[1999][식스센스] The Sixth Sense

[수다쟁이]

[식스센스] The Sixth Sense

the sixth sense

written by
M. Night Shyamalan

 INT. BASEMENT - EVENING

 A NAKED LIGHTBULB SPARKS TO LIFE.  It dangles from the ceiling of
 a basement.

 LIGHT, QUICK FOOTSTEPS AS ANNA CROWE moves down the stairs.

 Anna is the rare combination of beauty and innocence.  She stands
 in the chilly basement in an elegant summer dress that outlines
 her slender body.  Her gentle eyes move across the empty room and
 come to rest on a rack of wine bottles covering one entire wall.

 She walks to the bottles.  Her fingertips slide over the labels. 
 She stops when she finds just the right one.  A tiny smile as she
 slides it out.

 Anna turns to leave.  Stops.  She stares at the shadowy basement. 
 It's an unsettling place.  She stands very still and watches her
 breath form a TINY CLOUD IN THE COLD AIR.  She's visibly
 uncomfortable.

 Anna Crowe moves for the staircase in a hurry.  Each step faster
 than the next.  She climbs out of the basement in another burst
 of LIGHT, QUICK FOOTSTEPS.

 WE HEAR HER HIT THE LIGHT SWITCH.

 THE LIGHTBULB DIES.  DRIPPING BLACK DEVOURS THE ROOM.

       CUT TO:

 INT. DINING ROOM - EVENING

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

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

        ANNA
  It's getting cold.

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

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

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

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

 He slips on the sweatshirt.

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

 Anna hands the backup bottle over to Malcolm.

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

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

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

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

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

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

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

        MALCOLM
  Do I really sound like Dr. Seuss?

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

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

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

        ANNA
  Wow.  They called you their son.

        MALCOLM
  We can keep it in the bathroom.

 Anna turns to Malcolm.  He smiles.

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

 Anna's expression‎ becomes serious.

        MALCOLM
  What?

 She just keeps staring.  Beat.

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

 Beat.

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

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

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

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

        MALCOLM
  Thank you.

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

        MALCOLM
  What are we hugging about again?

 Anna laughs as she wipes her eyes.

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

 Malcolm's charming, easy-going smile returns.

        MALCOLM
  I would like some red wine in a
  glass.

 Anna hands him his glass.  He stares at it.

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

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

       CUT TO:

 INT. BEDROOM - NIGHT

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

        MALCOLM
  Bulb's out.

 Anna giggles some more as Malcolm's shadow stumbles across the
 bedroom.
 
 MALCOLM TURNS ON THE BATHROOM LIGHT.

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

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

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

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

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

        ANNA
  He's still in the house.

 A SHADOW FROM THE BATHROOM FLATS OVER BOTH OF THEM.

 ANNA SCREAMS.

 Malcolm spins around.  His heart stops.

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

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

 NO ONE MAKES A SOUND.

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

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

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

 Anna barely nods her understanding.

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

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

        STRANGER
  You don't know so many things.

 Beat.

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

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

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

 The stranger looks at Malcolm.  He half grins.

        STRANGER
  Are you drunk?

 The stranger's stare slides to Anna.

        STRANGER
  Did you get him drunk?

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

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

 Anna's expression‎ instanly changes.

        STRANGER
  I know.

 BEAT.  THE ROOM GOES SILENT.

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

 The stranger turns and glares at Malcolm.

        STRANGER
  What you promised.

 Malcolm stops all movement.

        ANNA
  --My God.

        MALCOLM
  --Do I know you?

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

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

        STRANGER
  I was ten when you worked with me.

 Beat.  Malcolm's intelligent eyes race for answers.

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

 Malcolm looks like someone hit him with a sledgehammer.

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

 Tears jump into the stranger's eyes.

        STRANGER
  ...I'm still afraid.

 Malcolm stands.

        MALCOLM
  Please give me a second to think.

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

        MALCOLM
  Bed Freidken?

        STRANGER
  Some people call me freak.

        MALCOLM
  ...Ronald...  Ronald Sumner?

 Tears fall down the stranger's face.

        STRANGER
  I am a freak.

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

        MALCOLM
  --Vincent?

 THE ROOM GOES SILENT AGAIN.

        MALCOLM
  Vincent Gray?

 VINCENT GRAY stares with surprise through his tears.
 
 Malcolm lets out a deep breath like he just emerged from deep
 waters.

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

 Vincent's eyes burn at Malcolm.

        VINCENT
  You forgot cursed.

 VINCENT is fully crying now.

        VINCENT
  You failed me.

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

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

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

 ANNA'S CHILLING SCREAMS FILL THEIR HOME.

       DISSOLVE TO:

 EXT. BENCH - AFTERNOON

 The legend, "Two Years Later" appears.

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

 The man's hand touches the name almost reverently.

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

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

 The man's hands flip the page.  At the top of this new page
 reads, "Cole Sear, age 8, Referred September 1998."

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

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

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

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

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

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

 COLE SEAR steps out his front door.  Cole is a munchkin of a boy
 with large, black eyes that seem to take in everything around
 him. 
 
 His hair is dark, with a small patch of jet white on the side. 
 Cole carefully locks the door behind him.

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

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

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

 When he looks up, Cole is gone.

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

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

       CUT TO:

 EXT. STREET - DAY

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

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

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

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

       CUT TO:

 INT. CHURCH - DAY

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

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

 He moves down the center aisle towards the back.

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

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

 The words are unintelligible.

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

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

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

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

 Malcolm waits for a response.  None comes.

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

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

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

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

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

        MALCOLM
  I knew there was a sound explanation.

 Malcolm returns to staring at his lap.  Beat.

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

        COLE
  ...De profundis clamo ad te domine.

 Malcolm stares surprised.

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

 Malcolm nods at the information.

        MALCOLM
  All your soldiers speak Latin?

        COLE
  No, just one.

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

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

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

 Cole looks up.

        COLE
  What were they hiding from?

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

        COLE
  Nothing bad can happen in a church,
  right?

 Malcolm studies Cole's anxious face.

        MALCOLM
  Right.

 Malcolm and Cole just stare at each other.

        COLE
  I forgot your name.

        MALCOLM
  Dr. Crowe.

        COLE
  You're a doctor.  What kind?

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

 Beat.

        COLE
  Are you a good doctor?

 Malcolm smiles.

        MALCOLM
  I got an award once.  From the
  Mayor.

        COLE
  Congratulations.

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

        COLE
  You use needles?

        MALCOLM
  No.

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

        MALCOLM
  No.

        COLE
  That's good.

 Cole pockets his soldiers and rises from his pew.

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

        MALCOLM
  If it's okay with you?

 Cole thinks it over carefully.

        COLE
  It's okay with me.

 Cole and Malcolm just stare at each other.

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

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

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

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

 Malcolm just sits and stares.

       CUT TO:

 INT. MALCOLM'S HOME - EVENING

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

        MALCOLM
  It's me.

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

       CUT TO:

 INT. DINING TABLE - EVENING

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

       CUT TO:

 INT. BEDROOM - EVENING

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

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

 He stares at his wife...

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

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

 Malcolm forms a tiny smile.

       CUT TO:

 INT. HALL - NIGHT

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

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

       CUT TO:

 INT. BASEMENT - NIGHT

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

 The room still feels unsettling.

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

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

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

  "De profundis calms ad te, domine"

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

 Malcolm translates the last word.

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

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

 Beat.

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

 The words seem to hang in the air forever.

       CUT TO:

 EXT. PHILADELPHIA - DAWN

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

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

 AND THEN 1997 COMES CRASHING IN.

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

       CUT TO:

 INT. LAUNDRY ROOM - MORNING

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

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

 LYNN SEAR reaches in and pulls out a blouse.

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

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

 Lynn enters THE KITCHEN through a swinging door.

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

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

 Lynn shakes her head.

        LYNN
  Cole.

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

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

 TINY FOOTSTEPS.

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

        LYNN
  Your Cocoa Puffs are getting soggy.

 Lynn walks over to Cole.  Checks his tie.

        LYNN
  You got a spot.

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

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

 Every cabinet and every drawer is wide open.

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

 He looks shaken.

 Neither says anything for a beat.

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

 Beat.

        COLE
   (shaken)
  Pop Tarts.

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

        LYNN
  They're right here.

        COLE
  Oh.

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

        COLE
  What are you thinking, Momma?

        LYNN
  Lots of things.

        COLE
  Anything bad about me?

 Lynn leans down.

        LYNN
  Look at my face.

 Cole does.

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

 He looks at her eyes.  Beat.

        COLE
  Got it.

 THE DOOR BELL RINGS.

        COLE
   (soft)
  That's Tommy, Momma.

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

        LYNN
  Don't you want this?

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

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

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

       CUT TO:

 EXT. BROWNSTONE STREET - MORNING

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

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

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

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

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

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

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

 Tommy runs away.

 Beat.  Cole looks around nervously.

       CUT TO:

 EXT. ST. ANTHONY'S ACADEMY - MORNING

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

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

 Beat.

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

       DISSOLVE TO:

 INT. COLE'S HOME - AFTERNOON

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

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

        LYNN
   (whispers)
  How was school, baby?

 Cole shrugs.

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

 Cole doesn't respond.  Beat.

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

 Cole shakes his head "No."

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

 Cole starts to smile too.  He thinks.

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

 Cole and Lynn smile at each other.  Beat.

 Lynn tries to hide the utter sadness behind her smile.

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

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

       CUT TO:

 INT. DEN - AFTERNOON

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

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

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

        MALCOLM
  You want to sit?

 Cole nods very softly, "No."

        MALCOLM
  Don't feel like talking right now?

 Cole nods again very softly, "No."

        MALCOLM
  How about we play a game first?

 Cole looks a little more interested.

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

 Cole nods, "No."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 Beat.  Cole takes a slow step back.  Beat.

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

 AN UNCOMFORTABLE SILENCE OVERTAKES THE DEN.

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

 Cole answers by taking a small step back.  Beat.

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

        MALCOLM
  How do you draw now?

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

        MALCOLM
   (soft)
  I guess they don't.

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

        COLE
   (whispers)
  What am I thinking now?

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

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

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

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

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

 THE DEN IS SUFFOCATED WITH SILENCE.

       CUT TO:

 INT. RESTAURANT - EVENING

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

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

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

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

 Anna isn't laughing.  Not even close.

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

 Anna quietly takes a sip from her coffee.

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

 Anna looks around for the waiter.

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

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

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

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

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

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

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

 Beat.

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

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

        MALCOLM
   (soft)
  ...Happy Anniversary.

       CUT TO:

 EXT. FRONT STEPS - AFTERNOON

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

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

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

        COLE
  You want to ask me a question?

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

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

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

 Cole removes the tissue.

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

 Cole points to the other soldier.

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

        MALCOLM
   (soft)
  You mean aneurysm.

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

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

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

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

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

 Malcolm takes in Cole's gesture and expression‎.

        COLE
  Stop looking at me.

 Malcolm looks down.

        MALCOLM
  Where should I look then, Cole?

        COLE
  Look over there.

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

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

 Malcolm continues to stare at the street.  Beat.

        MALCOLM
  It is okay if I look back now?

 Cole doesn't answer.

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

 Cole taps his foot once.

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

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

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

 Cole taps his foot twice.

       CUT TO:

 EXT. STREET - AFTERNOON

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

        COLE
  I walk this way to school with
  Tommy Tammisimo.

        MALCOLM
  He your best buddy?

 Cole almost smiles.

        COLE
  He hates me.

        MALCOLM
  You hate him?

 Cole shakes his head, "No.!

 Malcolm thinks for a bit.

        MALCOLM
  Your mom set that up?

 Cole nods "Yes."

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

        COLE
  I don't tell her a thing.

        MALCOLM
  Why?

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

        MALCOLM
  Know what?

        COLE
  That I'm a freak.

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

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

 Beat.  Cole is surprised.

        COLE
  You said the "s" word.

        MALCOLM
  Yeah.  Sorry.

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

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

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

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

        COLE
  Hi, Mr. Marschal.

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

        MR. MARSCHAL
  Guten Tag, Cole.

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

        COLE
  What's wrong?

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

 Beat.

        COLE
  Ich Habe Durst.

 Malcolm's eyes dart to Cole.

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

        COLE
  I just know a couple lines.

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

        COLE
  Lemonade, please.

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

        COLE
   (sad)
  Mr. Marschal gets real lonely.

        MALCOLM
  What about Mrs. Marschal?

        COLE
   (whispers)
  She died a long time ago.

       CUT TO:

 INT. MR. MARSCHAL'S LIVING ROOM - MORNING

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

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

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

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

 Cole peeks behind the old piano crammed against the wall.

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

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

        COLE
  Thank you.

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

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

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

 Malcolm calls to Cole under his breath.

        MALCOLM
  Cole--

        MR. MARSCHAL
  What's going on there?

 Mr. Marschal strains to see across the room.

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

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

 Malcolm becomes very still.

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

        MR. MARSCHAL
  Is this for me?

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

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

 Malcolm takes an involuntary step forward.

 Mr. Marschal starts flipping through the notebooks.

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

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

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

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

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

        MR. MARSCHAL
  Oh no...

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

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

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

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

 Cole turns his head, crying.

        COLE
   (softly)
  Stop looking at me.

       CUT TO:

 INT. BASEMENT OFFICE - NIGHT

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

 CLICK.

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

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

       DISSOLVE TO:

 INT. BROWNSTONE - NIGHT

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

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

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

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

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

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

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

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

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

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

 Lynn takes it all in curiously.

       CUT TO:

 INT. COLE'S BEDROOM - AFTERNOON

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

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

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

 A sign hangs over the bedsheets.

  "DO NOT ENTER"

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

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

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

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

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

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

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

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

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

 ...Christ break the freaking glass oh no God no what the hell is
 going on Quiet the damn baby I'll cut you I swear it someone stop
 the burning I'll kill you I'll kill all you bastard...

 The words go on and on.

 Lynn removes her hands from the paper.  She pulls her headphones
 off slowly.

 THE MUFFLED TECHNO DANCE BEAT FILLS THE DEAD SILENCE OF THE EERIE
 ROOM.

       CUT TO:

 INT. DEN - AFTERNOON

 Malcolm stares as the rain pelts the windows of the den.

        MALCOLM
  ...So your dad lives in Pittsburgh
  with a lady who works in a toll
  booth.

        COLE (o.s.)
  What if she has to pee when she's
  working?  You think she just holds
  it?
        MALCOLM
  I don't know.  I was just thinking
  the same thing.

 Beat.

        COLE (o.s.)
  You ask a lot of questions about my
  dad today.  How come?

 Cole is playing behind the couch.  All we see is the top of his
 head.

        MALCOLM
  Sometimes, we don't even know it,
  but we do things to draw attention. 
  Do things so we can express how we
  feel about issues...  Divorce or
  whatever.

 Every now and then we get glimpses of things Cole is playing with
 peeking over the back of the couch, but we can't quite make out
 what he's doing.

        MALCOLM
  One night, as an example...  leave
  something on a desk for someone to
  find.

 The top of Cole's head stops moving.

        MALCOLM
  Cole, have you ever heard of
  something called free-writing?  Or
  free-association writing?

 Cole shakes his head, "No."

        MALCOLM
  It's when you put a pencil in your
  hand and put the pencil to a paper
  and you just start writing...  You
  don't think about what you're
  writing...  You don't read over
  what you're writing...  You just
  keep your hand moving.

 Cole has become very still.  He looks right at Malcolm.

        MALCOLM
  After awhile if you keep your hand
  moving long enough, words and
  thoughts start coming out you
  didn't even know you had in you... 
  Sometimes they're things you heard
  from somewhere...  Sometimes
  they're feelings deep inside...
   (beat)
  Have you ever done any free-
  association writing, Cole?

 Beat.  Cole nods, "Yes."

        MALCOLM
  What'd you write?

        COLE
  Words.

        MALCOLM
  What kind of words?

        COLE
  Upset words.

 Beat.

        MALCOLM
  Did you ever write any upset words
  before your father left?

 Beat.

        COLE
  I don't remember.

 Malcolm watches him carefully.  Beat.  Malcolm waves the question
 off casually.

        MALCOLM
  Can you do something for me?

 Malcolm smiles.  He rises and grabs his coat.

        MALCOLM
  Think about what you want from our
  time together.  What our goal
  should be?

        COLE
  Something I want?

        MALCOLM
  If we could change something in
  your life, anything at all, what
  would you like that to be?

 Cole's brow furrows as he thinks about it carefully.

        MALCOLM
  You don't have to answer now.

 Malcolm heads for the door, stops when Cole emerges from behind
 the couch.  Cole is wearing his father's jacket, it hangs to the
 ground like a dress.

        COLE
  Instead of something I want, can I
  have something I don't want?

 Malcolm turns back to Cole.  Malcolm nods "Yes."  Beat.

        COLE
  I don't want to be scared anymore.

 Cole's sad eyes stare up at Malcolm.

       CUT TO:

 INT. BASEMENT OFFICE - NIGHT

 The surface of Malcolm's desk is covered with open texts. 
 Malcolm pours over a thick reference book.

 He circles a phrase...

 "...resulting bruises and abrasions on arms and legs may, in
 fact, be self-inflicted."

 Malcolm appears disturbed by the thoughts running through his
 head.

 ANNA'S MUFFLED VOICE CARRIES DOWN THE STAIRS.

 His face turns up to the ceiling.

        MALCOLM
   (loud)
  Are you calling me?

 WE HEAR ANNA'S FOOTSTEPS MOVE ACROSS THE BASEMENT CEILING.  WE
 HEAR THE FRONT DOOR OPEN.

        ANNA (o.s.)
  What?  You don't see enough of me
  at the store?

 Malcolm gets up and moves closer to their voices as he stretches
 his legs.

        MAN'S VOICE (o.s.)
  On my way to the flea market in
  Amish country.  Thought maybe you
  want to come.  Show me how to buy
  at these things.

        ANNA (o.s.)
  I trust you...  Besides, I don't
  know if I'm up for the Amish today. 
  You can't curse or spit or anything
  around them.

 Malcolm smiles at Anna.

        MAN'S VOICE (o.s.)
  I thought you'd want to get out. 
  You've been kind of down.

 Malcolm slowly stops smiling.

        ANNA (o.s.)
  That's very sweet.  I'm okay.

        MAN'S VOICE (o.s.)
  Do you think I should stop by on my
  way back?  Show you what I got? 
  It's not a problem.

 Malcolm shakes his head in disbelief.

        ANNA (o.s.)
  You know that's probably not the
  best idea.  I'll just wait to see
  them in the store.

        MAN'S VOICE (o.s.)
  Okay.  Fine.  Understood.
   (beat)
  I'm off then.

        ANNA (o.s.)
  Don't step in the horse manure.

        MAN'S VOICE (o.s.)
  Thanks.

 WE HEAR THE FRONT DOOR SHUT.

 Malcolm moves to the narrow basement window.

 INT./EXT. MALCOLM'S HOUSE - DAY

 We see SEAN, an attractive young man in his late twenties.

 He gets into his car across the street.  He just sits there for a
 moment before putting his forehead to the steering wheel.

        MALCOLM
   (under his breath)
  Give it up, kid.

 Malcolm turns away from the window as Sean's car starts up and
 pulls away from Malcolm's house.

       CUT TO:

 INT. CLASSROOM - DAY

 STANLEY CUNNINGHAM is a teacher in his late forties.  He writes a
 question on the board.

        MR. CUNNINGHAM
  Can anyone guess what city was the
  capital of the United States of
  America from 1790 to 1800?

 Mr. Cunningham turns and stares at his class of eight and nine
 year old private school students.  They stare back at him blankly.

 Cole rests his chin on his desk and watches the class with big
 eyes.

        MR. CUNNINGHAM
  ...I'll give you a hint, it's the
  city you live in.

 The class says the answer in unison.

        CLASS
  Philadelphia.

        MR. CUNNINGHAM
  Right...  Philadelphia is one of
  the oldest cities in the country. 
  A lot of generations have lived and
  died in this city...  Almost every
  place you visit has a history and a
  story behind it.
   (beat)
  Even this school and the grounds
  they sit on...  Can anyone guess
  what this building was used for a
  hundred years ago, before you went
  here, before I went to this school
  even?

 Stanley Cunningham looks over the class of blank faces.  He's
 just about to answer his own question when he sees a hand go up. 
 Mr. Cunningham looks surprised to see who it is.

        MR. CUNNINGHAM
  Yes, Cole?

        COLE
  They used to hang people here.

 Mr. Cunningham furrows his brow.  Beat.

        MR. CUNNINGHAM
  That's not correct.  Where'd you
  hear that?

        COLE
  They'd pull the people in crying
  and kissing their families bye... 
  People watching would spit at them.

 Beat.

        MR. CUNNINGHAM
  Cole, this was a legal courthouse. 
  Laws were passed here.  Some of the
  first laws of this country.  This
  building was full of lawyers. 
  Lawmakers.

        COLE
  They were the ones who hanged
  everybody.

 Mr. Cunningham chuckles.  Cole's face turns cement grey.

        MR. CUNNINGHAM
  I don't know which one of these
  guys told you that, but they were
  just trying to scare you, I think.

 Tommy Tammisimo leads the class in a wave of snickering.

 Cole glances up.  Sees all the eyes on him.  He glances at the
 teacher who is still staring.

        COLE
  I don't like people looking at me
  like that.

        MR. CUNNINGHAM
  Like what?

        COLE
  Stop it!

 Mr. Cunningham sees the traumatized expression‎ on Cole's face and
 instantly stops smiling.

        MR. CUNNINGHAM
  I don't know how else to look--

        COLE
  You're a stuttering Stanley!

 Mr. Cunningham's face becomes still.  So does the classroom.

        MR. CUNNINGHAM
  Excuse me?

        COLE
  You talked funny when you went to
  school here.  You talked funny all
  the way to high school!

 The class falls into stunned silence.  Mr. Cunningham takes an
 involuntary step towards Cole's desk.

        MR. CUNNINGHAM
  What--

        COLE
  You shouldn't laugh at people.  It
  makes them feel bad.

 Mr. Cunningham moves closer to Cole.

        MR. CUNNINGHAM
  How did you--?

        COLE
  Stop looking at me.

 Cole covers his eyes with his hands.

        MR. CUNNINGHAM
  Who have you been s-speaking to?

 We see Cole's mouth under his covered eyes.

        COLE
  Stuttering Stanley!  Stuttering
  Stanley!

        MR. CUNNINGHAM
  Who!

 Mr. Cunningham is standing right over Cole's desk now.

        COLE
  Stuttering Stanley!

        MR. CUNNINGHAM
  S-ssstop that!

        COLE
  Stuttering Stanley!  Stuttering
  Stanley!

        MR. CUNNINGHAM
  S-ssssstop it!

        COLE
  Stuttering--

        MR. CUNNINGHAM
  --Shhhhhhut upppp you fffffffreak!

 MR. CUNNINGHAM SLAMS HIS HAND ON COLE'S DESK.  Cole's hands drop
 from his eyes.  The teacher's face is burning red.

 The children in the room are frozen.  Completely startled.

 Cole's eyes are filled with tears.

 Mr. Cunningham's expression‎ drains of anger as Cole Sear begins
 to cry.

       CUT TO:

 INT. ANTHONY'S LIBRARY - SAME AFTERNOON

 Cole is seated in the school library by himself.  He sits at a
 long center table near the windows.  His head is laying on his
 folded arms on the table.

 Malcolm peeks his head in the door -- unsure if he's in the right
 place.  He spots Cole and enters the room.  He silently takes a
 seat across from Cole.  The eight-year-old looks up.  Cole's eyes
 are hard -- filled with anger.

        MALCOLM
  Hey, big guy.

 Cole stares for a second.

        COLE
  I don't want to talk about anything.

 Cole lowers his head.  Malcolm just sits and thinks.

 THE SOUND OF BOYS PLAYING SPORTS ON THE FIELD OUTSIDE FILTER IN
 THROUGH THE LIBRARY WINDOWS.

 Cole turns his head and stares at the windows.  Malcolm takes in
 the sad vision of this boy.  It affects him.  Beat.

        MALCOLM
  Do you like magic?

 Cole's face softens a bit.  He turns from the windows and looks
 to Malcolm.  Beat.  Cole nods, "Yes."

 Malcolm pulls out a penny from his pocket.  He places it in his
 right hand.

        MALCOLM
  Watch the penny closely.

 Malcolm closes his hand around the penny.

        MALCOLM
  I do the magic shake...

 Malcolm shakes his hand in circles.  Cole watches his hand
 carefully.

        MALCOLM
  And suddenly the penny has
  magically traveled to my left hand...

 Cole looks to Malcolm's closed left hand.  Malcolm doesn't open
 it.

        MALCOLM
  But that's not the end of the trick. 
  With another magic shake, the penny
  travels into my shirt pocket...

 Cole's eyes lock on Malcolm's shirt.  Malcolm taps the pocket but
 doesn't open it.

        MALCOLM
  But that's still not the end!...  I
  do a final magic shake...  and
  suddenly...  The penny returns to
  the hand where it started from.

 Malcolm opens his right hand.  The penny sits quietly in the
 center of his palm.

 Cole looks at the penny and then up to Malcolm's face.  Beat. 
 Cole cracks a smile.

        COLE
  That isn't magic.

        MALCOLM
  What?

        COLE
  You just kept the penny in that
  hand the whole time...

        MALCOLM
  Who me?

 Malcolm smiles a mischievous smile.  He places the penny on the
 table.  Cole stares at it and then looks to Malcolm.

        COLE
  I didn't know you were funny.

        MALCOLM
  I forgot myself.

 Malcolm and Cole share a warm look.

 THE SOUNDS OF KIDS LAUGHING AND PLAYING OUT ON THE FIELD COME
 POURING INTO THE ROOM AGAIN.

 Cole's expression‎ changes back to sadness as he looks to the
 windows.  Malcolm leans across the table and whispers.

        MALCOLM
  Cole...

 Cole looks at Malcolm.

        MALCOLM
  One day...
   (beat)
  You're going to sound just like
  them.

 Beat.  Cole's chin starts to tremble.  His voice cracks.

        COLE
   (whispers)
  Promise?

 Beat.

        MALCOLM
   (whispers)
  Promise.

 Malcolm and Cole sit in silence and listen to THE SOUND OF
 CHILDREN PLAYING.

       CUT TO:

 INT. HALLWAY - EVENING

 Malcolm sorts through the many bills on the mail table.

        WOMAN (o.s.)
  Malcolm, sit your cute butt down
  and listen up.
   (beat)
  Are you listening?

 Malcolm turns AT THE SOUND OF THE WOMAN, and moves into the empty
 living room where the T.V. is on.  A blanket lays crumpled on the
 sofa.

 THE WOMAN'S VOICE IS COMING FROM A VIDEO PLAYING ON THE VCR. 
 IT'S A WEDDING VIDEO.  A LARGE WOMAN IN A BRIDESMAID DRESS STANDS
 HOLDING THE MICROPHONE.   IN THE BACKGROUND, WE CAN SEE THE DANCE
 FLOOR.

        BRIDESMAID
   (T.V.)
  No doubt about it.  Anna's like my
  sister.  You better make her happy... 
  And I'm not talking about -- mmm
  this tastes like real butter --
  kind of happy...  I'm talking about
  Julie Andrews twirling around like
  a mental patient on a mountain top
  -- kind of happy.

 THE LARGE BRIDESMAID BECOMES VERY EMOTIONAL.

        BRIDESMAID
   (T.V.)
  You're really lucky.  She's got so
  much love for you.  Don't tell her
  I told you, but she said she loved
  you from the first time she met you
  on the street.  She'd do anything
  for you.
   (crying)
  I love you guys.
   (more crying)
  My nose is running.  Why isn't
  someone getting me a tissue?

 THE WOMAN HANDS THE MICROPHONE TO SOMEONE OFF SCREEN.  THE CAMERA
 PANS AWAY FROM HER AND ZOOMS IN ON THE DANCE FLOOR.  MALCOLM AND
 ANNA ARE SLOW DANCING.  THEY'RE WHISPERING AND LAUGHING WITH EACH
 OTHER.  THE HAPPINESS FROM THEM IS TANGIBLE.

 Malcolm can't help smiling as he stares at the flickering images. 
 He turns and looks down the hall to their bedroom.

       CUT TO:

 INT. BEDROOM - EVENING

 Malcolm moves into their bedroom.

 THE SOUND OF A SHOWER CAN BE HEARD FROM THE BATHROOM.

 Malcolm moves to the bathroom door and opens it slowly.

       CUT TO:

 INT. BATHROOM - EVENING

 Malcolm steps into the bathroom quietly.  He stares at the
 silhouette of Anna's body through the smoked glass of the shower. 
 Anna stands still, her head tilted back.

 Malcolm watches quietly.  By his experience, it's clear he's
 taken by his wife's beauty.

 Malcolm starts towards the shower when his eyes glance to the
 sink.  Malcolm locks on a tiny bottle resting on the marble
 surface.

 He reaches out and picks it up.  The label on the plastic bottle
 reads,

  "Zoloft Anti-depressant"
  "To be taken twice daily"

 Malcolm gently puts down the plastic bottle.  He gazes at the
 still figure of his wife as the water covers her.

 Malcolm leaves the bathroom.  He makes sure not to make a noise
 with the door as he closes it shut.

       DISSOLVE TO:

 EXT. DARREN'S HOUSE - DAY

 Colorful balloons flutter in the wind in front of an old grey
 stone home.

 INT. DINING ROOM - DAY

 Cole and an overweight boy named BOBBY are seated at a dining
 table covered in colorful paper.  A stack of birthday presents
 are sitting on the table next to a cake.

 The house is filled with the SOUND OF CHILDREN PLAYING AND
 LAUGHING.

 Cole and the overweight boy are the only ones in the dining room. 
 Bobby watches with a dull expression‎ as Cole moves his hand in
 circles in the air.

        COLE
  ...Then you do the magic shake. 
  And now the penny moves from my
  pocket all the way to the hand it
  started in.

 Cole smiles and holds out his hand.  His fingers open to reveal
 the penny.

 Bobby stares.

        BOBBY
  That's stupid.

 Cole loses his smile.

        COLE
  It's supposed to be funny.

        BOBBY
  It's stupid.

 Cole and the overweight boy stare at each other.

        BOBBY
  Give me my penny back.

 Cole gives the boy his penny.  Beat.  Cole gazes at Bobby.

        COLE
   (almost inaudible)
  ...Don't be sad.

 Bobby looks up sharply.

        BOBBY
   (hard)
  What'd you say?

        COLE
   (shaken)
  ...Nothing.

 Bobby stares down at him before returning his attention to his
 tattered napkin.

 The two boys sit in silence.

       CUT TO:

 INT. KITCHEN - AFTERNOON

 Cole sits alone in the corner of the living room.  The open
 kitchen doorway is next to him.  Inside the kitchen are Lynn and
 DARREN'S MOM speaking.  It's clear they're from different worlds. 
 Lynn is wearing tight clothes with hair teased to dramatic
 heights.  Darren's mom is in a designer suit.

        LYNN
  ...He doesn't get invited places.

        DARREN'S MOM
  It's our pleasure.

        LYNN
  The last time was a Chuck E. Cheese
  party a year ago.  He hid in one of
  those purple plastic tunnels and
  didn't come out.

        DARREN'S MOM
  Chuck E. who?

        LYNN
  Cheese.  It's a kid's place.

 Darren's mom smiles formally and turns to give the catering
 people instructions on how to lay out the food on her sterling
 silver trays.

        LYNN
  He's my whole life.

 Darren's mom turns back to Lynn, the forced smile on her face.

        LYNN
  I work at an insurance place and at
  Penny's, so Cole can go to that
  good school.

        DARREN'S MOM
  J. C. Jenny's?

 Lynn nods "Yes."

        DARREN'S MOM
   (bullshit)
  Good for you.

        LYNN
  I wish I could be like my momma
  though.  She always knew what was
  wrong.  Knew just what to say.

 Darren's mom glances at her expensive watch.

        LYNN
  Cole's going through something bad. 
  He won't talk to me.
   (beat)
  I'm his momma.
   (emotional)
  And I don't know what's wrong and
  I don't know what to say.

 Lynn drowns in her thoughts.  Cole moves away from the kitchen
 with sad eyes.

       CUT TO:

 INT. HALL - AFTERNOON

 Cole walks past two expensively-dressed mothers eating hors
 d'oeuvres as they move down the hallway.

        MRS. WESTON
  Did you have the Brie?

        MRS. SAUNDERS
  It tasted like cheese whiz.

 They pass when Cole moves down the shiny mahogany wood hallway. 
 The women's conversation FADES AWAY behind him.

 Cole turns a corner and comes to a dead stop.  He turns white as
 he stares at an open CRAWL SPACE CLOSET a few feet away.  Cole's
 eyes are riveted in the darkness of the closet.  Beat.

 THE HALLWAY ERUPTS WITH NOISE AS THE CHILDREN RUN IN FROM THE
 BACKYARD.

 Tommy Tammisimo is one of the children.  He talks with the
 birthday boy, DARREN, a skinny kid in a party hat.

        TOMMY
  I even got a trailer.

        DARREN
  For what?  You only had one line.

        TOMMY
  You're slow, you know that.  The
  star of the commercial always has
  his own trailer.  You need to think
  about your character alone.

 Tommy glances down the hall and sees Cole standing frozen staring
 at the crawl space closet.

 Tommy grabs Darren.

        TOMMY
  Darren, check it out.

      DARREN looks down the hall to Cole.

        DARREN
  My dad made me invite him.

 Tommy nudges Darren to move down the hall.  Cole breaks from his
 trance as Tommy and Darren walk up.

        COLE
  Happy birthday, Darren.

        TOMMY
  Something you want to see in there?

 Tommy points to the crawl space.

        COLE
   (too quick)
  --No.

 Beat.  Tommy looks to Darren and then back to Cole.

        TOMMY
  We're going to put on a pretend
  play.  You want to be in it?

 Beat.

        COLE
  ...Okay.

        TOMMY
  It's called, "Locked in the Dungeon."

 Tommy stares at Darren.  Darren finally gets it.

        DARREN
  Yeah, Cole...  you get to be the
  one locked in the dungeon.

 It happens too quick for Cole to react.  Darren and Tommy shove
 Cole backwards.  He stumbles into the darkness of the crawl space.

        COLE
  Don't!

 Tommy slams the door closed.  Darren turns the lock.  They crack
 smiles at each other as Cole bangs on the door.

 The BANGING GOES ON FOR A FEW SECONDS AND THEN IT JUST STOPS.

 SILENCE.

 Darren and Tommy look at each other and then back at the crawl
 space door.

 Then THE SCREAMING BEGINS.

 Darren and Tommy back away from the door as COLE SCREAMS IN
 TERROR at the top of his lungs.  He CRASHES OVER AND OVER against
 the door.  HIS BODY SLAMMING AGAINST THE WOOD.  The DOOR RATTLES
 like it's going to break off its hinges.

 The two boys are statues as Cole's BLOOD-CHILLING YELLS FILL THE
 HALLWAY.

 FOOTSTEPS SPIKE THE AIR AS children and mothers come running down
 the hall.  Lynn is one of them.

 Darren's mother turns the corner.

        DARREN'S MOTHER
  Who's making that noise?

 She looks to the closet.  THE HIGH-PITCHED SCREAMS CUT THROUGH
 THE HALL.

        LYNN
  Cole!

 Lynn and Darren's mom rush to the door and turn the knob...  The
 door flies open.  Lynn reaches in and pulls out Cole.  He's
 UNCONSCIOUS.

 Darren's mom looks into the crawl space -- there's nothing inside
 except a couple packing boxes in the back.  She looks to Lynn. 
 She turns around with Cole in her arms.

        LYNN
   (desperate whispers)
  Help me get him in the car.

       CUT TO:

 INT. HOSPITAL RECEPTION AREA - AFTERNOON

 Colorful murals don the curved walls of the pediatric reception
 area.

 A spattering of children accompanied by adults sit and wait.

 Lynn and Malcolm are seated at a children's play table.  A game
 made of a maze of wires sit on the table in front of them.

 A young resident DR. HILL takes a seat at the table with them. 
 He opens up his notes.
 
        LYNN
  What's wrong with Cole?

 Beat.

        DR. HILL
  The tests indicate he did not have
  a seizure.  In fact he's doing fine. 
  After some rest, he could go home
  tonight.

 Lynn closes her eyes.  Lets out a tense breath.  Beat.  Malcolm
 eyes the doctor as he glances back to an academic-looking woman
 standing at the reception room door.

        MALCOLM
  There's something else going on,
  Lynn.

 Lynn opens her eyes and catches the doctor's expression‎.

        LYNN
  What is it?

        DR. HILL
  There are some scratches and
  bruises on your son that concern me.

        MALCOLM
  Oh, man.

        LYNN
  Those are from sports, from playing. 
  He's not the most coordinated kid,
  but I don't want him to stop trying,
  you know what I mean?

 Doctor Hill gestures to the woman standing near the doorway.

        DR. HILL
  Mrs. Sloan over there is our social
  worker at the hospital.  She's
  going to ask you some procedural
  questions.

        LYNN
  You think I hurt my child?
   (emotional)
  You think I'm a bad mother?

        DR. HILL
  At this point it's just procedure. 
  And you should probably calm down.

        MALCOLM
  How do you expect her to react?

        LYNN
  You want me to answer your
  questions?

        DR. HILL
   (sarcastic)
  I'm sorry if I was being vague --
  yes, I do.

        LYNN
  Who's going to answer mine, you
  dick.

 Dr. Hill stares at her before closing up his files.

        LYNN
   (raising voice)
  What happened to my child today?

 Dr. Hill gets up.

        LYNN
  Something was happening to him --
  physically happening.  Something
  was very wrong.

 Dr. Hill hands his files to MRS. SLOAN and exits the reception
 room without looking back.

 Everyone in the reception room stares at Lynn.  Mrs. Sloan walks
 up to the table and waits.

 Lynn takes a second.  Wipes her eyes.  Gathers her considerable
 strength.  Beat.

        LYNN
  How long will these questions take?

       CUT TO:

 INT. HOSPITAL ROOM - NIGHT

 Cole lays rigid in the hospital bed.  Blankets bundled around him
 as if to shield him.  Cole's eyes fixed out the window.

 Malcolm quietly enters through the half-opened door to the room. 
 Cole spots him.  Visibly relaxes.

        MALCOLM
  I've decided we shouldn't schedule
  sessions anymore.  I'll just follow
  you around.

 Cole smiles weakly as Malcolm takes a seat on a rolling metal
 chair.

 Malcolm notices Cole's legs emerging from under the hospital
 gown.  Cole is wearing A MAN'S DRESS SOCK.  The baggy folds ride
 up all the way to his knees.

        MALCOLM
  Your father ever tell you bedtime
  stories?

        COLE
  Yes.

 Malcolm looks at Cole.  Malcolm makes a decision.  He rolls in
 the chair across the room as he thinks.  Beat.

        MALCOLM
  Once upon a time there was a prince,
  who was being driven around...  He
  drove around for a long, long time... 
  Driving and driving...  It was a
  long trip...  He fell asleep...
   (beat)
  When he woke up, they were still
  driving...  The long drive went on--

        COLE
  Dr. Crowe.

        MALCOLM
  Yes.

        COLE
  You haven't told bedtime stories
  before?

        MALCOLM
  No.

        COLE
  You have to add some twists and
  stuff.  Maybe they run out of gas.

        MALCOLM
  No gas...  Hey, that's good.

 They sit in silence.  Malcolm works on a new plot in his head.

        COLE
  Tell me a story about why you're
  sad.

 Beat.

        MALCOLM
  Do you think I'm sad?

 Cole nods, "Yes."

        MALCOLM
  What makes you think that?

        COLE
  Your eyes told me.

 Beat.  Malcolm's affected by his client.

        MALCOLM
   (rote)
  I'm not supposed to talk about
  stuff like that.

 Cole smiles softly.

 Malcolm stares at the tired child sitting before him in the
 hospital bed.

 Malcolm rolls his stool away from his client as he thinks.

 Beat.  He slowly moves the rolling chair closer to Cole's bed.

        MALCOLM
  ...Once upon a time there was this
  person named Malcolm.  He worked
  with children.  Loved it more than
  anything.
   (smiles)
  Then one night, he finds out he
  made a mistake with one of them. 
  Didn't help that one at all.  He
  thinks about that one a lot.  Can't
  forget.
   (beat)
  Ever since then, things have been
  different.  He's become messed up. 
  Confused.  Angry.  Not the same
  person he used to be.
   (beat)
  His wife doesn't like the person
  he's become.  They don't speak
  anymore.  They're like strangers.

 Malcolm breaks from his thoughts and looks at Cole who watches
 him with unwavering attention.  Malcolm smiles.

        MALCOLM
  And then one day this person
  Malcolm meets a wonderful boy who
  reminds him of that one.  Reminds
  him a lot of that one.  Malcolm
  decides to try to help this new boy. 
  He thinks maybe if he can help this
  boy, it would be like helping that
  one too.

 Malcolm leans forward, whispers with emotional eyes.

        MALCOLM
  I don't know how the story ends. 
  I hope it's a happy ending.

        COLE
  Me too.

 Cole looks at Malcolm's caring eyes.  Cole stares at Malcolm a
 long time.

 EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.

        COLE
  I want to tell you my secret now.

 Malcolm blinks very slowly.

        MALCOLM
  Okay.

 Cole takes an eternal pause.  A silent tension engulfs them both.

        COLE
  ...I see people.

 Malcolm just gazes quietly.

        COLE
  I see dead people...  Some of them
  scare me.

 Beat.

        MALCOLM
  In your dreams?

 Cole shakes his head, "No."

        MALCOLM
  When you're awake?

 Cole nods, "Yes."

        MALCOLM
  Dead people, like in graves and
  coffins?

        COLE
  No, walking around, like regular
  people...  They can't see each
  other.  Some of them don't know
  they're dead.

        MALCOLM
  They don't know they're dead?

 Beat.

        COLE
  I see ghosts.

 Malcolm becomes completely motionless.  Works to hide his shock. 
 He and Cole stare at each other a long time.

        COLE
  They tell me stories...  Things
  that happened to them...  Things
  that happened to people they know.

 Beat.  Malcolm's words are extra-controlled.  Revealing nothing.

        MALCOLM
  How often do you see them?

        COLE
  All the time.  They're everywhere.
   (beat)
  You won't tell anyone my secret,
  right?

 Beat.

        MALCOLM
  ...No.

        COLE
  Will you stay here till I fall
  asleep?

 Malcolm nods, "Yes."  Cole pulls the covers up to his chin and
 turns to the window in the room.  Malcolm is very still and
 stares at Cole.

 MALCOLM'S EYES -- slowly turn and survey the room.  They find
 nothing.  Malcolm returns to watching Cole.

 COLE'S EYES LOOK AROUND THE ROOM WARILY...  WE MOVE IN ON THEM --
 TILL HIS EYES FILL THE FRAME.

 Beat.

 And then we see what he's staring at.  Through Cole's hospital
 room window we see the adjacent wing of the hospital building. 
 Rows of hospital room windows are visible.  In the windows are
 patients...  SOME OLD, SOME YOUNG...  SOME ARE DRESSED IN MODERN
 HOSPITAL GOWNS...  SOME FROM DECADES PAST.

 THEY STAND UNNATURALLY STILL IN THEIR WINDOWS...  WATCHING,
 WAITING.

       CUT TO:

 EXT. STREET CORNER - NIGHT

 Malcolm hails a cab.  He steps off the sidewalk lost in his
 thoughts. Steam rises from a street vent.  HEADLIGHTS.  A CAR
 SUDDENLY EMERGES FROM THE STEAM, NARROWLY MISSING MALCOLM. 

 Malcolm jerks out of the way.  His briefcase falls to the ground. 
 His tape recorder falls to the sidewalk.  Beat.  Malcolm reaches
 down and picks it up.

        MALCOLM
  Cole...
   (beat)
  His pathology is more severe than
  initially assessed.
   (beat)
  He's suffering from visual
  hallucinations, paranoia --
  Symptoms of some kind of school age
  Schizophrenia.
   (beat)
  Medication and hospitalization may
  be required.

 CLICK.  Malcolm's hand with the tape recorder drops to his side.

        MALCOLM
   (whispers)
  I'm not helping him.

 Malcolm stares into the night.  He stands alone as thoughts crash
 like thunder in his head.

       CUT TO:

 INT. CAR - NIGHT

 The STREETS TURN RED as Lynn drives home from the hospital in
 silence.  She glances down to her right.

 Cole is curled up asleep on the passenger seat, back in his
 regular clothes, a tiny party hat clutched in his hand.  He looks
 like a four-year-old.

 The sight of him exhausted and still, hits Lynn hard.

 Lynn's face drowns in deep concern.  She lays a hand on Cole's
 head as she drives.

       CUT TO:

 INT. COLE'S HOUSE - NIGHT

 The front door opens, Lynn carries Cole in.  He's asleep on her
 shoulder.  She carries him down the hall to his BEDROOM. 

 Lynn lays Cole gently on his bed next to his German Shepherd
 Puppy.  Cole curls up with Sebastian.

 Lynn watches the two youngsters sleep for a moment.  Cole is
 curled up asleep with a tiny party hat clutched in his hands.  He
 looks like a four-year-old.  Lynn has been carrying Cole's
 sweater from over her shoulder.  She pulls it off and begins to
 fold it.  Her attention is drawn to the sweater.  She fingers the
 fabric of the back.  IT'S RIPPED.  Her eyes move to Cole.  In the
 middle of the back of his T-shirt are THREE SMALL TEARS.  Lynn
 pushes the fabric open with her fingers and sees DEEP FINGERNAIL
 LIKE SCRATCHES on his skin.

 Lynn looks around helplessly, fear creeping into her eyes.

       CUT TO:

 INT. HALL - NIGHT

 Lynn emerges from Cole's room.  She turns OFF THE HALL LIGHTS as
 she moves into her room and closes the door.

 WE HEAR LYNN PICK UP A PHONE AND DIAL.  Beat.

        LYNN
  Hi, this is Lynn Sear, Cole's
  mother.  I wonder if we could
  talk about your son and his
  friends keeping their goddamn
  hands off my boy?

 The thermostat on the wall reads seventy-eight degrees.

       DISSOLVE TO:

 INT. HALL - NIGHT

 A few hours later.  The house seems threateningly still.  Too
 still.

       CUT TO:

 INT. COLE'S HOUSE - NIGHT

 
 An unnatural silence fills each room of the house.

 The thermostat on the wall now reads, fifty-two degrees.

 A LIGHT TURNS ON FROM UNDER COLE'S DOOR.

 The door opens a crack.  Cole's tiny face peeks out.  Eyes scan
 the darkness.

 The door opens a little bit more.  Cole's knees are pressed
 together.  His body dances a little.  Cole has to pee.  He moves
 cautiously into the hall.

 Cole moves briskly to a door halfway down the corridor.  Opens
 it.  Cole turns on the LIGHT IN THE BATHROOM.

 He checks behind the shower curtain, before he turns his back and
 pees into the toilet.

 A LARGE FIGURE MOVES PAST THE DOORWAY.

 Cole instantly stops peeing.  His body becomes very still.  He
 slowly reaches for the toilet handle and flushes.  He closes his
 pants and turns.  He doesn't come out of the bathroom at first. 
 He just stands there and stares into the darkness of the hall. 
 HIS BREATH FORMS TINY CLOUDS IN THE COLD AIR.

 Beat.  Cole finally steps out into the hallway.  His eyes catch a
 SLANT OF LIGHT now coming from the kitchen.

 Cole hesitates before being drawn to the kitchen.  He moves down
 the hall and turns the corner -- coming to a stop in the doorway
 of the kitchen.

       CUT TO:

 INT. KITCHEN - NIGHT

 Cole stares at the back of a person cooking food on the stove. 
 Cole's fear slowly fades away.  Beat.

        COLE
  Momma?
   (beat)
  Dream about daddy again?

 The person turns.  It's not Lynn.  It's a strange woman.  The
 woman's face is demented.  A purple gash cuts across her
 forehead.  ALL THE CABINETS AND DRAWERS ARE OPEN BEHIND HER.

        WOMAN
  DINNER'S -- NOT -- READY!

 Cole's face turns the color of ash.

        WOMAN
  What are you going to do?

 Cole backs up to the doorway.

        WOMAN
  You can't hurt me anymore!

 The woman smiles menacingly as she thrusts her wrists forward... 
 They've been savagely cut. 

       CUT TO:

 INT. HALLWAY - NIGHT

 Cole turns and runs down the hall.

       CUT TO:

 INT. BEDROOM - NIGHT

 Cole runs across his room.

 He heads right for the homemade tent seated in the corner with
 the "DO NOT TOUCH" sign on it.  He scurries in.  His legs
 disappear as the bedsheets flap closed behind him.

 The crazed woman stands at the end of the hall.  Doesn't come any
 closer.

       CUT TO:

 INT. TENT - NIGHT

 Cole is curled up in the tent.  He lays still for a moment
 reaching over and FLICKING ON A FLASHLIGHT.

 The red interior of the tent gets LIP UP.

 It's a striking sight.  The bedsheet walls of the tent are lined
 with religious pictures taped to the walls.  Tiny statues of
 saints surround the interior perimeter.  We see the statue Cole
 stole from the church is in here...  This tent is a sanctuary
 made by an eight-year-old to hide in.

       DISSOLVE TO:

 INT. AUDITORIUM STAGE - AFTERNOON

 THE LIGHTS IN THE GYM GO DOWN.  THE SPOT LIGHT OPENS ON THE STAGE
 AS THE CURTAINS MOVE TO THE SIDES...

 A sign to the side of the stage reads, "The third and fourth
 grade presents -- Rudyard Kipling's "The Jungle Book."

 The parents APPLAUD AS TOMMY TAMMISIMO WALKS OUT ON STAGE in a
 villager's outfit.

        TOMMY
   (Decent British accent)
  There once was a boy, very
  different than other boys.  He
  lived in the jungle, and he could
  talk with the animals.

 BACKSTAGE, Mr. Cunningham cues the rest of the children.

 THE AUDIENCE APPLAUDS AS THE FULL CAST OF THE ACTORS COME OUT. 
 Some are villagers, others are dressed as trees and animals.

 Cole comes on stage holding a painted cardboard monkey.

 MALCOLM APPLAUDS FROM THE BACK OF THE AUDITORIUM.

       CUT TO:

 INT. SCHOOL CORRIDOR - AFTERNOON

 The arched halls of the private school are lined with posted
 drawings and test papers.

 Cole and Malcolm walk down an empty hall.

        COLE
  Did you think the play sucked big
  time?

        MALCOLM
  What?

        COLE
  Tommy Tammisimo acted in a cough
  syrup commercial.  He thought
  everybody was self-conscious and
  unrealistic.  He said the play
  sucked big time.

        MALCOLM
  I know every child is special in
  their own way, but Tommy sounds
  like a punk.
   (Cole smiles)
  I thought the play was excellent. 
  Better than Cats.

        COLE
  Cats?

        MALCOLM
  Never mind.

 Beat.  They continue down the hall in silence.  Malcolm takes his
 time.

        MALCOLM
  Cole, I was really interested in
  what you told me in the hospital,
  I'd like to hear more about it.

 Malcolm stops at a set of doors at the end of the hall --
 realizes Cole is no longer next to him.  Malcolm turns to find
 Cole frozen about ten feet back.

 Malcolm walks to him.  He notices Cole's expression‎ as he gets
 closer.

        MALCOLM
  What's wrong?

 Cole points to the doors.

        MALCOLM
  Is something in there?

 Cole doesn't say anything.  Beat.

       CUT TO:

 INT. GYMNASIUM - AFTERNOON

 It's a large shadowy GYM.  Climbing ropes hang from the wood
 beamed ceiling.

 Cole is trembling slightly as he stands next to Malcolm.

        MALCOLM
  What is it?

 Malcolm follows the child's gaze to the ceiling of the gym.

        MALCOLM
  I don't see.

 Beat.

        COLE
  Be real still.

 Malcolm looks to Cole and then turns back to the ceiling. 
 Malcolm's body becomes very still.  Beat.

        COLE
  Sometimes you feel it inside. 
  Like you're falling down real fast,
  but you're really just standing
  still.

 Malcolm looks at the wood beams and climbing ropes.

        COLE
  You ever feel prickly things on the
  back of your neck?

 Beat.

        MALCOLM
  Yes?

        COLE
  And the tiny hairs on your arm. 
  Are they all standing up?

 Malcolm glances at Cole.  Surprise on his face.

        MALCOLM
  -- Yes.

 Beat.

        COLE
   (whispers)
  When they get mad, it gets cold.

        MALCOLM
  Them?

 Malcolm looks at the empty stairwell and then back to Cole.

 Nothing is said for a few moments.

        MALCOLM
  I don't see anything.
   (beat)
  Are you sure they're there?
   (beat)
  Cole?

 Malcolm turns back to Cole, he finds the child with tears in his
 eyes.  Cole looks at Malcolm desperately.

        COLE
  Please make them leave.

 Malcolm stares helplessly.

        MALCOLM
   (whispers)
  I'm working on it.

 Malcolm gently leads Cole away from the stairs.

 COLE GLANCES BACK AS HE MOVES OUT OF THE STAIRWELL.

 COLE'S P.O.V. -- The ropes and school banners dangling at the top
 of the stairs sways a little...  But so do THE THREE BODIES
 HANGING BY THEIR NECKS FROM A WOODEN BEAM.

 It's a truly horrific sight.  A BLACK MAN in britches and no
 shirt, face beaten to a pulp, hangs in the center.  A WHITE WOMAN
 in a torn white frilly dress -- tears soaking her face, hangs to
 the right.  A small MIXED RACE CHILD in half pants, hangs to
 their left.  The family stares at Cole.  They follow Cole with
 their tortured eyes as he exits the stairwell.

       CUT TO:

 EXT. HISTORIC PHILADELPHIA - NIGHT

 Malcolm walks from the bus stop over the cobblestone streets in
 front of Head House Square.  The streets are quiet and dark. 
 Night time has fallen over the city.

 He slowly comes to a stop in front of an old building.  He holds
 his arm up.  Uses his other hand to gently touch his hairs on his
 arm's surface.

 Malcolm looks up slowly.  Looks around.  The dark shadows fill
 the corners of the historic building...

 Malcolm stares into the darkness...  Beat.

        MALCOLM
   (whispers)
  ...Is anyone there?

 A long moment as he waits.  The shadows seem to move, then
 becomes still.

 Malcolm shakes off the moment.  He returns his hands to his
 pockets as he moves through the dark streets of Philadelphia to
 his home.

       CUT TO:

 INT. HALL - NIGHT

 The doorway to Malcolm and Anna's bedroom is open.  STRAINED
 VOICES SPILL OUT INTO THE HALLWAY.

        MALCOLM (o.s.)
  Look, he's an eight-year-old child. 
  He's my only client.  If he invites
  me to his play, I'm not thinking
  about how late I get back...  I go. 
  I have to go.  You know that. 
  That's the only way I know how to
  work.
   (beat)
  Vincent said I failed him.
   (raising his voice)
  I WON'T GIVE COLE A CHANCE TO SAY
  THOSE WORDS TO ME!  I WON'T!

 Beat.  THE PORTABLE PHONE RINGS OUT IN THE HALL.

        MALCOLM (o.s.)
  Please let it ring.

 WE HEAR MOVEMENT.  Anna emerges from the bedroom.  Eyes raw.  She
 wipes her tears.

 She picks up the phone and moves down the stairs.

 Malcolm walks out into the hall.  Stops at the top of the stairs.

 ANNA'S VOICE CAN BE HEARD SPEAKING ON THE PHONE from downstairs.

        ANNA
  I can't talk now.

 Malcolm doesn't hear anything as Anna listens to the person on
 the phone.  She smiles as she wipes her tears.  He starts for the
 basement door again.

        ANNA
   (whispers)
  I thought about you too.

 Malcolm turns.  He stands frozen at the top of the stairs. 
 Anna's HUSHED WORDS RISING IN THE AIR LIKE A GUN BLAST.

       CUT TO:

 INT. KITCHEN - NIGHT

 Lynn adjusts the thermostat as she tries to keep herself warm.

        LYNN
  I don't care what they say, this
  thing is definitely broken.

 Lynn fiddles with the dials.  Cole is standing before the beat-up
 twelve inch kitchen T.V.

 ON THE TELEVISION SCREEN is Tommy Tammisimo.  He stands in his
 pajamas in a doorway.  He coughs.

        TOMMY
   (on T.V.)
  Mommy, my throat hurts.

 Cole watches as Tommy's T.V. mother and father give him a
 spoonful of medicine.

        NARRATOR
   (on T.V.)
  Pediaease Cough Suppressant... 
  gentle, fast, effective.

 Cole watches Tommy running around in his T.V. background, the
 very next T.V. morning.  He's not sick anymore.  Tommy waves to
 the camera smiling and healthy.  The T.V. goes BLACK as Cole
 throws his shoe at the power button.

 He moves to the dinner table where Lynn is seated.  Cole sits. 
 His hands go on the table.  He's wearing a pair of his father's
 extra large LEATHER GLOVES.  Cole's small hands don't even fill
 the palm area.  Cole has difficulty trying to pick up his milk
 glass with the gloves.

        LYNN
  Take 'em off.

 Cole removes the gloves from his hand and places them next to his
 plate.

        LYNN
  I don't want them on my table.

 Cole moves them to the floor.

 Lynn is irritated, this is a sore point between them.

 Lynn and Cole eat quietly.  Beat.

        LYNN
  I saw what was in your bureau
  drawer when I was cleaning.

 Cole looks up.  An anxious expression‎ on his face.  Beat.

        LYNN
  You got something you want to
  confess?

 Cole just stares.

        LYNN
  The bumble bee pendant.  Why do you
  keep taking it?

 Cole looks down at his lap.

        LYNN
  It was Grandma's.  It's not for
  playing.
   (beat)
  What if it broke?  You know how sad
  I'd be.

        COLE
  You'd cry.  Cause you miss grandma
  so much.

        LYNN
   (soft)
  That's right.  So why do you take
  it, sweetheart?

        COLE
  Sometimes people think they lose
  things and they didn't really lose
  them.  It just gets moved.

        LYNN
  Did you move the bumble bee pendant?

 Cole shakes his head, "No."  Lynn just stares.

        LYNN
  You didn't take it before.  You
  didn't take it the time after that. 
  And now, you didn't take it again?

        COLE
  Don't get mad.

        LYNN
  So who moved it?

 Cole doesn't answer.

        LYNN
  There's only two of us.
   (beat)
  Maybe someone came in our house --
  took the bumble bee pendant out of
  my closet, and then laid it nicely
  in your drawer?
   (beat)
  Is that what happened?

        COLE
   (soft)
  Maybe.

 Lynn just stares at Cole.

        LYNN
  I'm so tired, Cole.  I'm tired in
  my body.  I'm tired in my mind. 
  I'm tired in my heart.  I need a
  little help here.
   (beat)
  I don't know if you noticed -- but
  our little family isn't doing so
  good.

 Lynn folds her napkin quietly.

        LYNN
  I'm praying for us, but I must not
  be praying right.
   (beat)
  It looks like we're just going to
  have to answer each other's prayers. 
  If we can't talk to each other --
  we're not going to make it.
   (beat)
  Now baby, tell me...  I won't be
  mad, honey...  Did you take the
  bumble bee pendant?

 Beat.  Cole's eyes start to water up.

        COLE
  No.

 Lynn goes cold.

        LYNN
  You've had enough roast beef.  You
  need to leave the table.

 Cole just stares at his mother's expression‎.

        LYNN
   (yells)
  Go!

 Cole gets up -- never taking his eyes off his mother -- and
 leaves the room.

       CUT TO:

 INT. HALL - NIGHT

 Cole enters the DARK HALLWAY.  He gets startled by the SOUND OF
 HIS PUPPY GROWLING.

 Sebastian comes racing down the hall and scurries past Cole. 
 Cole watches his puppy dart into the living room and under a
 couch.

 Cole slowly turns back and looks down the hall.

 THE DOOR TO COLE'S ROOM SITS AT THE END OF THE CORRIDOR.  IT'S
 ALMOST SHUT.  COLE WATCHES AS THE DOOR BEGINS TO OPEN VERY
 SLOWLY.  IT OPENS WIDE.  COLE DOESN'T MOVE AN INCH.

 SUDDENLY IN THE STILLNESS AND THE DARKNESS, A SMALL FIGURE
 SCURRIES FROM ANOTHER BEDROOM INTO THE BLACKNESS OF COLE'S ROOM. 
 IT HAPPENS LIKE A FLASH.

 Cole stops breathing.

 THE FIGURE SLOWLY STEPS OUT FROM COLE'S DOORWAY.

 IT'S A BOY.  A FEW YEARS OLDER THAN COLE.

 THE BOY WHISPERS IN A LOW, HOARSE VOICE.

        BOY
  Come on...  I'll show you where my
  dad keeps his gun...  Come on.

 THE BOY TURNS.  WE SEE THAT THE BACK OF HIS HEAD IS MISSING AS HE
 DISAPPEARS INTO THE DARKNESS OF COLE'S ROOM.

 Cole is too terrified to move.

       CUT TO:

 INT. KITCHEN - NIGHT

 Lynn is kneeling on the kitchen floor trying to coax the puppy
 out of the broom closet.

        COLE (o.s.)
  Momma.

 Lynn turns -- surprised to hear her son's voice.  Lynn's eyes are
 red from crying.  She wipes them quickly with the back of her
 hand.

 Mother and son look at each other.  Beat.

        COLE
  If you're not very mad...  Can I
  sleep in your room tonight?

 Lynn fights back some tears.

        LYNN
  Look at my face, Cole.

 Cole does.  Lynn smiles at her son.

        LYNN
  I'm not very mad.

 Lynn hugs him.  Beat.

        LYNN
  Baby...  Why are you shaking?

 Cole doesn't answer.

        LYNN
  Cole, what's wrong?

 Cole just closes his eyes and holds his mom tight.

        LYNN
   (desperate)
  ...Please tell me.

 Cole doesn't say a word.

        LYNN
   (crying)
  Please.

       CUT TO:

 INT. ANTIQUE STORE - DAY

 We are in an antique store.  Filled floor to ceiling with
 furniture and knickknacks.

 Anna stands with a YOUNG COUPLE.  All three lean over and peer
 into a glass cabinet.

 An antique engagement ring sits on a velvet stand.

        ANNA
  It's Edwardian.  Beautifully worked. 
  Entirely platinum with a mine cut
  diamond and an actual color Burmese
  Sapphire...  It's timeless.

        YOUNG MAN
  You got anything a little plainer?

 The young woman looks at her beau.

        YOUNG WOMAN
  Plainer?  You want a plain ring to
  go with your plain fiance.  Is that
  how it is?

        YOUNG MAN
  No, baby.  Don't get in a tizzy. 
  It's just...  you're so beautiful... 
  you're like a Burmese Sapphire all
  by yourself.  You don't need all
  that.

        YOUNG WOMAN
   (disbelief)
  Uh-huh.

 Anna smiles as she takes the ring out of the cabinet.

        ANNA
  Why don't you two hold it?

 She places it in their hands.

        ANNA
  Do you feel longing?

        YOUNG WOMAN
  Excuse me?

        ANNA
  When I touch this piece I feel a
  longing.  I imagine the woman who
  owned this, loved a man deeply she
  couldn't be with.

 The young woman looks at Anna with great intrigue.

        YOUNG WOMAN
  Did he have wavy hair and broad
  shoulders?

 The young man throws an odd glance at his fiance.

        ANNA
  I don't know...  But maybe...
   (beat)
  A lot of the pieces in this store
  give me feelings.  I think maybe
  when people own things and then
  they pass away -- a part of
  themselves gets printed on those
  things -- like fingerprints.

 Beat.  The young man and the young woman gaze at Anna silently.

 They look down at the ring.  They place their hands on it
 reverently, delicately -- like checking for a pulse.

 Anna can't hold back her sweet smile.

       CUT TO:

 INT. ANTIQUE STORE - DAY

 Anna moves to the back desk where SEAN comes out.  He's carrying
 an antique bench in his arms. He places it down and takes a much
 needed seat.

        SEAN
  You don't need someone with a
  masters.  You need a wrestler guy
  whose neck is larger than his head.

        ANNA
  I need a wrestler with a masters.

 Anna fills out the paperwork for the ring.

        SEAN
  What's this?

 Anna looks over to find Sean standing at his desk where a 
 BIRTHDAY PRESENT sits on his tabletop.  Sean looks at her.

        SEAN
  From you?

 Anna nods, "yes."

        SEAN
  Is it wrestling tights?

 Anna smiles as she moves to his desk.  Sean begins to tear off
 the wrapping paper like a kid at Christmas.

 Anna laughs.  Sean holds up a weathered hardback copy of "THE
 GREAT GATSBY."  Beat.

        ANNA
  It's a first edition.

        SEAN
  Wow, this is too much.  It's
  perfect, Anna.

 Sean puts down the book and hugs her.  He pulls back a little,
 still holding her.  They smile at each other. 

 Beat.  The moment goes on just that crucial fraction of a second
 too long.  Their smiles slowly melt away as they continue to hold
 each other.  Nothing happens for the longest time. 

 CRASH!  A SHATTERING DOOR SLAM ECHOES THROUGH THE STORE.  Anna
 and Jeffery pull apart.  They rush past the young man and the
 young woman to the front of the store.  They find the glass front
 door cracked in a spider web pattern.

 They carefully push open the door and step out onto the sidewalk. 
 Look around.   No one in sight.

 Anna stares down the empty street.  A concerned expression‎ on her
 face.

       CUT TO:

 EXT. STREET - DAY

 Malcolm walks angrily down the sidewalk.  He stops as his hand
 goes to his side.  He winces with pain as he keeps walking.

       CUT TO:

 EXT. SUPERMARKET - DAY

 Lynn and Cole emerge from the supermarket.

 Cole rides inside the shopping cart tucked between bags of food.

 Mother and son are quiet as they move towards their car.

 Beat.

 Lynn leans over, looks at the side of her son's pensive face.

 She starts pushing the cart faster.  Cole wakes from his thoughts
 as his hair flutters in the wind.  He looks back.  Lynn is
 smiling as she pushes.  Cole turns and raises his hands in the
 air like he's on a roller coaster.

 Beat.

 They slow and come to a rest at the bumper of their car.  Lynn
 leans over -- sees the side of Cole's face smiling.

 Lynn's face shows a little happiness for the first time.  A
 little hope enters her eyes as she starts to load the groceries
 into the car.

       CUT TO:

 INT. CAR - DAY

 Cole and Lynn ride home with a back seat full of groceries.

 Cole finishes off a cherry popsicle as he watches out the window.

 Lynn looks over.

        LYNN
  Let's rent a movie.

 Cole bites off the last of the popsicle and glances at his mom.

        LYNN
  Your pick.

 Cole stares at his mom quietly.

        LYNN
  It can even have Jean Claude Van
  Damme in it if you want.

 Cole smiles at that.  He nods, "Yes" joyfully. 

 His smile fades away as he notices his mother fiddling with the
 HEATER controls. 

 Cole gazes out the front windshield as the car moves towards home.

 Suddenly a piece of paper sticks to the windshield.  It's a page
 from a Playbill.  A 1941 Playbill.  It flies away revealing a
 woman in a flowing flowery dress from the 40's suddenly walks
 into the middle of the street as the pages of her Playbill swirl
 in the air.

        COLE
   (yells)
  Momma, look out!

 The woman in the flowery dress turns.  Her hand rests on her
 stomach.  WE SEE SHE IS PREGNANT.

 Playbills stick to the windshield obstructing the view.

 Lynn slams the brakes...  Too late.

 THE WOMAN SMASHES INTO THE FRONT GRILL OF THE CAR...  HER TERROR-
 STRICKEN FACE COMES OVER THE HOOD AND CRASHES RIGHT THROUGH THE
 WINDSHIELD IN A SHOWER OF BLOOD AND GLASS...

 COLE SCREAMS.  LYNN SCREAMS...  THE CAR SCREECHES TO A STOP IN
 THE MIDDLE OF A CONGESTED INTERSECTION.

 The line of cars behind them suddenly hit their brakes and swerve
 to one side avoiding a mass collision.  After a few seconds, the
 entire intersection has come to a halt.

 Cole who has shut his eyes...  slowly opens them.

 He looks around fearfully.  His eyes move to the windshield.  No
 broken glass.  No blood.  And no woman.  Cole looks out through
 the pristine windshield onto the street where cars are stopped
 and staring all around them.

 Cole slowly looks over to his mother.  He finds her staring at
 him in complete and utter disbelief.  Her hands clutch the wheel. 
 The whites of her knuckles showing her fear.  She has no idea why
 he screamed.

       CUT TO:

 INT. DEN - AFTERNOON

 The den is very quiet.  Cole and Malcolm sit around the multi-
 colored table.  Malcolm leans back in his small plastic chair --
 arms folded over his chest.  Cole sits slumped over the table --
 eyes peering out over his arms.

 They both look like shit.

        COLE
  You don't wanna ask me questions
  today?

 Malcolm nods, "No."  Beat.

        COLE
  Can I ask you then?

        MALCOLM
  Yes.

        COLE
  What do you want more than anything?

        MALCOLM
  I don't know.

        COLE
  I told you what I want.

        MALCOLM
  I don't know, Cole.

        COLE
  Why don't you think about it for a
  while?

 Malcolm doesn't respond.  Cole watches him.  Beat.

        MALCOLM
  I know what I want.
   (beat)
  My goal is to speak to my wife. 
  The way she and I used to speak. 
  Like there was no one in the world
  but us.

 Beat.

        COLE
   (soft)
  How are you going to do that?

 Beat.

        MALCOLM
   (whispers)
  I can't be your doctor anymore.
   (beat)
  I haven't given my family enough
  attention.  Bad things happen when
  you do that.  Do you understand?

 The room falls into silence again.  Cole speaks extra soft.

        COLE
  You want to go home?

 Malcolm stares across at Cole.

        MALCOLM
  I have to.

        COLE
  When?

        MALCOLM
  Soon.  One week.

 Malcolm looks down at his eyes full with emotion.

        MALCOLM
  I'm going to transfer you.  I know
  two psychologists that are
  exceptional--

        COLE
   (whispers)
  Don't fail me.

 Malcolm looks up sharply.

        MALCOLM
  --What?

        COLE
  Don't give up.  You're the only one
  who can help me.  I know it.

 Beat.  Malcolm tries to stay composed.  It doesn't work.

        MALCOLM
  You want to know a secret?...  I
  was a paper champion.
   (beat)
  Do you know what that means?

 Cole shake his head, "No."  Tears fall down Malcolm's cheeks.

        COLE
  Don't cry.

        MALCOLM
  I means I wasn't what everyone
  thought I was...
   (beat)
  I was a fake.

        COLE
  You weren't a paper champion.

        MALCOLM
  Someone else can help you.  Someone
  else can make you happy.

 Cole is crying now.

 Cole wipes his eyes with his sleeve.  They sit quietly and stare
 at each other.  Beat.

 Cole whispers.

        COLE
  Dr. Crowe?

        MALCOLM
  Yes.

        COLE
  You believe me, right?

 A long pause.

        COLE
  Dr. Crowe, you believe my secret,
  right?

 They both just stare.

        MALCOLM
  I don't know how to answer that.

 Cole searches for the answer in Malcolm's eyes...  He finds it. 
 It's not the one he wanted.  Malcolm looks down.

        COLE
  How can you help me if you don't
  believe me?

 Cole reaches into his pocket.  Pulls out a PENNY.

 Cole pushes it across the table.

 Malcolm gazes at it, then looks up at Cole's pained eyes.

 Beat.

        COLE
   (whispers)
  Some magic's real.

       CUT TO:

 INT. BASEMENT - AFTERNOON

 Malcolm sits stoically at his desk in his basement.  His eyes
 gaze at the dusty FRAMED CERTIFICATE FROM THE CITY OF
 PHILADELPHIA shoved between two packing boxes.

 Malcolm leans his head back against the chair.  Stares into the
 shadows.  Drowns in his thoughts.

 Beat.  THE CHAIR CREAKS as he slowly sits up again.  Malcolm's
 eyes scan the room and come to a stop on a box marked with the
 label...

 "SESSION TAPES -- VINCENT GRAY"

       CUT TO:

 INT. BASEMENT - AFTERNOON

 A tape slides into the tape player seated on Malcolm's desk. 
 Malcolm hits play.

 THE SOUND OF A DOOR OPENING AND CLOSING IS HEARD.

        MALCOLM
   (on tape)
  Sorry about that.  Hope I didn't
  leave you alone too long...  Wow,
  it's cold in here.

 WE HEAR A CHAIR MOVE AS MALCOLM SITS DOWN.  And then SILENCE. 
 Beat.

        MALCOLM
   (on tape)
  Vincent...  Why are you crying?
   (beat)
  Vincent?

 A TEN-YEAR-OLD'S VOICE ANSWERS.

        VINCENT
   (on tape crying)
  Yes?

        MALCOLM
   (on tape)
  What happened?
   (beat)
  Did something upset you?

 Beat.  VINCENT SNIFFLES.

        VINCENT
   (on tape)
  You won't believe.

        MALCOLM
   (on tape)
  I won't believe what?

 Beat.

        VINCENT
   (on tape)
  I don't want to talk anymore.  I
  want to go home, okay?  I want to
  go home.

 Beat.

        MALCOLM
   (on tape)
  Okay, Vincent, you can go home.

 CLICK.  THE TAPE GOES TO SILENCE.

 Malcolm just sits in the shadowy basement.  He doesn't move for a
 while.

 Then he hits the rewind button.  Stops it.  Presses play.

        MALCOLM
   (on tape)
  --about that.  Hope I didn't leave
  you too long...  Wow, it's cold in
  here--

 Malcolm hits the rewind button again.  Lets it rewind for a
 while.  Presses play.

        MALCOLM
   (on tape)
  --like needles either.  When I was
  a kid, I had this blood test down --
  threw up chill cheese fries all
  over this male nurse.

 WE HEAR VINCENT CHUCKLE SOFTLY.

 THE SOUND OF A DOOR OPENING IS HEARD.

        SECRETARY
   (on tape)
  Excuse me, Doctor Reed is on line
  two.

        MALCOLM
   (on tape)
  Vincent, I have to take this.  Give
  me a minute.

        VINCENT
   (on tape)
  Okay.

 FOOTSTEPS AS MALCOLM AND THE SECRETARY LEAVE THE ROOM.  THE DOOR
 CLOSES.  AND THE SILENCE.

 Nothing happens for a long time.  AND THEN WE HEAR A SUDDEN CHAIR
 SCREECH ACROSS THE FLOOR.  VINCENT'S BREATHING QUICKENS.

 A SLIGHT STATIC STARTS TO FILTER IN ON THE TAPE.

 Malcolm's eyes are locked on the spool of audio tape as it spins
 in the player.

 Malcolm's fingers move to the volume dial.  He turns it way up. 
 THE STATIC NOISE FROM THE TAPE FILLS THE BASEMENT.

 Malcolm leans closer to the tape player.  Closes his eyes and
 listens...  Beat.

 DEEP IN THE STATIC...  ANOTHER SOUND EMERGES, WHISPERING.

 A MAN'S VOICE IS HEARD IN THE ROOM WITH VINCENT

        MAN'S WHISPERING
   (on tape)
  Familia...  No dejen que esto me
  pase...  Mi familia...  Yo no
  quiero morir...  Familia...

 Malcolm's mouth opens in disbelief.

        MALCOLM
  ...Jesus Christ.

       CUT TO:

 EXT. STREET - AFTERNOON

 Malcolm stands on a familiar sidewalk.  He stares into the bay
 window of Mr. Marschal's brownstone.

 Inside the window we see Mr. Marschal seated with a group of
 older gentlemen his age.  They sit around a table eating
 sandwiches and talking.  Malcolm watches as Mr. Marschal tells a
 story to his friends.  WE CAN'T HEAR WHAT HE'S SAYING, but when
 he finishes everyone at the table laughs.  Mr. Marschal smiles.

 Malcolm can't help smiling as well.  This is not the same man he
 saw before.  Life has returned to this house.  Beat.

 Malcolm turns and moves down the street.  Each step faster than
 the next.

       CUT TO:

 INT. CHURCH - LATE AFTERNOON

 Malcolm moves to the front of the church down the center aisle. 
 His eyes scan the empty seats.  No one in sight in any direction.

 Malcolm stands in the aisle a little out of breath.  He holds his
 hand to his side as he winces a bit.

 Malcolm's eyes float up to the balcony where toy soldiers sit on
 the bannister.  Cole's head pops up.

        MALCOLM
  Hello again.

 He looks down and studies Malcolm.

        COLE
  You been running around?

 Malcolm nods, "Yes."

        COLE
  It makes you feel better?

 Malcolm nods, "Yes" again.

        COLE
  I like to run around.  It's good
  exercise.
   (beat)
  You want to ask me questions now?

 Malcolm shakes his head, "No."

        COLE
  You want to be a lance corporal in
  Company M, 3rd Battalion, 7th
  Marines?  We're being dispatched to
  the Quang Nam province.

 Cole holds up his plastic rifleman.  Malcolm's eyes show he
 understands now.

        MALCOLM
  Maybe later.

 Beat.

        COLE
  Something happened, didn't it?

        MALCOLM
  Yes, it did.

        COLE
  Are you wigging out?

        MALCOLM
  Yes, I am.

        COLE
  We're not gonna start crying again,
  are we?

        MALCOLM
  No, we're not.

        COLE
  What happened?

 Beat.

 Malcolm glances around the empty church before looking back up to
 Cole.

        MALCOLM
  These people...  People that died
  and are still hanging around. 
  Maybe they weren't ready to go.

 Cole studies Malcolm's passionate face.  A new face.

        COLE
  You really look better.
 
        MALCOLM
   Maybe they wake up that morning
   thinking they have a thousand
   things to do and a thousand days
   left to do them in...  And then
   all of a sudden, it's all taken
   away.  No one asked them.  It's
   just gone...

        COLE
  You have nice red in your cheeks now.

        MALCOLM
  Do you know what 'Yo no quiero
  morir' is?

 Cole shakes his head, "No."

        MALCOLM
  It's Spanish.  It means...  'I
  don't want to die.'
   (beat)
  Not all the ghosts are scary, are
  they?  Like Mrs. Marschal?

        COLE
  No.

        MALCOLM
  What do those ghosts want when they
  talk to you?  Think real careful
  now, Cole...

 Cole stops moving.  He looks over the balcony railing at Malcolm.

        COLE
  Just help.

        MALCOLM
  Yes!  I think that's right!...  I
  think they all want that.  Even the
  scary ones...

        COLE
  You believe now?

 Malcolm's stare is unwavering.

        MALCOLM
  I believe both of you now.
   (beat)
  And I think I might know how to
  make them go away.

        COLE
  You do?

 Malcolm nods "Yes."

        MALCOLM
  I think they know you're one of
  those guys rare people can see them.
   (beat)
  You need to help them.  Each one of
  them.
   (beat)
  Everyone wants to be heard. 
  Everyone.

 Cole takes a big sigh.  Fiddles with his riflemen.

        COLE
  What if they don't want help?  What
  if they're just angry and they want
  to hurt somebody?

        MALCOLM
  I don't think that's the way it
  works, Cole.

 Cole looks nervous.

        COLE
  How do you know for sure?

 Malcolm's eyes are drawn to Cole's arm.  Peeking out from under
 his shirt sleeve are a set of cuts.  Malcolm gazes at them.

        MALCOLM
  I don't.

 Cole and Malcolm stand silently in the center aisle of the back
 of the church.

       CUT TO:

 EXT. HOUSE - NIGHT

 Malcolm moves around the corner on his street.  His mind surges
 with thoughts.  And then he glances up.  His steps slow to a
 complete stop.

 Further down the sidewalk, coming out of the front door of his
 house is SEAN.

 Malcolm's face turns to stone.  He watches as Sean comes down the
 front stairs and starts across the street.

 A sudden rage surges up.  Malcolm moves towards Sean fast.

 Sean reaches his car and enters it.  He doesn't notice the figure
 closing in on him.

 THE ENGINE STARTS.  Malcolm reaches the car a second late.  Sean
 pulls away into traffic almost hitting another car as he does.

 Malcolm watches the car disappear down the next street.  Beat.

 Malcolm turns and looks up at his home with unchecked anger and
 overwhelming pain erupting his eyes.

       CUT TO:

 INT. HOUSE - NIGHT

 Malcolm stands in his foyer.

 Anna is sitting on the stairs, phone in her hand.  She faces away
 from the front.

 Malcolm's a ball of tension as he listens to Anna talk into the
 phone.

        ANNA
  ...You just walked out.  You're
  probably on your way home.  I'm
  leaving this message...  I just
  didn't get to say what I meant...
   (beat)
  I know you're confused.  It's just... 
  I'm not prepared to do this, Sean.
   (beat)
  I don't want to be ashamed of that. 
  I don't want to have to make
  excuses for that.
   (beat)
  And I wanted to tell you...  I
  bought your present wholesale from
  a friend.  I didn't even pay tax on
  it.  You don't need someone cheap
  like that.
   (beat)
  By the way, it's a non-refundable
  item, it's scratched on the bottom.
   (beat)
  Are you smiling?...  I hope you're
  smiling.
   (beat)
  I'll see you at the store.

 Beat.  A long silence.  Then WE HEAR ANNA GENTLY HANG UP.

 Malcolm leans back against an old radiator.  Beat.

 His eyes close as the SOUND OF HIS WIFE'S FOOTSTEPS RISES UP THE
 STAIRS.

       CUT TO:

 INT. BROWNSTONE - NIGHT

 The house is silent.  No movement.

 Cole is in his pajamas asleep on the floor of the TENT.

 Curled up next to him is Sebastian.  They sleep surrounded by
 statues and pictures.

 Cole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.

        LYNN
  Cole...
   (beat)
  Cole, what's happening...

 Cole quickly gets up and rushes out of the tent.  His foot
 catches one of the chairs the tent is fastened to.  He stumbles
 out.  He doesn't realize one of the bedsheets comes loose.  It
 folds to the ground.

       CUT TO:

 INT. HALL - NIGHT

 He doesn't stop as he moves through the shadowy hall and pushes
 open his mother's bedroom door.

       CUT TO:

 INT. LYNN'S BEDROOM - NIGHT

 Cole stands in the doorway to his mother's bedroom.  He looks
 over the room carefully.  Everything is still.

 Lynn's room is sparse.  No paintings, no accessaries.  A bed
 without a frame sits in the corner.  A table with a sewing
 machine fills the other side of the room.

 HIS MOTHER'S VOICE turns his attention back to the bed.

        LYNN
  Cole, what's happening to you?

 Cole looks down and finds his mother laying in her bed.  Her face
 contorted in deep sadness as she speaks in her sleep.

        LYNN
  Is someone hurting you?...  I'll
  beat their asses.

 Cole smiles at his mother as he moves to her side.  Touches her
 face with his tiny fingers.

        COLE
   (whispers)
  Momma, you sleep now.

 His touch seems to have an effect.  Lynn becomes still in her
 sleep.  Cole watches her carefully.

       COT TO:

 INT. HALL - NIGHT

 Cole closes the door to his mother's bedroom shut.  He stands
 still in the hallway.  Lets out a heavy sigh...

 HIS BREATH ROLLS IN A TINY CLOUD IN FRONT OF HIM.

 Cole's brow furrows.  He breathes again.  This time
 intentionally.  Watches as his breath materializes in the
 suddenly ice cold air.

 Every muscle in Cole's eight-year-old body becomes rigid.  He
 takes a second before moving through the inky darkness of the
 hall.

       CUT TO:

 INT. BEDROOM - NIGHT

 Cole hurries to fix his tent.  He ties the collapsed bedsheet in
 a knot on the edge of the chair.  He checks it carefully before
 entering the tent.

       CUT TO:

 INT. TENT - NIGHT

 When Cole turns around, he stops breathing.

 AN EIGHT-YEAR-OLD GIRL VOMITS ON HERSELF IN HIS TENT.  She
 finishes and looks up at Cole with drawn eyes.

        GIRL
  I'm feeling much better now.

 The girl reaches out with her withered and emaciated hands --
 tiny tubes hang from her wrists.  She scratches Cole as he
 tumbles back terrified out of the tent.  The whole tent collapses --

       CUT TO:

 INT. LIVING ROOM - NIGHT

 Cole runs hard out of his bedroom and down the hall to the living
 room.  He gets down to the ground and slides under the wooden-
 legged couch.

 Sebastian is already huddled in fear under the couch.  Cole
 presses as far back as he can and waits.

 COLE'S P.O.V. -- is of the living room floor.  Chair legs. 
 Coffee table base.  Rugs...  Everything is still.

 Cole holds his breath.  He waits.  Beat.  Nothing happens.  He
 takes his first short breaths and watches the room for any sign
 of movement.

       CUT TO:

 INT. COLE'S BEDROOM - NIGHT

 A few minutes later.  Cole is now standing in his doorway.  He
 stares at the hunched figure covered by the collapsed tent.

 BEAT.  Cole makes a decision.  He looks like he is going to cry --
 fights it back.

 He walks towards it.  Reaches down and slowly pulls the sheet off
 the figure.  The girl vomits one more time before looking up at
 Cole.

        GIRL
  I'm feeling much better.

 Cole and the little girl stare silently at each other.  Cole
 holds her stare with trembling eyes.

 He opens his mouth -- it takes a while before the words come out.

        COLE
  Do you want to tell me something?

       CUT TO:

 INT. PUBLIC BUS - DAY

 A downtown Septa public bus.  Malcolm and Cole are among the
 spattering of passengers.

 They're both wearing suits.

 Cole leans his head against the glass of the scratched window. 
 Cole's large eyes drink in the passing scenery.

 COLE'S P.O.V. -- A dark, abandoned building stretches for an
 entire block on one side.  A MAN IN A GREY, FULL-BODIED UNIFORM
 WITH NUMBERS PRINTED ACROSS HIS CHEST...  RISES OUT OF THE TALL
 WEEDS IN FRONT OF THE BUILDING.  HE HOBBLES HIS WAY DESPERATELY
 TOWARDS THE BUS.  HIS HANDS AND LEGS ARE SHACKLED...  HE LUNGES
 OUT FOR COLE IN THE PASSING WINDOW.

        SHACKLED MAN
  My name's not Sullivan!

 A GUNSHOT ECHOES IN THE AIR.  THE MAN'S CHEST EXPLODES IN RED AS
 HE FALLS TO HIS KNEES SCREAMING.

 Cole jerks back from the window.

 The bus quietly drives past THE OLD PRISON BUILDING.

 Cole stares down at his lap and tries not to look up anymore. 
 Beat.

        COLE
  She came a long way to visit me,
  didn't she?

        MALCOLM
  I guess she did.

 Cole falls into deep thoughts as he stares down at his dress
 shoes.  Malcolm slips back into silence.

 The city bus slithers through the old Philadelphia streets
 working its way downtown.

       CUT TO:

 EXT. HOME - AFTERNOON

 A modest home sits on a corner.  Its small lawn, groomed
 carefully.  Rows of parked cars spill out from the driveway onto
 the streets.

 People in suits and dark dresses move somberly in and out of the
 front door of the home.

 Cole and Malcolm join the visitors as they walk slowly towards
 the doors.

 A frail, little girl about four years of age sits in a dark dress
 on the swings in front of the house.  Visitors say hello to her
 as they pass.  She doesn't say anything back.

        MALCOLM
  Her little sister?

 Cole nods, "Yes."

 Malcolm and Cole watch her for a moment before following others
 into the modest corner home.

       CUT TO:

 INT. HOME - AFTERNOON

 The home is packed with people.  The gathering of mourners is
 standing room only.  The AIR IS FILLED WITH DOZENS OF HUSHED
 CONVERSATIONS.

        VISITOR #1
  ...can you imagine being a child in
  a bed for two years?

 We move to.

        VISITOR #2
  ...I think it was six.

 We move to.

        VISITOR #3
  ...Six separate doctors?

 We move to.

        VISITOR #4
   (whispers)
  ...the little one's falling ill now...

 We move to.

        VISITOR #5
  ...God help them...

 A FAMILY PORTRAIT HANGS NEAR THE FRONT DOOR.  Two girls, one
 bigger, one smaller sit on the ground in front of their mother
 and father.  Their smiling faces welcome the mourners.

 Malcolm and Cole are standing at the bottom of a staircase. 
 Waiting.

 The front door opens as another group arrives.  Malcolm nods to
 Cole as the foyer fills up.  The two of them quietly disappear
 upstairs.

       CUT TO:

 INT. HALLWAY - AFTERNOON

 The narrow hall is lined with boxes of medical supplies.  I.V.
 stands, sterile needles and pads are in the process of being
 taken away.  The boxes are piled outside a closed bedroom door.

 Cole stares at the shut door like he doesn't want to go in.  His
 eyes move to the large, colorful map of the world that dons the
 hallway wall.  He gazes at the many countries and continents. 
 Beat.

        COLE
  I wish I were somewhere else.

        MALCOLM
   (soft)
  Where will you go, where no one has
  died?

 Cole stares at the map and then turns to Malcolm.

        COLE
  Don't go home, okay?

        MALCOLM
  I definitely won't.

 Cole turns and stares quietly at the door.  He waits a long time
 before reaching for the doorknob.

       CUT TO:

 INT. GIRL'S BEDROOM - AFTERNOON

 Cole closes the door behind him.  He turns and gazes at the
 girl's bedroom.  There's a hospital bed near the window.  The
 walls are covered with get-well cards and drawings from family,
 friends, and school children.

 Her shelves are filled with puppets.  All shapes and sizes of
 puppets.  Next to the shelf is a puppet stage and a camcorder on
 a mini tripod sitting next to it.

 Cole walks to the shelf and picks up a FINGER PUPPET DANCER.  He
 places it in his pocket.

 On the girl's desk, is a large collection of video cassettes. 
 The labels read, "Puppet Show Christmas 96," "Puppet Show
 Birthday party," "Puppet Show class trip"...

 Cole reads the labels carefully before moving towards the
 closets.  He passes the bed.

 AN EMACIATED HAND REACHES OUT FROM BENEATH THE BED AND GRABS
 COLE'S ANKLE.

 Cole jerks back startled.  He watches as the girl's hand slips
 back under the bed.  Cole stays very still.  Waits.  Nothing
 happens.

 He slowly bends down.  His hands touch the floor.  He tilts his
 head and looks under the bed.

 The emaciated little girl who came to his tent lays curled on the
 floor.  Her bulging eyes glare at Cole.  She moves suddenly. 
 Thrusts a jewelry box forward.  It slides across the wooden floor
 and stops just before Cole.  Cole and the sickly girl stare at
 each other.  Neither of them say a word.

       CUT TO:

 INT. LIVING ROOM - AFTERNOON

 The room is thick with mourners.  Most are gathered around the
 GIRL'S MOTHER, a young woman in her late twenties.  As she moves
 through the room to the kitchen, she receives the many cards,
 hugs, and flowers that are offered as condolence.  Mrs. Collins
 leaves the living room.

 Malcolm watches breathlessly from the doorway as Cole moves
 through the many adults across the room.

 The girl's father, MR. COLLINS, a thin man in his late twenties,
 is seated on the reading chair next to a T.V.  His face is
 granite.  No one in the room dares to talk to him.  He stares
 statue-like at an abstract point in the room.

        COLE
  Mister?

 The man doesn't react.  Some of the guests look oddly at the
 little boy standing before the man.

        COLE
  Excuse me, Mister.

 Beat.  The man slowly turns and looks down at the boy standing
 next to him.  Cole is very shaky.

 Malcolm watches everything anxiously.

 Cole stares at Mr. Collins.

        COLE
  Are you Kyra's daddy?

 The man's face begins to crumble.  Beat.  He nods, "yes" softly.

 Cole holds out the jewelry box.  It trembles with his hands.

 The father just stares at it.  Beat.

        COLE
  It's for you...
   (beat)
  She wanted to tell you something.

 The father becomes very still.  His eyes fill with a storm of
 confusion and pain.  After the longest time, the father reaches
 and gently takes the box out of Cole's small hands.

 Cole begins to back away...

 The father gazes at Cole as he melts into the crowd.  Cole
 reaches Malcolm and the two then slip out of the house.

 The father looks down in a daze.  He goes to open the jewelry
 box.  His movements are slow and strained.  He lifts the latch
 and open the box.

 Mr. Collins stares at an unlabeled video cassette.

       CUT TO:

 INT. LIVING ROOM - AFTERNOON

 People in the room start to turn as the T.V. comes on.  Mr.
 Collins is seated now.

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

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

 The entire room has stopped what they were doing.

 T.V. SCREEN

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

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

 LIVING ROOM

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

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

 And then it happens.

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

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

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

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

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

 Kyra pretends to wake from a deep sleep.

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

 The image of the mother smiles.

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

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

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

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

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

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

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

 The ROOM IS UTTERLY SILENT.

       CUT TO:

 INT. DINING ROOM - AFTERNOON

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

 She looks up.

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

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

 Mr. Collins' eyes tremble with tears.

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

 The whole world stops.

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

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

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

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

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

       CUT TO:

 EXT. HOUSE - AFTERNOON

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

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

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

        COLE
  You liked it, she said.

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

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

 Cole turns to the four-year-old.

        COLE
  She watched out for you.

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

   FOUR YEAR OLD
  Kyra's not coming back.

 Beat.

        COLE
  Not anymore.

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

 Nothing else is said.  Nothing else is done.

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

 Malcolm takes it in, overwhelmed.

       DISSOLVE TO:

 INT. PROP ROOM - AFTERNOON

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

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

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

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

        MR. CUNNINGHAM
  Who were you talking to?

 The Female Teacher looks to Cole and nods.

        FEMALE TEACHER
  Poor Stanley.

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

        FEMALE TEACHER
  My favorite student.

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

 Cole puts on his tattered hat.

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

 Mr. Cunningham smiles.

        MR. CUNNINGHAM
  You're welcome, Cole.

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

 We see them walking away.

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

 Beat.

        COLE
  I know.

       CUT TO:

 EXT. SCHOOL - AFTERNOON

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

       CUT TO:

 INT. HALL - AFTERNOON

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

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

        MALCOLM
  Has the play started yet?

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

        MALCOLM
  Is that a yes?

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

       CUT TO:

 INT. AUDITORIUM - AFTERNOON

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

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

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

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

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

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

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

        MERLIN
  Let the boy try.

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

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

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

        MERLIN
  Silence village idiot!  Let the boy
  step forward.

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

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

        MERLIN
  Arthur...

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

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

 The villagers GASP.

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

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

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

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

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

       CUT TO:

 INT. SCHOOL LOBBY - LATE AFTERNOON

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

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

        COLE
  How come we're so quiet?

 Malcolm shrugs his shoulders.

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

        COLE
  Maybe.

 Cole keeps moving.  Beat.

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

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

        MALCOLM
  You were great in the play, Cole.

        COLE
  Really?

        MALCOLM
  And you know what else?

        COLE
  What?

        MALCOLM
  Tommy Tammisimo sucked big time.

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

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

 Cole glances at Malcolm.

        COLE
  Just for pretend.

 Beat.  Malcolm exhales very slowly as he gets up.

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

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

        COLE
   (soft)
  See you tomorrow.

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

       CUT TO:

 EXT. CAR - LATE AFTERNOON

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

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

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

        LYNN
  I hope nobody got hurt.

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

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

 Cole shakes his head, "No."

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

 Beat.

        LYNN
  I'd give anything to have been
  there.

        COLE
  I'm ready to communicate with you
  now.

 Beat.

        LYNN
  Communicate?

        COLE
  Tell you my secrets.

 The way he says the words gives Lynn a chill.

        LYNN
  What is it?

 Cole takes a long time.

        COLE
  You know that accident up there?

        LYNN
   (confused)
  Yeah.

        COLE
  Someone got hurt.

        LYNN
  They did?

        COLE
  A lady.  She died.

        LYNN
  Oh my God.

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

        LYNN
  You can see her?

        COLE
  Yes.

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

        LYNN
  Where is she?

        COLE
  Standing next to my window.

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

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

        LYNN
  Cole, you're scaring me.

        COLE
  They scare me too sometimes.

        LYNN
  They?

        COLE
  Dead people.

        LYNN
  Dead people?

        COLE
  Ghosts.

 Beat.

        LYNN
  You see ghosts, Cole?

        COLE
  They want me to do things for them.

        LYNN
  They talk to you?

 Cole nods, "Yes."

        LYNN
  They tell you to do things?

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

        COLE
  What are you thinking, Momma?

        LYNN
  ...I don't know.

        COLE
  You think I'm a freak?

 Lynn's eyes moves to Cole.

        LYNN
  Look at my face.

 Cole gazes at her intense expression‎.

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

        COLE
  Got it.

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

        LYNN
  Just let me think for a second.

 She drowns in her thoughts.  Beat.

        COLE
  Grandma says hi.

 Lynn looks up sharply.

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

        LYNN
  What?

        COLE
  Grandma comes to visit me sometimes.

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

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

        COLE
  I know.

 Beat.

        COLE
  She wanted me to tell you--

        LYNN
   (soft)
  Cole, please stop.

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

 Lynn's eyes lock on Cole's.

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

 Lynn brings her hands to her mouth.

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

 Lynn begins to cry.

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

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

        COLE
   (whispers)
  What did you ask?

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

        LYNN
   (crying)
  Do I make her proud?

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

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

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

       CUT TO:

 EXT. MALCOLM'S HOUSE - NIGHT

 Malcolm walks quietly down the sidewalk towards his home.

       CUT TO:

 INT. LIVING ROOM - NIGHT

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

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

 Their WEDDING VIDEO PLAYS SOFTLY ON THE TELEVISION.

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

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

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

 Silence.  Malcolm gazes for a beat before looking down.

        ANNA
  I miss you.

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

 Malcolm can't believe it.

        MALCOLM
  I miss you.

 Beat.  Her lips move again.  Eyes never open.

        ANNA
  Why, Malcolm?

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

 Beat.

        ANNA
  Why did you leave me?

        MALCOLM
  I didn't leave you.

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

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

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

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

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

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

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

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

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

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

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

       SLAM CUT:

 FLASHBACK:  INT. BEDROOM - NIGHT

 VIOLENT GUN SHOTS RING THROUGH THE BEDROOM.

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

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

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

 ANNA IS SCREAMING, BUT HER VOICE SOUNDS FAR AWAY.

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

       SLAM CUT:

 PRESENT:  INT. LIVING ROOM - NIGHT

        MALCOLM
   (screaming)
       ANNA!

 MALCOLM'S VOICE SHAKES THE ROOM.

 Anna just sleeps.

 Malcolm staggers back.  His breathing erratic.

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

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

 Beat.

        MALCOLM
  Don't cry.

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

        MALCOLM
  I think I have to go.

 Malcolm's mind is racing.

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

        ANNA
  Tell me.

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

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

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

 Anna lays still.

        ANNA
  Goodnight, Malcolm.

        MALCOLM
  Goodnight, sweetheart.

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

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

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

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

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

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

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

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

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

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

 The crowd erupts in LAUGHTER.

        MALCOLM
   (on tape)
  What?

 Malcolm looks around at everyone's smiling faces.

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

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

 Malcolm's eyes fill with water.

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

       FADE TO BLACK:

    THE END

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