Episode 11

FRONT DOOR - EVENING

Ed and Lorraine exit their car. Judy comes out the front

door and Lorraine runs to her, swooping her up in her

arms. Ed's mom is in the background.

DISSOLVE TO:

SUPERIMPOSE: SIX DAYS LATER

INT. DINER - DAY

Lunch crowd. Don McLean's "American Pie" plays in the

b.g. as Cindy and Andrea are sitting on bar stools at a

linoleum counter, picking through lunch.

Out of ear shot, and seated at a booth opposite the

counter, is Roger. He's with Ed and Lorraine, and looks

stressed out.

ROGER

But you said it'd only take a

couple of days.

ED

We don't know why it's taking so

long. Father Jordon says that the

Vatican keeps telling him to be

patient, but I'm driving to New

York tomorrow to see if Father

Langston can find out what's going

on. He's a high level Cardinal

we've worked with before -- and

knows the Archbishop pretty well.

ROGER

I'm just so worried about Carolyn.

I think all the stress has been

too much. She's not herself at

all -- hasn't showered, doesn't

wear makeup, is barely sleeping.

And she just disappears for hours

at a time.

Off their look --

CUT TO:

INT. MATHEWS DRY GOOD'S - DAY

A set of knitting needles are placed on a counter.

Widen - we see it's a very unkept Carolyn who has placed

them there to purchase. Shannon's niece, Maddy, is at

the cash register, a little uneasy.

MADDY

Do you need any yarn?Carolyn shakes her head no.

DISSOLVE TO:

EXT. SAINT PATRICK'S CATHEDRAL - NEW YORK CITY - NEXT DAY

A massively impressive structure of stone, stained glass

and towering cathedrals.

Ed is in a phone booth on the corner, the phone pressed

to his ear --

ED

Father Langston called the Vatican

directly and they told him it had

been presented by the Archbishop,

but there's some issues.

LORRAINE (V.O.)

Issues -- what's that supposed to

mean?

ED

He didn't know, they wouldn't

elaborate.

CUT TO:

INT. WARREN HOUSE - KITCHEN - SAME

Lorraine's sitting at the desk.

LORRAINE

What're we going to do?

ED (V.O.)

I don't know -- I'm going to hit

the road, it's going to be

midnight before I get home as it

is.

LORRAINE

Alright, be safe. Love you.

ED (V.O.)

Love you, too.

CUT TO:

INT. WARREN HOUSE - KITCHEN - LATER

The phone rings. Lorraine enters the kitchen and answers

it.

LORRAINE

Hello?

(listens)

Hey JeromeLORRAINE (cont'd)

(calling out)

Honey, I'm on the phone, can you

see who that is?

CUT TO:

INT. WARREN HOUSE - FOYER - SAME

Judy comes down the stairs.

JUDY

Okay, mom.

She continues to the front door. Opens it to see a UPS

DELIVERY MAN standing before in a crisp brown uniform.

Holds an over-sized manila envelope.

JUDY (cont'd)

Hi.

UPS

Well hi back. Would you be part

of the Warren family?

JUDY

Yep.

UPS

Well then, here you go.

He hands her a large manila envelope.

UPS (cont'd)

Have a nice day.

JUDY

Thanks!

He leaves.

CUT TO:

INT. KITCHEN - RIGHT AFTER

Judy walks in -- Lorraine's still on the phone.

LORRAINE

-- Ed's about to lose his mind.

Lorraine looks to her -- sees the envelope and reads the

return address: it's from Shannon in Harrisville. She

motions for Judy to put it on the desk, which she does.

Judy grabs a small basket off the kitchen counter. Looks

to her momJUDY

(whispers)

I'm gonna go get some eggs, 'kay?

Lorraine covers the mouthpiece.

JUDY (cont'd)

That's fine, honey.

Judy heads out the back door.

CUT TO:

EXT. WARREN HOUSE - BACKYARD - CONTINUOUS

Judy makes her way to the chicken coop. Calls out --

JUDY

Gertrude, Henrietta, Lolly...

AT THE COOP

Judy opens the coop door. Steps in. She's surprised to

see that there aren't any chickens outside the hen house,

but --

Something in the dirt at her feet catches her attention.

She takes a closer look --

-- It's the SLINKY from the Perron house, half in and out

of the dirt. She picks it up. Examines, then puts it in

her basket as she heads to the henhouse door.

JUDY

Gertrude, where are you?

More silence. Judy unlatches the door. Swings it open.

She steps in.

INT. HENHOUSE - CONTINUOUS

As Judy's eyes slowly adjust to the minimal light,

unbeknownst to her, the HENHOUSE DOOR slowly closes

behind her.

CUT TO:

INT. KITCHEN - SAME

Lorraine watches Judy out through the window.

LORRAINE

We'll let you know when we find

out anything.

(beat)

Say hi to your mom.Just as she hangs up -- an ear curdling SCREAM from Judy

ERUPTS FROM THE HENHOUSE.

Lorraine's body goes tight, then she kicks it into high

and races out of the kitchen to the backyard.

EXT. HOUSE - CONTINUOUS

Lorraine is moving fast as her legs will carry her to the

chicken coop.

LORRAINE

Judy!

No answer -- and it's killing her.

AT THE CHICKEN COUPE

LORRAINE (cont'd)

Judy?

Lorraine barely slows down to open the outer door and

move inside the coop.

LORRAINE (cont'd)

Honey, answer me.

She sprints to the henhouse door and tries to open it,

but it won't budge -- she gives it everything she's got,

pulling as hard as she can, then -- it finally whips

open. Lorraine races in --

INT. HENHOUSE - CONTINUOUS

-- Sees Judy on her knees, facing the opposite direction.

She turns to her mom, tears rolling down her cheeks. Has

one of the chickens in her lap -- it's not moving.

JUDY

Gertrude's dead, mom. They all

are.

Lorraine looks past her daughter -- dead chickens are

everywhere -- all their necks broken at obscured angles.

Lorraine sees the slinky in the basket next to her

daughter. Dread begins to set in for Lorraine.

LORRAINE

Where'd you get that?

Through her tears, Judy follows her mom's sight to the

basket.

JUDY

It was on the ground.Lorraine walks Judy in. Dumps the slinky in the trash

can.

DISSOLVE TO:

INT. MASTER BEDROOM - NIGHT

Lorraine and Judy, who's now wearing pajamas, sit on the

edge of a four posted, chiffon-canopied bed as Lorraine

finishes braiding Judy's hair. She has calmed down

significantly.

JUDY

Did you call daddy and tell him?

LORRAINE

He's on the road honey, I'll tell

him when he gets home.

TIME CUT TO:

MASTER BEDROOM - LATER

A shaft of moonlight piercing through a window, stretches

across Lorraine's face in bed. Lorraine's EYES SUDDENLY

POP OPEN, startled. She looks to Judy, who's talking in

her sleep, saying:

JUDY

I'm sorry mommy, I'm sorry mommy.

The words chill her to the bone. She gives Judy a slight

nudge --

LORRAINE

Judy.

Judy doesn't awaken, continues --

JUDY

I'm sorry mommy, I'm --

LORRAINE

Honey --

She shakes her harder. Judy's words fade as she rolls

over, sound asleep.

Lorraine slowly sits up, digesting the current event.

She gasps --

-- someone is standing in the far corner of the room.

-- it looks like Bathsheba Sherman staring right at her,

but --

-- it's not a ghostly image -- IT LOOKS REAL. Keeping her eyes on the corner, Lorraine reaches her hand

over to turn on the lamp. Flips the switch --

illuminating the corner, where --

-- there is no woman. Only a narrow corner cabinet.

Lorraine lets out a sigh --

LORRAINE (cont'd)

Get a grip, Lorraine.

CUT TO:

INT. MASTER BATHROOM - RIGHT AFTER

Lorraine, now wearing pajamas, finishes washing her face,

then exits, turning the light off.

INT. MASTER BEDROOM - CONTINUOUS

She walks over to the bed where Judy is sound asleep.

Crawls under the covers. As she reaches to turn off the

light -- her blood pressure races north -- the SLINKY she

threw away is right there.

The four posts on her bed begin CREAKING -- she slowly

looks up --

-- stretched out upon the canopy, is Bathsheba Sherman --

the contours of her eyes, face and body clearly outlined

as she descends closer and closer -- the force of which

causing each of the bed posts to strain, bending inward

like they're made of rubber.

Lorraine remains paralyzed, unable to move... chilled by

the ominous reality of this unholy spirit.

Lorraine digs deep and finds some inner strength to get

herself moving -- scoops Judy up. Dashes out through the

bedroom doorway just as the door whips closed right

behind her.

CUT TO:

EXT. DENNY'S RESTAURANT - NIGHT

Ed comes out with a thermos. Gets into the car.

INT. WARREN'S PLYMOUTH - CONTINUOUS

As he sets the thermos down on the passenger seat, his

heart skips a beat --

-- The PICTURE OF JUDY dangling from the mirror has

changed.The CROSS is now broken and hanging upside down, and

Judy's eyes are white, void of pupils, identical to

Bathsheba Sherman's in the earlier photograph.

SMASH CUT TO:

INT. DENNY'S RESTAURANT - RIGHT AFTER

Ed is using a phone at the front counter --

CUT TO:

INT. WARREN HOUSE - SAME

Camera slowly moves through the house. Everything is

still. The only thing we hear is the PHONE RINGING and

RINGING -- no one answers.

SMASH CUT TO:

INT. WARREN'S PLYMOUTH - NIGHT

Ed's hauling ass as he slides a turn and pulls up in the

driveway of his house. Skids to a stop. Jams out.

CUT TO:

INT. WARREN HOUSE - FRONT DOOR - RIGHT AFTER

The door swings open. Ed swiftly enters.

ED

Lorraine?

No answer.

ED (cont'd)

-- Lorraine?

He sprints up a set of stairs before him.

ON THE STAIRS/HALLWAY

Ed, takes two at a time, speeds to the top, then makes a

hard right, heading for the Master bedroom. The door is

closed.

Ed gets to the door. Opens it. He looks to the bed.

Empty. His panicked gaze shifts about the darkness --

Lorraine's not in there.

Ed continues down the hallway to Judy's room. Door's

closed too. He slowly opens it -- afraid of what he's

going to find.