EPISODE: 5

CARL (CONT'D)

I was at the funeral. I'm sorry I

didn't come and talk to you,

Lorraine. I wasn't myself.

LORRAINE

I don't think any of us were.

CARL

I'd been meaning to catch up with

her...to call her. I always put it

off until next week, you know? I

forgot that weeks are just years

chopped up into little bits. Then a

decade went by. And now she's gone.

LORRAINE

Maybe you will have your chance to

say your goodbye's.

SPECS

We have questions that need

answering. And the only person we

can think of to ask is Elise.

LORRAINE

Please help us, Carl.

CARL

It's been a long time...since I've

done that. I don't know if...

TUCKER

We have a lot of equipment that can

assist you.

LORRAINE

Please.

Carl shoots her a look...then takes off his jacket.

CARL

We'll need a candle.

INT. READING ROOM, ELISE'S HOUSE - NIGHT - LATER

A RAPID MONTAGE - Specs and Tucker organize the room the way

Elise would for a seance. The table is set, a candle at the

center. Four chairs surround it.

Carl takes a seat at the head, flanked by the others. The

room is pitch black, save for the candle flame.Specs rises, checking a small BLACK AND WHITE SECURITY

MONITOR by the door. It displays a locked-off shot of Elise's

front door step.

On it, he can see a man. Waiting patiently.

SPECS

He's here.

Specs hastens up the stairs. We hear the front door open,

inaudible chatter. Footsteps thump overhead, the floorboards

complaining.

Specs tromps back down the stairs, followed by another man -

it's CARL (60s). He ducks as he steps into the reading room,

taking a moment to survey the group. Lorraine stands.

LORRAINE

Hi Carl. It's been a long time.

CARL

Yeah, that's right, I was a young

man once, wasn't I? Looks like I

did the aging for the both of us.

LORRAINE

Stop it.

They hug.

CARL

The hands of the clock. Unmerciful

in their relentless march forward.

LORRAINE

Carl, this is Tucker.

Carl turns and shakes hands with Tucker.

TUCKER

Elise talked about you a lot. Said

you were the second best person she

ever worked with.

Carl laughs.

CARL

Second best is generous.

He drinks in the room. All the antiquities and mementos.CARL (CONT'D)

Please Elise...we need to speak to

you. We need your help. Use this

device to talk to us. Are you there?

And then - a SOUND. The soft tone of a letter appearing on

the Speak N Spell display. The letter Y.

Then E.

Then S.

Y - E - S.

Everyone sucks in a sharp breath. The candle flame flickers.

CARL (CONT'D)

Elise, we need to know who killed

you. Tell us.

Tucker clears the screen for the next answer.

A long beat - then M - I - C - H - E - L - L - E.

SPECS

Michelle...

CARL

Where is Michelle now, Elise?

A letter H appears. Then I.

H - I - D - D - E - N.

CARL (CONT'D)

Hidden where? Elise?

I - N - S - I - D - E.

CARL (CONT'D)

Inside what? Inside who?

T - H - I - S H - O - U - S - E

They ponder the words - until POUNDING ON THE FRONT DOOR AND

THE BUZZING OF THE DOORBELL collectively STARTLES them!!

They all LASH their heads towards the ceiling. Specs rises.

The clobbering is insistent, urgent, frenzied. BANGBANGBANG!!

Specs hops to the front door monitor.

THERE IS NO ONE ON IT. The buffeting din suddenly CEASES.Tucker sets a strange device on the table - an old Speak N'

Spell toy, modified and melded with a radio device.

TUCKER

I call this a Wiki-Board. It's my

own version of an Ouija board.

We've had pretty amazing success

with it in terms of contact.

CARL

Are you serious?

SPECS

They just don't make toys anymore

like they did in the eighties, huh?

Tucker shoots Specs a glare. He raises a microphone on a

gimbal, like a desk-lamp, to Carl's mouth.

TUCKER

You speak into this. You then ask

the entities to speak through the

device. Their answers will appear

on the display. I can show you some

read outs of dialogues we've had in

the past if you --

SPECS

There's no time for that.

TUCKER

There's plenty of time, but anyway.

CARL

It's a little unorthodox, but...

(beat)

First thing we need is quiet.

The room falls eerily soundless. Carl closes his eyes.

CARL (CONT'D)

Elise...we are calling out to you.

Give us a sign if you are there.

A long beat of human breath...and nothing more.

CARL (CONT'D)

Tell us if you can hear us.

Another long wait.THE LIGHTS blink on - revealing an empty room. The anatomical

dummy is splayed across the floor.

A distant scream echoes out from the HEADPHONES ATTACHED TO

THE GAS MASK.

TUCKER

Listen!

He lifts the headphones, hearing the receding wail of a

tortured soul. It shrinks into nothingness. Gone.

SPECS

Look...

Everyone turns to face him. He wanders over to the strewn

Wiki-Board, sifting through its parts to lift the word

display.

It says PHILIP OUR LADY OF THE ANGELS

SPECS (CONT'D)

Philip...our lady of the angels.

What does that mean?

LORRAINE

Our Lady Of The Angels is a

hospital.

(beat)

I know because I used to work

there.

INT. LIVING ROOM, LORRAINE'S HOUSE - NIGHT

Renai drags Dalton and Foster through the living room.

Possessed Josh watches her scramble to find her car keys.

RENAI

Where are my god damn keys...?

She locates them, a ball of stress.

RENAI (CONT'D)

I'm going out. I'm taking the kids

out for a while. I have to get out

of here.

POSSESSED JOSH

I'll be here.

She leaves without saying goodbye, closing the door behind

her.SPECS

There's no one there...

They hear the front door OPEN...then footsteps above them.

Measured. Deliberate. Their eyes follow the footsteps as they

make their way across the floor...

...down the stairs that lead to the reading room. Closer.

Closer.

Stopping in front of the door. A moments lull --

-- THEN SMASHING ON THE DOOR ERUPTS. BANG! BANG! BANG!

Specs approaches the door.

Grips the door handle.

Then turns it.

He is met with a mouth of pitch darkness, betraying no one. He

takes a step through the door...then another...advancing into

the dark.

He flicks a flashlight on, swinging it up --

-- SEEING A GHASTLY FIGURE RIGHT IN FRONT OF HIM!! IT IS THE

OLD WOMAN WHO SLAPPED RENAI.

HER FACE IS LITERALLY INCHES FROM SPECS' FACE!

SPECS FLIES BACK INTO THE ROOM, SHOVED BY THE WOMAN, SMASHING

INTO THE READING TABLE!

The candle goes out and the room is drowned in TOTAL

DARKNESS. Not 'movie dark' - but pitch black.

Tucker flicks another flashlight on, swatting the beam around

the room -

- finding the GAS MASK staring at him. The ANATOMICAL DUMMY

IS STANDING BESIDE HIM.

It REACHES OUT - as Tucker screams, scrambling back.

Carl stands up as Lorraine SCREAMS.

CARL

LEAVE US!

He hurls the Wiki-Board device at the floor, severing the

communication.INT. BATHROOM, LORRAINE'S HOUSE - NIGHT

Possessed Josh enters, leaning into the mirror and prying his

lip up, examining the crater in his gum where the tooth was.

He looks down at the tooth in his palm. As he does, he curls

his fingers around it. The fingernails are yellowing.

Parched.

With TERROR, he turns his hand over. The skin is withered,

wrinkled. Not to an alarming degree, but enough for someone

this close to notice it.

His fingerprints are different. These are not the hands of a

young man, but the aging hands of the elderly.

He eyes the mirror. Sees a patch of GREY HAIR at his temple.

POSSESSED JOSH

No...not yet. Not yet. Please no...

EXT. OUR LADY OF THE ANGELS HOSPITAL - NIGHT

This hospital has been around for a hundred years, but many

additions have modernized it.

INT. FRONT DESK, OUR LADY OF THE ANGELS HOSPITAL - NIGHT

A normal, bustling hospital. Lorraine waits with Specs, Carl

and Tucker at the reception station.

A man in surgeon's scrubs approaches. This is IAN NANKERVIS

(52), a longtime resident of this hospital.

IAN

Hey stranger.

LORRAINE

Hey yourself.

They hug.

LORRAINE (CONT'D)

You look great, Ian.

IAN

Thanks. Who knew that exercise had

its benefits, huh?

LORRAINE

These are my friends Steven, Tucker

and CarlPossessed Josh stands at the window, peering through at Renai

as she loads the kids into her car.

INT. CORRIDOR, LORRAINE'S HOUSE - MOMENTS LATER

Possessed Josh runs his eyes over the photo's of Young Josh.

Then, around age nine, the photos abruptly stop. The wall is

blank beyond them.

He steps in close to one - of Young Josh grinning on the

couch.

A slight smile curls across his face.

INT. KITCHEN, LORRAINE'S HOUSE - NIGHT

Possessed Josh rifles through the stuffed refrigerator,

fingers lingering over each item of food like it were gold.

He retrieves an armload of food, setting it on the counter.

He opens a carton of milk, drinking hungrily from it.

Relishing every drop.

Next, he takes a bite of some RAW STEAK, ripping and tearing

at it like an animal. He closes his eyes as he does, the

sensual experience of eating overwhelming him.

He chews slowly, savoring every moment.

The cry of a baby interrupts. Possessed Josh is alarmed by

it. He sets the steak down.

INT. SPARE BEDROOM, LORRAINE'S HOUSE - NIGHT

Possessed Josh wanders into the bedroom, glaring at the baby,

fascinated. He scoops her up, rocking her gently.

POSSESSED JOSH

Shhh...

He presses his nose to the baby's face, inhaling her scent.

THEN - he FREEZES, setting the baby down, alarmed by a sudden

JOLTING AGONY in his jaw.

He reaches into his mouth and extracts a single BLOODY TOOTH.SPECS

Now that we're here, forget the

actual hospital and think about the

name Philip.

LORRAINE

I mean, I saw hundreds, thousands

of patients. It's impossible to

pick out a name like that.

They wander, Specs and Tucker splitting off, examining

different rooms. Some sunlight streams in, but there are also

darker sections without windows. We stay with Lorraine and

Carl as they roam the halls.

They round a corner, facing another long corridor. They

shuffle down it. Lorraine is melancholy, flooded with memory.

LORRAINE (CONT'D)

This is kind of overwhelming. I

walked up and down these hallways

for a long time, spending every

minute of my day trying to keep

people from dying. I thought I was

doing good.

(beat)

Now I'm under attack from the other

side. From the dead. It makes me

question if I did something wrong.

How did I bring this on my family?

Why won't they leave us alone?

CARL

You didn't do anything wrong. The

fact that you're a good person is

what draws them to you. They want

to corrupt that. But they can't.

All is quiet. Lorraine opens a door, glaring into a long

abandoned utility closet.

Carl stops walking, affected by something. He closes his

eyes, taking in some unseen signal.

LORRAINE

What is it?

Carl doesn't answer. He turns to face a door beside him.

CLOSE ON HIS FACE - it is painted with a FEARFUL expression.

FLASH FRAME INSERT: THE FACE OF AN ELDERLY MAN, GAPING WITH

WIDE EYES...UNNERVING, UNBLIIan shakes hands with them all.

IAN

I was pretty intrigued by what you

said on the phone.

LORRAINE

Well, was I right? Most of my work

was in the East Wing right?

IAN

Right, but it's all closed now. For

two years. Eventually they're

demolishing it, if they ever get

their act together, and they're

putting up a whole new building.

LORRAINE

So we could we take a look around?

IAN

Let me get security up here. You'll

need a someone with you, but I

don't see why not.

INT. EAST WING OF HOSPITAL - NIGHT

This section of the hospital has been closed and emptied out.

There are scattered pieces of equipment, but the halls are

eerily empty. Trash and dust everywhere, a place neglected.

Lorraine, Specs, Carl and Tucker wander down the hall with a

Hispanic SECURITY GUARD, JESUS (38).

JESUS

You can take a look around, just be

careful, there's some rough spots.

LORRAINE

Thanks.

Jesus stays behind at the nurses station, and the trio keep

ambling down the long corridor, poking their heads into

various abandoned rooms.

They round a corner, losing sight of Jesus.

LORRAINE (CONT'D)

I don't know what we're looking

for....