>>/ Grudge, the

/ Grudge, the ( 2)

: / Grudge, the.

/ Grudge, the

ALEX
Karen?

Silence greets him. He stares down at the figure in the bed.

Alex licks his lips, nervous. Finally walks to the mattress,
kneeling down next to it.

Raises a hand and grabs the sheet. Raises it over the head --

-- it's Emma. As we last saw her, eyes on the ceiling, mouth
and eyes wide open in fear.

But now it's clear, from the tache noire in the eyes, the
blanched skin, the rigidity of her body: she's dead.

Alex falls back onto his butt, staring at Emma. He pulls
himself away from the corpse --

-- and freezes. There's something right behind him.
He whirls around --

-- it's KAREN. In the corner, looking pale and dazed.

Revisions (Blue) -- 1/26/04 41.

68 EXT. THE HOUSE - NIGHT 68

Two POLICE CARS and an AMBULANCE are parked out front.

An UNMARKED CAR pulls up, and DETECTIVE NAKAGAWA (40s) exits
the passenger side. He looks up at The House with dread.

The driver, DETECTIVE IGARASHI (30s), moves next to him.

IGARASHI (IN JAPANESE)
I can handle this myself, you know.
It's just a routine call. I don't
know why you wanted to come.

He turns to Nakagawa, awaiting a response. He doesn't get
one. Nakagawa just stares up at The House.

69 69
INT. THE HOUSE - LATER
The house feels completely different: all the interior
lights are on, a few POLICE OFFICERS mill about, two EMTs
wheel EMMA'S BODY out the front door on a gurney.

Alex sits at the kitchen table, frazzled. He turns to --

-- KAREN. She's sitting in the living room, wrapped in a
blanket, being attended to by a FEMALE NURSE and speaking
with Nakagawa and Igarashi, who is taking notes on a pad.

Karen says something and the Detective looks over at Alex.
Then he speaks to the Nurse, who helps Karen to her feet.

Nakagawa and Igarashi enter the kitchen. In perfect English:

NAKAGAWA
I am Detective Nakagawa. This is
Detective Igarashi, my assistant.

ALEX
Is Karen okay?

Revisions (Blue) -- 1/26/04 42.
NAKAGAWA
She is very shaken. We would like
her to stay in the hospital
tonight, under evaluation.

He hands Alex a wedding picture of MATTHEW AND JENNIFER.

NAKAGAWA
Do you know these people?

ALEX
Matthew Williams, and his wife
Jennifer. He's Emma's son, the
woman Karen came here to see.

NAKAGAWA
When was the last time you saw him?

ALEX
I met them when they came to
register. It's standard procedure,
though the visits were arranged by
his employer. He works at --

NAKAGAWA
We've spoken with his employer. He
did not show up for work today.

Something about this gives Alex pause. Nakagawa speaks
briefly to Igarashi in Japanese, then hands Alex a card.

NAKAGAWA
If you could please come by
tomorrow to make a statement, the
address is there, at the bottom --

ALEX
(realizing)
Yoko.

NAKAGAWA
I'm sorry?

ALEX
Karen was a substitute -- Yoko is
the girl who is normally in charge
of Emma. She's also been missing
from work.

NAKAGAWA
For how long?

Revisions (Blue) -- 1/26/04 42aA.
ALEX
For the last two days.

Nakagawa and Igarashi exchange a look.

ALEX
I think I saw her bike outside.

Nakagawa heads for the front door as Igarashi continues to
interview Alex.

Revisions (Blue) -- 1/26/04 42A.

70 EXT. THE HOUSE - NIGHT 70

Nakagawa stands outside by the front gate, looking at --

Revisions (Blue) -- 1/26/04 43.
-- YOKO'S BICYCLE. He looks down at it, frowning.

Then he suddenly cocks his head. As if sensing something.

He turns to look up at A WINDOW ON THE SECOND FLOOR.

It's empty. 71 INT. THE HOUSE - LIVING ROOM - NIGHT 71

Igarashi stands by the ANSWERING MACHINE. The message
counter reads `1'. He presses PLAY.

SUSAN'S MESSAGE replays, and he listens carefully. As it
ends, he turns to see NAKAGAWA standing in the doorway.

IGARASHI (IN JAPANESE)
That's Matthew's sister.

He shows Nakagawa a PHOTO of Matthew and Susan, brother and
sister, grinning at the camera.

IGARASHI (IN JAPANESE)
This must be her.

The look on Nakagawa's face is grave.

NAKAGAWA (IN JAPANESE)
Call her at work, then at home. If
no one answers, send someone to --

He trails off, looking down at --

-- the PHONE BASE. The cordless phone is missing.

Nakagawa reaches down, pressing the `LOCATE' button.

A distant BEEPING SOUND can be heard.

Everyone in the room stops what they're doing. They listen.

72 72
INT. THE HOUSE - ENTRANCE - NIGHT
Nakagawa and Igarashi enter from the hallway, followed by
their men. They look up to the second floor.

The BEEPING is definitely coming from upstairs.

Revisions (Blue) -- 1/26/04 44.

73 INT. THE HOUSE - REAR ROOM - NIGHT 73

Nakagawa and Igarashi come upstairs, their men following
close behind.

They pause in the hallway for a moment. Then Nakagawa walks
into the rear room (Matthew's office). The BEEPING is close.

He stands there, in the center of the room, listening.

Then he looks up, at the ceiling. Everyone follows suit.

Nakagawa turns to the CLOSED CLOSET DOORS. 74 INT. CLOSET - NIGHT 74

He quickly pulls open the door. The closet is empty.

Nakagawa looks up, peering into the darkness.

HIS POV: the ATTIC PANEL yawns wide open.

And right next to it are FOUR LONG GROOVES in the ceiling.
As if something was dragged across it, right to the edge.

Something like fingernails.

Nakagawa leans out, looking at Igarashi.

NAKAGAWA (IN JAPANESE)
I need your flashlight.

75 75
INT. ATTIC - NIGHT

A shaft of light from the flashlight through the open attic
access cuts through the thick darkness.

Nakagawa appears, pulling himself up into the attic. He
swings his flashlight slowly around the room.

Igarashi comes up next to Nakagawa just as the Detective's
flashlight stops on something.

A beat as they exchange an uneasy look.

Then Nakagawa and Igarashi crawl through the darkness towards
the far corner of the space.

Two bodies are tucked into the corner. MATTHEW AND JENNIFER.

Revisions (Blue) -- 1/26/04 45.
IGARASHI (IN JAPANESE)
God!

Nakagawa sits in front of the bodies, examining them.

IGARASHI (IN JAPANESE)
What the hell... what is going on?

Nakagawa sees the beeping CORDLESS PHONE a few feet away.

SOMETHING next to it attracts Nakagawa's interest. We can't
see what it is, but there's some DEEP RED in it, and
something very WHITE --

IGARASHI (IN JAPANESE)
What is that?

-- Nakagawa's eyes widen as he realizes what he's looking at.

76 76
EXT. THE HOUSE - NIGHT
The POLICE CARS outside have attracted a small crowd. The
TWO BODIES are being loaded into a POLICE VAN.

Nakagawa stands with THE CORONER. The CORONER'S ASSISTANT,
wearing a face mask and rubber gloves, approaches. He holds
something small, wrapped in a bloody white sheet.

The Coroner slowly unfolds the sheet. We can't see what he's
looking at -- but it elicits quite a reaction.

CORONER (IN JAPANESE)
Who does this belong to?

NAKAGAWA (IN JAPANESE)
We don't know.

The Coroner quickly re-covers the object.

CORONER (IN JAPANESE)
I can use the blood to help
identify the person.

As the Coroner and his assistant walk away:

NAKAGAWA (IN JAPANESE)
Is it possible that someone could
live without... that?

The Coroner turns back, his face pale.

Revisions (Blue) -- 1/26/04 45A.
CORONER (IN JAPANESE)
I certainly hope not.

Revisions (Blue) -- 1/26/04 46.
Nakagawa turns away to see Igarashi approaching, talking into
a cell phone. He looks disturbed. As he hangs up:

IGARASHI (IN JAPANESE)
Someone just reported another
death. It's not in our district...
but I think we should check it out.

Nakagawa realizes something's troubling his partner.

NAKAGAWA (IN JAPANESE)
Why?

IGARASHI (IN JAPANESE)
The cause of death is not clear...
but it is the man who sold them
this house.

77 77
EXT. TOKYO STREET - DAY
CLOSE ON the spinning wheels of a bicycle. A familiar one.

The pedals are being pumped by a beautiful young Japanese
woman -- this is YOKO (early 20s).

Yoko turns, riding down a small side street. It ends, and
she rounds a corner stopping in front of -- 77a EXT. THE HOUSE - DAY 77a

Yoko opens the gate and walks her bike to the front door,
leaning it against the wall nearby (exactly where we saw
Matthew bump into it earlier).

She rings the door buzzer. Waits. She seems to have
expected this: she pulls a KEY from her pocket, with a
plastic LABEL on it.

78 78
INT. THE HOUSE - ENTRANCE - DAY
Yoko steps inside. She instinctively slips off her shoes.
She calls out, in decent English:

YOKO
Hi, excuse me?

There's a small ENVELOPE with YOKO'S NAME resting on a small
table by the door. She takes it, opens it.

Revisions (Blue) -- 1/26/04 46A.
THE LETTER says, simply: "Out for a walk, back later."

Revisions (Blue) -- 1/26/04 47.
YOKO
Emma? It's Yoko. I'm coming in. 79 INT. THE HOUSE - LIVING ROOM - DAY 79

The house is the least "moved-into" that we've seen so far:
although the main furniture is in place, MOVING BOXES are
stacked in every room, in various stages of unpacking.

But there's also an unusual amount of mess in the house -- a
disarray, much like the opening sequence, that isn't exactly
related to moving in.

Yoko surveys the room, dismayed by the mess.

Then she sees EMMA at the far end of the living room, her
back to Yoko. She's looking down at something in her hands.

YOKO
Hi, Emma. It's good to see you
again.

Emma turns. Looks blankly at Yoko, who approaches.
Realizing the woman doesn't remember her:

YOKO
My name is Yoko.

The old woman still gives no sign of recognition. Yoko
gently takes her arm.

YOKO
You should be in bed --

Then she sees what Emma was looking at: the roll of DUCT
TAPE. She's cut her finger on the serrated cutting blade.

YOKO (IN JAPANESE)
You shouldn't be playing with this!

Shaking her head, Yoko takes the duct tape and looks around
for a place where Emma can't get at it --

-- she puts the tape ON THE STACK OF BOOKS at the top of the
bookshelf, next to the scissors (where Matthew found them). 80 80
OMITTED 81 OMITTED 81

Revisions (Blue) -- 1/26/04 48.

81a INT. THE HOUSE - ENTRANCE - DAY 81a

From the entrance, we see Yoko come out of the kitchen
holding a tray with a teapot and cup.

She walks into the BACK ROOM, looking down at Emma's bed.
The old woman must be asleep: Yoko gently lays down the
tray, quietly steps out of the room and slides the door shut.

Then Yoko moves through the LIVING ROOM to the PHONE BASE --

-- she picks up THE CORDLESS, finally where it belongs.

Yoko dials a number as she walks into THE ENTRANCE HALL. She
begins a conversation (in Japanese) as she looks at the
scattered rubbish on the ground, shaking her head.

She climbs up to the SECOND FLOOR, pausing to kneel and pick
up some pieces of crumpled paper, chatting all the while.

THUD. THUD. Yoko pauses, turning towards the open door to
the front room. The rhythmic THUMPING continues. 82 OMITTED 82 83 OMITTED 83 84 INT. THE HOUSE - FRONT ROOM - DAY 84

The room is a mess. The bed is unmade, clothes are strewn on
the floor. Looks like a storm swept through it.

Yoko stands in the doorway, listening for the THUMPING
sounds. But they've stopped.

She finishes her call and hangs up. Sighs. She sticks the
cordless phone into her pocket and starts to clean the room.

As Yoko straightens the bedspread, she hears something.
Pauses. And we hear it too --

-- a familiar THROATY CROAKING SOUND. Quiet and muffled.

Revisions (Blue) -- 1/26/04 49.
Yoko, a bit unnerved by the strange sound, pulls a small MP3
player and headphones from her pocket. She puts them on, and
goes back to work. 84aa INT. THE HOUSE - SECOND FLOOR HALLWAY - DAY 84aa

Yoko backs into the hallway, humming along to the music.
Preoccupied, she doesn't notice as --

The DOOR TO THE REAR ROOM, at the end of the dark hall behind
her, SLOWLY SWINGS OPEN.

Yoko turns and walks down the hall towards it. 84a INT. THE HOUSE - REAR ROOM - DAY 84a

Yoko enters the room, which is also a mess. The MOVING BOXES
are tumbled about the small room. She sighs.

Then she notices the CERAMIC CAT on the shelf, FACING HER
(where Susan left it). Apparently she's not a big fan of
felines: she uneasily turns it to FACE THE WALL instead.

Yoko turns back to the room, staring to stack the moving
boxes (the way we saw them before). As she does --

-- she pauses again. The music in her headphones starts
PHASING, digital noise creeping in...

Yoko takes off the headphones. Stares at them.

And then there's another CROAKING SOUND. From close by.

Yoko draws a breath, quickly looking up --

-- AT THE CEILING, directly above her. That's where the
horrible sound is coming from.

Freaked out, Yoko backs away, and opens the bedroom door --

85 85
INT. THE HOUSE - SECOND FLOOR HALLWAY - DAY
-- the hallway is COMPLETELY DARK. An unnatural blackness.
The skylights above, which were previously filled with
sunlight, are now completely opaque.

Yoko stands in the doorway, scared, afraid to step into the
darkness. Then she looks down --

Revisions (Blue) -- 1/26/04 49A.
HER POV: the murky blackness of the hall seems to be slowly
CREEPING IN, phantomlike, around the edges of the door. 86 INT. THE HOUSE - REAR ROOM - DAY 86

Yoko stumbles back into the room. Her eyes fixed on --

-- THE DOORWAY: the creeping darkness is now coming in
around all sides, not just the bottom.

Yoko backs up to the bed, still clutching the CORDLESS PHONE.

She looks back at the door, suddenly CRYING OUT --

Revisions (Blue) -- 1/26/04 50.
-- A BLACK CAT sits in the doorway. Tail wrapped around
itself, sitting perfectly still, like a statue. Staring at
Yoko with its yellow eyes. Something unnatural about it.

Yoko backs away towards the closet. Nowhere to go.

The cat suddenly HISSES AT HER --

-- and that's all Yoko can take. In a panic, she opens the
closet door, ducks inside. 87 INT. CLOSET - DAY 87

Yoko slams the door shut, pulling herself up onto a raised
shelf. Breathing hard, looking down at --

-- the crack under the door. The light is beginning to dim.

Yoko presses back into the closet, trapped.

The closet is starting to get dark. Quickly.

Yoko looks around desperately. Looking up, she sees --

-- THE ATTIC PANEL above her is wide open.

Caught between a rock and a hard place. Yoko decides:

She shakily stands on the shelf and reaches up to pull
herself into the attic.

88 88
INT. ATTIC - DAY
Yoko's head appears. Then her shoulders. She looks around,
but can't see a thing in the darkness.

She's about to pull herself all the way up --

-- when she hears the THROATY CROAKING SOUND.

Coming from the darkness.

Yoko stiffens, her breath catching in her throat.

ANOTHER POV: we're at the far end of the attic, suddenly and
rapidly RACING FORWARD TOWARDS YOKO...

ON YOKO: something brushes her face. Long, black hair.

There's a head, just inches from hers. Almost nose-to-nose.

Revisions (Blue) -- 1/26/04 51.
Yoko is paralyzed with fear, eyes wide. A long beat.

Then she reaches into her pocket, pulling out a LIGHTER.

Yoko raises it and flicks the wheel --

-- we get a glimpse of a PALE FACE, surrounded by long black
hair, eyes wide and mouth open, the THROATY SOUND suddenly
increasing in pitch and volume --

-- as the face moves forward --

CUT TO BLACK. 89 INT. HOSPITAL ROOM - NIGHT 89

Karen slowly wakes up in bed. As her eyes clear, she sees --

DOUG. He sits on the edge of the bed, slightly slumped, his
back to her.

He slowly turns -- and a relieved smile crosses his face. He
moves closer, and reaches out a hand.

DOUG
It's okay. I've got you.

Karen nods, lacing her fingers in his. But her eyes are
glazed and unfocused -- she's exhausted.

DOUG
Your boss told me what happened.
I'm sorry.

She turns away, the memory bothering her. Doug takes her
hand, massaging her fingers, worried.

DOUG
I talked to your teachers. They
said you can take as much time as
you need. We could go to Kyoto for
a weekend, see those temples you're
always talking about.

Karen tries to smile back, but her heart's not in it.

KAREN
Running away won't help.

Revisions (Blue) -- 1/26/04 51aA.
DOUG
There's nothing to run away from,
Kat. No one blames you for what
happened.

Revisions (Blue) -- 1/26/04 51A.
KAREN
I'm not even sure what did happen.

DOUG
You went to help someone who was,
quite simply, beyond help.

KAREN
No, that's not what I mean...

She trails off, trying to remember. Doug waits.

KAREN
That house. There was something...

Doug sees her frustration, and tenderly brushes a hair from
her face.

DOUG
Don't beat yourself up searching
for a greater truth, Kat. An old
woman passed away in her sleep.
It's sad, but that's all it is --

KAREN
Is that how they said she died?

DOUG
I'm sorry this happened to you.
But maybe, in a way, it will help
you later. Death is an unfortunate
but integral part of your future
career. There's no avoiding it.
Maybe now you'll be more... ready
for it.

KAREN
I don't think I'll ever be ready
for something like that.

She turns away. Doug wraps an arm around her. Karen leans
into him, and he strokes her hair.

Revisions (Blue) -- 1/26/04 52.
The moment is broken by a soft KNOCK. Detective Nakagawa
stands in the doorway, holding a thick FILE.

NAKAGAWA
I'm sorry to disturb you, Miss
Davies. I was wondering if you
could answer some additional
questions?

Doug stands, intercepting Nakagawa. He sticks out a hand.

DOUG
I'm Doug. Karen's boyfriend.

Nakagawa nods. Fixes Doug with a blank stare. Taking the
hint, Doug turns to Karen.

DOUG
You up for this?

KAREN
(nodding:)
Why don't you find out when I can
check out of here.

Revisions (Blue) -- 1/26/04 53.
Reluctantly, Doug kisses her brow, then exits. Nakagawa
pulls a chair up to the bed and sits, putting the file on a
small table.

NAKAGAWA
How are you feeling?

KAREN
Okay. Tired.

NAKAGAWA
You are an exchange student?
(Karen nods:)
And you have been volunteering at
the Health Center for...?

KAREN
Three months. I needed a social
welfare credit.

NAKAGAWA
You said this was the first time
you'd been in that house?

KAREN
Yes.

She notices Nakagawa isn't taking notes. He seems somewhat
uncomfortable, as if he's building to something:

NAKAGAWA
About the Japanese boy you said you
saw there --

KAREN
Did you find him?

NAKAGAWA
No, not yet. You said the boy had
been taped into the closet?

KAREN
Yes, that's right. He was...
holding a cat. A black cat.
(remembering:)
There was a book in the closet,
too. I think it was a journal.

NAKAGAWA
Did it belong to the boy?

Revisions (Blue) -- 1/26/04 53aA.
KAREN
I don't think so. I think it
belonged to a woman.

Revisions (Blue) -- 1/26/04 53A.
Nakagawa looks up. Karen tries to explain:

KAREN
The writing. It looked feminine.

Revisions (Blue) -- 1/26/04 54.
KAREN
I left it on the kitchen table.

Nakagawa frowns, scribbles a note.

NAKAGAWA
I didn't see any book on the table.
Perhaps someone moved it. Did you
speak with the boy after you opened
the closet?

She thinks, recalling:

KAREN
I asked him his name. He said
`Toshio'.

Nakagawa immediately tenses. A long beat. He can see how
exhausted Karen is. But something's troubling him:

NAKAGAWA
One more question, please.

He slowly reaches into his pocket and pulls out THE PHOTO
Karen found, and taped together. He shows it to her.

NAKAGAWA
We found this in the room where...

Karen looks at the picture.

KAREN
This is him. This is the boy.

NAKAGAWA
Are you certain?

KAREN
Yes. Positive.

Nakagawa stares down at the picture in his hands.

And Karen notices -- Nakagawa's hands are shaking.

KAREN
Detective Nakagawa?

He looks up at her, a faraway look in his eyes.

KAREN
The whole time I was in that house,
I felt something was... wrong.

Revisions (Blue) -- 1/26/04 54A.
From the expression on Nakagawa's face, she's onto something.

KAREN
What happened there?

Nakagawa holds Karen's gaze for a moment. Even in her
exhausted state, it's clear -- she's as frightened as he is.

Revisions (Blue) -- 1/26/04 55.
NAKAGAWA
The bodies of the son and daughter-
in-law of the woman you were caring
for were found in the attic.

Karen just stares at him, stunned.

NAKAGAWA
It seems that the son killed his
wife, and then himself --

There's a KNOCK on the door. Igarashi stands in the doorway.
He speaks to Nakagawa in Japanese.

NAKAGAWA
(to Karen)
Please excuse me for a moment.

Nakagawa puts the photo down and steps into the hallway and
closes the door, but not all the way. Karen watches and
listens through the crack:

90 90
INT. HOSPIAL - HALLWAY - NIGHT
IN THE HALLWAY: the men speak with hushed voices.

IGARASHI (IN JAPANESE)
We checked the apartment of Susan,
the sister. She wasn't there...

He trails off, hesitating.

NAKAGAWA (IN JAPANESE)
Yes?

IGARASHI (IN JAPANESE)
The chain lock had been drawn from
the inside. And the deadbolt. But
we found no one in the apartment.

Nakagawa takes this in.

NAKAGAWA (IN JAPANESE)
Get the surveillance tapes from the
office building.

Igarashi nods. But doesn't move. After a moment, quietly:

IGARASHI (IN JAPANESE)
They were the first family to live
in that house since the incident
three years ago --

Revisions (Blue) -- 1/26/04 56.
Nakagawa's harsh look silences him. Then the Detective
turns, noticing KAREN watching them. He pulls the door shut. 91 INT. HOSPITAL ROOM - NIGHT 91

Nakagawa's stern voice is muffled by the closed door. Karen
sits back in bed, disturbed.

Then her attention turns to THE FILE on the table.

She considers. Then reaches for it. Opens it.

It's a POLICE REPORT, in Japanese.

Karen scans it, and turns the page. She draws a breath --

-- it's a photo of THE HOUSE. Cordoned off with police tape.
An ambulance out front. Like the scene she just left...

...only the picture is dated three years ago.

THREE DETECTIVES are visible beyond the open front door,
conferring in the entryway.

The photo of the house is attached to a POLICE REPORT, with
THREE PICTURES. A stern-looking Japanese man (TAKEO), a
somber woman (KAYAKO), and a YOUNG BOY we know very well --

Karen makes the connection. She picks up the taped-up photo
and compares it to the file... the boy and his father are the
same as in the newspaper.

Karen gently touches the "missing" face of KAYAKO -- then her
eyes move to the picture of THE BOY.

Her eyes widen as she reads THE JAPANESE TEXT under his face:

KAREN
Toshio...

92 92
INT. NURSING CARE CENTER - NIGHT
The place is quiet, completely deserted. Except for --

-- Alex. He's behind his desk in the reception area, staring
off into space. Alex finally glances up at a clock -- it's
almost ten o'clock.

He gets up, turns off his computer, switches off the lights,
and walks around the reception desk towards --

Revisions (Blue) -- 1/26/04 57.
THE FRONT DOORS. He hits a final light switch and is almost
to the exit, when --

-- he suddenly SLIPS. Almost falls. Saves himself by
throwing a hand up against the wall.

He looks down. What the hell did he slip on?

A pool of liquid. Right by the front doors, where the ladder
stood earlier. It's too dark to make out what the fluid is.

Alex looks down at HIS HAND -- it's covered in the liquid.
And there's a dark HANDPRINT where he grabbed the wall.

HIS POV: a trail of FOOTPRINTS lead from the pool of liquid,
around the base of the stairs.

His eyes on his dirtied hand, Alex slowly reaches for the
nearby light switch. The overheads come on --

-- the liquid is deep red. Blood.

Alex looks across the room. Shaking, he starts to walk
forward, following the footsteps.

He pauses at the bottom of the stairs, seeing --

-- the BLOOD TRAIL has stopped. Right by the bottom step.

Alex looks up the staircase. No blood.

After a moment, Alex starts to walk up. As he reaches the
first landing --

He freezes. Sensing something behind him. He turns to see --

YOKO. Head lowered, clothing is torn and bloody. She's
slowly climbing up the steps, but she's MOVING JERKILY, like
a marionette, her limbs making a strange CREAKING as if
tendons and muscles are being pushed to their limits.

And there's BLOOD DRIPPING DOWN, splattering on her shoes.

ALEX
Yoko?

She keeps moving, straining, climbing... towards him.

Revisions (Blue) -- 1/26/04 58.
ALEX
What... What happened, Yoko?

Now she finally stops, two steps away. A long beat.

ALEX
Say something, please...

Yoko slowly raises her head towards him --

-- the lower half of her face is missing. Her jawbone has
been ripped out, her tongue hanging limply on her chest.

Alex stumbles backwards... and his foot lands right in a
puddle of blood. His legs fly out from under him and he
CRACKS HIS HEAD AGAINST THE GROUND.

HIS POV: everything goes blurry, and canted 90 degrees. But
it looks like there's A FIGURE standing in the hallway,
watching the scene...

...a small boy holding a black cat...

Dazed, Alex plants a hand on the ground and pulls himself
into a seating position --

-- and coming face-to-face with YOKO, kneeling down directly
in front of him. Her bloody tongue dripping, lolling...

ON ALEX: eyes wide, he opens his mouth to scream --

HARD CUT TO: 93 INT. POLICE STATION - NAKAGAWA'S OFFICE - DAWN 93

Nakagawa sits at the desk. Exhausted, dark circles under his
eyes, he's staring down at --

THE FILE on his desk. As if he's afraid to even open it.

But he does. He flips through the photos, pausing on that of
TOSHIO, but continuing on to THE BLACK AND WHITE PHOTO of The
House from three years ago (the one Karen saw), with the
THREE DETECTIVES.

Nakagawa turns to a FRAMED PICTURE on his desk -- it's
YOUNGER NAKAGAWA at a bar with THREE FAMILIAR DETECTIVES.
They're off-duty, grinning at the camera. Buddies.

The two photographs share THE SAME THREE DETECTIVES.

Revisions (Blue) -- 1/26/04 59.
As Nakagawa looks at the crime scene photo, he realizes
something. He slowly stands, in shock, trembling.

The phone RINGS, startling him.

Nakagawa walks over, picks up the phone.

NAKAGAWA (IN JAPANESE)
Hello?

He listens.

His face goes blank. He slowly lowers the phone. 94 OMITTED 94 95 OMITTED 95 96 OMITTED 96 OMITTED
97 97 98 OMITTED 98 99 INT. MORGUE - DAY 99

The CORONER sits on a stool, staring at the floor. TWO
BODIES lie under bloody white sheets on two STEEL TABLES.
Between them is a small cart -- a bloody cloth on top.

Nakagawa and Igarashi enter. The Coroner stands, nervous.
He walks to one of the tables and pulls back the sheet.

NAKAGAWA (IN JAPANESE)
Have you determined a cause of
death?

CORONER (IN JAPANESE)
Not yet. The blood on his body --
isn't his. It belongs to her.

He points to the other table. But doesn't look at it.

Revisions (Blue) -- 1/26/04 60.
NAKAGAWA (IN JAPANESE)
I don't understand. He killed
Yoko, before he died?

The Coroner shakes his head. Nakagawa looks to Igarashi,
then walks up to the second body, pulling back the sheet.

IT'S YOKO. Still missing her jawbone.

Nakagawa and Igarashi stare down at her in disbelief.

The Coroner walks to the small table, removing the cloth.
Yoko's JAWBONE is underneath it.

CORONER (IN JAPANESE)
The jawbone you found in the attic
yesterday with the American couple
belongs to this girl. I estimate
it was -- removed -- from her body
two or three days ago.

IGARASHI (IN JAPANESE)
But I thought you said her body was
found with this man, tonight.
The Coroner nods. Eyes on his shoes.

NAKAGAWA (IN JAPANESE)
Then how did she get from the house
to the Health Center?

The Coroner, lost in his imagination, answers quietly:

CORONER (IN JAPANESE)
I have no idea.

A beat. Nakagawa walks to the jawbone. Stares at it.

NAKAGAWA (IN JAPANESE)
She survived for two days without
this?

CORONER (IN JAPANESE)
It would seem so.

NAKAGAWA (IN JAPANESE)
How is that possible?

The Coroner looks up at him, his face pale.

CORONER (IN JAPANESE)
I don't believe it is.

Revisions (Blue) -- 1/26/04 61.

100 INT. HOSPITAL ROOM - DAY 100

Doug sits on the bed, next to a DRESSING CURTAIN. Karen's
silhouette is visible behind it, pulling on her clothes.

He watches the curtain for a beat, concerned. Then:

DOUG
I got us a guidebook to Kyoto. I
thought maybe we'd leave tomorrow --

The curtain suddenly SLIDES BACK. Karen, dressed, stares at
him. She looks angry.

KAREN
Why didn't you tell me?

DOUG
Tell you what?

KAREN
About the bodies they found in the
attic.

DOUG
You were recovering from a shock.
I didn't want to --

Karen turns away, picking up her backpack and slinging it.
She walks past him, disappointed, and leaves the room.

DOUG
Karen -- wait --

He quickly grabs his coat and bag.

100a 100a
INT. HOSPITAL HALLWAY - DAY
Karen paces down the hall towards a RECEPTION AREA. Doug
catches up with her, turning her towards him.

DOUG
Look, I'm sorry. I was just
worried about you, and -- I know
you, Karen.

Karen turns to him. A sober look on her face.

Revisions (Blue) -- 1/26/04 61A.
KAREN
The same thing happened three years
ago, Doug. To a Japanese family,
who lived in that house. They were
all found dead.

Doug studies her for a moment.

DOUG
So you think the events are
connected?

KAREN
How would you explain it?

She watches Doug as he thinks. Carefully.

DOUG
Okay. How about this: the
American family knew about what had
happened there before, and this
knowledge subconsciously caused
them to repeat the same events.

Karen gives Doug a skeptical look.

DOUG
It's exactly how superstitions
survive: if you walk under a
ladder and think uh-oh, you're in
for some bad luck, sure enough,
what do you know? You trip over --

KAREN
(heard it before:)
-- trip over the curb and sprain
your ankle.

DOUG
Makes sense, right?

Karen stops walking. Considering something.

Revisions (Blue) -- 1/26/04 61B.
KAREN
Okay. Then explain this: when I
went to that house, I didn't know
anything about its past. But yet I
still saw...

She hesitates, realizing she's said too much.

DOUG
Saw what? Karen?

KAREN
Emma and I were alone in that room,
but -- there was something else
there. I'm sure of it.

DOUG
You watched a woman die, Kat.
That's a horrible thing to
experience. I can't imagine how
you must feel. But sometimes the
mind tries to cope with terrible
things in a way that distorts what
actually occurred.

Karen's eyes never leave his. Softly, but firmly:

KAREN
You might be right, Doug. But I
know what I saw.
(then, faltering:)
I think I know what I saw...

After a moment, Doug pulls her into a hug.

DOUG
You just need to rest. We'll get
you home, get a good night's sleep.

KAREN
Yeah.

But her eyes speak differently. She covers it well, stepping
back and glancing over at the reception desk:

KAREN
You've got class, and I'm sure I
only have to fill out a few forms
or something --

DOUG
You sure?

Revisions (Blue) -- 1/26/04 61BA.
KAREN
I'm fine, Doug. Really.

He kisses her, then exits. He pauses at the front doors to
give her a little wave. She smiles... but the smile droops
as soon as he's out of sight.

After a moment, she turns and walks to the front desk.

DISSOLVE TO:

Revisions (Blue) -- 1/26/04 61C-63.

101 OMITTED 101 102 OMITTED 102 103 INT. KAREN'S APARTMENT - LIVING ROOM - NIGHT 103

Karen sits at her computer desk. She looks exhausted.

Online, Karen pulls up the home page for The Japan Times, an
English-language newspaper.

She types Toshio's full name into a SEARCH window.

A LIST of links appear, filling the screen. Karen scans
them. Tries one. It's not what she's looking for.

She re-enters Toshio's name along with a year -- `2001'.

Only ONE LINK appears. The word `MURDERED' in the headline.

Revisions (Blue) -- 1/26/04 64.
Karen clicks it. The article fills the screen.

As Karen reads it, we catch glimpses of names -- `Toshio',
`Kayako', `Takeo'. And an ominous phrase: "MURDER/SUICIDE".

Karen clicks a link marked `IMAGE'. A scanned picture of the
newspaper appears -- the article is on the front page, with
familiar photos of Toshio, Kayako and Takeo.

But then Karen's eyes drift to another picture at the bottom
of the page --

-- PETER. She quickly recognizes him from the picture she
found in the journal. His name is printed below the photo.
A picture of Peter and Maria's CONDO BUILDING is next to it.

She looks at the headline: "AMERICAN ENGLISH TEACHER THROWS
SELF FROM BUILDING".

Karen scans the article, thinking. Then she looks up at --

-- TOSHIO'S PICTURE.

DISSOLVE TO:

104 104
INT. POLICE STATION - NAKAGAWA'S OFFICE - NIGHT
Nakagawa is looking at the same picture, in his file.

OFFICER #1 appears in the hall. Knocks gently on the door.

OFFICER #1 (IN JAPANESE)
This just came in. It's the
surveillance video you requested.

It takes a moment for Nakagawa to snap out of it.

He finally nods, takes the tape. He opens the envelope and
looks at the cassette. Like he doesn't want to watch it.

Then he turns to a TV/VCR combo and inserts the tape.

ON THE SCREEN: the 10TH FLOOR HALLWAY from Susan's office
building, and the door leading to the stairwell.

A beat. The image FLICKERS for a moment.

Then the door suddenly bursts open and Susan, terrified, runs
from the stairwell and down the hall.

ON NAKAGAWA: he fast-forwards the video. Until --

Revisions (Blue) -- 1/26/04 65.
ON SCREEN: -- the SECURITY GUARD appears in the hallway. As
Susan saw earlier, he opens the door to the stairwell and
looks inside. Then he closes the door and continues o.s.

ON NAKAGAWA: he reaches forward to turn off the video --

ON SCREEN: -- but then the video CRACKLES with a quick burst
of static. And the door to the stairwell opens again.

ON NAKAGAWA: he's watching, entranced, terrified. He can
hardly believe what he's seeing --

ON SCREEN: -- A DARK FIGURE EMERGES FROM THE STAIRWELL. It's
the shape of a woman with long hair --

-- but the figure is BLURRY AND SHIFTING, as if the black
shadow has loosely compacted itself into the form of a human.

NAKAGAWA watches, breathless, as THE FIGURE slowly enters the
hallway, passing by, underneath the camera.

The image stops flickering. An empty hallway now. A beat.

Nakagawa, his hand shaking, reaches forward, about to turn
off the television set, when --

DARKNESS SUDDENLY OVERTAKES THE SCREEN, rising up from the
bottom until everything is dark. A strange HUMMING RATTLE
comes from the speakers, and the image JITTERS madly.

Nakagawa leans forward, right up to the screen, trying to
make out an image in the swirling blackness --

Two eyes open, staring at Nakagawa.
Terrified, Nakagawa stands and turns away, closing his eyes.

And when he finds the strength to look back --

-- THE EYES are still there.

Locked onto him, even though he's moved.

Unflinching. Unblinking.

105 105
EXT. THE HOUSE - NIGHT
Nakagawa stands at the front door. Gathering his courage.

Revisions (Blue) -- 1/26/04 66.
He opens the door. Nothing but yawning darkness inside.

Nakagawa picks up TWO HEAVY OBJECTS, one in each hand, and,
ducking under the police tape, enters the house. 106 INT. THE HOUSE - ENTRANCE - NIGHT 106

Nakagawa puts the two heavy objects by the front door and
closes it. Now we can see what they are --

-- GASOLINE CANS. Two gallons each. Full.

Nakagawa catches his breath. Then he reaches for the lid of
one of the cans, starting to unscrew it. His hands are
shaking, and the gasoline SPLASHES AROUND inside --

-- but then there's ANOTHER SPLASHING SOUND. From nearby.

Nakagawa freezes. The splashing continues. His eyes go to --

THE BATHROOM DOOR. It's closed. The SPLASHING is coming
from inside, accompanied by a series of THUDS. The sounds of
a small child, STRUGGLING...

Nakagawa fearfully reaches for the door handle --

106a 106a
INT. THE HOUSE - BATHROOM - NIGHT
Nakagawa's eyes widen as the door swings open. He sees --

A YOUNG BOY kneeling by the edge of the tub, overflowing with
water. His head hangs below the surface.

Nakagawa immediately drops to the boy, lifting his lifeless
head from the water. It's TOSHIO. He's dead. Drowned.

Before Nakagawa can understand what's happening, the boy's
eyes SUDDENLY OPEN, fixing on Nakagawa --

-- and then a PALE HAND grabs Nakagawa's head from behind and
roughly pushes it into the water, holding him under.

Nakagawa's LEGS flail and kick as he struggles, his SCREAMING
muffled by the water. But finally, his legs become still. 107 107
OMITTED 108 OMITTED 108

Revisions (Blue) -- 1/26/04 67.

109 OMITTED 109 109a OMITTED 109a

Revisions (Blue) -- 1/26/04 68.

110 INT. KAREN'S APARTMENT - LIVING AREA - DAY 110

THE WALL by Karen's computer desk is now covered with WEBPAGE
PRINT-OUTS: NEWSPAPER CLIPPINGS of TOSHIO and his parents,
KAYAKO and TAKEO; MATTHEW and JENNIFER; PETER; and
DETECTIVES NAKAGAWA and IGARASHI, plus reports on THE EARLIER
INVESTIGATION.

In the center of it all is a picture of The House.

ON THE DESK is a PRINT-OUT: the newspaper article about
Peter's death, with the photo of his CONDO. Below the photo,
Karen has written the number `224'.

We hear the sound of RUNNING WATER -- it's the shower. We
drift away from the desk and towards the bathroom... 110a OMITTED 110a

Revisions (Blue) -- 1/26/04 68A.

110b OMITTED 110b 111 INT. KAREN'S APARTMENT - BATHROOM - DAY 111

Karen is in the shower. She stands there, glassy-eyed, as
the water runs over her. She's looking at --

-- HER REFLECTION in the mirror. It fogs up, obscuring the
view. This snaps Karen out of her trance.

She rinses her hair and squeezes some shampoo into her hand.
Starts a nice lather.

FROM BEHIND: Karen works the shampoo into her scalp. But,
as she does, we see something...

... A PALE HAND BURIED UNDER HER HAIR, as if someone is
behind her, with a hand on her head.

Karen's fingers brush the hand. She CRIES OUT and turns --

-- there's no one there. She's alone.

Revisions (Blue) -- 1/26/04 69.

112 OMITTED 112 113 OMITTED 113 114 INT. KAREN'S APARTMENT - LIVING AREA - DAY 114

There's the sound of the front door UNLOCKING and Doug
enters, carrying a bag. He closes the door behind him and
walks in, turning the corner --

-- finding Karen, looking a bit dazed, standing right there.
He's startled, but quickly recovers:

DOUG
I come bearing gifts.

Karen smiles weakly. She takes the bag and enters the
kitchen. He watches her go, worried. Then he notices --

HER DESK. Doug walks over, looking at the printouts she's
taped to the wall. And the photo of The House in the center.

Bewildered, he sits down, leaning forward and taking a good
look. His eyes stop on the picture of TOSHIO.

Doug turns to see Karen staring at him from the kitchen.
It's an awkward moment: he's concerned, but doesn't know
what to say. And neither does Karen.

Finally she approaches, looking at Toshio's picture:

Revisions (Blue) -- 1/26/04 69A.
KAREN
That's the boy who was there
yesterday. In that house. But
this boy, he's --

Her voice trembles, her fear showing through.

KAREN
-- he's supposed to be dead.

A beat. Karen's eyes plead with Doug.

KAREN
I saw him, Doug. I talked to him.
He told me his name. A boy who was
killed by his father three years
ago told me his name.

Doug looks away, shaking his head.

KAREN
You don't believe me.

DOUG
How can I believe you, Karen?

Karen's face darkens. Before she can retort --

-- the phone RINGS. As Karen walks across the room to answer
it, Doug starts reading the newspaper article.

KAREN (INTO PHONE)
Hello?

She listens. Her face slowly drops.

KAREN
(almost a whisper:)
What?

She numbly lowers the phone. Doug turns to her, seeing that
something's very wrong.

Snapping to life, Karen walks to the desk, picking up the
photo of Peter and Maria's condo and a map of Tokyo.

Doug puts a hand on her shoulder. She finally looks at him.

KAREN
Alex and Yoko are dead.

Doug, surprised, doesn't know what to say. Karen doesn't
give him a chance to figure it out:

Revisions (Blue) -- 1/26/04 69AA.
KAREN
(intense:)
There's something wrong with that
house, Doug. Something really bad.
(re: Peter's photo)
The boy in that house, he had a
photo of this man. He died on that
same day three years ago. I need
to talk to his wife... widow. If I
can find out what happened, or
if... maybe --

DOUG
Maybe, what?

Karen pulls away, making for the door. Doug follows.

DOUG
I'm concerned about you going out
while you're so upset --

KAREN
You don't understand. I have to,
Doug.

DOUG
Why?

KAREN
Because I've been inside that
house, Doug. Don't you get it?
I've been inside!

Revisions (Blue) -- 1/26/04 69B.
A beat. We see the resolve come over Karen's face. She
reaches out and touches Doug tenderly.

KAREN
I love you. But I have to go.

She leaves.

Doug, troubled, turns back to the desk.

He looks up at the wall, tracing a finger over the photo of
The House. Beneath it, is the address...

Revisions (Blue) -- 1/26/04 70-72.

115 EXT. CONDO BUILDING - DAY 115

The same building from the newspaper clipping. Monolithic
against a cloudy, bleak sky.

Karen stands before it, staring up at it.

Then she walks to the intercom and looks at the directory,
finds `M. Kirk'. She activates the intercom and dials the
number. It rings a few times, and then a voice picks up:

MARIA (INTERCOM, IN JAPANESE)
Yes?

KAREN
I'm looking for Maria Kirk?

MARIA (INTERCOM)
Who is this?

KAREN
My name is Karen Davies. I'm a
student at -- I'm sorry to bother
you, but I was wondering if I could
ask you a few questions.

A long beat. Karen stares at the intercom.

KAREN
Ms. Kirk?

MARIA (INTERCOM)
Questions about what?

KAREN
I'm here because... I need to speak
with you about your husband.

When Maria's voice comes back through the intercom, she
sounds different, shaken:

MARIA (INTERCOM)
Leave me alone.

KAREN
Maria --

MARIA (INTERCOM)
Please.

Karen stands there for a moment. Then, as she walks away --

Revisions (Blue) -- 1/26/04 72A.
CLICK. The electronic door lock disengages behind her.

Revisions (Blue) -- 1/26/04 73.

115a OMITTED 115a 115b OMITTED 115b

Revisions (Blue) -- 1/26/04 74.

116 OMITTED 116 116a INT. PETER & MARIA'S APARTMENT - DAY 116a

The front door opens. MARIA (early 30s) has changed from
when we first saw her -- she wears a revealing outfit, and
her natural beauty now smolders beneath the surface.

She regards Karen warily.

MARIA
I'm late for work.

KAREN
I just need a couple minutes.

Maria finally steps aside, letting Karen in.

The APARTMENT is small, and completely unkempt. The kitchen
is a mess, clothes lie everywhere.

MARIA
(sarcastic:)
Make yourself at home.

Karen looks for a place to sit. She decides to stand.

Maria sizes her up. A beat. Then:

MARIA
Well?

KAREN
Your husband, Peter. Three years
ago he...

She trails off, in delicate territory.

MARIA
He what?

KAREN
He killed himself.

Maria eyes her blankly. Then she turns to look at something
o.s. Karen follows her gaze --

-- to the open door of THE BEDROOM. And THE WINDOW beyond.

Revisions (Blue) -- 1/26/04 74A.
KAREN
(almost ashamed:)
I'm... sorry.

Maria turns back to her, sadness on her face. Then:

MARIA
Thank you.

Maria reaches for a pack of cigarettes. Lights one. Offers
them to Karen. She shakes her head.

MARIA
How did you know Peter?

KAREN
I didn't.

MARIA
Then what are you doing here?

KAREN
I think there's a connection
between your husband's death and
something that happened to me.

MARIA
What happened to you?

KAREN
It's... hard to explain.

Maria takes a drag from her cigarette. Waiting.

KAREN
Look, I know this sounds strange,
but... I don't think your husband
wanted to die.

MARIA
(even:)
Then why would he throw himself out
a window?

Karen struggles to find the answer.

MARIA
Let me guess: `hard to explain'?

Karen nods. Maria's brave face slips. She turns away.

Revisions (Blue) -- 1/26/04 74B.
MARIA
I put all this behind me. I don't
want to open it back up again.

KAREN
If that's true, then why are you
still here in Japan?

Maria turns back. She only looks defensive for a moment.

MARIA
Because I can't leave. I tried.
But I couldn't. Not without...

Maria speaks softly, forming words she's never spoken aloud:

MARIA
He usually didn't wake up before
me. But that morning, he did. He
made coffee for us. Then he sat
there and waited for me to wake up.
And when I did, he looked me right
in the eye. And then he jumped.
The night before we'd been talking
about having children together...

She wipes away the tears in her eyes.

KAREN
Did you know a woman named Kayako?

MARIA
No.

KAREN
Did Peter?

MARIA
I don't think so.

Maria turns away, growing tense.

KAREN
Maybe it was someone he worked
with?

MARIA
Look. I've had the police up here,
I talked with Detectives, I even
hired a P.I.--
(composing herself:)
(MORE)

Revisions (Blue) -- 1/26/04 74C.

MARIA (cont'd)
I don't know what you're going
through, or what you think you know
about my husband. But I don't have
any answers. I'm sorry.

She turns back to Karen -- to find the young woman sitting
slumped on the edge of a sofa, tears in her eyes.

Maria softens as Karen looks up at her, pleading:

KAREN
Please. I don't know what else to
do. Please help me.

Revisions (Blue) -- 1/26/04 75-77.

117 INT. CLOSET - DAY 117

Maria reaches up to a high shelf. She moves a few things
aside to get to TWO SHOEBOXES buried towards the rear. 118 OMITTED 118 118a INT. PETER & MARIA'S APARTMENT - DAY 118a

Maria re-enters the room, laying the shoeboxes on a table.

MARIA
This is all his stuff from school.

She stares at the boxes, afraid to open them. Karen sits
down and gently removes the lid of one of them.

THE BOX contains stacks of PHOTOGRAPHS and notes. Karen
removes a pile of photos and starts looking through it.

After a moment, Maria sits down next to her. She opens the
other box and pulls out another stack of photos.

She looks at the first one, sadness crossing her face.

MARIA
This was our first date.

She shows Karen THE TOP PHOTO: a "self-portrait" of Peter
and Maria in a park lined with blooming cherry trees.

The pain returns, and she puts the picture away.

Karen works through her own pile: she's looking at pictures
of Peter from his University days.

Her eyes widen as she sees --

Kayako. She looks young and alive... but yet somehow sullen
and withdrawn, as if she feels she doesn't belong there.

She's with a group of fellow students. PETER is in the
group, although he and Kayako aren't next to one another.

Karen turns to the next picture -- it's a graduation party.

Kayako is in this one too: standing to the side, watching
PETER AND MARIA as they give a goofy grin to the camera.

Revisions (Blue) -- 1/26/04 77A.
As Karen flips through them, a definite pattern emerges --

-- Kayako is in practically every picture.

And in most, she's not smiling at the camera. Rather, she's
staring at Peter.

KAREN
(under her breath:)
Oh my God.

MARIA
What? Did you find something?

We move to THE GROUP PHOTO. Peter with Maria, surrounded by
classmates. Kayako off to the side, her eyes on Peter.

DISSOLVE TO:

Revisions (Blue) -- 1/26/04 78.

119 INT. COLLEGE - PETER'S OFFICE - DAY (THREE YEARS AGO) 119

The same GROUP PHOTO is in a frame on Peter's desk.

Peter stands behind the desk, using a small mirror to knot
his tie. His open door reads: `DEPARTMENT OF ENGLISH'.

A CO-WORKER (20s, Japanese) enters with a stack of mail.

PETER
Happy Monday.

CO-WORKER
Yeah, right. Here's your mail.

He hands it to Peter. On the top is a small BLUE ENVELOPE.
The name in the return address is `Kayako'.

Revisions (Blue) -- 1/26/04 79.
CO-WORKER
Another one, huh?

Peter shakes his head, looking distastefully at the letter.

PETER
I don't even know her. She says I
used to tutor her, but I don't know
who the hell she is.

The co-worker shrugs and leaves. Disturbed, Peter fingers
the blue envelope.

His eyes go to one of his desk drawers. He slides it open.

More BLUE ENVELOPES are inside. All from `KAYAKO'.

Peter's face darkens. He dumps the letters into a trash can.

120 120
EXT. THE HOUSE - DAY
Peter stands in front of The House.

He glances down at the BLUE ENVELOPE in his hand. He stuffs
it in his pocket, unsure about what he's going to do.

Then he opens the gate and goes in, walking to the front
door. Knocks. Silence from inside. He rings the bell.
Waits. No one comes. He's about to leave --

But then he hears something from around the side of the
house. It sounded like a muffled SPLASH of water. 120a EXT. THE HOUSE - SIDE - DAY 120a

Peter peers around the side of the house, a narrow walkway
lined with bushes and trees. It's quiet.

PETER (IN JAPANESE)
Hello? Excuse me?

After a moment, Peter decides to check it out. As he steps
around a bush, he suddenly stops, surprised to see --

PETER'S POV: two ARMS hang from a window at the side of the
house. They look disembodied, mottled and bruised.

Revisions (Blue) -- 1/26/04 79A.
It takes Peter a moment to recover. He slowly walks over.

Revisions (Blue) -- 1/26/04 80.
A familiar BOY is inside -- it's TOSHIO. His glazed and
staring eyes don't seem to notice Peter, standing right in
front of him.

PETER (IN JAPANESE)
Hello.

No reaction. There's definitely something wrong with this
boy. Peter looks beyond him, into the dark house.

PETER (IN JAPANESE)
My name is Peter. I'm here to see
your mother. Is she home?

The boy slowly straightens. His eyes focus on Peter. Then
he FALLS BACKWARDS. Startled, Peter tries to see inside:

PETER (IN JAPANESE)
Hey! Are you okay??? Hello???

Peter quickly goes back to the front door. Tries the handle -
- it's unlocked. He opens the door.

121 121
INT. THE HOUSE - ENTRANCE - DAY
Peter steps inside, unsure about entering uninvited.

PETER (IN JAPANESE)
(calling out)
Hello? Excuse me. I'm coming in.

His concern for the boy wins out. He kicks off his shoes,
and quickly walks to the open bathroom door. 122 122
OMITTED

123 INT. THE HOUSE - BATHROOM - DAY 123

Peter enters, finding Toshio lying on the floor. He must
have been standing on the edge of a TUB by the window.

Revisions (Blue) -- 1/26/04 81.
PETER (IN JAPANESE)
Are you alright?

As Peter helps the boy to his feet, he glances at the
bathtub. It's filled, literally to the brim, with water. 124 INT. THE HOUSE - LIVING ROOM - DAY 124

Peter holds Toshio's hand as he leads him back to a couch in
the living room.

PETER (IN JAPANESE)
Are you alone? Where are your
parents?

The boy sits in the couch, slumped over, still looking dazed.

Peter studies him, looking at the ugly BRUISES on his arms
and legs. There's also a big one around his neck.

PETER (IN JAPANESE)
What happened to you?

Peter reaches out to lift Toshio's chin, but he FLINCHES,
pulling backwards. His eyes manage to focus on Peter.

Then the boy looks away. Lowers his head. A long beat.

Peter's worried. This really doesn't look good. He scans
the messy room, eyes falling on something.

He reaches down and picks up PIECES OF A PHOTOGRAPH, lying
next to a broken frame -- they've been crumpled into a ball.

ON THE PHOTO: Peter unfolds the pieces and rearranges them.
We've seen this picture before --

-- a FAMILY PORTRAIT. TOSHIO, holding a cute BLACK CAT.
Standing with his mother and father -- KAYAKO and TAKEO.
They're all beaming at the camera, a perfect, happy family.

Except that the mother's face has been torn out.

Then there's a muffled MEOW. Peter looks over at the window.
Did that come from outside?

Another MEOW. Peter walks to the window, looking out.

FROM OUTSIDE, LOOKING IN: a worried look crosses Peter's
face as the MEOW becomes more of a GROWL, as if in warning.
He looks outside, but can't see anything --

Revisions (Blue) -- 1/26/04 82.
-- but we see, over Peter's shoulder, that TOSHIO is now
LOOKING DIRECTLY AT HIM, eyes wide --

-- the MEOWING emitting from his wide open mouth -- 125 INT. POLICE STATION - DAY 125

Karen enters quickly, going up to the front desk.

OFFICER #2, filling out paperwork, doesn't look up.

KAREN (IN JAPANESE)
Excuse me, I need to speak with
Detective Nakagawa.

Officer #2 looks up at her. Blankly.

KAREN (IN JAPANESE)
It's an emergency.

OFFICER #2 (IN JAPANESE)
One moment.

Officer #2 walks to the end of the desk, where two more
OFFICERS speak in hushed tones with DETECTIVE AOKI.

Officer #2 interrupts their conversation. And they all look
over at Karen. A beat. Then Detective Aoki approaches.

AOKI (IN ENGLISH)
You are asking for Detective
Nakagawa?

KAREN
Yes, I have important information
for him about a case...

She looks around. Everyone is watching her. The mood is
decidedly grim. She can tell something's up.

AOKI
Detective Nakagawa is not here
right now. Can you tell me what
case this is regarding?

There's something behind the Detective's words.

KAREN
His partner, Detective Igarashi?
Can I speak with him?

Revisions (Blue) -- 1/26/04 83.
Aoki exchanges a look with the officers.

AOKI
Can you tell me your name, please?

Karen looks at the somber faces in the quiet station. She
backs away from the desk as the realization sinks in.

KAREN
They're dead, aren't they?

Karen turns and runs for the exit.

AOKI
Miss, wait please --

But she's long gone.

126 126
INT. KAREN'S APARTMENT - NIGHT
A reading light on the computer desk provides the only
illumination in the dark apartment.

Karen enters, standing in the doorway for a moment. Shell-
shocked. As she slides off her coat:

KAREN
Doug?

Revisions (Blue) -- 1/26/04 83A.
No answer. She slowly walks to the bedroom and looks inside.
He's not there. This seems to worsen Karen's mood.

Revisions (Blue) -- 1/26/04 84.
Karen looks down at a NOTEPAD. She's written THREE JAPANESE
NAMES. The detectives in charge of the case three years ago.

They all have red lines drawn through them.

Then we PAN UP to see that these are the last names on a
longer list. We recognize the other names: MATTHEW,
JENNIFER, and EMMA WILLIAMS; YOKO and ALEX; NAKAGAWA and
IGARASHI. Everyone who's been in The House.

Everyone who died. All the names have been CROSSED OUT --

-- except `Nakagawa' and `Igarashi'. Karen picks up a red
pen and draws a line through them.

Then we see one final name at the bottom:

`Me.' Now the only one not crossed out. The only one left.

Karen puts down her pen. Then she looks up at --

-- THE WALL, where's she's taped all the pictures and
articles in a circle.

Karen realizes something. She reaches for the lamp, and
turns it closer --

-- the picture in the middle of the "spider's web" is gone.

The photo of The House.

Karen draws a breath. Then, out of the corner of her eye,
she sees something she hadn't noticed before --

-- a faint red FLASHING from a small table by the kitchen.

She slowly stands. Walks over to it. The flashing red light
is barely visible on her face, as she looks down at --

-- HER ANSWERING MACHINE. The message light is blinking.

`1 MESSAGE'.

She reaches out a shaky finger and presses `PLAY'.

DOUG (ON MACHINE)
"Hey, Karen. It's me. I just
wanted to say -- I'm sorry. I know
I wasn't hearing you.
(MORE)

Revisions (Blue) -- 1/26/04 85.

DOUG (ON MACHINE) (cont'd)
If all this is real to you, then
it's important to me, and I'm gonna
check that house out. So just sit
tight, I won't be long. I love
you."

Karen presses the STOP button.

She stands there for a moment, in the near-darkness.

Then, softly:

KAREN
No. 126a EXT. KAREN'S APARTMENT BUILDING - NIGHT 126a

Karen runs outside, struggling to pull on her coat. She
races down the sidewalk at top speed.

126b 126b
EXT. THE HOUSE - NIGHT
Doug stands at the gate, lighting a cigarette, looking down
at the POLICE TAPE sealing the entrance. He pockets his
Zippo and ducks under the tape, walking up to --

THE FRONT DOOR. Doug tries the handle, and the door swings
open. He stands on the porch, looking into the dark place. 126bb EXT. STREET - NIGHT 126bb

Karen runs down the steps from the train, racing into the
SHOPPING DISTRICT. 126c INT. THE HOUSE - ENTRANCE - NIGHT 126c

Doug steps inside, trying the light switch. Nothing happens.
But he smiles, shaking his head, completely unafraid.

DOUG
Hello?

As he takes a step forward his foot bumps THE GAS CANS, still
sitting by the front door.

He's confused -- and then he gets a good idea. He tosses his
cigarette outside and closes the front door.

Revisions (Blue) -- 1/26/04 85A.

126d INT. THE HOUSE - LIVING ROOM - NIGHT 126d

Doug walks through the living room, glancing inside the small
KITCHEN, then he slides open the door to the TATAMI ROOM.

He winces as his eyes meet the STAINED MATTRESS. 126e INT. THE HOUSE - ENTRANCE - NIGHT 126e

Doug re-enters the entryway, looking back up to the second
floor. He starts up.

Revisions (Blue) -- 1/26/04 86.

126f INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT 126f

Doug walks to the FRONT ROOM door and opens it. He leans
inside, trying to let his eyes adjust to the dark.

Then he walks down the hall to the REAR ROOM. Does the same.
Nothing but darkness beyond.

Doug closes the door and turns away from it, wondering why
he's here, what he's looking for.

He reaches into his pocket and pulls out his cell phone.
Speed-dials Karen's number. As he raises it to his ear --

-- he doesn't notice the door to the rear room SLOWLY
SWINGING OPEN BEHIND HIM --

127 127
EXT. THE HOUSE - NIGHT
Karen runs towards us, breathless, stopping as she reaches --

-- THE HOUSE. Looming over her. Waiting.

She only hesitates a moment before running inside. 128 INT. THE HOUSE - NIGHT 128

Karen enters, calling out:

KAREN
Doug! Where are you???

A MUFFLED SOUND from upstairs. A voice.

KAREN
Doug???

Karen immediately runs up the stairs to --

THE SECOND FLOOR. Before she reaches the top of the stairs,
Karen suddenly realizes:

THE VOICE she's hearing isn't Doug's.

VOICE (O.S.)
Hey, Maria, it's me. Yeah, I'm
still at school...

Karen slowly looks up to see --

Revisions (Blue) -- 1/26/04 87.
-- PETER. She recognizes him immediately. He's standing in
the hallway, talking on his cell phone.

PETER (INTO PHONE)
...I know, I'm sorry -- these staff
meetings always run over -- maybe
another ten minutes or so -- okay,
I'll be home soon -- I love you
too.

He hangs up. Leans against the wall. Looking into --

THE FRONT BEDROOM. Karen gasps as she sees TOSHIO through
the open door. He's sitting on the ground, making drawings
of BLACK CATS. This is his bedroom.

PETER
(under his breath)
Guess your mom's late, huh?

Then Toshio suddenly looks up. Right at Karen.

Following Toshio's gaze, Peter quickly turns to face Karen.
But even though she's right there, he doesn't see her:

She's seeing something that happened three years ago.

As if sensing her presence, Peter walks right to the edge of
the stairs, looking down. Then:

A RUSTLING SOUND comes from the dark hallway. Peter turns
towards the REAR BEDROOM at the end of the hall.

129 129
INT. THE HOUSE - REAR BEDROOM - NIGHT

Peter stands in the doorway, looking into the MASTER BEDROOM
of Toshio's parents. His attention is drawn to something
near the door --

-- a DESK. It's got a computer, some files. Someone's
personal work space.

Peter steps to the desk. He picks up A STACK OF PHOTOGRAPHS.
Family pictures: with father (TAKEO), mother (KAYAKO), and
son (TOSHIO), holding his black CAT.

KAYAKO'S FACE has been torn out of every one.

Peter notices something underneath the pile of photos -- a
familiar JOURNAL. The same one Karen found in the closet.
He opens it.

Revisions (Blue) -- 1/26/04 88.
HIS POV: it's a journal Kayako kept. As Peter flips through
it, KAYAKO'S VOICE speaks the words...

...and even though it's mostly Japanese, there's one word we
recognize, that she's written repeatedly --

-- "Peter". It's been written over and over, in both English
and Japanese, as if she couldn't get enough of seeing it.

Past the early pages Karen saw, THE WRITING becomes more
manic, the delicate script becoming a frantic scrawl,
KAYAKO'S VOICE becomes more desperate and pleading.

Taped on the final page is A PHOTO: PETER with a group of
his University friends, at a party. Kayako has scribbled
hearts around his head, and SCRATCHED OUT the other faces.

A bloody THUMBPRINT distorts Peter's face. It's still wet.

Peter slams the book shut and drops it. As he does, a
PHOTOGRAPH falls out from inside, landing right-side up.

THE PHOTO is of PETER at a college party, talking with MARIA.
It's clear they're having a great time with one another...

...but the photo is TORN IN HALF, splitting Maria's face.
And KAYAKO is visible between them, sadly and stoically
watching Peter, strands of hair falling down her face.

Peter and Karen both reach to pick up the photo at the same
time -- and they BUMP SHOULDERS. Karen falls backwards,
against the wall.

In disbelief, Peter looks around wildly. He reaches out a
tentative hand, feeling around... Karen moves out of the way.
She can't understand how this could be happening.

As Peter is about to stand back up, SOMETHING small flutters
down from above, landing on the floor in front of him.

It's KAYAKO'S FACE. One of the missing pieces from the torn-
out photographs.

Peter slowly looks up to see --

-- ALL THE MISSING KAYAKO FACES have been pinned to the
closet door. Many of the pins go through HER EYES.

And that's when Peter and Karen hear THE FLIES. Buzzing
anxiously. Sounds like there's a lot of them.

It's coming from THE CLOSET. Just behind the torn-out faces.

Revisions (Blue) -- 1/26/04 88A.
Karen watches, terrified, as Peter reaches out a hand --

-- and slides the door open.

He immediately recoils. A terrible stench inside.

The BUZZING of the flies is louder. Coming from above.

Peter pulls a book of matches from his pocket. Lights one.

And looks up.

HIS POV: the attic panel is slightly open.

Peter reaches up to open it fully --

-- AND THE UPPER HALF OF KAYAKO swings down.

She's been wrapped in plastic sheeting, mottled splotches of
blood on the inside. Her neck hangs at an odd angle.

Revisions (Blue) -- 1/26/04 89.
Peter backs away in horror -- 130 INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT 130

Peter backs into the hallway, breathing hard.

Then a familiar sound reaches our ears: THUD. THUD. THUD.

It's coming from Toshio's room. And it's the same rhythmic
THUDDING we've heard coming from this room before.

Peter wrenches his gaze from the horrific sight and heads
quickly down the hall (with Karen following him):

PETER
Toshio! We have to --

He stops short at the door, as he sees --

-- TAKEO, Toshio's father. Eyes rolled back in his head,
tongue swollen and lolling from his blue lips.

He's dead -- he's hanging from the ceiling by BLACK HAIR that
seems to cover its entire surface. Kayako's hair.

TOSHIO, now back to his "dead" appearance, playfully swings
the body. Takeo's feet THUD rhythmically against the wall.

KAREN
Oh my God...

Peter doesn't stay to see any more. He runs.

131 131
INT. THE HOUSE - ENTRANCE - NIGHT

Peter tears down the stairs and runs for the front door,
passing a mirror --

-- he freezes. He saw SOMETHING in the reflection as he
passed. Something wrong.
He takes a step back and looks --

-- it's not his reflection in the mirror. It's KAYAKO.

Peter stares at the image in disbelief. Then he notices
TOSHIO standing next to Kayako, looking up at her.

Revisions (Blue) -- 1/26/04 89A.
As Peter slowly turns to look down, a small PALE HAND slips
into his own. Peter jerks backward in shock as --

A SERIES OF IMAGES, THE ORIGIN OF "THE GRUDGE", FLASH BY:

-- TAKEO, looking down at THE JOURNAL, reading his wife's
words, his face contorted with rage... he turns to see
KAYAKO, home from work, standing in the doorway...

Revisions (Blue) -- 1/26/04 90.
-- KAYAKO running down the steps, TAKEO chasing her, tackling
her before she can reach the door... sitting on top of her,
he wraps his hands around her neck...

-- KAYAKO seeing TOSHIO, her son, watching through the bars
of the second floor railing as...

-- TAKEO snaps Kayako's neck with an audible CRACK...

-- KAYAKO, not dead, but paralyzed, watching as...

-- TAKEO drowns a flailing TOSHIO in the bathroom tub...

-- TAKEO tears apart TOSHIO'S CAT, still alive, in the
bathroom sink...

-- KAYAKO letting out a HORRIBLE CROAKING, the only sound her
broken neck can emit, as TAKEO advances on her with a knife,
his eyes filled with a manic madness...

-- TAKEO in THE ATTIC, stuffing KAYAKO and TOSHIO, both very
dead, wrapped in plastic sheeting, into a corner...

-- KAYAKO suddenly TURNING HER HEAD and GRABBING TAKEO'S
ARM... her lifeless eyes focusing on Takeo's as she CROAKS...
Takeo's eyes go wide with fear... and TOSHIO suddenly reaches
from his plastic grave, grabbing Takeo's other arm...

BACK TO THE PRESENT:

We PAN FROM Peter to THE REFLECTION IN THE MIRROR --

It's not the pale, frightening Kayako anymore. Rather: a
beautiful, young Kayako with eyes filled with sorrow.

We PAN BACK to see KAREN standing there, instead of Peter.

Karen slumps to the ground in front of the mirror, the
revelation taking everything out of her.

A beat. Then:
That came from upstairs.
THUMP.
Karen looks up as the sound continues. We PAN OVER towards
the stairs as A DRAGGING sound moves across the ceiling.
Accompanied by a strange SCRAPING, like plastic.

KAREN
No more... please, no more...

She suddenly freezes, sensing something next to her. We see
it now, as she turns her head, almost hidden in the darkness--

Revisions (Blue) -- 1/26/04 91.
-- a PALE FACE in the darkened hallway, staring up at the
ceiling. Eyes wide and rolled back, mouth yawning open in
abject terror --

-- it's DOUG'S BODY. He lies on his back, his top half
sticking out from a niche by the stairwell. It's been right
next to her all along.

KAREN
DOUG! NO!!!

Karen takes Doug into her arms as the SOUNDS continue above,
growing closer. But it's no use -- he's dead.

And now there's a new sound, moving down the stairs. A
familiar THROATY CROAKING SOUND, along with a strange
SKITTERING, like the world's biggest cockroach.

Karen turns to the staircase to see --

-- KAYAKO, crawling down the stairs. Still wrapped in the
plastic sheeting, she moves like a wounded animal, neck
hanging limply, struggling to pull herself forward --

-- her eyes locked on Karen, CROAKING horribly --

Karen sorrow turns to abject terror. She tries to lift
Doug's body and pull it to the front door. It's too heavy.

And KAYAKO is getting closer.

Sobbing, Karen drops Doug and falls back against the front
door, bumping into --

THE GAS CANS. The one Nakagawa unscrewed TIPS OVER, spilling
gasoline into the entryway.

As Doug's arm flops to the floor, his outstretched HAND lands
next to Karen. She sees something clenched in his fingers --

-- his ZIPPO LIGHTER.

Realization dawns over Karen as she feels the liquid spilling
onto her hands. The odor is unmistakable.

Karen immediately reaches forward, trying to loosen Doug's
grip on the lighter as --

-- Kayako reaches the bottom of the stairs. Her broken neck
makes a horrific CRACKING as she swivels to face Karen.

Karen finally gets the lighter. She pushes back against the
door with legs too numb to stand. Her eyes drift up to see --

Revisions (Blue) -- 1/26/04 91A.
-- TOSHIO, watching from the railing above, as before, his
cold eyes locked on hers.

Karen grabs another can, and spins the lid until it pops off.
She tips it onto the floor, spilling more gas.

Revisions (Blue) -- 1/26/04 92.
Kayako doesn't seem to care. She crawls over Doug's body and
pulls herself through the gasoline, slowly, drawing
inexorably closer --

Karen drops the empty gas can and opens DOUG'S LIGHTER.

She flicks it. Nothing.

Karen tries the lighter again. And again. Nothing.

Kayako reaches out, blood dripping from her gaping mouth --

The lighter CATCHES.

Karen flails with her free arm and opens the front door --

-- just as Kayako GRABS HER ANKLE.

Karen reaches outside, anchoring a hand to the door frame --

-- but she can't pull herself free, as --

-- Kayako pulls herself closer, her CROAKING intensifying --

-- resigned, Karen slowly lowers the flame to the gas can --

-- and ignites the gas! There's a sudden BRIGHT FLASH that
overtakes the screen --

FADE TO WHITE: 132 OMITTED 132

132a 132a
EXT. THE HOUSE - NIGHT
The flashing lights of POLICE CARS wash over the formerly
quiet neighborhood, illuminating --

Revisions (Blue) -- 1/26/04 93.
KAREN. She's lying on a gurney, regaining consciousness.
Japanese EMTS are speaking to her as she's being loaded into
the back of an ambulance.

KAREN'S POV: the blurry forms of FIREMEN rush by in slow
motion. Everything is dizzy and incoherent...

Karen tries to sit up -- but a YOUNG EMT lays a gentle hand
on her arm, deftly sliding a needle under her skin. The
sedative takes hold almost immediately.

Karen sinks back into the gurney, her eyes rolling back in
her head. She's fading fast. 132b INT. AMBULANCE - NIGHT 132b

The EMTs secure the gurney inside and close the doors. Karen
fights the drug, but its grip is inevitable: she finally
gives up, sliding into a medicated sleep.

We slowly MOVE IN on her face, until it fills the screen.

Then...

132c 132c
INT. AMBULANCE - DAY
...the light CHANGES. Darkness becomes morning sunlight
spilling across Karen's face. The tranquil sound of birds
CHIRPING surrounds us. But it sounds like a distant echo.

Karen's eyelids flutter. She opens her eyes and sits up, now
wide awake -- but peaceful and calm.

She gently swings her legs from the gurney and walks to the
window, confused by the daylight. She looks out to see --

132d 132d
EXT. THE HOUSE - DAY
It's the most beautiful we've ever seen it. A lush
springtime bloom fills the trees and bushes around the place.

VOICES off-screen (Japanese) are audible, getting closer --

Revisions (Blue) -- 1/26/04 93A.
ON KAREN, as she is surprised to see...

KAYAKO. Beautiful and meek. She's smiling, walking hand-in-
hand with TAKEO. A happy couple.

As they reach the front door and go inside, Kayako turns back
to the front gate. She smiles and gestures, "come on".

And then TOSHIO walks forward, through the gate. His
attention is on a tiny BLACK KITTEN in his arms.

At the door, Toshio turns to look back over his shoulder --

-- DIRECTLY AT KAREN. They hold each other's gaze for a
moment, as if he somehow sees her in the ambulance.

Then Kayako gestures to Toshio, and he turns away, entering
The House and closing the door.

CUT TO BLACK.

<<<

/ Grudge, the.
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