The Sixth Sense 灵异第六感 Movie Script

MALCOLM:

These people... People that died and are still hanging around. Maybe they weren't ready to go. Cole studies Malcolm's passionate face. A new face.

COLE:

You really look better.

MALCOLM:

Maybe they wake up that morning thinking they have a thousand things to do and a thousand days left to do them in... And then all of a sudden, it's all taken away. No one asked them. It's just gone...

COLE:

You have nice red in your cheeks now.

MALCOLM:

Do you know what 'Yo no quiero morir' is? Cole shakes his head, "No."

MALCOLM:

It's Spanish. It means... 'I don't want to die.' (beat) Not all the ghosts are scary, are they? Like Mrs. Marschal?

COLE:

No.

MALCOLM:

What do those ghosts want when they talk to you? Think real careful now, Cole... Cole stops moving. He looks over the balcony railing at Malcolm.

COLE:

Just help.

MALCOLM:

Yes! I think that's right!... I think they all want that. Even the scary ones...

COLE:

You believe now? Malcolm's stare is unwavering.

MALCOLM:

I believe both of you now. (beat) And I think I might know how to make them go away.

COLE:

You do? Malcolm nods "Yes."

MALCOLM:

I think they know you're one of those guys rare people can see them. (beat) You need to help them. Each one of them. (beat) Everyone wants to be heard. Everyone. Cole takes a big sigh. Fiddles with his riflemen.

COLE:

What if they don't want help? What if they're just angry and they want to hurt somebody?

MALCOLM:

I don't think that's the way it works, Cole. Cole looks nervous.

COLE:

How do you know for sure? Malcolm's eyes are drawn to Cole's arm. Peeking out from under his shirt sleeve are a set of cuts. Malcolm gazes at them.

MALCOLM:

I don't. Cole and Malcolm stand silently in the center aisle of the back of the church.

CUT TO:

EXT. HOUSE - NIGHT Malcolm moves around the corner on his street. His mind surges with thoughts. And then he glances up. His steps slow to a complete stop. Further down the sidewalk, coming out of the front door of his house is SEAN. Malcolm's face turns to stone. He watches as Sean comes down the front stairs and starts across the street. A sudden rage surges up. Malcolm moves towards Sean fast. Sean reaches his car and enters it. He doesn't notice the figure closing in on him. THE ENGINE STARTS. Malcolm reaches the car a second late. Sean pulls away into traffic almost hitting another car as he does. Malcolm watches the car disappear down the next street. Beat. Malcolm turns and looks up at his home with unchecked anger and overwhelming pain erupting his eyes.

CUT TO:

INT. HOUSE - NIGHT Malcolm stands in his foyer. Anna is sitting on the stairs, phone in her hand. She faces away from the front. Malcolm's a ball of tension as he listens to Anna talk into the phone.

ANNA:

...You just walked out. You're probably on your way home. I'm leaving this message... I just didn't get to say what I meant... (beat) I know you're confused. It's just... I'm not prepared to do this, Sean. (beat) I don't want to be ashamed of that. I don't want to have to make excuses for that. (beat) And I wanted to tell you... I bought your present wholesale from a friend. I didn't even pay tax on it. You don't need someone cheap like that. (beat) By the way, it's a non-refundable item, it's scratched on the bottom. (beat) Are you smiling?... I hope you're smiling. (beat) I'll see you at the store. Beat. A long silence. Then WE HEAR ANNA GENTLY HANG UP. Malcolm leans back against an old radiator. Beat. His eyes close as the SOUND OF HIS WIFE'S FOOTSTEPS RISES UP THE STAIRS.

CUT TO:

INT. BROWNSTONE - NIGHT The house is silent. No movement. Cole is in his pajamas asleep on the floor of the TENT. Curled up next to him is Sebastian. They sleep surrounded by statues and pictures. Cole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.

LYNN:

Cole... (beat) Cole, what's happening... Cole quickly gets up and rushes out of the tent. His foot catches one of the chairs the tent is fastened to. He stumbles out. He doesn't realize one of the bedsheets comes loose. It folds to the ground.

CUT TO:

INT. HALL - NIGHT He doesn't stop as he moves through the shadowy hall and pushes open his mother's bedroom door.

CUT TO:

INT. LYNN'S BEDROOM - NIGHT Cole stands in the doorway to his mother's bedroom. He looks over the room carefully. Everything is still. Lynn's room is sparse. No paintings, no accessaries. A bed without a frame sits in the corner. A table with a sewing machine fills the other side of the room.HIS MOTHER'S VOICE turns his attention back to the bed.