The Sixth Sense (1999)
      
Directed by M. Night Shyamalan
      
Written by M. Night Shyamalan
   
   
Bruce Willis .............. Dr. Malcom Crowe
Toni Collette .................... Lynn Sear
Olivia Williams ................. Anna Crowe
Haley Joel Osment ................ Cole Sear
Donnie Wahlberg ............... Vincent Grey
Glenn Fitzgerald ...................... Sean
Mischa Barton ................. Kyra Collins
Trevor Morgan .............. Tommy Tammisimo
Bruce Norris ............ Stanley Cunningham
Peter Anthony Tambakis .............. Darren
Jeffrey Zubernis ..................... Bobby
Greg Wood .................... Kyra's Father
Angelica Torn ................ Kyra's Mother
Lisa Summerour .................. Bridesmaid
Firdous Bamji ........ Young Man Buying Ring
   
          
     T   h   e      s   i   x   t   h      s   e   n   s   e 
     written by M. Night Shyamalan

 1   INT. BASEMENT - EVENING                                        1   

     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:

 2   INT. DINING ROOM - EVENING                                     2   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 2


     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 3


                           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 (CONT'D)
               Wow.  They called you their son.

                           MALCOLM
               We can keep it in the bathroom.

     Anna turns to Malcolm.  He smiles.

                           MALCOLM (CONT'D)
               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 (CONT'D)
               What?

     She just keeps staring.  Beat.

                           MALCOLM (CONT'D)
               Don't do the quiet thing.  You know 
               I hate it.

     Beat.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 4


                           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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               I would not like it in a mug.  I 
               would not like it in a jug.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 5


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

                                                          CUT TO:

 3   INT. BEDROOM - NIGHT                                           3   

     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 FLOATS OVER BOTH OF THEM.

     ANNA SCREAMS.

     Malcolm spins around.  His heart stops.

     Malcolm and Anna stare at the bathroom doorway.  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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 6


     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 (CONT'D)
                    (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 (CONT'D)
               Did you get him drunk?

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

                           STRANGER (CONT'D)
               Do you know why you're scared when 
               you're alone?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 7


     Anna's expression instantly changes.

                           STRANGER (CONT'D)
               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 (CONT'D)
               I was ten when you worked with me.

     Beat.  Malcolm's intelligent eyes race for answers.

                           STRANGER (CONT'D)
               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.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 8


                           STRANGER (CONT'D)
                    (beat)
               Come on, clear your head...  Male, 
               nine...  Single parent...  Mood 
               disorder... Acute anxiety.

     Malcolm looks like someone hit him with a sledgehammer.

                           STRANGER (CONT'D)
               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 (CONT'D)
               ...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 (CONT'D)
               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 (CONT'D)
               Vincent Gray?

     VINCENT GRAY stares with surprise through his tears.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 9


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

                           MALCOLM (CONT'D)
               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 (CONT'D)
               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 around 
     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:

 4   EXT. BENCH - AFTERNOON                                         4   

     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"

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 10


     "...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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 11


     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:

 5   EXT. STREET - DAY                                              5   

     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:

 6   INT. CHURCH - DAY                                              6   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 12


     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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               What was that you were saying before 
               with your soldiers?  Day pro fun.

                           COLE
               ...De profundis clamo ad te domine.

     Malcolm stares surprised.

                           COLE (CONT'D)
               It's called Latin.  It's a language.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 13


     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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 14


                           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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 15


     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:

 7   INT. MALCOLM'S HOME - EVENING                                  7   

     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:

 8   INT. DINING TABLE - EVENING                                    8   

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

                                                          CUT TO:

 9   INT. BEDROOM - EVENING                                         9   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 16


     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:

10   INT. HALL - NIGHT                                             10   

     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:

11   INT. BASEMENT - NIGHT                                         11   

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 17


12   EXT. PHILADELPHIA - DAWN                                      12   

     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:

13   INT. LAUNDRY ROOM - MORNING                                   13   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 18


     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 (CONT'D)
               Your Cocoa Puffs are getting soggy.

     Lynn walks over to Cole.  Checks his tie.

                           LYNN (CONT'D)
               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 (CONT'D)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 19


                           COLE (CONT'D)
               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 (CONT'D)
               I wasn't thinking anything bad about 
               you, got it?

     He looks at her eyes.  Beat.

                           COLE
               Got it.

     THE DOOR BELL RINGS.

                           COLE (CONT'D)
                    (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:

14   EXT. BROWNSTONE STREET - MORNING                              14   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 20


     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 (CONT'D)
                    (taunting)
               Be careful...  I hope no one jumps 
               out and gets you.

     Tommy runs away.

     Beat.  Cole looks around nervously.

                                                          CUT TO:

15   EXT. ST. ANTHONY'S ACADEMY - MORNING                          15   

     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:

16   INT. COLE'S HOME - AFTERNOON                                  16   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 21


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

                           LYNN
                    (whispers)
               How was school, baby?

     Cole shrugs.

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

     Cole doesn't respond.  Beat.

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

     Cole shakes his head "No."

                           LYNN (CONT'D)
                    (whispers)
               I won the Pennsylvania Lottery in 
               the morning.  I quit my jobs.  Ate a 
               big picnic in the park with lots of 
               chocolate mousse 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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 22


17   INT. DEN - AFTERNOON                                          17   

     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 (CONT'D)
               Don't feel like talking right now?

     Cole nods again very softly, "No."

                           MALCOLM (CONT'D)
               How about we play a game first?

     Cole looks a little more interested.

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

     Cole nods, "No."

                           MALCOLM (CONT'D)
               Here's the game.  I'll read your 
               mind.  If what I say is right, you 
               take a step forwards towards the 
               chair.  If I'm wrong, you take a 
               step backwards towards 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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 23


                           MALCOLM (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
                    (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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 24


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 25


     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:

18   INT. RESTAURANT - EVENING                                     18   

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

     Anna quietly takes a sip from her coffee.

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

     Anna looks around for the waiter.

                           MALCOLM (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 26


                           MALCOLM (CONT'D)
               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 (CONT'D)
                    (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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
                    (soft)
               ...Happy Anniversary.

                                                          CUT TO:

19   EXT. FRONT STEPS - AFTERNOON                                  19   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 27


     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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               It's sad they died, isn't it?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 28


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

                           COLE (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               It is okay if I look back now?

     Cole doesn't answer.

                           MALCOLM (CONT'D)
               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 (CONT'D)
               You wouldn't want to take a walk, 
               would you?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 29


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

     Cole taps his foot twice.

                                                          CUT TO:

20   EXT. STREET - AFTERNOON                                       20   

     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 (CONT'D)
               Your mom set that up?

     Cole nods "Yes."

                           MALCOLM (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 30


                           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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 31


     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 (CONT'D)
                    (sad)
               Mr. Marschal gets real lonely.

                           MALCOLM
               What about Mrs. Marschal?

                           COLE
                    (whispers)
               She died a long time ago.

                                                          CUT TO:

21   INT. MR. MARSCHAL'S LIVING ROOM - MORNING                     21   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 32


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 33


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

                           MR. MARSCHAL (CONT'D)
               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 (CONT'D)
                    (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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 34


                           COLE
                    (softly)
               Stop looking at me.

                                                          CUT TO:

22   INT. BASEMENT OFFICE - NIGHT                                  22   

     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:

23   INT. BROWNSTONE - NIGHT                                       23   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 35


     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:

24   INT. COLE'S BEDROOM - AFTERNOON                               24   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 36


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 37


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

                                                          CUT TO:

25   INT. DEN - AFTERNOON                                          25   

     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 (CONT'D)
               One night, as an example...  leave 
               something on a desk for someone to 
               find.

     The top of Cole's head stops moving.

                           MALCOLM (CONT'D)
               Cole, have you ever heard of something 
               called free-writing?  Or free-
               association writing?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 38


     Cole shakes his head, "No."

                           MALCOLM (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 39


                           MALCOLM
               Can you do something for me?

     Malcolm smiles.  He rises and grabs his coat.

                           MALCOLM (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               I don't want to be scared anymore.

     Cole's sad eyes stare up at Malcolm.

                                                          CUT TO:

26   INT. BASEMENT OFFICE - NIGHT                                  26   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 40


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 41


                           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.

27   INT./EXT. MALCOLM'S HOUSE - DAY                               27   

     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:

28   INT. CLASSROOM - DAY                                          28   

     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 (CONT'D)
               ...I'll give you a hint, it's the 
               city you live in.

     The class says the answer in unison.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 42


                           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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 43


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 44


                           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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 45


29   INT. ANTHONY'S LIBRARY - SAME AFTERNOON                       29   

     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 (CONT'D)
               Watch the penny closely.

     Malcolm closes his hand around the penny.

                           MALCOLM (CONT'D)
               I do the magic shake...

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

                           MALCOLM (CONT'D)
               And suddenly the penny has magically 
               traveled to my left hand...

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 46


                           MALCOLM (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               Cole...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 47


     Cole looks at Malcolm.

                           MALCOLM (CONT'D)
               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:

30   INT. HALLWAY - EVENING                                        30   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 48


     THE LARGE BRIDESMAID BECOMES VERY EMOTIONAL.

                           BRIDESMAID (CONT'D)
                    (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:

31   INT. BEDROOM - EVENING                                        31   

     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:

32   INT. BATHROOM - EVENING                                       32   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 49


     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:

33   EXT. DARREN'S HOUSE - DAY                                     33   

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

34   INT. DINING ROOM - DAY                                        34   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 50


     Cole and the overweight boy stare at each other.

                           BOBBY (CONT'D)
               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:

35   INT. KITCHEN - AFTERNOON                                      35   

     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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 51


                           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 (CONT'D)
               He's my whole life.

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

                           LYNN (CONT'D)
               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 (CONT'D)
                    (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 (CONT'D)
               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:

36   INT. HALL - AFTERNOON                                         36   

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 52


                           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 (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 53


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 54


     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 (CONT'D)
                    (desperate whispers)
               Help me get him in the car.

                                                          CUT TO:

37   INT. HOSPITAL RECEPTION AREA - AFTERNOON                      37   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 55


                           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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 56


                           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 (CONT'D)
                    (raising voice)
               What happened to my child today?

     Dr. Hill gets up.

                           LYNN (CONT'D)
               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 (CONT'D)
               How long will these questions take?

                                                          CUT TO:

38   INT. HOSPITAL ROOM - NIGHT                                    38   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 57


     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 58


                           MALCOLM
               Do you think I'm sad?

     Cole nods, "Yes."

                           MALCOLM (CONT'D)
               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 (CONT'D)
               ...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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 59


                           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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               I see dead people...  Some of them 
               scare me.

     Beat.

                           MALCOLM
               In your dreams?

     Cole shakes his head, "No."

                           MALCOLM (CONT'D)
               When you're awake?

     Cole nods, "Yes."

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 60


                           MALCOLM (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 61


     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:

39   EXT. STREET CORNER - NIGHT                                    39   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 62


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

                                                          CUT TO:

40   INT. CAR - NIGHT                                              40   

     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:

41   INT. COLE'S HOUSE - NIGHT                                     41   

     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:

42   INT. HALL - NIGHT                                             42   

     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.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 63


                           LYNN (CONT'D)
               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:

43   INT. HALL - NIGHT                                             43   

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

                                                          CUT TO:

44   INT. COLE'S HOUSE - NIGHT                                     44   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 64


     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:

45   INT. KITCHEN - NIGHT                                          45   

     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 (CONT'D)
               What are you going to do?

     Cole backs up to the doorway.

                           WOMAN (CONT'D)
               You can't hurt me anymore!

     The woman smiles menacingly as she thrusts her wrists 
     forward...

     They've been savagely cut.

                                                          CUT TO:

46   INT. HALLWAY - NIGHT                                          46   

     Cole turns and runs down the hall.

                                                          CUT TO:

47   INT. BEDROOM - NIGHT                                          47   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 65


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

                                                          CUT TO:

48   INT. TENT - NIGHT                                             48   

     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:

49   INT. AUDITORIUM STAGE - AFTERNOON                             49   

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 66


50   INT. SCHOOL CORRIDOR - AFTERNOON                              50   

     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 (CONT'D)
               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 (CONT'D)
               What's wrong?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 67


     Cole points to the doors.

                           MALCOLM (CONT'D)
               Is something in there?

     Cole doesn't say anything.  Beat.

                                                          CUT TO:

51   INT. GYMNASIUM - AFTERNOON                                    51   

     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 (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 68


                           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 (CONT'D)
               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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 69


52   EXT. HISTORIC PHILADELPHIA - NIGHT                            52   

     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:

53   INT. HALL - NIGHT                                             53   

     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.) (CONT'D)
               Please let it ring.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 70


     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 (CONT'D)
                    (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:

54   INT. KITCHEN - NIGHT                                          54   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 71


     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 (CONT'D)
               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 (CONT'D)
               I saw what was in your bureau drawer 
               when I was cleaning.

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

                           LYNN (CONT'D)
               You got something you want to confess?

     Cole just stares.

                           LYNN (CONT'D)
               The bumble bee pendant.  Why do you 
               keep taking it?

     Cole looks down at his lap.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 72


                           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 (CONT'D)
               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 (CONT'D)
               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.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 73


                           LYNN (CONT'D)
               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 (CONT'D)
               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 (CONT'D)
                    (yells)
               Go!

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

                                                          CUT TO:

55   INT. HALL - NIGHT                                             55   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 74


     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:

56   INT. KITCHEN - NIGHT                                          56   

     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 (CONT'D)
               If you're not very mad...  Can I 
               sleep in your room tonight?

     Lynn fights back some tears.

                           LYNN
               Look at my face, Cole.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 75


     Cole does.  Lynn smiles at her son.

                           LYNN (CONT'D)
               I'm not very mad.

     Lynn hugs him.  Beat.

                           LYNN (CONT'D)
               Baby...  Why are you shaking?

     Cole doesn't answer.

                           LYNN (CONT'D)
               Cole, what's wrong?

     Cole just closes his eyes and holds his mom tight.

                           LYNN (CONT'D)
                    (desperate)
               ...Please tell me.

     Cole doesn't say a word.

                           LYNN (CONT'D)
                    (crying)
               Please.

                                                          CUT TO:

57   INT. ANTIQUE STORE - DAY                                      57   

     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 fiancé.  Is that 
               how it is?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 76


                           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 (CONT'D)
               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 fiancé.

                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 77


     Anna can't hold back her sweet smile.

                                                          CUT TO:

58   INT. ANTIQUE STORE - DAY                                      58   

     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 (CONT'D)
               From you?

     Anna nods, "yes."

                           SEAN (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 78


     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:

59   EXT. STREET - DAY                                             59   

     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:

60   EXT. SUPERMARKET - DAY                                        60   

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 79


61   INT. CAR - DAY                                                61   

     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 (CONT'D)
               Your pick.

     Cole stares at his mom quietly.

                           LYNN (CONT'D)
               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...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 80


     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:

62   INT. DEN - AFTERNOON                                          62   

     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 81


                           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 (CONT'D)
               I'm going to transfer you.  I know 
               two psychologists that are exceptional--

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 82


                           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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 83


     A long pause.

                           COLE (CONT'D)
               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 (CONT'D)
                    (whispers)
               Some magic's real.

                                                          CUT TO:

63   INT. BASEMENT - AFTERNOON                                     63   

     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:

64   INT. BASEMENT - AFTERNOON                                     64   

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 84


     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 (CONT'D)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 85


                           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 (CONT'D)
                    (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 (CONT'D)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 86


     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:

65   EXT. STREET - AFTERNOON                                       65   

     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:

66   INT. CHURCH - LATE AFTERNOON                                  66   

     Malcolm moves to the front of the church down the center 
     aisle.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 87


     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 banister.  Cole's head pops up.

                           MALCOLM
               Hello again.

     He looks down and studies Malcolm.

                           COLE
               You been running around?

     Malcolm nods, "Yes."

                           COLE (CONT'D)
               It makes you feel better?

     Malcolm nods, "Yes" again.

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

     Malcolm shakes his head, "No."

                           COLE (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 88


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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 89


                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 90


     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:

67   EXT. HOUSE - NIGHT                                            67   

     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:

68   INT. HOUSE - NIGHT                                            68   

     Malcolm stands in his foyer.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 91


     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:

69   INT. BROWNSTONE - NIGHT                                       69   

     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...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 92


     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:

70   INT. HALL - NIGHT                                             70   

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

                                                          CUT TO:

71   INT. LYNN'S BEDROOM - NIGHT                                   71   

     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 accessories.  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 (CONT'D)
               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:

72   INT. HALL - NIGHT                                             72   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 93


     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:

73   INT. BEDROOM - NIGHT                                          73   

     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:

74   INT. TENT - NIGHT                                             74   

     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:

75   INT. LIVING ROOM - NIGHT                                      75   

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 94


76   INT. COLE'S BEDROOM - NIGHT                                   76   

     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:

77   INT. PUBLIC BUS - DAY                                         77   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 95


     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:

78   EXT. HOME - AFTERNOON                                         78   

     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:

79   INT. HOME - AFTERNOON                                         79   

     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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 96


     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:

80   INT. HALLWAY - AFTERNOON                                      80   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 97


                           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:

81   INT. GIRL'S BEDROOM - AFTERNOON                               81   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 98


     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:

82   INT. LIVING ROOM - AFTERNOON                                  82   

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 99


     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:

83   INT. LIVING ROOM - AFTERNOON                                  83   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 100


     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 (CONT'D)
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 101


                           MRS. COLLINS (CONT'D)
                    (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:

84   INT. DINING ROOM - AFTERNOON                                  84   

     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...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 102


     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:

85   EXT. HOUSE - AFTERNOON                                        85   

     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 (CONT'D)
               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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 103


86   INT. PROP ROOM - AFTERNOON                                    86   

     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 (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 104


                           MR. CUNNINGHAM (CONT'D)
               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:

87   EXT. SCHOOL - AFTERNOON                                       87   

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

                                                          CUT TO:

88   INT. HALL - AFTERNOON                                         88   

     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 (CONT'D)
               Is that a yes?

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

                                                          CUT TO:

89   INT. AUDITORIUM - AFTERNOON                                   89   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 105


     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 (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 106


     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:

90   INT. SCHOOL LOBBY - LATE AFTERNOON                            90   

     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 (CONT'D)
               I'm not going to see you anymore, am 
               I?

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

     Beat.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 107


                           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 (CONT'D)
               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:

91   EXT. CAR - LATE AFTERNOON                                     91   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 108


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

     Cole shakes his head, "No."

                           LYNN (CONT'D)
               I have two jobs, baby.  You know how 
               important they are for us.

     Beat.

                           LYNN (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 109


                           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 (CONT'D)
               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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 110


                           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 (CONT'D)
               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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 111


     Lynn looks up sharply.

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

     Lynn begins to cry.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 112


                           COLE (CONT'D)
               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 (CONT'D)
                    (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:

92   EXT. MALCOLM'S HOUSE - NIGHT                                  92   

     Malcolm walks quietly down the sidewalk towards his home.

                                                          CUT TO:

93   INT. LIVING ROOM - NIGHT                                      93   

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 113


     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 114


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

                                                        SLAM CUT:

94   FLASHBACK:  INT. BEDROOM - NIGHT                              94   

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 115


95   PRESENT:  INT. LIVING ROOM - NIGHT                            95   

                           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 (CONT'D)
               Don't cry.

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

                           MALCOLM (CONT'D)
               I think I have to go.

     Malcolm's mind is racing.

                           MALCOLM (CONT'D)
                    (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 (CONT'D)
               You sleep now, Anna.  Everything 
               will be different in the morning.

     Anna lays still.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 116


                           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 (CONT'D)
                    (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 (CONT'D)
                    (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 (CONT'D)
                    (on tape)
               What?

     Malcolm looks around at everyone's smiling faces.

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

                           MALCOLM (CONT'D)
               Anna, I never thought I'd feel the 
               things I'm feeling.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 117


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

                                                   FADE TO BLACK:

                               THE END