Episode 10

ED (cont'd)

You just can't give this thing any

more strength than it already has.

Lorraine takes a beat -- the realization setting in. She

gives the slightest of nods, knowing he's right.

Roger pokes his head into the kitchen -- Andrea, who's

half asleep, is in his arms.

ROGER

You okay?

Ed looks to Lorraine, then addresses Roger --

ED

Yeah.

(beat)

You?

ROGER

She woke up and was a little

scared --

DISSOLVE TO:

INT. BATHROOM - LATER

CU on a pair of tongs holding onto a sheet of photo paper

as it's dipped in a tray of developer. As a photo begins

to emerge of the stairway --

Widen -- to see Ed holding the tongs. Jerome's busy

taking an already developed photo out of the wash tray,

and clipping it onto a small rope tied to the shower rod.

Both are focused.

Something in Ed's picture draws his attention in for a

closer look --

-- A FIGURE begins to materialize on the staircase.

SMASH CUT TO:

INT. LIVING ROOM - RIGHT AFTER

Ed hurries in. Sees that Andrea is asleep, curled up on

the sofa next to Roger, who is stroking her hair.

Lorraine is seated close by. Bruce has crashed in the

chair by the monitors. Lorraine and Roger look to Ed --

ED

(whispering)

You've got to see this.Ed, Lorraine, Carolyn and Roger are standing at the

table, looking at a photograph -- Jerome stands aside,

holding two more photos in his hand.

LORRAINE

He's the boy I saw in the hidden

room.

Angle on the photo - although grainy and transparent,

it's definitely the same boy with glasses Lorraine saw,

but he's at the top of the stairs, heading down.

JEROME

Now check this out.

He drops a second picture. Although it's the same angle,

the boy is now five steps further down the stairs. He's

got a terrified look on his face as he's looking back up

over his shoulder at something at the top of the stairs.

ROGER

What's he looking at?

JEROME

This --

Jerome drops the third photo from his hand onto the table

before them. The image of the boy is gone, but at the

top of the stairs is the dark presence of Bathsheba

Sherman -- although grainy and transparent as well, her

image is a lot more defined, and what stands out more

than anything are --

-- her pupil-less, snow white eyes.

LORRAINE

It's her.

Roger and Carolyn's eyes are wide, transfixed.

ROGER

...Why would he be frightened of

her? He's dead.

LORRAINE

From our perspective, yes. But

from that child's, she's as real

to him as you are to me.

(beat)

She may have died a witch, but

she's come back with a strength

only Satan can give her --

CUT TO:

INT. LIVING ROOM - SAME

CU on the mantle where the cross Ed set up, topples with

a soft "clink".Widen -- A SECOND CROSS set on top of the Grandfather

clock, falls onto a rug below with a muffled thud.

A THIRD CROSS on the coffee table joins suit. The noise

stirs Bruce, then --

ANDREA O.C.

(soft, sleepy)

Cindy, stop it.

His eyes shift to over to her. Although she's semi-

asleep, she thinks someone's messing with the back of her

hair.

Bruce watches in total shock as the back of Andrea's hair

seems to rise up on its own.

He slowly grabs his camera to document it.

CUT TO:

Camera's pov - as a groggy Andrea reaches behind and

irritatingly swats at something that's not there. Her

long hair continues to rise --

ANDREA

I said to stop it.

This time, she opens her eyes and sees that no one's

doing it, but --

-- Her hair SNAPS TAUT and she's aggressively yanked off

the chair and onto the floor. She screams as she begins

to get wildly snaked all over the floor --

Although Bruce drops the camera to its side -- it keeps

rolling, giving us a side view of Bruce moving over to

Andrea and grabbing onto her.

Resume -

Whatever has hold of Andrea's hair, is strong enough to

keep moving them both as Bruce tries to protect her,

enveloping the young girl with his large body, tumbling

this way, then that way, when --

-- the two of them are slammed into the coffee table

where Bruce takes most of the impact -- pieces of wood go

flying.

Ed and Lorraine come running in -- Ed joins the fight,

struggling to hold Bruce/Andrea in one place -- it isn't

working.

The fight continues -- Andrea is wild-eyed, screaming

hysterically -- her hair stretched to its limit.

Roger comes racing in, then Carolyn, who seems less

disturbed --

ROGERBruce and Andrea hit the corner of the sofa, which pushes

it four feet across the wood floor -- then they're

immediately dragged once again --

Roger attempts to latch on to them -- the strain on

Andrea's hair looks like it's going to be pulled out of

her scalp, until --

WHOOSH! A PAIR OF SCISSORS slices right through it,

releasing all tension.

The struggle instantly stops. Standing over Bruce and

Andrea is Lorraine, Jerome's scissors in hand.

Roger immediately pulls Andrea into his arms.

Ed looks to a very distraught Bruce, whose face is bloody

from a wound on his forehead.

ED

You okay?

BRUCE

I'll take a guy with a gun any

day.

Ed sees the light on the camera --

ED

Did you get any of it?

Bruce nods.

CUT TO:

EXT. PERRON HOUSE - FRONT - SUNRISE

Ed and Roger approach the back of the Perron's station

wagon, each carrying two small suitcases. The first rays

of morning light pierce the horizon.

ED

We're going to get the footage

developed and bring it over to the

church right away -- this house

needs to be exorcised as soon as

possible.

Roger opens the back of the car --

ROGER

I'll get you paid back for the

hotel.

ED

Let's not worry about that right

now.

We see the gratitude runs deep for Roger as he places the

suitcases inside.ROGER

When do you think you can get

someone out here?

ED

It should only take a couple of

days.

(beat)

But listen to me --

Roger looks to him --

ED (cont'd)

-- Under no circumstances does

anyone come back here until we say

so.

CUT TO:

INT. PERRON HOUSE - BASE OF STAIRS - SAME

Lorraine comes out of the living room. Bruce and Jerome

are in the background, breaking down the equipment.

She approaches Andrea, who is sitting in Cindy's lap on

the bottom step -- the trauma still apparent on her face.

It's hard for Lorraine to see this little girl like this.

LORRAINE

It's going to be okay -- nothing's

going to hurt you again. I

promise.

Andrea stands and gives Lorraine an unexpected embrace.

It lingers. Lorraine is first to unlock from the hug,

but Andrea still clings for a few seconds longer, then

lets her go. Looks to Cindy --

LORRAINE (cont'd)

Is your mom upstairs?

CINDY

No, she's in the kitchen.

Lorraine's walks to the kitchen doorway -- peers in.

It's empty. She notices that the back door is open.

CUT TO:

EXT. PERRON HOUSE - BACK PORCH - RIGHT AFTER

Lorraine heads outside. She catches a glimpse of Carolyn

heading into the woods behind the barn.RIGHT AFTER

Lorraine makes her way through the woods, literally

retracing her steps from before. As she approaches the

clearing, she can see --

-- Carolyn sitting on the wall of the cemetery with her

back to her. Light pierces down through the thick canopy

above.

LORRAINE

Carolyn...?

Carolyn doesn't turn around. Lorraine slowly approaches.

LORRAINE (cont'd)

Are you okay?

As Lorraine nears, it's hard to tell if it's the

afternoon light and shadows are playing tricks with her

eyes, but it looks like, from the side view, there's

something off about Carolyn's face -- it almost looks

like another woman's --

Carolyn slowly swivels her head to Lorraine -- which

seems normal now, but there's a distance in her eyes.

CAROLYN

Yes...?

LORRAINE

What're you doing here?

Lorraine notices that Carolyn is holding the SLINKY she

saw in the hidden room.

DISSOLVE TO:

INT. WARREN'S PLYMOUTH - RIGHT AFTER

Ed and Lorraine drive along a country road.

LORRAINE

She said she just wanted to see

it. And she was holding the

slinky I saw in that room.

(beat)

As far as I'm concerned, the

church can't get there fast

enough.

DISSOLVE TO:

EXT. BOSTON - DAY

High camera angle - drops down onto the Warren's Plymouth

as they drive across Bunker Hill Bridge and into downtown

Boston.Camera keeps dropping down. We're close enough to see

the Plymouth pull curbside to:

EXT. CATHEDRAL OF THE HOLY CROSS - BOSTON - CONTINUOUS

Ed parks in front of a very large, impressive stone

structure with peaked roofs and stained glass. As Ed and

Lorraine get out of the car, THEY HEAR the soft, angelic

singing voice of a young boy emanating from the open

front doors of the church.

They head up the stone steps to the open doors. The

singing continues.

CUT TO:

INT. CHURCH - RIGHT AFTER

Ed and Lorraine enter. They are dwarfed by its massive

size. The center aisle splits through numerous rows of

pews. Up front, a choir director stands off to the side

during a rehearsal, as a young boy sings his heart out.

An all boys choir stand silent behind them.

Ed dips his fingertips into a bowl sculpted from marble,

full of Holy water. Says a silent prayer, then crosses

himself. Lorraine follows suit.

The two of them are approached by Father Jordon. Greets

them with a warm smile.

FATHER JORDON

Let's see what you've got.

DISSOLVE TO:

Camera's skewed pov of - THE LAST FEW SECONDS WITH BRUCE

AND ANDREA thrashing about the floor, just as she gets

her hair cut by Roger.

Wide to see, we're --

INT. CHURCH - FATHER JORDON'S OFFICE - DAY

Ed and Lorraine are sitting down with Father Jordon.

Thick curtains are pulled across a paned window. Father

Jordon turns off a projector next to him that's been

throwing the sequence onto a screen set up against a

wall. We see Ed's tape recorder on the table as well.

Ed and Lorraine look to Father Jordon for his response.

He seems a little stunned.

FATHER JORDON

You weren't kidding -- I'll get

this to the Archbishop right away