Who's Beside You Now?(Horror Sample)

by

Chuck Loch

14314 Summertime LaneCulver City, CA 90230Voice: (310) 713-5480Fax: (310) 559-2331chuck9@sbcglobal.net

Registered WGAw Number: 981098

26.

FADE UP FROM BLACK:

INT. DORM ROOM DAY

Several dead BOTTLES of vodka overflow Clark's TRASH BASKET.

Clark lies on his bed. His stubble - now an unruly BEARD.

STAINS spot the SAME CLOTHES he wore previously.

He waves his hand in front of his unblinking eyes. His mouthmoves.

POV CLARK: -- All he sees is DARKNESS. His voice a seriesof far-away angry GRUNTS.

CLARK(filtered)

Damn you, God. Damn you.

END POV CLARK

CLARK(shouting)

I mean nothing to you. So, you'renothing to me. At least, tell meyou're listening. Answer me.

He chuckles. LAUGHS.

CLARKMaybe you can't answer. Maybe you'renot there.

He stumbles to his desk. Sweeps hands over it. Finds the phone.

He feels the BUTTONS. Punches in a number.

INT. NEUROLOGY RESEARCH LAB DAY

It is a better day for Clark, his condition is in remission. He can see, hear, and speak.

An Asian-American in a LAB COAT, HIROHITO TANAKA, 56,distinguished, polite, all business, leads Clark around thespacious lab.

A SKELETAL GLOBE-LIKE STRUCTURE WITH A HOLLOW CERAMIC COREdominates the lab's center.

A WOODEN CHAIR WITH ARM AND LEG RESTRAINTS - a futuristicelectric chair - rests inside the hollow.

27.

TANAKAYou have honor of being first toexperience procedure.

CLARKJust get it over with.

TANAKADon't you want to know how it works?

CLARKI don't care.

TANAKAAccording to protocol, I must explain.

CLARKOkay. Explain away.

TANAKAWe use very strong electro-magnets,like those in MRI machines, onlymore powerful. They create a high-frequency rotating magnetic field,which we focus on an area in yourbrain. The field will induce matterin your brain cells to vibrate atsame high frequency. This will usuallyturn the cells on.

CLARKUsually?

TANAKAIf field is too strong or not focusedokay, other cells may be affected andturn off. This could badly damage brain.

Clark shudders. Rubs his temples.

CLARKBadly enough that I'd have to relyon others to take care of me?

Tanaka nods.

TANAKAYou wish to continue?

Clark bites his lip, deep in conflict. Blurts out.

CLARKDo it.

TCMHS APPARATUS

28.

Inside the core, ICHIBON ARRIGATO, 30, Tanaka's, friendly,talkative assistant, takes Clark's glasses. Fastensrestraints, binding Clark's arms and legs to the chair.

ICHIBONYou won't need these anymore.

CLARKI don't need them now.

ICHIBONYou know this is old healing device?

CLARKI thought it was a new procedure.

ICHIBONMister Nikola Tesla used it over hundred years ago. Only he not usemagnetic focusing lens like this.

Ichibon places the lens - a skeletal HEADPIECE like a spacehelmet made of thin bands of metal and plastic with spacesbetween - over Clark's head.

ICHIBONHe made patients put arm or leg intofield. One day he stepped in fieldand disappeared. He reappeared momentslater confused and frightened.

Ichibon fastens the headpiece firmly in place.

ICHIBONMister Tesla talked no more about device.

Ichibon steps out of the core.

ICHIBONHave a nice trip.

Clark joins his thumbs, forefingers. Breathes deeply.

His breathing slows down and stops.

TCMHS CONTROL PANEL

Tanaka presses a button.

TCMHS APPARATUS

LIGHTS BLINK in succession along the superstructure of theglobe. A dull WHINE increases in frequency.

TCMHS CONTROL PANEL

29.

Tanaka nods to Ichibon who pushes a series of SLIDING SWITCHESfrom their bottom position to their halfway point.

TCMHS APPARATUS

Inside the headpiece,

A loud RAPPING grows into

A louder HAMMERING, which becomes

A POUNDING WALL OF SOUND,

SLAMMING into Clark's head.

TCMHS CONTROL PANEL

The last sliding switch sticks at its bottom position.

Ichibon pushes harder. It doesn't budge. He uses both hands.

It breaks free. Slides to its TOP POSITION.

TCMHS APPARATUS

Clark's head jerks back violently. He SCREAMS in pain.

He pulls his arms out of the restraints. Flails them about.

He tears at the headpiece.

One of his hands makes contact with the side of the core.

SPARKS shoot from BUNDLES OF WIRES. Something's short-circuited.

LIGHTNING courses around the superstructure. Turns intoRIBBONS OF PLASMA ENERGY. A BLUE GLOW engulfs the globe.

TCMHS CONTROL PANEL

Tanaka, Ichibon struggle with the controls to power down theapparatus.

POV CLARK: -- Blackness and silence.

A haze of WHITE LIGHT replaces the blackness.

BANDS OF STRANGE COLORS from across the spectrum - and beyond -wash through the haze.

The sounds of the lab become audible, along with the VOICES,WHISPERS and SCREAMS of many creatures.

DARK FORMS of many sizes and shapes - some VAGUELY HUMAN andsome GARGOYLE-LIKE - flash by.

30.

In one flash, Clark glimpses

HIS PARENTS

slipping through a crack in a YELLOW MEMBRANE, calling him.

CLARK'S MOM AND DADClark.

In another flash, Clark glimpses

SAM

slipping through a tear in a RED MEMBRANE, calling

SAMBrother Fauss.

The lab SNAPS into sharp focus. The worried faces of Tanakaand Ichibon peer back at Clark.

END CLARK POV

CLARKWhat happened?

Clark looks from one to the other.

ICHIBONHe can see.

TANAKAYou can see us?

CLARKI can see.

EXT. M STREET/GEORGETOWN DAY

Clark exits the lab building. Joins the flow of PEDESTRIANS.

He sidesteps GROUPS and INDIVIDUALS, giving them wide berth.

Clark smiles, enjoying his new clear vision.

SUDDENLY

A GRAVELLY VOICE behind his ear whispers to him.

GRAVELLY VOICE (O.S.)Clark Fauss, help me.

A dark HAND grabs him by a shoulder. Spins him around.

31.

He stares into the dark shadow of where a face should be ona HOODED APPARITION inches away.

Clark jumps back, surprised, confused. Bumps hard into aWOMAN in a WHITE JACKET, walking behind him.

He catches, steadies her, so she doesn't fall.

He glances around. No apparition. Only normal people.

CLARK(to the White-JacketedWoman)

Did you see that?

WHITE-JACKETED WOMANSee what, Mister? You better watchwhere you're going.

A G.U. (Georgetown University) BUS pulls over to the curb.

Clark walks quickly to the bus. Sprints up its STEPS,continually looking back.

INT. G. U. BUS DAY

Clark slides into a WINDOW SEAT. Watches the bus pulls awayfrom the curb.

He scans the PASSERS-BY on the sidewalk. All normal people.

Clark relaxes, stretching out in his seat.

The bus stops. CARS HONK.

Clark looks out the window. Traffic jam.

Someone LAYS ON HIS HORN. Others join in.

A WOMAN'S SWEET VOICE drifts over from the seat beside him.

SWEET VOICE (O.S.)We're going nowhere.

Clark looks over. Sees

A WHISPY CLOUD IN THE SHAPE OF A FEATURELESS FEMALE FORM.

The cloud dissolves.

Clark edges past where the cloud had been. Stumbles to thefront of the bus.

Clark stands in the front STAIRWELL and shakes the DOORS.

32.

CLARKLet me out.

The DRIVER looks at Clark as if he's crazy.

CLARKI've got to get off, now.

EXT. DORM ROOM DAY

Clark walks up to his door. Stops. Reads a "Notice ofExpulsion" taped to it. Rips it off. Scrunches it into a ball.

Down the hall another door opens. RAPHE TOLAN, 25, ChiefResidence Hall Advisor, strides forth toward Clark.

Clark unlocks his room. Tolan catches up.

TOLANAcquinas wants your space.

CLARKGive me a break. I don't have anyplace to go.

TOLANSorry, Clark. Got orders to follow.

INT. DORM ROOM DAY

Clark's books and notebooks are neatly packed in CardboardMOVING BOXES labeled "Hold For Storage."

A full bottle of vodka and some CLOTHES lay on the bed besidethe silver-framed photo and the small Madonna statue.

Clark stuffs the clothes into a BACK PACK. Packs the photoand statue last.

He drops the vodka into the trash basket.

EXT. DREAMWEAVER CAFE DAY

Clark stares at a sign "Lunch Special - Soup and Sandwich -$2.95" in the window of this grunge bistro.

INT. DREAMWEAVER CAFE DAY

Clark wanders through the cafe.

33.

Full tables in the front, SHOTS AND BEERS on every one. Peoplejam the bar. Too loud to think.

In the back, an empty band platform. An empty table besideit. Clark squeezes in under a STUFFED BOAR'S HEAD. Sits down.

He signals a waitress. She ignores him.

He pulls a plastic BOTTLE OF WATER from his back pack. Takesa big swig. Wipes his mouth. Hears a

RIPPING SOUND.

He jumps up, pants wet.

He holds up the bottle. Sees water gushing from

A FIVE-INCH LONG CUT. SCRATCH MARKS on either side - as ifripped by a CLAWED HAND.

The GRAVELLY VOICE laughs from the boar head.

GRAVELLY VOICEI'm thirsty - and hungry - for you.

EXT. ROOMING HOUSE NIGHT

Clark steps onto the porch of a three-story Edwardian house.A SIGN under the DOORBELL reads "Rooms To Let."

INT. ROOMING HOUSE NIGHT

PANTRY

ROBERTA DEAVERS, 75, kindly and cautious, opens the PANTRYDOOR. Shows Clark CANS AND JARS OF FOOD inside.

ROBERTAIf you get hungry at night, you canalways come down here and fix yourselfa snack. I keep chocolate milk, peanutbutter and jelly, and bread for youboys. It's on the house.

CLARK'S ROOM

Clark drops his back pack on a CHAIR. Sits down on the BED.Runs his hand over the BLANKETS, feeling their texture.

He looks over at a window covered by THICK DRAPES. Gets up.Moves to it.

He pulls the CORD, opening the drapes. Sees

34.

A SHADOW CREATURE with indistinct features

STARING BACK AT HIM from the other side of the glass.

He yanks the drapes closed. Cautiously opens them again.

Nothing. The Creature's gone.

PANTRY

Clark opens the door. With a shaky hand, pulls the LIGHTCORD, hanging from the ceiling.

A NAKED BULB SPARKS TO LIFE, bathing the shelves with aneerie golden glow.

Clark steps inside. Lets the door swing shut behind him.

He reaches for A JAR OF PEANUT BUTTER.

The light goes out.

Clark reaches behind himself. Grabs the cord. Turns around. Yanks it.

The bulb reignites. Clark sees

A SHADOW CREATURE STANDING INCHES FROM HIM, NOSE TO NOSE.

Clark SCREAMS.

EXT. GEORGETOWN SEMINARY RESEARCH LIBRARY NIGHT

Clark races up the STEPS and through the front door.

INT. GEORGETOWN SEMINARY RESEARCH LIBRARY NIGHT

Clark moves quickly past a RACK OF SHELVES laden with hand-bound antique BOOKS by and about Doctor John Dee.

The books fly off the shelves at Clark as he approaches andpasses them.

On the other side of the rack, Clark sees

THE SHADOW CREATURE

keeping pace with him.

Its Gravelly Voice cuts through the shelves

GRAVELLY VOICEYou won't find answers here.

35.

At the end of the rack,

CLARK SLIPS on a BOOK. COLLIDES WITH THE LIBRARIAN,

ELEANOR CHEZOSKY, 44, a looker in HORN-RIMMED GLASSES,knocking her armload of MAGAZINES to the floor.

Clark helps her up. Helps her gather the magazines.

CLARKI'm sorry for the magazines.

ELEANORI didn't hear you coming.

CLARKAnd for the books too.

He motions behind him.

ELEANORWhat books?

He turns around. Looks. All the books are on their shelves,except for the book he slipped on, John Dee's Magyk. It liesface up, title legible.

INT. GEORGETOWN UNIVERSITY CHAPEL NIGHT

Clark kneels in front of a NICHE, containing a half-sizeSTATUE of the Virgin Mary.

A NUN, chanting the rosary, kneels in a nearby pew.

CLARK(to the statue)

I know I haven't been here in awhile.I've gone from one hell to another.Please Blessed Mother, take me backand deliver me from these Creatures.

The statue of Mary quivers. Rocks back and forth.

SNAP.

It breaks loose. Flies through the air toward Clark.

Clark ducks.

The statue hits the floor at Clark's feet. Shatters intohundreds of PIECES, which spin and squirm as if they're alive.

The Gravelly Voice speaks from the empty niche.

36.

GRAVELLY VOICEShe can't help you.

Clark jumps up and CRIES OUT.

CLARKI'm sorry, Blessed Mother, so sorry.

The Nun looks at him with astonishment. Hisses

NUNKeep your voice down. This is a houseof worship.

Clark looks at the niche. The statue is back in place.

INT. DREAMLAND MOTEL NIGHT

Clark walks up the driveway.

The motel's NEON SIGN flashes off and on above him.

INT. MOTEL ROOM NIGHT

Clark lies in BED. Eyes closed.

The Gravelly Voice floats out of the room's darkness.

GRAVELLY VOICE (O.S.)Clark Fauss, help me.

Clark's eyes POP open.

The dark shadows of the room gather to form the

SHADOW CREATURE

Standing at the foot of his bed.

QUICKLY

the Creature darts away.

Clark pulls the COVERS up over his head. Flails the bed withhis arms and legs.

CLARKGo away you Goddamn freaks.

UNDER COVERS

he pounds his head, eyes, ears, with his fists.

37.

CLARKGo away. Go away.

EXT. PARK BENCH NIGHT

Clark sits in a fetal position.

A HOMELESS MAN, 60s, tattered and torn, sits on the otherend, shivering.

Clark drapes his jacket over the homeless man.

HOMELESS MANThank you, Sir. What brings you outon a night like this?

Clark uncoils.

CLARKIt's a good place to think.

HOMELESS MANThat it is. That it is.

They sit in silence. The sky lightens.

INT. NEUROLOGIST'S OFFICE DAY

Clark, wearing the bruises from his self-imposed beating,paces in front of Dr. Thompson.

The Doctor sits at his desk. Stares at Clark. Without lookingat them, he flips through the PAPERS in Clark's case folder.

DOCTOR THOMPSONMy God. What happened to you?

CLARKIt's gotten worse. At home and onthe streets, even in the chapel, Isee and hear things that aren't there.People, faces, and shadows. I can'teven sleep. There are things thatwatch me when I try to sleep.

Thompson drops the folder.

DOCTOR THOMPSONWhat kind of things?

Clark stops pacing in a corner of the room, facing the wall.

CLARKDark things. I can't see them well.They dart away when I open my eyes.

38.

DOCTOR THOMPSONAre you saying these 'things' causedyour bruises?

CLARKI caused my bruises. I'm afraid ofevery noise and shadow. It's worsethan losing my senses.

Thompson joins him. Puts his hand on Clark's shoulder.

DOCTOR THOMPSONOver the last few months, your brainlost its power to perceive. You'reasking it to bounce back in a few days.

Clark brushes past him. Heads for the opposite corner.Thompson talks after him.

DOCTOR THOMPSONThe truth is it can't handle thestress of all the stimuli it'sreceiving. It can't make sense outof it, so it creates these delusions,these hallucinations, to help itmake sense.

CLARKThey aren't delusions. Something'swrong with me.

DOCTOR THOMPSONNothing's wrong with you that a littlepeace and quiet can't cure. I have afriend at a clinic in Kingsport, asmall town in Maine. He's aphenomenologist and has some...interesting methods. But, he'seffective. There's a lot less stressthere. No traffic, no crowds ofpeople, no late night--

CLARK--you're not listening to me. Thesethings happen when I'm alone too.

DOCTOR THOMPSONIt's just the brain trying to catchup with itself. Or, maybe you thinkyou're seeing ghosts or somethingsupernatural?

CLARKI don't believe in the supernatural.

39.

DOCTOR THOMPSONThen why not take a few weeks offand visit Doctor Ellis so your braincan readjust without big city stress. Your student health insurance willpay for it. It's still in effectuntil the end of the term.

CLARKAnything. I'll try anything.

INT. AIRLINER CABIN DAY

Clark, eyes closed, sits in an aisle seat. Listens to musicthrough HEADPHONES. The plane hits a pocket of turbulence.

He pitches forwards in his seat. Opens his eyes.

POV CLARK: -- DARK SHAPES

at the corners of his eyes, dart around the almost full cabin.

CLARKOh my God. They're here.

END POV CLARK

Clark stands up. Looks around. In a loud agitated voice,questions the MALE PASSENGER across the aisle.

CLARKDid you see them? They were here.

The Passenger shakes his head.

Clark moves down the aisle toward the back. Stops at a rowoccupied by three NUNS.

CLARKSisters, did you see them?

One of the Nuns pushes the flight attendant CALL BUTTON.

Clark turns to face as many PASSENGERS as possible.

CLARKDid anybody see them? Dark shapes.Flying around. You had to see them.We've got to tell somebody.

A FLIGHT ATTENDANT approaches with a take-charge attitude.

40.

FLIGHT ATTENDANTYou can tell me. Come on, Sir. Let'sgo in the back and sit down and youcan tell me all about them.

CLARKThey're gone now.

FLIGHT ATTENDANTGood.

CLARKBut they might come back.

FLIGHT ATTENDANTI've got a seat near me where I canwatch out for you. Let's go sit init and you can tell me if you seethem again.

She leads Clark to an aisle seat next to a kind motherly-looking OLD LADY.

Clark slides into the seat. Nods to the Attendant who takesthe seat behind him. Looks up the aisle at other passengers.

POV CLARK: -- Several COUPLES and parts of families, MOTHERSand FATHERS, SONS and DAUGHTERS, sit together in allcombinations.

He turns to the OLD LADY.

CLARKEverybody seems to be traveling withsomebody, except you and me.

(beat)Did you notice?

She signs something back at him. She's deaf.

Flashes of LIGHTNING outside the plane, illuminate her likea skeleton.

EXT. THE SKIES OVER MAINE DAY

The AIRLINER flies into a wall of DARK CLOUDS.

From folds in the clouds, a pair of huge inhuman EYES stareout at the plane.

41.

EXT. CLINIC NIGHT

Through driving rain, Clark scurries up the porch steps ofthe wood-framed Kingsport Psychiatric Clinic.

INT. CLINIC NIGHT

WAITING ROOM

Clark, soaking wet, sits alone in one of the CHAIRS.

FRAMED PRINTS OF FLOWERS, and pithy SAYINGS like "A strongwill can slay the dragons of the mind," adorn the walls.

Under the next chair, a WHITE KITTEN laps a SAUCER OF MILK.

CLARKHi there, little girl.

He pets it. It rubs against his legs. MEWS.

The muffled sounds of an unintelligible conversation driftthrough a cracked-open door at the far end of the room.

Through the crack, three men, casually dressed, sit in frontof a DESK in a triangle of ARMCHAIRS, facing each other.

STEVE MATHISON, late 30s, and JIM ELLIS, 20s, babble an unintelligible stream of words.

JED BOWSER, 30s, big, burly, takes notes.

An ORDERLY in a WHITE COAT enters the waiting room throughanother door. Notices Clark. Checks her WATCH.

ORDERLYRight on time, Mister Fauss. Follow me.

Clark follows the Orderly to the cracked open door.

ORDERLY(to Clark)

All our sessions overlap. It's Doc's way.

At the door, she turns. Addresses the kitten.

ORDERLYClara, be good. Play by yourself now.

TREATMENT ROOM

STEVEAre you with me, Jim?

42.

STEVEI can't handle it when everybodyspeaks at once. I get confused.

JIMBut we've got to recognize each voiceas it comes through. We can't ignoreanyone whether they're living or dead.

The Orderly holds the door for Clark who hesitates to enter.Clara slips in behind him.

Steve's eyes go directly to Clark.

STEVEYou must be Clark Fauss.

CLARKI don't think I need to be here.You're both talking nonsense.

STEVEI think you do need to be here, withall that's happened to you, shadowschasing you all over the place.

Steve walks over to a stunned Clark.

STEVEName's Steve Mathison. Finally,somebody I can talk to.

Clark looks at Steve's hand and simply nods.

CLARKDoctor Mathison, I presume?

JIM/DOCThat's enough, Steve.

(to Clark)I'm Doctor Jim Ellis. Everybody callsme "Doc," except for my sociallyexuberant patient here.

Steve frowns at being exposed.

STEVEExcuse me, I've got folks on hold.

DOC(to Steve)

Steve, your time is up.

Steve closes his eyes and babbles. Holds a series of fast-paced conversations with a variety of unseen people.

43.

STEVEI'm telling you, John. Yoko's doinga good job with your investments. Ithink she ought to sell your livestockholdings, though. We're being undercutby foreign beef. The President won'tslap a tariff on the New Zealanders,says they're allies.

(beat)I agree they shouldn't have releaseda remake of the White Album--

DOC--Steve. John. That's enough fortoday.

Jed stands up. Glares at Steve. Doc waves him back down.

STEVEGot to go now.

(beat)Yeah, Jesus. Easter's coming up andI know how painful the holiday isfor you.

(beat)Hey, Dark One. You're butting inwhere you don't belong.

(he looks toward acorner of the room)

Go away.

Clara lies motionless, flat on her belly. Stares into thesame corner. Flicks her tale back and forth.

DOCYou heard him, Dark One. Steve's gotto go.

STEVEOh, you want to talk to Clark.

Clark looks into the corner. Clara pounces. Swats at theair. Turns around. Stares intently at Steve.

Steve's face twists grotesquely.

SUDDENLY

HE SHOUTS AT CLARK

STEVE(in a gravelly voice)

Clark Fauss. Help me. Let me in.

44.

Clark jumps back, with sheer terror on his face. Throws thedoor open. Steps quickly out of the room.

Doc SHOUTS at Steve.

DOCStop it. Both of you.

(beat)Clark, come on back.

Clark re-enters the room. Clara runs out.

Steve's voice returns to normal.

STEVESorry, Jesus, where were we?

(beat)Jesus?

(beat)Now where did he go?

(beat)Jack? That you? I told you I can'tdo anything about the CIA. They'reholding me prisoner here--

DOC(joining Steve in hisdelusion)

--Mr. President, I need Steve back.We'll talk again later. John? Jesus?Dark One? If any of you are stillhere, goodbye.

Steve's eyes spring open. Lashes out at Doc.

STEVEWhere do you get off? Do you knowwho you're talking to? I'll have towait in line for hours to talk tothem again. And I'll have to explainyour rudeness.

Doc gestures at the CLOCK on the wall.

DOCLeave now or Jed will escort you out.

Steve rushes over to Clark. Takes his hand.

STEVE(to Doc)

No. Clark's a guy I can talk to.(to Clark)

How ya doing Clark? He told me youwere coming.

45.

Clark pulls his hand away.

Jed jumps up. Ready to grab Steve.

Doc waves Jed off.

CLARKI don't like to touch...other people.Doctor Ellis told you I was coming?

STEVENo. The Dark One told me. I don'tlike to talk to him. He makes threats.

CLARK(to Doc)

You must have told him. DoctorThompson said I'd have privacy.

DOCI don't think I told him. But, there'sno secrets here. We all travel downinto each other's darkest places,talk to each other's demons, helpeach other.

STEVE(to Clark)

You've seen him too.

CLARKWho?

STEVEThe Dark One.

JEDOh, Christ.

Clark backpedals toward the door.

STEVEOh, don't run away. You have thegift too, like me. I saw him when heknocked the library books off theirshelves. And when he threw the statueat you. And when he stood at thefoot of your bed--

JED--bullshit.

Clark gasps. Yells at Steve.

46.

CLARKYou don't know these things.

Clark paces wildly. He wheels around. Glares back and forthfrom Steve to Doc.

CLARKHe doesn't know these things.

DOCDon't pay attention to him. He's nevermet you. He can't know these things.

CLARKBut he knows.

Jed moves toward Steve. Grabs his arm. Twists it.

JEDYeah, he thinks he knows everything.Stays up late at night reading weirdbooks about magic, witchcraft. Talksto dead people. Monsters. I ought to--

Clark moves in on Jed.

CLARK--Wait a minute. He can read anythingand say anything he wants? Can't he?

DOCBack off, Jed.

Jed lets go of Steve.

Steve takes Clark's hand again.

Clark shakes his hand free.

STEVE(to Clark)

Thanks. Nobody's ever stood up forme before. I just know we'll getalong. We're both a little crazy.

CLARKI don't think so.

Jed raises his fist at Steve.

Steve stops talking. Looks down, dejected.

DOC(to Steve)

Good boy. See?

47.

DOCYou can be quiet when you want tobe. You're making progress.

(to Clark)I've looked over your file. You'llneed a place to stay. You won't haveto be on the grounds, like Steve. There's a fine old hotel in town, theGrand. Historical. Nice and quiet. Weeven get a reduced rate.

SUDDENLY, STEVE THRASHES ABOUT. CLAWS AT THE AIR

between Clark and Doc. Yells in his normal voice

STEVEDon't go there.

Jed grabs Steve from behind. Pins his arms to his sides.

CLARKCan I go now?

Doc nods toward Steve, squirming in Jed's grasp.

DOCI've got more work to do with Steve.Come in tomorrow and we'll talk then.

(to Jed)What times am I open?

Jed lets go of Steve. Picks up a DAYTIMER from the desk.

Steve slinks around the periphery of the room.

Jed continually adjusts his stance, positioning himselfbetween Steve and the others.

JEDNoon?

DOCThat okay with you?

CLARKFine.

Doc picks up a "FLIP" PHONE from the desk. Hands it to Clark.

DOCTake it. If you have problems, press"1." It'll automatically dial me.

Clark pockets it. Hurries to the door. Doc calls after him.

48.

DOCA lot of interesting locals hang outat the Grand. Make some friends.It'll help your recovery.

Steve charges Clark. Grabs him by the shoulders. Stares intohis eyes.

STEVEPlease, don't go there.

EXT. GRAND HOTEL NIGHT

A waterfall of rain pours down on Clark. He races toward thelight that filters out through the glass in the front doors.

INT. LOBBY GRAND HOTEL NIGHT

Spacious. Antique New England decor.

Clark explores the workmanship of the check-in counter.

A smiling DESK CLERK in a PILGRIM COSTUME greets him.

CLERKThere's always something new.

CLARKWhat?

CLERKNo matter how many times you look atthis room, you'll see something new,some little detail you haven't noticedbefore. How can I help you?

CLARKCheck in?

CLERKThat's what I'm here for.

The Clerk slides a REGISTER and large QUILL PEN in a POT OFINK toward Clark.

CLERKName and address here, please.

Clark signs his name in the book. Pauses.

CLARKI don't...This will be my only addressfor awhile.

49.

CLERKNo problem. You've got a credit card?

Clark fishes his WALLET out of a pocket. Hands over a CARD.

CLARKDoctor Ellis, I mean Doc, said youoffer a discount?

CLERKFifty percent off our best rate tolong term patients, Mr. Fauss. Doc'soffice already called you in.

The Clerk swipes Clark's card. Clark finishes his entry inthe register.

The CARD READER BEEPS. The Clerk looks at its screen. Frowns.

CLERKSorry Clark, Georgetown's canceledyour card. Do you have another one?

CLARKNo.

CLERKNot to worry, I'll put your room onthe Clinic's account and work it outwith Doc later. We're a small town.We all know and trust each other.

The Clerk enters some information on a KEYBOARD. Pauses.Hands Clark a COMPUTER-GENERATED ROOM KEY.

CLERKYou're third floor, Room 320. Takethe elevator behind you. If you loseyour key, let the desk clerk knowright away. The ice and snack machinesare down the hall.

Clark walks toward the elevator.

CLERKWill you need help with your luggage?

CLARKNope. Don't need help with luggage.

INT. CLARK'S ROOM/GRAND HOTEL NIGHT

Clark HUMS a simple hymn. Hangs the last of his CLOTHES in aMASSIVE WARDROBE.

50.

His hair's wet. He wears two TOWELS. One around his neck.

Carefully, he sets the photo of his parents on the BUREAU,next to his Catholic shrine.

FOOTSTEPS START IN THE HALLWAY OUTSIDE HIS DOOR.

Clark stops humming.

INT. HALLWAY/GRAND HOTEL NIGHT

LIGHTNING floods the corridor with light. A BOOM OF THUNDERrattles the glass in the WINDOW. WIND and RAIN lash it fromthe outside.

Clark steps out of his room. Bumps into the source of thefootsteps, an ethereal wisp of a GIRL bundled in a long ROBE.

They both jump back.

The Girl is CLAUDIA, early 20s. Pale, beautiful, sexy withoutmakeup. She speaks in low sultry tones.

CLAUDIAGod, you scared me.

CLARKSorry, I didn't see you.

(beat)You scared me too.

She LAUGHS. Smiles at Clark. Lets her robe drop open.

CLAUDIAHotel's a scary place. Don't be afraidof me. I'm afraid of everything.

Clark stares at her small breasts and erect nipples visiblethrough the NIGHTGOWN under her robe.

CLARKMy name's Clark, Clark Fauss. I heardyou walking.

CLAUDIAI do that at night. Less people around.

She notices his stare. Pulls her robe closer. Not enough tocover her nipples.

CLARKAnd you are...?

51.

CLAUDIACall me Claudia, Clark.

CLARKClaudia what?

CLAUDIAJust Claudia.

CLARKYou live here?

CLAUDIADoesn't feel like living. Feels likeI'm trapped and wasting away. Haven'tbeen off this floor in a long time.

CLARKBet you're from the Clinic.

She laughs again. Flashes Clark a big smile.

CLAUDIAYou think I'm crazy?

Clark smiles back. It's the first time he's smiled at anyonesince Sam was alive.

CLARKI just came in today.

CLAUDIAFor people like me?

Claudia searches Clark's face. Listens intently to his words.

CLARKI see things that aren't there.

Claudia moves closer to Clark.

CLAUDIAHow do you know they aren't there?

Clark draws closer to Claudia.

CLARKOther people don't see them.

CLAUDIAEverybody can't see everything.

She reaches out to touch his hand.

Clark pulls his hand back.

52.

CLARKThey can't exist. They're toohorrible.

Claudia takes his hand. Lightly but seductively she touchesit to her neck. Runs it down her body.

CLAUDIASometimes I need to have someonetouch me to make sure I exist.

Clark takes a step back.

CLARKYou're very pretty.

She smiles again. Gently dabs Clark's wet temples with theends of his towel.

She turns away. Walks slowly down the hall to room 313.

CLAUDIAI hope we meet again, Clark.

She opens the door. Disappears into the room. Closes thedoor behind her.

Clark does a little dance of celebration.

CLARKYes!

Outside, LIGHTNING FLASHES and THUNDER BOOMS.

INT. CLARK'S ROOM/GRAND HOTEL NIGHT

Clark, now fully clothed, tosses, turns on top of his bed.

A CLOCK RADIO sits next to the flip phone on the NIGHT TABLE.It reads eleven-thirty P.M.

INT. BAR/GRAND HOTEL NIGHT

It's stuffed with ANTIQUE BAR PARAPHERNALIA. TV SETS hangfrom the ceiling.

Clark sits at the bar. Empty STOOLS separate him from DRINKERSon either side.

ON TV

53.

A scene from The Poltergeist. Carol Anne sleeps on her bedwith her family. Her TV hisses static and snow. Her eyesopen. She whispers to the TV.

CAROL ANN(in the film)

Come out...come out...

The picture tube in her room SNAPS, CRACKS, and POPS.

Carol Anne reaches out toward it.

SOMETHING DARK AND WISPY REACHES BACK TOWARDS HER.

MATCH CUT TO THE BAR

Clark takes a glass of water from the BARTENDER.

BARTENDERThat's a buck.

Clark slides a BILL toward the Bartender. Drinks. Looks aroundthe room.

He sets his glass down. Talks to it.

CLARKShe didn't answer the door.

A wizened old BARFLY on a nearby stool croaks up.

BARFLYShe here?

Surprised, Clark blurts out an answer.

CLARKNo.

(beat)I'm supposed to make friends here.

BARFLYI got to go.

The Barfly gathers up his change.

BARFLYIt's a good place to make friends.

The Barfly walks out past a TABLE of four clean cut YOUNGMEN and WOMEN, Clark's age, who TALK and LAUGH loudly.

ON TV

In her bedroom, Carol Anne looks at her family members.

54.

CAROL ANN(in the film)

They're here.

AT THE TABLE

An ARTICULATE YOUNG MAN, CAL, tells a joke.

CALThe Devil walks into a crowded bar.Within seconds the bar empties withpeople running out screaming allover the place, all except for oneold man hunched across the bar. TheDevil wanders over to the old manand says "Do you know who I am?" Theold man takes another sip of hisbeer and answers "Yep." The Devilstares at the old man and asks "Wellaren't you afraid of me?" The oldman looks the Devil up and down fora minute and shrugs "I married yoursister 40 years ago, why the hellshould I be scared of you?

Clark laughs before the others can react.

BETSY, a TIPSY YOUNG BEAUTY at the table, notices.

BETSY(to CAL)

Look at that. You got yourself anotheradmirer.

(to Clark)Why don't you come over and join us?

CLARKI can't.

CALYes, come join us.

CLARKI don't know.

The rest of the Group responds in chorus.

GROUPPleeeease?

CLARKAll right.

Clark pulls a CHAIR toward the table. Leaves extra spacebetween himself and them.

55.

ZEE, the Other Man, dressed like a Land's End version of alumberjack, introduces the others.

All smile. Nod at Clark, as their names are mentioned.

ZEEMy name's Zee. This articulate fellowwho knows a lot of jokes, he's Cal,and the young ladies are Annie who'sin a little bit better shape thanBetsy here.

BETSYWhat's your name, fella?

CLARKClark Fauss.

ZEEHave a beer, Clark.

He hands a full LONG NECK toward Clark.

CLARKI don't drink...much.

ANNIE, a flirtatious imp, stares deeply into Clark's eyes.

ANNIEIt's on us. It'll loosen you up.

Zee presses the bottle into Clark's hand. Sips his own.

ZEEHaven't seen you around. New in town?

CLARKJust got in. Don't know many people.

ZEENow you know four more. A few drinks,some laughs, and a good old fashionedscare will help us get acquainted.We just finished up some jokes. Nowwe're talking ghosts. Ever see one?

CLARKI came from a seminary. We don'tbelieve in ghosts.

CALWe'll have you believing before we'redone. I think you're up Zee.

ZEEI once lived in a haunted apartment.

56.

BETSYYou're shitting us.

ZEENo way. The lady downstairs heard aknock at her door late one night.She got up and answered it. Therewas someone standing there, alldressed in black, she said it lookedlike a shadow.

Clark stuffs his fingers in his ears. HUMS loudly enough todrown out Zee's words.

POV CLARK: -- Clark watches Zee's mouth move.

Cal SHOUTS at Clark loud enough so Clark can hear him.

CALClark.

End POV Clark

ZEEAnd then she asked it if it wantedto come in. It disappeared in frontof her eyes.

CAL(to Clark)

Did Zee scare you?

CLARK(shaking)

All I know is when we die we go toHeaven, Purgatory, or Hell. Our soulsdon't hang around here scaring people.

(shouting)There's no point to it.

Annie reaches over. Rubs Clark's arm sympathetically.

He pulls away.

BETSYHave another beer.

She presses another beer into Clark's hand. He chugs it down.

ZEEYou know there's a way to settle thematter, one way or another. Interestedin a scientific experiment?

Clark BELCHES.

57.

Everybody LAUGHS.

CLARKExcuse me.

ZEEEver been to a seance?

CLARKThat's not a scientific experiment.

CALIt's an experiment just the same.

BETSYLet's go back to the house and havea seance.

Annie winks at Clark.

ANNIESounds exciting.

They all look at Clark.

CLARKSorry. It's against my religion.

ZEEIf you don't believe in ghosts, whathave you got to lose?

CALA good Catholic like yourselfshouldn't have anything to fear.

BETSYMaybe he needs a shot of courage?

Cal takes a FLASK out of his pocket.

CAL(to Clark)

Do a shot of courage with me.

He takes a swig. Hands it to Clark.

Annie sends a big smile Clark's way.

ANNIEGo on.

Clark lifts the flask to his lips. Swallows a drop. Thenmore. A lot more.

58.

CLARKThis is pretty good.

ZEELet's go.

They all stand up - except for Clark.

ZEEYou too, Clark.

Clark hesitates, then stands.

ON TV

Carol Anne sits against the headboard of her bed, huggingher CLOWN DOLL.

INT. BACK SEAT OF CAR NIGHT

Storm's over.

POV CLARK: -- Squeezed in next to Annie, Clark watches themoon as it emerges from behind a cloud.

They pass a graveyard.

The moon fades in and out. Changes shape - as if Clark'svision has been affected by a psychedelic substance.

Clark watches the houses, streets quaver as they ride.

END POV CLARK

Clark stares out the window, looking strangely detached.

EXT. MANSION NIGHT

The car pulls up the driveway of a spooky-looking house - an old New England mansion at the end of a hillside street.

INT. MANSION NIGHT

PARLOR

OLD, WORN FURNISHINGS dominate.

NEWSPAPERS, MAGAZINES, SOFT DRINK CANS, BEER BOTTLES litterthe space.

Clark watches his new friends shuffle the mess around.

59.

Zee pops a CD into a massive SOUND SYSTEM. The Stones'Sympathy for the Devil BLASTS out of the speakers.

Betsy brings in a TRAY OF BEERS. Serves them around. Theyabandon their half-hearted clean-up.

Annie tickles Cal to get at his flask.

She takes a big swig. Passes it around.

It comes back to her. Hands it to Clark.

ANNIEWelcome to our humble abode.

Clark takes a big swig.

CLARKYou all live here?

ANNIEYou could say that.

CALThen again...

They all laugh, except Clark who doesn't get their joke.

Annie sidles up to Clark. Strokes his arm.

ANNIESo what do you guys want to do next.

ZEEI think we owe Clark a seance.

CLARKI'd rather just hang out.

ZEEYou are hanging out, Clark. This iswhat we do.

Betsy reaches on top of a bookcase for an OUIJA BOARD.

ANNIENo Bets. Let's do the other kind.

BETSYYeah, a challenge seance.

CALLove 'em. You never know who or what'sgoing to show up.

60.

Zee lowers the lights. Turns down the music.

In semi-darkness they form a standing circle in the middleof the room. With a little sensual bump-and-grind that Clarkenjoys, the Girls wrangle him in-between themselves.

They take each others hands.

ZEEThis is your seance, Clark. You getto call out to beings in other realmsto show themselves and to 'come toPoppa' - that's you.

Clark laughs nervously. Hesitates.

Annie squeezes his hand.

ANNIEGo on.

Clark laughs nervously again. Speaks up haltingly.

CLARKHey, any guys out there from anotherrealm? If so, show yourself.

BETSYGuys?

ANNIEYeah Clark, what about girls fromanother realm?

CALTry again and use the word 'beings.'

Clark shakes the cobwebs from his brain.

CLARKBeings from another realm, male orfemale, show yourself.

ZEETry showing a little more respect.Humor us. Say it seriously.

CLARK(seriously)

Beings from another realm, showyourself.

Nothing happens.

61.

CLARKI told you--

ZEE--Say it again.

CLARKBeings from another realm, showyourself.

SUDDENLY

a blast of wind swirls around the circle. Newspapers andmagazines fly through the air.

A page of THE SUNDAY COMICS lands on Clark's face.

POV CLARK: -- Clark peels the paper off his face. In a darkcorner, he sees a cloud changing color across the visiblespectrum.

The cloud dissolves. Two burning red eyes - pupils and sclera -form on a tall dark BEING, standing in its place.

THE DARK ONE HAS ARRIVED.

It speaks in a low seductive male voice, different from theraspy voice of the shadow creatures Clark has heard before.

DARK ONEClark Fauss, I've been waiting foryou. Let me in.

Clark looks around.

THE OTHERS ARE GONE

along with every sign that anyone's been there.

Quickly, Clark dials a "1" on his flip phone. Nothing. Heshakes it. Tries once more. It still doesn't work.

Sympathy for the Devil BLASTS from the speakers again.

EXT. MANSION NIGHT

Clark's SCREAMS break the silence.

SERIES OF FLASH CUTS:

Clark bursts through the front door.

Runs across the porch.

62.

Down the empty driveway.

He stumbles on the road past the graveyard.

Heading toward town, he runs.

Falls.

Clambers to his feet.

All the while, looking back at the house and the red eyes inthe black form that pursues him like a levitated freight train.