"1408" (2007)

Wrinen b:, Scott ,'dexander & Lar::· Karasz:;wski

A dull highway. A crappy sedan roars by.

At the wheel, driving this piece of shit, is MIKE ENSLIN 1 35, a grizzled, weary soul. He stares glassily at the road, a cigarette behind his ear, a styrofoam cup of Exxon coffee at his mouth.

A sign drifts by: nwoodfin, Rte 251 N - Asheville, Interstate 240 E, Hwy 40, Next Right, Thru Traffic Merge"

Heh? Mike frowns.

RAIN pours down on an unpaved country intersection.

Mike stands outside his car, soaked, checking a wet map. He s confused and annoyed. There are no road markings at all. He checks his watch.

A quaint rural inn, dark of night. The a.rnDiance is picturesque, but off-putting. Porch lanterns glow. Shadows are deep. An ancient elm tree frames the banging weathered sign: "The Camden Inn"

Then, finally -- headlights. Mike's car pulls up in the mud.

Mike trudges into the homey, worn lobby@

The aregarious INNKEEPERS jump up, excited~ They re country folk; bea'Tiing.

MR~ INNKEEPER Oh 1 Mr$ Enslin! We were so worried

you weren t gonna show!

• get my key --

They ignore his exhaustion~

MR. I'NNY~EPER You probably want to hear all about our haunted history! Well, that rear staircase is where the maid reputedly hung herself in 1870.

Can we do this in the morning?

_M_RS . INNKEEPER (ru..rnrnaging through drawers) Waiti It's printed in our brochure!

A guest took that photo in 1986. You

can sort of see Sylvia s nethereal apparationn reflected in the window~

Mike stares, unimpressed~

¥ff\~ I~"NKEEPER At least, Sylvia is what we call her~

r'JRS . INNKEEPER

That s right~ The third floor is the former servant 1 s quarters,, Peonle

say all Sylvia s Children died Up there of tuberculosis$ ( !'10RE)

•

~'<. INNKEEPER Guests have reported strange sounds~

At the stroke of midnight, there s been weird noises* Creaks~ Moans~ (:mysterioso} Our best advice ... is ~o lock your door from the inside~

INT~ INN - MIKE'S ROOM - LATE NIGHT

Mike lies on the antique bed, on a quilt, drinking mini-bar BOOZE. He has an army of tiny Scotches, Gins, Vodkas. He's bored out of his mind~

LATER

The boozes are empty. Somewhere, a grandfather clock CHIYlES midnight. DONG, DONG, DONG! Mike groggily glances at a bedside clock. Waiting. Listening. Alert to anything ...

Suddenly -- a loud CR.~SHl Mike jerks, startled.

He jumps up, concerned ... then realizes it's only THUNDER. Oh.

LATER

Mike is snoring, drooling, passed out.

CUT

Mike is back in the car, driving another endless interstate@

Ho speaks flatly into a pocket MINI-RECORDER.

if you have a party of four, she ll make her fa~ous flourless chocolate cake. (beat) (MORE)

Mike clicks the recorder OFF,, He puts it do\rln -- then has a thought and turns it back ON~

EXT~ B&tzNES & NOBLE - NIGHT

A mall bookstore~ The marauee .shouts GHOST SURVIVAL GUIDE Author M .. Enslin Tonight! -7 P .. M~ n

Mike enters, disheveled. The store is sad andgeneric -- an air of listlessness hanging over the shelves. Mike tiredly approaches the busy CASHIER.

Cl'.SHIER (a dawning awareness) Oh, right. Right! Okay then!

The Cashier finishes his order; then flicks on a small P~A~ SYSTEM. He grabs a MICROPHONE and reads off a xeroxed FLYER:

He s the author of the bestselling Ghost Survival Guides, with such

titles as Ten Haunted Hotels, nTen Haunted Graveyards,1' and HTen Haunted

Lighthouses !

Around the store, people look up~ leans int.o the guy.

•

INT" BARNES & NOBLE - LATER

The event~ It's depressing-~ the sad reality of booksignings. The back of the store has 30 or 40 folding chairs, but there's only FIVE SPECTATORS~ Mike sits alongside a pile of his paperbacks1 discoursing~

The people go wide-eyed. Mike lets this hang ... then deflates l ' +-~ •

traaic event never happened! It s just a marketing hook invented by desperate hotels when the interstate gets built too far away.

The crowd doesn't get it. One EMPHATIC M.Zill raises his hand.

EMPHATIC Will Have you ever seen a poltergeist?

(she raises her hand)

Well, my ffilfl.ily s planning a trip

this summer~ Would you say there s a higher concentration of ghosts in New England or in the South?

Mike wipes hie face~

Krv1

MC:KE r.woul~ say nowhere, but no one-' s

p:1.CK-Up my''Ten Hat:nted Antebellum Mansions,."

LATER

Mike is signing paperbacks 1 rote, the same autograpn over and over: "Stay Scared! Mike Enslin" "Stay Scared! Mike Enslin''

Then -- a HARDBACK enters frame. He looks up, surprised.

A NERVOUS WOMP.N holds the book. It's a dusty, faded copy of Mike's early novel, "The Road Back Nowhere." The artwork is heartfelt: A watercolor of a boy holding a surfboard.

The woman bites her lip, preferring not to say~

He glances at the back cover: A decade-old PHOTO of himself -- young and optimistic~

Mike's face falls,.

• Kiv1

The sun is peeking over the norizon* The pink sky is lovely 1 breaking over a rocky inlet~

Mike drives into a beach parking lot. He glances over -- soottina a cluster of parked carse Across the sand, a GROUP of dediCated SURFERS in wetsuits ride the early morning waves~

Mike stares -- then keeps driving. A surfboard sticks out of his car. He coes to the far end ofthe parking lot, off by himself, then-pulls over~

EXT~ OCEAN - LATER

Mike rides a wave~ It's exquisite~ For him, this exoerience isn't about adrenaline, but-tranquility~ The wearineSs that usually hangs over hi.~ is gone. He's alone and perfectly serene. Happy.

Mike enjoys the spray in his face. Until -- he hears a strange BUZZING. He looks around, then UP.

Mike squints, trying to read

The sky is too bright. The banner is silhouetted ...

Mike focuses harder ... distracted ... when --

BAM!

A monstrous WAVE suddenly POUNDS him!

Crash! Mike gets slammed underwater~

He screams out, but only bubbles emerge.

The water BATTERS him. Everything swirls$ He spinsr losing track of which way is up~

M~ke struggles, desperate ... trying to reach for sky ... getting sucked deeper toward the darkness~~~

When --

•

ANGLE ~ HIS SURFBOP.RD

suddenly appears from above~ Like a godsend~

startled, Mike grabs for it -- when~- it unexpectedly pitches and HAMMERS him in the head.

CUT TC:

ECU - MIKE S FACE

Mike lies mutely on his back, on the sand. Hyperventilating.

Winded. Eyes glassy~

But alive.

~-n overlit, bleached-white fluorescent hellhole. An anonymous storefront of mailboxes, packing supplies, and key-cutting.

Mike enters and goes over to his mailbox$ He unlocks it, removing a STARTLING AMOUNT of MAIL.

The friendly MAILBOX GUY nods.

Mike sits in a corner booth, alone~ His breakfast sits abandoned, runny egg yolks congealed. He sips his eighth cup of coffee,

The table is spread with months of opened mail~ Dozens of BROCHURES for HOTELS, INNS, B & B's. Mike flips through them. Some have macabre marketing -- nspirits! Strange?n A few have even ~hotoshopped transparent phantoms into their antique- laden lobbies,, Mike glances at a Post-it: HDear Mr~ Enslin 1

please consider our Motel for your next Ghost Guide,,

He stares -- then tosses it~ He rummages through more mail: A bill from a nursing home~ Skeptical Enquirer magazine~ The Weeklv World News. He sleshes an envelooe with his fanov LETTER OPENER~ Inside is a childish are~tina card -- a -

cartoon tiger says HYou're Terrrrrrr-ific! Happy Birthday!

Mike frowns, then throws it in the trash pile~ Re reaches for a POSTCARD.

• INSERT~ P0STC&'ID

The back has but three scribbled words: ,;DON T ENTER 1408H

smiling i' attractive rich people,, A scrolling font says: 'When in New York City, visit the Dolphin Hotel!"

Mike fixates on the word nNew York., His face darkens 1 and he tosses the card in the junk pile.

He starts to move on -- when something catches his eye. He peers back at the card .•.

TIGHT - POSTCAiill

Again, "DON'T ENTER 1408." We PUSH IN on the numbers, until they fill the screen. 1408 ... 1408 ..•

Mike thinks. He clicks a pen, then scribbles the digits as a math column, 1 + 4 + 0 + 8 = ..••.... 13.

A smile flickers across his face.

Mike is amused. He considers the card, then suddenly OPENS HIS LAPTOP COMPUTER.

Mike groans.

A few steps -- Ahl A glirmner of green, then red~

•

He marches toward the door -- eyes glued to the screen~ The DINERS shoot him looks, but he is indifferent to other people~ He lifts the laptop over his head1 trying different positionse

Mike exits the building. Suddenly, he finds a~-

Ah-HA! The Internet opens$ The WEB PAGE speaks:

INTE&~ET LA.DY VOICE Good morning, Mike.

He quickly sits on a cinderblock wall and starts EXPERTLY TYPING.

Beat. A page of text appears. Mike clicks on a link to the Dolphin. A millisecond pause -- then the DOLPHIN HOTEL'S stylish HOMEPAGE }\.PPEARS. It is exactly what one would expect: Chandeliers. Clinking champagne flutes. Links to "SPA" "DINING" "BANQUET FACILITIES" "RESERVATIONS" ...

Mike knows this is a dead end. He clicks back to "GOOGLE," then tries "DOLPHIN HOTEL GHOSTS" ,

The computer responds, !!NO RESULTS 11

Mike backspaces and tries again: 'DOLPHIN HOTEL SUPERNATURAL"

The computer responds, "NO RESULTS"

Mike backspaces and tries yet again: "DOLPHIN HOTEL HAUNTING"

The computer responds, nNO RESULTSB

Mike stares. Unbowed, his face darkens. He tries a different approach: nDOLPHIN HOTEL DEATH 11

Mike sits in a musty library basement, scrolling through MICROFICHE rolls* On the amber screen is an ancient New York Herald-Tribune: The headline screams gFACTORY OVlliER LEAPS FROM HOTEL." There is a portrait of a stuffy-looking rich man, then underneath a gory WEEGEE-LIKE PHOTO of a bloody mess on a New York sidewalk, the cops dourly cleaning up.

For the first time, Mike seems affected~ Truly bothered~

Shaken, he scribbles notes on a LEGAL PAD. Under the word "DOLPHIN," we see the pad is filled with items ...

A spooky pause ... when suddenly -- RING!! It's his CELLPHONE.

Mike jumps, startled. Embarrassed by the noise, he quickly answers it,,

But, nothing. Mike frowns.

No response* Just -- a faint crackling STATIC$

Mike struggles to hear -- when CLICK. The line goes dead.

Weird* Mike looks back at his list of deaths~*$

CU on a jumble of old NEWSPAPER ARTICLES. A blizzard of words

and headlines: SUICIDE'! $ ~ ..DRO¼'¥NINGH., ~" HELECTROCUTIONn ~,, ~ nHEA,'R.T ATTACK~ n We slowly PULL OUT, revealing dozens of Dolphin articles, tacked on a corkboard. A blur of photos, nasty death images and old-fashioned formal portraits~ The victims look like solid early 20th-century cltizens: A walrus- moustached man in a bowler~ A prim woman in round spectacles~

We CONTINUE PULLING OUT, finding Mike on a ratty couch,. Surrounded by these horrors~ He holds the Dolohin POSTCARD, staring~ Agitated$ Suddenly he downs a shot Of bourbon; then dials the phone number. He waits, RING. RING --

OPER'\TOR ( V. 0. ; Good evening 7 Dolphin Hotel~ How may I direct your call?

A strange pause*

Don t you~ ~ ~ ?

Another pause ..

OPER.~TOR {V~O<>) Er 7 one moment, please~

Mike gets put on HOLD. Sprightly MUSIC kicks in, and a RECORDED AJlliOUNCEMENT.

• HOTEL VOICE

(cutting in) May I help you?

Mike raises an eyebrow~

No response,,

•

MI¥ill (ticked off) Nexn month?

CLICK ..The man HANGS UP,

Mike is stupefied.

A busy New York agency with million-dollar views. SAM FARRELLr a gregarious old-school gentleman agent,yells out~

• 48th?

I gotta heve lunch with that idiotfrom Random House.

(on the phone, gesturing) It!s Mike Enslin, calling from Florida again,,

Sarn winces~ He looks arouna, then hails a bookish LAWYER~

Great~

Sa~ PULLS him into his leather-bound offices

INT~ SAM'S OFFICE

Sa"'tl, slams the door and lowers hie voice~

•

SJ1J·1 Now look, thia guy tenda to get a little morose, so try to keep the energy up. Otherwise, he stewa in his owr: funk.

Sa~ PUNCHES his apeakerphone.

Mike! 1 !

MIKE (V .0.)

• So, about the Dolphin --

Good,.

CL:ltY So we'll book it, and if they refuse,

we ll rattle our saber and file suit~

A pause,, Sarn turns quiet,. leaning into the speakerphone"

• Rrv1

• here?

MIKE :v. 0.) (tentative) S-sure·~ It' 11 make a solid closing chapter for the --

But seriously~0~ buddy~ It s New York. All that happened ... (pause) De ycu really want to put yourself through that ... ?

INTERCUT:

We hold on Mike, brimming with uncertainty~*~

Then -- a loud SHRIEEEEEK!

An AIRPL.Z\;.~E descends into New York~

Mike looks cut the window. The grid of New York is below, neatly geometric~ Until --the plane suddenly banks, swooping in~ The whole view spins~

Mike recoils, nauseated.

Blackness. Then a TA-XI emergesinto the 11.ght.We've been looking into the Holland Tunnel$

INT~ C~_B - DRIVING

A carved crucifix swings from the mirror$

Mike rides in back. Face wan. New York's a Jumble. He peers about -- everything seems discordant. Canal Street is a collection of unsettling images:

smoke curls from a grate. It clears, revealing a Ml"-.N lying motionless on the sidewalk.

Sparks arc inside an open factory door.

A snarling DOG barks behind bars.

Seafood decomposes in a fish market.

The CAJ3BIE HONKS furiously at the congestion.

Canal s fine~~ q

The Cabbie hooks left.

Mike blanches in back~ The cab drives uptown, and the sense of DREAD grows. CrUc~bling buildings block out the sun. Mike grimaces, anxious* Knowing something is approaching~~~

Mike shudders~ Distraught, he averts his eyes~

A sumptuous refuqee from the Jazz Age~ A STATUE OF A SMILING DOLPHIN dominateS the portal,. It leersa happy greeting.

Mike's cab arrives. He gets out, carrying a duffel .

:NT. DOLPHIN LOBBY - NIGHI • Swanky and archaic 1 but beautifully maintained~ The last time it was hip, Dororhy Parker got drunk in the coatroom.

The DOORMAN opens the door for Mike. Mike's sweating, his usual insouciance rattled~ He glances around the small lobby: On the mezzanine 1 a PIANIST plays Gershwin~ Chic GUESTS in evening wear cavort. A RICE OLD COUPLE walks a poodle. A BEAUTIFUL WO~J<~~ in e go,m casually breastfeeds a baby.

Mike goes up to Reception~ The DESK CLERK smiles formally~

Hmphh? The Desk Clerk suddenly tightens up, awkward.

She hurries off~ Mike raises an eyebrow~

• We follow the Clerk as she scurries down the counter. She reaches a rigid ASSISTANT MANAGER and whispers. He listens, giving Mike a discreet glance. The Assistant Manager whispers something back, then rushes out a rear door~

Beat~

Mike waits. Biding his time ...

Pause -- then the rear door opens 1 and out glides the Manager, MR~ OLIN~ Olin, 60, is a Precise man of European air 1 his tailored suit, carefully-parted hair and manicured nails only made bearable by his clipped dry wit.

you re here-~ dinner reservationsr theater, anvthina at all -- olease know that Iim defiohted to be at vour service,, ..., -

•

I ll stay out of your hair~

Beat. Olin s eyes narrow,,

An impeccable Edwardian study. Oak paneling. Fine books. An antique desk with a lozenge-shaped green lamp.

Olin opens a hurnidor.

Olin's eyes shift to the cigarette behind Mike's ear. Mike sees this.

Olin smiles thinlv~ rte opens a liquor cabinet and removes a fine BOTTLE OF COGNAC~

•

Mike takes this in, then cracks up, PARODYING Olin with a silly Transylvania accent~

Olin stares, unamused.

Olin is repelled. Mike smirks and pulls out his mini-recorder.

• D ~. f 1 \, l \' l

Mike hits HRECORD$" The LED glows red, like an eye, and the little wheels start apinning~a~

Olin glares, his politeness fading~

Olin lets this chilling thought hang.

Mike's eyes widen.

• Riv!

Mike leans forward 1 interest piqued~

Mike 1.s momentarily speechless.,

Olin pulls out a small key and opens his desk bottom drawer. He removes a BULGING FILE and brings it around to Mike. Olin stares a moment -- then s1'ts next to him~

Every word! I ll even give you my office! You can Peruse the materials to your heart's cOntent~ You can take notes~ Put it all in your book! (pause; he turns somber) In return, my only condition~$~ is

that you don t stay in the room~

Mike eyeballs the file,.

m'J..nen -~

Considering"

Olin smiles a flicker 1 t~en g~ts ~p for the C~gnac¢ He ~akes out a crystal sniftert wipes 1.t c.1._ean, carefuJ.ly pours~~~

Mike notices a silver DESK FRP~1E* He furtively cranes

around~~~ to check out who s in it* And -- it's a calendar~

Olin hands Mike the drink~ Mike gratefully snorts it, enjoying the flavor, the spreading warmth. Then, he looks up.

Olin BLOWS UP and angrily THROWS i:he file at Mike.

Mike is stunned at this outburst~ Hesitant, he opens the TOP FOLDER ..Inside is a pile of wrinkled yellow newsprint. Olin testily narrates from memory$

Mike makes a face.

didn t go in* I ll aive vou a fake receipt!_ You can take phOtographs in 1404: The layouts are identical, nobody will know the difference --

•

Mike reacts, pissed .

MIKE

• Where the fuck do you get off--!

(hurt) This meeting's over

•

Mike seethes$ He hits nsToPn on the recorder$ He Jumps up$

And that s good, because I also know

there s no God to protect us from them, if they did.

Behind Reception, a wall of old-fashioned mail slots. Olin

carries over a little stool* He steps up to 1408 s mailbox, reaching his hand far ... far back into the shadowy recess.

He fiddles around, then pulls out a TA-"R.NISHED KEY on a long brass paddle. Embossed are the numbers 1408.

Mike reacts, surprised~

Mike shoots him a look~ He speaks into his mini-recorder~

Mike's eyebrows raise.

DINGl The elevator arrives~ The shimmery doors open~

Olin gestures: After you. Mike enters. Olin starts to follow -- when a MAITRE'D in a tux comes running over. He interrupts Olin and quickly MUTTERS something in French. Olin nods and MUTTERS back. He scribbles his signature on a form. The Maitre'd bows and runs off.

Olin enters~ It s an old-fashioned cage,. Olin hits "14,H and the doors rattle closed. They stand in silence.

Mike ignores this. He stares at the panel: Rows of BUTTONS, with the customary lie: 1 2 3 4 5 6 7 8 9 10 11 12 ... 14 15 16

Olin chuckles,, They lurch upward,lights ticking:

haven t b8en changed in a decade.

o:;:,rN No 1 no, no$ This is a professional establishrnent. our maids give 1408 a light turn once a month~ {MORE)

Olin 1 s face tightens 1regretful~

Olin stares.

DING! The elevator hits 14. The doors open.

•like peers out,. It s a perfectly uneventful corridor -- red- and-gold carpet, drab end tables, old-tyme light fixtures.

Mike waits for Olin to take a step -- but the man is illh~obile.

Mike nods, a tad apprehensive@ He exits -- on legs that seem heavier~ Mike takes a few steps, then turns~

11.T THE END

Olin stands framed in the elevator, an oroinarv man in a plain su1.-.·+ Han d s clasped,. -F~ace Wl..t...drawn,"h 'ne sl..ghs,· · •

Olin pulls out the bottle of Cognac and tosses i~# Startled, Mike catches it~ He starts to respond -- but the doors SHUT~

Oli!! is gone,

Mike examines Olin's file~

Mike finds a scratched NOTE on hotel stationery.

He looks up -- and realizes he's in front of 1401~

Huh?

Mike looks around, confused~ Somehow, he's back at the elevator~

Mike slowly shakes his head~ Then, he packs up the file and marches away~ Pay attention!

Mike pulls out his brass KEY~ He starts to insert it -- when, he 1 s startled by WtlIMPERINGe

BACK ON MIKE AT THE DOOR

Okay~ He takes a breath, then inserts the key in the locke

MICRO-CLOSEUP - INSIDE THE LOCK

The vintage mechanism looks like a GIGANTIC DAR.~ CHAMBER, filled with crazy angles of cold steel$

The key enters like a medieval battering rarn. It slowly turns~ The tu..rnblers RUMBLE with echoina CLINKS and CRICKS~ '"fhe sound rises ominously LOUD$ ~ ~ -

BACK TO MIKE - NOWJAL PERSPECTIVE

And, the sound becomes a teeny CLICK.

The door unlocks.

Inside the next room, the Young Mother s VOICE leaks out:

The knot in Mikels stomach grows~

He grips the doorknob~ He lifts up his recorder@

He hits STOP~

Then 1 he slowly turns the knob

tension builds --

The wooden door opens

INT~ 1408 - SfiltE TIME

It 1 s -- just a hotel room~

A two-room suite, pleasant and banal& Pastel sitting area 1 beige carpet, forgettable furniture$

Mike sees this -- and gasps, relieved~ He starts LAUGHING~

That's friggin IT?!

Astonished, he enters and throws his stuff down. He defiantly SL~JVJS the door shut and SHOUTS.

Mike gives himself a tour~

There's a couch~ A coffee table~ A desk with various items: A fax machine. A glass ashtray. A..n old-fashioned rotary telephone. A book of matches, with a Norman Rockwellish sketch of a smiling Doorman at the hotel.

on the wall are three fra~ed paintings~ In the carpet below is a water stain~

The wall THERMOSTAT says 80~ Mike clicks the HdownH arrow,.

There s a queen-size bed with fluffy pillows .. A TV¢ nig.ut.s' "' · +.... an d -.oi- ' b sJ_e,,1 1":!J.Ke'a.1 • ' p.1.c.Ks, • l1..-• +- up" s ~ t'nen tosses, 1---. +

aside~

Mike flicks on the bathroom lights~ It's bright and sparkling -- a pleasing glow of luxury.

There s a tub$ A bidet" Baskets of soap"

;}f,:': ' ,_, .. i

30,

The toilet oaoer roll is folded in Mike tears Off a sheet and wipes his nose~

INT* LIVING ROOM

Mike opens an armoire and finds the MINI~R~~ ne peruses the sodas, booze and chips, He glances at the price sheet,

INT, BEDROOM - LATER

Mike lies on the made bed, eating Corn-Nuts and swigging Olin 1 s Cognac$ He narrates into his recorder 1from memory:

•

We MOVE TO the SECOND PAINTING -- an old lady in a rocking chair~

We MOVE TO the THIRD PAINTING -- a British hunting scene.

painting is the ever popular The Hunt" -- horses, hounds, and constipated British lords. (beat)

These oaintinqs have been here a long tiffie$ If-I lifted them, I'm sure Ild see light patches~ (MORE)

•

of evil~ If that s so, then we've entered the seventh ring of Hell .. "'

Mike gets up and walks to the windowe He opens the drapes~

OUTSIDE, another building completely fills the view~ Below are cars and a huge lit-up BA.NK CLOCK. Mike opens the paned window~ TAAFFIC NOISE rises in~

The clock outside clicks from 7:59 to 8:00 PM.

Suddenly, LOUD MUSIC .

Mike jumps, startled.

• BEHIND HIM

The clock RADIO has gone off. The CA.R.PENTERS sing:

Mike laughs., He turns it OFF, flicking the alarm switch,,

MIKE

Mike turns -- then suddenly freezes.

THE BED

is turned down~ The sheet is folded, and there are little mint chocolates on the pillows~

Mike blinksr as if this will make the mints disappear~

But they don' t ~

He strolls over and picks up a mint~ He peers~$~

Mike opens the candy, then EATS it. He thinks, his wheels spinning. Until -- he suddenly stops, mid-chew.

Mike whirls.

Hm. Mike looks around. Ah! Suddenly he drops to his knees and peers under the BED. But ... there's nothing.

Hm1 Mike thinks~ He bolts into the bathroom~ He grabs the shower curtain, takes a breath, then YANKS it aside.

And -- nobody. Huh?!

Mike wracks his mind. Tantalized.

Detective-like, he starts Rl\.PPING on the drywall.

RAP! RAP RAP!

He RAPS his way toward the door ... when ... something catches his eye.

AL'i!GLE - MIKE

His eyes bulge.

He gawks at it~ Then, he pulls out his recorder~ CLICK!

Mike barrels into the

He lopes around searching ... searching. Until, he spots -- the AIR VENT up in the ceiling.

Ah! Mike runs up -- and thinks he sees movement inside. Or, does he?

He stands on his tiptoes and SHOUTS up into it.

Mike wipes his brow~ He realizes he's sweating$

Mike runs to the THERMOSTAT and checks It's now 84.

Mike pushes the "down" arrow again. Nothing. He BANGS it. Irked, he grabs the clunky telephone, peers at the archaio dial, then sticks his finger in the hole and dials "0."

It spins$ Click-click-click-click-click~ Then --

OPERATOR {V~O,.) Good evening~ Are you ready to check out?

thermostat~ This room s on fire~

Mike hangs up.

Beat. Through the wall, the baby CRIES. Waaahl Waaah ... l

Mike considers it all. He sits on the sofa, then starts his recorder,,

Mike thinks. He unzips his duffel, slides over his LAPTOP, and carefully removes a small EQUIPMENT CASE. Inside is assorted gear: An EMF meter, microphones, a UV black light.

Hrn. Mike waves the :JV light around the room. Things are revealed, the past becoming otherworldly and phosphorescent:

Spatters on the drapes*

Multicolored blotches on the couch~

Drips across the walls~

Soiled puddlee in the bed~

is repelled~ Ugh~ He feels sick~

Unable to bear any more, he FLICKS ON the lights~

Normalcy is restored~ Mike rubs his eyes, then returns to the living room~ He glances at

The ship's crooked horizon is unpleasantly vivid ...

A SOUND of pounding waves. The painted water seems real ...

Mike is losing his equilibrium.

He straightens the three paintings, then turns away.

• Mike takes a step -- then -- suddenly gets a look.

He spins!

The paintings are still straight.

Hm. Mike queasily sits, putting his head between his legs. overheated, he fumbles for his recorder~

A woozy 1 unclear contemplation2~~~ when -- BZZZZ!

WIDE

Mike jerks. BZZZZZ! It's the door. He pops from his trance.

Mike scurries to the door. He peers through the EYEHOLE.

Mike struggles with the handle~

I ain t touching it~

Mike reacts, irritated~ He tugs harder 1 wrenching with all his might -- when, it suddenly releases and SLA.~S open. B~-~!

Mike tumbles, off-balance.

•

Mike strides over to the thermostat* He starts to gesture to the panel when he realizes -- he's~am alone~

Confused, Mike turns.

The guy is still standing in the doorwaym

Mike gestures again, for emphasis~

ain t going in that room~

What! Mike glowers, put-out$

The Engineer waits, feet planted.

Mike stares in disbelief. Then, beaten, he pulls off the thermostat PANEL. Inside are springs and levers.

• little tube filled with mercury.

That's supposed to activate the contact switch, but this hotel's so old, half the shit don't work~ (beat) Just give the tube a little tap.

Mike glares, unsure~

Mike relents" Be FLICKS the tube,, The mercury suddenly emits a blue SPARK, then rolls downward.

The system CHURNS, then the air-conditioning BLOWS on~ Mike smiles, relieved~

Mike turns to thank the man and he s GONE~

Huh? Bewildered, Mike runs tot.he door,, He peers out"

HIS POV - norm THE CORRIDOR

The hall is empty~ The elevator doors glide closed,,

A discombobulated beat, then he pulls his head back in~ Haltingly 1 he Bhute the door$

Mike"s alone. He paces about, convincing himself he's okay ...

When -- sudden jarring MUSIC.

Mike whirls! The CLOCK RADIO has turned back on.

The digital clock flickers, then switches to "60:00." Suddenly, it starts counting backward: "59:59 ... 59:58 ... "

Mike leans closer, mesmerized~ "59:55 ... 59:54 ... ''

In his mind, he remembers Olin s warning from before~$~

P.un@ Mike glances worriedly at the clock ticking down$

Silence$

He realizes something odd~ The SILENCE is ABSOLUTE~ The traffic noise is gone$

Perplexedr Mike walks to the window~ He sticks his head out*

• K

Mike can't hear anything~ as if we're watching a'l'V show with the volume turned off~

A fire engine races by, lights flashing. Dead silent.

When CRASH l The WINDOW VIOLEN'1'LY SLAMS DOWN on MIKE'S HAND!

Mike SCREAMS, agonized. A..n animal caught in a trap.

Mike struggles, fighting to use his oood hand to crack the window open. Finally he tears his broken hand out.

Panicked, Mike runs into

He turns on the sink~ Water streams outr as he puts his wounded hand under the flow~

But then -- the faucet SPUTTERS and dies¢

Mike angrily turns the handles~ Nothing~ Livid, he punches the sink ..

FWOOOOOOSH! Suddenly SCF..LDING HOT WATER spews out!

Yecw 1 1 ! l It BURNS Mike's hand,

Mike CRIES OUT~ He yanks away his hand, now bloody ?2VD burnt~

The :r-adic goes off.

Mike SHRIEKS.

Incensed, Mike lunges in, grabs the electrical ccrd, and PULLS it from the walll

And -- nothing changes. The song keeps playing. The timer keeps clicking down: "5E:24 ... 56:23 ... "

Mike gasps in disbelief. Flummoxed, he staggers back to

He grabs a towel and wraps it around his bleeding hand.

A gust of wind blows in, ruffling the curtains. We follow the breeze across the room ... to the BIBLE on the nightstand.

The wind flutters the pages. They flip by ... then stop.

fDONfT LET 1'1:E DIE HERE"'

Mike jumps~ Surprised, he runs to the phone@ He grabs itG

~ike's eyes bug out.

4L

A long pause. Then

Mike gapes.

The Hotel Voice turns sour, ruffled~

Pause -- then the line goes on HOLD,, Sprightly MUSIC kicks in~ The RECORDED P-s.l\JN"OtJNCE!Ji..ENT we heard before repeats:

certain to enjoy New York s finest dining, at the fabled Blue Marlin Restaurant on our Mezzanine level~n

Mike waits, stewing,

pf,/, I ",_ 0 l· I

He watches his blood dripping out of his hand. The red droplets hitting the carpet ..•

Mike's hand keeps bleeding.

His temper is growing@

CLICK -- BEEEEEEEP!

It 1 s a DIALTONE~

Mike has been disconnected.

He stares in amazement~

Furious, Mike throws the phone.

He grips his wounded hand and stomps into the

Mike's fed up. He rushes to the door, going to open it --

And~~~ the deadbolt s locked~

Huh? Uncertainr Mikefu.mbles in his pocket for the big ROOM KEY. He angrily ia.msit into the lock, thrusting it through the oversize hole ..

And •-- PLIP l The key slips from Mike s fingers -- plunging into the door! It disappears, gone~

Mike fiddles with the keyhole, trying to find the key. Frustratedr he slams h~a EYE up against the hoie~

Mike la~s the metal blade into the keyhole~ He wiggles it,,¢~ tryin§.,~G desperately,,,,,, to engage the mechanics .. ""'

He struggles to pick the lock. Forcing it around ... when -- CL1JNK ! The DEA_DBOLT UNLOCKS!

Mike smiles victoriously. He triumphantly turns the handle -

And --

CRACK! The DOOR HANDLE BREAKS OFF IN HIS HAND.

The door is now unopenable from the inside.

with his bruised hand. He claws crazily at the handle stump.

Losing it, Mike whirls and careens across the room~ Passing

THE THERMOSTAT

which now reads 75 degrees.

AT THE WINDOW

Mike runs to the pane and throws it open" He SCREAMSe

It 1 s utterly silent like before~ Not a_ sound from the busy

traffic,.

Mike screams louder~

Mike's VOICE ECHOES, the only noise in Lhe world.

This is very disturbing.

Mike peers around -- then spots a lit window across the street. There is a SILHOUETTED MAN.

Mike gasps, a ray of hope.

No reaction~ He SCREAMS louder~

Mike waves his right armo

Mike jumps, excited.

freezes,,

mirror-like, shifts from side to side~

CLOSER VIEW - THEM&~

is Mike, standing in a parallel version of the hotel room~ Staring blank-eyed at us.

• A chilling beat -- and then an INSANE MANIAC with a clawhammer comes rushing into view. He swings the harnmer straight at the doppelganger's head.

Mike s chest heaves, overcome~ Panicked, whirling about~ Off- balance, he spins back to the view outside.

Mike is befuddled.

He stares, aha.king and impotent~ Then 1 he notices the PEOPLE below on the street~ Silent, but -- reale

•

Desperate 1 Mike suddenly goes deranged@ He picks up a LP--s1¾1P --

Mike lurches out, no watch what happens--

Dissipates.

Like mist, it just ... disappears. The lamp is gone.

MIKE ls EYES

bug out~ •

Unsteady, Mike collapses@ He feels helpless, like the walls are closing in~~~ -

Then -- an ethereal LITTLE GIRL'S VOICE~ Wispy, faint~*~

We suddenly PUSH IN TO MIKE* He CLUTCHES for breath~

All color bleeds from his face2 He holds his head, gasping*

•

The radio continues its ominous countdown: 46:25"~€ 46:24~

Mike peers around, scoping -- then sees some~hing. Maddened, he hobbles up to the A1RVENT.

ltNGLE - VENT

There is~~" something inside the vent* A tiny black TUBE?

• Was it laced? Did Olin take a

sip~c~? Can t remerober~30

Mike eyes are glazed. He spots the Cognac bottle. He runs over and uncorks it, taking a sniff~~~

a~. Something else catches his eye.

ON THE NIGHTSTAND

are the mint wraopers* Mike gasps, remorseful~

Mike s mind ratchets into overdrive, freaking~ Until --

Mike whirls .

BACK TO - MIKE

He shudders, disturbed.

GR.l<CIE ( ON VIDEO) We're busy~ Daddy and I got married.

LILY {ON VIDEO) ( feigning shock) , What?!

They all giggle~

Wanting to hang onto this memory, he slowly reaches out to the screen~*~ wishing*@~ in some way~$~ he collld touch it --

ZAPPP ! ! It violently SHOCKS him.

OW! Mike turr~les back~ The screen blazes, then goes to STATIC. Gracie is gone.

The figures are a tiny man and woman. Here in the room.

Mike gulps, then picks them up. Yes, they are real. Mike is overcome with feelings. He tenderly cradles the dolls. Staring into their painted faces~$*

until -- he glimpses movemBnt in the room. He turns.

sn

Mike cradles the dolls closer~ Wanting to cling to something good .. ,

a FAINT SOUND. Soft and muffled,

Mike freezes,.

From the next room over is the SOUND again~ A BABY CRYING* Then 1 the gentle murmur of the Mother~

What? l

The baby CRIES louder. Drowning him out.

The baby CRIES harder~ Mike realizes she can t possibly hear him.

• Frenzied, he grabs a nearby CHAIR.

Mike swings the chair, then S~.ASHES it into the wall!

Bam! BAM!!

The baby SCREAMS louder.

Mike swings harder, brutally~

CP~~SH1 The chair splits apart&

Suddenl v -- SHRRRR.R.IIIIEEEEEKK! The baby SCREA.lv!S like it I s being BURNED ALIVE~

, ., ' .

Agh! Mike pu.1....1.s oac.K 1 holding his ears~

The SCREF~~ GETS M_,,4GNIFIED, LOUDER 1 like the volume on a stereo being cranked~

Mike winces, shutting his eyes 1 ~rying to block~+ out --

When 1 it suddenly STOPS&

He sits there~ Forlorn~

Slowly, a SF~OW crosses bis face.

Mike enters -- then shudders.

The bathroom is TRANSFORrvrED. 1

It s no longer the lush,

comforting boudoir of luxury -- but a STERILE, FLUORESCENT-LIT NURSING HOME BATHROOM.

Sitting in a wheelchair is a decrepit OLD MAN. He peers up, eyes rheumy and lost, then shouts:

Mike freezes. An endless pause.

Then, he whispers~

Mike is shaking.

Mike starts crying~

Mike drops to his knees and hugs him. Holding the old man tight, his face against his Father's scratchy, unshaven cheek.

We slowly PULL OUT ... revealing that Mike is back in the hotel bathroom. He's on his knees, hugging the toilet. • There's no Father.

Mike moans, shaken. He looks around in bewilderment.

Wobbly 1 Mike standse He looks in the mirror, examining his haggard face.

Then -- he peeks back at the imagined carnera in the vent~ PJTI~

~ike takes out his MINI-RECORDER. He speaks into it:

He paces around 1 thinking~

Beat.

nr must ve woken up and had breakfast. Somewhere. But ... where was I? Where did I eat,,,,~?n

Mike is getting nervous.

He glances at the wall he bashed, then does a take.

Mike grimaces, afraid. He shivers and backs away .

• sleep .. Is that true??

rubs himself~ .anic grows across his face.

Freaking, Mike makes his way to the WINDOW. He clicks off the recorder, then starts to cll~b out --

Mike's eyes shift about, wary~

A shadow. He spins~

Behind a chair, a ~A~ peeks over the pillow.

Mike GASPS and crawls away~

Ah! He darts over and scrutinizes it.

TIGHT - M.~

It indicates the building layout. Rooms, halls, exits ...

Mikels eyes gleam manically~ Suddenly --

He looks back fearfully, then heedlessly calculatesm

Mike dashes across the rooms He paces toe-to~heel, measuring~

Yesl Hope returns to his facee

He runs back to his window 1 then climbs back up*Invigorated, he CLICKS ON the recorder~

Ii '

• remains on 61st Street 1 let it be

known that it was an accident@ (beat)

The room did not. win~ It did not possess me to leap! ~ was just an

arrogant self-hating bastard who -~ '

Suddenly, he STOPS. Puzzled by these words.

A strange dislocation. Then, he pockets the recorder.

Defiant, he STEPS OUT~

Mike gingerly clirr~s outside, the wind blowing his clothes.

He peeks downward, then -- stifling his fear, tentatively lowers one foot onto the ledge.

His fingers claw the brick, then find a decorative cornice to grab onto.

He takes a breath ... then gingerly swings out his other leg.

Both feet are out~ He gulps, then glances down~

He oresses his face to the wall, then@~~ carefully 1 starts to inch along the ledge~

He slides his left foot@ Beat~ He slides his right~~"'

He doeen·t dare lean back. He blindly reaches out, gripping the next section of cornice.

He slides his left Then his r.1.gntse

His face is sweatino~ He reaches~@~ fingers slipping~~~ then, his hand finds the next cornice.

1 ' . ' He reaches anc still no

Good,, He S..Lldes again~

Mike slides his left leg over. His right leg over.

Starting to jitter, he reaches again. And -- no window.

He reaches further ... straining ... then slides again.

Nothing.

Daring gravity, he leans back, to get a look --

Mike SCREb~S, horrified.

He flounders, stunned.,, Mike slips~

Mike falls, B}'.:NGING his face on the wall~

He DROPS, ab?ut to plurranet, desperately clambering. scratching his fingers into the old brick, when

BAM! One hand snags the ledge as it passes by*

•

Chest heaving 1 hysterical 1 Mike catches his breath~

The wind pelts him.

Mike whimpers,,

Then, he resignedly starts shimmying back tc 1408. Slowlyr then, faster~~~ his expression despondent~~*

TTGHT - MIKE'S H..l\.~DS

pull him along~ Struggling to return to the hell he was escaping ..

ZOOMING TIGHTER, until the ¥.tAP FILLS THE FRAME. And-- it s alive, the black lines slithering around like worms. The map rearranges itself, doors and walls moving about.

suddenly the Portlv Lady steps out into the window~ She is sobbing.

She starts to lu....~o -- when she suddenlv sees Mike~ A bizarre discowbobulatiOn,~then she lashes out at him, punching at him like the movements we saw earlier~

Freaked out, she leaps~

She hurtles past~

Mike gasps and jerks aY.ray ~ Scared 1 he tumbles back inside~

Mike lands on the room floor 1 covered in sweatr terrified~ Shaking 1 huddled in a fetal position*

He rocks back and forth""* then hears a strange CLINKING sound. Click-clack click-clack click-clack ...

The room darkens~~~

Wearied, he looks up and FREEZES~

It's old~ Like it's been there forever.

Despairing, Mike tears into the

And -- the BEDROOM WINDOW IS GONE. The WALL IS SOLID DRYWALL. No trace there ever was a window.

Mike starts hyperventilating~

He starts feeling the wall~ Searching for anything ...

Mike is losing it. On the edge of sanity. He grapples for his minirecorder and hits REWIND~

We HEAR Mike s voice speed by, chipmunk-like~ He hits PLAY:

No. !"ike speeds further. PLAY.

No~ H0 speeds furthere Then:

"The .room has nc tt.rindow ..

HUH?

A chilling beat.

Mike CRIES out, scared. He hits rewind. Play.

Mike DROPS the recorder, like he's been electrocuted.

He trembles, pained.

What now? He opens his eyes~ The SOBBING is in the next room .. sounds like two people ...

Afraid of what he'll find -- he peeks into the next room.

INT~ LIVING ROOM

There is a VISION. A FIASHBACK FROM THE FAST:

A MPtN and WO~u3:.N are locked in a tight embrace! in a doctor's office~ We can't see their faces* They both cryt the man hugging and comforting the woman~

6 0v.

FLASHBACK VISION:

The couple looks up -- and they're Young Mike and Lily~ Beth have tear-streaked faces~

Young Mike shakes his head.

• We REVEAL Gracie in a hospital bed, listening behind a curtain. She's nine, pallid and thin.

Gracie 1 s eyes widen~

Mike feebly extends his ann --

When

,-., ,, , • """'(' '. \ f, ~ ' '

6L

BLACKNESS!

The room goes C0!"'2LETELY DJ\~~.

Mike gasps1 confused~

He stumbles~ CRASH! A lamp F.!u,LS and breaks~

Suddenly, a TERRIFYING VOICE. The VOICE OF THE ROOM, rasping, non-human, coming from everywhere:

We HEAR Mike trip around. He reaches for the LIGHT SWITCH. He frantically FLICKS it -- up down, up down -- •

BLINK! The lights go on.

The room is back to normal. Mike is gaspingr heaving~ Looking about. Okay. Okay. Everything seems alright ...

He turns -- and, AGHH!

When he glances sideways into a MIRROR~ In the reflection, he is alon~. S~aggering back, choking himself.

What? l

Mike yelps and releases his own grip. He coughs, struggling for breath0 He peers around$ He is alone~

He shivers, stupefied. Suddenly --

Dazed, Mike rubs himself for warmth.

• Desperate, he flips it open -- but it flashes: "BATTERY LOW"

What?! Mike growls, livid. Suddenly he glimpses something else -- his LAPTOP.

fLTu~ .. l His eyes light up. He nervously glances back, then quickly covers the computer., Mike grabs a shirt~

Suddenly, he pushes the desk over. WHUMP! Everything en it CAASHES down0 Mike drags the desk to the wall 1 then cliwbs up~ He glances suspiciously at the little black tube inside the vent~¢$ then hooks the shirt over the grate 1 blocking it~

Mike jumps down~ He runs to his

COMPUTER

Mike grabs and snaps it open~ The SCREEN lights up.

He waits patiently. The WI-FI icon scrolls. Searching ... searching~*$ then --

HNO SIGN~.L AVAILABLEn

Mike groans.

Mike stands on a chair, holding the laptop up against the brick~ F.nd~~~ with a little jiggling -- the icon turns GREEN~

The screen flashes. An INTERNET WINDOW OPENS.

Mike gleefully dances about~ He FLIPS the Bird"

Guy! I m connected 1 l

INSERT - COYlPUTER

Mike goes to his contacts" He quickly clicks on "BUDDY LIST~,\

And -- one name is there: nLILY ENSLINn

Mike winces he has no choice~ He steels himself, then types into the Instant Message Box: !\LILY, I NEED HELPP

No response"

0 11

Long beat~ Thent a WINDOW OPENS UP as a REAL-TIME W~BCAf1

LINK~ A woman's face stares back at us: Mike s ex~

She goes to sign off.

She stops.

LILY {OVER VIDEOLINK)

You re in the City, and you didn t tell me? l

Lily freezes, shocked~

Suddenly, an unexpected HISSING. Mike looks up.

• and the computer!

Mike tries to cover the laptop, but it's too late. Water falls through the keys and into the electronics.

Lily's I~L~GE over the screen begins to BREAK UP~

PSSSTTTT! The computer screen goes BLAC.K~

Raining droplets are everywhere, falling into the electric LAJ.'1PS ~

The LIGHTS begin to flicker 1 creating a slow strobe e+-Fe,.t.,, ;--; fa, f lo--::' ';,

Darkness. Then Fh?\SH l

The painting~= Grandma is now standing, staring out~

FLASH!

The old lady turns into THE BEAUTIFUL WOMAN from the lobby* Her breast is bare$ BLOOD drips from her nipple, do~~ into

her baby s open mouth~ The baby s face is blue, dead~

FLASH!

THE PAINTING OF THE SAILORS

turns into a ROTTING GHOST SHIP. They sail into a roiling sea, covered in black clouds~ The seamen's faces are pale, starving, staring hopelessly.

Mike turns, shaky. FLASH!

THE PAINTING OF THE HUNT

The British men in red coats and hats get pulled off their horses by the dogs. The dogs RIP the men apart, tearing their flesh.

• MIKE

whimpers. A.round him, rain pours harder. WHOOOSHl A TORNADO- LIKE-SOUND roars. A liquid churning, growing louder ...

Mike covers his ears and careens through the sopping mess, shivering, looking for a way out. His feet smoosh in the soaking carpet.

Mike passes the Thermostat~ 1

It s dropped to 48 DEGREES~

He pounds on the closed-up windows.

He tugs on the doore

Wind BLOWS fiercer~ A BLAST OF COLD gushes from the AIR VENT, blowing the shirt down~

Mike s eyes narrow, thinking@ Intrigued, he takes a step closer to the \?ENT~ ~,,

Mike CLAMBERS UP onto the desk. He's riqht beneath the grate. He takes out his PENLIGHT and shines it Up through the oper.ing.

He tugs the grate -- it's fastened with four bolts~ Fine* He hurriedly pulls out his trusty LETTER OPENER and starts to use it as a screwdriver@~*

Mike unscrews the first bolt~ It falls to the ground.

An anxious pause -- then he quickly unscrews the second bolt.

The third .

The fourth~

Wary, Mike reaches and slowly pulls the orate off the ceilina. • He drops it 1 watching it hit the floor with a CLJi,,lJG&

Beat -- then he slowly turns back to the now-open vent. suddenly, he LUNGES at the tiny black tube and GRABS it.

Mike squeezes it in his fist -- then reacts 1 surprised~

CLOSEUP - MIKE S HAND

He s holding a roll of DUCT T8..PE~ That's all~

&~GLE - MIKE

A bewildered silence$

A halting moment~ He gathers his wits 1 then stares into the ooen \TENT~

Mike gulpsr then waves his pathetic letter opener* He SHOUTS~

M:;:KE

I ve got a knife!

No response$

Mike steels himself, then painfully lifts his body up into~~~

Mike clangs onto the hard cold surface. He pulls his legs up.

Inside, it s black~ We can t see a foot ahead~

Mike aims his penlight, but it's just a dull glow. Shadows and rat droppings.

Mike takes a breath, then squirms forward.

It's murky and unsettlinc. The air BLASTS. Mike slithers along~~~ unsure, creeped~out~ Until, his penlight reveals

A JUNCTION Jl_qEAD

A "T" split. Shafts go left and right. • Mike stops -- not sure where to go. He shines the tiny light both ways ..• but the bea~ disappears into dimness.

Then -- faint VOICES.

Mike's eyes bulge.

The VOICES are from the right~

Mike gets excited~ Other people! He scrambles down the vent@

Not far, he sees LIGHT~ It s coming from a GRATE in the floor of the shaft!

Mike hustles faster$ He reaches the grate -- then looks down~

"'

YOlJNG MOTHER Shh, shh. Mama loves her baby ...

The Baby WAILS harder~

The Mother turns -- REVEALING SHE'S LILY~ Young Lily; from the F'AST ..

He spots the next GRATE~ Braced, he rushes over to -- then GASPS.

,--.._.,<;i L !!: \ __ f * '

YOlJNG MI"E

I m an adult! I can make my own decisions!

• Mike storms aways

He stares mutely, then feels something strange~ Icky. He turns the penlight on his hand~~~

And crawling across his fingers is a COCKROACH~

Mike brushes away the bug. The penlight's beam swings revealing HUNDREDS OF ROACHES. The VENT IS FESTERING.

Grossed-out, Mike hurriedly BACKS UP. Rushing backwards through the vent.

The beac~ rolls, grazing across skittering bugs.

Mike rushes faster. His breathing echoes through the claustrophic metal.

suddenly, he reaches a junction -- and DROPS.

Aggh! ! He s plunged down a

VERTICF..L SP..._A.FT

Miks plummets into blackness, falling backwards!

He flails, then SLAMS his hand, just catching the edge. Hanging on for dear life~

Mike glances down~ It's ABSOLUTELY BLACK below~

With a rush cf adrenaline, Mike struggles to pull himself Straining, muscles clenching$~~ he lifts himself up~

Okay~ Mike sucks in air,, Resolved, he whirls about to race forward --

CLOSEUP

Pasty KEVIN 0 MALLEY is face-to-face with himl Kevin's eyes • are wild, his skin bloated and blue.

Mike SCREAMS, startled~

Kevin gazes crazily, his mouth a pinched grimace.

Kevin stares, unspeaking. His breathing a HORRIBLE WHEEZE.

Then •.. he slowly lifts his head. Revealing his THROAT IS SLICED OPEN, ear to ear~

His bloody windpipe is visible, raspy. Kevin's mouth opens and shuts, puppetlike, but only a moist gurgle comes out.

Mike recoils, terrified.

Then, again: Fix it~!!

Yikesl Mike pulls back in disgust and fear.

Kevin O'Malley suddenly lunges forward.

HELP! Mike spins away. Kevin CHASES. Freakily gurgling,

HFix it! Fix it!

Kevin 0 Malley SKITTERS after him~ Mike racest reaching

He makes it a few feetr when

Mike yelps and jolts back~

•

The Vent cont~nues CRUSHING IN, moving closer: He turns --

DOV1N THE LEFT \7ENT

comes Kevin, his face waving the needle$

Where in the distance he can see the OPENING to 14081 A slim square of light

SLAM! Kevin O'Malley STABS his needle into Mike's leg.

Mike SCREAMS, pained.

He KICKS backward. His foot SMUSHES through Kevin's head, like a sponge. Kevin O'Malley collapses, the CRUSHING VENT SQUEEZING him out of view.

Mike speeds faster. Room 1408 visible --

The CRUSHING, TWISTING METAL is now inches away --

As Mike HURLS himself forward ...

INT~ 1408 ~ SAf/fE TIY.i.E

~$~and falls through the vent into the room~

SLAM!! He bounces off the desk, hitting the ground

as the sheet metal Vent BUCKLES CLOSED* BAM!l

He looks up at the ceiling~,,,, then around the room~ Beat~

,' 2.

'li,<1:2 ::·etr

·what are yo1..:. do:.no J_n thsre': ;· (vexed) Where; s .r:·'ty EOCZE? !

o=:.in smiles,. unruf::.led,,

0:'..;IN ·:'Jc. no no. Wha~ de Y..Q11 wa.:-it? What YOfJ want:., I.Cr~ Enslin? Yo·.1 scugtt

I

this room.

MIKE

J\.:..i. .:\t_ My _-•cb. I'm a ·w:c:.ter! 1: ..'.1e tru-::·.h.

i.r: Yo~ :ike statte~ing peop J.e s :1op€:s $

··tit/ '-f'." :....... :,:,,_ ~)

A COLLAGE of ~earful VOICES ...

SORROWFUL VOICE #1 She's in a better place, Mike**~

SOR~OWFUL VOICE #2 She was in so much pain**~

SORROWFUL VOICE #3 I 1m sure she 1 s smiling down at us right now •••

Mike winces, agonized#

Enraged, Mike SLAMS shut the Mini-Bar.

Pause -- then he calms. He glances down at the hotel Bible. curious, Mike picks it up, then flips through.

Weirdm

GRJ';CIE (V. 0.) Why is cur bible purple?

Mike looks up. There is a spectral

FLF~SHBACK VISION:

The Enslin family's old apa~trnent" set-up as a grim hospice% Gracie lies in bed, in a pink butte~f~y nightgow~ 1 in the final, terrible stages of cancer* She's skeletal$ Waxen$

Lily ai ts by her, gripping a purple BIBLE. She laughs awkwardly.

We reveal Young Mike sitting in the window, smoking a cigarette. He stubs out the smoke.

• Gracie giggles. Mike gently brushes her cheek.

GRl,CIE Daddy, everyone dies.

A tense pause.,

Lily glances at Mike~ He struggles to be consoling,.

And then you ll go to a better place~ And lots of people will be there~~., (her voice cracks)

All your friends~~~* A...~d you ll be able to run around again ... play ..•

Gracie looks up at Mike~

GP.,_,_11.CIE Do you believe that, Daddy$.,,.?

•

A profound silence~ He starrmers, stuck&

Waiting. Then --

We hold on her heartfelt face.

-".L .1.re' ~

A tiny coffin enters the burning

• FLASHBACK VISION

The crematoriurn glows white, then blazes piercingly hot. The casket disappears into the heat.

Gracie is gone~

Lily can't even look at him$

•

Mike throws dolol!l the nightie.

He jumps up and charges out of the apartment. SLl'~1!

INT~ 1408 - PRESENT

Mike breaks down 1 devastated~

He slumps back against the wall, whispering to himself.

He holds his gut, a terrible ache that will never leave.

A sorrowful silence •.• an emptiness ... until --

CLICK ..

Mike turns, startled. His MINI-RECORDER has clicked into PLAY. Its wheels spin ...

• of the time, they end up divorced--"

smoke? C mon! It's not like puffing a couple cigarettes gives your daughter cancer,,.,~//

Mike grabs the recorder and hits STOPG

• ~

78,

The grating, scary Voice of the Room SCREECHES out::~

Mike stares desolately~

Suddenly RIIIIIINNGG!

He spins~

THE FAX ~.,ACHINE

starts whirring~ It s LCD screen says, nReceiving '

PAPER begins feeding~

Mike peers, confused.

Not a piece of paper~

But his daughter s PINK BUTTERFLY NIGHTGOWN# Stained with mucus, blood, all the liquids of her dying.

SHOOM! It's ejected from the machine, into Mike's hands.

Mike tries to puah it off, freaked, but the mucus on the nightgown clings to his hands.

Mike shakes it, revulsed~ He desperately races away --

Into the bathroom. Mike throws the nightie in the sink, violently turning on the water.

FWOOSH! Water pours out, everywhere.

Mike shudders to tear the nightgown away. It comes loose, discolored fluids floating in the sink ...

Frightened, Mike backs out, SLA.JV/MING the door.

Mike bolts back in, shivering. He can SEE HIS BREATH.

The Thermostat has dropped to 32 degrees.

Water droplets are FROZEN AROUND THE ROOM. A weird, almost Christmas-like atmosphere.

Mike blinks. He stares up.

Like a spiderweb~

Then, a distant voice, like a dream ...

Mike bolts up, dazed. He wheels around.

Mike rushes over, as ;....on1.snea,,

• LILY (OVER VIDEOLINK)

You re sure?

Lily bites her lip, scared.

We PUSH IN TO MIKE. His blood freezes, terrified.

Mike looks all around~

Suddenly everything in the room looks more menacing" Jagged~

Mike 1 s face collapses to a whisper*

•

8L

Mike blanches. Hands shaking, he picks up the room FILE. Vintage PHOTOS of grisly 1408 DEATH SCENES: A MILITA.~Y MAN. A YOUNG EXECUTIVE IN A DERBY. A CUTE WOMAN.

All bloodied and gone~

Mike glances at the CLOCK. 14:51 ... 14:50 •..

He shudders .

MIKE

• 1

That ll be too late*

This admission catches them both by surprise.

Beat -- then she flashes a tender smile.

CLICKl She signs

He shakes the computer~~~

Rfv1

When suddenly -- WHD11LP!! The ENTIRE ROOM SH}\.KES, as if by a huge EARTHQUAKE.

The entire FLOOR begins to buckle and crack~

Mike loses his footing and stumbles to the ground~ His head strikes the floor with a sickening CRACK!

His eyes shut -- then reopen, dazed. He looks up, disoriented and childlike .

A light frost is falling. ICE CRYSTALS form on his hair.

Then, the ARMOIRE swivels into view ... and comes DOWN.

Yikes!! Mike LURCHES out of the way, as -- SMASH! -- the massive cabinet crashes to the floor, splintering.

I Mike groggily leaps to his feet. He gazes around.

The floor has BOWED around the bed, which lies at a slant.

Mike s feet are in liquid~ A sludgy half-frozen muck~ His eves follow the source of the water~ Puddled in the corner*~~ then up~*~ trickling down the wall~~~ leading to

THE PAINTING OF THE GHOST SHIP

Which is now PHOTO-RE.t"<.LISTIC and ALIVE~ Tossing in the waves!

The jaundiced1 starved faces of the sailors are MOVING* They

SCR.Ef1'1, frenzied$ They re all now the VICTIMS FROM 1408: The Natty Man in suspenders~ The Factory Owner~ And most

prominently, Kevin 0 Malley, hands on the tiller, his eyes boring straight at us~

Chilled, Mike tutns --

THE PAINTING OF THE HUNT

The dogs are ravenous,BARKING! Tearing their masters to pieces. The men moan. The horses run off.

THE PAINTING OF MOTHER AND CHILD

The blue baby's mouth is twisted, teeth filed to RAZOR SHI\RP POINTS. The mother weeps with despair, as the baby HISSES and attacks her.

Mike covers his eyes, unable to take it.

The SHRIEKING grows.

Unhinged, Mike SLllM.S his fist at the painting, trying to stop it. His knuckles BREAK the glass, ripping the canvas.

Suddenly -- FLOOOOOOSH! SEA WATER BLASTS FROM THE PAINTING! LIKE THE FORCE OF A HUNDRED FIRE HOSES.

The ROOM FILLS with water, at an incredible speed. Higher, higher

Mike fights the current. Debris swallows him up. Fatigued, delirious, he starts muttering the Act of Contrition:

all my sins e ,, ~

Mike s will gives out@ He gets pulled under~

INT~ 1408 - tJNDERWATER

All is grim, like slow-motion% Murky and green~

Underwaterr Mike turnsf and sees the back wall has vanished~

84,

In its place is the GHOST SHIP~ sinking downward toward a black abyss,

Mike gapes1 his eyes bulging from lack of air$

Everything swirls. He spins, getting sucked deeper ...

His arms tire. Bubbles pop from his mourh, as he begins ro breathe in water. Mike's body goes limp. Be's pulled rnto the ocean's darkness~~~

All seems lost,, * ,, the end imminent r when

A strange object unexpectedly appears~

Foggy, Mike looks up.

Then -- he gasps.

IT'S MIKE'S SURFBOA.'ill

Hovering above him, like a godsend~

Mike is startled, confused -- but grateful. He lurches and grabs it -- hanging on -- his last chance for life~ When, it unexpectedly pitches and HAM.M.ERS him in the head.

EXT~ BEACH - DAY

Winded. Eyes glassy.

But, alive$

He s back in the beach scene from the beainning¾

Then ... a faint BUZZING. Mike looks up.

Mike squints, trying to read it~

The plane crosses a cloud 1 and the banner becomes readable: "CHEAP AUTO IN$URANCE CJILL l-800--222-1408"

r'"t fa_ --.: ;-

TIGHT - THE BP~lvNER

The four numbers: "1408H

His chest tightens* His brain feels like it's going tc explode. Then --

A wet LIFEGUP-'ID thrusts his head into view.

Mike's jaw quivers, but forms no words. Utterly drained, he passes out~

Slowly, he opens his eyes.

Mike is lying in a hospital bed 1 hooked up to an IV~ A tree is outside the window~

Mike turns~ Sitting in a chair, watching him, is Lily~ She stands, relieved~ Smiling anxiously~

Mike wipes his eyes, confused,,

•

Mike tries to takes thie in 1 uncomprehending$ She comes over$

vivid~ I must ve gotten banged in the brains so hard, all my circuits fried~ (trying to focus) I was trapped ... I was dying ... in this weird hotel. The Dolphin --

expression falls.

She trerrbles, then starts weeping~

l?~g~ And then -- we re here, like tn.1.s: (MORE)

•

His eyes get watery" She gets emotional 1 then suddenly hurries into the bathroom$

They both trail off. She peers at him, still terribly hurt. Her voice drops to a hush.

Lily shudders, silent~

Mike reaches out~$~ straining~m~ and takes her hand~

He looks in her eyes, seeing the truth of his

•

You should qet sorr~ rest~

Lily huddles by herself, talking on a CELLPHONE.

Lily drives a white rental car. Mike sits in the passenger seat staring, a large bandage across his temple.

The boulevard is quite uninspiring: Overgrown palm trees, graffitied Cuban markets, faded pink motels.

She laughs.

Lily drops Mike off at his car~ It has two parking tickets,,

He peers out at the turquoise water$ In the distance 1 a dolPhin jumps in the waVes*

CUT TO;

•

craphole we saw before$ The scene olava Mike enters and goes to his mailbox. Ee

unlocks it, removing a startling amount of ~4~IL.

The MAILBOX GUY nods.

A disinterested beat -- then Mike reacts, offput.

Mike sits in his corner booth, alone. He's going through months of OPENED MAIL. The table is spread with brochures from haunted hotels and inns ... a bill from Saint Joseph's Nursing Home ... the Weekly World News ...

Mike slashes an envelope with his letter opener,removing a childish GREETING CARD. It has a cartoon monkeysaying "No Monkeying Around! Happy Birthday!"

Mike reacts, strangely. The oddest sensation ...

He frowns -- then suddenly wades through all the hotel mail. Frantically digging through photos, flyers ... searching ... searching ...

The door SLAMS open. Mike barges back in, a bit frenzied.

The Mailbox Guy stares~

Perturbed, Mike scans the floor,. Then his eyes drift,,~$ up, up~~* to the CEILING~ Up there is an AIR VENT~

Mike is bothered~

Mike runs out, punching !1411 into his CELLPHONE,. He paces the sidewalk, bristling with nervous energy*

Long beat. Then:

Mike RUNS up to the research desk. He flags down a LIBRJLRIAN.

Mike frantically scrolls through MICROFICHE, pages blurring by. Suddenly, he finds the ancient New York Herald-Tribune front page. He leans in -- but the headline has chanced .

Now it says "FACTORY OWNER LEAPS OFF BRIDGE." Underneath is a • PHOTO of Some cops at a riverbank$

Mike gasps, disturbed.

A moment of dislocation ... when he remembers something. Mike whips out his LEG..¾ PAD~ But-~ now the pages are all EMPTY$

A spooky pause~~~ when suddenly RING!! It's his CELLPHONE. Mike jumps, startled~ Quickly, he answers~ The screen says 1'LILY ~ 11

I m just checking up,. How are you?

•

9L

Mike and Lily have dinner at a nice beachfront cafe. Waves crash in the b.g.

He stares, entranced.

• She slowly smiles~

A WOMAN in a flowered dress passes by. Mike glances -- and for a FLASH she's the Portly Lady from 1408.

Huh?

Mike turns -- and now she's a CUBAN LF,l)Y~

He wines his ey~s, on edge. Questioning himself. He leans in to Lily, his voice tremulous@ We MOVE IN on the couple~

Lilv blinks back tears~ She grabs for her wine~

•

I ve ever beenm

Mike doesn t notice~

you ve been given a second chance,.

Mike thinks. • CLICK! CLICK! CLICK! CLICK! CLICK!

TIGHT on Mike, rapidly TYPING AWAY at his computer.

CLICK! CLICKl CLICKJ

The computer screen FILLS WITH WORDS~ Mike is on fire 1 ideas pouring out~ His face ablaze$~m

Olinr I ve never seen a ghost, and I

don't believe I ever r,vill ~ (beat)

"Olin smirked,, I m afraid you don't believe in~. But in 1408, your unbelief will only render you more vulnerable,, 1 11

•

LATER

It 1 s dark outside~ The deak is littered with po~a~o chip bags~

Mike types faster.

of its existence erased~,,,,

CLICK! CLICK! CLICK!

Mike slurps a coffee.

Sam grins at his speakerphone~ He shouts~

I can t believe itl The work's just pouring out of me! I think I've invented some new literary form: The fiction memoir~ Autobiography of a nightmare. It's sort of like Capote meets Whitley Strieber"

SAM: I love itl "In Cold Blood" with alienel (gleeful) I wanna put it out to auci....1.on~· -- start a bidding war! When can I read r::?

•

Mike is dropping off Lily~ She has her bags~ A tender smile between them,,

An awkward pause -- and then they kiss.

The laser printer is WHIRRING~ Pages come speeding out, crisp and cleans

Mike reads them proudly.

LATER

Mike neatly stacks the sheets. He slides them into a fat manila ENVELOPE.

Mike jauntily climbs in his car, clutching the packege. He sweeos a pile of junk off the seat, onto the t~oor~ A shred of paper Catches his eye -- the nursino home bill~

Hmm~ He thinks~~~

An airless lobby~ VERY OLD PEOPLE sit unmoving, some in wheelchairs. ORDERLIES silently clean. A TV plays unwatched.

Mike bursts through the doors. He looks around, lost. All the WOMEN look alike -- wrinkled emaciated figures with big glasses and white hair$ All the MEN are huddled in bathrobes, faces unshaven 1 eyes vacant~

Mike studies the men 1 trying to decide if one is his father~ But thenm~~ he notices his dad in a wheelchair 1 rolled over by a window. A shell of a man, gazing out~~~

Mike's face falls~ Then 1 he girds himself and hurries over~

MIF~ I haven't~m~ seen you in awhile~~~

No response.

Mike pulls up a chair$ He takes his father s veined hand~

Nothing,, No reaction at all~ Mike whispers~

The old guy keeps staring out the glass.

A beat. Then -- a brief flicker crosses Father's face. His eyes widen.

• FATHER

Michael. .. ??

Mike strides back into the mailbox store. The place is cluttered, WORKMEN busy on ladders~ The clock says 4:55~ Mike slams the big envelope down on the counter~

The Mailbox Guy is turned awav from us~ He doesn t move~ Mike glances nervously at the clock~

•

MI:KE

Um -- where are the forms I ve got tc fill out? I really need this in New York tomorrow.

~Jl.ILBOX GUY'S VOICE

I'm sorry, we re closed~

The Mailbox Guy turns. . • revealing HE IS ACTW'ILLY MR. OLIN.

OLIN SMIRKS, OMNISCIENT and 8LL-POWERFUL. He takes the package.

Mike GASPS, stupefied.

A WORKMAN

• scrapes away some drywall, revealing BUTTERFLY P.Z\PER L~,DERNEATH.

Bis expression goes from fear~~~ to realization$$* to madness~

The room starts SPINNING~

•

F-P.OUND HIM, the SOUND of CONSTRUCTION BUILDS. Louder, LOUDER, a CRUSH of activity~

The WALLS all become wallpapered~

A WORKIViAi, leers, in a blur becoming Kevin O'Malley.

Mike staggers, terrified.

The room spins faster. The Mailbox Store ie vanishing.

The CEILING tile crashes down, revealing 1408's VENT.

The FURNITURE appears around us.

The WHIR builds to a high-pitched, painful SHRIEK --

And THEN

The howl suddenly STOPS .

And Mike is left, collapsed onto the carpet of 1408. Curled in a fetal position, whimpering, confused~ • He slowly lifts his head ... and a horrible guttural MOAN passes from his lips.

He's back.

THE ROOM IS JUST AS HE LEFT IT. RAVAGED. DRENCHED. LIKE A HURRICANE BLEW THROUGH.

The unplugged clock keeps ticking down: 4:55~~~ 4:54~~$

Mike unsteadily rises. He shouts plaintively.

Mike jerks, startled.

The voice is behind him. Unnerved, Mike slowly turns@ /1.nd back there~~~ is~~~

Ten tati ve f' shaky, he crosses closer~ ~ ~

The door waits" Mike forces himself" sweating~ Heart pounding crazy.

Valiantly, hands trembling"'~$ he reaches to the handle~ Grimacing with dread, he starts to turn it

When -- his courage lets out. He lets ao.

The VOICE snickers.

Mike shudders. • THE DOOR

slowly opens. Through the crack, we SEE a DEEP, BLACK SPACE of a place that exists somewhere other than 1408.

A DARK SHADOW falls over him .. ,.$

We DON'r SEE what is revealed behind the door. But Mike does. His FACE beholds a horror no sane person can endure.

His eyes widen. His mouth opens in a silent screa,r.

His legs buckle under him.

Beat"

Mike crumples in on himself, finished. Hes cowering, beaten.

He covers his head, preparing for a fatal blow. We MOVE CLOSER~*~ CLOSER@~$ until his FACE IS IN TIGET CLOSE-UP$ Readying himself for an unimaginable fate.

The tension of the moment builds to a climax. The end irraninent. And then

A melancholy MUSIC.

Huh? Mike looks up.

In its place is

She looks at Mike and smiles. A smile that makes her face look even more skull-like.

He backs away. Hurt, she weakly reaches to touch him ...

GR~CIE (soft) I wet myself~

Tears spring to Mike's eyes$ Fighting this 1 he steps backs

100~

GR~CIE Please* I'm cold~

Mike can't stand this,

She shiversr her little body wispy~~~

Mike's face caves. Suddenly overoowered by feelings, he RUSHES FORWARD and GRABS her tightly.

TIGHT - MIKE AND GRACIE

His eyes are shut, clinging to her tiny body. The most electric thing he's ever felt.

She speaks, barely a whisper.

He looks up, as she convulses violently. Her face damp with sweat. He touches her forehead -- it's burning up.

Her eyes brim with tears of pain.

Happy, she brushes her hand to his cheek.

CLOSE ON - MIKE'S CHEEK

As she withdraws her hand 1 it leaves a TRAIL OF ASH~

She falls back, eyes frozen. She's stopped breathing.

GRACIE?!

Mike shakes her, but she is still.

Mike immediately begins CPR. He puts his mouth over hers, breathing air into her lost lungs.

He furiously begins CPR. He begs, between breaths.

Shaken, he pulls his hands away. They are COVERED IN ASH.

Mike is immobile. Hands gray with the remains of his child.

His heart is empty. Absolute sorrow. Grieving, eyes sunken, he looks up. Just wanting it to end.

slowly reacts, sobbing.

•

AJld

starts FLICKERING. The LED m:unbers flash randomly ...

Mike stares, uncomprehending. Until he peers up and GASPS~

WIDE VIEW OF THE ROOM

1408 has RETURNED TO ITS OPENING STATE. No water damage. windows back. Everything restored to when we first entered.

The clock radio RESETS TO 60:00. It begins counting down again: 59:59 ... 59:58 ... 59:57 ...

Mike trembles, utterly desolate.

The THER!'-'.IOSTAT starts rising: 85~"" 90~"$ 95~&$

Mike 1 s skin gets cl&1rwy~ He staggers 11ightheaded ..

Something FALLS right behind him. Mike t1rns --

•

The TEMPERATURE is getting hellish: 115~~B 120~~~ 125B*~

Mike is weeping. Confused. Unable to think clearly, he steps onto the chair~ He slowly draw d ·

Mike stands there, eyes glassy. Pondering his fate.

But -- not jumping. Emotions and regrets pound through his body.

He grips the rope tight ... then suddenly~. crying.

The VOICE booms, furious.

The TV suddenly turns on.

We hear MIKE;S SIMULATED VOICE,,

~a, '.\_,!; It•

, it s me~

Ahl Mike looks around,paranoid, then grabs the phone. Its power blinks. Frantic,he hurriedly DIALS Lily. He bites nails. RING! RING ... !

C mon, c mon~ ~ ~

More RINGING. Then -- a !'lll<.N answers, through garbled STATIC.

Hello?

A discombobulated beat~ It s a wrong number, but$~~ strangely rarni-Liar,.. ' ' ' ~

INTERCUT:

IN'I'. RESEAR'.::H LlBRAJZY THE P.ll,ST

It's Mike back in the microfiche room 7 i.n the past 1 receiving the call© All he hears is STATIC~

INT@ 1408 - PRESENT

Mike blanches, realizing,. He shouts deliriously~

His phone suddenly SPARKS, shorting. It FLAJV!.ES, burning him. He cries out and drops it. Mike turns worriedly to

•

Incensed 1 he runs toward the door@

Mike trips, falling@ SU...Ml

The floor is crazy~ Mike tries to get up, attempting to cliwb~ His naked hands fall on hot carpet, singeing him@

Mike SCRE3'J"lS in pain. But he keeps going.

•

The SL/L"f,JT is now INS]\.1.~E" The floor is practically vertical,.

M~ke ~anhgs onto the furniture,like a rock climi:ier. Using all his m.1.g,,t, he ho:..sts himself.

The thermoetat keeps rising. 140" 145 ..•

Mike struggles to move§ He can barely breathe through the swelter:..ng heat. He looks up -- and the living room has LENGTHENED. The DOOR now seems a football field away. Just a speck~

The door is hopelessly far away. In anguish, unable to crawl, he weakly glances at the TV.

ON THE 'rv

Lily walks down the hall. Approaching ...

Like she heard him.

She contemplates this sensation, her face a mix of strange emotions. Then -- she suddenly turns and LEAVES.

•

107,,

Mike is overwrought~ rapturous~ He slowly looks up"~~ and then t·w·s;e_sU,!2;~fil!.J.'Qil~~i;:};fill!1

MI¥~ I know I've lived the life cf a selfish man •.. (pause) But I don*t have to die that way~

Mike reaches for ~he fallen BOOK OF MATCHES.

He stares -- then rips out a match and STRIKES it against the cover 1 with its funny little doorman~

An instant 1 TINY FLF_M_E$

Mike crawls across the floor. Holding the match cut, straining to touch it to a CURTAING~~

When -- WHOOSH! A HUSH OF WIND from the air conditioning vent blows it out.

Mike considers this$$~ then nods~

Suddenly, Mike grabs Olin's

The FLP.ME BLAZES bright, a crazy glow under his face. Mike shoves it in the bottle, lighting the flarmnable liquid~ Mike spins and HURLS the MOLOTOV COCKTAIL~

BLAfL111.1\.l1cll! The entire ROOM explodes in flames.

FSSSTl The SPRINKLERS COME ON -- the roo:m s desperate attempt to save itself~ Mike laughs manically~

~ ~ ~ • ~' f\ ti \.; \- l

)'{IKE

Too LATE! You ll never hurt anyone again~

The CURTAINS flare up r blindingly orange~ The blaze SElt,,'R.S, the walls erupt~

~ike stands ~nside the inferno, seething. In a final act 1 he clicks on his recorder:

The flames congeal, then DETONATE~

KABOOM! A thundering FIREBALL blasts out the window.

Mike is obliterated from view.

The raging flames scorch the ceiling, then get sucked into the AIR \lENT,,

INT~ V~NT

Pulsing FIRE courses through the vents. Splitting in all directions.

Fire ALARMS go off.

Hotel doors start SLP_M..~ING ooen~ Frantic GUESTS rush toward "-hoI..- ...., oxit·~ -'- s f ;,..,.\..,,-,.s::~RE· ·AMTN~il".l..,,-.- \:J f P"S";U ,!.,!....-.s.l':,j T•;:, "ac'n~ ,._ other.~ ~

EXT~ DOLPHIN HOTEL - UPPER STORIES - SAME TIIvJE

Flames POUR OUT of the top stories$ Smoke fills the sky~

EXT~ DOLPHIN HOTEL - AT THE STR'RET - Sfui\ffi Tii.ffi

Sirens WAILs GUESTS come flying out the doors,many pajamas, furiously racing for the street*

INT~ 1408 - SAivIE TIME

Flruues ripple~ In the broiling heat; the room begins to MELT~

The walls sag, sinking into strange 1 unpleasant curves~

•

109~

The paintings begin to bend~ Moans cry out*

The chandelier droops like a glob of spit.

The clock radio melts into the floor~

The yellow-orange LIGHT brightens almost painfully hot -- and then 1 for a final second -- we glimpse Mike~

G:RACIE S VOICE Daddy, everyone dies~

Mike's eyes glisten~ A brief, satisfied smile~~~ and then he 1 s swallowed by the fire~

The ceiling COLLAPSES, burning. SHOUTS and SCREAMS, as the last GUESTS shove their way out. We MOVE THROUGH the blazing debris. Past the ash, through the charred furniture, toward the Reception counter ...

INT, OLIN'S OFFICE - SAME TIME

The beautiful oak paneling is ablaze. Shelves fall, rare books crumbling into dust.

Sitting am.id the devastation, perfectly calm at his desk, is Olin. Like the captain of the Titanic, he is unruffled. He leans back in his chair, at peace, enjoying a cigar. F~n amber brandy in his hand.

He swirls the brandy in its snifter, then takes a slow sip. Ahh •••

Until, oddly -- RING! It s an interrupting PHONECALL~ Olin stares quizzically, then begrudgingly puts down his brandy~

&"r\JGLE - OLIN

He answers his phone, crisp and professional~

Olin listens, then shrugs.

Olin qen~ly hangs up the phone2 Then he ~akes a puff of his cigar~

Behind him, the walls CAVE IN~

EXT~ DOLPHIN HOTEL - LATER

The FIRE DEPARTMENT is in front, spraying the building down~ Hook-and-ladders fill the street,,

POLICEP.cEN hold back the shivering guests. We TRACK PAST their bewildered faces -- cold, frightened, tired -- until we land on one woman, off to herself.

Lily~ She gazes up at the Hotel. Then, she sadly speaks.

A small funeral, under gray skies~

A DOZEN people are huddled around a fresh grave, watching the coffin get lowered into the ground*

Lily s face is withdrawn~ Not overwrought~~$ but utterly drained. She stares, then drops a flower on the casket.

Sarn gives her a supportive hug.

INT~ MIKE S OFFICE - DAY

The grubby office is filled with boxes. Sam and Lily are silently packing up Mike's belongings~

There are hundreds of books~ Carneras~ A sound meter~ A chipped Edgar Allen Poe award. Lily sighs.

Sam closes a box~

111 ..

It s lust a sha~e he won't be around to write about it,

On the desk is a cute framed PHOTO of Lily, Mike and Gracie in happier times~ Lily stares., then takes it for herself~

A bustling New York street. Sam shuffles up, looking a bit weathered~ He enters a gleaming office building~

INT, LITERARY AGENCY - SA.ME TI~:E

Sam enters his office, in a haze~ His Secretary looks up~

Sam goes to an overflowing INBOX on her desk, piled with mail. He grabs the mail and drifts aimlessly away~

He flips through the papers~ Publishers Weekly~©~ catalogs~~~ New York Review of Books~ Sam g?es into his office --

INT,. SAM S OFFICE

and wades to the end of the rnai~~Suddenly he reaches a big manila envelope -- and freezes~

' " -

~o process what this means~~0 then he kicks the door shut~

112~

Shaking, Sam sits at his desk, He stares at the package, then slowly 1 with ut_most care, unseals the flap~ He tremblingly reaches inside ... and pu:ls our Mike's ~ompleted pages,

Sam gaspsr overcomer and drops them$ We SLOWLY PUSH IN TO the pile of laser-printed pages, crisp and elegant~ The cover page is simple:

by Mike Enslin

FADE OUT,