t   h   e      s   i   x   t   h      s   e   n   s   e


						written by
						
						M. Night Shyamalan






	INT. BASEMENT - EVENING

	A NAKED LIGHTBULB SPARKS TO LIFE.  It dangles from the ceiling of 
	a basement.

	LIGHT, QUICK FOOTSTEPS AS ANNA CROWE moves down the stairs.

	Anna is the rare combination of beauty and innocence.  She stands 
	in the chilly basement in an elegant summer dress that outlines 
	her slender body.  Her gentle eyes move across the empty room and 
	come to rest on a rack of wine bottles covering one entire wall.

	She walks to the bottles.  Her fingertips slide over the labels.  
	She stops when she finds just the right one.  A tiny smile as she 
	slides it out.

	Anna turns to leave.  Stops.  She stares at the shadowy basement.  
	It's an unsettling place.  She stands very still and watches her 
	breath form a TINY CLOUD IN THE COLD AIR.  She's visibly 
	uncomfortable.

	Anna Crowe moves for the staircase in a hurry.  Each step faster 
	than the next.  She climbs out of the basement in another burst 
	of LIGHT, QUICK FOOTSTEPS.

	WE HEAR HER HIT THE LIGHT SWITCH.

	THE LIGHTBULB DIES.  DRIPPING BLACK DEVOURS THE ROOM.

							CUT TO:

	INT. DINING ROOM - EVENING

	Two place settings are arranged on the living room coffee table.  
	Take-out Chinese food sits half eaten on good china.  An empty 
	bottle of red wine sits between boxes of Chinese food.

	Anna arrives with the backup bottle and is now wearing a sweater.  
	She hands a collegiate rowing team sweatshirt to Malcolm.

			     ANNA
		It's getting cold.

	MALCOLM CROWE sits on the floor at the coffee table, his vest and 
	tie on the sofa behind him.  A jacket and an overcoat lay on a 
	brirfcase next to him.

	Malcolm is in his thirties with thick, wavy hair and striking, 
	intelligent eyes that squint from years of intense study.  His 
	charming, easy-going smile spreads across his face.  He points.

			     MALCOLM
		That's one fine frame.  A fine 
		frame it is.

	Malcolm points to the HUGE FRAMED CERTIFICATE propped up on a 
	dining room chair.  It's printed on aged parchment-type paper.  
	The frame is a polished mahogany.

	He slips on the sweatshirt.

			     MALCOLM
		How much does a fine frame like 
		that cost, you think?

	Anna hands the backup bottle over to Malcolm.

			     ANNA
			(smiling)
		I've never told you...  but you 
		sound a little like Dr. Seuss when 
		you're drunk.

	Malcolm uncorks the wine and starts pouring in the empty glass.

			     MALCOLM
		Anna, I'm serious.  Serious I am, 
		Anna.

	Anna giggles.  She's clearly buzzed herself.  Malcolm doesn't get 
	it.  Anna takes a few calming sips of her wine.  Her attention 
	slowly moves to the framed certificate.

			     ANNA
		Mahogany.  I'd say that cost at 
		least a couple hundred.  Maybe 
		three.

			     MALCOLM
		Three?  We should hock it.  Buy a 
		C.D. rack for the bedroom.

			     ANNA
		Do you know how important this is?  
		This is big time.
			(beat)
		I'm going to read it for you, 
		doctor.

			     MALCOLM
		Do I really sound like Dr. Seuss?

	Anna ignores Malcolm and clears her throat.  She leans forward 
	her seat and reads the certificate out loud as Malcolm tries to 
	tickle her.

			     ANNA
		In recognition for his outstanding 
		achievement in the field of child 
		psychology, his dedication to his 
		work, and his continuing efforts to 
		improve the quality of life for 
		countless children and their 
		families, the City of Philadelphia 
		proudly bestows upon its son Dr. 
		Malcolm Crowe...  That's you...  
		the Mayor's Citation for 
		Professional Excellence.

	Beat.  The power of the words sobers the two of them.

			     ANNA
		Wow.  They called you their son.

			     MALCOLM
		We can keep it in the bathroom.

	Anna turns to Malcolm.  He smiles.

			     MALCOLM
		It's not real, Anna.  Some 
		secretary wrote that up.  Don't 
		tell me you thought it was real?

	Anna's expression becomes serious.


			     MALCOLM
		What?

	She just keeps staring.  Beat.

			     MALCOLM
		Don't do the quiet thing.  You know 
		I hate it.

	Beat.

			     ANNA
		This is an important night for us.  
		Finally someone is recognizing the 
		sacrifices you made.  That you have 
		put everything second, including me, 
		for those families they're talking 
		about.

	Malcolm plays softly with her face.  Anna takes his hands and 
	holds them steady.

			     ANNA
		They're also saying that my husband 
		has a gift.  Not an ordinary gift 
		that allows him to hit a ball over a 
		fence.  Or a gift that lets him 
		produce beautiful images on a 
		canvas...  Your gift teaches 
		children how to be strong in 
		situations where most adults would 
		piss on themselves.
			(beat)
		Yes, I believe what they wrote 
		about you.

	Anna lets go of his hands.  Anna's eyes are emotional.  Malcolm 
	smiles softly.

			     MALCOLM
		Thank you.

	Anna leans towards him.  They hold each other tight.  Beat.

			     MALCOLM
		What are we hugging about again?

	Anna laughs as she wipes her eyes.

			     ANNA
		Nothing.  There wasn't supposed to 
		be any crying at this celebration.  
		Just a lot of drinking and sex.

	Malcolm's charming, easy-going smile returns.

			     MALCOLM
		I would like some red wine in a 
		glass.

	Anna hands him his glass.  He stares at it.

			     MALCOLM
		I would not like it in a mug.  I 
		would not like it in a jug.

	Malcolm looks at Anna surprised at what he said.  They crack up 
	laughing.  THEIR SWEET LAUGHTER FILLS THE HOUSE.

							CUT TO:

	INT. BEDROOM - NIGHT

	TWO GIGGLING SHADOWS APPEAR IN THE BEDROOM DOORWAY.  They try to 
	turn on the light.  It doesn't come on.

			     MALCOLM
		Bulb's out.

	Anna giggles some more as Malcolm's shadow stumbles across the 
	bedroom.
	
	MALCOLM TURNS ON THE BATHROOM LIGHT.

	A SHAFT OF LIGHT falls on Anna as she stands in the corner of the 
	room.

	Anna smiles playfully and pulls off her sweater.  She sways to a 
	pretend striptease song.

	Malcolm can't hold back his grin.  He joins in -- slowly peeling 
	off the sweat-shirt.  He looks back to Anna.  She's stopped her 
	playful dance.  She's facing away from him.

	He walks towards her.  HIS GRIN QUIETLY DISAPPEARS.  Malcolm's 
	face turns to rock as his attention is drawn to the SHATTERED 
	WINDOW in their bedroom.  The wind moves through the room.  A 
	lamp lays broken on the ground by the window.

	Malcolm kneels down.  Beat.  Anna's eyes fill with a quiet 
	awareness.

			     ANNA
		He's still in the house.

	A SHADOW FROM THE BATHROOM FLATS OVER BOTH OF THEM.

	ANNA SCREAMS.

	Malcolm spins around.  His heart stops.

	Malcolm and Anna stare at the bathroom doorwary.  They know 
	someone is inside.  Beat.

	Malcolm slowly starts towards the door.  The first thing that 
	comes into view are the clothes on the bathroom floor.  Then the 
	figure of a man comes into view.  A STRANGER stands bare chested 
	in the back of the bathroom.

	NO ONE MAKES A SOUND.

	The STRANGER is about nineteen.  Drugged out.  Pitch black eyes 
	bulging.  His body is covered in scars and bruises.  His hands 
	are folded in front of him.  He shakes ever so slightly.  He has a 
	patch of white in his hair.

	Malcolm speaks in a very calm voice.  Never takes his eyes off 
	the stranger.

			     MALCOLM
		Anna, don't move.  Don't say a word.

	Anna barely nods her understanding.

			     MALCOLM
			(to the stranger)
		This is forty-seven Locust Street.  
		You have broken a window and 
		entered a private residence.  Do 
		you understand what I'm saying?

	The stranger slowly looks up for the first time.  His eyes lock 
	on Malcolm.

			     STRANGER
		You don't know so many things.

	Beat.

			     MALCOLM
		There are no needles or 
		prescription drugs of any kind in 
		this house.

	The stranger suddenly comes forward into the doorway.  Malcolm 
	stumbles back onto the edge of the bed.

	Anna sees the stranger for the first time.  Her face drains of 
	color.

	The stranger looks at Malcolm.  He half grins.

			     STRANGER
		Are you drunk?

	The stranger's stare slides to Anna.

			     STRANGER
		Did you get him drunk?

	The stranger gazes at Anna.  Gazes directly into her eyes.  A 
	penetrating, unwavering stare.


			     STRANGER
		Do you know why you're scared when 
		you're alone?

	Anna's expression instanly changes.

			     STRANGER
		I know.

	BEAT.  THE ROOM GOES SILENT.

			     MALCOLM
		What do you want?  I don't 
		understand what you want.

	The stranger turns and glares at Malcolm.

			     STRANGER
		What you promised.

	Malcolm stops all movement.

			     ANNA
		--My God.

			     MALCOLM
		--Do I know you?

			     STRANGER
		Let's all celebrate, Dr. Malcolm 
		Crowe. Recipient of awards from the 
		Mayor on the news.  Dr. Malcolm 
		Crowe, he's helped so many children...  
		And he doesn't even remember my 
		name?

	Malcolm can't speak.  Beat.  The stranger's face starts to 
	tremble.

			     STRANGER
		I was ten when you worked with me.

	Beat.  Malcolm's intelligent eyes race for answers.

			     STRANGER
		Downtown clinic?  Single parent 
		family?  
			(beat)
		I had a possible mood disorder... 
			(beat)
		I had no friends... you said I was 
		socially isolated.
			(beat)
		I was afraid -- you called it acute 
		anxiety...
			(beat)
		You were wrong.
			(beat)
		Come on, clear your head...  Male, 
		nine...  Single parent...  Mood 
		discorder... Acute anxiety.

	Malcolm looks like someone hit him with a sledgehammer.

			     STRANGER
		I'm nineteen.  I have drugs in my 
		system twenty-four hours a day...  
		I still have no friends.  I still 
		have no peace.  I'm still afraid.

	Tears jump into the stranger's eyes.

			     STRANGER
		...I'm still afraid.

	Malcolm stands.

			     MALCOLM
		Please give me a second to think.

	Malcolm's shaking hands touch his mouth as he stares at the 
	stranger.  Beat.

			     MALCOLM
		Bed Freidken?

			     STRANGER
		Some people call me freak.

			     MALCOLM
		...Ronald...  Ronald Sumner?

	Tears fall down the stranger's face.

			     STRANGER
		I am a freak.

	Malcolm looks up at the sound of those words.  Something clicks 
	in his head.

			     MALCOLM
		--Vincent?

	THE ROOM GOES SILENT AGAIN.

			     MALCOLM
		Vincent Gray?

	VINCENT GRAY stares with surprise through his tears.
	
	Malcolm lets out a deep breath like he just emerged from deep 
	waters.

			     MALCOLM
		I do remember you, Vincent.  You 
		were a good kid.  Very smart...  
		Quiet...  Compassionate...  
		Unusually compassionate...

	Vincent's eyes burn at Malcolm.

			     VINCENT
		You forgot cursed.

	VINCENT is fully crying now. 

			     VINCENT
		You failed me.

			     MALCOLM
			(whispers)
		Vincent...  I'm sorry I didn't help 
		you...  I can try to help you now.

	Vincent turns to the sink.  His hand goes in.  He turns arund and 
	raises a gun at Malcolm.  He FIRES.  A VIOLENT, EAR-SHATTERING 
	ECHO.  Malcolm clutches his stomach and folds like a rag doll 
	onto the bed.

	Vincent instantly moves the gun to his own head.  ANOTHER 
	HORRIFIC BLAST SPIKES THE AIR.  Vincent crumples onto the 
	bathroom floor.

	ANNA'S CHILLING SCREAMS FILL THEIR HOME.

							DISSOLVE TO:

	EXT. BENCH - AFTERNOON

	The legend, "Two Years Later" appears.

	A man flips open a worn file folder on his lap.  Handwritten 
	notes fill every line.  At the top of the first page reads, 
	"Vincent Gray, age 10, Referred January 19, 1989."

	The man's hand touches the name almost reverently.

	He glances through the page.  Words and phrases are circled 
	throughout the file.

	"...Acute anxiety"
	"...Socially isolated"
	"...Possible mood disorder"
	"...Parent status -- Divorced"
	"...Communication difficulty between mother-child dyad"

	The man's hands flip the page.  At the top of this new page 
	reads, "Cole Sear, age 8, Referred September 1998."

	As the man's fingers move through the notes we again see words 
	and phrases circled throughout this new case history.

	"...Acute anxiety"
	"...Socially isolated"
	"...Possible mood disorder"
	"...Parent status -- Divorced"
	"...Communication difficulty between mother-child dyad"

	The hands close the notepad.  The hands are slightly shaking now.

	WE PULL BACK to reveal the shaking hands belong to Dr. Malcolm 
	Crowe.

	Malcolm sits on a sidewalk bench facing a row of brownstone homes 
	across the street.  He gazes blankly at the brownstones.  Beat.

	A door opens.  Malcolm is brought out of his trance.

	COLE SEAR steps out his front door.  Cole is a munchkin of a boy 
	with large, black eyes that seem to take in everything around 
	him.  
	
	His hair is dark, with a small patch of jet white on the side.  
	Cole carefully locks the door behind him.

	He moves to the bottom of the stairs and looks around nervously.  
	Anxiously.

	The eight-year-old child reaches into his pocket and slips on a 
	pair of VERY LARGE GLASSES.  They look comical on him.

	Malcolm rises to his feet.  He smooths out his shirt.  Looks down 
	and buttons his jacket.

	When he looks up, Cole is gone.

	Malcolm barely catches a glimpse of the boy.  Cole runs at full 
	speed down the street and turns the corner.  TINY SNEAKERS 
	SCREECHING ON THE SIDEWALK.

	For a second, Malcolm doesn't react.  The second passes.  He 
	stuffs the file in his bag and starts running too.

							CUT TO:

	EXT. STREET - DAY

	Malcolm hauls down the sidewalk.  He comes to a hard stop at a 
	street intersection.  Searches.  Spots Cole running into a 
	parking lot.

	COLE sprints across the empty lot and reaches the doors of a 
	building.  He has to use all his strength to push open the highly 
	ornate doors.  He slips inside.

	Malcolm jogs into the parking area.  His pace slows to a walk and 
	then to stillness as he gazes up at the building.  Its old stone 
	and huge towers make it stand out from the modern buildings all 
	around it.  Malcolm stares up at the historic Philadelphia church 
	quietly.

	A SHOOTING PAIN PIERCES HIS SIDE.  Malcolm's hand goes to it 
	quickly.  He waits for it to pass before starting for the ornate 
	doors.

							CUT TO:

	INT. CHURCH - DAY

	Only a few people sit and pray in the sea of oak pews.

	Malcolm scans the majestic room and finds what he's looking for 
	in the last row of the church.

	He moves down the center aisle towards the back.

	Malcolm finds Cole playing in his pew with a set of green and 
	beige plastic soldiers.  Cole makes the soldiers talk to each 
	other.

			     COLE
			(soft)
		Pro... Fun... Add...

	The words are unintelligible.

	Cole senses someone.  He looks up and sees Malcolm staring at 
	him.  The boy immediately goes white.  Every cell of his body 
	still with fear.

			     MALCOLM
		It's okay, Cole.  Don't be 
		frightened.

	Cole stays rigid.  Hands clutching a handful of plastic riflemen.

			     MALCOLM
		My name is Dr. Malcolm Crowe.  I 
		was supposed to meet you today.  
		Sorry I missed our appointment.

	Malcolm waits for a response.  None comes.

			     MALCOLM
		Do you mind if I sit down?  I have 
		this injury from a couple of years 
		ago and it flares up every once in 
		a while just so I won't forget it.

	Beat.  Cole slowly slides down the pew, giving Malcolm most of 
	the seat.  Malcolm sits.

	Cole fidgets with his soldiers.  Beat.  Malcolm looks over and 
	stares at Cole's glasses.  He leans forward to inspect them more 
	carefully.

			     MALCOLM
		Your eye frames.  They don't seem to 
		have any lenses in them.

			     COLE
			(soft)
		They're my dad's.  The lenses hurt 
		my eyes.

			     MALCOLM
		I knew there was a sound explanation.

	Malcolm returns to staring at his lap.  Beat.

			     MALCOLM
		What was that you were saying 
		before with your soldiers?  Day pro 
		fun.

			     COLE
		...De profundis clamo ad te domine.

	Malcolm stares surprised.

			     COLE
		It's called Latin.  It's a 
		language.

	Malcolm nods at the information.

			     MALCOLM
		All your soldiers speak Latin?

			     COLE
		No, just one.

	Malcolm smiles at Cole.  His eyes drift down to Cole's arms.  
	Malcolm's smile slowly disappears.

	Cole's arms are covered in TINY CUTS AND BRUISES.  Some almost 
	healed.  Some fresh.  Malcolm looks around to gather himself.  
	Beat.

			     MALCOLM
		I like churches, too.
			(beat)
		In olden times, in Europe, people 
		used to hide in churches.  Claim 
		sanctuary.

	Cole looks up.

			     COLE
		What were they hiding from?

			     MALCOLM
		Oh, lots of things, I suppose.  Bad 
		people for one.  People who wanted 
		to imprison them.  Hurt them.

			     COLE
		Nothing bad can happen in a church, 
		right?

	Malcolm studies Cole's anxious face.

			     MALCOLM
		Right.

	Malcolm and Cole just stare at each other.

			     COLE
		I forgot your name.

			     MALCOLM
		Dr. Crowe.

			     COLE
		You're a doctor.  What kind?

			     MALCOLM
		I work with young people who might 
		be sad or upset or just want to 
		talk.  I try to help them figure 
		things out.

	Beat.

			     COLE
		Are you a good doctor?

	Malcolm smiles.

			     MALCOLM
		I got an award once.  From the 
		Mayor.

			     COLE
		Congratulations.

			     MALCOLM
		Thank you.  It was a long time ago.  
		I've kind of been retired for a 
		while.
			(beat)
		You're my very first client back.

			     COLE
		You use needles?

			     MALCOLM
		No.

			     COLE
		Not even little ones that aren't 
		supposed to hurt?

			     MALCOLM
		No.

			     COLE
		That's good.

	Cole pockets his soldiers and rises from his pew.

			     COLE
		I'm going to see you again, right?

			     MALCOLM
		If it's okay with you?

	Cole thinks it over carefully.

			     COLE
		It's okay with me.

	Cole and Malcolm just stare at each other.

			     MALCOLM
		And Cole, next time I won't be late 
		for you.

			     COLE
		Next time I won't be scared of you.

	Cole turns and starts to the rear of the church.  Malcolm loses 
	himself in his thoughts.

	When Malcolm looks back, he sees Cole stop by the exit doors and 
	take a tiny STATUE OF JESUS off the back table.  Cole pockets the 
	statue and quietly leaves the church.

	Malcolm just sits and stares.

							CUT TO:

	INT. MALCOLM'S HOME - EVENING

	The house is dimly lit.  Malcolm has to turn on the HALLWAY LIGHT.

			     MALCOLM
		It's me.

	He stops before a pile of mail collecting on a thin table.  He 
	stares at it blankly.  Almost every envelope has "Over Due" or 
	"Final Notice" stamped on it.

							CUT TO:

	INT. DINING TABLE - EVENING

	Malcolm stares down at the remains of a meal on the only place 
	setting on the table.

							CUT TO:

	INT. BEDROOM - EVENING

	Malcolm quietly walks into his bedroom.  Only A READING LIGHT IS 
	ON.  THE SOFT LIGHT FALLS ON ANNA AS SHE SLEEPS.

	Malcolm moves to her side.  The sight of her stops him.

	He stares at his wife...

	She huddles under a blanket, a wad of tissues in her hand.  He 
	takes it in silently.

	His eyes move to her face...  One wisp of hair falls over her 
	soft lips.  OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly 
	looks like an angel.

	Malcolm forms a tiny smile.

							CUT TO:

	INT. HALL - NIGHT

	Malcolm turns and moves for a narrow door in the hallway.

	THE DOOR KNOB.  He tries to open it.  IT'S LOCKED.  Malcolm 
	reaches into his pockets.  Searches for his keys.

							CUT TO:

	INT. BASEMENT - NIGHT

	The empty basement is no longer empty.  It's piled with file 
	cabinets and boxes of psychology and medical books.  A desk sits 
	in the corner next to the wine racks.

	The room still feels unsettling.

	Malcolm hunches over one of the books.  Rifles through a stack of 
	dusty books.  Pulls out a thick text.

	The spine of the text reads, "The Meridian Latin Dictionary."

	Malcolm sits back at his desk and opens Cole's file.  Handwritten 
	on the first page are the words,

		"De profundis calms ad te, domine"

	Malcolm starts working through the Latin text.  As he comes to 
	each word, he jots it down underneath the Latin.

	Malcolm translates the last word.

	He stares quietly at the paper.  The new words reads...

		"Out of the depths, I cry to you Lord."

	Beat.

			     MALCOLM
			(whispers)
		...The mass for the dead.

	The words seem to hang in the air forever.

							CUT TO:

	EXT. PHILADELPHIA - DAWN

	Old Philadelphia awakens...  For a moment, it's like we're back 
	in time.

	A golden sun dances on the waters of Penns Landing.  Historical 
	old ships sit docked in its harbor...  The dark bronze surface of 
	the Liberty Bell reflects the dawn...  A majestic Independence 
	Hall stands watch as its city begins to stir...  A thirty foot 
	statue of Ben Franklin makes a proud silhouette against the 
	morning sky...

	AND THEN 1997 COMES CRASHING IN.

	FLUORESCENT HOUSE LIGHTS COME ON IN WINDOWS...  Jeeps and 
	hatchbacks start roaming the cobblestone streets...  Neon 
	restaurants signs flicker to life...  Traffic helicopters make 
	their rounds...  CAR ALARMS PIERCE THE AIR.

							CUT TO:

	INT. LAUNDRY ROOM - MORNING

	A hand turns off a radio, shutting off the morning news.

	A small dog with two different colored eyes sticks his head out 
	of the dryer, where he plays with the newly-dried clothes.

	LYNN SEAR reaches in and pulls out a blouse.

	She shakes it in the air and slips it on as she dresses hurriedly 
	for work.

	Lynn is a woman in her late twenties.  One hundred percent South 
	Philly.  Hair teased.  She chews on an early morning piece of 
	Trident.  Under all of it, Lynn Sear is an attractive and 
	sweet-looking young woman.

	Lynn enters THE KITCHEN through a swinging door.

	A bowl of cereal and milk sit on a table in an empty kitchen.

	Lynn stares at a handful of kitchen CABINETS and DRAWERS that are 
	open.

	Lynn shakes her head.

			     LYNN
		Cole.

	She closes them one at a time before moving to the coffee machine.

	Lynn shivers a little.  She leans over the thermostat and raises 
	the heat.  She returns to her post at the coffee machine.

	TINY FOOTSTEPS.

	Lynn turns to see Cole standing in his private school uniform.

			     LYNN
		Your Cocoa Puffs are getting soggy.

	Lynn walks over to Cole.  Checks his tie.

			     LYNN
		You got a spot.

	Lynn unclips the tie.  Cole takes a seat at the kitchen table as 
	Lynn walks back into the laundry room.

	The dog is gone now.  Lynn reaches into the dryer, digging for a 
	new tie.  She finds one, then turns and steps back into the 
	kitchen and SCREAMS AT THE TOP OF HER LUNGS.

	Every cabinet and every drawer is wide open.

	Cole sits at the kitchen table.  His hands are pressed flat on 
	the tabletop.

	He looks shaken.

	Neither says anything for a beat.

			     LYNN
			(shaken)
		Something you were looking for, 
		baby?

	Beat.

			     COLE
			(shaken)
		Pop Tarts.

	Lynn looks over to the open cabinet near the sink.  The pop tarts 
	are clearly visible.

			     LYNN
		They're right here.

			     COLE
		Oh.

	Cole gets up from the table.  Takes his pop tarts.  Doesn't make 
	eye contact.

			     COLE
		What are you thinking, Momma?

			     LYNN
		Lots of things.

			     COLE
		Anything bad about me?

	Lynn leans down.

			     LYNN
		Look at my face.

	Cole does.

			     LYNN
		I wasn't thinking anything bad 
		about you, got it?

	He looks at her eyes.  Beat.

			     COLE
		Got it.

	THE DOOR BELL RINGS.

			     COLE
			(soft)
		That's Tommy, Momma.

	Cole quietly kisses his mother on the cheek and starts out.

			     LYNN
		Don't you want this?

	Cole turns to see Lynn holding the pop tarts.  He walks back and 
	takes them from her before leaving.

	Beat.  Lynn glances to the kitchen table.  Her gaze stops on the 
	TWO TINY HAND PRINTS OF SWEAT formed on the table's surface.

	Lynn stands motionless in the kitchen.  She looks up and wraps 
	her arms around her shivering shoulders.

							CUT TO:

	EXT. BROWNSTONE STREET - MORNING

	TOMMY TAMMISIMO is a tough-looking, eight-year-old Italian kid 
	who waits at the bottom of Cole's brownstone stairs in his school 
	uniform. 

	Cole emerges from the brownstone and moves down the steps.  
	Lynn's face appears in the kitchen window.

	The two boys begin their walk down the street to school.  Tommy 
	puts his arm around Cole.  Lynn waves.  Cole waves back.

	When the two boys turn the corner and are out of Lynn's sight, 
	Tommy rips his arm away.

			     TOMMY
		Hey freak, how'd you like the "arm 
		around your shoulder" bit.  I just 
		made it up.  Went with it.  That's 
		what great actors do.  It's called 
		improv.

	Tommy starts to run ahead, he turns and back pedals.

			     TOMMY
			(taunting)
		Be careful...  I hope no one jumps 
		out and gets you.

	Tommy runs away.

	Beat.  Cole looks around nervously.

							CUT TO:

	EXT. ST. ANTHONY'S ACADEMY - MORNING

	The last uniformed boys and girls rush into the front doors of 
	St. Anthony's Academy as the FINAL BELL SOUNDS.

	Cole is the last one to go in.  He stands alone on the sidewalk.  
	He looks like he'd rather be anywhere but there.

	Beat.

	He buries his hands in his pockets and begins a quiet walk by 
	himself into the school.

							DISSOLVE TO:

	INT. COLE'S HOME - AFTERNOON

	The front door CREAKS open as Cole walks in after school.  He 
	looks around before closing the door.  His eyes stop on Lynn 
	seated in the open doorway of the den.  Malcolm is seated with 
	her.  They both look up.

	Lynn comes out.  She reaches Cole -- kneels down in front of him.

			     LYNN
			(whispers)
		How was school, baby?

	Cole shrugs.

			     LYNN
			(whispers)
		You know, you can tell me things if 
		you need to.

	Cole doesn't respond.  Beat.

			     LYNN
			(whispers)
		Well, you know what I did today?

	Cole shakes his head "No."

			     LYNN
			(whispers)
		I won the Pennsylvania Lottery in 
		the morning.  I quit my jobs.  Ate 
		a big picnic in the park with lots 
		of chocolate mouses pie and then 
		swam in the fountain all afternoon...
			(smiling)
		What did you do?

	Cole starts to smile too.  He thinks.

			     COLE
			(whispers)
		I was picked first for kickball 
		teams at recess.  I hit a grand 
		slam to win the game and everyone 
		lifted me up on their shoulders and 
		carried me around cheering.

	Cole and Lynn smile at each other.  Beat.

	Lynn tries to hide the utter sadness behind her smile.

			     LYNN
		I'll make triangle pancakes.  You 
		got an hour.

	Lynn takes Cole's school bag and jacket before moving to the 
	kitchen.

							CUT TO:

	INT. DEN - AFTERNOON

	The den doubles as a playroom.  Boxes of old toys sit in the 
	corner.  A small, plastic, multi-colored table sits on the rug.

	Cole appears in the doorway.  Malcolm sits up and smiles.

	He points to the chair on the other side of the coffee table.

			     MALCOLM
		You want to sit?

	Cole nods very softly, "No."

			     MALCOLM
		Don't feel like talking right now?

	Cole nods again very softly, "No."

			     MALCOLM
		How about we play a game first?

	Cole looks a little more interested.

			     MALCOLM
		It's a mind-reading game...  Did I 
		mention I could read minds?

	Cole nods, "No."

			     MALCOLM
		Here's the game.  I'll read your 
		mind.  If what I say is right, you 
		take a step forwards the chair.  If 
		I'm wrong, you take a step 
		backwards the doorway.  If you 
		reach the chair, you sit.  If you 
		reach the door, you can go.  Deal?

	Cole tilts his head, then nods, "Yes."

	Malcolm presses his fingers to his temples like a vaudeville 
	magician.  He closes his eyes tight.

			     MALCOLM
		Just after your mom and dad were 
		divorced, your mom went to a doctor 
		like me and it didn't help her.  
		And so you think I'm not going to 
		help you.

	Beat.  Cole, surprised, takes a small step forward.

			     MALCOLM
		You're worried because she said she 
		told him things.  Things she 
		couldn't tell anybody else.
			(beat)
		Secrets.

	Cole takes a step.  Malcolm opens his eyes.  He looks right at 
	Cole.

			     MALCOLM
		You have a secret.  But you don't 
		want to tell me.

	Beat.  Cole takes another step.  The next step will put him at 
	the chair.  Malcolm lowers his fingers from his temple.

			     MALCOLM
			(whispers)
		You don't have to tell me your 
		secret if you don't want to.

	Malcolm smiles.  Returns his fingers to the mind-reading 
	position.  Malcolm looks to Cole's arm.  Cole is wearing A LARGE 
	SILVER WATCH.  It swims on his thin wrist.  It could probably 
	slide up to his shoulder.  Malcolm closes his eyes.

			     MALCOLM
		Your father gave you that watch as 
		a present before he left.

	Cole takes a step BACK.  Beat.  Malcolm lowers his hands 
	surprised.

			     COLE
		He forgot it in a drawer.  It 
		doesn't work.

	Beat.  Malcolm puts his fingers to his temple.  This time a 
	little bit slower.  He gazes at Cole's school uniform.

			     MALCOLM
		You don't like to say much at 
		school.  You're an excellent 
		student however.  You've never been 
		in any kind of serious trouble.

	Beat.  Cole takes a slow step back.  Beat.

			     COLE
		We were supposed to draw a picture.  
		Anything we wanted...  I drew a man.  
		He got hurt in the neck by another 
		man with a screwdriver.

	AN UNCOMFORTABLE SILENCE OVERTAKES THE DEN.

			     MALCOLM
		You saw that on T.V., Cole?

	Cole answers by taking a small step back.  Beat.

			     COLE
		Everybody got upset.  They had a 
		meeting.  Momma started crying.
			(beat)
		I don't draw like that anymore.

			     MALCOLM
		How do you draw now?

			     COLE
		I draw people with smiles, dogs 
		running, and rainbows.
			(beat)
		They don't have meetings about 
		rainbows.

			     MALCOLM
			(soft)
		I guess they don't.

	Malcolm looks down at Cole's feet.  They're almost at the 
	doorway.  One more step and he's there.  Cole is very still.  He 
	doesn't move at all.

			     COLE
			(whispers)
		What am I thinking now?

	Malcolm takes his time before speaking.  He just stares.  No 
	fingers to the temple.  No games.  He just stares.  Beat.

			     MALCOLM
		You're thinking... 
			(beat)
		I don't know what you're thinking, 
		Cole.

	Cole quietly takes a step back into the doorway of the other room.

			     COLE
			(whispers)
		I was thinking...  you're nice.
			(beat)
		But you can't help me.

	Cole's tiny figure steps away.  Malcolm stares helplessly at the 
	empty doorway where his client used to stand.

	THE DEN IS SUFFOCATED WITH SILENCE.

							CUT TO:

	INT. RESTAURANT - EVENING

	Malcolm hurriedly enters a spacious, dimly-lit Italian 
	restaurant.  He stops in the dining room and searches the many 
	candle-lit tables.  He finds Anna.

	Anna sits alone at a corner table.  The remains of her half-eaten 
	dinner lay on the only place setting on the table.  A small PIECE 
	OF CAKE WITH A CANDLE in it sits untouched.

	Anna stirs sugar in her coffee as Malcolm sits in the seat across 
	from her.  She gently stops stirring, but doesn't look up.  Beat.

			     MALCOLM
		I thought you meant the other 
		Italian restaurant I asked you to 
		marry me in.

	Anna isn't laughing.  Not even close.

			     MALCOLM
		I'm so sorry.
			(beat)
		I can't seem to keep track of time.

	Anna quietly takes a sip from her coffee.

			     MALCOLM
		It didn't go well today.  Spent 
		some time after trying to get my 
		head together.

	Anna looks around for the waiter.

			     MALCOLM
		They're so similar, Anna.  They 
		have the same mannerisms.  The same 
		expressions.  The same thing 
		hanging over them.
			(beat)
		It might be some kind of abuse.

	That makes Anna turn back.  She glances across the table, then 
	looks down.

			     MALCOLM
		There are cuts on Cole's arms.  
		Fingernail marks, I think.  Looks 
		like defensive cuts.

	Malcolm demonstrates by holding up his arm to shield his face.

			     MALCOLM
			(beat)
		Possibly a teacher, neighbor.
			(beat)
		I don't think it's the mother.  
		Just a gut thing.  The way she 
		deals with him.  It doesn't fit.
			(beat)
		Hard to say this early.  Could 
		just be a child climbing a lot of 
		trees.

	Malcolm loses himself in his thoughts.  The waiter drops off the 
	check on the table.  Anna grabs it before Malcolm and quickly 
	signs it.

			     MALCOLM
		I know I've been kind of out of it 
		for a long while and you resent it.  
		You do.  I know you're mad.  I know 
		it's put some distance between us.

	Beat.

			     MALCOLM
		But I'm getting a second chance 
		here.  I can't let it slip away.

	Anna waits till he's done and rises from the table.  She pushes 
	her chair in hard and walks away without a word.  Malcolm sits 
	alone and stares at the piece of cake with a candle on it.

			     MALCOLM
			(soft)
		...Happy Anniversary.

							CUT TO:

	EXT. FRONT STEPS - AFTERNOON

	Cole is seated on the front stoop of his brownstone.  On the 
	steps and on the landing are his plastic soldiers in the grips of 
	a war.

	Malcolm sits with his bag and overcoat on the step next to him.  
	Malcolm just observes quietly.  Beat.

	Cole glances up as he plays.  Sees Malcolm's expression.

			     COLE
		You want to ask me a question?

			     MALCOLM
		See, this is why I lose at poker.  
		Yes, I do have a question.

	On the step are two rows of soldiers facing each other.  To one 
	side are a couple soldiers covered by a tissue.  Malcolm points 
	to them.

			     MALCOLM
		What happened to those two?  Being 
		under tissue paper can't be a good 
		thing.

	Cole removes the tissue.

			     COLE
		That's Private Jenkins and Private 
		Kinney.  They got killed.  Private 
		Jenkins has a baby girl that was 
		born seven pounds, six ounces.  
		He's never seen her.  He wanted to 
		get back to Blue Bell, Pennsylvania 
		and hold her...

	Cole points to the other soldier.

			     COLE
		Private Kinney's wife is really 
		sick -- she has something called a 
		brain anism.

			     MALCOLM
			(soft)
		You mean aneurysm.

			     COLE
		Yeah, Private Kinney needed to get 
		back safe to take care of her.

	Beat.  Cole's face becomes emotional.  Tears fill his eyes.

			     COLE
		It's sad they died, isn't it?

	Malcolm falls into silence and stares at his client.  Beat.  Cole 
	wipes his eyes quickly.

			     COLE
		Don't look at me.
			(beat)
		I don't like people looking at me 
		like that.

	Malcolm takes in Cole's gesture and expression.

			     COLE
		Stop looking at me.

	Malcolm looks down.

			     MALCOLM
		Where should I look then, Cole?

			     COLE
		Look over there.

	Cole points to the corner of the street.  Malcolm slowly turns.  
	He sits in profile to Cole.  Beat.

			     MALCOLM
		It's very unusual for someone your 
		age to understand the kind of 
		problems that Private Jenkins and 
		Private Kinney have or even to be 
		thinking about them at all...

	Malcolm continues to stare at the street.  Beat.

			     MALCOLM
		It is okay if I look back now?

	Cole doesn't answer.

			     MALCOLM
		Tap the foot once for "No" and 
		twice for "Yes."

	Cole taps his foot once.

	Malcolm sits patiently.  Beat.  They don't say anything for a 
	while.

			     MALCOLM
		You wouldn't want to take a walk, 
		would you?

	Cole looks up from his soldiers.  Malcolm stares at the far side 
	of the street.

	Cole taps his foot twice.

							CUT TO:

	EXT. STREET - AFTERNOON

	The two of them walk down a row of brownstones across from a park 
	where children Cole's age are playing.

			     COLE
		I walk this way to school with 
		Tommy Tammisimo.

			     MALCOLM
		He your best buddy?

	Cole almost smiles.

			     COLE
		He hates me.

			     MALCOLM
		You hate him?

	Cole shakes his head, "No.!

	Malcolm thinks for a bit.

			     MALCOLM
		Your mom set that up?

	Cole nods "Yes."

			     MALCOLM
		You ever tell her about how it is 
		with Tommy?

			     COLE
		I don't tell her a thing.

			     MALCOLM
		Why?

			     COLE
		Cause she doesn't look at me like 
		everybody and I don't want her to.  
		I don't want her to know.

			     MALCOLM
		Know what?

			     COLE
		That I'm a freak.

	Malcolm stops walking.  The words hit him hard.  He stares at 
	Cole.

			     MALCOLM
		Listen to me.  You are not a freak.  
		Don't you believe anybody that 
		tells you that.  It's bullshit and 
		you don't have to grow up believing 
		that.

	Beat.  Cole is surprised.

			     COLE
		You said the "s" word.

			     MALCOLM
		Yeah.  Sorry.

	Malcolm's face is filled with emotion.  Cole is suddenly hit by 
	Malcolm's passion.  Beat.  Cole nods slowly as he looks at 
	Malcolm with different eyes.

	They start walking again in silence.  They turn a corner and move 
	down another street.  Cole spots an old man with a cane standing 
	at the gate of a brownstone.

			     COLE
		Is it okay if I do something?  I 
		have to do something.

	Malcolm nods "yes" as they continue walking.  Cole slows as they 
	approach the old man.  As we get closer, we make out the man can 
	barely see.

			     COLE
		Hi, Mr. Marschal.

	MR. MARSCHAL leans over his gate and stares at Cole for a few 
	seconds.

			     MR. MARSCHAL
		Guten Tag, Cole.

	Mr. Marschal has a thick German accent.  The old man squints down 
	the block with a concerned expression.

			     COLE
		What's wrong?

			     MR. MARSCHAL
		Mrs. Marschal.  She went food 
		shopping.  She's running late.

	Beat.

			     COLE
		Ich Habe Durst.

	Malcolm's eyes dart to Cole.

			     MR. MARSCHAL
		Wunderbar!  Where did you learn to 
		speak German?

			     COLE
		I just know a couple lines.

			     MR. MARSCHAL
		Yes, you may have a drink.  What 
		would you like?

			     COLE
		Lemonade, please.

	Mr. Marschal smiles at Cole before walking back inside his house.  
	Cole turns back to Malcolm.

			     COLE
			(sad)
		Mr. Marschal gets real lonely.

			     MALCOLM
		What about Mrs. Marschal?

			     COLE
			(whispers)
		She died a long time ago.

							CUT TO:

	INT. MR. MARSCHAL'S LIVING ROOM - MORNING

	This brownstone has been home to the Marschal's for many, many 
	years.  It's filled with a lifetime of memories.  Memories shared 
	by two people.

	Two rocking chairs sit side by side near the windows that 
	overlook the street...  A corner table displays fancy wooden 
	chess set.  The game half-finished, frozen in a layer of dust...  
	An easel stands before a piano.  The incomplete water color 
	painting of a smiling elderly woman sitting on the piano bench 
	sits sadly on the faded yellow paper.

	Malcolm takes in the living room silently.  He stands near the 
	open door.

	Cole walks through the room.  Tiny eyes searching carefully.  He 
	leans behind the sofa looking for something.  Malcolm watches 
	Cole with a crinkled brow.

	Cole peeks behind the old piano crammed against the wall.

			     MR. MARSCHAL
		Maybe Jill will play for us when 
		she gets back.

	Cole turns to find Mr. Marschal standing with a glass of 
	lemonade.  Cole takes it from his shaking hands.

			     COLE
		Thank you.

	Mr. Marschal shuffles over to the sofa.  Takes a seat.

	Cole begins surveying the room again.  Beat.  His eyes finally 
	come to rest on a plant seated in the corner.  He stares at it...  
	THE LEAVES OF THE PLANT SHAKE SLIGHTLY FROM A BREEZE.

	Cole puts down his glass on a table and walks over to the plant.  
	Cole kneels down and starts to push the potted plant aside.  THE 
	POT SCREECHES ON THE WOODEN FLOOR.

	Malcolm calls to Cole under his breath.

			     MALCOLM
		Cole--

			     MR. MARSCHAL
		What's going on there?

	Mr. Marschal strains to see across the room.

	Cole doesn't answer either of them.  Instead, he continues to 
	push the plant aside revealing AN AIR VENT.  Cole gently reaches 
	over and takes off the metal face.  It slips right off.

	Cole's hands disappear into the darkness of the vent.  They 
	reemerge holding a STACK OF NOTEBOOKS.

	Malcolm becomes very still.

	Cole rises to his feet and carries the notebooks over to Mr. 
	Marschal.  Cole carefully places them on his lap.

			     MR. MARSCHAL
		Is this for me?

	Mr. Marschal fingers the notebooks then reaches for his thick 
	glasses hanging from his neck.  He places them on the tip of his 
	nose and inspects the notebooks six inches from his face.

			MR. MASCHAL
		What's this?  Jill's keeping a 
		diary.

	Malcolm takes an involuntary step forward.

	Mr. Marschal starts flipping through the notebooks.

			     MR. MARSCHAL
		She's full of surprises...

	He gets to the last book.  His hands become still as he stares at 
	the final page of writing.

			     MR. MARSCHAL
			(whispers)
		She hasn't written anything for 
		some time.

	Beat.  Mr. Marschal slowly looks up from the notebooks.  Looks up 
	to Cole.  Cole just stands quietly.

	Mr. Marschal's eyes slowly fill with tears of realization.  They 
	gently spill down his weathered face.

			     MR. MARSCHAL
		Oh no...

	Cole takes a deep breath.  Trying hard not to cry himself.  The 
	sight of Mr. Marschal weeping shakes Cole.

	Cole softly lays his hand on Mr. Marschal's silver hair.  Mr. 
	Marschal reaches up and clutches his small hand.

	They stay like that for a while.  Beat.  Mr. Marschal lets go and 
	brings the notebooks tighter to his body.

	Cole quietly walks to Malcolm who stands motionless.  He stares 
	down at Cole in a daze.

	Cole turns his head, crying.

			     COLE
			(softly)
		Stop looking at me.

							CUT TO:

	INT. BASEMENT OFFICE - NIGHT

	Malcolm sits still in his office chair.  His eyes are fixed at a 
	point in space.  He brings a slim, black tape recorder to his 
	mouth.

	CLICK.

			     MALCOLM
		April or March of Eighty-seven.  
		Two weeks into sessions with 
		Vincent Gray.  I was treating a 
		couple, Donald and Robin Wagner, 
		who had lost their child to 
		Leukemia.  They were waiting with 
		Vincent in the reception room of 
		the downtown clinic.  They were 
		alone together maybe fifteen 
		minutes.  When I entered the room, 
		all three were crying.  The 
		Wagner's progress from that 
		afternoon was dramatic and sudden
		....  As if some door had been 
		opened for them.
			(beat)
		I'm not at all clear what happened 
		in those fifteen minutes.  But I 
		now believe Vincent tried to tell 
		me something, show me something and 
		I didn't listen.
			(beat)
		Cole Sear allowed me to witness 
		something today.
			(beat)
		This time I'm going to listen.

	A long silence.  CLICK.  The tape recorder turns off.

							DISSOLVE TO:

	INT. BROWNSTONE - NIGHT

	Lynn holds a laundry basket on her hip as she fiddles with the 
	thermostat in the hall.  The house is cold.  Lynn wears a winter 
	jacket in the house.

	Lynn turns and moves into the shadowy hallway.  No lights.  The 
	house seems somewhat ominous.  Beat.

	Lynn's eyes dart to an open guest room like she just saw 
	something.  She stares in the doorway until a SOUND TURNS HER IN 
	THE DIRECTION OF THE FAMILY ROOM.

	She picks up balled-up boy's sweat socks and dirty T-shirts 
	laying on the carpet.  When she reaches the end of the hall, she 
	HITS A LIGHT SWITCH.  The hall LIGHTS UP REVEALING A WALL OF 
	PHOTOS.  Lynn forms a tiny smile.

	Snapshots of Cole and Lynn's life hang before her eyes.

	Cole's birthday parties...  Lynn and Cole at an amusement park...  
	Cole under the Christmas tree...  Cole on Lynn's shoulders in a 
	pool...  Cole with a group of neighbors at a barbecue...

	Lynn takes a step forward.  Lynn's face betrays the fact that she 
	notices something she never noticed before.  She touches a photo 
	of three-year-old Cole.

	WE MOVE INTO THE PHOTO -- COLE'S FACE SMILES AT US.  LYNN'S 
	FINGER GENTLY BRUSHES A THIN STREAKS OF LIGHT THAT CURVES IN THE 
	BACKGROUND BEHIND COLE.  THE STREAK OF LIGHT IS BLURRED, LIKE 
	SOMETHING CAUGHT IN MOTION.

	Lynn looks to the adjacent photo -- the barbecue photo -- 
	Everyone stands with hot dogs and sodas.  Lynn searches the 
	picture.  Her eyes suddenly stop at the TINIEST BLUR OF WHITE 
	LIGHT STREAKING AROUND COLE.

	WE MOVE FROM FRAMED PHOTO TO FRAMED PHOTO -- EACH THE SAME -- 
	SOMEWHERE HIDDEN IN THE FRAME, SOMEWHERE NOT EASILY SEEN, LYNN 
	FINDS A BLUR.

	Lynn takes it all in curiously.

							CUT TO:

	INT. COLE'S BEDROOM - AFTERNOON

	Lynn moves into Cole's room with the laundry basket balanced on 
	her hip.  The Walkman headphones on her head blares A MUFFLED 
	TECHNO DANCE BEAT.  Lynn starts picking clothes up around Cole's 
	room.

	This bedroom is an eerie place.  The shadows seem to make shapes 
	and figures.  All the furniture is wood -- old fashioned.  The 
	lamps, the paintings on the wall -- antiques as well.

	The most striking feature of the room, however, is the homemade 
	tent created from bedsheets and blankets tied to chairs and 
	bureaus.  It takes up a large corner of the room.

	A sign hangs over the bedsheets.

		"DO NOT ENTER"

	Lynn grabs the spiderman P.J.s that drape over the tent.

	A German Shepherd Puppy sleeps on the pillow.  SEBASTIAN lifts 
	his head sleepily and peers at Lynn before returning to his 
	slumber.

	Lynn slowly reaches for a picture frame that peeks out from under 
	Cole's pillow.  Slides it out...  It's a VACATION PHOTO of a 
	couple.  Lynn and Cole and a man.  The man looks in every way a 
	larger version of Cole.

	The picture has a visible effect on Lynn.  She lets out a shaky 
	breath before returning the photo to its hiding place.

	Lynn pulls a pair of school uniform pants off the wooden roll 
	cover desk next to the bed.

	The desk is covered with loose leaf papers filled with writings.  
	Lynn's eyes are drawn to the papers.

	Her curious gaze turns serious.  Her mouth opens a tiny bit 
	involuntarily.

	THE PAPERS are strewn with lines of handwriting.  Countless 
	lines.  Thousands of words...  Some horizontal, some vertical...  
	The writing moves in arcs and flows in various size -- written at 
	great speed -- every word connected by a single pen stroke -- 
	everything written in one continuous motion.

	Lynn slowly spins the papers, taking in some of the phrases...

	...Christ break the freaking glass oh no God no what the hell is 
	going on Quiet the damn baby I'll cut you I swear it someone stop 
	the burning I'll kill you I'll kill all you bastard...

	The words go on and on.

	Lynn removes her hands from the paper.  She pulls her headphones 
	off slowly.

	THE MUFFLED TECHNO DANCE BEAT FILLS THE DEAD SILENCE OF THE EERIE 
	ROOM.

							CUT TO:

	INT. DEN - AFTERNOON

	Malcolm stares as the rain pelts the windows of the den.

			     MALCOLM
		...So your dad lives in Pittsburgh 
		with a lady who works in a toll 
		booth.

			     COLE (o.s.)
		What if she has to pee when she's 
		working?  You think she just holds 
		it?
			     MALCOLM
		I don't know.  I was just thinking 
		the same thing.

	Beat.

			     COLE (o.s.)
		You ask a lot of questions about my 
		dad today.  How come?

	Cole is playing behind the couch.  All we see is the top of his 
	head.

			     MALCOLM
		Sometimes, we don't even know it, 
		but we do things to draw attention.  
		Do things so we can express how we 
		feel about issues...  Divorce or 
		whatever.

	Every now and then we get glimpses of things Cole is playing with 
	peeking over the back of the couch, but we can't quite make out 
	what he's doing.

			     MALCOLM
		One night, as an example...  leave 
		something on a desk for someone to 
		find.

	The top of Cole's head stops moving.

			     MALCOLM
		Cole, have you ever heard of 
		something called free-writing?  Or 
		free-association writing?

	Cole shakes his head, "No."

			     MALCOLM
		It's when you put a pencil in your 
		hand and put the pencil to a paper 
		and you just start writing...  You 
		don't think about what you're 
		writing...  You don't read over 
		what you're writing...  You just 
		keep your hand moving.

	Cole has become very still.  He looks right at Malcolm.

			     MALCOLM
		After awhile if you keep your hand 
		moving long enough, words and 
		thoughts start coming out you 
		didn't even know you had in you...  
		Sometimes they're things you heard 
		from somewhere...  Sometimes 
		they're feelings deep inside...
			(beat)
		Have you ever done any free-
		association writing, Cole?

	Beat.  Cole nods, "Yes."

			     MALCOLM
		What'd you write?

			     COLE
		Words.

			     MALCOLM
		What kind of words?

			     COLE
		Upset words.

	Beat.

			     MALCOLM
		Did you ever write any upset words 
		before your father left?

	Beat.

			     COLE
		I don't remember.

	Malcolm watches him carefully.  Beat.  Malcolm waves the question 
	off casually.

			     MALCOLM
		Can you do something for me?

	Malcolm smiles.  He rises and grabs his coat.

			     MALCOLM
		Think about what you want from our 
		time together.  What our goal 
		should be?

			     COLE
		Something I want?

			     MALCOLM
		If we could change something in 
		your life, anything at all, what 
		would you like that to be?

	Cole's brow furrows as he thinks about it carefully.

			     MALCOLM
		You don't have to answer now.

	Malcolm heads for the door, stops when Cole emerges from behind 
	the couch.  Cole is wearing his father's jacket, it hangs to the 
	ground like a dress.

			     COLE
		Instead of something I want, can I 
		have something I don't want?

	Malcolm turns back to Cole.  Malcolm nods "Yes."  Beat.

			     COLE
		I don't want to be scared anymore.

	Cole's sad eyes stare up at Malcolm.

							CUT TO:

	INT. BASEMENT OFFICE - NIGHT

	The surface of Malcolm's desk is covered with open texts.  
	Malcolm pours over a thick reference book.

	He circles a phrase...

	"...resulting bruises and abrasions on arms and legs may, in 
	fact, be self-inflicted."

	Malcolm appears disturbed by the thoughts running through his 
	head.

	ANNA'S MUFFLED VOICE CARRIES DOWN THE STAIRS.

	His face turns up to the ceiling.

			     MALCOLM
			(loud)
		Are you calling me?

	WE HEAR ANNA'S FOOTSTEPS MOVE ACROSS THE BASEMENT CEILING.  WE 
	HEAR THE FRONT DOOR OPEN.

			     ANNA (o.s.)
		What?  You don't see enough of me 
		at the store?

	Malcolm gets up and moves closer to their voices as he stretches 
	his legs.

			     MAN'S VOICE (o.s.)
		On my way to the flea market in 
		Amish country.  Thought maybe you 
		want to come.  Show me how to buy 
		at these things.

			     ANNA (o.s.)
		I trust you...  Besides, I don't 
		know if I'm up for the Amish today.  
		You can't curse or spit or anything 
		around them.

	Malcolm smiles at Anna.

			     MAN'S VOICE (o.s.)
		I thought you'd want to get out.  
		You've been kind of down.

	Malcolm slowly stops smiling.

			     ANNA (o.s.)
		That's very sweet.  I'm okay.

			     MAN'S VOICE (o.s.)
		Do you think I should stop by on my 
		way back?  Show you what I got?  
		It's not a problem.

	Malcolm shakes his head in disbelief.

			     ANNA (o.s.)
		You know that's probably not the 
		best idea.  I'll just wait to see 
		them in the store.

			     MAN'S VOICE (o.s.)
		Okay.  Fine.  Understood.
			(beat)
		I'm off then.

			     ANNA (o.s.)
		Don't step in the horse manure.

			     MAN'S VOICE (o.s.)
		Thanks.

	WE HEAR THE FRONT DOOR SHUT.

	Malcolm moves to the narrow basement window.

	INT./EXT. MALCOLM'S HOUSE - DAY

	We see SEAN, an attractive young man in his late twenties.

	He gets into his car across the street.  He just sits there for a 
	moment before putting his forehead to the steering wheel.

			     MALCOLM
			(under his breath)
		Give it up, kid.

	Malcolm turns away from the window as Sean's car starts up and 
	pulls away from Malcolm's house.

							CUT TO:

	INT. CLASSROOM - DAY

	STANLEY CUNNINGHAM is a teacher in his late forties.  He writes a 
	question on the board.

			     MR. CUNNINGHAM
		Can anyone guess what city was the 
		capital of the United States of 
		America from 1790 to 1800?

	Mr. Cunningham turns and stares at his class of eight and nine 
	year old private school students.  They stare back at him blankly.

	Cole rests his chin on his desk and watches the class with big 
	eyes.

			     MR. CUNNINGHAM
		...I'll give you a hint, it's the 
		city you live in.

	The class says the answer in unison.

			     CLASS
		Philadelphia.

			     MR. CUNNINGHAM
		Right...  Philadelphia is one of 
		the oldest cities in the country.  
		A lot of generations have lived and 
		died in this city...  Almost every 
		place you visit has a history and a 
		story behind it.
			(beat)
		Even this school and the grounds 
		they sit on...  Can anyone guess 
		what this building was used for a 
		hundred years ago, before you went 
		here, before I went to this school 
		even?

	Stanley Cunningham looks over the class of blank faces.  He's 
	just about to answer his own question when he sees a hand go up.  
	Mr. Cunningham looks surprised to see who it is.

			     MR. CUNNINGHAM
		Yes, Cole?

			     COLE
		They used to hang people here.

	Mr. Cunningham furrows his brow.  Beat.

			     MR. CUNNINGHAM
		That's not correct.  Where'd you 
		hear that?

			     COLE
		They'd pull the people in crying 
		and kissing their families bye...  
		People watching would spit at them.

	Beat.

			     MR. CUNNINGHAM
		Cole, this was a legal courthouse.  
		Laws were passed here.  Some of the 
		first laws of this country.  This 
		building was full of lawyers.  
		Lawmakers.

			     COLE
		They were the ones who hanged 
		everybody.

	Mr. Cunningham chuckles.  Cole's face turns cement grey.

			     MR. CUNNINGHAM
		I don't know which one of these 
		guys told you that, but they were 
		just trying to scare you, I think.

	Tommy Tammisimo leads the class in a wave of snickering.

	Cole glances up.  Sees all the eyes on him.  He glances at the 
	teacher who is still staring.

			     COLE
		I don't like people looking at me 
		like that.

			     MR. CUNNINGHAM
		Like what?

			     COLE
		Stop it!

	Mr. Cunningham sees the traumatized expression on Cole's face and 
	instantly stops smiling.

			     MR. CUNNINGHAM
		I don't know how else to look--

			     COLE
		You're a stuttering Stanley!

	Mr. Cunningham's face becomes still.  So does the classroom.

			     MR. CUNNINGHAM
		Excuse me?

			     COLE
		You talked funny when you went to 
		school here.  You talked funny all 
		the way to high school!

	The class falls into stunned silence.  Mr. Cunningham takes an 
	involuntary step towards Cole's desk.

			     MR. CUNNINGHAM
		What--

			     COLE
		You shouldn't laugh at people.  It 
		makes them feel bad.

	Mr. Cunningham moves closer to Cole.

			     MR. CUNNINGHAM
		How did you--?

			     COLE
		Stop looking at me.

	Cole covers his eyes with his hands.

			     MR. CUNNINGHAM
		Who have you been s-speaking to?

	We see Cole's mouth under his covered eyes.

			     COLE
		Stuttering Stanley!  Stuttering 
		Stanley!

			     MR. CUNNINGHAM
		Who!

	Mr. Cunningham is standing right over Cole's desk now.

			     COLE
		Stuttering Stanley!

			     MR. CUNNINGHAM
		S-ssstop that!

			     COLE
		Stuttering Stanley!  Stuttering 
		Stanley!

			     MR. CUNNINGHAM
		S-ssssstop it!

			     COLE
		Stuttering--

			     MR. CUNNINGHAM
		--Shhhhhhut upppp you fffffffreak!

	MR. CUNNINGHAM SLAMS HIS HAND ON COLE'S DESK.  Cole's hands drop 
	from his eyes.  The teacher's face is burning red.

	The children in the room are frozen.  Completely startled.

	Cole's eyes are filled with tears.

	Mr. Cunningham's expression drains of anger as Cole Sear begins 
	to cry.

							CUT TO:

	INT. ANTHONY'S LIBRARY - SAME AFTERNOON

	Cole is seated in the school library by himself.  He sits at a 
	long center table near the windows.  His head is laying on his 
	folded arms on the table.

	Malcolm peeks his head in the door -- unsure if he's in the right 
	place.  He spots Cole and enters the room.  He silently takes a 
	seat across from Cole.  The eight-year-old looks up.  Cole's eyes 
	are hard -- filled with anger.

			     MALCOLM
		Hey, big guy.

	Cole stares for a second.

			     COLE
		I don't want to talk about anything.

	Cole lowers his head.  Malcolm just sits and thinks.

	THE SOUND OF BOYS PLAYING SPORTS ON THE FIELD OUTSIDE FILTER IN 
	THROUGH THE LIBRARY WINDOWS.

	Cole turns his head and stares at the windows.  Malcolm takes in 
	the sad vision of this boy.  It affects him.  Beat.

			     MALCOLM
		Do you like magic?

	Cole's face softens a bit.  He turns from the windows and looks 
	to Malcolm.  Beat.  Cole nods, "Yes."

	Malcolm pulls out a penny from his pocket.  He places it in his 
	right hand.

			     MALCOLM
		Watch the penny closely.

	Malcolm closes his hand around the penny.

			     MALCOLM
		I do the magic shake...

	Malcolm shakes his hand in circles.  Cole watches his hand 
	carefully.

			     MALCOLM
		And suddenly the penny has 
		magically traveled to my left hand...

	Cole looks to Malcolm's closed left hand.  Malcolm doesn't open 
	it.

			     MALCOLM
		But that's not the end of the trick.  
		With another magic shake, the penny 
		travels into my shirt pocket...

	Cole's eyes lock on Malcolm's shirt.  Malcolm taps the pocket but 
	doesn't open it.

			     MALCOLM
		But that's still not the end!...  I 
		do a final magic shake...  and 
		suddenly...  The penny returns to 
		the hand where it started from.

	Malcolm opens his right hand.  The penny sits quietly in the 
	center of his palm.

	Cole looks at the penny and then up to Malcolm's face.  Beat.  
	Cole cracks a smile.

			     COLE
		That isn't magic.

			     MALCOLM
		What?

			     COLE
		You just kept the penny in that 
		hand the whole time...

			     MALCOLM
		Who me?

	Malcolm smiles a mischievous smile.  He places the penny on the 
	table.  Cole stares at it and then looks to Malcolm.

			     COLE
		I didn't know you were funny.

			     MALCOLM
		I forgot myself.

	Malcolm and Cole share a warm look.

	THE SOUNDS OF KIDS LAUGHING AND PLAYING OUT ON THE FIELD COME 
	POURING INTO THE ROOM AGAIN.

	Cole's expression changes back to sadness as he looks to the 
	windows.  Malcolm leans across the table and whispers.

			     MALCOLM
		Cole...

	Cole looks at Malcolm. 

			     MALCOLM
		One day...
			(beat)
		You're going to sound just like 
		them.

	Beat.  Cole's chin starts to tremble.  His voice cracks.

			     COLE
			(whispers)
		Promise?

	Beat.

			     MALCOLM
			(whispers)
		Promise.

	Malcolm and Cole sit in silence and listen to THE SOUND OF 
	CHILDREN PLAYING.

							CUT TO:

	INT. HALLWAY - EVENING

	Malcolm sorts through the many bills on the mail table.

			     WOMAN (o.s.)
		Malcolm, sit your cute butt down 
		and listen up.
			(beat)
		Are you listening?

	Malcolm turns AT THE SOUND OF THE WOMAN, and moves into the empty 
	living room where the T.V. is on.  A blanket lays crumpled on the 
	sofa.

	THE WOMAN'S VOICE IS COMING FROM A VIDEO PLAYING ON THE VCR.  
	IT'S A WEDDING VIDEO.  A LARGE WOMAN IN A BRIDESMAID DRESS STANDS 
	HOLDING THE MICROPHONE.   IN THE BACKGROUND, WE CAN SEE THE DANCE 
	FLOOR.

			     BRIDESMAID
			(T.V.)
		No doubt about it.  Anna's like my 
		sister.  You better make her happy...  
		And I'm not talking about -- mmm 
		this tastes like real butter -- 
		kind of happy...  I'm talking about 
		Julie Andrews twirling around like 
		a mental patient on a mountain top 
		-- kind of happy.

	THE LARGE BRIDESMAID BECOMES VERY EMOTIONAL.

			     BRIDESMAID
			(T.V.)
		You're really lucky.  She's got so 
		much love for you.  Don't tell her 
		I told you, but she said she loved 
		you from the first time she met you 
		on the street.  She'd do anything 
		for you.
			(crying)
		I love you guys.
			(more crying)
		My nose is running.  Why isn't 
		someone getting me a tissue?

	THE WOMAN HANDS THE MICROPHONE TO SOMEONE OFF SCREEN.  THE CAMERA 
	PANS AWAY FROM HER AND ZOOMS IN ON THE DANCE FLOOR.  MALCOLM AND 
	ANNA ARE SLOW DANCING.  THEY'RE WHISPERING AND LAUGHING WITH EACH 
	OTHER.  THE HAPPINESS FROM THEM IS TANGIBLE.

	Malcolm can't help smiling as he stares at the flickering images.  
	He turns and looks down the hall to their bedroom.

							CUT TO:

	INT. BEDROOM - EVENING

	Malcolm moves into their bedroom.

	THE SOUND OF A SHOWER CAN BE HEARD FROM THE BATHROOM.

	Malcolm moves to the bathroom door and opens it slowly.

							CUT TO:

	INT. BATHROOM - EVENING

	Malcolm steps into the bathroom quietly.  He stares at the 
	silhouette of Anna's body through the smoked glass of the shower.  
	Anna stands still, her head tilted back.

	Malcolm watches quietly.  By his experience, it's clear he's 
	taken by his wife's beauty.

	Malcolm starts towards the shower when his eyes glance to the 
	sink.  Malcolm locks on a tiny bottle resting on the marble 
	surface.

	He reaches out and picks it up.  The label on the plastic bottle 
	reads,

		"Zoloft Anti-depressant"
		"To be taken twice daily"

	Malcolm gently puts down the plastic bottle.  He gazes at the 
	still figure of his wife as the water covers her.

	Malcolm leaves the bathroom.  He makes sure not to make a noise 
	with the door as he closes it shut.

							DISSOLVE TO:

	EXT. DARREN'S HOUSE - DAY

	Colorful balloons flutter in the wind in front of an old grey 
	stone home.

	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:

				THE END