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DR. LESH (CONT)
(indicating monitors)
Any movement out of those things?

RYAN
(whispering)
Thereís been some ionization fluct. Iíd like to make sure theyíre not caused by humidity coming from structure leakage, but Iím not going up there to find out.

76 INT. LIVING ROOM - NIGHT

Lesh goes to the console TV and, assuming everyone is asleep, she turns it off. In a very small voice Diane leans on her elbow.

DIANE
Please. Leave it on.

Dr. Lesh smiles, itís the first time weíve seen her do this and it reminds Diane at once of her favorite story-book grandma who bakes cookies and knits cornforters.

CLOSE - DIANE

She smiles back and motions for Dr. Lesh come over.

DIANE
When things get. quiet like now I can imagine how all this must look from your end. Iím really embarrassed.

DR. LESH
Oh, nonsense. Iíll tell you what is embarrassing. My being here with you nice people. Parapsychology isnít something you master in. There arc no certificates of graduation, no license to practice. Iím a professional psychologist who spends most of her time engaged in this ghostly hobby, which makes me, I suppose, the most irresponsible sixty-one-year old woman I know.

DIANE
You were so funny. Your hands were shaking a mile a minute.

Diane starts to giggle. Itís a release and Dr. Lesh joins her.

DR. LESH
It isnít over. Iím perfectly terrified. Itís all these things we donít understand. I feel like the proto-human, stepping out of the forest primeval and seeing the moon for the first time. Throwing rocks at it.

DIANE
You mean someday weíll understand these things?

DR. LESH
When it is recognized for what it is. As any science. Understanding and sponsorship seem always to be one hundred years behind ridicule and doubt. Out of this experience, should we capture a high resolution photograph of a genuine manifestation Time Magazine will still put President Reagan on its next cover.

ROBBIE
If I got killed would I come back as a ghost and get stuck in the house like my sister?

DIANE
Your sister isnít dead, Robbie.

ROBBIE
If I got killed could I visit her and show her how to get back here if you tied a rope around me and held it tight? Then somebody could come get me and we could move somewhere else?

DR. LESH
Some people believe that when you die your soul goes to heaven.

ROBBIE
When Grampa was dead I looked at him on the hospital bed and I was watchiní , hut nothing went out of him.

DIANE
His soul was invisible. You couldnít see it going to the sky.

ROBBIE
How come then Grandpa isnĎt on television with Carol Anne?

DR. LESH
Some people believe that when you die there is a wonderful light. As bright as the sun but it doesnít hurt to look into it. All the answers to all the questions you want to know are inside that light. And when you walk to it...you become a part of it forever. Now, some people die, but they donít know theyíre gone.

ROBBIE
They think theyíre still alive?

DR. LESH
Thatís right. Maybe they didnít; went to die. Maybe they werenít ready. Maybe they hadnít begun to live yet or lived a long, long time anyway, but wanted more life. They resist going into the light no matter how hard the light wants them. They hang around, watch TV, watch their friends grow up, feeling all unhappy or jealous and those feelings are bad, they hurt. And then some people just get lost on the way to the light. They need someone to lead them there.

ROBBIE
So some people get angry end throw things around like in my bedroom?

DR. LESH
Yes. Just like in school. There are people who are nice to you. And people who are mean.

ROBBIE
I got beat up once by three kids. They took my lunch money. Maybe they got hit by a truck and are upstairs right now.

DIANE
Letís get some shuteye, whadíya say, partner?

ROBBIE
Goodnight, Mom. ĎNite, lady. ĎNite, Dad. ĎNite, E. Buzz.

Robbie puts his head down on the pillow and Diane and Dr. Lesh share a warm look over him. Robbie sits back up suddenly and looks at the TV set.

ROBBIE
ĎNite, Carol Anne.

77 INT. ON TAK BOTTOM OF STAIRCASE - NIGHT

Flanked by four banks of monitors and oscilloscopes, Tak's stomach growls. He turns back looking over his shoulder at the kitchen.

ANGLE - TAK

He leans his chair back on its hind legs until his head reaches around the corner. Tak ďpffftsĒ to Ryan. Ryan looks up from a Penthouse Magazine that he is studying by penlight. Tak gestures for Ryan to relieve him for a few minutes.

FULL SHOT - BOTTOM OF STAIRCASE

Tak gets up and Ryan sits down, getting right back into his Penthouse after a cursory look at the monitors and readouts. Ryan puts a Walkman over his ears and pops a Herbie Hancock tape in the cassette.

78 INT. KITCHEN - TAK - NIGHT

The refrigerator is the perfect target for Takís housebreaking skills. He turns once, looking over his shoulder before opening the Amana.. The light inside bathes everything in white. Tak takes out a salad bowl and noshes from that, but his chewing is too loud so he opts for a beautiful New York steak wrapped in cellophane.

Placing the steak on the dark counter, Tak stuffs a chicken leg into his mouth and searches the kitchen for a steak knife. He pulls his flashlight from his hip pocket and begins pulling out drawers...

A new sound is added to his search. A CRAWLING GUSHY SOUND that bubbles and softly hisses. Tak turns and sees a shape moving along the counter where he put the steak. Approaching, Tak tilts his flashlight so the beam hits the object moving on the counter.

78-A INT. CLOSE ON KITCHEN COUNTER - NIGHT

Tak's P.O.V.

The New York Steak is alive with CANCER! It actually crawls over and over its own rampant cell growth.

78-B INT. KITCHEN

He starts to gag looking at it and realizes the chicken is still in his mouth. He spits it onto the floor and shines his flashlight on top.

78-C CLOSE - CHICKEN LEG

A thousand maggots crawl away from it into the dark corners of the kitchen. Tak starts to retch and flails into a small powder room.

79 INT. UTILITY ROOM - NIGHT

Tak turns the light on and retches into the sink.

80 INT. BOTTOM OF THE STAIRS - NIGHT

Ryan is reading the letters to Forum and hasnít noticed the activity on the first readout. Slowly, the equipment comes alive, purring softly, images vibrating. Ryan is too involved in Penthouse to notice the change. Herbie Hancock leaks from his headphones.

81 INT. THE UTILITY ROOM - NIGHT

Tak is catching his breath, his head lowered in frame. He stands up suddenly checking his complexion in the mirror.

SMASH CUT TO:

HIS MIRRORED REFLECTION

His reflection is a ROTTING CORPSE, hair wild and streaming, his mouth open in a crazy way, teeth hanging by leathery threads, a funeral suit from the neck down.

The bulb over the mirror CHANGES HUE from white to yellow to orange to pink. In a burst of electricity it EXPLODES over the sink as Tak wheels around showing us his LIVE IMAGE, BACK TO NORMAL.

82 INT. HALLWAY - NIGHT

CLOSE - RYAN

Aware of nothing, reading, tapping his foot.

83 INT. VIEW UP THE STAIRS - NIGHT

ANGLE - BEHIND RYAN

Something is aglow at the top of the stairs.

Something is starting to descend.

Something ectoplasrnic and blue-green.

84 INT. ON THE EQUIPMENT NIGHT

The oscilloscopes are sine-waving like crazy. The remote cameras are triggered and click on. Tape machines roll automatically.

85 INT. TOP OF STAIRS - PAST RYAN - NIGHT

The substance is heading down.

86 INT. BOTTOM OF THE STAIRS - NIGHT

Tak walks forward, his eyes riveted to the staircase. He feels in the dark until his hand touches Ryan's head. Ryan turns around to see whoís behind him and shines his flashlight up into Takís face.

CLOSE - TAK

Lit from below adds a demented aspect to Takís already terrified expression. Ryan looks immediately in the direction Tak is fixating...THE TOP OF THE STAIRS.

87 INT. ON THE STAIRCASE - NIGHT

BEHIND BOTH TAK AND RYAN

The crawling mass coming down the stairs resembles a giant hand
with long, searching fingers, flowing down the stairs and heading right
for the two technicians.

88 INT. ON RYAN AND TAK - NIGHT

Ryan stands and backs away two steps.

CLOSE -TAK

He wants to scream out but cannot find the breath. The air in the room is suddenly thin and electrostatically charged.

RYAN
It's manifesting! Itís manifesting! Look at the scope!

TAK
Watch the trip wires! Temperature's dropping.

RYAN
Radical!!

TAK
Can you breathe?

RYAN
Can you run? Iím workin' on it.

89 INT. STAIRS - NIGHT

The fingers are almost to the bottom. The smoking fingertips suddenly rise straight up into the air like sky-writing. Rising right up to the ceiling. Another tentacle of ectoplasm seems to come forward. Larger and thicker than the rest and still growing, it studies the VTR and Panasonic camera, waltzing above it, hovering curiously close, then retracting suddenly like a King Cobra.

90 INT. BOTTOM OF THE STAIRS - ON TAK - NIGHT

Dares to look at the monitor. His mouth drops open. He sees something we donít. His eyes shift back and forth between the manifestation and the monitor. He bears his teeth to scream and...

TAK
DOCTOR LEEEEEEEEEEESH!!!

91 INT. LIVING ROOM - NIGHT

EXTREME - CLOSE SHOTS

DR. LESH
Her eyes open and she immediately pulls out her glasses.

STEVE
Falls between two chairs trying to stand.

DIANE
Rising to her knees she looks out into the hall and hugs Robbie protectively.

92 INT. LIVING ROOM - FULL SHOT NIGHT

Ectoplasmic mist wanders aimlessly, passing under tables, chairs, circling lamps.

DR. LESH
(to Diane)
Have you experienced this before?

DIANE
First time!

DR. LESH
Me too.

At this moment every lightbulb in the room comes on. The brightness growing to blinding levels. Everyone covers their eyes.

STEVE
(yelling)
Smells like a short!

DIANE
(yelling)
Itís going to explode!

The hum of electrostatic charge races up the scales to what sounds like feedback Overload, then...

FLASH FLASH - FLASH

Everything is dark again. The episode ended. The room is very quiet.

Dr. Lesh breaks the silence.

DR. LESH
Roll it back!

Tak hits the rewind switch on both VTRs.

Diane, Steve and Robbie all run to the display panel.

RYAN
(like a kid)
I think it recorded. 1 think we got one on tape. Yes. Yes.. .we got it recorded!!!

WE MOVE from the faces of the Freelings and Lesh to:

93 THEIR POV OF VIDEO MONITORS - NIGHT

We SEE the empty hallway and staircase in black and white on one screen. On the other a spectroscopic breakdown of color patterns in infrared.

The picture on the screen becomes grainy, smoky. A bright glowly substance begins to form into tendrils that move down the stairs and very close to the cameras. The black and white monitor shows what the human eye witnessed. The color infrared showed what the technology captured.

94 CLOSE ON DIANE - NIGHT

MOVE IN TO HER as she watches the color monitor.

95 CLOSE ON MONITOR - NIGHT

The smoky substance twists and melts and forms what appears to be the shape of a manís back. The shape moves in front of the CAMERA and we see what could be an OLD MAN looking over his shoulder with a suspicious expression, and then walking past a little girl, not Carol Anne, holding a ball. She wanders through the living room as if lost. Suddenly, the living room is filled with manifestations. FOUR MEN in burlap type coats, floppy hats, denim and boots face away from the CAMERAS, a WOMAN dressed in the style of the 1920ís moves through the room, tears on her face--people of all ages and descriptions wander aimlessly, lost and sad through the living room.

No manifestation makes contact with any other. They donít even seem to be aware that others exist -- an OLD WOMAN g1ances at the CAMERAS disinterested1y--and a YOUNG BOY moves toward the CAMERA and evaporates.

The screen suddenly becomes BLACK, filled by two glowing beams -- the beams pull back and we realize that they are EYES of a scary old man. It is the face of pure chaotic horror. A vision of madness and murder.

96 ON DIANE AND ROBBIE - NIGHT

She covers Robbie's eyes and SCREAMS continuously, out of control, for this is the pit of her nightmare.

DIANE
That thing is in there with my baby! That thing! That thing!

DR. LESH (O.C.)
My God! There are hundreds.

ANGLE - FULL

Steve is holding Diane now, stroking her hair until her SCREAMS turn into SOBS. Lesh and the technicians look on silently. Steve leads Diane and Robbie back into the living room. Dr. Lesh takes out the two tapes and puts them into a briefcase and locks it with a key.

DISSOLVE TO:

97. INT. KITCHEN - DAY

CLOSE - DUST PAN

Crowded with a mixture of filled and decayed teeth from last eveningís hailstorm. Steve closes the trashcan and wipes his hands against his shirt. The portable TV is on, turned, as usual, to a static channel.

FULL SHOT - ROBBIE

Dressed to travel with little suitcase in hand. At his side is E. BUZZ on leash.

DIANE
Tell Grandma to call the very second you walk in.

STEVE
Taxiís here.

DIANE
Donít be scared of the taxi man, heís a friend of Daddyís and mine.

ROBBIE.
(agitated at all this fussing)
I'm seven years old, gimme a break.

STEVE
Thatís what I like to hear. Letís move out! ...Youíre about to have yourself a real adventure.

ROBBIE
(acting grown up)
I donít need no more adventure. I need to get some sleep.

97-A INT. ENTRYWAY/LIVING ROOM

Diane and Steve watch Robbie and E. Buzz go out the door. Steve starts to follow, reaching out to help with the bag. Robbie waves him of f.

ROBBIE
I can do it myself. Bye.

DIANE
(tearful, but holding back)
Bye, sweetheart. Call us.

97-B EXT. FREELING HOUSE - DAY

Robbie and E. Buzz climb into a taxi. It pulls away from the curb.

97-C INT. KITCHEN - DAY

Dr. Lesh sorting through the brooches, stickpins, hail combs and cameos. Brass buttons, pocket watches and cufflinks.

DR. LESH
This cameo. One hundred years old.

Diane returns from the door and cocks her head to examine the jewelry.

DIANE
Some haul, huh?
(gestures upstairs)
Maybe they fear a lawsuit and want an out of court settlement.

Dr. Lesh holds up a twist-o-flex digital wristwatch.

DR. LESH
And then this enigma...probably a couple years old and not your husbandís?

DIANE
He said it wasnít.

DR. LESH
Iíve heard about jewelry or perfume disappearing from a vanity in one room later to reappear in another, but...but this doesn't fit into any construct I've ever experienced.

DIANE
Has anything lately?

bar

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