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                                      THE GRUDGE

                                      Written by

                                     Stephen Susco
                                  Based on the films
                         Ju-on, Ju-on 2 and Ju-on: The Grudge
                                   Takashi Shimizu

                                               Production Draft - BLUE
                                               Revised, January 26, 2004


          1   INT. PETER & MARIA'S BEDROOM - DAY                               1
              FADE IN on MARIA (late 20s), asleep in bed. She's
              breathtakingly beautiful. Morning light fills the room.      The
              sound of wind, and rippling cloth.
              Maria stirs, and opens her eyes.     She stretches contentedly.
              Then she frowns.    Rolls over.    She's alone in the bed?
              No, she's not: PETER (20s) sits on the edge, his back to her.
              Two fresh, steaming mugs of coffee sit on a tray near him.
                        Hey.     Are you okay?
              Peter doesn't turn. He slowly stands and walks forward
              towards an OPEN WINDOW.
              There's something strange about the way he moves -- stiffly,
              almost jerkily, straining his joints and muscles.
              Maria gets out of bed, concerned.
                        Peter?    What's the matter?
              He pauses at the window.    Turns his head to look back at her.
              His eyes are vacant.    His face is a blank.
              Then Peter slowly leans forward.     And falls from the window.
              Maria stands in shock as the sound of SCREECHING TIRES from
              outside reaches her ears. Then SCREAMS OF TERROR from below.
              Aghast, she finally manages to numbly walk forward, towards
              the window. We MOVE PAST her and TILT DOWN TO REVEAL --
              -- PETER'S BODY lies in the middle of the street.     His head
              has burst open, his body broken and twisted.
              ON THE PAVEMENT: a line of blood appears, moving down the
              center of the screen. As if hitting grooves we cannot see --
              -- the blood slowly forms the shape of two KANJI CHARACTERS.
              A translation appears over them: "The Grudge."
          2   EXT. STREET CORNER - DAY                                         2
              A blur of movement as hundreds of people stream up from a
              subway tunnel. Most are Japanese. We're not in Kansas.
                                         Revisions (Blue) -- 1/26/04     2.
               Standing in the middle of the rush-hour pedestrian traffic is
               KAREN (20s, American). She faces upstream, looking for
               someone. The flow threatens to carry her away in a
               heartbeat. She looks fragile, intimidated by the madness.
                                   DOUG (O.S.)
               She turns to see her boyfriend DOUG (20s, American)
               approaching. With a reassuring smile he takes her hand --
               -- and together, they force their way through the throng,
               trying to escape the flow. They're jostled and crushed by
               the crowd, and Doug protectively pulls Karen closer.
                         I'll never get used to this.
                         Maybe we should find a different
                         train station.
               He abruptly stops, right in the middle of traffic, still
               holding Karen's hand. She turns, wondering what's going on.
               She sees the smile on his lips a moment before --
               -- he sweeps Karen into his arms and kisses her. As if the
               crowd of businessmen surging around them isn't there at all.
               It's tender and loving, and she responds... at first.   But
               then she pulls away, shy.
                         A public display of affection is
                         considered rude in Japan.
               There's an opening ahead into a SIDE STREET.   Doug and Karen
               deftly slip out of the traffic --
          2a                                                                 2a
          2b   EXT. TOKYO STREET - DAY                                       2b
               -- and walk hand-in-hand down the much quieter street, away
               from the crowded thoroughfare.
               Doug smiles as they pass by two JAPANESE HIGH SCHOOL COUPLES,
               making out on the street corner. He turns to give Karen a
               sarcastic look --
                                  Revisions (Blue) -- 1/26/04      2A.
          -- but she didn't notice the school kids. She's looking in
          the other direction, at a trickle of SMOKE wafting up over a
          nearby fence.
                    What's that?
          Doug follows as she walks toward an OLD TEMPLE, nestled
          beneath a skyscraper. A collision of the ancient and modern.
          The fence surrounds a GRAVEYARD adjacent to the temple.
                    We walk past this temple every day,
                    Karen --
                    Yeah, but I've never seen this
          A JAPANESE MAN stands before an ornate headstone, lighting a
          bundle of incense and bowing before the grave.
                    It's a Buddhist ritual. The
                    incense smoke carries the prayers
                    to the spirits of his ancestors, to
                    help them remain at peace.
          CLINK. She turns as Doug, grinning, lights a cigarette with
          his Zippo, flicking it shut and pocketing it.
                    It's amazing. You're like this
                    infinite storehouse of wisdom. Or
                    trivia. I'm not sure which.
                    It's not trivia. It's what they
                    believe. And it's far better, by
                    the way, than your little pollution
          Doug's grin softens to a smile. He doesn't respond... but
          the way he's looking at Karen makes her curious:
          He turns away for a moment, almost shyly, dropping his
          cigarette and crushing it. Finally:
                                   Revisions (Blue) -- 1/26/04      2B.
                    Nothing. I just -- I like that
                    about you. You seem to be able to
                    remember everything that's really
          She smiles.   A tender moment.   Then... he checks his watch.
                    Except the time.
          Karen checks her own watch, realizing --
                    Oh, crap --
          She grabs his hand and starts to walk quickly.
                    C'mon, you're gonna be late.
                                        Revisions (Blue) -- 1/26/04      3-4.
          2c    EXT. CAMPUS - DAY                                           2c
                An international college in Tokyo. The autumn chill doesn't
                deter the students from enjoying the beautiful day.
                Karen and Doug, still holding hands, enter the campus.
          2cc   EXT. NURSING CARE CENTER - DAY                             2cc
                Karen and Doug approach the doors of a NURSING CARE CENTER.
                She pulls him to the side just as he's stepping under a
                WORKMAN'S LADDER by the doors.
                          Uh-uh. Seven years of bad luck.
                              (before Doug can respond:)
                          And I might have a vested interest
                          in those years.
                          Is that right?
                Doug smiles, kissing her romantically.   Then:
                          Will I see you tonight?
                          I'll call you when I get home.
                With a flourish, Doug SWINGS HIMSELF back under the ladder.
                          Fourteen.    I hate odd numbers.
          2d                                                                2d
                INT. NURSING CARE CENTER - DAY
                Through the front doors, we see Doug kiss Karen again.   They
                finally separate, and Doug walks off.
                                  Revisions (Blue) -- 1/26/04     4A.
          Then Karen walks through the doors into a bright, atrium-like
          lobby area. She waves "hello" to the RECEPTIONIST.
                                     Revisions (Blue) -- 1/26/04     5.
          Leaning against a desk behind Reception is Karen's boss ALEX
          (40s, American). He's got a phone to his ear -- it's
          ringing. An ANSWERING MACHINE picks up in Japanese.
          Alex mutters and hangs up.   Then he notices --
          She's started up a STAIRCASE in the center of the lobby.   She
          turns and comes back down, walking over to Alex.
                    Are you free this afternoon?
                    I just came by to pick up some
                    books I left here. I'm not
                    scheduled to work today --
                    I know. But are you free?    Do you
                    have class?
                        (shaking her head:)
                    Just a test to study for.   Why?
          Alex smiles, holding out a file.
                                    Revisions (Blue) -- 1/26/04    6.
                    Your wish has been granted.
          Karen takes the file and opens it, looking at the first page -
          - a picture of an OLDER WOMAN (EMMA) is attached.
                    It's Yoko's case, but she didn't
                    show up for work this morning, and
                    I can't reach her at home. She
                    must be sick, or something. And
                    she has the damn house key.
          Studying the file, Karen squints.
                    What's this phrase?
                    "Mild dementia with severe
                    lethargy." Apparently she sleeps
                    through most of the day. Her
                    daughter-in-law doesn't work, so
                    she'll probably be there.
          Karen seems unsure.   It's a big step for her.
                    You're the one who's been bugging
                    me about getting out there on your
                    own. Besides, it's an English-only
          One of Alex's CO-WORKERS appears in the doorway, motioning to
          him. Alex quickly hands Karen a card:
                    Here's the address. Use the wall
                    chart if you need help -- and don't
                    forget to bring a map.
                                           Revisions (Blue) -- 1/26/04     7.
                Karen looks at THE ADDRESS -- a string of thirty numbers and
                Japanese characters. She glances up at
                THE WALL CHART: a color-coded diagram shows how the long
                address string is broken down into Postal Code, Prefecture,
                City, Ward, District, Block, Sub-Block and House Number.
                          Don't worry Karen, you're ready.
                Karen nods.   But she's not quite as confident.
          3     OMITTED                                                         3
          4     OMITTED                                                         4
          4a    INT. RAIL STATION - DAY                                     4a
                People rush madly around Karen as she studies A LARGE MAP on
                the wall. It's the Tokyo rail system -- daunting, at best.
          4b                                                                4b
          4bb   INT. TRAIN - DAY                                           4bb
                Karen sits uncomfortably on the crowded transit car, squeezed
                in tightly by the people around her. The LOUD CRYING of a
                baby adds to her discomfort.
          5     EXT. RAIL PLATFORM - DAY                                        5
                The transit car pulls to a stop and a handful of people get
                out. Karen is one of them, shouldering her backpack.
          5a                                                                5a
                EXT. SHOPPING DISTRICT - DAY
                Karen walks down the populated sidewalk, weaving through
                STREET VENDORS, and passing a large GROCERY STORE.
                She pauses, looking at the address on her card. She
                approaches a WOMAN and her DAUGHTER (6) and speaks to them in
                Japanese. The woman nods, pointing towards a small ALLEY.
                Karen gives the daughter a smile;   the girl hides behind her
                mother's leg.
                                        Revisions (Blue) -- 1/26/04      7A.
          6    EXT. TOKYO NEIGHBORHOOD - DAY                                   6
               Karen exits the alley, entering a quiet, narrow street.
               She's still not sure if she's in the right place.
               But then her eyes fix on something. She begins to walk
               towards it, her gaze never leaving it --
          6a   EXT. THE HOUSE - DAY                                          6a
               -- it's THE HOUSE.   Cozy and shaded, nestled into the dead
               end of the street.   Large by Tokyo standards.
               She double-checks the address and opens the gate, walking
               around a BICYCLE leaning against the wall and following the
               stepping-stone path to the front door. She knocks. No
               answer. She tries again. Nothing.
               Then, an afterthought, she tries the handle.   It's unlocked.
                                         Revisions (Blue) -- 1/26/04     8.
          7    INT. THE HOUSE - ENTRANCE - DAY                                7
               Karen pokes her head inside the genkan (entry hall).
                         Hello?   Mrs. Williams?
               Nothing. She tentatively steps inside, and the door closes
               behind her. It's dark and musty -- the blinds are drawn.
                         Is anyone here?
               She turns and LOCKS THE FRONT DOOR.
          8                                                                   8
               INT. THE HOUSE - LIVING ROOM - DAY
               Karen stands in the doorway, surveying the room.   The place
               is in a complete state of disarray.
               A SCRAPING sound grabs Karen's attention.
               HER POV: at the far end of the room, a FROSTED-GLASS PANELED
               DOOR leads to an adjacent room.
               A HAND is visible on the other side, clawing at the glass.
               Karen runs over and slides open the door, revealing --
          8a   INT. TATAMI ROOM - DAY                                       8a
               EMMA (60s, American). The older woman in the picture from
               Karen's file. She's lying on her stomach on a stained
               mattress, feebly looking up at Karen.
                         Oh my God... are you alright? --
               Karen immediately kneels down next to the infirm woman,
               helping her sit up. Emma looks dazed and disoriented.
               Karen's eyes sweep the room.   It reeks of neglect.
          9                                                                   9
               EXT. THE HOUSE - PORCH - DAY
               Emma sits on the back porch, staring vacantly. But her
               expression isn't simply blank - there's an odd sadness there.
                                  Revisions (Blue) -- 1/26/04     8A.
          Karen is washing the dirty sheets in a bucket and hanging
          them to dry. She finishes, turning to her charge.
                                         Revisions (Blue) -- 1/26/04       9.
                         Okay, Emma. Let's try again: my
                         name is Karen. Do you remember?
                         I'm from the Health Center. I'm
                         substituting for Yoko, just for
               Emma doesn't respond -- and there's no indication that she
               remembers Karen introducing herself before.
               Kneeling in front of Emma, Karen notices a BAND-AID around
               one of her fingers. Blood has soaked through it.
                         Looks like you need a new Band-Aid.
                         How'd this happen, Emma?
                             (still no reaction)
                         Would you like a bath? Maybe that
                         will help you feel better.
               Emma doesn't even turn towards her.
          10                                                                10
               INT. THE HOUSE - BATHROOM - DAY
               Karen turns on the water, puts the stopper over the drain.
          11   INT. THE HOUSE - HALLWAY - DAY                               11
               Karen supports Emma's weight as she leads the old woman
               slowly down the hallway to the bathroom entrance --
               -- Emma stops at the doorway.    Eyes fixed on THE TUB.
                         It's okay, Emma.
               She takes Emma's hand and walks inside. But Emma doesn't
               budge. Her free hand TIGHTLY CLUTCHES the door frame.
               Her eyes are wide.   Staring at the bathtub.
          12                                                                12
               EXT. THE HOUSE - PORCH - DAY
               Karen uses a sponge to bathe Emma, her robe rolled to her
               waist. Emma stares absently at the sky.
                                       Revisions (Blue) -- 1/26/04     9A.
          13   INT. THE HOUSE - LIVING ROOM - DUSK                       13
               With Emma back in bed, Karen steps out of the back room and
               slides the door shut. Leans against it for a moment. A
               tough first day on the job.
                                       Revisions (Blue) -- 1/26/04        10.
          14   INT. THE HOUSE - LIVING ROOM - DUSK                           14
               Karen has straightened up the room, and is vacuuming the
               floor. Something under the couch catches in the vacuum
               intake, jamming it.
               She turns off the vacuum and feels underneath, pulling out A
               CRUMPLED PHOTO -- ripped into pieces, compressed in a ball.
          15   INT. THE HOUSE - KITCHEN - DUSK                               15
               Karen sits at the kitchen table, flattening and taping
               together the pieces of the photograph. She finishes.
               ON THE PHOTO: a grinning JAPANESE BOY holds a cute BLACK
               CAT. His MOTHER and FATHER stand beside him. They're all
               beaming at the camera -- a perfect, happy family.
               But there's a piece missing.   The MOTHER'S FACE.
               Karen walks back into the Living Room. She looks underneath
               the couch for the missing piece. Can't see anything.
               She lays down and sticks her arm under the couch, feeling
               around. Nothing.
               Karen sticks her arm in deeper, to the shoulder, straining...
               She suddenly jerks her arm back, wincing.   She has a small
               cut on her finger.
               Karen looks under the couch for what cut her --
               -- a small FURNITURE NAIL sticks out underneath.
                         Nice one, Karen.
               She gets to her feet, folding up the incomplete picture and
               stuffing it into her pocket.
          16                                                                 16
               INT. THE HOUSE - ENTRANCE - DUSK
               Karen steps into the foyer with the vacuum cleaner. She
               looks up at A RAILING overhead. Some trash is visible
               sticking over the edge. Karen shakes her head:
                         How did you get up there?
                                        Revisions (Blue) -- 1/26/04       11.
               She gathers up the vacuum and heads up to the SECOND FLOOR
               HALLWAY. There's a nearby door, closed (the FRONT ROOM), and
               an open door at the end (the REAR ROOM).
               As she looks for an outlet, she hears a SCRATCHING SOUND.
               Karen stands there for a moment, listening.    Silence.
               Then she walks towards the open door at the end of the hall.
          17   INT. THE HOUSE - REAR ROOM - DUSK                            17
               Karen steps inside. MOVING BOXES are stacked against the
               wall, next to a desk. It's an unfinished room.
               She listens.   No scratching.   Nothing unusual here.   Except --
               Karen notices a lone object sitting on an otherwise empty
               shelf. It's a BLACK CERAMIC CAT. Facing the wall. Strange.
               And then Karen hears the SCRATCHING SOUND again.
          18                                                                18
               Karen steps into the hallway and listens.   There it is again,
               and this time there's no doubt --
               The sounds are coming from the room by the stairs.
               Karen walks to the door. She pauses, disturbed by the eerie
               sounds from inside. Then she reaches for the doorknob.
               THUD. THUD. Karen hesitates. The strange rhythmic THUDDING
               continues, coming from beyond the door.
               Karen takes a breath.   And turns the doorknob.
          19                                                                19
               INT. THE HOUSE - FRONT ROOM - DUSK
               The sounds immediately stop as Karen enters the MASTER
               BEDROOM. It's dark, thick blinds covering the windows. A
               frosted window, overlooking the foyer, isn't helping much.
               She stands there for a moment, listening.   Silence.
               Then --
                                        Revisions (Blue) -- 1/26/04     12.
               SCRATCH SCRATCH. Startled, she gasps and turns towards THE
               CLOSED CLOSET DOORS. That's where the sound is coming from.
               And then she notices something strange about the closet door:
               It's been sealed shut with duct tape.
               The SCRATCHING quickens, as if sensing a presence nearby.
               And then there's a muffled MEOW.   There's a cat in there?
               Karen pulls off the duct tape. She reaches for the door
               handle, slowly sliding it open a crack and peering inside --
               The closet seems empty, except for a large BOOK on a shelf.
               Karen reaches inside and picks it up.
               Then she sees, in the darkened far corner of the closet, a
               SMALL BLACK CAT. It's sitting on something, watching her.
               Karen slides the door the rest of the way open --
               -- revealing A YOUNG JAPANESE BOY (age 7) sitting in the
               corner, staring at Karen. The cat is curled up on his lap.
               Startled, Karen drops the book and falls backwards.
          20                                                                20
               INT. THE HOUSE - KITCHEN - NIGHT
               Karen is on her cell phone:
                                   KAREN (INTO PHONE)
                         Yes, he was shut in a closet!
                         There was tape around the -- No,
                         they're not home yet. I don't
                         know, Emma hasn't said a word to me
                         -- He's still upstairs -- yes, I'm
                         sure he's Japanese -- But -- Yes,
                         alright, Alex. Just please get
                         here as soon as you can.
               Karen hangs up, putting the phone down on the kitchen table.
               She leans against the counter, exasperated.
               Then her attention turns to THE BOOK she found in the closet.
               Karen can't resist.   She opens it.
               THE BOOK is a large journal, filled with elegant Japanese
               writing. Karen flips through it, stopping on --
                                        Revisions (Blue) -- 1/26/04        13.
               A PHOTOGRAPH.   A handsome young man, smiling at the camera.
               We recognize him.   It's PETER, from the opening scene.
          21   INT. THE HOUSE - ENTRANCE - NIGHT                             21
               Karen walks to the front door, reaching out to unlock it --
               -- but she pauses, realizing something.
               She reaches into her pocket, pulling out THE PHOTO she found.
               It only takes a second to verify --
               -- THE BOY in the photo is the one she found in the closet.
               Karen lowers the photo, bewildered.    Then she looks up,
               startled by --
               THE BOY. He's kneeling on the second floor landing above,
               watching her through the bars of the metal railing. Creepy.
               Karen takes a step forward, forcing a smile.
                                   KAREN (IN JAPANESE)
                         Hello there.
                                              Really creepy.
               The boy just stares at her.
                                   KAREN (IN JAPANESE)
                         My name is Karen. What's yours?
                                    THE BOY
               Before she can respond --
               RING! RING!   The phone in the next room startles her.
          22                                                                 22
               Karen enters the room as the ANSWERING MACHINE picks up, the
               voices of a happy couple on the GREETING (in English):
                                   MATTHEW & JENNIFER (ON MACHINE)
                         "Konnichiwa! Matt and Jennifer
                         aren't around, leave a message."
                                   SUSAN (ON MACHINE)
                         "Hey, guys, it's Susan. Matt, are
                         you there? Pick up...
                                        Revisions (Blue) -- 1/26/04       14.
                                    SUSAN (ON MACHINE) (cont'd)
                          Okay, well, I'm leaving work now so
                          you can try my cell, or just call
                          me at home later."
               The caller pauses. Karen steps closer to the phone base,
               curious, listening:
                                    SUSAN (ON MACHINE)
                          "I just wanted to make sure Mom is
                          okay. Yesterday was... a bit
                          weird, and -- I'm just a little
               Karen, reluctant but realizing she should pick up, reaches
               for the phone...
               ...but the PHONE BASE is empty.   The cordless is missing.
               As Karen tries to figure out how to answer with the base:
                                    SUSAN (ON MACHINE)
                          "Listen, just give me a call when
                          you can, okay?"
               CLICK.   Too late -- the caller hangs up.
               Silence returns to the room... but not completely.     Karen
               hears the soft sound of WHISPERING from nearby.
               Beyond her, we see a PALE FACE (KAYAKO) pressed against the
               frosted window of the sliding door of the TATAMI ROOM.
               The face pulls away from the glass just before Karen turns
               towards it. But the sound of WHISPERING continues.
               As she slowly walks to the door, we can make out some words:
                                    EMMA (O.S.)
                          ...I've told them over and over...
                          I've told them over and over...
               Karen listens for a moment, then slides the door open.
          23   INT. THE HOUSE - TATAMI ROOM - NIGHT                           23
               It's very dark in the room -- the lights have been turned
               off. Emma, sitting up in bed, turns towards Karen.
                          Emma, who were you talking to?
                                       Revisions (Blue) -- 1/26/04        15.
               That's when Karen notices THE INDENTATION in the mattress,
               across from where Emma is sitting. Where someone else would
               be, if the old woman was having a conversation.
               Emma looks up at Karen with pleading eyes.
                         I just want her to leave me alone.
               Karen sits down next to her.
                         You should get some rest, Emma.
               She helps Emma lie back --
               -- but as the old woman's eyes move to the ceiling, they
               suddenly grow wide, her mouth opening in fear --
               -- Karen follows her gaze, looking up --
               -- and she SCREAMS, falling off the mattress, backing away --
               A MURKY BLACKNESS is lowering from the ceiling. Formless at
               first, but flowing and shifting... like a FIGURE draped with
               black silk. Drifting down until the shadowy "head" is only
               inches from Emma's terrified face.
               And then the "head" slowly turns, rotating towards Karen.
               In the midst of the blackness are TWO DISEMBODIED EYES.
               Filled with an intense rage. Focused directly on Karen.
               Off Karen's NERVE-SHATTERING SCREAM, we...
                                                              CUT TO BLACK.
          24                                                                  24
               INT. THE HOUSE - FRONT ROOM - NIGHT
               MATTHEW and his wife JENNIFER are in bed. He sleeps soundly,
               she doesn't. She's staring at the ceiling, listening to --
               -- SOUNDS coming in through the open bedroom door. Someone
               moving downstairs, fumbling around, bumping into things.
               Jennifer, frustrated, lets out a sigh.
          25                                                                  25
               Matthew comes downstairs, dressed in a business suit.    He
               pauses to pick up some of the RUBBISH on the stairs.
                                          Revisions (Blue) -- 1/26/04   16.
          26   INT. THE HOUSE - KITCHEN - MORNING                          26
               Jennifer watches the last drops of coffee fall into the pot.
               She pours herself a mug, takes a big sip. Looks exhausted.
               Matthew enters, surprised to see her.
                          You're up?
               Matthew glances into the back room through another sliding
               door -- the windows on this one are clear, not frosted like
               the living room.
               HIS POV:   Emma is asleep on her mattress.
                          I wonder if Mom's okay. She's been
                          sleeping ever since we got here.
                          Not at night.
               Matthew turns to her, surprised.
                          I told you, Matthew, you can sleep
                          through anything.
               Matthew comes over, kisses her.
                          I'm sorry, sweetheart. It was
                          probably just the move -- I'm sure
                          she'll get back on schedule.
               Jennifer nods, not convinced.
                          You seen my travel mug?
                          I didn't unpack it yet.
               Matthew kneels down next to a pair of MOVING BOXES in the
               corner -- `KITCHEN' written on the side. He explores it.
                                    Revisions (Blue) -- 1/26/04   17.
                    Maybe you should say something to
                    the helper, what's her name?
                    Who knows? Maybe there's something
                    she can suggest.
                    Yeah.     Maybe.
          He finds his travel mug, wrapped in the sports section of an
          American newspaper. Matthew scans it as he fills his mug.
                    I miss seeing this every morning.
          No response from his wife. He turns to see Jennifer looking
          down at Emma through the window.
          Matthew walks over, puts an arm around her.
                    Hey, kiddo. You okay?
                    I went for a walk yesterday. Just
                    to explore. I got lost and
                    couldn't find anyone who could
                    speak English, who could help me.
                    I felt so... stupid.
                    This will get easier soon, for Mom,
                    for all of us. I promise.
          She turns to him.
                    Or else?
                    Or else I'll tell the company it's
                    just not working out, and that
                    we're going back to the States with
                    or without my old job. They can
                    get someone else to crunch their
          This makes Jennifer feel better.
                                          Revisions (Blue) -- 1/26/04    18.
                         But until then -- promise me you'll
                         give it a good try, okay Jen?
          27   EXT. THE HOUSE - MORNING                                       27
               The door opens and Matthew walks outside, stopping to look at
               a familiar BICYCLE, leaning against the house near the door.
                         Is this Yoko's bike?
                         I think so.
                         It's been here all night.
               Matthew rolls the bike from the porch to the gate, leaning it
               against the wall (where we saw it earlier).
               He turns back to Jennifer, giving her a kiss.
                         I'll probably be home late, maybe
                         around nine or so.
               Jennifer gives him a look.
                         I knew you'd forget.
               Matthew pauses, looks back blankly.    Jennifer just smiles.
                         Dinner, your sister?    At seven?
                         Oh yeah.   Right.
                         You were going to cook.
                         I have a big conference.    They
                         usually run long.
               Jennifer rolls her eyes.
                                          Revisions (Blue) -- 1/26/04    19.
                         I'll do the shopping. Just call me
                         if you're going to be late.
               She goes back inside, closes the door.
          28   INT. GROCERY STORE - DAY                                     28
               Jennifer stands by a cart, looking pale under the stark
               fluorescent lighting. She also looks shell-shocked.
               HER POV: before her is a WALL OF JAPANESE PRODUCTS. Barely
               a lick of English on any of the brightly-colored packages.
               Jennifer is, in a word, clueless. She looks around for
               assistance -- but she's lost in a whirl of Japanese faces.
               She tentatively reaches towards a bowl-shaped package.
               Studies the Japanese writing.
               Stealing a glance around her, she quietly tears open a corner
               of the bowl. Peeks inside. Sniffs it. She smiles.
          29                                                                29
               INT. THE HOUSE - LIVING ROOM - DAY
               CLOSE ON the same package, a microwaveable soup bowl, now
               open with a spoon sticking out of it. Resting, with a glass
               of water, atop the kotatsu table.
               PAN TO REVEAL a pair of feet on the lip of a MOVING BOX next
               to the table. It's Jennifer, asleep on the couch.
               A CLATTERING sound wakes her, followed by the sound of
               FOOTSTEPS running away. We PULL BACK as Jennifer sees her
               bowl, and the glass next to it, have been knocked over.
               She sits up, looking into the TATAMI ROOM. Emma sits on the
               edge of her mattress, staring blankly at her.
               Jennifer gets up, sternly walks over.
                         If you need something, all you have
                         to do is say so --
               She stops short as she sees...
               FOOTPRINTS. Formed from the broth, and noodles, of her
               spilled soup. They're the footprints of a child.
               And they lead away from the back room, down the main hallway.
                                         Revisions (Blue) -- 1/26/04      20.
               Jennifer looks back up to see Emma watching her.
          30   INT. THE HOUSE - ENTRANCE - DAY                                30
               Jennifer follows the DAMP FOOTPRINTS. They're getting
               lighter, and cease altogether in the foyer.
               She stands there for a moment, bewildered. Then she tenses,
               as if sensing she's being watched. She slowly turns to see --
               -- A BLACK CAT. Sitting on the first landing of the stairs.
               Staring at her with bright yellow eyes.
               As Jennifer takes a step towards it --
               TWO CHILD'S HANDS reach around the corner, and pick up the
               cat, pulling it out of view.
               Jennifer freezes.
                          Who's -- who's there?
               No response. She walks up the stairs and looks around the
               corner. Nothing there.
               She takes a deep breath, and starts to climb.
          31                                                                  31
               Reaching the top, Jennifer catches a glimpse of a familiar
               BOY running into the FRONT ROOM.
               She slowly walks towards the open door -- we can't see inside
               the room from the hallway. But she pauses as she hears --
               THUD.   THUD.   The same rhythmic thumping that Karen heard.
               After a moment, Jennifer steps inside the room, disappearing
               from our sight.
               We hear her suddenly draw a GASP.
               A beat. As we DRIFT CLOSER to the doorway, we notice
               something strange: the room appears to be growing darker.
               A SHARP BREATHING can be heard from inside... quick, panicked
               gulps of air. Growing faster.
               Just as we reach the doorway, the harsh breathing stops.
                                   Revisions (Blue) -- 1/26/04   20A.
          A moment of stillness.
          Then the door is SLAMMED SHUT from the inside.
                                           Revisions (Blue) -- 1/26/04      21.
          32   INT. THE HOUSE - ENTRANCE - NIGHT                                 32
               Matthew enters from work, jacket slung over his shoulder.
                                (calling out)
                            Sorry I'm late, it took awhile to
                            wrap things up.
               He leaves his briefcase by the door and turns to the hall --
               -- noticing the house is completely DARK.
                            Jen?   Susan?
          33                                                                     33
               Matthew turns on the lights. The room has reverted to its
               messy state, even worse than before.
               He looks down at A PICTURE, formerly hanging on the wall, now
               lying on the ground. The glass is broken.
                            What the hell? --
               He quickly goes to the BACK ROOM. Emma sits on the edge of
               her bed, dazed and staring. In the darkness.
                            Mom?   Are you alright?
               No answer.    He kneels down next to her.
                            Where's Jennifer, Mom?
               Still nothing.      He surveys the mess in the room.   Angrily:
                            Did Yoko come today, Mom?
                            Remember? The pretty girl?
               He gets to his feet, looking at the SPILLED SOUP in the
               living room, now hardened and crusty.
          34   INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT                     34
               OVER THE RAILING:     Matthew re-enters the foyer, looking up.
                                        Revisions (Blue) -- 1/26/04     22.
                         Jen?   Are you up there?
               He climbs up the stairs, walking to --
          35   INT. THE HOUSE - FRONT ROOM - NIGHT                        35
               Matthew stands in the doorway of the dark room.   He tries the
               light switch. Nothing happens.
               He slowly enters, feeling his way through the room. We can
               barely make him out in the darkness... we see the shape of
               THE BED by a window...
               Matthew feels his way to a table next to the bed.   Switches
               on a small lamp --
               -- JENNIFER IS RIGHT NEXT TO HIM. Lying in bed, staring wide-
               eyed at the ceiling. Matthew, startled, falls backwards.
                         Jennifer?    What is it --
               Matthew rushes to her, shaking her. She's unresponsive. The
               only sign she's alive is that HER FEARFUL EYES slowly fix on
               him. Her mouth opens, as if she's trying to speak.
                         What's wrong? What happened???
               She tries harder to form words, but can only produce a CROAK.
                         I'll... I'll call an ambulance...
          36                                                              36
               INT. THE HOUSE - KITCHEN - NIGHT
               Matthew runs into the kitchen grabbing A LARGE BOOK on one of
               the moving boxes. The Japanese equivalent of a YELLOW PAGES.
               He whips it open -- hardly a word of English in it.
                                       Revisions (Blue) -- 1/26/04     23.
          37   INT. THE HOUSE - LIVING ROOM - NIGHT                         37
               A stack of BOOKS sit on the very top of a tall bookshelf.
               Scissors and a roll of DUCT TAPE rest atop them.
               Matthew pushes everything aside to get at a JAPANESE/ENGLISH
               DICTIONARY underneath. The DUCT TAPE falls to the floor.
               He tears across the room to THE PHONE BASE -- but the
               cordless phone is missing.
          38   INT. THE HOUSE - FRONT ROOM - NIGHT                          38
               Matthew re-enters, out of breath. He sits next to Jennifer,
               who hasn't moved. Puts a hand on her chest to make sure
               she's still breathing. She is.
                         Jesus Christ...
               He looks through the dictionary, finding the word he needs:
                         `Ambulance'... "kyukyusha".
               Then he quickly rips open the Yellow Pages --
               -- seeing, in plain English, `EMERGENCY' on the first page.
               Below that: `FIRE/AMBULANCE -- DIAL 119'.
               He drops the book and reaches across the bed for a phone, on
               a table at the far side --
               -- THE BOY (TOSHIO) stands up, between Matthew and the phone.
               But he looks different from before: his skin is discolored,
               his lips and eyes are ringed and sullen.
                         Who are you? What -- what are you
                         doing here?
               Toshio makes a STRANGE SOUND. Looks at Jennifer, then turns
               to Matthew, SNARLING at him like a CAT.
               Matthew, shocked, falls backwards off the bed, hitting the
               table with the lamp. It drops to the ground --
                                          Revisions (Blue) -- 1/26/04     24.
               -- and TOSHIO'S SHADOW, cast by the fallen light, begins to
               STRETCH AND GROW across the ceiling. The shadow creeps over
               Jennifer, shifting and coming towards Matthew --
               -- Matthew grabs the lamp.    He reaches it, holding it up --
               At first, it looks like both Jennifer and Toshio have
               disappeared. But then --
               -- Jennifer, suddenly back on the bed, SITS UPRIGHT, jerkily,
               as if she's been yanked up and forward. Her mouth is wide
               and gasping --
               -- and then she falls back onto the bed.     Dead.
               Matthew, stunned, backs away from the bed, against the
               closet. Terrified, he doesn't notice --
               -- the THUD THUD sound growing around him.     Then --
               -- TOSHIO'S HEAD comes into frame behind him. Matthew hears
               a GROWLING SOUND and turns, seeing Toshio right there! --
          39                                                                   39
               INT. THE HOUSE - ENTRANCE - NIGHT
               The DOORBELL rings.   Then a few more times.
               SUSAN (American, late 20s) enters, with two bottles of wine.
               She kicks off her shoes.
                         You guys in the kitchen?
          40                                                                   40
               INT. THE HOUSE - KITCHEN - NIGHT
               Susan walks in, puts the wine on the table.     Looks around.
                             (calling out:)
                         I thought you guys were gonna cook!
               She goes into the BACK ROOM.    Sits next to Emma.
                         Hi, Mom.    How are you feeling?
               Emma turns to her with her usual vacant look.
                                 Revisions (Blue) -- 1/26/04      24A.
          There's a CREAK from above.   Susan looks up at the ceiling.
                                        Revisions (Blue) -- 1/26/04       25.
                         I guess I came at a bad time, huh?
          41   INT. THE HOUSE - ENTRANCE - NIGHT                            41
               Twisting a corkscrew into a wine bottle, Susan leans into the
               foyer, yelling upstairs:
                         I'll give you guys one minute to
                         finish whatever you're doing up
                         there and get your butts down here.
               As she heads back towards the kitchen, we CRANE UP to see --
               MATTHEW. He's walking down the second floor hall. He looks
               different: the expression on his face is troubled, occupied.
               And he's dragging his dead wife's body.   By the hair.
               He pulls her inside the REAR ROOM -- the doorway looks more
               imposing, more ominous, than before. It's dark and
               malevolent, the threshold to a secret that won't stay buried.
               We CRANE BACK DOWN to see Susan in the kitchen.   She's poured
               a glass of wine and sighs impatiently.
               She walks back down the hall into the foyer.
                         I mean it, guys.
               Silence from upstairs.   Shaking her head:
                         Well, I warned you. Prepare to be
                         emotionally scarred.
               She starts up the stairs and turns the first corner --
               -- MATTHEW is sitting there, hands on his knees, looking
               harried. Susan YELPS.
                         Matthew!   Don't scare me like that!
               He's shaking slightly.   His eyes drift up to hers.
                         What's going on?   Where's Jennifer?
                                     Revisions (Blue) -- 1/26/04      26.
                    She went out. Something came up.
                    I hope she's not long.    I'm
                    absolutely starving.
          Matthew looks back down at his feet.      Susan misreads:
                    I knew it. You guys forgot to go
                    shopping, didn't you?
          Matthew abruptly stands.    Looming over his sister.
                    I'm sorry.     This is a bad time.
                    Are you okay? What's going on?
                    You should go.
          He moves forward, right into her. His momentum pushes Susan
          back into the foyer. She holds onto his shirt:
                    Did something happen?    What's --
          Matthew's hands suddenly TIGHTEN ON HER SHOULDERS. His eyes
          grow wide, filled with anger, as he whispers fiercely --
                    She doesn't love me... she never
                    loved me...
          Susan watches as he repeats himself, over and over.      Growing
          scared, she finally SHAKES HIM.
                    What are you talking about?
          Matthew slowly looks up.    Malice on his face.
          He steps forward.   Susan backs away.
                    Stop it, Matthew.
                    Leave me alone.
                                       Revisions (Blue) -- 1/26/04        27.
                         Matthew, please --
                         GO AWAY!!!
               Susan fumbles with the front door. She gets it open and runs
               out just before Matthew reaches her.
               ON MATTHEW: he stands there, head tilted down, for a moment.
               Then he straightens. Slowly closes the front door.
               Matthew heads back upstairs. He reaches the second floor and
               opens the door to the rear bedroom.
               The room beyond is dark. But A DARK FIGURE is visible,
               standing in the far corner, facing Matthew.
               He steps inside, and the door slowly swings shut behind him.
          42                                                                42
               EXT. THE HOUSE - DAY
               It's an overcast afternoon.  Swollen clouds hang low over
               The House. It looks a bit more imposing than usual.
               THE MAILBOX is adorned with the Japanese equivalent of a "For
               Sale" sign -- weather-worn, and looks like it's been there
               for years.
               SUZUKI (30s, Japanese), a Real Estate agent, waits by the
               gate. Then he notices something. Waves, and smiles.
               It's SUSAN, approaching with MATTHEW, JENNIFER and EMMA.
               Susan shakes Suzuki's hand and they exchange a greeting in
               Japanese. She turns to her brother.
                         This is Suzuki-san, he's the Real
                         Estate broker.
               Suzuki bows at Matthew and Jennifer, says something.
                         What did he say?
                         He said: "welcome to Tokyo". And
                         that you must be very important to
                         your company for them to rent this
                         place for you.
                                        Revisions (Blue) -- 1/26/04        28.
               Matthew grins.   Susan rolls her eyes.
          43   INT. THE HOUSE - ENTRANCE - DAY                               43
               Everyone enters, checking the place out. Suzuki and Susan
               slip off their shoes. As Matthew steps into the foyer:
                         Your shoes.
                         Oh.    Right.
               He kneels down, untying his shoes.   Jennifer looks perplexed.
                         Even in our own house?
                         Even in your own house.
               Suzuki smiles as Matthew and Jennifer take off their shoes.
               Susan says something to him in Japanese and he laughs. They
               walk down the hall, and Matthew and Jennifer follow.
          44                                                                 44
               INT. THE HOUSE - LIVING ROOM - DAY
               Suzuki opens the blinds, letting some light into the place.
               It's not helping much -- it's still pretty dreary.
                         Isn't the layout great? Wait `till
                         you see the back room. It's
                         perfect for Mom -- she won't have
                         to deal with the stairs.
               Jennifer follows him through the room.   She doesn't look
               quite as enthusiastic.
               Matthew slides open the door leading to the TATAMI ROOM.
                         Her bed won't be here until next
                         week, but we can put the mattress
                         on the floor. What do you think?
               Jennifer warms a bit.   The wooden room is beautiful.
               Susan asks Suzuki a question in Japanese, and he responds.
                                         Revisions (Blue) -- 1/26/04    29.
                          He says no one has lived in this
                          house for three years.
                Susan asks Suzuki in Japanese.    He shrugs.
                              (trying his English:)
                Matthew suddenly realizes:
                          Where's Mom?
                We slowly CRANE UP to the SECOND FLOOR HALL, moving towards
                the REAR ROOM at the end. The door is ajar.
          44a                                                            44a
                Susan comes up the stairs, worried.
                          Mom?   Where are you?
          44b   INT. THE HOUSE - FRONT ROOM - DAY                        44b
                Susan looks inside -- Emma isn't there. She's about to leave
                when something catches her attention. She walks to
                THE CLOSET. The door is open. Susan kneels down, looking at
                something inside it. She picks it up --
                -- it's the CERAMIC CAT Karen found earlier. As Susan
                examines it, she notices something on the wall of the closet
                (which we don't see). Her face softens, and she smiles.
                                    MATTHEW (O.S.)
                          Did you get her?
                              (under her breath:)
                          Take a pill, will ya?
                Susan stands and walks out of the room. But we stay in the
                closet, PANNING TO REVEAL the closet wall. It's covered with
                BLACK CRAYON, low to the ground, the work of a child. The
                images are dozens of BLACK CATS.
                                       Revisions (Blue) -- 1/26/04      29A.
          45   INT. THE HOUSE - REAR ROOM - DAY                             45
               Emma stands in the dead center of the empty bedroom.
               Looking directly up at the ceiling.
               Susan enters, placing the ceramic cat on THE SHELF where
               Karen found it earlier. Except Susan faces it INTO THE ROOM.
                         C'mon, Mom. You know what the
                         doctor said about stairs.
               She takes Emma's hand, but the old woman doesn't move.
               Matthew and Jennifer enter, worried.
                         She okay?
                         Mom?   What is it?
               Everyone follows her gaze to the ceiling.   Only Emma has the
               unmistakable look of dread on her face.
               A long beat.
          46                                                                46
               INT. THE HOUSE - HALLWAY - DAY
               Suzuki walks from the kitchen into the hallway, giving the
               place one final look-over.
               He pauses by the open bathroom door.   Looks inside.
                                         Revisions (Blue) -- 1/26/04       30.
          47   INT. THE HOUSE - BATHROOM - DAY                                  47
               Suzuki enters, looking at THE TUB:    filled to the brim.
               After a moment, Suzuki kneels down next to the bathtub.     He
               pulls the thin CHAIN connected to the rubber stopper --
               -- but the end of the chain comes out of the water.      Hmmm.
               It's not connected after all.
               Suzuki eyes the plug at the bottom of the tub.
               Then he takes off his jacket.   Rolls up his shirt sleeve.
               And reaches into the water for the rubber stopper.
               It's just out of reach.
               He rolls up his sleeve a little more.   Reaches deeper --
               -- suddenly there's a BURST OF SOUND: a dull THUMPING,
               something THRASHING in water, the SCREAMING of a YOUNG BOY,
               voice MUFFLED by water --
               -- Suzuki recoils as water SPLASHES UP around him --
               -- he falls away from the tub in horror, landing on his butt.
               THE BATHTUB: Filled to the brim.     Still and silent.    Not so
               much as a ripple on the surface.
               That couldn't have just been his imagination, could it?
               As he slowly stands, he sees something out of the corner of
               his eye --
               -- a DEAD CAT, bloody and torn, in the corner of the room.
                                       Revisions (Blue) -- 1/26/04         30A.
                As Suzuki backs away from it, eyes widening in horror, he's
                startled by --
                MATTHEW, standing in the doorway.   Beaming at him.
                          It's perfect. We'll take it.
                Suzuki looks back to the corner.    There's no dead cat.
                A RINGING SOUND comes into focus -- the BEEPING of a phone,
                waiting for someone to pick up and make the connection...
          47a   OMITTED                                                      47a
                                         Revisions (Blue) -- 1/26/04     31.
          47b   OMITTED                                                   47b
          47c   OMITTED                                                   47c
          48    INT. OFFICE BUILDING - SUSAN'S FLOOR - NIGHT               48
                It's after-hours in this office space: CUBICLES fill the
                center, surrounded by glass-windowed OFFICES. The glittering
                lights of the Tokyo cityscape beyond show a hell of a view.
                One light still burns in an office towards the end --
                -- SUSAN'S OFFICE. She's working late. She wears a phone
                headset while she types lines of code into her computer.
                No one's answering.   A familiar answering machine picks up:
                                    MATTHEW & JENNIFER (ON MACHINE)
                          "Konnichiwa! Matt and Jennifer
                          aren't around, leave a message."
                                    SUSAN (INTO PHONE)
                          Hey, guys, it's Susan. Matt, are
                          you there? Pick up... Okay, well,
                          I'm leaving work now so you can try
                          my cell, or just call me at home
                She pauses.   Leans back, away from the keyboard.
                                    SUSAN (INTO PHONE)
                          I just wanted to make sure Mom is
                          okay. Yesterday was...
                                        Revisions (Blue) -- 1/26/04        32.
                                    SUSAN (INTO PHONE) (cont'd)
                          a bit weird, and -- I'm just a
                          little worried. Listen, just give
                          me a call when you can, okay?
                She hangs up, taking the headset off.   Concerned.
          49    INT. OFFICE BUILDING - 10TH FLOOR HALL - NIGHT               49
                Susan walks through the hallway. She hears a strange
                scraping sound -- it sounds as though something is being
                Susan turns around, but the hallway looks normal. Is it just
                her imagination?
                The sound starts again, coming closer. Susan gets scared and
                opens the door to the emergency stairwell beside her.
          49a                                                               49a
                INT. STAIRWELL - 10TH FLOOR - NIGHT
                The hallway is chilly -- Susan shivers. She's about to start
                walking down when she looks up, noticing THE LIGHTS at the
                top floor FLICKERING.
                A wind suddenly blows through the center of the stairwell
                with an eerie ROAR.
                Susan looks disconcerted as she starts walking down...
                Then we hear the SCRAPING SOUND again. Startled, Susan
                pauses and looks down, over the railing.
                There's nothing there -- but the sound continues, growing
                louder, like something is moving up towards her.
                              (calling out:)
                          Is anybody there?
                Just then, the lights on the top floor finally GO OUT.
                Susan's breath catches in her throat as she looks up --
                The lights on the next floor go out. And the next. The
                darkness above growing closer with each darkening floor.
                Susan nervously looks back down -- the SCRAPING is even
                closer. And then, for an instant, she sees A SKINNY PALE
                HAND on the railing two floors down.
                Terrified, Susan starts to back up -- but stops as she
                realizes that the darkness from above is almost upon her.
                                       Revisions (Blue) -- 1/26/04     32A.
                Then Susan sees A FINGERTIP of the hand at the corner of the
                floor where she stands, and A HEAD COVERED WITH BLACK HAIR
                slowly crawling up on the wall.
                Susan's mouth opens in a silent screen. With nowhere to
                escape, she opens the same door and rushes back into the
                hallway --
          49b   OMITTED                                                    49b
                                         Revisions (Blue) -- 1/26/04        33.
          49c    OMITTED                                                     49c
          49cc   INT. OFFICE BUILDING - 10TH FLOOR HALL - NIGHT             49cc
                 -- but her lucky RABBIT'S FOOT gets caught on the door latch.
                 Panicking, Susan struggles to free herself --
                 Through the crack, she sees the darkness continuing to come
                 down. The lights on Susan's floor FLICKER.
                 Susan looks up to see A PALE BOY on the landing to the higher
                 floor. The SAME BOY is also standing on the landing of each
                 floor above. They're all staring down at Susan.
                 Susan screams as she desperately tries to yank her chain
                 free... and then she sees THE PALE HAND clutching her
                 rabbit's foot!
                 The door shuts, and Susan falls backwards into the hallway.
                 She jumps to her feet and runs down the hall.
          50     OMITTED                                                      50
          51     OMITTED                                                      51
                                          Revisions (Blue) -- 1/26/04      34.
          52     OMITTED                                                      52
          52a    OMITTED                                                     52a
          53     INT. OFFICE BUILDING - SECURITY ROOM - NIGHT                 53
                 A cramped room. Susan stands in the doorway, animatedly
                 talking to a young SECURITY GUARD sitting at a desk lined
                 with VIDEO MONITORS. She's speaking rapidly, and shaking:
                                     SUSAN (IN JAPANESE)
                           In the stairs... there was...
                           something... a strange person...
                           all the lights were going out...
                 The Guard doesn't understand her -- in her panic, Susan's
                 MISPRONOUNCING HER WORDS, and she knows it.
                 Susan takes a breath, frustrated and frightened.
                               (pleading, in English)
                           Please. Help me.
                 The Guard stands, placing a reassuring hand on her shoulder.
                                     GUARD (IN JAPANESE)
                           I'll take a look. Wait here.
                 The Guard leaves.   Susan doesn't look thrilled to be alone.
          54     OMITTED                                                      54
          54a                                                                54a
          54aa                                                             54aa
          54ab   INT. 10TH FLOOR HALL - NIGHT                              54ab
                 Holding a flashlight, the Guard walks down the hallway,
                 checking the doors.
                                         Revisions (Blue) -- 1/26/04       35.
          54b   INT. OFFICE BUILDING - SECURITY ROOM - NIGHT                54b
                Susan takes a breath and sits down, trying to relax. It's
                obvious that she feels safer, here in the Security Room.
                Then she notices movement on one of the SECURITY MONITORS --
                ON THE SCREEN: -- the GUARD continues down the 10TH FLOOR
                HALL, stopping at the door to the stairwell.
                Susan leans toward the monitor for a better view.
                ON THE SCREEN: the Guard opens the stairwell door and leans
                inside, checking it out.
                ON SUSAN:   her eyes are glued to the screen.   Waiting.
                ON THE SCREEN: the Guard, finding nothing out of the
                ordinary, closes the door and continues on down the hall.
                SUSAN leans back, exhaling.    Relieved.
                Then the video CRACKLES with a sudden quick burst of static.
                And Susan GASPS, sitting upright, as she sees --
                ON THE SCREEN:   the stairwell door OPENS AGAIN.   And then --
                -- something DARK moves out of the stairwell, entering the
                ON SUSAN: she recoils from the screen in horror, unable to
                tear her gaze away. Her mouth opens in a silent scream, her
                eyes widening as she watches --
                -- and then she finds the strength to get to her feet.
          55                                                                 55
                Susan bursts out of the security room and runs through the
                empty lobby, towards the front doors.
          56    OMITTED                                                      56
          56a   EXT. OFFICE BUILDING - NIGHT                                56a
                Susan rushes out of the front doors and runs to the street.
                She frantically hails a cab and gets in.
                                       Revisions (Blue) -- 1/26/04     35A.
          56b   INT. TAXI - NIGHT                                        56b
                Susan presses herself in the corner of the back seat, purse
                clutched tightly in her white knuckles.
                                         Revisions (Blue) -- 1/26/04     36.
               A shifting wash of colors flood the taxi: the NEON LIGHTS of
               the surrounding buildings tower above, threatening to swallow
               her whole.
          57   INT. SUSAN'S BUILDING - NIGHT                                  57
               Susan rushes through the front doors, clutching her purse
               strap with both hands. Shaken, just wanting to get home.
               She runs to the elevator and jabs the button for her floor.
          58   INT. ELEVATOR - NIGHT                                          58
               Susan tries to regain her composure as the elevator rises.
               She closes her eyes and leans against the wall --
               -- not noticing A FAMILIAR PALE JAPANESE BOY looking at her
               through the window of every floor she passes --
               Toshio. He's standing CLOSER TO THE WINDOW with each floor.
               Until finally, he's RIGHT NEXT TO THE GLASS --
               The elevator stops at her floor:    no little boy this time.
          59   INT. HALLWAY - NIGHT                                           59
               Susan gets out of the elevator, moving quickly to her
               apartment at the end of the hall.
               She chances a look over her shoulder as she puts the key in
               her lock. Then she goes in and closes the door.
          60   INT. SUSAN'S APARTMENT - NIGHT                                 60
               Susan enters. She takes a long, deep breath. Safe at home.
               She sits at her kitchen table, laying her purse down.
               Her eyes go to the BROKEN CHAIN still hanging from the strap,
               with some rabbit's foot fur lodged in the links.
               Susan's home phone RINGS, and she jumps.    She stares at it
               for a moment, then tentatively answers:
                                      SUSAN (INTO PHONE)
                                      MATTHEW (PHONE)
                         It's me.
                                 Revisions (Blue) -- 1/26/04      36A.
          There's something strange about his voice:   it's oddly flat,
          without inflection.
                                         Revisions (Blue) -- 1/26/04    37.
                                    SUSAN (INTO PHONE)
                         Matthew!   Are you alright?
                                    MATTHEW (PHONE)
                         I'm downstairs. What number are
                         you again?
                                    SUSAN (INTO PHONE)
                         702.   I'll buzz you in.
               She presses a button on the phone, and is about to hang up --
               Almost immediately there's a LOUD KNOCK at her door. She
               gets to her feet, surprised. How did he get up so fast?
               Susan goes to the door and looks through the peephole.
               HER POV: Matthew's face, distorted by the fish-eye glass.
               He's looking into the peephole, with a sneer on his face.
               Susan opens the door.
                         I don't know what you're up to, but
                         this is not cool --
               She catches her breath.   THERE'S NO ONE THERE.
               Then the phone emits the THROATY CROAKING sound.   Quickly
               growing louder and LOUDER...
               Susan cries out and drops the phone. It BREAKS OPEN on the
               hallway floor as Susan slams her apartment door.
          61                                                                61
               Susan quickly draws the chain lock. Then she builds the
               courage to step forward, and look through the peephole --
               HER POV: the phone lies broken in the middle of the floor.
               Otherwise, the hallway is empty.
               Susan backs away from the door, shaking in fright.
               Breathing hard, she backs into --
                                          Revisions (Blue) -- 1/26/04         38.
          62    INT. SUSAN'S APARTMENT - BEDROOM - NIGHT                        62
                Susan enters, turning off her cell phone and unplugging the
                bedroom phone from the wall.
                Then she retreats to the safety of her bed, eyes on --
                THE APARTMENT DOOR, next to the kitchen.    Silence.
                Susan's breathing slows. But she looks around the room,
                still anxious -- it's too quiet in here. Her panic builds.
                But she's alone in the room, isn't she?
                As we MOVE IN on Susan, the room starts to become quieter.
                The SOUND OF TRAFFIC from outside, the HUMMING REFRIGERATOR
                in the kitchen... everything fades to a stifling silence.
                And Susan notices, all right.    Her breath, now suddenly loud,
                catches in her throat.
                A long moment of silence.   Then --
                -- DRIP.   DRIP.
                It's coming from the KITCHEN SINK.
                Susan stares at it.   She finally stands, and --
          62a                                                                  62a
                INT. SUSAN'S APARTMENT - NIGHT
                -- slowly walks into THE KITCHEN. She reaches out and turns
                the faucet handle. Tightens it. The dripping stops.
                Relieved, Susan turns away --
                -- DRIP.   DRIP.   It begins again.   Louder, more intense.
                Scared, Susan turns back to the sink. Water is now GUSHING
                OUT from the faucet, filling up a bowl in the sink.
                She slowly reaches out a hand and turns the faucet, as
                tightly as she can manage --
                -- tighter... tighter... straining with the effort..
                Until the water stops.   Only then does she let go --
                -- just then, a CHILD'S PALE HAND quietly rises to the
                surface from water in the bowl, and starts VIOLENTLY
                SPLASHING the surface.
                                       Revisions (Blue) -- 1/26/04        38A.
                Susan screams and runs back to her bedroom --
          62b   INT. SUSAN'S APARTMENT - BEDROOM - NIGHT                    62b
                She lies down, shivering, pulling the quilt to her chin.      A
                final retreat.
                          Please... stop it...
                The SPLASHING SOUNDS in the kitchen continue for a while.
                Then, it suddenly stops.
                Susan is so terrified that she almost faints.
                Then her breathing stops.   Her eyes widen.
                Her hand reaches up under her pillow, feeling around --
                -- and she comes out with HER LUCKY RABBIT'S FOOT.
                The one she left behind in the stairwell.
                Susan suddenly CRIES OUT, her head tilting back, her body
                abruptly going stiff. We soon see why:
                A LUMP begins to rise at the foot of the bed. A big one.
                Moving slowly up Susan's body. Reaching the edge of the
                quilt, which slowly rises --
                -- revealing a QUICK FLASH of the PALE FACE OF THE JAPANESE
                WOMAN WITH LONG DARK HAIR on top of her!
                Susan SCREAMS, and is abruptly pulled under the covers --
                                                              CUT TO BLACK.
                                         Revisions (Blue) -- 1/26/04      39.
          63   INT. THE HOUSE - LIVING ROOM - NIGHT                         63
               Dark and still.   Lying in wait.   Completely silent, except --
               -- someone's KNOCKING on the front door.
          64   INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT                64
               They're still KNOCKING.
          65   INT. THE HOUSE - ENTRANCE - NIGHT                            65
               Apparently, whoever's KNOCKING isn't going to give up --
               -- the DOOR HANDLE jiggles.   But it's locked.
          66                                                                66
               EXT. THE HOUSE - KITCHEN - NIGHT
               Karen's CELL PHONE lays on the table in the foreground.
               Beyond is the hallway, and the front door.
                                         Revisions (Blue) -- 1/26/04       40.
               The knocking has stopped.    Silence.
               Then Karen's cell phone suddenly LIGHTS UP, ringing.
               It rings four times, then goes to voice mail.
          67   INT. THE HOUSE - BATHROOM - NIGHT                              67
               A new SOUND breaks the silence: movement outside. Crunching
               footsteps on gravel, someone brushing past tree limbs.
               A SHADOW falls over the window.   A face looks inside --
               -- it's ALEX, Karen's boss. He walks away from the window
               and continues down the side of the house --
               -- we TRACK down the hallway, past the bathroom, through the
               kitchen, following his progress into --
               THE BACK ROOM: Alex is visible through the sliding door
               leading to the back porch. He peers inside.
               HIS POV: A FIGURE covered head-to-toe in a white sheet lies
               on the mattress. Unmoving.
               Alex tries the sliding door -- it's open.     He steps inside.
               Silence greets him.   He stares down at the figure in the bed.
               Alex licks his lips, nervous.   Finally walks to the mattress,
               kneeling down next to it.
               Raises a hand and grabs the sheet.      Raises it over the head --
               -- it's Emma. As we last saw her, eyes on the ceiling, mouth
               and eyes wide open in fear.
               But now it's clear, from the tache noire in the eyes, the
               blanched skin, the rigidity of her body: she's dead.
               Alex falls back onto his butt, staring at Emma.     He pulls
               himself away from the corpse --
               -- and freezes.    There's something right behind him.
               He whirls around --
               -- it's KAREN.    In the corner, looking pale and dazed.
                                        Revisions (Blue) -- 1/26/04       41.
          68   EXT. THE HOUSE - NIGHT                                       68
               Two POLICE CARS and an AMBULANCE are parked out front.
               An UNMARKED CAR pulls up, and DETECTIVE NAKAGAWA (40s) exits
               the passenger side. He looks up at The House with dread.
               The driver, DETECTIVE IGARASHI (30s), moves next to him.
                                   IGARASHI (IN JAPANESE)
                         I can handle this myself, you know.
                         It's just a routine call. I don't
                         know why you wanted to come.
               He turns to Nakagawa, awaiting a response. He doesn't get
               one. Nakagawa just stares up at The House.
          69                                                                69
               INT. THE HOUSE - LATER
               The house feels completely different: all the interior
               lights are on, a few POLICE OFFICERS mill about, two EMTs
               wheel EMMA'S BODY out the front door on a gurney.
               Alex sits at the kitchen table, frazzled.   He turns to --
               -- KAREN. She's sitting in the living room, wrapped in a
               blanket, being attended to by a FEMALE NURSE and speaking
               with Nakagawa and Igarashi, who is taking notes on a pad.
               Karen says something and the Detective looks over at Alex.
               Then he speaks to the Nurse, who helps Karen to her feet.
               Nakagawa and Igarashi enter the kitchen.    In perfect English:
                         I am Detective Nakagawa. This is
                         Detective Igarashi, my assistant.
                         Is Karen okay?
                                    Revisions (Blue) -- 1/26/04      42.
                    She is very shaken. We would like
                    her to stay in the hospital
                    tonight, under evaluation.
          He hands Alex a wedding picture of MATTHEW AND JENNIFER.
                    Do you know these people?
                    Matthew Williams, and his wife
                    Jennifer. He's Emma's son, the
                    woman Karen came here to see.
                    When was the last time you saw him?
                    I met them when they came to
                    register. It's standard procedure,
                    though the visits were arranged by
                    his employer. He works at --
                    We've spoken with his employer.   He
                    did not show up for work today.
          Something about this gives Alex pause. Nakagawa speaks
          briefly to Igarashi in Japanese, then hands Alex a card.
                    If you could please come by
                    tomorrow to make a statement, the
                    address is there, at the bottom --
                    I'm sorry?
                    Karen was a substitute -- Yoko is
                    the girl who is normally in charge
                    of Emma. She's also been missing
                    from work.
                    For how long?
                                Revisions (Blue) -- 1/26/04     42aA.
                    For the last two days.
          Nakagawa and Igarashi exchange a look.
                    I think I saw her bike outside.
          Nakagawa heads for the front door as Igarashi continues to
          interview Alex.
                                        Revisions (Blue) -- 1/26/04   42A.
          70   EXT. THE HOUSE - NIGHT                                     70
               Nakagawa stands outside by the front gate, looking at --
                                        Revisions (Blue) -- 1/26/04       43.
               -- YOKO'S BICYCLE.   He looks down at it, frowning.
               Then he suddenly cocks his head.    As if sensing something.
               He turns to look up at A WINDOW ON THE SECOND FLOOR.
               It's empty.
          71   INT. THE HOUSE - LIVING ROOM - NIGHT                           71
               Igarashi stands by the ANSWERING MACHINE.    The message
               counter reads `1'. He presses PLAY.
               SUSAN'S MESSAGE replays, and he listens carefully. As it
               ends, he turns to see NAKAGAWA standing in the doorway.
                                   IGARASHI (IN JAPANESE)
                         That's Matthew's sister.
               He shows Nakagawa a PHOTO of Matthew and Susan, brother and
               sister, grinning at the camera.
                                   IGARASHI (IN JAPANESE)
                         This must be her.
               The look on Nakagawa's face is grave.
                                   NAKAGAWA (IN JAPANESE)
                         Call her at work, then at home. If
                         no one answers, send someone to --
               He trails off, looking down at --
               -- the PHONE BASE.   The cordless phone is missing.
               Nakagawa reaches down, pressing the `LOCATE' button.
               A distant BEEPING SOUND can be heard.
               Everyone in the room stops what they're doing.    They listen.
          72                                                                  72
               INT. THE HOUSE - ENTRANCE - NIGHT
               Nakagawa and Igarashi enter from the hallway, followed by
               their men. They look up to the second floor.
               The BEEPING is definitely coming from upstairs.
                                        Revisions (Blue) -- 1/26/04          44.
          73   INT. THE HOUSE - REAR ROOM - NIGHT                              73
               Nakagawa and Igarashi come upstairs, their men following
               close behind.
               They pause in the hallway for a moment. Then Nakagawa walks
               into the rear room (Matthew's office). The BEEPING is close.
               He stands there, in the center of the room, listening.
               Then he looks up, at the ceiling.    Everyone follows suit.
               Nakagawa turns to the CLOSED CLOSET DOORS.
          74   INT. CLOSET - NIGHT                                             74
               He quickly pulls open the door.   The closet is empty.
               Nakagawa looks up, peering into the darkness.
               HIS POV:   the ATTIC PANEL yawns wide open.
               And right next to it are FOUR LONG GROOVES in the ceiling.
               As if something was dragged across it, right to the edge.
               Something like fingernails.
               Nakagawa leans out, looking at Igarashi.
                                    NAKAGAWA (IN JAPANESE)
                          I need your flashlight.
          75                                                                   75
               INT. ATTIC - NIGHT
               A shaft of light from the flashlight through the open attic
               access cuts through the thick darkness.
               Nakagawa appears, pulling himself up into the attic.     He
               swings his flashlight slowly around the room.
               Igarashi comes up next to Nakagawa just as the Detective's
               flashlight stops on something.
               A beat as they exchange an uneasy look.
               Then Nakagawa and Igarashi crawl through the darkness towards
               the far corner of the space.
               Two bodies are tucked into the corner.    MATTHEW AND JENNIFER.
                                        Revisions (Blue) -- 1/26/04     45.
                                   IGARASHI (IN JAPANESE)
               Nakagawa sits in front of the bodies, examining them.
                                   IGARASHI (IN JAPANESE)
                         What the hell... what is going on?
               Nakagawa sees the beeping CORDLESS PHONE a few feet away.
               SOMETHING next to it attracts Nakagawa's interest. We can't
               see what it is, but there's some DEEP RED in it, and
               something very WHITE --
                                   IGARASHI (IN JAPANESE)
                         What is that?
               -- Nakagawa's eyes widen as he realizes what he's looking at.
          76                                                                 76
               EXT. THE HOUSE - NIGHT
               The POLICE CARS outside have attracted a small crowd.   The
               TWO BODIES are being loaded into a POLICE VAN.
               Nakagawa stands with THE CORONER. The CORONER'S ASSISTANT,
               wearing a face mask and rubber gloves, approaches. He holds
               something small, wrapped in a bloody white sheet.
               The Coroner slowly unfolds the sheet. We can't see what he's
               looking at -- but it elicits quite a reaction.
                                   CORONER (IN JAPANESE)
                         Who does this belong to?
                                   NAKAGAWA   (IN JAPANESE)
                         We don't know.
               The Coroner quickly re-covers the object.
                                   CORONER (IN JAPANESE)
                         I can use the blood to help
                         identify the person.
               As the Coroner and his assistant walk away:
                                   NAKAGAWA (IN JAPANESE)
                         Is it possible that someone could
                         live without... that?
               The Coroner turns back, his face pale.
                       Revisions (Blue) -- 1/26/04   45A.
                    CORONER (IN JAPANESE)
          I certainly hope not.
                                          Revisions (Blue) -- 1/26/04       46.
                Nakagawa turns away to see Igarashi approaching, talking into
                a cell phone. He looks disturbed. As he hangs up:
                                    IGARASHI (IN JAPANESE)
                          Someone just reported another
                          death. It's not in our district...
                          but I think we should check it out.
                Nakagawa realizes something's troubling his partner.
                                       NAKAGAWA (IN JAPANESE)
                                    IGARASHI (IN JAPANESE)
                          The cause of death is not clear...
                          but it is the man who sold them
                          this house.
          77                                                                     77
                EXT. TOKYO STREET - DAY
                CLOSE ON the spinning wheels of a bicycle.      A familiar one.
                The pedals are being pumped by a beautiful young Japanese
                woman -- this is YOKO (early 20s).
                Yoko turns, riding down a small side street.      It ends, and
                she rounds a corner stopping in front of --
          77a   EXT. THE HOUSE - DAY                                         77a
                Yoko opens the gate and walks her bike to the front door,
                leaning it against the wall nearby (exactly where we saw
                Matthew bump into it earlier).
                She rings the door buzzer. Waits. She seems to have
                expected this: she pulls a KEY from her pocket, with a
                plastic LABEL on it.
          78                                                                     78
                INT. THE HOUSE - ENTRANCE - DAY
                Yoko steps inside. She instinctively slips off her shoes.
                She calls out, in decent English:
                          Hi, excuse me?
                There's a small ENVELOPE with YOKO'S NAME resting on a small
                table by the door. She takes it, opens it.
                                 Revisions (Blue) -- 1/26/04         46A.
          THE LETTER says, simply:   "Out for a walk, back later."
                                        Revisions (Blue) -- 1/26/04       47.
                         Emma?   It's Yoko.   I'm coming in.
          79   INT. THE HOUSE - LIVING ROOM - DAY                           79
               The house is the least "moved-into" that we've seen so far:
               although the main furniture is in place, MOVING BOXES are
               stacked in every room, in various stages of unpacking.
               But there's also an unusual amount of mess in the house -- a
               disarray, much like the opening sequence, that isn't exactly
               related to moving in.
               Yoko surveys the room, dismayed by the mess.
               Then she sees EMMA at the far end of the living room, her
               back to Yoko. She's looking down at something in her hands.
                         Hi, Emma.    It's good to see you
               Emma turns. Looks blankly at Yoko, who approaches.
               Realizing the woman doesn't remember her:
                         My name is Yoko.
               The old woman still gives no sign of recognition.   Yoko
               gently takes her arm.
                         You should be in bed --
               Then she sees what Emma was looking at: the roll of DUCT
               TAPE. She's cut her finger on the serrated cutting blade.
                                   YOKO (IN JAPANESE)
                         You shouldn't be playing with this!
               Shaking her head, Yoko takes the duct tape and looks around
               for a place where Emma can't get at it --
               -- she puts the tape ON THE STACK OF BOOKS at the top of the
               bookshelf, next to the scissors (where Matthew found them).
          80                                                                80
          81   OMITTED                                                      81
                                        Revisions (Blue) -- 1/26/04        48.
          81a   INT. THE HOUSE - ENTRANCE - DAY                              81a
                From the entrance, we see Yoko come out of the kitchen
                holding a tray with a teapot and cup.
                She walks into the BACK ROOM, looking down at Emma's bed.
                The old woman must be asleep: Yoko gently lays down the
                tray, quietly steps out of the room and slides the door shut.
                Then Yoko moves through the LIVING ROOM to the PHONE BASE --
                -- she picks up THE CORDLESS, finally where it belongs.
                Yoko dials a number as she walks into THE ENTRANCE HALL.     She
                begins a conversation (in Japanese) as she looks at the
                scattered rubbish on the ground, shaking her head.
                She climbs up to the SECOND FLOOR, pausing to kneel and pick
                up some pieces of crumpled paper, chatting all the while.
                THUD. THUD. Yoko pauses, turning towards the open door to
                the front room. The rhythmic THUMPING continues.
          82    OMITTED                                                       82
          83    OMITTED                                                       83
          84    INT. THE HOUSE - FRONT ROOM - DAY                             84
                The room is a mess. The bed is unmade, clothes are strewn on
                the floor. Looks like a storm swept through it.
                Yoko stands in the doorway, listening for the THUMPING
                sounds. But they've stopped.
                She finishes her call and hangs up. Sighs. She sticks the
                cordless phone into her pocket and starts to clean the room.
                As Yoko straightens the bedspread, she hears something.
                Pauses. And we hear it too --
                -- a familiar THROATY CROAKING SOUND.   Quiet and muffled.
                                         Revisions (Blue) -- 1/26/04         49.
                 Yoko, a bit unnerved by the strange sound, pulls a small MP3
                 player and headphones from her pocket. She puts them on, and
                 goes back to work.
          84aa   INT. THE HOUSE - SECOND FLOOR HALLWAY - DAY                 84aa
                 Yoko backs into the hallway, humming along to the music.
                 Preoccupied, she doesn't notice as --
                 The DOOR TO THE REAR ROOM, at the end of the dark hall behind
                 her, SLOWLY SWINGS OPEN.
                 Yoko turns and walks down the hall towards it.
          84a    INT. THE HOUSE - REAR ROOM - DAY                             84a
                 Yoko enters the room, which is also a mess. The MOVING BOXES
                 are tumbled about the small room. She sighs.
                 Then she notices the CERAMIC CAT on the shelf, FACING HER
                 (where Susan left it).   Apparently she's not a big fan of
                 felines: she uneasily turns it to FACE THE WALL instead.
                 Yoko turns back to the room, staring to stack the moving
                 boxes (the way we saw them before). As she does --
                 -- she pauses again. The music in her headphones starts
                 PHASING, digital noise creeping in...
                 Yoko takes off the headphones.   Stares at them.
                 And then there's another CROAKING SOUND.   From close by.
                 Yoko draws a breath, quickly looking up --
                 -- AT THE CEILING, directly above her.   That's where the
                 horrible sound is coming from.
                 Freaked out, Yoko backs away, and opens the bedroom door --
          85                                                                   85
                 -- the hallway is COMPLETELY DARK. An unnatural blackness.
                 The skylights above, which were previously filled with
                 sunlight, are now completely opaque.
                 Yoko stands in the doorway, scared, afraid to step into the
                 darkness. Then she looks down --
                                      Revisions (Blue) -- 1/26/04         49A.
               HER POV: the murky blackness of the hall seems to be slowly
               CREEPING IN, phantomlike, around the edges of the door.
          86   INT. THE HOUSE - REAR ROOM - DAY                              86
               Yoko stumbles back into the room.   Her eyes fixed on --
               -- THE DOORWAY: the creeping darkness is now coming in
               around all sides, not just the bottom.
               Yoko backs up to the bed, still clutching the CORDLESS PHONE.
               She looks back at the door, suddenly CRYING OUT --
                                        Revisions (Blue) -- 1/26/04         50.
               -- A BLACK CAT sits in the doorway. Tail wrapped around
               itself, sitting perfectly still, like a statue. Staring at
               Yoko with its yellow eyes. Something unnatural about it.
               Yoko backs away towards the closet.   Nowhere to go.
               The cat suddenly HISSES AT HER --
               -- and that's all Yoko can take.    In a panic, she opens the
               closet door, ducks inside.
          87   INT. CLOSET - DAY                                              87
               Yoko slams the door shut, pulling herself up onto a raised
               shelf. Breathing hard, looking down at --
               -- the crack under the door.   The light is beginning to dim.
               Yoko presses back into the closet, trapped.
               The closet is starting to get dark.   Quickly.
               Yoko looks around desperately.   Looking up, she sees --
               -- THE ATTIC PANEL above her is wide open.
               Caught between a rock and a hard place.   Yoko decides:
               She shakily stands on the shelf and reaches up to pull
               herself into the attic.
          88                                                                  88
               INT. ATTIC - DAY
               Yoko's head appears. Then her shoulders.     She looks around,
               but can't see a thing in the darkness.
               She's about to pull herself all the way up --
               -- when she hears the THROATY CROAKING SOUND.
               Coming from the darkness.
               Yoko stiffens, her breath catching in her throat.
               ANOTHER POV: we're at the far end of the attic, suddenly and
               rapidly RACING FORWARD TOWARDS YOKO...
               ON YOKO:   something brushes her face.   Long, black hair.
               There's a head, just inches from hers.    Almost nose-to-nose.
                                         Revisions (Blue) -- 1/26/04      51.
               Yoko is paralyzed with fear, eyes wide.   A long beat.
               Then she reaches into her pocket, pulling out a LIGHTER.
               Yoko raises it and flicks the wheel --
               -- we get a glimpse of a PALE FACE, surrounded by long black
               hair, eyes wide and mouth open, the THROATY SOUND suddenly
               increasing in pitch and volume --
               -- as the face moves forward --
                                                             CUT TO BLACK.
          89   INT. HOSPITAL ROOM - NIGHT                                    89
               Karen slowly wakes up in bed.    As her eyes clear, she sees --
               DOUG. He sits on the edge of the bed, slightly slumped, his
               back to her.
               He slowly turns -- and a relieved smile crosses his face.     He
               moves closer, and reaches out a hand.
                         It's okay.     I've got you.
               Karen nods, lacing her fingers in his. But her eyes are
               glazed and unfocused -- she's exhausted.
                         Your boss told me what happened.
                         I'm sorry.
               She turns away, the memory bothering her.    Doug takes her
               hand, massaging her fingers, worried.
                         I talked to your teachers. They
                         said you can take as much time as
                         you need. We could go to Kyoto for
                         a weekend, see those temples you're
                         always talking about.
               Karen tries to smile back, but her heart's not in it.
                         Running away won't help.
                      Revisions (Blue) -- 1/26/04   51aA.
          There's nothing to run away from,
          Kat. No one blames you for what
                                 Revisions (Blue) -- 1/26/04     51A.
                    I'm not even sure what did happen.
                    You went to help someone who was,
                    quite simply, beyond help.
                    No, that's not what I mean...
          She trails off, trying to remember.   Doug waits.
                    That house. There was something...
          Doug sees her frustration, and tenderly brushes a hair from
          her face.
                    Don't beat yourself up searching
                    for a greater truth, Kat. An old
                    woman passed away in her sleep.
                    It's sad, but that's all it is --
                    Is that how they said she died?
                    I'm sorry this happened to you.
                    But maybe, in a way, it will help
                    you later. Death is an unfortunate
                    but integral part of your future
                    career. There's no avoiding it.
                    Maybe now you'll be more... ready
                    for it.
                    I don't think I'll ever be ready
                    for something like that.
          She turns away. Doug wraps an arm around her.   Karen leans
          into him, and he strokes her hair.
                                   Revisions (Blue) -- 1/26/04     52.
          The moment is broken by a soft KNOCK. Detective Nakagawa
          stands in the doorway, holding a thick FILE.
                    I'm sorry to disturb you, Miss
                    Davies. I was wondering if you
                    could answer some additional
          Doug stands, intercepting Nakagawa.   He sticks out a hand.
                    I'm Doug.    Karen's boyfriend.
          Nakagawa nods. Fixes Doug with a blank stare.   Taking the
          hint, Doug turns to Karen.
                    You up for this?
                    Why don't you find out when I can
                    check out of here.
                                  Revisions (Blue) -- 1/26/04     53.
          Reluctantly, Doug kisses her brow, then exits. Nakagawa
          pulls a chair up to the bed and sits, putting the file on a
          small table.
                    How are you feeling?
                    Okay.   Tired.
                    You are an exchange student?
                        (Karen nods:)
                    And you have been volunteering at
                    the Health Center for...?
                    Three months. I needed a social
                    welfare credit.
                    You said this was the first time
                    you'd been in that house?
          She notices Nakagawa isn't taking notes. He seems somewhat
          uncomfortable, as if he's building to something:
                    About the Japanese boy you said you
                    saw there --
                    Did you find him?
                    No, not yet. You said the boy had
                    been taped into the closet?
                    Yes, that's right. He was...
                    holding a cat. A black cat.
                    There was a book in the closet,
                    too. I think it was a journal.
                    Did it belong to the boy?
                     Revisions (Blue) -- 1/26/04   53aA.
          I don't think so. I think it
          belonged to a woman.
                                  Revisions (Blue) -- 1/26/04   53A.
          Nakagawa looks up.   Karen tries to explain:
                    The writing. It looked feminine.
                                   Revisions (Blue) -- 1/26/04    54.
                    I left it on the kitchen table.
          Nakagawa frowns, scribbles a note.
                    I didn't see any book on the table.
                    Perhaps someone moved it. Did you
                    speak with the boy after you opened
                    the closet?
          She thinks, recalling:
                    I asked him his name.   He said
          Nakagawa immediately tenses. A long beat. He can see how
          exhausted Karen is. But something's troubling him:
                    One more question, please.
          He slowly reaches into his pocket and pulls out THE PHOTO
          Karen found, and taped together. He shows it to her.
                    We found this in the room where...
          Karen looks at the picture.
                    This is him. This is the boy.
                    Are you certain?
                    Yes.   Positive.
          Nakagawa stares down at the picture in his hands.
          And Karen notices -- Nakagawa's hands are shaking.
                    Detective Nakagawa?
          He looks up at her, a faraway look in his eyes.
                    The whole time I was in that house,
                    I felt something was... wrong.
                                 Revisions (Blue) -- 1/26/04     54A.
          From the expression on Nakagawa's face, she's onto something.
                    What happened there?
          Nakagawa holds Karen's gaze for a moment. Even in her
          exhausted state, it's clear -- she's as frightened as he is.
                                         Revisions (Blue) -- 1/26/04      55.
                         The bodies of the son and daughter-
                         in-law of the woman you were caring
                         for were found in the attic.
               Karen just stares at him, stunned.
                         It seems that the son killed his
                         wife, and then himself --
               There's a KNOCK on the door. Igarashi stands in the doorway.
               He speaks to Nakagawa in Japanese.
                             (to Karen)
                         Please excuse me for a moment.
               Nakagawa puts the photo down and steps into the hallway and
               closes the door, but not all the way. Karen watches and
               listens through the crack:
          90                                                                90
               INT. HOSPIAL - HALLWAY - NIGHT
               IN THE HALLWAY:   the men speak with hushed voices.
                                   IGARASHI (IN JAPANESE)
                         We checked the apartment of Susan,
                         the sister. She wasn't there...
               He trails off, hesitating.
                                     NAKAGAWA (IN JAPANESE)
                                   IGARASHI (IN JAPANESE)
                         The chain lock had been drawn from
                         the inside. And the deadbolt. But
                         we found no one in the apartment.
               Nakagawa takes this in.
                                   NAKAGAWA (IN JAPANESE)
                         Get the surveillance tapes from the
                         office building.
               Igarashi nods.    But doesn't move.   After a moment, quietly:
                                   IGARASHI (IN JAPANESE)
                         They were the first family to live
                         in that house since the incident
                         three years ago --
                                        Revisions (Blue) -- 1/26/04        56.
               Nakagawa's harsh look silences him. Then the Detective
               turns, noticing KAREN watching them. He pulls the door shut.
          91   INT. HOSPITAL ROOM - NIGHT                                      91
               Nakagawa's stern voice is muffled by the closed door.    Karen
               sits back in bed, disturbed.
               Then her attention turns to THE FILE on the table.
               She considers.   Then reaches for it.   Opens it.
               It's a POLICE REPORT, in Japanese.
               Karen scans it, and turns the page.     She draws a breath --
               -- it's a photo of THE HOUSE. Cordoned off with police tape.
               An ambulance out front. Like the scene she just left...
               ...only the picture is dated three years ago.
               THREE DETECTIVES are visible beyond the open front door,
               conferring in the entryway.
               The photo of the house is attached to a POLICE REPORT, with
               THREE PICTURES. A stern-looking Japanese man (TAKEO), a
               somber woman (KAYAKO), and a YOUNG BOY we know very well --
               Karen makes the connection. She picks up the taped-up photo
               and compares it to the file... the boy and his father are the
               same as in the newspaper.
               Karen gently touches the "missing" face of KAYAKO -- then her
               eyes move to the picture of THE BOY.
               Her eyes widen as she reads THE JAPANESE TEXT under his face:
          92                                                                   92
               The place is quiet, completely deserted.    Except for --
               -- Alex. He's behind his desk in the reception area, staring
               off into space. Alex finally glances up at a clock -- it's
               almost ten o'clock.
               He gets up, turns off his computer, switches off the lights,
               and walks around the reception desk towards --
                                    Revisions (Blue) -- 1/26/04     57.
          THE FRONT DOORS. He hits a final light switch and is almost
          to the exit, when --
          -- he suddenly SLIPS. Almost falls.    Saves himself by
          throwing a hand up against the wall.
          He looks down.    What the hell did he slip on?
          A pool of liquid. Right by the front doors, where the ladder
          stood earlier. It's too dark to make out what the fluid is.
          Alex looks down at HIS HAND -- it's covered in the liquid.
          And there's a dark HANDPRINT where he grabbed the wall.
          HIS POV: a trail of FOOTPRINTS lead from the pool of liquid,
          around the base of the stairs.
          His eyes on his dirtied hand, Alex slowly reaches for the
          nearby light switch. The overheads come on --
          -- the liquid is deep red.   Blood.
          Alex looks across the room. Shaking, he starts to walk
          forward, following the footsteps.
          He pauses at the bottom of the stairs, seeing --
          -- the BLOOD TRAIL has stopped.   Right by the bottom step.
          Alex looks up the staircase.   No blood.
          After a moment, Alex starts to walk up.    As he reaches the
          first landing --
          He freezes.   Sensing something behind him.   He turns to see --
          YOKO. Head lowered, clothing is torn and bloody. She's
          slowly climbing up the steps, but she's MOVING JERKILY, like
          a marionette, her limbs making a strange CREAKING as if
          tendons and muscles are being pushed to their limits.
          And there's BLOOD DRIPPING DOWN, splattering on her shoes.
          She keeps moving, straining, climbing... towards him.
                                        Revisions (Blue) -- 1/26/04       58.
                          What... What happened, Yoko?
               Now she finally stops, two steps away.    A long beat.
                          Say something, please...
               Yoko slowly raises her head towards him --
               -- the lower half of her face is missing. Her jawbone has
               been ripped out, her tongue hanging limply on her chest.
               Alex stumbles backwards... and his foot lands right in a
               puddle of blood. His legs fly out from under him and he
               HIS POV: everything goes blurry, and canted 90 degrees.       But
               it looks like there's A FIGURE standing in the hallway,
               watching the scene...
               ...a small boy holding a black cat...
               Dazed, Alex plants a hand on the ground and pulls himself
               into a seating position --
               -- and coming face-to-face with YOKO, kneeling down directly
               in front of him. Her bloody tongue dripping, lolling...
               ON ALEX:   eyes wide, he opens his mouth to scream --
                                                              HARD CUT TO:
          93   INT. POLICE STATION - NAKAGAWA'S OFFICE - DAWN                93
               Nakagawa sits at the desk. Exhausted, dark circles under his
               eyes, he's staring down at --
               THE FILE on his desk.   As if he's afraid to even open it.
               But he does. He flips through the photos, pausing on that of
               TOSHIO, but continuing on to THE BLACK AND WHITE PHOTO of The
               House from three years ago (the one Karen saw), with the
               THREE DETECTIVES.
               Nakagawa turns to a FRAMED PICTURE on his desk -- it's
               They're off-duty, grinning at the camera. Buddies.
               The two photographs share THE SAME THREE DETECTIVES.
                                         Revisions (Blue) -- 1/26/04      59.
               As Nakagawa looks at the crime scene photo, he realizes
               something. He slowly stands, in shock, trembling.
               The phone RINGS, startling him.
               Nakagawa walks over, picks up the phone.
                                      NAKAGAWA (IN JAPANESE)
               He listens.
               His face goes blank.    He slowly lowers the phone.
          94   OMITTED                                                      94
          95   OMITTED                                                      95
          96   OMITTED                                                      96
          97                                                                97
          98   OMITTED                                                      98
          99   INT. MORGUE - DAY                                            99
               The CORONER sits on a stool, staring at the floor. TWO
               BODIES lie under bloody white sheets on two STEEL TABLES.
               Between them is a small cart -- a bloody cloth on top.
               Nakagawa and Igarashi enter. The Coroner stands, nervous.
               He walks to one of the tables and pulls back the sheet.
                                   NAKAGAWA (IN JAPANESE)
                         Have you determined a cause of
                                   CORONER (IN JAPANESE)
                         Not yet. The blood on his body --
                         isn't his. It belongs to her.
               He points to the other table.    But doesn't look at it.
                                     Revisions (Blue) -- 1/26/04     60.
                                 NAKAGAWA (IN JAPANESE)
                       I don't understand. He killed
                       Yoko, before he died?
          The Coroner shakes his head. Nakagawa looks to Igarashi,
          then walks up to the second body, pulling back the sheet.
          IT'S YOKO.    Still missing her jawbone.
          Nakagawa and Igarashi stare down at her in disbelief.
          The Coroner walks to the small table, removing the cloth.
          Yoko's JAWBONE is underneath it.
                                 CORONER (IN JAPANESE)
                       The jawbone you found in the attic
                       yesterday with the American couple
                       belongs to this girl. I estimate
                       it was -- removed -- from her body
                       two or three days ago.
                                 IGARASHI (IN JAPANESE)
                       But I thought you said her body was
                       found with this man, tonight.
          The Coroner nods.    Eyes on his shoes.
                                 NAKAGAWA (IN JAPANESE)
                       Then how did she get from the house
                       to the Health Center?                                
          The Coroner, lost in his imagination, answers quietly:
                                 CORONER (IN JAPANESE)
                       I have no idea.
          A beat.   Nakagawa walks to the jawbone.   Stares at it.
                                 NAKAGAWA (IN JAPANESE)
                       She survived for two days without
                                 CORONER (IN JAPANESE)
                       It would seem so.
                                 NAKAGAWA (IN JAPANESE)
                       How is that possible?
          The Coroner looks up at him, his face pale.
                                 CORONER (IN JAPANESE)
                       I don't believe it is.
                                            Revisions (Blue) -- 1/26/04       61.
          100    INT. HOSPITAL ROOM - DAY                                         100
                 Doug sits on the bed, next to a DRESSING CURTAIN. Karen's
                 silhouette is visible behind it, pulling on her clothes.
                 He watches the curtain for a beat, concerned.     Then:
                           I got us a guidebook to Kyoto. I
                           thought maybe we'd leave tomorrow --
                 The curtain suddenly SLIDES BACK.    Karen, dressed, stares at
                 him. She looks angry.
                           Why didn't you tell me?
                           Tell you what?
                           About the bodies they found in the
                           You were recovering from a shock.
                           I didn't want to --
                 Karen turns away, picking up her backpack and slinging it.
                 She walks past him, disappointed, and leaves the room.
                           Karen -- wait --
                 He quickly grabs his coat and bag.
          100a                                                                100a
                 INT. HOSPITAL HALLWAY - DAY
                 Karen paces down the hall towards a RECEPTION AREA.       Doug
                 catches up with her, turning her towards him.
                           Look, I'm sorry. I was just
                           worried about you, and -- I know
                           you, Karen.
                 Karen turns to him.   A sober look on her face.
                                  Revisions (Blue) -- 1/26/04   61A.
                    The same thing happened three years
                    ago, Doug. To a Japanese family,
                    who lived in that house. They were
                    all found dead.
          Doug studies her for a moment.
                    So you think the events are
                    How would you explain it?
          She watches Doug as he thinks.   Carefully.
                    Okay. How about this: the
                    American family knew about what had
                    happened there before, and this
                    knowledge subconsciously caused
                    them to repeat the same events.
          Karen gives Doug a skeptical look.
                    It's exactly how superstitions
                    survive: if you walk under a
                    ladder and think uh-oh, you're in
                    for some bad luck, sure enough,
                    what do you know? You trip over --
                        (heard it before:)
                    -- trip over the curb and sprain
                    your ankle.
                    Makes sense, right?
          Karen stops walking.   Considering something.
                                  Revisions (Blue) -- 1/26/04   61B.
                    Okay. Then explain this: when I
                    went to that house, I didn't know
                    anything about its past. But yet I
                    still saw...
          She hesitates, realizing she's said too much.
                    Saw what?    Karen?
                    Emma and I were alone in that room,
                    but -- there was something else
                    there. I'm sure of it.
                    You watched a woman die, Kat.
                    That's a horrible thing to
                    experience. I can't imagine how
                    you must feel. But sometimes the
                    mind tries to cope with terrible
                    things in a way that distorts what
                    actually occurred.
          Karen's eyes never leave his.   Softly, but firmly:
                    You might be right, Doug. But I
                    know what I saw.
                        (then, faltering:)
                    I think I know what I saw...
          After a moment, Doug pulls her into a hug.
                    You just need to rest. We'll get
                    you home, get a good night's sleep.
          But her eyes speak differently. She covers it well, stepping
          back and glancing over at the reception desk:
                    You've got class, and I'm sure I
                    only have to fill out a few forms
                    or something --
                    You sure?
                                Revisions (Blue) -- 1/26/04        61BA.
                    I'm fine, Doug. Really.
          He kisses her, then exits. He pauses at the front doors to
          give her a little wave. She smiles... but the smile droops
          as soon as he's out of sight.
          After a moment, she turns and walks to the front desk.
                                                       DISSOLVE TO:
                                    Revisions (Blue) -- 1/26/04      61C-63.
          101   OMITTED                                                    101
          102   OMITTED                                                    102
          103   INT. KAREN'S APARTMENT - LIVING ROOM - NIGHT               103
                Karen sits at her computer desk.   She looks exhausted.
                Online, Karen pulls up the home page for The Japan Times, an
                English-language newspaper.
                She types Toshio's full name into a SEARCH window.
                A LIST of links appear, filling the screen. Karen scans
                them. Tries one. It's not what she's looking for.
                She re-enters Toshio's name along with a year -- `2001'.
                Only ONE LINK appears.   The word `MURDERED' in the headline.
                                         Revisions (Blue) -- 1/26/04      64.
                Karen clicks it.   The article fills the screen.
                As Karen reads it, we catch glimpses of names -- `Toshio',
                `Kayako', `Takeo'. And an ominous phrase: "MURDER/SUICIDE".
                Karen clicks a link marked `IMAGE'. A scanned picture of the
                newspaper appears -- the article is on the front page, with
                familiar photos of Toshio, Kayako and Takeo.
                But then Karen's eyes drift to another picture at the bottom
                of the page --
                -- PETER. She quickly recognizes him from the picture she
                found in the journal. His name is printed below the photo.
                A picture of Peter and Maria's CONDO BUILDING is next to it.
                She looks at the headline:   "AMERICAN ENGLISH TEACHER THROWS
                SELF FROM BUILDING".
                Karen scans the article, thinking.   Then she looks up at --
                -- TOSHIO'S PICTURE.
                                                                DISSOLVE TO:
          104                                                              104
                Nakagawa is looking at the same picture, in his file.
                OFFICER #1 appears in the hall.   Knocks gently on the door.
                                     OFFICER #1 (IN JAPANESE)
                           This just came in. It's the
                           surveillance video you requested.
                It takes a moment for Nakagawa to snap out of it.
                He finally nods, takes the tape. He opens the envelope and
                looks at the cassette. Like he doesn't want to watch it.
                Then he turns to a TV/VCR combo and inserts the tape.
                ON THE SCREEN: the 10TH FLOOR HALLWAY from Susan's office
                building, and the door leading to the stairwell.
                A beat.   The image FLICKERS for a moment.
                Then the door suddenly bursts open and Susan, terrified, runs
                from the stairwell and down the hall.
                ON NAKAGAWA:   he fast-forwards the video.   Until --
                                         Revisions (Blue) -- 1/26/04       65.
                ON SCREEN: -- the SECURITY GUARD appears in the hallway.        As
                Susan saw earlier, he opens the door to the stairwell and
                looks inside. Then he closes the door and continues o.s.
                ON NAKAGAWA:   he reaches forward to turn off the video --
                ON SCREEN:   -- but then the video CRACKLES with a quick burst
                of static.   And the door to the stairwell opens again.
                ON NAKAGAWA: he's watching, entranced, terrified.      He can
                hardly believe what he's seeing --
                the shape of a woman with long hair --
                -- but the figure is BLURRY AND SHIFTING, as if the black
                shadow has loosely compacted itself into the form of a human.
                NAKAGAWA watches, breathless, as THE FIGURE slowly enters the
                hallway, passing by, underneath the camera.
                The image stops flickering.    An empty hallway now.   A beat.
                Nakagawa, his hand shaking, reaches forward, about to turn
                off the television set, when --
                DARKNESS SUDDENLY OVERTAKES THE SCREEN, rising up from the
                bottom until everything is dark. A strange HUMMING RATTLE
                comes from the speakers, and the image JITTERS madly.
                Nakagawa leans forward, right up to the screen, trying to
                make out an image in the swirling blackness --
                Two eyes open, staring at Nakagawa.
                Terrified, Nakagawa stands and turns away, closing his eyes.
                And when he finds the strength to look back --
                -- THE EYES are still there.
                Locked onto him, even though he's moved.
                Unflinching.   Unblinking.
          105                                                                105
                EXT. THE HOUSE - NIGHT
                Nakagawa stands at the front door.    Gathering his courage.
                                           Revisions (Blue) -- 1/26/04       66.
                 He opens the door.   Nothing but yawning darkness inside.
                 Nakagawa picks up TWO HEAVY OBJECTS, one in each hand, and,
                 ducking under the police tape, enters the house.
          106    INT. THE HOUSE - ENTRANCE - NIGHT                            106
                 Nakagawa puts the two heavy objects by the front door and
                 closes it. Now we can see what they are --
                 -- GASOLINE CANS.    Two gallons each.   Full.
                 Nakagawa catches his breath. Then he reaches for the lid of
                 one of the cans, starting to unscrew it. His hands are
                 shaking, and the gasoline SPLASHES AROUND inside --
                 -- but then there's ANOTHER SPLASHING SOUND.     From nearby.
                 Nakagawa freezes.    The splashing continues.    His eyes go to --
                 THE BATHROOM DOOR. It's closed. The SPLASHING is coming
                 from inside, accompanied by a series of THUDS. The sounds of
                 a small child, STRUGGLING...
                 Nakagawa fearfully reaches for the door handle --
          106a                                                               106a
                 INT. THE HOUSE - BATHROOM - NIGHT
                 Nakagawa's eyes widen as the door swings open.     He sees --
                 A YOUNG BOY kneeling by the edge of the tub, overflowing with
                 water. His head hangs below the surface.
                 Nakagawa immediately drops to the boy, lifting his lifeless
                 head from the water. It's TOSHIO. He's dead. Drowned.
                 Before Nakagawa can understand what's happening, the boy's
                 eyes SUDDENLY OPEN, fixing on Nakagawa --
                 -- and then a PALE HAND grabs Nakagawa's head from behind and
                 roughly pushes it into the water, holding him under.
                 Nakagawa's LEGS flail and kick as he struggles, his SCREAMING
                 muffled by the water. But finally, his legs become still.
          107                                                                 107
          108    OMITTED                                                      108
                           Revisions (Blue) -- 1/26/04   67.
          109    OMITTED                                  109
          109a   OMITTED                                 109a
                                         Revisions (Blue) -- 1/26/04      68.
          110    INT. KAREN'S APARTMENT - LIVING AREA - DAY                110
                 THE WALL by Karen's computer desk is now covered with WEBPAGE
                 PRINT-OUTS: NEWSPAPER CLIPPINGS of TOSHIO and his parents,
                 KAYAKO and TAKEO; MATTHEW and JENNIFER; PETER; and
                 DETECTIVES NAKAGAWA and IGARASHI, plus reports on THE EARLIER
                 In the center of it all is a picture of The House.
                 ON THE DESK is a PRINT-OUT: the newspaper article about
                 Peter's death, with the photo of his CONDO. Below the photo,
                 Karen has written the number `224'.
                 We hear the sound of RUNNING WATER -- it's the shower.   We
                 drift away from the desk and towards the bathroom...
          110a   OMITTED                                                  110a
                                        Revisions (Blue) -- 1/26/04        68A.
          110b   OMITTED                                                    110b
          111    INT. KAREN'S APARTMENT - BATHROOM - DAY                     111
                 Karen is in the shower. She stands there, glassy-eyed, as
                 the water runs over her. She's looking at --
                 -- HER REFLECTION in the mirror. It fogs up, obscuring the
                 view. This snaps Karen out of her trance.
                 She rinses her hair and squeezes some shampoo into her hand.
                 Starts a nice lather.
                 FROM BEHIND: Karen works the shampoo into her scalp.   But,
                 as she does, we see something...
                 ... A PALE HAND BURIED UNDER HER HAIR, as if someone is
                 behind her, with a hand on her head.
                 Karen's fingers brush the hand.   She CRIES OUT and turns --
                 -- there's no one there.   She's alone.
                                        Revisions (Blue) -- 1/26/04     69.
          112   OMITTED                                                    112
          113   OMITTED                                                    113
          114   INT. KAREN'S APARTMENT - LIVING AREA - DAY                 114
                There's the sound of the front door UNLOCKING and Doug
                enters, carrying a bag. He closes the door behind him and
                walks in, turning the corner --
                -- finding Karen, looking a bit dazed, standing right there.
                He's startled, but quickly recovers:
                          I come bearing gifts.
                Karen smiles weakly. She takes the bag and enters the
                kitchen. He watches her go, worried. Then he notices --
                HER DESK. Doug walks over, looking at the printouts she's
                taped to the wall. And the photo of The House in the center.
                Bewildered, he sits down, leaning forward and taking a good
                look. His eyes stop on the picture of TOSHIO.
                Doug turns to see Karen staring at him from the kitchen.
                It's an awkward moment: he's concerned, but doesn't know
                what to say. And neither does Karen.
                Finally she approaches, looking at Toshio's picture:
                                  Revisions (Blue) -- 1/26/04      69A.
                     That's the boy who was there
                     yesterday. In that house. But
                     this boy, he's --
          Her voice trembles, her fear showing through.
                     -- he's supposed to be dead.
          A beat.   Karen's eyes plead with Doug.
                     I saw him, Doug. I talked to him.
                     He told me his name. A boy who was
                     killed by his father three years
                     ago told me his name.
          Doug looks away, shaking his head.
                     You don't believe me.
                     How can I believe you, Karen?
          Karen's face darkens.   Before she can retort --
          -- the phone RINGS. As Karen walks across the room to answer
          it, Doug starts reading the newspaper article.
                               KAREN (INTO PHONE)
          She listens.   Her face slowly drops.
                         (almost a whisper:)
          She numbly lowers the phone.   Doug turns to her, seeing that
          something's very wrong.
          Snapping to life, Karen walks to the desk, picking up the
          photo of Peter and Maria's condo and a map of Tokyo.
          Doug puts a hand on her shoulder.    She finally looks at him.
                     Alex and Yoko are dead.
          Doug, surprised, doesn't know what to say.   Karen doesn't
          give him a chance to figure it out:
                                Revisions (Blue) -- 1/26/04        69AA.
                    There's something wrong with that
                    house, Doug. Something really bad.
                        (re: Peter's photo)
                    The boy in that house, he had a
                    photo of this man. He died on that
                    same day three years ago. I need
                    to talk to his wife... widow. If I
                    can find out what happened, or
                    if... maybe --
                    Maybe, what?
          Karen pulls away, making for the door.   Doug follows.
                    I'm concerned about you going out
                    while you're so upset --
                    You don't understand.   I have to,
                    Because I've been inside that
                    house, Doug. Don't you get it?
                    I've been inside!
                                 Revisions (Blue) -- 1/26/04     69B.
          A beat. We see the resolve come over Karen's face.   She
          reaches out and touches Doug tenderly.
                    I love you. But I have to go.
          She leaves.
          Doug, troubled, turns back to the desk.
          He looks up at the wall, tracing a finger over the photo of
          The House. Beneath it, is the address...
                                      Revisions (Blue) -- 1/26/04     70-72.
          115   EXT. CONDO BUILDING - DAY                                 115
                The same building from the newspaper clipping.   Monolithic
                against a cloudy, bleak sky.
                Karen stands before it, staring up at it.
                Then she walks to the intercom and looks at the directory,
                finds `M. Kirk'. She activates the intercom and dials the
                number. It rings a few times, and then a voice picks up:
                                      MARIA (INTERCOM, IN JAPANESE)
                          I'm looking for Maria Kirk?
                                    MARIA (INTERCOM)
                          Who is this?
                          My name is Karen Davies. I'm a
                          student at -- I'm sorry to bother
                          you, but I was wondering if I could
                          ask you a few questions.
                A long beat.   Karen stares at the intercom.
                          Ms. Kirk?
                                    MARIA (INTERCOM)
                          Questions about what?
                          I'm here because... I need to speak
                          with you about your husband.
                When Maria's voice comes back through the intercom, she
                sounds different, shaken:
                                    MARIA (INTERCOM)
                          Leave me alone.
                          Maria --
                                      MARIA (INTERCOM)
                Karen stands there for a moment.   Then, as she walks away --
                                  Revisions (Blue) -- 1/26/04        72A.
          CLICK.   The electronic door lock disengages behind her.
                           Revisions (Blue) -- 1/26/04   73.
          115a   OMITTED                                 115a
          115b   OMITTED                                 115b
                                          Revisions (Blue) -- 1/26/04       74.
          116    OMITTED                                                     116
          116a   INT. PETER & MARIA'S APARTMENT - DAY                       116a
                 The front door opens. MARIA (early 30s) has changed from
                 when we first saw her -- she wears a revealing outfit, and
                 her natural beauty now smolders beneath the surface.
                 She regards Karen warily.
                           I'm late for work.
                           I just need a couple minutes.
                 Maria finally steps aside, letting Karen in.
                 The APARTMENT is small, and completely unkempt.    The kitchen
                 is a mess, clothes lie everywhere.
                           Make yourself at home.
                 Karen looks for a place to sit.    She decides to stand.
                 Maria sizes her up.   A beat.   Then:
                           Your husband, Peter.    Three years
                           ago he...
                 She trails off, in delicate territory.
                           He what?
                           He killed himself.
                 Maria eyes her blankly. Then she turns to look at something
                 o.s. Karen follows her gaze --
                 -- to the open door of THE BEDROOM.     And THE WINDOW beyond.
                                   Revisions (Blue) -- 1/26/04        74A.
                        (almost ashamed:)
                    I'm... sorry.
          Maria turns back to her, sadness on her face.   Then:
                    Thank you.
          Maria reaches for a pack of cigarettes.   Lights one.   Offers
          them to Karen. She shakes her head.
                    How did you know Peter?
                    I didn't.
                    Then what are you doing here?
                    I think there's a connection
                    between your husband's death and
                    something that happened to me.
                    What happened to you?
                    It's... hard to explain.
          Maria takes a drag from her cigarette.    Waiting.
                    Look, I know this sounds strange,
                    but... I don't think your husband
                    wanted to die.
                    Then why would he throw himself out
                    a window?
          Karen struggles to find the answer.
                    Let me guess: `hard to explain'?
          Karen nods.   Maria's brave face slips.   She turns away.
                                   Revisions (Blue) -- 1/26/04    74B.
                    I put all this behind me. I don't
                    want to open it back up again.
                    If that's true, then why are you
                    still here in Japan?
          Maria turns back.   She only looks defensive for a moment.
                    Because I can't leave. I tried.
                    But I couldn't. Not without...
          Maria speaks softly, forming words she's never spoken aloud:
                    He usually didn't wake up before
                    me. But that morning, he did. He
                    made coffee for us. Then he sat
                    there and waited for me to wake up.
                    And when I did, he looked me right
                    in the eye. And then he jumped.
                    The night before we'd been talking
                    about having children together...
          She wipes away the tears in her eyes.
                    Did you know a woman named Kayako?
                    Did Peter?
                    I don't think so.
          Maria turns away, growing tense.
                    Maybe it was someone he worked
                    Look. I've had the police up here,
                    I talked with Detectives, I even
                    hired a P.I.--
                        (composing herself:)
                                 Revisions (Blue) -- 1/26/04     74C.
                              MARIA (cont'd)
                    I don't know what you're going
                    through, or what you think you know
                    about my husband. But I don't have
                    any answers. I'm sorry.
          She turns back to Karen -- to find the young woman sitting
          slumped on the edge of a sofa, tears in her eyes.
          Maria softens as Karen looks up at her, pleading:
                    Please. I don't know what else to
                    do. Please help me.
                                      Revisions (Blue) -- 1/26/04     75-77.
          117    INT. CLOSET - DAY                                           117
                 Maria reaches up to a high shelf. She moves a few things
                 aside to get to TWO SHOEBOXES buried towards the rear.
          118    OMITTED                                                     118
          118a   INT. PETER & MARIA'S APARTMENT - DAY                      118a
                 Maria re-enters the room, laying the shoeboxes on a table.
                           This is all his stuff from school.
                 She stares at the boxes, afraid to open them. Karen sits
                 down and gently removes the lid of one of them.
                 THE BOX contains stacks of PHOTOGRAPHS and notes. Karen
                 removes a pile of photos and starts looking through it.
                 After a moment, Maria sits down next to her. She opens the
                 other box and pulls out another stack of photos.
                 She looks at the first one, sadness crossing her face.
                           This was our first date.
                 She shows Karen THE TOP PHOTO: a "self-portrait" of Peter
                 and Maria in a park lined with blooming cherry trees.
                 The pain returns, and she puts the picture away.
                 Karen works through her own pile: she's looking at pictures
                 of Peter from his University days.
                 Her eyes widen as she sees --
                 Kayako. She looks young and alive... but yet somehow sullen
                 and withdrawn, as if she feels she doesn't belong there.
                 She's with a group of fellow students. PETER is in the
                 group, although he and Kayako aren't next to one another.
                 Karen turns to the next picture -- it's a graduation party.
                 Kayako is in this one too: standing to the side, watching
                 PETER AND MARIA as they give a goofy grin to the camera.
                                  Revisions (Blue) -- 1/26/04      77A.
          As Karen flips through them, a definite pattern emerges --
          -- Kayako is in practically every picture.
          And in most, she's not smiling at the camera.    Rather, she's
          staring at Peter.
                        (under her breath:)
                    Oh my God.
                    What?   Did you find something?
          We move to THE GROUP PHOTO. Peter with Maria, surrounded by
          classmates. Kayako off to the side, her eyes on Peter.
                                                          DISSOLVE TO:
                                        Revisions (Blue) -- 1/26/04        78.
          119   INT. COLLEGE - PETER'S OFFICE - DAY (THREE YEARS AGO)       119
                The same GROUP PHOTO is in a frame on Peter's desk.
                Peter stands behind the desk, using a small mirror to knot
                his tie. His open door reads: `DEPARTMENT OF ENGLISH'.
                A CO-WORKER (20s, Japanese) enters with a stack of mail.
                          Happy Monday.
                          Yeah, right. Here's your mail.
                He hands it to Peter. On the top is a small BLUE ENVELOPE.
                The name in the return address is `Kayako'.
                                          Revisions (Blue) -- 1/26/04       79.
                           Another one, huh?
                 Peter shakes his head, looking distastefully at the letter.
                           I don't even know her. She says I
                           used to tutor her, but I don't know
                           who the hell she is.
                 The co-worker shrugs and leaves.    Disturbed, Peter fingers
                 the blue envelope.
                 His eyes go to one of his desk drawers.    He slides it open.
                 More BLUE ENVELOPES are inside.    All from `KAYAKO'.
                 Peter's face darkens.   He dumps the letters into a trash can.
          120                                                                120
                 EXT. THE HOUSE - DAY
                 Peter stands in front of The House.
                 He glances down at the BLUE ENVELOPE in his hand. He stuffs
                 it in his pocket, unsure about what he's going to do.
                 Then he opens the gate and goes in, walking to the front
                 door. Knocks. Silence from inside. He rings the bell.
                 Waits. No one comes. He's about to leave --
                 But then he hears something from around the side of the
                 house. It sounded like a muffled SPLASH of water.
          120a   EXT. THE HOUSE - SIDE - DAY                                120a
                 Peter peers around the side of the house, a narrow walkway
                 lined with bushes and trees. It's quiet.
                                      PETER (IN JAPANESE)
                           Hello?   Excuse me?
                 After a moment, Peter decides to check it out. As he steps
                 around a bush, he suddenly stops, surprised to see --
                 PETER'S POV: two ARMS hang from a window at the side of the
                 house. They look disembodied, mottled and bruised.
                                 Revisions (Blue) -- 1/26/04      79A.
          It takes Peter a moment to recover.   He slowly walks over.
                                        Revisions (Blue) -- 1/26/04      80.
                A familiar BOY is inside -- it's TOSHIO. His glazed and
                staring eyes don't seem to notice Peter, standing right in
                front of him.
                                     PETER (IN JAPANESE)
                No reaction. There's definitely something wrong with this
                boy. Peter looks beyond him, into the dark house.
                                    PETER (IN JAPANESE)
                          My name is Peter. I'm here to see
                          your mother. Is she home?
                The boy slowly straightens. His eyes focus on Peter. Then
                he FALLS BACKWARDS. Startled, Peter tries to see inside:
                                     PETER (IN JAPANESE)
                          Hey!   Are you okay??? Hello???
                Peter quickly goes back to the front door.   Tries the handle -
                - it's unlocked. He opens the door.
          121                                                              121
                INT. THE HOUSE - ENTRANCE - DAY
                Peter steps inside, unsure about entering uninvited.
                                    PETER (IN JAPANESE)
                              (calling out)
                          Hello? Excuse me. I'm coming in.
                His concern for the boy wins out. He kicks off his shoes,
                and quickly walks to the open bathroom door.
          122                                                              122
          123   INT. THE HOUSE - BATHROOM - DAY                            123
                Peter enters, finding Toshio lying on the floor. He must
                have been standing on the edge of a TUB by the window.
                                           Revisions (Blue) -- 1/26/04        81.
                                    PETER (IN JAPANESE)
                          Are you alright?
                As Peter helps the boy to his feet, he glances at the
                bathtub. It's filled, literally to the brim, with water.
          124   INT. THE HOUSE - LIVING ROOM - DAY                             124
                Peter holds Toshio's hand as he leads him back to a couch in
                the living room.
                                    PETER (IN JAPANESE)
                          Are you alone? Where are your
                The boy sits in the couch, slumped over, still looking dazed.
                Peter studies him, looking at the ugly BRUISES on his arms
                and legs. There's also a big one around his neck.
                                    PETER (IN JAPANESE)
                          What happened to you?
                Peter reaches out to lift Toshio's chin, but he FLINCHES,
                pulling backwards. His eyes manage to focus on Peter.
                Then the boy looks away.    Lowers his head.   A long beat.
                Peter's worried. This really doesn't look good.     He scans
                the messy room, eyes falling on something.
                He reaches down and picks up PIECES OF A PHOTOGRAPH, lying
                next to a broken frame -- they've been crumpled into a ball.
                ON THE PHOTO: Peter unfolds the pieces and rearranges them.
                We've seen this picture before --
                -- a FAMILY PORTRAIT. TOSHIO, holding a cute BLACK CAT.
                Standing with his mother and father -- KAYAKO and TAKEO.
                They're all beaming at the camera, a perfect, happy family.
                Except that the mother's face has been torn out.
                Then there's a muffled MEOW.    Peter looks over at the window.
                Did that come from outside?
                Another MEOW.   Peter walks to the window, looking out.
                FROM OUTSIDE, LOOKING IN: a worried look crosses Peter's
                face as the MEOW becomes more of a GROWL, as if in warning.
                He looks outside, but can't see anything --
                                        Revisions (Blue) -- 1/26/04        82.
                -- but we see, over Peter's shoulder, that TOSHIO is now
                LOOKING DIRECTLY AT HIM, eyes wide --
                -- the MEOWING emitting from his wide open mouth --
          125   INT. POLICE STATION - DAY                                   125
                Karen enters quickly, going up to the front desk.
                OFFICER #2, filling out paperwork, doesn't look up.
                                    KAREN (IN JAPANESE)
                          Excuse me, I need to speak with
                          Detective Nakagawa.
                Officer #2 looks up at her.   Blankly.
                                    KAREN (IN JAPANESE)
                          It's an emergency.
                                    OFFICER #2 (IN JAPANESE)
                          One moment.
                Officer #2 walks to the end of the desk, where two more
                OFFICERS speak in hushed tones with DETECTIVE AOKI.
                Officer #2 interrupts their conversation. And they all look
                over at Karen. A beat. Then Detective Aoki approaches.
                                    AOKI (IN ENGLISH)
                          You are asking for Detective
                          Yes, I have important information
                          for him about a case...
                She looks around. Everyone is watching her. The mood is
                decidedly grim. She can tell something's up.
                          Detective Nakagawa is not here
                          right now. Can you tell me what
                          case this is regarding?
                There's something behind the Detective's words.
                          His partner, Detective Igarashi?
                          Can I speak with him?
                                          Revisions (Blue) -- 1/26/04      83.
                Aoki exchanges a look with the officers.
                          Can you tell me your name, please?
                Karen looks at the somber faces in the quiet station.     She
                backs away from the desk as the realization sinks in.
                          They're dead, aren't they?
                Karen turns and runs for the exit.
                          Miss, wait please --
                But she's long gone.
          126                                                               126
                INT. KAREN'S APARTMENT - NIGHT
                A reading light on the computer desk provides the only
                illumination in the dark apartment.
                Karen enters, standing in the doorway for a moment.     Shell-
                shocked. As she slides off her coat:
                                 Revisions (Blue) -- 1/26/04    83A.
          No answer. She slowly walks to the bedroom and looks inside.
          He's not there. This seems to worsen Karen's mood.
                                     Revisions (Blue) -- 1/26/04       84.
          Karen looks down at a NOTEPAD. She's written THREE JAPANESE
          NAMES. The detectives in charge of the case three years ago.
          They all have red lines drawn through them.
          Then we PAN UP to see that these are the last names on a
          longer list. We recognize the other names: MATTHEW,
          IGARASHI. Everyone who's been in The House.
          Everyone who died.   All the names have been CROSSED OUT --
          -- except `Nakagawa' and `Igarashi'.    Karen picks up a red
          pen and draws a line through them.
          Then we see one final name at the bottom:
          `Me.'   Now the only one not crossed out.   The only one left.
          Karen puts down her pen.    Then she looks up at --
          -- THE WALL, where's she's taped all the pictures and
          articles in a circle.
          Karen realizes something.    She reaches for the lamp, and
          turns it closer --
          -- the picture in the middle of the "spider's web" is gone.
          The photo of The House.
          Karen draws a breath. Then, out of the corner of her eye,
          she sees something she hadn't noticed before --
          -- a faint red FLASHING from a small table by the kitchen.
          She slowly stands. Walks over to it. The flashing red light
          is barely visible on her face, as she looks down at --
          -- HER ANSWERING MACHINE.    The message light is blinking.
          `1 MESSAGE'.
          She reaches out a shaky finger and presses `PLAY'.
                               DOUG (ON MACHINE)
                     "Hey, Karen. It's me. I just
                     wanted to say -- I'm sorry. I know
                     I wasn't hearing you.
                                           Revisions (Blue) -- 1/26/04         85.
                                      DOUG (ON MACHINE) (cont'd)
                            If all this is real to you, then
                            it's important to me, and I'm gonna
                            check that house out. So just sit
                            tight, I won't be long. I love
                  Karen presses the STOP button.
                  She stands there for a moment, in the near-darkness.
                  Then, softly:
          126a    EXT. KAREN'S APARTMENT BUILDING - NIGHT                      126a
                  Karen runs outside, struggling to pull on her coat.    She
                  races down the sidewalk at top speed.
          126b                                                                 126b
                  EXT. THE HOUSE - NIGHT
                  Doug stands at the gate, lighting a cigarette, looking down
                  at the POLICE TAPE sealing the entrance. He pockets his
                  Zippo and ducks under the tape, walking up to --
                  THE FRONT DOOR. Doug tries the handle, and the door swings
                  open. He stands on the porch, looking into the dark place.
          126bb   EXT. STREET - NIGHT                                      126bb
                  Karen runs down the steps from the train, racing into the
                  SHOPPING DISTRICT.
          126c    INT. THE HOUSE - ENTRANCE - NIGHT                            126c
                  Doug steps inside, trying the light switch. Nothing happens.
                  But he smiles, shaking his head, completely unafraid.
                  As he takes a step forward his foot bumps THE GAS CANS, still
                  sitting by the front door.
                  He's confused -- and then he gets a good idea.   He tosses his
                  cigarette outside and closes the front door.
                                        Revisions (Blue) -- 1/26/04     85A.
          126d   INT. THE HOUSE - LIVING ROOM - NIGHT                    126d
                 Doug walks through the living room, glancing inside the small
                 KITCHEN, then he slides open the door to the TATAMI ROOM.
                 He winces as his eyes meet the STAINED MATTRESS.
          126e   INT. THE HOUSE - ENTRANCE - NIGHT                       126e
                 Doug re-enters the entryway, looking back up to the second
                 floor. He starts up.
                                          Revisions (Blue) -- 1/26/04     86.
          126f   INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT            126f
                 Doug walks to the FRONT ROOM door and opens it. He leans
                 inside, trying to let his eyes adjust to the dark.
                 Then he walks down the hall to the REAR ROOM.   Does the same.
                 Nothing but darkness beyond.
                 Doug closes the door and turns away from it, wondering why
                 he's here, what he's looking for.
                 He reaches into his pocket and pulls out his cell phone.
                 Speed-dials Karen's number. As he raises it to his ear --
                 -- he doesn't notice the door to the rear room SLOWLY
                 SWINGING OPEN BEHIND HIM --
          127                                                               127
                 EXT. THE HOUSE - NIGHT
                 Karen runs towards us, breathless, stopping as she reaches --
                 -- THE HOUSE.   Looming over her.    Waiting.
                 She only hesitates a moment before running inside.
          128    INT. THE HOUSE - NIGHT                                     128
                 Karen enters, calling out:
                           Doug!   Where are you???
                 A MUFFLED SOUND from upstairs.    A voice.
                 Karen immediately runs up the stairs to --
                 THE SECOND FLOOR. Before she reaches the top of the stairs,
                 Karen suddenly realizes:
                 THE VOICE she's hearing isn't Doug's.
                                     VOICE (O.S.)
                           Hey, Maria, it's me. Yeah, I'm
                           still at school...
                 Karen slowly looks up to see --
                                         Revisions (Blue) -- 1/26/04        87.
                -- PETER. She recognizes him immediately.    He's standing in
                the hallway, talking on his cell phone.
                                    PETER (INTO PHONE)
                          ...I know, I'm sorry -- these staff
                          meetings always run over -- maybe
                          another ten minutes or so -- okay,
                          I'll be home soon -- I love you
                He hangs up.   Leans against the wall.   Looking into --
                THE FRONT BEDROOM. Karen gasps as she sees TOSHIO through
                the open door. He's sitting on the ground, making drawings
                of BLACK CATS. This is his bedroom.
                              (under his breath)
                          Guess your mom's late, huh?
                Then Toshio suddenly looks up.   Right at Karen.
                Following Toshio's gaze, Peter quickly turns to face Karen.
                But even though she's right there, he doesn't see her:
                She's seeing something that happened three years ago.
                As if sensing her presence, Peter walks right to the edge of
                the stairs, looking down. Then:
                A RUSTLING SOUND comes from the dark hallway. Peter turns
                towards the REAR BEDROOM at the end of the hall.
          129                                                                129
                Peter stands in the doorway, looking into the MASTER BEDROOM
                of Toshio's parents. His attention is drawn to something
                near the door --
                -- a DESK. It's got a computer, some files.     Someone's
                personal work space.
                Peter steps to the desk. He picks up A STACK OF PHOTOGRAPHS.
                Family pictures: with father (TAKEO), mother (KAYAKO), and
                son (TOSHIO), holding his black CAT.
                KAYAKO'S FACE has been torn out of every one.
                Peter notices something underneath the pile of photos -- a
                familiar JOURNAL. The same one Karen found in the closet.
                He opens it.
                                   Revisions (Blue) -- 1/26/04        88.
          HIS POV: it's a journal Kayako kept. As Peter flips through
          it, KAYAKO'S VOICE speaks the words...
          ...and even though it's mostly Japanese, there's one word we
          recognize, that she's written repeatedly --
          -- "Peter". It's been written over and over, in both English
          and Japanese, as if she couldn't get enough of seeing it.
          Past the early pages Karen saw, THE WRITING becomes more
          manic, the delicate script becoming a frantic scrawl,
          KAYAKO'S VOICE becomes more desperate and pleading.
          Taped on the final page is A PHOTO: PETER with a group of
          his University friends, at a party. Kayako has scribbled
          hearts around his head, and SCRATCHED OUT the other faces.
          A bloody THUMBPRINT distorts Peter's face.   It's still wet.
          Peter slams the book shut and drops it. As he does, a
          PHOTOGRAPH falls out from inside, landing right-side up.
          THE PHOTO is of PETER at a college party, talking with MARIA.
          It's clear they're having a great time with one another...
          ...but the photo is TORN IN HALF, splitting Maria's face.
          And KAYAKO is visible between them, sadly and stoically
          watching Peter, strands of hair falling down her face.
          Peter and Karen both reach to pick up the photo at the same
          time -- and they BUMP SHOULDERS. Karen falls backwards,
          against the wall.
          In disbelief, Peter looks around wildly. He reaches out a
          tentative hand, feeling around... Karen moves out of the way.
          She can't understand how this could be happening.
          As Peter is about to stand back up, SOMETHING small flutters
          down from above, landing on the floor in front of him.
          It's KAYAKO'S FACE.   One of the missing pieces from the torn-
          out photographs.
          Peter slowly looks up to see --
          -- ALL THE MISSING KAYAKO FACES have been pinned to the
          closet door. Many of the pins go through HER EYES.
          And that's when Peter and Karen hear THE FLIES.   Buzzing
          anxiously. Sounds like there's a lot of them.
          It's coming from THE CLOSET.   Just behind the torn-out faces.
                                    Revisions (Blue) -- 1/26/04       88A.
          Karen watches, terrified, as Peter reaches out a hand --
          -- and slides the door open.
          He immediately recoils.    A terrible stench inside.
          The BUZZING of the flies is louder.    Coming from above.
          Peter pulls a book of matches from his pocket.    Lights one.
          And looks up.
          HIS POV:   the attic panel is slightly open.
          Peter reaches up to open it fully --
          -- AND THE UPPER HALF OF KAYAKO swings down.
          She's been wrapped in plastic sheeting, mottled splotches of
          blood on the inside. Her neck hangs at an odd angle.
                                         Revisions (Blue) -- 1/26/04       89.
                Peter backs away in horror --
          130   INT. THE HOUSE - SECOND FLOOR HALLWAY - NIGHT               130
                Peter backs into the hallway, breathing hard.
                Then a familiar sound reaches our ears:   THUD.   THUD.   THUD.
                It's coming from Toshio's room. And it's the same rhythmic
                THUDDING we've heard coming from this room before.
                Peter wrenches his gaze from the horrific sight and heads
                quickly down the hall (with Karen following him):
                          Toshio!   We have to --
                He stops short at the door, as he sees --
                -- TAKEO, Toshio's father. Eyes rolled back in his head,
                tongue swollen and lolling from his blue lips.
                He's dead -- he's hanging from the ceiling by BLACK HAIR that
                seems to cover its entire surface. Kayako's hair.
                TOSHIO, now back to his "dead" appearance, playfully swings
                the body. Takeo's feet THUD rhythmically against the wall.
                          Oh my God...
                Peter doesn't stay to see any more.   He runs.
          131                                                               131
                INT. THE HOUSE - ENTRANCE - NIGHT
                Peter tears down the stairs and runs for the front door,
                passing a mirror --
                -- he freezes. He saw SOMETHING in the reflection as he
                passed. Something wrong.
                He takes a step back and looks --
                -- it's not his reflection in the mirror.   It's KAYAKO.
                Peter stares at the image in disbelief. Then he notices
                TOSHIO standing next to Kayako, looking up at her.
                                 Revisions (Blue) -- 1/26/04     89A.
          As Peter slowly turns to look down, a small PALE HAND slips
          into his own. Peter jerks backward in shock as --
          -- TAKEO, looking down at THE JOURNAL, reading his wife's
          words, his face contorted with rage... he turns to see
          KAYAKO, home from work, standing in the doorway...
                                    Revisions (Blue) -- 1/26/04      90.
          -- KAYAKO running down the steps, TAKEO chasing her, tackling
          her before she can reach the door... sitting on top of her,
          he wraps his hands around her neck...
          -- KAYAKO seeing TOSHIO, her son, watching through the bars
          of the second floor railing as...
          -- TAKEO snaps Kayako's neck with an audible CRACK...
          -- KAYAKO, not dead, but paralyzed, watching as...
          -- TAKEO drowns a flailing TOSHIO in the bathroom tub...
          -- TAKEO tears apart TOSHIO'S CAT, still alive, in the
          bathroom sink...
          -- KAYAKO letting out a HORRIBLE CROAKING, the only sound her
          broken neck can emit, as TAKEO advances on her with a knife,
          his eyes filled with a manic madness...
          -- TAKEO in THE ATTIC, stuffing KAYAKO and TOSHIO, both very
          dead, wrapped in plastic sheeting, into a corner...
          ARM... her lifeless eyes focusing on Takeo's as she CROAKS...
          Takeo's eyes go wide with fear... and TOSHIO suddenly reaches
          from his plastic grave, grabbing Takeo's other arm...
          It's not the pale, frightening Kayako anymore. Rather:     a
          beautiful, young Kayako with eyes filled with sorrow.
          We PAN BACK to see KAREN standing there, instead of Peter.
          Karen slumps to the ground in front of the mirror, the
          revelation taking everything out of her.
          A beat.   Then:
                    That came from upstairs.
          Karen looks up as the sound continues. We PAN OVER towards
          the stairs as A DRAGGING sound moves across the ceiling.
          Accompanied by a strange SCRAPING, like plastic.
                      No more... please, no more...
          She suddenly freezes, sensing something next to her. We see
          it now, as she turns her head, almost hidden in the darkness--
                                  Revisions (Blue) -- 1/26/04      91.
          -- a PALE FACE in the darkened hallway, staring up at the
          ceiling. Eyes wide and rolled back, mouth yawning open in
          abject terror --
          -- it's DOUG'S BODY. He lies on his back, his top half
          sticking out from a niche by the stairwell. It's been right
          next to her all along.
                    DOUG!   NO!!!
          Karen takes Doug into her arms as the SOUNDS continue above,
          growing closer. But it's no use -- he's dead.
          And now there's a new sound, moving down the stairs. A
          familiar THROATY CROAKING SOUND, along with a strange
          SKITTERING, like the world's biggest cockroach.
          Karen turns to the staircase to see --
          -- KAYAKO, crawling down the stairs. Still wrapped in the
          plastic sheeting, she moves like a wounded animal, neck
          hanging limply, struggling to pull herself forward --
          -- her eyes locked on Karen, CROAKING horribly --
          Karen sorrow turns to abject terror. She tries to lift
          Doug's body and pull it to the front door. It's too heavy.
          And KAYAKO is getting closer.
          Sobbing, Karen drops Doug and falls back against the front
          door, bumping into --
          THE GAS CANS. The one Nakagawa unscrewed TIPS OVER, spilling
          gasoline into the entryway.
          As Doug's arm flops to the floor, his outstretched HAND lands
          next to Karen. She sees something clenched in his fingers --
          -- his ZIPPO LIGHTER.
          Realization dawns over Karen as she feels the liquid spilling
          onto her hands. The odor is unmistakable.
          Karen immediately reaches forward, trying to loosen Doug's
          grip on the lighter as --
          -- Kayako reaches the bottom of the stairs. Her broken neck
          makes a horrific CRACKING as she swivels to face Karen.
          Karen finally gets the lighter. She pushes back against the
          door with legs too numb to stand. Her eyes drift up to see --
                                 Revisions (Blue) -- 1/26/04     91A.
          -- TOSHIO, watching from the railing above, as before, his
          cold eyes locked on hers.
          Karen grabs another can, and spins the lid until it pops off.
          She tips it onto the floor, spilling more gas.
                                             Revisions (Blue) -- 1/26/04     92.
                 Kayako doesn't seem to care. She crawls over Doug's body and
                 pulls herself through the gasoline, slowly, drawing
                 inexorably closer --
                 Karen drops the empty gas can and opens DOUG'S LIGHTER.
                 She flicks it.   Nothing.
                 Karen tries the lighter again.     And again.   Nothing.
                 Kayako reaches out, blood dripping from her gaping mouth --
                 The lighter CATCHES.
                 Karen flails with her free arm and opens the front door --
                 -- just as Kayako GRABS HER ANKLE.
                 Karen reaches outside, anchoring a hand to the door frame --
                 -- but she can't pull herself free, as --
                 -- Kayako pulls herself closer, her CROAKING intensifying --
                 -- resigned, Karen slowly lowers the flame to the gas can --
                 -- and ignites the gas!     There's a sudden BRIGHT FLASH that
                 overtakes the screen --
                                                                 FADE TO WHITE:
          132    OMITTED                                                      132
          132a                                                               132a
                 EXT. THE HOUSE - NIGHT
                 The flashing lights of POLICE CARS wash over the formerly
                 quiet neighborhood, illuminating --
                                          Revisions (Blue) -- 1/26/04    93.
                 KAREN. She's lying on a gurney, regaining consciousness.
                 Japanese EMTS are speaking to her as she's being loaded into
                 the back of an ambulance.
                 KAREN'S POV: the blurry forms of FIREMEN rush by in slow
                 motion. Everything is dizzy and incoherent...
                 Karen tries to sit up -- but a YOUNG EMT lays a gentle hand
                 on her arm, deftly sliding a needle under her skin. The
                 sedative takes hold almost immediately.
                 Karen sinks back into the gurney, her eyes rolling back in
                 her head. She's fading fast.
          132b   INT. AMBULANCE - NIGHT                                  132b
                 The EMTs secure the gurney inside and close the doors. Karen
                 fights the drug, but its grip is inevitable: she finally
                 gives up, sliding into a medicated sleep.
                 We slowly MOVE IN on her face, until it fills the screen.
          132c                                                           132c
                 INT. AMBULANCE - DAY
                 ...the light CHANGES. Darkness becomes morning sunlight
                 spilling across Karen's face. The tranquil sound of birds
                 CHIRPING surrounds us. But it sounds like a distant echo.
                 Karen's eyelids flutter. She opens her eyes and sits up, now
                 wide awake -- but peaceful and calm.
                 She gently swings her legs from the gurney and walks to the
                 window, confused by the daylight. She looks out to see --
          132d                                                           132d
                 EXT. THE HOUSE - DAY
                 It's the most beautiful we've ever seen it.   A lush
                 springtime bloom fills the trees and bushes around the place.
                 VOICES off-screen (Japanese) are audible, getting closer --
                                 Revisions (Blue) -- 1/26/04       93A.
          ON KAREN, as she is surprised to see...
          KAYAKO. Beautiful and meek. She's smiling, walking hand-in-
          hand with TAKEO. A happy couple.
          As they reach the front door and go inside, Kayako turns back
          to the front gate. She smiles and gestures, "come on".
          And then TOSHIO walks forward, through the gate.   His
          attention is on a tiny BLACK KITTEN in his arms.
          At the door, Toshio turns to look back over his shoulder --
          -- DIRECTLY AT KAREN. They hold each other's gaze for a
          moment, as if he somehow sees her in the ambulance.
          Then Kayako gestures to Toshio, and he turns away, entering
          The House and closing the door.
                                                      CUT TO BLACK.
                                     THE END

Grudge, The

Writers :   Stephen Susco
Genres :   Horror  Mystery  Thriller

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