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Çäåñü âû ìîæåòå íàéòè ñöåíàðèé ê ôèëüìó: Ïðîêëÿòèå/ Grudge, the.
Ïðîêëÿòèå/ Grudge, the
1 INT. PETER & MARIA'S BEDROOM - DAY 1
FADE IN on MARIA (late 20s), asleep in bed. She's
breathtakingly beautiful. Morning light fills the room. The
sound of wind, and rippling cloth.
Maria stirs, and opens her eyes. She stretches contentedly.
Then she frowns. Rolls over. She's alone in the bed?
No, she's not: PETER (20s) sits on the edge, his back to her.
Two fresh, steaming mugs of coffee sit on a tray near him.
MARIA
Hey. Are you okay?
Peter doesn't turn. He slowly stands and walks forward
towards an OPEN WINDOW.
There's something strange about the way he moves -- stiffly,
almost jerkily, straining his joints and muscles.
Maria gets out of bed, concerned.
MARIA
Peter? What's the matter?
He pauses at the window. Turns his head to look back at her.
His eyes are vacant. His face is a blank.
Then Peter slowly leans forward. And falls from the window.
Maria stands in shock as the sound of SCREECHING TIRES from
outside reaches her ears. Then SCREAMS OF TERROR from below.
Aghast, she finally manages to numbly walk forward, towards
the window. We MOVE PAST her and TILT DOWN TO REVEAL --
-- PETER'S BODY lies in the middle of the street. His head
has burst open, his body broken and twisted.
ON THE PAVEMENT: a line of blood appears, moving down the
center of the screen. As if hitting grooves we cannot see --
-- the blood slowly forms the shape of two KANJI CHARACTERS.
A translation appears over them: "The Grudge." 2 EXT. STREET CORNER - DAY 2
A blur of movement as hundreds of people stream up from a
subway tunnel. Most are Japanese. We're not in Kansas.
Revisions (Blue) -- 1/26/04 2.
Standing in the middle of the rush-hour pedestrian traffic is
KAREN (20s, American). She faces upstream, looking for
someone. The flow threatens to carry her away in a
heartbeat. She looks fragile, intimidated by the madness.
DOUG (O.S.)
Karen!
She turns to see her boyfriend DOUG (20s, American)
approaching. With a reassuring smile he takes her hand --
-- and together, they force their way through the throng,
trying to escape the flow. They're jostled and crushed by
the crowd, and Doug protectively pulls Karen closer.
KAREN
I'll never get used to this.
DOUG
Maybe we should find a different
train station.
He abruptly stops, right in the middle of traffic, still
holding Karen's hand. She turns, wondering what's going on.
She sees the smile on his lips a moment before --
-- he sweeps Karen into his arms and kisses her. As if the
crowd of businessmen surging around them isn't there at all.
It's tender and loving, and she responds... at first. But
then she pulls away, shy.
KAREN
A public display of affection is
considered rude in Japan.
There's an opening ahead into a SIDE STREET. Doug and Karen
deftly slip out of the traffic -- 2a 2a
OMITTED
2b EXT. TOKYO STREET - DAY 2b
-- and walk hand-in-hand down the much quieter street, away
from the crowded thoroughfare.
Doug smiles as they pass by two JAPANESE HIGH SCHOOL COUPLES,
making out on the street corner. He turns to give Karen a
sarcastic look --
Revisions (Blue) -- 1/26/04 2A.
-- but she didn't notice the school kids. She's looking in
the other direction, at a trickle of SMOKE wafting up over a
nearby fence.
KAREN
What's that?
Doug follows as she walks toward an OLD TEMPLE, nestled
beneath a skyscraper. A collision of the ancient and modern.
The fence surrounds a GRAVEYARD adjacent to the temple.
DOUG
We walk past this temple every day,
Karen --
KAREN
Yeah, but I've never seen this
before.
A JAPANESE MAN stands before an ornate headstone, lighting a
bundle of incense and bowing before the grave.
KAREN
It's a Buddhist ritual. The
incense smoke carries the prayers
to the spirits of his ancestors, to
help them remain at peace.
CLINK. She turns as Doug, grinning, lights a cigarette with
his Zippo, flicking it shut and pocketing it.
DOUG
It's amazing. You're like this
infinite storehouse of wisdom. Or
trivia. I'm not sure which.
KAREN
It's not trivia. It's what they
believe. And it's far better, by
the way, than your little pollution
ritual.
Doug's grin softens to a smile. He doesn't respond... but
the way he's looking at Karen makes her curious:
KAREN
What?
He turns away for a moment, almost shyly, dropping his
cigarette and crushing it. Finally:
Revisions (Blue) -- 1/26/04 2B.
DOUG
Nothing. I just -- I like that
about you. You seem to be able to
remember everything that's really
important.
She smiles. A tender moment. Then... he checks his watch.
DOUG
Except the time.
Karen checks her own watch, realizing --
KAREN
Oh, crap --
She grabs his hand and starts to walk quickly.
KAREN
C'mon, you're gonna be late.
Revisions (Blue) -- 1/26/04 3-4.
2c EXT. CAMPUS - DAY 2c
An international college in Tokyo. The autumn chill doesn't
deter the students from enjoying the beautiful day.
Karen and Doug, still holding hands, enter the campus. 2cc EXT. NURSING CARE CENTER - DAY 2cc
Karen and Doug approach the doors of a NURSING CARE CENTER.
She pulls him to the side just as he's stepping under a
WORKMAN'S LADDER by the doors.
KAREN
Uh-uh. Seven years of bad luck.
(before Doug can respond:)
And I might have a vested interest
in those years.
DOUG
Is that right?
KAREN
Maybe.
Doug smiles, kissing her romantically. Then:
DOUG
Will I see you tonight?
KAREN
I'll call you when I get home.
With a flourish, Doug SWINGS HIMSELF back under the ladder.
DOUG
Fourteen. I hate odd numbers.
2d 2d
INT. NURSING CARE CENTER - DAY
Through the front doors, we see Doug kiss Karen again. They
finally separate, and Doug walks off.
Revisions (Blue) -- 1/26/04 4A.
Then Karen walks through the doors into a bright, atrium-like
lobby area. She waves "hello" to the RECEPTIONIST.
Revisions (Blue) -- 1/26/04 5.
Leaning against a desk behind Reception is Karen's boss ALEX
(40s, American). He's got a phone to his ear -- it's
ringing. An ANSWERING MACHINE picks up in Japanese.
Alex mutters and hangs up. Then he notices --
ALEX
Karen!
She's started up a STAIRCASE in the center of the lobby. She
turns and comes back down, walking over to Alex.
ALEX
Are you free this afternoon?
KAREN
I just came by to pick up some
books I left here. I'm not
scheduled to work today --
ALEX
I know. But are you free? Do you
have class?
KAREN
(shaking her head:)
Just a test to study for. Why?
Alex smiles, holding out a file.
Revisions (Blue) -- 1/26/04 6.
ALEX
Your wish has been granted.
Karen takes the file and opens it, looking at the first page -
- a picture of an OLDER WOMAN (EMMA) is attached.
ALEX
It's Yoko's case, but she didn't
show up for work this morning, and
I can't reach her at home. She
must be sick, or something. And
she has the damn house key.
Studying the file, Karen squints.
KAREN
What's this phrase?
ALEX
"Mild dementia with severe
lethargy." Apparently she sleeps
through most of the day. Her
daughter-in-law doesn't work, so
she'll probably be there.
Karen seems unsure. It's a big step for her.
ALEX
You're the one who's been bugging
me about getting out there on your
own. Besides, it's an English-only
house.
One of Alex's CO-WORKERS appears in the doorway, motioning to
him. Alex quickly hands Karen a card:
ALEX
Here's the address. Use the wall
chart if you need help -- and don't
forget to bring a map.
Revisions (Blue) -- 1/26/04 7.
Karen looks at THE ADDRESS -- a string of thirty numbers and
Japanese characters. She glances up at
THE WALL CHART: a color-coded diagram shows how the long
address string is broken down into Postal Code, Prefecture,
City, Ward, District, Block, Sub-Block and House Number.
ALEX
Don't worry Karen, you're ready.
Karen nods. But she's not quite as confident. 3 OMITTED 3 4 OMITTED 4 4a INT. RAIL STATION - DAY 4a
People rush madly around Karen as she studies A LARGE MAP on
the wall. It's the Tokyo rail system -- daunting, at best. 4b 4b
OMITTED
4bb INT. TRAIN - DAY 4bb
Karen sits uncomfortably on the crowded transit car, squeezed
in tightly by the people around her. The LOUD CRYING of a
baby adds to her discomfort. 5 EXT. RAIL PLATFORM - DAY 5
The transit car pulls to a stop and a handful of people get
out. Karen is one of them, shouldering her backpack.
5a 5a
EXT. SHOPPING DISTRICT - DAY
Karen walks down the populated sidewalk, weaving through
STREET VENDORS, and passing a large GROCERY STORE.
She pauses, looking at the address on her card. She
approaches a WOMAN and her DAUGHTER (6) and speaks to them in
Japanese. The woman nods, pointing towards a small ALLEY.
Karen gives the daughter a smile; the girl hides behind her
mother's leg.
Revisions (Blue) -- 1/26/04 7A.
6 EXT. TOKYO NEIGHBORHOOD - DAY 6
Karen exits the alley, entering a quiet, narrow street.
She's still not sure if she's in the right place.
But then her eyes fix on something. She begins to walk
towards it, her gaze never leaving it -- 6a EXT. THE HOUSE - DAY 6a
-- it's THE HOUSE. Cozy and shaded, nestled into the dead
end of the street. Large by Tokyo standards.
She double-checks the address and opens the gate, walking
around a BICYCLE leaning against the wall and following the
stepping-stone path to the front door. She knocks. No
answer. She tries again. Nothing.
Then, an afterthought, she tries the handle. It's unlocked.
Revisions (Blue) -- 1/26/04 8.
7 INT. THE HOUSE - ENTRANCE - DAY 7
Karen pokes her head inside the genkan (entry hall).
KAREN
Hello? Mrs. Williams?
Nothing. She tentatively steps inside, and the door closes
behind her. It's dark and musty -- the blinds are drawn.
KAREN
Is anyone here?
She turns and LOCKS THE FRONT DOOR.
8 8
INT. THE HOUSE - LIVING ROOM - DAY
Karen stands in the doorway, surveying the room. The place
is in a complete state of disarray.
A SCRAPING sound grabs Karen's attention.
HER POV: at the far end of the room, a FROSTED-GLASS PANELED
DOOR leads to an adjacent room.
A HAND is visible on the other side, clawing at the glass.
Karen runs over and slides open the door, revealing -- 8a INT. TATAMI ROOM - DAY 8a
EMMA (60s, American). The older woman in the picture from
Karen's file. She's lying on her stomach on a stained
mattress, feebly looking up at Karen.
KAREN
Oh my God... are you alright? --
Karen immediately kneels down next to the infirm woman,
helping her sit up. Emma looks dazed and disoriented.
Karen's eyes sweep the room. It reeks of neglect.
9 9
EXT. THE HOUSE - PORCH - DAY
Emma sits on the back porch, staring vacantly. But her
expression isn't simply blank - there's an odd sadness there.
Revisions (Blue) -- 1/26/04 8A.
Karen is washing the dirty sheets in a bucket and hanging
them to dry. She finishes, turning to her charge.
Revisions (Blue) -- 1/26/04 9.
KAREN
Okay, Emma. Let's try again: my
name is Karen. Do you remember?
I'm from the Health Center. I'm
substituting for Yoko, just for
today.
Emma doesn't respond -- and there's no indication that she
remembers Karen introducing herself before.
Kneeling in front of Emma, Karen notices a BAND-AID around
one of her fingers. Blood has soaked through it.
KAREN
Looks like you need a new Band-Aid.
How'd this happen, Emma?
(still no reaction)
Would you like a bath? Maybe that
will help you feel better.
Emma doesn't even turn towards her.
10 10
INT. THE HOUSE - BATHROOM - DAY
Karen turns on the water, puts the stopper over the drain. 11 INT. THE HOUSE - HALLWAY - DAY 11
Karen supports Emma's weight as she leads the old woman
slowly down the hallway to the bathroom entrance --
-- Emma stops at the doorway. Eyes fixed on THE TUB.
KAREN
It's okay, Emma.
She takes Emma's hand and walks inside. But Emma doesn't
budge. Her free hand TIGHTLY CLUTCHES the door frame.
Her eyes are wide. Staring at the bathtub.
12 12
EXT. THE HOUSE - PORCH - DAY
Karen uses a sponge to bathe Emma, her robe rolled to her
waist. Emma stares absently at the sky.
Revisions (Blue) -- 1/26/04 9A.
13 INT. THE HOUSE - LIVING ROOM - DUSK 13
With Emma back in bed, Karen steps out of the back room and
slides the door shut. Leans against it for a moment. A
tough first day on the job.
Revisions (Blue) -- 1/26/04 10.
14 INT. THE HOUSE - LIVING ROOM - DUSK 14
Karen has straightened up the room, and is vacuuming the
floor. Something under the couch catches in the vacuum
intake, jamming it.
She turns off the vacuum and feels underneath, pulling out A
CRUMPLED PHOTO -- ripped into pieces, compressed in a ball. 15 INT. THE HOUSE - KITCHEN - DUSK 15
Karen sits at the kitchen table, flattening and taping
together the pieces of the photograph. She finishes.
ON THE PHOTO: a grinning JAPANESE BOY holds a cute BLACK
CAT. His MOTHER and FATHER stand beside him. They're all
beaming at the camera -- a perfect, happy family.
But there's a piece missing. The MOTHER'S FACE.
Karen walks back into the Living Room. She looks underneath
the couch for the missing piece. Can't see anything.
She lays down and sticks her arm under the couch, feeling
around. Nothing.
Karen sticks her arm in deeper, to the shoulder, straining...
She suddenly jerks her arm back, wincing. She has a small
cut on her finger.
Karen looks under the couch for what cut her --
-- a small FURNITURE NAIL sticks out underneath.
KAREN
Nice one, Karen.
She gets to her feet, folding up the incomplete picture and
stuffing it into her pocket.
16 16
INT. THE HOUSE - ENTRANCE - DUSK
Karen steps into the foyer with the vacuum cleaner. She
looks up at A RAILING overhead. Some trash is visible
sticking over the edge. Karen shakes her head:
KAREN
How did you get up there?
Revisions (Blue) -- 1/26/04 11.
She gathers up the vacuum and heads up to the SECOND FLOOR
HALLWAY. There's a nearby door, closed (the FRONT ROOM), and
an open door at the end (the REAR ROOM).
As she looks for an outlet, she hears a SCRATCHING SOUND.
Karen stands there for a moment, listening. Silence.
Then she walks towards the open door at the end of the hall. 17 INT. THE HOUSE - REAR ROOM - DUSK 17
Karen steps inside. MOVING BOXES are stacked against the
wall, next to a desk. It's an unfinished room.
She listens. No scratching. Nothing unusual here. Except --
Karen notices a lone object sitting on an otherwise empty
shelf. It's a BLACK CERAMIC CAT. Facing the wall. Strange.
And then Karen hears the SCRATCHING SOUND again.
18 18
INT. THE HOUSE - SECOND FLOOR HALLWAY - DUSK
Karen steps into the hallway and listens. There it is again,
and this time there's no doubt --
The sounds are coming from the room by the stairs.
Karen walks to the door. She pauses, disturbed by the eerie
sounds from inside. Then she reaches for the doorknob.
THUD. THUD. Karen hesitates. The strange rhythmic THUDDING
continues, coming from beyond the door.
KAREN
(nervous:)
Hello?
Karen takes a breath. And turns the doorknob.
19 19
INT. THE HOUSE - FRONT ROOM - DUSK
The sounds immediately stop as Karen enters the MASTER
BEDROOM. It's dark, thick blinds covering the windows. A
frosted window, overlooking the foyer, isn't helping much.
She stands there for a moment, listening. Silence.
Then --
Revisions (Blue) -- 1/26/04 12.
SCRATCH SCRATCH. Startled, she gasps and turns towards THE
CLOSED CLOSET DOORS. That's where the sound is coming from.
And then she notices something strange about the closet door:
It's been sealed shut with duct tape.
The SCRATCHING quickens, as if sensing a presence nearby.
And then there's a muffled MEOW. There's a cat in there?
Karen pulls off the duct tape. She reaches for the door
handle, slowly sliding it open a crack and peering inside --
The closet seems empty, except for a large BOOK on a shelf.
Karen reaches inside and picks it up.
Then she sees, in the darkened far corner of the closet, a
SMALL BLACK CAT. It's sitting on something, watching her.
Karen slides the door the rest of the way open --
-- revealing A YOUNG JAPANESE BOY (age 7) sitting in the
corner, staring at Karen. The cat is curled up on his lap.
Startled, Karen drops the book and falls backwards.
20 20
INT. THE HOUSE - KITCHEN - NIGHT
Karen is on her cell phone:
KAREN (INTO PHONE)
Yes, he was shut in a closet!
There was tape around the -- No,
they're not home yet. I don't
know, Emma hasn't said a word to me
-- He's still upstairs -- yes, I'm
sure he's Japanese -- But -- Yes,
alright, Alex. Just please get
here as soon as you can.
Karen hangs up, putting the phone down on the kitchen table.
She leans against the counter, exasperated.
Then her attention turns to THE BOOK she found in the closet.
Karen can't resist. She opens it.
THE BOOK is a large journal, filled with elegant Japanese
writing. Karen flips through it, stopping on --
Revisions (Blue) -- 1/26/04 13.
A PHOTOGRAPH. A handsome young man, smiling at the camera.
We recognize him. It's PETER, from the opening scene. 21 INT. THE HOUSE - ENTRANCE - NIGHT 21
Karen walks to the front door, reaching out to unlock it --
-- but she pauses, realizing something.
She reaches into her pocket, pulling out THE PHOTO she found.
It only takes a second to verify --
-- THE BOY in the photo is the one she found in the closet.
Karen lowers the photo, bewildered. Then she looks up,
startled by --
THE BOY. He's kneeling on the second floor landing above,
watching her through the bars of the metal railing. Creepy.
Karen takes a step forward, forcing a smile.
KAREN (IN JAPANESE)
Hello there.
Really creepy.
The boy just stares at her.
KAREN (IN JAPANESE)
My name is Karen. What's yours?
THE BOY
Toshio.
Before she can respond --
RING! RING! The phone in the next room startles her.
22 22
INT. THE HOUSE - LIVING ROOM - NIGHT
Karen enters the room as the ANSWERING MACHINE picks up, the
voices of a happy couple on the GREETING (in English):
MATTHEW & JENNIFER (ON MACHINE)
"Konnichiwa! Matt and Jennifer
aren't around, leave a message."
SUSAN (ON MACHINE)
"Hey, guys, it's Susan. Matt, are
you there? Pick up...
(MORE)
Revisions (Blue) -- 1/26/04 14.
SUSAN (ON MACHINE) (cont'd)
Okay, well, I'm leaving work now so
you can try my cell, or just call
me at home later."
The caller pauses. Karen steps closer to the phone base,
curious, listening:
SUSAN (ON MACHINE)
"I just wanted to make sure Mom is
okay. Yesterday was... a bit
weird, and -- I'm just a little
worried."
Karen, reluctant but realizing she should pick up, reaches
for the phone...
...but the PHONE BASE is empty. The cordless is missing.
As Karen tries to figure out how to answer with the base:
SUSAN (ON MACHINE)
"Listen, just give me a call when
you can, okay?"
CLICK. Too late -- the caller hangs up.
Silence returns to the room... but not completely. Karen
hears the soft sound of WHISPERING from nearby.
Beyond her, we see a PALE FACE (KAYAKO) pressed against the
frosted window of the sliding door of the TATAMI ROOM.
The face pulls away from the glass just before Karen turns
towards it. But the sound of WHISPERING continues.
As she slowly walks to the door, we can make out some words:
EMMA (O.S.)
...I've told them over and over...
I've told them over and over...
Karen listens for a moment, then slides the door open.
23 INT. THE HOUSE - TATAMI ROOM - NIGHT 23
It's very dark in the room -- the lights have been turned
off. Emma, sitting up in bed, turns towards Karen.
KAREN
Emma, who were you talking to?
Revisions (Blue) -- 1/26/04 15.
That's when Karen notices THE INDENTATION in the mattress,
across from where Emma is sitting. Where someone else would
be, if the old woman was having a conversation.
Emma looks up at Karen with pleading eyes.
EMMA
I just want her to leave me alone.
Karen sits down next to her.
KAREN
You should get some rest, Emma.
She helps Emma lie back --
-- but as the old woman's eyes move to the ceiling, they
suddenly grow wide, her mouth opening in fear --
-- Karen follows her gaze, looking up --
-- and she SCREAMS, falling off the mattress, backing away --
A MURKY BLACKNESS is lowering from the ceiling. Formless at
first, but flowing and shifting... like a FIGURE draped with
black silk. Drifting down until the shadowy "head" is only
inches from Emma's terrified face.
And then the "head" slowly turns, rotating towards Karen.
In the midst of the blackness are TWO DISEMBODIED EYES.
Filled with an intense rage. Focused directly on Karen.
Off Karen's NERVE-SHATTERING SCREAM, we...
CUT TO BLACK.
24 24
INT. THE HOUSE - FRONT ROOM - NIGHT
MATTHEW and his wife JENNIFER are in bed. He sleeps soundly,
she doesn't. She's staring at the ceiling, listening to --
-- SOUNDS coming in through the open bedroom door. Someone
moving downstairs, fumbling around, bumping into things.
Jennifer, frustrated, lets out a sigh. INT. THE HOUSE - ENTRANCE - MORNING
25 25
Matthew comes downstairs, dressed in a business suit. He
pauses to pick up some of the RUBBISH on the stairs.
Revisions (Blue) -- 1/26/04 16.
26 INT. THE HOUSE - KITCHEN - MORNING 26
Jennifer watches the last drops of coffee fall into the pot.
She pours herself a mug, takes a big sip. Looks exhausted.
Matthew enters, surprised to see her.
MATTHEW
You're up?
JENNIFER
Mmmmmm.
Matthew glances into the back room through another sliding
door -- the windows on this one are clear, not frosted like
the living room.
HIS POV: Emma is asleep on her mattress.
MATTHEW
I wonder if Mom's okay. She's been
sleeping ever since we got here.
JENNIFER
Not at night.
Matthew turns to her, surprised.
JENNIFER
I told you, Matthew, you can sleep
through anything.
Matthew comes over, kisses her.
MATTHEW
I'm sorry, sweetheart. It was
probably just the move -- I'm sure
she'll get back on schedule.
Jennifer nods, not convinced.
MATTHEW
You seen my travel mug?
JENNIFER
I didn't unpack it yet.
Matthew kneels down next to a pair of MOVING BOXES in the
corner -- `KITCHEN' written on the side. He explores it.
Revisions (Blue) -- 1/26/04 17.
MATTHEW
Maybe you should say something to
the helper, what's her name?
JENNIFER
Yoko.
MATTHEW
Who knows? Maybe there's something
she can suggest.
JENNIFER
Yeah. Maybe.
He finds his travel mug, wrapped in the sports section of an
American newspaper. Matthew scans it as he fills his mug.
MATTHEW
I miss seeing this every morning.
No response from his wife. He turns to see Jennifer looking
down at Emma through the window.
Matthew walks over, puts an arm around her.
MATTHEW
Hey, kiddo. You okay?
JENNIFER
I went for a walk yesterday. Just
to explore. I got lost and
couldn't find anyone who could
speak English, who could help me.
I felt so... stupid.
MATTHEW
This will get easier soon, for Mom,
for all of us. I promise.
She turns to him.
JENNIFER
Or else?
MATTHEW
Or else I'll tell the company it's
just not working out, and that
we're going back to the States with
or without my old job. They can
get someone else to crunch their
numbers.
This makes Jennifer feel better.
Revisions (Blue) -- 1/26/04 18.
MATTHEW
But until then -- promise me you'll
give it a good try, okay Jen?
JENNIFER
Deal. 27 EXT. THE HOUSE - MORNING 27
The door opens and Matthew walks outside, stopping to look at
a familiar BICYCLE, leaning against the house near the door.
MATTHEW
Is this Yoko's bike?
JENNIFER
I think so.
MATTHEW
It's been here all night.
Matthew rolls the bike from the porch to the gate, leaning it
against the wall (where we saw it earlier).
He turns back to Jennifer, giving her a kiss.
MATTHEW
I'll probably be home late, maybe
around nine or so.
Jennifer gives him a look.
JENNIFER
I knew you'd forget.
Matthew pauses, looks back blankly. Jennifer just smiles.
JENNIFER
Dinner, your sister? At seven?
MATTHEW
Oh yeah. Right.
JENNIFER
You were going to cook.
MATTHEW
I have a big conference. They
usually run long.
Jennifer rolls her eyes.
Revisions (Blue) -- 1/26/04 19.
JENNIFER
I'll do the shopping. Just call me
if you're going to be late.
She goes back inside, closes the door. 28 INT. GROCERY STORE - DAY 28
Jennifer stands by a cart, looking pale under the stark
fluorescent lighting. She also looks shell-shocked.
HER POV: before her is a WALL OF JAPANESE PRODUCTS. Barely
a lick of English on any of the brightly-colored packages.
Jennifer is, in a word, clueless. She looks around for
assistance -- but she's lost in a whirl of Japanese faces.
She tentatively reaches towards a bowl-shaped package.
Studies the Japanese writing.
Stealing a glance around her, she quietly tears open a corner
of the bowl. Peeks inside. Sniffs it. She smiles.
29 29
INT. THE HOUSE - LIVING ROOM - DAY
CLOSE ON the same package, a microwaveable soup bowl, now
open with a spoon sticking out of it. Resting, with a glass
of water, atop the kotatsu table.
PAN TO REVEAL a pair of feet on the lip of a MOVING BOX next
to the table. It's Jennifer, asleep on the couch.
A CLATTERING sound wakes her, followed by the sound of
FOOTSTEPS running away. We PULL BACK as Jennifer sees her
bowl, and the glass next to it, have been knocked over.
She sits up, looking into the TATAMI ROOM. Emma sits on the
edge of her mattress, staring blankly at her.
Jennifer gets up, sternly walks over.
JENNIFER
If you need something, all you have
to do is say so --
She stops short as she sees...
FOOTPRINTS. Formed from the broth, and noodles, of her
spilled soup. They're the footprints of a child.
And they lead away from the back room, down the main hallway.
Revisions (Blue) -- 1/26/04 20.
Jennifer looks back up to see Emma watching her. 30 INT. THE HOUSE - ENTRANCE - DAY 30
Jennifer follows the DAMP FOOTPRINTS. They're getting
lighter, and cease altogether in the foyer.
She stands there for a moment, bewildered. Then she tenses,
as if sensing she's being watched. She slowly turns to see --
-- A BLACK CAT. Sitting on the first landing of the stairs.
Staring at her with bright yellow eyes.
As Jennifer takes a step towards it --
TWO CHILD'S HANDS reach around the corner, and pick up the
cat, pulling it out of view.
Jennifer freezes.
JENNIFER
Who's -- who's there?
No response. She walks up the stairs and looks around the
corner. Nothing there.
She takes a deep breath, and starts to climb.
31 31
INT. THE HOUSE - SECOND FLOOR HALLWAY - DAY
Reaching the top, Jennifer catches a glimpse of a familiar
BOY running into the FRONT ROOM.
She slowly walks towards the open door -- we can't see inside
the room from the hallway. But she pauses as she hears --
THUD. THUD. The same rhythmic thumping that Karen heard.
After a moment, Jennifer steps inside the room, disappearing
from our sight.
We hear her suddenly draw a GASP.
A beat. As we DRIFT CLOSER to the doorway, we notice
something strange: the room appears to be growing darker.
A SHARP BREATHING can be heard from inside... quick, panicked
gulps of air. Growing faster.
Just as we reach the doorway, the harsh breathing stops.
Revisions (Blue) -- 1/26/04 20A.
A moment of stillness.
Then the door is SLAMMED SHUT from the inside.
Revisions (Blue) -- 1/26/04 21.
32 INT. THE HOUSE - ENTRANCE - NIGHT 32
Matthew enters from work, jacket slung over his shoulder.
MATTHEW
(calling out)
Sorry I'm late, it took awhile to
wrap things up.
He leaves his briefcase by the door and turns to the hall --
-- noticing the house is completely DARK.
MATTHEW
Jen? Susan?
33 33
INT. THE HOUSE - LIVING ROOM - NIGHT
Matthew turns on the lights. The room has reverted to its
messy state, even worse than before.
He looks down at A PICTURE, formerly hanging on the wall, now
lying on the ground. The glass is broken.
MATTHEW
What the hell? --
He quickly goes to the BACK ROOM. Emma sits on the edge of
her bed, dazed and staring. In the darkness.
MATTHEW
Mom? Are you alright?
No answer. He kneels down next to her.
MATTHEW
Where's Jennifer, Mom?
Still nothing. He surveys the mess in the room. Angrily:
MATTHEW
Did Yoko come today, Mom?
Remember? The pretty girl?
He gets to his feet, looking at the SPILLED SOUP in the
living room, now hardened and crusty. 34 INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT 34
OVER THE RAILING: Matthew re-enters the foyer, looking up.
Revisions (Blue) -- 1/26/04 22.
MATTHEW
Jen? Are you up there?
He climbs up the stairs, walking to -- 35 INT. THE HOUSE - FRONT ROOM - NIGHT 35
Matthew stands in the doorway of the dark room. He tries the
light switch. Nothing happens.
MATTHEW
Dammit.
He slowly enters, feeling his way through the room. We can
barely make him out in the darkness... we see the shape of
THE BED by a window...
Matthew feels his way to a table next to the bed. Switches
on a small lamp --
-- JENNIFER IS RIGHT NEXT TO HIM. Lying in bed, staring wide-
eyed at the ceiling. Matthew, startled, falls backwards.
MATTHEW
Jennifer? What is it --
Matthew rushes to her, shaking her. She's unresponsive. The
only sign she's alive is that HER FEARFUL EYES slowly fix on
him. Her mouth opens, as if she's trying to speak.
MATTHEW
What's wrong? What happened???
She tries harder to form words, but can only produce a CROAK.
MATTHEW
I'll... I'll call an ambulance...
36 36
INT. THE HOUSE - KITCHEN - NIGHT
Matthew runs into the kitchen grabbing A LARGE BOOK on one of
the moving boxes. The Japanese equivalent of a YELLOW PAGES.
He whips it open -- hardly a word of English in it.
Revisions (Blue) -- 1/26/04 23.
37 INT. THE HOUSE - LIVING ROOM - NIGHT 37
A stack of BOOKS sit on the very top of a tall bookshelf.
Scissors and a roll of DUCT TAPE rest atop them.
Matthew pushes everything aside to get at a JAPANESE/ENGLISH
DICTIONARY underneath. The DUCT TAPE falls to the floor.
He tears across the room to THE PHONE BASE -- but the
cordless phone is missing.
MATTHEW
Dammit! 38 INT. THE HOUSE - FRONT ROOM - NIGHT 38
Matthew re-enters, out of breath. He sits next to Jennifer,
who hasn't moved. Puts a hand on her chest to make sure
she's still breathing. She is.
MATTHEW
Jesus Christ...
He looks through the dictionary, finding the word he needs:
MATTHEW
`Ambulance'... "kyukyusha".
Then he quickly rips open the Yellow Pages --
-- seeing, in plain English, `EMERGENCY' on the first page.
Below that: `FIRE/AMBULANCE -- DIAL 119'.
He drops the book and reaches across the bed for a phone, on
a table at the far side --
-- THE BOY (TOSHIO) stands up, between Matthew and the phone.
But he looks different from before: his skin is discolored,
his lips and eyes are ringed and sullen.
MATTHEW
Who are you? What -- what are you
doing here?
Toshio makes a STRANGE SOUND. Looks at Jennifer, then turns
to Matthew, SNARLING at him like a CAT.
Matthew, shocked, falls backwards off the bed, hitting the
table with the lamp. It drops to the ground --
Revisions (Blue) -- 1/26/04 24.
-- and TOSHIO'S SHADOW, cast by the fallen light, begins to
STRETCH AND GROW across the ceiling. The shadow creeps over
Jennifer, shifting and coming towards Matthew --
-- Matthew grabs the lamp. He reaches it, holding it up --
At first, it looks like both Jennifer and Toshio have
disappeared. But then --
-- Jennifer, suddenly back on the bed, SITS UPRIGHT, jerkily,
as if she's been yanked up and forward. Her mouth is wide
and gasping --
-- and then she falls back onto the bed. Dead.
Matthew, stunned, backs away from the bed, against the
closet. Terrified, he doesn't notice --
-- the THUD THUD sound growing around him. Then --
-- TOSHIO'S HEAD comes into frame behind him. Matthew hears
a GROWLING SOUND and turns, seeing Toshio right there! --
39 39
INT. THE HOUSE - ENTRANCE - NIGHT
The DOORBELL rings. Then a few more times.
SUSAN (American, late 20s) enters, with two bottles of wine.
SUSAN
Hello?
She kicks off her shoes.
SUSAN
You guys in the kitchen?
40 40
INT. THE HOUSE - KITCHEN - NIGHT
Susan walks in, puts the wine on the table. Looks around.
SUSAN
(calling out:)
I thought you guys were gonna cook!
She goes into the BACK ROOM. Sits next to Emma.
SUSAN
Hi, Mom. How are you feeling?
Emma turns to her with her usual vacant look.
Revisions (Blue) -- 1/26/04 24A.
There's a CREAK from above. Susan looks up at the ceiling.
Revisions (Blue) -- 1/26/04 25.
SUSAN
I guess I came at a bad time, huh? 41 INT. THE HOUSE - ENTRANCE - NIGHT 41
Twisting a corkscrew into a wine bottle, Susan leans into the
foyer, yelling upstairs:
SUSAN
I'll give you guys one minute to
finish whatever you're doing up
there and get your butts down here.
As she heads back towards the kitchen, we CRANE UP to see --
MATTHEW. He's walking down the second floor hall. He looks
different: the expression on his face is troubled, occupied.
And he's dragging his dead wife's body. By the hair.
He pulls her inside the REAR ROOM -- the doorway looks more
imposing, more ominous, than before. It's dark and
malevolent, the threshold to a secret that won't stay buried.
We CRANE BACK DOWN to see Susan in the kitchen. She's poured
a glass of wine and sighs impatiently.
She walks back down the hall into the foyer.
SUSAN
I mean it, guys.
Silence from upstairs. Shaking her head:
SUSAN
Well, I warned you. Prepare to be
emotionally scarred.
She starts up the stairs and turns the first corner --
-- MATTHEW is sitting there, hands on his knees, looking
harried. Susan YELPS.
SUSAN
Matthew! Don't scare me like that!
He's shaking slightly. His eyes drift up to hers.
SUSAN
What's going on? Where's Jennifer?
Revisions (Blue) -- 1/26/04 26.
MATTHEW
She went out. Something came up.
SUSAN
I hope she's not long. I'm
absolutely starving.
Matthew looks back down at his feet. Susan misreads:
SUSAN
I knew it. You guys forgot to go
shopping, didn't you?
Matthew abruptly stands. Looming over his sister.
MATTHEW
I'm sorry. This is a bad time.
SUSAN
Are you okay? What's going on?
MATTHEW
You should go.
He moves forward, right into her. His momentum pushes Susan
back into the foyer. She holds onto his shirt:
SUSAN
Did something happen? What's --
Matthew's hands suddenly TIGHTEN ON HER SHOULDERS. His eyes
grow wide, filled with anger, as he whispers fiercely --
MATTHEW
She doesn't love me... she never
loved me...
Susan watches as he repeats himself, over and over. Growing
scared, she finally SHAKES HIM.
SUSAN
What are you talking about?
Matthew slowly looks up. Malice on his face.
He steps forward. Susan backs away.
SUSAN
Stop it, Matthew.
MATTHEW
Leave me alone.
Revisions (Blue) -- 1/26/04 27.
SUSAN
Matthew, please --
MATTHEW
(yelling)
GO AWAY!!!
Susan fumbles with the front door. She gets it open and runs
out just before Matthew reaches her.
ON MATTHEW: he stands there, head tilted down, for a moment.
Then he straightens. Slowly closes the front door.
Matthew heads back upstairs. He reaches the second floor and
opens the door to the rear bedroom.
The room beyond is dark. But A DARK FIGURE is visible,
standing in the far corner, facing Matthew.
He steps inside, and the door slowly swings shut behind him.
42 42
EXT. THE HOUSE - DAY
It's an overcast afternoon. Swollen clouds hang low over
The House. It looks a bit more imposing than usual.
THE MAILBOX is adorned with the Japanese equivalent of a "For
Sale" sign -- weather-worn, and looks like it's been there
for years.
SUZUKI (30s, Japanese), a Real Estate agent, waits by the
gate. Then he notices something. Waves, and smiles.
It's SUSAN, approaching with MATTHEW, JENNIFER and EMMA.
Susan shakes Suzuki's hand and they exchange a greeting in
Japanese. She turns to her brother.
SUSAN
This is Suzuki-san, he's the Real
Estate broker.
Suzuki bows at Matthew and Jennifer, says something.
MATTHEW
What did he say?
SUSAN
He said: "welcome to Tokyo". And
that you must be very important to
your company for them to rent this
place for you.
Revisions (Blue) -- 1/26/04 28.
Matthew grins. Susan rolls her eyes. 43 INT. THE HOUSE - ENTRANCE - DAY 43
Everyone enters, checking the place out. Suzuki and Susan
slip off their shoes. As Matthew steps into the foyer:
SUSAN
Your shoes.
MATTHEW
Oh. Right.
He kneels down, untying his shoes. Jennifer looks perplexed.
JENNIFER
Even in our own house?
SUSAN
Even in your own house.
Suzuki smiles as Matthew and Jennifer take off their shoes.
Susan says something to him in Japanese and he laughs. They
walk down the hall, and Matthew and Jennifer follow.
44 44
INT. THE HOUSE - LIVING ROOM - DAY
Suzuki opens the blinds, letting some light into the place.
It's not helping much -- it's still pretty dreary.
MATTHEW
Isn't the layout great? Wait `till
you see the back room. It's
perfect for Mom -- she won't have
to deal with the stairs.
Jennifer follows him through the room. She doesn't look
quite as enthusiastic.
Matthew slides open the door leading to the TATAMI ROOM.
MATTHEW
Her bed won't be here until next
week, but we can put the mattress
on the floor. What do you think?
Jennifer warms a bit. The wooden room is beautiful.
Susan asks Suzuki a question in Japanese, and he responds.
Revisions (Blue) -- 1/26/04 29.
SUSAN
He says no one has lived in this
house for three years.
JENNIFER
Why?
Susan asks Suzuki in Japanese. He shrugs.
SUZUKI
(trying his English:)
Ex-pen-sive.
Matthew suddenly realizes:
MATTHEW
Where's Mom?
We slowly CRANE UP to the SECOND FLOOR HALL, moving towards
the REAR ROOM at the end. The door is ajar.
44a 44a
INT. THE HOUSE - SECOND FLOOR HALLWAY - DAY
Susan comes up the stairs, worried.
SUSAN
Mom? Where are you? 44b INT. THE HOUSE - FRONT ROOM - DAY 44b
Susan looks inside -- Emma isn't there. She's about to leave
when something catches her attention. She walks to
THE CLOSET. The door is open. Susan kneels down, looking at
something inside it. She picks it up --
-- it's the CERAMIC CAT Karen found earlier. As Susan
examines it, she notices something on the wall of the closet
(which we don't see). Her face softens, and she smiles.
MATTHEW (O.S.)
Did you get her?
SUSAN
(under her breath:)
Take a pill, will ya?
Susan stands and walks out of the room. But we stay in the
closet, PANNING TO REVEAL the closet wall. It's covered with
BLACK CRAYON, low to the ground, the work of a child. The
images are dozens of BLACK CATS.
Revisions (Blue) -- 1/26/04 29A.
45 INT. THE HOUSE - REAR ROOM - DAY 45
Emma stands in the dead center of the empty bedroom.
Looking directly up at the ceiling.
Susan enters, placing the ceramic cat on THE SHELF where
Karen found it earlier. Except Susan faces it INTO THE ROOM.
SUSAN
C'mon, Mom. You know what the
doctor said about stairs.
She takes Emma's hand, but the old woman doesn't move.
Matthew and Jennifer enter, worried.
MATTHEW
She okay?
SUSAN
Mom? What is it?
Everyone follows her gaze to the ceiling. Only Emma has the
unmistakable look of dread on her face.
A long beat.
46 46
INT. THE HOUSE - HALLWAY - DAY
Suzuki walks from the kitchen into the hallway, giving the
place one final look-over.
He pauses by the open bathroom door. Looks inside.
Revisions (Blue) -- 1/26/04 30.
47 INT. THE HOUSE - BATHROOM - DAY 47
Suzuki enters, looking at THE TUB: filled to the brim.
After a moment, Suzuki kneels down next to the bathtub. He
pulls the thin CHAIN connected to the rubber stopper --
-- but the end of the chain comes out of the water. Hmmm.
It's not connected after all.
Suzuki eyes the plug at the bottom of the tub.
Then he takes off his jacket. Rolls up his shirt sleeve.
And reaches into the water for the rubber stopper.
It's just out of reach.
He rolls up his sleeve a little more. Reaches deeper --
-- suddenly there's a BURST OF SOUND: a dull THUMPING,
something THRASHING in water, the SCREAMING of a YOUNG BOY,
voice MUFFLED by water --
-- Suzuki recoils as water SPLASHES UP around him --
-- he falls away from the tub in horror, landing on his butt.
THE BATHTUB: Filled to the brim. Still and silent. Not so
much as a ripple on the surface.
That couldn't have just been his imagination, could it?
As he slowly stands, he sees something out of the corner of
his eye --
-- a DEAD CAT, bloody and torn, in the corner of the room.
Revisions (Blue) -- 1/26/04 30A.
As Suzuki backs away from it, eyes widening in horror, he's
startled by --
MATTHEW, standing in the doorway. Beaming at him.
MATTHEW
It's perfect. We'll take it.
Suzuki looks back to the corner. There's no dead cat.
A RINGING SOUND comes into focus -- the BEEPING of a phone,
waiting for someone to pick up and make the connection... 47a OMITTED 47a
Revisions (Blue) -- 1/26/04 31.
47b OMITTED 47b 47c OMITTED 47c 48 INT. OFFICE BUILDING - SUSAN'S FLOOR - NIGHT 48
It's after-hours in this office space: CUBICLES fill the
center, surrounded by glass-windowed OFFICES. The glittering
lights of the Tokyo cityscape beyond show a hell of a view.
One light still burns in an office towards the end --
-- SUSAN'S OFFICE. She's working late. She wears a phone
headset while she types lines of code into her computer.
No one's answering. A familiar answering machine picks up:
MATTHEW & JENNIFER (ON MACHINE)
"Konnichiwa! Matt and Jennifer
aren't around, leave a message."
SUSAN (INTO PHONE)
Hey, guys, it's Susan. Matt, are
you there? Pick up... Okay, well,
I'm leaving work now so you can try
my cell, or just call me at home
later.
She pauses. Leans back, away from the keyboard.
SUSAN (INTO PHONE)
I just wanted to make sure Mom is
okay. Yesterday was...
(MORE)
Revisions (Blue) -- 1/26/04 32.
SUSAN (INTO PHONE) (cont'd)
a bit weird, and -- I'm just a
little worried. Listen, just give
me a call when you can, okay?
She hangs up, taking the headset off. Concerned. 49 INT. OFFICE BUILDING - 10TH FLOOR HALL - NIGHT 49
Susan walks through the hallway. She hears a strange
scraping sound -- it sounds as though something is being
dragged.
Susan turns around, but the hallway looks normal. Is it just
her imagination?
The sound starts again, coming closer. Susan gets scared and
opens the door to the emergency stairwell beside her.
49a 49a
INT. STAIRWELL - 10TH FLOOR - NIGHT
The hallway is chilly -- Susan shivers. She's about to start
walking down when she looks up, noticing THE LIGHTS at the
top floor FLICKERING.
A wind suddenly blows through the center of the stairwell
with an eerie ROAR.
Susan looks disconcerted as she starts walking down...
Then we hear the SCRAPING SOUND again. Startled, Susan
pauses and looks down, over the railing.
There's nothing there -- but the sound continues, growing
louder, like something is moving up towards her.
SUSAN
(calling out:)
Is anybody there?
Just then, the lights on the top floor finally GO OUT.
Susan's breath catches in her throat as she looks up --
The lights on the next floor go out. And the next. The
darkness above growing closer with each darkening floor.
Susan nervously looks back down -- the SCRAPING is even
closer. And then, for an instant, she sees A SKINNY PALE
HAND on the railing two floors down.
Terrified, Susan starts to back up -- but stops as she
realizes that the darkness from above is almost upon her.
Revisions (Blue) -- 1/26/04 32A.
Then Susan sees A FINGERTIP of the hand at the corner of the
floor where she stands, and A HEAD COVERED WITH BLACK HAIR
slowly crawling up on the wall.
Susan's mouth opens in a silent screen. With nowhere to
escape, she opens the same door and rushes back into the
hallway -- 49b OMITTED 49b
Revisions (Blue) -- 1/26/04 33.
49c OMITTED 49c 49cc INT. OFFICE BUILDING - 10TH FLOOR HALL - NIGHT 49cc
-- but her lucky RABBIT'S FOOT gets caught on the door latch.
Panicking, Susan struggles to free herself --
Through the crack, she sees the darkness continuing to come
down. The lights on Susan's floor FLICKER.
Susan looks up to see A PALE BOY on the landing to the higher
floor. The SAME BOY is also standing on the landing of each
floor above. They're all staring down at Susan.
Susan screams as she desperately tries to yank her chain
free... and then she sees THE PALE HAND clutching her
rabbit's foot!
The door shuts, and Susan falls backwards into the hallway.
She jumps to her feet and runs down the hall. 50 OMITTED 50 51 OMITTED 51
Revisions (Blue) -- 1/26/04 34.
52 OMITTED 52 52a OMITTED 52a 53 INT. OFFICE BUILDING - SECURITY ROOM - NIGHT 53
A cramped room. Susan stands in the doorway, animatedly
talking to a young SECURITY GUARD sitting at a desk lined
with VIDEO MONITORS. She's speaking rapidly, and shaking:
SUSAN (IN JAPANESE)
In the stairs... there was...
something... a strange person...
all the lights were going out...
The Guard doesn't understand her -- in her panic, Susan's
MISPRONOUNCING HER WORDS, and she knows it.
Susan takes a breath, frustrated and frightened.
SUSAN
(pleading, in English)
Please. Help me.
The Guard stands, placing a reassuring hand on her shoulder.
GUARD (IN JAPANESE)
I'll take a look. Wait here.
The Guard leaves. Susan doesn't look thrilled to be alone. 54 OMITTED 54 54a 54a
OMITTED OMITTED
54aa 54aa 54ab INT. 10TH FLOOR HALL - NIGHT 54ab
Holding a flashlight, the Guard walks down the hallway,
checking the doors.
Revisions (Blue) -- 1/26/04 35.
54b INT. OFFICE BUILDING - SECURITY ROOM - NIGHT 54b
Susan takes a breath and sits down, trying to relax. It's
obvious that she feels safer, here in the Security Room.
Then she notices movement on one of the SECURITY MONITORS --
ON THE SCREEN: -- the GUARD continues down the 10TH FLOOR
HALL, stopping at the door to the stairwell.
Susan leans toward the monitor for a better view.
ON THE SCREEN: the Guard opens the stairwell door and leans
inside, checking it out.
ON SUSAN: her eyes are glued to the screen. Waiting.
ON THE SCREEN: the Guard, finding nothing out of the
ordinary, closes the door and continues on down the hall.
SUSAN leans back, exhaling. Relieved.
Then the video CRACKLES with a sudden quick burst of static.
And Susan GASPS, sitting upright, as she sees --
ON THE SCREEN: the stairwell door OPENS AGAIN. And then --
-- something DARK moves out of the stairwell, entering the
hallway.
ON SUSAN: she recoils from the screen in horror, unable to
tear her gaze away. Her mouth opens in a silent scream, her
eyes widening as she watches --
-- and then she finds the strength to get to her feet.
55 55
INT. OFFICE BUILDING - FOYER - NIGHT
Susan bursts out of the security room and runs through the
empty lobby, towards the front doors. 56 OMITTED 56 56a EXT. OFFICE BUILDING - NIGHT 56a
Susan rushes out of the front doors and runs to the street.
She frantically hails a cab and gets in.
Revisions (Blue) -- 1/26/04 35A.
56b INT. TAXI - NIGHT 56b
Susan presses herself in the corner of the back seat, purse
clutched tightly in her white knuckles.
Revisions (Blue) -- 1/26/04 36. A shifting wash of colors flood the taxi: the NEON LIGHTS of
the surrounding buildings tower above, threatening to swallow
her whole. 57 INT. SUSAN'S BUILDING - NIGHT 57
Susan rushes through the front doors, clutching her purse
strap with both hands. Shaken, just wanting to get home.
She runs to the elevator and jabs the button for her floor. 58 INT. ELEVATOR - NIGHT 58
Susan tries to regain her composure as the elevator rises.
She closes her eyes and leans against the wall --
-- not noticing A FAMILIAR PALE JAPANESE BOY looking at her
through the window of every floor she passes --
Toshio. He's standing CLOSER TO THE WINDOW with each floor.
Until finally, he's RIGHT NEXT TO THE GLASS --
The elevator stops at her floor: no little boy this time. 59 INT. HALLWAY - NIGHT 59
Susan gets out of the elevator, moving quickly to her
apartment at the end of the hall.
She chances a look over her shoulder as she puts the key in
her lock. Then she goes in and closes the door. 60 INT. SUSAN'S APARTMENT - NIGHT 60
Susan enters. She takes a long, deep breath. Safe at home.
She sits at her kitchen table, laying her purse down.
Her eyes go to the BROKEN CHAIN still hanging from the strap,
with some rabbit's foot fur lodged in the links.
Susan's home phone RINGS, and she jumps. She stares at it
for a moment, then tentatively answers:
SUSAN (INTO PHONE)
Hello?
MATTHEW (PHONE)
It's me.
Revisions (Blue) -- 1/26/04 36A.
There's something strange about his voice: it's oddly flat,
without inflection.
Revisions (Blue) -- 1/26/04 37.
SUSAN (INTO PHONE)
Matthew! Are you alright?
MATTHEW (PHONE)
I'm downstairs. What number are
you again?
SUSAN (INTO PHONE)
702. I'll buzz you in.
She presses a button on the phone, and is about to hang up --
Almost immediately there's a LOUD KNOCK at her door. She
gets to her feet, surprised. How did he get up so fast?
Susan goes to the door and looks through the peephole.
HER POV: Matthew's face, distorted by the fish-eye glass.
He's looking into the peephole, with a sneer on his face.
Susan opens the door.
SUSAN
I don't know what you're up to, but
this is not cool --
She catches her breath. THERE'S NO ONE THERE.
Then the phone emits the THROATY CROAKING sound. Quickly
growing louder and LOUDER...
Susan cries out and drops the phone. It BREAKS OPEN on the
hallway floor as Susan slams her apartment door.
61 61
INT. SUSAN'S APARTMENT - NIGHT
Susan quickly draws the chain lock. Then she builds the
courage to step forward, and look through the peephole --
HER POV: the phone lies broken in the middle of the floor.
Otherwise, the hallway is empty.
Susan backs away from the door, shaking in fright.
Breathing hard, she backs into --
Revisions (Blue) -- 1/26/04 38.
62 INT. SUSAN'S APARTMENT - BEDROOM - NIGHT 62
Susan enters, turning off her cell phone and unplugging the
bedroom phone from the wall.
Then she retreats to the safety of her bed, eyes on --
THE APARTMENT DOOR, next to the kitchen. Silence.
Susan's breathing slows. But she looks around the room,
still anxious -- it's too quiet in here. Her panic builds.
But she's alone in the room, isn't she?
As we MOVE IN on Susan, the room starts to become quieter.
The SOUND OF TRAFFIC from outside, the HUMMING REFRIGERATOR
in the kitchen... everything fades to a stifling silence.
And Susan notices, all right. Her breath, now suddenly loud,
catches in her throat.
A long moment of silence. Then --
-- DRIP. DRIP.
It's coming from the KITCHEN SINK.
Susan stares at it. She finally stands, and --
62a 62a
INT. SUSAN'S APARTMENT - NIGHT
-- slowly walks into THE KITCHEN. She reaches out and turns
the faucet handle. Tightens it. The dripping stops.
Relieved, Susan turns away --
-- DRIP. DRIP. It begins again. Louder, more intense.
Scared, Susan turns back to the sink. Water is now GUSHING
OUT from the faucet, filling up a bowl in the sink.
She slowly reaches out a hand and turns the faucet, as
tightly as she can manage --
-- tighter... tighter... straining with the effort..
Until the water stops. Only then does she let go --
-- just then, a CHILD'S PALE HAND quietly rises to the
surface from water in the bowl, and starts VIOLENTLY
SPLASHING the surface.
Revisions (Blue) -- 1/26/04 38A.
Susan screams and runs back to her bedroom -- 62b INT. SUSAN'S APARTMENT - BEDROOM - NIGHT 62b
She lies down, shivering, pulling the quilt to her chin. A
final retreat.
SUSAN
Please... stop it...
The SPLASHING SOUNDS in the kitchen continue for a while.
Then, it suddenly stops.
Susan is so terrified that she almost faints.
Then her breathing stops. Her eyes widen.
Her hand reaches up under her pillow, feeling around --
-- and she comes out with HER LUCKY RABBIT'S FOOT.
The one she left behind in the stairwell.
Susan suddenly CRIES OUT, her head tilting back, her body
abruptly going stiff. We soon see why:
A LUMP begins to rise at the foot of the bed. A big one.
Moving slowly up Susan's body. Reaching the edge of the
quilt, which slowly rises --
-- revealing a QUICK FLASH of the PALE FACE OF THE JAPANESE
WOMAN WITH LONG DARK HAIR on top of her!
Susan SCREAMS, and is abruptly pulled under the covers --
CUT TO BLACK.
Revisions (Blue) -- 1/26/04 39.
63 INT. THE HOUSE - LIVING ROOM - NIGHT 63
Dark and still. Lying in wait. Completely silent, except --
-- someone's KNOCKING on the front door. 64 INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT 64
They're still KNOCKING. 65 INT. THE HOUSE - ENTRANCE - NIGHT 65
Apparently, whoever's KNOCKING isn't going to give up --
-- the DOOR HANDLE jiggles. But it's locked.
66 66
EXT. THE HOUSE - KITCHEN - NIGHT
Karen's CELL PHONE lays on the table in the foreground.
Beyond is the hallway, and the front door.
Revisions (Blue) -- 1/26/04 40.
The knocking has stopped. Silence.
Then Karen's cell phone suddenly LIGHTS UP, ringing.
It rings four times, then goes to voice mail. 67 INT. THE HOUSE - BATHROOM - NIGHT 67
A new SOUND breaks the silence: movement outside. Crunching
footsteps on gravel, someone brushing past tree limbs.
A SHADOW falls over the window. A face looks inside --
-- it's ALEX, Karen's boss. He walks away from the window
and continues down the side of the house --
-- we TRACK down the hallway, past the bathroom, through the
kitchen, following his progress into --
THE BACK ROOM: Alex is visible through the sliding door
leading to the back porch. He peers inside.
HIS POV: A FIGURE covered head-to-toe in a white sheet lies
on the mattress. Unmoving.
Alex tries the sliding door -- it's open. He steps inside.
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