>>/ Mirrors

/ Mirrors ( 2)

: / Mirrors.

/ Mirrors

47. 65 CONTINUED: (2) 65

Without a word, Angela's reflection brings its hands to its face and digs its fingers into its mouth. In a sudden jerk, it pulls open its jaw-

AS IF SHE WERE ELECTROCUTED, ANGELA'S BODY CONTORTS VIOLENTLY FORWARD. HER MOUTH IS DEFORMED, AS IF AN INVISIBLE FORCE WERE WRENCHING IT WIDE OPEN.

IN THE MIRROR, HER EVIL DOUBLE CONTINUES TO PULL OPEN ITS MOUTH, SUDDENLY RIPPING ITS JAW OFF WITH THE SOUND OF CRACKING BONES AND CARTILAGE-

AT THE SAME INSTANT, IN THE BATHTUB, ANGELA HAS NO TIME TO REACT BEFORE SHE UNDERGOES THE SAME AGONIZING TORTURE!

The mirror cracks by itself.

The bathtub overflows with red water spilling out on the white tiled bathroom floor.

FADE TO BLACK

66 INT. DAY - APARTMENT QUEENS - THE NEXT MORNING 66

The camera flashes illuminate the crime scene.

Angela's body lies afloat in the bathtub. The apartment is entirely flooded.

Two men in police uniforms close off a security zone, to keep the intrusive neighbors away.

A detective is interrogating an old Puerto Rican couple- the downstairs neighbors. They were the ones who alerted the police, after having noticed the water leakage. The old woman explains how "it was raining blood into her living room"...

Amongst the police officers and the legal medical squad, we find Larry. He is in charge of the case.

Leaning over the bathtub, Larry examines the visible parts of the corpse. Angela's face is concealed by her own long black hair, floating in the murky water.

Larry slips on an examination glove, pulls up his sleeve and sinks his arm into the blood-red bath. He feels around for the chain of the plug in order to drain the bathtub.

The water level begins to recede, gradually revealing Angela's naked corpse.

With the tip of his fingers, Larry lifts away the few strands of hair covering Angela's face-

(CONTINUED)

48. 66 CONTINUED: 66

Taken by surprise, he steps back from the horrifying sight of this JAW-LESS FACE.

Larry removes his glove, wipes off his bloodied arm and starts to leave the bathroom when something else catches his attention-

He comes closer to the spiderweb cracked medicine cabinet mirror. A TINY DROP OF BLOOD is dripping from one of the cracks.

Strange.

A DARK SILHOUETTE PASSES BEHIND HIM IN THE REFLECTION. He turns immediately- The bloodied bathroom is still and silent. Angela's destroyed body lies in the empty bathtub.

A police inspector in the next room, calls out to him-

POLICE INSPECTOR O.S. Larry? Take a look at this...

LARRY What is it?

POLICE INSPECTOR O.S. Come take a look for yourself.

Larry exits the bathroom. The police inspector in the living room holds a picture frame in his hands. He turns towards Larry-

POLICE INSPECTOR Look... Isn't Ben Carson in the picture?

CUT TO:

67 INT. DAY - POLICE STATION - INTERROGATION ROOM 67

Still wearing his uniform, Ben is sitting alone in one of the interrogation rooms of the police station. His haggard face expresses great grief. His sister's death has left him distraught.

He fiddles with an empty plastic cup in his hands.

The classic two-way mirror facing him, throws back his reflection.

Ben knows that he is being watched.

Behind the two-way mirror, Amy observes him. Larry is standing next to her.

LARRY The water has obliterated most of the marks. No trace of struggle or broken entry, the entrance door was locked. (MORE)

(CONTINUED)

49. 67 CONTINUED: 67 LARRY (CONT'D) The person who did this must have had the keys to her apartment, or otherwise it was somebody she knew...

AMY He would never have laid a finger on her. When their father died, Ben took care of his sister. Angela meant the world to him.

LARRY Listen, so far, his statement is pretty consistent with the facts... We checked it out, he did place a call from work at 12:30, and the woman's downstairs neighbors claim they started noticing the water leakage at around two in the morning. The daytime security guard, Lorenzo Sappeli, confirms he came on after Ben's shift at seven a.m. The only strange thing, and it may just be a coincidence, is that Ben told Sappeli that he had decided to quit his job, as if he was planning to go away somewhere... Did he mention anything about it to you?

AMY No, lately, communication hasn't quite been our strong point... (she smiles) I only found out yesterday that he was staying at his sister's. What are you going to do with him?

LARRY I figure we'll let him go. At this point we haven't got any real reason to keep him here. And, I think he's had his share for the day.

AMY You know what's gonna happen if you let him go. He won't stop here. I know him, he won't stop until he finds who did this to her.

LARRY Listen, where we stand now, we got nothing, not a single clue. I'm sure he can help us.

AMY What kind of friend are you? You are using him. He's not a cop anymore.

(CONTINUED)

50. 67 CONTINUED: (2) 67

LARRY He's still the best one I know, even if he's one of the suspects.

Amy comes closer to the two-way mirror. She looks at her ex- husband on the other side. He seems overcome with grief and confusion. She can see the distress in his eyes.

LARRY (CONT'D) Try to keep an eye on him.

CUT TO:

68 EXT. DAY - POLICE STATION 68

Ben has been released.

Under the pouring rain, on the front steps of the police station, Amy tries to reason with him-

AMY You have to see someone Ben. You cannot stay in this situation any longer. You need help, psychological support.

Ben is not listening. His mind is elsewhere.

AMY (CONT'D) Why don't you...if you want...come spend a few days at home, with the kids?

BEN No, I don't want to put them in any danger.

AMY What do you mean?

BEN I've got things I need to deal with.

AMY Ben, look at me! I don't want you to get into any trouble. Think about Daisy and Michael. You are not going to solve this case. Please, stay out of it.

BEN She asked me to quit and they got to her...

AMY What? Who are you talking about?

(CONTINUED)

51. 68 CONTINUED: 68

BEN I know who did this Amy.

AMY In that case, you have to tell them everything.

BEN They wouldn't believe me and neither would you... Goodbye.

Ben walks away, leaving Amy alone on the steps of the police station

AMY Ben, wait...

Ben does not turn around. The rain is beating down harder and the thunder grumbles in the distance. The first lightning flashes light up the sky.

Another flash-

68A - QUEENS APARTMENT - 68A

Ben ignores the crime scene's restriction perimeter and enters Angela's apartment. Without turning on the light, he goes straight for a leather pouch stashed among his cardboard boxes.

Inside- A .357 MAGNUM, his former cop weapon.

Another flash-

69 EXT. NIGHT - MAYFLOWER 69

The lightning bolts illuminate the facade of the department store.

Ben's car is parked in front of the construction fence.

70 INT. NIGHT - MAYFLOWER 70

The rainwater pours through the openings in the roof, penetrating the interior of the deserted department store. It dribbles down the cracked walls and over the half-burnt mannequins...

71 INT. NIGHT - MAYFLOWER BASEMENT- MIRROR ROOM 71

We hear the echo of the roaring thunder outside, but in the gloom of the flooded basement, there is another blaring sound-

(CONTINUED)

52. 71 CONTINUED: 71

A DULL METALLIC THUD. It gets louder and louder, closer and closer as we advance towards the opening to the mirror room-

Inside, we find Ben, out of his mind, throwing a chair against the mirrors with all his strength, in an attempt to demolish them-

He's exhausted and he's forced to stop.

Not a single shard of glass, not even a scratch, the mirrors seem completely indestructible...

Ben is not through with them. He drops the chair to the ground and pulls out the gun from his belt.

Without a moment's hesitation he opens fire-

THE MIRRORS SHATTER VIOLENTLY, CRACKING WITH THE POWERFUL IMPACT OF THE BULLETS. In the spiderweb-cracked mirror, his image is deformed.

Having found a weak spot, Ben savors his sweet victory when, suddenly, something inconceivable unfolds before his very eyes-

THE BULLET IMPACTS DISSOLVE AS IF BY MAGIC AND THE MIRRORS ARE RECONSTITUTED!

Ben's shock and disbelief give way to rage. He fires, in a fury, emptying the entire clip this time-

Again, the bullet holes vanish, leaving Ben alone, face to face with his own reflection. He breaks down nervously-

BEN Why did you do it? WHY? WHY DID YOU HAVE TO KILL HER?

Silence.

BEN (CONT'D) What is it you want? What do you want from me? ANSWER ME! WHAT IS IT YOU WANT?!

Suddenly, one after the other, letters, start appearing in one of the mirrors, as if an invisible finger were tracing them in the dust-

REKESSE

Ben turns around, and in the reflection of the opposite mirror he recognizes the inverted word- the same word he found on the note in Gary's wallet, the word Ben himself had traced in his bathroom mirror-

(CONTINUED)

53. 71 CONTINUED: (2) 71

ESSEKER

CUT TO:

72 INT. NIGHT -QUEENS APARTMENT 72

Back in the Queens apartment, Ben still hasn't gotten any sleep. On the wall, he is assembling all the newspaper clippings, articles and photographs that Gary sent him.

Each and every mirror in Angela's apartment has been covered with sheets, blankets, old rags- anything he could find to neutralize the reflective surfaces.

With the phone cradled between his ear and shoulder he is in the middle of a heated conversation-

BEN ...Look up Esseker... Yes, Echo, Sierra, Sierra, Echo, Kilo, Echo, Romeo... Esseker. No idea, my guess is that it's a name... No, I haven't got a first name. Yes, in New York. Over the past five or six years. I know it's hazy but that's all I've got. I already looked it up in the phone book. I also called someone at the IRS and at the DMV, but nothing there. It's very important Larry. You'll call me back? Ok...

Ben hangs up the phone and remains in front of the wall covered with clippings for a moment. Now he can have a clear overview of Gary's investigative research.

All the articles date back approximately to the same period and are all related to the fire that ravaged Mayflower five years ago.

But not a hint of Esseker.

Ben studies the newspaper clippings, trying to piece the story together-

" Deadly Fire at Mayflower- 29 dead and 78 wounded "

" Brutal Massacre- Mother and her three daughters slaughtered..."

" ...the children, drowned, in the bathtub... "

" ...the throat slit open... "

" Mayflower's security guard taken in for questioning... "

(CONTINUED)

54. 72 CONTINUED: 72

" The night watchman confesses to setting the fire but firmly denies the accusation of murdering his family... "

" Terrence Berry confesses but claims the mirrors are guilty- The security guard at Mayflower finally confesses. He started the fire in the department store with the intention of destroying the mirrors, responsible, according to him, for the death of his wife and three daughters. "

Ben observes Terrence Berry's face in one of the archive photographs. He looks like a perfectly normal guy, rather kind, surely he was a good father... Ben can't help but empathize with him.

As he looks up, Ben catches a glimpse of his reflection in the window-

What if he too lost his mind and went on to slaughter his family? Or what if the mirrors would do it?

The phone rings-

BEN (CONT'D) Yes, so, what'd you find out? Nothing under that name? Shit, shit, shit, shit... Can you look up Berry, Terrence Berry...

Ben holds on the line, for a moment.

BEN (CONT'D) ...Got anything? Great...No, I already know all that. Is he still alive? No... Can you find out where he was committed before his death? Wait, I'm writing it down...

Ben sits down on the bed and scribbles down the address on a piece of paper.

BEN (CONT'D) ...Roosevelt Psychiatric Detention Center... Yeah, I know where it is. Thanks.

He hangs up the phone. Under the blanket, next to him, he spots the T-shirt that his sister was wearing the other night.

The pain is too strong. He cannot hold back his tears anymore and starts crying.

CUT TO:

55.

73 INT. DAY -NEW JERSEY HOUSE - KITCHEN 73

The next morning -

Heavy-eyed and sleepy, Michael is hypnotized in front of the weather forecast on TV.

The hot chocolate set in front of him is getting cold. His sister Daisy pours herself some more orange juice. Amy, shaking a box of cereal, interrupts the little boy in his dream state-

AMY Do you want the cereal in your hot chocolate or in a separate bowl?

The little boy does not answer.

AMY (CONT'D) Michael?

MICHAEL In the chocolate...

AMY ...In the chocolate, please, mom...

MICHAEL (repeating after her) ...Please, mom.

She pours the cereal in his hot chocolate.

DAISY Yuck, that's gross, how can you eat that?

AMY Come on, come on, let's get going, or you're going to be late for school.

Michael begins to eat his breakfast, his gaze still fixed on the weatherman's forecast on TV. As Amy fills the cat's bowl with pellets, Tiger rushes over to join the rest of the family.

DAISY Mom?

AMY What is it sweetheart?

DAISY Do you know that Michael has a new friend?

(CONTINUED)

56. 73 CONTINUED: 73

MICHAEL No, that's not true!

AMY Really, what's his name?

MICHAEL (to his sister) You promised not to tell.

AMY Does he go to your school?

Michael doesn't answer. Daisy shakes her head.

AMY (CONT'D) (pretending to be indifferent) Very well. If you don't want to tell me about it...

The little boy stays quiet.

MICHAEL He doesn't want me to talk about him.

Amy suddenly becomes more concerned and sits down next to Michael-

AMY Why doesn't he want you to talk about him? Is he a grown up?

MICHAEL No...

AMY So, he's a little boy your age, then?

Michael gives a reluctant nod. Amy is reassured. He finishes his mug of cereal and goes to place it in the sink. Amy gives Daisy a questioning look-

AMY (CONT'D) (to Michael) Does he live in our street? Is it one of our neighbors?

Michael remains silent and Daisy answers for him-

DAISY He lives in the mirror in our room.

Daisy bursts out laughing... Michael glares back at her, furious.

Puzzled, Amy reflects briefly on Daisy's remark-

(CONTINUED)

57. 73 CONTINUED: (2) 73

AMY Is it your father who told you that?

Michael remains silent.

AMY (CONT'D) Michael, answer me. Did your father talk to you about the mirrors?

MICHAEL No Mommy.

Amy questions him with her eyes. Michael lowers his.

AMY OK... Come on, come on guys, let's get our teeth brushed, and our coats on. The first one in the car is the winner.

The two kids dash up the stairs. Amy is left alone to clean up breakfast.

She casts a glance at the front hall mirror. Daisy's comment lingers in her thoughts.

Dressed in their coats, Michael and Daisy come running down the stairs and rush out of the house... Amy exits the house. The car drives away.

Daisy's cat leaps onto the kitchen table and directs his gaze to the mirror-

FOR NO APPARENT REASON, THE CAT SUDDENLY STIFFENS INTO A POSITION OF DEFENSE. HE BRISTLES HIS COAT AND HISSES AND SPITS TOWARDS HIS REFLECTION IN THE MIRROR.

CUT TO:

74 EXT. DAY - ROOSEVELT PSYCHIATRIC DETENTION CENTER 74

Wide shot- The high security psychiatric hospital stands under a leaden sky -

DR. MORRIS (V.O.) You know, Mr. Carson, when one starts to perceive one's own reflection as a completely separate being, one is suddenly confronted with two entirely separate egos, two entirely separate worlds that can surface at any given moment-

58.

75 INT. DAY - ROOSEVELT PSYCHIATRIC DETENTION CENTER 75

DR. MORRIS, the doctor who had once been in charge of Terrence Berry, escorts Ben down the corridor-

DR. MORRIS A feeling of self-hatred, generally triggered by a psychological shock can split the personality in two, hence creating two or more personalities with distinct memories or behavior patterns within the same individual. The patient then has a faulty perception of the existence of two distinct worlds, which are principally the "real" word, and the world "inside the mirror".

The two men pass a number of guards and security check-points as they head down towards the hospital's film and video archive-

BEN Did you consider Terrence innocent?

Dr. Morris swipes his magnetic card through the electronic device, unlocking the door to the archives.

DR. MORRIS In my opinion, he was convinced that he was telling the truth when he claimed he didn't kill his family. I too am convinced that when it happened, Terrence was not himself, but rather his double, his mirror image, one might say.

He enters the archives, followed by Ben-

76 INT. DAY - ARCHIVES- ROOSEVELT PSYCHIATRIC DETENTION CENTER 76

Dr. Morris' finger glides across several DV-tapes dated 2001 in search of one particular tape-

DR. MORRIS These recordings are from Terrence's trial. You will find that they speak for themselves.

He pushes the tape into the deck. A grainy picture appears on the screen-

We discover TERRENCE BERRY, sitting behind a desk. His hands are cuffed. Facing him, DR. MORRIS is leading the cross-examination.

(CONTINUED)

59. 76 CONTINUED: 76

Terrence is tense and uncomfortable. He keeps his face down, never looking into the camera.

DESPITE HAVING SURVIVED THE FIRE, TERRENCE'S FACE IS NONETHELESS DISFIGURED BY THIRD DEGREE BURNS. HE NO LONGER HAS FACIAL FEATURES, AND HE STRUGGLES WITH HIS SPEECH.

DR. MORRIS (CONT'D) Why did you set the department store on fire?

TERRENCE In order to... to destroy the mirrors. Only fire can destroy a mirror, isn't that right, Doctor?

DR. MORRIS What made you think you absolutely had to destroy those mirrors, Terrence?

Terrence remains silent. Dr. Morris repeats his question-

DR. MORRIS (CONT'D) What made you want to destroy those mirrors, Terrence?

TERRENCE They killed Helen and my three little girls...

DR. MORRIS For what reason? Why would mirrors want to kill your family?

TERRENCE Because I didn't...

Terrence breaks out in tears.

DR. MORRIS Didn't do what?

With his eyes fixed on the video monitor, deep inside, Ben already knows the answer that Terrence is about to give...

TERRENCE They asked me to find Esseker... Like they did with the others...

DR. MORRIS Who are the others you're talking about?

TERRENCE I wasn't the first one they asked...

(CONTINUED)

60. 76 CONTINUED: (2) 76

DR. MORRIS And what happened?

TERRENCE I didn't succeed. I didn't succeed in finding Esseker...

Ben realizes that he's in the exact same situation-

BEN Amy... (to Dr. Morris) I have to go.

He stands to leave. The monitor keeps playing the old footage-

DR. MORRIS Tell me about Esseker, Terrence.

Terrence doesn't speak.

DR. MORRIS (CONT'D) Who is Esseker, Terrence?

Suddenly, Terrence's behavior shifts to another extreme. He stands up, and flying into a rage, he becomes brutal and hysterical-

TERRENCE I DON'T KNOW WHO ESSEKER IS! I DON'T KNOW WHO ESSEKER IS, I DON'T KNOW!!

Terrence becomes uncontrollable. He wrecks the folders lying on the desk and throws himself, head first, against a wall mirror that shatters to pieces.

CUT TO:

77 EXT. DAY - STREET-NEW JERSEY HOUSE 77

Ben's car comes to a screeching halt in front of his old house. Ben rushes inside.

78 INT. DAY -NEW JERSEY HOUSE - CONTINUITY 78

He is beside himself. After seeing the video footage on Terrence, he has been struck with fear and panic for his family-

Before the perplexed gaze of Rosa and his children, Ben agitatedly comes and goes in the hallway of the second floor. He is removing the mirrors from each and every room.

He tears away the bathroom mirror, unhooks the one in the far end of the hallway, and removes some from Amy's room...

(CONTINUED)

61. 78 CONTINUED: 78

Rosa fears more and more for the children and takes them under her protective arms. Amy is not back yet.

The only mirror left that Ben cannot remove, is the one in the children's room.

He rushes down to the basement and comes back with a bucket of old paint. He immediately begins to paint the wall mirror in order to neutralize its reflection.

DAISY What are you doing dad?

BEN Don't worry, there's nothing wrong. Everything is OK...

DAISY But why are you doing that?

BEN I'm doing it to protect you.

79 EXT. DAY NEW JERSEY HOUSE - CONTINUITY 79

At the same time, Amy's car pulls up in front of the house.

As soon as she sees the front door open, and the mirrors laid out on the landing of the front steps, Amy rushes into the house, panic-stricken.

80 INT. DAY -NEW JERSEY HOUSE - CONTINUITY 80

She races up the stairs to the second floor, barging into the children's room where Ben is painting the mirror. She signals Rosa to take the kids out.

AMY Do you mind telling me what the hell you're doing?

Focused and determined, Ben does not answer her question.

AMY (CONT'D) Ben!

BEN Look Amy, you've got to trust me, I know what I'm doing... It's for your own good.

AMY I want you to stop what you're doing and get out of our house right now. (MORE)

(CONTINUED)

62. 80 CONTINUED: 80 AMY (CONT'D) You're scaring the kids acting like this.

Ben continues to paint the mirror.

AMY (CONT'D) If you don't leave immediately, I'm going to call the police, Ben, and I warn you, you will never see your children again. Do you understand what I'm saying?

Ben stops-

BEN You have to trust me Amy, I'm not completely crazy... These mirrors are dangerous. At first, I thought it was only the ones at the store, but now I know they can get you anywhere. They got Angela... I promise I'll leave the house once I've taken them all down.

AMY Do you realize what you're saying, Ben? What is wrong with you? I know that what you're going through isn't easy. Angela was a part of our lives too, but you have no right to do this to us... Ever since your obsession with these damn mirrors the kids are scared to death. Your son has nightmares. He's scared Ben... Your behavior is starting to rub off on him. He's only 5 years old... And I have to protect him.

Ben can see that she is very upset about the situation. He sets down the paint bucket on the floor-

BEN Come Amy, come with me, I want to show you something.

He leads her back down, through the first floor, and out on the front steps of the house-

81 EXT. DAY -NEW JERSEY HOUSE - CONTINUITY 81

BEN Look, you'll see...

Ben pulls his Magnum out of his belt and points the gun at one of the mirrors he has dragged outside.

Amy steps back, terrified-

(CONTINUED)

63. 81 CONTINUED: 81

AMY What are you doing with that gun... Put it down, BEN... PUT IT DOWN RIGHT NOW!

Without a moment's hesitation, Ben opens fire. The mirror shatters to pieces-

AMY (CONT'D) ARE YOU CRAZY BEN? HAVE YOU GONE COMPLETELY MAD?

Ben smiles, all excited-

BEN Wait, look, you'll see...

Through the front window, Daisy and Michael witness the scene-

AMY SEE WHAT, BEN?! WHAT AM I SUPPOSED TO SEE ?!

Ben keeps a piercing gaze as the bullet impacts the mirror, waiting for the magic to do its trick and for the cracks to dissolve again-

BUT NOTHING HAPPENS. THE CRACKS REMAIN, IN A SPIDER WEB PATTERN.

Behind the front door, Ben notices Michael, watching him, in tears.

Without any evidence, Ben is in over his head.

BEN But... I swear to you I... I saw...Amy...

The neighbors, alerted by the blast of the gun, come out of their houses to find out what has happened.

Ben stands alone, looking like a mad man...

Amy holds back her tears and tries to stay in control-

AMY Get out...now! I don't ever want to see you here again, Ben. And I'll have the lawyers make sure the same goes for the kids. You are insane, Ben, and dangerous... You've got to get help.

With gun in hand, Ben walks away, dismayed, as he gradually becomes aware of the situation he has just created.

He enters his car and drives off at top speed.

64.

82 EXT/INT. DAY - ROAD - BEN'S CAR 82

Ben drives nervously. He feels guilty about his conduct in front of the children. A thousand thoughts rush through his head, leaving him in an utter state of confusion. He doesn't know what to do nor what to think anymore.

Ben reaches for his cell phone and dials Larry's number-

BEN Hello, Larry? It's me... I'm going to need your help again-

LARRY (O.S.) Come on, Ben... For Christ's sake! What are you doing?

BEN Mayflower used to be a hospital before it became a department store. St. John's Hospital. Do you have any idea where all the medical records could have ended up after it closed down?

LARRY (O.S.) How am I supposed to know that?!

BEN Go to the city hall archives... They must have something considering it was a public hospital.

LARRY (O.S.) I've got others things to do. I can't go to City Hall today. I've -

BEN Larry, Larry stop it... If I could go myself, I wouldn't be asking you. Go to the City Hall archives, and ask them to look up Esseker among the former patients. Please.

LARRY (O.S.) Ben, for god's sake, what are you trying to prove?

BEN Please, do it for me.

LARRY (O.S.) You know you're a real pain in the ass.

(CONTINUED)

65. 82 CONTINUED: 82

BEN Talk to you later.

Ben hangs up.

He glances back at the rear view mirror and sees ANGELA'S CORPSE, SITTING ON THE BACK SEAT!

Startled, he loses control of the vehicle. A truck approaches at full speed in the opposite lane. He barely avoids the collision.

Two other cars appear. Ben zigzags in and out, just barely avoiding a fatal crash.

He stops along the edge of the road.

Ben closes his eyes and rests his head against the steering wheel in an attempt to clear his mind. He looks up into the rear- view mirror again-

ANGELA'S REFLECTION IS STILL THERE. Behind her long black hair, she fixes him with a milky gaze.

Ben flies into a rage. HE SMASHES THE REAR-VIEW MIRROR WITH HIS BARE FIST, REDUCING IT TO SCRAPS...

Ben is alone and lost.

BEN (CONT'D) What have I done? I don't understand... What have I done?

Insert on what is written on the side rear-view mirror-

"OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR"

83 EXT. NIGHT -MANHATTAN STREET - NYPD POLICE STATION 83

Under the pouring rain, the police patrol cars come and go in front of the police station.

A bit further away we recognize Ben's Oldsmobile, parked on an adjacent street. Ben is waiting inside.

A man approaches, knocks on the car window and enters the vehicle. It's LARRY-

The rainwater drips down his raincoat. Under his arm he holds a file of documents, wrapped in a plastic bag.

LARRY This ought to make you happy... (handing him the file) Anna Esseker...

(CONTINUED)

66. 83 CONTINUED: 83

Ben nervously tears open the plastic wrapping-

LARRY (CONT'D) I wasn't quite sure what you needed, so I got all of her medical records.

BEN Perfect, Larry. That's perfect.

Ben skims through the pages. He cannot believe that he has finally discovered who Esseker is...

LARRY Everyone's real edgy up there. You're still a fuckin' murder suspect. People are wondering why I let you out. You have to tell me more. What does the history of the Mayflower have to do with the death of your sister?

BEN I don't know exactly. I can't tell you, but some really fucked up things started happening to me when I took the job over there. Nothing makes any sense to me either but I have to follow my instinct.

Larry notices the broken rear-view mirror-

LARRY What happened? Did you have an accident?

Ben is too absorbed in the records. He doesn't answer.

BEN Anna Esseker... Where did you find her files? Did you go to City Hall?

LARRY No, you were wrong about that, they had nothing. All the medical records from St. John's Hospital are still up there with the unclassified cases.

Ben squints at him.

LARRY (CONT'D) She was a patient at St. John's in the psych ward run by a Dr. Kane, between March and September 1952. She was only twelve years old when she died...

Ben freezes-

(CONTINUED)

67. 83 CONTINUED: (2) 83

BEN What?

LARRY When the nurses went on their rounds, first thing on the morning of October 6th, they discovered that all the patients had left their rooms during the night and gathered in the main room. All of them were dead, including the girl. Apparently, they had killed one another... A slaughter house... After that they shut down the place. Nobody ever found out what really happened.

BEN What about the doctor? Dr. Kane?

LARRY He was arrested. They found him dead on the first day of his hearing. He had slit his wrists with a piece of his cell mirror!

CUT TO:

84 INT. NIGHT - QUEENS BUILDING- ENTRANCE HALL 84

Ben heads home with the file containing Anna's medical records. He walks through the lobby of his building.

85 OMITTED 85

86 INT. NIGHT - QUEENS APARTMENT 86

Angela's apartment is plunged in total darkness-

Ben lays Anna Esseker's file on the coffee table and aims the desk lamp at his "research corner" on the wall.

He turns the lamp back at the file and sits down to study it.

WHY ARE THE MIRRORS ASKING FOR ANNA IF SHE'S ALREADY DEAD? WHY? IT DOESN'T MAKE ANY SENSE...

On an index card filled in by Anna's parents in September 1952, Ben finds a Pennsylvania home address.

Dr. Kane's first diagnosis is irrevocable - "Despite her young age, Anna Esseker suffers from severe schizophrenia, leading to withdrawal from reality, delusional and violent behavior."

(CONTINUED)

68. 86 CONTINUED: 86

He shuffles through the first few pages of various administrative documents.

His eye lands on several photographs of Anna taken at the time she was admitted to the hospital- She is just a child, yet, six male nurses were needed to restrain and immobilize her in front of the photographer. Her face is hardly discernible as she struggles like a wild animal.

A high-pitched sound of cracking glass is heard from behind. Ben turns around-

Another loud crack - It comes from one of the covered mirrors in the apartment.

Ben rises slowly to his feet and comes closer. He removes the sheet hanging on the frame-

A crack has appeared in the upper corner of the mirror. Ben casts his eyes over the reflection. His glance comes to rest on Anna's file laying on the desk-

He goes to fetch the photograph of the little girl and presents it to the mirror-

KRAAAAACK - the crack in the mirror spreads, as if some kind of pressure were applied on the other side of the mirror as a reaction to the photograph...

BEN You're still alive, aren't you?

All of a sudden, Ben realizes something. He runs back to the file on the table and goes through the documents again, one by one.

He stops on a carbon copy of a hospital release form and checks the date.

BEN (CONT'D) You're wrong Larry, you're wrong...

His eyes light up-

BEN (CONT'D) ...she left the hospital on the 4th.

According to the document, Anna left two days before the massacre!

CUT TO:

87 INT. - DAY -NEW JERSEY HOUSE 87

The next morning-

(CONTINUED)

69. 87 CONTINUED: 87

Through the half-opened door at the end of the hallway, we see Daisy brushing her teeth before going to school. The little girl is humming as she watches herself in the mirror...

Amy comes out of her room-

AMY Come on, come on... Let's go... Daisy, Michael?

She passes in front of the children's room and stops- INSIDE, MICHAEL IS TALKING TO SOMEBODY. Amy listens closely, but she can only hear Michael's voice. On the other side of the door, the little boy bursts out in laughter-

88 INT. DAY - CHILDREN'S ROOM 88

She opens the door and finds her son squatting in front of the mirror, talking to his own reflection.

AMY What are you doing Michael? Come on, we're going to be late.

The little boy does as his mother says. He gets up and dashes out of the room.

Amy's glance freezes in horror. Terrified, she almost loses her balance-

MICHAEL'S REFLECTION IS STILL IN THE MIRROR, SITTING IN A SQUATTING POSITION!

HE LOOKS AT AMY WITH A BIG SMILE.

Amy attempts to speak but can't-

The mirror image of her son remains silent.

Amy steps closer to the mirror and, in the reflection, behind the boy, she discovers-

HER MIRROR IMAGE IS THERE TOO, BEARING THE SAME FORCED GRIN...

CUT TO:

89 INT. DAY -QUEENS APARTMENT 89

The phone rings. Ben wakes up in a jolt and picks it up- AMY IS ON THE OTHER END OF THE LINE, IN TEARS.

BEN Amy ? What's wrong?

(CONTINUED)

70. 89 CONTINUED: 89

AMY O.S. ...You have to come over... Right away...

BEN What?

Amy cannot get the words out. The convulsive sobs overtake her voice.

AMY O.S. I'm so scared, Ben...

BEN What's happening?

AMY O.S. There's something in the house... Something in the mirrors.

BEN Where are Daisy and Michael? Are the kids all right?

AMY O.S. They're with me... They're right here with me. Come over, please!

BEN Get out of the house. I'll be right over...

90 EXT. DAY -QUEENS' STREET 90

Ben runs to his car and throws the Esseker file on the passenger seat. He drives off at full speed and disappears at the far end of the road.

CUT TO :

91 EXT/INT. DAY - MAYFLOWER 91

On 38th Street, away from the hustle and bustle of Broadway, the Mayflower facade is unsettling and disturbing.

AMIDST THE RUINS OF THE DESERTED DEPARTMENT STORE, THE MIRRORS ARE WAITING PATIENTLY FOR THEIR TIME TO COME...

92 EXT. DAY - NEW JERSEY HOUSE 92

When he arrives, Ben finds his wife waiting in front of the house. The kids are playing in the snow. Ben's car pulls up in the driveway.

(CONTINUED)

71. 92 CONTINUED: 92

Amy throws herself into his arms, crying with relief.

BEN I'm right here, Amy. I'm here now... Thank god you're alright.

Ben comforts her, holding her tightly with all his strength.

AMY We can't stay here, we have to leave the house now... We can go to my mother's or to a hotel...

BEN Anyplace is gonna have mirrors or windows... Anything you can see your self in is dangerous. We have to make the house safe. The only way is to cover all the reflections. If we keep them in the dark we can avoid them. We need paint, we need tape...

CUT TO :

93 INT. DAY -NEW JERSEY HOUSE - A MOMENT LATER 93

Ben has brought up some more paint from the basement. With Amy's help he paints over all the mirrors in the house. In the face of this hardship, all the arguments seem far away. We can feel a connection between the two of them.

The windowpanes and picture frames have been wrapped securely with newspaper and tape.

Every inch of reflective surface in the house, such as the TV- screen and the shiny taps, have been "neutralized" with strips of masking tape...

IN NO TIME, THERE IS NOT A SINGLE SURFACE CAPABLE OF REFLECTING LIGHT LEFT IN THE HOUSE.

CUT TO :

94 EXT. DAY -NEW JERSEY HOUSE 94

The front door of the house opens. On the landing of the front steps, Ben kisses Daisy goodbye.

DAISY When will you be back, Dad?

(CONTINUED)

72. 94 CONTINUED: 94

BEN As quickly as I can, sweetheart. I promise.

He kisses Michael who hugs him back-

MICHAEL I love you, Dad.

He strokes Michael gently on the head and goes to his car. Daisy and Michael watch their father leave.

Amy walks him to the vehicle-

AMY What if you don't find her? Maybe she doesn't live there anymore? Maybe she's really dead.

BEN They want her, I'm gonna find her wherever she is. We don't have any other choice.

Ben holds her tightly in his arms and plants a tender kiss on her forehead.

BEN (CONT'D) I'm sorry about everything I've put you through... I didn't want to...

Amy interrupts him.

AMY I know.

Ben gets into the car.

BEN Amy, I want you to stay here with the kids until all this is over. All the mirrors are covered, there's no more danger. I'll come back as soon as I can.

Tears well up in Amy's eyes. He takes her hand-

BEN (CONT'D) Hey baby, everything's gonna be fine. I love you.

She smiles tenderly. Ben drives off.

73.

95 INT. DAY - BEN'S CAR 95

Through the back window, we see Amy in front of the house, growing more and more distant.

Anna's medical file lies open on the passenger seat- At the top of the page we can read her old address in Pennsylvania.

96 EXT. DAY - ROAD 96

-Aerial shot-

We fly over a lake- the waters are so placid that the forest and outline of the scenery surrounding it reflect off its surface, creating two perfectly symmetrical landscapes.

We glide over the treetops, diving deeper into the forest, to follow the main road that zigzags along the slope of the hill.

97 DISSOLVE TO: 97

98 INT. DAY -BEN'S CAR 98

A sign on the edge of the road indicates 67 miles to Pennsylvania.

Ben focuses on the road, determined to put an end to what hides behind the mirrors and to rescue his family.

98A OMITTED 98A

99 EXT. DAY - COUNTRY ROAD 99

Ben's car slows down as he reaches a dirt road.

On one of the mailboxes standing on the edge of the road he spots the name Esseker-

100 EXT. DAY - ESSEKER FARMHOUSE 100

The wind blows over the land.

In the winter season, the muddy fields have little to offer to the few starving crows flying over them. A feeling of desolation and solitude hangs over the deserted landscape.

Ben's car has left the asphalt road behind, driving through the countryside down a winding dirt road.

(CONTINUED)

74. 100 CONTINUED: 100

An old farmhouse stands at the very end of the path. If it weren't for the parked pick-up truck and the few piglets running wild, one would think that the farmhouse was abandoned.

Ben gets out of the car and goes to knock on the door.

His shoes sink into the mud. He walks up the steps of the porch and peeks inside the house through the front window. In the dark he discerns the silhouette of a person who is watching TV. He can't help but notice all the mirrors have been covered or turned towards the wall.

A big dog barks behind the window. Ben steps back, surprised.

The front door opens before Ben has even made his presence known. A young man stares at him in silence.

BEN Hello... Is this the Esseker farmhouse?

The young man nods.

A woman's voice is heard from inside-

WOMAN'S VOICE What is it Jimmy?

JIMMY I don't know Mom. (to Ben) What can I do for you sir?

BEN I am looking for Anna, Anna Esseker.

The young man looks at Ben questioningly. Apparently he has never heard the name before.

JIMMY (to his mother inside) There's a man who's looking for... (back to Ben) You said Anna? (Ben confirms) Anna Esseker, Mom!

Jimmy's mother, in her fifties, an obese woman who has trouble moving around- shows up in the opening of the door -

JIMMY'S MOTHER What is it you want with Anna Esseker?

She catches him unaware. Ben makes up a false identity-

(CONTINUED)

75. 100 CONTINUED: (2) 100

BEN I huh... I am doing some research for a book on the history of St. John's Hospital, in New York...

Jimmy's mother stares at him for a moment with a suspicious look-

JIMMY'S MOTHER Jimmy, go tell grandpa that there's a man here who'd like to talk to him about his sister.

101 INT. DAY - FARMHOUSE BASEMENT 101

We are in the dark basement, under the farmhouse. The door to the first floor opens, letting the light in. Ben appears next to the silhouette of an old man- ROBERT ESSEKER, 80 years old, Anna's elder brother.

Robert walks down the steps, signaling Ben to follow him-

ROBERT You know, up to this day, the visions of Anna's fits still haunt me at night.

They walk through the basement towards an old wooden door.

ROBERT (CONT'D) I helped my father fix up this part of the basement, especially for her-

The old man turns the key in the padlock. Slowly, the door swings open, revealing-

ROBERT (CONT'D) Her fits were too violent. My mother couldn't take her screams anymore.

What's left of a very primitive child's room, SURROUNDED BY DOUBLE WIRE FENCING AND IRON BARS. Rather than a cell, it more resembles a HUMAN-SIZED CAGE, CAPABLE OF RESISTING THE MOST FEROCIOUS BEAST.

As he's talking, images flash on screen- painful memories from that time come back to him-

Anna being carried to the basement, her innocent eyes full of hate. It's even hard to recognize the face of a little girl. Her howling screams. Her nails digging into her own flesh. Her unnatural strength and the violent thrashing of her arms and legs.

(CONTINUED)

76. 101 CONTINUED: 101

ROBERT (CONT'D) We had every priest, doctor, healer, coming from all over the state, one after the other. But no one could help her.

Ben comes closer to the iron bars of the cage. He can see Anna's scratch marks next to the bed, giving his imagination a taste of her plight and suffering.

ROBERT (CONT'D) Finally, Dr. Kane from New York answered my parents' cry for help. He rejected the idea of demonic possession, said he didn't believe in it. He was convinced that Anna suffered from a rare form of personality disorder. He wanted Anna under his care, at St. John's. My parents were very poor, but he agreed to cover all the hospital costs... In less than five months, Dr. Kane had cured Anna. It was unbelievable. She was her old self again. A real miracle of science.

BEN And after the hospital?

ROBERT You don't know? She died there with all of Kane's other patients.

Ben takes the old release form out of his pocket and shows it to Robert.

BEN Anna left the hospital two days before the massacre. Kane changed the records to make her disappear.

ROBERT You're not a journalist, are you? What do you want?

BEN I want to know. After St. John's, where did she go?

Robert stares at Ben, unsure of saying what he's about to reveal to this perfect stranger-

ROBERT Anna came back to live with us for a while...

(CONTINUED)

77. 101 CONTINUED: (2) 101

BEN For a while?

Robert lowers his eyes.

BEN (CONT'D) And after? Why did she leave?

ROBERT Because... Because strange things started to happen in the house...

BEN With Anna?

ROBERT No, not with Anna...

The old man obviously doesn't want to get into the details. The memories are too painful.

BEN With the mirrors?

Robert stiffens, eyeing Ben with a dark look- How does he know?

BEN (CONT'D) Mr. Esseker, tell me where I can find your sister. It's very important. It's a matter of life and death.

Robert hesitates -

ROBERT Before he died, Kane sent us a letter asking us to keep Anna away from mirrors and that whatever happens she should be in a place where the mirrors could never find her.

BEN Where is she now?

ROBERT To protect us, she left the house and joined the monastic orders, where mirrors are forbidden... St. Augustine's monastery, on the road to Midwich.

102 EXT. DAY - ESSEKER FARMHOUSE 102

Ben's car does a one-eighty turn in front of the farmhouse, heading back to the main road.

(CONTINUED)

78. 102 CONTINUED: 102

Standing on the porch, with an anxious look on his face, Robert watches him disappear in the distance.

He sits down on the steps, and wipes his glasses.

The crows fly low in the sky- It's a bad sign.

CUT TO :

103 EXT. DAY - MIDWICH MONASTERY 103

The nuns come and go under the arches of the monastic courtyard.

A deadly silence prevails over the monastery, where time seems to stand still. All these women have taken vows of poverty, obedience and chastity to serve god.

On the other side of the cloister wall, a small winding road zigzags between the pine trees. Ben's car draws nearer. He parks in front of the entrance to the monastery.

104 INT. DAY - MIDWICH MONASTERY VESTIBULE 104

Ben pushes open the heavy front door. The place is dark and silent. He goes to the front desk-

Behind a wooden screen he can barely make out the two nuns in charge of admissions. They are the only nuns granted exposure to the outside world. For the rest, physical and visual contact is strictly prohibited.

SISTER Yes, how can I help you?

BEN Hello Sister. I have come to visit a member of your community... Sister Anna? Her real name is Anna Esseker.

SISTER Is she expecting you?

BEN No, not really.

SISTER Are you a relative?

BEN Listen, Sister, I must see her.

SISTER If you are not listed, I cannot help you sir. (MORE)

(CONTINUED)

79. 104 CONTINUED: 104 SISTER (CONT'D) We have strict regulations concerning visitations, which are exclusively for family members.

BEN Please, tell her that I came all the way from New York and that I work with Dr. Kane at St. John's Hospital...

SISTER Wait here for a moment.

She stands up and escapes through one of the back doors.

The other nun behind the screen, observes Ben with curiosity.

Time goes by, and Ben grows impatient.

107 INT. DAY - HOUSE NEW JERSEY 107

Inside the house in Jersey, Amy has isolated herself with the kids in the parent's bedroom. She's reading them a bedtime story.

Even if all the windows, screens, and TV are covered by newspapers or painting, Amy acts in front of Daisy and Michael as if nothing has happened.

In the rest of the house, everything has been meticulously covered, wrapped, painted or reversed. Still, here and there, a barely audible rustle pierces through the silence-

In the children's room, the paint covering the mirror slowly begins to flake off...

The newspaper wrapped around the windowpanes begins to rip...

THE MIRRORS ARE RESISTING AND ATTEMPTING TO SET THEMSELVES FREE.

107A INT. DAY - MIDWICH MONASTERY VESTIBULE 107A

Ben is losing his calm. Time is running out. The nun reappears behind the wooden screen-

SISTER Sister Anna has agreed to talk to you, you may proceed to the parlor next door.

Ben crosses the hall and opens the door that the nun gestures him to.

He enters the parlor alone. In the spare room, a chair stands by a wooden screen, fencing him off, once again.

(CONTINUED)

80. 107A CONTINUED: 107A

Behind the screen, a silhouette awaits him.

SISTER ANNA St. John's closed down in 1952. Who are you?

Ben sits down. Even at a short distance he cannot discern the face of Anna Esseker, who is now Sister Anna.

BEN My name is Benjamin Carson. I work as a night watchman at 1229 West 38th Street in New York City, what used to be St. John's Hospital.

SISTER ANNA What is it you want Mr. Carson?

BEN I need your help.

SISTER ANNA My help? I don't quite see how I could possibly be of any help.

BEN My wife and children are in danger. What is threatening my family is asking for you...

For a split second, Ben makes eye contact with Anna behind the screen. She has understood...

BEN (CONT'D) If you don't help me I may lose the only thing that matters to me.

SISTER ANNA I cannot leave the precincts. It's impossible.

BEN Tell me why are the mirrors from the old hospital so determined to find you?

Sister Anna remains silent-

BEN (CONT'D) I must know, Sister.

SISTER ANNA It is not the wish of the mirrors to find me, but of what is imprisoned inside them. The mirrors are merely windows on our world...

(CONTINUED)

81. 107A CONTINUED: (2) 107A

BEN A window... For what? For whom?

ANNA At the time that I was at St. John's, Dr. Kane's therapy for personality disorders consisted of locking the patient up in a mirrored room for several days on end, in order to force him to confront his own image. I spent the darkest days of my life in that room. On the 6th day the nurses found me lifeless, almost dead. Since that day, I have never had another fit. But deep down inside I've always known the truth.

BEN What truth?

ANNA There is no cure for schizophrenia, it was something else, Mr. Carson. And whatever it was, it entered the mirror.

We can feel the emotion in her voice.

ANNA (CONT'D) I thought that after fifty years, this would have all gone away. They would have disappeared from the mirrors. I didn't know.... I'm sorry but if I agree to go with you and return to that place, I will make it possible for them to cross the threshold back into the real world.

Everything is now making sense for Ben-

BEN It entered with you and they need you to get out.

ANNA The consequences of such an act, Mr. Carson, would be more devastating than letting them suffer where they are now. I'm going to pray for you and your family. That's all I can do right now, Mr. Carson. God bless you...

She stands to leave.

(CONTINUED)

82. 107A CONTINUED: (3) 107A

BEN Wait... Please, listen to me- Terence Berry, Gary Lewis and many others before me... Those are the people who died trying to find you. Because they failed, their families died too. My sister was murdered two days ago... My wife and kids will next if you don't come with me. Look-

From his wallet Ben takes out a wrinkled photograph of Michael, as a baby, in Amy's arms. Daisy stands next to them in the picture. Ben presses the photograph against the grating for Anna to look at it.

BEN (CONT'D) My wife and two children. They're all I've got. They're innocent... Please.

Anna stays quiet a moment behind the screen and leaves.

BEN (CONT'D) I KNOW YOU ARE SCARED OF GOING BACK THERE. IT'S EASIER TO KEEP HIDING BUT THIS IS NOT THE HOUSE OF GOD ANYMORE. WHILE YOU'RE PRAYING PEOPLE ARE DYING ON YOUR TIME!

Anna doesn't respond and disappears in the distance.

Ben failed. He's desperate and lost. He has a hard time containing his anger.

105 EXT. DAY - MONASTERY 105

On the horizon, a red sun sets behind the treetops. It's almost nightfall.

The bells from the monastery begin to toll.

The cross above the monastery reflects upside down in a puddle of rain water.

Frustrated, Ben walks back to his car and dials his home number on his cell phone -

106 EXT. NIGHT -NEW JERSEY HOUSE 106

In the distance, the lights of Manhattan sparkle in the night.

In the house, all the lights are off.

All is quiet, too quiet.

83.

108 INT. NIGHT - HALLWAY 108

In the hallway, the shiny doorknob leading to Amy's bedroom is the only reflecting surface that has been forgotten.

In the distorted reflection, we see Michael's silhouette approaching. The little boy reaches for the knob but-

IN REALITY, NO HAND TOUCHES IT-

IT'S MICHAEL'S REFLECTION INSIDE THE SHINY KNOB THAT IS OPENING THE DOOR!

Inside the bedroom, Amy fell asleep with Daisy in her arms.

On the bedside table, THE HOME PHONE STARTS RINGING- She wakes up with a jolt and picks up the cordless receiver-

AMY Hello? Ben... Where are you? Did you find her? Did you talk to...

She stops speaking as she realizes- Daisy is asleep next to her but MICHAEL IS NO LONGER THERE.

AMY (CONT'D) Michael? MICHAEL!? (on the phone) Ben hold on, Michael is gone...

BEN (O.S.) What?

AMY (to Ben on the phone) I don't know, I fell asleep with the kids on the bed and...

She sees that THE BEDROOM DOOR IS HALF OPENED.

AMY (CONT'D) Michael?

The sound of pouring water is heard, coming from the hallway. Michael must be in the bathroom.

BEN (O.S.) Amy, what's going on? Are you alright?

Amy runs to the door, waking Daisy up.

DAISY What is it Mom?

(CONTINUED)

84. 108 CONTINUED: 108

AMY (to her daughter) You stay right here sweetheart, I'm going to look for your brother. Stay right here. (to Ben on the phone) Ben, I have to call you back, I have to find Michael...

BEN (O.S.) No Amy, stay with me...

109 INT. NIGHT - CORRIDOR/BATHROOM - CONTINUITY 109

Amy comes out of the bedroom and notices that the floor is completely soaked.

She turns on the light in the hallway, only to discover-

The entire upper floor is covered by an inch of water- all the taps in the bathroom are turned on and have transformed the surface of the floor into A LARGE NATURAL MIRROR...

AMY (to Ben on the phone) Fuck! There is water everywhere... Michael? Michael? MICHAEL?!

Amy freezes when she realizes that all the picture frames and all the mirrors in the corridor have been scraped, bringing the reflecting surfaces, once again, to the light...

AMY (CONT'D) (scared) Ben, someone scraped all the mirrors... There is someone in the house.

BEN (O.S.) Where is Michael?

AMY (panicked) I don't know where he is. I don't see him. I...

As she turns in the hallway, Amy sees A DARK SHADOW MOVING IN ONE OF THE MIRRORS. Terrified, she steps back and hits the opposite wall. She drops the phone on the flooded floor-

109A EXT. DAY - MONASTERY 109A

At the same moment, Ben, still outside of the monastery, is cut off in his conversation with his wife-

(CONTINUED)

85. 109A CONTINUED: 109A

BEN Amy? Amy? Answer me?

He tried to redial but that doesn't work. He knows something weird is happening there.

Without hesitation, Ben grabs his gun inside the car and walks back towards the monastery gates.

109B -BACK IN THE HOUSE- 109B

Unsure of what she saw, Amy makes a step towards the mirror but only finds her own reflection.

She picks up the phone- The water shorted it out...

AMY Damn it...

Cautiously, Amy walks up to the bathroom.

AMY (CONT'D) Michael?

She opens the door- the sink and bathtub are filled with water overflowing onto the tiled floor. Michael is not there.

CUT TO:

109C INT. NIGHT - MONASTERY CELL 109C

A hand enters frame to light some candles.

Sister Anna is back in her cell. The way her hand shakes as she carries the match from one candle to the other betrays how upset she is by the confrontation with Ben- It's been too much time that she's carrying the guilt.

She runs the rosary nervously between her fingers and kneels down in front of her bed to pray when-

A loud muted sound followed by a sudden wave of agitation is heard outside the cell. Someone has broken into the monastery. She recognizes Ben's voice- Like a mad man, he's looking for her everywhere and threatens the other nuns to show him the way.

Anna stands up when Ben bursts into her cell with his gun in his hand. Behind him, the other nuns are terrified.

Ben points the gun at Anna-

BEN My kids are not going to die tonight. You're coming with me, now.

(CONTINUED)

86. 109C CONTINUED: 109C

Not intimidated by the weapon, Anna steps towards Ben. FOR THE FIRST TIME, BEN CAN SEE HER FACE- The old lady seems more determined than ever-

ANNA If I come with you Mr. Carson, you have to promise to do everything I tell you. My way. No questions.

Ben lowers his gun-

BEN You have my word.

CUT TO:

110 INT. NIGHT- BEDROOM- MEANWHILE 110

Daisy waits patiently in the bed following her mother's instructions. Suddenly she hears her mother calling her from the children's bedroom-

AMY (O.S.) Daisy... Daisy... Come here...

Daisy steps into the corridor and stops, for a moment, when she notices the flooding. She enters her bedroom, following the voice that calls out for her-

AMY (O.S.) (CONT'D) Daisy... Daisy...

111 INT. NIGHT - CHILDREN'S BEDROOM - CONTINUITY 111

Daisy explores the bedroom. The voice is still calling, but her mother is not there.

The door shuts behind her.

She walks up to the mirror on the wall. The paint has been partially scraped off-

THE LITTLE GIRL DISCOVERS HER MOTHER'S REFLECTION ON THE OTHER SIDE OF THE MIRROR-

112 INT. NIGHT - BATHROOM - MEANWHILE 112

BUT IN REALITY, AMY IS STILL IN THE BATHROOM!

She turns off the tap and sinks her hand into the depths of the bathtub to pull the plug, when she sees Michael's reflection on the surface -

(CONTINUED)

87. 112 CONTINUED: 112

AMY Micha...

She turns around, but Michael is not behind her. The reflection lied.

SUDDENLY HER ARM IS PULLED INTO THE BATHTUB.

AN INVISIBLE FORCE PLUNGES HER HEAD INTO THE WATER TO DROWN HER. AMY STRUGGLES FRENETICALLY BUT THE PRESSURE IS TOO STRONG FOR HER TO BREAK FREE.

113 -BACK IN THE CHILDREN'S BEDROOM- 113

Daisy walks up to her mother's reflection in the mirror.

AMY'S REFLECTION Come sweetheart... Come, come closer... Come...

Daisy is mistrustful. She senses that something is not right. In the mirror, her mother's attitude is different and strange...

DAISY What are you doing in there, Mom?

AMY'S REFLECTION Come closer, don't worry... Everything is all right, sweetheart.

Daisy obeys when, suddenly, she notices that her mother holds a pair of scissors in her hand.

Daisy has no time to react-

THE REFLECTION OF THE MOTHER GRABS THE REFLECTION OF THE LITTLE GIRL, HOLDING HER FIRMLY IN HER ARMS-

BY SOME INVISIBLE FORCE, IN REALITY, DAISY IS SUSPENDED IN THE AIR IN FRONT OF THE MIRROR.

114 -BACK IN THE BATHROOM - 114

With her head still submerged in the bathtub, Amy is drowning. She tries to fight back. Unsuccessfully. Her head stays under the water.

With the tips of her fingers, Amy feels her way to the plug. She pulls it out.

Slowly, the water level begins to go down. Too slowly. Amy struggles to pull her head out of the water to breath again.

(CONTINUED)

88. 114 CONTINUED: 114

The water continues to recede. Amy has reached exhaustion, her hands clutch onto the edge of the bathtub. She is suffocating.

At the last minute, she turns her head to gasp for air.

The remaining water swirls down the drain. The bathtub is now empty and the invisible force seems to have vanished.

Amy collapses to the ground, spitting and coughing. She comes to her senses, gets back to her feet and dashes out of the bathroom.

AMY Michael?! Michael?

As she runs past the bedroom, she notices that the door is open-

AMY (CONT'D) Daisy !?

Daisy is no longer there.

AMY (CONT'D) Daisy !

Panicked, Amy crosses the corridor and barges into the children's room. Inside she discovers-

115 INT. NIGHT - CHILDREN'S ROOM 115

SUSPENDED IN THE AIR, A FEW INCHES OFF THE GROUND, DAISY STRUGGLES TO BREAK FREE.

In the mirror, Amy sees her own reflection bringing the sharp blade of the scissors to her daughter's throat. The blade glides over her skin.

In reality, A TRICKLE OF BLOOD APPEARS ON DAISY'S THROAT.

Instinctively, Amy throws herself against Daisy, tearing her away from the grip of her own reflection. They land on the floor and crawl to the corner of the room, safe from the danger of the reflections.

Amy tears off a piece of her clothing, which she presses against Daisy's throat in order to stop the bleeding.

AMY Oh my god, don't move baby, don't move...

Amy is out of control, holding Daisy tightly in her arms. She is terror-stricken by the events in the house...

(CONTINUED)

89. 115 CONTINUED: 115

AMY (CONT'D) Don't move sweetheart...

Fortunately, Daisy's wound is not deep. The blade did not reach the main artery. Amy saved her life at the very last minute.

Daisy is half conscious from the loss of blood. She struggles to speak-

DAISY Why did you do this, Mom?

AMY (in tears) It wasn't me Daisy, it wasn't me... I would never hurt you, you know that.

DAISY Whe...where is Michael ?

AMY I don't know where he is... I'm going to take care of you and then we're going to find him...OK But for now, we have to get out of here.

DAISY Is Daddy coming back soon?

AMY Yes, he'll be here soon as he can.

A bit further away, in the scraped section of the mirror, we can see Amy's reflection, on its knees above Daisy who lies on the floor-

IN THIS EVIL VERSION OF THE REALITY, Amy's double has killed her own daughter. Using the scissors, she's "working" on the dead body. What exactly is she doing to the little girl?

She turns toward us, revealing HER FACE AND HANDS COVERED WITH FRESH BLOOD!

AMY'S REFLECTION COMES CLOSER TO PEEK THROUGH THE MIRROR , WITH HER HANDS PRESSED AGAINST THE GLASS, AS IF IT WERE JUST A WINDOW.

IN SEARCH OF THE REAL AMY AND DAISY, the forces of the mirrors are determined to get them.

Away from the field of vision of the mirror, Amy crawls on the floor towards the door-

90.

116 INT. NIGHT - BEDROOM 116

Amy comes back to the bedroom, carrying Daisy in her arms.

As she passes the bureau, she grabs the first-aid-kit from one of the drawers. She sets her daughter down in the walk-in closet, away from the mirrors. The little girl has trouble moving.

Amy examines the cut on Daisy's throat. Quickly, with a professional touch, she disinfects and bandages the wound.

AMY Listen to me carefully Daisy... I want you to stay in here and be quiet.

Daisy is terrified and with her remaining strength, she holds on to her mother tightly.

AMY (CONT'D) You have to be brave, sweetheart... I want you to stay in here and not get out until I come back, no matter what happens. I'm going to find Michael... Do you hear me?

Not quite convinced, Daisy accepts reluctantly.

AMY (CONT'D) I am so proud of you.

Amy shuts the door of the closet. Through the wooden slats she can see her daughter inside-

AMY (CONT'D) Don't move...

Amy exits the room.

117 INT. NIGHT - CORRIDOR/STAIRCASE 117

Even though she turned off the taps upstairs Amy can still hear the water pouring downstairs...

On guard, Amy walks down the stairs, step by step. She is frightened and her heart is pounding.

AMY Michael ? Michael ?

At the bottom of the stairs, Amy catches sight of Michael at the other end of the living room.

(CONTINUED)

91. 117 CONTINUED: 117

The first floor is completely flooded. ALL THE SPACE IS COVERED BY A THIN LAYER OF WATER THAT'S MIRRORING EVERYTHING IN HOUSE.

The little boy has climbed up onto a stool and is scraping the paint off the mirror with a sharp knife... It was Michael who had scraped all the mirrors in the house in order to set the force of the mirrors free.

AMY (CONT'D) Michael !

He doesn't answer. He doesn't seem to hear her.

Amy comes down the last step.

AMY (CONT'D) Michael ? What are you doing?

The little boy turns around towards his mother with a big smile-

IN THE MIRROR, HIS REFLECTION REMAINS FACING THEM.

MICHAEL They want to come play with us, Mommy.

Amy moves slowly towards her son.

AMY Michael, I want you to drop that knife, do you hear me? You know very well you are not allowed to play with that, don't you?

Michael looks at her in confusion and steps down from the stool.

AMY (CONT'D) That's a good boy, now give me the knife...

Instead of obeying, Michael runs off and disappears into another room on the first floor.

AMY (CONT'D) MICHAEL !

Amy rushes after him.

118 INT. NIGHT - BEDROOM 118

Amy's cell phone, laying on the night table, begins to ring. On the display we can see the call is from Ben.

Through the wooden slats of the closet door, Daisy catches sight of the phone.

(CONTINUED)

92. 118 CONTINUED: 118

She thinks about leaving the closet to answer, but remembers her mother's strict instructions about staying in the hiding place.

The phone continues to ring, but no one answer it.

119 INT. NIGHT - FIRST FLOOR 119

Amy hears the phone ringing upstairs, but she cannot answer it now- She must find Michael first.

CUT TO :

120 EXT/INT. NIGHT - BEN'S CAR - MANHATTAN 120

Ben's car drives down a Manhattan street.

Behind the wheel, Ben is on the phone and gets Amy's voicemail. He dials again-

BEN Answer! God damn it... Answer the phone...

Once again he gets the voicemail.

BEN (CONT'D) Fuck...

Ben is losing his calm.

121 EXT. NIGHT - MAYFLOWER DEPARTMENT STORE 121

Ben's car pulls up in front of the department store. Through the windshield, Anna catches sight of the devastated building.

Ben hangs up the phone-

BEN Something's wrong over there, my wife is not answering.

Ben is torn - He knows that going back to Amy isn't going to help-

BEN (CONT'D) We have to get inside the Mayflower now.

Anna steps out. She cannot conceal the sudden shiver that runs through her when she stands in front of the former hospital-

ANNA From now on, I'm going to close my eyes. (MORE)

(CONTINUED)

93. 121 CONTINUED: 121 ANNA (CONT'D) Take me to the basement, to the mirror room. It has to stop where it began...

Ben grabs her forcefully-

BEN Come on, let's go.

ANNA Mr. Carson, no matter what happens in there, I want you to do as I say and make sure I never get out of this place.

Ben pulls out his keys and unlocks the front door. Anna closes her eyes and follows him inside.

122 INT. NIGHT - ENTRANCE HALL- MAYFLOWER DEPARTMENT STORE 122

Anna has barely crossed the threshold when the hall mirrors start trembling-

They can feel her presence.

She tightens her grip around Ben's hand. She is anxious, and even with her eyes shut, she can sense the threatening vibes sent off by the mirrors.

Ben is focused, gazing straight ahead as they cross the ground floor in the direction of the basement door.

Yet, from the corner of his eye, he cannot help but glimpse the mirrors. What he discovers goes beyond his worst nightmares-

A CROWD OF MEN AND WOMEN, FLAYED ALIVE, CRAWLING AND PRESSING THEMSELVES AGAINST THE GLASS PANES, INSIDE THE MIRRORS. THEY OBSERVE BEN AND ANNA WITH BLANK, LIFELESS GAZES. SOME ARE BANGING THEIR FISTS, THEIR HANDS, AND EVEN THEIR HEADS AGAINST THE GLASS, IN AN ATTEMPT TO BREAK FREE FROM THE MIRROR.

SUDDENLY BEHIND HIM, ONE OF THESE VISIONS BASHES AGAINST THE MIRROR! KEEPING ITS WIDE OPENED EYES ON THEM, THE VISION STARTS LICKING THE OTHER SIDE OF THE MIRROR LIKE AN ANIMAL.

ANNA They are waiting for me...

Ben turns towards Anna and realizes that in the mirror, there's something else-

Anna's reflection is different- IT'S NOT THE OLD NUN ANYMORE BUT THE 12 YEARS OLD GIRL, EXACTLY AS ANNA WAS IN THE TIME OF ST. JOHNS HOSPITAL!

94.

123 INT. NIGHT -NEW JERSEY HOUSE 123

We are back in the house.

Amy is still searching for Michael. She goes into the kitchen to turn off the tap.

Above the sink, the newspaper on the windows had been ripped as well and the hot steam is now covering the glass. A HAND PRINT APPEARS ON ONE OF THE WINDOW PANES AND SLIDES DOWN AGAINST THE GLASS...

The forces are everywhere.

Amy steps back and runs out of the kitchen.

THE THIN LAYER OF WATER ON THE FLOOR HAS TRANSFORMED THE ENTIRE HOUSE INTO A MIRROR EXTENDING THROUGH EACH ROOM.

AN INESCAPABLE MIRROR...

The sound of rapid, splashing footsteps catches her attention. Amy turns around and leaves the kitchen-

AMY Michael ?

Michael's reflection sweeps over the water surface.

Amy runs after him but stops short when she catches sight of him. Michael is hiding under the living room couch.

She comes closer and bends over- THERE IS NO ONE UNDER THE COUCH!

Yet, in the reflection of the wet floor, Michael is there...

He smiles at her, playfully.

IN A QUICK MOVEMENT, THE LITTLE BOY'S REFLECTION BRANDISHES THE KNIFE IN EXCITEMENT AND TEARS IT THROUGH HIS MOTHER'S FACE-

AMY LETS OUT A CRY OF PAIN AS SHE BRINGS HER HAND TO HER CHEEK- THE INVISIBLE BLADE HAS SLASHED HER FACE.

The blood gushes between her fingers. Michael's reflection has disappeared.

She turns around just in time to catch sight of the little boy's reflection escaping. His invisible footsteps splash in the water as he moves further away...

She hears Michael run up the stairs to the first floor.

95.

124 INT. NIGHT - STEP-IN CLOSET 124

Protected from the mirrors, in her hiding place in the closet, Daisy inspects the room through the wooden slats.

Suddenly, the bedroom door squeaks open. Daisy curls up in the corner of the closet, overtaken with fear-

It's only the cat who enters the room with a meow.

DAISY Tiger! Come here kitty, come here...

She opens the door a tiny crack to let him in. The little girl takes the pet in her arms, reassuringly.

CUT TO :

125 INT. NIGHT -MAYFLOWER BASEMENT 125

In the dark, the surface of the water lies perfectly still. We are no longer in the New Jersey house, but in the subterranean passageways corridors of the department store.

Ben and Anna's silhouettes appear, walking down the stairs.

Ben turns on his flashlight. The lights along the corridor are too weak.

BEN Watch your step, a water pipe has burst, the whole basement is flooded.

Ben guides Anna, with her eyes still shut, through the tunnels.

The beam of the flashlight sweeps across the walls, and the piping.

They pass the junction of the two tunnels and arrive at the demolished wall.

ANNA You stay outside...

Anna steps over the rubble as she feels her way into the mirror room.

IN ALL THE MIRRORS IT'S NOT ANNA THE NUN, BUT ANNA THE LITTLE GIRL THAT WE CAN SEE-

When she places her hand against one of the mirrors, cracks appear instantly. The pressure on the other side is growing stronger and stronger.

(CONTINUED)

96. 125 CONTINUED: 125

Anna positions herself in the center of the room, from where her reflection is multiplied to infinity from all the possible angles.

She kneels down with her eyes closed.

CUT TO :

126 INT. NIGHT -NEW JERSEY HOUSE 126

Compared to the gloom of the basement in the department store, the second floor of the house seems to be bathed in light.

Michael is sitting quietly in front of his room. As Narcissus did, he is observing his reflection, mirrored in the surface of the water that covers the wooden floor.

AMY Michael ?

Hypnotized by his mirror image, the little boy does not hear his mother's call.

Amy appears at the top of the stairs and catches sight of him.

AMY (CONT'D) Michael... Michael, look at me... I'm right here.

Michael doesn't answer. Gently, he caresses his reflection in the surface of the water.

Amy comes up to him slowly, determined to pull him away from his reflection...

She lays her hand on his shoulder.

This time Michael reacts and turns towards her.

Before he can utter a single word-

THE REFLECTION OF THE HAND BECOMES REAL, GRABBING THE CHILD'S WRISTS. MICHAEL'S REFLECTION PULLS HIM THROUGH ITS SURFACE. MICHAEL DISAPPEARS INTO THE FLOOR.

Amy throws herself to the ground in an attempt to catch him. Too late, the little boy has been submerged in the thin layer of water covering the floor. MICHAEL HAS BEEN PULLED INTO THE OTHER SIDE OF THE MIRROR!

Amy sees her son struggling under the water, as if he were caught under a coat of ice.

AMY (CONT'D) Michael, Michael... No, no...

(CONTINUED)

97. 126 CONTINUED: 126

In desperation, Amy beats her fists against the floor with all her strength, trying to break through to the other side.

AMY (CONT'D) MICHAEL !! NOOOOO...

Flying into a rage, she beats her fists again and again in an attempt to break the surface and save Michael from drowning.

She sees Michael's body sinking into the depths...

CUT TO :

127 INT. NIGHT - MIRROR ROOM 127

Back to the subterranean world of the department store.

Ben is waiting in the corridor with his gun in hand.

In the mirror room, Anna recites a prayer for strength. IN THE REFLECTION, YOUNG ANNA IS DOING THE SAME...

The mirrors around her shake more and more violently-

Anna remains with her eyes still shut.

Ben sees cracks forming on the walls and the surface of the water at his feet trembling...

127A INT. NIGHT - MAYFLOWER 127A

SOMETHING IS HAPPENING IN THE REST OF THE STORE AS WELL- ON EACH FLOOR, IN EVERY DEPARTMENT, ALL THE MIRRORS BEGIN TO VIBRATE UNCONTROLLABLY, TO TWIST OUT OF SHAPE, TO SWELL, TO SHRIVEL AND FINALLY-

127B BACK IN THE MIRROR ROOM 127B

ANNA OPENS HER EYES-

ALL THE MIRRORS EXPLODE!

FROM ONE AREA TO THE NEXT IN THE DEPARTMENT STORE, THE EXPLOSIONS ARE SPECTACULAR AND APOCALYPTIC.

Anna's eyes freeze- her pupils constrict- thousands of shards of glass are sent flying into the air, piercing through her body like a dozen sharpened daggers.

The blow of the explosion causes the walls to tremble. Instinctively, Ben takes shelter behind the wall.

CUT TO :

98.

128 INT. NIGHT - NEW JERSEY HOUSE 128

MICHAEL'S BODY REEMERGES TO THE SURFACE!

Amy clings to him and pulls him out of the water. The little boy is unconscious.

She begins to shake him and to perform mouth-to-mouth resuscitation as she applies rhythmical pressure to his chest.

Amy tries not to lose her head, determined to bring her little boy back to life.

Her eyes fill with tears, blurring her vision. She mustn't lose faith. She mustn't give up...

Cardiac massage, mouth-to-mouth resuscitation, cardiac massage...

MICHAEL REMAINS UNCONSCIOUS...

129 INT. NIGHT - MIRROR ROOM / SUBTERRANEAN PASSAGEWAYS 129

IN THE BASEMENT, THE CALM HAS BEEN RESTORED.

Ben is still crouching behind the sheltering wall of the mirror room. In the silence, he waits. He must establish beyond a doubt that it's all over.

He aims his flashlight at the surface of the water-

Everything seems to be back to normal. His reflection is deformed by the slight stir of the water, slowly becoming placid.

Ben steps over the rubble to enter the mirror room-

All the mirrors have been pulverized leaving behind only the metal cage that was holding them in place. The floor is covered with thousands of pieces of mirror floating in the water, shimmering in the shadows.

The beam of the flashlight sweeps the room in search of Anna, or her dead body-

Nothing...

Ben inspects all the dark corners behind the metal structure - The woman has vanished.

He aims his flashlight at the ceiling. The beam of light instantly reveals a dark shape hanging above him-

It's her, or at least what is left of her- A POSSESSED, METAMORPHOSED, HUMAN FRAME. SHE IS BARELY RECOGNIZABLE.

(CONTINUED)

99. 129 CONTINUED: 129

WITH HER EYES ROLLED UPWARD, HER SLASHED FACE AND HER BODY PIERCED BY THE SHARDS OF GLASS, SHE LOOKS LIKE A DEMON, DEPRIVED OF ANY HUMAN TRAITS. THE REAL ANNA DISAPPEARED FROM THE MOMENT SHE OPENED HER EYES AND RELEASED THE FORCES OF THE MIRROR.

Ben has no time to react before "Anna" charges at him.

He drops his flashlight to the ground, trying to resist her as much as he can.

HER WAY OF MOVING IS NO LONGER HUMAN. MORE LIKE A STROBOSCOPIC CONVULSION, HER MOVEMENTS ARE SOMETHING BETWEEN AN ENRAGED BEAST AND THE WORST EPILEPTIC FIT.

Ben manages to pin the creature against the wall. "Anna" spits blood in his face.

He applies all his strength to immobilize her- the shards of glass dig deeper into the elderly woman's flesh, which only seems to provide her an intense pleasure...

"Anna" froths at the mouth. Her speech has become a deep, animalistic, incomprehensible gurgle.

In an effortless movement, "Anna" pushes him away.

Her demonic strength is ten times his. Ben is merely a puppet, a rag doll that she sends flying into the air, only to crash violently against the brick walls...

Blood squirts onto the surface of the water.

Ben smashes into the wall separating the mirror room from the underground passageways.

On the other side, he lands on the ground, in the dark. He strives to regain consciousness...

Ben takes advantage of the brief respite to pull out his gun but-

"Anna" appears from the dark and, in a flash, she strikes a backhanded blow that sends the gun off into the air.

She lifts Ben up and throws him across the room. He rams into the wall.

With the absence of light in the basement, Ben is defenseless. He cannot see his assailant...

Ben is caught by the leg and dragged backwards. His hand struggles to catch on to anything that could hold him back.

Suddenly, under the water, his hand lands on the gun. He grabs it, turns onto his back, and fires point-blank at "Anna".

The bullets go flying through her body, but they don't stop her.

(CONTINUED)

100. 129 CONTINUED: (2) 129

Ben is being dragged. He manages to grab hold of one pipe after the other, trying to hold on, but the pipe gives way and breaks off from the wall, LETTING OUT A POWERFUL JET OF GAS.

Once again, Ben is sent flying down the tunnel.

He struggles to get back on his feet-

Apart from the sound of the flowing gas, a disturbing silence surrounds the subterranean passageways.

Ben makes out "Anna's" silhouette, hiding behind the leaking gas pipe.

With his bloodied face, Ben is no longer the same man anymore- Something in his eyes has shifted. Rage and violence have replaced the terror and dread. He is determined to put an end to the creature, no matter what happens.

He slides the weapon in his belt and steps, with his bare hands, towards what once was "Anna"...

Crouched over in the water, the demon looks up, ready to charge. Ben takes another step forward with the same determination. The creature thrusts itself against him-

THE CLASH IS EXTREMELY VIOLENT. Ben uses all his strength to keep his assailant's jaw at a distance.

In a swift movement, Ben turns around AND IMPALES "ANNA" ON THE BROKEN GAS PIPE!

IN A GUSH OF BLOOD THE SHARP METAL TIP PIERCES THROUGH HER STOMACH BUT-

Despite being momentarily immobilised, the demon seems unaffected by the near total destruction of its outer shell. On the contrary, it struggles more violently to escape from the trap.

Ben moves away, keeping an eye on "Anna". He takes his gun and aims it at her. Ben is exhausted. With his arm outstretched, he is ready to shoot, waiting for the right moment.

The silhouette suddenly emerges from the dark.

Ben stands by-

The demon goes through the cloud of gas- Ben fires-

THE EXPLOSION IS INSTANTANEOUS. "ANNA" IS ENGULFED IN FLAMES. THE FIRE SPREADS THROUGH THE TUNNELS.

Ben throws himself to the ground to avoid the flames.

(CONTINUED)

101. 129 CONTINUED: (3) 129

SUDDENLY, IN A DOMINO EFFECT, ONE EXPLOSION FOLLOWS THE OTHER. A BLAST OCCURS A BIT FURTHER DOWN THE TUNNEL, AND ANOTHER INSIDE THE WALLS.

THE SUBTERRANEAN PASSAGEWAYS ARE ABOUT TO COLLAPSE-

Cracks appear everywhere. The brick walls begin to fall apart.

A part of the ceiling at the far end of the corridor caves in.

Ben gets back on his feet and dashes for the stairs.

Totally burnt, flesh charred, "Anna" is enraged by her prey's resistance. The blazing demon runs after Ben.

Behind them, one after the other, sections of the walls collapse.

Ben runs as fast as he can.

"Anna" is coming closer to him, when suddenly -

JUST BEHIND BEN, A SECTION OF THE GROUND FLOOR CAVES IN, BURYING HER UNDER A MASS OF RUBBLE.

Ben narrowly escaped the collapse. He reaches the staircase and catches sight of the exit above when suddenly-

THE ENTIRE FOUNDATION OF THE BUILDING COLLAPSES OVER HIM.

Ben finds himself crushed along the floor and penetrates the mirroring water surface DISAPPEARING ON THE OTHER SIDE OF THE MIRROR.

129A INT. NIGHT - JERSEY HOUSE 129A

All of her efforts are in vain. Amy is unable to bring back her son.

Nonetheless, she continues with the same determination, refusing to accept reality.

She finally breaks down, pleading with the sky above...

129B THE OTHER SIDE OF THE MIRROR 129B

Lost and floating in this strange and unfamiliar place, Ben turns and sees Michael's body/soul which is also trapped in this parallel dimension, on the other side of the mirror.

In the distance, he can see the surface leading to the hallway of the New Jersey house. Above it, Amy tries to resuscitate Michael.

(CONTINUED)

102. 129B CONTINUED: 129B

Ben grabs his son and holds him tightly in his arms for a moment, then pushes him towards the surface-

THE CHILD OPENS HIS EYES!-

130 INT. NIGHT -NEW JERSEY HOUSE 130

MICHAEL COMES AROUND, COUGHING OUT THE WATER FROM HIS LUNGS. Amy bursts into tears, sobbing with joy. She holds him tightly in her arms, with all her strength, with all her love.

Holding Michael in her arms, Amy comes back for Daisy in the bedroom. She opens the closet door and finds her little girl inside. The child throws herself into her mother's arms-

DAISY It is over, Mom?

Amy throws a glance at her reflection in the mirror. Everything seems back to normal.

AMY Yes sweetheart, it's over...

Amy holds her two children tightly, savoring this moment of joy and relief.

Through the window, we see the first light of dawn appearing on the horizon.

131 INT. DAWN - MAYFLOWER 131

The sunbeams slice through the windowpanes of the glass dome above the entrance hall of the department store.

The pigeons fly in and out...

The burnt mannequins are still standing in the middle of the ruins.

ON THE WALLS, ALL THAT REMAINS FROM THE MIRRORS IS THEIR 1920's GOLD FRAMES.

The floor has completely subsided. It looks like there was just an earthquake under the building.

In the middle of the pile of debris, something in the rubble begins to move-

A HAND APPEARS. SOMEBODY SURFACES -

It's Ben. He gasps for air. Wounded and covered in dust, it is a miracle that he has survived.

(CONTINUED)

103. 131 CONTINUED: 131

He struggles back to his feet and climbs over the blocks of concrete to regain the ground floor.

Limping, he crosses the entrance hall. His discovery of the absence of mirrors on the walls brings a smile to his face- He has finally triumphed over the mirrors that he once believed to be indestructible...

132 EXT. DAY - MAYFLOWER 132

Ben steps out of the department store, walks out of the closed off area, and reaches the street.

Police cars, fire trucks, and ambulances with spinning lights have surrounded the fencing.

Ben approaches the scene. He needs medical attention. He catches sight of Lorenzo, talking to some policemen. Ben stops dead in his tracks-

THE NAME LORENZO, EMBROIDERED ON THE UNIFORM, IS WRITTEN BACKWARDS...

Ben glances at the police vehicles and their license plates-

How is it possible? EVERYTHING IS REVERSED.

Ben steps back in panic.

As he walks away from the scene we discover something else in the back of the ambulance-

ANNA'S CHARRED CADAVER, THAT HAS BEEN DUG OUT OF THE RUBBLE.

CUT TO:

133 EXT. DAY - TIME SQUARE 133

Ben walks up west 38th Street to Broadway and stops at the intersection of the streets, paralyzed with fear-

The activity of Time Square seems normal for an early morning, cars driving by and the eternal hustle and bustle of the pedestrians, but ALL THE SIGNS, ALL THE BILLBOARDS ARE REVERSED. AND SO IS THE DIRECTION OF THE TRAFFIC FLOW...

Ben turns around towards a glass building where a homeless person is sleeping-

His eyes fill with horror-

HE CAN SEE THE REFLECTION OF THE HOMELESS MAN BUT NOT HIS OWN..

(CONTINUED)

104. 133 CONTINUED: 133

Ben presses his hand against the glass. The reflection of the world surrounding him is the right way around in the mirror but he remains invisible.

He removes his hand from the mirror, leaving a clear and well- defined handprint on the reflective surface.

Ben slowly comes to realize what is happening to him -

IF HIS REFLECTION IS NOT THERE, IT MEANS THAT HE NO LONGER BELONGS TO THE WORLD OF THE LIVING. BEN DID NOT SURVIVE-

HIS SOUL IS NOW A CAPTIVE ON THE OTHER SIDE OF THE MIRROR...

CUT TO:

134 EXT. DAY - MAYFLOWER 134

Back in the ambulance, a paramedic comes to close the back door.

The vehicle starts and leaves the Mayflower.

135 EXT. DAY - NEW-YORK - CONTINUITY 135

The ambulance turns on the avenue.

136 INT. DAY - AMBULANCE - MOVING 136

In the back of the ambulance, as the vehicle drives away, we discover that another corpse is laid out next to Anna's-

IT'S BEN'S BODY, COVERED WITH DUST AND DRY BLOOD.

Its fingers suddenly twitch...

Was it the bumpy road?

The dead fingers twitch again and-

IN THE SHADOW, BEN'S CORPSE SLOWLY BEGINS TO STAND.

It turns its head-

BEN'S EYES ARE ROLLED UPWARD, NO LONGER HUMAN...

EVIL.

CUT TO :

BLACK

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