Episode 2
I think it's going to take some
time for this city girl to get
used to this country living.
CAROLYN
I think you're right.
She snuggles up --
CAROLYN (cont'd)
(coy)
You still too tired?
ROGER
Those frogs make you horny?
CAROLYN
No -- you do.
As they head in, Carolyn's gaze drifts back over her
shoulder one more time into the darkness -- still
slightly uneasy.
CUT TO:
EXT. HOUSE - LATER
Clouds have moved in, swallowing any illumination from
the moon and stars, giving the house an ill-boding
presence. The frogs have stopped, replaced by a
lingering, unholy silence.
DISSOLVE TO:
INT. HOUSE - UPSTAIRS HALLWAY - MORNING
Carolyn, wearing a robe, comes out of the bedroom -- side
steps a few boxes. Morning light streaks in through
several windows, illuminating the fact that the Perrons
are far from being unpacked.
The bathroom door opens and Cindy sticks her head out --
CINDY
Do you think maybe we could've
bought a house that has a toilet
that works --
CAROLYN
Tell your dad.
As Carolyn walks away --
CINDY
And there was this really funky
smell in my bedroom last night --
like something died.Is it there now?
CINDY
No.
CAROLYN
Problem solved.
Cindy rolls her eyes, then retreats back into the
bathroom.
CUT TO:
INT. HOUSE - STAIRS - RIGHT AFTER
As Carolyn passes a clock at the base of the stairs, she
notices that it reads: 5:15 AM. She stops, checks her
watch, resets the clock to 7:38 AM.
CUT TO:
INT. KITCHEN - RIGHT AFTER
Carolyn crosses to a packing box on the counter. Digs a
kettle out of it. She moves to the sink and as she turns
on the water to fill it --
-- she freezes. On the window ledge before her are --
-- The THREE WAX MONKEYS -- but instead of being lined up
in a row like they were before, they are now facing each
other -- their heads all melted into one, like some
deformed creature.
She then notices that the small clock she put next to
them has stopped at 5:15 as well --
ANDREA O.C.
Mommy, where's Sadie?
Carolyn turns to see Andrea standing at the kitchen door.
CAROLYN
She's out front. Why don't you
see if she'll come in. She's got
to be hungry.
Andrea tears out of the kitchen, dodging Roger as he
enters.
ROGER
Slow down there, kiddo.
He looks to Carolyn standing at the sink -- knows
something's up.
ROGER (cont'd)
What is it?She steps aside, showing him the monkeys. As Roger
approaches --
ROGER (cont'd)
...Damn. Is the ledge hot?
CAROLYN
(a little spooked)
Not at all.
(beat)
And look at the clock -- it
stopped at 5:15. So did the one
in the hall.
CUT TO:
EXT. FRONT OF HOUSE - SAME
Andrea comes out of the front door. She sees an iron
post pounded into the ground with a chain snaking off it.
Sadie's tail is visible, but a full view of her is hidden
by a bush at the bottom of the stairs.
ANDREA
Sadie --
The tail remains motionless.
ANDREA (cont'd)
Wake up girl --
Andrea takes a step down to the next. She claps her
hands together --
ANDREA (cont'd)
C'mon girl -- time for breakfast!
There's still no response --
Andrea comes down off the last step -- she blanches. Her
little lips start to tremble at what she sees --
-- Sadie lies dead on the ground, the chain wrapped
around her body like an Anaconda -- her tongue protrudes,
limp; her eyes are dull, white.
Off Andrea's scream --
DISSOLVE TO:
Over black --
ED (V.O.)
Fear is defined as a feeling of
agitation and anxiety caused by
the presence or imminence of
danger. I don't care if it's a
demon, a ghost, a spirit or an
entity -- they all feed on it.
(beat)
Take Maurice hereINT. LECTURE HALL - NIGHT
ED and LORRAINE WARREN (early thirties) are up on a stage
standing behind a podium. An audience of three hundred
captivated college students are seated before them as
rough film footage rolls on a LARGE SCREEN of a
despondent looking man, rail thin, late 20's, sitting in
a chair. His eyes are black, matching his hair. His
skin is pasty white. A Catholic priest is next to him,
reciting Latin from a bible in barely audible words.
ED
-- He was a French Canadian farmer
with nothing more than a third
grade education -- yet after being
possessed by a demon, spoke some
of the best Latin I had ever heard
-- sometimes backwards. He had
been molested by his father, who
also exposed him to bestiality.
(beat)
Evil found its home in this man
because he was conflicted, and
forced into this -- he never had a
choice.
(beat)
He thought he was saving his wife
by shooting her -- like his father
did to his mother.
LORRAINE
If you look at his eyes, you can
see them tearing blood onto his
shirt.
Maurice's white T-shirt slowly starts to get blotted with
drips of blood; dark, crimson red. He suddenly SCREAMS
OUT IN PAIN, his body writhing --
LORRAINE (cont'd)
And upside down crosses started
appearing on his body.
We see Ed lifting up the side of Maurice's shirt,
exposing for the camera --
-- TWO UPSIDE DOWN CROSSES pushing OUT at his skin from
the inside. Camera closes in.
The audience can't believe what they're seeing.
ED
That's good, Jerome, why don't you
hit the lights --
As the house lights kick back on, we see JEROME DAVIS
(20's), Ed and Lorraine's technical assistant standing in
the back of the lecture hall. He has longish hair, wears
cords and a flannel shirt. A leather necklace with peace
sign is draped around his neck. He turns the projector
off.Ed and Lorraine are in the middle of a Q & A with the
audience. A male student with a tie-dyed shirt and wild
Afro is standing up --
LORRAINE
-- We investigate roughly a
hundred or so cases a year.
AFRO
Cool. Thanks.
As Afro takes a seat, hands go up. Ed points to another
student who wears GLASSES four rows back. He gets to his
feet.
GLASSES
This is some creepy shit you two
do for a living --
Subtle laughs escape from the crowd.
GLASSES (cont'd)
So how do you keep these things
from going after you?
ED
We don't get personally involved
with people we're working with or
what we're investigating -- it
makes you emotionally vulnerable
which gives them a way in. And of
course, our faith in God.
He sits back down. Hands fly up again -- Lorraine points
to a female student with a PONYTAIL in the front row, who
gets to her feet. She seems a little hesitant to speak,
then --
PONYTAIL
...I wake up at night sometimes
and it feels like someone's laying
next to me. Have you ever dealt
with anything like that before?
LORRAINE
Many times.
(beat)
Does it scare you?
PONYTAIL
I'm a little freaked, yeah.
LORRAINE
Freaked is normal, do you feel
threatened?
PONYTAIL
...Not really. It's just weird.
LORRAINE
(gentle)
Come here for a secLorraine moves up to the edge of the stage, joining the
girl who does the same.
LORRAINE (cont'd)
Give me your hands.
The girl offers them to her. Lorraine takes hold, then
closes her eyes. A moment later --
LORRAINE (cont'd)
The bed you sleep in, belonged to
your Grandmother, didn't it?
PONYTAIL
(amazed)
Yeah.
LORRAINE
And you were very close before she
died.
Ponytail is getting blown away --
PONYTAIL
She raised me.
Lorraine opens her eyes --
LORRAINE
It's her.
Ponytail's eyes well as she tries to contain her
emotions.
LORRAINE (cont'd)
You need to let her know that
you're okay so she can move on.
She still worries about you.
PONYTAIL
How do I do that?
With a gentle smile...
LORRAINE
Next time you have that feeling,
tell her.
Lorraine lets go of her hands. As Ponytail sits back
down, Ed nods to another male student in the front row.
Wears a beanie.
GLASSES
I'd love to know what scares you
the most?
Ed cracks a small smile --
ED
Being married to a clairvoyant --
there's not a whole lot I can get
away with.The crowd laughs.
CUT TO:
EXT. AUDITORIUM - PARKING LOT - NIGHT
Jerome slides open the side door of a VW van. There's a
sticker on the window that reads, "When this van's a
rockin', don't bother knockin'". He sets the projector
next to an array of other electronic equipment, then --
-- turns to Ed and Lorraine, who are about to get into a
Plymouth parked right next to him.
ED
So, you feel like Chinese?
He looks at them with a cocky grin --
JEROME O.C.
I hate to bail on you, but I think
I'm going to do some "tutoring".
Ed and Lorraine are slightly confused, until -- Jerome
turns and smiles at a young woman approaching them. It's
the Pony Tail girl.
Ed lets an amused laugh escape his lips as he gets into
the car.
DISSOLVE TO:
EXT. PERRON HOUSE - SIDE OF HOUSE - DAY
Roger approaches a guy wearing incredibly dirty pants and
shirt, who's peering down a hole in the ground into a
septic system -- Carolyn can be seen in the background
tending to a newly sprouting, completely fenced in
garden. A SCARECROW, secured to a make-shift cross of
2x4's, stands at attention in the middle of it. It's
wearing overalls, plaid shirt and donning a wig with
shoulder length hair capped over a small pillow that has
a crude face drawn on. Roger's big rig is parked next to
the barn.
Roger gets to the guy, who turns and faces him. His
shirt has a name tag, reads: Carl.
ROGER
Did you find the problem?
Carl looks to him.
CARL
Yeah -- but you're not going to
like it.
ROGER
They teach you guys to say that,
right?Carl isn't humored.
CARL
It's the septic -- needs to be
replaced. It's got to be at least
forty years old.
This is not what Roger wants to hear.
ROGER
Can't you just rig it somehow?
CARL
Someone's already used that one
up.
ROGER
So -- what're we looking at?
Carl runs some numbers in his head.
CARL
All in -- about fourteen grand.
CUT TO:
EXT. GARDEN - RIGHT AFTER
A stressed Roger stands opposite Carolyn, who continues
to tend the garden.
ROGER
Seven grand for the new electrical
and now fourteen for this --
CAROLYN
We knew there could be problems,
honey.
ROGER
Yeah, but I don't know how much
more we can afford.
She stops. Looks at him -- what do you mean?
Roger takes a beat --
ROGER (cont'd)
I got a call from Mike this
morning -- because of this damn
gas crunch, they're going to have
to start laying people off.
CAROLYN
...Does that mean you?
ROGER
I'm not exactly senior thereEXT. GARDEN - NIGHT
A full moon spotlights THE SCARECROW like it's standing
center stage. It's now surrounded by a FULLY FLOURISHING
GARDEN; tall rows of corn stalks, bright yellow squash,
red tomatoes and beans.
DISSOLVE TO:
INT. HOUSE - UPSTAIRS HALLWAY - SAME
It's late. Carolyn has a basket of laundry tucked under
her arm as she heads down the hallway toward her room at
the end.
She stops at the closed bathroom door which has a phone
cord running across the floor from Cindy's room into it.
CINDY O.C.
... School basically sucks,
there's no cute guys... and
there's so many friggin bugs...
Carolyn just sighs as she opens the door. Sees Cindy
standing in front of a mirror, phone to ear, comparing
two different colors of eye shadow, closing one eye at a
time --
CAROLYN
Bed. Five minutes.
She closes the door.
CUT TO:
INT. ANDREA'S ROOM - SAME
Paper butterflies adorn her walls. Stuffed animals line
a small shelf above a vanity mirror and dresser. An Easy
Bake oven and Barbie play-set are lined up neatly against
a wall.
Andrea is under her covers in a frilly four posted bed,
head propped slightly by a pillow as she reads a book. A
lamp on a nightstand next to her cascades a four foot
radius of light.
Her body tightens as she catches a quick glimpse of
something furry jumping onto her bed, but her book has
obscured a full view --
-- she slowly lowers it to get a better look -- finds the
cat she saw earlier standing on the foot of her bed.
It's looking right at her.
ANDREA
How'd you get in here?
As she sits upright, the cat scurries off the bed and out
of her room into the hallwayAndrea scrambles out from under the covers and quickly
follows. She looks out her door in time to see the cat
slip into Cindy's room just down the hall.
INT. HALLWAY - CONTINUOUS
As Andrea moves to Cindy's room, she can hear her sister
still talking on the phone in the bathroom. Her mom is
folding clothes on the bed in the master bedroom at the
end, unaware of her presence.
INT. CINDY'S ROOM - RIGHT AFTER
Andrea stands in the doorway looking to see where the cat
went. Her face is hit by a PURPLE HUE cascading from a
BLACKLIGHT hanging above a bed; posters of The Jackson
Five, peace signs and Alice in Wonderland, all glow from
the light. Scattered clothes litter the floor. The
bed's unmade.
Andrea can't see the cat anywhere, then she hears it
HISSING from under the bed.
ANDREA
What's wrong, Kitty?
Andrea comes into the room and over to the bed.
She kneels. As she looks underneath, her eyes
immediately fall upon a Raggedy Anne doll -- seemingly
staring at her -- scares her slightly. The hissing
starts up again, but she can't see where the cat is as
her vision is obscured by other dolls stuffed under the
bed.
She reaches in and moves a couple aside -- sees the cat,
but her breath gets caught in her throat --
-- the blacklight has made its eyes look wild, almost
demonic as it stares at something that's seemingly right
behind her. She snaps a look back over her shoulder, but
nothing's there.
The cat suddenly bolts right past her -- the movement
startling Andrea, who instinctively recoils. She watches
the cat slip through a partially opened closet door into
the darkness beyond.
As she gets to her feet, Carolyn appears in the doorway.
CAROLYN
Hey, you're supposed to be asleep.
ANDREA
I saw that cat again, it went into
the closet.
Andrea heads to it. A very curious Carolyn flips a light
switch on the wall as she entersReally...?
She joins Andrea at the closet. Opens the door wider.
Carolyn reaches overhead and pulls on a light string,
filling the large walk-in closet with bright light.
There's an array of clothes and shoes, but -- no cat.
Carolyn turns to Andrea --
CAROLYN (cont'd)
You sure?
ANDREA
Yeah, I swear.
CAROLYN
It's not here now. It probably
just slipped out and we didn't see
it.
Andrea bends down, looking under Cindy's bed again --
it's not there.
CAROLYN (cont'd)
C'mon, let's get you back into
bed. I'll look for it.
CUT TO:
INT. ANDREA'S ROOM - RIGHT AFTER
As Andrea climbs back into bed --
ANDREA
When's daddy going to be back?
CAROLYN
He said he's going to try to make
it home tonight.
Carolyn begins to tuck her in --
ANDREA
How come he's gone so much?
CAROLYN
He lost his job, sweetie, so he's
driving for anyone he can right
now -- we gotta pay the bills.
ANDREA
Well, bills suck.
Carolyn smiles --
CAROLYN
They sure do.
ANDREA
Will you lie down with me?
continue