The Grudge Page #16

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

parents?

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

Nakagawa?

KAREN:

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.

AOKI:

Detective Nakagawa is not here

right now. Can you tell me what

case this is regarding?

There’s something behind the Detective’s words.

KAREN:

His partner, Detective Igarashi?

Can I speak with him?

Revisions (Blue) -- 1/26/04 83.

Aoki exchanges a look with the officers.

AOKI:

Can you tell me your name, please?

Karen looks at the somber faces in the quiet station.

backs away from the desk as the realization sinks in.

She

KAREN:

They’re dead, aren’t they?

Karen turns and runs for the exit.

AOKI:

Miss, wait please -But

she’s long gone.

126 INT. KAREN’S APARTMENT - NIGHT 126

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:

KAREN:

Doug?

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,

JENNIFER, and EMMA WILLIAMS; YOKO and ALEX; NAKAGAWA and

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.

(MORE)

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

you.”

Karen presses the STOP button.

She stands there for a moment, in the near-darkness.

Then, softly:

KAREN:

No.

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 EXT. THE HOUSE - NIGHT 126b

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.

DOUG:

Hello?

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.

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