22 Apple Tree Drive - SimplyScripts...FADE IN: INT. HALLWAY, 22 APPLE TREE DRIVE - DAY We are at the...

22 Apple Tree Driveby

FADE IN:

INT. HALLWAY, 22 APPLE TREE DRIVE - DAY

We are at the top of the stairway looking down towards thefront entrance. The interior is that of modern executivehouse, built in the mid-eighties, that has been impeccablymaintained. It is clearly unoccupied, devoid as it is of anyfurnishings, save for the plush carpet. A small pile of mailsits on the floor mat in front of the main entrance.

Through the rippled glass of the front door we see movement,the distorted image of a man unlocking the door and otherfigures shifting behind him. Their conversation is muffled.

The door opens. CARL EDWARDS, a smartly dressed estate agentin his thirties, stoops to pick up the post, then stepsinside.

The Walker family follow immediately behind. They are:ANDREW, 42, likeable, despite his erudite persona; his wifeLOUISE, 40, warm, kind, emotional; ALICE, a bookish andmature 14 year old; and endearingly precocious EMILY, agedjust 5. The family are the epitome of Guardian-reading,granola munching, Volvo-driving middle-class affluence.

LOUISE...Isn't that right, darling?

ANDREWThat's right. We've been planningto upsize for some time. It's justthat we haven't been able to makeit work financially up until now.

CARLI see. Well, the vendor's keen on aquick sale, so there is room fornegotiation on the price.

LOUISEReally? That would be fantastic.

CARLWhy don't you look around? See whatyou think first. Let me know if youhave any questions.

INT. BEDROOM #3, 22 APPLE TREE DRIVE - DAY

Emily runs into the empty room excitedly. Alice follows herin.

EMILYThis is going to be my bedroom!

Alice scoops up her little sister in her arms playfully.

ALICEOh, really?!

2.

EMILY(giggling)

Yes!

INT. MASTER BEDROOM, 22 APPLE TREE DRIVE - DAY

Andrew and Louise stand inspecting the room admiringly.Louise is smitten with the place. And it's her decision thatcounts.

Andrew turns to face Louise. He slides his arms around herwaist, pulls her in close.

ANDREWWell?

LOUISEPerfect. Just perfect.

ANDREWIt certainly ticks all the boxes.

LOUISEI think we're going to be veryhappy here.

ANDREWI think so too.

He kisses her fondly.

Carl walks into the room, interrupting them.

CARLWhat do you think?

Andrew looks to Louise for the go-ahead. She simply smilesand gently nods her head in confirmation.

ANDREWWe'd like to put in an offer.

CARLGreat. Shall we talk money?

EXT. 22 APPLE TREE DRIVE - DAY

The house on a crisp, sunny autumn day. It's a detached,double-fronted affair with a two-car garage. Impressivewithout being showy.

The family's two cars are parked on the driveway.

INT. KITCHEN, 22 APPLE TREE DRIVE - DAY

A typical workday morning: Louise is rushing around tryingto prepare the kids' packed lunch while Emily sits at thetable happily eating breakfast and Alice pours herself somecereal. The radio plays in the background.

3.

Andrew enters looking harried. He hunts around the room.

ANDREWWhere's my car key?

LOUISEIn the usual place.

ANDREWIt's not. I've searched high andlow. We've only been here a monthand already things are vanishing.

LOUISECheck again. It can't have gone far

ANDREWLast week my favourite tiedisappears, and now this.

Alice opens the fridge door to retrieve a carton of milk andimmediately starts to giggle. The key is lying on one of theshelves inside appliance. She picks it up, then dangles itteasingly.

ALICESomebody been sleepwalking by anychance?

Andrew is not amused, but Emily is.

EMILY(giggling))

Silly Daddy!

Andrew wags his finger admonishingly at the two girls.

ANDREWPranksters. I'll talk to you bothwhen I get home.

ALICE(playfully indignant)

Excuse me! I didn't put it there.

ANDREWSomebody did. Give it to me,please. I'm late.

Alice walks over and hands him the key as instructed. Andrewsnatches it from her impetuously.

ANDREWRight, I'm off.

Louise holds up his sandwich box.

LOUISEWait. Don't forget this.

4.

He gives her a quick kiss as he grabs his lunch.

ANDREWWhat would I do without you.

She smiles at him ironically.

INT. LABORATORY, ELI FOODS HEADQUARTERS - DAY

A clinical, state-of-the-art affair, packed with high-techgear: a scientist's dream playground.

Andrew, dressed in a lab coat, is beavering away. Hecarefully injects a solution into a gas chromatographymachine, programs it, then lets it run.

The machine starts to whirr and the printer it is attachedto jumps to life. Andrew scribbles notes while he waits forthe printer to spew-out the results.

Andrew tears off the completed readout from the printer andheads for the door.

INT. CORRIDOR, ELI FOODS HEADQUARTERS - DAY

Andrew pours over the readout as he walks down thepassageway. His Manager, BRYAN GIBSON, a rotund fifty yearold, comes out of a meeting room and spots him.

BRYANAndrew.

Andrew stops to chat.

BRYAN (CONT'D)Great presentation the other day.The board were really impressedwith your work on the coffeesubstitute, and so am I.

ANDREWThanks, Bryan, I appreciate it.

BRYANKeep this to yourself, but I justheard a rumour that Tom Edwards isthinking of moving on.

ANDREWI can't say I'm surprised.Ambitious man like him...

BRYANExactly. If he does, I'm going toput your name forward. You're thebest man for the job, as far as I'mconcerned.

5.

Andrew is genuinely surprised and flattered by therevelation.

ANDREWI don't know what to say. Thankyou.

Bryan pats Andrew on the arm.

BRYANThank me when it's in the bag. Inthe meantime keep up the good work.We'll talk more on Tuesday.


Louise is putting out the rubbish for collection.

MARY THOMAS, an affable and spritely retiree, comes out ofher house with her Alsatian, Bruno. She stops to chat.

MARYAh, you've just reminded me. Icompletely forgot it's collectionday today.

LOUISEEasily done. Especially when youhave a hundred other chores to do.

Mary extends her hand. Louise shakes it.

MARYMary Thomas. I live at numbersixteen. And this is Bruno.

LOUISEHe's beautiful.

Mary gently tugs on Bruno's lead, tries to bring him closer,so Louise can pat him, but he strains, refusing to join hisowner on the driveway.

MARYCome on, Bruno. What's the matter?

Bruno adamantly refuses to budge.

MARY (CONT'D)I give up. I think he's in one ofhis silly moods today. So, have yousettled in yet?

LOUISEJust about. It's been a hectic fewweeks, though, what with the move,work and trying to get the girls'new schools sorted out all at thesame time.

6.

Bruno's agitation grows. He starts to growl and barkaggressively while staring intently at the master bedroomwindow of Louise's house.

MARYI can imagine.

Irked by his behavior, Mary interrupts her conversation tochide the dog.

MARY (CONT'D)Shush, Bruno! I'm sorry, he'snormally quite placid.

Louise follows Bruno's line of site to the bedroom window,but there is nobody there. She's puzzled, but dismisses hisbehavior.

MARY (CONT'D)House moves are so stressful. Mytwo have flown the nest and myhusband and I are both retired, sowe've considered downsizing, but Ijust don't think I could handle it.

LOUISEI envy you. I'd retire tomorrow, ifI could.

MARYI was a geography teacher atCompton Grammar for thirty years.You can only take so much of thelittle darlings, believe me.

LOUISEI know what you mean. I work as anadmissions officer at StonebridgeUniversity and I could write a bookabout some of the antics I've seenon campus over the years.

Bruno continues to bark inexplicably.

MARYI'm sorry, he's not usually likethis. I'm going to have to go. He'sobviously spotted somebody inside.

LOUISEBut I'm home alone today.

MARYOh...

Mary is thrown by Louise's answer, but she doesn't dwell onit long enough to think of an alternative explanation.

7.

MARY (CONT'D)Well, I'd better get going. Lovelytalking to you.

LOUISEYes, and you. Bye.

MARYBye bye.

The two women wave to each other as Mary leads off therecalcitrant dog.

INT. STUDY, 22 APPLE TREE DRIVE - NIGHT

The desk clock glows in the darkness. It reads 3am - thewitching hour.

INT. MASTER BEDROOM, 22 APPLE TREE DRIVE - NIGHT

Andrew and Louise sound asleep.

INT. ALICE'S BEDROOM, 22 APPLE TREE DRIVE - NIGHT

Alice lies in bed equally dormant.

INT. EMILY'S BEDROOM, 22 APPLE TREE DRIVE - NIGHT

Emily is sound asleep too, one arm clutching her teddy.


The all-in-one computer suddenly switches on by itself. Thescreen displays the BIOS information momentarily, followedbriefly by the Windows logo, before halting on the loginpage.

The mouse pointer mysteriously sweeps down to the passwordbox on the screen and we hear the gentle CLATTERING of thekeys as the password is typed in. Except there is nobodythere!

The desktop appears on the screen. The sentient, butinvisible, presence working the computer proceeds to fire upthe image viewer from the start menu. A grid of tiny imagefiles appears. The pointer is clicked on one of these filesspecifically. A happy family snap of the Walkers unfurlsinstantly, filling the screen.

The brightness radiating from the screen casts an etherealglow, illuminating the uninhabited room to haunting effect.


Louise is wiping clean the breakfast table. She's alone inthe house.

The aura of calm blanketing the house is palpable.

8.

The tranquility is rudely shattered by a sudden loud bangemanating from upstairs.

Louise immediately stops what she's doing and listensintently, trying to figure out the cause. There is nothingmore, only silence. But the noise was too obvious, toodeliberate, to ignore. She goes to investigate.


Louise tramps up the stairs, more mystified by theinterruption than rattled by it.


Louise enters the master bedroom. Nothing is out of place;no clue as to what caused the bang.

INT. ALICE'S BEDROOM, 22 APPLE TREE DRIVE - DAY

She pokes her head in the bedroom. It is undisturbed too.

Louise is perplexed, but decides not to dwell on it. Sheshakes her head dismissively and leaves.


Louise walks back in to the room. She immediately stops inher tracks. Gasps. She can't believe what she's seeing.

The chairs have been stacked on the breakfast table in animprobable pyramid fashion.

She just stands there, rooted to the spot, and takes in thespectacle, her expression one of utter awe and confusion.

INT. LIVING ROOM, 22 APPLE TREE DRIVE - NIGHT

Andrew is sitting on the sofa, his tie loosened, a drink inhis hand, listening to Louise as she relates her experiencewhile pacing the floor excitedly.

LOUISEChairs don't suddenly jump two feetand land on tables, Andrew. It'salmost as if the bang wasdeliberate. You know, adistraction, so I wouldn't actuallybe there when the chairs moved.

ANDREWI hear you, but there's got to be alogical explanation, there alwaysis.

LOUISELike what? I'm telling you, thereis no rational, worldly explanation

(MORE)

9.

LOUISE (cont'd)for what happened today. I've goneover it again and again. Nothing.

ANDREWOh, come on, Louise, you're notseriously suggesting that it wassomething supernatural, are you?You know we don't believe in thatnonsense.

LOUISENo, correction: YOU don't believein the supernatural; I've alwayskept an open mind.

ANDREWWhich is now causing you to jump toconclusions.

LOUISEI just wish I'd had the presence ofmind to photograph it. I was justtoo shocked.

ANDREWAnd prove what with it? Look, let'sjust forget about it, whatever theexplanation. If it happens again,then we'll look into it further.

Alice enters the room looking harassed.

Andrew and Louise immediately kill their conversation.Neither of them wants to worry the girls unduly.

Alice picks up on the awkward silence, but she is toodiscrete to comment on it.

ALICEDad, the light in my room keepsflickering on and off. I can'tstudy.

ANDREWThe bulb probably needs replacing.I'll come up and check in a minute.

INT. EMILY'S BEDROOM, 22 APPLE TREE DRIVE - DAY

Emily is alone in her room playing make-believe with hercollection of dolls and cuddly toys. They are sprawled allover the floor in disarray.

Louise disturbs Emily's play by calling loudly fromdownstairs.

10.

LOUISE (O.S.)Emily, come down and finish yourmilk, please.

EMILYComing.

Heeding the call, Emily stops play and scampers out of theroom.

INT. EMILY'S BEDROOM, 22 APPLE TREE DRIVE - DAY (LATER)

Emily returns to the room, keen to resume play. She haltsabruptly. Something has caught her attention. She stands andstares.

All the dolls and cuddly toys that she left scattered on thefloor have been neatly arranged in a perfect circle.

She's rapt, uncomprehending, unable to understand thesinister significance of the event. She breaks into adelighted smile, one that captures her innocence perfectly.


Only a desk lamp and the glow from the computer monitorilluminate the room, giving it a slightly eerie, spectralatmosphere.

Louise is watching an online video of a ghost supposedlycaught on tape in the US stacking chairs in someone'skitchen. She's listening through headphones and iscompletely engrossed in the clip.

Andrew comes in quietly carrying a cup of coffee. Heinnocently rests his hand gently on her shoulder, toindicate his presence. Louise nearly jumps out of her skinwith fright and whips off her headphones in annoyance.

LOUISEJeees! You scared the life out ofme!

ANDREWSorry. I thought you might like acoffee, that's all.

He sees what she's viewing and groans.

ANDREW (CONT'D)Oh, your not still barking up thattree are you? The paranormal?Seriously?

Louise shifts uncomfortably, slightly embarrassed and nonetoo keen to be ridiculed.

11.

LOUISEI've gone over it a hundred timesand I just can't think of any otherreasonable explanation.

ANDREWAnd that's what you call areasonable explanation?

LOUISEI was totally alone in the house.All the doors and windows wereshut. There's no other way toexplain it.

ANDREWI'm sure there is, if we spend longenough to figure it out. But life'stoo short.

Louise is mildly exasperated by Andrew's stance.

LOUISEJust indulge me. There's no harm inme doing a little research. I'msure you'll be proved right in theend - as usual.

ANDREWLook, we've charted the depths ofthe oceans and sent man to themoon. If the paranormal existed,don't you think someone would haveproved it by now?

LOUISEJust because we can't see it, touchit or feel it doesn't mean itdoesn't exit, Andrew. Maybe it'sscience that needs to catch up.

ANDREWHave you ever heard of Ockham'sRazor?

LOUISEActually, I have. It's theprincipal that the simplestexplanation is usually the correctone.

ANDREWExactly. I rest my case.

LOUISEYou do realise that Ockham was aFranciscan monk who believed inGod, and therefore in the existenceof good and evil, don't you?

12.

He didn't know that! Touché.


Alice is sitting at her desk doing her homework. She'sabsorbed in the task.

The peace is broken by a clear knocking sound. She answerswithout breaking her flow or looking up:

ALICECome in.

Nothing happens. She pays no attention and continues withher work.

A beat, then another series of knocks, this time slightlylouder. Alice replies a little more emphatically:

ALICECome in. The door's unlocked.

She goes back to her work. Still nothing. A long beat.

Suddenly, the knocking starts up all over again. It is muchlouder and more insistent this time, as if conveying a senseof urgency.

Vexed, she gets up from her desk abruptly and strides overto the bedroom door.

ALICEYou're not funny, Em. I'm trying towork.

Alice opens the door tetchily. There's nobody there. Shepeeks out into the landing.

INT. LANDING, 22 APPLE TREE DRIVE - NIGHT

The space is empty. There is no one in the vicinity.


Alice gently closes the door, then stands there a moment,slightly perplexed.

The knocking suddenly starts up again. Alice slowly turnsher head, realizing the source of the disturbance. Herapprehension starts to rise. The noise isn't coming from thelanding, but from inside the wardrobe that is situated rightnext to her!

Alice takes a few steps back, faces the wardrobe. Now thatthe source has her attention, it abruptly halts theknocking.

ALICEEm, is that you? You're not funny.

13.

No reply. Alice gulps. Her shaky voice betrays her fear.

ALICE (CONT'D)Emily?

No reply, but the knocking starts up again. Bursts ofrapping delivered at regular intervals.

ALICE (CONT'D)Who is it? Who's there?

Alice knows what she has to do. Her curiosity, if nothingelse, demands it. Slowly and with great trepidation, Aliceapproaches the wardrobe, her arm out-stretched, ready tograsp the door knob. One fearful step follows another as sheinches interminably closer to the wardrobe.

Her breathing quickens as her hand gradually, deliberatelyreaches for the door knob. Unable to stand the frenzy anylonger, Alice yanks the door open with a sudden lurch.

Nothing. There is nothing there but her hanging clothes.

She heaves a huge sigh of relief, then simply stands thererattled, staring into the wardrobe, trying to figure outwhat just happened.


Louise is busy with household chores. She enters the roomladen with a jumble of clothes that need to be laundered.

Bending down precariously, she collects the clothes strewnon the floor, adds them to her growing pile, then leaves.


Louise enters to find the TV has been left on, tuned intosome inane daytime chat show. She tuts, mildly dismayed bythe oversight. She picks up the remote control from thebedside cabinet and switches the TV off to standby.

She turns her back, to pick up the clothes on the valetstand, only for sound to fill the room again. She turns tofind the TV switched on once more. She's baffled andslightly perturbed, but tries not to read too much into it.

Louise picks up the remote control and switches the TV offagain with a firm, if slightly petulant, push of the button.

Satisfied it is truly off this time, Louise turns and padsto the en-suite carrying her laundry.

INT. EN-SUITE, MASTER BEDROOM, 22 APPLE TREE DRIVE - DAY

Louise proceeds to empty the laundry basket in the room.

As she does so, the sound of the talk show starts to flowintrusively again. Louise pauses, looks over her shoulder.

14.

She's anxious now, starting to imagine the worst. She goesto investigate.


The TV is, indeed, on again. Louise is as annoyed as she isintimidated by this paranormal display. She sweeps up theremote and aims it squarely at the set. She hits the offbutton hard, but it does nothing. She tries again. Thenagain. The TV will not switch off. She's spooked.

Trying hard to maintain her composure, she strides over tothe set. She kneels down on the floor and reaches for theextension lead. She tries to figure out quickly which plugbelongs to the TV, so she can unplug it.

She pulls out one plug, only to cause a tablet that ischarging to go off.

LOUISEShit!

She hastily plugs it back in. Tries another. No luck. Thenit dawns on her: there is one plug simply lying to one sideon the carpet. Surely, it can't be that one?!

Louise slowly picks up the plug and regards it withdisbelief before slowly turning her attention to the imageon the screen. She is a agog, unable to reconcile what sheis seeing - a TV functioning without power!

At that moment, the picture vanishes from the screen in aninstant, leaving Louise staring at an inert expanse ofblack. The sudden termination of the broadcast brings Louiseout of her daze. She inserts the plug back into theextension lead, then monitors how the TV responds.

There's a gentle CLICK and the standby light glowsmomentarily as the current surges back into the appliance.This is quickly followed by the sound of applause, then animage on the screen, as the broadcast of the chat showresumes.

Louise is floored, left utterly baffled and disturbed by theanomaly.

EXT. STONEBRIDGE UNIVERSITY - DAY

A large sign on a grass verge reads:

'Admissions Office. Stonebridge University, Oxford.'

Behind it stands an impressive classical style building.

INT. ADMISSIONS OFFICE, STONEBRIDGE UNIVERSITY - DAY

Louise is at her desk reading a website about ghosts whilesnacking on a sandwich.

15.

FRANCES HAMMOND, 43, a hard-headed colleague, arrives atLouise's desk clutching some files and catches her unawares.Louise scrambles to minimise the browser, but she's too lateto stop Frances catching a glimpse of the website. Louise isa little embarrassed, but decides to brazen it.

FRANCESI'm sorry to disturb your lunch,Louise.

LOUISEThat's OK.

FRANCESI have to leave early today for mydoctor's appointment. Is there anychance you could assess theseapplications for me this afternoon? They're all overseas students.

LOUISESure, no problem.

Louise takes the documents from Frances a little too keenly,hoping she'll leave. Frances lingers. Drat!

FRANCESHave you got to the bottom of yourchair incident yet?

Louise shakes her head no. She opens up reluctantly.

LOUISEI just can't stop obsessing aboutit. I've racked my brains endlesslyand it just doesn't make sense.

FRANCESNinety-nine percent of so called'ghostly activity' is anything but.There's usually a totally mundaneexplanation for it.

LOUISEI know, I know. I'm just worriedI'm one of the remaining onepercent.

FRANCESIt's not the end of the world evenif you do have something in yourhouse, you know.

Louise is slightly taken aback by Frances' remark.

LOUISEWhat do you mean?

16.

FRANCESA friend of mine told me that herrelatives live in a haunted house.The wife saw a woman in Victorianclothing at the foot of her bedonce. And they experience strangeactivity every now and again.

LOUISELike what?

FRANCESOh, low-level stuff: things moving,the TV switching off by itself...

Louise shifts uncomfortably in response to the last example.

FRANCES (CONT'D)...the odd magazine being ripped inhalf. The point is, though, thatthey've just learned to live withit. They ignore the ghost, leave italone, and it leaves them alone. Ithink you're worrying too much.

LOUISEYou're probably right.

FRANCESI have to go. Thanks for your help.

Frances starts to walk away.

LOUISEFrances.

Frances halts, turns to face Louise again.

LOUISE (CONT'D)You won't tell anyone else aboutthis will you?

Frances smiles sympathetically, her friend worries too much.

FRANCESI won't say a word.

INT. KITCHEN, 22 APPLE TREE DRIVE - NIGHT

Uninhabited. Dark. The oven clock shows it's 3am.


The couple are fast asleep, oblivious to the world.


Serenely still and silent.

17.

INT. DINING ROOM, 22 APPLE TREE DRIVE - NIGHT

Yet another oasis of calm in the early hours.


A long beat. Then, slowly, the door on the American sizefridge-freezer gently opens by itself, as if being pulled byan invisible hand.

The door stays open for a moment, as if held ajar while aghostly night time forager explores the fridge. It thencloses again, equally deliberately.


Emily is at the kitchen table happily playing with alphabetfridge magnets by herself. Louise is rushing around checkingthe windows and door are secure. Both are wearing coats,ready to go out.

LOUISERight, come on, Emily, we've haveto go now.

EMILYBut I'm busy.

LOUISEWe've have to go shopping, darling,or there won't be anything for teatonight. You can play with thosewhen you get back. Now, come on.

Alice walks into the kitchen. Her attire emphasizes fashionat the expense of warmth. Louise looks at her and frowns.

LOUISEIt's freezing outside, Alice,couldn't you wear jeans.

ALICE(peevishly)

These are fine, Mum!

LOUISENever mind. I haven't got the timeto argue. Let's go, both of you.

All three depart. Louise closes the door behind her, leavingthe kitchen looking spic and span, save for Emily's alphabetmagnets, which the little girl has left strewn on the table.


Louise unlocks the front door and struggles in carrying twobig bags of groceries; Emily comes skipping in behind her,unencumbered; Alice trails behind with another bagchock-full of provisions.

18.


Louise enters the kitchen and simply freezes, dumbfounded bythe scene that greets her:

Every cupboard is wide open, the contents strewn everywhere;ingredients like ketchup, mustard and mayonnaise have beensquirted liberally all over the room like a splatterpainting; cereals and pulses carpet the floor. The placedoesn't look as if it has been burglarized, but vandalized.

The girls, who are right behind her, are equally stunned.

LOUISEOh, my God!

EMILYMummy, what's happened?

ALICEWho did this?

Louise puts the bags down and surveys the mess. She thenturns to Alice and instructs her in a calm, quiet voice:

LOUISEWe've been burgled. They couldstill be here. Wait outside withyour sister and call the policewhile I check the house.

ALICEBut Mum, look at the fridge!

Alice points to the fridge-freezer.

ALICE (CONT'D)Burglars wouldn't do that. It's gotto be vandals.

Louise looks over at the fridge door. What she sees fillsher with dread. Scrawled on it in magnetic letters is achilling message: 'GET OUT!'.


Andrew and Louise are bickering with each other in angrywhispers.

ANDREWAre you positive you locked everydoor and window before you left?

LOUISEYes, positive! And they were stilllocked when I got back.

ANDREWWell, how on earth did they get in?

19.

LOUISEYou tell me!

PC MARK REEVES, a uniformed policeman in his thirties,descends the stairs. Louise immediately cuts short theargument.

PC REEVESI'm stumped. I can't find any signof forced entry anywhere.

ANDREWWell, they got in somehow.

PC REEVESHave you given a spare key toanyone? Family, friends,neighbours, that sort of thing?

LOUISENo, we don't know anyone wellenough in this area to give one to,and neither of us have familynearby.

PC REEVESAnd you say you had the lockschanged recently.

ANDREWYes, we called in the locksmith assoon as the sale of the house wentthough.

PC REEVESAnyone in the family lost their key- even temporarily?

LOUISENo. In fact, the girls don't evenhave a key.

PC REEVESWell, somebody has got hold of acopy somehow. There's no otherlogical explanation.

Louise bites her tongue. She knows who she thinks theculprit is.

ANDREWWhat happens next?

PC REEVESI'll file a report and arrange forforensics to come over and checkfor fingerprints, footprints, toolmarks, that sort of thing.

20.

ANDREWWhat about the message? Surelythat's significant.

PC REEVESIt could be someone with a grudge,but then again it could just aseasily be somebody playing a prank.I'm sorry, Mr Walker, but we can'topen an investigation withoutproper evidence of a threat.

LOUISEDo you have a reference number youcan give us, for the insurancecompany?

PC Reeves tears a form from his notepad and hands it toLouise. He indicates the CRN number at the top of the page.

PC REEVESYes, it's this number here. Justmake a list of any damaged orstolen items and forward it on tothem quoting that reference. Andforward a copy to us as well.

LOUISEI will. Thank you.

PC REEVESGiven what's happened today, Irecommend you switch the alarm onevery time you leave the house fromnow on. And get your locks changedagain.

ANDREWWe will. You can be sure of it.

PC REEVESI'll be off then. I'm sorry thishappened to you. I realise howdistressing it is.

Andrew opens the door. PC Reeves smiles politely to thecouple, then steps out.

ANDREWThank you for your help officer.Goodbye.

PC REEVESBye.

Andrew closes the door, then leans his head against it,takes a moment.

21.

ANDREW(sighs)

I thought this was supposed to be asafe area.

There's a palpable chill in Louise's voice and demeanour.She addresses him with her arms crossed.

LOUISEIt's not the area that's theproblem, Andrew, it's this house.Why can't you see that?

ANDREWOh, no, not that again. Please.

LOUISEItems going missing or misplacedweekly, the chair incident, the TV,knocking in Alice's bedroom...Doyou not see a pattern? Can you notconnect the dots? There's somethinghere.

ANDREWI'm sorry, but I'm not venturinginto the Twilight Zone with you.

LOUISEFine. Have it your way.

She turns on her heels and heads off to the kitchen.

Andrew shakes his head in exasperation.


Emily is sitting at a child desk alone in her bedroom. She's occupied with her colouring book.

Her concentration is suddenly broken by the unintelligiblewhisper of a male voice. She stops what she's doing andcocks her head, tries to listen harder. The whispering stopsabruptly. She dismisses it and goes back to her colouring.

A moment later, the murmuring starts up a second time. It'sslightly louder this time, but still unintelligible. Emilyimmediately stops what she's doing once more and listens outfor it. Nothing but silence again. Except, this time she'scertain she heard something - someone - and that it wasn'tjust her imagination.

EMILYWho is it?

An uncomfortable hush.

She feels uneasy, but reluctantly goes back to hercolouring.

22.

A beat, then the murmuring recommences. This time it lastsmuch longer. It's a barely audible babble, a stream ofquietly spoken words. But then, suddenly, clearly, we hearher name whispered teasingly.

ENTITYEmily...Emily...

Discomfited by the voice, but unable to place its origin ormake any sense of it, Emily gathers up her crayons and hercolouring book, and heads on out of the room.

INT. ANDREW'S OFFICE, ELI FOODS HEADQUARTERS - DAY

Andrew is at his desk making a call. He's riled, speakingmore loudly and forcefully than he realises, despite theunfailingly polite tone of the overseas CALL CENTRE AGENT.

ANDREW(into phone)

Look, there is no way on earth thatI could have consumed five hundredpounds worth of electricity in amonth. It's impossible.

CALL CENTRE AGENT (V.O.)According to our readings, Sir, thebill is correct.

ANDREW(into phone)

Only someone with a cannabis farmin their loft could get close tothis figure and I can assure you Idon't have one of those in myhouse!

CALL CENTRE AGENT (V.O.)Cannabis, Sir?

ANDREW(into phone)

Never mind. Look, the readingcannot be correct, there must besome mistake.

CALL CENTRE AGENT (V.O.)There is no mistake, Mr Walker. Youwere billed correctly, according toyour meter reading.

ANDREW(into phone)

Well, I'm not going to pay such aridiculous sum, and I demand thatyou send somebody to check themeter and our connection -urgently!

23.

CALL CENTRE AGENT (V.O.)We can certainly do that for you.I've noted your number. Rather thankeep you on hold, would you mind ifI arrange for the relevant team tocall you back shortly?

ANDREW(into phone)

Yes, you do that.

CALL CENTRE AGENT (V.O.)Very well. Is there anything else Ican do for you today, Mr Walker?

ANDREW(into phone)

No, thank you.

CALL CENTRE AGENT (V.O.)Thank you for...

Andrew slams the phone down and sighs in exasperation. Hetakes a breath, tries to reign-in his indignation.


The couple are both in a deep slumber. The bedside alarmclock reads 3am. It's witching hour once more.

The house alarm suddenly jumps to life, BLARES deafeningly.Andrew and Louise awake with a startle.

LOUISEJesus Christ!

ANDREWWhat the hell!

Louise flicks on the bedside lamp. They both sit up in beddisorientated, as they struggle to adjust to the suddenglare.

ANDREWI'll go and check. You stayupstairs.

Andrew throws the bedsheets back and heads for the door.Louise follows.

LOUISEWait. What if there's somebodythere? You've got no protection.

Andrew realises she's right. He racks his brains, trying tothink of a suitable weapon. He grabs a can of hairspray fromthe dressing table and heads for the door.

24.

ANDREWThis will have to do. Keep yourmobile handy, just in case.

Louise snatches her mobile phone from her bedside cabinet.


Andrew flicks on the light.

A groggy Alice and Emily come out of their respectivebedrooms.

ALICEWhat's going on?

LOUISE(whispering sharply)

Get back in your rooms, both ofyou!

The two girls obediently retreat to the safety of theirbedrooms, closing the doors behind them.

Andrew starts to descend the stairs guardedly.

LOUISE (CONT'D)(whispering)

Andrew, be careful.

Andrew simply nods to her, then steels himself beforecarrying on down the stairs.

INT. HALLWAY, 22 APPLE TREE DRIVE - NIGHT

He advances down the hall, his improvised weapon at theready, his breath on hold, his heart working overtime.

He heads into the living room.


Andrew enters, trepidatious and alert. He flicks on thelight and scans the room. Nothing untoward. He moves on.


The lights come on. Andrew enters, wary. He checks for signsof an intruder. There are none. Everything is as they leftit.


Andrew silences the wailing alarm by keying-in the code onthe control panel.

25.


A relieved Andrew walks back in. Louise is waitinganxiously.

LOUISEWell?

ANDREWNothing. There's probably a faultin one of the motion detectors ormaybe the wiring in the controlpanel. I'll get it checked out,along with Alice's flickering lightand the meter.

LOUISEWell, it hasn't happened before.

Andrew flops back into bed.

ANDREWWe'll worry about it in themorning, Louise. I need to sleep. I've got a 5 o'clock start,remember?

It is obvious from the look of consternation on Louise'sface what she thinks caused the alarm to trip unexpectedly.


BARRY JENKINS, a potbellied electrician in his late fifties,is testing the burglar alarm control panel. He finishes up,then turns to address Andrew and Louise, who are hoveringnearby, waiting patiently for him to finish.

BARRYThere's nothing wrong with youralarm. Just as there's nothingwrong with your TV or theflickering light in the bedroom.

LOUISEDo you have ANY explanation for theproblems we've been experiencingwith the electrics or the hugebill?

BARRYNone, Mrs Walker. I'm completelybaffled. I really am. I've been inthis game for over thirty years andI can guarantee you there's nothingwrong with the wiring in thishouse.

ANDREWIt just doesn't make sense.

26.

BARRYI still recommend you get yoursupplier to send out one of theirengineers to check the meter,though.

ANDREWOh, don't worry, I will. It's theonly way I'll get them to admitthey've cocked-up the bill.

Louise shoots Andrew a chagrined look. He doesn't notice.

BARRYI think you're right, but you knowwhat it's like trying to talk tothese big companies. You might aswell be banging your head against abrick wall.


Barry steps out of the house and waves goodbye. Andrew wavesback as he closes the front door.


Andrew pushes the door shut, then turns to face Louise.

LOUISEYou heard the man, there's nothingwrong with the wiring in thishouse.

ANDREWThen there must be some otherexplanation. There has to be.

LOUISEReally? Well, let me know when youfind it.

Infuriated by Andrew's intransigence, she turns on her heelsand marches off to the kitchen, leaving him lookingsheepish.


It's the dead of night. Andrew is fast asleep with his backto Louise. She lies awake next to him, unable to sleep,restive, apprehensive. Her bedside lamp is on for comfort.

Louise scans the room for the source of her unease, butthere's nothing there but darkness. She lies there a beat,tries to calm herself, to regulate her breathing. She feelsfoolish for being so scared, but at the same time can'tshake off the feeling that her fear is valid.

27.

It is no use. With reluctance, she gently shakes Andrew, towake him.

LOUISEAndrew.

Andrew stirs.

LOUISE (CONT'D)Andrew, I can't sleep. I'm scared.

He turns to face her.

ANDREWScared of what?

There's a quiet desperation in her voice.

LOUISEI know it sound's stupid, but Ican't shake off the feeling ofbeing watched all the time. Likethere's someone or something in thehouse with me, lurking.

Andrew pulls her close to him and wraps his arms around herreassuringly.

ANDREWLook, we've both been under a lotof stress with the move and it'sstill a new environment. It'snormal to feel unsettled at first. You'll be fine, I promise.

LOUISEIt's not stress, Andrew. It's morethan that. Like there's somethingprofoundly evil inhabiting thishouse. Even now, right here in thisroom. Can you not sense it?

He sighs with frustration.

ANDREWLook around you, darling. There'snothing here but the two of us.You're working yourself up into atizzy about nothing.

LOUISEI know. I know. But...there'ssomething that's just not rightabout this house. I'm worried.

ANDREWGhosts - if they exist - areusually associated with old houses

(MORE)

28.

ANDREW (cont'd)with lots of history. I doubt verymuch they rattle around modernplaces like this.

LOUISEWhat if something happened here totrigger a haunting? What ifsomething evil followed a previousoccupant here and settled?

He caresses her face gently.

ANDREWI doubt it. I think your sufferingfrom a classic case of cognitivebias.

LOUISE(irked)

So you think I'm just making thisup?!

ANDREWNo. It's just that if you believein ghostly things to start of with,then you're more likely to explainstrange or random events in thoseterms, rather than rationally.

LOUISEBut what if something defiesrational explanation?

Andrew is keen to wrap up the conversation.

ANDREW(gently)

Look, we've both got an early starttomorrow. Why don't you try and getsome sleep and we'll talk aboutthis more in the morning, OK?

Without waiting for a reply, Andrew releases his embrace,turns his back and tries to go back to sleep.

Louise retreats to her pillow. She feels hurt and neglectedby his lack of comprehension, his close-mindedness.

As she lies there in the dark, her resentfulness starts towell up and she begins to cry quietly. Despite their closephysical proximity, they are still worlds apart on thisissue.


Louise is busy preparing a meal. She's alone in the house.It's a normal day, calm and quiet

29.

Suddenly, there is a loud THUD upstairs. Louise freezes, hernerves instantly on end, her mind racing. The last thing shewants is another incident, but she knows she has no choicebut to go there and investigate.

She grabs a large knife from the rack and heads out.


Louise ascends the stairs slowly, warily. We can hear a songemanating from upstairs.

LOUISEWho's there?

No reply, just the song playing tauntingly.

She reaches eye-level with the landing. She stops. All thedoors upstairs are wide open and natural light is floodingonto the landing from the various rooms.

From the safety of the stairway, she peers into the rooms. Everything appears normal, except for the music.

LOUISE (CONT'D)Whoever you are, I've called thepolice. Leave while you still can.

Still nothing. Despite this, she can't shake off the feelingthat someone - or something - is present.

Cautiously, hesitantly, Louise presses on up the stairs.


Louise enters, on the lookout for any kind of threat thewhole time. The room is as it should be, except for the factthat Alice's clock radio is playing. Louise goes over andswitches it off.

As she turns to leave, she sees a vaguely human shadow exitthe room and cross the hallway into the master suite. Shegasps with shock.

LOUISE(mouths)

Oh, my God.

She stands frozen for a moment, overwhelmed by fear andincomprehension. But it is not in her nature to be cowed soeasily, especially in her own home. She steels herself,tightens her grip on the knife, then follows the ENTITY.

INT. LANDING, 22 APPLE TREE DRIVE - DAY

Knife at the ready, her heart pounding, Louise hovers at thedoorway to the master bedroom. She summons all her courageto speak.

30.

LOUISEI know you're in there. Come onout. Show yourself.

No reply. She tries to calm her breathing. Thinks what to donext.

She peers into the room from the safety of the doorway.


Empty. There's not even a hint of the shadow she sawtraversing moments earlier. It has vanished into thin air.

Louise enters the room. Guardedly, hastily, she scopes thesmall en-suite from the relative safety of the bedroom.

INT. EN-SUITE, MASTER BEDROOM, 22 APPLE TREE DRIVE - DAY

Unoccupied. No sign of the Entity.


Louise then scans the bedroom for anything untoward. Shecatches site of the source of the thud: a large suitcaselying on the floor, at the foot of the bed. It's fallen outfrom the top of one of the wardrobes where is was stored.

She stands reeling, feeling profoundly perturbed andperplexed by the latest turn of events.


It's early evening. Andrew is still in his work clothes andlooks as though he's been dragged up here by Louise themoment he arrived home.

The two are quarrelling. Louise is as vehement in herargument as she is frustrated by Andrew's unwillingness toopen up to what is really happening in the house. She'salmost on the verge of tears, a bubbling cauldron ofemotion. Andrew just looks annoyed.

ANDREWIt fell. There's no need for anyother explanation.

LOUISEBut how? What caused it to fall?Tell me that. And why today and notbefore? Suitcases don't just fallout of wardrobes of their ownaccord.

ANDREWRandom things happen, Louise. Itdoesn't mean there are paranormalgoings-on in our house.

31.

LOUISEThere's no rational explanation forwhat happened today, nor for any ofthe other happenings. You need toface facts. Open up your mind. Science can't explain everything. Test tubes and mathematicalequations don't tell the wholestory.

ANDREWNo, you need to face facts: there'snothing supernatural going on here.This house is perfectly normal.

LOUISE(counting on her fingers)

Really? Normal? You're not evenhere when half of the stuffhappens. If you were, you'd see!


The family are eating a meal at the table.

Louise is sullen. Everybody eats in awkward silence.

INT. KITCHEN, 22 APPLE TREE DRIVE - LATER

Louise dries the dishes while Andrew washes up. She's stillgiving him the silent treatment.

He tries to 'reason' with her.

ANDREWFine. Let's say for a moment you'reright and we do have a ghost in ourhouse. What can we do about it? Who are we going to turn to, heh?The police? The council? Thechurch? I can't even remember thelast time either of us set foot ina church.

LOUISEWe have to do something, Andrew. Wecan't just ignore it. It's gettingworse by the day.

ANDREWWhat if the neighbours find out or,worse, what if the media get windof this. We'll become a laughingstock. Do you really want that?

LOUISENo, of course not. But I'm notgoing to have my happiness in thishouse jeopardised either.

32.

ANDREWThat's exactly what you're doingwith all this paranormal mumbojumbo.

LOUISEI need your support to get to thebottom of this. If I don't get it,then make no mistake, I will lookfor a solution by myself.


Louise is rushing to cook the evening meal before Andrewgets home. The two girls are helping out by setting thetable. Of the three, Alice is the only one facing thebreakfast bar.

From her vantage point, Alice witnesses the well-stockedfruit bowl slide a couple of inches across the breakfast barwith a sudden, jerky movement. She stalls, startled, andcan't quite believe what she saw happen.

ALICEMum, look! The fruit bowl moved byitself!

Louise turns around, sees the panic on the girl's face.


ALICEIt just moved by itself. It slidacross. Watch!

The bowl is static once more. But Louise knows better thanto discount any unusual activity in the house these days.She keeps her eyes peeled. They all do.

All of a sudden, the same thing happens again, the bowlprogresses sideways by several inches in the same jerkymanner as before. They are all astounded.

ALICEJesus Christ, Mum!

LOUISEGood Lord!

EMILYI'm scared.

LOUISEAlice, go get your phone, so we canfilm this and show your Dad.Quickly!

33.

Alice rushes out to the hallway, to retrieve her mobile.She's back as quick as a flash.

LOUISEHurry, in case it happens again!

ALICEI am!

Just as Alice is about to fire up the camera, the bowl fliesoff the counter at lightening speed. It hits the ground andSHATTERS loudly, scattering the fruit and spreadingfragments of ceramic all over the floor.

Alice and Emily both yelp with fright.

LOUISENo!

The trio are utterly speechless, their mouths agape. If theEntity wanted to attract their attention or alert to them toits presence, it has succeeded.

As they stand dazed, Andrew walks in. He looks at them, thenat the smashed crockery.

ANDREWWhat's all the commotion about? What's going on?

An exasperated Louise turns and addresses him pointedly:

LOUISEI'll give you one guess.


Andrew and Louise are cuddled together on the sofa,relaxing, watching TV.

A piercing scream emanates from upstairs, abruptlydisturbing their peace. Alarmed, the couple look at eachother momentarily.

ANDREWIt's Emily.

They both scramble out of the room in a state of panic.Louise shouts up to Emily as she goes.

LOUISEWe're coming, sweetie! We'recoming!

INT. EMILY'S BEDROOM, 22 APPLE TREE DRIVE - NIGHT

They enter to find Alice consoling Emily on the bed. Thelittle girl is still crying. Louise and Andrew take over.

34.

LOUISE(to Alice)

What happened?

ALICEI don't know. I just heard herscream, then found her like thiswhen I came in.

Louise cuddles Emily, tries to soothe her.

LOUISEIt's alright, sweetheart, it'salright. Tell Mummy what happened,hmm?

Emily speaks haltingly, with shuddering sobs.

EMILYSomebody touched me.

These are words no parent wants to hear. Louise is alarmed.

LOUISEWho touched you? Where?

EMILYIn bed.

ANDREWBut there's nobody here except you,darling.

EMILYI was lying awake, because Icouldn't sleep. Then I saw the doorclose all by itself. Then I feltthis hand touch me like this...

She strokes her cheek gently three times, to demonstrate.

Louise suddenly feels sick to her stomach. She turns toAndrew, tries to communicate her alarm to him silently.

ANDREWEmily, the door probably closed byitself, because the hinges areloose. And when you found yourselfin the dark suddenly, you gotscared and thought somebody hadtouched you, that's all.

Louise is annoyed with him. Emily is adamant.

EMILYNo, Daddy! I felt a hand; it wasreally cold and horrible.

35.

LOUISEI believe you, sweetie. I believeyou. I'll tell you what, why don'tyou come and sleep with me tonight,and Daddy can stay here. Would youlike that?

Emily nods her agreement. Louise picks her up and heads forthe door, along with Alice. As she goes, Louise gives Andrewa stern and disapproving look that says it all.

Andrew sits forlornly on the bed, alone, feeling like he'sthe bad guy.

INT. LIBRARY, STONEBRIDGE UNIVERSITY - DAY

Vast. Monastic. Populated by scholars studying in silence.

Louise is in the section marked Paranormal. She scans theshelves and selects a handful of books on ghosts,poltergeist and hauntings.


Andrew and Louise lie in bed. Andrew is dead to the world,snoring gently in his slumber. Louise shifts impatiently,desperately trying to fall asleep. She gives up and simplylies on her back, staring into the gloom.

She glances over at the bedside clock. It reads 2:59am. Shesighs defeatedly. The time on the clock advances to 3am.

The scene remains the same for a long beat: Louise killingtime in the murk of a seemingly endless night.

Out of nowhere, without warning and with deliberateslowness, the bed sheet on Louise's side begins to bulge, asif someone is sliding in on top of her from the foot of thebed.

Louise senses something perverse. She lifts her head up fromthe bed slightly to check. She struggles to make out theform that is creeping towards her. Then she realises there'san intruder in the bed with her. Her eyes bulge with horrorand her body instinctively stiffens with fear in response.

The Entity is almost on top of her now. The contour of theraised sheet outlines what appears to be a human form.

A second later and she feels something heavy weighing downon her whole body. She tries to push it off, but theinvisible load pins her down hard.

Panicking, she tries to cry for help, but her voice barelyeven registers as a whisper.

LOUISEAndrew. Andrew. Help. Help.

36.

She tries to move, determinedly, to push the Entity off her.No use, it's too powerful. She's helpless, and she knows it.

After what seems like an eternity to Louise, but is in factmere seconds, the Entity lets go and vanishes in an instant.The bulge collapses and the sheet reverts to its normal,flattened form.

Screaming hysterically, Louise leaps out of bed like a caton a hot tin roof and paces the floor, holding her head inher hands.

The commotion snaps Andrew awake. He jumps out of bed andrushes to her side, concerned. He tries to calm her.

ANDREWWhat is it? What happened?

Louise is hyperventilating, she's so spooked. Andrew managesto pacify her enough that she can at least talk with somesemblance of coherence.

LOUISEOh, my God! Oh, my God! It washere! It was right here!

She points to the bed emphatically.

ANDREWWhat was here? What happened? Tellme.

LOUISEThat thing! That thing! It...it gotinto bed with me!

ANDREWWhat thing? Calm down. You're notmaking sense.

LOUISEWhatever's in this house! Thepresence! It got into bed with me.It pinned me down. I could feelit's weight on top of me.

It's all too much for her. She starts to sob. Andrew hugsher.

ANDREWYou had a nightmare, that's all.

He's just lit her touchpaper. Incensed, she pulls away fromhim abruptly, then explodes:

LOUISEIt wasn't a fucking nightmare,Andrew! I was awake the whole time.

(MORE)

37.

LOUISE (cont'd)Just like I am most nights now,because I'm too scared to close myeyes.

ANDREWOK, OK. I believe you. Just takesome deep breaths. Do you want meto get you anything?

LOUISEI want you to believe me, that'swhat I want. I want you to makethis thing go away, to leave usalone.

He looks at her helplessly. He's a man lost, totally out ofhis depth as well as his intellectual comfort zone.

INT. DOCTOR'S SURGERY - DAY

A consulting room in a modern surgery. The doctor, LIAMMARCUS, a presumptuous man in his forties, sits behind hisdesk. A frazzled-looking Louise sits facing him.

She waits in silence as he fills out a prescription form.She seems quietly sullen and resentful.

He finishes writing the prescription and hands it to her,along with some pamphlets and print-outs.

DR. MARCUSHere's a prescription for somesleeping pills, and here's someliterature on insomnia that you mayfind useful.

Louise accepts the papers.

DR. MARCUS (CONT'D)As I said earlier, anxiety,depression and especially stressrelated to a major event like ahouse move can all inducehallucinations. Occasionally, thesecan be paranormal in nature. Thefeeling of somebody pressing downon you is surprisingly common,you'll find.

Louise just stares back at him, endures the lecture.

DR. MARCUS (CONT'D)I suggest you complete the courseof medication I've given you andattempt the relaxation techniques Idescribed earlier. Give it a month.See how you get on.

38.

LOUISEAnd if there's no improvement?

DR. MARCUSWell, then we can discuss otheroptions, such as referring you to apsychologist for a course of CBT.

LOUISECognitive Behavioural Therapy?

DR. MARCUSYes, that's right. It's been provento help with insomnia. There is athree month waiting list fortreatment, though.

LOUISEI see.

DR. MARCUSPersonally, I don't think we'llneed to go down that road.

LOUISENo?

DR. MARCUSNo. A little sleep and relaxationusually work wonders. And don'tworry, there are really no suchthings as ghosts. We all know that.

He smiles reassuringly. End of debate.

INT. MAIN BATHROOM, 22 APPLE TREE DRIVE - NIGHT

Alice is bathing in the shower, luxuriating under the jet ofhot water. The room is engulfed in a haze of steam.

She stops showering, opens the door and retrieves her towel.

Alice steps out of the cubicle and begins to spray her hairwith conditioner. As she does so, she hears a tiny butstrangely familiar SQUEAK. She immediately shifts herattention to the source of the noise. It's the mixer tap inthe wash basin.

To her utter amazement, the lever lifts up slowly,deliberately, as if operated by an invisible hand. Steaminghot water starts to gush out. She's unnerved by the display.

ALICEMuuuum! Mum!

INT. LAUNDRY ROOM, 22 APPLE TREE DRIVE - NIGHT

Louise is busy sorting the the laundry. The noise from thewashing machine drowns out Alice's cries completely.

39.


The tap begins to turn off in the same fashion as it cameon. Alice calls out again, but with greater urgency.

ALICEMum, come upstairs! Quickly!


Louise carries on sifting through the laundry oblivious.


Alice's nightmare deepens: she hears the shrill squeaking ofa finger dragging on moist glass. She looks up, and to herprofound horror she sees letters forming on the steamedmirror, seemingly by themselves.

'L...E...'

Alice, petrified, starts to scream at the top of her lungs.

She rushes to the door and tries to open it. It won't budge.


Louise steps out of the laundry room encumbered with abasket full of clothes and hears Alice's screams for thefirst time. She drops the basket on floor and races out.


Louise bounds up the stairs, panicked.

LOUISEAlice?! What's the matter! I'mcoming!


Alice continues to pull on the handle maniacally, using allher strength, but the door will not open. She twists andturns the swivel lock every which way, but it makes nodifference.

She glances over at the mirror. The Entity continuesscribing on the steamed surface of the mirror in bold, clearletters.

L...E...A...

Alice starts to becomes even more hysterical.


Louise rushes to the bathroom door. She's frantic.

40.

LOUISEWhat's happened?! Alice!

She turns the door handle, pushes it. It doesn't open.

LOUISE (CONT'D)Alice, unlock the door!

ALICE (O.S.)It is! It just won't open!

Louise strains to push the door open from the outside, buttry as she might, the door will not budge.

LOUISE(to herself, imploring)

Come on! Come on!


Alice is in a fear-fuelled frenzy. She continues to pull atthe handle frantically. It's no use. It is as if the doorhas been hermetically sealed.

ALICEMum help me! Help me! Oh God!


LOUISEI'm trying, Alice! I'm trying!

Louise engages every sinew in her body, but she has no moresuccess in unbarring the door than her daughter.


Alice continues to tug at the handle furiously. No luck.

All of a sudden, Alice's long hair start to rise up slowlyuntil they are all standing on end above her head. It is achilling and gravity defying display.

She starts to hyperventilate.


Louise is beside herself with worry, but utterly helpless.She vents her fury at the Entity:

LOUISEMy baby! Don't you touch my baby!


Alice's hair suddenly drops down, as if let go of.

At that same instant, the obstruction disappears and thedoor flies open, catching both mother and daughter unawares.

41.

Alice falls backwards on the floor with almost comicalforce. She's practically catatonic with fear.

Louise tumbles to the ground too. She quickly recovers andscrambles to Alice's side, tries to console her.

LOUISEAre you OK? Are you hurt? Whathappened?

A highly distressed and sobbing Alice simply points to themirror.

Written in steam in large, clear letters are the words:

'LEAVE THIS HOUSE!'.

EXT. STONEBRIDGE UNIVERSITY - DAY

A normal working day: students and staff traversing thecampus, going about their business.

INT. PROF. ROBERTS' OFFICE, STONEBRIDGE UNIVERSITY - DAY

Professor JOHN ROBERTS, 55, distinguished, designer stubble,trendy specs, sharply dressed, is sitting at his deskmarking papers.

A knock at the door.

JOHNCome in.

Louise enters.

John stops what he's doing.

JOHN (CONT'D)(gesturing)

Ah, Louise. Please, come in. Take aseat.

LOUISEDid you get a chance to read myemail, Professor Roberts?

JOHNPlease, call me John. I did. Wehave a lot to talk about.

INT. PROF. ROBERTS' OFFICE, STONEBRIDGE UNIVERSITY - LATER

LOUISEWell, if it's not a ghost or apoltergeist, then what is it? Whatis plaguing us?

John hesitates to answer. He thinks. Decides to change tack.

42.

JOHNDo you know how many years I'vebeen researching and lecturing onthe paranormal?

LOUISENo.

JOHNThirty. Three decades. When Istarted out, I was a completeskeptic, determined to prove thatparapsychology was basically allbunkum. Things didn't exactly goaccording to plan. Over the years,I witnessed paranormal phenomenawith my own eyes that defied alllogical, all scientificexplanation, and forced me tochange my stance. But it's evidencethat I can't talk about openly -not if I want to be taken seriouslyas an academic. Do you follow?

LOUISEYou mean the management forbid you,lest you damage the university'sreputation?

He shrugs his shoulders dismissively.

JOHNYou work here too, you know howthey operate.

LOUISEThen talk to me off the record,John. I need help.

JOHNStrictly of the record?

LOUISEAbsolutely.

John studies her a moment. Sizes her up. Considers if she'llbe able to handle what he's about to reveal.

He rises from his chair and retrieves a tome from one of thesurrounding bookshelves. He thumbs through it, searching.

JOHNI'm afraid the events you'vedescribed carry all the hallmarksof a perpetrator much, much worsethan a ghost or poltergeist.

LOUISEWhat could possibly be worse?

43.

He returns to his desk, perches on the edge, facing Louise.He puts the open book down in front of her, then taps thepage, pointing to a medieval drawing of a demon.

She studies it, incredulous.

LOUISEThe devil?

JOHNNot quite. A demonic entity.

LOUISESurely demons are purely mythical?

JOHNDemonologists believe that demonsare very real. That they're ahigher dimensional entity thanghosts or poltergeist. Some evenbelieve that they are fallen angelswho work for Satan himself.

Louise throws her hands up, overwhelmed by what she'shearing.

LOUISEWait, this is too much! I mean,demons! Satan!...

She's reacting exactly as he feared she might. He pauses amoment for her before continuing.

JOHNI know it's difficult, but you needto consider every possibility, ifyou want to drive this thing out ofyour home.

LOUISEI am, believe me, but thisis...it's just...

She realises he's right. She takes a breath. Starts over.

LOUISEYou're right. I'm sorry. Go on.

JOHNDemons are considered to befundamentally evil. They feed offhuman emotions, especially fear andanger.

LOUISEMeaning they exist simply to causechaos and terror?

44.

JOHNPrecisely. Worse, demons can latchonto humans, possess them, takeover their minds and bodies. Inextreme cases they can appear inphysical form, even disguisethemselves as others.

LOUISEWhatever is in our house was therebefore we moved in. I'm certain ofit. But where did it come from? Andwhy our house?

JOHNIt could have entered the propertyany number of ways: followedsomeone there, a ouija board,satanic worship. We'll never know.

LOUISEHow do we get rid of it? Would anexorcism work?

JOHNPossibly. But be warned, it couldjust as easily make matters worse,act as a provocation. Demons arehard to expel, because they'rethought to draw on satanic powerfor strength.

Louise lets the profundity of the information sink in.

LOUISEWhat do you suggest we do?

JOHNGather more evidence, so we'recertain of what we're dealing with.

LOUISEWe don't have time for that. Thisdemon, this entity, whatever it is,it wants us out.

JOHNIt's essential. Otherwise, you'llbe battling an enemy you don't evenunderstand?

He has a point. Louise relents.

LOUISEI can't do it alone.

45.

JOHNYou don't have to. A former studentof mine set up a paranormalinvestigation team with somelike-minded colleagues. I can giveyou their details, if you wish.They'd jump at a case like yours.

Louise simply nods in the affirmative.


Louise hovers by the telephone, clutching a sheet of paper.She goes to pick up the handset, but then backs off,hesitates.

She looks down at the sheet pensively. It is a print out ofthe website of the Oxfordshire Paranormal InvestigationGroup, their phone number clearly visible on the page.

She considers for a moment, her mind flip-flopping. She thenpicks up the handset in a resolute fashion and dials thenumber. She waits anxiously to be connected.

A young man answers.

MATTHEW (V.O.)Oxfordshire ParanormalInvestigation Group. Matt speaking.

Louise pauses, not sure if she really wants to go down thisroad and all that it entails. Then:

LOUISE(into phone)

I think we might have a presence inour house. We need help.


The doorbell rings. Louise pads to the front door. Opens it.

Standing before her, lugging equipment, are three young menin their late twenties: MATTHEW CARVER, the leader, handsomeand charismatic; DAVID BROOKS, a stout, bearded hipster; andPAUL BENNETT, a diffident Afro-Caribbean anorak in nerdyglasses. They make for an unlikely trio.

MATTHEWI'm Matt, from the paranormal team.We spoke on the phone. You must beMrs Walker.

LOUISEI am. Please, come in. I've beenexpecting you.

46.


Louise enters first, followed by the trio. Andrew rises togreet them.

LOUISEThis my husband, Andrew.

Andrew shakes hands with Matthew.

MATTHEWHi, I'm Matt. This is Dave, ourvideographer, and Paul, our techie.

DAVIDHello.

Andrew shakes hands with David and Paul too.

ANDREWHi, guys

LOUISECan I get you something to drinkbefore you start? Tea, coffee?

MATTHEWI'm fine, thanks. Guys?

DAVIDI'm good too.

PAULNo thank you, Mrs Walker.

LOUISEPlease, call me Louise. No need forformalities.

MATTHEWThe truth is, we'd like to hit theground running. We're keen togather as much evidence as we can,as quickly as we can.

DAVIDYeah, we have lot of kit we'd liketo rig up and that's going to takeup most of the morning, so we needto get cracking, if you don't mind.

LOUISEI understand. That's fine. If youdo need anything, then just let meor Andrew know.

Andrew can't resist the urge to express his skepticism, nomatter how subtly.

47.

ANDREWIf you don't mind me asking, howlong have you guys beeninvestigating?

Matthew knows exactly what's behind the question, as dealingwith rationalists and doubters is an occupational hazard.

MATTHEWNo, not at all. I became fascinatedwith the paranormal while studyingfor my psychology degree. These twogot into it even before me.

ANDREWI see.

DAVIDYeah, we've investigated more thansixty cases over the years. I'dsay, between us, we've got over twodecades of experience with theparanormal.

PAULYour case is by far the mostintriguing we've come across sofar, though.

Louise chuckles nervously.

LOUISEI'm not sure 'intriguing' is thebest description.

Andrew continues, barely disguising his cynicism.

ANDREWAnd what's your take on thesupernatural, exactly. Do you thinkit exists?

MATTHEWWe like to keep an open mind.

ANDREWGood. Well, I think I'll let youget on. I'll be in the study if youneed me.

Andrew exits.

Louise shares an embarrassed look with the three men.

INT. DINING ROOM, 22 APPLE TREE DRIVE - DAY

David sits prepping a camera. Lots of other equipment isstrewn over the table. A cola bottle sits on the table too.

48.

Emily stands watching him, clutching a cuddly toy. Daviddoesn't mind her being there, he's comfortable with herpresence.

EMILYWhat is that?

DAVIDIt's a special camera. It onlycomes on when it senses somethingmove in front of it.

EMILYLike a ghost?

DAVIDYeah, like a ghost.

EMILYI have one in my room, you know? Ican feel it near me sometimes, whenit's around.

David is slightly taken aback by the candour of herrevelation, but recovers quickly.

DAVIDWell, let's see if we can chase itout of the house, shall we?

Just as soon as he's finished uttering those words, as if inremonstration, the cola bottle slowly starts to drag acrossthe table by itself.

David and Emily both turn their heads slowly, to watch thebottle move. They then turn back and look at each other.David gulps nervously, discomfited.


Matt and Dave are fast asleep on the floor in sleeping bags.


Judging by the mass of equipment that has been set up there- laptops, TV screens, directional microphones, sensors andother paraphernalia - the room is clearly serving as thetrio's command centre.

Paul is on the night shift, monitoring the equipment for anysigns of activity. There is none. All is quiet.

He yawns, leans back in his chair and stretches his arms. He gets up and walks out of the room.


As Paul enters the kitchen, we see that the clock on theoven reads 3am.

49.

He's feeling peckish. He walks over to the new wire fruitbowl and helps himself to an apple. He takes a bite from it,then heads back to the dining room with it.


He enters the room and immediately stops in his tracks. Thelights on the REM pod are flickering wildly and it'sbeeping.

He shouts out to alert the others.

PAULGuys, wake up! I think I've gotsomething!

Psyched, he rushes to the table and sits down. He picks upthe spirit box and sees that it's recording. He grabs hisheadphones and sticks them on. He then starts to fiddle withthe controls, adjusting them, trying to tune in, trying toget a clearer signal.

Matthew and David rush in. They are totally amped up too.

Matthew gestures to David to helm the camera.

MATTHEWCamera! Now!

David knows the drill and complies without a word. They workseamlessly, as a team. Each one of them knows what isexpected of him in a situation like this.

Matthew grabs a K2 meter from the table, holds it up, thenaddresses the Entity confidently.

MATTHEWIs there somebody there? Would youlike to communicate with us? If youdo, can you make the light on mymeter blink once for no and twicefor yes for me please. Do you wantus to go away?

A long beat as they wait for a sign. Nothing. Silence.

MATTHEWAre you angry with us? Do you wantus to help you?

Still no response.

MATTHEW (CONT'D)Did you used to live here?

Any activity that was registering on their equipment stopsabruptly.

50.

PAULIt's vanished, Matt.

MATTHEWShit! We almost had it! We camethat close to communicating withit!

He holds his forefinger and thumb close together toindicate.

MATTHEW (CONT'D)Dave, did you get anything?

DAVID(shaking his head)

Nothing, mate.

MATTHEWGod, this is so frustrating. It'slike it's playing with us, teasingus.

Paul sits listening intently to something on his laptop. Helooks troubled. He pulls off his headphones and looks at theother two with a spooked expression.

PAULI think you need to listen to this.

INT. DINING ROOM, 22 APPLE TREE DRIVE - LATER

Andrew and Louise sit huddled around the table with thetrio. The couple are dressed in their nightgowns and stilllook a little groggy. Matthew, David and Paul look deadlyserious.

MATTHEWReady?

Andrew nods his agreement. Louise doesn't look so sure.

Paul clicks play on the recording software on his laptop.The computer is rigged up to a pair of high fidelityspeakers, so that any sound comes through loud and clear.

We hear the recording from earlier played back: thecommotion and excitement as they prepare to communicate,Matthew asking the Entity to respond, etc.

A long, agonising beat. Andrew and Louise sit with batedbreath.

Then...

A low, demonic growl suddenly emanates from the speakers.Andrew focuses, intrigued. Louise shifts uneasily. She looksat Matthew, as if for reassurance. From his look, sherealises there is worse to come. She shifts her focus back

51.

to the laptop.

In a clear, emphatic, but inhuman voice, bestial and angry,the Entity speaks:

ENTITYYou have to go!

A chill runs down the spine of everyone present, be they askeptic or a believer. Louise gasps loudly, covers her mouthwith her hands. Her eyes bulge with horror. It's her worstnightmare come true.

She slowly turns to Andrew, gives him a look of vindication.He looks back at her, suddenly a little less certain of hisstance on the paranormal.


Close on bathroom door. We hear the toilet flush, then watergushing from a tap.

The door opens and out comes David.

Something catches his attention almost immediately. He haltsabruptly. Watches it, enthralled.

On the landing wall in front of him, he can see a dark,vaguely human shadow moving, just as Louise did earlier. Hetracks it in astonishment as it crosses into the masterbedroom. It does so slowly, with intent, as if wanting to beseen. David shouts down to the others.

DAVIDMatt, Paul, get up here now!


David enters. Looks around the room. It's empty. The shadowhas vanished into thin air again.

He stands in the middle of the room nonplussed. In thebackground, we can hear his team mates' footsteps thunderingup the stairs at speed.

MATTHEW (O.S.)Coming!

Without warning, all the doors on the wardrobes and all thecabinet drawers explode open with a thunderous burst,ejecting their contents. Clothes and other possessions flyout in every direction, scattering like confetti. Davidsteps back, startled.

Matthew and Paul arrive a moment later, equipment in hand. They look around gobsmacked, trying to take in the shamblesthe room has been left in.

Calmly and without turning around to face either of them:

52.

DAVIDDid you at least hear it?

Still surveying the mess in the room, and equally calmly:

MATTHEWYeah, we heard it.


A lull. David is on his laptop viewing a series of photostaken in various parts of the house. As he cycles throughthe images, he notices that several of the snaps featurestrange orbs of light. His curiosity is piqued.

A series of feeds from the various cameras set up around thehouse play on a second laptop next to him.


Louise serves Matthew, Paul and the girls breakfast withAndrew's assistance. They are all still in pyjamas.


The tripod-mounted camera suddenly whirs into life and pans,as if tracking something enter and then cross the room.


The camera's movement displays simultaneously on the secondlaptop and is accompanied by a BEEP. David springs out ofhis chair and heads for the door.

He shouts out to the others as he goes.

DAVIDWe've movement in Alice's bedroom,folks!


David leads the charge up the stairs. Matt, Paul, Andrew andLouise follow.


The group enters the room. They look around. Normality.

Matthew begins to prowl steadily with his EMF meter,analysing the reading as he goes.

MATTHEWMake sure you get a reading, Paul.

PAULDon't worry, I've got it covered.

The needle on Matthews device almost goes off the scale.

53.

MATTHEWMy meter's going crazy.

PAUL(thermometer gun in hand)

Me too. The thermometer plunged assoon as I stepped into this room.

MATTHEWIt's definitely colder here thananywhere else.

David fiddles with the controls on the video camera.

DAVIDThis camera's suddenly shut down. It's dead.

MATTHEW(to the Entity)

Come on, stop teasing. Give usanother sign.

Louise stands frozen, sensing the atmosphere. She bristles,suddenly alarmed.

LOUISEIt's here. I can feel it.

The atmosphere is charged, febrile. Everyone is expectant,but not sure of what.

A beat.

Suddenly, Matthew is lifted from the ground and flungupwards at lightening speed, like a paperclip to a magnet.He screams as he zooms up. He hits the ceiling withincredible force.

DAVIDShit!

PAULJeees!

Louise screams. The others freeze with shock. They look onpowerless as Matthew is pinned flat to the ceiling.

He stays there for about two seconds. Then, as quickly andas suddenly as he was elevated, Matthew is thrown back downagain, as if forcibly ejected. He clips the bed on his waydown, breaking his fall somewhat, before tumbling to thefloor with a resounding THUD.

Andrew rushes to Matthew, to check on him.

ANDREWMatt, are you OK?

54.

Matthew nods yes. He is winded but otherwise unhurt. Hisshocked expression says it all.


Paul and Dave hurriedly load the last of their gear intotheir van while Matt converses with a distraught andpleading Louise on the doorstep.

The investigating trio look harried, desperate to leave thecursed property.

LOUISEBut we need your help!

MATTHEWI'm sorry, Louise, but we're notprepared to risk physical injury,or worse. Not even in the interestsof science. This thing wants usout.

LOUISEPlease, we need evidence. We won'tbe able to get anyone to help uswithout it. Nobody will believe us.

MATTHEWI'll send you everything we'vegathered so far. I promise. But wecan't stay. I'm really sorry.

LOUISEHow are we supposed to cope alone?You saw what it's capable of.

MATTHEWLook, the situation in your houseis much, much more serious than weanticipated. You don't need us, youneed a medium or a priest.

With that, Matthew turns and leaves. He jumps into theawaiting van. The vehicle tears out of the driveway and offdown the road.

Louise stands in the doorway watching them go. She looksdejected and profoundly worried.

EXT. PLAYGROUND, OAKVILLE PRIMARY SCHOOL - DAY

The end of the school day. Mothers are picking up theirinfants. Louise is among them.

Emily comes running out of her class with her school bag.Her teacher, NATALIE BURRIDGE, 25, follows behind. She'skind, nurturing and very good at her job.

55.

Natalie approaches Louise. It is clear from her graveexpression that she wants to discuss something importantwith Louise.

NATALIEMrs Walker, do you have a moment?

Louise is immediately concerned.

LOUISEYes, of course. Is everything OK?

INT. CLASSROOM, OAKVILLE PRIMARY SCHOOL - DAY

Natalie and Louise sit facing each other. Louise silentlysifts through a series of drawings and paintings by Emily.All the images are macabre and disturbing, featuring themesof blood, death or demons.

Natalie tries to be as sensitive as she can, but she knowsthere is no easy way to tackle such an awkward conversation.

NATALIEYou can see now why I'm soconcerned.

Louise looks up, aghast.

LOUISEYes. I had no idea.

NATALIEChildren often have troublesettling in at the start. Butthis...this is unlike anything I'veseen before. I'm sorry, I have toask, but is everything OK at home?

LOUISE(slightly flustered)

Yes, yes, everything is normal. Noissues at all.

NATALIEIt's not just the pictures, yousee.


NATALIEEmily's been very moody and tearfulin class recently too. I'm veryconcerned. Are you sure there'snothing you want to share with me?

Louise is genuinely surprised and perturbed to hear this.She speaks as if she's trying to convince herself as much asshe is Natalie:

56.

LOUISENo. You know kids, they're sosensitive at that age. Emily'sprobably still stressed out by thehouse move and the fact that thisis a new school. I'll have a chatwith her, I promise. She'll befine.

But Natalie is not persuaded and just smiles politely.


Alice and Emily sit morosely at the top of the stairslistening to their parents arguing in the living room. Alice has one arm around her little sister's shoulder toreassure her.

INT. LIVING ROOM, 22 APPLE TREE DRIVE - DAY

Andrew and Louise are both arguing loudly and vehemently.

ANDREWWe can't afford to move. You knowthat.

LOUISEWe can't afford not to. I'm notprepared to put my children's lifeat risk any longer, Andrew.

ANDREWNeither am I, but I don't want toplunge us into debt either. You'restill part-time, remember?

LOUISEWe'll manage, we always have.

ANDREWIf we sell now, we'll losethousands, tens of thousands if youwant a quick sale.

LOUISEWe don't have an alternative. Whycan't you see that?

ANDREWI'll spell it out to you again:we'll end up drowning in debt.

LOUISEBetter than ending up dead!

Andrew sneers dismissively.

57.

ANDREWOh, don't be so melodramatic,Louise.

LOUISEYou saw what it did to Matt. Itcould physically attack any one ofus next, or worse...It wants usout.

ANDREWHave you thought about thedisruption a move will cause to ourlives?

LOUISERight now the only thing I'mconcerned with is our safety. Andso should you!

They've hit an impasse. They pause, both catch their breath.Andrew paces, thinks. He decides to use the brief cessationto dial down the anger, to be more reasoned, less emotional.

ANDREWSelling up is not a quick fix. Itcould take months.

Louise responds in kind, switches to a more measured tone.

LOUISEWhich is precisely why I want us toput the house on the market now.

ANDREWBut there are still alternatives,Louise. You said that yourself theother day. We can find a fix forthis. We don't have to throw in thetowel just yet.

LOUISEI'm not throwing in the towel.Look, put the house on the marketand if a medium or an exorcist issuccessful in the meantime, thenwe'll just take it off again. Wedon't lose anything that way. Wecan't just sit around and donothing.

ANDREWIf we sell, then we're letting thisthing - whatever it is - win,letting it drive us out of our ownhome.

She shakes her head, her mind made up.

58.

LOUISEWe don't have a choice, we have toput the house on the market.


A young ESTATE AGENT hammers a for sale sign into the turfon the front lawn.

Louise stands at a distance, her arms folded, watching withsatisfaction. Andrew, the unwilling facilitator of the saleof their beloved home, stands beside her. He feels every bitas gloomy and resentful as he looks.

Unable to witness any more, he petulantly turns and goesback inside the house, leaving Louise to supervise.

INT. GIRLS' TOILETS, MARKHAM HIGH SCHOOL - DAY

A dull, utilitarian place. Alice enters. She's the only onethere. She heads straight into one of the cubicles and locksthe door behind her.

She deposits her bag on the floor, pulls down her knickers,then settles on the toilet with a sigh. She sits gazingvacantly as she urinates. A rare moment of solitude in ahectic school day.

She suddenly shrugs her right shoulder abruptly, irked, asif giving someone the brush off. She turns her head sharply,to check behind her. Of course, there's nothing there butthe wall. She dismisses the incident as just her imaginationand goes back to what she was doing.

A moment passes. Then, equally suddenly, she cries outloudly as she is gripped by a searing pain across her back. It is paralysing in its intensity, and all she can do iswince and endure it. Mere seconds later, it subsides asquickly as it started.

Alice flies out of the cubicle. Heads straight for themirror. Wincing, she checks her back. There are bloodystreaks on her blouse. Alarmed, she starts to hastilyunbutton her blouse.

SANDRA PRITCHARD, the Deputy Head, a stern and doughty womanaged 45, barges in and confronts her.

SANDRAWhat's going on in here? Why areyou screaming?

Before Alice can reply, Sandra spots the blood stains andrushes over in concern.

SANDRA (CONT'D)What happened?

59.

ALICEI don't know.

Alice anxiously pulls down her blouse. Sandra gasps at whatshe sees. Alice contorts her body, so she can examine herexposed back more clearly. She too is astounded by what shesees. Scarring the area beneath her right shoulder are threedeep gashes, bloody claw marks, fresh and raw.

SANDRAGood God! Who did this to you?

ALICENo one, Miss.

It is obvious from her terrified expression, though, thatshe has more than an inkling of who is responsible. TheEntity has shown its power by striking outside the home forthe first time. It's a game changer.


Louise is at the kitchen table opening a large delivery box.

She removes the bubble wrap from the box, then pulls out awooden wall hanging crucifix from it, one of several. Sheregards it with quiet satisfaction.


HAMMERING can be heard emanating from the living room.

Andrew comes through the front door. It's been a long, hardday and he's weary.

As he puts his briefcase down, he notices that a copy of theBible has been placed on the sideboard and a crucifix pinnedto the wall above it. He frowns.


Andrew walks in to find Louise standing on a two-step ladderhammering crucifix to the wall above the fireplace.

ANDREWCrucifixes? Bibles? What's goingon?

Louise continues to hammer while she engages with Andrew.

LOUISEIt's a deterrent, a spiritual one. I've put them in all the rooms.

ANDREWI thought we didn't believe in thisnonsense.

She finishes mounting the cross, then turns to address him.

60.

LOUISENo, Andrew, YOU don't. You're theatheist. I'm merely agnostic...Was.

Andrew simply shakes his head in disbelief and walks out.


The doorbell rings. Louise pads down the hallway and opensthe door. Standing on her doorstep are an austere woman inher forties and an Afro-Caribbean man in his thirties. Theyare LORRAINE FOSTER and AINSLEY HARRIS, both social workers.Louise is mystified by their presence.

LORRAINEMrs Walker?

LOUISEYes.

LORRAINEMy name is Lorraine Foster and thisis my colleague, Ainsley Harris. We're from Oxfordshire CountyCouncil's Children's Social CareDepartment. Do you have moment?


Alice and Emily are sitting side by side on the sofa beinginterviewed by Lorraine while Ainsley takes notes. Lookinganxious and worried, Louise and Andrew sit nearby. They'vebeen forbidden from interjecting while the girls arequizzed.

LORRAINEOnce again, you're certain that itwas just a fall that caused thescratch marks?

Alice is aware of the stakes and answers cannily andconfidently.

ALICEYes, it was just a silly accident,that's all.

Lorraine shoots Ainsley a skeptical look. He reciprocates.

LORRAINEWould you girls be kind enough toleave us for a few moments; we needto talk with your parents alone.

The girls quietly get up and leave the room, as instructed.Lorraine then turns to Andrew and Louise.

61.

LORRAINEIt's very unusual for the schoolsof both children to contact us atthe same time. That's what'sprompted our visit today, Mr andMrs Walker.

Fretful, Louise tries to be as placatory as she can.

LOUISEI understand. I appreciate how itmust look from the outside.

Lorraine targets Louise, calculating that she's more likelyto confess than Andrew.

LORRAINEAre you sure there are no issuesyou that you'd like to air today?Any mitigating circumstances?

Lorraine arches her brow to coax Louise.

LOUISEWell...er...

Louise wants to speak, to pour her heart out about thegoings-on. She hesitates, looks at Andrew. He bristles,knows she wants to spill the beans. He stares back at hersternly, willing her not to broach the subject.

Lorraine follows Louise's gaze, registers the couple'sinteraction. Sensing Louise's resolve is evaporating fast,she gently places her hand on Louise's to encourage her.

LORRAINE(sympathetically)

I'm listening, Mrs Walker.

A beat while Louise thinks, her heart battling with hermind.

Fearful that Louise is about to crack and spill her heartout, Andrew interrupts, seizing the moment and bursting thetension.

ANDREW(congenial)

There's really nothing to reportback on here, Mrs Foster, I assureyou. Alice had a fall at school.And Emily, well, she's just had adifficult start in her new school,that's all. She'll adjust. I'm sureof it. She just needs time.

Lorraine, annoyed at being headed off by Andrew, pointedlyturns back to address Louise.

62.

LORRAINEAnd what do you think, Mrs Walker?

Louise shakes her head as if she's just snapped out of it,suddenly come to her senses. What was she thinking?! SocialServices don't believe in ghosts, they deal in facts!

LOUISEMy husband's right. There'sabsolutely no need for SocialServices to worry. We're a happyfamily unit.

Lorraine is peeved, but knows there is nothing more she cando. She turns to Ainsley, gives him a deflated look. Helightly shrugs his shoulders in defeat.

LORRAINEVery well. I'm going to recommendthat we take no further action onthis occasion.

Louise breathes a sigh of relief. Exchanges a look with anequally relieved Andrew.

LOUISEThank you. Thank you so much.

LORRAINEHowever, if we receive any furtherreports of this nature, then we'llhave no choice but to open asafeguarding inquiry. The welfareof your daughters trumps all otherconsiderations for us.

ANDREWYou won't have any more cause forconcern, Mrs Foster. I promise.

Lorraine pulls out a business card and offers it to Louise.A parting shot.

LORRAINEHere's my card, Mrs Walker. In caseyou ever need to contact me.

Louise understands the subtext. She accepts the cardquietly.


The hallway is bathed in early morning sunlight.

Louise, still dressed in her pyjamas, pads down the stairsresignedly, trying to shake off the last vestiges ofdrowsiness. Her progress suddenly slows dramatically, as shetakes in the spectacle before her.

63.

The floor of the passageway is carpeted with intact pagesfrom the Bible she placed on the sideboard earlier. Theempty cover still sits on the sideboard, undisturbed. It isas if the book has been carefully, expertly, unbound and thepages merrily scattered everywhere.

Louise covers her mouth in mute horror as she turns her gazeto the crucifix on the wall. Despite being securely fixed,it has been inverted.

LOUISEAndrew!...Andrew!!

ANDREW (O.S.)Coming.

The THUD of rapid footsteps as Andrew comes rushing down thestairs to join her. He stops in his tracks when he sees thesacrilegious debris. He stands there, midway on thestaircase, in shock, his eyes bulging with disbelief.

Louise turns and looks at Andrew, profoundly disturbed. Sheneeds a resolution to this nightmare - and fast!

EXT. ST MARY'S CHURCH, OXFORDSHIRE - DAY

Louise and Andrew swing open the gate to the grounds of asmall parish church and continue up the path. The church isold, traditional in design and typical of those found invillage settings. Gravestones dot the neatly kept grounds oneither side of the approach to the building.

FATHER PATRICK O'NEIL, a friendly and bespectacled man inhis early sixties, is opening the church as the coupleapproach him.

LOUISEFather O'Neil?

He looks up.

FATHER O'NEILYes.

LOUISEI'm Louise Walker and this is myhusband Andrew. We're new to thearea.

FATHER O'NEILWonderful. New parishioners arealways welcome.

She blushes slightly with embarrassment before going on.

LOUISEWe have an issue at home we thoughtthe Church might be able to helpwith. Is this a good time to talk?

64.

FATHER O'NEILOf course. Come inside, please.

INT. ST MARY'S CHURCH, OXFORDSHIRE - DAY

Louise and Andrew sit talking with Father O'Neil in thevestry.

FATHER O'NEILI'm afraid an exorcism is notpossible at this stage.

LOUISEWhy not?

FATHER O'NEILDespite media portrayal to thecontrary, exorcisms are notperformed lightly by the Church. They are very much a last resort,used when all other avenues havebeen exhausted.

LOUISEBut given all the things that havehappened to us, surely we qualify.We're at our wit's end. We needhelp now, Father.

FATHER O'NEILYou have to provide a lot ofevidence and jump through a lot ofhoops these days before theCatholic Church will sanction anexorcism - doctor's reports,psychological assessment, witnessstatements, permission. It alltakes time.

LOUISESo we could be waiting weeks,possibly months, While this evilangel, as you put it, turns ourlives upside down?

FATHER O'NEILThose are the rules. The Church hasto protect itself. I'm sorry.

LOUISEIs there no fast track process? Nodispensation for extreme cases?

FATHER O'NEILI'm afraid not. I hate to say this,but the fact that you were notbrought up in the Catholic faithand that your husband is an atheist

(MORE)

65.

FATHER O'NEIL (cont'd)doesn't strengthen your case, I'mafraid.

ANDREWGreat, so just because we're notfully paid-up members of God'sclub, we go to the back of thequeue, right?

Father O'Neil maintains a diplomatic silence.

Louise is annoyed with Andrew's outburst.

LOUISEAndrew!

He snipes back at her:

ANDREWWell, it's true, isn't it?

FATHER O'NEILYou have to understand, Andrew,even if I wanted to break theChurch's rules and perform anexorcism, I wouldn't be able to.Only a specialist can perform one,and he won't be forthcoming unlessthe Church reviews all the evidenceand is convinced by it. Exorcism'sare surprisingly rare these days.

LOUISEFather O'Neil, please. We don'tknow where else to turn. All thisactivity in our house is taking aterrible toll on all of us,especially the girls. Is therenothing you can do?

FATHER O'NEILThere is one option. An interimsolution, if you will, while wegather evidence.

LOUISEWhat's that?

FATHER O'NEILI could perform a blessing on yourhouse. I wouldn't need anyone'spermission for that.


Father O'Neil is in the centre of the living room reciting aprayer from his prayer book. The Walkers are all presenttoo: Emily fidgeting, Louise concentrating, Alice quiescent;

66.

Andrew doing his best to keep his natural skepticism incheck.

FATHER O'NEIL...for your kingdom is an eternalKingdom, to you alone is theKingdom, and the Power, and theGlory, with the Father and the HolySpirit, now and ever and unto agesof ages. Amen.

THE WALKERSAmen.

Father O'Neil closes his prayer book, then reaches into hisjacket pocket and pulls out an aspergillum.

FATHER O'NEIL(to Louise)

Now, we'll go and bless every roomin the house. Would you like tolead the way?

Louise exits into the hallway. Father O'Neil follows, as dothe others.


In the hallway, the priest starts to recite a blessing,sprinkling holy water in his path as he goes:

FATHER O'NEILHoly God, we ask your blessing uponthis room. Fill it with yourpresence. Banish any restlessspirits or evil spirits in the nameof the Father, the Son and the HolySpirit. Amen.

He follows Louise up the stairway, repeating the blessingand continuing to liberally sprinkle holy water as headvances. The others trail behind him.

FATHER O'NEILHoly God, we ask your blessing uponthis room. Fill it with yourpresence. Banish any restlessspirits or evil spirits in the nameof the Father, the Son and the HolySpirit. Amen.

EXT. COUNTRY PARK, OXFORDSHIRE - DAY

Verdant and beautifully manicured grounds on a cold butsunshine filled spring day.

Alice helps Emily hunt for conkers. Andrew and Louise sitcontentedly on a bench together, watching the girls from adistance. Louise seems simultaneously lost in her thoughts,

67.

though. Andrew glances over at her.

ANDREWWhat are you thinking?

LOUISEJust how nice it is to be a normalfamily again. To have our houseback to ourselves.

ANDREWYeah, it's been a tough few months.

LOUISEI'd almost forgotten what it's liketo sleep soundly through the night,to not feel scared in my own housein broad daylight, to not have thatthing lurking constantly.

ANDREWWell, it's been a whole month sincethe blessing and still no sign ofour unwanted guest. With luck,it'll stay that way.

LOUISE(nodding towards theheavens)

I think maybe we have the manupstairs to thank for that, Andrew,not luck.

Andrew smiles.

ANDREWI'm glad one of us still believesin that stuff.

Andrew holds out his hand. Louise takes it. They look ateach other, share a moment of closeness. By stickingtogether they beat the Entity. Together they can doanything.


The family are enjoying a lighthearted meal together.

Alice is pleading with her mum to let her attend a concert.

ALICELaura's going to be with me, so Iwon't be going on my own.

LOUISENo, Alice, I'm not going to let thetwo of you go into London late atnight unaccompanied.

68.

ALICEBut, Mum! Laura's mum and dad areletting her go. Why can't I?

LOUISEBecause it's not appropriate andit's too costly, that's why.

ALICEThat's not fair!

Alice switches focus to her dad.

ALICE (CONT'D)Dad, tell Mum to let me go.

ANDREWI'm sorry, Alice, but I agree withyour mother. It's not appropriatefor a girl your age to be out inthe centre of London in the middleof the night.

ALICEBut you can pick us up and drop usoff.

Louise glances over at Emily and notices that she's sittingmotionless, fork and knife still in her hands, her headbowed.

Louise becomes slightly concerned.

LOUISEEmily, sweetheart, is everythingalright? Emily?

Emily remains inert, subdued. Louise's concern switches toalarm.

LOUISE (CONT'D)(to the others)

Shush! One moment...

Andrew and Alice abruptly stop their jabbering and lookover.

ANDREWWhat's the matter, Emily?

A beat. Then, Emily slowly lifts up her head and looksdirectly at Andrew. She appears vacant, entranced. Hereyeballs start to roll up until just the whites of her eyesare visible.

Emily speaks. Except, it is quite clearly not her voice, butthe angry, bestial prolation we heard played back on thelaptop earlier.

69.

EMILY/ENTITYGet out of my fucking house youcunts or you'll all die!

Louise gasps, holds her hand over mouth in horror. Sheinadvertently knocks over her wine glass as she recoils.

LOUISEOh my God, it's back!

Alice looks on, shocked, tears welling.

ALICEIt never went away, you mean.

Andrew looks on, repelled, his mouth agape.

Emily suddenly slumps, released from her trance. She looksaround, bewildered. She addresses Louise in her normalvoice:

EMILYMummy, what happened?

Louise gets up and throws her arms around Emily, clutchingher protectively, then begins to cry.

LOUISEOh, my baby.

Andrew sits there, struggling to come to terms with thelatest twist. Just when he thought it was all over...

ANDREWThis can't be happening again.


It's the middle of the night. The curtains are drawn and theroom is illuminated by the soft glow of a floor lampsituated in one corner.

The furniture has been rearranged to make space for twolarge inflatable mattresses; Andrew and Louise share one,Alice and Emily the other. The temporary beds dominate thefloorspace.

Andrew snores loudly. Emily is sound asleep too. But Louiselies awake, ruminating, passively watching Alice strugglingto fall asleep as well, not daring to disturb her.

The dark circles around their eyes attest to the tormentingsleeplessness they've both had to endure in recent nights.

Alice turns over testily and huffs. She sees that her mum isstill awake.

70.

ALICEIt keeps poking me, Mum. It won'tlet me sleep.

Louise throws back her duvet in invitation.

LOUISECome here.

Alice joins her without hesitating, glad to be shielded.

The two cuddle, lie face to face. Louise begins to strokeAlice's cheek reassuringly.

LOUISEI know it's hard, but try to getsome sleep.

Alice is at the end of her emotional tether and starts tosob, shedding tears of bitterness and hopelessness.

ALICEI've got my mocks next week. How amI supposed to revise when I'm notgetting enough sleep?

Louise wipes away Alice's tears, but they keep streaming.She tries to be positive and supportive of her daughter.

LOUISETake the day off tomorrow, so youcan catch up on your sleep. I willas well, just in case anythinghappens while you're at home. OK?

ALICEFine. But I can't keep taking daysoff.

LOUISEI know.

ALICEThis is the third night on the trotit's been bothering us; banging alllast night, lights going on and offthe night before and now thepoking. I've had enough!

Louise takes Alice's face in her hands, talks to herdeterminedly.

LOUISEWe're going to find a way out ofthis, I promise. Especially nowthat your Dad's on board.

Alice nods, wipes away her tears.

71.

ALICEI know I shouldn't say this, butI'm glad he's finally experiencingwhat we've been going through formonths.

LOUISEI think that whatever is in thishouse has been playing a game ofdivide and rule up until now.

ALICEWhat will you do to get it out?

LOUISEFirst, we're going to go back tothe Church, to see if they'll agreeto an exorcism this time.

ALICEYou've seen how powerful it is.What if an exorcism doesn't work?

LOUISEThen we'll just move out.

ALICEEven if the house isn't sold?

LOUISEYes.

ALICEWhat if it follows us?

LOUISEI think it just wants us out ofthis house, off its territory.

ALICEWhy did this have to happen to us?Why this house?

Louise doesn't have an answer. Indeed, they are the veryquestions that haunt her constantly too.

INT. ANDREW'S OFFICE, ELI FOODS HEADQUARTERS - DAY

Andrew is diligently sifting through scientific data on hiscomputer.

As he works, a dark shadow starts to loom over him. It isnot the kind that would be cast if a person was nearby,because he is still alone. Instead, it is amorphous andsentient in nature. It creeps up over him gradually, like adark cloud, until it overshadows his back completely.

Once it is eclipsing him, the shadow passes quickly.

72.

A beat.

There is a subtle and sudden change in Andrew's demeanour.It's as if he's been put under a spell or a hypnotic trance.

Andrew stops what he's doing, places his hands on his lapand starts to just stare at the screen vacantly.

He stays like that for a long beat.

Then, guided by the unseen Entity, Andrew gets up and walksout of the room.

INT. CORRIDOR, ELI FOODS HEADQUARTERS - DAY

Andrew walks along in a waking trance. We see that he'slocated on the fourth floor of a bright, airy, ultra-modern,glass and steel complex.

He heads towards an elevated walkway that connects twointerior wings of the building. The place is thronging withSTAFF. One or two of them acknowledge him as they wanderpast, but, to their mild bewilderment, he does not respond.

Andrew stops, when he reaches the midpoint of the walkway,and robotically climbs over the railing. He perchesdangerously on the thin outer ledge skirting the walkway,gripping the guard rail behind him.

Staff suddenly begin to notice him and stop in their tracksin disbelief. Anxiety starts to ripple through the crowd.

Two CO-WORKERS approaching the walkway see what ishappening.

CO-WORKER #1Is that Andrew?

CO-WORKER #2What is he doing?

Andrew prepares to jump by letting go of the railing andbalancing on the ledge precariously.

CO-WORKER #1Oh, no.

They glance at each other for a second, horrified, then bothrun to save Andrew.

CO-WORKER #2Andy! Andy!

They reach him in the nick of time and grab his arms fromeither side.

Andrew suddenly snaps out of his trance. He looks around,bewildered, not sure of what happened or how he got there.His co-workers help him back to the safety of the walkway.

73.

CO-WORKER #2There you go. Nice and easy doesit.

Andrew looks at them both, shaken and confused.

ANDREWWhat happened?

INT. MANAGER'S OFFICE, ELI FOODS HEADQUARTERS - DAY

A morose Andrew sits opposite Bryan Gibson, his headlowered. Bryan is watching Andrew intently, waitingpatiently for a reply. None is forthcoming.

Bryan is carefully trying to tread the line between protocoland compassion. It is a thankless task. He decides to gentlybreak the silence.

BRYANLook, Andrew, I fully understand ifyou don't want to discuss thebackground to today's,erm...incident, I really do. But Istrongly recommend you speak tosomeone who can help. EmployeeServices are there if you wantthem, but if you prefer aprofessional counsellor, that'sfine too. The company will pay.

No response. Andrew keeps his head bowed.

Bryan waits, bites his lip nervously. Then continuesreluctantly.

BRYAN (CONT'D)In the meantime, I'm signing youoff on medical leave. Take as longas you like. Your position will bekept open for you.

Andrew just nods his head weakly in response.

BRYAN (CONT'D)Call me when you're ready toreturn; I'll arrange a meeting withMedical Services for you. They'llneed to give you clearance beforeyou can come back.

Andrew continues to keep his head down.

BRYAN (CONT'D)I informed Louise. She's waitingoutside for you. Is there anythingelse you want to add, before I letyou go? Anything you need from us?

74.

Andrew raises his head slowly. He looks directly at Bryan,dazed, haunted. He speaks in a quiet voice.

ANDREWI don't know what happened tome...I don't remember a thing.


Louise is putting the finishing touches to a specialbreakfast. Emily is helping her.

Alice walks in and throws up her arms in defeat.

ALICEYou try. He's not answering me atall.

Louise is disappointed, but not surprised, to hear this. Shestops what she's doing and leaves the room.


An unshaven and unkempt Andrew is sitting rigidly on theedge of the bed in his pyjamas, staring vacantly into space.He looks sallow and deflated, a shadow of the thrusting,ambitious scientist he used to be.

There is a gentle knock on the door.

Andrew does not react.

After a brief pause, Louise enters the room. She stands andregards him for a beat. She wells with pain and sadness, butreigns in her feelings enough to deal with the matter inhand.

Louise walks over to Andrew and kneels before him. She takesboth his hands in hers and addresses him gently, withfeeling and compassion.

LOUISEAndrew, please come down and eatwith us. The girls want to spendtime with you. They miss you...Imiss you.

She's met with a stony silence. Andrew continues to staredirectly ahead, blanking her.

LOUISE (CONT'D)You've been like this for weeksnow. I want to help you, but you'rejust shutting me out. I don't knowwhat to do any more.

Still no engagement from Andrew.

75.

LOUISE (CONT'D)What happened at work...Well, wecan work through that together. Your just going through a roughpatch, that's all. We can go andsee Doctor Marcus together, if youwish, or Father O'Neil, get someoutside help.

Louise clasps Andrew's hands close to her chest.Overwhelmed, She starts to tear up.

LOUISE (CONT'D)That thing is still in our house.It's behaving worse than ever and Ican't cope on my own. I need you bymy side to fight it. I need you tobe well again.

Still no engagement from Andrew. It is as if the real him,his essence, his soul, has checked out, leaving just afunctioning shell.

Louise starts to weep quietly.

LOUISE (CONT'D)Andrew, I need you. I love you.

Finally, a flicker of reaction from Andrew. He addressesLouise without looking at her. His voice is cold, quiet:

ANDREWJust leave me alone.

With that, Andrew turns away, disengaging once more.

Louise pauses, lets the words sink in. She realises she'snot going to make any headway. Defeated, she wipes away hertears, then quietly gets up and exits the room.

The familiar and malevolent shadow starts to creep overAndrew. He just sits there passively, in its thrall, lettingit loom over him.

INT. TOILETS, STONEBRIDGE UNIVERSITY - DAY

A tiny space with a single toilet.

Louise enters and locks the door to the room. She looksoverwhelmed, emotional, like she needs to be alone.

She stands in front of the expansive mirror and gazes at herreflection, breathing heavily. She looks frayed andvulnerable, and she knows it.

It's all too much. She feels utterly alone and helpless.Unable to restrain her emotions a second longer, she breaksdown and begins to sob bitterly.

76.


The whole family - Andrew included - are gathered around thetable, tucking into their evening meal.

Though a little subdued, Andrew appears to have shaken offhis torpor and seems well on the way to recovery, evidencedby the fact that he's shaved and dressed properly.

Emily is loudly dominating the conversation, much toeveryone's amusement.

EMILYSophie's going to have a bouncycastle in her garden, and a swing,and a trampoline for us to play on.

ALICEIs she?! Wow!

EMILYYes, and she's going to have aprincess theme. We're all going towear princess outfits and even hercake is going to have a princesspicture on it. And there's going tobe a disco as well, so we can allsing and dance together...

As Emily continues to babble in the background, Andrew setsdown his cutlery and regards each person at the table withwarmth and affection, alighting on Louise last.

She catches his gaze and becomes a little shy andself-conscious.

LOUISE(smiling)

What?

ANDREWI love you.

Louise leans over and kisses Andrew tenderly.

LOUISEI love you too.

Alice spots them smooching. Interrupts them with mockdistaste.

ALICEEw! Guys, please! Your putting meoff my food!

Emily giggles.

Andrew addresses all of them, speaking with sincerity:

77.

ANDREWI love you all. I mean it. I know Ihaven't been myself lately, buteverything is going to be OK. I'msure of it.

Louise rubs his arm reassuringly. Relieved.

LOUISEWe know. We all missed youterribly. It's good to have youback.

EMILYYes, Daddy, it's good to have youback!

Everybody laughs at Emily's precociousness. She basks in theattention.

ANDREWIt's good to be back, believe me.

Louise gently cups Andrew's hand in hers and regards himfondly.

ANDREW (CONT'D)We all have to stick together fromnow on, understood. No matter what.

Louise nods her agreement. The girls beam, glad to havetheir dad back.


The family are sound asleep on the inflatable beds.


Tranquil. Just as it should be at this hour.


Empty. Silent. Peaceful.


Unoccupied. Hushed and dormant.

The time on the oven clock progresses from 2.59am to 3am.


Andrew stirs from his slumber.

He quietly gets up and heads out of the living area.

Although he is fully alert, he appears to be on auto-pilot,as if acting in a preprogrammed manner. He moves and

78.

functions in a way that suggests he has a specific set oftasks to complete and nothing is going to get in the way ofhim fulfilling them.


Andrew comes in. His activity is purposeful, his movementshushed and economical, to ensure he doesn't disturb theothers unduly.

He retrieves a torch from a cupboard. Switches it on.

He retrieves a bunch of house keys from a wall hook.


By torchlight, Andrew key locks the front door, then checksthe handle to ensure the entrance has been properly secured.


Andrew draws the curtains fully.


Andrew engages the window lock, then pops the key into aclear bag containing several others.


Andrew pads gently down the stairs by torchlight. Hisdemeanour is creepy.


Andrew stands expressionless over Louise in the dark,studying her intently as she continues to sleep, obliviousto his presence.

After a beat, he turns and heads out of the room again.


Andrew walks back into the darkened room. He's clutchingsomething at his side, but we can't see what. He manoeuvresdeftly through the murk and comes to a halt by Louise'sbedside. He kneels down beside her.

Reaching out in the gloom with his free hand, he locates theswitch and flicks on the nearby floor lamp. Louise stirs,roused by the sudden light. She senses he's up and addresseshim while still half-asleep.

LOUISEAndrew, what are you doing? Go backto sleep.

Andrew replies with a low, demonic growl, then lifts up hishand to reveal what he's holding - a large kitchen knife!

79.

He raises the knife and plunges it into her chest with asweeping motion.

Louise shrieks in response. Her eyes bulge and her bodyparalyses as she's gripped by a searing pain.

Andrew pulls out the knife and plunges it in again.Screaming, she attempts to fight him off, but she is nomatch for his strength, especially in her debilitated state.

Her screams awaken Alice. She sees what is happening to hermother and starts to scream manically too.

ALICEDad, no! Stop! What are you doing!!No!! No!! Stop!!

Ignoring her, he pulls out the knife and strikes again, thenagain, then again, building into a frenzy.

The screams awaken Emily. She tries to take in the scenethrough blinking, sleep encrusted eyes, tries to make senseof the carnage.

Alice immediately covers Emily's eyes.

ALICE (CONT'D)No! Don't look!

A hysterical Alice looks on helplessly, horrified, frozenwith shock and fear.

Emily tries to struggle free.

EMILYWhat's happened to Mummy? Why areyou screaming?

Andrew continues to puncture Louise's now lifeless body withstrike after strike, like a man possessed - literally. Heinterrupts his frenzy and looks up at Alice, then speaks inthe Entity's voice:

ANDREW/ENTITYDon't worry, bitch, you're next.

He goes back to piercing his wife's corpse.

Alice suddenly comes to her senses, starts to think, toreact. She picks up Emily and rushes out of the room.


With Emily clinging to her, Alice tries desperately to openthe front door.

EMILYWhy is Mummy bleeding? Is she hurt?

80.

No use, it is locked.

ALICEShit!

EMILYWhat are you doing?

ALICE(hushed tone)

Shush!

She turns and runs towards the kitchen carrying her sister.


Alice scurries into the moonlit room, moving as quickly anddiscretely as she can.

She heads straight for the back door. Tries it. Locked.

She starts to panic.

Just then, the lights come on. Alice sweeps around to look.

It's Andrew, standing in the doorway, breathless,bloodstained, knife in hand. He looms ominously.

Alice is trapped and she knows it. She hugs Emily tightly.

ANDREWI've hidden the keys. There's nogetting out.

She glances at the key hooks. He's right, they're all empty.

ALICEDaddy, please!

He slowly starts to move closer.

Time for action. Alice thinks. Her eyes dart around thekitchen looking for something she can use as a weapon. Shespots the knife rack, but it's too far away.

Andrew is getting closer with each calculated step.

Emily cowers in her sister's arms, starts to cry.

To buy time, Alice grabs the water filter jug and hurls itat Andrew, drenching him and the floor.

She searches again. Her eyes alight on a spray bottle ofcleaning fluid. It's within easy reach. She grabs it just asAndrew reaches her. She aims and starts to pump the handlefuriously, liberally spraying the contents in his face.

Andrew drops the knife and staggers backwards, screaming inagony, squirming, rubbing his eyes frantically in an attempt

81.

to rid them of the caustic substance.

ANDREWFUCK!...FUCK!

As he smarts, he slips on the puddle of water on the floor,hitting his head hard on the marble worktop behind him as hegoes down. He slumps to the floor unconscious.

Alice heads out of the kitchen, pausing for a brief secondon the way to grab a knife from the selection in the rack.


Alice races up the stairs as fast as her legs will carryher.

Scared and breathless, she trips on one of the steps nearthe top, almost losing her balance and dropping Emily.

She recovers quickly and presses on, clutching her youngersibling as she goes.


Andrew lies there knocked cold.


Alice pulls down the loft ladder with the assist pole whilea tearful Emily stands nearby.


Andrew comes to. The chemical in his eyes still burns.


Alice kneels down in front of Emily, wipes away her littlesister's tears and clutches her by her shoulders.

EMILYWhat's the matter with Daddy? I'mscared.

Alice addresses her little sister earnestly and urgently.

ALICEDaddy's hurt Mummy. We need to hideor he'll hurt us too. Now, quickly,up the stairs.

EMILYNo. I'm scared up there.

ALICEEm, please!

Emily shakes her head no, adamant.

82.


His eyes red and raw, Andrew hauls himself up and staggersblindly to the kitchen sink, blinking hard as he goes.

He turns on the tap and starts to wash the fluid from hiseyes. The relief can't come soon enough.


Alice and Emily both hear Andrew moving about downstairs andfreeze momentarily.

ALICEPlease! You have to hide!

Emily, spooked, suddenly understands the gravity of thesituation. She nods her agreement.

ALICEGood girl. Stay really quiet, soDaddy doesn't hear you and I'llcome and get you. I promise.


Able to see again, Andrew flies into a rage and impetuouslysweeps away the crockery on the sink drying board. Athunderous CLATTER, as various items of glass and chinasmash to the ground.


Alice helps Emily negotiate the loft ladder.

They both startle on hearing the commotion from the kitchen.


Andrew stands in the middle of the room, panting, furious,still smarting from the attack. He bellows, so the girls canhear him:

ANDREWDo you really think you can hidefrom me?! In my house?!


Emily's anxious little face peeks out from the loft as Alicecloses the hatch door.

ALICE(whispers)

Hide!

Alice props the loft ladder assist pole against the wall,grabs her knife and dashes into her parents' bedroom.

83.


Andrew picks up his blood-drenched knife off the floor andheads out after the girls.


Alice dives across the bed and grabs the cordless phone fromthe bedside cabinet. She dials the emergency numberfrantically. She puts it to her ear, waits for the line toconnect.

ALICECome on! Come on!


The cable from the land line phone to the wall jack has beensevered deliberately. Andrew's thought of everything.


No dial tone, nothing. She realises the lifeline's been cut.She's horrified. Her panic mounts.

ALICENo, no, no!


Andrew stands at the foot of the stairs and addresses thegirls at the top of his voice, tauntingly:

ANDREWI'm going to finish you both off,just like I did your mother!

He starts up the stairs clutching his knife, a grim,determined expression on his face.

The stairs creek gently with each slow step he takes.


Alarmed, Alice throws the phone on the bed and secretesherself in one of the wardrobes that stretch wall-to-wall.

She peers out from inside the wardrobe, through the crackbetween the two doors. She has a partial view of the landingfrom her vantage point.


Andrew pauses on the landing momentarily before proceedingto Alice's bedroom.


Andrew checks the wardrobe and under the bed.

84.


Andrew enters. He looks around. He spots the handsetabandoned on the bed. Bingo!

He stands completely still, alert, straining to listen forany sign of movement. A deafening silence. But he's certainshe's in here somewhere, he can sense it. His lips creaseinto an evil smile. He taunts her in a mocking sing-songvoice:

ANDREWI'm going to find you, then I'mgoing to dice you.

Andrew moves towards the wardrobes. He opens the first one,but it is empty. He opens the second. The same story: empty.

From inside the wardrobe Alice hid in, through the crack inthe doors, we see him approaching.

Andrew reaches out, then yanks the door open with a suddenmovement, as if to surprise her, certain she's in there.

At that very second, right behind him, Alice bursts out ofthe en-suite and heads straight for the door.

Andrew, though, is in full hunting mode, on the prowl, hissenses fully primed. He swings round as fast as a ninja,knife in hand, in time to see Alice make the dash. He lungesat her, slashing the back of her upper arm.

ANDREWCome here!

Alice yelps in pain, but manages to clear the door and reachthe landing. He chases after her.


Alice is at the top of the stairway when Andrew comes outonto the landing. He takes another swipe at her. She shrieksin fear.

He misses, but he's close enough to unnerve Alice to such adegree that she loses her balance and goes tumbling down thestairs with bruising force.

Her knife slips out of her grasp as she goes, landing on anupper step.

Andrew pauses, watches her topple.


Alice lands at the bottom of the stairs. She's dazed and inpain, but she knows she has no time to lose. She scramblesto her feet just as Andrew starts down the stairs.

85.

She races down the hallway.


Alice storms into the living room. She gasps as she catchessight of her mother's butchered cadaver. She can't help butlinger, staring at the carnage.

ANDREW (O.S.)You won't get far! I've lockedevery door, every window, in thehouse.

She snaps out of it, realising she's wasting preciousseconds. She looks around frantically for her mobile. It'son a side table. She grabs it, starts to dial the emergencynumber. Her whole body trembles with nerves as she does so.

EXTREME CLOSEUP - '9...9...'

A sound. She looks up. It's Andrew heading straight for her.

WHAM! Alice is hit in the face by Andrew. She falls to theground, losing her phone in the process.

She quickly gets up and runs. Flings open the dividing doorsto the dining room.


Alice storms through the room screaming, Andrew hot on herheels.


Alice races into the kitchen and slips on the puddle ofwater. She falls flat on her face.

Andrew enters. He grabs her legs from behind. She strugglesfiercely, but can't escape her father's hold.

He turns her over, then pins her down with his knee. Shetries to gouge him but he grabs hold of her arms. Shecontinues to squirm.

ALICEDon't do this! Don't do it!

Alice manages to free one arm. She starts to flail blindly,searching for one of the many shards littering the floor.

ANDREWStop fighting. It's all over.

He raises his knife, readies to plunge it into her torso. Hepauses to look into her terrified eyes, to savour her fear.

At that instant, Alice thrusts a jagged piece of glass intohis arm with all her might.

86.

Andrew reels, clutches his arm, howls with pain.

Alice breaks free, scrabbles backwards, desperate to putsome distance between her and her demented father.

He glares at her, seething, panting heavily.

ANDREWYou'll pay for this!

Alice scrambles to her feet and runs into the laundry room.


Alice locks the door latch. She breathes with terrified,gasping breaths. She's survived, but now she's trapped.


Andrew lets out a long, guttural cry as he digs the shardout of his arm. He's positively raging with fury now, moredetermined than ever to finish the job.

He gets up and tries the handle on the laundry room door. Herealises it's locked. He pounds the door repeatedly.

ANDREWOpen the door! Open it!!


Alice is starting to lose her mind with fear.

ALICEDaddy, please, no!


Andrew retrieves a domestic fire extinguisher from one ofthe kitchen cabinets.

He starts to pound the laundry room door with it, hitting itagain and again with all his might, reigning blow afterblow.


Alice retreats to the corner, cowering, screaming in terror,watching the door being destroyed.

She looks for a way out. Hastily checks the window, but itis too small. There is no escape.


The blows to the door continue. Andrew succeeds in smashinga hole right through it that is big enough to reach through.

87.


Andrew's hand comes through the hole and blindly searchesfor the latch.

In a last desperate bid for survival, Alice grabs the ironand smashes it on his hand repeatedly.

Andrew yelps, but doesn't relent. His fingers reach thelatch and release it. He's in!

Alice backs into a corner. She's frantic. Stands armed tostrike with the iron again.

Andrew swings open the door and enters, knife in hand.

ANDREWNow then...

ALICEPlease, Daddy, I'm begging you!

He takes a step forward.

Alice takes a swipe at him with the iron, but he deftlygrabs her arm and disarms her.

He grabs her by her hair aggressively and pins her to thewall. He yanks her head back, exposing her neck.

Alice goes berserk, shudders with fear.

ALICEI don't want to die! Don't do this!

Andrew lifts the knife and with one surgical cut slashesopen Alice's throat.

Alice's eyes bulge with horror, blood starts to well up andoverflow along the length of the gash. She clutches herthroat in desperation. Lets out an unintelligible gurgle.

Her life force starts to ebb. Her body sags and she beginsto slide down slowly. By the time she hits the ground, she'sdead.

Alice's lifeless body sits slumped against the wall, herfrozen visage one of wide-eyed shock.

Andrew stands back and admires his handiwork. He wipes hissweaty brow with his arm, pauses to catch his breath.


Andrew arrives on the landing clutching his blood-spatteredknife, then stops. He speaks loudly:

88.

ANDREWCome out, Emily. Come to Daddy. Iwon't hurt you.

INT. LOFT, 22 APPLE TREE DRIVE - NIGHT

Emily sits alone crying, wiping away tears. She shudders athis voice, wonders what to do.

ANDREW (O.S.)Let me explain. I won't hurt you, Ipromise.

She quietly retreats further into a corner, cowering,petrified.


Andrew gives the room a quick visual check. SatisfiedEmily's not hiding there, he leaves.


Andrew shuts the bathroom door behind him. He looks around,considers where to target next. His eyes alight on theairing cupboard.

He approaches it quietly. His hand hovers over the handle abeat. Then, with a sudden and aggressive movement, he grabsthe handle and yanks the door open, as if to catch anyoccupant unawares.

No sign of Emily, just shelves full of bed linen and towels.

He's exasperated, agitated. He pauses to think: where wouldhe hide, if he was her? His eyes scan the vicinity as heconsiders. They alight on loft ladder assist pole.

He glances up at the loft hatch. Of course! A malevolentsmile cracks across his face. He shouts up to Emily, allpretence gone.

ANDREWI know where you are, Emily. I'mcoming after you.


Emily freezes, horrified, fearful. She determines heroptions, looks around desperately for a hiding place.

She spots a large box in the opposite corner. She scurriesover to it stealthily, just as the loft hatch is opened.

The sound of GROANING, CREAKING metal as the ladder unfoldsominously.

89.


Andrew starts to climb up the stairs.


Emily clambers into the box just in the nick of time.

Andrew pops his head above the hatch, glances round quickly.

He enters the loft. Stands. Surveys the scene. The place isfull of various sized removal boxes, storage containers andassorted possessions the family either didn't need or didn'tget around to unpacking. No obvious sign of Emily.

He roars menacingly:

ANDREWEmily! Emily, I know you're here.

The little girl skulks in the box, trembling with fear,tears streaming down her face.

Andrew prowls around the place, searching for Emily, hisimpatience growing.

ANDREWStop playing games, Emily. I needto talk to you. To explain.

He passes the box Emily has retreated to.

She sees him pass by through the crack in the flaps. Shestiffens, holds her breath. She knows it's only a matter oftime now before she's discovered, but she's hoping againsthope.

Andrew pauses, looks around again. He has no choice, he'sgoing to have to search the boxes one by one.

He targets the first one, lifts the flaps, peers inside.Nothing but his old books inside. He moves to the next one.

Emily hears him rustling nearby. She tries to stifle hercrying, accidentally sniffles. She freezes, realizing hermistake.

Andrew stops what he's doing, listens intently. He turnsaround slowly and focuses on the box Emily's hiding in.

ANDREWI know where you are, Emily. I'mcoming for you.

Emily hears Andrew's footsteps as he approaches.

A dark, foreboding shadow looms over the box from Emily'sperspective, as Andrew comes closer to inspect it.

90.

She cringes, hunches up, her eyes bulging with dread.

Andrew reaches out and slowly pulls the flap back to revealEmily trembling inside. She blanches with fear, overcomewith panic.

EMILY(whimpering)

Please, Daddy, don't hurt me.

The evil look on Andrew's face is explanation enough of whatis going to happen next.


We hear a struggle ensue, SHUFFLING, KNOCKING, BANGING,along with Emily's desperate, heartwrenching pleas.

EMILY (O.S.)Daddy, no, please! I'mscared!...Daddy, no!. No! No,no!!...

Andrew doesn't answer her.

Then...

Piercing screams fill the air. Sickening shrieks that canonly hint at the sheer physical agony, and sense of horrorand betrayal the little girl must be experiencing as herfather starts to butcher her.


The family's two cars are still parked in the driveway. Theproperty itself seems preternaturally dormant. The curtainsin all the rooms are fully drawn, despite the late hour,giving the house an almost shuttered appearance.

Frances peers impatiently through the rippled glass of thefront door, straining to look for signs of activity inside.Nothing.

She hits the doorbell again assertively, ringing it for anunreasonably long time. She steps back to check for anysigns of life. Nothing. Not a single curtain twitches inresponse.

Her concern mounts. Reluctantly, she bends down and shoutsthrough the letterbox.

FRANCESLouise, it's me, Frances. Louiseare you home?...Anybody?

Silence.

Something is just not right, she can sense it. Frustrated,she marches towards the back of the house.

91.

Frances reaches over awkwardly and manages to unlock thefence door, gaining access to the back garden.

The main window and the patio door servicing the kitchen arecurtained, but a small side window isn't.

Frances approaches the window. She peers through it. Sheimmediately lets out a blood-curdling scream...


We see what Frances can see:

Hanging from the ceiling, a rope tethered tightly around hisneck, is Andrew's limp, lifeless body. A knocked-over chairlies at his feet.

INT. TV NEWS ROOM - DAY

The regional spot on the main evening news. A studioNEWSREADER segues into the story:

NEWSREADERPolice in the quiet Oxfordshirevillage of Greening have launchedan investigation into a potentialmurder-suicide, after a mother andher two children were found stabbedto death, and the father hanging,in their home earlier today. Thefamily have been formallyidentified as Andrew Walker, a42-year-old food scientist, hiswife Louise, 40, and their children- Alice, 15, and Emily aged 5.Police forced entry into theproperty after a co-worker,concerned that Mrs Walker hadfailed to report for work for overa week, raised the alarm. Our crimecorrespondent, Nisha Sangha, who isat the scene, has more details.

The Newsreader turns to face a TV screen with a live feedfrom Apple Tree Drive.

NEWSREADER (CONT'D)Nisha.

EXT. APPLE TREE DRIVE - DAY

The CORRESPONDENT stands to one side and a little distancefrom number 22, giving us a clear view of the house.

The property has been cordoned off with crime scene tape,and is crawling with POLICE and SOCOS. One OFFICER standsguard while the rest of his colleagues drift in and out ofthe house gathering evidence. Their vehicles dot the road.

92.

CORRESPONDENTRobert, this prosperous and idylliccommunity in the heart ofOxfordshire is in a state of shocktoday, and struggling to come toterms with the news of these tragickillings. In fact there's been asteady stream of villagers allmorning, here at Apple Tree Drive,leaving flowers and messages ofcondolence. Police say that the twoofficers who gained entry to theproperty reported that LouiseWalker and her daughters, Alice andEmily, had been subjected to ahorrific and violent knife attack.Their bodies were apparently foundin different parts of the house,while Mr Walker's body was foundhanging in the kitchen, with alarge knife - believed to be themurder weapon - lying at his feet.The bodies were taken away for apost-mortem a short while ago andscene of crime officers andforensic teams have been conductinga pain-staking search of theproperty all morning.


NEWSREADERWhat do we know about the family,so far?


CORRESPONDENTWell, officers from the Oxfordshireconstabulary have been making doorto door enquiries all morning, totry to piece together a detailedpicture of the family. What hasemerged so far is that they onlymoved into the area last September,after Mr Walker took up a positionas head of the food scienceslaboratory at Eli Foods, which ishead-quartered in nearby Oxford.Mrs Walker worked part-time as anadmissions officer at OxfordStonebridge University, just a fewmiles down the road, and the twogirls were enrolled in localschools. Neighbours describe thefamily as happy and loving, and saythat they didn't appear to have anyproblems. Another local said that

(MORE)

93.

CORRESPONDENT (cont'd)Andrew Walker kept himself tohimself, but always came across as'pleasant and mild mannered'whenever he spoke to him.


NEWSREADERAnd have the police suggested anypossible motive for the killings?


CORRESPONDENTThe focus of the investigation ison Andrew Walker and police saythat they are not currently lookingfor anyone else in connection withthe killings. The police haven'tactually released any other detailsformally yet, but interestingly,and in contrast to neighbours'comments, one anonymous source saidthat Mr Walker was actuallysuffering from depression. Icontacted management at Eli Foodsand they confirmed that Mr Walkerwas sent home a month ago, aftersuffering what they are describingas 'stress-related health issues'. However, some of his colleagues,who I spoke with earlier, said thathe'd become increasingly withdrawnin recent weeks and that he wassent home on enforced sick leaveafter he attempted to commitsuicide while at work, by jumpingoff an aerial walkway in full viewof staff. There have also beensuggestions that the family wereexperiencing financial difficultiesand that this may have impacted hisemotional state.


NEWSREADERNisha, thank you.

The newsreader turns to face the screen again.

NEWSREADER (CONT'D)Nisha Sangha there, reporting fromGreening in Oxfordshire. The24-hour rail strike planned fornext week is still on after talksbetween management and the railworkers union...

94.


A beautiful summer's day. The kind that maximises thehouse's already considerable kerb appeal.

A car emblazoned with 'Madisons Estate Agents' pulls up bythe pavement directly outside the house.

INT. CAR - DAY

At the wheel sits KIM TAYLOR, 25, a distractingly beautifulyoung letting agent.

Next to her, in the passenger seat, sits MIKE KAUFMAN, asuave, tanned executive-type in his early forties. Hisalluring and sophisticated wife, CINDY, also in her forties,sits in the back, pinched between their two late teenagechildren, HANNAH and ETHAN, both of whom are preoccupiedwith their phones, one texting, the other playing a game. The family are American.

KIMThis is it, 22 Apple Tree Drive. What do you think?

Mike regards the house, nods appreciatively.

MIKEWell, from the outside it looksperfect. Just what we're lookingfor.

He turns to Kim, smiling.

MIKE (CONT'D)I'm impressed.

He twists his neck, to address Cindy.

MIKE (CONT'D)Cin?

She's equally enthusiastic about the property.

CINDYYeah, I like it. It has a realpresence about it.

And with those prophetic words we abruptly cut to black.

FADE OUT

THE END

22 Apple Tree Drive - SimplyScripts...FADE IN: INT. HALLWAY, 22 APPLE TREE DRIVE - DAY We are at the...

Documents

Transcript of 22 Apple Tree Drive - SimplyScripts...FADE IN: INT. HALLWAY, 22 APPLE TREE DRIVE - DAY We are at the...