1.

“ For our struggle is not against flesh and blood, but

against the rulers, against the authorities, against the
powers of the dark world, and against the spiritual force s
of evil in the heavenly realms.” Ephesians 6:12

The following is based on a true story.

FADE IN:

On HORSE’S HOOVES pounding over a muddy, dirt road.

Widen to see -

They belong to a team of horses pulling a wagon. At the

reins is JUDSON SHERMAN, early twenties. A ranch hand
around his same age rides next to him. By the way they’re
dressed, and the style of the wagon, we’re somewhere in the
late 1800’s.

Judson’s leading the team toward a two-story, English

styled farm house with a covered porch in the distance.
Maple and Hickory trees tower around it. Dull light stabs
out from several windows. Smoke plumes from the fireplace.
A large barn stands fifty yards away.

Lightening cracks across a violent, dark sky, as sunrise is

just starting to break through the horizon. Judson pulls
out a gold pocket watch. Reads: 5:15.

As he puts his watch away, he hears something. Cocks his

head, there it is again, A BABY WAILING, but this isn’t a
“I’m hungry or tired cry”, this is swelling eruptions of
excruciating pain.

Judson cracks the reins hard, the horses rear, then bolt
like they’re shot out of a cannon, kicking up mud as they
thunder faster to the house.

The wails are almost more than Judson can take as he drives
the team right to the front door, and reins back hard,
hopping off the wagon before it comes to a halt, then --

-- just as he gets to the front porch, the wailing STOPS.

He doesn’t. Moves to the front door. Whips it open. A LARGE
GREY CAT scrambles to get the hell out of there. Almost
trips him as he heads in.

1 INT. FARMHOUSE - FOYER - CONTINUOUS 1

 2.

Judson’s attention is immediately drawn to a living room on

his right, where the shadows of flames from the fireplace
dance wickedly off the horrified look on his face. He just
stares into it, almost unable to comprehend what he’s
seeing. Wood crackles.

As tears well, he slowly moves deeper into the room, it’s

as if time has stood still for him.

2 INT. LIVING ROOM - CONTINUOUS 2

As he gets closer and closer to the fireplace, the orange

of the fire gets brighter on his face, the crackling
louder.

He stops before the hearth, then looks to his feet, where a

pair of long, narrow knitting needles lie on the wood floor
in a puddle of blood. He’s emotionally devastated.

His peripheral vision picks up on something outside moving

quickly past a window.

Rage fills his face. He pivots. Dashes back out the front
door, where --

3 EXT. FARMHOUSE - FRONT PORCH - CONTINUOUS 3

Judson leaps off the porch and dashes by the ranch hand
who’s reigning in the horses that seem spooked. He picks up
speed as he moves around the side of the house, where he
sees a woman in a long grey dress, bare feet and lengthy
jet black hair, dashing into the barn and closing the door
behind her.

Judson gets to the barn, tries to open the door, but it

won’t budge. He viciously pulls on the handle over and
over, testing the lock and hinges, then finally throws his
shoulder into it, breaking it open.

4 INT. BARN - CONTINUOUS 4

Judson races in. Stops and listens. It’s cave dark, the
dawn light only penetrating the first few feet of the
opening. Then --

-- just as he’s about to move in deeper, the back-end of a

thick shovel swings out of the inky black and --

WHACK! Hits Judson in the face --

 3.

SMASH CUT TO

BLACK:

FADE UP:

SUPER - 1972

5 EXT. FARMHOUSE - HARRISVILLE RHODE ISLAND - DAY 5

A 1970’s wood paneled station wagon, with New Jersey

plates, drives down a gravel driveway.

ROGER (V.O.)
Here we are --

A hundred yards back, now much older, is the same two-story

farmhouse and barn. Trees have grown. It’s been well cared
for.

The station wagon comes to a stop in front of the house.

Getting out is the driver, ROGER PERRON, a lean man in his
early thirties and his wife CAROLYN, who’s simply dressed
with her hair pulled up, also early thirties. Hopping out
of the back are their two girls, ANDREA (7) and CINDY (15),
and the family’s black lab, Sadie.

Everyone is excited, except for Cindy, a mixture of raging

hormones and adolescence. She takes in her surroundings --

CINDY
Oh my God, this place looks so
boring -- we’re like in the middle
of nowhere.

As Andrea enthusiastically runs ahead to the porch, Roger

turns to Carolyn.

ROGER
Do you hear that?

She listens, but --

CAROLYN
I don’t hear anything.

A slow growing smile cracks across his face.

ROGER
Exactly.
 4.

Carolyn looks over to open space between the house and the
barn.

CAROLYN
I see where I’m putting my garden.

CUT TO:

6 EXT. FARMHOUSE - FRONT PORCH - RIGHT AFTER 6

Carolyn and the girls are next to Roger as he opens the

door. Andrea dashes in.

ANDREA
I get first dibs on the rooms.

Cindy looks to her dad as she enters --

CINDY
Do I get to pick my own room, or do
I have no choice in that too?

Roger’s eyes meet Carolyn’s -- who seems amused.

CAROLYN
This is why some animals eat their
young.

She gives Roger a quick kiss as she enters. He playfully

slaps her on the butt.

Roger turns to see Sadie standing several feet back,

staring in through the open door. There’s a deep intensity
behind her dark eyes, her body rigid. Roger’s confused.

ROGER
C’mon, girl.

Sadie takes a reserved step backwards. Keeps staring.

ROGER
Sadie, c’mon --

The dog remains still -- has no intention of getting any

closer. Roger lets it go.

ROGER
Dumb dog.

DISSOLVE TO:
 5.

7 INT. PERRON HOUSE - FOYER - AFTERNOON 7

Roger stands in the foyer, which opens up to a hallway that

runs through the middle of the house. A staircase rises up
one side. There’s a kitchen to his left and the living room
to his right. Boxes are everywhere. It’s a bee hive of
activity. Two burly MOVERS carefully maneuver a wooden gun
case in through the front door.

ROGER
That goes in the living room.

They make the turn as another MOVER follows them in

carrying a heavy box. Roger reads something handwritten
across the top.

ROGER
Just put that down in the cellar.
It’s the last door at the end of
the hall here.

The guy continues on past him.

DISSOLVE TO:

8 INT. PERRON KITCHEN - LATER THAT NIGHT 8

Carolyn stands at a counter next to a sink, unpacking

several knickknacks from a box. Surrounding glass cabinets
are all open, and already loaded with dishes.

A large oak table and chairs are set up in a nook with a

hutch tucked tight against a wall opposite it.

Carolyn peels off packing paper from THREE WAX MONKEYS on a

wooden stand; hands over eyes, ears and mouth, with a
written caption underneath: “HEAR NO EVIL, SEE NO EVIL,
SPEAK NO EVIL. She sets it on a window ledge over the sink.

Andrea comes in carrying a HAND-MADE bird-feeder and chain

that only a mother could love.

ANDREA
Can I hang up my bird feeder?

CAROLYN
Of course. I think I saw a hook on
the back porch.

Andrea moves to a back door.

CUT TO:
 6.

9 EXT. PERRON HOUSE - BACK PORCH - NIGHT - CONTINUOUS 9

Andrea comes outside. Bugs have already started to use the

porch light as a hub. A low mist hangs above the ground
like a bad dream.

She sees the hook her mom was talking about and carries the
feeder over to it.

As she gets up on her tiptoes to hang it.

A HISS OF A VOICE CALLS HER NAME.

VOICE
Andrea --

She slowly turns her head, can’t figure out where it’s
coming from as she scans the darkness.

ANDREA
-- Hello?

No answer. More confused than scared, she hangs up the bird

feeder. Then just as she’s about to head inside, she spots
a large, mangy-looking GREY CAT passing by the bottom step
of the porch, it looks oddly similar to the one in the
opening.

ANDREA
Oh, hello --

It continues walking. She heads down the steps to catch up.

ANDREA
Where’d you come from? C’mere
kitty.

The cat walks around the corner of the house.

CUT TO:

Andrea’s pov, as she walks around the corner. There’s no

cat. She looks around for a place it could have gone, but
there isn’t one. Her expression says it all, that’s weird.

CUT TO:

10 INT. KITCHEN - BACK DOOR - RIGHT AFTER 10

Andrea comes back in just as Roger enters from the hallway.

In passing --
 7.

ANDREA
Were you calling me?

ROGER
No.

As she walks away --

ANDREA
I think there’s a cat that lives
here --

Andrea continues out of the kitchen as Roger comes up

behind Carolyn, who’s unpacking a small clock. Sets it on
the windowsill next to the monkeys.

He slides his arms around her and kisses her neck, she
likes it.

CAROLYN
Careful -- this may turn into
something fun.

ROGER
-- If only I had the energy.
(beat)
I was thinking about running into
town and grabbing a pizza at that
place we passed.

CAROLYN
That’d be great.

She turns and faces him. Loves this man dearly.

CAROLYN
Thank you for this.
(beat)
I know it was a lot for us to chew
off, but it’s going to be great,
isn’t it --

ROGER
Yeah -- it is.

DISSOLVE TO:

11 INT. PERRON HOUSE - MASTER BEDROOM - NIGHT 11

 8.

A matching bedroom set has been set up. Numerous boxes are
stacked and waiting to be unpacked as Carolyn pulls some
clothes from a wardrobe box at the foot of her bed and
walks them into --

THE CLOSET

Just as she begins to hang them up, the noise of CREAKING

WOOD draws her attention to the ceiling where it sounds
like someone’s trying to walk quietly then it stops.

She’s a little unnerved, walks back out into THE BEDROOM

and crosses to a nearby window.

Looks out to a tree, its leaves rustling in the wind. She

cranes her head to see if any of the branches are touching
the roof above the closet. Can’t tell.

Just as she’s about to turn away, she notices Sadie down in

the yard near the front porch below, nervously pacing back
and forth.

ROGER O.C.
I don’t know what her problem is.
I’ve tried ten times to get her to
come inside.

She turns, sees Roger setting a box down amongst the

others.

ROGER
Last box for tonight. I’m beat.

CAROLYN
We can’t just leave her out there,
she might run away.

ROGER
I’ll find something to tether her
to. Maybe a night outside will help
change her mind.

As Roger heads back out --

CAROLYN
You weren’t just on the roof, were
you?

He turns around, huh?

CAROLYN
I heard something, sounded like
footsteps.
 9.

ROGER
It’s an old house honey, it’s going
to make some noises.

The lights flicker for a moment.

ROGER
Oh great.

CAROLYN
Maybe grab a flashlight too --

Roger heads out.

DISSOLVE TO:

12 INT. MASTER BEDROOM - LATER 12

Carolyn’s eyes open, she’s awakened to what sounds like the

distant screams of hundreds of children, but that can’t be
right. She glances to Roger, who is sound asleep. She slips
out of bed to investigate.

CUT TO:

13 EXT. HOUSE - BACK PORCH - RIGHT AFTER 13

Carolyn comes out the back door. Listens, it’s much louder.
Her attention is drawn to the woods directly behind the
house where the screaming is coming from.

A HAND touches her shoulder, she about jumps out of her

skin. She whirls. Roger is standing right behind her.

ROGER
Whoa -- sorry.

Carolyn slowly turns back around to face the woods.

CAROLYN
What is that?

ROGER
(amused)
Tree frogs -- about as big as
softballs. They’re fucking.

She looks back at him over her shoulder.

CAROLYN
 10.

And you know this because?

ROGER
I used to catch them as a kid at my
Grand-dad’s.

Carolyn looks back out into the night.

CAROLYN
Sounds like some pretty rough sex.

Roger playfully pulls her into an embrace.

ROGER
I think it’s going to take some
time for this city girl to get used
to this country living.

CAROLYN
I think you’re right.

She snuggles up.

CAROLYN
(coy)
You still too tired?

ROGER
Those frogs make you horny?

CAROLYN
No -- you do.

As they head in, Carolyn’s gaze drifts back over her

shoulder one more time into the darkness, still slightly
uneasy.

CUT TO:

14 EXT. HOUSE - LATER 14

Clouds have moved in, swallowing any illumination from the

moon and stars, giving the house an ill-boding presence.
The frogs have stopped, replaced by a lingering, unholy
silence.

DISSOLVE TO:

15 INT. HOUSE - UPSTAIRS HALLWAY - MORNING 15

 11.

Carolyn, wearing a robe, comes out of the bedroom, side

steps a few boxes. Morning light streaks in through several
windows, illuminating the fact that the Perrons are far
from being unpacked.

The bathroom door opens and Cindy sticks her head out --

CINDY
Do you think maybe we could’ve
bought a house that has a toilet
that works --

CAROLYN
Tell your dad.

As Carolyn walks away --

CINDY
And there was this really funky
smell in my bedroom last night --
like something died.

CAROLYN
Is it there now?

CINDY
No.

CAROLYN
Problem solved.

Cindy rolls her eyes, then retreats back into the bathroom.

CUT TO:

16 INT. HOUSE - STAIRS - RIGHT AFTER 16

As Carolyn passes a clock at the base of the stairs, she

notices that it reads: 5:15 AM. She stops, checks her
watch, resets the clock to 7:38 AM.

CUT TO:

17 INT. KITCHEN - RIGHT AFTER 17

Carolyn crosses to a packing box on the counter. Digs a

kettle out of it. She moves to the sink and as she turns on
the water to fill it --

-- she freezes. On the window ledge before her are --

 12.

-- The THREE WAX MONKEYS, but instead of being lined up in

a row like they were before, they are now facing each other
-- their heads all melted into one, like some deformed
creature.

She then notices that the small clock she put next to them
has stopped at 5:15 as well --

ANDREA O.C.
Mommy, where’s Sadie?

Carolyn turns to see Andrea standing at the kitchen door.

CAROLYN
She’s out front. Why don’t you see
if she’ll come in. She’s got to be
hungry.

Andrea tears out of the kitchen, dodging Roger as he

enters.

ROGER
Slow down there, kiddo.

He looks to Carolyn standing at the sink, knows something’s

up.

ROGER
What is it?

She steps aside, showing him the monkeys. As Roger

approaches --

ROGER
-- Damn. Is the ledge hot?

CAROLYN
(a little spooked)
Not at all.
(beat)
And look at the clock -- it stopped
at 5:15. So did the one in the
hall.

CUT TO:

18 EXT. FRONT OF HOUSE - SAME 18

Andrea comes out of the front door. She sees an iron post
pounded into the ground with a chain snaking off it.
Sadie’s tail is visible, but a full view of her is hidden
by a bush at the bottom of the stairs.
 13.

ANDREA
Sadie --

The tail remains motionless.

ANDREA
Wake up girl --

Andrea takes a step down to the next. She claps her hands
together.

ANDREA
C’mon girl -- time for breakfast!

There’s still no response --

Andrea comes down off the last step, she blanches. Her
little lips start to tremble at what she sees.

Sadie lies dead on the ground, the chain wrapped around her
body like an Anaconda, her tongue protrudes, limp; her eyes
are dull, white.

Off Andrea’s scream.

DISSOLVE TO:

Over black.

ED (V.O.)
Fear is defined as a feeling of
agitation and anxiety caused by the
presence or imminence of danger. I
don’t care if it’s a demon, a
ghost, a spirit or an entity --
they all feed on it.
(beat)
Take Maurice here --

19 INT. LECTURE HALL - NIGHT 19

ED and LORRAINE WARREN (early thirties) are up on a stage

standing behind a podium. An audience of three hundred
captivated college students are seated before them as rough
film footage rolls on a LARGE SCREEN of a despondent
looking man, rail thin, late 20’s, sitting in a chair. His
eyes are black, matching his hair. His skin is pasty white.
A Catholic priest is next to him, reciting Latin from a
bible in barely audible words.

ED
 14.

-- He was a French Canadian farmer

with nothing more than a third
grade education -- yet after being
possessed by a demon, spoke some of
the best Latin I had ever heard --
sometimes backwards. He had been
molested by his father, who also
exposed him to bestiality.
(beat)
Evil found its home in this man
because he was conflicted, and
forced into this -- he never had a
choice.
(beat)
He thought he was saving his wife
by shooting her -- like his father
did to his mother.

LORRAINE
If you look at his eyes, you can
see them tearing blood onto his
shirt.

Maurice’s white T-shirt slowly starts to get blotted with

drips of blood; dark, crimson red. He suddenly SCREAMS OUT
IN PAIN, his body writhing.

LORRAINE
And upside down crosses started
appearing on his body.

We see Ed lifting up the side of Maurice’s shirt, exposing

for the camera.

TWO UPSIDE DOWN CROSSES pushing OUT at his skin from the
inside. Camera closes in.

The audience can’t believe what they’re seeing.

ED
That’s good, Jerome, why don’t you
hit the lights --

As the house lights kick back on, we see JEROME DAVIS

(20’s), Ed and Lorraine’s technical assistant standing in
the back of the lecture hall. He has longish hair, wears
cords and a flannel shirt. A leather necklace with peace
sign is draped around his neck. He turns the projector off.

TIME CUT TO:

 15.

Ed and Lorraine are in the middle of a Q & A with the

audience. A male student with a tie-dyed shirt and wild
Afro is standing up.

LORRAINE
-- We investigate roughly a hundred
or so cases a year.

AFRO
Cool. Thanks.

As Afro takes a seat, hands go up. Ed points to another

student who wears GLASSES four rows back. He gets to his
feet.

GLASSES
This is some creepy shit you two do
for a living --

Subtle laughs escape from the crowd.

GLASSES
So how do you keep these things
from going after you?

ED
We don’t get personally involved
with people we’re working with or
what we’re investigating -- it
makes you emotionally vulnerable
which gives them a way in. And of
course, our faith in God.

He sits back down. Hands fly up again. Lorraine points to a

female student with a PONYTAIL in the front row, who gets
to her feet. She seems a little hesitant to speak, then --

PONYTAIL
-- I wake up at night sometimes and
it feels like someone’s laying next
to me. Have you ever dealt with
anything like that before?

LORRAINE
Many times.
(beat)
Does it scare you?

PONYTAIL
I’m a little freaked, yeah.

LORRAINE
 16.

Freaked is normal, do you feel

threatened?

PONYTAIL
-- Not really. It’s just weird.

LORRAINE
(gentle)
Come here for a sec --

Lorraine moves up to the edge of the stage, joining the

girl who does the same.

LORRAINE
Give me your hands.

The girl offers them to her. Lorraine takes hold, then

closes her eyes. A moment later --

LORRAINE
The bed you sleep in, belonged to
your Grandmother, didn’t it?

PONYTAIL
(amazed)
Yeah.

LORRAINE
And you were very close before she
died.

Ponytail is getting blown away.

PONYTAIL
She raised me.

Lorraine opens her eyes.

LORRAINE
It’s her.

Ponytail’s eyes well as she tries to contain her emotions.

LORRAINE
You need to let her know that
you’re okay so she can move on. She
still worries about you.

PONYTAIL
How do I do that?

With a gentle smile --

 17.

LORRAINE
Next time you have that feeling,
tell her.

Lorraine lets go of her hands. As Ponytail sits back down,

Ed nods to another male student in the front row. Wears a
beanie.

GLASSES
I’d love to know what scares you
the most?

Ed cracks a small smile.

ED
Being married to a clairvoyant --
there’s not a whole lot I can get
away with.

The crowd laughs.

CUT TO:

20 EXT. AUDITORIUM - PARKING LOT - NIGHT 20

Jerome slides open the side door of a VW van. There’s a

sticker on the window that reads, “When this van’s a
rockin’, don’t bother knockin’”. He sets the projector next
to an array of other electronic equipment, then turns to Ed
and Lorraine, who are about to get into a Plymouth parked
right next to him.

ED
So, you feel like Chinese?

He looks at them with a cocky grin.

JEROME O.C.
I hate to bail on you, but I think
I’m going to do some “tutoring”.

Ed and Lorraine are slightly confused, until Jerome turns

and smiles at a young woman approaching them. It’s the Pony
Tail girl.

Ed lets an amused laugh escape his lips as he gets into the

car.

DISSOLVE TO:

21 EXT. PERRON HOUSE - SIDE OF HOUSE - DAY 21

 18.

Roger approaches a guy wearing incredibly dirty pants and

shirt, who’s peering down a hole in the ground into a
septic system, Carolyn can be seen in the background
tending to a newly sprouting, completely fenced in garden.
A SCARECROW, secured to a make-shift cross of 2x4’s, stands
at attention in the middle of it. It’s wearing overalls,
plaid shirt and donning a wig with shoulder length hair
capped over a small pillow that has a crude face drawn on.
Roger’s big rig is parked next to the barn.

Roger gets to the guy, who turns and faces him. His shirt
has a name tag, reads: Carl.

ROGER
Did you find the problem?

Carl looks to him.

CARL
Yeah -- but you’re not going to
like it.

ROGER
They teach you guys to say that,
right?

Carl isn’t humored.

CARL
It’s the septic -- needs to be
replaced. It’s got to be at least
forty years old.

This is not what Roger wants to hear.

ROGER
Can’t you just rig it somehow?

CARL
Someone’s already used that one up.

ROGER
So -- what’re we looking at?

Carl runs some numbers in his head.

CARL
All in -- about fourteen grand.

CUT TO:

22 EXT. GARDEN - RIGHT AFTER 22

 19.

A stressed Roger stands opposite Carolyn, who continues to

tend the garden.

ROGER
Seven grand for the new electrical
and now fourteen for this --

CAROLYN
We knew there could be problems,
honey.

ROGER
Yeah, but I don’t know how much
more we can afford.

She stops. Looks at him, what do you mean?

Roger takes a beat.

ROGER
I got a call from Mike this morning
-- because of this damn gas crunch,
they’re going to have to start
laying people off.

CAROLYN
Does that mean you?

ROGER
I’m not exactly senior there --

TIME CUT TO:

23 EXT. GARDEN - NIGHT 23

A full moon spotlights THE SCARECROW like it’s standing

center stage. It’s now surrounded by a FULLY FLOURISHING
GARDEN; tall rows of corn stalks, bright yellow squash, red
tomatoes and beans.

DISSOLVE TO:

24 INT. HOUSE - UPSTAIRS HALLWAY - SAME 24

It’s late. Carolyn has a basket of laundry tucked under her

arm as she heads down the hallway toward her room at the
end.

She stops at the closed bathroom door which has a phone

cord running across the floor from Cindy’s room into it.
 20.

CINDY O.C.
-- School basically sucks, there’s
no cute guys -- and there’s so many
friggin bugs --

Carolyn just sighs as she opens the door. Sees Cindy

standing in front of a mirror, phone to ear, comparing two
different colors of eye shadow, closing one eye at a time.

CAROLYN
Bed. Five minutes.

She closes the door.

CUT TO:

25 INT. ANDREA’S ROOM - SAME 25

Paper butterflies adorn her walls. Stuffed animals line a

small shelf above a vanity mirror and dresser. An Easy Bake
oven and Barbie play-set are lined up neatly against a
wall.

Andrea is under her covers in a frilly four posted bed,

head propped slightly by a pillow as she reads a book. A
lamp on a nightstand next to her cascades a four foot
radius of light.

Her body tightens as she catches a quick glimpse of

something furry jumping onto her bed, but her book has
obscured a full view, she slowly lowers it to get a better
look, finds the cat she saw earlier standing on the foot of
her bed.

It’s looking right at her.

ANDREA
How’d you get in here?

As she sits upright, the cat scurries off the bed and out
of her room into the hallway.

Andrea scrambles out from under the covers and quickly

follows. She looks out her door in time to see the cat slip
into Cindy’s room just down the hall.

26 INT. HALLWAY - CONTINUOUS 26

 21.

As Andrea moves to Cindy’s room, she can hear her sister

still talking on the phone in the bathroom. Her mom is
folding clothes on the bed in the master bedroom at the
end, unaware of her presence.

27 INT. CINDY’S ROOM - RIGHT AFTER 27

Andrea stands in the doorway looking to see where the cat

went. Her face is hit by a PURPLE HUE cascading from a
BLACKLIGHT hanging above a bed; posters of The Jackson
Five, peace signs and Alice in Wonderland, all glow from
the light. Scattered clothes litter the floor. The bed’s
unmade.

Andrea can’t see the cat anywhere, then she hears it

HISSING from under the bed.

ANDREA
What’s wrong, Kitty?

Andrea comes into the room and over to the bed.

She kneels. As she looks underneath, her eyes immediately

fall upon a Raggedy Anne doll, seemingly staring at her,
scares her slightly. The hissing starts up again, but she
can’t see where the cat is as her vision is obscured by
other dolls stuffed under the bed.

She reaches in and moves a couple aside, sees the cat, but
her breath gets caught in her throat, the blacklight has
made its eyes look wild, almost demonic as it stares at
something that’s seemingly right behind her. She snaps a
look back over her shoulder, but nothing’s there.

The cat suddenly bolts right past her, the movement

startling Andrea, who instinctively recoils. She watches
the cat slip through a partially opened closet door into
the darkness beyond.

As she gets to her feet, Carolyn appears in the doorway.

CAROLYN
Hey, you’re supposed to be asleep.

ANDREA
I saw that cat again, it went into
the closet.

Andrea heads to it. A very curious Carolyn flips a light

switch on the wall as she enters.

CAROLYN
 22.

Really--?

She joins Andrea at the closet. Opens the door wider.

Carolyn reaches overhead and pulls on a light string,

filling the large walk-in closet with bright light. There’s
an array of clothes and shoes, but no cat. Carolyn turns to
Andrea.

CAROLYN
You sure?

ANDREA
Yeah, I swear.

CAROLYN
It’s not here now. It probably just
slipped out and we didn’t see it.

Andrea bends down, looking under Cindy’s bed again, it’s

not there.

CAROLYN
C’mon, let’s get you back into bed.
I’ll look for it.

CUT TO:

28 INT. ANDREA’S ROOM - RIGHT AFTER 28

As Andrea climbs back into bed.

ANDREA
When’s daddy going to be back?

CAROLYN
He said he’s going to try to make
it home tonight.

Carolyn begins to tuck her in.

ANDREA
How come he’s gone so much?

CAROLYN
He lost his job, sweetie, so he’s
driving for anyone he can right now
-- we gotta pay the bills.

ANDREA
Well, bills suck.
 23.

Carolyn smiles.

CAROLYN
They sure do.

ANDREA
Will you lie down with me?

CAROLYN
-- Sure.

DISSOLVE TO:

IN THE BED LATER

Carolyn, who’s fallen asleep next to Andrea, awakens to a

distant SCRATCHING NOISE. She listens for few beats, there
it is again. She climbs out of bed to investigate.

29 INT. HOUSE - UPSTAIRS HALLWAY - CONTINUOUS 29

She comes out of the bedroom. The SCRATCHING NOISE is

coming from downstairs. She walks by several pictures of
Cindy, Andrea and the family together hanging on the walls
as she heads toward the staircase.

Suddenly the noise turns violent, DEEP, VICIOUS SCRATCHES

like nails across wood. She slows her pace dramatically.

Carolyn moves to the top of the staircase, almost too

afraid to look down. Digs up some courage.

Her pov - THE CELLAR DOOR rattles upon impact as something

continues to dig and claw at the door from the other side.

30 INT. HOUSE - STAIRS - CONTINUOUS 30

Carolyn heads down as the scratching continues.

31 INT. HOUSE - DOWNSTAIRS HALLWAY - CONTINUOUS 31

She comes off the bottom step and guardedly moves down the
hallway to the door.

Just as she gets to it, THE SCRATCHING INSTANTLY STOPS. The

house gets church quiet. She listens intently, torn with
what to do.
 24.

Carolyn retreats momentarily back into the kitchen, comes

out a second later with a flashlight.

She slowly gets onto her hands and knees. Targets a one
inch gap between the bottom of the door and floor with the
flashlight, then thumbs the switch.

THE LIGHT INSTANTLY REFLECTS OFF TWO EYES BORING RIGHT BACK
AT HER from within the dark recess but there’s nothing
human, nor animal about them.

Carolyn freaks, recoils in a frenzy of motion. She

scrambles back to the kitchen door where she grabs a RUBBER
DOOR-WEDGE from the floor next to it. She ushers it back to
the cellar door and SLAMS it into the gap.

CINDY O.C.
(concerned)
What’s going on?

Carolyn spins. Sees Cindy and Andrea staring down at her

from the top of the stairs.

CAROLYN
Stay up there!

DISSOLVE TO:

32 INT. BIG RIG CAB - LATER THAT NIGHT 32

Roger heads down his driveway. His headlights capture

Carolyn looking out the living room window at him, she
looks terrorized, anxious.

SMASH CUT TO:

33 INT. LIVING ROOM - RIGHT AFTER 33

Roger stands in front of the open gun case; exposing a

shotgun and a couple of rifles. He’s quickly loading ammo
into a hand gun.

CUT TO:

34 INT. HOUSE - DOWNSTAIRS HALLWAY - RIGHT AFTER 34

Roger comes out of the living room, gun in hand. Carolyn

and the girls watch him from the top of the stairs as he
heads for the cellar door, which now has a chair propped up
under the handle as well as the door-wedge.
 25.

CAROLYN
Careful.

Roger removes the chair and wedge. Gun ready. He slowly

opens the door. Carolyn gasps at DEEP SCRATCHES that
crisscross the back of it.

Roger stands still for a moment, looking at them as well,

then heads down a steep set of wooden stairs that get lost
in the darkness.

He flips a nearby wall switch, washing the cellar in a

dull, yellow light.

35 INT. CELLAR - CONTINUOUS 35

Roger inches down the stairs. Alert. Ready. He steps off

the bottom step, pauses, gun out, eyes perusing the shelves
of canned goods and stacked moving boxes.

There are no windows or other exits.

He moves toward two wardrobe boxes, big enough for

something to hide behind. Closer. Closer. The knuckle on
his trigger finger whitens from pressure.

He kicks one of the boxes over, nothing happens. Looks

behind the other, empty.

CUT TO:

36 INT. DOWNSTAIRS HALLWAY - RIGHT AFTER 36

Roger comes up off the stairs. Closes the door behind him.
Looks up to Carolyn and the girls who are waiting with
baited breath upstairs.

ROGER
There’s nothing down there. The
scratches were probably already on
the door and your light just was
playing tricks on you; maybe
reflected off the railing or
something.

CAROLYN
(adamant)
I know what I saw Roger, and heard
it digging at the door.

ROGER
 26.

Then I don’t know what to tell you

-- nothing’s down there and there’s
no way out.

Andrea’s nervously chewing on her fingernails.

ANDREA
Maybe it was the cat.

CINDY
This house gives me the creeps, we
never should’ve moved here. I want
to go back to New Jersey.

Andrea folds into her mom’s arms.

ANDREA
I’m scared, mommy

ROGER
Just stop, both of you. There’s
nothing down there. Now it’s late -
- just go to bed.

The girls walk away, leaving Carolyn standing there.

Roger’s shifts his attention to her, shakes his head.

CAROLYN
You think I’m making this up?

ROGER
I think moving here has been a big
adjustment. Maybe too big.

DISSOLVE TO:

37 INT. OLD TWO-STORY VICTORIAN HOME 37

Ed and Lorraine move up a narrow staircase to a second

story. Trailing behind them are RACHEL and DAVID, a
slightly overweight couple in their late twenties. Neither
wear stress well.

RACHEL
It’s always in the middle of the
night, around two-thirty.

LORRAINE
And they’re different sounds?

DAVID
 27.

Creaking and moaning -- like

someone’s in pain.

RACHEL
I think it’s David’s dad haunting
me -- trying to get me out of this
house.

LORRAINE
Why would he do that?

RACHEL
Because he hated me when we were
dating -- he told me I wasn’t good
enough for his son. He died before
we got married, and he’s the one
who left him this house.
(beat)
He’s frickin buried fifty yards
across the street. I don’t even
like living here -- it gives me the
heebs.

Ed stops at the top.

ED
And this is where it’s strongest?

Both nod.

Ed looks up to see AN ATTIC DOOR DIRECTLY ABOVE THEM. He

pulls on a rope, opening it up -- unfurling a set of attic
steps.

RACHEL
We don’t have to go up there with
you, do we?

LORRAINE
No -- you can wait here.

Ed reaches into his hip pocket and retrieves a flashlight.

Heads up into the dark abyss.

38 INT. VICTORIAN HOUSE - ATTIC - CONTINUOUS 38

Ed stands half in and out as he sweeps the interior with

his light.

The place is full of old furniture, wooden trunks, boxes,

clothing racks. He continues up the creaky steps into the
attic. Lorraine follows him up.
 28.

LORRAINE
Funny how all attics smell the same
--

Lorraine moves over to a broken dormer window where

filtered moonlight pours in. It casts a blue hue across the
room. She looks out, unfolding across a street is a large
cemetery full of tombstones, hundreds and hundreds of them.
A thick, wet fog drifts through.

Ed’s light falls on a cobwebbed covered bookshelf loaded

with dust. He moves to it to get a look at several URN-LIKE
containers that have caught his attention. Lorraine joins
him.

LORRAINE
Forgotten relatives, maybe?

Ed uses his finger to wipe clean an inscription written on

the bottom of one.

ED
No -- First Place Curling.
(beat)
You’re not getting anything, are
you?

LORRAINE
Not a thing.

TIME CUT TO:

39 INT. ATTIC - RIGHT AFTER 39

David and Rachel come up the stairs with Ed. Both look
nervous to be up there. Lorraine’s standing over by the
broken window.

ED
I know a lot of people would be
creeped out living by a cemetery
and -- throw a very old home into
the equation, and you’re going to
get the creaking, moaning sounds --
especially at night when
temperature and humidity changes
are the greatest and can cause some
shifting in the structure.

DAVID
It’s not that. We would know the
difference.
 29.

Just then, a MOANING NOISE that sounds LIKE SOMEONE’S IN

AGONY, emanates through the room. Rachel grabs onto David’s
arm.

RACHEL
Ohmygod, that’s it --

ED
Do it again, Lorraine --

David and Rachel look to Lorraine, huh? They watch as she

steps on TWO, water-stained WOODEN FLOORBOARDS that run
near an old heating radiator next to her, producing the
same sound.

ED
Right now, it’s Lorraine’s weight,
but add the moisture coming in
through this broken window at night
-- the boards are going to expand
and rub against each other.
(beat)
You’ve heard it in different parts
of the house because of the
radiator.

RACHEL
So this place isn’t haunted?

Lorraine shakes her head.

LORRAINE
No.

ED
You’re not alone, a lot of what we
investigate turns out like this.

DISSOLVE TO:

40 EXT. WARREN HOUSE - NIGHT 40

Nice. Well kept. Ed and Lorraine pull up into the driveway.

Get out of the car, and head to the front door.

CUT TO:

41 EXT. WARREN HOUSE - BACKYARD - RIGHT AFTER 41

 30.

Ed and Lorraine exit a door off the kitchen. Across a well

lit yard is a large chicken coop with a henhouse inside,
where their daughter JUDY (7), carrying a basket full of
eggs, is with Ed’s MOM (60’s). They’re both exiting the
coop, there’s a dozen or so chickens moving about, and one
of them is at their feet.

MOM
Be careful honey, you don’t want to
let Gertrude out.

Just as they close the coop door, Judy spots her parents.

JUDY
Daddy!!

ED
Hey there pumpkin!

Judy hands the egg basket to her grandmother, and races

toward them.

JUDY
Hi mommy!

Judy runs across the yard and leaps into Ed’s arms. Gives
him a big hug. Lorraine sees that she’s got something dark
smeared all over her face.

LORRAINE
What’cha got on your face?

JUDY
Fudgesicles!

Her little eyes go wide with great pride, as --

JUDY
I ate the whole box!

Ed’s mom approaches, all smiles.

MOM
Oh, not the whole box -- I did
manage to have one.

ED
Hi mom.

He gives her a kiss on the cheek, then looks to Lorraine,

half laughing. Passes Judy over to her, who gives her a big
hug.
 31.

LORRAINE
I missed you!

CUT TO:

42 INT. WARREN HOUSE - KITCHEN - LATER 42

Ed reaches for a phone hanging on the kitchen wall. As he

dials a number, he smiles when he sees a photo of Judy on
the counter next to him. It’s framed in Fudgesicle sticks,
and made to look like a church with a cross. Scribbled
along the bottom is, “I love you, daddy”.

CUT TO:

WOMAN’S VOICE (V.O.)

Father Jordan -- Ed Warren is on
the phone for you.

43 INT. CATHEDRAL OF THE HOLY CROSS - OFFICE - SAME 43

Walking into an opulent office full of antique furniture

and religious icons, is FATHER JORDON (late thirties).

He takes a seat in a chair, then picks up a phone on his

desk.

FATHER JORDON
Hey Ed -- how’d it go?

ED (V.O.)
The house was empty --

FATHER JORDON
That’s good news. I appreciate your
help.

ED (V.O.)
You bet.
(beat)
Was your father any better today?

FATHER JORDON
Yeah -- we actually got him up and
walking around. I think he’s going
to be fine. Thanks for asking.

CUT TO:

44 INT. JUDY’S ROOM - NIGHT 44

 32.

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

edge of the bed as Lorraine finishes braiding Judy’s hair.

JUDY
Grandma really snores.

Lorraine chuckles.

LORRAINE
C’mon, let’s get you into bed.

Lorraine stands and lifts the covers. Judy slides in under

them.

LORRAINE
I missed you so much.

JUDY
I missed you too.

LORRAINE
Sleep tight.

Lorraine gives Judy a tender kiss good-night, then reaches

over and turns off a light on a nightstand next to the bed.

TIME CUT TO:

45 EXT. PERRON HOUSE - BACK YARD - AFTERNOON 45

Dark rain clouds threaten. The leaves in the trees have

begun to turn color. The garden off to the side is now void
of any growth -- the ground bare. The Scarecrow looks dead
itself; it’s stringy hair drawn across its face by a small
breeze.

Andrea, wearing a warm sweater, is kneeling before a small

grave at the base of a tree. There’s a wooden cross with
the name SADIE written on it. She’s pulling several weeds
away.

Cindy’s helping Carolyn take down some sheets from a

clothing line as they ripple in the wind.

Roger’s Rig is parked next to the barn.

CUT TO:

46 INT. PERRON HOUSE - KITCHEN - SOON AFTER 46

 33.

Carolyn comes in with the girls. Roger’s on the phone. He

looks tired. Strained. As they cross --

ROGER
Glen, I’m just looking for
anything, man -- I need to get
something going on or I’m going to
lose the insurance on the rig.
(listens; frustrated)
That’s half my rate and twice the
distance.
(listens; giving in)
Yeah, alright, alright, I’ll take
it.

Roger hangs up the phone. Looks to Carolyn, shakes his

head.

CAROLYN
(sympathetic)
What’s the route?

ROGER
Fucking Florida. Two week turn
arounds. I start tomorrow.

She’s shocked that he just cussed in front of the kids.

DISSOLVE TO:

47 INT. HOUSE - BEDROOM - LATER THAT NIGHT 47

Andrea is in bed, sound asleep. Pouring rain pelts against

her window, her eyes snap open. She finds herself facing
the grey cat back on her bed, its ears drawn back, HISSING
through exposed fangs, ready for a fight, it’s eyes slowly
tracking something moving just behind her.

Andrea’s peripheral vision suddenly picks up the OUTLINES

OF TWO HANDS with only THREE FINGERS ON EACH pressing out
from within her pillow case, folding her pillow up on the
sides, closing in on her face.

The cat HISSES, then leaps to the floor.

CUT TO:

48 INT. PERRON HOME - MASTER BEDROOM - SAME 48

 34.

Carolyn and Roger are rattled from a dead sleep by Andrea’s

blood curdling scream both scramble out of the covers to
get to her.

SMASH CUT TO:

49 INT. ANDREA’S ROOM - RIGHT AFTER 49

Roger’s to the doorway first. Looks in to see the bed’s

empty. Eyes shift looking for his girl, but areas of the
room are swallowed in darkness.

ROGER
Andrea--?

Carolyn joins him. Roger hits the switch on the wall,

shedding light on Andrea, who’s curled up in a corner,
hyperventilating with fear. The tears are flowing as she
stares at her bed.

TIME CUT TO:

HALLWAY - LATER

Roger is pissed as he faces Carolyn just outside their

bedroom, where Andrea can be seen tucked into their bed,
now sleeping.

Carolyn’s an emotional wreck. Wipes tears with a tissue.

Both speak in hushed tones.

ROGER
Demons peering in through windows,
cold spots, doors rattling, voices
-- everyone was fine until you
started putting all this scared,
city-girl bullshit in their heads.

CAROLYN
No I haven’t -- there’s something
wrong with this place.

ROGER
Then how come I haven’t seen it?

CAROLYN
I don’t know.
(pleading)
I’m scared to death, Roger. We need
to get someone out here, a priest
or someone.
 35.

ROGER
To do what?

CAROLYN
I have no idea. Bless it --
whatever they do.

ROGER
Yeah -- that’s just what the girls
need to see next -- someone walking
around here with a cross damning
everything out of this house.
(beat)
I can’t listen to anymore of this
shit.

He heads downstairs.

CAROLYN
Roger, please.

He doesn’t turn around.

DISSOLVE TO:

50 INT. HOUSE - LIVING ROOM - LATER 50

Roger’s asleep on one of two sofas that face each other in

front of the fireplace, that’s glowing red from embers.
There’s a coffee table between the sofas with a half empty
bottle of scotch. A nearby TV is fuzzy white, that is,
until something dark, ominous, crosses in front of it.

Roger awakens. Sits up. Rubs his groggy eyes, then rises.
Goes to the TV. Just as he turns off the TV, he hears the
LOW CREAKING SOUND OF A DOOR opening. He heads to the
hallway to investigate. As he passes a Grandfather clock,
the time reads: 5:15.

51 INT. DOWNSTAIRS HALLWAY - CONTINUOUS 51

Just as Roger comes into the hallway, HE SEES the kitchen

door closing shut. As he moves toward it, it starts to BANG
against the door jam in bursts of three. Bangbangbang.
Bangbangbang. Roger’s mind is racing, what the hell?

The banging stops the minute he gets to the door. The house
falls into an awful silence. He opens the kitchen door,
looks inside.
 36.

A night-light cascading from a socket next to the sink,

kicks out enough glow to see that no one’s in there. A soft
breeze coming in through the kitchen window caresses the
curtains. His mind settles, that must’ve been it.

DISSOLVE TO:

52 EXT. BARN - DAY 52

Roger is pulling out in his big rig. Carolyn is standing

outside the house, wrapped in a sweater. She looks soul
weary as she watches him drive off.

DISSOLVE TO:

53 INT. CINDY’S ROOM - NIGHT 53

Cindy’s listening to some music as she sits on her bed,

doing homework. Her bedroom door opens and her mom pokes
her head in.

CAROLYN
How’s the homework going?

CINDY
It’s going.

CAROLYN
Andrea and I are going to bed.

CINDY
I’ll be in, in a little bit.

DISSOLVE TO:

LATER.

Just as Cindy finishes her homework, her bedroom door

begins to make a soft, repetitive bangbangbang noise, like
something’s pushing against it from the other side.

CINDY
(softly)
Mom--?

No response.
 37.

Keeping her eyes on the door, Cindy slides out of bed.

Moves toward it as the bangbangbang continues, the soft
impact barely rattling the door. She hits the brakes when
she sees a shadow of something appear in the gap between
the base of the door and the floor.

Cindy digs deep for courage, then continues toward it.

She’s a foot away and the banging suddenly stops. She waits
in silence, listening, that’s when the door slowly opens on
its own.

Cindy takes a cautionary step backwards, but nothing’s

there. She takes reluctant steps up to the door jamb and
cranes her head both directions in the hallway for a look.
All clear. She sees that her mom’s door is open a couple of
inches.

54 INT. HALLWAY - CONTINUOUS 54

Two steps into the hallway, Cindy pauses momentarily,

reacting to some sort of foul smell. She then moves
forward, and as she’s about to step into her mom’s room,
she stops mid-stride, her face goes taut, standing next to
the bed is AN APPARITION of a woman; dark matted hair,
white white skin, her body awkwardly hunched forward over
Carolyn and Andrea, who are sleeping, completely unaware of
her presence.

The Apparition slowly cranes her head toward Cindy. Stares

at her with pupil-less, snow-white eyes. She suddenly
surges toward Cindy lightning fast, passing right through
her body, and vanishes.

Off Cindy’s scream.

SMASH CUT TO:

55 EXT. CATHOLIC CHURCH - FRONT LAWN - HARRISVILLE - DAY 55

Simple white structure with a steeple. FATHER THORNTON;

late 20’s, is getting ready to take down letters from a
small, glass encased marquee posted into the ground that
says: A CHURCH IS A GIFT FROM GOD. ASSEMBLY REQUIRED.

CAROLYN O.C.
Excuse me, Father Thorton?

He looks over to see Carolyn approaching.

CUT TO:
 38.

56 EXT. CHURCH GROUNDS - RIGHT AFTER 56

Father Thorton and Carolyn share a table under the shade of

a large willow.

FATHER THORTON
-- It sounds to me that it’s far
beyond just needing a blessing. Let
me make a call to the Diocese and
see if we can get someone out here
to help that’s a little more
qualified in these matters.

Carolyn breathes a slight sigh of relief --

CAROLYN
Thank you --

DISSOLVE TO:

Super - One week later

S.O. Of a PHONE RINGING.

ED (V.O.)
-- Hello?

WOMAN’S VOICE (V.O.)

Mr. Warren, I have Father Jordan
calling.

DISSOLVE TO:

57 EXT. WARREN HOUSE - BACKYARD - DAY 57

Lorraine is seated at an outdoor table and has a cup of

coffee in hand. Ed sits opposite her. Judy is in the
background, feeding the chickens in the coup.

LORRAINE
I just wish you had talked to me.

ED
I’m sorry, I didn’t think it was
that big of a deal. Sounds like
this family really needs some help.

Lorraine lets her eyes drift to Judy --

LORRAINE
We were in Maine last week, New
York the week before --
 39.

Ed looks at her, he knows her too well.

ED
C’mon, what’s going on?

Lorraine pauses, then --

LORRAINE
I’m just not sure how much longer I
want to do this. There’s always
going to be another case, Ed.

He throws her a somewhat surprised look.

LORRAINE
Judy’s growing up so fast -- we’re
on the road all the time... it was
different when she was younger.

They sit still for a few silent beats, then --

ED
Tell you what, let’s check this one
out, then take a break -- see how
you feel after that -- okay?

LORRAINE
-- Sure.

Ed rises.

TIME CUT TO:

58 EXT. WARREN’S PLYMOUTH - NIGHT 58

Ed and Lorraine ride in silence along a lonely two-lane

stretch of road through rural countryside. The framed
picture of Judy now dangles from the rearview mirror.

Their headlights hit a small road sign riddled with

buckshot that’s posted at a turnoff just ahead: COLLINS
TAFT RD.

Ed turns. Heads down a gravel strip of road that winds its

way through the trees to a mailbox. They turn in the
driveway.

Although it’s dark and cloudy, scattered moonlight casts an

eerie glow over the farmhouse, we see it’s the Perron’s.

Lights on inside splinter out through several windows. The

Perron’s station wagon is out front.
 40.

Ed pulls up and parks. As they get out of the car, he goes

to the trunk. Pops it open. Lorraine suddenly stops cold,
her smile vanishes. She stands still, slowly scans over the
property; past the house, the woods, the barn, something’s
definitely got her attention.

Ed retrieves a handheld tape recorder and note pad out of a

box in the trunk and closes it. Goes up to Lorraine.

She shows him her arms, has GOOSEBUMPS all over them.

ED
I guess we’re in the right place.

The two of them head up the walkway. Just as they round a

slight turn.

CUT TO:

Lorraine’s pov - WHOOSH! A BLACK LAB leaps right at her,

it’s TEETH barred as it snarls viciously. Jaws snap. It
strains against a chain, which is tethered to a metal post
driven into the grass, then --

Resume -

Ed looks to Lorraine.

ED
You’re getting something --

LORRAINE
Um-hum.

CUT TO:

59 EXT. PERRON’S HOUSE - FRONT DOOR - NIGHT 59

Ed and Lorraine stand at the front door. It opens,

revealing Carolyn standing before them.

LORRAINE
Carolyn?

CAROLYN
-- You found it okay?

ED
Yeah, no problem.
 41.

The girls join her at the door -- their expressions somber.

Soul weary.

CAROLYN
These are my daughters, Cindy and
Andrea.

CINDY/ANDREA
-- Hi.

CAROLYN
Come in.

CUT TO:

60 INT. PERRON HOUSE - FOYER - SOON AFTER 60

Lorraine and Ed stand with Carolyn and the girls. We catch

them mid-conversation:

CAROLYN
-- In the last few nights it’s
gotten even worse.

ED
-- And these apparitions, do any of
them have a smell?

CINDY
The one I saw. It was horrible,
like rotting meat.

Ed glances to Lorraine.

CAROLYN
What? What is it? Please.

ED
It usually indicates some kind of
demonic activity.

An elevated wave of fear washes over Carolyn and the girls.

CAROLYN
-- Ohmygod.

Ed’s eyes drift to a couple of door handles that line the

hallway where pieces of rope are dangling off them.

CAROLYN
It keeps them from banging at
night.
 42.

ED
Comes in threes -- bang bang bang?

She nods.

ED
It’s an insult to the trinity;
father, son & Holy Spirit -- and I
bet it stops at dawn.

Another nod.

ED
God’s light.

LORRAINE
Do you have a dog?

CAROLYN
Used to.

LORRAINE
A black lab?

CAROLYN
Yes. Sadie.

LORRAINE
What happened to her?

CAROLYN
The first night we moved in she
wouldn’t come in the house -- so
Roger had to tether her out front.
(beat)

CAROLYN
Andrea found her dead in the
morning -- she had choked herself
to death on the chain.

Lorraine notices the cellar door that’s been blocked closed

with the chair and door-wedge. She starts toward it.
Carolyn stays behind.

CAROLYN
We don’t go down there anymore.

ED
Why?

CAROLYN
 43.

Because there’s something in there

that keeps scratching from the
other side.

Lorraine gets to the door and pulls the chair and wedge
free, opens the door, revealing.

Tons more of the DEEP, VIOLENT SCRATCHES. Lorraine hits the

switch on the wall, lighting up the basement.

61 INT. CELLAR - CONTINUOUS 61

Lorraine heads down the stairs. As she steps off the bottom
step, she’s hit with a BOMBARDMENT OF FAST, HARD HITTING
IMAGES OF FIVE DEAD, SKINLESS RABBITS sprawled out across
the bottom of a large cage; entrails dangling through the
meshing. The leg on one of them twitches.

-- The CEMENT FLOOR flowing with BLOOD.

-- A large, BLOOD-RED PENTAGRAM is plastered like graffiti

on a wall.

-- A CLOAKED FIGURE is having sex with a naked, dead woman,

her eyes locked wide open. Other cloaked figures, faces
hidden within hoods are close by, watching.

-- A HYPODERMIC NEEDLE being pushed into a vein on an arm

full of tracts.

-- Shadowed individuals surrounding an UPSIDE DOWN CROSS.

-- The FLASH of a GUN’S MUZZLE illuminating the face of a

heavy set woman as she pulls the trigger of a pistol with
its barrel pressed up under her chin.

Resume.

Lorraine looks sickened. Ed comes off the stairs and joins

her. She shakes her head in disgust at what’s happened in
this cellar.

LORRAINE
-- This is bad, Ed.

DISSOLVE TO:

62 INT. PERRON HOUSE - LIVING ROOM - RIGHT AFTER 62

Ed lags behind as Lorraine follows Carolyn and the girls

into the living room. She takes a moment, looking it over.
 44.

ED
When did you move in?

CAROLYN
About five months ago.

Lorraine’s eyes drift over to the fireplace where she’s hit

with ANOTHER IMAGE OF blood dripping off the hearth onto
the set of long, narrow knitting needles swallowed in red.

She turns to Carolyn and the girls.

LORRAINE
Do any of you knit?

Carolyn shakes her head, no.

CUT TO:

63 INT. HOUSE - STAIRS - RIGHT AFTER 63

As Carolyn, Andrea and Cindy lead Ed and Lorraine up the

stairs --

ANDREA
Tell’em about the birds, mom.

CAROLYN
It’s the strangest thing, they fly
into the side of the barn -- necks
get broken. All kinds of ‘em.

Cindy looks back to Lorraine and Ed.

CINDY
And things have been getting moved
around a lot. The table in the
kitchen was blocking the door this
morning.

As Carolyn steps onto the landing.

CAROLYN
And the clocks -- they stop at 5:15
a.m.

LORRAINE
All of them?

CAROLYN
Um-hum.
 45.

64 INT. HOUSE - UPSTAIRS HALLWAY - CONTINUOUS 64

Ed and Lorraine continue to follow the girls toward the

master bedroom. The walls are empty except for several
protruding nails from each.

CAROLYN
We used to have family pictures,
but something keeps knocking them
off the nails, so I just stopped
putting them back up.

LORRAINE
And your husband hasn’t seen any of
this?

Carolyn shakes her head.

CAROLYN
Things only happen when he’s gone.
He thinks it’s all in our heads.

ED
He’s not being shown anything on
purpose.

Off her look.

ED
It creates friction in the
relationship, a negative energy for
whatever’s here to feed on.

CAROLYN
Well, it’s working.

As they pass Andrea’s room --

CAROLYN
This is where Andrea had that
experience on the bed.

Lorraine pauses for a moment looking in. Notices that none

of the pillows have cases on them.

CUT TO:

65 INT. MASTER BEDROOM - NIGHT 65

LORRAINE O.C.
Where was the apparition?
 46.

Lorraine and Ed enter, leaving Carolyn and the girls at the

doorframe.

CINDY
On the left side of the bed.

Lorraine walks over to it. Ed moves to a dresser, looks to

a framed photo of the girls, then to a framed wedding
picture of Roger and Carolyn. There’s another photo of
Roger kneeling on one knee, posing next to a twelve-point
buck he’s shot. His rifle rests across his arms.

DISSOLVE TO:

66 INT. KITCHEN - LATER 66

Ed sits with Carolyn at the kitchen table with his tape

recorder between them.

ED
I just want you to start from the
beginning.

Carolyn nods. Ed hits the PLAY and RECORD buttons at the

same time.

ED
My name’s Ed Warren. It’s November
1st, 1972. I’m sitting here with
Carolyn Perron who, with her
family, has been experiencing
supernatural occurrences --

He looks to Carolyn.

ED
Okay, go ahead --

CUT TO:

67 INT. PERRON HOUSE - FAMILY ROOM - SAME 67

Lorraine is sitting on the sofa with Andrea. She notices

that she’s bitten her nails down to nothing.

LORRAINE
-- Anything else?

ANDREA
-- Sometimes I hear a baby crying
in the fireplace.
 47.

Andrea’s eyes drift over to the fireplace, which is

blackened, and full of ash.

LORRAINE
Do you feel like any one of these
things want to hurt you?

ANDREA
Um-hum --

Her eyes meet Lorraine’s.

ANDREA
-- How do you know when they’re
around?

LORRAINE
I get Goose bumps.

ANDREA
When I get Goose bumps, does that
mean they’re near me?

LORRAINE
Maybe -- can you tell me what
you’ve seen?

DISSOLVE INTO:

Lorraine is with Cindy, who has her arms wrapped around her
knees, all hunched up on the sofa. She stares off blankly.

CINDY
-- I don’t know what it was. My mom
thinks it might be what’s been
scratching at the cellar door --

FLASHBACK TO:

68 INT. HALLWAY - NIGHT 68

Cindy, wrapped in a towel, walks out of the upstairs

bathroom. She stops dead in her tracks, staring at the
floor, where backlit by the moon, a tree lays shadows on it
through a window at the far end. But it’s not the tree
branches that disturbs her, it’s that SOMETHING IS SITTING
on the branches with crooked arms, taloned claws, and legs
sprouted grotesquely from a bulky torso.

She forces herself to look out the window but nothing’s

there.
 48.

DISSOLVE TO:

69 INT. PERRON HOUSE - HALLWAY - LATER 69

Lorraine walks into the kitchen, where Ed is still

interviewing Carolyn. He pauses the tape, looks to her.

LORRAINE
I’m going to go outside.

He nods.

ED
Almost done.

CUT TO:

70 EXT. PERRON HOUSE - SIDE DOOR - RIGHT AFTER 70

Lorraine exits the house.

She pauses on the landing for a moment, looking around,

sees the Scarecrow now standing in the empty garden, worn,
weathered, looking like someone crucified with its arms
out.

Her eyes move to the barn, shadowed in the dark like some
ill-boding beast. We can see that she’s drawn to it.

She steps off the porch. Halfway across the yard, she
stops, as if she senses something, like she’s being
watched.

She shifts her gaze just beyond the barn, where a restless
breeze has the entire landscape in motion. She lets it go,
continues on to the barn.

CUT TO:

71 EXT. BARN - NIGHT - RIGHT AFTER 71

Lorraine’s about to open the door when she sees two dead
pigeons on the ground, necks broken.

She opens the barn door and looks in. She sees sabers of
moonlight pierce in through gaps in the tired, dilapidated
wood siding, then Lorraine’s immediately hit with ANOTHER
HARD HITTING image of Judson on the ground, his bloody face
smashed in.
 49.

Resume.

72 INT. BARN - CONTINUOUS 72

Lorraine steps into the barn and continues several feet in.
She stops, takes in her environment. An old CHEVY PICKUP is
parked toward the back next to an elongated work bench. Six
abandoned horse stalls are tucked along one side. There’s a
ladder that leads up to a loft.

As Lorraine turns to leave -- KA-THUMP!

A SET OF BARE FEET COME JERKING TO A STOP RIGHT IN FRONT OF

HER FACE, the toenails are incredibly long. Cracked. Dirty.

Lorraine looks up. Sees a woman dangling from a rafter by a

rope, her neck broken at an odd angle.

She’s in a long grey dress, and has scraggly dark hair

framing her face. Her eyes are bulging wide open, and seem
to be staring at Lorraine.

ED O.C.
There you are.

Lorraine’s eyes shift to Ed standing in the doorway, she

walks toward him, literally passing through the dangling
legs as they fade from her psychic vision.

CUT TO:

73 INT. PERRON HOUSE - KITCHEN - LATER 73

Ed and Lorraine are sitting at the kitchen table. Carolyn

refills coffee cups. Lorraine’s looking at the melted
monkeys on the table before her.

CAROLYN
Do you think she’s the same one
Cindy saw?

LORRAINE
-- I don’t know.

ED
When these things invade a home,
it’s quite possible that something
has invited them here, or conjured
them up somehow.

LORRAINE
 50.

I’ve asked the girls, but we need

to know -- have either you or your
husband ever practiced any kind of
Satanic worship -- anything of the
occult?

Carolyn’s appalled at the notion.

LORRAINE
My God, no.

ED
People dabble, think it’s kind of
fun. Play with a Ouija board,
invoke things up in a Seance -- and
then can’t get rid of them. It
happens more often than you know.

LORRAINE
With what I saw in the basement,
this house was some sort of satanic
shrine at some point.
(beat)
Do you know the history of this
farm?

CAROLYN
Just that it was built sometime in
the late 1800’s. We bought it from
an auction through a Bank Trust --
we never knew who the owners were.
(beat)
I always wanted to live in the
country -- this was supposed to be
someplace safer than the city.

Ed takes a moment, then --

ED
This house obviously has to be
exorcised, but to do that, we need
the church to authorize a Priest to
perform one.

CAROLYN
I’m fine with that.

ED
It’s not that easy. We have to
provide proof that what you’re
claiming is in fact happening, but
that can be the hard part.
 51.

CAROLYN
Why’s that?

LORRAINE
Because it doesn’t always happen
when we need it to.

CAROLYN
So what happens if we don’t get it?

ED
We don’t have the church.

Carolyn deflates.

DISSOLVE TO:

74 INT. HOUSE - FOYER - RIGHT AFTER 74

Ed and Lorraine stand at the front door, ready to leave.

Carolyn’s with them. Ed, who’s holding the clock from the
kitchen, looks at her, straightforward.

ED
What’s your faith?

CAROLYN
-- I was raised Methodist, I guess
--

ED
Have your children been Baptized?

CAROLYN
No -- we’re not really a church
going family.

Ed glances to Lorraine, then --

ED
You may want to rethink that.
Without faith, you have no
protection.

Carolyn’s not quite sure where Ed is going with this --

ED
-- Our presence here could make
things worse.

CAROLYN
-- Why?
 52.

ED
Because we’re a threat -- and
whatever you’re dealing with here,
isn’t going to like it.

Carolyn floods with emotion. It’s all too much. Lorraine

pulls her into an embrace.

LORRAINE
This is your house -- and Ed and I
are going to do everything we can
to keep it that way. No one likes
uninvited guests. Okay?

Carolyn wipes away a tear.

ED
We’ll talk to the Historian in the
morning and see what we can find
out, but it’ll be a few days before
we can get back here. We have to
make sure our tech guy is available
and we also need to get someone to
film everything for us.

Lorraine’s attention is drawn to Cindy and Andrea, looking

down at them from the top of the stairs with scared,
worried faces.

DISSOLVE TO:

75 INT. WARREN’S PLYMOUTH - NIGHT 75

Ed pulls up to the entrance of the Harrisville Motel,

single story, maybe thirty rooms.

CUT TO:

76 INT. MOTEL ROOM - NIGHT 76

Lorraine is sitting on the edge of a queen-size bed, the

cradle of a dial phone to her ear, listening. She makes eye
contact with Ed, who enters from outside, carrying a small
suitcase and the cardboard box with the tape recorder and
kitchen clock inside.

LORRAINE
Well that’s very nice of grandma --
seeing as it’s so far past your bed
time and you have school tomorrow.
 53.

Ed grins, places the box and suitcase on a dresser.

LORRAINE
Yes honey, daddy’s right here.
(listens)
I love you too.

She holds out the phone for Ed, who takes a seat next to
her, mouths “she promised”. Ed seems somewhat amused.

ED
Hi pumpkin, what’cha doing up so
late?

While he listens --

ED
Oh, Tennessee Tuxedo was on?

TIME CUT TO:

77 INT. MOTEL - BATHROOM - LATER 77

CU on Lorraine soaking in the tub filled with bubbles, her

eyes are closed.

Widen. We see that her head is tilted back on Ed’s chest,

who is soaking with her, stroking her arms. Steam rises.

ED
You seem kinda quiet, you okay?

LORRAINE
It’s just hitting close to home.
Andrea reminds me so much of Judy.

ED
I know. We’ll get it fixed.

DISSOLVE TO:

78 INT. MOTEL ROOM - LATER 78

Lorraine exits the bathroom, donning a robe. She’s towel

drying her hair.

Doesn’t like the look she gets from Ed, who is clad in a
pair of pajama bottoms, sitting on the edge of the bed with
the tape recorder in his hands.
 54.

LORRAINE
What’s wrong?

ED
Carolyn’s voice didn’t record.
Listen.

He hits play. WE HEAR:

ED (V.O.)
My name’s Ed Warren. It’s November
1st, 1972. I’m sitting here with
Carolyn Perron who, with her
family, has been experiencing
supernatural occurrences -- okay,
go ahead.

A long silence follows.

ED (V.O.
And what happened after that?

Another long silence. Ed clicks it off, looks to Lorraine,

not sure what to make of it.

CUT TO:

79 INT. PERRON HOUSE - STAIRCASE - NIGHT 79

Cindy is heading up the staircase with a glass of milk in

hand when water slowly cascades down from the stairs above
her and slowly caresses her feet before moving on down to
the next stair.

She looks up eyes go wide. Standing on a stair, several up

from her, is a YOUNG BOY (12), soaking wet, dressed in
vintage clothing. His skin is stark white and rotting in
places, and he has a non-stop flow of water dribbling out
his mouth.

Cindy drops the glass, it shatters. She screams. A second

later, a very concerned Carolyn shows up at the top of the
stairs. Cindy can barely get the words out.

CINDY
There was a boy standing right
there --

She points to where she saw him, he’s gone, but the water
is still present and dripping down the stairs.

DISSOLVE TO:
 55.

80 INT. MOTEL ROOM - NIGHT 80

A night light flowing out from the open bathroom door casts
a light glow over Ed and Lorraine, who are sound asleep in
the bed.

O.C. A SOFT CLICK, then WE HEAR the tape recorder kicking

on by itself.

ED (V.O.)
My name’s Ed Warren. It’s November
first, 1972.

The sound of Ed’s voice is LOUD, snapping Ed and Lorraine

out of their sleep, unbelieving. Both sets of eyes target
the tape recorder sitting on a small table near the foot of
their bed.

ED (V.O.
I’m sitting here with Carolyn
Perron who, with her family, has
been experiencing supernatural
occurrences -- okay, go ahead.

Where as this part of the tape was blank earlier, it’s now
filled with an INDISCERNIBLE, HAUNTING WHISPER that sounds
female, it continues, until --

ED (V.O.)
What happened after that?

The tape recorder then suddenly SHUTS OFF.

LORRAINE
Ed, the clock.

He looks where her gaze is locked, she’s staring at the

Perron clock next to the recorder. The time on it reads
5:15. They look at it, transfixed. It never moves to: 5:16.

DISSOLVE TO:

81 EXT. MAIN STREET - HARRISVILLE - DAY 81

Small town. Stores and businesses line both sides of the

street. Light traffic.

Ed and Lorraine are driving through. They pass the Catholic

church. The marquee in front reads: LET GOD GIVE YOU A
GREAT DAY.
 56.

Ed continues for another block, then pulls over, coming to

a stop in front of MATHEWS DRY GOODS store. It’s simple,
with two large windows, separated by an entrance. A second
story sits above it.

CUT TO:

82 INT. MATHEWS DRY GOODS STORE - RIGHT AFTER 82

S.O. of a bell that rings when Ed and Lorraine enter the

store. Inside is filled with a potpourri of dry goods.

SHANNON MATHEWS, a woman in her late 30’s, and a teenage

girl are behind a long counter that stretches from the
front of the store to a set of steps leading upstairs in
the back. A lava lamp sits next to a register.

Shannon’s busy cutting a piece of fabric for a customer

when she looks up.

SHANNON
Ed and Lorraine?

They both smile.

ED
Thanks for seeing us.

Shannon looks to the teenage girl next to her.

SHANNON
Maddy, finish cutting this for Mrs.
Doornbos, will ya?

Maddy nods that she will, and although she takes the
scissors from Shannon, her eyes never leave Ed and
Lorraine, neither are sure what it’s all about.

Shannon looks to Ed and Lorraine.

SHANNON
Why don’t you follow me.

She grabs a large coffee mug off the counter and heads to a
set of stairs in the back of the store. Ed and Lorraine
follow.

SHANNON
You gotta ignore my niece, she goes
to school with the Perron girls --
she’s heard about what’s been
happening out there.
 57.

83 INT. STORE - STAIRS - CONTINUOUS 83

As they head up --

SHANNON
Before the Perron’s bought it, that
place had been empty for as long as
I can remember.
(beat)
Please excuse the mess up here, my
Nana’s been the Historian for
almost sixty years, and when she
got Parkinson's, things just sort
of -- well, you can imagine.

84 INT. MATHEWS DRY GOOD’S - UPSTAIRS - CONTINUOUS 84

They come up off the last stair into a large, disheveled

looking room packed with stacks of books, filing cabinets,
piles of old newspapers and photos.

SHANNON
I took over the job, but haven’t
had much time to put into it.

Shannon heads over to a nearby table that stands in the

middle of the room, where pictures, maps, journals and
other documents are piled in two large boxes.

SHANNON
I pulled everything together for
you I could find, but there’s some
stretches of time missing. I’ll
keep looking and send you anything
else I might find.

DISSOLVE TO:

85 INT. PERRON HOUSE - MASTER BEDROOM - NIGHT 85

Carolyn is getting ready for bed. There’s a flare in the

window from headlights coming down the driveway. She moves
to the window and looks out, it’s Roger returning in the
rig.

CUT TO:

86 INT. KITCHEN - SOON AFTER 86

 58.

Roger looks clearly irritated as he reaches for a bottle of

scotch in a cabinet. Carolyn is leaning against the
counter, arms folded, trying to stay strong.

ROGER
I can’t believe you did this behind
my back.

CAROLYN
We have to do something. It’s
getting worse.

ROGER
I told you I didn’t want anymore of
this bullshit.

CAROLYN
They said you haven’t seen anything
because it wants to create “this”,
this conflict between us.

Roger half laughs to himself as he uncorks the bottle.

ROGER
Of course they did.

He pours a stiff one.

ROGER
And how much are they charging for
this little investigation?

CAROLYN
Nothing.

She moves over to Roger and takes his hands in hers before
he can lift the glass to his mouth.

CAROLYN
I’m scared to death and so are the
girls -- and I hate what it’s doing
to us.

She looks at him eye to eye.

CAROLYN
Please Roger. For me -- please.

DISSOLVE TO:

87 INT. WARREN HOUSE - KITCHEN - EARLY MORNING 87

 59.

Ed enters, looking half asleep. Goes to the coffee pot.

LORRAINE O.C.
You’re gonna have to make some
more.

Ed looks to an alcove off the kitchen, spotting Lorraine,

who has all the info they got from the Historian spread out
on a small desk. She’s holding a hand written journal.

ED
How long have you been up?

LORRAINE
Since four -- couldn’t sleep.

She looks at him, there’s an intensity in her eyes.

LORRAINE
It’s no wonder that family is going
through what they are.

TIME CUT TO:

An old, very weathered photograph of the Perron farm house.

Widen, we see that Ed is holding the picture, a pile of

others are next to him. He nurses a cup of coffee.

LORRAINE
-- That’s the original farmhouse.
It was built in 1863 by Judson
Sherman, who married Bathsheba
Bishop when she was nineteen.
(beat)
She was a direct descendant of
Bridget Bishop --

ED
We know that name --

She pauses.

LORRAINE
Yeah, she was the first witch hung
in Salem during the trials.

Ed looks to Lorraine, definitely intrigued.

LORRAINE
 60.

After she and Judson were married,

they had a baby, and when it was
seven days old, Judson found it
sacrificed -- in front of the
fireplace.

Ed can’t believe it.

LORRAINE
I’m assuming with knitting needles.
Apparently -- she ran out to the
barn, climbed into the rafters,
proclaimed her love to Satan,
cursed anyone who tried to take her
land, then hung herself.

Lorraine slides an old newspaper clipping mounted on

parchment paper over to Ed, who picks it up.

LORRAINE
That’s her.

Ed looks at the picture; it’s of a woman hanging from a

rafter, EXACTLY THE SAME IMAGE AND LIKENESS OF THE WOMAN
LORRAINE SAW HANGING IN THE BARN STARING DOWN AT HER.

ED
This is the woman you saw?

She nods, then --

LORRAINE
Ed -- she hung herself at five
fifteen in the morning.

ED
That explains a few things.

Lorraine then slides over an old black and white photograph

of an obese woman sitting in a wicker chair, flanked by a
boy (wears glasses) and a girl, who both look about ten.

LORRAINE
And that woman I saw in the
basement who shot herself -- I
think it’s this woman who lived
there in the thirties -- last name
is Walker. She had two children who
mysteriously disappeared in the
woods -- it’s probably why she
killed herself. I’m assuming those
are them --
 61.

ED
Wow --

LORRAINE
And I’m not done. What was the
original five hundred acre farm,
has been divided, and sold off --

She unfurls an old map next to her. Points to a spot.

LORRAINE
There was a boy who drowned in this
pond -- he lived in a house over
here.

Her finger slides across the map to another location close

by --

LORRAINE
And a hunter who died in the woods
-- he lived here.

Again, she indicates.

LORRAINE
There was a school bus accident on
this road.

She looks to Ed, more for emphasis than anything else.

LORRAINE
The only children who died, were
from families who had homes on the
property. Four of them.

ED
(sotto)
-- People who took her land.

DISSOLVE TO:

88 EXT. RHODE ISLAND - TWO LANE ROAD - SUNSET 88

Ariel pov of the Warren’s Plymouth as it slaloms its way

along a country road illuminated by a brilliant sunset.

It turns off onto the Perron’s driveway. Parks by the

house.

CUT TO:
 62.

89 EXT. PERRON HOUSE - DRIVEWAY - SAME 89

Ed and Lorraine get out of their car with BRUCE LEVY (30).
Clean cut, wears khakis. Gym built muscles gives his shirt
a tight fit.

They move around the back of their car.

Ed opens the trunk. Inside are four large bags of

groceries, a cardboard box, which now holds Ed’s tape
recorder, the Perron’s clock, a bible, a camera case, some
note pads, and dozens of film canisters.

Bruce takes a beat, looking around.

BRUCE
Nice place.

Lorraine’s attention is drawn to Jerome’s VW van turning

onto the driveway and heading toward the house.

LORRAINE
Good, Jerome’s here.

Jerome drives up right next to them and parks. Climbs out.

He’s munching on a large cookie. Smiles to them.

JEROME
I forgot how bitchin’ Rhode Island
is.

He notices Bruce.

LORRAINE
Jerome, this is Bruce Levy.

JEROME
Oh, the cop -- nice to meet you,
man.

As they shake hands.

JEROME
I heard you’re not much of a
believer.

BRUCE
You might say that.

JEROME
You know you can’t shoot ghosts,
right?
 63.

ED
Easy on him, Jerome. C’mon, let’s
get unloaded.

CUT TO:

90 EXT. PERRON HOUSE - FRONT DOOR - RIGHT AFTER 90

A troubled looking Carolyn has the door open as Jerome, Ed

and Bruce pile in, each loaded with monitors, VCRs, gauges,
and various pieces of camera equipment, etc.

Lorraine follows, carrying a box.

Cindy and Andrea are looking down from the landing

upstairs.

ED
We’d like to do the main set up in
the living room if that’s okay?

CAROLYN
Yes, of course --

ED
This is Jerome, and Officer Levy.

BRUCE
Bruce is fine.

The guys nod hellos and move on just as Roger enters from
the kitchen.

CAROLYN
Ed and Lorraine, this is my
husband, Roger.

Even though Ed sees the doubt in Roger’s eyes.

ED
I hope we can help you out here.

ROGER
Yeah -- me too.
(to Carolyn)
I’ll be in the barn.

Roger heads out front as Ed continues into the living room

with Jerome and Bruce.

Lorraine looks to Carolyn, sincere.

 64.

LORRAINE
How are you holding up?

Sees she’s not.

CUT TO:

91 INT. KITCHEN - RIGHT AFTER 91

Lorraine is standing against the counter, listening to

Carolyn.

CAROLYN
-- Water was just pouring out of
his mouth.

LORRAINE
This is good --

Off Carolyn’s surprised look.

LORRAINE
We want the activity. It gives us
the proof we need.

All Carolyn can do is manage a slow, reluctant nod of

approval. Silent tears begin to cascade down her cheeks.

Bruce enters, carrying the bags of groceries, interrupting

the moment, isn’t quite sure what to do.

Lorraine nods to the kitchen table, which has two baskets

of folded laundry sitting on it.

LORRAINE
Why don’t you just put them over
there.

He does. Leaves. Carolyn looks over to the groceries.

CAROLYN
-- You didn’t have to do that.

LORRAINE
Are you kidding me? Jerome will eat
you out of house and home, believe
me, it’s the least we can do.

Carolyn manages a slight smile.

LORRAINE
 65.

(re; folded clothing)

Those have to go upstairs?

DISSOLVE TO:

92 INT. BARN - DAY 92

The door opens. A column of outside light slides in, barely

stretching to the Chevy pickup in the back. Roger comes in.
As he reaches for a wall switch --

CUT TO:

Camera’s pov, over his shoulder toward the truck. We’d

swear there was the silhouette of a woman sitting inside,
seemingly looking at Roger, but the second the light comes
on, it illuminates a vacant interior.

Resume.

Roger heads over to the truck.

DISSOLVE TO:

93 EXT. HOUSE - LATER 93

Ed comes out of the house carrying a tripod and a 35mm

camera. Heads for the barn. Bruce exits a few beats behind
him, un-spooling cable.

CUT TO:

94 INT. BARN - RIGHT AFTER 94

Roger has a jack positioned toward the front of the pickup

and is working one end of a tire wrench to crank it up off
the floor. There’s a small toolbox next to the jack.

ED O.C.
Nice ride. Fifty-five?

Roger looks back over his shoulder to see Ed coming in.

ROGER
Six.

ED
Two-eighty-three small block?
 66.

ROGER
(impressed)
You know trucks.

Roger finishes jacking up the truck. He flips the “safety”

lever into the lock position on the jack.

ED
My dad had a side-step with the big
back window. Every Saturday, we
were working on her.
(beat)
What’re you doing?

ROGER
Just repacking the bearings.

Bruce enters, continues un-spooling the cable as he

approaches Ed.

ED
Well -- don’t mind us, we’ll only
be a few minutes.

ROGER
Knock yourself out.

Roger starts to unscrew the lugs.

Ed mounts the camera onto the tripod. Takes the other end
of the cable from Bruce and plugs into the side of the
camera.

ED
Did Jerome give you the EFD?

BRUCE
If that’s what this is --

He extracts a small hand-held meter from his pocket. Hands

it to him.

BRUCE
What’s it do?

As Ed begins to hook it up.

ED
When there’s an energy present, the
needle on it will begin to
fluctuate, usually between 1.7 and
3 mega-hertz, and that triggers the
camera to start shooting.
 67.

Roger looks over to him as he pulls the tire off. Sets it

down.

ROGER
And you’ve actually caught things
on film?

ED
Well yeah -- that’s the point.

Roger, quietly amused, focuses back on the truck. Notices

oil dripping from the drain pain. Rolls onto his back and
scoots underneath to investigate.

BRUCE
So why are we putting one in here?

ED
This is where the witch committed
suicide. Hung herself from the
rafter right above us.

As Bruce looks up --

ED
Apparitions will at times manifest
near their points of death.

At that very moment -- WHAM! THE PICKUP SUDDENLY DROPS back

down to the floor, emanating a harsh, crunching sound.

Ed and Bruce snap a look over to see Roger’s legs

protruding out toward them from a small 10” gap between the
barn floor and side of the truck, created by the now
crushed tool box.

They rush over --

ED
Roger--?

SMASH CUT TO:

UNDER THE TRUCK - SAME

CU on Roger’s terrorized face pressed slightly against the

bottom of the chassis, another millimeter and it’d be a
different story.

ROGER
I’m alright, can you pull me out?

Resume.
 68.

Ed and Bruce each take a leg and pull on him. His body
slowly emerges. Roger looks to them.

ROGER
Thanks.

He notices the tool box.

ROGER
That was close.

Roger gets to his feet. Picks up the Jack that’s fallen

over. Looks at it, the safety lock is now off.

ROGER
Safety must’ve slipped.

We see by the look on Ed’s face that he thinks there’s more

going on here than that.

DISSOLVE TO:

95 INT. HOUSE - CINDY’S ROOM - SAME 95

Carolyn is putting clothes away in Cindy’s drawers from the

laundry baskets. Lorraine watches.

CAROLYN
How could a mother kill her own
child?

LORRAINE
It was never a child to her -- she
just used her God given gift as the
ultimate offense against him.

LORRAINE
Witches believe it elevates their
status in the eyes of Satan.

CUT TO:

96 INT. LIVING ROOM - LATER 96

Jerome is munching from a bag of potato chips while sorting

through a spaghetti pile of cables that run from SEVEN
different VCR’s to SEVEN separate MONITORS, each labeled
accordingly; basement, upstairs hallway, downstairs
hallway, master, living room, barn, and the girl’s bedroom.

Cindy is standing next to Jerome, looks somewhat smitten.

 69.

Jerome cuts off a slice of tape with a PAIR OF SCISSORS and

secures it around one of the cables, holding several loops
in place.

CINDY
(pointing)
And what’s that?

JEROME
A VCR -- it’s a video recording
device. They think one of these
will be in every house one day --

CINDY
Really? Why?

JEROME
To record what’s on your TV -- so
you can watch it anytime you want.

CINDY
That’d be so cool.

JEROME
Pretty far out, isn’t it?

She smiles.

CUT TO:

97 INT. HOUSE - STAIRWAY - SAME 97

Lorraine and Carolyn descend the stairs, each carrying an

empty laundry basket. They stop at the foyer where their
attention is drawn to Cindy and Jerome in the living room.

LORRAINE
Looks like someone might have a
crush.

The edge of Carolyn’s lips curl into a amused smile.

CAROLYN
He certainly looks like he knows
what he’s doing.

LORRAINE
Top of his class at MIT.

CAROLYN
And Bruce is a police officer?
 70.

LORRAINE
Yes, Ed likes to use them as
documentarians -- people trust
them.
(beat)
I think it’s because Ed’s dad was a
cop.

ANDREA O.C.
Mom, can you braid my hair?

Carolyn turns to see Andrea on the stairway behind them,

holding a hair brush and a tie-off.

CAROLYN
Oh honey, I need to get dinner
going --

LORRAINE
I can do that for you -- I do my
daughter’s all the time.

Lorraine hands her basket to Carolyn, then sits down on the

second to last step. Taps the one below her. Andrea takes a
seat on it.

Carolyn heads in to the kitchen. Lorraine takes the brush

from Andrea, and begins to stroke the young girl’s lengthy
hair.

ANDREA
What’s your daughter’s name?

LORRAINE
Judy. She’s about your age.

ANDREA
And she likes her hair braided too?

LORRAINE
Um-hum. We braid it every night
before she goes to bed.

Cindy walks out of the living room. Takes a seat next to

Lorraine, watching her brush Andrea’s hair.

CINDY
(matter-of-fact)
Have you always been able to see
things?

ANDREA
(overly enthusiastic)
 71.

Yeah, have you?

A subtle laugh escapes Lorraine as she gathers the hair in

three sections, and begins to braid.

LORRAINE
Ever since I can remember.

CINDY
What’s the first thing you saw?

LORRAINE
An aura.

ANDREA
What’s that?

LORRAINE
It’s energy that surrounds your
body.

Lorraine looks at both the girls, perusing them slightly.

LORRAINE
You both have beautiful one’s, by
the way --

The girls smile. The front door swings open. Ed and Bruce
enter.

BRUCE
(to Ed)
I put the other one at the end of
the hallway.

Lorraine sends Ed a smile as they head down the hallway

toward another camera and tripod waiting to be set up. He
looks a little uneasy with her interacting with the girls.
She sends him a confused look, what? He stops as Roger and
Bruce continue down the hall. Waits for her to join him.

LORRAINE
(to the girls)
Excuse me one sec.

Lorraine gets to her feet, goes to Ed.

ED
(whispering)
What’re you doing?

LORRAINE
(whispering back)
 72.

What do you mean?

ED
Getting a little close aren’t we?

LORRAINE
I’m braiding hair.

ED
You know exactly what I’m talking
about.

LORRAINE
I’m fine, Ed -- just helping out.

Ed looks like he’s not so sure, but lets it go.

LORRAINE
Did you guys get all set up in the
barn?

ED
Yeah, but we had a little incident
out there --

Off her look --

DISSOLVE TO:

98 INT. LIVING ROOM - LATER 98

Ed enters, carrying an ornate, hand-carved wooden case. He

glances to Jerome, who is busy tinkering with a contrast
adjustment on a monitor. The other monitors all reveal
different parts of the house.

ED
You gettin' there?

JEROME
Still gotta sync the EFD with the
cellar and hallway cameras, then
good to go -- this little sucker
here is being a pain in the ass,
though.

Ed smirks. Sets his box on the coffee table. Begins

unloading several velvet wrapped crosses, setting them
upright.

Ed notices Roger crossing the foyer from the front door --

 73.

ED
Find the oil leak?

ROGER
Yeah.

Roger sees the crosses -- looks to Ed curiously.

ROGER
That’s a lot of crosses.

ED
We want to stir things up.

Ed takes one of the crosses and sets it up on the mantle

above the fireplace.

ED
The presence of religious icons
usually brings on some kind of a
reaction from anything unholy --
sort of pisses them off.

He sets another on top of the Grandfather clock.

ROGER
(half joking)
Like holding a cross in front of a
vampire?

ED
Yeah, exactly, but I don’t believe
in vampires.

Roger’s amused, then leaves the room.

Ed moves over to the coffee table where he sets another

cross, then --

JEROME O.C.
...Ed.

The tone in Jerome’s voice turns Ed immediately.

JEROME
Check it out. Downstairs hallway.

Ed looks to the monitor Jerome has his eyes glued on and

see that although the hallway is empty, the cellar door is
opening slowly.

SMASH CUT TO:

 74.

RIGHT AFTER

All the Perrons surround Jerome at the monitors, watching

Ed, Lorraine and Bruce entering the cellar, you can hear a
pin drop. Ed flips on the light.

CUT TO:

99 INT. CELLAR - STAIRWAY - SAME 99

Bruce follows Ed and Lorraine down the steep set of steps,

camera is rolling. They get to the bottom.

Ed takes a moment, looking around the basement, glances to

an EFD he’s holding in his hand, the needle is bouncing
just between the 1 and the 2.

ED
Something’s definitely here.

Ed moves into the basement.

ED
(calm, under control)
Okay -- you’ve got our attention.

Silence.

ED
Give us a sign you want to
communicate with us.

CUT TO:

Bruce’s pov, as he moves the camera about the room, not

sure what he’s looking for. Settles on Ed.

Ed waits for a response. Stillness continues to fill the

room.

ED
Close the door -- move the jars,
something.

Resume.

Ed glances to his EFD, the needle is bouncing wildly.

They wait. And wait some more.

DISSOLVE TO:
 75.

100 INT. HALLWAY - CELLAR DOOR - LATER 100

Carolyn, Roger and Jerome stand at the doorway as Bruce,

Lorraine and Ed file out of the basement.

Ed looks to Carolyn, reading her disappointment.

ED
Like I said, it doesn’t always
happen when we want it to.

As Ed turns to close the basement door -- WHAM! It SLAMS

SHUT with a BANG right in his face.

Everyone instantly pivots. Bruce looks the most shocked.

Carolyn shoots Roger a look, who’s not sure what to make
out of it.

DISSOLVE TO:

101 INT. KITCHEN - NIGHT 101

The clock on the counter reads 1:33 AM.

Bruce enters. Sees Jerome take a Tuperware container of

vegetables from the refrigerator.

JEROME
You hungry?

BRUCE
No -- still full.

Bruce moves over to the coffee pot.

JEROME
What do you suppose they did with
the salt?

Bruce sees a salt and pepper shaker next to the coffee pot
on the counter.

BRUCE
It’s over here.

He hands over the salt shaker --

JEROME
Thanks.

Jerome begins to salt the veggies, heavily.

 76.

JEROME
So I’m curious, what do you think
slammed the door closed like that?

Bruce shrugs.

BRUCE
Had to be a draft.

Jerome seems slightly entertained. Takes a bite of celery.

JEROME
That’s funny, drafts never put that
look you had on my face before.

Bruce glances back to him.

JEROME
That’s why I dig the machines, man.
They don’t have emotions or beliefs
that get in the way. They either
pick something up, or they don’t.
(beat)
So, if you don’t believe, why are
you doing this?

BRUCE
Got a baby coming -- fifty bucks a
day, helps.

JEROME
So you think people just make this
stuff up?

BRUCE
I remember growing up with the
Boogie Man in my closet, but when
my parents checked -- they never
found anything.

Jerome smirks.

JEROME
You know, just cause you can’t see
it, doesn’t mean it’s not there.
(beat)
Have you ever lost anyone close?

BRUCE
...My dad, why?

JEROME
 77.

We should have Lorraine see if she

can connect with him.

Bruce can’t hold back his entertained smile.

BRUCE
What part of “I don’t believe”,
didn’t you understand?

Jerome takes another bite.

JEROME
What’re you afraid of man, getting
busted for being narrow minded?
Appease me -- tell me something
without revealing what it is, that
only you would know.

Bruce toys with the thought, then --

BRUCE
Okay, I put something in my dad’s
casket that meant a lot to both of
us.

Lorraine enters, Jerome lights up with a smile.

JEROME
You’re timing’s perfect.

LORRAINE
Why’s that?

Lorraine heads over to the refrigerator. Opens it.

JEROME
We’re conducting a little
experiment. Officer Naysayer here
put something in his dad’s casket -
- can you tell him what it is?

She grabs a Tab from a shelf, then looks to Bruce for his
approval. He appears skeptical, but smiles anyway.

BRUCE
Sure, why not.

Lorraine walks over to him. Sets her soda on the counter.

LORRAINE
Give me your hands.
 78.

She takes them, then closes her eyes. Bruce seems a little
uncomfortable.

After a long moment --

LORRAINE
It’s a baseball -- has something
written on it, all I can make out
are a J and a R.

Lorraine opens her eyes, releases Bruce’s hands.

JEROME
-- So?

He shrugs.

BRUCE
-- That wasn’t it.

She looks at him somewhat surprised, really?

LORRAINE
Oh well, must be tuning into
something else then --

CUT TO:

102 INT. LIVING ROOM - LATER 102

Lorraine is seated next to Carolyn in front of the

monitors, who’s watching Andrea and Cindy curled asleep on
Cindy’s bed.

CAROLYN
I think you guys being here makes
them feel safe.

DISSOLVE TO:

103 INT. LIVING ROOM - MORNING 103

Shards of morning light pierce through the windows, warming

up the room with golden light.

Angle, the Grandfather clock kicks past 5:15 to 5:16 am.

Widen, to reveal Ed, Lorraine, Bruce and Jerome, all

keeping their eyes on different clocks. Not one of them
have stopped.
 79.

ED
Alright -- let’s call it.

DISSOLVE TO:

Super - Day Two

104 EXT. PERRON HOUSE - LATE AFTERNOON 104

Ed and Lorraine drive up and park next to the house. The

Perron’s station wagon is gone. They get out. Lorraine
heads to the house. Ed heads to the barn.

CUT TO:

105 EXT. PERRON HOUSE - FRONT DOOR - SAME 105

Lorraine knocks on the front door, but there’s no response.

She waits a second longer, then decides to go in anyway.
She opens the front door. Even though all the lights are
all off, and it’s somewhat dark inside, she sees Carolyn,
now wearing her hair down, coming up out of the CELLAR DOOR
at the end of the hall, then walk into the kitchen,
oblivious to Lorraine’s presence.

CUT TO:

106 INT. KITCHEN - RIGHT AFTER 106

Lorraine stands at the open door. Carolyn is at the counter

with her back to her.

LORRAINE
Carolyn --

Carolyn slowly turns to her -- it seems to take her a

second to register it’s Lorraine.

CAROLYN
-- You’re early.

LORRAINE
I can’t believe you went into the
cellar.

CAROLYN
(simply)
I wanted to get some soup going.
Needed some beets.
 80.

Lorraine finds it odd, but lets it go.

DISSOLVE TO:

107 INT. PERRON STATION WAGON - PERRON DRIVEWAY - NIGHT 107

Roger drives up to the house, has the girls with him. His
headlights drag over the Warren’s parked car.

He pulls to a stop. As he and the kids get out, he notices

the barn door is open. Light on. He heads for it as the
girls continue to the house.

CUT TO:

108 INT. BARN - RIGHT AFTER 108

Roger walks in to find Ed working on the pickup. The

front’s been jacked back up. There are two pieces of
firewood lodged under the front axle for extra stability.
He’s up to his elbows in grease as he packs the bearings.

ED
I noticed you didn’t finish the
bearings. Hope you don’t mind --
just looking for something to do.

ROGER
Not at all.

ED
Got anymore more grease?

ROGER
Yeah.

Roger walks over to the work bench. Opens a cabinet above

it and grabs a can from a shelf. Pops it open as he heads
over to Ed and hands it to him.

ED
Thanks.

Roger grabs a nearby wooden crate. Takes a seat on it.

Watches Ed work.

ROGER
Carolyn told me you going to be a
priest --

Ed ponders for a moment -- does he want to share this?

 81.

ED
That was the plan -- but when I got
to my Ordination, I started having
my doubts, and realized I wasn’t
going to be good enough, I don’t
have the strength they need. So I
gave it up.

Roger takes a beat.

ROGER
I could scratch my head ‘til I’m
bald and never figure out why you
do what you do --

ED
Remember as a kid being afraid to
hang your hand off the edge of your
bed because you thought something
underneath was going to grab it?

Roger nods somewhat skeptically.

ED
Well -- mine got grabbed.

As Ed throws more grease on the bearings --

ED
Something yanked me to the floor.
It was too dark to see under the
bed, but I ran my ass out of that
room as fast as I could. My dad
didn’t believe me, so he dragged me
back in there and told me I had to
face my fears. I buried myself
under the covers, scared to death
cause I could still hear it under
my bed. Then I remembered what a
nun had told me in catechism, “God
will be there for all who need. He
is your protector.” So I grabbed my
Davy Crockett knife from my
nightstand and got off the bed and
told whatever was under there that
God was going to kick its ass if it
didn’t leave. I just kept saying it
over and over - - and it finally
went away. Never came back.

Ed looks back to Roger.

ED
 82.

It was the best thing my dad ever

did for me. I put my faith in God
every day after that, and have been
checking under beds ever since.

Ed finishes packing the bearings. Caps it.

O.C. They hear the crunch of gravel under car tires. Roger
looks out the barn to see Jerome and Bruce pulling up in
Jerome’s van.

DISSOLVE TO:

109 INT. KITCHEN - LATER 109

Bruce enters, carrying a coffee mug. Yawns. A CLOCK ON THE

COUNTER reads: 3:10 AM. He sets the mug on the counter next
to a coffee pot, pours himself another cup.

Goes to the fridge, and takes out a milk carton from the
top shelf, closes the door.

Sets it next to his coffee cup on the counter, then turns

to a shelf above the sink for the sugar. As he’s reaching
for it A LOUD BANG echoes as the fridge door is SLAMMED
SHUT.

Bruce spins, looks to it, startled and confused as he’s the

only one in the kitchen, then he sees that the milk carton
is no longer next to his coffee cup.

A DRIPPING NOISE draws his attention back to the fridge,

where milk is now seeping out of it onto the floor.

Bruce slowly moves over to it. Hesitates a beat, then opens

the fridge. The milk carton is back on the top shelf, but
it’s been SMASHED completely flat, its contents spilling
down the interior.

CUT TO:

110 INT. LIVING ROOM - RIGHT AFTER 110

Bruce enters. Looks to Ed, Lorraine, Carolyn and Roger, who

are seated on the sofas, his demeanor, as well as the look
on his face, drawing their attention, Jerome looks over
from the monitors.

BRUCE
 83.

There’s a -- um, something going on

in the kitchen. The milk carton
moved.

CUT TO:

111 INT. PERRON HOUSE - KITCHEN - RIGHT AFTER 111

Bruce follows Lorraine, Ed and Jerome into the kitchen.

Looks to the fridge, no milk is dripping. In fact, there’s
not even any milk on the floor.

Bruce whips a glance to the counter, and there sitting next

to Bruce’s coffee mug, is the carton of milk, right where
he set it the first time.

BRUCE
I swear, the carton wasn’t there,
it was back in the fridge, and
smashed, milk was everywhere.

JEROME
(entertained)
Probably just a draft -- I love
moments like this.

BRUCE
Alright, I get it.

As Lorraine follows Ed and Jerome out of the kitchen, Bruce

lays a gentle hand on her shoulder, stopping her.

BRUCE
Can I talk to you for a sec?

She turns.

LORRAINE
Sure.

The others continue out. Bruce takes a beat, then --

BRUCE
You were right earlier about the
baseball. The J and R were for
Jackie Robinson. When I was ten, my
dad took me to the World Series,
Yankees and Dodgers -- two dollar
seats, left field. Jackie Robinson
hit the winning home run, and my
dad caught it -- handed it right to
me -- best day of my life.
 84.

CUT TO:

112 INT. HALLWAY - SAME 112

CU on the EFD METER on the camera tripod in the hallway.

The needle begins to bounce past 1.7 Megahertz then SLAMS
to the outer edge of the range to 10.

The camera begins to FLASH repeatedly, the CLICK CLICK

CLICK sound of the motor drive blending with the popping of
the FLASH.

SMASH CUT TO:

113 INT. KITCHEN - SAME 113

The SUDDEN FLASHES from the hallway pulls Lorraine and

Bruce’s attention back out the kitchen door.

Lorraine quickly moves out into the hallway to see --

114 INT. DOWNSTAIRS HALLWAY - CONTINUOUS 114

Another FLASH popping from the camera set up in the hall.

Ed and Jerome, who have stopped at the bottom of the
stairs, have their eyes glued on it as well.

A second later, the CAMERA positioned at the top of the

stairs starts flashing.

ED
It’s moving upstairs.

Ed moves quickly into the --

115 INT. LIVING ROOM - CONTINUOUS 115

-- where he joins Carolyn and Roger, who have their eyes

glued the MONITOR as the camera keeps strobing through the
dark hallway. Lorraine, Bruce and Jerome come up right
behind him --

CAROLYN
Oh my God.

They look to the monitor showing Cindy’s room. As she and

Andrea sleep peacefully, THEIR BREATHS are FREEZING ON
EXHALE.
 85.

JEROME
That’s gotta be one of the fastest
temp drops I’ve ever seen.

CUT TO:

116 INT. CINDY’S ROOM - SAME 116

The CAMERA IN THE CLOSET starts FLASHING, strobing the room

with bursting with white light. The girls start to stir.

INTERCUT:

It’s really hard for Roger to stay still.

Cindy’s eyes pop open, she sits up. Freaks as the

intermittent light gives her staccato glances of something
staring in at her through the window, it’s the beast she
saw before as a shadow. She SCREAMS!

Andrea bolts upright in fear, then --

THE LOUD, ECHOING SOUND OF A SLIDE-BOLT CLOSING OVER AND

OVER, joins the mayhem, it’s coming from the closet.

Roger can’t stand it, takes off out of the room.

The SLIDE BOLT NOISE suddenly stops, along with the

FLASHES, casting the room back into darkness.

The girls dash out the bedroom door into the hallway just
as Roger gets there, both folding into his arms.

The CAMERA at the end of the hallway STROBES A FLASH, the

girls scream again, fearful of what they can’t see.

117 INT. HOUSE - STAIRS - SAME 117

Ed is heading up as the camera at the top, pops off another

FLASH. A second later the CAMERA in the downstairs hallway
FLASHES, drawing Ed’s attention back down the stairs.

He waits for more flashes, but nothing happens. Lorraine

steps out of the living room and looks up to him.

ED
Whatever it is, it came back down.

DISSOLVE TO:
 86.

118 INT. MASTER BEDROOM - NIGHT 118

Roger is holding Andrea in his arms, sitting on the edge of

the bed, while Carolyn is latched onto Cindy, cuddled on
the other side. He looks to her.

ROGER
Hey --

Her eyes meet his. He tries to say something, but can’t

find the words.

CAROLYN
-- It’s okay.

CUT TO:

119 INT. CINDY’S ROOM - CLOSET - RIGHT AFTER 119

Bruce is filming Jerome, who is holding an EFD out front of

him as he slowly moves about the closet. He pushes clothing
aside to get closer to the wall behind. Ed is at the
entrance, unloading film from the camera on the tripod.
Lorraine watches.

Jerome pulls the EFD away from the wall.

JEROME
I’m not getting anything.

Roger joins the group.

LORRAINE
How are the girls?

ROGER
Better.

Ed looks to Roger.

ED
They said that bolting noise
definitely came from in here?

ROGER
-- Yeah.

ED
Is there anything behind this wall?

Ed knuckle taps the panel.

 87.

ROGER
No idea.

ED
Do you mind if we take a look?

ROGER
I don’t care what the hell you do
to it.

CUT TO:

SOON AFTER

Tight on a section of wood paneling being pried back off

the wall with a hammer.

Widen to see Ed sliding the hammer up and down along a

panel’s seam to loosen it. He finally pulls it back off the
wall.

Lorraine is the first to see.

A SMALL 2’ x 2’ TRAP DOOR framed within another wall that

latches from the outside via a SLIDE BOLT.

A WOMAN’S VERY OBESE HAND, fingers like sausages,

aggressively SLAMS it CLOSED, then SLIDES A LATCH across to
lock it.

Resume.

Lorraine and the others are looking at the trap door.

Ed kneels down. Undoes the latch. Slowly opens the door.

It’s too dark to see anything beyond.

ED
Can someone get me a flashlight --

ROGER
Yeah, there’s one in our room.

Roger disappears for a moment. Lorraine puts her hand on

Ed’s shoulder.

LORRAINE
Let me go in.
 88.

Lorraine gets on her hands and knees as Roger comes back

with a small flashlight. Hands it to her. She thumbs the
switch. Shines it into the open door, the light stretches
into what looks like a narrow crawl space framed in wood.

Lorraine slips half her body inside, keeping the light

shining ahead.

121 INT. CRAWL SPACE - CONTINUOUS 121

Lorraine can barely make it out, but sees that the crawl
space seems to open up.

LORRAINE
Looks like there’s some sort of
room.

Her flashlight suddenly dies, casting her into total

darkness. She palms it a couple of times, gets the beam to
shine again.

As she points the light down the crawl-space ahead A YOUNG

BOY AND GIRL, full of angst and panic, scramble toward
Lorraine, PASSING RIGHT THROUGH her body, it’s the two she
saw in the photograph earlier.

Resume.

Lorraine is slightly startled, but continues into the room

ahead.

122 INT. HIDDEN ROOM - CONTINUOUS 122

Lorraine slowly stands, her flashlight quartering the

darkness. Cobwebs everywhere reflect off the light. It
falls upon a makeshift bed with an old, dust covered
blanket, which has SLINKY TOY sitting on it. Lorraine picks
it up, sees a wooden box next to the bed with other toys in
it.

She lets her light wander, discovering that every wall is

completely covered with THE SAME PHRASE scrawled in crayon,
over and over. She moves closer. Sees what it says; I’M
SORRY MOMMY. I’M SORRY MOMMY. I’M SORRY MOMMY. I’M SORRY
MOMMY.
 89.

Lorraine stops, senses something. She slowly moves the

light off the wall and angles it to her forearm, IT’S
COVERED IN GOOSEBUMPS. And for a second, her heart skips a
beat, there’s something else she sees, the light cascading
past her forearm down to the floor illuminates BATHSHEBA’S
DIRTY, CRUSTED BARE FEET, straddling her own from behind.

Before Lorraine can turn around she is aggressively shoved

into the wall. The movement jars the flashlight and slinky
from her grasp and drops to the floor.

SMASH CUT TO:

123 INT. CLOSET - SAME 123

Ed reacts the noise and immediately heads into the crawl

space.

ED
Lorraine--?

124 INT. SMALL ROOM - SAME 124

Lorraine is reaching for the flashlight on the floor just

as Ed crawls in.

LORRAINE
I’m alright.
(beat)
It was her, Ed.

She looks hard to him, definitely impacted.

LORRAINE
I’ve never felt anything so dark.
(beat)
We have to get her out of this
house --

CUT TO:

125 INT. CLOSET - RIGHT AFTER 125

As Ed and Lorraine come out, Ed looks to Jerome, direct.

ED
Grab the cameras -- I want to see
what we got.

DISSOLVE TO:
 90.

126 INT. DOWNSTAIRS BATHROOM - LATER 126

Ed and Jerome’s movements are fast and precise as they are

busy converting the bathroom into a small darkroom; a photo
enlarger is on the counter with three solution trays lined
up next to it. A small rope has been strung up along a
shower rod. As Jerome pours developer into one of the
trays, Ed finishes screwing in a light bulb and flips the
wall switch, washing the room deep in crimson.

CUT TO:

127 INT. LIVING ROOM - RIGHT AFTER 127

Lorraine is sitting before the monitors, her eyes on the

one revealing the master bedroom, where Roger is cuddling
Andrea on the bed, who is sound asleep. Carolyn is next to
him, doing the same with Cindy, who is also asleep.

Chirping crickets and croaking frogs drift in through an

open window next to her.

A loud THUD pulls her attention outside to where she sees

something flopping on the ground by the barn, dust rising
as if there were some sort of struggle.

Bruce walks into the room carrying a cup of steaming

coffee.

LORRAINE
Keep your eyes on the monitors for
me, will you. I’ll be right back.

Lorraine heads out of the room.

CUT TO:

128 EXT. PERRON HOUSE - RIGHT AFTER 128

Lorraine moves toward the flopping movement, which seems to

be slowing with each step she takes. As she gets to it, the
flopping stops. Sees it’s an enormous barn owl, neck
broken, eyes wide open. Dead.

A compassionate look sweeps over Lorraine’s face, until she

hears A DISTANT BLEND OF VOICES; pained, fearful, full of
anxiety. She follows them to the back of the barn, where
through a thick wall of trees and shrubs, she can barely
make out an old, beaten pathway that threads through.

She heads in.

 91.

CUT TO:

129 EXT. GROWTH - RIGHT AFTER 129

The VOICES begin to grow in volume as Lorraine walks deeper

into the growth, fighting her way through overgrown
branches, following what’s left of the pathway.

She comes out into a small clearing to see where the voices
are coming from.

Before her, surrounded by a crumbling stone wall and

completely overgrown with weeds, is an OLD CEMETERY with
maybe forty tombstones within; some broken, some toppled,
some incredibly worn. The voices seem to be coming from
somewhere on the other side.

She moves into it. A wind begins to tumble pieces of

foliage across the ground, then one tombstone catches her
attention -- the name reads: Bathsheba Sherman. She moves
up to it as the voices get louder and louder, it’s almost
deafening, then THE VOICES INSTANTLY STOP, and things fall
into an awful silence.

It becomes unnerving as Lorraine senses something, a

presence, very close.

She scans the surrounding trees, but everything beyond is

swallowed in the shadows of the night, she keeps staring,
knowing something is just beyond.

After a moment Lorraine turns around to Bathsheba Sherman’s

grave. Sees something protruding slightly from the ground
before it, it’s a child’s hand, half covered with dirt and
leaves; the skin is white, nails chipped, full of grime.
More leaves blow away, revealing more of a body barely
buried.

Lorraine inches closer, it’s a young girl, matted hair

clings to the porcelain white skin on the side of her face.
The head is turned sideways. As Lorraine moves around to
get a better view --

She looks to the little girl’s face, blanches, it’s her

daughter, Judy.

Then, the exposed white skin begins to grey, and continues

to darken and becomes ash-like, the breeze blowing every
part of her away.
 92.

Panic invades Lorraine’s body as a slow realization

overwhelms her. She takes off running back the way she
came.

SMASH CUT TO:

130 EXT. WOODS - PATHWAY - NIGHT 130

Trees branches claw at Lorraine’s clothes as she retraces

her steps on a wild scramble to get back. She can see the
barn up head. She blows out the overgrowth and continues
her sprint past the barn and to the house, barely slows to
whip open the front door.

131 INT. HOUSE - FOYER - CONTINUOUS 131

As Lorraine dashes into the house and heads to the kitchen,

Bruce looks at her from the living room, confused by her
frenzy of motion.

132 INT. HOUSE - KITCHEN - CONTINUOUS 132

Lorraine comes running into the kitchen. She’s out of

breath. Immediately goes to the phone on the wall. Quickly
dials. Ed walks in, curious to what’s going on. He’s about
to say something when she raises her hand to give her a
second.

LORRAINE
(into phone)
Mom, it’s Lorraine. Is Judy okay?
(listens)
Can you go check on her, please.
(listens; irritated)
Damnit! Just check -- please.

Lorraine looks to Ed, tears in her eyes. Keeps the phone to

her ear.

ED
Are you going to tell me what’s
going on?

LORRAINE
It was Judy.

ED
What do you mean?

LORRAINE
 93.

I saw her, out there -- she was

dead --

A VOICE comes back on the phone.

Lorraine breathes a sigh of relief.

LORRAINE
(listens)
Thank you -- I didn’t mean to scare
you like that.
(listens)
I’ll explain later, okay.
Goodnight.

Lorraine slowly hangs up.

ED
What the hell happened to you?

Lorraine looks to him, troubled. Tears cascading.

LORRAINE
I saw Judy dead in a cemetery. It
was some kind of warning, I know
it. There are spirits trapped
there, I could hear them. She’s
dominating both worlds.

ED
You’ve got to stop.

LORRAINE
(snaps)
Stop what?

He takes her by the shoulders.

ED
This -- you know better. I warned
you.

LORRAINE
I thought something had happened to
her.

ED
C’mere...

He pulls her into an embrace, gentle, sympathetic. Whispers

--

ED
 94.

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:

133 INT. BATHROOM - LATER 133

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:

134 INT. LIVING ROOM - RIGHT AFTER 134

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
 95.

(whispering)
You’ve got to see this.

CUT TO:

135 INT. KITCHEN - RIGHT AFTER 135

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
 96.

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:

136 INT. LIVING ROOM - SAME 136

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.
 97.

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.

ROGER
Ohmygod.

Bruce 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:
 98.

137 EXT. PERRON HOUSE - FRONT - SUNRISE 137

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
-- Under no circumstances does
anyone come back here until we say
so.

CUT TO:

138 INT. PERRON HOUSE - BASE OF STAIRS - SAME 138

Lorraine comes out of the living room. Bruce and Jerome are
in the background, breaking down the equipment.
 99.

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
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:

139 EXT. PERRON HOUSE - BACK PORCH - RIGHT AFTER 139

Lorraine heads outside. She catches a glimpse of Carolyn

heading into the woods behind the barn.

CUT TO:

140 EXT. WOODS - RIGHT AFTER 140

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
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.
 100.

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:

141 INT. WARREN’S PLYMOUTH - RIGHT AFTER 141

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:

142 EXT. BOSTON - DAY 142

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:

143 EXT. CATHEDRAL OF THE HOLY CROSS - BOSTON - CONTINUOUS 143

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:
 101.

144 INT. CHURCH - RIGHT AFTER 144

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 --

145 INT. CHURCH - FATHER JORDON’S OFFICE - DAY 145

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.

DISSOLVE TO:

146 EXT. WARREN HOUSE - FRONT DOOR - EVENING 146

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:
 102.

SUPERIMPOSE: SIX DAYS LATER

147 INT. DINER - DAY 147

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:

148 INT. MATHEWS DRY GOOD’S - DAY 148

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?
 103.

Carolyn shakes her head no.

DISSOLVE TO:

149 EXT. SAINT PATRICK’S CATHEDRAL - NEW YORK CITY - NEXT DAY 149

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:

150 INT. WARREN HOUSE - KITCHEN - SAME 150

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:

151 INT. WARREN HOUSE - KITCHEN - LATER 151

 104.

The phone rings. Lorraine enters the kitchen and answers

it.

LORRAINE
Hello?
(listens)
Hey Jerome --

O.C. The doorbell rings.

LORRAINE
(calling out)
Honey, I’m on the phone, can you
see who that is?

CUT TO:

152 INT. WARREN HOUSE - FOYER - SAME 152

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
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
Have a nice day.

JUDY
Thanks!

He leaves.
 105.

CUT TO:

153 INT. KITCHEN - RIGHT AFTER 153

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 mom.

JUDY
(whispers)
I’m gonna go get some eggs, ‘kay?

Lorraine covers the mouthpiece.

JUDY
That’s fine, honey.

Judy heads out the back door.

CUT TO:

154 EXT. WARREN HOUSE - BACKYARD - CONTINUOUS 154

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?
 106.

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

steps in.

155 INT. HENHOUSE - CONTINUOUS 155

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

unbeknownst to her, the HENHOUSE DOOR slowly closes behind
her.

CUT TO:

156 INT. KITCHEN - SAME 156

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.

157 EXT. HOUSE - CONTINUOUS 157

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
Judy?

Lorraine barely slows down to open the outer door and move
inside the coop.

LORRAINE
Honey, answer me.
 107.

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 --

158 INT. HENHOUSE - CONTINUOUS 158

-- 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.

CUT TO:

159 INT. WARREN HOUSE - KITCHEN - SOON AFTER 159

Lorraine walks Judy in. Dumps the slinky in the trash can.

DISSOLVE TO:

160 INT. MASTER BEDROOM - NIGHT 160

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.
 108.

TIME CUT TO:

161 INT. MASTER BEDROOM - LATER 161

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
Get a grip, Lorraine.

CUT TO:
 109.

162 INT. MASTER BATHROOM - RIGHT AFTER 162

Lorraine, now wearing pajamas, finishes washing her face,

then exits, turning the light off.

163 INT. MASTER BEDROOM - CONTINUOUS 163

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:

164 EXT. DENNY’S RESTAURANT - NIGHT 164

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

165 INT. WARREN’S PLYMOUTH - CONTINUOUS 165

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:

166 INT. DENNY’S RESTAURANT - RIGHT AFTER 166

Ed is using a phone at the front counter.

 110.

CUT TO:

167 INT. WARREN HOUSE - SAME 167

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:

168 INT. WARREN’S PLYMOUTH - NIGHT 168

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:

169 INT. WARREN HOUSE - FRONT DOOR - RIGHT AFTER 169

The door swings open. Ed swiftly enters.

ED
Lorraine?

No answer.

ED
-- 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.

He looks to the bed. Empty as well. His panicked gaze

shifts about the darkness, then there, tucked in a shadow
is the silhouetted body of Lorraine. She’s sitting on the
floor with Judy in her lap.
 111.

Ed dashes to them, Lorraine’s got a bible open before her,

and a Rosary tucked into her hand.

She and Ed’s eyes meet.

ED
What happened?

She doesn’t say anything, almost as if she can’t, then --

LORRAINE
-- She was here, Ed.

SMASH CUT TO:

170 INT. KITCHEN - RIGHT AFTER 170

Ed moves into the kitchen, full of anger. Lorraine’s behind

him.

ED
I don’t believe this.

Ed goes to an address book by the phone on the counter,

quickly thumbs through it.

ED
We’re supposed to be safe here, and
you opened the door for her.

LORRAINE
You make it sound like I meant to.

ED
You knew the rules.

Ed finds it incredulous. Sees the number he’s looking for

and dials. Lorraine is near tears.

DISSOLVE TO:

171 INT. BRUCE LEVY’S HOUSE - STUDY - RIGHT AFTER 171

A single light illuminates Bruce. Has the phone to his ear.

Rain pelts against the windows. His pregnant wife, same
age, appears in the doorway, concerned.

BRUCE
I will. Did you tell Jerome?
 112.

ED (V.O.)
No. I can’t get hold of him, he’s
on his way back from his mom’s.

BRUCE
I’ll get an APB out and have
someone pull him over and tell him
to call you immediately.

ED (V.O.)
Great. Be careful, Bruce -- do what
I said, and say it with conviction.

BRUCE
I will.

Bruce slowly hangs up. Looks to his wife.

BRUCE
We need a bible.

DISSOLVE TO:

172 INT. JEROME’S VAN - EARLY MORNING 172

Jerome is behind the wheel listening to an Eagles eight

track kick out “TAKE IT EASY”. Early morning light is just
peeking over the horizon.

As the van crests a knoll HE HAS TO LOCK UP HIS BRAKES!

Blocking the road before him is a horrible accident between
a Ford Pinto and a Chevrolet station wagon. Skid marks scar
the pavement. Smoke and steam rise from both.

Jerome holds the wheel tight, fighting for control as his

van fishtails and SLIDES onto the dirt shoulder. He clips
the front of the Pinto, spinning the van into a three-sixty
before it comes to an abrupt stop.

He looks back at the wreckage. See that two teenagers are

emerging out of the Pinto, but the station wagon’s solo
occupant, a man in his fifties, is slumped forward, not
moving, and flames have engulfed the engine compartment.

173 EXT. ROAD - CONTINUOUS 173

Jerome exits the van and races to the station wagon,

passing the teenagers, who are bloody and confused.

JEROME
Get off the road!
 113.

He gets to the station wagon, the driver’s window is down.

His head leaning against the steering wheel. Still wears
his seat belt. Morning news flows from the radio.

Jerome reaches in, feels for a pulse, finds one.

Looks to the engine. Flames are growing. Grabs for the

driver’s door handle, but it’s all smashed in.

Reaches through the window to open it from the inside and

pulls on the lever, doesn’t work either.

He quickly moves around to get to the other door, the heat

growing intense as he rounds the front and gets to the
other side.

As he pulls the door open --

The radio continues in the background.

RADIO DJ
It’s five-fifteen for you early
risers --

SKIDDING TIRES drown out the DJ. Jerome looks to see that
an EIGHTEEN WHEELER has come over the knoll and is a WALL
OF METAL sliding right at him sideways, brakes locked up.
Jerome doesn’t even have time to react as WHAMMMM!

The tail end of the rig picks him clean away from the
station wagon, like he was targeted.

SNAP TO BLACK:

174 INT. WARREN HOUSE - KITCHEN - MORNING 174

Ed’s on the phone as he stands at the counter. Looks

frustrated.

ED
I left a message a couple of hours
ago for Father Jordon, is he back
yet?

MAN’S VOICE (V.O.)

No, I’m sorry -- we don’t expect
him to return until this afternoon.

ED
There’s got to be some way to get
hold of him.
 114.

MAN’S VOICE (V.O.)

We can’t interrupt him, he’s in a
bereavement council.

ED
When he comes in, tell him this is
Ed Warren, and it’s imperative that
he calls me as soon as possible. He
has the number.

Just as Ed hangs up the phone, IT RINGS. He finds it odd,

but answers.

ED
-- Hello?

As he listens, his face pales, his head lowers into one

hand; grieving.

ED
(sotto)
No -- no -- no.

Lorraine enters, looks to Ed, immediately sensing more

trouble.

Ed continues to listen for a few beats, then --

ED
-- Alright, thanks.

He numbly hangs up.

LORRAINE
-- Ed, what is it?

He slowly rolls his head toward her.

ED
That was Bruce. Jerome’s dead.

Lorraine couldn’t have heard that right.

LORRAINE
What--?

ED
Car accident, early this morning.

Lorraine’s eyes well.

Ed gets enraged. Slams his fist hard onto the counter.

 115.

ED
Enough!

A wave of determination sweeps over him.

ED
I’m driving to the church and
getting this exorcism done today.

She moves over to him as he’s grabbing his keys.

LORRAINE
I’m going with you.

ED
No -- you’re not.

The lack of faith in his voice stings her hard. He walks

out of the kitchen.

CUT TO:

175 INT. WARREN’S PLYMOUTH - RIGHT AFTER 175

Ed’s sitting in the driver’s seat. Just as he starts the

car, the back passenger door opens.

He looks to see Lorraine, who has the manila envelope from

Harrisville tucked under her arm, helping Judy in.

ED
What’re you doing?

LORRAINE
We’re taking Judy to your mom’s,
then going to the church. Together.
I won’t walk away from these
people, they need us -- this is
what we do.

ED
You can’t, you’re too involved.

LORRAINE
Maybe -- but that’s what gives me
the strength to fight for that
family too. I’m going.

The look on Lorraine’s face leaves no doubt for Ed that

she’s back on track. He nods.

She closes the back door, then climbs into the front.
 116.

DISSOLVE TO:

176 IN THE CAR - LATER 176

Ed is driving as Lorraine reads the pages sent from

Shannon, they pass a sign that reads: Boston 245 miles.

LORRAINE
-- Between the Shermans and the
Perrons living there, the house has
only been owned by two other
families. One was the Walkers,
whose kids were the ones I saw, and
the other was the Heichts -- it
says they had a son who was drowned
by his mother --

SMASH CUT TO:

UNDERWATER - BLACK AND WHITE FOOTAGE

Of the boy Cindy saw on the stairs, his last breath of life
escapes his mouth in an air bubble as his mother holds him
under a foot of water near the shore of a pond. The body
goes limp, his eyes locked wide open, staring at his
mother, standing above the surface of the water,
expressionless.

LORRAINE (V.O.)
-- Who then killed herself --

SMASH CUT TO:

THE MOTHER stepping right in front of a fast moving train,

it’s brutal as we catch glimpses of her body tumbling under
the train.

Resume.

LORRAINE
(sotto)
Oh my Lord --

Lorraine looks to Ed with a sudden realization.

LORRAINE
-- She possesses the mothers to
continue the sacrifices to Satan.

CUT TO:
 117.

177 INT. CHURCH OFFICE - BOSTON CATHEDERAL - OFFICE - NIGHT 177

Ed and Lorraine walk right into Father Jordon’s office,

who’s in the middle of speaking with the ARCHBISHOP, FATHER
O’MALLEY; distinguished looking, late sixties. Both are
caught off guard by the intrusion.

ED
I want to know what the hell’s
going on -- we can’t wait anymore.

FATHER JORDON
Ed and Lorraine, this is
Archbishop, Father O’Malley.
(beat)
I tried to call you.

ED
We’ve been on the road.

FATHER O’MALLEY
Please, sit down.

ED
I don’t want to sit down. I want an
exorcism performed. Today. What’s
the problem here?

Father O’Malley takes a beat, what he’s about to say

doesn’t look easy.

FATHER O’MALLEY
The church is refusing to grant
one.

Ed looks like he’s been sucker punched.

FATHER JORDON
The family aren’t parishioners, and
the children haven’t been Baptized.

LORRAINE
So what?

FATHER O’MALLEY
Believe me, we’ve tried, but the
Vatican is worried about public
opinion if they were to step
outside the boundaries of the
church.

ED
 118.

Tell the Vatican no one gives a

shit. This needs to be stopped!
Now!

FATHER O’MALLEY
Please understand, my hands are
tied on this matter -- I feel
horrible about this.

Ed is dumbfounded.

ED
So you’re going to do nothing?

CUT TO:

178 EXT. BOSTON CATHEDRAL - FRONT - RIGHT AFTER 178

A bitter Ed and Lorraine walk out of the church with Father

Jordon.

ED
We’re just going to have to find
someone else.

FATHER JORDON
You’re not going to get anyone to
go against the church, Ed.

ED
I don’t believe this.

Father Jordon reaches out to Ed and Lorrain, stops them. As

their eyes meet, there’s an intensity to his gaze.

FATHER JORDON
You’ve both have seen it done
dozens of times --

Ed looks at him like he’s out of his mind.

ED
That doesn’t make us qualified.

FATHER JORDON
But your strength and knowledge of
the scriptures can.

ED
We’ve seen it go horribly wrong,
even with a Priest.
 119.

FATHER JORDON
I believe our Lord recognizes faith
far more than he does training and
education, or politics for that
matter.
(beat)
This family doesn’t have a choice,
but you do -- and, you have God on
your side. If you want to help
them, then help them.

Ed looks to Lorraine, both their minds a whirl of limited

options.

CUT TO:

179 EXT. HARRISVILLE MOTEL - NIGHT 179

Cindy and Andrea approach their hotel room. Just as Cindy

reaches for the doorknob, the door swings open, revealing
Carolyn standing right before them. Her dirty hair is
pulled back and is wearing a long grey dress, she’s even
more gaunt and unkempt than the last time we saw her.

She steps out, closing the door behind her.

CAROLYN
Come with me.

CINDY
Where?

CAROLYN
We’re going home.

ANDREA
But dad said --

CAROLYN
(abrupt)
-- He’s meeting us there. C’mon.

CUT TO:

180 INT. HOTEL ROOM - SAME 180

Camera pans across the room and finds Roger on the floor
next to a broken lamp. He’s not moving and the back of his
head is bloody from a blow to the head.

CUT TO:
 120.

181 INT. PERRON’S CAR - NIGHT 181

Carolyn’s driving. The girls are in the back. They ride in

silence for a few moments, then --

CINDY
Are you okay, mom?

Carolyn doesn’t answer. The girls look to each other, more

confused. Their worry continues to escalate.

Carolyn shifts her eyes to the rear view mirror and for a
brief moment, THE EYES WE SEE are not hers anymore; these
are dark, menacing, soulless.

DISSOLVE TO:

S.O. OF A PHONE RINGING. AND RINGING.

182 INT. PHONE BOOTH - NIGHT 182

Ed holds a phone to his ear. Lorrain is in the Plymouth,

parked outside the booth.

SMASH CUT TO:

183 INT. HARRISVILLE HOTEL ROOM - SAME 183

CU on the phone as it continues to ring. Rings again. And

again. A hand then reaches into frame and fumbles for the
receiver. Grabs it.

Widen, it’s Roger, who’s fighting some pain as he holds the

back of his head.

ED (V.O.)
Hello...? Hello?

Roger finally answers.

ROGER
Ed -- she tried to kill me.

ED (V.O.)
(fearful)
Where are the girls?

TIME CUT TO:

 121.

184 INT. PERRON CAR - LATER 184

Carolyn turns down the driveway and heads toward their

house that sits dark in the distance.

CINDY
You said dad was going to be here.

No answer from Carolyn, who continues to the front of the

house and parks.

She grabs a bag holding the KNITTING NEEDLES as she gets

out.

Cindy and Andrea look at each other, they can’t figure out
what’s going on as they watch their mom continue to the
front door and disappear inside the house, leaving the
entrance completely open.

CUT TO:

185 EXT. PERRON HOUSE - FRONT PORCH - RIGHT AFTER 185

Cindy and Andrea walk up to the front door with caution in

their steps. A chill chews on their spines, the cellar door
at the end of the hallway is wide open, the deep scratches
an eerie reminder of why they’ve kept it closed. The chair
and wedge have been pushed aside.

CINDY
(calling out)
Mom, what are you doing? We should
go.

Still no response.

Cindy takes Andrea by the hand, and reluctantly heads

inside the house. They go down the hallway toward the
cellar, slow step after slow step.

CINDY
Mom -- are you down there?

When they get to the door, they peer in to see, a vacant

staircase.

CINDY
Mom--?

A slight shuffling noise is the only response.

CINDY
 122.

Mom -- answer me. Are you okay?

The noise stops. Cindy’s instincts are screaming at her to

leave, but this is her mom.

CINDY
(to Andrea)
Stay here.

Cindy tries the light switch, doesn’t work.

ANDREA
(panicked)
Let’s just go.

Cindy ignores her.

186 INT. CELLAR - CONTINUOUS 186

She heads down. Stops halfway.

CINDY
Mom--?

WHOOSH! A HAND suddenly shoots out from between the stairs,

grabbing onto her ankle, tripping her.

Cindy grabs onto the handrail to keep herself from falling.

She looks to the gap between the stairs to see her mom
staring out at her with those wild, soulless eyes -- hand
still latched onto her foot.

Cindy heel drives her free foot against her mother’s wrist,
freeing the grasp she has on her and scrambles back up the
stairs.

187 INT. HALLWAY - CONTINUOUS 187

Cindy WHIPS THE DOOR CLOSED! The second she slams the chair
back into place A LOUD, VIOLENT BANGING ON THE DOOR
reverberates right before her.

The girls recoil from the impact, visibly trembling, how

did their mom get there so fast. Either way, they’re
getting the hell out of there.

Two steps into their departure THE CELLAR DOOR flies off
hinges, the chair goes flying. Standing in the doorway,
half in and out of the darkness, is Carolyn; her breath is
elevated, almost hissing on each exhale as she grips the
knitting needles tight in one hand.
 123.

Both the girls spin on their heels. Race for the front
door, which SLAMS SHUT right before them. The girls scream.
Cindy struggles with the door, but it won’t budge.

ANDREA
Open it! Open it!

CINDY
I can’t.

Movement through a side window catches her attention, it’s

Roger racing up the driveway in the pickup.

CINDY
Daaaaaad!

Cindy throws a panicked look over her shoulder to see her

mom approaching. She grabs her little sister by the hand
and races up the stairs.

SMASH CUT TO:

188 EXT. HOUSE - SAME 188

Roger slides the truck to a skidding stop. Jumps out.

CINDY O.C.
DAAAAAAAAAAD!!!

Roger runs to the front door. It’s locked. Front kicks the
crap out of it until it busts from its frame. Rushes in.

SMASH CUT TO:

189 EXT. COLIN TAFT ROAD - NIGHT 189

CU ON POLICE CRUISER LIGHTS FLASHING

Widen. We see Ed and Lorraine’s car traveling right behind

Bruce Levy, who is driving a POLICE CRUISER, escorting them
at high speed as they slide a turn onto the Perron’s
driveway.

CUT TO:

190 INT. WARREN’S CAR - SAME 190

 124.

Ed and Lorraine see Roger’s truck with its door open,

engine still running. Its headlights are on, lighting the
house like center stage.

The cars skid to a stop. Just as they all get out.

A GUNSHOT ECHOES OUT IN THE NIGHT as a muzzle flash pops

from a bedroom window upstairs.

SMASH CUT TO:

Lorraine turns and gives Ed a disturbed look. Bruce is with

them as they all head into the house. He draws his gun.

191 INT. PERRON HOUSE - CONTINUOUS 191

CINDY O.C.
DADDY, NO!!

Ed, Bruce and Lorraine kick it into high, racing up the

stairs.

CUT TO:

192 INT. HOUSE - UPSTAIRS HALLWAY - RIGHT AFTER 192

As they come off the top of the stairs --

|CINDY O.C.
(pleading)
-- please, let her go!

Ed races down the hallway to the master bedroom. Door’s

closed. Lorraine and Bruce are right behind.

Ed yanks the door open to see Roger has a rifle pointed

point blank at Carolyn’s head, who has her arms wrapped
around Andrea in a death grip, holding her next to the bed,
the knitting needles having fallen to her feet.

There’s scattered plaster on the floor from a fresh bullet

hole in the ceiling above.

Cindy is a short distance away, petrified.

ROGER
Carolyn, let her go -- don’t make
me do this, please.

ED
 125.

Roger -- no.

He snaps.

ROGER
She tried to stab her!

ED
It’s not her doing this!

Andrea struggles -- barely able to breath. Ed moves closer

to Roger, who’s barely holding it together.

ANDREA
(barely audible)
Mommy, you’re hurting me.

CINDY
Mom, stop.

ROGER
Carolyn, let her go.

ED
Pulling that trigger is exactly
what this witch wants you to do --
it’s another sacrifice.

Bruce moves into the room, closes in on Roger.

BRUCE
Roger, just lower your gun -- give
it to me.

ROGER
No! Carolyn, let her go!

Roger looks like he could lose it any second.

LORRAINE
Roger, please -- give him the
gun...

We see Roger struggling with a decision, stares at

Carolyn’s maniacal face before him.

She seems to be enjoying every second of this, tormenting

him by pulling Andrea in tighter.

LORRAINE
C’mon, give it to Bruce.
 126.

Carolyn immediately puts more pressure on Andrea, who is

now beginning to turn slightly blue. He raises it up again.

ED
Don’t give her what she wants.

Roger yields.

ROGER
You better be right.

As he lowers the gun to give to Bruce WHAM!

He’s kicked by Carolyn with such brute force, he flies

backwards across the room into the wall. Glass flies, gun
goes sliding across the floor. Cindy’s losing it fast. Ed
and Bruce move in to grab hold of Carolyn.

Ed gets a backhand to the face. Draws blood. Bruce leaps

onto Carolyn, bringing she and Andrea to the floor, but her
grip remains strong on Andrea, continuing to squeeze the
life out of her, now more than ever.

LORRAINE
(to Roger)
Grab her arms!

Loraine and Roger latch onto the arms, her strength over-
whelming, Ed gets to his feet, extracting the vial of Holy
water. Dips his forefinger into it. Crosses himself.

ED
My Lord, you are all powerful, you
are God, you are our Father --

Carolyn instantly arches her back, folding her body into an

upside down “U”. Ed gets close, reaching out, placing his
finger on Carolyn’s forehead, making the sign of the cross.

ED
Ecce crucem donine, fugite partes
adversa!

Behind it all, we hear Lorraine saying the Lord’s prayer.

The pictures fly off the dresser at sonic speed and

disintegrate into the opposing wall. Glass shatters.

ED
 127.

I beg you Lord, through the

intercession and help of the arch
angels Michael, Rafael and Gabriel,
for the deliverance of our sister
who is enslaved by the evil one.

Cindy stands still, paralyzed with fear.

ED
Imponat extreman parte stolae ejus.

Ed makes the sign of the cross over his chest, then flicks
Holy Water on Carolyn. A GUTTURAL SCREAM escapes Carolyn’s
mouth, which looks like a spider web of saliva and for a
nano-second, her skin becomes transparent, veiny,
pulsating,

She begins to writhe and rotate on the wood floor, taking

anyone holding on with her, her body is unnaturally stiff.

A SOURCELESS WIND erupts within the room, spinning

everything around, clothing and hair whip uncontrollably.

ED
Sanctissima vero Eucharistia super
caput obssessi, aut aliter ejus
corpori ne admoveatur, ob
irreverentia periculum.

Lorraine sees Carolyn’s eyes keep fading back and forth,

from pitch black pupils, to blue as if there were an
internal struggle going on.

LORRAINE
Fight it, Carolyn! Don’t let her
take you!

The dresser slides across the floor, ripping DEEP SCRATCHES

in the wood. It just misses Lorraine by a fraction as it
plows right by her, bounces off the bed frame and embeds
into the drywall.

Lorraine looks to Cindy.

LORRAINE
Help us!

ED
Keep her away --

LORRAINE
 128.

No Ed -- there’s a reason she

hasn’t killed her, Carolyn’s still
fighting the possession -- she can
help her! Get her to fight this!

Ed pauses for a second, his mind racing through limited

options. Agrees with Lorraine. Nods.

LORRAINE
(to Cindy)
Take her feet!

Cindy quickly obeys, holding down her mom’s feet as Carolyn

arches unnaturally; a contortion that would seemingly break
anyone’s back.

Carolyn then collapses back down to the floor with a loud

thud, but keeps her death grip on Andrea, who’s now limp in
her arms; her face turning blue from lack of Oxygen. Ed and
Bruce frantically try to pry her fingers off of Andrea, but
she’s too strong.

The wind builds in intensity.

Lorraine looks into Carolyn’s eyes that continue to fade

back and forth.

LORRAINE
You fight her Carolyn, don’t give
up.

CINDY
Please mom, please! You can do it.
Make her let go of Andrea!

ED
Nos eriperes de potestate diaboli.
Ab omni hoste visibili et
invisibili et ubique in hoc saeculo
liberetur.

The bed flips up against the wall, windows blast open, the
lights surge with power.

Carolyn gives one last burst of energy; muscles twitch and

veins rise from under her skin, but everyone holds her down
tight then, like someone pulled the plug, Carolyn stops
moving, becomes limp, almost catatonic. Her arms fall off
of Andrea, who rolls to the floor in a dead heap.

Everything falls still, not a sound. It’s over.

 129.

Roger immediately begins to give his daughter mouth to

mouth, everyone watches on. Crying, praying, hoping.

A cough draws their attention, it’s Carolyn, who is

attempting to get her bearings when she finally does, she’s
overwhelmed when she sees her daughter not moving, then a
small cough erupts from Andrea, who then takes a deep
breath. Tears flood from her father and sister.

Carolyn crawls over to them, stares at Andrea eye to eye;

both emotional wrecks. Pulls her into an embrace. Roger and
Cindy join in.

Lorraine takes a beat watching the Perron’s reunited, then

looks to Ed. Goes over to him. Their eyes meet, she smiles.

ED
You did good.

LORRAINE
You too.

Long beat.

ED
Still feel like quitting?

A slow smile grows on her lips.

LORRAINE
Not just yet.

SLOW DISSOLVE

TO:

193 EXT. WARREN HOUSE - DAY 193

Ed and Lorraine pull up in their driveway. Judy and her

Grandmother come out the front door to greet them. Judy
runs to the car.

As Lorraine gives her a warm hug, Ed extracts a box from

the back seat and hands it to her. She opens the top to see
TWELVE BABY CHICKS INSIDE.

Off her smile, we fade out.

The end.

Over black
 130.

SCROLL
The Perron family left the house
that day, and never returned. They
relocated to Oregon, where they
haven’t had anymore encounters.
Shortly after their move, the house
was purchased by an anonymous
buyer, whom Ed and Lorraine believe
was the Catholic Church. The
Warrens went on to investigate over
eight thousand cases, and to this
day, Ed is the only non-ordained
Demonologist ever recognized by the
Vatican. It was one year later that
the Warren’s were called to
Amityville.