The Sixth Sense Page #7

Lynn moves into Cole's room with the laundry basket balanced on

her hip. The Walkman headphones on her head blares A MUFFLED

TECHNO DANCE BEAT. Lynn starts picking clothes up around Cole's

room.

This bedroom is an eerie place. The shadows seem to make shapes

and figures. All the furniture is wood -- old fashioned. The

lamps, the paintings on the wall -- antiques as well.

The most striking feature of the room, however, is the homemade

tent created from bedsheets and blankets tied to chairs and

bureaus. It takes up a large corner of the room.

A sign hangs over the bedsheets.

"DO NOT ENTER"

Lynn grabs the spiderman P.J.s that drape over the tent.

A German Shepherd Puppy sleeps on the pillow. SEBASTIAN lifts

his head sleepily and peers at Lynn before returning to his

slumber.

Lynn slowly reaches for a picture frame that peeks out from under

Cole's pillow. Slides it out... It's a VACATION PHOTO of a

couple. Lynn and Cole and a man. The man looks in every way a

larger version of Cole.

The picture has a visible effect on Lynn. She lets out a shaky

breath before returning the photo to its hiding place.

Lynn pulls a pair of school uniform pants off the wooden roll

cover desk next to the bed.

The desk is covered with loose leaf papers filled with writings.

Lynn's eyes are drawn to the papers.

Her curious gaze turns serious. Her mouth opens a tiny bit

involuntarily.

THE PAPERS are strewn with lines of handwriting. Countless

lines. Thousands of words... Some horizontal, some vertical...

The writing moves in arcs and flows in various size -- written at

great speed -- every word connected by a single pen stroke --

everything written in one continuous motion.

Lynn slowly spins the papers, taking in some of the phrases...

...Christ break the freaking glass oh no God no what the hell is

going on Quiet the damn baby I'll cut you I swear it someone stop

the burning I'll kill you I'll kill all you bastard...

The words go on and on.

Lynn removes her hands from the paper. She pulls her headphones

off slowly.

THE MUFFLED TECHNO DANCE BEAT FILLS THE DEAD SILENCE OF THE EERIE

ROOM.

CUT TO:

INT. DEN - AFTERNOON

Malcolm stares as the rain pelts the windows of the den.

MALCOLM:

...So your dad lives in Pittsburgh

with a lady who works in a toll

booth.

COLE (o.s.)

What if she has to pee when she's

working? You think she just holds

it?

MALCOLM:

I don't know. I was just thinking

the same thing.

Beat.

COLE (o.s.)

You ask a lot of questions about my

dad today. How come?

Cole is playing behind the couch. All we see is the top of his

head.

MALCOLM:

Sometimes, we don't even know it,

but we do things to draw attention.

Do things so we can express how we

feel about issues... Divorce or

whatever.

Every now and then we get glimpses of things Cole is playing with

peeking over the back of the couch, but we can't quite make out

what he's doing.

MALCOLM:

One night, as an example... leave

something on a desk for someone to

find.

The top of Cole's head stops moving.

MALCOLM:

Cole, have you ever heard of

something called free-writing? Or

free-association writing?

Cole shakes his head, "No."

MALCOLM:

It's when you put a pencil in your

hand and put the pencil to a paper

and you just start writing... You

don't think about what you're

writing... You don't read over

what you're writing... You just

keep your hand moving.

Cole has become very still. He looks right at Malcolm.

MALCOLM:

After awhile if you keep your hand

moving long enough, words and

thoughts start coming out you

didn't even know you had in you...

Sometimes they're things you heard

from somewhere... Sometimes

they're feelings deep inside...

(beat)

Have you ever done any free-

association writing, Cole?

Beat. Cole nods, "Yes."

MALCOLM:

What'd you write?

COLE:

Words.

MALCOLM:

What kind of words?

COLE:

Upset words.

Beat.

MALCOLM:

Did you ever write any upset words

before your father left?

Beat.

COLE:

I don't remember.

Malcolm watches him carefully. Beat. Malcolm waves the question

off casually.

MALCOLM:

Can you do something for me?

Malcolm smiles. He rises and grabs his coat.

MALCOLM:

Think about what you want from our

time together. What our goal

should be?

COLE:

Something I want?

MALCOLM:

If we could change something in

your life, anything at all, what

would you like that to be?

Cole's brow furrows as he thinks about it carefully.

MALCOLM:

You don't have to answer now.

Malcolm heads for the door, stops when Cole emerges from behind

the couch. Cole is wearing his father's jacket, it hangs to the

ground like a dress.

COLE:

Instead of something I want, can I

have something I don't want?

Malcolm turns back to Cole. Malcolm nods "Yes." Beat.

COLE:

I don't want to be scared anymore.

Cole's sad eyes stare up at Malcolm.

CUT TO:

INT. BASEMENT OFFICE - NIGHT

The surface of Malcolm's desk is covered with open texts.

Malcolm pours over a thick reference book.

He circles a phrase...

"...resulting bruises and abrasions on arms and legs may, in

fact, be self-inflicted."

Malcolm appears disturbed by the thoughts running through his

head.

ANNA'S MUFFLED VOICE CARRIES DOWN THE STAIRS.

His face turns up to the ceiling.

MALCOLM:

(loud)

Are you calling me?

WE HEAR ANNA'S FOOTSTEPS MOVE ACROSS THE BASEMENT CEILING. WE

HEAR THE FRONT DOOR OPEN.

ANNA (o.s.)

What? You don't see enough of me

at the store?

Malcolm gets up and moves closer to their voices as he stretches

his legs.

MAN'S VOICE (o.s.)

On my way to the flea market in

Amish country. Thought maybe you

want to come. Show me how to buy

at these things.

ANNA (o.s.)

I trust you... Besides, I don't

know if I'm up for the Amish today.

You can't curse or spit or anything

around them.

Malcolm smiles at Anna.

MAN'S VOICE (o.s.)

I thought you'd want to get out.

You've been kind of down.

Malcolm slowly stops smiling.

ANNA (o.s.)

That's very sweet. I'm okay.

MAN'S VOICE (o.s.)

Do you think I should stop by on my

way back? Show you what I got?

It's not a problem.

Malcolm shakes his head in disbelief.

ANNA (o.s.)

You know that's probably not the

best idea. I'll just wait to see

them in the store.

MAN'S VOICE (o.s.)

Okay. Fine. Understood.

(beat)

I'm off then.

ANNA (o.s.)

Don't step in the horse manure.

MAN'S VOICE (o.s.)

Thanks.

WE HEAR THE FRONT DOOR SHUT.

Malcolm moves to the narrow basement window.

INT./EXT. MALCOLM'S HOUSE - DAY

We see SEAN, an attractive young man in his late twenties.

He gets into his car across the street. He just sits there for a

moment before putting his forehead to the steering wheel.

MALCOLM:

(under his breath)

Give it up, kid.

Malcolm turns away from the window as Sean's car starts up and

pulls away from Malcolm's house.

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