1. Who's Beside You Now?
(Horror Sample)
by
Chuck Loch
14314 Summertime Lane
Culver City, CA 90230
Voice: (310) 713-5480
Fax: (310) 559-2331
chuck9@sbcglobal.net
Registered WGAw Number: 981098

2. 26.
FADE UP FROM BLACK:
INT. DORM ROOM DAY
Several dead BOTTLES of vodka overflow Clark's TRASH BASKET.
Clark lies on his bed. His stubble - now an unruly BEARD.
STAINS spot the SAME CLOTHES he wore previously.
He waves his hand in front of his unblinking eyes. His mouth
moves.
POV CLARK: -- All he sees is DARKNESS. His voice a series
of far-away angry GRUNTS.
CLARK
(filtered)
Damn you, God. Damn you.
END POV CLARK
CLARK
(shouting)
I mean nothing to you. So, you're
nothing to me. At least, tell me
you're listening. Answer me.
He chuckles. LAUGHS.
CLARK
Maybe you can't answer. Maybe you're
not there.
He stumbles to his desk. Sweeps hands over it. Finds the phone.
He feels the BUTTONS. Punches in a number.
INT. NEUROLOGY RESEARCH LAB DAY
It is a better day for Clark, his condition is in remission.
He can see, hear, and speak.
An Asian-American in a LAB COAT, HIROHITO TANAKA, 56,
distinguished, polite, all business, leads Clark around the
spacious lab.
A SKELETAL GLOBE-LIKE STRUCTURE WITH A HOLLOW CERAMIC CORE
dominates the lab's center.
A WOODEN CHAIR WITH ARM AND LEG RESTRAINTS - a futuristic
electric chair - rests inside the hollow.

3. 27.
TANAKA
You have honor of being first to
experience procedure.
CLARK
Just get it over with.
TANAKA
Don't you want to know how it works?
CLARK
I don't care.
TANAKA
According to protocol, I must explain.
CLARK
Okay. Explain away.
TANAKA
We use very strong electro-magnets,
like those in MRI machines, only
more powerful. They create a high-
frequency rotating magnetic field,
which we focus on an area in your
brain. The field will induce matter
in your brain cells to vibrate at
same high frequency. This will usually
turn the cells on.
CLARK
Usually?
TANAKA
If field is too strong or not focused
okay, other cells may be affected and
turn off. This could badly damage brain.
Clark shudders. Rubs his temples.
CLARK
Badly enough that I'd have to rely
on others to take care of me?
Tanaka nods.
TANAKA
You wish to continue?
Clark bites his lip, deep in conflict. Blurts out.
CLARK
Do it.
TCMHS APPARATUS

4. 28.
Inside the core, ICHIBON ARRIGATO, 30, Tanaka's, friendly,
talkative assistant, takes Clark's glasses. Fastens
restraints, binding Clark's arms and legs to the chair.
ICHIBON
You won't need these anymore.
CLARK
I don't need them now.
ICHIBON
You know this is old healing device?
CLARK
I thought it was a new procedure.
ICHIBON
Mister Nikola Tesla used it over
hundred years ago. Only he not use
magnetic focusing lens like this.
Ichibon places the lens - a skeletal HEADPIECE like a space
helmet made of thin bands of metal and plastic with spaces
between - over Clark's head.
ICHIBON
He made patients put arm or leg into
field. One day he stepped in field
and disappeared. He reappeared moments
later confused and frightened.
Ichibon fastens the headpiece firmly in place.
ICHIBON
Mister Tesla talked no more about device.
Ichibon steps out of the core.
ICHIBON
Have a nice trip.
Clark joins his thumbs, forefingers. Breathes deeply.
His breathing slows down and stops.
TCMHS CONTROL PANEL
Tanaka presses a button.
TCMHS APPARATUS
LIGHTS BLINK in succession along the superstructure of the
globe. A dull WHINE increases in frequency.
TCMHS CONTROL PANEL

5. 29.
Tanaka nods to Ichibon who pushes a series of SLIDING SWITCHES
from their bottom position to their halfway point.
TCMHS APPARATUS
Inside the headpiece,
A loud RAPPING grows into
A louder HAMMERING, which becomes
A POUNDING WALL OF SOUND,
SLAMMING into Clark's head.
TCMHS CONTROL PANEL
The last sliding switch sticks at its bottom position.
Ichibon pushes harder. It doesn't budge. He uses both hands.
It breaks free. Slides to its TOP POSITION.
TCMHS APPARATUS
Clark's head jerks back violently. He SCREAMS in pain.
He pulls his arms out of the restraints. Flails them about.
He tears at the headpiece.
One of his hands makes contact with the side of the core.
SPARKS shoot from BUNDLES OF WIRES. Something's short-circuited.
LIGHTNING courses around the superstructure. Turns into
RIBBONS OF PLASMA ENERGY. A BLUE GLOW engulfs the globe.
TCMHS CONTROL PANEL
Tanaka, Ichibon struggle with the controls to power down the
apparatus.
POV CLARK: -- Blackness and silence.
A haze of WHITE LIGHT replaces the blackness.
BANDS OF STRANGE COLORS from across the spectrum - and beyond -
wash through the haze.
The sounds of the lab become audible, along with the VOICES,
WHISPERS and SCREAMS of many creatures.
DARK FORMS of many sizes and shapes - some VAGUELY HUMAN and
some GARGOYLE-LIKE - flash by.

6. 30.
In one flash, Clark glimpses
HIS PARENTS
slipping through a crack in a YELLOW MEMBRANE, calling him.
CLARK'S MOM AND DAD
Clark.
In another flash, Clark glimpses
SAM
slipping through a tear in a RED MEMBRANE, calling
SAM
Brother Fauss.
The lab SNAPS into sharp focus. The worried faces of Tanaka
and Ichibon peer back at Clark.
END CLARK POV
CLARK
What happened?
Clark looks from one to the other.
ICHIBON
He can see.
TANAKA
You can see us?
CLARK
I can see.
EXT. M STREET/GEORGETOWN DAY
Clark exits the lab building. Joins the flow of PEDESTRIANS.
He sidesteps GROUPS and INDIVIDUALS, giving them wide berth.
Clark smiles, enjoying his new clear vision.
SUDDENLY
A GRAVELLY VOICE behind his ear whispers to him.
GRAVELLY VOICE (O.S.)
Clark Fauss, help me.
A dark HAND grabs him by a shoulder. Spins him around.

7. 31.
He stares into the dark shadow of where a face should be on
a HOODED APPARITION inches away.
Clark jumps back, surprised, confused. Bumps hard into a
WOMAN in a WHITE JACKET, walking behind him.
He catches, steadies her, so she doesn't fall.
He glances around. No apparition. Only normal people.
CLARK
(to the White-Jacketed
Woman)
Did you see that?
WHITE-JACKETED WOMAN
See what, Mister? You better watch
where you're going.
A G.U. (Georgetown University) BUS pulls over to the curb.
Clark walks quickly to the bus. Sprints up its STEPS,
continually looking back.
INT. G. U. BUS DAY
Clark slides into a WINDOW SEAT. Watches the bus pulls away
from the curb.
He scans the PASSERS-BY on the sidewalk. All normal people.
Clark relaxes, stretching out in his seat.
The bus stops. CARS HONK.
Clark looks out the window. Traffic jam.
Someone LAYS ON HIS HORN. Others join in.
A WOMAN'S SWEET VOICE drifts over from the seat beside him.
SWEET VOICE (O.S.)
We're going nowhere.
Clark looks over. Sees
A WHISPY CLOUD IN THE SHAPE OF A FEATURELESS FEMALE FORM.
The cloud dissolves.
Clark edges past where the cloud had been. Stumbles to the
front of the bus.
Clark stands in the front STAIRWELL and shakes the DOORS.

8. 32.
CLARK
Let me out.
The DRIVER looks at Clark as if he's crazy.
CLARK
I've got to get off, now.
EXT. DORM ROOM DAY
Clark walks up to his door. Stops. Reads a "Notice of
Expulsion" taped to it. Rips it off. Scrunches it into a ball.
Down the hall another door opens. RAPHE TOLAN, 25, Chief
Residence Hall Advisor, strides forth toward Clark.
Clark unlocks his room. Tolan catches up.
TOLAN
Acquinas wants your space.
CLARK
Give me a break. I don't have any
place to go.
TOLAN
Sorry, Clark. Got orders to follow.
INT. DORM ROOM DAY
Clark's books and notebooks are neatly packed in Cardboard
MOVING BOXES labeled "Hold For Storage."
A full bottle of vodka and some CLOTHES lay on the bed beside
the silver-framed photo and the small Madonna statue.
Clark stuffs the clothes into a BACK PACK. Packs the photo
and statue last.
He drops the vodka into the trash basket.
EXT. DREAMWEAVER CAFE DAY
Clark stares at a sign "Lunch Special - Soup and Sandwich -
$2.95" in the window of this grunge bistro.
INT. DREAMWEAVER CAFE DAY
Clark wanders through the cafe.

9. 33.
Full tables in the front, SHOTS AND BEERS on every one. People
jam the bar. Too loud to think.
In the back, an empty band platform. An empty table beside
it. Clark squeezes in under a STUFFED BOAR'S HEAD. Sits down.
He signals a waitress. She ignores him.
He pulls a plastic BOTTLE OF WATER from his back pack. Takes
a big swig. Wipes his mouth. Hears a
RIPPING SOUND.
He jumps up, pants wet.
He holds up the bottle. Sees water gushing from
A FIVE-INCH LONG CUT. SCRATCH MARKS on either side - as if
ripped by a CLAWED HAND.
The GRAVELLY VOICE laughs from the boar head.
GRAVELLY VOICE
I'm thirsty - and hungry - for you.
EXT. ROOMING HOUSE NIGHT
Clark steps onto the porch of a three-story Edwardian house.
A SIGN under the DOORBELL reads "Rooms To Let."
INT. ROOMING HOUSE NIGHT
PANTRY
ROBERTA DEAVERS, 75, kindly and cautious, opens the PANTRY
DOOR. Shows Clark CANS AND JARS OF FOOD inside.
ROBERTA
If you get hungry at night, you can
always come down here and fix yourself
a snack. I keep chocolate milk, peanut
butter and jelly, and bread for you
boys. It's on the house.
CLARK'S ROOM
Clark drops his back pack on a CHAIR. Sits down on the BED.
Runs his hand over the BLANKETS, feeling their texture.
He looks over at a window covered by THICK DRAPES. Gets up.
Moves to it.
He pulls the CORD, opening the drapes. Sees

10. 34.
A SHADOW CREATURE with indistinct features
STARING BACK AT HIM from the other side of the glass.
He yanks the drapes closed. Cautiously opens them again.
Nothing. The Creature's gone.
PANTRY
Clark opens the door. With a shaky hand, pulls the LIGHT
CORD, hanging from the ceiling.
A NAKED BULB SPARKS TO LIFE, bathing the shelves with an
eerie golden glow.
Clark steps inside. Lets the door swing shut behind him.
He reaches for A JAR OF PEANUT BUTTER.
The light goes out.
Clark reaches behind himself. Grabs the cord. Turns around.
Yanks it.
The bulb reignites. Clark sees
A SHADOW CREATURE STANDING INCHES FROM HIM, NOSE TO NOSE.
Clark SCREAMS.
EXT. GEORGETOWN SEMINARY RESEARCH LIBRARY NIGHT
Clark races up the STEPS and through the front door.
INT. GEORGETOWN SEMINARY RESEARCH LIBRARY NIGHT
Clark moves quickly past a RACK OF SHELVES laden with hand-
bound antique BOOKS by and about Doctor John Dee.
The books fly off the shelves at Clark as he approaches and
passes them.
On the other side of the rack, Clark sees
THE SHADOW CREATURE
keeping pace with him.
Its Gravelly Voice cuts through the shelves
GRAVELLY VOICE
You won't find answers here.

11. 35.
At the end of the rack,
CLARK SLIPS on a BOOK. COLLIDES WITH THE LIBRARIAN,
ELEANOR CHEZOSKY, 44, a looker in HORN-RIMMED GLASSES,
knocking her armload of MAGAZINES to the floor.
Clark helps her up. Helps her gather the magazines.
CLARK
I'm sorry for the magazines.
ELEANOR
I didn't hear you coming.
CLARK
And for the books too.
He motions behind him.
ELEANOR
What books?
He turns around. Looks. All the books are on their shelves,
except for the book he slipped on, John Dee's Magyk. It lies
face up, title legible.
INT. GEORGETOWN UNIVERSITY CHAPEL NIGHT
Clark kneels in front of a NICHE, containing a half-size
STATUE of the Virgin Mary.
A NUN, chanting the rosary, kneels in a nearby pew.
CLARK
(to the statue)
I know I haven't been here in awhile.
I've gone from one hell to another.
Please Blessed Mother, take me back
and deliver me from these Creatures.
The statue of Mary quivers. Rocks back and forth.
SNAP.
It breaks loose. Flies through the air toward Clark.
Clark ducks.
The statue hits the floor at Clark's feet. Shatters into
hundreds of PIECES, which spin and squirm as if they're alive.
The Gravelly Voice speaks from the empty niche.

12. 36.
GRAVELLY VOICE
She can't help you.
Clark jumps up and CRIES OUT.
CLARK
I'm sorry, Blessed Mother, so sorry.
The Nun looks at him with astonishment. Hisses
NUN
Keep your voice down. This is a house
of worship.
Clark looks at the niche. The statue is back in place.
INT. DREAMLAND MOTEL NIGHT
Clark walks up the driveway.
The motel's NEON SIGN flashes off and on above him.
INT. MOTEL ROOM NIGHT
Clark lies in BED. Eyes closed.
The Gravelly Voice floats out of the room's darkness.
GRAVELLY VOICE (O.S.)
Clark Fauss, help me.
Clark's eyes POP open.
The dark shadows of the room gather to form the
SHADOW CREATURE
Standing at the foot of his bed.
QUICKLY
the Creature darts away.
Clark pulls the COVERS up over his head. Flails the bed with
his arms and legs.
CLARK
Go away you Goddamn freaks.
UNDER COVERS
he pounds his head, eyes, ears, with his fists.

13. 37.
CLARK
Go away. Go away.
EXT. PARK BENCH NIGHT
Clark sits in a fetal position.
A HOMELESS MAN, 60s, tattered and torn, sits on the other
end, shivering.
Clark drapes his jacket over the homeless man.
HOMELESS MAN
Thank you, Sir. What brings you out
on a night like this?
Clark uncoils.
CLARK
It's a good place to think.
HOMELESS MAN
That it is. That it is.
They sit in silence. The sky lightens.
INT. NEUROLOGIST'S OFFICE DAY
Clark, wearing the bruises from his self-imposed beating,
paces in front of Dr. Thompson.
The Doctor sits at his desk. Stares at Clark. Without looking
at them, he flips through the PAPERS in Clark's case folder.
DOCTOR THOMPSON
My God. What happened to you?
CLARK
It's gotten worse. At home and on
the streets, even in the chapel, I
see and hear things that aren't there.
People, faces, and shadows. I can't
even sleep. There are things that
watch me when I try to sleep.
Thompson drops the folder.
DOCTOR THOMPSON
What kind of things?
Clark stops pacing in a corner of the room, facing the wall.
CLARK
Dark things. I can't see them well.
They dart away when I open my eyes.

14. 38.
DOCTOR THOMPSON
Are you saying these 'things' caused
your bruises?
CLARK
I caused my bruises. I'm afraid of
every noise and shadow. It's worse
than losing my senses.
Thompson joins him. Puts his hand on Clark's shoulder.
DOCTOR THOMPSON
Over the last few months, your brain
lost its power to perceive. You're
asking it to bounce back in a few days.
Clark brushes past him. Heads for the opposite corner.
Thompson talks after him.
DOCTOR THOMPSON
The truth is it can't handle the
stress of all the stimuli it's
receiving. It can't make sense out
of it, so it creates these delusions,
these hallucinations, to help it
make sense.
CLARK
They aren't delusions. Something's
wrong with me.
DOCTOR THOMPSON
Nothing's wrong with you that a little
peace and quiet can't cure. I have a
friend at a clinic in Kingsport, a
small town in Maine. He's a
phenomenologist and has some...
interesting methods. But, he's
effective. There's a lot less stress
there. No traffic, no crowds of
people, no late night--
CLARK
--you're not listening to me. These
things happen when I'm alone too.
DOCTOR THOMPSON
It's just the brain trying to catch
up with itself. Or, maybe you think
you're seeing ghosts or something
supernatural?
CLARK
I don't believe in the supernatural.

15. 39.
DOCTOR THOMPSON
Then why not take a few weeks off
and visit Doctor Ellis so your brain
can readjust without big city stress.
Your student health insurance will
pay for it. It's still in effect
until the end of the term.
CLARK
Anything. I'll try anything.
INT. AIRLINER CABIN DAY
Clark, eyes closed, sits in an aisle seat. Listens to music
through HEADPHONES. The plane hits a pocket of turbulence.
He pitches forwards in his seat. Opens his eyes.
POV CLARK: -- DARK SHAPES
at the corners of his eyes, dart around the almost full cabin.
CLARK
Oh my God. They're here.
END POV CLARK
Clark stands up. Looks around. In a loud agitated voice,
questions the MALE PASSENGER across the aisle.
CLARK
Did you see them? They were here.
The Passenger shakes his head.
Clark moves down the aisle toward the back. Stops at a row
occupied by three NUNS.
CLARK
Sisters, did you see them?
One of the Nuns pushes the flight attendant CALL BUTTON.
Clark turns to face as many PASSENGERS as possible.
CLARK
Did anybody see them? Dark shapes.
Flying around. You had to see them.
We've got to tell somebody.
A FLIGHT ATTENDANT approaches with a take-charge attitude.

16. 40.
FLIGHT ATTENDANT
You can tell me. Come on, Sir. Let's
go in the back and sit down and you
can tell me all about them.
CLARK
They're gone now.
FLIGHT ATTENDANT
Good.
CLARK
But they might come back.
FLIGHT ATTENDANT
I've got a seat near me where I can
watch out for you. Let's go sit in
it and you can tell me if you see
them again.
She leads Clark to an aisle seat next to a kind motherly-
looking OLD LADY.
Clark slides into the seat. Nods to the Attendant who takes
the seat behind him. Looks up the aisle at other passengers.
POV CLARK: -- Several COUPLES and parts of families, MOTHERS
and FATHERS, SONS and DAUGHTERS, sit together in all
combinations.
He turns to the OLD LADY.
CLARK
Everybody seems to be traveling with
somebody, except you and me.
(beat)
Did you notice?
She signs something back at him. She's deaf.
Flashes of LIGHTNING outside the plane, illuminate her like
a skeleton.
EXT. THE SKIES OVER MAINE DAY
The AIRLINER flies into a wall of DARK CLOUDS.
From folds in the clouds, a pair of huge inhuman EYES stare
out at the plane.

17. 41.
EXT. CLINIC NIGHT
Through driving rain, Clark scurries up the porch steps of
the wood-framed Kingsport Psychiatric Clinic.
INT. CLINIC NIGHT
WAITING ROOM
Clark, soaking wet, sits alone in one of the CHAIRS.
FRAMED PRINTS OF FLOWERS, and pithy SAYINGS like "A strong
will can slay the dragons of the mind," adorn the walls.
Under the next chair, a WHITE KITTEN laps a SAUCER OF MILK.
CLARK
Hi there, little girl.
He pets it. It rubs against his legs. MEWS.
The muffled sounds of an unintelligible conversation drift
through a cracked-open door at the far end of the room.
Through the crack, three men, casually dressed, sit in front
of a DESK in a triangle of ARMCHAIRS, facing each other.
STEVE MATHISON, late 30s, and JIM ELLIS, 20s, babble an
unintelligible stream of words.
JED BOWSER, 30s, big, burly, takes notes.
An ORDERLY in a WHITE COAT enters the waiting room through
another door. Notices Clark. Checks her WATCH.
ORDERLY
Right on time, Mister Fauss. Follow me.
Clark follows the Orderly to the cracked open door.
ORDERLY
(to Clark)
All our sessions overlap. It's Doc's way.
At the door, she turns. Addresses the kitten.
ORDERLY
Clara, be good. Play by yourself now.
TREATMENT ROOM
STEVE
Are you with me, Jim?

18. 42.
STEVE
I can't handle it when everybody
speaks at once. I get confused.
JIM
But we've got to recognize each voice
as it comes through. We can't ignore
anyone whether they're living or dead.
The Orderly holds the door for Clark who hesitates to enter.
Clara slips in behind him.
Steve's eyes go directly to Clark.
STEVE
You must be Clark Fauss.
CLARK
I don't think I need to be here.
You're both talking nonsense.
STEVE
I think you do need to be here, with
all that's happened to you, shadows
chasing you all over the place.
Steve walks over to a stunned Clark.
STEVE
Name's Steve Mathison. Finally,
somebody I can talk to.
Clark looks at Steve's hand and simply nods.
CLARK
Doctor Mathison, I presume?
JIM/DOC
That's enough, Steve.
(to Clark)
I'm Doctor Jim Ellis. Everybody calls
me "Doc," except for my socially
exuberant patient here.
Steve frowns at being exposed.
STEVE
Excuse me, I've got folks on hold.
DOC
(to Steve)
Steve, your time is up.
Steve closes his eyes and babbles. Holds a series of fast-
paced conversations with a variety of unseen people.

19. 43.
STEVE
I'm telling you, John. Yoko's doing
a good job with your investments. I
think she ought to sell your livestock
holdings, though. We're being undercut
by foreign beef. The President won't
slap a tariff on the New Zealanders,
says they're allies.
(beat)
I agree they shouldn't have released
a remake of the White Album--
DOC
--Steve. John. That's enough for
today.
Jed stands up. Glares at Steve. Doc waves him back down.
STEVE
Got to go now.
(beat)
Yeah, Jesus. Easter's coming up and
I know how painful the holiday is
for you.
(beat)
Hey, Dark One. You're butting in
where you don't belong.
(he looks toward a
corner of the room)
Go away.
Clara lies motionless, flat on her belly. Stares into the
same corner. Flicks her tale back and forth.
DOC
You heard him, Dark One. Steve's got
to go.
STEVE
Oh, you want to talk to Clark.
Clark looks into the corner. Clara pounces. Swats at the
air. Turns around. Stares intently at Steve.
Steve's face twists grotesquely.
SUDDENLY
HE SHOUTS AT CLARK
STEVE
(in a gravelly voice)
Clark Fauss. Help me. Let me in.

20. 44.
Clark jumps back, with sheer terror on his face. Throws the
door open. Steps quickly out of the room.
Doc SHOUTS at Steve.
DOC
Stop it. Both of you.
(beat)
Clark, come on back.
Clark re-enters the room. Clara runs out.
Steve's voice returns to normal.
STEVE
Sorry, Jesus, where were we?
(beat)
Jesus?
(beat)
Now where did he go?
(beat)
Jack? That you? I told you I can't
do anything about the CIA. They're
holding me prisoner here--
DOC
(joining Steve in his
delusion)
--Mr. President, I need Steve back.
We'll talk again later. John? Jesus?
Dark One? If any of you are still
here, goodbye.
Steve's eyes spring open. Lashes out at Doc.
STEVE
Where do you get off? Do you know
who you're talking to? I'll have to
wait in line for hours to talk to
them again. And I'll have to explain
your rudeness.
Doc gestures at the CLOCK on the wall.
DOC
Leave now or Jed will escort you out.
Steve rushes over to Clark. Takes his hand.
STEVE
(to Doc)
No. Clark's a guy I can talk to.
(to Clark)
How ya doing Clark? He told me you
were coming.

21. 45.
Clark pulls his hand away.
Jed jumps up. Ready to grab Steve.
Doc waves Jed off.
CLARK
I don't like to touch...other people.
Doctor Ellis told you I was coming?
STEVE
No. The Dark One told me. I don't
like to talk to him. He makes threats.
CLARK
(to Doc)
You must have told him. Doctor
Thompson said I'd have privacy.
DOC
I don't think I told him. But, there's
no secrets here. We all travel down
into each other's darkest places,
talk to each other's demons, help
each other.
STEVE
(to Clark)
You've seen him too.
CLARK
Who?
STEVE
The Dark One.
JED
Oh, Christ.
Clark backpedals toward the door.
STEVE
Oh, don't run away. You have the
gift too, like me. I saw him when he
knocked the library books off their
shelves. And when he threw the statue
at you. And when he stood at the
foot of your bed--
JED
--bullshit.
Clark gasps. Yells at Steve.

22. 46.
CLARK
You don't know these things.
Clark paces wildly. He wheels around. Glares back and forth
from Steve to Doc.
CLARK
He doesn't know these things.
DOC
Don't pay attention to him. He's never
met you. He can't know these things.
CLARK
But he knows.
Jed moves toward Steve. Grabs his arm. Twists it.
JED
Yeah, he thinks he knows everything.
Stays up late at night reading weird
books about magic, witchcraft. Talks
to dead people. Monsters. I ought to--
Clark moves in on Jed.
CLARK
--Wait a minute. He can read anything
and say anything he wants? Can't he?
DOC
Back off, Jed.
Jed lets go of Steve.
Steve takes Clark's hand again.
Clark shakes his hand free.
STEVE
(to Clark)
Thanks. Nobody's ever stood up for
me before. I just know we'll get
along. We're both a little crazy.
CLARK
I don't think so.
Jed raises his fist at Steve.
Steve stops talking. Looks down, dejected.
DOC
(to Steve)
Good boy. See?

23. 47.
DOC
You can be quiet when you want to
be. You're making progress.
(to Clark)
I've looked over your file. You'll
need a place to stay. You won't have
to be on the grounds, like Steve.
There's a fine old hotel in town, the
Grand. Historical. Nice and quiet. We
even get a reduced rate.
SUDDENLY, STEVE THRASHES ABOUT. CLAWS AT THE AIR
between Clark and Doc. Yells in his normal voice
STEVE
Don't go there.
Jed grabs Steve from behind. Pins his arms to his sides.
CLARK
Can I go now?
Doc nods toward Steve, squirming in Jed's grasp.
DOC
I've got more work to do with Steve.
Come in tomorrow and we'll talk then.
(to Jed)
What times am I open?
Jed lets go of Steve. Picks up a DAYTIMER from the desk.
Steve slinks around the periphery of the room.
Jed continually adjusts his stance, positioning himself
between Steve and the others.
JED
Noon?
DOC
That okay with you?
CLARK
Fine.
Doc picks up a "FLIP" PHONE from the desk. Hands it to Clark.
DOC
Take it. If you have problems, press
"1." It'll automatically dial me.
Clark pockets it. Hurries to the door. Doc calls after him.

24. 48.
DOC
A lot of interesting locals hang out
at the Grand. Make some friends.
It'll help your recovery.
Steve charges Clark. Grabs him by the shoulders. Stares into
his eyes.
STEVE
Please, don't go there.
EXT. GRAND HOTEL NIGHT
A waterfall of rain pours down on Clark. He races toward the
light that filters out through the glass in the front doors.
INT. LOBBY GRAND HOTEL NIGHT
Spacious. Antique New England decor.
Clark explores the workmanship of the check-in counter.
A smiling DESK CLERK in a PILGRIM COSTUME greets him.
CLERK
There's always something new.
CLARK
What?
CLERK
No matter how many times you look at
this room, you'll see something new,
some little detail you haven't noticed
before. How can I help you?
CLARK
Check in?
CLERK
That's what I'm here for.
The Clerk slides a REGISTER and large QUILL PEN in a POT OF
INK toward Clark.
CLERK
Name and address here, please.
Clark signs his name in the book. Pauses.
CLARK
I don't...This will be my only address
for awhile.

25. 49.
CLERK
No problem. You've got a credit card?
Clark fishes his WALLET out of a pocket. Hands over a CARD.
CLARK
Doctor Ellis, I mean Doc, said you
offer a discount?
CLERK
Fifty percent off our best rate to
long term patients, Mr. Fauss. Doc's
office already called you in.
The Clerk swipes Clark's card. Clark finishes his entry in
the register.
The CARD READER BEEPS. The Clerk looks at its screen. Frowns.
CLERK
Sorry Clark, Georgetown's canceled
your card. Do you have another one?
CLARK
No.
CLERK
Not to worry, I'll put your room on
the Clinic's account and work it out
with Doc later. We're a small town.
We all know and trust each other.
The Clerk enters some information on a KEYBOARD. Pauses.
Hands Clark a COMPUTER-GENERATED ROOM KEY.
CLERK
You're third floor, Room 320. Take
the elevator behind you. If you lose
your key, let the desk clerk know
right away. The ice and snack machines
are down the hall.
Clark walks toward the elevator.
CLERK
Will you need help with your luggage?
CLARK
Nope. Don't need help with luggage.
INT. CLARK'S ROOM/GRAND HOTEL NIGHT
Clark HUMS a simple hymn. Hangs the last of his CLOTHES in a
MASSIVE WARDROBE.

26. 50.
His hair's wet. He wears two TOWELS. One around his neck.
Carefully, he sets the photo of his parents on the BUREAU,
next to his Catholic shrine.
FOOTSTEPS START IN THE HALLWAY OUTSIDE HIS DOOR.
Clark stops humming.
INT. HALLWAY/GRAND HOTEL NIGHT
LIGHTNING floods the corridor with light. A BOOM OF THUNDER
rattles the glass in the WINDOW. WIND and RAIN lash it from
the outside.
Clark steps out of his room. Bumps into the source of the
footsteps, an ethereal wisp of a GIRL bundled in a long ROBE.
They both jump back.
The Girl is CLAUDIA, early 20s. Pale, beautiful, sexy without
makeup. She speaks in low sultry tones.
CLAUDIA
God, you scared me.
CLARK
Sorry, I didn't see you.
(beat)
You scared me too.
She LAUGHS. Smiles at Clark. Lets her robe drop open.
CLAUDIA
Hotel's a scary place. Don't be afraid
of me. I'm afraid of everything.
Clark stares at her small breasts and erect nipples visible
through the NIGHTGOWN under her robe.
CLARK
My name's Clark, Clark Fauss. I heard
you walking.
CLAUDIA
I do that at night. Less people around.
She notices his stare. Pulls her robe closer. Not enough to
cover her nipples.
CLARK
And you are...?

27. 51.
CLAUDIA
Call me Claudia, Clark.
CLARK
Claudia what?
CLAUDIA
Just Claudia.
CLARK
You live here?
CLAUDIA
Doesn't feel like living. Feels like
I'm trapped and wasting away. Haven't
been off this floor in a long time.
CLARK
Bet you're from the Clinic.
She laughs again. Flashes Clark a big smile.
CLAUDIA
You think I'm crazy?
Clark smiles back. It's the first time he's smiled at anyone
since Sam was alive.
CLARK
I just came in today.
CLAUDIA
For people like me?
Claudia searches Clark's face. Listens intently to his words.
CLARK
I see things that aren't there.
Claudia moves closer to Clark.
CLAUDIA
How do you know they aren't there?
Clark draws closer to Claudia.
CLARK
Other people don't see them.
CLAUDIA
Everybody can't see everything.
She reaches out to touch his hand.
Clark pulls his hand back.

28. 52.
CLARK
They can't exist. They're too
horrible.
Claudia takes his hand. Lightly but seductively she touches
it to her neck. Runs it down her body.
CLAUDIA
Sometimes I need to have someone
touch me to make sure I exist.
Clark takes a step back.
CLARK
You're very pretty.
She smiles again. Gently dabs Clark's wet temples with the
ends of his towel.
She turns away. Walks slowly down the hall to room 313.
CLAUDIA
I hope we meet again, Clark.
She opens the door. Disappears into the room. Closes the
door behind her.
Clark does a little dance of celebration.
CLARK
Yes!
Outside, LIGHTNING FLASHES and THUNDER BOOMS.
INT. CLARK'S ROOM/GRAND HOTEL NIGHT
Clark, now fully clothed, tosses, turns on top of his bed.
A CLOCK RADIO sits next to the flip phone on the NIGHT TABLE.
It reads eleven-thirty P.M.
INT. BAR/GRAND HOTEL NIGHT
It's stuffed with ANTIQUE BAR PARAPHERNALIA. TV SETS hang
from the ceiling.
Clark sits at the bar. Empty STOOLS separate him from DRINKERS
on either side.
ON TV

29. 53.
A scene from The Poltergeist. Carol Anne sleeps on her bed
with her family. Her TV hisses static and snow. Her eyes
open. She whispers to the TV.
CAROL ANN
(in the film)
Come out...come out...
The picture tube in her room SNAPS, CRACKS, and POPS.
Carol Anne reaches out toward it.
SOMETHING DARK AND WISPY REACHES BACK TOWARDS HER.
MATCH CUT TO THE BAR
Clark takes a glass of water from the BARTENDER.
BARTENDER
That's a buck.
Clark slides a BILL toward the Bartender. Drinks. Looks around
the room.
He sets his glass down. Talks to it.
CLARK
She didn't answer the door.
A wizened old BARFLY on a nearby stool croaks up.
BARFLY
She here?
Surprised, Clark blurts out an answer.
CLARK
No.
(beat)
I'm supposed to make friends here.
BARFLY
I got to go.
The Barfly gathers up his change.
BARFLY
It's a good place to make friends.
The Barfly walks out past a TABLE of four clean cut YOUNG
MEN and WOMEN, Clark's age, who TALK and LAUGH loudly.
ON TV
In her bedroom, Carol Anne looks at her family members.

30. 54.
CAROL ANN
(in the film)
They're here.
AT THE TABLE
An ARTICULATE YOUNG MAN, CAL, tells a joke.
CAL
The Devil walks into a crowded bar.
Within seconds the bar empties with
people running out screaming all
over the place, all except for one
old man hunched across the bar. The
Devil wanders over to the old man
and says "Do you know who I am?" The
old man takes another sip of his
beer and answers "Yep." The Devil
stares at the old man and asks "Well
aren't you afraid of me?" The old
man looks the Devil up and down for
a minute and shrugs "I married your
sister 40 years ago, why the hell
should I be scared of you?
Clark laughs before the others can react.
BETSY, a TIPSY YOUNG BEAUTY at the table, notices.
BETSY
(to CAL)
Look at that. You got yourself another
admirer.
(to Clark)
Why don't you come over and join us?
CLARK
I can't.
CAL
Yes, come join us.
CLARK
I don't know.
The rest of the Group responds in chorus.
GROUP
Pleeeease?
CLARK
All right.
Clark pulls a CHAIR toward the table. Leaves extra space
between himself and them.

31. 55.
ZEE, the Other Man, dressed like a Land's End version of a
lumberjack, introduces the others.
All smile. Nod at Clark, as their names are mentioned.
ZEE
My name's Zee. This articulate fellow
who knows a lot of jokes, he's Cal,
and the young ladies are Annie who's
in a little bit better shape than
Betsy here.
BETSY
What's your name, fella?
CLARK
Clark Fauss.
ZEE
Have a beer, Clark.
He hands a full LONG NECK toward Clark.
CLARK
I don't drink...much.
ANNIE, a flirtatious imp, stares deeply into Clark's eyes.
ANNIE
It's on us. It'll loosen you up.
Zee presses the bottle into Clark's hand. Sips his own.
ZEE
Haven't seen you around. New in town?
CLARK
Just got in. Don't know many people.
ZEE
Now you know four more. A few drinks,
some laughs, and a good old fashioned
scare will help us get acquainted.
We just finished up some jokes. Now
we're talking ghosts. Ever see one?
CLARK
I came from a seminary. We don't
believe in ghosts.
CAL
We'll have you believing before we're
done. I think you're up Zee.
ZEE
I once lived in a haunted apartment.

32. 56.
BETSY
You're shitting us.
ZEE
No way. The lady downstairs heard a
knock at her door late one night.
She got up and answered it. There
was someone standing there, all
dressed in black, she said it looked
like a shadow.
Clark stuffs his fingers in his ears. HUMS loudly enough to
drown out Zee's words.
POV CLARK: -- Clark watches Zee's mouth move.
Cal SHOUTS at Clark loud enough so Clark can hear him.
CAL
Clark.
End POV Clark
ZEE
And then she asked it if it wanted
to come in. It disappeared in front
of her eyes.
CAL
(to Clark)
Did Zee scare you?
CLARK
(shaking)
All I know is when we die we go to
Heaven, Purgatory, or Hell. Our souls
don't hang around here scaring people.
(shouting)
There's no point to it.
Annie reaches over. Rubs Clark's arm sympathetically.
He pulls away.
BETSY
Have another beer.
She presses another beer into Clark's hand. He chugs it down.
ZEE
You know there's a way to settle the
matter, one way or another. Interested
in a scientific experiment?
Clark BELCHES.

33. 57.
Everybody LAUGHS.
CLARK
Excuse me.
ZEE
Ever been to a seance?
CLARK
That's not a scientific experiment.
CAL
It's an experiment just the same.
BETSY
Let's go back to the house and have
a seance.
Annie winks at Clark.
ANNIE
Sounds exciting.
They all look at Clark.
CLARK
Sorry. It's against my religion.
ZEE
If you don't believe in ghosts, what
have you got to lose?
CAL
A good Catholic like yourself
shouldn't have anything to fear.
BETSY
Maybe he needs a shot of courage?
Cal takes a FLASK out of his pocket.
CAL
(to Clark)
Do a shot of courage with me.
He takes a swig. Hands it to Clark.
Annie sends a big smile Clark's way.
ANNIE
Go on.
Clark lifts the flask to his lips. Swallows a drop. Then
more. A lot more.

34. 58.
CLARK
This is pretty good.
ZEE
Let's go.
They all stand up - except for Clark.
ZEE
You too, Clark.
Clark hesitates, then stands.
ON TV
Carol Anne sits against the headboard of her bed, hugging
her CLOWN DOLL.
INT. BACK SEAT OF CAR NIGHT
Storm's over.
POV CLARK: -- Squeezed in next to Annie, Clark watches the
moon as it emerges from behind a cloud.
They pass a graveyard.
The moon fades in and out. Changes shape - as if Clark's
vision has been affected by a psychedelic substance.
Clark watches the houses, streets quaver as they ride.
END POV CLARK
Clark stares out the window, looking strangely detached.
EXT. MANSION NIGHT
The car pulls up the driveway of a spooky-looking house -
an old New England mansion at the end of a hillside street.
INT. MANSION NIGHT
PARLOR
OLD, WORN FURNISHINGS dominate.
NEWSPAPERS, MAGAZINES, SOFT DRINK CANS, BEER BOTTLES litter
the space.
Clark watches his new friends shuffle the mess around.

35. 59.
Zee pops a CD into a massive SOUND SYSTEM. The Stones'
Sympathy for the Devil BLASTS out of the speakers.
Betsy brings in a TRAY OF BEERS. Serves them around. They
abandon their half-hearted clean-up.
Annie tickles Cal to get at his flask.
She takes a big swig. Passes it around.
It comes back to her. Hands it to Clark.
ANNIE
Welcome to our humble abode.
Clark takes a big swig.
CLARK
You all live here?
ANNIE
You could say that.
CAL
Then again...
They all laugh, except Clark who doesn't get their joke.
Annie sidles up to Clark. Strokes his arm.
ANNIE
So what do you guys want to do next.
ZEE
I think we owe Clark a seance.
CLARK
I'd rather just hang out.
ZEE
You are hanging out, Clark. This is
what we do.
Betsy reaches on top of a bookcase for an OUIJA BOARD.
ANNIE
No Bets. Let's do the other kind.
BETSY
Yeah, a challenge seance.
CAL
Love 'em. You never know who or what's
going to show up.

36. 60.
Zee lowers the lights. Turns down the music.
In semi-darkness they form a standing circle in the middle
of the room. With a little sensual bump-and-grind that Clark
enjoys, the Girls wrangle him in-between themselves.
They take each others hands.
ZEE
This is your seance, Clark. You get
to call out to beings in other realms
to show themselves and to 'come to
Poppa' - that's you.
Clark laughs nervously. Hesitates.
Annie squeezes his hand.
ANNIE
Go on.
Clark laughs nervously again. Speaks up haltingly.
CLARK
Hey, any guys out there from another
realm? If so, show yourself.
BETSY
Guys?
ANNIE
Yeah Clark, what about girls from
another realm?
CAL
Try again and use the word 'beings.'
Clark shakes the cobwebs from his brain.
CLARK
Beings from another realm, male or
female, show yourself.
ZEE
Try showing a little more respect.
Humor us. Say it seriously.
CLARK
(seriously)
Beings from another realm, show
yourself.
Nothing happens.

37. 61.
CLARK
I told you--
ZEE
--Say it again.
CLARK
Beings from another realm, show
yourself.
SUDDENLY
a blast of wind swirls around the circle. Newspapers and
magazines fly through the air.
A page of THE SUNDAY COMICS lands on Clark's face.
POV CLARK: -- Clark peels the paper off his face. In a dark
corner, he sees a cloud changing color across the visible
spectrum.
The cloud dissolves. Two burning red eyes - pupils and sclera -
form on a tall dark BEING, standing in its place.
THE DARK ONE HAS ARRIVED.
It speaks in a low seductive male voice, different from the
raspy voice of the shadow creatures Clark has heard before.
DARK ONE
Clark Fauss, I've been waiting for
you. Let me in.
Clark looks around.
THE OTHERS ARE GONE
along with every sign that anyone's been there.
Quickly, Clark dials a "1" on his flip phone. Nothing. He
shakes it. Tries once more. It still doesn't work.
Sympathy for the Devil BLASTS from the speakers again.
EXT. MANSION NIGHT
Clark's SCREAMS break the silence.
SERIES OF FLASH CUTS:
Clark bursts through the front door.
Runs across the porch.

38. 62.
Down the empty driveway.
He stumbles on the road past the graveyard.
Heading toward town, he runs.
Falls.
Clambers to his feet.
All the while, looking back at the house and the red eyes in
the black form that pursues him like a levitated freight train.