EXT. BARTLET'l' HOUSE - HIGH'!

'
An old GOTHIC HOUSE nestled in the hills above
Fairwater . wracked by a rainstorm.
A SHEET OF LIGHTNING illuminates an old monolithic
Victorian hospital, spra.,linq up the hillside behind the
house.

INT. BARTLETT HOUSE/BEDROOM - HIGHT

OLD LAl)Y BARTLETT lies awake in bed. She listens to the
cries of her dauqhter, echoinq from the bedroom down the
hallway.
PATRICIA (0.5)
(in anquisb)
Ooohl Please! Don't hurt a.11
OLD LADY BARTLETT can tak. it no aore. She rises out of
bed and pulls on an old v.lv.t ~~k)nq qown.
An overweiqht, scowlinq wo.an~n~.r late 70's, she would
have looked like a younq S~'n.y winters in her day -
some fifty y.ars .arlier.X ~

INT. BARTLE'l"r IlALLWAY - HIGH'l'

OLD LADY BARTLETT hurri into the wood pan.l.d
hallway - heavily .1Ibo.sed qilt wallpapar, lush .ilk
carpet. She approach PATRICIA'S bedrooa door.
PATRICIA (0.5)
(pl.acUnq)
Ho , don't stoplll Abhhl
OLD LADY BARTLE'l"r
(h.sitant)
Patricia???
OLD LADY BARTLE'l"r pause. at the door. Sbe i. .car.d ,
her finqers touch the door bandle
OLD LADY BARTLE'l"r
(_akly)
Patricia I I'_ co_inq inl
She qra.pI! the bancUe, turns it ...
AT THAT MOMEJI'l' !'lie wood paneled door stretches out
into a qrote.que taaqe of FACELESS HOODED MANI OLD LADY
BAR'l'LE'l"l' .cr.... and sUqqer. beck.
 OLD LADY BARTLE'l"l' 2.
( screlllllinq)
Leave my dauqhter alonel
The HOODED FIGURE suckS back into the door and is qone.
SILEHCE then A DULL MOAN from PATRICIA.
01.0 LADY BARTLE'rI'
It's alriqht dear he's qone!
She steps towards the door aqain
The WALLPAPER bubbles and bulqes out of the wall next to
PATRICIA's door I The sbape beneath the paper becomes
that of the HOODED HAN a fiqure who see_ to be
walkinq between the wall and the wallpaper. As the man
advances, the paper flattens back on the wall behind him.
OLD LADY BARTLE'l"l' screlUllS and flees towards her bedroom.
The WALLPAPER HAN ripples after her.

INT. OLD LADY BARTLE'rI" S BEDROOM - NIGHT

OLD LADY BARTLE'l"l' races into ber rOQ!lt;,nd sllUllS the door.
Her trembl1nq finqers twist the key"bI the lock.
'oJ
(--
Sbe backs away towards ber ~a.
THE WALLPAPER HAN emerqes
door I
~c:tt of her wallpaper by the

OLD LADY BARTLETT backs away from hi. aa be advances down

the bedroom wall towards her She qoss into the aiddle
of the roo., snatches up her dressinq table "stool and
burls it at the sbape in the wall.
a~ stretch out and catcb the stool
WALLP1I.PER HAN'S
CRUNCH! "He crushes it between his paper covered bands.
OLD LADY BARTLE'rI' w_tes no time sbe 's out of her
door

!NT. BARTLETT HALLWAY - NIGHT

and down the stairs, runninq towards the front

entrance.

WALLPAPER MAN runs after ber - bizarre fiqure ripplinq

alonq the _II, and down the stairs. He beata OLD LADY
BARTLETT to the front door sbe spina around - flees
into f

INT. BARTLE'l'"l' Ja~ - NIGHT

the kitchen.
 WALLPAPER HAN a_118 out of the flwal It1tcben paper, .3
riqht into the aidAUe of the rooa. Ttle wallpaper UI
stretched way put break1nq point, yet staye intact
the t'1qur. walks towarcSll OLl) LADY II.\R'l'LE'1'T We can
_ke out very' f.v ~eatur.s on the a!tuU-IUte faoc beneath
the paper only a aad18tic qriD 111' clearly defined.
oLD LADY BARTL!:'l"l' wbiapers lID the paper-clad 1lanc1a reach
for her throat
Har finqera flDlble into a c1rawer ahe qripe e hu;e
carvinq knife, boldinq it ~ the blade She winces aa
abe cuta heraelf, blood tricklinq throuqh her tiqhten1nq
finqer$
She stabs wildly 1 Blow atter blow pierolnq WALLPAPER HANJ
With each eveep of the ~ade WALLPAPER HAN ie
ehredded tinqars, handa, &rae, tace For a briet
_.ent ve ql1mpae what 18 undar the paper "
HO'l'HIJIG I

The It1 tchen RA'l"l'I..ES . . WALLPAP~enlY aucka

himself beck into the vall paper danql. .
troll the wall. i.~ \
XJ('1'. BAR'1'LE'l"l' HALLWAY - JIlCH'l'
OLl) LADY JIARTLE'1'T ataqqera into the ballvay and collapeea
et the foot ot tbe atatra, DObbin;. She nleaa.. the
knite and clutch. . her cut band.
SUDDEJILYI

The CAJUlB'1' surrouncUnq OLD LADY IIAR'1'LI'1"l' da.. up torain;

the sbape ot qient fin9" they wrap uoand her and
aqu_lIe ahe IICr.....
PA.'l'RlCU (O.S)
t.ave bar alone I
" '-,
~
WHIP 0JI'1'C)
PA'l'RlCn IWt'l'l.&'l"l' 1Jtan4in9 . t the top ot the stain. Sba
ia druaecS in 1dl1ta Diqbt 90Vft dtauvellod
lookinq VOIUUI ill her early tUU... She UHd te by.
a eoft. attractiv. face, but a 11teti. . ot aufferinq ba
etcbed" liD. . ot aorrov around her eyea and _tho
~A'l'RlCIA
It's lID you vantl
With a CIU'l"l'CRAI. atlKBLB, tile oarpet a1Jllta - I ' troll OLD
LADY aARTl.Z'1"r ntorainq .lllte the tilJUZ'D of the IIOOJ)JI:D
KAH. Aa quitllt anel sU.ntly . . a panther, c::ARPB'DWI raon
up the statra, rippliDq beIleath the stair 1l'UIIJIar.

- lOTA.. P. EIB2
 4.
PA'l'lUCIA falls to the floor as the carpet billows beneath
her feet. CARPETMAH rises out of the floor behind her.
takes a qrip on her wrists and silently drags her into
the bedroom.
She lIIaltes no sound, her face expressionless as The
door of her bedrOOIll SLAMS SHUT.
CUT TO:

INT. NEWSPAPER SUB-EDITOR'S ROOK - DAY

CREDITS -OVER:

A series of CLOSE UPS scrolling through a newspaper front
page layout on a VDU screen
"DEATH STRIKES AGAIN- appears on screen Fingers tap
keyboard '" Closer still on screen - a photo of a
sll1ling yuppie - can see the pixels - -Chuck Hughes, aged
30"

"Third Mysterious Death This Week, TWenty Three in Two

Months - What ia Happening To the peo~e Of Fairwater?-
The Fairwater Gazette's editor ~ \.;(',.GDA RAVAHSlU, is
leaning over her junior re~~r's shoulder, .crolling
through the story on his ~~i)reen.
MAGDA is an illllaculately attired career VOIIIBD in her
early forties. She has a steely gaze and a heart of
flint. The young reporter, STEVE BAYLISS fidgets
anxiously.
MAGDA starts reading the text aloud ...
MAGDA
'-. (reading)
-The aystery heart condition that
has killed twenty-three people in
two IIOnths, has claimed another
victia. Doctors are baffled as to
vby .eemingly fit and healthy
people are .uff.ring . . . . iv. beart
attacU.

EXT. FAIRIfA'l'ER - DAY

LOOKING DOiIlI on FADOfATER froa the surroundill9 hills

It is a's. .ll, but pretty town, nestled in a wooded
vall.y on the edge of a rocky N.w England coa.tlin
Hous.. are perched on the steep slopes of the bills above
the flat co.a.rcial districts and town centr.. A
coastal fr _y skirts the edg. of town.

MAGDA I S v/0 CONTINUES

MAGDA (CONT'D O.S)

_ (readine;)
Many of Fairwater's residents are
claiaine; that the shadow of Death
has once ae;ai!' descended on the
town-
(to STEVE)
What's this -shadow of Death-
stuff? I don't like it.

STEVE (O.S)
(nervous)
It it's what they're sayine;,
Miss Ravanski 1 People are
startine; to freak out.
TILT DOWN: to reveal FAIRWATER CEMETERY positioned on
a rolline; billside, hie;h above the town. A funeral
service is in proc;ress

EXT. CEKETERY - DAY

A SERIES OF CO'S of the funer.lIo sarvica the

MOtT.RHERS the PIUEST the funenl director pressine;
the button, the coffin lover~~<:nto the grave
We also see a shabbily s.sLt"iad 1IUU1 in his late-thirties
loiterine; near the MOURNERS. 'l'bey seem irritated by bis
presence. He approaches a WEEPING WOMAN and talks to her
quietly. bandinq her a business card. Her HUSBAND pushes
the man away be approaches another MOURNER. but .eets
an equally hostile reception. 'l'be 1IUU1 finally beats an
undic;nified retreat across the graveyard towards his
ba~tered-old Ford.

We have just seen FRANK BANNISTER attemptinq to hustle up

soae busines
Throue;hout this sequence, MAGQA RAVANSJa' S V /0 bas
continued:

MAGDA (COHT'D O.S)

(readine;)
-For decades the naae of
Fairwater has been synonyaous with
death, follovinq the inf_ous 1'54
~adleYfBartlett .urder spree,
When t _ l ve people died at the
bands of hospi tal orderly John
Charles Bradley and Patricia Anne
Bartlett Nov, forty years
later, 'rile Gria aeaper i.a ODce
.qain .talltinc; the quiet str_U
of Fairwater _.
IH'l'. NEWSPAPER SUB-EDITOR'S ROOM - DAY
MAGDA sighs deeply hangs her head STEVE fidgets
nervously.

MAGDA
No, steve no, no, no. Have you
learnt nothina during your
ca tic ~blifl> with' us? This is
tabloid trash irresponsible
scare .ongering. What are you
trying to say here? That Death is
the greatest serial killer of all
ti.e? This really sucks,
Steve.
STEVE flinches.
MAGDA ( COH'l" D)
call the Coroner's office - get
SOlRe usable quotes I
want facts: detailed . .dical
background, quotes froa the
Sheriff's office and get rid
of all referance to Death.. a
person! _\ "",
.'\
\
...
"

\ ctJ'1' TO:

IH'l' /EXT FRANK'S CAR/CEME'l'ERY - DAY

CLOSE ON: Open news peper - headline -HUGHES '1'0 BE BURIED
TODAY, circled in pen.
TILT UP off the newspaper, lying on the scruffy front
seat of FRANK BANNISTER'S 10 year old Ford PRANX gets
into his car, pausing slightly before gunning the
ftgine ..

EXT. FAIRWATER HILL ROAD - DAY

FRANK'S Ford splutters away down the winding hill road.

CREDITS EJfD.
FRANK takes a bend too fast and slews across the center
line '

IH'l'/EXT. ~'S CAR/ROAD - DAY

A blmch of his business cards slide off the front .eat
onto the floor.
l"RAJOC glances down, cursing.
 A HUGE TRUClt 100118 into view! I.
FRANK gasps and pulls on the wheel. In a blur of movement
and a squeal _ of tires, his car does a one-eighty
degree spin. A collision seems inevitable FRANK shuts
his eyesl
Somehow FRANK'S CAR missel' the TRUCK by inches it
slews to a stop on a grassy lawn.

EXT. LYNSKEY HOUSE - DAY

FRANK is still gripping th. wheel with white knuckles as
he slowly opens his eyes and focuses on the great lump of
hedge lodged on the hood of his car. Be groans.
FRANK
(Wlder breath)
Jesus I
RAY (0.5)
Oh lIy God I II .. ,.

RAY LYNSKEY coaes running ou1C.~~. ~us

,. froll his
deSigner sportswear and "ell~oned physique it's clear
that this guy is into physical fitness in a big way. B.
looks at Frank's car in disbelief.
RAY (COH'l"D)
I don't beli.ve thisl This is not
happeninql
RAY stares at the two deep grooves that bave been sliced
into the lawn by FRANK'S tires. I
~~ : My lawn ... i~':'"~" ::!!!r!?' .
FRANK clillba out of his car he offers his card to
RAY.
PIWIJt
I ' . sorry I ' l l pay for any
daaaqes
RAY shakes a fist at ~.

RAY
I _ear to God, I'. qonna sue your
, .ssl
PIWIJt
Look Just send _ the bill.
RAY qlanca& . t PRANk'S card and snorts with derision.
 RAY 8
"Frank Bannister. Communications
With The Dearly Departed
Psychic Investigator"lll That's a
good one I How come you didn't see
the corner coming???
RAY rips the card in two.
RAY (caNT'D)
Goddamn bullshitl
FRANX ClUietly slides back into his car and starts
reversing across the lawn.
RAY (caNT'D)
(yelling)
It's gonna cost. you, buddy 1 I
_nt this lawn completely
resurfaced 1
RAY waves hi. arm at the gaping hole torn in his hedge.
RAY (caNT'.D>- ~,'). b
I wanna fully f:.CJ!f~ hedge
transplant I I d0ntt"'ant balf-
assed little seedlings that are
gonna take ten years to 9X'ow
ya hear _1
FRANX continues reversing onto the road. RAY snatches
up a headless lawn dwarf from the reaains of the hedge.
RAY (caNT'D)
And I want lIlY lawn dwarf replacedl
This is a gpo . , , collectors piecel
~. disappears down the road.
COT TO:

EXT. SAHA'l'OlUUM - DAY

POV THROUGH CAR WINDOW Slowly driving along a narrow

road approaching the dilapidated entrance _y into the
old Pairwater TUberculoeis SanatoriUll A rusty chain
link fence a gate banging off it's hinges a sun
blistered sign.

INT. ,
LOCY' S CAR - DAY

LUCY. an attractive voaan in ber aid tventi_, peers out

from behind her st.ering vbe.l, as sbe turns ber car into
the old hospital entrance way.
EXT. SAHATORIUK/BAR'I'LE'l"l' HOUSE - DAY 9.
CRANE UP over the fence as LUCY'S car pulls up in
front of the BARTLE'l"l' HOUSE - nestled into the steep
hillside below the vast old hospitalcolllplex. Even in the
light of day, this place has a dark, Gothic creepiness.
LUCY gets out of her car and heads towards the BARTLETT'S
front door.
CLOSE ON FROIIT DOOR, as it flies open. OLD LADY
BARTLETT glares at LUCY.
OLD LADY BARTLETT
(aggressive)
This is private property I
LUCY keeps walking.
LUCY
Mrs Bartlett? I'. Dr Lynskey
I work at the .edical center.
OLD LADY BARTLETT
Dr ltallina i. .y personal
physician I
o\.b
OLD LADY
bandages.
BARTLETT'S right ~~~ '=is bound in makeshift

LUCY
Dr ltUIina is attending a
funeral... I'. seeing his
patients today .

lIlT. BARTLETT LOUNGE - DAY

,.... ~ -
CLOSE ON '" BAHDAGE cOIling off OLD LADY BARTLET'l" Shand.
revealing the cut across her fingers that has now turned
septic.

OLD LADY BARTLETT (O.S)

I vas cutting the vegetables and
the knife slipped.
LUCY is kn_linc; next to OLD LADY BARTLETT vi th a bowl of
hot water and soae dressings.
LUCY
A f_ stitches and you'll be fine
,.. I'll drive you to D.
OLD LADY BARTLETT
x.possiblel
 LUCY
It's a deep cut.
,0.
OLD LADY BARTLET'l'
Just clean it up and qive.e sOlie
antibiotics.
PATRICIA (0.5)
If the doctor says you should qo
to the Emergency Roo. mother, you
Jlust qo.
LUCY turns to see PATRICIA standinq in the lounqa doorway.
She is dowdily dressed, a sliqhtly vacant qlaze in her
eyes. OLD LADY BARTLETT lurches to her feet.
OLD LADY BARTLETT
Patricial To your rooal
PATRICIA hesitates ... she catches LUCY'S aye, a curious
look of sadness.

OLD LADY ~ (CONT'D)

This instant.
~ C\
PATRICIA turns. f~\ ~
LUCY
Just a minute
LUCY approaches PATRICIA, who shrinks a_yo
LUCY (CONT'D)
I'. not 90inq to burt you.
LUCY qently touches PATRICIA'S necJt she flinches as
LUCY eases her collar down revealinq the l&rge purple
w'.l~ on PATRICIA'S neck. LUCY frowns.

LUCY
(softly)
Who did this?
PATRICIA averts ber eyes.

OLD LADY BARTLE'1"l'

(!ira)
I think you'd better 90 now, Dr
Lynakey~

With surprisin9 stran9th, OLD LADY BARTLI!'l"l' takes hold of

LUCY'S foreara and steers ber towards the front door.
EX'l' BARTLE'l"l' HOUSE - DAY
II.
OLD LADY BARTLETT thrusts LUCY out onto the tront porch,
shoving her coat and bag at her.
OLD LADY BARTLE'l'T
You don't know who my daughter is
do you?
LUCY looks at OLD LADY BARTLETT with an air ot defiance.
LUCY
Yes I do, Mrs Bartlett.
OLD LADY BARTLETT
It's not true what T~ey say about
her. Patricia has been a lIIodel
citizen since her release.
LUCY nods curtly at OLD LADY BARTLETT '" she turns and
leaves.
OLD LADY BARTLETT watches LUCY walk to her car.

EX'l'. LYNSKEY HOUSE - NIGHT i\ '- b

The Lynskey house ~l\ \:hedge deep tire
tracks only the bedroolll llgh is on.
RAY (O.S)
She's a murderer I
LUCY (O.S)
I feel sorry for her.

INT. '.. LYNSKEY BEDROOM - NIGIl'I

RAY is working hi. rowing _chine on the bedrOOll floor,
vearing nothing but his boxer shorts LUCY i. sitting
in bed reading a tacky looking book called Killer
Couples, the cover of which features Bonnie , Clyde,
Parker.' Hul.e and Leopold' Loeb.
RAY
Lucy! She killed twelve people!

LUCY loop up frca the book.

,
It _.
LUCY
never proven that
Patricie Bartlett va. actively
involvecl. She fell in love vith
the wrong quy
CLOSE ON: A glossy photo of a grinning twenty-two year 12.
old 11M. He is attractive looking, but with a Satantic
gle_ in Ilis eye. The caption below reads: -Johnny
Bra~ley, on the day- of his execution. His last words: 'I
got lie a score of 121 Top that!'-,
LUCY (CONT'D)
. .. it can happen to anyone
RAY
Sbe was there They should've
fried her when they fried Bradleyl
LUCY turns the page a photo of a young Patricia being
lead out of court by her 1I0ther.
WCI
(acidly)
She was fifteen y~~rs old.
RAY sighs LUCY shuts the book.
LOC'./' (CONT'D)
I don't think she s bean all~d
out of that boWIe in \)fJlrty
years. \>-. \ ~
RAY stands, sweat dribbling dO~ his chest.
RAY
can we talk about sOllething else?
Like how a.azingly well I did at
work today? Like guess who's
.asked . . to be their personal
trainer?
LUCY ignores RAY He crawls onto the bed like a
pantber - He slaps the bed -:::over with the pal. of his
hand.
RAY (CONT'D)
(lascivious)
co.e on, Honey I've got a
friend who wants to .e.t youl
LUCY allows RAY to pull her down into an embrace.
RAY (CONT'D)
(nuzzling her neck)
I . .de reservations at "llisi.o&.
our favorite table r_lUlbar?
TueSday?

RAY suddenly pause. he plucka a card out of the folda

of the bedclOthes.
 RAY (CON'l"'D) 13.
(annoyed)
What the hell is this doing here?
CLOSE ON Frank-Bannister's business card - now in one
piece. LUCY glances up disinterestedly. She shrugs.
RAY (CONT'D)
(puzzled)
I tore it up did he co.e back
to the house?
LUCY
Who???
RAY
The .oron who took out the hedgel
SUDDENLY!
The BEDCLOTHES rise into the air, throwinq RAY onto the
floor! They hover tour teet above LUCY, gently billowinq
like a laid back tlying carpet. LUCY ~a.s ..
RAY ~ \)
(paniCk~~\
Holy Shitl '{
LUCY
(worried)
What's happening, Ray???
-- The BEDCLO'l'HES starts to rotate they suddenly shoot
across the. rOOll, slamalng into the wall. RAY qrabs LUCY
and pulls her to the tloor :.111 the BEIlCLOTHES ZOOIl over
their heads, darting aro~d t~. rOOIl like a trapped tly.
'!'bey suddenly los. powar and drop onto RAY and LUCY'S
huddled tiqures.
RAY
(troa below bedcloth.s)
Tor tornado I 50_ sorta
localized air current
LUCY jwaps to h.r teet, throwing the bedclothes away. She
backs away tro. th , rigid ",ith tear '" collapsing on
the bed.
LUCY
(treabling)
'our windows are shut
AT THAT MOKEMT

Th. BED lurch into the airl LUCY SCREAMS and clings
onto it it spins around slowly.
 1.iJ
Oh .y God ... RAY

LUCY
Ray I Help lie I GET ME OFF!
RAY hurls himselt onto th. bed, grabbing LUCY. They both
crash onto the floor.
CUT TO:

INT. FRANK'S HOUSE - NIGHT

CLOSE ON: Phone ringing. HAJfD i_ediately snatches it
up . FRANK BANKISTER looks gria as he listens to
LUCY'S panicked voice
FRANK
I'. on ay way, Or Lynskey I

INT. LYNSKEY KITCHEN - NIGHT

LUCY puts the phone down. b
() '\.

RAY ~~J~
Your JUking .e _d, Lucy I I don't
want that con-aan in .y bousel
AlfGLE: on RAY standing in the .iddle of the kitcben as
CUPBOARDS open and shut wildly, CHAIRS tloat in the air,
KNIVES and FORKS dance about on the bench.
RAY (COIfT'D)
There'. a rational explanation tor-
this ve don't need a goddaan
spoon bender talling us what to
.., do!
LUCY
Ray! We've got a poltergeist!
RAY
It'. nothing the police can't
handle.
A crazily vbirlinq SAUCEPAlf .pins througb the air,
collectinq RAY on the back ot the b_d vi th a loud
-DONG-! lie drops.

, COT TO:

EXT. LYNSDY BOUSE - NIGHT

KEADLIGH'l'S of a apeedinq car approach tba Lynskey's
bouse. l"RANlt'S CAR 8Uddenly veers otf the road leaps
the curb and skids to a lUll t across the lawn cuttinq
tresb tuxrovs in the gra.sl
toW AJlGLE: car door opens and JI'RAJIJ( emerqes, bag in hand. IS,

nIT. . LYNSKEY JaTCHEN - HXGHT

LUCY is applying ice to the back ot RAY'S head , he

winces, holding a wet fac~ cloth against his torehead .
all is quiet.
FRANK rushes into the kitchen

Dr Lynskey?

LUCY nods
LUCY
Xt went quiet about five ainutes
a9'o

FRANK surveys the mess.

Unsystematic ...
Is it over?
PRANK shakes his head.
FRAJIlt
Persisting residues of the
departed, always a problem at this
ti.e o~ year You appear to
have a bad case of Recurrent
Spontaneous Psychokinesis.
LUCY
(worried)
Is there anything ve can do?
FRAJIlt
I can do clearance it's not
cheap. but I do offer a six .onth
guarantee.
RAY
Bow INch?

FRAJIlt
TWo forty-nine, ninety-five
'vi th a thirty percent penalty for
callout after aidnight Ob,
What the hell Let's just call
it quits over the hedge.
RAY looks sour ...
FRANX (CONT'D)
Plus a hundred bucks for
materials I can't afford to be
out of pocket.
RAY is about to object, but LUCY shoots hi. a stern look.
RAY
(sullen)
Just do it, Bannister I
FRANX qoes to work
He pulls a BLACK BOX out of his beq pluqs it into a
-vall socket. An electrical art: fizzes between two
electrodes. A saall fan in the side of the box spins
around.
LUCY
(nervously) .,
. ..,.: ,~.

. house?
Why us? Why are they in ,"bur
....
FRIoR "
Emanations are confined to the
qraveyard, Me' . . . . . But soaetimes
they qet out. It's usually the
younq ones - in search of soae
banaless fun. I often see tho on
the streets, in people's bouses,
down at Granqer's Thrifty Mart
FRANK'S B~CK BOX qaina power. It rattles on the bench.

LUCY
(shocked)
Granqer's???
PRAN1t
Yeah There's always a bunch of
thea hanqinq around the pet food
stand on a Saturday niqht.
RAY
Por Godssake, Bannister!
CLOSE 011 PRIoIIlt Be narrows his eyes in the.trical
_nner.

, PRAN1t
(quietly)
Ther.'s a whole other world there
that you folks can't __

FRAHJt pulls WATER PIS'l'OL out of hi_ ba9

 PRAJIlC (COHT' D) 17.
step aside.
FRANK brandishes the vater pistol like Mel Gibson. He
starta squirting vater around.
FRANK ( CONT' D)
Holy vater!
FRANK disappears into the lounge.
RAY shakes his head, still clutching the face cloth to
his forehead.
RAY
This is bullshi t total
bullshitl
FRANK'S black box suddenly stops a ._11 green light
flashes.
FRAHJ: IUllble. back into the kitche '\.. ~
pulls a SILVER
FOIL BAG out ot the aiddle ot ~~. He quickly seals
the top and otfers it to LU~\

These belong to you. six

ectoplaic Eaanations.
LUCY looks bevilcSered.

l'RAMlt (CONT' D)
soae people like a souvenir
(he grins)
They can't escape. Where shall I
put'_?
~. LUCY
(nervously)
I don't think ve really vanna hang
onto those do - . Hon? ~ d soJ
PRANK shrug. and saunters over <: ~Si~ ~!opa
the baq into the Wag,
7"u t 'r ::;tAquick burat ot the actor
end tb1IY're qone. LUCY qaspa.
l'RAMlt
Don't WOrry. they don't teel pain.
At leut. that's what the books
_y but I ques. _'11 never
,know tor sure.
PRANK grins at RAY and LUCY.

RAY
( irri tated)
Alright you can 90.
 I ~.
RAY takes the fIlce cloth off his forehead FRAJrK
stares at his forehead
~'S POV . the number "37" is marked in raised welta
of skin on RAY'S forehead.
RAY
What the hell are you staring
at???
FRAJrK
What's with the number?
RAY clearly doesn't know what he's talking about LUCY
looks at RAY'S forehead
LUCY
What nWllber?
RAY ,.....
( mad) .... '"
Are you trying to freak" 'abut? It
won't work buddy I Y~.cf.0l! getting
anymore aoney out of~.
(yelling) ~
Get outts heret ~_
FRANK backs out of the house.
CDT '1'0:

EXT. FRANK'S HOUSE - KIGHT

Looking down on FAIRWATER at 3_ There's not a lot
happening.
CRANE DOWN to reveal FRAJrK'S HOUSE perched high on a
blat~.above the town. In the moonlight we can . .ke out
little detail but it is obvious that the house is
only half built.
HEADLIGHTS approach up the winding road, and FRANK pulls
into his drive.
He hops- out of his car and goes to the back, opening the
trunk.

SUDDENLYl A GHOULISH EKAHATIOK rushes out of the

truckl P'.RAJOt lea~ to one aide

,
ANOTHER EMANATION lurches outl
PRANlt ala_ the trunk.
The first appari tlon - STUART HARPER, staggers over to a
low vall and sita down clutching his .toaach.
 STUART
I think I'a qonna throw up!
STUART was in his early twenties when he died. He has a
sliqhtly rotten appearance and continually dribbles with
ectoplasaic slilDe. We can see throuqh hilD, althouqh the
deqree of translucenc'! is not always consistent
STUART had a double deqrep in art history and theoloqy.

CYRUS is the other apparition. He is a black dude frOID

the seventies White disco suit. built up heels and
sideburns.
CYRUS
Man. I hate that trunk!
FRANK
I'. not havinq you spreadinq
your ectoplasmic auck over my
seats.
- STUART
Well I ' II sorry Fraf\k. but we're
not travelinq in~ '0 the trunk
anymore. It's iapllnible to work
under these co~tfbns!
<.. ~'CYRUS
We wanna c~ise in style, man.
STUART reaches into his pockets and anqrily flinqs a pile
of Frank's business cards onto the driveway.

STUART
I quit!
FRANK is not buyinq into any of this

Shut up!
FRANK qives STUART an anqry shove He wobbles on his
feet, losinq his tenuous center of qravity. EMANATIONS
are _de up of loosely coapacted particles that can be
distorted, scattered, stretched and squeezed always
returninq to their oriqinal shape.
FRANK (CONT'D)
(anqry)
You clowns left ae hiqh and dry
toniqht! I arrive at the house and
, there'. nothinq happeninq You
quys are just .ittinq around
watchinq. I couldn't believe it!
 STUAR'l'
We actually strained our baeks,
lifting the bed, Frankl
FRANK
COllie on! You could've swung s01lle
cupboards around flashed a few
lightsl How har~ is that? I've
gotta have something to work withl
FRANK fishes his keys out of his pocket and enters his
house . CYRUS jives in behind FRANK.
STUART staggers to his feet.

STUART
Frankl I didn't go to college to
spend the rest of BY life haunting
peoplel
FRANK closes the front door in STUART'S face The
Ellianation IIIOlIIentarily flattens against ~e door, then
passes straight through itl :-.'\.
'.,j

INT. FRAHX'S HALLWAY _ HIGNT ~" \t;.

STUART elllerges into the hallWay~'
:rRAIIlt
Listen, quys I gotta lot of
creditors knocking on BY door. If
I go under, you go under six
foot under, back in the c_etery I
STUART looks horrified.

:rRAIIlt ( CONT' D)
We're only just scratching a
living her., and you quys better
pull your weight!
FRANK wallts into the kitchen and slams the door.

STUART
(worried)
H.'s not serious about the
c ...tary is he?
CYRUS
~ it,icl
____ 1SIllI. I'. gonna play

STUART
Ob, God I Not Isaac Rayes
Anything but Isaac Hay. . .
...
CYRUS disappears throuqh the vall, into the lounge.
CUT '1'0:

EXT. FRANK'S HOUSE - HIGHT

The Theme from Shaft boom~ out over Fairwater.
DISSOLVE TKRU '1'0:
EXT. FRANK'S HOUSE - NEXT KORNING
Sun rises over FAIRWATER.
We can see FRANK'S HOUSE more clearly now It is only
half finished: Larqe sections have not been clad. A
whole winq of the house consista of nothinq but
framework. Protective tarpaulins flap in the wind. Stacks
of bricks and tilll.ber litter the section. An old concrete
mixer is parked at the top of the drive.
None of this would be unusual if it wasn't for the
fact that the construction clearly stopped some ten
years earlier Everything is badly weathered, rusty and
weeds grow out of control adaist the ~f completed
house. ~~

BANG! BANG! Loud gunshots echo out ~~e house.

~~
INT. FRANK'S SHOWER - MORNING
FRANK is humainq to hi. .elf in a hot shower - ste.. fills
the shower stall as he lets the water cascade over his
head and shoulders.
The. water pressure suddenly dies. P'RAJIl( frowns and
&ujusts the nozzle
The pipe bulges and CYRUS balloons out of the shower
head! His head and shoulder. are terribly distorted.
CYRUS
It. the Judge, Prank the
eat's real upset manl He's got his
six shooters out!
BANG 1 BANG I More gunshots.

CYRUS disappears back into the pipe before he can

react, ~ geta a face full of scolding vater.

Aqghl
 IH'l' FRANK'S XITCHEN - MORNING

FRANK storms into the kitchen

He is confro'nted' wi ththe sight of, the JUDGE a tall
elderly Emanation - a lawman froID the last days of the
nineteenth century. The JUDGE was embalmed, but it was a
cheap job and hasn't stood the test of tillle. His dry
IIIUl11111ified body is in an advanced state of decay . He
looks even worse without his jaw bone!
The JUDGE is swivelling around, blazing away wildly with
two rusty ghost Colts. FRANK flinches as ghost bullets
pass through his body and the wall behind without leaving
a lIIark. CYRUS and STUART peer warily out of frallled
paintings.
JUDGE
(gurgle)
Damn rustler's took lIIe jaw bonel
A lIIangy transparent GHOST DOG is racing around the room,
circling the JUDGE at high speed the JUDGE'S jaw bone
clenChed between his teeth!!! ~

FRANK drops to his knees, attempting tor~ab the dog.

FRANK \~
Rustler! Here boyl <c~

.. - RUSTLER. iqnores FRAHlt and keeps racinq around the room.

BANG! BANG! The JUDGE takes potshots at RUSTLER. A ghost
bullet ricochets past STUART'S ear, taking a nick out of
it. Ectoplasm dribbles between his fingers.
STUART
For Godsake, Frank! I could've
been killed!
FRANK takes a flying leap at RUSTLER, bringing hilll down
in a tackle. He tugs the ghostly jaw bone out of the
DOG'S 1II0Uth.
P'RAHIt
Put your shooters away, Judge I
THE JUDGE snatches his jaw bone out of P'RAHIt'S hand and
rams it back into his face.
JUDGE
(flexing jaw)
r Sneaky little sid_inderl I'll
bave tbe varmint stuffed I
RUSTLER playfully licks THE JUDGE'S band with wet,
rotten tongue.
CO'l' TO:
lIlT. FRANK'S LOUNGE - HIGHT
13.
Like the exterior, the inside at FRANK'S house has also
been left unfinished tor many years. very few of the
walls and ceilings have been lined - timber t'rlUling is
visible throughout. No painting has been done and
aakeshift furniture is s~ttered about.
FRANK is quietly hunched over a newspaper in the glooay
lounge. THE JUDGE sits in a large old arlllchair .,. He
eaits a soft glow in the seai-darkness.
JUDGE
Prank When a _n's jaw drops
off, it's tiae to reassess the
situation.
FRANK looks at THE JUDGE with concern.
FRANK
(reassuring)
What are you talking about? You'~~
in great shape. ~ ~ ~
JUDGE ~~
\ "
(shakes head)
I'a falling apart My joints
are getting powdery. Frightening's
a young .an's gaae. I ain't got no
aore hauntings left in . .
Hell, I can bardly rustle up a
scare!
(lowers voice)
Frank, don't go saying noth'in to
the boys, but ay ectoplasa' s
all dried up.
FRANK
(regretfully)
I'a sorry to bear that, Judge.
THE JUDGE shakes bis bead sadly ...
JUDGE
I've qat aeself a nice little
grave up there at the ceaetery
it could soon be tiae to lay ay
bones.
FRANK
!Jut Judge I Who's gonna help _
finish this bouse?
THE JUDGE chuckles softly.
 JtJDGE 24.
You ain't touched. this place in
ten years, Frank. If I wait around
for"you, I'll never get to rest in
peace '" Frank?
F'RANK is searching the pp.per, quicltly turning the pages,
scanning his eyes up and down the columns.
FRANK
(annoyed.)
Da1lln1
CUT '1'0:

EXT. FAIRWATER STREETS - DAY

CLOSE OM: Colorful banner hanginq fro. laJllp post
announcing the Tuesday night opening of a _jar new
exibition at Fairwater Museum -EVidence Eabal.ed
The Secrets of Ancient Bqypt-
CRANE PAST banner to piclt P'RANlt UII\"h..
e crosses the
busy Fairwater highstreet. He looltlra9'i1?;.t~ and carries
a folded newspaper under his ~\~
FRANK storms into the Fairwater Gazette- offices.

INT. MEWSPAPER OFFICE - DAY

MAGDA RAVlUISKI is sitting at her deslt... FRANJt
sits opposite her.
MAGDA.
I ' . sorry Mr Bannister, but _
are " no lonqar runnin9 your
advertise.ent. I've had a stre_
of coaplaints about your
business practices. Preyin9 on tha
bereaved. is about as low as you
can 90. This peper no lonqer
intenc:b to associate itself with
your dubious activities.
FRANJt
I bave a ri9ht to advertise ay
services to the public.
MAGDA
, In cas. you haven't noticed, _
are ill the aidat of a _jor
health crisis. The last thinq
people Ilaed. is a tvo-bit
charlatan offerin9 to pass on

-.
boqua _ssaqes frca the other
side Mow - if you will axcuaa
MAGDA stands and walks towards the door.
FRANK
How am. I going to earn a living?
MAGDA holds the door open for FRANK.
lfAGDA
(sneering)
"Living" That's not a word
you'd know a lot about is it, Hr
Bannister?
'CUT '1'0:

EXT. STREETjNEWSPAPER OFFICE - DAY

FRANK angrily slalllS the door as he StOrlllS out of the
newspaper office. He marches across the road. causing a
hearse to slam on the brakes , the coffin slides around
in the back! Various cars in the funeral entourage blast
their horns at FRANK'S reckless jaywalking.
FRANK does a double take as he ~otices LUCY LYNSKEY
Sitting in the back of one of the ~~.
FRANK reaches the other sid .. ~ ~e road .,. he hears the
sound of running feet: JiI<D.. 'l.YNSKEY is running down the
sidewalk straight towarda '11im1
RAY is pele and frightened.
RAY runs straight through other pedestrians! He is
transparent! Nobody see.. aware of his presence. He
approaches FRANK at breakneck speed. FRANJ( shl es back.
but too late
WHA!=Jt! .RAY thumps straight into FRANK and both men fall
over. A COUPLE OF PASSERSBY help FRANK to his feet. RAY
stays on the ground looking at FRANK with disbelief.
RAY
(desperate)
Bannister????
PASSERBY 1
Are you alright buddy?
FRANK looka RAY straight in the eye.

'Yea.
PASSERBY 2
Someone should do something about
the state of these sidewalks.
 The PASSERSBY wander off. Lb,
RAY
. (desperate)
Bannister You gotta help!
They're going to bury me!
FRANK glances about He gestures for RAY to follow
hill.

EXT. ALLEY - DAY

FRANK enters the alley off the main street. RAY hurries
up to hill.
RAY
(panicked)
Please! What's happening???
FRANK
You appear to be dead, Ray I
RAY
Don't say that! It's not
possible I'. in the _p:d_ of
life I work out perydayl My
wife's a Goddaan ~~rl
RAY'S~ysteria.
- doesn't buy into

(calaly)
FRAH'J(

Why didn't you take the corridor?

RAY
What corridor?
FRAH'J(
The corridor of light
pathway to the other side.
.. the

RAY
I don't belone) on the other side.
Jesus, I'. only twenty-four ...
FRAH'J(
(calllly)
What happened, Ray.

RAY
't vas on the ravine) _chin. I
auddenly felt this vice-like grip
aqueezing my heart I couldn't
breathe
RAY holds up a trembling, translucent band
 RAY (CONT'D) ).7.
I've qot the shakes I need
sOllIe vitamin B!
FRANK shakes his head ...
FRAN1\:
You don't need vitamins anymore,
Ray You don't eat, you don't
drink. you don't 90 to the
bathroom it's allover.
Tears well in RAY'S eyes.
FRAN1\: (CONT' D)
In a year's ti_, on the
anniversary of your death, you
will have another chance to cross
to the other side - to become a
pure spirit. Until then you're
what's known as an Earthbound
Emanation. A cloud of rottinq
bioplasmic particles, lealtinq
ectoplasm from every orifice. to
RAY \) '\.
(squealts) Co 0 \ ~
Oh, Jesus I '{ "

RAY bursts into tears.

FRANK (CONT' D)
(qently)
.Do you understand?

RAY nods, wipinq tears away with his sleeve.

RAY
(upset)
Give . . a ride, Frank I don't
wanna miss my funeral.
CUT TO:

EXT. FAIRWATER CEMETERY - DAY

The MODRHERS are qathered ar.ound the qraveside

FRANK's car pulls up outside the qates.

INT. ,
FRANK'S CAR - DAY
FRANK qraba RAY'S arm ...
P'RAM1t
Listen, Ray the cemetery's not
qood place. Stay clo.e.
 RAY
(agitated)
Later, Frank I wanna hear what
they're saying about lIel
RAY frantically grabs at the door handle, but his fingers
pass through it.
PRANX
Handles take a bit of getting used
to
FRANK roughly shoves RAY through the door

EXT. FAIRWATER CEMETERY - DAY

RAY tumbles onto the ground ,
RAY
Ooowwi

He scrambles up and runs through

PRANX
(urgently)
Ray I
RAY sere aIlS as a huge OGRE-LID SPIRIT rises out of the
ground in front of his.
GATEKEEPER
(quttural)
State your businessi
RAY trembles with fear PRANX runs up behind his.

He's with ae.

GATEKEEPER
(quttural)
You're not velcoae here,
Bannisterl
FRAHJt holds his ground with the GATEKEEPER.
PRANX
It's the quy's funeral _'11
be ten ainutes.
FRAHJt taies RAY by the ara and pusbes past the
GATEKEEPER.

RAY looks about the c_etery vide_Yed er_py looking

EMANATIONS scuttl. furtively &aOl\9st the toabatones. An
authoritarian voice suddenly barks out
 HILES (0.5)
Get back in your qraveal
SOUllD of a gbostly. 1IIllchine-gun burst rings out, and The
EMANATIONS quickly vanish below qround like frightened
gophers as ghost bullets zip over their heads.
H~LES (CONT'D 0.5)
Bannister! ! !
FRANK pushes RAY towards his service
PRANX
Keep going I'll deal with
this.
RAY heads towards his qravesite turns to
face ... P'RANlt

HILES a wiry little authoritarian SPIRI'l' '

striding determinedly towards l"RANX, carrying a s..aking
ghost Uzi machine gun. Unlike FRANK'S decolllposing
Emanation friends, Heavenly Spirits glow with a radiant
white light, in a state of permanent Ph~sical perfection.
HILES \) ~
What are you ""'\~ in IIY
qraveyard? You ~-v. been told to
stay away!
PRANX
It's a public place, Hiles.
RILES
(yelling)
I don't like you! You cannot bring
your spooks in here without sy
~. c. permission!
HILES shoves FRANK, sending his staggering backwards with
seelllingly little effort. PRANX anqrily lashes at HILES,
but his blova pass straight through the Spirit.
HILES
(sneering)
I'. not one of your shitty
banations, Bannister. You can't
push Spirits around!
PRANX
,I don't want any trouble, Hiles.
HILES gestures around the cesetery.
 HILES 30.
You have no understandinq of II)'
situation '" We got a latta low
lifes here , a latta gutless
creeps who are too scared to
lDeet their maJter! I provide an
armed responsl!' at the first siqn
of trouble! . . They IDUSt be
contained! ! !
FRANK
For Godsake, Biles I qet this
speech every tilDe I step foot in
the place!
HILES
(screallS)
You are SCUll! Exploi tinq a lower
species for your own . .terial
gain . using spooks to put the
frighteners on people that
lDakes IDe feel physically ill.

FRANK \
See ya, Hiles '" \) ..~ 0
FRANK turns his back on HILES anSI. WWtlts towards RAY'S
funeral service, iqnoring the thr~~'that follow:
HILES
(yelling)
My contract runs another eiqhty-
five years! There's a piece of
.dirt here with your n . . . on itl
I'a waiting for you, Bannister!
At the qraveside, LUCY is sobbinq softly next to her
P~.- Her boss, DR KAMZHS stands nearby. RAY att_pts
to put a coJDtortin9 arID around LUCY but it just
passes straiqht through. SEVERAl. MOURNERS whisper
aaonqst the_elves . . FRANK arrives in his ill-fittinq
suit.
BRYCE CAMPBELL, RAY'S best buddy, is sayinq a few
words .:

BRYCE
There were tilDes when people have
eccused Ray of beinq l . .s than
generoua, but I SID sure that deep
down, the !Dan possessed a beart of
gold and qaneroUB spirit
RAY bursts into tears.
 RAY JI.
It's all truel He wouldn't lie
not at a time like thisl
The coffin starts - to descend. LUCY steps forward and
tosses a flower into the coffin.
LUCY
(tearful)
Goodbye Ray
RAY moves towards LUCY
RAY
Oh, Jesus , what a wastel It's a
Goddaan traqedy I
RAY reaches out to comfort LUCY Be twables straiqht
throuqh her and falls into the qravel
THUD! RAY passes straiqht throuqb the coffin and lands
at the bottom of the qrave. He lies on hi. back and
screaas as the black shape of the coffin descends over
him.
1-
FRANK reacts to RAY'. screaminq and push"es-- throuqh the
crowd. \ ..
~~\~. ~
INT. RAY'S COFFIN - DAY
RAY finds hiaself lyinq sprawled on top of bis own dead
body. He screa_ and sita up, pessinq throuqb the lid of
the coffin.

EXT. GRAVESIDE - DAY

,...... ..
~

RAY emerqes out of the top of the coffin. He calls out to

FRANlt.

RAY
Prank I

FRANK -leans over the qrave, tryinq not to attract undue

attention.
SHERIFF PERRY (O.S)
8i ya. Prank.
l"RAHlt turns to see , the local lawman, SHERIFF WALTER
PERRY - .i fortie., friendly face, .liqhtly over weiqht.

Waltl
 surprl.sea 'CO s_ you, Frank
Here on business, I quess. 32.

Not exactly
PERRY takes FRANK to one side
SHERIFF PERRY
Hear you had run in wi th
Lynskey, the night before he
died. Fact is, apart froll his
wife, you were the last person to
see hi. alive
FRANK
Sounds 1 ike you're the one who's
here on business, Walt.
SHERIFF PERRY suddenly chuckles.
SHERIFF PERRY
Lord no 1 Ray and I _ t at the
9YIl In fact, he'd just bec~lIe
lIy personal trainer. ~ \.'0

FRANK raises his eyebrows SHERIPP PERRY looks around

furti vely lowers his voice l-:~'""
SHERIFF PERRY (CONT'D)
Folks don't have respect for the
law unless you look like a TV copl
RAY (0.5)
(worried)
Frank! !
FRANK glances at RAY the qrave is being filled in
dirt. is piling up around his chest, but FRANK is
powerless to help under the SHERIFF'S gaze
SHERIFF PERRY
Ever heard of a quy called Kilton
Damaers, Frank?
FRANK shakes his head.

SHERIFF PERRY (CONT'D)

Be's sOlIe peychic freak the PBI
are sendill9 down These deaths
are causill9 a lot of concern. They
look like heart attacks, but wen
tl>ey open th_ up arteri_ as
clean as wistle
(lowers voice)
But there's been this
trsaendous pressure on the h_rt,
like it's had the life crushed out
of it Any theories, Frank?
 33.
RAY
(panicked)
Frank! ! !
RAY is up to his neck in soil

I have to go, Wa~t I wanna pay

-r last respects to Ray before
they till hi. in.
SHERIFF PERRY nods and respecttully steps to one side
FRANK bends down and scoops up a handful ot dirt. He
tosses it in the grave, grabbing hold ot RAY'S arm.
FRANK hauls RAY out as subtly as he can, marching him
away trom the dispersing MOURNERS.
LUCY (O.S)
Mr Bannister!

FRANK and RAY spin around. LUCY leaves HER FlUULY and
hurries across the l.awn towards th_.

RAY
(excited) _ \)
'\.'0
Oh God '" she can lI1!'~me Frank!
Lucy! ~ ~'
He breaks away and holds his arlllll out stretched as she
arrives but ahe passes straight through hi.!
LUCY
(hopetul.ly)
Mr Bannister Did you want to
see ae1
~.

FRANK looks wary.

LUCY (CONT'D)
I thought perhaps you aiqht
have a aessage troa Ray.
RAY
(excited)
~ll her Frankl Tell her I'a here!
LUCY
Everyone says you're a traud, but
I've seen what you can do.
r
FRANK doesn't knov what to say

FIWiltI!1
LUCY looks downcast at FRANJ('S silence. 34.
LUCY
You must think I'm very stupid
excuse me.
LUCY turns and walks away.
FRANK hesitates a moment longer, then ...
PRANlC
Ray says he loves you very much.
LUCY spins around. Sbe can see only FRANK standing
awkwardly alone.
COT 'l'O:

IHT. RESTAUR.ANT - NIGHT

TRACKING across a busy restaurant

LUCY is sitting nervously at a corner table. She is
glamourously attired and looks ravishing. She tenses
up '" ~

FRANK enters the restaurant and waves ~~r. He mutters

~o~ething quietly as he approaches. ~~ stands.
PRANlC~~
Hi ...
LUCY
Is Ray with you?
f'RANlt
Yeah
". '-.
PAN OFF FRANJ( onto RAY - His bair is plastered down.
and he's wiped otr .ost of the excess ectoplasm. Pity no
one can see the errort be's gone to.
RAY
Tell her she looks great I
l'RANlt
He say. you look great.
P'RAIIlt sits down opposite LUCY and pulls a chair out for
RAY. LUCY gesture. at it.
f
PRANIt
I've never done a seance in a
place like this before.
 RAY
Shut up, Bannisterl This is our
anni versary. We come here every
year.
LUCY
Is Ray beside re?

Yeah.
RAY puts his hand onto hers, but cannot make solid
contact. He looks lovingly at her.
RAY
This is why 1: didn't take the
corridor, Bannister
FRANK'S attention is caught by a GROUP OF PEOPLE entering
the restaurant amongst them is MAGDA RAVANSKI and the
young journalist, STEVE BAYLISS. She gives FRANK and LUCY
an icy look as she sails past their table.
WAITER (O.S) ~ '~
How are you this evening? WCNl4t
you care for some wine? \ ~ '.,J
The WAITER stands next to FRANK, ~~ng.
FRAHK
Lucy Red or white?
RAY
Red! We always have claret.
LUCY smiles at FRANK.
LUCY
I'd like a Chablis , I've never
been fond of red
RAY
(annoyed)
Lucy I
LUCY
Tell me vhy is it that you can
aee Ray., and I can't?
FRANK
I vas in en accident ten years
~go. SOmetimes when you go through
trawaa it .1 ters your
perception. It allows you access
to the part of your mind that
connects vith the apiritual world.
 3b.
RAY
She doesn't vanna hear your life
story, Bannister!

LUCY
That's very interesting I
can't imaginp you'd get a lot of
business in a t~wn like Fairwater.
FRANK shrugs.

FRANK
You've gotta get out there and
find it
CUT TO:
- "EXT. MUSEUM - NIGHT
Fairwater Museum . A grey stone edifice positioned on a
small hill behind the highstreet. The GLITTERATI ot
Fairwater are streaming up the grand entrance steps,
attending a black tie openint'<ff the Egyptian
Exhibition. ~ \)

INT. MUSEUM GALLERIES - NIG~ ~\

The GROUP OF FIFTY GUESTS are listening to JANET KING -
an attractive young Eqyptoloqist - who is quiding them
thru the spectacular Eqyptian display, housed in a series
of galleries.
Stone Sarcophogi. tuneral statues, chariots. Gold
embossed coffins and burial usks, rows ot
hieroglyphics .,. even a full-size mock-up ot a burial
chamber - all .are lavishly displayed in tall shadowy
galleries.
,..... ".. -
JANET pauses by III bandaged mWlJlly, and addresses the
audience ,
JANET
The most elaborate method ot
mUlllllification was inevi tably the
most expensive. The liquefied
brain WillS drawn out through the
nose, with III hooked iron. An
incision was made in the side at
the IIIbdomen IIInd viscerlll were
removed, except for the helllrt,
which WillS belieVed to be the selllt
of the emotions IIInd intellect
The CURATOR is tollowing at the relllr of the slowly IIOving
crowd. He pllluses looks down, and IUscovers be has
just stood on a curious little pile of business careSs -
Frlllnk Bannister's name ia clearly visible!
 37.
He quickly collects the. toqether and walks briskly to
the nearest litter bin he is just about to throw them
in, when he suddenly hesitates
A dry, shriveled Unwrapped mummy is on display in a glass
case next to the litter bin , The CURATOR stares in
horror as the mummy's h,d slowly turns towards him!
A bead ot sweat rolls down the CURATOR'S forehead the
mummy's thin, desi=ated lips tighten into a ghoulish
grin!
The CURATOR looks tearfully at Frank's card again, stuffs
one in his pocket and quickly discards the others before
hurrying ott to rejoin the CROWD, who have now moved a
considerable distance ahead.
ANGLE ON: STUART. now visible behind the mummy - his
fingers pulling the mummy's lips back.
STUART
Subtle, but etfective!
CYRUS looks at the mummy with distast~~~
CYRqsQ. \ ~
Never thought I'dt lay eyes on
someone more decayed than the
Judge!
JUDGE
(annoyed)
Show some respect for your elders,
boy!
STUART, CYRUS and THE JUDGE move further up the gallery,
following the crowd
'". .
".

CUT TO:
INT. RESTAURANT - KIGHT

RAY is bored and sullen. He sits watching LUCY and FRANK

enjoying their .eal
LUCY
(nervous)
IIr Bannister I have an
i.portant question tor Ray.
1'RANJI:
Go ahead he can hear you.
LUCY pauses.
 LOCY
Ray .'. I need to know where you
invested my money the sixteen
thousand I'd saved the
attorneys can't find it .
RAY
Oh shit! r blew it on a bad
investment .. but, hanq on! Don't
tell her that! I'll think of
somethinq
FRANK looks uncomfortable.
FRANK
He says it's qone He blew it
with a bad investment.
RAY
Asshole! ! I
LUCY looks Shocked.
RAY
Tell her everythinq's qonna be ok.
I'll look after her ' I'. aovinq
back into the house I
FRANJt b
.:\ '\.
I don't think that's .., qOOd idea.
,_ \ x,.
LUCY looks up. ~ ~
RAY
Bannister! This has nothinq to do
with you!
LUCY
What is Ray sayinq?
FRANK hesitates for a moment
JI'RANK
Nothinq. He just left Said be
was sorry, and he wants to leave
you alone to qet on with your
life.
RAY
I swear to God, I'll kill youlll
, LUCY
That's just like Ray take the
aoney and run
LUCY becomes tearful.
 LUCY (CONT'D)
Ray and I haven't .been honest
wi th each other in a long
time. It wasn't a good marriage,
Mr Bannister. I realise that now.
RAY leans on the table, yelling into LUCY'S ear ...
RAY
(yelling)
Bitch!! !
Tears roll down LUCY'S cheeks ... FRANK touches her hand.
FRANK
You'll be okay.
RAY
(yelling)
Don't touch her!l!
RAY swings wildly at FRANK'S wine glass, sweeping it off
the table, into FRANK'S lapl
LUCY looks up as qrabs a napkin . "0 rubs his
trousers.
FRANK

t~
\\":,. -
.~

I'll sorry ... FRANK

FRANK swings his balled fist, connecting with RAY'S face.

RAY staggers back, clutching his nose.
RAY
Bastard!
RAY beats a retreat towards the door.
RAY (CONT'D)
(yelling)
I can move shit, Bannister! You
better watch your back!
RAY storms out of the restaurant ' FRANK stands up,
slliles at LUCY.

bcuse 8e ... FRANK

I'll just clean
up

FRANK heads, towards the Men's Rooll.

INT. RESTAURANT NEH'S ROOK - NIGHT

FRANJC steps up to the wash basin, rips papar towels out

of the canister and rubs his trousers.
 The door opens and a snappily dressed guy in his forties
hurries over to the urinal BARRY grins at FRANK as he
unzips.
BARRY
Good band. huh?

Sure ...
FRANK glances at BARRY. He frowns .,. the number 38 is
tattooed on BARRY'S forehead Ugly raised welts.
BARRY notices FRANK staring and he quickly looks away
FRANK sneaks another curious look at BARRY through the
wash basin mirror BARRY zips up ."
AT THAT MOMENT
A CUBICLE DOOR silently swings open and a TALL DARK
HOODED FIGURE glides out. We cannot se, it's face It
is sinister. predatorial .,. and defi~(ely NOT HUMAN
Moving in a pool of bluey black ~ghP.~iS is
THE REAPER!!! ~ ~\
FRANK is frozen as he observes the scene through the
wash basin mirror.
BARRY turns away froa the urinal he is face to face
, -..
.. with THE REAPER. but clearly doesn't see it. He pauses.
waiting to use the wash basin
THE REAPER slowly raises it's hand and slides it into
BARRY'S chest He stiffens and cries out!
THE REAPER
(silky aenace)
Don't fear the Reaper.
FRANK turns. but is too frightened to act as he watches
BARRY clutch his chest and sink to the floor, gasping.
THE REAPER still bas his hand buried in BARRY'S chest
he twists and squeezes .,. BARRY convulses and dies
FRANK breaks out into a sweat. THE REAPER rises and turns
to FRANK Be averts his eyes, clearly not wanting THE
REAPER to realise he is visible to FRANK.
The Men's Room is suddenly filled with a blinding white
light BARRY'S transparent Eaanation rises out of bis
body he looks up into an ENDLESS WHITE CORRIDOR of
SWIRLING WHITE UGHT.
BARRY'S SPIRIT
(awe-struck)
Mom I
 /fl,
BARRY walks into the CORRIDOR and the light snaps off.
FRANK suddenly heads towards the door ,.. he brushes
right by THE.REAP~.

INT. RESTAURANT - HIGHT

FRANK hurries across the restaurant to LUCY'S table.

FRAHlt
(urgently)
We gotta leave I
LUCY looks surprised.
WCY
Sure I'll just go to the
ba throolll
FRANK grabs her wrist ... he sits down.

Ho!

Frank???
FRANK looks up ashen faced as THE REAPER oozes out of the
wall into the restaurant.
FRAHlt
(urqent whisper)
Don't 1II0ve talk to lIIel
LUCY is rattled by FRAHlt"S strange behaviour.
LUCY
What's going on?
FRANK doesn't respond. He is looking out of the corner of
his eye at THE REAPER , as it cruises the tables - like
a White Pointer searching for it's next vieti nobody
is a_re of it's presence. It sweeps in towards FRANK
and LUCY'S table
FRAHlt
(strained)
I think it's a good ti.e of year
to put your bouse on the
'_rket
LUCY is totally confused THE REAPER pauses behind her
chair leans down beside her face Yellowing eyes
are barely visible beneath it's cowl.
 fL.
FRANK ( COHT' D)
." Prices will drop betore
Christmas.
THEREAPER swings towards FRANX. FRAHl( gives it no
indication that he can see it. He keeps his eyes fixed on
LUCY, but is unable to cummon up any conversation.
LUCY
You're sweating.
THE REAPER is inches away trom FRANK'S tace.

FRANK
(controlled)
It's too damn hot in here.
KAGDA (0.5)
Mrs Lynskey I
THE REAPER pulls away from FRANK and wheels around as
KAGDA RAVANSKI drunkenly approaches the table.
KAGDA (COHT'D)
(drunk)
Have you had lot's of _aningtul
messages from your .. ~UlY
departed? .~

THE REAPER glides up to KAGDA~ ~ \~

LUCY
I beg your pardon?
KAGDA
(drunk)
Watch your wallet, darling
I've heard that Mr Bannister i.
quick with his fingers
THE REAPER suddenly slide. down into the floor, and
vanishes '"
'" FRANJt suddenly leaps to his feet and rushes out ot
the restaurant. LUCY watches hi. go alarm on her
tace.

EXT. RESTAURANT - KIGHT

FRANX rushes out onto the sidewalk looks up and down

the .tre.t.'
The SIDEWALK ebead ot FRANJt suddenly rippl.. up and THE
REAPER _erge. FRANK takes cover behind parked
car.
 43.
Wi th incredible grace THE REAPER starts to run down the
street it's feet don't appear to be connecting with
the ground FRANK gives chase.

EXT. FAIRWATER STREETS - NIGHT

THE REAPER races along with increasing speed, black cape
flowing out behind it - this creature is so graceful, it
could almost be flying.
FRANK is sprinting as fast as he can, and is losing
ground.
THE REAPER races towards a building. and vanishes
straight through the wall.
FRANK pulls up, panting hard. The streets are
deserted He leans against a brick wall to catch his
breath
The bricks behind him suddenly ripple out THE
REAPER slides out of the wall right next to FRANK. He
freezes, terrified. It pauses momentarily, then in a
frightening burst of speed, it shoots across the street
and vanishes around the corner.
FRANK runs after it.

CUT TO:

INT. MUSEUM EGYPTIAN GAt t ERIES - HIGHT

JANET gestures to an ornate sealed coffin, bearing the
features of a beautiful Egyptian Queen. It stands on a
plinth in the middle of the gallery.
JANET (CONT'D)
This is Queen Merytaten fro. the
eighteenth dynasty - about
fourtaen hundred B.C. We have
actually X-Rayed her
JANET fliclts a .wi tch and a row of fluros flicker on
behind' a glas. screen, beck lighting a full size
X-Ray of Queen Merytaten. Her shriveled features are
even IIOra grotesque in X-Ray fora.
JANET (CONT'D)
Tha dark area here i. in fact
tha Quaen's vi.cera, carefully
Packaged end returned to the body
cavities.
THE JUDGE looks at tha X-Ray with dewy ayas.
JUDGE
Kighty f ina VOJDan good teeth 1
 lfIf,
THE JUDGE suddenly staggers towards the coffin.
STUART
(alarmed)
Judge???
JUDGE
You boys hurry along I wanna
make the acquaintance of this fine
young lady!
The JUDGE disappears into the coffin with such
enthusiasm, that it wobbles violently!!
STUART
(mortified)
Oh God!
STUART rushes towards the coffin, which is nov rocking on
it's base ...
JANET looks at the IIUl11l11Y with alanl!~.. the CROWD
turn . the CURATOR whimpers The\. ioffin CRASHES to
the floor!! I ~ ...

Everybody rushes over to it ~ ~\

JANET
(horrified)
Oh, no don't touch it
don't touch it!
...
CYRUS slides through the CROWD the JUDGE'S butt is
visible, bobbing through the lid. CYROS reaches into the
coffin and drags THE JUDGE out by his anklesl
THE JUDGE
I haven't felt that way about a
woman for nigh on one huncir.ed and
fifteen yearsl
AT THAT MOHERT

CYRUS looks up, his face becomes a lIask of horror

A tall, black hooded creature cOlles racing at unnatural
speed down the cavernous gallery it's black cape
billowing out behind, inky blue light streaking away froa
it'. body

,
THE REAPER II 1
CYRUS, STUART and the JUDGE .tare, awestruck, as THE
REAPER flows straight into the CROWD, pas.ing througb
paople who are coapletely unaware of it's existence.
JANET looks up froll the 1RmlIY, sayinq sOllething to the
CURATOR CYRUS qasps at the nWllber 39, etched onto her
forehead .,. THE REAPER slides down towards her. a
skeletal hand out-stretched towards her chest ."
CYRUS
(yelling)
Don't mess wi~ her. man!
CYRUS charges forward. tackling THE REAPER. knockinq him
off balance! They slide alonq the polished museum
floor With incredible grace. THE REAPER rises.
towering above CYRUS like a dark anqel. In one fluid
movement, THE REAPER produces a lonq wooden staff
from beneath his cloak he thumps the base on the
floor. and a huge jaqged blade swings out of the staff
and locks into place with a lIetallic elicit. The blade
shimmers with an ethereal qlow THE REAPER bas his
SCYTHE!
CYRUS leaps to his feet, ready to make another lunqe at
THE REAPER. but he has no chance THE REAPER performs
a double-handed sweep with the scythe slicing CYRUS
across the chest I C
~ ..:
\\ ,>
CYRUS drops to bis knees, ectop1-a~ lipillinq out of his
chest. t ~\ .
CYRUS
(shocked)
He cut me! I don't believe it .,.
STUART and THE JUDGE watcb fearfully froll their hidinq
place. within a larqe statue.
CLOSE ON: JANET stands, slliling at the concerned crowd.

~. '.. JANET
There appears to be no serious
damaqel Shall we aove on?
She suddenly wince TILT DOWN: to reveal THE REAPER'S
arID buried in her chest The hooded cowl nuzzles her
neck.
THE REAPER
(silky aenace)
Don't fear The Reaper.
With a violent thrust, he buries his band deeper into her
chest.
f

CUT TO:
EX'1' S'l'REE"l'S /MUSEUM - HIGH'!'

F'RAIfK runs down quiet streets, looking all around.

 He pauses to catch his breath.
Distant YELLING and CRIES FOR HELP ...
The NIGHTSKYabove FRANK, RUMBLES and CRACKLES - like an
approaching storm A TEAR rips the.dark sky behind
it is the most brillian~ WHITE LIGHT .,. a SHAFT ot LIGHT
beams down into the
,. MUSEUM!
FRANK races across the road, and runs up the steps
towards the entrance.

INT. MUSEUM - NIGHT

JANET lies limp on the floor A MAX furiously pounds
her chest in an attempt to resuscitate her. A crowd of
nervous onlookers surround her.
FRANK races into the gallery, and reacts to the
brilliant glow of the corridor of H'lht - invisible to
the rest ot the crowd.
\,\0
JANET'S SOUL rises out of her body ~cUlooJta in contusion
at the whi te li'lht. FRANJI: \. 'lgush_ throu'lh the
on-lookers, reaches out ....... Qul:hin'l the shoulder of
JANET'S SOUL She turns to YRiInt, teara in her eyes.

- CLOSE ON: JANET'S torehead .,. the number 39 i. fading

away .
Her SOUL turns away trom FRANJI:, rapidly IRovin'l up into
the corridor at li'lht and then it's over. The li'lht
snaps off.
'JIbe',. HAN, who was attemptin'l resusci tation, hangs his
head.

MAX
(shocked)
She's 'lone
CURATOR (O.S)
Kr Bannister I

The CURATOR take. FRANK by the forearm and steers hi.

away trOll the crowd
CURATOR (CONT'D)
(hushed)
I .. think we've broken
.ort of tabool
STUART .uddenly ri.e. up behind the CURATOR'S .boulder.
 47.
STUART
Frankl
The CURATOR, unaware of STUART'S presence, continues
unabated. but now FRANK'S attention. is on STUART.
CURATOR ( CONT' D)
(hushf'd)
Please! You've got to help us!
STUART
It's bad, Frank! Cyrus has been
cut.
FRANK looks across at CYRUS lying slumped against a glass
cabinet. Ectoplas. i. staining his white disco suit.
P1WIlt
(shocked)
Shit I
The CURATOR reacts to FRAHX'S sudden outburst He
hurries off to qreet a qroup of arriving P~DICS
CURATOR \)\.'0
ExCuse .e, one 1II0lllent \ ~
FRANK rushes over to CYRUS. ~~
P1WIlt (CONT' D)
(worried)
Cyrus???

CYRUS is clutching his chest he lifts his arlll,

revealing a nasty gash.
CYRUS
SOllie badass brother Illes sed lIIe up
real bad, Frank.
FRANK, looks around warily, not wanting to draw attention
to hillSelf. He gesture. to the entrance of the IlOdt up
Eqyptian toab.
FRANK
(to STUART)
In there ...
STUART drags CYRUS into the tomb.
P1WIlt hesitates .oment, making sure he's not being
watched I he quickly ducks into the toab.
 ~.
lIlT. EGYPTIAN TOMB - IfIGH'l'
FRAIfJC tears CYRUS' S disco jacket into strips and starts
bindinq his chest STUART is pacinq up and down in a
s~ate of near hysteria

STUART
It's not an EJ-anation! It's sOllie
sort of Spirit '" a Dark Spirit.
FRANK
(to CYRUS)
Did you see it's face?
CYRUS shakes his head.
STUAR'l'
It's a psycho, Prank I A bloody
psychO! It could kill us alII
CYRUS
Who is it Prank?
JUDGE (O.S) \) \.
b
It's The Reaper, son. \~

THE JUDGE stands in the doorway, a~~ laden expression

on his face PRANK stares at THE JUDGE.
STUAR'l'
(terrified I
But But be's a .ythical
figure, a pseudo religious icon
frolll the twelfth century.
JUDGE
Saveya pea brain prattle for the
classroolll, boy. That was the soul
Collector be' 8 bin takinq
people out 8ince tilDe beqan. He'8
qoin' about bis dark business bere
in Fairwater, and there ain't
nothin no one can do to stop biB
wben your nWllber'. up that'.
. itl
CUT TO:

lIlT. USTAtJRAHT - NIGHT

MAGDA i. talking quietly to a DEPUTY, who scribbles notes
in bis notebook. STEVE stands awkwardly beside ber. The
restaurant bas been larqely cleared of petron., except
for the f_ that POLICE wisb to intervi_.
BARRY'S BODY is being carried out of the bathrooll on a
stretcher in the 8G
 PULL BAClt to SHERIFF PERRY and a DEPUTY oVerseeinq
the scene of the death.

DEPUTY 1
DOc 'says it looks like
another heart attack, but he
ain't confi7minq nothing till
af'ter the aut:':)posy.
SHERIFF PERRY
(frustrated)
Damn!! !
DEPUTY' 2 steps up '"
DEPUTY 2
The waiter says that some quy came
outta the john about five minutes
before the body was found
SHERIFF PERRY raises his eyebrows ...
SHERIFF PERRI. ~
Who was that? ~ \.....

DEPJI'l:X. ~~
FranJt Banni~eY. He Jolas as
Vbi te as a sheet and shakinq ..
Waiter thouqht he'd been sick
He didn't hanq around.
,
...
DEPUTY 1
Bannister was having dinner with
Ray Lynskey's widow , we're
holding her for questioning
DEPUTY 1 qestures towardS LUCY she is sitting,
~~ryous,and confused, at a corner table.
DEPUTY 3 suddenly arrives in a flurry
DEPUTY 3
There's been another death! At the
_eua young woman. She I s
been taken to the city marque.
There were a latta witnesses
includinq FranJt Bannister.
SHERIFF PERRY looks qria.
SHERIFF PERRY
Bring hi. in.

EXT. RESTAURAHT PARltING LOT - NIGHT

l"RANlt is hurrying clown the street towards the restaurant.

Police cars end an aabulance are parked outsicle.
 MAGDA (0.5)
(drunk)
Bannister!
MAGDA and STEVE are headinq towards her car.
HAGDA (CONT'D)
The police are '.ookinq for you!
FRANK spins around. MAGDA leers drunkenly at him ... the
number 40 qlowinq briqhtly on her forehead!
FRANK
(softly)
Oh Jesus!
MAGDA
Yes, I'd be worried too.
FRANK
(realization)
You're next.
MAGDA
Are you threateninq .e? r~
(yellinq) Q.\ '\;;.
Deputyl!! .~ ~

FRANK turns in confusion a. TWO DEPUTIES emerge from the

restaurant.
-. MAGDA (COHT'D)
(yellinq)
It's Bannister! He'. herel
FRANK i. alaraed to .ee the DEPtJ'l'U!S c1rawinq their
quns ." He raise. hi. hands.
f>... ' .
DEPUTY
on the ground, Bannister! Nov!
SUDDENLY!
A CHAlK, lyinq on the qround aero.. the parkinq lot
entrance suddenly ri.e. into the air, trippinq both
DEPUTIES up ' CYRUS and STUART are pullinq on each end!
CYRUS
Get outta here, iiIan! Go on, .plit!
FRANK he.itate. for a moment, then race. towards the back
of the parkinq lot
The DEPUTIES att_pt to aim their quna, but CYRUS and
STUART whip the chain, knockinq the qun. away.
 .rl.
FRANK'S CAR roars into life The DEPUTIES roll aside,
leaping to their feet as FRANK'S CAR skids out onto the
street.
FRANK'S headlights catch the ghostly fiqure of THE JUDGE,
staggering down the road towards the car
lUDGE
(yelling)
Frank!
FRANK slams on the brakes and slews towards the JUDGE. He
braces. himself for the impact The front of his car
passes through THE JUDGE, but '" THUD! He is collected
by the passenger seat and ends up kneeling backwards,
arms wrapped around the back of the seat, hanging on for
dear life.
JUDGE
Faster Frank! There'. a posse
coming up our ass!
The COP CARS rev up CYRUS bounds acros~~o
the front
of the first car . He thrusts ,ilisvhead into the
hood . \~

BELOW HOOD: CYRUS'S head and ~~lders

appear in the
narrow cavity between the engine and the underside of the
hood. He quickly reaches out and yanks the wire. off the
spark plugs.
The COPS react with surprise as their engine dies ...
STUART is attempts to do the same on the other Cop
Car .,.
BELOW HOOD: STUART is looking about in total
CCWf~sio.n
STUART
(desperate)
What do I do???
STUART'S a1"1l i. suddenly caught by the blades of the
cooling fan and be is sucked into the radiator!. The
radiator cap pops off and STUART'S distorted head
squeeze. out through the tiny hole pressurized ste_
blast. out around bis neck. He's shrieking louder than
the ste_l
COPS react to billowing steam from engine.
I
COP
Shit!!!
STUART suddenly disappears back into the enqine LOUD
CLANGIHG BAHGIHG
 XER-THWATI! I STUART is shot out of the exhaust pipe like
a bullet! He tUJllbles along the road, before dizzily
sitting up
COP DRIVER hops out and slalllS his fist against. the
steallling hood.
~OP
(angry)
Goddalllll it!
FRANK speeds away into the night.

CUT TO:

INT. SHERIFF'S OFFICE - KIGHT

- '!'he SHERIFF'S OFFICE i. largely open plan, with glass
partitioning. At one-thirty in the 1I0rning the few
DEPUTIES that are on duty are looking tired.
LUCY is sitting on a chair, clutching a cup of coffee
SHERIFF PERRY sits opposite, DEPtJ'l'Y 2 is t~ing notes.
LUCY \)~ .
Frank Bannister ia no ~aud. I
&II convinced he lIade @p\tact with
Ray. ~ '" .
SHEllIFF PERRY
You say your dead husband was
having dinner with you at the
restaurant
LUCY nods.
~HERIFF PERRY (CONT'D)
What did he order?
PERRY lIakes eye contact with DEPtJ'l'Y 2. They suppress a
slIirk LUCY doean't answer.
AT THAT KOHEHT: AGENT MILTON I)AKKERS walks in.
PERRY qlancea over and through the glass partition he
sees DAKMERS casting a wary eye around the office.
DAKMERS, late-forties ia ahort and wiry '" he bas no
neck, and haa a habit of trying to crane his bead up, and
failing. Hi. eye. are dark and piercing be baa no
allile, juat a teeth baring qri_ce. PrOII the ouuet,
i t ' . clear ~at DAMMERS ia a aocial retard.
Se ahuftlea into the .iddle of the office, IUId .Unda
uncollfortably, clutching hia banda and atarin9 at the
floor.
 s1.
SHERIF!" PERRY
(to hiueU)
oh God ...
(to LUCY)
EXcuse" IDe.
SHERIFF PERRY leaves tht office with DEPUTY 2 and hurries
over to DAMKERS
LUCY can only hear a HUMBLE ot voices, but she watches as
SHERIFF PERRY qreets DAMMERS, otterinq his hand
DAKKERS awkwardly shakes with his lett hand.
DAKKERS doesn't raise his eyes above SHERIFF PERRY'S belt
buckle as he lDutters tew words. SHERIFF
PERRY qestures at LUCY She starts to feel
self-conscious SHERIFF PERRY leads DAKKERS back into
the oftice:
SHERIFF PERRY
Lucy '!'his is special aqent
Milton Dammers froID the FBI.
LUCY nods DAKKERS tails to aalte ey'cf: contact - he
directs his co_ents to a trash can.:-j ';r
DAMMERS ,~
I came by car. I dilttlq. take the
tliqht I telt ~ about the
plane.
LUCY looks at PERRY unsure ot how to re.pond. DAMMERS
eyes flick to the tilinq cabinet.
DAMMERS
At what tilDe, precisely, did
Bannister leave tor the bathroom?
LUCY
I'a not sure precisaly.
DAMMERS
Did he use excessive quantities ot
table salt durinq his aeal?
LUCY
(flustered)
What?
DAKKERS
(rai.ed voice)
Answer the question I
LUCY
(yellinq)
It'. one-thirty in the .arninql I
can't reaember that I I
DAKMERS blanches he backs out of the roo.. SHERIFF
PERRY looks alal'1lled and follows hi

INT. SHERIFF'S OFFICE KITCHEN - NIGHT

DAKKERS is leaning over the sink, splashing ~ater on his
face. SHERIFF PERRY approe~hes
SHERIFF PERRY
(concerned)
Hilton?
DAKMERS
(flustered)
Sorry Sheriff I have a problem
with women yelling
SHERIFF PERRY
Can I get you anything?
SHERIFF PERRY puts a hand on DAMHERS' shoulder
DAKKERS backs away in a fluster.

Sheri!!
DAHHERS
Perry I . .
\'0
."y"u \) re
violating my territo~i~~ble.
,\" .

INT. SHERIFF'S OFFICE - NIGHT

SHERIFF PERRY returns to the office.

SHERIFF PERRY
(softly)
You're still grieving. It's very
easy for sOlDeone like Frank
Bannister to take advantage.
LUCY
You have such closed .inds.
DAMMERS (O.S)
I objectl

HILTON DAHMERS hovers uncomfortably in the doorway

his eyes blaze.
SHERIFF PERRY rapidly intervenes
SHERIFF PERRY
Spacial Agent Damaera has fifteen
years experience in the field of
paranormal psycholoqy laUch of
it spant undercover with variowa
cuI ta and sects
 DAMMERS
I get all the fruity cases, Mrs
Lynskey.
SHERIFF PERRY
For Godssake sit down, Hilton.
'JAMMERS
I am more comfortable standing.
SHERIFF PERRY
Agent Dammers is the government's
nUlD,ber one man for this type
of inquiry.
LUCY
I still don't see what this has to
do with Frank Ban -
OAMMERS fixes an icy stare onto LUCY
DAMMERS
( interrupts )
Mrs Lynskey I You know nothing b
about Frank Bannister I You clai", \
he is a bone tide psychic,,\~et.l
all I have heard is 7 ~ .~~ates
of meandering, ill Ti~Yormed
wattle
LUCY stares daggers at him. SHERIFF PERRY shifts
uncomfortably in his chair.
DAHMERS (CONT'D)
'\)n the third day of July, 1984,
Frank Banniste~ - at that time a
successtul architect - came out of
the Jesson's sporting goods store
on 3rd and Garrett. He had just
picked up a Ruger lever action .22
caliber rifle. It had his name
engraved on the barrel.
INSERT IMAGE: Rille sliding into FRAIf1('S trunk
-Bannis1;er- clearly engraved on the barrel, in cursive
script.
DAMMERS (CONT' D)
Bannister would later claim
that the weapon vas intended
for a stoat intestation at the
back of his property. His vife,
Debra vas in the front .eat. Frank
Bannister vas agitated that
80rning
INSERT IMAGE: DEBRA in car
 SHERIFF PERRY looks uncomfortable.
SHERIFF PERRY
(quietly)
You're- mWllblinq, Milton _ Can't
heard a damn word you're
sayinq ...
DAMMERS
(louder)
He'd just had a blazinq row with
Jacob Platz, a builder, over
the positioninq of foundations
f or his new house 12 33 PIlI,
and their '82 Ford is seen headinq
into the hills ,
-~NSERT IMAGE: FRANK'S car winds up a narrow road .. HOLD
ON: Siqn "HOLLOWAY ROAD"

DAHKERS ( CaNT' D)
it is the last time the couple
are seen. Soon after, possibly
12.36 or 12.37 the car leaves
the road on a tiqht corner 1.b
INSERT IMAGE: FRANK'S CAR crashinq ~~~h(Junderqrowth.
DAHKERS ~CONT'D)
presumably Bannister toox the
bend too fast.
WCY
(softly)
She was killed
DAMMERS
Her body was found sOllie fifteen
yards from the car ,
DAMMERS pauses ...
DAMMERS (CONT' D)
Debra Bannister had sustained
a ainqle qunshot wound to the
back of the head ,
INSERT IMAGE: DEBRA'S body hi ttinq the qround.
DAMMERS (CONT' D)
Execution style
f

LUCY is horrified.
 DAMHERS (CONT' D)
Bannister was picked up two hours
later he was wandering in the
forest. He claimed to have no
recollection of events .,. not
even the car accident. The
presumed rurder weapon
Bannister's rifle - had been very
well hidden. To this day, it has
never been found.
SHERIFF PERRY
He never went to trial no
murder weapon, no witnesses. Frank
denied all knowledge
esoftens)
He was pretty cut up about it.
Quit his job. Took to the bottle
for a time drank his money
away.
\.\)
LUCY takes a deep breath and exhales Slawl~ Silence
. ~ \ v
DAKKERS .. "
(lOUdly)
But, do you know what was really
bizarre ?
DAMMERS eyes blaze.
DAKKERS (CONT'D)
Debra's corpse had the number
thirteen carved into it's
forehead ...
DAMMERS traces the number 13 with his finger on his
forehead LUCY is white , DAHMERS gaze cuts into
he~. ,
. '.
DAKKERS (CONT'D)
Unlucky for some.
COT '1'0:

INT. MAGDA'S HOUSE/BEDROOM - HIGHT

STEVE BAYLISS is lying on the bed, swe.ting. The lights
are out . MOONLIGHT casts a silvery glow across STEVE'S
naked tono
MAGDA RAVAHSJtI ai ta atop STEVE she slips her 90WII
off, revealing a provocative silky caaiao1e '"
MAGDA leans hungrily towards STEVE
STEVE
(nervous)
Did you really llke my story about
the vater treatment plant?
 KAGDA
It was brilliant You're
wi thout a doubt the greatest
cub reporter I've had the pleasure
to wo:iJe wi th.
STEVE tenses as MAGDA pl:lnges her face into his neck.
STEVE
I know you only wanted nine
hundred words but I couldn't keep
it to length
MAGDA
Length is never a problem for ae.
STEVE suddenly sits up coughing.
STEVE
(coughing)
Could I have a drink of wa~~
please? C\ ~.

MAGDA frowns,
kitchen.
pulls on her~~~~n~ walks into the

EXT. MAGDA'S HOUSE - HIGHT

LURXIHG POV
Peering into MAGDA'S kitchen window as she appears
shrinking back into the shadows as she glances out
...

IHT. MAGDA'S lCITCHEK - HIGHT
~GDA drops ice into a glass on water followed by a
healthy splash of Vodka.
A CREAXIHG GROAN The kitchen wall bulges ever so
slightly China rattles on shelves.
She spins around grab ice pick nothing's there.
:

IHT. MAGDA'S LOUNGE - HIGHT

MAGDA appears in the doorway, clutching the ice pick
The LOUNGE is in darltness ." She steps warily into the
,
middle of the rooa.
PAST MOVIHG POV: towards MAGDA, brushing past her, then
again and again abe reactll by spinning around, se.inq
nothing, but getting spooked.
MAGDA aoana
ball
softly ... abe backs a_y down the
 sf.
lIfT. MAGDA'S HALLWAY - NIGHT
. towards her tront door. She breaks into a run
MOVIIlG POV ... racing down the hallway towards her '"
MAGDA reaches the doo::' desperately tumbling the
key .
MOVIIlG PaV ... allllost upon her!
She flings the door open and SCREAMSI!!
FRANK is standing in the doorway! He forces his hand over
her mouth, snatching the ice pick with the other hand.
FR..\NX
(urgently)
Shut up! I'III not going to hurt
you. I just want you to listen
Will you listen to .e?
MAGDA, wide eyed, nods , FRANK releases lUiiI hand. MAGDA
immediately backs down the hallway ~ '0 ~
MAGDA ~ \\.\ '
(yelling) ,
Steve! Steve I
STEVE BAYLISS hurries out ot the bedrOOIll, trantically
dragging clothes on He gives FRANK a terri tied look

FRANK
(to STEVE)
Get out!
STEVE turns and tlees out ot the house.
"". ..
"

lIfT. MAGDA'S LOUNGE - NIGHT

MAGDA backs into the lounge.
MAGDA
You .ick bastard! I'III calling the
PoliceS
She lIIOVe. towarda the phone.
FRANlt
,
'!'be copa can't .ave you, Magda.
MAGDA picks up the phone, just as
THE REAPER ooze. out ot the wall behind ber! lie slides
his band into MAGDA'S chest. She gaspa in pain
 THE REAPER
(silky lIenace)
Don't tear the Reaperl
FRANK throws hilllSelt torward, grabbing MAGDA'S
shoulders, hauling her away trom the REAPER'S reachl
THE REAPER spins around inhumanly fast, snarling at
FRANK.
FRANK swings a punch at THE REAPER... but his arm passes
through! Again and again, he tries and fails to make
contact With an almost casual sweep ot it's hand, THE
REAPER" smashes FRANK against the wall FRANK lunges at
THE REAPER again

THE REAPER moves implacably torward, passing through

- FRANK, who winces in pain at the sensation THE
REAPER reaches down towards MAGDA, lying on the floor.
FRANK desperately grabs MAGDA'S ankles he attempts to
haUl her away, but she grabs a heavy IBlllp ~d smashes it
against FRANK'S head! He falls to the fl~'~unned!
THE REAPER'S fingers slide into MACDA~ chest , she
gasps with pain... ~ ~\ "
JUDGE (O.S)
Hey son!
THE JUDGE staggers into the room be sveeps his long
coat back, pulling out his pair ot rusty Colts. FRANK can
only watch as THE REAPER spins around to face THE JUDGE.
JUDGE (CON'l"D)
Get ya filthy fingers outts the
lady's blouse!
WGl BANG! BANG! JUDGE pumps bullets into THE
REAPER!! !

THE REAPER hisses, staggers back, reacting to the qhost

bullets pumpinq into it's body BANG! BANG I BANG I
It fal~. back throuqh the lounge vall and disappears.
FRANK looks a_zed at the JUDGE who holcSs his aaokinq
six-guns alott.
JUDGE
Forty-five caliber Colt
P.aceaaJters, eighteen .eventy
four Who need.a a Kaqnua?
MAGDA SCREAMS! She rushe. at :nu.JI, _inqinq the ice pick
tovards his head! FlIAIIlt cluCD the blCIV, the pick
811beddinq into the wall :nu.JI punch.. JlAGDA bard
she slumps into his arwa,".tunnecl.
F~ HQISIi HAG~ on~ his shoulder. 61.

EXT. MAGDA'S HOUSE - HIGHT

FRANK runs out of MAGDA'S house, stumblinq under her
weiqht, followed by THE JUDGE.

IHT. /EXT. CAR/STREET - HIC":lT

FRANK pushes MAGDA onto the front seat of his car. THE
JUDGE sits behind her , he wraps his arlllS around her,
as she starts to reqain consciousness.
FRANK leaps in and quns the enqine. FRANK'S car screeches
onto the road .,. Ahead, under a qhostly streetllqht, is
the dark fiqure of THE REAPER!
FRANK qrlmly steers his car towards THE REAPER.
MAGDA
(scared)
I ... I .. , I've qot IIOney ...
Don't hurt me! Please I I'.
sorry ...
THE REAPER stands silently as FRANK'S car approaches. He
his holdlnq his wooden staff tapa it 'UTIIIly on the
qround CLICK! The huqe steel blade.swinq8 out up and
locks into place. ~ \\6
It's too late for f'RANlt to react ~
he sees THE REAPER
raise the scythe at the car f'RANlt hanqs onto the
wheel wi th one hand, qrabblnq MAGDA'S head vi th the
other.

Down!! I
,.....- ".
FRANK ducks, pushinq MAGDA'S head down at the s_e time.
The qhostly SCYTHE cuts throuqh the car, narrowly
sweepinq over P'RAJIlt and MAGDA'S heads however it
chops the .JUDGE neatly in half, just below his anlpi ts I
The top half of the JUDGE'S body tumbles into the back of
the car.
.JUDGE
Goc:Sdnni t I
How THE REAPER is runninq behind the car. He leaps onto
the roof ,
The SCYTHE slices into the car, vithout actually
cuttinq the _tal. It qlences past PRAIQC'S sboulder,
dravinq blood. PRAMX clutches his sbouldv, tryinq to
steer the car vith his other band.
MAGDA is screudnq and cowerinq on the floor, totally
unaware ot the deadly struqqle in which FRANK is enqaqed.
FRANK'S car speeds up the road at hiqh speed . THE
REAPER standing on the root, a hooded taceless fiqure
qrippinq the scythe wind billowinq his cape behind
hilD
THE REAPER viciously twists the SCYTHE froID side to side,
the blade passes through the car seats, and connects with
FRANK it hooks under his chin
The ca~ speeds up .'. Holloway Road.

EXT. HOu.oWAY ROAD - NIGHT

THE REAPER hauls on the scythe the tilade cuts
into FRANK'S throat
The bodiless JUDGE is lyinq on the back seat he
quickly reaches torward and qrabs a qhostly six quo from
the hostler, still strapped to his lower ~f....
BANG! BANGl The JUDGE shoots blindly, 'l}thrOUqh the car
roof. ..."
THE REAPER howls in pain and tumbles ott the roof ot the
car!
FRANK looks ahead, eyes wideninq
INSERT: The road ahead is suddenly tlooded with DAYLIGHT.
MAGDA screams sounds dissolve thru
DAYLIGHT INSERT: DEBRA, sittinq next to FRANK
s~e~ms at sOIDethinq on the road ahead
FRANK starinq ahead territied.
DAYLIGHT INSERT: pay crash zooa A LOG is lyinq across
the road aheadl car speeds towards itl
FRANK qraba the wheel with one hand and hauls it round,
sending the JUDGE spinning out of the car window I
FRANK'S CAR l.ave. the road and crashes throuqh
undergrowth, down a steep bank and into a torest

EXT. POREST' ex URING - KIGHT

The car qIances ott a couple ot trees, does a 180 on the
pine needlas and crunches to a balt aqainst a sturdy
treil.
 b3.
The forest floor is lit with shadowy moonlight dark
shapes ot trees loom out ot the darkness.
MAGDA desperately scrambles out ot the wreck. She is
battered and bruised . and crawls away.
FRANK cOlles to at the whnel looks across at MAGDA.

Magda I
MAGDA looks feartully at FRANK she staggers to her
feet and starts to run.
FRANK attempts to follow her, but his legs give way and
he collapses in a heap on the qround FRANK gasps!
DAYLIGHT INSERT: FRAHJt is lyinq in the torest in broad
dayliqht
'0
DEBRA (O.S) ~ '\-"
Frank??? (crying) ~ ~\ ~
NIGHT: THE REAPER oozes out ot a tree ahead of MAGDA I He
opens his cape as she rushes towarcla hill, unaware.

Nol! I

FRA.NKtries to tollow MAGDA, but is struck by IMAGES

from 10 years earlier:
DAYLIGHT INSERT: DEBRA erawls out of the ear.

DEBRA
Cechoecs)
Frank ...
NIGHT: FRA.NK rushes towards MAGDA ...
Debra I
THE REAPER thrusts his hand into MAGDA'S chest and
squeezes she atops in her tracks, a surprised look on
her taee.
FRANK qrabs MAGDA around the shoulders, tries to haul her
away fro. '!'BE REAPER' S 9l"asp
A distant RtnIBLE A FLASH OF DAYLIGHT.
NIGHT: FR.\Nl( lets 90 of MAGDA and taIls to the 9l"ound.
DAYLIGHT INSERT: CLOSE UP Gun Muzzle. It fires - a
slow RUKBLING explosion.
NIGHT: FRANK grabs his head as if in excruciatinq pain.

DAYLIGHT INSERT: THUD! Quick illlaqe of DEBRA'S body

hittinq the ground.
NIGHT: FRANK cries out .,.
THUD! MAGDA'S dead body hi ..s the ground beside FRANX.
SILENCE
FRANK looks around in a daze THE REAPER is qone .
MAGDA'S corpse is lyinq beside hia.
WHITE LIGHT suddenly floods onto MAGDA her spirit
rises frolll her body as the CORRIDOR OF UGHT appears
fRANK backs away.

MAGDA
(yellinq)
You killed lIIe You killed ae!!1
You bastard I
MAGDA starts to drift away, u~the corridor of liqht
her stream of invective never rettinq up FRANK stares
helplessly after her
MAGDA (COHT'D)
You're sick 'l'his is how you
qet your kicks, huh? You like to
kill people? Did it teel qood
killinq .e huh? Did it teel
qood killinq your wife??? EVeryone
knows you did it, Bannister .,.
You're a aurderer!!!
The CORRIDOR OF LIGHT finally vanishes, silencinq MAGDA
for; ~ver.
FRANK ia disorientated he starts to run, faster and
faster throuqh the torest , He leta out a lonq
HARROWING CRY.-
CUT '1'0:
.-
INT. SHERIFF'S OFFICE - DAWN
LUCY sicplS her vri tten stateaent as SHERIFF PERRY and
DAHMERS watch.

DAMKERS
Ii Bannister atteapta any tora ot
contact, you will let ua know?
LUCY qlares at D~.
 ('s.
SHERIFF PERRY
He won't qet far We've qot the
state line covered.
DAMKERS
I sincerely doubt we will see Kr
Bannister in the near future. The
man is resource'ul beyond anythinq
you can comprehend .,.
AT THAT MOMENT ...
FRANK walks into the SHERIFF'S OFFICE!
SHERIFF PERRY sees hi. tirst throuqh a qlass
partition. A DEPU'l'Y spots FRANK and reaches for his
pistol. SHERIFF PERRY pushes past DAMKERS and approaches
FRANK he stands calmly at the reception desk.

SHERIFF PERRY,,::>
(quietly) _~.
Hello Frank we've bin ~ltinq
for you '" ~

(exhaU~..'\
Walt. I've come to report that
Maqda Ravanski's body is lyinq
near my car, off Holloway Road.
SHERIFF PERRY'S eyes narrow.
SHERIFF PERRY
(softly)
Have anythinq to do with her
death, Frank?
~K stares at PERRY. He looks defeated ,
. -"
FRANK
(quietly)
I I don't know
MILTON DAMMERS peers at FRANK intently with his piercing
black eyes. LUCY steps up to FRANK and takes hold of his
hand.
LUCY
Are you okay?

,
FRANK shakes his head.
LUCY (CONT'D)
(softly)
What happened?
 'b.
TWO DEPtl'l'IES suddenly step in and cuff F'RAHX'S hands
behind his back.
LUCY
What are you doing? Are you
arresting hilll?
!'AHMERS
Go home, Mrs Lynskey.
LUCY
Frank, you need a lawyer. Don't
say anything!
FRANK looks at LUCY with sad resiqnation ...
FRANlt
You don't understand, Lucy. Just
leave me alone.
A little grin flickers on DAMKERS lips.
, -'

EXT. ROAD - DAY ,~

CLOSE UP: JUDGE'S sleeping !acel(,~t by the bright
sun

Suddenly, RUSTLER, the JUDGE'S GHOST DOG, licks his

master's face The JUDGE'S eyes flutter open, just as
RUSTLER takes a qrip of his qoatee beard.
The JUDGE groggily pushes the doq away.
JUDGE
Hot now, boy!
,., t _
He attempts to stand only then rellle:aberinq that he's
lost his lower half!

Goddamnitl
vitalsl
JUDGE (CONT'D)
Somebody's stolen .e
The JUDGE qestures to RUSTLER.
JUDGE (CONT'D)
Here Rustlerl
The JUDGE pulls himself onto RUSTLER'S back, lilte a weird
jockey... ,
JUDGE (CONT'D)
(wearily)
Taite .e to the CUletery, boy.
He urges RUSTLER forward, and the ghost dOC; carries his
lIIaster away
CUT TO:

EXT. LYNSKEY HOUSE - DAY

The Lynskey house late lIIorning.

INT. LYNSKEY BATHROOM - DAY

LUCY is showering. Steam tills the showerbox.
LUCY rinses soap tro. her eyes she suddenly
freezes . stares at the glass ot the showerbox
'. the letter "L- is drawn in the condensation by an
invisible finger. LUCY backs away as the letters "U
C . Y tollow.
.
LUCY , ,... -
Ray?
(nervous)
~
-
SUDDENLY! ... \~'
An impression ot RAY'S FACE presses against the qlass!
His flesh is invisible, but the shape ot squashed,
distorted lips, nose and torehead are clearly defined
against the steamed up glass his mouth moves as it
talking.
LUCY gasps and rushes out ot the showerbox!

I~.. LYNSKEY BEDROOM - DAY

~ -.
LUCY strides into the bedroom and starts pulling her
clothes on.
LUCY
(loudly)
.. c.t outts here, Ray 1
Suddenly the window blinds pull down the key turns in
the lock
The shape ot RAY presses into the bed the pillow
creases '!'be sheet indents as the invisible RAY pats
the bed firmly with h18 hand
LUCY is pulling her jeans on . mhe shaltes her bead.
 LUCY
I don't want you around lie I
don't want you in this house. I'll
a widow, Ray leave lie the hell
alone!
LUCY storms out or the bedrooll, slamminq the door.
CUT '1'0:

EXT. FAIRWATER STREETS - DAY

LUCY'S CAR speeds alonq a city street.

INT. LUCY'S CAR - DAY

LUCY is drivinq ...
RAY suddenly loollS up behind her '" h_ looks lIore
decomposed than when we last saw hill e<;t,oplaslI runs
down his race '" LUCY is unaware or his presence.
,
....J

(seU :~Yinq) ~\:;.

Okay, it's my rault. I~! ed up!
But deep down, you know"_
have a
qreat relationship, Honey. It's
just that lately I don't reel
you've been qivinq it one hundred
percent!

- LUCY drives on, oblivious.

EXT. FAIRWATER MEDICAL CENTER - DAY
The Fairwater Medical Center is a sllallish white buildinq
on"the outskirts or the city center.
LUCY pulls into the parkinq spac.
"Dr L. LYNSKEY" siqn.

INT. MEDICAL CENTER - DAY

DR KAMINS, a aiddle aqed aan with a kindly face, eaerqes

froll a ... 11 _lk-in freezer, carryinq a tray or frozen
test tubes. B. carefully closes the door, and is
surprised to e LUCY wand.rinq into the rooa.
f DR KAMINS
Thouqht I told you to tak. a
couple of _elta off.
 WCY
I'. tine .,. really I I vanna catch
up on some paperwork.

IHT. LUCY'S OFFICE - DAY

LUCY is studying a report ~t her desk.
RAY is qetting and more
agitated ...pacing the rooll, more

RAY
I just don't understand it! Is it
the way I look? Is it this
ectoplasm stutt?
RAY vi pes a goop ot slillY ectoplasm ott his tace
RAY (COHT'D)
Does it turn you ott? Honey .,.
Come on, honey - you're )lot
listening to lie. Lucy! '\~
(yells) (.~
Lucy I You qotta Hstenl '"
RAY sweeps his arm across LUCY'S desk, sendinq her papers
tlyinq onto the tloor. She sits back, startled.
AT THAT MOMENT:
The phone rinqs LUCY collposes herself and picks it
up.
WC'I
Hello. Dr Lyn~key speakinq.
PATRICIA (O.S)
phonal
(thru
This i. Patricia Bartlett .,.
I I'. sorry, I'. nervous - I
haven't uaed the phone for a lonq
ti.e.
LUCY tanse. up.
LUCY
That'. fine, Patricia ... how can
I help?

, CUT 'l'O:
 70.
IH'1'. SHERIFF'S IH'1'ERVIEW ROOM - DAY
FRANK is sitting at the interview table, his fingers
pressing against his temples, as if suffering a migraine.
SHERIFF PERRY sits opposite MILTON DAKHERS stands in
the doorway.
DAMMERS
There has been a destructive force
unleashed on this town, such as I
have never seen. We have a body
count
DAHHERS waves a bunch of files.

DAMMERS (CONT'D)
of twenty-six.
SHERIFF PERRY raises his eyebrows.
DAMMERS (CONT'D) ,,\:)
You're a very dangerous lIan, (Hi
Bannister I ,f. -
SHERIFF Jr&y
Just a minute Y'b; re not
suggesting Frank is responsible
DAMMERS
( interrupts )
You're way out of your depth,
Sheriff Perry Please leave I
SHERIFF PERRY is surprised.
SHERIFF PERRY
~. '.. (indignant)
Frank Bannister is my prisoner!
DAMKERS reaches into hi. jacket and pulls out his FBI
badge. He holds it alOft, Whilst staring at the floor.
DAMHERS
By the power invested in lie by the
President of the United States, I
. . telling you get the hell ~utta
this rooal
SHERIFF PERRY frowns and leaves the rooa. DAMMERS slides
his badge back into hi. jacket and continues pacing_
f

DAMHERS (CONT' D)
Have you ever heard of lIina
Jtulagina?
 II.
FRANK looks up at DAKMERS warily.
DAKKERS (CONT'O)
On. Karch ten, nineteen seventy,
Nina KUlaqina used her mind power
to stop the beat of a frogs heart.
The record of this experiment is
in the form of a cardiogram
currently held in the files of
Professor Genady Serqeyev in
Leningrad. As Sergeyev interpreted
the cardioqrBll, the heart seemed
to experience a sudden flare-up of
electrical activity the heart
imploded, the arteries burst .,.
all because Nina Kulaqina wanted
the animal dead.
FRANK slowly looks up at DAKMERS
FRANK
1 don't kill people
DAKKERS
-.....,,'0
).

There's part of you that believ8f\J

that but there's ano~i'"
part of you, Frank, that'~"t
of control - your destru~ve
impulse.
FRANK
1 have seen a figure in a cape .,.
1 have seen it reach into people's
chests and squeeze their heartsl
DAMKERS
Who was it?
'\- -.
FRANK shakes his head.
DAKKERS ( CONT' D)
(shouts)
Who was it???
FRANK
(quietly)
Death.
OAMKERS' face reaains impassive.

, FRANK (CON'I" D)
(slowly)
1 can cOllEllunicate with the other
side 1 can see spirits 1
don't know why 1 don't al_ys
understand it -
 DAKMERS
72.
You think you re so unique don't
you Mr Bannister? In my business I
deal with your type every other
week .~.

FRANK buries his head in his hands again.

DAHHERS ( CONT' D)
This Death tiqure is nothing
aore than a homicidal alter-ego
who satisfies your compulsion to
kill. Every time you decide to
take somebody out, a tictional
Death figure suddenly appears and
does the job tor you It's your
rational minds way of absolving
yourself of guilt. How else could
you deal with killing your wite?
,,~

FRAlQt .~

(upset)~ ""
No.

"
~~AHHERS
When did you start seeing spirits?
After Debra's death?
FRANlC nods.
DAKMERS (CONT' D)
You blew her away, Frank it
was the catalyst that caused your
psyche to collapse
FRAHlt
(yells)
No!
DAKMERS
Ray Lynskey. you have an
arqwaent with hi. - three hours
later hes deadl Magda Ravanski -
we know you didn't like herl What
about the guy in the toilet? What
did he do to you, Frank? Did he
piss on your blue suede shoas?
FRANK starts trembling.
DAKMERS (CONT' D)
lilly are you shalting, Frank?
FRANK is now shaking violently.
 13.
DAMMERS (CONT' D)
You're doinq it now, aren ' t
you?
(triumphant)
You're tryinq to kill me!
Forget it, Bannister . It won't
work I
DAMKERS rips his shirt open, revealing a sheet of dull
beaten metal across his chest.
DAMHERS (CONT'D)
I'm wearinq a lead breast plate!!!
DAMMERS slams the file on the table.
DAMHERS
(yelling)
We have twenty-six unexplained
deaths here. I think y~-Bre

,'0
linked to every one of th_J' ,
Let' a start talking, Frank I -

EXT. SANATORItlH/BARTLE'l'T'S Houk~ DAY

LUCY'S car noses through the old hoapital gates

instead of turning into the BARTLE'!"l"S driveway, she
parks her car out of sight, behind a service building.

-. LUCY walka towards the BARTLE'1"1"S house, carrying her

medical bag RAY alides out of the car and catches her
up. She is unaware of his presence ,
RAY
Lucy, hon You just can't keep
shutting me out! I still have a
lot to offer
LUCY stridea up towards the entrance of the BARTLE'!"l'
house

RAY
Basically I'a an open, flexible
guy
RAY, however, takes his first look at the house and skids
to a terrified halt.
RAY (COIIT'D)
(worried)
Iloly oit!
RAY'S paV: 'l'he BARTLE'1"1' house is dripping with ghoat
blood I A qlobular, red IWllinoua _aa, oozing froa cracks
and windows over the entire front of the boWl. like a
hug. . . . .ping sor
 74,
RAY hangs bacle, too scared to follow LUCY.

INT. BARTLETT HOUSE/LOUNGE - DAY

LUCY is taking PATRICIA'S blood pressure.
PATRICIA
I'm tired all the time I feel
dizzy and not able to
concentrate I can't even read
a book.
LUCY
How long have you been' feeling
lilee this?
PATRICIA
I I think it has got a lot
worse since mother increased
my medication.
.~

LUCY ..;.).
'\.
What medication???
\:>
~\ COT TO:

INT. OLD LADY BARTLETT'S BEDROOM - DAY

CLOSE ON: A large old suitcase PATRICIA is pulling it
out from under her .ather's bed. She opens it and LUCY is
horrified to see boxes and boxes of old drugs and
medicine Yellowed cardboard containers, stained with
leakage and mold- Stellazine Lithiua Oeloxene.
LUCY examines the. in disbelief.
LUCY
These are forty years old
PATRICIA
Mother says they're perfectly
safe to talte!
LUCY
Your IIOther shouldn't even be in
possession of these! She's not a
doctor.
PATRICIA
It's oleay, they caae from the old
'bospital. lIy father was the
adJlinistrator.
 7J.
LUCY
It's not okay, Patricia. Your
mother has been illegally sedating
y~~

PATRICIA
But I need III~' lIIedication!
LUCY
(softly)
What you need is a life of your
own.
AT THAT MOMENT The sound of a car pulling into the
drivewayl
PATRICIA looks horrified and hurries out of the room.
LUCY notices a bundle of yellowing photographs tucked
down the back of the sui tease She plucks one out -
Johnny Bradley sllliling evilly at the call1era, his ara
wrapped around a young Patricia's waist.
LUCY hurriedly slips the
back into the bedroolll.
photo back, ....
" ".
aa PATRICIA runs
'~

PATRIC~~
(panicked) L ~
It's mother! ,

-- SOUND of the front door opening

(calling)
OLD LADY BARTLE'l"l' (0. S )

Patricia I
PATRICIA i . terrified.
PATRICIA
(pleads)
Please I She austn't know you're
here!
The stairs creak 0.5 a. OLD LADY BARTLE'l"l' approaches.
PATRICIA rushe. over to OLD LADY BARTLETT'S closet.
PATRICIA (CONT'D)
(whispering)
Bide 1ft here I'll take her
into the Iti tchen and you can sneak
,out.
LUCY hesitate. for a aDlDent, then quickly pockets a
couple of packets of pill., and burri_ into the
closet PATRICIA only just aanage. to slide the
.ui tease back under ber .other'. bed, wIlan OLD LADY
BARTLETT walks in.
 7'" .
OLD LADY BARTLE'l"l'
What are you doinq in my room?
PATRICIA
I thouqht I heard a noise '"

INT. OLD LADY BARTLETT'S '=LOSET - DAY

LUCY slinks back into the corner of the closet. She
glances upwards
PATRICIA (CONT'D O.S)
I'll lIIake you some coffee,
mother.
'" LUCY'S eyes settle on a metallic object, glintinq
~~from
a pile of clothes on a hiqh shelf '!'he muzzle of
a gun.
Creakinq - as PATRICIA and OLD LADY 8ARTLE'l"1' go down the
stairs LUCY reaches up and carefully ,,!~draws the
qun from it's hidinq place a lever act.ton rifle
LUCY turns it over in her hands - enqnrved down the
barrel, in cursive script, is the name ~ister. !
LUCY quickly slides the qun bacJt in~~e clothinq.

-
INT. BARTLETT HOUSE/HlI.T I WAY - DAY
SOONDS of activity in the kitchen, as LUCY _erqes from
OLD LADY BARTLETT'S bedroom and starts to sneak down the
stairs. She winces and pauses "ith each loud creak

EXT. BARTLE'l"l' HOUSE - DAY

~..... ~

RUSHING POV: Rocketinq towards the blood oozinq 8ARTLE'l"1'

house Straight through the front door ...
INT. BARTLETT HOOSE/llAU.MAY - DAY
, into the hall_y rushinq up the stairs towards
LUCY 0" '!'he POV S_lIS to pass straiqht through her head
and circles bacJt around her.
LUCY continues bar tense descent down the stairs flhe
doesn't notice the vallpaper ripple, or the valls flexinq
sliqhtly.
f

Only three
ahead ,.0
steps to qo ... '!'he front door straiqht

SUDDEHLY I RAY staggers in throuqh the door, screaminq I

Ue has been slashed across his face, his 1:Iody. Bctopla
drains out of the cuts, bis life-force spilling onto the
noor.
 ( I.
RAY
(screaming)
Run! Lucy, get out!
RAYsIUllps in pain at the foot of the stairs, clutching
the newel post LUCY has one step to go .
RUSHING POV: Down the s~.airs, straight at RAY He
looks up and screams in terror!
ANGLE ON: LUCY alone and unaware, as she hurries across
the hallway, quietly opens the front door and slips out.

EXT. BARTLETT HOUSE/SANATORIUM - LATE AFTERNOON

The shadows are growing long
ANGLE ON: LUCY, troll across the hood ot her car, as
reverses out of her park.
THWACK!!! RAY'S hollow lifeless hU~~lands violently on
the hood. Like a slippery, eapty wet suit, it slides off
as the car swings towards the gates~
~
RAY'S remains land on the 9~~d in FG as LUCY drives
away. ~

CUT '1'0:

INT. SHERIFF'S OFFICE - LATE AFTERNOON

STUART and CYRUS slide through the doors into the
SHERIFF'S OFFICE. It is quiet, with only a couple ot
DEPUTIES visible.
CYRUS looks around ...
CYRUS
Han! Cops make .e nervous!
STUART gestures to CYRUS and disappears through an otfice
wall

INT. SERIES OF ROOMS - LATE AFTERNOON

CYRUS and STUART hurry ecross an office rooll. . DEPUTIES
and SECRETARIES are huddled at desks dOinl) paperwork.
As the GHOSTS pass through their desks, papers
lIysteriously blow into the air
CYRUS and STUART pass through the wall into ...
a LOCXER ROOM, then through the next _11 into
 IJ
a CELL, holdinq a COUPLE OF MUGGERS
CYRUS
(recoqnition)
Hey. Benny IIY man! Who have you
been hustling?
STUART grabs CYRUS'S arm pnd pulls him through into '

nn. FRANK'S CELL - LATE AFTERNOON

~K'S CELL.
STUART
Frank!
FRANK is sitting on his bunk holding his head in his
hands.
CYRUS
Frank! We gotta get you outta
here, lIan. These cats are gonna
stitch you up for a capita~
offencel '""'~~ ..;
FRANK doesn't respond. .
Frank???
STUART r.''.-..
'<"
'V

STUART waves his hand in front of FRANK'S eyes FRANK

doesn't react.
CYRUS
Cloud)
Hey Man!
CYRUS attellpts to Shake FRANK'S shoulder, but his hand
passes straight throuqh FRANK'S body.
STUART shakes his head looks at FRANK with reqret.
STUART
Forqet it, cyrus He doesn't
believe anymore.
The two GHOSTS are silent.

INT.
,
SHERIFF'S OFFICE/CORRIDOR - LATE AFTERNOON

MILTON DAMMERS stands silently outside nu.HlC'S door

peerinq in through a sllall window.
DEPUTY 1 approaches
 JCf.
DAMMERS
(whispers)
It won't be long now
DEPUTY 1 looks qUizzical .
DAMHERS (CONT'D)
(whis!"4!rs)
He's entered the acceptance stage
he's grappling with his guilt
and seeking resolution.
DEPUTY 1
(whispers)
You realise, Agent Dammers, we
have no forensic evidence linking
hill to any ot the deaths
DAKMERS shakes his head.
DAMMERS
(softly)
It won't be necessary. I expect

on his lips... ~A
.,
this case to suicide before it
reaches court ':.')
DEPUTY 1 trowns DAMMERS turns, ,. , little sll11e quivers

D~
_'-v- (CONT'D)
(sottly)~ .
They always do.
ctlT 'l'O:

EXT. SHERIFF'S OFFICE - EVENING

kUC:Y pulls up outside the Sherift's Office and hurries
InSide.

INT. SHERIFF'S OFFICE/RECEPTION - EVENING

DEPUTY 1 looks up troll the reception desk as LUCY enters.
DEPUTY 1
Dr Lynskey
LUCY
(urgent)
I want to see Frank Bannister
, now!
...
DEPUTY 1
Agent Dammers says he'. to have
no visitors.
 ~o.
LUCY
I'. his Doctor.
DEPUTY ~
(shakinq head)
Sorry, M'a Aqent Dammers will
be back in forty .inutes. You
could -
LUCY
(threateninq)
Deputy are you denyinq lie
access to .y patient?

INT. SHERIFF'S OFFICE/FRAHK'S CELL - EVENING

--FRANX'S cell door opens and LUCY enters. DEPUTY 1 hovers
by the door.
LUCY
Thank you, Deputy.
DEPUTY 1 .'0
,_ \.
Just call .e when you're .lione, Dr
Lynskey. \ 'V-
DEPUTY 1 locks the cell door ~ DOWN: LUCY crouches
by FRANX'S bed. He is lying, staring at the ceilinq he
doesn't acknowledqe LUCY, and turns to tace the wall.
LUCY
Frank?
He doesn't respond.
LUCY (CONT'D)
I've tound your qun The qun
the police say killed your
wUe
CLOSE ON: FRANK'S eyes tlicker.
LUCY (CONT'D)
It's in the Bartlett house
hidden in the old lady's closet.

-.
You haven't killed anybody
You're a good person, Frank. Trust

FRANX slowly turns to tace her hi. eye. are tilled

wi th tears (.. LUCY hugs hill.
They part FRANJt looks at LUCY tor the first ti_. He
suddenly sits bolt upright, grabbing her shoulders.
CLOSE ON: LUCY with the number -41- on her forehead!
LUCY
(alarmed)
Frank?'??
STUART (O.S)
(hordHed)
She's marked!
F'R.ANR looks up and sees CYRUS and STUART lookinq on.
aqhast.
LUCY
What is it?'??
AT THAT MOMENT ...
The cell wall behind LUCY ripples and THE REAPER oozes
out!
F'R.ANR pulls LUCY away and shields her aqainst the wall.
LUCY reacts with alarm, but doesn't struqqle THE
REAPER leans torward, strikinq with his hand.:.te drives
his t ist throuqh F'R.ANR' S beck, into LUCY'S - chest 1 Sbe
qasps in pain. '\~
CYRUS and STUART leap onto THE ~~ back, pullinq hi.
away A turious cat-like fiqb! ensues between the
Spirit and the EIIanations CYRUS and STUART lIUU1aqe to
torce THE REAPER beck throuqh the cell vall.
A moment's silence FRANK qui des a terrified LUCY into
the middle ot the s_ll cell, not knovine; tro. which
direction THE REAPER vill strike next
LUCY
.._ '.. (nervous )
What's happeninq, Frank?
THE REAPER rises up out of the cell floor, band straiqht
into LUCY'S chest I Frank bauls LUCY avay, spinninq ber
across the roo.. She slaaa into the corner of the cell.
CYRUS and STUART atte.pt to qrapple vith THE REAPER, but
the Spirit slides away into the floor.
LUCY ie sObbinq BOftIy in the corner THE REAPER
_erqes out of the _11 riqht behind her, reaches over
her shoulder and .inks bis hand into ber chest I FRANK,
CYRUS and STUART all descend on LUCY and THE REAPER
CYRUS and ~ART qrab hie hand, while P'RAIIlt pulls LUCY
back across the cell, holdinq her protectively.
THE REAPER'S hood falls beck. revealirMjJ a uull-like
face, vith fluid, cbanqinq features. The 8Outh, a black
hole vith jaqqed piranha teeth, qapes shapele. .ly. Yellow
pin-point eyes blaze froa sunken sockets.
THE REAPER sinJts his teeth into CYROS' S neck
ectoplasm sprays fro. the wound as CYROS drops to his
knees, screaminq.

FRANK looks intently at LUCY.

FRANK
(whisr'!!rs)
Call for the quard ... nice and
cal
LUCY
(callinq)
Deputy! I'. ready to leave, thank
you.
STUART pulls CYRUS into the .iddle of the roo. .., THE
REAPER has vanished.

CYRUS
(pained)
I'. leakin' real bad, man!
c
STUART ~'\,
(worried) ('~
He's losinq ectoplas., rca~~
AT THAT MOHENT THE REAPER' ~ ~cythe
swinqs down,
throuqh the wall it co.es down onto the top ot
STUART'S head, i.palinq hi. to the floor in a qhostly
heap! THE REAPER steps into the roo.
The sound of the door beinq unlocked
.
FRANK watches. helplessly .s THE REAPER sweeps his hand
down, scoopinq a qhostly liqht out ot STUART'S crumpled
chest he holds the liqht alott, squeezinq his tinqers
lpltil the liqht showers into the air dissolvinq
into ncithinq.
The cell door opens ...
CYRUS
Cscre. .inq)
.- Get out. Frank!
CYRUS throws hi_elf at THE REAPER in a qrief tueled
trenzy THE REAPER starts hackinq at hi. with his
scythe.
DEPu1't 1 enters the cell
f
P'RAJnt punches hi. out! He qrabe DEPuTt l ' s handqun
takes LUCY by the hand and they neel
 INT. SHERIFF'S OFFlCE/VARIOUS CORRIDORS - HIGHT

FRANK and LUCY race down deserted corridors, trying to

find the rear exit they round a corner and come face
to face with AGENT HILTON DAMHERS he's carrying a bag
of takeaway food, and barely has time to react before
FRANK barges into him . DAMHERS is propelled through a
doorway, into a janitor's cupboard .

EXT. BACK OF SHERIFF'S OFFICE/ALLEY - NIGHT

FRANK and LUCY escape from the back of the Sheriff's

Office' into a maze of dark alleyways.
At a safe distance, FRANK pulls up, breathing heavily.
LUCY
(scared)
What is it, Frank? What did you
see in the cell ... I felt
something touching my beart!
FRANK pulls the revolver out of his pocket .,. he checks
the cylinder LUCY looks alanaed. .... '0
r" )-
nwot . ,..... ..;
(frustrated) .. '. \ ~
I can't fiqbt bill, LUCY~~. I
can't protect you

- FRANK pauses be looks at LUCY with tenderness... then

he suddenly raises the pistol to his temple. LUCY gasps
FRAHX (CONT' D)
I gotta bav~ an out of body
experience and I gotta bave it
right now!
LUCY
~ (hushed, borrified)
HoI

nwot
(tense)
'!'urn around, Lucy go on, walk
away now I
Sweat rolls down Frank's forehead as bis finger tightens
on the trigger LUCY slowly reaches for the pistol
be steps away froll her '" the hlUlllDer cocks back she
takes his hand and gently pushes the pistol away from his
bead.

LUCY
C80ftly)
~ere's another way ...
CU'1' TO:
INT. MEDICAL CENTER FREEZER - NIGHT
BLACKNESS . Then the door of the Medical Center's walk
in freezer opens' FRANK and LUCY peer in through
clouds of sub-zero condensation.
T.UCY
You'll have twenty minutes. max.
Any longer and there's a danger of
tissue damage .'.

INT. MEDICAL CENTER FREEZER ROOM - NIGHT

LUCY looks at FRANK
LUCY (CONT'D)
can
And that's only if I
successfully revive
There's no quarantee.
you ...
FRANK starts to take his clothes off. LUCY jabs a needle
into his upper arm.
,. '(;;
LUCY (CONT'D) "
This will slow your heart ra..ttt and
lower your body temperatrft.}
(tearful) " "
Frank You don't have to do
this.
FRANK smiles reassuringly at LUCY She dabs at her
eyes with a handkerchief. P'RAHJt g.ntly takes it and
tenderly wipes away her t.ars.
FlWfl(
You get one chance at Post Morte.
Survival... I can't do thi.
again, Lucy. W.'ve gotta g.t it
right fir.t ti.e
(urgently)
Let's gol
FRANK .teps into the freezer, wearing only hi. boxer
shorts h. i . .ediately hugs hilllS.lf against the cold.
LUCY wind. the t perature control to aax fr.eze.
LUCY
(.oftly)
,
It won't take long
FRANK nods LUCY .wing. the door .hut, wiping tears
away. She peers into the freez.r through a .aall glass
window. FlWfl( grin. at h.r. She ki the tips of h.r
finger. and prs th against the gl...
INT. MEDICAL CENTER FREEZER - NIGHT
FRANK kisses his fingers and presses his hand against his
side of the qlass~
FRANK sits down in the corner of the freezer, si tting
very still . with LUCY'S handkerchief clutched in his
hands.

INT. MEDICAL CENTER FREEZER ROOM - NIGHT

LUCY is lIOving quickly and effiCiently . She has
prepared blankets, syringes and now wheels in the
Defribrilator - the electric shock IIIBchine. LUCY wipes
gel onto the paddles:
LUCY peers into the fr~ezer window
LUCY'S POV: FRANK is very still his skin is blue with
cold, ice has started to fora faint clouds of breath
are still visible.
MOVING POV: SOlllething approaches LUCY fro. behind 1 It
moves quietly towards her a. she peer~J . ~iito the
freezer
\~
LUCY turns and screamsl ~~
MILTON DAMMERS grins at her, roughly shoves her to one
side he peers in at FRANK. A ile crosses hi. lips.
DAMKERS
I didn't know you had an interest
in cryogenics, Dr Lynskey.
LUCY glances at a wall clock: 9.00pa.
LUCY
(worried)
I've qot to revive hi. in twenty
llinute
DAHMERS
(.ock puzzlement)
What on earth for?
LUCY Balte. a move toward. the freezer door DAMHERS
pulls hi. gun out. ae ai. . it at LUCY.

INT. MEDICAL CEHtER FREEZER - NIGHT

FRANK i. frozen He exhale., hi. breath ban9inq in the
air then noth1nq.
A sliqht movement FRANK'S EHAHATION starts to stir
within his body. His head appears, gently sliding out of
the corpse's face. FRANK then slowly eases hillSelf out of
the rest of the ~dy.
The freezer is suddenly bathed in white liqht the
frozen crystals sparkle, as the ethereal corridor
appears. FRANK looks into it, awestruck it obviously
has a strong attraction, but he backs away against
the freezer door, then throuqh it!

INT. MEDICAL CENTER FREEZER ROOM - NIGNT

FRANK falls out of the freezer, onto the floor. He
springs to his feet and flies into the air for a
moment he is unused to his new qravityl

Lucy?

LUCY has qone

EXT. MEDICAL CENTER - NIGHT

CLOSE ON: DAKHERS locking a handcuff onto a roll bar in
the back seat of a squad car. LUCY tries to pull her hand
free, with no success.
LUCY
(screlUlinq)
You bastard! Let.e gol
DAKMERS turns the car stereo up to drown out her yells.
He steers the car out onto the street
~~l-_ ;lust. as THE REAPER rises fro. the sidewalk! THE
REAPER starts to run, qracefully, efter DAKMERS' car as
it enters a stream of traffic.
FRANK staggers out Of the Medical Center, desperately
looking for LUCY. He JDOves awkwardly, unable to get used
to the rubbery nature of his translucent body.
FRANK sees the inJcy black form of THE REAPER way ebead,
as it closes in on the squad car!
FRANK starts runningl

EXT. FAIRWATER STREE'l'S - HIGHT

FRANK flows through the air his f_t connect with the
qround, but he IIOve. much faster than noraal. '!'be
particles that form his banation body ebb IIDd flow
behind hi., creating the effect Of silvery slipstream.
 01.

DAMMERS ear turns onto a freeway onrlllllp .,. THE REAPER

closes in .,.
FRMK slides to a stop . he can't make up the ground.
Kewatches helplessly as the squad car joins the
freeway traffic
FRANK looks around .,. he spots a nearby freeway
overpass - the squad car will drive beneath it in a
.atter of seconds FRANK sprints towards it!

INT. SQUAD CAR/FREEWAY - NIGHT

LUCY struggles helplessly in the back of the squad

car THE REAPER is visible through the rear window as
it reaches the car.
THE REAPER leaps onto the roof of the squad car .. it
clings on like a giant spider, plunging it's hand down
through the roof
LUCY pushes herself to one side, trying to attract, the
attention of passing motorists unbeknownst ~~\1)~r.
she has just slid out of the way of THE REAP!;2's. pl.ng
skeletal hand I ~ ~\ \:).

EXT. FREEWAY OVERPASS - HIGHT

- FRANK arrives on the overpass sees the approaching

squad car below, THE REAPER on the roof.
FRANK hops onto the railing, carefully judging the DOment
to leap as the squad car races along in the thick
traffic.

FJ!Al!K jlDRPs!
But his body doesn't drop it gently floats down,
wafting on the air currents! FRANK watches helplessly as
the squad car passes below hi. and speeds .way!
FRANK kicks at the air, and disappears through the roof
of a bus!

INT. BtJS/FREEWAY - HIGHT

FRAHX scraJlbles about on the floor of the bus he

,
starts running down the aisle towarc1a the front

EXT. FREEWAY - HIGHT

1'RAHK flies out of the front of the bus, and bits the
road running the bus is going at 50 1Ipb, l"RANlt at
60 70 .'. 80 as be gains on the squad ear.
 f) r. .
lIlT. SQUAD CAR/FREEWAY - HIGHT

LUCY in FG as THE REAPER'S head and shoulders slide in

through the root above her. he reaches into her
shoulder, his arm'buried up to the elbow as he gropes for
her heart!
THE REAPER
(silky menance)
Don't fear The Reaper!

EXT. FREEWAY - NIGHT

FRANK hits 8Smph, becominq an almost amorphous fluid, his

body discombobulatinq in the slipstreaB.
-- FRANK reaches the squad car he dives torward,
qrabbinq hold of THE REAPER'S ankles I

lIlT. SQUAD CAR - NIGHT .-' '~,

...:
LUCY is clutchinq her chest, qaspil'lf.. ~\ ~r~ath
THE
REAPER snarls as he is suddenly whi~lf back throuqh the
roof!

EXT. FREEWAY - KIGHT

THE REAPER slides ott the squad car He and l"RANJ(

tumble onto the road at high speed. They roll in a tangle
as the squad car drives off into the darkness. Cars
speed through FRANK and THE REAPER as they grapple with
each other.
THE REAPER is frantically snappinq and hissinq at FRANK,
w~o " holds hiB by the throat. FRANK punches THE
REAPER'S face, again and aqain , THE REAPER'S features
alter The skeletal eye socket becomes more human with
each blow FRANK peuses
FRANK
(between teeth)
.' Who are you?
THE REAPER roars and throws FRANK oft FRANlt rolls
away into the stream of traffic, and is butfeted around
by the speeding ears and trucks.
THE REAPER springs to his feet, producing the wooden
staff trom' beneath his cloak CLICK I The st.el blade
ot the scythe locks into placet
FRANK backs away as THE REAPER approaches, scythe
raised THE REAPER eharqee and _inqs at FRANK,
narrowly missing hi..
As TRUC:XS speed by, the slipstreua causes FRANK and
THE REAPER spin and float '" The scythe cuts through the
air . FRANK dives to the ground - and is illllDediately
flattened by .the wheels of a large truck!
FRANK reforms his shape and turns to run - straight into
the path of oncoming trr.tfic!
TRACKING BACK: with FRANK running towards camera in FG,
THE REAPER hot on his heels A BUS passes through them
- for a few seconds, only FRANK and THE REAPER'S head and
shoulders are visible above the floor of the speeding bus
as it. hurtles away from camera. Then, they're outside
again '" FRANK is running as fast as he can, but the
REAPER is gaining on hi More TRUCKS, CARS and BUSES
pass through the. in quick succession.
FRANK looks desperately ahead as a huge MAC TRUCK rockets
towards hi He holds out his arms, squeezing his eyes
shut in concentration At the moment of impact, he is
collected by the front of the truck I FRANK'S body
flattens against the truck as his direction changes
instantaneously I He just manages to raise ~i... foot and
smash it into THE REAPER'S face as he coLli~i with THE
REAPER at high speedl \ ~ -
THE REAPER is rocketed off his f~~ disappearing over
the freeway barrier as FRANK speeds away, clinging to the
front of the truck.

EXT. OFFRAMP/STREETS - HIGHT

The truck .turns off the fre_ay FRANK looks around

desperately and sees DAKKERS squad car heading up a
distant street towards the hills.
a. ~.eaps off the truck and starts racing across town

INT/EXT SERIES OF BUILDINGS - NIGHT

FRANK takes the shortest possible route to intercept the

vehicle: Through walls, into houses, bedrooms ,
factories, a library. PEOPLE are unaware of the silvery
ghost speeding through their premises.

INT. DAMMERS. CAR/FAIRWATER STREETS - NIGHT

DAKKERS stares intently ahead as he steers the car

towards the hilla. LUCY tries to tug at the handcuffs,
but to no avail. She catches sight of DAMMERS' black eyes
staring at her in the rear vision mirror. DAKKERS holds a
hand in the air, exposing a small swastika tattooed on
his pal
 DA)O(ERS
(intense bitterness)
Squeaky l'rolllBe. Spahn Ranch
nineteen sixty-nine. I was her sex
slave for six lIIonths. Six lIIonths
spent in the service of Illy
country, dis<:uised as a filthy
hippy!

EXT. CEKETERY ROAD - NIGHT

FRJJIX elllerqes out of awarehouse wall, racinq onto the
road, directly in front of DAHKERS' car.
THWACK! He is collected on the hood, and frantically
qrabs hold of the roof to avoid beinq blown off.

INT. DAMKERS' CAR - NIGHT

DAMMERS
I find cemeteries very restful
places don't you? r, 'tJ- '0
LUCY .<.~'
(desperate) l" 't'o
\ \--
oJ' '"'
Let lie go, you bastardl

- DAMMERS
I intend to, Mra Lynskey .s
soon .s we've watched the sun
rise ...
DAKMERS looks at his watch: '.35pm
DAMMERS (CONT' D)
in nine hours tillle.
FRJJIX thrusts his face throuqh the windscreen.

Lucy!
LUCY dOesn't respond.

EXT. FAIRWATER CEMETERY - HIGHT

The rollinq, Gothic Fairwater Cellletery is dark and creepy
the li,hts of Fairwater, spread out in the valley
below.
As DAMMERS st.era the squad ear through the cellletery
I)atea, !"I!ANX sees '!'HE REAPER in the distance, a black
_udqe 1)11l1inl) throuqh town towards the ceaetsry bill.
 <t I.
The squad car pulls to stop between tombstones on a bluff
above the town DAMMERS gets out. starts to unbutton
his shirt.
AT THAT MOMENT: TWO LARGE GHOSTLY HANDS suddenly qrab
FRANK'3 shoulders, yanking him off the car!!
The fearsome GATEKEEPF~ holds FRANK in the air like a
rag doll!
GATEKEEPER
(quttural)
State your business!
FRANK struggles, but the GATEKEEPER has an iron grip ...
FRANK
It's me Bannister I
GATEKEEPER
(quttural)
You ain't Bannister no more
you's just a shitty little spooisJl..
FRANK t \\ \ ~ '-'
(desperate)
Listen to me I There's an evil
spirit coming up that hilll
HILES (O.S)
(yelling)
Shut up, you sub-human Emanation!
HILES marches over aiming his ghostly UZI sub-machine gun
at FRANK.
INSERT: Rushing POV up the cemetery road.
FRANx struggles helplessly as HILES screams at him
HILES
(yelling)
You contemptible beap of
teleplasmic ahit! If there was an
evil apirit loose in this town, I
would be negligent in my dutyl
(acreaming)
Are you eccusing Be of
profeaaional incompetence??? Are
you aaying that I . . one prize
,
piece of anUB breath?
JUDGE (O.S)
Z 've bad aa BUch of your foul
mouth aa I can atomach, aon.
HILES apina around and atarea in disbelief at '1'HI!: JUDGE,
who ia peering out of hia grave.
 JUDGE (CONT'D)
I suggest you treat Mr Bannister
with a degree of respect, boys.
HILES
(screaming)
Get back in r';)ur grave, you senile
old goat!
JUDGE
Get'em Rustler!
RUSTLER suddenly springs out ot the JUDGE'S grave,
clamping his jaws onto HILES' wrist. He screams,
dropping the ghostly UZI.
_The GATEKEEPER throws FRAHX to one side and rushes
forward. He clutches at RUSTLER, attempting to haul the
ghost dog oft HILES.
RUSHING POV: Moving through the cemetery gates at very
high speed HILES and THE GATEKEEPER are visible
ahead
RUSTLER leaps back into the grave and THE JUPG!
ducks his
head below soil, a. the tearsome REAP~clQkIa'in.
f~\\.o
THE GATEKEEPER steps forward, pro~ecting HILES.
GATEKEEPER
State your businessl
THE REAPER doesn't hesitate he gracefully .wings his
scythe, splitting THE GATEKEEPER in two from bottom to
top! HILES has no time to react, he is beheaded
with an equally fluid swing of the scythe.
\
RUS~ING POV: Heading through the tombstones, straight for
the parked squad car closing in on LUCY at phenomenal
speed!

IHT. DAMKERS' CAR/CEMETERY - NIGHT

LUCY ta uaing the clasp ot her watch to unscrew tha roll
bar from the side ot the car
THE REAPER glides in through the door and si ta beside
her. It's boney hand hovers above her chest.

, '1'JfE REAPER
(sUky menace)
Don't tear The Reaperl
AT THAT MOMEN'l'1
FRAJIX leans over tro. the tront seat. He swings the
ghostly UZI into THE REAPER'S tace!

GO to "hell .
FRAJIX tires directly into THE REAPER'S hood! I!

tXT. DAMMERS CAR/CEKE'l'ERY - NIGHT

The blast sends THE REAPER flying out the back ot the
car . FRANlt leaps out, firing again - a whithering
burst. THE REAPER convulses and shudders as the ghost
bullets thud into their target.
THE REAPER snarls and roars as he is literally shot to
pieces .,. Larqe lUllps of his body fly into the air -
dark glutinous masses that land on qround with a wet
splat.
Throughout, DAMMERS is oblivious to the ft=:\.$rJII. He
stands in the IIOOnlight, holding his "hi~ open. He
suddenly spins around, showing LOCY"~~~o covered in a
lDass ot cultish tattoos and sCllbt: Ris tace is not
visible to her, but she watches his tinger trace along
series ot voodoo symbol., roughly carved into hi. chest.
DAMMERS
(intense bitterne.s)
Nineteen eighty one - Haiti I
intiltrated the Cult ot the Dead -
I va. involved ritualistic
cannibal i , in orqia.tic dancea,
reaching paintul thresholds ot
intense physical eroticia
'J'JIE! REAPER'S severed right era aails past DAMMERS'
head '" THE REAPER'S body collapses as it's face tlies
into the airl
FRANK stops tiring he surveys the aultitude ot shiny
black puddles that vas once THE REAPER
DAHKERS steps away tro. the car
OAHKERS
I have suttered for ay country, Dr
Lynskey
He sere... at the night sky, the veins on his neck
bulge... '
DAMMERS (CONT'D)
escrea.ing)
aut I cannot be broken I
LUCY seizes the mOllent! She pulls against the bar with
all her might, ripping it free! Within a second, she has
slipped the cuffs free of the bar, and desperately
attelllpts to loc;:k the car doors as DAMMERS spins
around ...
DAKMERS hauls on the b:-ck doors as LUCY scrambles over
the seats into the front She quns the engine '" The
clock on the dash says 9.42pm.
DAKMERS screalllS as the squad car rockets away towards
the cellletery entrance he races after it.
FRANK is standing amidst the remains of THE REAPER .. He
notices a movelllent - THE REAPER'S face it lles on the
qround like a slice of jello. It's IIOUth gapes
soundlessly eyes following FRANK with hatred.
THE JUDGE's top half walks up on his hands, surveying the
remains of THE REAPER
THE .JUDGE
Gotta hand it to you, Frank " ' ,
You've taken out Death himself",. 't:;)
(: . ) .
nwnt C Q \!).
This ain't Death. t" "
FRANK scoops up the twitchinq faca and bolds it up at
arlllS lenqth... it hangs like a quivering, snarling
jellyfish.

Who are you?

THE REAPER'S face sneers ...
". ... THE REAPER
(qasping)
Don't fear The Reaper!
In a burst of anger. FRANlt swill9s the face against a
qravestone, slapping it bard like a wet towel.
nwnt
(yelling)
Who are you???
nwnt slaps the face against a qravestone, egain and
again with .acb blow, THE REAPER'S face alters
,
slightly - becoaing acre huaan!
nwnt throws the face against a qrave it slides to a
stop on the stone slab, qrinning evilly at PRAIIlt.
THE REAPER'S face bas now become that of a twenty-two
year old psychopathic killer
 FRANK
(quietly)
Johnny Bradley
. '. JOHN CHARLEs- BRADLEY circa 19541! His face slowly
slides, qrilDacinq on the stone, oozinq a puddle of
ectoplaslD.
FRANK (CONT' D)
I thought quys like you fried in
hell.
BRADLE'S FACE twists into an arroqant sneer.
JOHlfHY
(qiqqlinq)
I qot out, Frankl
BRADLEY'S FACE slips over the edqe ot the stone slab and
slides down the vertical tace of the grave, leavinq a
slilDe traiL
. '.
... ....
.....
JOHlfHY (CONT'O) ',; ..
(evilly) cQ \ ~
I bin carryinq on the qood 1I0P.it1
Got .e a score of fortyl
An elderly Emanation loou out of the darkness ee
offers his hand to FRANK
SINCLAIR
Harry Sinclair I just vanna
shake the hand of the aan vho's
finally avenqed .y death.
FR1t.HJC shakes hands vi th Sinclair. JOHlfHY starts
qiqqlinq.
JOHlfHY
Did I slit your throat, or rip out
your liver, old _n? I don't
recall
FRANK reacts to a nuaber -12" etched into SINCLAIR'S
forehead.
FRANK
.(quietly)
You've qot a nuaber

,
SINCLAIR touche. his forehead .elf consciously.
SINCLAIR
Bradley carvlMS it into ay forehead
a. I lay dyinq. ".'ve all qot
thea one thrU tvel va.
JOHlfHY
One sore than StarJtweather!
 fr;
SINCLAIR
I was the last.
This cOlDlllent elic_i ts a chuckle from BRADLEY
JOHNNY
He couldn't ')e more wrong, could
he Frank?
Before FRANK can react, BRADLEY'S FACE suddenly flows
into cracks in the base of the grave!
FRANK-looks around as the other glutinous black remnants
of THE REAPER gather like globular mercury, scuttling
into cracks and crannies... disappearing below the
surface of the ground!
FRANK
(scared)
Shit!
FRANK runs a couple of paces, and dives head_f~ into
the grave that BRADLEY disappeared into! ~ \..

INT. SERIES OF COFFINS - HIGHT

~~\ -
FRANK slides into a coffin, landing in a crouched heap
on top of a dusty skeleton. He i_ediately propels
himself through the side of the coffin
into another coffin. He just catches a glimpse of a
slippery BLACK MASS disappearing through the floor of the
coffin ~ FRANK sinks his head through the floor of the
coftin, using his feet against the lid to push himself
downwards
" .
INT-; FAMILY VAULT - HIGHT
FRANK comes slidi~g through the ceiling of a deep vault -
a series of inter-connecting dark roo. . , lined with dusty
coffins. FRANK lands in a heap on the floor. BRADLEY is
crawling on the floor ahead of FRANK, his legs and other
parts-of his body reforming as THE REAPER takes shape
again!
FRANK diVes onto BRADLEY'S back, rolling on the floor .
BRADLEY snarls - his aouth suddenly distorting into THE
REAPER'S aouthl PRAHK squeezes his fingers into JOHHHY'S
throat The sticky black body parts crawl over FRAHX'S
back, refoning - encapsulating FRANK within THE REAPER'S
body I FRANK has only seconds left
FRAHlt
Got any tricD up your sleeve,
Johnny?
FRANK reaches into THE REAPER'S black sleeve , He pulls
out the wooden staff! FRANK bangs the base against the
wall and the steel blade swings out!
Sudden fear glints in JOHNNY'S eyes1
FRANK slides out of JOH1~Y'S grip, raising the glittering
blade of the scythe .,.
FRANK
(grimly)
End of the line, you murdering
freak!
THE REAPER'S features suddenly shrivel into JOHNNY'S
screallling face as FRANK swinqs the scythe down towards
his neck!
AT THAT PRECISE MOMENTl
CRASH CUT TO:

INT. MEDICAL CENTER - HIGHT ~'t. ;.,

:.
.... ). '"'
FRANK opens his eyes!
LUCY (0.5)
(elated)
Prank I
FRANK is lying on a qurney in a puddle of melted ice. He
gasps for air .,. LUCY i. holding the paddles of the
Defribrilator, a buge smile liqhting up ber face. Or
KAMIHS is in his dressing gown .,. be prepares a syringe,
which he qUickly jabs into FRANK'S arm.
DR KAMIHS
A bundred milligrams of
Lydocaine Lucy - get me 1 cc
of Introcardiac Aclrenalin
Quick now!
...
LUCY hurriedly prepare. another syrinqe .,. FRANK tries
to talk
FRANK
(qaspinq)
I didn't qet hi ,.
DR KAMIHS jabs the syringe into FRANK'S chest LUCY
leans close ,to FRANK.
LUCY
Who didn't you qet, Prank?
 FRANX
(qaspinq)
Bradley Johnny Bradley's come
back He's killin;
aqain -
LUCY is shocked
LUCY
(worried, hushed)
Patricia ...
OR KAM~NS smiles at her.
DR KAMINS
Oon ' t worry , Lucy He's
hallucinatinq. It'll pass. We've
got sinus rhythlll, he's
stabilizing.
LUCY backs away .
- ~ I;)
LUCY '.j jio

I've qotta qo, Frank.

FRAme, unable to ROve, stares belplessly at LUCY. OR
KAMINS looks at her in surprise as she hurries out ot the
room.
CUT '1'0:
EXT. BARTLE'l"l' HOUSE/SANATORIUM - NIGH'l'
LUCY'S CAR speeds throuqh the old hospital qates, takes
the corner too tast and slides to a baIt in the driveway.
She leaps out ot the car and races up to the BARTLETT'S
front door a light qlows trom inside.
" .-.
~

INT. BARTLE'l"l' HAUMAY - NIGH'!'

LUCY comes bursting into the hallway PATRICIA emerges
fro. the lounge, looking alarmed at LUCY'S sudden
arrival.
PATRICIA
(surprised)
Dr Lynskey?
LUCY hurries over to her.
, LUCY
Look Patricia 'l'bis ally sound
crazy, but I think you're in
danger from John Bradley!
PATRICIA tenses up, a look of terror on ber face.
 PATRICIA
(tearful)
Who told you???
LUCY looks at her questioninqly ...
PATRICIA (CONT'D)
( qui ',Ter ing)
He visits me a~ niqht I don't
know why he comes he torments
mel
PATRICIA touches the ugly purple welts on her neck.
PATRICIA (CONT'D)
Why has he come back? All I being
punished???
LUCY
(qently)
No... sometimes when you go
through a trauma, it. al ters your
perception. It allows you access
to the pert of your mind that \ G
connects with the spiritual worl.s1~
Bradley i. using thi. aceess to
prey on you again.
PATRICIA dissolves into a flood of frightened tears. LUCY
hugs her.
LUCY (CONT'D)
Come on let'. qet out of here.
OLD LADY BARTLE'rl' (O.S)
Patricia never leaves the bousel
OLD LADY BARTLETT stands at the top of the stairs
LUCY
I'. sorry, Mrs Bartlett, but she's
coming with me.
OLD LADY BARTLETT
: escreeching)
You bave no right! She's .Y
daughter!
OLD LADY 8ARTLE'1'T starts to descend the stairs.
OLD LADY BARTLE'l"r (CONT'D)
, (to PATRICIA)
Get upstairs I
 LOCY
(anqry)
Are you going to feed her 1II0re
drugs, Mrs Bartlett - is that what
you intend to do? Another lucky
dip into the sui tease under your
bed?
OLD LADY BARTLETT freezes '" her eyes blaze!
OLD LADY BARTLETT
(furious)
You've been in Illy rooll!
LUCY
The police lIight like to look in
your closet too!
OLD LADY BARTLETT turns and belts upstairs! PATRICIA
hurries after her
PATRICIA
(calling)
Kother!
PATRICIA disappears into OLD LADY
LUCY paces the hallway nervously.
A cool breeze wafts through LUCY shivers she
looks around uneasily
WALLPAPER ripples ever so slightly
.
FAINT SOUND of OLD LADY BARTLETT in tears.
PATRICIA eaerges froll the bedrooa She smiles at LUCY
.s:. she descends the stairs.
PATRICIA
Mother wanta to talk to the
police _he has things she
wanta to tell th_ She'll be
down in a ainute.
LUCY nods reassuringly. PATRICIA hugs her.
PATRICIA
Thank you for COiling tonight
PATRICIA _,iles gratefully at LUCY.
ANGLE ON: LUCY THE REAPER is standing right by her
sboulder1 The nlDlber 41 glows on LUCY'S forehead.
LUCY
It'_ no probl_.
'rifE REAPER'S PACE contort. into BRADLEY.
 JOHNNY
(aqUated)
I wanna kill her now, Pattyl
That'l~ qive us forty-one! Eiqht
clear of Gacy another nine and
we'll have broken Bundy's record I
I wanna see Ted's face when he
hears the newsl
PATRICIA
(excited)
Yesl
LUCY looks puzzled .. . PATRICIA smiles
PATRICIA (CONT'D)
1'111 sorry I was thinkinq out
loud '" Let's wait in the lounqe.

INT. BARTLTT'S LOUNGE - HIGHT

, .- ',)
PATRICIA sits in an armchair '" LUCY sits CilPJ?:Osite;
JO~NY is terribly wound up he paces ~, \:LUCY'S
chal.r. t"

JOHNNY
(anqry)
That asswipe psychic nearly ruined
it for us toniqht Patty I Se made
us look stupid!
LUCY
You know '" you don't have to
stay in this house. You could
start your life ovar sOlllewhere
else ...
'.
JOHNNY rushes over to PATRICIA'S chair
JOHNNY
That Russian cannibal creep is
sayinq be cUd fifty-plus! It
reflects badly on us all, Patty I
This record should be held by an
American!
PATRICIA
I quite aqree.
,
JOHNNY qrabS PATRICXA'S hand and runs it across his lips,
and up the side of bis cheek.
JOHNNY
Co.e on baby, let's take her out!
LUCY watches PATRICIA'S hand rise into the air and rotete
in delicate DOve.enta.
 LUCY
I could help you it you like.
PATRICIA
That would be nice.
JOHNNY nuzzles PATRICIA'~ ear .,. she giggles. LUCY smiles
nervously as PATRICIA sudd~nly rises.
PATRICIA (CONT'D)
I'm making soae cottee want
some?
LUCY
We probably should be going
PATRICIA
Oh, Mother takes forever. I won't
be long .,.

PATRICIA leaves the roos. "". "-J.0

'W

INT. BARTLETT KITCHEN - KIGHT

PATRICIA wallta into the kitchen, with JOHNNY scurrying
behind her.
PATRICIA
(whispera)
Patronizing do-gooder bitchl
JOHNNY
You kill her, Patty! I'll watch!
PATRICIA grins and opena a drawer she piclta up a huge
carving lenife.
JOHNNY (CONT'D)
I love to watch you do it.
PATRICIA holds the knife down against her aide and heads
back towards the lounge

Itrr. BAR'l'LE'T'I' HALLWAY - KIGHT

PATRICIA'S POV: Moving alowly towarda the lounge
doorway LUCY ia visible, back turned, browsing at a
bookcaae
PATRICIA qripa the knife tiraly
AT THAT MOMENT '"

A LOUD JOIOCXIKG at the front door III PATRICIA freezes

ahe ' a atanding riqht beaide the door alidea bar
behind her back.
 . - -.
LUCY turns, looks back
qlances at the door.
into the hallway ... PATRICIA

JOHNNY
Don't oPen it.
LUCY walks towards PATRIClA . Another LOUD KNOCK.
PATRICIA
I'll qet it.
PA~CIA opens the door
. .. KILTON DAKKERS is standinq on the doorstep
DAMKERS
Agent Kilton Dammers
DAKKERS holds his badge up 4 l~
. ..),
1-
DAMKERS (CONT'D)
Federal Bur~~ \ of
Investiqation. ~

PATRICIA hesitates for a ao.ent

Without warning, she slashes with the knife! DAMKERS
hand is sent flying, still grippinq his badqe! PATRICIA
stabs hia in the Chest aqain and aqain!
LUCY backs away fro. the front door look of horror
spreadinq across ber face
JOHNNY islauqhing he qrabs LUCY'S ara and flinqs her
aqainst the stairs.
JOHNNY
~ :. Go Patty, qol1!

PATRICIA spins around to face LUCY

blood dripping froa the knife.
... eyes ablaze

LUCY screallS and races up the stairs PATRICIA runs

after .ber.

INT. OLD LADY BARTLETT'S BEDRooK - HIGHT

LUCY runs into the bedroo., sl.-ing the door turning

the key.
, LUCY
(panicked)
Mrs Bartlett!!1

CRASH INTO: OLD LADY BARTLE'l"l"S blood soaked corpse

propped up in bedl
LUCY SCRlWfS I
 JOHNNY'S FACE warps out of the door sinks back. then
slides out of the wall as WALLPAPER KAN, clutching the
blood splattered kitchen knife in his paper hands.
-
LUCY ducks to avoid a slashing blow she screams
as the WALLPAPER KAN stretches from the wall and follows
her .....
SMASH! The BEDROOM WINDOW is kicked in!

f'RAHK (O.S)
LUCY I

FRANK leaps into the room in a shower of glassl!1

WALLPAPER MAN lunges at LUCY '" the knife arcs down
towards her f'RAHK intercepts and grabs WALLPAPER
KAN'S ara, pushinq hi. against the broken window. FRANK
slides WALLPAPER MAN'S wrist against jagqed glass,
slicing his knife hand offl
JOHNNY screau snd recedes into the wall
discards the knife and grabs LUCY.
f'RAHK ., ."\
...........
Come onl '
\:.. ....
BANG 1 A qunsbot splinters the bedroo. ~~';- near the
lock FR.\lm helpe LUCY throuqh the ~roken window
BANG I The lock is .hot out

EXT. BARTLETT HOUSE/SANATORIUM - HIGHT

FR.\lm and LUCY flee alonq the narrow balcony that skirts
the house and over II . . .11 bridqe linkinq the house
with the old hospital grounds.
"'<r- ~_

EXT. SANATORIUM - HIGIl'1'

An abandoned, ivy clad Victorian Consumption Hospital

prawlinq building overgrown garden. cracked
weed-raddled pavinq. Windows are _a.hed graff i t1
deface. wall
FR.\lm and LUCY run acro.. the courtyard towards the East
Iring.

INT. ABAHpONED HOSPITAL WARD - KIGHT

MOONLIGHT filtar. in throuqh rottinq curtains, a. f'RAJOt

breaks into a large ward, full of sk.letal bedfraae. and
IIOldy . . ttr a. and LUCY dash down the centar
aisle throUqh an adjoininq corridor into
another equally larqe. rotten ward.
 SOUNDS OF FOOTSTEPS running in pursuit the SQUEAK of
rubber sales on the old linol.lDI. FRANK pulls LUCY down
behind an old rusty bed. They slide underneath it. The
FOOTSTEPS C01IIII into the ward PATRICIA'S f.et are
visible under the rows at old beds.
FRANK and LUCY hold th.'or breath as PATRICIA walks riqht
past their bed brie~ qlillpse of h.r scanning the
:rooll, ritle in hand she walks past thell and lIoves on
into the next ward.
PRANK and LUCY breathe a siqh at relief
LOUD COUGHING! Directly above thell! FRANK looks up as A
DECREPIT OLD MAN lean. over the edge at his bed and
snarls at FRANK and LUCY.
OLD JW(
(ra.py yell)
Orderly I
FRANK and LUCY scrUible out trolD beneath the bed ., 0

The Ward is suddenly bright lit with hospital lIercury

vapor lights .\1.1 the bedII are tull, wi th couqhi\)q ,
0

emaciated PATIENTS in regulation ho.pital garb. ~v ~

OLD JW( (COHT'D) \ ~\
(ra.py yell)
There'. atrangera under .y bed!
I .ay. Ordarlyll!
RATTLE at a trolley 0" FRANK and LUCY turn to .ee a neat
young ORDERLY wheel a tea trolley into the ward. He ia '00

dressed in an ia.aculately pressed white hospital

unit01'll, hia bair .Ucked back. JOHH BRADLEY grins at
FRANK and LUCY. .
,...... !..

FRANK grabs LUCY and propels her through a door into 0

IHT. HOSPI'l'AL CORRIDOR - NIGHT

... a BUSY HOSPITAL CORRIDOR, circa 1954. DOCTORS,
NURSES, PATIENTS and VISITORS jo.tle in the narrow space,
all going about their bu.in
PRAHlt and LUCY d_perately push through the crowd,
rai.ing the ire ot SEVERAL PEOPLE

, VISITOR
(annoyed)
Hey, watch it buddy I
PRAHlt and LUCY continue pushing peat PIOPLE '0,

IfURSB (0.1)
(brightly)
tooJt everyone! It'. JOUD9 Kiaa
Patty!
FRAJfJt and LUCY stop in their tracks the CROWD ahead
of thelll shrinks back aqainst the wall,revealinq a younq
15 year old PATRICIA BARTLETT cheerfully boundinq up the
corridor I
TRACKING BACK: with younq PATRICIA the liqhts dilll as
she suddenly chanqes into the adult PATRICIA I She
immediately swinqs thr rifle up, openinq fire
on
FRANK and LUCY now standinq in an elllPty darkened
corridor. Bullets zinq past FRANK PATRICIA reloads as
FRANK stares at her, seelllinqly unable to 1II0V
INSERT: Forest Day Hand r.loadinq Frank's rifle.
LUCY (O.S)
Frank!
BANG I PATRICIA fires aqain, just as LUCY shoves FRANK
throuqh a door

INT. HOSPITAL STAIRWELL - NIGHT

\) \.'0
and down dark, .piralinq stairwell .\~down and
down, into the old hospital baaelll.nt. ~ ~

INT. BASEHEHT CORRIDOR - NIGHT

LUCY and FRAHX run past pil.s of old .quipment and
beddinq stacked .qainat the walls.
SOUND OF HEAVY BREATHING:
PATRICIA (O.S)
....... ~.. . Oooh! Pl don't hurt . . I
The CRIES .cho down the corridor FRAJfJt and LUCY
fr.ntically look around
PATRICIA (O.S)
(pl.adinq)
No Don't Stop I Pl I
HEAVY FOOTSTEPS clanq down the stairwell FRARJ( and
LUCY tak. the near.st door, slamainq it shut faded
siqn on door reads: "IIOR'l'UARY.

INT. HOSPITAL MORTUARY - NIGHT

FRANlt and LUCY finds th_.lv.s in the cUllly lit hospital
IIOrqu. of 1954 fr.sb bodi.. 1i. on stainl s st l
troll.ya toe tagqad.
FRANlt l ds WCY tbrou9b the H. of tralleya
SUDDEMLY
 I VI.
PATRICIA (O.S)
(passionate)
Oooh, Johnny
They are loolcinq throuqh a doorway into the AUTOPSY
ROOM 0

POV JOHNNY and YOUNG PATRICIA are mllkinq love on the

0

autopsy table!
A RIFLE CLICK FRAHK and LUCY spin around Mul t
PATRICIA is standinq in the doorway, her qun swinqs
towards FRAHK
FRAHlC
(quietly)
That's my rifle
PATRICIA
I know.

She fires! FRANK takes a bullet in the shoulder he

falls backwards, literally into 1954, tumblinq aqainst
a trolley, knockinq a corpse onto the floor b
FRAHK lands on his back as the corpse,:,.fab.\ towards
him '" ~\ ~
FOREST INSERT: 'l'HUD! DEBRA'S bits the forestbod~
floor .0.
CLOSE Olf: FRANlt, face bloody. fro. the car
accident, lyinq on bed of pine nee4les. barely
conSCious, be looks up and sees PATRICIA
LOW ANGLE POV PATRICIA standinq uonqst the trees,
holdinq the rifle 0" she stoops down to .Debra's body,
producing a .calpel cuts into Debra's forehead. PRANK
squeezes his eyes sbut PATRICIA call1ly walks towards
FRAHlC the bsckqrouneS behind her swi_ and alters
FOR~ MORGUE FOREST MORGUE '"
,.~

PATRICIA boleSs the Gun muzzle against FRANK'S head in

the forest squeezes the trigqer PRANK shuts his
eyes CLICItI BIIptyl
FRAHK opens bis eyes aqatn LOW ANGLE POV PATRICIA
in the MORGUE ahe brinqs the qun butt eSown on bis
head, tnockinq hi. unconscious. LUCY screams I Sbe makes a
move towards PATRICIA, but JOHNNY slides out of the vall
and c;raJ her trOll behind I
JOHNNY
Finish bim ott
f
PATRICIA c;ratls a piece of coreS fro. a table ancS deftly
wraps it around FRAHlC'S neck with ruthless precision
sbe tvists it tiqbter aneS tiqbter
BOLD 011: LOCY'S borrified face as PRANK is str8Jl91ed to
eSeath.
PATRICIA stands back, the job finished JOHNNY starts
laughing.
JOHNNY
That was beautiful!
PATRICIA crosses to a bench and examines rusty old autopsy
instruments.
PATRICIA
(slowly)
I'll in the lIood for a little
vivisection.
PATRICIA holds up a wicked looking trepan saw, and a pair
of heavy duty surgical scissors.
PATRICIA (CON'l"D)
Which would you preter, Lucy?
After all .,. it's only tair that
you choose.
LUCY sobs JOHNNY tightens his qrip. ." \.b
JOHNNY _~~ ~ 'U
I like the one with the bi9 ~~I

PATRICIA discards the .cissors she holds the sawalott
, walks slowly towards LUCY.
PATRICIA
Let's se. it w. can' take the top
ot your skull ott while you're
.till conscious
LUCY screallS!!!. .
",bind. PATRICIA FRANK'S SPIRIT ris.s out of his
corps. .., PATRICIA bends towards LUCY rais.s the
saw FRANK'S SPIRIT qrabs h.r troll behind I
WHITE LIGHT. flood. the rooll All .ndl.s. CORRIDOR OF
LIGHT opens appe.r. above FRANlt'S body PATRICIA
struqql.. FRAMlt r... hi. qhostly hand into the back
of her neck h. pulls and wrench
JOHNNY clutch.. LUCY tightly h. .cr.... at FRANlt
JOHNNY
(screallinq)
I
Stop itll1
With lIiqhty tug, FRANlt rips PATRICIA'S SOUL out of her
living bodyl!! H.r lit.l corp drops to the floor
the GHOSTLY PATRICIA writh viol.ntly in lRARK'S aras.
FRAHJt back. towards th. CORRIDOR OF LIGft, clutching
PATRICIA lik. a hostag
 PRANl(
Come and qet her, Johnny.
JOHNNY
Nol
<JOHNNY throws LUCY to t."e side and rushes :~towards FRANX
and PATRICIA , FRANX hur:o:-ies into the CORRIDOR OF LIGHT,
draqqinq PATRICIA with him .,.

IHT. CORRIDOR OF LIGHT - WHENEVER

WHITE LIGHT swirls around FRANK and PATRICIA JOHNNY
comes after thelll up the corridor ~. we briefly qlimpae
the MORGUE ROOM behind JOHNNY before it is obliterated by
liqht.
IMAGES OF FRANlC'S LIFE sweep by His IIBrriaqe his
dauqhter his childhood his house
All the while, FRAHJI: is draqqinq PATRICIA further and
further up the corridor, stayinq out of JOHNNY'S reach.
'v)o
:"'. '\ \l
JOHNNY
(desperate)
Give her to _I
~.\t;.
FRANlC reaches the end of the CORRIDOR o. JOJDIIfY dives at
PATRICIA and qrabs her in an embrace, pullinq ber free of
FRANlC TWO FIGURES suddenly step in and take hold of
FRANlC .

STUART and CYRUS! For the first ti.e they bave the
ethereal qlow of bealthy Spiritel FRANK looks at thea in
amaze.ent They qrin.
n.\NJC . looksalarmed as JOHNNY and PATRICIA start to
escape back down the' tunnel I FRA.IfJC lIIIkes a BOve towards
the., but is restrained by CYRUS and S'l'UAltT.
STUART
Just step back, Prank this
isn't goinq to be pleasant.
AT THAT MOMENT The white corridor starts to transform
'00

0 pinky red tissue spreads and qrOIllll, jaCJ9ed teeth

protrude out of the flesb .,. The corridor has suddenly
becoae the inside of a delllOnic carnivorous worm, trappinq
JOHNNY and PATRIC:u. in it's belly!
They scr.... _ the fleBby _l1s close in around thelll,
acidic diqestive juices flowinq over their bodies, the
stollBch teeth startinq to devour th_1
ntAHX steps bact startled, _ the tunnel - U s l _ sbut
be finds biaaelf looJdnq straight into the face of III
buge blind worm I It breaks a_y, and wri991es down
throuqb the turbulent nigbt skies, ~ the fires of
bell!
 110.

CYROS
(impressed)
That's what I call an E ticket
ride!!.
STUART
Go hOlle, Fran~.

FRANK is confused

This is ho.e
STUART shakes his head.
STUART
It's not your ti.e.
CYRUS
Start livinq, dude I
CYRUS qives FRAHJ( a firm push be falls into space,
faster and faster ." FRANK tumbles as the LIGHT speeds
past hill .,.

Olb
INT. HOSPITAL MORGUE - HIGHT
~\\\G.
CRASH ZOOM into FRAJQt' S corpse. PLASH I FRANK'S eyes
flutter LUCY is kneelinq over P'RAHlt, qivinq bi. IIOUth
to IIOUth resuscitation. He groans and qaspa for air
tears stream down LUCY'S face sbe buqs P'RANlt.
FADE TO sua
EXT. FRAHJ('S HOUSE - NOUING
If'AQE UP '"

LOW ANGLE: FRANK'S HOUSE lit by the IIOrning sun.

A ROAR increasing CRASH! AlSULLDoZER -. . .shes into
the wall, splintering tiabers!
FRAHK-" is standinq, watcbing his house co.e down ...
J1JDGE (O.S)
I always .aid you'd never finish
that house, l"rank!
FRAHK t~ TIlE J1JDGZ'S upper body ia saddled up on
RUSTLER Hi. LEGS .tand nearby.
CRASH! As a_II collapaes.
PRAHJt
I'd call it finisbed, .l'Udqe.
 JUDGE
'!'his is goodbye, son I' III
beading out west with Rustler.
FRAKK glances at the JUDGE'S LEGS.
FRANK
Ain't you gonna walk?
THE JUDGE sadly shakes his bead ... lowers his voice.
JUDGE
(quietly)
Me and By vitals have COlli. to a
parting ot the ways
FRAKK nods Itnowingly It is a tender lIIolllent of lIIale
bondin;. THE JUDGE dotts hia hat and wheels RUSTLER
around, urging hia torward.
FRAKK watches the JUDGE and RUSTLER disappear into the
long grass across the road
LUCY slides her hands around FRANK'S waist
LUCY
'!'here's soaething I
you .
FRAKK turns and LUCY kisses hia tenderly.
FRANK
'!'hat's the saae thing you told ae
this aoming
'!'hey kiss again.
SHERIFF -PERRY pulls up in his SQUAD CAR He hops out.
SHERI'F PERRY
Sorry to interrupt, follt8
1Ibadda ya know al)out ow. ja boards,
Frank?
FJWIJt
Not a lot, Walt.
SHERIFF PERRY
We found a whole stack of tb_ up
at the Bartlett house LooIt8
l~k. Patricia bad hers. If a direct
line to ber dead boyfriend.
FRANlt nods SHEPIFP PERRY excuses biaself to LUCY and
takes FRANlt to one side
 SHERIFF PERRY (COHT'D)
(whispers)
Hey, Franlt '" I qotta a lot ot
vacation time owed to me. How
about you and me collaborate on. a
book about all this? Could be fmy
ticket outta_~e force.
FRANK shakes his bead.
FRANK
sorry, Walt I can't help
FRANK qastures towards the SQUAD CAR.

FRANK (CONT'D)
you could try asking your
Guardian Anqel.
SHERIFF PERRY spins around with alarm his car is
empty. Atter a moments pause, he CHUCKLES
SHERIFF PERRY
Good one, Franltl Ya really had me ,',
...-.
t V

goinq tor a mo_ntl Hal \ ~

\.l ~

SHERIFF PERRY hops into bis car and quns the in~ine.
FRANK waves sweetly
THE GHOST ot Ml:L'l'OH DAMKERS stares sourly out ot the
backseat ot SHERIFF PERRY'S carl!1
LUCY
'!'bat guy Dammers be sure looks
pissed I
~ .does a doUble take st LUCY she continues
starinq at the receding COP CAR.
LUCY (COHT'D)
SOIIeti_., Frank, when people go
throuqh a trawaa, it changes
th. . . . .
FRANK stares at LUCY, wide eyed ...
she turns and iles enigmatically

'!'HE END