left in . . • •• Hell, I can bardly rustle up a scare! (lowers voice) Frank, don't go saying noth'in to the boys, but ••• ay ectoplasa' s all dried up. FRANK
(regretfully) I'a sorry to bear that, Judge. THE JUDGE shakes bis bead sadly
...
JUDGE
I've qat aeself a nice little grave up there at the ceaetery ••• it could soon be tiae to lay ay bones. FRANK
!Jut Judge I Who's gonna finish this bouse? THE JUDGE chuckles softly.
help
_
24.
JtJDGE
You ain't touched. this place in ten years, Frank. If I wait around for"you, I'll never get to rest in peace '" Frank? F'RANK is searching the pp.per, quicltly turning the pages, scanning his eyes up and down the columns. FRANK
(annoyed.) Da1lln1 CUT '1'0:
EXT.
FAIRWATER STREETS - DAY
CLOSE OM: Colorful banner hanginq fro. laJllp post announcing the Tuesday night opening of a _jar new exibition at Fairwater Museum ••• -EVidence Eabal.ed The Secrets of Ancient Bqypt-
UII\"h..
CRANE PAST banner ••• to piclt P'RANlt e crosses the busy Fairwater highstreet. He looltlra9'i1?;.t~ and carries a folded newspaper under his ~\~ FRANK storms into the ·Fairwater Gazette- offices. INT.
MEWSPAPER OFFICE - DAY
MAGDA RAVlUISKI is sits opposite her.
sitting
at
her
deslt... FRANJt
MAGDA. I ' . sorry Mr Bannister, but _ are " no lonqar runnin9 your advertise.ent. I've had a stre_ of coaplaints about your ••• business practices. Preyin9 on tha bereaved. is about as low as you can 90. This peper no lonqer intenc:b to associate itself with your dubious activities. FRANJt
I bave a ri9ht to advertise ay services to the public. MAGDA , In cas. you haven't noticed, _ are ill the aidat of a _jor health crisis. The last thinq people Ilaed. is a tvo-bit charlatan offerin9 to pass on boqua _ssaqes frca the other side ••• Mow - if you will axcuaa
-.
MAGDA stands and walks towards the door. FRANK
How am. I going to earn a living?
MAGDA holds the door open for FRANK. lfAGDA (sneering) "Living" ••• That's not a word you'd know a lot about is it, Hr Bannister? 'CUT '1'0:
EXT.
STREETjNEWSPAPER OFFICE - DAY
FRANK angrily slalllS the door as he StOrlllS out of the newspaper office. He marches across the road. causing a hearse to slam on the brakes •• , the coffin slides around in the back! Various cars in the funeral entourage blast their horns at FRANK'S reckless jaywalking.
FRANK does a double take as he ~otices LUCY LYNSKEY Sitting in the back of one of the ~~.
~ ~e
FRANK reaches the other sid .. road .,. he hears the sound of running feet: JiI
RAY is pele and frightened. RAY runs straight through other pedestrians! He is transparent! Nobody see.. aware of his presence. He approaches FRANK at breakneck speed. FRANJ( shl es back. but too late ••• WHA!=Jt! .RAY thumps straight into FRANK and both men fall over. A COUPLE OF PASSERSBY help FRANK to his feet. RAY stays on the ground looking at FRANK with disbelief. RAY (desperate) Bannister???? PASSERBY 1 Are you alright buddy?
FRANK looka RAY straight in the eye. 'Yea. PASSERBY 2 Someone should do something about the state of these sidewalks.
The PASSERSBY wander off.
Lb,
RAY . (desperate) Bannister ••• You gotta They're going to bury me!
help!
FRANK glances about ••• He gestures for RAY to follow hill. EXT.
ALLEY -
DAY
FRANK enters the alley off the main street. RAY hurries up to hill. RAY (panicked) Please! What's happening??? FRANK
You appear to be dead, Ray I RAY Don't say that! It's not possible ••• I'. in the _p:d_ of life ••• I work out perydayl My wife's a Goddaan ~~rl
-
doesn't buy into
RAY'S~ysteria. FRAH'J(
(calaly) • Why didn't you take the corridor? What corridor?
RAY FRAH'J(
The corridor of light pathway to the other side.
..
the
RAY I don't belone) on the other side. Jesus, I'. only twenty-four
...
FRAH'J(
(calllly) What happened, Ray. RAY 't vas on the ravine) _chin. • •• I auddenly felt this vice-like grip aqueezing my heart ••• I couldn't breathe ••• RAY holds up a trembling, translucent band •••
).7.
RAY (CONT'D) I've qot the shakes ••• I sOllIe vitamin B! FRANK shakes his head
need
... FRAN1\:
You don't need vitamins anymore, Ray ••• You don't eat, you don't drink. you don't 90 to the bathroom ••• it's allover. Tears well in RAY'S eyes. FRAN1\: (CONT' D) In a year's ti_, on the anniversary of your death, you will have another chance to cross to the other side - to become a pure spirit. Until then you're what's known as an Earthbound Emanation. A cloud of rottinq bioplasmic particles, lealtinq ectoplasm from every orifice.
to
RAY (squealts) Oh, Jesus I
Co 0 \ '{ "
\) '\.
~
RAY bursts into tears. FRANK (CONT' D)
(qently) .Do you understand?
RAY nods, wipinq tears away with his sleeve. RAY (upset) Give . . a ride, Frank ••• I don't wanna miss my funeral. CUT TO: EXT.
FAIRWATER CEMETERY - DAY
The MODRHERS are qathered ar.ound the FRANK's car pulls up outside the qates. INT.
,
qraveside
FRANK'S CAR - DAY
FRANK qraba RAY'S arm
... P'RAM1t
Listen, Ray ••• the cemetery's not • qood place. Stay clo.e.
•••
RAY
(agitated) Later, Frank ••• I wanna hear what they're saying about lIel RAY frantically grabs at the door handle, but his fingers pass through it. PRANX Handles take a bit of getting used
to ••• FRANK roughly shoves RAY through the door •••
EXT.
FAIRWATER CEMETERY - DAY
RAY tumbles onto the ground •• , RAY Ooowwi
He scrambles up and runs through PRANX (urgently)
Ray I RAY sere aIlS as a huge OGRE-LID SPIRIT rises out of the ground in front of his. GATEKEEPER
(quttural) State your businessi RAY trembles with fear ••• PRANX runs up behind his. He's with ae. GATEKEEPER
(quttural) You're not velcoae Bannisterl FRAHJt
here,
holds his ground with the GATEKEEPER. PRANX It's the quy's funeral be ten ainutes.
FRAHJt taies GATEKEEPER.
RAY
by
the
••• _'11
ara and pusbes past the
RAY looks about the c_etery vide_Yed ••• er_py looking EMANATIONS scuttl. furtively &aOl\9st the toabatones. An authoritarian voice suddenly barks out •••
HILES (0.5) Get back in your qraveal SOUllD of a gbostly. 1IIllchine-gun burst rings out, and The EMANATIONS quickly vanish below qround like frightened gophers as ghost bullets zip over their heads. H~LES
Bannister! ! !
(CONT'D 0.5)
FRANK pushes RAY towards his service ••• PRANX
Keep going this. RAY heads face
...
towards
his
•••
I'll
deal
qravesite
with P'RANlt
turns
to
HILES ••• a wiry little authoritarian SPIRI'l' ' •• striding determinedly towards l"RANX, carrying a s..aking ghost Uzi machine gun. Unlike FRANK'S decolllposing Emanation friends, Heavenly Spirits glow with a radiant white light, in a state of permanent Ph~sical perfection. HILES \) ~ What are you ""'\~ in IIY qraveyard? You ~-v. been told to stay away! • PRANX
It's a public place, Hiles. RILES
~.
c.
(yelling) I don't like you! You cannot bring your spooks in here without sy permission!
HILES shoves FRANK, sending his staggering backwards with seelllingly little effort. PRANX anqrily lashes at HILES, but his blova pass straight through the Spirit. HILES (sneering) I'. not one of your shitty banations, Bannister. You can't push Spirits around! PRANX
,I don't want any trouble, Hiles. HILES gestures around the cesetery.
30.
HILES You have no understandinq of II)' situation '" We got a latta low lifes here •• , a latta gutless creeps who are too scared to lDeet their maJter! I provide an armed responsl!' at the first siqn of trouble! .• . They IDUSt be contained! ! ! FRANK
For Godsake, Biles ••• I qet this speech every tilDe I step foot in the place!
HILES (screallS) You are SCUll! Exploi tinq a lower species for your own . .terial gain .•• using spooks to put the frighteners on people • •• that lDakes IDe feel physically ill. FRANK
\
\) ..~ 0
See ya, Hiles '"
his back on HILES anSI. WWtlts towards RAY'S funeral service, iqnoring the thr~~'that follow:
FRANK turns
HILES
(yelling) My contract runs another eiqhtyfive years! There's a piece of .dirt here with your n . . . on itl I'a waiting for you, Bannister! At the qraveside, LUCY is sobbinq softly next to her P~.- Her boss, DR KAMZHS stands nearby. RAY att_pts to· put a coJDtortin9 arID around LUCY ••• but it just passes straiqht through. SEVERAl. MOURNERS whisper aaonqst the_elves . . FRANK arrives in his ill-fittinq suit. BRYCE CAMPBELL, words .: ••
RAY'S
best
buddy,
is
sayinq
BRYCE There were tilDes when people have eccused Ray of beinq l . .s than generoua, but I SID sure that deep down, the !Dan possessed a beart of gold and • qaneroUB spirit ••• RAY bursts into tears.
a
few
JI.
RAY It's all truel He wouldn't lie ••• not at a time like thisl The coffin starts - to descend. LUCY tosses a flower into the coffin.
steps
forward
and
LUCY (tearful) Goodbye Ray ••• RAY moves towards LUCY ••• RAY Oh, Jesus •• , what a wastel It's a Goddaan traqedy I RAY reaches out to comfort LUCY ••• Be twables straiqht throuqh her and falls into the qravel THUD! RAY passes straiqht throuqb the coffin and lands at the bottom of the qrave. He lies on hi. back and screaas as the black shape of the coffin descends over him. 1-
FRANK reacts to RAY'. screaminq and push"es-- throuqh the crowd. \ ..
~~\~. ~
INT.
RAY'S COFFIN - DAY
RAY finds hiaself lyinq sprawled on top of bis own dead body. He screa_ and sita up, pessinq throuqb the lid of the coffin. EXT. ,......
GRAVESIDE - DAY ..
~
RAY emerqes out of the top of the coffin. He calls out to FRANlt.
RAY Prank I
FRANK -leans over the qrave, tryinq not to attract undue attention. SHERIFF PERRY (O.S)
8i ya. Prank. l"RAHlt turns to see
•• , the local lawman, SHERIFF WALTER PERRY - .i« fortie., friendly face, .liqhtly over weiqht. Waltl
surprl.sea 'CO s_ you, Frank Here on business, I quess.
•••
Not exactly •••
PERRY takes FRANK to one side ••• SHERIFF PERRY Hear you had run in wi th Lynskey, the night before he died. Fact is, apart froll his wife, you were the last person to see hi. alive ••• FRANK
Sounds 1 ike you're the one who's here on business, Walt. SHERIFF PERRY suddenly chuckles. SHERIFF PERRY no 1 Ray and I _ t at the 9YIl ••• In fact, he'd just bec~lIe lIy personal trainer. ~ \.'0 Lord
FRANK raises his eyebrows ••• SHERIPP PERRY looks around furti vely •• lowers his voice l-:~'""
SHERIFF PERRY (CONT'D) Folks don't have respect for the law unless you look like a TV copl
RAY (0.5) (worried) Frank! !
FRANK glances at RAY ••• the qrave is being filled in ••• dirt. is piling up around his chest, but FRANK is powerless to help under the SHERIFF'S gaze ••• SHERIFF PERRY Ever heard of a quy called Kilton Damaers, Frank? FRANK shakes his head.
SHERIFF PERRY (CONT'D) Be's sOlIe peychic freak the PBI are sendill9 down ••• These deaths are causill9 a lot of concern. They look like heart attacks, but wen tl>ey open th_ up ••• arteri_ as clean as • wistle ••• (lowers voice) • • • But there's been this trsaendous pressure on the h_rt, like it's had the life crushed out of it ••• Any theories, Frank?
32.
33.
RAY (panicked) Frank! ! ! RAY is up to his neck in soil ••• I have to go,
I wanna pay
Wa~t
-r last respects to Ray before they till hi. in. SHERIFF ·PERRY nods and respecttully steps to one side FRANK bends down and scoops up a handful ot dirt. tosses it in the grave, grabbing hold ot RAY'S arm. FRANK hauls RAY out as subtly as he can, away trom the dispersing MOURNERS.
He
marching him
LUCY (O.S) Mr Bannister!
FRANK and RAY spin around. LUCY leaves HER hurries across the l.awn towards th_. RAY (excited) Oh God '" she can
_
lI1!'~me
~ ~'
Lucy!
\)
FlUULY and
'\.'0 Frank!
He breaks away and holds his arlllll out stretched as she arrives but ahe passes straight through hi.! •
LUCY (hopetul.ly) Mr Bannister ••• Did you want to see ae1
~.
FRANK looks wary. LUCY (CONT'D) I thought perhaps • •• you aiqht have a aessage troa Ray.
~ll
RAY (excited) her Frankl Tell her I'a here!
LUCY Everyone says you're a traud, but I've seen what you can do.
r
FRANK doesn't knov what to say •••
FIWiltI!1
34.
LUCY looks downcast at FRANJ('S silence. LUCY You must think I'm very stupid ••• excuse me. LUCY turns and walks away. FRANK
hesitates a moment longer, then
...
PRANlC
Ray says he loves you very much. LUCY spins around. awkwardly alone.
Sbe
can see only
FRANK
standing
COT 'l'O:
IHT.
RESTAUR.ANT -
TRACKING
NIGHT
across a busy restaurant
LUCY is sitting nervously at a corner table. She is glamourously attired and looks ravishing. She tenses up '" ~ FRANK
enters the restaurant and waves ~~r. He mutters quietly as he approaches. ~~ stands.
~o~ething
Hi
...
PRANlC~~
LUCY Is Ray with you? f'RANlt
Yeah •••
". '-. PAN OFF FRANJ( ••• onto RAY - His bair is plastered down. and he's wiped otr .ost of the excess ectoplasm. Pity no one can see the errort be's gone to. RAY Tell her she looks great I l'RANlt
He say. you look great. P'RAIIlt sits down opposite LUCY and pulls a chair out for RAY. LUCY gesture. at it. f
PRANIt
I've never done a seance place like this before.
in
a
RAY Shut up, Bannisterl This is our anni versary. We come here every year. LUCY Is Ray beside re? Yeah. RAY puts his hand onto hers, but cannot make solid contact. He looks lovingly at her.
RAY This is why 1: didn't corridor, Bannister •••
take
the
FRANK'S attention is caught by a GROUP OF PEOPLE entering the restaurant ••• amongst them is MAGDA RAVANSKI and the young journalist, STEVE BAYLISS. She gives FRANK and LUCY an icy look as she sails past their table. WAITER (O.S) ~ '~ How are you this evening? WCNl4t you care for some wine? \ ~ '.,J The WAITER stands next to FRANK, ~~ng. FRAHK
Lucy ••• Red or white?
RAY Red! We always have claret. LUCY smiles at FRANK. LUCY I'd like a Chablis •• , I've never been fond of red •••
Lucy I
RAY (annoyed)
LUCY Tell me ••• vhy is it that you can aee Ray., and I can't? FRANK
I vas in en accident ••• ten years ~go. SOmetimes when you go through • trawaa • it .1 ters your ••• perception. It allows you access to the part of your mind that connects vith the apiritual world.
3b.
RAY She doesn't vanna hear your life story, Bannister! LUCY That's very interesting I can't imaginp you'd get a lot of business in a t~wn like Fairwater. FRANK shrugs.
FRANK
You've gotta find it
get
out
there CUT
- "EXT.
and TO:
MUSEUM - NIGHT
Fairwater Museum .•• A grey stone edifice positioned on a small hill behind the highstreet. The GLITTERATI ot Fairwater are streaming up the grand entrance steps, attending a black tie openint'
MUSEUM GALLERIES -
NIG~ ~\
The GROUP OF FIFTY GUESTS are listening to JANET KING an attractive young Eqyptoloqist - who is quiding them thru the spectacular Eqyptian display, housed in a series of galleries. Stone Sarcophogi. tuneral statues, chariots. Gold embossed coffins and burial usks, rows ot hieroglyphics .,. even a full-size mock-up ot a burial chamber - all .are lavishly displayed in tall shadowy galleries. ,..... ".. JANET pauses audience •• ,
by
III
bandaged
mWlJlly,
and
addresses
the
JANET The most elaborate method ot mUlllllification was inevi tably the most expensive. The liquefied brain WillS drawn out through the nose, with III hooked iron. An incision was made in the side at the IIIbdomen IIInd viscerlll were removed, except for the helllrt, which WillS belieVed to be the selllt of the emotions IIInd intellect ••• The CURATOR is tollowing at the relllr of the slowly IIOving crowd. He pllluses ••• looks down, and IUscovers be has just stood on a curious little pile of business careSs Frlllnk Bannister's name ia clearly visible!
He quickly collects the. toqether and walks briskly to the nearest litter bin ••• he is just about to throw them in, when he suddenly hesitates ••• A dry, shriveled Unwrapped mummy is on display in a glass case next to the litter bin •• , The CURATOR stares in horror as the mummy's h£,d slowly turns towards him! A bead ot sweat rolls down the CURATOR'S forehead ••• the mummy's thin, desi=ated lips tighten into a ghoulish grin!
The CURATOR looks tearfully at Frank's card again, stuffs one in his pocket and quickly discards the others before hurrying ott to rejoin the CROWD, who have now moved a considerable distance ahead. ON: STUART. now visible behind the mummy fingers pulling the mummy's lips back.
ANGLE
his
STUART Subtle, but etfective! CYRUS looks at the mummy with
distast~~~
CYRqsQ. \ ~ Never thought I'dt lay eyes on someone more decayed than the Judge! JUDGE
(annoyed) Show some respect for your elders, boy! STUART, CYRUS and THE JUDGE move further up the gallery, following the crowd •••
'".
. ".
CUT
TO:
INT. RESTAURANT - KIGHT
RAY is bored and sullen. He sits watching LUCY and FRANK enjoying their .eal ••• LUCY (nervous) IIr Bannister • • • I have i.portant question tor Ray. 1'RANJI:
Go ahead ••• he can hear you. LUCY pauses.
an
37.
LOCY Ray .'. I need to know where you invested my money ••• the sixteen thousand I'd saved ••• the attorneys can't find it •. RAY Oh shit! ••• r blew it on a bad investment ..• but, hanq on! Don't tell her that! I'll think of somethinq •••
FRANK looks uncomfortable. FRANK He says it's qone ••• He blew it with a bad investment. Asshole! ! I
RAY
LUCY looks Shocked. RAY Tell her everythinq's qonna be ok. I'll look after her •• ' I'. aovinq back into the house I FRANJt
b
.:\ '\.
I don't think that's .., qOOd idea. ,_ \ x,.
LUCY looks up.
~ ~
RAY Bannister! This has nothinq to do with you! LUCY What is Ray sayinq?
FRANK hesitates for a moment ••• JI'RANK
Nothinq. He just left ••• Said be was sorry, and he wants to leave you alone to qet on with your life. RAY I swear to God, I'll kill youlll , LUCY That's just like Ray ••• take the aoney and run LUCY becomes tearful.
LUCY (CONT'D) haven't .been honest Ray and I wi th each other in a long time. It wasn't a good marriage, Mr Bannister. I realise that now. RAY leans on the table, yelling into LUCY'S ear RAY (yelling)
Bitch!! !
Tears roll down LUCY'S cheeks You'll
...
be
...
FRANK touches her hand.
FRANK okay.
RAY (yelling) Don't touch her!l! RAY swings wildly at FRANK'S wine glass, sweeping it off the table, into FRANK'S lapl LUCY looks up as trousers.
qrabs a
FRANK
I'll sorry
...
FRANK
. "0 rubs .~
napkin
\\":,.
t~
-
his
FRANK swings his balled fist, connecting with RAY'S face. RAY staggers back, clutching his nose. RAY
Bastard!
RAY beats a retreat towards the door. RAY (CONT'D) (yelling) I can move shit, Bannister! better watch your back! RAY storms out of the restaurant •• ' slliles at LUCY. bcuse up •••
8e
... FRANK I'll
just
You FRANK stands up,
clean
FRANK heads, towards the Men's Rooll. INT.
RESTAURANT NEH'S ROOK - NIGHT
FRANJC steps up to the wash basin, rips papar towels out of the canister and rubs his trousers.
The door opens and a snappily dressed guy in his forties hurries over to the urinal ••• BARRY grins at FRANK as he unzips. Good band. huh? Sure
BARRY
...
FRANK glances at BARRY. He frowns .,. the number tattooed on BARRY'S forehead ••• Ugly raised welts.
38
is
BARRY notices FRANK staring and he quickly looks away FRANK sneaks another curious look at BARRY through the wash basin mirror ••• BARRY zips up ." AT THAT MOMENT •••
A CUBICLE DOOR silently swings open and a TALL DARK HOODED FIGURE glides out. We cannot se, it's face ••• It is sinister. predatorial .,. and defi~(ely NOT HUMAN Moving in a pool of bluey black ~ghP.~iS is ••• THE REAPER!!!
~ ~\
FRANK is frozen ••• as he observes the scene through the wash basin mirror.
,
-..
..
BARRY turns away froa the urinal ••• he is face to face with THE REAPER. but clearly doesn't see it. He pauses. waiting to use the wash basin ••• THE REAPER slowly
raises it's hand and slides it into BARRY'S chest ••• He stiffens and cries out! THE REAPER (silky aenace) Don't fear the Reaper.
turns. but is too frightened to act as he watches BARRY clutch his chest and sink to the floor, gasping.
FRANK
THE REAPER still bas his hand buried in BARRY'S chest •••
he twists and squeezes .,. BARRY convulses and dies ••• FRANK breaks out into a sweat. THE REAPER rises and turns to FRANK ••• Be averts his eyes, clearly not wanting THE REAPER to realise he is visible to FRANK.
The Men's Room is suddenly filled with a blinding white light ••• BARRY'S transparent Eaanation rises out of bis body ••• he looks up into an ENDLESS WHITE CORRIDOR of SWIRLING WHITE UGHT. BARRY'S SPIRIT (awe-struck) Mom I
/fl,
BARRY walks into the CORRIDOR and the light snaps off. FRANK suddenly heads towards the door right by THE.REAP~. INT.
RESTAURANT -
,..
he brushes
HIGHT
FRANK hurries across the restaurant to LUCY'S table. FRAHlt (urgently) We gotta leave I LUCY looks surprised. WCY
Sure ••• I'll ba throolll ••• FRANK grabs her wrist
...
just
go
to
the
he sits down.
Ho!
Frank??? FRANK looks up ashen faced as THE REAPER oozes out of the wall into the restaurant. FRAHlt
(urqent whisper) • Don't 1II0ve ••• talk to lIIel LUCY is rattled by FRAHlt"S strange behaviour. LUCY What's going on? FRANK doesn't respond. He is looking out of the corner of his eye at THE REAPER •• , as it cruises the tables - like a White Pointer searching for it's next vieti•••• nobody is a_re of it's presence. It sweeps in towards FRANK and LUCY'S table ••• FRAHlt (strained) I think it's a good ti.e of year to put your bouse on the '_rket ••• LUCY is totally confused ••• THE REAPER pauses behind her chair ••• leans down beside her face ••• Yellowing eyes are barely visible beneath it's cowl.
fL.
." Prices Christmas.
FRANK ( COHT' D) will drop betore
swings towards FRANX. FRAHl( gives it no indication that he can see it. He keeps his eyes fixed on LUCY, but is unable to cummon up any conversation.
THEREAPER
LUCY You're sweating. THE REAPER is inches away trom FRANK'S tace.
FRANK (controlled) It's too damn hot in here. KAGDA (0.5) Mrs Lynskey I REAPER pulls away from FRANK and wheels around as KAGDA RAVANSKI drunkenly approaches the table.
THE
KAGDA (COHT'D) (drunk)
Have you had lot's of _aningtul messages from your .. ~UlY departed? .~
\~
THE REAPER glides up to KAGDA~ ~
LUCY I beg your pardon? KAGDA (drunk)
Watch your wallet, darling I've heard that Mr Bannister i. quick with his fingers ••• THE
REAPER
suddenly
slide.
down
into
the
floor,
and
vanishes '" '" FRANJt suddenly leaps to his feet and rushes out ot alarm on her the restaurant. LUCY watches hi. go tace. EXT.
RESTAURANT - KIGHT
FRANX rushes out onto the sidewalk ••• looks up and down the .tre.t.' The SIDEWALK ebead ot FRANJt suddenly rippl.. up and THE REAPER _erge. FRANK takes cover behind • parked car.
43. Wi th incredible grace THE REAPER starts to run down the street ••• it's feet don't appear to be connecting with the ground ••• FRANK gives chase. EXT.
FAIRWATER STREETS - NIGHT
THE REAPER races along with increasing speed, black cape flowing out behind it - this creature is so graceful, it could almost be flying. FRANK is sprinting ground.•••
as
fast
THE REAPER races towards straight through the wall.
as a
he can,
and
is
losing
building. •• and vanishes
FRANK pulls up, panting hard. The streets are deserted ••• He leans against a brick wall to catch his breath •••
• •• The bricks behind him suddenly ripple out ••• THE REAPER slides out of the wall right next to FRANK. He freezes, terrified. It pauses momentarily, then in a frightening burst of speed, it shoots across the street and vanishes around the corner. FRANK runs after it.
CUT TO:
INT.
MUSEUM EGYPTIAN
GAt t
ERIES - HIGHT
JANET gestures
to an ornate sealed coffin, bearing the features of a beautiful Egyptian Queen. It stands on a plinth in the middle of the gallery. JANET (CONT'D)
This is Queen Merytaten fro. the eighteenth dynasty about fourtaen hundred B.C. We have actually X-Rayed her ••• fliclts a .wi tch and a row of fluros flicker on behind' a glas. screen, beck lighting a full size X-Ray of Queen Merytaten. Her shriveled features are even IIOra grotesque in X-Ray fora.
JANET
JANET (CONT'D) Tha dark area here i. in fact tha Quaen's vi.cera, carefully Packaged end returned to the body cavities. THE JUDGE looks at tha X-Ray with dewy ayas. JUDGE
Kighty f ina VOJDan ••• good teeth 1
lfIf,
THE JUDGE suddenly staggers towards the coffin. STUART (alarmed) Judge??? JUDGE You boys hurry along ••• I wanna make the acquaintance of this fine young lady! The JUDGE disappears into the coffin enthusiasm, that it wobbles violently!!
with
such
STUART (mortified) Oh God! STUART rushes towards the coffin, which is nov rocking on it's base ...
JANET looks at the IIUl11l11Y with alanl!·~.. the CROWD turn .•• the CURATOR whimpers ••• The\. ioffin CRASHES to the floor!! I ~ ... Everybody rushes over to it ••
~ ~\
JANET (horrified) Oh, no ••• don't touch it don't touch it!
...
CYRUS slides through the CROWD ••• the JUDGE'S butt is visible, bobbing through the lid. CYROS reaches into the coffin and drags THE JUDGE out by his anklesl THE JUDGE· haven't felt that way about a woman for nigh on one huncir.ed and fifteen yearsl I
AT THAT MOHERT •••
CYRUS looks up, his face becomes a lIask of horror ••• A tall, black hooded creature cOlles racing at unnatural speed down the cavernous gallery ••• it's black cape billowing out behind, inky blue light streaking away froa it'. body •••
,
THE REAPER II 1 CYRUS, STUART and the JUDGE .tare, awestruck, as THE REAPER flows straight into the CROWD, pas.ing througb paople who are coapletely unaware of it's existence.
JANET looks up froll the 1RmlIY, sayinq sOllething to the CURATOR ••• CYRUS qasps at the nWllber 39, etched onto her forehead .,. THE REAPER slides down towards her. a skeletal hand out-stretched towards her chest ." CYRUS (yelling) Don't mess wi~ her. man! CYRUS charges forward. tackling THE REAPER. knockinq him off balance! They slide alonq the polished museum floor With incredible grace. THE REAPER rises. towering above CYRUS like a dark anqel. In one fluid movement, THE REAPER produces a lonq wooden staff from beneath his cloak •• • he thumps the base on the floor. and a huge jaqged blade swings out of the staff and locks into place with a lIetallic elicit. The blade shimmers with an ethereal qlow ••• THE REAPER bas his SCYTHE! CYRUS leaps to his feet, ready to make another lunqe at THE REAPER. but he has no chance ••• THE REAPER performs a double-handed sweep with the scythe slicing CYRUS C across the chest I ~ ..: CYRUS drops to bis knees, chest.
ectop1-a~
t ~\
\\ ,>
lipillinq out of his
.
CYRUS (shocked) He cut me! I don't believe it .,.
STUART and THE JUDGE watcb fearfully froll their hidinq place. within a larqe statue. CLOSE ON: JANET stands, slliling at the concerned crowd. ~.
'..
JANET There appears to be no damaqel Shall we aove on?
serious
She suddenly wince•••• TILT DOWN: to reveal THE REAPER'S arID buried in her chest ••• The hooded cowl nuzzles her neck. THE REAPER (silky aenace) Don't fear The Reaper. With a violent thrust, he buries his band deeper into her chest. f
CUT TO: EX'1' •
S'l'REE"l'S /MUSEUM - HIGH'!'
F'RAIfK runs down quiet streets, looking all around.
He pauses to catch his breath. Distant YELLING and CRIES FOR HELP
...
The NIGHTSKYabove FRANK, RUMBLES and CRACKLES - like an approaching storm ••• A TEAR rips the.dark sky ••• behind it is the most brillian~ WHITE LIGHT .,. a SHAFT ot LIGHT beams down into the ••• • ,. MUSEUM! FRANK races across the towards the entrance.
INT.
road,
and runs up the steps
MUSEUM - NIGHT
JANET lies limp on the floor ••• A MAX furiously pounds her chest in an attempt to resuscitate her. A crowd of nervous onlookers surround her. FRANK races into the gallery, and reacts to the brilliant glow of the corridor of H'lht - invisible to the rest ot the crowd.
\,\0
-
JANET'S SOUL rises out of her body ~cUlooJta in contusion at the whi te li'lht. • • FRANJI: \. 'lgush_ throu'lh the on-lookers, reaches out ....... Qul:hin'l the shoulder of JANET'S SOUL ••• She turns to YRiInt, teara in her eyes. CLOSE ON: JANET'S torehead .,. the number 39 i. fading
away .•• Her SOUL turns away trom FRANJI:, rapidly IRovin'l up into the corridor at li'lht ••• and then it's over. The li'lht snaps off. 'JIbe',. HAN,
who
was
attemptin'l
resusci tation,
hangs
his
head. MAX
(shocked) She's 'lone ••• CURATOR
(O.S)
Kr Bannister I
The CURATOR take. FRANK by the forearm and steers hi. away trOll the crowd ••• CURATOR (CONT'D)
(hushed) I .•. think .ort of tabool
we've broken
STUART .uddenly ri.e. up behind the CURATOR'S .boulder.
47.
STUART Frankl The· CURATOR, unaware of STUART'S presence, continues unabated. but now FRANK'S attention. is on STUART. CURATOR ( CONT' D) (hushf'd) Please! You've got to help us! It's bad,
cut.
STUART Frank! Cyrus has been
FRANK looks across at CYRUS lying slumped against a glass cabinet. Ectoplas. i. staining his white disco suit. P1WIlt
(shocked) Shit I The CURATOR reacts to FRAHX'S sudden outburst hurries off to qreet a qroup of arriving P~DICS
He
CURATOR \)\.'0 ExCuse .e, one 1II0lllent •• \ ~
FRANK rushes over to CYRUS.
~~
P1WIlt (CONT' D)
(worried) Cyrus???
CYRUS is clutching his chest revealing a nasty gash.
he
lifts his arlll,
CYRUS SOllie badass brother Illes sed lIIe up real bad, Frank.
FRANK, looks around warily, not wanting to draw attention to hillSelf. He gesture. to the entrance of the IlOdt up Eqyptian toab.
FRANK
(to STUART)
In there
...
STUART drags CYRUS into the tomb. P1WIlt hesitates • .oment, making sure he's watched •• I he quickly ducks into the toab.
not
being
~.
lIlT.
EGYPTIAN TOMB - IfIGH'l'
FRAIfJC tears CYRUS' S disco jacket into strips and starts
bindinq his chest ••• STUART is pacinq up and down in a s~ate of near hysteria ••• STUART It's not an EJ-anation! It's sOllie sort of Spirit '" a Dark Spirit. FRANK
(to CYRUS) Did you see it's face? CYRUS shakes his head. STUAR'l' It's a psycho, Prank I A bloody psychO! It could kill us alII CYRUS Who is it Prank? JUDGE (O.S) It's The Reaper, son.
b
\~
\) \.
THE JUDGE stands in the doorway, a~~ laden expression on his face ••• PRANK stares at THE JUDGE. STUAR'l' (terrified I But ••• But be's a .ythical figure, a pseudo religious icon frolll the twelfth century. JUDGE
•.
Saveya pea brain prattle for the classroolll, boy. That was the soul Collector • • • be' 8 bin takinq people out 8ince tilDe beqan. He'8 qoin' about bis dark business bere in Fairwater, and there ain't nothin no one can do to stop biB ••• wben your nWllber'. up that'. itl CUT TO:
lIlT.
USTAtJRAHT - NIGHT
MAGDA i. talking quietly to a DEPUTY, who scribbles notes in bis notebook. STEVE stands awkwardly beside ber. The restaurant bas been larqely cleared of petron., except for the f_ that POLICE wisb to intervi_. BARRY'S BODY is being carried out of the bathrooll on a stretcher in the 8G •••
• •• PULL BAClt to SHERIFF PERRY and a DEPUTY oVerseeinq the scene of the death.
DEPUTY 1
'says it looks like another heart attack, but he ain't confi7minq nothing till af'ter the aut:':)posy. DOc
SHERIFF PERRY (frustrated) Damn!! !
DEPUTY' 2 steps up '" DEPUTY 2 The waiter says that some quy came outta the john about five minutes before the body was found ••• SHERIFF PERRY raises his eyebrows Who was that?
...
SHERIFF PERRI. ~ ~ \.....
DEPJI'l:X. ~~
••• FranJt Banni~eY. He Jolas as , Vbi te as a sheet and shakinq Waiter thouqht he'd been sick He didn't hanq around.
..
...
DEPUTY 1
Bannister was having dinner with Ray Lynskey's widow •• , we're holding her for questioning •••
DEPUTY 1 qestures towardS LUCY ••• ~~ryous,and
she confused, at a corner table.
is
sitting,
DEPUTY 3 suddenly arrives in a flurry ••• DEPUTY 3
There's been another death! At the _eua •• • • young woman. She I s been taken to the city marque. There were a latta witnesses ••• includinq FranJt Bannister. SHERIFF PERRY looks qria. Bring hi. in. EXT.
SHERIFF PERRY
RESTAURAHT PARltING LOT - NIGHT
l"RANlt is hurrying clown the street towards the restaurant. Police cars end an aabulance are parked outsicle.
MAGDA (0.5) (drunk)
Bannister! MAGDA and STEVE are headinq towards her car. HAGDA (CONT'D) The police are '.ookinq for you! FRANK spins around. MAGDA leers drunkenly at him ...• the number 40 qlowinq briqhtly on her forehead! FRANK
Oh Jesus!
(softly)
MAGDA Yes, I'd be worried too. FRANK
(realization) You're next. MAGDA Are you threateninq .e? (yellinq) Q.\ Deputyl!! .~ ~
-.
r~
'\;;.
FRANK turns in confusion a. TWO DEPUTIES emerge from the restaurant. MAGDA (COHT'D) (yellinq) It's Bannister! He'. herel FRANK
quns ." f>...
i.
alaraed to .ee the He raise. hi. hands.
DEPtJ'l'U!S
c1rawinq
their
' •.
DEPUTY
on the ground, Bannister! Nov! SUDDENLY! lyinq on the qround aero.. the parkinq lot entrance suddenly ri.e. into the air, trippinq both DEPUTIES up ' •• CYRUS and STUART are pullinq on each end!
A CHAlK,
CYRUS Get outta here, iiIan! Go on, .plit! FRANK he.itate. for a moment, then race. towards the back of the parkinq lot ••• The DEPUTIES att_pt to aim their quna, but CYRUS and STUART whip the chain, knockinq the qun. away.
.rl. FRANK'S CAR roars into life ••• The DEPUTIES roll aside, leaping to their feet as FRANK'S CAR skids out onto the street. FRANK'S headlights catch the ghostly fiqure of THE JUDGE, staggering down the road towards the car • •lUDGE
(yelling) Frank! FRANK slams on the brakes and slews towards the JUDGE. He braces. himself for the impact ••• The front of his car passes through THE JUDGE, but '" THUD! He is collected by the passenger seat and ends up kneeling backwards, arms wrapped around the back of the seat, hanging on for dear life. JUDGE Faster Frank! There'. coming up our ass! The COP CARS rev up of the first car • •. hood .••
a
posse
acros~~o
CYRUS bounds the front He thrusts ,ilisvhead into the \~
~~lders
BELOW HOOD: CYRUS'S head and appear in the narrow cavity between the engine and the underside of the hood. He quickly reaches out and yanks the wire. off the spark plugs. The COPS react with surprise as their engine dies STUART is Car .,. BELOW
attempts
HOOD: •••
to
STUART
do
the
is
same
looking
...
on the other about
in
Cop
total
CCWf~sio.n
STUART (desperate) What do I do??? STUART'S a1"1l i. suddenly caught by the blades of the cooling fan and be is sucked into the radiator!. The radiator cap pops off and STUART'S distorted head squeeze. out through the tiny hole ••• pressurized ste_ blast. out around bis neck. He's shrieking louder than the ste_l COPS react to billowing steam from engine. I
COP Shit!!! STUART suddenly disappears back into the enqine ••• LOUD CLANGIHG ••• BAHGIHG •••
XER-THWATI! I STUART is shot out of the exhaust pipe like a bullet! He tUJllbles along the road, before dizzily sitting up ••• COP DRIVER hops steallling hood.
out and slalllS his fist against. the ~OP
(angry) Goddalllll it! FRANK speeds away into the night. CUT TO:
INT.
SHERIFF'S OFFICE - KIGHT
- '!'he SHERIFF'S OFFICE i. largely open plan, with glass partitioning. At one-thirty in the 1I0rning the few DEPUTIES that are on duty are looking tired. LUCY is sitting on a chair, clutching a cup of coffee SHERIFF PERRY sits opposite, DEPtJ'l'Y 2 is t~ing notes. LUCY \)~ . Frank Bannister ia no ~aud. I &II convinced he lIade @p\tact with Ray. ~ '" . You say your having dinner restaurant •••
SHEllIFF PERRY dead husband with you at
was the
LUCY nods. ~HERIFF
PERRY (CONT'D)
What did he order? PERRY lIakes eye contact with DEPtJ'l'Y 2. They suppress a slIirk ••• LUCY doean't answer. AT THAT KOHEHT: AGENT MILTON
I)AKKERS
walks in.
PERRY qlancea over and through the glass partition he sees DAKMERS casting a wary eye around the office. DAKMERS, late-forties ia ahort and wiry '" he neck, and haa a habit of trying to crane his bead failing. Hi. eye. are dark and piercing ••• be allile, juat a teeth baring qri_ce. PrOII the i t ' . clear ~at DAMMERS ia a aocial retard.
bas no up, and baa no ouuet,
Se ahuftlea into the .iddle of the office, IUId .Unda uncollfortably, clutching hia banda and atarin9 at the
floor.
s1. oh God
SHERIF!" PERRY (to hiueU)
...
(to LUCY) EXcuse" IDe. SHERIFF PERRY leaves tht office with DEPUTY 2 and hurries over to DAMKERS ••• LUCY can only hear a HUMBLE ot voices, but she watches as SHERIFF PERRY qreets DAMMERS, otterinq his hand DAKKERS awkwardly shakes with his lett hand. DAKKERS doesn't raise his eyes above SHERIFF PERRY'S belt buckle as he lDutters • tew words. •• SHERIFF PERRY qestures at LUCY ••• She starts to feel self-conscious ••• SHERIFF PERRY leads DAKKERS back into the oftice: SHERIFF PERRY Lucy • • • '!'his is special aqent Milton Dammers froID the FBI. LUCY nods •• • DAKKERS tails to aalte ey'cf: contact directs his co_ents to a trash can.:-j ';r DAMMERS
he
,~
I came by car. I dilttlq. take the tliqht ••• I telt ~ about the plane. LUCY looks at PERRY unsure ot how to re.pond. DAMMERS eyes flick to the tilinq cabinet. DAMMERS
At what tilDe, precisely, did Bannister leave tor the bathroom? LUCY I'a ••• not sure ••• precisaly. DAMMERS
Did he use excessive quantities ot table salt durinq his aeal? LUCY
(flustered) What? DAKKERS
(rai.ed voice) Answer the question I LUCY (yellinq) It'. one-thirty in the .arninql I can't reaember that I I
DAKMERS blanches ••• he backs out of the roo.. SHERIFF PERRY looks alal'1lled and follows hi •• INT.
SHERIFF'S OFFICE KITCHEN - NIGHT
is leaning over the sink, splashing face. SHERIFF PERRY approe~hes •••
DAKKERS
Hilton?
~ater
on his
SHERIFF PERRY (concerned) DAKMERS
(flustered) Sorry Sheriff ••• I have a problem with women yelling ••• SHERIFF PERRY Can I get you anything? SHERIFF PERRY puts a hand on DAMHERS' shoulder ••• DAKKERS backs away in a fluster.
\'0
DAHHERS
Sheri!! Perry I . . • ."y"u \) re violating my territo~i~~ble. ,\"
INT.
.
SHERIFF'S OFFICE - NIGHT
SHERIFF PERRY returns to the office. •
SHERIFF PERRY (softly) You're still grieving. It's very easy for sOlDeone like Frank Bannister to take advantage. LUCY You have such closed .inds. I objectl
DAMMERS (O.S)
HILTON DAHMERS hovers uncomfortably in the doorway ••• his eyes blaze. SHERIFF PERRY rapidly intervenes ••• SHERIFF PERRY Spacial Agent Damaera has fifteen years experience in the field of paranormal psycholoqy ••• laUch of it spant undercover with variowa cuI ta and sects •••
DAMMERS I get all the fruity cases, Mrs Lynskey. SHERIFF PERRY For Godssake sit down, Hilton. 'JAMMERS I am more comfortable standing. SHERIFF PERRY Agent Dammers is the government's nUlD,ber one man for ••• this type of inquiry. LUCY I still don't see what this has to do with Frank Ban OAMMERS fixes an icy stare onto LUCY ••• DAMMERS ( interrupts ) You know nothing Mrs Lynskey I about Frank Bannister I You clai", \ he is a bone tide psychic,,\~et.l all I have heard is 7 ~ .~~ates of meandering, ill Ti~Yormed wattle ••• LUCY stares daggers at uncomfortably in his chair.
him.
SHERIFF
b
PERRY shifts
DAHMERS (CONT'D)
the third day of July, 1984, Frank Banniste~ - at that time a successtul architect - came out of the Jesson's sporting goods store on 3rd and Garrett. He had just picked up a Ruger lever action .22 caliber rifle. It had his name engraved on the barrel.
'\)n
INSERT IMAGE: Rille sliding into FRAIf1('S trunk ••• -Bannis1;er- clearly engraved on the barrel, in cursive script. DAMMERS (CONT' D)
Bannister would later claim that the weapon vas intended for a stoat intestation at the back of his property. His vife, Debra vas in the front .eat. Frank Bannister vas agitated that 80rning ••• INSERT IMAGE: DEBRA in car •••
SHERIFF PERRY looks uncomfortable. SHERIFF PERRY (quietly) You're- mWllblinq, Milton _••• Can't heard a damn word you're sayinq
...
DAMMERS
(louder) He'd just had a blazinq row with Jacob Platz, a builder, over the positioninq of foundations f or his new house • •• 12 • 33 PIlI, and their '82 Ford is seen headinq into the hills •• , -~NSERT
IMAGE: FRANK'S car winds up a narrow road ..• HOLD ON: Siqn ••• "HOLLOWAY ROAD" DAHKERS ( CaNT' D) ••• it is the last time the couple are seen. Soon after, possibly 12.36 or 12.37 the car leaves the road on a tiqht corner •••
INSERT IMAGE: FRANK'S CAR crashinq DAHKERS
1.b ~~~h(Junderqrowth.
~CONT'D)
••• presumably Bannister toox the bend too fast. WCY (softly) She was killed ••• DAMMERS Her body was found sOllie fifteen yards from the car •• , DAMMERS pauses
... DAMMERS
(CONT' D)
••• Debra Bannister had sustained a ainqle qunshot wound to the back of the head •• , INSERT IMAGE: DEBRA'S body hi ttinq the qround. DAMMERS (CONT' D)
Execution style ••• f
LUCY is horrified.
DAMHERS (CONT' D)
Bannister was picked up two hours later ••• he was wandering in the forest. He claimed to have no recollection of events .,. not even the car accident. The presumed rurder weapon Bannister's rifle - had been very well hidden. To this day, it has never been found. SHERIFF PERRY
He never went to trial • • • no murder weapon, no witnesses. Frank denied all knowledge ••• esoftens) He was pretty cut up about it. Quit his job. Took to the bottle for a time • •• drank his money away. LUCY takes a deep breath and exhales .
\.\)
Slawl~•••
~
\ v
Silence •
DAKKERS .. "
(lOUdly) But, do you know what was really bizarre ••• ? DAMMERS eyes blaze. DAKKERS (CONT'D)
Debra's corpse had the thirteen carved into forehead
...
number it's
DAMMERS traces the number 13 with his finger on his forehead ••• LUCY is white •• , DAHMERS gaze cuts into he~. , . '. DAKKERS (CONT'D)
Unlucky for some. COT '1'0:
INT.
MAGDA'S HOUSE/BEDROOM - HIGHT
STEVE BAYLISS is lying on the bed, swe.ting. The lights are out .••• MOONLIGHT casts a silvery glow across STEVE'S naked tono ••• MAGDA RAVAHSJtI ••• ai ta atop STEVE ••• she slips her 90WII off, revealing a provocative silky caaiao1e '" ••• MAGDA leans hungrily towards STEVE ••• STEVE (nervous) Did you really llke my story about the vater treatment plant?
KAGDA It was brilliant ••• You're wi thout a doubt the greatest cub reporter I've had the pleasure to wo:iJe wi th. STEVE tenses as MAGDA pl:lnges her face into his neck. STEVE
I know you only wanted nine hundred words but I couldn't keep it to length ••• MAGDA Length is never a problem for ae. STEVE suddenly sits up coughing.
Could please? MAGDA frowns, kitchen. EXT.
STEVE (coughing) I have a drink
pulls
on
of
wa~~
C\
her~~~~n~
~.
walks into the
MAGDA'S HOUSE - HIGHT
LURXIHG POV ••• Peering into MAGDA'S kitchen window as she appears shrinking back into the shadows as she glances out •
...
•
IHT.
MAGDA'S lCITCHEK - HIGHT
drops ice into a glass on water ••• followed by a healthy splash of Vodka.
~GDA
A CREAXIHG
GROAN ••• The kitchen wall bulges ever so slightly ••• China rattles on shelves. She spins around ••• grab ice pick ••• nothing's there. :
IHT. MAGDA'S LOUNGE - HIGHT MAGDA appears in the doorway, clutching the ice pick ••• The LOUNGE is in darltness ." She steps warily into the middle of the rooa.
,
PAST MOVIHG POV: towards MAGDA, brushing past her, then again and again ••• abe reactll by spinning around, se.inq
nothing, but getting spooked. MAGDA aoana ball •••
softly
...
abe
backs a_y
•••
down
the
sf. lIfT.
MAGDA'S HALLWAY - NIGHT
.•• towards her tront door. She breaks into a run ••• MOVIIlG POV
...
MAGDA reaches key .•• MOVIIlG PaV
...
racing down the hallway towards her '" the
doo::'
desperately
tumbling
the
allllost upon her!
She flings the door open and SCREAMSI!! FRANK is standing in the doorway! He forces his hand over her mouth, snatching the ice pick with the other hand. FR..\NX
(urgently) Shut up! I'III not going to hurt you. I just want you to listen ••• Will you listen to .e? MAGDA, wide eyed, nods •• , FRANK releases lUiiI hand. MAGDA immediately backs down the hallway •• ~ '0 ~ MAGDA (yelling) Steve! Steve I
••
~ \\.\
'
,
STEVE BAYLISS hurries out ot the bedrOOIll, trantically dragging clothes on ••• He gives FRANK a terri tied look • (to
Get out!
FRANK STEVE)
STEVE turns and tlees out ot the house.
"". lIfT.
..
"
MAGDA'S LOUNGE - NIGHT
MAGDA backs into the lounge. MAGDA You .ick bastard! I'III calling the PoliceS She lIIOVe. towarda the phone. FRANlt
,
'!'be copa can't .ave you, Magda. MAGDA picks up the phone, just as ••• THE REAPER ooze. out ot the wall behind ber! lie slides his band into MAGDA'S chest. She gaspa in pain •••
THE REAPER (silky lIenace) Don't tear the Reaperl FRANK throws hilllSelt torward, grabbing MAGDA'S shoulders, hauling her away trom the REAPER'S reachl THE REAPER FRANK.
spins
around
inhumanly
fast,
snarling
at
FRANK swings a punch at THE REAPER... but his arm passes through! Again and again, he tries and fails to make contact ••• With an almost casual sweep ot it's hand, THE REAPER" smashes FRANK against the wall ••• FRANK lunges at THE REAPER again ••• THE
REAPER moves implacably torward, passing through who winces in pain at the sensation • • • THE REAPER reaches down towards MAGDA, lying on the floor.
- FRANK,
FRANK desperately grabs MAGDA'S ankles ••• he attempts to haUl her away, but she grabs a heavy IBlllp ~d smashes it against FRANK'S head! He falls to the fl~'~unned! THE REAPER'S fingers gasps with pain...
MACDA~
slide into ~ ~\ "
chest
•• ,
she
JUDGE (O.S)
Hey son! THE JUDGE staggers into the room ••• be sveeps his long coat back, pulling out his pair ot rusty Colts. FRANK can only watch as THE REAPER spins around to face THE JUDGE. JUDGE (CON'l"D)
Get ya filthy lady's blouse! WGl
BANG!
BANG!
fingers
outts the
JUDGE pumps
bullets into THE
REAPER!! !
THE REAPER hisses, staggers back, reacting to the qhost bullets pumpinq into it's body ••• BANG! BANG I BANG I It
fal~.
back throuqh the lounge vall and disappears.
FRANK looks
a_zed at the JUDGE who holcSs his aaokinq
six-guns alott.
JUDGE
Forty-five caliber Colt eighteen .eventy P.aceaaJters, four ••• Who need.a a Kaqnua? MAGDA SCREAMS! She rushe. at :nu.JI¥, _inqinq the ice pick tovards his head! FlIAIIlt cluCD the blCIV, the pick 811beddinq into the wall ••• :nu.JI¥ punch.. JlAGDA bard ••• she slumps into his arwa,".tunnecl.
F~ HQISIi HAG~ on~ his shoulder. EXT.
61.
MAGDA'S HOUSE - HIGHT
FRANK runs out of MAGDA'S house, weiqht, followed by THE JUDGE.
stumblinq
under her
IHT. /EXT. CAR/STREET - HIC":lT
FRANK pushes MAGDA onto the front seat of his car. THE JUDGE sits behind her •• , he wraps his arlllS around her, as she starts to reqain consciousness. FRANK leaps in and quns the enqine. FRANK'S car screeches onto the road .,. Ahead, under a qhostly streetllqht, is the dark fiqure of THE REAPER! FRANK qrlmly steers his car towards THE REAPER.
I
...
Don't sorry
MAGDA (scared) I .. , I've qot IIOney hurt me! Please I
...
...
I'.
THE REAPER stands silently as FRANK'S car approaches. He his holdlnq his wooden staff ••• tapa it 'UTIIIly on the qround ••• CLICK! The huqe steel blade.swinq8 out up and locks into place. ~
~
\\6
It's too late for f'RANlt to react •• he sees THE REAPER raise the scythe at the car •• • f'RANlt hanqs onto the wheel wi th one hand, qrabblnq MAGDA'S head vi th the other. • Down!! I ,.....-
".
FRANK
ducks, pushinq MAGDA'S head down at the s_e time.
The qhostly SCYTHE cuts throuqh the car, narrowly sweepinq over P'RAJIlt and MAGDA'S heads ••• however it chops the .JUDGE neatly in half, just below his anlpi ts I The top half of the JUDGE'S body tumbles into the back of the car. .JUDGE
Goc:Sdnni t I How THE REAPER is runninq behind the car. He leaps onto the roof •••, ••• The SCYTHE slices into the car, vithout actually cuttinq the _tal. It qlences past PRAIQC'S sboulder, dravinq blood. PRAMX clutches his sbouldv, tryinq to steer the car vith his other band.
MAGDA is screudnq and cowerinq on the floor, totally unaware ot the deadly struqqle in which FRANK is enqaqed. FRANK'S car speeds up the road at hiqh speed .•• THE REAPER standing on the root, a hooded taceless fiqure qrippinq the scythe ••• wind billowinq his cape behind hilD THE REAPER viciously twists the SCYTHE froID side to side, the blade passes through the car seats, and connects with FRANK ••• it hooks under his chin ••• The EXT.
ca~
speeds up .'. Holloway Road.
HOu.oWAY ROAD - NIGHT
• •• THE REAPER hauls on the scythe ••• the tilade cuts into FRANK'S throat ••• The bodiless JUDGE is lyinq on the back seat ••• he quickly reaches torward and qrabs a qhostly six quo from the hostler, still strapped to his lower ~f....• BANG! BANGl The JUDGE shoots blindly, 'l}thrOUqh the car roof. ..." THE REAPER howls in pain and tumbles ott the roof ot the car! FRANK ••• looks ahead, eyes wideninq ••• INSERT: The road ahead is suddenly tlooded with DAYLIGHT. MAGDA screams ••• sounds dissolve thru ••• DAYLIGHT s~e~ms
INSERT: DEBRA, sittinq next at sOIDethinq on the road ahead •••
to
FRANK
FRANK ••• starinq ahead ••• territied. DAYLIGHT INSERT: pay crash zooa ••• A LOG is lyinq across the road aheadl car speeds towards itl FRANK qraba the wheel with one hand and hauls it round, sending the JUDGE spinning out of the car window I FRANK'S CAR l.ave. the road and crashes throuqh undergrowth, down a steep bank and into a torest ••• EXT.
POREST' ex URING - KIGHT
The car qIances ott a couple ot trees, does a 180 on the pine needlas and crunches to a balt aqainst a sturdy treil.
b3. The forest floor is lit with shadowy moonlight ••• dark shapes ot trees loom out ot the darkness. MAGDA desperately
scrambles out ot the wreck. battered and bruised .•• and crawls away.
She is
FRANK cOlles to at the whnel ••• looks across at MAGDA. Magda I MAGDA looks feartully at FRANK
••• she staggers to her
feet and starts to run.
FRANK attempts to follow her, but his legs give way and he collapses in a heap on the qround ••• FRANK gasps! DAYLIGHT INSERT:
dayliqht •••
FRAHJt is lyinq in the torest in broad DEBRA (O.S)
Frank??? (crying)
~ ~\ ~
'0
~ '\-"
NIGHT: THE REAPER oozes out ot a tree ahead of MAGDA I He opens his cape as she rushes towarcla hill, unaware. Nol! I
tries to tollow MAGDA, but is struck by from 10 years earlier:
FRA.NK
IMAGES
DAYLIGHT INSERT: DEBRA erawls out of the ear. DEBRA
Frank
...
Cechoecs)
NIGHT: FRA.NK rushes towards MAGDA
...
Debra I REAPER thrusts his hand into MAGDA'S chest and squeezes ••• she atops in her tracks, a surprised look on her taee.
THE
FRANK qrabs MAGDA around the shoulders, tries to haul her away fro. '!'BE REAPER' S 9l"asp ••• A distant RtnIBLE ••• A FLASH OF DAYLIGHT. NIGHT:
FR.\Nl(
lets 90 of MAGDA and taIls to the 9l"ound.
DAYLIGHT INSERT: CLOSE UP ••• Gun Muzzle. slow RUKBLING explosion.
It fires - a
NIGHT: FRANK grabs his head as if in excruciatinq pain. DAYLIGHT INSERT: THUD! hittinq the ground.
Quick
illlaqe of DEBRA'S body
NIGHT: FRANK cries out .,. THUD! MAGDA'S dead body hi ..s the ground beside FRANX. SILENCE •••
FRANK looks around in a daze ••• THE REAPER is qone •.• MAGDA'S corpse is lyinq beside hia. WHITE LIGHT suddenly floods onto MAGDA ••• her spirit rises frolll her body as the CORRIDOR OF UGHT appears ••• fRANK backs away. MAGDA (yellinq) You killed lIIe ••• You killed ae!!1 You bastard I MAGDA starts to drift away, u~the corridor of liqht ••• her stream of invective never rettinq up ••• FRANK stares helplessly after her ••• MAGDA (COHT'D) You're sick ••• 'l'his is how you qet your kicks, huh? You like to kill people? Did it teel qood killinq .e ••• huh? Did it teel qood killinq your wife??? EVeryone knows you did it, Bannister .,. You're a aurderer!!! The CORRIDOR OF LIGHT finally vanishes, silencinq MAGDA for; ~ver.
FRANK ia disorientated ••• he starts to run, faster and faster throuqh the torest •• , He leta out a lonq HARROWING CRY.CUT '1'0:
.INT.
SHERIFF'S OFFICE - DAWN
LUCY sicplS her vri tten stateaent as SHERIFF PERRY and DAHMERS watch. DAMKERS
Ii
Bannister atteapta any tora ot contact, you will let ua know? LUCY qlares at
D~.
('s. SHERIFF PERRY He won't qet far ••• We've qot the state line covered. DAMKERS I sincerely doubt we will see Kr Bannister in the near future. The man is resource'ul beyond anythinq you can comprehend .,. AT THAT MOMENT FRANK
...
walks into the SHERIFF'S OFFICE!
SHERIFF PERRY sees hi. tirst throuqh a qlass partition. A DEPU'l'Y spots FRANK and reaches for his pistol. SHERIFF PERRY pushes past DAMKERS and approaches FRANK ••• he stands calmly at the reception desk. SHERIFF PERRY,,::> (quietly) _~. Hello Frank ••• we've bin ~ltinq for you '" ~
(exhaU~«..'\
Walt. I've come to report that Maqda Ravanski's body is lyinq near my car, off Holloway Road. SHERIFF PERRY'S eyes narrow. SHERIFF PERRY (softly) Have anythinq to do with death, Frank? ~K
.
-"
her
stares at PERRY. He looks defeated •• , FRANK (quietly) I ••• I don't know •••
MILTON DAMMERS peers at FRANK intently with his piercing black eyes. LUCY steps up to FRANK and takes hold of his hand. Are you okay?
LUCY
,
FRANK shakes his head. LUCY (CONT'D) (softly) What happened?
'b. TWO DEPtl'l'IES suddenly step in and cuff F'RAHX'S hands behind his back. LUCY What are you doing? arresting hilll?
Are you
!'AHMERS
Go home, Mrs Lynskey. LUCY Frank, you need a lawyer. say anything!
Don't
FRANK looks at LUCY with sad resiqnation
...
FRANlt
You don't understand, Lucy. Just leave me alone. A little grin flickers on DAMKERS lips.
EXT.
UP:
-'
,~
ROAD - DAY
CLOSE
,
JUDGE'S sleeping
sun •••
!acel(,~t
by
the bright
••• Suddenly, RUSTLER, the JUDGE'S GHOST DOG, licks his master's face ••• The JUDGE'S eyes flutter open, just as RUSTLER takes a qrip of his qoatee beard. The
JUDGE groggily pushes the doq away. Hot now, boy!
,.,
t
JUDGE
_
He attempts to stand ••• only then rellle:aberinq that he's lost his lower half! JUDGE (CONT'D)
Goddamnitl vitalsl
Somebody's
stolen
.e
The JUDGE qestures to RUSTLER. JUDGE (CONT'D)
Here Rustlerl The JUDGE pulls himself onto RUSTLER'S back, lilte a weird jockey... , JUDGE (CONT'D)
(wearily) Taite .e to the CUletery, boy.
He urges RUSTLER forward, and the ghost dOC; carries his lIIaster away ••• CUT TO:
EXT.
LYNSKEY HOUSE - DAY
The Lynskey house ••• late lIIorning. INT.
LYNSKEY BATHROOM - DAY
LUCY is showering. Steam tills the showerbox. LUCY rinses soap tro. her eyes • • • she suddenly freezes .••• stares at the glass ot the showerbox ••• • '. the letter "L- is drawn in the condensation by an invisible finger. LUCY backs away as the letters "U ••• C .•• Y· tollow.
. , ,... -
LUCY (nervous) Ray? SUDDENLY! An
~
\~'
...
-
impression ot RAY'S FACE presses against
the
qlass!
His flesh is invisible, but the shape ot squashed, distorted lips, nose and torehead are clearly defined against the steamed up glass ••• his mouth moves as it talking. LUCY gasps and rushes out ot the showerbox! I~.. ~
-.
LYNSKEY BEDROOM - DAY
LUCY strides clothes on.
into
the
bedroom and
starts
pulling her
LUCY
..
(loudly) c.t outts here, Ray 1
Suddenly the window blinds pull down ••• the key turns in the lock ••• The shape ot RAY presses into the bed •• • the pillow creases ••• '!'be sheet indents as the invisible RAY pats the bed firmly with h18 hand ••• LUCY is pulling her jeans on ••.• mhe shaltes her bead.
LUCY I don't want you around lie ••• I don't want you in this house. I'll a widow, Ray ••• leave lie the hell alone! LUCY storms out or the bedrooll, slamminq the door. CUT '1'0: EXT.
FAIRWATER STREETS - DAY
LUCY'S CAR speeds alonq a city street. INT.
LUCY'S CAR - DAY
LUCY is drivinq
...
RAY suddenly loollS up behind her '" h_ looks lIore decomposed than when we last saw hill ••• e<;t,oplaslI runs down his race '" LUCY is unaware or his presence. , ....J
(seU :~Yinq) ~\:;. Okay, it's my rault. I~! ed up! But deep down, you have a qreat relationship, Honey. It's just that lately ••• I don't reel you've been qivinq it one hundred percent!
know"_
-
LUCY drives on, oblivious. • EXT. FAIRWATER MEDICAL CENTER
- DAY
The Fairwater Medical Center is a sllallish white buildinq on"the outskirts or the city center. LUCY pulls into the "Dr L. LYNSKEY" siqn. INT. MEDICAL CENTER -
parkinq
spac.
DAY
DR KAMINS, a aiddle aqed aan with a kindly face, eaerqes froll a ... 11 _lk-in freezer, carryinq a tray or frozen test tubes. B. carefully closes the door, and is surprised to ••e LUCY wand.rinq into the rooa. f DR KAMINS Thouqht I told you to couple of _elta off.
tak.
a
WCY I'. tine .,. really I I vanna catch up on some paperwork. IHT. LUCY'S OFFICE - DAY LUCY is studying a report RAY is agitated
...pacing
the
her desk.
~t
rooll,
qetting
more
and
more
RAY I just don't understand it! Is it the way I look? Is it this ectoplasm stutt? RAY vi pes a goop ot slillY ectoplasm ott his tace ••• RAY (COHT'D) Does it turn you ott? Honey .,. Come on, honey you're )lot· listening to lie. Lucy! '\~ (yells) (.~ Lucy I You qotta Hstenl '" RAY sweeps his arm across LUCY'S desk, sendinq her papers tlyinq onto the tloor. She sits back, startled.
AT THAT MOMENT: The phone rinqs up.
LUCY collposes herself and picks it WC'I
Hello. Dr
Lyn~key
speakinq.
PATRICIA (O.S) phonal This i. Patricia Bartlett .,. I ••• I'. sorry, I'. nervous - I haven't uaed the phone for a lonq ti.e. (thru
LUCY tanse. up. LUCY That'. fine, Patricia I help?
,
...
how can CUT 'l'O:
70. IH'1'.
SHERIFF'S IH'1'ERVIEW ROOM - DAY
FRANK is sitting at the interview table, his fingers pressing against his temples, as if suffering a migraine. SHERIFF PERRY sits opposite ••• MILTON DAKHERS stands in the doorway. DAMMERS
There has been a destructive force unleashed on this town, such as I have never seen. We have a body count ••• DAHHERS waves a bunch of files. DAMMERS (CONT'D)
••• of twenty-six. SHERIFF PERRY raises his eyebrows. You're a very Bannister I
DAMMERS (CONT'D) ,,\:) dangerous lIan, (Hi
,f¢. -
SHERIFF Jr&y Just a minute • • • Y'b; re not suggesting Frank is responsible DAMMERS
( interrupts ) You're way out of your depth, Sheriff Perry ••• Please leave I SHERIFF PERRY is surprised. ~.
'..
SHERIFF PERRY (indignant) Frank Bannister is my prisoner!
DAMKERS reaches
into hi. jacket and pulls out his FBI badge. He holds it alOft, Whilst staring at the floor. DAMHERS
By the power invested in lie by the
President of the United States, I . . telling you get the hell ~utta this rooal
SHERIFF PERRY frowns and leaves the rooa. DAMMERS slides his badge back into hi. jacket and continues pacing_ f
DAMHERS (CONT' D)
Have you Jtulagina?
ever
heard of lIina
II. FRANK looks up at DAKMERS warily. DAKKERS (CONT'O)
On. Karch ten, nineteen seventy, Nina KUlaqina used her mind power to stop the beat of a frogs heart. The record of this experiment is in the form of a cardiogram currently held in the files of Professor Genady Serqeyev in Leningrad. As Sergeyev interpreted the cardioqrBll, the heart seemed to experience a sudden flare-up of electrical activity ••• the heart imploded, the arteries burst .,. all because Nina Kulaqina wanted the animal dead. FRANK slowly looks up at DAKMERS FRANK
1 don't kill people ••• DAKKERS
There's part of you that believ8f\J that ••• but there's ano~i'" part of you, Frank, that'~"t of control - your destru~ve impulse. FRANK
1 have seen a figure in a cape .,. 1 have seen it reach into people's chests and squeeze their heartsl DAMKERS Who was it? '\- -. FRANK shakes his head.
DAKKERS ( CONT' D)
(shouts) Who was it??? FRANK
(quietly) Death. OAMKERS' face reaains impassive.
,
FRANK (CON'I" D)
(slowly) 1 can cOllEllunicate with the other side ••• 1 can see spirits ••• 1 don't know why ••• 1 don't al_ys understand it -
-.....,,'0 ).
DAKMERS
You think you • re so unique don't you Mr Bannister? In my business I deal with your type every other week
.~.
FRANK buries his head in his hands again. DAHHERS ( CONT' D)
••• This Death tiqure is nothing aore than a homicidal alter-ego who satisfies your compulsion to kill. Every time you decide to take somebody out, a tictional Death figure suddenly appears and does the job tor you ••• It's your rational minds way of absolving yourself of guilt. How else could you deal with killing your wite? ,,~
FRAlQt
No.
(upset)~
.~
""
"
~~AHHERS
When did you start seeing spirits? After Debra's death? FRANlC
nods. DAKMERS (CONT' D)
You blew her away, Frank ••• it was the catalyst that caused your • psyche to collapse ••• FRAHlt
No!
(yells)
DAKMERS
Ray Lynskey. • • you have an arqwaent with hi. - three hours later he·s deadl Magda Ravanski we know you didn't like herl What about the guy in the toilet? What did he do to you, Frank? Did he piss on your blue suede shoas? FRANK starts trembling. DAKMERS (CONT' D)
lilly are you shalting, Frank? FRANK is now shaking violently.
72.
13. You're you?
DAMMERS (CONT' D) doinq it now, aren ' t
(triumphant) You're tryinq to kill me! Forget it, Bannister .•• It won't work I DAMKERS rips his shirt open, revealing a sheet of dull beaten metal across his chest.
DAMHERS (CONT'D) I'm wearinq a lead breast plate!!! DAMMERS
slams the file on the table. DAMHERS (yelling) We have twenty-six unexplained deaths here. •• I think y~-Bre linked to every one of th_J' •• , Let' a start talking, Frank I -
,'0
EXT.
SANATORItlH/BARTLE'l'T'S
Houk~
DAY
LUCY'S car noses through the old hoapital gates instead of turning into the BARTLE'!"l"S driveway, she parks her car out of sight, behind a service building.
-.
LUCY walka towards the BARTLE'1"1"S house, carrying her medical bag ••• RAY alides out of the car and catches her up. She is unaware of his presence •• , RAY Lucy, hon ••• You just can't keep shutting me out! I still have a lot to offer ••• LUCY
stridea
up towards
the
entrance of
the
BARTLE'!"l'
house •••
Basically I'a guy •••
RAY an open,
flexible
RAY, however, takes his first look at the house and skids to a terrified halt. RAY (COIIT'D) (worried) Iloly oit! RAY'S paV: 'l'he BARTLE'1"1' house is dripping with ghoat blood I A qlobular, red IWllinoua _aa, oozing froa cracks and windows over the entire front of the boWl. ••• like a hug. . . . .ping sor••
74, RAY hangs bacle, too scared to follow LUCY. INT.
BARTLETT HOUSE/LOUNGE - DAY
LUCY is taking PATRICIA'S blood pressure. PATRICIA I'm tired all the time ••• I feel dizzy and not able to concentrate ••• I can't even read a book. How long have lilee this?
LUCY you been' feeling
PATRICIA I ••• I think it has got a lot worse since mother increased my medication. .~
LUCY What medication???
INT.
..;.). '\.
\:>
«~\
COT TO:
OLD LADY BARTLETT'S BEDROOM - DAY
CLOSE ON: A large old suitcase ••• PATRICIA is pulling it out from under her .ather's bed. She opens it and LUCY is horrified to see boxes and boxes of old drugs and medicine ••• Yellowed cardboard containers, stained with leakage and mold- Stellazine ••• Lithiua ••• Oeloxene. LUCY examines the. in disbelief. LUCY These are forty years old ••• Mother says safe to talte!
PATRICIA they're
perfectly
LUCY Your IIOther shouldn't even be in possession of these! She's not a doctor. PATRICIA It's oleay, they caae from the old 'bospital. lIy father was the adJlinistrator.
7J. LUCY It's not okay, Patricia. Your mother has been illegally sedating y~~ ••• But I need
III~'
PATRICIA lIIedication!
LUCY
(softly) What you need is a
life of your
own. AT THAT MOMENT ••• The sound of a car pulling into the drivewayl PATRICIA looks horrified and hurries out of the room. LUCY notices a bundle of yellowing photographs tucked down the back of the sui tease ••• She plucks one out Johnny Bradley sllliling evilly at the call1era, his ara wrapped around a young Patricia's waist. LUCY hurriedly slips the back into the bedroolll.
aa
photo back, .... " ".
PATRICIA runs
'~
PATRIC~~
(panicked) L ~ It's mother! ,
--
SOUND
of the front door opening ••• OLD LADY BARTLE'l"l' (0. S )
•
(calling) Patricia I
PATRICIA i . terrified.
Please I here!
PATRICIA (pleads) She austn't know
you're
The stairs creak 0.5 a. OLD LADY BARTLE'l"l' approaches. PATRICIA rushe. over to OLD LADY BARTLETT'S closet. PATRICIA (CONT'D) (whispering) Bide 1ft here •• • I'll take her into the Iti tchen and you can sneak
,out.
LUCY hesitate. for a aDlDent, then quickly pockets a couple of packets of pill., and burri_ into the closet ••• PATRICIA only just aanage. to slide the .ui tease back under ber .other'. bed, wIlan OLD LADY BARTLETT walks in.
7'" . OLD LADY BARTLE'l"l' What are you doinq in my room? PATRICIA I thouqht I heard a noise '" INT.
OLD LADY BARTLETT'S '=LOSET - DAY
LUCY slinks back into glances upwards •••
the
corner of
the
closet.
She
PATRICIA (CONT'D O.S) you some coffee,
I'll lIIake mother. '"
LUCY'S eyes settle on a metallic object, glintinq a pile of clothes on a hiqh shelf ••• '!'he muzzle of a gun.
~~from
Creakinq - as PATRICIA and OLD LADY 8ARTLE'l"1' go down the stairs ••• LUCY reaches up and carefully ,,!~draws the qun from it's hidinq place ••• a lever act.ton rifle LUCY turns it over in her hands - enqnrved down the barrel, in cursive script, is the name ~ister. ! LUCY quickly slides the qun bacJt
-
INT.
in~~e
clothinq.
BARTLETT HOUSE/HlI.T I WAY - DAY
SOONDS of activity in the kitchen, as LUCY _erqes from OLD LADY BARTLETT'S bedroom and starts to sneak down the stairs. She winces and pauses "ith each loud creak ••• EXT. ~.....
BARTLE'l"l' HOUSE - DAY ~
RUSHING POV: Rocketinq towards the blood oozinq 8ARTLE'l"1' house ••• Straight through the front door
...
INT.
BARTLETT HOOSE/llAU.MAY - DAY
•• , into the hall_y ••• rushinq up the stairs towards LUCY 0" '!'he POV S_lIS to pass straiqht through her head and circles bacJt around her. LUCY continues bar tense descent down the stairs ••• flhe doesn't notice the vallpaper ripple, or the valls flexinq sliqhtly. f
Only three ahead ,.0
steps
to
qo
...
'!'he
front
door
straiqht
SUDDEHLY I RAY staggers in throuqh the door, screaminq I Ue has been slashed across his face, his 1:Iody. Bctopla•• drains out of the cuts, bis life-force spilling onto the noor.
( I.
Run!
RAY (screaming) Lucy, get out!
RAYsIUllps in· pain at the foot of the stairs, clutching the newel post ••• LUCY has one step to go .•• RUSHING POV: Down the s~.airs, looks up and screams in terror!
straight
at
RAY
•••
He
ANGLE ON: LUCY alone and unaware, as she hurries across the hallway, quietly opens the front door and slips out. EXT.
BARTLETT HOUSE/SANATORIUM - LATE AFTERNOON
The shadows are growing long ••• ANGLE ON: LUCY, troll across reverses out of her park.
the
hood
ot her car,
as
THWACK!!! RAY'S hollow lifeless hU~~lands violently on the hood. Like a slippery, eapty wet suit, it slides off as the car swings towards the gates~ ~
RAY'S remains land on the away.
9~~d
in FG as LUCY drives
~
CUT '1'0:
INT.
SHERIFF'S OFFICE - LATE AFTERNOON
STUART and CYRUS slide through the doors into the SHERIFF'S OFFICE. It is quiet, with only a couple ot DEPUTIES visible. CYRUS looks around
...
CYRUS Han! Cops make .e nervous! STUART gestures to CYRUS and disappears through an otfice wall ••• INT.
SERIES OF ROOMS - LATE AFTERNOON
CYRUS and STUART hurry ecross an office rooll. . DEPUTIES and SECRETARIES are huddled at desks dOinl) paperwork. As the GHOSTS pass through lIysteriously blow into the air •••
their
CYRUS and STUART pass through the wall into
desks,
papers
...
••• a LOCXER ROOM, then through the next _11 into •••
IJ· ••• a CELL, holdinq a COUPLE OF MUGGERS ••• CYRUS
(recoqnition) Hey. Benny IIY man! Who have you been hustling? STUART grabs CYRUS'S arm pnd pulls him through into •• '
nn.
FRANK'S CELL - LATE AFTERNOON ~K'S
CELL. STUART Frank!
FRANK is sitting on his bunk holding his head in his hands. CYRUS
Frank! We gotta get you outta here, lIan. These cats are gonna stitch you up for a capita~ offencel '""'~~
.
FRANK doesn't respond.
r.''.-..
'V
STUART
Frank???
..;
'<"
STUART waves his hand in front of FRANK'S eyes ••• FRANK doesn't react. CYRUS
Hey Man!
Cloud)
CYRUS attellpts to Shake FRANK'S shoulder, but his hand passes straight throuqh FRANK'S body.
STUART shakes his head ••• looks at FRANK with reqret. STUART Forqet it, cyrus ••• He doesn't believe anymore. The INT.
two
GHOSTS are silent.
,
SHERIFF'S OFFICE/CORRIDOR - LATE AFTERNOON
MILTON DAMMERS stands silently outside nu.HlC'S door ••• peerinq in through a sllall window. DEPUTY 1 approaches •••
JCf.
DAMMERS (whispers) It won't be long now DEPUTY 1 looks qUizzical .•• DAMHERS (CONT'D)
(whis!"4!rs) He's entered the acceptance stage ••• he's grappling with his guilt ••• and seeking resolution. DEPUTY 1 (whispers) You realise, Agent Dammers, we have no forensic evidence linking hill to any ot the deaths ••• DAKMERS shakes his head. DAMMERS (softly) It won't be necessary. I expect this case to suicide before it reaches court ••• ':.')
.,
DEPUTY 1 trowns ••• DAMMERS turns, ,. , little sll11e quivers on his lips... ~A
_'-v-
D~ (sottly)~ .
(CONT'D)
••• They always do. ctlT 'l'O:
EXT.
SHERIFF'S OFFICE - EVENING
kUC:Y pulls up outside the Sherift's Office and hurries InSide. INT.
SHERIFF'S OFFICE/RECEPTION - EVENING
DEPUTY 1 looks up troll the reception desk as LUCY enters. Dr Lynskey •••
DEPUTY 1
LUCY (urgent) I want to see Frank Bannister , now! Agent Dammers no visitors.
DEPUTY 1 says he'.
...
to have
~o. LUCY
I'. his Doctor. DEPUTY ~ (shakinq head) Sorry, M'a•••• Aqent Dammers will be back in forty .inutes. You could LUCY (threateninq) Deputy are you denyinq access to .y patient? INT.
lie
SHERIFF'S OFFICE/FRAHK'S CELL - EVENING
--FRANX'S cell door opens and LUCY enters. DEPUTY by the door.
1
hovers
LUCY
Thank you, Deputy.
.'0 DEPUTY 1 ,_ \. Just call .e when you're .lione, Dr Lynskey. \ 'V-
DEPUTY 1 locks the cell door ••• ~ DOWN: LUCY crouches by FRANX'S bed. He is lying, staring at the ceilinq ••• he doesn't acknowledqe LUCY, and turns to tace the wall. Frank?
LUCY
He doesn't respond. • LUCY (CONT'D)
I've tound your qun ••• The qun the police say killed your wUe ••• CLOSE ON: FRANK'S eyes tlicker. LUCY (CONT'D)
It's in the Bartlett house ••• hidden in the old lady's closet. You haven't killed anybody ••• You're a good person, Frank. Trust
-.
FRANX slowly turns to tace her ••• hi. eye. are tilled wi th tears (.. LUCY hugs hill. They part ••• FRANJt looks at LUCY tor the first ti_. He suddenly sits bolt upright, grabbing her shoulders.
CLOSE ON: LUCY ••• with the number -41- on her forehead! LUCY (alarmed) Frank?'?? STUART (O.S) (hordHed) She's marked! F'R.ANR looks up and aqhast.
sees
CYRUS and STUART lookinq on. LUCY
What is it?'?? AT THAT MOMENT
...
The cell wall behind LUCY ripples and THE REAPER oozes out! F'R.ANR pulls LUCY away and shields her aqainst the wall. LUCY reacts with alarm, but doesn't struqqle ••• THE REAPER leans torward, strikinq with his hand.:.te drives his t ist throuqh F'R.ANR' S beck, into LUCY'S - chest 1 Sbe qasps in pain. '\~
CYRUS and STUART leap onto THE ~~ back, pullinq hi. away • •• A turious cat-like fiqb! ensues between the Spirit and the EIIanations ••• CYRUS and STUART lIUU1aqe to torce THE REAPER beck throuqh the cell vall. A moment's silence ••• FRANK qui des a terrified LUCY into
the middle ot the s_ll cell, not knovine; tro. which direction THE REAPER vill strike next ••• .._ '..
LUCY (nervous ) What's happeninq, Frank?
THE REAPER rises up out of the cell floor, band straiqht into LUCY'S chest I Frank bauls LUCY avay, spinninq ber across the roo.. She slaaa into the corner of the cell. CYRUS and STUART atte.pt to qrapple vith THE REAPER, but the Spirit slides away into the floor. LUCY ie sObbinq BOftIy in the corner THE REAPER _erqes out of the _11 riqht behind her, reaches over her shoulder and .inks bis hand into ber chest I FRANK, CYRUS and STUART all descend on LUCY and THE REAPER ••• CYRUS and ~ART qrab hie hand, while P'RAIIlt pulls LUCY back across the cell, holdinq her protectively. THE REAPER'S hood falls beck. revealirMjJ a uull-like face, vith fluid, cbanqinq features. The 8Outh, a black hole vith jaqqed piranha teeth, qapes shapele. .ly. Yellow pin-point eyes blaze froa sunken sockets.
THE REAPER sinJts his teeth into CYROS' S neck ••• ectoplasm sprays fro. the wound as CYROS drops to his knees, screaminq. FRANK looks intently at LUCY. FRANK
(whisr'!!rs) Call for the quard cal••
...
nice and
LUCY (callinq) Deputy! I'. ready to leave, thank you. STUART pulls CYRUS into the .iddle of the roo. .., THE REAPER has vanished.
I'.
CYRUS (pained) leakin' real bad, man!
STUART (worried) ('~ He's losinq ectoplas., rca~~
c
~'\,
~ ~cythe
AT THAT MOHENT •• • THE REAPER' swinqs down, throuqh the wall ••• it co.es down onto the top ot STUART'S head, i.palinq hi. to the floor in a qhostly heap! THE REAPER steps into the roo. • •• The sound of the door beinq unlocked •••
.
FRANK watches. helplessly
.s THE REAPER sweeps his hand down, scoopinq a qhostly liqht out ot STUART'S crumpled chest ••• he holds the liqht alott, squeezinq his tinqers lpltil the liqht showers into the air ••• dissolvinq into ncithinq. The cell door opens
... CYRUS Cscre. .inq)
.-
Get out. Frank!
CYRUS throws hi_elf at THE REAPER in a qrief tueled trenzy ••• THE REAPER starts hackinq at hi. with his scythe. DEPu1't 1 enters the cell ••• f
• •• P'RAJnt punches hi. out! He qrabe DEPuTt l ' s takes LUCY by the hand and they neel
handqun •
INT.
SHERIFF'S OFFlCE/VARIOUS CORRIDORS - HIGHT
FRANK and LUCY race
down deserted corridors, trying to find the rear exit ••• they round a corner and come face to face with AGENT HILTON DAMHERS ••• he's carrying a bag of takeaway food, and barely has time to react before FRANK barges into him •.• DAMHERS is propelled through a doorway, into a janitor's cupboard .•• EXT.
BACK OF SHERIFF'S OFFICE/ALLEY - NIGHT
FRANK and LUCY escape from the back of the Sheriff's Office' into a maze of dark alleyways.
At a safe distance, FRANK pulls up, breathing heavily. LUCY
(scared) What What is it, Frank? cell see in the something touching my beart!
did
...
I
you felt
FRANK pulls the revolver out of his pocket .,. he checks the cylinder ••• LUCY looks alanaed. .... '0
r" )-
nwot . ,..... ..; (frustrated) .. '. \ ~ I can't fiqbt bill, LUCY~~. I can't protect you •••
-
FRANK pauses ••• be looks at LUCY with tenderness... then he suddenly raises the pistol to his temple. LUCY gasps •
•
gotta experience right now! I
FRAHX (CONT' D)
an out of body and I gotta bave it
bav~
LUCY
~
(hushed, borrified)
HoI
nwot (tense) '!'urn around, Lucy ••• go on, walk away ••• now I Sweat rolls down Frank's forehead as bis finger tightens on the trigger ••• LUCY slowly reaches for the pistol be steps away froll her '" the hlUlllDer cocks back ••• she takes his hand and gently pushes the pistol away from his bead. LUCY ~ere's
C80ftly) another way
... CU'1' TO:
INT.
MEDICAL CENTER FREEZER - NIGHT
BLACKNESS .•• Then the door of the Medical Center's walk in freezer opens' ••• FRANK and LUCY peer in through clouds of sub-zero condensation. T.UCY
You'll have twenty minutes. max. Any longer and there's a danger of tissue damage .'. INT.
MEDICAL CENTER FREEZER ROOM - NIGHT
LUCY looks at FRANK ••• LUCY (CONT'D) And that's only if I successfully revive you There's no quarantee.
can
...
FRANK starts to take his clothes off. LUCY jabs a needle
into his upper arm. ,.
'(;;
LUCY (CONT'D) " This will slow your heart ra..ttt and lower your body temperat¥rft.} •• (tearful) " " Frank ••• You don't have to do this. FRANK smiles
reassuringly at LUCY •• • She dabs at her eyes with a handkerchief. P'RAHJt g.ntly takes it and tenderly wipes away her t.ars. FlWfl(
You get one chance at Post Morte. Survival... I can't do thi. again, Lucy. W.'ve gotta g.t it right fir.t ti.e ••• (urgently) Let's gol FRANK .•teps
into the freezer, wearing only hi. boxer shorts ••• h. i . .ediately hugs hilllS.lf against the cold. LUCY wind. the t ••perature control to aax fr.eze. LUCY
(.oftly) It won't take long •••
,
FRANK nods ••• LUCY .wing. the door .hut, wiping tears away. She peers into the freez.r through a .aall glass window. FlWfl( grin. at h.r. She ki •••• the tips of h.r finger. and pr••s •• th•• against the gl... • ••
INT.
MEDICAL CENTER FREEZER - NIGHT
FRANK kisses his fingers and presses his hand against his side of the qlass~ •• sits down in the corner of the freezer, si tting very still .•• with LUCY'S handkerchief clutched in his hands. FRANK
INT.
MEDICAL CENTER FREEZER ROOM - NIGHT
LUCY is lIOving quickly and effiCiently .•• She has prepared blankets, syringes and now wheels in the Defribrilator - the electric shock IIIBchine. LUCY wipes gel onto the paddles: LUCY peers into the fr~ezer window ••• LUCY'S POV: FRANK is very still ••• his skin is blue with cold, ice has started to fora ••• faint clouds of breath are still visible. MOVING POV: SOlllething approaches LUCY fro. behind 1 It moves quietly towards her a. she peer~J . ~iito the freezer •••
\~
~~
LUCY turns and screamsl
MILTON DAMMERS grins at her, roughly shoves her to one side ••• he peers in at FRANK. A ••ile crosses hi. lips. DAMKERS
I didn't know you had an interest in cryogenics, Dr Lynskey. LUCY glances at a wall clock: 9.00pa. LUCY (worried) I've qot to revive hi. in twenty llinute•• DAHMERS
(.ock puzzlement) What on earth for? LUCY Balte. a move toward. the freezer door ••• DAMHERS pulls hi. gun out. ae ai. . it at LUCY. INT.
MEDICAL CEHtER FREEZER - NIGHT
FRANK i. frozen ••• He exhale., hi. breath ban9inq in the air ••• then noth1nq.
A sliqht movement ••• FRANK'S EHAHATION starts to stir within his body. His head appears, gently sliding out of the corpse's face. FRANK then slowly eases hillSelf out of the rest of the ~dy. The freezer is suddenly bathed in white liqht ••• the frozen crystals sparkle, as the ethereal corridor appears. FRANK looks into it, awestruck ••• it obviously has a strong attraction, but he backs away ••• against the freezer door, then throuqh it! INT.
MEDICAL CENTER
FREEZER ROOM - NIGNT
falls out of the freezer, onto the floor. He springs to his feet and flies into the air for a moment ••• he is unused to his new qravityl
FRANK
Lucy?
LUCY has qone EXT.
MEDICAL CENTER - NIGHT
ON: DAKHERS locking a handcuff onto a roll bar in the back seat of a squad car. LUCY tries to pull her hand free, with no success. CLOSE
LUCY
(screlUlinq) You bastard! Let.e gol DAKMERS turns the car stereo up to drown out her yells. He steers the car out onto the street ••• ~~l-_ ;lust. as THE REAPER rises fro. the sidewalk! THE REAPER starts to run, qracefully, efter DAKMERS' car as it enters a stream of traffic.
staggers out Of the Medical Center, desperately looking for LUCY. He JDOves awkwardly, unable to get used to the rubbery nature of his translucent body. FRANK
FRANK sees the inJcy black form of as it closes in on the squad car! FRANK
starts runningl
EXT.
FAIRWATER STREE'l'S - HIGHT
THE
REAPER way ebead,
FRANK flows through the air ••• his f_t connect with the qround, but he IIOve. much faster than noraal. '!'be particles that form his banation body ebb IIDd flow behind hi., creating the effect Of • silvery slipstream.
01.
DAMMERS ear turns onto a freeway onrlllllp .,. THE REAPER closes in .,. FRMK slides to a
stop .•• he can't make up the ground. Kewatches helplessly as the squad car joins the freeway traffic •••
looks around .,. he spots a nearby freeway overpass - the squad car will drive beneath it in a .atter of seconds ••• FRANK sprints towards it! FRANK
INT.
SQUAD CAR/FREEWAY - NIGHT
struggles helplessly in the back of the squad car ••• THE REAPER is visible through the rear window as it reaches the car.
LUCY
THE REAPER leaps onto the roof of the squad car •.. it clings on like a giant spider, plunging it's hand down through the roof ••• pushes herself to one side, trying to attract, the attention of passing motorists • •• unbeknownst ~~\1)~r. she has just slid out of the way of THE REAP!;2's. pl.ng skeletal hand I ~ ~\ \:).
LUCY
-
EXT.
FREEWAY OVERPASS - HIGHT
FRANK arrives on the overpass ••• sees the approaching squad car below, THE REAPER on the roof. FRANK hops onto the railing, carefully judging the DOment to leap as the squad car races along in the thick traffic.
FJ!Al!K
jlDRPs!
But his body doesn't drop ••• it gently floats down, wafting on the air currents! FRANK watches helplessly as the squad car passes below hi. and speeds .way! FRANK kicks at the air, and disappears through the roof of a bus! INT.
BtJS/FREEWAY -
HIGHT
FRAHX scraJlbles about on the floor of the bus ••• starts running down the aisle towarc1a the front •••
,
EXT.
he
FREEWAY - HIGHT
1'RAHK flies out of
the front of the bus, and bits the road running ••• the bus is going at 50 1Ipb, l"RANlt at 60 ••• 70 .'. 80 as be gains on the squad ear.
f)
lIlT.
SQUAD CAR/FREEWAY - HIGHT
LUCY in FG as THE REAPER'S head and shoulders slide in through the root above her. •• he reaches into her shoulder, his arm'buried up to the elbow as he gropes for her heart! THE REAPER (silky menance) Don't fear The Reaper! EXT.
FREEWAY - NIGHT
FRANK hits 8Smph, becominq an almost amorphous fluid, his body discombobulatinq in the slipstreaB. -- FRANK reaches the squad car • • • he qrabbinq hold of THE REAPER'S ankles I lIlT.
SQUAD CAR - NIGHT
torward,
dives .-' '~,
...:
~\ ~r~ath
LUCY is clutchinq her chest, qaspil'lf.. ••• THE REAPER snarls as he is suddenly whi~lf back throuqh the roof! EXT.
FREEWAY - KIGHT
THE REAPER slides ott the squad car ••• He and l"RANJ( tumble onto the road at high speed. They roll in a tangle as the squad car drives off into the darkness. •• Cars speed through FRANK and THE REAPER as they grapple with each other. THE REAPER is frantically snappinq and hissinq at FRANK, w~o " holds hiB by the throat. •• FRANK punches THE REAPER'S face, again and aqain •• , THE REAPER'S features alter ••• The skeletal eye socket becomes more human with each blow ••• FRANK peuses •••
.'
FRANK (between teeth) Who are you?
THE REAPER roars and throws FRANK oft ••• FRANlt rolls away into the stream of traffic, and is butfeted around by the speeding ears and trucks. THE REAPER springs to his feet, producing the wooden staff trom' beneath his cloak ••• CLICK I The st.el blade ot the scythe locks into placet FRANK backs away as THE REAPER approaches, scythe raised ••• THE REAPER eharqee and _inqs at FRANK, narrowly missing hi.. ••
r. .
TRUC:XS speed by, the slipstreua causes FRANK and THE REAPER spin and float '" The scythe cuts through the air .•• FRANK dives to the ground - and is illllDediately flattened by .the wheels of a large truck!
As
FRANK reforms his shape and turns to run - straight into the path of oncoming trr.tfic! with FRANK running towards camera in FG, on his heels ••• A BUS passes through them - for a few seconds, only FRANK and THE REAPER'S head and shoulders are visible above the floor of the speeding bus as it. hurtles away from camera. Then, they're outside again '" FRANK is running as fast as he can, but the REAPER is gaining on hi•••• More TRUCKS, CARS and BUSES pass through the. in quick succession. TRACKING BACK: THE REAPER hot
FRANK looks desperately ahead as a huge MAC TRUCK rockets towards hi•••• He holds out his arms, squeezing his eyes shut in concentration ••• At the moment of impact, he is collected by the front of the truck I FRANK'S body flattens against the truck as his direction changes instantaneously I He just manages to raise ~i... foot and smash it into THE REAPER'S face as he coLli~i with THE REAPER at high speedl \ ~ -
THE REAPER is rocketed off his f~~ disappearing over the freeway barrier as FRANK speeds away, clinging to the front of the truck. EXT.
OFFRAMP/STREETS - HIGHT
The truck .turns off the fre_ay FRANK looks around desperately and sees DAKKERS squad car heading up a distant street ••• towards the hills.
a.
~.eaps
INT/EXT •
off the truck and starts racing across town ••• SERIES OF BUILDINGS - NIGHT
FRANK takes the shortest possible route to intercept the vehicle: Through walls, into houses, bedrooms , factories, a library. PEOPLE are unaware of the silvery ghost speeding through their premises. INT.
DAMMERS. CAR/FAIRWATER STREETS - NIGHT
DAKKERS stares intently ahead as he steers the car towards the hilla. LUCY tries to tug at the handcuffs, but to no avail. She catches sight of DAMMERS' black eyes staring at her in the rear vision mirror. DAKKERS holds a hand in the air, exposing a small swastika tattooed on his pal••
DA)O(ERS
(intense bitterness) Squeaky l'rolllBe. • • Spahn Ranch nineteen sixty-nine. I was her sex slave for six lIIonths. Six lIIonths spent in the service of Illy country, dis<:uised as a ••• filthy hippy! EXT.
CEKETERY ROAD - NIGHT
FRJJIX elllerqes out of a
warehouse wall, racinq onto the road, directly in front of DAHKERS' car.
THWACK! He is collected on the hood, and frantically qrabs hold of the roof to avoid beinq blown off. INT.
DAMKERS' CAR -
NIGHT DAMMERS
I find cemeteries very places ••• don't you?
restful
\-\ l" 't'o
LUCY .<.~'
oJ'
(desperate) Let lie go, you bastardl
-
r, 'tJ- '0
'"'
DAMMERS
I intend to, Mra Lynskey ••• .s soon .s we've watched the sun rise ... DAKMERS looks at his watch: '.35pm ••• DAMMERS (CONT' D)
••• in nine hours tillle. FRJJIX thrusts his face throuqh the windscreen.
Lucy! LUCY dOesn't respond. EXT.
FAIRWATER CEMETERY - HIGHT
The rollinq, Gothic Fairwater Cellletery is dark and creepy • • • the li,hts of Fairwater, spread out in the valley below. DAMMERS st.era the squad ear through the cellletery I)atea, !"I!ANX sees '!'HE REAPER in the distance, a black _udqe 1)11l1inl) throuqh town towards the ceaetsry bill.
As
GATEKEEPF~
holds FRANK in the air like a
GATEKEEPER (quttural) State your business!
FRANK struggles, but the GATEKEEPER has an iron grip
...
FRANK
It's me ••• Bannister I GATEKEEPER (quttural) You ain't Bannister no more ••• you's just a shitty little spooisJl..· FRANK
t \\ \ ~ '-'
(desperate) Listen to me I There's an spirit coming up that hilll
evil
HILES (O.S) (yelling) Shut up, you sub-human Emanation! HILES marches over aiming his ghostly UZI sub-machine gun at FRANK. INSERT: Rushing POV up the cemetery road.
FRANx struggles
helplessly as HILES screams at him •••
HILES (yelling) You contemptible beap of teleplasmic ahit! If there was an evil apirit loose in this town, I would be negligent in my dutyl (acreaming) Are you eccusing Be of profeaaional incompetence??? Are you aaying that I . . one prize piece of anUB breath?
,
JUDGE (O.S) bad aa BUch of your foul mouth aa I can atomach, aon. Z 've
HILES apina around and atarea in disbelief at '1'HI!: JUDGE, who ia peering out of hia grave.
JUDGE (CONT'D)
I suggest you treat Mr Bannister with a degree of respect, boys. HILES (screaming) Get back in r';)ur grave, you senile old goat! JUDGE
Get'em Rustler! RUSTLER suddenly springs clamping his jaws onto dropping the ghostly UZI.
out ot the JUDGE'S grave, HILES' wrist. He screams,
_The GATEKEEPER throws FRAHX to one side and rushes forward. He clutches at RUSTLER, attempting to haul the ghost dog oft HILES. RUSHING POV: Moving through the cemetery gates at very high speed • • • HILES and THE GATEKEEPER are visible ahead •••
JUPG!
RUSTLER leaps back into the grave and THE ducks his head below soil, a. the tearsome REAP~clQkIa'in. THE
GATEKEEPER steps forward,
f~\\.o
pro~ecting
HILES.
GATEKEEPER State your businessl THE REAPER doesn't hesitate ••• he gracefully .wings his scythe, splitting THE GATEKEEPER in two from bottom to top! ••• HILES has no time to react, he is beheaded with an equally fluid swing of the scythe. RUS~ING
\
POV: Heading through the tombstones, straight for
the parked squad car ••• closing in on LUCY at phenomenal speed! IHT.
DAMKERS' CAR/CEMETERY - NIGHT
LUCY ta uaing the clasp ot her watch to unscrew tha roll bar from the side ot the car ••• THE REAPER glides in through the door and si ta beside her. It's boney hand hovers above her chest.
,
'1'JfE REAPER (sUky menace) Don't tear The Reaperl
AT THAT MOMEN'l'1
FRAJIX leans over tro. the tront seat. ghostly UZI into THE REAPER'S tace!
GO
the
to "hell .••
FRAJIX tires directly into tXT.
He swings
THE REAPER'S hood! I!
DAMMERS CAR/CEKE'l'ERY - NIGHT
The blast sends THE REAPER flying out the back ot the car .•• FRANlt leaps out, firing again - a whithering burst. THE REAPER convulses and shudders as the ghost bullets thud into their target. THE REAPER snarls and roars as he is literally shot to pieces .,. Larqe lUllps of his body fly into the air dark glutinous masses that land on qround with a wet splat.
•
Throughout, DAMMERS is oblivious to the ft=:\.$rJII. He stands in the IIOOnlight, holding his "hi~ open. He suddenly spins around, showing LOCY"~~~o covered in a lDass ot cultish tattoos and sCllbt: Ris tace is not visible to her, but she watches his tinger trace along series ot voodoo symbol., roughly carved into hi. chest. DAMMERS
(intense bitterne.s) Nineteen eighty one - Haiti ••• I intiltrated the Cult ot the Dead I va. involved ritualistic cannibal i •• , in orqia.tic dancea, reaching paintul thresholds ot intense physical eroticia••
'J'JIE! REAPER'S severed right era aails past DAMMERS' head '" THE REAPER'S body collapses as it's face tlies into the airl ••• he surveys the aultitude ot shiny black puddles that vas once THE REAPER •••
FRANK stops tiring
DAHKERS steps away
tro. the car •••
OAHKERS I have suttered for ay country, Dr
Lynskey ••• He sere... at bulge... '
the
night
sky,
the
veins on his
DAMMERS (CONT'D)
escrea.ing) • •• aut I cannot be broken I
neck
LUCY seizes the mOllent! She pulls against the bar with all her might, ripping it free! Within a second, she has slipped the cuffs free of the bar, and desperately attelllpts to loc;:k the car doors as DAMMERS spins around ...
DAKMERS hauls on the b:-ck doors as LUCY scrambles over the seats into the front •• She quns the engine '" The clock on the dash says 9.42pm. DAKMERS screalllS as the squad car rockets away towards the cellletery entrance ••• he races after it. FRANK is standing amidst the remains of THE REAPER ..• He notices a movelllent - THE REAPER'S face ••• it lles on the gapes qround like a slice of jello. It's IIOUth soundlessly ••• eyes following FRANK with hatred. THE JUDGE's top half walks up on his hands, surveying the remains of THE REAPER ••• THE .JUDGE Gotta hand it to you, Frank " ' , You've taken out Death himself",. 't:;) (: . ) . nwnt C Q This ain't Death. t" "
\!). •
FRANK scoops up the twitchinq faca and bolds it up at arlllS lenqth... it hangs like a quivering, snarling jellyfish. Who are you? THE REAPER'S face sneers
". ...
...
THE REAPER (qasping) Don't fear The Reaper!
In a burst of anger. FRANlt swill9s the face against a qravestone, slapping it bard like a wet towel.
nwnt (yelling) Who are you??? nwnt slaps the face against a qravestone, egain and again ••• with .acb blow, THE REAPER'S face alters slightly - becoaing acre huaan!
,
nwnt throws the face against a qrave ••• it slides to a stop on the stone slab, qrinning evilly at PRAIIlt. THE REAPER'S face bas now become that of a twenty-two year old psychopathic killer •••
FRANK
(quietly) Johnny Bradley ••• . '. JOHN CHARLEs- BRADLEY circa 19541! His face slowly slides, qrilDacinq on the stone, oozinq a puddle of ectoplaslD. FRANK (CONT' D)
I thought quys like you fried in hell. BRADLE¥'S FACE twists into an arroqant sneer. JOHlfHY (qiqqlinq) I qot out, Frankl BRADLEY'S FACE slips over the edqe ot the stone slab and slides down the vertical tace of the grave, leavinq a slilDe traiL •• JOHlfHY (CONT'O) (evilly) cQ \ ~ I bin carryinq on the qood 1I0P.it1 Got .e a score of fortyl
... ....
. '. ..... ',; ..
elderly Emanation loou out of the darkness offers his hand to FRANK •••
An
••• ee
SINCLAIR Harry Sinclair • • • I just vanna shake the hand of the aan vho's finally avenqed .y death. FR1t.HJC shakes qiqqlinq.
hands
vi th
Sinclair. •• JOHlfHY starts
JOHlfHY Did I slit your throat, or rip out your liver, old _n? ••• I don't recall ••• reacts to forehead.
FRANK
a
nuaber
-12"
etched
into
FRANK
.(quietly) You've qot a nuaber •••
,
SINCLAIR touche. his forehead .elf consciously. SINCLAIR Bradley carvlMS it into ay forehead a. I lay dyinq. ".'ve all qot thea • •• one thrU tvel va. JOHlfHY One sore than StarJtweather!
SINCLAIR'S
fr;·
SINCLAIR
I was the last.
This cOlDlllent elic_i ts a chuckle from BRADLEY ••• He couldn't he Frank?
')e
JOHNNY more wrong, could
Before FRANK can react, BRADLEY'S FACE suddenly flows into cracks in the base of the grave! FRANK-looks around as the other glutinous black remnants of THE REAPER gather like globular mercury, scuttling into cracks and crannies... disappearing below the surface of the ground! FRANK
(scared) Shit! FRANK runs a couple of paces, and dives head_f~ into the grave that BRADLEY disappeared into! ~ \..
~~\
INT.
SERIES OF COFFINS - HIGHT
-
FRANK slides into a coffin, landing in a crouched heap on top of a dusty skeleton. He i_ediately propels himself through the side of the coffin ••• ••• into another coffin. He just catches a slippery BLACK MASS disappearing through the coffin •• ~ FRANK sinks his head through the coftin, using his feet against the lid to downwards •••
"
.
INT-;
glimpse of a floor of the floor of the push himself
FAMILY VAULT - HIGHT
FRANK comes slidi~g through the ceiling of a deep vault a series of inter-connecting dark roo. . , lined with dusty coffins. FRANK lands in a heap on the floor. BRADLEY is crawling on the floor ahead of FRANK, his legs and other parts-of his body reforming ••• as THE REAPER takes shape again! diVes onto BRADLEY'S back, rolling on the floor .•• snarls - his aouth suddenly distorting into THE REAPER'S aouthl PRAHK squeezes his fingers into JOHHHY'S throat ••• The sticky black body parts crawl over FRAHX'S back, refoning - encapsulating FRANK within THE REAPER'S body I FRANK has only seconds left ••• FRANK
BRADLEY
Got any Johnny?
FRAHlt
tricD
up your sleeve,
FRANK reaches into THE REAPER'S black sleeve •• , He pulls out the wooden staff! FRANK bangs the base against the wall and the steel blade swings out! Sudden fear glints in JOHNNY'S eyes1 FRANK slides out of JOH1~Y'S grip, raising the glittering blade of the scythe .,.
End of freak!
FRANK (grimly) the line, you murdering
THE REAPER'S features suddenly shrivel into JOHNNY'S screallling face as FRANK swinqs the scythe down towards his neck! AT THAT PRECISE MOMENTl CRASH CUT TO:
INT. FRANK
MEDICAL CENTER - HIGHT
~'t.
;.,
:. .... ). '"'
opens his eyes! LUCY (0.5) (elated) Prank I
FRANK is lying on a qurney in a puddle of melted ice. He gasps for air .,. LUCY i. holding the paddles of the Defribrilator, a buge smile liqhting up ber face. Or KAMIHS is in his dressing gown .,. be prepares a syringe, which he qUickly jabs into FRANK'S arm. DR KAMIHS bundred milligrams Lydocaine ••• Lucy - get me of Introcardiac Aclrenalin Quick now!
A
1
of cc
...
LUCY hurriedly prepare. another syrinqe .,. FRANK tries to talk ••• FRANK (qaspinq) I ••• didn't ••• qet hi• • ,. DR KAMIHS
jabs the syringe into FRANK'S chest ••• LUCY leans close ,to FRANK.
LUCY Who didn't you qet, Prank?
FRANX
(qaspinq) Bradley ••• Johnny Bradley's come back ••• He's killin; aqain -••• LUCY is shocked •••
Patricia OR
KAM~NS
LUCY (worried, hushed)
...
smiles at her. DR KAMINS Oon ' t worry , Lucy hallucinatinq. It'll pass. rhythlll, got sinus stabilizing.
He's We've he's
.
LUCY backs away •••
- ~ I;)
'.j
LUCY I've qotta qo, Frank.
jio
FRAme, unable to ROve, stares belplessly at LUCY. OR KAMINS looks at her in surprise as she hurries out ot the room.
CUT '1'0:
EXT.
BARTLE'l"l' HOUSE/SANATORIUM - NIGH'l'
LUCY'S CAR speeds throuqh the old hospital qates, takes the corner too tast and slides to a baIt in the driveway. She leaps out ot the car and races up to the BARTLETT'S front door ••• a light qlows trom inside.
" .-. ~
INT.
BARTLE'l"l' HAUMAY - NIGH'!'
LUCY comes bursting into the hallway ••• PATRICIA emerges fro. the lounge, looking alarmed at LUCY'S sudden arrival. PATRICIA (surprised) Dr Lynskey? LUCY hurries over to her. , LUCY Look Patricia ••• 'l'bis ally sound crazy, but I think you're in danger ••• from John Bradley! PATRICIA tenses up, a look of terror on ber face.
PATRICIA (tearful) Who told you??? LUCY looks at her questioninqly
...
PATRICIA (CONT'D) ( qui ',Ter ing) He visits me a~ niqht ••• I don't know why he comes ••• he torments mel PATRICIA touches the ugly purple welts on her neck. PATRICIA (CONT'D) Why has he come back? All I being punished??? LUCY (qently) No... sometimes when you go through a trauma, it. al ters your perception. It allows you access to the pert of your mind that \ connects with the spiritual worl.s1~ Bradley i. using thi. aceess to prey on you again.
G
PATRICIA dissolves into a flood of frightened tears. LUCY hugs her. LUCY (CONT'D) Come on ••• let'. qet out of here. OLD LADY BARTLE'rl' (O.S) Patricia never leaves the bousel OLD LADY BARTLETT stands at the top of the stairs LUCY
I'. sorry, Mrs Bartlett, but she's coming with me. :
OLD LADY
OLD LADY BARTLETT escreeching) You bave no right! She's .Y daughter! 8ARTLE'1'T
starts to descend the stairs.
OLD LADY BARTLE'l"r (CONT'D) (to PATRICIA) Get upstairs I
,
LOCY (anqry) Are you going to feed her 1II0re drugs, Mrs Bartlett - is that what you intend to do? Another lucky dip into the sui tease under your bed? OLD LADY BARTLETT freezes '"
her eyes blaze!
OLD LADY BARTLETT (furious) You've been in Illy rooll! LUCY The police lIight like to look in your closet too! OLD LADY BARTLETT turns hurries after her •••
Kother!
and belts
upstairs!
PATRICIA
PATRICIA (calling)
PATRICIA disappears into OLD LADY LUCY paces the hallway nervously. A cool breeze wafts through looks around uneasily •••
• • • LUCY shivers
•• • she
••• WALLPAPER ripples ever so slightly •
.
FAINT SOUND of OLD LADY BARTLETT in tears. PATRICIA eaerges froll the bedrooa ••• She smiles at LUCY .s:. she descends the stairs. PATRICIA Mother wanta to talk to the police • • • _he has things she wanta to tell th_ ••• She'll be down in a ainute. LUCY nods reassuringly. PATRICIA hugs her. PATRICIA Thank you for COiling tonight ••• PATRICIA _,iles gratefully at LUCY. ANGLE ON: LUCY ••• THE REAPER is standing right by her sboulder1 The nlDlber 41 glows on LUCY'S forehead. LUCY
It'_ no probl_. 'rifE REAPER'S PACE contort. into BRADLEY.
JOHNNY
(aqUated) I wanna kill her now, Pattyl That'l~ qive us forty-one! Eiqht clear of Gacy ••• another nine and we'll have broken Bundy's record I I wanna see Ted's face when he hears the newsl
Yesl LUCY looks puzzled
PATRICIA (excited)
.. . PATRICIA smiles • PATRICIA (CONT'D) I was thinkinq out Let's wait in the lounqe.
1'111 sorry •••
loud '"
INT.
BARTL£TT'S LOUNGE - HIGHT
, .- ',) PATRICIA sits in an armchair '" LUCY sits CilPJ?:Osite; JO~NY is terribly wound up ••• he paces ¥~, \:LUCY'S chal.r. t"
JOHNNY
(anqry) That asswipe psychic nearly ruined it for us toniqht Patty I Se made us look stupid! LUCY
You know '" you don't have to stay in this house. You could start your life ovar sOlllewhere else ...
'.
JOHNNY rushes over to PATRICIA'S chair ••• JOHNNY
That Russian cannibal creep is sayinq be cUd fifty-plus! It reflects badly on us all, Patty I This record should be held by an American! I quite aqree.
PATRICIA
,
JOHNNY qrabS PATRICXA'S hand and runs it across his lips, and up the side of bis cheek. JOHNNY
Co.e on baby, let's take her out! LUCY watches PATRICIA'S hand rise into the air and rotete in delicate DOve.enta.
•
LUCY I could help you ••• it you like. PATRICIA That would be nice. JOHNNY nuzzles PATRICIA'~ ear .,. she giggles. LUCY smiles nervously as PATRICIA sudd~nly rises. PATRICIA (CONT'D) I'm making soae cottee ••• want some? LUCY We probably should be going ••• PATRICIA Oh, Mother takes forever. be long .,.
I won't
PATRICIA leaves the roos. INT.
"". "-J.0
'W
BARTLETT KITCHEN - KIGHT
PATRICIA wallta into the kitchen, with JOHNNY scurrying behind her. PATRICIA (whispera) Patronizing do-gooder bitchl JOHNNY You kill her, Patty! I'll watch! PATRICIA grins and opena a drawer ••• she piclta up a huge carving lenife. JOHNNY (CONT'D) I love to watch you do it. PATRICIA holds the knife down against her aide and heads back towards the lounge ••• Itrr.
BAR'l'LE'T'I'
HALLWAY - KIGHT
lounge PATRICIA'S POV: Moving alowly towarda the doorway ••• LUCY ia visible, back turned, browsing at a bookcaae ••• PATRICIA qripa the knife tiraly AT THAT MOMENT '"
A LOUD JOIOCXIKG at the front door III PATRICIA freezes ••• ahe ' a atanding riqht beaide the door ••• alidea bar behind her back.
LUCY turns, looks back qlances at the door.
...
into the hallway
. - -. PATRICIA
JOHNNY
Don't oPen it.
LUCY walks towards PATRIClA .•• Another LOUD KNOCK. PATRICIA I'll qet it. PA~CIA
. ..
opens the door •••
KILTON DAKKERS is standinq on the doorstep • DAMKERS
Agent Kilton Dammers ••• DAKKERS holds his badge up •••
4
.
..),
l~
1-
DAMKERS (CONT'D)
••• Federal Investiqation.
Bur~~ \
of
~
PATRICIA hesitates for a ao.ent ••• ••• Without warning, she slashes with the knife! DAMKERS hand is sent flying, still grippinq his badqe! PATRICIA stabs hia in the Chest ••• aqain ••• and aqain! LUCY backs away fro. the front door ••• look of horror spreadinq across ber face ••• JOHNNY is·lauqhing ••• he qrabs LUCY'S ara and flinqs her aqainst the stairs. ~
JOHNNY Go Patty, qol1!
:.
PATRICIA spins around to face LUCY blood dripping froa the knife.
...
eyes ablaze •••
LUCY screallS and races up the stairs ••• PATRICIA runs after .ber. INT.
OLD LADY BARTLETT'S BEDRooK - HIGHT
LUCY runs into the bedroo., sl.-ing the door ••• turning the key.
,
CRASH
LUCY (panicked) Mrs Bartlett!!1
INTO:
OLD
propped up in bedl LUCY SCRlWfS I
LADY
BARTLE'l"l"S
blood
soaked
corpse
JOHNNY'S FACE warps out of the door ••• sinks back. then
slides out of the wall as WALLPAPER KAN, clutching the blood splattered kitchen knife in his paper hands. LUCY ducks to avoid a slashing blow ••• she screams as the WALLPAPER KAN stretches from the wall and follows her ..... SMASH! The BEDROOM WINDOW is kicked in!
f'RAHK (O.S) LUCY I
FRANK leaps into the room in a shower of glassl!1 WALLPAPER MAN lunges at LUCY '" the knife arcs down towards her • • • f'RAHK intercepts and grabs WALLPAPER KAN'S ara, pushinq hi. against the broken window. FRANK slides WALLPAPER MAN'S wrist against jagqed glass, slicing his knife hand offl JOHNNY screau snd recedes into the wall discards the knife and grabs LUCY.
•••
f'RAHK
Come onl
., ."\ ...........
\:..
....
' •
A qunsbot splinters the bedroo. ~~';- near the lock ••• FR.\lm helpe LUCY throuqh the ~roken window ••• BANG I The lock is .hot out ••• BANG 1
EXT.
BARTLETT HOUSE/SANATORIUM - HIGHT
FR.\lm and LUCY flee alonq the narrow balcony that skirts
the house ••• and over II . . .11 bridqe linkinq the house with the old hospital grounds. "'
~_
EXT.
SANATORIUM -
HIGIl'1'
An abandoned, ivy clad Victorian Consumption Hospital •••
• prawlinq building• • • • overgrown garden. • •• cracked weed-raddled pavinq. Windows are _a.hed •• • graff i t1 deface. wall •• FR.\lm and LUCY run acro.. the courtyard towards the East
Iring. INT.
ABAHpONED HOSPITAL WARD - KIGHT
filtar. in throuqh rottinq curtains, a. f'RAJOt breaks into a large ward, full of sk.letal bedfraae. and IIOldy . . ttr•••••••• a. and LUCY dash down the centar aisle ••• throUqh an adjoininq corridor into •••
MOONLIGHT
•• • another equally larqe. rotten ward.
SOUNDS OF FOOTSTEPS running in pursuit ••• the SQUEAK of rubber sales on the old linol.lDI. FRANK pulls LUCY down behind an old rusty bed. They slide underneath it. The FOOTSTEPS C01IIII into the ward ••• PATRICIA'S f.et are visible under the rows at old beds. FRANK and LUCY hold th.'or breath as PATRICIA walks riqht
past their bed • • • brie~ qlillpse of h.r scanning the :rooll, ritle in hand ••• she walks past thell and lIoves on into the next ward.
PRANK and LUCY breathe a siqh at relief ••• LOUD COUGHING! Directly above thell! FRANK looks up as A DECREPIT OLD MAN lean. over the edge at his bed and snarls at FRANK and LUCY.
OLD JW( (ra.py yell) Orderly I FRANK and LUCY scrUible out trolD beneath the bed .,
0
The Ward is suddenly bright ••• lit with hospital lIercury vapor lights .\1.1 the bedII are tull, wi th couqhi\)q , emaciated PATIENTS in regulation ho.pital garb. ~v ~ 0
OLD JW( (COHT'D) \ (ra.py yell) There'. atrangera under .y bed! I .ay. Ordarlyll!
~\
at a trolley 0" FRANK and LUCY turn to .ee a neat young ORDERLY wheel a tea trolley into the ward. He ia dressed in an ia.aculately pressed white hospital unit01'll, hia bair .Ucked back. JOHH BRADLEY grins at FRANK and LUCY. .
RATTLE
'00
,......
!..
FRANK grabs LUCY and propels her through a door into •
IHT.
0
•
HOSPI'l'AL CORRIDOR - NIGHT
... a BUSY HOSPITAL CORRIDOR, circa 1954. DOCTORS, NURSES, PATIENTS and VISITORS jo.tle in the narrow space, all going about their bu.in•••• PRAHlt and LUCY d_perately push through rai.ing the ire ot SEVERAL PEOPLE •••
,
VISITOR
(annoyed) Hey, watch it buddy I
PRAHlt and LUCY continue pushing peat PIOPLE '0,
IfURSB (0.1)
tooJt Patty!
(brightly) everyone! It'.
JOUD9
Kiaa
the crowd,
FRAJfJt and LUCY stop in their tracks ••• the CROWD ahead of thelll shrinks back aqainst the wall,revealinq a younq 15 year old PATRICIA BARTLETT cheerfully boundinq up the corridor I
TRACKING BACK: with younq PATRICIA ••• the liqhts dilll as she suddenly chanqes into the adult PATRICIA I She immediately swinqs thr rifle up, openinq fire on ••• FRANK and LUCY • •• now standinq in an elllPty darkened corridor. Bullets zinq past FRANK ••• PATRICIA reloads as FRANK stares at her, seelllinqly unable to 1II0V• • • •
INSERT: Forest ••• Day ••• Hand r.loadinq Frank's rifle. LUCY (O.S) Frank! PATRICIA fires throuqh a door ••• BANG I
INT.
aqain,
just as LUCY shoves FRANK
HOSPITAL STAIRWELL - NIGHT
\) \.'0
••• and down • dark, .piralinq stairwell .\~down and down, into the old hospital baaelll.nt. ~ ~ INT. BASEHEHT CORRIDOR - NIGHT LUCY and FRAHX run past pil.s beddinq stacked .qainat the walls.
of
old .quipment and
SOUND OF HEAVY BREATHING: .......
~..
.
PATRICIA (O.S) Oooh! Pl ••••••• don't hurt . . I
The CRIES .cho down the corridor fr.ntically look around •••
•••
FRAJfJt
and LUCY
PATRICIA (O.S) (pl.adinq) No ••• Don't ••• Stop I Pl •••• I HEAVY FOOTSTEPS clanq down the stairwell ••• FRARJ( and LUCY tak. the near.st door, slamainq it shut ••• faded siqn on door reads: "IIOR'l'UARY·. INT.
HOSPITAL MORTUARY - NIGHT
FRANlt and LUCY finds th_.lv.s in the cUllly lit hospital ••• fr.sb bodi.. 1i. on stainl ••s st•• l troll.ya ••• toe tagqad.
IIOrqu. of 1954
FRANlt l ••ds WCY tbrou9b the
SUDDEMLY •••
H. of tralleya •••
I
PATRICIA (O.S) (passionate) Oooh, Johnny ••• They ROOM
are •
0
loolcinq
throuqh
a
doorway
into
the
AUTOPSY
•
POV •• JOHNNY and YOUNG PATRICIA are mllkinq love on the autopsy table! 0
A RIFLE CLICK ••• FRAHK and LUCY spin around ••• Mul t PATRICIA is standinq in the doorway, her qun swinqs towards FRAHK ••• FRAHlC
(quietly) That's my rifle ••• PATRICIA I know.
She fires! FRANK takes a bullet in the shoulder ••• he falls backwards, literally into 1954, tumblinq aqainst a trolley, knockinq a corpse onto the floor •••
b
FRAHK
lands
on his
back
as
the
him '"
corpse,:,.fab.\ towards ~\ ~
bod~
FOREST INSERT: 'l'HUD! DEBRA'S bits the forest floor CLOSE Olf: FRANlt, face bloody. fro. the car accident, lyinq on bed of pine nee4les. •• barely conSCious, be looks up and sees PATRICIA •••
.0.
LOW ANGLE POV ••• PATRICIA standinq uonqst the trees, holdinq the rifle 0" she stoops down to .Debra's body, producing a .calpel ••• cuts into Debra's forehead. PRANK squeezes his eyes sbut ••• PATRICIA call1ly walks towards FRAHlC ••• the bsckqrouneS behind her swi_ and alters ••• FOR~ ••• MORGUE ••• FOREST ••• MORGUE '" ,.~
••• PATRICIA boleSs the Gun muzzle against FRANK'S head in the forest ••• squeezes the trigqer ••• PRANK shuts his eyes ••• CLICItI BIIptyl FRAHK opens bis eyes aqatn ••• LOW ANGLE POV ••• PATRICIA in the MORGUE ••• ahe brinqs the qun butt eSown on bis head, tnockinq hi. unconscious. LUCY screams I Sbe makes a move towards PATRICIA, but JOHNNY slides out of the vall and c;raJ» her trOll behind I JOHNNY
Finish bim ott ••• f
PATRICIA c;ratls a piece of coreS fro. a table ancS deftly wraps it around FRAHlC'S neck ••• with ruthless precision sbe tvists it tiqbter aneS tiqbter ••• BOLD 011: LOCY'S borrified face as PRANK is str8Jl91ed to eSeath.
VI.
PATRICIA stands back, the job finished ••• JOHNNY starts laughing. JOHNNY That was beautiful! PATRICIA crosses to a bench and examines rusty old autopsy instruments. PATRICIA (slowly) I'll in the lIood for a little vivisection. PATRICIA holds up a wicked looking trepan saw, and a pair of heavy duty surgical scissors. PATRICIA (CON'l"D) Which would you preter, Lucy? After all .,. it's only tair that you choose.
b
LUCY sobs • •• JOHNNY tightens his qrip.
." \.
JOHNNY _~~ ~ I like the one with the bi9 ~~I
'U
•
PATRICIA discards the .cissors ••• she holds the sawalott •• , walks slowly towards LUCY. PATRICIA Let's se. it w. can' take the top ot your skull ott while you're .till conscious ••• LUCY screallS!!!. . ",bind. PATRICIA ••• FRANK'S SPIRIT ris.s out of his corps. .., PATRICIA bends towards LUCY ••• rais.s the saw ••• FRANK'S SPIRIT qrabs h.r troll behind I WHITE LIGHT. flood. the rooll ••• All .ndl.s. CORRIDOR OF LIGHT opens appe.r. above FRANlt'S body ••• PATRICIA struqql.. ••• FRAMlt r... hi. qhostly hand into the back of her neck ••• h. pulls and wrench••••• JOHNNY clutch.. LUCY tightly ••• h. .cr.... at FRANlt ••• JOHNNY
(screallinq) Stop itll1 I With • lIiqhty tug, FRANlt rips PATRICIA'S SOUL out of her living bodyl!! H.r lit.l ••• corp•• drops to the floor ••• the GHOSTLY PATRICIA writh•• viol.ntly in lRARK'S aras. FRAHJt back. towards th. CORRIDOR OF LIGft, PATRICIA lik. a hostag••
clutching
PRANl(
Come and qet her, Johnny. JOHNNY Nol
CORRIDOR OF LIGHT - WHENEVER
WHITE LIGHT swirls around FRANK and PATRICIA ••• JOHNNY comes after thelll up the corridor • ~. we briefly qlimpae the MORGUE ROOM behind JOHNNY before it is obliterated by liqht. IMAGES OF FRANlC'S LIFE sweep by ••• His IIBrriaqe ••• his dauqhter ••• his childhood ••• his house ••• All the while, FRAHJI: is draqqinq PATRICIA further and further up the corridor, stayinq out of JOHNNY'S reach. JOHNNY (desperate) Give her to _I
~¥.\t;.
'v)o :"'. '\ \l
FRANlC reaches the end of the CORRIDOR • o. JOJDIIfY dives at PATRICIA and qrabs her in an embrace, pullinq ber free of FRANlC ••• TWO FIGURES suddenly step in and take hold of FRANlC ••• . STUART and CYRUS! For the first ti.e they bave the ethereal qlow of bealthy Spiritel FRANK looks at thea in amaze.ent ••• They qrin. alarmed as JOHNNY and PATRICIA start to escape back down the' tunnel I FRA.IfJC lIIIkes a BOve towards the., but is restrained by CYRUS and S'l'UAltT.
n.\NJC . looks
STUART Just step back, Prank • • • isn't goinq to be pleasant.
this
AT THAT MOMENT The white corridor starts to transform pinky red tissue spreads and qrOIllll, jaCJ9ed teeth protrude out of the flesb .,. The corridor has suddenly becoae the inside of a delllOnic carnivorous worm, trappinq JOHNNY and PATRIC:u. in it's belly! '00
•• 0
They scr.... _ the fleBby _l1s close in around thelll, acidic diqestive juices flowinq over their bodies, the stollBch teeth startinq to devour th_1 ntAHX steps bact startled, _
the tunnel - U s l _ sbut • •• be finds biaaelf looJdnq straight into the face of III buge blind worm I It breaks a_y, and wri991es down throuqb the turbulent nigbt skies, ~ the fires of bell!
110.
That's ride!!.
CYROS (impressed) what I call
an E ticket
STUART Go
hOlle,
Fran~.
FRANK is confused ••• This is ho.e STUART shakes his head. STUART It's not your ti.e. CYRUS Start livinq, dude I CYRUS qives FRAHJ( a firm push ••• be falls into space, faster and faster ." FRANK tumbles as the LIGHT speeds past hill .,.
INT.
HOSPITAL MORGUE - HIGHT
~\\\G.
Olb
CRASH ZOOM ••• into FRAJQt' S corpse. PLASH I FRANK'S eyes flutter ••• LUCY is kneelinq over P'RAHlt, qivinq bi. IIOUth to IIOUth resuscitation. He groans and qaspa for air ••• tears stream down LUCY'S face ••• sbe buqs P'RANlt. FADE TO
EXT.
sua
FRAHJ('S HOUSE - NOUING
If'AQE UP '"
LOW ANGLE: FRANK'S HOUSE ••• lit by the IIOrning sun. A ROAR ••• increasing ••• CRASH! AlSULLDoZER -. . .shes into the wall, splintering tiabers! FRAHK-" is standinq, watcbing his house co.e down
...
J1JDGE (O.S) I always .aid you'd never finish that house, l"rank! FRAHK t~ ••• TIlE J1JDGZ'S upper body ia saddled up on RUSTLER ••• Hi. LEGS .tand nearby. CRASH! ••• As a_II collapaes. PRAHJt
I'd call it finisbed, .l'Udqe.
JUDGE '!'his is goodbye, son • • • I' III beading out west with Rustler. FRAKK glances at the JUDGE'S LEGS. FRANK
Ain't you gonna walk? THE JUDGE sadly shakes his bead
...
JUDGE (quietly) Me and By vitals have parting ot the ways •••
lowers his voice.
COlli.
to a
FRAKK nods Itnowingly ••• It is a tender lIIolllent of lIIale bondin;. THE JUDGE dotts hia hat and wheels RUSTLER around, urging hia torward. FRAKK watches the JUDGE and RUSTLER disappear into the long grass across the road ••• LUCY slides her hands around FRANK'S waist LUCY
'!'here's soaething I you .•• FRAKK turns and LUCY kisses hia tenderly. FRANK
'!'hat's the saae thing you told ae • this aoming • ••• '!'hey kiss again. SHERIFF -PERRY
pulls up in his SQUAD CAR ••• He hops out. SHERI'F PERRY
to interrupt, follt8 ••• 1Ibadda ya know al)out ow. ja boards, Sorry
Frank?
FJWIJt
Not a lot, Walt.
SHERIFF PERRY
We found a whole stack of tb_ up at the Bartlett house • •• LooIt8 l~k. Patricia bad hers. If a direct line to ber dead boyfriend.
FRANlt nods ••• SHEPIFP PERRY excuses biaself to LUCY and
takes FRANlt to one side •••
•
SHERIFF PERRY (COHT'D) (whispers) Hey, Franlt '" I qotta a lot ot vacation time owed to me. How about you and me collaborate on. a book about all this? Could be fmy ticket outta_~e force. FRANK shakes his bead. FRANK
sorry, Walt • • • I can't help •
FRANK qastures towards the SQUAD CAR. • • • you could Guardian Anqel.
FRANK (CONT'D) try
asking
•
your
SHERIFF PERRY spins around with alarm ••• empty. Atter a moments pause, he CHUCKLES •••
his car is
SHERIFF PERRY
Good one, Franltl Ya really had me
goinq tor a mo_ntl Hal SHERIFF PERRY hops into bis car and quns the
,',
\
~
\.l
...-. t
~
V
in~ine.
FRANK waves sweetly ••• • •• THE GHOST ot Ml:L'l'OH DAMKERS stares sourly out ot the backseat ot SHERIFF PERRY'S carl!1
LUCY '!'bat guy Dammers ••• be sure looks pissed I ~ .does a doUble take st LUCY ••• she continues starinq at the receding COP CAR.
LUCY (COHT'D) SOIIeti_., Frank, when people go throuqh a trawaa, it changes th. . . . . FRANK stares at LUCY,
wide eyed
...
••• she turns and ••iles enigmatically •••
, '!'HE END
\
