>> / Sixth Sense, the

/ Sixth Sense, the ( 2)

: / Sixth Sense, the.

/ Sixth Sense, the

INT. DINING ROOM - DAY

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

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

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

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

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

Bobby stares.

BOBBY That's stupid.

Cole loses his smile.

COLE It's supposed to be funny.

BOBBY It's stupid.

Cole and the overweight boy stare at each other.

BOBBY Give me my penny back.

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

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

Bobby looks up sharply.

BOBBY (hard) What'd you say?

COLE (shaken) ...Nothing.

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

The two boys sit in silence.

CUT TO:

INT. KITCHEN - AFTERNOON

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

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

DARREN'S MOM It's our pleasure.

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

DARREN'S MOM Chuck E. who?

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

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

LYNN He's my whole life.

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

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

DARREN'S MOM J. C. Jenny's?

Lynn nods "Yes."

DARREN'S MOM (bullshit) Good for you.

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

Darren's mom glances at her expensive watch.

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

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

CUT TO:

INT. HALL - AFTERNOON

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

MRS. WESTON Did you have the Brie?

MRS. SAUNDERS It tasted like cheese whiz.

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

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

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

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

TOMMY I even got a trailer.

DARREN For what? You only had one line.

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

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

Tommy grabs Darren.

TOMMY Darren, check it out.

DARREN looks down the hall to Cole.

DARREN My dad made me invite him.

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

COLE Happy birthday, Darren.

TOMMY Something you want to see in there?

Tommy points to the crawl space.

COLE (too quick) --No.

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

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

Beat.

COLE ...Okay.

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

Tommy stares at Darren. Darren finally gets it.

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

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

COLE Don't!

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

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

SILENCE.

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

Then THE SCREAMING BEGINS.

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

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

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

Darren's mother turns the corner.

DARREN'S MOTHER Who's making that noise?

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

LYNN Cole!

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

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

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

CUT TO:

INT. HOSPITAL RECEPTION AREA - AFTERNOON

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

A spattering of children accompanied by adults sit and wait.

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

A young resident DR. HILL takes a seat at the table with them. He opens up his notes.

LYNN What's wrong with Cole?

Beat.

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

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

MALCOLM There's something else going on, Lynn.

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

LYNN What is it?

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

MALCOLM Oh, man.

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

Doctor Hill gestures to the woman standing near the doorway.

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

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

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

MALCOLM How do you expect her to react?

LYNN You want me to answer your questions?

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

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

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

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

Dr. Hill gets up.

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

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

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

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

LYNN How long will these questions take?

CUT TO:

INT. HOSPITAL ROOM - NIGHT

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

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

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

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

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

MALCOLM Your father ever tell you bedtime stories?

COLE Yes.

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

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

COLE Dr. Crowe.

MALCOLM Yes.

COLE You haven't told bedtime stories before?

MALCOLM No.

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

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

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

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

Beat.

MALCOLM Do you think I'm sad?

Cole nods, "Yes."

MALCOLM What makes you think that?

COLE Your eyes told me.

Beat. Malcolm's affected by his client.

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

Cole smiles softly.

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

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

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

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

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

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

Malcolm leans forward, whispers with emotional eyes.

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

COLE Me too.

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

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

COLE I want to tell you my secret now.

Malcolm blinks very slowly.

MALCOLM Okay.

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

COLE ...I see people.

Malcolm just gazes quietly.

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

Beat.

MALCOLM In your dreams?

Cole shakes his head, "No."

MALCOLM When you're awake?

Cole nods, "Yes."

MALCOLM Dead people, like in graves and coffins?

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

MALCOLM They don't know they're dead?

Beat.

COLE I see ghosts.

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

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

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

MALCOLM How often do you see them?

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

Beat.

MALCOLM ...No.

COLE Will you stay here till I fall asleep?

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

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

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

Beat.

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

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

CUT TO:

EXT. STREET CORNER - NIGHT

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

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

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

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

MALCOLM (whispers) I'm not helping him.

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

CUT TO:

INT. CAR - NIGHT

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

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

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

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

CUT TO:

INT. COLE'S HOUSE - NIGHT

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

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

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

Lynn looks around helplessly, fear creeping into her eyes.

CUT TO:

INT. HALL - NIGHT

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

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

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

The thermostat on the wall reads seventy-eight degrees.

DISSOLVE TO:

INT. HALL - NIGHT

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

CUT TO:

INT. COLE'S HOUSE - NIGHT

An unnatural silence fills each room of the house.

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

A LIGHT TURNS ON FROM UNDER COLE'S DOOR.

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

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

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

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

A LARGE FIGURE MOVES PAST THE DOORWAY.

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

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

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

CUT TO:

INT. KITCHEN - NIGHT

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

COLE Momma? (beat) Dream about daddy again?

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

WOMAN DINNER'S -- NOT -- READY!

Cole's face turns the color of ash.

WOMAN What are you going to do?

Cole backs up to the doorway.

WOMAN You can't hurt me anymore!

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

CUT TO:

INT. HALLWAY - NIGHT

Cole turns and runs down the hall.

CUT TO:

INT. BEDROOM - NIGHT

Cole runs across his room.

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

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

CUT TO:

INT. TENT - NIGHT

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

The red interior of the tent gets LIP UP.

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

DISSOLVE TO:

INT. AUDITORIUM STAGE - AFTERNOON

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

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

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

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

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

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

Cole comes on stage holding a painted cardboard monkey.

MALCOLM APPLAUDS FROM THE BACK OF THE AUDITORIUM.

CUT TO:

INT. SCHOOL CORRIDOR - AFTERNOON

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

Cole and Malcolm walk down an empty hall.

COLE Did you think the play sucked big time?

MALCOLM What?

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

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

COLE Cats?

MALCOLM Never mind.

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

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

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

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

MALCOLM What's wrong?

Cole points to the doors.

MALCOLM Is something in there?

Cole doesn't say anything. Beat.

CUT TO:

INT. GYMNASIUM - AFTERNOON

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

Cole is trembling slightly as he stands next to Malcolm.

MALCOLM What is it?

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

MALCOLM I don't see.

Beat.

COLE Be real still.

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

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

Malcolm looks at the wood beams and climbing ropes.

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

Beat.

MALCOLM Yes?

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

Malcolm glances at Cole. Surprise on his face.

MALCOLM -- Yes.

Beat.

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

MALCOLM Them?

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

Nothing is said for a few moments.

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

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

COLE Please make them leave.

Malcolm stares helplessly.

MALCOLM (whispers) I'm working on it.

Malcolm gently leads Cole away from the stairs.

COLE GLANCES BACK AS HE MOVES OUT OF THE STAIRWELL.

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

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

CUT TO:

EXT. HISTORIC PHILADELPHIA - NIGHT

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

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

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

Malcolm stares into the darkness... Beat.

MALCOLM (whispers) ...Is anyone there?

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

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

CUT TO:

INT. HALL - NIGHT

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

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

Beat. THE PORTABLE PHONE RINGS OUT IN THE HALL.

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

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

She picks up the phone and moves down the stairs.

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

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

ANNA I can't talk now.

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

ANNA (whispers) I thought about you too.

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

CUT TO:

INT. KITCHEN - NIGHT

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

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

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

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

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

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

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

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

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

LYNN Take 'em off.

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

LYNN I don't want them on my table.

Cole moves them to the floor.

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

Lynn and Cole eat quietly. Beat.

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

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

LYNN You got something you want to confess?

Cole just stares.

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

Cole looks down at his lap.

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

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

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

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

LYNN Did you move the bumble bee pendant?

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

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

COLE Don't get mad.

LYNN So who moved it?

Cole doesn't answer.

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

COLE (soft) Maybe.

Lynn just stares at Cole.

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

Lynn folds her napkin quietly.

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

Beat. Cole's eyes start to water up.

COLE No.

Lynn goes cold.

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

Cole just stares at his mother's expression.

LYNN (yells) Go!

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

CUT TO:

INT. HALL - NIGHT

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

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

Cole slowly turns back and looks down the hall.

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

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

Cole stops breathing.

THE FIGURE SLOWLY STEPS OUT FROM COLE'S DOORWAY.

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

THE BOY WHISPERS IN A LOW, HOARSE VOICE.

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

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

Cole is too terrified to move.

CUT TO:

INT. KITCHEN - NIGHT

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

COLE (o.s.) Momma.

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

Mother and son look at each other. Beat.

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

Lynn fights back some tears.

LYNN Look at my face, Cole.

Cole does. Lynn smiles at her son.

LYNN I'm not very mad.

Lynn hugs him. Beat.

LYNN Baby... Why are you shaking?

Cole doesn't answer.

LYNN Cole, what's wrong?

Cole just closes his eyes and holds his mom tight.

LYNN (desperate) ...Please tell me.

Cole doesn't say a word.

LYNN (crying) Please.

CUT TO:

INT. ANTIQUE STORE - DAY

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

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

An antique engagement ring sits on a velvet stand.

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

YOUNG MAN You got anything a little plainer?

The young woman looks at her beau.

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

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

YOUNG WOMAN (disbelief) Uh-huh.

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

ANNA Why don't you two hold it?

She places it in their hands.

ANNA Do you feel longing?

YOUNG WOMAN Excuse me?

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

The young woman looks at Anna with great intrigue.

YOUNG WOMAN Did he have wavy hair and broad shoulders?

The young man throws an odd glance at his fiance.

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

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

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

Anna can't hold back her sweet smile.

CUT TO:

INT. ANTIQUE STORE - DAY

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

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

ANNA I need a wrestler with a masters.

Anna fills out the paperwork for the ring.

SEAN What's this?

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

SEAN From you?

Anna nods, "yes."

SEAN Is it wrestling tights?

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

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

ANNA It's a first edition.

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

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

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

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

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

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

CUT TO:

EXT. STREET - DAY

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

CUT TO:

EXT. SUPERMARKET - DAY

Lynn and Cole emerge from the supermarket.

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

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

Beat.

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

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

Beat.

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

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

CUT TO:

INT. CAR - DAY

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

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

Lynn looks over.

LYNN Let's rent a movie.

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

LYNN Your pick.

Cole stares at his mom quietly.

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

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

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

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

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

COLE (yells) Momma, look out!

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

Playbills stick to the windshield obstructing the view.

Lynn slams the brakes... Too late.

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

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

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

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

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

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

CUT TO:

INT. DEN - AFTERNOON

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

They both look like shit.

COLE You don't wanna ask me questions today?

Malcolm nods, "No." Beat.

COLE Can I ask you then?

MALCOLM Yes.

COLE What do you want more than anything?

MALCOLM I don't know.

COLE I told you what I want.

MALCOLM I don't know, Cole.

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

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

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

Beat.

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

Beat.

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

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

COLE You want to go home?

Malcolm stares across at Cole.

MALCOLM I have to.

COLE When?

MALCOLM Soon. One week.

Malcolm looks down at his eyes full with emotion.

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

COLE (whispers) Don't fail me.

Malcolm looks up sharply.

MALCOLM --What?

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

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

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

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

COLE Don't cry.

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

COLE You weren't a paper champion.

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

Cole is crying now.

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

Cole whispers.

COLE Dr. Crowe?

MALCOLM Yes.

COLE You believe me, right?

A long pause.

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

They both just stare.

MALCOLM I don't know how to answer that.

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

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

Cole reaches into his pocket. Pulls out a PENNY.

Cole pushes it across the table.

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

Beat.

COLE (whispers) Some magic's real.

CUT TO:

INT. BASEMENT - AFTERNOON

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

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

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

"SESSION TAPES -- VINCENT GRAY"

CUT TO:

INT. BASEMENT - AFTERNOON

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

THE SOUND OF A DOOR OPENING AND CLOSING IS HEARD.

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

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

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

A TEN-YEAR-OLD'S VOICE ANSWERS.

VINCENT (on tape crying) Yes?

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

Beat. VINCENT SNIFFLES.

VINCENT (on tape) You won't believe.

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

Beat.

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

Beat.

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

CLICK. THE TAPE GOES TO SILENCE.

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

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

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

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

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

WE HEAR VINCENT CHUCKLE SOFTLY.

THE SOUND OF A DOOR OPENING IS HEARD.

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

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

VINCENT (on tape) Okay.

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

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

A SLIGHT STATIC STARTS TO FILTER IN ON THE TAPE.

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

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

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

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

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

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

Malcolm's mouth opens in disbelief.

MALCOLM ...Jesus Christ.

CUT TO:

EXT. STREET - AFTERNOON

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

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

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

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

CUT TO:

INT. CHURCH - LATE AFTERNOON

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

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

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

MALCOLM Hello again.

He looks down and studies Malcolm.

COLE You been running around?

Malcolm nods, "Yes."

COLE It makes you feel better?

Malcolm nods, "Yes" again.

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

Malcolm shakes his head, "No."

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

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

MALCOLM Maybe later.

Beat.

COLE Something happened, didn't it?

MALCOLM Yes, it did.

COLE Are you wigging out?

MALCOLM Yes, I am.

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

MALCOLM No, we're not.

COLE What happened?

Beat.

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

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

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

COLE You really look better.

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

COLE You have nice red in your cheeks now.

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

Cole shakes his head, "No."

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

COLE No.

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

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

COLE Just help.

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

COLE You believe now?

Malcolm's stare is unwavering.

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

COLE You do?

Malcolm nods "Yes."

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

Cole takes a big sigh. Fiddles with his riflemen.

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

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

Cole looks nervous.

COLE How do you know for sure?

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

MALCOLM I don't.

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

CUT TO:

EXT. HOUSE - NIGHT

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

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

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

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

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

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

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

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

CUT TO:

INT. HOUSE - NIGHT

Malcolm stands in his foyer.

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

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

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

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

Malcolm leans back against an old radiator. Beat.

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

CUT TO:

INT. BROWNSTONE - NIGHT

The house is silent. No movement.

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

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

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

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

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

CUT TO:

INT. HALL - NIGHT

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

CUT TO:

INT. LYNN'S BEDROOM - NIGHT

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

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

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

LYNN Cole, what's happening to you?

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

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

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

COLE (whispers) Momma, you sleep now.

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

COT TO:

INT. HALL - NIGHT

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

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

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

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

CUT TO:

INT. BEDROOM - NIGHT

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

CUT TO:

INT. TENT - NIGHT

When Cole turns around, he stops breathing.

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

GIRL I'm feeling much better now.

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

CUT TO:

INT. LIVING ROOM - NIGHT

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

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

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

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

CUT TO:

INT. COLE'S BEDROOM - NIGHT

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

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

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

GIRL I'm feeling much better.

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

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

COLE Do you want to tell me something?

CUT TO:

INT. PUBLIC BUS - DAY

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

They're both wearing suits.

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

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

SHACKLED MAN My name's not Sullivan!

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

Cole jerks back from the window.

The bus quietly drives past THE OLD PRISON BUILDING.

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

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

MALCOLM I guess she did.

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

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

CUT TO:

EXT. HOME - AFTERNOON

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

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

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

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

MALCOLM Her little sister?

Cole nods, "Yes."

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

CUT TO:

INT. HOME - AFTERNOON

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

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

We move to.

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

We move to.

VISITOR #3 ...Six separate doctors?

We move to.

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

We move to.

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

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

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

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

CUT TO:

INT. HALLWAY - AFTERNOON

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

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

COLE I wish I were somewhere else.

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

Cole stares at the map and then turns to Malcolm.

COLE Don't go home, okay?

MALCOLM I definitely won't.

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

CUT TO:

INT. GIRL'S BEDROOM - AFTERNOON

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

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

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

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

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

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

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

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

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

CUT TO:

INT. LIVING ROOM - AFTERNOON

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

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

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

COLE Mister?

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

COLE Excuse me, Mister.

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

Malcolm watches everything anxiously.

Cole stares at Mr. Collins.

COLE Are you Kyra's daddy?

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

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

The father just stares at it. Beat.

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

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

Cole begins to back away...

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

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

Mr. Collins stares at an unlabeled video cassette.

CUT TO:

INT. LIVING ROOM - AFTERNOON

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

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

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

The entire room has stopped what they were doing.

T.V. SCREEN

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

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

LIVING ROOM

The crowd watches in riveted silence. The father never takes his eyes off of the screen.

The image of the mother prepares the meal. She uncovers the fruit and the soup. Places a straw into the drink.

And then it happens.

The image of the mother walks to a closet. Opens it. An assortment of household cleaners and sponges are kept inside. She pulls out a bottle of floor cleaner. Reads the label for the ingredients. Walks back to the food tray, where she unscrews the cap on the floor cleaner. The mother pours some into the cap. Checks it.

MRS. COLLINS (video tape) That's too much.

The mother pours some into the bottle. The remainder goes into the child's soup. She replaces the cap and puts the bottle back in the closet.

The image of the mother turns to the bed carrying the tray. She places the food on a metallic rolling table and swings it over the bed.

MRS. COLLINS (video tape) Kyra, time for lunch.

Kyra pretends to wake from a deep sleep.

KYRA (video tape) I'm feeling much better now.

The image of the mother smiles.

MRS. COLLINGS (video tape) I'm glad, honey. (beat) Time for your food.

KYRA (video tape) Can I go outside, if I eat this?

MRS. COLLINS (video tape) We'll see. You know how you get sick in the afternoon.

Kyra picks up the spoon and takes a sip. Her face crinkles at the taste. She looks up at her mother.

MRS. COLLINS (video tape) Don't say it tastes funny. You know I don't like to hear that.

Kyra slowly brings the spoon to her mouth and swallows another spoonful.

The father SHUTS OFF THE TELEVISION with his trembling hands. He presses his hands to his eyes like they're burning.

The ROOM IS UTTERLY SILENT.

CUT TO:

INT. DINING ROOM - AFTERNOON

Mrs. Collins is seated at the dining room surrounded by friends and family. She fixes one of the many bouquets of flowers on the table. It takes her a beat before she feels the stare.

She looks up.

Standing in the doorway to the dining room is Mr. Collins. A group of ashen faced guests stand in the distance behind him.

Husband and wife's eyes meet. Mrs. Collins smiles softly.

Mr. Collins' eyes tremble with tears.

MR. COLLINS (soft) You were keeping her sick...

The whole world stops.

The mother's face registers confusion at first. Then slow realization. Her eyes glace at the many faces around her.

She looks back at her husband. His glare is painful. Rage filling every cell of his body. Tears falling faster down his cheeks.

Mrs. Collins turns her attention back to the flowers. She concentrates with all her strength. Beat. Her hands begin to shake.

MRS. COLLINS (to no one) I took care of her...

Her words are met with ice cold stares. The first tears stream down her face. The pretty flowers of consolation in her hand tumble to the floor.

CUT TO:

EXT. HOUSE - AFTERNOON

Cole sits on the swings next to Kyra's four-year-old sister. She doesn't look up.

Malcolm waits in the driveway. Watches them from a distance.

Cole reaches into his pocket and pulls out the little FINGER PUPPET. He holds it out.

COLE You liked it, she said.

The four-year-old stares at the finger puppet, then quietly takes it in her small hands.

The two children don't say anything for a while. Malcolm glances to the house, where all movements in and out of the home has ceased.

Cole turns to the four-year-old.

COLE She watched out for you.

The little girl finally looks up. She has the saddest eyes.

FOUR YEAR OLD Kyra's not coming back.

Beat.

COLE Not anymore.

The little girl stares down at the finger puppet. Cole lightly places a hand on her shoulder.

Nothing else is said. Nothing else is done.

Malcolm looks across the two children on the swings. One mourning. One consoling.

Malcolm takes it in, overwhelmed.

DISSOLVE TO:

INT. PROP ROOM - AFTERNOON

Stanley Cunningham moves between two curtains and comes to a prop room door in the back. He puts an ear to the door, listens and then knocks. After a second, he enters.

Mr. Cunningham finds Cole sitting in a poor villager costume as a FEMALE TEACHER kneels next to him and makes final adjustments. Cole and the woman glance at Mr. Cunningham.

MR. CUNNINGHAM They're calling for the stable boy.

Mr. Cunningham looks around the room and then directly at Cole.

MR. CUNNINGHAM Who were you talking to?

The Female Teacher looks to Cole and nods.

FEMALE TEACHER Poor Stanley.

She stands up. The entire left side of her face has been burnt horribly. Grotesquely disfigured.

FEMALE TEACHER My favorite student.

THE FIGURE OF THE WOMAN MOVES PAST MR. CUNNINGHAM IN THE DOORWAY. SHE DISAPPEARS INTO THE DARKNESS.

Cole puts on his tattered hat.

COLE Thanks for giving me this part, Mr. Cunningham.

Mr. Cunningham smiles.

MR. CUNNINGHAM You're welcome, Cole.

They share a look before walking out of the prop room and entering the hall.

We see them walking away.

MR. CUNNINGHAM You know when I was in school, there was a terrible fire in this section of the theater. They rebuilt the whole thing.

Beat.

COLE I know.

CUT TO:

EXT. SCHOOL - AFTERNOON

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

CUT TO:

INT. HALL - AFTERNOON

Malcolm stands and catches his breath in the corridor of St. Anthony's Academy.

A teacher rushes in the hall with an armload of costumes.

MALCOLM Has the play started yet?

The teacher hurries past Malcolm and down the hall without saying a word.

MALCOLM Is that a yes?

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

CUT TO:

INT. AUDITORIUM - AFTERNOON

Malcolm moves quickly to a set of double doors and opens them. He steps into the DARKNESS OF THE AUDITORIUM.

The play is in full swing... Cole and a large group of costumed children are on stage. Cole holds a broom and wears a worn-down costume. He stands to the side -- hidden by others.

A boy in a shiny-armored costume walks to the center of the stage where a large cardboard stone is seated. A sparkling HANDLE sticks out of the top.

The armored boy tries to lift it. It won't budge.

Bobby, the chubby boy from the party, is dressed in a magician's costume. He is Merlin. He steps forward.

MERLIN Only he who is pure of heart can take the sword from the stone.

Merlin looks to the group on stage. Looks right at Cole.

MERLIN Let the boy try.

The group of villagers on the stage LAUGH AND MOCK THE SUGGESTION.

Tommy Tammisimo is dressed in a mismatched costume -- he hops around, clearly embarrassed.

TOMMY (half-heartedly) But he's the stable boy. He cleans after the horses.

MERLIN Silence village idiot! Let the boy step forward.

Tommy turns a deep shade of red and hobbles off the stage.

Merlin looks to Cole. He smiles a true friend's smile.

MERLIN Arthur...

Cole hesitates. Not because he's acting. He really hesitates. It takes him a moment before he steps forward.

Cole steps up to the stone. He places his hand around the handle. Begins to pull. The sword starts to come out.

The villagers GASP.

Cole raises the shiny sword out of the stone and high above his head.

Merlin and everyone on stage bows. A SILENCE FILLS THE AUDITORIUM.

Malcolm watches his client, standing unafraid in the spot light for the first time.

The villagers rise and rush to Cole. They scoop him up and carry him around the stage in celebration. Cole chuckles and then starts laughing as the group of eight-year-olds try unsuccessfully to keep him up. They slowly sag and then collapse. All the students are laughing as they try to untangle themselves.

Malcolm watches with utter joy as Cole becomes indistinguishable among of a group of twenty children giggling and enjoying themselves on stage.

CUT TO:

INT. SCHOOL LOBBY - LATE AFTERNOON

The rain comes down a little stronger now on the stained glass window.

Malcolm sits on the stairs in the lobby. Cole walks back and forth in front of him. Cole still holds the sword from the play.

COLE How come we're so quiet?

Malcolm shrugs his shoulders.

MALCOLM I think we said everything we needed to say. (beat) Maybe it's time to say things to someone else? Someone close to you?

COLE Maybe.

Cole keeps moving. Beat.

COLE I'm not going to see you anymore, am I?

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

MALCOLM You were great in the play, Cole.

COLE Really?

MALCOLM And you know what else?

COLE What?

MALCOLM Tommy Tammisimo sucked big time.

Cole smiles huge. Beat. Cole's sword drags on the tile as he continues to circle around the hall. We get the idea he doesn't want to be still.

COLE ...Maybe we can pretend we're going to see each other tomorrow?

Cole glances at Malcolm.

COLE Just for pretend.

Beat. Malcolm exhales very slowly as he gets up.

MALCOLM Okay, Cole, I'm going to go now... I'll see you tomorrow.

Cole watches as Malcolm walks down the stairs to the entrance. Cole stops moving.

COLE (soft) See you tomorrow.

Malcolm's face shows his losing battle against his emotions. He doesn't turn to look back.

CUT TO:

EXT. CAR - LATE AFTERNOON

A rain-soaked bridge. A two-lane road merges to one lane around a severe car accident. A rear-ended car has jumped the sidewalk and hit the guard rail of the bridge. The driver is helped out by police. He's shaken but okay. Police flares guide the cars as they crawl by.

Lynn and Cole are standing still in bumper-to-bumper traffic.

Lynn leans her chin on the steering wheel. She tries to stare through the layer of water on the glass. She hits the windshield wipers.

LYNN I hope nobody got hurt.

Beat. Lynn glances over to Cole who sits in his seat silently.

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

Cole shakes his head, "No."

LYNN I have two jobs, baby. You know how important they are for us.

Beat.

LYNN I'd give anything to have been there.

COLE I'm ready to communicate with you now.

Beat.

LYNN Communicate?

COLE Tell you my secrets.

The way he says the words gives Lynn a chill.

LYNN What is it?

Cole takes a long time.

COLE You know that accident up there?

LYNN (confused) Yeah.

COLE Someone got hurt.

LYNN They did?

COLE A lady. She died.

LYNN Oh my God.

Lynn leans over the steering wheel. She wipes the windshield with her palm to see better.

LYNN You can see her?

COLE Yes.

Lynn gazes out the windshield at the line of red tail lights. Beat.

LYNN Where is she?

COLE Standing next to my window.

A WOMAN IN HER LATE FORTIES, HELMET CRACKED, HAIR MATTED WITH RAIN AND BLOOD, STANDS STARING THROUGH COLE'S PASSENGER WINDOW.

Lynn looks over slowly. She doesn't see anything outside his window. She eyes Cole.

LYNN Cole, you're scaring me.

COLE They scare me too sometimes.

LYNN They?

COLE Dead people.

LYNN Dead people?

COLE Ghosts.

Beat.

LYNN You see ghosts, Cole?

COLE They want me to do things for them.

LYNN They talk to you?

Cole nods, "Yes."

LYNN They tell you to do things?

Cole nods "Yes" again. Lynn becomes upset. She nods with grave understanding. Cole watches her.

COLE What are you thinking, Momma?

LYNN ...I don't know.

COLE You think I'm a freak?

Lynn's eyes moves to Cole.

LYNN Look at my face.

Cole gazes at her intense expression.

LYNN I would never think that about you ... ever... Got it?

COLE Got it.

BEAT. Cole smiles a tiny smile. Lynn glances down.

LYNN Just let me think for a second.

She drowns in her thoughts. Beat.

COLE Grandma says hi.

Lynn looks up sharply.

COLE She says she's sorry for taking the bumble bee pendant. She just likes it a lot.

LYNN What?

COLE Grandma comes to visit me sometimes.

Lynn becomes still. Her face is unreadable. When she speaks, her words are extremely controlled.

LYNN Cole, that's very wrong. Grandma's gone. You know that.

COLE I know.

Beat.

COLE She wanted me to tell you--

LYNN (soft) Cole, please stop.

COLE She wanted me to tell you, she saw you dance.

Lynn's eyes lock on Cole's.

COLE She said when you were little, you and her had a fight right before your dance recital. You thought she didn't come to see you dance. She did.

Lynn brings her hands to her mouth.

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

Lynn begins to cry.

COLE She said, you came to her where they buried her. Asked her a question... She said the answer is "Everyday."

Lynn covers her face with her hands. The tears roll out through her fingers.

COLE (whispers) What did you ask?

Beat. Lynn looks at her son. She barely gets the words out.

LYNN (crying) Do I make her proud?

Cole moves closer to Lynn. She cradles him in her arms. Mother and son hold each other tight.

WE PULL BACK FROM THE WINDSHIELD, BACK PAST THE FRONT BUMPER WHERE THE FIGURE OF THE BLOODED WOMAN STANDS STARING AT COLE AND HIS MOTHER.

WE SEE A MANGLED BIKE PULLED OUT FROM THE REAR-ENDED CAR ON THE SIDEWALK. WE MOVE UP AND AWAY FROM THE RAIN-SOAKED BRIDGE.

CUT TO:

EXT. MALCOLM'S HOUSE - NIGHT

Malcolm walks quietly down the sidewalk towards his home.

CUT TO:

INT. LIVING ROOM - NIGHT

Malcolm enters the living room and smiles at what he sees.

Anna is asleep in a chair. She's curled up in a ball. In a way, she looks like a little girl.

Their WEDDING VIDEO PLAYS SOFTLY ON THE TELEVISION.

Malcolm watches himself and Anna cutting their wedding cake. THE CROWD APPLAUDS AS THEY FEED EACH OTHER PIECES.

Malcolm turns from the television and takes a seat next to Anna. He gazes upon his wife softly.

MALCOLM (whispers) Anna, I've been so lost. (beat) I need my best friend.

Silence. Malcolm gazes for a beat before looking down.

ANNA I miss you.

Malcolm's eyes move back up. He looks at his sleeping wife. ANNA'S TALKING IN HER SLEEP.

Malcolm can't believe it.

MALCOLM I miss you.

Beat. Her lips move again. Eyes never open.

ANNA Why, Malcolm?

MALCOLM What, Anna? What did I do? What's made you so sad?

Beat.

ANNA Why did you leave me?

MALCOLM I didn't leave you.

Beat. She becomes silent. Anna falls back into deep sleep, her arm slides down. SOMETHING SHINY FALLS OUT AND ROLLS ON THE GROUND.

Malcolm's eyes watch as it comes to a stop... Beat. He gazes curiously at a GOLD WEDDING BAND laying on the wood floor.

Confusion washes over his face. He looks to Anna's hand... An identical gold wedding ring sits on her finger.

Beat. Malcolm looks down at his own hand... HIS WEDDING RING IS GONE.

Malcolm is completely lost. He takes a couple steps back. Looks around in confusion...

His eyes come to rest on the door to his basement office. He looks in disbelief at the set of DEAD BOLT LOCKS on the door.

Malcolm doesn't know what the hell's going on... His eyes are drawn to the dining table... Only ONE PLACE SETTING is out on the tabletop.

His eyes search again -- they finally lock on the WEDDING VIDEO PLAYING. Malcolm watches images of himself on the screen... His eyes fill with a storm of emotions...

Malcolm looks to Anna's face and becomes very still. Beat.

CLOSE ON ANNA... TILL HER SLEEPING FACE FILLS THE FRAME... IT'S NOW WE NOTICE FOR THE FIRST TIME, THAT ANNA'S BREATHS ARE FORMING TINY CLOUDS IN THE COLD AIR.

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

SLAM CUT:

FLASHBACK: INT. BEDROOM - NIGHT

VIOLENT GUN SHOTS RING THROUGH THE BEDROOM.

Anna rushes across the room to a crumpled Malcolm laying on the floor. Malcolm's hands are clutched at his side.

Anna pries his hands away to reveal the tiniest tear in his shirt. Anna's eyes catch something dark -- moving... A POOL OF BLOOD IS FORMING UNDER MALCOLM. She slowly turns him over on his side... A horrific sight... An enormous exit wound on his lower back pours out blood uncontrollably.

Malcolm's jaw is locked open. His breaths are long and strained.

ANNA IS SCREAMING, BUT HER VOICE SOUNDS FAR AWAY.

Malcolm's open jaw releases a long strained breath and then becomes silent. Anna tries to cover the wound with her hands desperately.

SLAM CUT:

PRESENT: INT. LIVING ROOM - NIGHT

MALCOLM (screaming) ANNA!

MALCOLM'S VOICE SHAKES THE ROOM.

Anna just sleeps.

Malcolm staggers back. His breathing erratic.

He takes a seat across from her. He looks at his wife and suddenly becomes very still.

Anna's still curled up asleep, but tears are falling from her shut eyes.

Beat.

MALCOLM Don't cry.

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

MALCOLM I think I have to go.

Malcolm's mind is racing.

MALCOLM (realizing) I just needed to do a couple of things. (beat) And I needed to tell you something.

ANNA Tell me.

Beat. MALCOLM You were never second... Ever.

Malcolm gazes at his wife. Tears fall from both their eyes.

MALCOLM You sleep now, Anna. Everything will be different in the morning.

Anna lays still.

ANNA Goodnight, Malcolm.

MALCOLM Goodnight, sweetheart.

The room falls into silence. Malcolm sits still across from his wife. He drinks her in with his eyes.

Malcolm leans back in the chair. Slowly closes his eyes. They close shut.

WE ARE TIGHT ON ANNA... WE SEE HER SOFT BREATHS FORMING A TINY CLOUD IN THE COLD AIR...

WITH EACH BREATH, THEY BECOME LESS AND LESS VISIBLE... THE ROOM BECOMING LESS AND LESS COLD.

SOON HER BREATHS AREN'T VISIBLE AT ALL. SHE BREATHES GENTLY, FALLING BACK INTO A PEACEFUL SLEEP.

WE PULL BACK to reveal Anna alone in the living room.

THE WEDDING VIDEO PLAYS ITS LAST SCENES... MALCOLM IS AT THE MICROPHONE ON THE DANCE FLOOR IN FRONT OF ALL THE GUESTS. HE'S HOLDING A GLASS OF WINE.

MALCOLM (on tape) ...I think I've had too much to drink.

Malcolm smiles as he takes a sip. The guests chuckle as they watch. Beat.

MALCOLM (on tape) I just have to say, this day today has been one very special day... I wish we all could stay and play.

The crowd erupts in LAUGHTER.

MALCOLM (on tape) What?

Malcolm looks around at everyone's smiling faces.

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

MALCOLM Anna, I never thought I'd feel the things I'm feeling. I never thought I'd be able to stand up in front of my friends and family and tell them what's inside me... Today I can...

Malcolm's eyes fill with water.

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

FADE TO BLACK:

<<<

/ Sixth Sense, the.
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